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

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Speaker 2: Hey, welcome to Weird House Cinema. My name's Rob Lamb.

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Speaker 3: And I'm Joe McCormick. And I think this episode is

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Speaker 3: going to be publishing on Christmas Day, which is quite

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Speaker 3: apt because, if I'm not wrong, one of the biggest

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Speaker 3: toy crazes of the Christmases of yesteryear were Transformers toys,

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Speaker 3: and I think Transformers also probably partially inspired the movie

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Speaker 3: we're going to be talking about today, So it's very

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Speaker 3: much like a toy robot Christmas celebration, except imagine those

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Speaker 3: toy robots we're fighting it out for the fate of Alaska,

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Speaker 3: trading between the clutches of some like evil capitalist empire

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Speaker 3: in a harsh Soviet future state.

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Speaker 4: That's right.

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Speaker 2: Yeah, we're going to be talking about nineteen nineties robot which. Yeah,

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Speaker 2: I am to understand that the Transformer craze helped inspire this,

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Speaker 2: but I think you could also pretty fairly compare this

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Speaker 2: to the boxing robots, you know, the the Rockham soccer robots,

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Speaker 2: Rockham Sock and Rogue of Robots. Yeah, this is basically

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Speaker 2: big league rock'am sockem robots of the future.

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Speaker 3: Yeah, I imagine. So it's rock em soccer robots, but

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Speaker 3: to settle territorial disputes between post nuclear apocalyptic superpowers, and

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Speaker 3: they're like one hundred feet tall.

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Speaker 2: Yeah, this is It's not a Christmas movie. We thought

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Speaker 2: about doing a Christmas movie, but then this came up,

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Speaker 2: and this was perfect. I will say that it is

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Speaker 2: rated PG, and some of the people that made it

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Speaker 2: talked about how it is for children. I did not

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Speaker 2: watch this with my son. I guess I could have,

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Speaker 2: but I'm ultimately glad I did not. There's just, you know,

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Speaker 2: there's a little bit of language in there that you know,

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Speaker 2: I'm sure a TV cut of this stuff that could

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Speaker 2: easily be edited out, I'm sure. But still it's a

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Speaker 2: very enjoyable picture, and I'm excited to talk about it.

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Speaker 3: This is one of those movies that is it's I

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Speaker 3: don't think it's for children, it's for it's for adults

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Speaker 3: in whom the child inside never died.

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Speaker 2: Yeah, I think so that's probably a better way of

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Speaker 2: looking at it.

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Speaker 3: Should we hit that trailer audio.

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Speaker 4: Let's do it.

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Speaker 5: It's a new age of combat.

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Speaker 2: Human beings pltically engineered to be the best fighters in.

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Speaker 5: History, two champions. It isn't over until someone wins at

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Speaker 5: war with each other. I have already killed you, two

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Speaker 5: invincible men. Let's fish Alexander here now the ultimate killing machines.

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Speaker 1: I'm gonna get in this thing and I've got a chick.

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Speaker 5: Yeah.

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Speaker 2: I really love this one. And this is one of

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Speaker 2: those with the I'm going to kick your explosion sound debts,

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Speaker 2: which I think has been used in various other cinematic

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Speaker 2: trailers as well, but to great effect here.

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Speaker 3: Yeah. So this was actually directed by somebody you might

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Speaker 3: not expect, by Stuart Gordon, who is mainly known for

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Speaker 3: Lovecraftian adaptations. This is not in any way connected to Lovecraft.

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Speaker 3: This is a giant robot fight.

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Speaker 4: Movie, that's right.

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Speaker 2: And again it is rated PG, which certainly some of

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Speaker 2: Stuart Gordon's most famous works are not. He's probably best

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Speaker 2: remembered for directing nineteen eighty five's re Animator and then

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Speaker 2: nineteen eighty six Is From Beyond, both just wonderfully weird

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Speaker 2: adaptations of HP Lovecraft tales that went off in their

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Speaker 2: own crazy fleshy directions.

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Speaker 3: He also made a Lovecraft adaptation confusingly called Daygone, which

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Speaker 3: came out in the year two thousand and one, which

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Speaker 3: is the name of a Lovecraft story, but it's not

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Speaker 3: really an adaptation of that story. It's more adaptation of

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Speaker 3: The Shadow over Endsmouth, which is a different Lovecraft story. Uh.

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Speaker 3: That movie I I remember kind of liking, even though

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Speaker 3: I don't know if I would say it's good right it.

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Speaker 2: I remember at the time when I watched it, I

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Speaker 2: remember thinking, well, this is not an accurate, uh you know,

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Speaker 2: depiction of an Hbu Lovecraft story. But especially now, I'm

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Speaker 2: kind of like, well, good it went off in all

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Speaker 2: these films. It's good that they went off in their

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Speaker 2: own directions and became their own, crazy, weird thing. Like

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Speaker 2: I think it takes place in Spain and it's a

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Speaker 2: modern day and like sexuality exists in it, that sort

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Speaker 2: of thing. Yeah, I would say it's one of the

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Speaker 2: major contributions that Stuart Stuart Gordon's Lovecraft films, and also

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Speaker 2: you know the work of Brian Yazna, who worked with

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Speaker 2: often the they inject sexuality into this these these horror worlds.

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Speaker 2: The other rather sterile originally.

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Speaker 3: Yeah, the kind of bare and hateful landscape of the

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Speaker 3: original Lovecraft is a little bit enlivened by the by

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Speaker 3: the Gordon touch. Yeah, there's another thing I really like

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Speaker 3: about Dagon, though I remember thinking it's just merely a

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Speaker 3: visual touch, which is that the color palette of the

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Speaker 3: film is very like blue and green everywhere, but the

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Speaker 3: main character wears an orange sweater throughout the movie, and

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Speaker 3: I just remember thinking that was a great visual decision

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Speaker 3: and it really looks fun throughout. The whole movie had.

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Speaker 2: Some cool monsters, as I recall too, they went with

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Speaker 2: the like the double finned mermaid type creature. Yeah, all right,

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Speaker 2: well let's see. So these are some of the most

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Speaker 2: I think noteworthy Stuart Gordon films. But he also did

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Speaker 2: a lot of other stuff, and I didn't mention already,

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Speaker 2: but he did pass away earlier this year. He lived

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Speaker 2: nineteen forty seven through twenty twenty, but he Yeah, he

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Speaker 2: directed a lot of stuff. He did science fiction, such

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Speaker 2: as nineteen ninety six as Space Truckers, and with Brian

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Speaker 2: Yazna and Ed Naha, he created Honey I Shrunk the

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Speaker 2: Kids for Disney. They were the original creators, and you

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Speaker 2: know they have scriptwriting credits on that project and any

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Speaker 2: subsequent projects. So when you see the next Honey Shrunk,

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Speaker 2: the Kids reboot or what have you. You're going to

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Speaker 2: see their names again.

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Speaker 3: Okay, I don't think I've seen any recent Stuart Gordon stuff.

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Speaker 4: I haven't either.

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Speaker 2: He seemed to have branched out a lot later in

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Speaker 2: his career, getting further away from some of the really

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Speaker 2: like obvious genre stuff, such as a two thousand and

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Speaker 2: five drama film titled Edmund starring William H. Macy and

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Speaker 2: written by David Mammott. So you know, he really ultimately

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Speaker 2: had a very I think, a varied career and worked

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Speaker 2: on a lot of different types of stuff. Though horror

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Speaker 2: fans I think are always going to remember him best

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Speaker 2: from some of those those early gory nineteen eighties Lovecraft adaptations.

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Speaker 3: Yeah. Now, one thing that must be said about Robot

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Speaker 3: Jocks is that it is a very zany, cliche ridden

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Speaker 3: robot slugfest that is in many ways just excellent and delightful,

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Speaker 3: but it's also I don't know, you could make many

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Speaker 3: extremely legitimate criticisms of the script, and yet it was

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Speaker 3: written by a like revered science fiction author.

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Speaker 2: That's right, Joe Haldeman, the author of the Hugo Award

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Speaker 2: winning nineteen seventy four military science fiction novel The Forever War. Now,

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Speaker 2: I had not read this one before, but I picked

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Speaker 2: it up after watching Robot Jocks last week and I've

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Speaker 2: been reading it. I haven't finished it yet, but it's

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Speaker 2: a very interesting book, very much a book of its

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Speaker 2: time in many ways, especially concerning various sort of like

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Speaker 2: gender ideas and so forth. But it's essentially a Vietnam story,

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Speaker 2: a Vietnam memoir, even written by an author who, having

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Speaker 2: just received a bachelors in physics and astronomy, was immediately

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Speaker 2: drafted in the US Army in nineteen sixty seven as

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Speaker 2: a combat engineer. That's Haldeman's story, and he was subsequently wounded,

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Speaker 2: received a purple heart, and the Forever War it seems

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Speaker 2: to reflect all of this, except dealing with futuristic war

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Speaker 2: cast into an armed conflict and a distant star system

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Speaker 2: of a slew of different star systems against an unknown

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Speaker 2: alien enemy. And the main character in that, a gentleman

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Speaker 2: by the name of Mandela, is also a physicist who

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Speaker 2: finds himselves drafted into a war, only this time it's

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Speaker 2: against the so called Tarans, who are these aliens that

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Speaker 2: nobody really has a clear picture of or understanding of,

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Speaker 2: as they're starting out, So it's again very much a

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Speaker 2: product of its time, quite interesting, quite influential. It's a

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Speaker 2: solid power armor military science fiction yarn, very much in

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Speaker 2: the same in keeping with stuff like starship troopers and

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Speaker 2: so forth. But it has a focus on first of all,

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Speaker 2: the physics of other worlds and the physics of space travel,

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Speaker 2: as well as, of course the psychology of the soldiers experience,

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Speaker 2: and a few of the interesting things have already popped

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Speaker 2: up in it. He touches on the perils of fighting

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Speaker 2: around frozen hydrogen on other worlds. There's discussion of how

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Speaker 2: time dilation impacts war. So you encounter the enemy one

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Speaker 2: day and your technology is superior to them, but then

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Speaker 2: the next encounter you have with them, their technology is

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Speaker 2: yours ahead of yours because of time dilation and travel

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Speaker 2: at speeds approaching light, because you were a creature now

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Speaker 2: of their past and their denizens of what was your future.

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Speaker 3: That's very interesting. So like every time you travel to

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Speaker 3: meet your opponent, they get a leg up on you

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Speaker 3: because they have more time to prepare than you do.

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Speaker 2: Yeah, so that's really interesting. It gets into the use

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Speaker 2: of hypnotic suggestion to invoke xenophobic hatred and soldiers. But

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Speaker 2: on top of that, he seems to spend a lot

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Speaker 2: of time focusing on what it means to be enveloped

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Speaker 2: by the war machine, how it changes your life, how

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Speaker 2: it affects your psyche, and how in the Forever War

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Speaker 2: it also co opts sexuality as well as individuality. It's

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Speaker 2: just kind of like this all consuming force on your life.

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Speaker 3: This is interesting because I feel like what you're just

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Speaker 3: talking about comes through, maybe not so much in the

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Speaker 3: original novel, but in the Paul Verehoven movie adaptation of

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Speaker 3: Starship Troopers.

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Speaker 5: Yeah.

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Speaker 2: Yeah, I understand that the Forever War is often brought

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Speaker 2: up as kind of a counterbalance to the largely pro

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Speaker 2: war narrative of the original novel Starship Troopers, which I

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Speaker 2: have also read, but I honestly don't remember much about

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Speaker 2: it other than some of the the cool power armor

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Speaker 2: battles that were going on in it.

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Speaker 3: So how do Haldeman and Stuart Gordon get teamed up

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Speaker 3: to make this ridiculous robot slugfest movie?

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Speaker 4: All Right?

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Speaker 2: So apparently what happened is, let's say, Haldeman wrote this

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Speaker 2: book and it was a huge success and critically acclaimed

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Speaker 2: and Haldeman and Stuart ended up chatting with each other

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Speaker 2: and working on putting together a film adaptation of the

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Speaker 2: Forever War, and they were both really excited about it,

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Speaker 2: but it never came together. I think the way they

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Speaker 2: described it is like Reagan was elected and then kind

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Speaker 2: of like things changed. There was less funding for the arts,

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Speaker 2: and therefore the project never came together. But it led

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Speaker 2: to this project with Haldeman working on the script that

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Speaker 2: would ultimately become Robot Jocks, directed by Stuart Gordon. Now,

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Speaker 2: apparently there was a fair amount of disagreement between the

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Speaker 2: two as the project rolled on, which has been summed

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Speaker 2: up at times as Haldeman wanting to create a movie

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Speaker 2: for adults that kids could also enjoy and Gordon wanted

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Speaker 2: to create a movie for kids that adults could.

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Speaker 3: Enjoy, and they ended up creating not exactly either one.

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Speaker 2: Right, Yeah, it's kind of a hybrid of the two,

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Speaker 2: which is again perfectly enjoyable, but it's more more of

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Speaker 2: a film that the inner child and the inner adult

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Speaker 2: can both enjoy or kind of fight over.

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Speaker 3: Yeah.

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Speaker 2: So here's a bit from Haldeman's blog where he talked

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Speaker 2: about this. He said, I wanted the mechanics he's talking about.

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Speaker 2: As a title, he Stuart Gordon insisted on robojocks. He

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Speaker 2: finally wound up being robot Jocks after the people who

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Speaker 2: did RoboCop asked whether we wanted to spend a lot

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Speaker 2: of dreary time in court. I would try to change

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Speaker 2: the science into something reasonable, Stuart would change it back

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Speaker 2: to Saturday morning cartoon stuff. I tried to make believable,

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Speaker 2: reasonable characters, and Stuart would insist on throwing in cliches

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Speaker 2: and caricatures. It was especially annoying because it was a

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Speaker 2: story about soldiers, and I was the only person around

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Speaker 2: who'd ever been one. In fact, he was right and

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Speaker 2: I was wrong. But it wasn't until we were actually

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Speaker 2: shooting the movie that that became clear.

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Speaker 3: That's interesting. I mean, you can absolutely feel this tension

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Speaker 3: in the movie when you watch it, because it will

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Speaker 3: alternate between moments that almost kind of actually work as

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Speaker 3: as thoughtful science fiction. There will be like moments of

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Speaker 3: dialogue that are kind of thoughtful and interesting, and then

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Speaker 3: it just immediately like throttles back into hilarious, absurd, cliche

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Speaker 3: sci fi mode.

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Speaker 2: Yeah, you can get whiplash at times from it because

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Speaker 2: you're like, oh, man, that was really beautiful, and then

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Speaker 2: something else happened and you're like, well that was goofy.

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Speaker 2: But but then again, like I started, I started thinking.

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Speaker 2: I tried to sort of divide these two possible films

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Speaker 2: in my head, and I was thinking, all right, what

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Speaker 2: if what if this character was played by a different

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Speaker 2: actor and it was a more of a serious role,

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Speaker 2: it was more of a soldier role, like Haldeman would

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Speaker 2: have written, you know, maybe maybe you bring in someone

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Speaker 2: like Michael Ironside to play in instead of a cartoon cowboy.

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Speaker 2: We'll get to that in a bed. And I was thinking, well,

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Speaker 2: that would be good. But but then again, it wouldn't

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Speaker 2: be Robot Jocks. Like there's the ultimate form of the picture,

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Speaker 2: Like the absurdities and the contradictions are one of the

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Speaker 2: most notable things about it.

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Speaker 3: Oh no, no, I wouldn't change a thing about Robot Jocks.

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Speaker 3: Robot Jocks is exactly the thing it should be. I

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Speaker 3: absolutely would not change it. I mean, Robot Jocks is

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Speaker 3: the kind of film for which weird house cinema exists,

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Speaker 3: something that that cannot cannot just be praised as a

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Speaker 3: normal kind of successful movie that is in some sense

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Speaker 3: absurd or a failure, but is absolutely worth talking about

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Speaker 3: and has things to be appreciated.

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Speaker 2: Yeah, and I think just on the serious end of

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Speaker 2: the spectrum, on the Halaman end of the spectrum, even

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Speaker 2: though I think he ultimately like considered it a disappointing

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Speaker 2: child from a creative standpoint, I feel like there are

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Speaker 2: elements that totally arrange you. You get this sense of

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Speaker 2: the absurdity of war, a vast war machine, you know,

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Speaker 2: a military industrial complex that just sucks everything in and

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Speaker 2: in this film co ops reproduction. So yeah, there's lots

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Speaker 2: to talk about here.

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Speaker 3: And one more thing I will say about it is

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Speaker 3: that the ending of this film I think is a

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Speaker 3: genuine triumph in both senses in which the movie works.

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Speaker 3: It actually is a surprising narrative conclusion that I was

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Speaker 3: kind of like, uh, wow, it's amazing they did that.

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Speaker 3: But it's also hilarious in an unintentional way.

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Speaker 4: Yeah.

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Speaker 2: Absolutely, like it seems to like if it seems like

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Speaker 2: there are two different films competing for coexistence, at the

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Speaker 2: end of the film, those two visions come together and

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Speaker 2: fist bump each other and it works.

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Speaker 3: So maybe we should talk about the cast.

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Speaker 2: All right, well, our main character in this is Achilles,

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Speaker 2: played by Gary Graham.

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Speaker 4: I think a lot of.

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Speaker 2: People will recognize Gary Graham ow that he's been around

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Speaker 2: for a long time. The main place I knew him

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Speaker 2: from due to all my time watching the Sci Fi

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Speaker 2: Channel back in the day, is that Graham was on

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Speaker 2: the Alien Nation TV series. He played Detective Matt Sykes

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Speaker 2: on that.

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Speaker 3: Yeah. I don't know what I recognized him from, but

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Speaker 3: he looks like a sort of combination of other existing actors,

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Speaker 3: so that kind of helps him seem very familiar to me.

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Speaker 3: He was a three way if they made it of

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Speaker 3: Scott Glenn, Mick Jagger and Billy Bob Thornton. Put those

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Speaker 3: three in a blender, and that's him.

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Speaker 2: That's him. And you know, I don't know a lot

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Speaker 2: about about him and his work, but in this particular

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Speaker 2: film he does a good job. I have no no complaint.

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Speaker 2: It's about his acting. He's perfectly serviceable as the lead

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Speaker 2: in an action film.

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Speaker 3: I would say his name, Gary Graham is so close

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Speaker 3: to the name Garrett Graham, of who of course was

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Speaker 3: in Chopping Mall and who played Beef in Phantom of

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Speaker 3: the Paradise. And this movie could only possibly have been

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Speaker 3: improved by swapping him for Garrett Graham.

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Speaker 2: Oh, that would have been interesting. Yeah, And I feel

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Speaker 2: like Garrett Graham would have had to lean into like

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Speaker 2: a sleazier version of Achilles. Asa is a natural sleezy

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Speaker 2: ara and a lot of the roles that he has.

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Speaker 3: So Achilles Achilles is the hero of the movie. And

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Speaker 3: he is the titular robot jock. He is one of

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Speaker 3: these pilots who drives around these giant mech robots and

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Speaker 3: fights it out. And I guess we'll get into more

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Speaker 3: of the plot mechanics and setting when we do the

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Speaker 3: full plot breakdown, But imagine this guy we're talking about,

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Speaker 3: like sitting in the pilot's seat of a giant mech warrior.

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Speaker 2: Yeah, and he is the best he is. He is

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Speaker 2: the best robot jocks jock that this particular faction has

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Speaker 2: at their disposal.

