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

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick.

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Speaker 2: This week we're discussing a film that's really been on

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Speaker 2: the Weird House Cinema list pretty much from the get go,

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Speaker 2: and that is Blue Sunshine, a weird independent thriller and

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Speaker 2: kind of secret Christmas movie from nineteen seventy seven that

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Speaker 2: melds sensationalized media ideas about psychedelics with chilling horror and

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Speaker 2: a biting critique of post sixties anxiety and hippie disillusionment.

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Speaker 2: It's also, in my opinion, just as cutting today. I mean,

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Speaker 2: it has its goofy moments to be cleared. We'll get

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Speaker 2: into those which are quite enjoyable, but the terror and

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Speaker 2: the anxiety in the picture absolutely holds up, as does

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Speaker 2: I think. It's vision of a world in which to

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Speaker 2: invoke under s Thompson, the wave of optimism and progress

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Speaker 2: as seemingly crashed and fallen back, given way to a

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Speaker 2: world that seems to be spinning on, untethered from our will,

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Speaker 2: enraptured by commercialism, and at the same time we find

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Speaker 2: ourselves taking in more con Man dreams of a better tomorrow,

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Speaker 2: perhaps delusions not that dissimilar to the same things that

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Speaker 2: we saw as revelations a mere decade ago. And at

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Speaker 2: the same time, I think it's also a film about

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Speaker 2: the journey out of youth into middle age, out of hope,

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Speaker 2: into well, maybe uncertainty.

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Speaker 3: I would say that this is the paranoid horror spin

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Speaker 3: on the Big Chill. Yeah, but I totally agree with

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Speaker 3: what you said about the duality of this movie. I

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Speaker 3: would put it in the Suspiria zone, comparing it to

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Speaker 3: the Dario Argento film Syspiria, in that it is both

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Speaker 3: extremely effective as intended as horror, Like there is some

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Speaker 3: of the scary stuff in this movie is terrifying. It

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Speaker 3: is it is so so strong, But it is also

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Speaker 3: extremely unintentionally funny in the same way that you have

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Speaker 3: both of these things in Suspiria. So in Suspiria you

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Speaker 3: have great you know, the witch looming out the window

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Speaker 3: and the darkness and and those great scenes of terror

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Speaker 3: creeping down the hall as the music swells. You know,

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Speaker 3: it's great stuff. But then you've also got the bat

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Speaker 3: that looks like a pair of rolled up socks and

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Speaker 3: the hilarious line deliveries. That's all there. Similar kind of

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Speaker 3: thing here, the kind of paranoia and anxiety that this

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Speaker 3: movie creates about a the kind of time bomb of unwellness,

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Speaker 3: like the idea that you have done something to your

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Speaker 3: body and your mind already years ago, and there's no

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Speaker 3: way to go back and fix it, and now it

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Speaker 3: is just it is just mounting in its takeover of

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Speaker 3: your psyche. It's a truly terrifying atmosphere that's created there.

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Speaker 3: And at the same time, there is a lot of

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Speaker 3: wig stuff in this movies, like people trying to grab

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Speaker 3: wigs off people's heads and like bald guys running around

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Speaker 3: beating people up in the disco, and it's like truly

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Speaker 3: a banquet of many different kinds of movie pleasure all

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Speaker 3: packed into one.

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Speaker 2: Yeah, there's more than one scene where the protagonist is

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Speaker 2: clearly trying to decide whether he should try and snatch

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Speaker 2: that wig or not snatch somebody's hair and see if

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Speaker 2: it's a wig, which is just, yeah, kind of inherently goofy.

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Speaker 2: But you can't take it away from the film because

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Speaker 2: like a lot of the stuff that works so extremely

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Speaker 2: well is tied into that concept. Yeah, and yeah, I

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Speaker 2: agree on the central paranoia of the piece, something that

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Speaker 2: I mean clearly speaks to anyone who is growing older.

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Speaker 2: You know, you don't have to have ever consumed an

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Speaker 2: illicit drug of any kind to have those kind of

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Speaker 2: concerns about, you know, should I have you know, smoked,

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Speaker 2: should I have you know, did I drink too much alcohol?

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Speaker 2: That I do something unhealthy, that I make some sort

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Speaker 2: of choices in my life that are going to come

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Speaker 2: back to me, and so forth. And then it does

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Speaker 2: tie in, of course, really well then with the experience

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Speaker 2: of anyone who has engaged in any of these substances.

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Speaker 2: So it works in both ways.

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Speaker 3: That's right. It's a kind of Cronenbergian escalation of that

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Speaker 3: normal wellness concern where you worry like, oh, is the

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Speaker 3: fact that I used to smoke or used to drink

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Speaker 3: too much or something? Is that going to come back

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Speaker 3: and bite me? These worries about our health, except turn

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Speaker 3: that from a general worry about health into a worry

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Speaker 3: about your sanity, you know, a worry that it will

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Speaker 3: come back and it will turn you into a homicidal maniac.

