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

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Speaker 2: Hey you welcome to Weird House Cinema.

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

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Speaker 3: today on Weird House we're going to be talking about

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Speaker 3: the nineteen eighty seven cult sci fi action film The Hidden,

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Speaker 3: directed by Jack Shoulder, starring Kyle McLaughlin, Michael Neori, and

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Speaker 3: Claudia Christian. Big spoiler warning at the top of today's episode.

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Speaker 3: As always, we're going to be talking about the plot

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Speaker 3: of the movie in a lot of detail, and this

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Speaker 3: movie today contains major twists and surprises which are pretty

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Speaker 3: bizarre and I would argue quite pleasing to follow if

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Speaker 3: you go in cold. So this is one where you

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Speaker 3: really might want to think about watching the movie without

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Speaker 3: listening any further. I will give a warning the top

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Speaker 3: that The Hidden is incredibly violent, like tons of on

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Speaker 3: screen murder and blood squibs, almost non stop gunfire. But

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Speaker 3: if you have the stomach for that sort of thing,

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Speaker 3: if you know you can be into like eighties R

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Speaker 3: rated cop movies that have that kind of violence, And

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Speaker 3: if you want something that is I would say one

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Speaker 3: part like hardcore eighties cop movie with ultra violence and

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Speaker 3: all the cop cliches just kind of you know, meat

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Speaker 3: loaf mouth ribbing of cops going at each other, and

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Speaker 3: then another part absolutely wacky. I really would recommend watching

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Speaker 3: this movie without reading or listening to anything else.

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Speaker 2: Yeah, just know that it's the sort of cop movie,

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Speaker 2: an LA cop movie from the eighties that we would

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Speaker 2: cover on Weird House Cinema. And then you're good to go.

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Speaker 2: And if you're wondering where you can find it, well,

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Speaker 2: this one's pretty widely available to stream. I watched it

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Speaker 2: on the Warner Brothers Blu ray, which is a rather

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Speaker 2: nice little package. It features a director's commentary track plus

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Speaker 2: a special effects feature. I rendered this one from Atlanta's

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Speaker 2: own video dro.

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Speaker 3: Yeah, so if you want to pause the episode, go

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Speaker 3: watch the hidden and then come back. Here is your chance. So,

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Speaker 3: now that we're done with the warning, we can go

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Speaker 3: on with the description and talk about how for the

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Speaker 3: first ten minutes or so of this movie it seems

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Speaker 3: like it's gonna be a routine cop movie. It just

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Speaker 3: starts off with like a violent bank robbery and then

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Speaker 3: a car chase, a bunch of shooting and explosions, and

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Speaker 3: then suddenly I think it's about thirteen minutes into the

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Speaker 3: movie you get this hard shift into sci fi horror

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Speaker 3: when a spree killer and just general crime maniac languishing

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Speaker 3: in a hospital bed after the opening action scene, suddenly

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Speaker 3: barfs up a black slug from outer space into the

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Speaker 3: mouth of another page in the hospital, transferring the real

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Speaker 3: thrill killer of the movie, which is an alien parasite,

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Speaker 3: into a new human host so that he can continue

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Speaker 3: he can escape the hospital and continue his rampage. And

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Speaker 3: then so that's the villain of the movie. And then

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Speaker 3: Michael Newry and Kyle McLaughlin will spind the rest of

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Speaker 3: the film chasing this alien slug psycho as it hops

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Speaker 3: from body to body, committing random acts of violence, also

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Speaker 3: acts of theft and gluttony. It's just generally a creature

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Speaker 3: of desires, and it's going around always looking for a

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Speaker 3: new sports car to steal, and they're going to be

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Speaker 3: chasing it the whole time. And then we may have

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Speaker 3: more secrets to learn beyond that initial reveal as well.

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Speaker 2: That's right, we won't spoil all the spoilers during this portion.

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Speaker 2: We'll get into some of them during the plot. But yeah,

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Speaker 2: i'd say this particular cocktail of a film is roughly

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Speaker 2: two parts. Even nineteen eighty five's To Live and Die

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Speaker 2: in La so strong elements of that, you know, like

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Speaker 2: the hard, you know, gritty contemporary crime saga told from

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Speaker 2: the standpoint of you know, mostly police characters. But then

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Speaker 2: there is there's a little bit of Terminator in there.

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Speaker 2: There's also, as we've already alluded to, a strong dash

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Speaker 2: of alien parasite films, bringing to mind things like seventy

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Speaker 2: five Shivers or of course, the various adaptations of The

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Speaker 2: Puppet Masters, in which there's some sort of indo parasite

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Speaker 2: that controls the body.

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Speaker 3: Was The Puppet Masters an uncredited inspiration on the movie

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Speaker 3: we covered from the fifties called The Brain Eaters.

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Speaker 2: I believe it was, Yes, yeah, this will quote. Yeah.

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Speaker 2: The whole idea of like a parasite controlling you, of course,

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Speaker 2: is gonna it's gonna fit very snugly in sort of

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Speaker 2: the Macarthy era, you know, Blacklist era of Hollywood, when

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Speaker 2: there's the you know, the fear of like some sort

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Speaker 2: of communist parasite from outside is going to you know,

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Speaker 2: change your romance, tick partner or your best friend into

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Speaker 2: a communist. That sort of Thing.

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Speaker 3: Maybe we should actually take a minute here to talk

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Speaker 3: about the body hopping scenario in sci fi and horror movies,

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Speaker 3: because you're right that that scenario is similar to other

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Speaker 3: types of subgenres, like you know, replication like you would

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Speaker 3: see in The Thing, or you know, an invasion of

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Speaker 3: the body snatchers, but this is a little bit different

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Speaker 3: in that it involves possession of the original bodies. So

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Speaker 3: these are movies where the villain is some kind of

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Speaker 3: alien or monster or demon that can take control of

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Speaker 3: the bodies of human beings and then goes about hopping

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Speaker 3: from one victim to the next, using the human disguise

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Speaker 3: to its advantage.

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Speaker 2: And it is a specific entity. And that's I think

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Speaker 2: another thing that sets it apart from some of the

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Speaker 2: other films I was trying to I was trying to

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Speaker 2: think of other films that fit this category, and like,

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Speaker 2: if it's a situation where a like demon in general

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Speaker 2: are possessing people left and right, well that's that's not

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Speaker 2: really That only match up with the Hidden It has

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Speaker 2: to be a film in which there is a single demon,

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Speaker 2: So not a demon that is Legion, but just a

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Speaker 2: demon named Legion.

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Speaker 3: Yeah, Okay, Well I was trying to think of examples,

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Speaker 3: and I thought of a few. There's a movie I

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Speaker 3: actually have never seen in full. It's one of those

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Speaker 3: I saw like half of on TV years and years ago,

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Speaker 3: but Fallen from nineteen ninety eight with Denzel Washington and

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Speaker 3: John Goodman. I know it's a demon movie. In this case,

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Speaker 3: it's a demon possessing human victims. I don't know what

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Speaker 3: the demon's goal is in that movie. I think, is

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Speaker 3: it just trying to take over the world or something?

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Speaker 2: You know. I think I watched parts of this. I

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Speaker 2: had it like on in the room in the dorm

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Speaker 2: room when in college at some point, but I was

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Speaker 2: like doing something else, I was studying or something. I

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Speaker 2: don't know, but I think this film obviously you have

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Speaker 2: some great actors in this. But one of the things

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Speaker 2: about a body hopping film, as we're describing it now

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Speaker 2: is in general, you're talking about a film where you

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Speaker 2: don't have a single enigmatic bad guy player. You're gonna

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Speaker 2: have to have multiple people play the bad guy, to

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Speaker 2: be the sleeve for the bad guy, to be the

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Speaker 2: body for the bad guy, and that could be anti

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Speaker 2: climactic in some cases. I think this film does it

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Speaker 2: really well. And we'll discuss all the ways that it

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Speaker 2: does such a good job with it.

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Speaker 3: You mean this film The Hidden or this film Fallen

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Speaker 3: the Hidden?

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Speaker 2: Yeah, my memory of Fallen is too vague to remember

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Speaker 2: how well they played it. Like, I think John Goodman

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Speaker 2: ends up being possessed at some point, and if so,

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Speaker 2: I'm willing to guess that plays really well because John

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Speaker 2: Goodman is a great actor.

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Speaker 3: He can do he can do lovable and hateable and

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Speaker 3: does both in the same movie sometimes. Yeah. Ever seen

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Speaker 3: Barton Fink? I mean yes, yeah, yeah, yeah, he's great

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Speaker 3: in that. But yeah, it does does both there. But

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Speaker 3: and so there's another body hopping movie that came to

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Speaker 3: mind for me. Rob. Have you seen Shocker the West?

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Speaker 2: I've never seen Shocker? No, I know this is This

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Speaker 2: is one of your faves. I've heard you talk about

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Speaker 2: it multiple times.

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Speaker 3: We're gonna have to do Shocker on Weird House one day,

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Speaker 3: and we may also have to review the old segment

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Speaker 3: from the Ciskel and Ebert TV show where Gene Siskel

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Speaker 3: is just trying to explain why he thinks Shocker is

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Speaker 3: a great movie, Like he's got words seem to be

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Speaker 3: failing him. But so the premise of this movie is

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Speaker 3: You've got a serial killer played by Mitch Poleggi his

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Speaker 3: Skinner from the X Files. And this serial killer works

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Speaker 3: a day job as a TV repair man, and when

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Speaker 3: he so, he gets caught for his crimes and they're

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Speaker 3: preparing to execute him in the electric chair, but before

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Speaker 3: that happens, he does some kind of satanic ritual involving

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Speaker 3: a TV and jumper cables, which transforms him into an

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Speaker 3: electricity ghost who can travel through power lines and come

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Speaker 3: out of electrical sockets, come out of TV screens, and

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Speaker 3: he can also possess human beings, so he jumps into

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Speaker 3: people takes control of their bodies. A motive of the

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Speaker 3: body hopper in this movie seems to be it's mostly revenge,

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Speaker 3: like he wants revenge against the protagonist of the movie,

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Speaker 3: who is a high school football player who happens to

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Speaker 3: be psychic played by Peter Berg. This character helped catch

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Speaker 3: the killer in the first place, and I think also

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Speaker 3: he just wants to keep on doing crimes and he's

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Speaker 3: going to do them in Electricity Ghost Slash, possessing human

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Speaker 3: bodies for him.

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Speaker 2: Yeah. I never saw this one, but I do remember

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Speaker 2: the trailers for it. I saw the trailers for it

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Speaker 2: when you know, as a child, I just believed everything

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Speaker 2: that the trailers were throwing at me. I thought this guy,

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Speaker 2: the main character, was going to be the next Ready Krueger.

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Speaker 2: I don't remember if they actually made that promise, but

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Speaker 2: they probably heavily hyped from the creator of a Nightmare

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Speaker 2: on Elm Street, and I was like, Oh, this is

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Speaker 2: going to be the next big franchise.

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Speaker 3: Well, yeah, I think that's what they were going for,

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Speaker 3: because he's already late sequel Freddie in terms of he's

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Speaker 3: doing a lot of he makes like jokes, he has

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Speaker 3: one liners. He's like a wise, cracking, sinister kind of villain. Yeah, yeah,

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Speaker 3: not soft spoken. Another one actually to complete the You know,

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Speaker 3: so you got the Freddy analog on one side the

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Speaker 3: Craven verse. Also, did you know that there is a

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Speaker 3: Friday the Thirteenth movie that's a body hopping movie.

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Speaker 2: This this is something I always forget about, and I

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Speaker 2: don't think i've seen this one in full, but yeah,

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Speaker 2: I mean it makes sense that they would begin to

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Speaker 2: run out of things to do in the Friday the

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Speaker 2: Thirteenth franchise.

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Speaker 3: So Friday Thirteenth Part nine Jason Goes to Hell is,

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Speaker 3: in my opinion, the worst of all the Friday thirteenth movies.

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Speaker 3: It is enlivened only slightly by some well one thing

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Speaker 3: that sort of perks it up for a moment is

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Speaker 3: the presence of a bizarre character named Creighton Duke played

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Speaker 3: by the actor Steven Williams, who is some kind of

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Speaker 3: bounty hunter who's supposed to be hunting Jason Vorhees, the

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Speaker 3: hockey mask guy in the Friday movies. It's been a

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Speaker 3: while since I've seen this one, but I recall there's

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Speaker 3: a part where he divulges lore about how Jason can

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Speaker 3: only be killed by another vor he Is from the

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Speaker 3: Vorhe's line, it's like from a Varhe's was he made

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Speaker 3: only by a Varheez? Can he be unmade? And they

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Speaker 3: also have to use a magic dagger? But in this

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Speaker 3: movie Jason. One of the big criticisms from fans of

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Speaker 3: the series is that for most of the movie, or

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Speaker 3: at least half of the movie, Jason doesn't look like Jason.

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Speaker 3: He's not the guy in the jumpsuit with the hockey mask.

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Speaker 3: He's body hopping. So it's in the beginning of the

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Speaker 3: movie like a bunch of FBI agents or something kind

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Speaker 3: of blow Jason up into pieces and then some and

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Speaker 3: then there's like a medical pathologist who's doing an autopsy

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Speaker 3: on the remains of Jason's body, and I think gets

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Speaker 3: like hypnotized by Jason's evil heart and then eats his

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Speaker 3: heart and then gets body possessed and like turns into Jason,

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Speaker 3: but doesn't look like him except in a mirror, so

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Speaker 3: it's just a regular looking guy walking around. And then

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Speaker 3: he trades bodies a few more times in the movie,

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Speaker 3: so he exists as this weird little like fecal rat

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Speaker 3: snake demon who like goes out of the mouth. I

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Speaker 3: think he gets like pooped out of somebody's mouth into

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Speaker 3: somebody's other somebody else's mouth, much like the Slug and

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Speaker 3: The Hidden actually quite mechanically similar. I'm going to say

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Speaker 3: this effect in the Hidden looks a lot better than

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Speaker 3: the one and oh, Jason goes to Hell.

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Speaker 2: I don't even know what it looks like. And Jason

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Speaker 2: goes to Hell, but it's perfect in the Hidden, so.

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Speaker 3: Yes, so I can't I can't prove, but suspect that

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Speaker 3: both Shocker and Jason Goes to Hell were influenced by

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Speaker 3: the Hidden.

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Speaker 2: You know, I mean the Jason goes to Hell concept here.

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Speaker 2: First of all, it's also I think this movie bombed

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Speaker 2: for a lot of people because the title sounds like

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Speaker 2: you're getting Jason, you know, in the Divine Comedy that

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Speaker 2: he's going to go to help on. Yeah, it's going

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Speaker 2: to be incredible, Like, what a great title. And then

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Speaker 2: it doesn't deliver on that. But by enlarge, the concept

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Speaker 2: of like, oh, we are all potentially Jason now, like

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Speaker 2: that could have been really good if the well wasn't

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Speaker 2: so poisoned by this movie. I could imagine going someone

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Speaker 2: going back to that, you know, because it's like all

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Speaker 2: you have to do now they got a hockey mask on,

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Speaker 2: they're killing people. You know, it's a you know, it's

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Speaker 2: you know, this type of person one minute, this type

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Speaker 2: of person the next. Who will the next Jason be?

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Speaker 2: Could have worked?

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Speaker 3: I mean I think anything could work if done well.

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Speaker 2: But it's just was not done.

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Speaker 3: It doesn't do it for me. I get a lot

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Speaker 3: of tolerance for Jason movies. Also, even like the not

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Speaker 3: good ones, I can just I have a good time

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Speaker 3: sitting through those, but this one doesn't do it for me.

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Speaker 3: All right, But yeah, so and then I was also thinking, Okay,

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Speaker 3: what's the motive of the monster there? I think I

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Speaker 3: think it's just Jason, like it wants to, you know,

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Speaker 3: he does what Jason does, even when he's in somebody

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Speaker 3: else's body.

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Speaker 2: Yeah, yeah, yeah, rise out of water, destroy teenager, that

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Speaker 2: sort of thing.

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Speaker 3: Well, I do think in this case, he's trying to

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Speaker 3: destroy the people who could I don't know, he's trying

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Speaker 3: to destroy his relatives or something, because they're the only

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Speaker 3: ones who can unjason him with a magic dagger. Okay, yeah,

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Speaker 3: and self defense new lore introduced in part nine, Thank you.

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Speaker 3: But anyway, this got me thinking about trends and themes

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Speaker 3: in body hopping movies as opposed to other types of

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Speaker 3: horror and sci fi movies. And it got me thinking

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Speaker 3: about how they're really like two different kinds of body

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Speaker 3: hopping scenarios in these movies. And I just made these

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Speaker 3: terms up. I would call this like common deering versus repurposing.

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Speaker 3: So in your commandeering story, the original person who gets

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Speaker 3: possessed in some way remains alive and could, in theory,

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Speaker 3: reassume control of their body.

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Speaker 2: Yeah, and generally there'll be a scene where someone's like,

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Speaker 2: I know, you're still in there, Sally, Yeah, remember this

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Speaker 2: photo of your dad, remember this stuff to animal and

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Speaker 2: or the other side of that too, is like the

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Speaker 2: possessing entity like brings out the evil side of the

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Speaker 2: person it's possessing.

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Speaker 3: That's sort of right. Yeah, And sometimes they're fighting for

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Speaker 3: control of the body. But so and it can have

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Speaker 3: different versions, like so the commandeering story, it could have

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Speaker 3: the person sort of rendered unconscious by the process of

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Speaker 3: the monster taking control and using their body. But other

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Speaker 3: times it's like they're conscious and aware, but they're just

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Speaker 3: powerless to control their own actions, like they are being

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Speaker 3: forced to sit in the passenger seat of their own

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Speaker 3: body while somebody else takes the wheel. Whereas I would

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Speaker 3: say that the repurposing version of this storyline is the

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Speaker 3: original person is gone and their body is now simply

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Speaker 3: a shell or a vehicle to be used by the monster.

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Speaker 3: I think this is the case in The Hidden I

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Speaker 3: don't know if you can think of a counter example,

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Speaker 3: but I don't think we ever get any indication that

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Speaker 3: the original person could or does survive in any way.

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Speaker 3: I don't think so. It seems like once the monster's

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Speaker 3: in there in the Hidden There, the person is dead

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Speaker 3: and the monster is just using the body to blend in.

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Speaker 2: That largely seems to be the model here. I mean,

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Speaker 2: it's complicated by the fact that the possessing evil entity

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Speaker 2: generally has no intention of you know, returning the vhs

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Speaker 2: at the end of the rental. You know, he drives

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Speaker 2: them all like he stole them, you know, generally into

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Speaker 2: the ground and into an explosion, that sort of thing.

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Speaker 2: And then also we see cases where he is possessing

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Speaker 2: a body that he is either already fatally injured or

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Speaker 2: about to die, or may in fact be dead.

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Speaker 3: Yeah, that's right. So I was thinking about the ways

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Speaker 3: that these slightly different ways of dealing with the scenario

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Speaker 3: bring up different themes, like how commandeering scenarios in storytelling

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Speaker 3: generally introduced themes of agency and control. It's like you're

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Speaker 3: talking about with the scene, like I know you're in

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Speaker 3: their sally. You know you can fight back. And these

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Speaker 3: can often be metaphors for like real situations that make

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Speaker 3: people feel as if they're not in control of their

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Speaker 3: own actions, or situations where people act against their interests.

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Speaker 3: So subjects like addiction or compulsive behavior, temptation against our

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Speaker 3: better angels, and things like that. Whereas repurposing scenarios, I think,

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Speaker 3: tend to be more about external threats, about trust and suspicion,

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Speaker 3: and they raise questions like can you ever really know

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Speaker 3: another person? And are other people really who you think

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Speaker 3: they are? And I think that The Hidden does in

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Speaker 3: fact deal more with the latter themes than with the former.

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Speaker 3: It's not really about agency and control, but it is

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Speaker 3: very much about are people really who you think they are?

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Speaker 3: And that comes through in multiple ways. The themes are

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Speaker 3: kind of subtle because on the surface level, it really

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Speaker 3: is like a meathead action movie, like it's a bullet

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Speaker 3: hell plot. It doesn't usually stop to get very, you know,

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Speaker 3: very thoughtful. The ways in which it's thoughtful are just

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Speaker 3: kind of for you to find on your own mostly,

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Speaker 3: But I think these themes are there, like it asks

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Speaker 3: can how can we really trust that people are who

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Speaker 3: they say they are? And that applies to politicians seeking

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Speaker 3: power and to family members seeking love and intimacy. It

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Speaker 3: is a question raised in multiple ways by the story.

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Speaker 2: Yeah, yeah, but yeah, I would agree that that that

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Speaker 2: depth is there for you to explore on your own

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Speaker 2: if you want to.

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Speaker 3: In between explosions, Yes, but I would also say that

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Speaker 3: of all the movies we've been talking about, I think

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Speaker 3: The Hidden makes better, weirder and funnier use of the

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Speaker 3: body hopping plot convention than most of the other movies

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Speaker 3: that I can think of that do some version of this.

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Speaker 2: I would agree this movie is tremendous if you're on

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Speaker 2: board for the eighties cop violence, and I have to

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Speaker 2: distress like the violence in this film. You know, it's

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Speaker 2: nowhere near like the RoboCop level of like disturbing violence.

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Speaker 2: You know, it's it's a there's a lot of shoot

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Speaker 2: them up in a lot of squibs, like you said,

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Speaker 2: But on the whole that the tone here is fun.

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Speaker 2: It is not a feel bad motion picture. It isn't

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Speaker 2: It is body horror, but not not body horror in

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Speaker 2: the sense that we often think about it today.

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Speaker 3: Yeah, I would say I agree with you about the

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Speaker 3: violence because like most of the stuff, it moves on

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Speaker 3: from pretty quick. But there is some violence in it

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Speaker 3: that feels pretty nasty because it is the alien doing

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Speaker 3: its crime spree, and not just like fighting cops, but

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Speaker 3: just like randomly killing like random civilians.

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Speaker 2: Yeah, yeah, yeah, if you if you don't want to

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Speaker 2: see that kind of thing, because obviously it does mirror

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Speaker 2: things that happen in our real world. Give it a

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Speaker 2: skip or you know, wait till you're in the right

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Speaker 2: mood for it. But but if you're willing to stomach

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Speaker 2: all of that, it's pretty fun.

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Speaker 3: Uh So elevator pitch. I mean, we've sort of gone

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Speaker 3: over this, but I would say it's like one part

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Speaker 3: by the Numbers hardcore cop thing. It's one part like

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Speaker 3: satirical science fiction. It's Kurt Vonnegut in a way almost.

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Speaker 3: I don't know if that's a little bit overpraising it,

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Speaker 3: but it's it's a little bit Vonneguty. It's one part

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Speaker 3: proto Twin Peaks and another part just watching somebody play

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Speaker 3: Grand Theft auto.

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Speaker 2: Yeah. Yeah, that's a good point, and I'll give it

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Speaker 2: an alternate elevator pitch. I'm just gonna say Space slug

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Speaker 2: the motion picture. Oh yeah, all right, Well, let's get

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Speaker 2: into the folks behind this one. And I'm going to

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Speaker 2: add another spoiler warning here because in running through the cast,

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Speaker 2: I am going to go ahead and reveal many of

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Speaker 2: the people who end up getting Space Slugged that end

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Speaker 2: up being possessed and becoming the meat suit for the

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Speaker 2: parasite because it's ultimately important for evaluating the actors performances,

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Speaker 2: I think because absolutely some of the if we just

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Speaker 2: told them, oh yeah, this guy plays a dude in

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Speaker 2: the hospital, like that doesn't tell you anything like that,

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Speaker 2: they really get to shine when they are possessed by

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Speaker 2: the space lug.

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Speaker 3: Yeah. I agree. This is again why I put the

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Speaker 3: spoiler warning right at the top of this episode, because

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Speaker 3: this is one where we really just like, you can't

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Speaker 3: talk about it at all without spoiling some of the surprises,

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Speaker 3: and we have to be able to talk about it.

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Speaker 3: So yeah, we're warning again if if you didn't heed

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Speaker 3: us the first time and you want to keep and

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Speaker 3: you want to watch it with some surprises still intact,

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Speaker 3: stop here, go watch it and then come back.

