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

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Speaker 1: Hey, welcome to Weird House Cinema. My name is Rob.

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Speaker 3: Lamb and I am Joe McCormick. And hey folks, if

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Speaker 3: I sound any different today, I am recording in an

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Speaker 3: unusual place, so apologies if my audio is not where

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Speaker 3: it always is, but I should be. I should be

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Speaker 3: back to normal soon. But today on Weird House Cinema,

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Speaker 3: we are going to be talking about the two thousand

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Speaker 3: and four science fiction epic The Chronicles of Riddick. Now, Rob,

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Speaker 3: unless I'm mistaken, your pick this week is our most

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Speaker 3: recent film to date, is that correct?

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Speaker 1: That's correct. For the longest we'd only done twentieth century films,

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Speaker 1: and then we pushed into the twenty first century with

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Speaker 1: two thousand and one's Jason X. That was our first

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Speaker 1: venture into modern times, if you will. And so yeah,

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Speaker 1: this one takes us just a little bit further into

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Speaker 1: the future. This takes us all the way up to

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Speaker 1: two thousand and four. So still, this is a movie

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Speaker 1: that is almost twenty years old, which is kind of

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Speaker 1: harrowing for me to think about that.

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Speaker 3: This movie really makes me think about the year two

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Speaker 3: thousand and four. I'm thinking about when I was selling

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Speaker 3: tickets at an Imax movie theater and people were trying

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Speaker 3: to buy tickets to this movie which was not showing

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Speaker 3: in Imax.

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Speaker 1: Yeah, I saw this in the theater. I remember going

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Speaker 1: by myself to see it. So yeah, this is a

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Speaker 1: very in many ways, a very two thousand and four film.

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Speaker 1: It would be interesting to discuss this as we roll

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Speaker 1: into it. You know, there are things that really sort

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Speaker 1: of shriek from that time period, and there are the

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Speaker 1: things I think stand alone pretty well.

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Speaker 3: But it is.

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Speaker 1: It's quite a picture. It fascinates me and has always

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Speaker 1: resonated with me for a number of reasons. I mean,

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Speaker 1: on one hand, yeah, it's basically Flash Gordon. It's Flash

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Speaker 1: Gordon with Vin Diesel in it. That's that's my elevator

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Speaker 1: pitch for the movie.

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Speaker 3: Oh yeah, I can see that the hodgepodge of sci

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Speaker 3: fi fantasy texture is all kind of thrown together with

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Speaker 3: a with a one liner equipping hero.

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Speaker 1: Right now, I think that the hero in Flash Gordon

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Speaker 1: is is kind of invisible to times and is maybe

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Speaker 1: the least interesting character in the film. It's a lot

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Speaker 1: more complex when you're dealing with Vin Diesel's riddick here,

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Speaker 1: so it'll be it'll be a lot to talk about.

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Speaker 1: But yeah, I love this this film though, bit for

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Speaker 1: a variety of reasons. I mean, for starters, it's a

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Speaker 1: sequel that completely expands in the world of the original film,

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Speaker 1: and in doing so, it just absolutely goes big as

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Speaker 1: opposed to just doing what would be I guess the

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Speaker 1: easy thing, you know, get just do a second scoop

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Speaker 1: of the same flavor, which is generally more of the

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Speaker 1: pattern with a sequel.

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Speaker 3: So the first film in this series that created these

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Speaker 3: characters in this world was the movie Pitch Black. That's

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Speaker 3: where Vin Diesel first played Riddick, whose first name is Richard.

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Speaker 3: I didn't know that, Yeah, Richard b Riddick.

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Speaker 1: Sometimes I think of him as Riddick b Riddick, which

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Speaker 1: amuses me for some reason.

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Speaker 3: But that's sort of a it's almost a bottle episode

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Speaker 3: of a movie. I mean, bottle episode's not the right

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Speaker 3: to because I think that means it's, you know, you're

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Speaker 3: trying to shoot it mostly in one room or something.

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Speaker 3: I mean is it does have a lot of sweeping

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Speaker 3: visions to show you of you know, multiple sons eclipsing

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Speaker 3: at the same time and all these creatures and stuff,

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Speaker 3: but it's stuck on one planet. You don't get a

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Speaker 3: big sense of the broader world. They're just sort of

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Speaker 3: like hints of the universe. It has created Ridick really

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Speaker 3: expands on that. Going from Pitch Black to Chronicles of

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Speaker 3: Ritick is kind of like going from Friday the Thirteenth

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Speaker 3: to Lord of the Rings.

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Speaker 1: Yeah, yeah, I mean it's it's full blown gothic space

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Speaker 1: opera at this point. And yeah, it's I think it's

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Speaker 1: pretty ambitious. The in the filmmaker's own words, they were

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Speaker 1: pitching it is like this is going to be Lord

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Speaker 1: of the Rings esque, Like Lord of the Rings, you know,

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Speaker 1: is still like it's its impact is still resonating. At

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Speaker 1: this time period, studio heads are all sort of salivating

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Speaker 1: of the thought, oh, what'll be the next Lord of

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Speaker 1: the Rings. And you know, it makes sense to pitch

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Speaker 1: your project that way, like, oh, you want the next

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Speaker 1: Lord of the Rings. Well, as it happens, we have

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Speaker 1: it here. In fact, the story goes that that Vin

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Speaker 1: diesel And and the director David Towey brought in three scripts,

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Speaker 1: all of them. Each script has a lock on it,

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Speaker 1: and they give this to the you know, the studio

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Speaker 1: heads and like here you go, here's your next Lord

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Speaker 1: of the Rings. And they give them one key. The

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Speaker 1: key only opens the first script, the first lock, which

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Speaker 1: you know, that's that's pretty audacious.

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Speaker 3: Oh, you mean for it would be like for this

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Speaker 3: and then the next two movies.

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Speaker 1: Yeah, yeah, Like they allegedly wrote an entire trilogy that

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Speaker 1: springboards off the success and the sort of glimpses of

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Speaker 1: a possible wider universe in Pitch Black, and then this

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Speaker 1: would be a big saga that takes place in this universe.

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Speaker 1: And you know, the studios bought into it. They got

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Speaker 1: a budget of I think I've seen estimates between one

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Speaker 1: hundred and five and one hundred and twenty million. Universal

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Speaker 1: Studios was banking on the success of two thousand and

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Speaker 1: one's The Fast and the Furious and yeah, so they

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Speaker 1: were like, okay, Vin Diesel, you got it. Pitch Black

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Speaker 1: was a success. Fast and the Furious is a success.

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Speaker 1: We want the next Lord of the Rings. We're in

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Speaker 1: for Chronicles of Ritic. Let's make it. And if it's

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Speaker 1: a success, yeah, then we'll unlock those other scripts.

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Speaker 3: That's funny. I want to add as a quick note,

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Speaker 3: by the way, that they even used the Peter Jackson

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Speaker 3: Lord of the Rings font for the title when this

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Speaker 3: movie opens.

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Speaker 1: Oh yeah, I don't know if.

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Speaker 3: You caught that. I mean, not exactly, it's pretty close.

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Speaker 3: But the other thing is I don't want to be

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Speaker 3: smirched this film franchise, because I know that you love it,

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Speaker 3: But I think it's kind of ironic that they were

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Speaker 3: levering off of The Fast and the Furious franchise to

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Speaker 3: turn this into Lord of the Rings, because ultimately, I

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Speaker 3: think the Fast and the Furious franchise became more like

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Speaker 3: The Lord of the Rings Sokka than the ridic franchise.

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Speaker 1: Did, except by this point perhaps longer in total runtime, right.

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Speaker 3: Oh yeah, longer than The Lord of the Rings and

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Speaker 3: with more magic.

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Speaker 1: Yeah. So yeah. To be clear, I really enjoyed this

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Speaker 1: film a lot. I love this film, but I also

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Speaker 1: one of the things I love about it as well

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Speaker 1: is that it is so ridiculously over the top and

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Speaker 1: self indulgent. This is a movie in which multiple people

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Speaker 1: will yell riddic and our hero will outrun the sign.

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Speaker 3: Yeah.

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Speaker 1: So there's plenty to enjoy here on multiple levels, no

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Speaker 1: matter what your cinematic diet happens to be.

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Speaker 3: How many screen of Riddick where there were at least

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Speaker 3: two by the same character Billy Bedlam from con Air

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Speaker 3: he yells Riddick twice? I think maybe does the Lord

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Speaker 3: Marshall ever Riddick.

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Speaker 1: I don't know if he yells riddick, he definitely there's

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Speaker 1: a lot. I would I want to see a super

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Speaker 1: cut of just people saying riddick in this movie, saying it,

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Speaker 1: yelling at, whispering at whatever. There's a it is a

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Speaker 1: word that must be said a lot.

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Speaker 3: I don't know if this needs to be observed because

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Speaker 3: he is the star of multiple successful film franchises at

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Speaker 3: this point. But another thing is that Vin Diesel just

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Speaker 3: has such a fun screen presence. I just you know,

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Speaker 3: there are a lot of Vin Diesel movies that are

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Speaker 3: not exactly in my genre wheelhouse. I mean, I'm not

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Speaker 3: really into car racing in the real world, but I

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Speaker 3: do love the Fast and the Furious movies. A lot

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Speaker 3: of it is just is just like Vin Diesel's line delivery.

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Speaker 1: Yeah, yeah, there's It's weird to try and just sort

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Speaker 1: of sum up exactly what the Vin Diesel presence is

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Speaker 1: in a movie like this, because I mean, clearly he's

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Speaker 1: he's right here in the forefront. He's a driving force.

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Speaker 1: And we'll get into too more of that as well,

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Speaker 1: like behind the scenes as well as on the screen.

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Speaker 1: And you know, me as a viewer and as a

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Speaker 1: someone who appreciates this film, there's plenty of times where

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Speaker 1: it's just too much. It's just too much Vin Diesel

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Speaker 1: for me. You know, there are some real cornball lines

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Speaker 1: that Ritti says.

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Speaker 3: That's when he's at his best. That's but but.

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Speaker 1: That's but that's the thing. Yeah, I mean it's like that.

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Speaker 1: I wouldn't take those moments out, like, no, we need

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Speaker 1: we need more of those in here. Like he's Vin Diesel,

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Speaker 1: you know, absolutely is Vin Diesel in any film he's in,

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Speaker 1: and it's it's a sight to behold. I don't know

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Speaker 1: what else to say, Like you can't like you, There's

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Speaker 1: there's no questioning you know, his choices. You can't say, oh,

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Speaker 1: I think Vin Diesel would should have done this differently,

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Speaker 1: Like no, no, Vin Diesel is going to do what

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Speaker 1: Vin Diesel is going to do and you just have

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Speaker 1: to hop in the car and hold on.

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Speaker 3: Yes, I kept expecting Vin dieselisms from other franchises to

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Speaker 3: be imported into this one. I was thinking when I

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Speaker 3: was watching it, like what wins the part where he

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Speaker 3: says it's about family?

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Speaker 1: Yeah, yeah, and yeah there is kind of a family

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Speaker 1: in this but yeah, they don't they don't really say

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Speaker 1: family per se.

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Speaker 3: And I think they all die.

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Speaker 1: Now speaking of the whole family thing. And I'm not

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Speaker 1: superversed in the in the world of the Fests and

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Speaker 1: the Furious, but you know, there is that sense of like, Okay,

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Speaker 1: Vin Diesel's at the center of this thing. He's going

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Speaker 1: to build up this cast of people he likes to.

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Speaker 3: Work with, getting the team together.

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Speaker 1: Yeah, getting the team together, and also sometimes makes some

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Speaker 1: choices that might seem like a little outside of what

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Speaker 1: you'd expect from an action franchise, but like, clearly it's

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Speaker 1: important to Vin Diesel as a person and an actor,

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Speaker 1: and so you see a lot of that in the

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Speaker 1: cast for this film as well. Like this, this film

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Speaker 1: has a splendid supporting cast. On top of that, it

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Speaker 1: has one full costumes and sets. The CGI at times

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Speaker 1: is certainly a bit dated by today's standards, especially when

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Speaker 1: it's recreating anything other than like a space ship.

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Speaker 3: There are some egregious CGI fire in this movie.

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Speaker 1: Yeah, fire and space dogs can be a bit much

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Speaker 1: at times, but yeah, yeah, you know, for the most part,

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Speaker 1: I think the space stuff holds up pretty well, or

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Speaker 1: at least I'm more forgiving of that sort of thing.

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Speaker 1: And yeah, this is just a straight up space opera,

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Speaker 1: no matter how badly I want to see. Like, the

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Speaker 1: Wikipedia page for this film describes it as a quote

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Speaker 1: sci fi action horror film, But no, it's not a

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Speaker 1: horror film. This this bit is a maybe it's a

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Speaker 1: grim dark e space opera, but it's space opera.

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Speaker 3: I don't think anybody just coming to this fresh would

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Speaker 3: call it horror. I think that must be a carryover

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Speaker 3: from Pitch Black, which is a horror movie.

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Speaker 1: Yeah, that's more of a creature feature, characters marooned on

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Speaker 1: a dangerous dealing with a specific threat, and also like

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Speaker 1: interpersonal threats.

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Speaker 3: Yeah.

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Speaker 1: Now, like I said, this is a big swing, and

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Speaker 1: you know the thing about big swings is sometimes you miss,

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Speaker 1: And that was the story with the Chronicles of Ritick.

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Speaker 1: It did not resonate enough with audiences or critics at

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Speaker 1: the time, not on its theatrical debut anyway, it seems

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Speaker 1: to have not made its money back. Though I'm never

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Speaker 1: sure exactly how to really approach the Hollywood math on

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Speaker 1: these sorts of things. I think it's one of those

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Speaker 1: one of those situations where, especially as the years go by,

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Speaker 1: you can make different arguments and be like, well, you know,

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Speaker 1: wasn't the success of the box office, but it did

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Speaker 1: really well on DVD or nowadays it's like, look how

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Speaker 1: high it is, you know, in the streaming charts, et cetera.

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Speaker 1: And so, yeah, Vin Diesel would continue to prove himself

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Speaker 1: a box office straw. DVD sales seem to have been

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Speaker 1: strong enough that after he got the rights to the

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Speaker 1: Riddick character personally back in exchange for a cameo in

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Speaker 1: the fest and the Furious Tokyo Drift, Yeah, apparently that's

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Speaker 1: the story, he was like, no, I love this character.

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Speaker 1: I want to do more with this character. I want

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Speaker 1: to I'm going to make it happen. And so sure enough,

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Speaker 1: in twenty thirteen, they ended up putting out Riddick, a

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Speaker 1: sort of stripped down, less expensive Riddick Adventure, a mere

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Speaker 1: thirty eight million dollar budget, I think. And it also

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Speaker 1: kind of like returns to the well of shipwrecked survivalism,

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Speaker 1: but not in a way that disregards the chronicles of

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Speaker 1: Riddick either, So it like ties in some of those

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Speaker 1: plot elements as well. And according to Diesel, he had

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Speaker 1: to leverage his home and put in a lot of

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Speaker 1: his own personal money to make that movie happen. So,

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Speaker 1: you know, whatever you think of Riddick or whatever you

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Speaker 1: think of Vin Diesel, you know you gotta admire that

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Speaker 1: dedication to the dream.

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Speaker 3: It is kind of all inspiring how much Vin Diesel

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Speaker 3: seems to love playing Riddick b Riddick.

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Speaker 1: Yeah, like you know, they're often you see like that

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Speaker 1: sort of a meme going around like like, oh, well,

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Speaker 1: nobody asked for a second Avatar film, why are we

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Speaker 1: getting another Avatar film? Well, I mean, clearly the Avatar

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Speaker 1: made a bazillion dollars and so you can like mathematically

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Speaker 1: there seems to be a demand for a sequel, Like

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Speaker 1: this is a case where, yeah, it seems there was

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Speaker 1: a strong case to say like Chronicles of Riddick was enough,

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Speaker 1: But you know, I think a lot of people did

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Speaker 1: want to see more of the character, and Vin Diesel

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Speaker 1: wanted to play the character again, and so it came together.

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Speaker 1: It happened that one, I think was a success, and

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Speaker 1: a fourth Riddick movie, Riddick Furia, is in production right now.

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Speaker 1: I don't think they're filming yet, but it's like it

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Speaker 1: seems like it's going to happen.

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Speaker 3: So you said that I haven't seen the third movie,

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Speaker 3: so it's a return to the you said, shipwrecked survivalism,

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Speaker 3: which is kind of the plot of Pitch Black the

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Speaker 3: first movie. But is he a like marooned on an

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Speaker 3: alien planet as the emperor of the Necromonger Empire.

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Speaker 1: They there's a sort of a return to form, like, obviously,

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Speaker 1: if they're not going to go continue to go epic

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Speaker 1: space opera, they've got to get him out of that position,

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Speaker 1: and they do early on, but they do so in

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Speaker 1: a way that that doesn't feel too abrupt. And yeah,

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Speaker 1: I've only seen it once, but basically the plot concerns

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Speaker 1: various mercenary groups at odds with each other, Riddick as

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Speaker 1: the guy thereafter, and also weird creatures. Okay, Doki, Yeah,

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Speaker 1: but again I've only seen it once. This is the one.

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Speaker 1: This is the one I love though, This is the

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Speaker 1: Chronicles Oferritic is the one for me. All right, Well,

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Speaker 1: I already did mine? Do you have an elevator pitch

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Speaker 1: for this one? Already did mine?

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Speaker 3: Let's see, what's the only way to stop a a

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Speaker 3: what would you even call the Necromongers a A an

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Speaker 3: undead empire cult that is going to convert or destroy

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Speaker 3: the entire galaxy. The only way to stop it is

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Speaker 3: the world's coolest criminal.

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Speaker 1: All right, let's listen to some trailer audio.

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Speaker 4: They are a plague that now sweeps through the worlds

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Speaker 4: of man, leaving behind a trail of dead planets and

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Speaker 4: towering icons monuments to their unholy crusade. All those poets

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Speaker 4: on all those worlds who spoke of war such an

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Speaker 4: unsightly thing.

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Speaker 3: They never stood.

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Speaker 2: Here never fails to inspire, does it?

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Speaker 4: Each time a world falls The necromongers a dark army

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Speaker 4: that will convert or kill every last human life unless

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Speaker 4: they can be stopped. But sometimes the only way to

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Speaker 4: stop evil is not with good. You must confront it

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Speaker 4: with another kind of evil.

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Speaker 3: O thee Ready?

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Speaker 1: Where does he come from? Who are his people? These

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Speaker 1: are the things I need to know.

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Speaker 3: You remember your home world? Have your rest of the others,

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Speaker 3: others like yourself. It's not my fight.

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Speaker 4: Consider it a test.

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Speaker 1: Got bird now or fall forever?

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Speaker 4: Are you gonna stop the monsters? Now?

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Speaker 3: I am the monster?

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Speaker 1: Get ridiculous.

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Speaker 4: He's beginning to understand.

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Speaker 3: Are you with me?

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Speaker 1: Who is this man? He sees everything? You're not?

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Speaker 3: Then word to bring me down? You're not afraid of

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Speaker 3: the dark, are you.

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Speaker 1: M M all right, Well, if you want to jump

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Speaker 1: into the Chronicles of Ritick, if you want to jump

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Speaker 1: into just the entire Riddick franchise, well, all those films

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Speaker 1: are widely available in digital and physical formats. I think

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Speaker 1: there are some three packs popping around if you want

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Speaker 1: your your physical media. Now, you'll find two cuts of

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Speaker 1: this film. There's the PG thirteen theatrical release, and then

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Speaker 1: there's an R rated director's cut that is a bit

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Speaker 1: longer includes some additional plot elements. I've seen that. I've

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Speaker 1: seen the director's cut before, but this time around, I

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Speaker 1: just watched the theatrical cut, and honestly I was happy

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Speaker 1: with that.

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Speaker 3: So that's PG thirteen and they fit their one permitted

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Speaker 3: F bomb in the first five minutes of the movie.

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Speaker 1: Yeah, yeah, I was. I wasn't. I always forget about

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Speaker 1: the rules with the F So I was like, did

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Speaker 1: I get the wrong one? Am I watching? Which cut?

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Speaker 1: Am I watching? And then eventually became clear I was

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Speaker 1: watching theatrical.

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Speaker 3: You can only say it once, and they put it

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Speaker 3: right at the top. That's interesting. They you know, bet

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Speaker 3: big in the first time on the first round I.

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Speaker 1: Never understand the logic there. It's like a child can't

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Speaker 1: repeat this word if they only heard it once, right,

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Speaker 1: I have to hear it twice. They have to confirm

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Speaker 1: what they heard, and then it becomes part of their vocabulary. Which, yeah,

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Speaker 1: I don't know. I was thinking about letting my son

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Speaker 1: watch this film. I was like, PT. Thirteen, maybe he'd

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Speaker 1: maybe he'd enjoy it. I don't think he would have.

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Speaker 1: But but then I was also thinking, yeah, the language.

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Speaker 1: He doesn't need to watch anything with any strong that

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Speaker 1: strong language in it. And if he wants, if I'm

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Speaker 1: going to show him a film that has the F

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Speaker 1: word in it, it needs to be Blade, because I

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Speaker 1: want I want Blade to teach my son how to

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Speaker 1: say it.

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Speaker 3: Yes, Blade makes much better use of its language budget,

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Speaker 3: which is a much higher budget because that was R rated. Yeah.

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Speaker 1: Yeah, yeah. And ultimately, who do you want your children

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Speaker 1: learning their curse words from Wesley Snipes or just some

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Speaker 1: random kid at school who doesn't have a lot of practice.

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Speaker 1: You want somebody who knows what they're doing.

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Speaker 3: I couldn't agree more.

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Speaker 1: All right, well, let's get into the people of note here,

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Speaker 1: the connections starting at the top. David Towey is the

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Speaker 1: director and writer. Born nineteen fifty five. He's come up

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Speaker 1: a time or two on the show before American writer

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Speaker 1: and director. His writing credits go all the way back

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Speaker 1: to nineteen eighty eights Critters Too, followed by nineteen eighty

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Speaker 1: nine's Warlock, which of course starred the late Julian Sands

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Speaker 1: along with Richard D. Grant and Mary Warrenoff. Then he

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Speaker 1: both wrote and directed a film. This is one of

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Speaker 1: those occasionally I was like, oh wow, I didn't know

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Speaker 1: till right now this film existed, nineteen ninety one's Grand

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Speaker 1: Tour Disaster in Time aka Timesgate, starring Jeff Daniels. I

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Speaker 1: think this is based on an old short story about

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Speaker 1: time traveling disaster tourists. M yeah, so that sounds pretty weird.

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Speaker 1: Subsequent straps includes.

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Speaker 3: That kind of a sound of thunder, isn't it Yeah?

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Speaker 1: But instead of like, I guess maybe they were doing

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Speaker 1: that too, but this is like, let's go back in

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Speaker 1: time and watch the Hindenburg crash that sort.

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Speaker 3: Of thing, Oh okay, rather and then I think.

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Speaker 1: Yeah, it's like, who are these weird, weirdly dressed people

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Speaker 1: watching the Hindenburg crash? And then it's like, Oh, it's

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Speaker 1: it's time disaster tourists.

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Speaker 3: I see.

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Speaker 1: So subsequent scripts after this included ninety three's Warlock The

404
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Speaker 1: Armageddon that's the sequel to Warlock with Gilian Sands once more.

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Speaker 1: Ninety three is The Fugitive, you know, big, big, big

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Speaker 1: film there Harrison for Tommy Lee Jones. He directed that,

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Speaker 1: Noroe wrote it. He wrote, wrote it. Oh okay Or

408
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Speaker 1: was a screenwriter on that film. Ill who else might

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Speaker 1: have been involved in it? So other scripts were ninety

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Speaker 1: four's Terminal Velocity, ninety five's water World, and then nineteen

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Speaker 1: ninety six is The Arrival. That one he also directed.

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Speaker 1: Then came ninety seven's g I Jane, And in two

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Speaker 1: thousand he wrote and well he was he was one

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Speaker 1: of the writers on it. But he directed Pitch Black.

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Speaker 1: He has a writing credit on that, alongside Jim and

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Speaker 1: Ken Wheat, who also wrote The Return, The Battle for

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Speaker 1: Indoor and The Fly two. And they retain character creation

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Speaker 1: credits on these Rittick films.

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Speaker 3: You know, one thing I do appreciate going back and

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Speaker 3: watching these Rittick movies is that it was an attempt

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Speaker 3: to create a whole new, original epic genre universe. Instead

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Speaker 3: of like adapting an existing book or comic series, or

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Speaker 3: just making sequels or remakes to older films. That's something

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Speaker 3: I like to see, you know, just making up new stuff.

