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

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Speaker 1: Rob Lamb, and today we are going to venture into

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Speaker 1: Empire of the Dark. This is a nineteen ninety one

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Speaker 1: horror odyssey that originally published eight twenty nine, twenty twenty five.

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Speaker 1: This one's a lot of fun. We really enjoyed this one.

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Speaker 1: So let's jump right in.

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

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Speaker 1: Hey you welcome to Weird House Cinema.

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

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Speaker 1: As we've discussed before on the show, a great B movie,

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Speaker 1: or even a bad movie so bad it's a good

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Speaker 1: movie has to believe in itself. Absolutely. It has to

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Speaker 1: feature some mix of genuine talent, effort and enthusiasm. It

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Speaker 1: has to leave you saying, man, look at what they

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Speaker 1: attempted or or look at what, at least in places

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Speaker 1: they actually pulled off. You know, there's always an audacity

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Speaker 1: to film. That a movie reaches any state of completion

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Speaker 1: and finds even a modicum of an audience is an

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Speaker 1: amazing accomplishment. And today's selection, I think is a testament

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Speaker 1: to all of this, because we're going to talk about

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Speaker 1: a film that is an amazing achievement Steve Barquette's nineteen

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Speaker 1: ninety one Northern Californian odyssey Empire of the Dark.

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Speaker 3: I mean, I want to burst into a round of

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Speaker 3: applause just hearing you say those words. This movie is

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Speaker 3: an amazing achievement. I absolutely loved it.

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Speaker 1: Yeah, yeah, I feel like this one exists excitingly somewhere

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Speaker 1: between nineteen nineties The Final Sacrifice and nineteen seventy nine's Phantasm.

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Speaker 1: It's much better in many ways than The Final Sacrifice,

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Speaker 1: and not on the same level as Fantasm as well.

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Speaker 1: But to me at least, it feels like a cinematic

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Speaker 1: world akin to those films, a low budget of cold

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Speaker 1: adventure set in rural or small town North America, in

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Speaker 1: this case northern California. I believe film near Redding, California,

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Speaker 1: and it centers around a non traditional action oriented leading man. So,

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Speaker 1: in the grand tradition of Reggie Banister and zap Rawsdauer,

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Speaker 1: here we have Richard Flynn.

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Speaker 3: I was thinking of Richard Flynn our protagonist here, as

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Speaker 3: a cross between Rousedauer and Bob Odenkirk as Saul Goodman.

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Speaker 1: Don't you see that yeah, Yeah, I know exactly what

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Speaker 1: you're talking about. There were numerous times watching the film,

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Speaker 1: or even before we watch the Looking at Steel, where

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Speaker 1: I was like, this actor feels like a character from

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Speaker 1: Mister Show.

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Speaker 3: Yes, Yes, and we get to see him in this

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Speaker 3: movie with and without a mustache. I don't know which

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Speaker 3: way Steve Barquette goes in real life, but in the

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Speaker 3: movie he looks so disturbing without the mustache. It's like

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Speaker 3: his soul is disfigured by not having the mustache on

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Speaker 3: his face.

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Speaker 1: Oh, I wouldn't say that, but he wears a mustache.

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Speaker 3: Well, yes, that's what I mean. I don't mean to

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Speaker 3: insult the not I'm just saying like he was born

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Speaker 3: for this mustache. The character was I can't speak because

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Speaker 3: he disappears into the role. Who knows what the real

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Speaker 3: Steve Barquette is like.

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Speaker 1: Yeah, and as we'll get to like he's I think

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Speaker 1: he's really fun in this, Like his passion is evident.

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Speaker 3: Yeah.

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Speaker 1: But again, at the same time, you know, not your

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Speaker 1: traditional leading man, and that's part of the charm of it.

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Speaker 1: I found at least one review on letterbox where someone

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Speaker 1: was like, I love this film because the hero reminds

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Speaker 1: me of my dad. You know, there's like action dad

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Speaker 1: energy here. Oh yeah. And it makes sense as well

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Speaker 1: because it is a father and son effort as full discuss.

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Speaker 3: One might speculate. And I don't want to try to

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Speaker 3: psychoanalyze Steve Barquette because again I don't know what was

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Speaker 3: going through his mind. But you could read this movie

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Speaker 3: as someone trying to grapple with feelings of both love

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Speaker 3: and ambivalence about fatherhood.

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Speaker 1: Yeah, yeah, the deep, the read on Empire of the Dark. Yeah.

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Speaker 3: But also a lot of sword fighting in there. That's

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Speaker 3: a major theme as well.

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Speaker 1: Yes, yeah, and really fun sword fighting. Again. I want

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Speaker 1: to stress you know, this film we're you know, we're

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Speaker 1: gonna have some fun with some aspects of it. And

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Speaker 1: it is a film that definitely has a cult following.

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Speaker 1: Is often described as so bad it's good, but a

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Speaker 1: lot of stuff in this film is just good. It's

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Speaker 1: just very entertaining, like a lot of passion went into

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Speaker 1: making it, and you can in that passion just shines

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Speaker 1: off the film.

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Speaker 3: It has the the zesty flavor of a small town

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Speaker 3: film production, like a labor of love. Again, I don't

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Speaker 3: know if how accurately that would really describe it. But

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Speaker 3: this is not one of those B movies that is

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Speaker 3: made by like, disinterested, workaday professionals from the LA film industry,

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Speaker 3: you know, sort of the second or third tier down there. Instead,

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Speaker 3: it is a B movie made by passionate and exceptional amateurs. Yes,

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Speaker 3: the cast feels like it's full of those people who

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Speaker 3: are like beloved small town characters people friends would describe

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Speaker 3: by saying, oh, she should be in the movies. Yeah,

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Speaker 3: you know, you can just imagine like people saying that

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Speaker 3: about all the people in this film.

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Speaker 1: Yeah, yeah, with a few people here and there that

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Speaker 1: have different Hollywood backgrounds, but yeah, a lot of locals,

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Speaker 1: a lot of local energy here.

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Speaker 3: But yeah, there are so many ways this fun amateur

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Speaker 3: film energy manifests. One is, if this makes any sense,

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Speaker 3: the in multiple scenes, the implausible sexual tension between characters.

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Speaker 3: This just like doesn't really make sense, but it's there.

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Speaker 3: Another one is the way almost all the characters in

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Speaker 3: the movie are presented as legendary in some way. It's like, oh,

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Speaker 3: Steve Flynn, there was never a better detective than him,

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Speaker 3: except Eddie Green there is never a better detective than

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Speaker 3: him either, and they're best of friends. And oh and

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Speaker 3: Zoup and he's just like the greatest psychic there ever was, Like,

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Speaker 3: you know, it's like everybody's the greatest.

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Speaker 1: Well, you know, it's late. It's like dungeons and dragons.

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Speaker 1: You know, your your adventuring party should be made out

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Speaker 1: of be composed of exceptional individuals. And thus we have

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Speaker 1: exceptional characters in Empire of the Dark that are wrapped

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Speaker 1: up in this occult plot.

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Speaker 3: Like I'm thinking about the scene where we first see

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Speaker 3: Steve Barquette practicing sword fighting with his sword fighting instructor,

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Speaker 3: which itself is it's a great scene, but they just

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Speaker 3: kind of throw in there. It's like, oh, by the way,

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Speaker 3: my friend, the character you haven't met yet, he's also

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Speaker 3: gotten really good at sword fighting. They just like and

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Speaker 3: throw that in there so that like later when he's

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Speaker 3: also gonna sword fight, it'll make sense.

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Speaker 1: Yeah. I think one of the great things about this

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Speaker 1: film is that, you know, there are a lot of

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Speaker 1: films with similar production values that are they're very much

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Speaker 1: in the exploitation domain. You know that they're on some

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Speaker 1: level that they are going after what can what are

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Speaker 1: people going to pay for? You know, what's what's what's hot?

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Speaker 1: You know, what's or sexy enough to sell. And you know,

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Speaker 1: this film has some gore in it, and it has

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Speaker 1: a little bit of a little bit of sexual tension,

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Speaker 1: as he already referenced, But on the whole, it's the

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Speaker 1: passion that shines through. Like yeah, like like Barquettes set

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Speaker 1: out to make a film with a lot of sword

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Speaker 1: fighting in it, with a King Kong style monster in it,

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Speaker 1: like all the things that he loves, Like it's a

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Speaker 1: pyramid of his interests.

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Speaker 3: The King Kong style monster. He is so excited to

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Speaker 3: show you this monster. Halfway through the movie, I think

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Speaker 3: he forgets the rules he established in the beginning, like

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Speaker 3: that it can't escape into the world yet. Yeah, because

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Speaker 3: we have a scene where it comes out into the

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Speaker 3: world and then they just go back to the cave

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Speaker 3: and it's like, I don't know, will the monster be

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Speaker 3: set free? Absolutely no shade. But it reminds me of

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Speaker 3: like playing action figures with my daughter, you know, like

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Speaker 3: when you get really excited about what this one's going

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Speaker 3: to do. Oh what wolf can do is you know,

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Speaker 3: you set out some rules in the beginning, but then

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Speaker 3: you just get so carried away you can't really follow them.

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Speaker 1: Yeah, an almost childlike enthusiasm for sure, all right. I

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Speaker 1: do not have an elevator pitch for Empire of the Dark.

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Speaker 1: It's really hard to nail it down and condense it

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Speaker 1: in a way that refers to other films.

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Speaker 4: In a world where Hell is real and that people

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Speaker 4: have secret sons, one cop will go to Hell to

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Speaker 4: solve some problems.

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Speaker 1: It works for me, It works for me, all right. Likewise,

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Speaker 1: I don't know that this film ever had a traditional

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Speaker 1: trailer of any sort. But let's let's go ahead and

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Speaker 1: play just a little bit of audio to give you

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Speaker 1: just a taste here.

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Speaker 5: Wow, Angela, Angela.

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Speaker 1: All right. If you would like to see Empire of

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Speaker 1: the Dark before proceeding with the rest of the episode,

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Speaker 1: or you want to check it out later or or

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Speaker 1: rewatch it, maybe you saw it in the past. Well,

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Speaker 1: it's available for streaming in various locations Legit streaming locations,

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Speaker 1: and you can also pick it up on Blu Ray

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Speaker 1: from VCI Entertainment. This is the disc you have, right, Joe.

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Speaker 3: It's a three disc collection, so it's a It comes

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Speaker 3: with a Blu Ray disc, a DVD, and a bonus

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Speaker 3: disc that has got I think like commentary and extra features.

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Speaker 3: And stuff. I haven't gotten into all of the bonus

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Speaker 3: features yet, but it's loaded up nice and the four

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Speaker 3: K transfer looks great. I mean, this is I don't

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Speaker 3: want to oversell it. You know. This is not like

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Speaker 3: a Terrence Malick film or something. It's not like gorgeous,

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Speaker 3: but it is not ugly. It is not it is

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Speaker 3: not drab and boring to look at. Like. They keep

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Speaker 3: the frames mostly colorful, the shots are I mean, there

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Speaker 3: are some shots that are composed in funny ways, but

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Speaker 3: they generally keep it visually varied and interesting. Like I

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Speaker 3: was noticing how many of the sets have just like

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Speaker 3: random color variations in them. It's like they're trying to

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Speaker 3: give you something for your eyes to enjoy.

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Speaker 1: Yeah, I can't wait to discuss so some of the

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Speaker 1: more breathtaking sights in this particular movie. Yeah all right, Well,

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Speaker 1: let's get into the cast and the crew here, starting

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Speaker 1: at the top with Steve Barquette. He plays Richard Flynn,

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Speaker 1: but he is also the director, the rider, the producer,

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Speaker 1: or one of the producers. He's the editor. He is

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Speaker 1: a fight and sword choreographer, and he is a stuntman.

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Speaker 1: I just expecting it.

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Speaker 3: All expecting in the credits to see Steve Barquette catering.

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Speaker 3: Come on, yeah, it's almost like Neil Breen levels of

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Speaker 3: all over the credits.

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Speaker 1: So who was this guy? Well, he lived nineteen fifty

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Speaker 1: through twenty twenty three, born Stephen Fayad Barquette in Oklahoma

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Speaker 1: City and was a film fan from an early age,

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Speaker 1: collecting and obsessing over classic Hollywood cinema. Clearly he was

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Speaker 1: a fan of King Kong. Again, this film features a

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Speaker 1: King Kong style monster, and I assume the kitchen scene,

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Speaker 1: or the kitchen factors into a couple of different scenes

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Speaker 1: in the movie had to have been his kitchen because

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Speaker 1: you also see I think a King Kong poster of

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Speaker 1: some sort of King Kong merch that is proudly displayed

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Speaker 1: again in the kitchen.

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Speaker 3: Speaking of his merch, did I tell you that when

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Speaker 3: I was watching part of a video interview with him,

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Speaker 3: he has the exact same attack of the Crab Monster's

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Speaker 3: poster in his office that I have in mind. I

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Speaker 3: felt a real soul connection there.

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Speaker 1: Yeah, yeah, get I get that he was a big fan.

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Speaker 1: I saw. I found a nineteen seventy film interview he

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Speaker 1: conducted in Tulsa with the actor Buster Krabby, This would

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Speaker 1: have this is a guy that played like Flash Gordon

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Speaker 1: and some of the old serials, and they were talking

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Speaker 1: about the old serials, but this is like nineteen seventies,

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Speaker 1: like black and white TV, and he's the guy doing

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Speaker 1: the interview.

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Speaker 3: Okay.

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Speaker 1: And of course it's clear that he was also a

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Speaker 1: big fan of swashbuckling pictures, because a lot of swashes

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Speaker 1: buckled in this film, especially in the last quarter of

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Speaker 1: the picture. So his first film credit was a nineteen

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Speaker 1: seventy three short film written by Ray Bradbury called Night Collar.

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Speaker 1: Not sure if this ever saw the light of day,

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Speaker 1: but it's listed in the well, it's listed on the databases,

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Speaker 1: and it's also referenced in his obituary. He apparently learned

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Speaker 1: more about film when he was able to visit sets

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Speaker 1: and post production activities at family friend Danny Thomas's studio,

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Speaker 1: so he got a little behind the scenes action, got

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Speaker 1: to see how the sausage was made. And then beginning

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Speaker 1: in nineteen seventy eight, he started working on this movie

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Speaker 1: that would become The Aftermath. He wrote it, directed it,

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Speaker 1: starred in it, produced it. It's a post apocalyptic adventure

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Speaker 1: which also featured Sid Hague and Lynn Margulis. This was

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Speaker 1: Andy Kaufman's partner late in his life, and then came

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Speaker 1: today's picture, nineteen ninety one's Empire of the Dark fantasy

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Speaker 1: Horris swashbuckling adventure Yarn. And after this, according to his

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Speaker 1: obituary that I read on Gold Country Media, he left Hollywood.

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Speaker 1: Not sure if this means he left the actual geographical

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Speaker 1: Hollywood or if he left Hollywood in a spiritual sense,

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Speaker 1: but he apparently kept touch and kept in touch with

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Speaker 1: his various Hollywood friends and acquaintances, and so he continued

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Speaker 1: to help out with smaller acting and behind the scenes roles,

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Speaker 1: particularly on the films of friend Olin Ray, who is

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Speaker 1: also one of the producers of this film. Fred Olin Ray.

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Speaker 1: I think he's come up in passing before in the show.

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Speaker 1: We've never talked about a fred Olin Ray picture, but

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Speaker 1: he was a boot. He's a B movie director who

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Speaker 1: directed such films as nineteen eighties The Alien Dead, nineteen

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Speaker 1: eighty three Scalps, and nineteen eighty eight is Hollywood Chainsaw Hookers.

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Speaker 1: I apologize I'm gonna end up mentioning Hollywood Chainsaw Hookers

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Speaker 1: a few different times as it connects to other actors.

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Speaker 3: In this film. That is the kind of movie I

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Speaker 3: associate mainly with fred Olinray, kind of like a sexy

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Speaker 3: lady robot that kills you movies.

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Speaker 1: Yes, yeah, that's that's the sort of picture that I

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Speaker 1: knew him mostly from making. But it was weird. I

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Speaker 1: was catching up on, well, what's what's fred Olin Ray

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Speaker 1: been up to? And he's still making movies and it's

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Speaker 1: a weird mix of mostly feel good Christmas romances like

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Speaker 1: legit like not like, oh, it looks like a Christmas romance,

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Speaker 1: but then the ladies come out with chainsaws. No, Like.

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Speaker 1: He seems to be making just a of just straight

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Speaker 1: up feel good Christmas movies with only the occasional horror

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Speaker 1: movie thrown in the mix.

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Speaker 3: Oh there's another guy. I forget the guy's name, but

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Speaker 3: I discovered him by accident a few years ago. There's

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Speaker 3: a guy who makes like feel good Canadian Christmas movies

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Speaker 3: and just like like disturbing horror films.

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Speaker 1: It's kind of I mean, it's coming back to exploitation

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Speaker 1: cinema to a certain extent, Like what do the people want?

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Speaker 1: What will they go for? We will get their juices running,

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Speaker 1: you know. Sometimes the answer is you know, it's bikinis

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Speaker 1: and splashes of blood. Other times it is romance during

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Speaker 1: the holidays involving a prince. So that exploitation energy, that

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Speaker 1: that sort of Carnie vibe can take you just about anywhere.

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Speaker 1: So Barquette worked on the following Fred Olnray films. Eighty

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Speaker 1: nine's Beverly Hills Vamp, ninety one's Wizards of the Demon's Sword,

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Speaker 1: ninety three is Dark Universe, ninety four is Dinosaur Island,

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Speaker 1: ninety five's Bikini Drive in Hard Bounty and Attack of

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Speaker 1: the sixty Foot Centerfolds and and also Droid Gunner. And

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Speaker 1: also nineteen ninety six is Star Hunter, which is a

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Speaker 1: Predator knockoff I think an Invisible Mom from the same year,

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Speaker 1: Massuse from the same year, and finally wrap it Assault

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Speaker 1: in ninety seven. So again, when you're really busting out

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Speaker 1: these b movies, it's you know, it's multiple per year,

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Speaker 1: like this is you know, Roger Korman energy, where at

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Speaker 1: least as much Roger Corman energy as a normal human conmuster.

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Speaker 3: Sounds like a lot of posters with machine guns on them.

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Speaker 1: Yes, yeah, though I do want to stress that like

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Speaker 1: Fred Olin Ray movies, they're not all the same. Some

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Speaker 1: of them. Actually, some of them have pretty good casts.

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Speaker 1: Some of them are a little more clearly in the

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Speaker 1: exploitation bucket than others. There's a lot out there, and

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Speaker 1: I certainly haven't seen them all. One more note about

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Speaker 1: fred Olin Ray. I only learned today that he was

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Speaker 1: also an indie pro wrestler in the late nineteen nineties.

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Speaker 3: I had absolutely no idea until you shared this with

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Speaker 3: me and you linked a clip show in which she's

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Speaker 3: in the It doesn't look like top level wrestling, so

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Speaker 3: you said, indie pro wrestler. This seems like more small

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Speaker 3: events and local kind of things.

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Speaker 1: Yeah, this would be like gymnasiums and National Guard armories

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Speaker 1: that sort of thing. But in this clip, fred ol

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Speaker 1: and Ray wrestling as Freddie Valentine. He gets in there

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Speaker 1: occasionally with the likes of Terry Funk and Saboo. So

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Speaker 1: guys were very much indie legends of the day.

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Speaker 3: There's a lot of special effects involved. There's like people

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Speaker 3: they slam their head on a table and sparks shoot

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Speaker 3: off of it. I don't know what that's about. And

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Speaker 3: then he's in the ring with an alligator.

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Speaker 1: Yeah, yeah, I don't know about the alligator. There's something

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Speaker 1: on his Instagram about it was like an alligator death

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Speaker 1: match or something. I don't know. I can't even imagine

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Speaker 1: how the rules for that work.

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Speaker 3: If you lose, do they make the alligator the champion

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Speaker 3: of the circuit.

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Speaker 1: I don't know. The alligator's wearing the belt in some

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Speaker 1: of those shots, so maybe the alligator was the champion

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Speaker 1: going in. I'm not sure at any rate. Yeah, this

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Speaker 1: is a fact. I feel like I should have known

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Speaker 1: given some of my interests, but this one was a

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Speaker 1: new one for me. All Right, let's move on through

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Speaker 1: the rest of the cast here. Okay, so we've covered

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Speaker 1: our hero, our hero, Richard Flynn, played by Steve Barquette.

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Speaker 1: Then we have a character named Terry Nash. We'll learn

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Speaker 1: this is possibly Richard Flynn's son, and fittingly, he is

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Speaker 1: played by Christopher Barquette, who is Steve Barquette's actual son.

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Speaker 1: It's a beautiful moment of father and son bonding on screen.

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Speaker 1: And Christopher had also acted as a child in the Aftermath,

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Speaker 1: the previous, the post apocalyptic film that his dad did,

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Speaker 1: on which he is also credited as a model builder.

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Speaker 1: And in fact, I found an image here and I

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Speaker 1: believe this was shared by Christopher himself, where you see

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Speaker 1: him as a child hanging out with the various sets

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Speaker 1: and some toy dinosaurs from the aftermath.

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Speaker 3: In Empire of the Dark, much like his father, he

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Speaker 3: wears a notable mustache and they almost like use the

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Speaker 3: mustache to make it clear that, oh, this is your son.

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Speaker 1: I love Christopher barquead in this because while his father,

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Speaker 1: Steve has has an undeniable charisma about him and is

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Speaker 1: like clearly putting a lot of passion, sometimes almost too

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Speaker 1: much passion into a given scene, Christopher is clearly like

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Speaker 1: not a born actor, and I think he knows it,

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Speaker 1: you know, he went under work mostly I think in

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Speaker 1: production design and as far as films go. So he

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Speaker 1: has a very green energy on screen, which can be

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Speaker 1: a wonderful thing in a movie like this.

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Speaker 3: He is reserved, but it comes across as a kind

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Speaker 3: of nerdy little dignity. Yeah, yeah, it's nice.

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Speaker 1: All right. And then playing Terry's mother and Steve's long

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Speaker 1: lost love, we have Tara Hendrickson. She plays a character

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Speaker 1: Angela Nash. Dates not public record for her, were they

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Speaker 1: available for Christopher Barquette, but Tera Hendrickson is a musician

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Speaker 1: and an actress who's appeared in a lot of TV

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Speaker 1: shows and in small supporting roles over the years.

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Speaker 3: All right, let's talk about some of the antagonists. Get

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Speaker 3: we got a cult in this movie.

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Speaker 1: Yes, And this is the character Arkham, you know, like

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Speaker 1: Arkham Asylum. And he is played by Richard Harrison born

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Speaker 1: nineteen thirty five, a veteran international action star. I just

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Speaker 1: I wasn't that familiar with this guy, and I started

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Speaker 1: digging into his filmography and it's so incredible. It just

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Speaker 1: takes you everywhere.

