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

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Speaker 1: We're airing the second part of our Highlander two episodes.

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Speaker 1: This episode originally published five three, twenty twenty four. If

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Speaker 1: you didn't hear the first one, just go back a

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Speaker 1: few We reran part one on Monday, and today on Friday,

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Speaker 1: we're rerunning part two to complete our perhaps an overlong

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Speaker 1: discussion of this super weird movie. I don't think it's

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Speaker 1: actually over long. I think there's so much to talk

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Speaker 1: about here. It's a marvelously, marvelously weird and fun flick.

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Speaker 1: So let's dive right in for the second half.

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

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Speaker 1: Hey you, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCory. And

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Speaker 3: we are back today with part two of our discussion

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Speaker 3: of the nineteen ninety one sci fi fantasy action movie

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Speaker 3: Highlander two The Quickening, starring christof Lambert, Sean Connery, Virginia Madson,

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Speaker 3: and Michael Ironside. Highlander two is a movie that is

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Speaker 3: infamous for its awfulness and positively anathematized by most Highlander fans.

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Speaker 3: Highlander fans, a lot of them will say, don't watch

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Speaker 3: this movie at all. If they if they do tell

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Speaker 3: you to watch it, they'll usually say, you know, prefer

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Speaker 3: one of the like recut versions, such as the Renegade

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Speaker 3: cut or whatever. We'll get into those in just a moment.

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Speaker 3: But Highlander two the Quickening in its original theatrical release

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Speaker 3: is a film that I love, and I have loved

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Speaker 3: for years. I have watched it so many times, more

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Speaker 3: times than I can count, really, and I'm actually worried

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Speaker 3: for the physical integrity of my legacy VHS tape. I

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Speaker 3: fear that one day the tape may snap.

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Speaker 1: Yeah, yeah, they I've got to put it back out.

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Speaker 1: They've got to make the theatrical cut, the Zeist cut,

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Speaker 1: available for everyone so they can experience the true broken,

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Speaker 1: weirdness and an awesomeness of this picture, because you know,

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Speaker 1: like a lot of like awesome, flawed films, Yeah, there

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Speaker 1: is this, there is this nagging question what could have been?

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Speaker 1: How could you make this better? And it's often I

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Speaker 1: mean the legacy of even great films that get a

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Speaker 1: lot of recuts. You know, I'm thinking about Ridley Scott

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Speaker 1: getting in there and tinkering a lot with some of

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Speaker 1: his pictures. You know, it's I feel like, I mean,

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Speaker 1: there are cases, yeah, where a fan seem to have

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Speaker 1: a consensus about, Okay, this is the best cut, this

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Speaker 1: is the best way to watch particular film, certainly, but

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Speaker 1: a lot of times you just end up with this

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Speaker 1: kind of ambiguity, like there is no there is no

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Speaker 1: key picture. So I really admire some of those filmmakers

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Speaker 1: out there who are like, no, no, there's just one

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Speaker 1: cut that is the director's cut, and of course there

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Speaker 1: are a lot of moving parts there. You know, you

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Speaker 1: have to have a position where the director has enough

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Speaker 1: say that that they feel like that is their cut.

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Speaker 1: But anyway, I digress.

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Speaker 3: Well, maybe we should start. But because in the last

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Speaker 3: episode we did a significant segment talking about the different

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Speaker 3: cuts of the film available, because that will come up

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Speaker 3: again in today's episode, maybe we should do it, just

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Speaker 3: a really fast rundown of what they are again. So

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Speaker 3: you've got the original American theatrical release. This is the

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Speaker 3: one we're watching, the one we're talking about today. This

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Speaker 3: is the one that is most generally hated by Highlander fans.

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Speaker 3: It's like eighty something minutes long, and it preserves the

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Speaker 3: big plot innovation from the script, which is that the

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Speaker 3: immortals from the original Highlander are actually aliens from the

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Speaker 3: planet Zeist. So it takes something that was originally mysterious

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Speaker 3: fantasy just kind of magic with an unknown source, and

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Speaker 3: makes it concrete science fiction. Then there's also the British version,

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Speaker 3: which preserves these main details, but it's also longer. It

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Speaker 3: includes some extra character development scenes and rearranges the edit.

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Speaker 3: It also has the so called fairy tale ending, which

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Speaker 3: we'll talk about at the end of this episode. Then

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Speaker 3: there is the home video release known as the Renegade version.

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Speaker 3: This is even longer, It includes more scenes and some

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Speaker 3: different takes. I believe also includes some additional footage that

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Speaker 3: was shot after the production, like I think they actually

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Speaker 3: got Christoph Lambert, Virginia Madsen, and Michael Ironside to come

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Speaker 3: back to shoot like an action scene that was supposed

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Speaker 3: to be a big set piece in the movie but

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Speaker 3: was never completed during filming this version, the Renegade version,

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Speaker 3: has a totally different edit. Most notably, it removes all

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Speaker 3: references to the immortals being aliens and removes all references

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Speaker 3: to the planet Zeist, and also in a rather confusing

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Speaker 3: move removes all references to the Quickening, which is in

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Speaker 3: the title of the movie Highland or two the Quickening.

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Speaker 3: But it's large thought that the removal of the immortals

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Speaker 3: being aliens and the planet Zeist and all that is

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Speaker 3: due to fan backlash. Fans did not like that, you know,

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Speaker 3: they were probably getting a lot of angry questions about

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Speaker 3: it at the conventions. So that that's just gone.

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Speaker 1: And I would love to hear from many Highlander fans

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Speaker 1: out there, of varying degrees, for your take on the

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Speaker 1: franchise as a whole, because I think by and large,

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Speaker 1: fans of anything Highlander have at this point been presented

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Speaker 1: with numerous things to find lackluster, but also, you know,

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Speaker 1: some things to genuinely enjoy and find awesome. And they're

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Speaker 1: eventually going to get a reboot, so potentially even more

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Speaker 1: stuff to be perturbed or excited about. So yeah, right in,

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Speaker 1: we'd love to have to know your thoughts on it.

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Speaker 2: Me.

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Speaker 1: I'm very much you know H one, H two, and

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Speaker 1: I enjoyed H three for what it is, and then

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Speaker 1: I have seen many, but not all, of the episodes

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Speaker 1: of the TV series, and I thought that could be

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Speaker 1: quite good at times.

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Speaker 3: Well, I'm the kind of person who thinks there's a

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Speaker 3: lot to love and enjoy in a Highlander two, as

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Speaker 3: is especially in the most hated version, the American theatrical release,

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Speaker 3: which has lots of stuff that is immensely pleasurable because

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Speaker 3: it's good, and probably even more stuff that's immensely pleasurable

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Speaker 3: because of how bad it is. It's just a mix

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Speaker 3: of the best of both worlds. Oh. But then also,

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Speaker 3: I think there is actually I alluded to this in

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Speaker 3: part one, but I wasn't sure. I think there is

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Speaker 3: another home video release after the Renegade version. It's called

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Speaker 3: like the Ultimate Version or something. I don't know much

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Speaker 3: about that one, but I think possibly it includes some

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Speaker 3: updated and supposedly improved visual effects. So, as we've said,

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Speaker 3: in defiance of conventional wisdom, we are watching the original

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Speaker 3: American theatrical release, which we will hereafter refer to as

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Speaker 3: the Zeist cut, because it's where the Zeist stuff is

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Speaker 3: left in. Now, another thing I wanted to address is

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Speaker 3: that we don't normally split Weird House Cinema episodes into

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Speaker 3: two parts, but we've done it a couple of times

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Speaker 3: recently for deservingly massive and to us at least fascinating movies.

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Speaker 3: First of all, we did it for David Lynch's adaptation

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Speaker 3: of Done, and now we're doing it again for Highlander

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Speaker 3: two the Quickening. And one thing I don't think we

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Speaker 3: pointed out last time is that while these movies are

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Speaker 3: in many ways quite different, they have some things in common.

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Speaker 3: They are both troubled, big budget English language sci fi

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Speaker 3: productions filmed in Latin American countries, and in both cases

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Speaker 3: there were bitter struggles for creative control over the film's

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Speaker 3: contents and the final edit. So in the case of

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Speaker 3: David Lynch's Dune, this was a big budget sci fi

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Speaker 3: production shot largely in Mexico, and it was well known

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Speaker 3: that David Lynch was extremely unhappy with the theatrical release

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Speaker 3: of the film, which was strongly influenced by the producers

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Speaker 3: and the moneymen. And David Lynch has said that his

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Speaker 3: experience with Dune taught him that he would rather not

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Speaker 3: make a movie at all than make one without having

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Speaker 3: full creative control or full control over the final cut. Well,

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Speaker 3: last night I learned some interesting resonances between this story

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Speaker 3: and the story of the making of Highlander two, because

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Speaker 3: I watched a making of documentary called I think this

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Speaker 3: was a strange choice for the title, it's called Seduced

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Speaker 3: by Argentina. This is a featurette that's included on one

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Speaker 3: of the home video releases of the movie. This has

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Speaker 3: interviews with the director, Russell mulcahe with the producers, with

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Speaker 3: Christoph Lambert, and with many of the crew, and it

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Speaker 3: explores the strange, wonderful and also somewhat cursed process of

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Speaker 3: making Highlander two. So the film's production was moved to

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Speaker 3: the country of Argentina for a number of reasons. One

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Speaker 3: of the major reasons just being financial. It was a

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Speaker 3: lot deeper to make it there. And there are a

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Speaker 3: lot of stories about how the production sort of turned

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Speaker 3: into a big party, Like a lot of the cast

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Speaker 3: and crew got to Argentina. We're spending time in Buenos Aires,

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Speaker 3: and they sort of fell in love with the city

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Speaker 3: and with the culture, and we're spending a lot of

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Speaker 3: time like going out to nightclubs and just hanging out

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Speaker 3: and partying and drinking and doing whatever. And that this

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Speaker 3: created some kind of problems with like staying on task

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Speaker 3: with the making of the film, but also the movie

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Speaker 3: was this was a big production this is a big

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Speaker 3: budget movie involving major talent in terms of set design,

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Speaker 3: costume design, visual effects, and so forth. And though there

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Speaker 3: was a lot of talent working on this film and

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Speaker 3: they put in a great effort in any ways, and

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Speaker 3: some of the sets and stuff, you can really see

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Speaker 3: that this is a lavish production with you know, great

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Speaker 3: intentions behind it. But a lot of these teams also

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Speaker 3: ended up working with weird logistical constraints and limitations. And

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Speaker 3: this included all kinds of different things like lack of

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Speaker 3: certain materials they needed, lack of access to crew with

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Speaker 3: certain kinds of industry know how, to the fact that

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Speaker 3: I think they had. I could be wrong about this,

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Speaker 3: but I think they had a very tight window in

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Speaker 3: which to shoot all of Sean Connery's scenes. Like I

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Speaker 3: think he was only going to be in town for

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Speaker 3: like six days or something, and he is not a

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Speaker 3: cameo in Highlander two. He's a major character.

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Speaker 1: Yeah, yeah, I think they might have shot some of

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Speaker 1: his scenes in Scotland, like the initial Scotland scenes.

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Speaker 3: Oh yeah.

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Speaker 1: But still, yeah, there's a lot of stuff with him

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Speaker 1: in the futuristic setting, So that's a lot ultimately to

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Speaker 1: pack into six days. Especially in a big production like this.

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Speaker 3: Also sounds like this was not the safest set anyone

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Speaker 3: ever worked on, just like some of the footage you see,

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Speaker 3: like some of the crew they you allude to this

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Speaker 3: that they were kind of moving fast and cutting corners

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Speaker 3: and you know, doing things that were not would not

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Speaker 3: be considered, I don't know, taking optimal safety precautions that

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Speaker 3: you would and in a regular production. And by the way,

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Speaker 3: I love movies, and I can get really precious about

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Speaker 3: preserving a filmmaker's vision at many costs, but not at

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Speaker 3: any cost. Nobody needs to die or get injured making

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Speaker 3: a film, you know, that's just you know, keep it

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Speaker 3: safe on set.

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Speaker 1: Yeah, I've read that. One particular detail of all this

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Speaker 1: is that both Michael Ironside and Christoph Lambert apparently sustained

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Speaker 1: injuries in their sword fighting sequences, which you know is

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Speaker 1: always a risk if you have actors doing their own

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Speaker 1: action scenes and fight choreography and so forth. But you know,

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Speaker 1: looking back at like assuming for a minute, I don't

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Speaker 1: know if this is correct, but assuming that they shot

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Speaker 1: the final epic sword fight between General Katana and Connor

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Speaker 1: McLeod in sequence. By the end of it, it looked

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Speaker 1: really looks like they're not able to do much. And

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Speaker 1: I've also read that like the general Katana ironically fights

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Speaker 1: with a broad sword, which was apparently difficult to wield

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Speaker 1: as well. So like by the end of this big

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Speaker 1: epic fight scene with an amazing set, everything feels a

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Speaker 1: little clunky and kind of tired, Like they just look

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Speaker 1: like maybe they're out of steam, and if they're working

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Speaker 1: through injuries, you can understand that.

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Speaker 3: Yeah. I don't know what the source of this information

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Speaker 3: is because I didn't see this mentioned in any of

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Speaker 3: the interviews that I recall, but I know I've read

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Speaker 3: that like that. I think it was Christoph Limbert wanted

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Speaker 3: to work with real swords. He was like, I don't

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Speaker 3: want this plastic crop, you know, I want to have

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Speaker 3: like a real sword, And so they were doing that,

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Speaker 3: but apparently Limber's eyesight is not great and he you know,

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Speaker 3: couldn't wear glasses for filming the scenes, and so yeah,

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Speaker 3: they were just Oh and also he did a lot

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Speaker 3: of his own stunts in the movie, including us the

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Speaker 3: scenes we'll talk about later with like an elevator, falling

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Speaker 3: down an elevator shaft and flying around on rocket boots.

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Speaker 3: And stuff, so like, in some ways it's kind of exciting,

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Speaker 3: you know, stories of Bravado from the film Star. But

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Speaker 3: also yeah, it sounds like it was not the safest

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Speaker 3: set ever. But anyway, all working with all these limitations,

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Speaker 3: things keep happening. Also, I think in the background here

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Speaker 3: there is a major inflation problem in Argentina while they're

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Speaker 3: shooting it, so like the money, the value of the

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Speaker 3: money they're using to make the movie is like all

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Speaker 3: over the place, and that's causing production problems as well.

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Speaker 3: So there were just like basic logistical problems and production

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Speaker 3: financing problems, and the movie was apparently taking way too

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Speaker 3: long and going over budget. So in a move that

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Speaker 3: absolutely always goes well more than halfway through production, creative

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Speaker 3: control was taken over by an insurance company.

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Speaker 1: Oh yeah, that is not bode well.

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Speaker 3: So for those of you who not familiar with the

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Speaker 3: film bonding process, there's a thing in the film industry

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Speaker 3: called a completion bond, which is essentially an insurance policy

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Speaker 3: for the film's investors. So if a movie is not

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Speaker 3: coming in on time or not staying within budget, the

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Speaker 3: bonding company that has been contracted can step in, supposedly

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Speaker 3: to protect the interests of the investors of the film

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Speaker 3: to take over production and guarantee a completed film within

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Speaker 3: a certain budget and by a certain time. And this

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Speaker 3: is what happened with Highlander two. So things are not

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Speaker 3: going well, they're spending too much money, it's taking too long.

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Speaker 3: The insurance company steps in and says, we're in charge. Now.

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Speaker 3: You can kind of imagine how cool that would be.

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Speaker 1: I mean, especially if you're dealing with filmmakers they want

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Speaker 1: to take big swings that they want to know, go

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Speaker 1: big or you know, or go home, and you have

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Speaker 1: the insurance people coming in and saying, actu, it is

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Speaker 1: time to go home. It is time to wrap it up.

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Speaker 3: So I think I think a lot of the deficiencies

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Speaker 3: of Highlander two, a lot of the things that are

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Speaker 3: very funny and bad about it can be chalked up

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Speaker 3: to this thing that had the takeover of the movie

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Speaker 3: by the insurance company. But not all of the funny

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Speaker 3: stuff or the stuff that fans consider bad can be

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Speaker 3: can be chalked up to that. For example, many fans

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Speaker 3: apparently you know, the fans who thought it was weird

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Speaker 3: to introduce the sci fi elements and make the immortals aliens.

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Speaker 3: They would end up blaming that choice on the creative

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Speaker 3: takeover by the Bonding Company, but that is not the case.

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Speaker 3: The suits from the insurance company did not make up

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Speaker 3: the planet Zeist that's in the script. From what I

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Speaker 3: can tell, it seems like the choices made by the

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Speaker 3: Bonding Company consists more of like wrapping production without filming

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Speaker 3: major sceness and then trying to paper over those holes

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Speaker 3: with a bizarre Frankenstein edit, and also just like lots

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Speaker 3: of choices of I guess, like bad takes and terrible

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Speaker 3: looking visual effects shots and just you know, late stage

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Speaker 3: scriptory rights to change things up to just finish it faster.

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Speaker 3: And so I think this is one reason. Like in

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Speaker 3: the documentary they show some examples of how this is

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Speaker 3: a movie that has some great looking visual effects shots

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Speaker 3: and some great looking effects and sets in certain scenes,

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Speaker 3: and those will be contrasted almost immediately, like you'll cut

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Speaker 3: back and forth between stuff that looks great and stuff

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Speaker 3: that looks terrible. And apparently the at least some of

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Speaker 3: the crew involved in, people who were working on the

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Speaker 3: visual effects for the movie, chalk this up to the

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Speaker 3: Bonding Company. They say like that they came in and

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Speaker 3: they commissioned the you know, completion of the film with

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Speaker 3: these terrible looking visual effects and put those in, so

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Speaker 3: you've got those right next to stuff that looks really good,

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Speaker 3: and that would explain a lot of that weird contrast

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Speaker 3: when you're watching the movie. Apparently they also cut out

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Speaker 3: a lot of stuff that would have made sense of

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Speaker 3: the plot holes created by making the immortals aliens. So

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Speaker 3: you know, this movie it's like Swiss cheese. You could

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Speaker 3: poke a million holes and be like, none of this

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Speaker 3: makes sense with these plot innovations. Apparently it would make

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Speaker 3: more sense if we had a full film based on

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Speaker 3: the original script, because some of the differences are actually explained,

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Speaker 3: some of the gaps are actually explained. But we just

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Speaker 3: don't get that.

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Speaker 1: Yeah, and like you've been saying, like ultimately the filmmakers

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Speaker 1: themselves run from the Zeist concept, So yeah, we just

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Speaker 1: get even further and further away from some sort of

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Speaker 1: like concrete vision of what this film was meant to be.

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Speaker 3: But anyway, the fact that the planet Zeist stuff does

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Speaker 3: not come from the bonding company that is originally there,

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Speaker 3: it's just more to me that to take out the

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Speaker 3: Planet Zeist is to excise the beating heart from this film,

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Speaker 3: so so Highlander two. People, the people who are behind

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Speaker 3: making all these cuts, you've already made like four or

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Speaker 3: five of them, or however many there are. Give us

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Speaker 3: the ultimate Zeist cut, you know, give us the edit

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Speaker 3: that the release that looks great, has the updated picture

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Speaker 3: and sound and all that, but keeps all the Zeist

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Speaker 3: content and has the nice looking, the better selected visual

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Speaker 3: effects shots. Give us the ultimate cut that still has

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Speaker 3: Zeyist unless you've already done that and I'm simply not

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Speaker 3: aware of it, in which case I'm sorry.

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Speaker 1: I don't think they have because I feel like we've

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Speaker 1: wasted a lot of time looking for it. But but yeah,

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Speaker 1: and I'm up into open to whatever, Like put it

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Speaker 1: out as a single disc. I'll buy it. Put it

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Speaker 1: out as like the third disc in a multidisc release,

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Speaker 1: like Ultimate Release of Highlander two. You know, I'm fine

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Speaker 1: with that. You can even have an optional commentary track

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Speaker 1: where you you know, rip into it and talk about

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Speaker 1: everything wrong, as long as I have like just one

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Speaker 1: version of this that I can watch and you know,

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Speaker 1: in inacceptable quality, and you know, you know, we've already

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Speaker 1: touched on some of the problems with some of the effects.

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Speaker 1: But yeah, just give me a solid z ice cut.

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Speaker 1: That's all I say.

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Speaker 3: All right, Rob, Now, we just started talking about the plot.

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Speaker 3: In the previous episode, we talked about the prologue with

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Speaker 3: the Shield. Do you want to jump back into the

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Speaker 3: plot or do you have anything to address first?

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Speaker 1: No, I think we just jumped right back into it.

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Speaker 1: We established the zeis well or did we What did

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Speaker 1: we establish? We established just the building of the shield, right.

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Speaker 3: Yeah, yeah, yeah, So we'll do a real fast recap

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Speaker 3: of that. So the opening of the film is in

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Speaker 3: the year nineteen ninety nine, when the human race is

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Speaker 3: in dire peril due to the depletion of the ozone

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Speaker 3: layer and the resulting exposure of the Earth's surface to

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Speaker 3: deadly radiation from the sun or McLoud. The main character

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Speaker 3: of Highlander one, the victorious age old warrior who won

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Speaker 3: the game of Immortal Combat and achieved human mortality and

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Speaker 3: the ability to have children at the end of the

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Speaker 3: first movie. He uses his centuries of wisdom and presumably

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Speaker 3: also his magical ability to read minds, though the movie

356
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Speaker 3: doesn't really address this, to organize a team of scientists

357
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Speaker 3: to create the Shield, which is a giant geoengineering project

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Speaker 3: that forms a sort of laser net over the Earth's

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Speaker 3: atmosphere and protects the surface of the planet from the sun.

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Speaker 3: It looks kind of like a gigantic lightsaber blade blasting

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Speaker 3: out of a huge concrete pyramid and then it forms

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Speaker 3: a laser net in the sky, sort of connects with

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Speaker 3: a satellite somehow, and it shields us from the Sun.

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Speaker 3: And Connor and his scientist friend Alan Nayman they celebrate

365
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Speaker 3: their accomplishment. They have saved the world. This surely was

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Speaker 3: a good use of the prize, is.

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Speaker 1: Yeah, what mornchy do you ask for? Seemingly save the

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Speaker 1: world and to some degree helped in sure peace.

