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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob Lamb.

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Speaker 1: Today we're going to take you back to an episode

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Speaker 1: that originally published four twenty five, twenty twenty five. It

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Speaker 1: is Stephen King's Sleepwalkers. This is a bonker's romp through

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Speaker 1: the American heartland and the secret world of soul sucking

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Speaker 1: wear cats. I had never actually seen this one before

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Speaker 1: we did this episode, and I loved it so much,

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Speaker 1: so I just want to share Sleepwalkers with everyone. I

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Speaker 1: hope you enjoy this episode.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick.

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Speaker 1: For today's movie selection, we are returning to the early

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Speaker 1: nineteen ninety with well, what I think is one of

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Speaker 1: the weirder Stephen King films you could possibly ask for,

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Speaker 1: and that is Sleepwalkers, directed by Mick Garris.

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

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

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Speaker 3: do you think?

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Speaker 1: Maybe? Maybe? Yeah? This is a film that is notable

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Speaker 1: for its incestuous cat people, but there's a lot more

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Speaker 1: going on there. There's a lot it's a lot weirder

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Speaker 1: than just that, as we'll get into. This is one

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Speaker 1: I definitely remember the trailers for because I was already

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Speaker 1: a pretty dedicated Stephen King reader at this point and

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Speaker 1: pretty much believed he could do no wrong. I was

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Speaker 1: just reading like nothing but Stephen King books, and I

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Speaker 1: considered the checklist of his books in the back of

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Speaker 1: the paperbacks, where you could like send away for them.

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Speaker 1: I considered this be something of a syllabus for life.

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Speaker 1: Oh and I would do things like and this is

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Speaker 1: this is horrible, but I would have my lunch money

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Speaker 1: for the week, and instead of spending it on lunch

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Speaker 1: at school, I would pocket it all because at the

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Speaker 1: end of a week of not eating lunch, I would

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Speaker 1: have enough money to blow on a Stephen King paperback.

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

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

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

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Speaker 1: This is why I never read Cycle of the Werewolf,

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Speaker 1: because it was illustrated and therefore cost a little bit more,

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Speaker 1: and I was like, I can't, that's too rich for

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Speaker 1: my blood.

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

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

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

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

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Speaker 3: brilliant marketing.

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Speaker 1: I kind of encounter one every now and again in

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Speaker 1: an old paperback, and I'm like, I want to send off.

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Speaker 1: I al wants to see what happens. It's like writing

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Speaker 1: into the Mystery Science Theater three thousand fan club. It's like,

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Speaker 1: I want to do it. You've got that address, it's

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Speaker 1: got to go somewhere.

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

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

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

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Speaker 3: eighties and early nineties.

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Speaker 1: At least like nine hundred numbers.

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

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

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

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Speaker 1: Oh wow, Yeah, because it's just automated pre recorded messages, right,

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Speaker 1: I guess.

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Speaker 3: So yeah, huh. Sorry that took us a feeling. Yes, Sleepwalkers,

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

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Speaker 3: saw when I was younger, I think on cable and

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

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

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Speaker 1: Yeah, same. I must have seen it on cable back

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Speaker 1: in the day. I think I rented it on DVD

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Speaker 1: at some point, you know, in the past twenty years,

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Speaker 1: but I probably didn't give it a dedicated viewing and

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Speaker 1: you know, enough to really appreciate how deeply bonkers it is.

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Speaker 1: It's full of tonal whiplash, monster madness, Stephen King, late

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Speaker 1: twentieth century Americana, and also a good half dozen cameos.

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Speaker 3: Yeah, you can tell this movie has the feeling of

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Speaker 3: like of a party for horror nerds. Yeah, Like it

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Speaker 3: feels like one of those movies that was for the

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Speaker 3: people making it more than it was for the audience.

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Speaker 3: And I'm not complaining now being part of the audience,

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Speaker 3: but you can tell it was just kind of you know,

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Speaker 3: throwing weird cameos in for really no reason at all,

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Speaker 3: except I think, just for you know, different horror authors

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Speaker 3: and people involved in in the you know, Stephen King's

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

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Speaker 3: want to show up. I want to be in this movie.

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

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

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

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

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

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Speaker 1: Yeah, and then at the same time there are stretches

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Speaker 1: where it's like it's really serious. And we mentioned The

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Speaker 1: Incestuous Cat People. I will say that The Incestuous Cat

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Speaker 1: People is played pretty much straightforward. It's not played for laughs.

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Speaker 1: I think if it had been played for laughs, the

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Speaker 1: project would be ruined. I don't think it would be watchable.

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Speaker 1: I think it would just be super hammy and not

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Speaker 1: in a pleasant way. But it's played straight The goofiness

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Speaker 1: kind of arises from other aspects of the film, and

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Speaker 1: it's a large part of why it still mostly works.

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

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Speaker 3: within the Cat People's house. Yeah, but every scene that

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

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Speaker 3: go off the rails into zany town.

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Speaker 1: That's good. That's a good observation. Now, folks, upfront, I

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Speaker 1: want to advise everyone that this is a cat movie.

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Speaker 1: This is a movie that has a lot of love

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Speaker 1: for cats, but I need to warn you that there

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Speaker 1: is a fair amount of simulated violence against cats in

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Speaker 1: the picture. It's all very much above board as far

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Speaker 1: as I understand. You can read about it at Humanehollywood

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Speaker 1: dot org. But you know, cats are the good guys

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Speaker 1: in this movie, but they got to take a beating

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Speaker 1: in order to have that big victory moment laid in

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Speaker 1: the picture.

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

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

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

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Speaker 3: from ropes and stuff. Yeah, but they're fake. They're fake.

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Speaker 1: The cats are all okay, I mean they're all dead

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Speaker 1: now because the cats don't live that long. But yeah,

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Speaker 1: but all the cat none of the cats were harmed

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Speaker 1: in the making of this picture. But if you're sensitive

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Speaker 1: to that sort of thing, you might want to skip it.

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

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Speaker 3: the hero of the film.

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Speaker 1: Absolutely, Yes, Clovis, who will get to in a bit.

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Speaker 1: Clovis and his fellow cats are the ones that are

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Speaker 1: going to ultimately save the day. So you know, you

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Speaker 1: could probably put together an elevator pitch that really stresses this.

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Speaker 1: But another way to think about this, this is a

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Speaker 1: film that is deeply about this strange relationship and this

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Speaker 1: strange bond between a monster and the monster's mother. So

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Speaker 1: in a sense, this is Stephen King's Beowolf, except there's

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Speaker 1: no Beowolf to play opposite Grendle and Grendall's mother. In

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Speaker 1: this case, we have Clovis the cat.

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

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Speaker 3: say that how does the rest work?

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Speaker 2: It?

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Speaker 3: The rest doesn't work so well. I guess you could

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Speaker 3: sort of say that Tanya and her family are like

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Speaker 3: Brothgars mead Hall and the monster attacks it, and then

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

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Speaker 3: to come and kill the monster.

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Speaker 1: Yeah, and Clovis has other motivations as well, as we'll

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Speaker 1: get into. Clovis really one of the deeper characters in

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Speaker 1: this picture. This fits a film mostly about monsters and Clovis.

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

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

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

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Speaker 3: which is he does ride along hilarious idea to begin with,

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Speaker 3: but also in every scene where they wanted to have

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Speaker 3: the police officer character like get out of the car

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Speaker 3: and walk around while Clovis is still supposed to be

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Speaker 3: in the car, it's obviously like a stuffed animal in

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Speaker 3: there because it's holding still.

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Speaker 1: Well, you know, cats are famously difficult to direct. You know,

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Speaker 1: you can hear this from everyone. The Coen Brothers were

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Speaker 1: very very adamant about this. For example, you know, they're

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Speaker 1: very difficult. It's very difficult to get a cat to

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Speaker 1: do what you want or anything close to what you

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Speaker 1: want in a picture. And this is a picture that

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Speaker 1: has scenes with hundreds of cats. I have no idea

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Speaker 1: how they ultimately pull these shots off.

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Speaker 3: Clovis hits his marks. He's a good boy. Absolutely.

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Speaker 1: We'll get into the feline actor behind the performance here

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Speaker 1: in a bit.

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

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

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

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

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

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

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Speaker 3: magical beings.

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Speaker 1: Yeah, kind of like hairless cat human hybrids that are

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Speaker 1: also energy vampires and shape shifters and wizards in their

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Speaker 1: own right. Yeah, we'll learn in the second half of

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Speaker 1: the picture.

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

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

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

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

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Speaker 3: seen up until this point.

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Speaker 1: I mean it makes a lot of sense because we

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Speaker 1: learned that they are old, they are ancient, they are

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Speaker 1: long lived. I mean, they're essentially demigods like the children

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Speaker 1: of bast and so forth.

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Speaker 3: All right, should we do some trailer audio?

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Speaker 1: Yeah, let's listen to the trailer for this one, just

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Speaker 1: a bit of it. We'll get some of that great

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Speaker 1: early nineties narration. You cannot be in love with this grocial.

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Speaker 3: You don't know me, Tanya.

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Speaker 4: Behind their smile is a secret.

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Speaker 1: Come in, I have something for you.

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Speaker 4: I don't know who you are, but I know you're

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Speaker 4: not who you say you are. Behind the secret is

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Speaker 4: a hunger.

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Speaker 3: Does it have to be her?

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Speaker 1: And behind it all is the imagination of Stephen King.

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Speaker 3: He killed one of my men.

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Speaker 4: He was scared of a cat Stephen King's Sleepwalkers.

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Speaker 1: All right, So if you're wondering, well, hey, where can

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Speaker 1: I watch Sleepwalkers before proceeding with the rest of the episode,

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Speaker 1: or maybe you want to, you know, get a copy

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Speaker 1: of it for later. Well, this was a major release

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Speaker 1: and a successful release of that, I should pinpoint this

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Speaker 1: movie made money. You can easily get your hands on

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Speaker 1: a digital or physical version. I rented the standard no

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Speaker 1: frills blu ray from Atlanta's own videodrome and picture looks great.

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Speaker 1: That's a great way to go about it. But Shout

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Speaker 1: Factory put out a special edition several years back, and

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Speaker 1: I think this one's absolutely the way to go if

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Speaker 1: you can get your hands on it. I couldn't get

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Speaker 1: it shipped to me in time for this episode, but

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Speaker 1: it features new poster art by Devin Whitehead that is

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Speaker 1: absolutely amazing. It has Clovis the cat front and center,

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Speaker 1: leaping out at you. I love this.

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

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

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

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

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

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

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

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

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Speaker 3: the film, Yes it is.

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Speaker 1: And oh man, some of you might be wondering what

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Speaker 1: kind of sucker pays extra to get like a cool

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Speaker 1: cover on a Blu Ray re release. Well, I am

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Speaker 1: that sucker. I am the kind of person who does that,

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Speaker 1: and I'm very tempted to find a copy of this

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Speaker 1: and get it shipped to me. But also yet, Devin Whitehead,

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Speaker 1: you can look him up on Instagram. Devin draws he

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Speaker 1: does a lot of these posters for re releases of

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Speaker 1: films and it's all amazing for her. Oh I should

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Speaker 1: also add the Blu Ray also has a ton of

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Speaker 1: extras that look really cool that I am also jealous

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Speaker 1: that I wasn't able to get my hands on before

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Speaker 1: we recorded here.

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

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

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Speaker 1: Yeah, yeah, I do have a couple of details about

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Speaker 1: that as we go on. But I don't know exactly

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Speaker 1: how all of it came together other than Stephen Kingscott

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Speaker 1: buddies and you know, he calls him in. You know,

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Speaker 1: you might have a cameo in a picture. You might

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Speaker 1: get to jam with him in a rock and roll band.

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Speaker 3: It just varies. All right.

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Speaker 1: Let's talk about the people behind this movie, starting at

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Speaker 1: the top with the director. It's Mick Garris born nineteen

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Speaker 1: fifty one American horror filmmaker and general horror officionado. During

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Speaker 1: the late seventies, he worked his way up through various

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Speaker 1: forms of sort of cinema adjacent media, including a local

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Speaker 1: LA cable access interview show called Fantasy Film Festival, in

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Speaker 1: which he interviewed such filmmakers as John Carpenter and Steven Spielberg.

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Speaker 1: You can actually find uploads of this on YouTube.

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Speaker 3: Is he a good interviewer?

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Speaker 1: Ah, you know, I didn't. It seemed like he was.

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Speaker 1: I didn't watch enough to really get a sense of it,

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Speaker 1: but he seemed to have a good rapport with these

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Speaker 1: various directors. Like a lot of his peers, Mcgarris grew

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Speaker 1: up making like eight millimeter films, but his first credited

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Speaker 1: industry directorial work came in the form of making of

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Speaker 1: documentaries for such films as nineteen eighty ones The Howling,

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Speaker 1: eighty two's The Thing, and nineteen eighty five's The Goonies.

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

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

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

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Speaker 1: Yeah yeah, I mean all creators were fans at one point?

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Speaker 1: Are they better have been?

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Speaker 3: So?

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Speaker 1: From there, he goes on to direct a pair of

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Speaker 1: TV show episodes anthology episodes in nineteen eighty six, One

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Speaker 1: arison The Magical World of Disney. It is titled Fuzzbucket

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Speaker 1: and it's an imaginary friends story, you know, for kids.

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Speaker 1: And then he also did an episode of Amazing Stories

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Speaker 1: titled Life on Death Row starring Patrick Swayze. He followed

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Speaker 1: this up with nineteen eighty eights Critters Too The Main Course,

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Speaker 1: followed by some more TV work, including Psycho for and

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Speaker 1: then this film, the first Stephen King film based entirely

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Speaker 1: on an original screenplay by Stephen King.

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

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

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

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Speaker 3: playful feel of this movie.

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Speaker 1: Yeah, maybe so, Like it's I don't know that a

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Speaker 1: lot of information is really out there about how the

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Speaker 1: story came together. I think there's I've read some stuff

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Speaker 1: that seemed to indicate it might have been an old

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Speaker 1: story idea that King either didn't get published or didn't finish,

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Speaker 1: or you know, rework for some reason or another. But

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Speaker 1: you know, you can't help but watch it and wonder

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Speaker 1: what form it would have taken had he actually written

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Speaker 1: it as a novel. You know, what point of views

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Speaker 1: would we have, How much Clovis pov would we get.

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Speaker 1: I bet we would have had some. King definitely would

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Speaker 1: do animal pose in some of his books.

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

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

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

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

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

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Speaker 3: responsibility to the source material. Whereas this being its own

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

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Speaker 3: hang out I do.

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Speaker 1: I have a strong suspicion that if we had seen

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Speaker 1: Sleepwalkers as a novel, we would have had a lot

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Speaker 1: more insight into the mindset of the character Charles Brady,

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Speaker 1: the grindle monster of the pair, and sort of his

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Speaker 1: place as a character kind of caught between two worlds,

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Speaker 1: between the world of predatory monsters and the world of

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Speaker 1: living humans that are their prey.

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

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

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

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

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

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

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

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

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

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

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Speaker 1: Yeah, And I think that's that's that's kind of a

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Speaker 1: big missed opportunity with this film, And that's where the

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Speaker 1: film really breaks down, is that is that we don't

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Speaker 1: we don't really explore his character all that much, and

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Speaker 1: he just we tease the possibility that there's more there,

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Speaker 1: but then he does just become a maniacal madman killer.

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Speaker 3: So the madman stuff in the movie, or mad monster,

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

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

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Speaker 3: Like it gets so wild. Now.

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Speaker 1: From what I've read, Garris was King's pick to direct

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Speaker 1: this picture. There was somebody else that they were talking

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Speaker 1: to about it, but they were pushing for major changes

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Speaker 1: the King didn't want, and so Garrison Kings seem to

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Speaker 1: have a good remote creative process going on. I've seen

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Speaker 1: some interviews where Mick Garris talks about this and they

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Speaker 1: would like it was facts based. They were like faxing

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Speaker 1: the script back and forth and making some changes here

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Speaker 1: and there, and then they didn't actually meet in person

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Speaker 1: until they filmed the cameo later on in the picture.

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Speaker 3: And the first thing Stephen King said to him was

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Speaker 3: pim fax machine joke.

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Speaker 1: The partnership here would continue, with Garris directing the nineteen

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Speaker 1: ninety four TV mini series The Stand, the nineteen ninety

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Speaker 1: seven adaptation of The Shining two thousand and four's Riding

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Speaker 1: the Bullet, two thousand and six is Desperation, and twenty

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Speaker 1: eleven's Bag of Bones. Now, I have to admit I

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Speaker 1: don't think I've seen most of these. I've seen parts

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Speaker 1: of the Stand, and I know that that TV mini

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Speaker 1: series version of the Stand has its followers. And of

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Speaker 1: course I loved the book that was a core King

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Speaker 1: text back in the day.

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

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

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

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

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Speaker 3: Fear the Reaper by Blue Oyster Cold.

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Speaker 1: Oh yeah. But anyway, I believe that Mick Garris has

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Speaker 1: the record so far for feature film adaptations of Stephen King.

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Speaker 1: On top of this, he's also directed episodes of Tales

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Speaker 1: from the Crypt and Masters of Horror, which he also created.

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Speaker 1: His screenplays and story credits also include nineteen eighty seven's

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Speaker 1: Batteries Not included, nineteen eighty nine is the Fly Too,

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Speaker 1: in nineteen ninety three's Hocus Pocus. Garris has also written

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Speaker 1: some novels, but not nearly as many as The Gentleman

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Speaker 1: Behind the Screenplay Here and that, of course is Stephen

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Speaker 1: King born nineteen forty seven, the King of Horror himself,

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Speaker 1: the most successful horror novelist of all time and one

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Speaker 1: of the most successful novelist period, still writing, still publishing,

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Speaker 1: and you know, we can't hope to cover everything that

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Speaker 1: Stephen King has done here in this episode, So let's

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Speaker 1: sort of place ourselves around the year nineteen ninety two.

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Speaker 1: So at this point he'd already published something like twenty

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Speaker 1: five books under his own name and that of Richard Bachman,

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Speaker 1: as well as something like forty four short stories and

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Speaker 1: this and this all included some of his best known

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Speaker 1: work and some of his best work. And on the

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Speaker 1: film front, there were already multiple adaptations, including Stanley Kubrick's

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Speaker 1: The Shining from nineteen eighty. Other adaptations that he'd been

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Speaker 1: more involved in personally, generally on the writing side, but

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Speaker 1: sometimes acting as well include eighty two's Creep Show, eighty

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Speaker 1: five's Catsie and Silver Bullet, nineteen eighty six is Maximum Overdrive,

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Speaker 1: which is also his sole directorial credit, eighty seven's creep

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Speaker 1: Show two, and nineteen eighty nine's Pet Cemetery.

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Speaker 3: Acting in creep Show being the central care in one

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Speaker 3: of the one of the vignettes there.

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Speaker 1: That's right. His Oscar snowed performance is Jeordie Verel in

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Speaker 1: Creep Show. Yeah, not a cameo, but the title character

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Speaker 1: in that segment. A wild a wild performance for sure.

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Speaker 1: But generally he when he appears in something, it is

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Speaker 1: a little cameo. And actually his his screen credits go

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Speaker 1: back to nineteen eighty one's Night Writers, directed by George Romero,

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Speaker 1: in which he played the hogy man.

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Speaker 3: I would say legitimately. In Sleepwalkers, his cameo is one

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Speaker 3: of the funniest parts of the movie.

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Speaker 1: It's quite good. Yeah, King, you know King cameo's. They

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Speaker 1: vary in length and intensity, but King can be a

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Speaker 1: lot of fun. He shows up in Sons of Anarchy

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Speaker 1: at one point. Oh yeah, remember that he's what a

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Speaker 1: he's like a cleaner or a fixer.

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

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

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Speaker 3: he plays a weirdo. Of course. He plays like this strange,

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Speaker 3: creepy owner of a cemetery where the monster attacks the

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Speaker 3: main girl in the movie, and after the attack is over,

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Speaker 3: he's walking around talking to various police officers, and just

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Speaker 3: anybody who will listen. He's like, look, I've got enough trouble.

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Speaker 3: I don't need this action.

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Speaker 1: Yeah, it's a fun cameo. So if you're a King fan,

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Speaker 1: this film's worth watching for a number of reasons, including

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Speaker 1: that Sleepwalkers, of course, as we mentioned, was his first

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Speaker 1: produced original screenplay, again possibly stemming from an unpublished story idea,

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Speaker 1: but again I don't think he's ever said much about it.

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Speaker 1: I was looking around to find any interview segments where

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Speaker 1: he really gets into sleep Walkers and the genesis of

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Speaker 1: the idea, and I'm not sure it's really out there.

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Speaker 1: I did run across an interview where Garis pointed out

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Speaker 1: that King's wife Kabitha, apparently put together a concept for

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Speaker 1: a sequel to Sleepwalkers that somehow revolved around a women's

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Speaker 1: basketball team. But sadly, you know, that did not come

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Speaker 1: to fruition either. I would love to see that catsketball.

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Speaker 3: Now.

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Speaker 1: I do want to note that this film, Sleepwalkers, this

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Speaker 1: is an example of dead sober Stephen King. Stephen King

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Speaker 1: got sober in nineteen eighty seven after you know, struggling

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Speaker 1: with some substance abuse in the years prior.

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

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

433
00:23:31,760 --> 00:23:35,720
Speaker 3: like peak cocaine madness Stephen King. And it is easy

434
00:23:35,760 --> 00:23:38,520
Speaker 3: to see how people could make this assumption because the

435
00:23:38,600 --> 00:23:42,399
Speaker 3: movie is so wild, and especially I think because of

436
00:23:42,440 --> 00:23:45,879
Speaker 3: the tonal whiplash that you already mentioned. But in reality,

437
00:23:45,920 --> 00:23:49,480
Speaker 3: I believe Stephen King has sort of identified the novel

438
00:23:49,640 --> 00:23:54,240
Speaker 3: The Tommy Knockers as his peak of struggles with drugs

439
00:23:54,240 --> 00:23:57,520
Speaker 3: and alcohol. That was one of the last things before

440
00:23:57,560 --> 00:24:01,040
Speaker 3: he got sober, and has since white like tried to

441
00:24:01,040 --> 00:24:03,600
Speaker 3: disown The Tommy Knockers, saying like, yeah, I wrote it,

442
00:24:03,600 --> 00:24:07,200
Speaker 3: but it's terrible. I don't know if he's ever disowned Sleepwalkers.

443
00:24:07,240 --> 00:24:12,880
Speaker 3: And maybe this, despite whatever whatever is kind of working

444
00:24:12,960 --> 00:24:16,720
Speaker 3: at weird frequencies within it, it does seem to be

445
00:24:16,840 --> 00:24:20,440
Speaker 3: an authentic product of the mind of Stephen King.