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Speaker 2: I have to say this. I'm I'm really I really

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Speaker 2: enjoyed this one. I had never seen it before, and

402
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Speaker 2: I'd really heard very little about it. It'd come up

403
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Speaker 2: previously on Weird House Cinema because of a connection we're

404
00:21:44,080 --> 00:21:46,760
Speaker 2: going to get into here. But since it has kind

405
00:21:46,760 --> 00:21:49,720
Speaker 2: of maybe flown under the radar to a certain extent

406
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Speaker 2: and you know, still has its I think has its

407
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Speaker 2: own sort of cult status. But but it isn't the

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Speaker 2: sort of thing that's just going to be naturally spoiled

409
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Speaker 2: for everyone out there. So I think it's a lot

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Speaker 2: easier to come in fresh on this one versus certain

411
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Speaker 2: other like spoiler heavy movies out there.

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Speaker 3: Yeah, it's not like knowing that Rosebud is a sled.

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Speaker 2: Yeah yeah, all right, Well let's get into it here.

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Speaker 2: Let's start with the director who we mentioned earlier. It's

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Speaker 2: Jack Shoulder born nineteen forty five, American director whose credits

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Speaker 2: go back to nineteen seventy three with the film The

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Speaker 2: Garden Party, which he also wrote adapted from the Catherine

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Speaker 2: Mansfield short story. After this, in eighty two, he wrote

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Speaker 2: the hockey mask slasher movie Alone in the Dark that

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Speaker 2: had Jack Palance, Donald Pleasants, and Martin Landau in it,

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Speaker 2: and that came out just a couple of months after

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Speaker 2: Friday the Thirteenth, Part three, the first movie I Believe

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Speaker 2: in which Jason actually wore the hockey.

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Speaker 3: Mask, right, no hockey mask in one or two. Jason's

425
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Speaker 3: not the killer in the first movie, and the second

426
00:22:52,119 --> 00:22:54,919
Speaker 3: movie he wears a bag on his head, which actually

427
00:22:55,000 --> 00:22:57,560
Speaker 3: is creepier than the hockey mask. But the hockey mask

428
00:22:57,720 --> 00:23:01,280
Speaker 3: is a better choice overall in making him an iconic

429
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Speaker 3: and recognizable villain because the bag is creepy, but it's

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Speaker 3: not distinctive.

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Speaker 2: Yeah. So, as far as I can tell, these two

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Speaker 2: movies both just kind of have the same idea at

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Speaker 2: the same time for different reasons. And to be cleared,

434
00:23:13,000 --> 00:23:15,960
Speaker 2: neither was the first kind of like killer movie in

435
00:23:16,000 --> 00:23:17,920
Speaker 2: which the killer wears a hockey mask.

436
00:23:19,680 --> 00:23:21,879
Speaker 3: All right, well, do you know what the first one was?

437
00:23:22,440 --> 00:23:24,840
Speaker 2: I do. Let me try to remember what its more

438
00:23:24,920 --> 00:23:26,080
Speaker 2: pleasant title is.

439
00:23:26,560 --> 00:23:26,760
Speaker 3: Oh.

440
00:23:26,840 --> 00:23:29,919
Speaker 2: No, it is a film called Act of Vengeance from

441
00:23:29,960 --> 00:23:32,760
Speaker 2: nineteen seventy four. As far as I know, there may

442
00:23:32,800 --> 00:23:35,000
Speaker 2: be something earlier than that, but that I think is

443
00:23:35,040 --> 00:23:38,399
Speaker 2: the earliest motion picture in which a killer or villain

444
00:23:38,440 --> 00:23:41,119
Speaker 2: of some sort has a hockey mask on.

445
00:23:41,320 --> 00:23:43,360
Speaker 3: Oh does it have an alternate title? You didn't want

446
00:23:43,359 --> 00:23:44,000
Speaker 3: to say out loud?

447
00:23:44,160 --> 00:23:48,840
Speaker 2: Correct? Yeah, you know it has a I've never seen it.

448
00:23:48,920 --> 00:23:51,560
Speaker 2: In my understanding, it's an imperfect film that doesn't really

449
00:23:51,600 --> 00:23:54,919
Speaker 2: handle its themes very well. Okay, So yeah, after a

450
00:23:54,960 --> 00:23:57,879
Speaker 2: loan in the Dark, he goes on to direct nineteen

451
00:23:57,920 --> 00:24:01,840
Speaker 2: eighty Five's a Nightmare on Elm Street too, Freddy's Revenge.

452
00:24:02,840 --> 00:24:04,880
Speaker 2: This is one that has. I don't know. I think

453
00:24:04,880 --> 00:24:07,840
Speaker 2: for a while was maybe considered a lesser Nightmare installment,

454
00:24:07,880 --> 00:24:11,879
Speaker 2: but I believe has has been reevaluated a lot in

455
00:24:12,160 --> 00:24:14,760
Speaker 2: like over the last couple of decades anyway, in large

456
00:24:14,760 --> 00:24:16,880
Speaker 2: part because of its homo erotic elements.

457
00:24:17,200 --> 00:24:20,960
Speaker 3: Yeah. So it's a movie that has clearly a lot

458
00:24:20,960 --> 00:24:24,159
Speaker 3: of like gay themes coming through. And I think that

459
00:24:24,440 --> 00:24:28,440
Speaker 3: used to be received more with mocking and derision because

460
00:24:28,480 --> 00:24:33,280
Speaker 3: it was perceived as like an unintentional thing about the movie,

461
00:24:33,400 --> 00:24:35,640
Speaker 3: and it's like, oh, it's so weird that it has

462
00:24:35,680 --> 00:24:38,080
Speaker 3: all these gay themes when it's not supposed to. And

463
00:24:38,119 --> 00:24:41,600
Speaker 3: then I think the more recent strain and interpretation is like,

464
00:24:41,720 --> 00:24:43,320
Speaker 3: well maybe it was just supposed to.

465
00:24:43,960 --> 00:24:47,000
Speaker 2: Yeah, yeah, that's my understanding of it. I don't think

466
00:24:47,000 --> 00:24:49,119
Speaker 2: I've ever seen that one. I've of course seen the

467
00:24:49,119 --> 00:24:53,240
Speaker 2: first Nightmare, and I've seen I've seen a lot of

468
00:24:52,720 --> 00:24:56,560
Speaker 2: the sequels after that, maybe not like a committed viewing,

469
00:24:56,600 --> 00:24:59,800
Speaker 2: but sort of like you know, high school viewings. But

470
00:25:00,000 --> 00:25:01,840
Speaker 2: I don't think I ever watched two. But we'll have

471
00:25:01,840 --> 00:25:03,680
Speaker 2: more to say about Nightmare on Elm Street. This movie

472
00:25:03,680 --> 00:25:07,200
Speaker 2: has a lot of Nightmare on Elm Street connections. Yeah,

473
00:25:07,280 --> 00:25:09,840
Speaker 2: let's see this. So after this movie, he did The Hidden.

474
00:25:09,840 --> 00:25:12,439
Speaker 2: The Hidden was his follow up to Nightmare two, and

475
00:25:12,560 --> 00:25:17,040
Speaker 2: subsequent films included eighty nine's Renegades, ninety nine's Wish Master two,

476
00:25:17,520 --> 00:25:20,280
Speaker 2: two thousand and one's Aracknid, and he also just did

477
00:25:20,280 --> 00:25:22,840
Speaker 2: a lot of TV work, including episodes of Tales from

478
00:25:22,840 --> 00:25:26,679
Speaker 2: the Crypt. The episode in particular is a Fitting Punishment,

479
00:25:26,720 --> 00:25:29,520
Speaker 2: which is a good, if not super fun episode. I

480
00:25:29,520 --> 00:25:32,040
Speaker 2: believe this is the one that's set at like like

481
00:25:32,080 --> 00:25:35,399
Speaker 2: a black funeral home and has some really good actors.

482
00:25:35,400 --> 00:25:37,000
Speaker 2: This's come up on the show before because of you know,

483
00:25:37,000 --> 00:25:40,760
Speaker 2: dip connected actors. Let's see. He also did an episode

484
00:25:40,760 --> 00:25:42,919
Speaker 2: of the TV show Generation X, which was like a

485
00:25:42,960 --> 00:25:47,800
Speaker 2: marvel thing Mortal Kombat conquest, as well as at least

486
00:25:48,160 --> 00:25:51,440
Speaker 2: one episode of The Trimmer's television series, which I don't

487
00:25:51,440 --> 00:25:53,520
Speaker 2: think I've ever watched that either, but does have a

488
00:25:53,520 --> 00:25:54,040
Speaker 2: good cast.

489
00:25:56,000 --> 00:25:59,679
Speaker 3: I'm going to say that of the Jack Shoulder movies

490
00:25:59,720 --> 00:26:02,159
Speaker 3: I have seen, the Hidden is Head and Shoulder is

491
00:26:02,200 --> 00:26:05,840
Speaker 3: the best one. I think this is like a crowning

492
00:26:05,880 --> 00:26:08,399
Speaker 3: achievement here. Yeah, though I haven't seen every one of

493
00:26:08,400 --> 00:26:09,280
Speaker 3: his movies.

494
00:26:08,960 --> 00:26:11,280
Speaker 2: But yeah, it's really solid, like if The Hidden was

495
00:26:11,320 --> 00:26:13,280
Speaker 2: your first Jack Shoulder movie to see, you'd be like,

496
00:26:13,359 --> 00:26:15,200
Speaker 2: I've got to see all the other things this guy did.

497
00:26:15,800 --> 00:26:17,800
Speaker 2: Let's see that Mortal Kombat conquest.

498
00:26:18,359 --> 00:26:21,600
Speaker 3: But the Raknid from two thousand doesn't quite live.

499
00:26:21,520 --> 00:26:24,840
Speaker 2: Up to Yeah Yeah, but it is really solid. And

500
00:26:25,600 --> 00:26:28,760
Speaker 2: I didn't have the time to really get into the

501
00:26:28,760 --> 00:26:32,800
Speaker 2: commentary track, but I did check out the special effects feature,

502
00:26:32,920 --> 00:26:35,040
Speaker 2: which has some thoughts from Shoulder about the film, and

503
00:26:35,040 --> 00:26:37,639
Speaker 2: I thought he was very well spoken about some of

504
00:26:37,680 --> 00:26:39,480
Speaker 2: the choices they made, and we'll get into some of

505
00:26:39,480 --> 00:26:43,000
Speaker 2: those as we discussed the plot. I will note that

506
00:26:43,080 --> 00:26:45,680
Speaker 2: there is a sequel to this movie, nineteen ninety three

507
00:26:45,720 --> 00:26:49,879
Speaker 2: is The Hidden two. It features no returning talent outside

508
00:26:49,920 --> 00:26:53,720
Speaker 2: of archive footage, but Todd Masters was involved in the

509
00:26:53,720 --> 00:26:56,800
Speaker 2: special effects, which is a good sign, so if nothing else,

510
00:26:57,000 --> 00:27:00,960
Speaker 2: it probably has some interesting effects work in it, all right.

511
00:27:01,080 --> 00:27:03,160
Speaker 2: The screenwriter on this film is someone we've talked about

512
00:27:03,160 --> 00:27:05,800
Speaker 2: in the show before. It's Jim Coff born nineteen fifty one,

513
00:27:06,240 --> 00:27:09,600
Speaker 2: writer and producer who was involved in a little film

514
00:27:09,640 --> 00:27:13,600
Speaker 2: from nineteen eighty one called The Buggins Unbelievable.

515
00:27:14,040 --> 00:27:19,040
Speaker 3: This is like several levels above the Bogins as a script,

516
00:27:19,080 --> 00:27:21,320
Speaker 3: I think, yeah, No, I mean The Buggins was fun,

517
00:27:21,359 --> 00:27:25,439
Speaker 3: but like, this is actually an interesting and funny movie.

518
00:27:25,680 --> 00:27:27,600
Speaker 3: It has a lot of cliches and stuff in it,

519
00:27:27,880 --> 00:27:30,960
Speaker 3: But I would class this as like a really good script,

520
00:27:31,040 --> 00:27:32,600
Speaker 3: And I don't know if I'd say the same about

521
00:27:32,600 --> 00:27:33,200
Speaker 3: The Buggins.

522
00:27:33,320 --> 00:27:36,960
Speaker 2: Yeah, but both are bug movies. In fact, you could

523
00:27:36,960 --> 00:27:39,200
Speaker 2: make an argument that the space lug in this movie

524
00:27:39,240 --> 00:27:41,760
Speaker 2: is a bugin in the sense that if we're going

525
00:27:41,800 --> 00:27:44,440
Speaker 2: to use boogin as a as a general term for

526
00:27:44,560 --> 00:27:48,680
Speaker 2: some sort of a mysterious, nasty insect type creature.

527
00:27:48,680 --> 00:27:51,520
Speaker 3: What if the Buggins did what the Yeah, so you

528
00:27:51,560 --> 00:27:54,360
Speaker 3: take that story. But the Buggins just crawl into people's

529
00:27:54,400 --> 00:27:55,560
Speaker 3: mouths and possess them.

530
00:27:55,800 --> 00:27:58,399
Speaker 2: Why not? Why not? We don't know the full life

531
00:27:58,400 --> 00:27:59,320
Speaker 2: cycle of a bogin.

532
00:28:00,400 --> 00:28:04,080
Speaker 3: Yeah, I guess that's right. Man. Can you imagine putting

533
00:28:04,119 --> 00:28:06,840
Speaker 3: Kyle McLaughlin in that cabin? That really would have mixed things?

534
00:28:07,480 --> 00:28:11,399
Speaker 2: That would have it might have been interesting. Kyle McLaughlin

535
00:28:12,000 --> 00:28:15,639
Speaker 2: does bring a special charm to things. One more thing

536
00:28:15,640 --> 00:28:17,879
Speaker 2: about Jim Coff, I'll just say that, as we reference

537
00:28:17,920 --> 00:28:20,280
Speaker 2: in that episode on the book Ins, a very successful

538
00:28:20,320 --> 00:28:23,639
Speaker 2: career He wrote his screenplay credits on such films as

539
00:28:23,720 --> 00:28:26,639
Speaker 2: ninety eight, ninety eighth Rush Hour, two thousand and four's

540
00:28:26,720 --> 00:28:30,320
Speaker 2: National Treasure, twenty sixteen's Money Monster, and one hundred and

541
00:28:30,359 --> 00:28:33,120
Speaker 2: twenty three episodes of TV's Grim, which he also created

542
00:28:33,160 --> 00:28:35,960
Speaker 2: and produced. All Right, yeah, let's now, let's get to

543
00:28:36,040 --> 00:28:40,920
Speaker 2: Kyle McLaughlin, who plays FBI agent Lloyd Gallagher in this film.

544
00:28:40,960 --> 00:28:44,560
Speaker 2: Born nineteen fifty nine. We previously discussed McLaughlin in our

545
00:28:44,560 --> 00:28:47,840
Speaker 2: two part episode on David Lynch's Dune, in which he

546
00:28:47,880 --> 00:28:50,959
Speaker 2: played paul A Tredes in his film debut. We have

547
00:28:51,000 --> 00:28:53,280
Speaker 2: to that's always kind of mind blowing to realize that

548
00:28:54,000 --> 00:28:56,560
Speaker 2: though he had previously been an extra in nineteen eighties.

549
00:28:56,600 --> 00:29:01,120
Speaker 2: The changelingk McLaughlin, of course, is in a accomplished American

550
00:29:01,200 --> 00:29:04,640
Speaker 2: actor who excels really especially when you think about like

551
00:29:05,640 --> 00:29:09,080
Speaker 2: things that you've seen Kyle maclaughlinin where he really steals

552
00:29:09,120 --> 00:29:11,880
Speaker 2: a show. I find that he's really great at navigating

553
00:29:11,920 --> 00:29:16,440
Speaker 2: this space between traditional handsome, almost innocent, you know, seeming

554
00:29:16,480 --> 00:29:19,200
Speaker 2: at times leading man. He has that charm for sure,

555
00:29:19,520 --> 00:29:21,920
Speaker 2: and in that sense, you could you could put him

556
00:29:21,920 --> 00:29:23,480
Speaker 2: in a time machine and send him back to the

557
00:29:23,520 --> 00:29:26,320
Speaker 2: fifties or the sixth or you know, certainly the fifties,

558
00:29:26,360 --> 00:29:29,040
Speaker 2: even though you know the forties, and he would excel.

559
00:29:29,120 --> 00:29:31,080
Speaker 2: You know, he has all the all the tools he

560
00:29:31,200 --> 00:29:35,600
Speaker 2: needs to succeed there. But he also can vary with

561
00:29:35,680 --> 00:29:39,200
Speaker 2: great skill. He can enter into weirder, darker territory, and

562
00:29:39,240 --> 00:29:41,320
Speaker 2: so he kind of has a foot in both worlds. Well.

563
00:29:41,520 --> 00:29:44,240
Speaker 3: I think this is the thing that makes him the

564
00:29:44,280 --> 00:29:48,160
Speaker 3: perfect actor to be a David Lynch lead. I mean,

565
00:29:48,560 --> 00:29:51,680
Speaker 3: he just fits right in with the David Lynch sensibility

566
00:29:51,760 --> 00:29:55,840
Speaker 3: of the character in the world that is, at one

567
00:29:55,920 --> 00:29:58,920
Speaker 3: sense leave it to beaver and in the other sense

568
00:29:59,440 --> 00:30:03,080
Speaker 3: exploring the darkest and strangest things in the human heart. Yeah.

569
00:30:03,280 --> 00:30:06,160
Speaker 2: Yeah, and they able to just really dig into those roles.

570
00:30:06,200 --> 00:30:10,280
Speaker 2: So yeah, McLaughlin's great in everything. Two time Emmy Award

571
00:30:10,320 --> 00:30:13,360
Speaker 2: winner for his work on David Lynch's Twin Peaks, and

572
00:30:13,480 --> 00:30:15,960
Speaker 2: of course he also worked with Lynch on eighty six

573
00:30:16,040 --> 00:30:20,600
Speaker 2: is Blue Velvet. He remains highly active today, with notable

574
00:30:20,680 --> 00:30:23,800
Speaker 2: roles on TV's Fallout. He was on the at least

575
00:30:23,840 --> 00:30:26,920
Speaker 2: the first season of The Lowdown. The Hidden was only

576
00:30:26,920 --> 00:30:31,959
Speaker 2: his third credited acting role, following Dune and Blue Velvet. Afterwards,

577
00:30:32,000 --> 00:30:34,600
Speaker 2: he'd appear in the eighty nine TV movie dream Breakers

578
00:30:34,640 --> 00:30:36,200
Speaker 2: before starring in Twin Peaks.

579
00:30:36,440 --> 00:30:40,800
Speaker 3: So he was an FBI agent in this movie before

580
00:30:41,000 --> 00:30:43,280
Speaker 3: he was Agent Cooper in Twin Peaks, sort of the

581
00:30:43,400 --> 00:30:45,880
Speaker 3: role that I think for a lot of people defines him.

582
00:30:45,880 --> 00:30:46,760
Speaker 3: Would you agree with that?

583
00:30:46,880 --> 00:30:48,800
Speaker 2: Like? I would think so, I mean, that's where he

584
00:30:49,080 --> 00:30:52,080
Speaker 2: That's where I think I weirdly enough saw him first,

585
00:30:52,120 --> 00:30:54,440
Speaker 2: just because you know, even if you didn't watch Twin Peaks,

586
00:30:54,800 --> 00:30:56,640
Speaker 2: it was all over TV. I think I was aware

587
00:30:56,640 --> 00:30:59,640
Speaker 2: of Twin Peaks before I was even aware at least,

588
00:30:59,640 --> 00:31:02,719
Speaker 2: you know, so level before I was aware of Dim. Yeah,

589
00:31:02,760 --> 00:31:05,520
Speaker 2: and yeah, he's great here. He plays that in the

590
00:31:05,600 --> 00:31:07,800
Speaker 2: FBI agent sense. You know, he plays a fish out

591
00:31:07,840 --> 00:31:10,640
Speaker 2: of water. You know. We have this gritty world of

592
00:31:10,720 --> 00:31:14,200
Speaker 2: hard boiled LA detectives, you know, who are just trying

593
00:31:14,200 --> 00:31:16,200
Speaker 2: to get through the day, and then here comes this

594
00:31:16,400 --> 00:31:19,280
Speaker 2: FBI guy in a nice suit, in a nice car,

595
00:31:19,720 --> 00:31:22,800
Speaker 2: and he's pursuing this strange and dangerous killer and seems

596
00:31:22,800 --> 00:31:27,480
Speaker 2: to have knowledge that the LA detectives do not have.

597
00:31:28,600 --> 00:31:32,600
Speaker 3: I I mean, so there are multiple movies where this

598
00:31:32,720 --> 00:31:37,080
Speaker 3: movie makes a step change into a different type of weirdness.

599
00:31:37,720 --> 00:31:39,920
Speaker 3: And one of the big ones is the scene we

600
00:31:39,960 --> 00:31:42,320
Speaker 3: already talked about and we will talk about again where

601
00:31:42,320 --> 00:31:45,440
Speaker 3: there is a space slug vomited from one mouth into another.

602
00:31:45,640 --> 00:31:47,800
Speaker 3: Like that's a big change. But I would say there

603
00:31:47,840 --> 00:31:50,840
Speaker 3: is also a more subtle shift in the tone of

604
00:31:50,880 --> 00:31:53,600
Speaker 3: the movie when Kyle McLaughlin arrives, because you meet the

605
00:31:53,640 --> 00:31:58,320
Speaker 3: other cops first, but the other cops are all movie cops.

606
00:31:58,360 --> 00:32:02,160
Speaker 3: They're all these like tough talking, macho cop guys talking

607
00:32:02,240 --> 00:32:06,040
Speaker 3: their cop cliches. And then when Kyle McLaughlin appears, he

608
00:32:06,160 --> 00:32:11,240
Speaker 3: has such a different energy. There is this this soft,

609
00:32:11,760 --> 00:32:15,080
Speaker 3: kind of wise, but kind of aloof a little bit

610
00:32:15,720 --> 00:32:20,640
Speaker 3: reticent strangeness about him that is so ill fitting with

611
00:32:20,680 --> 00:32:22,560
Speaker 3: all of the other characters. You're right that it's a

612
00:32:22,560 --> 00:32:25,400
Speaker 3: fish out of water, but it's a I don't know,

613
00:32:25,440 --> 00:32:27,560
Speaker 3: it's a fish out of water unlike any I've ever

614
00:32:27,600 --> 00:32:31,280
Speaker 3: seen before that in this like cop movie world, this

615
00:32:31,400 --> 00:32:34,880
Speaker 3: strange ethereal being walks into it and is like, Hi,

616
00:32:35,000 --> 00:32:36,200
Speaker 3: I'm the head cop now.

617
00:32:36,640 --> 00:32:41,160
Speaker 2: Yeah, yeah, so we should also, you know, we can

618
00:32:41,200 --> 00:32:43,480
Speaker 2: also say that in any of the different cliches that

619
00:32:43,520 --> 00:32:46,160
Speaker 2: this movie is playing with in different tropes, one of course,

620
00:32:46,240 --> 00:32:48,640
Speaker 2: is the buddy cop scenario, or in this case, it's

621
00:32:48,680 --> 00:32:51,840
Speaker 2: the the hard boiled LA detective who must team up

622
00:32:52,240 --> 00:32:55,920
Speaker 2: with this FBI outsider in order to chase the bad guy.

623
00:32:56,320 --> 00:32:59,520
Speaker 2: And in this our main hard boiled LA police detective

624
00:32:59,840 --> 00:33:03,600
Speaker 2: is Detective Tom Beck played by Michael Norri born nineteen

625
00:33:03,680 --> 00:33:07,240
Speaker 2: forty five. And I would also argue that he I

626
00:33:07,280 --> 00:33:10,480
Speaker 2: think he's also our structural protagonist in many ways as well.

627
00:33:10,720 --> 00:33:15,959
Speaker 2: We meet him first, it's his understanding of this FBI

628
00:33:16,080 --> 00:33:19,080
Speaker 2: agent and his sort of you know, what he's learning

629
00:33:19,160 --> 00:33:22,560
Speaker 2: about this killer. Thereafter, it's his point of view that

630
00:33:22,600 --> 00:33:24,200
Speaker 2: we're mostly interacting with.

631
00:33:24,680 --> 00:33:26,640
Speaker 3: Yeah, I would agree with that, certainly in the first

632
00:33:26,680 --> 00:33:27,320
Speaker 3: half of the movie.

