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

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick, and

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

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

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Speaker 3: Highlander to the Quickening, starring Christoph Lambert, Sean Connery, Virginia Madsen,

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 2: Yeah, Yeah, they've got to put it back out. They've

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Speaker 2: got to make the theatrical cut, the seist cut, available

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Speaker 2: for everyone so they can experience the true broken, weirdness

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Speaker 2: and an awesomeness of this picture because you know, like

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Speaker 2: a lot of like awesome flawed films, Yeah, there is this,

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Speaker 2: there is this nagging question what could have been? How

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Speaker 2: could you make this better? And it's often i mean

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Speaker 2: the legacy of even great films that get a lot

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Speaker 2: of recuts. You know, I'm thinking about Ridley Scott getting

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Speaker 2: in there and tinkering a lot with some of his pictures.

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Speaker 2: You know, it's I feel like, I mean, there are cases, yeah,

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Speaker 2: where a fan seem to have a consensus about, Okay,

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Speaker 2: this is the best cut, this is the best way

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Speaker 2: to watch particular film, certainly, but a lot of times

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Speaker 2: you just end up with this kind of ambiguity, like

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Speaker 2: there is no key picture. So I really admire some

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Speaker 2: of those filmmakers out there who are like, no, no,

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Speaker 2: there's just one cut that is the director's cut, and

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Speaker 2: of course there are a lot of moving parts there.

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Speaker 2: You know, you have to have a position where the

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Speaker 2: director has enough to say that they feel like that

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Speaker 2: is their cut. But anyway I digress.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 3: has a totally different edit. Most notably, it removed moves

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

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

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

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

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

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

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

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

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

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Speaker 2: And I would love to hear from many Highlander fans

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Speaker 2: out there, of varying degrees, for for your take on

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Speaker 2: the franchise as a whole, because I think by and large,

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Speaker 2: fans of anything Highlander have at this point been presented

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Speaker 2: with numerous things to find lackluster, but also, you know,

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Speaker 2: some things to genuinely enjoy and find awesome. And they're

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Speaker 2: eventually going to get a reboot, so potentially even more

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Speaker 2: stuff to be perturbed or excited about. So yeah, write in,

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Speaker 2: We'd love to know your thoughts on it. Me. I'm

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Speaker 2: very much you know H one, H two, and I

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Speaker 2: enjoyed H three for what it is, And then I

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Speaker 2: have seen many, but not all, of the episodes of

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Speaker 2: the TV series, and I thought that could be quite

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Speaker 2: good at times.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 3: that we don't normally split weird house cinema episodes into

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 3: of the film, which was strongly influenced to buy the

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Speaker 3: producers and the moneymen, and David Lynch has said that

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Speaker 3: his experience with Dune taught him that he would rather

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Speaker 3: not make a movie at all than make one without

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

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

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

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Speaker 3: I watched a making of documentary called I Think This

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

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

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

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

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

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

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

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

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

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Speaker 3: lot cheaper to make it there, and there are a

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

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

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

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

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

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

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

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

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Speaker 3: with the making of the film. But also the movie

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 2: Yeah, yeah, I think they might have shot some of

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Speaker 2: his scenes in Scotland, like the initial Scotland scenes.

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Speaker 3: Oh okay, yeah, but still.

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Speaker 2: Yeah, there's a lot of stuff with him in the

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Speaker 2: futuristic setting. So that's a lot ultimately to pack into

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Speaker 2: six days, especially in a big production like this.

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

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

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

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

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

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

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

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

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

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

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

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Speaker 3: safe on set.

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Speaker 2: Yeah, I've read that. One particular detail of all this

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Speaker 2: is that both Michael Ironside and Christoph Lambert apparently sustained

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Speaker 2: injuries in their sword fighting sequences, which you know is

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Speaker 2: always a risk if you have actors doing their own

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Speaker 2: action scenes and fight choreography and so forth. But you know,

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Speaker 2: looking back at like assuming for a minute, I don't

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Speaker 2: know if this is correct, but assuming that they shot

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Speaker 2: the final epic sword fight between General Katana and Connor

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Speaker 2: MacLeod in sequence, by the end of it it looked

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Speaker 2: really looks like they're not able to do much. And

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Speaker 2: I've also read that like the General Katana ironically fights

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Speaker 2: with a broad sword, which was apparently difficult to wield

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Speaker 2: as well. So like, by the end of this big

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Speaker 2: epic fight scene with an amazing set, everything feels a

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Speaker 2: little clunky and kind of tired, Like they just look

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Speaker 2: like maybe they're out of steam, and if they're working

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Speaker 2: through injuries, you can understand that.

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

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

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

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

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

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

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Speaker 3: want to have like a real sword, and so they

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Speaker 3: were doing that. But apparently Limbert's eyesight is not great

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Speaker 3: and he you know, couldn't wear glasses for filming the scenes,

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Speaker 3: and so yeah, they were just Oh and also he

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Speaker 3: did a lot of his own stunts in the movie,

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Speaker 3: including us the scenes we'll talk about later with like

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Speaker 3: an elevator falling down an elevator shaft and flying around

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Speaker 3: on rocket boots and stuff. So like in some ways

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Speaker 3: it's kind of exciting, you know, stories of Bravado from

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Speaker 3: from the film Star. But also yeah, it sounds like

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Speaker 3: it was. It was not the safest set ever, but anyway,

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Speaker 3: all working with all these limitations, things keep happening. Also,

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Speaker 3: I think in the background here, uh, there is a

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Speaker 3: major inflation problem in Argentina while they're shooting it. So

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Speaker 3: like the money, the value of the money they're using

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Speaker 3: to make the movie is like all over the place,

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Speaker 3: and that's causing production problems as well. So they were

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Speaker 3: just like basic logistical problems and production financing problems and

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Speaker 3: the movie was apparently taking way too long and going

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Speaker 3: over budget. So, in a move that absolutely always goes

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Speaker 3: well more than halfway through production, creative control was taken

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Speaker 3: over by an insurance company.

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Speaker 2: Oh yeah, that does not bode well.

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 2: I mean, especially if you're dealing with with filmmakers they

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Speaker 2: want to take big swings that they want to you know,

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Speaker 2: go big or you know, or go home, and you

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Speaker 2: have the insurance people coming in and say, actually, it

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Speaker 2: is time to go home, It is time to wrap

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Speaker 2: this up.

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

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Speaker 3: of highland Er two, a lot of the things that

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

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

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

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Speaker 3: the funny stuff or the stuff that fans consider bad

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

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

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Speaker 3: was weird to introduce the sci fi elements and make

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Speaker 3: the immortals aliens. They would end up blaming that choice

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Speaker 3: on the creative takeover by the bonding company. But that

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Speaker 3: is not the case. The suits from the insurance company

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Speaker 3: did not make up the planet Zeist that's in the script.

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Speaker 3: From what I can tell, it seems like the choices

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Speaker 3: made by the Bonding company consists more of like wrapping

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Speaker 3: production without filming major scenes and then trying to paper

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Speaker 3: over those holes with a bizarre Frankenstein edit, and also

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Speaker 3: just like lots of choices of I guess like bad

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Speaker 3: takes and terrible looking visual effects shots and just you know,

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Speaker 3: late stage script rewrits to change things up to just

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Speaker 3: finish it faster, and so I think this is one reason.

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Speaker 3: Like in the documentary they show some examples of how

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Speaker 3: this is a movie that has some great looking visual

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Speaker 3: effects shots and some great looking effects and sets in

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Speaker 3: certain scenes, and those will be contrasted almost immediately, like

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Speaker 3: you'll cut back and forth between stuff that looks great

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Speaker 3: and stuff that looks terrible. And apparently the at least

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

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

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Speaker 3: to the Bonding company. They say, like that they came

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Speaker 3: in and they commissioned the you know, completion of the

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

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Speaker 3: so you've got those right next to stuff that looks

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Speaker 3: really good, and that would explain a lot of that

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Speaker 3: weird contrast when you're watching the movie. Apparently they also

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Speaker 3: cut out a lot of stuff that would have made

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

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

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

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

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

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

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Speaker 3: actually explained, some of the gaps are actually explained, but

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Speaker 3: we just don't get that.

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Speaker 2: M Yeah, and like you've been saying, like ultimately the

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Speaker 2: filmmakers themselves run from the Zeist concept. So yeah, we

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Speaker 2: just get even further and further away from some sort

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Speaker 2: of like concrete vision of what this film was meant

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Speaker 2: to be.

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

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

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

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

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Speaker 3: this film. So Highland or two people, the people who

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Speaker 3: are behind making all these cuts, you've already made like

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Speaker 3: four or five of them, or however many there are,

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

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Speaker 3: the edit that the release that looks great, has the

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Speaker 3: updated picture and sound and all that, but keeps all

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Speaker 3: the Zeist content and has the nice looking, the better

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Speaker 3: selected visual effects shots. Give us the ultimate cut that

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Speaker 3: still has Zeist, unless you've already done that and I'm

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Speaker 3: simply not aware of it, in which case I'm sorry.

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Speaker 2: I don't think they have, because I feel like we've

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Speaker 2: wasted a lot of time looking for it. But but yeah,

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Speaker 2: and I'm up into open to whatever. Like put it

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Speaker 2: out as a single disc, I'll buy it. Put it

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Speaker 2: out as like the third disc in a multi disc

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Speaker 2: release like Ultimate release of Highlander two. You know, I'm

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Speaker 2: fine with that. You can even have an optional commentary

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Speaker 2: track where you you know, rip into it and talk

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Speaker 2: about everything that went wrong, as long as I have

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Speaker 2: like just one version of this that I can watch

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Speaker 2: and you know, in inacceptable quality, and like you know,

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Speaker 2: you know, we we've already touched on some of the

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Speaker 2: problems with some of the effects. But yeah, just just

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Speaker 2: give me a solid ice cut, that's all I Askay.

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

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

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

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

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Speaker 2: No, I think we just jumped right back into it.

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Speaker 2: We established the zeis well or did we What did

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Speaker 2: we establish? You established just the building of the shield, right, yeah?

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

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Speaker 3: So the opening of the film is in the year

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

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Speaker 3: peril due to the depletion of the ozone layer and

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Speaker 3: the resulting exposure of the Earth's surface to deadly radiation

341
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Speaker 3: from the Sun. Connor McLoud, the main character of Highlander one,

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Speaker 3: the victorious age old warrior who won the game of

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Speaker 3: Immortal Combat and achieved human mortality and the ability to

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Speaker 3: have children at the end of the first movie. He

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Speaker 3: uses his centuries of wisdom and presumably also his magical

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Speaker 3: ability to read minds, though the movie doesn't really address this,

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Speaker 3: to organize a team of scientists to create the Shield,

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Speaker 3: which is a giant geoengineering project that forms a sort

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Speaker 3: of laser net over the Earth's atmosphere and protects the

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Speaker 3: surface of the planet from the Sun. It looks kind

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Speaker 3: of like a gigantic lightsaber blade blasting out of a

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Speaker 3: huge concrete pyramid and then forms a laser net in

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Speaker 3: the sky, sort of connects with a satellite somehow, and

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Speaker 3: it shields us from the Sun, and Connor and his

355
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Speaker 3: scientist friend Alan Nayman they celebrate their accomplishment they have

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Speaker 3: saved the world. This surely was a good use of

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Speaker 3: the prize.

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Speaker 2: Yeah, what morchy do you ask for? Seemingly save the

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Speaker 2: world and to some degree helped in sure peace.

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

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

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Speaker 2: That's right, I mean, this is this was the perfect

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Speaker 2: time to really jump in and discuss Islander two on

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Speaker 2: Weird House.

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Speaker 3: So we see Christophe Limbert driving a car. He's driving

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Speaker 3: a convertible down a dark, wet street in what looks

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

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

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Speaker 3: But we hear his voice over McLeod says, the shield

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Speaker 3: twenty five years ago it was our savior. But now

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

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

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Speaker 3: old cars, old planes, old dreams. The cure is worse

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Speaker 3: than the disease.

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Speaker 2: Now already we have so much unpack like, well, why

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Speaker 2: are they using old cars, old planes and old dreams

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Speaker 2: because of some sort of energy shortage? I mean the

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Speaker 2: real answer is it lets them do this, this kind

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Speaker 2: of neo noir look for the film, which I do

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Speaker 2: quite like, but it doesn't really make any sense where

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Speaker 2: it's like, we can't use a car that was made

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Speaker 2: post nineteen fifty three.

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

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

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Speaker 3: let's see what everything looks old. Now we'll say for

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Speaker 3: some reason, yeah, we're using old cars and planes. What

387
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Speaker 3: would that have to do with anything?

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Speaker 2: We also, when we're panning past, does some statue or something.

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Speaker 2: There's a plaque that commemorates the shield and it has

390
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Speaker 2: the dates nineteen ninety nine through twenty twenty four on there,

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Speaker 2: and I was wondering, do they just update it every year,

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Speaker 2: like it's like, okay, it's a new year, twenty twenty four,

393
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Speaker 2: let's add that, like it's say, you know, no work

394
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Speaker 2: injuries for X number of days sort of a thing.

395
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Speaker 2: I don't know. Yeah, because there's no indication that there

396
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Speaker 2: are no plans to bring the shield down in twenty

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Speaker 2: twenty four, as well, as we'll discuss and as we'll see.

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

399
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Speaker 3: dark city, and we gathered that the world here is

400
00:22:39,320 --> 00:22:44,600
Speaker 3: now squalid, polluted and dark. The sky is always covered

401
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Speaker 3: with this shimmering, burnt orange aurora, in which shadowy triangles

402
00:22:49,800 --> 00:22:53,639
Speaker 3: and pyramid shapes appear. There are also in this world

403
00:22:54,200 --> 00:22:58,159
Speaker 3: just future punks everywhere. I love good future punk and

404
00:22:58,359 --> 00:23:02,320
Speaker 3: here there they're like on the sidewalks getting up to

405
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Speaker 3: no good. Connor is driving past them and like glancing

406
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Speaker 3: nervously out the windows of his car looking at them

407
00:23:08,520 --> 00:23:11,280
Speaker 3: as he drives by. We can hear them yelling. Then

408
00:23:11,280 --> 00:23:14,479
Speaker 3: when we actually see them, they're crowded around some kind

409
00:23:14,520 --> 00:23:19,360
Speaker 3: of machine that distributes gas through a face mask attached

410
00:23:19,400 --> 00:23:22,480
Speaker 3: to a hose, and they're like kicking and beating on

411
00:23:22,560 --> 00:23:25,119
Speaker 3: the machine to make it work and then taking turns

412
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Speaker 3: huffing out of the mask. Is this supposed to be

413
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Speaker 3: a vending machine for inhalance?

414
00:23:29,960 --> 00:23:32,720
Speaker 2: I don't know es your neighborhood huffing station. I'm not sure,

415
00:23:32,720 --> 00:23:35,720
Speaker 2: but yeah, there are a lot of wild boys in

416
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Speaker 2: this future for sure.

417
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Speaker 3: Yeah, yeah, wild boys. Yeah. Then in the car, the

418
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Speaker 3: TV comes on. Great, this is one of those futuristic

419
00:23:44,240 --> 00:23:47,200
Speaker 3: old cars from twenty twenty four. It's an old car,

420
00:23:47,240 --> 00:23:50,600
Speaker 3: but it has a TV in the dashboard. They have

421
00:23:50,680 --> 00:23:55,560
Speaker 3: those now, Yeah, oo, it's exactly what cars need. Yeah,

422
00:23:55,600 --> 00:23:58,520
Speaker 3: So Connor is watching the news while driving, and the

423
00:23:58,560 --> 00:24:01,800
Speaker 3: news anchor says that the Shield Corporation, which is the

424
00:24:01,840 --> 00:24:07,120
Speaker 3: world's largest company, was today accused of monopoly and price fixing.

425
00:24:07,600 --> 00:24:10,280
Speaker 3: I was just thinking, how do you do price fixing

426
00:24:10,320 --> 00:24:13,399
Speaker 3: if your product is the shield? Like who are the

427
00:24:13,440 --> 00:24:17,320
Speaker 3: market competitors of the Shield Corporation that they would be colluding.

428
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Speaker 2: With the Yeah.

429
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Speaker 3: And other shield companies, and they're making an agreement to

430
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Speaker 3: fix prices.

431
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Speaker 2: And it does seem like it's the same shield for

432
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Speaker 2: the entire planet, Like you can't you know, pick and

433
00:24:28,480 --> 00:24:31,000
Speaker 2: choose like how much shield different regions are getting, or

434
00:24:31,240 --> 00:24:34,679
Speaker 2: there's no indication or even a hint of how that

435
00:24:34,720 --> 00:24:35,520
Speaker 2: would be possible.

436
00:24:36,080 --> 00:24:39,000
Speaker 3: Yeah, maybe they make other products too, Maybe the price

437
00:24:39,080 --> 00:24:43,879
Speaker 3: fixing is on whatever these these huffing stations. They also

438
00:24:43,920 --> 00:24:47,439
Speaker 3: say that the president of the Shield Corporation, Alan Naman,

439
00:24:47,600 --> 00:24:50,359
Speaker 3: remember that was Connor's partner in creating the Shield twenty

440
00:24:50,359 --> 00:24:52,600
Speaker 3: five years ago, He could not be reached for comment.

441
00:24:53,560 --> 00:24:56,760
Speaker 3: And then they say that the Shield Corporation just posted

442
00:24:56,800 --> 00:25:00,520
Speaker 3: record profits. Oh and also there's a weather report. Tomorrow's

443
00:25:00,560 --> 00:25:03,119
Speaker 3: high is going to be ninety seven degrees fahrenheit. Sounds

444
00:25:03,160 --> 00:25:05,800
Speaker 3: like the low is also ninety seven degrees fahrenheit with

445
00:25:05,880 --> 00:25:09,120
Speaker 3: a humidity of ninety seven percent, same as every other day.

446
00:25:09,520 --> 00:25:13,719
Speaker 2: I mean, it's predictable, you know, yeah, you know, you

447
00:25:13,800 --> 00:25:16,200
Speaker 2: know what to wear. There's not a lot of questions

448
00:25:16,240 --> 00:25:19,400
Speaker 2: about what you're gonna wear tomorrow. So we can say

449
00:25:19,400 --> 00:25:19,840
Speaker 2: that for it.

450
00:25:19,840 --> 00:25:22,199
Speaker 3: At least, now here is a question I do have.

451
00:25:22,320 --> 00:25:25,320
Speaker 3: So Connor is like driving past these future punks and

452
00:25:25,320 --> 00:25:27,439
Speaker 3: he's like checking to see if his car doors are locked,

453
00:25:27,960 --> 00:25:33,120
Speaker 3: and the future punks are dancing aggressively at his car

454
00:25:33,160 --> 00:25:36,600
Speaker 3: as he goes past, next to their flaming steel garbage cans,

455
00:25:37,000 --> 00:25:38,960
Speaker 3: And I'm like, why would you have a flaming garbage

456
00:25:39,000 --> 00:25:41,840
Speaker 3: can in a world where there's like it's ninety seven

457
00:25:41,880 --> 00:25:44,600
Speaker 3: degrees And maybe they need it for light, I don't know,

458
00:25:44,640 --> 00:25:45,960
Speaker 3: but you don't need it for heat.

459
00:25:46,400 --> 00:25:48,440
Speaker 2: I mean, this is always the question of any kind

460
00:25:48,440 --> 00:25:54,720
Speaker 2: of apocalyptic hellscape or or urban hell setting. It's why

461
00:25:54,760 --> 00:25:58,160
Speaker 2: are the garbage cans on fire? Maybe just because they

462
00:25:58,160 --> 00:25:59,000
Speaker 2: can be on fire?

463
00:25:59,080 --> 00:26:01,080
Speaker 3: Right? They're cooking with it?

464
00:26:01,480 --> 00:26:05,760
Speaker 2: Yeah, yeah, cooking up some assuming rat, some.

465
00:26:05,720 --> 00:26:09,719
Speaker 3: Charproiled rat in the garbage can. Yeah. Okay, So where

466
00:26:09,880 --> 00:26:13,000
Speaker 3: is Connor headed he's going to the opera, of course.