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Speaker 3: Right, But there are some up and coming robot jocks

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Speaker 3: who maybe could rival his greatness, and probably the most

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Speaker 3: promising of them is a young robot jock named Athena.

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Speaker 2: Right, and she's played by Anne Marie Johnson. She was

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Speaker 2: in the Heat of the Night TV show that I

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Speaker 2: mainly remember as being a show that my grandfather watched

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Speaker 2: all the time, and I don't think I ever watched.

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Speaker 2: But Amory Johnson, she's been around forever. She's done a

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Speaker 2: lot of work, and I understand she's also been heavily

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Speaker 2: involved in the Screen Actors Guild. So yeah, a major name.

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Speaker 2: Especially if you're an actor, you probably are familiar with her.

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Speaker 3: Now, I think there are a couple of roles that

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Speaker 3: really make this movie by adding in a level of

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Speaker 3: cartoonishness that I think clashes with whatever serious thing Holdoman

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Speaker 3: may have been going for. And I would say that

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Speaker 3: the one of the two main super cartoony characters is

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Speaker 3: the villain of the film, Alexander, who is I think

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Speaker 3: supposed to be Ivan Drago from Rocky four.

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Speaker 2: Yeah, you get a strong sense of that.

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Speaker 4: He is.

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Speaker 2: He is our Russian villain, our Russian superman that that fights,

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Speaker 2: I should say, in a in this giant mech that

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Speaker 2: has an amazing design but is interestingly less human, in

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Speaker 2: form less humanoid, compared to the mech used by our heroes.

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Speaker 2: So even though it's not I forget what the factions

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Speaker 2: are even called, but it's not called the US versus

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Speaker 2: the Soviet Union. This is supposed to all take place

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Speaker 2: after warfare or a comet or something something that's wrecked

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Speaker 2: the world.

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Speaker 3: There was a nuclear war. Yeah, there was a nuclear

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Speaker 3: war that like wiped out huge parts of humanity. And

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Speaker 3: then after the nuclear war, your two main superpowers, which

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Speaker 3: again are just apparently basically the United States and the

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Speaker 3: Soviet Union. But the United States is called the Market

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Speaker 3: and the Soviet Union is called the Confederation or the Confed.

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Speaker 4: That's right.

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Speaker 2: Yeah, so these are the two main main factions. But yeah,

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Speaker 2: there's essentially the US future US versus future Soviet Union.

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Speaker 2: And this particular robot Jocks of Jack played by Paul

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Speaker 2: is played by Paul Coslow, who lived nineteen forty four

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Speaker 2: through twenty nineteen. He was a German Canadian actor who

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Speaker 2: was in a lot of TV back in the day,

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Speaker 2: but also some key seventies cult films. He had a

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Speaker 2: supporting role in nineteen seventy one's The Omega Man Oh Okay,

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Speaker 2: which is a wonderful film.

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Speaker 3: Yeah, his Russian accent in this is so awful. Every

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Speaker 3: time he talks, I couldn't stop laughing. It's on the

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Speaker 3: level of, like, you know, he like meets up his

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Speaker 3: opponents in the bar for a drink. Why is that happening?

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Speaker 3: By the way, we should talk about that when we

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Speaker 3: get into the plot. But like, so he and Achilles

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Speaker 3: are drinking at the bar together and he's like, your

365
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Speaker 3: drink it makes me think of blood?

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Speaker 2: Yeah yeah, I mean again, he was German Canadian, he did,

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Speaker 2: you know? And this is not his natural accent. I

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Speaker 2: had to look him up because he's been in some

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Speaker 2: other like key films, like The Vanishing Point from seventy one. Okay,

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Speaker 2: I was looking at it something that claimed to be

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Speaker 2: his reel on YouTube, and yeah, he's he seems good

372
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Speaker 2: in things, but he's he's never using a Russian accent

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Speaker 2: except in this film, where it comes off as a

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Speaker 2: like a Saturday Night Live or World Wrestling Federation level

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Speaker 2: of believability.

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Speaker 3: Yeah. Yeah, he would be like a wrestler called the

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Speaker 3: Czar played by a guy from New Jersey.

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Speaker 2: Now that being said, he's he's very fun in this role,

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Speaker 2: but that accent is not believable.

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Speaker 3: I literally think the one I just did to make

381
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Speaker 3: fun of it was better than the one he uses

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Speaker 3: in the movie. Okay, but then we got to get

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Speaker 3: to our other main cartoon character from the movie. This

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Speaker 3: one is the character of techs Tex Conway, played by

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Speaker 3: an actor named Michael Aldridge.

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Speaker 2: Yeah. This, oh my goodness. So this character Tex Conway,

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Speaker 2: he's our heroes trainer, he's his mentor. He's a former

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Speaker 2: robot jocks champion in his own right who who won

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Speaker 2: some key battles in the past. But man, he is

390
00:21:04,680 --> 00:21:06,879
Speaker 2: a root and toot and text and stereotype with a

391
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Speaker 2: cowboy hat but a futuristic jumpsuit.

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Speaker 4: Yeah.

393
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Speaker 3: So he's Buck Strickland in a in a red and

394
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Speaker 3: white jumpsuit talking about you can't get the lasers calibrated.

395
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Speaker 3: And he so he specifies that he was a former

396
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Speaker 3: like you say, he was a former robot jock himself,

397
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Speaker 3: like one of the greatest that ever lived, and that

398
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Speaker 3: his jock, his jocking, his robot piloting won the area

399
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Speaker 3: of Campuccia, which I guess is Cambodia for the market.

400
00:21:38,480 --> 00:21:41,639
Speaker 3: So you got to imagine, Okay, they're capitalists now and

401
00:21:41,680 --> 00:21:42,800
Speaker 3: it's all because of texts.

402
00:21:43,240 --> 00:21:46,520
Speaker 2: Yeah, yeah, yeah, he's He also reminds me of the

403
00:21:46,640 --> 00:21:50,200
Speaker 2: Rich textan character from The Simpsons, Yes, pops up from

404
00:21:50,200 --> 00:21:53,000
Speaker 2: time to time. Yeah, so it's it is a very

405
00:21:53,119 --> 00:21:56,280
Speaker 2: cartoony role but a richly enjoyable role.

406
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Speaker 4: It's it's every time.

407
00:21:58,040 --> 00:22:03,240
Speaker 2: He's on the screen, it's it's wonderful. And Aldrum himself

408
00:22:03,320 --> 00:22:05,680
Speaker 2: is as an actor who was just a regular TV

409
00:22:05,760 --> 00:22:07,960
Speaker 2: player back in the day, Like you just you scroll

410
00:22:08,000 --> 00:22:10,960
Speaker 2: through his IMDb page and it's just everything that was

411
00:22:11,000 --> 00:22:15,960
Speaker 2: on television, with some notable titles to call out, like Murder,

412
00:22:16,040 --> 00:22:19,720
Speaker 2: she wrote, Dallas of course the A team. He was

413
00:22:19,760 --> 00:22:22,560
Speaker 2: on that mini series V So yeah, he was in

414
00:22:22,760 --> 00:22:24,320
Speaker 2: tons of stuff as well, and he's great.

415
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Speaker 3: In this as we as we go on, we should

416
00:22:26,960 --> 00:22:29,199
Speaker 3: also be thinking about like who should be cast in

417
00:22:29,240 --> 00:22:32,639
Speaker 3: each role for our twenty twenty one remake of Robot Jocks.

418
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Speaker 3: And I think there's a pretty obvious choice that you

419
00:22:34,800 --> 00:22:36,720
Speaker 3: landed on for the new casting of texts.

420
00:22:36,960 --> 00:22:40,080
Speaker 2: Oh, I think this was you, right? No, no, well

421
00:22:40,119 --> 00:22:43,160
Speaker 2: you brought up Buck Strickland, who was voiced by Stephen Root, right,

422
00:22:43,480 --> 00:22:46,199
Speaker 2: and Stephen Root would be perfect for this role because

423
00:22:46,240 --> 00:22:48,679
Speaker 2: you know, he's great at yucking it up but also

424
00:22:49,000 --> 00:22:52,320
Speaker 2: is superb at also having this kind of streak of

425
00:22:52,400 --> 00:22:55,800
Speaker 2: darkness which plays into tex Conway's characters as well.

426
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Speaker 3: Right, all right, let's see who else do we want

427
00:22:59,400 --> 00:23:01,480
Speaker 3: to talk about in the connections here.

428
00:23:01,800 --> 00:23:06,040
Speaker 2: Well, let's see, there's a character named doctor Matsumoto played

429
00:23:06,080 --> 00:23:09,000
Speaker 2: by Danny Kamikono, part of the He's part of This

430
00:23:09,040 --> 00:23:11,680
Speaker 2: character's part of the tech team. This is a solid

431
00:23:11,720 --> 00:23:13,720
Speaker 2: performer who did a lot of a lot of things,

432
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Speaker 2: most notably The Karate Kid. He was in that, but

433
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Speaker 2: he also appeared in nineteen ninety threes Robot Wars, directed

434
00:23:20,320 --> 00:23:22,879
Speaker 2: by Albert Band We'll get to him in a minute.

435
00:23:23,040 --> 00:23:27,760
Speaker 2: Same production company also Giant Robots, sometimes marketed as a

436
00:23:27,800 --> 00:23:31,360
Speaker 2: sequel to this film, but not directly related to Robot Jocks.

437
00:23:31,880 --> 00:23:35,000
Speaker 3: One was not enough. People needed more robot jocks.

438
00:23:35,359 --> 00:23:38,840
Speaker 2: We always do. There's a fun cameo in this. We

439
00:23:38,920 --> 00:23:43,959
Speaker 2: mentioned Reanimator earlier and the Beyond Well, Jeffrey Combs, the

440
00:23:44,000 --> 00:23:47,680
Speaker 2: lovecrafty and lothario himself, the B Movie Icon shows up

441
00:23:47,800 --> 00:23:52,639
Speaker 2: as just one of the robojockx Robot Jocks fans that

442
00:23:52,680 --> 00:23:54,360
Speaker 2: are cheering on what's happening.

443
00:23:54,560 --> 00:23:58,399
Speaker 3: Oh yeah. Occasionally we get some shots of the proletariat,

444
00:23:58,560 --> 00:24:01,880
Speaker 3: you know, they're just the regular society and what they

445
00:24:01,960 --> 00:24:05,640
Speaker 3: think about the ongoing They treat the robot Jocks battles.

446
00:24:05,640 --> 00:24:08,000
Speaker 3: It basically is a sporting event rather than a major

447
00:24:08,040 --> 00:24:12,920
Speaker 3: geopolitical conflict. And there is a great scene where we're

448
00:24:12,920 --> 00:24:16,520
Speaker 3: watching a couple of the proles watch the robot Jocks

449
00:24:16,560 --> 00:24:20,040
Speaker 3: announcements on TV, and for some reason they're wearing the

450
00:24:20,080 --> 00:24:23,359
Speaker 3: hats that members of House Frey wear. I don't know

451
00:24:23,400 --> 00:24:25,360
Speaker 3: where that comes from.

452
00:24:25,840 --> 00:24:28,640
Speaker 2: Yeah, that is an interesting wrinkle in the show though,

453
00:24:28,680 --> 00:24:33,280
Speaker 2: where it's geopolitics as pure entertainment to a large section

454
00:24:33,600 --> 00:24:37,280
Speaker 2: of the populace. So yeah, there again another area where

455
00:24:37,320 --> 00:24:40,520
Speaker 2: this show gets. This movie gets a bit meaty before

456
00:24:40,560 --> 00:24:41,520
Speaker 2: it gets goofy again.

457
00:24:42,440 --> 00:24:44,000
Speaker 3: Now, one thing we see in the credits at the

458
00:24:44,040 --> 00:24:46,480
Speaker 3: beginning of this movie is that it is definitely a

459
00:24:46,680 --> 00:24:50,639
Speaker 3: Charles Band production, and that name. If you have watched

460
00:24:50,640 --> 00:24:53,520
Speaker 3: a lot of trashy eighties movies, that name shows up

461
00:24:53,560 --> 00:24:54,040
Speaker 3: a good bit.

462
00:24:54,480 --> 00:24:55,240
Speaker 4: Yeah that's right.

463
00:24:56,119 --> 00:24:56,320
Speaker 5: Yeah.

464
00:24:56,480 --> 00:24:58,399
Speaker 2: I almost hesitant to spend too much time on them

465
00:24:58,400 --> 00:25:00,879
Speaker 2: here because I know we'll come back to to some

466
00:25:00,880 --> 00:25:05,399
Speaker 2: pictures that are actually directed by Charles Band or Albert Band.

467
00:25:05,400 --> 00:25:09,320
Speaker 2: But briefly, we're talking about the Band family here. Their

468
00:25:09,400 --> 00:25:13,480
Speaker 2: history begins with artist Max Band, who lived nineteen oh

469
00:25:13,480 --> 00:25:16,000
Speaker 2: one through nineteen seventy four. Born in Lithuania, lived in

470
00:25:16,040 --> 00:25:19,080
Speaker 2: France and then made the move to California. His son,

471
00:25:19,160 --> 00:25:21,880
Speaker 2: Albert Band, who lived twenty four through two thousand and two,

472
00:25:21,920 --> 00:25:24,800
Speaker 2: became a filmmaker. He was assistant director on John Houston's

473
00:25:24,800 --> 00:25:28,040
Speaker 2: The Asphalt Jungle in nineteen fifty and then went on

474
00:25:28,080 --> 00:25:30,920
Speaker 2: to direct a bunch of genre films, including I Bury

475
00:25:30,960 --> 00:25:34,280
Speaker 2: the Living from fifty eight, Dracula Dog from seventy eight,

476
00:25:34,560 --> 00:25:37,800
Speaker 2: and Goolies Too from in nineteen eighty seven. So he's

477
00:25:37,880 --> 00:25:42,119
Speaker 2: already be Cinema loyalty. But then his son is Charles Band,

478
00:25:42,160 --> 00:25:44,639
Speaker 2: who again we've mentioned before on the show. He's the

479
00:25:44,680 --> 00:25:48,320
Speaker 2: man behind first Empire International Pictures that put out Robot

480
00:25:48,359 --> 00:25:51,520
Speaker 2: Jocks and then Full Moon Features, and he directed some

481
00:25:51,560 --> 00:25:54,600
Speaker 2: really awesome eighties and nineties sci fi horror films before

482
00:25:54,600 --> 00:26:00,000
Speaker 2: going increasingly in the evil Bong direction, which isn't quite

483
00:26:00,080 --> 00:26:02,400
Speaker 2: I thing, but you know, you can't argue with success.

484
00:26:02,680 --> 00:26:05,720
Speaker 3: Oh he does like demon Bong movies.

485
00:26:05,560 --> 00:26:09,040
Speaker 2: Yeah, yeah, the Evil Bong like one through however many

486
00:26:10,680 --> 00:26:11,639
Speaker 2: Ginger Dead Man that.

487
00:26:11,880 --> 00:26:12,360
Speaker 4: Sort of thing.

488
00:26:12,840 --> 00:26:14,680
Speaker 3: Yeah yeah, okay, But.

489
00:26:14,680 --> 00:26:18,520
Speaker 2: I can't stress enough that his earlier pictures are are

490
00:26:18,560 --> 00:26:21,880
Speaker 2: often a lot more serious and really interesting. Will definitely

491
00:26:21,880 --> 00:26:24,480
Speaker 2: come back to something Charles Band directed in the future,

492
00:26:25,160 --> 00:26:27,560
Speaker 2: but again evil bong direction seems to have been very

493
00:26:27,560 --> 00:26:32,359
Speaker 2: successful for Full Okay. Charles's brother, by the way, is

494
00:26:32,480 --> 00:26:34,760
Speaker 2: Richard Band, a composer who worked on a lot of

495
00:26:34,760 --> 00:26:38,440
Speaker 2: Full Moon pictures, and then Charles Band's son is Alex Band,

496
00:26:38,520 --> 00:26:41,080
Speaker 2: the lead singer of a band called The Calling, which

497
00:26:41,080 --> 00:26:43,800
Speaker 2: I'm not that familiar with but exists. So like the

498
00:26:44,160 --> 00:26:46,479
Speaker 2: Band family is still going strong.

499
00:26:46,720 --> 00:26:48,280
Speaker 3: They are a Schlock dynasty.

500
00:26:48,640 --> 00:26:52,240
Speaker 2: And another connection to Robot Jocks is that Charles Band

501
00:26:52,240 --> 00:26:55,040
Speaker 2: had a nineteen ninety film called Crash and Burn that

502
00:26:55,200 --> 00:26:58,080
Speaker 2: was marketed in Europe as Robot Jocks two. But again

503
00:26:58,119 --> 00:27:01,080
Speaker 2: there's another one where it's not actually related to Robot Jocks,

504
00:27:01,320 --> 00:27:03,680
Speaker 2: but it does feature a cool giant robot plus Bill

505
00:27:03,720 --> 00:27:05,240
Speaker 2: Moseley as a killer cyborg.

506
00:27:05,320 --> 00:27:06,240
Speaker 3: Oh, I'd watch that.

507
00:27:14,000 --> 00:27:14,240
Speaker 5: Now.

508
00:27:14,359 --> 00:27:17,520
Speaker 3: One thing I will say about this movie that I

509
00:27:17,520 --> 00:27:22,199
Speaker 3: do just totally, unironically enjoy is all of the robot fights,

510
00:27:22,240 --> 00:27:24,960
Speaker 3: including I think there's some stop motion animation, and I

511
00:27:24,960 --> 00:27:29,600
Speaker 3: think there's probably also some people in suits, some puppetry.

512
00:27:30,280 --> 00:27:32,159
Speaker 3: I get the feeling that both are at play at

513
00:27:32,160 --> 00:27:35,719
Speaker 3: different times. I could be wrong about that, but whatever

514
00:27:35,720 --> 00:27:38,119
Speaker 3: they were doing I really enjoyed the robot effects, Like

515
00:27:38,680 --> 00:27:41,720
Speaker 3: it's not like they look realistic. They don't, but they're

516
00:27:41,760 --> 00:27:47,119
Speaker 3: that kind of non realistic, highly stylized, great old school

517
00:27:47,160 --> 00:27:49,080
Speaker 3: practical effects that I just adore.

518
00:27:49,640 --> 00:27:52,560
Speaker 2: Yeah, yeah, absolutely, And so it's not surprising that you

519
00:27:52,600 --> 00:27:54,400
Speaker 2: have some You have at least a couple of big

520
00:27:54,480 --> 00:27:57,760
Speaker 2: names in this one that stood out was this guy,

521
00:27:57,760 --> 00:27:59,960
Speaker 2: Steve Berg, who was a conceptual designer. He went into

522
00:28:00,080 --> 00:28:03,480
Speaker 2: work on the art department on a number of big films,

523
00:28:03,520 --> 00:28:09,440
Speaker 2: big sci fi properties like Chronicles of Riddick, Alien Three, Leviathan,

524
00:28:09,600 --> 00:28:12,679
Speaker 2: The Martian, Interstellar, Prometheus.

525
00:28:11,880 --> 00:28:16,280
Speaker 3: Oh, Leviathan. You've seen Leviathan, right, Oh, we've talked about it. Yeah,

526
00:28:16,280 --> 00:28:18,000
Speaker 3: that's right, we've talked about it on the show before.