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Speaker 3: Something you did ten years ago that you can't undo.

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Speaker 2: Yeah, because that's the basic premises. We'll get into the

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Speaker 2: idea that there is a strain of LSD called Blue

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Speaker 2: Sunshine that ten years ago, what sixty seven, I think,

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Speaker 2: I think the year before the summer I Love people

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Speaker 2: took it, but it has been like a ticking time bomb,

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Speaker 2: and now ten years later it is starting to transform

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Speaker 2: people suddenly rapidly into homicidal maniacs, you know, changing their

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Speaker 2: DNA perhaps even you know, adjusting the chromosomes and so forth.

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Speaker 2: And yeah, it's like these are people who were ten

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Speaker 2: years removed from the person they were when they took

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Speaker 2: those drugs to begin with.

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Speaker 3: Yeah. Yeah, Now there's another thing I wanted to talk

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Speaker 3: about that really stuck out to me on this viewing

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Speaker 3: of Blue Sunshine. This is not the first time I've

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Speaker 3: seen the movie. My friend Ben showed this to me

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Speaker 3: years and years ago. I might have even been in

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Speaker 3: high school or maybe early in college when he screened

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Speaker 3: this for me at his house, you know, And I

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Speaker 3: was really shocked by it then, and it stuck with

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Speaker 3: me for years. I think you and I literally talked

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Speaker 3: about doing Blue Sunshine ever since the first week we

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Speaker 3: were making Weird House Cinema. It was like one of

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Speaker 3: the first movies on our list.

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Speaker 2: Yeah, I mean it is a hugely popular, you know,

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Speaker 2: cult status weird film. So yeah, yeah, it's it's been

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Speaker 2: on the list since the beginning. I don't know, it

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Speaker 2: just seemed too soon somehow, like we haven't earned it yet.

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Speaker 3: But anyway, So there was a thing I was going

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Speaker 3: to get into, which is an interesting distinction I noticed,

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Speaker 3: which separates it from most of the other movies I

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Speaker 3: would think of as psychedelic films. There is almost no

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Speaker 3: psychedelic imagery or journeying into the mind or the perception

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Speaker 3: of people on psychedelics within Blue Sunshine. So there are

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Speaker 3: a lot of characters that are clearly having bad psychedelic

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Speaker 3: experiences in the movie, but we don't see from their perspective.

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Speaker 3: We only see them from the outside behaving erratically. And

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Speaker 3: this is really unique. I mean, I think about all

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Speaker 3: these other sixties drug movies, psychedelic movies, they all employ

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Speaker 3: some kind of like weird imagery to show the psychedelic

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Speaker 3: perspective of hallucinations, or they employ camera techniques to show

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Speaker 3: visual you know, they do double exposures and weird kind

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Speaker 3: of special effects to create that psychedelic viewpoint. This movie

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Speaker 3: has really none of that. It's a movie about the

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Speaker 3: dark side of extraordinary experiences within the mind, which, in

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Speaker 3: its own perspective, the perspective of the camera is committed

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Speaker 3: to an almost entirely material meat space picture. Do you

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Speaker 3: know what I'm talking about?

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Speaker 2: Yeah, yeah, absolutely, I mean because I mean, cinematically, the

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Speaker 2: psychedelic look was well established by this point, you know,

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Speaker 2: and we've all seen I think a lot of most

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Speaker 2: of the listeners to Weird House Cinema have seen films

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Speaker 2: that have psychedelic elements, you know, swirling colors, you know,

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Speaker 2: some sort of groovy in camera technique, or you know,

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Speaker 2: even some other kind of like special effect. A lot

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Speaker 2: of this stuff was already well established. In fact, the

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Speaker 2: Blu Ray that I used to watch Blue Sunshine this

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Speaker 2: is the film centric Blu Ray edition. As an extra

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Speaker 2: amid some other really cool extras, it features an eighteen

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Speaker 2: minute nineteen sixty seven anti drug documentary titled LSD Insight

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Speaker 2: or Insanity, and it's terrific, and it contains plenty of

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Speaker 2: cliche and even quite inventive psychedelic sequences, you know, like

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Speaker 2: swirling colors, people like blurring in and out of existence,

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Speaker 2: strange things happening in the mirror.

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Speaker 3: I didn't get a chance to watch this in full,

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Speaker 3: but you shared it with me and I saw the beginning,

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Speaker 3: which was really great because it does not begin like

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Speaker 3: showing you people taking tabs of acid and saying like

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Speaker 3: the menace that threatens your mind. Instead, it begins by

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Speaker 3: showing a bunch of high schoolers and the narrators like

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Speaker 3: teenagers love to express themselves, even the boys. Yeah, it's

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Speaker 3: about like clothes and hairstyles. And I was just like,

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Speaker 3: how are we going to get to the acid from this?