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Speaker 3: Yeah, happy ending, right at the beginning, But then we

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Speaker 3: cut to twenty five years later, two.

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Speaker 4: Eight year twenty twenty four.

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Speaker 1: That's right, I mean this is this was the perfect

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Speaker 1: time to really jump in and discuss Islander too.

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Speaker 3: On Weird House, so we see Christophe Lambert driving a car.

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Speaker 3: He's driving a convertible down a dark, wet street in

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Speaker 3: what looks is not great makeup and terrible old man makeup.

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Speaker 3: His face looks like a bowl of porridge. It's not great,

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Speaker 3: but we hear his voiceover, McLeod says, the shield twenty

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Speaker 3: five years ago it was our savior. But now no sun,

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Speaker 3: no stars, only heat and humidity. It drains the energy

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Speaker 3: from the whole world. We're falling apart, going backward old cars,

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Speaker 3: old planes, old dreams. The cure is worse than the disease.

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Speaker 1: Now already we have so much unpack like, well, why

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Speaker 1: are they using old cars, old planes, and old dreams

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Speaker 1: because of some sort of energy shortage? I mean, the

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Speaker 1: real answer is it lets them do this this kind

387
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Speaker 1: of neo noir look for the film, which I do

388
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Speaker 1: quite like, but it doesn't really make any sense where

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Speaker 1: it's like, we can't use a car that was made

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Speaker 1: post nineteen fifty three. Now.

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Speaker 3: I think they wanted to use some of these beautiful

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Speaker 3: old building facades from Buenos Aires, and they were like,

393
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Speaker 3: let's see, how do what everything looks old? Now? We'll

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Speaker 3: say for some reason, yeah, using old cars and planes,

395
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Speaker 3: what would that have to do with anything?

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Speaker 1: We also, when we're panning past, does some sort of

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Speaker 1: statue or something. There's this plaque that commemorates the shield,

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Speaker 1: and it has the dates nineteen ninety nine through twenty

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Speaker 1: twenty four on there and I was wondering, do they

400
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Speaker 1: just update it every year, like it's like, okay, it's

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Speaker 1: a new year, twenty twenty. Let's add that, like it's say,

402
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Speaker 1: you know, no work injuries for X number of days,

403
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Speaker 1: sort of a thing. I don't know. Yeah, because there's

404
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Speaker 1: no indication that there are no plans to bring the

405
00:23:09,320 --> 00:23:13,080
Speaker 1: shield down in twenty twenty four, as we'll discuss, and

406
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Speaker 1: as we'll see.

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Speaker 3: Okay, so we see Connor driving as convertible through this

408
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Speaker 3: dark city, and we gathered that the world here is

409
00:23:21,560 --> 00:23:26,840
Speaker 3: now squalid, polluted and dark. The sky is always covered

410
00:23:26,880 --> 00:23:31,960
Speaker 3: with this shimmering, burnt orange aurora, in which shadowy triangles

411
00:23:32,000 --> 00:23:35,879
Speaker 3: and pyramid shapes appear. There are also in this world

412
00:23:36,440 --> 00:23:40,399
Speaker 3: just future punks everywhere. I love good future punk, and

413
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Speaker 3: here they're like on the sidewalks getting up to no good.

414
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Speaker 3: Connor is driving past them and like glancing nervously out

415
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Speaker 3: the windows of his car looking at them as he

416
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Speaker 3: drives by. We can hear them yelling. Then when we

417
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Speaker 3: actually see them, they're crowded around some kind of machine

418
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Speaker 3: that distributes gas through a face mask attached to a hose,

419
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Speaker 3: and they're like kicking and beating on the machine to

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Speaker 3: make it work and then taking turns huffing out of

421
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Speaker 3: the mask. Is this supposed to be a vending machine

422
00:24:11,240 --> 00:24:12,080
Speaker 3: for inhalance?

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Speaker 1: I don't know es your neighborhood huffing station. I'm not sure,

424
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Speaker 1: but yeah, there are a lot of wild boys in

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Speaker 1: the future for sure.

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Speaker 3: Yeah, yeah, wild boys. Yeah. Then in the car, the

427
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Speaker 3: TV comes on. Great, this is one of those futuristic

428
00:24:26,480 --> 00:24:29,400
Speaker 3: old cars from twenty twenty four. It's an old car,

429
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Speaker 3: but it has a TV in the dashboard.

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Speaker 1: They have those now.

431
00:24:33,960 --> 00:24:38,320
Speaker 3: Yeah oo, it's exactly what cars need. Yeah. So Connor

432
00:24:38,400 --> 00:24:41,399
Speaker 3: is watching the news while driving and the news anchor

433
00:24:41,440 --> 00:24:45,400
Speaker 3: says that the Shield Corporation, which is the world's largest company,

434
00:24:45,840 --> 00:24:50,040
Speaker 3: was today accused of monopoly and price fixing. I was

435
00:24:50,080 --> 00:24:52,880
Speaker 3: just thinking, how do you do price fixing if your

436
00:24:52,920 --> 00:24:56,720
Speaker 3: product is the shield? Like who are the market competitors

437
00:24:56,720 --> 00:25:00,640
Speaker 3: of the Shield Corporation that they would be colluding with? Yeah,

438
00:25:01,680 --> 00:25:05,879
Speaker 3: other Shield companies and they're making an agreement to fix prices.

439
00:25:06,160 --> 00:25:07,879
Speaker 1: And it does seem like it's the same shield for

440
00:25:07,960 --> 00:25:11,040
Speaker 1: the entire planet. Like you can't you know, pick and choose,

441
00:25:11,040 --> 00:25:13,720
Speaker 1: like how much shield different regions are getting or there's

442
00:25:13,720 --> 00:25:17,160
Speaker 1: no indication or even a hint of how that would

443
00:25:17,200 --> 00:25:17,760
Speaker 1: be possible.

444
00:25:18,320 --> 00:25:21,240
Speaker 3: Yeah, maybe they make other products too, Maybe the price

445
00:25:21,320 --> 00:25:26,119
Speaker 3: fixing is on whatever these these huffing stations. They also

446
00:25:26,160 --> 00:25:29,679
Speaker 3: say that the president of the Shield Corporation, Alan Nayman,

447
00:25:29,840 --> 00:25:32,600
Speaker 3: remember that was Connor's partner in creating the Shield twenty

448
00:25:32,600 --> 00:25:34,840
Speaker 3: five years ago, he could not be reached for comment.

449
00:25:35,800 --> 00:25:39,000
Speaker 3: And then they say that the Shield Corporation just posted

450
00:25:39,040 --> 00:25:42,720
Speaker 3: record profits. Oh and also there's a weather report. Tomorrow's

451
00:25:42,800 --> 00:25:45,359
Speaker 3: high is going to be ninety seven degrees fahrenheit. Sounds

452
00:25:45,400 --> 00:25:48,040
Speaker 3: like the low is also ninety seven degrees fahrenheit with

453
00:25:48,119 --> 00:25:51,360
Speaker 3: a humidity of ninety seven percent, same as every other day.

454
00:25:51,760 --> 00:25:55,919
Speaker 1: I mean, it's predictable, you know. Yeah, you know, you

455
00:25:56,040 --> 00:25:58,400
Speaker 1: know what to wear. There's not a lot of questions

456
00:25:58,480 --> 00:26:01,640
Speaker 1: about what you're gonna wear tomorrow, So we can say

457
00:26:01,640 --> 00:26:02,320
Speaker 1: that for it, at.

458
00:26:02,280 --> 00:26:04,639
Speaker 3: Least now here is a question I do have. So

459
00:26:04,720 --> 00:26:07,720
Speaker 3: Connor is like driving past these future punks and he's

460
00:26:07,760 --> 00:26:09,679
Speaker 3: like checking to see if his car doors are locked,

461
00:26:10,200 --> 00:26:15,360
Speaker 3: and the future punks are dancing aggressively at his car

462
00:26:15,400 --> 00:26:18,840
Speaker 3: as he goes past, next to their flaming steel garbage cans.

463
00:26:19,240 --> 00:26:21,200
Speaker 3: And I'm like, why would you have a flaming garbage

464
00:26:21,240 --> 00:26:24,080
Speaker 3: can in a world where there's like it's ninety seven

465
00:26:24,119 --> 00:26:26,840
Speaker 3: degrees And maybe they need it for light, I don't know,

466
00:26:26,880 --> 00:26:28,200
Speaker 3: but you don't need it for heat.

467
00:26:28,640 --> 00:26:30,680
Speaker 1: I mean, this is always the question of any kind

468
00:26:30,680 --> 00:26:36,960
Speaker 1: of apocalyptic hellscape or or urban hell setting. It's why

469
00:26:37,000 --> 00:26:40,400
Speaker 1: are the garbage cans on fire? Maybe just because they

470
00:26:40,400 --> 00:26:41,000
Speaker 1: can be on.

471
00:26:40,960 --> 00:26:43,520
Speaker 3: Fire, right, Maybe they're cooking with it.

472
00:26:43,720 --> 00:26:47,800
Speaker 1: Yeah, yeah, cooking up some assuming rat.

473
00:26:47,680 --> 00:26:51,400
Speaker 3: Some charproiled rat in the garbage can. Yeah, okay, So

474
00:26:51,600 --> 00:26:55,240
Speaker 3: where is Connor headed? He's going to the opera, of course.

475
00:26:56,000 --> 00:26:58,480
Speaker 3: And here's one of these cases where we were talking

476
00:26:58,480 --> 00:27:01,080
Speaker 3: about the contrast of like you'll have these bad looking

477
00:27:01,119 --> 00:27:03,280
Speaker 3: scenes and then great looking scenes. I feel like the

478
00:27:03,320 --> 00:27:07,240
Speaker 3: whole opera scene from the outside and the inside, the

479
00:27:07,280 --> 00:27:09,840
Speaker 3: set within a set, on the stage, the interior of

480
00:27:09,880 --> 00:27:13,560
Speaker 3: the opera, it's all beautiful. It has it does have

481
00:27:13,680 --> 00:27:19,000
Speaker 3: a somewhat derivative kind of blade runneriness about the sci

482
00:27:19,040 --> 00:27:22,359
Speaker 3: fi style, but it also it has a style of

483
00:27:22,400 --> 00:27:25,520
Speaker 3: its own, Like the opera has this red blinking neon

484
00:27:25,720 --> 00:27:28,879
Speaker 3: sign like an all night diner. It's a very weird choice,

485
00:27:28,920 --> 00:27:32,119
Speaker 3: but I think it looks really cool and inside it's

486
00:27:32,160 --> 00:27:37,640
Speaker 3: it's beautiful. So Connor is going to see this Vagnerian production.

487
00:27:37,840 --> 00:27:40,479
Speaker 3: I think it's Actually he's watching Twilight with gods and

488
00:27:41,080 --> 00:27:43,960
Speaker 3: we hear this, you know, the sweet and tortured melodies

489
00:27:44,000 --> 00:27:47,520
Speaker 3: of a dying world, as the name John C. McGinley

490
00:27:47,520 --> 00:27:49,840
Speaker 3: pops up on the credits. By the way, just funny.

491
00:27:50,240 --> 00:27:52,280
Speaker 1: The set for this opera does look amazing. I haven't

492
00:27:52,320 --> 00:27:55,800
Speaker 1: seen a lot of operas, maybe only ever one opera

493
00:27:56,440 --> 00:27:59,200
Speaker 1: live and in full, and I have to say, give

494
00:27:59,200 --> 00:28:01,439
Speaker 1: me an opera with the said like this, I'll show up.

495
00:28:01,720 --> 00:28:03,879
Speaker 3: So we pan around the audience at the opera and

496
00:28:03,920 --> 00:28:06,640
Speaker 3: we see all the fancy people in the balconies sporting

497
00:28:06,680 --> 00:28:09,920
Speaker 3: their evening attire, and eventually we land on a private

498
00:28:09,960 --> 00:28:14,240
Speaker 3: box where Connor MacLeod sits sad and alone, dozing off

499
00:28:14,280 --> 00:28:18,879
Speaker 3: with his chin on his chest, until he is startled

500
00:28:18,920 --> 00:28:23,239
Speaker 3: awake by a voice echoing inside his head. It is

501
00:28:23,280 --> 00:28:27,480
Speaker 3: the voice of Sean Connery. And here, basically, right at

502
00:28:27,480 --> 00:28:32,280
Speaker 3: this moment in the American theatrical release, begins a truly

503
00:28:32,520 --> 00:28:37,800
Speaker 3: remarkable several minutes of film, one that I have essentially memorized.

504
00:28:38,720 --> 00:28:40,840
Speaker 3: Highlander two was one of the I've said this earlier,

505
00:28:40,880 --> 00:28:42,640
Speaker 3: but it was one of the first movies in this

506
00:28:42,760 --> 00:28:45,960
Speaker 3: sort of glorious failure genre that I ever came to appreciate.

507
00:28:46,400 --> 00:28:48,920
Speaker 3: And after I got my hands on my first VHS copy,

508
00:28:48,960 --> 00:28:51,240
Speaker 3: of course, I watched it with my friends lots of times.

509
00:28:51,240 --> 00:28:53,720
Speaker 3: But on top of watching the movie as a whole

510
00:28:53,760 --> 00:28:57,800
Speaker 3: lots of times, we've probably rewound the next few minutes

511
00:28:57,800 --> 00:29:01,480
Speaker 3: of the movie several times every time we watched it.

512
00:29:01,600 --> 00:29:03,920
Speaker 3: So this, this is kind of like a religious catechism

513
00:29:03,960 --> 00:29:09,240
Speaker 3: to me. Sean Connery says, Remember Highlander, Remember your home

514
00:29:10,240 --> 00:29:16,320
Speaker 3: another galaxy, you were chosen? Remember, And then the Wagner

515
00:29:16,400 --> 00:29:20,160
Speaker 3: music swells and the camera zooms in on Connor's face

516
00:29:20,320 --> 00:29:24,600
Speaker 3: in a weirdly unflattering off center shot. His eyes are

517
00:29:24,640 --> 00:29:27,880
Speaker 3: sort of half closed, his his fake gray hair is

518
00:29:27,920 --> 00:29:30,640
Speaker 3: lit up in a peculiar way by off camera lights,

519
00:29:31,160 --> 00:29:35,480
Speaker 3: and we hear his thoughts as he says, yes, yes,

520
00:29:35,560 --> 00:29:40,320
Speaker 3: I remember the beginning five hundred years ago on the

521
00:29:40,360 --> 00:29:41,440
Speaker 3: planet Zeist.

522
00:29:42,280 --> 00:29:45,160
Speaker 1: Yeah, and this is this is a moment where you know,

523
00:29:45,200 --> 00:29:50,360
Speaker 1: you can you can definitely feel fans dropping out because yeah,

524
00:29:50,400 --> 00:29:54,240
Speaker 1: I'm tuning in, because I mean, either this is something

525
00:29:54,400 --> 00:30:00,000
Speaker 1: that Connor MacLeod conveniently forgot his entire time on Earth

526
00:30:00,640 --> 00:30:04,240
Speaker 1: throughout the first film, or he knew the whole time

527
00:30:04,880 --> 00:30:07,840
Speaker 1: and just it didn't factor into any of his thoughts

528
00:30:08,080 --> 00:30:12,920
Speaker 1: or actions or anything. And like either version, yeah, I

529
00:30:12,920 --> 00:30:15,160
Speaker 1: can see that being interpreted is kind of like a

530
00:30:15,240 --> 00:30:18,160
Speaker 1: cheap shot of the experience of the first film, you know,

531
00:30:19,200 --> 00:30:21,560
Speaker 1: and could even be seen as like cheapening, yeah, the

532
00:30:21,600 --> 00:30:25,680
Speaker 1: experience of the first film, But I don't know. It's

533
00:30:25,720 --> 00:30:27,720
Speaker 1: also one of the things to love about Highlander too.

534
00:30:28,560 --> 00:30:31,880
Speaker 3: It's so beautiful and then so there, like we were

535
00:30:31,880 --> 00:30:36,280
Speaker 3: saying about the differing, you know, quality of the textures

536
00:30:36,280 --> 00:30:39,120
Speaker 3: of the movie, the next thing they show us is

537
00:30:39,200 --> 00:30:43,440
Speaker 3: the planet Zeist, and what we get is a beautiful

538
00:30:43,760 --> 00:30:47,240
Speaker 3: matte painting of a big desert with mountains in the

539
00:30:47,280 --> 00:30:50,680
Speaker 3: background and the crescent Moon in the sky and some

540
00:30:50,880 --> 00:30:55,200
Speaker 3: kind of giant crashed airship in the desert. You know,

541
00:30:55,240 --> 00:30:57,200
Speaker 3: it looks like some kind of airship the size of

542
00:30:57,240 --> 00:31:00,120
Speaker 3: a skyscraper and it's just plowed into the sand of

543
00:31:00,160 --> 00:31:02,920
Speaker 3: the desert. Looks like almost like a relic, like it

544
00:31:02,920 --> 00:31:05,800
Speaker 3: could have been crashed there for a long time. And

545
00:31:06,400 --> 00:31:10,240
Speaker 3: the context is hilarious. But I think the Matt painting

546
00:31:10,360 --> 00:31:14,280
Speaker 3: looks so good. The fact that it looks so good

547
00:31:14,360 --> 00:31:16,800
Speaker 3: makes it even funnier, and like it's got a good

548
00:31:16,840 --> 00:31:19,480
Speaker 3: contrast in the shot with characters in the foreground as

549
00:31:19,520 --> 00:31:23,800
Speaker 3: these silhouettes covered up in desert clothing, you know, moving

550
00:31:23,840 --> 00:31:26,680
Speaker 3: down the hills into the airship. But it's a great

551
00:31:26,680 --> 00:31:27,840
Speaker 3: looking moment.

552
00:31:28,080 --> 00:31:29,880
Speaker 1: Yeah, I mean the film has just made a very

553
00:31:29,880 --> 00:31:33,880
Speaker 1: wacky choice. And initially here at least, you know, it's like,

554
00:31:33,880 --> 00:31:35,720
Speaker 1: all right, this looks awesome. Let's give it a try,

555
00:31:35,800 --> 00:31:37,400
Speaker 1: let's see, let's see how it fits.

556
00:31:37,880 --> 00:31:40,120
Speaker 3: This is one moment where I can point out that,

557
00:31:40,200 --> 00:31:42,960
Speaker 3: like the Renegade cut, I think I've seen this, they

558
00:31:43,000 --> 00:31:45,880
Speaker 3: like change this to it's not the planet Zeist, of course,

559
00:31:45,880 --> 00:31:48,040
Speaker 3: because they cut that out entirely. This is supposed to

560
00:31:48,120 --> 00:31:50,640
Speaker 3: be sometime in the ancient past, right, so.

561
00:31:50,680 --> 00:31:54,719
Speaker 1: We get an ancient city escape instead of that crash

562
00:31:54,800 --> 00:31:56,719
Speaker 1: spaceship or airship or whatever it is.

563
00:31:57,080 --> 00:31:58,440
Speaker 3: And I think it doesn't look as good.

564
00:31:59,160 --> 00:32:00,440
Speaker 1: Yeah, I mean, I don't know. Well, I thought it

565
00:32:00,480 --> 00:32:03,200
Speaker 1: looked good, but it's not as interesting, and it just

566
00:32:03,400 --> 00:32:06,440
Speaker 1: raises all these questions because again you're about to see

567
00:32:06,440 --> 00:32:09,920
Speaker 1: some sequences where guys are clearly fighting with gas masks

568
00:32:09,920 --> 00:32:14,600
Speaker 1: and modern looking weapons and explosions. So to take it

569
00:32:14,640 --> 00:32:16,640
Speaker 1: away from an alien planet and put it into the

570
00:32:16,640 --> 00:32:20,960
Speaker 1: ancient past actually just creates more problems, yes, more logical

571
00:32:21,000 --> 00:32:22,120
Speaker 1: problems for the film.

572
00:32:22,360 --> 00:32:27,000
Speaker 3: Okay. Connor McLeod's voiceover goes on. He says, we planned rebellion.

573
00:32:27,480 --> 00:32:31,680
Speaker 3: We met in secret, always careful to avoid our deadly enemy,

574
00:32:32,080 --> 00:32:35,640
Speaker 3: General Katana. This is not a character that was mentioned

575
00:32:35,680 --> 00:32:38,479
Speaker 3: in the first movie, so this is brand new. So

576
00:32:38,520 --> 00:32:41,160
Speaker 3: we see a bunch of sweaty guys with like head

577
00:32:41,200 --> 00:32:45,200
Speaker 3: wrappings and desert cloaks gathering in the ruins of the airship,

578
00:32:45,320 --> 00:32:49,280
Speaker 3: and then Sean Connery walks out on a platform to

579
00:32:49,360 --> 00:32:52,760
Speaker 3: address them, and his speech goes as follows. He says,

580
00:32:53,120 --> 00:32:57,160
Speaker 3: free men of the planet Zeist, hear me. We gather

581
00:32:57,320 --> 00:33:01,200
Speaker 3: together in secret for the last time. You suffer under

582
00:33:01,240 --> 00:33:04,480
Speaker 3: the yoke of General Katana's rule for the last time,

583
00:33:04,960 --> 00:33:07,800
Speaker 3: and you stand without a leader for the last time,

584
00:33:08,600 --> 00:33:11,120
Speaker 3: and the people call out for Sean Connery to lead them.