527
00:28:18,280 --> 00:28:20,640
Speaker 3: That was one of the nineteen was it eighty nine?

528
00:28:20,760 --> 00:28:24,320
Speaker 3: Was that the year when like five different underwater terror

529
00:28:24,400 --> 00:28:25,120
Speaker 3: movies came out?

530
00:28:25,160 --> 00:28:27,200
Speaker 2: I think that was the underwater terror year. Yeah, we'll

531
00:28:27,200 --> 00:28:29,080
Speaker 2: have to come back to Leviathan because there's a lot

532
00:28:29,119 --> 00:28:30,600
Speaker 2: of fun stuff going on in that picture.

533
00:28:30,720 --> 00:28:32,640
Speaker 3: Oh, we should do a whole series of weird house

534
00:28:32,640 --> 00:28:36,040
Speaker 3: cinema where we just do one after another. We do Leviathan,

535
00:28:36,080 --> 00:28:38,200
Speaker 3: Deep Star six, Lords of the Deep. We were like

536
00:28:38,320 --> 00:28:39,760
Speaker 3: round up the whole crew.

537
00:28:40,000 --> 00:28:42,280
Speaker 2: But it's like diving deeper into the ocean, Joe. The

538
00:28:42,800 --> 00:28:46,280
Speaker 2: deeper you go on that playlist, the greater the pressure,

539
00:28:46,360 --> 00:28:50,760
Speaker 2: the harder it is to come out without doing harm

540
00:28:50,840 --> 00:28:54,440
Speaker 2: to your body. Because, yeah, they're the underwater films that

541
00:28:54,440 --> 00:28:56,160
Speaker 2: come to mind, and they are the ones you have

542
00:28:56,200 --> 00:28:58,360
Speaker 2: to sort of hunt for from that same year, and

543
00:28:58,400 --> 00:28:59,800
Speaker 2: they just get progressively harder.

544
00:29:01,240 --> 00:29:03,400
Speaker 3: I remember the Lord's of the Deep. Really not much

545
00:29:03,440 --> 00:29:05,360
Speaker 3: happens in it, Like most of the movie is just

546
00:29:05,400 --> 00:29:07,760
Speaker 3: watching people sit in a chair and say like they're

547
00:29:07,800 --> 00:29:08,520
Speaker 3: coming for us.

548
00:29:08,760 --> 00:29:08,960
Speaker 4: Yeah.

549
00:29:09,000 --> 00:29:11,760
Speaker 2: Lords of the Deep is probably the point in anybody's

550
00:29:11,800 --> 00:29:14,000
Speaker 2: attempt to watch all the underwater movies of eighty nine

551
00:29:14,000 --> 00:29:16,440
Speaker 2: where they realized that their eyes were bigger than their stomach.

552
00:29:16,640 --> 00:29:18,040
Speaker 5: Yeah.

553
00:29:17,640 --> 00:29:21,320
Speaker 2: But oh, one of the huge names on this picture

554
00:29:21,360 --> 00:29:25,440
Speaker 2: on robot jocks that helped create these wonderful stop motion

555
00:29:25,680 --> 00:29:29,600
Speaker 2: effects David Allen, who who did stop motion animation and

556
00:29:29,680 --> 00:29:35,080
Speaker 2: visual effects director credits on this. So this is the

557
00:29:35,280 --> 00:29:37,200
Speaker 2: I think this is the real star of the movie.

558
00:29:37,680 --> 00:29:40,560
Speaker 2: He's an awesome name in the stop motion animation field.

559
00:29:40,600 --> 00:29:42,800
Speaker 2: He sadly died in nineteen ninety nine at the age

560
00:29:42,840 --> 00:29:46,120
Speaker 2: of fifty four, but he worked on the Howling on Willow,

561
00:29:46,440 --> 00:29:50,520
Speaker 2: Ghostbusters Too Young, Sherlock Holmes, you know, all the all

562
00:29:50,520 --> 00:29:53,040
Speaker 2: films that had some wonderful stop motion work in them,

563
00:29:53,320 --> 00:29:56,040
Speaker 2: I believe, And then he did a ton of Charles

564
00:29:56,040 --> 00:29:59,040
Speaker 2: Band Full Moon productions, providing the store to sort of

565
00:29:59,040 --> 00:30:02,000
Speaker 2: stop motion world that really sets some of those films apart.

566
00:30:02,320 --> 00:30:05,200
Speaker 2: So he's the man behind the cool animation in Laser Blast,

567
00:30:05,480 --> 00:30:08,960
Speaker 2: in Q the Wing Serpent, and in various other films

568
00:30:09,000 --> 00:30:12,760
Speaker 2: like where oftentimes films where there's not much else notable

569
00:30:12,800 --> 00:30:15,560
Speaker 2: about it but just has some real eye catching stop

570
00:30:15,600 --> 00:30:17,240
Speaker 2: motion effects. Uh.

571
00:30:17,320 --> 00:30:20,360
Speaker 3: Yeah, I would say that that's probably true about laser blasts,

572
00:30:20,400 --> 00:30:23,640
Speaker 3: except that Laser Blast is pretty funny. Q the Wing Serpent,

573
00:30:23,920 --> 00:30:25,480
Speaker 3: that's a little bit different. I mean, that's got that

574
00:30:26,440 --> 00:30:31,600
Speaker 3: Cohen energy, Like there's a pretty fun script underneath that

575
00:30:31,640 --> 00:30:33,880
Speaker 3: one in addition to the great stop motion effects.

576
00:30:34,240 --> 00:30:34,960
Speaker 4: Yeah.

577
00:30:35,000 --> 00:30:37,640
Speaker 2: So when David Allen died, he was still working on

578
00:30:37,680 --> 00:30:41,080
Speaker 2: a picture called The Prime Evils and it was never

579
00:30:41,120 --> 00:30:43,600
Speaker 2: finished and this was going to be just like an

580
00:30:43,600 --> 00:30:49,080
Speaker 2: old school stop motion animation fest. But yeah, he died

581
00:30:49,080 --> 00:30:51,560
Speaker 2: before he could finish it. But around twenty seventeen, Charles

582
00:30:51,560 --> 00:30:54,320
Speaker 2: Band announced that it would be completed and released in

583
00:30:54,360 --> 00:30:56,680
Speaker 2: twenty nineteen, and I think that got pushed back to

584
00:30:56,720 --> 00:30:59,640
Speaker 2: twenty twenty, and then, of course most things in twenty

585
00:30:59,680 --> 00:31:03,000
Speaker 2: twenty were pushed back or at least in a weird fashion.

586
00:31:03,080 --> 00:31:05,280
Speaker 2: So I don't think it's actually come out yet. But

587
00:31:05,400 --> 00:31:08,800
Speaker 2: if you look around for information about the Prime Evils film,

588
00:31:08,880 --> 00:31:11,080
Speaker 2: you'll see some clips from it, and it looks really awesome.

589
00:31:11,120 --> 00:31:13,440
Speaker 2: So I do hope that finally comes to light.

590
00:31:14,240 --> 00:31:16,440
Speaker 3: Well, are you ready to jump into a full breakdown

591
00:31:16,440 --> 00:31:18,600
Speaker 3: of the plot and then maybe talk a little bit

592
00:31:18,600 --> 00:31:21,040
Speaker 3: of weird science and the ideas in the movie.

593
00:31:21,360 --> 00:31:21,880
Speaker 4: Let's do it?

594
00:31:22,080 --> 00:31:22,320
Speaker 5: Okay?

595
00:31:22,360 --> 00:31:24,480
Speaker 3: Well, I guess we got to start with the opening credits,

596
00:31:24,480 --> 00:31:28,040
Speaker 3: which really set the scene. So at the very first thing,

597
00:31:28,760 --> 00:31:33,000
Speaker 3: you are panning over a snowy field of dead robots

598
00:31:33,040 --> 00:31:35,560
Speaker 3: and mechanical debris. And I remember I was watching this

599
00:31:35,600 --> 00:31:37,760
Speaker 3: with Rachel. She was like, is this a Christmas movie?

600
00:31:37,880 --> 00:31:40,920
Speaker 3: Because it very much seems like a combination of the

601
00:31:41,040 --> 00:31:44,959
Speaker 3: Terminator and Rudolph the Red Nosed Reindeer. Yes, And the

602
00:31:45,080 --> 00:31:50,560
Speaker 3: voiceover narration. While you get the Terminator font credits, the

603
00:31:50,680 --> 00:31:54,160
Speaker 3: voiceover says it has been fifty years since the nuclear

604
00:31:54,240 --> 00:32:01,280
Speaker 3: holocaust almost destroyed mankind. War is now outlawed. Oh good idea,

605
00:32:02,720 --> 00:32:04,840
Speaker 3: nobody ever thought of that before. Just make it illegal.

606
00:32:07,240 --> 00:32:10,000
Speaker 3: And so they specify, well, with war outlawed, how do

607
00:32:10,000 --> 00:32:13,560
Speaker 3: you settle disputes between these superpowers, between the Market and

608
00:32:13,680 --> 00:32:17,440
Speaker 3: the Confederation. Well, they say that territorial disputes are now

609
00:32:17,480 --> 00:32:21,520
Speaker 3: settled by single combat, and they go on to explain

610
00:32:21,800 --> 00:32:26,080
Speaker 3: here at the Confederation playing field in Siberia, and they

611
00:32:26,120 --> 00:32:30,240
Speaker 3: recount that these robots that are piloted by robot jocks

612
00:32:30,680 --> 00:32:34,680
Speaker 3: fight it out and whichever robot and they're corresponding jock

613
00:32:34,760 --> 00:32:38,600
Speaker 3: wins the you know, to the victor go the spoils.

614
00:32:38,640 --> 00:32:41,280
Speaker 3: So like you might be fighting over who gets control

615
00:32:41,320 --> 00:32:45,040
Speaker 3: of Campuccia and uh, and the winner in this case

616
00:32:45,080 --> 00:32:48,800
Speaker 3: apparently was the Market with the old tex Conway piloting

617
00:32:48,840 --> 00:32:51,760
Speaker 3: his mech and so they get control of the land.

618
00:32:52,560 --> 00:32:55,400
Speaker 3: And then you immediately cut to the present from here,

619
00:32:55,880 --> 00:33:00,240
Speaker 3: where there is like an ongoing fight between al Alex

620
00:33:00,280 --> 00:33:04,760
Speaker 3: Sander who we mentioned before, the villain, the Russian robot jock,

621
00:33:05,280 --> 00:33:08,600
Speaker 3: and a Market robot jock who I think is maybe

622
00:33:08,720 --> 00:33:11,920
Speaker 3: named Ajax. I could be wrong, about that. But he's

623
00:33:11,920 --> 00:33:14,000
Speaker 3: a guy in a red and white jumpsuit with a

624
00:33:14,040 --> 00:33:17,440
Speaker 3: black guy and a bloody lip, lying in the cockpit

625
00:33:17,560 --> 00:33:20,680
Speaker 3: of his robot. His robot has been destroyed, and he's

626
00:33:20,680 --> 00:33:23,320
Speaker 3: trying to throw in the towel. He's like pleading for mercy.

627
00:33:23,400 --> 00:33:27,560
Speaker 3: He says, Alexander, you win, Alexander, I can't move. I

628
00:33:27,560 --> 00:33:33,120
Speaker 3: think my back is broken, and Alexander just coldly says, judgment.

629
00:33:33,560 --> 00:33:37,240
Speaker 3: I would like judgment. It's very very much. If he dies,

630
00:33:37,360 --> 00:33:41,360
Speaker 3: he dies Ivan Drego thing, and then he just stomps

631
00:33:41,400 --> 00:33:44,760
Speaker 3: on him. He uses his robot to stomp on Ajax

632
00:33:44,800 --> 00:33:47,240
Speaker 3: and kill him, and it's victory for the Confederation.

633
00:33:47,840 --> 00:33:50,800
Speaker 2: Fun behind the scenes fact is that I believe that

634
00:33:50,880 --> 00:33:53,120
Speaker 2: the stop motion animation we see in this altiate, this

635
00:33:53,240 --> 00:33:58,720
Speaker 2: opening encounter was actually originally test footage that was used

636
00:33:58,760 --> 00:34:01,360
Speaker 2: to convince Charles Band that they could make the picture.

637
00:34:01,600 --> 00:34:04,080
Speaker 3: Oh that's interesting, So maybe that's why it's in a

638
00:34:04,080 --> 00:34:07,320
Speaker 3: different setting than the rest of what goes on in

639
00:34:07,440 --> 00:34:11,480
Speaker 3: a movie. So the battle is a victory for the Confederation.

640
00:34:12,000 --> 00:34:14,560
Speaker 3: I'm not sure exactly what they're fighting over in this case.

641
00:34:15,080 --> 00:34:18,600
Speaker 3: And again, yeah, Ajax is like I yield Mercy and

642
00:34:18,760 --> 00:34:22,279
Speaker 3: Alexander's like, too bad, and he just smashes him. And

643
00:34:22,280 --> 00:34:27,480
Speaker 3: then Alexander looks into the camera and says, you're next Achilles.

644
00:34:28,000 --> 00:34:30,440
Speaker 3: He's you know, he's got it out for Achilles, I

645
00:34:30,440 --> 00:34:33,000
Speaker 3: guess because Achilles is the best, and he wants to

646
00:34:33,000 --> 00:34:33,600
Speaker 3: defeat him.

647
00:34:33,880 --> 00:34:34,080
Speaker 4: Yeah.

648
00:34:34,160 --> 00:34:38,880
Speaker 2: Yeah, He's all about just superiority and proving himself in battle.

649
00:34:39,680 --> 00:34:43,360
Speaker 3: And so next we cut to the market robot Jocks

650
00:34:43,400 --> 00:34:47,600
Speaker 3: command center. It's like mission control for robot jocks, where

651
00:34:47,640 --> 00:34:50,760
Speaker 3: the Allied robot Jocks and their friends watch in horror

652
00:34:50,800 --> 00:34:54,160
Speaker 3: as Ajax is stomped by the bot and we find

653
00:34:54,160 --> 00:34:58,399
Speaker 3: out that Alexander has killed nine of their guys. Now

654
00:34:58,560 --> 00:35:01,200
Speaker 3: and it is and there's a imediately talk about why

655
00:35:01,239 --> 00:35:05,399
Speaker 3: this is. It's because there's a spy, and I feel

656
00:35:05,400 --> 00:35:07,239
Speaker 3: like this is great. You know, set this up right

657
00:35:07,280 --> 00:35:09,560
Speaker 3: at the beginning, that there's a betrayer in their ranks.

658
00:35:09,600 --> 00:35:14,239
Speaker 3: Somebody keeps giving the Confederation advance information about the new

659
00:35:14,320 --> 00:35:18,080
Speaker 3: weapons systems that they bring online in their robots.

660
00:35:18,080 --> 00:35:21,520
Speaker 2: Right, and of course you only have what five characters

661
00:35:21,600 --> 00:35:24,760
Speaker 2: with names that matter, so you know, you don't have

662
00:35:24,920 --> 00:35:27,920
Speaker 2: that many choices here to go on, but you easily

663
00:35:27,920 --> 00:35:29,680
Speaker 2: can see one of them is a spy, and part

664
00:35:29,719 --> 00:35:30,799
Speaker 2: of the fun of the film is going to be

665
00:35:30,800 --> 00:35:32,279
Speaker 2: trying to figure out who that spy is.

666
00:35:32,800 --> 00:35:37,800
Speaker 3: Right, So they are, So there are various people hanging

667
00:35:37,840 --> 00:35:39,560
Speaker 3: out and you get to meet some of the characters.

668
00:35:39,560 --> 00:35:42,000
Speaker 3: One of them, of course, is tex Conway, who've talked

669
00:35:42,000 --> 00:35:46,120
Speaker 3: about before. Techs is Achilles trainer, and he's, as we said,

670
00:35:46,239 --> 00:35:49,879
Speaker 3: a former robot jock himself who had been very successful

671
00:35:49,920 --> 00:35:53,080
Speaker 3: and ultimately victorious. Now I guess he's retired and he's

672
00:35:53,520 --> 00:35:59,359
Speaker 3: he's the burgess Meredith teaching Rocky how to fight. Oh

673
00:35:59,400 --> 00:36:02,760
Speaker 3: and we also find out that they are fighting over Alaska.

674
00:36:03,280 --> 00:36:06,719
Speaker 3: They're fighting for control of Alaska. I'm not sure why

675
00:36:06,760 --> 00:36:10,560
Speaker 3: they want it so bad, but that's what the dispute is.

676
00:36:10,920 --> 00:36:12,960
Speaker 2: Right, Yeah, like maybe it's the first step and then

677
00:36:13,040 --> 00:36:15,720
Speaker 2: subsequently conquering other areas that belong to the market.

678
00:36:16,640 --> 00:36:20,200
Speaker 3: But I guess We find out that Achilles is the

679
00:36:20,239 --> 00:36:24,640
Speaker 3: only robot jock left, that Alexander has killed all of

680
00:36:24,680 --> 00:36:27,919
Speaker 3: the other market robot jocks. It seems like they should

681
00:36:27,960 --> 00:36:30,400
Speaker 3: have had more, but eh, and I guess they are

682
00:36:30,440 --> 00:36:32,480
Speaker 3: making more. We'll get to that in a second. So

683
00:36:32,880 --> 00:36:35,759
Speaker 3: then from mission control. You cut straight to a sparring

684
00:36:35,880 --> 00:36:40,200
Speaker 3: scene where they've got Achilles fighting a circle of people

685
00:36:40,320 --> 00:36:44,399
Speaker 3: all around him. All these people in pads surround him

686
00:36:44,440 --> 00:36:46,480
Speaker 3: and attack him one at a time so he can

687
00:36:47,040 --> 00:36:48,919
Speaker 3: fight them off. It's kind of like that scene in

688
00:36:49,000 --> 00:36:52,320
Speaker 3: The Chinese Connection where Bruce Lee goes to the Japanese

689
00:36:52,320 --> 00:36:54,560
Speaker 3: martial arts school and is surrounded by people in the

690
00:36:54,600 --> 00:36:56,480
Speaker 3: circle and they all come in one at a time

691
00:36:56,520 --> 00:36:59,960
Speaker 3: and he has to fight him off. Except everybody here

692
00:37:00,120 --> 00:37:01,760
Speaker 3: wearing goofy looking red pads.

693
00:37:02,160 --> 00:37:05,120
Speaker 2: Not only pads, though, Joe, They're also wearing jumpsuits. Because

694
00:37:05,480 --> 00:37:09,600
Speaker 2: this film is a celebration of futuristic jumpsuits. They're like

695
00:37:09,760 --> 00:37:12,400
Speaker 2: multiple different varieties of jumpsuits, and they seem to be

696
00:37:12,640 --> 00:37:15,000
Speaker 2: whoever was in charge of jumpsuits did a good job

697
00:37:15,280 --> 00:37:18,279
Speaker 2: of putting them together and making them look quality and

698
00:37:19,160 --> 00:37:21,799
Speaker 2: keeping track of who should be wearing what. Which I

699
00:37:21,880 --> 00:37:24,920
Speaker 2: love because I realized more and more watching this film

700
00:37:25,040 --> 00:37:27,480
Speaker 2: that it's something I love about science fiction films. I

701
00:37:27,520 --> 00:37:31,200
Speaker 2: love a good jumpsuit, be it a jumpsuit in something

702
00:37:31,239 --> 00:37:35,080
Speaker 2: like Mystery Science Theater three thousand or any other science

703
00:37:35,120 --> 00:37:37,880
Speaker 2: fiction film. Like in the future, there will be jumpsuits,

704
00:37:37,880 --> 00:37:40,960
Speaker 2: and you will be assigned to a jumpsuit, and so.