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Speaker 3: I really got it in my head that this guy

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Speaker 3: had been in one of the Ninja movies we watched

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Speaker 3: last year when I watched Ninja three The Domination, but

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Speaker 3: he was not in it. I checked. He just seems

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Speaker 3: like he would have been in it.

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Speaker 1: It would be a bet because he was in a

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Speaker 1: lot of Ninja movies. So he started out in the

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Speaker 1: nineteen fifties in the US. It's a kind of a handsome,

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Speaker 1: muscular bit actor, appearing I think more or less in

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Speaker 1: the background in films like nineteen fifty eight South Pacific.

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Speaker 1: He pops up in the nineteen sixty one Vincent Price

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Speaker 1: film Master of the World, but he was quickly lured

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Speaker 1: overseas to the wild world of Italian cinema, where he

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Speaker 1: started appearing in various peplam, spy and spaghetti westerns, including

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Speaker 1: four different Berto Lindsay films, including nineteen sixty four's Messalina

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Speaker 1: Versus The Son of Hercules. He stars as what is

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Speaker 1: it Glaucus in this, who I think was actually either

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Speaker 1: like a minor sea god god or the son of

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Speaker 1: Minos and not an actual son of Hercules. But you know,

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Speaker 1: when you're doing a nineteen sixties Italian film, you know

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Speaker 1: it's all right to ben the mythology a little bit.

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Speaker 3: I just had to look up to see if Richard

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Speaker 3: Harrison was in the last Mberto Lindsay movie I saw,

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Speaker 3: which was a House of Lost Souls. It's sort of

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Speaker 3: Umberto Lindsay's take on the Shining, but I think pssibly

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Speaker 3: scaled down ambitions that one I remember being kind of

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Speaker 3: a good laugh. But no, he's not in that one, unfortunately.

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Speaker 1: I think he's mostly known for at least a couple

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Speaker 1: of different cannibal movies, not ones that we've covered on

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Speaker 1: the show before. But anyway, back to Richard Harrison. Here

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Speaker 1: he ends up branching out during the nineteen seventies to

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Speaker 1: become a truly international exploitation film star, appearing in European,

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Speaker 1: Hong Kong, Turkish, Filipino, and Egyptian films. These included the

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Speaker 1: nineteen seventy one western His Name Was King opposite Klaus Kinski,

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Speaker 1: as well as the nineteen eighty Joe Domato film or

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Speaker 1: Gasmo Nero, along with so many ninja movies, Like I

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Speaker 1: can't even begin to describe how many ninja movies are

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Speaker 1: in this guy's filmography, including nineteen eighty Five's Ninja Terminator

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Speaker 1: and nineteen eighty six is the Ninja Squad, both directed

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Speaker 1: by Godfrey Hoe and featuring Harrison in a red and

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Speaker 1: yng Wholka Mania style ninja outfit outfit with a headband

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Speaker 1: that says ninja just so there's no confusion about how

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Speaker 1: he's coming to kill.

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Speaker 3: You, uh pre labeled.

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Speaker 1: Yeah, there's just so much wild stuff in this guy's filmography,

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Speaker 1: Like there's a nineteen eighty three Iranian comedy filmed in

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Speaker 1: Italy in which he plays President Grover Cleveland.

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Speaker 3: Oh, you can't make a comedy without Grover Cleveland.

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Speaker 1: It's just wild. Like I saw part of an interview

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Speaker 1: with him where he was like, you know, I probably

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Speaker 1: probably did too many cheap films. I don't know if

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Speaker 1: that's possible. You know, working professionals, you got to be

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Speaker 1: in you got to be in films, and they can't

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Speaker 1: all be top notch productions. Was he in too many

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Speaker 1: CD and Ean F grade films? Maybe? I don't know.

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Speaker 1: But he also directed four films, including nineteen eighty six's

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Speaker 1: Terra Force Commando, and has various writing credits as well,

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Speaker 1: I think on six different films, including Fred Olin Ray's

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Speaker 1: nineteen eighty seven film Scalps.

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Speaker 3: In this he plays the cult big bad who most

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Speaker 3: of the cult activity is like his minions, going out

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Speaker 3: and doing stuff in the world. I think I noticed

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Speaker 3: that most or maybe all of Richard Harrison's scenes are

431
00:24:12,240 --> 00:24:14,520
Speaker 3: all in the same set. They're all in that cave

432
00:24:14,640 --> 00:24:17,480
Speaker 3: with the altar, making it seem like maybe they shot

433
00:24:17,520 --> 00:24:18,800
Speaker 3: him all around the same time.

434
00:24:18,960 --> 00:24:20,359
Speaker 1: But I just had the one day and then they

435
00:24:20,359 --> 00:24:22,440
Speaker 1: have one photograph of the mountain a parking lot.

436
00:24:22,640 --> 00:24:25,280
Speaker 3: God, that's right, Yes, the photo which might have been

437
00:24:25,280 --> 00:24:28,840
Speaker 3: at the studio parking lot. Yeah. Yeah, but he's but

438
00:24:28,880 --> 00:24:30,480
Speaker 3: you know, he kind of he gives it as all.

439
00:24:30,560 --> 00:24:32,879
Speaker 3: He's not holding back. There's like a scene where he

440
00:24:33,040 --> 00:24:35,639
Speaker 3: sort of makes out with a bloody knife and he

441
00:24:35,720 --> 00:24:36,320
Speaker 3: goes for it.

442
00:24:36,480 --> 00:24:40,280
Speaker 1: Yeah, yeah, Yeah. He's probably the most seasoned actor in

443
00:24:40,320 --> 00:24:44,280
Speaker 1: the cast, and I think it shows. And he was

444
00:24:44,359 --> 00:24:46,800
Speaker 1: clearly no stranger to films that might ask him to

445
00:24:46,920 --> 00:24:51,320
Speaker 1: sacrifice a victim or lick a bloody blade. He's like, yeah,

446
00:24:51,359 --> 00:24:54,080
Speaker 1: I'm down, let's do it, all right. Moving on into

447
00:24:54,080 --> 00:24:56,440
Speaker 1: some more of the supporting staff here, and this is

448
00:24:56,480 --> 00:25:00,199
Speaker 1: where some of the fred Olin Ray connections are going

449
00:25:00,280 --> 00:25:04,240
Speaker 1: to really begin to surface. So we have a character

450
00:25:04,280 --> 00:25:07,919
Speaker 1: by the name of Madame Oleska, and she is she

451
00:25:08,000 --> 00:25:12,560
Speaker 1: has like a seer, she is aware of movements in

452
00:25:12,600 --> 00:25:14,200
Speaker 1: the supernatural realm.

453
00:25:14,400 --> 00:25:16,080
Speaker 3: She has knowledge of the dark arts.

454
00:25:16,359 --> 00:25:20,080
Speaker 1: Yeah. And she is played by Don Wildsmith born nineteen

455
00:25:20,160 --> 00:25:23,240
Speaker 1: sixty three. She is a fred Olinray B movie repeat player.

456
00:25:23,720 --> 00:25:27,600
Speaker 1: Her credits include nineteen eighty six's Armed Response. That's an

457
00:25:27,640 --> 00:25:29,959
Speaker 1: example of one of the fred Olinray movies that has

458
00:25:30,040 --> 00:25:31,960
Speaker 1: a pretty strong cast. I haven't seen it. I can't

459
00:25:31,960 --> 00:25:33,840
Speaker 1: speak to its quality, but it's got a lot of

460
00:25:33,840 --> 00:25:37,240
Speaker 1: good actors in it. She's also in nineteen nineties Alienator

461
00:25:37,600 --> 00:25:40,440
Speaker 1: and she's in Hollywood Chainsaw Hookers. So she also pops

462
00:25:40,480 --> 00:25:43,640
Speaker 1: up in a non Fred Olin Ray film nineteen eighty

463
00:25:43,680 --> 00:25:45,840
Speaker 1: six is Surf Nazis Must Die.

464
00:25:45,920 --> 00:25:48,720
Speaker 3: I don't know how many different movies she gets decapitated,

465
00:25:48,760 --> 00:25:50,439
Speaker 3: but I feel like that's got to be like a

466
00:25:50,520 --> 00:25:53,000
Speaker 3: checklist thing for an actor. At some point you're like,

467
00:25:53,040 --> 00:25:54,640
Speaker 3: I gotta be in a film where my head gets

468
00:25:54,680 --> 00:25:57,240
Speaker 3: cut off and she gets it. Here, she gets her check.

469
00:25:57,760 --> 00:26:01,240
Speaker 1: I do not remember if she is decapitated Hollywood Chainsaw Hookers.

470
00:26:01,280 --> 00:26:05,200
Speaker 1: It is spent over two decades since I saw that one,

471
00:26:05,240 --> 00:26:07,880
Speaker 1: and I'm probably not going to rewatch it anytime soon.

472
00:26:09,080 --> 00:26:13,760
Speaker 1: But it's very likely it is a film about about chainsaws.

473
00:26:13,800 --> 00:26:16,720
Speaker 1: But I should also point out it's not particularly accurate

474
00:26:17,200 --> 00:26:20,560
Speaker 1: when it comes to Hollywood chainsaw or presumably hookers either,

475
00:26:20,600 --> 00:26:26,159
Speaker 1: So there you go. But we also have the male

476
00:26:26,320 --> 00:26:30,359
Speaker 1: lead from Hollywood Chainsaw Hookers in this film, John Henry

477
00:26:30,440 --> 00:26:32,680
Speaker 1: Richardson playing Sheriff Eddie Green.

478
00:26:33,000 --> 00:26:36,040
Speaker 3: This is Flynn's dependable cop friend. You know, when we

479
00:26:36,119 --> 00:26:39,359
Speaker 3: first meet him, he's acting kind of agro on a

480
00:26:39,400 --> 00:26:42,000
Speaker 3: phone call, and I just assumed this guy, oh, this

481
00:26:42,040 --> 00:26:43,639
Speaker 3: guy's going to be a jerk, that we're gonna have

482
00:26:43,720 --> 00:26:45,679
Speaker 3: to deal with through the movie. But then no, no,

483
00:26:45,760 --> 00:26:48,240
Speaker 3: it's like a total reversal where he's just like you

484
00:26:48,240 --> 00:26:50,640
Speaker 3: can always count on Eddie.

485
00:26:50,760 --> 00:26:54,000
Speaker 1: There's no real ambiguity in this picture. If we know

486
00:26:54,119 --> 00:26:56,399
Speaker 1: exactly who the good guys are and exactly who the

487
00:26:56,400 --> 00:27:00,199
Speaker 1: bad guys are. The only bit of ambiguity is is

488
00:27:00,200 --> 00:27:02,040
Speaker 1: that a real woman's face or does she secretly have

489
00:27:02,040 --> 00:27:03,720
Speaker 1: a monster face? But you know she's going to have

490
00:27:03,760 --> 00:27:08,639
Speaker 1: a monster face, so anyway, John Henry Richardson, another Fred olinray,

491
00:27:08,680 --> 00:27:12,560
Speaker 1: regularly pops up. He's also an alienator in various other films.

492
00:27:12,680 --> 00:27:16,320
Speaker 1: He's also in Jim Winnarski's Munchie, which is some sort

493
00:27:16,359 --> 00:27:18,679
Speaker 1: of a Gromlin film that I have not seen. Okay,

494
00:27:19,200 --> 00:27:21,919
Speaker 1: all right. Another interesting character that we have in this

495
00:27:21,960 --> 00:27:26,880
Speaker 1: film is Guy Zupan, played by Joseph Pilato, who lived

496
00:27:26,920 --> 00:27:28,800
Speaker 1: done nineteen forty nine through twenty nineteen.

497
00:27:29,040 --> 00:27:32,680
Speaker 3: He has one of the funniest and most unexpected character

498
00:27:32,800 --> 00:27:36,080
Speaker 3: reappearances in this movie that I can recall in a

499
00:27:36,119 --> 00:27:37,800
Speaker 3: film in quite some time.

500
00:27:39,119 --> 00:27:42,080
Speaker 1: Yes, yeah, I can't wait to get to that. But

501
00:27:42,400 --> 00:27:45,680
Speaker 1: Joseph Pilato is an American actor best known to many

502
00:27:45,720 --> 00:27:48,440
Speaker 1: of you I imagine for his role as the villainous

503
00:27:48,480 --> 00:27:51,359
Speaker 1: captain Henry Rhodes, this is the guy who gets his

504
00:27:51,400 --> 00:27:54,520
Speaker 1: torso torn open by zombies, and George Romero's nineteen eighty

505
00:27:54,520 --> 00:27:55,800
Speaker 1: five film Day of the Dead.

506
00:27:56,560 --> 00:28:00,479
Speaker 3: I would not have made this connection at all. I

507
00:28:00,680 --> 00:28:03,119
Speaker 3: totally remember this character in Day of the Dead, but

508
00:28:04,160 --> 00:28:06,240
Speaker 3: he's like, yeah, he's the villain in Day of the Dead,

509
00:28:06,480 --> 00:28:09,200
Speaker 3: the human villain. He's like, you know, because a big

510
00:28:09,240 --> 00:28:12,320
Speaker 3: theme of that movie is it takes place in a

511
00:28:12,320 --> 00:28:15,320
Speaker 3: bunker along after the zombies have taken over, and it's

512
00:28:15,359 --> 00:28:18,360
Speaker 3: this sort of like last bastion of humanity. They're trying

513
00:28:18,359 --> 00:28:20,640
Speaker 3: to figure out how many other humans are left out

514
00:28:20,640 --> 00:28:24,160
Speaker 3: there and where they are, and you've got the camp

515
00:28:24,200 --> 00:28:28,000
Speaker 3: of the scientists versus the military guys, and the military

516
00:28:28,040 --> 00:28:31,080
Speaker 3: guys are led by this kind of unstable captain who's like,

517
00:28:31,160 --> 00:28:33,240
Speaker 3: you never know if he's just going to be done

518
00:28:33,320 --> 00:28:35,880
Speaker 3: with it, and you know, he's like, okay, yeah, I'm

519
00:28:35,920 --> 00:28:39,400
Speaker 3: done with you scientists anyway. So he's a very compelling

520
00:28:39,520 --> 00:28:41,840
Speaker 3: villain in that. But I did not realize this was

521
00:28:41,880 --> 00:28:43,000
Speaker 3: the same guy at all.

522
00:28:43,520 --> 00:28:43,680
Speaker 5: Yeah.

523
00:28:43,800 --> 00:28:46,320
Speaker 1: Yeah. He also he was also in nineteen seventy eight's

524
00:28:46,360 --> 00:28:48,560
Speaker 1: Dawn of the Dead in a small role, and he

525
00:28:48,600 --> 00:28:51,480
Speaker 1: also pops up in Romero's and Night Writers from eighty one.

526
00:28:52,040 --> 00:28:54,520
Speaker 1: That's a weird one. That's a picture that we've had

527
00:28:54,600 --> 00:28:56,880
Speaker 1: listeners write in and say, hey, you should cover Night Writers.

528
00:28:57,120 --> 00:28:57,400
Speaker 3: Oh in.

529
00:28:57,440 --> 00:29:00,160
Speaker 1: His other credits include Pulp Fiction from ninety four. I

530
00:29:00,160 --> 00:29:01,920
Speaker 1: believe he has just a very small role in that.

531
00:29:02,040 --> 00:29:05,160
Speaker 1: And he's also in nineteen ninety seven's Wish Master Choke

532
00:29:05,240 --> 00:29:10,400
Speaker 1: on him. Indeed, all right, you mentioned the sword training scene,

533
00:29:10,520 --> 00:29:14,320
Speaker 1: and the sword trainer is played by Jan Bryant. She

534
00:29:14,440 --> 00:29:18,640
Speaker 1: also has has credit for stunts in this and yeah,

535
00:29:18,640 --> 00:29:21,440
Speaker 1: she plays our sword trainer. And she is an actual

536
00:29:21,520 --> 00:29:26,960
Speaker 1: sword master, choreographer, performer and instructor. She's done stunts and

537
00:29:27,120 --> 00:29:31,040
Speaker 1: fight choreography work, you know, sword fight choreography work in

538
00:29:31,200 --> 00:29:34,040
Speaker 1: such projects as two thousand and threes, Mastering Commander, the

539
00:29:34,080 --> 00:29:36,520
Speaker 1: Far Side of the World, nineteen ninety eight's The Mask

540
00:29:36,560 --> 00:29:40,200
Speaker 1: of Zorro, ninety one's Hook, and ninety two's Army of Darkness.

541
00:29:40,920 --> 00:29:44,800
Speaker 3: So in the movie, she plays the main character's sword

542
00:29:44,880 --> 00:29:48,760
Speaker 3: training instructor. But the sword training scene, it looks like

543
00:29:48,800 --> 00:29:52,200
Speaker 3: they're supposed to be just actually swinging like fully sharpened

544
00:29:52,320 --> 00:29:55,560
Speaker 3: broad swords at each other, and I was like, what

545
00:29:55,880 --> 00:29:58,240
Speaker 3: is that how sword training actually works? But then they

546
00:29:58,320 --> 00:30:02,520
Speaker 3: anticipate it or not anticipate they address it in the scene.

547
00:30:03,000 --> 00:30:05,600
Speaker 3: Flynn is like, Wow, I'm really thanks so much for

548
00:30:05,680 --> 00:30:09,040
Speaker 3: agreeing to just go like full sword, full swords in

549
00:30:09,120 --> 00:30:12,200
Speaker 3: practice with me. You know, this really boosts my confidence.

550
00:30:12,600 --> 00:30:15,280
Speaker 3: And I was wondering, like does that come from her,

551
00:30:15,400 --> 00:30:17,600
Speaker 3: like as a real sword instructor, is she like this

552
00:30:17,640 --> 00:30:20,360
Speaker 3: would never happen. We need to address like why they

553
00:30:20,360 --> 00:30:21,040
Speaker 3: would be like.

554
00:30:21,040 --> 00:30:23,960
Speaker 1: Yes, I am the writer, I shall write around it.

555
00:30:24,480 --> 00:30:28,240
Speaker 1: So that's Jan Bryant. And then her husband, Dan Speaker

556
00:30:28,360 --> 00:30:30,480
Speaker 1: is also in the film, and he's also a world

557
00:30:30,560 --> 00:30:35,280
Speaker 1: renowned sword master and stuntman. He plays the character Brian.

558
00:30:35,600 --> 00:30:38,560
Speaker 1: Brian is like the second in command cultist.

559
00:30:38,840 --> 00:30:41,880
Speaker 3: Yeah, yeah, Brian Devray. They say his last name every

560
00:30:41,960 --> 00:30:44,000
Speaker 3: time another performer.

561
00:30:44,240 --> 00:30:46,400
Speaker 1: I have to say, Jan Bryant. She has a certain

562
00:30:46,400 --> 00:30:51,480
Speaker 1: amount of like natural charisma there. Dan in this role anyway,

563
00:30:53,000 --> 00:30:56,840
Speaker 1: doesn't come off as natural of a pure actor, you know,

564
00:30:56,880 --> 00:31:00,240
Speaker 1: so I think maybe his expertise is more behind the

565
00:31:00,280 --> 00:31:04,280
Speaker 1: sword as opposed to up there spouting dialogue.

566
00:31:04,360 --> 00:31:07,200
Speaker 3: I agree, he has a certain twinkle in his eye

567
00:31:07,240 --> 00:31:09,920
Speaker 3: when he's standing there grinning like a chipmunk in the

568
00:31:10,000 --> 00:31:13,000
Speaker 3: Jawa hood while he's holding a knife over a baby.

569
00:31:13,280 --> 00:31:15,920
Speaker 1: Yes. Yes, In general, though, I want to say big

570
00:31:15,960 --> 00:31:19,120
Speaker 1: hats off to Bryant and Speaker here and Steve Barquette,

571
00:31:19,120 --> 00:31:21,320
Speaker 1: because all of the sword play in this film is

572
00:31:21,400 --> 00:31:26,560
Speaker 1: genuinely a great deal of fun, especially the last quarter

573
00:31:26,600 --> 00:31:29,840
Speaker 1: of the picture. It just buckles so much swash and

574
00:31:30,040 --> 00:31:34,120
Speaker 1: it's delightful. Yeah, all right. Two more behind the scenes

575
00:31:34,160 --> 00:31:38,200
Speaker 1: credits just to reference here. Jim Davidson is credited for

576
00:31:38,280 --> 00:31:41,960
Speaker 1: visual effects. Also dates unknown on him as a visual

577
00:31:41,960 --> 00:31:44,160
Speaker 1: effects artist. He's worked on everything from the first two

578
00:31:44,200 --> 00:31:48,720
Speaker 1: Reanimator films to Terminator two and Batman Returns and much more.

579
00:31:49,400 --> 00:31:53,520
Speaker 1: And then the composer here is John W. Morgan, who

580
00:31:53,520 --> 00:31:56,920
Speaker 1: lived nineteen forty six through twenty twenty five. Composed the

581
00:31:56,960 --> 00:32:00,960
Speaker 1: score for a nineteen seventy short adaptation of Ray Bradberry's

582
00:32:00,960 --> 00:32:04,640
Speaker 1: A Sound of Thunder, also The Aftermath, and also two

583
00:32:04,680 --> 00:32:07,960
Speaker 1: thousand and four Starship Troopers two Hero of the Federation.

584
00:32:08,520 --> 00:32:10,560
Speaker 1: That's the one directed by Phil tippittt H.

585
00:32:11,440 --> 00:32:13,000
Speaker 3: I don't know if I can bring myself to watch

586
00:32:13,040 --> 00:32:17,600
Speaker 3: a Starship Troopers sequel directed by Phil Tippett, though I mean, yeah,

587
00:32:17,680 --> 00:32:21,400
Speaker 3: I don't like I like Phil Tippet's effects. I don't know.

588
00:32:22,080 --> 00:32:23,840
Speaker 3: I love the original Starship Troopers.

589
00:32:24,000 --> 00:32:26,800
Speaker 1: I think I mentioned this Obviously, we're big Phil Tippet fans,

590
00:32:27,040 --> 00:32:29,080
Speaker 1: and if we were to watch something he directed, it

591
00:32:29,080 --> 00:32:33,960
Speaker 1: would probably be his passion project, Matt God. But I

592
00:32:34,080 --> 00:32:36,280
Speaker 1: mentioned this off to you off Mike before. But there

593
00:32:36,360 --> 00:32:40,320
Speaker 1: was a season two episode of TV's poker Face in

594
00:32:40,360 --> 00:32:44,720
Speaker 1: which we have a character based on Phil tippittt surrounded

595
00:32:44,760 --> 00:32:48,600
Speaker 1: by Phil Tippett's actual models and sculptures and so forth.

596
00:32:50,080 --> 00:32:51,400
Speaker 3: I'll have to watch that sometime.

597
00:32:51,600 --> 00:32:55,120
Speaker 1: It's pretty fun. It's pretty fun anyway. John W. Morgan

598
00:32:55,160 --> 00:32:57,400
Speaker 1: here seems to have been something of a specialist in

599
00:32:57,440 --> 00:33:00,760
Speaker 1: the re recording of existing scores from old movies, particularly

600
00:33:00,800 --> 00:33:03,320
Speaker 1: movies from the nineteen thirties, and I saw that he

601
00:33:03,760 --> 00:33:07,840
Speaker 1: has a credit for doing some score reconstruction work on

602
00:33:07,880 --> 00:33:10,280
Speaker 1: Peter Jackson's King Kong from two thousand and five.