467
00:26:13,760 --> 00:26:16,240
Speaker 3: And here's one of these cases where we were talking

468
00:26:16,240 --> 00:26:18,840
Speaker 3: about the contrast of like you'll have these bad looking

469
00:26:18,880 --> 00:26:21,040
Speaker 3: scenes and then great looking scenes. I feel like the

470
00:26:21,080 --> 00:26:25,000
Speaker 3: whole opera scene from the outside and the inside, the

471
00:26:25,040 --> 00:26:27,600
Speaker 3: set within a set, on the stage, the interior of

472
00:26:27,640 --> 00:26:31,200
Speaker 3: the opera, it's all beautiful. It has a it does

473
00:26:31,240 --> 00:26:36,480
Speaker 3: have a somewhat derivative kind of blade runneriness about the

474
00:26:36,520 --> 00:26:40,040
Speaker 3: sci fi style, but it also it has a style

475
00:26:40,080 --> 00:26:42,800
Speaker 3: of its own, like the opera has this red blinking

476
00:26:42,920 --> 00:26:45,880
Speaker 3: neon sign like an all night diner. It's a very

477
00:26:45,880 --> 00:26:48,639
Speaker 3: weird choice, but I think it looks really cool and

478
00:26:48,800 --> 00:26:52,439
Speaker 3: inside it's it's beautiful. So Connor is going to see

479
00:26:53,000 --> 00:26:57,400
Speaker 3: this Vagnerian production. I think it's actually he's watching Twilight

480
00:26:57,440 --> 00:27:00,560
Speaker 3: with gods and we hear this, you know, the sweet

481
00:27:00,600 --> 00:27:04,160
Speaker 3: and tortured melodies of a dying world. As the name

482
00:27:04,280 --> 00:27:06,800
Speaker 3: John C. McGinley pops up on the credits, by the way,

483
00:27:06,840 --> 00:27:07,600
Speaker 3: which is funny.

484
00:27:08,000 --> 00:27:10,040
Speaker 2: The set for this opera does look amazing. I haven't

485
00:27:10,080 --> 00:27:13,560
Speaker 2: seen a lot of operas, maybe only ever one opera

486
00:27:14,200 --> 00:27:16,960
Speaker 2: live and in full, and I have to say, give

487
00:27:16,960 --> 00:27:19,199
Speaker 2: me an opera with a set like this, I'll show up.

488
00:27:19,480 --> 00:27:21,639
Speaker 3: So we pan around the audience at the opera and

489
00:27:21,680 --> 00:27:24,400
Speaker 3: we see all the fancy people in the balconies sporting

490
00:27:24,440 --> 00:27:27,680
Speaker 3: their evening attire, and eventually we land on a private

491
00:27:27,720 --> 00:27:32,000
Speaker 3: box where Connor MacLeod sits sad and alone, dozing off

492
00:27:32,040 --> 00:27:36,639
Speaker 3: with his chin on his chest, until he is startled

493
00:27:36,680 --> 00:27:41,000
Speaker 3: awake by a voice echoing inside his head. It is

494
00:27:41,040 --> 00:27:45,240
Speaker 3: the voice of Sean Connery, and here, basically, right at

495
00:27:45,240 --> 00:27:50,040
Speaker 3: this moment in the American theatrical release, begins a truly

496
00:27:50,280 --> 00:27:55,560
Speaker 3: remarkable several minutes of film, one that I have essentially memorized.

497
00:27:56,480 --> 00:27:58,639
Speaker 3: Highlander two was one of the I've said this earlier,

498
00:27:58,640 --> 00:28:00,439
Speaker 3: but it was one of the first movie in this

499
00:28:00,520 --> 00:28:03,720
Speaker 3: sort of glorious failure genre that I ever came to appreciate.

500
00:28:04,160 --> 00:28:06,679
Speaker 3: And after I got my hands on my first VHS copy,

501
00:28:06,720 --> 00:28:09,000
Speaker 3: of course I watched it with my friends lots of times.

502
00:28:09,000 --> 00:28:11,480
Speaker 3: But on top of watching the movie as a whole

503
00:28:11,520 --> 00:28:15,560
Speaker 3: lots of times, we've probably rewound the next few minutes

504
00:28:15,560 --> 00:28:19,240
Speaker 3: of the movie several times every time we watched it,

505
00:28:19,359 --> 00:28:21,919
Speaker 3: So this is kind of like a religious catechism to me.

506
00:28:22,480 --> 00:28:29,240
Speaker 3: Sean Connery says, remember Highlander, Remember your home another galaxy,

507
00:28:30,000 --> 00:28:35,040
Speaker 3: you were chosen Remember, And then the Wagner music swells

508
00:28:35,400 --> 00:28:38,400
Speaker 3: and the camera zooms in on Connor's face in a

509
00:28:38,480 --> 00:28:42,720
Speaker 3: weirdly unflattering off center shot. His eyes are sort of

510
00:28:42,800 --> 00:28:46,160
Speaker 3: half closed, his fake gray hair is lit up in

511
00:28:46,200 --> 00:28:49,520
Speaker 3: a peculiar way by off camera lights, and we hear

512
00:28:49,600 --> 00:28:54,840
Speaker 3: his thoughts as he says, yes, yes, I remember the

513
00:28:54,920 --> 00:28:59,200
Speaker 3: beginning five hundred years ago on the planet Zeist.

514
00:29:00,120 --> 00:29:02,920
Speaker 2: Yeah, and this is this is a moment where you know,

515
00:29:02,960 --> 00:29:08,080
Speaker 2: you can you can definitely feel fans dropping out because yeah,

516
00:29:08,160 --> 00:29:12,000
Speaker 2: I'm tuning in, because I mean, either this is something

517
00:29:12,160 --> 00:29:17,800
Speaker 2: that Connor McLeod conveniently forgot his entire time on Earth

518
00:29:18,400 --> 00:29:22,000
Speaker 2: throughout the first film, or he knew the whole time

519
00:29:22,640 --> 00:29:25,600
Speaker 2: and just it didn't factor into any of his thoughts

520
00:29:25,840 --> 00:29:30,560
Speaker 2: or actions or anything. And like either either version, yeah,

521
00:29:30,600 --> 00:29:32,840
Speaker 2: I can see that being interpreted is kind of like

522
00:29:32,880 --> 00:29:35,520
Speaker 2: a cheap shot of the experience of the first film,

523
00:29:35,720 --> 00:29:39,200
Speaker 2: you know, and could even be seen as like cheapening, yeah,

524
00:29:39,240 --> 00:29:43,240
Speaker 2: the experience of the first film, But I don't know.

525
00:29:43,320 --> 00:29:45,480
Speaker 2: It's also one of the things to love about Highlander too.

526
00:29:46,320 --> 00:29:49,640
Speaker 3: It's so beautiful and then so there, like we were

527
00:29:49,640 --> 00:29:54,040
Speaker 3: saying about the differing, you know, quality of the textures

528
00:29:54,040 --> 00:29:56,920
Speaker 3: of the movie, the next thing they show us is

529
00:29:56,960 --> 00:30:01,200
Speaker 3: the planet Zeist, and what we get is a beautiful

530
00:30:01,520 --> 00:30:05,000
Speaker 3: matte painting of a big desert with mountains in the

531
00:30:05,040 --> 00:30:08,520
Speaker 3: background and a crescent moon in the sky and some

532
00:30:08,640 --> 00:30:12,960
Speaker 3: kind of giant crashed airship in the desert. You know,

533
00:30:13,000 --> 00:30:14,960
Speaker 3: it looks like some kind of airship the size of

534
00:30:15,000 --> 00:30:17,880
Speaker 3: a skyscraper, and it's just plowed into the sand of

535
00:30:17,920 --> 00:30:20,680
Speaker 3: the desert. Looks like almost like a relic, like it

536
00:30:20,680 --> 00:30:23,560
Speaker 3: could have been crashed there for a long time. And

537
00:30:24,160 --> 00:30:28,000
Speaker 3: the context is hilarious. But I think the matte painting

538
00:30:28,120 --> 00:30:32,040
Speaker 3: looks so good. The fact that it looks so good

539
00:30:32,120 --> 00:30:34,560
Speaker 3: makes it even funnier, and like it's got a good

540
00:30:34,600 --> 00:30:37,240
Speaker 3: contrast in the shot with characters in the foreground as

541
00:30:37,280 --> 00:30:41,560
Speaker 3: these silhouettes covered up in desert clothing, you know, moving

542
00:30:41,600 --> 00:30:44,440
Speaker 3: down the hills into the airship. But it's a great

543
00:30:44,440 --> 00:30:45,600
Speaker 3: looking moment.

544
00:30:45,840 --> 00:30:47,640
Speaker 2: Yeah, I mean, the film has just made a very

545
00:30:47,640 --> 00:30:51,640
Speaker 2: wacky choice. And initially here at least, you know, it's like,

546
00:30:51,640 --> 00:30:53,480
Speaker 2: all right, this looks awesome. Let's give it a try.

547
00:30:53,560 --> 00:30:55,160
Speaker 2: Let's see let's see how it fits.

548
00:30:55,640 --> 00:30:57,880
Speaker 3: This is one moment where I can point out that,

549
00:30:57,960 --> 00:31:00,720
Speaker 3: like the Renegade cut, I think I've seen this, they

550
00:31:00,760 --> 00:31:03,640
Speaker 3: like change this to it's not the planet Zeist, of course,

551
00:31:03,640 --> 00:31:05,800
Speaker 3: because they cut that out entirely. This is supposed to

552
00:31:05,880 --> 00:31:08,480
Speaker 3: be sometime in the ancient past, right, so.

553
00:31:08,440 --> 00:31:12,479
Speaker 2: We get an ancient city escape instead of that crash

554
00:31:12,560 --> 00:31:14,479
Speaker 2: spaceship or airship or whatever it is.

555
00:31:14,840 --> 00:31:16,200
Speaker 3: And I think it doesn't look as good.

556
00:31:16,920 --> 00:31:19,040
Speaker 2: Yeah, I mean, I don't know. I thought it looked good,

557
00:31:19,120 --> 00:31:21,640
Speaker 2: but it's not as interesting. And it just raises all

558
00:31:21,640 --> 00:31:24,880
Speaker 2: these questions because again you're about to see some sequences

559
00:31:24,920 --> 00:31:28,440
Speaker 2: where guys are clearly fighting with gas masks and modern

560
00:31:28,480 --> 00:31:32,800
Speaker 2: looking weapons and explosions. So to take it away from

561
00:31:32,800 --> 00:31:35,120
Speaker 2: an alien planet and put it into the ancient past

562
00:31:35,400 --> 00:31:39,280
Speaker 2: actually just creates more problems, yes, more logical problems for

563
00:31:39,320 --> 00:31:39,880
Speaker 2: the film.

564
00:31:40,120 --> 00:31:44,760
Speaker 3: Okay, Connor McLeod's voiceover goes on. He says, we planned rebellion,

565
00:31:45,240 --> 00:31:49,440
Speaker 3: we met in secret, always careful to avoid our deadly enemy,

566
00:31:49,840 --> 00:31:53,400
Speaker 3: General Katana. This is not a character that was mentioned

567
00:31:53,440 --> 00:31:56,280
Speaker 3: in the first movie, so this is brand new. So

568
00:31:56,280 --> 00:31:58,920
Speaker 3: we see a bunch of sweaty guys with like head

569
00:31:58,960 --> 00:32:02,960
Speaker 3: wrappings and desert cloaks, gathering in the ruins of the airship.

570
00:32:03,080 --> 00:32:07,040
Speaker 3: And then Sean Connery walks out on a platform to

571
00:32:07,120 --> 00:32:10,520
Speaker 3: address them, and his speech goes as follows. He says,

572
00:32:10,880 --> 00:32:14,920
Speaker 3: free men of the planet Zeist, hear me. We gather

573
00:32:15,080 --> 00:32:18,960
Speaker 3: together in secret for the last time. You suffer under

574
00:32:19,000 --> 00:32:22,280
Speaker 3: the yoke of General Katana's rule for the last time,

575
00:32:22,720 --> 00:32:25,560
Speaker 3: and you stand without a leader for the last time.

576
00:32:26,400 --> 00:32:28,880
Speaker 3: And the people call out for Sean Connery to lead them.

577
00:32:28,920 --> 00:32:32,560
Speaker 3: You know Ramirez well, by the way, this character on Zeist,

578
00:32:32,760 --> 00:32:36,480
Speaker 3: his name is Ramirez on Zeist, and Connor MacLeod's name

579
00:32:36,520 --> 00:32:40,440
Speaker 3: is Connor MacLeod on Zeist. Okay, yeah, So Ramirez says

580
00:32:40,480 --> 00:32:43,240
Speaker 3: he's not going to lead them, but he says, because

581
00:32:43,240 --> 00:32:46,560
Speaker 3: he sees with eyes different from theirs, he knows that

582
00:32:46,720 --> 00:32:49,880
Speaker 3: one among them has a great destiny. And the people

583
00:32:49,920 --> 00:32:53,160
Speaker 3: call out, who is he? Show him to us? And then,

584
00:32:53,320 --> 00:32:56,160
Speaker 3: in what I think is probably one of the funniest

585
00:32:56,160 --> 00:32:59,960
Speaker 3: single shots and lined deliveries in like all of cinema history,

586
00:33:00,440 --> 00:33:03,720
Speaker 3: Sean Connery draws his sword and he says, let him

587
00:33:03,720 --> 00:33:08,560
Speaker 3: show himself, let him feel the quickening. He waggles his

588
00:33:08,640 --> 00:33:13,840
Speaker 3: sword and lightning flashes, and then Ramirez there's like a

589
00:33:13,880 --> 00:33:18,120
Speaker 3: folly of sort of electricity arcing, and then somehow everybody

590
00:33:18,160 --> 00:33:21,000
Speaker 3: turns and looks, and among them in the crowd is

591
00:33:21,080 --> 00:33:24,080
Speaker 3: Christoph Limbert. He's standing there with wind blowing in his

592
00:33:24,160 --> 00:33:27,080
Speaker 3: hair like he's in a Creed music video, and he

593
00:33:27,120 --> 00:33:29,840
Speaker 3: looks very grave and heavy with the burden of this

594
00:33:29,920 --> 00:33:33,720
Speaker 3: new responsibility. And Sean Connery says, yes.

595
00:33:33,920 --> 00:33:37,560
Speaker 2: You, this is how the leaders of all great rebellions

596
00:33:37,560 --> 00:33:40,240
Speaker 2: are chosen, by the way. Yeah, just just sort of

597
00:33:40,320 --> 00:33:43,000
Speaker 2: randomly picked out of the crowd, and like you, Yep,

598
00:33:43,080 --> 00:33:45,120
Speaker 2: you're the one. You're gonna leave the rebellion. That's just

599
00:33:45,160 --> 00:33:46,680
Speaker 2: how it works, yes, you.

600
00:33:47,480 --> 00:33:49,800
Speaker 3: And then it doesn't stop, like it just goes so

601
00:33:50,040 --> 00:33:52,959
Speaker 3: fast straight into I guess we're about to see what

602
00:33:53,000 --> 00:33:57,440
Speaker 3: the quickening is as realized by this movie. Now rob

603
00:33:57,640 --> 00:34:01,520
Speaker 3: quickly no pun intended. What was the quickening in the

604
00:34:01,560 --> 00:34:02,440
Speaker 3: First Highlander?

605
00:34:02,920 --> 00:34:06,440
Speaker 2: The quickening in the First Highlander also it felt a

606
00:34:06,520 --> 00:34:10,279
Speaker 2: little vague. It was something magical about connection between immortals,

607
00:34:10,360 --> 00:34:13,000
Speaker 2: and we basically hear about it the most in that

608
00:34:13,120 --> 00:34:17,480
Speaker 2: scene where where it really a nice scene where Ramirez

609
00:34:17,600 --> 00:34:20,439
Speaker 2: and Connor during the midst of all their training, run

610
00:34:20,480 --> 00:34:23,239
Speaker 2: on the beach, maybe while a horse is running, I think,

611
00:34:23,280 --> 00:34:25,680
Speaker 2: but you know, it's like I think about it whenever

612
00:34:25,719 --> 00:34:27,960
Speaker 2: I run on a beach. I'm like, yeah, the quickening.

613
00:34:28,000 --> 00:34:30,160
Speaker 2: You know, it's like it was more of a feeling

614
00:34:30,280 --> 00:34:32,040
Speaker 2: than a codified lower thing.

615
00:34:32,120 --> 00:34:32,319
Speaker 3: You know.

616
00:34:32,360 --> 00:34:35,880
Speaker 2: It's about it's about their relationship, it's about their bond,

617
00:34:36,320 --> 00:34:38,560
Speaker 2: and this is I guess, trying to channel that as

618
00:34:38,560 --> 00:34:41,680
Speaker 2: well into some sort of like magical thing that connects

619
00:34:41,680 --> 00:34:44,760
Speaker 2: them across time and space as we'll see.

620
00:34:45,200 --> 00:34:50,120
Speaker 3: Yes, So what happens next is Ramirez and McLeod sit

621
00:34:50,200 --> 00:34:53,440
Speaker 3: across from each other and dip their fingers into like

622
00:34:54,200 --> 00:34:57,680
Speaker 3: it's like a fund pot for glowing magical energy. They

623
00:34:57,719 --> 00:35:00,400
Speaker 3: like dip their fingers in and they get some of

624
00:35:00,440 --> 00:35:03,480
Speaker 3: the magic on their fingertips, and then they touch their

625
00:35:03,480 --> 00:35:07,279
Speaker 3: hands together and then there's like light that shoots out

626
00:35:07,280 --> 00:35:10,680
Speaker 3: of their hands, and Connor looks very again. He looks

627
00:35:10,760 --> 00:35:14,080
Speaker 3: very grave. He's like, oh no, what's happening. But Ramirez

628
00:35:14,160 --> 00:35:17,880
Speaker 3: is just grinning wildly, and he says, the ancient power

629
00:35:17,880 --> 00:35:20,799
Speaker 3: of the quickening has joined us. We are now as one.

630
00:35:22,200 --> 00:35:24,400
Speaker 2: Okay, I don't know how this is going to result

631
00:35:24,400 --> 00:35:26,920
Speaker 2: in a successful rebellion. But you know, all right, fine,

632
00:35:26,960 --> 00:35:29,480
Speaker 2: we've done the quickening and now it's time to go

633
00:35:29,480 --> 00:35:30,640
Speaker 2: ahead and win this thing, right.

634
00:35:30,880 --> 00:35:33,200
Speaker 3: That's right, So they got to go beat General Katana.

635
00:35:33,480 --> 00:35:39,520
Speaker 3: So right then, immediately explosions start popping off outside Ramire,

636
00:35:39,560 --> 00:35:41,720
Speaker 3: says Connor McLoud. He has to go defeat the general.

637
00:35:41,840 --> 00:35:47,040
Speaker 3: So we cut to a few fleeting shots of a

638
00:35:47,080 --> 00:35:51,560
Speaker 3: battlefield charge, a disastrous battlefield charge by the rebels. Connor

639
00:35:51,640 --> 00:35:54,160
Speaker 3: tries to rally them to coordinate the attack, but it

640
00:35:54,239 --> 00:35:58,440
Speaker 3: ultimately fails. This is where we're about to meet General Katana.

641
00:35:58,440 --> 00:36:00,720
Speaker 3: But I did just want to say about this scene.

642
00:36:01,040 --> 00:36:03,400
Speaker 3: It seems like this is one of the scenes that

643
00:36:03,520 --> 00:36:09,960
Speaker 3: was supposed to be a big, weird, beautiful, fascinating action scene,

644
00:36:10,000 --> 00:36:12,520
Speaker 3: like a massive action scene in this sci fi landscape.

645
00:36:12,560 --> 00:36:14,560
Speaker 3: I think in the documentary they referred to it as

646
00:36:14,600 --> 00:36:18,400
Speaker 3: like the Battle of the Valley of the Moon or something,

647
00:36:19,040 --> 00:36:22,680
Speaker 3: and they show these concept sketches for it that have

648
00:36:22,719 --> 00:36:26,759
Speaker 3: all these strange rock formations and these aliens fighting in

649
00:36:26,960 --> 00:36:29,920
Speaker 3: weird costumes and all that. We don't really get to

650
00:36:29,920 --> 00:36:31,600
Speaker 3: see any of that. Instead, we just sort of see

651
00:36:31,600 --> 00:36:34,040
Speaker 3: some guys running in the sand and some things blow

652
00:36:34,120 --> 00:36:34,960
Speaker 3: up and then it's over.

653
00:36:35,200 --> 00:36:38,680
Speaker 2: Yeah. Nothing you really haven't seen in other post apocalyptic

654
00:36:38,719 --> 00:36:40,760
Speaker 2: battle movies. They're just war movies in general.

655
00:36:41,200 --> 00:36:44,560
Speaker 3: Yeah, it's a shame because just based on the concept

656
00:36:44,640 --> 00:36:46,759
Speaker 3: sketches in the documentary, it looks like this could have

657
00:36:46,760 --> 00:36:50,719
Speaker 3: been a really beautiful, awesome looking sequence. But this is

658
00:36:50,719 --> 00:36:53,839
Speaker 3: where we first meet the villain of the movie, Michael Ironside,

659
00:36:53,880 --> 00:36:58,160
Speaker 3: playing General Katana. Now he stands over the battlefield. He

660
00:36:58,160 --> 00:37:01,080
Speaker 3: looks very pleased about all of his enemy being annihilated.