633
00:33:27,400 --> 00:33:31,360
Speaker 2: Yeah, and then the explosions happened, certainly. Yeah. But yeah,

634
00:33:31,520 --> 00:33:34,440
Speaker 2: Michael Norri, I thought he's really great in this one

635
00:33:34,440 --> 00:33:36,600
Speaker 2: thing you mentioned, you know, all the cops are you know,

636
00:33:36,640 --> 00:33:39,000
Speaker 2: they're spouting a lot of the lingo, a lot of

637
00:33:39,040 --> 00:33:41,600
Speaker 2: the cliches are in play here. But that being said,

638
00:33:41,680 --> 00:33:44,880
Speaker 2: I've seen a lot of cop media over the years,

639
00:33:45,200 --> 00:33:47,120
Speaker 2: as have most of us, because it's like half of

640
00:33:47,160 --> 00:33:49,840
Speaker 2: everything that's out there. And I did feel like all

641
00:33:49,880 --> 00:33:53,760
Speaker 2: of the purely cop scenes were really well done. I mean,

642
00:33:53,800 --> 00:33:56,600
Speaker 2: you have a great cast of character actors that are

643
00:33:56,840 --> 00:33:59,800
Speaker 2: filling out the rest of the police precinct here, so

644
00:34:00,120 --> 00:34:03,840
Speaker 2: you know, everybody's doing a great job. Everything feels like,

645
00:34:03,840 --> 00:34:07,959
Speaker 2: like realistically gritty and doesn't feel you know, they're kind

646
00:34:07,960 --> 00:34:10,319
Speaker 2: of going for that to live and die in La Vibe,

647
00:34:10,320 --> 00:34:12,080
Speaker 2: which isn't you know. It's not too far into any

648
00:34:12,160 --> 00:34:15,880
Speaker 2: kind of like noir or neo noir. It's maybe a

649
00:34:15,920 --> 00:34:18,640
Speaker 2: little more in keeping with some of the like the

650
00:34:18,680 --> 00:34:21,320
Speaker 2: mainstream cop TV show stuff that's out there, you know,

651
00:34:21,360 --> 00:34:25,560
Speaker 2: I'm thinking about even stuff like The Wire, you know.

652
00:34:26,040 --> 00:34:29,960
Speaker 3: Yeah, you're right. I mean, it is doing a thing

653
00:34:30,160 --> 00:34:32,719
Speaker 3: that is familiar with the cops, but it's doing it

654
00:34:32,760 --> 00:34:35,879
Speaker 3: pretty well. Yeah, And I would also flag that it's

655
00:34:35,920 --> 00:34:38,480
Speaker 3: doing a slightly different thing because we're used to seeing

656
00:34:38,520 --> 00:34:41,560
Speaker 3: these like gruff, hard working cops that are like, you know,

657
00:34:41,680 --> 00:34:45,359
Speaker 3: ribbing each other and everything. But the context in which

658
00:34:45,360 --> 00:34:47,759
Speaker 3: they're doing that in this movie I picked up was

659
00:34:47,800 --> 00:34:51,040
Speaker 3: that these cops are overworked. They're public servants who are

660
00:34:51,080 --> 00:34:56,320
Speaker 3: being there being sort of overworked work to the bone,

661
00:34:56,360 --> 00:34:59,680
Speaker 3: and we are seeing them coping with that scenario. So

662
00:34:59,719 --> 00:35:01,800
Speaker 3: it's kind of like RoboCop in that sense.

663
00:35:01,960 --> 00:35:04,319
Speaker 2: Yeah. Yeah, there is a strong sense of burnout too,

664
00:35:04,680 --> 00:35:09,200
Speaker 2: certainly to Michael Nory's character a detective back here. So yeah,

665
00:35:09,480 --> 00:35:12,160
Speaker 2: Norri's great in this. I wasn't super familiar with him.

666
00:35:12,239 --> 00:35:14,480
Speaker 2: His credits go back to nineteen sixty eight, and at

667
00:35:14,480 --> 00:35:18,960
Speaker 2: this point he had already played Count Dracula on NBC

668
00:35:19,840 --> 00:35:23,040
Speaker 2: in a nineteen seventy nine TV serial. But don't get

669
00:35:23,040 --> 00:35:26,120
Speaker 2: too excited, because it was the Curse of Dracula, in

670
00:35:26,160 --> 00:35:28,920
Speaker 2: which the Prince of Darkness is teaching college in San Francisco.

671
00:35:29,320 --> 00:35:32,319
Speaker 2: So still, you look at the stills and you look

672
00:35:32,360 --> 00:35:34,720
Speaker 2: at Michael Norri in this film, and you can totally

673
00:35:34,719 --> 00:35:38,240
Speaker 2: imagine this guy playing Dracula, regardless of the tone.

674
00:35:38,719 --> 00:35:40,879
Speaker 3: You know, I was trying to think who Michael Norri

675
00:35:41,120 --> 00:35:43,480
Speaker 3: reminds me of other actors who were in the same

676
00:35:43,600 --> 00:35:47,040
Speaker 3: kind of zone. He's a little bit more macho, but

677
00:35:47,440 --> 00:35:51,000
Speaker 3: very much reminds me of Chris Sarandon, who also played

678
00:35:51,040 --> 00:35:54,840
Speaker 3: a Dracula character. They have similar like, you know, voluminous, lush,

679
00:35:54,840 --> 00:35:55,520
Speaker 3: curly hair.

680
00:35:55,840 --> 00:35:58,680
Speaker 2: Yeah yeah, yeah. He also reminded me just a little

681
00:35:58,680 --> 00:36:02,920
Speaker 2: bit of Stephen Bauer. M Okay, yeah, So but anyway, Yeah,

682
00:36:02,960 --> 00:36:05,960
Speaker 2: Noori's great. Here, let's see he another major thing he

683
00:36:06,000 --> 00:36:09,239
Speaker 2: was in. He played Jennifer Beal's romantic romantic interest in

684
00:36:09,280 --> 00:36:12,799
Speaker 2: the nineteen eighty three film Flash Dance, which I haven't

685
00:36:12,800 --> 00:36:15,120
Speaker 2: seen in a bit, but you know, amazing theme song

686
00:36:15,160 --> 00:36:16,920
Speaker 2: on that. As we've discussed in the show before.

687
00:36:17,719 --> 00:36:22,520
Speaker 3: Hold on, was that the the fulchy musical movie flash Dance? No?

688
00:36:22,520 --> 00:36:26,719
Speaker 2: No, Flash Dance is the murder rock I think he

689
00:36:26,840 --> 00:36:29,840
Speaker 2: murder rock? Yeah, murder rock would have been, in my opinion,

690
00:36:30,200 --> 00:36:32,960
Speaker 2: would have been tremendous had the music been good. I didn't.

691
00:36:33,560 --> 00:36:36,200
Speaker 2: I really wanted to be on board for murder rock,

692
00:36:36,280 --> 00:36:39,120
Speaker 2: but I did not like any of the murder rock music.

693
00:36:39,440 --> 00:36:40,320
Speaker 3: Oh that's a bummer.

694
00:36:40,480 --> 00:36:42,840
Speaker 2: Yeah, I don't know. Maybe I'm being too harsh, but

695
00:36:43,719 --> 00:36:47,760
Speaker 2: at any rate, Nori's subsequent film output includes nineteen nineties

696
00:36:47,800 --> 00:36:49,760
Speaker 2: Captain America from Albert Pune.

697
00:36:50,120 --> 00:36:54,040
Speaker 3: Oh, the one with Salinger in it with what's his name?

698
00:36:54,520 --> 00:36:55,200
Speaker 2: Uh? Oh?

699
00:36:55,320 --> 00:36:58,040
Speaker 3: I always forget his first name? Hold on, yeah, J D.

700
00:36:58,160 --> 00:37:01,680
Speaker 2: Salinger's son, is that, yes, playing Captain America.

701
00:37:01,760 --> 00:37:07,240
Speaker 3: That's right? Hold on, let me, I'm sorry, DJ Salinger.

702
00:37:07,280 --> 00:37:11,600
Speaker 3: I think I just looked it up. Sorry, I always

703
00:37:11,640 --> 00:37:16,520
Speaker 3: forget his first name, Matt Salinger, as we've talked about

704
00:37:16,520 --> 00:37:19,680
Speaker 3: how maybe we should do the Pune Captain America at

705
00:37:19,680 --> 00:37:22,399
Speaker 3: some point, especially because I've seen it, but it's been

706
00:37:22,440 --> 00:37:25,720
Speaker 3: so long I barely remember it. I remember it being funny.

707
00:37:25,920 --> 00:37:27,239
Speaker 2: I definitely watched it.

708
00:37:27,800 --> 00:37:30,520
Speaker 3: I remember it being funny. But the strange thing is,

709
00:37:30,880 --> 00:37:34,800
Speaker 3: after we did the episode on Nemesis, I was reading

710
00:37:34,840 --> 00:37:39,360
Speaker 3: that there's apparently another cut. There's like a substantially different

711
00:37:39,480 --> 00:37:44,040
Speaker 3: re edit of Pune's Captain America, which people say makes

712
00:37:44,080 --> 00:37:46,759
Speaker 3: it a lot better. So I don't know, and check

713
00:37:46,800 --> 00:37:47,080
Speaker 3: it out.

714
00:37:47,280 --> 00:37:50,439
Speaker 2: Yeah, all right, let's see. Other films include nineteen ninety

715
00:37:50,480 --> 00:37:53,680
Speaker 2: ones The Psychic and ninety five's Hologram Man. But with

716
00:37:53,719 --> 00:37:56,760
Speaker 2: lots of TV work on major shows including The OC

717
00:37:57,120 --> 00:38:00,320
Speaker 2: and Damages, and he recently recently appeared on the popular

718
00:38:00,400 --> 00:38:12,960
Speaker 2: series The Pit. Yeah, all right, let's talk about some

719
00:38:13,239 --> 00:38:16,320
Speaker 2: getting a little factioning with the rest of the cast

720
00:38:16,360 --> 00:38:19,040
Speaker 2: here and spending a little less time with them. Let's

721
00:38:19,040 --> 00:38:21,799
Speaker 2: get into some cops of note here. One of them

722
00:38:21,960 --> 00:38:26,680
Speaker 2: is Lieutenant John Masterson, played by Clarence Felder born nineteen

723
00:38:26,760 --> 00:38:29,960
Speaker 2: thirty eight, American character actor of stage, screen, and TV's

724
00:38:30,000 --> 00:38:33,600
Speaker 2: credits include eighty six as Ruthless People and eighty nine's

725
00:38:33,680 --> 00:38:36,560
Speaker 2: Nightmare on Elm Street, The Dream Child. He acted on

726
00:38:36,640 --> 00:38:41,200
Speaker 2: Broadway and worked extensively in television. He's also written and

727
00:38:41,239 --> 00:38:45,800
Speaker 2: produced solid as one of the cops is the Lieutenant. Here,

728
00:38:46,239 --> 00:38:49,960
Speaker 2: he indeed gets possessed by the space Slug and has

729
00:38:50,000 --> 00:38:53,080
Speaker 2: a great run in space Slug possession mode.

730
00:38:53,320 --> 00:38:56,239
Speaker 3: Yeah, he does a rampage inside a police station much

731
00:38:56,360 --> 00:38:58,400
Speaker 3: like the original Terminator movie. Yeah.

732
00:38:58,680 --> 00:39:01,080
Speaker 2: Yeah, So we'll come back the specifics of that later,

733
00:39:01,120 --> 00:39:04,000
Speaker 2: but he's great. Loved him, all right. We also have

734
00:39:04,120 --> 00:39:09,440
Speaker 2: Lieutenant Ed Flynn and he's played by klu Galligher. Small

735
00:39:09,560 --> 00:39:13,000
Speaker 2: role does allow the you know, the character to have

736
00:39:13,040 --> 00:39:15,279
Speaker 2: the old Gulligher shine and you know you always can

737
00:39:15,360 --> 00:39:18,279
Speaker 2: recognize that voice and that drawl, but does not get

738
00:39:18,360 --> 00:39:20,560
Speaker 2: space slugged, which I took his relief.

739
00:39:21,680 --> 00:39:23,680
Speaker 3: Oh wait, you didn't want him to get slugged. I

740
00:39:23,840 --> 00:39:25,080
Speaker 3: didn't want him to get slugged.

741
00:39:25,120 --> 00:39:27,320
Speaker 2: No, No, I didn't think he needed he needed to

742
00:39:27,360 --> 00:39:29,600
Speaker 2: take one off. Last time we watched the Clue Galligher movie,

743
00:39:29,600 --> 00:39:32,640
Speaker 2: he got killed by mute cat. So I was like,

744
00:39:33,040 --> 00:39:35,040
Speaker 2: let him have this one. Let him have this one.

745
00:39:35,280 --> 00:39:37,640
Speaker 3: Yeah, okay, oh that was Uninvited.

746
00:39:37,719 --> 00:39:40,520
Speaker 2: Yeah, that's right. Yeah, nineteen yeah, yeah, was that ninety eight?

747
00:39:40,560 --> 00:39:41,840
Speaker 2: Do I have that wrong in my notes?

748
00:39:41,920 --> 00:39:42,879
Speaker 3: That's definitely wrong.

749
00:39:42,960 --> 00:39:43,640
Speaker 2: That's definitely wrong.

750
00:39:43,640 --> 00:39:45,279
Speaker 3: It's much eighty nine, more like.

751
00:39:45,320 --> 00:39:49,360
Speaker 2: Yeah, it feels like seventy eight. Yeah. So yeah, he

752
00:39:49,440 --> 00:39:51,799
Speaker 2: was in The Uninvited And we previously talked about that.

753
00:39:51,840 --> 00:39:54,440
Speaker 2: He had a great TV heavy run as an actor

754
00:39:54,480 --> 00:39:56,920
Speaker 2: in mostly westerns back in the sixties, but then became

755
00:39:56,920 --> 00:40:00,520
Speaker 2: a horror movie staple in the nineteen eighties, and in

756
00:40:00,560 --> 00:40:03,080
Speaker 2: this film, in the Hidden he was coming off roles

757
00:40:03,080 --> 00:40:05,520
Speaker 2: in a Nightmare on Elm Street Part two and The

758
00:40:05,560 --> 00:40:08,359
Speaker 2: Return of the Living Dead, which is a big one.

759
00:40:08,640 --> 00:40:11,319
Speaker 2: That's that's a huge part of his you know, late

760
00:40:11,360 --> 00:40:12,840
Speaker 2: career turn back into horror.

761
00:40:13,320 --> 00:40:15,400
Speaker 3: Very funny. In Return to the Living Dead and Nightmare

762
00:40:15,400 --> 00:40:18,600
Speaker 3: on Elm Street Part two, he plays the protagonist's dad,

763
00:40:18,680 --> 00:40:20,719
Speaker 3: I believe, and I think he gets attacked by an

764
00:40:20,719 --> 00:40:21,760
Speaker 3: exploding parrot.

765
00:40:22,040 --> 00:40:27,319
Speaker 2: Oh nice, all right. Another cop of No We Have

766
00:40:27,520 --> 00:40:31,000
Speaker 2: willis Cliff Willis, and he's played by Ed o' ross

767
00:40:31,440 --> 00:40:36,120
Speaker 2: born nineteen forty nine, American character actor with a great

768
00:40:36,200 --> 00:40:39,120
Speaker 2: face and a knack for playing tough guys from cops

769
00:40:39,200 --> 00:40:42,040
Speaker 2: to gangsters, and then back to cops again, and then

770
00:40:42,080 --> 00:40:45,280
Speaker 2: back into gangsters again. In fact, he played the gangster

771
00:40:45,440 --> 00:40:49,719
Speaker 2: Itchy in nineteen nineties Dick Tracy. I included images of

772
00:40:49,719 --> 00:40:52,120
Speaker 2: this character Jove, you don't remember. I think his whole

773
00:40:52,160 --> 00:40:55,000
Speaker 2: thing is that, you know, like all the villains in

774
00:40:55,080 --> 00:40:58,280
Speaker 2: Dick Tracy, if you don't remember, are like comic book mutants,

775
00:40:58,560 --> 00:41:01,359
Speaker 2: and they're not supposed to be mutants, but they take

776
00:41:01,400 --> 00:41:07,879
Speaker 2: a special effects, makeup heavy approach to portraying the the

777
00:41:08,000 --> 00:41:11,680
Speaker 2: unrealistic way that they were portrayed in the original comic books.

778
00:41:12,520 --> 00:41:15,279
Speaker 2: Itchi's whole thing, though, is he's just Itchy. I think

779
00:41:15,320 --> 00:41:17,360
Speaker 2: he has psoriasis or something. I'm not sure.

780
00:41:17,760 --> 00:41:21,240
Speaker 3: I remember there's one called little Face. The little face

781
00:41:21,239 --> 00:41:21,919
Speaker 3: and a big head.

782
00:41:22,120 --> 00:41:26,759
Speaker 2: Yeah, yeah, really, I mean it feels like body heart.

783
00:41:26,800 --> 00:41:28,960
Speaker 2: When you have characters like that and prune Face and

784
00:41:29,000 --> 00:41:32,759
Speaker 2: shoulders and so forth, all of them looks like monster men.

785
00:41:33,360 --> 00:41:36,920
Speaker 2: Itchi less so, but also memorable. And if my vague

786
00:41:36,920 --> 00:41:38,840
Speaker 2: memory is correct on this, I think Itchi had a

787
00:41:38,840 --> 00:41:41,080
Speaker 2: pretty strong run in the film. I think he had

788
00:41:41,200 --> 00:41:43,760
Speaker 2: a fair amount of screen time. Some of these mutant

789
00:41:43,760 --> 00:41:45,400
Speaker 2: mobsters got killed off pretty quickly.

790
00:41:45,680 --> 00:41:46,799
Speaker 3: Yeah.

791
00:41:46,840 --> 00:41:50,200
Speaker 2: Other credits. Other films people might know him from include

792
00:41:50,320 --> 00:41:54,439
Speaker 2: eighty seven's Lethal Weapon, eighty seven's Full Metal Jacket, eighty

793
00:41:54,480 --> 00:41:58,040
Speaker 2: eight's Red Red Heat, as well as Action Jackson and

794
00:41:58,160 --> 00:42:01,600
Speaker 2: nineteen ninety two's Universal Soul. He also played a cop

795
00:42:01,680 --> 00:42:06,080
Speaker 2: twice on Seinfeld and is still still active, still playing cops,

796
00:42:06,440 --> 00:42:08,920
Speaker 2: I imagine. So, I mean, you know, like I say,

797
00:42:09,000 --> 00:42:11,680
Speaker 2: a great, great character actor with a you know, a

798
00:42:11,719 --> 00:42:14,640
Speaker 2: real real shine for playing you know, kind of heavies.

799
00:42:15,440 --> 00:42:19,600
Speaker 2: I also have to really give him credit because he's like,

800
00:42:20,080 --> 00:42:22,640
Speaker 2: what is he six sixth billing here in this film?

801
00:42:23,000 --> 00:42:27,000
Speaker 2: Very much playing a supporting role, but on like the

802
00:42:27,040 --> 00:42:31,200
Speaker 2: poster for the addition that I rented, and really one

803
00:42:31,200 --> 00:42:33,680
Speaker 2: of the main posters for this film in general. His

804
00:42:33,800 --> 00:42:37,640
Speaker 2: face is plastered all over it. So half of his face, yeahs,

805
00:42:37,760 --> 00:42:41,319
Speaker 2: half of his face on the poster. So what a coup, right,

806
00:42:41,400 --> 00:42:43,760
Speaker 2: I mean, well done. I don't know how it happened.

807
00:42:44,200 --> 00:42:47,280
Speaker 3: Well, if I had to guess, it's because some climactic

808
00:42:47,320 --> 00:42:50,240
Speaker 3: events take place while he is being space slugged.

809
00:42:50,320 --> 00:42:53,919
Speaker 2: That's right, he gets space slugged and he's he's really

810
00:42:53,960 --> 00:42:58,200
Speaker 2: good in that role. Yeah, all right, let's talk a

811
00:42:58,239 --> 00:43:00,759
Speaker 2: little bit about the Beck family. This again we have

812
00:43:00,840 --> 00:43:04,640
Speaker 2: Detective Beck, and this is the Detective Beck's wife and child,

813
00:43:05,200 --> 00:43:09,520
Speaker 2: you know, side characters, but important ones. His wife, Barbara Beck,

814
00:43:09,600 --> 00:43:13,800
Speaker 2: is played by Catherine Cannon born nineteen fifty three, mostly

815
00:43:13,800 --> 00:43:16,600
Speaker 2: a TV actress whose biggest main cast shows were Father

816
00:43:16,680 --> 00:43:19,880
Speaker 2: Murphy and Beverly Hills nine O two one. Oh. And

817
00:43:19,920 --> 00:43:23,160
Speaker 2: then we have the little girl, Juliet Beck, played by

818
00:43:23,520 --> 00:43:28,200
Speaker 2: Kristin Clayton. Child actress. She played a little girl in

819
00:43:28,440 --> 00:43:31,200
Speaker 2: Nightmare on Elm Street three as well as Nightmare on

820
00:43:31,239 --> 00:43:33,920
Speaker 2: Elm Street four, and was also a little girl in

821
00:43:33,960 --> 00:43:36,360
Speaker 2: an episode of Freddie's Nightmares, Oh.

822
00:43:36,239 --> 00:43:38,799
Speaker 3: The Freddie TV show. It's strange that we have all

823
00:43:38,840 --> 00:43:41,960
Speaker 3: these Netmore on Elm Street connections going beyond just the

824
00:43:42,000 --> 00:43:42,840
Speaker 3: second one, which.

825
00:43:42,760 --> 00:43:44,879
Speaker 2: Yeah, like it would make sense that there would be one,

826
00:43:45,000 --> 00:43:47,879
Speaker 2: you know, tied to the movie that the director had done.

827
00:43:47,920 --> 00:43:50,000
Speaker 2: But it's just in general, a lot of Nightmare on

828
00:43:50,040 --> 00:43:53,840
Speaker 2: Elm Street energy here. She was also in the Gromlins

829
00:43:53,880 --> 00:43:56,440
Speaker 2: movie Munchies Strike Back in ninety four. That was a

830
00:43:56,560 --> 00:44:00,279
Speaker 2: Jim win Norski film. All right, and then we have

831
00:44:00,320 --> 00:44:03,480
Speaker 2: some civilians of note. First of all, we have, let's

832
00:44:03,520 --> 00:44:07,960
Speaker 2: see Jack deav Rise. I believe his name is Debreez Jacktavrees.

833
00:44:08,000 --> 00:44:10,239
Speaker 2: We never really get to know this guy because this

834
00:44:10,320 --> 00:44:11,960
Speaker 2: is our initial parasite host.

835
00:44:12,320 --> 00:44:15,240
Speaker 3: We only know him under the influence of space slug.

836
00:44:15,480 --> 00:44:19,120
Speaker 2: Yeah. And he is played by Chris Moulky, American character

837
00:44:19,160 --> 00:44:22,080
Speaker 2: actor with a very expressive face. Again, another great character

838
00:44:22,120 --> 00:44:25,640
Speaker 2: actor with a with wide range. But he might be

839
00:44:25,719 --> 00:44:28,719
Speaker 2: most recognizable to many folks out there for playing the

840
00:44:28,800 --> 00:44:32,759
Speaker 2: villainous Deputy Ward in nineteen eighty two's First Blood. That

841
00:44:33,000 --> 00:44:35,600
Speaker 2: was if you don't remember that as a Rambo movie,

842
00:44:36,239 --> 00:44:38,279
Speaker 2: that was the first Rambo movie, right, This was the

843
00:44:38,280 --> 00:44:40,279
Speaker 2: first one. That's one where he's in the woods, right.

844
00:44:40,960 --> 00:44:43,880
Speaker 3: Right, because you know, you know the titles, the progression

845
00:44:43,920 --> 00:44:46,239
Speaker 3: of titles. You got First Blood, First Blood, Part two,

846
00:44:46,360 --> 00:44:49,000
Speaker 3: Rambo and then Rambo three and then Rambo.