603
00:33:19,720 --> 00:33:21,680
Speaker 3: Already you ready to get into the plot.

604
00:33:21,840 --> 00:33:23,000
Speaker 1: Let's do it. Let's jump in.

605
00:33:23,560 --> 00:33:27,120
Speaker 3: So the movie begins by showing us an object of

606
00:33:27,280 --> 00:33:31,880
Speaker 3: implied significance and power and At first, I was not sure,

607
00:33:32,920 --> 00:33:35,880
Speaker 3: like whether this object the movie is showing is supposed

608
00:33:35,920 --> 00:33:39,080
Speaker 3: to be understood as within the narrative or outside the narrative.

609
00:33:39,560 --> 00:33:43,400
Speaker 3: It is a physical artifact filmed in real space, shaped

610
00:33:43,440 --> 00:33:46,160
Speaker 3: kind of like a cross between a fish and a sword,

611
00:33:46,920 --> 00:33:49,440
Speaker 3: and it's like mounted up on a rack and illuminated

612
00:33:49,440 --> 00:33:51,560
Speaker 3: with these rainbow lights. But then we see a title.

613
00:33:51,560 --> 00:33:55,040
Speaker 3: It says the Nautilus Film Companies. I was like, oh, okay,

614
00:33:55,080 --> 00:33:57,680
Speaker 3: so this is supposed to be a submarine.

615
00:33:57,240 --> 00:33:58,160
Speaker 1: Like Disney's Nautilus.

616
00:33:58,280 --> 00:34:01,160
Speaker 3: Yeah, yeah, exactly, And this is supposed to be the

617
00:34:01,200 --> 00:34:03,480
Speaker 3: production company logos like the Toho logo.

618
00:34:04,560 --> 00:34:07,640
Speaker 1: I love this though, when you get to see a

619
00:34:07,680 --> 00:34:10,600
Speaker 1: film company logo that you've never seen before and you

620
00:34:10,680 --> 00:34:12,520
Speaker 1: know you're not going to see more than a couple

621
00:34:12,600 --> 00:34:13,280
Speaker 1: of other times.

622
00:34:13,440 --> 00:34:17,400
Speaker 3: Yeah, yeah, what was this actual artifact? Where did this

623
00:34:17,440 --> 00:34:17,960
Speaker 3: come from?

624
00:34:18,920 --> 00:34:23,000
Speaker 1: It looks like somebody's do it yourself model the Nautilus. Yeah,

625
00:34:23,040 --> 00:34:25,200
Speaker 1: and they're like, that's the logo, that's the studio.

626
00:34:25,600 --> 00:34:28,400
Speaker 3: So after that we pull up on another image with

627
00:34:28,520 --> 00:34:31,520
Speaker 3: moody lighting. But this one, I guess is actually supposed

628
00:34:31,520 --> 00:34:33,560
Speaker 3: to be in the story. It is stone hinge or

629
00:34:33,560 --> 00:34:36,640
Speaker 3: at least a look alike. It's kind of a clone Hinge.

630
00:34:37,080 --> 00:34:39,560
Speaker 3: In silhouette, we see the big stones with a jack

631
00:34:39,600 --> 00:34:43,280
Speaker 3: O'Lantern orange sky in the background, and then the clouds

632
00:34:43,320 --> 00:34:45,840
Speaker 3: move across the moon and we can hear the wind howling.

633
00:34:46,320 --> 00:34:49,880
Speaker 3: And the next we're somewhere else underground in a vast cavern,

634
00:34:50,040 --> 00:34:53,640
Speaker 3: fuming with vapor. Among the crags of a cliff wall,

635
00:34:54,000 --> 00:34:56,880
Speaker 3: we see a monstrous face made out of stone. I

636
00:34:56,880 --> 00:34:59,480
Speaker 3: would describe it as a cross between a goat and

637
00:34:59,520 --> 00:35:00,880
Speaker 3: a terrain saurus rex.

638
00:35:01,440 --> 00:35:03,640
Speaker 1: Yeah, there's a little bit of rain corps energy to

639
00:35:03,680 --> 00:35:04,399
Speaker 1: this guy as well.

640
00:35:04,600 --> 00:35:07,880
Speaker 3: Yeah, a little bit of that absolutely Now. Next, somewhere

641
00:35:07,880 --> 00:35:11,480
Speaker 3: else in this foggy cavern, we hear voices echoing, echoing

642
00:35:11,640 --> 00:35:13,799
Speaker 3: so much that it's kind of hard to understand what

643
00:35:13,840 --> 00:35:17,040
Speaker 3: they're saying. But I had to. I did some rewinding

644
00:35:17,080 --> 00:35:19,880
Speaker 3: here to make sure I was catching it all. So

645
00:35:19,960 --> 00:35:22,280
Speaker 3: here's what's up. You got two dudes in your standard

646
00:35:22,360 --> 00:35:26,360
Speaker 3: brown I worship the devil robes. One guy is younger

647
00:35:26,480 --> 00:35:28,839
Speaker 3: with dark hair and a beard, and the other guy

648
00:35:28,920 --> 00:35:31,600
Speaker 3: is older, looking a bit like a cross between Charlton

649
00:35:31,600 --> 00:35:35,719
Speaker 3: Heston and Ted Turner. He's got a robust mustache. This

650
00:35:35,800 --> 00:35:39,200
Speaker 3: movie is full of robust mustaches. And this guy is,

651
00:35:39,440 --> 00:35:42,560
Speaker 3: of course Arkham. This is Richard Harrison.

652
00:35:43,480 --> 00:35:46,319
Speaker 1: One point about mustaches. I think it's worth noting that

653
00:35:46,400 --> 00:35:49,839
Speaker 1: this again is a film from nineteen ninety one, and

654
00:35:50,000 --> 00:35:54,800
Speaker 1: so much about it feels nineteen seventies, early nineteen eighties. Yeah,

655
00:35:54,680 --> 00:35:56,360
Speaker 1: I like to the point I was watching it. My

656
00:35:56,400 --> 00:35:58,360
Speaker 1: wife came in. I was like, check it out. This

657
00:35:58,520 --> 00:36:02,360
Speaker 1: is how I'm spending several hours of my week this week.

658
00:36:02,920 --> 00:36:05,279
Speaker 1: And she was like this. She just couldn't believe that

659
00:36:05,320 --> 00:36:07,759
Speaker 1: this was a movie that came out in nineteen ninety one.

660
00:36:07,800 --> 00:36:10,080
Speaker 1: She's like, no, this this has to be eighties or

661
00:36:10,080 --> 00:36:10,840
Speaker 1: even seventies.

662
00:36:10,880 --> 00:36:12,720
Speaker 3: I agree, it feels older.

663
00:36:13,200 --> 00:36:15,279
Speaker 1: Yeah, and you see, and part of it is this

664
00:36:15,320 --> 00:36:18,640
Speaker 1: is a film with old, old, an old soul in

665
00:36:18,680 --> 00:36:22,440
Speaker 1: many respects, but also it has like facial hair from

666
00:36:22,440 --> 00:36:23,080
Speaker 1: a different era.

667
00:36:23,360 --> 00:36:27,720
Speaker 3: Yeah. So the characters are standing around in this dusty cave.

668
00:36:27,840 --> 00:36:30,600
Speaker 3: It's got torches and altar and a bunch of thick

669
00:36:31,080 --> 00:36:35,600
Speaker 3: nautical style chains. Gotta have some really big chains. And

670
00:36:35,640 --> 00:36:38,040
Speaker 3: then the altar, actually, I would say, appears to be

671
00:36:38,120 --> 00:36:42,160
Speaker 3: a wooden console table covered with a green tablecloth on

672
00:36:42,239 --> 00:36:44,680
Speaker 3: top of the table. You got four little votive candles,

673
00:36:44,800 --> 00:36:47,080
Speaker 3: and then something that may be a fruit bowl, but

674
00:36:47,120 --> 00:36:49,560
Speaker 3: which they are actually using to be like the sacred

675
00:36:49,640 --> 00:36:51,960
Speaker 3: chalice of the devil, you know, the chalice of the

676
00:36:51,960 --> 00:36:55,080
Speaker 3: bloody throat. And then they've also you gotta have a

677
00:36:55,120 --> 00:36:58,520
Speaker 3: mystical dagger, so they got a mystical dagger. Off to

678
00:36:58,560 --> 00:37:01,880
Speaker 3: the side, there is also a lady in bright red

679
00:37:02,000 --> 00:37:07,200
Speaker 3: lingerie with a sheer red nightgown. She's wandering around like

680
00:37:07,239 --> 00:37:08,200
Speaker 3: she's hypnotized.

681
00:37:08,440 --> 00:37:11,120
Speaker 1: This is the most lingerie ever, Like this is Yeah,

682
00:37:11,160 --> 00:37:15,480
Speaker 1: this is like Victoria's Secrets nineteen ninety one to the max. Yeah,

683
00:37:15,840 --> 00:37:18,200
Speaker 1: if you were a thirteen year old in nineteen ninety one,

684
00:37:18,200 --> 00:37:20,439
Speaker 1: you just might assume that this is what ladies wear

685
00:37:20,520 --> 00:37:21,480
Speaker 1: underneath the clothing.

686
00:37:21,719 --> 00:37:25,440
Speaker 3: So the younger cult fellow says, this is the twentieth girl.

687
00:37:25,760 --> 00:37:29,839
Speaker 3: All the preparations have been completed, Master Arkham. And then

688
00:37:29,880 --> 00:37:32,640
Speaker 3: the older guy with the mustache says, does your young

689
00:37:32,719 --> 00:37:37,160
Speaker 3: bride suspect anything? And the younger guy says nothing. So

690
00:37:37,560 --> 00:37:40,000
Speaker 3: is this lady in red here the bride? I was

691
00:37:40,040 --> 00:37:42,440
Speaker 3: confused the first time, but no, she is not the

692
00:37:42,440 --> 00:37:45,799
Speaker 3: bride they're talking about somebody else. This lady is a

693
00:37:45,920 --> 00:37:50,280
Speaker 3: random different person who's gonna be the lucky twentieth victim

694
00:37:50,320 --> 00:37:55,040
Speaker 3: of human sacrifice. Your young bride is his young bride

695
00:37:55,040 --> 00:37:56,319
Speaker 3: somewhere else not shown here.

696
00:37:56,880 --> 00:37:59,959
Speaker 1: Yeah, the demon that we're gon we're gonna eventually learn

697
00:38:00,280 --> 00:38:04,200
Speaker 1: that the demon's name is Mallius, but apparently it requires

698
00:38:04,280 --> 00:38:07,360
Speaker 1: twenty victims, which feels like a lot. It really feels

699
00:38:07,400 --> 00:38:10,160
Speaker 1: to me like Mallius has just kind of softly retired

700
00:38:10,200 --> 00:38:13,759
Speaker 1: from attempted world domination and has just set his sacrifice

701
00:38:13,840 --> 00:38:16,560
Speaker 1: rate really high. So it's like nobody's going to actually

702
00:38:16,560 --> 00:38:19,560
Speaker 1: summon me twenty victims. Okay, if you do twenty victims,

703
00:38:19,600 --> 00:38:20,920
Speaker 1: I'll show up. And he's like, they're not going to

704
00:38:21,000 --> 00:38:21,319
Speaker 1: do it.

705
00:38:21,400 --> 00:38:23,560
Speaker 3: Oh, It's like somebody wants to leave their item for

706
00:38:23,600 --> 00:38:25,920
Speaker 3: sale on marketplace, but they don't really want to sell it,

707
00:38:25,920 --> 00:38:27,279
Speaker 3: so they set the price too high.

708
00:38:27,360 --> 00:38:29,799
Speaker 1: Yeah, yes, yeah, set it at twenty victims. Nobody's going

709
00:38:29,880 --> 00:38:30,200
Speaker 1: to do that.

710
00:38:30,960 --> 00:38:33,839
Speaker 3: So after this, Master Arkham says another line that's hard

711
00:38:33,880 --> 00:38:36,399
Speaker 3: to hear. I think he says the dark of the

712
00:38:36,400 --> 00:38:39,839
Speaker 3: moon is nearly upon us. Though here's one where the

713
00:38:39,840 --> 00:38:42,160
Speaker 3: time that I watched this on the YouTube rip. The

714
00:38:42,200 --> 00:38:45,839
Speaker 3: YouTube subtitles translated it as an art of the moon

715
00:38:46,040 --> 00:38:51,359
Speaker 3: is merely a box, okay. Master Arkham tells the younger guy,

716
00:38:51,440 --> 00:38:54,200
Speaker 3: and his name is Brian Devray, that he will soon

717
00:38:54,280 --> 00:38:57,920
Speaker 3: become one of us. And it was only after he

718
00:38:58,000 --> 00:39:00,399
Speaker 3: said that that I noticed there were actually some other

719
00:39:00,480 --> 00:39:03,799
Speaker 3: little dudes in the foreground here, Robbi attached to the screenshot.

720
00:39:03,880 --> 00:39:06,000
Speaker 3: I didn't notice them the first like two times I

721
00:39:06,040 --> 00:39:09,120
Speaker 3: watched the scene, these other little guys in the foreground

722
00:39:09,239 --> 00:39:12,440
Speaker 3: watching the action right in the position of Joel in

723
00:39:12,480 --> 00:39:15,240
Speaker 3: the bots, except they're like dressed in the little brown

724
00:39:15,280 --> 00:39:16,640
Speaker 3: culthoods like Jawa's.

725
00:39:16,800 --> 00:39:18,280
Speaker 1: Oh well, I didn't notice the seating.

726
00:39:18,360 --> 00:39:21,160
Speaker 3: They ought to be pointing and making little riffs.

727
00:39:21,680 --> 00:39:23,879
Speaker 1: I have to point out this cave set that we're

728
00:39:23,880 --> 00:39:27,120
Speaker 1: on here pretty darn good. You know. It's definitely a

729
00:39:27,160 --> 00:39:29,359
Speaker 1: Star Trek level good cave set here.

730
00:39:29,480 --> 00:39:32,040
Speaker 3: I'd say my opinion is this part of the cave

731
00:39:32,080 --> 00:39:35,320
Speaker 3: set is in the medium quality zone. We'll get some

732
00:39:35,560 --> 00:39:39,400
Speaker 3: sets that look significantly worse and some that look significantly better.

733
00:39:39,560 --> 00:39:42,759
Speaker 1: I think, yeah, there's a lot of sway on the

734
00:39:42,840 --> 00:39:44,280
Speaker 1: quality in this picture.

735
00:39:44,560 --> 00:39:48,000
Speaker 3: Yeah, So anyway, Master Arkham here tells Brian devray that

736
00:39:48,080 --> 00:39:51,440
Speaker 3: he has to bring his wife again, remember the different

737
00:39:51,440 --> 00:39:54,040
Speaker 3: person bring his wife and his infant son to this

738
00:39:54,160 --> 00:39:58,320
Speaker 3: place tonight so they can perform the ritual. And Brian

739
00:39:58,360 --> 00:40:02,640
Speaker 3: does not need any convincing wife infant son. Got it now,

740
00:40:02,760 --> 00:40:06,000
Speaker 3: Master Arkham? He starts. After this, he starts a sidebar

741
00:40:06,120 --> 00:40:08,480
Speaker 3: with his boss. He like wanders off to the side

742
00:40:09,360 --> 00:40:11,400
Speaker 3: and he lifts his arms up in the air and

743
00:40:11,440 --> 00:40:16,120
Speaker 3: starts shouting hear me Meleias. He promises Meleas that in

744
00:40:16,160 --> 00:40:19,040
Speaker 3: a few hours the ceremony will be completed and then

745
00:40:19,600 --> 00:40:23,000
Speaker 3: Meleas will be free for all times. Remember that whatever

746
00:40:23,000 --> 00:40:26,480
Speaker 3: they're doing the ceremonies, that's gonna set Melias free. Then

747
00:40:27,520 --> 00:40:30,400
Speaker 3: there's this little moment where there's like a lull, like

748
00:40:30,520 --> 00:40:33,000
Speaker 3: Arkham kind of calms down and wanders back to the

749
00:40:33,040 --> 00:40:36,360
Speaker 3: other people after yelling at Meleeas. But then he starts

750
00:40:36,520 --> 00:40:39,040
Speaker 3: up again with yes, Meleas, I will do your bidding,

751
00:40:39,440 --> 00:40:42,200
Speaker 3: which is funny in the same way as in like

752
00:40:42,280 --> 00:40:45,400
Speaker 3: Manos the Hands of Fate, when Torgo will stop talking

753
00:40:45,440 --> 00:40:47,719
Speaker 3: and you think the scene's over, and then there's a

754
00:40:47,760 --> 00:40:50,200
Speaker 3: long pote pause and he starts talking again.

755
00:40:50,440 --> 00:40:50,680
Speaker 1: Yeah.

756
00:40:50,800 --> 00:40:55,200
Speaker 3: Yeah, Also, Master Arkham well, while not having any red

757
00:40:55,239 --> 00:40:57,799
Speaker 3: fingers on his robe, is giving a little bit of

758
00:40:57,840 --> 00:41:02,640
Speaker 3: the Master from Manos, and Brian is slightly torgo, though

759
00:41:02,680 --> 00:41:03,640
Speaker 3: a bit more suave.

760
00:41:04,000 --> 00:41:05,080
Speaker 1: Yeah. Yeah.

761
00:41:05,160 --> 00:41:09,000
Speaker 3: Anyway, so Master Arkham stabs the poor lady who's standing here.

762
00:41:09,040 --> 00:41:12,080
Speaker 3: He stabs her with the mystical dagger. She instantly falls

763
00:41:12,120 --> 00:41:12,840
Speaker 3: down dead.

764
00:41:12,800 --> 00:41:14,200
Speaker 1: And right in the belly. Instant.

765
00:41:14,600 --> 00:41:16,720
Speaker 3: Yeah, and then he kind of makes out with the knife.

766
00:41:16,960 --> 00:41:19,120
Speaker 3: As I mentioned earlier, he's got a real good like

767
00:41:19,160 --> 00:41:25,680
Speaker 3: ooh the knife on his mouth. And as I was saying,

768
00:41:25,719 --> 00:41:28,520
Speaker 3: you know, most of the production values we've seen up

769
00:41:28,560 --> 00:41:32,680
Speaker 3: to this point, costumes, sets, et cetera, you could say,

770
00:41:32,960 --> 00:41:36,000
Speaker 3: I would argue, are like mid level or below. You know,

771
00:41:36,040 --> 00:41:38,480
Speaker 3: they're very much in the B movie range. But then

772
00:41:38,640 --> 00:41:43,920
Speaker 3: suddenly we are presented with what I really think is

773
00:41:44,080 --> 00:41:48,680
Speaker 3: actually a very admirable creature effect that is photographed beautifully.

774
00:41:49,160 --> 00:41:52,160
Speaker 3: So this human sacrifice wakes up some kind of monster.

775
00:41:52,239 --> 00:41:55,239
Speaker 3: I guess this is Melias, the dinosaur goat face that

776
00:41:55,280 --> 00:41:58,000
Speaker 3: we saw on the rock earlier. We hear it gurgling

777
00:41:58,120 --> 00:42:01,160
Speaker 3: in the cave, and then we see the shadow first

778
00:42:01,160 --> 00:42:04,799
Speaker 3: of a giant three fingered et hand reach up into

779
00:42:04,840 --> 00:42:08,440
Speaker 3: a shaft of yellow orange light surrounded by smoke, and

780
00:42:08,480 --> 00:42:11,240
Speaker 3: then the beast rears up and we see the dark

781
00:42:11,360 --> 00:42:15,319
Speaker 3: outline of its head against the glow as it roars. Now,

782
00:42:15,360 --> 00:42:17,759
Speaker 3: the creature will not look quite as good when we

783
00:42:17,800 --> 00:42:20,399
Speaker 3: see it in direct lighting later, but in this scene,

784
00:42:20,520 --> 00:42:23,000
Speaker 3: I think it looks fantastic. Rachel watched this part of

785
00:42:23,000 --> 00:42:25,640
Speaker 3: the movie with me too, and she was impressed.

786
00:42:26,040 --> 00:42:28,279
Speaker 1: Yeah, and again, it's kind of surprising because this film

787
00:42:28,320 --> 00:42:29,799
Speaker 1: will be, you know, very much in that sort of

788
00:42:29,920 --> 00:42:34,800
Speaker 1: ND BE movie range. Sometimes it'll dip down into C

789
00:42:35,040 --> 00:42:38,200
Speaker 1: movie range, but then other times it'll really suddenly fire

790
00:42:38,320 --> 00:42:39,799
Speaker 1: up like this to the point where you're like, did

791
00:42:39,800 --> 00:42:43,400
Speaker 1: I take something? Is something kicking in? Why is this

792
00:42:43,440 --> 00:42:44,800
Speaker 1: film suddenly so effective?

793
00:42:45,000 --> 00:42:48,480
Speaker 3: Yeah? And then here's a great thing after this. For

794
00:42:48,560 --> 00:42:52,640
Speaker 3: a second time, we get the production company credit. Remember,

795
00:42:52,840 --> 00:42:55,560
Speaker 3: like it already told you this was from the Nautilus

796
00:42:55,560 --> 00:42:58,719
Speaker 3: Film Company when it showed us the submarine sword. Now

797
00:42:58,800 --> 00:43:01,600
Speaker 3: it shows us the clone h scenery again and hits

798
00:43:01,680 --> 00:43:04,600
Speaker 3: us with the Nautilus title card again. So after this,

799
00:43:04,680 --> 00:43:07,799
Speaker 3: the music turns from ominous to kind of sad as

800
00:43:07,840 --> 00:43:11,040
Speaker 3: the cast credits start rolling, just in time for us

801
00:43:11,080 --> 00:43:14,400
Speaker 3: to see the man of the ninety minute, Steve Barquette,

802
00:43:14,880 --> 00:43:16,560
Speaker 3: like his name comes up on the screen and it

803
00:43:16,640 --> 00:43:19,560
Speaker 3: shows you a little shot of his face, except he

804
00:43:19,920 --> 00:43:22,480
Speaker 3: looks so sad in the shot they selected. He's just

805
00:43:22,560 --> 00:43:25,759
Speaker 3: staring off into the distance as if he's thinking, like,

806
00:43:25,840 --> 00:43:30,200
Speaker 3: how am I going to pay for all these rented swords. Also,

807
00:43:30,280 --> 00:43:32,040
Speaker 3: during the rest of the credits, we are treated to

808
00:43:32,120 --> 00:43:35,160
Speaker 3: Gustav d'orre's illustrations from Dante's Inferno.

809
00:43:35,880 --> 00:43:38,480
Speaker 1: Yes, yes, these will keep popping up these. This is

810
00:43:38,680 --> 00:43:41,000
Speaker 1: clear like basically storyboarding for the picture.