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Speaker 3: People who fund movies today, please please put more money

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Speaker 3: into that sort of thing.

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Speaker 1: Absolutely, yeah, I think there are some interesting choices made

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Speaker 1: in the world creation here, which we'll get into now.

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Speaker 1: Tooey's subsequent writing work has included two thousand and ones

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Speaker 1: Imposter two thousand and twos below which he directed that

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Speaker 1: as well, I think as a Haunted submarine movie. His

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Speaker 1: most recent writing and direct in credit was the Third

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Speaker 1: Riddic Film in twenty thirteen. He's still active. He has

434
00:23:04,240 --> 00:23:07,359
Speaker 1: two directorial projects in development. One is the next Riddick

435
00:23:07,680 --> 00:23:10,280
Speaker 1: movie and another is a film titled Running with Lions

436
00:23:10,320 --> 00:23:13,199
Speaker 1: that I don't know anything about, you know.

437
00:23:13,240 --> 00:23:17,120
Speaker 3: Another thing, speaking of the Riddic universe is I don't

438
00:23:17,119 --> 00:23:19,359
Speaker 3: know if you read the same thing. I have never

439
00:23:19,520 --> 00:23:23,720
Speaker 3: played it, but there is a Riddic video game from

440
00:23:23,960 --> 00:23:27,600
Speaker 3: the early two thousands. I think that is very highly regarded,

441
00:23:27,720 --> 00:23:30,879
Speaker 3: like it's considered a fantastic game.

442
00:23:31,800 --> 00:23:34,800
Speaker 1: Yeah, yeah, I never played the I think there were

443
00:23:34,800 --> 00:23:36,560
Speaker 1: two of them, and then they were like re released

444
00:23:36,560 --> 00:23:38,560
Speaker 1: again together. I never played them. I think they came

445
00:23:38,600 --> 00:23:41,200
Speaker 1: out at a time when I was not doing a

446
00:23:41,240 --> 00:23:43,040
Speaker 1: lot of video games and I didn't have like the

447
00:23:43,400 --> 00:23:45,760
Speaker 1: technology to do them right or something. But yeah, I

448
00:23:45,760 --> 00:23:50,200
Speaker 1: remember they were highly regarded and in Vin Diesel's company

449
00:23:50,520 --> 00:23:52,239
Speaker 1: at the time. I think it's still around. He has

450
00:23:52,240 --> 00:23:55,320
Speaker 1: a video game company. They were the ones who put

451
00:23:55,359 --> 00:23:58,440
Speaker 1: it together, so he was heavily involved in it. So hey, yeah,

452
00:23:58,520 --> 00:24:00,639
Speaker 1: now it's the time to talk about Vin Dee, to

453
00:24:00,720 --> 00:24:03,960
Speaker 1: tell who the audience who this guy is. Right, I'm

454
00:24:04,000 --> 00:24:05,640
Speaker 1: not sure if we can answer that question. I think

455
00:24:05,640 --> 00:24:07,800
Speaker 1: you should go to his Instagram account and just spend

456
00:24:07,880 --> 00:24:09,720
Speaker 1: some time there. Take it all in.

457
00:24:10,880 --> 00:24:13,120
Speaker 3: Oh yeah, on the Graham what's he doing on there?

458
00:24:13,920 --> 00:24:17,399
Speaker 1: It's just a pure expression of his hopes, dreams in mind.

459
00:24:17,840 --> 00:24:20,040
Speaker 1: You know, I can't say anything about Vin Diesel that

460
00:24:20,119 --> 00:24:26,440
Speaker 1: his his his limitless Instagram account cannot tell you. So yeah,

461
00:24:26,440 --> 00:24:29,000
Speaker 1: I mean he's a huge star. What can you say?

462
00:24:29,600 --> 00:24:32,879
Speaker 3: I guess like workout clips and then clips of his

463
00:24:33,000 --> 00:24:35,600
Speaker 3: kids doing something cute, and then him like cracking a

464
00:24:35,640 --> 00:24:36,440
Speaker 3: Corona light.

465
00:24:37,400 --> 00:24:39,080
Speaker 1: I think there's a lot of that sort of thing. Yeah,

466
00:24:39,119 --> 00:24:44,560
Speaker 1: But then also occasionally things related to his his key franchises,

467
00:24:44,600 --> 00:24:47,080
Speaker 1: you know, some of his favorite characters and all interacting

468
00:24:47,080 --> 00:24:52,160
Speaker 1: with the fans, being inspirational and so forth. I don't

469
00:24:52,160 --> 00:24:54,040
Speaker 1: know a lot about Vin Diesel. I think there's a

470
00:24:54,080 --> 00:24:56,600
Speaker 1: lot about him that's maybe more more private. You know,

471
00:24:56,600 --> 00:24:59,000
Speaker 1: he's not maybe not one of these celebrities that you

472
00:24:59,040 --> 00:25:06,040
Speaker 1: know everything about. But he seems like a nice, weird guy.

473
00:25:06,280 --> 00:25:09,240
Speaker 1: You know, he's a weird celebrity, and you see that

474
00:25:09,280 --> 00:25:11,479
Speaker 1: weirdness in something like this like this is you know,

475
00:25:12,800 --> 00:25:15,400
Speaker 1: I think Chronicles of Ritic is a is a product

476
00:25:15,440 --> 00:25:18,800
Speaker 1: of in part of, you know, of his interests, in

477
00:25:18,880 --> 00:25:21,120
Speaker 1: his desire to see some sort of like a fantasy

478
00:25:21,119 --> 00:25:22,200
Speaker 1: epic come to life.

479
00:25:22,440 --> 00:25:26,240
Speaker 3: Wait, let me imagine the perfect Vin Diesel post Vin

480
00:25:26,280 --> 00:25:29,600
Speaker 3: Diesel rolling up a new character and it is a chaotic,

481
00:25:29,680 --> 00:25:30,600
Speaker 3: neutral cleric.

482
00:25:31,359 --> 00:25:33,680
Speaker 1: Yeah. I've always heard that he's a longtime D and

483
00:25:33,760 --> 00:25:36,760
Speaker 1: D fan and has like a particular character that like

484
00:25:36,800 --> 00:25:38,560
Speaker 1: he always uses and so forth.

485
00:25:38,800 --> 00:25:41,320
Speaker 3: Oh, okay, is it Riddic? That would be great.

486
00:25:42,280 --> 00:25:44,040
Speaker 1: I've heard it has a name. I think it's like

487
00:25:44,240 --> 00:25:45,879
Speaker 1: some sort of like a dark elf type thing. So

488
00:25:45,920 --> 00:25:48,320
Speaker 1: it's not too it's exactly the sort of D and

489
00:25:48,400 --> 00:25:51,280
Speaker 1: D character you'd expect him to have but it's not

490
00:25:51,440 --> 00:25:54,000
Speaker 1: I think one to one with anything he's played all right.

491
00:25:54,040 --> 00:25:58,439
Speaker 1: So Vin Diesel was born in nineteen sixty seven's He

492
00:25:58,480 --> 00:26:00,840
Speaker 1: plays Riddck in this. He's also one of the producers.

493
00:26:01,880 --> 00:26:05,240
Speaker 1: He's mostly known for what eleven in counting Fast and

494
00:26:05,280 --> 00:26:06,240
Speaker 1: the Furious films.

495
00:26:06,640 --> 00:26:08,840
Speaker 3: I don't know which ones you count it. So he

496
00:26:09,080 --> 00:26:12,760
Speaker 3: was in the third one, but he's in it for

497
00:26:12,800 --> 00:26:15,159
Speaker 3: like thirty seconds. I can't believe they gave him the

498
00:26:15,240 --> 00:26:17,400
Speaker 3: rights to Ridick? Is that right? You said they gave

499
00:26:17,480 --> 00:26:17,840
Speaker 3: him the right?

500
00:26:18,000 --> 00:26:20,360
Speaker 1: That is what I've read. I don't know the full

501
00:26:20,400 --> 00:26:22,000
Speaker 1: story on that, but I you know, I think that

502
00:26:22,119 --> 00:26:25,760
Speaker 1: was also a time where they didn't really want to

503
00:26:25,800 --> 00:26:28,239
Speaker 1: do any more Riddick. They're like, with this bomb, so

504
00:26:28,320 --> 00:26:30,800
Speaker 1: you can you can have it. Sure, we would rather

505
00:26:30,880 --> 00:26:33,440
Speaker 1: just have your cameo in this film.

506
00:26:33,600 --> 00:26:36,160
Speaker 3: But The Fast and the Furious, though it barely has him.

507
00:26:36,400 --> 00:26:40,240
Speaker 3: I really like the third movie. It is quite amusing.

508
00:26:41,000 --> 00:26:44,520
Speaker 3: That's the one in Japan with the drift King. But

509
00:26:44,640 --> 00:26:48,040
Speaker 3: he comes back, and in my opinion, the Fast and

510
00:26:48,080 --> 00:26:51,320
Speaker 3: the Furious franchise gets a lot better as it goes

511
00:26:51,359 --> 00:26:55,200
Speaker 3: on because it gets crazier and crazier with like it's

512
00:26:55,440 --> 00:26:58,800
Speaker 3: I think starting around the six the movie or so

513
00:26:59,000 --> 00:27:01,560
Speaker 3: is when like the cars are flying and stuff.

514
00:27:03,760 --> 00:27:07,520
Speaker 1: Well, so that's the big franchise. But he also has

515
00:27:07,560 --> 00:27:09,800
Speaker 1: the Triple X franchise, which I think that one's only

516
00:27:09,840 --> 00:27:12,880
Speaker 1: like three movies, and he's not even in the second one.

517
00:27:13,840 --> 00:27:15,440
Speaker 1: It was like he's in the first one, they got

518
00:27:15,440 --> 00:27:16,919
Speaker 1: someone else in the second one, then they brought him

519
00:27:16,960 --> 00:27:17,880
Speaker 1: back for the third one.

520
00:27:18,240 --> 00:27:19,560
Speaker 3: Yeah. I don't really remember those.

521
00:27:20,119 --> 00:27:22,440
Speaker 1: Yeah, I never saw them. Then of course we have

522
00:27:22,480 --> 00:27:24,679
Speaker 1: the Riddic franchise. Then we have the Guardians of the

523
00:27:24,680 --> 00:27:27,879
Speaker 1: Galaxy movies and related Marvel films because of course he

524
00:27:28,000 --> 00:27:28,399
Speaker 1: is groot.

525
00:27:29,119 --> 00:27:31,359
Speaker 3: I did see the first one of those, but I

526
00:27:31,359 --> 00:27:34,960
Speaker 3: don't remember much about that either. I am, compared to

527
00:27:35,200 --> 00:27:39,359
Speaker 3: most people listening, probably extremely underinformed on the Marvel movies

528
00:27:39,400 --> 00:27:39,879
Speaker 3: in general.

529
00:27:40,040 --> 00:27:41,760
Speaker 1: Well, you know, it's interesting because we were talking about

530
00:27:41,760 --> 00:27:43,960
Speaker 1: space opera earlier, and of course Guardians of the Galaxy

531
00:27:44,320 --> 00:27:48,439
Speaker 1: really pushes the Marvel universe into that space opera world.

532
00:27:48,560 --> 00:27:52,800
Speaker 1: So I've enjoyed the Guardians of the Galaxy movies I've seen.

533
00:27:52,800 --> 00:27:55,800
Speaker 1: I haven't watched the latest one yet. So Vin Diesel

534
00:27:55,840 --> 00:27:59,080
Speaker 1: started out as an uncredited extra in nineteen nineties Awakenings,

535
00:27:59,119 --> 00:28:01,200
Speaker 1: and then he went on to direct and produce both

536
00:28:01,200 --> 00:28:04,000
Speaker 1: the nineteen ninety five short film Multi Facial and the

537
00:28:04,040 --> 00:28:07,040
Speaker 1: feature Strays in nineteen ninety seven. He starred in both

538
00:28:07,080 --> 00:28:09,480
Speaker 1: of those, and then came a string of early hits

539
00:28:10,400 --> 00:28:13,040
Speaker 1: nineteen ninety eight, Saving Private Ryan. He is in that.

540
00:28:13,920 --> 00:28:16,520
Speaker 1: He is the title voice in nineteen ninety nine's The

541
00:28:16,560 --> 00:28:19,359
Speaker 1: Iron Giant, which, of course is is a really good

542
00:28:19,720 --> 00:28:24,480
Speaker 1: animated feature about a boy and his giant robot. Two thousands,

543
00:28:24,520 --> 00:28:26,200
Speaker 1: Pitch Black, and two thousand and ones to the Fast

544
00:28:26,280 --> 00:28:28,960
Speaker 1: and the Furious, and yeah, the Fast and the Furious series,

545
00:28:29,000 --> 00:28:32,200
Speaker 1: of course has continued, and he's mostly He's done a

546
00:28:32,240 --> 00:28:34,840
Speaker 1: lot of other, mostly action films as well. I think

547
00:28:34,840 --> 00:28:37,720
Speaker 1: there's some. There may be one bad comedy or two

548
00:28:37,760 --> 00:28:38,720
Speaker 1: in the mix as well.

549
00:28:38,920 --> 00:28:42,440
Speaker 3: Oh yeah, I'm vaguely imagining like a movie poster with

550
00:28:42,520 --> 00:28:44,600
Speaker 3: Vin Diesel with his muscles out and he's wearing like

551
00:28:44,840 --> 00:28:47,120
Speaker 3: a two to two or something or yeah.

552
00:28:47,320 --> 00:28:49,480
Speaker 1: Is that the pacifier or is that another movie? I

553
00:28:49,520 --> 00:28:50,120
Speaker 1: can't remember.

554
00:28:50,320 --> 00:28:53,040
Speaker 3: I don't Oh yeah, there's one where they he stars

555
00:28:53,040 --> 00:28:53,920
Speaker 3: across a baby.

556
00:28:54,520 --> 00:28:58,720
Speaker 1: Yeah. I included a picture that I grabbed from Vin

557
00:28:58,720 --> 00:29:01,400
Speaker 1: Diesel's instagram for you, Joe. I think it sums up

558
00:29:01,440 --> 00:29:03,360
Speaker 1: a lot of what you'll see, the kind of inspirational

559
00:29:03,400 --> 00:29:07,480
Speaker 1: imagery you'll find there. We see three images of Vin

560
00:29:07,520 --> 00:29:10,640
Speaker 1: Diesel on here and one I don't know. This is

561
00:29:10,720 --> 00:29:13,280
Speaker 1: him with like full sleeve tattoos. I don't know if

562
00:29:13,280 --> 00:29:15,440
Speaker 1: these are his real tattoos or not, but he is

563
00:29:15,480 --> 00:29:20,480
Speaker 1: opposed like the thinker right deep contemplation. Next to him,

564
00:29:20,480 --> 00:29:23,680
Speaker 1: we also see Riddick from this franchise, and in the

565
00:29:23,720 --> 00:29:26,320
Speaker 1: background there's like a Vin Diesel with a cross around

566
00:29:26,360 --> 00:29:28,320
Speaker 1: his neck. I assume this is his character from Fast

567
00:29:28,360 --> 00:29:28,920
Speaker 1: and the Furious.

568
00:29:29,600 --> 00:29:32,480
Speaker 3: Yeah. I think he Dominic from The Fast and the Furious,

569
00:29:32,480 --> 00:29:36,800
Speaker 3: whereas across necklace and talks about family. Yeah. Wow. So

570
00:29:36,960 --> 00:29:39,360
Speaker 3: it's all It's like the real hymn. And then the

571
00:29:39,440 --> 00:29:43,520
Speaker 3: two other sides of him, which are the characters he plays.

572
00:29:43,400 --> 00:29:45,520
Speaker 1: Yes, and he is all of them at once. You know,

573
00:29:45,760 --> 00:29:48,840
Speaker 1: in the same way that a person may be both

574
00:29:48,960 --> 00:29:53,720
Speaker 1: child and parent Riddick, Vin Diesel is Riddic and also

575
00:29:54,320 --> 00:29:55,480
Speaker 1: the Fast and the Furious guy.

576
00:29:55,920 --> 00:29:59,280
Speaker 3: Yes. In theological terms, I would be called a modalist

577
00:29:59,360 --> 00:30:01,600
Speaker 3: in my of Vin Diesel.

578
00:30:01,880 --> 00:30:04,240
Speaker 1: All right, well more on Vin Diesel as we continue

579
00:30:04,280 --> 00:30:06,280
Speaker 1: our discussion here, but we'll go through the rest of

580
00:30:06,280 --> 00:30:09,800
Speaker 1: the cast here. We have the character Kira in this

581
00:30:10,520 --> 00:30:14,520
Speaker 1: Kira was Jack in the first film. In the first film,

582
00:30:14,600 --> 00:30:18,080
Speaker 1: Jack was played by Rihanna Griffith, and in this film,

583
00:30:18,320 --> 00:30:22,400
Speaker 1: Jack Slash Kira is played by Alexa Davelos born nineteen

584
00:30:22,440 --> 00:30:26,320
Speaker 1: eighty two, perhaps best known among some for portraying Gwynn

585
00:30:26,400 --> 00:30:28,960
Speaker 1: Rayden on the fourth season of the TV series Angel,

586
00:30:29,520 --> 00:30:31,920
Speaker 1: along with such films as Feast of Love from two

587
00:30:31,920 --> 00:30:35,400
Speaker 1: thousand and seven, the two thousand and seven adaptation of

588
00:30:35,440 --> 00:30:39,120
Speaker 1: The Mist, as well Stephen King's excellent novella Defiance in

589
00:30:39,160 --> 00:30:42,960
Speaker 1: two thousand and eighty Tens Clash of the Titans, and

590
00:30:43,040 --> 00:30:45,959
Speaker 1: she's mostly done TV, I think since then. She had

591
00:30:45,960 --> 00:30:48,000
Speaker 1: a starring role in The Man in the High Castle,

592
00:30:48,240 --> 00:30:51,080
Speaker 1: which ran twenty fifteen through twenty nineteen.

593
00:30:51,560 --> 00:30:55,520
Speaker 3: So a kind of interesting thing is that I don't know.

594
00:30:55,600 --> 00:30:58,080
Speaker 3: For some reason, I would have expected the next Riddick

595
00:30:58,080 --> 00:31:01,600
Speaker 3: adventure after Pitch Black to be a total reset, you know,

596
00:31:01,840 --> 00:31:05,480
Speaker 3: just essentially ignoring the previous film other than the general

597
00:31:05,520 --> 00:31:08,720
Speaker 3: world it establishes and the Riddick character. But that's not

598
00:31:08,840 --> 00:31:12,720
Speaker 3: the case, there is significant continuity from Pitch Black to

599
00:31:12,800 --> 00:31:16,800
Speaker 3: Chronicles Riddick, including the two other characters that survive at

600
00:31:16,840 --> 00:31:19,320
Speaker 3: the end of the previous movie are both in this movie.

601
00:31:19,800 --> 00:31:22,000
Speaker 1: That's right. Yeah. On one hand Kira and Jack, and

602
00:31:22,040 --> 00:31:25,400
Speaker 1: the other one is Imam played by Keith David.

603
00:31:25,760 --> 00:31:28,280
Speaker 3: Oh always loving Keith David shows up. Yeah.

604
00:31:28,400 --> 00:31:32,280
Speaker 1: Keith David's great born nineteen fifty six, best known, I

605
00:31:32,280 --> 00:31:34,600
Speaker 1: think to many fans out there as Child's one of

606
00:31:34,600 --> 00:31:37,320
Speaker 1: the two survivors at the end of nineteen eighty two

607
00:31:37,400 --> 00:31:40,200
Speaker 1: is the thing from John Carpenter, and also he played

608
00:31:40,240 --> 00:31:43,400
Speaker 1: Frank in John Carpenter's They Live in nineteen eighty eight.

609
00:31:43,800 --> 00:31:46,920
Speaker 1: He of course has that epic fight with Roddy Rowdy Piper.

610
00:31:47,160 --> 00:31:49,760
Speaker 3: I cannot. I don't even want to start talking about

611
00:31:49,760 --> 00:31:52,200
Speaker 3: that fight scene and They Live I will, I will

612
00:31:52,240 --> 00:31:54,520
Speaker 3: embarrass myself with all the good things I want to

613
00:31:54,520 --> 00:31:55,120
Speaker 3: say about it.

614
00:31:55,720 --> 00:31:59,000
Speaker 1: One of the best, yeah, fight scenes, long drawn out

615
00:31:59,000 --> 00:32:03,080
Speaker 1: fight scenes you'll find and in a film no weapons

616
00:32:03,080 --> 00:32:08,760
Speaker 1: per se, mostly fisticuffs and grappling, and also mostly realistically

617
00:32:08,880 --> 00:32:11,680
Speaker 1: and comfort involves like at least a couple of wrestling

618
00:32:11,760 --> 00:32:14,400
Speaker 1: maneuvers pro wrestling maneuvers it's a tree.

619
00:32:14,600 --> 00:32:17,720
Speaker 3: It's one of the one of the times I have

620
00:32:17,840 --> 00:32:20,400
Speaker 3: laughed hardest at a movie in my life was the

621
00:32:20,400 --> 00:32:21,880
Speaker 3: first time I saw that fight scene.

622
00:32:22,880 --> 00:32:24,320
Speaker 1: Yeah. Yeah, we may have to come back to that

623
00:32:24,360 --> 00:32:27,800
Speaker 1: one sometime. So. Keith David has had a long and

624
00:32:27,840 --> 00:32:30,600
Speaker 1: interesting career. He was in a film nineteen seventy nine

625
00:32:30,640 --> 00:32:34,040
Speaker 1: production of Coriolanus with Morgan Freeman in the title role.

626
00:32:34,960 --> 00:32:38,280
Speaker 1: He appeared as Keith and also Keith the Handyman on

627
00:32:38,360 --> 00:32:43,120
Speaker 1: nine episodes of Mister Rogers. He's remained consistent and memorable

628
00:32:43,160 --> 00:32:45,560
Speaker 1: presence both as as an actor and a voice actor,

629
00:32:45,840 --> 00:32:48,160
Speaker 1: in large part due to that smooth voice of his,

630
00:32:48,520 --> 00:32:52,040
Speaker 1: Like he's done a lot of voiceover work, and you

631
00:32:52,080 --> 00:32:58,200
Speaker 1: can tell when it's him, like there's this dark, gravelly smoothness.

632
00:32:58,280 --> 00:33:01,640
Speaker 1: There's kind of a seductive quality to it. So, yeah,

633
00:33:01,720 --> 00:33:06,440
Speaker 1: he's really good. Like. His voice credits include Spawn like

634
00:33:06,480 --> 00:33:11,640
Speaker 1: the HBO Spawn animated series. He's a voice only character

635
00:33:11,640 --> 00:33:14,480
Speaker 1: in the Tales from the Crypt episode he was in.

636
00:33:14,880 --> 00:33:17,120
Speaker 1: This is also encompassing at least a couple of video

637
00:33:17,200 --> 00:33:22,920
Speaker 1: games here, Planescape, Torment, Coraline, Mass Effect, Rick and Morty

638
00:33:23,320 --> 00:33:28,360
Speaker 1: Gargoyle's The Goliath Chronicles Princess Mononoke and Disney's The Princess

639
00:33:28,400 --> 00:33:30,720
Speaker 1: and the Frog. And then when it comes to just

640
00:33:30,880 --> 00:33:33,280
Speaker 1: straight up acting roles, he was in nineteen eighty six

641
00:33:33,440 --> 00:33:37,240
Speaker 1: is Platoon, ninety eight's Armageddon, also ninety eights, Requiem for

642
00:33:37,240 --> 00:33:40,240
Speaker 1: a Dream two thousand and fourths Crash twenty Twelves, Cloud

643
00:33:40,320 --> 00:33:43,280
Speaker 1: Atlas twenty twenty two's Nope. He has a great role

644
00:33:43,320 --> 00:33:46,000
Speaker 1: in that. He also had a really fun role as

645
00:33:46,080 --> 00:33:50,480
Speaker 1: kind of the villain on TV's Futureman or Future Man

646
00:33:50,960 --> 00:33:52,800
Speaker 1: and oh and he was also I think on one

647
00:33:52,840 --> 00:33:57,600
Speaker 1: season of Community. Not to be confused, however, with his

648
00:33:57,680 --> 00:34:02,800
Speaker 1: contemporary and fellow actor David ke This is Keith David Keith.