847
00:44:51,120 --> 00:44:55,400
Speaker 2: Yeah. So yeah, Molky's in that one, playing kind of

848
00:44:55,400 --> 00:44:59,880
Speaker 2: a sadistic deputy. He's he's been active since the mid seventies,

849
00:45:00,000 --> 00:45:03,800
Speaker 2: still highly active today. Also a blues musician. Other credits

850
00:45:03,800 --> 00:45:08,440
Speaker 2: include eighty four's Dreamscape, as well as Runaway, the Michael

851
00:45:08,480 --> 00:45:11,960
Speaker 2: Crichton tiny robot movie that we should probably do at

852
00:45:11,960 --> 00:45:17,280
Speaker 2: some point. He was in nineteen nineties K nine thousand.

853
00:45:17,480 --> 00:45:20,640
Speaker 2: This is a cyborg dog movie. I included the poster

854
00:45:20,760 --> 00:45:22,680
Speaker 2: for you here, Joe, and I encourage everyone to look

855
00:45:22,680 --> 00:45:24,000
Speaker 2: it up. Looks incredible.

856
00:45:24,320 --> 00:45:26,600
Speaker 3: It looks like a cross between Rin ten ten K

857
00:45:26,719 --> 00:45:28,200
Speaker 3: nine Cop and night Rider.

858
00:45:30,160 --> 00:45:34,920
Speaker 2: Yeah, this particular box art says man's best friend, crime's

859
00:45:34,920 --> 00:45:39,320
Speaker 2: worst enemy. The dog of the future is here. The

860
00:45:39,640 --> 00:45:42,719
Speaker 2: robot dog, I think a cyborg of some sort. I

861
00:45:42,719 --> 00:45:46,120
Speaker 2: don't know, don't know the details, don't know how much

862
00:45:46,160 --> 00:45:49,520
Speaker 2: is dog, how much is machine? Oh but anyway. Molki

863
00:45:49,640 --> 00:45:51,640
Speaker 2: was also in Ghost in the Machine from ninety three,

864
00:45:51,760 --> 00:45:54,520
Speaker 2: which we previously covered on Weird House Cinema. But I

865
00:45:54,600 --> 00:45:57,400
Speaker 2: don't recall off hand who he played in that or

866
00:45:57,480 --> 00:45:58,960
Speaker 2: how significant his role was.

867
00:45:59,320 --> 00:46:02,719
Speaker 3: I don't remember. I mean funny, this is not our

868
00:46:02,760 --> 00:46:05,360
Speaker 3: only connection to Twin Peaks. In the Hidden he was

869
00:46:05,400 --> 00:46:07,680
Speaker 3: also in Twin Peaks. He plays Hank. He plays one

870
00:46:07,719 --> 00:46:09,160
Speaker 3: of the bad guys in Twin Peaks.

871
00:46:09,160 --> 00:46:12,240
Speaker 2: Oh yeah, yeah, yeah, he has a lot of range,

872
00:46:12,239 --> 00:46:15,480
Speaker 2: but he does bad guy well. And in this he yeah,

873
00:46:16,040 --> 00:46:19,879
Speaker 2: as we'll discuss. Yeah, he's our first host of the parasite.

874
00:46:20,200 --> 00:46:22,640
Speaker 3: His role in Twin Peaks is kind of interesting because

875
00:46:22,680 --> 00:46:26,000
Speaker 3: he's part of like a succession of never ending. There's

876
00:46:26,040 --> 00:46:29,120
Speaker 3: a worse guy revelations in Twin Peaks. You know, there's

877
00:46:29,160 --> 00:46:31,080
Speaker 3: like kind of a scary guy at the beginning, and

878
00:46:31,120 --> 00:46:33,920
Speaker 3: then there's a scarier guy who scares that guy, and

879
00:46:33,960 --> 00:46:36,760
Speaker 3: then there's a scarier guy who scares the scarier guy,

880
00:46:36,880 --> 00:46:39,439
Speaker 3: and this is like the third scariest guy.

881
00:46:41,400 --> 00:46:44,319
Speaker 2: All right, let's see. Another civilian of note is the

882
00:46:44,400 --> 00:46:48,160
Speaker 2: character Jonathan Miller played by William Boyett, who lived nineteen

883
00:46:48,200 --> 00:46:51,319
Speaker 2: twenty seven through two thousand and four. Believe it or not,

884
00:46:51,520 --> 00:46:54,440
Speaker 2: another tough guy actor with a lot of crime and

885
00:46:54,480 --> 00:46:57,600
Speaker 2: cowboy roles going back to the nineteen fifties, played a

886
00:46:57,640 --> 00:47:00,560
Speaker 2: lot of cops, played a lot of military guys, mostly

887
00:47:00,600 --> 00:47:03,799
Speaker 2: in supporting roles. His other film credits include seventy nine's

888
00:47:03,800 --> 00:47:07,040
Speaker 2: When a Stranger Calls, ninety ones The Rocketeer, as well

889
00:47:07,040 --> 00:47:10,720
Speaker 2: as Strays, a Killer Cat movie which also featured Claudia

890
00:47:10,800 --> 00:47:14,120
Speaker 2: Christian who's in this, as well as ninety five's Theodora

891
00:47:14,200 --> 00:47:18,640
Speaker 2: Rex That was a film that starred Whoopy Goldberg, a dinosaur,

892
00:47:18,800 --> 00:47:24,560
Speaker 2: Carol Kine, and Bud Coourt. Amazing, but Boyet is great here.

893
00:47:24,680 --> 00:47:26,160
Speaker 2: In fact, for me, I thought he was a real

894
00:47:26,280 --> 00:47:29,920
Speaker 2: highlight of the film. We never meet his human character,

895
00:47:30,320 --> 00:47:33,120
Speaker 2: but his body gets to play host to the alien

896
00:47:33,160 --> 00:47:37,880
Speaker 2: parasite for an extended stretch and probably the I mean

897
00:47:37,920 --> 00:47:39,759
Speaker 2: there's a lot of violence in his stretch, but also

898
00:47:39,760 --> 00:47:42,280
Speaker 2: there's a lot of humor in his stretch. But he's great.

899
00:47:43,200 --> 00:47:46,279
Speaker 3: I'd say his arc is the funniest of all of

900
00:47:46,320 --> 00:47:47,680
Speaker 3: the possessions in the movie.

901
00:47:48,040 --> 00:47:52,480
Speaker 2: Yeah, Yeah, he's really good. He has really great steely eyes.

902
00:47:53,040 --> 00:47:55,200
Speaker 2: Reminded me like not only his eyes but also kind

903
00:47:55,200 --> 00:47:57,279
Speaker 2: of as like general build. I got a little bit

904
00:47:57,280 --> 00:47:59,480
Speaker 2: of a George C. Scott kind of vibe from him.

905
00:48:00,320 --> 00:48:03,040
Speaker 2: And yeah, he does a really great job generating the

906
00:48:03,080 --> 00:48:10,600
Speaker 2: feeling of unknowable alien presence that is doing expected things

907
00:48:10,600 --> 00:48:14,280
Speaker 2: but also unexpected things and it's strange quest to survive.

908
00:48:14,800 --> 00:48:19,160
Speaker 3: He has eyes that say I'm hungry. It's like I

909
00:48:19,239 --> 00:48:22,560
Speaker 3: want I want that, which he says also out loud

910
00:48:22,600 --> 00:48:23,520
Speaker 3: a number of times.

911
00:48:23,600 --> 00:48:28,000
Speaker 2: Yeah, he is a the the entity. As we'll discuss,

912
00:48:28,040 --> 00:48:29,719
Speaker 2: it is interesting to try. You spend a lot of

913
00:48:29,760 --> 00:48:32,560
Speaker 2: the movie when things are not exploding, sort of trying

914
00:48:32,560 --> 00:48:35,920
Speaker 2: to understand what it wants, and in many ways. What

915
00:48:35,960 --> 00:48:38,279
Speaker 2: it wants is very obvious. It's some sort of a

916
00:48:38,880 --> 00:48:44,160
Speaker 2: creature of yeah, of want and desire. It it wants

917
00:48:44,200 --> 00:48:48,320
Speaker 2: to control, It wants to survive, It wants to cause pain.

918
00:48:49,480 --> 00:48:52,480
Speaker 2: But it also like it just it likes music, really

919
00:48:52,560 --> 00:48:56,800
Speaker 2: likes music, heavy metal, heavy metal especially. It doesn't really

920
00:48:57,000 --> 00:48:59,160
Speaker 2: I don't think it would like ambient all that much.

921
00:48:59,200 --> 00:49:03,400
Speaker 2: And anytime things not rocking it can produce anger. But

922
00:49:03,440 --> 00:49:05,520
Speaker 2: we never really explore why. We're just kind of left

923
00:49:05,520 --> 00:49:07,960
Speaker 2: to sort of imagine, like, you know, what is it

924
00:49:08,000 --> 00:49:10,279
Speaker 2: about the music that is it enjoy music in the

925
00:49:10,280 --> 00:49:12,840
Speaker 2: same way we do, or is there some something else

926
00:49:12,880 --> 00:49:15,399
Speaker 2: that ties into its alien nature that's important here.

927
00:49:15,800 --> 00:49:19,760
Speaker 3: It seems to like, you know, it likes breaking the law,

928
00:49:19,920 --> 00:49:22,880
Speaker 3: breaking the law, and I think it's that the spirit

929
00:49:22,920 --> 00:49:25,319
Speaker 3: of breaking the law in heavy metal, that is what

930
00:49:25,360 --> 00:49:26,680
Speaker 3: it likes about heavy metal.

931
00:49:27,000 --> 00:49:27,200
Speaker 2: Fair.

932
00:49:27,200 --> 00:49:30,440
Speaker 3: I don't know if it's the sonic qualities quite so much, though,

933
00:49:30,640 --> 00:49:32,160
Speaker 3: then again, I don't know. We do see it kind

934
00:49:32,200 --> 00:49:35,640
Speaker 3: of bobbing its head to the music occasionally, Yeah, but

935
00:49:35,760 --> 00:49:39,320
Speaker 3: it also likes using loud music to intimidate other people,

936
00:49:39,520 --> 00:49:41,560
Speaker 3: you know, like it likes to turn up the loud

937
00:49:41,640 --> 00:49:44,120
Speaker 3: music in the in the diner and refuse to turn

938
00:49:44,160 --> 00:49:45,560
Speaker 3: it down when when asked.

939
00:49:45,840 --> 00:49:49,040
Speaker 2: Yeah, all right, so yeah, I enjoy I look forward

940
00:49:49,080 --> 00:49:53,040
Speaker 2: to talking more about this performance. Other like non police

941
00:49:53,120 --> 00:49:56,680
Speaker 2: characters of note, here we have the actor John McCann

942
00:49:56,760 --> 00:50:00,000
Speaker 2: playing Senator Holt TV actor going back into the Field,

943
00:50:00,400 --> 00:50:04,239
Speaker 2: whose film credits include eighty three's Erotic Images as well

944
00:50:04,280 --> 00:50:07,520
Speaker 2: as Scarface. He does pop up in Scarface. And then

945
00:50:07,560 --> 00:50:09,920
Speaker 2: we mentioned Claudia christian Is in this. She plays this

946
00:50:10,080 --> 00:50:15,840
Speaker 2: character Brenda, and Brenda is essentially a This is another

947
00:50:15,840 --> 00:50:18,560
Speaker 2: case where we get sort of two performances because when

948
00:50:18,560 --> 00:50:21,319
Speaker 2: we meet her, she's a sort of world weary, you know,

949
00:50:21,360 --> 00:50:23,040
Speaker 2: slightly worn out and much in the same way that

950
00:50:23,080 --> 00:50:25,840
Speaker 2: the cops are tired out. She's very tired. She's a

951
00:50:25,960 --> 00:50:29,799
Speaker 2: dancer at this club. But then she gets possessed by

952
00:50:29,840 --> 00:50:32,800
Speaker 2: the bas slug and becomes a machine gun toting alien

953
00:50:32,840 --> 00:50:35,719
Speaker 2: psychopath as well and gets to really blow things up

954
00:50:35,800 --> 00:50:40,040
Speaker 2: terminator style. Yes, so we've actually talked about her before

955
00:50:40,200 --> 00:50:43,680
Speaker 2: because she popped up in nineteen eighty nine's Arena Arena

956
00:50:43,719 --> 00:50:47,400
Speaker 2: being the sort of Star Trek the Alien Boxer movie

957
00:50:47,440 --> 00:50:49,279
Speaker 2: that I thought it was a lot of fun and

958
00:50:49,360 --> 00:50:51,920
Speaker 2: had some great Aliens in it. But yes, she is

959
00:50:51,920 --> 00:50:53,920
Speaker 2: one of the supporting human actors in that film.

960
00:50:54,120 --> 00:50:55,839
Speaker 3: I had forgotten about that, but you're right.

961
00:50:55,920 --> 00:50:58,440
Speaker 2: Yeah, most people, I think, are going to be familiar

962
00:50:58,520 --> 00:51:00,959
Speaker 2: with her work on the sci fi or I would

963
00:51:00,960 --> 00:51:02,640
Speaker 2: say most people of a certain age are going to

964
00:51:02,719 --> 00:51:07,680
Speaker 2: remember her from Babylon Five, where she played Commander Susan Ivanova.

965
00:51:08,680 --> 00:51:10,960
Speaker 2: I don't know if people were watching Babylon Five these days,

966
00:51:11,000 --> 00:51:14,719
Speaker 2: because it was, but it was at the time, you know,

967
00:51:14,800 --> 00:51:18,800
Speaker 2: a very ambitious sci fi series that got into the

968
00:51:18,880 --> 00:51:22,479
Speaker 2: sort of space opera treks sort of universe area made

969
00:51:22,719 --> 00:51:27,440
Speaker 2: at the time really captivating use of computer generated effects,

970
00:51:27,920 --> 00:51:30,520
Speaker 2: and so that makes me wonder like how well it

971
00:51:30,560 --> 00:51:33,479
Speaker 2: has actually held up to modern viewing. But I remember

972
00:51:33,520 --> 00:51:34,920
Speaker 2: at the time thinking it was really cool.

973
00:51:35,239 --> 00:51:37,760
Speaker 3: I actually never watched it, but I got the impression

974
00:51:37,880 --> 00:51:40,399
Speaker 3: that it was trying to be a rival to Star

975
00:51:40,480 --> 00:51:43,360
Speaker 3: Trek to create a kind of equally expansive lore and

976
00:51:43,960 --> 00:51:45,239
Speaker 3: its universe and all that.

977
00:51:45,560 --> 00:51:47,960
Speaker 2: Yeah, yeah, yeah, I had some some really neat alien

978
00:51:48,000 --> 00:51:52,680
Speaker 2: species and cultures and all. Let's see, Okay, who else

979
00:51:52,719 --> 00:51:55,160
Speaker 2: do we have here? Oh yeah, Danny Treehouse shows up

980
00:51:55,200 --> 00:51:55,840
Speaker 2: as a prisoner.

981
00:51:56,080 --> 00:51:58,280
Speaker 3: He has one line, but it's very memorable.

982
00:51:58,440 --> 00:52:01,160
Speaker 2: Yeah he does, Yeah, he yeah, and it's it's a

983
00:52:01,239 --> 00:52:03,360
Speaker 2: role with lines. He shows up blade in the film.

984
00:52:03,680 --> 00:52:07,440
Speaker 2: He's an inmate during the big showdown at the at

985
00:52:07,480 --> 00:52:10,359
Speaker 2: the jail. And this was pretty early on for him.

986
00:52:10,360 --> 00:52:14,560
Speaker 2: This was his fourth credited screen appearance, very soon on

987
00:52:14,600 --> 00:52:17,839
Speaker 2: the heels of his appearance in eighty five's Runaway Train.

988
00:52:18,680 --> 00:52:20,560
Speaker 2: That was a film where the made use of his

989
00:52:20,640 --> 00:52:24,920
Speaker 2: experience as an actual incarcerated individual. And I believe he

990
00:52:24,960 --> 00:52:29,239
Speaker 2: was also Eric Roberts boxing coach on that film. But yeah,

991
00:52:29,280 --> 00:52:32,000
Speaker 2: at this point he's been in a bazillion films and

992
00:52:32,160 --> 00:52:35,800
Speaker 2: still still very much active. Oh and we have another

993
00:52:35,920 --> 00:52:39,920
Speaker 2: nightmare connection here. Last actor I'm gonna mention for this movie,

994
00:52:40,400 --> 00:52:45,080
Speaker 2: we have Roy the Dog playing the dog Jake dates Dog,

995
00:52:45,440 --> 00:52:46,000
Speaker 2: the dog that.

996
00:52:45,960 --> 00:52:47,920
Speaker 3: Has given free reign of crime scenes.

997
00:52:47,920 --> 00:52:51,200
Speaker 2: By the way, Yes, yes, because he is. Yeah, he's

998
00:52:51,280 --> 00:52:54,800
Speaker 2: one of the lieutenant's dog, So Roy the Dog. I

999
00:52:54,800 --> 00:52:57,440
Speaker 2: couldn't find any dates for Roy. I believe he's currently

1000
00:52:57,480 --> 00:53:00,200
Speaker 2: living upstate and is fine. Though has not been in

1001
00:53:00,280 --> 00:53:03,640
Speaker 2: movies and decades. Jake's big breakthrough came in the form

1002
00:53:03,719 --> 00:53:05,640
Speaker 2: of nineteen eighty four Is Up the Creek, in which

1003
00:53:05,640 --> 00:53:09,040
Speaker 2: he played Chuck the Wonderdog. Jake's other credits include eighty

1004
00:53:09,040 --> 00:53:11,960
Speaker 2: five's The Explorers, nineteen eighty eight's a Nightmare on Elm

1005
00:53:11,960 --> 00:53:15,880
Speaker 2: Street four, The dream Master, eighty eight's Two Moon Junction

1006
00:53:16,120 --> 00:53:19,360
Speaker 2: that's a Zalman King film, and oh yeah, the nineteen

1007
00:53:19,360 --> 00:53:23,319
Speaker 2: eighty eight talking horse movie Hot to Trot starring Bobcat

1008
00:53:23,360 --> 00:53:26,120
Speaker 2: Goldway and John Candy. Oh and he's also in Peter

1009
00:53:26,200 --> 00:53:30,080
Speaker 2: Bogdanovich's Texasville in nineteen ninety. So really quite a canine

1010
00:53:30,080 --> 00:53:31,000
Speaker 2: filmography here.

1011
00:53:31,200 --> 00:53:34,640
Speaker 3: Yeah, that is quite the RESUMEA. So this is our

1012
00:53:35,080 --> 00:53:39,040
Speaker 3: fourth now Nightmare on Elm Street Connections. Yeah, yeah, strong

1013
00:53:39,160 --> 00:53:42,240
Speaker 3: nightmare energy here for sure. Amazing.

1014
00:53:42,600 --> 00:53:44,960
Speaker 2: And I'll just mention real quick that the visual effects

1015
00:53:44,960 --> 00:53:49,839
Speaker 2: supervisors credited here were Lorenzo Contreras as well as Justin

1016
00:53:50,000 --> 00:53:55,000
Speaker 2: Claren Beck. I don't know either of these individuals super well,

1017
00:53:55,120 --> 00:54:00,319
Speaker 2: but for their credits include let's see. Contreras worked on

1018
00:54:00,360 --> 00:54:03,000
Speaker 2: Blake Trinity two thousand and four, Sin City two thousand

1019
00:54:03,000 --> 00:54:06,120
Speaker 2: and five, two thousand and seven's The Missed, twenty thirteen's

1020
00:54:06,120 --> 00:54:09,360
Speaker 2: Warm Bodies, and clari Ambeck worked on eighty seven's Lost

1021
00:54:09,360 --> 00:54:12,840
Speaker 2: Boys eighty eights, Phantasm two and eighty nine's National Lampoon's

1022
00:54:12,880 --> 00:54:17,800
Speaker 2: Christmas Vacation and then getting to the music here. Michael

1023
00:54:18,040 --> 00:54:22,480
Speaker 2: Convertino born nineteen fifty two did the score. His first

1024
00:54:22,520 --> 00:54:25,919
Speaker 2: score was actually the one to Tim Burton's nineteen eighty

1025
00:54:25,960 --> 00:54:29,640
Speaker 2: four short film Franken Weeney. Subsequent credits include eighty six's

1026
00:54:29,719 --> 00:54:33,600
Speaker 2: Hollywood Vice Squad and also Children of a Lesser God

1027
00:54:33,640 --> 00:54:36,640
Speaker 2: from the same year, Bull Durham in eighty eight, ninety

1028
00:54:36,680 --> 00:54:39,560
Speaker 2: fives Things to Do in Denver when You're Dead, and

1029
00:54:39,640 --> 00:54:41,400
Speaker 2: ninety seven's Jungle to Jungle.

1030
00:54:43,360 --> 00:54:46,200
Speaker 3: Saw that one in the theater Okay as a child.

1031
00:54:46,320 --> 00:54:50,080
Speaker 2: Even Jungle to Jungle probably needs a score. Not every

1032
00:54:50,080 --> 00:54:52,560
Speaker 2: film needs a score, but hard to imagine Jungle to

1033
00:54:53,000 --> 00:54:54,800
Speaker 2: Jungle going without one.

1034
00:54:55,640 --> 00:54:59,000
Speaker 3: Just you know, we're not haters here, but that was

1035
00:54:59,040 --> 00:55:07,280
Speaker 3: not one of my best theater going experiences.

1036
00:55:12,600 --> 00:55:15,080
Speaker 2: Finally, I will mention real quick that the soundtrack on

1037
00:55:15,120 --> 00:55:17,400
Speaker 2: this film is really fine. We mentioned that the alien

1038
00:55:17,440 --> 00:55:19,759
Speaker 2: really likes the music, so there's a lot of you know,

1039
00:55:19,840 --> 00:55:22,520
Speaker 2: there's a lot of needle drop in this one. It

1040
00:55:22,600 --> 00:55:25,840
Speaker 2: features Let's See the Truth, the Lords of the New Church,

1041
00:55:26,480 --> 00:55:31,080
Speaker 2: hunters and collectors, and concrete blonde. Yeah, and maybe one

1042
00:55:31,120 --> 00:55:33,879
Speaker 2: or two other artists that we'll mention when we get

1043
00:55:33,880 --> 00:55:34,520
Speaker 2: into the plot.

1044
00:55:34,719 --> 00:55:38,399
Speaker 3: It's got a metal band called Shock Paris that they

1045
00:55:38,440 --> 00:55:40,960
Speaker 3: play the opening song, or not the opening song. The

1046
00:55:41,000 --> 00:55:42,959
Speaker 3: song's in the opening chase scene. I guess we're about

1047
00:55:42,960 --> 00:55:46,080
Speaker 3: to talk about it anyways, do so okay? Yeah, yeah,

1048
00:55:46,239 --> 00:55:47,680
Speaker 3: time for the plot? Anything else?

1049
00:55:48,080 --> 00:55:49,400
Speaker 2: I think that's it, let's jump into it.

1050
00:55:49,480 --> 00:55:53,440
Speaker 3: Yeah, okay. So the film opens on grainy, black and

1051
00:55:53,480 --> 00:55:56,640
Speaker 3: white security camera footage from the lobby of a bank,

1052
00:55:57,200 --> 00:56:01,719
Speaker 3: and at first there's just quiet, uneasy music playing. We

1053
00:56:01,760 --> 00:56:04,560
Speaker 3: see customers coming and going, lining up for the tellers,

1054
00:56:04,760 --> 00:56:08,719
Speaker 3: security guards wandering around. Nothing much is happening. Then a

1055
00:56:08,920 --> 00:56:11,440
Speaker 3: tall man in a trench coat enters the frame and

1056
00:56:11,480 --> 00:56:13,840
Speaker 3: he stands with his back to the camera, not moving

1057
00:56:13,880 --> 00:56:16,400
Speaker 3: for a few minutes while people walk around him. And

1058
00:56:16,440 --> 00:56:18,880
Speaker 3: then from the back of the bank where the vault is,

1059
00:56:18,920 --> 00:56:21,520
Speaker 3: we see a group of men in uniform coming out

1060
00:56:21,560 --> 00:56:23,320
Speaker 3: through the lobby. I think these are supposed to be

1061
00:56:23,480 --> 00:56:27,359
Speaker 3: armored truck couriers. And when they get close, suddenly the

1062
00:56:27,400 --> 00:56:30,400
Speaker 3: man in the trench coat whips out a huge shotgun

1063
00:56:30,520 --> 00:56:34,439
Speaker 3: and just starts blasting. He kills the couriers seemingly also

1064
00:56:34,520 --> 00:56:37,520
Speaker 3: just kills some random people standing around. He walks over,

1065
00:56:37,640 --> 00:56:40,520
Speaker 3: he picks up a few small bags of cash, and

1066
00:56:40,560 --> 00:56:43,600
Speaker 3: then before he leaves, he stops and looks straight up

1067
00:56:43,600 --> 00:56:47,120
Speaker 3: into the security camera and gives a huge grin all teeth.