811
00:43:41,239 --> 00:43:44,960
Speaker 3: Yeah. So, then after the credits, somehow we're still not

812
00:43:45,080 --> 00:43:47,200
Speaker 3: in the present action of the movie. We pick up

813
00:43:47,360 --> 00:43:50,520
Speaker 3: later in the prologue, which is twenty years before the

814
00:43:50,560 --> 00:43:51,080
Speaker 3: rest of the.

815
00:43:51,000 --> 00:43:53,800
Speaker 1: Movie, which I guess would put us in the nineteen seventies,

816
00:43:53,840 --> 00:43:56,640
Speaker 1: where again, so much of the film feels like it

817
00:43:56,760 --> 00:44:00,360
Speaker 1: is at home, and also all of these exterior location

818
00:44:00,600 --> 00:44:03,680
Speaker 1: establishment shots that we get also feel very nineteen seventies.

819
00:44:03,960 --> 00:44:06,400
Speaker 3: That's right. So we come up on a police station

820
00:44:06,520 --> 00:44:09,040
Speaker 3: at night with this a frame sign out front that

821
00:44:09,080 --> 00:44:12,120
Speaker 3: says police. I only mention this because we will get

822
00:44:12,160 --> 00:44:16,160
Speaker 3: some hilarious establishing shots of that sign many more times

823
00:44:16,160 --> 00:44:18,920
Speaker 3: than the movie, sometimes zooming in on the sign after

824
00:44:19,000 --> 00:44:21,719
Speaker 3: showing it to you, like to really emphasize the point

825
00:44:21,800 --> 00:44:23,960
Speaker 3: this is where the police are, Rob, Do you get it?

826
00:44:25,160 --> 00:44:27,799
Speaker 3: And then we get our first look at Steve Barquette

827
00:44:27,840 --> 00:44:30,719
Speaker 3: as our hero Richard Flynn. Later in the movie he

828
00:44:30,760 --> 00:44:33,400
Speaker 3: will have a mustache, but in this prologue we're supposed

829
00:44:33,440 --> 00:44:35,440
Speaker 3: to really get the full force of his youth and

830
00:44:35,600 --> 00:44:40,040
Speaker 3: innocence and vitality, so it's clean shaven Flynn. Again. He

831
00:44:40,120 --> 00:44:42,920
Speaker 3: really reminds me of Bob Odenkirk. Here he is in

832
00:44:43,400 --> 00:44:47,399
Speaker 3: a dingy police office with no visible windows, maps pinned

833
00:44:47,480 --> 00:44:50,400
Speaker 3: up on the wall, in full police uniform, with a

834
00:44:50,400 --> 00:44:53,160
Speaker 3: black tie, a badge, and a revolver on his hip,

835
00:44:53,800 --> 00:44:56,480
Speaker 3: and Rob in this scene just look at the Something

836
00:44:56,520 --> 00:44:59,360
Speaker 3: about the lighting I think is making it look really squalid,

837
00:44:59,400 --> 00:45:02,480
Speaker 3: like he's got beams hitting him from two different angles,

838
00:45:02,520 --> 00:45:05,120
Speaker 3: so he's casting a double shadow on the wall.

839
00:45:05,480 --> 00:45:05,760
Speaker 5: Yeah.

840
00:45:05,840 --> 00:45:06,680
Speaker 1: Yeah.

841
00:45:06,760 --> 00:45:10,080
Speaker 3: Anyway, the phone rings and Flynn answers seems to be

842
00:45:10,080 --> 00:45:12,680
Speaker 3: a collect call. He accepts the charges, and then we

843
00:45:12,760 --> 00:45:15,479
Speaker 3: get an establishing shot of what looks like a train

844
00:45:15,600 --> 00:45:18,719
Speaker 3: depot in Siberia. But I think this is supposed to

845
00:45:18,719 --> 00:45:21,640
Speaker 3: be the Maple Street Warehouse, which we're about to hear

846
00:45:22,480 --> 00:45:26,800
Speaker 3: much made about. So this call is from Angela, Richard

847
00:45:26,880 --> 00:45:30,200
Speaker 3: Flynn's former lover. She says she has to see him

848
00:45:30,280 --> 00:45:33,880
Speaker 3: right away, and he's very confused because apparently she just

849
00:45:33,920 --> 00:45:36,600
Speaker 3: broke up with him, like the day before, and she

850
00:45:36,680 --> 00:45:39,000
Speaker 3: said she could never see him again. They could never

851
00:45:39,040 --> 00:45:42,800
Speaker 3: see each other again. The problem is Angela is married

852
00:45:42,840 --> 00:45:45,640
Speaker 3: to somebody else and that caused a problem, as you could,

853
00:45:46,120 --> 00:45:50,320
Speaker 3: as I guess it often does. But after she implores

854
00:45:50,440 --> 00:45:52,480
Speaker 3: him please meet up with me, he agrees he's going

855
00:45:52,560 --> 00:45:54,799
Speaker 3: to come meet her at the Maple Street Warehouse as

856
00:45:54,840 --> 00:45:57,680
Speaker 3: soon as he gets off work. And then suddenly the

857
00:45:57,719 --> 00:45:59,960
Speaker 3: call is cut short because somebody in a cult row

858
00:46:00,400 --> 00:46:03,000
Speaker 3: comes up behind Angela and snatches her away. The line

859
00:46:03,040 --> 00:46:05,560
Speaker 3: goes dead. It's hard to hear, but right at the

860
00:46:05,640 --> 00:46:08,560
Speaker 3: end of this phone call, I believe Richard Flynn says,

861
00:46:08,880 --> 00:46:12,640
Speaker 3: women it's like, well, yeah, women always like that. They

862
00:46:12,640 --> 00:46:14,560
Speaker 3: call you for help and they get abducted by the

863
00:46:14,560 --> 00:46:15,600
Speaker 3: minions of Malius.

864
00:46:16,160 --> 00:46:20,520
Speaker 1: Richard Flynn is just he's a very charismatic character, and

865
00:46:20,600 --> 00:46:24,320
Speaker 1: he has he has some some comedy that he injects

866
00:46:24,400 --> 00:46:27,080
Speaker 1: here and there, and then of course constant sex appeal.

867
00:46:27,719 --> 00:46:29,239
Speaker 1: But yeah, there are a few. There are a few

868
00:46:29,239 --> 00:46:32,400
Speaker 1: moments that are supposed to be funny, and in some

869
00:46:32,440 --> 00:46:34,360
Speaker 1: cases legitimately are to some degree.

870
00:46:35,200 --> 00:46:38,279
Speaker 3: So Flynn heads over to the Maple Street warehouse in

871
00:46:38,360 --> 00:46:41,440
Speaker 3: full copy uniform with the hat, and he heads inside

872
00:46:41,440 --> 00:46:44,200
Speaker 3: for a look around. He's whistling, tossing his night stick

873
00:46:44,239 --> 00:46:45,320
Speaker 3: into the air for fun.

874
00:46:45,640 --> 00:46:49,879
Speaker 1: Yeah, really feels like a Mister Show sketch at this point,

875
00:46:50,080 --> 00:46:50,439
Speaker 1: it does.

876
00:46:50,560 --> 00:46:53,759
Speaker 3: Yeah, he like he's walking around in the warehouse. He

877
00:46:54,000 --> 00:46:56,759
Speaker 3: at one point knocks on some interior door and then

878
00:46:56,840 --> 00:46:59,960
Speaker 3: here's a distant scream. It's Angela. She calls for her.

879
00:47:00,239 --> 00:47:03,200
Speaker 3: She calls out Richard, help me. So this he goes

880
00:47:03,200 --> 00:47:06,680
Speaker 3: into action mode. Flynn pulls out his revolver, shoots the

881
00:47:06,719 --> 00:47:09,000
Speaker 3: lock on the door. But then we see the door

882
00:47:09,200 --> 00:47:11,560
Speaker 3: when it's open. It looks like something he could have

883
00:47:11,640 --> 00:47:15,480
Speaker 3: just pushed through. It's like thick cardboard. Basically. On the

884
00:47:15,560 --> 00:47:19,440
Speaker 3: other side, he is attacked by monsters in cult robes.

885
00:47:19,520 --> 00:47:22,000
Speaker 3: These are not just dudes in cult robes. They are

886
00:47:22,040 --> 00:47:26,200
Speaker 3: full on reptilian demonoids with rows of razor teeth, and

887
00:47:26,239 --> 00:47:27,760
Speaker 3: the demons also have swords.

888
00:47:28,400 --> 00:47:31,000
Speaker 1: Yeah, these guys are great. I love them. They're they're

889
00:47:31,040 --> 00:47:34,040
Speaker 1: kind of a combination of like ring rates but also

890
00:47:34,400 --> 00:47:37,440
Speaker 1: full sized phantasm dwarves. You know. Yeah, they've got the

891
00:47:37,800 --> 00:47:40,400
Speaker 1: monster faces that at times, you know, at times the

892
00:47:40,440 --> 00:47:42,759
Speaker 1: monster faces maybe come off a little bit Halloween mask,

893
00:47:42,840 --> 00:47:45,480
Speaker 1: but on closer inspection you can tell that a lot

894
00:47:45,560 --> 00:47:48,279
Speaker 1: of a lot of care went into their design and

895
00:47:48,280 --> 00:47:50,760
Speaker 1: then later and they also suffer a great deal of damage.

896
00:47:50,760 --> 00:47:54,640
Speaker 1: There are lots of shots of these guys getting shot, stabbed, decapitated,

897
00:47:54,680 --> 00:47:55,280
Speaker 1: and so forth.

898
00:47:55,680 --> 00:47:58,359
Speaker 3: Flynn messes them up. He fights them off with a

899
00:47:58,400 --> 00:48:01,840
Speaker 3: combination of revolver gun play and hand to hand combat.

900
00:48:02,320 --> 00:48:04,840
Speaker 3: Flynn is very rambo. He's like a you know, he

901
00:48:04,880 --> 00:48:08,399
Speaker 3: can do it all. Though in one scuffle he does

902
00:48:08,400 --> 00:48:11,440
Speaker 3: get stabbed in the shoulder, so's he's wounded, but he's

903
00:48:11,440 --> 00:48:15,439
Speaker 3: forced to press on. And as Flynn plunges deeper into

904
00:48:15,440 --> 00:48:18,560
Speaker 3: the labyrinth of the Cursed Warehouse, he keeps hearing Angela

905
00:48:18,600 --> 00:48:21,400
Speaker 3: call out to him. We see somewhere in the stone

906
00:48:21,400 --> 00:48:24,560
Speaker 3: cavern that both Angela and a baby, presumably this is

907
00:48:24,760 --> 00:48:28,520
Speaker 3: her infant son referenced earlier, are being held captive, and

908
00:48:28,680 --> 00:48:32,920
Speaker 3: Master Arkham and Brian Devray are standing over them with daggers,

909
00:48:32,960 --> 00:48:36,120
Speaker 3: grinning satanically, holding the daggers up like this dagger is

910
00:48:36,120 --> 00:48:39,040
Speaker 3: going to come down any moment, but not yet, not yet.

911
00:48:39,640 --> 00:48:42,799
Speaker 3: And so I guess this is the final human sacrifice,

912
00:48:42,880 --> 00:48:45,600
Speaker 3: the final sacrifice, if you will, that is going to

913
00:48:45,680 --> 00:48:50,880
Speaker 3: set Melias free. So Angela, we keep cutting to her,

914
00:48:50,920 --> 00:48:54,320
Speaker 3: and she keeps screaming, Richard, help me save my baby

915
00:48:54,560 --> 00:48:59,000
Speaker 3: a lot many many times, and we will. It will

916
00:48:59,000 --> 00:49:01,800
Speaker 3: feel like it goes on a good bit here. Eventually

917
00:49:01,880 --> 00:49:05,320
Speaker 3: Richard finds a wall in the warehouse where a portal

918
00:49:05,560 --> 00:49:09,800
Speaker 3: opens to Hell. And yeah, it's just like the warehouse,

919
00:49:09,840 --> 00:49:12,040
Speaker 3: like you can see the electrical panels next to it,

920
00:49:12,360 --> 00:49:14,160
Speaker 3: but just one wall of the warehouse got a portal

921
00:49:14,160 --> 00:49:14,399
Speaker 3: to Hell.

922
00:49:14,640 --> 00:49:15,920
Speaker 1: Yeah, it's a big one to You could drive a

923
00:49:15,960 --> 00:49:16,640
Speaker 1: truck through this thing.

924
00:49:16,680 --> 00:49:20,080
Speaker 3: Maybe that's it's kind of tattered. It's got like flat

925
00:49:20,239 --> 00:49:23,880
Speaker 3: fluttering kind of like tattered bits. I don't know, but

926
00:49:24,280 --> 00:49:26,880
Speaker 3: it's like spilling over with pulsing light. And they've got

927
00:49:26,880 --> 00:49:29,960
Speaker 3: the fog machine working hard. But he's like, well, I

928
00:49:29,960 --> 00:49:32,120
Speaker 3: guess no other choice. I got to run into Hell.

929
00:49:32,200 --> 00:49:34,520
Speaker 3: So he runs into Hell. All the time, we keep

930
00:49:34,520 --> 00:49:37,160
Speaker 3: cutting back to Angela calling out for help and seeing

931
00:49:37,200 --> 00:49:39,960
Speaker 3: the guys in the cult robes with the daggers. You know,

932
00:49:40,000 --> 00:49:43,840
Speaker 3: she is imperiled by the slowest descending knife in movie history.

933
00:49:44,320 --> 00:49:49,000
Speaker 3: And we see Master Arkham really concentrating. He's like, the

934
00:49:49,080 --> 00:49:52,000
Speaker 3: knife is going down, and it made me realize, like,

935
00:49:52,080 --> 00:49:55,200
Speaker 3: why is the knife going so slow? Maybe it is

936
00:49:55,239 --> 00:49:58,640
Speaker 3: a case of the slow blade penetrating the shield. Right

937
00:49:58,719 --> 00:50:00,759
Speaker 3: is this? Is this a christineknife kind of thing?

938
00:50:01,600 --> 00:50:05,400
Speaker 1: Hmmm, yeah, I mean that's one read on it. I

939
00:50:05,440 --> 00:50:09,400
Speaker 1: will say that sacrificial stabbings do take place at a

940
00:50:09,520 --> 00:50:13,479
Speaker 1: just glacial pace in this film. Like the knife's coming

941
00:50:13,560 --> 00:50:17,719
Speaker 1: down here, it comes here, it comes any second now,

942
00:50:18,000 --> 00:50:18,839
Speaker 1: right through your heart.

943
00:50:19,000 --> 00:50:22,640
Speaker 3: Sometimes they recock the knife like they're almost down, they

944
00:50:22,680 --> 00:50:23,960
Speaker 3: lift it way back up again.

945
00:50:24,239 --> 00:50:27,080
Speaker 1: Well you know, it's like they say, measure twice, stab once,

946
00:50:27,160 --> 00:50:28,040
Speaker 1: right exactly.

947
00:50:28,160 --> 00:50:31,920
Speaker 3: Yes. So Flynn is running around trying to find Angela

948
00:50:31,960 --> 00:50:34,520
Speaker 3: and the baby to save them. As he's going, he

949
00:50:34,640 --> 00:50:37,480
Speaker 3: keeps stopping at these little vistas throughout Hell, and we're

950
00:50:37,560 --> 00:50:41,960
Speaker 3: treated to a very interesting milange of cheap looking sets again,

951
00:50:42,040 --> 00:50:44,680
Speaker 3: but also some pretty good looking sets or models, and

952
00:50:44,719 --> 00:50:48,120
Speaker 3: then some fantastic looking painted backgrounds.

953
00:50:47,840 --> 00:50:49,839
Speaker 1: Yeah, some of these matte paintings remind me a bit

954
00:50:49,880 --> 00:50:53,200
Speaker 1: of those fantastic in Tears and Indiana Jones and the

955
00:50:53,200 --> 00:50:55,520
Speaker 1: Temple Temple of Doom, which I guess that was the

956
00:50:55,560 --> 00:50:58,480
Speaker 1: Temple of tim the titular Temple of Doom.

957
00:50:58,560 --> 00:51:00,319
Speaker 3: Yeah, in this.

958
00:51:00,239 --> 00:51:03,520
Speaker 1: Case though it is Hell or the Empire of the Dark.

959
00:51:03,719 --> 00:51:05,720
Speaker 3: Some of the best looking stuff is like the painted

960
00:51:05,760 --> 00:51:08,080
Speaker 3: backgrounds here. But there's one set that looks pretty good.

961
00:51:08,160 --> 00:51:09,879
Speaker 3: Isn't more in the mid level, but it's pretty good

962
00:51:10,560 --> 00:51:13,400
Speaker 3: where there's like a rickety wooden bridge spanning over a

963
00:51:13,480 --> 00:51:16,840
Speaker 3: chasm filled with hot lava, and they've really wanted to

964
00:51:16,840 --> 00:51:19,319
Speaker 3: get their money's worth with this one because it's built out,

965
00:51:19,360 --> 00:51:21,319
Speaker 3: and he runs across it so that it gets a

966
00:51:21,320 --> 00:51:22,239
Speaker 3: lot of screen time.

967
00:51:22,640 --> 00:51:25,960
Speaker 1: Yeah, I think it looks great. I buy. And eventually

968
00:51:26,080 --> 00:51:28,200
Speaker 1: lots of people and things are going to be falling

969
00:51:28,200 --> 00:51:33,720
Speaker 1: into that lava, and it's convincing. Thisbelief completely suspended anyway.

970
00:51:33,840 --> 00:51:37,800
Speaker 3: Eventually Flynn stumbles across the ceremony where the two Meleias

971
00:51:37,880 --> 00:51:41,160
Speaker 3: devil guys are. They're slowly lowering their knives and then

972
00:51:41,200 --> 00:51:46,000
Speaker 3: Flynn pauses to aim his service revolver, then dramatically calls out, I.

973
00:51:45,960 --> 00:51:48,640
Speaker 4: Only have one more bullet.

974
00:51:49,320 --> 00:51:51,120
Speaker 1: And he's going to have to shoot it across what

975
00:51:51,200 --> 00:51:55,640
Speaker 1: seems like a chasm eight miles away. Yeah, and the

976
00:51:55,680 --> 00:52:00,279
Speaker 1: matte painting slash set here that we have it does

977
00:52:00,320 --> 00:52:03,839
Speaker 1: look incredible. Like just seeing this one still, you would

978
00:52:03,880 --> 00:52:05,920
Speaker 1: have to see this movie like it. It feels like

979
00:52:06,320 --> 00:52:08,239
Speaker 1: it has great doom vibes to it.

980
00:52:08,440 --> 00:52:11,080
Speaker 3: Absolutely. But the knives, of course are coming down. They're

981
00:52:11,080 --> 00:52:14,080
Speaker 3: coming down slowly, still, very slowly, and the camera keeps

982
00:52:14,120 --> 00:52:18,160
Speaker 3: cutting different thing cult guys knives, Angela, the baby, Flynn

983
00:52:18,440 --> 00:52:22,920
Speaker 3: say my baby and help me, over and over. Finally

984
00:52:22,960 --> 00:52:26,040
Speaker 3: Flynn makes his choice. He shoots Brian Devray to save

985
00:52:26,080 --> 00:52:30,480
Speaker 3: the baby, and the wicked Master Arkham stabs Angela, and

986
00:52:30,760 --> 00:52:34,600
Speaker 3: Flynn gives a real revenge of the sith no and

987
00:52:34,640 --> 00:52:38,960
Speaker 3: then goes and once after this cut, it seems like

988
00:52:39,000 --> 00:52:40,920
Speaker 3: actually maybe he wasn't that far away because he just

989
00:52:41,000 --> 00:52:43,160
Speaker 3: runs right up after this. And he runs up and

990
00:52:43,160 --> 00:52:45,719
Speaker 3: he beats Master Arkham on the head with the butt

991
00:52:45,760 --> 00:52:46,839
Speaker 3: of his revolver, and.

992
00:52:46,800 --> 00:52:48,799
Speaker 1: I think it seems to seed him to death.

993
00:52:48,880 --> 00:52:52,320
Speaker 3: It kills him. Yeah, And so after a quick tearful

994
00:52:52,320 --> 00:52:55,440
Speaker 3: goodbye to Angela's body, he grabs the baby and he

995
00:52:55,520 --> 00:52:58,160
Speaker 3: runs back out of hell, stopping for a long time

996
00:52:58,200 --> 00:52:59,920
Speaker 3: at the rickety lava bridge so you can get a

997
00:53:00,200 --> 00:53:03,080
Speaker 3: look at it. And then finally, as sort of the

998
00:53:03,120 --> 00:53:06,719
Speaker 3: cavern is collapsing, he dives back through the portal in

999
00:53:06,800 --> 00:53:09,760
Speaker 3: the wall with the baby, and the wall magically seals

1000
00:53:09,760 --> 00:53:12,480
Speaker 3: itself back up, so now he's just a cop holding

1001
00:53:12,520 --> 00:53:23,680
Speaker 3: the baby. So after the prologue we fade out and

1002
00:53:23,719 --> 00:53:26,960
Speaker 3: then we come back in with some Bambi springtime music.

1003
00:53:27,040 --> 00:53:29,520
Speaker 3: It's a beautiful morning. We're somewhere in the woods in

1004
00:53:29,560 --> 00:53:32,880
Speaker 3: the mountains of northern California. There's a rushing brook and

1005
00:53:32,920 --> 00:53:36,080
Speaker 3: a waterfall, tall trees all around. It's beautiful, just a

1006
00:53:36,160 --> 00:53:39,840
Speaker 3: little slab of heaven. And here we also see the

1007
00:53:40,520 --> 00:53:44,440
Speaker 3: Maison de Flynn, our Flynn household here, a recurring setting

1008
00:53:44,560 --> 00:53:47,200
Speaker 3: for much of the rest of the film. It's a big,

1009
00:53:47,320 --> 00:53:51,279
Speaker 3: rustic wooden cabin with yellow and green accents, and some

1010
00:53:51,360 --> 00:53:54,120
Speaker 3: text on the screen tells us it is twenty years later.

1011
00:53:55,440 --> 00:53:59,560
Speaker 1: I have a strong suspicion that we get both the

1012
00:53:59,640 --> 00:54:02,560
Speaker 1: indi ears and exteriors of this house, and that this

1013
00:54:02,719 --> 00:54:04,680
Speaker 1: is in fact Steve Barquette's.

1014
00:54:04,120 --> 00:54:07,239
Speaker 3: House that is also what I believe. I don't have

1015
00:54:07,280 --> 00:54:10,080
Speaker 3: any way to confirm that, but it I think this

1016
00:54:10,200 --> 00:54:14,080
Speaker 3: is Steve Barkette's house. Yes, he just looks really cozy

1017
00:54:14,120 --> 00:54:16,520
Speaker 3: in it, like this is where he belongs.

1018
00:54:16,560 --> 00:54:20,680
Speaker 1: It's very lived in. You see movie memorabilia in places

1019
00:54:20,719 --> 00:54:22,880
Speaker 1: like the kitchen, So I think this is his house.

