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

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Speaker 1: What do we have for you here today? Do we

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Speaker 1: have a spooky one? Yes, we have a spooky one,

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Speaker 1: but it's also a really fun one. And honestly, intentionally

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Speaker 1: funny one. It originally aired 10-3-2025. It is the 1988

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Speaker 1: horror comedy creature feature Killer Clowns from Outer Space. It's

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Speaker 1: a whole lot of fun. So we hope you enjoy it.

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

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

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Speaker 3: And this is Joe McCormick.

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Speaker 1: On today's episode of Weird House Cinema, we're going to

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Speaker 1: discuss what's kind of a rare beast, a goofy horror

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Speaker 1: comedy that manages to avoid being too self-aware, um, It

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Speaker 1: takes itself, its genre, and the films that inspired it

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Speaker 1: seriously enough to maintain a certain air of creepiness, seriousness,

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Speaker 1: and indeed horror, while still being ridiculous and hilarious and fun.

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Speaker 1: It is 1988's Killer Clowns from Outer Space.

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Speaker 3: I think I'd agree with all of that, except I

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Speaker 3: don't know if a film can be more self-aware than

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Speaker 3: Killer Clowns. This seems like the ultimate kind of meta exercise.

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Speaker 1: Well, I guess it depends how you exactly consider too

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Speaker 1: self-aware in a film. Because for me, when a film

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Speaker 1: becomes too self-aware, it's like things begin to fall apart,

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Speaker 1: you know?

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Speaker 4: Oh, okay. It's like.

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Speaker 3: not taking the plot seriously.

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Speaker 1: I mean, where it becomes too much of an, of

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Speaker 1: a joke to where you can see the joke and

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Speaker 1: the performances, you can feel the joke and the writing

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Speaker 1: in the way that just, again, makes things fall apart. Um, and,

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Speaker 1: and sometimes I've, uh, you know, there's some obvious examples

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Speaker 1: of that in more recent films you could point to,

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Speaker 1: but I mean, there are also some older films that

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Speaker 1: have a cult following that I've tried to get into, uh,

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Speaker 1: And I just find that like, oh, this was just

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Speaker 1: one big joke for everybody. Like if the villain can't

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Speaker 1: be taken seriously, if everybody's if it's just too much

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Speaker 1: of a party. I mean, I guess that can be fun,

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Speaker 1: but it can it can make the narrative itself fall apart.

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Speaker 4: Oh, no.

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Speaker 3: Well, I agree with exactly what you're talking about there.

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Speaker 4: Yeah.

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Speaker 3: An effective parody does still have to function as a story.

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Speaker 3: And some parodies are. you know, so self-conscious that they

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Speaker 3: just they stop even trying to be a functional story.

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Speaker 3: They're just doing the jokes and that becomes less engaging.

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Speaker 2: Yeah.

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Speaker 1: So this is one that this is one of those

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Speaker 1: films that I don't think I'd ever actually sat down

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Speaker 1: and watched it all the way through start to finish.

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Speaker 1: I recall it airing on cable back in the 90s

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Speaker 1: and early 2000s and watching, you know, parts of it

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Speaker 1: on on late night, probably something like USA up all night,

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Speaker 1: but I'm not sure where exactly it was airing. Maybe

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Speaker 1: it aired on Sci-Fi Channel as well. It fits a

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Speaker 1: number of those molds. It was also originally released theatrically,

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Speaker 1: apparently didn't do that well, but has enjoyed a long

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Speaker 1: life via home media. Apparently more than making back, it's

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Speaker 1: I think $ 1. 8 million budget over the course of time.

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Speaker 1: But as the filmmakers have said in interviews, it's one

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Speaker 1: of those things where they've They've wanted to do a

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Speaker 1: follow up, but studios aren't really interested in a movie

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Speaker 1: that's going to make, you know, millions and millions of

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Speaker 1: dollars over the course of like three decades. They want

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Speaker 1: something that's going to make that much money in one weekend.

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Speaker 1: And so for various reasons, we have yet to fully

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Speaker 1: cinematically return to the universe of the killer clown. Oh,

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Speaker 1: I don't.

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Speaker 3: I mean, on one hand, I would like to trust them.

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Speaker 3: But on the other hand, I'm like, I don't know

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Speaker 3: if I would like what this movie would look like

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Speaker 3: if it was made today.

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Speaker 1: Yeah, yeah. The closest thing that we have is there

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Speaker 1: was a recent video game that came out. Killer Clowns

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Speaker 1: from Outer Space, the game, came out in 2024. It's

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Speaker 1: one of those asymmetrical survival horror games, you know, kind

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Speaker 1: of like the Friday the 13th game. In fact, I

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Speaker 1: think some of the same people worked on it.

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Speaker 3: That makes sense. They also made a Texas Chainsaw Massacre game,

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Speaker 3: which I've played one time.

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Speaker 1: Yeah. I have not played this one. It's one of those,

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Speaker 1: my machine can't handle it. But I looked at the stills,

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Speaker 1: and it looks pretty cool. It looks like a lot

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Speaker 1: of work went into maintaining the vibe of the original picture.

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Speaker 1: But I also agree with you on the idea of

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Speaker 1: a modern clown remake, or even a sequel. Even if

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Speaker 1: the Kyoto Brothers were just all the way involved... it

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Speaker 1: seems like there would be a tendency to lean into

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Speaker 1: nastier territory or just, I don't know, how would you

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Speaker 1: maintain the perfection that you have in this film, right?

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Speaker 1: At any rate, there remains talk of a sequel, and

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Speaker 1: I've recently read that Ryan Gosling has been attached as

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Speaker 1: a producer for a potential remake, so we'll see. So

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Speaker 1: what we have here is pretty singular in many respects.

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Speaker 1: It's essentially a kind of Invaders from Mars, the blob plot,

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Speaker 1: but with clowns from outer space. And they're killer clowns,

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Speaker 1: of course. And it is presented in PG-13 form. It's

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Speaker 1: a hard PG-13. It's a hard PG-13. The clowns are frightening.

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Speaker 1: There's certainly some adult humor sprinkled throughout that doesn't go

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Speaker 1: too hard, but also some of it hasn't aged all

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Speaker 1: that well and was maybe a little tasteless back in

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Speaker 1: the day as well. Um, but, uh, yeah, for my money,

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Speaker 1: this film stands out for a number of reasons. So, uh,

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Speaker 1: it's a goofy horror comedy that balances like the late

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Speaker 1: eighties goofiness and the monster horror quite well. So it,

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Speaker 1: like I say, it doesn't become a complete farce and

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Speaker 1: the creatures are all really convincing, look amazing. It really

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Speaker 1: has the, I don't know how many, I don't know

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Speaker 1: if you can relate to this or listeners can, but

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Speaker 1: it reminds me a lot of mad magazine movie parodies

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Speaker 1: from back in the day.

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Speaker 3: Yes, in multiple ways, with the slight ugliness of the

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Speaker 3: caricature in the way the clowns are realized visually. The

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Speaker 3: comedic sensibility of the gags is very Mad Magazine. What

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Speaker 3: is that I'm recognizing? On one hand, it's not a

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Speaker 3: dry humor. It's a very juicy, wet humor.

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Speaker 4: Mm-hmm.

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Speaker 3: But also it goes a little bit hard as we

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Speaker 3: were saying, it's a little bit more adult than you

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Speaker 3: might expect in some areas.

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Speaker 4: Yeah. Yeah.

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Speaker 1: Like I'm reminded specifically when, uh, when Robocop two came out, I,

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Speaker 1: I don't think I was able to watch Robocop two yet,

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Speaker 1: but I had a mad magazine that had the parody

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Speaker 1: of Robocop two in it. And of course it was

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Speaker 1: loaded with gags. It's very much, you know, comedy and satire,

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Speaker 1: but at the same time, like, Robocop looked pretty cool

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Speaker 1: in some of the, in many of the drawings. So

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Speaker 1: did the, uh, the nemesis of Robocop too. And so

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Speaker 1: that comic, I just have a strong memory of it, uh,

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Speaker 1: you know, impressing me in a couple of ways. Like

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Speaker 1: it was funny, it was goofy, but also, uh, I

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Speaker 1: was like, wow, you know, there's still robots battling each other.

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Speaker 1: I'll take it. Let's see what else, uh, we'll get

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Speaker 1: into a lot of this when we get into the

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Speaker 1: plot more, but, um, I, I, We've already talked about it.

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Speaker 1: It's PG-13, so it's kind of a hard PG-13. But

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Speaker 1: in terms of a late 80s, nearly 90s monster movie

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Speaker 1: that features college student characters, this film's not nearly as

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Speaker 1: tasteless as it could have been. And it's also not

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Speaker 1: really gory. It has no nudity, despite the inclusion of

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Speaker 1: the genre standard shower scene.

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Speaker 3: Which is notable in several respects, not just for having

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Speaker 3: no nudity.

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Speaker 4: Right.

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Speaker 1: But overall, I think it's just the big thing about

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Speaker 1: Killer Clowns from Outer Space is just the absolute commitment

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Speaker 1: to the bit. You know, this was clearly their vision

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Speaker 1: for this picture. Earth has been invaded by clowns from

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Speaker 1: outer space. Aliens that are clowns. Clowns that are aliens.

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Speaker 1: As this film actually explores humanity's knowledge of clowns and

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Speaker 1: clowning traditions, we're talking from ancient Egypt through gesture traditions

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Speaker 1: around the world through 20th century circus times. All of

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Speaker 1: this was inspired, perhaps, by Earth's ancient alien first contact

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Speaker 1: with clowns from outer space.

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Speaker 3: They do, in fact, mention this in dialogue.

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Speaker 4: Yeah.

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Speaker 3: At least as a suggestion by a character who is

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Speaker 3: not an expert.

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Speaker 1: We don't know what his major is.

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Speaker 4: Speculating.

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Speaker 1: We don't know what his major is. Yeah. But yeah,

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Speaker 1: these aliens are not disguised as clowns. They are clowns.

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Speaker 1: Clowns are a species. Human clowns are unknowingly disguised as

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Speaker 1: clowns from outer space.

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Speaker 3: That theory is a wonderful little garnish on the feast

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Speaker 3: that is this film.

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Speaker 1: Yeah.

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Speaker 4: Yeah.

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Speaker 1: It's an idea that to a certain extent is later

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Speaker 1: explored in a different way and to a different degree

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Speaker 1: in horror writer Thomas Ligotti's 1990 story, The Last Feast

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Speaker 1: of Harlequin.

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Speaker 3: Oh, I haven't read that one.

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Speaker 1: Oh, it's creepy. And it has clowns. So if you

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Speaker 1: want a creepy clown read, I recommend that one. All right.

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Speaker 1: Elevator pitch for this one. I mean, this is one

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Speaker 1: of those films where the title alone tells you everything

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Speaker 1: you need to know. It's Killer Clowns from Outer Space.

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Speaker 1: What else do you need to say?

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Speaker 3: Do you know why they chose to spell clowns with

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Speaker 3: a K in the title?

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Speaker 1: I don't know offhand. I guess it just it looks funny.

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Speaker 1: It really clown is funny because the word clown is

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Speaker 1: funny because it has that hard K kind of sound.

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Speaker 4: Right.

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Speaker 1: And so just go ahead and give it a K.

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Speaker 3: Fair enough.

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Speaker 4: Yeah.

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Speaker 1: All right, let's go ahead and listen to just a

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Speaker 1: little bit of trailer audio here.

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Speaker 2: It was a night like any other night. Then something happened.

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Speaker 2: You see that? Something different.

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Speaker 1: It's not shooting a star. Why here?

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Speaker 4: Why now?

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Speaker 1: Why clowns?

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Speaker 4: Killer clowns from outer space.

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Speaker 2: Killer clowns from outer space.

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Speaker 4: It's crazy. All right.

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Speaker 1: As of this recording, Killer Clowns from Outer Space is

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Speaker 1: streamable on Tubi and Amazon Prime here in the States,

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Speaker 1: but is generally just widely available in all formats. Shout

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Speaker 1: Factory put out a really nice-looking steelbook edition, and it's,

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Speaker 1: I think, still available, loaded with extras. Again, this one

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Speaker 1: has enjoyed a very long life as home media, and

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Speaker 1: so different editions, I think, have come out over the years.

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Speaker 1: I mean, it's really at home where people have grown

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Speaker 1: to love I'm honestly not sure about other media that

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Speaker 1: has explored the killer clown universe beyond the recent video game,

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Speaker 1: but it seems like you could have a lot of

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Speaker 1: like comic book crossovers here. It seems like killer clowns,

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Speaker 1: aliens versus predator, like they're a crossover absolutely should happen

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Speaker 1: there because you can get the, you know, you have

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Speaker 1: ancient alien visitors. You have, you could have a hybrid

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Speaker 1: where you have like a xenomorph clown hybrid. Like what

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Speaker 1: does that look like? I mean, there's so, there's so

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Speaker 1: many places you could go with.

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Speaker 3: Can I suggest something that is more, I would say,

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Speaker 3: tonally and thematically already aligned with killer clowns. You can

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Speaker 3: have Robocop versus Terminator. You can have alien versus predator

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Speaker 3: and you can have killer clowns versus critters.

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Speaker 1: There you go.

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Speaker 4: Right.

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Speaker 3: It seems like a perfect fit.

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Speaker 4: Yes.

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Speaker 1: For a number of reasons. So, and that really leads

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Speaker 1: us into, into our discussion of the people behind this picture,

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Speaker 1: because the main like driving creative force here. is, of course,

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Speaker 1: the Chiodo brothers. This is Stephen Chiodo, Charles Chiodo, and

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Speaker 1: Edward Chiodo. I'm going to basically talk about them as

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Speaker 1: a trio, but if you get into the credits, Stephen,

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Speaker 1: born 1954, is credited as director, one of the writers

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Speaker 1: and the producer, or one of the producers. Charles, born 1952,

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Speaker 1: is credited as writer, producer, production designer, clown designs, and

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Speaker 1: also plays the role of Clownzilla. You'll find out what

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Speaker 1: that is later if you haven't seen it. And then

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Speaker 1: Edward has a writer-producer credit, and he was born in 1960.

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Speaker 3: So these guys, before they were filmmakers in their own right,

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Speaker 3: they had worked on special effects for a number of things, right?

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Speaker 1: Yeah, absolutely. They were already an established effects team, and

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Speaker 1: they're still around as an established effects team. They continue

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Speaker 1: to work, even though they haven't really come back and

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Speaker 1: done any kind of like a full feature film in

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Speaker 1: the same way. as killer clowns from outer space. But yeah,

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Speaker 1: an American trio of special effects siblings who specialize in

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Speaker 1: clay modeling, creature creation, stop motion, animatronics, you know, so

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Speaker 1: many of those nice, you know, rub the fur practical

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Speaker 1: effects that we love in films like this.

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Speaker 4: Totally.

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Speaker 3: And do I understand correctly that they originally intended to

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Speaker 3: include some stop motion effects in Killer Clowns, but they

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Speaker 3: weren't able to, and that's why... The clownzilla effect, I think,

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Speaker 3: was originally going to be a stop-motion creature, but ended

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Speaker 3: up being a man in a suit.

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Speaker 1: Yeah, that's my understanding. So we were going to get

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Speaker 1: some stop-motion, and they've done a lot of stop-motion over

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Speaker 1: the years, including, I understand, some bits for The Simpsons

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Speaker 1: here and there.

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Speaker 3: But, to be clear, I'm not trying to diminish the

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Speaker 3: clown effects by referring to them as a guy in

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Speaker 3: a suit. Because they are more than just a person

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Speaker 3: in a suit with makeup. There is some puppetry involved

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Speaker 3: in the clowns, right?

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Speaker 4: Yes.

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Speaker 1: Yeah, the clowns that we get in the film are,

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Speaker 1: as we'll be talking about time and time again here,

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Speaker 1: they just look amazing. Just wonderful practical effects. I mean,

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Speaker 1: the way that the heads have been sculpted and fabricated, painted,

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Speaker 1: and then manipulated in a way that they just completely

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Speaker 1: come to life. Like the movements of the mouth, the eyes. Oh,

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Speaker 1: my goodness. the eyes of these things, I guess it's,

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Speaker 1: you know, it's, it's, you don't have to worry about

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Speaker 1: uncanny Valley with a creature like this, that is already

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Speaker 1: supposed to be uncanny, but man, uh, pretty much in

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Speaker 1: every shot, these clowns absolutely feel like living creatures.

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Speaker 4: Yeah.

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Speaker 1: So the Kyoto brothers, other credits include of course, 1986

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Speaker 1: is critters, which we've covered on the show before. And

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Speaker 1: that's why a critters killer clowns crossover would be wonderful,

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Speaker 1: even though that would be a lot of K sounds

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Speaker 1: in the title.

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Speaker 2: Yeah.

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Speaker 1: They apparently also did the 6,000 Sucks commercial for 1987's RoboCop.

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Speaker 3: Yeah, that's right. The car that is constantly being advertised

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Speaker 3: in the RoboCop universe and gets six miles to the gallon.

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Speaker 1: Let's see. Of course, they did 88's Critters 2 as

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Speaker 1: well as UHF the same year. They did some effects

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Speaker 1: in that. They did effects work in 91's Critters 3.

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Speaker 1: They did 1991's Ernest Scared Stupid. This is a film

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Speaker 1: that I think a lot of us remember from our childhoods.

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Speaker 1: in part because the monster effects, the trolls in that movie,

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Speaker 1: are extremely creepy and convincing and share a certain resemblance

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Speaker 1: to the creatures in this film, though despite rumors that

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Speaker 1: they're the same sculpts, like repainted, that appears to not

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Speaker 1: be the case. Just, I think, a similar design aesthetic.

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Speaker 3: I can't remember if we've talked about this on the

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Speaker 3: show before, but that is a film I remember very

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Speaker 3: vividly for Being one of those things that was just

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Speaker 3: supposed to be funny and a kid's movie, but actually

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Speaker 3: scared me when I was a kid.

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Speaker 4: Yeah. Yeah.

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Speaker 1: I don't remember how scary I found it, but I

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Speaker 1: remember liking it a lot more. Like I was still

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Speaker 1: at the point where I was obviously down for earnest movies.

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Speaker 4: Yeah.

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Speaker 1: Like I wasn't, no one dragged me into an earnest

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Speaker 1: movie kicking and screaming. But then I was like, oh man,

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Speaker 1: I could tell like this is hitting harder than I had.

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Speaker 1: I think these things were like taking kids' souls.

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Speaker 3: Turning them into wood, I recall.

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Speaker 1: Is that right? I think that's right. That's one we

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Speaker 1: may come back to in the future. Let's see. They

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Speaker 1: also worked on 92's Critters 4, 97's Turbo, a Power

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Speaker 1: Rangers movie. They did some work in 2003's Elf, Team America,

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Speaker 1: World Police in 2004. And they even had their hands

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Speaker 1: in 2021's Marcel the Shell with Shoes On, which is

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Speaker 1: a very delightful film. I saw that one in the

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Speaker 1: theater with my kid. Hmm. They also did makeup on

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Speaker 1: the Monsters Horror Anthology series from 88 through 90, which

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Speaker 1: did indeed have some tremendous monster makeup effects. And like

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Speaker 1: I said earlier, they've done stop motion segments on The

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Speaker 1: Simpsons as well. They've remained very active in film and TV,

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Speaker 1: but again, have yet to truly follow up on The

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Speaker 1: Killer Clowns from Outer Space with a sequel or spiritual successor.

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Speaker 3: Okay, wait a minute. I'm going to revise my earlier

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Speaker 3: recommendation of killer clowns versus critters. What about killer clowns

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Speaker 3: versus the Power Rangers? That's already in their skill set.

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Speaker 1: I could see that matchup maybe working, yeah.

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Speaker 3: You know, magic wand to make my clown grow.

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Speaker 4: Yeah, yeah.

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Speaker 1: I mean, we do get a giant clown. That's the

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Speaker 1: kind of thing we could battle a giant robot, for sure.