661
00:37:01,360 --> 00:37:04,680
Speaker 3: He says he wants Connor McLeod and Ramirez captured as

662
00:37:04,680 --> 00:37:06,560
Speaker 3: for everybody else, he wants their heads.

663
00:37:07,080 --> 00:37:09,919
Speaker 2: And Katana does look pretty awesome here. You know, he's

664
00:37:10,080 --> 00:37:13,720
Speaker 2: a little bit industrial metal but with a stylish dueling scar,

665
00:37:14,320 --> 00:37:16,960
Speaker 2: and he has this like long he has long, dark hair,

666
00:37:17,000 --> 00:37:19,359
Speaker 2: but he has the streak of gray or white through it,

667
00:37:19,440 --> 00:37:22,200
Speaker 2: so it's a solid look. And you know it's Ironside,

668
00:37:22,239 --> 00:37:23,920
Speaker 2: so he can definitely sell the menace.

669
00:37:24,320 --> 00:37:28,000
Speaker 3: So now Michael Ironside, who we just met seconds ago,

670
00:37:28,239 --> 00:37:32,160
Speaker 3: he has Connor McLoud captured and held prisoner in this

671
00:37:32,239 --> 00:37:36,880
Speaker 3: kind of some kind of like office slash dungeon. It's

672
00:37:36,960 --> 00:37:40,440
Speaker 3: it's I guess Rob, I think you brought this up

673
00:37:40,480 --> 00:37:42,920
Speaker 3: in the last episode that this is a cool looking interior.

674
00:37:43,239 --> 00:37:45,200
Speaker 2: Yeah, yeah, this is a really cool look, Concett, This

675
00:37:45,320 --> 00:37:48,880
Speaker 2: is definitely a scene that I recommend going back and

676
00:37:48,960 --> 00:37:51,920
Speaker 2: watching in like the highest picture quality possible. Like I

677
00:37:51,960 --> 00:37:54,960
Speaker 2: went back and watched this scene in the Renegade cut

678
00:37:55,160 --> 00:37:57,360
Speaker 2: just because it's it's it's just shot so well. It

679
00:37:57,360 --> 00:37:57,839
Speaker 2: looks great.

680
00:37:58,200 --> 00:38:00,600
Speaker 3: Yeah. Yeah. This is one of the examples of how

681
00:38:00,680 --> 00:38:03,239
Speaker 3: in the Renegade Cut, a lot of scenes that you

682
00:38:03,360 --> 00:38:06,200
Speaker 3: do get a glimpse of in the theatrical release do

683
00:38:06,400 --> 00:38:10,960
Speaker 3: look better in that version. But also the content of

684
00:38:10,960 --> 00:38:14,760
Speaker 3: what's happening in the scene is that, like General Katana

685
00:38:14,800 --> 00:38:17,920
Speaker 3: is giving a speech to an eel. He grabs an

686
00:38:17,920 --> 00:38:20,120
Speaker 3: eel out of the tank and he starts giving it

687
00:38:20,160 --> 00:38:21,880
Speaker 3: a you know, a good old like we're not so

688
00:38:22,000 --> 00:38:26,000
Speaker 3: different you and I, and then he says, so deadly

689
00:38:26,080 --> 00:38:29,760
Speaker 3: in their own environment, so tame and servile in mine.

690
00:38:30,120 --> 00:38:33,399
Speaker 3: I think he means out of the water. And then

691
00:38:33,520 --> 00:38:37,960
Speaker 3: Connor says, maybe they're just waiting, and then Katana says

692
00:38:38,080 --> 00:38:41,520
Speaker 3: waiting for what And then Connor says, for you to

693
00:38:41,560 --> 00:38:47,279
Speaker 3: get careless. I get what he's saying, But how would

694
00:38:47,320 --> 00:38:48,400
Speaker 3: that apply to an eel?

695
00:38:49,360 --> 00:38:52,080
Speaker 2: Yeah, I don't know. It's wait, he looks good. It

696
00:38:52,120 --> 00:38:52,600
Speaker 2: looks good.

697
00:38:53,000 --> 00:38:55,600
Speaker 3: Okay, wait for you to fall asleep in the tank

698
00:38:55,640 --> 00:38:59,879
Speaker 3: where they can get you anyway. So General Katana dim

699
00:39:00,080 --> 00:39:02,880
Speaker 3: straits his power by like squeezing the eel in his

700
00:39:03,000 --> 00:39:05,919
Speaker 3: fist until it basically he like cuts it in half

701
00:39:05,960 --> 00:39:09,319
Speaker 3: and it splats on the floor. Uh. And then it

702
00:39:09,480 --> 00:39:13,040
Speaker 3: just seems that General Katana is going to execute Connor MacLeod,

703
00:39:13,200 --> 00:39:16,200
Speaker 3: a resident of the planet Zeist, for his crimes against

704
00:39:16,200 --> 00:39:19,399
Speaker 3: the planet Zeist. But instead we cut straight from this

705
00:39:20,200 --> 00:39:24,120
Speaker 3: to Connor and Ramirez standing in a dark hall with

706
00:39:24,280 --> 00:39:28,200
Speaker 3: some kind of priest of Zeist reading out their sentencing.

707
00:39:28,920 --> 00:39:32,279
Speaker 3: And so this priest there's like several bald priests in

708
00:39:32,440 --> 00:39:36,920
Speaker 3: robes standing up on these huge pedestals like way above them,

709
00:39:37,160 --> 00:39:40,000
Speaker 3: and the priest says, leaders of the Rebellion, you have

710
00:39:40,080 --> 00:39:43,719
Speaker 3: been found guilty of treason. We hereby sentence you to

711
00:39:43,920 --> 00:39:47,720
Speaker 3: exile from Zeist. You will be sent to the planet Earth.

712
00:39:48,040 --> 00:39:51,879
Speaker 3: Once there you will be immortal. You can only die

713
00:39:51,920 --> 00:39:54,799
Speaker 3: when your head is cut from your body. When one

714
00:39:54,840 --> 00:39:57,759
Speaker 3: of you becomes the last of us on Earth, he

715
00:39:57,920 --> 00:40:02,080
Speaker 3: will claim the prize. He can return to Zeist or

716
00:40:02,200 --> 00:40:04,560
Speaker 3: choose to grow old and die on Earth.

717
00:40:05,160 --> 00:40:09,000
Speaker 2: Okay, so yeah, certainly a liberal and overly complex exile

718
00:40:09,080 --> 00:40:12,080
Speaker 2: process that also kind of functions like a loser's bracket

719
00:40:12,160 --> 00:40:15,120
Speaker 2: right in a tournament. So it's like all the people

720
00:40:15,160 --> 00:40:18,799
Speaker 2: that were enemies of our planet, they're sent away, but

721
00:40:18,840 --> 00:40:20,719
Speaker 2: then you compete against each other and then like the

722
00:40:20,719 --> 00:40:24,960
Speaker 2: most powerful of you can then come back and I

723
00:40:25,000 --> 00:40:27,320
Speaker 2: don't know, have another go at ruining the planet or whatever.

724
00:40:28,000 --> 00:40:30,759
Speaker 3: Yeah, exactly, I don't quite get it, but.

725
00:40:30,840 --> 00:40:33,000
Speaker 2: I don't know. Maybe it's just codified in their religious

726
00:40:33,040 --> 00:40:36,520
Speaker 2: thinking and their traditions. I don't know. Fine enough, they've

727
00:40:36,560 --> 00:40:39,839
Speaker 2: explained what's going on in the first Highlander film. They've

728
00:40:39,840 --> 00:40:42,839
Speaker 2: read cond it Yeah, we'll make do it, dear.

729
00:40:43,360 --> 00:40:46,239
Speaker 3: But I love how also they're literally they're getting their

730
00:40:46,480 --> 00:40:49,920
Speaker 3: you know, life in exile sentence read out, and they

731
00:40:49,960 --> 00:40:53,120
Speaker 3: just start talking to Connor and Ramirez start like talking

732
00:40:53,120 --> 00:40:57,520
Speaker 3: in class, like Connor's like, will we be together on Earth?

733
00:40:57,840 --> 00:41:00,680
Speaker 3: And Ramirez says not at first, but we're joined in

734
00:41:00,719 --> 00:41:03,320
Speaker 3: a way that can never be broken, not even by death.

735
00:41:03,640 --> 00:41:05,960
Speaker 3: And then he says, when you need me, you'll only

736
00:41:06,000 --> 00:41:07,239
Speaker 3: have to call my name.

737
00:41:07,800 --> 00:41:11,480
Speaker 2: Oh it's like the friends in Labyrinth, you know at

738
00:41:11,480 --> 00:41:13,239
Speaker 2: the end where Sarah can just call on them and

739
00:41:13,280 --> 00:41:13,600
Speaker 2: they come.

740
00:41:14,320 --> 00:41:16,800
Speaker 3: But why did we know this in the first movie.

741
00:41:16,920 --> 00:41:19,520
Speaker 2: No, when Ramirez his dad in the first movie, he's

742
00:41:19,600 --> 00:41:22,759
Speaker 2: dead for centuries and there's no indication that he could

743
00:41:22,760 --> 00:41:25,200
Speaker 2: ever call out to his old friend, though he clearly

744
00:41:25,200 --> 00:41:26,920
Speaker 2: missed him. That's the thing, like, if he could have

745
00:41:26,960 --> 00:41:29,680
Speaker 2: done this, there would have been opportunities to do it.

746
00:41:30,320 --> 00:41:31,120
Speaker 2: But oh well.

747
00:41:31,600 --> 00:41:35,360
Speaker 3: Oh and also Connor gives a solemn vow. He promises

748
00:41:35,400 --> 00:41:38,200
Speaker 3: that if he wins the prize, he'll be back back

749
00:41:38,239 --> 00:41:40,799
Speaker 3: to the planet Zeist. So remember that. That's a vow,

750
00:41:40,920 --> 00:41:41,640
Speaker 3: that's a promise.

751
00:41:41,920 --> 00:41:42,240
Speaker 2: Okay.

752
00:41:42,640 --> 00:41:46,080
Speaker 3: Oh also another thing to remember, Sean Connery just kind

753
00:41:46,120 --> 00:41:47,880
Speaker 3: of leans over at the end and he says, just

754
00:41:48,000 --> 00:41:53,680
Speaker 3: remember the quickening. Okay, okay, Oh god, no, wait, it's

755
00:41:53,719 --> 00:41:57,360
Speaker 3: not even over yet, because Connor then says it sounds

756
00:41:57,400 --> 00:42:01,040
Speaker 3: like magic, and then Ramirez says, well, it is a

757
00:42:01,200 --> 00:42:05,600
Speaker 3: kind of here's our first of many many references to

758
00:42:05,760 --> 00:42:08,879
Speaker 3: the Queen song. A kind of magic or some kind

759
00:42:08,880 --> 00:42:09,919
Speaker 3: of magic. Which is it?

760
00:42:09,920 --> 00:42:10,840
Speaker 2: It's a kind of magic.

761
00:42:10,920 --> 00:42:13,520
Speaker 3: Yeah, it's a kind of magic. How many times do

762
00:42:13,560 --> 00:42:15,040
Speaker 3: they bring this up in the movie.

763
00:42:14,800 --> 00:42:16,680
Speaker 2: Oh, way too many. I mean, it's a great song,

764
00:42:16,719 --> 00:42:19,680
Speaker 2: we all love it, but they go to the well

765
00:42:19,719 --> 00:42:20,759
Speaker 2: a little too often on this.

766
00:42:21,239 --> 00:42:23,280
Speaker 3: I think they wanted to put a bunch of references

767
00:42:23,280 --> 00:42:25,239
Speaker 3: in there in case you didn't get some of them,

768
00:42:25,280 --> 00:42:26,360
Speaker 3: you could still get the others.

769
00:42:26,400 --> 00:42:28,239
Speaker 2: They should have referenced the other songs, though I don't

770
00:42:28,280 --> 00:42:31,399
Speaker 2: think they directly reference Princes of the Universe at all.

771
00:42:32,120 --> 00:42:34,240
Speaker 2: He could have said that he could just remember Highlander

772
00:42:34,680 --> 00:42:36,000
Speaker 2: with Princes of the Universe.

773
00:42:36,360 --> 00:42:38,919
Speaker 3: Here, we are born to be kings.

774
00:42:38,800 --> 00:42:41,800
Speaker 2: Exactly till your mother down, Highlander.

775
00:42:43,400 --> 00:42:44,640
Speaker 3: We will not let you go.

776
00:42:46,120 --> 00:42:47,920
Speaker 2: I want to break free.

777
00:42:48,520 --> 00:42:53,640
Speaker 3: So the priests say, prepare yourself. There can only be one.

778
00:42:54,440 --> 00:42:57,760
Speaker 3: And then the priests like lower swords, like they're knighting

779
00:42:57,800 --> 00:43:00,319
Speaker 3: them sort of, but they're standing way above them m hm.

780
00:43:00,840 --> 00:43:04,560
Speaker 3: And then Connor and Ramirez get zapped by a big

781
00:43:04,680 --> 00:43:09,760
Speaker 3: machine that's like a like an exxystraator, and General Katana

782
00:43:09,880 --> 00:43:12,080
Speaker 3: looks on angrily. I guess he did not get his

783
00:43:12,120 --> 00:43:13,439
Speaker 3: way at the sentencing here.

784
00:43:13,960 --> 00:43:16,760
Speaker 2: Yeah, he's not down with his culture's very forgiving system

785
00:43:16,800 --> 00:43:17,320
Speaker 2: of exile.

786
00:43:26,080 --> 00:43:29,040
Speaker 3: So next Connor wakes up in twenty twenty four on

787
00:43:29,080 --> 00:43:30,840
Speaker 3: Earth in the opera house. I guess all that was

788
00:43:31,000 --> 00:43:33,600
Speaker 3: a dream, a memory, you know, of his of his past.

789
00:43:34,239 --> 00:43:37,520
Speaker 3: The show is over and an usher is asking him

790
00:43:37,600 --> 00:43:41,160
Speaker 3: to leave the theater, and he's so old and weak

791
00:43:41,239 --> 00:43:44,440
Speaker 3: and feeble he can barely croak out a friendly response

792
00:43:44,480 --> 00:43:45,080
Speaker 3: to the usher.

793
00:43:45,800 --> 00:43:49,520
Speaker 2: In Michael Weldon's little review for this in The Psychotronic

794
00:43:49,560 --> 00:43:52,760
Speaker 2: Film Guides, he points out that he it's a review

795
00:43:52,800 --> 00:43:55,200
Speaker 2: where he says, like, there's definitely some awesome stuff in

796
00:43:55,239 --> 00:43:57,840
Speaker 2: this in this film, but he's like, oh, it spends

797
00:43:57,880 --> 00:44:02,319
Speaker 2: way too much time with Lambert convincingly playing an old

798
00:44:02,320 --> 00:44:07,480
Speaker 2: Connor McCloud yes and yeah, quibbles about the makeup aside, Like,

799
00:44:07,640 --> 00:44:10,000
Speaker 2: he does really sell this idea of here's your hero

800
00:44:10,040 --> 00:44:12,840
Speaker 2: from the first film, old and feeble. But there's gonna

801
00:44:12,840 --> 00:44:14,560
Speaker 2: be payoff for that. There's gonna be payoff.

802
00:44:14,880 --> 00:44:16,840
Speaker 3: It takes a third of the movie for him to

803
00:44:16,840 --> 00:44:17,560
Speaker 3: get hot again.

804
00:44:18,840 --> 00:44:19,040
Speaker 2: Oh.

805
00:44:19,120 --> 00:44:21,880
Speaker 3: Also, there's a scene here where we see like, meanwhile

806
00:44:21,960 --> 00:44:24,799
Speaker 3: at the headquarters of the Shield Corporation. I remember, this

807
00:44:24,880 --> 00:44:29,400
Speaker 3: is a giant concrete pyramid surrounded by like rushing canals

808
00:44:29,440 --> 00:44:33,560
Speaker 3: of water and armed guards. I think this is another

809
00:44:33,640 --> 00:44:36,560
Speaker 3: thing that gets mixed up between the different cuts of

810
00:44:36,600 --> 00:44:40,160
Speaker 3: the film, because I believe originally more of the like

811
00:44:40,239 --> 00:44:45,800
Speaker 3: different Shield Corporation locations were separate, discrete locations with different

812
00:44:45,880 --> 00:44:48,359
Speaker 3: kinds of buildings, But this cut just makes it look

813
00:44:48,440 --> 00:44:51,440
Speaker 3: like everything Shield related is taking place in the pyramid.

814
00:44:52,360 --> 00:44:55,759
Speaker 3: So at this pyramid we see a group of operatives

815
00:44:55,840 --> 00:44:59,440
Speaker 3: sneaking past security guards with grappling hooks and zip lines.

816
00:45:00,239 --> 00:45:05,200
Speaker 3: Is their purpose? Well, inside the facility, the infiltrators remove

817
00:45:05,280 --> 00:45:09,160
Speaker 3: their helmets and it's revealed that their leader is Virginia Madsen. Hey,

818
00:45:09,200 --> 00:45:12,000
Speaker 3: there she is, So what are they here for? It

819
00:45:12,040 --> 00:45:15,319
Speaker 3: is to hack the shield, specifically to get into the

820
00:45:15,400 --> 00:45:19,839
Speaker 3: computer and find out what the readings above the shield are.

821
00:45:20,360 --> 00:45:23,920
Speaker 3: And it turns out they are normal, which is a

822
00:45:23,960 --> 00:45:26,960
Speaker 3: funny reveal. It's like a gasp moment, but just because

823
00:45:27,000 --> 00:45:31,840
Speaker 3: it says normal, So Virginia Madsen says impossible, radiation levels

824
00:45:31,880 --> 00:45:36,440
Speaker 3: can't be normal. Then the infiltrators trigger the alarm and

825
00:45:36,480 --> 00:45:39,520
Speaker 3: security comes running, so Virginia Madson's crew has to They

826
00:45:39,560 --> 00:45:42,840
Speaker 3: flee and we see some very again some very nice

827
00:45:42,960 --> 00:45:45,560
Speaker 3: sets and matte paintings as they run away. There's like

828
00:45:45,600 --> 00:45:47,799
Speaker 3: one shot you only see for a second, but it's

829
00:45:47,840 --> 00:45:53,040
Speaker 3: like a walkway running over this deep, you know, column

830
00:45:53,120 --> 00:45:57,800
Speaker 3: shaped chasm with like beams running up and down the sides,

831
00:45:57,840 --> 00:46:01,000
Speaker 3: and you know, the actors are running across this walkway

832
00:46:01,320 --> 00:46:03,640
Speaker 3: way up above the pit in the foreground, and it

833
00:46:03,640 --> 00:46:06,120
Speaker 3: looks great, but it's just like a moment and then

834
00:46:06,160 --> 00:46:08,000
Speaker 3: it's gone, and then you see some other stuff that

835
00:46:08,040 --> 00:46:09,040
Speaker 3: looks not so good.

836
00:46:09,160 --> 00:46:10,759
Speaker 2: Yeah, I mean, this makes you look like they're on

837
00:46:10,880 --> 00:46:15,439
Speaker 2: the industrial Death Star sort of a set. It looks good,

838
00:46:15,480 --> 00:46:17,640
Speaker 2: but yeah, then we're through with it.

839
00:46:18,080 --> 00:46:20,200
Speaker 3: So they split up. As they're running away, they're being

840
00:46:20,280 --> 00:46:24,760
Speaker 3: pursued by Shield Corporation mercenaries. Meanwhile, back in the city,

841
00:46:24,800 --> 00:46:26,879
Speaker 3: we follow Connor as he goes out to a bar

842
00:46:27,040 --> 00:46:30,960
Speaker 3: after the opera, and the city set here is so gross.

843
00:46:31,000 --> 00:46:32,920
Speaker 3: They did a great job of making this look like

844
00:46:33,120 --> 00:46:36,200
Speaker 3: just a disgusting place to live here under the Shield,

845
00:46:36,320 --> 00:46:38,440
Speaker 3: Like the streets look like they're made out of wet

846
00:46:38,480 --> 00:46:43,840
Speaker 3: newspaper and they're like no colors apart from the neon

847
00:46:44,040 --> 00:46:47,280
Speaker 3: signs over businesses, which I think is also a nice touch.

848
00:46:47,320 --> 00:46:52,200
Speaker 3: It almost feels like kind of thematically meaningful that like

849
00:46:52,239 --> 00:46:54,800
Speaker 3: all of the buildings and the streets and the sky

850
00:46:55,000 --> 00:46:58,240
Speaker 3: and everything is like the same kind of gray brown

851
00:46:58,440 --> 00:47:01,600
Speaker 3: mud kind of color. And then the only other colors

852
00:47:01,640 --> 00:47:04,719
Speaker 3: are just like lights and say like a bar or

853
00:47:04,880 --> 00:47:08,000
Speaker 3: opera or you know, or show like advertisements.