1020
00:54:23,080 --> 00:54:25,319
Speaker 3: And I like the colors inside. This is like a

1021
00:54:25,320 --> 00:54:28,919
Speaker 3: good location to shoot, as I mentioned earlier, Like it's

1022
00:54:28,960 --> 00:54:32,480
Speaker 3: not just boring drab colors and all the like his

1023
00:54:32,600 --> 00:54:35,799
Speaker 3: kitchen is like green and yellow. It's weird colors that

1024
00:54:35,840 --> 00:54:39,239
Speaker 3: are nice to look at. For for example, in the

1025
00:54:39,280 --> 00:54:42,040
Speaker 3: scene later where Terry gets seduced by a succubus in

1026
00:54:42,080 --> 00:54:42,600
Speaker 3: the kitchen.

1027
00:54:42,719 --> 00:54:47,240
Speaker 1: Yes, yeah, and everything is fitningly feels very late seventies

1028
00:54:47,280 --> 00:54:50,640
Speaker 1: early eighties, even though it is technically the early nineties

1029
00:54:50,680 --> 00:54:51,160
Speaker 1: at this point.

1030
00:54:51,320 --> 00:54:54,359
Speaker 3: Yeah. So again, it's twenty years later. Our hero now

1031
00:54:54,400 --> 00:54:57,359
Speaker 3: has a mustache it didn't before. He's sleeping on his

1032
00:54:57,480 --> 00:55:01,080
Speaker 3: side in bed, Harry chest bared to screen and his

1033
00:55:01,160 --> 00:55:05,360
Speaker 3: alarm goes off and he groans with displeasure. He's roused

1034
00:55:05,360 --> 00:55:08,600
Speaker 3: by his girlfriend Stacy. She is a ray of sunshine

1035
00:55:08,560 --> 00:55:11,440
Speaker 3: and she's giving him a little sing song voice sayings

1036
00:55:11,440 --> 00:55:15,719
Speaker 3: about how it's time to get up, and he is

1037
00:55:15,840 --> 00:55:18,839
Speaker 3: just in Garfield mode, Garfield and his soul. He does

1038
00:55:18,880 --> 00:55:21,120
Speaker 3: not like mondays, he doesn't want to get out of bed.

1039
00:55:21,520 --> 00:55:24,520
Speaker 1: Yeah. He declares that her love of mornings is frankly disgusting,

1040
00:55:25,080 --> 00:55:26,920
Speaker 1: which is kind of legitimately funny.

1041
00:55:27,160 --> 00:55:30,399
Speaker 3: Yeah, it's hard to explain this. The movie from this

1042
00:55:30,520 --> 00:55:34,040
Speaker 3: point on has a humorous tone that does not match

1043
00:55:34,120 --> 00:55:37,160
Speaker 3: the prologue at all. Like the prologue is totally dark,

1044
00:55:37,719 --> 00:55:40,640
Speaker 3: but starting here we get these things where Flynn will

1045
00:55:40,680 --> 00:55:44,080
Speaker 3: basically look into the camera and like shrug and be like,

1046
00:55:44,239 --> 00:55:45,880
Speaker 3: what do you what are you gonna do?

1047
00:55:46,400 --> 00:55:46,919
Speaker 5: Yeah? Yeah.

1048
00:55:47,040 --> 00:55:49,640
Speaker 1: In the prologue he's a heartbroken cop who's just had

1049
00:55:49,680 --> 00:55:54,040
Speaker 1: a traumatic experience with Coultist in another dimension. But this

1050
00:55:54,200 --> 00:55:56,440
Speaker 1: Rick we see now he's a happy, go lucky ladies

1051
00:55:56,520 --> 00:55:59,000
Speaker 1: man with a as we're about to see a driven

1052
00:55:59,120 --> 00:55:59,879
Speaker 1: interest in sword.

1053
00:56:00,360 --> 00:56:02,279
Speaker 3: That's right, So we go straight after the wake up

1054
00:56:02,280 --> 00:56:04,880
Speaker 3: to the sword training scene. We're cutting in in the

1055
00:56:04,920 --> 00:56:09,440
Speaker 3: middle of a duel with Flynn dressed in sweatpants wildly

1056
00:56:09,520 --> 00:56:12,600
Speaker 3: swinging a broad sword at a woman dressed in athletic

1057
00:56:12,640 --> 00:56:14,800
Speaker 3: gear with the sword of her own she's got fencing

1058
00:56:14,880 --> 00:56:17,960
Speaker 3: gloves on, and the woman yells at him, Rick, you're

1059
00:56:18,000 --> 00:56:21,279
Speaker 3: a little rough today. So they stop the duel and

1060
00:56:21,840 --> 00:56:25,640
Speaker 3: she asks him why he decided to learn sword fighting techniques.

1061
00:56:25,920 --> 00:56:28,160
Speaker 3: He says he doesn't know, just got an urge a

1062
00:56:28,200 --> 00:56:30,680
Speaker 3: couple of years ago. And this is the part where

1063
00:56:30,760 --> 00:56:33,200
Speaker 3: I mentioned this earlier, where she says, you know, there

1064
00:56:33,239 --> 00:56:36,279
Speaker 3: aren't many instructors who would let you freestyle with live

1065
00:56:36,360 --> 00:56:40,160
Speaker 3: steel like this, and then Rick is just I'm in

1066
00:56:40,160 --> 00:56:43,520
Speaker 3: love with you. Just wild sexual harassment in this scene,

1067
00:56:43,560 --> 00:56:46,600
Speaker 3: but the instructor laughs it off. It's like, nice try, mister.

1068
00:56:47,400 --> 00:56:51,479
Speaker 3: Here's another moment where Rick basically like she's like, nice try, mister,

1069
00:56:51,560 --> 00:56:54,520
Speaker 3: and Rick looks into the camera and he says, must

1070
00:56:54,520 --> 00:56:55,440
Speaker 3: be my breath.

1071
00:56:57,440 --> 00:56:59,719
Speaker 1: Yeah. Yeah, they're begin to ham it up quite a bit.

1072
00:57:00,120 --> 00:57:04,400
Speaker 3: Yeah. So next we're going to meet some other characters.

1073
00:57:04,440 --> 00:57:08,080
Speaker 3: We meet Terry Nash. This is the character played by

1074
00:57:08,080 --> 00:57:12,719
Speaker 3: Steve Barquette's son in real life. This is the young mustache.

1075
00:57:12,800 --> 00:57:16,600
Speaker 3: And then we meet Eddie Green, the sheriff of Lava

1076
00:57:16,640 --> 00:57:19,080
Speaker 3: Springs I guess wherever this is, or a detective in

1077
00:57:19,160 --> 00:57:21,880
Speaker 3: Lava Springs. At least it wasn't exactly clear on his rank.

1078
00:57:22,160 --> 00:57:24,280
Speaker 3: So Terry shows up at the police station to speak

1079
00:57:24,320 --> 00:57:26,960
Speaker 3: with Eddie. We get again the establishing shots outside, where

1080
00:57:26,960 --> 00:57:30,640
Speaker 3: it's like police, police, police, and Eddie is in the

1081
00:57:30,680 --> 00:57:34,720
Speaker 3: middle of a vulgar phone call with Milligan. You know Milligan.

1082
00:57:35,280 --> 00:57:39,280
Speaker 3: He's sawing a Milligan And every time Milligan talks, Eddie

1083
00:57:39,280 --> 00:57:42,680
Speaker 3: finds a way to repeat for the audience what Milligan said.

1084
00:57:43,080 --> 00:57:44,960
Speaker 3: The gist of the phone call is that there is

1085
00:57:45,000 --> 00:57:47,960
Speaker 3: a new demon slasher case in which young women are

1086
00:57:48,000 --> 00:57:51,480
Speaker 3: being murdered. Seems like, yeah, probably by a demonic cult.

1087
00:57:51,760 --> 00:57:54,680
Speaker 3: His men don't know what's going on, and he suggests

1088
00:57:54,760 --> 00:57:58,080
Speaker 3: they should bring in outside help. Who should they bring in, Well,

1089
00:57:58,080 --> 00:58:02,080
Speaker 3: of course Richard Flynn not be a police officer anymore.

1090
00:58:02,120 --> 00:58:04,960
Speaker 3: He's no longer a brother officer. But he's the best

1091
00:58:05,000 --> 00:58:05,720
Speaker 3: there ever was.

1092
00:58:06,320 --> 00:58:10,520
Speaker 1: Yeah, this small town, rural area is like the epicenter

1093
00:58:10,960 --> 00:58:15,880
Speaker 1: for cult related homicides in the nation, perhaps in the world.

1094
00:58:16,920 --> 00:58:20,360
Speaker 1: Should we turn to the federal agency for help here? No, no, no,

1095
00:58:20,440 --> 00:58:23,880
Speaker 1: I know a retired guy in the area. He's perfect

1096
00:58:23,920 --> 00:58:24,160
Speaker 1: for this.

1097
00:58:24,400 --> 00:58:26,920
Speaker 3: The amount of cult murders here reminds me of I

1098
00:58:26,920 --> 00:58:28,680
Speaker 3: think we've talked about this on the show before. But

1099
00:58:29,400 --> 00:58:32,240
Speaker 3: you watched some of Sons of Anarchy at Real at least, right,

1100
00:58:32,400 --> 00:58:35,040
Speaker 3: it's supposed to be a small town in northern California

1101
00:58:35,080 --> 00:58:37,280
Speaker 3: that has like ten thousand murders a year.

1102
00:58:37,640 --> 00:58:41,040
Speaker 1: Yeah, yeah, maybe maybe it's a similar area. Maybe it's

1103
00:58:41,040 --> 00:58:44,720
Speaker 1: around around reading. It's just all sorts of cult activity

1104
00:58:44,880 --> 00:58:47,920
Speaker 1: and outlaw MC he's just tearing it up.

1105
00:58:48,120 --> 00:58:51,240
Speaker 3: Yeah, So Milligan does not whoever Milligan is, does not

1106
00:58:51,440 --> 00:58:54,720
Speaker 3: want to bring Richard Flynn onto the case. So they

1107
00:58:54,720 --> 00:58:56,880
Speaker 3: have a disagreement about this, and the call ends when

1108
00:58:56,920 --> 00:59:01,600
Speaker 3: young Terry wanders into Eddie's office. Harry explains his business here.

1109
00:59:01,680 --> 00:59:05,480
Speaker 3: He's trying to get in contact with Eddie's friend, Richard Flynn.

1110
00:59:05,480 --> 00:59:08,080
Speaker 3: What do you know what a coinky dink. Flynn is

1111
00:59:08,120 --> 00:59:11,120
Speaker 3: a private detective now and he's working down the road

1112
00:59:11,240 --> 00:59:15,320
Speaker 3: in Lava Springs. Terry has tried writing to him and

1113
00:59:15,400 --> 00:59:17,720
Speaker 3: calling him, but he gets no response. It's like Flynn

1114
00:59:17,800 --> 00:59:20,600
Speaker 3: just doesn't want to talk to Terry, and Eddie says,

1115
00:59:20,720 --> 00:59:23,440
Speaker 3: it's not like Richard Flynn to do that. He doesn't

1116
00:59:23,480 --> 00:59:28,200
Speaker 3: cold shoulder people for no reason. Well, Terry says he

1117
00:59:28,240 --> 00:59:30,440
Speaker 3: thinks there might be a reason in his case. He

1118
00:59:30,520 --> 00:59:34,360
Speaker 3: explains that his mother was Angela Nash. That's the Angela

1119
00:59:34,400 --> 00:59:36,960
Speaker 3: from the prologue. So Eddie lean he knows some of

1120
00:59:37,000 --> 00:59:39,640
Speaker 3: the story. Eddie leans forward and he says, so you're

1121
00:59:39,840 --> 00:59:46,120
Speaker 3: the baby. Terry presumably wants to meet the man who

1122
00:59:46,160 --> 00:59:49,040
Speaker 3: saved his life from Melias when he was a baby.

1123
00:59:49,880 --> 00:59:52,760
Speaker 3: I'm not sure exactly how much of the story he knows,

1124
00:59:52,960 --> 00:59:55,800
Speaker 3: does he? They don't make this clear, like, does he

1125
00:59:55,920 --> 00:59:59,760
Speaker 3: know that he was saved from hell? He's been to hell?

1126
01:00:00,040 --> 01:00:02,560
Speaker 3: He was too young to remember it? Unclear again, But

1127
01:00:02,840 --> 01:00:05,000
Speaker 3: beyond that, he also has an important lead that he

1128
01:00:05,040 --> 01:00:07,840
Speaker 3: wants to share with the police. It is a polaroid

1129
01:00:08,240 --> 01:00:11,920
Speaker 3: of who is that why? It's Brian Devray and master

1130
01:00:12,160 --> 01:00:15,920
Speaker 3: Leo Arkham. Arkham is in what looks like a tracksuit

1131
01:00:16,000 --> 01:00:19,640
Speaker 3: or at least kind of a sports windbreaker. They're standing

1132
01:00:19,720 --> 01:00:22,120
Speaker 3: in the parking lot outside of what looks like a bank,

1133
01:00:22,680 --> 01:00:27,200
Speaker 3: and Eddie recognizes them instantly, but they're like, wait, look

1134
01:00:27,200 --> 01:00:30,200
Speaker 3: at the modern cars in fashion in this picture. This

1135
01:00:30,240 --> 01:00:33,160
Speaker 3: couldn't have been taken twenty years ago. This was taken

1136
01:00:33,280 --> 01:00:36,200
Speaker 3: two weeks ago. And those two were supposed to be dead.

1137
01:00:36,880 --> 01:00:39,840
Speaker 3: So that's all the convincing Eddie needs. He's like, okay,

1138
01:00:39,920 --> 01:00:42,400
Speaker 3: I'm on board. I'm going to help you. Terry get

1139
01:00:42,480 --> 01:00:44,560
Speaker 3: some FaceTime with the great Richard Flynn.

1140
01:00:45,200 --> 01:00:48,240
Speaker 1: Yeah, the actor playing Arkham here, Richard Harris, and he's

1141
01:00:48,280 --> 01:00:51,360
Speaker 1: like wagging a finger at him in this picture, almost

1142
01:00:51,400 --> 01:00:53,080
Speaker 1: like saying, they're not going to trick me into film

1143
01:00:53,080 --> 01:00:54,120
Speaker 1: in any additional scenes.

1144
01:00:54,160 --> 01:00:54,440
Speaker 4: Brother.

1145
01:00:57,120 --> 01:01:00,840
Speaker 3: So meanwhile, another subplot kicks off at at Rick and

1146
01:01:00,920 --> 01:01:05,400
Speaker 3: Stacy's house. Stacy is some kind of newspaper reporter and

1147
01:01:05,440 --> 01:01:09,080
Speaker 3: the paper is sending her to interview a psychic investigator

1148
01:01:09,200 --> 01:01:13,280
Speaker 3: named guy Zupan. Rick says, kind of an odd assignment

1149
01:01:13,320 --> 01:01:17,800
Speaker 3: for you, isn't it, And she says not really, it's

1150
01:01:17,840 --> 01:01:22,280
Speaker 3: related to the demon Slasher case. Oh, that explains it anyway.

1151
01:01:22,440 --> 01:01:27,040
Speaker 3: She heads out for the interview and Flynn accidentally so yeah,

1152
01:01:27,080 --> 01:01:29,560
Speaker 3: so she leaves. He's left alone at the kitchen table

1153
01:01:29,600 --> 01:01:33,720
Speaker 3: in the house and he accidentally drops his Velcrow wallet

1154
01:01:33,880 --> 01:01:38,400
Speaker 3: on the floor, which falls open to some goth glamour

1155
01:01:38,520 --> 01:01:41,160
Speaker 3: shots of Angela from twenty years ago.

1156
01:01:41,520 --> 01:01:47,680
Speaker 1: Yeah. Yeah, really ridiculous looking headshot, you know, very very stylish,

1157
01:01:47,840 --> 01:01:49,320
Speaker 1: not the kind of thing you normally would see in

1158
01:01:49,360 --> 01:01:51,439
Speaker 1: a wallet, but hey, what do I like? I don't

1159
01:01:51,480 --> 01:01:53,960
Speaker 1: even have photos of my wallet anymore, so I guess

1160
01:01:54,160 --> 01:01:55,760
Speaker 1: I'm out of touch with this practice.

1161
01:01:55,880 --> 01:01:59,200
Speaker 3: She looks like a cross between a shampoo commercial and

1162
01:01:59,240 --> 01:02:03,920
Speaker 3: a lou Reed album cover. Yeah yeah, but he sees

1163
01:02:04,000 --> 01:02:07,520
Speaker 3: the photos in his velcrow wallet and this sends Rick

1164
01:02:07,600 --> 01:02:11,880
Speaker 3: spiraling into a soft focus memory, which consists of a

1165
01:02:12,120 --> 01:02:18,120
Speaker 3: frankly hilarious erotic scene between Flynn and Angela where he's

1166
01:02:18,160 --> 01:02:21,640
Speaker 3: his outfit in the scene is very good choices.

1167
01:02:22,280 --> 01:02:28,000
Speaker 1: Yes, this is a full undershirt on love scene Blue

1168
01:02:28,040 --> 01:02:31,520
Speaker 1: Tank Tom yea. Yeah brings to mind Toast of London

1169
01:02:31,760 --> 01:02:33,480
Speaker 1: if anyone watched that show.

1170
01:02:34,720 --> 01:02:37,600
Speaker 3: But also in this erotic scene, there's a bunch of

1171
01:02:37,680 --> 01:02:41,280
Speaker 3: exposition as they have. Actually it's not in scene, it's

1172
01:02:41,320 --> 01:02:45,320
Speaker 3: like within the flashback. There is a further secondary flashback

1173
01:02:45,360 --> 01:02:49,960
Speaker 3: to breathy conversations they have had at other times about

1174
01:02:50,000 --> 01:02:53,080
Speaker 3: why she won't leave her satanic husband Brian Devray and

1175
01:02:53,200 --> 01:02:56,959
Speaker 3: run away with the Rickster. So Rick says, please don't

1176
01:02:57,000 --> 01:03:00,640
Speaker 3: marry Brian Devray. He says that religious group he hangs

1177
01:03:00,680 --> 01:03:04,000
Speaker 3: out with, there's something very wrong about that whole setup.

1178
01:03:05,120 --> 01:03:07,920
Speaker 3: But she has made up her mind. Basically, I like

1179
01:03:07,960 --> 01:03:11,800
Speaker 3: how this suggests that it's not fully secret that he's

1180
01:03:11,840 --> 01:03:14,000
Speaker 3: in this satanic cult that's just like part of his

1181
01:03:14,400 --> 01:03:17,120
Speaker 3: you know, in the social scene, everybody knows. Oh yeah, Brian,

1182
01:03:17,200 --> 01:03:18,800
Speaker 3: he's part of the Melias Cult.

1183
01:03:19,560 --> 01:03:24,600
Speaker 1: Yeah. It kind of a complex romance triangle that is

1184
01:03:24,640 --> 01:03:29,640
Speaker 1: being portrayed here for a movie that's not particularly invested

1185
01:03:29,680 --> 01:03:33,479
Speaker 1: in how human beings work. So we don't really fully

1186
01:03:33,560 --> 01:03:35,240
Speaker 1: understand all the ins and outs here.

1187
01:03:35,440 --> 01:03:37,800
Speaker 3: But she's got her mind made up. Basically, she says

1188
01:03:37,840 --> 01:03:40,880
Speaker 3: she loves Rick more than anything, but quote, our needs

1189
01:03:40,880 --> 01:03:44,520
Speaker 3: are different, and for that reason, and presumably other reasons,

1190
01:03:44,560 --> 01:03:47,160
Speaker 3: they cannot they cannot be together. She's going to marry

1191
01:03:47,160 --> 01:03:49,760
Speaker 3: into the cult of Melias, and they needs that Melius.

1192
01:03:49,880 --> 01:03:51,920
Speaker 1: That's what the needs are exactly.

1193
01:03:52,840 --> 01:03:55,960
Speaker 3: Rick pledges that, however far away, he will always love her.

1194
01:03:56,520 --> 01:03:59,080
Speaker 3: And anyway, we go on to the next thing in

1195
01:03:59,120 --> 01:04:02,760
Speaker 3: the present action movie, and this is a great sequence,

1196
01:04:02,880 --> 01:04:06,560
Speaker 3: the supermarket creep hunt. Yeah, so here we're going to

1197
01:04:06,600 --> 01:04:09,080
Speaker 3: get to see the Rickster in action doing what he

1198
01:04:09,160 --> 01:04:12,680
Speaker 3: does best. He is no longer a cop. He's a

1199
01:04:12,720 --> 01:04:16,640
Speaker 3: bounty hunter now chasing down America's most wanted out of

1200
01:04:16,640 --> 01:04:20,520
Speaker 3: a three ring binder of mugshots and wrap sheets that

1201
01:04:20,560 --> 01:04:24,280
Speaker 3: he keeps in his Toyota pickup truck. So Rick pulls

1202
01:04:24,320 --> 01:04:28,240
Speaker 3: into a grocery store parking lot. He parks diagonally so

1203
01:04:28,320 --> 01:04:31,200
Speaker 3: that he's taken up at least three spaces, and then

1204
01:04:31,240 --> 01:04:33,600
Speaker 3: he gets out to scope out the scene. Sure enough,

1205
01:04:33,600 --> 01:04:36,000
Speaker 3: the creep that he is hunting is walking into the

1206
01:04:36,000 --> 01:04:39,480
Speaker 3: store right now. Now. At first, I assumed what was

1207
01:04:39,560 --> 01:04:42,280
Speaker 3: going on here is like, Okay, this criminal is hiding

1208
01:04:42,320 --> 01:04:46,000
Speaker 3: from the law. He's sneaking out of his hideout to

1209
01:04:46,280 --> 01:04:49,600
Speaker 3: get some groceries. But I think, no, it seems like

1210
01:04:49,640 --> 01:04:52,680
Speaker 3: maybe this guy has come to the grocery store intending

1211
01:04:52,720 --> 01:04:56,440
Speaker 3: to commit crimes here at the store, or at least

1212
01:04:56,520 --> 01:05:00,480
Speaker 3: for some unspecified reason, he came heavily armed. By the way,

1213
01:05:00,480 --> 01:05:04,200
Speaker 3: the grocery store is called Holiday Market, I just thought, well,

1214
01:05:04,400 --> 01:05:06,320
Speaker 3: I'll look that up. It seems this is a chain

1215
01:05:06,400 --> 01:05:10,960
Speaker 3: that still exists in California. Some really good early nineties

1216
01:05:11,040 --> 01:05:13,880
Speaker 3: grocery store nostalgia. Just looking at the shelves full of

1217
01:05:13,920 --> 01:05:14,760
Speaker 3: items here.