649
00:34:02,880 --> 00:34:05,600
Speaker 1: David and David Keith have never worked together for film

650
00:34:05,680 --> 00:34:08,200
Speaker 1: or TV, and I've always found that interesting. It seemed

651
00:34:08,239 --> 00:34:12,040
Speaker 1: like they line up. They're very much peers. But I

652
00:34:12,080 --> 00:34:14,279
Speaker 1: always wonder do they just not act together because it's

653
00:34:14,320 --> 00:34:16,560
Speaker 1: just pure luck, or are people like, no, we can't

654
00:34:16,560 --> 00:34:18,120
Speaker 1: do this, We can't have a Keith David and a

655
00:34:18,200 --> 00:34:20,359
Speaker 1: David Keith in the same movie or TV show.

656
00:34:20,480 --> 00:34:22,359
Speaker 3: The casting director won't allow it.

657
00:34:22,520 --> 00:34:24,920
Speaker 1: But imagine that poster. Imagine if they were the stars.

658
00:34:25,360 --> 00:34:28,400
Speaker 1: David Keith and Keith David are and then you have

659
00:34:28,440 --> 00:34:31,719
Speaker 1: some sort of clever like buddy team up title to

660
00:34:31,920 --> 00:34:33,200
Speaker 1: Keith to David. I don't know.

661
00:34:34,840 --> 00:34:37,120
Speaker 3: Now this next actor you're gonna mention. I read that

662
00:34:37,160 --> 00:34:40,360
Speaker 3: apparently Vin Diesel convinced her to be in the film

663
00:34:40,400 --> 00:34:43,600
Speaker 3: by sending her an enormous bouquet of flowers.

664
00:34:44,480 --> 00:34:46,919
Speaker 1: That's what I read too. Yeah, apparently he was like, look,

665
00:34:46,960 --> 00:34:48,560
Speaker 1: we want to cast the rest of this film, and

666
00:34:48,760 --> 00:34:51,080
Speaker 1: I can't do it until I cast you, like you're

667
00:34:51,320 --> 00:34:55,000
Speaker 1: essential for this. And yeah, the actor he sent these

668
00:34:55,040 --> 00:34:58,960
Speaker 1: flowers to is Dame Judy Dinch, who plays Arion, a

669
00:34:59,040 --> 00:35:01,880
Speaker 1: member of the Element in this picture.

670
00:35:02,640 --> 00:35:05,879
Speaker 3: I mean, Judy Dinch is wonderful. She's Judy Dinch. There

671
00:35:05,960 --> 00:35:09,279
Speaker 3: is something funny about the fact that she's in Chronicles

672
00:35:09,280 --> 00:35:09,680
Speaker 3: of Riddick.

673
00:35:10,560 --> 00:35:13,360
Speaker 1: Yeah, I mean, I think this is the only science

674
00:35:13,400 --> 00:35:15,600
Speaker 1: fiction film she's done. I mean, you can make a

675
00:35:15,640 --> 00:35:18,319
Speaker 1: case for James Bond essentially being sci fi and maybe

676
00:35:18,360 --> 00:35:20,040
Speaker 1: one or two other films, but in terms of like

677
00:35:20,160 --> 00:35:23,920
Speaker 1: pure people in space doing space things, this is it.

678
00:35:25,160 --> 00:35:27,640
Speaker 1: And I think I saw that, Like in her autobiography,

679
00:35:27,760 --> 00:35:29,399
Speaker 1: she doesn't have much to say about this film other

680
00:35:29,440 --> 00:35:31,920
Speaker 1: than like, I didn't really understand any of it, but

681
00:35:32,440 --> 00:35:35,759
Speaker 1: everyone was nice and the sets were really cool, so

682
00:35:35,840 --> 00:35:38,600
Speaker 1: fair enough. But you know, she's the sort of actor

683
00:35:38,640 --> 00:35:41,600
Speaker 1: who adds a splash of talent and class to anything

684
00:35:41,680 --> 00:35:45,279
Speaker 1: she's in. Her presence can't help but elevate anything, and

685
00:35:45,360 --> 00:35:49,640
Speaker 1: this is no exception. Born nineteen thirty four, highly regarded

686
00:35:49,680 --> 00:35:52,520
Speaker 1: and honored British actor of stage, screen and TV. She

687
00:35:52,560 --> 00:35:55,400
Speaker 1: burst on the theater scene in the late fifties, and

688
00:35:55,440 --> 00:35:58,640
Speaker 1: this also included some TV mini series productions. She's had

689
00:35:58,680 --> 00:36:01,399
Speaker 1: extensive credits over the decades, and we certainly can't list

690
00:36:01,440 --> 00:36:04,719
Speaker 1: them all, but just a few highlights. Sixty Five's a

691
00:36:04,760 --> 00:36:08,160
Speaker 1: Study in Terror, a Sherlock Holmes film, a nineteen seventy

692
00:36:08,239 --> 00:36:11,360
Speaker 1: nine adaptation of Macbeth in which she played Lady Macbeth

693
00:36:11,440 --> 00:36:14,680
Speaker 1: opposite Ian McKellen. Nineteen eighty five is a Room with

694
00:36:14,719 --> 00:36:18,560
Speaker 1: a View, nineteen ninety five's GoldenEye, a James Bond movie,

695
00:36:18,560 --> 00:36:20,880
Speaker 1: which of course kicked off an eight film run in

696
00:36:20,920 --> 00:36:25,200
Speaker 1: which she played im. She's like Bond's boss, right, Yeah,

697
00:36:25,239 --> 00:36:28,480
Speaker 1: that's right. Ninety eight, Shakespeare in Love, twenty seventeen's Murder

698
00:36:28,480 --> 00:36:32,799
Speaker 1: on the Orient Express and twenty twenty one's Belfast. So

699
00:36:32,960 --> 00:36:37,200
Speaker 1: she's still out there, still going strong. Yeah. So yeah,

700
00:36:37,239 --> 00:36:38,280
Speaker 1: she's quite a legend.

701
00:36:38,400 --> 00:36:40,360
Speaker 3: Maybe she'll come back for Riddick Furia.

702
00:36:41,400 --> 00:36:44,480
Speaker 1: She might, she might very well. I mean, I hope, so,

703
00:36:44,640 --> 00:36:46,759
Speaker 1: I hope the next Riddick movie includes all of my

704
00:36:46,760 --> 00:36:50,560
Speaker 1: favorite elements of this movie, and that includes our next actor,

705
00:36:51,400 --> 00:36:57,000
Speaker 1: Nick Chinlund, who plays the character Toombs, a mercenary who's

706
00:36:57,239 --> 00:36:58,760
Speaker 1: hot on Riddick's trail.

707
00:37:00,000 --> 00:37:03,240
Speaker 3: You know, I noticed that they left him. They deliberately

708
00:37:03,640 --> 00:37:05,840
Speaker 3: show him being left alive at the end of this

709
00:37:05,960 --> 00:37:08,200
Speaker 3: movie so that he can come back in a sequel.

710
00:37:08,800 --> 00:37:11,640
Speaker 1: Yeah. This was apparently a case where originally he died

711
00:37:11,920 --> 00:37:16,120
Speaker 1: in the script and in fact the novelization of the

712
00:37:16,200 --> 00:37:19,360
Speaker 1: Chronicles of Riddick by Alan Dean Foster, which which I

713
00:37:19,440 --> 00:37:21,160
Speaker 1: read for this episode. I'll hold it up here for

714
00:37:21,200 --> 00:37:22,279
Speaker 1: you to stay on screen. Jow.

715
00:37:22,360 --> 00:37:24,760
Speaker 3: Wow, you read words. You did research.

716
00:37:25,000 --> 00:37:28,520
Speaker 1: I did my research. He died. His character dies in

717
00:37:28,600 --> 00:37:31,160
Speaker 1: the book too, because you know, clearly the book is

718
00:37:31,760 --> 00:37:34,640
Speaker 1: you know, coming together at an earlier stage of production.

719
00:37:35,920 --> 00:37:37,920
Speaker 1: But yeah, they decided this character is too much fun.

720
00:37:38,040 --> 00:37:39,800
Speaker 1: We've got to leave the option open.

721
00:37:40,239 --> 00:37:43,000
Speaker 3: So instead of dying, he gets left in a cage

722
00:37:43,120 --> 00:37:47,759
Speaker 3: next to two CGI I don't know rock panthers and

723
00:37:48,040 --> 00:37:50,680
Speaker 3: just is rattling the bars, screaming Riddy.

724
00:37:51,640 --> 00:37:54,920
Speaker 1: It's great, so good. This is a role that called

725
00:37:54,920 --> 00:37:59,120
Speaker 1: for a scene chewing gargoyle and chin Lind totally answered

726
00:37:59,120 --> 00:38:00,880
Speaker 1: the call. And I think his facial hair in this

727
00:38:01,040 --> 00:38:04,839
Speaker 1: is key, Like he has these super pointed sideburns and

728
00:38:04,880 --> 00:38:07,719
Speaker 1: like this weird little soul patch going on, and his

729
00:38:07,800 --> 00:38:10,840
Speaker 1: hair is all like he's he's got this just total

730
00:38:10,880 --> 00:38:14,080
Speaker 1: gargoyle energy and just really leans into the performance.

731
00:38:14,280 --> 00:38:16,040
Speaker 3: Yeah. Yeah, so.

732
00:38:16,560 --> 00:38:19,879
Speaker 1: Chinlyn was born in sixty one, American actor, active since

733
00:38:19,960 --> 00:38:23,080
Speaker 1: the late nineteen eighties. He played a character named Hashett

734
00:38:23,080 --> 00:38:26,479
Speaker 1: in ninety two is Lethal Weapon three, which tracks. He

735
00:38:26,680 --> 00:38:30,520
Speaker 1: voiced Kwan Chi on nineteen ninety six's Mortal Kombat Defenders

736
00:38:30,520 --> 00:38:33,160
Speaker 1: of the Realm. You pointed this out already, but he

737
00:38:33,160 --> 00:38:36,160
Speaker 1: played a character named Billy Bedlam in nineteen ninety seven's

738
00:38:36,200 --> 00:38:39,200
Speaker 1: con Air. I've never seen Kanyir. You'll have to fill

739
00:38:39,200 --> 00:38:40,279
Speaker 1: me in on this. Oh.

740
00:38:40,400 --> 00:38:42,680
Speaker 3: Con Air is in kind of the same space as

741
00:38:43,080 --> 00:38:45,520
Speaker 3: the Fast Later Fast and the Furious movies, Like it

742
00:38:45,600 --> 00:38:49,000
Speaker 3: is a big, hilarious, over the top action movie. I

743
00:38:49,000 --> 00:38:51,560
Speaker 3: think well, I was gonna say it's Michael Bay, but

744
00:38:51,600 --> 00:38:53,360
Speaker 3: I think it's not Michael Bay. It is one of

745
00:38:53,520 --> 00:38:55,719
Speaker 3: the movies that is not Michael Babe, but feels like

746
00:38:55,800 --> 00:38:56,359
Speaker 3: Michael Bay.

747
00:38:57,160 --> 00:38:59,040
Speaker 1: Yeah, and has a pretty great cast.

748
00:38:59,080 --> 00:39:00,080
Speaker 3: Does that recall? Oh?

749
00:39:00,160 --> 00:39:05,600
Speaker 1: Yes, Chinlyn played the serial killer Donnie Faster on two

750
00:39:05,640 --> 00:39:07,760
Speaker 1: episodes of The X Files. I think he's a shape

751
00:39:07,760 --> 00:39:08,400
Speaker 1: shifter in that.

752
00:39:09,080 --> 00:39:12,319
Speaker 3: Okay, I almost remember this.

753
00:39:12,960 --> 00:39:15,640
Speaker 1: Okay. He has played a wide range of supporting roles

754
00:39:15,640 --> 00:39:17,440
Speaker 1: over the years, but you know, clearly he has the

755
00:39:17,520 --> 00:39:20,200
Speaker 1: looks and the height. He's a pretty tall guy, so

756
00:39:20,239 --> 00:39:22,920
Speaker 1: he plays a lot of heavies in villains in films.

757
00:39:23,160 --> 00:39:25,840
Speaker 1: His other credits include Training Day, both the two thousand

758
00:39:25,880 --> 00:39:28,040
Speaker 1: and one film and the TV show, and he was

759
00:39:28,080 --> 00:39:30,080
Speaker 1: also in two thousand and five's The Legend of Zorro.

760
00:39:31,520 --> 00:39:34,040
Speaker 1: Now this is a smaller role, but I noticed that

761
00:39:34,120 --> 00:39:37,040
Speaker 1: Terry chin is in this. He plays the Murt pilot,

762
00:39:37,239 --> 00:39:39,800
Speaker 1: or at least the second MYRT pilot that Toombs hires.

763
00:39:40,440 --> 00:39:42,440
Speaker 1: He was born in seventy five. He's a Canadian actor

764
00:39:42,480 --> 00:39:45,640
Speaker 1: that many will recognize from such films as two thousands,

765
00:39:45,680 --> 00:39:49,120
Speaker 1: Almost Famous, in which he played American rock journalist Ben

766
00:39:49,160 --> 00:39:52,359
Speaker 1: Fong Torres, and from there Chin went on to appear

767
00:39:52,400 --> 00:39:54,960
Speaker 1: in all sorts of TV and film roles, including two

768
00:39:54,960 --> 00:39:58,200
Speaker 1: thousand and six of Snakes on a Plane, twenty twelve's

769
00:39:58,200 --> 00:40:01,520
Speaker 1: Cabin in the Woods, twenty two He's Falling, I think

770
00:40:01,520 --> 00:40:05,840
Speaker 1: that's a Vigo Morrison picture, and also twenty twenty one's Demonic.

771
00:40:06,120 --> 00:40:09,920
Speaker 1: His TV credits include Stargate SG one, Dark Angel, Battlestar Galactica,

772
00:40:10,000 --> 00:40:13,160
Speaker 1: Jessica Jones, House of Cards, The Expanse, and The Last

773
00:40:13,200 --> 00:40:13,800
Speaker 1: of Us.

774
00:40:14,120 --> 00:40:15,840
Speaker 3: I did not notice him in this movie, but I

775
00:40:15,880 --> 00:40:19,840
Speaker 3: certainly remember him as Ben Fong Torres and almost famous

776
00:40:19,880 --> 00:40:22,439
Speaker 3: where the gag the whole movie is that the main

777
00:40:22,520 --> 00:40:24,800
Speaker 3: character is a kid and he is trying to trick

778
00:40:24,920 --> 00:40:28,080
Speaker 3: Ben Fong Torres into thinking he is an adult rock journalist.

779
00:40:30,000 --> 00:40:31,600
Speaker 1: I've seen that one. It's been a long time.

780
00:40:31,840 --> 00:40:35,000
Speaker 3: Yeah, all right, lowers his voice on the phone when

781
00:40:35,040 --> 00:40:37,080
Speaker 3: he's talking to him. Oh yeah, yes, So I need

782
00:40:37,120 --> 00:40:39,200
Speaker 3: to check with my wife.

783
00:40:40,160 --> 00:40:43,080
Speaker 1: All right. Well, let's get to the real villains of

784
00:40:43,120 --> 00:40:46,799
Speaker 1: the picture. These are members of the Necromonger Empire and

785
00:40:46,960 --> 00:40:50,120
Speaker 1: heading up the Necromonger Empire. We have the Lord Marshall

786
00:40:50,200 --> 00:40:55,080
Speaker 1: himself played by Column Fior born nineteen fifty eight, splendid

787
00:40:55,120 --> 00:40:57,880
Speaker 1: Canadian actor with a strong resume of film, TV, in

788
00:40:57,880 --> 00:41:01,680
Speaker 1: Shakespearean theater. He has that he has a particular knack

789
00:41:01,719 --> 00:41:05,000
Speaker 1: for playing famous dead Canadians, such as Pierre Trudeau in

790
00:41:05,040 --> 00:41:09,040
Speaker 1: the two thousand and two Canadian mini series titled Trudeau,

791
00:41:09,640 --> 00:41:11,880
Speaker 1: and I think our Canadian listeners in general are going

792
00:41:11,960 --> 00:41:15,040
Speaker 1: to tend to have a better understanding of his broader range.

793
00:41:15,960 --> 00:41:19,560
Speaker 1: For instance, he's really fun as a craze marketing executive

794
00:41:19,600 --> 00:41:23,240
Speaker 1: in the second season of the excellent Canadian dramedy series

795
00:41:23,280 --> 00:41:26,600
Speaker 1: Slings and Arrows from several years back. That one starred

796
00:41:26,640 --> 00:41:30,680
Speaker 1: Paul Gross, who's also a great actor. But American audience

797
00:41:30,760 --> 00:41:34,960
Speaker 1: is probably no fer best for maybe either Kenneth Brono's

798
00:41:35,160 --> 00:41:37,319
Speaker 1: Thor from twenty eleven, in which he plays the King

799
00:41:37,320 --> 00:41:40,480
Speaker 1: of the Ice Giants, or the two thousand and two

800
00:41:40,480 --> 00:41:42,879
Speaker 1: film adaptation of the musical Chicago, in which he plays

801
00:41:42,920 --> 00:41:43,719
Speaker 1: a supporting role.

802
00:41:43,920 --> 00:41:46,239
Speaker 3: I don't know why, but I thought he was Irish.

803
00:41:46,440 --> 00:41:46,759
Speaker 3: He's not.

804
00:41:47,520 --> 00:41:51,560
Speaker 1: No, he's I think he's American born technically, but Canadian,

805
00:41:51,600 --> 00:41:55,120
Speaker 1: thoroughly Canadian. And yeah, he's great, And I mean he's

806
00:41:55,120 --> 00:41:57,920
Speaker 1: playing your big bad. He's playing a warlord wizard in

807
00:41:57,960 --> 00:42:01,879
Speaker 1: a grandiose space opera, so engines are on full power here,

808
00:42:02,040 --> 00:42:03,439
Speaker 1: and I think he's great.

809
00:42:03,680 --> 00:42:06,960
Speaker 3: He has some great scenes of revealing powers that you

810
00:42:07,000 --> 00:42:09,120
Speaker 3: didn't know he had before, like in the first scene

811
00:42:09,160 --> 00:42:11,920
Speaker 3: where he ripped somebody sol out, and then in the

812
00:42:12,000 --> 00:42:14,600
Speaker 3: later scene where he tries to rip Vin Diesel's sol

813
00:42:14,680 --> 00:42:15,520
Speaker 3: out but fails.

814
00:42:16,239 --> 00:42:20,000
Speaker 1: Yeah, yeah, yeah, I mean it's an over the top

815
00:42:20,280 --> 00:42:22,759
Speaker 1: supervillain role, but he does a great job with it,

816
00:42:23,080 --> 00:42:25,760
Speaker 1: all right. A sub villain to this an important character.

817
00:42:25,920 --> 00:42:28,640
Speaker 1: He is the character of Vaco, played by Carl Urban

818
00:42:29,239 --> 00:42:32,560
Speaker 1: born nineteen seventy two, New Zealand actor who started out

819
00:42:32,560 --> 00:42:37,080
Speaker 1: in the early nineties playing Julius Caesar on Zena and Hercules,

820
00:42:37,640 --> 00:42:39,440
Speaker 1: and then he broke out more in two thousand and

821
00:42:39,480 --> 00:42:41,400
Speaker 1: two with roles in ghost Ship and Lord of the

822
00:42:41,480 --> 00:42:43,759
Speaker 1: Rings The Two Towers, followed of course, by Return of

823
00:42:43,760 --> 00:42:47,279
Speaker 1: the King and then this film. He's subsequently gone on

824
00:42:47,600 --> 00:42:49,440
Speaker 1: to be kind of like a dependable go to for

825
00:42:49,520 --> 00:42:52,440
Speaker 1: various major sci fi roles, such as projects like two

826
00:42:52,440 --> 00:42:55,839
Speaker 1: thousand and nine Star Trek and its sequels, in which

827
00:42:55,880 --> 00:42:59,520
Speaker 1: he plays Bones, twenty twelve, Judge Dread in which he

828
00:42:59,560 --> 00:43:03,440
Speaker 1: plays Judge Dread. He's in Thor, Ragnarok, and and also

829
00:43:03,480 --> 00:43:06,040
Speaker 1: he's one of the stars of the TV series The Boys.

830
00:43:06,360 --> 00:43:08,560
Speaker 3: Carl Urban can be really great. I don't know if

831
00:43:08,600 --> 00:43:12,440
Speaker 3: this movie really makes the best use of his talents.

832
00:43:12,560 --> 00:43:15,800
Speaker 3: He mostly just like stands there kind of looking mean

833
00:43:15,960 --> 00:43:20,239
Speaker 3: and very grim and it actually I don't recall him

834
00:43:20,280 --> 00:43:21,480
Speaker 3: having a lot of lines.

835
00:43:22,600 --> 00:43:27,239
Speaker 1: No, but his partner, his character's partner in this is

836
00:43:27,280 --> 00:43:29,359
Speaker 1: really the character that has a lot more going on,

837
00:43:29,440 --> 00:43:32,320
Speaker 1: and he's kind of like this, he's very stoic and

838
00:43:32,520 --> 00:43:37,640
Speaker 1: grim and is kind of like a drift, like he's like,

839
00:43:37,680 --> 00:43:41,000
Speaker 1: he's a very loyal character, but she is Lady Macbeth

840
00:43:41,040 --> 00:43:45,960
Speaker 1: and his Macbeth towards greatness, Like that's their whole dynamic. So,

841
00:43:46,040 --> 00:43:48,839
Speaker 1: I mean, he's good in this. But I think Carl

842
00:43:48,920 --> 00:43:51,560
Speaker 1: Urban's one of those actors that is at his best

843
00:43:51,840 --> 00:43:55,240
Speaker 1: when he gets to inject some comedy into what he's doing.

844
00:43:55,480 --> 00:43:58,520
Speaker 1: I think of the roles like Star Trek, like Ragnarok,

845
00:43:58,640 --> 00:44:01,719
Speaker 1: Like he's terrific in those because yeah, he's physical and

846
00:44:02,400 --> 00:44:05,600
Speaker 1: all that, but and serious when it calls for it.

847
00:44:05,640 --> 00:44:08,799
Speaker 1: But also there's this underlying comedic energy that he does

848
00:44:08,840 --> 00:44:11,920
Speaker 1: extremely well. Yeah, for this performance as well, though I

849
00:44:11,920 --> 00:44:13,279
Speaker 1: would say the haircut is key.

850
00:44:13,760 --> 00:44:18,960
Speaker 3: Yes, he has a kind of elevated Frankenstein flat top

851
00:44:19,000 --> 00:44:22,400
Speaker 3: haircut that also ends in a mullet, so try to

852
00:44:22,440 --> 00:44:26,839
Speaker 3: imagine Frankenstein. But the hair comes up several inches off

853
00:44:26,880 --> 00:44:29,560
Speaker 3: the scalp and then it's flat on top, and then

854
00:44:29,560 --> 00:44:33,440
Speaker 3: it goes down into a long tail. Extremely cool. Look,

855
00:44:33,480 --> 00:44:38,359
Speaker 3: I'm surprised it didn't catch on with the kids. What

856
00:44:38,400 --> 00:44:40,120
Speaker 3: am I remembering this wrong? No?

857
00:44:40,120 --> 00:44:42,200
Speaker 1: No, that describes it to a t. It's kind of

858
00:44:42,280 --> 00:44:46,840
Speaker 1: like this weird like slicked back Frankenstein mullet. Yeah, yeah,

859
00:44:47,040 --> 00:44:48,200
Speaker 1: Space warrior haircut.

860
00:44:48,760 --> 00:44:51,520
Speaker 3: Right, But how does he keep it standing up like that?

861
00:44:51,560 --> 00:44:54,279
Speaker 3: Because he wears a helmet. Sometimes I think the heavy

862
00:44:54,360 --> 00:44:57,000
Speaker 3: metal helmet would push down the flat He must have

863
00:44:57,120 --> 00:44:58,240
Speaker 3: really good hair gel.

864
00:44:59,000 --> 00:45:00,879
Speaker 1: Yeah, or maybe he does do anything. It was here

865
00:45:00,880 --> 00:45:02,600
Speaker 1: and it's just the helmet does that to his head.

866
00:45:02,680 --> 00:45:03,120
Speaker 1: I don't know.

867
00:45:03,560 --> 00:45:05,919
Speaker 3: Oh, maybe that's all his head under there. Maybe it's

868
00:45:05,960 --> 00:45:07,240
Speaker 3: bone all the way up.

869
00:45:08,760 --> 00:45:12,320
Speaker 1: All right. So that's Vaco, and then we have Dame Vaco.