1068
00:56:47,640 --> 00:56:51,160
Speaker 2: And it's alarming how quickly this starts, Like the shotgun

1069
00:56:51,200 --> 00:56:55,120
Speaker 2: blasts begin when we just have the security camera footage,

1070
00:56:55,160 --> 00:56:56,840
Speaker 2: which I thought was just going to be there to

1071
00:56:56,880 --> 00:56:59,480
Speaker 2: play behind the credits. I thought, nothing's really going to

1072
00:56:59,480 --> 00:57:01,520
Speaker 2: get started. I could get up and you get a

1073
00:57:01,560 --> 00:57:03,319
Speaker 2: cup of coffee, or go use the restroom if I

1074
00:57:03,360 --> 00:57:06,360
Speaker 2: need to, because nothing's happening yet. But no, this movie's

1075
00:57:06,400 --> 00:57:07,560
Speaker 2: off to the races already.

1076
00:57:07,880 --> 00:57:10,480
Speaker 3: Yeah. So now we're out of the security camera footage.

1077
00:57:10,480 --> 00:57:13,040
Speaker 3: We're in full color and we see outside the bank,

1078
00:57:13,120 --> 00:57:17,280
Speaker 3: and to my surprise, this is a branded bank massacre scene.

1079
00:57:17,400 --> 00:57:19,720
Speaker 3: So you see the like the logo up front it

1080
00:57:19,720 --> 00:57:22,760
Speaker 3: says Wells Fargo Bank. It's like, did they pay for

1081
00:57:22,800 --> 00:57:23,600
Speaker 3: that placement?

1082
00:57:24,320 --> 00:57:26,040
Speaker 2: Yeah? Did they tell them what sort of movie they

1083
00:57:26,040 --> 00:57:27,960
Speaker 2: were going to be filming there on a Sunday morning?

1084
00:57:27,960 --> 00:57:28,360
Speaker 2: I don't know.

1085
00:57:29,320 --> 00:57:33,520
Speaker 3: I don't know. So once the perpetrator is outside, we

1086
00:57:33,560 --> 00:57:35,720
Speaker 3: see that this is Chris Maulky. This is the guy

1087
00:57:35,760 --> 00:57:38,600
Speaker 3: I always think of his Hank from Twin Peaks. He

1088
00:57:38,680 --> 00:57:41,040
Speaker 3: kills another security guard on the way out, and then

1089
00:57:41,080 --> 00:57:44,640
Speaker 3: he after all of the shooting, he plods rather calmly

1090
00:57:44,800 --> 00:57:47,600
Speaker 3: toward his car. He pays no attention to the people

1091
00:57:47,600 --> 00:57:50,600
Speaker 3: who are screaming and running for cover all around him.

1092
00:57:50,760 --> 00:57:53,320
Speaker 3: There was a weird thing I noticed the second time

1093
00:57:53,360 --> 00:57:56,800
Speaker 3: I watched this, which is his clothes. We mainly see

1094
00:57:56,840 --> 00:57:58,880
Speaker 3: he's got a trench coat on on the outside that

1095
00:57:58,920 --> 00:58:03,040
Speaker 3: he was concealing the shop, but underneath the coat he

1096
00:58:03,240 --> 00:58:07,480
Speaker 3: is wearing what looks like a pink and lavender plaid blazer,

1097
00:58:08,200 --> 00:58:12,280
Speaker 3: a pale pink shirt with a yellow and blue striped tie,

1098
00:58:12,480 --> 00:58:15,560
Speaker 3: and low rise loafers like a little slip on loafers.

1099
00:58:16,640 --> 00:58:19,800
Speaker 3: So apart from apart from the trench coat, he doesn't

1100
00:58:19,840 --> 00:58:23,720
Speaker 3: look dressed for crime. He's dressed more likes he's like

1101
00:58:23,800 --> 00:58:26,840
Speaker 3: the mayor of Easter Bunny Village. And suddenly he just

1102
00:58:26,880 --> 00:58:29,240
Speaker 3: grabbed a shotgun and threw on a trench coat and

1103
00:58:29,560 --> 00:58:30,480
Speaker 3: went to do crime.

1104
00:58:30,680 --> 00:58:33,800
Speaker 2: Yeah, and that's telling Yeah, and second viewing, because we

1105
00:58:33,920 --> 00:58:36,560
Speaker 2: know that he has spacelug, that he is. This is

1106
00:58:36,600 --> 00:58:38,880
Speaker 2: just a body worn by something, and it is not

1107
00:58:38,960 --> 00:58:40,720
Speaker 2: the first body that it has worn.

1108
00:58:40,760 --> 00:58:43,080
Speaker 3: Right, But there's no indication of this at first, so

1109
00:58:43,360 --> 00:58:46,680
Speaker 3: we're just watching a guy doing crime. He just he

1110
00:58:47,000 --> 00:58:49,000
Speaker 3: So he goes to his car, which is a black

1111
00:58:49,000 --> 00:58:52,000
Speaker 3: sports car Ferrari, I assume, because we will learn that

1112
00:58:52,080 --> 00:58:55,720
Speaker 3: this villain is obsessed with Ferraris. He tosses the gun

1113
00:58:55,760 --> 00:58:57,440
Speaker 3: and the money into the car. He gets in and

1114
00:58:57,440 --> 00:59:00,560
Speaker 3: then he pops in a heavy metal cassette tape and

1115
00:59:00,600 --> 00:59:03,760
Speaker 3: then revs the engine and peels away, and pretty much

1116
00:59:03,760 --> 00:59:07,440
Speaker 3: the whole time here his expression, his expression is totally flat.

1117
00:59:07,480 --> 00:59:11,320
Speaker 3: There's no excitement, no urgency, no distress. It just kind

1118
00:59:11,320 --> 00:59:16,480
Speaker 3: of stonefaced. And this leads into an extended, high octane,

1119
00:59:16,600 --> 00:59:21,000
Speaker 3: hyper violent car chase where Mulki is driving. He's like

1120
00:59:21,040 --> 00:59:23,480
Speaker 3: the car just screaming through the streets of LA with

1121
00:59:23,560 --> 00:59:27,880
Speaker 3: police vehicles in pursuit. He's got his metal blasting. And

1122
00:59:28,000 --> 00:59:30,520
Speaker 3: this is the part where it very much reminded me

1123
00:59:30,560 --> 00:59:34,200
Speaker 3: of watching somebody play Grand Theft auto. He's just careening around.

1124
00:59:34,280 --> 00:59:37,800
Speaker 3: He is paying no heed to human life or property.

1125
00:59:38,440 --> 00:59:42,040
Speaker 3: He's just out there having a good time. And the

1126
00:59:42,200 --> 00:59:45,280
Speaker 3: song that's playing I wanted to look this up because

1127
00:59:45,320 --> 00:59:48,400
Speaker 3: I was like, is this maybe Iron Maiden or Judas Priest.

1128
00:59:48,480 --> 00:59:52,520
Speaker 3: It's roughly in that zone British fast tempo metal, kind

1129
00:59:52,520 --> 00:59:55,840
Speaker 3: of rob halford sounding vocals, But I looked it up

1130
00:59:55,880 --> 00:59:58,080
Speaker 3: and it's not either of them. It is called on

1131
00:59:58,280 --> 01:00:01,560
Speaker 3: your Feet by a band called Shock Paris, but Shock

1132
01:00:01,640 --> 01:00:05,680
Speaker 3: is spelled shok. I think this song was selected in

1133
01:00:05,720 --> 01:00:08,560
Speaker 3: part because it one thing, is just fast metal, so

1134
01:00:08,600 --> 01:00:11,280
Speaker 3: it sounds appropriate, but also it has lyrics that sound

1135
01:00:11,440 --> 01:00:14,720
Speaker 3: vaguely like they are advocating the commission of crimes. It's

1136
01:00:14,880 --> 01:00:17,840
Speaker 3: very you know, take take what you can. You know,

1137
01:00:18,120 --> 01:00:20,720
Speaker 3: the fires are raging, it's all for the taking, that

1138
01:00:20,800 --> 01:00:24,520
Speaker 3: sort of thing. So the cops chase Mulky around LA

1139
01:00:24,680 --> 01:00:29,480
Speaker 3: while he's evading them, and Mulky he's mostly stone faced,

1140
01:00:29,520 --> 01:00:31,360
Speaker 3: but he does kind of smirk a little bit when

1141
01:00:31,400 --> 01:00:34,600
Speaker 3: he gets opportunities to hit random civilians with his car.

1142
01:00:35,040 --> 01:00:38,360
Speaker 3: He also takes an opportunity to drive through a pane

1143
01:00:38,360 --> 01:00:41,800
Speaker 3: of plate glass that some installers are carrying across the road,

1144
01:00:41,840 --> 01:00:44,520
Speaker 3: and that was funny because that was like, okay, the

1145
01:00:44,520 --> 01:00:47,240
Speaker 3: glass movers moving the glass. That did not work in

1146
01:00:47,280 --> 01:00:50,360
Speaker 3: a melon card, but you could have seen that coming next.

1147
01:00:51,400 --> 01:00:53,520
Speaker 3: But by this point we start to get to get

1148
01:00:53,560 --> 01:00:58,040
Speaker 3: the picture that maybe the bank robbery wasn't primarily about money.

1149
01:00:58,080 --> 01:01:00,680
Speaker 3: This guy just seems to enjoy break in the law.

1150
01:01:00,920 --> 01:01:02,600
Speaker 2: Yeah, it is a full blown rampage.

1151
01:01:02,800 --> 01:01:06,440
Speaker 3: Yeah. Meanwhile, elsewhere we meet up with another character. This

1152
01:01:06,520 --> 01:01:09,800
Speaker 3: is Detective Tom Beck played by Michael Newy. He is

1153
01:01:09,880 --> 01:01:13,040
Speaker 3: interviewing the neighbors of the character played by Mulkey, who

1154
01:01:13,120 --> 01:01:16,920
Speaker 3: we learn is named Jack Devrees, and his neighbors say, oh,

1155
01:01:17,000 --> 01:01:19,960
Speaker 3: such a polite man, very nice man, a real gentleman.

1156
01:01:21,200 --> 01:01:23,880
Speaker 3: So it seems like this guy Davrees has been on

1157
01:01:23,920 --> 01:01:27,360
Speaker 3: a multi day crime and murder spree, and Beck, along

1158
01:01:27,400 --> 01:01:30,560
Speaker 3: with his partner, Detective Cliff Willis played by ed O Ross,

1159
01:01:30,600 --> 01:01:33,960
Speaker 3: are working the case. In the middle of an interview

1160
01:01:34,000 --> 01:01:36,840
Speaker 3: with the neighbor, Willis comes running up to tell Beck

1161
01:01:36,960 --> 01:01:39,000
Speaker 3: that they know where Devrees is. He's in a car

1162
01:01:39,080 --> 01:01:41,520
Speaker 3: chase in West Hollywood, so they hop in their car

1163
01:01:41,600 --> 01:01:44,680
Speaker 3: and go to intercept. This car chase ends in a

1164
01:01:44,720 --> 01:01:48,120
Speaker 3: police barricade of the road. When Beck and Willis show up,

1165
01:01:48,160 --> 01:01:51,800
Speaker 3: we meet another character, Detective Sanchez played by Richard Brooks.

1166
01:01:52,440 --> 01:01:55,760
Speaker 3: The police line up behind their cars crosswise on the road.

1167
01:01:55,840 --> 01:02:00,120
Speaker 3: The aim shotguns. Dvrees approaches the roadblock at full speed

1168
01:02:00,240 --> 01:02:03,040
Speaker 3: and he's still bobbing his head to shock Paris, so

1169
01:02:03,120 --> 01:02:06,640
Speaker 3: he doesn't seem worried at all about this barricade. He

1170
01:02:06,720 --> 01:02:09,440
Speaker 3: never slows down. He just smashes straight through in a

1171
01:02:09,440 --> 01:02:13,720
Speaker 3: hail of gunfire, seemingly like taking tons of bullets in

1172
01:02:13,760 --> 01:02:17,080
Speaker 3: the process. And then his car eventually comes to a

1173
01:02:17,120 --> 01:02:20,000
Speaker 3: stop when it crashes into a wall behind the barricade.

1174
01:02:20,480 --> 01:02:24,200
Speaker 3: Defrees gets out of the car the crash car, he's

1175
01:02:24,240 --> 01:02:26,840
Speaker 3: covered in blood, and then he smiles, like what a

1176
01:02:26,880 --> 01:02:30,320
Speaker 3: great time we're all having. The car explodes in a

1177
01:02:30,480 --> 01:02:34,840
Speaker 3: gigantic guzzoline fireball, as you know cars in these movies

1178
01:02:34,840 --> 01:02:38,360
Speaker 3: are wont to do. And I guess that we think, well, okay,

1179
01:02:38,440 --> 01:02:41,200
Speaker 3: that's the end of Defrees. He exploded in Fireball, right,

1180
01:02:41,280 --> 01:02:43,480
Speaker 3: couldn't be any more of him, all right.

1181
01:02:43,320 --> 01:02:47,240
Speaker 2: But that it's not necessarily the case. And really this

1182
01:02:47,320 --> 01:02:50,160
Speaker 2: is gonna this is going to teach us what to

1183
01:02:50,280 --> 01:02:54,120
Speaker 2: expect out of the space lug here and it's it's

1184
01:02:54,200 --> 01:02:58,080
Speaker 2: it's hosts. We're going to quickly learn that whatever body

1185
01:02:58,080 --> 01:03:01,200
Speaker 2: it's controlling, it can take a whole lot of damage,

1186
01:03:01,200 --> 01:03:03,919
Speaker 2: and it doesn't seem to have to worry about any

1187
01:03:04,040 --> 01:03:06,920
Speaker 2: risk to itself. So it's not that it is I

1188
01:03:06,920 --> 01:03:09,840
Speaker 2: mean it's it's not that the body is maybe even

1189
01:03:09,840 --> 01:03:12,200
Speaker 2: protecting it, but maybe like it in and of itself,

1190
01:03:12,320 --> 01:03:15,560
Speaker 2: it cannot be harmed by bullets. Yeah, so anything, any

1191
01:03:15,640 --> 01:03:18,760
Speaker 2: damage you're doing, it doesn't care. It knows it cannot

1192
01:03:18,840 --> 01:03:20,080
Speaker 2: be hurt by what you were doing.

1193
01:03:20,440 --> 01:03:22,680
Speaker 3: That's right. Yeah, we'll talk about that more later. But

1194
01:03:23,240 --> 01:03:26,760
Speaker 3: here we cut to Mulky in a hospital bed. He

1195
01:03:26,800 --> 01:03:30,400
Speaker 3: looks like melted, burned to a crisp and detectives Beck

1196
01:03:30,480 --> 01:03:32,440
Speaker 3: and Willis are in the room with him, where a

1197
01:03:32,520 --> 01:03:34,880
Speaker 3: doctor tells them that this guy probably is not going

1198
01:03:34,960 --> 01:03:37,720
Speaker 3: to survive the night. In fact, they have no idea

1199
01:03:37,760 --> 01:03:40,240
Speaker 3: how he is still alive at the moment, and the

1200
01:03:40,320 --> 01:03:43,840
Speaker 3: detectives are like, good, hope he dies. For some reason,

1201
01:03:43,880 --> 01:03:47,480
Speaker 3: the doctor tries to argue with them as they're walking away, like,

1202
01:03:47,760 --> 01:03:49,720
Speaker 3: I don't know, why would the doctor bother trying to

1203
01:03:49,840 --> 01:03:50,919
Speaker 3: argue with them about that.

1204
01:03:51,240 --> 01:03:54,720
Speaker 2: I mean, it could be I mean, granted, these are detectives, right,

1205
01:03:54,760 --> 01:03:56,800
Speaker 2: but I mean I've been in hospitals before where I've

1206
01:03:56,840 --> 01:04:01,400
Speaker 2: seen medical staff put but police officers in their place,

1207
01:04:01,480 --> 01:04:03,320
Speaker 2: you know, so, I think sometimes it does come down to,

1208
01:04:04,320 --> 01:04:05,560
Speaker 2: you know, whose turf this is?

1209
01:04:05,600 --> 01:04:08,040
Speaker 3: You know, well, I could imagine that happening if they're

1210
01:04:08,040 --> 01:04:10,960
Speaker 3: trying to do something that the cop. But like they

1211
01:04:11,040 --> 01:04:13,600
Speaker 3: just express a sentiment and then walk away. He like

1212
01:04:13,720 --> 01:04:16,120
Speaker 3: chases after them to be like, you're wrong to say that.

1213
01:04:17,440 --> 01:04:20,920
Speaker 3: So I know he's standing for the battles, doc, right, yeah, yeah,

1214
01:04:21,000 --> 01:04:23,040
Speaker 3: he's standing up for the value of human life, or

1215
01:04:23,040 --> 01:04:25,840
Speaker 3: at least what he thinks is human life. But then

1216
01:04:25,880 --> 01:04:28,680
Speaker 3: Willis explains their point of view. They're like, no, this guy.

1217
01:04:28,760 --> 01:04:31,440
Speaker 3: He just starts rattling off the list of every horrible

1218
01:04:31,480 --> 01:04:34,400
Speaker 3: thing this guy has done. He lists all of the murders,

1219
01:04:35,120 --> 01:04:37,680
Speaker 3: and then after the murders, he moves on to talking

1220
01:04:37,680 --> 01:04:40,520
Speaker 3: about all of the Ferraris this guy stole. But it's like,

1221
01:04:40,760 --> 01:04:43,560
Speaker 3: is that important to mention after you've already talked about

1222
01:04:43,560 --> 01:04:44,560
Speaker 3: the murders.

1223
01:04:44,400 --> 01:04:47,680
Speaker 2: Think about the ferraris, the poor blameless Ferraris.

1224
01:04:47,920 --> 01:04:52,240
Speaker 3: Yeah so, but yeah, so he explains all the gruesome

1225
01:04:52,280 --> 01:04:55,080
Speaker 3: murders into pravities and he just leaves the doctor standing

1226
01:04:55,160 --> 01:04:58,200
Speaker 3: dumbfounded in the hall. Well, the two detectives, they head

1227
01:04:58,200 --> 01:05:01,680
Speaker 3: back to the station station, we meet a few more

1228
01:05:01,800 --> 01:05:05,760
Speaker 3: characters and get some plot exposition. We meet Klu Guliger

1229
01:05:05,800 --> 01:05:09,680
Speaker 3: as you said, Gulligher. I guess it's Gulligher. Yeah, yeah,

1230
01:05:09,720 --> 01:05:11,800
Speaker 3: I can't remember which one it is, so I don't sorry,

1231
01:05:12,720 --> 01:05:16,440
Speaker 3: I assume you're right. So Clu Gullagher as Lieutenant Ed

1232
01:05:16,600 --> 01:05:21,160
Speaker 3: Flynn and Clarence Felder as Lieutenant John Masterson, they're the

1233
01:05:21,160 --> 01:05:23,840
Speaker 3: bosses at the station, and these are going to be

1234
01:05:23,920 --> 01:05:27,000
Speaker 3: your guys who are there to say, you're a loose

1235
01:05:27,040 --> 01:05:30,320
Speaker 3: cannon mcgarnagald, you got a hand in your badge, here's

1236
01:05:30,360 --> 01:05:32,520
Speaker 3: your new partner, all that kind of stuff, taking it

1237
01:05:32,560 --> 01:05:36,000
Speaker 3: too personal, taking it too personal. So they're having an

1238
01:05:36,080 --> 01:05:38,800
Speaker 3: argument about who is going to be assigned to the

1239
01:05:38,920 --> 01:05:43,200
Speaker 3: protection detail for a visiting politician named Senator Holt who

1240
01:05:43,320 --> 01:05:46,480
Speaker 3: is expected to announce that he's running for president while

1241
01:05:46,520 --> 01:05:49,520
Speaker 3: in the city, and we see some Senator Holt ads

1242
01:05:49,560 --> 01:05:53,000
Speaker 3: on TV later. His brand is I'm a good politician.

1243
01:05:53,200 --> 01:05:55,680
Speaker 3: I'm the kind who does good things and helps people,

1244
01:05:56,640 --> 01:06:01,040
Speaker 3: and so Flynn wants Flynn wants Michael Newi assigned to

1245
01:06:01,040 --> 01:06:04,080
Speaker 3: protect the senator. After all, it would be terrible for

1246
01:06:04,240 --> 01:06:06,840
Speaker 3: the department's reputation if something happened to him while he

1247
01:06:06,920 --> 01:06:09,840
Speaker 3: was in the city, and Masterson wants him to use

1248
01:06:09,920 --> 01:06:12,720
Speaker 3: the Edo Ross character instead, He's like, he's a change

1249
01:06:12,760 --> 01:06:15,520
Speaker 3: de man now. They don't say what his issue before was,

1250
01:06:16,720 --> 01:06:20,120
Speaker 3: but anyway, the argument is neutralized by the arrival of

1251
01:06:20,120 --> 01:06:23,480
Speaker 3: a new character. There's somebody from the FBI who needs

1252
01:06:23,480 --> 01:06:26,280
Speaker 3: to meet with Lieutenant Masterson. The door opens and in

1253
01:06:26,440 --> 01:06:31,560
Speaker 3: walks Kyle McLaughlin. So this is pre Twin Peaks post

1254
01:06:31,680 --> 01:06:36,440
Speaker 3: done Kyle, and he introduces himself as Agent Lloyd Gallagher,

1255
01:06:36,520 --> 01:06:39,200
Speaker 3: who is in town running down a federal case against

1256
01:06:39,240 --> 01:06:42,520
Speaker 3: their suspect of devrees. He needs to borrow their best

1257
01:06:42,600 --> 01:06:45,080
Speaker 3: man to help him work the case while he's in town,

1258
01:06:45,120 --> 01:06:49,480
Speaker 3: so he needs Beck. Beck is not happy to be

1259
01:06:49,520 --> 01:06:53,120
Speaker 3: paired with Gallagher. I think, for one thing, it's just

1260
01:06:53,200 --> 01:06:55,720
Speaker 3: going to be additional work for him. Like he has

1261
01:06:55,760 --> 01:06:59,160
Speaker 3: his own cases to deal with and nobody's around to

1262
01:06:59,200 --> 01:07:02,160
Speaker 3: take those over, so he's just also now got to

1263
01:07:02,200 --> 01:07:04,680
Speaker 3: go around hand holding this fed all day on top

1264
01:07:04,760 --> 01:07:06,320
Speaker 3: of all of his own cases.

1265
01:07:06,640 --> 01:07:10,160
Speaker 2: This is definitely a cop movie that acknowledges that there

1266
01:07:10,200 --> 01:07:13,000
Speaker 2: is paperwork to be done and that you know this

1267
01:07:13,160 --> 01:07:15,120
Speaker 2: not just super copping it up all the time.

1268
01:07:15,640 --> 01:07:17,840
Speaker 3: Yeah. So, as we mentioned earlier, there are a lot

1269
01:07:17,880 --> 01:07:21,880
Speaker 3: of cop movie cliches here, dynamics that feel familiar, but

1270
01:07:21,920 --> 01:07:25,040
Speaker 3: they're done pretty well here. So some of the things

1271
01:07:25,080 --> 01:07:30,000
Speaker 3: that will be familiar are mismatched new partners, federal versus local,

1272
01:07:30,120 --> 01:07:34,680
Speaker 3: jurisdictional conflict, killer on the loose. You know, the clock

1273
01:07:34,800 --> 01:07:38,960
Speaker 3: is ticking, but the cliches feel fresh to me here.

1274
01:07:39,040 --> 01:07:42,680
Speaker 3: I think for two reasons. One is the sci fi element,

1275
01:07:42,720 --> 01:07:45,200
Speaker 3: which will come into play pretty soon in the movie.