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Speaker 1: We do get into Kaiju territory. So, Steve in Kyoto has...

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Speaker 1: claimed that the initial inspiration for the series occurred when

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Speaker 1: he was driving on a mountain road and looked over

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Speaker 1: and saw a clown driving next to him. A clown

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Speaker 1: where there shouldn't be a clown. Sounds horrifying to me.

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Speaker 1: And I think we get a sense of that in

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Speaker 1: the film. There's actually a scene in the movie that

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Speaker 1: seems to allude to this encounter, perhaps an encounter from

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Speaker 1: another world. They also cite strong influences from 50s and

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Speaker 1: 60s sci-fi horror monster movies, which totally makes sense. Mad Magazine,

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Speaker 1: which lines up with what I already said, as well

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Speaker 1: as Looney Tunes, which is perfectly believable. And they've stressed

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Speaker 1: in interviews that it was also an essential ingredient that

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Speaker 1: the actors treat the threat itself, the threat of the

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Speaker 1: killer clowns, as absolutely serious and threatening, despite the heavy

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Speaker 1: comic veneer to everything. So again, I think that's what

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Speaker 1: the sense I get is that that's absolutely key to

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Speaker 1: this movie working, is that the clowns are legitimately funny, Um,

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Speaker 1: but also grotesque. And also there's a strong sense of

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Speaker 1: life and death here. Like they are frightening.

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Speaker 3: Yeah, that's right. Especially I think in the scenes where

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Speaker 3: they're like menacing children and stuff, it's like, uh, those

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Speaker 3: are the least funny and the most actually, uh, threatening scenes.

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Speaker 3: I think, fortunately, though, the movie is kind of gentle

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Speaker 3: in that regard in that we never actually see a

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Speaker 3: child harmed.

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Speaker 1: Right, right.

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Speaker 3: You know, that always gets averted somehow. But the threat

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Speaker 3: is kind of looming, and that emphasizes the less funny aspects.

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Speaker 1: All right, let's get into the cast here a bit.

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Speaker 1: All right, starting at the top, we have the character

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Speaker 1: Mike Tobacco. presumably a realistic name, played by Grant Kramer,

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Speaker 1: born 1961.

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Speaker 3: This is one of our main two guys in the film.

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Speaker 3: Mike and Dave are the main two guys, and the

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Speaker 3: main lady in the film is Debbie. But Mike here,

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Speaker 3: he's a real cut-up.

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Speaker 1: Yeah, and it's a mixed bag, as the character is

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Speaker 1: full of terrible dated jokes, for the most part. I

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Speaker 1: think we're supposed to like him more than I found

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Speaker 1: myself liking him. I never hated him. I was never like,

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Speaker 1: the clowns can't kill this guy fast enough. But... I

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Speaker 1: don't think I liked him as much as I was

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Speaker 1: supposed to.

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Speaker 3: Yeah, exactly how we're supposed to receive him was a

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Speaker 3: little difficult for me to read. I found myself thinking

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Speaker 3: that the, that essentially Debbie's other boyfriend, Dave was more

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Speaker 3: likable of the two characters.

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Speaker 1: Yeah, absolutely. It's like, come on, Debbie, you can do

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Speaker 1: better than this guy. And, and he's right here. Like why,

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Speaker 1: why aren't you with officer Dave? Uh, but anyway, none

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Speaker 1: of this is Grant Kramer's fault. Um, you know, perfectly

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Speaker 1: fine here. He was, uh, His first film credit was

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Speaker 1: 1980s New Year's Evil, followed by the 1984 sex comedy

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Speaker 1: Hard Bodies. And his subsequent credits are a bit scattered.

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Speaker 1: And he produced a number of projects as well. He

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Speaker 1: reprised his role as a vocal talent in that recent

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Speaker 1: Killer Clowns video game.

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Speaker 3: OK, I agree. Probably dare not go watch the 1984

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Speaker 3: sex comedy Hard Bodies, but I'm curious about it because

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Speaker 3: it shares a name with the gym in Burn After Reading.

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Speaker 1: Oh, yeah.

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Speaker 3: Remember that? Richard Jenkins repeatedly just talking about their workplace

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Speaker 3: by name saying, like, we can't have this material here

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Speaker 3: at Hard Bodies.

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Speaker 4: Yeah.

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Speaker 1: All right. Well, we mentioned Debbie already. Debbie Stone is

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Speaker 1: played by Suzanne Snyder, born 1962. American actress with some

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Speaker 1: great genre film credentials. She has an uncredited cheerleader role

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Speaker 1: in 1984's The Last Starfighter, which we've talked about on

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Speaker 1: the show. She's in 85's Weird Science, 86's Night of

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Speaker 1: the Creeps.

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Speaker 4: Oh. Yeah, yeah.

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Speaker 1: And also 1988's Return of the Living Dead 2. And

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Speaker 1: then this glorious picture.

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Speaker 3: You know, I love the original Return of the Living Dead,

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Speaker 3: but I've never watched the sequel. I've heard it's kind

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Speaker 3: of Looney Tunes.

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Speaker 1: Yeah, they're definitely the sequels that I'm familiar with, mostly

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Speaker 1: by box art. I know Return of the Living Dead

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Speaker 1: 2 has, you know, kind of cool box art. And

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Speaker 1: then Living Dead 3's big selling point, I think, is

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Speaker 1: Sexy Zombie. That's the one that, like, Sexy Zombie is

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Speaker 1: in the forefront. But I never actually watched it. Anyway, Snyder,

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Speaker 1: she had a number of subsequent TV roles and included

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Speaker 1: appearances on In the Heat of the Night, Jake and

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Speaker 1: the Fat Man, Seinfeld, and Homicide Life on the Street.

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Speaker 1: And she also reprised her role as a vocal talent

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Speaker 1: in the Killer Clowns from Outer Space video game.

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Speaker 3: She's great in this. She brings a very good straight

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Speaker 3: delivery of dialogue that is funny.

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Speaker 1: Yes, I agree.

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Speaker 3: She's not hamming it up in a way.

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Speaker 1: That is good. Absolutely.

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Speaker 4: Yeah.

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Speaker 1: As we'll discuss, she spends a lot of screen time

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Speaker 1: taking a shower. But, you know, we'll break that down

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Speaker 1: when we get into the plot.

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Speaker 3: All right.

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Speaker 1: Well, let's talk about Officer Dave Hanson, then played by

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Speaker 1: John Allen Nelson, born 1959. Yeah, this character is Debbie's

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00:22:59,690 --> 00:23:04,240
Speaker 1: ex-boyfriend and current local cop. Nelson's TV credits go back

435
00:23:04,260 --> 00:23:08,270
Speaker 1: to 1983, but, uh, in, I believe 1989, he starred

436
00:23:08,310 --> 00:23:11,290
Speaker 1: in death stalker and the warriors from hell. This is

437
00:23:11,369 --> 00:23:15,419
Speaker 1: a barbarian movie. He is the lead in it. Um, uh,

438
00:23:15,470 --> 00:23:17,909
Speaker 1: this one I think has been riffed before, uh, a

439
00:23:17,970 --> 00:23:21,790
Speaker 1: lot of regular mainstream mainstream TV work from this guy followed,

440
00:23:21,830 --> 00:23:24,530
Speaker 1: but he also pops up in 2009 feast three.

441
00:23:25,450 --> 00:23:28,649
Speaker 3: I might've seen that death stalker movie or maybe not.

442
00:23:28,670 --> 00:23:31,149
Speaker 3: I don't recall, but he, uh, I don't know, this

443
00:23:31,170 --> 00:23:33,449
Speaker 3: guy doesn't read barbarian to me.

444
00:23:33,470 --> 00:23:36,689
Speaker 1: Well, no, you have two different basic types of barbarian.

445
00:23:36,730 --> 00:23:39,430
Speaker 1: You have the muscle-bound barbarian, and then you have your

446
00:23:39,540 --> 00:23:42,880
Speaker 1: leaner barbarian. And I think Deathstalker tends to be your

447
00:23:42,980 --> 00:23:45,260
Speaker 1: leaner barbarian in different installments.

448
00:23:45,580 --> 00:23:47,360
Speaker 3: More of the rogue than the fighter.

449
00:23:47,940 --> 00:23:50,980
Speaker 1: Yeah, or he's more finesse. He's putting more into dex

450
00:23:51,020 --> 00:23:51,560
Speaker 1: than strength.

451
00:23:52,000 --> 00:23:55,379
Speaker 3: Right, okay. I would say the same thing about Nelson

452
00:23:55,400 --> 00:23:57,080
Speaker 3: here that I would say about Snyder in the role

453
00:23:57,100 --> 00:23:59,619
Speaker 3: of Debbie. Both of them do a great job of

454
00:24:00,570 --> 00:24:04,200
Speaker 3: straight delivery of funny dialogue that if they'd been winking

455
00:24:04,260 --> 00:24:05,879
Speaker 3: a little bit more wouldn't have been as good.

456
00:24:06,320 --> 00:24:11,610
Speaker 1: Right. Okay, now let's get to the main human antagonist

457
00:24:11,810 --> 00:24:15,570
Speaker 1: of the picture, and that is Officer Curtis Mooney. Played

458
00:24:15,590 --> 00:24:20,310
Speaker 1: by the great John Vernon, who lived 1932 through 2005. Yes,

459
00:24:20,490 --> 00:24:23,530
Speaker 1: it is the Dean from 1978's Animal House.

460
00:24:23,970 --> 00:24:24,430
Speaker 4: Oh, boy.

461
00:24:24,510 --> 00:24:26,790
Speaker 3: The guy who puts them on double secret probation.

462
00:24:26,950 --> 00:24:27,290
Speaker 4: Yes.

463
00:24:27,890 --> 00:24:30,850
Speaker 3: And he's playing essentially the same character here, but as

464
00:24:30,890 --> 00:24:32,250
Speaker 3: a cop, like with a gun. Yeah.

465
00:24:33,109 --> 00:24:38,310
Speaker 1: I mean, Vernon really found a later career niche for

466
00:24:38,350 --> 00:24:43,159
Speaker 1: himself as no-nonsense hard-ass. Like more than that, I would

467
00:24:43,200 --> 00:24:44,940
Speaker 1: say that's being too generous. Like a lot of the

468
00:24:44,980 --> 00:24:47,300
Speaker 1: characters he played are just outright malicious.

469
00:24:47,840 --> 00:24:49,300
Speaker 3: The guy who hates the youth.

470
00:24:49,619 --> 00:24:51,960
Speaker 1: He hates the youth and he's going to do everything

471
00:24:52,119 --> 00:24:56,040
Speaker 1: within his powers given to him by his position or

472
00:24:56,060 --> 00:24:59,189
Speaker 1: his job to go after them. And also maybe go

473
00:24:59,230 --> 00:25:01,330
Speaker 1: a little more as well, a little harder.

474
00:25:01,850 --> 00:25:05,290
Speaker 3: This is the character archetype that is, I think, hilariously

475
00:25:05,330 --> 00:25:08,090
Speaker 3: parodied in the Simpsons episode where Homer goes back to

476
00:25:08,150 --> 00:25:10,230
Speaker 3: college because the dean is super cool.

477
00:25:10,730 --> 00:25:10,970
Speaker 4: Yes.

478
00:25:12,400 --> 00:25:12,700
Speaker 1: Yeah.

479
00:25:12,770 --> 00:25:13,010
Speaker 4: Yeah.

480
00:25:13,130 --> 00:25:16,949
Speaker 1: There's also a Futurama episode that parodies this where Bender

481
00:25:16,990 --> 00:25:22,510
Speaker 1: goes to college. And yeah, it's it's become such a staple. But,

482
00:25:22,530 --> 00:25:25,310
Speaker 1: you know, it all really begins with John Vernon's performance

483
00:25:25,369 --> 00:25:27,390
Speaker 1: in that film. And again, he plays a similar sort

484
00:25:27,430 --> 00:25:29,780
Speaker 1: of character here. Just, you know, a hard ass that

485
00:25:29,820 --> 00:25:34,700
Speaker 1: hates everybody. The talented actor, the Canadian actor with filming

486
00:25:34,720 --> 00:25:38,020
Speaker 1: TV credits going back to the 50s. And his pre-Animal

487
00:25:38,340 --> 00:25:41,900
Speaker 1: House credits include some voice work for Marvel animated series

488
00:25:42,080 --> 00:25:47,530
Speaker 1: in the 1960s. He voiced Iron Man and would later

489
00:25:47,550 --> 00:25:51,530
Speaker 1: do some Marvel voices on much later animated series. He

490
00:25:51,570 --> 00:25:54,850
Speaker 1: debuted on Broadway in 64. He starred in the Canadian

491
00:25:54,910 --> 00:25:58,650
Speaker 1: crime series Wojcik from 66 to 68, which I've never seen,

492
00:25:58,690 --> 00:26:02,760
Speaker 1: but I'm to understand was highly thought of at the time.

493
00:26:02,820 --> 00:26:07,260
Speaker 1: It was like a new sensation on television. canadian television

494
00:26:08,240 --> 00:26:10,869
Speaker 1: he soon crossed over into american film with roles in

495
00:26:10,930 --> 00:26:15,630
Speaker 1: hitchcock's topaz in 69 dirty harry in 71 he plays

496
00:26:15,670 --> 00:26:18,450
Speaker 1: the mayor he pops up in 76 as the outlaw

497
00:26:18,490 --> 00:26:21,800
Speaker 1: josie wales he followed up on animal house with its

498
00:26:21,800 --> 00:26:24,939
Speaker 1: 13 episode tv spinoff delta house.

499
00:26:26,859 --> 00:26:29,080
Speaker 3: Haven't seen it but i don't have high hopes.

500
00:26:29,700 --> 00:26:35,030
Speaker 1: Other credits include 1980s Herbie Goes Bananas, 82's Airplane 2,

501
00:26:35,020 --> 00:26:38,220
Speaker 1: the 83 horror movie Curtains. Oh, and he's also in

502
00:26:38,240 --> 00:26:42,540
Speaker 1: an Ernest movie, 1987's Ernest Goes to Camp. I think

503
00:26:42,560 --> 00:26:44,989
Speaker 1: that might have been the first full-fledged Ernest movie. That's

504
00:26:45,070 --> 00:26:48,369
Speaker 1: one I definitely saw. I don't think I saw that one.

505
00:26:49,350 --> 00:26:53,910
Speaker 1: He's also in 87's Blue Monkey. Um, let's see, there's

506
00:26:53,930 --> 00:26:56,510
Speaker 1: a 1977 killer cat movie called The Uncanny, and he's

507
00:26:56,550 --> 00:27:00,460
Speaker 1: also in the 1974 provocative surrealist comedy Sweet Movie.

508
00:27:01,140 --> 00:27:03,740
Speaker 3: I just had to look up The Uncanny to see, wait,

509
00:27:03,780 --> 00:27:06,780
Speaker 3: have I seen this? I honestly don't recall.

510
00:27:06,800 --> 00:27:10,040
Speaker 1: Yeah, it's not one that I think I'm familiar with.

511
00:27:10,850 --> 00:27:14,110
Speaker 3: It's like a, it's an anthology film, right? That has

512
00:27:14,150 --> 00:27:15,750
Speaker 3: a cat as the villain.

513
00:27:15,770 --> 00:27:17,950
Speaker 4: Yeah. Yep. Yep.

514
00:27:17,970 --> 00:27:18,850
Speaker 1: Seems to be the case.

515
00:27:18,950 --> 00:27:19,170
Speaker 4: Yeah.

516
00:27:19,369 --> 00:27:22,690
Speaker 1: We have different times. You know, this might, did I, maybe,

517
00:27:22,730 --> 00:27:24,380
Speaker 1: maybe I did watch part of this.

518
00:27:24,660 --> 00:27:25,100
Speaker 4: Yeah.

519
00:27:25,340 --> 00:27:28,000
Speaker 1: Yeah. It feels very familiar. Because we do, we have

520
00:27:28,040 --> 00:27:31,060
Speaker 1: Peter Cushing in at least one segment. Maybe.

521
00:27:31,480 --> 00:27:33,260
Speaker 3: Donald Pleasance and Ray Milland.

522
00:27:33,640 --> 00:27:36,350
Speaker 1: You know, I think maybe I did watch one of,

523
00:27:36,700 --> 00:27:40,530
Speaker 1: we did watch one segment from this for one of

524
00:27:40,670 --> 00:27:42,389
Speaker 1: our horror episodes in the past.

525
00:27:42,730 --> 00:27:43,419
Speaker 3: I think we did.

526
00:27:43,470 --> 00:27:45,170
Speaker 1: Our horror anthology series. Yeah.

527
00:27:45,430 --> 00:27:49,419
Speaker 3: It's got Samantha Egger, too. think we've seen this.

528
00:27:49,440 --> 00:27:53,840
Speaker 1: Yeah yeah the segment that vernon is in is hollywood

529
00:27:53,840 --> 00:27:57,720
Speaker 1: 1936 this is the segment that has samantha agger donald

530
00:27:57,740 --> 00:27:59,810
Speaker 1: pleasance uh and john vernon.

531
00:28:00,109 --> 00:28:02,290
Speaker 3: Uh it's maddening when i get into the state where

532
00:28:02,350 --> 00:28:04,230
Speaker 3: i can't remember if i've seen a film but i

533
00:28:04,270 --> 00:28:05,790
Speaker 3: really think i have and now i've got to go

534
00:28:05,830 --> 00:28:07,770
Speaker 3: back and watch it to figure out if i've already

535
00:28:07,810 --> 00:28:08,250
Speaker 3: watched it.

536
00:28:10,990 --> 00:28:13,120
Speaker 1: I mean, I don't remember for sure, but there's no

537
00:28:13,170 --> 00:28:15,619
Speaker 1: way that John Vernon gets out of this movie without

538
00:28:15,680 --> 00:28:16,880
Speaker 1: being eaten by a cat, right?

539
00:28:17,020 --> 00:28:17,899
Speaker 3: Oh, he's got, yeah.

540
00:28:18,180 --> 00:28:18,400
Speaker 4: Yeah.

541
00:28:18,660 --> 00:28:20,340
Speaker 3: Chomp, chomp. Fancy feast.

542
00:28:21,020 --> 00:28:24,320
Speaker 1: So anyway, yeah. Terrific character actor. Great at this sort

543
00:28:24,359 --> 00:28:27,460
Speaker 1: of role. And there's tremendous sin killer clowns from outer space.

544
00:28:28,060 --> 00:28:31,100
Speaker 1: All right. We have the Terenzi brothers as characters in this.

545
00:28:31,500 --> 00:28:36,800
Speaker 1: There are comic relief characters. I would say they only

546
00:28:36,880 --> 00:28:40,460
Speaker 1: hold up as limitedly funny characters. I had to chuckle

547
00:28:40,500 --> 00:28:43,120
Speaker 1: at maybe one or two things that they do. And

548
00:28:43,160 --> 00:28:47,330
Speaker 1: they are played by the comedy team, Siegel and Lacasse.

549
00:28:48,190 --> 00:28:50,630
Speaker 1: This was an actual like comedy duo of the time.

550
00:28:50,670 --> 00:28:54,730
Speaker 1: That's Peter Lacasse, who lived 1959 through 2020. And then

551
00:28:54,790 --> 00:29:00,170
Speaker 1: Michael S. Siegel. Michael S. Siegel, I think, ultimately went

552
00:29:00,210 --> 00:29:01,960
Speaker 1: on to do more things. He got involved in like

553
00:29:02,100 --> 00:29:04,219
Speaker 1: UK film and theater projects when he moved over there.

554
00:29:05,830 --> 00:29:08,210
Speaker 1: And he's done some video game voice acting, including the

555
00:29:08,230 --> 00:29:09,790
Speaker 1: recent Robocop Rogue City game.