585
00:33:11,160 --> 00:33:14,800
Speaker 3: You know Ramirez well, by the way, this character on Zeist,

586
00:33:15,000 --> 00:33:18,680
Speaker 3: his name is Ramirez on Zeist, and Connor MacLeod's name

587
00:33:18,760 --> 00:33:22,680
Speaker 3: is Connor MacLeod on zeist. Okay, yeah, so Ramirez says

588
00:33:22,720 --> 00:33:25,480
Speaker 3: he's not going to lead them, but he says, because

589
00:33:25,480 --> 00:33:28,800
Speaker 3: he sees with eyes different from theirs, he knows that

590
00:33:28,960 --> 00:33:32,120
Speaker 3: one among them has a great destiny. And the people

591
00:33:32,160 --> 00:33:35,400
Speaker 3: call out who is he show him to us, And then,

592
00:33:35,560 --> 00:33:38,400
Speaker 3: in what I think is probably one of the funniest

593
00:33:38,400 --> 00:33:42,280
Speaker 3: single shots in line deliveries in like all of cinema history,

594
00:33:42,680 --> 00:33:45,960
Speaker 3: Sean Connery draws his sword and he says, let him

595
00:33:45,960 --> 00:33:50,760
Speaker 3: show himself, let him feel the quickening. He waggles his

596
00:33:50,880 --> 00:33:56,080
Speaker 3: sword and lightning flashes, and then Ramirez, there's like a

597
00:33:56,120 --> 00:33:59,960
Speaker 3: folly of sort of electricity arcing. And then somehow every

598
00:34:00,400 --> 00:34:03,240
Speaker 3: turns and looks, and among them in the crowd is

599
00:34:03,320 --> 00:34:06,680
Speaker 3: Christophe Limberry's standing there with wind blowing in his hair

600
00:34:06,840 --> 00:34:09,600
Speaker 3: like he's in a Creed music video, and he looks

601
00:34:09,760 --> 00:34:13,280
Speaker 3: very grave and heavy with the burden of this new responsibility,

602
00:34:13,920 --> 00:34:15,960
Speaker 3: and Sean Connery says, yes.

603
00:34:16,160 --> 00:34:19,799
Speaker 1: You, this is how the leaders of all great rebellions

604
00:34:19,800 --> 00:34:22,480
Speaker 1: are chosen, by the way, Yeah, just just sort of

605
00:34:22,560 --> 00:34:25,239
Speaker 1: randomly picked out of the crowd and like you, yep,

606
00:34:25,320 --> 00:34:27,360
Speaker 1: you're the one you're gonna leave the rebellion. That's just

607
00:34:27,400 --> 00:34:28,920
Speaker 1: how it works, yes, you.

608
00:34:29,719 --> 00:34:32,040
Speaker 3: And then it doesn't stop like it just goes so

609
00:34:32,280 --> 00:34:35,200
Speaker 3: fast straight into I guess we're about to see what

610
00:34:35,239 --> 00:34:39,680
Speaker 3: the quickening is as realized by this movie now Rob

611
00:34:39,880 --> 00:34:43,759
Speaker 3: quickly no pun intended. What was the quickening in the

612
00:34:43,800 --> 00:34:44,680
Speaker 3: First Highlander?

613
00:34:45,160 --> 00:34:48,680
Speaker 1: The quickening in the First Highlander also it felt a

614
00:34:48,760 --> 00:34:52,520
Speaker 1: little vague. It was something magical about connection between immortals,

615
00:34:52,600 --> 00:34:55,239
Speaker 1: and we basically hear about it the most in that

616
00:34:55,360 --> 00:34:59,719
Speaker 1: scene where where it really a nice scene where Ramires

617
00:34:59,800 --> 00:35:02,680
Speaker 1: and Connor, during the midst of all their training run

618
00:35:02,719 --> 00:35:05,479
Speaker 1: on the beach, maybe while a horse is running, I think,

619
00:35:05,520 --> 00:35:07,920
Speaker 1: but you know, it's like I think about it whenever

620
00:35:07,960 --> 00:35:10,200
Speaker 1: I run on a beach. I'm like, yeah, the quickening,

621
00:35:10,239 --> 00:35:12,400
Speaker 1: you know, it's like it was more of a feeling

622
00:35:12,520 --> 00:35:15,719
Speaker 1: than a codified lower thing. You know, it's about it's

623
00:35:15,719 --> 00:35:19,040
Speaker 1: about their relationship, it's about their bond, and this is

624
00:35:19,080 --> 00:35:21,440
Speaker 1: I guess trying to channel that as well into some

625
00:35:21,480 --> 00:35:24,759
Speaker 1: sort of like magical thing that connects them across time

626
00:35:24,760 --> 00:35:27,000
Speaker 1: and space, as we'll see.

627
00:35:27,400 --> 00:35:32,359
Speaker 3: Yes, So what happens next is Ramirez and McLeod sit

628
00:35:32,440 --> 00:35:35,680
Speaker 3: across from each other and dip their fingers into like

629
00:35:36,440 --> 00:35:39,680
Speaker 3: it's like a fun du pot for glowing magical energy.

630
00:35:39,760 --> 00:35:42,400
Speaker 3: They like dip their fingers in and they get some

631
00:35:42,560 --> 00:35:45,439
Speaker 3: of the magic on their fingertips, and then they touch

632
00:35:45,520 --> 00:35:49,320
Speaker 3: their hands together and then there's like light that shoots

633
00:35:49,360 --> 00:35:52,640
Speaker 3: out of their hands. And Connor looks very again. He

634
00:35:52,680 --> 00:35:55,640
Speaker 3: looks very grave. He's like, oh no, what's happening. But

635
00:35:55,760 --> 00:35:59,720
Speaker 3: Ramirez is just grinning wildly, and he says, the ancient

636
00:35:59,719 --> 00:36:02,479
Speaker 3: power of the Quickening has joined us. We are now

637
00:36:02,560 --> 00:36:03,040
Speaker 3: as one.

638
00:36:04,440 --> 00:36:06,640
Speaker 1: Okay, I don't know how this is going to result

639
00:36:06,640 --> 00:36:09,160
Speaker 1: in a successful rebellion, but you know, all right, fine,

640
00:36:09,480 --> 00:36:11,680
Speaker 1: we've done the quickening and now it's time to go

641
00:36:11,719 --> 00:36:12,480
Speaker 1: ahead and win this thing.

642
00:36:12,560 --> 00:36:15,600
Speaker 3: Right, that's right, So they got to go beat General Katana,

643
00:36:15,719 --> 00:36:21,720
Speaker 3: so right then, immediately explosions start popping off outside Ramire,

644
00:36:21,800 --> 00:36:23,960
Speaker 3: says Connor McLoud. He has to go defeat the general.

645
00:36:24,080 --> 00:36:29,279
Speaker 3: So we cut to a few fleeting shots of a

646
00:36:29,320 --> 00:36:33,800
Speaker 3: battlefield charge, a disastrous battlefield charge by the rebels. Connor

647
00:36:33,880 --> 00:36:36,360
Speaker 3: tries to rally them to coordinate the attack, but it

648
00:36:36,480 --> 00:36:40,680
Speaker 3: ultimately fails. This is where we're about to meet General Katana.

649
00:36:40,680 --> 00:36:42,920
Speaker 3: But I did just want to say about this battle scene.

650
00:36:43,280 --> 00:36:45,640
Speaker 3: It seems like this is one of the scenes that

651
00:36:45,760 --> 00:36:52,200
Speaker 3: was supposed to be a big, weird, beautiful, fascinating action scene,

652
00:36:52,239 --> 00:36:54,759
Speaker 3: like a massive action scene in this sci fi landscape.

653
00:36:54,800 --> 00:36:56,799
Speaker 3: I think in the documentary they referred to it as

654
00:36:56,840 --> 00:37:00,640
Speaker 3: like the Battle of the Valley of the Moon or something,

655
00:37:01,280 --> 00:37:04,759
Speaker 3: and they show these these concept sketches for it that

656
00:37:04,840 --> 00:37:08,840
Speaker 3: have all these strange rock formations and these aliens fighting

657
00:37:08,880 --> 00:37:12,120
Speaker 3: in weird costumes and all that. We don't really get

658
00:37:12,120 --> 00:37:13,600
Speaker 3: to see any of that. Instead, we just sort of

659
00:37:13,640 --> 00:37:15,960
Speaker 3: see some guys running in the sand and some things

660
00:37:16,000 --> 00:37:17,200
Speaker 3: blow up, and then it's over.

661
00:37:17,440 --> 00:37:20,920
Speaker 1: Yeah. Nothing you really haven't seen in other post apocalyptic

662
00:37:20,960 --> 00:37:23,000
Speaker 1: battle movies. They are just war movies in general.

663
00:37:23,440 --> 00:37:26,800
Speaker 3: Yeah, it's a shame because just based on the concept

664
00:37:26,880 --> 00:37:29,000
Speaker 3: sketches in the documentary, it looks like this could have

665
00:37:29,000 --> 00:37:32,960
Speaker 3: been a really beautiful, awesome looking sequence. But this is

666
00:37:32,960 --> 00:37:36,080
Speaker 3: where we first meet the villain of the movie, Michael Ironside,

667
00:37:36,120 --> 00:37:40,400
Speaker 3: playing General Katana. Now he stands over the battlefield. He

668
00:37:40,400 --> 00:37:43,319
Speaker 3: looks very pleased about all of his enemies being annihilated.

669
00:37:43,600 --> 00:37:46,920
Speaker 3: He says he wants Connor MacLeod and Ramirez captured. As

670
00:37:46,920 --> 00:37:48,800
Speaker 3: for everybody else, he wants their heads.

671
00:37:49,320 --> 00:37:52,160
Speaker 1: And Katana does look pretty awesome here. You know, he's

672
00:37:52,320 --> 00:37:55,960
Speaker 1: a little bit industrial metal but with a stylish dueling scar,

673
00:37:56,560 --> 00:37:59,200
Speaker 1: and he has this like long he has long, dark hair,

674
00:37:59,239 --> 00:38:01,600
Speaker 1: but he has the street of gray or white through it,

675
00:38:01,680 --> 00:38:04,440
Speaker 1: so it's a solid look, and you know it's Iron Side,

676
00:38:04,480 --> 00:38:06,160
Speaker 1: so he can definitely sell the menace.

677
00:38:06,560 --> 00:38:10,239
Speaker 3: So now Michael Ironside, who we just met seconds ago,

678
00:38:10,480 --> 00:38:14,400
Speaker 3: he has Connor mcleoud captured and held prisoner in this

679
00:38:14,480 --> 00:38:19,640
Speaker 3: kind of some kind of like office slash dungeons. It's

680
00:38:20,200 --> 00:38:22,759
Speaker 3: I guess Rob, I think you brought this up in

681
00:38:22,800 --> 00:38:25,160
Speaker 3: the last episode that this is a cool looking interior.

682
00:38:25,480 --> 00:38:27,440
Speaker 1: Yeah, yeah, this is a really cool loo Consett. This

683
00:38:27,560 --> 00:38:31,160
Speaker 1: is definitely a scene that I recommend going back and

684
00:38:31,200 --> 00:38:34,120
Speaker 1: watching in like the highest picture quality possible. Like I

685
00:38:34,200 --> 00:38:37,200
Speaker 1: went back and watched this scene in the Renegade cut

686
00:38:37,400 --> 00:38:40,080
Speaker 1: just because it's it's just shot so well it looks great.

687
00:38:40,440 --> 00:38:42,839
Speaker 3: Yeah. Yeah. This is one of the examples of how

688
00:38:42,920 --> 00:38:45,560
Speaker 3: in the Renegade Cut, a lot of scenes that you

689
00:38:45,600 --> 00:38:48,440
Speaker 3: do get a glimpse of in the theatrical release do

690
00:38:48,640 --> 00:38:53,200
Speaker 3: look better in that version. But also The content of

691
00:38:53,200 --> 00:38:57,000
Speaker 3: what's happening in the scene is that, like General Katana

692
00:38:57,040 --> 00:39:00,200
Speaker 3: is giving a speech to an eel. He grabs an

693
00:39:00,200 --> 00:39:02,360
Speaker 3: eel out of the tank and he starts giving it

694
00:39:02,400 --> 00:39:04,560
Speaker 3: a you know, a good old like we're not so different,

695
00:39:04,600 --> 00:39:08,400
Speaker 3: you and I. And then he says, so deadly in

696
00:39:08,440 --> 00:39:12,440
Speaker 3: their own environment, so tame and servile in mine. I

697
00:39:12,480 --> 00:39:16,480
Speaker 3: think he means out of the water. And then Connor says,

698
00:39:16,760 --> 00:39:21,080
Speaker 3: maybe they're just waiting, and then Katana says waiting for what?

699
00:39:21,880 --> 00:39:27,680
Speaker 3: And then Connor says, for you to get careless. I

700
00:39:27,800 --> 00:39:30,120
Speaker 3: get what he's saying, but how would that apply to

701
00:39:30,160 --> 00:39:30,640
Speaker 3: an eel?

702
00:39:31,600 --> 00:39:34,319
Speaker 1: Yeah, I don't know. It's wait, he looks good. It

703
00:39:34,360 --> 00:39:34,839
Speaker 1: looks good.

704
00:39:35,239 --> 00:39:37,840
Speaker 3: Okay, wait for you to fall asleep in the tank

705
00:39:37,880 --> 00:39:42,640
Speaker 3: where they can get you anyway. So General Katana demonstrates

706
00:39:42,680 --> 00:39:45,600
Speaker 3: his power by like squeezing the eel in his fist

707
00:39:45,719 --> 00:39:48,279
Speaker 3: until it basically he like cuts it in half and

708
00:39:48,320 --> 00:39:51,839
Speaker 3: it splats on the floor. Uh. And then it just

709
00:39:51,880 --> 00:39:55,280
Speaker 3: seems that General Katana is going to execute Connor MacLeod,

710
00:39:55,440 --> 00:39:58,400
Speaker 3: a resident of the planet zeised for his crimes against

711
00:39:58,440 --> 00:40:01,640
Speaker 3: the planet's iis. But instead we cut straight from this

712
00:40:02,440 --> 00:40:06,360
Speaker 3: to Connor and Ramirez standing in a dark hall with

713
00:40:06,520 --> 00:40:10,440
Speaker 3: some kind of priest of Zeist reading out their sentencing.

714
00:40:11,160 --> 00:40:14,520
Speaker 3: And so this priest, there's like several bald priests in

715
00:40:14,680 --> 00:40:19,120
Speaker 3: robes standing up on these huge pedestals like way above them,

716
00:40:19,400 --> 00:40:22,239
Speaker 3: and the priest says, leaders of the Rebellion, you have

717
00:40:22,320 --> 00:40:25,960
Speaker 3: been found guilty of treason. We hereby sentence you to

718
00:40:26,160 --> 00:40:29,960
Speaker 3: exile from Zeist. You will be sent to the planet Earth.

719
00:40:30,280 --> 00:40:34,120
Speaker 3: Once there, you will be immortal. You can only die

720
00:40:34,160 --> 00:40:37,040
Speaker 3: when your head is cut from your body. When one

721
00:40:37,080 --> 00:40:40,000
Speaker 3: of you becomes the last of us on Earth, he

722
00:40:40,160 --> 00:40:44,319
Speaker 3: will claim the prize. He can return to Zeist or

723
00:40:44,440 --> 00:40:46,880
Speaker 3: choose to grow old and die on Earth.

724
00:40:47,400 --> 00:40:51,240
Speaker 1: Okay, so yeah, certainly a liberal and overly complex exile

725
00:40:51,320 --> 00:40:54,320
Speaker 1: process that also kind of functions like a loser's bracket

726
00:40:54,400 --> 00:40:57,360
Speaker 1: right in a tournament. So it's like all the people

727
00:40:57,400 --> 00:41:01,040
Speaker 1: that were enemies of our planet, they're sent away, but

728
00:41:01,080 --> 00:41:02,960
Speaker 1: then you compete against each other and then like the

729
00:41:02,960 --> 00:41:07,239
Speaker 1: most powerful of you can then come back and I

730
00:41:07,239 --> 00:41:09,560
Speaker 1: don't know, have another go at ruining the planet or whatever.

731
00:41:10,239 --> 00:41:13,400
Speaker 3: Yeah, exactly, I don't quite get it, but I don't know.

732
00:41:13,400 --> 00:41:16,560
Speaker 1: Maybe it's just codified in their religious thinking and their traditions.

733
00:41:16,600 --> 00:41:20,319
Speaker 1: I don't know, fine enough, they've explained what's going on

734
00:41:20,400 --> 00:41:23,680
Speaker 1: in the first Highlander film. They've read cond it. Yeah,

735
00:41:24,120 --> 00:41:25,160
Speaker 1: we'll make do with it here.

736
00:41:25,560 --> 00:41:28,480
Speaker 3: But I love how Also they're literally they're getting their

737
00:41:28,719 --> 00:41:32,160
Speaker 3: you know, life in exile sentence read out and they

738
00:41:32,200 --> 00:41:35,360
Speaker 3: just start talking to Connor and Ramirez start like talking

739
00:41:35,360 --> 00:41:39,760
Speaker 3: in class. Like Connor's like, will we be together on earth?

740
00:41:40,080 --> 00:41:42,920
Speaker 3: And Ramirez says not at first, but we're joined in

741
00:41:42,960 --> 00:41:45,560
Speaker 3: a way that can never be broken, not even by death.

742
00:41:45,880 --> 00:41:48,200
Speaker 3: And then he says, when you need me, you'll only

743
00:41:48,239 --> 00:41:49,520
Speaker 3: have to call my name.

744
00:41:50,040 --> 00:41:53,319
Speaker 1: Oh it's like like the friends in Labyrinth, you know

745
00:41:53,600 --> 00:41:55,400
Speaker 1: at the end, where Sarah can just call on them

746
00:41:55,400 --> 00:41:55,839
Speaker 1: and they come.

747
00:41:56,560 --> 00:41:59,040
Speaker 3: But why did we know this in the first movie.

748
00:41:59,160 --> 00:42:01,600
Speaker 1: No, when Rami is his dad in the first movie,

749
00:42:01,600 --> 00:42:04,799
Speaker 1: he's dead for centuries and there's no indication that he

750
00:42:04,800 --> 00:42:06,960
Speaker 1: could ever call out to his old friend, though he

751
00:42:07,040 --> 00:42:09,040
Speaker 1: clearly missed him. That's the thing, like, if he could

752
00:42:09,080 --> 00:42:11,920
Speaker 1: have done this, there would have been opportunities to do it.

753
00:42:12,560 --> 00:42:13,359
Speaker 1: But oh well.

754
00:42:13,840 --> 00:42:17,600
Speaker 3: Oh, and also Connor gives a solemn vow. He promises

755
00:42:17,640 --> 00:42:20,439
Speaker 3: that if he wins the prize, he'll be back back

756
00:42:20,480 --> 00:42:23,040
Speaker 3: to the planet Zeist. So remember that. That's a vow,

757
00:42:23,160 --> 00:42:23,880
Speaker 3: that's a promise.

758
00:42:24,160 --> 00:42:24,480
Speaker 1: Okay.

759
00:42:24,880 --> 00:42:28,319
Speaker 3: Oh also another thing to remember. Sean Connery just kind

760
00:42:28,360 --> 00:42:30,120
Speaker 3: of leans over at the end and he says, just

761
00:42:30,239 --> 00:42:35,919
Speaker 3: remember the quickening. Okay, okay, oh God, no way, it's

762
00:42:35,920 --> 00:42:39,600
Speaker 3: not even over yet, because Connor then says it sounds

763
00:42:39,640 --> 00:42:43,279
Speaker 3: like magic, and then Ramirez says, well, it is a

764
00:42:43,400 --> 00:42:47,840
Speaker 3: kind of here's our first of many many references to

765
00:42:48,000 --> 00:42:51,120
Speaker 3: the Queen song. A kind of magic or some kind

766
00:42:51,120 --> 00:42:52,160
Speaker 3: of magic. Which is it.

767
00:42:52,160 --> 00:42:53,080
Speaker 1: It's a kind of magic.

768
00:42:53,440 --> 00:42:55,960
Speaker 3: It's a kind of magic. How many times do they

769
00:42:55,960 --> 00:42:57,000
Speaker 3: bring this up in the movie?

770
00:42:57,080 --> 00:42:58,920
Speaker 1: Oh? Way too many. I mean, it's a great song,

771
00:42:58,960 --> 00:43:01,919
Speaker 1: we all love it, but they go to the well

772
00:43:01,960 --> 00:43:03,000
Speaker 1: a little too often on this.

773
00:43:03,480 --> 00:43:05,520
Speaker 3: I think they wanted to put a bunch of references

774
00:43:05,520 --> 00:43:07,480
Speaker 3: in there in case you didn't get some of them,

775
00:43:07,520 --> 00:43:08,560
Speaker 3: you could still get the others.

776
00:43:08,640 --> 00:43:10,480
Speaker 1: They should have referenced the other songs, though I don't

777
00:43:10,520 --> 00:43:13,640
Speaker 1: think they directly reference Princes of the Universe at all.

778
00:43:14,360 --> 00:43:16,480
Speaker 1: He could have said that he could just remember Highlander

779
00:43:16,920 --> 00:43:18,240
Speaker 1: with Princes of the Universe.

780
00:43:18,600 --> 00:43:21,160
Speaker 3: Here we are born to be kings.

781
00:43:21,040 --> 00:43:24,040
Speaker 1: Exactly till your mother down, highlander.

782
00:43:25,640 --> 00:43:26,879
Speaker 3: We will not let you go.

783
00:43:28,360 --> 00:43:29,440
Speaker 1: I want to break free.

784
00:43:30,760 --> 00:43:35,880
Speaker 3: So the priests say, prepare yourself. There can only be one.

785
00:43:36,680 --> 00:43:40,000
Speaker 3: And then the priests like lower swords, like they're knighting

786
00:43:40,040 --> 00:43:43,239
Speaker 3: them sort of, but they're standing way above them. And

787
00:43:43,280 --> 00:43:47,440
Speaker 3: then Connor and Ramirez get zapped by a big machine

788
00:43:47,600 --> 00:43:52,400
Speaker 3: that's like a like an exxeistorator, and General Katana looks

789
00:43:52,400 --> 00:43:54,600
Speaker 3: on angrily. I guess he did not get his way

790
00:43:54,640 --> 00:43:55,719
Speaker 3: at the sentencing here.

791
00:43:56,200 --> 00:43:59,000
Speaker 1: Yeah, he's not down with his cultures, very forgiving system

792
00:43:59,040 --> 00:43:59,600
Speaker 1: of exile.

793
00:44:08,320 --> 00:44:11,239
Speaker 3: So next Connor wakes up in twenty twenty four on

794
00:44:11,320 --> 00:44:13,080
Speaker 3: Earth in the opera house. I guess all that was

795
00:44:13,239 --> 00:44:16,560
Speaker 3: a dream, a memory, you know, of his past. The

796
00:44:16,600 --> 00:44:19,920
Speaker 3: show is over and an usher is asking him to

797
00:44:20,080 --> 00:44:23,640
Speaker 3: leave the theater, and he's so old and weak and

798
00:44:23,640 --> 00:44:26,799
Speaker 3: feeble he can barely croak out a friendly response to

799
00:44:26,840 --> 00:44:27,400
Speaker 3: the usher.