1276
01:07:45,880 --> 01:07:48,040
Speaker 3: And then the second thing that I think really makes

1277
01:07:48,080 --> 01:07:51,960
Speaker 3: them feel different. Even the things that are familiar feel

1278
01:07:51,960 --> 01:07:55,960
Speaker 3: different is the presence of Kyle McLaughlin. Like his screen presence,

1279
01:07:56,400 --> 01:08:00,160
Speaker 3: he is not a normal law enforcement movie character or

1280
01:08:00,760 --> 01:08:06,480
Speaker 3: Gallagher has this soft, gentle, ethereal presence. I kept thinking

1281
01:08:06,520 --> 01:08:09,520
Speaker 3: of him like he was a ghost who had come

1282
01:08:09,600 --> 01:08:12,600
Speaker 3: back from the other side to like bring knowledge or

1283
01:08:12,600 --> 01:08:15,880
Speaker 3: whisper warnings about the crimes of the future or whatever.

1284
01:08:16,600 --> 01:08:19,160
Speaker 3: And I think there are a lot of things about this.

1285
01:08:19,200 --> 01:08:23,679
Speaker 3: One is the way that McLaughlin plays the character. Another

1286
01:08:23,720 --> 01:08:26,680
Speaker 3: thing is the way even his makeup is done. Like

1287
01:08:26,760 --> 01:08:29,879
Speaker 3: I think he's a little bit overpowdered, making him slightly

1288
01:08:30,320 --> 01:08:33,400
Speaker 3: look a little bit corpse like, but also look kind

1289
01:08:33,439 --> 01:08:35,679
Speaker 3: of young and innocent, and.

1290
01:08:35,600 --> 01:08:38,040
Speaker 2: Yeah, that's a good that's a good note. Yeah, and

1291
01:08:38,320 --> 01:08:40,840
Speaker 2: he does have that young and innocent quality, but also

1292
01:08:41,800 --> 01:08:45,560
Speaker 2: at the same time he's very confident, yes, and seemingly unafraid.

1293
01:08:45,880 --> 01:08:51,240
Speaker 3: Yeah, confident, but not brash. It's a it's a very reticent,

1294
01:08:51,479 --> 01:08:54,400
Speaker 3: soft spoken confidence, if that makes any sense. Like, he's

1295
01:08:54,439 --> 01:08:58,679
Speaker 3: a hard contrast with Michael Newry's character, who is tough,

1296
01:08:59,200 --> 01:09:04,000
Speaker 3: cynical and just flush with attitude and testosterone. And that

1297
01:09:04,120 --> 01:09:07,400
Speaker 3: is also the general tone of the detective's open office,

1298
01:09:07,439 --> 01:09:10,080
Speaker 3: which is it's like a high school locker room. You know,

1299
01:09:10,120 --> 01:09:12,479
Speaker 3: it's just like this constant back and forth of crude

1300
01:09:12,560 --> 01:09:17,040
Speaker 3: jokes and insults and all that. Meanwhile, coll McLachlin comes

1301
01:09:17,080 --> 01:09:19,559
Speaker 3: into the room and he's just a warm breeze off

1302
01:09:19,560 --> 01:09:24,400
Speaker 3: the sea. And so anyway, you know, they compare notes

1303
01:09:24,560 --> 01:09:27,959
Speaker 3: and Gallagher fills back in about his fugitive. It is Devrees,

1304
01:09:28,280 --> 01:09:30,960
Speaker 3: So uh oh, this is new information for Gallagher. His

1305
01:09:31,040 --> 01:09:35,160
Speaker 3: suspect is already in the hospital about to die. Nuri

1306
01:09:35,280 --> 01:09:37,280
Speaker 3: thinks like, oh, okay, well that means I don't have

1307
01:09:37,320 --> 01:09:39,960
Speaker 3: to help the FBI guy after all, you know whatever,

1308
01:09:40,240 --> 01:09:44,679
Speaker 3: this is already done. Gallagher receives this information with urgency.

1309
01:09:44,840 --> 01:09:47,479
Speaker 3: He hurries off to see the purp, but he will

1310
01:09:47,479 --> 01:09:51,439
Speaker 3: not get a chance because the next we cut to

1311
01:09:51,479 --> 01:09:53,640
Speaker 3: the hospital and we get one of the most amazing

1312
01:09:53,720 --> 01:09:57,799
Speaker 3: scenes in the movie. Devrees, still burned to a crisp,

1313
01:09:58,240 --> 01:10:01,080
Speaker 3: is lying on the hospital bed. And at this point,

1314
01:10:01,240 --> 01:10:04,160
Speaker 3: if you go in without knowing anything in advance, you

1315
01:10:04,240 --> 01:10:08,120
Speaker 3: might still think this is a totally normal terrestrial killer,

1316
01:10:08,320 --> 01:10:11,840
Speaker 3: you know, serial killer movie or not serial killer, you

1317
01:10:11,880 --> 01:10:15,479
Speaker 3: know crime crime and cop movie. But we see him

1318
01:10:15,560 --> 01:10:18,559
Speaker 3: lying there. Chris Malkey's lying on the hospital bed sharing

1319
01:10:18,600 --> 01:10:21,680
Speaker 3: a room with another patient in the bed next to him. Now,

1320
01:10:21,720 --> 01:10:25,360
Speaker 3: normally I would wonder, if there is a suspected mass

1321
01:10:25,439 --> 01:10:28,360
Speaker 3: murderer under arrest in the hospital, do they have him

1322
01:10:28,400 --> 01:10:32,800
Speaker 3: share a room unattended with another patient. I don't know,

1323
01:10:33,120 --> 01:10:36,120
Speaker 3: that's a little I do understand the hospitals do a

1324
01:10:36,160 --> 01:10:37,920
Speaker 3: lot of cost cutting.

1325
01:10:37,520 --> 01:10:40,519
Speaker 2: Yeah, and they can be crowded certainly, depending on what's

1326
01:10:40,560 --> 01:10:40,920
Speaker 2: going on.

1327
01:10:41,080 --> 01:10:44,160
Speaker 3: But I would tend to think, I don't know, you

1328
01:10:44,200 --> 01:10:46,519
Speaker 3: wouldn't just leave another guy in there with the with

1329
01:10:46,600 --> 01:10:49,400
Speaker 3: the guy who just you know, ran the ferrari through

1330
01:10:49,439 --> 01:10:50,960
Speaker 3: the police barricade anyway.

1331
01:10:50,640 --> 01:10:52,719
Speaker 2: But necessary to grease the plot here.

1332
01:10:52,840 --> 01:10:57,320
Speaker 3: Right, so suddenly defrees sits straight up in his bed, awake,

1333
01:10:57,840 --> 01:11:01,960
Speaker 3: He in a profunctory way, just yanks all the tubes

1334
01:11:02,000 --> 01:11:04,960
Speaker 3: out of his body, staggers over to the guy in

1335
01:11:05,000 --> 01:11:08,920
Speaker 3: the other bed, pulls the other guy's tubes out, holds

1336
01:11:08,960 --> 01:11:12,960
Speaker 3: the other guy's mouth open, opens his own mouth, grimaces,

1337
01:11:13,560 --> 01:11:18,360
Speaker 3: and then behold the glory of slug. So out of

1338
01:11:18,439 --> 01:11:24,160
Speaker 3: the mouth come these tarantula legs, just hairy black spider legs,

1339
01:11:24,320 --> 01:11:28,080
Speaker 3: coming up past the lips, gripping the outside of the

1340
01:11:28,160 --> 01:11:32,320
Speaker 3: chrismulky face and pulling the rest of the body out

1341
01:11:32,360 --> 01:11:35,720
Speaker 3: through the lips. The rest of the body is this

1342
01:11:36,000 --> 01:11:41,040
Speaker 3: black slug, the size of a bread loaf, with whipping tentacles,

1343
01:11:41,600 --> 01:11:45,280
Speaker 3: with the hairy black tarantula legs, and a sort of

1344
01:11:45,479 --> 01:11:48,759
Speaker 3: head that looks a bit like some a sea creature,

1345
01:11:48,840 --> 01:11:52,720
Speaker 3: kind of a sea horse head, but covered in a gelatinous,

1346
01:11:52,800 --> 01:11:57,960
Speaker 3: translucent membrane like a slimy, clear plastic bag that all

1347
01:11:58,040 --> 01:12:02,000
Speaker 3: oozes out of Devreeze's mouth and then into the mouth

1348
01:12:02,240 --> 01:12:06,080
Speaker 3: of the other patient. It is one of the greatest, like,

1349
01:12:06,240 --> 01:12:09,920
Speaker 3: what the hell scenes I've ever seen, Like ten thumbs

1350
01:12:10,000 --> 01:12:11,160
Speaker 3: up to the scene.

1351
01:12:11,240 --> 01:12:15,520
Speaker 2: Yes, the space slug transfer scene. It just incredible, incredible

1352
01:12:15,520 --> 01:12:18,000
Speaker 2: bit of effects work here in the design of the

1353
01:12:18,000 --> 01:12:21,639
Speaker 2: creature is tremendous as well. In that special effects feature

1354
01:12:21,680 --> 01:12:24,240
Speaker 2: on the disc that I checked out, they pointed out

1355
01:12:24,240 --> 01:12:26,840
Speaker 2: that apparently the original script called for it to be

1356
01:12:27,439 --> 01:12:30,960
Speaker 2: some sort of an amorphous black mass, so maybe something

1357
01:12:31,000 --> 01:12:33,639
Speaker 2: that was maybe more blob like, or even maybe more

1358
01:12:33,640 --> 01:12:35,760
Speaker 2: plasma like. I don't even know if it was necessarily

1359
01:12:36,600 --> 01:12:39,679
Speaker 2: even liquid like. Maybe it's something else, But the effects

1360
01:12:39,760 --> 01:12:44,360
Speaker 2: team moved more towards an indo parasite design, and I

1361
01:12:44,400 --> 01:12:46,640
Speaker 2: lovingly keep thinking of it as a space slug, and

1362
01:12:46,640 --> 01:12:48,960
Speaker 2: we're going to keep calling it a slug, but it

1363
01:12:49,000 --> 01:12:52,360
Speaker 2: does have slug like qualities we already have touched on,

1364
01:12:52,400 --> 01:12:55,040
Speaker 2: how you know, kind of has Tarantula's legs at the start.

1365
01:12:56,680 --> 01:12:58,719
Speaker 2: By and large, it kind of reminds me a little

1366
01:12:58,760 --> 01:13:02,160
Speaker 2: bit of certain Noodi Bronc species, you know, which is

1367
01:13:02,360 --> 01:13:06,320
Speaker 2: to say, it looks really alien, unique design, and so

1368
01:13:06,439 --> 01:13:09,120
Speaker 2: much of its functionality is also visible in the design.

1369
01:13:09,120 --> 01:13:12,000
Speaker 2: You know, the long trailing tentacles, those are going to

1370
01:13:12,040 --> 01:13:15,400
Speaker 2: come into play later. We come to imagine that those

1371
01:13:15,479 --> 01:13:18,040
Speaker 2: must weave throughout the body of the possessed, you know,

1372
01:13:18,160 --> 01:13:21,000
Speaker 2: almost almost like puppet strings. Ah.

1373
01:13:21,080 --> 01:13:22,720
Speaker 3: Yeah, that's what I was gonna say, is like they

1374
01:13:22,800 --> 01:13:25,160
Speaker 3: go to every finger in tow. You know, they they

1375
01:13:25,160 --> 01:13:28,120
Speaker 3: are the things that control the body with by by

1376
01:13:28,360 --> 01:13:29,759
Speaker 3: twitching the little nerves.

1377
01:13:30,479 --> 01:13:35,000
Speaker 2: Another great thing, the really interesting thing that the Shoulder

1378
01:13:35,000 --> 01:13:37,679
Speaker 2: had to say about this sequence is that they shot

1379
01:13:37,720 --> 01:13:41,000
Speaker 2: this sequence and they did it. It's so well done here,

1380
01:13:41,400 --> 01:13:43,439
Speaker 2: And he pointed out, you only need to see this

1381
01:13:43,479 --> 01:13:45,720
Speaker 2: once in the movie, so you're not gonna there are

1382
01:13:45,760 --> 01:13:49,799
Speaker 2: gonna be plenty of other host transferences that take place,

1383
01:13:50,160 --> 01:13:53,160
Speaker 2: but you're not going to see another one exactly. This

1384
01:13:53,280 --> 01:13:54,760
Speaker 2: is the only time we're going to get the long

1385
01:13:54,840 --> 01:13:58,720
Speaker 2: drawn out transfer sequence. And yeah, he says, like, once

1386
01:13:58,720 --> 01:14:01,240
Speaker 2: you've seen it the one, you don't need to see

1387
01:14:01,240 --> 01:14:04,439
Speaker 2: it again. You know, you don't have to. It's it's

1388
01:14:04,479 --> 01:14:07,519
Speaker 2: burned in the audience's mind. And I don't think it's

1389
01:14:07,520 --> 01:14:09,760
Speaker 2: an effect sequence that anyone is soon to forget it.

1390
01:14:09,920 --> 01:14:11,160
Speaker 2: And it totally stands up.

1391
01:14:11,640 --> 01:14:14,679
Speaker 3: I absolutely agree with that as a as a creative

1392
01:14:14,760 --> 01:14:16,880
Speaker 3: choice as well. It is much better to do it

1393
01:14:17,080 --> 01:14:20,080
Speaker 3: one time very well than to show it multiple times,

1394
01:14:20,120 --> 01:14:24,240
Speaker 3: because we can imagine what it's like the other times. Totally. Yeah.

1395
01:14:24,240 --> 01:14:26,560
Speaker 3: So the next thing we see after this is doctors

1396
01:14:26,600 --> 01:14:29,920
Speaker 3: are now in the room using defibrillator paddles to try

1397
01:14:29,960 --> 01:14:33,959
Speaker 3: to resuscitate the man who just received the slug. Somehow

1398
01:14:33,960 --> 01:14:37,920
Speaker 3: the process shocks the doctor who's doing the defib and

1399
01:14:38,040 --> 01:14:41,080
Speaker 3: sends him tumbling to the floor. And then suddenly the

1400
01:14:41,160 --> 01:14:44,679
Speaker 3: new slug host sits up. He opens his eyes and

1401
01:14:44,760 --> 01:14:48,320
Speaker 3: he has this expression on his face. It's that Boyett

1402
01:14:48,880 --> 01:14:51,759
Speaker 3: expression that's just like I want I'm hungry.

1403
01:14:51,840 --> 01:14:55,440
Speaker 2: Yes, yea, so good. It's just such a great performance

1404
01:14:55,479 --> 01:14:58,800
Speaker 2: here because yeah, he's like, he's like, I'm hungry. I

1405
01:14:58,880 --> 01:15:02,599
Speaker 2: need guns, need diner food, and I need some heavy

1406
01:15:02,720 --> 01:15:04,280
Speaker 2: metal music and I need all of it at the

1407
01:15:04,320 --> 01:15:05,400
Speaker 2: same time. Right.

1408
01:15:14,560 --> 01:15:17,479
Speaker 3: Meanwhile, Agent Gallagher arrives at the hospital and gets a

1409
01:15:17,479 --> 01:15:20,719
Speaker 3: debrief from the doctors. We learned that the sky miller

1410
01:15:21,120 --> 01:15:23,080
Speaker 3: had a bunch of things wrong with him. He had

1411
01:15:23,120 --> 01:15:26,920
Speaker 3: severe gastritis, he had a triple bypass surgery, he had

1412
01:15:26,920 --> 01:15:30,200
Speaker 3: a massive coronary and somehow he just walked out of

1413
01:15:30,200 --> 01:15:35,160
Speaker 3: the hospital. Docs say they cannot explain it. Quote, but

1414
01:15:35,600 --> 01:15:38,400
Speaker 3: they say, quote, I know that's not the man you're

1415
01:15:38,439 --> 01:15:42,240
Speaker 3: looking for. Jonathan Miller would never do anything to break

1416
01:15:42,320 --> 01:15:46,080
Speaker 3: the law. He has a very kind, very honest gentleman.

1417
01:15:46,760 --> 01:15:49,080
Speaker 3: It's the second time they've used the word gentleman to

1418
01:15:49,200 --> 01:15:52,600
Speaker 3: describe somebody who's been possessed by the space Lug. And

1419
01:15:52,640 --> 01:15:55,720
Speaker 3: then from there we cut immediately to Miller in a

1420
01:15:55,880 --> 01:15:59,840
Speaker 3: record store shoplifting heavy metal cassette tapes, just putting them

1421
01:15:59,880 --> 01:16:03,439
Speaker 3: in his jacket pocket, just one after the others. Pretty great,

1422
01:16:04,040 --> 01:16:07,680
Speaker 3: Oh Maiden, Yeah, getting some Maiden. And then the cashier

1423
01:16:07,880 --> 01:16:10,439
Speaker 3: sees what he's doing and tells him to stop, and

1424
01:16:10,439 --> 01:16:13,000
Speaker 3: then Miller beats the guy to death with I think

1425
01:16:13,000 --> 01:16:16,000
Speaker 3: he's got a stun baton or something. He takes it

1426
01:16:16,040 --> 01:16:18,479
Speaker 3: from the guy, beats him with it, steals all the

1427
01:16:18,520 --> 01:16:21,920
Speaker 3: money in the cash register, also steals a boom box,

1428
01:16:22,040 --> 01:16:24,800
Speaker 3: and then walks out onto the sidewalk just blasting his

1429
01:16:24,880 --> 01:16:26,439
Speaker 3: metal tapes everywhere he goes.

1430
01:16:27,200 --> 01:16:29,280
Speaker 2: I have to wonder it was like a shock baton,

1431
01:16:29,360 --> 01:16:31,960
Speaker 2: like this was just standard issue for record stores back

1432
01:16:31,960 --> 01:16:34,280
Speaker 2: in the day. Because there was like a small record

1433
01:16:34,360 --> 01:16:37,160
Speaker 2: store in my hometown when I was in high school,

1434
01:16:37,160 --> 01:16:39,400
Speaker 2: A friend of mine worked there, and I remember her

1435
01:16:39,400 --> 01:16:41,720
Speaker 2: showing off the stun baton that they kept behind.

1436
01:16:41,479 --> 01:16:44,760
Speaker 3: The desk, and she's supposed to use it if I guess, Yeah,

1437
01:16:44,880 --> 01:16:46,839
Speaker 3: tried to steal steal a cassette.

1438
01:16:47,080 --> 01:16:49,759
Speaker 2: Yeah, so I guess standard issue.

1439
01:16:50,439 --> 01:16:54,560
Speaker 3: Okay, so they So we're onto our second hop and

1440
01:16:55,000 --> 01:16:57,960
Speaker 3: the body hopping crime spree. Agent Gallagher comes back to

1441
01:16:58,000 --> 01:17:01,320
Speaker 3: the station and fills back in. Okay, Devrees is dead,

1442
01:17:01,600 --> 01:17:04,559
Speaker 3: but we've got a second suspect to track down. Now

1443
01:17:04,560 --> 01:17:08,240
Speaker 3: we're chasing Jonathan Miller. This leads into the setup for

1444
01:17:08,280 --> 01:17:10,720
Speaker 3: the rest of the movie, which will basically follow a

1445
01:17:10,760 --> 01:17:15,679
Speaker 3: pattern of the murder. Slug commits random crimes, seeks power,

1446
01:17:15,760 --> 01:17:19,240
Speaker 3: seeks pleasure, ultra violence, and then hops into a new

1447
01:17:19,280 --> 01:17:22,720
Speaker 3: body when the previous body becomes too damaged or used up,

1448
01:17:23,400 --> 01:17:27,280
Speaker 3: and then Gallagher and Beck will continue to track the

1449
01:17:27,320 --> 01:17:30,639
Speaker 3: slug through its hosts, occasionally getting close enough that there's

1450
01:17:30,680 --> 01:17:34,560
Speaker 3: a shootout or a car chase. And during their partnership,

1451
01:17:34,960 --> 01:17:39,200
Speaker 3: Beck and Gallagher first clash for various reasons, especially because

1452
01:17:39,280 --> 01:17:43,320
Speaker 3: Gallagher seems to know things about what is going on,

1453
01:17:43,520 --> 01:17:46,240
Speaker 3: like he's aware of the body hopping scenario and Beck

1454
01:17:46,360 --> 01:17:48,280
Speaker 3: is kept in the dark, at least at first. He

1455
01:17:48,360 --> 01:17:51,320
Speaker 3: only gradually becomes aware of the weirdness in play.

1456
01:17:51,560 --> 01:17:53,880
Speaker 2: So that's the main knowledge that Gallagher seems to be

1457
01:17:54,200 --> 01:17:58,959
Speaker 2: entering in with. Presumably because he's FBI, he knows already

1458
01:17:59,040 --> 01:18:02,360
Speaker 2: that there's something jumping from body to body and that

1459
01:18:02,439 --> 01:18:04,439
Speaker 2: the crimes are not going to end with the death

1460
01:18:04,800 --> 01:18:05,680
Speaker 2: of the suspect.

1461
01:18:06,000 --> 01:18:10,599
Speaker 3: Yeah, the relationship also develops because maybe it becomes apparent

1462
01:18:10,720 --> 01:18:15,160
Speaker 3: that there's something Gallagher is not letting on about himself

1463
01:18:15,240 --> 01:18:18,760
Speaker 3: as well. You know, we'll eventually discover what that is,

1464
01:18:18,840 --> 01:18:20,719
Speaker 3: but we'll hold on to that for just a moment.

1465
01:18:22,320 --> 01:18:24,720
Speaker 3: So one thing I guess we should do is just

1466
01:18:24,760 --> 01:18:27,960
Speaker 3: mention the succession of host bodies that the barf slug

1467
01:18:28,080 --> 01:18:31,320
Speaker 3: takes over. So you've got the Miller body first. In

1468
01:18:31,360 --> 01:18:34,640
Speaker 3: this body, the alien goes to a diner, eats breakfast

1469
01:18:35,160 --> 01:18:38,280
Speaker 3: while just like cooking the place with the metal from

1470
01:18:38,280 --> 01:18:41,040
Speaker 3: his cassette deck, so he's blasting it at his table.

1471
01:18:41,400 --> 01:18:43,880
Speaker 3: They ask him to turn on the volume and he won't.

1472
01:18:44,040 --> 01:18:47,920
Speaker 2: And then also just occasionally like belching and farting. Yes,

1473
01:18:48,240 --> 01:18:51,160
Speaker 2: because this is interesting to think about. We see that

1474
01:18:51,200 --> 01:18:54,360
Speaker 2: the parasite when it comes to stealing an automobile, goes

1475
01:18:54,400 --> 01:18:57,559
Speaker 2: straight for high performance. You know what's the fastest sports

1476
01:18:57,600 --> 01:19:00,160
Speaker 2: car that I can jump in and drive often with

1477
01:19:00,200 --> 01:19:04,559
Speaker 2: its human host. It's especially with the Miller body. You know,

1478
01:19:04,840 --> 01:19:06,960
Speaker 2: this is not a high performance. This is a Jalopy.

1479
01:19:07,120 --> 01:19:09,880
Speaker 2: This one was already this one was was set to

1480
01:19:09,920 --> 01:19:14,000
Speaker 2: be junked. But that doesn't seem to matter as much.

1481
01:19:14,040 --> 01:19:16,759
Speaker 2: Like he can see he can steal he yet whatever

1482
01:19:17,000 --> 01:19:20,360
Speaker 2: the gender of the alien here, it can jump into

1483
01:19:21,000 --> 01:19:23,960
Speaker 2: a body that is already almost dead and it can

1484
01:19:24,000 --> 01:19:26,240
Speaker 2: still do everything it needs to do. Presumably.

1485
01:19:26,840 --> 01:19:28,880
Speaker 3: I've got some thoughts about that that we'll come back

1486
01:19:28,920 --> 01:19:30,680
Speaker 3: to in just a minute, But first I'm going to

1487
01:19:30,880 --> 01:19:34,040
Speaker 3: mention the other things the boy at body does here.