556
00:29:11,030 --> 00:29:13,810
Speaker 3: These guys occupy a strange niche in that they are

557
00:29:13,870 --> 00:29:18,340
Speaker 3: the character archetypes who would normally be the comic relief

558
00:29:18,560 --> 00:29:21,800
Speaker 3: in an otherwise not funny film. But this is a

559
00:29:21,880 --> 00:29:26,020
Speaker 3: funny film. And I found their comedy bits some of

560
00:29:26,120 --> 00:29:30,100
Speaker 3: the most failed attempts to be funny in this otherwise

561
00:29:30,180 --> 00:29:30,900
Speaker 3: funny film.

562
00:29:31,260 --> 00:29:31,860
Speaker 1: Absolutely.

563
00:29:31,900 --> 00:29:32,280
Speaker 4: Yeah. Yeah.

564
00:29:34,920 --> 00:29:38,650
Speaker 1: The times they succeed in being humorous, for my money anyway,

565
00:29:38,950 --> 00:29:41,920
Speaker 1: are just smaller. moments and not like the hard gag

566
00:29:41,980 --> 00:29:43,480
Speaker 1: moments they're going for with these two.

567
00:29:43,840 --> 00:29:44,060
Speaker 4: Yeah.

568
00:29:44,840 --> 00:29:47,140
Speaker 1: All right. One more actor we're going to mention here,

569
00:29:47,240 --> 00:29:51,780
Speaker 1: and that is Royal Dano, who lived 1922 through 1994,

570
00:29:51,780 --> 00:29:56,640
Speaker 1: playing the character Farmer Gene Green. Quirky American character actor

571
00:29:56,680 --> 00:30:01,440
Speaker 1: with credits going back to 1943. His credits include 1956's

572
00:30:01,560 --> 00:30:05,040
Speaker 1: Moby Dick, in which he plays the prophetic Elijah. This

573
00:30:05,080 --> 00:30:09,120
Speaker 1: is the character that warns our central characters that they

574
00:30:09,160 --> 00:30:11,530
Speaker 1: are doomed if they go on this ship.

575
00:30:11,890 --> 00:30:14,730
Speaker 3: Oh, before they get on the Pequod, yeah.

576
00:30:15,190 --> 00:30:18,250
Speaker 1: Let's see, he's in a 72 TV movie titled Moon

577
00:30:18,270 --> 00:30:22,270
Speaker 1: of the Wolf. He's in 74's Messiah of Evil. 76

578
00:30:22,270 --> 00:30:25,510
Speaker 1: is The Outlaw Josie Wales. 83 is Something Wicked This

579
00:30:25,590 --> 00:30:29,940
Speaker 1: Way Comes. 83's The Right Stuff, 87's House 2, 87's

580
00:30:30,000 --> 00:30:35,680
Speaker 1: Ghoulies 2, 1990's Spaced Invaders, and 1993's The Dark Half.

581
00:30:36,400 --> 00:30:39,100
Speaker 1: He also has a slew of TV credits, including one

582
00:30:39,140 --> 00:30:44,060
Speaker 1: episode of Night Gallery. Clearly a talented actor with a

583
00:30:44,100 --> 00:30:47,900
Speaker 1: great folksy vibe. And he just goes ahead and just

584
00:30:47,990 --> 00:30:51,770
Speaker 1: hams it up all the way here. Just absolutely amped

585
00:30:51,850 --> 00:30:54,370
Speaker 1: up to 11. This is a fun little role.

586
00:30:54,790 --> 00:30:57,950
Speaker 3: Spaced invaders is a film that I loved when I

587
00:30:57,970 --> 00:30:59,910
Speaker 3: was a kid. I think I rented it from the

588
00:30:59,950 --> 00:31:03,520
Speaker 3: video store and I ended up watching it many times. Uh,

589
00:31:03,700 --> 00:31:07,600
Speaker 3: also a comedy science fiction film with some, you know,

590
00:31:07,660 --> 00:31:11,860
Speaker 3: zany Martians who come to earth by accident and they

591
00:31:12,320 --> 00:31:14,969
Speaker 3: end up running around on Halloween night. Everybody thinks that

592
00:31:14,990 --> 00:31:17,550
Speaker 3: their kids in costumes while they're trying to take over

593
00:31:17,590 --> 00:31:20,470
Speaker 3: the world. Haven't seen it many years, probably doesn't hold

594
00:31:20,550 --> 00:31:22,390
Speaker 3: up very well, but I loved it when I was

595
00:31:22,450 --> 00:31:26,260
Speaker 3: a kid. And, This guy plays the exact same character

596
00:31:26,360 --> 00:31:28,300
Speaker 3: in that movie that he does in this one.

597
00:31:28,320 --> 00:31:30,900
Speaker 1: Oh, wow. And they're so close together, too. It's like

598
00:31:30,960 --> 00:31:33,260
Speaker 1: it's almost too close together for it to have for

599
00:31:33,520 --> 00:31:35,720
Speaker 1: for that to have been influenced by this. I don't know.

600
00:31:35,940 --> 00:31:36,160
Speaker 4: Yeah.

601
00:31:37,860 --> 00:31:39,810
Speaker 1: But the character that he plays is kind of like

602
00:31:39,870 --> 00:31:42,630
Speaker 1: it's basically the trope that you see in the blob.

603
00:31:42,690 --> 00:31:45,970
Speaker 1: He's the. Like the good-natured folksy guy who just happens

604
00:31:46,030 --> 00:31:47,970
Speaker 1: to run afoul of the alien menace.

605
00:31:48,410 --> 00:31:54,000
Speaker 3: Darnation. He's a farmer whose meteor has landed on his property,

606
00:31:54,040 --> 00:31:55,500
Speaker 3: and now he's going to be rich.

607
00:31:55,880 --> 00:31:59,580
Speaker 1: Yeah. All right. And then finally, the music. The music's

608
00:31:59,920 --> 00:32:04,600
Speaker 1: really fun here. The composer is John Massari, born 1957.

609
00:32:04,580 --> 00:32:06,590
Speaker 1: He worked a lot in TV and film over the years.

610
00:32:07,010 --> 00:32:10,500
Speaker 1: Also scored the Lorenzo Lama Snake Eater movies. And I

611
00:32:10,500 --> 00:32:12,800
Speaker 1: would say the general vibe for Killer Klowns from Outer

612
00:32:12,840 --> 00:32:18,200
Speaker 1: Space is John Carpenter-esque synth that is occasionally quite suspenseful

613
00:32:18,500 --> 00:32:21,270
Speaker 1: and very John Carpenter-y. But then you also have plenty

614
00:32:21,290 --> 00:32:23,730
Speaker 1: of circus music whimsy sprinkled in there as well.

615
00:32:24,270 --> 00:32:26,850
Speaker 3: Yeah, that's right. But then also, of course, a major

616
00:32:26,930 --> 00:32:31,090
Speaker 3: musical texture here is the rock music from the Dickies.

617
00:32:31,170 --> 00:32:33,230
Speaker 3: Because right at the beginning of the movie, we get

618
00:32:33,280 --> 00:32:37,520
Speaker 3: that opening theme song. which if you did not already know,

619
00:32:37,560 --> 00:32:40,140
Speaker 3: this is one of those movies like the Flash Gordon

620
00:32:40,180 --> 00:32:44,230
Speaker 3: film that is not a musical, but does have an

621
00:32:44,310 --> 00:32:48,110
Speaker 3: original rock theme song that says the title of the

622
00:32:48,150 --> 00:32:51,810
Speaker 3: movie in the lyrics and describes the plot in the lyrics.

623
00:32:52,530 --> 00:32:53,130
Speaker 1: That's right.

624
00:32:53,170 --> 00:32:53,390
Speaker 4: Yeah.

625
00:32:53,470 --> 00:32:57,390
Speaker 1: Killer Clowns from Outer Space performed by the Dickies. Not

626
00:32:57,430 --> 00:32:59,270
Speaker 1: a band I was super familiar with, but they've been

627
00:32:59,290 --> 00:33:01,310
Speaker 1: around for a long time and they seem to have

628
00:33:01,330 --> 00:33:05,530
Speaker 1: a strong following. American pop punk band, or I guess

629
00:33:05,550 --> 00:33:06,910
Speaker 1: you'd just call them a punk band, but I've also

630
00:33:06,950 --> 00:33:11,490
Speaker 1: seen pop punk or humor punk thrown in there. Active

631
00:33:12,170 --> 00:33:15,750
Speaker 1: still today, based out of L.A., headed up by vocalist

632
00:33:15,850 --> 00:33:19,310
Speaker 1: Leonard Graves Phillips, who also has writing production credit on

633
00:33:19,370 --> 00:33:23,470
Speaker 1: this song. And it's also worth pointing out that noted

634
00:33:23,590 --> 00:33:27,970
Speaker 1: film composer and frequent Steven Soderbergh and Nicholas Winding Refn

635
00:33:28,110 --> 00:33:32,330
Speaker 1: collaborator Cliff Martinez was their drummer at the time. And

636
00:33:33,170 --> 00:33:35,870
Speaker 1: so presumably listening to The Killer Clowns from Outer Space,

637
00:33:35,930 --> 00:33:37,850
Speaker 1: we're hearing Cliff Martinez on drums.

638
00:33:38,650 --> 00:33:39,330
Speaker 3: Yeah, I think so.

639
00:33:39,690 --> 00:33:39,890
Speaker 4: Yeah.

640
00:33:40,010 --> 00:33:43,230
Speaker 1: The same year he would have composed the score for

641
00:33:43,310 --> 00:33:47,820
Speaker 1: Soderbergh's Sex, Lies and Videotape. So an interesting little bit

642
00:33:47,860 --> 00:33:51,680
Speaker 1: of film score trivia there. But the song The Killer

643
00:33:51,700 --> 00:33:54,340
Speaker 1: Clowns from Outer Space was released the same year on

644
00:33:54,380 --> 00:33:56,800
Speaker 1: an EP from the Dickies with the same title.

645
00:33:57,260 --> 00:34:00,600
Speaker 3: That EP also includes a pretty amazing cover. It's a

646
00:34:00,700 --> 00:34:05,560
Speaker 3: cover of a song. originally from the Jetsons, the Hanna-Barbera

647
00:34:05,620 --> 00:34:09,640
Speaker 3: cartoon that's played on the show, the Jetsons by a,

648
00:34:09,840 --> 00:34:14,640
Speaker 3: an in show, uh, like teen idol named, I think, uh,

649
00:34:14,920 --> 00:34:19,009
Speaker 3: screaming jet or jet screamer or something like that. Uh,

650
00:34:19,469 --> 00:34:25,549
Speaker 3: and the song is called E-P-O-P-O-R-K-A-A. It's E-P-O-P-O-R-K-A-A. I love you.

651
00:34:25,850 --> 00:34:28,430
Speaker 3: And the Dickies cover is excellent. I think.

652
00:34:28,930 --> 00:34:29,109
Speaker 4: Yeah.

653
00:34:29,150 --> 00:34:31,980
Speaker 1: This song is really fun. I mean, It should be noted,

654
00:34:32,100 --> 00:34:34,980
Speaker 1: as with the score, there's enough circus music in there

655
00:34:35,040 --> 00:34:37,719
Speaker 1: that it is going to maybe annoy you a bit.

656
00:34:37,760 --> 00:34:40,200
Speaker 1: I mean, that's the thing about circus music. But it's

657
00:34:40,239 --> 00:34:43,200
Speaker 1: a really fun track. Some of the lyrics include the

658
00:34:43,239 --> 00:34:46,380
Speaker 1: likes of everybody's running when the circus comes into their towns.

659
00:34:46,739 --> 00:34:50,509
Speaker 1: Everybody's gunning for the likes of the killer clowns. Or

660
00:34:50,780 --> 00:34:52,839
Speaker 1: this one's really this one gets a bit hard here.

661
00:34:53,210 --> 00:34:56,450
Speaker 1: See a rubber nose on a painted face bringing genocide

662
00:34:56,489 --> 00:35:01,500
Speaker 1: to the human race. Yeah, it's almost getting into almost

663
00:35:01,520 --> 00:35:04,080
Speaker 1: like Misfits territory with the lyrics on that one.

664
00:35:04,219 --> 00:35:04,660
Speaker 4: Yeah, yeah.

665
00:35:04,760 --> 00:35:06,800
Speaker 3: Oh, it reminds me of the lyrics of Astro Zombies.

666
00:35:06,980 --> 00:35:07,500
Speaker 1: Yeah, yeah.

667
00:35:16,060 --> 00:35:18,239
Speaker 3: So the main Killer Clown song plays while we get

668
00:35:18,280 --> 00:35:21,940
Speaker 3: a montage of nightlife in the movie's setting, which is

669
00:35:22,000 --> 00:35:26,589
Speaker 3: this California town called Crescent Cove. So we see teenagers

670
00:35:26,650 --> 00:35:30,270
Speaker 3: hanging out at a circus themed restaurant called Big Top Burger.

671
00:35:31,210 --> 00:35:34,989
Speaker 3: The youth are surveyed with evident disgust here by a

672
00:35:35,090 --> 00:35:38,529
Speaker 3: cop named Officer Mooney. This is, again, the character played

673
00:35:38,550 --> 00:35:42,830
Speaker 3: by John Vernon. Mooney's just looking around at these kids

674
00:35:42,870 --> 00:35:45,489
Speaker 3: and he would clearly love to arrest all of these

675
00:35:45,570 --> 00:35:48,690
Speaker 3: long hairs, but he is outnumbered. So he gets his

676
00:35:48,770 --> 00:35:51,210
Speaker 3: coffee and he drives off in his squad car looking

677
00:35:51,550 --> 00:35:55,240
Speaker 3: frustrated and fuming. Next thing we see is a young

678
00:35:55,280 --> 00:35:58,660
Speaker 3: guy with blonde hair and glasses carrying some groceries on

679
00:35:58,680 --> 00:36:01,990
Speaker 3: the sidewalk. He's drinking a beer in a can that's

680
00:36:02,030 --> 00:36:05,930
Speaker 3: just labeled BEER in all caps with nothing else. And

681
00:36:05,950 --> 00:36:08,270
Speaker 3: he sort of hides his open container as he goes

682
00:36:08,310 --> 00:36:11,930
Speaker 3: through a crosswalk in front of Mooney's car. And Mooney grumbles.

683
00:36:12,690 --> 00:36:15,290
Speaker 3: Just looking at this kid makes him furious, but then

684
00:36:15,310 --> 00:36:17,219
Speaker 3: he moves on. This guy, by the way, is a

685
00:36:17,340 --> 00:36:21,379
Speaker 3: minor character named Bob, played by Christopher Titus. And after

686
00:36:21,420 --> 00:36:26,930
Speaker 3: they go their separate ways, Bob says, cops. But next,

687
00:36:26,950 --> 00:36:29,510
Speaker 3: we're going to check in at the local Lover's Lane.

688
00:36:29,590 --> 00:36:33,610
Speaker 3: It's Makeout Point. So all the youths here are parking,

689
00:36:33,750 --> 00:36:37,460
Speaker 3: listening to the radio, drinking beer, stargazing, and smooching.

690
00:36:37,920 --> 00:36:39,580
Speaker 1: Yeah, and it's one of those movies where I think

691
00:36:39,600 --> 00:36:41,330
Speaker 1: they're all clearly well into their late 20s.

692
00:36:41,989 --> 00:36:44,670
Speaker 3: Yes. And in this scene, we meet a lot of

693
00:36:44,690 --> 00:36:47,969
Speaker 3: the young characters who at first I was assuming we

694
00:36:48,010 --> 00:36:50,270
Speaker 3: would follow many of these characters for the rest of

695
00:36:50,310 --> 00:36:55,250
Speaker 3: the film. But no, mainly just our primary two characters here,

696
00:36:55,330 --> 00:37:00,129
Speaker 3: Mike Tobacco and Debbie Stone. They're going steady. They're hanging

697
00:37:00,170 --> 00:37:00,870
Speaker 3: out in their car.

698
00:37:01,350 --> 00:37:02,070
Speaker 1: They're drinking.

699
00:37:02,130 --> 00:37:04,550
Speaker 3: But while everybody else here is drinking beer for some reason,

700
00:37:04,570 --> 00:37:08,560
Speaker 3: they're having champagne. I don't know if is here's a question.

701
00:37:09,140 --> 00:37:13,620
Speaker 3: Did you read Mike as like a rich or preppy guy?

702
00:37:13,719 --> 00:37:16,700
Speaker 3: He's sort of dressed in a preppy way. He's got

703
00:37:16,739 --> 00:37:20,620
Speaker 3: this sweater on with a collared shirt underneath, and they're

704
00:37:20,640 --> 00:37:24,940
Speaker 3: drinking champagne while everybody else is not. Is that what

705
00:37:24,980 --> 00:37:26,140
Speaker 3: we were supposed to take from this?

706
00:37:26,820 --> 00:37:29,520
Speaker 1: I had not put that together till just now. Maybe

707
00:37:29,560 --> 00:37:32,719
Speaker 1: that's what they were going for. But yeah, I don't know.

708
00:37:32,760 --> 00:37:35,219
Speaker 1: His character, yeah, about the only thing I really get

709
00:37:35,280 --> 00:37:37,230
Speaker 1: out of it is that, yeah, he is a cut up.

710
00:37:37,920 --> 00:37:41,669
Speaker 1: And he also is kind of he's a cool kid,

711
00:37:41,710 --> 00:37:44,250
Speaker 1: but he's also still friends with the weird kids.

712
00:37:44,670 --> 00:37:44,990
Speaker 4: Yeah.

713
00:37:45,090 --> 00:37:47,430
Speaker 1: So he's a transitional character in that regard.

714
00:37:47,710 --> 00:37:48,270
Speaker 3: That's right.

715
00:37:48,350 --> 00:37:48,589
Speaker 4: Yeah.

716
00:37:48,670 --> 00:37:50,969
Speaker 3: And then, of course, Debbie we meet in the scene

717
00:37:51,050 --> 00:37:54,060
Speaker 3: is depicted as very earnest and good hearted. She's got

718
00:37:54,100 --> 00:37:58,520
Speaker 3: that final girl energy. We also in the scene meet

719
00:37:58,660 --> 00:38:01,960
Speaker 3: the Terenzi brothers, Paul and Rich, who are friends of

720
00:38:02,060 --> 00:38:07,100
Speaker 3: Mike's from school. These are zany, low-level hustlers who make

721
00:38:07,180 --> 00:38:10,339
Speaker 3: money running an ice cream truck. And their truck has

722
00:38:10,400 --> 00:38:13,680
Speaker 3: a giant clown head on top called Jojo the Ice

723
00:38:13,760 --> 00:38:17,100
Speaker 3: Cream Clown. So when these brothers show up, they cause

724
00:38:17,120 --> 00:38:20,430
Speaker 3: a major ruckus at the lover's lane by pulling up

725
00:38:20,469 --> 00:38:23,089
Speaker 3: in their truck and yelling at everybody through their loudspeaker.

726
00:38:24,200 --> 00:38:26,779
Speaker 3: Their ice cream slogans have a lot of vulgar double

727
00:38:26,880 --> 00:38:30,700
Speaker 3: entendre based around the concept of licking. And they also

728
00:38:30,760 --> 00:38:34,020
Speaker 3: try to upsell the frozen treats by, there's one who's

729
00:38:34,060 --> 00:38:36,440
Speaker 3: doing his routine in the microphone and he keeps humping

730
00:38:36,480 --> 00:38:38,700
Speaker 3: the air while he's listing the ice creams.

731
00:38:39,160 --> 00:38:41,920
Speaker 1: Yeah, their entire business model seems to revolve around selling

732
00:38:42,080 --> 00:38:46,250
Speaker 1: ice cream at night and setting their sights on the

733
00:38:46,290 --> 00:38:50,150
Speaker 1: local make-out place as like where the prime business is

734
00:38:50,190 --> 00:38:52,649
Speaker 1: going to be for buying a bunch of fudgesicles and stuff.

735
00:38:53,030 --> 00:38:53,529
Speaker 4: Yeah, yeah.