705
00:37:41,000 --> 00:37:41,879
Speaker 4: Everybody's got one.

706
00:37:41,920 --> 00:37:45,280
Speaker 2: Even Text conways wearing this big, ridiculous bright jumpsuit.

707
00:37:45,360 --> 00:37:48,400
Speaker 3: Yeah, they're red and white jumpsuits. That's so the market

708
00:37:48,480 --> 00:37:52,440
Speaker 3: wears red and white jumpsuits and the Confederation wears I

709
00:37:52,440 --> 00:37:54,440
Speaker 3: think yellow and black jumpsuits.

710
00:37:55,200 --> 00:37:55,879
Speaker 4: I think that's right.

711
00:37:56,320 --> 00:37:59,960
Speaker 3: So we see Gary Graham the Achilles fighting all these people,

712
00:38:00,080 --> 00:38:03,040
Speaker 3: and he does quite well, except there's one fighter who

713
00:38:03,120 --> 00:38:05,960
Speaker 3: really puts up a good fight against him. And it

714
00:38:06,040 --> 00:38:10,160
Speaker 3: turns out that this fighter is Athena, who at first

715
00:38:10,160 --> 00:38:12,960
Speaker 3: I thought her name was Pathena the way they were

716
00:38:12,960 --> 00:38:15,840
Speaker 3: saying it. But we find out that a lot of

717
00:38:15,880 --> 00:38:19,560
Speaker 3: these fighters, or maybe all of them, are something. This

718
00:38:19,600 --> 00:38:21,600
Speaker 3: is again something I couldn't understand what they were saying

719
00:38:21,600 --> 00:38:24,120
Speaker 3: at first, but it becomes clear they are what the

720
00:38:24,239 --> 00:38:28,640
Speaker 3: characters refer to as two bees. In this scene. Text

721
00:38:28,719 --> 00:38:31,919
Speaker 3: makes his prejudice against multiple types of people clear. It's

722
00:38:31,960 --> 00:38:34,840
Speaker 3: clear that he does not like two bees, and he

723
00:38:34,920 --> 00:38:39,000
Speaker 3: also states his opinion that women will never be jocks,

724
00:38:39,239 --> 00:38:41,520
Speaker 3: so there will never be a woman robot jock.

725
00:38:41,960 --> 00:38:46,040
Speaker 2: Yes, he also doesn't seem to like Japanese people.

726
00:38:46,160 --> 00:38:48,319
Speaker 3: Yes, text is just full of prejudices.

727
00:38:48,800 --> 00:38:49,879
Speaker 5: Yeah, and so.

728
00:38:51,200 --> 00:38:53,439
Speaker 3: But then so you're wondering, what are these two bees?

729
00:38:53,480 --> 00:38:55,799
Speaker 3: Why doesn't text like the two bees and what are they?

730
00:38:56,560 --> 00:39:00,520
Speaker 3: Professor Laplace shows up and I love her. She is

731
00:39:00,719 --> 00:39:05,240
Speaker 3: all business. She shows up. She's this this small older

732
00:39:05,320 --> 00:39:10,600
Speaker 3: lady who is apparently like the market's greatest geneticist, greatest scientist,

733
00:39:10,719 --> 00:39:14,319
Speaker 3: and she's there to collect DNA samples from all of

734
00:39:14,360 --> 00:39:17,280
Speaker 3: the great robot jocks. So she like gives these tubes

735
00:39:17,680 --> 00:39:20,960
Speaker 3: to U two Achilles and texts and is like, I

736
00:39:21,080 --> 00:39:25,800
Speaker 3: need your genetic material because she's developing what she calls

737
00:39:25,960 --> 00:39:29,399
Speaker 3: gen jocks, which, as far as I can tell, these

738
00:39:29,480 --> 00:39:35,560
Speaker 3: are these are eugenically created perfect robot jock soldiers that

739
00:39:35,800 --> 00:39:40,000
Speaker 3: are that are created through in vitro fertilization, and there

740
00:39:40,120 --> 00:39:43,560
Speaker 3: is there is like there's a twob race in this movie.

741
00:39:43,600 --> 00:39:46,160
Speaker 3: The people they're calling tubs are these people who are

742
00:39:46,320 --> 00:39:48,839
Speaker 3: who are a product of in vitro fertilization, which they

743
00:39:48,840 --> 00:39:53,040
Speaker 3: regard in the film as this like bizarre futuristic thing,

744
00:39:53,120 --> 00:39:54,839
Speaker 3: even though it was it was already being done at

745
00:39:54,840 --> 00:39:55,919
Speaker 3: the time the movie was made.

746
00:39:56,280 --> 00:39:56,920
Speaker 4: Yeah, it's in it.

747
00:39:56,960 --> 00:39:58,920
Speaker 2: So, first of all, not a lot of detail is

748
00:39:58,960 --> 00:40:02,560
Speaker 2: really provided about how they're supposedly doing this, Like are

749
00:40:02,560 --> 00:40:06,000
Speaker 2: they are they growing two b's at the rate one

750
00:40:06,040 --> 00:40:10,200
Speaker 2: would actually create you know, you know, breed new people

751
00:40:10,280 --> 00:40:12,040
Speaker 2: through a process like this, or is there some sort

752
00:40:12,040 --> 00:40:14,680
Speaker 2: of sci fi speeding up of the process.

753
00:40:15,040 --> 00:40:15,279
Speaker 4: You know?

754
00:40:15,600 --> 00:40:18,560
Speaker 2: Yeah? Is this boys from Brazil? Or is this attack

755
00:40:18,560 --> 00:40:20,120
Speaker 2: of the Clones? I can't tell.

756
00:40:20,080 --> 00:40:22,759
Speaker 3: Well the way it seems like in this movie the

757
00:40:22,880 --> 00:40:27,920
Speaker 3: concept of two bees is invoked because it's it sounds futuristic.

758
00:40:28,000 --> 00:40:30,400
Speaker 3: It's almost as if it's being written about by someone

759
00:40:30,400 --> 00:40:33,680
Speaker 3: who didn't maybe didn't even know what was actually involved.

760
00:40:33,760 --> 00:40:36,640
Speaker 2: I'm not sure, right, Yeah, Like I'm one hand on

761
00:40:36,719 --> 00:40:39,239
Speaker 2: the Haldeman level, I think it works perfectly. Is this

762
00:40:39,360 --> 00:40:44,200
Speaker 2: idea that like the military industrial complex ends up absorbing,

763
00:40:44,280 --> 00:40:47,359
Speaker 2: co opting reproduction itself, you know, like that makes sense

764
00:40:47,400 --> 00:40:51,759
Speaker 2: within his his seeming worldview of of of the military engine.

765
00:40:52,360 --> 00:40:55,839
Speaker 2: But yeah, it also hearkens to a time when when

766
00:40:56,120 --> 00:40:58,160
Speaker 2: there were a lot of headlines and certain a certain

767
00:40:58,160 --> 00:41:01,000
Speaker 2: amount of fear mongering and even moral panic about the

768
00:41:01,000 --> 00:41:05,120
Speaker 2: idea of test tube babies. So perhaps some of our

769
00:41:05,120 --> 00:41:07,879
Speaker 2: listeners remember that hysteria because I feel like we see

770
00:41:08,040 --> 00:41:11,120
Speaker 2: less of it now specifically, Yeah.

771
00:41:11,000 --> 00:41:15,120
Speaker 3: Yeah, I mean, I think it's this movie is weirdly

772
00:41:15,200 --> 00:41:20,000
Speaker 3: projecting into the future a kind of temporary, irrational stigma

773
00:41:20,080 --> 00:41:22,960
Speaker 3: that arose from culture at a particular time, like in

774
00:41:23,000 --> 00:41:24,720
Speaker 3: the late eighties or early nineties.

775
00:41:25,120 --> 00:41:27,960
Speaker 2: Yeah, because again, what Test two Babies refers to is

776
00:41:28,000 --> 00:41:31,400
Speaker 2: in vitro fertilization, and in vitro means within the glass.

777
00:41:31,640 --> 00:41:34,120
Speaker 2: But the process doesn't actually take place in a test tube,

778
00:41:34,120 --> 00:41:37,080
Speaker 2: but rather in a petri dish. The egg is fertilized

779
00:41:37,080 --> 00:41:40,279
Speaker 2: in a petri dish, and when it is three to

780
00:41:40,320 --> 00:41:43,320
Speaker 2: five days old, it's transferred to a uterus. And today

781
00:41:43,400 --> 00:41:48,080
Speaker 2: this is mainstream, granted expensive, but it's a mainstream reproductive choice.

782
00:41:48,280 --> 00:41:51,800
Speaker 2: The term itself, however, this is interesting. Test two Babies

783
00:41:52,280 --> 00:41:56,239
Speaker 2: was coined in the nineteen thirties to refer to artificial insemination.

784
00:41:56,600 --> 00:41:56,799
Speaker 3: Huh.

785
00:41:57,000 --> 00:41:59,760
Speaker 2: So in both cases we can you know, just taste

786
00:41:59,800 --> 00:42:04,360
Speaker 2: them oral panic regarding some sort of new reproduction trend.

787
00:42:04,760 --> 00:42:07,880
Speaker 2: And in both cases these are things that you know,

788
00:42:07,920 --> 00:42:12,319
Speaker 2: for the most part, quickly it quickly became normalized. It

789
00:42:12,440 --> 00:42:15,600
Speaker 2: is also interesting that there's like a brief gag in

790
00:42:15,640 --> 00:42:19,600
Speaker 2: the film about just the idea of sperm donation as

791
00:42:19,640 --> 00:42:22,279
Speaker 2: well as Oh yeah in and of itself, is this ridiculous,

792
00:42:22,480 --> 00:42:25,160
Speaker 2: like yuck it up kind of scenario.

793
00:42:25,440 --> 00:42:28,680
Speaker 3: Yeah, text goes like, you're right, here's my DNA to

794
00:42:28,719 --> 00:42:29,880
Speaker 3: make no two bees.

795
00:42:32,120 --> 00:42:37,759
Speaker 2: Yeah, that's exactly how it went. So yeah, anyway, another

796
00:42:37,800 --> 00:42:40,200
Speaker 2: case of science fiction doing what science fiction often does.

797
00:42:40,560 --> 00:42:42,560
Speaker 2: But it certainly seems a bit silly now given the

798
00:42:42,600 --> 00:42:44,160
Speaker 2: mainstream acceptance of IVF.

799
00:42:45,360 --> 00:42:48,839
Speaker 3: But the two bees remain a major theme in the film.

800
00:42:48,920 --> 00:42:54,040
Speaker 3: And as I said, Laplace announces to everybody that there

801
00:42:54,120 --> 00:42:58,560
Speaker 3: is basically a two B race between the between the superpowers,

802
00:42:58,560 --> 00:43:02,279
Speaker 3: and each one is creating their own robot jock super soldiers,

803
00:43:02,640 --> 00:43:06,040
Speaker 3: and so there's like a constant escalation back and forth.

804
00:43:06,960 --> 00:43:09,160
Speaker 3: Let's see. So we meet some of the tubs and

805
00:43:09,480 --> 00:43:11,959
Speaker 3: if you watch this movie, they will say the word

806
00:43:12,000 --> 00:43:14,960
Speaker 3: two b's until it loses all meaning. There is just

807
00:43:15,120 --> 00:43:18,640
Speaker 3: so much talk about two bees in this movie. But

808
00:43:18,760 --> 00:43:21,480
Speaker 3: we meet some of the young young soldiers, and of

809
00:43:21,520 --> 00:43:24,560
Speaker 3: course Athena, the one we were talking about earlier, who's

810
00:43:24,600 --> 00:43:27,239
Speaker 3: a major character in the film. And then we see

811
00:43:27,480 --> 00:43:30,600
Speaker 3: Alexander doing a threat video for Achilles. It's kind of

812
00:43:30,600 --> 00:43:33,920
Speaker 3: like those wrestling promos where the wrestler would come out

813
00:43:33,960 --> 00:43:36,759
Speaker 3: and say, like next week, I'm gonna destroy you in

814
00:43:36,840 --> 00:43:40,359
Speaker 3: the cage. But then after that we get a view

815
00:43:40,400 --> 00:43:43,200
Speaker 3: of the populace at large, just people hanging out in

816
00:43:43,200 --> 00:43:47,239
Speaker 3: the street watching on big public TV screens the ongoing

817
00:43:48,160 --> 00:43:51,400
Speaker 3: saga of the of the robot Jock's conflict, And so

818
00:43:51,480 --> 00:43:53,120
Speaker 3: this is where we see the dudes in the house

819
00:43:53,160 --> 00:43:56,680
Speaker 3: fray hats. But also most people we see in this

820
00:43:56,760 --> 00:44:00,680
Speaker 3: movie who are outside at any point are wearing masks,

821
00:44:00,760 --> 00:44:03,319
Speaker 3: which was kind of strange to watch this year. I

822
00:44:03,360 --> 00:44:06,480
Speaker 3: don't think they're wearing masks for any disease control reason.

823
00:44:07,000 --> 00:44:09,520
Speaker 3: My best guess is that so it's part of the

824
00:44:09,560 --> 00:44:12,400
Speaker 3: setting that the world they live in is after a

825
00:44:12,480 --> 00:44:15,640
Speaker 3: nuclear war has taken place. So my guess is it's

826
00:44:15,680 --> 00:44:18,520
Speaker 3: supposed to be that there are radio nuclides everywhere and

827
00:44:18,600 --> 00:44:21,440
Speaker 3: that the masks are to help prevent people from inhaling

828
00:44:21,560 --> 00:44:24,320
Speaker 3: radioactive particles. I don't know if that would be effective

829
00:44:24,360 --> 00:44:27,080
Speaker 3: in reality, but I think that's at least the reason

830
00:44:27,440 --> 00:44:29,520
Speaker 3: that they're shown wearing them.

831
00:44:29,640 --> 00:44:31,919
Speaker 2: Yeah, it is interesting to watch that this year because

832
00:44:31,960 --> 00:44:34,399
Speaker 2: so many films and TV shows I've watched this year,

833
00:44:34,440 --> 00:44:37,280
Speaker 2: I'm just constantly thinking to myself, why are they standing

834
00:44:37,280 --> 00:44:39,239
Speaker 2: so close to each other? Why is no one wearing

835
00:44:39,239 --> 00:44:39,640
Speaker 2: a mask?

836
00:44:39,800 --> 00:44:40,280
Speaker 4: Huh?

837
00:44:40,320 --> 00:44:43,359
Speaker 2: You know, as illogical as it is to expect that

838
00:44:43,440 --> 00:44:46,120
Speaker 2: in a film from ten twenty years ago, right as

839
00:44:46,120 --> 00:44:48,239
Speaker 2: opposed to out in the normal world, where it is

840
00:44:48,760 --> 00:44:50,239
Speaker 2: perfectly reasonable to expect that.

841
00:44:51,520 --> 00:44:53,640
Speaker 3: So it's coming down to the big fight, right, It's

842
00:44:53,680 --> 00:44:56,360
Speaker 3: going to be Achilles versus Alexander. So we see Achilles

843
00:44:56,440 --> 00:44:58,560
Speaker 3: get into his robot and it's like getting ready for

844
00:44:58,560 --> 00:45:01,440
Speaker 3: a rocket launch. There's like a law platform and there's

845
00:45:01,520 --> 00:45:04,680
Speaker 3: all this staff getting everything ready. He's wearing his jumpsuit

846
00:45:04,760 --> 00:45:08,120
Speaker 3: and his helmet and everybody, instead of break a leg,

847
00:45:08,200 --> 00:45:11,280
Speaker 3: they say crash and burn. That's the good luck saying.

848
00:45:11,320 --> 00:45:13,279
Speaker 3: And in fact they specify in the movie that it

849
00:45:13,360 --> 00:45:15,360
Speaker 3: is bad luck to say good luck, just like in

850
00:45:15,360 --> 00:45:18,160
Speaker 3: a theater. While we were watching it, Rachel made some

851
00:45:18,200 --> 00:45:20,560
Speaker 3: good joke. She said something like, we call it the

852
00:45:20,640 --> 00:45:24,360
Speaker 3: confed play. Might have gotten that wrong on the delivery.

853
00:45:24,360 --> 00:45:28,960
Speaker 3: But anyway, Achilles gets into a giant Optimus Prime. And

854
00:45:29,640 --> 00:45:31,839
Speaker 3: of course there are a bunch of kids who call

855
00:45:31,920 --> 00:45:34,400
Speaker 3: Achilles on a video phone before he goes into battle.

856
00:45:34,440 --> 00:45:38,880
Speaker 3: I think they're his brother's many children and or his

857
00:45:38,920 --> 00:45:43,560
Speaker 3: brother in law, maybe his sister's husbands. Anyways, a bunch

858
00:45:43,560 --> 00:45:45,000
Speaker 3: of people call him on a video phone and they

859
00:45:45,000 --> 00:45:48,280
Speaker 3: wish him good luck, and then so he goes into battle,

860
00:45:48,280 --> 00:45:51,160
Speaker 3: and then we get one of the first big full

861
00:45:51,280 --> 00:45:55,160
Speaker 3: stop motion animation fight scenes. We get to see what

862
00:45:55,200 --> 00:45:58,160
Speaker 3: the robots do when they fight, and I love the

863
00:45:58,200 --> 00:46:01,960
Speaker 3: effects in this scene. You get these these they sort

864
00:46:01,960 --> 00:46:04,080
Speaker 3: of like go down the list of trying out each

865
00:46:04,120 --> 00:46:06,319
Speaker 3: of their weapons on each other, like they're like, try

866
00:46:06,320 --> 00:46:10,279
Speaker 3: that new green laser pair. And this scene I thought

867
00:46:10,360 --> 00:46:12,960
Speaker 3: is just great. Like it's not like it looks realistic,

868
00:46:13,040 --> 00:46:15,239
Speaker 3: but that's not the point. It looks excellent.

869
00:46:15,520 --> 00:46:19,120
Speaker 2: And I have to say the animation style that they use,

870
00:46:19,160 --> 00:46:21,759
Speaker 2: the stop motion animation and the suits as well. They

871
00:46:21,800 --> 00:46:26,560
Speaker 2: create a very clunky sort of movement, which I think

872
00:46:26,680 --> 00:46:29,040
Speaker 2: really works well in the film because we're used to

873
00:46:29,080 --> 00:46:32,120
Speaker 2: seeing some giant robot battles and more recent things like

874
00:46:32,160 --> 00:46:35,560
Speaker 2: the Pacific Rim movies and so forth, and there's a

875
00:46:35,600 --> 00:46:39,279
Speaker 2: lot of like fluid modern action in those films. But

876
00:46:39,560 --> 00:46:43,200
Speaker 2: I feel like the clunky action in this works works

877
00:46:43,239 --> 00:46:47,479
Speaker 2: really well because it does feel like colossal machines doing

878
00:46:47,560 --> 00:46:50,880
Speaker 2: very specific things, and the stakes are really high, like

879
00:46:51,520 --> 00:46:54,799
Speaker 2: there's no wasted movement, and we'll get into some of

880
00:46:55,000 --> 00:46:58,960
Speaker 2: the physical challenges of the idea of giant machines battling

881
00:46:58,960 --> 00:47:01,160
Speaker 2: each other in a bit. But but I ultimately really

882
00:47:01,239 --> 00:47:03,640
Speaker 2: like the kind of clunky and deliberate motions that happen

883
00:47:03,719 --> 00:47:04,400
Speaker 2: in these battles.