800
00:44:28,040 --> 00:44:31,759
Speaker 1: In Michael Weldon's little review for this in The Psychotronic

801
00:44:31,800 --> 00:44:35,239
Speaker 1: Film Guides, he points out that it's a review where

802
00:44:35,280 --> 00:44:37,640
Speaker 1: he says, like, there's definitely some awesome stuff in this

803
00:44:37,800 --> 00:44:40,279
Speaker 1: in this film, but he's like, oh, it spends way

804
00:44:40,280 --> 00:44:45,320
Speaker 1: too much time with Lambert convincingly playing an old Connor McLeod,

805
00:44:45,719 --> 00:44:50,000
Speaker 1: Yes and yeah, quibbles about the makeup aside, Like, he

806
00:44:50,040 --> 00:44:52,440
Speaker 1: does really sell this idea of here's your hero from

807
00:44:52,440 --> 00:44:55,040
Speaker 1: the first film, Old and Feeble. But there's going to

808
00:44:55,080 --> 00:44:56,800
Speaker 1: be payoff for that. There's going to be payoff.

809
00:44:57,120 --> 00:44:59,080
Speaker 3: It takes a third of the movie for him to

810
00:44:59,080 --> 00:44:59,759
Speaker 3: get hot again.

811
00:45:01,080 --> 00:45:01,279
Speaker 4: Oh.

812
00:45:01,360 --> 00:45:04,120
Speaker 3: Also, there's a scene here where we see like meanwhile

813
00:45:04,160 --> 00:45:07,040
Speaker 3: at the headquarters of the Shield Corporation. I remember, this

814
00:45:07,120 --> 00:45:11,640
Speaker 3: is a giant concrete pyramid surrounded by like rushing canals

815
00:45:11,680 --> 00:45:15,800
Speaker 3: of water and armed guards. I think this is another

816
00:45:15,880 --> 00:45:18,800
Speaker 3: thing that gets mixed up between the different cuts of

817
00:45:18,840 --> 00:45:22,840
Speaker 3: the film, because I believe originally more of the different

818
00:45:22,880 --> 00:45:28,319
Speaker 3: Shield Corporation locations were separate, discrete locations with different kinds

819
00:45:28,320 --> 00:45:30,759
Speaker 3: of buildings. But this cut just makes it look like

820
00:45:30,840 --> 00:45:34,719
Speaker 3: everything Shield related is taking place in the pyramid. So

821
00:45:34,880 --> 00:45:38,600
Speaker 3: at this pyramid we see a group of operatives sneaking

822
00:45:38,640 --> 00:45:42,160
Speaker 3: past security guards with grappling hooks and zip lines. What

823
00:45:42,480 --> 00:45:47,440
Speaker 3: is their purpose? Well, inside the facility, the infiltrators remove

824
00:45:47,520 --> 00:45:51,400
Speaker 3: their helmets and it's revealed that their leader is Virginia Madsen. Hey,

825
00:45:51,440 --> 00:45:54,239
Speaker 3: there she is, So what are they here for? It?

826
00:45:54,280 --> 00:45:57,560
Speaker 3: Is to hack the shield specifically to get into the

827
00:45:57,640 --> 00:46:02,080
Speaker 3: computer and find out what the readings above the shield are.

828
00:46:02,600 --> 00:46:06,160
Speaker 3: And it turns out they are normal, which is a

829
00:46:06,200 --> 00:46:09,200
Speaker 3: funny reveal. It's like a gasp moment, but just because

830
00:46:09,239 --> 00:46:14,080
Speaker 3: it says normal, so Virginia Madison says impossible, radiation levels

831
00:46:14,120 --> 00:46:18,680
Speaker 3: can't be normal. Then the infiltrators trigger the alarm and

832
00:46:18,719 --> 00:46:21,759
Speaker 3: security comes running, so Virginia Madison's crew has to They

833
00:46:21,800 --> 00:46:25,080
Speaker 3: flee and we see some very again, some very nice

834
00:46:25,200 --> 00:46:27,799
Speaker 3: sets and matte paintings as they run away. There's like

835
00:46:27,840 --> 00:46:30,000
Speaker 3: one shot you only see for a second, but it's

836
00:46:30,080 --> 00:46:35,280
Speaker 3: like a walkway running over this deep, you know, column

837
00:46:35,360 --> 00:46:40,040
Speaker 3: shaped chasm with like beams running up and down the sides,

838
00:46:40,080 --> 00:46:43,239
Speaker 3: and you know, the actors are running across this walkway

839
00:46:43,560 --> 00:46:45,880
Speaker 3: way up above the pit in the foreground and it

840
00:46:45,880 --> 00:46:48,359
Speaker 3: looks great, but it's just like a moment and then

841
00:46:48,400 --> 00:46:50,239
Speaker 3: it's gone, and then you see some other stuff that

842
00:46:50,280 --> 00:46:51,279
Speaker 3: looks not so good.

843
00:46:51,400 --> 00:46:53,000
Speaker 1: Yeah, I mean, this makes you look like they're on

844
00:46:53,120 --> 00:46:57,680
Speaker 1: the Industrial Death Star sort of a set. It looks good,

845
00:46:57,719 --> 00:46:59,919
Speaker 1: but yeah, then we're through with it.

846
00:47:00,320 --> 00:47:02,440
Speaker 3: So they split up. As they're running away, they're being

847
00:47:02,520 --> 00:47:07,000
Speaker 3: pursued by Shield Corporation mercenaries. Meanwhile, back in the city,

848
00:47:07,040 --> 00:47:09,120
Speaker 3: we follow Connor as he goes out to a bar

849
00:47:09,280 --> 00:47:13,200
Speaker 3: after the opera, and the city set here is so gross.

850
00:47:13,239 --> 00:47:15,160
Speaker 3: They did a great job of making this look like

851
00:47:15,360 --> 00:47:18,400
Speaker 3: just a disgusting place to live here under the Shield,

852
00:47:18,560 --> 00:47:21,439
Speaker 3: Like the streets look like they're made out of wet newspaper,

853
00:47:22,719 --> 00:47:26,760
Speaker 3: and they're like no colors apart from the neon signs

854
00:47:26,800 --> 00:47:29,520
Speaker 3: over businesses, which I think is also a nice touch.

855
00:47:29,560 --> 00:47:34,440
Speaker 3: It almost feels like kind of thematically meaningful that like

856
00:47:34,480 --> 00:47:37,040
Speaker 3: all of the buildings and the streets and the sky

857
00:47:37,239 --> 00:47:40,480
Speaker 3: and everything is like the same kind of gray brown

858
00:47:40,680 --> 00:47:43,399
Speaker 3: mud to kind of color. And then the only other

859
00:47:43,440 --> 00:47:46,360
Speaker 3: colors are just like lights that say like a bar

860
00:47:46,840 --> 00:47:50,240
Speaker 3: or opera or you know, or show like advertisements.

861
00:47:50,600 --> 00:47:53,520
Speaker 1: Yeah. I keep expecting Deran Duranz Simon Labon to walk

862
00:47:53,560 --> 00:47:56,080
Speaker 1: into frame here and start belding out some lyrics or

863
00:47:56,200 --> 00:47:58,880
Speaker 1: you know, to rotate into frame strap to a windmill

864
00:47:59,000 --> 00:47:59,440
Speaker 1: or something.

865
00:48:00,239 --> 00:48:00,560
Speaker 3: Boys.

866
00:48:00,600 --> 00:48:03,800
Speaker 1: Indeed, Yeah, but we are about to get some music though.

867
00:48:04,080 --> 00:48:06,719
Speaker 3: That's right. So in a restaurant, Connor puts a quarter

868
00:48:06,800 --> 00:48:09,960
Speaker 3: in a jukebox and he cues up a kind of

869
00:48:10,040 --> 00:48:12,680
Speaker 3: magic or it's a kind of magic by Queen. So

870
00:48:12,840 --> 00:48:15,160
Speaker 3: like we get a needle drop in the movie. Here

871
00:48:15,719 --> 00:48:19,120
Speaker 3: the song about Highlander two, I guess, or is it

872
00:48:19,160 --> 00:48:20,600
Speaker 3: about Highlander or Highlander two?

873
00:48:20,719 --> 00:48:21,839
Speaker 1: Oh it's from Highlander one.

874
00:48:21,920 --> 00:48:24,520
Speaker 3: Yeah, oh that's right. Okay, So it's a callback.

875
00:48:24,600 --> 00:48:26,359
Speaker 1: Yeah, it's a callback. It's a great track. It's great

876
00:48:26,360 --> 00:48:28,359
Speaker 1: to hear it again and does kind of like remind

877
00:48:28,480 --> 00:48:30,759
Speaker 1: us like, yeah, this is a Highlander movie. Gosh darn it.

878
00:48:31,040 --> 00:48:34,279
Speaker 3: But it's nice to know that within the story of

879
00:48:34,320 --> 00:48:38,440
Speaker 3: the movie, like it is diegetically the case that Queen exists,

880
00:48:38,440 --> 00:48:41,560
Speaker 3: and Connor is a fan of it's a kind of magic. Yes,

881
00:48:42,160 --> 00:48:45,480
Speaker 3: that's his, like, don't stop believing it's his jukebox tune.

882
00:48:46,160 --> 00:48:48,360
Speaker 3: So this is a bar where Connor is a regular.

883
00:48:48,400 --> 00:48:50,440
Speaker 3: He sits down for a drink. He knows the bartender.

884
00:48:50,440 --> 00:48:53,160
Speaker 3: He watches the news on TV and it's a report

885
00:48:53,200 --> 00:48:56,160
Speaker 3: that there has been a terrorist attack on Shield headquarters

886
00:48:56,160 --> 00:48:59,640
Speaker 3: by an eco terrorist group called Cobalt, led by a

887
00:48:59,640 --> 00:49:02,480
Speaker 3: woman named Louise Marcus. That's Virginia Madsen.

888
00:49:02,760 --> 00:49:05,760
Speaker 1: Yeah, we see. COBALT's call sign is essentially the Zodiac

889
00:49:05,840 --> 00:49:07,200
Speaker 1: killer symbol. For some reason.

890
00:49:07,560 --> 00:49:12,440
Speaker 3: Yeah, nice selection there, and then the News interviews John

891
00:49:12,440 --> 00:49:16,960
Speaker 3: C McGinley, who was playing. They said earlier that Alan

892
00:49:17,080 --> 00:49:20,319
Speaker 3: Naman was the president president of the Shield Corporation, but

893
00:49:20,400 --> 00:49:22,680
Speaker 3: here they say John C McGinley is the president of

894
00:49:22,680 --> 00:49:24,680
Speaker 3: the Shield Corporation, So I don't know what the deal is.

895
00:49:24,840 --> 00:49:27,640
Speaker 3: He says that any attempt to undermine the Shield is insane.

896
00:49:27,920 --> 00:49:30,399
Speaker 3: Without it, every single human being on the planet would

897
00:49:30,400 --> 00:49:33,880
Speaker 3: instantly die. Connor's main reaction to the news is to

898
00:49:33,920 --> 00:49:38,200
Speaker 3: comment that the terrorist lady is pretty that's Virginia Madsen.

899
00:49:38,360 --> 00:49:41,680
Speaker 3: And also I think we learned, either here or maybe later,

900
00:49:41,800 --> 00:49:44,960
Speaker 3: that she used to work for the Shield Corporation before

901
00:49:45,040 --> 00:49:46,800
Speaker 3: she became the eco terrorist.

902
00:49:47,320 --> 00:49:49,840
Speaker 1: I'm increasingly struck by the fact that her character is

903
00:49:49,920 --> 00:49:53,280
Speaker 1: essentially Gracie Law, the Kim Cattrell character from Big Trouble

904
00:49:53,280 --> 00:49:56,280
Speaker 1: in Little China. You know, she's there. She's a spunky

905
00:49:56,320 --> 00:49:59,280
Speaker 1: go getter, you know, a little bit of a hoxy

906
00:49:59,320 --> 00:50:02,880
Speaker 1: and female all you know, trope character, but also is

907
00:50:02,920 --> 00:50:04,960
Speaker 1: just ultimately there to be the love interest in the

908
00:50:05,000 --> 00:50:09,200
Speaker 1: long run. Gracie Law, to be clear, is a much

909
00:50:09,239 --> 00:50:10,200
Speaker 1: better defined character.

910
00:50:10,600 --> 00:50:14,640
Speaker 3: Gracie Law is a lot funnier. Yeah, Virginia Madsen has

911
00:50:14,680 --> 00:50:17,480
Speaker 3: some moments in this, but they're mostly like as we

912
00:50:17,520 --> 00:50:19,880
Speaker 3: said in the last episode, she is sort of the

913
00:50:20,000 --> 00:50:24,359
Speaker 3: human character who's here to process the mythology. So we

914
00:50:24,400 --> 00:50:28,360
Speaker 3: see her like working through, like she's getting all the

915
00:50:28,480 --> 00:50:30,880
Speaker 3: zised stuff explained to her and she's like, am I

916
00:50:30,920 --> 00:50:31,919
Speaker 3: understanding this right?

917
00:50:32,239 --> 00:50:34,960
Speaker 1: Yeah? Yeah. She's basically also there to be like like

918
00:50:35,080 --> 00:50:37,680
Speaker 1: wake up and get get excited about the B plot

919
00:50:37,880 --> 00:50:39,440
Speaker 1: and he's like, well, let me tell you about the

920
00:50:39,480 --> 00:50:41,719
Speaker 1: A plot, and then we have conversations about that.

921
00:50:42,200 --> 00:50:45,960
Speaker 3: There you go, that's exactly right. Also, meanwhile, while like

922
00:50:46,000 --> 00:50:49,000
Speaker 3: Connor's inside looking at her on TV, she happens to

923
00:50:49,040 --> 00:50:51,680
Speaker 3: be changing out of her terrorist clothes in the street

924
00:50:51,680 --> 00:50:54,360
Speaker 3: wear in an alley outside the bar, and then she

925
00:50:54,520 --> 00:50:57,440
Speaker 3: like unfolds a piece of paper and the paper just

926
00:50:57,520 --> 00:51:02,400
Speaker 3: says McLoud twenty third Street bar. Huh, how does she

927
00:51:02,480 --> 00:51:03,320
Speaker 3: have that information?

928
00:51:04,120 --> 00:51:05,080
Speaker 1: Informants? I guess?

929
00:51:06,080 --> 00:51:08,319
Speaker 3: And then a drunk lady tries to pick a fight

930
00:51:08,360 --> 00:51:11,680
Speaker 3: with Connor. She recognizes him by sight and tells him

931
00:51:11,719 --> 00:51:14,600
Speaker 3: that her life is bad and it's his fault, as

932
00:51:14,680 --> 00:51:17,319
Speaker 3: she says, you covered the sky with that puke, and

933
00:51:17,360 --> 00:51:20,319
Speaker 3: then she bashes him with a glass bottle, and so

934
00:51:20,600 --> 00:51:24,440
Speaker 3: in the world of this movie, like Connor is recognizable

935
00:51:24,600 --> 00:51:27,600
Speaker 3: by sight to just random members of the public and

936
00:51:27,600 --> 00:51:31,080
Speaker 3: they all hate him. So as Connor is leaving the barge,

937
00:51:31,160 --> 00:51:33,440
Speaker 3: having just been bashed with a bottle, he's clutching his

938
00:51:33,520 --> 00:51:36,799
Speaker 3: wounded arm, Virginia Madson just walks up to him in

939
00:51:36,880 --> 00:51:39,520
Speaker 3: the street and she says, Connor macloud, I am the

940
00:51:39,640 --> 00:51:42,319
Speaker 3: terrorist woman you just saw on TV. Except I'm not

941
00:51:42,400 --> 00:51:45,920
Speaker 3: a terrorist. I've got business with you. And he tries

942
00:51:45,960 --> 00:51:47,680
Speaker 3: to brush her off and get in his car. He

943
00:51:47,719 --> 00:51:50,799
Speaker 3: seems to he has lost his passion for peace and

944
00:51:50,840 --> 00:51:53,200
Speaker 3: harmony and doing good in the world. He just he

945
00:51:53,239 --> 00:51:55,560
Speaker 3: seems to just want to, you know, mind his own

946
00:51:55,600 --> 00:51:58,960
Speaker 3: business and be old and lonely. But she says, you know,

947
00:51:59,080 --> 00:52:01,320
Speaker 3: I used to read about you. You had such great

948
00:52:01,400 --> 00:52:04,719
Speaker 3: passion for the world. I admired you. I can see

949
00:52:04,760 --> 00:52:07,879
Speaker 3: that's all gone now you're nothing but a tired old man.

950
00:52:08,640 --> 00:52:10,920
Speaker 3: And he tries to get in his car and drive away,

951
00:52:10,960 --> 00:52:12,759
Speaker 3: but she just jumps in the car with him, and

952
00:52:12,800 --> 00:52:16,480
Speaker 3: then he drives away anyway, Like why is she hounding him?

953
00:52:16,520 --> 00:52:18,279
Speaker 3: I don't know. But they drive off and she says

954
00:52:18,320 --> 00:52:21,799
Speaker 3: the world is dying, McLeod, I need your help. Then

955
00:52:22,160 --> 00:52:25,680
Speaker 3: suddenly a highly WTF cut, So we go straight from

956
00:52:25,719 --> 00:52:30,480
Speaker 3: that conversation in the car to crazy rock formations in

957
00:52:30,520 --> 00:52:34,200
Speaker 3: the desert, and a title says the planet Zeist And

958
00:52:34,239 --> 00:52:38,160
Speaker 3: then we see Michael Ironside and he's just like Hinchminton.

959
00:52:38,360 --> 00:52:40,879
Speaker 3: And a couple of guys walk up and these are

960
00:52:41,040 --> 00:52:45,799
Speaker 3: a pair of pale birdlike men wearing welding goggles with

961
00:52:45,960 --> 00:52:47,800
Speaker 3: porcupine quills for hair.

962
00:52:48,960 --> 00:52:51,759
Speaker 1: Yes, major wild Boy energy to these two. I mean

963
00:52:51,800 --> 00:52:54,400
Speaker 1: these two, yes, really could have just walked right out

964
00:52:54,400 --> 00:52:55,680
Speaker 1: of the Wild Boy's music video.

965
00:52:56,640 --> 00:52:59,400
Speaker 3: General Katana says to them, you leave for the planet

966
00:52:59,400 --> 00:53:03,640
Speaker 3: Earth and media, find McLeod and kill him. The Benjamin says,

967
00:53:03,920 --> 00:53:06,399
Speaker 3: but I thought you said McLeod was mortal and could

968
00:53:06,480 --> 00:53:07,200
Speaker 3: never return.

969
00:53:07,920 --> 00:53:12,319
Speaker 1: And this is actually an excellent and unaddressed point. So

970
00:53:12,600 --> 00:53:15,040
Speaker 1: on planet Zeis, everyone here seems to be a mortal

971
00:53:15,080 --> 00:53:17,920
Speaker 1: as well, because Katana has not seemingly aged at all,

972
00:53:18,040 --> 00:53:21,919
Speaker 1: these guys presumably are part of the Zeistian order from

973
00:53:22,360 --> 00:53:26,720
Speaker 1: centuries prior as well. And yeah, it's like for some reason,

974
00:53:26,760 --> 00:53:29,720
Speaker 1: Katana's saying, Okay, go find the guy that won the prize,

975
00:53:30,040 --> 00:53:32,879
Speaker 1: and he's doing all this stuff and hasn't hasn't come

976
00:53:32,920 --> 00:53:37,480
Speaker 1: back to Zeist, is not in any way seemingly planning

977
00:53:37,520 --> 00:53:41,439
Speaker 1: to or or working on interfering with our stuff. Here,

978
00:53:41,600 --> 00:53:44,600
Speaker 1: go back and kill him, and and they're like but

979
00:53:44,719 --> 00:53:47,279
Speaker 1: why why now? Why are we doing this? And he

980
00:53:47,360 --> 00:53:49,040
Speaker 1: just like slaps him around a little and like, go

981
00:53:49,080 --> 00:53:53,799
Speaker 1: do it, you dummies. But why there's no reason for

982
00:53:53,840 --> 00:53:56,640
Speaker 1: this to happen. There's never a reason for this to

983
00:53:56,760 --> 00:53:57,680
Speaker 1: happen in the movie.

984
00:53:58,120 --> 00:54:00,120
Speaker 3: That's exactly right, Like why now?

985
00:54:00,560 --> 00:54:00,759
Speaker 1: Why?

986
00:54:01,280 --> 00:54:01,560
Speaker 3: Why?

987
00:54:02,239 --> 00:54:05,760
Speaker 1: Yeah, Like I was thinking about this, Okay, assuming Katana

988
00:54:05,880 --> 00:54:08,799
Speaker 1: wanted to interfere with the exile system and the you know,

989
00:54:08,880 --> 00:54:14,600
Speaker 1: the game towards the prize, he would have done it

990
00:54:14,960 --> 00:54:18,480
Speaker 1: ages ago. And maybe the idea here is like, I know,

991
00:54:18,520 --> 00:54:20,600
Speaker 1: they wanted to get Clancy Clancy Brown in here to

992
00:54:20,719 --> 00:54:24,040
Speaker 1: reprise the role of the Kurgan to some degree, So

993
00:54:24,080 --> 00:54:27,120
Speaker 1: maybe the idea is like, at some level, the Kurgan

994
00:54:27,239 --> 00:54:29,400
Speaker 1: was like their dude that they sent back. It's like, okay,

995
00:54:29,600 --> 00:54:31,040
Speaker 1: go win this prize thing so we don't have to

996
00:54:31,080 --> 00:54:34,399
Speaker 1: worry about Connor. And he fails, But even then, it's

997
00:54:34,440 --> 00:54:36,560
Speaker 1: like that was the time to interfere. At this point,

998
00:54:36,719 --> 00:54:39,279
Speaker 1: Connor won the prize and ended up not doing the

999
00:54:39,280 --> 00:54:41,760
Speaker 1: thing you were afraid he was gonna do. No reason

1000
00:54:41,760 --> 00:54:42,600
Speaker 1: to go back and kill him.