736
00:38:54,280 --> 00:38:57,779
Speaker 3: The Terenzi brothers are, after this, they're driven away from

737
00:38:57,820 --> 00:39:00,860
Speaker 3: the car park area after being brutally heckled and pelted

738
00:39:00,910 --> 00:39:04,090
Speaker 3: with beer cans and other trash. They're not popular.

739
00:39:04,110 --> 00:39:04,170
Speaker 1: No.

740
00:39:05,830 --> 00:39:09,750
Speaker 3: But then after watching all this happen, Mike tells Debbie,

741
00:39:09,890 --> 00:39:11,970
Speaker 3: whenever I want to have a good time, I call

742
00:39:12,050 --> 00:39:14,719
Speaker 3: Rich and Paul. A night out with those guys is

743
00:39:14,760 --> 00:39:16,000
Speaker 3: a total adventure.

744
00:39:18,480 --> 00:39:18,740
Speaker 4: What?

745
00:39:19,280 --> 00:39:21,480
Speaker 1: I mean, he just knows them. That's, I guess, all

746
00:39:21,500 --> 00:39:22,859
Speaker 1: we really need to take away from this.

747
00:39:23,469 --> 00:39:25,390
Speaker 3: But we don't get the sense that there's that much

748
00:39:25,450 --> 00:39:28,590
Speaker 3: adventurous about them. I don't know. Maybe it depends on

749
00:39:28,630 --> 00:39:29,630
Speaker 3: what you call an adventure.

750
00:39:29,730 --> 00:39:29,969
Speaker 4: They just.

751
00:39:30,040 --> 00:39:32,000
Speaker 3: Seem like guys who are always trying to work some

752
00:39:32,040 --> 00:39:32,860
Speaker 3: sort of scam.

753
00:39:33,020 --> 00:39:34,520
Speaker 1: Yeah, they're making poor choices.

754
00:39:34,880 --> 00:39:35,060
Speaker 4: Yeah.

755
00:39:36,180 --> 00:39:38,400
Speaker 1: Like, do they do they run the ice cream truck

756
00:39:38,440 --> 00:39:41,759
Speaker 1: during the day? Like, or are they maybe some sort

757
00:39:41,800 --> 00:39:43,580
Speaker 1: of weird scam where they're like, we know a guy

758
00:39:43,600 --> 00:39:45,640
Speaker 1: who runs an ice cream truck, but he doesn't run

759
00:39:45,680 --> 00:39:47,810
Speaker 1: it at night. We could rent it from him. And

760
00:39:47,910 --> 00:39:52,100
Speaker 1: sell ice cream to teenagers and college students at night

761
00:39:52,219 --> 00:39:54,939
Speaker 1: and thinking that's a great idea. That would make sense.

762
00:39:55,180 --> 00:39:57,219
Speaker 3: Wait, I think later that they do say the ice

763
00:39:57,260 --> 00:39:58,580
Speaker 3: cream truck is rented, right?

764
00:39:58,660 --> 00:40:00,820
Speaker 1: Oh, well, they do. That's right. That's right. So maybe

765
00:40:00,860 --> 00:40:02,969
Speaker 1: that's what's going on. They can only use it at night.

766
00:40:03,130 --> 00:40:05,250
Speaker 3: Because they say, you know, like, use the ice cream

767
00:40:05,290 --> 00:40:08,490
Speaker 3: truck to ram the killer clown. And they're like, I can't.

768
00:40:08,530 --> 00:40:09,190
Speaker 3: It's a rental.

769
00:40:10,880 --> 00:40:11,140
Speaker 4: Anyway.

770
00:40:11,670 --> 00:40:13,790
Speaker 3: So Mike and Debbie lie out in the back of

771
00:40:13,830 --> 00:40:16,790
Speaker 3: their car looking at the stars when suddenly a huge

772
00:40:16,890 --> 00:40:20,450
Speaker 3: bright object streaks across the night sky. What was that?

773
00:40:20,590 --> 00:40:23,330
Speaker 3: Was it a comet? Debbie wants to go see where

774
00:40:23,350 --> 00:40:26,370
Speaker 3: it landed, and Mike takes some convincing, but she talks

775
00:40:26,410 --> 00:40:29,350
Speaker 3: him into it. We also cut to somewhere else nearby

776
00:40:29,430 --> 00:40:32,760
Speaker 3: on a farm where an old codger, this is Gene Green,

777
00:40:32,840 --> 00:40:35,580
Speaker 3: played by Royal Dano, is sitting out on his porch

778
00:40:35,620 --> 00:40:39,100
Speaker 3: with his bloodhound Pooh, and he watches the light pass

779
00:40:39,180 --> 00:40:42,760
Speaker 3: right overhead and And this guy is full of oddball

780
00:40:43,120 --> 00:40:47,410
Speaker 3: rural colloquialism. He's like, well, I'll be hornswoggled. You see

781
00:40:47,450 --> 00:40:52,549
Speaker 3: that there, Sky Guppy, zip on by? Sky Guppy? Is

782
00:40:52,590 --> 00:40:53,210
Speaker 3: that a saying?

783
00:40:53,230 --> 00:40:55,370
Speaker 1: I don't know. I mean, I trust him.

784
00:40:56,090 --> 00:40:59,730
Speaker 3: So Green determines the object was Halley's Comet. And he

785
00:40:59,810 --> 00:41:03,850
Speaker 3: also decides to go find the crash site, reasoning that

786
00:41:03,950 --> 00:41:07,010
Speaker 3: somehow this will make him filthy rich. So he grabs

787
00:41:07,050 --> 00:41:11,020
Speaker 3: his lantern and shovel and he heads out into the woods. However,

788
00:41:11,300 --> 00:41:14,140
Speaker 3: when he comes upon the landing site, it is not

789
00:41:14,180 --> 00:41:18,610
Speaker 3: an impact crater, but a circus tent. And he's talking

790
00:41:18,630 --> 00:41:21,370
Speaker 3: to his dog. He says, well, I'll be greased and fried.

791
00:41:21,430 --> 00:41:24,950
Speaker 3: What's the circus doing out here? I love the circus.

792
00:41:25,090 --> 00:41:27,489
Speaker 3: Come on, maybe we can get us some free passes.

793
00:41:27,510 --> 00:41:32,840
Speaker 1: Oh man, it's really, it's adorable. This guy loves circuses

794
00:41:32,880 --> 00:41:36,160
Speaker 1: so much, but of course he's so dimmed. This guy's

795
00:41:36,219 --> 00:41:37,040
Speaker 1: clearly going to get it.

796
00:41:37,520 --> 00:41:40,580
Speaker 3: Yeah, but the scene takes a turn. So the farmer

797
00:41:40,620 --> 00:41:43,620
Speaker 3: goes to investigate the tent, and he determines that there

798
00:41:43,700 --> 00:41:47,260
Speaker 3: is something peculiar about this circus. Where's the ticket booth?

799
00:41:47,969 --> 00:41:51,170
Speaker 3: Here we also get our first clown stalking scene, first

800
00:41:51,270 --> 00:41:53,670
Speaker 3: in silhouette through the side of the tent. So the

801
00:41:53,710 --> 00:41:57,530
Speaker 3: guy is creeping along, and then there's a clown-shaped shadow

802
00:41:57,630 --> 00:41:59,830
Speaker 3: following him, which for a second you could mistake as

803
00:41:59,870 --> 00:42:02,810
Speaker 3: being his shadow. And then you realize, like, oh, no way,

804
00:42:02,850 --> 00:42:05,520
Speaker 3: that's a clown. There's something in here kind of like

805
00:42:05,560 --> 00:42:07,220
Speaker 3: the Charlie Chaplin mirror gag.

806
00:42:07,770 --> 00:42:11,529
Speaker 1: Yeah, yeah, absolutely. Yeah, I love the colors here. And

807
00:42:11,610 --> 00:42:13,830
Speaker 1: I think the film's already doing a great job invoking

808
00:42:13,870 --> 00:42:19,759
Speaker 1: a surrealistic, comedic menace in the clowns. And as a

809
00:42:19,780 --> 00:42:22,080
Speaker 1: sidebar here, I think this is one of the things

810
00:42:22,100 --> 00:42:24,779
Speaker 1: the film does just so well. So scary clowns are

811
00:42:24,840 --> 00:42:29,239
Speaker 1: obviously a dime a dozen nowadays. And even at this point,

812
00:42:29,300 --> 00:42:31,520
Speaker 1: when Killer Clowns from Outer Space came out, we'd already

813
00:42:31,570 --> 00:42:34,690
Speaker 1: had multiple movies with sinister clowns in them. And Stephen

814
00:42:34,710 --> 00:42:38,500
Speaker 1: King's It, the novel, was a fairly recent bestseller. And,

815
00:42:38,600 --> 00:42:40,819
Speaker 1: you know, there will be many more scary clowns to come.

816
00:42:41,120 --> 00:42:43,960
Speaker 1: But the thing about scary clowns in horror is that

817
00:42:44,340 --> 00:42:48,660
Speaker 1: their clownness is very often only skin deep or grease

818
00:42:48,719 --> 00:42:52,480
Speaker 1: paint deep. And underneath, we usually get either human cruelty

819
00:42:52,940 --> 00:42:56,190
Speaker 1: or supernatural menace. And I don't want to dismiss all

820
00:42:56,210 --> 00:42:57,469
Speaker 1: of that out of hand. You know, that can be

821
00:42:57,489 --> 00:43:00,290
Speaker 1: a lot of fun still and be very terrifying. Pennywise,

822
00:43:00,330 --> 00:43:02,910
Speaker 1: the dancing clown, is one of the best. And he

823
00:43:02,969 --> 00:43:05,700
Speaker 1: totally fits this mold. clown on the outside, but it's

824
00:43:05,739 --> 00:43:09,480
Speaker 1: just an illusion, just a face that's worn by an

825
00:43:09,540 --> 00:43:10,620
Speaker 1: extra-dimensional menace.

826
00:43:11,719 --> 00:43:15,980
Speaker 3: Yeah, with Pennywise, obviously, it's a way of salting the

827
00:43:16,000 --> 00:43:19,740
Speaker 3: meat for the creature, right? Because it is a creature

828
00:43:19,800 --> 00:43:23,070
Speaker 3: that thrives on fear. He savors the fear of his victims.

829
00:43:23,800 --> 00:43:28,170
Speaker 3: And the clown disguise kind of heightens the ambiguity and

830
00:43:28,190 --> 00:43:30,549
Speaker 3: the tension. It increases the tension because you don't know

831
00:43:30,570 --> 00:43:32,230
Speaker 3: what to make of it. A clown is supposed to

832
00:43:32,270 --> 00:43:34,910
Speaker 3: be a funny and non-threatening thing, but obviously this is

833
00:43:35,010 --> 00:43:39,380
Speaker 3: one that is causing you fear. And that mismatch actually

834
00:43:39,440 --> 00:43:40,900
Speaker 3: makes him more frightening.

835
00:43:41,340 --> 00:43:41,600
Speaker 4: Right.

836
00:43:41,840 --> 00:43:43,940
Speaker 1: But there will come a point where it's like the

837
00:43:43,980 --> 00:43:46,220
Speaker 1: mask is drawn away.

838
00:43:46,540 --> 00:43:46,719
Speaker 4: Yeah.

839
00:43:47,020 --> 00:43:49,780
Speaker 1: And the monster is revealed and the clownness is gone.

840
00:43:50,180 --> 00:43:53,089
Speaker 1: But I think there's something admirable in a case like

841
00:43:53,110 --> 00:43:55,850
Speaker 1: this movie where the clown-ness goes absolutely all the way

842
00:43:55,870 --> 00:43:58,870
Speaker 1: to the bone. I'd venture to guess that maybe some

843
00:43:58,930 --> 00:44:02,190
Speaker 1: incarnations of the Joker in comic books land in this area.

844
00:44:02,650 --> 00:44:05,359
Speaker 1: But Killer Clowns from Outer Space definitely does. At no

845
00:44:05,460 --> 00:44:08,240
Speaker 1: point is the mask of the clown removed to reveal

846
00:44:08,320 --> 00:44:12,299
Speaker 1: some horror beneath. Again, they do not become clowns. They

847
00:44:12,460 --> 00:44:15,680
Speaker 1: are clowns. Clowns are a species in this movie. They

848
00:44:15,700 --> 00:44:19,420
Speaker 1: don't paint themselves to become what they're presented as. Like

849
00:44:19,640 --> 00:44:24,100
Speaker 1: everything that they do on a biological or civilizational level

850
00:44:24,680 --> 00:44:25,300
Speaker 1: is clowning.

851
00:44:25,320 --> 00:44:28,469
Speaker 3: I think that's right.

852
00:44:28,510 --> 00:44:28,730
Speaker 4: Yeah.

853
00:44:28,969 --> 00:44:29,209
Speaker 1: Yeah.

854
00:44:30,110 --> 00:44:32,750
Speaker 3: Uh, so in this scene, uh, yeah, you're right. We,

855
00:44:32,830 --> 00:44:34,969
Speaker 3: we do get our first taste of that. So the

856
00:44:35,010 --> 00:44:37,719
Speaker 3: farmer's dog disappears. I think a hole appears in the

857
00:44:37,760 --> 00:44:41,890
Speaker 3: side of the circus tent and the big net comes out. Um,

858
00:44:42,530 --> 00:44:45,230
Speaker 3: And then the farmer turns around and his dog's gone.

859
00:44:45,430 --> 00:44:49,290
Speaker 3: And this part's actually kind of sad. But anyway, he

860
00:44:49,330 --> 00:44:52,509
Speaker 3: gets enraged and he starts shouting at the tent that

861
00:44:52,570 --> 00:44:56,089
Speaker 3: he will tear it apart with his bare hands. But

862
00:44:56,130 --> 00:44:58,890
Speaker 3: then when he grabs one of the ropes surrounding the tent,

863
00:44:59,050 --> 00:45:01,630
Speaker 3: it sends a huge jolt of electricity through him. And

864
00:45:02,810 --> 00:45:06,799
Speaker 3: he says, like, holy smokes, this thing is wired. And then, uh-oh,

865
00:45:07,020 --> 00:45:10,420
Speaker 3: here comes our first full view of one of the

866
00:45:10,460 --> 00:45:15,280
Speaker 3: movie's clowns. Um, how can we describe the look generally?

867
00:45:15,320 --> 00:45:18,880
Speaker 3: The different clowns have somewhat different features, but they are

868
00:45:19,000 --> 00:45:23,940
Speaker 3: basically humanoid in shape, but with distorted features and proportions

869
00:45:24,460 --> 00:45:27,989
Speaker 3: generally somewhat larger than a human, but not much larger

870
00:45:28,430 --> 00:45:31,609
Speaker 3: or have some parts of their body with larger than

871
00:45:31,690 --> 00:45:35,250
Speaker 3: normal proportions to the others, like a big head, big face,

872
00:45:35,350 --> 00:45:36,690
Speaker 3: big hands and feet.

873
00:45:37,410 --> 00:45:37,830
Speaker 4: Yeah.

874
00:45:37,870 --> 00:45:42,130
Speaker 1: Like kind of like, um, like a grotesque, um, version

875
00:45:42,370 --> 00:45:45,779
Speaker 1: of like an old man's features underneath, but also like

876
00:45:45,820 --> 00:45:47,740
Speaker 1: a troll or an ogre's features.

877
00:45:48,239 --> 00:45:48,540
Speaker 4: Yeah.

878
00:45:48,739 --> 00:45:50,560
Speaker 1: You know, everything very exaggerated.

879
00:45:51,400 --> 00:45:54,940
Speaker 3: Of course, clown clothes and makeup with pale white skin,

880
00:45:55,000 --> 00:45:59,430
Speaker 3: generally candy colored hair and big red noses. And then, yeah,

881
00:45:59,450 --> 00:46:02,670
Speaker 3: like you're saying, there are these hints of monstrousness, the

882
00:46:02,810 --> 00:46:06,469
Speaker 3: skin while made to look like a clown. It's got that,

883
00:46:06,690 --> 00:46:09,670
Speaker 3: that makeup look, the grease paint look is also cool.

884
00:46:10,150 --> 00:46:13,989
Speaker 3: texturally craggy it looks kind of rough and suggests a

885
00:46:14,110 --> 00:46:18,950
Speaker 3: reptilian nature underneath or maybe like ancient skin also the

886
00:46:19,110 --> 00:46:22,089
Speaker 3: mouth on the first guy we see is huge with

887
00:46:22,200 --> 00:46:24,520
Speaker 3: lots of glistening teeth inside.

888
00:46:24,000 --> 00:46:27,880
Speaker 1: Yeah yeah like it's sort of a cannibal morph or

889
00:46:27,940 --> 00:46:32,040
Speaker 1: something you know like extra large mouth for consuming things.

890
00:46:32,710 --> 00:46:35,469
Speaker 3: So the clown approaches and the farmer is confused. And

891
00:46:35,510 --> 00:46:38,800
Speaker 3: then the clown says something in his alien clown language,

892
00:46:38,860 --> 00:46:41,540
Speaker 3: which we hear many times in the film, then pulls

893
00:46:41,620 --> 00:46:44,380
Speaker 3: out a ray gun and appears to cook the farmer

894
00:46:44,500 --> 00:46:45,279
Speaker 3: alive with it.

895
00:46:46,160 --> 00:46:48,649
Speaker 1: That went about as well as we knew it would

896
00:46:48,670 --> 00:46:50,170
Speaker 1: for this poor farmer.

897
00:46:50,860 --> 00:46:53,640
Speaker 3: So next thing, we go to the police station, where

898
00:46:53,780 --> 00:46:57,120
Speaker 3: we get some drama between the two main cop characters

899
00:46:57,180 --> 00:47:01,100
Speaker 3: in the film. There is Mooney, the seething law-and-order maniac

900
00:47:01,160 --> 00:47:04,730
Speaker 3: we met earlier, and a younger, more even-tempered cop named

901
00:47:04,770 --> 00:47:08,690
Speaker 3: Dave Hansen, played by John Allen Nelson. The basic conflict

902
00:47:08,730 --> 00:47:11,930
Speaker 3: in the scene is that Mooney has arrested two college

903
00:47:11,969 --> 00:47:15,710
Speaker 3: guys dressed like they're headed to a Bauhaus concert. He

904
00:47:15,770 --> 00:47:18,169
Speaker 3: detained them, I think, for the crime of walking through

905
00:47:18,190 --> 00:47:21,450
Speaker 3: the park in goth makeup. Maybe it was another open

906
00:47:21,489 --> 00:47:25,800
Speaker 3: container issue. I don't recall. But Dave Hanson is trying

907
00:47:25,840 --> 00:47:28,640
Speaker 3: to calm the situation and get Mooney to take it easy.

908
00:47:28,700 --> 00:47:31,940
Speaker 3: But Mooney won't be stopped. He's freaking out and screaming like,

909
00:47:32,280 --> 00:47:35,239
Speaker 3: it's scum like you that are killing this town. And

910
00:47:35,500 --> 00:47:39,980
Speaker 3: he hauls the guys away for booking. But apparently these

911
00:47:40,020 --> 00:47:43,320
Speaker 3: two cops have some bad blood between them. Dave doesn't

912
00:47:43,360 --> 00:47:46,529
Speaker 3: like Mooney personally. beating people up and raging around like

913
00:47:46,550 --> 00:47:49,730
Speaker 3: a psycho and mooney doesn't like dave i think for

914
00:47:49,770 --> 00:47:53,650
Speaker 3: being young yeah or maybe for being weak maybe he's

915
00:47:53,690 --> 00:47:56,080
Speaker 3: like you know you're not you're not tough enough on them.

916
00:47:56,500 --> 00:47:58,960
Speaker 1: Yeah it quickly becomes clear that mooney is a terrible

917
00:47:59,000 --> 00:48:02,180
Speaker 1: cop he's a would-be local tyrant who thinks the job

918
00:48:02,280 --> 00:48:05,839
Speaker 1: is all about cracking heads and again vernon is the

919
00:48:05,920 --> 00:48:07,680
Speaker 1: perfect guy to play this hard ass.