1218
01:05:14,960 --> 01:05:18,959
Speaker 1: Yeah, I found myself becoming lost in the location here

1219
01:05:19,040 --> 01:05:22,840
Speaker 1: because the great late eighties early nineties small town supermarket

1220
01:05:22,960 --> 01:05:25,600
Speaker 1: vibe here. It feels very much like the one that

1221
01:05:25,720 --> 01:05:28,120
Speaker 1: I grew up with in my hometown. In fact, the

1222
01:05:28,120 --> 01:05:30,360
Speaker 1: one in my hometown still basically looks like this. It's

1223
01:05:30,400 --> 01:05:32,360
Speaker 1: still wow going back in time.

1224
01:05:32,760 --> 01:05:37,080
Speaker 3: There's an end cap on one of the aisles that

1225
01:05:37,160 --> 01:05:39,480
Speaker 3: has a header on. I can't even tell what's on

1226
01:05:39,520 --> 01:05:43,480
Speaker 3: the shelves there, but the header says incredible edibles. And

1227
01:05:43,680 --> 01:05:46,600
Speaker 3: I was like, wow, that's just a phrase that's from

1228
01:05:46,600 --> 01:05:49,040
Speaker 3: my childhood. I don't even remember what that refers to.

1229
01:05:49,200 --> 01:05:51,800
Speaker 3: But maybe my store had one of those two.

1230
01:05:51,880 --> 01:05:56,640
Speaker 1: Yeah, now probably not. Probably not calling things incredible edibles.

1231
01:05:56,600 --> 01:06:01,000
Speaker 3: Probably means something else. Now, Yeah, anyway, this it goes

1232
01:06:01,040 --> 01:06:02,840
Speaker 3: on for a while. This is like a long scene,

1233
01:06:02,880 --> 01:06:06,280
Speaker 3: but the long story short. The follows the creep into

1234
01:06:06,320 --> 01:06:10,200
Speaker 3: the store. He pretends to be browsing the baloney whenever

1235
01:06:10,200 --> 01:06:13,560
Speaker 3: the guy looks his way. And meanwhile, Eddie and Terry

1236
01:06:13,800 --> 01:06:17,160
Speaker 3: are driving around and they see Rick's truck parked outside

1237
01:06:17,200 --> 01:06:20,280
Speaker 3: the grocery store, so they pull up. They also park obliquely,

1238
01:06:20,360 --> 01:06:22,840
Speaker 3: so the two cars together look like they're taking up

1239
01:06:22,880 --> 01:06:27,760
Speaker 3: like eight spaces and they go inside, and then right

1240
01:06:27,840 --> 01:06:31,600
Speaker 3: when Rick is about to grab the creep, Eddie sees

1241
01:06:31,680 --> 01:06:34,440
Speaker 3: him and he yells like, hello, fellow police officer.

1242
01:06:36,120 --> 01:06:38,680
Speaker 1: And that sets the creep off. He's like, it's blasting time.

1243
01:06:38,920 --> 01:06:41,959
Speaker 3: That's right. The blooney cover is blown and the creep

1244
01:06:42,000 --> 01:06:44,880
Speaker 3: whips out his shotgun and goes berserk. This leads to

1245
01:06:44,920 --> 01:06:49,600
Speaker 3: a shootout and a hostage situation in the grocery store. Eventually,

1246
01:06:49,880 --> 01:06:52,560
Speaker 3: Terry the young stash. He comes through in a pinch

1247
01:06:52,960 --> 01:06:56,160
Speaker 3: and he distracts the creep by throwing a bag of

1248
01:06:56,200 --> 01:07:00,479
Speaker 3: bread at him, which, like, that's the ef. He didn't

1249
01:07:00,480 --> 01:07:03,400
Speaker 3: throw like a can at him. It's a bag of bread.

1250
01:07:04,120 --> 01:07:06,440
Speaker 3: But this gives Flynn a chance to draw a bead

1251
01:07:06,480 --> 01:07:10,040
Speaker 3: on him and gun the creep down. Any more details

1252
01:07:10,080 --> 01:07:13,000
Speaker 3: you want to mention from the supermarket sequence, I.

1253
01:07:13,000 --> 01:07:14,520
Speaker 1: Would just say this is I think one of the

1254
01:07:14,560 --> 01:07:16,960
Speaker 1: first scenes where we realized that even the good guys

1255
01:07:16,960 --> 01:07:20,440
Speaker 1: are pretty cavalier about homicide. It's kind of like, you know,

1256
01:07:21,120 --> 01:07:23,440
Speaker 1: we had to shoot a guy, but hey, the sheriff

1257
01:07:23,560 --> 01:07:27,040
Speaker 1: was physically present, no paperwork required, everything square.

1258
01:07:27,240 --> 01:07:29,440
Speaker 3: Yeah, they're the good guys. They saved the day. But

1259
01:07:29,520 --> 01:07:31,520
Speaker 3: after they shoot the guy, they like walk up to

1260
01:07:31,600 --> 01:07:35,280
Speaker 3: his body on the grocery aisle floor and Eddie's like,

1261
01:07:35,320 --> 01:07:39,480
Speaker 3: he looks good down there. Flynn's like, that's where he belongs.

1262
01:07:40,160 --> 01:07:42,600
Speaker 1: On the floor next to the what site was this

1263
01:07:42,640 --> 01:07:43,280
Speaker 1: the bread section?

1264
01:07:43,360 --> 01:07:44,440
Speaker 3: I think it's the bread Eyele.

1265
01:07:44,720 --> 01:07:46,920
Speaker 1: Does he really belong in the bread aisle? I don't know.

1266
01:07:47,000 --> 01:07:48,200
Speaker 1: I don't think that's the case.

1267
01:07:48,720 --> 01:07:51,800
Speaker 3: Look at all the canned chili brands on the I

1268
01:07:51,880 --> 01:07:54,840
Speaker 3: was just I can't even like Flynn is blocking some

1269
01:07:54,920 --> 01:07:57,920
Speaker 3: of them. Looks like they had like fourteen different kinds

1270
01:07:57,920 --> 01:07:59,080
Speaker 3: of canned chili back then.

1271
01:07:59,440 --> 01:08:03,479
Speaker 1: It looks like the little microwaveable chili cups or next

1272
01:08:03,520 --> 01:08:05,440
Speaker 1: to it. I feel like I look at those and

1273
01:08:05,480 --> 01:08:06,840
Speaker 1: I feel burns in my mouth.

1274
01:08:08,320 --> 01:08:11,440
Speaker 3: So Rick also has a flashback in this scene because

1275
01:08:11,600 --> 01:08:13,680
Speaker 3: there's one point where a lady is screaming like, save

1276
01:08:13,760 --> 01:08:16,240
Speaker 3: my baby this, you know, he's got to save the hostage,

1277
01:08:16,880 --> 01:08:19,320
Speaker 3: and she screams at the same way Angela did in

1278
01:08:19,360 --> 01:08:22,439
Speaker 3: the cave all those years ago. So we since that

1279
01:08:22,520 --> 01:08:25,280
Speaker 3: Flynn cannot get Arkham and Brian Devray out of his

1280
01:08:25,360 --> 01:08:28,920
Speaker 3: head anyway. After the dust settles, it's clear Eddie expects

1281
01:08:28,920 --> 01:08:32,600
Speaker 3: Flynn to appreciate how Terry Nash saved the day with

1282
01:08:32,680 --> 01:08:36,240
Speaker 3: that bread pitch, But when Flynn realizes who the kid is.

1283
01:08:36,640 --> 01:08:39,719
Speaker 3: He clams up and he abruptly walks away. It seems

1284
01:08:39,720 --> 01:08:42,120
Speaker 3: like he just can't deal with facing the child of

1285
01:08:42,160 --> 01:08:53,760
Speaker 3: Angela and Brian Defray. It's too painful for him. Next

1286
01:08:53,800 --> 01:08:56,759
Speaker 3: scene is the meeting between Stacy and the great psychic

1287
01:08:56,880 --> 01:09:00,840
Speaker 3: guy Zupan. What do you think rob is is Zupin's

1288
01:09:00,880 --> 01:09:04,479
Speaker 3: hair a wig? He has some voluminous frosty hair, and

1289
01:09:04,560 --> 01:09:06,640
Speaker 3: he's wearing a three piece suit, so his look is

1290
01:09:06,720 --> 01:09:07,560
Speaker 3: quite distinctive.

1291
01:09:07,720 --> 01:09:10,000
Speaker 1: Yeah, I think so. I think this is one of

1292
01:09:10,000 --> 01:09:14,280
Speaker 1: the reasons we didn't recognize this actor glass his suit.

1293
01:09:16,080 --> 01:09:16,400
Speaker 3: Yeah.

1294
01:09:16,600 --> 01:09:18,920
Speaker 1: The hair. The hair, at least at the very least,

1295
01:09:18,960 --> 01:09:20,920
Speaker 1: it's done up in a very big way that I'm

1296
01:09:20,920 --> 01:09:21,679
Speaker 1: not used to seeing.

1297
01:09:21,840 --> 01:09:24,439
Speaker 3: His hair looks like one of those artificial Christmas trees

1298
01:09:24,479 --> 01:09:26,120
Speaker 3: that has the snow on the branches.

1299
01:09:26,479 --> 01:09:27,360
Speaker 1: Yes, some frosting.

1300
01:09:27,520 --> 01:09:31,080
Speaker 3: Yeah. So the gist of this conversation is that Zupan

1301
01:09:31,240 --> 01:09:33,920
Speaker 3: does not normally speak to the press. He doesn't want

1302
01:09:33,920 --> 01:09:36,000
Speaker 3: publicity for his great psychic powers.

1303
01:09:36,240 --> 01:09:38,640
Speaker 1: The great psychics are like that exactly.

1304
01:09:39,400 --> 01:09:42,160
Speaker 3: The reason he contacted her is that he knows who

1305
01:09:42,160 --> 01:09:45,160
Speaker 3: the demon Slasher is, but he doesn't know where he is.

1306
01:09:45,960 --> 01:09:48,679
Speaker 3: Zupan says he has been searching for the demon Slasher

1307
01:09:48,760 --> 01:09:52,040
Speaker 3: for many years, and he's follow followed this cult all

1308
01:09:52,080 --> 01:09:54,559
Speaker 3: around the world. Finally they have come back home, back

1309
01:09:54,560 --> 01:09:57,880
Speaker 3: to Lava Springs. He says, quote, ten girls have died,

1310
01:09:58,080 --> 01:10:01,439
Speaker 3: ten more will die before the next full moon. And

1311
01:10:01,680 --> 01:10:04,400
Speaker 3: he explains the cult did the same thing here twenty

1312
01:10:04,479 --> 01:10:07,360
Speaker 3: years ago, and one of the girls they murdered was

1313
01:10:07,840 --> 01:10:11,160
Speaker 3: Zupin's daughter. And we get a flashback to the hypnotized

1314
01:10:11,240 --> 01:10:15,200
Speaker 3: lady from the prologue. Here he's got a photo of

1315
01:10:15,200 --> 01:10:17,479
Speaker 3: her on the mantle and it's not but I almost

1316
01:10:17,560 --> 01:10:21,160
Speaker 3: expected it to be a frame from her death scene.

1317
01:10:21,479 --> 01:10:22,400
Speaker 1: The Red Lingerie.

1318
01:10:22,560 --> 01:10:27,280
Speaker 3: Yeah. So later the Rickster has a nightmare in which

1319
01:10:27,320 --> 01:10:30,200
Speaker 3: he's like back in the hell cave and he sees

1320
01:10:30,280 --> 01:10:33,920
Speaker 3: Angela surrounded by white light and fog. His bed, by

1321
01:10:33,920 --> 01:10:35,640
Speaker 3: the way, is also in the hell cave, with like

1322
01:10:35,680 --> 01:10:39,439
Speaker 3: the you know, the bannis, the headboard and everything, which

1323
01:10:39,479 --> 01:10:40,080
Speaker 3: looks funny.

1324
01:10:40,120 --> 01:10:43,040
Speaker 1: But five machine full blast here, Yes, it looks pretty

1325
01:10:43,040 --> 01:10:44,560
Speaker 1: great for this sort of scene.

1326
01:10:44,560 --> 01:10:48,880
Speaker 3: Powerful fog storm billowing in. But then also I want

1327
01:10:48,880 --> 01:10:51,360
Speaker 3: to note in the stream, rick is wearing the same

1328
01:10:51,680 --> 01:10:55,479
Speaker 3: blue undershirt he was wearing in the erotic flashback scene

1329
01:10:55,479 --> 01:10:58,839
Speaker 3: from earlier, which presumably took place more than twenty years before.

1330
01:10:59,400 --> 01:11:02,160
Speaker 3: So at this point, like that tank top has some

1331
01:11:02,200 --> 01:11:05,160
Speaker 3: serious mileage. I know this is a dream, but he's

1332
01:11:05,240 --> 01:11:08,120
Speaker 3: dreaming of a tank top that he wore twenty years ago.

1333
01:11:08,520 --> 01:11:12,240
Speaker 1: I mean, sleep shirts can last a long time. They

1334
01:11:12,280 --> 01:11:16,720
Speaker 1: start falling apart, they become basically transparent. But it doesn't matter.

1335
01:11:16,720 --> 01:11:17,519
Speaker 1: It's your sleep shirt.

1336
01:11:17,680 --> 01:11:21,080
Speaker 3: That's true. Anyway. In the stream, Angela tells Rick that

1337
01:11:21,160 --> 01:11:25,040
Speaker 3: she's not really dead. She is still alive somewhere and

1338
01:11:25,080 --> 01:11:28,360
Speaker 3: he has to come find her. Then, somewhere else we

1339
01:11:28,439 --> 01:11:31,559
Speaker 3: see that demon, the Meleias demon, roaring in the glow

1340
01:11:31,640 --> 01:11:34,040
Speaker 3: of hell, and Rick is startled awake in his bed.

1341
01:11:34,160 --> 01:11:36,719
Speaker 3: And then he immediately gets a phone call from Eddie

1342
01:11:36,960 --> 01:11:39,320
Speaker 3: once again pleading with him to make some time for

1343
01:11:39,400 --> 01:11:42,320
Speaker 3: the kid for Terry Nash. So they're going to meet

1344
01:11:42,439 --> 01:11:44,920
Speaker 3: at nine o'clock in the morning at the Church of

1345
01:11:45,080 --> 01:11:48,200
Speaker 3: the Blessed Saint. He says, meet in Sister Mary's office,

1346
01:11:48,200 --> 01:11:50,120
Speaker 3: and Rick's like, oh, yeah, I know where that is.

1347
01:11:50,360 --> 01:11:55,559
Speaker 3: I was like, I bet he does. Okay, after this

1348
01:11:55,720 --> 01:11:58,160
Speaker 3: there is oh, this is one of the scenes that

1349
01:11:58,479 --> 01:12:00,679
Speaker 3: I'm not sure it makes sense get in the logic

1350
01:12:00,720 --> 01:12:02,120
Speaker 3: of the rest of the movie. So there is a

1351
01:12:02,200 --> 01:12:07,400
Speaker 3: lover's lane demon attack. It seems like the movie needs

1352
01:12:07,400 --> 01:12:10,599
Speaker 3: a monster attack, doesn't it where like the demon meleeas goes,

1353
01:12:10,640 --> 01:12:13,599
Speaker 3: except the demon is kind of too big to attack

1354
01:12:13,680 --> 01:12:17,439
Speaker 3: human size. It's like God zillicized, but they make it

1355
01:12:17,479 --> 01:12:19,240
Speaker 3: work anyway. So we head out to the woods in

1356
01:12:19,280 --> 01:12:21,920
Speaker 3: the middle of the night to a parked sports car

1357
01:12:22,080 --> 01:12:24,120
Speaker 3: with a couple making out inside. By the way, we

1358
01:12:24,200 --> 01:12:26,439
Speaker 3: cut to exterior shots of it, and it's a hot

1359
01:12:26,439 --> 01:12:31,280
Speaker 3: Wheels car, but there is a full moon. The owls

1360
01:12:31,320 --> 01:12:34,240
Speaker 3: are hooting and you know, they're kissing, and suddenly the

1361
01:12:34,280 --> 01:12:36,559
Speaker 3: woman inside the car, she stops kissing, and she says,

1362
01:12:36,560 --> 01:12:39,400
Speaker 3: did you hear that? What was that sound? And the

1363
01:12:39,439 --> 01:12:41,760
Speaker 3: guy says, the first time I watched it, I think

1364
01:12:41,840 --> 01:12:43,840
Speaker 3: it sounded to me like he said, that's just my

1365
01:12:43,960 --> 01:12:48,439
Speaker 3: pants exploding. But I think I think he the second time,

1366
01:12:48,680 --> 01:12:51,920
Speaker 3: it sounded like he said, that's just my shorts expanding.

1367
01:12:52,640 --> 01:12:56,880
Speaker 3: I don't know either way, beautiful riding. But he later

1368
01:12:56,960 --> 01:12:59,160
Speaker 3: suggests that the sound was probably just a rabbit, And

1369
01:12:59,200 --> 01:13:01,600
Speaker 3: then of course it's not the shorts expanding or the

1370
01:13:01,680 --> 01:13:05,519
Speaker 3: rabbit it's of course Melias. So from above here comes

1371
01:13:05,560 --> 01:13:09,960
Speaker 3: the giant. Demon attacks the car, scratches up the guy

1372
01:13:10,040 --> 01:13:12,920
Speaker 3: and kills him. I guess. Then the lady runs off

1373
01:13:12,960 --> 01:13:16,519
Speaker 3: into the woods. Demon follows her. I guess eats her too.

1374
01:13:16,560 --> 01:13:18,559
Speaker 3: I don't know. I guess it doesn't eat them, because

1375
01:13:18,600 --> 01:13:19,960
Speaker 3: the police find the bodies later.

1376
01:13:20,160 --> 01:13:21,800
Speaker 1: Yeah, it just kills them.

1377
01:13:21,960 --> 01:13:22,240
Speaker 3: Yeah.

1378
01:13:22,280 --> 01:13:25,080
Speaker 1: Now they are victims, and there are a lot of

1379
01:13:25,160 --> 01:13:29,880
Speaker 1: victims credited in the credits for this picture. Most of

1380
01:13:29,920 --> 01:13:32,479
Speaker 1: them are women, but we have at least one male

1381
01:13:32,600 --> 01:13:35,080
Speaker 1: victim who is credited, and none of them, for the

1382
01:13:35,080 --> 01:13:37,599
Speaker 1: most part, have any other acting credits. But there's one

1383
01:13:38,000 --> 01:13:41,760
Speaker 1: victim who's credited only as Dealer Dan. So we were

1384
01:13:41,760 --> 01:13:44,880
Speaker 1: talking about this off Mike, Is this Dealer Dan? Is

1385
01:13:44,920 --> 01:13:46,439
Speaker 1: this Dealer Dan's big scene?

1386
01:13:46,680 --> 01:13:49,000
Speaker 3: This is Dealer Dan's big scene. Yeah, this is when

1387
01:13:49,240 --> 01:13:51,080
Speaker 3: I mean the world knows him as the man whose

1388
01:13:51,080 --> 01:13:54,400
Speaker 3: pants were exploding, but also the scene where Dealer Dan

1389
01:13:54,520 --> 01:13:58,360
Speaker 3: eats it here in the woods. I'd like, how how

1390
01:13:58,400 --> 01:14:00,600
Speaker 3: does that interact with what we later learn about the

1391
01:14:00,600 --> 01:14:03,000
Speaker 3: fact that Meleus is supposed to be imprisoned under the

1392
01:14:03,040 --> 01:14:04,679
Speaker 3: earth and cannot roam free.

1393
01:14:05,720 --> 01:14:10,360
Speaker 1: Hmmm. I guess Yeah, it doesn't make sense. Yeah, he's

1394
01:14:10,439 --> 01:14:12,360
Speaker 1: not fully free, but he does get to come out

1395
01:14:12,360 --> 01:14:16,920
Speaker 1: and terrorize the neighborhood. Maybe he is permitted only to

1396
01:14:17,080 --> 01:14:22,160
Speaker 1: come out and kill within a very tight area surrounding

1397
01:14:22,240 --> 01:14:23,040
Speaker 1: lava springs.

1398
01:14:23,160 --> 01:14:25,519
Speaker 3: Maybe he's got like a time limit or a distance

1399
01:14:25,680 --> 01:14:30,599
Speaker 3: of proximity. Yeah. Anyway, after this attack, Terry Nash sits

1400
01:14:30,680 --> 01:14:33,360
Speaker 3: up in bed. He's somewhere else where, he's in his bed.

1401
01:14:33,400 --> 01:14:35,519
Speaker 3: He wakes up and he has had a vision of

1402
01:14:35,560 --> 01:14:37,800
Speaker 3: these events in his mind. So I guess Terry is

1403
01:14:37,840 --> 01:14:40,559
Speaker 3: psychic too. I don't think this has already come up

1404
01:14:40,600 --> 01:14:44,800
Speaker 3: in the movie, but he just knows, and he at

1405
01:14:44,880 --> 01:14:48,640
Speaker 3: least has cult of Melias related remote viewing powers. So

1406
01:14:48,680 --> 01:14:50,439
Speaker 3: as soon as he wakes up, he calls Eddie on

1407
01:14:50,479 --> 01:14:52,439
Speaker 3: the phone and he's like, there's been another murder.

1408
01:14:52,680 --> 01:14:54,600
Speaker 1: Yeah, this area is a hotbed of psychics.

1409
01:14:54,840 --> 01:14:58,280
Speaker 3: Yeah. From here, we go on to another interview scene.

1410
01:14:58,320 --> 01:15:01,439
Speaker 3: So after meeting with guy Zoop and Stacy goes to

1411
01:15:01,520 --> 01:15:05,760
Speaker 3: chat with somebody that Zupan referred her to, somebody named

1412
01:15:05,880 --> 01:15:10,519
Speaker 3: Madame Oleska. This is another psychic and she's this lady

1413
01:15:10,600 --> 01:15:13,360
Speaker 3: is a fan of sequins. She's wearing a very shiny,

1414
01:15:13,400 --> 01:15:18,360
Speaker 3: sparkly dress. She's got interesting hair, and she is going

1415
01:15:18,400 --> 01:15:21,640
Speaker 3: to tell Stacy about the dark of the Moon ceremony.

1416
01:15:22,520 --> 01:15:25,360
Speaker 3: Any other details you want to mention about Madame Aleska.

1417
01:15:25,600 --> 01:15:27,880
Speaker 1: Oh, I'll just say that this is this again. Is

1418
01:15:27,960 --> 01:15:33,160
Speaker 1: Don Wildsmith's playing Aleska, and you know, clearly graduated from

1419
01:15:33,240 --> 01:15:36,720
Speaker 1: the fred Olin Ray school of acting. Yes, I love

1420
01:15:36,800 --> 01:15:41,400
Speaker 1: everything about the performance. I love the ridiculously fake accent

1421
01:15:41,479 --> 01:15:43,800
Speaker 1: she's employing here, Just tremendous.