884
00:47:04,560 --> 00:47:08,600
Speaker 3: Yes, and so the battle ends with a horrific tragedy.

885
00:47:08,719 --> 00:47:10,680
Speaker 3: So they sort of fight each other to a draw.

886
00:47:10,800 --> 00:47:14,799
Speaker 3: But then then Alexander tries to do something dirty and

887
00:47:15,080 --> 00:47:18,200
Speaker 3: fire a fire a projectile weapon at a part in

888
00:47:18,239 --> 00:47:20,360
Speaker 3: the match when he's not supposed to do that, and

889
00:47:20,440 --> 00:47:23,080
Speaker 3: it looks like it's going to hit the stands of spectators.

890
00:47:23,120 --> 00:47:25,719
Speaker 3: I don't know why there were stands of live spectators by.

891
00:47:25,880 --> 00:47:27,040
Speaker 4: This is it's a power claw.

892
00:47:27,120 --> 00:47:29,560
Speaker 2: It's like a power punch, Yeah, exactly, Like he launches

893
00:47:29,760 --> 00:47:31,760
Speaker 2: the fist of the robot.

894
00:47:31,560 --> 00:47:36,399
Speaker 3: And Achilles is like, no the people to reference Superman four.

895
00:47:36,680 --> 00:47:38,719
Speaker 3: He goes no the people, and he dives in front

896
00:47:38,719 --> 00:47:41,239
Speaker 3: of it before it can hit the stands. But I

897
00:47:41,239 --> 00:47:43,279
Speaker 3: don't know, I guess he should have anticipated this. The

898
00:47:43,320 --> 00:47:46,440
Speaker 3: power claw hits him and knocks him back and he

899
00:47:46,600 --> 00:47:51,000
Speaker 3: falls on the stands. Crushing tons of people and killing them,

900
00:47:51,040 --> 00:47:53,480
Speaker 3: and there is I'm not sure I was trying to

901
00:47:53,480 --> 00:47:56,160
Speaker 3: put my finger on what exactly is so funny about this,

902
00:47:56,520 --> 00:47:59,959
Speaker 3: but the staging of the horrific mayhem that we see

903
00:48:00,080 --> 00:48:03,640
Speaker 3: in the aftermath of him falling on the stands is hilarious.

904
00:48:04,120 --> 00:48:07,480
Speaker 3: There are all these like bloody bodies all over the place,

905
00:48:07,480 --> 00:48:10,120
Speaker 3: but for some reason it looks so funny. And I

906
00:48:10,200 --> 00:48:13,200
Speaker 3: think maybe it's because the bodies are all kind of

907
00:48:13,239 --> 00:48:17,359
Speaker 3: like perfectly evenly spaced apart from each other. It just

908
00:48:17,400 --> 00:48:19,440
Speaker 3: looks staged in a really funny way.

909
00:48:19,719 --> 00:48:22,440
Speaker 2: I didn't get that as much, but I was thinking, well, like, well,

910
00:48:22,520 --> 00:48:24,319
Speaker 2: I don't think the boy needed to see this, so

911
00:48:24,920 --> 00:48:28,040
Speaker 2: that we didn't watch it. One kind of neat bit

912
00:48:28,080 --> 00:48:30,839
Speaker 2: of trivia about that scene, though, is apparently audio from

913
00:48:30,920 --> 00:48:33,160
Speaker 2: it is used in the creation was used in the

914
00:48:33,160 --> 00:48:35,879
Speaker 2: creation of the Nine Inch Nails track the becoming off

915
00:48:35,920 --> 00:48:40,040
Speaker 2: of the Downward Spiral huh okay, which I'd never picked

916
00:48:40,080 --> 00:48:43,920
Speaker 2: up on that before. But as it turns out, like

917
00:48:43,960 --> 00:48:45,719
Speaker 2: that album, as much as we might think of the

918
00:48:45,719 --> 00:48:49,640
Speaker 2: Downward Spiral as just you know being this this industrial,

919
00:48:49,960 --> 00:48:54,919
Speaker 2: you know, deep gothic, phallic oriented, you know, plunge into

920
00:48:54,920 --> 00:48:59,400
Speaker 2: the psyche. It's ultimately a celebration of science fiction films

921
00:48:59,400 --> 00:49:02,960
Speaker 2: from the because you've got samples from Robot Jocks, but

922
00:49:03,000 --> 00:49:09,240
Speaker 2: also from THHX eleven thirty eight, from Leviathan, Angel Heart, Texas, Chainsaw, Massacre, Alien,

923
00:49:09,280 --> 00:49:13,200
Speaker 2: the Elephant Man, and Sorcerer, The Truck movie. Yeah, the

924
00:49:13,440 --> 00:49:18,160
Speaker 2: Truck movie, the remake of Wages of Fear that had

925
00:49:18,160 --> 00:49:21,400
Speaker 2: the awesome, I mean just amazing Tangerine Dream soundtrack.

926
00:49:21,960 --> 00:49:26,200
Speaker 3: You had me at Leviathan. So next thing in the movie,

927
00:49:26,280 --> 00:49:29,160
Speaker 3: we get to see what their international Criminal Cord or

928
00:49:29,160 --> 00:49:31,239
Speaker 3: whatever it is looks like, and it's just dudes in

929
00:49:31,280 --> 00:49:36,759
Speaker 3: referee outfits, which like, so these these referees are now

930
00:49:36,800 --> 00:49:40,200
Speaker 3: settling international disputes. Who appoints them? Where do they come from?

931
00:49:40,360 --> 00:49:40,839
Speaker 3: I don't know.

932
00:49:41,800 --> 00:49:43,920
Speaker 2: I assume it's supposed to be some sort of United

933
00:49:44,000 --> 00:49:48,560
Speaker 2: Nations type thing. But yeah, they have this cool floating vehicle,

934
00:49:48,680 --> 00:49:53,640
Speaker 2: this like hover hovering referee vehicle that they use, which

935
00:49:53,680 --> 00:49:54,239
Speaker 2: is pretty cool.

936
00:49:54,640 --> 00:49:58,440
Speaker 3: But they're wearing literally the black and white stripe referee outfits,

937
00:49:58,560 --> 00:50:02,719
Speaker 3: and they're they're like justice. They're like judges presiding over

938
00:50:02,760 --> 00:50:05,880
Speaker 3: a trial in which both sides are presenting arguments about

939
00:50:05,880 --> 00:50:09,040
Speaker 3: why they technically won this match in which a bunch

940
00:50:09,040 --> 00:50:12,239
Speaker 3: of people got crushed, and it turns out the referees

941
00:50:12,280 --> 00:50:15,040
Speaker 3: decided is inconclusive and there will have to be a

942
00:50:15,120 --> 00:50:19,600
Speaker 3: rematch in one week, and of course Alexander loves this.

943
00:50:19,800 --> 00:50:21,640
Speaker 3: He cries out in the trial.

944
00:50:21,760 --> 00:50:24,560
Speaker 5: He says, yes, one week, I kill you dead.

945
00:50:25,239 --> 00:50:28,200
Speaker 3: And Achilles is very sad because he does not want

946
00:50:28,200 --> 00:50:32,120
Speaker 3: to fight anymore. He says, I did my contract ten fights.

947
00:50:32,640 --> 00:50:36,600
Speaker 3: That's it. So he's like, I won't do anymore. I retire,

948
00:50:37,719 --> 00:50:40,840
Speaker 3: and Alexander calls him out. He says, coward, you lost

949
00:50:40,880 --> 00:50:41,440
Speaker 3: your nerve.

950
00:50:42,000 --> 00:50:44,320
Speaker 2: Well, he's also really torn up about all the people

951
00:50:44,360 --> 00:50:48,320
Speaker 2: that died when his robot fell into the stand, right, yes,

952
00:50:48,600 --> 00:50:50,640
Speaker 2: so I think it's understandable. Like he's like, I'm done,

953
00:50:50,640 --> 00:50:52,360
Speaker 2: I don't want any more. There's let the tubbs handle it.

954
00:50:52,360 --> 00:50:54,279
Speaker 2: And the two Bees, of course are like, yes, yeah,

955
00:50:54,320 --> 00:50:56,600
Speaker 2: let us in there. This is all we've been raised

956
00:50:56,640 --> 00:50:57,120
Speaker 2: to do. Oh.

957
00:50:57,160 --> 00:50:59,719
Speaker 3: They're so excited that the two b's are loving it.

958
00:50:59,800 --> 00:51:01,880
Speaker 3: One of them is going to get to fight. So

959
00:51:01,960 --> 00:51:04,120
Speaker 3: one of the two Bee boys says Achilles is a

960
00:51:04,160 --> 00:51:07,480
Speaker 3: coward for retiring, but Pathena is not having it, She

961
00:51:07,560 --> 00:51:10,880
Speaker 3: stands up for Achilles, and Athena is like, he's not

962
00:51:10,960 --> 00:51:14,239
Speaker 3: a coward, and then we get an argument with the

963
00:51:14,680 --> 00:51:18,600
Speaker 3: market commissioner. I guess he's like Achilles's boss. I'm not

964
00:51:18,640 --> 00:51:21,799
Speaker 3: sure exactly what he's supposed to be, but he's in

965
00:51:21,920 --> 00:51:24,240
Speaker 3: charge of the robot jocks for the market side, I guess.

966
00:51:24,239 --> 00:51:27,919
Speaker 3: And he tries to argue. We get like squabbling over

967
00:51:27,960 --> 00:51:30,960
Speaker 3: what the contract means. He's like, you haven't actually finished

968
00:51:30,960 --> 00:51:33,959
Speaker 3: your contract because you didn't finish ten fights. The last

969
00:51:33,960 --> 00:51:37,520
Speaker 3: one was inconclusive, and it isn't over until someone wins.

970
00:51:37,920 --> 00:51:41,120
Speaker 3: And then Achilles response, I don't know what this line means.

971
00:51:41,280 --> 00:51:43,640
Speaker 3: He responds by saying, you sound like one of your

972
00:51:43,719 --> 00:51:48,440
Speaker 3: damn two bees. What is the meaning of that?

973
00:51:50,360 --> 00:51:50,759
Speaker 4: I don't know.

974
00:51:50,840 --> 00:51:53,280
Speaker 2: I guess it's just that the two bees are utterly

975
00:51:53,280 --> 00:51:56,319
Speaker 2: indoctrinated into this idea of.

976
00:51:57,800 --> 00:51:58,320
Speaker 4: Warfare.

977
00:51:58,560 --> 00:52:01,000
Speaker 3: Okay, you like the.

978
00:52:00,960 --> 00:52:04,440
Speaker 2: New generation has raised for it and knows nothing else has.

979
00:52:04,560 --> 00:52:07,160
Speaker 2: And just in a way, it's kind of like they

980
00:52:07,200 --> 00:52:12,320
Speaker 2: represent like youthful vigor for in almost innocence before the battle.

981
00:52:12,760 --> 00:52:15,080
Speaker 2: And of course he is the veteran, he's been through it,

982
00:52:15,120 --> 00:52:19,000
Speaker 2: he's come out the other end and knows that warfare

983
00:52:19,080 --> 00:52:20,080
Speaker 2: is horrible.

984
00:52:19,840 --> 00:52:22,879
Speaker 3: Right, So I guess the next thing that we get

985
00:52:22,880 --> 00:52:25,799
Speaker 3: to is this really amazing scene. It's like there's a

986
00:52:25,880 --> 00:52:29,480
Speaker 3: dance party in a bar that includes text dancing with

987
00:52:29,520 --> 00:52:33,200
Speaker 3: a woman and it's hard to describe it. You just

988
00:52:33,360 --> 00:52:35,920
Speaker 3: need to see this scene. It's like the scene in

989
00:52:36,160 --> 00:52:41,000
Speaker 3: Message from Space where they have their cantena equivalent. It

990
00:52:41,120 --> 00:52:42,840
Speaker 3: is a party that must be witnessed.

991
00:52:43,160 --> 00:52:44,800
Speaker 2: Yeah, it's a fun cantena scene.

992
00:52:45,160 --> 00:52:46,960
Speaker 3: And so while this dance party is going on in

993
00:52:47,000 --> 00:52:50,280
Speaker 3: the background, Achilles, now depressed, is in the bar getting

994
00:52:50,360 --> 00:52:53,520
Speaker 3: blackout drunk. He's doing this thing where he's drinking the alphabet.

995
00:52:53,600 --> 00:52:55,840
Speaker 3: So he's going down the alphabet, drinking a drink for

996
00:52:55,880 --> 00:52:58,880
Speaker 3: every letter, and I think he's made his way to

997
00:52:59,000 --> 00:53:01,840
Speaker 3: J and bartender suggests a julop.

998
00:53:02,280 --> 00:53:02,480
Speaker 5: Wow.

999
00:53:02,600 --> 00:53:04,759
Speaker 2: Wow, this is This is an interesting concept that I

1000
00:53:04,840 --> 00:53:10,239
Speaker 2: kind of glossed over watching the film. Certainly not advisable

1001
00:53:10,400 --> 00:53:12,560
Speaker 2: for a single evening, though, but I wonder what would

1002
00:53:12,600 --> 00:53:14,399
Speaker 2: be the proper way to drink the alphabet. It would

1003
00:53:14,400 --> 00:53:16,640
Speaker 2: be kind of interesting to make that list and to

1004
00:53:16,680 --> 00:53:19,600
Speaker 2: pick out a particular cocktail for each one.

1005
00:53:20,200 --> 00:53:24,920
Speaker 3: What starts with a give me one alcohol, please. But

1006
00:53:25,040 --> 00:53:27,640
Speaker 3: so then he's sitting there and then all the twob's

1007
00:53:27,719 --> 00:53:30,520
Speaker 3: come in and they're young and full of excitement and vigor,

1008
00:53:30,560 --> 00:53:33,040
Speaker 3: and they try to cheer Achilles up talking about how

1009
00:53:33,120 --> 00:53:37,200
Speaker 3: the they this was great. The way they try to

1010
00:53:37,280 --> 00:53:39,440
Speaker 3: cheer him up is they talk about, Hey, the audience

1011
00:53:39,480 --> 00:53:42,760
Speaker 3: members in the stands signed releases. You know, they agreed

1012
00:53:42,800 --> 00:53:44,640
Speaker 3: to be there. They knew what the risks were. You

1013
00:53:44,640 --> 00:53:45,640
Speaker 3: shouldn't feel bad.

1014
00:53:46,000 --> 00:53:49,000
Speaker 2: Yeah, they the two b's have just bought every line

1015
00:53:49,040 --> 00:53:50,560
Speaker 2: that the markets has told them.

1016
00:53:50,640 --> 00:53:52,239
Speaker 4: Yeah, I just believe it all absolutely.

1017
00:53:52,560 --> 00:53:55,399
Speaker 3: They like they actually read the fine print and they

1018
00:53:55,480 --> 00:53:58,279
Speaker 3: love it. They're all on board with every bit of

1019
00:53:58,320 --> 00:54:02,120
Speaker 3: the contract. And then Alexander shows up and this is

1020
00:54:02,160 --> 00:54:04,920
Speaker 3: one of multiple scenes in the movie where the characters

1021
00:54:04,920 --> 00:54:08,120
Speaker 3: are drinking in this bar that they share with the

1022
00:54:08,120 --> 00:54:11,759
Speaker 3: opposing side and I don't know how to So so

1023
00:54:11,800 --> 00:54:15,560
Speaker 3: the premise that's going on is that the Confederation is

1024
00:54:15,600 --> 00:54:19,359
Speaker 3: constantly winning these fights because of info security leaks on

1025
00:54:19,480 --> 00:54:22,480
Speaker 3: the market side, like there are spies and everybody's concerned

1026
00:54:22,520 --> 00:54:25,280
Speaker 3: about how people are finding out about the new weapons

1027
00:54:25,280 --> 00:54:28,759
Speaker 3: systems on the market robots. But then at night, the

1028
00:54:28,800 --> 00:54:31,480
Speaker 3: two different sides just go get drunk together in the

1029
00:54:31,520 --> 00:54:34,440
Speaker 3: same bar. That's that seems not secure.

1030
00:54:34,840 --> 00:54:37,759
Speaker 2: Yeah, absolutely, it seems like a terrible idea, but it

1031
00:54:37,840 --> 00:54:41,120
Speaker 2: works really well to move the plot along because it's

1032
00:54:41,120 --> 00:54:43,280
Speaker 2: one of those things. Anytime you have giant robot battles

1033
00:54:43,320 --> 00:54:45,560
Speaker 2: or giant monster suit battles or whatever, you got to

1034
00:54:45,600 --> 00:54:47,960
Speaker 2: have a lot of human interaction to pad out the movie.

1035
00:54:48,320 --> 00:54:49,919
Speaker 4: And this works well for the most part.

1036
00:54:50,000 --> 00:54:53,840
Speaker 3: Right, So, one of the kids, so Alexander shows up

1037
00:54:53,880 --> 00:54:55,799
Speaker 3: at the bar and he's just being a bully. He's

1038
00:54:55,840 --> 00:54:58,239
Speaker 3: just swinging his weight around, just being me and to everybody,

1039
00:54:58,600 --> 00:55:03,520
Speaker 3: and one of the kids, Chow lenges him, and he scoffs.

1040
00:55:03,560 --> 00:55:07,880
Speaker 3: He's like, I do not fight two bees. So apparently

1041
00:55:08,160 --> 00:55:13,200
Speaker 3: Alexander is also prejudiced against the two bees. And Alexander

1042
00:55:13,280 --> 00:55:16,680
Speaker 3: starts twisting this kid's fingers and then Achilles, still drunk,

1043
00:55:16,719 --> 00:55:20,560
Speaker 3: intervenes and that they start to fight. But then Alexander

1044
00:55:20,600 --> 00:55:23,239
Speaker 3: says he will not fight him. Now, he says, I

1045
00:55:23,360 --> 00:55:26,359
Speaker 3: do not fight for fun. What do you fight for?

1046
00:55:27,000 --> 00:55:29,759
Speaker 3: Which is a strange moment where the movie suddenly like

1047
00:55:29,960 --> 00:55:32,120
Speaker 3: asks you to be thoughtful in a way that it

1048
00:55:32,160 --> 00:55:35,280
Speaker 3: hasn't maybe so far or certainly not for a while,

1049
00:55:35,880 --> 00:55:38,319
Speaker 3: And because it appears that Achilles does not actually know,

1050
00:55:38,480 --> 00:55:42,040
Speaker 3: he's maybe like, huh, I've spent my life becoming a soldier,

1051
00:55:42,080 --> 00:55:44,440
Speaker 3: but I really don't know if there's a good reason

1052
00:55:45,360 --> 00:55:47,040
Speaker 3: for any of the fighting that I'm doing.

1053
00:55:47,440 --> 00:55:50,400
Speaker 2: It feels like an artifact of an earlier version of

1054
00:55:50,440 --> 00:55:52,920
Speaker 2: the script, but it's also an energy that we come

1055
00:55:52,960 --> 00:55:53,560
Speaker 2: back to later.