1488
01:19:34,760 --> 01:19:38,240
Speaker 3: He attacks a Ferrari dealership because he like sees a

1489
01:19:38,320 --> 01:19:40,680
Speaker 3: lady driving a sports car on the street and then

1490
01:19:40,800 --> 01:19:43,600
Speaker 3: chases the car on foot but cannot keep up and

1491
01:19:43,640 --> 01:19:46,519
Speaker 3: then maybe having a heart attack or something. I don't

1492
01:19:46,520 --> 01:19:49,960
Speaker 3: know if he's having trouble, uh, And then he's like, Okay,

1493
01:19:50,000 --> 01:19:51,599
Speaker 3: I need to go steal a car. So he goes

1494
01:19:51,640 --> 01:19:54,000
Speaker 3: to a Ferrari dealership just kills a bunch of people

1495
01:19:54,040 --> 01:19:57,679
Speaker 3: in the process of stealing a Ferrari. U. Somehow off

1496
01:19:57,720 --> 01:19:59,680
Speaker 3: of this lead, he ends up getting a bunch of

1497
01:19:59,720 --> 01:20:02,599
Speaker 3: gun I think maybe the guy who was buying the

1498
01:20:02,680 --> 01:20:04,240
Speaker 3: car was an arms dealer.

1499
01:20:04,360 --> 01:20:06,759
Speaker 2: Okay, yeah, yeah, he ends up going to his house

1500
01:20:06,960 --> 01:20:08,360
Speaker 2: and getting a bunch of weapons.

1501
01:20:09,120 --> 01:20:12,040
Speaker 3: And he also there's cocaine everywhere in the sequence. Also,

1502
01:20:12,160 --> 01:20:14,240
Speaker 3: it's like, you know the Ferrari dealership. It seems to

1503
01:20:14,240 --> 01:20:17,000
Speaker 3: me it's just deriger that when you're buying a Ferrari

1504
01:20:17,120 --> 01:20:19,240
Speaker 3: the salesman gives you a few bumps of cocaine.

1505
01:20:19,520 --> 01:20:21,760
Speaker 2: Yeah, he has the cocaine in the trunk of a

1506
01:20:21,800 --> 01:20:22,920
Speaker 2: toy car in his desk.

1507
01:20:23,200 --> 01:20:26,160
Speaker 3: Yes. And in this sequence we start to see a

1508
01:20:26,200 --> 01:20:31,760
Speaker 3: formulation that the slug host will speak. He says, I

1509
01:20:31,880 --> 01:20:37,560
Speaker 3: want this car, and the alien often says, without elaboration

1510
01:20:37,920 --> 01:20:43,599
Speaker 3: or explanation, simply I want X just says I want it. Uh.

1511
01:20:43,640 --> 01:20:45,760
Speaker 3: And somewhere in the middle here also, I think this

1512
01:20:45,840 --> 01:20:48,719
Speaker 3: may be after the cops go to the scene where

1513
01:20:48,760 --> 01:20:51,400
Speaker 3: the where the scene at this guy's house where all

1514
01:20:51,439 --> 01:20:55,519
Speaker 3: of the weapons were there is the most chekhoved of

1515
01:20:55,680 --> 01:20:59,200
Speaker 3: Chekhov guns in movie history. I think where you just

1516
01:20:59,200 --> 01:21:02,679
Speaker 3: see a cop walk into frame with a flame thrower,

1517
01:21:02,720 --> 01:21:05,519
Speaker 3: and it's just like, look at this awesome flame thrower.

1518
01:21:06,280 --> 01:21:08,479
Speaker 3: Wouldn't it be interesting if this showed up again in

1519
01:21:08,560 --> 01:21:09,040
Speaker 3: Act three?

1520
01:21:09,360 --> 01:21:11,960
Speaker 2: You know, I should have thought that, but I actually didn't.

1521
01:21:12,040 --> 01:21:14,280
Speaker 2: When the when the first time I watched it, the

1522
01:21:14,560 --> 01:21:16,719
Speaker 2: when the when the flamethrower does show back up again,

1523
01:21:16,760 --> 01:21:17,719
Speaker 2: I was like, whoa.

1524
01:21:18,160 --> 01:21:20,679
Speaker 3: Oh, okay, well no, no, no, I mean I think

1525
01:21:20,680 --> 01:21:22,639
Speaker 3: it was supposed to be a surprise, So I'm glad

1526
01:21:22,680 --> 01:21:24,839
Speaker 3: it worked for you. I think maybe maybe I'm overly

1527
01:21:24,880 --> 01:21:27,479
Speaker 3: attuned to check off guns. I'm always looking for them.

1528
01:21:27,840 --> 01:21:30,639
Speaker 2: Sometimes it's a lot more obvious, like how much time

1529
01:21:30,760 --> 01:21:34,519
Speaker 2: is going to be taken to discuss the functionality of

1530
01:21:34,640 --> 01:21:37,800
Speaker 2: the Chekhov's gun. Sometimes that's the case, you're like, oh, yeah,

1531
01:21:37,800 --> 01:21:38,840
Speaker 2: this is coming back for sure.

1532
01:21:39,640 --> 01:21:45,640
Speaker 3: So in the Miller Body this, the alien has continuous

1533
01:21:45,840 --> 01:21:48,920
Speaker 3: vehicle maintenance issues, as we were just discussing, So there's

1534
01:21:49,040 --> 01:21:52,639
Speaker 3: all this stomach gurgling. I think maybe he's literally having

1535
01:21:52,720 --> 01:21:56,400
Speaker 3: heart attacks when he exerts himself, but he just pushes through.

1536
01:21:57,560 --> 01:22:01,160
Speaker 3: And I think there's another subtle theme here in the

1537
01:22:01,200 --> 01:22:06,080
Speaker 3: movie about the way the alien just uses up human bodies,

1538
01:22:06,880 --> 01:22:11,599
Speaker 3: Like the alien seems superhuman when in his host and

1539
01:22:11,640 --> 01:22:14,720
Speaker 3: I think it is the case that our Earth weapons

1540
01:22:14,840 --> 01:22:18,360
Speaker 3: cannot harm the space Slug. We will later learn there's

1541
01:22:18,400 --> 01:22:21,680
Speaker 3: an alien weapon that can be used to harm the

1542
01:22:21,720 --> 01:22:26,720
Speaker 3: slugs in its own true form. But the bodies, the

1543
01:22:26,760 --> 01:22:30,840
Speaker 3: bodies that it inhabits, can themselves be damaged. But it

1544
01:22:30,840 --> 01:22:34,120
Speaker 3: seems like they can absorb an awful lot of damage

1545
01:22:34,160 --> 01:22:37,160
Speaker 3: before they finally shut down, Like he will, the you know,

1546
01:22:37,200 --> 01:22:39,960
Speaker 3: the space slug in Miller body and in these other

1547
01:22:40,000 --> 01:22:43,200
Speaker 3: bodies will just keep getting shot and injured and still

1548
01:22:43,280 --> 01:22:46,840
Speaker 3: keep pushing on. I was kind of thinking that maybe

1549
01:22:46,840 --> 01:22:50,120
Speaker 3: it's not so much that the slug makes the bodies

1550
01:22:50,280 --> 01:22:55,080
Speaker 3: super resilient. Rather, it's more like the slug is thinking,

1551
01:22:55,120 --> 01:22:57,960
Speaker 3: I will drive this car until the wheels fall off.

1552
01:22:58,080 --> 01:23:00,960
Speaker 2: I think that's that. Yeah, it's absolutely drive into the ground.

1553
01:23:01,040 --> 01:23:03,360
Speaker 3: Yeah, right, So that a lot of the things that

1554
01:23:03,400 --> 01:23:07,240
Speaker 3: would stop a human from being able to continue are

1555
01:23:07,600 --> 01:23:11,400
Speaker 3: like needing to recover after an inner, an injury, or

1556
01:23:11,400 --> 01:23:14,839
Speaker 3: trying to prevent further injury or something, But the alien

1557
01:23:14,960 --> 01:23:18,400
Speaker 3: doesn't care about that. It's just it's just using our

1558
01:23:18,400 --> 01:23:21,559
Speaker 3: bodies up. And this actually mirrors something we see with

1559
01:23:21,680 --> 01:23:24,880
Speaker 3: other characters in the movie in relation to their work,

1560
01:23:25,040 --> 01:23:28,320
Speaker 3: like the cops in the police station, or also like

1561
01:23:28,400 --> 01:23:31,640
Speaker 3: the dancers, Like we see people just being worked to

1562
01:23:31,760 --> 01:23:35,840
Speaker 3: the bone with more and more responsibilities piling up, like

1563
01:23:35,920 --> 01:23:39,439
Speaker 3: there's no consideration of them as human beings. And you know,

1564
01:23:39,479 --> 01:23:42,160
Speaker 3: I think we see that maybe Beck's home life suffers

1565
01:23:42,200 --> 01:23:45,960
Speaker 3: from working too much. Yeah, so I think that's another

1566
01:23:46,000 --> 01:23:48,960
Speaker 3: one of the themes here. It's something about like exploiters

1567
01:23:49,120 --> 01:23:52,280
Speaker 3: using human beings up like their machines. They're just something

1568
01:23:52,320 --> 01:23:55,880
Speaker 3: to be operated to the point of failure and then discarded.

1569
01:23:56,520 --> 01:23:58,400
Speaker 2: M Yeah, that's a good read. I like that.

1570
01:23:59,400 --> 01:24:01,840
Speaker 3: Also, though on the more comedic side, there are these

1571
01:24:01,880 --> 01:24:06,519
Speaker 3: funny compatibility issues with the alien and the boyette body,

1572
01:24:06,640 --> 01:24:11,080
Speaker 3: Like we keep seeing the slugs tentacles accidentally poking out

1573
01:24:11,160 --> 01:24:15,439
Speaker 3: through an arm and spraying blood everywhere, and like the

1574
01:24:15,479 --> 01:24:17,560
Speaker 3: one part where like a tentacle pokes out of the

1575
01:24:17,640 --> 01:24:19,080
Speaker 3: arm and he's like, I get back in there, and

1576
01:24:19,120 --> 01:24:21,679
Speaker 3: he like tapes it up with a bunch of packing tape.

1577
01:24:22,320 --> 01:24:24,600
Speaker 3: There's another part where he's in a bar and I

1578
01:24:24,600 --> 01:24:27,240
Speaker 3: think tentacles are poking out and bleeding all over the

1579
01:24:27,280 --> 01:24:30,679
Speaker 3: place and the bartender is like, hey, what you got

1580
01:24:30,720 --> 01:24:32,679
Speaker 3: going on and he's just like whatever.

1581
01:24:32,960 --> 01:24:35,599
Speaker 2: Yeah. Luckily the la of this film is hell City

1582
01:24:35,720 --> 01:24:38,240
Speaker 2: enough that the bartender is just like, are you're bleeding

1583
01:24:38,280 --> 01:24:40,080
Speaker 2: all over the place? All right, fair enough, buddy, but

1584
01:24:40,200 --> 01:24:41,880
Speaker 2: I just want to I check with you once. That's

1585
01:24:41,920 --> 01:24:46,800
Speaker 2: the law, that sort of thing. But you know, I

1586
01:24:46,840 --> 01:24:49,679
Speaker 2: mentioned how he doesn't seem too choosy about the bodies,

1587
01:24:50,040 --> 01:24:52,840
Speaker 2: but the next body that he occupies is going to

1588
01:24:52,840 --> 01:24:56,080
Speaker 2: be that dancer character played by Claudia Christian, and perhaps

1589
01:24:56,080 --> 01:24:59,720
Speaker 2: in that in this instance, he does realize like, well,

1590
01:24:59,760 --> 01:25:02,479
Speaker 2: this bodies kind of a piece of junk. This one

1591
01:25:02,560 --> 01:25:04,920
Speaker 2: was already mostly used up when I jumped into it.

1592
01:25:05,360 --> 01:25:07,600
Speaker 2: I'm gonna get a valuable body. I'm gonna get a

1593
01:25:07,640 --> 01:25:11,320
Speaker 2: body that is, you know, in peak condition. And then

1594
01:25:11,400 --> 01:25:14,040
Speaker 2: later he's going to realize, I think, or it's going

1595
01:25:14,120 --> 01:25:17,360
Speaker 2: to realize, you know, there's physical condition, but there's also

1596
01:25:17,479 --> 01:25:21,639
Speaker 2: sort of like their social status, there is political power.

1597
01:25:22,000 --> 01:25:25,200
Speaker 2: And what if I got a body that already had

1598
01:25:25,240 --> 01:25:29,040
Speaker 2: these powers just sort of you know, socially available to it.

1599
01:25:29,080 --> 01:25:30,679
Speaker 2: What could I do with such a body? Then?

1600
01:25:30,880 --> 01:25:34,280
Speaker 3: What if I got a body that could command other bodies?

1601
01:25:34,439 --> 01:25:34,919
Speaker 2: Yeah?

1602
01:25:35,000 --> 01:25:38,120
Speaker 3: Yeah, so that I don't just run this body into

1603
01:25:38,120 --> 01:25:40,200
Speaker 3: the ground. I can get a body that makes other

1604
01:25:40,280 --> 01:25:42,400
Speaker 3: bodies run themselves into the ground.

1605
01:25:42,600 --> 01:25:43,000
Speaker 2: Yeah.

1606
01:25:43,120 --> 01:25:48,519
Speaker 3: Yeah. So anyway, so in the middle though, before we

1607
01:25:48,560 --> 01:25:52,479
Speaker 3: get the Claudia Christian possession, there's a dinner scene. The

1608
01:25:52,479 --> 01:25:55,360
Speaker 3: scene where they're working the case and Beck invites Gallagher

1609
01:25:55,439 --> 01:25:57,400
Speaker 3: back to his house to have dinner with his family.

1610
01:25:58,520 --> 01:26:01,360
Speaker 3: And this scene is interesting because as Kyle MacLaughlin seems

1611
01:26:01,439 --> 01:26:06,439
Speaker 3: very perplexed but also peaceful and happy to observe family life,

1612
01:26:06,600 --> 01:26:09,280
Speaker 3: Like there's a bit of us so this is how

1613
01:26:09,400 --> 01:26:11,320
Speaker 3: you how you creatures live.

1614
01:26:12,400 --> 01:26:14,920
Speaker 2: But also there's like, you know, maybe a class difference here,

1615
01:26:14,960 --> 01:26:19,000
Speaker 2: and also a single versus married slash family, right, a

1616
01:26:19,120 --> 01:26:21,840
Speaker 2: sort of scenario like single guy just has no idea

1617
01:26:21,880 --> 01:26:22,479
Speaker 2: how this works.

1618
01:26:22,560 --> 01:26:26,240
Speaker 3: Yeah, totally. It could pass as like we're starting to

1619
01:26:26,320 --> 01:26:29,880
Speaker 3: get clues that maybe call MacLaughlin is not exactly what

1620
01:26:29,960 --> 01:26:32,120
Speaker 3: he says he is, but you're not. It's not one

1621
01:26:32,160 --> 01:26:34,600
Speaker 3: hundred percent clear like, oh, he's an alien, yet he

1622
01:26:34,680 --> 01:26:37,280
Speaker 3: could be just another you know, like a guy with

1623
01:26:37,320 --> 01:26:39,840
Speaker 3: a different kind of life. M It's like, I wonder

1624
01:26:39,880 --> 01:26:41,760
Speaker 3: what it's like to be married, to be a father

1625
01:26:41,920 --> 01:26:44,840
Speaker 3: or something like that. Oh, but also there are these

1626
01:26:44,880 --> 01:26:48,040
Speaker 3: weird moments, like when he's at Beck's house, Gallagher has

1627
01:26:48,040 --> 01:26:50,720
Speaker 3: a moment of staring in the mirror like curious and

1628
01:26:50,760 --> 01:26:54,120
Speaker 3: almost kind of afraid, looking like looking at his own flesh.

1629
01:26:54,439 --> 01:26:56,800
Speaker 3: Also in the scene, we learned that Gallagher does not

1630
01:26:56,840 --> 01:26:59,200
Speaker 3: react well to beer, and Beck warns him to stay

1631
01:26:59,200 --> 01:27:02,960
Speaker 3: away from alcohol thereafter. But back to the body hopping,

1632
01:27:03,000 --> 01:27:05,680
Speaker 3: so at this strip club that the slug goes to,

1633
01:27:05,800 --> 01:27:08,479
Speaker 3: it discards the Miller body and switches to the body

1634
01:27:09,000 --> 01:27:13,200
Speaker 3: of this dancer named Brenda Lee van Buren, and in

1635
01:27:13,240 --> 01:27:16,639
Speaker 3: this body, Brenda decides to do more crime. She leaves

1636
01:27:16,640 --> 01:27:19,559
Speaker 3: the strip club. She goes back to her car to

1637
01:27:19,880 --> 01:27:22,639
Speaker 3: have sex with a creep who was cat calling her

1638
01:27:22,640 --> 01:27:25,879
Speaker 3: on the sidewalk. She kills the guy in the process.

1639
01:27:26,040 --> 01:27:28,800
Speaker 3: Not sure exactly what happens here, we don't. It's kind

1640
01:27:28,800 --> 01:27:29,879
Speaker 3: of filmed from a distance.

1641
01:27:29,960 --> 01:27:32,400
Speaker 2: Death by snoozsnow. That's all we know, I think so.

1642
01:27:33,479 --> 01:27:36,400
Speaker 3: And then this flows into a car chase where Beck

1643
01:27:36,479 --> 01:27:39,040
Speaker 3: and Gallagher they arrive on Zcene. They find her and

1644
01:27:39,080 --> 01:27:42,439
Speaker 3: they chase her in this car in their cars until

1645
01:27:42,640 --> 01:27:45,880
Speaker 3: they crash into a building. This turns into a gunfight

1646
01:27:45,960 --> 01:27:49,240
Speaker 3: where they pursue her onto the roof, and eventually her

1647
01:27:49,280 --> 01:27:52,360
Speaker 3: body becomes badly damaged in the fight and she jumps

1648
01:27:52,400 --> 01:27:55,679
Speaker 3: from the roof. Now, this whole time, during the fight,

1649
01:27:56,240 --> 01:28:00,840
Speaker 3: Gallagher has had with him a strange weapon, shaped sort

1650
01:28:00,880 --> 01:28:04,120
Speaker 3: of like a gun, but with no visible moving parts.

1651
01:28:04,160 --> 01:28:07,880
Speaker 3: It's this solid piece of silver metal, and he seems

1652
01:28:07,880 --> 01:28:10,960
Speaker 3: to plan to use it on the alien, but only

1653
01:28:11,000 --> 01:28:14,000
Speaker 3: after the human body has been killed and the slug

1654
01:28:14,080 --> 01:28:18,040
Speaker 3: emerges from the mouth, and so it can only harm

1655
01:28:18,120 --> 01:28:22,280
Speaker 3: the slug in its exposed form. So here I guess

1656
01:28:22,280 --> 01:28:26,160
Speaker 3: we should divulge the full final twist. So putting things together,

1657
01:28:26,240 --> 01:28:30,040
Speaker 3: it starts to become clear that Gallagher is also not

1658
01:28:30,320 --> 01:28:34,880
Speaker 3: what he seems. We discover that he is also an alien,

1659
01:28:35,560 --> 01:28:40,160
Speaker 3: also inhabiting a stolen human body, the body of a

1660
01:28:40,280 --> 01:28:44,439
Speaker 3: dead FBI agent, which is also driving a stolen car. Yes,

1661
01:28:44,520 --> 01:28:49,479
Speaker 3: and driving a stolen sports car. Now he's not a

1662
01:28:50,360 --> 01:28:52,680
Speaker 3: spree killer like this other alien. He's not on a

1663
01:28:52,680 --> 01:28:56,320
Speaker 3: crime spree. We learn through subsequent developments. It doesn't all

1664
01:28:56,320 --> 01:28:58,320
Speaker 3: come at once, but we will learn that he is

1665
01:28:58,439 --> 01:29:03,000
Speaker 3: basically as sort of a energy being who is some

1666
01:29:03,120 --> 01:29:07,519
Speaker 3: kind of alien cop or law enforcement. I think he

1667
01:29:07,560 --> 01:29:09,920
Speaker 3: says he's from a planet called Altaire, which is the

1668
01:29:09,960 --> 01:29:14,080
Speaker 3: planet from Forbidden Planet, and he is named al Hog.

1669
01:29:14,880 --> 01:29:19,000
Speaker 3: He's been chasing the space slug across worlds because in

1670
01:29:19,040 --> 01:29:23,120
Speaker 3: another life on another planet, this slug killed his partner

1671
01:29:23,280 --> 01:29:28,200
Speaker 3: and his family. So when Beck starts getting some parts

1672
01:29:28,200 --> 01:29:29,880
Speaker 3: of this, he doesn't get the whole story at first,

1673
01:29:29,920 --> 01:29:32,360
Speaker 3: but he gets some parts of it, and he temporarily

1674
01:29:32,479 --> 01:29:34,800
Speaker 3: jails Gallagher in the middle of the movie because he

1675
01:29:34,800 --> 01:29:39,400
Speaker 3: doesn't believe this stuff. So Gallagher is not able to

1676
01:29:39,560 --> 01:29:41,759
Speaker 3: kill the slug when it comes out of Brenda's body.

1677
01:29:41,840 --> 01:29:44,080
Speaker 3: Before he can get down to it with his special

1678
01:29:44,120 --> 01:29:49,360
Speaker 3: alien weapon, it has jumped into a dog. Ye uh oh.

1679
01:29:49,439 --> 01:29:52,439
Speaker 3: I think this leads into a scene that feels to

1680
01:29:52,520 --> 01:29:56,160
Speaker 3: me inspired by the thing when the dog sneaks up.

1681
01:29:56,160 --> 01:30:00,519
Speaker 3: So it's Lieutenant Masterson's dog, the police chief's dog who

1682
01:30:00,560 --> 01:30:03,280
Speaker 3: is allowed to freely roam crime scenes for some reason,

1683
01:30:04,400 --> 01:30:08,200
Speaker 3: and this leads into the possession of Lieutenant Masterson, the

1684
01:30:08,240 --> 01:30:12,080
Speaker 3: boss of all the cops, and this leads into a

1685
01:30:12,200 --> 01:30:15,880
Speaker 3: rampage inside the police station like the scene and Terminator,

1686
01:30:16,160 --> 01:30:19,840
Speaker 3: where you get a very heavily armed Masterson blasting through

1687
01:30:19,880 --> 01:30:22,240
Speaker 3: the station. I believe the goal is to kill Gallagher.

1688
01:30:22,280 --> 01:30:24,160
Speaker 3: He's trying to get to Gallagher in his cell and

1689
01:30:24,800 --> 01:30:25,639
Speaker 3: eliminate him.

1690
01:30:26,080 --> 01:30:27,920
Speaker 2: Yeah, by the way, we would have never gotten to

1691
01:30:27,960 --> 01:30:32,000
Speaker 2: this point had the LA Police Department been using K

1692
01:30:32,120 --> 01:30:35,599
Speaker 2: nine thousand instead of traditional organic police dogs here.

1693
01:30:35,680 --> 01:30:37,559
Speaker 3: That's a good point that slug would try to get

1694
01:30:37,560 --> 01:30:40,879
Speaker 3: in the mouth and then be like in there exactly.

1695
01:30:41,840 --> 01:30:44,799
Speaker 3: So yeah, yeah, So you have the possessed Masterson fighting

1696
01:30:44,800 --> 01:30:47,040
Speaker 3: his way through the station, the other cops fighting back.

1697
01:30:47,520 --> 01:30:50,080
Speaker 3: There's a great Danny Treyhoe cameo in the scene. What

1698
01:30:50,160 --> 01:30:53,280
Speaker 3: exactly does he say? He calls somebody a hippie. He's like,

1699
01:30:53,320 --> 01:30:55,000
Speaker 3: what did that hippie guy do? Yeah?

1700
01:30:56,000 --> 01:30:58,000
Speaker 2: What kind of dude are you? He also says something

1701
01:30:58,040 --> 01:30:59,960
Speaker 2: like that, you know, just you know, sort of standard

1702
01:31:00,640 --> 01:31:04,000
Speaker 2: you know, purps calling from cells in a movie like

1703
01:31:04,040 --> 01:31:06,479
Speaker 2: this sort of thing. But yeah, super fun because it's

1704
01:31:06,520 --> 01:31:08,280
Speaker 2: Danny trehow and it's like, oh yeah, he's going to

1705
01:31:08,360 --> 01:31:10,880
Speaker 2: be in literally a million more films after this.

1706
01:31:11,920 --> 01:31:18,439
Speaker 3: So obviously, through this this attack, it actually confirms some

1707
01:31:18,720 --> 01:31:22,519
Speaker 3: of what Gallagher was telling Beck about about it being

1708
01:31:22,560 --> 01:31:25,759
Speaker 3: an alien that can hop their bodies. So Beck his

1709
01:31:25,760 --> 01:31:29,080
Speaker 3: his trust is one. Now back back to Gallagher. Gallagher

1710
01:31:29,640 --> 01:31:33,360
Speaker 3: and they are reunited in their interests in this big fight.