854
00:47:08,360 --> 00:47:11,279
Speaker 2: Yeah, I keep expecting Deran Duran Simon Labon to walk

855
00:47:11,320 --> 00:47:13,880
Speaker 2: into frame here and start belding out some lyrics or

856
00:47:13,960 --> 00:47:16,640
Speaker 2: you know, to rotate into frame strap to a windmill

857
00:47:16,760 --> 00:47:17,560
Speaker 2: or something.

858
00:47:17,640 --> 00:47:18,720
Speaker 3: Wild boys indeed.

859
00:47:18,800 --> 00:47:21,560
Speaker 2: Yeah, but we are about to get some music though.

860
00:47:21,840 --> 00:47:24,520
Speaker 3: That's right. So in a restaurant, Connor puts a quarter

861
00:47:24,560 --> 00:47:27,719
Speaker 3: in a jukebox and he cues up a kind of

862
00:47:27,800 --> 00:47:30,440
Speaker 3: magic or it's a kind of magic by queen. So

863
00:47:30,600 --> 00:47:32,960
Speaker 3: like we get a needle drop in the movie. Here

864
00:47:33,480 --> 00:47:36,880
Speaker 3: the song about Highlander two, I guess, or is it

865
00:47:36,920 --> 00:47:38,359
Speaker 3: about Highlander or Highlander two?

866
00:47:38,480 --> 00:47:39,600
Speaker 2: Oh it's from Highlander one.

867
00:47:39,680 --> 00:47:42,280
Speaker 3: Yeah, oh that's right. Okay, So it's a callback.

868
00:47:42,360 --> 00:47:44,120
Speaker 2: Yeah, it's a callback. It's a great track. It's great

869
00:47:44,120 --> 00:47:46,120
Speaker 2: to hear it again and does kind of like remind

870
00:47:46,239 --> 00:47:48,520
Speaker 2: us like, yeah, this is a Highlander movie, Gosh darn it.

871
00:47:48,800 --> 00:47:52,040
Speaker 3: But it's nice to know that within the story of

872
00:47:52,080 --> 00:47:55,560
Speaker 3: the movie, like it is diegetically the case that Queen

873
00:47:55,719 --> 00:47:58,279
Speaker 3: exists in Connor is a fan of It's a kind

874
00:47:58,320 --> 00:48:02,000
Speaker 3: of magic. Yes, that's his like, don't stop believing it's

875
00:48:02,000 --> 00:48:05,480
Speaker 3: his jukebox tune. So this is a bar where Connor

876
00:48:05,560 --> 00:48:07,360
Speaker 3: is a regular. He sits down for a drink. He

877
00:48:07,400 --> 00:48:10,200
Speaker 3: knows the bartender. He watches the news on TV and

878
00:48:10,280 --> 00:48:12,600
Speaker 3: it's a report that there has been a terrorist attack

879
00:48:12,640 --> 00:48:16,640
Speaker 3: on Shield headquarters by an eco terrorist group called Cobalt,

880
00:48:16,960 --> 00:48:20,240
Speaker 3: led by a woman named Louise Marcus. That's Virginia Madsen.

881
00:48:20,520 --> 00:48:23,520
Speaker 2: Yeah, we see COBALT's call sign is essentially the Zodiac

882
00:48:23,600 --> 00:48:24,960
Speaker 2: killer symbol for some reason.

883
00:48:25,320 --> 00:48:30,200
Speaker 3: Yeah, nice selection there. And then the news interviews John

884
00:48:30,200 --> 00:48:34,720
Speaker 3: c McGinley, who was playing. They said earlier that Alan

885
00:48:34,840 --> 00:48:38,359
Speaker 3: Naman was the president of the Shield Corporation, but here

886
00:48:38,400 --> 00:48:40,520
Speaker 3: they say John c McGinley is the president of the

887
00:48:40,520 --> 00:48:42,440
Speaker 3: Shield Corporation. So I don't know what the deal is.

888
00:48:42,600 --> 00:48:45,400
Speaker 3: He says that any attempt to undermine the Shield is insane.

889
00:48:45,680 --> 00:48:48,160
Speaker 3: Without it, every single human being on the planet would

890
00:48:48,160 --> 00:48:51,640
Speaker 3: instantly die. Connor's main reaction to the news is to

891
00:48:51,680 --> 00:48:56,000
Speaker 3: comment that the terrorist lady is pretty that's Virginia Madson

892
00:48:56,120 --> 00:48:59,439
Speaker 3: and Also, I think we learned, either here or maybe later,

893
00:48:59,560 --> 00:49:02,760
Speaker 3: that she used to work for the Shield Corporation before

894
00:49:02,800 --> 00:49:04,560
Speaker 3: she became the eco terrorist.

895
00:49:05,080 --> 00:49:07,600
Speaker 2: I'm increasingly struck by the fact that her character is

896
00:49:07,680 --> 00:49:11,040
Speaker 2: essentially Gracie Law, the Kim Cattrell character from Big Trouble

897
00:49:11,040 --> 00:49:14,040
Speaker 2: in Little China. You know, she's there. She's a spunky,

898
00:49:14,080 --> 00:49:17,040
Speaker 2: go getter, you know, a little bit of a hoxy

899
00:49:17,080 --> 00:49:20,759
Speaker 2: and female, you know, trope character, but also is just

900
00:49:20,880 --> 00:49:23,200
Speaker 2: ultimately there to be the love interest in the long run.

901
00:49:23,640 --> 00:49:27,960
Speaker 2: Gracie Law, to be clear, is a much better defined character.

902
00:49:28,360 --> 00:49:32,399
Speaker 3: Gracie Law is a lot funnier. Yeah, Virginia Madsen has

903
00:49:32,440 --> 00:49:35,239
Speaker 3: some moments in this, but they're mostly like, as we

904
00:49:35,280 --> 00:49:37,640
Speaker 3: said in the last episode, she is sort of the

905
00:49:37,760 --> 00:49:42,120
Speaker 3: human character who's here to process the mythology. So we

906
00:49:42,160 --> 00:49:46,080
Speaker 3: see her like working through, like she's getting all the

907
00:49:46,239 --> 00:49:48,640
Speaker 3: zised stuff explained to her and she's like, am I

908
00:49:48,680 --> 00:49:49,680
Speaker 3: understanding this right?

909
00:49:50,000 --> 00:49:52,719
Speaker 2: Yeah? Yeah. She's basically also there to be like like

910
00:49:52,840 --> 00:49:55,719
Speaker 2: wake up and get excited about the B plot and

911
00:49:55,760 --> 00:49:57,720
Speaker 2: he's like, well, let me tell you about the A plot,

912
00:49:57,760 --> 00:49:59,480
Speaker 2: and then we have conversations about that.

913
00:50:00,080 --> 00:50:03,719
Speaker 3: There you go, that's exactly right. Also, meanwhile, while like

914
00:50:03,760 --> 00:50:06,759
Speaker 3: Connor's inside looking at her on TV, she happens to

915
00:50:06,800 --> 00:50:09,680
Speaker 3: be changing out of her terrorist clothes into street wear

916
00:50:09,800 --> 00:50:12,360
Speaker 3: in an alley outside the bar. And then she like

917
00:50:12,480 --> 00:50:15,560
Speaker 3: unfolds a piece of paper and the paper just says,

918
00:50:15,640 --> 00:50:20,359
Speaker 3: McLoud twenty third Street bar. Huh, how does she have

919
00:50:20,400 --> 00:50:21,080
Speaker 3: that information?

920
00:50:21,880 --> 00:50:22,840
Speaker 2: Informants? I guess?

921
00:50:23,840 --> 00:50:26,080
Speaker 3: And then a drunk lady tries to pick a fight

922
00:50:26,120 --> 00:50:29,440
Speaker 3: with Connor. She recognizes him by sight and tells him

923
00:50:29,480 --> 00:50:32,359
Speaker 3: that her life is bad and it's his fault, as

924
00:50:32,440 --> 00:50:35,080
Speaker 3: she says, you covered the sky with that puke, and

925
00:50:35,120 --> 00:50:38,080
Speaker 3: then she bashes him with a glass bottle. And so

926
00:50:38,360 --> 00:50:42,200
Speaker 3: in the world of this movie, like Connor is recognizable

927
00:50:42,360 --> 00:50:45,359
Speaker 3: by sight to just random members of the public and

928
00:50:45,360 --> 00:50:48,840
Speaker 3: they all hate him. So, as Connor is leaving the barge,

929
00:50:48,920 --> 00:50:51,200
Speaker 3: having just been bashed with a bottle, he's clutching his

930
00:50:51,280 --> 00:50:54,560
Speaker 3: wounded arm, Virginia Madson just walks up to him in

931
00:50:54,640 --> 00:50:57,279
Speaker 3: the street and she says, Connor, McLoud, I am the

932
00:50:57,400 --> 00:51:00,120
Speaker 3: terrorist woman you just saw on TV. Except I'm I'm

933
00:51:00,120 --> 00:51:03,359
Speaker 3: not a terrorist. I've got business with you, and he

934
00:51:03,400 --> 00:51:05,279
Speaker 3: tries to brush her off and get in his car.

935
00:51:05,400 --> 00:51:08,440
Speaker 3: He seems to he has lost his passion for peace

936
00:51:08,480 --> 00:51:10,520
Speaker 3: and harmony and doing good in the world. He just

937
00:51:10,880 --> 00:51:13,080
Speaker 3: he seems to just want to, you know, mind his

938
00:51:13,160 --> 00:51:16,480
Speaker 3: own business and be old and lonely. But she says,

939
00:51:16,520 --> 00:51:18,480
Speaker 3: you know, I used to read about you. You had

940
00:51:18,520 --> 00:51:22,040
Speaker 3: such great passion for the world. I admired you. I

941
00:51:22,040 --> 00:51:24,600
Speaker 3: can see that's all gone. Now you're nothing but a

942
00:51:24,640 --> 00:51:27,480
Speaker 3: tired old man. And he tries to get in his

943
00:51:27,719 --> 00:51:29,759
Speaker 3: car and drive away, but she just jumps in the

944
00:51:29,800 --> 00:51:33,000
Speaker 3: car with him, and then he drives away anyway, Like

945
00:51:33,080 --> 00:51:35,000
Speaker 3: why is she hounding him? I don't know, But they

946
00:51:35,080 --> 00:51:37,640
Speaker 3: drive off and she says, the world is dying, McLeod,

947
00:51:37,719 --> 00:51:42,360
Speaker 3: I need your help. Then suddenly a highly WTF cut,

948
00:51:42,400 --> 00:51:44,880
Speaker 3: So we go straight from that conversation in the car

949
00:51:45,280 --> 00:51:49,600
Speaker 3: to crazy rock formations in the desert and a title

950
00:51:49,719 --> 00:51:53,520
Speaker 3: says the planet Zeist, And then we see Michael Ironside

951
00:51:54,040 --> 00:51:57,120
Speaker 3: and he's just like Hinchminton. And a couple of guys

952
00:51:57,160 --> 00:52:00,760
Speaker 3: walk up and these are a pair of pale bird

953
00:52:01,040 --> 00:52:05,560
Speaker 3: like men wearing welding goggles with porcupine quills for hair.

954
00:52:06,719 --> 00:52:09,560
Speaker 2: Yes, major wild boy energy to these two. I mean,

955
00:52:09,600 --> 00:52:12,239
Speaker 2: these two really could have just walked right out of

956
00:52:12,239 --> 00:52:13,440
Speaker 2: the Wild Boy's music video.

957
00:52:14,400 --> 00:52:17,399
Speaker 3: General Katana says to them, you leave for the planet Earth,

958
00:52:17,440 --> 00:52:21,759
Speaker 3: immediately find McLoud and kill him. The Benjaman says, but

959
00:52:21,840 --> 00:52:24,960
Speaker 3: I thought you said McLeod was mortal and could never return.

960
00:52:25,680 --> 00:52:30,120
Speaker 2: And this is actually an excellent and unaddressed point. So

961
00:52:30,360 --> 00:52:32,800
Speaker 2: on Planet Zeis, everyone here seems to be a mortal

962
00:52:32,840 --> 00:52:35,719
Speaker 2: as well, because Katana has not seemingly aged at all,

963
00:52:35,800 --> 00:52:39,680
Speaker 2: these guys presumably are part of the Zeistian order from

964
00:52:40,120 --> 00:52:44,480
Speaker 2: centuries prior as well. And yeah, it's like for some reason,

965
00:52:44,520 --> 00:52:47,080
Speaker 2: Katana's saying, okay, go find the guy that won the

966
00:52:47,120 --> 00:52:50,440
Speaker 2: prize and is doing all this stuff and hasn't hasn't

967
00:52:50,440 --> 00:52:53,480
Speaker 2: come back to Zeist is not in any way seemingly

968
00:52:54,760 --> 00:52:59,200
Speaker 2: planning to or or working on interfering with our stuff. Here,

969
00:52:59,360 --> 00:53:02,719
Speaker 2: go back and him and and they're like, but why

970
00:53:02,880 --> 00:53:05,239
Speaker 2: why now? Why are we doing this? And he just

971
00:53:05,239 --> 00:53:07,040
Speaker 2: like slaps him around a little and like, go do it,

972
00:53:07,080 --> 00:53:12,320
Speaker 2: you dummies. But why, there's no reason for this to happen.

973
00:53:12,680 --> 00:53:15,440
Speaker 2: There's never a reason for this to happen in the movie.

974
00:53:15,880 --> 00:53:19,360
Speaker 3: That's exactly right, Like why now why why?

975
00:53:20,000 --> 00:53:23,520
Speaker 2: Yeah, like I was thinking about this, Okay, assuming Katana

976
00:53:23,640 --> 00:53:26,560
Speaker 2: wanted to interfere with the exile system and the you know,

977
00:53:26,640 --> 00:53:32,359
Speaker 2: the game towards the prize, he would have done it

978
00:53:32,719 --> 00:53:36,120
Speaker 2: ages ago. And maybe the idea here is like, I

979
00:53:36,160 --> 00:53:38,360
Speaker 2: know they wanted to get consequency Brown in here to

980
00:53:38,480 --> 00:53:41,799
Speaker 2: reprise the role of the Kurgan to some degree. So

981
00:53:41,840 --> 00:53:44,880
Speaker 2: maybe the idea is like, at some level, the Kurgan

982
00:53:45,000 --> 00:53:47,160
Speaker 2: was like their dude that they sent back. It's like, Okay,

983
00:53:47,360 --> 00:53:48,800
Speaker 2: go win this prize thing, so we don't have to

984
00:53:48,840 --> 00:53:52,160
Speaker 2: worry about Connor. And he fails, But even then it's

985
00:53:52,200 --> 00:53:54,320
Speaker 2: like that was the time to interfere at this point.

986
00:53:54,480 --> 00:53:57,040
Speaker 2: Connor won the prize and ended up not doing the

987
00:53:57,040 --> 00:53:59,480
Speaker 2: thing you were afraid he was gonna do. No reason

988
00:53:59,480 --> 00:53:59,960
Speaker 2: to go back.

989
00:53:59,800 --> 00:54:02,480
Speaker 3: And get Yes, that is what I've read that they

990
00:54:02,560 --> 00:54:05,320
Speaker 3: wanted Clancy Brown to come back and play the Kurgan again,

991
00:54:05,360 --> 00:54:08,320
Speaker 3: to establish that the Kurgan, the villain of the first movie,

992
00:54:08,600 --> 00:54:12,600
Speaker 3: was another Hinchman of General Katanas, who had been sent

993
00:54:12,640 --> 00:54:19,359
Speaker 3: there to kill Connor. But he was defeated. But still

994
00:54:19,360 --> 00:54:21,560
Speaker 3: I wonder, like, why why is it now in like

995
00:54:21,600 --> 00:54:25,399
Speaker 3: twenty twenty four on Earth where he's like, Okay, I'm

996
00:54:25,440 --> 00:54:26,800
Speaker 3: ready to send two more guys.

997
00:54:27,040 --> 00:54:30,520
Speaker 2: Yeah, you've about outlived Connor McLeod. He is mortal. He's

998
00:54:30,560 --> 00:54:34,040
Speaker 2: going to die of mortal death. What does it matter, desist.

999
00:54:34,239 --> 00:54:36,160
Speaker 3: But Katana, like you said, he just kind of like

1000
00:54:36,200 --> 00:54:38,759
Speaker 3: slaps these guys around and says find him, kill him,

1001
00:54:39,160 --> 00:54:41,640
Speaker 3: and they nod, and then one of them cackles like

1002
00:54:41,680 --> 00:54:45,440
Speaker 3: one of those motions sensing Halloween decorations, you know, the

1003
00:54:45,480 --> 00:54:48,000
Speaker 3: witch that cackles when you walk by. It sounds exactly

1004
00:54:48,120 --> 00:54:51,279
Speaker 3: like that. Then they beam themselves to Earth, which is

1005
00:54:51,280 --> 00:54:55,920
Speaker 3: apparently instantaneous. So back on Earth, McLeod and Virginia Madson

1006
00:54:55,920 --> 00:54:59,960
Speaker 3: they're still driving around and suddenly McLeod gasps for bread.

1007
00:55:00,680 --> 00:55:03,279
Speaker 3: Then again it's as if he can sense in his

1008
00:55:03,400 --> 00:55:07,640
Speaker 3: guts whenever someone arrives from Zeist and Connor pulls over,

1009
00:55:07,800 --> 00:55:10,839
Speaker 3: gets out of the car, and then the two porcupine

1010
00:55:10,920 --> 00:55:14,799
Speaker 3: bird henchmen are here, and they've got rocket boots or

1011
00:55:15,160 --> 00:55:18,239
Speaker 3: like a floating rocket skateboard that allows them to fly,

1012
00:55:19,000 --> 00:55:22,439
Speaker 3: and one of them has wings on his back, and

1013
00:55:22,480 --> 00:55:25,120
Speaker 3: they sort of like they at the beginning, they like

1014
00:55:25,200 --> 00:55:28,200
Speaker 3: loaf around in an alley way, arguing over who gets

1015
00:55:28,239 --> 00:55:32,000
Speaker 3: to cut off McLeod's head. Again, Connor McLeod is his

1016
00:55:32,120 --> 00:55:34,680
Speaker 3: Zeist name, that's the name they know him from there,

1017
00:55:35,960 --> 00:55:38,960
Speaker 3: and then this fight kicks off, and man, I have

1018
00:55:39,880 --> 00:55:43,680
Speaker 3: so like, I think that the edit that is available

1019
00:55:43,960 --> 00:55:48,480
Speaker 3: does not give the best does not show the best

1020
00:55:48,640 --> 00:55:51,840
Speaker 3: sides of this fight very well. But actually, if you

1021
00:55:51,960 --> 00:55:55,000
Speaker 3: look at the individual shots, this is a pretty great

1022
00:55:55,080 --> 00:55:57,520
Speaker 3: looking fight scene and a lot of these stunts and

1023
00:55:57,560 --> 00:56:00,600
Speaker 3: effects are quite impressive and do look good.

1024
00:56:01,040 --> 00:56:03,680
Speaker 2: Yeah, it's very ambitious. In my opinion, this is the

1025
00:56:03,680 --> 00:56:06,399
Speaker 2: best part of the film, a truly awesome sci fi

1026
00:56:06,480 --> 00:56:09,520
Speaker 2: action set piece and sequence that really gives you everything

1027
00:56:09,560 --> 00:56:11,399
Speaker 2: you want. Like, this is the part of the film

1028
00:56:11,440 --> 00:56:13,920
Speaker 2: where you really feel like everyone's heart was in it.

1029
00:56:14,000 --> 00:56:17,720
Speaker 2: The vision was on point, the execution is mostly pitch perfect,

1030
00:56:18,280 --> 00:56:20,360
Speaker 2: and I can quibble about one or two of the

1031
00:56:20,360 --> 00:56:22,759
Speaker 2: effects towards the end. I'll come back to that, But

1032
00:56:22,880 --> 00:56:26,680
Speaker 2: otherwise this is Highlander two at its best. This is

1033
00:56:26,719 --> 00:56:29,560
Speaker 2: the thing in the trailers that pulled me in to

1034
00:56:29,680 --> 00:56:30,960
Speaker 2: Highlander films in general.