446
00:24:20,720 --> 00:24:23,280
Speaker 1: Yeah. I don't think reviewers were necessarily kind to it,

447
00:24:23,359 --> 00:24:26,840
Speaker 1: but it at the time, but you know, it was

448
00:24:26,880 --> 00:24:28,720
Speaker 1: a success, and I think a lot of people have

449
00:24:28,760 --> 00:24:31,800
Speaker 1: come back to it and appreciate it, and you know,

450
00:24:31,880 --> 00:24:33,919
Speaker 1: in some ways it is an outlier, but there are

451
00:24:33,960 --> 00:24:37,359
Speaker 1: a lot of familiar King themes present in this. You know,

452
00:24:37,400 --> 00:24:40,480
Speaker 1: of course we have the familiar theme of small town

453
00:24:40,520 --> 00:24:44,679
Speaker 1: America getting invaded by some sort of ancient evil, and

454
00:24:44,720 --> 00:24:48,520
Speaker 1: then more specifically, we're dealing with energy vampires, which you

455
00:24:48,600 --> 00:24:52,000
Speaker 1: see arguably and it you certainly see in the Dark

456
00:24:52,040 --> 00:24:56,240
Speaker 1: Tower series and also in Doctors Sleep, which features nomadic

457
00:24:56,359 --> 00:25:00,320
Speaker 1: energy vampires led by an enigmatic female leader. You could

458
00:25:00,320 --> 00:25:03,359
Speaker 1: almost think about Doctor Sleep as being a return to

459
00:25:03,400 --> 00:25:05,560
Speaker 1: some of the themes from Sleepwalker.

460
00:25:05,200 --> 00:25:08,200
Speaker 3: I guess, taking it a lot more seriously and basing

461
00:25:08,240 --> 00:25:12,439
Speaker 3: it more on serious characters that he'd already created and

462
00:25:12,480 --> 00:25:16,120
Speaker 3: wanted to come back to, like Danny Torrens. Yeah. Yeah,

463
00:25:16,160 --> 00:25:20,760
Speaker 3: you could sort of look at Sleepwalkers as a gonzo

464
00:25:21,080 --> 00:25:26,480
Speaker 3: reinterpretation of Salem's Lot, but with monsters more less like

465
00:25:26,520 --> 00:25:29,879
Speaker 3: traditional vampires and more like the monsters in Doctor Sleep.

466
00:25:30,280 --> 00:25:33,920
Speaker 1: Yeah, but also cats, and I should point out the

467
00:25:34,040 --> 00:25:36,320
Speaker 1: cats do feature into a number of number of Stephen

468
00:25:36,400 --> 00:25:40,679
Speaker 1: king works. Pet Cemetery of course, the Cat from Hell obviously,

469
00:25:40,840 --> 00:25:45,000
Speaker 1: Cat's i LT's theory of pets, and we you know,

470
00:25:45,040 --> 00:25:49,119
Speaker 1: we do occasionally get animal povs in his writing. And

471
00:25:49,160 --> 00:25:51,280
Speaker 1: again I can only assume Clovis would have given been

472
00:25:51,280 --> 00:25:53,840
Speaker 1: given this treatment if Sleepwalkers had come together as a

473
00:25:53,880 --> 00:25:56,080
Speaker 1: novel instead of a film.

474
00:25:56,119 --> 00:25:58,639
Speaker 3: I like how in the outline you've included multiple pictures

475
00:25:58,680 --> 00:25:59,960
Speaker 3: of Stephen King holding a cat.

476
00:26:00,400 --> 00:26:03,080
Speaker 1: Yes, yes, one of them. He's like crawling with cats.

477
00:26:03,119 --> 00:26:05,480
Speaker 1: I think he has a big cat in his lap

478
00:26:05,520 --> 00:26:08,040
Speaker 1: and then a kitten on his head and on his shoulder.

479
00:26:16,720 --> 00:26:19,440
Speaker 1: All right, let's get into the cast here. We're gonna

480
00:26:19,440 --> 00:26:21,760
Speaker 1: start with We're gonna take it in chunk. So we're

481
00:26:21,760 --> 00:26:25,000
Speaker 1: gonna start with our monster family, with the Brady family,

482
00:26:26,119 --> 00:26:30,840
Speaker 1: our Grendel character. Charles Brady is played by Brian Krause

483
00:26:31,200 --> 00:26:34,280
Speaker 1: born nineteen sixty nine, American actor who kicked things off

484
00:26:34,280 --> 00:26:37,320
Speaker 1: playing teens on TV and I believe nineteen eighty nine

485
00:26:37,359 --> 00:26:39,919
Speaker 1: at the age of nineteen or twenty, and by nineteen

486
00:26:40,000 --> 00:26:42,840
Speaker 1: ninety one he'd appeared in the sequel Returned to the

487
00:26:42,880 --> 00:26:48,359
Speaker 1: Blue Lagoon alongside Mila Djoviovic, and by the time of Sleepwalkers,

488
00:26:48,359 --> 00:26:50,800
Speaker 1: I believe he was twenty two or twenty three, which

489
00:26:50,840 --> 00:26:54,040
Speaker 1: I think is perfect because he feels slightly too mature

490
00:26:54,080 --> 00:26:56,560
Speaker 1: to be a teenager in this which is perfectly in

491
00:26:56,680 --> 00:27:00,680
Speaker 1: keeping with so many teen heartthrob films and and also

492
00:27:00,720 --> 00:27:04,520
Speaker 1: horror films of the classic period, the sort of films

493
00:27:04,520 --> 00:27:07,120
Speaker 1: that this movie plays off off to some degree. And

494
00:27:07,280 --> 00:27:10,080
Speaker 1: since his character is actually some kind of kind of immortal,

495
00:27:10,119 --> 00:27:14,040
Speaker 1: supernatural predator, it also feels right that he doesn't quite

496
00:27:14,080 --> 00:27:14,399
Speaker 1: fit in.

497
00:27:14,760 --> 00:27:18,800
Speaker 3: Yes, but he also brings a thing that's come into

498
00:27:18,800 --> 00:27:23,320
Speaker 3: a lot of vampire type stories, which is incredible handsomeness

499
00:27:23,320 --> 00:27:28,120
Speaker 3: and charisma. Brian Kraus is a hunk, and the hunkiness

500
00:27:28,160 --> 00:27:31,120
Speaker 3: is just like blasting out of the TV screen when

501
00:27:31,119 --> 00:27:32,720
Speaker 3: he's in frame. Yeah.

502
00:27:32,800 --> 00:27:36,280
Speaker 1: Yeah, first scene he's shirtless and then carve something into

503
00:27:36,320 --> 00:27:39,480
Speaker 1: his arm. We'll get to that now. Kraus would go

504
00:27:39,560 --> 00:27:42,000
Speaker 1: on to appear on TV's Tales from the Crypt, He

505
00:27:42,040 --> 00:27:45,400
Speaker 1: did thirty three episodes of Another World, and just lots

506
00:27:45,440 --> 00:27:48,000
Speaker 1: of TV appearances. Even pops up on Mad Men in

507
00:27:48,000 --> 00:27:50,480
Speaker 1: two thousand and eight, and he did voice acting for

508
00:27:50,560 --> 00:27:53,720
Speaker 1: the video game Fallout seventy six. In general, it seems

509
00:27:53,720 --> 00:27:56,199
Speaker 1: like he stayed very busy in a range of acting gigs.

510
00:27:56,320 --> 00:27:58,520
Speaker 1: Seems to play a lot of police officers these days.

511
00:28:00,000 --> 00:28:02,720
Speaker 1: We should do his hunkiness. I generally think he's quite

512
00:28:02,760 --> 00:28:05,960
Speaker 1: good in this, even when his character's riding veers off

513
00:28:06,000 --> 00:28:09,560
Speaker 1: in different directions. You know, he obviously he didn't write

514
00:28:09,560 --> 00:28:13,360
Speaker 1: the thing, but you know he rides it out as

515
00:28:13,359 --> 00:28:14,400
Speaker 1: best he can here.

516
00:28:14,520 --> 00:28:17,359
Speaker 3: And sometimes he has to act with cat face makeup on.

517
00:28:17,760 --> 00:28:19,360
Speaker 3: So yes, that's another thing too.

518
00:28:19,920 --> 00:28:25,400
Speaker 1: Yes, I do love how there there's like different variations

519
00:28:25,400 --> 00:28:27,480
Speaker 1: of how cat like they are. There's like their true

520
00:28:28,000 --> 00:28:30,760
Speaker 1: monstrous cat form that we get glimpses of and then

521
00:28:30,800 --> 00:28:33,439
Speaker 1: get to see more in the finale, and they're just

522
00:28:33,480 --> 00:28:37,240
Speaker 1: like pure, you know, full blown monsters, a full bodysuit effect.

523
00:28:37,680 --> 00:28:39,479
Speaker 1: But then there are times when they're in a fully

524
00:28:39,560 --> 00:28:42,960
Speaker 1: human disguise and then other times it's it's like cat

525
00:28:43,000 --> 00:28:45,840
Speaker 1: face makeup, and the makeup is quite good. Well we'll

526
00:28:45,840 --> 00:28:48,560
Speaker 1: get back to the who's responsible for that? But in

527
00:28:48,600 --> 00:28:50,480
Speaker 1: general I loved all the practical effects here.

528
00:28:50,880 --> 00:28:54,640
Speaker 3: Yeah, they've got like nine different kinds of heads and faces,

529
00:28:54,680 --> 00:28:56,800
Speaker 3: and there's one scene where we get to see Charles

530
00:28:56,960 --> 00:28:59,719
Speaker 3: more through all of them when he is surprised by

531
00:28:59,720 --> 00:29:00,000
Speaker 3: a cat.

532
00:29:00,480 --> 00:29:04,240
Speaker 1: Oh yeah, at nine lives, why not? All right? Playing

533
00:29:04,800 --> 00:29:09,120
Speaker 1: Mary Brady, the Grindle's mother of the two, is Alice

534
00:29:09,280 --> 00:29:13,200
Speaker 1: Kriega born nineteen fifty four South African born actress who

535
00:29:13,240 --> 00:29:16,080
Speaker 1: went on to find success, first on the stage with

536
00:29:16,200 --> 00:29:19,719
Speaker 1: the Royal Shakespeare Company, I Believe and the small screen

537
00:29:20,040 --> 00:29:23,640
Speaker 1: for BBC Productions in the UK, before making the transition

538
00:29:23,800 --> 00:29:27,920
Speaker 1: into an eclectic mix of films and finally achieving greater

539
00:29:28,080 --> 00:29:32,360
Speaker 1: fame for a number of delightful villain roles in genre pictures.

540
00:29:32,680 --> 00:29:35,360
Speaker 1: In nineteen eighty one, she appeared in Chariots of Fire,

541
00:29:36,160 --> 00:29:39,600
Speaker 1: as well as John Irvin's Ghost Story, based on a

542
00:29:39,600 --> 00:29:43,080
Speaker 1: novel by King Buddy and Talisman co author Peter Straub.

543
00:29:44,280 --> 00:29:46,800
Speaker 1: She followed this up with nineteen eighty five's King David.

544
00:29:46,800 --> 00:29:48,520
Speaker 1: That's the one that has George Eastman in it?

545
00:29:49,080 --> 00:29:50,960
Speaker 3: Oh does he play Goliath? Yeah?

546
00:29:51,040 --> 00:29:52,240
Speaker 1: Yeah, George Eastman's Galacie?

547
00:29:52,560 --> 00:29:52,920
Speaker 3: Yeah?

548
00:29:53,520 --> 00:29:54,520
Speaker 1: Who else would he play?

549
00:29:54,880 --> 00:29:55,360
Speaker 3: I don't know.

550
00:29:56,520 --> 00:30:02,320
Speaker 5: Seemed logical. She was in nineteen eighty seventh. She she

551
00:30:02,440 --> 00:30:05,400
Speaker 5: was in nineteen eighty seven's Barfly, but one of her

552
00:30:05,400 --> 00:30:09,240
Speaker 5: most iconic genre roles came later on in nineteen ninety

553
00:30:09,240 --> 00:30:12,280
Speaker 5: six in Star Trek First Contact, in which she of

554
00:30:12,320 --> 00:30:17,719
Speaker 5: course plays the Borg Queen, a delicious main antagonist, and

555
00:30:17,960 --> 00:30:19,960
Speaker 5: this is a character that she would later reprise on

556
00:30:20,040 --> 00:30:24,400
Speaker 5: TV's Voyager, as well as various voice acting gigs for

557
00:30:25,000 --> 00:30:27,520
Speaker 5: Star Trek shows and Star Trek video games.

558
00:30:27,880 --> 00:30:30,200
Speaker 3: Now am I remembering this right? Of course, this would

559
00:30:30,240 --> 00:30:33,240
Speaker 3: not be a reflection at all on alis Kriega for

560
00:30:33,360 --> 00:30:36,000
Speaker 3: playing the role. But do I recall that the Borg

561
00:30:36,160 --> 00:30:40,360
Speaker 3: Queen is a somewhat controversial character among Star Trek fans

562
00:30:40,400 --> 00:30:43,080
Speaker 3: because it's sort of a violation of the principle of

563
00:30:43,160 --> 00:30:46,240
Speaker 3: the Borg that they don't have a top down control

564
00:30:46,360 --> 00:30:47,440
Speaker 3: or a leader or anything.

565
00:30:47,920 --> 00:30:51,760
Speaker 1: Yeah, that's my understanding, and I'm not the biggest Treky

566
00:30:51,960 --> 00:30:55,040
Speaker 1: out there, but I was a regular viewer of Star

567
00:30:55,080 --> 00:30:57,920
Speaker 1: Trek the Next Generation and looking back, like, that's one

568
00:30:57,960 --> 00:31:00,480
Speaker 1: of the things about the Borg is that they're decentralized,

569
00:31:01,480 --> 00:31:05,080
Speaker 1: you know, they're use social in their format, and therefore

570
00:31:05,120 --> 00:31:08,560
Speaker 1: that's why they're inhuman and such a threat to our individuality.

571
00:31:09,560 --> 00:31:13,960
Speaker 1: At some point, Data's evil twin brother lare Like takes

572
00:31:14,000 --> 00:31:16,760
Speaker 1: over the Borg, and maybe for a while I thought, well,

573
00:31:16,760 --> 00:31:18,680
Speaker 1: that's why we end up with a board queen, because

574
00:31:18,760 --> 00:31:21,600
Speaker 1: Lore messed everything up. But then I was looking at

575
00:31:21,680 --> 00:31:23,760
Speaker 1: Memory Alpha and there's something about how the Board Queen's

576
00:31:23,760 --> 00:31:26,560
Speaker 1: supposed to have been around for ages, So I don't

577
00:31:26,560 --> 00:31:31,800
Speaker 1: know where what where the lowercase Lore ends up deciding

578
00:31:31,840 --> 00:31:34,760
Speaker 1: all of this, But I will say I remember when

579
00:31:34,800 --> 00:31:38,560
Speaker 1: Star Trek First Contact came out. Part of me was like,

580
00:31:38,600 --> 00:31:41,760
Speaker 1: the board can't have a queen. That's wrong. But then

581
00:31:42,160 --> 00:31:46,320
Speaker 1: her performance is so wonderful that like you're just one over.

582
00:31:46,400 --> 00:31:49,000
Speaker 1: You're like, Okay, you can have it. You're the queen. Yes,

583
00:31:49,760 --> 00:31:54,360
Speaker 1: I put up no resistance. Resistance is futile. Krika's other

584
00:31:54,480 --> 00:31:57,360
Speaker 1: genre credits include two thousand and two's Reign of Fire,

585
00:31:57,480 --> 00:32:00,480
Speaker 1: two thousand and six is Silent Hill, two thousand nine

586
00:32:00,560 --> 00:32:03,840
Speaker 1: Solomon Kane, and twenty thirteens for the Dark World.

587
00:32:04,280 --> 00:32:05,960
Speaker 3: Now, this is the kind of role that you could

588
00:32:05,960 --> 00:32:10,880
Speaker 3: imagine an actor having very different thoughts about. Either it

589
00:32:10,960 --> 00:32:14,200
Speaker 3: could be like this is the weirdest thing I've ever

590
00:32:14,480 --> 00:32:17,760
Speaker 3: done and it's great, I'm gonna have fun, or like,

591
00:32:17,960 --> 00:32:20,520
Speaker 3: what have I gotten myself into? Am I destroying my

592
00:32:20,560 --> 00:32:25,280
Speaker 3: career by participating in this? And it is? She seems

593
00:32:25,320 --> 00:32:27,440
Speaker 3: to embrace it, at least as far as I can tell,

594
00:32:27,480 --> 00:32:31,800
Speaker 3: Like she does she does the weird sensitive edible cat stuff,

595
00:32:32,160 --> 00:32:36,120
Speaker 3: and then she also just like goes full like terminator mode,

596
00:32:36,160 --> 00:32:39,760
Speaker 3: like she turns into Arnold Schwartzenecker in the last third

597
00:32:39,800 --> 00:32:42,800
Speaker 3: of the movie. Doing one liners and doing them with

598
00:32:43,240 --> 00:32:47,360
Speaker 3: evident relish. And yeah, so I thumbs up to Alis

599
00:32:47,440 --> 00:32:48,800
Speaker 3: Kriega in Sleepwalkers.

600
00:32:49,080 --> 00:32:52,040
Speaker 1: Yeah, I love her in this just she's just absolutely

601
00:32:52,080 --> 00:32:54,520
Speaker 1: committed to this role, no matter how weird it is,

602
00:32:55,000 --> 00:32:58,240
Speaker 1: imbuing it with really like shakespeare in intensity at times.

603
00:32:59,160 --> 00:33:02,680
Speaker 1: I think her performing absolutely elevates the film, and it

604
00:33:02,760 --> 00:33:05,320
Speaker 1: helps that her character is also a good bit more

605
00:33:05,320 --> 00:33:08,640
Speaker 1: consistent compared to Charles. Though again she does go into

606
00:33:08,680 --> 00:33:11,200
Speaker 1: full blown terminator mode, but so does Grindall's mom. Like

607
00:33:11,240 --> 00:33:13,000
Speaker 1: that's it's fitting. You know.

608
00:33:13,280 --> 00:33:16,120
Speaker 3: Does anybody get murdered with a corn cob in BeO Wolf?

609
00:33:16,240 --> 00:33:16,920
Speaker 3: I don't remember.

610
00:33:17,080 --> 00:33:18,640
Speaker 1: Well, you know that might have been lost in some

611
00:33:18,720 --> 00:33:22,680
Speaker 1: of the translations. Well, no, obviously they wouldn't have had corn.

612
00:33:22,720 --> 00:33:25,000
Speaker 1: They you'd have to stab them with some other kind

613
00:33:25,040 --> 00:33:25,600
Speaker 1: of vegetable.

614
00:33:25,840 --> 00:33:28,920
Speaker 3: Yeah, Is there like a solid sheaf of wheat of

615
00:33:28,960 --> 00:33:29,480
Speaker 3: some kind?

616
00:33:30,800 --> 00:33:32,800
Speaker 1: There's probably you could be there's some sort of read

617
00:33:32,880 --> 00:33:37,120
Speaker 1: on this where like the Sleepwalkers as ancient fertility goddesses

618
00:33:37,200 --> 00:33:41,959
Speaker 1: or something. Oh yeah, the Cult of series. Sure, all right,

619
00:33:42,000 --> 00:33:44,440
Speaker 1: now it's time to meet the Robertsons. The Robertsons are

620
00:33:44,440 --> 00:33:47,960
Speaker 1: our you know, good old fashioned American family that's threatened

621
00:33:48,280 --> 00:33:52,720
Speaker 1: by supernatural evil, beginning with the teen daughter Tanya Robertson

622
00:33:53,000 --> 00:33:56,000
Speaker 1: played by mitchin Amak born nineteen seventy.

623
00:33:56,440 --> 00:33:59,520
Speaker 3: This is basically our human protagonist. This is the main

624
00:33:59,640 --> 00:34:03,080
Speaker 3: good character who is threatened by the cat, the cat

625
00:34:03,280 --> 00:34:04,240
Speaker 3: energy vampires.

626
00:34:04,400 --> 00:34:08,320
Speaker 1: Yeah. Yeah, she's a good girl, you know, good American

627
00:34:08,400 --> 00:34:14,000
Speaker 1: teenager working at the movie theater and you know, has

628
00:34:14,680 --> 00:34:19,160
Speaker 1: a certain weakness for really hunky students at her high school,

629
00:34:19,640 --> 00:34:22,480
Speaker 1: which is where our energy vampire happens to be hanging out,

630
00:34:22,480 --> 00:34:25,920
Speaker 1: and is currently enrolled in her creative writing class, as

631
00:34:25,920 --> 00:34:26,520
Speaker 1: we'll discuss.

632
00:34:27,360 --> 00:34:30,560
Speaker 3: You know, one big media overlap I never noticed until

633
00:34:30,600 --> 00:34:33,960
Speaker 3: revisiting the movie this time is that Ammick plays the

634
00:34:34,040 --> 00:34:36,320
Speaker 3: role of Shelley at the Diner in Twin Peaks.

635
00:34:36,800 --> 00:34:39,719
Speaker 1: That's right. Yeah, she's Shelley Johnson from both runs of

636
00:34:39,760 --> 00:34:42,239
Speaker 1: Twin Peaks as well as Twin Peaks fire Walk with

637
00:34:42,280 --> 00:34:44,840
Speaker 1: Me from nineteen ninety two. She was also in the

638
00:34:44,920 --> 00:34:48,160
Speaker 1: nineteen ninety three film Dream Lover, and early on in

639
00:34:48,200 --> 00:34:50,320
Speaker 1: her career, she also popped up on an episode of

640
00:34:50,360 --> 00:34:52,480
Speaker 1: Star Trek The Next Generation. I think just playing like

641
00:34:53,000 --> 00:34:55,320
Speaker 1: a random team, you know, one of probably one of

642
00:34:55,360 --> 00:35:00,239
Speaker 1: Wesley Crusher's fellow students. But she's gone onto a You're

643
00:35:00,280 --> 00:35:03,000
Speaker 1: on everything from like mad Men to American Horror Story,

644
00:35:03,040 --> 00:35:07,080
Speaker 1: and i'd say, you know, solid lead performance here, saw

645
00:35:07,239 --> 00:35:10,440
Speaker 1: pretty standard horror movie stuff, but she saw it.

646
00:35:10,600 --> 00:35:13,640
Speaker 3: Agree. She is a wholesome, well meaning character who is

647
00:35:13,640 --> 00:35:16,000
Speaker 3: hard not to love, and thus, even when the movie

648
00:35:16,000 --> 00:35:20,360
Speaker 3: becomes increasingly ludicrous, she does kind of ground it because

649
00:35:20,360 --> 00:35:21,160
Speaker 3: you are with her.