920
00:48:07,820 --> 00:48:12,609
Speaker 3: Yeah So our farmer guy already got microwaved by the clowns.

921
00:48:12,700 --> 00:48:14,360
Speaker 3: But now we got to have another visit to the

922
00:48:14,400 --> 00:48:17,859
Speaker 3: circus tent. So Debbie and Mike are they were also

923
00:48:17,880 --> 00:48:19,840
Speaker 3: going to go look for where the shooting star landed.

924
00:48:19,940 --> 00:48:22,580
Speaker 3: And they end up tromping through the woods with Mike

925
00:48:22,820 --> 00:48:26,180
Speaker 3: doing a lot of kind of cringy comedy routines as

926
00:48:26,239 --> 00:48:31,040
Speaker 3: they go until they finally come across the circus tent. Debbie,

927
00:48:31,440 --> 00:48:34,600
Speaker 3: once they get there, Debbie is hesitant. But Mike is

928
00:48:34,719 --> 00:48:38,160
Speaker 3: full steam ahead. And he leads them inside where, wouldn't

929
00:48:38,180 --> 00:48:40,160
Speaker 3: you know it, this is not a circus tent, but

930
00:48:40,200 --> 00:48:46,469
Speaker 3: an interstellar starship with pervasive decorative circus themes. And again,

931
00:48:46,610 --> 00:48:49,350
Speaker 3: all through this, Mike is just doing this running comedy

932
00:48:49,530 --> 00:48:53,169
Speaker 3: act to impress Debbie, most of which is super cringeworthy.

933
00:48:53,489 --> 00:48:56,810
Speaker 1: Yeah, yeah. But this spaceship, man, looks amazing.

934
00:48:57,170 --> 00:48:57,430
Speaker 4: Yeah.

935
00:48:57,510 --> 00:49:00,549
Speaker 3: So inside the spaceship, they find a bunch of funhouse

936
00:49:00,610 --> 00:49:05,739
Speaker 3: style corridors with wacky color schemes and angles. There is

937
00:49:05,780 --> 00:49:08,640
Speaker 3: a portal that leads to a giant reactor room that

938
00:49:08,700 --> 00:49:10,950
Speaker 3: really looks like it belongs on the Death Star. I

939
00:49:10,989 --> 00:49:13,830
Speaker 3: think because of just the vertical depth of it, it's

940
00:49:14,210 --> 00:49:19,450
Speaker 3: this giant chasm or shaft, but it is bathed in

941
00:49:19,570 --> 00:49:21,680
Speaker 3: pink and purple light, and then at the core of

942
00:49:21,700 --> 00:49:24,800
Speaker 3: this chamber is a giant crystal ball that is arcing

943
00:49:24,840 --> 00:49:25,980
Speaker 3: like a Tesla coil.

944
00:49:26,880 --> 00:49:30,710
Speaker 1: Yeah, I love this scene. The matte painting, special effects

945
00:49:30,770 --> 00:49:34,730
Speaker 1: combo here looks really good. It really didn't even need

946
00:49:34,750 --> 00:49:37,290
Speaker 1: to look this cool and clowny at the same time,

947
00:49:37,350 --> 00:49:40,080
Speaker 1: but it does. And I guess, you know, also drives

948
00:49:40,120 --> 00:49:43,100
Speaker 1: home that we're dealing with an advanced civilization here. Like,

949
00:49:43,140 --> 00:49:48,219
Speaker 1: they're somewhere on the Kardashev scale. The Kardashev clown scale.

950
00:49:48,239 --> 00:49:51,230
Speaker 1: I'm not sure how that differs from your standard Kardashev scale.

951
00:49:51,930 --> 00:49:54,529
Speaker 1: But they're on there. They have advanced technology, but they're

952
00:49:54,550 --> 00:49:55,450
Speaker 1: clowning to the max.

953
00:49:56,110 --> 00:49:58,810
Speaker 3: They don't have Dyson spheres. They have Dyson balloons.

954
00:49:59,070 --> 00:49:59,890
Speaker 1: Yes, there you go.

955
00:50:09,400 --> 00:50:12,279
Speaker 3: Uh, so, uh, anyway, they, you know, they're starting to

956
00:50:12,320 --> 00:50:14,480
Speaker 3: get the idea that something's a little weird here. I

957
00:50:14,500 --> 00:50:17,799
Speaker 3: think Debbie says, this is no fun house, no circus either. Uh,

958
00:50:18,640 --> 00:50:21,460
Speaker 3: so Mike and Debbie realized that the shooting star they

959
00:50:21,500 --> 00:50:23,959
Speaker 3: saw was actually an alien ship and they are now

960
00:50:24,120 --> 00:50:27,810
Speaker 3: inside it. Uh, so they hear some approaching footsteps and

961
00:50:27,850 --> 00:50:30,709
Speaker 3: they duck into a different room to hide. This room

962
00:50:30,870 --> 00:50:34,130
Speaker 3: is the cotton candy room, which we will visit again

963
00:50:34,150 --> 00:50:36,950
Speaker 3: a couple of times in the film. And this is

964
00:50:37,010 --> 00:50:41,609
Speaker 3: a giant room. filled with fog swirling around the floor

965
00:50:42,110 --> 00:50:47,710
Speaker 3: and large pink, almost testicular kind of boluses hanging off

966
00:50:47,750 --> 00:50:51,170
Speaker 3: of hooks on metal racks with rows and rows of

967
00:50:51,250 --> 00:50:54,980
Speaker 3: rack space going up to the ceiling. And these pink bulbs,

968
00:50:55,120 --> 00:50:59,180
Speaker 3: these hanging dangling bulbs are supposed to be cotton candy.

969
00:50:59,700 --> 00:50:59,960
Speaker 4: Yes.

970
00:51:00,080 --> 00:51:02,500
Speaker 1: Which, you know, we did some episodes of Stuff to

971
00:51:02,540 --> 00:51:04,969
Speaker 1: Blow Your Mind on cotton candy a while back. And

972
00:51:05,630 --> 00:51:07,670
Speaker 1: You know, as we discussed there, like cotton candy is

973
00:51:07,730 --> 00:51:12,300
Speaker 1: just intrinsically bound to the idea of circus and fair

974
00:51:12,410 --> 00:51:15,020
Speaker 1: and outdoor spectacle. So it makes sense that it would

975
00:51:15,040 --> 00:51:18,380
Speaker 1: be associated with clowns. But as we'll discuss, the cotton

976
00:51:18,400 --> 00:51:21,400
Speaker 1: candy here that the clowns are using must not be

977
00:51:21,500 --> 00:51:24,020
Speaker 1: true cotton candy because they can do things that cotton

978
00:51:24,040 --> 00:51:27,360
Speaker 1: candy is completely incapable of doing. It really seems to

979
00:51:27,400 --> 00:51:29,160
Speaker 1: be more like a spider silk.

980
00:51:29,840 --> 00:51:30,080
Speaker 4: Yeah.

981
00:51:30,360 --> 00:51:34,060
Speaker 3: Yeah, that's right. But Mike does not catch on to it.

982
00:51:35,790 --> 00:51:38,790
Speaker 3: to the spider silk elements here. He first says, look

983
00:51:38,810 --> 00:51:41,810
Speaker 3: at this place. Smells like candy. I don't know where

984
00:51:41,850 --> 00:51:44,150
Speaker 3: we were before, but this looks like a cotton candy

985
00:51:44,190 --> 00:51:46,259
Speaker 3: factory to me. This must be where they hang it

986
00:51:46,320 --> 00:51:48,279
Speaker 3: up to dry before they ship it out.

987
00:51:48,900 --> 00:51:49,140
Speaker 1: What?

988
00:51:50,400 --> 00:51:52,920
Speaker 3: Uh, and Debbie says, I don't believe in UFOs, but

989
00:51:52,960 --> 00:51:55,400
Speaker 3: if they do exist, we're then we're trapped in one

990
00:51:55,440 --> 00:51:58,420
Speaker 3: right now. Uh, but Mike doesn't seem to agree. He

991
00:51:58,460 --> 00:52:00,460
Speaker 3: gives her the old, you know, come on, there's gotta

992
00:52:00,500 --> 00:52:04,540
Speaker 3: be a logical explanation for this. And to which Debbie replies, uh,

993
00:52:05,710 --> 00:52:08,069
Speaker 3: I don't remember exactly how she gets here, but she

994
00:52:08,130 --> 00:52:14,450
Speaker 3: says nobody stores cotton candy like this. And she's right. Yeah, again,

995
00:52:14,489 --> 00:52:18,689
Speaker 3: we did core episodes on cotton candy. Cotton candy is hygroscopic,

996
00:52:18,770 --> 00:52:21,930
Speaker 3: meaning it absorbs moisture from the air and it will

997
00:52:21,989 --> 00:52:24,900
Speaker 3: lose its fluffiness and turn into sticky goop. Look at

998
00:52:24,920 --> 00:52:26,880
Speaker 3: all the fog in that room. That is a high

999
00:52:26,940 --> 00:52:29,820
Speaker 3: humidity room. You cannot hang cotton candy like that.

1000
00:52:29,940 --> 00:52:30,759
Speaker 1: Yeah, absolutely.

1001
00:52:31,660 --> 00:52:34,960
Speaker 3: However, Mike decides he's got to prove that debbie is

1002
00:52:34,980 --> 00:52:38,900
Speaker 3: being silly and demonstrate that this is definitely normal cotton

1003
00:52:38,920 --> 00:52:42,420
Speaker 3: candy and not sinister outer space cotton candy so he

1004
00:52:42,600 --> 00:52:46,740
Speaker 3: rips out a chunk of the nearest bulb revealing underneath

1005
00:52:46,960 --> 00:52:50,700
Speaker 3: the wet bloody skinless face of a man so it

1006
00:52:51,160 --> 00:52:54,610
Speaker 3: in fact is not just cotton candy these are cocoons

1007
00:52:54,700 --> 00:52:57,770
Speaker 3: made out of a cotton candy like substance which again

1008
00:52:57,810 --> 00:53:00,230
Speaker 3: is a terrible idea by the way and they appear

1009
00:53:00,250 --> 00:53:03,020
Speaker 3: to dissolve your flesh It.

1010
00:53:03,000 --> 00:53:04,399
Speaker 1: Looks pretty grim. Looks pretty grim.

1011
00:53:04,680 --> 00:53:04,899
Speaker 4: Yeah.

1012
00:53:05,340 --> 00:53:07,719
Speaker 3: So Mike and Debbie are interrupted when a clown comes

1013
00:53:07,780 --> 00:53:10,100
Speaker 3: in to hang up a new bulb. And by the way,

1014
00:53:10,160 --> 00:53:12,700
Speaker 3: just side note, in the middle of the room, there

1015
00:53:12,739 --> 00:53:16,760
Speaker 3: is a giant popcorn machine. It's just swirling popcorn.

1016
00:53:16,780 --> 00:53:17,180
Speaker 4: Yeah.

1017
00:53:17,200 --> 00:53:18,700
Speaker 1: We'll learn more about that popcorn later.

1018
00:53:19,320 --> 00:53:22,040
Speaker 3: But Mike and Debbie are discovered and they bolt for

1019
00:53:22,080 --> 00:53:25,239
Speaker 3: the exit and the clown gives chase, bringing along a

1020
00:53:25,520 --> 00:53:29,719
Speaker 3: popcorn gun. This is a big gun that shoots popcorn

1021
00:53:29,760 --> 00:53:32,140
Speaker 3: that kind of flies through the air after them as

1022
00:53:32,200 --> 00:53:35,799
Speaker 3: they run. The popcorn does hit Debbie and Mike just

1023
00:53:35,880 --> 00:53:38,140
Speaker 3: as they escape the tent, but it doesn't kill them.

1024
00:53:38,180 --> 00:53:40,379
Speaker 3: And I really wasn't sure what the popcorn was supposed

1025
00:53:40,420 --> 00:53:42,260
Speaker 3: to do at this point, but they do come back

1026
00:53:42,320 --> 00:53:42,700
Speaker 3: to that.

1027
00:53:42,969 --> 00:53:43,770
Speaker 1: Yeah.

1028
00:53:43,810 --> 00:53:47,330
Speaker 3: Uh, so Debbie's like popcorn. Why popcorn? And then Mike says,

1029
00:53:47,450 --> 00:53:52,870
Speaker 3: because they're clowns. That's why. Also after this, Mike and Debbie,

1030
00:53:52,910 --> 00:53:55,890
Speaker 3: like they, they run away. Uh, and when the clowns

1031
00:53:55,930 --> 00:53:59,010
Speaker 3: follow them outside the tent, they make a balloon animal

1032
00:53:59,090 --> 00:54:01,220
Speaker 3: dog that helps them track the humans.

1033
00:54:01,440 --> 00:54:01,740
Speaker 1: Yes.

1034
00:54:02,020 --> 00:54:03,860
Speaker 3: And it's barking and, roughing.

1035
00:54:03,960 --> 00:54:06,029
Speaker 1: You know. Yeah, total Looney Tunes moment.

1036
00:54:06,450 --> 00:54:06,689
Speaker 4: Right.

1037
00:54:06,850 --> 00:54:09,390
Speaker 3: So there's a chase through the woods, but Debbie and

1038
00:54:09,430 --> 00:54:13,370
Speaker 3: Mike get away in their car. And also they, you know,

1039
00:54:13,430 --> 00:54:15,230
Speaker 3: there's some fighting in the car. Like, you know, you

1040
00:54:15,250 --> 00:54:16,790
Speaker 3: end up with a clown on the hood of the car,

1041
00:54:16,810 --> 00:54:19,549
Speaker 3: of course, trying to reach through the windshield. But they

1042
00:54:19,570 --> 00:54:22,080
Speaker 3: get away. And then while escaping the scene, they talk

1043
00:54:22,120 --> 00:54:24,500
Speaker 3: about what to do next. Mike thinks they can't tell

1044
00:54:24,580 --> 00:54:27,520
Speaker 3: anyone because of how crazy the story sounds. But Debbie

1045
00:54:27,560 --> 00:54:29,740
Speaker 3: says she has a friend who works for the police

1046
00:54:29,840 --> 00:54:33,180
Speaker 3: and he will believe them. She knows it. Meanwhile, we

1047
00:54:33,219 --> 00:54:36,900
Speaker 3: watch the clowns slowly waddling toward the city limits.

1048
00:54:37,260 --> 00:54:37,660
Speaker 4: Oh, no.

1049
00:54:38,219 --> 00:54:40,299
Speaker 3: And this will be the beginning of a lot of

1050
00:54:40,320 --> 00:54:42,120
Speaker 3: the movie is just going to be little scenes of

1051
00:54:42,140 --> 00:54:48,250
Speaker 3: the clowns doing various clowning, clowning activities and circus related

1052
00:54:48,330 --> 00:54:53,009
Speaker 3: activities within the city against the citizens, all of which

1053
00:54:53,210 --> 00:54:55,489
Speaker 3: end in people being caught and cocooned.

1054
00:54:55,710 --> 00:54:55,950
Speaker 4: Yeah.

1055
00:54:56,190 --> 00:54:59,610
Speaker 1: All acts that are at once malicious and pure clowning.

1056
00:55:00,100 --> 00:55:03,259
Speaker 1: And at times it's hard to figure out exactly what

1057
00:55:03,300 --> 00:55:07,340
Speaker 1: the MO is. Are they entertaining to put their victims

1058
00:55:07,420 --> 00:55:11,140
Speaker 1: at ease before they get them and cocoon them for later?

1059
00:55:11,880 --> 00:55:14,820
Speaker 1: Or is there something else? Is there just something about

1060
00:55:14,890 --> 00:55:17,299
Speaker 1: them where they must entertain people as well? I don't know.

1061
00:55:17,800 --> 00:55:18,859
Speaker 1: They are clowns after all.

1062
00:55:19,469 --> 00:55:21,870
Speaker 3: I really like the moment where the clown tries to

1063
00:55:21,989 --> 00:55:25,910
Speaker 3: blend in by pretending to be a motorized Halloween decoration

1064
00:55:25,989 --> 00:55:27,109
Speaker 3: outside the drugstore.

1065
00:55:27,469 --> 00:55:28,690
Speaker 1: That's smart. That's stealthy.

1066
00:55:28,790 --> 00:55:28,969
Speaker 4: Yeah.

1067
00:55:29,580 --> 00:55:32,880
Speaker 3: So the friend that Debbie was talking about is Dave Hanson,

1068
00:55:32,940 --> 00:55:36,980
Speaker 3: the nicer cop from earlier. So Debbie and Mike, they

1069
00:55:37,020 --> 00:55:38,900
Speaker 3: get to the police station and they try to explain

1070
00:55:38,920 --> 00:55:40,770
Speaker 3: to him what they saw. But in the middle of

1071
00:55:40,850 --> 00:55:45,830
Speaker 3: explaining the killer clown popcorn conspiracy, Mooney wanders in and

1072
00:55:45,870 --> 00:55:48,670
Speaker 3: he's like, oh, this is a load of hogwash. And

1073
00:55:48,830 --> 00:55:51,359
Speaker 3: Mooney says to Mike, he says, I know you, you

1074
00:55:51,410 --> 00:55:55,250
Speaker 3: little fart. You hang out with the Terenzi brothers. And

1075
00:55:55,310 --> 00:55:58,950
Speaker 3: Mooney concludes that these clowns they're talking about are a

1076
00:55:59,050 --> 00:56:05,379
Speaker 3: Terenzi brothers stunt to sell ice cream. Makes sense. So

1077
00:56:05,760 --> 00:56:08,939
Speaker 3: much to Mooney's derision, Dave agrees to go with Mike

1078
00:56:08,980 --> 00:56:11,390
Speaker 3: and Debbie to check out the circus tent and see

1079
00:56:11,450 --> 00:56:15,670
Speaker 3: for himself. Now, we eventually learn here that Dave is

1080
00:56:15,730 --> 00:56:18,810
Speaker 3: Debbie's ex-boyfriend and he is still in love with her,

1081
00:56:18,910 --> 00:56:22,279
Speaker 3: still carrying a torch for her. And because he still

1082
00:56:22,320 --> 00:56:25,000
Speaker 3: cares about her, he takes this kind of paternalistic tone

1083
00:56:25,040 --> 00:56:27,020
Speaker 3: and tells her that she can't come back to the ship.

1084
00:56:27,060 --> 00:56:31,919
Speaker 3: He's dropping her off at home. And Mike and Debbie

1085
00:56:31,940 --> 00:56:34,180
Speaker 3: have a little moment talking to each other before Mike

1086
00:56:34,219 --> 00:56:35,819
Speaker 3: is going to get back in the car and go

1087
00:56:35,840 --> 00:56:38,620
Speaker 3: with Dave up to the tent. And he's worried. He's like,

1088
00:56:38,780 --> 00:56:40,600
Speaker 3: I didn't know he was your ex-boyfriend. He's going to

1089
00:56:40,660 --> 00:56:43,379
Speaker 3: shoot me when we get up there. And Debbie tells Mike,

1090
00:56:43,719 --> 00:56:46,840
Speaker 3: don't worry about Dave. It's those clowns you got to

1091
00:56:46,880 --> 00:56:47,520
Speaker 3: worry about.

1092
00:56:47,640 --> 00:56:50,440
Speaker 1: Yeah.

1093
00:56:51,150 --> 00:56:53,910
Speaker 3: So let's talk about some of the general clown antics

1094
00:56:53,989 --> 00:56:54,530
Speaker 3: in town.

1095
00:56:54,550 --> 00:56:57,710
Speaker 1: Yeah, because it basically becomes that for a while. Just

1096
00:56:57,950 --> 00:57:00,390
Speaker 1: one clown antic and kill after another.

1097
00:57:01,050 --> 00:57:04,210
Speaker 3: One I liked is the puppet show in the gazebo

1098
00:57:04,350 --> 00:57:08,070
Speaker 3: with a single audience member. And I was genuinely laughing

1099
00:57:08,130 --> 00:57:11,549
Speaker 3: out loud about how this guy is just at first

1100
00:57:11,610 --> 00:57:14,850
Speaker 3: he's scoffing and rolling his eyes at a puppet show

1101
00:57:14,930 --> 00:57:17,250
Speaker 3: that he is choosing to watch alone.