1056
00:55:53,719 --> 00:55:59,000
Speaker 3: Right, So, Athena carries the drunk Achilles home. She apparently

1057
00:55:59,040 --> 00:56:01,400
Speaker 3: she takes his clothes off, and then the next morning

1058
00:56:01,400 --> 00:56:05,200
Speaker 3: they have this long, like naked hangover conversation where he's

1059
00:56:05,200 --> 00:56:09,160
Speaker 3: like dragging his sheets around and arguing with her about

1060
00:56:10,239 --> 00:56:13,720
Speaker 3: arguing about what they're fighting for and who should be fighting,

1061
00:56:13,800 --> 00:56:19,239
Speaker 3: and Athena gets mad at him, I guess because he's retiring,

1062
00:56:19,280 --> 00:56:21,880
Speaker 3: and she's like, I was bred not to have fear.

1063
00:56:22,080 --> 00:56:25,520
Speaker 3: I was bred for a purpose. You you just happened.

1064
00:56:26,040 --> 00:56:29,040
Speaker 3: And so it's clear actually that the prejudice kind of

1065
00:56:29,040 --> 00:56:32,600
Speaker 3: goes both ways. Like the two bees apparently disdain non

1066
00:56:32,680 --> 00:56:36,799
Speaker 3: tubes because they exist for no particular reason.

1067
00:56:36,840 --> 00:56:40,840
Speaker 2: Yeah, just random existence. Yeah, so it's interesting. There's a

1068
00:56:40,840 --> 00:56:43,440
Speaker 2: fair amount of cool world building going on in this film.

1069
00:56:43,520 --> 00:56:46,319
Speaker 3: Yeah, and so she's like one of the things in

1070
00:56:46,360 --> 00:56:48,200
Speaker 3: the scene I think is she's trying to figure out, like,

1071
00:56:48,239 --> 00:56:50,480
Speaker 3: what are the secrets of how he always won his

1072
00:56:50,520 --> 00:56:53,200
Speaker 3: battles and he was and he's like, I don't know

1073
00:56:53,239 --> 00:56:56,160
Speaker 3: a lot of it's just luck. And she doesn't like

1074
00:56:56,239 --> 00:56:58,319
Speaker 3: this answer, so she gets really mad at him, and

1075
00:56:58,360 --> 00:57:00,920
Speaker 3: she says, I wanted to learn the secret the great Achilles,

1076
00:57:01,000 --> 00:57:04,080
Speaker 3: but you just talk about luck and fear. There's nothing

1077
00:57:04,120 --> 00:57:08,520
Speaker 3: you can teach me except how to lose. So there's

1078
00:57:08,520 --> 00:57:12,160
Speaker 3: another scene where we see like the the youngsters training,

1079
00:57:12,280 --> 00:57:15,200
Speaker 3: they're they're doing their their their to B exercises, and

1080
00:57:15,400 --> 00:57:18,200
Speaker 3: Text reiterates to Achilles. He says, for the second time,

1081
00:57:18,280 --> 00:57:20,560
Speaker 3: you know a woman can never be a robot jock.

1082
00:57:21,000 --> 00:57:21,240
Speaker 4: Yeah.

1083
00:57:21,320 --> 00:57:24,280
Speaker 2: Yeah, he's again the old the old fashioned attitudes of

1084
00:57:24,920 --> 00:57:25,400
Speaker 2: texts here.

1085
00:57:25,560 --> 00:57:28,960
Speaker 3: Yeah, so Text is quite the sexist and he and

1086
00:57:29,000 --> 00:57:31,880
Speaker 3: he makes it clear over and over. But this does

1087
00:57:31,920 --> 00:57:34,760
Speaker 3: not this does not discourage Achilles from retiring. I think

1088
00:57:34,800 --> 00:57:37,680
Speaker 3: maybe he's trying to talk Achilles into staying on. He's like, look,

1089
00:57:37,720 --> 00:57:39,400
Speaker 3: you know, you're the only one who can do it.

1090
00:57:39,880 --> 00:57:43,320
Speaker 3: But Achilles retires anyway, and he becomes a civvy. So

1091
00:57:43,360 --> 00:57:46,000
Speaker 3: you see him just suddenly going around the city. He's

1092
00:57:46,040 --> 00:57:49,560
Speaker 3: not at mission control anymore. He sees a mural on

1093
00:57:49,600 --> 00:57:52,080
Speaker 3: a wall somewhere. I think that has his picture on it,

1094
00:57:52,120 --> 00:57:56,120
Speaker 3: and someone has written the word coward but misspelled it's

1095
00:57:56,200 --> 00:57:56,919
Speaker 3: cow erd.

1096
00:57:57,400 --> 00:57:58,960
Speaker 2: Now, how do you know that's not just how they

1097
00:57:58,960 --> 00:58:00,120
Speaker 2: spell in the future, Joe.

1098
00:58:00,080 --> 00:58:02,920
Speaker 3: That's true. Spelling changes over time. That's a very good point.

1099
00:58:03,120 --> 00:58:06,160
Speaker 3: It's just like how in the future the word jocks

1100
00:58:06,240 --> 00:58:10,280
Speaker 3: plural is spelled with an X instead of cks. But

1101
00:58:10,400 --> 00:58:14,120
Speaker 3: so now the market's got a problem. Achilles, their greatest warrior,

1102
00:58:14,160 --> 00:58:16,040
Speaker 3: has retired. So they've got to put one of these

1103
00:58:16,040 --> 00:58:18,800
Speaker 3: two b's in the robot to fight Alexander. So they

1104
00:58:18,800 --> 00:58:22,360
Speaker 3: go through some rapid two B training and the way

1105
00:58:22,440 --> 00:58:26,080
Speaker 3: this shakes out is that Athena and the other two

1106
00:58:26,080 --> 00:58:30,080
Speaker 3: bees have to climb the Agrocrag. There's this big, rattling

1107
00:58:30,200 --> 00:58:33,160
Speaker 3: jungle gym of death, and they're all fighting each other

1108
00:58:33,240 --> 00:58:35,240
Speaker 3: to get to the top first and climb through this

1109
00:58:35,320 --> 00:58:38,720
Speaker 3: hole in the ceiling. And Athena is victorious. She is

1110
00:58:38,760 --> 00:58:40,920
Speaker 3: the greatest of the two bes, so she's going to

1111
00:58:40,960 --> 00:58:44,280
Speaker 3: become the new Jocks, And as a newscaster declares, she

1112
00:58:44,400 --> 00:58:49,440
Speaker 3: is the first female robo jock. But Achilles, now at home,

1113
00:58:49,600 --> 00:58:52,160
Speaker 3: sees this on TV and he's like, no, I can't

1114
00:58:52,240 --> 00:58:55,640
Speaker 3: let her go into battle, so he goes back. He

1115
00:58:55,720 --> 00:58:58,160
Speaker 3: goes back to Jock's control and he's like, I will

1116
00:58:58,160 --> 00:59:01,360
Speaker 3: be the jock and he It rains with Texts, and

1117
00:59:02,120 --> 00:59:06,040
Speaker 3: then there's a scene where doctor Matsumoto and Text begin

1118
00:59:06,120 --> 00:59:09,640
Speaker 3: to argue about how to best keep the new robot

1119
00:59:09,720 --> 00:59:14,160
Speaker 3: system a secret from spies. Doctor Matsumoto has taken measures

1120
00:59:14,160 --> 00:59:16,120
Speaker 3: to keep it secret in a way that Text does

1121
00:59:16,160 --> 00:59:19,800
Speaker 3: not approve of. And so there's more drinking at the bar.

1122
00:59:19,960 --> 00:59:22,400
Speaker 3: Of course I mentioned that would come back. Alexander sits

1123
00:59:22,440 --> 00:59:25,600
Speaker 3: down next to Achilles and he declares that you make

1124
00:59:25,720 --> 00:59:30,440
Speaker 3: my drink taste like blood? Is that an expression? What

1125
00:59:30,520 --> 00:59:33,280
Speaker 3: does that mean? Do you know what he's getting at there?

1126
00:59:33,480 --> 00:59:36,000
Speaker 2: I can think of no way that that makes sense. Yeah,

1127
00:59:36,080 --> 00:59:38,600
Speaker 2: unless because he is he saying I can't tell he's

1128
00:59:38,640 --> 00:59:40,880
Speaker 2: saying it in a way where he's like, my drink

1129
00:59:40,960 --> 00:59:43,080
Speaker 2: is better because it tastes like blood, or is it

1130
00:59:43,120 --> 00:59:45,240
Speaker 2: worse because it tastes like blood. It's really hard to

1131
00:59:45,280 --> 00:59:47,840
Speaker 2: get a read on what exactly floats Alexander's boat here.

1132
00:59:47,960 --> 00:59:51,440
Speaker 3: Yeah, so we're ramping up to the final confrontation between

1133
00:59:51,480 --> 00:59:56,080
Speaker 3: Achilles and Alexander. But then before that, there is a

1134
00:59:56,160 --> 00:59:58,760
Speaker 3: great scene where I think maybe we shouldn't reveal what happens,

1135
00:59:58,800 --> 01:00:02,400
Speaker 3: but there is a conference about who is actually the

1136
01:00:02,520 --> 01:00:05,120
Speaker 3: spy on the market side, who's been leaking the new

1137
01:00:05,160 --> 01:00:08,640
Speaker 3: technology secrets to the enemy. There's a there's a great

1138
01:00:08,680 --> 01:00:12,240
Speaker 3: show down there that has some some good dialogue in it, actually,

1139
01:00:12,280 --> 01:00:15,440
Speaker 3: well some like good dialogue that changes almost mid sentence

1140
01:00:15,480 --> 01:00:17,240
Speaker 3: to become hilariously cliched.

1141
01:00:17,560 --> 01:00:22,000
Speaker 2: Yeah, it's punctuated by hilarious cliches, but has some some

1142
01:00:22,160 --> 01:00:23,040
Speaker 2: nice lines in there.

1143
01:00:23,120 --> 01:00:23,440
Speaker 4: Yeah.

1144
01:00:23,480 --> 01:00:25,680
Speaker 2: So it's it's a very interesting scene. And of course

1145
01:00:25,720 --> 01:00:26,480
Speaker 2: the spy is.

1146
01:00:26,480 --> 01:00:28,360
Speaker 3: Revealed, but we won't spoil it for you. We're not

1147
01:00:28,360 --> 01:00:31,000
Speaker 3: going to tell you who the spy is. But then anyway,

1148
01:00:31,360 --> 01:00:33,960
Speaker 3: so Athena comes to achilles room the night before the

1149
01:00:33,960 --> 01:00:36,800
Speaker 3: big battle, and you think maybe this is going to

1150
01:00:36,880 --> 01:00:39,360
Speaker 3: pan out to be like a love scene, but instead

1151
01:00:39,840 --> 01:00:42,560
Speaker 3: she tricks him and shoots him with a sedative and

1152
01:00:42,600 --> 01:00:46,080
Speaker 3: locks him in his apartment because her angle is no,

1153
01:00:46,560 --> 01:00:49,520
Speaker 3: I will be the robot Jock, I will fight Alexander.

1154
01:00:49,960 --> 01:00:51,600
Speaker 2: I don't mean to harp on the film, because the

1155
01:00:51,600 --> 01:00:53,880
Speaker 2: film looks great and I love I love the way

1156
01:00:53,920 --> 01:00:56,760
Speaker 2: the sets look, I love I love the props, I

1157
01:00:56,840 --> 01:01:01,040
Speaker 2: love I love everything. But in this scene when she

1158
01:01:02,160 --> 01:01:05,680
Speaker 2: uses an injector gun on him, it's fairly obvious that

1159
01:01:05,840 --> 01:01:10,360
Speaker 2: in the wide shots she's using a hot glue gun,

1160
01:01:10,600 --> 01:01:12,600
Speaker 2: like a hot glue gun that's been painted silver, and

1161
01:01:12,640 --> 01:01:15,919
Speaker 2: then on close ups it's like an actual injection gun

1162
01:01:16,000 --> 01:01:18,760
Speaker 2: or something that looks more far more believably like an

1163
01:01:18,760 --> 01:01:21,520
Speaker 2: injection gun. So it's just something interesting. I noticed they

1164
01:01:21,520 --> 01:01:23,400
Speaker 2: didn't really take me out of the film, And again

1165
01:01:23,440 --> 01:01:26,280
Speaker 2: I don't want to harp on it, like this is like, yeah,

1166
01:01:26,320 --> 01:01:29,000
Speaker 2: you know, the cheapness of the movie, because for the

1167
01:01:29,040 --> 01:01:30,640
Speaker 2: most part it looks wonderful.

1168
01:01:30,920 --> 01:01:34,280
Speaker 3: The effects budget went mainly into the robot battles, I think.

1169
01:01:34,680 --> 01:01:37,000
Speaker 4: And jumpsuits too, jumpsuits and robot battles.

1170
01:01:37,120 --> 01:01:40,200
Speaker 3: Yes, but I think you're right. In the close ups

1171
01:01:40,000 --> 01:01:42,720
Speaker 3: it's a regular prop gun. So it makes me wonder

1172
01:01:42,760 --> 01:01:44,640
Speaker 3: why they couldn't use the regular prop gun in the

1173
01:01:44,640 --> 01:01:46,560
Speaker 3: wide shots too. But in the wide shots it's a

1174
01:01:46,680 --> 01:01:48,160
Speaker 3: thousand percent of hot glue gun.

1175
01:01:48,320 --> 01:01:50,880
Speaker 2: Yeah, maybe something that changed pretty late in production.

1176
01:01:51,120 --> 01:01:55,160
Speaker 3: Yeah. So anyway, the next morning, Athena goes in to

1177
01:01:55,400 --> 01:01:58,400
Speaker 3: take Achilles place inside the robot. She's got her visor

1178
01:01:58,440 --> 01:02:00,520
Speaker 3: down so nobody can see who she is. She pretending

1179
01:02:00,560 --> 01:02:02,680
Speaker 3: to be him, and she's going to go do the

1180
01:02:02,720 --> 01:02:07,480
Speaker 3: fight herself. Meanwhile, meanwhile, Achilles escapes his apartment and he

1181
01:02:07,600 --> 01:02:10,680
Speaker 3: runs to the battlefield, and we get this final showdown.

1182
01:02:10,680 --> 01:02:12,520
Speaker 3: And I don't know how much we should say about

1183
01:02:12,600 --> 01:02:15,400
Speaker 3: the final showdown or how exactly to talk about it,

1184
01:02:15,440 --> 01:02:18,480
Speaker 3: but it's a pretty great robot battle that involves flying

1185
01:02:18,520 --> 01:02:24,480
Speaker 3: into space and different interesting weapons get deployed. I don't know,

1186
01:02:24,680 --> 01:02:25,480
Speaker 3: it's a lot of fun.

1187
01:02:25,720 --> 01:02:26,000
Speaker 4: Yeah.

1188
01:02:26,040 --> 01:02:29,040
Speaker 2: I mean there's one I will spoil one weapon that

1189
01:02:29,080 --> 01:02:32,800
Speaker 2: they use that is the bolo saw, which I remember

1190
01:02:33,160 --> 01:02:35,720
Speaker 2: from watching part of this I think probably on Sci

1191
01:02:35,720 --> 01:02:39,160
Speaker 2: Fi Channel back in the day, but even in the rewatch,

1192
01:02:39,200 --> 01:02:41,320
Speaker 2: it was just a wonderful moment because I've never seen

1193
01:02:41,320 --> 01:02:44,760
Speaker 2: a sci Fi weapon quite like it. It's this device

1194
01:02:44,800 --> 01:02:47,080
Speaker 2: it like shoots a chain around the limb of another

1195
01:02:47,160 --> 01:02:51,080
Speaker 2: robot and then that boloed chain like locks into place,

1196
01:02:51,440 --> 01:02:54,840
Speaker 2: allowing rotary motion of the chain, so it works kind

1197
01:02:54,880 --> 01:02:58,280
Speaker 2: of like an inverted chainsaw then to saw off the

1198
01:02:58,280 --> 01:03:02,400
Speaker 2: limb of an enemy robot, and it's wonderful. It's great.

1199
01:03:02,560 --> 01:03:05,320
Speaker 2: I'm surprised it's not. I don't know that I've seen

1200
01:03:05,360 --> 01:03:08,640
Speaker 2: it ripped off in any subsequent giant robot movie or anything,

1201
01:03:08,680 --> 01:03:11,200
Speaker 2: but they should because it's a fabulous weapon.

1202
01:03:11,400 --> 01:03:23,040
Speaker 3: Yeah, totally. Maybe we should just focus on the big

1203
01:03:23,120 --> 01:03:25,760
Speaker 3: robots for a minute before we get to the glory

1204
01:03:25,760 --> 01:03:26,360
Speaker 3: of the ending.

1205
01:03:26,680 --> 01:03:26,919
Speaker 4: Yeah.

1206
01:03:26,960 --> 01:03:29,280
Speaker 2: So again, the robots look pretty awesome in this a

1207
01:03:29,760 --> 01:03:32,520
Speaker 2: combo of awesome old school stop motion, and I think

1208
01:03:32,560 --> 01:03:35,880
Speaker 2: some old school man ensued effects and the battles may

1209
01:03:35,920 --> 01:03:38,560
Speaker 2: not feel as dynamic as something you get nowadays or

1210
01:03:38,600 --> 01:03:41,560
Speaker 2: even in mech fiction of decades past, but it all

1211
01:03:41,600 --> 01:03:43,880
Speaker 2: has a feeling of authenticity to it, and I think

1212
01:03:43,960 --> 01:03:46,520
Speaker 2: one of the main reasons, and this is something that

1213
01:03:46,560 --> 01:03:50,080
Speaker 2: I think ties in well with you know, some elements

1214
01:03:50,120 --> 01:03:53,320
Speaker 2: you see in the Forever War. These are big weapons

1215
01:03:53,640 --> 01:03:57,320
Speaker 2: and mass and gravity. These are perpetually your greatest threat

1216
01:03:57,600 --> 01:04:01,200
Speaker 2: and your enemy's greatest weakness. As such, one of the

1217
01:04:01,240 --> 01:04:04,000
Speaker 2: worst things that could possibly happen to you in one

1218
01:04:04,040 --> 01:04:08,040
Speaker 2: of these robot jocks, Max is that you might fall

1219
01:04:08,120 --> 01:04:09,320
Speaker 2: over or be pushed over.

1220
01:04:09,720 --> 01:04:12,760
Speaker 3: Yeah, and this is actually, I think, really smart, Like

1221
01:04:12,800 --> 01:04:16,160
Speaker 3: if you're going to take the premise seriously, it's good

1222
01:04:16,160 --> 01:04:17,880
Speaker 3: to think about physics in this way. And I guess

1223
01:04:17,920 --> 01:04:20,560
Speaker 3: Haldeman did you know, he knew a lot about physics,

1224
01:04:20,560 --> 01:04:23,360
Speaker 3: and so he did actually have this in mind. And

1225
01:04:23,400 --> 01:04:25,880
Speaker 3: I think this is a great monster science connection because

1226
01:04:25,960 --> 01:04:30,160
Speaker 3: it's worth keeping this in mind about biology. Evolutionary design

1227
01:04:30,320 --> 01:04:35,320
Speaker 3: problems are not symmetrical across great differences in scale. One

1228
01:04:35,320 --> 01:04:38,040
Speaker 3: of the examples of this offen sided is, you know

1229
01:04:38,080 --> 01:04:40,760
Speaker 3: those like articles we've probably said things like this in

1230
01:04:40,800 --> 01:04:43,240
Speaker 3: the past, being you know, being kind of loose when

1231
01:04:43,280 --> 01:04:45,520
Speaker 3: we talked about it, where you say, like, if a

1232
01:04:45,560 --> 01:04:48,760
Speaker 3: flea were the size of a car, it could jump

1233
01:04:48,800 --> 01:04:51,320
Speaker 3: the height of the Empire, state building or something like that.