1035
00:56:31,320 --> 00:56:33,879
Speaker 3: Yeah, they actually talk about this in the documentary where

1036
00:56:33,920 --> 00:56:37,840
Speaker 3: they show how they achieved, specifically the effect of Connor

1037
00:56:37,920 --> 00:56:41,840
Speaker 3: McLeod riding the sort of I don't know rocket skateboard

1038
00:56:41,880 --> 00:56:45,160
Speaker 3: or whatever, the hoverboard, and it's a really cool effect

1039
00:56:45,160 --> 00:56:47,080
Speaker 3: because it really does look like he's floating in the

1040
00:56:47,080 --> 00:56:49,200
Speaker 3: air and kind of riding it, like it's bouncing up

1041
00:56:49,239 --> 00:56:51,799
Speaker 3: and down. And the way they achieved that was, you know,

1042
00:56:51,840 --> 00:56:54,600
Speaker 3: they had him on a wire system, of course, but

1043
00:56:55,440 --> 00:56:58,160
Speaker 3: the board was strapped to his feet and they had

1044
00:56:58,160 --> 00:57:01,919
Speaker 3: it suspended from an elastics system, so the board would

1045
00:57:01,920 --> 00:57:04,520
Speaker 3: actually sort of bounce up and down with the weight

1046
00:57:04,560 --> 00:57:07,040
Speaker 3: of his body as it was adjusting and moving through

1047
00:57:07,080 --> 00:57:09,760
Speaker 3: the air, and it creates a really cool looking effect.

1048
00:57:09,840 --> 00:57:13,360
Speaker 2: It's great, yeah, yeah, if anyone listening is not familiar

1049
00:57:13,400 --> 00:57:15,560
Speaker 2: with it. Essentially, this is like the little hoverboard that

1050
00:57:15,600 --> 00:57:17,960
Speaker 2: the Green Goblin uses in Spider Man and in the

1051
00:57:17,960 --> 00:57:19,320
Speaker 2: snider Man movies.

1052
00:57:19,320 --> 00:57:22,240
Speaker 3: And it's almost entirely like in camera effects. It's not

1053
00:57:22,320 --> 00:57:25,880
Speaker 3: post production stuff. It looks great because they what they

1054
00:57:25,920 --> 00:57:29,400
Speaker 3: were able to achieve on set looked great. But anyway,

1055
00:57:29,480 --> 00:57:32,600
Speaker 3: so during this fight the two aliens from Zeist attack him,

1056
00:57:32,960 --> 00:57:35,720
Speaker 3: Connor seems to defend himself pretty well for a guy

1057
00:57:35,720 --> 00:57:39,080
Speaker 3: who just seemed almost too weak to talk earlier this evening.

1058
00:57:39,960 --> 00:57:42,040
Speaker 3: But I don't know, maybe the arrival of the guys

1059
00:57:42,040 --> 00:57:45,240
Speaker 3: from Zeist has sort of partially reinvigorated him, given him

1060
00:57:45,240 --> 00:57:48,320
Speaker 3: back some of that immortal strength, and they like fight.

1061
00:57:48,480 --> 00:57:51,200
Speaker 3: They go up with fire escape and they start fighting

1062
00:57:51,240 --> 00:57:54,200
Speaker 3: on these catwalks that go over the city streets. The

1063
00:57:55,000 --> 00:57:57,840
Speaker 3: guy from Zeist has a sword, and at first Connor

1064
00:57:57,880 --> 00:58:00,680
Speaker 3: is defending himself with just like a steel rod, like

1065
00:58:00,720 --> 00:58:04,959
Speaker 3: a metal bar. Uh. And I love the like these

1066
00:58:05,040 --> 00:58:08,600
Speaker 3: henchmen are super weird, but they're very expressive. They keep

1067
00:58:08,640 --> 00:58:11,520
Speaker 3: doing the witch cackling thing. They like stick their tongues

1068
00:58:11,560 --> 00:58:14,919
Speaker 3: out grotesquely and they try to mock McLoud and these

1069
00:58:14,960 --> 00:58:16,400
Speaker 3: weird high pitched voices.

1070
00:58:16,480 --> 00:58:19,800
Speaker 2: It's it's great, yeah, yeah, yeah there. They are a

1071
00:58:19,840 --> 00:58:22,680
Speaker 2: lot of fun. I mean they're just completely over the top. Uh.

1072
00:58:22,880 --> 00:58:26,200
Speaker 2: And and again I love the action and these sequences

1073
00:58:26,200 --> 00:58:28,800
Speaker 2: with old man Connor, uh, you know, mustering up and

1074
00:58:28,880 --> 00:58:31,480
Speaker 2: just enough energy to fight them off using a pipe

1075
00:58:31,480 --> 00:58:32,200
Speaker 2: against swords.

1076
00:58:32,480 --> 00:58:35,040
Speaker 3: Now, what comes next I think is also a quite

1077
00:58:35,320 --> 00:58:40,600
Speaker 3: inspired action staging choice. You know, action choreography here is smart.

1078
00:58:41,160 --> 00:58:41,240
Speaker 1: Uh.

1079
00:58:41,320 --> 00:58:45,640
Speaker 3: They fall from the catwalk onto a passing train and

1080
00:58:45,760 --> 00:58:49,640
Speaker 3: Connor the fight on the train. Then Connor manages to

1081
00:58:49,760 --> 00:58:53,280
Speaker 3: knock one of the bird warriors off the train. And

1082
00:58:53,440 --> 00:58:56,200
Speaker 3: his body falls in just the right way so that

1083
00:58:56,320 --> 00:58:59,400
Speaker 3: the wheels of the train remove his head.

1084
00:59:00,240 --> 00:59:02,080
Speaker 2: Yeah, he really lucked out on that one. But it's

1085
00:59:02,080 --> 00:59:03,000
Speaker 2: a cool, cool moment.

1086
00:59:03,520 --> 00:59:08,920
Speaker 3: And then the quickening. There's like the snakes of lightning

1087
00:59:09,480 --> 00:59:13,960
Speaker 3: jumping out of the severed Zeistian head and then they

1088
00:59:14,000 --> 00:59:18,200
Speaker 3: wrap around Connor and he screams and everything starts exploding.

1089
00:59:18,600 --> 00:59:22,440
Speaker 3: Nearby storefronts explode, paint cans and other garbage in the street.

1090
00:59:22,440 --> 00:59:26,760
Speaker 3: It all explodes. A passing gasoline truck as like a

1091
00:59:26,880 --> 00:59:30,520
Speaker 3: you know, his gas transport tankers. It explodes, and then

1092
00:59:30,560 --> 00:59:34,240
Speaker 3: the fireball envelopes Connor and you're like, oh no, oh, no,

1093
00:59:34,360 --> 00:59:37,280
Speaker 3: Connor must have been destroyed by this explosion. And the

1094
00:59:37,600 --> 00:59:41,600
Speaker 3: remaining zeist henchman clearly thinks that because he sees it happen,

1095
00:59:41,640 --> 00:59:46,720
Speaker 3: and he giggles triumphantly. But uh oh, Connor McLeod walks

1096
00:59:46,800 --> 00:59:50,760
Speaker 3: out of the fireball from the gas truck and we're

1097
00:59:50,840 --> 00:59:53,920
Speaker 3: back friends. I think we are back in business. Christoph

1098
00:59:53,960 --> 00:59:56,840
Speaker 3: Lambert is hot again. He looks like he's young again,

1099
00:59:57,280 --> 00:59:58,760
Speaker 3: and he is ready to fight.

1100
00:59:59,280 --> 01:00:01,640
Speaker 2: This is the eg Zach moment in the film at

1101
01:00:01,640 --> 01:00:05,400
Speaker 2: which Princes of the Universe should have played. My number

1102
01:00:05,440 --> 01:00:08,280
Speaker 2: one criticism of the film is that the is that

1103
01:00:08,360 --> 01:00:10,600
Speaker 2: Princes of the Universe does not play at this moment.

1104
01:00:12,880 --> 01:00:15,720
Speaker 2: I would also settle for some off album choices. They

1105
01:00:15,760 --> 01:00:18,560
Speaker 2: could have gone with, keep Yourself Alive, or if they

1106
01:00:18,560 --> 01:00:20,760
Speaker 2: wanted to be a little cheeky, don't stop me now.

1107
01:00:21,480 --> 01:00:23,920
Speaker 2: But it needed it needed that, it needed that oomph.

1108
01:00:24,680 --> 01:00:27,640
Speaker 2: And it's still it's still a very dramatic and nice

1109
01:00:27,640 --> 01:00:30,560
Speaker 2: moment because yeah, he's back, he's young again, he's hot again,

1110
01:00:30,600 --> 01:00:33,640
Speaker 2: he's powerful enough to take on this other assassin, this

1111
01:00:33,760 --> 01:00:36,720
Speaker 2: remaining assassin from the planet's heist. And oh and I

1112
01:00:36,720 --> 01:00:38,880
Speaker 2: want to add the whole destructive quickening thing. I kind

1113
01:00:38,880 --> 01:00:41,000
Speaker 2: of forgot that they also call that the quickening, like

1114
01:00:41,040 --> 01:00:45,960
Speaker 2: the quickening is, to my understanding, simultaneously both the transfer

1115
01:00:46,000 --> 01:00:49,600
Speaker 2: of energy between a slain immortal and the immortal slayer

1116
01:00:50,360 --> 01:00:53,160
Speaker 2: and also running on the beach with your best friend.

1117
01:00:53,560 --> 01:00:54,680
Speaker 2: Correct me if I'm wrong.

1118
01:00:54,920 --> 01:00:58,480
Speaker 3: Highly I can't correct you. Oh yeah, but fans maybe, Okay,

1119
01:00:58,760 --> 01:01:00,640
Speaker 3: I trust you, Rob, I think you're right about that.

1120
01:01:01,600 --> 01:01:05,840
Speaker 3: But can I go with another, maybe more oblique kind

1121
01:01:05,840 --> 01:01:08,160
Speaker 3: of queen song choice I think they could have done.

1122
01:01:08,280 --> 01:01:10,080
Speaker 3: I'm in Love with my car. You know, it's the

1123
01:01:10,160 --> 01:01:10,840
Speaker 3: right feeling.

1124
01:01:11,480 --> 01:01:13,480
Speaker 2: Yeah, I mean, the feeling is key. It's I think

1125
01:01:13,760 --> 01:01:15,640
Speaker 2: you'd want to go with the like a nice building,

1126
01:01:15,680 --> 01:01:18,280
Speaker 2: heavier track. Another one buys the dust I think could

1127
01:01:18,320 --> 01:01:19,760
Speaker 2: also work. Yeah, I mean, there are a number of

1128
01:01:20,000 --> 01:01:20,840
Speaker 2: great queen songs.

1129
01:01:21,120 --> 01:01:24,080
Speaker 3: Oh. Also, Virginia Madsen is peaking out of a dumpster

1130
01:01:24,240 --> 01:01:26,120
Speaker 3: that I guess she hid in. I don't think we

1131
01:01:26,400 --> 01:01:28,400
Speaker 3: see how she gets in the dumpster, but she like

1132
01:01:28,480 --> 01:01:31,280
Speaker 3: looks out at Connor McLeod and she's obviously like, oh,

1133
01:01:31,320 --> 01:01:35,840
Speaker 3: he looks good now. And the second seceed Henchman starts

1134
01:01:35,840 --> 01:01:38,720
Speaker 3: flying around on his wings, like swooping at Connor and

1135
01:01:38,760 --> 01:01:42,600
Speaker 3: shooting at him with a blaster from Star Wars. But wait,

1136
01:01:42,640 --> 01:01:45,640
Speaker 3: shouldn't the zeice Tinchman know that the blaster won't do

1137
01:01:45,720 --> 01:01:47,960
Speaker 3: anything because Connor is once again immortal.

1138
01:01:48,200 --> 01:01:50,840
Speaker 2: Well, he can't kill him with the blaster, probably, but

1139
01:01:50,920 --> 01:01:53,000
Speaker 2: he could wound him enough to have a better chance

1140
01:01:53,000 --> 01:01:53,920
Speaker 2: of cutting his head off.

1141
01:01:53,960 --> 01:01:56,440
Speaker 3: I guess that. Okay, actually that does make sense. I

1142
01:01:56,720 --> 01:02:00,600
Speaker 3: withdraw my criticism there, you're right. But conn gets into

1143
01:02:00,600 --> 01:02:03,360
Speaker 3: the fight by putting on the other Birdman's rocket boots,

1144
01:02:04,040 --> 01:02:06,240
Speaker 3: so he's zooming around on the rocket boots the other

1145
01:02:06,240 --> 01:02:08,680
Speaker 3: guy's got the wings and it becomes an air joust

1146
01:02:08,720 --> 01:02:09,600
Speaker 3: and it's great.

1147
01:02:10,560 --> 01:02:13,919
Speaker 2: Yeah, I legitimately love this whole sequence here. It's good.

1148
01:02:14,440 --> 01:02:17,600
Speaker 3: But there are also, like just some weird in this scene.

1149
01:02:17,600 --> 01:02:20,560
Speaker 3: There are these weird little dialogue moments that I don't

1150
01:02:20,560 --> 01:02:24,320
Speaker 3: know if they're quite firing on all cylinders. Like the

1151
01:02:24,400 --> 01:02:28,120
Speaker 3: henchman yells say goodbye a highlander. But why does he

1152
01:02:28,160 --> 01:02:31,640
Speaker 3: call him a highlander? That's just like random Earth topography.

1153
01:02:31,920 --> 01:02:36,160
Speaker 2: I mean his name's McLeod too. Yeah, it makes no sense.

1154
01:02:36,440 --> 01:02:39,440
Speaker 3: He says, say goodbye highlander, and then Connor replies, why

1155
01:02:39,680 --> 01:02:40,720
Speaker 3: you going somewhere?

1156
01:02:41,080 --> 01:02:42,720
Speaker 2: Yeah? I think I think they could workshop that a

1157
01:02:42,720 --> 01:02:43,840
Speaker 2: little Okay.

1158
01:02:44,560 --> 01:02:48,320
Speaker 3: And then also the bird henchman randomly incinerates. Just there's

1159
01:02:48,360 --> 01:02:51,040
Speaker 3: a guy on the sidewalk who asks this alien if

1160
01:02:51,040 --> 01:02:53,360
Speaker 3: he has a light, and then he just blows him up.

1161
01:02:53,560 --> 01:02:55,920
Speaker 2: Okay, this is a great moment, This is perfect.

1162
01:02:56,120 --> 01:02:59,960
Speaker 3: No notes on that, but anyway, Connor manages to decapitate

1163
01:02:59,960 --> 01:03:03,840
Speaker 3: the second Zeist fighter here with a clothes line trap

1164
01:03:03,960 --> 01:03:05,480
Speaker 3: made out of electrical wire.

1165
01:03:06,240 --> 01:03:08,200
Speaker 2: Yeah, this moment is still awesome. But this is the

1166
01:03:08,200 --> 01:03:10,560
Speaker 2: moment where I feel like the effects could have been

1167
01:03:10,600 --> 01:03:12,680
Speaker 2: a little bit tighter, it could have moved a little faster.

1168
01:03:13,600 --> 01:03:16,880
Speaker 2: Still great, but I see where like maybe they didn't

1169
01:03:16,920 --> 01:03:19,040
Speaker 2: hit exactly where they envisioned.

1170
01:03:19,520 --> 01:03:22,800
Speaker 3: I agree, But okay, so Connor, he's defeated the two

1171
01:03:22,920 --> 01:03:26,160
Speaker 3: aliens from zeis. Now he gets quickening once again. He

1172
01:03:26,200 --> 01:03:28,440
Speaker 3: gets all the lightning coming up on him and things

1173
01:03:28,440 --> 01:03:32,160
Speaker 3: blowing up, and he's just like flowing with that immortal energy.

1174
01:03:33,240 --> 01:03:35,560
Speaker 3: And when he does, he drops to his knees in

1175
01:03:35,600 --> 01:03:38,240
Speaker 3: the middle of the street and screams into the sky.

1176
01:03:39,000 --> 01:03:47,000
Speaker 3: Rem next thing, we're on stage at a play in

1177
01:03:47,040 --> 01:03:51,600
Speaker 3: a theater in Scotland. It's a performance of Hamlet, and

1178
01:03:51,800 --> 01:03:56,040
Speaker 3: Sean Connery zaps into existence in the middle of the actors.

1179
01:03:57,400 --> 01:04:00,000
Speaker 3: This descends into what I think is a fairly cramy

1180
01:04:00,360 --> 01:04:04,040
Speaker 3: comedy scene where Sean Connery starts talking to the actors

1181
01:04:04,080 --> 01:04:07,520
Speaker 3: mischievously while they're trying to perform, and they're like running

1182
01:04:07,560 --> 01:04:11,200
Speaker 3: around the stage trying to escape him while reciting their lines.

1183
01:04:12,160 --> 01:04:15,800
Speaker 3: And I think the joke is like, oh, Ramirez has

1184
01:04:15,880 --> 01:04:18,040
Speaker 3: no idea what's going on. He doesn't know what a

1185
01:04:18,080 --> 01:04:22,240
Speaker 3: play is. But like hundreds of years ago, when Ramirez

1186
01:04:22,320 --> 01:04:24,960
Speaker 3: was alive, there were plays. Plays existed then.

1187
01:04:25,200 --> 01:04:30,200
Speaker 2: Yeah, Ramirez, who we know traversed multiple cultures, absorbing their

1188
01:04:30,200 --> 01:04:34,960
Speaker 2: cultures and sometimes their accents at every turn. Yeah, he

1189
01:04:35,120 --> 01:04:38,360
Speaker 2: knows what a play is. Just this is just beyond ridiculous.

1190
01:04:38,840 --> 01:04:42,880
Speaker 3: Also, the audience loves Ramirez. He's here disrupting this play

1191
01:04:42,920 --> 01:04:46,120
Speaker 3: and like making fun of the actors, and the audience

1192
01:04:46,200 --> 01:04:48,880
Speaker 3: is eating him up. They're like, get off of here, Hamlet,

1193
01:04:48,920 --> 01:05:01,560
Speaker 3: I want more Ramirez ridiculous, So we will continue to

1194
01:05:01,600 --> 01:05:04,720
Speaker 3: get some more frankly pretty cringey fish out of time

1195
01:05:04,800 --> 01:05:07,960
Speaker 3: gags with Sean Connery, like he walks into the street

1196
01:05:08,040 --> 01:05:10,400
Speaker 3: somewhere in Scotland and they almost gets hit by a

1197
01:05:10,440 --> 01:05:13,320
Speaker 3: truck and then mutters to himself, so much for the

1198
01:05:13,360 --> 01:05:19,200
Speaker 3: horse and caught what okay? And then back in wherever

1199
01:05:19,280 --> 01:05:21,920
Speaker 3: Connor is? Do they say where Connor is in this

1200
01:05:22,480 --> 01:05:23,200
Speaker 3: in the future.

1201
01:05:23,280 --> 01:05:24,880
Speaker 2: I don't know, Shield City.

1202
01:05:25,040 --> 01:05:28,560
Speaker 3: I'm not sure, ye, shield City. Connor is explaining to

1203
01:05:28,720 --> 01:05:31,640
Speaker 3: Virginia Madsen the whole thing. You know, I was banished

1204
01:05:31,640 --> 01:05:34,320
Speaker 3: from the planet's ice five hundred years ago. I cannot die,

1205
01:05:34,480 --> 01:05:39,280
Speaker 3: et cetera. And then they just kiss passionately. That's absolute

1206
01:05:39,760 --> 01:05:42,040
Speaker 3: We said this in the last episode, but this has

1207
01:05:42,080 --> 01:05:45,120
Speaker 3: got to be one of the most unearned romances in

1208
01:05:45,240 --> 01:05:49,280
Speaker 3: movie history. They just met moments ago, and their meeting

1209
01:05:49,680 --> 01:05:53,640
Speaker 3: was entirely business. There was had nothing like, no initial

1210
01:05:53,640 --> 01:05:57,480
Speaker 3: connection whatsoever. But he just got quickening and now he's

1211
01:05:57,560 --> 01:06:00,360
Speaker 3: young and good looking, and now they're just smooth and.

1212
01:06:00,320 --> 01:06:03,360
Speaker 2: Yeah, yeah, it's ridiculous. I mean, I referenced Gracie Law

1213
01:06:03,440 --> 01:06:05,800
Speaker 2: Kim Katrall's character from Big Trouble and Little China earlier.

1214
01:06:05,840 --> 01:06:08,400
Speaker 2: But at least in Big Trouble Little China, which I

1215
01:06:08,440 --> 01:06:11,439
Speaker 2: still hold up as being pretty great, you do get

1216
01:06:11,680 --> 01:06:17,280
Speaker 2: development of the relationship, the romantic tension between Jack Burton

1217
01:06:17,360 --> 01:06:21,120
Speaker 2: and Gracie Law. It is ultimately earned that they fall

1218
01:06:21,160 --> 01:06:22,720
Speaker 2: in love with each other, at least for a little

1219
01:06:22,720 --> 01:06:26,560
Speaker 2: bit or something like love, you know. But yeah, it's

1220
01:06:26,600 --> 01:06:28,920
Speaker 2: totally unearned here. But this is not the kind of

1221
01:06:29,000 --> 01:06:31,240
Speaker 2: movie where you necessarily expected, I guess.