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Speaker 3: But of course it goes on to like you know,

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Speaker 3: show parties. And there's one screen cap I pulled here

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Speaker 3: in our chat that's just like a lady with a

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Speaker 3: lighter in front of her face that says, why be

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Speaker 3: lame baby?

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Speaker 2: Yeah, LSD insider insanity. It's it's in full on YouTube,

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Speaker 2: so you can find it out there. But but yeah,

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Speaker 2: with this film with Blue Sunshine, it seems to make

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Speaker 2: a conscious decision to avoid many of the trappings of

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Speaker 2: cinematic psychedelia for whatever reason, you know, be it budgetary

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Speaker 2: or I think I would be inclined to think it

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Speaker 2: is just like an absolute creative choice here. It absolutely works.

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Speaker 2: I mean, these are all characters for whom the world

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Speaker 2: of psychedelic experience was previously like you know, out there,

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Speaker 2: and now at this point in their lives, it is

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Speaker 2: very much like receding inside them. You know, they have

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Speaker 2: the memories of those days. It's part of who they were,

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Speaker 2: maybe only a small part of who they are now,

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Speaker 2: and only you know, slightly connected to this world they're

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Speaker 2: living in. It's like an echo and therefore, I don't know,

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Speaker 2: it kind of makes sense that we don't see it

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Speaker 2: as much. All right. My elevator pitch for this one

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Speaker 2: is pretty simple. It's maybe you took too much acid. Yeah,

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Speaker 2: a right. Let's go ahead and listen to a little

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Speaker 2: bit of the trailer audio here.

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Speaker 4: The nightmare has begun. Blue Sunshine, Blue Sunshine, It could

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Speaker 4: happen to you.

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Speaker 2: And we'll come back to discuss some of the marketing

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Speaker 2: materials here, Becau, because the marketing materials for Blue Sunshine

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Speaker 2: certainly ratcheted up the drug exploitation elements of the picture,

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Speaker 2: and you can argue to what extent those elements are

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Speaker 2: actually present in the film itself.

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Speaker 3: Were they trying to blair which this thing a little

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Speaker 3: bit kind of making it like this is real. Blue

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Speaker 3: Sunshine is a real phenomenon.

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Speaker 2: I think so because if you look at there's one

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Speaker 2: poster in particular that I think is just ridiculous and

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Speaker 2: it says like, bigger than the title of the film,

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Speaker 2: you have warning if you were one of the millions

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Speaker 2: who took hallucinogens in the late nineteen sixties, you may

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Speaker 2: be a human time bomb about to explode into a

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Speaker 2: bloody nightmare of uncontrollable killing. Think back, did you ever

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Speaker 2: hear the words blue Sunshine? Try to remember? Your life

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Speaker 2: may depend on it. So, I mean, clearly they're getting

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Speaker 2: in there.

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Speaker 3: I'm of mixed feelings about that because on one hand,

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Speaker 3: I feel like that's very strong marketing and it emphasizes

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Speaker 3: the effectiveness of the movie, but also like to put

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Speaker 3: that on the poster where it's not as clear that

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Speaker 3: this is like a thick contrive it. So that's just

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Speaker 3: kind of mean.

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Speaker 2: Yeah, like it doesn't like this poster you have to

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Speaker 2: really scan down to see like the R rating. Otherwise,

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Speaker 2: even the credits don't look like they're not like laid

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Speaker 2: out like typical credits, so yeah, it looks like, oh,

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Speaker 2: it's just a PSA about about the blue asset.

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Speaker 3: To be clear to anybody listening, this is a fictional

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Speaker 3: thing in the movie. There's no such thing as Blue

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Speaker 3: Sunshine that made people's hair fall out and kill everybody.

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Speaker 2: Yeah, yeah, all right, if you want to watch Blue

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Speaker 2: Sunshine for yourself, Lucky for you. Numerous special editions of

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Speaker 2: this film have come out. It's one of those where

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Speaker 2: I feel like they keep coming out with new ones.

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Speaker 2: I watched it on the film Centric Blu ray rented

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Speaker 2: from Atlanta's own Video Drum. Sign Apps Films also put

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Speaker 2: out a great looking Blu ray set with some really

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Speaker 2: cool custom sleeves. I think. I think Video Drum also

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Speaker 2: has this copy as well, and I'm sure it's streamable. Yeah,

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Speaker 2: I watched.

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Speaker 3: I watched it streaming.

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Speaker 4: Cool.

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Speaker 2: All right, Well, let's get into the people involved here,

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Speaker 2: starting at the top with Jeff Lieberman. He's the director,

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Speaker 2: he's the writer. He also voices the parrot, which is

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Speaker 2: pretty great.