1234
01:04:51,720 --> 01:04:54,880
Speaker 3: Except the problem is, in a way, that could be

1235
01:04:54,960 --> 01:04:58,000
Speaker 3: true just as a matter of you know, scaling up

1236
01:04:58,040 --> 01:05:00,760
Speaker 3: the distance of a fleas jump, but it's also not

1237
01:05:00,920 --> 01:05:03,320
Speaker 3: literally true, because if a flea were the size of

1238
01:05:03,320 --> 01:05:05,640
Speaker 3: a car, it wouldn't be able to do that anymore.

1239
01:05:05,680 --> 01:05:09,920
Speaker 3: It's like athleticism would not scale up proportionately. It's because

1240
01:05:10,040 --> 01:05:12,520
Speaker 3: it's the size it is that it can make that

1241
01:05:12,640 --> 01:05:16,680
Speaker 3: jump proportional to its body length. So depending on the

1242
01:05:16,680 --> 01:05:21,280
Speaker 3: size of your body, you actually face vastly different threats

1243
01:05:21,320 --> 01:05:25,040
Speaker 3: and different constraints from the physical world. And one of

1244
01:05:25,040 --> 01:05:28,400
Speaker 3: my favorite examples, which I think people rarely think about,

1245
01:05:28,640 --> 01:05:32,440
Speaker 3: is the amazing difference that body size makes when you're

1246
01:05:32,480 --> 01:05:36,680
Speaker 3: thinking about the dangers posed to you by water. So

1247
01:05:36,680 --> 01:05:40,560
Speaker 3: there's a classic article by the great scientist JBS Haldane,

1248
01:05:40,600 --> 01:05:45,040
Speaker 3: who was behind a number of extremely important biological concepts

1249
01:05:45,040 --> 01:05:48,560
Speaker 3: in the twentieth century. He wrote this article called on

1250
01:05:48,800 --> 01:05:51,680
Speaker 3: Being the Right Size, And this is a paragraph that

1251
01:05:51,680 --> 01:05:53,640
Speaker 3: I remember when I first read this, This really did

1252
01:05:53,680 --> 01:05:58,880
Speaker 3: blow my mind. So think about this. Haldane writes, A

1253
01:05:58,920 --> 01:06:01,600
Speaker 3: man coming out of the carries with him a film

1254
01:06:01,640 --> 01:06:04,960
Speaker 3: of water about one fiftieth of an inch in thickness.

1255
01:06:05,400 --> 01:06:09,280
Speaker 3: This way is roughly a pound. A wet mouse has

1256
01:06:09,360 --> 01:06:13,280
Speaker 3: to carry about its own weight of water. A wet

1257
01:06:13,440 --> 01:06:17,439
Speaker 3: fly has to lift many times its own weight. And

1258
01:06:17,560 --> 01:06:20,920
Speaker 3: as everyone knows, a fly, once wetted by water in

1259
01:06:21,040 --> 01:06:24,320
Speaker 3: any other liquid, is in a very serious position. Indeed,

1260
01:06:24,800 --> 01:06:27,400
Speaker 3: an insect going for a drink is in as great

1261
01:06:27,520 --> 01:06:30,840
Speaker 3: danger as a man leaning out over a precipice in

1262
01:06:30,880 --> 01:06:33,960
Speaker 3: search of food, if it once falls into the grip

1263
01:06:33,960 --> 01:06:36,600
Speaker 3: of the surface tension of the water. That is to say,

1264
01:06:36,680 --> 01:06:40,120
Speaker 3: it gets wet, it is likely to remain so until

1265
01:06:40,160 --> 01:06:44,200
Speaker 3: it drowns. A few insects, such as water beetles, contrive

1266
01:06:44,280 --> 01:06:47,600
Speaker 3: to be unwettable. The majority keep well away from their

1267
01:06:47,680 --> 01:06:51,120
Speaker 3: drink by means of a long prebossis. So it's amazing

1268
01:06:51,160 --> 01:06:53,720
Speaker 3: to think about how like getting wet doesn't bother us

1269
01:06:53,760 --> 01:06:56,080
Speaker 3: at all, but for much smaller animals because of the

1270
01:06:56,160 --> 01:06:58,840
Speaker 3: difference in like the mass of your body and the

1271
01:06:58,840 --> 01:07:01,360
Speaker 3: strength of your muscles can compared to the surface area

1272
01:07:01,400 --> 01:07:04,000
Speaker 3: of your body and the properties of water at that scale,

1273
01:07:04,400 --> 01:07:08,120
Speaker 3: water could be like this horrifying slime that takes a

1274
01:07:08,200 --> 01:07:11,680
Speaker 3: grip on you and like you can't get away from.

1275
01:07:12,160 --> 01:07:15,120
Speaker 3: But a lot of these asymmetries, not all of them,

1276
01:07:15,160 --> 01:07:17,720
Speaker 3: but a lot of them are based on the force

1277
01:07:17,800 --> 01:07:20,560
Speaker 3: of gravity and the ratio of surface area to mass

1278
01:07:20,600 --> 01:07:23,000
Speaker 3: as an object gets bigger. And this brings us back

1279
01:07:23,040 --> 01:07:25,520
Speaker 3: to the robot jocks. So to read a section from

1280
01:07:25,600 --> 01:07:28,600
Speaker 3: that same JBS hal day in article, he's talking about

1281
01:07:28,600 --> 01:07:32,120
Speaker 3: the dangers of falling. What falling is as a threat

1282
01:07:32,160 --> 01:07:35,600
Speaker 3: to animals of different size. Quote to the mouse in

1283
01:07:35,640 --> 01:07:39,160
Speaker 3: any smaller animal, it presents practically no dangers. You can

1284
01:07:39,280 --> 01:07:42,520
Speaker 3: drop a mouse down a thousand yard mind shaft, and

1285
01:07:42,680 --> 01:07:45,280
Speaker 3: on arriving at the bottom, it gets a slight shock

1286
01:07:45,440 --> 01:07:48,640
Speaker 3: and walks away, provided that the ground is fairly soft.

1287
01:07:49,120 --> 01:07:53,919
Speaker 3: A rat is killed, a man is broken, a horse splashes.

1288
01:07:54,760 --> 01:07:58,080
Speaker 3: For the resistance presented to movement by the air is

1289
01:07:58,120 --> 01:08:01,760
Speaker 3: proportional to the surface of the moving object, divide an

1290
01:08:01,800 --> 01:08:05,680
Speaker 3: animal's length, breadth, and height each by ten. Its weight

1291
01:08:05,760 --> 01:08:08,680
Speaker 3: is reduced to a thousandth but its surface only to

1292
01:08:08,760 --> 01:08:11,680
Speaker 3: one hundredth So the resistance to falling in the case

1293
01:08:11,720 --> 01:08:14,840
Speaker 3: of a small animal is relatively ten times greater than

1294
01:08:14,880 --> 01:08:17,840
Speaker 3: the driving force. And I think this would absolutely be

1295
01:08:17,960 --> 01:08:21,040
Speaker 3: the same kind of concern if you were considering mech battles.

1296
01:08:21,080 --> 01:08:23,800
Speaker 3: So if you were to have something like the autoloader

1297
01:08:23,920 --> 01:08:28,000
Speaker 3: and aliens, you know, like these roughly slightly bigger than

1298
01:08:28,080 --> 01:08:33,120
Speaker 3: human sized mechs, fighting in those things would be entirely

1299
01:08:33,240 --> 01:08:36,760
Speaker 3: different a proposition than fighting in these hundred foot tall

1300
01:08:36,840 --> 01:08:39,680
Speaker 3: or two hundred foot tall giant robots, where in the

1301
01:08:39,720 --> 01:08:43,960
Speaker 3: case of the larger robots, gravity itself is an immense

1302
01:08:44,120 --> 01:08:47,719
Speaker 3: threat to you, like just falling over will very likely

1303
01:08:47,800 --> 01:08:48,439
Speaker 3: destroy you.

1304
01:08:48,840 --> 01:08:50,919
Speaker 2: So yeah, in this film, you do get the impression

1305
01:08:50,960 --> 01:08:53,840
Speaker 2: that most of these robot jocks battles end when the

1306
01:08:53,880 --> 01:08:58,559
Speaker 2: first combatant is knocked over or made prone, Like it

1307
01:08:58,600 --> 01:09:01,400
Speaker 2: seems like most of the time there's getting up from that, right,

1308
01:09:01,840 --> 01:09:04,000
Speaker 2: And it's interesting to think about, like, like, how did

1309
01:09:04,040 --> 01:09:05,639
Speaker 2: they get here? How did they get to the point

1310
01:09:05,640 --> 01:09:09,840
Speaker 2: where they're basically each battling in a skyscraper on legs? Yes,

1311
01:09:10,040 --> 01:09:12,760
Speaker 2: and I'm guessing there's there would have been an arms

1312
01:09:12,840 --> 01:09:15,680
Speaker 2: race over time, so maybe they started smaller, like just

1313
01:09:15,760 --> 01:09:18,880
Speaker 2: kind of like power armor sort of a situation maximize

1314
01:09:18,920 --> 01:09:23,040
Speaker 2: the individual for one on one battle, but then over time,

1315
01:09:23,680 --> 01:09:26,160
Speaker 2: like what do you do do you start getting bigger suits,

1316
01:09:26,200 --> 01:09:28,240
Speaker 2: Like my suit's bigger than yours and has bigger weapons,

1317
01:09:28,320 --> 01:09:30,640
Speaker 2: so now you've got to get bigger too. And so

1318
01:09:30,880 --> 01:09:34,000
Speaker 2: now we see like the end results of that where

1319
01:09:34,240 --> 01:09:37,640
Speaker 2: the combatants are absolutely as large as they could possibly

1320
01:09:37,720 --> 01:09:39,760
Speaker 2: get and are you know, and they have all of

1321
01:09:39,800 --> 01:09:43,840
Speaker 2: these weaknesses based on that size, but there's just no

1322
01:09:43,960 --> 01:09:45,200
Speaker 2: scaling back at this point.

1323
01:09:45,280 --> 01:09:48,000
Speaker 3: Yeah, that's interesting. It's almost one of those like prisoner's

1324
01:09:48,040 --> 01:09:52,120
Speaker 3: dilemma type problems where like the incentives for the individual

1325
01:09:52,320 --> 01:09:55,439
Speaker 3: are different than the incentives for like both parties when

1326
01:09:55,520 --> 01:09:57,360
Speaker 3: they look at things together and if you could just

1327
01:09:57,400 --> 01:10:00,000
Speaker 3: get them agreed to both agree to scale back down,

1328
01:10:00,479 --> 01:10:03,000
Speaker 3: that would be better for both. But they but you

1329
01:10:03,040 --> 01:10:04,800
Speaker 3: can't get them to agree to that, so they just

1330
01:10:04,880 --> 01:10:08,479
Speaker 3: keep getting bigger. And that also brings me to another

1331
01:10:08,560 --> 01:10:11,960
Speaker 3: interesting question. This movie raises some things about it that

1332
01:10:12,360 --> 01:10:14,479
Speaker 3: you wonder if they would make sense in reality, and

1333
01:10:14,479 --> 01:10:19,719
Speaker 3: that is the very concept of symbolic warfare through single

1334
01:10:19,800 --> 01:10:23,120
Speaker 3: combat or champion combat. So the premise of the film

1335
01:10:23,600 --> 01:10:26,799
Speaker 3: is that you've got these superpowers, they are in violent

1336
01:10:26,880 --> 01:10:29,719
Speaker 3: conflict with one another, but they can't go to war.

1337
01:10:29,840 --> 01:10:33,160
Speaker 3: They don't go to war on the whole. Instead, they

1338
01:10:33,280 --> 01:10:35,720
Speaker 3: pick one person from each side to get in a

1339
01:10:35,800 --> 01:10:38,679
Speaker 3: robot fight it out, and then the winner gets whatever

1340
01:10:38,720 --> 01:10:39,559
Speaker 3: it is they wanted.

1341
01:10:39,960 --> 01:10:43,439
Speaker 2: Yeah, yeah, you know it works in this film. And

1342
01:10:43,479 --> 01:10:46,720
Speaker 2: of course you also see this in mythology when mythological

1343
01:10:46,800 --> 01:10:50,639
Speaker 2: characters are used to embody whole nations or peoples, et cetera.

1344
01:10:52,040 --> 01:10:53,439
Speaker 2: It does remind me a bit of something that we

1345
01:10:53,600 --> 01:10:55,920
Speaker 2: discussed in our stuff to Blow your Mind episodes on

1346
01:10:56,120 --> 01:10:58,960
Speaker 2: the ant Wars earlier in the year, where we talked

1347
01:10:59,000 --> 01:11:02,000
Speaker 2: about the various turner tournament battle that you see in ants,

1348
01:11:02,000 --> 01:11:08,920
Speaker 2: but also in certain small armed groups historically in human civilization,

1349
01:11:09,200 --> 01:11:12,360
Speaker 2: and the idea here being like you're if you don't

1350
01:11:12,400 --> 01:11:16,000
Speaker 2: have large armies that are combating each other, sometimes it

1351
01:11:16,040 --> 01:11:19,280
Speaker 2: makes more sense for a select few individuals to engage

1352
01:11:19,320 --> 01:11:22,240
Speaker 2: in sort of you know, less high stakes combat, to

1353
01:11:22,240 --> 01:11:24,120
Speaker 2: sort of feel each other out, to see which way

1354
01:11:24,160 --> 01:11:27,880
Speaker 2: the battle would go and then act accordingly. But in

1355
01:11:27,920 --> 01:11:32,360
Speaker 2: these cases we're still not talking about like one soldier

1356
01:11:32,360 --> 01:11:35,040
Speaker 2: fighting one soldier champion versus champions.

1357
01:11:34,880 --> 01:11:37,200
Speaker 3: Right, And this brings us back to something that we

1358
01:11:37,240 --> 01:11:39,840
Speaker 3: also talked about in the ant Wars episode, which are

1359
01:11:39,960 --> 01:11:44,640
Speaker 3: these models. Again, these these are not perfect descriptions of

1360
01:11:44,640 --> 01:11:47,679
Speaker 3: what actually happens in battle, but they are somewhat accurate

1361
01:11:47,720 --> 01:11:52,440
Speaker 3: descriptions for modeling casualties and conflict. And they're known as

1362
01:11:52,720 --> 01:11:56,320
Speaker 3: Lanchester's square laws and Lanchester's linear laws, and so the

1363
01:11:56,400 --> 01:11:58,800
Speaker 3: main idea there, it's more complicated than this, but the

1364
01:11:58,840 --> 01:12:02,400
Speaker 3: main idea is that as you approach a situation that

1365
01:12:02,520 --> 01:12:05,240
Speaker 3: is a war of all against all, so the more

1366
01:12:05,360 --> 01:12:10,160
Speaker 3: your battle resembles something where any soldier can engage any

1367
01:12:10,200 --> 01:12:12,679
Speaker 3: other at any time, so maybe like a shooting war,

1368
01:12:13,000 --> 01:12:15,960
Speaker 3: as it approaches that instead of the type of battle

1369
01:12:15,960 --> 01:12:19,120
Speaker 3: where one soldier can only fight one other soldier at

1370
01:12:19,160 --> 01:12:22,599
Speaker 3: a times a big series of duels, as it becomes

1371
01:12:22,640 --> 01:12:26,960
Speaker 3: more of a war of all against all, than the

1372
01:12:27,040 --> 01:12:31,880
Speaker 3: advantages provided by having superior numbers go up, not just

1373
01:12:31,960 --> 01:12:34,519
Speaker 3: in a linear way, but in a squared way, so

1374
01:12:34,640 --> 01:12:38,880
Speaker 3: that having superior numbers is much more important than having

1375
01:12:39,160 --> 01:12:42,280
Speaker 3: better individual fighters in a war of all against all.

1376
01:12:42,720 --> 01:12:46,599
Speaker 3: And that's because like the force with superior numbers can

1377
01:12:46,680 --> 01:12:49,880
Speaker 3: quite quickly reduce the numbers of the other forces so

1378
01:12:49,920 --> 01:12:52,320
Speaker 3: that they can't really put up a fight of any kind.

1379
01:12:53,160 --> 01:12:56,479
Speaker 3: And so anyway, in a world with technology that enables,

1380
01:12:56,640 --> 01:12:58,640
Speaker 3: you know, a war of all against all, like a

1381
01:12:58,680 --> 01:13:04,840
Speaker 3: basic shooting war scenario, the side with superior numbers is

1382
01:13:04,960 --> 01:13:08,439
Speaker 3: almost always at an extreme advantage. And that makes me

1383
01:13:08,439 --> 01:13:11,799
Speaker 3: think about how it's hard to imagine in a modern

1384
01:13:11,880 --> 01:13:16,599
Speaker 3: context with modern technology, that champion warfare would ever really

1385
01:13:16,920 --> 01:13:20,679
Speaker 3: emerge unless it were like imposed by an outside force.

1386
01:13:21,479 --> 01:13:23,920
Speaker 3: For champion warfare to be the way that you would

1387
01:13:23,920 --> 01:13:30,080
Speaker 3: settle geopolitical conflict, it would require the side more with

1388
01:13:30,200 --> 01:13:35,800
Speaker 3: numerical superiority to agree to the champion warfare and to say, yes,

1389
01:13:35,840 --> 01:13:39,200
Speaker 3: we will honor the outcome of this duel. But champion

1390
01:13:39,240 --> 01:13:42,680
Speaker 3: warfare necessarily improves the odds for the weaker force and

1391
01:13:42,800 --> 01:13:45,360
Speaker 3: hurts the odds for the stronger force. So why would

1392
01:13:45,400 --> 01:13:46,840
Speaker 3: the stronger force agree to it?

1393
01:13:47,280 --> 01:13:47,519
Speaker 4: Yeah?

1394
01:13:47,960 --> 01:13:51,160
Speaker 2: Now, if in this film, if the judges, if the

1395
01:13:51,240 --> 01:13:55,920
Speaker 2: referees were aliens representing, say a technologically advanced species that

1396
01:13:55,960 --> 01:13:58,599
Speaker 2: could just simply wipe out either side without thinking about it,

1397
01:13:58,760 --> 01:14:00,479
Speaker 2: like that would potentially make sense.

1398
01:14:00,600 --> 01:14:02,360
Speaker 4: Yeah, but it does well.

1399
01:14:02,360 --> 01:14:04,160
Speaker 3: But I was gonna in that case, though, why not

1400
01:14:04,240 --> 01:14:06,639
Speaker 3: just have a trial where like you argue about who

1401
01:14:06,680 --> 01:14:09,519
Speaker 3: actually has the correct claim to the land, rather than

1402
01:14:09,720 --> 01:14:11,920
Speaker 3: people just both say they want the land and you

1403
01:14:11,960 --> 01:14:12,800
Speaker 3: settle it with a fight.