1711
01:31:33,479 --> 01:31:35,879
Speaker 3: But it's not over when Masterson is defeated.

1712
01:31:35,920 --> 01:31:38,519
Speaker 2: Oh man, is this the Masterson though? Is Masterson the

1713
01:31:38,520 --> 01:31:43,120
Speaker 2: one who suddenly he jumps out at them with a bazooka. Yes, yeah,

1714
01:31:43,120 --> 01:31:46,280
Speaker 2: and he's gonna shoot them at point blank range with

1715
01:31:46,400 --> 01:31:51,200
Speaker 2: a bazooka and nearly does, which you know, is is

1716
01:31:51,280 --> 01:31:55,000
Speaker 2: ludicrous and great but also like totally uh, you know,

1717
01:31:55,439 --> 01:31:58,439
Speaker 2: totally realistic for the space Plug to do, because Space

1718
01:31:58,520 --> 01:32:02,760
Speaker 2: Lug can't kill itself with the Bazuko blastback. It just

1719
01:32:02,800 --> 01:32:04,439
Speaker 2: wants to go ahead and kill these guys that are

1720
01:32:04,479 --> 01:32:06,760
Speaker 2: standing in the way of its ambitions.

1721
01:32:07,080 --> 01:32:11,920
Speaker 3: Yeah, but so they temporarily get the upper hand on Masterson,

1722
01:32:12,000 --> 01:32:14,960
Speaker 3: but Masterson is the Space Lug's not defeated. It body

1723
01:32:15,000 --> 01:32:19,320
Speaker 3: hops into another person, into Willis Beck's original partner. Oh no,

1724
01:32:19,400 --> 01:32:20,360
Speaker 3: it's Edo Ross.

1725
01:32:20,520 --> 01:32:23,120
Speaker 2: Yeah. Yeah, and again he has a great grim face.

1726
01:32:23,320 --> 01:32:26,600
Speaker 2: And so once he's in slug mo tremendous, tremendous.

1727
01:32:26,920 --> 01:32:29,760
Speaker 3: So we've got real big problems here because this is

1728
01:32:29,800 --> 01:32:33,879
Speaker 3: the guy who's been assigned to cover security for Senator Holt.

1729
01:32:34,000 --> 01:32:37,599
Speaker 2: Senator Holt, who is about to announce his presidential campaign.

1730
01:32:37,880 --> 01:32:41,759
Speaker 3: Yeah, so this leads to an attack on Senator Holt,

1731
01:32:41,800 --> 01:32:44,839
Speaker 3: who in turn does get possessed by the Space Slug.

1732
01:32:45,800 --> 01:32:49,000
Speaker 3: During this they're trying, Gallagher and Beck are trying to

1733
01:32:49,000 --> 01:32:52,840
Speaker 3: prevent this. During the fight, Beck is severely wounded in

1734
01:32:52,880 --> 01:32:54,960
Speaker 3: a shootout and he gets taken to the hospital. So

1735
01:32:55,040 --> 01:32:58,880
Speaker 3: now Gallagher is left alone, and now the Slug is

1736
01:32:58,960 --> 01:33:01,160
Speaker 3: a highly protect to politician.

1737
01:33:01,680 --> 01:33:03,400
Speaker 2: And I thought this was going to be kind of

1738
01:33:03,439 --> 01:33:06,160
Speaker 2: the dark ending I was. I was watching the film,

1739
01:33:06,160 --> 01:33:09,080
Speaker 2: I thought, oh man, the Slug is safe. Now the

1740
01:33:09,120 --> 01:33:14,080
Speaker 2: Slug has ascended to a level of society where Tom

1741
01:33:14,120 --> 01:33:17,320
Speaker 2: maclaughlin's character Gallagher cannot touch him anymore, and this is

1742
01:33:17,360 --> 01:33:19,960
Speaker 2: just going to be kind of like the dark commentary

1743
01:33:19,960 --> 01:33:22,920
Speaker 2: on society here. I kind of it ends up not

1744
01:33:23,000 --> 01:33:24,880
Speaker 2: being the case. Yeah, I thought that too.

1745
01:33:25,040 --> 01:33:28,080
Speaker 3: But then, so what happens is at Senator Holtz next

1746
01:33:28,080 --> 01:33:32,040
Speaker 3: prece event, he's he gets a question, somebody asks him

1747
01:33:32,040 --> 01:33:35,200
Speaker 3: about his future political ambitions, and then he takes hold

1748
01:33:35,200 --> 01:33:39,439
Speaker 3: of the microphone and in a phrasing we've heard from

1749
01:33:39,479 --> 01:33:41,880
Speaker 3: the Space Slug many times already now, when he says,

1750
01:33:41,920 --> 01:33:45,120
Speaker 3: I want that car, I want whatever he now says,

1751
01:33:45,320 --> 01:33:49,479
Speaker 3: I want to be president. It's chilling and hilarious. This

1752
01:33:49,560 --> 01:33:49,920
Speaker 3: is great.

1753
01:33:49,960 --> 01:33:53,000
Speaker 2: This is of course, years before the Treehouse of Horror

1754
01:33:53,000 --> 01:33:57,800
Speaker 2: episode where King and Codos become So Kang. Yeah, the

1755
01:33:57,800 --> 01:34:00,680
Speaker 2: Force Citizen Gang, before you know, they become Dole and

1756
01:34:00,720 --> 01:34:04,840
Speaker 2: clint On. Uh but but very much the same energy.

1757
01:34:06,200 --> 01:34:10,760
Speaker 3: Uh yeah, but then remember we mentioned Chekhov's flamethrower. In

1758
01:34:10,800 --> 01:34:15,360
Speaker 3: the middle of this press conference. In an absolutely shocking twist,

1759
01:34:16,280 --> 01:34:20,240
Speaker 3: Kyle McLaughlin Babyface Kyle McGlaughlin appears below the stage at

1760
01:34:20,280 --> 01:34:23,400
Speaker 3: the press conference with the flame thrower we saw earlier

1761
01:34:23,439 --> 01:34:27,080
Speaker 3: at the police station and torches the possessed husk of

1762
01:34:27,120 --> 01:34:31,599
Speaker 3: the politician. He's immediately surrounded by armed surrounded by armed

1763
01:34:31,600 --> 01:34:35,559
Speaker 3: men until we see the alien slug crawl out of

1764
01:34:35,640 --> 01:34:39,080
Speaker 3: Holt's mouth, and then Gallagher uses his alien weapon to

1765
01:34:39,200 --> 01:34:41,839
Speaker 3: finally terminate it once and for all. So the slug

1766
01:34:41,920 --> 01:34:42,519
Speaker 3: is defeated.

1767
01:34:42,680 --> 01:34:47,320
Speaker 2: Yeah, like, yeah, so the politician's body is blackened and yeah,

1768
01:34:47,320 --> 01:34:50,120
Speaker 2: you know, totally scorched, and then the black slug comes

1769
01:34:50,160 --> 01:34:52,960
Speaker 2: out of the mouth and then yeah, it's like screaming

1770
01:34:53,120 --> 01:34:55,720
Speaker 2: or something, and he blasted with the alien gun. And

1771
01:34:55,760 --> 01:34:59,320
Speaker 2: again everybody witnesses this and they're kind of like, I

1772
01:34:59,360 --> 01:35:03,280
Speaker 2: guess they're like, Okay, maybe they're just still processing it.

1773
01:35:03,400 --> 01:35:06,920
Speaker 2: But everybody sees it. There's no second guessing what happened.

1774
01:35:06,640 --> 01:35:18,400
Speaker 3: Here, So you might think there couldn't be any more

1775
01:35:18,439 --> 01:35:21,080
Speaker 3: crazy twists coming after this, But then we get to

1776
01:35:21,320 --> 01:35:26,360
Speaker 3: the final ending, the coda, which is, I don't know,

1777
01:35:26,920 --> 01:35:29,559
Speaker 3: I've been very curious to hear what you think about this.

1778
01:35:29,720 --> 01:35:33,120
Speaker 3: So in the ending, we go into Beck's hospital room.

1779
01:35:33,600 --> 01:35:36,360
Speaker 3: We find that he is mortally wounded. He's lying in

1780
01:35:36,400 --> 01:35:40,040
Speaker 3: a hospital that the doctors are making it clear he's

1781
01:35:40,040 --> 01:35:43,240
Speaker 3: not going to survive much longer. We see his family

1782
01:35:43,360 --> 01:35:46,479
Speaker 3: is distraught. He's lying there dying, and then Gallagher is

1783
01:35:46,560 --> 01:35:49,280
Speaker 3: left alone with him in the room for a moment.

1784
01:35:49,760 --> 01:35:55,000
Speaker 3: Kyle McGlaughlin leans over Beck's body and transfers himself into

1785
01:35:55,080 --> 01:35:59,360
Speaker 3: Beck's dying body. Now he's not a black slug, He

1786
01:35:59,479 --> 01:36:03,080
Speaker 3: is some kind of like yellow stream of energy, like

1787
01:36:03,160 --> 01:36:08,040
Speaker 3: angelic light. But he takes over Beck's body and now

1788
01:36:08,080 --> 01:36:12,440
Speaker 3: instead of dying, Beck makes a shocking, sudden, full recovery.

1789
01:36:12,640 --> 01:36:15,880
Speaker 3: He pops up alive, and his family comes in and

1790
01:36:15,880 --> 01:36:19,200
Speaker 3: they're reunited. His daughter's like daddy, and she seems maybe

1791
01:36:19,240 --> 01:36:22,920
Speaker 3: a little concerned at first, but then it seems like, Okay,

1792
01:36:22,960 --> 01:36:26,280
Speaker 3: he's going to be accepted, but it's not really him.

1793
01:36:27,560 --> 01:36:30,240
Speaker 3: Nobody else knows, but we know it's al Hag, the

1794
01:36:30,439 --> 01:36:35,280
Speaker 3: alien possessing him. So I was like, what the like

1795
01:36:36,040 --> 01:36:40,639
Speaker 3: was this ending supposed to be sweet and happy or

1796
01:36:40,720 --> 01:36:45,839
Speaker 3: creepy and grim or like darkly comedic. I really can't tell,

1797
01:36:46,360 --> 01:36:49,400
Speaker 3: and I don't know, so, like, if it's actually supposed

1798
01:36:49,400 --> 01:36:52,759
Speaker 3: to be a happy ending, I think it mostly fails

1799
01:36:52,880 --> 01:36:56,240
Speaker 3: because while we can understand it from the alien's perspective,

1800
01:36:56,360 --> 01:36:59,559
Speaker 3: like mourning the loss of his own alien family, it's

1801
01:36:59,640 --> 01:37:03,760
Speaker 3: way too creepy from the perspective of Beck's family. But

1802
01:37:04,560 --> 01:37:06,760
Speaker 3: I don't know. I think maybe it's just supposed to

1803
01:37:06,840 --> 01:37:09,240
Speaker 3: be like a daring, like what the hell kind of

1804
01:37:09,360 --> 01:37:13,439
Speaker 3: ending where it makes sense that this is what happened,

1805
01:37:13,479 --> 01:37:15,840
Speaker 3: what would happen based on the characters that have been

1806
01:37:15,880 --> 01:37:19,240
Speaker 3: set up. But you're also thinking, I really just can't

1807
01:37:19,280 --> 01:37:21,439
Speaker 3: believe they did that at the end of the movie.

1808
01:37:21,760 --> 01:37:23,840
Speaker 2: It really I think you're right. I think it feels

1809
01:37:23,920 --> 01:37:26,160
Speaker 2: like a case where it was written as just like,

1810
01:37:26,280 --> 01:37:28,360
Speaker 2: let's go for it. What's the wildest ending we could

1811
01:37:28,560 --> 01:37:31,439
Speaker 2: we could really put together here. But then I feel

1812
01:37:31,479 --> 01:37:35,200
Speaker 2: like the director and the filmmakers involved here really probably

1813
01:37:35,200 --> 01:37:36,880
Speaker 2: set down and we're like, Okay, how are we gonna

1814
01:37:36,880 --> 01:37:38,800
Speaker 2: shoot this? Like what's what kind of tone are we

1815
01:37:38,840 --> 01:37:41,439
Speaker 2: going to go for? And they kind of walk it

1816
01:37:41,479 --> 01:37:44,360
Speaker 2: down the middle like they're not they're not completely going

1817
01:37:44,400 --> 01:37:47,160
Speaker 2: for dark. Uh, they maybe live a little room that

1818
01:37:47,479 --> 01:37:50,240
Speaker 2: wigal room. So if you you're not gonna maybe just

1819
01:37:50,360 --> 01:37:52,880
Speaker 2: consume it as the happy ending that you know you

1820
01:37:52,920 --> 01:37:55,360
Speaker 2: could I guess still could interpret it as. And it

1821
01:37:55,439 --> 01:37:57,840
Speaker 2: leaves you this space to sort of think about it

1822
01:37:57,880 --> 01:38:02,680
Speaker 2: and think about these bigger questions identity, Like, yeah, I

1823
01:38:02,760 --> 01:38:06,080
Speaker 2: was thinking about it quite a bit, because on one level,

1824
01:38:06,120 --> 01:38:08,200
Speaker 2: it does raise questions like, you know, you know, we've

1825
01:38:08,240 --> 01:38:09,800
Speaker 2: talked about this in the show before, like are you

1826
01:38:09,840 --> 01:38:12,679
Speaker 2: the same person you were before? You know, when you

1827
01:38:12,720 --> 01:38:14,559
Speaker 2: go in and you go into anesthesia and then you

1828
01:38:14,600 --> 01:38:17,880
Speaker 2: come out again, are you the same person after a

1829
01:38:17,960 --> 01:38:22,000
Speaker 2: traumatic experience? You know, there's a case to be made

1830
01:38:22,000 --> 01:38:25,599
Speaker 2: that you're not entirely you know, we change over time.

1831
01:38:26,280 --> 01:38:30,120
Speaker 2: And on the other hand, I mean not as as drastically.

1832
01:38:29,600 --> 01:38:35,280
Speaker 3: As another fully formed personality possessing your body, right, especially

1833
01:38:35,280 --> 01:38:35,919
Speaker 3: in secret.

1834
01:38:36,439 --> 01:38:38,720
Speaker 2: Yeah, So there's that angle, and then there's also the

1835
01:38:38,840 --> 01:38:42,400
Speaker 2: like like what would what would I want to happen?

1836
01:38:42,439 --> 01:38:44,639
Speaker 2: You know, like if I knew that I was dying,

1837
01:38:45,160 --> 01:38:48,080
Speaker 2: and you know, I'm going to leave people behind, but

1838
01:38:48,240 --> 01:38:50,200
Speaker 2: there but an alien that I know to be a

1839
01:38:50,240 --> 01:38:53,800
Speaker 2: good nature could like step in and become me and

1840
01:38:54,520 --> 01:38:57,360
Speaker 2: you know, continue to make me be there for my

1841
01:38:57,479 --> 01:39:01,160
Speaker 2: family for a bit longer. I don't know, I mean, yeah,

1842
01:39:01,160 --> 01:39:02,920
Speaker 2: there are all sorts of potentially, you know, there are

1843
01:39:02,920 --> 01:39:05,320
Speaker 2: all sorts of caveats that come up a lot of questions,

1844
01:39:05,560 --> 01:39:06,479
Speaker 2: how are you going to do this?

1845
01:39:06,720 --> 01:39:09,360
Speaker 3: You know, I assume you'd want your family to know though, right,

1846
01:39:09,479 --> 01:39:11,840
Speaker 3: I mean, like the thing is like the aliens are

1847
01:39:11,880 --> 01:39:14,880
Speaker 3: always they're blending in, like you never know that it's

1848
01:39:14,960 --> 01:39:17,519
Speaker 3: them until like the secret comes out. I guess.

1849
01:39:17,840 --> 01:39:20,320
Speaker 2: I guess. Like one of the questions is what would

1850
01:39:20,320 --> 01:39:22,840
Speaker 2: you do if you were in this position and you

1851
01:39:22,840 --> 01:39:26,200
Speaker 2: could assume the alien could completely take on your identity?

1852
01:39:26,240 --> 01:39:28,439
Speaker 2: We have no indication that that's the case here. If

1853
01:39:28,439 --> 01:39:31,000
Speaker 2: that's a power that al Hag has, it is not

1854
01:39:31,439 --> 01:39:34,280
Speaker 2: really spelled out. But if that were the case, like

1855
01:39:34,320 --> 01:39:36,479
Speaker 2: would you want that, you know, if you could be

1856
01:39:36,520 --> 01:39:39,720
Speaker 2: a perfect replica, and this perfect replica of you could

1857
01:39:39,760 --> 01:39:42,639
Speaker 2: then continue to be there for your family after you're gone,

1858
01:39:43,800 --> 01:39:45,559
Speaker 2: I don't know. And then then that kind of like

1859
01:39:45,760 --> 01:39:49,760
Speaker 2: then spirals back into into these bigger questions about identity

1860
01:39:49,800 --> 01:39:52,720
Speaker 2: and self and you know, and you know memories like

1861
01:39:52,720 --> 01:39:55,439
Speaker 2: the person you remember you were ten years ago? Are

1862
01:39:55,479 --> 01:39:57,639
Speaker 2: you still that person? Is that person still alive today?

1863
01:39:57,720 --> 01:39:59,360
Speaker 2: Or you somebody different? You know?

1864
01:39:59,520 --> 01:40:02,080
Speaker 3: And so for well, I mean, this does bring it

1865
01:40:02,080 --> 01:40:04,280
Speaker 3: back to like I think one of the major themes

1866
01:40:04,320 --> 01:40:06,720
Speaker 3: here of the the body hopping is like how do

1867
01:40:06,760 --> 01:40:08,920
Speaker 3: you know people are who they say they are? In

1868
01:40:09,000 --> 01:40:12,960
Speaker 3: both senses? Yeah, In one sense that's like are people

1869
01:40:13,040 --> 01:40:15,920
Speaker 3: identical to the person that they are claiming to be?

1870
01:40:16,320 --> 01:40:19,840
Speaker 3: Like are you really my husband? Tom? But then the

1871
01:40:19,920 --> 01:40:24,320
Speaker 3: other thing being like are you are you the way

1872
01:40:24,400 --> 01:40:26,520
Speaker 3: that you say you are? Which you get with the politician,

1873
01:40:26,680 --> 01:40:28,960
Speaker 3: you know, so they're like it's he's a guy who's

1874
01:40:29,000 --> 01:40:32,080
Speaker 3: like saying nice platitudes. But it's always something we wonder

1875
01:40:32,120 --> 01:40:35,800
Speaker 3: about people that we hand power to. Are they really

1876
01:40:35,800 --> 01:40:37,559
Speaker 3: going to be like with the way they say they are?

1877
01:40:37,880 --> 01:40:38,640
Speaker 2: Yeah?

1878
01:40:38,760 --> 01:40:41,800
Speaker 3: Or in either case, like is there at least metaphorically

1879
01:40:41,840 --> 01:40:44,559
Speaker 3: an entity inside them that has its own designs that

1880
01:40:44,600 --> 01:40:46,519
Speaker 3: you're not aware of, you know. Yeah.

1881
01:40:46,640 --> 01:40:50,040
Speaker 2: Yeah, though, I think that we can easily imagine that

1882
01:40:50,120 --> 01:40:53,759
Speaker 2: this portrayal will not last too long without the family discovery,

1883
01:40:53,760 --> 01:40:55,720
Speaker 2: because you know we saw earlier doesn't know how to

1884
01:40:55,880 --> 01:40:58,280
Speaker 2: how Alca celster work has to be explained to him.

1885
01:40:58,479 --> 01:41:00,160
Speaker 3: Yeah, he eats the Alca Celtic.

1886
01:41:00,560 --> 01:41:03,240
Speaker 2: So like it's going to be like, you know, Dad's

1887
01:41:03,320 --> 01:41:05,280
Speaker 2: night to cook dinner, and then what is our space

1888
01:41:05,280 --> 01:41:06,920
Speaker 2: alien going to do? What is all ha going to

1889
01:41:07,000 --> 01:41:08,680
Speaker 2: do about that? When he doesn't know how to make

1890
01:41:08,840 --> 01:41:11,040
Speaker 2: you know, the back family pizza or whatever the case

1891
01:41:11,080 --> 01:41:13,880
Speaker 2: may be, it made you boiled potato chips. Yeah, but

1892
01:41:13,920 --> 01:41:15,600
Speaker 2: I love all of this. I love this about an

1893
01:41:15,720 --> 01:41:17,720
Speaker 2: ending that really makes you think and ask all of

1894
01:41:17,720 --> 01:41:20,800
Speaker 2: these questions and is just yeah, daring and weird. A

1895
01:41:20,920 --> 01:41:22,840
Speaker 2: nice weird capper to a weird movie.

1896
01:41:23,240 --> 01:41:26,040
Speaker 3: Yeah, totally. So The Hidden not going to be for everybody,

1897
01:41:26,080 --> 01:41:27,559
Speaker 3: but I think it's very strong.

1898
01:41:28,000 --> 01:41:31,519
Speaker 2: Yeah. Yeah, this one's kind of a real gem that

1899
01:41:31,600 --> 01:41:34,599
Speaker 2: I'd never know outside of discussing it briefly in Weird

1900
01:41:34,640 --> 01:41:37,040
Speaker 2: House Cinema, I really didn't know anything about it. It

1901
01:41:37,080 --> 01:41:40,320
Speaker 2: was just kind of buried there. So I'm super glad

1902
01:41:40,320 --> 01:41:44,040
Speaker 2: that I got to jump into it totally. All Right,

1903
01:41:44,479 --> 01:41:46,160
Speaker 2: we're going to close it out here, but we'd love

1904
01:41:46,200 --> 01:41:47,479
Speaker 2: to hear from all of you out there. Do you

1905
01:41:47,560 --> 01:41:50,160
Speaker 2: have memories of watching The Hidden? Do you have any

1906
01:41:50,920 --> 01:41:54,920
Speaker 2: encouragement or warnings about seeing The Hidden? Part two? Right in,

1907
01:41:55,120 --> 01:41:57,200
Speaker 2: we'd love to hear anything you have to share about

1908
01:41:57,240 --> 01:42:00,360
Speaker 2: all of that other body hopping movies that we should

1909
01:42:00,360 --> 01:42:03,200
Speaker 2: know about or remember. It's very possible we have there's

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Speaker 2: an episode, an episode of Weird Out Cinema where we've

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Speaker 2: talked specifically about a body hopping movie and we just

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Speaker 2: have forgotten that that's what it was. So yeah, right in,

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Speaker 2: we'd love to hear from you. Just a reminder. The

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Speaker 2: Stuff to Blow Your Mind is primarily a science and

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01:42:15,160 --> 01:42:17,880
Speaker 2: culture podcast with core episodes and Tuesdays and Thursdays, but

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Speaker 2: on Fridays we set most of the serious stuff aside

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Speaker 2: and we just talk about a weird film here on

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Speaker 2: Weird House Cinema. If you use letterbox dot com, look

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01:42:26,200 --> 01:42:29,240
Speaker 2: us up on letterbox. We are weird House. There, follow

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Speaker 2: us check out the list that we keep there. It

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01:42:32,240 --> 01:42:34,880
Speaker 2: has a collection of all the movies we've covered over

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Speaker 2: the years. And sometimes a peek ahead at what comes

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Speaker 2: out next. Wherever you get the podcast, rate reviews, subscribe

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Speaker 2: and if you can find the podcast wherever you get

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01:42:44,560 --> 01:42:47,120
Speaker 2: your audio podcast. But if you were watching us on Netflix,

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Speaker 2: then obviously you're getting to get the video portion of

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Speaker 2: our conversation as well. And if you are in fact

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Speaker 2: watching on Netflix, give us a thumbs up, give us

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Speaker 2: two thumbs up, and maybe also asked to be reminded

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Speaker 2: about future episodes.

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Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

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Speaker 3: If you would like to get in touch with us

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01:43:06,840 --> 01:43:09,160
Speaker 3: with feedback on this episode or any other, to suggest

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01:43:09,240 --> 01:43:11,240
Speaker 3: topic for the future, or just to say hello, you

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Speaker 3: can email us at contact at stuff to Blow your

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Speaker 3: Mind dot com.

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Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

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Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

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Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.