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Speaker 3: You know, we had a parrot in our last weird

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Speaker 3: house cinema movie, remember, Oh did we? It was the

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Speaker 3: rainbow wig guy in Rock and Roll.

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Speaker 2: Yes, of course, Oh yes, a humanoid parrot that's.

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Speaker 3: Right, Yes, who was selling tickets.

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Speaker 2: Yes, yeah so. Jeff Liberman born nineteen forty seven American

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Speaker 2: film director and writer, best known for a trio of

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Speaker 2: thrillers that have each gained different levels of cult movie status.

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Speaker 2: The first in this trio was nineteen seventy six. Is Squirm,

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Speaker 2: a movie about killer earthworms that many of us know

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Speaker 2: best from Mystery Science Theater three thousand. This is the

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Speaker 2: Now You're Gonna Be the worm Face movie?

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Speaker 3: Do I recall that the Mystery Science Theater edit of

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Speaker 3: this movie significantly sanitizes the film?

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Speaker 2: Yes? Yeah, this is one, and I have to admit

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Speaker 2: I haven't watched it in full uncut. I love this

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Speaker 2: MST three K episode, but I really owe it to

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Speaker 2: Squirm to watch the full cut that has all of

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Speaker 2: the like grotesque makeup effects by the legendary Rick Baker,

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Speaker 2: lots of worm face action in there that I really

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Speaker 2: need to I really need to watch the full uncut picture.

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Speaker 2: So that Squirm. Then came this picture Blue Sunshine, and

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Speaker 2: then in nineteen eighty one he gave us Just Before Dawn,

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Speaker 2: that's a you know, backwood slasher starring George Kennedy. So

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Speaker 2: those are kind of the big ones. He also did

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Speaker 2: a nineteen eighty eight film titled Remote Control. That looks

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Speaker 2: pretty entertaining. We might have to come back to that one.

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Speaker 2: He also worked on the screenplay for The never Ending

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Speaker 2: Story three in nineteen ninety four. I don't think that's

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Speaker 2: that's a good one, but I'm gonna mention it just

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Speaker 2: because it connects to the never Ending Story.

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Speaker 3: Maybe it's like The Exorcist, where the second one's bad

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Speaker 3: with the third one's good. Again.

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Speaker 2: I have my doubts. But in the late seventies, Jeff

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Speaker 2: Lieberman was that he was a young director with a vision.

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Speaker 2: That's the way A actor Robert Walden, who will come

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Speaker 2: back to in a minute, described him in an interview

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Speaker 2: that's one of the extras on the disc that I watched.

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Speaker 2: It described him as a young, really kind of egotistical director,

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Speaker 2: but with a firm, uncompromising vision for the cinematic world

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Speaker 2: in the story he wanted to create. He knew exactly

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Speaker 2: what he wanted to tell here, and he said in interviews.

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Speaker 2: Lieberman has that he didn't see Blue Sunshine at all

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Speaker 2: as an anti drug film. He himself had experiences with

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Speaker 2: LSD that I don't know the way he was describing them.

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Speaker 2: Some of the extras they sounded on the whole positive. He's,

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Speaker 2: you know, admittedly he's a weird dude, and he talks

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Speaker 2: about how LSD made him realize that he was so

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Speaker 2: weird and he was always going to be a little

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Speaker 2: removed from normal, mondane society. But but yeah, he said

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Speaker 2: that one of the things he set out to do

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Speaker 2: with Blue Sunshine was to use the anti drug paranoia

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Speaker 2: and propagon propaganda present in the media as a kind

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Speaker 2: of science fiction skeleton upon which to build his story,

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Speaker 2: which so he compares it ultimately to the bad science

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Speaker 2: of radioactive mutation in atomic D movies of the fifties.

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Speaker 3: Oh that's interesting because I was kind of wondering about

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Speaker 3: this while we were thinking about Jeff Lieberman. Here I

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Speaker 3: realized a point of comparison and a film with I

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Speaker 3: think you could argue similar themes. Is Penos Cosmotos is

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Speaker 3: Beyond the Black Rainbow.

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Speaker 2: Yes, I'm certain that Blue Sunshine was a major influence.

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Speaker 2: I'm Beyond the Black Rainbow, and you know, in some

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Speaker 2: of its themes of you know, post sixties disillusionment and

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Speaker 2: also like mega tripping bald psychopaths.