870
00:45:13,080 --> 00:45:16,839
Speaker 1: This is his I guess she's like his consort. I'm

871
00:45:16,840 --> 00:45:19,480
Speaker 1: not sure exactly what this character's official role in the

872
00:45:19,480 --> 00:45:22,840
Speaker 1: Necromannger Empire is I guess she's kind of like nobility

873
00:45:22,920 --> 00:45:23,360
Speaker 1: or something.

874
00:45:23,880 --> 00:45:28,320
Speaker 3: Yeah, she's assigned official undermining the Lord Marshall duties.

875
00:45:29,160 --> 00:45:32,440
Speaker 1: Yes, and she is played by the always terrific British

876
00:45:32,480 --> 00:45:37,320
Speaker 1: actor Tandy or tandee Way Newton. Most of you probably

877
00:45:37,320 --> 00:45:40,600
Speaker 1: know Newton best for her work on say HBO's West World.

878
00:45:40,960 --> 00:45:43,279
Speaker 1: She has a major role on that TV series. She

879
00:45:43,400 --> 00:45:46,680
Speaker 1: was also in two thousand's Mission Impossible Too, and some

880
00:45:46,719 --> 00:45:49,480
Speaker 1: of her other bigger credits include nineteen ninety four's Interview

881
00:45:49,480 --> 00:45:52,080
Speaker 1: with a Vampire, two thousand and fours, Crash in twenty

882
00:45:52,080 --> 00:45:56,440
Speaker 1: eighteen solo a Star Wars story. Yeah, she's I think

883
00:45:56,440 --> 00:45:58,719
Speaker 1: she's really great in this, especially when she is in

884
00:45:58,840 --> 00:46:02,440
Speaker 1: full blown Lady made Beth mode. You know, when she's

885
00:46:02,520 --> 00:46:05,480
Speaker 1: she's saying things like kill the beast while it's wounded

886
00:46:05,520 --> 00:46:09,640
Speaker 1: and so forth. Yea, she has a tremendous no late

887
00:46:09,719 --> 00:46:11,879
Speaker 1: in the film, And I think that's saying a lot

888
00:46:11,960 --> 00:46:16,600
Speaker 1: because no moments in films can often be cheesy and

889
00:46:18,040 --> 00:46:20,799
Speaker 1: so forth. But she gives I think, maybe the best

890
00:46:20,800 --> 00:46:25,880
Speaker 1: one I've ever seen. Like it's just this visceral like

891
00:46:26,040 --> 00:46:30,680
Speaker 1: rejection of what is happening. It's so for you know, connoisseurs.

892
00:46:30,680 --> 00:46:32,680
Speaker 1: I highly recommend you check out her performance.

893
00:46:33,440 --> 00:46:37,319
Speaker 3: Yeah, it competes with Revenge of the Siths. She is

894
00:46:37,360 --> 00:46:39,560
Speaker 3: great in this, and she appears to be having a

895
00:46:39,600 --> 00:46:40,240
Speaker 3: great time.

896
00:46:40,719 --> 00:46:42,640
Speaker 1: Yeah. There are plenty of scenes where she is just

897
00:46:42,880 --> 00:46:47,600
Speaker 1: comically seductive, you know, but she's still entertaining in those scenes.

898
00:46:47,640 --> 00:46:51,080
Speaker 1: And she is dressed the whole time in this splendid

899
00:46:51,200 --> 00:46:55,560
Speaker 1: golden dinosaur skin dress, of which is very stylish.

900
00:46:55,680 --> 00:46:58,240
Speaker 3: She's like the only character in the movie who gets

901
00:46:58,400 --> 00:47:00,480
Speaker 3: Riddic to do what she says.

902
00:47:00,600 --> 00:47:00,799
Speaker 1: You know.

903
00:47:00,840 --> 00:47:03,600
Speaker 3: Everybody else is like, Riddick, do this, and he's like, no,

904
00:47:04,000 --> 00:47:07,640
Speaker 3: I won't. But she's just like, well, why don't you

905
00:47:07,760 --> 00:47:09,560
Speaker 3: just ask him nicely? But she says it in a

906
00:47:09,719 --> 00:47:13,120
Speaker 3: very breathy, seductive voice, and then he's like, okay.

907
00:47:13,080 --> 00:47:14,520
Speaker 1: Okay, I'll see where you're going with this.

908
00:47:14,719 --> 00:47:16,799
Speaker 3: Yeah, all right.

909
00:47:16,800 --> 00:47:19,799
Speaker 1: And then we also have a necromannger character named what

910
00:47:19,960 --> 00:47:21,440
Speaker 1: We don't know his name, we just know him by

911
00:47:21,480 --> 00:47:25,080
Speaker 1: his title. He is the Purifier or Purifier, and this

912
00:47:25,200 --> 00:47:28,600
Speaker 1: character is played by the always excellent Linus Roach born

913
00:47:28,680 --> 00:47:32,200
Speaker 1: nineteen sixty four. Roach is likely best known to many

914
00:47:32,239 --> 00:47:35,480
Speaker 1: of you out there for his subdued performances Thomas Wayne

915
00:47:35,760 --> 00:47:38,799
Speaker 1: in two thousand and five's Batman Begins, and also his

916
00:47:38,960 --> 00:47:43,400
Speaker 1: intensely weird portrayal of the folk singer turned murderous cult

917
00:47:43,480 --> 00:47:49,000
Speaker 1: leader Jeremiah sand in twenty eighteen's Mandy from director Panos Cosmantos.

918
00:47:49,960 --> 00:47:53,120
Speaker 3: Those are two extremely different performances, but he's great in both.

919
00:47:53,719 --> 00:47:56,319
Speaker 3: Like I remember, in seeing him and Mandy, it was

920
00:47:56,400 --> 00:48:00,600
Speaker 3: hard to recall how comforting and reassuring instead he was

921
00:48:00,640 --> 00:48:01,880
Speaker 3: in the Batman movie.

922
00:48:02,400 --> 00:48:04,359
Speaker 1: Yeah, Like, this is a This is an act a

923
00:48:04,400 --> 00:48:07,760
Speaker 1: deeply serious actor who by all counts takes his roles

924
00:48:07,840 --> 00:48:12,640
Speaker 1: very seriously, and he seems to have deep reservoirs of

925
00:48:12,680 --> 00:48:16,680
Speaker 1: weird energy to call upon when the role asks for it.

926
00:48:17,120 --> 00:48:19,360
Speaker 1: And so it's a real treat when he's given at

927
00:48:19,440 --> 00:48:22,080
Speaker 1: least even a little leeway to let that weirdness out.

928
00:48:22,560 --> 00:48:23,239
Speaker 3: Yeah.

929
00:48:23,280 --> 00:48:26,200
Speaker 1: He played the title character in nineteen ninety four's Priest

930
00:48:26,400 --> 00:48:30,000
Speaker 1: from Antonia Byrd. He played Robert F. Kennedy in a

931
00:48:30,040 --> 00:48:32,920
Speaker 1: two thousand and two TV movie about the American politician,

932
00:48:33,280 --> 00:48:35,120
Speaker 1: and he did, like a lot of you know, working

933
00:48:35,120 --> 00:48:38,000
Speaker 1: actors of the modern era, did a whole lot of

934
00:48:38,080 --> 00:48:41,240
Speaker 1: Law and Order. He did thirty three episodes of Vikings,

935
00:48:41,239 --> 00:48:45,359
Speaker 1: twenty three episodes of Homeland, and what about NonStop? Well, yes,

936
00:48:45,480 --> 00:48:48,640
Speaker 1: he was in the twenty fourteen NonStop movie starring Liam

937
00:48:48,719 --> 00:48:52,239
Speaker 1: Neeson's all Right, Real Quick On just the rest of

938
00:48:52,239 --> 00:48:55,919
Speaker 1: the couple of the technical notes here. Graham Revel did

939
00:48:55,920 --> 00:48:58,400
Speaker 1: the score, born nineteen fifty five. We talked about him

940
00:48:58,400 --> 00:49:01,799
Speaker 1: before because he did the score to Ghost in the

941
00:49:01,840 --> 00:49:05,040
Speaker 1: Machine from nineteen ninety three, as well as nineteen eighty

942
00:49:05,080 --> 00:49:09,600
Speaker 1: nine Spontaneous Combustion, which we've also discussed. New Zealand musician

943
00:49:09,640 --> 00:49:13,040
Speaker 1: and composer and former member of the eighties Australian industrial

944
00:49:13,120 --> 00:49:16,960
Speaker 1: music and noise group SPK. I'm not familiar with SPK,

945
00:49:17,840 --> 00:49:20,680
Speaker 1: despite being somewhat familiar with a lot of industrial and

946
00:49:20,719 --> 00:49:23,360
Speaker 1: noise music, so I don't know. Music fans. If you

947
00:49:23,480 --> 00:49:25,799
Speaker 1: know SPK, write in and tell us all about it.

948
00:49:26,160 --> 00:49:29,680
Speaker 1: He also did The Crow in nineteen ninety four, and

949
00:49:29,840 --> 00:49:32,880
Speaker 1: just generally a lot of nineties horror and sci fi movies,

950
00:49:33,360 --> 00:49:36,279
Speaker 1: So I guess that's kind of like that's the weird

951
00:49:36,280 --> 00:49:38,400
Speaker 1: thing about the score for this film. The score works,

952
00:49:38,680 --> 00:49:41,880
Speaker 1: totally works, does everything is required of it also feels

953
00:49:42,000 --> 00:49:44,759
Speaker 1: very much set in the time, in part because this

954
00:49:44,840 --> 00:49:47,719
Speaker 1: guy was just working a lot on films like this

955
00:49:48,239 --> 00:49:51,160
Speaker 1: during that time period. And finally, on the art and

956
00:49:51,239 --> 00:49:53,839
Speaker 1: design side of things, I'm not going to go into

957
00:49:53,840 --> 00:49:55,839
Speaker 1: too much detail here other than to say that the

958
00:49:55,920 --> 00:49:59,040
Speaker 1: production design and costuming was a work of several talents

959
00:49:59,040 --> 00:50:01,000
Speaker 1: that have been involved and a lot of other sleek,

960
00:50:01,040 --> 00:50:04,960
Speaker 1: big budget productions. Production designed by Holger Gross, who also

961
00:50:05,040 --> 00:50:09,600
Speaker 1: worked on Stargate. Art, direction by Kevin Ishioka, Mark W.

962
00:50:09,760 --> 00:50:15,800
Speaker 1: Mansbridge and Sandy Tanaka. Costuming by Michael Dennison and Ellen Mirojnik.

963
00:50:16,040 --> 00:50:18,160
Speaker 1: All right, so those are the only people were going

964
00:50:18,200 --> 00:50:20,520
Speaker 1: to cover here, though I will say it's a pretty

965
00:50:20,520 --> 00:50:23,120
Speaker 1: deep cast, and there's some other faces you might recognize

966
00:50:23,120 --> 00:50:24,840
Speaker 1: that went on to be in other things, and we

967
00:50:24,920 --> 00:50:26,480
Speaker 1: might touch on some of those as they come out,

968
00:50:26,520 --> 00:50:27,319
Speaker 1: but maybe not.

969
00:50:35,440 --> 00:50:37,160
Speaker 3: All right, Well, you ready to talk about the plot,

970
00:50:37,640 --> 00:50:38,239
Speaker 3: Let's jump in.

971
00:50:38,520 --> 00:50:38,799
Speaker 1: All right?

972
00:50:38,840 --> 00:50:43,360
Speaker 3: Well, the film opens with blue energy exploding out of

973
00:50:43,360 --> 00:50:46,040
Speaker 3: some kind of metal hollow, and then we zoom out

974
00:50:46,080 --> 00:50:48,840
Speaker 3: to see the light is blasting out of a giant

975
00:50:49,080 --> 00:50:53,000
Speaker 3: metal structure looming tall in a dark and bloomy sky,

976
00:50:53,440 --> 00:50:56,600
Speaker 3: kind of like a solid iron skyscraper with these deep

977
00:50:56,680 --> 00:50:59,919
Speaker 3: ridges running top to bottom and decorated on the top

978
00:51:00,120 --> 00:51:06,080
Speaker 3: with huge sculptures of stern faces with exaggerated masculine features,

979
00:51:06,280 --> 00:51:09,920
Speaker 3: wearing military helmets. They look vaguely ancient Roman, but with

980
00:51:09,960 --> 00:51:13,600
Speaker 3: like noseguards. So I don't know exactly what they're most

981
00:51:13,680 --> 00:51:16,040
Speaker 3: modeled on, but I was looking at this, I'm like, Okay,

982
00:51:16,000 --> 00:51:19,080
Speaker 3: imagine you went back in a time machine. You showed

983
00:51:19,080 --> 00:51:22,040
Speaker 3: Benito Mussolini blade runner. I don't know why you do that,

984
00:51:22,160 --> 00:51:24,279
Speaker 3: but then you send him to bed. This is the

985
00:51:24,360 --> 00:51:25,200
Speaker 3: dream he would have.

986
00:51:26,000 --> 00:51:29,480
Speaker 1: Yeah. I've read that aspects of the necromonger design here

987
00:51:29,520 --> 00:51:34,239
Speaker 1: were inspired in part by Italian sculptor Adolfo Wilt but

988
00:51:34,760 --> 00:51:36,760
Speaker 1: he was apparently noted for a lot of his proto

989
00:51:36,760 --> 00:51:42,440
Speaker 1: fascist imagery. But also they took some inspiration from sixteenth

990
00:51:42,440 --> 00:51:47,560
Speaker 1: century Italian armor designs as well as some twentieth century

991
00:51:47,719 --> 00:51:49,880
Speaker 1: Art Deco, so you can see a lot of that

992
00:51:50,000 --> 00:51:54,440
Speaker 1: mixed in to this very gothic space. Opera looked to this,

993
00:51:54,719 --> 00:51:57,080
Speaker 1: you know, clearly evil empire.

994
00:51:57,520 --> 00:52:00,320
Speaker 3: Yeah, so we zoom out to see this inner energy

995
00:52:00,400 --> 00:52:03,120
Speaker 3: tower is looming over a conquered city and the buildings

996
00:52:03,160 --> 00:52:06,680
Speaker 3: are reduced to smoking ruins, and there are giant airships

997
00:52:06,719 --> 00:52:09,960
Speaker 3: flooding the sky over the remains of the metropolis. Then

998
00:52:10,000 --> 00:52:13,440
Speaker 3: we cut to another one of the glowering metal faces.

999
00:52:13,480 --> 00:52:16,279
Speaker 3: But this is not another tower. It is part of

1000
00:52:16,280 --> 00:52:19,080
Speaker 3: a helmet. It is a helmet worn by a man

1001
00:52:19,719 --> 00:52:23,040
Speaker 3: with a rigid metal impression of a face covering his

1002
00:52:23,160 --> 00:52:26,000
Speaker 3: actual face. Like there are only eye holes and then

1003
00:52:26,200 --> 00:52:29,160
Speaker 3: more faces on the sides of the helmet. So it's

1004
00:52:29,160 --> 00:52:31,640
Speaker 3: a helmet with metal faces in every direction.

1005
00:52:32,280 --> 00:52:36,080
Speaker 1: Yeah, and I don't know exactly what the purpose here is.

1006
00:52:36,160 --> 00:52:40,600
Speaker 1: Maybe it's because this is of course Colin Fior playing

1007
00:52:40,640 --> 00:52:43,400
Speaker 1: the Grand Marshal. He's snatching souls left and right, so

1008
00:52:43,440 --> 00:52:47,520
Speaker 1: maybe those are supposed to be representations of souls. But also,

1009
00:52:48,320 --> 00:52:51,000
Speaker 1: as we'll learn, like he's very difficult to get the

1010
00:52:51,080 --> 00:52:54,000
Speaker 1: drop on, he's kind of he has a hyper awareness

1011
00:52:54,000 --> 00:52:56,600
Speaker 1: of his surroundings. So maybe it's kind of like with

1012
00:52:57,880 --> 00:53:01,799
Speaker 1: you know, like the Greek Hackaday goddess that you know,

1013
00:53:01,880 --> 00:53:04,439
Speaker 1: he's looking in more than one direction at the same time,

1014
00:53:04,480 --> 00:53:05,920
Speaker 1: and that's reflected on his helmet.

1015
00:53:06,239 --> 00:53:08,719
Speaker 3: And he's got more faces too, Like he's got pauldrons

1016
00:53:08,760 --> 00:53:11,640
Speaker 3: on his shoulders that have faces I bet if you

1017
00:53:11,719 --> 00:53:14,160
Speaker 3: lifted up his arm there'd be faces in the arm pits.

1018
00:53:14,560 --> 00:53:17,120
Speaker 3: So there's yeah, there's a lot of faces on his armor.

1019
00:53:17,920 --> 00:53:19,680
Speaker 3: So the face. This guy is standing with a bunch

1020
00:53:19,719 --> 00:53:23,000
Speaker 3: of other mean looking space toughs in threatening armor of

1021
00:53:23,520 --> 00:53:26,760
Speaker 3: various sorts. There's another guy with a mask covering only

1022
00:53:26,880 --> 00:53:28,719
Speaker 3: the lower part of his face, so he looks kind

1023
00:53:28,719 --> 00:53:32,480
Speaker 3: of like Scorpion or sub Zero. And they're looking out

1024
00:53:32,480 --> 00:53:35,799
Speaker 3: over the landscape like yep, we destroyed it. And then

1025
00:53:35,880 --> 00:53:37,960
Speaker 3: they turn and they go inside a palace, and then

1026
00:53:37,960 --> 00:53:40,440
Speaker 3: we pull back and it reveals that the palace is

1027
00:53:40,800 --> 00:53:43,239
Speaker 3: mounted on top of a space ship, so it's sort

1028
00:53:43,280 --> 00:53:45,520
Speaker 3: of a castle in the sky or in the stars.

1029
00:53:46,120 --> 00:53:48,840
Speaker 3: And then narration comes in. It is a female voice,

1030
00:53:48,880 --> 00:53:53,000
Speaker 3: I think it is Judy Dinch talking. She says they

1031
00:53:53,000 --> 00:53:56,520
Speaker 3: are an army unlike any other, crusading across the stars

1032
00:53:56,600 --> 00:54:00,200
Speaker 3: toward a place called the under Verse, their promised land,

1033
00:54:00,000 --> 00:54:05,240
Speaker 3: and a constellation of dark new worlds Necromongers, they're called.

1034
00:54:05,560 --> 00:54:08,400
Speaker 3: And if they cannot convert you, they will kill you.

1035
00:54:09,280 --> 00:54:12,759
Speaker 3: Leading them, the Lord Marshall, he alone has made a

1036
00:54:12,800 --> 00:54:15,839
Speaker 3: pilgrimage to the gates of the Underverse and returned a

1037
00:54:15,920 --> 00:54:22,200
Speaker 3: different being, stronger, stranger, half alive, and half something else.

1038
00:54:22,960 --> 00:54:25,920
Speaker 1: Yep, these are the Necromongers. They are I guess you

1039
00:54:25,960 --> 00:54:30,720
Speaker 1: could describe them as an imperialistic, astronomadic warrior culture centered

1040
00:54:30,760 --> 00:54:35,320
Speaker 1: around an anti natalist death cult. They believe that human

1041
00:54:35,320 --> 00:54:37,919
Speaker 1: life in the universe is a mistake and that there's

1042
00:54:37,960 --> 00:54:41,400
Speaker 1: a better life in the underverse, which is a concept

1043
00:54:41,440 --> 00:54:44,640
Speaker 1: that's kind of shrouded in mystery, but seems to at

1044
00:54:44,640 --> 00:54:48,840
Speaker 1: once be an afterlife and also an actual dimension that

1045
00:54:48,960 --> 00:54:52,840
Speaker 1: can be accessed through a physical threshold in addition to

1046
00:54:53,120 --> 00:54:54,799
Speaker 1: access via just normal death.

1047
00:54:55,200 --> 00:54:58,280
Speaker 3: So it's kind of like the ancient Greek vision of Hades.

1048
00:54:58,280 --> 00:55:00,480
Speaker 3: You know, it's a place you could go to. It's

1049
00:55:00,520 --> 00:55:03,120
Speaker 3: not Yes, it's hard to go there, but you can go.

1050
00:55:03,680 --> 00:55:05,920
Speaker 1: Right and some people can come back, and then they

1051
00:55:05,920 --> 00:55:10,080
Speaker 1: have privileged information about the universe. I'm gonna mention that

1052
00:55:11,080 --> 00:55:14,440
Speaker 1: Alan Dene Foster has an appendix in the novelization that

1053
00:55:14,680 --> 00:55:20,200
Speaker 1: runs through the details regarding the founding of Necroism and

1054
00:55:20,239 --> 00:55:25,440
Speaker 1: the Necromonger Empire, the six different regimes, and so it's

1055
00:55:25,719 --> 00:55:28,880
Speaker 1: explain that basically the Lord Marshall here is the Holy

1056
00:55:28,960 --> 00:55:32,799
Speaker 1: half Dead Zy law the last. He's the sixth and

1057
00:55:32,840 --> 00:55:36,640
Speaker 1: again possibly the last Lord Marshall, because eventually there's going

1058
00:55:36,719 --> 00:55:38,640
Speaker 1: to be a Lord Marshall that finishes off the rest

1059
00:55:38,640 --> 00:55:41,040
Speaker 1: of human life in the universe and then sets sail

1060
00:55:41,160 --> 00:55:44,360
Speaker 1: into the under verse and like leaves a closed sign

1061
00:55:44,880 --> 00:55:46,080
Speaker 1: on our universe.

1062
00:55:47,239 --> 00:55:50,520
Speaker 3: Okay, the movie does not make that clear. The less

1063
00:55:50,680 --> 00:55:52,680
Speaker 3: less is said about it in the film.

1064
00:55:52,960 --> 00:55:57,239
Speaker 1: I like the sense of mystery regarding the religion and

1065
00:55:58,000 --> 00:56:01,399
Speaker 1: beliefs of the Necromongres because I think it makes them

1066
00:56:01,400 --> 00:56:04,440
Speaker 1: feel more threatening and weird, like they have a strange

1067
00:56:04,480 --> 00:56:09,400
Speaker 1: religion that does not travel well unless it is delivered

1068
00:56:09,400 --> 00:56:13,759
Speaker 1: on the edge of the knife. It makes them feel

1069
00:56:13,840 --> 00:56:16,319
Speaker 1: like this great looming threat that they are of course

1070
00:56:16,400 --> 00:56:16,920
Speaker 1: supposed to be.

1071
00:56:17,560 --> 00:56:20,920
Speaker 3: So next we see the Necromongers inside their ship and

1072
00:56:20,960 --> 00:56:23,440
Speaker 3: one of them operates a device with a switch that

1073
00:56:23,560 --> 00:56:27,680
Speaker 3: is basically a gory crucifix. They've got like really anguished

1074
00:56:27,680 --> 00:56:29,880
Speaker 3: looking crucifix imagery all over the place.

1075
00:56:30,400 --> 00:56:31,839
Speaker 1: Yeah, they're big on pain as much.

1076
00:56:32,239 --> 00:56:36,600
Speaker 3: Yeah, Yeah, kind of mixed with some Alex grayish kind

1077
00:56:36,640 --> 00:56:39,319
Speaker 3: of bodies with like the skin peeled back, you see

1078
00:56:39,360 --> 00:56:42,840
Speaker 3: the muscles and all that. They flip the crucifix switch

1079
00:56:43,040 --> 00:56:47,080
Speaker 3: and it unleashes this blast of energy that destroys the

1080
00:56:47,080 --> 00:56:51,560
Speaker 3: face of the entire planet, and the narration continues. Judy

1081
00:56:51,680 --> 00:56:54,600
Speaker 3: Dench says, if we are to survive, a new balance

1082
00:56:54,680 --> 00:56:59,120
Speaker 3: must be found in normal times. When are the normal times?

1083
00:56:59,160 --> 00:57:02,840
Speaker 3: I don't know. In normal times, evil would be fought

1084
00:57:03,000 --> 00:57:06,480
Speaker 3: by good, but in times like these, well, it should

1085
00:57:06,480 --> 00:57:10,400
Speaker 3: be fought by another kind of evil. And then title

1086
00:57:10,440 --> 00:57:14,480
Speaker 3: screen it says, Chronicles of Riddick in something that's really

1087
00:57:14,680 --> 00:57:16,720
Speaker 3: really darn close to the Peter Jackson, Lord of the

1088
00:57:16,760 --> 00:57:17,360
Speaker 3: Rings font.