650
00:35:21,520 --> 00:35:25,200
Speaker 1: Yeah, all right, now let's meet her parents. First off,

651
00:35:25,239 --> 00:35:28,400
Speaker 1: we have mister Robertson, played by an actor we've discussed

652
00:35:28,440 --> 00:35:33,239
Speaker 1: on Weird House before, lyman Ward born nineteen forty one. Yes,

653
00:35:33,320 --> 00:35:35,880
Speaker 1: he was in nineteen eighty five's Creature that we discussed

654
00:35:35,920 --> 00:35:38,480
Speaker 1: on the show. But pretty much all of you are

655
00:35:38,480 --> 00:35:40,880
Speaker 1: going to know him, or at least recognize him, perhaps

656
00:35:40,920 --> 00:35:43,720
Speaker 1: even without realizing it. From nineteen eighty six is Ferris

657
00:35:43,719 --> 00:35:47,320
Speaker 1: Bueller's Day Off, in which he plays the dad, Tom Buhler.

658
00:35:47,520 --> 00:35:51,680
Speaker 1: Now Tanya's mother, Miss Robertson, is played by Cindy Pickett

659
00:35:51,680 --> 00:35:55,040
Speaker 1: born nineteen forty seven. You'll recognize her as well because

660
00:35:55,040 --> 00:35:58,279
Speaker 1: she plays Ferris Bueller's mom in Ferris Bueller's Day Off.

661
00:35:59,320 --> 00:35:59,839
Speaker 3: Oh Boy.

662
00:36:00,760 --> 00:36:03,560
Speaker 1: She also appeared in nineteen eighty nine's Deep Star six

663
00:36:03,719 --> 00:36:06,360
Speaker 1: and nineteen ninety three Son in Law, as well as

664
00:36:06,400 --> 00:36:08,120
Speaker 1: a couple of titles I just have to mention these.

665
00:36:08,600 --> 00:36:11,640
Speaker 1: No shade here, someone has to star in movies like this.

666
00:36:11,680 --> 00:36:14,000
Speaker 1: But she's also in nineteen ninety six is Kid Cop

667
00:36:14,320 --> 00:36:16,200
Speaker 1: and nineteen ninety eight's Atomic.

668
00:36:15,880 --> 00:36:19,799
Speaker 3: Dog is kid Cop a movie about a kid who

669
00:36:19,880 --> 00:36:22,439
Speaker 3: is a cop or a cop who enforces the law

670
00:36:22,480 --> 00:36:24,760
Speaker 3: on children the former.

671
00:36:26,040 --> 00:36:29,560
Speaker 1: Now this all gets weirder. So first of all, again

672
00:36:29,640 --> 00:36:32,560
Speaker 1: Tanya's parents and Sleepwalkers are played by the same actors

673
00:36:32,600 --> 00:36:37,959
Speaker 1: who played Ferris Buehler's parents, and these two actors were

674
00:36:38,000 --> 00:36:41,080
Speaker 1: married in real life. Oh and then it gets even weirder.

675
00:36:41,360 --> 00:36:44,520
Speaker 1: They apparently met and fell in love during the production

676
00:36:44,760 --> 00:36:48,640
Speaker 1: of Ferris Buhler's Day Off and divorced the same year

677
00:36:48,760 --> 00:36:49,960
Speaker 1: Sleepwalkers came out.

678
00:36:51,160 --> 00:36:55,520
Speaker 3: Could it be true? That doesn't that's so strange.

679
00:36:56,320 --> 00:36:58,920
Speaker 1: I mean, I'm probably very wrong on this, and I

680
00:36:58,920 --> 00:37:01,200
Speaker 1: don't want to pry int anybody his personal life, but

681
00:37:01,239 --> 00:37:05,480
Speaker 1: it seems possible that Sleepwalkers finished a marriage that began

682
00:37:05,560 --> 00:37:09,600
Speaker 1: with Firis Bueller's Stay Off. I don't know, it's a possibility,

683
00:37:09,680 --> 00:37:10,520
Speaker 1: is all. I'm saying, we.

684
00:37:10,520 --> 00:37:14,040
Speaker 3: Have to assume it was unrelated to sleepwalkers.

685
00:37:14,640 --> 00:37:16,319
Speaker 1: All right, So that's the family. That's the good old

686
00:37:16,320 --> 00:37:18,839
Speaker 1: American family. Most of the other characters in this film

687
00:37:18,840 --> 00:37:19,320
Speaker 1: are cops.

688
00:37:20,120 --> 00:37:24,440
Speaker 3: So un through so many cops, cops walking in and

689
00:37:24,480 --> 00:37:26,600
Speaker 3: out of frame, and have we seen this cop before?

690
00:37:26,719 --> 00:37:27,880
Speaker 3: I don't know, I don't remember.

691
00:37:28,200 --> 00:37:30,520
Speaker 1: Yeah, and then we get like different divisions of law enforcement.

692
00:37:31,160 --> 00:37:34,520
Speaker 1: The main cop that we encounter is Sheriff Iris Stevens,

693
00:37:34,520 --> 00:37:37,720
Speaker 1: played by Jim Haney, who lived nineteen forty through twenty

694
00:37:37,760 --> 00:37:40,400
Speaker 1: twenty one American actor who worked in a lot of

695
00:37:40,480 --> 00:37:43,840
Speaker 1: TV shows, but also had memorable roles in Staying Together

696
00:37:43,920 --> 00:37:46,680
Speaker 1: in nineteen eighty nine, The Bridges Bridges of Madison County

697
00:37:46,680 --> 00:37:49,120
Speaker 1: in ninety five, and The Peacemaker in ninety seven. His

698
00:37:49,200 --> 00:37:52,200
Speaker 1: other credits include John Carpenter's The Fog from nineteen eighty,

699
00:37:52,600 --> 00:37:55,560
Speaker 1: nineteen nineties, Dark Angel, which we've covered on the show,

700
00:37:55,680 --> 00:37:57,840
Speaker 1: and even a bit part as a cop in nineteen

701
00:37:57,880 --> 00:38:00,760
Speaker 1: seventy nine's Time After Time that we all so talked about.

702
00:38:01,040 --> 00:38:04,200
Speaker 3: He is the only cop in the movie who is

703
00:38:04,280 --> 00:38:06,520
Speaker 3: not primarily a comedic character.

704
00:38:07,040 --> 00:38:11,319
Speaker 1: Yeah, because the next cop character that we see quite

705
00:38:11,320 --> 00:38:14,759
Speaker 1: a bit of Is Deputy Sheriff Andy Simpson played by

706
00:38:14,840 --> 00:38:18,719
Speaker 1: Dan Martin born nineteen fifty one. Image Award winning actor

707
00:38:18,760 --> 00:38:21,959
Speaker 1: whose credits include ninety four Is the Stand, ninety five's Heat,

708
00:38:22,320 --> 00:38:25,960
Speaker 1: two thousand's Leprechaun, five in the Hood, and TV's The

709
00:38:25,960 --> 00:38:27,880
Speaker 1: Bold and the Beautiful. This is where he earned the

710
00:38:28,160 --> 00:38:28,840
Speaker 1: Image Award.

711
00:38:29,480 --> 00:38:31,799
Speaker 3: He is one of the most entertaining actors in the

712
00:38:31,840 --> 00:38:34,640
Speaker 3: movie the way he's so. This is the owner of Clovis.

713
00:38:34,680 --> 00:38:37,640
Speaker 3: This is the cop who has the attack cat, who

714
00:38:37,800 --> 00:38:40,799
Speaker 3: rides along in his squad car. And he's also the

715
00:38:40,840 --> 00:38:45,520
Speaker 3: cop who first encounters our monster characters and sort of

716
00:38:45,920 --> 00:38:50,000
Speaker 3: forms a vendetta mission against them. But he also is

717
00:38:50,120 --> 00:38:52,320
Speaker 3: really funny because they just have a lot of scenes

718
00:38:52,320 --> 00:38:55,440
Speaker 3: of him muttering to himself and making up songs to

719
00:38:55,520 --> 00:38:58,719
Speaker 3: himself as as he drives around in his car. I

720
00:38:58,760 --> 00:39:01,600
Speaker 3: don't know what these songs are, just like vulgar little ditties.

721
00:39:02,080 --> 00:39:05,600
Speaker 1: Yeah, yeah, yeah. He's a likable character. But we also

722
00:39:05,640 --> 00:39:09,760
Speaker 1: have a really unlikable cop character though he's state police,

723
00:39:10,200 --> 00:39:15,560
Speaker 1: and this is Captain Solmes played by Ron Pearlman movie Trivia.

724
00:39:15,640 --> 00:39:19,480
Speaker 3: In Sleepwalkers, Ron Perlman achieved the world record for the

725
00:39:19,600 --> 00:39:28,960
Speaker 3: longest tooth to tooth jawstretch film history. Yeah, just about yeah.

726
00:39:29,000 --> 00:39:32,320
Speaker 1: Born nineteen fifty. This is somehow our first Ron Pearlman movie,

727
00:39:32,680 --> 00:39:35,520
Speaker 1: but I think everybody knows Ron Peerlman rugged American character

728
00:39:35,600 --> 00:39:40,040
Speaker 1: actor with a very rugged look, great face, gravelly voice,

729
00:39:40,640 --> 00:39:43,960
Speaker 1: frequently cast as heavies and authority figures, but with some

730
00:39:44,040 --> 00:39:47,359
Speaker 1: key breakout roles, such as Amacor in nineteen eighty one's

731
00:39:47,400 --> 00:39:51,279
Speaker 1: Quest for Fire, Salvatore in nineteen eighty six is the

732
00:39:51,360 --> 00:39:53,680
Speaker 1: Name of the Rose. That's one of my favorites. He's

733
00:39:53,680 --> 00:39:56,480
Speaker 1: Great in nineteen ninety five's The City of Lost Children,

734
00:39:56,680 --> 00:39:59,360
Speaker 1: and of course he's hell Boy in Giermel del Toro's

735
00:39:59,400 --> 00:40:03,040
Speaker 1: two Hellboy films. He also famously played the Beast on

736
00:40:03,120 --> 00:40:06,480
Speaker 1: TV's Beauty and the Beast from eighty seven through nineteen ninety,

737
00:40:07,239 --> 00:40:10,200
Speaker 1: and his voice work has included such shows as Batman,

738
00:40:10,239 --> 00:40:14,200
Speaker 1: the Animated series and Adventure Time. I have to say, though,

739
00:40:14,520 --> 00:40:17,600
Speaker 1: this is one of your like, this is a small role,

740
00:40:17,680 --> 00:40:20,200
Speaker 1: and it's a pretty standard Ron Pearlman role. There's not

741
00:40:20,400 --> 00:40:23,319
Speaker 1: really nothing special here, nothing to see here, folks. This

742
00:40:23,400 --> 00:40:27,440
Speaker 1: is just your grumpy, antagonistic Ron Pearlman character.

743
00:40:27,640 --> 00:40:31,600
Speaker 3: Yeah, just a nasty, malicious cop played for slapstick comedy,

744
00:40:32,440 --> 00:40:35,719
Speaker 3: especially when Alice Kriege gets to bite his fingers off.

745
00:40:35,920 --> 00:40:41,400
Speaker 3: That's right, but also strange choice that, Like you get

746
00:40:41,719 --> 00:40:45,520
Speaker 3: Ron Pearlman to be in your movie about cat human

747
00:40:45,640 --> 00:40:47,640
Speaker 3: hybrids and he doesn't play one.

748
00:40:48,400 --> 00:40:50,400
Speaker 1: I mean, maybe he was done with that at this point.

749
00:40:50,440 --> 00:40:52,600
Speaker 1: Maybe that was it. They were like, he, who would

750
00:40:52,640 --> 00:40:56,000
Speaker 1: he play? There's no Grendel's dad in this. But maybe

751
00:40:56,000 --> 00:40:57,520
Speaker 1: he was just like, no, I'm done, I'm done with

752
00:40:57,520 --> 00:40:58,280
Speaker 1: that cat makeup.

753
00:40:58,320 --> 00:41:00,840
Speaker 3: He already did Beauty in the Beast. He's got like

754
00:41:00,880 --> 00:41:03,600
Speaker 3: cat makeup in that, doesn't he Yeah, basically looks like

755
00:41:03,640 --> 00:41:04,279
Speaker 3: a Sleepwalker.

756
00:41:04,360 --> 00:41:07,120
Speaker 1: Yeah, that of course was a show that was George R. R.

757
00:41:07,239 --> 00:41:10,840
Speaker 1: Martin theah lined. Yeah. Oh, and then also we already

758
00:41:10,880 --> 00:41:12,880
Speaker 1: mentioned Sons of Anarchy. He of course was one of

759
00:41:12,920 --> 00:41:14,200
Speaker 1: the stars of Sons of Anarchy.

760
00:41:14,800 --> 00:41:16,839
Speaker 3: Wait, I just looked him up in Beauty and the Beast.

761
00:41:16,920 --> 00:41:19,480
Speaker 3: Yet he looks exactly like some of the cat faces.

762
00:41:19,520 --> 00:41:21,320
Speaker 3: I mean, as I mentioned, they have like nine different

763
00:41:21,400 --> 00:41:23,440
Speaker 3: kinds of faces, but he looks like one of the

764
00:41:23,480 --> 00:41:27,040
Speaker 3: main cat faces of the Sleepwalkers. So that is a

765
00:41:27,560 --> 00:41:30,320
Speaker 3: strange overlap. I wonder if there was any makeup artists

766
00:41:30,320 --> 00:41:31,320
Speaker 3: overlap here.

767
00:41:31,280 --> 00:41:33,759
Speaker 1: It's possible. It's possible. We'll get to the makeup in

768
00:41:33,800 --> 00:41:37,040
Speaker 1: just a minute. But let's see, we need to round

769
00:41:37,040 --> 00:41:40,919
Speaker 1: out the cast and rounding out the law enforcement side

770
00:41:40,920 --> 00:41:44,560
Speaker 1: of things again, we have Officer Clovis, the cat played

771
00:41:44,600 --> 00:41:49,200
Speaker 1: by the feline actor Sparks. Dates are unknown. We don't

772
00:41:49,200 --> 00:41:52,279
Speaker 1: know when Sparks was born or when Sparks passed on

773
00:41:52,520 --> 00:41:56,280
Speaker 1: into the cat after life. This is this feline actor's

774
00:41:56,360 --> 00:41:59,600
Speaker 1: only film credit. But what a performance. I say, from

775
00:41:59,600 --> 00:42:02,000
Speaker 1: the bottom my heart, thank you for your service, Sparks.

776
00:42:02,239 --> 00:42:05,360
Speaker 3: Yes, I hope Sparks received so many tins of sardines

777
00:42:05,400 --> 00:42:08,319
Speaker 3: for taking part in this film.

778
00:42:08,920 --> 00:42:12,880
Speaker 1: All right, let's see, there is a there's a small

779
00:42:12,920 --> 00:42:15,920
Speaker 1: part in this by Glenn Shattocks. It plays mister Fallows.

780
00:42:16,880 --> 00:42:20,480
Speaker 1: Shattucks lived nineteen fifty two through twenty ten, American character actor,

781
00:42:20,560 --> 00:42:23,120
Speaker 1: best known for his work with Tim Burton, especially the

782
00:42:23,200 --> 00:42:26,560
Speaker 1: role of Atho in nineteen eighty eight's Beetlejuice, and he

783
00:42:26,680 --> 00:42:29,920
Speaker 1: voiced the mayor in nineteen ninety three's The Nightmare Before Christmas,

784
00:42:29,960 --> 00:42:31,920
Speaker 1: and also appears in two thousand and ones Planet of

785
00:42:31,960 --> 00:42:34,920
Speaker 1: the Apes. He plays a creep in this a human creep.

786
00:42:34,719 --> 00:42:39,360
Speaker 3: A creepy creative writing teacher. Now, are we going to

787
00:42:39,520 --> 00:42:44,000
Speaker 3: mention all of the celebrity and author cameos here or

788
00:42:44,080 --> 00:42:46,279
Speaker 3: are we going to save those like as we go

789
00:42:46,360 --> 00:42:47,080
Speaker 3: through the plot.

790
00:42:47,239 --> 00:42:49,080
Speaker 1: Yeah, we'll come back to these as we go through

791
00:42:49,080 --> 00:42:51,440
Speaker 1: the plot. I'm going to round out things here by

792
00:42:51,560 --> 00:42:57,040
Speaker 1: just mentioning in brief. The projects supervisor on the special

793
00:42:57,040 --> 00:43:03,040
Speaker 1: effects here was Tony Gardner, aligned with Altirian Studios. Gardner

794
00:43:03,080 --> 00:43:06,360
Speaker 1: has headed up Alter Studios for something like thirty years

795
00:43:06,640 --> 00:43:09,759
Speaker 1: and has worked special makeup effects and special effects on

796
00:43:09,760 --> 00:43:12,320
Speaker 1: such films as eighty seven's The Lost Boys, eighty eight's

797
00:43:12,360 --> 00:43:16,560
Speaker 1: The Blob, nineteen nineties Night Breed, and many others. He

798
00:43:16,640 --> 00:43:20,120
Speaker 1: was even on Stan Winston's Aliens Crew back in eighty six,

799
00:43:20,520 --> 00:43:23,080
Speaker 1: and he was also involved in the special effects for

800
00:43:23,160 --> 00:43:26,279
Speaker 1: nineteen eighty three's thriller the music video Oh Wow.

801
00:43:26,440 --> 00:43:28,920
Speaker 3: Every movie you listed I think has great special effects.

802
00:43:29,000 --> 00:43:31,799
Speaker 1: Yeah, and this film's got him too. Like I say,

803
00:43:32,680 --> 00:43:35,680
Speaker 1: I loved all the makeup effects in this. Now on

804
00:43:35,719 --> 00:43:38,839
Speaker 1: the music front, the composer here was Nicholas Pike born

805
00:43:38,920 --> 00:43:42,400
Speaker 1: nineteen fifty five, British composer whose scores include eighty six's

806
00:43:42,480 --> 00:43:46,880
Speaker 1: Graveyard Shift, Critters two, eighty nine's Chud to Bud The Chud,

807
00:43:47,200 --> 00:43:50,560
Speaker 1: ninety seven's The Shining and five episodes of Masters of Horror.

808
00:43:51,320 --> 00:43:53,080
Speaker 3: I don't have a lot of memories, one way or

809
00:43:53,120 --> 00:43:55,960
Speaker 3: another about the original score for the film, because the

810
00:43:56,000 --> 00:43:59,799
Speaker 3: most memorable musical moments in the movie are the use

811
00:43:59,840 --> 00:44:04,040
Speaker 3: of existing tracks, notably the Santo and Johnny track from

812
00:44:04,080 --> 00:44:07,759
Speaker 3: nineteen fifty nine Sleepwalk, which even if you don't know

813
00:44:07,800 --> 00:44:10,359
Speaker 3: that song by name, everybody you would recognize it if

814
00:44:10,360 --> 00:44:13,640
Speaker 3: you heard it. It's got a very, very familiar steel

815
00:44:13,680 --> 00:44:17,680
Speaker 3: guitar melody. For some reason, I associate it with scenes

816
00:44:17,719 --> 00:44:20,040
Speaker 3: in a movie in which somebody is dreaming about a

817
00:44:20,080 --> 00:44:20,920
Speaker 3: Hawaiian vacation.

818
00:44:21,680 --> 00:44:23,600
Speaker 1: Yeah, it does that. What is that slide guitar?

819
00:44:23,640 --> 00:44:24,200
Speaker 3: Are we hearing?

820
00:44:24,360 --> 00:44:24,560
Speaker 1: Is that?

821
00:44:24,840 --> 00:44:26,480
Speaker 3: I think it's steel guitar, steal guitar?

822
00:44:26,600 --> 00:44:31,040
Speaker 1: Okay, Yeah, it's a famous It's one of those tracks

823
00:44:31,200 --> 00:44:33,400
Speaker 1: that you might not know it by name, but if

824
00:44:33,440 --> 00:44:35,760
Speaker 1: you hear the tune, yeah, you'll recognize it for sure.

825
00:44:36,280 --> 00:44:39,000
Speaker 3: But also not just that needle drop. There's a moment

826
00:44:39,000 --> 00:44:41,680
Speaker 3: early on when we're when like we were seeing the

827
00:44:41,719 --> 00:44:44,279
Speaker 3: cops walking around a scene sort of in the prologue,

828
00:44:44,520 --> 00:44:48,440
Speaker 3: and there's this very like sad, thoughtful, mournful music playing

829
00:44:48,520 --> 00:44:51,800
Speaker 3: with this voice just humming a tune without any words.

830
00:44:52,280 --> 00:44:54,319
Speaker 3: I was like, man, that voice that sounds so much

831
00:44:54,400 --> 00:44:55,000
Speaker 3: like Ya.

832
00:44:55,080 --> 00:44:55,640
Speaker 4: What is this?

833
00:44:55,800 --> 00:44:58,600
Speaker 3: I looked it up. It is Inya. It's an Indya track.

834
00:44:59,120 --> 00:45:03,239
Speaker 1: That's right. Yeah, it's the track Bodka off of. It

835
00:45:03,280 --> 00:45:06,040
Speaker 1: was on her self titled album, her debut album, but

836
00:45:06,080 --> 00:45:09,799
Speaker 1: then that album was later renamed The Celts to correspond

837
00:45:09,880 --> 00:45:13,080
Speaker 1: with the music's use on a BBC documentary of the

838
00:45:13,120 --> 00:45:15,960
Speaker 1: same name. I was a big fan of her work

839
00:45:16,160 --> 00:45:19,040
Speaker 1: back in the nineties, and I think this is a

840
00:45:19,080 --> 00:45:21,359
Speaker 1: great track. This is one of her best. Not all

841
00:45:21,400 --> 00:45:22,959
Speaker 1: of her tracks are the sort of thing I would

842
00:45:22,960 --> 00:45:24,680
Speaker 1: have listened to today, like some of them feel a

843
00:45:24,719 --> 00:45:28,600
Speaker 1: little dated in their new agingus, but this one's really good.

844
00:45:28,760 --> 00:45:33,640
Speaker 1: Just her ethereal vocals, a lot of cool synth, so

845
00:45:34,160 --> 00:45:36,600
Speaker 1: I think it's a really solid one, well used here.

846
00:45:36,960 --> 00:45:38,680
Speaker 1: And I believe this is also the track that the

847
00:45:38,719 --> 00:45:41,360
Speaker 1: Fuji's sampled in one of their hits.

848
00:45:41,520 --> 00:45:43,359
Speaker 3: I think this song was saying. I think I read

849
00:45:43,400 --> 00:45:45,320
Speaker 3: this song was sampled in a lot of other songs.

850
00:45:46,200 --> 00:45:50,600
Speaker 3: But yeah, it certainly it's very very moody track, big

851
00:45:50,760 --> 00:45:54,560
Speaker 3: dark mood that you can see why it was used

852
00:45:55,280 --> 00:45:57,719
Speaker 3: at least at like four different points in the movie.