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Speaker 3: Yeah, I mean it's a point of view I can

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Speaker 3: sympathize with, even though I don't have an overall negative

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Speaker 3: view of psychedelics, and I'm not sure that I would

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Speaker 3: suspect that penos Cosmatos does, and as you say, Lieberman

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Speaker 3: apparently did not either. But I think it's kind of

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Speaker 3: interesting to explore the dark, arker side of thing, because

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Speaker 3: darker side of this thing, because you do end up

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Speaker 3: with these people who are kind of psychedelic evangelists, you know,

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Speaker 3: these people like Timothy Leary who became famous for preaching

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Speaker 3: the virtues of taking psychedelics and saying, you know, all

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Speaker 3: the good things that it would do for your for

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Speaker 3: your mind, And I don't know. I think I have

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Speaker 3: a more balanced view on it, which takes the idea

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Speaker 3: of mind expansion somewhat seriously. But of course your mind

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Speaker 3: can expand in good or bad ways, and you know,

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Speaker 3: without the right kind of without the right kind of

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Speaker 3: guidance and framing of a psychedelic experience, you can imagine

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Speaker 3: it could make you a worse person. It just sort

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Speaker 3: of like opens up possibilities of personal change.

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Speaker 2: Yeah, yeah, I mean, we did a whole series on

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Speaker 2: psychedelics years back. Those episodes should be available in the

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Speaker 2: archives stuffed about your mind. And yeah, one of the

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Speaker 2: things that we stress there is that, yeah, but bad

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Speaker 2: trips do happen, and psychedelic experiences in general tend to

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Speaker 2: have they tend to not be just like the rosy, colorful,

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Speaker 2: cinematic psychedelic experience that you see in like some of

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Speaker 2: these psychedelic films. So it's yeah, and then on top

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Speaker 2: of that, without getting you know, super into you know,

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Speaker 2: the science and history of psychedelics like it does not,

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Speaker 2: they don't, they tend not, they don't work well with

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Speaker 2: everyone's brain chemistry, and some people absolutely should not take them.

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Speaker 2: So yeah, all of all of those caveats very much

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Speaker 2: in place here.

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Speaker 3: Yeah, and so I think there is an interesting cultural

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Speaker 3: role for films like this as a kind of not

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Speaker 3: that you should take Blue Sunshine seriously as like a

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Speaker 3: scenario that would actually unfold, but because on one hand,

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Speaker 3: you do have psychedelic evangelists who are out there, I

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Speaker 3: think over selling the unalloyed virtues of psychedelics just like, oh,

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Speaker 3: it's perfect, it's it's all good, everybody should do it.

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Speaker 3: On the other hand, it's you know, you can get

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Speaker 3: a balance, you can get some people spinning out these

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Speaker 3: these overly negative scenarios and showing the kind of the

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Speaker 3: side of disillusionment and destruction.

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Speaker 2: And then also in the same way that like really rosy,

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Speaker 2: you know, tinted psychedelic sequences in films are very entertaining.

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Speaker 2: Dark psychedelia is also very entertaining, and so yeah, I

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Speaker 2: think we need both just as filmgoers. All right, let's

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Speaker 2: get into the cast here, starting at the top with

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Speaker 2: the character Jerry Zipken. We're gonna be talking about Jerry

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Speaker 2: Zipkin quite a bit here, played by Zalman King, who

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Speaker 2: lived nineteen forty two through twenty twelve.

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Speaker 3: Just let me compare two things, the experience of watching

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Speaker 3: Blue Sunshine versus how everybody seems to write and talk

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Speaker 3: about him, which is like, this is the handsomest, sexiest

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Speaker 3: guy who has ever lived. I'm not trying to insult him.

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Speaker 3: I mean, like, yeah, it's a good looking guy and

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Speaker 3: all that, but his vibe in the movie is weird.

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Speaker 3: I don't know, maybe it's just the character he's playing

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Speaker 3: in Blue Sunshine, but he does not come off like

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Speaker 3: a hunk of burn in love in this movie, even

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Speaker 3: though he is rather lovey dovey in some scenes. Mostly

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Speaker 3: he comes off as a weird, obsessed guy who is

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Speaker 3: on a different frequency than everybody else.

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Speaker 2: Yeah, and is on the run from authority throughout most

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Speaker 2: of the pictures. So uh so, Yeah, but yeah, when

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Speaker 2: you hear when you hear people talk about him, like again,

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Speaker 2: coming back to that Robert Walden interview on the Blu Ray, Yeah,

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Speaker 2: he talks about how just like effortlessly charming and sexy

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Speaker 2: Zaman King was and how you know, how how well

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Speaker 2: he worked with with female co stars, and but at

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Speaker 2: the same time he also talks about just like and

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Speaker 2: and I think this is something we do see in

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Speaker 2: his performance, about how intense and stripped down his performances

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Speaker 2: at times, Like he's definitely like manic and freaking out

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Speaker 2: at times. But then there are there are a lot

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Speaker 2: of scenes where you know often talk about, you know,

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Speaker 2: performances where it's all in the eyes and you can

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Speaker 2: see the gears turning behind the eyes, and we definitely

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Speaker 2: get that from King in.