1089
00:57:17,720 --> 00:57:20,720
Speaker 1: Now this bit about evil should be fought by another

1090
00:57:20,800 --> 00:57:24,200
Speaker 1: kind of evil. This always gave me pause because in

1091
00:57:24,240 --> 00:57:26,960
Speaker 1: any question the whole endeavor here, because he's Riddick really

1092
00:57:27,000 --> 00:57:28,120
Speaker 1: another kind of evil.

1093
00:57:28,640 --> 00:57:30,600
Speaker 3: Well, I think they're trying to set him up that

1094
00:57:30,640 --> 00:57:34,040
Speaker 3: way in order to achieve a character dynamic that a

1095
00:57:34,040 --> 00:57:36,520
Speaker 3: lot of films and stories try to do because it's

1096
00:57:36,520 --> 00:57:39,920
Speaker 3: fun and pleasing. So they want him to be perceived

1097
00:57:40,040 --> 00:57:45,560
Speaker 3: as bad in the beginning, and they do some work

1098
00:57:45,600 --> 00:57:47,479
Speaker 3: to achieve that. I've actually got a whole note about

1099
00:57:47,480 --> 00:57:50,360
Speaker 3: this and minute based on some stuff Riddick says in

1100
00:57:50,440 --> 00:57:52,240
Speaker 3: the first you know, ten minutes of the film.

1101
00:57:52,480 --> 00:57:54,200
Speaker 1: All right, well, we'll come back to most of that,

1102
00:57:54,280 --> 00:57:58,480
Speaker 1: but I'll just say briefly that I never think of

1103
00:57:58,680 --> 00:58:01,760
Speaker 1: Riddick as an evil care you know, he's the self

1104
00:58:01,800 --> 00:58:05,320
Speaker 1: interested loner who's very distrustful of others, and he's buried

1105
00:58:05,360 --> 00:58:08,920
Speaker 1: his heart and his feelings within this grim, hyper masculine exterior,

1106
00:58:08,920 --> 00:58:13,320
Speaker 1: this nihilistic mindset. But you know, and this is also

1107
00:58:13,480 --> 00:58:16,600
Speaker 1: part of sort of the hyper masculine stereotype that yeah,

1108
00:58:16,640 --> 00:58:20,200
Speaker 1: we see that that exterior can be pierced and the

1109
00:58:20,600 --> 00:58:24,200
Speaker 1: heart of our masculine character can be touched. You know.

1110
00:58:24,240 --> 00:58:26,880
Speaker 1: It might be through love, it might be through baseball

1111
00:58:27,240 --> 00:58:31,000
Speaker 1: or like a really cool dog, but you know, you can,

1112
00:58:31,440 --> 00:58:33,800
Speaker 1: you can reach him, you can make him feel again,

1113
00:58:34,320 --> 00:58:38,479
Speaker 1: and inevitably, in a Ritic movie that occurs, Ritic will

1114
00:58:38,520 --> 00:58:42,040
Speaker 1: inevitably Ungrinch. His heart will grow, you know, three sizes

1115
00:58:42,480 --> 00:58:45,960
Speaker 1: and will still and he'll save the day. But even then,

1116
00:58:46,000 --> 00:58:48,320
Speaker 1: we still see throughout these films that he has a code,

1117
00:58:48,360 --> 00:58:50,600
Speaker 1: like for the most part, he's only killing in self defense.

1118
00:58:51,080 --> 00:58:55,840
Speaker 1: He's not particularly sadistic or anything. He's killing to escape

1119
00:58:56,000 --> 00:58:59,280
Speaker 1: or maybe it's like an honor thing, direct retalitative retaliation

1120
00:58:59,400 --> 00:59:01,200
Speaker 1: for the depth of a friend, but you know, he's

1121
00:59:01,200 --> 00:59:03,200
Speaker 1: a mark with a code, but I would never think

1122
00:59:03,200 --> 00:59:04,560
Speaker 1: of him as evil per se.

1123
00:59:05,080 --> 00:59:07,800
Speaker 3: Well, in the first film in Pitch Black, they spend

1124
00:59:08,560 --> 00:59:10,720
Speaker 3: a big part like the first half of the film,

1125
00:59:10,720 --> 00:59:14,640
Speaker 3: he has understood as a brutal, sadistic murderer who will

1126
00:59:14,720 --> 00:59:16,880
Speaker 3: kill you the first chance he gets. Like he's a

1127
00:59:16,920 --> 00:59:20,480
Speaker 3: prisoner of I think, who is understood to be like

1128
00:59:20,520 --> 00:59:22,920
Speaker 3: a police officer at the beginning, but then is revealed

1129
00:59:22,960 --> 00:59:25,000
Speaker 3: to be like a sadistic bounty hunter later.

1130
00:59:25,720 --> 00:59:27,200
Speaker 1: Played by wings Houser's son.

1131
00:59:27,440 --> 00:59:29,680
Speaker 3: Yeah, oh yeah, okay what Cole Hauser?

1132
00:59:29,760 --> 00:59:30,480
Speaker 1: I think, wasn't it?

1133
00:59:30,680 --> 00:59:34,080
Speaker 3: But yeah, it's the classic, you know, the criminal with

1134
00:59:34,080 --> 00:59:36,840
Speaker 3: the heart of gold story, Like at the beginning, he's

1135
00:59:36,880 --> 00:59:39,320
Speaker 3: an evil, sadistic murderer who will kill anyone, but then

1136
00:59:39,360 --> 00:59:41,320
Speaker 3: he gets a chance to kill the good characters and

1137
00:59:41,360 --> 00:59:43,960
Speaker 3: he doesn't and then ends up helping them in the end.

1138
00:59:44,000 --> 00:59:47,640
Speaker 3: So he's revealed to actually be a sweetheart. But I'll

1139
00:59:47,640 --> 00:59:49,680
Speaker 3: come back to that in a minute. So we open

1140
00:59:49,800 --> 00:59:53,720
Speaker 3: on a chase scene. There's a blizzard blasting a man

1141
00:59:54,040 --> 00:59:58,920
Speaker 3: in like goggles sort of sunshaded goggles, with a scraggly

1142
00:59:58,960 --> 01:00:02,640
Speaker 3: beard and long hair, he's covered in snow. He's running

1143
01:00:02,720 --> 01:00:05,960
Speaker 3: over what looks like a chaotic glacier top with like

1144
01:00:06,160 --> 01:00:08,920
Speaker 3: patterns of parallel ridges and chasms, so it's sort of

1145
01:00:08,920 --> 01:00:11,520
Speaker 3: like the top of a maze made of ice. He's

1146
01:00:11,600 --> 01:00:13,520
Speaker 3: running on top of the walls of the maze and

1147
01:00:13,560 --> 01:00:16,560
Speaker 3: he is pursued by a spaceship. We get a little

1148
01:00:16,600 --> 01:00:20,920
Speaker 3: title that says UV System Planet six. And inside the

1149
01:00:20,920 --> 01:00:24,560
Speaker 3: spaceship there's Billy Bedlam. That's what's his name from Conair?

1150
01:00:24,680 --> 01:00:27,520
Speaker 3: What is his name? Chinlund? Chinlund?

1151
01:00:27,600 --> 01:00:30,760
Speaker 1: Yeah, playing tombs, tombs, And.

1152
01:00:31,040 --> 01:00:32,960
Speaker 3: So he's flying the spaceship. He's got a couple of

1153
01:00:33,000 --> 01:00:35,520
Speaker 3: gunners and they are chasing down the running Man, trying

1154
01:00:35,520 --> 01:00:38,680
Speaker 3: to shoot him with these wire spider webs to capture him.

1155
01:00:38,920 --> 01:00:41,520
Speaker 3: But the running Man is too fast, he's too crafty.

1156
01:00:41,560 --> 01:00:42,800
Speaker 3: He keeps faking them out.

1157
01:00:45,000 --> 01:00:47,440
Speaker 1: Yeah again, Tims is terrific. He's responsible for some of

1158
01:00:47,480 --> 01:00:51,680
Speaker 1: the most cheeseball lines in the whole picture. And Chinlan

1159
01:00:51,760 --> 01:00:54,240
Speaker 1: is just all the I'm giving us the maximum tombs

1160
01:00:54,240 --> 01:00:55,520
Speaker 1: experience you got to admire.

1161
01:00:55,960 --> 01:00:58,320
Speaker 3: Yeah, And I guess the filmmakers are trying to fake

1162
01:00:58,520 --> 01:01:00,640
Speaker 3: us out for a second here with the hair and

1163
01:01:00,760 --> 01:01:03,400
Speaker 3: the beard but I mean, could this be anybody other

1164
01:01:03,440 --> 01:01:05,960
Speaker 3: than Riddick? And then toom says Riddish.

1165
01:01:08,920 --> 01:01:12,800
Speaker 1: Now, one of the things I love about novelizations of films,

1166
01:01:12,800 --> 01:01:14,440
Speaker 1: And I don't I mean, I mean, I'm not a

1167
01:01:15,280 --> 01:01:17,080
Speaker 1: It's rare that I'll actually pick one up. But I

1168
01:01:17,200 --> 01:01:19,320
Speaker 1: just happened to see this once I grabbed it. But

1169
01:01:20,440 --> 01:01:24,760
Speaker 1: I love this weird exercise of this being written at

1170
01:01:24,800 --> 01:01:26,800
Speaker 1: some earlier stage of production. And you get a little

1171
01:01:26,800 --> 01:01:29,880
Speaker 1: insight maybe into earlier visions of the film and earlier

1172
01:01:29,960 --> 01:01:35,160
Speaker 1: versions of the screenplay, as well as the author's attempt

1173
01:01:35,360 --> 01:01:40,720
Speaker 1: to make it all work as text as literature as

1174
01:01:40,720 --> 01:01:44,120
Speaker 1: opposed to just the visual medium of film and this

1175
01:01:44,400 --> 01:01:46,920
Speaker 1: and there are always some interesting nuggets like this. For instance,

1176
01:01:46,960 --> 01:01:50,880
Speaker 1: in the Alan Dean Foster novelization, Ridick is wearing space

1177
01:01:51,000 --> 01:01:54,840
Speaker 1: yety boots and a space yety hide in this opening

1178
01:01:55,080 --> 01:01:57,880
Speaker 1: that he got from slaying a space yety, and that's

1179
01:01:57,880 --> 01:02:01,040
Speaker 1: how he's been hiding out on this planet. Anyone looking

1180
01:02:01,080 --> 01:02:03,280
Speaker 1: into deaths on this world have been like, well, you know,

1181
01:02:03,760 --> 01:02:05,800
Speaker 1: these mercenaries were killed, but they were clearly killed by

1182
01:02:05,800 --> 01:02:08,240
Speaker 1: a space yety. Look at these space yety tracks.

1183
01:02:08,560 --> 01:02:13,280
Speaker 3: So he's disguised as a space yety right, yeah, shriek

1184
01:02:13,320 --> 01:02:15,080
Speaker 3: of the necromongered.

1185
01:02:14,760 --> 01:02:18,240
Speaker 1: Yeah, yeah, exactly. Oh, I guess they dropped that before

1186
01:02:18,280 --> 01:02:20,320
Speaker 1: they even filmed it, because I was playing close attention

1187
01:02:20,360 --> 01:02:22,840
Speaker 1: to the boots here and he's definitely just wearing boots

1188
01:02:22,880 --> 01:02:26,240
Speaker 1: and not big ridiculous like space yety feet.

1189
01:02:26,680 --> 01:02:29,480
Speaker 3: That is a real shame they discarded that. No, instead,

1190
01:02:29,520 --> 01:02:31,320
Speaker 3: he just looks like a yetti because he's got a

1191
01:02:31,320 --> 01:02:34,680
Speaker 3: long hair and a beard instead of his classic smooth

1192
01:02:34,760 --> 01:02:39,000
Speaker 3: Riddick look. So Riddick lures the space ship into a cave,

1193
01:02:39,120 --> 01:02:42,440
Speaker 3: Tombs flies in after him, despite warnings from the gunners

1194
01:02:42,480 --> 01:02:44,920
Speaker 3: that it is too tight, but he says this is

1195
01:02:44,960 --> 01:02:47,160
Speaker 3: going to be the biggest payday ever. But in the

1196
01:02:47,160 --> 01:02:50,040
Speaker 3: winding dark channels of the cave, Riddick manages to take

1197
01:02:50,080 --> 01:02:52,000
Speaker 3: out the two gunners on the sides of the ship

1198
01:02:52,040 --> 01:02:55,400
Speaker 3: as it flies by. And then there's another dude inside

1199
01:02:55,440 --> 01:02:58,240
Speaker 3: the ship who's just like, oh, I'm scared, and in

1200
01:02:58,280 --> 01:03:00,800
Speaker 3: a quivering voice, he's like, he just he ghosted two

1201
01:03:00,920 --> 01:03:04,760
Speaker 3: guys and I never even saw him. So it's your classic,

1202
01:03:05,000 --> 01:03:08,720
Speaker 3: you know. I am frightened by the power and skills

1203
01:03:08,760 --> 01:03:10,520
Speaker 3: of our protagonist kind of line.

1204
01:03:10,880 --> 01:03:13,000
Speaker 1: Yeah, I mean that's the whole Riddic deal, right, I mean,

1205
01:03:13,040 --> 01:03:19,520
Speaker 1: he's he's always portrayed as highly capable and just outclassing

1206
01:03:19,760 --> 01:03:21,920
Speaker 1: most human beings he comes into contact with.

1207
01:03:22,600 --> 01:03:26,240
Speaker 3: So the scared guy goes outside side hatch with a gun,

1208
01:03:26,360 --> 01:03:29,360
Speaker 3: starts looking around for Riddick, but he outsmarts them again.

1209
01:03:29,440 --> 01:03:32,320
Speaker 3: Riddick is on top of the ship. They actually this

1210
01:03:32,400 --> 01:03:34,880
Speaker 3: happens multiple times in the movie where people are like

1211
01:03:34,960 --> 01:03:38,720
Speaker 3: looking out of some aperture at the world and they're

1212
01:03:38,720 --> 01:03:41,200
Speaker 3: like looking for Riddick, but Riddick is on top of

1213
01:03:41,280 --> 01:03:42,760
Speaker 3: whatever they're looking out of.

1214
01:03:43,680 --> 01:03:45,680
Speaker 1: Yeah, you gotta pan up if you want to find

1215
01:03:45,720 --> 01:03:46,120
Speaker 1: the Riddic.

1216
01:03:46,360 --> 01:03:49,240
Speaker 3: Yeah, So he like grabs the bounty hunter, throws him

1217
01:03:49,240 --> 01:03:52,080
Speaker 3: down into the chasm below, and then he's inside the

1218
01:03:52,120 --> 01:03:55,520
Speaker 3: ship alone with tombs and Vin Diesel said. The first

1219
01:03:55,520 --> 01:03:59,360
Speaker 3: thing he says here, he goes, you made three mistakes. First,

1220
01:03:59,480 --> 01:04:03,560
Speaker 3: you took the job, Second, you came light a four

1221
01:04:03,640 --> 01:04:06,360
Speaker 3: man crew for me. And for some reason, here's where

1222
01:04:06,400 --> 01:04:09,360
Speaker 3: they choose to use their movie the movie's f bomb,

1223
01:04:09,720 --> 01:04:14,200
Speaker 3: he says, insulting, but then he goes, but the worst

1224
01:04:14,240 --> 01:04:17,200
Speaker 3: mistake you made, and then Toom's lunges for the gunrack

1225
01:04:17,280 --> 01:04:19,800
Speaker 3: to get a gun, but there's nothing there, and Riddick

1226
01:04:19,840 --> 01:04:24,480
Speaker 3: explains the third mistake is empty gun rack. So Riddick

1227
01:04:24,720 --> 01:04:27,360
Speaker 3: now has control of the ship. Welcome to con Air,

1228
01:04:28,560 --> 01:04:30,240
Speaker 3: and so he wants to know, you know, what's the

1229
01:04:30,280 --> 01:04:33,040
Speaker 3: bounty on his head? Turns out its one point five million.

1230
01:04:33,440 --> 01:04:35,760
Speaker 3: Ridick wants to know who put the bounty on him.

1231
01:04:35,920 --> 01:04:39,160
Speaker 3: It's anonymous, but it came from the planet he Leon Prime,

1232
01:04:39,320 --> 01:04:43,840
Speaker 3: and Riddick knows something about that. And then finally he says,

1233
01:04:43,920 --> 01:04:47,720
Speaker 3: whose ship is this and Tomb says mine, and Riddick

1234
01:04:47,760 --> 01:04:50,560
Speaker 3: says wrong answer, throws him out of the ship and

1235
01:04:50,600 --> 01:04:54,120
Speaker 3: then blasts off. So they want to establish early on

1236
01:04:54,240 --> 01:04:56,080
Speaker 3: Riddick is bringing that attitude.

1237
01:04:56,680 --> 01:05:01,120
Speaker 1: Oh yeah, absolutely. I mean Riddick had has tons of

1238
01:05:01,160 --> 01:05:05,000
Speaker 1: those attitude laden one liners in this film, and there's

1239
01:05:05,040 --> 01:05:08,480
Speaker 1: at least one scene in which he one liners and

1240
01:05:08,520 --> 01:05:11,920
Speaker 1: then drops his deal with it shades literally yeah, And

1241
01:05:12,120 --> 01:05:14,040
Speaker 1: I think that sums up a lot about the picture

1242
01:05:14,040 --> 01:05:16,200
Speaker 1: and the character, like that's that Rittic energy.

1243
01:05:16,760 --> 01:05:19,760
Speaker 3: So now Riddick narrates, he says, I knew they'd come

1244
01:05:19,800 --> 01:05:22,160
Speaker 3: for me. It took them five years but I knew

1245
01:05:22,360 --> 01:05:25,680
Speaker 3: you don't expect these merks to have any honor, any code.

1246
01:05:26,040 --> 01:05:28,880
Speaker 3: But this new bounty from a holy man, a guy

1247
01:05:28,920 --> 01:05:33,440
Speaker 3: whose neck eye saved well, Lesson learned no such word

1248
01:05:33,480 --> 01:05:36,320
Speaker 3: as friend can only end bad when you let someone

1249
01:05:36,360 --> 01:05:39,640
Speaker 3: get too close, bad for them. So now it's back

1250
01:05:39,680 --> 01:05:43,720
Speaker 3: to civilization. All the brightness and everything I hate just

1251
01:05:43,800 --> 01:05:47,120
Speaker 3: wanted to be left alone. So here's where I wanted

1252
01:05:47,160 --> 01:05:51,920
Speaker 3: to come back to the issue of Riddick's alignment. I

1253
01:05:51,960 --> 01:05:55,720
Speaker 3: think this monologue is part of something that movies of

1254
01:05:55,760 --> 01:05:58,440
Speaker 3: this particular sort have to deal with, which is what

1255
01:05:58,480 --> 01:06:02,840
Speaker 3: I would call the align arc reset. So the alignment

1256
01:06:02,960 --> 01:06:06,760
Speaker 3: arch is, you know what I already described, like movies

1257
01:06:06,760 --> 01:06:09,960
Speaker 3: and other stories that have a criminal protagonist often have

1258
01:06:10,040 --> 01:06:12,880
Speaker 3: an arc where the character starts off mean and cold

1259
01:06:12,960 --> 01:06:15,640
Speaker 3: and totally self interested, or at least you perceive them

1260
01:06:15,640 --> 01:06:17,760
Speaker 3: that way, and then by the end of the story

1261
01:06:17,760 --> 01:06:19,800
Speaker 3: they are revealed to have a heart of gold. In

1262
01:06:19,840 --> 01:06:22,960
Speaker 3: some way they either become or reveal themselves to be

1263
01:06:23,600 --> 01:06:26,800
Speaker 3: kind and helpful. It's a fun arc and it feels good,

1264
01:06:27,080 --> 01:06:28,840
Speaker 3: but you've got a problem if you want to do

1265
01:06:29,000 --> 01:06:32,080
Speaker 3: a sequel to a movie like that, because the heart

1266
01:06:32,080 --> 01:06:35,120
Speaker 3: of Gold was already revealed by the end of the

1267
01:06:35,120 --> 01:06:39,080
Speaker 3: previous movie. So I think often in a case with

1268
01:06:39,120 --> 01:06:41,720
Speaker 3: a movie like Chronicles of Ritic, the writers have to

1269
01:06:41,800 --> 01:06:45,120
Speaker 3: do some work to kind of reset the character, to

1270
01:06:45,320 --> 01:06:49,360
Speaker 3: re establish them as cold or mean, or cynical or

1271
01:06:49,400 --> 01:06:53,120
Speaker 3: self interested at the beginning of the next story, so

1272
01:06:53,160 --> 01:06:56,280
Speaker 3: that the evil to good or at least you know,

1273
01:06:56,360 --> 01:07:00,240
Speaker 3: sort of anti social to good alignment arch can be

1274
01:07:00,280 --> 01:07:02,800
Speaker 3: accomplished again. And I think that's kind of what's going

1275
01:07:02,840 --> 01:07:05,640
Speaker 3: on here. Ridick was saving lives at the end of

1276
01:07:05,680 --> 01:07:07,760
Speaker 3: Pitch Black, so now he's like, I have learned the

1277
01:07:07,840 --> 01:07:12,720
Speaker 3: lesson not to trust in friendship. My alignment is now reset.

1278
01:07:12,840 --> 01:07:13,640
Speaker 3: Does that make sense?

1279
01:07:14,080 --> 01:07:18,040
Speaker 1: Yeah, yeah, absolutely, I mean it's it Also it makes

1280
01:07:18,280 --> 01:07:19,880
Speaker 1: I think it also makes sense from like, you know,

1281
01:07:20,200 --> 01:07:23,320
Speaker 1: a character standpoint, It's like, Okay, you know, maybe he's

1282
01:07:23,400 --> 01:07:26,400
Speaker 1: relapsed into evil, or maybe that whole Heart of Gold

1283
01:07:26,440 --> 01:07:29,560
Speaker 1: thing was just that was just a quirk, you know, fluke. Yeah,

1284
01:07:29,600 --> 01:07:32,200
Speaker 1: it was a fluke. You know, he's still actually evil.

1285
01:07:32,200 --> 01:07:34,200
Speaker 1: And then ultimately, like you got to tell a story

1286
01:07:34,240 --> 01:07:37,360
Speaker 1: about this guy. You need a new character arc. You

1287
01:07:37,360 --> 01:07:38,920
Speaker 1: can't just be like, oh, he's good now, and he's

1288
01:07:38,920 --> 01:07:42,160
Speaker 1: good for the entire picture. So yeah, this reset makes sense.

1289
01:07:42,560 --> 01:07:44,520
Speaker 3: Also in the scene, Ridick is doing some kind of

1290
01:07:44,520 --> 01:07:46,880
Speaker 3: medical thing to himself and it looks like a kind

1291
01:07:46,920 --> 01:07:50,600
Speaker 3: of alien dialysis where he's cycling his blood through tubes

1292
01:07:50,640 --> 01:07:51,840
Speaker 3: with this blue liquid.

1293
01:07:52,440 --> 01:07:54,560
Speaker 1: Yeah, I think he's getting ready for space travel. I

1294
01:07:54,560 --> 01:07:57,800
Speaker 1: think in the first movie too, space travel, hyper sleep,

1295
01:07:57,880 --> 01:08:00,720
Speaker 1: cryo sleep, whatever they call it, and this one, you know,

1296
01:08:00,760 --> 01:08:03,520
Speaker 1: it's kind of like a hot sleep. It's not pleasant.

1297
01:08:03,880 --> 01:08:05,680
Speaker 1: One note that my wife had on this film is

1298
01:08:05,720 --> 01:08:07,520
Speaker 1: too much part of it with me or rewatch part

1299
01:08:07,520 --> 01:08:10,400
Speaker 1: of it with me over lunch the other day is

1300
01:08:10,440 --> 01:08:13,200
Speaker 1: that travel through space and this is depicted as challenging

1301
01:08:13,240 --> 01:08:16,160
Speaker 1: and hard, which is I think an interesting choice. I mean,

1302
01:08:16,200 --> 01:08:17,920
Speaker 1: the necromonger seemed to have an easy time of it,

1303
01:08:18,000 --> 01:08:21,360
Speaker 1: but for everyone else, for the Merks, it's pretty hot

1304
01:08:21,360 --> 01:08:22,200
Speaker 1: and painful looking.

1305
01:08:30,280 --> 01:08:34,000
Speaker 3: Okay, So Ritick arrives on Helion Prime and also happens

1306
01:08:34,040 --> 01:08:36,400
Speaker 3: to wreck a local police ship on the way in.