853
00:45:57,760 --> 00:46:00,000
Speaker 3: It's at the beginning, it's at a few different scenes,

854
00:46:00,160 --> 00:46:02,080
Speaker 3: and it's in the end credits. Yeah.

855
00:46:02,160 --> 00:46:06,600
Speaker 1: It gives it that kind of timeless weight, ancient weight

856
00:46:06,840 --> 00:46:09,040
Speaker 1: to the origins of these monstrous creatures.

857
00:46:09,920 --> 00:46:12,080
Speaker 3: Oh and then there's one more track like that. There's

858
00:46:12,120 --> 00:46:13,920
Speaker 3: a scene where they use do You Love Me by

859
00:46:13,920 --> 00:46:14,680
Speaker 3: the Contours?

860
00:46:14,880 --> 00:46:17,120
Speaker 1: Oh yeah, yeah, and that's a great track as well.

861
00:46:25,000 --> 00:46:27,480
Speaker 3: Okay, you ready to talk about the plot, Let's do it.

862
00:46:27,960 --> 00:46:31,280
Speaker 3: So we open in silence with some text on the screen.

863
00:46:31,480 --> 00:46:34,799
Speaker 3: It is an entry from a reference text called the

864
00:46:34,880 --> 00:46:39,640
Speaker 3: Chillicothe Encyclopedia of Arcane Knowledge, first edition, eighteen eighty four.

865
00:46:40,360 --> 00:46:41,840
Speaker 3: And I looked this up to see if this is

866
00:46:41,880 --> 00:46:42,439
Speaker 3: a real book.

867
00:46:42,480 --> 00:46:46,920
Speaker 1: It is not, Oh really, because I mean I have

868
00:46:47,000 --> 00:46:49,640
Speaker 1: a copyright here. I have it next to my Necronomicon,

869
00:46:50,320 --> 00:46:53,360
Speaker 1: my book of Forbidden Cults. No, but seriously, you're correct

870
00:46:53,360 --> 00:46:56,720
Speaker 1: this is a one of the many fictional forbidden occult tomes.

871
00:46:57,680 --> 00:46:59,000
Speaker 1: I'm a sucker for any of these.

872
00:46:59,120 --> 00:47:00,680
Speaker 3: When you own a cop be of a book that

873
00:47:00,760 --> 00:47:05,080
Speaker 3: doesn't exist. That's always a cause for concern. But yeah,

874
00:47:05,080 --> 00:47:08,399
Speaker 3: so it's like an it's framed like an Encyclopedia entry.

875
00:47:08,400 --> 00:47:13,880
Speaker 3: It says sleepwalker sleepwalker. That is the entry noun nomadic

876
00:47:14,000 --> 00:47:18,960
Speaker 3: shape shifting creatures with human and feline origins, vulnerable to

877
00:47:19,000 --> 00:47:22,640
Speaker 3: the deadly scratch of a cat. The sleepwalker feeds upon

878
00:47:22,760 --> 00:47:26,920
Speaker 3: the life force of virginal human female's probable source of

879
00:47:26,960 --> 00:47:30,680
Speaker 3: the vampire legend. And then it's got the Chilicoat citation

880
00:47:31,560 --> 00:47:34,240
Speaker 3: and several things about this I love. First of all,

881
00:47:35,040 --> 00:47:37,120
Speaker 3: this is one of my favorite things to do when

882
00:47:37,160 --> 00:47:40,000
Speaker 3: you like invent new lore for your movie, is you

883
00:47:40,040 --> 00:47:43,719
Speaker 3: suggest that the lore element you just created was the

884
00:47:43,840 --> 00:47:47,440
Speaker 3: inspiration for familiar lore. So it's like, oh, they got

885
00:47:47,480 --> 00:47:50,319
Speaker 3: the idea for vampires from the thing I just made up.

886
00:47:50,719 --> 00:47:55,160
Speaker 1: Yes, here is the true occurrences that inspired Mary Shelley

887
00:47:55,160 --> 00:47:56,200
Speaker 1: to write Frankenstein.

888
00:47:56,440 --> 00:48:00,680
Speaker 3: Yeah. I also love that they say sleepwalker's are of

889
00:48:00,880 --> 00:48:05,600
Speaker 3: human and feline origins, And that just confused me because

890
00:48:05,680 --> 00:48:09,800
Speaker 3: the movie makes it seem like sleepwalkers are supernatural in origin,

891
00:48:10,400 --> 00:48:13,000
Speaker 3: but human and feline. Does that mean it's like the

892
00:48:13,080 --> 00:48:16,080
Speaker 3: result of sexual reproduction between a human and a cat.

893
00:48:16,320 --> 00:48:17,000
Speaker 3: What does that mean?

894
00:48:17,280 --> 00:48:19,240
Speaker 1: Yeah, I don't think that. I don't think it works.

895
00:48:19,880 --> 00:48:24,200
Speaker 1: I'm casting doubt on this detail. We should also probably

896
00:48:24,280 --> 00:48:28,480
Speaker 1: acknowledge that these creatures are called sleepwalkers. There's nothing about

897
00:48:28,480 --> 00:48:32,480
Speaker 1: them that lines up with the human phenomena of sleepwalking

898
00:48:32,600 --> 00:48:35,520
Speaker 1: or any kind of parisomnia. In fact, sleep doesn't really

899
00:48:35,600 --> 00:48:37,759
Speaker 1: seem to factor into anything they do at all.

900
00:48:38,320 --> 00:48:41,080
Speaker 3: Yeah, has nothing to do with sleep. I don't know this.

901
00:48:41,160 --> 00:48:45,440
Speaker 3: I'm just guessing, but I really strong guess it's just

902
00:48:45,640 --> 00:48:49,359
Speaker 3: that Stephen King was like thinking of the song sleepwalk

903
00:48:49,800 --> 00:48:53,840
Speaker 3: and was like, Oh, that's a cool word for a monster, sleepwalkers,

904
00:48:53,840 --> 00:48:57,279
Speaker 3: and just sort of pegged that onto the cat the

905
00:48:57,320 --> 00:49:00,560
Speaker 3: wear cats he was already thinking about, and that there's

906
00:49:00,640 --> 00:49:02,439
Speaker 3: no connection. Really, it just sounded.

907
00:49:02,080 --> 00:49:03,879
Speaker 1: Cool, fair enough, really cool.

908
00:49:04,200 --> 00:49:06,640
Speaker 3: Anyway. There's an eerie silence while you get to read

909
00:49:06,680 --> 00:49:10,080
Speaker 3: this encyclopedia entry, and I hope you don't read too slow,

910
00:49:10,120 --> 00:49:13,560
Speaker 3: because there's a boo scare on the encyclopedia. It's like

911
00:49:13,600 --> 00:49:16,960
Speaker 3: a sudden cat scratch. There's a cat scratch that appears

912
00:49:17,200 --> 00:49:21,320
Speaker 3: like on the so called page on the screen scratches

913
00:49:21,360 --> 00:49:23,560
Speaker 3: through the page and then the whole thing catches fire

914
00:49:23,600 --> 00:49:24,360
Speaker 3: and burns away.

915
00:49:24,880 --> 00:49:28,680
Speaker 1: This feels wonderfully extreme when it happens, but it makes

916
00:49:28,719 --> 00:49:29,920
Speaker 1: a lot more sense later on.

917
00:49:30,280 --> 00:49:33,520
Speaker 3: Yeah. So, the action opens at a seaside house in

918
00:49:33,600 --> 00:49:37,000
Speaker 3: Bodega Bay, California. This was the location used for Alfred

919
00:49:37,040 --> 00:49:40,520
Speaker 3: Hitchcock's The Birds and also was used in the Fog,

920
00:49:41,160 --> 00:49:45,239
Speaker 3: popular place to shoot movies on the West Coast, and

921
00:49:45,280 --> 00:49:48,800
Speaker 3: we pan from the beach up to a seaside house

922
00:49:49,280 --> 00:49:52,759
Speaker 3: while while a woman's voice hums this plaintive melody. Again.

923
00:49:52,800 --> 00:49:54,360
Speaker 3: This is the part where I was like, wait, is

924
00:49:54,400 --> 00:49:57,600
Speaker 3: that Enya? Yes, it is Inya. And one of the

925
00:49:57,640 --> 00:50:02,240
Speaker 3: first characters we see is no joke Luke Skywalker, dressed

926
00:50:02,280 --> 00:50:05,920
Speaker 3: as a cop with aviators and a porno mustache, and

927
00:50:05,960 --> 00:50:09,080
Speaker 3: he's got like he's got blonde, his blonde hair slicked

928
00:50:09,120 --> 00:50:12,160
Speaker 3: back and with his hair slicked back that way and

929
00:50:12,640 --> 00:50:15,040
Speaker 3: the whole way, he's done up. Mark Hamill is looking

930
00:50:15,080 --> 00:50:17,480
Speaker 3: like Jack's from Sons of Anarchy, isn't he?

931
00:50:17,840 --> 00:50:18,080
Speaker 2: Yeah?

932
00:50:18,200 --> 00:50:21,000
Speaker 1: Yeah, I mean he looks great here. I did not

933
00:50:21,200 --> 00:50:23,640
Speaker 1: remember that he was in this. The character's name is

934
00:50:23,640 --> 00:50:25,279
Speaker 1: Sheriff Jenkins. By the way, I don't know if they

935
00:50:25,280 --> 00:50:26,160
Speaker 1: ever actually say it.

936
00:50:27,160 --> 00:50:28,080
Speaker 3: He's got the name tag.

937
00:50:28,280 --> 00:50:30,520
Speaker 1: Yeah, but I like the vibe of this character. I

938
00:50:30,560 --> 00:50:32,520
Speaker 1: was kind of hoping he'd be our Loomis, you know.

939
00:50:33,200 --> 00:50:34,880
Speaker 1: But he doesn't pop up again.

940
00:50:35,000 --> 00:50:36,960
Speaker 3: You know, he's just in the prologue. It's a cameo.

941
00:50:37,400 --> 00:50:40,120
Speaker 3: And somehow, when I saw this movie when I was younger,

942
00:50:40,840 --> 00:50:43,839
Speaker 3: I never caught that this was Mark Hamill, even though

943
00:50:43,840 --> 00:50:46,279
Speaker 3: you get a perfectly good look at him, and I

944
00:50:46,360 --> 00:50:48,759
Speaker 3: was obsessed with Star Wars. I don't know how this

945
00:50:48,840 --> 00:50:49,560
Speaker 3: went past me.

946
00:50:50,920 --> 00:50:53,720
Speaker 1: There's a lot to distract you elsewhere in the picture,

947
00:50:53,760 --> 00:50:56,440
Speaker 1: so it's forgivable if you forget him by the end

948
00:50:56,480 --> 00:50:56,719
Speaker 1: of it.

949
00:50:56,920 --> 00:50:57,239
Speaker 3: I guess.

950
00:50:57,239 --> 00:50:57,319
Speaker 4: So.

951
00:50:57,400 --> 00:50:59,799
Speaker 3: The movie's energy is so weird. A lot of things

952
00:50:59,840 --> 00:51:03,440
Speaker 3: just don't even register. So Sheriff Mark Hamill and his

953
00:51:03,480 --> 00:51:07,160
Speaker 3: deputy walk around the house and it is revealed that

954
00:51:07,200 --> 00:51:11,560
Speaker 3: there are dead cats hanging around everywhere, and the deputy

955
00:51:11,640 --> 00:51:15,520
Speaker 3: is reading off a sheet. He says, Martha and Carl Brodie,

956
00:51:15,680 --> 00:51:18,920
Speaker 3: mother and son. No one's seen them since Tuesday. The

957
00:51:18,960 --> 00:51:22,440
Speaker 3: car is a transam blue with yellow pin striping, and

958
00:51:22,520 --> 00:51:26,160
Speaker 3: then he gives license details and stuff, and a neighbor

959
00:51:26,239 --> 00:51:29,440
Speaker 3: lady walks up and says, god, I hope nothing horrible

960
00:51:29,480 --> 00:51:33,200
Speaker 3: has happened to them. They were so close. Oh lady,

961
00:51:33,280 --> 00:51:38,160
Speaker 3: you have no idea. So the deputy says, what do

962
00:51:38,200 --> 00:51:41,480
Speaker 3: you think happened? And Mark Hamill says, I don't know,

963
00:51:41,880 --> 00:51:45,520
Speaker 3: but somebody sure doesn't like cats, as he is walking

964
00:51:45,560 --> 00:51:48,600
Speaker 3: through a forest of dead cats hanging in the air.

965
00:51:49,239 --> 00:51:50,840
Speaker 3: This is one of a number of things in the

966
00:51:50,880 --> 00:51:55,520
Speaker 3: movie where I can't quite tell. I think it is

967
00:51:55,600 --> 00:51:59,279
Speaker 3: being done deliberately for comedy purposes, but where character is

968
00:51:59,360 --> 00:52:02,879
Speaker 3: just say, thirdly obvious, things like there is one part

969
00:52:02,920 --> 00:52:05,480
Speaker 3: where they're walking through this yard that has like a

970
00:52:05,600 --> 00:52:07,720
Speaker 3: hundred cats in it, and one of the cops says,

971
00:52:07,760 --> 00:52:11,960
Speaker 3: a lot of cats. So the two cops go inside

972
00:52:11,960 --> 00:52:14,520
Speaker 3: the house with flashlights. They find more dead cats, a

973
00:52:14,520 --> 00:52:17,040
Speaker 3: bunch of blood smeared on the walls and stuff, and

974
00:52:17,080 --> 00:52:20,640
Speaker 3: then the sound of a cat moaning inside a closet.

975
00:52:21,239 --> 00:52:25,839
Speaker 3: So they slowly approach the closet and tension builds and

976
00:52:25,880 --> 00:52:29,279
Speaker 3: Mark Hamill reaches out slowly toward the doorknob and then

977
00:52:29,400 --> 00:52:32,120
Speaker 3: throws open the door, and then there is a cat

978
00:52:32,200 --> 00:52:35,920
Speaker 3: jump scare. Something's a little wonky about the build up

979
00:52:36,000 --> 00:52:38,880
Speaker 3: and pay off here, like the cat jump scare is

980
00:52:38,920 --> 00:52:41,560
Speaker 3: one of the most familiar things in horror cinema. You know,

981
00:52:41,840 --> 00:52:44,920
Speaker 3: you open it, you're scared of something. You hear a

982
00:52:44,920 --> 00:52:47,920
Speaker 3: little rattling, you know, and you open a door and

983
00:52:47,920 --> 00:52:50,399
Speaker 3: a cat jumps out right now, and that that's your

984
00:52:50,480 --> 00:52:52,960
Speaker 3: your fake out jump scare. But is it still a

985
00:52:53,000 --> 00:52:56,280
Speaker 3: cat jump scare in spirit? If you're already thinking about

986
00:52:56,320 --> 00:52:58,440
Speaker 3: cats and the scene is full of cats and you

987
00:52:58,480 --> 00:53:00,719
Speaker 3: hear a cat meowing on the other side of the.

988
00:53:00,680 --> 00:53:04,760
Speaker 1: Door, that's true. That's true. Also, do cat jump scares

989
00:53:04,760 --> 00:53:08,840
Speaker 1: occur in the wild in real life. I've never encountered one. Generally,

990
00:53:08,920 --> 00:53:10,920
Speaker 1: I've found that if a cat is spooked, they're often

991
00:53:11,160 --> 00:53:14,160
Speaker 1: going to stay back there in that closet or wherever. Yeah,

992
00:53:14,200 --> 00:53:17,000
Speaker 1: and they're gonna run about like this, only after they

993
00:53:17,000 --> 00:53:18,400
Speaker 1: have gone to the litter box.

994
00:53:18,520 --> 00:53:21,240
Speaker 3: I don't feel like cats end up inside a closed

995
00:53:21,280 --> 00:53:24,359
Speaker 3: closet all that often. They close the door behind them.

996
00:53:24,400 --> 00:53:26,680
Speaker 3: You would have to close the door on them by accident.

997
00:53:26,760 --> 00:53:28,920
Speaker 1: It happens all the time in my house because you

998
00:53:28,960 --> 00:53:31,640
Speaker 1: open a cabinet or something that's not open all the time,

999
00:53:31,719 --> 00:53:33,239
Speaker 1: the cat's like, it's my job to go in there

1000
00:53:33,239 --> 00:53:36,080
Speaker 1: and explore and then they get chassy. Okay, but then

1001
00:53:36,080 --> 00:53:38,080
Speaker 1: when you're open it, they just walk out. It's not

1002
00:53:38,200 --> 00:53:39,400
Speaker 1: much of a jump scarer.

1003
00:53:39,520 --> 00:53:42,800
Speaker 3: Yeah, but then also okay, the cops find a body,

1004
00:53:42,880 --> 00:53:44,440
Speaker 3: human body in the house. It is the body of

1005
00:53:44,480 --> 00:53:47,719
Speaker 3: a teenage girl, except she is shriveled up and desiccated

1006
00:53:47,800 --> 00:53:50,880
Speaker 3: like a mummy. And then they like look behind her

1007
00:53:50,920 --> 00:53:53,040
Speaker 3: ear and there is a single there is a rose

1008
00:53:53,160 --> 00:53:56,480
Speaker 3: tucked behind her ear, and then Mark Hamill looks at

1009
00:53:56,520 --> 00:53:59,920
Speaker 3: the camera and says it's a rose. Once again, it's

1010
00:54:00,120 --> 00:54:04,960
Speaker 3: like they didn't like cats. After this, we get a

1011
00:54:05,000 --> 00:54:08,840
Speaker 3: credit sequence with some mystical strings playing over images of

1012
00:54:08,880 --> 00:54:14,799
Speaker 3: ancient Egyptian carvings and statuary with vaguely feline themes, and

1013
00:54:14,880 --> 00:54:18,560
Speaker 3: also rob Actually, I took some screenshots of the artworks

1014
00:54:18,600 --> 00:54:20,560
Speaker 3: we see in the credits here, and I wondered if

1015
00:54:20,600 --> 00:54:22,000
Speaker 3: you had comments on anything.

1016
00:54:22,400 --> 00:54:25,359
Speaker 1: Oh, I love it all. I had to watch this twice. Yeah,

1017
00:54:25,560 --> 00:54:28,680
Speaker 1: went back through. I think there's just a nice selection

1018
00:54:28,800 --> 00:54:32,839
Speaker 1: of images that were well put together here. I don't

1019
00:54:32,840 --> 00:54:35,080
Speaker 1: know to what extent these are all like one hundred

1020
00:54:35,080 --> 00:54:38,400
Speaker 1: percent original. There's one piece that may be a detail

1021
00:54:38,480 --> 00:54:42,200
Speaker 1: from an actual pre existing work where they've been augmented,

1022
00:54:42,880 --> 00:54:46,800
Speaker 1: but these do look and feel like pages from perhaps

1023
00:54:46,840 --> 00:54:49,320
Speaker 1: that occult text that we cited at the beginning.

1024
00:54:49,160 --> 00:54:52,959
Speaker 3: Yeah, yeah, possibly. So we see a scene that looks

1025
00:54:53,000 --> 00:54:55,600
Speaker 3: like it's from the Garden of Eden. It's like of

1026
00:54:55,760 --> 00:54:59,319
Speaker 3: a naked humanoid female but with a cat head and

1027
00:54:59,400 --> 00:55:03,480
Speaker 3: cat face breastfeeding a child, a human child, but the

1028
00:55:03,560 --> 00:55:07,040
Speaker 3: cat face is a little too cartoony looking. For the

1029
00:55:07,080 --> 00:55:09,920
Speaker 3: rest of the image. It's kind of a it's like,

1030
00:55:10,000 --> 00:55:13,360
Speaker 3: you know, Garfield here in the mythological context, not quite

1031
00:55:13,360 --> 00:55:15,520
Speaker 3: that bad, but it is sort of like that. And

1032
00:55:15,560 --> 00:55:19,480
Speaker 3: then there's what looks like a photograph of a human,

1033
00:55:19,680 --> 00:55:23,560
Speaker 3: just fully human, embracing a leopard body with a human

1034
00:55:23,600 --> 00:55:26,759
Speaker 3: head on the neck. Creepy. Yeah, they look like they're

1035
00:55:26,760 --> 00:55:29,520
Speaker 3: in love. And then there is I actually did a

1036
00:55:29,640 --> 00:55:32,279
Speaker 3: zoom in on there's a part where we see a

1037
00:55:32,320 --> 00:55:35,799
Speaker 3: book open and it's a book full of text, and

1038
00:55:36,719 --> 00:55:40,000
Speaker 3: the book contains an illustration of what it will look

1039
00:55:40,080 --> 00:55:42,920
Speaker 3: like later in the movie when the sleepwalker is sucking

1040
00:55:42,960 --> 00:55:45,360
Speaker 3: somebody's soul out through their mouth, where there's like, you know,

1041
00:55:45,440 --> 00:55:48,319
Speaker 3: purple magic coming out of their mouth into the sleepwalker's mouth.

1042
00:55:48,640 --> 00:55:50,719
Speaker 3: But also I zoomed in on the text here to

1043
00:55:50,760 --> 00:55:53,680
Speaker 3: see is this Is this a real text, a real

1044
00:55:53,719 --> 00:55:55,520
Speaker 3: book that they just did a little edit on. No,

1045
00:55:55,640 --> 00:55:59,200
Speaker 3: I think they composed a fully original book for just

1046
00:55:59,320 --> 00:56:01,520
Speaker 3: this shot, because I couldn't find a match to the

1047
00:56:01,560 --> 00:56:04,960
Speaker 3: text anywhere, and it seems to be text about sleepwalkers.

1048
00:56:05,360 --> 00:56:08,960
Speaker 3: And also, like paragraph to paragraph, the text varies in

1049
00:56:09,120 --> 00:56:11,440
Speaker 3: whether it's trying to stay on task and look like

1050
00:56:11,440 --> 00:56:15,120
Speaker 3: a real occult encyclopedia, or whether it just starts saying

1051
00:56:15,160 --> 00:56:17,839
Speaker 3: weird stuff, like one of the paragraphs when you zoom

1052
00:56:17,880 --> 00:56:20,439
Speaker 3: in says so I said to juan Ita, I don't

1053
00:56:20,440 --> 00:56:23,120
Speaker 3: think I've ever seen anything like this before. It's a cat.