1422
01:15:44,240 --> 01:15:46,439
Speaker 3: Yeah, so we sort of already know the gist at

1423
01:15:46,439 --> 01:15:49,480
Speaker 3: this point, but she's going to explain that the Satanic

1424
01:15:49,520 --> 01:15:53,479
Speaker 3: cult here is called They're called the Perennials. She says,

1425
01:15:53,560 --> 01:15:56,840
Speaker 3: it is a terribly sadistic and savage religion, almost as

1426
01:15:56,840 --> 01:16:00,320
Speaker 3: old as man itself. They're called the Perennials be because

1427
01:16:00,360 --> 01:16:03,920
Speaker 3: they never die. They have mastered a means of cloning,

1428
01:16:04,160 --> 01:16:06,880
Speaker 3: though not in a scientific sense, is what she says.

1429
01:16:07,160 --> 01:16:08,759
Speaker 1: Okay, magic cloning, gotcha?

1430
01:16:08,880 --> 01:16:11,040
Speaker 3: But how does what does the cloning have to do

1431
01:16:11,080 --> 01:16:13,280
Speaker 3: with anything? Or are they making copies of people? I

1432
01:16:13,280 --> 01:16:14,080
Speaker 3: don't remember that?

1433
01:16:14,800 --> 01:16:17,599
Speaker 1: Well, it's just it's how these villains are still alive

1434
01:16:17,640 --> 01:16:20,360
Speaker 1: after being murdered twenty years ago. Yir hero.

1435
01:16:20,760 --> 01:16:23,719
Speaker 3: Yeah, I guess. So. So she says they can only

1436
01:16:23,760 --> 01:16:26,760
Speaker 3: be killed with sacred steel, and that's a knife or

1437
01:16:26,760 --> 01:16:29,439
Speaker 3: a sword that has been blessed I guess by cleric.

1438
01:16:31,080 --> 01:16:35,040
Speaker 3: So Madame Molesca explains that while most Satanic cults are

1439
01:16:35,080 --> 01:16:40,280
Speaker 3: only inspired by Satan, the perennials are quote actually linked

1440
01:16:40,320 --> 01:16:44,639
Speaker 3: to him, so they are soldiers of Satan. But also

1441
01:16:44,680 --> 01:16:47,920
Speaker 3: I thought their master was Melias, not Satan. That's a

1442
01:16:47,920 --> 01:16:51,760
Speaker 3: little confusing. Also, anyway, don't get don't get caught on

1443
01:16:51,800 --> 01:16:54,040
Speaker 3: details like that, because it's time for an action seating.

1444
01:16:54,040 --> 01:16:55,000
Speaker 1: There's Satan approved.

1445
01:16:55,400 --> 01:17:00,360
Speaker 3: Satan. Yeah, a kid tested Satan approved, and we're going

1446
01:17:00,400 --> 01:17:03,519
Speaker 3: to move on to a tremendous sword fighting scene from here.

1447
01:17:04,040 --> 01:17:07,320
Speaker 3: So the cult is laying a trap for Richard Flynn.

1448
01:17:07,800 --> 01:17:09,960
Speaker 3: We come up in the middle of the woods somewhere

1449
01:17:10,520 --> 01:17:13,200
Speaker 3: where a lady is appearing to have car trouble again.

1450
01:17:13,360 --> 01:17:16,599
Speaker 3: She's having car trouble, just like surrounded by trees, and

1451
01:17:16,680 --> 01:17:19,760
Speaker 3: the rickster pulls up in his truck. He offers to

1452
01:17:19,800 --> 01:17:21,840
Speaker 3: take a look at the engine for her, and while

1453
01:17:21,840 --> 01:17:24,799
Speaker 3: he's looking down under the hood, she pulls a dagger

1454
01:17:24,880 --> 01:17:27,160
Speaker 3: on him like she's going to stab him. But he

1455
01:17:27,560 --> 01:17:30,479
Speaker 3: catches it just in time and slugs her and then

1456
01:17:31,320 --> 01:17:33,880
Speaker 3: all of these all these cultists run out of the tree.

1457
01:17:34,000 --> 01:17:36,080
Speaker 3: Is like Rick is attacked by the guys in the

1458
01:17:36,160 --> 01:17:39,559
Speaker 3: robes again picture like tall jahwas, or kind of lower

1459
01:17:39,560 --> 01:17:43,400
Speaker 3: budget ring raths. They are armed with swords and then

1460
01:17:43,439 --> 01:17:47,000
Speaker 3: there is a massive roving sword fight through the woods

1461
01:17:47,000 --> 01:17:51,160
Speaker 3: over bridges that ends with Rick finally jumping off into

1462
01:17:51,280 --> 01:17:54,639
Speaker 3: the river to escape. And I love this fight scene.

1463
01:17:54,880 --> 01:17:57,719
Speaker 1: Yeah, yeah, a lot of passion went into this. There's

1464
01:17:57,720 --> 01:18:02,520
Speaker 1: a lot of fun, fun swordplay, exhausting looking sword play. Yeah,

1465
01:18:02,640 --> 01:18:05,599
Speaker 1: and it ends with with our hero taking a quick

1466
01:18:05,680 --> 01:18:07,000
Speaker 1: jump into the end of the river.

1467
01:18:07,200 --> 01:18:10,320
Speaker 3: You get the feeling the Rickster he cannot be stopped

1468
01:18:10,640 --> 01:18:13,240
Speaker 3: and like the sword fade, the sword fighting lessons really

1469
01:18:13,280 --> 01:18:16,080
Speaker 3: paid off. There's also I was thinking, what kind of

1470
01:18:16,200 --> 01:18:19,519
Speaker 3: action hero is he? He's kind of presented the way

1471
01:18:19,600 --> 01:18:23,000
Speaker 3: Indiana Jones is in that, like, in one sense he's

1472
01:18:23,040 --> 01:18:26,760
Speaker 3: really tough and a good fighter and all that, but

1473
01:18:26,800 --> 01:18:30,880
Speaker 3: there's also a comedic exasperatedness to him, like, oh not

1474
01:18:31,120 --> 01:18:35,840
Speaker 3: this again. Yes, anyway, the next scene is oh well,

1475
01:18:35,920 --> 01:18:37,960
Speaker 3: in the next scene, he makes his appointment, so the

1476
01:18:38,000 --> 01:18:40,280
Speaker 3: Rickster is now dry even though he jumped in the

1477
01:18:40,320 --> 01:18:42,679
Speaker 3: river and he's made it in time for the meeting

1478
01:18:43,280 --> 01:18:46,040
Speaker 3: in Sister Mary's office at the church with Terry Nash

1479
01:18:46,040 --> 01:18:49,559
Speaker 3: and Eddie. Here we find out that these cultists keep

1480
01:18:49,600 --> 01:18:52,240
Speaker 3: trying to kidnap Terry. I don't think we've ever seen

1481
01:18:52,280 --> 01:18:55,200
Speaker 3: this happen. We're just told they tried to kidnap him,

1482
01:18:55,960 --> 01:18:59,320
Speaker 3: and Terry claims that Arkham and Brian Devray are still alive.

1483
01:18:59,640 --> 01:19:02,599
Speaker 3: The Rick Stirr says he does not buy it. There

1484
01:19:02,640 --> 01:19:04,200
Speaker 3: is a rob I don't know if you caught the

1485
01:19:04,240 --> 01:19:07,840
Speaker 3: same thing. Very weird detail from the scene. Sister Mary

1486
01:19:07,920 --> 01:19:11,080
Speaker 3: says that not only did she raise Terry Nash, she

1487
01:19:11,280 --> 01:19:15,559
Speaker 3: quote raised his mother as well. Like, wait a minute,

1488
01:19:15,680 --> 01:19:20,400
Speaker 3: it's nineteen nine. She looks about thirty maybes, so Terry

1489
01:19:20,520 --> 01:19:23,800
Speaker 3: is twenty years old. Angela seems like she was at

1490
01:19:23,880 --> 01:19:27,240
Speaker 3: least in her early to mid twenties in nineteen seventy one.

1491
01:19:27,960 --> 01:19:31,360
Speaker 3: So Sister Mary does not look anywhere near old enough

1492
01:19:31,400 --> 01:19:34,400
Speaker 3: to have raised Angela. She doesn't even really look old

1493
01:19:34,479 --> 01:19:35,599
Speaker 3: enough to have raised Terry.

1494
01:19:35,960 --> 01:19:38,800
Speaker 1: Yeah, no, no, not at all. Yeah, she looks very young.

1495
01:19:38,840 --> 01:19:39,080
Speaker 3: Really.

1496
01:19:39,080 --> 01:19:41,400
Speaker 1: When they introduced this nun, I was like, oh no,

1497
01:19:41,479 --> 01:19:45,720
Speaker 1: this is going to be another romantic interest for Rick.

1498
01:19:45,800 --> 01:19:49,519
Speaker 1: Here it doesn't go that direction, but yeah, there's no

1499
01:19:49,600 --> 01:19:52,200
Speaker 1: way this lady is old enough to have raised both

1500
01:19:52,240 --> 01:19:52,880
Speaker 1: of these people.

1501
01:19:53,000 --> 01:19:55,759
Speaker 3: There's some almost flirting between them, yeah.

1502
01:19:55,640 --> 01:19:58,200
Speaker 1: Because I mean, you can't help it, Rick, Rick's charisma

1503
01:19:58,240 --> 01:20:01,760
Speaker 1: is undeniable. Yeah, you know, vows aside, she can't help

1504
01:20:01,760 --> 01:20:02,280
Speaker 1: with flirtaling.

1505
01:20:03,360 --> 01:20:06,400
Speaker 3: So somewhere in here, there's also a little peek inside

1506
01:20:06,479 --> 01:20:09,360
Speaker 3: life in the cult where the you know, Arkham and

1507
01:20:09,360 --> 01:20:11,599
Speaker 3: Devray are in. They're whipping a guy because he failed

1508
01:20:11,600 --> 01:20:14,599
Speaker 3: to kill Richard Flynn earlier, and they give him the dagger.

1509
01:20:16,400 --> 01:20:19,320
Speaker 3: There's there's a scene after this where Flynn is sleeping

1510
01:20:19,360 --> 01:20:21,759
Speaker 3: outside next to a campfire with a bottle of whiskey

1511
01:20:21,760 --> 01:20:23,919
Speaker 3: in his hand, and he has more dreams about Angela.

1512
01:20:24,040 --> 01:20:27,240
Speaker 3: She appears and warns him of danger, and then Eddie

1513
01:20:27,360 --> 01:20:29,840
Speaker 3: comes up on the campfire to share the bottle of

1514
01:20:29,840 --> 01:20:32,360
Speaker 3: whiskey and they have a Manda man talk. It seems

1515
01:20:32,600 --> 01:20:35,600
Speaker 3: Flynn actually does believe the cult is back. He just

1516
01:20:35,680 --> 01:20:37,920
Speaker 3: doesn't know if he can trust that kid because he

1517
01:20:38,040 --> 01:20:41,000
Speaker 3: is the son of Brian Devray after all, or so

1518
01:20:41,160 --> 01:20:44,000
Speaker 3: he thinks. I don't know if folks out there have

1519
01:20:44,200 --> 01:20:48,000
Speaker 3: really caught on to where this is headed end. It's

1520
01:20:48,040 --> 01:20:51,920
Speaker 3: a little obvious, but anyway, he's convinced that something is

1521
01:20:52,000 --> 01:20:54,880
Speaker 3: up because he talks about how he randomly got an

1522
01:20:55,000 --> 01:20:58,000
Speaker 3: urge to learn sword fighting two years ago and now

1523
01:20:58,200 --> 01:21:03,200
Speaker 3: suddenly he's being attacked by men with swords. Doesn't that

1524
01:21:03,280 --> 01:21:04,000
Speaker 3: mean something?

1525
01:21:05,240 --> 01:21:07,080
Speaker 1: I mean, it would seem like he's the chosen one.

1526
01:21:07,080 --> 01:21:08,920
Speaker 1: But if he's truly the chosen one, it seems like

1527
01:21:08,960 --> 01:21:10,920
Speaker 1: maybe he would have been inspired to take up a

1528
01:21:11,040 --> 01:21:15,599
Speaker 1: ranged weapon. They could take out people with long swords

1529
01:21:15,600 --> 01:21:17,040
Speaker 1: before they close distance on him.

1530
01:21:17,240 --> 01:21:19,639
Speaker 3: It shouldn't it be like super soaker full of holy water.

1531
01:21:19,880 --> 01:21:21,040
Speaker 3: That's got to be the better.

1532
01:21:20,800 --> 01:21:22,720
Speaker 1: Option, right, Yeah, yeah, and yeah, you don't have to

1533
01:21:22,760 --> 01:21:24,920
Speaker 1: worry about accidentally hitting a bystander.

1534
01:21:25,160 --> 01:21:28,479
Speaker 3: Yeah. Anyway, there's also a scene here where we go

1535
01:21:28,640 --> 01:21:31,320
Speaker 3: back to Sister Mary's office and she lets him in

1536
01:21:31,360 --> 01:21:34,760
Speaker 3: on the secrets. She implies to him that Terry is

1537
01:21:34,840 --> 01:21:37,880
Speaker 3: not Brian Devray's son, he's Rickster junior. And she does

1538
01:21:37,920 --> 01:21:41,080
Speaker 3: this by like showing him a picture of Terry Rick

1539
01:21:41,160 --> 01:21:43,160
Speaker 3: has seen. But he shows him a picture He's like,

1540
01:21:43,439 --> 01:21:46,720
Speaker 3: it's funny. He doesn't resemble Brian Devray at all, but

1541
01:21:46,800 --> 01:21:51,200
Speaker 3: he does resemble someone else, and then Flynn stares wide

1542
01:21:51,240 --> 01:21:53,679
Speaker 3: eyed at the camera like, oh brother.

1543
01:21:54,479 --> 01:21:57,360
Speaker 1: Yeah.

1544
01:21:57,400 --> 01:22:00,240
Speaker 3: So after this, Flynn finally hangs out with Terry and

1545
01:22:00,280 --> 01:22:02,320
Speaker 3: that they bond over the fact that they are both

1546
01:22:02,400 --> 01:22:05,880
Speaker 3: receiving psychic dream messages from Angela. I wonder if she's

1547
01:22:06,040 --> 01:22:08,960
Speaker 3: dressed in the dream messages to Terry the way she

1548
01:22:09,080 --> 01:22:14,599
Speaker 3: is in Flynn's dreams anyway, but she's saying in these dreams,

1549
01:22:14,600 --> 01:22:17,080
Speaker 3: she's like, I'm still alive. You've got to come save me.

1550
01:22:18,640 --> 01:22:21,280
Speaker 3: After this, Flynn, Eddie, and Terry have a meeting with

1551
01:22:21,439 --> 01:22:24,280
Speaker 3: Madame Alesca Glad to get another scene with her, and

1552
01:22:24,320 --> 01:22:27,120
Speaker 3: she fills them in on the cult, the fact that

1553
01:22:27,200 --> 01:22:31,160
Speaker 3: Angela is still alive and that if the cult succeeds

1554
01:22:31,200 --> 01:22:33,040
Speaker 3: in their ritual, which is going to be, they're going

1555
01:22:33,080 --> 01:22:37,000
Speaker 3: to try to sacrifice Angela and Terry together. If they

1556
01:22:37,080 --> 01:22:39,320
Speaker 3: knew that, the demon will be set loose from his

1557
01:22:39,400 --> 01:22:41,680
Speaker 3: underground prison and he will be free to take over

1558
01:22:41,720 --> 01:22:45,839
Speaker 3: the world. So they need Angela for the sacrifice because

1559
01:22:45,880 --> 01:22:48,559
Speaker 3: she is like the most perfect human who ever lived.

1560
01:22:48,640 --> 01:22:51,120
Speaker 3: She is an angel of light. It's almost there right

1561
01:22:51,120 --> 01:22:55,000
Speaker 3: in her name and once the cult finishes their standard

1562
01:22:55,080 --> 01:22:57,960
Speaker 3: twenty murders, which they're already close to completing, they're going

1563
01:22:58,040 --> 01:23:00,759
Speaker 3: to move on to the final ceremony with Angela and Terry.

1564
01:23:01,080 --> 01:23:02,880
Speaker 1: I was wondering about how this is supposed to work.

1565
01:23:02,960 --> 01:23:08,719
Speaker 1: Does Terry become like the body of Malius unclear or something.

1566
01:23:08,760 --> 01:23:10,840
Speaker 3: I think they're supposed to just sacrifice the both of

1567
01:23:10,880 --> 01:23:13,200
Speaker 3: them together and then Meleas can just come out of

1568
01:23:13,200 --> 01:23:15,280
Speaker 3: his cave. It seems like that's what they're saying.

1569
01:23:15,400 --> 01:23:16,559
Speaker 1: Okay, all right, fair enough.

1570
01:23:17,880 --> 01:23:20,599
Speaker 3: So anyway, they've got to stop the ceremony from happening, obviously,

1571
01:23:20,720 --> 01:23:23,320
Speaker 3: or it will be the end of the world. So

1572
01:23:23,479 --> 01:23:25,519
Speaker 3: after this scene, I was like, oh, well, then it's clear.

1573
01:23:25,640 --> 01:23:27,719
Speaker 3: You got to just put Terry on a plane at once,

1574
01:23:27,880 --> 01:23:30,120
Speaker 3: fly him off to Guam where the cult can't get him.

1575
01:23:30,200 --> 01:23:32,479
Speaker 1: Right, Yeah, you'd think at least get him out of

1576
01:23:32,520 --> 01:23:33,360
Speaker 1: the county.

1577
01:23:33,720 --> 01:23:37,040
Speaker 3: But no, that's not how it works. And then there's

1578
01:23:37,080 --> 01:23:39,439
Speaker 3: some funny if almost feels like a scene is missing

1579
01:23:39,479 --> 01:23:42,599
Speaker 3: from the editor or something, because immediately after their scene

1580
01:23:43,240 --> 01:23:46,839
Speaker 3: with Madame Molesca, we go to a scene where Stacey

1581
01:23:47,040 --> 01:23:50,920
Speaker 3: walks into Madame Molesca's house. Sometime later, and it's all

1582
01:23:51,000 --> 01:23:53,840
Speaker 3: dark inside, and Madame Molesca is sitting in a chair

1583
01:23:54,200 --> 01:23:57,719
Speaker 3: and she's not responding to Stacy's greetings. And then Stacey

1584
01:23:57,760 --> 01:24:00,800
Speaker 3: walks up and her head falls off animal Esca. Her

1585
01:24:00,840 --> 01:24:02,240
Speaker 3: head just rolls off onto the floor.

1586
01:24:02,360 --> 01:24:04,160
Speaker 1: Yeah, there's like a rope around her neck. And at

1587
01:24:04,160 --> 01:24:06,000
Speaker 1: first you're like, oh, she's been strangling. It's like, oh, no,

1588
01:24:06,040 --> 01:24:07,080
Speaker 1: she's been decapitated.

1589
01:24:07,200 --> 01:24:10,559
Speaker 3: Yeah, so the cult got her sometime in between these

1590
01:24:10,600 --> 01:24:14,120
Speaker 3: two back to back scenes with her. But Rick, Eddie

1591
01:24:14,160 --> 01:24:16,120
Speaker 3: and Terry arrive on the scene and now they form

1592
01:24:16,160 --> 01:24:18,439
Speaker 3: a plan. They're going to hold up at Flynn's house

1593
01:24:18,479 --> 01:24:20,680
Speaker 3: and wait for the cult to come to them. But

1594
01:24:20,800 --> 01:24:24,479
Speaker 3: first Flynn says, sacred steel. We'll give them all the

1595
01:24:24,520 --> 01:24:28,280
Speaker 3: sacred steel they can eat. So here we get a

1596
01:24:28,600 --> 01:24:32,360
Speaker 3: sweet sword training montage. If only it could play Eye

1597
01:24:32,400 --> 01:24:35,160
Speaker 3: of the Tiger, but this is an all time power

1598
01:24:35,240 --> 01:24:38,400
Speaker 3: up montage. All of the guys train with the sword

1599
01:24:38,439 --> 01:24:42,639
Speaker 3: instructor from earlier. We see Sister Mary blessing their blades

1600
01:24:42,640 --> 01:24:45,639
Speaker 3: with holy water. They like pose for the camera making

1601
01:24:45,720 --> 01:24:50,640
Speaker 3: crosses with their swords. She's putting these cross shaped daggers

1602
01:24:50,680 --> 01:24:52,719
Speaker 3: around their necks. It's awesome.

1603
01:24:53,040 --> 01:24:54,280
Speaker 1: Yeah, they're getting decked out.

1604
01:24:54,760 --> 01:24:57,640
Speaker 3: This crew is ready, so it's basically it's time for

1605
01:24:57,640 --> 01:25:00,559
Speaker 3: the final showdown. They're all at Rick's house. Rick falls

1606
01:25:00,600 --> 01:25:03,400
Speaker 3: asleep in a chair outside by the water. They've got

1607
01:25:03,439 --> 01:25:06,519
Speaker 3: some guards around the house or I think they're cops,

1608
01:25:06,560 --> 01:25:09,400
Speaker 3: but I don't know. They're playing clothes officers. Those guys

1609
01:25:09,439 --> 01:25:12,519
Speaker 3: are quickly killed by cult monsters and the car trouble

1610
01:25:12,600 --> 01:25:16,599
Speaker 3: lady from earlier. The car trouble Lady then wanders into

1611
01:25:16,800 --> 01:25:20,439
Speaker 3: Rick's house and starts to do a demonic temptress thing

1612
01:25:20,560 --> 01:25:24,280
Speaker 3: on Terry, the staging of which is really hilarious. She

1613
01:25:24,560 --> 01:25:26,519
Speaker 3: like is wearing a trench coat and then she like

1614
01:25:26,640 --> 01:25:29,240
Speaker 3: wanders into the kitchen, which is now filled with fog,

1615
01:25:29,800 --> 01:25:32,280
Speaker 3: and like takes the trench coat off, and she's in

1616
01:25:32,360 --> 01:25:34,680
Speaker 3: her underwear and she's like, Hi, Terry.

1617
01:25:34,640 --> 01:25:37,280
Speaker 1: Yeah, more lingerie, Yeah, Victoria's secrets.

1618
01:25:37,360 --> 01:25:40,360
Speaker 3: Yeah, and she sort of sex hypnotizes Terry and they

1619
01:25:40,400 --> 01:25:44,200
Speaker 3: start to kiss, but then whoops, she's actually a hell monster.

1620
01:25:44,439 --> 01:25:45,800
Speaker 3: She's got a demon face.

1621
01:25:45,720 --> 01:25:48,840
Speaker 1: Yeah, but still has the same body as before. So

1622
01:25:49,880 --> 01:25:52,519
Speaker 1: and I guess, you know, Terry could have been forgiven

1623
01:25:52,520 --> 01:25:54,559
Speaker 1: if be just stuck with it. But yeah, this whole

1624
01:25:54,600 --> 01:25:56,920
Speaker 1: scene is amazing, Like, I love how she you know,

1625
01:25:57,000 --> 01:25:59,080
Speaker 1: she wanders into the house out of a night that

1626
01:25:59,240 --> 01:26:05,160
Speaker 1: is dark with intensely illuminated smoke, and we're gonna keep

1627
01:26:05,240 --> 01:26:10,759
Speaker 1: cutting back to Rick outside where it is broad daylight,

1628
01:26:11,240 --> 01:26:15,960
Speaker 1: like not day for night, just broad daylight, and in

1629
01:26:16,000 --> 01:26:20,519
Speaker 1: a way that like you couldn't have possibly missed this

1630
01:26:20,680 --> 01:26:23,280
Speaker 1: in the edit, it's just more of like, well, I

1631
01:26:23,320 --> 01:26:24,880
Speaker 1: really want to get this movie finished.