1307
01:08:36,640 --> 01:08:39,080
Speaker 3: I don't know why. I guess they're just showing he's

1308
01:08:39,080 --> 01:08:40,719
Speaker 3: bad again, like he just sort of does.

1309
01:08:40,600 --> 01:08:41,720
Speaker 1: An entire establishment.

1310
01:08:41,880 --> 01:08:46,599
Speaker 3: Yeah, and this is where Keith David lives in a

1311
01:08:46,640 --> 01:08:49,800
Speaker 3: city called New Mecca on Helion Prime. And so we

1312
01:08:49,840 --> 01:08:52,680
Speaker 3: see Keith David walking around the marketplace, arriving at his

1313
01:08:52,760 --> 01:08:55,519
Speaker 3: home only to find Vin Diesel already in his house

1314
01:08:55,680 --> 01:08:59,360
Speaker 3: shaving his head. Now, this is the smooth muscle man

1315
01:08:59,400 --> 01:09:01,439
Speaker 3: we are familiar, you're with he is he is smooth

1316
01:09:01,479 --> 01:09:05,120
Speaker 3: once more. Now, this is the first scene in the

1317
01:09:05,160 --> 01:09:09,040
Speaker 3: movie where we see Riddick's eyes shine where his pupils

1318
01:09:09,040 --> 01:09:11,600
Speaker 3: are kind of shining in the dark. Uh, do you

1319
01:09:11,600 --> 01:09:13,240
Speaker 3: want to explain that that concept?

1320
01:09:13,320 --> 01:09:17,280
Speaker 1: Rob? Yeah? I think the idea here is that Riddick

1321
01:09:17,800 --> 01:09:22,080
Speaker 1: uh had his eyes were replaced or souped up on

1322
01:09:22,120 --> 01:09:24,640
Speaker 1: a prison planet where the prisoners had to work in

1323
01:09:24,680 --> 01:09:26,920
Speaker 1: the dark. And so they were like, well they got

1324
01:09:26,960 --> 01:09:28,720
Speaker 1: to work in the dark, let's give them all, you know,

1325
01:09:28,840 --> 01:09:31,160
Speaker 1: night vision. Let's give them let's give them all goggles

1326
01:09:31,160 --> 01:09:33,880
Speaker 1: a night right there, and their their eyeballs. I don't

1327
01:09:33,920 --> 01:09:37,599
Speaker 1: think it's part of being a Furian. Being a Furian

1328
01:09:37,760 --> 01:09:40,080
Speaker 1: is all about being from a planetary group of humans

1329
01:09:40,120 --> 01:09:42,559
Speaker 1: noted for their warrior skills and resistance. As we'll learn,

1330
01:09:43,120 --> 01:09:45,679
Speaker 1: and if you're watching the director's cut, it also gives

1331
01:09:45,680 --> 01:09:49,360
Speaker 1: you weird energy power. So that's that's a different cut

1332
01:09:49,400 --> 01:09:49,840
Speaker 1: of the film.

1333
01:09:50,320 --> 01:09:52,840
Speaker 3: Uh yeah, I think I I think he says in

1334
01:09:52,880 --> 01:09:55,479
Speaker 3: the movie that they did this to him with his eyes,

1335
01:09:55,520 --> 01:09:59,240
Speaker 3: so I think it was a surgical procedure, and it

1336
01:09:59,320 --> 01:10:01,479
Speaker 3: has the cont so he can see in the dark,

1337
01:10:01,520 --> 01:10:04,040
Speaker 3: and that comes in multiple scenes where he's like fighting

1338
01:10:04,040 --> 01:10:05,880
Speaker 3: people in a dark room and all he can see.

1339
01:10:06,080 --> 01:10:07,920
Speaker 3: But also it means that he has to wear those

1340
01:10:07,960 --> 01:10:11,800
Speaker 3: goggles whenever there's light because the light hurts his eyes.

1341
01:10:12,640 --> 01:10:15,960
Speaker 1: Honestly, this is something that always confuses me and seems

1342
01:10:15,960 --> 01:10:19,840
Speaker 1: needlessly complex with comic book characters where they have an

1343
01:10:19,880 --> 01:10:22,040
Speaker 1: origin story where it's like, well, first, these are the

1344
01:10:22,080 --> 01:10:24,960
Speaker 1: crazy things that I was either born with or got

1345
01:10:25,040 --> 01:10:28,880
Speaker 1: via exposure to radiation, But then I also got these

1346
01:10:28,960 --> 01:10:31,679
Speaker 1: other things, so that's like, yeah, the Spider Man, it's like, well,

1347
01:10:31,800 --> 01:10:34,080
Speaker 1: radioactive Spider bit me, and now I can climb on walls,

1348
01:10:34,320 --> 01:10:38,600
Speaker 1: and then also I invented highly advanced web shooting technology

1349
01:10:38,680 --> 01:10:41,759
Speaker 1: to strap under my wrists. Or Wolverine has a similar

1350
01:10:41,760 --> 01:10:43,680
Speaker 1: thing where it's like, well, I was born like this,

1351
01:10:43,800 --> 01:10:46,840
Speaker 1: and then oh yeah, they replaced my bones with adamantium

1352
01:10:46,920 --> 01:10:49,240
Speaker 1: or coated them or whatever the case is, and it's

1353
01:10:49,280 --> 01:10:50,639
Speaker 1: like that's a lot of staffs guys.

1354
01:10:50,880 --> 01:10:56,080
Speaker 3: Yeah. Yeah. So Riddick confronts Imam about the bounty on

1355
01:10:56,120 --> 01:10:58,800
Speaker 3: his head and he threatens him with a knife, and

1356
01:10:58,920 --> 01:11:01,720
Speaker 3: Immam explains that he had to find him because it

1357
01:11:01,760 --> 01:11:04,760
Speaker 3: was a matter of saving the universe. So he takes

1358
01:11:04,840 --> 01:11:06,920
Speaker 3: him out that night to show him what he means.

1359
01:11:07,000 --> 01:11:09,800
Speaker 3: There's this giant white shape burning in the night sky,

1360
01:11:10,320 --> 01:11:12,639
Speaker 3: and he says, it is said that the comet always

1361
01:11:12,680 --> 01:11:16,639
Speaker 3: precedes them, these world enders. The Coalsack planets are gone,

1362
01:11:16,760 --> 01:11:21,000
Speaker 3: eight million settlers are missing, the entire aqualin system has gone. Too.

1363
01:11:21,520 --> 01:11:24,680
Speaker 3: My god, how do I save my family? And so

1364
01:11:24,960 --> 01:11:27,080
Speaker 3: you know, he's describing how the whole universe is going

1365
01:11:27,120 --> 01:11:30,320
Speaker 3: to be destroyed by the Necromongers, and Riddick says had

1366
01:11:30,320 --> 01:11:31,840
Speaker 3: to end sometime.

1367
01:11:33,880 --> 01:11:36,120
Speaker 1: Now. This moment with the comet, I always like this,

1368
01:11:36,680 --> 01:11:39,760
Speaker 1: And we see a shot either here or later where

1369
01:11:39,760 --> 01:11:42,479
Speaker 1: we I think it's later we see the comet, and

1370
01:11:42,760 --> 01:11:45,519
Speaker 1: I think it gives a weird astrological bent to the

1371
01:11:46,280 --> 01:11:49,720
Speaker 1: impending arrival of the Necromongers, and it helps drive this

1372
01:11:49,840 --> 01:11:53,960
Speaker 1: kind of ancient world model of into planetary human civilization

1373
01:11:54,120 --> 01:11:57,000
Speaker 1: that we see in the film, because while the world

1374
01:11:57,000 --> 01:11:59,960
Speaker 1: building is not always like super overt we're not shown

1375
01:12:00,120 --> 01:12:02,639
Speaker 1: maps of star systems and so forth. You know, there's

1376
01:12:02,680 --> 01:12:06,439
Speaker 1: this sense of planets as ancient city states. And there's

1377
01:12:06,479 --> 01:12:09,880
Speaker 1: also this clear clear importance of merks or mercenaries in

1378
01:12:09,920 --> 01:12:13,840
Speaker 1: the franchise and supposedly the larger universe as well. So

1379
01:12:14,000 --> 01:12:16,880
Speaker 1: while it seems that planets do have planetary defense forces,

1380
01:12:16,880 --> 01:12:21,080
Speaker 1: in this universe, mercenaries fill in vital gaps, and I

1381
01:12:21,360 --> 01:12:23,439
Speaker 1: think we could also easily imagine how something like the

1382
01:12:23,439 --> 01:12:27,519
Speaker 1: Necromongers evolve out of like powerful stateless militaries that are

1383
01:12:27,560 --> 01:12:31,680
Speaker 1: important for this interplanetary balance. Anyway, I do. I like

1384
01:12:31,720 --> 01:12:34,519
Speaker 1: little subtle moments like this regarding the necro mind. There's

1385
01:12:34,520 --> 01:12:36,640
Speaker 1: another one later with some prison guards where they just

1386
01:12:36,720 --> 01:12:40,120
Speaker 1: talk like it's just hearsay, there's no hard information. They're like, well,

1387
01:12:40,160 --> 01:12:43,200
Speaker 1: they say, there's there's a force out there. Like it's

1388
01:12:43,200 --> 01:12:45,559
Speaker 1: not like in Star Wars, where so often it's like, oh, yeah,

1389
01:12:45,560 --> 01:12:47,479
Speaker 1: the Empire. You guys know the Empire, right, Oh yeah,

1390
01:12:47,479 --> 01:12:49,960
Speaker 1: they're bad. It's like there's a lot of a lot

1391
01:12:50,000 --> 01:12:52,479
Speaker 1: of mystery surrounding what is happening in the world, and

1392
01:12:52,520 --> 01:12:54,640
Speaker 1: you get the sense that these planets are very disconnected

1393
01:12:54,640 --> 01:12:55,240
Speaker 1: from each other.

1394
01:12:55,600 --> 01:12:58,160
Speaker 3: Yeah, but we're about to get some more solid information

1395
01:12:58,360 --> 01:13:02,400
Speaker 3: because Judy Dench is about to show up. So the

1396
01:13:02,439 --> 01:13:05,040
Speaker 3: people who ultimately place the bounty on Riddick, they show

1397
01:13:05,080 --> 01:13:07,839
Speaker 3: up and explain things. It's like three guys in robes

1398
01:13:07,880 --> 01:13:10,760
Speaker 3: with hoods and Judy Dinch and she she kind of

1399
01:13:10,840 --> 01:13:14,439
Speaker 3: morphs into being out of gusts of wind and explains

1400
01:13:14,479 --> 01:13:18,439
Speaker 3: that she is an elemental being called named Arion, and

1401
01:13:18,479 --> 01:13:20,080
Speaker 3: then Riddick puts a knife to her throat.

1402
01:13:20,320 --> 01:13:22,040
Speaker 1: Once you get to know Riddick, you know, that's just

1403
01:13:22,120 --> 01:13:25,080
Speaker 1: what he does. That's that's like, this means he likes you.

1404
01:13:25,120 --> 01:13:27,880
Speaker 3: It's how he says hello, Yeah, knife to your throat

1405
01:13:28,960 --> 01:13:32,000
Speaker 3: and she explains some backstory. Okay, we got the Necromongers.

1406
01:13:32,040 --> 01:13:35,679
Speaker 3: They're a scourge, a militaristic religious cult goes from planet

1407
01:13:35,680 --> 01:13:38,800
Speaker 3: to planet, converting everybody to their faith of secrets from

1408
01:13:38,800 --> 01:13:42,120
Speaker 3: beyond death and killing everyone who will not convert. There

1409
01:13:42,160 --> 01:13:44,400
Speaker 3: is a planet who stood up to them, the only

1410
01:13:44,439 --> 01:13:48,559
Speaker 3: one so far, called the Furians. The Furians were all

1411
01:13:48,560 --> 01:13:52,200
Speaker 3: destroyed by the Necromongers, all but one, a young male

1412
01:13:52,280 --> 01:13:55,600
Speaker 3: Furian named Riddick, and Judy Dinch thinks Riddick is the

1413
01:13:55,680 --> 01:13:58,880
Speaker 3: last Furian warrior left alive and the only person in

1414
01:13:58,920 --> 01:14:01,320
Speaker 3: the galaxy who can stop the Lord Marshall.

1415
01:14:02,280 --> 01:14:04,960
Speaker 1: Oh, sounds like we got ourselves a prophecy.

1416
01:14:04,640 --> 01:14:07,800
Speaker 3: That's right. So they're interrupted when soldiers come to the

1417
01:14:07,800 --> 01:14:11,280
Speaker 3: house looking for a quote spy that was seen arriving earlier.

1418
01:14:11,400 --> 01:14:14,240
Speaker 3: So I guess that part seems a little off, like,

1419
01:14:14,240 --> 01:14:17,200
Speaker 3: wouldn't Riddick be able to sneak in undetected? It seems

1420
01:14:17,240 --> 01:14:19,760
Speaker 3: weird that they saw him, but they did, and so

1421
01:14:19,840 --> 01:14:22,439
Speaker 3: the soldiers come in to arrest him. But then Riddick

1422
01:14:22,479 --> 01:14:25,400
Speaker 3: snuffs out some candles so the room is dark, and

1423
01:14:25,439 --> 01:14:27,200
Speaker 3: then beats them all up in the dark, so we

1424
01:14:27,240 --> 01:14:28,960
Speaker 3: see him, you know, this is sort of his thing.

1425
01:14:29,520 --> 01:14:31,800
Speaker 1: Yeah, he's like, oh yeah, there's a great scene where

1426
01:14:31,840 --> 01:14:34,120
Speaker 1: he puts his hands over the candles and he's like, oh,

1427
01:14:34,160 --> 01:14:37,200
Speaker 1: I'm turning out the lights now. And it's like a

1428
01:14:37,200 --> 01:14:38,400
Speaker 1: plus five to every attack.

1429
01:14:38,760 --> 01:14:41,519
Speaker 3: So Ridick also finds out some other stuff that the

1430
01:14:41,560 --> 01:14:44,800
Speaker 3: other survivor from the first movie, the young girl named Jack,

1431
01:14:45,520 --> 01:14:48,720
Speaker 3: she went looking for him, and she was last heard

1432
01:14:48,720 --> 01:14:51,320
Speaker 3: of going to the planet Crematoria, where it is too

1433
01:14:51,360 --> 01:14:53,880
Speaker 3: hot to set foot on the surface, and there's a

1434
01:14:53,920 --> 01:14:56,600
Speaker 3: general sense that Riddick somehow let her down, like he

1435
01:14:56,680 --> 01:14:59,200
Speaker 3: was supposed to watch out for her. She idolized him,

1436
01:14:59,240 --> 01:15:02,639
Speaker 3: but he went on to do crimes or something. Then

1437
01:15:02,720 --> 01:15:06,400
Speaker 3: there's more attacking. The Necromongers attack the planet and there's

1438
01:15:06,439 --> 01:15:10,679
Speaker 3: a fierce battle. The Necromongers they drop their space fascist

1439
01:15:10,720 --> 01:15:13,800
Speaker 3: iron skyscraper on the city and then they fly over

1440
01:15:13,880 --> 01:15:18,160
Speaker 3: in airships, bombarding everything with heavy artillery. The soldiers of

1441
01:15:18,160 --> 01:15:20,439
Speaker 3: Helion Prime try to put up a fight, but they

1442
01:15:20,439 --> 01:15:23,679
Speaker 3: are no match for the overwhelming force of the Necromongar fleet.

1443
01:15:24,000 --> 01:15:27,639
Speaker 3: The defending army is crushed and the Necromongers capture the city.

1444
01:15:28,080 --> 01:15:30,120
Speaker 3: So there's a bunch of action going on here. I

1445
01:15:30,120 --> 01:15:31,960
Speaker 3: don't know if you want to focus on anything that

1446
01:15:32,080 --> 01:15:35,880
Speaker 3: happens in this part. One is the revelation of these

1447
01:15:35,960 --> 01:15:40,719
Speaker 3: weird creatures that, like the Necromonger troopers with pink purple

1448
01:15:40,880 --> 01:15:45,640
Speaker 3: scuba masks that allow them to I think see anything alive,

1449
01:15:46,040 --> 01:15:46,639
Speaker 3: Is that right?

1450
01:15:47,600 --> 01:15:51,120
Speaker 1: Yeah? They have you know, enhanced vision kind of like

1451
01:15:51,240 --> 01:15:53,000
Speaker 1: I think you've described as predator vision.

1452
01:15:53,120 --> 01:15:53,360
Speaker 3: Yeah.

1453
01:15:53,439 --> 01:15:58,080
Speaker 1: Yeah. Notes, So these are these are lensers and they're

1454
01:15:58,080 --> 01:15:59,839
Speaker 1: not really there's not nothing, not a lot of backstory

1455
01:15:59,880 --> 01:16:01,840
Speaker 1: to what these guys are other than what you see

1456
01:16:01,880 --> 01:16:05,280
Speaker 1: in the film. But Alan Dene Foster describes them as

1457
01:16:05,360 --> 01:16:09,679
Speaker 1: necromongers who, after catastrophic injuries, have been repurposed into these

1458
01:16:09,720 --> 01:16:16,400
Speaker 1: altered sensed tracking units. Necromongers, we should if it's not

1459
01:16:16,520 --> 01:16:19,240
Speaker 1: clear yet. They apparently can't feel pain. That's part of

1460
01:16:19,240 --> 01:16:22,360
Speaker 1: the necromonger process. If you are converted, if your planet

1461
01:16:22,400 --> 01:16:25,120
Speaker 1: is conquered, and you join the ranks, they do some

1462
01:16:25,160 --> 01:16:27,400
Speaker 1: horrible things to you. You can no longer feel pain.

1463
01:16:28,479 --> 01:16:30,960
Speaker 1: You not afraid of death, but if you get too

1464
01:16:31,000 --> 01:16:34,880
Speaker 1: messed up, they might repurpose you into some other task

1465
01:16:35,080 --> 01:16:35,959
Speaker 1: within the empire.

1466
01:16:36,160 --> 01:16:39,639
Speaker 3: M Okay, well, here, I think the movie can't wait

1467
01:16:39,680 --> 01:16:42,559
Speaker 3: as long as Pitch Black did to reveal that no

1468
01:16:42,680 --> 01:16:47,280
Speaker 3: Rittic is actually good, because he starts already doing heroic stuff,

1469
01:16:47,360 --> 01:16:50,080
Speaker 3: like a mom's wife and daughter are threatened by the

1470
01:16:50,240 --> 01:16:53,560
Speaker 3: lensors and then Riddick saves them. He crushes one necromonger's

1471
01:16:53,600 --> 01:16:56,680
Speaker 3: head with his hands, and so he's generally sort of

1472
01:16:56,680 --> 01:16:58,480
Speaker 3: coming to the rescue in this sequence.

1473
01:16:59,000 --> 01:17:00,800
Speaker 1: Now I can go on it not about things I

1474
01:17:00,840 --> 01:17:03,280
Speaker 1: like about the Necromongers because I think they're they're pretty cool,

1475
01:17:03,320 --> 01:17:07,799
Speaker 1: but also, like you can, you can probably take issue

1476
01:17:07,800 --> 01:17:11,080
Speaker 1: with some of what you see regarding their military tactics.

1477
01:17:11,120 --> 01:17:14,240
Speaker 1: Like Necromonger troops are big on using things like halbards

1478
01:17:14,680 --> 01:17:18,240
Speaker 1: and maces and knives. They also have some manner of

1479
01:17:18,280 --> 01:17:22,400
Speaker 1: force gun but there they seem to be largely you know,

1480
01:17:22,479 --> 01:17:26,880
Speaker 1: melee shock troops, backed up by overpowering aerial support from

1481
01:17:26,880 --> 01:17:30,080
Speaker 1: these various space ships, so they're they're not afraid to die.

1482
01:17:30,120 --> 01:17:33,240
Speaker 1: They're supposed to inspire the conquered as well, where afterwards

1483
01:17:33,240 --> 01:17:34,479
Speaker 1: they're like, hey, do you want to join up and

1484
01:17:34,520 --> 01:17:37,000
Speaker 1: become like these super soldiers And you're like, okay, I guess.

1485
01:17:37,040 --> 01:17:39,759
Speaker 1: So they seem like they seem like they're pretty powerful,

1486
01:17:41,200 --> 01:17:42,559
Speaker 1: but yeah, if you put up even a little bit

1487
01:17:42,600 --> 01:17:44,240
Speaker 1: of a fight, they're going to kill you right away.

1488
01:17:44,920 --> 01:17:47,799
Speaker 1: And I feel like I'm a little vague on exactly

1489
01:17:47,880 --> 01:17:50,880
Speaker 1: exactly what death means for the non believer in the

1490
01:17:51,040 --> 01:17:55,240
Speaker 1: Necroism religion. It I'm not sure if if like, if

1491
01:17:55,240 --> 01:17:56,799
Speaker 1: they kill you, do you get to go to Underverse

1492
01:17:57,520 --> 01:17:59,439
Speaker 1: or is it only I your believer and you die

1493
01:17:59,439 --> 01:18:01,000
Speaker 1: you get to go to I'm not sure.

1494
01:18:01,120 --> 01:18:06,200
Speaker 3: I don't know so anyway, Unfortunately, Keith David is killed,

1495
01:18:07,320 --> 01:18:11,519
Speaker 3: but he says, like to the to the Necromonger commander

1496
01:18:11,560 --> 01:18:13,640
Speaker 3: who kills him, he says, there will be an afterlife

1497
01:18:13,640 --> 01:18:16,920
Speaker 3: for me? Will there be for you? And then the

1498
01:18:16,960 --> 01:18:20,439
Speaker 3: next day we see the Necromongers surveying their victory, and

1499
01:18:20,479 --> 01:18:23,559
Speaker 3: we meet new Necromonger characters. So this is Carl Urban

1500
01:18:23,640 --> 01:18:26,439
Speaker 3: and ten dy Way Newton as Voco and Dame Voco,

1501
01:18:27,040 --> 01:18:29,040
Speaker 3: and she is like, man, I love the smell of

1502
01:18:29,080 --> 01:18:33,360
Speaker 3: Necro in the morning. Isn't it great when another empire falls? Yep?

1503
01:18:33,680 --> 01:18:36,880
Speaker 3: We also meet Linus Roach as the Necromannger priest. He's

1504
01:18:36,960 --> 01:18:40,479
Speaker 3: like giving a sermon to the civilian prisoners standing before

1505
01:18:40,560 --> 01:18:42,640
Speaker 3: him about how great it is to convert to the

1506
01:18:42,680 --> 01:18:47,080
Speaker 3: Necromonger religion. It's very much I was once like you,

1507
01:18:47,080 --> 01:18:49,880
Speaker 3: you know, fractured all the you know. It's sort of

1508
01:18:49,920 --> 01:18:52,960
Speaker 3: a speech against diversity. He's all like, all, you know,

1509
01:18:53,200 --> 01:18:57,920
Speaker 3: all you people come from different backgrounds, different places, different religions.

1510
01:18:57,960 --> 01:19:00,360
Speaker 3: Wouldn't it be great to all be all one thing,

1511
01:19:00,520 --> 01:19:04,040
Speaker 3: to just be Necromonger, and so we can take away

1512
01:19:04,080 --> 01:19:06,600
Speaker 3: your pain and you can be one of us. And

1513
01:19:06,640 --> 01:19:09,360
Speaker 3: then a guy stands up and he's like, we sorry,

1514
01:19:09,400 --> 01:19:11,880
Speaker 3: we all have our different religious beliefs, but we're not

1515
01:19:11,920 --> 01:19:16,160
Speaker 3: going to be converted to yours. And then the Lord

1516
01:19:16,240 --> 01:19:18,760
Speaker 3: Marshall looks at this guy and he's like, then I'll

1517
01:19:18,800 --> 01:19:21,439
Speaker 3: take your soul and just rips his soul out. He

1518
01:19:21,520 --> 01:19:23,320
Speaker 3: rips out like a ghost of the guy.

1519
01:19:25,320 --> 01:19:27,760
Speaker 1: That guy, by the way, is a recognizable Canadian actor,

1520
01:19:27,880 --> 01:19:30,400
Speaker 1: Christopher hayer Doll, who's been in a bunch of things

1521
01:19:30,600 --> 01:19:34,200
Speaker 1: if anyone recognizes him. But yeah, this may be our

1522
01:19:34,200 --> 01:19:37,160
Speaker 1: first look at the Lord Marshall's strange powers, brought on

1523
01:19:37,240 --> 01:19:40,200
Speaker 1: by his half dead status via a journey to the

1524
01:19:40,200 --> 01:19:43,439
Speaker 1: threshold of the Underverse. So these are I really like

1525
01:19:43,479 --> 01:19:47,479
Speaker 1: these effects. They're very fluid shadow movements that allow him

1526
01:19:47,520 --> 01:19:51,000
Speaker 1: to position his astral body ahead of his physical body

1527
01:19:51,560 --> 01:19:55,080
Speaker 1: and it creates a neat visual motif on the screen.