1054
00:56:25,560 --> 00:56:29,440
Speaker 1: Well still, the presentation is good as long as you

1055
00:56:29,480 --> 00:56:32,680
Speaker 1: don't pause and zoom in, right. But I've bet I

1056
00:56:32,719 --> 00:56:35,520
Speaker 1: love all this because it couches this idea of the

1057
00:56:35,520 --> 00:56:41,640
Speaker 1: sleepwalkers in human myth and history in a sense that

1058
00:56:41,680 --> 00:56:44,200
Speaker 1: sets the tone nicely. And it is worth pointing out

1059
00:56:44,200 --> 00:56:47,760
Speaker 1: that even the sleepwalkers as they're presented here are entirely

1060
00:56:47,760 --> 00:56:52,560
Speaker 1: a Stephen King creation. Cat human hybrids are very ancient

1061
00:56:52,880 --> 00:56:56,480
Speaker 1: and some of the oldest creations of human culture, and

1062
00:56:56,520 --> 00:57:00,200
Speaker 1: we can point to various examples from pretty much anywhere

1063
00:57:00,880 --> 00:57:05,440
Speaker 1: where humans and cats have coexisted, There may ultimately multimately

1064
00:57:05,480 --> 00:57:10,719
Speaker 1: be more feline cat hybrids in global mythology than there

1065
00:57:10,760 --> 00:57:15,120
Speaker 1: are canine or wolf human hybrids and human mythology.

1066
00:57:15,320 --> 00:57:20,160
Speaker 3: Have we somehow never done an October episode about wear

1067
00:57:20,240 --> 00:57:23,200
Speaker 3: cats or cat human monsters. I don't recall one.

1068
00:57:23,760 --> 00:57:26,320
Speaker 1: We should. There's plenty to talk about, you know, anywhere

1069
00:57:26,360 --> 00:57:31,600
Speaker 1: tigers have ranged or lions have ranged historically, you have myths.

1070
00:57:31,800 --> 00:57:34,360
Speaker 3: Anyway, after the credits, we come back in on a

1071
00:57:34,360 --> 00:57:37,440
Speaker 3: shot of a blue, two story house surrounded by trees,

1072
00:57:37,560 --> 00:57:40,240
Speaker 3: with an overgrown front yard and a white picket fence,

1073
00:57:41,040 --> 00:57:43,520
Speaker 3: And I just want to frame. I noticed early on

1074
00:57:43,600 --> 00:57:47,520
Speaker 3: the white picket fence the pickets. I think that's what

1075
00:57:47,560 --> 00:57:50,240
Speaker 3: they're called, the boards and the picket fence. The pickets

1076
00:57:50,320 --> 00:57:52,680
Speaker 3: are very sharp on the top, and I was like,

1077
00:57:52,800 --> 00:57:54,240
Speaker 3: somebody's gonna get stabbed on that.

1078
00:57:54,320 --> 00:57:57,920
Speaker 1: And I was right, yep, somebody's gonna get Mortal Kombat

1079
00:57:57,920 --> 00:57:58,640
Speaker 1: for sure.

1080
00:57:58,560 --> 00:58:02,240
Speaker 3: That's right. And a text legend tells us that this

1081
00:58:02,320 --> 00:58:06,919
Speaker 3: is Travis, Indiana. So we're about to meet our sleepwalkers.

1082
00:58:07,400 --> 00:58:10,080
Speaker 3: Outside the house, there is a blue trans am parked

1083
00:58:10,080 --> 00:58:13,200
Speaker 3: in the driveway, so I think we know our missing

1084
00:58:13,240 --> 00:58:16,480
Speaker 3: mother and son are here from the prologue, and inside

1085
00:58:16,480 --> 00:58:19,120
Speaker 3: the house, somebody is listening to a record. It is

1086
00:58:19,160 --> 00:58:22,400
Speaker 3: again the Santo and Johnny song Sleepwalk. Now is this

1087
00:58:22,440 --> 00:58:25,200
Speaker 3: a good place to talk about the record player? Because

1088
00:58:25,240 --> 00:58:28,240
Speaker 3: before we recorded this, we really went down a rabbit

1089
00:58:28,280 --> 00:58:30,920
Speaker 3: hole being like, what is this thing? It seems like

1090
00:58:31,000 --> 00:58:34,520
Speaker 3: they have a record player that looks like it only

1091
00:58:34,560 --> 00:58:38,720
Speaker 3: plays seven inch vinyl singles? And I didn't even know

1092
00:58:38,800 --> 00:58:41,200
Speaker 3: that was really a thing. You would have a player

1093
00:58:41,240 --> 00:58:44,880
Speaker 3: that can't fit a thirty three and a third record.

1094
00:58:45,240 --> 00:58:48,840
Speaker 1: Yeah, this is not something I'd seen anywhere else before.

1095
00:58:49,080 --> 00:58:52,120
Speaker 1: Like friends that I have that are vinyl enthusiasts, they

1096
00:58:52,120 --> 00:58:54,880
Speaker 1: don't have one of these. And I'm not really I

1097
00:58:54,880 --> 00:58:57,040
Speaker 1: don't really know much about records, but I know that

1098
00:58:57,080 --> 00:58:59,120
Speaker 1: this is a forty five. I know this is a single,

1099
00:58:59,520 --> 00:59:03,560
Speaker 1: and this thing seems designed to only play singles, and so, yeah,

1100
00:59:03,560 --> 00:59:06,320
Speaker 1: we were talking about this like that, Why why was this? Mate?

1101
00:59:06,360 --> 00:59:09,000
Speaker 1: What is the sense of it?

1102
00:59:09,080 --> 00:59:12,439
Speaker 3: To quote Santa Claus, Yeah, well I didn't know either.

1103
00:59:12,480 --> 00:59:15,840
Speaker 3: I listened to records. I have a record collection, though

1104
00:59:15,840 --> 00:59:17,880
Speaker 3: I would not call myself a record collector. I just

1105
00:59:17,920 --> 00:59:20,280
Speaker 3: like I'm a music fan. And have records that I like.

1106
00:59:21,160 --> 00:59:24,080
Speaker 3: So I pretty much only listened to full size albums

1107
00:59:24,120 --> 00:59:27,840
Speaker 3: to thirty threes and so, yeah, I did not understand

1108
00:59:27,840 --> 00:59:29,840
Speaker 3: what this device was for, but I guess at some

1109
00:59:29,960 --> 00:59:34,120
Speaker 3: point somebody wanted a record player that only played singles.

1110
00:59:34,560 --> 00:59:38,520
Speaker 1: Yeah. Yeah, we JJ chimed in and had some good

1111
00:59:38,560 --> 00:59:41,680
Speaker 1: theories which I think essentially arrived at the truth. But

1112
00:59:41,760 --> 00:59:45,080
Speaker 1: I also reached out to our friend and former producer

1113
00:59:45,120 --> 00:59:48,600
Speaker 1: Seth Nicholas Johnson about this, because, of course, Seth, you

1114
00:59:48,760 --> 00:59:52,240
Speaker 1: might remember from past appearances on the show, Big Record Guy,

1115
00:59:52,960 --> 00:59:55,520
Speaker 1: knows tons about the ins and outs of records and

1116
00:59:55,760 --> 00:59:58,560
Speaker 1: how they work and some like very you know, record

1117
00:59:58,640 --> 00:59:59,960
Speaker 1: curios and so forth.

1118
01:00:00,080 --> 01:00:02,760
Speaker 3: Or he makes records, he makes the technical side.

1119
01:00:02,800 --> 01:00:06,560
Speaker 1: Yeah, he is a true record wizard, a vinyl wizard,

1120
01:00:06,640 --> 01:00:09,600
Speaker 1: if you will. And so we reached out to him

1121
01:00:09,640 --> 01:00:11,800
Speaker 1: and said, Seth, help us out what's going on here,

1122
01:00:12,040 --> 01:00:14,440
Speaker 1: and I want to read what he wrote back to us.

1123
01:00:15,200 --> 01:00:18,200
Speaker 1: Seth writes, quote, I'm going to make a strange equivalency,

1124
01:00:18,280 --> 01:00:20,880
Speaker 1: but it's true. In today's modern world, there are many

1125
01:00:20,960 --> 01:00:24,880
Speaker 1: people whose entire music experience is listening to singles on Spotify.

1126
01:00:25,480 --> 01:00:28,920
Speaker 1: This person has never once considered listening to a full album.

1127
01:00:29,240 --> 01:00:32,720
Speaker 1: This person existed in the nineteen fifties. Two. Their spotify

1128
01:00:32,840 --> 01:00:36,520
Speaker 1: was a jukebox. The jukebox trained these listeners that the

1129
01:00:36,560 --> 01:00:40,440
Speaker 1: forty five rpm record was the only kind of record

1130
01:00:40,480 --> 01:00:43,600
Speaker 1: that mattered. Who has the time for a twelve inch record?

1131
01:00:43,800 --> 01:00:46,760
Speaker 1: Not these teeny boppers. This kind of record player, in

1132
01:00:46,800 --> 01:00:49,880
Speaker 1: many ways, was the at home version of a jukebox.

1133
01:00:50,360 --> 01:00:53,160
Speaker 1: It can't play a twelve inch record because why would

1134
01:00:53,160 --> 01:00:55,040
Speaker 1: you ever buy a twelve inch record?

1135
01:00:55,280 --> 01:00:57,200
Speaker 3: Oh okay, this kind of makes sense to me, And

1136
01:00:57,240 --> 01:01:00,240
Speaker 3: this is the opposite of one of the hypotheses had

1137
01:01:00,360 --> 01:01:03,560
Speaker 3: I was like, is this for like the super purest

1138
01:01:03,680 --> 01:01:06,680
Speaker 3: record collector who's like, oh, you still listen to albums?

1139
01:01:06,680 --> 01:01:12,240
Speaker 3: I only collect you know, rare singles from the fifties. No,

1140
01:01:12,360 --> 01:01:15,080
Speaker 3: it sounds like Seth's idea is that. Maybe it's the opposite.

1141
01:01:15,120 --> 01:01:17,320
Speaker 3: It's more for the kind of casual listener who's not

1142
01:01:17,480 --> 01:01:20,400
Speaker 3: into full albums. They just like singles that they're familiar

1143
01:01:20,480 --> 01:01:22,400
Speaker 3: with from you know, the radio or the jukebox.

1144
01:01:22,720 --> 01:01:22,959
Speaker 4: Yeah.

1145
01:01:23,080 --> 01:01:24,760
Speaker 1: Yeah, we were looking around and you can you can

1146
01:01:24,760 --> 01:01:28,440
Speaker 1: buy these things used. Of course they're asking as astronomical

1147
01:01:28,480 --> 01:01:30,880
Speaker 1: prices for him, these days, but I'm to assume they

1148
01:01:30,880 --> 01:01:33,680
Speaker 1: were probably rather inexpensive back in the day compared to

1149
01:01:33,720 --> 01:01:35,760
Speaker 1: other record player options.

1150
01:01:36,360 --> 01:01:40,360
Speaker 3: Anyway, in this scene, we first meet our younger Sleepwalker

1151
01:01:40,440 --> 01:01:43,920
Speaker 3: played by Brian Krause. Charles Brody is his pseudonym in

1152
01:01:44,000 --> 01:01:47,560
Speaker 3: the current setting in Indiana, though I don't recall if

1153
01:01:47,600 --> 01:01:50,360
Speaker 3: we ever learn what their real names are, if they

1154
01:01:50,400 --> 01:01:53,520
Speaker 3: even have real names, because remember that we learned in

1155
01:01:53,520 --> 01:01:56,680
Speaker 3: the prologue they're using different names in California, so who knows.

1156
01:01:57,320 --> 01:02:01,880
Speaker 3: When we first meet Charles, he is shirtless, listening to Sleepwalk,

1157
01:02:02,040 --> 01:02:05,080
Speaker 3: sitting there in acid wash jeans with a belt, looking

1158
01:02:05,160 --> 01:02:08,040
Speaker 3: through a high school yearbook. I guess this is the

1159
01:02:08,120 --> 01:02:10,440
Speaker 3: high school where he is now undercover as a student,

1160
01:02:10,760 --> 01:02:13,160
Speaker 3: and he's just playing with a pocket knife. He takes

1161
01:02:13,160 --> 01:02:16,360
Speaker 3: a moment to carve the letter T into his arm,

1162
01:02:16,880 --> 01:02:19,080
Speaker 3: and then we cut down to the yearbook to see

1163
01:02:19,080 --> 01:02:23,360
Speaker 3: a picture of our human protagonist, Tanya Robertson. Presumably that's

1164
01:02:23,400 --> 01:02:25,960
Speaker 3: what the tea is for Tanya, and he even he

1165
01:02:26,120 --> 01:02:30,920
Speaker 3: drew a heart with an arrow through it around her picture, which, okay,

1166
01:02:31,640 --> 01:02:34,040
Speaker 3: how did he get the yearbook already? Like he just

1167
01:02:34,160 --> 01:02:35,960
Speaker 3: moved there and he's already got a yearbook.

1168
01:02:37,280 --> 01:02:39,600
Speaker 1: Is it maybe from the year before. I don't know.

1169
01:02:39,640 --> 01:02:41,880
Speaker 1: Maybe this is how they stilect talents. They just get

1170
01:02:41,960 --> 01:02:44,080
Speaker 1: they finished to get ahold of the yearbooks, and you know,

1171
01:02:44,200 --> 01:02:45,280
Speaker 1: they treat them like a menu.

1172
01:02:45,560 --> 01:02:47,560
Speaker 3: Yeah, Tanya's in a lot of clubs, by the way.

1173
01:02:47,720 --> 01:02:52,240
Speaker 3: She's National Merit Scholar, science Fair, photography club president, a

1174
01:02:52,280 --> 01:02:54,439
Speaker 3: lot of stuff. But also there's a little easter egg.

1175
01:02:54,760 --> 01:02:57,520
Speaker 3: If you look at a screenshot of the yearbook, you

1176
01:02:57,520 --> 01:02:59,920
Speaker 3: can see from the student next to her that the

1177
01:03:00,080 --> 01:03:02,560
Speaker 3: high school teams in Travis are the hell Cats.

1178
01:03:03,160 --> 01:03:04,240
Speaker 1: Oh nice.

1179
01:03:05,160 --> 01:03:08,280
Speaker 3: In the scene, we also meet Charles's mother, Mary, played

1180
01:03:08,280 --> 01:03:11,160
Speaker 3: by Alice Kriega. She is busy looking out the window

1181
01:03:11,280 --> 01:03:15,400
Speaker 3: with deep concern. She is watching a stray cat prowl

1182
01:03:15,440 --> 01:03:18,480
Speaker 3: around in the yard, and the cat almost gets caught

1183
01:03:18,520 --> 01:03:22,040
Speaker 3: in a steel trap that they've set out and baited

1184
01:03:22,080 --> 01:03:25,160
Speaker 3: with some blob of meat. So their yard is just

1185
01:03:25,320 --> 01:03:29,120
Speaker 3: full of animal traps like the you know, the bear

1186
01:03:29,200 --> 01:03:32,440
Speaker 3: traps style. But the cat does not get caught. It

1187
01:03:32,760 --> 01:03:36,360
Speaker 3: gets away this time, and Mary is obviously distressed by

1188
01:03:36,360 --> 01:03:40,360
Speaker 3: the presence of a cat. This establishes the idea that

1189
01:03:40,480 --> 01:03:45,600
Speaker 3: everywhere the Sleepwalkers go their house is gradually surrounded by

1190
01:03:45,600 --> 01:03:48,800
Speaker 3: a sort of posse of stray cats that are hunting them.

1191
01:03:49,280 --> 01:03:51,080
Speaker 1: Now, at this point in the film, we don't know

1192
01:03:51,160 --> 01:03:54,080
Speaker 1: all of this yet. You could even maybe just suppose

1193
01:03:54,120 --> 01:03:58,200
Speaker 1: that she has some sort of phobia of cats or something.

1194
01:03:58,400 --> 01:04:00,800
Speaker 1: But yeah, this seems to be the case. Wherever they go,

1195
01:04:01,720 --> 01:04:05,480
Speaker 1: cats will accumulate until they build up enough critical mass

1196
01:04:05,840 --> 01:04:09,880
Speaker 1: to assault the Sleepwalkers and overcome them. You know, cats

1197
01:04:09,960 --> 01:04:15,120
Speaker 1: are wise and ancient sentinels against the darkness and will

1198
01:04:15,120 --> 01:04:18,840
Speaker 1: dispatch supernatural creatures that are their sworn enemies. This is

1199
01:04:18,840 --> 01:04:21,640
Speaker 1: something we see in various weird fiction works, and I'm

1200
01:04:21,640 --> 01:04:25,600
Speaker 1: sure the idea that's its roots ultimately and very ancient traditions,

1201
01:04:25,640 --> 01:04:30,000
Speaker 1: you know, because cats are weird. They are allies, but

1202
01:04:30,120 --> 01:04:32,720
Speaker 1: they're also up to their own business, and their own

1203
01:04:32,760 --> 01:04:34,760
Speaker 1: business might include slaying monsters.

1204
01:04:35,400 --> 01:04:37,479
Speaker 3: Now, there are a lot of themes in this movie

1205
01:04:37,480 --> 01:04:40,320
Speaker 3: where you could argue about how good it was for

1206
01:04:40,360 --> 01:04:43,040
Speaker 3: the story, or people can raise their eyebrows at I

1207
01:04:43,080 --> 01:04:46,000
Speaker 3: think it is a pretty objectively cool premise to have

1208
01:04:46,160 --> 01:04:48,800
Speaker 3: monsters where one of their core features is that they

1209
01:04:48,840 --> 01:04:53,560
Speaker 3: are pursued by stray cats. Just cats gather from all

1210
01:04:53,600 --> 01:04:55,240
Speaker 3: around to hunt them.

1211
01:04:55,640 --> 01:04:56,600
Speaker 1: Yeah, I like it.

1212
01:04:56,680 --> 01:04:59,520
Speaker 3: But also though, speaking of weird themes, in this scene

1213
01:04:59,600 --> 01:05:02,880
Speaker 3: already the movie starts cranking up the weirdness really fast

1214
01:05:03,520 --> 01:05:07,439
Speaker 3: into the edible cat sex zone. Charles and Mary start

1215
01:05:07,520 --> 01:05:10,680
Speaker 3: dancing around to the song. They're doing twirls and dips,

1216
01:05:10,720 --> 01:05:13,040
Speaker 3: and they start talking about how Charles plans to go

1217
01:05:13,080 --> 01:05:15,840
Speaker 3: to the movies tonight because he is hoping to meet

1218
01:05:15,880 --> 01:05:19,160
Speaker 3: a particular girl in town. This is Tanya. Mary keeps

1219
01:05:19,240 --> 01:05:23,320
Speaker 3: asking is she nice? Meaning like, can we steal her soul?

1220
01:05:24,000 --> 01:05:27,640
Speaker 3: And they banter a bit and he starts asking his mother,

1221
01:05:27,720 --> 01:05:31,080
Speaker 3: are you jealous? And she says concerned. And by the

1222
01:05:31,160 --> 01:05:33,240
Speaker 3: end of the scene they are kissing and running up

1223
01:05:33,280 --> 01:05:35,800
Speaker 3: to the bedroom and then we cut to a shot

1224
01:05:35,840 --> 01:05:38,960
Speaker 3: from outside the house and there is a neon violet

1225
01:05:39,040 --> 01:05:42,560
Speaker 3: light pulsing from the bedroom window while a cat looks

1226
01:05:42,600 --> 01:05:45,440
Speaker 3: on from the front yard. Is this weird enough for you, folks?

1227
01:05:46,560 --> 01:05:50,640
Speaker 1: The cat is like Sleepwalker's confirmed. Please please alert the

1228
01:05:50,640 --> 01:05:54,400
Speaker 1: others with the assault begins in five days. But yes,

1229
01:05:54,480 --> 01:05:57,320
Speaker 1: this is so weird and like in you know, intentionally

1230
01:05:57,360 --> 01:06:02,360
Speaker 1: off putting obviously, you know, engaging in taboos, but also

1231
01:06:02,480 --> 01:06:05,880
Speaker 1: just very weird for a mainstream even a mainstream horror picture.

1232
01:06:06,560 --> 01:06:08,880
Speaker 1: It was like the number one picture, like the week

1233
01:06:08,920 --> 01:06:09,760
Speaker 1: it came out, Like.

1234
01:06:09,920 --> 01:06:12,880
Speaker 3: Oh really, if you already said that, it went by me.

1235
01:06:12,960 --> 01:06:14,880
Speaker 3: I didn't realize it had been that successful.

1236
01:06:15,280 --> 01:06:17,480
Speaker 1: Yeah, yeah, I mean it was, you know. I don't

1237
01:06:17,480 --> 01:06:19,160
Speaker 1: think it was like one of the top blockbusters of

1238
01:06:19,200 --> 01:06:21,280
Speaker 1: the year or anything, but it was a successful picture.

1239
01:06:21,760 --> 01:06:24,240
Speaker 3: So next we go to the movie theater to meet Tanya,

1240
01:06:24,440 --> 01:06:27,080
Speaker 3: and you can see on the marque they're playing two movies.

1241
01:06:27,120 --> 01:06:29,520
Speaker 3: One is called They Bite and the other is called

1242
01:06:29,600 --> 01:06:32,400
Speaker 3: Scream Dreams. I feel like you could have worked on

1243
01:06:32,520 --> 01:06:34,480
Speaker 3: some more creative, funny titles there.

1244
01:06:34,680 --> 01:06:36,320
Speaker 1: I don't know. I like They Bite, Like I was

1245
01:06:36,360 --> 01:06:37,920
Speaker 1: trying to figure out what is it about. You think

1246
01:06:37,960 --> 01:06:41,760
Speaker 1: it's about ticks, about bed bugs. I don't know, the

1247
01:06:42,440 --> 01:06:45,240
Speaker 1: something bites, or maybe it's something that's not supposed to bite,

1248
01:06:45,280 --> 01:06:46,320
Speaker 1: like shoes.

1249
01:06:46,920 --> 01:06:51,400
Speaker 3: Maybe it's about computers with a b iy kind of the.

1250
01:06:52,200 --> 01:06:55,400
Speaker 1: And they actually bite, like dis drive floppy drives come

1251
01:06:55,480 --> 01:06:56,560
Speaker 1: after you, little mounds.