1222
01:06:31,520 --> 01:06:34,400
Speaker 3: Yeah, there's not a moment of romantic tension at all

1223
01:06:34,440 --> 01:06:38,400
Speaker 3: between them until like the kissing starts basically anyway, then

1224
01:06:38,400 --> 01:06:41,000
Speaker 3: they're back at Connor's pad, and by the way, look

1225
01:06:41,040 --> 01:06:43,560
Speaker 3: at look at the I've got a screenshot of his apartment.

1226
01:06:43,600 --> 01:06:47,320
Speaker 3: It's full of like these giant marble statues. Inside the apartment.

1227
01:06:47,360 --> 01:06:48,680
Speaker 3: It looks like a train station.

1228
01:06:49,400 --> 01:06:52,240
Speaker 2: Yeah yeah, it's kind of like, you know, called back

1229
01:06:52,240 --> 01:06:55,280
Speaker 2: to the first film in which his home is kind

1230
01:06:55,320 --> 01:06:57,840
Speaker 2: of like a museum because his life is like this

1231
01:06:58,080 --> 01:07:00,000
Speaker 2: museum and all these memories.

1232
01:06:59,600 --> 01:07:03,440
Speaker 3: And so yeah, so she's this is the scene where

1233
01:07:04,040 --> 01:07:06,480
Speaker 3: Louise is like, Okay, let me just see if I

1234
01:07:06,480 --> 01:07:08,920
Speaker 3: can get this straight. You come from another planet. You're

1235
01:07:08,960 --> 01:07:12,760
Speaker 3: mortal there, but you're immortal here until you kill all

1236
01:07:12,840 --> 01:07:15,400
Speaker 3: the guys from there who have come here, and then

1237
01:07:15,440 --> 01:07:18,840
Speaker 3: you're mortal here unless you go back there or some

1238
01:07:18,880 --> 01:07:21,720
Speaker 3: more guys from there came here, in which case you

1239
01:07:21,760 --> 01:07:25,800
Speaker 3: become immortal here again. And then Connor says in his

1240
01:07:26,280 --> 01:07:29,720
Speaker 3: with his wonderful little voice and chuckle something like that,

1241
01:07:30,840 --> 01:07:36,040
Speaker 3: and she expresses disbelief. And then Connor love these adding

1242
01:07:36,080 --> 01:07:38,200
Speaker 3: up here. He says, let's just say it's a kind

1243
01:07:38,240 --> 01:07:38,920
Speaker 3: of magic.

1244
01:07:41,680 --> 01:07:43,280
Speaker 2: Just repeat to yourself. It's just a show.

1245
01:07:43,360 --> 01:07:51,360
Speaker 3: Yeah, yeah, exactly. But anyway, so Louise tells Connor that, oh,

1246
01:07:51,440 --> 01:07:53,640
Speaker 3: you're back to business. We got to remember. The whole

1247
01:07:53,640 --> 01:07:55,840
Speaker 3: reason we met is She's like, I need your help

1248
01:07:55,880 --> 01:07:57,920
Speaker 3: with the Shield. We got to save the Earth. She's like,

1249
01:07:57,960 --> 01:08:01,480
Speaker 3: something's wrong with the shield. The B plot is is

1250
01:08:01,600 --> 01:08:04,720
Speaker 3: something's going wrong. They're hiding something and you've got to

1251
01:08:04,720 --> 01:08:05,800
Speaker 3: help me expose it.

1252
01:08:06,200 --> 01:08:09,480
Speaker 2: And again I want to point out that Katana has

1253
01:08:09,640 --> 01:08:12,360
Speaker 2: zero steak in all of this, Like this would ultimately

1254
01:08:12,440 --> 01:08:14,960
Speaker 2: everything would make more sense if there was any connection

1255
01:08:15,080 --> 01:08:17,760
Speaker 2: between A plot and B plot here if Katana for

1256
01:08:17,800 --> 01:08:20,519
Speaker 2: some reason didn't want like the shield to come down,

1257
01:08:20,800 --> 01:08:23,120
Speaker 2: but there's there's nothing on that. We would have to

1258
01:08:23,160 --> 01:08:25,160
Speaker 2: sit here and speculate all day to figure out how

1259
01:08:25,160 --> 01:08:27,600
Speaker 2: to connect these two plots and again, make it it

1260
01:08:27,640 --> 01:08:31,559
Speaker 2: all sensible for Katana to send goons to Earth to

1261
01:08:31,640 --> 01:08:32,439
Speaker 2: take out Connor.

1262
01:08:32,520 --> 01:08:35,880
Speaker 3: Now what if, for all I know, this could have

1263
01:08:35,960 --> 01:08:37,920
Speaker 3: been in the script at some point, But what if,

1264
01:08:37,960 --> 01:08:42,840
Speaker 3: for example, the Shield being in place prevented Zeistians on

1265
01:08:42,960 --> 01:08:44,599
Speaker 3: Earth from leaving and returning.

1266
01:08:44,640 --> 01:08:48,040
Speaker 2: Desist they're all dead though there's.

1267
01:08:47,520 --> 01:08:50,200
Speaker 3: Well, yeah, but if he wanted Connor to not come back,

1268
01:08:50,240 --> 01:08:52,040
Speaker 3: he would want the shield to stay in place.

1269
01:08:52,840 --> 01:08:55,040
Speaker 2: Okay, yeah, I guess that could have worked had they

1270
01:08:55,120 --> 01:08:55,760
Speaker 2: established it.

1271
01:08:57,000 --> 01:09:00,960
Speaker 3: I'm just saying like, yeah, is out there.

1272
01:09:01,280 --> 01:09:03,759
Speaker 2: There ways they could have and maybe in some version

1273
01:09:03,760 --> 01:09:06,559
Speaker 2: of the script. They did address this, but we don't

1274
01:09:06,560 --> 01:09:07,080
Speaker 2: get it here.

1275
01:09:07,600 --> 01:09:09,920
Speaker 3: Okay. So here Connor goes to visit his old friend

1276
01:09:09,920 --> 01:09:13,360
Speaker 3: and partner, Alan Naman. They created the Shield together, and

1277
01:09:13,439 --> 01:09:16,160
Speaker 3: Alan is shocked at how good Connor looks. He's like,

1278
01:09:16,200 --> 01:09:21,200
Speaker 3: did you get a facelift? Also, Alan's office here, I'm

1279
01:09:21,200 --> 01:09:23,600
Speaker 3: a pretty big fan of it. This is one of

1280
01:09:23,640 --> 01:09:27,080
Speaker 3: the offices where the only light source is moonlight shining

1281
01:09:27,120 --> 01:09:30,120
Speaker 3: in through a window where there is like a thirty

1282
01:09:30,160 --> 01:09:34,720
Speaker 3: foot fan spinning constantly outside right outside the window, and

1283
01:09:34,800 --> 01:09:37,559
Speaker 3: the silhouettes of the blades are just going round and round,

1284
01:09:37,600 --> 01:09:39,480
Speaker 3: so the light in the room is crazy.

1285
01:09:39,680 --> 01:09:43,360
Speaker 2: Yeah. Again, this is like total Russell McKay music video style.

1286
01:09:43,560 --> 01:09:45,840
Speaker 2: You expect to like pan over and there's Simon Labon

1287
01:09:46,240 --> 01:09:48,320
Speaker 2: in the chair. We're in a fedora and he's gonna

1288
01:09:48,320 --> 01:09:51,040
Speaker 2: start belding out some Duran Duran tuns. Looks great.

1289
01:09:51,320 --> 01:09:54,800
Speaker 3: Also, at this meeting, Alan shares with Connor that the

1290
01:09:55,000 --> 01:09:59,599
Speaker 3: radiation levels above the shield are normal, but John c McGinley,

1291
01:09:59,640 --> 01:10:03,600
Speaker 3: the Shield executive, is spying on them from the next room.

1292
01:10:04,040 --> 01:10:06,479
Speaker 3: So this seems to be a corporation where the CEO

1293
01:10:06,640 --> 01:10:09,920
Speaker 3: stays late to personally spy on employees rather than having

1294
01:10:09,960 --> 01:10:14,080
Speaker 3: like software or subordinates do it for him. McGinley then

1295
01:10:14,120 --> 01:10:17,880
Speaker 3: comes into the room and Connor starts like needling him

1296
01:10:18,080 --> 01:10:21,040
Speaker 3: about how what if one day the Shield doesn't need

1297
01:10:21,080 --> 01:10:25,479
Speaker 3: it anymore, your profits would dry up. So it's like

1298
01:10:25,520 --> 01:10:29,800
Speaker 3: he's just Connor seems to be like wrapping out his

1299
01:10:29,920 --> 01:10:34,599
Speaker 3: friend who just told him about this in confidence. Next

1300
01:10:34,720 --> 01:10:37,000
Speaker 3: we cut to the planet Zeist, and then we see

1301
01:10:37,000 --> 01:10:40,519
Speaker 3: Michael Ironside just standing in a cave by himself, and

1302
01:10:40,560 --> 01:10:42,760
Speaker 3: he says, I guess if you want something done right,

1303
01:10:43,080 --> 01:10:45,679
Speaker 3: you have to do it yourself. So then he goes

1304
01:10:45,720 --> 01:10:46,200
Speaker 3: to Earth.

1305
01:10:46,439 --> 01:10:49,160
Speaker 2: Yeah, he also would get the like his sci fi

1306
01:10:49,720 --> 01:10:54,439
Speaker 2: techno sword goes shishing to sell this, which I have

1307
01:10:54,479 --> 01:10:57,320
Speaker 2: to admit looks pretty cool. And I also have to

1308
01:10:57,360 --> 01:11:00,439
Speaker 2: point out this is also pretty much the exact post

1309
01:11:00,479 --> 01:11:03,479
Speaker 2: credit Thanos sequence from the Age of Ultron movie. It

1310
01:11:03,520 --> 01:11:07,599
Speaker 2: would come you know, decades later, except with Thanos grabbing

1311
01:11:07,640 --> 01:11:10,720
Speaker 2: an Infinity Gauntlet instead of making his sword ghoshashing.

1312
01:11:10,960 --> 01:11:13,160
Speaker 3: Oh that's funny. I wonder if they got it from this.

1313
01:11:13,200 --> 01:11:14,760
Speaker 2: Maybe so yeah, because it's like I had to go

1314
01:11:14,760 --> 01:11:16,599
Speaker 2: back and look at it. It's pretty much the exact

1315
01:11:16,600 --> 01:11:18,840
Speaker 2: same thing, like Thanos is, like you want something done,

1316
01:11:18,840 --> 01:11:20,519
Speaker 2: you got to do it yourself, and then that sets

1317
01:11:20,600 --> 01:11:22,360
Speaker 2: up him doing it himself.

1318
01:11:23,120 --> 01:11:25,000
Speaker 3: But speaking of so, you brought up a way in

1319
01:11:25,040 --> 01:11:28,320
Speaker 3: which General Katana's motivations don't make a lot of sense

1320
01:11:28,320 --> 01:11:30,479
Speaker 3: when he gets like all wrapped up in the Shield

1321
01:11:30,560 --> 01:11:34,120
Speaker 3: Corporation drama, which matters to him in no way whatsoever.

1322
01:11:34,240 --> 01:11:36,680
Speaker 3: But he gets tied up in that he is just

1323
01:11:36,920 --> 01:11:40,400
Speaker 3: off task in lots of ways. Because the first thing

1324
01:11:40,479 --> 01:11:43,439
Speaker 3: General Katana does when he arrives on Earth is hijack

1325
01:11:43,479 --> 01:11:46,439
Speaker 3: a subway car to no end whatsoever. It's just like

1326
01:11:46,479 --> 01:11:47,320
Speaker 3: because he wants to.

1327
01:11:47,479 --> 01:11:49,800
Speaker 2: Yeah, this guy's not supposed to be like just the

1328
01:11:49,880 --> 01:11:53,200
Speaker 2: reckless enforcer that the loose cannon. He's supposed to be

1329
01:11:53,280 --> 01:11:57,400
Speaker 2: the mastermind, Like this is the big bad like Thanos

1330
01:11:57,439 --> 01:12:00,400
Speaker 2: doesn't come to Earth in the Marvel movies just like

1331
01:12:00,640 --> 01:12:04,080
Speaker 2: I love recking casinos. No, he's got an agenda, He's

1332
01:12:04,120 --> 01:12:07,080
Speaker 2: got things he definitely wants to do, and he's gonna

1333
01:12:07,120 --> 01:12:08,479
Speaker 2: mess with you if you get in the way of

1334
01:12:08,479 --> 01:12:11,040
Speaker 2: those goals. Katana doesn't operate like.

1335
01:12:11,040 --> 01:12:14,599
Speaker 3: That, right, So he like beams down into a subway car.

1336
01:12:14,720 --> 01:12:19,320
Speaker 3: He says, this doesn't look like Kansas. Great great reference

1337
01:12:19,360 --> 01:12:20,320
Speaker 3: for zeist culture.

1338
01:12:20,479 --> 01:12:21,519
Speaker 2: They love Wizard of Us.

1339
01:12:21,680 --> 01:12:25,639
Speaker 3: Yeah, and then he kills a random passenger on the train.

1340
01:12:26,120 --> 01:12:27,880
Speaker 3: Then he goes up to a kid and he says,

1341
01:12:28,000 --> 01:12:30,640
Speaker 3: bet you've always wanted to drive one of these, haven't you.

1342
01:12:31,160 --> 01:12:33,519
Speaker 3: And the kid's like yeah, and then he goes me too.

1343
01:12:34,200 --> 01:12:37,200
Speaker 3: Then he goes up to the front of the subway car,

1344
01:12:37,560 --> 01:12:40,880
Speaker 3: conks out the driver, hijacks the train, and then like

1345
01:12:41,240 --> 01:12:44,439
Speaker 3: he makes the aphex twin face as he pushes the

1346
01:12:44,479 --> 01:12:47,240
Speaker 3: speed up to hundreds of miles per hour and then

1347
01:12:47,280 --> 01:12:48,880
Speaker 3: crashes through the side of a building.

1348
01:12:50,120 --> 01:12:52,720
Speaker 2: More train wrecks center train wreck of the movie.

1349
01:12:52,840 --> 01:12:56,760
Speaker 3: Right, and then we get these these weird General Katana

1350
01:12:56,880 --> 01:13:00,479
Speaker 3: Connor interactions. We see Connor going to visit the grave

1351
01:13:00,640 --> 01:13:03,280
Speaker 3: of his Earth wife, which is in some kind of

1352
01:13:03,360 --> 01:13:08,200
Speaker 3: urban cathedral, and then General Katana's just there to sarcastically

1353
01:13:08,280 --> 01:13:12,880
Speaker 3: slow clap after Connor finishes saying a few words and

1354
01:13:13,080 --> 01:13:17,720
Speaker 3: another interesting choice. Ironside is just in full clown mode here.

1355
01:13:17,760 --> 01:13:21,200
Speaker 3: He's like kissing on a statue of an angel and

1356
01:13:21,240 --> 01:13:24,320
Speaker 3: he's making these quips. He says to Connor after you

1357
01:13:24,360 --> 01:13:27,200
Speaker 3: know Connor's talking to his wife's grave, and Katana says,

1358
01:13:27,240 --> 01:13:29,400
Speaker 3: I always did admire a man who can talk to

1359
01:13:29,479 --> 01:13:33,439
Speaker 3: the dead. And then he says, the remains of your

1360
01:13:33,479 --> 01:13:38,679
Speaker 3: mortal wife so frail, so earthly, so very dead, And

1361
01:13:38,800 --> 01:13:42,800
Speaker 3: Connor says, at least she's at peace. Katana says peace

1362
01:13:43,000 --> 01:13:47,720
Speaker 3: is highly overrated, and then Connor says things don't change. Katana,

1363
01:13:47,920 --> 01:13:51,719
Speaker 3: I like that, after all these years, you're still a jerk,

1364
01:13:54,400 --> 01:13:57,479
Speaker 3: a jerk. But then they also say they can't They

1365
01:13:57,479 --> 01:13:59,080
Speaker 3: know they're gonna have to fight, but they say they

1366
01:13:59,160 --> 01:14:02,559
Speaker 3: can't fight here because of quote the Golden Rule, which

1367
01:14:02,600 --> 01:14:05,040
Speaker 3: is that we must never fight on holy ground.

1368
01:14:05,479 --> 01:14:07,559
Speaker 2: Yeah, this is something, of course established in the first

1369
01:14:07,600 --> 01:14:11,000
Speaker 2: Highlander movie. And they do kind of try to address

1370
01:14:11,040 --> 01:14:14,040
Speaker 2: one problem that emerges concerning all this in Highlander three,

1371
01:14:14,240 --> 01:14:16,920
Speaker 2: and that is, okay, it's one thing for Connor and

1372
01:14:17,160 --> 01:14:20,400
Speaker 2: other like, you know, some degree like chaotic good or

1373
01:14:20,479 --> 01:14:24,040
Speaker 2: neutral good immortals to honor this rule, I guess. But

1374
01:14:24,520 --> 01:14:27,720
Speaker 2: why do all these like clearly chaotic evil immortals care

1375
01:14:27,800 --> 01:14:31,640
Speaker 2: about the Golden rule concerning holy spaces? So credit to

1376
01:14:31,720 --> 01:14:35,080
Speaker 2: Highlander three. I won't spoil anything, but they do at

1377
01:14:35,160 --> 01:14:37,400
Speaker 2: least address that a little bit in that picture.

1378
01:14:37,920 --> 01:14:41,000
Speaker 3: Oh okay, you know I have to watch Highlander three someday.

1379
01:14:41,000 --> 01:14:42,000
Speaker 3: I never made it that far.

1380
01:14:42,160 --> 01:14:45,280
Speaker 2: I mean, it's it's I remember, it's being fun. It's fun.

1381
01:14:45,320 --> 01:14:49,759
Speaker 2: It's got Mario vn Peebles place the new villainous Immortal,

1382
01:14:49,880 --> 01:14:53,040
Speaker 2: which I believe the whole idea is, oh, Connor, you

1383
01:14:53,120 --> 01:14:56,559
Speaker 2: didn't win the prize after all, because there were three

1384
01:14:56,600 --> 01:14:59,599
Speaker 2: immortals that were trapped in a cave in somewhere and oh,

1385
01:14:59,640 --> 01:15:00,599
Speaker 2: they just dug him.

1386
01:15:00,439 --> 01:15:03,719
Speaker 3: Out perfect completely ignores Islander two, right.

1387
01:15:03,840 --> 01:15:07,000
Speaker 2: Right, I guess technically occurs before highland Er two, but

1388
01:15:07,080 --> 01:15:07,920
Speaker 2: also ignores it.

1389
01:15:08,120 --> 01:15:10,880
Speaker 3: And then meanwhile, back in Scotland with Ramirez, who has

1390
01:15:10,880 --> 01:15:15,200
Speaker 3: been reincarnated, we get a comedy makeover scene. I love

1391
01:15:15,360 --> 01:15:17,799
Speaker 3: that they included this in the movie. So Sean Connery

1392
01:15:17,840 --> 01:15:20,799
Speaker 3: goes into a men's tailor shop and he gets fancy

1393
01:15:20,880 --> 01:15:24,920
Speaker 3: modern clothes and they're like custom made. He play pays

1394
01:15:24,920 --> 01:15:29,519
Speaker 3: for them with a pearl ear ring. I guess there's

1395
01:15:29,560 --> 01:15:32,320
Speaker 3: just more use of Ramirez for comic relief, more fish

1396
01:15:32,320 --> 01:15:34,320
Speaker 3: out of time stuff, Like before he goes in, he

1397
01:15:34,320 --> 01:15:36,720
Speaker 3: looks at TVs and a shop window and he is

1398
01:15:37,040 --> 01:15:39,519
Speaker 3: amazed about the concept of airplanes. Yeah.

1399
01:15:39,560 --> 01:15:41,479
Speaker 2: I seem to recall reading that a lot of this,

1400
01:15:41,680 --> 01:15:44,240
Speaker 2: the Scotland stuff, was Connery's doing, Like, I'll do it,

1401
01:15:44,280 --> 01:15:45,639
Speaker 2: but there need to be some scenes that are shot

1402
01:15:45,680 --> 01:15:47,519
Speaker 2: in Scotland. And I don't know if he had any

1403
01:15:47,760 --> 01:15:50,920
Speaker 2: influence over the flavor of these sequences, but you can

1404
01:15:50,960 --> 01:15:53,519
Speaker 2: imagine that as like, all right, if we're gonna we're

1405
01:15:53,560 --> 01:15:55,800
Speaker 2: gonna shoot these extra days. I want one day where

1406
01:15:55,840 --> 01:15:58,240
Speaker 2: I'm just getting fitted for a suit while I drink scotch.

1407
01:15:58,680 --> 01:16:00,559
Speaker 2: That's the whole scene.