1001
00:54:43,000 --> 00:54:45,560
Speaker 3: Yes, that is what I've read that they wanted Clancy

1002
00:54:45,600 --> 00:54:47,680
Speaker 3: Brown to come back and play the Kurgan again to

1003
00:54:47,840 --> 00:54:50,600
Speaker 3: establish that the Kurgan, the villain of the first movie,

1004
00:54:50,840 --> 00:54:54,839
Speaker 3: was another Hinchman of General Katanas, who had been sent

1005
00:54:54,880 --> 00:55:00,880
Speaker 3: there to kill Connor. But he was defeated. And but

1006
00:55:01,360 --> 00:55:03,799
Speaker 3: still I wonder, like, why is it now in like

1007
00:55:03,840 --> 00:55:07,640
Speaker 3: twenty twenty four on Earth where he's like, Okay, I'm

1008
00:55:07,680 --> 00:55:09,040
Speaker 3: ready to send two more guys.

1009
00:55:09,280 --> 00:55:12,759
Speaker 1: Yeah, you've about outlived Connor McLeod. He is mortal, He's

1010
00:55:12,800 --> 00:55:15,399
Speaker 1: going to die of mortal death. What does it matter,

1011
00:55:15,480 --> 00:55:15,920
Speaker 1: de Ist?

1012
00:55:16,480 --> 00:55:18,400
Speaker 3: But Katana, like you said, he just kind of like

1013
00:55:18,440 --> 00:55:21,000
Speaker 3: slaps these guys around and says find him, kill him,

1014
00:55:21,400 --> 00:55:23,880
Speaker 3: and they nod, and then one of them cackles like

1015
00:55:23,920 --> 00:55:27,680
Speaker 3: one of those motions sensing Halloween decorations, you know, the

1016
00:55:27,719 --> 00:55:30,239
Speaker 3: witch that cackles when you walk by. It sounds exactly

1017
00:55:30,360 --> 00:55:33,520
Speaker 3: like that. Then they beam themselves to Earth, which is

1018
00:55:33,520 --> 00:55:38,160
Speaker 3: apparently instantaneous. So back on Earth, McLeod and Virginia Madson.

1019
00:55:38,160 --> 00:55:42,400
Speaker 3: They're still driving around and suddenly McLeod gasps for breath.

1020
00:55:42,920 --> 00:55:45,520
Speaker 3: Then again it's as if he can sense in his

1021
00:55:45,640 --> 00:55:49,879
Speaker 3: guts whenever someone arrives from Zeist and Connor pulls over,

1022
00:55:50,040 --> 00:55:53,080
Speaker 3: gets out of the car, and then the two porcupine

1023
00:55:53,160 --> 00:55:57,040
Speaker 3: bird henchmen are here, and they've got rocket boots or

1024
00:55:57,400 --> 00:56:02,000
Speaker 3: like a floating rocket skateboard that allows to fly, and oh,

1025
00:56:02,040 --> 00:56:04,879
Speaker 3: one of them has wings on his back, and they

1026
00:56:04,920 --> 00:56:07,680
Speaker 3: sort of like they at the beginning, they like loaf

1027
00:56:07,800 --> 00:56:10,560
Speaker 3: around in an alley way, arguing over who gets to

1028
00:56:10,600 --> 00:56:15,080
Speaker 3: cut off McLeod's head. Again, Connor McLeod is his Zeis's name,

1029
00:56:15,160 --> 00:56:18,680
Speaker 3: that's the name they know him from there, and then

1030
00:56:19,040 --> 00:56:22,480
Speaker 3: this fight kicks off, and man, I have so like

1031
00:56:22,760 --> 00:56:26,600
Speaker 3: I think that the edit that is available does not

1032
00:56:27,640 --> 00:56:31,560
Speaker 3: give the best does not show the best sides of

1033
00:56:31,600 --> 00:56:34,600
Speaker 3: this fight very well. But actually, if you look at

1034
00:56:34,600 --> 00:56:37,919
Speaker 3: the individual shots, this is a pretty great looking fight

1035
00:56:38,000 --> 00:56:40,719
Speaker 3: scene and a lot of these stunts and effects are

1036
00:56:40,800 --> 00:56:42,840
Speaker 3: quite impressive and do look good.

1037
00:56:43,280 --> 00:56:45,920
Speaker 1: Yeah, it's very ambitious. In my opinion, this is the

1038
00:56:45,920 --> 00:56:48,600
Speaker 1: best part of the film. A truly awesome sci fi

1039
00:56:48,719 --> 00:56:51,760
Speaker 1: action set piece and sequence that really gives you everything

1040
00:56:51,800 --> 00:56:53,640
Speaker 1: you want. Like, this is the part of the film

1041
00:56:53,640 --> 00:56:56,160
Speaker 1: where you really feel like everyone's heart was in it.

1042
00:56:56,239 --> 00:56:59,920
Speaker 1: The vision was on point, the execution is mostly pitch perfect,

1043
00:57:00,520 --> 00:57:02,600
Speaker 1: and I can quibble about one or two of the

1044
00:57:02,600 --> 00:57:05,600
Speaker 1: effects towards the end. I'll come back to that, but otherwise,

1045
00:57:05,920 --> 00:57:09,080
Speaker 1: this is Highlander two at its best. This is the

1046
00:57:09,120 --> 00:57:12,360
Speaker 1: thing in the trailers that pulled me in to Highlander

1047
00:57:12,400 --> 00:57:13,200
Speaker 1: films in general.

1048
00:57:13,560 --> 00:57:16,120
Speaker 3: Yeah. They actually talk about this in the documentary where

1049
00:57:16,160 --> 00:57:20,080
Speaker 3: they show how they achieved specifically the effect of Connor

1050
00:57:20,160 --> 00:57:24,080
Speaker 3: McLeod riding the sort of I don't know, rocket skateboard

1051
00:57:24,120 --> 00:57:27,400
Speaker 3: or whatever, the hoverboard, and it's a really cool effect

1052
00:57:27,400 --> 00:57:29,320
Speaker 3: because it really does look like he's floating in the

1053
00:57:29,320 --> 00:57:31,440
Speaker 3: air and kind of riding it, like it's bouncing up

1054
00:57:31,480 --> 00:57:34,040
Speaker 3: and down. And the way they achieved that was, you know,

1055
00:57:34,080 --> 00:57:36,840
Speaker 3: they had him on a wire system, of course, but

1056
00:57:37,680 --> 00:57:40,400
Speaker 3: the board was strapped to his feet and they had

1057
00:57:40,400 --> 00:57:44,160
Speaker 3: it suspended from an elastic system, so the board would

1058
00:57:44,160 --> 00:57:46,760
Speaker 3: actually sort of bounce up and down with the weight

1059
00:57:46,800 --> 00:57:49,280
Speaker 3: of his body as it was adjusting and moving through

1060
00:57:49,320 --> 00:57:52,000
Speaker 3: the air, and it creates a really cool looking effect.

1061
00:57:52,080 --> 00:57:52,560
Speaker 3: It's great.

1062
00:57:52,800 --> 00:57:56,320
Speaker 1: Yeah, yeah, if anyone listening is not familiar with it. Essentially,

1063
00:57:56,320 --> 00:57:58,640
Speaker 1: this is like the little hoverboard that the Green Goblin

1064
00:57:58,760 --> 00:58:01,200
Speaker 1: uses in Spider Man Snyder Man movies.

1065
00:58:01,560 --> 00:58:04,480
Speaker 3: And it's almost entirely like in camera effects. It's not

1066
00:58:04,560 --> 00:58:07,960
Speaker 3: post production stuff. It looks great because they they what

1067
00:58:08,000 --> 00:58:11,640
Speaker 3: they were able to achieve on set looked great. But anyway,

1068
00:58:11,720 --> 00:58:14,240
Speaker 3: so during this fight, the two aliens from Zeis to

1069
00:58:14,240 --> 00:58:17,560
Speaker 3: attack him, Connor seems to defend himself pretty well for

1070
00:58:17,640 --> 00:58:20,200
Speaker 3: a guy who just seemed almost too weak to talk

1071
00:58:20,320 --> 00:58:23,680
Speaker 3: earlier this evening. But I don't know, maybe the arrival

1072
00:58:23,720 --> 00:58:27,000
Speaker 3: of the guys from Zeist has sort of partially reinvigorated him,

1073
00:58:27,040 --> 00:58:30,160
Speaker 3: given him back some of that immortal strength, and they

1074
00:58:30,200 --> 00:58:32,840
Speaker 3: like fight. They go up a fire escape and they

1075
00:58:32,920 --> 00:58:36,080
Speaker 3: start fighting on these catwalks that go over the city streets.

1076
00:58:36,400 --> 00:58:39,760
Speaker 3: The guy from Zeist has a sword and at first

1077
00:58:39,760 --> 00:58:42,720
Speaker 3: Connor is defending himself with just like a steel rod,

1078
00:58:42,840 --> 00:58:47,200
Speaker 3: like a metal bar. And I love the like these

1079
00:58:47,280 --> 00:58:50,840
Speaker 3: henchmen are super weird, but they're very expressive. They keep

1080
00:58:50,880 --> 00:58:53,760
Speaker 3: doing the witch cackling thing they like, stick their tongues

1081
00:58:53,800 --> 00:58:57,160
Speaker 3: out grotesquely and they try to mock McLoud and these

1082
00:58:57,200 --> 00:58:59,640
Speaker 3: weird high pitched voices. It's great.

1083
00:59:00,080 --> 00:59:02,640
Speaker 1: Yeah, yeah, yeah, there are a lot of fun I

1084
00:59:02,720 --> 00:59:05,480
Speaker 1: mean they're just completely over the top. Uh. And and

1085
00:59:05,560 --> 00:59:08,800
Speaker 1: again I love the action and these sequences with old

1086
00:59:08,800 --> 00:59:11,480
Speaker 1: man Connor, uh, you know, mustering up and just enough

1087
00:59:11,600 --> 00:59:14,440
Speaker 1: energy to fight them off using a pipe against swords.

1088
00:59:14,720 --> 00:59:17,280
Speaker 3: Now, what comes next, I think is also a quite

1089
00:59:17,560 --> 00:59:22,880
Speaker 3: inspired action staging choice. You know, action choreography here is smart.

1090
00:59:23,400 --> 00:59:23,520
Speaker 1: Uh.

1091
00:59:23,560 --> 00:59:27,880
Speaker 3: They fall from the catwalk onto a passing train and

1092
00:59:28,000 --> 00:59:31,880
Speaker 3: Connor they fight on the train. Then Connor manages to

1093
00:59:32,000 --> 00:59:35,520
Speaker 3: knock one of the bird warriors off the train and

1094
00:59:35,680 --> 00:59:38,440
Speaker 3: his body falls in just the right way so that

1095
00:59:38,560 --> 00:59:41,640
Speaker 3: the wheels of the train remove his head.

1096
00:59:42,120 --> 00:59:44,160
Speaker 1: Yeah yeah, he really lucked out on that one. But

1097
00:59:44,160 --> 00:59:45,240
Speaker 1: it's a cool, cool moment.

1098
00:59:45,760 --> 00:59:51,160
Speaker 3: And then the quickening. There's like the snakes of lightning

1099
00:59:51,720 --> 00:59:56,200
Speaker 3: jumping out of the severed Zeistian head and then they

1100
00:59:56,240 --> 01:00:00,480
Speaker 3: wrap around Connor and he screams and everything starts loading.

1101
01:00:00,840 --> 01:00:04,680
Speaker 3: Nearby storefronts explode, paint cans and other garbage in the street.

1102
01:00:04,680 --> 01:00:09,000
Speaker 3: It all explodes. A passing gasoline truck as like a

1103
01:00:09,120 --> 01:00:12,760
Speaker 3: you know, the gas transport tankers. It explodes, and then

1104
01:00:12,800 --> 01:00:16,480
Speaker 3: the fireball envelopes Connor, and you're like, oh no, oh, no,

1105
01:00:16,600 --> 01:00:19,520
Speaker 3: Connor must have been destroyed by this explosion, and the

1106
01:00:19,840 --> 01:00:23,480
Speaker 3: remaining zeist Henchman clearly thinks that because he sees it

1107
01:00:23,560 --> 01:00:28,440
Speaker 3: happen and he giggles triumphantly. But uh oh, Connor McLeod

1108
01:00:28,600 --> 01:00:32,360
Speaker 3: walks out of the fireball from the gas truck and

1109
01:00:32,760 --> 01:00:35,560
Speaker 3: we're back, friends. I think we are back in business.

1110
01:00:35,680 --> 01:00:39,080
Speaker 3: Christoph Lambert is hot again, he looks like he's young again,

1111
01:00:39,520 --> 01:00:41,000
Speaker 3: and he is ready to fight.

1112
01:00:41,520 --> 01:00:44,160
Speaker 1: This is the exact moment in the film at which

1113
01:00:44,360 --> 01:00:47,880
Speaker 1: Princes of the Universe should have played. My number one

1114
01:00:47,920 --> 01:00:51,000
Speaker 1: criticism of the film is that is that Princes of

1115
01:00:51,040 --> 01:00:55,439
Speaker 1: the Universe does not play at this moment. I would

1116
01:00:55,440 --> 01:00:58,240
Speaker 1: also settle for some off album choices. They could have

1117
01:00:58,280 --> 01:01:01,080
Speaker 1: gone with keep Yourself Alive, or if they wanted to

1118
01:01:01,080 --> 01:01:03,960
Speaker 1: be a little cheeky, don't stop me Now. But it

1119
01:01:04,040 --> 01:01:08,000
Speaker 1: needed it needed that, it needed that oomph. And it's

1120
01:01:08,000 --> 01:01:10,560
Speaker 1: still it's still a very dramatic and nice moment because yeah,

1121
01:01:10,600 --> 01:01:13,320
Speaker 1: he's back, he's young again, he's hot again, he's powerful

1122
01:01:13,400 --> 01:01:16,920
Speaker 1: enough to take on this other assassin, this remaining assassin

1123
01:01:17,000 --> 01:01:19,200
Speaker 1: from the planet's heist, and oh, and I want to

1124
01:01:19,200 --> 01:01:21,480
Speaker 1: add the whole destructive quickening thing. I kind of forgot

1125
01:01:21,520 --> 01:01:24,520
Speaker 1: that they also call that the quickening, Like the quickening is,

1126
01:01:24,880 --> 01:01:29,560
Speaker 1: to my understanding, simultaneously both the transfer of energy between

1127
01:01:29,560 --> 01:01:34,200
Speaker 1: a slain immortal and the immortal slayer and also running

1128
01:01:34,240 --> 01:01:36,400
Speaker 1: on the beach with your best friend. Correct me if

1129
01:01:36,400 --> 01:01:37,480
Speaker 1: I'm wrong highlight.

1130
01:01:38,320 --> 01:01:40,720
Speaker 3: I can't correct you. Oh yeah, but fans maybe, Okay,

1131
01:01:41,000 --> 01:01:42,840
Speaker 3: I trust you, Rob, I think you're right about that.

1132
01:01:43,840 --> 01:01:47,000
Speaker 3: But can I go with another, uh maybe maybe more

1133
01:01:47,280 --> 01:01:50,000
Speaker 3: oblique kind of queen song choice? I think they could

1134
01:01:50,040 --> 01:01:51,960
Speaker 3: have done I'm in Love with my Car. You know

1135
01:01:52,040 --> 01:01:53,439
Speaker 3: it's the right feeling.

1136
01:01:53,720 --> 01:01:55,720
Speaker 1: Yeah, I mean, the feeling is key. It's I think

1137
01:01:56,000 --> 01:01:58,600
Speaker 1: you'd want to go with like a nice building, heavier track.

1138
01:01:58,960 --> 01:02:01,240
Speaker 1: Another one Bites the Dust I think could also work. Yeah,

1139
01:02:01,240 --> 01:02:03,080
Speaker 1: I mean there are a number of great queen songs.

1140
01:02:03,360 --> 01:02:06,320
Speaker 3: Oh. Also, Virginia Madsen is peaking out of a dumpster

1141
01:02:06,480 --> 01:02:08,360
Speaker 3: that I guess she hid in. I don't think we

1142
01:02:08,640 --> 01:02:10,640
Speaker 3: see how she gets in the dumpster, but she like

1143
01:02:10,720 --> 01:02:13,520
Speaker 3: looks out at Connor McLeod and she's obviously like, oh

1144
01:02:13,560 --> 01:02:18,080
Speaker 3: he looks good now. And the second zeised Henchman starts

1145
01:02:18,080 --> 01:02:20,960
Speaker 3: flying around on his wings, like swooping at Connor and

1146
01:02:21,000 --> 01:02:24,840
Speaker 3: shooting at him with a blaster from Star Wars. But wait,

1147
01:02:24,880 --> 01:02:27,880
Speaker 3: shouldn't the zeis Tinchman know that the blaster won't do

1148
01:02:27,960 --> 01:02:30,200
Speaker 3: anything because Connor is once again immortal.

1149
01:02:30,440 --> 01:02:33,080
Speaker 1: Well, he can't kill him with the blaster, probably, but

1150
01:02:33,160 --> 01:02:35,240
Speaker 1: he could wound him enough to have a better chance

1151
01:02:35,240 --> 01:02:36,160
Speaker 1: of cutting his head off.

1152
01:02:36,200 --> 01:02:38,680
Speaker 3: I guess that. Okay, actually that does make sense. I

1153
01:02:38,960 --> 01:02:42,800
Speaker 3: withdraw my criticism there. You're right. But Connor gets into

1154
01:02:42,840 --> 01:02:45,600
Speaker 3: the fight by putting on the other birdman's rocket boots.

1155
01:02:46,240 --> 01:02:48,480
Speaker 3: So he's zooming around on the rocket boots. The other

1156
01:02:48,480 --> 01:02:50,920
Speaker 3: guy's got the wings and it becomes an air joust

1157
01:02:50,960 --> 01:02:51,840
Speaker 3: and it's great.

1158
01:02:52,800 --> 01:02:56,200
Speaker 1: Yeah, I legitimately love this whole sequence here. It's good.

1159
01:02:56,680 --> 01:02:59,760
Speaker 3: But there are also, like just some weird in this scene.

1160
01:02:59,800 --> 01:03:02,800
Speaker 3: There are these weird little dialogue moments that I don't

1161
01:03:02,800 --> 01:03:06,560
Speaker 3: know if they're quite firing on all cylinders. Like the

1162
01:03:06,640 --> 01:03:10,360
Speaker 3: henchman yells say goodbye a highlander, But why does he

1163
01:03:10,400 --> 01:03:13,880
Speaker 3: call him a highlander? That's just like random Earth topography.

1164
01:03:14,160 --> 01:03:17,919
Speaker 1: I mean, his name's McLeod too, but yeah, it makes

1165
01:03:17,960 --> 01:03:18,400
Speaker 1: no sense.

1166
01:03:18,680 --> 01:03:21,720
Speaker 3: He says, say goodbye, highlander, and then Connor replies, why

1167
01:03:21,920 --> 01:03:22,960
Speaker 3: you going somewhere?

1168
01:03:23,320 --> 01:03:24,880
Speaker 1: Yeah, I think I think they could have workshopped that

1169
01:03:24,920 --> 01:03:25,520
Speaker 1: a little.

1170
01:03:25,640 --> 01:03:30,160
Speaker 3: Okay, And then also the bird henchman randomly incinerates. Just

1171
01:03:30,360 --> 01:03:33,080
Speaker 3: there's a guy on the sidewalk who asks this alien

1172
01:03:33,120 --> 01:03:35,160
Speaker 3: if he has a light and then he just blows

1173
01:03:35,240 --> 01:03:35,600
Speaker 3: him up.

1174
01:03:35,800 --> 01:03:38,160
Speaker 1: Okay, this is a great moment. This is perfect.

1175
01:03:38,360 --> 01:03:42,280
Speaker 3: No notes on that, but anyway, Connor manages to decapitate

1176
01:03:42,320 --> 01:03:46,040
Speaker 3: the second Zeist fighter here with a clothes line trap

1177
01:03:46,200 --> 01:03:47,720
Speaker 3: made out of electrical wire.

1178
01:03:48,440 --> 01:03:50,440
Speaker 1: Yeah, this moment is still awesome, but this is the

1179
01:03:50,440 --> 01:03:52,800
Speaker 1: moment where I feel like the effects could have been

1180
01:03:52,840 --> 01:03:54,920
Speaker 1: a little bit tighter. It could have moved a little faster.

1181
01:03:55,840 --> 01:03:59,120
Speaker 1: Still great, but I see where like maybe they didn't

1182
01:03:59,160 --> 01:04:01,280
Speaker 1: hit exactly where they envisioned.

1183
01:04:01,760 --> 01:04:05,040
Speaker 3: I agree, But okay, so Connor, he's defeated the two

1184
01:04:05,160 --> 01:04:08,400
Speaker 3: aliens from Zeis. Now he gets quickening once again. He

1185
01:04:08,440 --> 01:04:10,680
Speaker 3: gets all the lightning coming up on him and things

1186
01:04:10,680 --> 01:04:14,400
Speaker 3: blowing up, and he's just like flowing with that immortal energy.

1187
01:04:15,480 --> 01:04:17,800
Speaker 3: And when he does, he drops to his knees in

1188
01:04:17,840 --> 01:04:20,480
Speaker 3: the middle of the street and screams into the sky.

1189
01:04:21,280 --> 01:04:29,240
Speaker 3: Ram next thing, we're on stage at a play in

1190
01:04:29,280 --> 01:04:33,840
Speaker 3: a theater in Scotland. It's a performance of Hamlet, and

1191
01:04:34,040 --> 01:04:38,280
Speaker 3: Sean Connery zaps into existence in the middle of the actors.

1192
01:04:39,640 --> 01:04:42,480
Speaker 3: This descends into what I think is a fairly cringey

1193
01:04:42,600 --> 01:04:46,280
Speaker 3: comedy scene where Sean Connery starts talking to the actors

1194
01:04:46,320 --> 01:04:49,760
Speaker 3: mischievously while they're trying to perform, and they're like running

1195
01:04:49,760 --> 01:04:53,440
Speaker 3: around the stage trying to escape him while reciting their lines.

1196
01:04:54,400 --> 01:04:58,040
Speaker 3: And I think the joke is like, oh, Ramirez has

1197
01:04:58,120 --> 01:05:00,320
Speaker 3: no idea what's going on. He doesn't know what a

1198
01:05:00,360 --> 01:05:04,480
Speaker 3: play is. But like hundreds of years ago, when Ramirez

1199
01:05:04,560 --> 01:05:07,200
Speaker 3: was alive, there were plays. Plays existed then.