1632
01:26:25,640 --> 01:26:26,200
Speaker 3: Here's what we have.

1633
01:26:26,400 --> 01:26:26,960
Speaker 1: What we have?

1634
01:26:27,360 --> 01:26:30,599
Speaker 3: Yeah, yeah, so he's in the chair, Yeah, broad daylight.

1635
01:26:30,680 --> 01:26:32,800
Speaker 3: But he wakes up and he like sneaks around and

1636
01:26:32,960 --> 01:26:35,880
Speaker 3: he sees what's happening, and in the end, Rick and

1637
01:26:36,040 --> 01:26:39,000
Speaker 3: Eddie fight off the cult attack. They survived the attack,

1638
01:26:39,040 --> 01:26:41,080
Speaker 3: but Terry is taken away to the underworld.

1639
01:26:41,320 --> 01:26:43,720
Speaker 1: Yeah by Melias shows.

1640
01:26:43,520 --> 01:26:45,080
Speaker 3: Up right, Oh I forgot about that.

1641
01:26:45,160 --> 01:26:47,120
Speaker 1: Yeah yeah, like the big guns move.

1642
01:26:47,840 --> 01:26:50,519
Speaker 3: They thought he couldn't come out, but okay.

1643
01:26:50,760 --> 01:26:54,000
Speaker 1: Limited excursions, I guess. So really on the cultest side,

1644
01:26:54,040 --> 01:26:56,719
Speaker 1: we have the leader like and then the vice president,

1645
01:26:57,240 --> 01:27:03,200
Speaker 1: and then we have it seems like miscellaneous human cultists,

1646
01:27:03,479 --> 01:27:06,040
Speaker 1: and then we have full on demon faced cultists, and

1647
01:27:06,080 --> 01:27:08,920
Speaker 1: then we have Melias who can also show up at

1648
01:27:09,000 --> 01:27:12,479
Speaker 1: least for short bursts of energy and assault.

1649
01:27:12,560 --> 01:27:14,920
Speaker 3: Yeah, a lot of different kinds of enemy classes. Some

1650
01:27:15,040 --> 01:27:18,120
Speaker 3: of the Cultists in robes are humans and some are

1651
01:27:18,160 --> 01:27:22,960
Speaker 3: demons with monster masks. Yeah, uh so, now of course

1652
01:27:23,000 --> 01:27:25,840
Speaker 3: we got to go to the final showdown. The cult

1653
01:27:25,880 --> 01:27:28,760
Speaker 3: has Terry and Angela for the Dark of the Moon ceremony.

1654
01:27:28,960 --> 01:27:33,599
Speaker 3: Seems human kind is doomed unless one man can go

1655
01:27:33,640 --> 01:27:36,040
Speaker 3: in there with a machine gun and a sword and

1656
01:27:36,120 --> 01:27:39,800
Speaker 3: defeat all of Hell. So most of the rest of

1657
01:27:39,840 --> 01:27:44,360
Speaker 3: the movie is just one long, massive overkill action scene

1658
01:27:44,479 --> 01:27:46,679
Speaker 3: of the Rickster versus Hell.

1659
01:27:47,360 --> 01:27:51,600
Speaker 1: Yes, and it's amazing. There's just loving so much swashbuckling.

1660
01:27:52,479 --> 01:27:54,519
Speaker 1: They're running around through Hell. We'll get to go over

1661
01:27:54,560 --> 01:27:58,400
Speaker 1: that bridge a whole bunch of times. Lots of quality

1662
01:27:58,479 --> 01:28:02,799
Speaker 1: kills on the demon then Coultist, bodies of demon Coultist

1663
01:28:02,880 --> 01:28:07,120
Speaker 1: and humanoid Coltist could just plummeting into lava lakes. Oh yeah,

1664
01:28:07,120 --> 01:28:11,200
Speaker 1: that sort of thing. It's just non stop, so many

1665
01:28:11,680 --> 01:28:16,479
Speaker 1: legitimately cool moments, so many humorous moments. It's it's tremendous. There.

1666
01:28:16,760 --> 01:28:20,000
Speaker 3: Let's see to mention a few highlights from the final

1667
01:28:20,040 --> 01:28:22,680
Speaker 3: action you know, the final third of the movie. All

1668
01:28:22,800 --> 01:28:26,000
Speaker 3: this action, the part where Rick is just being whipped

1669
01:28:26,120 --> 01:28:29,400
Speaker 3: by demons with whips and he's like, oh no, I can't,

1670
01:28:30,320 --> 01:28:32,280
Speaker 3: I can't. You know, they've got him cornered and they're

1671
01:28:32,320 --> 01:28:33,280
Speaker 3: just whipping him over to.

1672
01:28:33,640 --> 01:28:37,000
Speaker 1: D four damage to me, over and over again.

1673
01:28:37,240 --> 01:28:41,040
Speaker 3: Yeah, and then he's saved by Terry's Terry like wakes

1674
01:28:41,120 --> 01:28:43,439
Speaker 3: up from the sacrifice slab and he runs in with

1675
01:28:43,479 --> 01:28:46,800
Speaker 3: the sword and he gets the demons. So he comes

1676
01:28:46,800 --> 01:28:49,200
Speaker 3: to the rescue Terry like proves his metal. You know.

1677
01:28:50,360 --> 01:28:52,759
Speaker 3: Then we we get a great fight that is Flynn

1678
01:28:52,920 --> 01:28:56,760
Speaker 3: versus Arkham, where you know Leo Arkham, the big bad

1679
01:28:56,800 --> 01:28:59,479
Speaker 3: guy again was Richard Harrison, and they're they're gonna fight,

1680
01:28:59,600 --> 01:29:02,519
Speaker 3: but uh oh, Flynn has been caught without his sacred

1681
01:29:02,600 --> 01:29:03,360
Speaker 3: steel sword.

1682
01:29:03,600 --> 01:29:05,400
Speaker 1: Yeah, he has one of the cultest swords that's not

1683
01:29:05,439 --> 01:29:06,599
Speaker 1: going to work against the Master.

1684
01:29:06,800 --> 01:29:09,080
Speaker 3: And Arkham points out the rules. He's like, that sword

1685
01:29:09,120 --> 01:29:13,360
Speaker 3: won't work against me. Your sword's over there, and he

1686
01:29:13,479 --> 01:29:16,080
Speaker 3: uses force lightning on Flynn and.

1687
01:29:16,040 --> 01:29:18,040
Speaker 1: It looks pretty good. It looks pretty good for a

1688
01:29:18,040 --> 01:29:18,599
Speaker 1: B movie.

1689
01:29:18,720 --> 01:29:23,280
Speaker 3: Yeah, and so he like force lightnings Flynn and then

1690
01:29:23,360 --> 01:29:26,479
Speaker 3: Flynn's on the ground and Arkham comes up to him

1691
01:29:26,520 --> 01:29:28,519
Speaker 3: and he raises the cult dagger and he's like, looks

1692
01:29:28,560 --> 01:29:31,439
Speaker 3: like we will have our sacrifice after all. But then

1693
01:29:31,479 --> 01:29:34,160
Speaker 3: I was like, wait, so it could have been Flynn

1694
01:29:34,400 --> 01:29:36,840
Speaker 3: instead of these I thought it had to be Terry

1695
01:29:36,880 --> 01:29:37,479
Speaker 3: and Angela.

1696
01:29:38,160 --> 01:29:40,720
Speaker 1: Yeah. I love it when a movie suddenly gets really

1697
01:29:40,800 --> 01:29:43,280
Speaker 1: vague with what kind of sacrifices require. Reminds me a

1698
01:29:43,320 --> 01:29:45,679
Speaker 1: Monster Squad a bit, where it's like, so, white lady,

1699
01:29:45,680 --> 01:29:47,840
Speaker 1: who could have been sacrificed? And why it seems like

1700
01:29:48,160 --> 01:29:49,479
Speaker 1: you're being particular for no reason.

1701
01:29:49,640 --> 01:29:52,080
Speaker 3: Yeah, but of course, how does Flynn how is he

1702
01:29:52,120 --> 01:29:55,120
Speaker 3: going to get out of this? Remember earlier sister Mary

1703
01:29:55,160 --> 01:29:57,960
Speaker 3: gave him that little metal crucifix around his neck. Well,

1704
01:29:58,000 --> 01:30:00,479
Speaker 3: it turns out that can be also sacred. Deal, so

1705
01:30:00,520 --> 01:30:03,760
Speaker 3: he stabs Leo with the with the crucifix, got him,

1706
01:30:03,960 --> 01:30:06,719
Speaker 3: But then we haven't defeated all the bad guys because

1707
01:30:06,720 --> 01:30:09,920
Speaker 3: we get a Melius attack. And here this is the

1708
01:30:10,000 --> 01:30:13,479
Speaker 3: stop motion we were alluding to earlier. It's not the

1709
01:30:13,520 --> 01:30:16,679
Speaker 3: best ever, but it's not bad. It's pretty cool monster

1710
01:30:16,760 --> 01:30:17,320
Speaker 3: stop motion.

1711
01:30:17,560 --> 01:30:21,960
Speaker 1: Yeah, I mean you can the stop motion movies that

1712
01:30:22,000 --> 01:30:24,120
Speaker 1: we watch in Weird House tend to be of a

1713
01:30:24,280 --> 01:30:27,720
Speaker 1: very high or approaching high caliber. So you know, it's

1714
01:30:27,800 --> 01:30:30,120
Speaker 1: unfair to compare something like this to the works of

1715
01:30:30,160 --> 01:30:34,559
Speaker 1: the great Ray Harry Housen, or to Phil Tippett, for example.

1716
01:30:34,600 --> 01:30:38,000
Speaker 1: But that being said, it's totally fun. It's it's it's

1717
01:30:38,080 --> 01:30:41,559
Speaker 1: JANKI and cool and and he tears a guy in half.

1718
01:30:41,920 --> 01:30:43,400
Speaker 1: Who does he tear in half? Joe?

1719
01:30:43,560 --> 01:30:47,160
Speaker 3: Oh boy? We get the return of when this guy

1720
01:30:47,200 --> 01:30:51,000
Speaker 3: showed back up, I was aghast. It is the return

1721
01:30:51,040 --> 01:30:52,960
Speaker 3: of guy Zupan, remember.

1722
01:30:53,400 --> 01:30:55,439
Speaker 1: A character I'd completely forgotten.

1723
01:30:55,680 --> 01:30:59,400
Speaker 3: Yeah, with the frosty hair, and he's I think when

1724
01:30:59,400 --> 01:31:01,559
Speaker 3: he shows up again in Hell, he's still wearing his

1725
01:31:01,640 --> 01:31:02,800
Speaker 3: three piece suit and the.

1726
01:31:02,800 --> 01:31:05,120
Speaker 1: Overcoats for success. Yeah.

1727
01:31:05,200 --> 01:31:07,320
Speaker 3: Yeah, So he's wearing the suit and he's got a

1728
01:31:07,360 --> 01:31:10,360
Speaker 3: shotgun and he's like, I'm here, I'm fighting now. It

1729
01:31:10,520 --> 01:31:14,759
Speaker 3: starts shooting the monster and I didn't remember what happened

1730
01:31:14,760 --> 01:31:16,719
Speaker 3: to him. But he gets torn in half, you say.

1731
01:31:16,720 --> 01:31:18,720
Speaker 1: I think, so, yeah, yeah, there is some sort of

1732
01:31:18,880 --> 01:31:20,800
Speaker 1: where he gets bitten in half something. We get some

1733
01:31:20,920 --> 01:31:24,639
Speaker 1: nice stop motion monster mayhem here, but.

1734
01:31:24,680 --> 01:31:27,240
Speaker 3: We get so. Of course, this buys Flynn time to

1735
01:31:27,400 --> 01:31:29,679
Speaker 3: escape from Hell, so he runs out of the cave.

1736
01:31:29,760 --> 01:31:32,760
Speaker 3: But uh oh, now Meleias is coming Meleeas is coming

1737
01:31:32,760 --> 01:31:34,720
Speaker 3: to the mouth of the cave, and the whole time

1738
01:31:34,880 --> 01:31:37,560
Speaker 3: Eddie's been waiting outside with like a bomb rig to

1739
01:31:37,680 --> 01:31:39,559
Speaker 3: explode to close the mouth of Hell.

1740
01:31:40,080 --> 01:31:41,759
Speaker 1: Police issue hell Mouth closer.

1741
01:31:42,000 --> 01:31:43,880
Speaker 3: Yeah, So they close the mouth of it, they blow

1742
01:31:43,960 --> 01:31:47,160
Speaker 3: up the bomb, the hell Mouth closes, and seems like

1743
01:31:47,200 --> 01:31:51,160
Speaker 3: the evil is defeated. So Flynn and Angela are of course,

1744
01:31:51,240 --> 01:31:53,600
Speaker 3: Angela is rescued. She's alive again, what do you know?

1745
01:31:53,760 --> 01:31:56,240
Speaker 3: And it seems like they're about to kiss, but then

1746
01:31:56,240 --> 01:31:59,599
Speaker 3: there is a last scare because oh, here's Brian Devray

1747
01:31:59,680 --> 01:32:02,599
Speaker 3: and he's running up and he's gonna he's gonna attack them,

1748
01:32:02,840 --> 01:32:06,679
Speaker 3: but Terry comes through and guns down Brian Devray and

1749
01:32:06,720 --> 01:32:10,599
Speaker 3: then Brian Devray somehow like falls on a sacred blessed

1750
01:32:10,600 --> 01:32:15,840
Speaker 3: steel sword. Yeah yeah, and they're like, uh, They're like,

1751
01:32:15,840 --> 01:32:18,920
Speaker 3: what did you say to him? Flynn whispers something to

1752
01:32:18,920 --> 01:32:20,760
Speaker 3: Brian Devray and they're like, what did you say to him?

1753
01:32:20,800 --> 01:32:22,519
Speaker 3: And he says I told him to go to hell.

1754
01:32:23,240 --> 01:32:26,800
Speaker 3: And then that, of course, Flynn and Angela kiss, and

1755
01:32:26,840 --> 01:32:30,519
Speaker 3: it cuts to Terry and Eddie who are looking on

1756
01:32:30,680 --> 01:32:33,160
Speaker 3: happily and framed by a rainbow.

1757
01:32:34,320 --> 01:32:37,080
Speaker 1: Yeah.

1758
01:32:34,840 --> 01:32:39,000
Speaker 3: Yeah, the rainbow in the skies.

1759
01:32:39,040 --> 01:32:42,360
Speaker 1: Like, yeah, within this context, the rainbow is supposed to

1760
01:32:42,439 --> 01:32:47,040
Speaker 1: mean God's promised to never allow Alias to climb out

1761
01:32:47,080 --> 01:32:49,320
Speaker 1: of the hellm mouth. Again, I guess that's what it means.

1762
01:32:49,680 --> 01:32:53,400
Speaker 3: Well, Rob, I think Empire of the Dark was such

1763
01:32:53,439 --> 01:32:56,200
Speaker 3: a wonderful find. This movie was not on my radar

1764
01:32:56,320 --> 01:32:59,240
Speaker 3: at all until you suggested it for the show, and

1765
01:32:59,520 --> 01:33:01,120
Speaker 3: it's it's a new fave for me.

1766
01:33:01,680 --> 01:33:04,679
Speaker 1: I forget who recommended it to me or what list

1767
01:33:04,800 --> 01:33:06,920
Speaker 1: I saw it on, but I came back around to

1768
01:33:07,000 --> 01:33:10,600
Speaker 1: it in a few days before our selection for this episode.

1769
01:33:10,680 --> 01:33:13,599
Speaker 1: And yeah, like I said, has its own following their

1770
01:33:13,720 --> 01:33:16,599
Speaker 1: showings of this movie. So if you're if you, if

1771
01:33:16,640 --> 01:33:18,439
Speaker 1: you look out in the right places, you may get

1772
01:33:18,479 --> 01:33:20,160
Speaker 1: a chance to see this one on the big screen

1773
01:33:20,439 --> 01:33:24,479
Speaker 1: as intended. But one one question we didn't address, Joe,

1774
01:33:24,800 --> 01:33:28,120
Speaker 1: what is the Empire of the Dark? Is? Is should

1775
01:33:28,120 --> 01:33:30,879
Speaker 1: we take this literally? Is hell then the hell dimension

1776
01:33:31,080 --> 01:33:34,320
Speaker 1: that Dark characters go into repeatedly? Is this the Empire

1777
01:33:34,360 --> 01:33:37,559
Speaker 1: of the Dark? Is our world the Empire of the Dark?

1778
01:33:38,680 --> 01:33:40,640
Speaker 1: Or is the Empire of the Dark a matter of

1779
01:33:40,640 --> 01:33:41,040
Speaker 1: the heart.

1780
01:33:42,360 --> 01:33:44,400
Speaker 3: These are all very good questions, though you know it

1781
01:33:44,760 --> 01:33:47,120
Speaker 3: the cult in the movie never feels all that much

1782
01:33:47,200 --> 01:33:50,200
Speaker 3: like an empire. It feels like very uh like they

1783
01:33:50,200 --> 01:33:51,559
Speaker 3: have not assumed power yet.

1784
01:33:52,200 --> 01:33:52,400
Speaker 5: You know.

1785
01:33:52,439 --> 01:33:55,559
Speaker 3: The cult is the our heroes are not the plucky

1786
01:33:55,640 --> 01:33:59,600
Speaker 3: rebels rising up against the imperial authority. The cult in

1787
01:33:59,640 --> 01:34:02,800
Speaker 3: the movie is very like not yet ascendant.

1788
01:34:03,240 --> 01:34:05,439
Speaker 1: Yeah, I don't think they have the infrastructure to really

1789
01:34:07,479 --> 01:34:11,400
Speaker 1: become a global empire. Regional. Maybe maybe they can tackle

1790
01:34:11,439 --> 01:34:12,639
Speaker 1: reading and that's about it.

1791
01:34:12,720 --> 01:34:15,240
Speaker 3: I think maybe the idea is actually, this is probably

1792
01:34:15,240 --> 01:34:19,080
Speaker 3: what it means. The heroes are preventing the Empire of

1793
01:34:19,160 --> 01:34:23,040
Speaker 3: the Dark from being created. There, cutting it off at

1794
01:34:23,040 --> 01:34:23,559
Speaker 3: the roots.

1795
01:34:23,840 --> 01:34:26,440
Speaker 1: There you go. That's the I think that's the correct interpretation.

1796
01:34:26,960 --> 01:34:28,680
Speaker 3: And there's a rainbow there to let you know that

1797
01:34:28,760 --> 01:34:29,200
Speaker 3: it worked.

1798
01:34:29,479 --> 01:34:29,960
Speaker 1: That's right.

1799
01:34:30,200 --> 01:34:31,599
Speaker 3: I can't get over that rainbow.

1800
01:34:31,680 --> 01:34:35,120
Speaker 1: It's so beautiful, so beautiful frame this one. Put it

1801
01:34:35,160 --> 01:34:39,240
Speaker 1: on the wall, all right, Well that was Empire of

1802
01:34:39,280 --> 01:34:41,680
Speaker 1: the Dark. Guess we know we have to have some

1803
01:34:41,760 --> 01:34:44,000
Speaker 1: fans of this picture out there. There's so much in

1804
01:34:44,040 --> 01:34:46,800
Speaker 1: this picture to discuss that we didn't even get to

1805
01:34:47,200 --> 01:34:51,000
Speaker 1: really everything. There's so many nice little details that are

1806
01:34:51,000 --> 01:34:54,639
Speaker 1: you know, either snapshots of the passion that went into it,

1807
01:34:54,800 --> 01:34:59,639
Speaker 1: or the or the budgetary constraints on this particular dream.

1808
01:35:00,360 --> 01:35:02,759
Speaker 1: But you know, all of it is just so authentic

1809
01:35:02,800 --> 01:35:05,840
Speaker 1: and wonderful, so tremendous fun. If you haven't seen it,

1810
01:35:05,880 --> 01:35:09,360
Speaker 1: definitely check it out. Yes, all right, In the meantime,

1811
01:35:09,400 --> 01:35:11,320
Speaker 1: we'll just remind you once more that Stuff to Blow

1812
01:35:11,320 --> 01:35:13,960
Speaker 1: Your Mind is primarily a science and culture podcast, with

1813
01:35:14,040 --> 01:35:16,800
Speaker 1: core episodes on Tuesdays and Thursdays, but on Fridays we

1814
01:35:16,840 --> 01:35:19,160
Speaker 1: set aside most serious concerns and just talk about a

1815
01:35:19,160 --> 01:35:22,599
Speaker 1: weird movie here on Weird House Cinema. You can follow

1816
01:35:22,640 --> 01:35:25,880
Speaker 1: Stuff to Blow your Mind on various social media platforms,

1817
01:35:26,080 --> 01:35:29,120
Speaker 1: but if you want to follow Weird House Cinema in particular,

1818
01:35:29,400 --> 01:35:31,840
Speaker 1: well you can go to letterboxed dot com. We are

1819
01:35:31,920 --> 01:35:34,880
Speaker 1: weird House there, and that's a great way to look

1820
01:35:34,880 --> 01:35:36,400
Speaker 1: back on all the films we've covered over the years

1821
01:35:36,400 --> 01:35:38,479
Speaker 1: and sometimes get a peek ahead at what comes next.

1822
01:35:38,640 --> 01:35:41,120
Speaker 1: And also wherever you get your podcasts, you can also

1823
01:35:41,240 --> 01:35:45,080
Speaker 1: subscribe to Weird House Cinema exclusively as a playlist. That's

1824
01:35:45,120 --> 01:35:49,120
Speaker 1: another option out there if that suits your listening preferences.

1825
01:35:49,600 --> 01:35:53,320
Speaker 3: Huge things as always to our excellent audio producer JJ Posway.

1826
01:35:53,600 --> 01:35:55,120
Speaker 3: If you would like to get in touch with us

1827
01:35:55,120 --> 01:35:57,599
Speaker 3: with feedback on this episode or any other, to suggest

1828
01:35:57,600 --> 01:35:59,639
Speaker 3: a topic for the future, or just to say hello.

1829
01:36:00,080 --> 01:36:03,000
Speaker 3: Email us at contact at stuff to Blow your Mind

1830
01:36:03,120 --> 01:36:10,439
Speaker 3: dot com.

1831
01:36:10,520 --> 01:36:13,479
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1832
01:36:13,560 --> 01:36:16,360
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1833
01:36:16,520 --> 01:36:19,520
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.