1252
01:06:57,080 --> 01:07:00,720
Speaker 3: Yeah. So Tanya works at the concess sho stand in

1253
01:07:00,760 --> 01:07:03,280
Speaker 3: the lobby, and when we first catch up with her,

1254
01:07:03,440 --> 01:07:06,560
Speaker 3: she's vacuuming the carpet and she's rocking out to do

1255
01:07:06,720 --> 01:07:09,520
Speaker 3: You Love Me by the contours on her headphones. And

1256
01:07:09,960 --> 01:07:12,360
Speaker 3: you know, this made me realize I am just a

1257
01:07:12,440 --> 01:07:16,360
Speaker 3: sucker for a scene where a character who thinks they're

1258
01:07:16,400 --> 01:07:21,120
Speaker 3: alone dances to music in their headphones. There's a great scene,

1259
01:07:21,240 --> 01:07:23,680
Speaker 3: I guess, especially in a horror movie. There's a great

1260
01:07:23,720 --> 01:07:25,640
Speaker 3: scene of this in the two thousand and nine ty

1261
01:07:25,720 --> 01:07:28,680
Speaker 3: West movie House of the Devil, where the main character

1262
01:07:28,840 --> 01:07:31,760
Speaker 3: dances around a cursed house listening to one thing leads

1263
01:07:31,800 --> 01:07:34,840
Speaker 3: to another by the fix on her Walkman, I don't

1264
01:07:34,880 --> 01:07:38,720
Speaker 3: know why, I just I love these scenes. I mean,

1265
01:07:38,720 --> 01:07:43,800
Speaker 3: I guess particularly in horror, because it like it makes

1266
01:07:43,800 --> 01:07:47,920
Speaker 3: a character endearing to get to witness them having joy,

1267
01:07:47,960 --> 01:07:50,440
Speaker 3: but the fact that they're listening with the headphones on

1268
01:07:51,080 --> 01:07:53,960
Speaker 3: makes them vulnerable in a way because they're not aware

1269
01:07:54,040 --> 01:07:56,680
Speaker 3: of their environment. So at the same time you get

1270
01:07:56,720 --> 01:08:00,840
Speaker 3: to see them happy and care free, but also in

1271
01:08:00,880 --> 01:08:02,800
Speaker 3: a kind of danger they're unaware of.

1272
01:08:03,680 --> 01:08:06,080
Speaker 1: Yeah. Yeah, that's a good point. On top of just,

1273
01:08:06,200 --> 01:08:09,480
Speaker 1: you know, music being a great way to establish something

1274
01:08:09,520 --> 01:08:12,040
Speaker 1: that your character likes in a way that's wordless, like

1275
01:08:12,200 --> 01:08:14,160
Speaker 1: here's the music they like. Now you get it, right?

1276
01:08:14,200 --> 01:08:16,080
Speaker 1: We don't even have to describe it to you.

1277
01:08:16,479 --> 01:08:19,800
Speaker 3: Yeah, and as we mentioned already, Tanya is I think,

1278
01:08:20,120 --> 01:08:24,240
Speaker 3: a very easily likable protagonist. Like it's hard to be

1279
01:08:24,280 --> 01:08:27,519
Speaker 3: on the monster side against Tanya, right, But anyway, while

1280
01:08:27,560 --> 01:08:30,200
Speaker 3: she's dancing to the contour, she bumps into Charles in

1281
01:08:30,240 --> 01:08:32,720
Speaker 3: the lobby and she gets a good scare. She like

1282
01:08:32,880 --> 01:08:35,360
Speaker 3: leaps back into a popcorn stand which has a bunch

1283
01:08:35,400 --> 01:08:38,080
Speaker 3: of loose boxes of popcorn stored on top, and they

1284
01:08:38,200 --> 01:08:40,680
Speaker 3: still all over the place. She got popcorn hair, Why

1285
01:08:40,720 --> 01:08:42,240
Speaker 3: would you store the popcorn that way?

1286
01:08:42,320 --> 01:08:44,840
Speaker 1: Yeah, they should go in the box, right, there should

1287
01:08:44,880 --> 01:08:46,360
Speaker 1: be a place to store them in there, so they're warm,

1288
01:08:46,400 --> 01:08:46,640
Speaker 1: that's what.

1289
01:08:46,680 --> 01:08:50,639
Speaker 3: You would think. So but of course it's a meat cute.

1290
01:08:51,240 --> 01:08:53,800
Speaker 3: Charles is again a like one hundred watts super hunk.

1291
01:08:54,360 --> 01:08:58,040
Speaker 3: So Tanya is immediately smitten and she's very flustered, and

1292
01:08:58,080 --> 01:09:00,720
Speaker 3: he introduces himself. They talk about how he's new in

1293
01:09:00,760 --> 01:09:03,559
Speaker 3: town and how they have a creative writing class together

1294
01:09:03,600 --> 01:09:07,840
Speaker 3: at school. He says, with mister Fallows, the Weird and

1295
01:09:07,880 --> 01:09:10,880
Speaker 3: the Terrible, And this made me think I would like

1296
01:09:10,920 --> 01:09:14,240
Speaker 3: to draw up a list of Stephen King's stories where

1297
01:09:14,280 --> 01:09:18,599
Speaker 3: he inserts the character of a bizarre and sometimes evil

1298
01:09:18,720 --> 01:09:23,120
Speaker 3: creative writing teacher who is obsessed with the macabre, like oh, yes,

1299
01:09:23,320 --> 01:09:27,280
Speaker 3: you know our fourth period writing workshop with Professor Freevan Fring.

1300
01:09:28,160 --> 01:09:31,439
Speaker 3: And I can't think of other examples right now, but

1301
01:09:31,479 --> 01:09:33,680
Speaker 3: I have a sense that he does this often, and

1302
01:09:33,840 --> 01:09:38,080
Speaker 3: it's kind of the opposite of the standard narcissistic author

1303
01:09:38,120 --> 01:09:41,400
Speaker 3: avatar who can do no wrong. Instead, it's like the

1304
01:09:41,479 --> 01:09:45,759
Speaker 3: author avatar here is somebody who's really creepy and loathsome hmmm.

1305
01:09:46,120 --> 01:09:48,680
Speaker 1: I'd have to go back and think about that. I mean,

1306
01:09:48,680 --> 01:09:52,559
Speaker 1: obviously there are a lot of author protagonists in his

1307
01:09:52,680 --> 01:09:54,679
Speaker 1: novels as well, but that's true.

1308
01:09:55,000 --> 01:09:57,880
Speaker 3: I guess the Shining, yeah, creative writing professor and author

1309
01:09:57,920 --> 01:09:59,120
Speaker 3: protagonist too, y yeah.

1310
01:09:59,320 --> 01:10:02,400
Speaker 1: But generally, you know, the Shining being an extreme example

1311
01:10:02,400 --> 01:10:05,080
Speaker 1: of this. They are off, they're often far from perfect,

1312
01:10:05,439 --> 01:10:08,559
Speaker 1: yeah there, and they're more they're ultimately kind of like

1313
01:10:08,560 --> 01:10:11,679
Speaker 1: the Stephen King idea of a working class best selling author,

1314
01:10:12,080 --> 01:10:15,000
Speaker 1: yeah yes, which is kind of like that's King's image,

1315
01:10:15,040 --> 01:10:17,840
Speaker 1: Like that's what you kind of think of, is like

1316
01:10:17,840 --> 01:10:22,120
Speaker 1: like liberal, working man, best selling author, yeah yeah, and

1317
01:10:22,600 --> 01:10:23,439
Speaker 1: professional weirdo.

1318
01:10:23,640 --> 01:10:23,800
Speaker 4: Oh.

1319
01:10:23,840 --> 01:10:27,400
Speaker 3: Also, the protagonist in Salem's Lot is an author, that's right,

1320
01:10:27,400 --> 01:10:29,479
Speaker 3: I don't. I don't think he's a creative writing teacher though.

1321
01:10:29,960 --> 01:10:32,360
Speaker 1: Yeah, but then you know, like the Dark Half, that's

1322
01:10:32,400 --> 01:10:36,400
Speaker 1: another author, one of the kids in it. Sorry I'm

1323
01:10:36,400 --> 01:10:39,360
Speaker 1: blinking on all their names. One of them is an author. Yeah,

1324
01:10:39,400 --> 01:10:41,280
Speaker 1: it occurs over and over again.

1325
01:10:41,600 --> 01:10:44,439
Speaker 3: Anyway, Charles here, he tries to buy a popcorn and

1326
01:10:44,479 --> 01:10:48,800
Speaker 3: a medium, mister pib but Tanya Tanya like, So he

1327
01:10:48,840 --> 01:10:50,439
Speaker 3: asked for it to put some money on the counter,

1328
01:10:50,439 --> 01:10:52,600
Speaker 3: and then Tanya like looks around and she gives it

1329
01:10:52,640 --> 01:10:56,960
Speaker 3: to him on the house. Oh, she's a lawbreaker and

1330
01:10:57,720 --> 01:11:02,720
Speaker 3: theater owners watch out, don't Tanya. But Charles claims to

1331
01:11:02,840 --> 01:11:06,160
Speaker 3: have just moved to town from a different place called

1332
01:11:06,240 --> 01:11:11,080
Speaker 3: Paradise Falls, Ohio. And while I know you cannot actually

1333
01:11:11,120 --> 01:11:13,840
Speaker 3: tell what state a person is from by looking at them,

1334
01:11:14,200 --> 01:11:18,840
Speaker 3: Charles is not from Ohio. Do they have surfing in Ohio? Like,

1335
01:11:18,920 --> 01:11:21,960
Speaker 3: you've never seen somebody who looks as much like a

1336
01:11:21,960 --> 01:11:26,800
Speaker 3: Beach Boys song as Brian Krause. But anyway, they so

1337
01:11:26,800 --> 01:11:29,320
Speaker 3: they have a conversation, they flirt, and Tanya is is

1338
01:11:29,360 --> 01:11:33,320
Speaker 3: not being subtle. She's like, Oh, where's your girlfriend? Do

1339
01:11:33,360 --> 01:11:35,400
Speaker 3: you have a girlfriend? Isn't it weird that we're both

1340
01:11:35,439 --> 01:11:39,000
Speaker 3: twenty five but still in high school? And he he

1341
01:11:39,080 --> 01:11:41,559
Speaker 3: offers her a ride home, but she does not accept,

1342
01:11:41,640 --> 01:11:44,240
Speaker 3: and she says like, oh, I'm getting a ride home

1343
01:11:44,280 --> 01:11:48,120
Speaker 3: with Lyman ward uh. And also I noticed this weird

1344
01:11:48,160 --> 01:11:51,080
Speaker 3: framing where like, while they're flirting at the concession stand,

1345
01:11:51,120 --> 01:11:54,519
Speaker 3: there is a huge multicolored sign behind Tanya's head that

1346
01:11:54,600 --> 01:11:58,800
Speaker 3: says slush. I don't know that's to suggest her her

1347
01:11:58,840 --> 01:12:03,439
Speaker 3: heart is melting like a lushy. But anyway, after the movie,

1348
01:12:04,680 --> 01:12:07,000
Speaker 3: Tanya's dad picks her up, and then we see Charles

1349
01:12:07,040 --> 01:12:10,879
Speaker 3: watching from the shadows outside the theater and he's muttering Tanya,

1350
01:12:11,200 --> 01:12:13,840
Speaker 3: and the Enya starts playing again and the mood gets

1351
01:12:13,920 --> 01:12:18,160
Speaker 3: very dark, But then it gets weirdly funny again because

1352
01:12:18,200 --> 01:12:21,040
Speaker 3: Charles walks back home. He's walking up the drive to

1353
01:12:21,080 --> 01:12:23,720
Speaker 3: the side door, and there's there's a something like a

1354
01:12:23,800 --> 01:12:26,840
Speaker 3: jump scare, but it's a flashlight scare because a cop

1355
01:12:26,920 --> 01:12:30,040
Speaker 3: is there collecting stray cats in a big burlap sack.

1356
01:12:30,680 --> 01:12:33,200
Speaker 3: And Mary comes to the doorway to thank the officer

1357
01:12:33,240 --> 01:12:35,360
Speaker 3: for his help. She says, I would come out and

1358
01:12:35,400 --> 01:12:38,360
Speaker 3: thank you, but my allergy is so severe and then

1359
01:12:38,400 --> 01:12:40,960
Speaker 3: the cop says, yeah, I got one too. Mine's the

1360
01:12:41,000 --> 01:12:48,200
Speaker 3: I R S. What allergic to the I R s? Yuck?

1361
01:12:48,280 --> 01:12:48,519
Speaker 4: Yuck.

1362
01:12:49,680 --> 01:12:52,880
Speaker 3: Then then the cop leaves and Charles and Mary have

1363
01:12:52,920 --> 01:12:55,920
Speaker 3: a debrief like she dwells on the menace of the

1364
01:12:55,960 --> 01:12:59,519
Speaker 3: gathering cats. Charles reports on his attempt to steal Tanya's

1365
01:12:59,560 --> 01:13:03,160
Speaker 3: life for he didn't get it yet. So Mary becomes enraged.

1366
01:13:03,200 --> 01:13:06,400
Speaker 3: She's like, I'm famished, Charles, and she starts swatting at

1367
01:13:06,479 --> 01:13:10,240
Speaker 3: him like an irritable kitty cat. And then again just

1368
01:13:10,320 --> 01:13:17,920
Speaker 3: more off the charts ediple cat weirdness in this scene.

1369
01:13:20,840 --> 01:13:22,960
Speaker 1: So we have teenage characters. We've got to go to

1370
01:13:23,080 --> 01:13:25,360
Speaker 1: high school. We've got to have some scenes in the school.

1371
01:13:25,360 --> 01:13:26,719
Speaker 1: And that's where we head to next.

1372
01:13:27,040 --> 01:13:29,799
Speaker 3: Right, right time to check in on that creative writing

1373
01:13:29,840 --> 01:13:34,679
Speaker 3: class with mister Fallows, the Weird and Terrible. So today

1374
01:13:34,680 --> 01:13:38,400
Speaker 3: in class, as luck would have it, Charles is reading

1375
01:13:38,439 --> 01:13:41,800
Speaker 3: aloud from a short story that he wrote called Sleepwalkers.

1376
01:13:42,880 --> 01:13:46,679
Speaker 3: I transcribed it because it's good. So this is the story.

1377
01:13:46,720 --> 01:13:51,559
Speaker 3: He says. They were sleepwalkers hiding in human robes, feeding

1378
01:13:51,600 --> 01:13:56,599
Speaker 3: on virtue, loving to feed, feeding to breed. In the end,

1379
01:13:56,800 --> 01:14:00,000
Speaker 3: they ran In the end, Robbie and his mother all

1380
01:14:00,040 --> 01:14:02,920
Speaker 3: always had to run for one night. The men would

1381
01:14:03,000 --> 01:14:06,599
Speaker 3: come in their old cars, men with lights and guns,

1382
01:14:06,920 --> 01:14:09,120
Speaker 3: and to the boy and his mother, their curses and

1383
01:14:09,200 --> 01:14:12,760
Speaker 3: their screams of rage always sound the same, like the

1384
01:14:12,840 --> 01:14:16,880
Speaker 3: laughter of cruel gods. The time of happiness too brief

1385
01:14:16,960 --> 01:14:20,479
Speaker 3: to be anything, but golden had run out. And I

1386
01:14:20,479 --> 01:14:23,360
Speaker 3: guess that's the end, and people start clapping. Actually, Tanya

1387
01:14:23,800 --> 01:14:28,040
Speaker 3: starts clapping alone before everybody else. Despite the fact that

1388
01:14:28,200 --> 01:14:31,639
Speaker 3: this story seems to be a detailed description of how

1389
01:14:31,760 --> 01:14:34,720
Speaker 3: Charles plans to eat her soul and then regurgitate it

1390
01:14:34,760 --> 01:14:37,920
Speaker 3: to his mom.

1391
01:14:38,600 --> 01:14:41,759
Speaker 1: Yeah, yeah, it's like just a straight up confession of

1392
01:14:42,080 --> 01:14:44,200
Speaker 1: all the crimes that he and his mom have committed.

1393
01:14:45,240 --> 01:14:46,519
Speaker 3: Ill on their cover A little bit.

1394
01:14:48,560 --> 01:14:52,559
Speaker 1: Someone with a little better ear for kings pros might

1395
01:14:52,600 --> 01:14:56,720
Speaker 1: also have some insight here. I wonder if this is

1396
01:14:58,320 --> 01:15:02,000
Speaker 1: maybe a little insight into what Sleepwalker's the novel by

1397
01:15:02,000 --> 01:15:04,680
Speaker 1: Stephen King, might have tasted a little bit like.

1398
01:15:06,120 --> 01:15:09,280
Speaker 3: Maybe, I don't know, it feels a well, I mean,

1399
01:15:09,320 --> 01:15:11,240
Speaker 3: I guess this is supposed to have been written by

1400
01:15:11,280 --> 01:15:13,080
Speaker 3: a high schooler, But then again, it was supposed to

1401
01:15:13,080 --> 01:15:14,880
Speaker 3: have been written by a high schooler who was actually

1402
01:15:14,880 --> 01:15:19,479
Speaker 3: maybe centuries or millennia old. Yeah, but then again, maybe

1403
01:15:19,560 --> 01:15:24,280
Speaker 3: it is written. There's like three levels of deception. It

1404
01:15:24,320 --> 01:15:26,760
Speaker 3: is written by an actual author, but it's supposed to

1405
01:15:26,760 --> 01:15:29,759
Speaker 3: sound like a high schooler, but it's actually an ancient

1406
01:15:29,800 --> 01:15:32,000
Speaker 3: being who is trying to sound like a high schooler.

1407
01:15:32,720 --> 01:15:36,240
Speaker 1: Yeah, wouldn't it be something if this were an actual

1408
01:15:36,280 --> 01:15:39,080
Speaker 1: snippet from something King wrote as a high schooler. Though,

1409
01:15:39,360 --> 01:15:40,800
Speaker 1: something that you know, unpublished.

1410
01:15:41,040 --> 01:15:45,519
Speaker 3: Oh, that would be good, but I remember so mister Follows.

1411
01:15:45,520 --> 01:15:48,400
Speaker 3: The teacher is played by Glenn Shaddocks from like Beetlejuice

1412
01:15:48,439 --> 01:15:52,160
Speaker 3: and so Glenn Shaddicks is He's like, very good, mister Brady,

1413
01:15:52,240 --> 01:15:56,880
Speaker 3: if that is your real name. He's overtly suspicious of

1414
01:15:56,960 --> 01:15:59,760
Speaker 3: him already. He's like asking him questions about didn't you

1415
01:15:59,800 --> 01:16:03,439
Speaker 3: say you came from Ohio? And Charles is like what

1416
01:16:03,680 --> 01:16:04,400
Speaker 3: do what? Now?

1417
01:16:04,560 --> 01:16:04,840
Speaker 4: Where?

1418
01:16:06,760 --> 01:16:09,960
Speaker 3: But mister Follows, we see he's one of these teachers

1419
01:16:10,120 --> 01:16:12,880
Speaker 3: who runs his classroom like a petty tyrant. He likes

1420
01:16:12,920 --> 01:16:16,320
Speaker 3: to swat students with a ruler if he catches them

1421
01:16:16,400 --> 01:16:20,519
Speaker 3: drawing naughty sketches. And he tells one student, you must

1422
01:16:20,600 --> 01:16:25,000
Speaker 3: learn to keep your hands to yourself. Remember that. But anyway,

1423
01:16:25,040 --> 01:16:28,639
Speaker 3: the class goes on to discuss the story. Tanya says

1424
01:16:28,680 --> 01:16:31,799
Speaker 3: that she likes the story. She thinks it's sad because

1425
01:16:31,840 --> 01:16:36,000
Speaker 3: the sleepwalkers are outsiders. They're always driven away, and this

1426
01:16:36,120 --> 01:16:38,840
Speaker 3: leads into a moment where mister Follows says, now, we

1427
01:16:38,880 --> 01:16:42,080
Speaker 3: all understand that a story has to have a beginning,

1428
01:16:42,200 --> 01:16:45,120
Speaker 3: a middle, and an end, but that's like saying a

1429
01:16:45,160 --> 01:16:49,719
Speaker 3: box has four sides. And then Charles interrupts him and says, actually,

1430
01:16:49,760 --> 01:16:54,000
Speaker 3: mister fellows, a box has six sides. Ooh, pretty good,

1431
01:16:54,439 --> 01:16:57,000
Speaker 3: but not only that. Like, the class laughs and one

1432
01:16:57,000 --> 01:17:04,840
Speaker 3: guy goes busted to the extreme. So mister Follows is

1433
01:17:04,920 --> 01:17:08,040
Speaker 3: clearly embarrassed and angry now, and so after school we

1434
01:17:08,080 --> 01:17:11,240
Speaker 3: see him staring out the window at Charles, simmering with rage.

1435
01:17:11,560 --> 01:17:14,720
Speaker 3: He's plotting his revenge. And from here, I guess we

1436
01:17:14,760 --> 01:17:17,000
Speaker 3: are starting to run a little bit short on time,

1437
01:17:17,080 --> 01:17:19,759
Speaker 3: so we shoul maybe skip more lightly over the plot

1438
01:17:19,800 --> 01:17:22,799
Speaker 3: machinations and just focus on some of the highlight scenes.

1439
01:17:23,720 --> 01:17:26,160
Speaker 3: So there's a scene between Tanya and her friends where

1440
01:17:26,160 --> 01:17:28,519
Speaker 3: they all talk about how dreamy Charles is, and then

1441
01:17:28,600 --> 01:17:31,120
Speaker 3: Charles shows up to offer Tanya a ride home in

1442
01:17:31,200 --> 01:17:34,400
Speaker 3: his trans am. They go to Tanya's house where he

1443
01:17:34,479 --> 01:17:36,320
Speaker 3: walks around her room and he gets to know her

1444
01:17:36,320 --> 01:17:38,360
Speaker 3: a little bit, like he looks at her photos. She

1445
01:17:38,360 --> 01:17:41,200
Speaker 3: has a photography hobby. We saw in the yearbook that

1446
01:17:41,240 --> 01:17:44,240
Speaker 3: she's in the president of the photography club. And there's

1447
01:17:44,240 --> 01:17:45,920
Speaker 3: one point where they like, look at a black and

1448
01:17:45,920 --> 01:17:48,639
Speaker 3: white photo of rocks and he says, I like rocks.

1449
01:17:49,720 --> 01:17:52,000
Speaker 3: There is also a cheesy gag where her room is

1450
01:17:52,120 --> 01:17:55,280
Speaker 3: essentially made of underwear and she's like running around trying

1451
01:17:55,280 --> 01:17:58,879
Speaker 3: to hide it all before Charles sees it. But Charles

1452
01:17:58,920 --> 01:18:02,640
Speaker 3: then also meets Tonya's mother, who has a hobby of

1453
01:18:02,640 --> 01:18:07,720
Speaker 3: her own, gravestone rubbings. I would love to know how

1454
01:18:07,840 --> 01:18:11,559
Speaker 3: this made it into the story, but gravestone rubbings. And

1455
01:18:11,920 --> 01:18:16,080
Speaker 3: it comes out to the mother that Charles and Tanya

1456
01:18:16,080 --> 01:18:18,760
Speaker 3: have made plans the following day to go to a

1457
01:18:18,800 --> 01:18:21,599
Speaker 3: cemetery in town called home Land. This is a big

1458
01:18:21,640 --> 01:18:24,639
Speaker 3: set piece, so the teenage characters talk about it, and

1459
01:18:24,680 --> 01:18:28,080
Speaker 3: this is quite at once a red flag to the

1460
01:18:28,120 --> 01:18:31,320
Speaker 3: mom because it is understood to be the town makeout spot.