1200
01:05:07,440 --> 01:05:12,440
Speaker 1: Yeah, Ramirez, who we know traversed multiple cultures, absorbing their

1201
01:05:12,440 --> 01:05:17,200
Speaker 1: cultures and sometimes their accents at every turn. Yeah, he

1202
01:05:17,360 --> 01:05:20,600
Speaker 1: knows what a play is. Just this is just beyond ridiculous.

1203
01:05:21,080 --> 01:05:25,120
Speaker 3: Also, the audience loves Ramirez. He's here disrupting this play

1204
01:05:25,160 --> 01:05:27,800
Speaker 3: and like like making fun of the actors, and the

1205
01:05:27,880 --> 01:05:31,120
Speaker 3: audience is eating him up. They're like, get off of here, Hamlet,

1206
01:05:31,160 --> 01:05:43,800
Speaker 3: I want more Ramirez ridiculous, So we will continue to

1207
01:05:43,840 --> 01:05:46,959
Speaker 3: get some more frankly pretty cringey fish out of time

1208
01:05:47,040 --> 01:05:50,200
Speaker 3: gags with Sean Connery, like he walks into the street

1209
01:05:50,280 --> 01:05:52,640
Speaker 3: somewhere in Scotland and he almost gets hit by a

1210
01:05:52,680 --> 01:05:55,560
Speaker 3: truck and then mutters to himself, so much for the

1211
01:05:55,600 --> 01:06:01,440
Speaker 3: horse and caught what okay? And then back in wherever

1212
01:06:01,520 --> 01:06:04,840
Speaker 3: Connor is? Do they say where Connor is this in

1213
01:06:04,880 --> 01:06:07,800
Speaker 3: the future. I don't know, Shield City. I'm not sure

1214
01:06:08,240 --> 01:06:13,000
Speaker 3: Shield City. Connor is explaining to Virginia Madsen the whole thing.

1215
01:06:13,040 --> 01:06:14,920
Speaker 3: You know, I was banished from the planet Zeis five

1216
01:06:14,960 --> 01:06:18,280
Speaker 3: hundred years ago, I cannot die, et cetera. And then

1217
01:06:18,320 --> 01:06:22,600
Speaker 3: they just kiss passionately. That's absolute. We said this in

1218
01:06:22,640 --> 01:06:25,160
Speaker 3: the last episode, but this has got to be one

1219
01:06:25,200 --> 01:06:29,360
Speaker 3: of the most unearned romances in movie history. They just

1220
01:06:29,560 --> 01:06:33,680
Speaker 3: met moments ago, and their meeting was entirely business. There

1221
01:06:33,840 --> 01:06:37,520
Speaker 3: was had nothing like, no initial connection whatsoever. But he

1222
01:06:37,640 --> 01:06:41,120
Speaker 3: just got quickening and now he's young and good looking

1223
01:06:41,240 --> 01:06:42,400
Speaker 3: and now they're just smooching.

1224
01:06:42,560 --> 01:06:45,600
Speaker 1: Yeah. Yeah, it's ridiculous. I mean, I referenced Gracie Law

1225
01:06:45,680 --> 01:06:48,040
Speaker 1: Kim Katrall's character from Big Trouble and Little China earlier,

1226
01:06:48,080 --> 01:06:50,640
Speaker 1: but at least in Big Trouble Little China, which I

1227
01:06:50,680 --> 01:06:53,680
Speaker 1: still hold up as being pretty great. You do get

1228
01:06:53,920 --> 01:06:59,520
Speaker 1: development of the relationship, the romantic tension between Jack Burton

1229
01:06:59,560 --> 01:07:03,360
Speaker 1: and Grace Law. It is ultimately earned that they fall

1230
01:07:03,400 --> 01:07:04,959
Speaker 1: in love with each other at least for a little

1231
01:07:04,960 --> 01:07:08,800
Speaker 1: bit or something like love, you know, but yeah, it's

1232
01:07:08,840 --> 01:07:11,160
Speaker 1: totally unearned here. But does this not the kind of

1233
01:07:11,240 --> 01:07:13,480
Speaker 1: movie where you necessarily expected I guess.

1234
01:07:13,760 --> 01:07:16,640
Speaker 3: Yeah. There's not a moment of romantic tension at all

1235
01:07:16,680 --> 01:07:20,640
Speaker 3: between them until like the kissing starts. Basically anyway, then

1236
01:07:20,640 --> 01:07:23,240
Speaker 3: they're back at Connor's pad. And by the way, look

1237
01:07:23,280 --> 01:07:25,800
Speaker 3: a look at the I've got a screenshot of his apartment.

1238
01:07:25,840 --> 01:07:29,560
Speaker 3: It's full of like these giant marble statues. Inside the apartment,

1239
01:07:29,600 --> 01:07:30,920
Speaker 3: it looks like a train station.

1240
01:07:31,640 --> 01:07:34,480
Speaker 1: Yeah. Yeah, it's kind of like, you know, call back

1241
01:07:34,480 --> 01:07:37,520
Speaker 1: to the first film in which his home is kind

1242
01:07:37,560 --> 01:07:40,080
Speaker 1: of like a museum because his life is like this

1243
01:07:40,320 --> 01:07:42,439
Speaker 1: museum and all these memories and so forth.

1244
01:07:42,520 --> 01:07:47,840
Speaker 3: Yeah, so she's this is the scene where Louise is like, Okay,

1245
01:07:47,960 --> 01:07:49,480
Speaker 3: let me just see if I can get this straight.

1246
01:07:49,600 --> 01:07:52,800
Speaker 3: You come from another planet. You're mortal there, but you're

1247
01:07:52,880 --> 01:07:56,120
Speaker 3: immortal here until you kill all the guys from there

1248
01:07:56,200 --> 01:07:59,360
Speaker 3: who have come here. And then you're mortal here unless

1249
01:07:59,400 --> 01:08:02,280
Speaker 3: you go back there or some more guys from there

1250
01:08:02,320 --> 01:08:05,920
Speaker 3: came here, in which case you become immortal here again.

1251
01:08:06,600 --> 01:08:09,479
Speaker 3: And then Connor says in his with his wonderful little

1252
01:08:09,520 --> 01:08:15,160
Speaker 3: voice and chuckle something like that, and she expresses disbelief.

1253
01:08:15,200 --> 01:08:19,040
Speaker 3: And then Connor love these adding up here. He says,

1254
01:08:19,160 --> 01:08:21,160
Speaker 3: let's just say it's a kind of magic.

1255
01:08:23,920 --> 01:08:25,519
Speaker 1: Just repeat to yourself. It's just a show.

1256
01:08:25,600 --> 01:08:33,599
Speaker 3: Yeah, yeah, exactly. But anyway, so Louise tells Connor that, oh,

1257
01:08:33,680 --> 01:08:35,880
Speaker 3: you're back to business. We got to remember. The whole

1258
01:08:35,880 --> 01:08:38,080
Speaker 3: reason we met is she's like, I need your help

1259
01:08:38,120 --> 01:08:40,160
Speaker 3: with the shield. We got to save the earth. She's like,

1260
01:08:40,200 --> 01:08:44,200
Speaker 3: something's wrong with the shield. The B plot is something's

1261
01:08:44,240 --> 01:08:47,160
Speaker 3: going wrong. They're hiding something and you've got to help

1262
01:08:47,200 --> 01:08:47,960
Speaker 3: me expose it.

1263
01:08:48,439 --> 01:08:51,720
Speaker 1: And again I want to point out that Katana had

1264
01:08:51,880 --> 01:08:54,599
Speaker 1: zero stake in all of this, like this would ultimately

1265
01:08:54,680 --> 01:08:57,240
Speaker 1: everything would make more sense if there was any connection

1266
01:08:57,320 --> 01:09:00,080
Speaker 1: between A plot and B plot here if Katana for

1267
01:09:00,080 --> 01:09:02,760
Speaker 1: some reason didn't want like the shield to come down.

1268
01:09:03,040 --> 01:09:05,360
Speaker 1: But there's there's nothing on that. We would have to

1269
01:09:05,400 --> 01:09:07,400
Speaker 1: sit here and speculate all day to figure out how

1270
01:09:07,400 --> 01:09:09,840
Speaker 1: to connect these two plots and again make it it

1271
01:09:09,880 --> 01:09:13,800
Speaker 1: all sensible for Katana to send goons to Earth to

1272
01:09:13,880 --> 01:09:14,679
Speaker 1: take out Connor.

1273
01:09:14,760 --> 01:09:18,120
Speaker 3: Now, what if, for all I know, this could have

1274
01:09:18,200 --> 01:09:20,160
Speaker 3: been in the script at some point, But what if,

1275
01:09:20,200 --> 01:09:25,120
Speaker 3: for example, the shield being in place prevented Zeistians on

1276
01:09:25,200 --> 01:09:26,839
Speaker 3: Earth from leaving and returning?

1277
01:09:26,880 --> 01:09:28,639
Speaker 1: Desist they're all dead though.

1278
01:09:28,680 --> 01:09:31,800
Speaker 3: There's well, yeah, but if he wanted Connor to not

1279
01:09:31,960 --> 01:09:34,280
Speaker 3: come back, he would want the shield to stay in place.

1280
01:09:35,080 --> 01:09:37,280
Speaker 1: Okay, yeah, I guess that could have worked had they

1281
01:09:37,360 --> 01:09:38,000
Speaker 1: established it.

1282
01:09:39,240 --> 01:09:42,960
Speaker 3: I'm just saying, like, yeah, throwing ideas out there.

1283
01:09:43,520 --> 01:09:45,479
Speaker 1: There are ways they could have and maybe in some

1284
01:09:45,680 --> 01:09:48,519
Speaker 1: version of the script they did address this, but we

1285
01:09:48,560 --> 01:09:49,320
Speaker 1: don't get it here.

1286
01:09:49,840 --> 01:09:52,160
Speaker 3: Okay. So here, Connor goes to visit his old friend

1287
01:09:52,160 --> 01:09:55,559
Speaker 3: and partner Alan Nayman. They created the shield together, and

1288
01:09:55,680 --> 01:09:58,400
Speaker 3: Alan is shocked at how good Connor looks. He's like,

1289
01:09:58,439 --> 01:10:03,439
Speaker 3: did you get a facelift? Also, Allan's office here, I'm

1290
01:10:03,439 --> 01:10:05,840
Speaker 3: a pretty big fan of it. This is one of

1291
01:10:05,880 --> 01:10:09,320
Speaker 3: the offices where the only light source is moonlight shining

1292
01:10:09,360 --> 01:10:12,360
Speaker 3: in through a window where there is like a thirty

1293
01:10:12,400 --> 01:10:16,960
Speaker 3: foot fan spinning constantly outside right outside the window, and

1294
01:10:17,040 --> 01:10:19,799
Speaker 3: the silhouettes of the blades are just going round and round,

1295
01:10:19,840 --> 01:10:21,720
Speaker 3: so the light in the room is crazy.

1296
01:10:21,920 --> 01:10:25,599
Speaker 1: Yeah. Again, this is like total Russell McKay music video style.

1297
01:10:25,800 --> 01:10:28,080
Speaker 1: You expect to like pan over and there's Simon Labon

1298
01:10:28,479 --> 01:10:30,559
Speaker 1: in the chair. We're in a fedora and he's gonna

1299
01:10:30,560 --> 01:10:33,240
Speaker 1: start belding out some Duran Duran tins looks great.

1300
01:10:33,560 --> 01:10:37,040
Speaker 3: Also at this meeting, Alan shares with Connor that the

1301
01:10:37,240 --> 01:10:41,880
Speaker 3: radiation levels above the shield are normal, but John C. McGinley,

1302
01:10:41,920 --> 01:10:44,920
Speaker 3: the Bad Shield executive, is spying on them from the

1303
01:10:44,960 --> 01:10:48,160
Speaker 3: next room. So this seems to be a corporation where

1304
01:10:48,160 --> 01:10:51,679
Speaker 3: the CEO stays late to personally spy on employees rather

1305
01:10:51,720 --> 01:10:56,120
Speaker 3: than having like software subordinates do it for him. McGinley

1306
01:10:56,160 --> 01:10:59,560
Speaker 3: then comes into the room and Connor starts like needling

1307
01:11:00,320 --> 01:11:01,320
Speaker 3: about how.

1308
01:11:01,080 --> 01:11:04,000
Speaker 4: What if one day the Shield doesn't need it anymore?

1309
01:11:04,400 --> 01:11:08,200
Speaker 4: Your profits would dry up? So it's like he's just

1310
01:11:08,640 --> 01:11:12,720
Speaker 4: Connor seems to be like wrapping out his friend who

1311
01:11:12,960 --> 01:11:15,000
Speaker 4: just told him about this in confidence.

1312
01:11:16,520 --> 01:11:18,960
Speaker 3: Next we cut to the planet Zeist and then we

1313
01:11:19,000 --> 01:11:22,560
Speaker 3: see Michael Ironside just standing in a cave by himself

1314
01:11:22,640 --> 01:11:25,000
Speaker 3: and he says, I guess if you want something done, right,

1315
01:11:25,320 --> 01:11:27,920
Speaker 3: you have to do it yourself. So then he goes

1316
01:11:27,960 --> 01:11:28,439
Speaker 3: to Earth.

1317
01:11:28,680 --> 01:11:31,400
Speaker 1: Yeah, he also would get the like his sci fi

1318
01:11:31,960 --> 01:11:36,680
Speaker 1: techno sword goes shashing to sell this, which I have

1319
01:11:36,720 --> 01:11:39,559
Speaker 1: to admit looks pretty cool. And I also have to

1320
01:11:39,600 --> 01:11:42,679
Speaker 1: point out this is also pretty much the exact post

1321
01:11:42,720 --> 01:11:45,720
Speaker 1: credit Thanos sequence from the Age of Ultron movie. It

1322
01:11:45,760 --> 01:11:49,840
Speaker 1: would come, you know, decades later, except with Thano's grabbing

1323
01:11:49,880 --> 01:11:53,000
Speaker 1: an Infinity Gauntlet instead of making his sword go shashing.

1324
01:11:53,200 --> 01:11:55,080
Speaker 3: Oh that's funny. I wonder if they got it from

1325
01:11:55,080 --> 01:11:55,719
Speaker 3: this maybe.

1326
01:11:55,760 --> 01:11:57,160
Speaker 1: So yeah, because it's like I had to go back

1327
01:11:57,160 --> 01:11:59,240
Speaker 1: and look at it. It's pretty much the exact same thing,

1328
01:11:59,320 --> 01:12:01,120
Speaker 1: Like Dano is like, you've go want something done, you

1329
01:12:01,200 --> 01:12:03,000
Speaker 1: got to do it yourself, and then that sets up

1330
01:12:03,080 --> 01:12:04,599
Speaker 1: him doing it himself.

1331
01:12:05,360 --> 01:12:07,240
Speaker 3: But speaking of so, you brought up a way in

1332
01:12:07,280 --> 01:12:10,519
Speaker 3: which General Katana's motivations don't make a lot of sense

1333
01:12:10,560 --> 01:12:12,719
Speaker 3: when he gets like all wrapped up in the Shield

1334
01:12:12,800 --> 01:12:16,360
Speaker 3: Corporation drama, which matters to him in no way whatsoever.

1335
01:12:16,479 --> 01:12:18,920
Speaker 3: But he gets tied up in that he is just

1336
01:12:19,160 --> 01:12:22,639
Speaker 3: off task in lots of ways because the first thing

1337
01:12:22,720 --> 01:12:25,679
Speaker 3: General Katana does when he arrives on Earth is hijack

1338
01:12:25,720 --> 01:12:28,680
Speaker 3: a subway car to no end whatsoever. It's just like

1339
01:12:28,720 --> 01:12:29,559
Speaker 3: because he wants to.

1340
01:12:29,720 --> 01:12:32,040
Speaker 1: Yeah, this guy's not supposed to be like just the

1341
01:12:32,120 --> 01:12:35,439
Speaker 1: reckless enforcer that the loose cannon. He's supposed to be

1342
01:12:35,520 --> 01:12:39,639
Speaker 1: the mastermind. Like this is the big bad, like Thanos

1343
01:12:39,680 --> 01:12:42,479
Speaker 1: doesn't come to Earth in the Marvel movies and just

1344
01:12:42,520 --> 01:12:46,120
Speaker 1: like I love recking casinos. No, he's got an agenda.

1345
01:12:46,160 --> 01:12:49,080
Speaker 1: He's got things he definitely wants to do, and he's

1346
01:12:49,120 --> 01:12:50,599
Speaker 1: gonna mess with you if you get in the way

1347
01:12:50,640 --> 01:12:53,280
Speaker 1: of those goals. Katana doesn't operate like.

1348
01:12:53,240 --> 01:12:56,840
Speaker 3: That, right, So he like beams down into a subway car.

1349
01:12:56,960 --> 01:13:01,559
Speaker 3: He says, this doesn't look like Kansas. Great, great reference

1350
01:13:01,600 --> 01:13:02,559
Speaker 3: for Zeist culture.

1351
01:13:02,720 --> 01:13:03,760
Speaker 1: They love Wizard of Us.

1352
01:13:03,920 --> 01:13:07,280
Speaker 3: Yeah, and then he then he kills a random passenger

1353
01:13:07,320 --> 01:13:09,599
Speaker 3: on the train. Then he goes up to a kid

1354
01:13:09,680 --> 01:13:12,000
Speaker 3: and he says, bet you've always wanted to drive one

1355
01:13:12,000 --> 01:13:14,519
Speaker 3: of these, haven't you? And the kid's like yeah, and

1356
01:13:14,600 --> 01:13:17,400
Speaker 3: then he goes me too. Then he goes up to

1357
01:13:17,520 --> 01:13:20,719
Speaker 3: the front of the subway car, conks out the driver,

1358
01:13:21,200 --> 01:13:24,839
Speaker 3: hijacks the train, and then like he makes the aphex

1359
01:13:24,880 --> 01:13:27,879
Speaker 3: twin face as he pushes the speed up to hundreds

1360
01:13:27,920 --> 01:13:30,559
Speaker 3: of miles per hour and then crashes through the side

1361
01:13:30,560 --> 01:13:31,120
Speaker 3: of a building.

1362
01:13:32,360 --> 01:13:35,559
Speaker 1: More more train wrecks Center train wreck of the movie, right.

1363
01:13:36,000 --> 01:13:40,160
Speaker 3: And then we get these these weird General Katana Connor interactions.

1364
01:13:40,200 --> 01:13:43,200
Speaker 3: We see Connor going to visit the grave of his

1365
01:13:43,400 --> 01:13:46,640
Speaker 3: earth wife, which is in some kind of urban cathedral,

1366
01:13:47,080 --> 01:13:50,840
Speaker 3: and then General Katana is just there to sarcastically slow

1367
01:13:50,880 --> 01:13:55,679
Speaker 3: clap after Connor finishes, saying a few words and another

1368
01:13:55,720 --> 01:14:00,000
Speaker 3: interesting choice. Ironside is just in full clown mode here.

1369
01:14:00,040 --> 01:14:03,439
Speaker 3: He's like kissing on a statue of an angel and

1370
01:14:03,479 --> 01:14:07,120
Speaker 3: he's making these quips he says to Connor after Connor's

1371
01:14:07,160 --> 01:14:09,840
Speaker 3: talking to his wife's grave, and Katana says, I always

1372
01:14:09,920 --> 01:14:12,680
Speaker 3: did admire a man who can talk to the dead.

1373
01:14:13,840 --> 01:14:16,439
Speaker 3: And then he says, the remains of your mortal wife

1374
01:14:16,680 --> 01:14:21,799
Speaker 3: so frail, so earthly, so very dead, And Connor says,

1375
01:14:21,880 --> 01:14:26,520
Speaker 3: at least she's at peace. Katana says peace is highly overrated,

1376
01:14:27,160 --> 01:14:30,800
Speaker 3: and then Connor says things don't change. Katana, I like that,

1377
01:14:31,240 --> 01:14:37,200
Speaker 3: after all these years, you're still a jerk, a jerk.

1378
01:14:38,120 --> 01:14:40,080
Speaker 3: But then they also say they can't they know they're

1379
01:14:40,080 --> 01:14:41,920
Speaker 3: gonna have to fight, but they say they can't fight

1380
01:14:42,000 --> 01:14:45,120
Speaker 3: here because of quote the Golden Rule, which is that

1381
01:14:45,200 --> 01:14:47,280
Speaker 3: we must never fight on holy ground.

1382
01:14:47,720 --> 01:14:49,800
Speaker 1: Yeah. This is something, of course established in the first

1383
01:14:49,840 --> 01:14:53,240
Speaker 1: Highlander movie. And they do kind of try to address

1384
01:14:53,280 --> 01:14:56,280
Speaker 1: one problem that emerges and concerning all this in Highlander three,

1385
01:14:56,479 --> 01:14:59,160
Speaker 1: and that is, okay, it's one thing for Connor and

1386
01:14:59,400 --> 01:15:02,640
Speaker 1: other like, you know, some degree like chaotic good or

1387
01:15:02,720 --> 01:15:06,240
Speaker 1: neutral good immortals to honor this rule, I guess. But

1388
01:15:06,760 --> 01:15:09,960
Speaker 1: why do all these like clearly chaotic evil immortals care

1389
01:15:10,040 --> 01:15:13,880
Speaker 1: about the Golden rule concerning holy spaces? So credit to

1390
01:15:13,960 --> 01:15:17,320
Speaker 1: Highlander three. I won't spoil anything, but they do at

1391
01:15:17,400 --> 01:15:19,639
Speaker 1: least address that a little bit in that picture.

1392
01:15:20,160 --> 01:15:23,240
Speaker 3: Oh okay, you know, I have to watch Highlander three someday.

1393
01:15:23,240 --> 01:15:24,240
Speaker 3: I never made it that far.

1394
01:15:24,400 --> 01:15:27,519
Speaker 1: I mean, it's it's I remember, it's being fun. It's fun.