1408
01:16:00,800 --> 01:16:03,639
Speaker 3: I got it. He does look sharp, he looks great

1409
01:16:03,800 --> 01:16:05,920
Speaker 3: in the suit they give him. Oh yeah, yeah, he does.

1410
01:16:06,080 --> 01:16:10,040
Speaker 2: Yeah, i'd say. In general, though, Ramirez lacks the authentic

1411
01:16:10,120 --> 01:16:12,200
Speaker 2: charisma that he had in the first film. Though, you know,

1412
01:16:13,040 --> 01:16:15,680
Speaker 2: he's more of a comic relief character here except for

1413
01:16:15,760 --> 01:16:17,360
Speaker 2: some key dramatic moments.

1414
01:16:17,640 --> 01:16:20,920
Speaker 3: Yeah. So he then gets on an airplane to go

1415
01:16:21,000 --> 01:16:25,120
Speaker 3: I guess to America to find Connor, and he flirts

1416
01:16:25,120 --> 01:16:27,120
Speaker 3: with the woman in the seat next to him. There

1417
01:16:27,160 --> 01:16:30,920
Speaker 3: are some jokes about airplane food that somehow morph into

1418
01:16:30,960 --> 01:16:35,519
Speaker 3: sex jokes. That's all yuck, yuck. But also in this part,

1419
01:16:35,560 --> 01:16:37,880
Speaker 3: there is a part that's supposed to be funny and

1420
01:16:38,000 --> 01:16:42,240
Speaker 3: does genuinely work. It's quite hilarious when Ramirez watches an

1421
01:16:42,320 --> 01:16:46,240
Speaker 3: aviation safety film on the you know, video screen in

1422
01:16:46,240 --> 01:16:49,480
Speaker 3: front of him. That is quite funny.

1423
01:16:49,880 --> 01:16:53,160
Speaker 2: I didn't care for it, but no, but it is

1424
01:16:53,240 --> 01:16:54,760
Speaker 2: kind of like it's very much of the sort of

1425
01:16:54,840 --> 01:16:59,240
Speaker 2: RoboCop vibe of parity, which I do admire. Isn't there

1426
01:16:59,280 --> 01:17:02,880
Speaker 2: another sequel it's like this that maybe Katanovius maybe it's

1427
01:17:02,880 --> 01:17:05,880
Speaker 2: a different cut of the film where it's like a chef,

1428
01:17:06,720 --> 01:17:08,960
Speaker 2: like Psychic Chef or something. What was the.

1429
01:17:09,640 --> 01:17:11,519
Speaker 3: Oh, I think that's in another cut of the film.

1430
01:17:11,560 --> 01:17:13,439
Speaker 3: I think that's not in the American version. But yeah,

1431
01:17:13,439 --> 01:17:16,320
Speaker 3: there are like these weird media segments that are kind

1432
01:17:16,360 --> 01:17:18,639
Speaker 3: of robocopy, Yeah.

1433
01:17:17,920 --> 01:17:20,639
Speaker 2: Which I admire, and I would say that one's worth

1434
01:17:21,040 --> 01:17:23,000
Speaker 2: checking out. I just can't remember what it was. It's

1435
01:17:23,040 --> 01:17:29,360
Speaker 2: something like Psychic Chef or it's dumb but amusing, Yeah,

1436
01:17:29,400 --> 01:17:30,120
Speaker 2: Psychic Chef.

1437
01:17:30,640 --> 01:17:33,400
Speaker 3: The joke is that the aviation safety movie that's like

1438
01:17:33,479 --> 01:17:36,280
Speaker 3: you know where the emergency exits are and stuff on

1439
01:17:36,320 --> 01:17:40,440
Speaker 3: the plane is like actually incredibly violent and terrifying.

1440
01:17:40,640 --> 01:17:44,280
Speaker 2: Yeah, at any rate, the successfully flies all the way

1441
01:17:44,320 --> 01:17:47,120
Speaker 2: to wherever Shield City is. So that and we don't

1442
01:17:47,120 --> 01:17:48,400
Speaker 2: see the rest of it. We don't see him going

1443
01:17:48,400 --> 01:17:54,400
Speaker 2: through Custa, we don't see arranging travel figuring out exactly

1444
01:17:54,439 --> 01:17:56,200
Speaker 2: where Connor is. I mean, he's got the quickening, so

1445
01:17:56,240 --> 01:17:57,800
Speaker 2: I guess he can zone in on him.

1446
01:17:58,120 --> 01:17:59,800
Speaker 3: Yeah, I would. Oh, I'd love to see him going

1447
01:17:59,840 --> 01:18:03,400
Speaker 3: through customs. But oh, speaking of things to declare, there

1448
01:18:03,479 --> 01:18:06,799
Speaker 3: is a scene where Virginia Madsen's like wandering around Connor's

1449
01:18:06,840 --> 01:18:09,360
Speaker 3: apartment and goes through all this old stuff and know,

1450
01:18:09,400 --> 01:18:12,440
Speaker 3: and it's showing, Oh, he's lived for centuries, he played football,

1451
01:18:12,560 --> 01:18:15,040
Speaker 3: he sailed on the high seas. Here's his nineteen oh

1452
01:18:15,120 --> 01:18:19,360
Speaker 3: one football team picture, and there's a suit of armor

1453
01:18:19,400 --> 01:18:21,840
Speaker 3: in there, and like old bottles of wine and all that.

1454
01:18:23,280 --> 01:18:27,160
Speaker 3: Also in this room, is that a Confederate flag in there? Connor?

1455
01:18:27,600 --> 01:18:30,120
Speaker 2: Well, I bet he took that off of Confederate troops.

1456
01:18:30,240 --> 01:18:33,960
Speaker 2: I don't remember, but there. I don't remember where all

1457
01:18:34,000 --> 01:18:36,360
Speaker 2: this lands, but I know there were some deleted scenes

1458
01:18:36,360 --> 01:18:38,360
Speaker 2: in the for The First Highlander in which he fights

1459
01:18:38,400 --> 01:18:42,759
Speaker 2: the Nazis, so I'm guessing he fought for the Union

1460
01:18:42,960 --> 01:18:43,880
Speaker 2: during the Civil War.

1461
01:18:44,160 --> 01:18:47,000
Speaker 3: There's also a scene in here where General Katana rides

1462
01:18:47,040 --> 01:18:51,679
Speaker 3: in a cab. He's like, well, so the cab driver

1463
01:18:51,880 --> 01:18:54,680
Speaker 3: loves General Katana. When he gets in, he's like, whoa,

1464
01:18:54,920 --> 01:18:58,120
Speaker 3: you're like a heavy metal dude. WHOA, you're so you're

1465
01:18:58,160 --> 01:18:59,080
Speaker 3: out of control.

1466
01:18:59,520 --> 01:19:01,040
Speaker 2: You're in them music business, aren't you.

1467
01:19:02,479 --> 01:19:06,320
Speaker 3: Katana is like, it's quite comfortable back here, like a coffin.

1468
01:19:08,080 --> 01:19:11,559
Speaker 2: What does Katana even? Like? What is what does this

1469
01:19:11,640 --> 01:19:14,200
Speaker 2: guy about? It's just bad, that's all he is.

1470
01:19:14,680 --> 01:19:17,280
Speaker 3: Yeah, it's a he's like, oh yeah. And then when

1471
01:19:17,320 --> 01:19:20,759
Speaker 3: they arrive at his destination, he just starts destroying the cab,

1472
01:19:20,960 --> 01:19:24,160
Speaker 3: Like he stabs his sword through the window and he

1473
01:19:24,240 --> 01:19:27,280
Speaker 3: gets out and he kicks out the headlights and stabs

1474
01:19:27,320 --> 01:19:29,880
Speaker 3: the tires, and the whole time the driver, the taxi

1475
01:19:29,920 --> 01:19:43,360
Speaker 3: driver is going like awesome. But anyway, where was the

1476
01:19:43,360 --> 01:19:47,439
Speaker 3: cab taking him? Why? It's Shield Corporation headquarters. So Michael

1477
01:19:47,439 --> 01:19:50,440
Speaker 3: Ironside walks into a board meeting with John C. McGinley

1478
01:19:50,520 --> 01:19:53,599
Speaker 3: and he starts just choking people and he says, I'd

1479
01:19:53,640 --> 01:19:57,280
Speaker 3: like to join your human Corporation? Where do I sign up?

1480
01:19:57,960 --> 01:20:00,439
Speaker 3: And they try to have like a guy the suit

1481
01:20:00,479 --> 01:20:05,040
Speaker 3: shoot him, but man, he's a mortal whoops. Also, there

1482
01:20:05,080 --> 01:20:08,120
Speaker 3: are more jokes and references that don't make any sense,

1483
01:20:08,160 --> 01:20:11,639
Speaker 3: like General Katana gets up after being shot and he says, yes,

1484
01:20:12,320 --> 01:20:14,360
Speaker 3: you know, guys, this is no way to treat your

1485
01:20:14,479 --> 01:20:18,360
Speaker 3: number one draft choice. It's like, is that a football metaphor?

1486
01:20:19,760 --> 01:20:21,320
Speaker 2: I guess they have football on Zeist?

1487
01:20:22,200 --> 01:20:25,320
Speaker 3: So I think based on this scene, General Katana is

1488
01:20:25,360 --> 01:20:27,120
Speaker 3: now CEO of the Shield Corporation.

1489
01:20:27,520 --> 01:20:29,639
Speaker 2: You know, I bet what happened is they had football

1490
01:20:29,640 --> 01:20:34,160
Speaker 2: on Zeist and who invented football on Earth? But immortals?

1491
01:20:34,200 --> 01:20:35,240
Speaker 2: Probably Connor did it.

1492
01:20:35,479 --> 01:20:39,719
Speaker 3: That makes so much sense. Yes, But somehow, like General

1493
01:20:39,800 --> 01:20:43,240
Speaker 3: Katana getting tangled up with the Shield Corporation and seemingly

1494
01:20:43,520 --> 01:20:47,439
Speaker 3: becoming John c mcginley's partner like accelerates them in just

1495
01:20:47,640 --> 01:20:52,880
Speaker 3: doing general badness. So John C McGinley goes into Alan

1496
01:20:53,000 --> 01:20:56,960
Speaker 3: Nayman's office from naming his Connor's old friend, and he's like,

1497
01:20:57,400 --> 01:21:00,200
Speaker 3: He's like, okay, I know you. You're telling people both

1498
01:21:00,240 --> 01:21:02,760
Speaker 3: at the radiation levels are normal. I'm gonna throw you

1499
01:21:02,840 --> 01:21:06,799
Speaker 3: in Shield jail, which exists. Let me get some brief

1500
01:21:07,000 --> 01:21:10,800
Speaker 3: character moments where like Virginia Madson is asking Connor about

1501
01:21:10,840 --> 01:21:14,760
Speaker 3: his previous wives and Connor is talking about them, but

1502
01:21:15,040 --> 01:21:18,519
Speaker 3: then they get interrupted when Connor senses a presence nearby

1503
01:21:19,200 --> 01:21:22,759
Speaker 3: and a shadowy figure emerges, and Connor and this figure

1504
01:21:22,840 --> 01:21:25,360
Speaker 3: duel with swords, but then it's revealed that it is

1505
01:21:25,439 --> 01:21:31,080
Speaker 3: Sean Connery and he says, greetings, Highlander, you called so again.

1506
01:21:31,200 --> 01:21:34,040
Speaker 3: Connor always had the power to resurrect Ramirez from the

1507
01:21:34,080 --> 01:21:36,840
Speaker 3: dead by yelling his name, and they have known this

1508
01:21:37,080 --> 01:21:39,880
Speaker 3: since they came from Zeist five hundred years ago, but

1509
01:21:39,960 --> 01:21:43,600
Speaker 3: he just now did it. Ye, So they have, you know,

1510
01:21:43,680 --> 01:21:46,639
Speaker 3: playful dueling and banter. I think they're trying to get

1511
01:21:46,680 --> 01:21:49,200
Speaker 3: the old magic back from Highlander one. They're trying to

1512
01:21:49,200 --> 01:21:53,920
Speaker 3: get that feeling that relationship re established. I think it's

1513
01:21:54,040 --> 01:21:56,439
Speaker 3: not quite clicking, but they try to do it with

1514
01:21:56,479 --> 01:21:58,960
Speaker 3: like them making fun of each other, Like Ramirez makes

1515
01:21:59,000 --> 01:22:02,320
Speaker 3: fun of Connor for having ridiculous art in his apartment,

1516
01:22:02,600 --> 01:22:05,160
Speaker 3: Connor makes fun of Ramirez for being old and for

1517
01:22:05,200 --> 01:22:06,000
Speaker 3: having been dead.

1518
01:22:06,320 --> 01:22:08,439
Speaker 2: Yeah, it's almost like what they should have and maybe

1519
01:22:08,439 --> 01:22:11,640
Speaker 2: even wanted to do. You should have had a flashback

1520
01:22:11,680 --> 01:22:15,320
Speaker 2: here to show like their relationship in a maybe an

1521
01:22:15,360 --> 01:22:19,240
Speaker 2: outdoor setting, because here we do have this wonderful but

1522
01:22:19,400 --> 01:22:22,559
Speaker 2: very grimy, grungy, dark set, and I don't know, it's

1523
01:22:22,600 --> 01:22:27,400
Speaker 2: not a very lively place to establish a lively relationship.

1524
01:22:27,880 --> 01:22:30,280
Speaker 3: Yeah, though they do try to spice it up. They

1525
01:22:30,479 --> 01:22:33,320
Speaker 3: pour drinks and they have a toast and the toast go.

1526
01:22:33,479 --> 01:22:37,040
Speaker 3: This is a direct quote, Connor says to Magic and

1527
01:22:37,160 --> 01:22:45,320
Speaker 3: Ramirez says to seyst Also, Ramirez meets Virginia Mattson meets

1528
01:22:45,360 --> 01:22:48,760
Speaker 3: Louise Marcus, and he says, you know, he's like, wow,

1529
01:22:49,120 --> 01:22:52,799
Speaker 3: you know, I like this eco terrorist and they immediately

1530
01:22:52,880 --> 01:22:56,960
Speaker 3: start scheming. Ramirez says, hey, Connor, the Shield is ugly

1531
01:22:57,000 --> 01:22:59,600
Speaker 3: and it sucks, and Connor says, yeah, well it was

1532
01:22:59,640 --> 01:23:03,000
Speaker 3: necess at the time, and then Ramirez says, so was

1533
01:23:03,040 --> 01:23:08,439
Speaker 3: Noah's Flood. But they they established that Connor's old friend

1534
01:23:08,479 --> 01:23:11,320
Speaker 3: Alan is being held in this secret high security Shield

1535
01:23:11,360 --> 01:23:13,960
Speaker 3: prison and they have to go rescue him. Also, they

1536
01:23:14,040 --> 01:23:16,600
Speaker 3: established that General Katana is here and they have to

1537
01:23:16,600 --> 01:23:19,080
Speaker 3: go face him. So first of all, they go to

1538
01:23:19,120 --> 01:23:22,520
Speaker 3: the Shield corpse Slammer. So they go to the security

1539
01:23:22,560 --> 01:23:26,200
Speaker 3: gate and it's like Connor is driving a car and

1540
01:23:26,280 --> 01:23:29,519
Speaker 3: Ramirez is in the passenger seat and they just drive

1541
01:23:29,640 --> 01:23:33,479
Speaker 3: through the barricade into the Shield headquarters. And they get

1542
01:23:33,479 --> 01:23:37,560
Speaker 3: blasted by guards with machine guns. Fortunately they are immortal,

1543
01:23:38,439 --> 01:23:40,360
Speaker 3: so that when they get inside, they just sort of

1544
01:23:40,400 --> 01:23:44,000
Speaker 3: like pop up in the shield prison morgue. Also, Louise

1545
01:23:44,120 --> 01:23:47,680
Speaker 3: is in there. She's like talking to the doctor and

1546
01:23:47,720 --> 01:23:50,320
Speaker 3: the morgue, and then he sees them, you know, Connor

1547
01:23:50,360 --> 01:23:52,240
Speaker 3: and Ramirez pop up, and he just faints.

1548
01:23:52,760 --> 01:23:54,000
Speaker 2: Fun immortal hikks.

1549
01:23:54,320 --> 01:23:57,720
Speaker 3: Yes. Then they decide to split up, of course, and

1550
01:23:57,800 --> 01:24:02,360
Speaker 3: start running around in tunnels looking for Alan. I was like,

1551
01:24:02,520 --> 01:24:05,000
Speaker 3: is this a prison? It looks more like a sewer

1552
01:24:05,080 --> 01:24:08,000
Speaker 3: full of people living in rags and eating rats. It's

1553
01:24:08,080 --> 01:24:10,479
Speaker 3: like what the human hideout in Terminator is.

1554
01:24:10,600 --> 01:24:10,680
Speaker 1: Like.

1555
01:24:11,600 --> 01:24:13,439
Speaker 3: They go and find Alan, but he does one of

1556
01:24:13,439 --> 01:24:16,839
Speaker 3: those movie instant deaths where he's just like, oh, Connor,

1557
01:24:16,960 --> 01:24:19,080
Speaker 3: you know, we tell me we did the right thing

1558
01:24:19,160 --> 01:24:21,840
Speaker 3: by making the shield, and then he's like you were

1559
01:24:21,920 --> 01:24:26,560
Speaker 3: my best friend, oh and just falls over dies. Meanwhile,

1560
01:24:26,760 --> 01:24:29,599
Speaker 3: John c McGinley and General Katana are like watching all

1561
01:24:29,640 --> 01:24:33,760
Speaker 3: this on closed circuit cameras, and General Katana says, well, well,

1562
01:24:33,800 --> 01:24:36,519
Speaker 3: well like a high school reunion down there.

1563
01:24:37,640 --> 01:24:40,400
Speaker 2: And so the instantly once more he's got the drop,

1564
01:24:41,800 --> 01:24:43,439
Speaker 2: and ramiras.

1565
01:24:43,040 --> 01:24:45,880
Speaker 3: Yeah, and so here's what they're gonna do okay, they

1566
01:24:46,479 --> 01:24:49,240
Speaker 3: run them into a trap room. So our three heroes

1567
01:24:49,320 --> 01:24:52,280
Speaker 3: are They go into a cylindrical room all at the

1568
01:24:52,320 --> 01:24:55,559
Speaker 3: same time. The doors slam and lock behind them, and

1569
01:24:55,680 --> 01:24:59,200
Speaker 3: then this is one of the greatest moments of the movie.

1570
01:24:59,680 --> 01:25:04,000
Speaker 3: A whirling fans starts lowering from the ceiling toward the floor,

1571
01:25:04,520 --> 01:25:06,559
Speaker 3: so like, oh no, the fan is descending on them.

1572
01:25:06,600 --> 01:25:08,800
Speaker 3: It's like the pit and the pendulum, except it's a fan.

1573
01:25:09,479 --> 01:25:12,679
Speaker 3: And I guess the implication is that the fan will

1574
01:25:12,720 --> 01:25:15,559
Speaker 3: lower until it hits the floor and just squashes them,

1575
01:25:15,680 --> 01:25:18,599
Speaker 3: or I suppose the threat to the immortals is that

1576
01:25:18,640 --> 01:25:22,439
Speaker 3: the fan blades will chop off their heads. But then

1577
01:25:22,479 --> 01:25:24,800
Speaker 3: I was thinking, like, is that really physically? What would happen?

1578
01:25:24,800 --> 01:25:27,080
Speaker 3: Wouldn't they just kind of get more like like you know,

1579
01:25:27,160 --> 01:25:28,120
Speaker 3: like they're in a blender.

1580
01:25:29,040 --> 01:25:31,120
Speaker 2: I don't know, But I also like how this hall

1581
01:25:31,200 --> 01:25:34,559
Speaker 2: set kind of resembles the fizzy lifting drink scene from

1582
01:25:34,560 --> 01:25:35,240
Speaker 2: Willy Wonka.

1583
01:25:35,840 --> 01:25:36,439
Speaker 3: Yes, so the.

1584
01:25:36,360 --> 01:25:40,240
Speaker 2: Blades didn't lower in that our heroes floated up towards it.

1585
01:25:40,280 --> 01:25:42,599
Speaker 2: But I still can't help but connect the two.

1586
01:25:43,280 --> 01:25:45,519
Speaker 3: So, how are our heroes going to get out of

1587
01:25:45,520 --> 01:25:46,160
Speaker 3: this jam?

1588
01:25:46,520 --> 01:25:48,479
Speaker 2: You tell me. I've seen it multiple times and I

1589
01:25:48,479 --> 01:25:49,479
Speaker 2: still don't know what happens.