1461
01:18:32,360 --> 01:18:35,479
Speaker 3: But Charles is very smooth. He manages to cover for

1462
01:18:35,560 --> 01:18:38,720
Speaker 3: them by saying their plan is actually to go there

1463
01:18:38,760 --> 01:18:42,519
Speaker 3: to do grave rubbings, again, the mom's favorite hobby, which

1464
01:18:42,560 --> 01:18:44,720
Speaker 3: for some reason he knows a lot about. Like she

1465
01:18:44,800 --> 01:18:47,040
Speaker 3: tries to catch him in a lie, like asking questions

1466
01:18:47,080 --> 01:18:49,400
Speaker 3: like do you use powder or stick? And I don't

1467
01:18:49,439 --> 01:18:51,200
Speaker 3: know he knows how to answer that for some reason.

1468
01:18:51,560 --> 01:18:56,080
Speaker 1: Yeah, yea, there's some rubbing jokes shoehorned in here that

1469
01:18:56,640 --> 01:18:57,599
Speaker 1: land reasonably well.

1470
01:18:57,840 --> 01:19:02,240
Speaker 3: Yeah. So after we get the I believe the first

1471
01:19:02,520 --> 01:19:06,080
Speaker 3: monster murder in the movie, Charles is driving down the

1472
01:19:06,120 --> 01:19:09,519
Speaker 3: highway just blasting rock music in the trans am when

1473
01:19:09,520 --> 01:19:12,800
Speaker 3: he is suddenly almost run off the road by someone

1474
01:19:12,880 --> 01:19:16,160
Speaker 3: in a white Volkswagen, so he pulls over, and why

1475
01:19:16,240 --> 01:19:20,599
Speaker 3: it is mister Fallows, the creative writing teacher follows comes

1476
01:19:20,680 --> 01:19:24,120
Speaker 3: up and tries to menace Charles by suggesting that he

1477
01:19:24,200 --> 01:19:27,000
Speaker 3: knows he's using a fake identity and that his transcripts

1478
01:19:27,000 --> 01:19:30,640
Speaker 3: were forged, and it's implied that he's trying to do

1479
01:19:30,720 --> 01:19:34,759
Speaker 3: some kind of sexual blackmail against Charles. But Charles turns

1480
01:19:34,800 --> 01:19:39,320
Speaker 3: the tables and he goes cat mode, so like Glen

1481
01:19:39,320 --> 01:19:42,360
Speaker 3: Shaddocks is leaning over him, and then Charles rips off

1482
01:19:42,400 --> 01:19:45,120
Speaker 3: his hand gives it back to him and he's like,

1483
01:19:45,160 --> 01:19:47,720
Speaker 3: you're right, mister Follows. We should learn to keep our

1484
01:19:47,800 --> 01:19:51,840
Speaker 3: hands to ourselves. Here's yours. Yeah.

1485
01:19:51,920 --> 01:19:53,760
Speaker 1: This is the first of many scenes where we get

1486
01:19:53,760 --> 01:19:57,360
Speaker 1: to see that the Sleepwalkers can tear human bodies apart

1487
01:19:57,400 --> 01:19:59,519
Speaker 1: like their well cooked pork at any moment.

1488
01:20:00,360 --> 01:20:03,200
Speaker 3: Yeah, shredded. Yeah. So I have a question actually about

1489
01:20:03,280 --> 01:20:06,880
Speaker 3: sleepwalker biology because after this, Glen Shaddocks runs into the

1490
01:20:06,880 --> 01:20:10,880
Speaker 3: woods and Charles runs after him in cat mode. He's

1491
01:20:10,920 --> 01:20:13,840
Speaker 3: got a lie in face, and he kills him in

1492
01:20:13,880 --> 01:20:17,000
Speaker 3: the woods, and it suggests that he eats him, like

1493
01:20:17,040 --> 01:20:20,479
Speaker 3: where we see from above where Glen Shaddocks is lying

1494
01:20:20,520 --> 01:20:24,400
Speaker 3: on the ground and Charles is above him, like doing

1495
01:20:24,439 --> 01:20:28,160
Speaker 3: that thing you see in monster movies sometimes where the

1496
01:20:28,400 --> 01:20:31,360
Speaker 3: monster predator type being is just sort of shaking their

1497
01:20:31,400 --> 01:20:35,880
Speaker 3: face over the victim's throat. But this implies I think

1498
01:20:36,280 --> 01:20:39,800
Speaker 3: that Charles eats him, like physically eats his flesh, which

1499
01:20:39,840 --> 01:20:42,719
Speaker 3: is not what he plans to do to Tanya. Once again,

1500
01:20:42,800 --> 01:20:46,479
Speaker 3: the life force that they are stealing, their planning to

1501
01:20:46,479 --> 01:20:49,599
Speaker 3: steal from Tanya comes in the form of sucking purple

1502
01:20:49,680 --> 01:20:53,240
Speaker 3: magic out of her breath, like out through her mouth,

1503
01:20:53,320 --> 01:20:56,760
Speaker 3: from her lungs. This just seems like he's eating the guy.

1504
01:20:56,920 --> 01:20:59,960
Speaker 3: And I don't know if they also normally just eat people.

1505
01:21:00,640 --> 01:21:04,680
Speaker 1: Well, Mom is cooking a chicken dinner later, I believe, Yeah,

1506
01:21:04,720 --> 01:21:05,840
Speaker 1: they eat regular food.

1507
01:21:05,920 --> 01:21:06,560
Speaker 4: Yeah.

1508
01:21:06,640 --> 01:21:09,599
Speaker 1: Yeah, So maybe there's like a sustenance for their physical

1509
01:21:09,600 --> 01:21:14,040
Speaker 1: bodies and then some greater sustenance they require. Another theory

1510
01:21:14,080 --> 01:21:18,519
Speaker 1: I had is that eventually we see that mom Mary

1511
01:21:18,600 --> 01:21:22,760
Speaker 1: has additional powers well beyond that of her son, and

1512
01:21:22,800 --> 01:21:26,240
Speaker 1: it makes one wonder if essentially she is some sort

1513
01:21:26,240 --> 01:21:29,519
Speaker 1: of an ancient god like being and he is her

1514
01:21:29,640 --> 01:21:32,680
Speaker 1: demi god offspring, or he is her monstrous offspring that

1515
01:21:33,280 --> 01:21:37,639
Speaker 1: helps her and serves her. But she clearly has some

1516
01:21:37,720 --> 01:21:41,240
Speaker 1: greater accumulated power, and maybe that's where the need for

1517
01:21:41,840 --> 01:21:43,040
Speaker 1: souls comes into play.

1518
01:21:43,320 --> 01:21:45,760
Speaker 3: Oh so what if it's more like the Hunger, Like

1519
01:21:45,840 --> 01:21:49,679
Speaker 3: she's the Catherine Denov character and Charles is the David

1520
01:21:49,720 --> 01:21:50,439
Speaker 3: Bowie character.

1521
01:21:50,680 --> 01:21:54,080
Speaker 1: Yeah, something like that. I mean, ultimately, it's all monster business,

1522
01:21:54,120 --> 01:21:56,240
Speaker 1: and we are we're not supposed to understand it.

1523
01:21:57,200 --> 01:21:59,280
Speaker 3: So the next scene we get. The next big scene

1524
01:21:59,320 --> 01:22:02,400
Speaker 3: is the police chase, which is great because it's where

1525
01:22:02,400 --> 01:22:05,639
Speaker 3: we first meet the actor Dan Martin playing Deputy Andy

1526
01:22:05,680 --> 01:22:09,519
Speaker 3: Simpson and his loyal police cat, Clovis. So when we

1527
01:22:09,560 --> 01:22:12,040
Speaker 3: first joined them, they are staked out on the highway,

1528
01:22:12,080 --> 01:22:14,280
Speaker 3: parked beside the edge of the road, playing with one

1529
01:22:14,320 --> 01:22:17,680
Speaker 3: of those dangle toys, and the coffin is saying, he's like,

1530
01:22:17,840 --> 01:22:20,559
Speaker 3: come on, boy, get the bad guy for daddy, get

1531
01:22:20,600 --> 01:22:25,160
Speaker 3: that mffort, and Clovis, the cat, is just swatting with

1532
01:22:25,280 --> 01:22:27,400
Speaker 3: pleasure at the toy and it's adorable.

1533
01:22:27,760 --> 01:22:31,479
Speaker 1: Yeah, Clovis has a little tag that says what Clovis

1534
01:22:31,520 --> 01:22:32,200
Speaker 1: the attack cat.

1535
01:22:32,280 --> 01:22:36,960
Speaker 3: I think that is right. But meanwhile, while they're playing

1536
01:22:37,000 --> 01:22:40,800
Speaker 3: here in the car, Charles zooms by in his car

1537
01:22:40,840 --> 01:22:44,280
Speaker 3: at million miles per hour and Deputy Andy joins in

1538
01:22:44,320 --> 01:22:48,360
Speaker 3: hot pursuit. So this turns into a whole car chase

1539
01:22:48,400 --> 01:22:50,840
Speaker 3: scene that goes all over the place. So I'm just

1540
01:22:50,840 --> 01:22:53,879
Speaker 3: gonna mention some elements of it. One is the shredding

1541
01:22:53,920 --> 01:22:57,200
Speaker 3: wee wall guitars to like, never let up. Those are

1542
01:22:57,240 --> 01:23:00,720
Speaker 3: really good. Another thing is that Charles seems to know

1543
01:23:00,760 --> 01:23:04,400
Speaker 3: a lot of stunt driving tricks. He's an experienced driver.

1544
01:23:05,520 --> 01:23:08,599
Speaker 3: And at one point they're like going through a school

1545
01:23:08,600 --> 01:23:11,880
Speaker 3: bus crossing where children are going across the street, and

1546
01:23:12,840 --> 01:23:15,160
Speaker 3: you know, they both see that they're approaching this, and

1547
01:23:15,240 --> 01:23:17,920
Speaker 3: Charles like looks at the kids and then just smiles

1548
01:23:17,960 --> 01:23:21,960
Speaker 3: before revving the engine even harder. Fortunately no children are harmed.

1549
01:23:22,000 --> 01:23:24,160
Speaker 3: We see like the crossing guard pulls the kid out

1550
01:23:24,200 --> 01:23:26,800
Speaker 3: of the way before Charles comes through. But it's like

1551
01:23:26,840 --> 01:23:29,400
Speaker 3: that scene in the Simpsons episode where there's like the

1552
01:23:29,400 --> 01:23:33,479
Speaker 3: true crime creep movie about Homer starring Dennis Franz, you know,

1553
01:23:33,560 --> 01:23:36,200
Speaker 3: and the girl goes, no, mister Simpson, a cat is

1554
01:23:36,240 --> 01:23:39,600
Speaker 3: a living creature, Dennis france I don't care.

1555
01:23:39,920 --> 01:23:40,680
Speaker 1: I remember that.

1556
01:23:40,800 --> 01:23:46,040
Speaker 3: Yeah, But anyway, Finally, Deputy Andy pulls up beside Charles

1557
01:23:46,040 --> 01:23:48,519
Speaker 3: in pursuit, so they're driving beside each other on the road,

1558
01:23:48,880 --> 01:23:51,320
Speaker 3: and at first Charles just laughs and gives him the finger,

1559
01:23:51,600 --> 01:23:54,639
Speaker 3: but then Clovis the cat pops up into the window,

1560
01:23:55,120 --> 01:23:57,720
Speaker 3: and this causes Charles to not only freak out, but

1561
01:23:57,800 --> 01:24:01,120
Speaker 3: to go into random morphine mode, where he cycles through

1562
01:24:01,160 --> 01:24:04,480
Speaker 3: like a dozen different kinds of heads that he has available,

1563
01:24:05,240 --> 01:24:08,040
Speaker 3: and the deputy witnesses all of the heads morphine and

1564
01:24:08,120 --> 01:24:12,080
Speaker 3: he gets weirded out. Rob Just below this in the outline,

1565
01:24:12,080 --> 01:24:15,240
Speaker 3: I've attached here a selection of some of the heads

1566
01:24:15,280 --> 01:24:17,960
Speaker 3: he goes through. This is not all of them. He

1567
01:24:18,720 --> 01:24:21,600
Speaker 3: has like a little boy human head, he has like

1568
01:24:21,720 --> 01:24:24,040
Speaker 3: sort of a kitten head, he has sort of a

1569
01:24:24,120 --> 01:24:26,479
Speaker 3: lion head, and then he has more kind of weird

1570
01:24:27,000 --> 01:24:30,120
Speaker 3: gummy rubbery monster creature heads that are a little bit

1571
01:24:30,160 --> 01:24:33,320
Speaker 3: cat like but also just sort of like gray aliens

1572
01:24:33,320 --> 01:24:36,559
Speaker 3: with huge black eyes. Then more of a gargoyle head

1573
01:24:36,600 --> 01:24:39,360
Speaker 3: with big pointy ears like elf ears, then more of

1574
01:24:39,400 --> 01:24:42,400
Speaker 3: a gargoyle head with a large cranium. It's just all

1575
01:24:42,439 --> 01:24:43,120
Speaker 3: over the place.

1576
01:24:43,600 --> 01:24:46,479
Speaker 1: It is an amazing sequence, and you can pause it

1577
01:24:46,600 --> 01:24:51,760
Speaker 1: at any moment and just be enthralled by what you're given. Yeah,

1578
01:24:51,760 --> 01:24:54,960
Speaker 1: it's like Clovis has jumped to attention. Clovis is like, Dad,

1579
01:24:55,000 --> 01:24:57,559
Speaker 1: I'm on this. I see what this is. And he's like,

1580
01:24:57,600 --> 01:25:00,960
Speaker 1: oh crap, I'm busted by the cats. Yes, it freaks out.

1581
01:25:00,960 --> 01:25:04,439
Speaker 3: It's wonderful. And the deputy witnesses all the heads. He's

1582
01:25:04,479 --> 01:25:08,240
Speaker 3: weirded out by it. But Charles finally escapes the situation

1583
01:25:08,320 --> 01:25:11,040
Speaker 3: by pulling off road. And then this is one of

1584
01:25:11,080 --> 01:25:14,840
Speaker 3: the sleepwalker powers. He can concentrate and do what they

1585
01:25:14,880 --> 01:25:19,040
Speaker 3: call making himself in the car dim So sleepwalkers have

1586
01:25:19,080 --> 01:25:22,720
Speaker 3: the power to turn themselves and their vehicles invisible.

1587
01:25:24,560 --> 01:25:28,240
Speaker 1: This is kind of a callback to King's book Eyes

1588
01:25:28,280 --> 01:25:31,839
Speaker 1: with the Dragon, in which there is an invisibility spell

1589
01:25:32,040 --> 01:25:35,439
Speaker 1: that one of the characters utilizes. And it's just I

1590
01:25:35,439 --> 01:25:37,960
Speaker 1: don't know if he uses dim in that description, but

1591
01:25:38,040 --> 01:25:40,439
Speaker 1: there's this. He has a nice description of how it

1592
01:25:40,439 --> 01:25:43,280
Speaker 1: doesn't completely make you invisible, but kind of yeah, makes

1593
01:25:43,320 --> 01:25:47,240
Speaker 1: you dim and people miss you and all here though

1594
01:25:47,479 --> 01:25:51,120
Speaker 1: it is visually just the car straight up turns invisible.

1595
01:25:50,760 --> 01:25:53,400
Speaker 3: And then afterwards he's able to transform it into a

1596
01:25:53,439 --> 01:25:56,240
Speaker 3: different kind of car. It's like a different color and

1597
01:25:56,280 --> 01:25:57,000
Speaker 3: different model.

1598
01:25:57,320 --> 01:26:01,040
Speaker 1: I have more questions about that, the car transformation. But

1599
01:26:01,120 --> 01:26:04,400
Speaker 1: we get that scene where Simpson pulls off the road

1600
01:26:04,479 --> 01:26:08,320
Speaker 1: he thinks he's lost him, but of course Clovis sees him.

1601
01:26:08,360 --> 01:26:12,360
Speaker 1: Clovis is staring right at the car. The invisibility trick

1602
01:26:12,439 --> 01:26:16,920
Speaker 1: does not work on the Feeline Ancient enemies of the Sleepwalkers.

1603
01:26:16,240 --> 01:26:18,280
Speaker 3: And Charles is yelling at the cat. He's like, get

1604
01:26:18,320 --> 01:26:19,240
Speaker 3: out of your cat.

1605
01:26:20,240 --> 01:26:22,559
Speaker 1: But we get a great shot here at Clovis in

1606
01:26:22,640 --> 01:26:27,800
Speaker 1: the window of the squad car with the with the shotgun.

1607
01:26:27,840 --> 01:26:30,120
Speaker 1: You know how they store the shotgun in the squad car,

1608
01:26:30,200 --> 01:26:32,760
Speaker 1: like pointing up right behind it. It really looks like

1609
01:26:32,800 --> 01:26:35,200
Speaker 1: Officer Clovis is on the on the job here. I

1610
01:26:35,240 --> 01:26:35,599
Speaker 1: love it.

1611
01:26:35,840 --> 01:26:39,920
Speaker 3: Yeah, So some big scenes in the movie after this.

1612
01:26:40,520 --> 01:26:43,040
Speaker 3: Of course, there's the scene where Charles and Tanya have

1613
01:26:43,160 --> 01:26:45,519
Speaker 3: their date to go to the cemetery. So they're going

1614
01:26:45,560 --> 01:26:49,839
Speaker 3: off to homeland, and the date starts off very flirty

1615
01:26:49,920 --> 01:26:53,040
Speaker 3: and fun, but of course at some point it's gonna

1616
01:26:53,080 --> 01:26:56,120
Speaker 3: have to to turn evil, and so there at one

1617
01:26:56,120 --> 01:26:58,840
Speaker 3: point they start kissing, and then Charles just suddenly begins

1618
01:26:58,880 --> 01:27:03,599
Speaker 3: sucking her soul out, and he shifts very abruptly from

1619
01:27:03,680 --> 01:27:06,799
Speaker 3: his charming mode and maybe kind of a subtle menacing

1620
01:27:06,920 --> 01:27:11,559
Speaker 3: charm just into full late Elm Street sequel Freddy Krueger

1621
01:27:11,600 --> 01:27:14,839
Speaker 3: mode where he's making jokes like he's like, it doesn't

1622
01:27:14,840 --> 01:27:17,800
Speaker 3: have to hurt Tanya. Okay, I lied, it does have

1623
01:27:17,880 --> 01:27:18,280
Speaker 3: to hurt.

1624
01:27:19,320 --> 01:27:22,679
Speaker 1: Yeah, And this whole sequence feels very out of keeping

1625
01:27:22,680 --> 01:27:26,760
Speaker 1: with where everywhere we'd gone thus far. Yeah, there was this.

1626
01:27:26,960 --> 01:27:30,200
Speaker 1: There was a great scene but shortly before this where

1627
01:27:31,320 --> 01:27:35,080
Speaker 1: where we go by we go by the house and

1628
01:27:35,200 --> 01:27:38,360
Speaker 1: Tanya meets Mary, and I rather liked that sequence where

1629
01:27:38,400 --> 01:27:42,880
Speaker 1: Mary's being like almost overtly hostile to her and like

1630
01:27:43,160 --> 01:27:47,080
Speaker 1: brandishing these big scissors and all. And at that point

1631
01:27:47,120 --> 01:27:49,240
Speaker 1: my wife watched part of this with me. She'd seen

1632
01:27:49,280 --> 01:27:51,040
Speaker 1: it back in the day, and she was like, well,

1633
01:27:51,040 --> 01:27:53,320
Speaker 1: why don't they just eat her soul? Here? Like, now's

1634
01:27:53,360 --> 01:27:56,479
Speaker 1: the time? Good question, It is a great question. I

1635
01:27:56,479 --> 01:27:59,080
Speaker 1: think this is ultimately a plot hole. I guess if

1636
01:27:59,080 --> 01:28:01,120
Speaker 1: you're being generous, you might say, well, it has to

1637
01:28:01,120 --> 01:28:03,320
Speaker 1: come from maybe their feeding has to come from a

1638
01:28:03,320 --> 01:28:07,719
Speaker 1: place of seduction. But that only seems initially meat.

1639
01:28:08,040 --> 01:28:09,400
Speaker 3: To use a term from it.

1640
01:28:09,479 --> 01:28:12,759
Speaker 1: Maybe if that is true, it seems to be only

1641
01:28:12,800 --> 01:28:16,160
Speaker 1: initially true because in this whole sequence with the Freddy

1642
01:28:16,200 --> 01:28:19,160
Speaker 1: Krueger ing and the chasing around, like he's just overtly

1643
01:28:19,520 --> 01:28:22,880
Speaker 1: attacking her. Yeah, and it seems like any necessity of

1644
01:28:22,920 --> 01:28:24,880
Speaker 1: seduction is just completely out the window.

1645
01:28:24,840 --> 01:28:27,720
Speaker 3: And he's making jokes about it. That's the Freddy Krugery thing.

1646
01:28:27,800 --> 01:28:31,839
Speaker 3: Like she she defends herself, like she repeatedly wounds Charles

1647
01:28:31,840 --> 01:28:34,120
Speaker 3: as they fight, but he just kind of keeps popping

1648
01:28:34,200 --> 01:28:36,040
Speaker 3: back up. At one point, she stabs him in the

1649
01:28:36,080 --> 01:28:38,960
Speaker 3: eye with a cork scull. Oh yes, yes, and then

1650
01:28:39,040 --> 01:28:40,960
Speaker 3: he falls down and then he and then he goes

1651
01:28:41,280 --> 01:28:44,519
Speaker 3: just look at my shirt, Tanya, mother is gonna kill me.

1652
01:28:45,520 --> 01:28:47,559
Speaker 1: Yeah? Where did this all come from?

1653
01:28:47,800 --> 01:28:51,760
Speaker 3: Yeah? But here in this scene we we get a

1654
01:28:51,800 --> 01:28:55,559
Speaker 3: payback where Deputy Andy Simpson and Clovis turn up once again.

1655
01:28:55,680 --> 01:28:58,400
Speaker 3: They show up to the rescue, they notice the blue

1656
01:28:58,400 --> 01:29:01,320
Speaker 3: trans am parked outside of the terry and they arrive

1657
01:29:01,360 --> 01:29:04,479
Speaker 3: on the scene Deputy and he tries to help Tanya,

1658
01:29:04,640 --> 01:29:08,280
Speaker 3: but unfortunately Charles shows up and stabs him in the

1659
01:29:08,280 --> 01:29:10,280
Speaker 3: ear with a pencil I think the pencil they were

1660
01:29:10,280 --> 01:29:12,720
Speaker 3: going to use to do the grave rubbings, and then

1661
01:29:12,760 --> 01:29:16,439
Speaker 3: declares him a cop kebob because I guess there's a

1662
01:29:16,479 --> 01:29:23,040
Speaker 3: stick running through Yeah, okay, it's unfortunate, But remember that

1663
01:29:23,240 --> 01:29:26,200
Speaker 3: sleepwalkers are vulnerable to the deadly scratch of a cat,

1664
01:29:26,600 --> 01:29:29,479
Speaker 3: and so also in the scene, Clovis comes to the rescue,

1665
01:29:29,520 --> 01:29:33,200
Speaker 3: he attacks Charles, scratching him and this seems to sort

1666
01:29:33,200 --> 01:29:38,680
Speaker 3: of drain Charles's power to heal himself and drains his resiliency.