1395
01:15:27,560 --> 01:15:32,000
Speaker 1: It's got Mario van Peebles place the new villainous immortal,

1396
01:15:32,120 --> 01:15:35,240
Speaker 1: which I believe the whole idea is, Oh, Connor, you

1397
01:15:35,360 --> 01:15:38,800
Speaker 1: didn't win the prize after all, because there were three

1398
01:15:38,840 --> 01:15:41,320
Speaker 1: immortals that were trapped in a cave in somewhere and

1399
01:15:41,600 --> 01:15:42,760
Speaker 1: oh they just dug them.

1400
01:15:42,680 --> 01:15:45,960
Speaker 3: Out perfect completely ignores Holander two, right.

1401
01:15:46,120 --> 01:15:49,599
Speaker 1: Right, I guess technically occurs before Highlander two, but also

1402
01:15:49,640 --> 01:15:50,160
Speaker 1: ignores it.

1403
01:15:50,360 --> 01:15:53,120
Speaker 3: And then meanwhile, back in Scotland with Ramirez who has

1404
01:15:53,120 --> 01:15:57,439
Speaker 3: been reincarnated, we get a comedy makeover scene. I love

1405
01:15:57,600 --> 01:16:00,000
Speaker 3: that they included this in the movie. So Sean Connery

1406
01:16:00,120 --> 01:16:03,040
Speaker 3: goes into a men's tailor shop and he gets fancy

1407
01:16:03,120 --> 01:16:07,080
Speaker 3: modern clothes and they're like custom made. He played pays

1408
01:16:07,160 --> 01:16:11,760
Speaker 3: for them with a pearl ear ring. I guess there's

1409
01:16:11,800 --> 01:16:14,559
Speaker 3: just more use of Ramirez for comic relief, more fish

1410
01:16:14,560 --> 01:16:16,559
Speaker 3: out of time stuff, like before he goes in, he

1411
01:16:16,560 --> 01:16:18,960
Speaker 3: looks at TVs and a shop window and he is

1412
01:16:19,280 --> 01:16:21,360
Speaker 3: amazed about the concept of airplanes.

1413
01:16:21,600 --> 01:16:23,720
Speaker 1: Yeah. I seem to recall reading that a lot of this,

1414
01:16:23,920 --> 01:16:26,479
Speaker 1: the Scotland stuff, was Connery's doing, Like I'll do it,

1415
01:16:26,520 --> 01:16:27,880
Speaker 1: but there need to be some scenes that are shot

1416
01:16:27,920 --> 01:16:29,759
Speaker 1: in Scotland. And I don't know if he had any

1417
01:16:30,000 --> 01:16:33,160
Speaker 1: influence over the flavor of these sequences, but you can

1418
01:16:33,200 --> 01:16:35,760
Speaker 1: imagine that as like, all right, if we're gonna we're

1419
01:16:35,760 --> 01:16:38,040
Speaker 1: gonna shoot these extra days. I want one day where

1420
01:16:38,080 --> 01:16:40,479
Speaker 1: I'm just getting fitted for a suit while I drink Scotch.

1421
01:16:40,920 --> 01:16:41,920
Speaker 1: That's the whole scene.

1422
01:16:43,040 --> 01:16:45,880
Speaker 3: I got it. He does look sharp. He looks great

1423
01:16:46,040 --> 01:16:47,040
Speaker 3: in the suit they give him.

1424
01:16:47,080 --> 01:16:50,160
Speaker 1: Oh yeah, yeah, he does. Yeah, i'd say. In general, though,

1425
01:16:50,200 --> 01:16:53,439
Speaker 1: Ramirez lacks the authentic charisma that he had in the

1426
01:16:53,439 --> 01:16:56,000
Speaker 1: first film, though, you know he's He's more of a

1427
01:16:56,040 --> 01:16:59,280
Speaker 1: comic relief character here, except for some key dramatic moments.

1428
01:16:59,760 --> 01:17:03,160
Speaker 3: Yeah. So he then gets on an airplane to go

1429
01:17:03,240 --> 01:17:07,360
Speaker 3: I guess to America to find Connor, and he flirts

1430
01:17:07,360 --> 01:17:09,360
Speaker 3: with the woman in the seat next to him. There

1431
01:17:09,400 --> 01:17:13,160
Speaker 3: are some jokes about airplane food that somehow morph into

1432
01:17:13,200 --> 01:17:17,479
Speaker 3: sex jokes. That's all yuck, yuck. But also in this

1433
01:17:17,520 --> 01:17:20,000
Speaker 3: part there is a part that's supposed to be funny

1434
01:17:20,000 --> 01:17:24,280
Speaker 3: and does genuinely work. It's quite hilarious when Ramirez watches

1435
01:17:24,320 --> 01:17:28,719
Speaker 3: an aviation safety film on the video screen in front

1436
01:17:28,720 --> 01:17:31,160
Speaker 3: of him. That is quite funny.

1437
01:17:32,120 --> 01:17:35,639
Speaker 1: I didn't care for it, no, but it is kind

1438
01:17:35,640 --> 01:17:37,720
Speaker 1: of like it's very much of the sort of RoboCop

1439
01:17:37,840 --> 01:17:41,840
Speaker 1: vibe of parity, which I do admire. Isn't there another

1440
01:17:41,920 --> 01:17:45,479
Speaker 1: sequence like this that maybe Katanovius, maybe it's a different

1441
01:17:45,479 --> 01:17:49,040
Speaker 1: cut of the film where it's like a chef, like

1442
01:17:49,160 --> 01:17:51,200
Speaker 1: psychic chef or something. What was the.

1443
01:17:51,880 --> 01:17:53,760
Speaker 3: Oh, I think that's in another cut of the film.

1444
01:17:53,800 --> 01:17:55,679
Speaker 3: I think that's not in the American version. But yeah,

1445
01:17:55,920 --> 01:17:58,559
Speaker 3: there are like these weird media segments that are kind

1446
01:17:58,600 --> 01:18:00,879
Speaker 3: of robocopy, Yeah.

1447
01:18:00,200 --> 01:18:02,880
Speaker 1: Which I admire, and I would say that one's worth

1448
01:18:03,280 --> 01:18:05,240
Speaker 1: checking out. I just can't remember what it was. It's

1449
01:18:05,280 --> 01:18:11,599
Speaker 1: something like Psychic Chef or it's dumb but amusing, Yeah,

1450
01:18:11,640 --> 01:18:12,360
Speaker 1: Psychic Chef.

1451
01:18:12,880 --> 01:18:15,640
Speaker 3: The joke is that the aviation Safety movie that's like

1452
01:18:15,720 --> 01:18:18,519
Speaker 3: you know where the emergency exits are and stuff on

1453
01:18:18,560 --> 01:18:22,680
Speaker 3: the plane is like actually incredibly violent and terrifying.

1454
01:18:22,880 --> 01:18:26,519
Speaker 1: Yeah. At any rate, the successfully flies all the way

1455
01:18:26,560 --> 01:18:29,320
Speaker 1: to wherever Shield City is, so that and we don't

1456
01:18:29,360 --> 01:18:30,640
Speaker 1: see the rest of it. We don't see him going

1457
01:18:30,640 --> 01:18:36,280
Speaker 1: through customs. We don't see arranging a travel figuring out

1458
01:18:36,320 --> 01:18:38,360
Speaker 1: exactly where Connor is. I mean, he's got the quickening,

1459
01:18:38,400 --> 01:18:40,160
Speaker 1: so I guess he can zone in on him.

1460
01:18:40,360 --> 01:18:42,160
Speaker 3: Yeah, I would. Oh, I'd love to see him going

1461
01:18:42,160 --> 01:18:45,640
Speaker 3: through customs. But oh, speaking of things to declare, there

1462
01:18:45,720 --> 01:18:49,479
Speaker 3: is a scene where Virginia Madsen's like wandering around Connor's apartment,

1463
01:18:49,600 --> 01:18:52,439
Speaker 3: goes through all this old stuff and know, and it's showing, Oh,

1464
01:18:52,479 --> 01:18:55,439
Speaker 3: he's lived for centuries. He played football, he sailed on

1465
01:18:55,479 --> 01:18:59,240
Speaker 3: the high seas. Here's his nineteen oh one football team picture,

1466
01:19:00,200 --> 01:19:02,400
Speaker 3: and there's a suit of armor in there, and like

1467
01:19:02,479 --> 01:19:06,439
Speaker 3: old bottles of wine and all that. Also in this room,

1468
01:19:06,880 --> 01:19:08,679
Speaker 3: is that a Confederate flag in there?

1469
01:19:08,920 --> 01:19:12,320
Speaker 1: Connor Well, I bet he took that off of Confederate troops.

1470
01:19:12,439 --> 01:19:16,200
Speaker 1: I don't remember, but there. I don't remember where all

1471
01:19:16,240 --> 01:19:18,599
Speaker 1: this lands, but I know there were some deleted scenes

1472
01:19:18,600 --> 01:19:20,599
Speaker 1: in the for The First Highlander in which he fights

1473
01:19:20,640 --> 01:19:25,000
Speaker 1: the Nazis, so I'm guessing he fought for the Union

1474
01:19:25,200 --> 01:19:26,120
Speaker 1: during the Civil War.

1475
01:19:26,400 --> 01:19:29,240
Speaker 3: There's also a scene in here where General Katana rides

1476
01:19:29,280 --> 01:19:33,519
Speaker 3: in a cab. He's like, uh, well, so the cab

1477
01:19:33,640 --> 01:19:36,920
Speaker 3: driver loves General Katana. When he gets in, he's like, whoa,

1478
01:19:37,160 --> 01:19:40,360
Speaker 3: you're like a heavy metal dude. WHOA, you're so you're

1479
01:19:40,400 --> 01:19:41,200
Speaker 3: out of control.

1480
01:19:41,800 --> 01:19:43,280
Speaker 1: You're in the music business, aren't you.

1481
01:19:44,720 --> 01:19:48,559
Speaker 3: Katana is like, it's quite comfortable back here, like a coffin.

1482
01:19:50,320 --> 01:19:54,439
Speaker 1: What does Katana even like is what is this guy about?

1483
01:19:55,000 --> 01:19:56,439
Speaker 1: It's just bad, that's all he is.

1484
01:19:56,920 --> 01:19:59,519
Speaker 3: Yeah it So he's like, oh yeah, And then when

1485
01:19:59,520 --> 01:20:03,000
Speaker 3: they arrived at his destination, he just starts destroying the cab,

1486
01:20:03,200 --> 01:20:06,400
Speaker 3: like he stabs his sword through the window and he

1487
01:20:06,479 --> 01:20:09,479
Speaker 3: gets out and he kicks out the headlights and stabs

1488
01:20:09,560 --> 01:20:12,120
Speaker 3: the tires, and the whole time the driver, the taxi

1489
01:20:12,160 --> 01:20:25,600
Speaker 3: driver is going like awesome. But anyway, where was the

1490
01:20:25,600 --> 01:20:26,439
Speaker 3: cab taking him?

1491
01:20:26,479 --> 01:20:26,679
Speaker 1: Why?

1492
01:20:26,720 --> 01:20:30,840
Speaker 3: It's Shield Corporation headquarters. So Michael Ironside walks into a

1493
01:20:30,840 --> 01:20:33,519
Speaker 3: board meeting with John C. McGinley and he starts just

1494
01:20:33,680 --> 01:20:36,720
Speaker 3: choking people and he says, I'd like to join your

1495
01:20:36,840 --> 01:20:41,559
Speaker 3: human corporation? Where do I sign up? And they try

1496
01:20:41,560 --> 01:20:43,320
Speaker 3: to have like a guy in the suit shoot him,

1497
01:20:43,439 --> 01:20:44,959
Speaker 3: but man, he's immortal.

1498
01:20:45,000 --> 01:20:45,439
Speaker 1: Whoops.

1499
01:20:46,640 --> 01:20:49,880
Speaker 3: Also, there are more jokes and references that don't make

1500
01:20:49,880 --> 01:20:52,519
Speaker 3: any sense, like General Katana gets up after being shot

1501
01:20:52,840 --> 01:20:55,720
Speaker 3: and he says, yes, you know, guys, this is no

1502
01:20:55,800 --> 01:20:59,240
Speaker 3: way to treat your number one draft choice. It's like,

1503
01:20:59,360 --> 01:21:00,679
Speaker 3: is that a foot metaphor?

1504
01:21:02,000 --> 01:21:03,559
Speaker 1: I guess they have football on Zeist?

1505
01:21:04,439 --> 01:21:07,559
Speaker 3: So I think based on this scene, General Katana is

1506
01:21:07,600 --> 01:21:09,360
Speaker 3: now CEO of the Shield Corporation.

1507
01:21:09,760 --> 01:21:11,879
Speaker 1: You know, I bet what happened is they had football

1508
01:21:11,880 --> 01:21:16,440
Speaker 1: on Zeist and who invented football on Earth? But immortals?

1509
01:21:16,439 --> 01:21:17,479
Speaker 1: Probably Connor did it.

1510
01:21:17,720 --> 01:21:21,960
Speaker 3: That makes so much sense, yes, but somehow, like General

1511
01:21:22,040 --> 01:21:25,480
Speaker 3: Katana getting tangled up with the Shield Corporation and seemingly

1512
01:21:25,760 --> 01:21:29,680
Speaker 3: becoming John C mcginley's partner, like accelerates them in just

1513
01:21:29,880 --> 01:21:35,120
Speaker 3: doing general badness. So John C McGinley goes into Alan

1514
01:21:35,240 --> 01:21:39,200
Speaker 3: Nayman's office from naming his Connor's old friend, and he's like,

1515
01:21:39,640 --> 01:21:42,519
Speaker 3: he's like, okay, I know you. You're telling people that

1516
01:21:42,600 --> 01:21:45,160
Speaker 3: the radiation levels are normal. I'm gonna throw you in

1517
01:21:45,280 --> 01:21:49,679
Speaker 3: Shield jail, which exists. Let me get some brief character

1518
01:21:50,000 --> 01:21:53,160
Speaker 3: moments where like Virginia Madsen is asking Connor about his

1519
01:21:53,280 --> 01:21:57,400
Speaker 3: previous wives and Connor is talking about them, but then

1520
01:21:57,439 --> 01:22:01,559
Speaker 3: they get interrupted when Connor senses a present nearby and

1521
01:22:01,680 --> 01:22:05,360
Speaker 3: a shadowy figure emerges, and Connor and this figure duel

1522
01:22:05,400 --> 01:22:08,000
Speaker 3: with swords, but then it's revealed that it is Sean

1523
01:22:08,080 --> 01:22:13,320
Speaker 3: Connery and he says, greetings, highlander, you called so again.

1524
01:22:13,439 --> 01:22:16,280
Speaker 3: Connor always had the power to resurrect Ramirez from the

1525
01:22:16,320 --> 01:22:19,080
Speaker 3: dead by yelling his name, and they have known this

1526
01:22:19,320 --> 01:22:22,120
Speaker 3: since they came from Zeist five hundred years ago, but

1527
01:22:22,200 --> 01:22:25,840
Speaker 3: he just now did it. Ye, So they have, you know,

1528
01:22:25,920 --> 01:22:28,840
Speaker 3: playful dueling and banter. I think they're trying to get

1529
01:22:28,920 --> 01:22:31,439
Speaker 3: the old Magic back from Highlander one. They're trying to

1530
01:22:31,479 --> 01:22:36,160
Speaker 3: get that feeling, that relationship re established. I think it's

1531
01:22:36,280 --> 01:22:38,680
Speaker 3: not quite clicking, but they try to do it with

1532
01:22:38,720 --> 01:22:41,200
Speaker 3: like them making fun of each other, Like Ramirez makes

1533
01:22:41,240 --> 01:22:44,559
Speaker 3: fun of Connor for having ridiculous art in his apartment,

1534
01:22:44,840 --> 01:22:47,400
Speaker 3: Connor makes fun of Ramirez for being old and for

1535
01:22:47,439 --> 01:22:48,160
Speaker 3: having been dead.

1536
01:22:48,600 --> 01:22:50,679
Speaker 1: Yeah, it's almost like what they should have and maybe

1537
01:22:50,680 --> 01:22:53,880
Speaker 1: even wanted to do. You should have had a flashback

1538
01:22:53,920 --> 01:22:58,479
Speaker 1: here to show like their relationship in maybe an outdoor setting,

1539
01:22:59,439 --> 01:23:02,960
Speaker 1: because here we do have this wonderful but very grimy, grungy,

1540
01:23:03,080 --> 01:23:06,080
Speaker 1: dark set, and I don't know, it's not a very

1541
01:23:06,120 --> 01:23:09,640
Speaker 1: lively place to establish a lively relationship.

1542
01:23:10,120 --> 01:23:12,280
Speaker 3: Yeah, though they do try to spice it up. They

1543
01:23:12,720 --> 01:23:15,559
Speaker 3: pour drinks and they have a toast, and the toast go.

1544
01:23:15,720 --> 01:23:19,280
Speaker 3: This is a direct quote Connor says to Magic, and

1545
01:23:19,400 --> 01:23:26,920
Speaker 3: Ramirez says to zeyst Oh. Also, Ramirez meets Virginia Mattson

1546
01:23:27,320 --> 01:23:31,000
Speaker 3: meets Louise Marcus and he says, you know, he's like, wow,

1547
01:23:31,360 --> 01:23:35,080
Speaker 3: you know, I like this eco terrorist and they immediately

1548
01:23:35,120 --> 01:23:39,200
Speaker 3: start scheming. Ramirez says, hey, Connor, the shield is ugly

1549
01:23:39,240 --> 01:23:41,880
Speaker 3: and it sucks, and Connor says, yeah, well it was

1550
01:23:41,960 --> 01:23:45,240
Speaker 3: necessary at the time, and then Ramirez says, so was

1551
01:23:45,280 --> 01:23:50,679
Speaker 3: Noah's Flood. But they they established that Connor's old friend

1552
01:23:50,720 --> 01:23:53,519
Speaker 3: Alan is being held in this secret, high security Shield

1553
01:23:53,600 --> 01:23:56,160
Speaker 3: prison and they have to go rescue him. Also, they

1554
01:23:56,280 --> 01:23:58,840
Speaker 3: established that General Katana is here and they have to

1555
01:23:58,840 --> 01:24:01,320
Speaker 3: go face him. So first of all, they go to

1556
01:24:01,360 --> 01:24:04,719
Speaker 3: the Shield corpse Slammer. So they go to the security

1557
01:24:04,800 --> 01:24:08,439
Speaker 3: gate and it's like Connor is driving a car and

1558
01:24:08,520 --> 01:24:11,759
Speaker 3: Ramirez is in the passenger seat and they just drive

1559
01:24:11,880 --> 01:24:15,720
Speaker 3: through the barricade into the Shield headquarters and they get

1560
01:24:15,720 --> 01:24:19,800
Speaker 3: blasted by guards with machine guns. Fortunately, they are immortal,

1561
01:24:20,680 --> 01:24:22,600
Speaker 3: so that when they get inside, they just sort of

1562
01:24:22,640 --> 01:24:26,240
Speaker 3: like pop up in the Shield prison morgue. Also, Louise

1563
01:24:26,360 --> 01:24:29,880
Speaker 3: is in there. She's like talking to the doctor and

1564
01:24:29,960 --> 01:24:32,559
Speaker 3: the morgue, and then he sees them, you know, Connor

1565
01:24:32,600 --> 01:24:34,479
Speaker 3: and Ramirez pop up and he just faints.

1566
01:24:35,000 --> 01:24:36,360
Speaker 1: Fun immortal hikings.

1567
01:24:36,560 --> 01:24:39,960
Speaker 3: Yes. Then they decide to split up, of course, and

1568
01:24:40,040 --> 01:24:44,600
Speaker 3: start running around in tunnels looking for Alan. I was like,

1569
01:24:44,760 --> 01:24:47,240
Speaker 3: is this a prison. It looks more like a sewer

1570
01:24:47,320 --> 01:24:50,280
Speaker 3: full of people living in rags and eating rats. It's

1571
01:24:50,320 --> 01:24:54,000
Speaker 3: like what the human hideout in Terminator is. Like, they

1572
01:24:54,000 --> 01:24:55,880
Speaker 3: go and find Alan, but he does one of those

1573
01:24:55,960 --> 01:24:59,400
Speaker 3: movie instant deaths where he's just like, oh, Connor, you know,

1574
01:24:59,479 --> 01:25:01,840
Speaker 3: we tell me we did the right thing by making

1575
01:25:01,840 --> 01:25:04,880
Speaker 3: the shield, and then he's like you were my best friend.

1576
01:25:05,040 --> 01:25:09,919
Speaker 3: Oh and just falls over dies. Meanwhile, John c McGinley

1577
01:25:09,960 --> 01:25:12,759
Speaker 3: and General Katana are like watching all this on closed

1578
01:25:12,760 --> 01:25:16,559
Speaker 3: circuit cameras, and General Katana says, well, well, well, like

1579
01:25:16,600 --> 01:25:18,799
Speaker 3: a high school reunion down there.

1580
01:25:19,880 --> 01:25:22,639
Speaker 1: And so the instantly once more he's got the drop

1581
01:25:24,040 --> 01:25:25,280
Speaker 1: and ramiras.

1582
01:25:25,280 --> 01:25:28,120
Speaker 3: Yeah, and so here's what they're gonna do. Okay, they

1583
01:25:28,720 --> 01:25:31,800
Speaker 3: run them into a trap room, So our three heroes are.

1584
01:25:32,040 --> 01:25:35,040
Speaker 3: They go into a cylindrical room all at the same time.

1585
01:25:35,120 --> 01:25:39,000
Speaker 3: The doors slam and lock behind them, and then this

1586
01:25:39,120 --> 01:25:42,120
Speaker 3: is one of the greatest moments of the movie. A

1587
01:25:42,160 --> 01:25:46,240
Speaker 3: whirling fan starts lowering from the ceiling toward the floor,

1588
01:25:46,760 --> 01:25:48,800
Speaker 3: so like, oh no, the fan is descending on them.

1589
01:25:48,840 --> 01:25:51,040
Speaker 3: It's like the pit and the pendulum, except it's a fan.

1590
01:25:51,720 --> 01:25:54,880
Speaker 3: And I guess the implication is that the fan will

1591
01:25:54,960 --> 01:25:57,800
Speaker 3: lower until it hits the floor and just squashes them,

1592
01:25:57,920 --> 01:26:00,840
Speaker 3: or I suppose the threat to the Immortal is that

1593
01:26:00,880 --> 01:26:04,680
Speaker 3: the fan blades will chop off their heads. But then

1594
01:26:04,720 --> 01:26:07,040
Speaker 3: I was thinking, like, is that really physically? What would happen?