1590
01:25:49,800 --> 01:25:54,080
Speaker 3: Here's what happens. So Ramirez says, you stay back. Connor

1591
01:25:54,120 --> 01:25:57,840
Speaker 3: says I can help. Ramirez says, no, you can't, not

1592
01:25:58,040 --> 01:26:00,840
Speaker 3: this time. And then Ramirez go a speech. He's like

1593
01:26:00,920 --> 01:26:03,360
Speaker 3: standing in the middle of the room under the fan.

1594
01:26:03,760 --> 01:26:07,360
Speaker 3: He lifts his hands up and he says, most people

1595
01:26:07,520 --> 01:26:10,720
Speaker 3: have a full measure of life, and most people just

1596
01:26:10,760 --> 01:26:14,160
Speaker 3: watch it slowly drip away. But if you can summon

1597
01:26:14,200 --> 01:26:18,439
Speaker 3: it all up at one time, in one place, you

1598
01:26:18,520 --> 01:26:24,719
Speaker 3: can accomplish something glorious. And then bagpipes start playing amazing grace,

1599
01:26:25,479 --> 01:26:29,920
Speaker 3: and Ramirez like light comes out of his hand, and

1600
01:26:30,080 --> 01:26:32,800
Speaker 3: the fan, I guess, starts lifting back up from where

1601
01:26:32,840 --> 01:26:36,200
Speaker 3: it was and he he turns to Connor and Louise

1602
01:26:36,240 --> 01:26:39,040
Speaker 3: and he says, my time here is over. It'll take

1603
01:26:39,080 --> 01:26:41,759
Speaker 3: the power of both of you to destroy General Katana

1604
01:26:42,000 --> 01:26:45,639
Speaker 3: and the Shield, and Connor says, will I ever see

1605
01:26:45,640 --> 01:26:49,800
Speaker 3: you again? And Ramirez says, who knows, Hylander, who knows?

1606
01:26:50,240 --> 01:26:53,040
Speaker 3: So Connor and Louise escape for some reason. The door

1607
01:26:53,080 --> 01:26:57,719
Speaker 3: pops open and Ramirez turns into light and explodes.

1608
01:26:57,680 --> 01:26:59,880
Speaker 2: Yeah, I have no idea what this is supposed to

1609
01:26:59,880 --> 01:27:03,519
Speaker 2: be like self quickeningly destroys the fan.

1610
01:27:04,520 --> 01:27:06,640
Speaker 3: It just feels like it feels like they had to

1611
01:27:06,680 --> 01:27:07,719
Speaker 3: wrap this thing up.

1612
01:27:08,520 --> 01:27:10,519
Speaker 2: Just a kind of magic. Can't question it.

1613
01:27:11,479 --> 01:27:14,000
Speaker 3: There's another quick scene where General Katana and John C

1614
01:27:14,160 --> 01:27:16,840
Speaker 3: McGinley are talking and the latter is upset for some

1615
01:27:17,000 --> 01:27:20,479
Speaker 3: reason and Katana reacts by grabbing him by the crotch,

1616
01:27:20,600 --> 01:27:22,880
Speaker 3: lifting him in the air, and throwing him out a window.

1617
01:27:23,000 --> 01:27:24,360
Speaker 3: So that's the end of that character.

1618
01:27:24,520 --> 01:27:27,200
Speaker 2: Yeah, and this character in this relationship that we just

1619
01:27:27,240 --> 01:27:29,240
Speaker 2: had so little invested in.

1620
01:27:29,560 --> 01:27:32,160
Speaker 3: Yeah, but now we're here for the final showdown. So

1621
01:27:32,200 --> 01:27:33,960
Speaker 3: Connor and Louise fight their way to the top of

1622
01:27:34,000 --> 01:27:36,599
Speaker 3: the Shield pyramid with guns, by the way, which feels

1623
01:27:36,600 --> 01:27:37,680
Speaker 3: wrong for Highlander.

1624
01:27:37,840 --> 01:27:40,240
Speaker 2: Yeah, uncivilized weapon. I think he does use a machine

1625
01:27:40,280 --> 01:27:43,200
Speaker 2: gun against the Nazis and a deleted scene from Highlander one.

1626
01:27:43,240 --> 01:27:45,880
Speaker 2: But still you didn't You don't sign up to see

1627
01:27:46,120 --> 01:27:47,799
Speaker 2: Connor McLeod use machine gun.

1628
01:27:48,040 --> 01:27:50,719
Speaker 3: Right, So Connor like he hands a rifle to Louise

1629
01:27:50,760 --> 01:27:52,879
Speaker 3: and he's like, Okay, you go fight all the soldiers

1630
01:27:52,920 --> 01:27:56,240
Speaker 3: and destroy the Shield. I'll go cross swords with General Katana.

1631
01:27:56,840 --> 01:27:58,760
Speaker 3: I am not worried what will happen to you? And

1632
01:27:59,240 --> 01:28:01,280
Speaker 3: you know he kisses there a letter, know he means it.

1633
01:28:02,160 --> 01:28:07,360
Speaker 3: The location of the General Katana Showdown is it's confusing here,

1634
01:28:07,760 --> 01:28:10,320
Speaker 3: and I think it's because what has happened in this

1635
01:28:10,400 --> 01:28:14,120
Speaker 3: scene in the American cut is that this is actually

1636
01:28:14,160 --> 01:28:17,559
Speaker 3: two completely separate fight scenes that happen at two different

1637
01:28:17,600 --> 01:28:20,160
Speaker 3: parts of the movie, and they've been edited together.

1638
01:28:20,920 --> 01:28:22,160
Speaker 2: That would make a lot of sense.

1639
01:28:22,640 --> 01:28:25,680
Speaker 3: But it's in a dark, empty warehouse with like that

1640
01:28:26,120 --> 01:28:29,519
Speaker 3: wet industrial feeling, you know, steam pipes, water is dripping,

1641
01:28:29,680 --> 01:28:34,160
Speaker 3: chains dangling everywhere, metal grates, catwalks, sparks shooting out of stuff.

1642
01:28:34,720 --> 01:28:38,040
Speaker 3: It's your basic final showdown sword fight. It's not great,

1643
01:28:38,080 --> 01:28:39,200
Speaker 3: but I have seen worse.

1644
01:28:39,840 --> 01:28:41,840
Speaker 2: Yeah yeah, and I can't again, I can't help but

1645
01:28:42,040 --> 01:28:47,000
Speaker 2: wonder too how injuries and clunky swords and so forth

1646
01:28:47,040 --> 01:28:50,040
Speaker 2: factored into this, because I don't think that the sword

1647
01:28:50,040 --> 01:28:53,960
Speaker 2: fights in Highland are one set an incredibly high standard,

1648
01:28:54,080 --> 01:28:56,080
Speaker 2: like they're not. I wouldn't. I would never hold them

1649
01:28:56,360 --> 01:28:59,600
Speaker 2: them up as being like the best sword fights in cinema.

1650
01:28:59,640 --> 01:29:02,280
Speaker 2: But they're really good, and I feel like what we

1651
01:29:02,479 --> 01:29:08,280
Speaker 2: get in this picture, you know, aside from flying space assassins.

1652
01:29:08,880 --> 01:29:11,920
Speaker 2: What we get in this picture feels mostly sub Highlander one.

1653
01:29:12,600 --> 01:29:15,599
Speaker 3: Yeah, and there's one part in this fight where McLeod

1654
01:29:15,680 --> 01:29:18,760
Speaker 3: falls down an elevator shaft and breaks all his bones.

1655
01:29:18,439 --> 01:29:20,519
Speaker 2: So that's pretty interesting. I did like that.

1656
01:29:21,000 --> 01:29:23,200
Speaker 3: Yeah, and then he has to manually snap them back

1657
01:29:23,200 --> 01:29:26,840
Speaker 3: into place and then go up and fight again. I

1658
01:29:26,840 --> 01:29:29,839
Speaker 3: think that might have been the like break that the

1659
01:29:29,920 --> 01:29:33,519
Speaker 3: actual conclusion of one of the two original fight scenes.

1660
01:29:33,560 --> 01:29:38,120
Speaker 3: I'm not positive, but anyway, they start sword fighting right

1661
01:29:38,160 --> 01:29:40,360
Speaker 3: next to a giant beam. This is the source of

1662
01:29:40,360 --> 01:29:42,360
Speaker 3: the shield. It's kind of a cool set.

1663
01:29:42,720 --> 01:29:45,680
Speaker 2: Yeah, yeah, it looks really cool, big sets, you know,

1664
01:29:45,800 --> 01:29:49,519
Speaker 2: beam of light, very evocative. I love it. Though. Again,

1665
01:29:49,560 --> 01:29:54,240
Speaker 2: the actual sword fight, especially right here, feels kind of anticlimactic. Again,

1666
01:29:54,360 --> 01:29:56,280
Speaker 2: like it just didn't have much more gas in the.

1667
01:29:56,240 --> 01:30:00,000
Speaker 3: Tank that that's exactly right. So Connor wins. He chops

1668
01:30:00,080 --> 01:30:02,880
Speaker 3: off Katana's head. It does feel kind of anti climactic.

1669
01:30:04,400 --> 01:30:06,960
Speaker 3: Then he gets some quickening, you know, all the light

1670
01:30:07,000 --> 01:30:09,799
Speaker 3: shoots into him and he gets the electricity snakes and stuff.

1671
01:30:10,120 --> 01:30:13,320
Speaker 3: But like, is he mortal again now? I would guess so.

1672
01:30:13,880 --> 01:30:18,120
Speaker 3: But then he walks into the shield beam huh and

1673
01:30:18,320 --> 01:30:21,400
Speaker 3: Virginia Madison's there looking at him and she's like no.

1674
01:30:23,160 --> 01:30:27,560
Speaker 3: And then the shield explodes. The satellite controlling the shield explodes,

1675
01:30:27,760 --> 01:30:30,760
Speaker 3: the sky clears and they can see stars. Wow, the

1676
01:30:30,800 --> 01:30:34,200
Speaker 3: shield is gone. And then the voice of Ramirez speaks

1677
01:30:34,200 --> 01:30:38,240
Speaker 3: in their minds and says, remember, highlander, you've both still

1678
01:30:38,280 --> 01:30:41,240
Speaker 3: got your full measure of life. Use it well and

1679
01:30:41,320 --> 01:30:44,759
Speaker 3: your future will be glorious. End credits.

1680
01:30:45,439 --> 01:30:49,439
Speaker 2: Wow. So yeah, I guess he uses the power of

1681
01:30:49,479 --> 01:30:52,960
Speaker 2: this quickening, of this energy absorption of a powerful immortal

1682
01:30:53,320 --> 01:30:56,679
Speaker 2: to short circuit all of the shield technology here.

1683
01:30:57,200 --> 01:30:58,599
Speaker 3: And I guess yeah.

1684
01:30:58,640 --> 01:31:02,320
Speaker 2: And then at the end, is either mortal or is

1685
01:31:02,360 --> 01:31:04,000
Speaker 2: gonna get to return to.

1686
01:31:04,080 --> 01:31:09,640
Speaker 3: Zeist doesn't make it, doesn't say, ends incredibly abruptly with

1687
01:31:09,920 --> 01:31:14,240
Speaker 3: the voiceover by Sean Connery, which is calls back to

1688
01:31:14,320 --> 01:31:16,400
Speaker 3: the fun one of the funniest moments in the movie

1689
01:31:16,400 --> 01:31:18,519
Speaker 3: when he's pushing the fan in full measure of life.

1690
01:31:18,520 --> 01:31:20,160
Speaker 3: I don't know where any of that comes from.

1691
01:31:20,840 --> 01:31:23,280
Speaker 2: Now, tell me about this fairy tale ending. What is

1692
01:31:23,320 --> 01:31:25,559
Speaker 2: this return Dezice thing that could have happened?

1693
01:31:25,960 --> 01:31:28,680
Speaker 3: So there are a couple of different endings. There is

1694
01:31:28,840 --> 01:31:33,200
Speaker 3: one ending in which after this Connor and Louise are

1695
01:31:33,200 --> 01:31:36,000
Speaker 3: like walking outside the shield pyramid and they're like, oh,

1696
01:31:36,040 --> 01:31:38,360
Speaker 3: we did it. You know, I love you. And then

1697
01:31:38,479 --> 01:31:42,479
Speaker 3: Connor returns to Zeist without her. You know. He's like,

1698
01:31:42,760 --> 01:31:44,639
Speaker 3: I love you, but I must leave you here on Earth.

1699
01:31:44,640 --> 01:31:47,000
Speaker 3: I've got it. I made a vow I would return Dezeist,

1700
01:31:47,160 --> 01:31:50,160
Speaker 3: and he does. He like flies away into space. Then

1701
01:31:50,160 --> 01:31:54,920
Speaker 3: there's another ending where they both go to Seist where

1702
01:31:54,960 --> 01:31:57,360
Speaker 3: he's like, you know, I love you, Come with me

1703
01:31:57,439 --> 01:31:59,719
Speaker 3: Dezeised and she's like, but I can't fly through space.

1704
01:32:00,280 --> 01:32:03,120
Speaker 3: And I think he I think he's essentially like, you know,

1705
01:32:03,200 --> 01:32:06,240
Speaker 3: it's a kind of magic. Just try it, and so

1706
01:32:06,400 --> 01:32:09,040
Speaker 3: she does, and then she flies into space and they

1707
01:32:09,040 --> 01:32:11,080
Speaker 3: both fly into space and go to Zeis together.

1708
01:32:11,680 --> 01:32:13,120
Speaker 2: Okay, I don't know whether they're going to get up

1709
01:32:13,160 --> 01:32:15,479
Speaker 2: to there. We don't really know much about Zis aside

1710
01:32:15,520 --> 01:32:19,080
Speaker 2: from conflict, but maybe they're they're good qualities. They have

1711
01:32:19,120 --> 01:32:22,080
Speaker 2: football apparently, and maybe high schools they don't.

1712
01:32:22,280 --> 01:32:25,519
Speaker 3: Yeah, we're never shown like what's worth fighting for on Zeised.

1713
01:32:25,960 --> 01:32:28,040
Speaker 3: We should we should see like the good you know,

1714
01:32:28,080 --> 01:32:29,560
Speaker 3: the good life on Zeised.

1715
01:32:29,479 --> 01:32:31,680
Speaker 2: Yeah, or the like the old Zeis that they're going

1716
01:32:31,760 --> 01:32:35,200
Speaker 2: to restore I'm not sure again, why do we care

1717
01:32:35,240 --> 01:32:37,320
Speaker 2: about this? Why is it important? Why? Now?

1718
01:32:37,800 --> 01:32:41,200
Speaker 3: Anyway? That's Highland or two. The Quickening a movie that

1719
01:32:41,600 --> 01:32:44,680
Speaker 3: is so interesting to me. I mean it just in

1720
01:32:44,760 --> 01:32:50,080
Speaker 3: terms of a deeply hilarious, flawed movie. It is that,

1721
01:32:50,240 --> 01:32:53,120
Speaker 3: but it's also really interesting because there's a lot about

1722
01:32:53,120 --> 01:32:56,880
Speaker 3: it that is mostly buried in the American cut but

1723
01:32:57,160 --> 01:33:01,560
Speaker 3: is pretty good and just like isn't allowed to cohere

1724
01:33:01,640 --> 01:33:03,760
Speaker 3: into a full film. But if you can like look

1725
01:33:03,800 --> 01:33:07,160
Speaker 3: at those elements, they're they're really quite admirable in their

1726
01:33:07,160 --> 01:33:08,799
Speaker 3: own Like we were talking about some of the sets

1727
01:33:08,840 --> 01:33:11,720
Speaker 3: and some of the staging in the costumes, and like

1728
01:33:11,880 --> 01:33:15,080
Speaker 3: the actors are great, though I don't think anybody in

1729
01:33:15,120 --> 01:33:18,760
Speaker 3: this movie is on their a game. Uh, And so

1730
01:33:19,120 --> 01:33:22,439
Speaker 3: I don't know. It's just such an interesting creative product

1731
01:33:22,640 --> 01:33:26,160
Speaker 3: and whatever you think about it, I think it's undeniable

1732
01:33:26,240 --> 01:33:32,240
Speaker 3: that it is so funny and so perplexing and it's

1733
01:33:32,240 --> 01:33:35,280
Speaker 3: something that the people who are interested in filmmaking should see,

1734
01:33:35,320 --> 01:33:37,920
Speaker 3: I think, and and also learn watch the documentary and

1735
01:33:37,960 --> 01:33:39,840
Speaker 3: you know, learn learn about how it was made.

1736
01:33:40,000 --> 01:33:42,719
Speaker 2: Yeah, yeah, absolutely, Like if you're if you're into that side,

1737
01:33:42,760 --> 01:33:45,519
Speaker 2: like what went wrong and how is it made and

1738
01:33:45,560 --> 01:33:48,200
Speaker 2: so forth, Like Highlander two is a great story if

1739
01:33:48,200 --> 01:33:50,639
Speaker 2: you just want a bad movie, a movie with flaws

1740
01:33:50,680 --> 01:33:53,160
Speaker 2: that you can you can riff on. Highlander two is

1741
01:33:53,200 --> 01:33:55,800
Speaker 2: a great choice if you know, if you like to

1742
01:33:55,880 --> 01:33:59,960
Speaker 2: find that the diamonds in the midst of the raw,

1743
01:34:00,000 --> 01:34:02,960
Speaker 2: if you want to find the shiny parts of otherwise

1744
01:34:03,040 --> 01:34:06,679
Speaker 2: flawed films, like Highlander two has riches for you to behold.

1745
01:34:06,760 --> 01:34:08,960
Speaker 2: So yeah, I feel like it's one of those those

1746
01:34:09,000 --> 01:34:11,880
Speaker 2: weird films, those flawed films, that has a lot to offer,

1747
01:34:12,160 --> 01:34:15,160
Speaker 2: two different different values, different audiences.

1748
01:34:15,560 --> 01:34:18,719
Speaker 3: Absolutely agree. Yeah, I love Highlander two.

1749
01:34:19,439 --> 01:34:21,360
Speaker 2: All right, Well, we're going to go ahead and close

1750
01:34:21,400 --> 01:34:24,519
Speaker 2: out this our second episode on Highlander two. Second and

1751
01:34:24,560 --> 01:34:29,200
Speaker 2: final episode isunder two. But we'd love to hear from

1752
01:34:29,200 --> 01:34:31,600
Speaker 2: everyone out there if you have thoughts on any of

1753
01:34:31,600 --> 01:34:34,479
Speaker 2: the various cuts of Highlander two, thoughts on the Highlander

1754
01:34:34,520 --> 01:34:37,400
Speaker 2: franchise in general, or you know other films that you

1755
01:34:37,439 --> 01:34:41,680
Speaker 2: think meet these standards right in we would love to

1756
01:34:41,720 --> 01:34:43,840
Speaker 2: hear from you. Just a reminder that Stuff to Blow

1757
01:34:43,840 --> 01:34:47,040
Speaker 2: your Mind is primarily a science and culture podcast, with

1758
01:34:47,160 --> 01:34:50,719
Speaker 2: core episodes on Tuesdays and Thursdays. A listener mail episode

1759
01:34:50,720 --> 01:34:52,960
Speaker 2: on Mondays and a short form episode on Wednesdays, But

1760
01:34:53,000 --> 01:34:55,160
Speaker 2: on Fridays we set aside most serious concerns to just

1761
01:34:55,200 --> 01:34:57,760
Speaker 2: talk about a weird film here on Weird House Cinema.

1762
01:34:57,840 --> 01:34:59,160
Speaker 2: If you want to see a list of all the

1763
01:34:59,160 --> 01:35:01,400
Speaker 2: movies we've covered the US far, and sometimes a peek

1764
01:35:01,400 --> 01:35:04,200
Speaker 2: ahead at what comes next, go on over to letterbox

1765
01:35:04,240 --> 01:35:05,800
Speaker 2: dot com. That's L E T T E R B

1766
01:35:05,880 --> 01:35:08,320
Speaker 2: O x D dot com our user profile there is

1767
01:35:08,400 --> 01:35:11,479
Speaker 2: weird House, and you will find the list that I

1768
01:35:11,560 --> 01:35:12,240
Speaker 2: just referenced.

1769
01:35:12,600 --> 01:35:16,600
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1770
01:35:16,920 --> 01:35:18,479
Speaker 3: If you would like to get in touch with us

1771
01:35:18,479 --> 01:35:20,880
Speaker 3: with feedback on this episode or any other, to suggest

1772
01:35:20,920 --> 01:35:22,960
Speaker 3: a topic for the future, or just to say hello,

1773
01:35:23,280 --> 01:35:25,920
Speaker 3: you can email us at contact at stuff to Blow

1774
01:35:25,960 --> 01:35:33,840
Speaker 3: your Mind dot com.

1775
01:35:33,960 --> 01:35:36,920
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1776
01:35:37,000 --> 01:35:39,800
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1777
01:35:39,920 --> 01:35:43,160
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.