1528
01:19:55,400 --> 01:19:58,000
Speaker 1: But then what it's relating to us is that he

1529
01:19:58,080 --> 01:20:00,960
Speaker 1: moves super fast and it allows him to sort of

1530
01:20:01,000 --> 01:20:03,280
Speaker 1: look in two places at once and almost be in

1531
01:20:03,320 --> 01:20:06,360
Speaker 1: two places at once. It's more than most people can handle.

1532
01:20:06,880 --> 01:20:09,720
Speaker 3: Yeah, so after this, it's like, oh, everybody's like, I

1533
01:20:09,720 --> 01:20:11,599
Speaker 3: don't want to get my soul ripped out. So everybody

1534
01:20:11,680 --> 01:20:15,240
Speaker 3: kneels except one guy. Oh it's Riddick. He's not kneeling,

1535
01:20:15,640 --> 01:20:18,200
Speaker 3: but what but he did get ushered into the room

1536
01:20:18,280 --> 01:20:20,040
Speaker 3: with all the other prisoners. I guess, I don't know,

1537
01:20:20,560 --> 01:20:24,040
Speaker 3: and he says, I bow to no man. So Riddick

1538
01:20:24,120 --> 01:20:26,439
Speaker 3: picks a fight with the huge soldier who killed Keith

1539
01:20:26,520 --> 01:20:28,479
Speaker 3: David and then stabs him in the heart.

1540
01:20:29,000 --> 01:20:31,880
Speaker 1: Yeah, there's this weird bit with a dagger embedded in

1541
01:20:31,920 --> 01:20:34,400
Speaker 1: the big soldier's back. And I always took this to

1542
01:20:34,439 --> 01:20:37,240
Speaker 1: be something from the battle, like, you know, like maybe

1543
01:20:37,240 --> 01:20:39,120
Speaker 1: they can't feel pain or it's just stuck in the

1544
01:20:39,240 --> 01:20:42,960
Speaker 1: armor but not his back, and that Riddick takes strategic

1545
01:20:43,000 --> 01:20:46,759
Speaker 1: advantage of this. But in the novelization, Alan Dene Foster

1546
01:20:46,920 --> 01:20:49,639
Speaker 1: is like, oh no, no, this dagger got sunk into

1547
01:20:49,680 --> 01:20:52,240
Speaker 1: his back in a previous battle. Oh and he left

1548
01:20:52,240 --> 01:20:55,080
Speaker 1: it there as a symbol of his devotion to Necroism.

1549
01:20:55,200 --> 01:20:58,439
Speaker 3: This is how much I love Necroism. Yeah, not even

1550
01:20:58,520 --> 01:20:59,720
Speaker 3: going to take the knife.

1551
01:20:59,400 --> 01:21:02,559
Speaker 1: Out, which is strange, but again we're dealing with what's

1552
01:21:02,560 --> 01:21:04,240
Speaker 1: supposed to be a strange religion.

1553
01:21:04,320 --> 01:21:07,280
Speaker 3: So so so Riddick kills that guy and The Lord

1554
01:21:07,320 --> 01:21:09,600
Speaker 3: Marshall is impressed by this, so he goes up to

1555
01:21:09,600 --> 01:21:12,400
Speaker 3: talk to Ridick and he shows him the dagger. He says,

1556
01:21:12,439 --> 01:21:14,479
Speaker 3: what do you think of this blade? And then I

1557
01:21:14,680 --> 01:21:17,280
Speaker 3: laughed out loud at the CGI two thousand and four

1558
01:21:17,360 --> 01:21:21,960
Speaker 3: CGI blade spinning in Riddick's hand. I didn't, yeah, And

1559
01:21:22,200 --> 01:21:25,040
Speaker 3: Ridick is like, it's a half a gram heavy on

1560
01:21:25,080 --> 01:21:28,320
Speaker 3: the back end, and the Lord Marshall offers him the dagger.

1561
01:21:28,439 --> 01:21:31,600
Speaker 3: He's like, in our faith, you keep what you kill. H.

1562
01:21:31,800 --> 01:21:34,439
Speaker 3: So that's something to keep in mind because that'll play

1563
01:21:34,439 --> 01:21:37,679
Speaker 3: into the plot later. So it's like, he killed this guy,

1564
01:21:37,760 --> 01:21:40,759
Speaker 3: you get his dagger. But then Lord Marshall's like, anyway,

1565
01:21:40,880 --> 01:21:45,400
Speaker 3: take him to my ship for mind regression and h.

1566
01:21:45,720 --> 01:21:49,439
Speaker 3: Then Dame Vako she comes up. She starts walking around

1567
01:21:49,520 --> 01:21:53,880
Speaker 3: Riddick and just like oozing Breathy's seduction at him. Riddick says,

1568
01:21:54,000 --> 01:21:57,000
Speaker 3: it's been a long time since I smelled beautiful.

1569
01:21:57,920 --> 01:22:02,200
Speaker 1: Oh, this may be goofiest cheeseball line of dialogue in

1570
01:22:02,240 --> 01:22:04,920
Speaker 1: the entire film. And there's some tough competition.

1571
01:22:05,240 --> 01:22:07,200
Speaker 3: I don't even know what that means though.

1572
01:22:07,600 --> 01:22:11,720
Speaker 1: Like she's beautiful and he hasn't been around beautiful in

1573
01:22:11,760 --> 01:22:14,799
Speaker 1: a while, and beautiful has its own smell. Okay, but

1574
01:22:14,840 --> 01:22:18,120
Speaker 1: also clearly he hasn't talked to women in a while either,

1575
01:22:18,160 --> 01:22:20,160
Speaker 1: and doesn't really know how it works. I don't know.

1576
01:22:20,920 --> 01:22:23,160
Speaker 1: Riddick is supposed to also have his own natural charisma

1577
01:22:23,240 --> 01:22:27,719
Speaker 1: and whatever. Yeah, now that Cgi Blakesman. Do you think

1578
01:22:28,320 --> 01:22:31,840
Speaker 1: there are like multiple takes where Vin Diesel tried to

1579
01:22:31,880 --> 01:22:33,720
Speaker 1: do it on his own and just drop the like

1580
01:22:33,840 --> 01:22:37,479
Speaker 1: plastic prop dagger all over the place, and then they're like,

1581
01:22:37,479 --> 01:22:39,040
Speaker 1: don't worry, we'll fix it in post.

1582
01:22:39,840 --> 01:22:44,240
Speaker 3: I don't know, that's a good question, but yeah, so anyway,

1583
01:22:45,200 --> 01:22:47,840
Speaker 3: he so now he first he's like, I bow to

1584
01:22:47,880 --> 01:22:49,920
Speaker 3: no one, but then Dame Voco is like, come to

1585
01:22:49,960 --> 01:22:52,080
Speaker 3: the ship for mind regression, and he does.

1586
01:22:54,280 --> 01:22:57,400
Speaker 1: This is a part where the novelization, I think, you know,

1587
01:22:57,439 --> 01:22:59,720
Speaker 1: Alan Dene Foster maybe put in a little extra work

1588
01:22:59,760 --> 01:23:02,280
Speaker 1: to make it makes make a little more sense, where

1589
01:23:02,280 --> 01:23:04,439
Speaker 1: it's like he walks aboard and he's kind of like

1590
01:23:04,439 --> 01:23:06,400
Speaker 1: taken him by the grandeur of things, and then he's

1591
01:23:06,479 --> 01:23:09,600
Speaker 1: kind of like, you know, tricked into going into the

1592
01:23:09,640 --> 01:23:13,280
Speaker 1: mind regression chamber, whereas in the movie Proper, she's kind

1593
01:23:13,280 --> 01:23:15,200
Speaker 1: of like, hey, come on in here, big boy. Okay,

1594
01:23:15,200 --> 01:23:17,360
Speaker 1: stand here, I'm going to walk outside the mind regression

1595
01:23:17,439 --> 01:23:19,559
Speaker 1: chamber while they flip that big scary switch.

1596
01:23:19,760 --> 01:23:22,400
Speaker 3: Yeah, And so they put him in the mind regression chamber,

1597
01:23:23,000 --> 01:23:26,799
Speaker 3: and this causes him to interface with these ghostlike people

1598
01:23:26,880 --> 01:23:30,320
Speaker 3: stuck in gold machines that are called the quasi Deads.

1599
01:23:30,880 --> 01:23:33,479
Speaker 1: Well, now, according to Alan den Foster, these are actually

1600
01:23:33,520 --> 01:23:37,160
Speaker 1: the greater quasi Deads used for kind of mental interrogation,

1601
01:23:37,760 --> 01:23:41,200
Speaker 1: while the normal quasi deads or quasis are used for

1602
01:23:41,240 --> 01:23:45,840
Speaker 1: psychic communication across space. Oh okay, so I like those

1603
01:23:45,880 --> 01:23:48,519
Speaker 1: additional details, you know, little extra world building.

1604
01:23:48,640 --> 01:23:51,439
Speaker 3: Well, the Greater Quasi Deads read his mind and they

1605
01:23:51,479 --> 01:23:54,839
Speaker 3: discovered the backstory about the Furians that he learned earlier.

1606
01:23:55,520 --> 01:23:59,240
Speaker 3: And then they learned the prophecy that the last Furian

1607
01:23:59,320 --> 01:24:02,720
Speaker 3: will destroy them. And then they start freaking out and

1608
01:24:02,760 --> 01:24:05,760
Speaker 3: they like shatter these glass pieces that they're connected to,

1609
01:24:06,120 --> 01:24:08,639
Speaker 3: and they just start going kill the Riddick, Kill the Riddick,

1610
01:24:10,040 --> 01:24:13,519
Speaker 3: And so the Necromongers try, but you know, it's Riddick.

1611
01:24:13,600 --> 01:24:16,920
Speaker 3: He fights his way out, but unfortunately it's weird. He

1612
01:24:17,000 --> 01:24:19,960
Speaker 3: fights his way out of the Necromonger hive, makes his

1613
01:24:20,000 --> 01:24:21,880
Speaker 3: way to the ground of the planet, only to be

1614
01:24:21,960 --> 01:24:25,360
Speaker 3: immediately recaptured by tombs and a group of bounty hunters.

1615
01:24:25,920 --> 01:24:28,519
Speaker 1: Yeah. I like this, this, this detail that because it's

1616
01:24:28,520 --> 01:24:31,120
Speaker 1: also kind of like he's saved by them. He's saved

1617
01:24:31,120 --> 01:24:34,320
Speaker 1: by the other, the lesser threat that is after him,

1618
01:24:34,360 --> 01:24:37,680
Speaker 1: and he's kind of like, okay, yes, you got me,

1619
01:24:37,800 --> 01:24:39,080
Speaker 1: go ahead and take me off planet.

1620
01:24:39,360 --> 01:24:42,640
Speaker 3: So they take him to the prison planet of Crematoria

1621
01:24:42,680 --> 01:24:46,160
Speaker 3: to collect a bounty. And what do you know, isn't

1622
01:24:46,160 --> 01:24:48,240
Speaker 3: that where Jack went looking for him earlier.

1623
01:24:48,720 --> 01:24:51,080
Speaker 1: Now it's Crematoria in the Metallica system.

1624
01:24:52,720 --> 01:24:57,560
Speaker 3: Yeah, this is their new album. Uh it's pronounced Crematoria.

1625
01:24:57,720 --> 01:25:00,000
Speaker 1: Yeah.

1626
01:25:00,560 --> 01:25:03,679
Speaker 3: So the Lord Marshall sends Voco to go out hunting

1627
01:25:03,720 --> 01:25:07,880
Speaker 3: for him, and there is a scene with Dame Voco

1628
01:25:08,040 --> 01:25:10,640
Speaker 3: and she's putting on makeup, but her makeup is like

1629
01:25:10,760 --> 01:25:15,320
Speaker 3: a hot iron. She's like burning her eyelids, so her

1630
01:25:15,400 --> 01:25:18,040
Speaker 3: eyeliner is a hot iron burn. Yeah.

1631
01:25:18,080 --> 01:25:19,880
Speaker 1: I'm not sure exactly how this is supposed to work.

1632
01:25:20,000 --> 01:25:22,320
Speaker 1: They don't feel pain, but that's true.

1633
01:25:22,960 --> 01:25:25,720
Speaker 3: So she's egging on her husband. She says, you know,

1634
01:25:25,800 --> 01:25:28,760
Speaker 3: the Lord Marshall knows he's not half the warrior you are.

1635
01:25:29,120 --> 01:25:32,559
Speaker 3: Some say he's too artistic for the job. What does

1636
01:25:32,600 --> 01:25:36,000
Speaker 3: that mean, I have no idea, she says, I wouldn't

1637
01:25:36,000 --> 01:25:39,960
Speaker 3: be surprised if someone soon promoted him to full dead.

1638
01:25:42,000 --> 01:25:42,479
Speaker 3: That's good.

1639
01:25:43,200 --> 01:25:46,240
Speaker 1: Yeah. It also this also drives something like the kind

1640
01:25:46,280 --> 01:25:50,160
Speaker 1: of questions you have, like about the necromonger's relationship with death,

1641
01:25:50,280 --> 01:25:53,000
Speaker 1: like how much of it is this whole magic other

1642
01:25:53,120 --> 01:25:56,280
Speaker 1: realm of strange energy, and how much of it is

1643
01:25:56,320 --> 01:26:01,840
Speaker 1: like sort of the traditional religious fascinating with an after

1644
01:26:02,000 --> 01:26:04,800
Speaker 1: life and and the worship of death.

1645
01:26:05,120 --> 01:26:09,240
Speaker 3: Yeah, so she wants her husband Vocco to kill the

1646
01:26:09,280 --> 01:26:12,200
Speaker 3: Lord Marshall and take his place, because the Necromonger ways

1647
01:26:12,280 --> 01:26:15,320
Speaker 3: that whoever kills Lord Marshall becomes the new Lord Marshall.

1648
01:26:15,800 --> 01:26:18,080
Speaker 3: And you know what, I think that's a bad system

1649
01:26:18,120 --> 01:26:19,560
Speaker 3: for electing leaders.

1650
01:26:20,320 --> 01:26:22,600
Speaker 1: Yeah, yeah, it doesn't. It probably doesn't make for a

1651
01:26:22,600 --> 01:26:25,320
Speaker 1: stable work environment. And that's that's not really what we

1652
01:26:25,360 --> 01:26:26,000
Speaker 1: see here.

1653
01:26:27,080 --> 01:26:29,080
Speaker 3: I mean, I guess you just not create the right

1654
01:26:29,160 --> 01:26:30,440
Speaker 3: incentives for leadership.

1655
01:26:30,960 --> 01:26:33,880
Speaker 1: Yeah. This is another case where Alan Dean Foster does

1656
01:26:33,920 --> 01:26:37,200
Speaker 1: a good job in the appendix to the book, weaving

1657
01:26:37,240 --> 01:26:40,479
Speaker 1: this into the history of the movement, particularly as a

1658
01:26:40,479 --> 01:26:43,360
Speaker 1: way that the Necromongers had to handle a really delicate

1659
01:26:43,400 --> 01:26:45,960
Speaker 1: transition from the third to the fourth regime. So like,

1660
01:26:46,040 --> 01:26:50,320
Speaker 1: basically one guy kills the Necromonger leader and becomes the

1661
01:26:50,360 --> 01:26:52,599
Speaker 1: new leader, and then they have to smooth it over

1662
01:26:52,640 --> 01:26:55,559
Speaker 1: by saying, well, actually, did not our founder say you

1663
01:26:55,680 --> 01:26:59,000
Speaker 1: keep what you kill? Therefore I'm in the clear on

1664
01:26:59,120 --> 01:26:59,439
Speaker 1: this one.

1665
01:26:59,600 --> 01:27:11,720
Speaker 3: Perfect. Okay, So Riddick in the Merks who caught him

1666
01:27:11,880 --> 01:27:16,160
Speaker 3: arrive on Crematoria, Billy Bedlam says a line like if

1667
01:27:16,160 --> 01:27:19,559
Speaker 3: I owned this place and hell, I'd rent this place

1668
01:27:19,600 --> 01:27:23,839
Speaker 3: out and live in Hell. Yeah, I get the sentiment.

1669
01:27:23,920 --> 01:27:25,800
Speaker 3: It's a little clunky. I don't know it could have

1670
01:27:25,800 --> 01:27:26,679
Speaker 3: workshopped that one.

1671
01:27:27,040 --> 01:27:29,040
Speaker 1: Yeah, this is a line. It feels like it takes

1672
01:27:29,080 --> 01:27:32,200
Speaker 1: forever for him to roll out. It's a long walk

1673
01:27:32,320 --> 01:27:37,840
Speaker 1: for less impact than was intended. And I think this

1674
01:27:37,960 --> 01:27:40,040
Speaker 1: is a pup part where Tombs is coming in strong,

1675
01:27:40,200 --> 01:27:43,080
Speaker 1: challenging Reddick for Riddick for cheeseball line of the film.

1676
01:27:43,080 --> 01:27:44,040
Speaker 1: This's a real groner.

1677
01:27:44,439 --> 01:27:48,040
Speaker 3: Yeah, they take Riddick to the prison. So on this planet, basically,

1678
01:27:48,520 --> 01:27:51,160
Speaker 3: on the night side, it's okay, but on the day side,

1679
01:27:51,200 --> 01:27:53,840
Speaker 3: the sun will roast anything in its path. It's just

1680
01:27:54,040 --> 01:27:57,760
Speaker 3: bombing the surface with fire. So they take Ridick to

1681
01:27:57,800 --> 01:28:00,840
Speaker 3: the prison and they lower him down on the like rope,

1682
01:28:00,880 --> 01:28:03,320
Speaker 3: and then while the bounty hunters are haggling about the

1683
01:28:03,360 --> 01:28:07,080
Speaker 3: price with the prison warden, random prisoners just start attacking

1684
01:28:07,160 --> 01:28:12,000
Speaker 3: Riddick until they are chain whipped by Jack, who reveals that, oh,

1685
01:28:12,040 --> 01:28:15,360
Speaker 3: she's here in the prison. She changed her name to Kirah,

1686
01:28:15,680 --> 01:28:19,200
Speaker 3: and she is now prison tough. And so we see

1687
01:28:19,200 --> 01:28:21,840
Speaker 3: that in action when there's a thing where they the

1688
01:28:21,840 --> 01:28:25,240
Speaker 3: prison wardens say a feeding time, but that doesn't mean

1689
01:28:25,240 --> 01:28:28,200
Speaker 3: what you would assume. It means that the guards unleash

1690
01:28:28,280 --> 01:28:32,080
Speaker 3: these stone panthers on the prisoners, who all like scramble

1691
01:28:32,160 --> 01:28:35,200
Speaker 3: for hiding places, except Kira, who just seems to enjoy

1692
01:28:35,240 --> 01:28:38,320
Speaker 3: like taunting and beating up the panthers. And then there's

1693
01:28:38,320 --> 01:28:40,120
Speaker 3: a scene where one of them is creeping up on

1694
01:28:40,200 --> 01:28:42,320
Speaker 3: Riddick and you think it's gonna eat Riddick, but then

1695
01:28:42,479 --> 01:28:45,719
Speaker 3: all buddy, they end up bonding and Riddick's like scratching

1696
01:28:45,800 --> 01:28:47,640
Speaker 3: him behind the ears and it's adorable.

1697
01:28:48,080 --> 01:28:51,880
Speaker 1: Oh and then he belts out another wonderful line of dialogue. Real,

1698
01:28:51,920 --> 01:28:52,679
Speaker 1: oh lord, moment.

1699
01:28:52,800 --> 01:28:56,280
Speaker 3: Yeah, somebody's looking at him like rough house and having

1700
01:28:56,280 --> 01:28:59,240
Speaker 3: a good time with this panther that was previously eating prisoners,

1701
01:28:59,240 --> 01:29:01,400
Speaker 3: and Riddick just goes, it's an animal thing.

1702
01:29:03,600 --> 01:29:06,200
Speaker 1: There's another scene earlier on where they're in they're taking

1703
01:29:06,280 --> 01:29:09,559
Speaker 1: Riddick in on this train and you know, he kills

1704
01:29:09,560 --> 01:29:11,479
Speaker 1: somebody in the way in and you know, and all

1705
01:29:11,560 --> 01:29:13,120
Speaker 1: this and he's tapping his foot and then when they

1706
01:29:13,160 --> 01:29:16,240
Speaker 1: get there, he says to himself something like eight point

1707
01:29:16,280 --> 01:29:19,080
Speaker 1: three kilometers like he's been oh yeah, timing it out.

1708
01:29:19,120 --> 01:29:21,400
Speaker 1: And he's like, ah, Riddick, you're too good.

1709
01:29:21,680 --> 01:29:25,040
Speaker 3: Yeah, he counted the distance so that he and that'll

1710
01:29:25,040 --> 01:29:27,519
Speaker 3: come in later when they escape. So oh yeah, a

1711
01:29:27,600 --> 01:29:30,599
Speaker 3: Riddic and Kira have to sort of rebond. So there's

1712
01:29:30,600 --> 01:29:32,920
Speaker 3: like a scene where some prison guards are attacking Kira

1713
01:29:33,040 --> 01:29:35,679
Speaker 3: and then Riddick comes to the rescue and runs them off.

1714
01:29:35,720 --> 01:29:37,360
Speaker 3: This is the I'm going to kill you with the

1715
01:29:37,400 --> 01:29:38,400
Speaker 3: tea cup scene.

1716
01:29:39,080 --> 01:29:41,240
Speaker 1: Yeah, he places the tea cup down and has a

1717
01:29:41,240 --> 01:29:43,599
Speaker 1: standoff and then does kill them with the tea cup.

1718
01:29:43,760 --> 01:29:46,000
Speaker 3: Yeah. Well, at first they're like, you're gonna kill me

1719
01:29:46,040 --> 01:29:48,320
Speaker 3: with your soup cup and he goes, it's tea I'm

1720
01:29:48,360 --> 01:29:51,639
Speaker 3: going to kill you with my tea cup, which is nice.

1721
01:29:51,760 --> 01:29:55,160
Speaker 3: And then there's a funny moment where he appears to

1722
01:29:55,200 --> 01:29:58,080
Speaker 3: be threatening them with like the key to open a tunican.

1723
01:29:59,000 --> 01:30:02,439
Speaker 1: Yes, yeah, the whole scene's grown inducing, but when he

1724
01:30:02,479 --> 01:30:06,120
Speaker 1: busts out the tunic can key, I do legitimately laugh,

1725
01:30:06,320 --> 01:30:07,519
Speaker 1: as I think is intended.

1726
01:30:08,600 --> 01:30:11,280
Speaker 3: Okay, but we get some backstory with Riddick and Kira.

1727
01:30:11,439 --> 01:30:14,960
Speaker 3: So Ridick was taking care of her back in New

1728
01:30:15,000 --> 01:30:18,960
Speaker 3: Mecca after the first movie, but then he left and

1729
01:30:18,960 --> 01:30:21,120
Speaker 3: he told her to stay there where she was safe,

1730
01:30:21,120 --> 01:30:23,880
Speaker 3: but she went looking for him. She signed up with mercenaries,

1731
01:30:23,960 --> 01:30:26,840
Speaker 3: ended up getting sold into slavery. Now she's here in

1732
01:30:26,840 --> 01:30:31,000
Speaker 3: this prison and she is a crispy prison warrior. Meanwhile,

1733
01:30:31,080 --> 01:30:33,880
Speaker 3: Ridick is like, I went to snow yetti planet to

1734
01:30:33,960 --> 01:30:36,519
Speaker 3: keep the mercenaries who chase me from getting to you.

1735
01:30:36,800 --> 01:30:39,479
Speaker 3: So you made a mistake. So they have tension.

1736
01:30:40,479 --> 01:30:42,120
Speaker 1: Yeah, they got to work through it. They got to

1737
01:30:42,320 --> 01:30:45,479
Speaker 1: kill a bunch of guards and necromongers and that's hopefully

1738
01:30:45,479 --> 01:30:46,439
Speaker 1: going to bring them back together.