1667
01:29:39,040 --> 01:29:41,639
Speaker 3: He desperately flees the scene in his car, going back

1668
01:29:41,680 --> 01:29:44,439
Speaker 3: home to his mother and she takes care of his wounds.

1669
01:29:44,720 --> 01:29:47,360
Speaker 1: Oh and we get that heartbreaking scene though I Clovis

1670
01:29:47,400 --> 01:29:51,679
Speaker 1: comes over to his dead Master and sits on Deputy

1671
01:29:51,720 --> 01:29:55,640
Speaker 1: Simpson's chest. And it's in this moment that Clovis swears

1672
01:29:56,000 --> 01:30:00,639
Speaker 1: eternal vengeance against Sleepwalkers, like it was his aim duty

1673
01:30:00,800 --> 01:30:03,800
Speaker 1: as a cat to kill sleep walker's previously, but now

1674
01:30:03,800 --> 01:30:04,519
Speaker 1: it is personal.

1675
01:30:04,800 --> 01:30:07,600
Speaker 3: The cat morning scene, I was genuinely moved. And it

1676
01:30:07,640 --> 01:30:09,240
Speaker 3: comes right after kap Kebab.

1677
01:30:09,560 --> 01:30:21,719
Speaker 1: Yeah. So at this point our monster has been Beowulf.

1678
01:30:21,920 --> 01:30:25,479
Speaker 1: He has been brutally injured by Tanya and by Clovis,

1679
01:30:25,840 --> 01:30:29,240
Speaker 1: and like Grendel in the story of Beowulf, returns home to.

1680
01:30:29,200 --> 01:30:32,920
Speaker 3: The lair, right, So in the aftermath of the attack,

1681
01:30:32,960 --> 01:30:34,680
Speaker 3: this is probably the place we should mention that there

1682
01:30:34,680 --> 01:30:38,920
Speaker 3: are just tons of cameos, like all of the author

1683
01:30:39,080 --> 01:30:43,400
Speaker 3: and Horror World cameos of people showing up I guess

1684
01:30:43,439 --> 01:30:45,080
Speaker 3: at the crime scene. So this is where you get

1685
01:30:45,080 --> 01:30:48,800
Speaker 3: Stephen King wandering around telling everybody like, look, I'm not

1686
01:30:48,880 --> 01:30:51,479
Speaker 3: responsible for every pervert who comes in this cemetery. I

1687
01:30:51,479 --> 01:30:52,719
Speaker 3: don't need this kind of action.

1688
01:30:53,120 --> 01:30:56,000
Speaker 1: Yeah, and let's see who else do we get in

1689
01:30:56,000 --> 01:30:59,080
Speaker 1: this scene. I believe Clive Barker is on the case

1690
01:30:59,120 --> 01:30:59,799
Speaker 1: as a forensic.

1691
01:31:00,560 --> 01:31:01,680
Speaker 3: Yes, yeah, well.

1692
01:31:03,560 --> 01:31:05,640
Speaker 1: You know, Stephen King once said I have seen the

1693
01:31:05,680 --> 01:31:08,080
Speaker 1: Future of horror, and his name is Clive Barker, so

1694
01:31:08,280 --> 01:31:11,840
Speaker 1: you know here he is Mary. Yeah, indeed, I believe

1695
01:31:11,920 --> 01:31:14,160
Speaker 1: Toby Hooper is also on the case. Here is another

1696
01:31:14,200 --> 01:31:14,920
Speaker 1: forensic tech.

1697
01:31:15,280 --> 01:31:15,759
Speaker 3: Amazing.

1698
01:31:16,040 --> 01:31:20,000
Speaker 1: Yeah, and let's see, I'm trying. I think we we're

1699
01:31:20,000 --> 01:31:22,400
Speaker 1: going to get a couple of more later, but I'll

1700
01:31:22,400 --> 01:31:23,200
Speaker 1: go ahead and mention them.

1701
01:31:23,200 --> 01:31:23,360
Speaker 3: Now.

1702
01:31:23,560 --> 01:31:25,559
Speaker 1: We're gonna get a scene later where we're you know,

1703
01:31:25,600 --> 01:31:28,320
Speaker 1: doing the autopsis and so you know, lab technician work,

1704
01:31:28,680 --> 01:31:31,439
Speaker 1: and that's where we're going to get lab technician John Landis.

1705
01:31:32,000 --> 01:31:35,760
Speaker 1: We're going to get lab assistant Joe Dante, and we're

1706
01:31:35,800 --> 01:31:39,840
Speaker 1: also going to get Cynthia Garris, who is of course

1707
01:31:39,920 --> 01:31:40,840
Speaker 1: Mike Garris's wife.

1708
01:31:41,120 --> 01:31:43,800
Speaker 3: Crammon so much in So Fast And also I think

1709
01:31:44,240 --> 01:31:47,160
Speaker 3: the you know, ninety nine percent of the people who

1710
01:31:47,439 --> 01:31:50,520
Speaker 3: see these movies would not have recognized who these people were.

1711
01:31:50,680 --> 01:31:53,600
Speaker 1: Right, this is this was for the horror fans. I

1712
01:31:53,640 --> 01:31:56,280
Speaker 1: think this is for the horror geeks. I mean, honestly,

1713
01:31:56,320 --> 01:31:58,760
Speaker 1: I didn't even recognize Clive Barker at first, and I

1714
01:31:58,800 --> 01:32:01,519
Speaker 1: was on the lookout for him so young in this

1715
01:32:01,880 --> 01:32:03,360
Speaker 1: I'm just not used to seeing him this yet.

1716
01:32:03,680 --> 01:32:08,840
Speaker 3: Yeah. Okay, so here we're accelerating toward the ending. So

1717
01:32:09,160 --> 01:32:14,519
Speaker 3: the movie concludes basically with Mary turning into Grendel's mom

1718
01:32:14,720 --> 01:32:17,559
Speaker 3: and going on a revenge to her. She decides to

1719
01:32:17,600 --> 01:32:21,200
Speaker 3: go to the Robertson home for revenge and to bring

1720
01:32:21,240 --> 01:32:23,920
Speaker 3: Tanya back so that she and Charles can both feed

1721
01:32:24,000 --> 01:32:27,360
Speaker 3: on Tanya. But the scene where she attacks the Robertson

1722
01:32:27,600 --> 01:32:31,120
Speaker 3: home this is also one of these crazy tonal whiplash

1723
01:32:31,160 --> 01:32:35,080
Speaker 3: scenes because you get like, oh, you know, parents grieving

1724
01:32:35,240 --> 01:32:39,240
Speaker 3: for like their child being in danger, like this consciousness

1725
01:32:39,240 --> 01:32:42,000
Speaker 3: of the mortality of their child and their child suffering,

1726
01:32:42,439 --> 01:32:44,680
Speaker 3: and it's I don't know, it's like a horrible thing

1727
01:32:44,760 --> 01:32:47,400
Speaker 3: to imagine, and it's really tender the way the movie

1728
01:32:47,439 --> 01:32:50,559
Speaker 3: deals with those kind of relationships. But then also Mary

1729
01:32:50,600 --> 01:32:52,559
Speaker 3: shows up and starts stabbing people to death with a

1730
01:32:52,600 --> 01:32:56,599
Speaker 3: corn cob and saying like, no vegetables, no dessert. It's

1731
01:32:56,680 --> 01:32:58,240
Speaker 3: just off the wall.

1732
01:32:58,800 --> 01:33:03,000
Speaker 1: But again, Alice Kreega is so good that I still

1733
01:33:03,040 --> 01:33:04,280
Speaker 1: I buy it. I lap it all up.

1734
01:33:04,600 --> 01:33:06,800
Speaker 3: This is also the part of the movie where we

1735
01:33:06,840 --> 01:33:11,040
Speaker 3: meet Ron Pearlman, and Ron Pearlman tries to stop Alice

1736
01:33:11,120 --> 01:33:15,559
Speaker 3: Kriega from fleeing the scene and kidnapping Tanya, but she

1737
01:33:15,720 --> 01:33:19,719
Speaker 3: thwarts him by biting off his fingers and he screams

1738
01:33:19,720 --> 01:33:23,479
Speaker 3: in pain. And then there is an amazing moment where

1739
01:33:23,600 --> 01:33:27,599
Speaker 3: she takes I think is Ron Pearlman's revolver and then

1740
01:33:27,800 --> 01:33:31,640
Speaker 3: shoots the police cars so they explode in a fireball,

1741
01:33:31,760 --> 01:33:33,400
Speaker 3: each one bullet fireball.

1742
01:33:33,640 --> 01:33:37,080
Speaker 1: She one shots each of the cop cars, just a

1743
01:33:37,080 --> 01:33:40,520
Speaker 1: perfect Marksman full terminator mode, like we said.

1744
01:33:40,520 --> 01:33:44,120
Speaker 3: Yeah, So Mary kidnaps Tanya, takes her back to Casa

1745
01:33:44,160 --> 01:33:48,400
Speaker 3: Day Sleepwalker, where the cats have amassed in great, great numbers.

1746
01:33:48,439 --> 01:33:52,479
Speaker 3: Now they're overwhelming presence of cats outside, and Mary comes

1747
01:33:52,520 --> 01:33:54,559
Speaker 3: up with a clever way to get insight because otherwise

1748
01:33:54,600 --> 01:33:55,960
Speaker 3: she'd have to go through the yard and there are

1749
01:33:55,960 --> 01:33:59,360
Speaker 3: too many cats. So she drives the police car that

1750
01:33:59,400 --> 01:34:03,000
Speaker 3: they stole through the wall into the house and then

1751
01:34:03,080 --> 01:34:06,400
Speaker 3: takes Tanya inside. She's trying to get the weak wounded

1752
01:34:06,479 --> 01:34:10,360
Speaker 3: Charles to suck out Tanya's soul, but the monsters are

1753
01:34:10,360 --> 01:34:13,439
Speaker 3: foiled yet again, this time by a combination of cop

1754
01:34:13,560 --> 01:34:16,759
Speaker 3: and cat. The one cop left, the sheriff that basically

1755
01:34:16,800 --> 01:34:21,040
Speaker 3: the the one non comedy relief cop shows up and

1756
01:34:21,320 --> 01:34:23,720
Speaker 3: is like trying to help. He blows off the door

1757
01:34:23,760 --> 01:34:26,880
Speaker 3: and comes in to interfere. Of course Mary ends up

1758
01:34:26,920 --> 01:34:30,799
Speaker 3: skewering him on the picket fence outside. But also the cats.

1759
01:34:30,840 --> 01:34:33,720
Speaker 3: It's just too much cats. Now, they can't overcome the

1760
01:34:33,760 --> 01:34:37,320
Speaker 3: power of cats and the cats. The cats win the day.

1761
01:34:37,520 --> 01:34:39,880
Speaker 1: The cats have decided that critical mass have been reached.

1762
01:34:39,960 --> 01:34:43,200
Speaker 1: Clovis is here. Clovis leads the charge in through I

1763
01:34:43,200 --> 01:34:46,360
Speaker 1: believe one of the upstairs windows. Yeah, and they're surging

1764
01:34:46,400 --> 01:34:50,760
Speaker 1: in before she can the soul suck, before the you know,

1765
01:34:50,800 --> 01:34:55,439
Speaker 1: the partial resurrection can be achieved. And yeah, this is

1766
01:34:55,439 --> 01:34:57,680
Speaker 1: where we learn where we learned this already, but now

1767
01:34:57,680 --> 01:35:00,439
Speaker 1: we get to see it in action, that cats, when

1768
01:35:00,479 --> 01:35:04,840
Speaker 1: they're clawing, especially in great number at the sleepwalkers, their

1769
01:35:04,920 --> 01:35:09,520
Speaker 1: cuts like actually cause burns to the sleepwalker's flesh.

1770
01:35:09,640 --> 01:35:13,080
Speaker 3: Yes, like in the scratch through at the text at

1771
01:35:13,120 --> 01:35:17,120
Speaker 3: the beginning. Yeah, And so in the end, Tanya escapes

1772
01:35:17,160 --> 01:35:21,439
Speaker 3: the scene with Clovis in the police car as the

1773
01:35:21,520 --> 01:35:24,080
Speaker 3: last of the sleepwalkers go up in flames from all

1774
01:35:24,160 --> 01:35:27,040
Speaker 3: of the cat scratches. They've got cat scratch fever very bad.

1775
01:35:27,840 --> 01:35:31,160
Speaker 3: And so yeah, they drive away, or they don't drive away.

1776
01:35:31,280 --> 01:35:33,280
Speaker 3: She actually like backs the car up into a tree,

1777
01:35:33,400 --> 01:35:36,439
Speaker 3: so they drive away by about fifty feet and then

1778
01:35:36,439 --> 01:35:38,559
Speaker 3: she's just sitting in the car with Clovis. In the

1779
01:35:38,640 --> 01:35:41,840
Speaker 3: last line of the movie is Tanya saying, it's just

1780
01:35:41,920 --> 01:35:43,240
Speaker 3: you and me now, Clovis.

1781
01:35:45,400 --> 01:35:48,840
Speaker 1: Oh man, so good, so good. I loved ever been

1782
01:35:48,960 --> 01:35:53,040
Speaker 1: of this film, even more bonkers than I remember. It's

1783
01:35:53,080 --> 01:35:58,960
Speaker 1: got some very fun performances in it. Lots of cat action. Yeah,

1784
01:35:59,320 --> 01:36:02,080
Speaker 1: don't listen to the critics from the early nineties. They

1785
01:36:02,080 --> 01:36:03,320
Speaker 1: didn't know what they had.

1786
01:36:03,600 --> 01:36:06,679
Speaker 3: Any more business to address about sleepwalkers before we wrap

1787
01:36:06,720 --> 01:36:07,320
Speaker 3: it up today.

1788
01:36:07,560 --> 01:36:11,080
Speaker 1: Oh man, I don't know. We probably didn't do the

1789
01:36:11,200 --> 01:36:14,280
Speaker 1: terminator rampage complete justice because it is just it just

1790
01:36:14,320 --> 01:36:16,599
Speaker 1: comes out of nowhere and then it doesn't stop. Yes,

1791
01:36:16,640 --> 01:36:21,759
Speaker 1: and yeah, the corn cob stabbing, picket fencing, finger eating.

1792
01:36:22,360 --> 01:36:25,559
Speaker 1: There's a lot of cool telekinesis and her you think

1793
01:36:25,600 --> 01:36:27,400
Speaker 1: that her son is dead and she's like, you must

1794
01:36:27,479 --> 01:36:30,040
Speaker 1: dance with him, and she's going to, like, at first,

1795
01:36:30,040 --> 01:36:32,560
Speaker 1: it seems like she's gonna telekinetically resurrect him and just

1796
01:36:32,640 --> 01:36:34,640
Speaker 1: kind of puppet him around and make her dance with him.

1797
01:36:34,680 --> 01:36:37,840
Speaker 1: But then he revives to some extent. So there's a

1798
01:36:37,920 --> 01:36:42,000
Speaker 1: lot of a lot of Stephen Kingsey horror packed into

1799
01:36:42,000 --> 01:36:43,840
Speaker 1: those last twenty minutes or so.

1800
01:36:44,280 --> 01:36:48,400
Speaker 3: Yeah, they kind of When she first shows up and

1801
01:36:48,520 --> 01:36:50,439
Speaker 3: is like trying to make Charles dance with her, it's

1802
01:36:50,520 --> 01:36:53,320
Speaker 3: kind of Texas chainsaw like Grandpa was a one hitter

1803
01:36:53,479 --> 01:36:56,559
Speaker 3: kind of stuff. Yeah, yeah, but no, I think Charles

1804
01:36:56,680 --> 01:36:58,679
Speaker 3: is still alive. They kind of they're kind of faking

1805
01:36:58,680 --> 01:37:01,679
Speaker 3: her out. Right. He does sort of end up sucking

1806
01:37:01,680 --> 01:37:03,160
Speaker 3: the purple juice out.

1807
01:37:03,200 --> 01:37:04,559
Speaker 1: I mean I feel like he's about dead.

1808
01:37:05,240 --> 01:37:06,240
Speaker 3: Yeah, he is about dead.

1809
01:37:06,320 --> 01:37:11,160
Speaker 1: Yeah, but a little soul sucking would fix things if

1810
01:37:11,160 --> 01:37:13,800
Speaker 1: they were able to pull it off. But thankfully they

1811
01:37:13,800 --> 01:37:15,280
Speaker 1: are not able to do so.

1812
01:37:15,360 --> 01:37:19,759
Speaker 3: Tanya keeps her soul and gains a new friend in Clovis. Yeah,

1813
01:37:20,320 --> 01:37:23,320
Speaker 3: unclear if her to be a little morbid, if her

1814
01:37:23,320 --> 01:37:26,120
Speaker 3: family is still alive. I don't think they resolved. Her

1815
01:37:26,200 --> 01:37:27,759
Speaker 3: parents are at least what.

1816
01:37:28,000 --> 01:37:30,000
Speaker 1: They did not. Yeah, we didn't get a clear I

1817
01:37:30,040 --> 01:37:32,800
Speaker 1: think we see Dad is still breathing. Mom is like

1818
01:37:32,880 --> 01:37:36,320
Speaker 1: in a heap on in the front yard. Who knows. Yeah,

1819
01:37:36,439 --> 01:37:39,200
Speaker 1: it's possible that some some cats came in to like

1820
01:37:39,280 --> 01:37:42,960
Speaker 1: lick them back into back to health, you know, because

1821
01:37:43,120 --> 01:37:45,040
Speaker 1: the cats are on the case that's possible.

1822
01:37:45,680 --> 01:37:48,559
Speaker 3: Oh, they can't say. If you've ever seen Catwoman with

1823
01:37:48,640 --> 01:37:51,840
Speaker 3: Halle Berry, cats can save you from mortal wounds by

1824
01:37:52,040 --> 01:37:54,440
Speaker 3: sort of climbing up on you and breathing in your face.

1825
01:37:54,280 --> 01:37:57,519
Speaker 1: It's close enough. I'll accept it. Yeah, I guess my

1826
01:37:57,600 --> 01:38:02,879
Speaker 1: hope here Clovis survives, Tanya survives. I think what happens

1827
01:38:03,000 --> 01:38:06,240
Speaker 1: clearly is that Tanya is going to go on to

1828
01:38:06,360 --> 01:38:10,760
Speaker 1: coach a women's basketball team and Clovis is going to

1829
01:38:10,800 --> 01:38:13,639
Speaker 1: be the mascot, and somewhere out there in the world

1830
01:38:13,800 --> 01:38:18,240
Speaker 1: there is one more surviving Sleepwalker, and that sleepwalker wants revenge.

1831
01:38:18,640 --> 01:38:20,880
Speaker 1: I don't know where the rest goes. We'll have to

1832
01:38:20,920 --> 01:38:23,320
Speaker 1: ask Tabitha King about that, but I want to see it.

1833
01:38:23,680 --> 01:38:25,719
Speaker 3: That's good though. I thought you were going to say

1834
01:38:25,960 --> 01:38:29,440
Speaker 3: Tanya becomes like Buffy the vampire Slayer, but the Sleepwalker

1835
01:38:29,479 --> 01:38:32,400
Speaker 3: slayer she has to hunt them all around. I guess

1836
01:38:32,439 --> 01:38:34,160
Speaker 3: in Buffy they always come to her. They come to

1837
01:38:34,160 --> 01:38:35,080
Speaker 3: her town, don't they.

1838
01:38:35,280 --> 01:38:37,240
Speaker 1: Yeah? Yeah, I mean it works out like they were

1839
01:38:37,240 --> 01:38:39,679
Speaker 1: over hell Mouth, so it makes sense. All right, Well,

1840
01:38:39,680 --> 01:38:44,240
Speaker 1: that is Stephen King's Sleepwalkers. Obviously, we'd love to hear

1841
01:38:44,240 --> 01:38:48,160
Speaker 1: from everyone out there regarding this film, but also Stephen

1842
01:38:48,240 --> 01:38:50,959
Speaker 1: King movies in general. What are some of your favorites,

1843
01:38:51,680 --> 01:38:54,880
Speaker 1: do you have some guilty pleasures and so forth. All

1844
01:38:54,920 --> 01:38:57,719
Speaker 1: of that is fair game. We like to remind everyone

1845
01:38:57,760 --> 01:38:59,759
Speaker 1: out there that stuff to blow your mind is primarily

1846
01:38:59,760 --> 01:39:03,640
Speaker 1: AIS and Culture podcast with core episodes on Tuesdays and Thursdays.

1847
01:39:03,920 --> 01:39:06,040
Speaker 1: On Wednesdays we do a short form episode, and on

1848
01:39:06,080 --> 01:39:08,519
Speaker 1: Fridays we set aside most serious concerns to just talk

1849
01:39:08,520 --> 01:39:11,640
Speaker 1: about a weird film here on Weird House Cinema. You

1850
01:39:11,640 --> 01:39:14,720
Speaker 1: can follow us on Instagram at STBYM podcast. It's a

1851
01:39:14,760 --> 01:39:17,320
Speaker 1: great way to keep track of what's coming out, you know,

1852
01:39:17,360 --> 01:39:20,320
Speaker 1: certainly follow us wherever you get your podcast episodes, and

1853
01:39:20,360 --> 01:39:22,400
Speaker 1: if you just want to keep up with Weird House Cinema,

1854
01:39:22,560 --> 01:39:26,240
Speaker 1: we're on letterboxed. Our username there is weird House Follow

1855
01:39:26,320 --> 01:39:28,160
Speaker 1: us and you can see all the movies we've covered

1856
01:39:28,160 --> 01:39:30,519
Speaker 1: over the years and sometimes a peek at what's coming next.

1857
01:39:31,000 --> 01:39:34,760
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1858
01:39:35,000 --> 01:39:36,559
Speaker 3: If you would like to get in touch with us

1859
01:39:36,600 --> 01:39:39,040
Speaker 3: with feedback on this episode or any other, to suggest

1860
01:39:39,120 --> 01:39:41,240
Speaker 3: topic for the future, or just to say hello, you

1861
01:39:41,240 --> 01:39:44,280
Speaker 3: can email us at contact Stuff to Blow Your Mind

1862
01:39:44,400 --> 01:39:59,000
Speaker 3: dot com.

1863
01:39:51,960 --> 01:39:54,880
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1864
01:39:54,960 --> 01:39:57,760
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1865
01:39:57,920 --> 01:40:00,679
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.