1102
00:57:18,020 --> 00:57:20,930
Speaker 1: Yeah, yeah, he's like, wow, what is this crap? But

1103
00:57:20,970 --> 00:57:25,250
Speaker 1: then he's drawn in by the raw honesty of this

1104
00:57:25,390 --> 00:57:29,150
Speaker 1: two-puppet performance, and one of the puppets draws a laser

1105
00:57:29,370 --> 00:57:32,530
Speaker 1: gun of some sort, ray gun, and zaps the other puppet,

1106
00:57:32,870 --> 00:57:35,070
Speaker 1: making that puppet completely evaporate.

1107
00:57:35,660 --> 00:57:37,560
Speaker 3: Yeah, and then the guy's like, what? And then, of course,

1108
00:57:37,600 --> 00:57:40,280
Speaker 3: the gun gets turned on him, but zaps him into

1109
00:57:40,340 --> 00:57:41,620
Speaker 3: a cotton candy cocoon.

1110
00:57:42,120 --> 00:57:43,920
Speaker 1: Yeah, so this is where we learn this is what

1111
00:57:43,960 --> 00:57:47,260
Speaker 1: they're doing. They zap people this way, The ray gun

1112
00:57:47,280 --> 00:57:51,010
Speaker 1: like spins them around and then they're in this cotton

1113
00:57:51,030 --> 00:57:54,130
Speaker 1: candy cocoon that can then be collected later, harvested.

1114
00:57:54,530 --> 00:57:56,710
Speaker 3: We also get a lot of drugstore antics. We saw

1115
00:57:56,750 --> 00:58:00,450
Speaker 3: the clown going to the drugstore earlier. So once inside,

1116
00:58:00,590 --> 00:58:04,880
Speaker 3: the clown wanders around clumsily knocking things over. The drugstore

1117
00:58:04,940 --> 00:58:09,520
Speaker 3: clerk is extremely nervous and bothered by this. And eventually

1118
00:58:09,560 --> 00:58:13,500
Speaker 3: the clown starts cotton candy-fying everybody in the store. But

1119
00:58:13,520 --> 00:58:16,440
Speaker 3: they're also like playing with the product, spraying themselves with

1120
00:58:16,500 --> 00:58:18,780
Speaker 3: shaving cream and sneezing in the baby powder.

1121
00:58:19,030 --> 00:58:21,610
Speaker 1: They can't resist a good site guy like that. They

1122
00:58:21,630 --> 00:58:22,250
Speaker 1: got to go for it.

1123
00:58:22,770 --> 00:58:27,230
Speaker 3: We also get a pizza delivery clown gag. I think

1124
00:58:27,330 --> 00:58:31,410
Speaker 3: that this is supposed to be a Carl Hunga style

1125
00:58:32,070 --> 00:58:34,910
Speaker 3: like pornographic movie set up or like, oh, here's the

1126
00:58:34,950 --> 00:58:37,720
Speaker 3: pizza delivery guy here. And the lady's answering the door

1127
00:58:37,740 --> 00:58:38,580
Speaker 3: in her nightgown.

1128
00:58:39,020 --> 00:58:40,040
Speaker 1: But instead of wine.

1129
00:58:40,400 --> 00:58:40,540
Speaker 2: Yeah.

1130
00:58:40,560 --> 00:58:43,430
Speaker 3: With a glass of wine. But instead, it's a clown

1131
00:58:43,450 --> 00:58:46,230
Speaker 3: delivering the pizza. And then the pizza box opens and

1132
00:58:46,290 --> 00:58:47,630
Speaker 3: inside there are more clowns.

1133
00:58:49,070 --> 00:58:51,370
Speaker 1: This actress, by the way, is Carla Sue Kroll. This

1134
00:58:51,450 --> 00:58:54,450
Speaker 1: is our only credit, though. But this gag, this was hilarious.

1135
00:58:54,490 --> 00:58:57,990
Speaker 1: So clearly we need to do another similar bit with

1136
00:58:58,050 --> 00:58:59,210
Speaker 1: another clown delivery.

1137
00:58:59,470 --> 00:59:02,110
Speaker 3: Yeah, basically the same setup. But instead now it's an

1138
00:59:02,230 --> 00:59:05,030
Speaker 3: older lady who opens the door. And the clown at

1139
00:59:05,070 --> 00:59:09,310
Speaker 3: the door has a box of Valentine cotton candy. Or

1140
00:59:09,350 --> 00:59:12,220
Speaker 3: not cotton candy. sorry valentine like chocolates box you know

1141
00:59:12,240 --> 00:59:16,240
Speaker 3: um in a heart shape and she she turns and

1142
00:59:16,620 --> 00:59:18,490
Speaker 3: i guess is talking to her husband and she's like

1143
00:59:18,770 --> 00:59:21,350
Speaker 3: oh you know oh phil you got this for me

1144
00:59:21,410 --> 00:59:24,450
Speaker 3: and of course the clown there is ready to cotton

1145
00:59:24,470 --> 00:59:25,810
Speaker 3: candy them once again.

1146
00:59:25,950 --> 00:59:28,950
Speaker 1: They have a great deal of cultural knowledge of our planet.

1147
00:59:29,140 --> 00:59:31,720
Speaker 1: They do. They did a lot of research. Maybe they

1148
00:59:31,760 --> 00:59:33,120
Speaker 1: were on the dark side of the moon for a

1149
00:59:33,140 --> 00:59:35,000
Speaker 1: while before they made their trip.

1150
00:59:35,280 --> 00:59:39,360
Speaker 3: They've been studying us, watching our TV. Yeah. So after

1151
00:59:39,400 --> 00:59:42,120
Speaker 3: dropping Debbie off, Dave and Mike head up to check

1152
00:59:42,160 --> 00:59:45,100
Speaker 3: out the spaceship tent. But when they arrive, there's nothing there.

1153
00:59:45,200 --> 00:59:48,120
Speaker 3: Just a big hole in the ground, huh? Well, here

1154
00:59:48,180 --> 00:59:52,380
Speaker 3: Dave gets mad and he places Mike under arrest. Another

1155
00:59:52,740 --> 00:59:56,200
Speaker 3: antic that is going on in town is the whole

1156
00:59:56,430 --> 01:00:03,990
Speaker 3: biker versus clown scene, which is very inspired. There's like

1157
01:00:04,010 --> 01:00:07,730
Speaker 3: a massive congregation of bikers hanging out in an alley

1158
01:00:07,890 --> 01:00:10,970
Speaker 3: outside a building that is covered in graffiti. By the way,

1159
01:00:11,030 --> 01:00:12,990
Speaker 3: I paused it to just read what some of the

1160
01:00:13,030 --> 01:00:16,140
Speaker 3: graffiti is. Some of it's biker slogans, but other stuff

1161
01:00:16,180 --> 01:00:20,380
Speaker 3: is like one graffito just says Jimi Hendrix. Another one

1162
01:00:20,420 --> 01:00:20,740
Speaker 3: says beer.

1163
01:00:22,100 --> 01:00:22,360
Speaker 4: Yeah.

1164
01:00:22,960 --> 01:00:25,110
Speaker 1: Or one says no, but no, but what does that

1165
01:00:25,160 --> 01:00:25,950
Speaker 1: even mean? I don't know.

1166
01:00:25,990 --> 01:00:28,110
Speaker 3: Maybe I don't want to. That's a, that's a biker thing.

1167
01:00:28,730 --> 01:00:31,610
Speaker 3: I actually looked that up. I think it means basically like,

1168
01:00:32,090 --> 01:00:33,790
Speaker 3: I will not give you a ride on my bike

1169
01:00:33,950 --> 01:00:35,910
Speaker 3: unless I find you sexually attractive.

1170
01:00:36,390 --> 01:00:36,830
Speaker 1: Oh, okay.

1171
01:00:37,590 --> 01:00:40,200
Speaker 3: But anyway, so yeah, all the bikers are hanging out

1172
01:00:40,240 --> 01:00:43,400
Speaker 3: being rowdy and then a single clown rides up to

1173
01:00:43,440 --> 01:00:46,760
Speaker 3: them on a bicycle with training wheels. I think this

1174
01:00:46,840 --> 01:00:50,470
Speaker 3: is the sort of, it's implied the childlike clown thing.

1175
01:00:50,670 --> 01:00:53,270
Speaker 1: Yeah, this is the little guy of the group that

1176
01:00:53,350 --> 01:00:55,030
Speaker 1: may be a young clown.

1177
01:00:55,330 --> 01:00:55,550
Speaker 4: Yeah.

1178
01:00:56,150 --> 01:00:59,950
Speaker 3: So he rides up on his little bicycle with training wheels,

1179
01:01:00,090 --> 01:01:03,860
Speaker 3: and then there's one big, gross, drooling, mean biker, the

1180
01:01:03,900 --> 01:01:08,280
Speaker 3: biker bully, who approaches this little clown and starts bullying him.

1181
01:01:08,480 --> 01:01:11,080
Speaker 3: He asks if he can ride his bicycle, and the

1182
01:01:11,120 --> 01:01:14,220
Speaker 3: little clown shakes his head, and then the bully smashes

1183
01:01:14,280 --> 01:01:18,050
Speaker 3: the clown's bicycle while all his friends cheer. And then

1184
01:01:18,070 --> 01:01:19,730
Speaker 3: you really feel sad for the clown here.

1185
01:01:19,770 --> 01:01:20,010
Speaker 4: Yeah.

1186
01:01:20,230 --> 01:01:22,260
Speaker 1: He cries a little bit. It's so sad. He's just

1187
01:01:22,320 --> 01:01:22,800
Speaker 1: a little guy.

1188
01:01:23,980 --> 01:01:28,959
Speaker 3: And then one of the other bikers watching this is like, yeah,

1189
01:01:29,020 --> 01:01:32,340
Speaker 3: he should have let the man ride his bike. But

1190
01:01:32,380 --> 01:01:36,540
Speaker 3: then the clown manifests boxing gloves and puts his hands

1191
01:01:36,640 --> 01:01:39,390
Speaker 3: up and he starts dancing around and cutely saying something

1192
01:01:39,470 --> 01:01:42,330
Speaker 3: in the alien clown language. It sounds a bit like

1193
01:01:42,410 --> 01:01:46,080
Speaker 3: Scooby-Doo saying, put up your dukes, and then he punches

1194
01:01:46,120 --> 01:01:48,140
Speaker 3: the biker's head off into a trash can.

1195
01:01:48,160 --> 01:01:49,460
Speaker 1: Yeah, fatality.

1196
01:01:51,180 --> 01:01:53,140
Speaker 3: Back at the Big Top Burger, we get one of

1197
01:01:53,180 --> 01:01:55,740
Speaker 3: the actually creepier scenes in the movie where there is

1198
01:01:55,780 --> 01:01:59,590
Speaker 3: a clown outside the restaurant playing peekaboo with a child

1199
01:01:59,670 --> 01:02:03,550
Speaker 3: through the window and trying to lure her outside while

1200
01:02:03,590 --> 01:02:07,480
Speaker 3: holding a giant cartoon mallet behind his back. But fortunately,

1201
01:02:07,540 --> 01:02:10,360
Speaker 3: before the girl can make it outside to her clown doom,

1202
01:02:10,710 --> 01:02:13,090
Speaker 3: her scolding mother yanks her back to the table to

1203
01:02:13,130 --> 01:02:14,170
Speaker 3: finish her hamburger.

1204
01:02:14,490 --> 01:02:18,430
Speaker 1: Yeah, definitely very creepy sequence. Clown looked amazing. The music

1205
01:02:18,490 --> 01:02:22,290
Speaker 1: was very evocative here. Yeah, like in that mallet, you know,

1206
01:02:22,390 --> 01:02:24,850
Speaker 1: obviously a comedic mallet, but what's it going to do?

1207
01:02:24,890 --> 01:02:27,830
Speaker 1: Like what kind of awful clown technology does it have?

1208
01:02:28,350 --> 01:02:30,510
Speaker 1: So relieved when this did not come to fruition.

1209
01:02:30,730 --> 01:02:33,830
Speaker 3: I think we never see the mallet used in the film.

1210
01:02:33,970 --> 01:02:35,180
Speaker 3: So we don't know about that one.

1211
01:02:35,260 --> 01:02:36,280
Speaker 1: We're just left to imagine.

1212
01:02:37,090 --> 01:02:40,090
Speaker 3: Also somewhere in here, there is the thing that we

1213
01:02:40,150 --> 01:02:42,310
Speaker 3: really had a question about. There's a scene where there

1214
01:02:42,370 --> 01:02:45,660
Speaker 3: is a dude driving along a dark highway and he

1215
01:02:45,680 --> 01:02:48,030
Speaker 3: gets run off the road over the edge of a

1216
01:02:48,140 --> 01:02:51,240
Speaker 3: bridge by a clown driving what I took to be

1217
01:02:51,800 --> 01:02:54,900
Speaker 3: an invisible car. So I was trying at first to

1218
01:02:54,940 --> 01:02:58,419
Speaker 3: think like, this doesn't seem clown related. Like so many

1219
01:02:58,440 --> 01:03:01,420
Speaker 3: of the other attacks and gags are what's the deal here.

1220
01:03:01,440 --> 01:03:02,980
Speaker 3: But then I was thinking maybe it's supposed to be

1221
01:03:03,180 --> 01:03:07,010
Speaker 3: miming because it's You know, clowns and mimes have some

1222
01:03:07,070 --> 01:03:10,940
Speaker 3: overlap and mimes interact with invisible objects. That's part of clowning.

1223
01:03:10,960 --> 01:03:14,520
Speaker 3: I've never really seen an invisible car gag from a mime.

1224
01:03:15,040 --> 01:03:18,800
Speaker 1: Yeah, yeah. This segment made a lot more sense when

1225
01:03:18,880 --> 01:03:21,070
Speaker 1: I read that bit about one of the Kyoto brothers

1226
01:03:21,110 --> 01:03:25,310
Speaker 1: being inspired by a supposed encounter with a clown driving

1227
01:03:25,370 --> 01:03:27,770
Speaker 1: on a mountain road. Write what you know, right?

1228
01:03:28,430 --> 01:03:28,830
Speaker 4: Exactly.

1229
01:03:29,410 --> 01:03:32,400
Speaker 3: Meanwhile, Officer Dave, with Mike handcuffed in the back of

1230
01:03:32,460 --> 01:03:35,540
Speaker 3: his squad car, comes across the lover's lane from earlier.

1231
01:03:35,560 --> 01:03:38,660
Speaker 3: And all the cars now appear to be abandoned. It's

1232
01:03:38,760 --> 01:03:41,980
Speaker 3: dark and quiet here. And he investigates further and finds

1233
01:03:42,120 --> 01:03:45,990
Speaker 3: nobody around. All the cars are just filled with cobwebs

1234
01:03:46,050 --> 01:03:48,630
Speaker 3: of cotton candy. And so I think that's all the

1235
01:03:48,670 --> 01:03:51,370
Speaker 3: convincing Dave needs. He goes back and he uncoffs Mike.

1236
01:03:51,390 --> 01:03:53,070
Speaker 3: He's like, OK, I believe you clowns.

1237
01:03:53,480 --> 01:03:53,760
Speaker 4: Yeah.

1238
01:03:53,880 --> 01:03:57,400
Speaker 1: Yeah. The cotton candy cobwebs are just really convincing here, too.

1239
01:03:57,460 --> 01:04:00,400
Speaker 1: Like it's everything's just bright pink and colorful, but is

1240
01:04:00,440 --> 01:04:02,620
Speaker 1: also legitimately uncanny and creepy.

1241
01:04:03,280 --> 01:04:06,140
Speaker 3: Now, there's some more police business. There's a scene where

1242
01:04:06,600 --> 01:04:10,900
Speaker 3: we're at the police station and Mooney is reading a magazine,

1243
01:04:11,060 --> 01:04:14,820
Speaker 3: laughing to himself, laughing like it's a humor magazine or something.

1244
01:04:14,880 --> 01:04:18,440
Speaker 3: Maybe he's reading Copy of Mad. But then we see

1245
01:04:18,480 --> 01:04:21,660
Speaker 3: him turn a page and it's a gun catalog. What's

1246
01:04:21,680 --> 01:04:26,290
Speaker 3: he laughing at? But then the clown calls start coming

1247
01:04:26,370 --> 01:04:28,250
Speaker 3: in on the phone. The phones are ringing off the

1248
01:04:28,290 --> 01:04:33,490
Speaker 3: hooks with clown-related complaints. He's like, oh, really? The clowns

1249
01:04:33,550 --> 01:04:37,730
Speaker 3: took your wife away in a balloon? And Mooney is angry.

1250
01:04:37,850 --> 01:04:40,250
Speaker 3: He does not like this nonsense. And he says, if

1251
01:04:40,270 --> 01:04:42,860
Speaker 3: they want to play games, they're messing with the wrong guy.

1252
01:04:43,500 --> 01:04:46,900
Speaker 3: So he resolves to ignore all of the phones that

1253
01:04:46,940 --> 01:04:48,320
Speaker 3: are ringing in the police station.

1254
01:04:48,640 --> 01:04:52,780
Speaker 1: Yeah, to the perfection of his terrible job as a cop,

1255
01:04:53,240 --> 01:04:57,320
Speaker 1: actively ignoring dangerous situations going on while also just being

1256
01:04:57,340 --> 01:04:58,540
Speaker 1: a tyrannical bully.

1257
01:04:58,860 --> 01:05:01,860
Speaker 3: Now, meanwhile, we got the beginning of you alluded to

1258
01:05:01,910 --> 01:05:06,750
Speaker 3: this earlier, Rob, the the famous shower scene, not famous

1259
01:05:06,810 --> 01:05:08,910
Speaker 3: for the reasons many shower scenes are famous.

1260
01:05:09,890 --> 01:05:12,310
Speaker 1: That's right. It is a shower scene that does seem

1261
01:05:12,350 --> 01:05:15,850
Speaker 1: to go on forever. I got a sense of this

1262
01:05:15,870 --> 01:05:18,570
Speaker 1: when I watched it through the first time in its entirety.

1263
01:05:18,610 --> 01:05:21,330
Speaker 1: But then I saw some folks referencing this online, saying

1264
01:05:21,350 --> 01:05:23,990
Speaker 1: it's the longest cinematic shower of all time. I don't

1265
01:05:24,030 --> 01:05:26,030
Speaker 1: know about that. I couldn't find some stats on that.

1266
01:05:26,550 --> 01:05:30,000
Speaker 1: But again, it is remarkable, first of all, in that

1267
01:05:30,060 --> 01:05:33,440
Speaker 1: it is a very PG-13 shower scene. We get full

1268
01:05:33,540 --> 01:05:37,040
Speaker 1: arm nudity. We almost see an armpit. That's about it.

1269
01:05:37,360 --> 01:05:37,620
Speaker 4: Yeah.

1270
01:05:38,850 --> 01:05:41,670
Speaker 1: It's even tamer than the full bikini shower scene from

1271
01:05:41,730 --> 01:05:47,310
Speaker 1: Piranha Mandir. We watched a while back. And it indeed

1272
01:05:47,350 --> 01:05:48,900
Speaker 1: goes on a while. So I had to clock it.

1273
01:05:48,910 --> 01:05:54,140
Speaker 1: I got out my stopwatch. Multiple scenes and nearly 12

1274
01:05:54,140 --> 01:05:57,840
Speaker 1: minutes of screen time take place between the beginning and

1275
01:05:57,880 --> 01:06:00,840
Speaker 1: the end of Debbie's actual shower. And that's just when

1276
01:06:00,860 --> 01:06:03,780
Speaker 1: the water turns off. It is a full 18 plus

1277
01:06:03,840 --> 01:06:06,840
Speaker 1: minutes of screen time before we see her fully out

1278
01:06:06,860 --> 01:06:10,750
Speaker 1: of the shower. and dressed but still in the bathroom.