1404
01:14:14,479 --> 01:14:17,120
Speaker 2: I wish I could have, you know, seen more what

1405
01:14:17,439 --> 01:14:19,599
Speaker 2: Haldeman had in mind for this, like what his read

1406
01:14:19,680 --> 01:14:22,000
Speaker 2: on it would would have been, you know, because I mean,

1407
01:14:22,000 --> 01:14:25,000
Speaker 2: certainly it worked, there's the symbolic level at which it works.

1408
01:14:25,040 --> 01:14:29,519
Speaker 2: But I wonder what the world building arguments would have been.

1409
01:14:30,160 --> 01:14:32,799
Speaker 3: Yeah, I mean, I think obviously it would be better

1410
01:14:32,920 --> 01:14:35,639
Speaker 3: for the soldiers and better for the people on both

1411
01:14:35,720 --> 01:14:38,200
Speaker 3: sides of a conflict if it could be settled without

1412
01:14:38,280 --> 01:14:41,320
Speaker 3: massive bloodshed whatever whatever that method is. I mean, even

1413
01:14:41,320 --> 01:14:44,479
Speaker 3: if it's single combat between robot jocks, that's better than

1414
01:14:44,560 --> 01:14:46,719
Speaker 3: just having an all out total war where you send

1415
01:14:47,000 --> 01:14:50,439
Speaker 3: people into the meat grinder. But the the you know,

1416
01:14:50,640 --> 01:14:53,639
Speaker 3: you hit the war pigs problem. Like leaders setting military

1417
01:14:53,680 --> 01:14:55,719
Speaker 3: policy are going to want to win, they're not usually

1418
01:14:55,800 --> 01:14:58,760
Speaker 3: the people who themselves have to die in battle. So

1419
01:14:58,880 --> 01:15:01,679
Speaker 3: while the weaker force may very much want to settle

1420
01:15:01,720 --> 01:15:04,360
Speaker 3: things with robot jocks, it just seems like the side

1421
01:15:04,360 --> 01:15:07,719
Speaker 3: with the numerical and weapons superiority would tend to just say, no,

1422
01:15:07,720 --> 01:15:08,599
Speaker 3: now we'll have a war.

1423
01:15:09,040 --> 01:15:09,519
Speaker 4: Yeah.

1424
01:15:09,560 --> 01:15:11,880
Speaker 2: But you know, ultimately this is this is not a

1425
01:15:11,920 --> 01:15:15,919
Speaker 2: picture that celebrates warfare. It's it has has a message

1426
01:15:16,160 --> 01:15:19,120
Speaker 2: of you know, an anti war message, which which I

1427
01:15:19,200 --> 01:15:19,920
Speaker 2: ultimately like.

1428
01:15:19,840 --> 01:15:22,000
Speaker 3: Well, let's talk about the ending, the very ending, which

1429
01:15:22,120 --> 01:15:27,200
Speaker 3: is both actually sort of transcendently excellent and hilarious.

1430
01:15:27,520 --> 01:15:27,760
Speaker 4: Yeah.

1431
01:15:27,760 --> 01:15:29,880
Speaker 2: So basically they just battle the hell out of each other.

1432
01:15:29,960 --> 01:15:32,320
Speaker 2: So this is this ends up being like the main

1433
01:15:32,360 --> 01:15:36,679
Speaker 2: event in which robots do get up after being knocked

1434
01:15:36,760 --> 01:15:40,679
Speaker 2: prone through the use of superior tactics, but also lots

1435
01:15:40,680 --> 01:15:44,000
Speaker 2: of tricky weaponry because again it all comes down to

1436
01:15:44,000 --> 01:15:46,160
Speaker 2: what secret weapons do you have that your enemy doesn't

1437
01:15:46,200 --> 01:15:48,720
Speaker 2: know about? So they engage in a lot of this

1438
01:15:49,360 --> 01:15:51,720
Speaker 2: and they end up going up into the stratosphere. They

1439
01:15:51,800 --> 01:15:54,480
Speaker 2: end up coming back down again. They end up destroying

1440
01:15:54,520 --> 01:15:58,920
Speaker 2: each other's suits and and there's some clever twists and

1441
01:15:58,960 --> 01:16:00,720
Speaker 2: turns in that battle, but it ends up with them

1442
01:16:00,760 --> 01:16:05,839
Speaker 2: both unsuited, both of them just on amid the rubble,

1443
01:16:06,400 --> 01:16:09,839
Speaker 2: trying to bash each other with like pipes and pieces

1444
01:16:09,840 --> 01:16:14,839
Speaker 2: of metal, like reduced to you know, almost like paleolithic battle.

1445
01:16:14,960 --> 01:16:18,280
Speaker 3: Yeah, yeah, literally trying to bash each other with sticks

1446
01:16:18,280 --> 01:16:18,799
Speaker 3: and rocks.

1447
01:16:19,280 --> 01:16:22,040
Speaker 2: And they reach a point where, Okay, it looks like

1448
01:16:22,720 --> 01:16:25,559
Speaker 2: Achilles is going to be victorious, you know, it's one

1449
01:16:25,600 --> 01:16:28,360
Speaker 2: of those those moments where is he going to finish

1450
01:16:28,400 --> 01:16:32,240
Speaker 2: off his adversary. But no, Achilles has another option that

1451
01:16:32,280 --> 01:16:34,880
Speaker 2: he presents and they have this wonderful little back and

1452
01:16:34,920 --> 01:16:38,280
Speaker 2: forth which I quite like the dialogue, you know, and

1453
01:16:38,320 --> 01:16:41,840
Speaker 2: the way that they ended this because Achilles says to him,

1454
01:16:42,200 --> 01:16:45,479
Speaker 2: you can live, and Alexander says, yes, if I kill

1455
01:16:45,560 --> 01:16:47,559
Speaker 2: you with this, And it's the pipey thing that he's

1456
01:16:47,560 --> 01:16:48,439
Speaker 2: holding or was it a rock?

1457
01:16:48,520 --> 01:16:50,000
Speaker 3: I thought it was a rock, but I could be wrong.

1458
01:16:50,080 --> 01:16:52,479
Speaker 2: Okay, and then Achilles says we can both live, and

1459
01:16:52,479 --> 01:16:56,000
Speaker 2: then Alexander says, we are already dead. We are robot jicks,

1460
01:16:57,439 --> 01:17:00,320
Speaker 2: which which I think is a line. I think it

1461
01:17:00,360 --> 01:17:03,320
Speaker 2: works here, but I also have to remind myself that

1462
01:17:03,360 --> 01:17:06,519
Speaker 2: Haldeman's original working title for this was The Mechanics. Yes,

1463
01:17:06,960 --> 01:17:09,160
Speaker 2: so so that would have been a more interesting line.

1464
01:17:09,160 --> 01:17:11,720
Speaker 2: And he's like, no, we like we're mere mechanics, you know,

1465
01:17:11,800 --> 01:17:15,160
Speaker 2: like we're not even really controlling these things, these things

1466
01:17:15,200 --> 01:17:18,080
Speaker 2: and this this military engine, We're just caring for it

1467
01:17:18,120 --> 01:17:19,479
Speaker 2: and making it run, right.

1468
01:17:19,400 --> 01:17:22,880
Speaker 3: I mean, in a weird way. It's an exchange that,

1469
01:17:24,120 --> 01:17:26,920
Speaker 3: with a little bit of like verbal tweaking, could have

1470
01:17:27,000 --> 01:17:30,600
Speaker 3: been very powerful and is in some ways powerful, but

1471
01:17:30,760 --> 01:17:35,320
Speaker 3: because of the phrase robot jocks, it it absolutely spills

1472
01:17:35,360 --> 01:17:39,280
Speaker 3: over into absurdity. You know. So like if he had

1473
01:17:39,320 --> 01:17:42,519
Speaker 3: said we can both live and Alexander said, no, we

1474
01:17:42,600 --> 01:17:46,559
Speaker 3: are already dead. We're soldiers, I think the idea would

1475
01:17:46,560 --> 01:17:49,439
Speaker 3: be driven home there that like, their their fates are

1476
01:17:49,479 --> 01:17:52,599
Speaker 3: not up to them, you know, their fates are decided

1477
01:17:52,640 --> 01:17:56,240
Speaker 3: for them by forces beyond their control. Uh, And that

1478
01:17:56,280 --> 01:17:59,200
Speaker 3: does seem to be the theme. But instead he says,

1479
01:17:59,600 --> 01:18:02,919
Speaker 3: you know, we can live. No, we are robot jocks.

1480
01:18:04,000 --> 01:18:04,479
Speaker 4: Yeah.

1481
01:18:04,560 --> 01:18:06,719
Speaker 2: And then but then ultimately, like this is the spoiler

1482
01:18:06,720 --> 01:18:09,439
Speaker 2: for the end of the film, but but he wins.

1483
01:18:09,720 --> 01:18:13,639
Speaker 2: Achilles is able to convince Alexander that yes, we can live,

1484
01:18:14,000 --> 01:18:15,960
Speaker 2: we don't have to fight, we can stop fighting, and

1485
01:18:16,000 --> 01:18:18,880
Speaker 2: they stop fighting and then they do that awesome fist

1486
01:18:18,920 --> 01:18:21,559
Speaker 2: bump at the end, and that closes the picture and

1487
01:18:21,560 --> 01:18:23,800
Speaker 2: you end up with this message of hope that you

1488
01:18:23,880 --> 01:18:26,639
Speaker 2: know that we can resist, that we can move beyond

1489
01:18:27,320 --> 01:18:31,400
Speaker 2: like senseless battle. And I love it.

1490
01:18:31,040 --> 01:18:31,599
Speaker 5: I got it.

1491
01:18:31,600 --> 01:18:33,639
Speaker 2: It ended perfectly, ends on a great note.

1492
01:18:33,840 --> 01:18:36,360
Speaker 3: It ends with the hero and the villain agreeing not

1493
01:18:36,439 --> 01:18:37,680
Speaker 3: to kill one another.

1494
01:18:37,840 --> 01:18:39,799
Speaker 2: Right, And they didn't do that thing that they often

1495
01:18:39,840 --> 01:18:42,719
Speaker 2: do in films where the hero appeals to the villain's

1496
01:18:42,760 --> 01:18:46,240
Speaker 2: humanity and the villain seems to say yes, but then

1497
01:18:46,320 --> 01:18:49,600
Speaker 2: goes for a double t yeah, and then you know,

1498
01:18:49,640 --> 01:18:51,400
Speaker 2: he shoots him dead. And then it's like, oh, well,

1499
01:18:51,400 --> 01:18:53,559
Speaker 2: he did kill the villain, but he tried. He gave

1500
01:18:53,600 --> 01:18:56,360
Speaker 2: him a chance, he gave him a chance to be good. No,

1501
01:18:56,520 --> 01:18:59,200
Speaker 2: instead they do something different, and I think it works that.

1502
01:18:59,360 --> 01:19:01,880
Speaker 3: I mean, so many movies use that. It is a

1503
01:19:02,280 --> 01:19:05,479
Speaker 3: plot device that I have come to absolutely despise just

1504
01:19:05,479 --> 01:19:07,800
Speaker 3: because of how common and how in a way, how

1505
01:19:07,920 --> 01:19:10,920
Speaker 3: cheap it is. Because what it's trying to show you

1506
01:19:11,080 --> 01:19:13,840
Speaker 3: is that it's trying to have it both ways. It's

1507
01:19:13,840 --> 01:19:16,800
Speaker 3: trying to have the hero show mercy and not be

1508
01:19:16,960 --> 01:19:20,040
Speaker 3: vindictive and cruel. So the hero gets the upper hand,

1509
01:19:20,200 --> 01:19:22,600
Speaker 3: gives the villain a chance to like walk away or

1510
01:19:22,640 --> 01:19:25,080
Speaker 3: to live or whatever, and then the villain tries to

1511
01:19:25,120 --> 01:19:27,880
Speaker 3: stab them in the back, and then the hero kills them.

1512
01:19:28,160 --> 01:19:29,840
Speaker 5: Yeah, it's trying to have it both ways.

1513
01:19:29,840 --> 01:19:32,200
Speaker 3: So you get to see the villain killed and punished,

1514
01:19:32,360 --> 01:19:34,799
Speaker 3: but you also get to see the hero have mercy.

1515
01:19:35,120 --> 01:19:37,519
Speaker 3: I think it's it's better to just choose one or

1516
01:19:37,560 --> 01:19:37,840
Speaker 3: the other.

1517
01:19:38,320 --> 01:19:41,880
Speaker 2: Yeah, yeah, I don't know what kind of arguments may

1518
01:19:41,880 --> 01:19:43,920
Speaker 2: have happened, or maybe there weren't arguments over this part,

1519
01:19:43,960 --> 01:19:45,400
Speaker 2: but I like the way it turned out, So I

1520
01:19:45,400 --> 01:19:47,280
Speaker 2: don't know if this was ultimately the way hal Theman

1521
01:19:47,360 --> 01:19:49,439
Speaker 2: wanted it, or if this was more of a Stuart

1522
01:19:49,439 --> 01:19:51,840
Speaker 2: Gordon direction, or maybe this is just you know, the

1523
01:19:52,000 --> 01:19:53,599
Speaker 2: way it feels is like this is where the two

1524
01:19:53,680 --> 01:19:55,040
Speaker 2: visions come together and they work.

1525
01:19:55,320 --> 01:19:58,599
Speaker 3: It is a weirdly transcendent way to conclude this utterly

1526
01:19:58,720 --> 01:20:01,360
Speaker 3: ridiculous film.

1527
01:20:01,600 --> 01:20:04,000
Speaker 2: All right, and well, speaking of concluding, it's time for

1528
01:20:04,080 --> 01:20:06,519
Speaker 2: us to conclude. You may be wondering, though, where can

1529
01:20:06,560 --> 01:20:10,160
Speaker 2: I see robot Jocks? Unfortunately this is a tough one.

1530
01:20:10,680 --> 01:20:15,280
Speaker 2: You can buy some at times crazy overpriced DVDs, vhs

1531
01:20:15,280 --> 01:20:18,120
Speaker 2: and Blu rays of Robot Jocks, But the Shout Factory

1532
01:20:18,280 --> 01:20:20,559
Speaker 2: edition of this from twenty fifteen is currently out of

1533
01:20:20,600 --> 01:20:22,560
Speaker 2: print print. I think it went out of print in

1534
01:20:22,600 --> 01:20:26,240
Speaker 2: October of twenty nineteen, so hopefully it'll become more widely

1535
01:20:26,280 --> 01:20:30,320
Speaker 2: available in the future. No one seems to be streaming it, like,

1536
01:20:30,400 --> 01:20:33,559
Speaker 2: not even for rent or or digital purchase right now,

1537
01:20:33,960 --> 01:20:38,160
Speaker 2: say for the odd unauthorized like highly unauthorized version. Joe,

1538
01:20:38,160 --> 01:20:40,320
Speaker 2: didn't you find this one on Facebook of all places?

1539
01:20:40,680 --> 01:20:42,479
Speaker 3: Well, I didn't watch it there. I ended up watching

1540
01:20:42,520 --> 01:20:46,360
Speaker 3: the version that you rented and lent me. But dig

1541
01:20:46,400 --> 01:20:49,599
Speaker 3: around for it if you desire. But yeah, you should also.

1542
01:20:49,680 --> 01:20:52,360
Speaker 3: I mean I would say, start a letter writing campaign

1543
01:20:52,400 --> 01:20:54,840
Speaker 3: to the Criterion Collection and get them to put out

1544
01:20:54,880 --> 01:20:57,320
Speaker 3: their own edition of Robot Jocks, which is what the

1545
01:20:57,360 --> 01:20:58,160
Speaker 3: world deserves.

1546
01:20:58,479 --> 01:21:02,320
Speaker 2: Yeah, yeah, we definitely rented it, got it from Atlanta's

1547
01:21:02,320 --> 01:21:06,679
Speaker 2: own Videodrome. They're still renting films at Atlanta's last video

1548
01:21:06,760 --> 01:21:09,559
Speaker 2: rental place, but if you're not in the Atlanta area,

1549
01:21:09,680 --> 01:21:11,879
Speaker 2: you can still get in on the fund with their merchandise.

1550
01:21:11,960 --> 01:21:14,960
Speaker 2: You can find them at videodrome dot tv in their

1551
01:21:15,000 --> 01:21:20,280
Speaker 2: main website is videodromeatl dot com. As for US, Weird

1552
01:21:20,320 --> 01:21:24,200
Speaker 2: House Cinema will continue. We're gonna do this every Friday.

1553
01:21:24,240 --> 01:21:27,000
Speaker 2: We're gonna celebrate some sort of a weird film. We

1554
01:21:27,040 --> 01:21:28,920
Speaker 2: may talk a little bit about science and culture in it,

1555
01:21:28,960 --> 01:21:30,439
Speaker 2: but for the most part is the celebration of the

1556
01:21:30,439 --> 01:21:34,200
Speaker 2: film itself. Our core science and culture episodes will continue

1557
01:21:34,240 --> 01:21:36,760
Speaker 2: to air on Tuesdays and Thursdays, and then we have,

1558
01:21:36,840 --> 01:21:39,719
Speaker 2: of course some other content sprinkled around throughout the week

1559
01:21:39,800 --> 01:21:42,000
Speaker 2: as well. You can find all of that in the

1560
01:21:42,040 --> 01:21:44,439
Speaker 2: Stuff to Blow your Mind Feed and you can find

1561
01:21:44,520 --> 01:21:47,240
Speaker 2: that wherever you get your podcasts. We just asked that

1562
01:21:47,280 --> 01:21:49,479
Speaker 2: you rate, review and subscribe to help us out, and

1563
01:21:49,520 --> 01:21:51,559
Speaker 2: of course get in touch with us. Tell us what

1564
01:21:51,600 --> 01:21:54,200
Speaker 2: you thought about Robot Jocks. You have memories of seeing

1565
01:21:54,200 --> 01:21:56,360
Speaker 2: it back in the day, if you rewatched it recently,

1566
01:21:56,400 --> 01:21:59,720
Speaker 2: did you rewatch it? For this episode, we want to

1567
01:21:59,760 --> 01:22:01,680
Speaker 2: hear from you, and we also want to hear from

1568
01:22:01,680 --> 01:22:03,760
Speaker 2: you about the general direction that we've been taking the

1569
01:22:03,760 --> 01:22:05,800
Speaker 2: Stuff to Blow Your Mind feed Do you like what

1570
01:22:05,840 --> 01:22:08,120
Speaker 2: we're doing? Do you not like what we're doing? Do

1571
01:22:08,160 --> 01:22:10,320
Speaker 2: you have some critiques to share? Let us know we'd

1572
01:22:10,320 --> 01:22:10,960
Speaker 2: love to hear from you.

1573
01:22:11,240 --> 01:22:14,040
Speaker 3: Huge thanks, as always to our excellent audio producer Seth

1574
01:22:14,120 --> 01:22:16,479
Speaker 3: Nicholas Johnson. If you would like to get in touch

1575
01:22:16,520 --> 01:22:18,559
Speaker 3: with us with feedback on this episode or any other,

1576
01:22:18,640 --> 01:22:20,559
Speaker 3: to suggest a topic for the future, or just to

1577
01:22:20,600 --> 01:22:23,400
Speaker 3: say hello, you can email us at contact at stuff

1578
01:22:23,400 --> 01:22:31,759
Speaker 3: to Blow your Mind dot com.

1579
01:22:31,880 --> 01:22:34,840
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1580
01:22:34,920 --> 01:22:37,719
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1581
01:22:37,880 --> 01:22:41,080
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.