1739
01:30:46,600 --> 01:30:49,799
Speaker 3: Yeah. So later the bounty hunters and the prison guards,

1740
01:30:49,840 --> 01:30:52,519
Speaker 3: I'll start shooting each other for some reason. I think

1741
01:30:52,560 --> 01:30:56,639
Speaker 3: they're the warden I think is mad about necromongers snooping

1742
01:30:56,640 --> 01:31:00,960
Speaker 3: around the planet and this caught. This destruction creates the

1743
01:31:01,000 --> 01:31:04,519
Speaker 3: opportunity to allow Riddick and the others to escape. So

1744
01:31:04,640 --> 01:31:07,360
Speaker 3: Riddick and Kira, a group of other prisoners start getting

1745
01:31:07,360 --> 01:31:09,960
Speaker 3: out of there. Toms is left behind in a cage

1746
01:31:09,960 --> 01:31:12,519
Speaker 3: between two alien panthers, screaming ritty.

1747
01:31:15,120 --> 01:31:16,720
Speaker 1: Yeah, it's great. I think they were originally going to

1748
01:31:16,800 --> 01:31:19,960
Speaker 1: kill off Tunes and he dies in the novelization, but yeah,

1749
01:31:19,960 --> 01:31:21,639
Speaker 1: they clearly were like, this is too good. We got

1750
01:31:21,680 --> 01:31:24,120
Speaker 1: to save this character and hopefully they'll bring him back

1751
01:31:24,120 --> 01:31:25,320
Speaker 1: in the next Critic movie.

1752
01:31:25,800 --> 01:31:28,160
Speaker 3: So there's a big action sequence where they're like trying

1753
01:31:28,200 --> 01:31:31,680
Speaker 3: to escape the planet. You know, they're the guards, are

1754
01:31:31,680 --> 01:31:34,360
Speaker 3: taking this tunnel to get to the spaceship to escape,

1755
01:31:34,720 --> 01:31:37,320
Speaker 3: but Riddick and company are running over the surface of

1756
01:31:37,360 --> 01:31:40,720
Speaker 3: the planet before the sunrise catches them and basically just

1757
01:31:40,800 --> 01:31:45,400
Speaker 3: unleashes Napal, these bright orange belches of CGI fire. So

1758
01:31:45,439 --> 01:31:48,400
Speaker 3: they're scampering around in lava channels and over rocks trying

1759
01:31:48,439 --> 01:31:51,599
Speaker 3: to beat the wardens. Ridic does a lot of hopping

1760
01:31:51,640 --> 01:31:54,000
Speaker 3: while he climbs. It's kind of like an uncharted game

1761
01:31:54,040 --> 01:31:57,959
Speaker 3: in here, and there are some ridiculous stunts.

1762
01:31:58,560 --> 01:32:01,240
Speaker 1: Yeah, and I mean the whole this whole sequence is

1763
01:32:01,760 --> 01:32:04,559
Speaker 1: clearly a huge action set piece for the film, but

1764
01:32:04,760 --> 01:32:09,240
Speaker 1: is also just fundamentally dumb because they are out running

1765
01:32:09,280 --> 01:32:11,960
Speaker 1: the sun. They are out running the horizon. And I

1766
01:32:11,960 --> 01:32:14,639
Speaker 1: remember years and years ago I looked at like somebody

1767
01:32:14,680 --> 01:32:17,320
Speaker 1: like breaking this down about how fast they would have

1768
01:32:17,400 --> 01:32:21,680
Speaker 1: to be running to outrun the horizon line of the

1769
01:32:21,920 --> 01:32:22,640
Speaker 1: sun coming up.

1770
01:32:23,640 --> 01:32:25,280
Speaker 3: But wouldn't you know it, when they finally do get

1771
01:32:25,320 --> 01:32:27,400
Speaker 3: back to the ship, here come a bunch of necromongers.

1772
01:32:27,400 --> 01:32:29,640
Speaker 3: They're already there. And so we got Carl Urban with

1773
01:32:29,680 --> 01:32:32,960
Speaker 3: his like football eyeshadow and the Frankenstein flat top and

1774
01:32:33,000 --> 01:32:36,920
Speaker 3: there's Linus Roach looking squirrely scuba mask guys running around.

1775
01:32:37,240 --> 01:32:39,800
Speaker 3: And there's another big action set piece where they're like

1776
01:32:40,000 --> 01:32:43,160
Speaker 3: fighting the necromongers doing a necromonger beat down while the

1777
01:32:43,200 --> 01:32:47,160
Speaker 3: sunrise is just about to explode over the mountains until

1778
01:32:47,640 --> 01:32:50,439
Speaker 3: Vaco shows up and gets the upper hand and then

1779
01:32:50,600 --> 01:32:54,439
Speaker 3: Riddick is basically he's like left there on the runway,

1780
01:32:54,560 --> 01:32:56,960
Speaker 3: you know, to die when the sun hits him.

1781
01:32:57,200 --> 01:32:59,880
Speaker 1: There's some great action in this and Vacco gets to

1782
01:33:00,080 --> 01:33:03,000
Speaker 1: bust out some wrestling moves too, like closeline somebody and

1783
01:33:03,040 --> 01:33:07,519
Speaker 1: does a backbreaker move. So this is a this is fun,

1784
01:33:07,560 --> 01:33:08,519
Speaker 1: fun action sequence.

1785
01:33:08,640 --> 01:33:11,560
Speaker 3: And Kira sneaks away on the Necromonger ship. So you think, oh, no,

1786
01:33:11,720 --> 01:33:13,360
Speaker 3: is Riddick done for Is he's just going to get

1787
01:33:13,400 --> 01:33:14,320
Speaker 3: bombed by the sun.

1788
01:33:15,080 --> 01:33:16,200
Speaker 1: Is this the end of Riddick.

1789
01:33:16,520 --> 01:33:20,640
Speaker 3: Nope, he is saved strangely by Linus Roach, the Necromonger

1790
01:33:20,680 --> 01:33:24,200
Speaker 3: priest known as the Purifier, and so he like takes

1791
01:33:24,240 --> 01:33:27,160
Speaker 3: him inside, and then when Riddick wakes up, he delivers

1792
01:33:27,200 --> 01:33:30,479
Speaker 3: a secret message from the Lord Marshall. He's like, okay, Riddick,

1793
01:33:30,560 --> 01:33:32,600
Speaker 3: you just go off somewhere he never come near the

1794
01:33:32,640 --> 01:33:35,600
Speaker 3: Necromongers again, and we won't hunt you. You can just

1795
01:33:35,640 --> 01:33:38,880
Speaker 3: go your own way. And he says, the necromonger in

1796
01:33:38,920 --> 01:33:42,080
Speaker 3: me hopes you stay away, but the fury in in

1797
01:33:42,120 --> 01:33:44,960
Speaker 3: me hopes you won't listen. And then I was like,

1798
01:33:45,000 --> 01:33:47,639
Speaker 3: oh wait a minute, he's fury in too. I guess

1799
01:33:47,720 --> 01:33:49,760
Speaker 3: Ridick is not the only one left after all.

1800
01:33:50,360 --> 01:33:53,080
Speaker 1: I guess the rest of the Furians were all either

1801
01:33:53,960 --> 01:33:58,000
Speaker 1: destroyed or converted, and so maybe this is one of

1802
01:33:58,040 --> 01:34:00,559
Speaker 1: the rare examples of a convert because again that the

1803
01:34:00,600 --> 01:34:03,920
Speaker 1: Necromanngers do not believe in procreation. The only way they

1804
01:34:03,920 --> 01:34:07,360
Speaker 1: replenish their ranks is by taking some of the conquered

1805
01:34:07,400 --> 01:34:10,080
Speaker 1: people that are willing to join the ranks, taking them

1806
01:34:10,120 --> 01:34:11,719
Speaker 1: in and then decimating the rest.

1807
01:34:12,160 --> 01:34:13,880
Speaker 3: And then he just walks out into the sun and

1808
01:34:13,920 --> 01:34:15,360
Speaker 3: immolates himself.

1809
01:34:15,320 --> 01:34:16,960
Speaker 1: Three pretty cool, very goth death.

1810
01:34:17,640 --> 01:34:20,559
Speaker 3: So all this is leading up to a final confrontation. Obviously,

1811
01:34:20,680 --> 01:34:22,360
Speaker 3: Riddick takes the ship. He's going to go back to

1812
01:34:22,400 --> 01:34:25,200
Speaker 3: confront the Necromongers, maybe get Kira back. I think that's

1813
01:34:25,240 --> 01:34:28,519
Speaker 3: what he wants to do. The Lord Marshall was not

1814
01:34:28,720 --> 01:34:31,400
Speaker 3: given a good omen by Judy Densch about whether Riddick

1815
01:34:31,439 --> 01:34:34,640
Speaker 3: is still alive or not, so he gets mad. He

1816
01:34:34,720 --> 01:34:38,400
Speaker 3: tells his dudes on heally unprime to begin the ascension Protocol,

1817
01:34:39,439 --> 01:34:41,559
Speaker 3: and they're like, but our dudes are still all over

1818
01:34:41,600 --> 01:34:43,599
Speaker 3: the place, and He's like, I don't care about them

1819
01:34:43,640 --> 01:34:47,679
Speaker 3: ascension protocol now and now whenever I want to leave somewhere,

1820
01:34:47,840 --> 01:34:52,040
Speaker 3: I'm going to be thinking begin the ascension Protocol. But

1821
01:34:52,160 --> 01:34:55,519
Speaker 3: of course Riddick he gets in there. He sneaks onto

1822
01:34:55,520 --> 01:34:59,400
Speaker 3: the ship disguised in necromonger armor. Dame Focco sees him

1823
01:34:59,439 --> 01:35:03,680
Speaker 3: and she tells Voco she you know that. She's like, hey,

1824
01:35:03,760 --> 01:35:06,720
Speaker 3: Riddick's here, and Voco, of course he's very loyal. He

1825
01:35:06,760 --> 01:35:09,040
Speaker 3: wants to go warn the Lord Marshall, but she talks

1826
01:35:09,120 --> 01:35:10,360
Speaker 3: him out of it. So this kind of a scene

1827
01:35:10,400 --> 01:35:13,920
Speaker 3: where they are talking themselves into using Riddick to help

1828
01:35:14,000 --> 01:35:16,880
Speaker 3: kill the Lord Marshall so Voco can take over again

1829
01:35:16,960 --> 01:35:20,800
Speaker 3: big Macbeth energy. They're like, oh, yeah, yeah, it's for

1830
01:35:20,880 --> 01:35:21,679
Speaker 3: the good of the faith.

1831
01:35:21,920 --> 01:35:25,800
Speaker 1: Yes, yeah, I mean her her arguments are pretty pretty solid.

1832
01:35:25,840 --> 01:35:28,360
Speaker 1: She's like, look how afraid he is, Like this is weakness.

1833
01:35:28,760 --> 01:35:30,680
Speaker 1: We don't need this kind of weakness heading up the

1834
01:35:30,680 --> 01:35:31,479
Speaker 1: whole movement here.

1835
01:35:31,800 --> 01:35:34,000
Speaker 3: But when Riddick gets this shot, there's like a time

1836
01:35:34,040 --> 01:35:36,519
Speaker 3: when the Lord Marshall's back is turned, so he just

1837
01:35:36,560 --> 01:35:39,680
Speaker 3: like jumps out of a balcony with two knives in

1838
01:35:39,720 --> 01:35:43,840
Speaker 3: his hands and he's just diving at him. It doesn't

1839
01:35:43,880 --> 01:35:46,120
Speaker 3: quite get him in that one dive, but it sets

1840
01:35:46,160 --> 01:35:48,840
Speaker 3: up the final battle. So now what else could it be.

1841
01:35:48,880 --> 01:35:50,000
Speaker 3: It's a big final battle.

1842
01:35:50,400 --> 01:35:52,880
Speaker 1: Yeah, and I really love this this final battle. We

1843
01:35:52,920 --> 01:35:55,759
Speaker 1: get the we get the culmination of prophecy and plotting.

1844
01:35:56,120 --> 01:35:58,960
Speaker 1: The sets and costumes are all, of course amazing, and

1845
01:35:59,000 --> 01:36:02,120
Speaker 1: the fight tells the story, which is always something that

1846
01:36:02,160 --> 01:36:04,120
Speaker 1: I think is essential to a solid fight. You know,

1847
01:36:04,240 --> 01:36:07,439
Speaker 1: there's a physical story going on there blow to blow. Also,

1848
01:36:07,520 --> 01:36:10,960
Speaker 1: each character seems to have a believable expectation of his opponent.

1849
01:36:11,360 --> 01:36:14,400
Speaker 1: Each character is fighting the way they're fighting for a reason,

1850
01:36:14,560 --> 01:36:17,680
Speaker 1: Like the Lord Marshall has to has to sort of

1851
01:36:17,720 --> 01:36:21,280
Speaker 1: make a show of his dominance. And Riddick, on the

1852
01:36:21,280 --> 01:36:24,960
Speaker 1: other hand, knows he is severely overmatched here by the

1853
01:36:25,000 --> 01:36:27,439
Speaker 1: holy half dead Lord Marshall, and so he's trying. He

1854
01:36:27,840 --> 01:36:30,799
Speaker 1: i think, on two occasions, tries to end it quickly

1855
01:36:30,880 --> 01:36:34,679
Speaker 1: and sneakily, you know, first with that big flying attack,

1856
01:36:34,920 --> 01:36:37,040
Speaker 1: and then he throws a knife at him later on

1857
01:36:37,080 --> 01:36:40,040
Speaker 1: while he's speaking, you know, so he knows he's got

1858
01:36:40,080 --> 01:36:42,560
Speaker 1: to fight dirty if he's got anything like a shot.

1859
01:36:42,800 --> 01:36:45,320
Speaker 3: But then, of course there are interventions, so the Lord

1860
01:36:45,360 --> 01:36:50,280
Speaker 3: Marshall can like teleport, so you know, so Riddick can't

1861
01:36:50,320 --> 01:36:53,080
Speaker 3: beat him alone, but he gets some help from Kira

1862
01:36:53,360 --> 01:36:54,760
Speaker 3: and from Voco.

1863
01:36:55,080 --> 01:36:57,800
Speaker 1: Right right, because Kira has like her loyalties tested, she

1864
01:36:57,840 --> 01:37:01,439
Speaker 1: has a change of heart, it seems, but then she's

1865
01:37:01,520 --> 01:37:05,439
Speaker 1: just killed by the Lord Marshall out of hand. Voco,

1866
01:37:05,560 --> 01:37:08,880
Speaker 1: on the other hand, is like, you know, he's being

1867
01:37:08,920 --> 01:37:12,400
Speaker 1: pushed to greatness. You know, there's no way that Voco

1868
01:37:12,479 --> 01:37:14,160
Speaker 1: could take out the Lord Marshall on his own. But

1869
01:37:14,200 --> 01:37:17,519
Speaker 1: if the Lord Marshall is distracted and or injured by Riddick, well,

1870
01:37:17,560 --> 01:37:20,920
Speaker 1: then there's his opportunity. And then it's it's I like

1871
01:37:20,960 --> 01:37:23,280
Speaker 1: the way it plays out, because there's not a real

1872
01:37:23,439 --> 01:37:25,720
Speaker 1: clear sense that you know who's going to win here,

1873
01:37:26,479 --> 01:37:29,000
Speaker 1: or that it's going to end the way that it

1874
01:37:29,080 --> 01:37:32,800
Speaker 1: ultimately does, because ultimately, yeah, there's no way Riddick could

1875
01:37:32,840 --> 01:37:35,439
Speaker 1: win this battle on his own. There's no way Voco could.

1876
01:37:35,560 --> 01:37:37,880
Speaker 1: There's no way Riddick and Voco would ever team up.

1877
01:37:38,439 --> 01:37:41,200
Speaker 1: But the double threat they end up posing to the

1878
01:37:41,240 --> 01:37:43,960
Speaker 1: Lord Marshall here is too much even for his speed

1879
01:37:44,000 --> 01:37:46,719
Speaker 1: and ability. So he can stay one step ahead of anyone,

1880
01:37:47,240 --> 01:37:50,760
Speaker 1: but he can't stay two steps ahead, and so ultimately

1881
01:37:51,320 --> 01:37:54,400
Speaker 1: Riddick pulls off a lucky death below because as Voco

1882
01:37:54,439 --> 01:37:57,439
Speaker 1: is coming to execute the Lord Marshall and claim the

1883
01:37:57,479 --> 01:38:01,559
Speaker 1: throne for himself, Lord Marshall does his shadow teleport thing

1884
01:38:01,680 --> 01:38:04,040
Speaker 1: out of the way to grab a weapon, and that's

1885
01:38:04,040 --> 01:38:07,479
Speaker 1: where Ridick is, and he does a cool kill maneuver

1886
01:38:07,560 --> 01:38:09,160
Speaker 1: where he stabs him to the top of the head

1887
01:38:09,160 --> 01:38:10,960
Speaker 1: with the blade and snaps it off.

1888
01:38:11,200 --> 01:38:14,360
Speaker 3: So Ridick gets him instead of Voco. And then you

1889
01:38:14,400 --> 01:38:18,960
Speaker 3: see Lady Vodco. She unleashes the no oh.

1890
01:38:18,720 --> 01:38:22,120
Speaker 1: God, and I'm serious, like it is the most like riveting,

1891
01:38:22,400 --> 01:38:27,000
Speaker 1: like you feel that no in your bones. It's this.

1892
01:38:27,000 --> 01:38:29,040
Speaker 1: This is I love these little moments where you get

1893
01:38:29,040 --> 01:38:31,000
Speaker 1: to see an actor take a very what could be

1894
01:38:31,160 --> 01:38:34,680
Speaker 1: very throwaway and forgettable, especially in a genre movie, to

1895
01:38:34,800 --> 01:38:38,080
Speaker 1: see them just really like wrench their guts out and

1896
01:38:38,120 --> 01:38:40,120
Speaker 1: the audience's guts out with that moment.

1897
01:38:40,520 --> 01:38:43,600
Speaker 3: And hey, so Ridick, you remember the Necromonger way you

1898
01:38:43,680 --> 01:38:46,639
Speaker 3: keep what you kill, So now Riddick is the Lord

1899
01:38:46,680 --> 01:38:51,240
Speaker 3: Marshall of the Neckromonger Empire. Just turns to Vin Diesel

1900
01:38:51,640 --> 01:38:53,000
Speaker 3: and kneels before him.

1901
01:38:53,200 --> 01:38:55,400
Speaker 1: It's i mean rules, his rules.

1902
01:38:55,600 --> 01:38:56,559
Speaker 3: Yeah, it's great.

1903
01:38:57,479 --> 01:39:02,120
Speaker 1: Yeah, And it's like a thoroughly you know, conan Esque,

1904
01:39:02,240 --> 01:39:05,360
Speaker 1: over the top grim dark ending where it's like, yep,

1905
01:39:05,800 --> 01:39:08,720
Speaker 1: it looks like our hero did succeed in overcoming the

1906
01:39:08,800 --> 01:39:12,519
Speaker 1: dark evil threat that threatened the universe, but he did

1907
01:39:12,560 --> 01:39:16,000
Speaker 1: so by becoming the head of it. And so it

1908
01:39:16,120 --> 01:39:18,639
Speaker 1: kind of raises the question what kind of Lord Marshall

1909
01:39:18,680 --> 01:39:22,160
Speaker 1: will he be? Will he be completely overtaken by necroism,

1910
01:39:22,240 --> 01:39:24,640
Speaker 1: will he become even worse than that which he opposed,

1911
01:39:25,040 --> 01:39:26,320
Speaker 1: or is there some way that he's going to be

1912
01:39:26,320 --> 01:39:29,080
Speaker 1: able to subvert the movement or is it just going

1913
01:39:29,120 --> 01:39:31,719
Speaker 1: to cause enough chaos at the top of the necro

1914
01:39:32,479 --> 01:39:34,960
Speaker 1: Monger order that it's just going to cause fractures and

1915
01:39:35,000 --> 01:39:35,519
Speaker 1: so forth.

1916
01:39:36,080 --> 01:39:38,360
Speaker 3: All great questions. And there is a third movie, but

1917
01:39:38,400 --> 01:39:40,120
Speaker 3: I haven't seen it, so I can't answer them.

1918
01:39:40,560 --> 01:39:43,880
Speaker 1: Well, the third movie, like I said, ultimately is a

1919
01:39:43,880 --> 01:39:48,160
Speaker 1: lower budget affair that I get the impression does not

1920
01:39:48,439 --> 01:39:51,080
Speaker 1: go as hard as they wanted to go. Like I

1921
01:39:51,080 --> 01:39:54,960
Speaker 1: bet the second script that's locked up behind that lock,

1922
01:39:55,280 --> 01:39:57,880
Speaker 1: I bet it was as epic as this one and

1923
01:39:57,960 --> 01:40:00,960
Speaker 1: had a lot more Necromonger stuff, and like clearly they

1924
01:40:01,200 --> 01:40:03,000
Speaker 1: like they had to do something a little more stripped

1925
01:40:03,000 --> 01:40:05,760
Speaker 1: down for the third movie. I'm just hoping that that

1926
01:40:05,880 --> 01:40:09,320
Speaker 1: fourth movie brings it back to this Flash Gordon level

1927
01:40:09,479 --> 01:40:10,599
Speaker 1: that that I love.

1928
01:40:10,840 --> 01:40:13,559
Speaker 3: Okay, Well, I think that's all I can say. About

1929
01:40:13,640 --> 01:40:14,479
Speaker 3: Chronicles Ridick.

1930
01:40:15,280 --> 01:40:17,479
Speaker 1: Yeah, yeah, there's a there's a lot lot more we

1931
01:40:17,479 --> 01:40:20,439
Speaker 1: could say, there's there's so many there's so many wonderful

1932
01:40:20,479 --> 01:40:23,840
Speaker 1: moments and so many goofy lines. Uh, this film's a

1933
01:40:23,840 --> 01:40:25,360
Speaker 1: lot of fun. So we'd love to hear from everyone

1934
01:40:25,360 --> 01:40:28,080
Speaker 1: out there if you have thoughts on the Chronicles of

1935
01:40:28,120 --> 01:40:30,360
Speaker 1: Ritick or pitch Black or Riddick or any of the

1936
01:40:30,560 --> 01:40:33,599
Speaker 1: various films and actors that we've discussed here. Uh yeah,

1937
01:40:33,680 --> 01:40:36,719
Speaker 1: let us know. We'll talk about it in future episode

1938
01:40:36,760 --> 01:40:40,519
Speaker 1: of Listener Mail. And uh yeah, just a reminder, we're

1939
01:40:40,560 --> 01:40:43,160
Speaker 1: primarily a science podcast here. It's stuff to blow your mind,

1940
01:40:43,160 --> 01:40:45,240
Speaker 1: but on Fridays we set aside most serious concerns to

1941
01:40:45,280 --> 01:40:47,040
Speaker 1: just talk about a weird film on Weird House Cinema.

1942
01:40:47,040 --> 01:40:48,679
Speaker 1: If you want to complete list of the movies we've

1943
01:40:48,680 --> 01:40:50,800
Speaker 1: covered so far, you can go to letterbox dot com.

1944
01:40:50,800 --> 01:40:52,280
Speaker 1: That's L E T T E R B O x

1945
01:40:52,400 --> 01:40:55,080
Speaker 1: D dot com. Our username there is weird House, and

1946
01:40:55,080 --> 01:40:56,760
Speaker 1: we have a list. You can go through it and

1947
01:40:56,800 --> 01:40:59,599
Speaker 1: look at everything we've covered, including the two movies we've

1948
01:40:59,600 --> 01:41:04,120
Speaker 1: covered from this Century now we're up to too. And

1949
01:41:04,240 --> 01:41:06,719
Speaker 1: I also blog about these films at smut to music dot.

1950
01:41:06,520 --> 01:41:10,280
Speaker 3: Com huge thanks to our excellent audio producer, Jjposway. If

1951
01:41:10,280 --> 01:41:11,720
Speaker 3: you would like to get in touch with us with

1952
01:41:11,800 --> 01:41:14,160
Speaker 3: feedback on this episode or any other, to suggest a

1953
01:41:14,240 --> 01:41:16,600
Speaker 3: topic for the future, or just to say hello, you

1954
01:41:16,640 --> 01:41:19,320
Speaker 3: can email us at contact at stuff to Blow your

1955
01:41:19,360 --> 01:41:27,040
Speaker 3: Mind dot com.

1956
01:41:27,120 --> 01:41:30,080
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1957
01:41:30,160 --> 01:41:32,960
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1958
01:41:33,120 --> 01:41:35,880
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.