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Speaker 3: This There are scenes where it seems like he should

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Speaker 3: be saying more, but he's just totally silent. And then

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Speaker 3: there are other scenes where he's suddenly screaming and I

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Speaker 3: don't understand why.

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Speaker 2: Yeah, I mean he's having a rough time. Yeah, but yeah, so.

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Speaker 2: Zalman King, actor turned director and producer. His acting credits

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Speaker 2: go back to the mid sixties. He even pops up

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Speaker 2: in a sixty five episode of The Munsters playing some

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Speaker 2: sort of like bearded hipster or something.

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Speaker 3: Is he like an egor character?

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Speaker 2: I don't know, he's like I think he's credited as

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Speaker 2: like bearded dude or something. But he did a lot

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Speaker 2: of TV westerns and the like, but his film career

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Speaker 2: took off more in the nineteen seventies. He's probably best

388
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Speaker 2: known for acting in Well This There's nineteen seventy six

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Speaker 2: is the Passover plot. He's also in nineteen eighty one's

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Speaker 2: Galaxy of Terror. He also shows up in a film

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Speaker 2: I watched in the last couple of years, nineteen eighty

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Speaker 2: two's Endangered Species. That's a tight little cattle mutilation film

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Speaker 2: by Alan Rudolph. It's only a very small Zalman King,

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Speaker 2: Zaman King performance, very small part. But he was a

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Speaker 2: producer on that picture.

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Speaker 3: That's not the one we watched, No, the one we

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Speaker 3: watched that had.

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Speaker 2: We watched The Return, The Return, Oh yeah, that was

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Speaker 2: The Return Leans into the other Worldly causes of cattle mutilation,

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Speaker 2: whereas I don't want to spoil anything, but I just

401
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Speaker 2: say in Dangered Species, it's more of like a straight

402
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Speaker 2: up real world thriller.

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Speaker 3: Oh, I just looked it up. Yeah, this was the

404
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Speaker 3: Martin Landau Jan, Michael Vincent and Sybil Shepherd.

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Speaker 2: Yeah, that's the one we watched.

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Speaker 3: Yeah, yeah, the Return and Vincent Chiavelli.

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Speaker 2: Yeah. Yeah, it's a lot of fun. Yeah, that episode

408
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Speaker 2: is of Weird Hoouse Cinemas in the archives.

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Speaker 3: Now.

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Speaker 2: The first place I heard of Zalmon King though, was

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Speaker 2: this is during the nineteen nineties. He had an erotic

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Speaker 2: drama anthology series titled Red Shoe Diaries, and I think

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Speaker 2: it was sometimes marketed as Zalman King's Red Shoe Diaries.

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Speaker 2: And I don't know where I was hearing ads for it,

415
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Speaker 2: because I don't think I ever watched it. But it

416
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Speaker 2: was a showtime series, so maybe it was on on

417
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Speaker 2: a showtime preview, maybe it was in syndication. I'm not sure,

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Speaker 2: but the name Zalmon King it captured my young attention,

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Speaker 2: and indeed Zaman King made a name for himself directing

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Speaker 2: and producing motion pictures of a sensual and erotic nature.

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Speaker 2: These include nineteen eighty eight's Two Moon Junction, eighty nine's

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Speaker 2: Wild Orchid, nineteen ninety two's Red Shoe Diaries, which inspired

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Speaker 2: the series, and nineteen ninety five's Delta of Venus. Of these,

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Speaker 2: I've only seen Delta of Venus, but as I recall,

425
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Speaker 2: it's been a long time, but it was a beautifully

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Speaker 2: shot piece inspired by the works of an I nin

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Speaker 2: So I'm no expert on this genre, but I'd say

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Speaker 2: you might roughly classify it as fairly high minded erotica.

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Speaker 2: He also produced Nine and a Half Weeks.

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Speaker 3: I was just trying to think why I'd heard of

431
00:23:40,400 --> 00:23:42,400
Speaker 3: Red Shoe Diaries, but I looked it up and David

432
00:23:42,440 --> 00:23:44,320
Speaker 3: Ducoveney was in this, So there you go.

433
00:23:44,760 --> 00:23:47,679
Speaker 2: That's a why is that the movie or the TV series?

434
00:23:48,680 --> 00:23:51,879
Speaker 3: Let's see it is the anthology series.

435
00:23:51,960 --> 00:23:52,919
Speaker 2: Okay, there you go.

436
00:23:53,320 --> 00:23:55,440
Speaker 3: Oh wait, how is it? How does it star David

437
00:23:55,480 --> 00:23:57,919
Speaker 3: Ducoveney If it's in anthology, Maybe he's just in the

438
00:23:57,960 --> 00:23:58,760
Speaker 3: first episode.

439
00:23:59,000 --> 00:24:03,640
Speaker 2: Maybe he's like the crip Keeper, he's the sexy crypt keeper.