1279
01:06:11,330 --> 01:06:14,550
Speaker 3: Yeah that's right so it's not all that much screen

1280
01:06:14,630 --> 01:06:17,590
Speaker 3: time but it just spans a lot of the film

1281
01:06:17,630 --> 01:06:20,250
Speaker 3: you get this feeling it like it starts in the

1282
01:06:20,330 --> 01:06:22,950
Speaker 3: middle of the movie and then you're like into the

1283
01:06:23,010 --> 01:06:24,350
Speaker 3: third act by the time.

1284
01:06:24,230 --> 01:06:26,250
Speaker 1: It's over yeah i guess screen time is maybe not

1285
01:06:26,270 --> 01:06:29,030
Speaker 1: the right discrete because it's yeah we're not actually watching

1286
01:06:29,070 --> 01:06:32,030
Speaker 1: the full thing but we we keep coming back to

1287
01:06:32,070 --> 01:06:35,590
Speaker 1: it that's the duration of this shower within the pacing

1288
01:06:35,660 --> 01:06:40,220
Speaker 1: of this movie um And yeah, I mean, in reality,

1289
01:06:40,260 --> 01:06:43,450
Speaker 1: a 12 minute or even an 18 minute shower, not unreasonable,

1290
01:06:44,010 --> 01:06:46,690
Speaker 1: but within the context of a film's pacing, that's one

1291
01:06:46,730 --> 01:06:49,190
Speaker 1: long shower. I mean, I think the shower scene in psycho,

1292
01:06:49,570 --> 01:06:51,630
Speaker 1: the most famous shower scene of all is something like

1293
01:06:51,810 --> 01:06:53,750
Speaker 1: a minute long, less than a minute even.

1294
01:06:54,010 --> 01:06:54,230
Speaker 4: Yeah.

1295
01:06:55,090 --> 01:06:56,630
Speaker 1: And that one's pivotal to the plot.

1296
01:06:57,530 --> 01:06:59,280
Speaker 3: But in that one, at least you're not like cutting

1297
01:06:59,320 --> 01:07:01,320
Speaker 3: away to multiple other subplots.

1298
01:07:01,360 --> 01:07:01,560
Speaker 4: Yeah.

1299
01:07:01,580 --> 01:07:04,160
Speaker 1: That's the thing. We cut away to just multiple subplots.

1300
01:07:05,140 --> 01:07:08,840
Speaker 3: So, uh, First of all, what's happening here, let's talk about.

1301
01:07:08,860 --> 01:07:12,930
Speaker 3: So further developments during the span of the shower. Within

1302
01:07:12,990 --> 01:07:17,150
Speaker 3: Debbie's house, there are developments on the popcorn subplot. So

1303
01:07:17,230 --> 01:07:20,520
Speaker 3: we eventually find out that the popcorn does do something.

1304
01:07:21,200 --> 01:07:25,360
Speaker 3: I think it's understood to be the larval form of

1305
01:07:25,440 --> 01:07:28,070
Speaker 3: the clown beings. Was that how you understood it?

1306
01:07:28,420 --> 01:07:33,230
Speaker 1: Yeah, because the popcorn we see is crawling around on

1307
01:07:33,270 --> 01:07:38,130
Speaker 1: the tiles of the bathroom floor, like little larval creatures.

1308
01:07:38,190 --> 01:07:41,360
Speaker 1: So I think this is the larval form of the

1309
01:07:41,410 --> 01:07:45,160
Speaker 1: clown life form. What's the next phase in their development?

1310
01:07:45,220 --> 01:07:46,240
Speaker 1: I think we're about to find out.

1311
01:07:46,460 --> 01:07:49,140
Speaker 3: That's right. And we see this, by the way, because

1312
01:07:49,180 --> 01:07:51,620
Speaker 3: Debbie still has the popcorn stuck to her clothes, which

1313
01:07:51,640 --> 01:07:53,700
Speaker 3: are on the bathroom floor. So we see the popcorn

1314
01:07:53,740 --> 01:07:55,210
Speaker 3: kernels kind of squirming around.

1315
01:07:55,230 --> 01:07:57,490
Speaker 1: Yeah, which got blasted onto her by the clown guns.

1316
01:07:57,730 --> 01:08:00,730
Speaker 3: That's right. Yeah. So they're like little caterpillars. And then

1317
01:08:01,530 --> 01:08:04,630
Speaker 3: much later, once she's out of the shower, the popcorn

1318
01:08:04,690 --> 01:08:10,330
Speaker 3: appears to have metamorphosed into baby monster clowns. which are

1319
01:08:10,550 --> 01:08:14,210
Speaker 3: each like a little demon clown head with a mohawk

1320
01:08:14,390 --> 01:08:16,620
Speaker 3: on top of a snake-like spine.

1321
01:08:16,640 --> 01:08:21,219
Speaker 1: Yeah, yeah. So I think it goes basically free-moving popcorn

1322
01:08:21,280 --> 01:08:26,240
Speaker 1: larva to juvenile clown snake and then to adult clown form.

1323
01:08:26,680 --> 01:08:29,470
Speaker 1: And then I think we might assume that the killer

1324
01:08:29,479 --> 01:08:32,350
Speaker 1: clown from outer space is kind of like certain reptiles

1325
01:08:32,390 --> 01:08:35,990
Speaker 1: that keep growing throughout their entire life because they seem

1326
01:08:36,010 --> 01:08:37,230
Speaker 1: to just get taller and taller.

1327
01:08:37,670 --> 01:08:41,580
Speaker 3: Yeah, that's right. Now, these creatures, the snake like creatures

1328
01:08:41,640 --> 01:08:45,160
Speaker 3: attack Debbie in the bathroom, but she escapes, though she

1329
01:08:45,229 --> 01:08:48,090
Speaker 3: is later she escapes only to be menaced by fully

1330
01:08:48,110 --> 01:08:52,170
Speaker 3: grown adult clowns all around her, which ambush her and

1331
01:08:52,270 --> 01:08:55,610
Speaker 3: then prevent her escape from her apartment. There's one part

1332
01:08:55,650 --> 01:08:57,250
Speaker 3: where she's trying to get out and she runs to

1333
01:08:57,270 --> 01:08:58,930
Speaker 3: the window and looks down and there are a bunch

1334
01:08:58,950 --> 01:09:01,379
Speaker 3: of clowns holding a tramp. like firemen.

1335
01:09:02,820 --> 01:09:06,570
Speaker 1: Also worth noting that those snake clowns, they're also like

1336
01:09:06,610 --> 01:09:09,750
Speaker 1: Jack in the Boxes. Because again, there's nothing about the clowns,

1337
01:09:10,090 --> 01:09:13,350
Speaker 1: their biology or their life cycle or their culture and

1338
01:09:13,390 --> 01:09:16,110
Speaker 1: civilization that is not clowning to its heart.

1339
01:09:16,570 --> 01:09:16,809
Speaker 4: Yes.

1340
01:09:17,790 --> 01:09:20,790
Speaker 3: So she's eventually captured and put inside a balloon, like

1341
01:09:20,810 --> 01:09:32,740
Speaker 3: we heard about on the phone. Before that, we cut

1342
01:09:32,780 --> 01:09:36,080
Speaker 3: away to different kinds of clown horror and subplots going on.

1343
01:09:36,160 --> 01:09:38,990
Speaker 3: We get a bit more with Mike and Dave in

1344
01:09:39,010 --> 01:09:43,550
Speaker 3: the car. Dave is kind of rambling about, I think

1345
01:09:43,650 --> 01:09:46,430
Speaker 3: Mike tries to apologize. He's like, look, man, I didn't

1346
01:09:46,450 --> 01:09:49,640
Speaker 3: want to, you know, cause any weirdness with you and Debbie. Uh,

1347
01:09:49,900 --> 01:09:52,559
Speaker 3: and Dave is like, the problem is me. Obviously she

1348
01:09:52,580 --> 01:09:54,340
Speaker 3: goes for laughs, not stability.

1349
01:09:54,360 --> 01:09:59,679
Speaker 1: Yeah. But Mike's like, yeah, you got me. He doesn't

1350
01:09:59,720 --> 01:10:00,320
Speaker 1: contest this.

1351
01:10:01,720 --> 01:10:04,460
Speaker 3: And there's more clown horror. There is the clown puppet

1352
01:10:04,540 --> 01:10:08,100
Speaker 3: show where a clown shows up on a sidewalk and

1353
01:10:08,160 --> 01:10:10,900
Speaker 3: starts doing a, oh, not just a puppet show, a

1354
01:10:11,020 --> 01:10:14,010
Speaker 3: shadow puppet show. He's doing shadow puppetry for a group

1355
01:10:14,060 --> 01:10:17,710
Speaker 3: of elderly people at a bus stop. It begins cute

1356
01:10:17,850 --> 01:10:20,670
Speaker 3: and then gets increasingly absurd. One of the hand shadows

1357
01:10:20,689 --> 01:10:24,890
Speaker 3: he does is a detailed outline of Washington crossing the Delaware.

1358
01:10:24,910 --> 01:10:24,979
Speaker 4: Yep.

1359
01:10:25,410 --> 01:10:26,570
Speaker 1: Legitimately hilarious.

1360
01:10:26,750 --> 01:10:26,950
Speaker 4: Yeah.

1361
01:10:27,540 --> 01:10:30,349
Speaker 3: And then the shadow puppet turns into a big Tyrannosaurus

1362
01:10:30,430 --> 01:10:32,870
Speaker 3: Rex head with glowing eyes, and it eats all the

1363
01:10:32,930 --> 01:10:36,650
Speaker 3: old people, and that somehow shrinks them, which allows the

1364
01:10:36,689 --> 01:10:38,850
Speaker 3: clown to put them in a suitcase full of popcorn.

1365
01:10:39,229 --> 01:10:39,670
Speaker 1: There you go.

1366
01:10:40,650 --> 01:10:43,729
Speaker 3: So Mike and Dave witness part of this bus stop

1367
01:10:43,770 --> 01:10:47,730
Speaker 3: attack from Dave's squad car, and after this, they split up.

1368
01:10:47,810 --> 01:10:50,450
Speaker 3: Dave heads to the police station, and Mike goes to

1369
01:10:50,490 --> 01:10:53,050
Speaker 3: recruit his friends, the Terenzi brothers, the guys with the

1370
01:10:53,130 --> 01:10:53,850
Speaker 3: ice cream truck.

1371
01:10:54,530 --> 01:10:54,770
Speaker 4: I think.

1372
01:10:55,180 --> 01:10:55,680
Speaker 1: The idea is.

1373
01:10:55,660 --> 01:10:58,220
Speaker 3: They're going to drive around, maybe warning people to stay

1374
01:10:58,240 --> 01:11:00,930
Speaker 3: away from clowns on the megaphone. But first, they've got

1375
01:11:00,939 --> 01:11:04,689
Speaker 3: to go rescue Debbie. Also, back at the police station,

1376
01:11:04,750 --> 01:11:07,110
Speaker 3: which is only manned by Mooney at this point, a

1377
01:11:07,170 --> 01:11:09,910
Speaker 3: clown appears at the station while Mooney is sitting at

1378
01:11:09,970 --> 01:11:12,430
Speaker 3: his desk, smoking a cigar and ignoring all of the

1379
01:11:12,470 --> 01:11:16,570
Speaker 3: ringing telephones. The clown offers him a bouquet, but it's

1380
01:11:16,610 --> 01:11:19,660
Speaker 3: a trick bouquet that squirts his face with water. And

1381
01:11:20,500 --> 01:11:24,009
Speaker 3: that makes Mooney very mad. he attempts to arrest the clown,

1382
01:11:24,090 --> 01:11:28,240
Speaker 3: but encounters difficulties, including detachable clown hands that come off

1383
01:11:28,280 --> 01:11:32,640
Speaker 3: with the handcuffs. And, uh, so he tries to, he

1384
01:11:32,680 --> 01:11:36,040
Speaker 3: does end up jailing the clown in the cell next

1385
01:11:36,100 --> 01:11:40,400
Speaker 3: to the two goth guys from earlier. Uh, when Dave

1386
01:11:40,600 --> 01:11:43,400
Speaker 3: later arrives at the police station, he finds that the

1387
01:11:43,430 --> 01:11:47,290
Speaker 3: clown has cocooned the unfortunate prisoners and has turned Mooney

1388
01:11:47,430 --> 01:11:50,670
Speaker 3: into a ventriloquist dummy. So he's got the little red

1389
01:11:50,750 --> 01:11:54,189
Speaker 3: cherry cheeks and the, some blood running from the corners

1390
01:11:54,250 --> 01:11:56,270
Speaker 3: of his mouth that make it resemble the little like

1391
01:11:56,330 --> 01:11:59,840
Speaker 3: block mouth that operates on a, on a ventriloquist puppet.

1392
01:12:00,200 --> 01:12:00,559
Speaker 4: Yeah.

1393
01:12:00,680 --> 01:12:03,680
Speaker 1: Oh my God. This, this scene is, his is terrifying.

1394
01:12:04,040 --> 01:12:07,780
Speaker 3: The clown makes John Vernon talk and he says, don't worry, Dave,

1395
01:12:08,040 --> 01:12:09,700
Speaker 3: all we want to do is kill you.

1396
01:12:10,760 --> 01:12:15,370
Speaker 1: And then he, the clown lets this grotesque ventriloquist dummy

1397
01:12:15,450 --> 01:12:18,770
Speaker 1: like collapse onto the table. And as he does, so like,

1398
01:12:19,430 --> 01:12:25,230
Speaker 1: withdraws his now blood-slicked clown hand from the back of

1399
01:12:25,530 --> 01:12:27,969
Speaker 1: Mooney and then just kind of like flicks the blood

1400
01:12:28,090 --> 01:12:31,519
Speaker 1: off just to really cinch it here. Yeah, terrifying.

1401
01:12:31,880 --> 01:12:35,200
Speaker 3: So it's a showdown between Dave and the clown. And

1402
01:12:35,220 --> 01:12:38,660
Speaker 3: so the clown is approaching. Dave starts firing his service

1403
01:12:38,700 --> 01:12:43,220
Speaker 3: revolver at the clown, but the clown appears invulnerable until

1404
01:12:43,340 --> 01:12:48,009
Speaker 3: Dave discovers the clown's only weakness, the nose, shooting them

1405
01:12:48,090 --> 01:12:51,960
Speaker 3: in the red blood bulbous nose causes the nose to

1406
01:12:52,020 --> 01:12:54,940
Speaker 3: explode in a burst of confetti, and then the clown

1407
01:12:55,020 --> 01:12:59,260
Speaker 3: turns into a spinning sequined Christmas ornament, and then that

1408
01:12:59,360 --> 01:13:03,010
Speaker 3: explodes with pink fireworks. Is that about right?

1409
01:13:03,170 --> 01:13:06,010
Speaker 1: I think so, yeah. I mean, you could basically say

1410
01:13:06,070 --> 01:13:09,130
Speaker 1: the trick is you shoot him in the face, which

1411
01:13:09,150 --> 01:13:11,530
Speaker 1: works with a lot of things. But in this case,

1412
01:13:11,610 --> 01:13:13,700
Speaker 1: it is the nose. The nose holds all their power.

1413
01:13:13,960 --> 01:13:16,180
Speaker 3: That's right. It's their Achilles nose.

1414
01:13:16,520 --> 01:13:16,620
Speaker 2: Yeah.

1415
01:13:17,150 --> 01:13:19,730
Speaker 3: Uh, also Dave manages to get a call into the

1416
01:13:19,790 --> 01:13:23,019
Speaker 3: state police to request help with their, their killer clown issue.

1417
01:13:23,840 --> 01:13:27,380
Speaker 3: And the state police are like, okay, we're on the way. What,

1418
01:13:27,500 --> 01:13:29,419
Speaker 3: what's the police code for killer clowns?

1419
01:13:29,760 --> 01:13:31,380
Speaker 1: Oh, I don't know. You gotta get up a new

1420
01:13:31,460 --> 01:13:31,920
Speaker 1: one for that.

1421
01:13:32,890 --> 01:13:35,010
Speaker 3: So while Mike and the Trenzy brothers are on the

1422
01:13:35,030 --> 01:13:39,889
Speaker 3: way to pick up Debbie, they encounter a. giant mechanized

1423
01:13:39,990 --> 01:13:44,170
Speaker 3: human harvesting operation where the clowns are parading through the

1424
01:13:44,229 --> 01:13:47,950
Speaker 3: streets of the city, surrounded by confetti and streamers, with

1425
01:13:47,990 --> 01:13:51,570
Speaker 3: a giant vacuum cleaner machine that sucks up all of

1426
01:13:51,630 --> 01:13:54,110
Speaker 3: the people who have been pre-wrapped in cotton candy.

1427
01:13:54,130 --> 01:13:57,790
Speaker 1: Yeah, it's a full-blown parade here. Reminds me a lot

1428
01:13:57,810 --> 01:14:00,589
Speaker 1: of a very similar scene that we get in 1987's

1429
01:14:00,650 --> 01:14:03,260
Speaker 1: Masters of the Universe when Skeletor rolls into town.

1430
01:14:04,880 --> 01:14:08,560
Speaker 3: Somewhat recalls also the harvesting imagery in War of the Worlds,

1431
01:14:08,780 --> 01:14:10,820
Speaker 3: but obviously here it is clown-themed.

1432
01:14:11,040 --> 01:14:11,620
Speaker 1: Yes, yes.

1433
01:14:12,120 --> 01:14:14,960
Speaker 3: Anyway, by the time Mike and the brothers arrive at

1434
01:14:14,979 --> 01:14:18,019
Speaker 3: Debbie's apartment, she's already been placed inside the balloon and

1435
01:14:18,060 --> 01:14:21,729
Speaker 3: attached to a clown car, which drives away. So Mike

1436
01:14:22,010 --> 01:14:24,309
Speaker 3: and the brothers, and then also Dave arrives in his

1437
01:14:24,350 --> 01:14:29,110
Speaker 3: squad car, and they all give chase, but they lose

1438
01:14:29,170 --> 01:14:32,430
Speaker 3: track of the car. Oh, I think the Terenzi brothers, like,

1439
01:14:33,350 --> 01:14:36,290
Speaker 3: They pull over because there's a police car behind them, maybe.

1440
01:14:36,310 --> 01:14:37,089
Speaker 1: Is that what happens?

1441
01:14:38,030 --> 01:14:41,470
Speaker 3: So they end up losing the clown car. But they

1442
01:14:41,510 --> 01:14:44,410
Speaker 3: figure out where it's going. Where are these clowns headed

1443
01:14:44,430 --> 01:14:46,650
Speaker 3: with Debbie? Well, if you were a clown, where would

1444
01:14:46,689 --> 01:14:49,340
Speaker 3: you go? The amusement park, obviously.

1445
01:14:49,650 --> 01:14:51,360
Speaker 1: That's right. That's where they feel at home. That's where

1446
01:14:51,380 --> 01:14:52,040
Speaker 1: they can blend in.

1447
01:14:52,660 --> 01:14:56,240
Speaker 3: So when we see the clowns arrive, we pack multiple

1448
01:14:56,280 --> 01:14:59,300
Speaker 3: gags into the same scene where the clowns show up

1449
01:14:59,320 --> 01:15:01,600
Speaker 3: at the amusement park and there's a security guard there.

1450
01:15:02,229 --> 01:15:04,690
Speaker 3: we first of all get many clowns climbing out of

1451
01:15:04,729 --> 01:15:07,050
Speaker 3: a single tiny clown car while the guard watches.

1452
01:15:07,070 --> 01:15:08,250
Speaker 1: Yeah.

1453
01:15:08,710 --> 01:15:13,830
Speaker 3: And then they also produce like banana cream pies and

1454
01:15:13,930 --> 01:15:16,259
Speaker 3: the guards like, what you going to do with those pies?