1595
01:26:07,040 --> 01:26:09,320
Speaker 3: Wouldn't they just kind of get more like like you know,

1596
01:26:09,400 --> 01:26:10,360
Speaker 3: like they're in a blender.

1597
01:26:11,280 --> 01:26:13,360
Speaker 1: I don't know, But I also like how this hell

1598
01:26:13,439 --> 01:26:16,800
Speaker 1: set kind of resembles the fizzy lifting drink scene from

1599
01:26:16,800 --> 01:26:19,920
Speaker 1: Willy Wonka. Yes, so the blades didn't lower in that

1600
01:26:20,080 --> 01:26:23,880
Speaker 1: our heroes floated up towards it. But I still can't

1601
01:26:23,920 --> 01:26:24,840
Speaker 1: help but connect the two.

1602
01:26:25,520 --> 01:26:27,720
Speaker 3: So how are our heroes going to get out of

1603
01:26:27,760 --> 01:26:28,400
Speaker 3: this jam?

1604
01:26:28,720 --> 01:26:30,720
Speaker 1: You tell me. I've seen it multiple times and I

1605
01:26:30,720 --> 01:26:31,759
Speaker 1: still don't know what happens.

1606
01:26:32,040 --> 01:26:36,320
Speaker 3: Here's what happens. So Ramirez says, you stay back. Connor

1607
01:26:36,360 --> 01:26:40,080
Speaker 3: says I can help. Ramirez says, no, you can't, not

1608
01:26:40,280 --> 01:26:43,080
Speaker 3: this time. And then Ramirez gives a speech. He's like

1609
01:26:43,120 --> 01:26:45,599
Speaker 3: standing in the middle of the room, the under the fan.

1610
01:26:46,000 --> 01:26:49,599
Speaker 3: He lifts his hands up and he says, most people

1611
01:26:49,720 --> 01:26:52,960
Speaker 3: have a full measure of life, and most people just

1612
01:26:53,000 --> 01:26:56,360
Speaker 3: watch it slowly drip away. But if you can summon

1613
01:26:56,439 --> 01:27:00,680
Speaker 3: it all up at one time, in one place, you

1614
01:27:00,760 --> 01:27:06,960
Speaker 3: can accomplish something glorious and then bagpipes start playing amazing Grace,

1615
01:27:07,720 --> 01:27:12,160
Speaker 3: and Ramirez, like light comes out of his hand and

1616
01:27:12,320 --> 01:27:15,040
Speaker 3: the fan, I guess, starts lifting back up from where

1617
01:27:15,080 --> 01:27:18,559
Speaker 3: it was. And he turns to Connor and Louise and

1618
01:27:18,600 --> 01:27:21,400
Speaker 3: he says, my time here is over. It'll take the

1619
01:27:21,439 --> 01:27:24,400
Speaker 3: power of both of you to destroy General Katana and

1620
01:27:24,479 --> 01:27:28,320
Speaker 3: the Shield, and Connor says, will I ever see you again?

1621
01:27:28,400 --> 01:27:33,160
Speaker 3: And Ramirez says, who knows, Hylander? Who knows? So Connor

1622
01:27:33,200 --> 01:27:35,920
Speaker 3: and Louise escape for some reason. The door pops open

1623
01:27:35,960 --> 01:27:40,200
Speaker 3: and Ramirez turns into light and explodes. Yeah.

1624
01:27:40,320 --> 01:27:42,720
Speaker 1: I have no idea what this is supposed to be,

1625
01:27:42,760 --> 01:27:45,760
Speaker 1: Like self quickeningly destroys the fan.

1626
01:27:46,760 --> 01:27:48,880
Speaker 3: It just feels like it feels like they had to

1627
01:27:48,920 --> 01:27:49,960
Speaker 3: wrap this thing up.

1628
01:27:50,760 --> 01:27:52,760
Speaker 1: Just a kind of magic. Can't question it.

1629
01:27:53,720 --> 01:27:56,240
Speaker 3: There's another quick scene where General Katana and John C.

1630
01:27:56,360 --> 01:27:59,559
Speaker 3: McGinley are talking and the latter is upset for some reason.

1631
01:28:00,120 --> 01:28:03,360
Speaker 3: Katana reacts by grabbing him by the crotch, lifting him

1632
01:28:03,400 --> 01:28:05,360
Speaker 3: in the air, and throwing him out a window. So

1633
01:28:05,520 --> 01:28:06,599
Speaker 3: that's the end of that character.

1634
01:28:06,760 --> 01:28:09,439
Speaker 1: Yeah, and this character in this relationship that we just

1635
01:28:09,439 --> 01:28:11,479
Speaker 1: had so little invested in.

1636
01:28:11,800 --> 01:28:14,360
Speaker 3: Yeah, but now we're here for the final showdown. So

1637
01:28:14,439 --> 01:28:16,200
Speaker 3: Connor and Louise fight their way to the top of

1638
01:28:16,240 --> 01:28:18,840
Speaker 3: the Shield pyramid with guns, by the way, which feels

1639
01:28:18,840 --> 01:28:19,920
Speaker 3: wrong for Highlander.

1640
01:28:20,080 --> 01:28:22,479
Speaker 1: Yeah, uncivilized weapon. I think he does use a machine

1641
01:28:22,520 --> 01:28:25,439
Speaker 1: gun against the Nazis in a deleted scene from Highlander one.

1642
01:28:25,479 --> 01:28:28,120
Speaker 1: But still you didn't. You don't sign up to see

1643
01:28:28,360 --> 01:28:30,040
Speaker 1: Connor McLeod use machine gun.

1644
01:28:30,280 --> 01:28:32,960
Speaker 3: Right, So Connor like, he hands a rifle to Louise

1645
01:28:33,000 --> 01:28:35,120
Speaker 3: and he's like, okay, you go fight all the soldiers

1646
01:28:35,160 --> 01:28:38,480
Speaker 3: and destroy the Shield. I'll go cross swords with General Katana.

1647
01:28:39,080 --> 01:28:41,000
Speaker 3: I am not worried what will happen to you? And

1648
01:28:41,479 --> 01:28:43,080
Speaker 3: you know, he kisses her to let her know he

1649
01:28:43,160 --> 01:28:47,640
Speaker 3: means it. The location of the General Katana showdown is

1650
01:28:48,320 --> 01:28:51,840
Speaker 3: it's confusing here, and I think it's because what has

1651
01:28:51,920 --> 01:28:55,400
Speaker 3: happened in this scene in the American cut is that

1652
01:28:55,600 --> 01:28:58,960
Speaker 3: this is actually two completely separate fight scenes that happen

1653
01:28:59,000 --> 01:29:01,360
Speaker 3: at two different parts of the movie, and they've been

1654
01:29:01,600 --> 01:29:02,400
Speaker 3: edited together.

1655
01:29:03,160 --> 01:29:04,360
Speaker 1: That would make a lot of sense.

1656
01:29:04,880 --> 01:29:07,920
Speaker 3: But it's in a dark, empty warehouse with like that

1657
01:29:08,360 --> 01:29:11,759
Speaker 3: wet industrial feeling, you know, steam pipes, water is dripping,

1658
01:29:11,920 --> 01:29:16,400
Speaker 3: chains dangling everywhere. Metal grates, catwalks, sparks, shooting out of stuff.

1659
01:29:16,960 --> 01:29:20,280
Speaker 3: It's your basic final showdown sword fight. It's not great,

1660
01:29:20,320 --> 01:29:21,439
Speaker 3: but I have seen worse.

1661
01:29:22,080 --> 01:29:24,080
Speaker 1: Yeah, yeah, and I can't again, I can't help but

1662
01:29:24,280 --> 01:29:29,240
Speaker 1: wonder too how injuries and clunky swords and so forth

1663
01:29:29,280 --> 01:29:32,240
Speaker 1: factored into this, because I don't think that the sword

1664
01:29:32,280 --> 01:29:36,160
Speaker 1: fights in Highland are one set an incredibly high standard

1665
01:29:36,320 --> 01:29:38,240
Speaker 1: like they're not. I wouldn't. I would never hold them

1666
01:29:38,760 --> 01:29:41,880
Speaker 1: up as being like the best sword fights in cinema.

1667
01:29:41,920 --> 01:29:44,519
Speaker 1: But they're really good, and I feel like what we

1668
01:29:44,720 --> 01:29:50,520
Speaker 1: get in this picture, you know, aside from flying space assassins,

1669
01:29:51,120 --> 01:29:54,160
Speaker 1: what we get in this picture feels mostly sub Highlander one.

1670
01:29:54,800 --> 01:29:57,839
Speaker 3: Yeah, and there's one part in this fight where McLeod

1671
01:29:57,920 --> 01:30:00,960
Speaker 3: falls down an elevator shaft and breaks all his bones.

1672
01:30:00,680 --> 01:30:02,760
Speaker 1: So that's pretty interesting. I did like that.

1673
01:30:03,240 --> 01:30:05,439
Speaker 3: Yeah, and then he has to manually snap them back

1674
01:30:05,439 --> 01:30:09,080
Speaker 3: into place and then go up and fight again. I

1675
01:30:09,080 --> 01:30:12,080
Speaker 3: think that might have been the like break that the

1676
01:30:12,160 --> 01:30:15,759
Speaker 3: actual conclusion of one of the two original fight scenes.

1677
01:30:15,800 --> 01:30:20,360
Speaker 3: I'm not positive, but anyway, they start sword fighting right

1678
01:30:20,400 --> 01:30:22,600
Speaker 3: next to a giant beam. This is the source of

1679
01:30:22,600 --> 01:30:24,599
Speaker 3: the shield. It's kind of a cool set.

1680
01:30:24,960 --> 01:30:27,920
Speaker 1: Yeah. Yeah, it looks really cool, big sets, you know,

1681
01:30:28,040 --> 01:30:31,760
Speaker 1: beam of light, very evocative. I love it. Though. Again,

1682
01:30:31,800 --> 01:30:35,280
Speaker 1: the actual sword fight, especially right here, feels kind of

1683
01:30:35,320 --> 01:30:38,200
Speaker 1: anticlimactic again, like it just didn't have much more gas

1684
01:30:38,280 --> 01:30:38,519
Speaker 1: in the.

1685
01:30:38,479 --> 01:30:42,280
Speaker 3: Tank that that's exactly right. So Connor wins. He chops

1686
01:30:42,280 --> 01:30:45,120
Speaker 3: off Katana's head. It does feel kind of anti climactic.

1687
01:30:46,640 --> 01:30:48,800
Speaker 3: Then he gets some quickening, you know, all this all

1688
01:30:48,840 --> 01:30:51,080
Speaker 3: the light shoots into him and he gets the electricity

1689
01:30:51,120 --> 01:30:54,160
Speaker 3: snakes and stuff. But like, is he mortal again?

1690
01:30:54,240 --> 01:30:54,439
Speaker 1: Now?

1691
01:30:54,600 --> 01:30:57,960
Speaker 3: I would guess so. But then he walks into the

1692
01:30:57,960 --> 01:31:02,439
Speaker 3: shield beam huh, and Virginia Madsen's there looking at him

1693
01:31:02,680 --> 01:31:07,479
Speaker 3: and she's like no. And then the shield explodes. The

1694
01:31:07,520 --> 01:31:11,519
Speaker 3: satellite controlling the shield explodes, the sky clears and they

1695
01:31:11,520 --> 01:31:14,840
Speaker 3: can see stars. Wow, the shield is gone. And then

1696
01:31:14,840 --> 01:31:19,360
Speaker 3: the voice of Ramirez speaks in their minds and says, remember, highlander,

1697
01:31:19,680 --> 01:31:22,639
Speaker 3: you've both still got your full measure of life. Use

1698
01:31:22,680 --> 01:31:27,000
Speaker 3: it well and your future will be glorious end credits.

1699
01:31:27,680 --> 01:31:31,680
Speaker 1: Wow. So yeah, I guess he uses the power of

1700
01:31:31,720 --> 01:31:34,800
Speaker 1: this quickening, of this energy absorption of a powerful and

1701
01:31:34,920 --> 01:31:38,679
Speaker 1: mortal to short circuit all of the shield technology here

1702
01:31:39,439 --> 01:31:42,320
Speaker 1: and I guess yeah. And then at the end, is

1703
01:31:42,640 --> 01:31:46,920
Speaker 1: either mortal or is gonna get to return to Zeist?

1704
01:31:47,680 --> 01:31:51,880
Speaker 3: Doesn't doesn't make it, doesn't say ends incredibly abruptly with

1705
01:31:52,160 --> 01:31:56,479
Speaker 3: the voiceover by Sean Connery, which is calls back to

1706
01:31:56,560 --> 01:31:58,639
Speaker 3: the fun one of the funniest moments in the movie

1707
01:31:58,640 --> 01:32:01,040
Speaker 3: when he's pushing the fan measure of life. I don't

1708
01:32:01,040 --> 01:32:02,400
Speaker 3: know where any of that comes from.

1709
01:32:03,080 --> 01:32:05,519
Speaker 1: Now, tell me about this fairy tale ending. What is

1710
01:32:05,560 --> 01:32:07,799
Speaker 1: this return dezice thing that could have happened?

1711
01:32:08,200 --> 01:32:10,920
Speaker 3: So there are a couple of different endings. There is

1712
01:32:11,080 --> 01:32:15,439
Speaker 3: one ending in which after this Connor and Louise are

1713
01:32:15,439 --> 01:32:18,240
Speaker 3: like walking outside the shield pyramid and they're like, oh,

1714
01:32:18,280 --> 01:32:20,599
Speaker 3: we did it. You know, I love you, And then

1715
01:32:20,720 --> 01:32:24,720
Speaker 3: Connor returns to Zeist without her, you know. He's like,

1716
01:32:25,000 --> 01:32:26,880
Speaker 3: I love you, but I must leave you here on Earth.

1717
01:32:26,880 --> 01:32:29,280
Speaker 3: I've got it. I made a vow I would return dezeised,

1718
01:32:29,400 --> 01:32:32,400
Speaker 3: and he does. They like flies away into space. Then

1719
01:32:32,400 --> 01:32:37,640
Speaker 3: there's another ending where they both go dezeised, where he's like,

1720
01:32:38,040 --> 01:32:40,240
Speaker 3: you know, I love you, Come with me Dezeised and

1721
01:32:40,240 --> 01:32:42,840
Speaker 3: she's like, but I can't fly through space. And I

1722
01:32:44,000 --> 01:32:46,559
Speaker 3: think he's essentially like you know, it's a kind of magic.

1723
01:32:46,760 --> 01:32:50,000
Speaker 3: Just try it. And so she does and then she

1724
01:32:50,120 --> 01:32:52,360
Speaker 3: flies into space and they both fly into space and

1725
01:32:52,400 --> 01:32:53,320
Speaker 3: go Dezeice together.

1726
01:32:53,920 --> 01:32:55,360
Speaker 1: Okay, I don't know whether they're going to get up

1727
01:32:55,400 --> 01:32:57,719
Speaker 1: to there. We don't really know much about Zeius aside

1728
01:32:57,760 --> 01:33:02,280
Speaker 1: from conflict. Maybe they're they're good qualities. They have football apparently,

1729
01:33:02,320 --> 01:33:04,320
Speaker 1: and maybe high schools they don't.

1730
01:33:04,520 --> 01:33:07,759
Speaker 3: Yeah, we're never shown like what's worth fighting for on Zeised?

1731
01:33:08,200 --> 01:33:10,280
Speaker 3: We should we should see like the good you know,

1732
01:33:10,320 --> 01:33:11,800
Speaker 3: the good life on Zeized.

1733
01:33:11,720 --> 01:33:13,920
Speaker 1: Yeah, or the like the old Zeis that they're going

1734
01:33:14,000 --> 01:33:17,439
Speaker 1: to restore. I'm not sure again, why do we care

1735
01:33:17,479 --> 01:33:19,559
Speaker 1: about this? Why is it important? Why? Now?

1736
01:33:20,040 --> 01:33:23,439
Speaker 3: Anyway? That's Highland or two. The Quickening a movie that

1737
01:33:23,840 --> 01:33:26,920
Speaker 3: is so interesting to me. I mean it just in

1738
01:33:27,000 --> 01:33:32,320
Speaker 3: terms of a deeply hilarious, flawed movie. It is that,

1739
01:33:32,479 --> 01:33:35,360
Speaker 3: But it's also really interesting because there's a lot about

1740
01:33:35,360 --> 01:33:39,120
Speaker 3: it that is mostly buried in the American cut but

1741
01:33:39,400 --> 01:33:43,840
Speaker 3: is pretty good and just like isn't allowed to cohere

1742
01:33:43,880 --> 01:33:46,000
Speaker 3: into a full film. But if you can like look

1743
01:33:46,040 --> 01:33:49,400
Speaker 3: at those elements, they're they're really quite admirable in their

1744
01:33:49,400 --> 01:33:51,040
Speaker 3: own Like we were talking about some of the sets

1745
01:33:51,080 --> 01:33:54,000
Speaker 3: and some of the staging in the costumes, and like

1746
01:33:54,120 --> 01:33:57,320
Speaker 3: the actors are great, though I don't think anybody in

1747
01:33:57,360 --> 01:34:01,400
Speaker 3: this movie is on their a game, and so I

1748
01:34:01,479 --> 01:34:05,040
Speaker 3: don't know. It's just such an interesting creative product and

1749
01:34:05,600 --> 01:34:08,599
Speaker 3: whatever you think about it, I think it's undeniable that

1750
01:34:08,720 --> 01:34:14,759
Speaker 3: it is so funny and so perplexing and it's something

1751
01:34:14,800 --> 01:34:17,519
Speaker 3: that the people who are interested in filmmaking should see,

1752
01:34:17,600 --> 01:34:20,160
Speaker 3: I think, and and also learn watch the documentary and

1753
01:34:20,200 --> 01:34:22,080
Speaker 3: you know, learn learn about how it was made.

1754
01:34:22,240 --> 01:34:24,960
Speaker 1: Yeah, yeah, absolutely, Like if you're if you're into that side,

1755
01:34:25,000 --> 01:34:27,760
Speaker 1: like what went wrong and how is it made? And

1756
01:34:27,800 --> 01:34:30,439
Speaker 1: so forth, Like Highlander two is a great story if

1757
01:34:30,439 --> 01:34:32,919
Speaker 1: you just want a bad movie, a movie with flaws

1758
01:34:32,920 --> 01:34:35,400
Speaker 1: that you can you can riff on, Highlander two is

1759
01:34:35,439 --> 01:34:38,040
Speaker 1: a great choice if you know, if you like to

1760
01:34:38,120 --> 01:34:42,360
Speaker 1: find the diamonds in the midst of the rough, if

1761
01:34:42,360 --> 01:34:46,080
Speaker 1: you want to find the shiny parts of otherwise flawed films,

1762
01:34:46,080 --> 01:34:49,880
Speaker 1: like Highlander two has riches for you to behold. So yeah,

1763
01:34:49,880 --> 01:34:52,000
Speaker 1: I feel like it's one of those those weird films,

1764
01:34:52,000 --> 01:34:54,639
Speaker 1: those flawed films that has a lot to offer, two

1765
01:34:54,760 --> 01:34:57,400
Speaker 1: different different values, different audiences.

1766
01:34:57,800 --> 01:35:00,920
Speaker 3: Absolutely agree, Yeah, I love Highlander two.

1767
01:35:01,680 --> 01:35:03,840
Speaker 1: All right, well, we're gonna go ahead and close out

1768
01:35:03,960 --> 01:35:07,080
Speaker 1: this our second episode on Highlander two, second and final

1769
01:35:07,120 --> 01:35:11,960
Speaker 1: episode two, but we'd love to hear from everyone out

1770
01:35:11,960 --> 01:35:14,280
Speaker 1: there if you have thoughts on any of the various

1771
01:35:14,280 --> 01:35:17,799
Speaker 1: cuts of Highlander two, thoughts on the Highlander franchise in general,

1772
01:35:17,960 --> 01:35:21,080
Speaker 1: or you know other other films that you think meet

1773
01:35:21,280 --> 01:35:24,559
Speaker 1: these standards right in we would love to hear from you.

1774
01:35:24,920 --> 01:35:26,519
Speaker 1: Just a reminder that Stuff to Blow Your Mind is

1775
01:35:26,520 --> 01:35:30,160
Speaker 1: primarily a science and culture podcast, with core episodes on

1776
01:35:30,200 --> 01:35:33,519
Speaker 1: Tuesdays and Thursdays, a listener mail episode on Mondays, and

1777
01:35:33,560 --> 01:35:35,840
Speaker 1: a short form episode on Wednesdays. But on Fridays we

1778
01:35:35,880 --> 01:35:37,880
Speaker 1: set aside most serious concerns to just talk about a

1779
01:35:37,880 --> 01:35:40,479
Speaker 1: weird film here on Weird House Cinema. If you want

1780
01:35:40,479 --> 01:35:42,160
Speaker 1: to see a list of all the movies we've covered

1781
01:35:42,200 --> 01:35:45,000
Speaker 1: thus far, and sometimes a peek ahead at what comes next,

1782
01:35:45,240 --> 01:35:47,280
Speaker 1: go on over to letterbox dot com. That's l E

1783
01:35:47,320 --> 01:35:49,800
Speaker 1: T T e r box d dot com our user

1784
01:35:49,840 --> 01:35:52,960
Speaker 1: profile there is weird House, and you will find the

1785
01:35:53,080 --> 01:35:54,479
Speaker 1: list that I just referenced.

1786
01:35:54,840 --> 01:35:58,839
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1787
01:35:59,160 --> 01:36:00,720
Speaker 3: If you would like to get to touch with us

1788
01:36:00,720 --> 01:36:03,160
Speaker 3: with feedback on this episode or any other, to suggest

1789
01:36:03,200 --> 01:36:05,200
Speaker 3: a topic for the future, or just to say hello.

1790
01:36:05,520 --> 01:36:08,160
Speaker 3: You can email us at contact at stuff to Blow

1791
01:36:08,160 --> 01:36:16,080
Speaker 3: your Mind dot com.

1792
01:36:16,200 --> 01:36:19,160
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1793
01:36:19,240 --> 01:36:22,040
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1794
01:36:22,160 --> 01:36:24,920
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.