440
00:24:03,800 --> 00:24:06,320
Speaker 3: Yeah, David Dukovny, Why don't you love me?

441
00:24:06,680 --> 00:24:09,840
Speaker 2: Yeah? All right, Moving on through the rest of the cast,

442
00:24:09,880 --> 00:24:14,680
Speaker 2: Deborah Winters plays Alicia Sweeney. This is Zipken's romantic interest.

443
00:24:14,920 --> 00:24:17,560
Speaker 2: Winters was born in nineteen fifty three. Prior to this,

444
00:24:17,680 --> 00:24:20,600
Speaker 2: she'd done several films, including nineteen seventies The People next Door,

445
00:24:21,040 --> 00:24:24,920
Speaker 2: seventy one's Cotch, seventy three's Class of forty four. Other

446
00:24:24,960 --> 00:24:27,560
Speaker 2: film credits include nineteen eighty sevens The Outing and nineteen

447
00:24:27,600 --> 00:24:29,760
Speaker 2: seventy sevens Tarantula's The Deadly Cargo.

448
00:24:30,160 --> 00:24:34,200
Speaker 3: Oh, I gotta look that up. We're covering that. I

449
00:24:34,240 --> 00:24:36,520
Speaker 3: don't even know. I don't know anything, but it's going

450
00:24:36,560 --> 00:24:37,080
Speaker 3: on the list.

451
00:24:37,680 --> 00:24:40,240
Speaker 2: Her last film was the nineteen ninety two TV movie

452
00:24:40,240 --> 00:24:43,320
Speaker 2: Behind the Mask. She was also on TV's Gemini Man

453
00:24:43,359 --> 00:24:46,639
Speaker 2: starring Den Murphy, but is not in the MST three

454
00:24:46,760 --> 00:24:49,679
Speaker 2: K movie cut of Gemini Man that was titled Writing

455
00:24:49,720 --> 00:24:52,840
Speaker 2: with Death. I'd say Winters is good in this. I

456
00:24:52,880 --> 00:24:55,480
Speaker 2: don't think I've seen her in anything else, but like

457
00:24:55,520 --> 00:24:59,360
Speaker 2: pretty much everyone in Blue Sunshine, she gives a believable

458
00:24:59,480 --> 00:25:03,760
Speaker 2: performance with the caveat a caveat here about when characters

459
00:25:03,800 --> 00:25:07,960
Speaker 2: actually freak out and become homicidal maniacs, but in terms

460
00:25:08,000 --> 00:25:10,520
Speaker 2: of like just normal human interactions, when people were playing

461
00:25:10,600 --> 00:25:17,040
Speaker 2: like regular characters. Everyone's really good in this and her

462
00:25:17,200 --> 00:25:20,280
Speaker 2: character is a character with agency and intuition.

463
00:25:20,920 --> 00:25:23,240
Speaker 3: She is good. Though I don't know if you agree

464
00:25:23,240 --> 00:25:26,680
Speaker 3: with this. I would say the tone of her performance

465
00:25:26,960 --> 00:25:30,480
Speaker 3: is different from everybody else in the movie. I would

466
00:25:30,480 --> 00:25:34,480
Speaker 3: say everybody else is playing it a little bit straighter,

467
00:25:35,040 --> 00:25:37,920
Speaker 3: and she is playing it a little bit whimsical. Do

468
00:25:38,359 --> 00:25:40,720
Speaker 3: you know what I'm talking about? Like she is treating

469
00:25:40,720 --> 00:25:44,840
Speaker 3: this movie slightly more like a comedy than everybody else.

470
00:25:44,960 --> 00:25:48,440
Speaker 3: For everybody else it's zero, She's on like fifteen or

471
00:25:48,480 --> 00:25:49,159
Speaker 3: twenty percent.

472
00:25:49,920 --> 00:25:52,959
Speaker 2: Yeah, I mean it's yeah. It is kind of like

473
00:25:53,320 --> 00:25:56,880
Speaker 2: she is in a sitcom or not a sitcom maybe,

474
00:25:56,880 --> 00:26:00,280
Speaker 2: but let's say like a lighthearted TV drama titled Blue Sunshine,

475
00:26:00,359 --> 00:26:03,280
Speaker 2: whereas everyone else is in the gritty nineteen seventies thriller.

476
00:26:03,760 --> 00:26:06,120
Speaker 3: Like she has a little bit of a like roll

477
00:26:06,160 --> 00:26:08,800
Speaker 3: your eyes and look at the camera energy and all

478
00:26:08,840 --> 00:26:12,199
Speaker 3: everybody else's wigs are coming off and they're attacking strangers.