1455
01:15:16,840 --> 01:15:18,640
Speaker 3: And of course they give him pies to the face,

1456
01:15:18,689 --> 01:15:21,920
Speaker 3: but Oh, the pies are some kind of corrosive material.

1457
01:15:21,979 --> 01:15:24,780
Speaker 3: You know, they're, they're lie pies or something. And they

1458
01:15:24,820 --> 01:15:28,740
Speaker 3: melt the guard into this pile of whipped cream basically

1459
01:15:28,760 --> 01:15:32,100
Speaker 3: and And then as the clowns walk past his melted form,

1460
01:15:32,760 --> 01:15:35,140
Speaker 3: the little clown puts a cherry on top. Aw.

1461
01:15:36,360 --> 01:15:38,460
Speaker 1: It's the dedication to the art form.

1462
01:15:39,260 --> 01:15:41,900
Speaker 3: So our heroes arrive on scene to the rescue and

1463
01:15:41,939 --> 01:15:44,889
Speaker 3: they head into the funhouse for the final showdown. And

1464
01:15:45,090 --> 01:15:47,470
Speaker 3: while they're exploring the clown's lair, here's where we get

1465
01:15:47,530 --> 01:15:51,730
Speaker 3: to the curious exchange we talked about earlier. Dave is saying,

1466
01:15:51,830 --> 01:15:54,270
Speaker 3: where do the clowns come from? Why are they here?

1467
01:15:54,470 --> 01:15:58,400
Speaker 3: Why are they clowns? And Mike says, they're not clowns,

1468
01:15:58,479 --> 01:16:01,139
Speaker 3: some kind of animal from another world that just look

1469
01:16:01,200 --> 01:16:04,370
Speaker 3: like clowns. And then this is suddenly dawning on him.

1470
01:16:04,670 --> 01:16:08,110
Speaker 3: He says, Dave, maybe they're the ancient astronauts, you know,

1471
01:16:08,189 --> 01:16:11,210
Speaker 3: that came to our planet centuries ago. And our idea

1472
01:16:11,229 --> 01:16:12,750
Speaker 3: of clowns comes from them.

1473
01:16:13,130 --> 01:16:17,769
Speaker 1: Yes, absolutely. That's 100% it. That's 100% it. I love it.

1474
01:16:18,020 --> 01:16:19,100
Speaker 3: They built the pyramids.

1475
01:16:19,280 --> 01:16:19,720
Speaker 4: Had to be.

1476
01:16:20,320 --> 01:16:21,300
Speaker 3: No other explanations.

1477
01:16:21,939 --> 01:16:25,830
Speaker 1: Everything in our clowning cultures, which again, not to get

1478
01:16:25,850 --> 01:16:29,469
Speaker 1: too deep here, there are clowning cultures around the world

1479
01:16:29,510 --> 01:16:32,150
Speaker 1: and they go back a very long way. What if

1480
01:16:32,170 --> 01:16:36,170
Speaker 1: they're all based on something we observed when these ancient

1481
01:16:36,270 --> 01:16:38,730
Speaker 1: alien creatures came to our world and did clowning?

1482
01:16:39,229 --> 01:16:42,070
Speaker 3: One of the Terenzi brothers says, how come they're not funny?

1483
01:16:42,090 --> 01:16:43,830
Speaker 3: But they are funny.

1484
01:16:43,850 --> 01:16:46,990
Speaker 1: Terenzi brothers, they are funny. You might not know funny

1485
01:16:47,170 --> 01:16:48,179
Speaker 1: when you see it, but they are.

1486
01:16:48,970 --> 01:16:51,210
Speaker 3: And then the other one says, how come they're not funny?

1487
01:16:51,290 --> 01:16:56,549
Speaker 3: The other one says, maybe they're from a dying planet. Anyway,

1488
01:16:56,689 --> 01:17:00,390
Speaker 3: at some point our heroes become separated and the Terenzi

1489
01:17:00,410 --> 01:17:05,229
Speaker 3: brothers fall into a ball pit where they are later

1490
01:17:05,510 --> 01:17:09,450
Speaker 3: seduced by clowns in wigs that have made themselves appear

1491
01:17:09,530 --> 01:17:12,110
Speaker 3: buxom with the aid of balloons.

1492
01:17:12,250 --> 01:17:14,470
Speaker 1: Okay. I'm just going to put a pin in this

1493
01:17:14,650 --> 01:17:16,670
Speaker 1: one and trying to figure out how this factors into

1494
01:17:16,710 --> 01:17:17,650
Speaker 1: the clown life cycle.

1495
01:17:17,970 --> 01:17:18,170
Speaker 4: Yeah.

1496
01:17:19,210 --> 01:17:23,269
Speaker 3: Meanwhile, Mike and Dave, they find the cotton candy storage

1497
01:17:23,330 --> 01:17:27,650
Speaker 3: room and then while hiding, they watch a clown drink

1498
01:17:27,810 --> 01:17:31,570
Speaker 3: blood from one of their cocooned victims through a silly straw.

1499
01:17:31,770 --> 01:17:31,970
Speaker 4: Yes.

1500
01:17:33,650 --> 01:17:36,310
Speaker 3: This makes me wonder, what is the origin of silly straws?

1501
01:17:36,390 --> 01:17:38,010
Speaker 3: When do we get the first silly straws?

1502
01:17:38,430 --> 01:17:42,040
Speaker 1: Hmm. Well, there's definitely, I think, material requirements for that.

1503
01:17:42,960 --> 01:17:45,019
Speaker 1: But of course, this would have been something we observed

1504
01:17:45,060 --> 01:17:48,280
Speaker 1: long ago. when the killer clowns visited our world in

1505
01:17:48,350 --> 01:17:48,969
Speaker 1: ancient times.

1506
01:17:49,689 --> 01:17:51,850
Speaker 3: So we got the idea for silly straws from their

1507
01:17:51,890 --> 01:17:54,110
Speaker 3: visits to ancient Egypt and Mesopotamia.

1508
01:17:54,210 --> 01:17:55,630
Speaker 1: Yeah, it would just be a long time. I mean,

1509
01:17:55,650 --> 01:17:57,490
Speaker 1: I guess you could have made a glass silly straw

1510
01:17:57,510 --> 01:17:59,670
Speaker 1: at some point before you could make a plastic one.

1511
01:18:00,150 --> 01:18:02,770
Speaker 1: We'll have to roll out an invention episode on the

1512
01:18:03,130 --> 01:18:05,769
Speaker 1: straw and figure that out. That would be fun. I'm

1513
01:18:05,810 --> 01:18:06,490
Speaker 1: actually down for that.

1514
01:18:07,450 --> 01:18:11,180
Speaker 3: Anyway, so they eventually find Debbie inside the balloon and

1515
01:18:11,240 --> 01:18:14,000
Speaker 3: Dave shoots the balloon to release her. But the sound

1516
01:18:14,100 --> 01:18:16,660
Speaker 3: draws the attention of the clowns. And this leads into

1517
01:18:16,700 --> 01:18:19,099
Speaker 3: a big chase scene where they're running around the spaceship,

1518
01:18:19,340 --> 01:18:24,330
Speaker 3: the funhouse corridors. There's a good silly firehouse pole gag

1519
01:18:24,390 --> 01:18:27,570
Speaker 3: where they they like slide down a pole and then

1520
01:18:27,610 --> 01:18:30,190
Speaker 3: they hop off at one level before going down all

1521
01:18:30,210 --> 01:18:33,140
Speaker 3: the way. And Dave comes down after them and he's like,

1522
01:18:33,180 --> 01:18:34,860
Speaker 3: why didn't you go any lower? And then we just

1523
01:18:34,900 --> 01:18:37,750
Speaker 3: see a giant Sarlacc mouth at the bottom of the pole.

1524
01:18:37,770 --> 01:18:44,090
Speaker 3: He says, oh, good reason. But eventually they get cornered

1525
01:18:44,150 --> 01:18:46,490
Speaker 3: by clowns in a big fun house room full of

1526
01:18:46,550 --> 01:18:49,710
Speaker 3: wacky painted blocks and furniture. And how are they going

1527
01:18:49,729 --> 01:18:53,059
Speaker 3: to escape? The clowns are crowding in, menacing them. And

1528
01:18:53,100 --> 01:18:55,500
Speaker 3: then it's the Terenzi brothers to the rescue. I don't

1529
01:18:55,540 --> 01:18:59,320
Speaker 3: recall how they got out of the clown seduction situation.

1530
01:18:59,380 --> 01:19:00,660
Speaker 3: Maybe that's never revealed.

1531
01:19:00,720 --> 01:19:02,620
Speaker 1: Yeah, it seems like they were done for, but they,

1532
01:19:02,780 --> 01:19:04,100
Speaker 1: I don't know, they loved their way out of it,

1533
01:19:04,140 --> 01:19:04,400
Speaker 1: I guess.

1534
01:19:04,640 --> 01:19:08,160
Speaker 3: Yeah. So they crash through the wall in their ice

1535
01:19:08,260 --> 01:19:11,370
Speaker 3: cream truck. Now, remember, the ice cream truck had a

1536
01:19:11,470 --> 01:19:16,070
Speaker 3: giant clown on top. And so they get on the loudspeaker,

1537
01:19:16,640 --> 01:19:19,620
Speaker 3: and they say, I am the great and powerful Jojo.

1538
01:19:20,100 --> 01:19:23,679
Speaker 3: You will obey my command. And this does seem to work.

1539
01:19:23,760 --> 01:19:28,100
Speaker 3: It temporarily hypnotizes the clowns, and they stand frozen in

1540
01:19:28,479 --> 01:19:32,780
Speaker 3: awe at their giant clown god. So this buys some

1541
01:19:32,820 --> 01:19:36,410
Speaker 3: time for our other heroes to run out of the

1542
01:19:36,430 --> 01:19:39,689
Speaker 3: middle of the room to safety, but... This leads into

1543
01:19:39,930 --> 01:19:43,070
Speaker 3: the final, final showdown, which is the lowering from the

1544
01:19:43,140 --> 01:19:48,460
Speaker 3: ceiling of a gigantic clown on marionette strings. And what

1545
01:19:48,479 --> 01:19:51,460
Speaker 3: do we call this? Is this the king clown or clownzilla?

1546
01:19:51,479 --> 01:19:55,060
Speaker 1: I think in the credits it's referred to as clownzilla.

1547
01:19:55,080 --> 01:19:56,840
Speaker 1: But yeah, we might think of it as kind of

1548
01:19:56,900 --> 01:19:59,599
Speaker 1: a ruler of the bunch or just maybe the largest.

1549
01:20:00,060 --> 01:20:01,600
Speaker 1: I don't know. Like I have this theory that these

1550
01:20:01,689 --> 01:20:04,410
Speaker 1: clowns grow throughout their life. And so some of them

1551
01:20:04,450 --> 01:20:05,690
Speaker 1: are just extra huge.

1552
01:20:06,390 --> 01:20:09,730
Speaker 3: I would say it is a cross between a clown

1553
01:20:09,770 --> 01:20:12,970
Speaker 3: of monstrous size and Bowser from Mario. Do you notice

1554
01:20:13,050 --> 01:20:14,990
Speaker 3: the Bowser-like shape and movements?

1555
01:20:15,189 --> 01:20:18,849
Speaker 1: Yeah, like if you could remove the grease paint from

1556
01:20:18,890 --> 01:20:22,400
Speaker 1: this face, which you can't because it's the clown's face. Yeah,

1557
01:20:22,439 --> 01:20:26,620
Speaker 1: you would have an even more monstrous inhuman skull for

1558
01:20:26,640 --> 01:20:27,120
Speaker 1: this creature.

1559
01:20:27,990 --> 01:20:30,870
Speaker 3: So the giant clown attacks. It grabs and hurls the

1560
01:20:31,030 --> 01:20:34,090
Speaker 3: ice cream truck across the room, seemingly with the Terenzi

1561
01:20:34,110 --> 01:20:36,349
Speaker 3: bros inside. So I was like, well, they're dead now.

1562
01:20:37,590 --> 01:20:41,090
Speaker 3: And then Dave distracts Clownzilla while Mike and Debbie run

1563
01:20:41,270 --> 01:20:44,370
Speaker 3: outside through a hole in the wall. Outside, the state

1564
01:20:44,430 --> 01:20:47,870
Speaker 3: police are arriving and Dave is cornered. So it seems

1565
01:20:47,890 --> 01:20:50,310
Speaker 3: like he's done for because Clownzilla picks him up in

1566
01:20:50,350 --> 01:20:52,849
Speaker 3: his giant hand as if to bite his head off.

1567
01:20:53,490 --> 01:20:56,840
Speaker 3: And meanwhile, the big top clown spaceship is taking off

1568
01:20:56,910 --> 01:20:59,900
Speaker 3: into the sky. And Dave is there in the monster

1569
01:20:59,939 --> 01:21:02,370
Speaker 3: clown's hand. How is he going to survive this? What's

1570
01:21:02,390 --> 01:21:06,710
Speaker 3: going to happen? The solution is pretty ingenious. He takes

1571
01:21:06,870 --> 01:21:10,050
Speaker 3: the police badge off of his shirt, which I guess

1572
01:21:10,110 --> 01:21:12,890
Speaker 3: is held in place by a safety pin, and uses

1573
01:21:12,950 --> 01:21:16,270
Speaker 3: the pin to pop the nose. Pop the nose on

1574
01:21:16,310 --> 01:21:16,690
Speaker 3: the big.

1575
01:21:18,810 --> 01:21:21,790
Speaker 3: This super clown is actually quite fragile. I mean, if

1576
01:21:21,830 --> 01:21:24,599
Speaker 3: just a pin prick on the nose completely destroys it.

1577
01:21:24,950 --> 01:21:28,110
Speaker 3: And not only the clownzilla, but also destroys the entire ship.

1578
01:21:29,160 --> 01:21:33,570
Speaker 3: which maybe is only powered by the magic of the Clownzilla.

1579
01:21:35,030 --> 01:21:35,390
Speaker 1: I don't know.

1580
01:21:35,650 --> 01:21:37,530
Speaker 3: That's a weakness in the design, I would say.

1581
01:21:37,550 --> 01:21:39,929
Speaker 1: I would say so as well. It seems like even

1582
01:21:40,830 --> 01:21:45,830
Speaker 1: a very primitive prey culture would be able to overcome you, potentially.

1583
01:21:45,850 --> 01:21:48,410
Speaker 1: That's just one well-placed arrow, and they're victorious.

1584
01:21:49,150 --> 01:21:53,080
Speaker 3: So the entire spaceship explodes in fireworks. It seems like

1585
01:21:53,120 --> 01:21:56,000
Speaker 3: Dave's got to be dead, right? But somehow, no, a

1586
01:21:56,120 --> 01:21:59,460
Speaker 3: clown car falls out of the sky... And Dave emerges

1587
01:21:59,520 --> 01:22:03,759
Speaker 3: from it unhurt. Also, somehow the Terenzi brothers are fine.

1588
01:22:04,280 --> 01:22:08,019
Speaker 3: They emerge from the same car eating popsicles. So basically

1589
01:22:08,040 --> 01:22:10,700
Speaker 3: all the main characters are okay. And we get our

1590
01:22:10,740 --> 01:22:13,280
Speaker 3: final stinger of the heroes looking up into the sky.

1591
01:22:13,300 --> 01:22:15,960
Speaker 3: And Debbie says, do you think it's over? And then

1592
01:22:16,000 --> 01:22:17,270
Speaker 3: pies fall on their faces.

1593
01:22:17,930 --> 01:22:20,990
Speaker 1: Presumably these are not acid clown pies like we saw earlier.

1594
01:22:21,010 --> 01:22:23,410
Speaker 1: I think this is just supposed to be a goofy

1595
01:22:23,450 --> 01:22:25,890
Speaker 1: send up of that sort of keep watching the skies

1596
01:22:26,030 --> 01:22:28,160
Speaker 1: ending that we get. in a lot of those old

1597
01:22:28,200 --> 01:22:30,890
Speaker 1: fifties and sixties movies, where it's like, is there something

1598
01:22:30,930 --> 01:22:33,110
Speaker 1: else out there? Is it the end? And, you know,

1599
01:22:33,130 --> 01:22:35,890
Speaker 1: we get a little philosophic in our victory at the

1600
01:22:35,950 --> 01:22:38,150
Speaker 1: end and here, you know, it's just one more reason

1601
01:22:38,170 --> 01:22:40,130
Speaker 1: for a nice clown gag to close it all out.

1602
01:22:40,750 --> 01:22:41,220
Speaker 3: Bravo.

1603
01:22:44,140 --> 01:22:48,439
Speaker 1: All right. Killer clowns from outer space. Like I say, commendable.

1604
01:22:50,479 --> 01:22:52,780
Speaker 1: There are some other films in the horror comedy industry,

1605
01:22:53,370 --> 01:22:55,960
Speaker 1: genre from this time period that I also really love,

1606
01:22:56,000 --> 01:22:59,160
Speaker 1: Terror Vision being one of them, but it's really hard

1607
01:22:59,180 --> 01:23:01,979
Speaker 1: to think of anything quite like Killer Clowns from Outer Space.

1608
01:23:02,340 --> 01:23:03,540
Speaker 3: It does stand alone.

1609
01:23:04,340 --> 01:23:06,390
Speaker 1: Absolutely. And hey, everybody loves a clown.

1610
01:23:07,210 --> 01:23:08,530
Speaker 3: Eep, op, ork, uh-uh.

1611
01:23:11,470 --> 01:23:13,230
Speaker 1: All right. Well, we're going to go ahead and close

1612
01:23:13,330 --> 01:23:18,510
Speaker 1: out this, our first full-fledged October episode of Weird House

1613
01:23:18,550 --> 01:23:22,309
Speaker 1: Cinema for this October season, but we have more October

1614
01:23:22,350 --> 01:23:27,070
Speaker 1: selections to come. So stay tuned. We'll have Weird House

1615
01:23:27,090 --> 01:23:28,990
Speaker 1: Cinema every Friday in the Stuff to Blow Your Mind

1616
01:23:29,030 --> 01:23:31,460
Speaker 1: podcast feed. We're primarily a science and culture podcast with

1617
01:23:31,479 --> 01:23:34,380
Speaker 1: core episodes on Tuesdays and Thursdays, but Friday is our

1618
01:23:34,400 --> 01:23:36,920
Speaker 1: time to set aside most serious concerns and just talk

1619
01:23:36,939 --> 01:23:38,860
Speaker 1: about a weird film. If you want to keep up

1620
01:23:38,900 --> 01:23:40,560
Speaker 1: with all the films that we've covered over the years

1621
01:23:40,600 --> 01:23:42,800
Speaker 1: and sometimes get a peek ahead at what comes up next,

1622
01:23:43,220 --> 01:23:47,390
Speaker 1: go to letterboxd.com Our account there is Weird House. Search us,

1623
01:23:47,530 --> 01:23:50,269
Speaker 1: find us, look at that list. And yeah, wherever you

1624
01:23:50,290 --> 01:23:52,389
Speaker 1: get your podcasts, just make sure that you rate, review,

1625
01:23:52,430 --> 01:23:54,030
Speaker 1: and subscribe to get more episodes.

1626
01:23:54,510 --> 01:23:58,240
Speaker 3: Huge thanks, as always, to our excellent audio producer, JJ Posway.

1627
01:23:58,620 --> 01:24:00,040
Speaker 3: If you would like to get in touch with us

1628
01:24:00,080 --> 01:24:02,660
Speaker 3: with feedback on this episode or any other, to suggest

1629
01:24:02,700 --> 01:24:04,840
Speaker 3: a topic for the future, or just to say hello,

1630
01:24:04,880 --> 01:24:07,800
Speaker 3: you can email us at contact at stufftoblowyourmind.com.

1631
01:24:15,310 --> 01:24:17,759
Speaker 2: Stuff to Blow Your Mind is a production of iHeartRadio.

1632
01:24:18,140 --> 01:24:21,460
Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app. Apple

1633
01:24:21,479 --> 01:24:23,850
Speaker 2: Podcasts are wherever you listen to your favorite shows.