479
00:26:12,440 --> 00:26:14,440
Speaker 2: Yeah, but she's in a lot of scenes with Zalman King,

480
00:26:14,480 --> 00:26:16,840
Speaker 2: so it could just be like it's that natural charisma,

481
00:26:17,000 --> 00:26:19,359
Speaker 2: just like lightning the mood. Maybe a little too much,

482
00:26:28,119 --> 00:26:32,240
Speaker 2: all right, Next up, we have Mark Goddard playing Edward Fleming.

483
00:26:32,320 --> 00:26:36,119
Speaker 2: This is our sixties psychedelic guru turned seventies politician.

484
00:26:36,600 --> 00:26:38,959
Speaker 3: I was thinking of this guy as what if the

485
00:26:39,080 --> 00:26:43,159
Speaker 3: Richard Lynch character from God told me to left Gurudam

486
00:26:43,240 --> 00:26:44,879
Speaker 3: and decided to run for office.

487
00:26:45,240 --> 00:26:48,399
Speaker 2: Yeah, yeah, I think we mentioned panoscos Modos already, But

488
00:26:48,880 --> 00:26:54,440
Speaker 2: the character from his film Mandy Jeremiah Sand I think

489
00:26:54,640 --> 00:26:58,560
Speaker 2: is kind of an extrapolation in some ways of this character,

490
00:26:58,680 --> 00:27:01,679
Speaker 2: at least the the hints we have about who this

491
00:27:01,800 --> 00:27:05,280
Speaker 2: character was prior to the nineteen seventies. Because that's one

492
00:27:05,320 --> 00:27:09,480
Speaker 2: of the interesting things about this character, Edward Fleming. There's

493
00:27:09,480 --> 00:27:11,960
Speaker 2: so much implied about who he was, and we don't

494
00:27:11,960 --> 00:27:14,640
Speaker 2: get to see any of it aside from a single image,

495
00:27:14,640 --> 00:27:18,360
Speaker 2: like a single photograph, and that photograph carries a lot

496
00:27:18,400 --> 00:27:22,240
Speaker 2: of weight, like it really forces we imagine so much

497
00:27:22,359 --> 00:27:25,840
Speaker 2: just from that one little thing, and it ultimately delivers

498
00:27:25,880 --> 00:27:29,800
Speaker 2: more than a dozen flashbacks would have. So Mark Goddard

499
00:27:29,880 --> 00:27:33,639
Speaker 2: lived nineteen thirty six through twenty twenty three, perhaps best

500
00:27:33,640 --> 00:27:36,199
Speaker 2: remembered by many anyway as Major Don West on the

501
00:27:36,200 --> 00:27:40,359
Speaker 2: original Lost in Space series. He was like the military dude.

502
00:27:40,440 --> 00:27:42,600
Speaker 2: He has a cameo as a general in the nineteen

503
00:27:42,680 --> 00:27:46,400
Speaker 2: ninety eight film adaptation of Lost in Space, which, because

504
00:27:46,400 --> 00:27:48,480
Speaker 2: I recall, is pretty weird in its own right.

505
00:27:49,119 --> 00:27:51,119
Speaker 3: With the one with Joey from Friends in it.

506
00:27:51,560 --> 00:27:54,680
Speaker 2: Yeah, but even more importantly, it had Gary Oldman as

507
00:27:55,040 --> 00:27:58,800
Speaker 2: Doctor Smith and he like eventually mutates into a giant

508
00:27:58,840 --> 00:28:02,760
Speaker 2: spider thing. Yeah, all right, it's good, or at least

509
00:28:02,800 --> 00:28:05,560
Speaker 2: that good. It's good. I bet that's what I remember.

510
00:28:07,320 --> 00:28:09,680
Speaker 3: I recall. I don't know why I recall that, being

511
00:28:10,160 --> 00:28:14,119
Speaker 3: in the early days of DVD players, that being just

512
00:28:14,160 --> 00:28:17,160
Speaker 3: like a DVD you saw everywhere. They must have made

513
00:28:17,280 --> 00:28:19,000
Speaker 3: more copies of it than anything else.

514
00:28:19,320 --> 00:28:22,080
Speaker 2: Yeah, it felt very sleek in advance for the time,

515
00:28:22,119 --> 00:28:25,320
Speaker 2: as I recall. So anyway, God it was mostly a

516
00:28:25,320 --> 00:28:28,679
Speaker 2: TV actor who appeared on such westerns and mystery series

517
00:28:28,680 --> 00:28:31,959
Speaker 2: as Johnny Ringo, The Detectives, and of course Lost in Space.

518
00:28:32,480 --> 00:28:35,400
Speaker 2: His other film credits include nineteen eighty three Strange Invaders

519
00:28:35,400 --> 00:28:38,680
Speaker 2: in nineteen seventy four's Death Squad. All right, Next, we

520
00:28:38,720 --> 00:28:42,160
Speaker 2: have this character, doctor David Bloom, played by Robert Walden,

521
00:28:42,200 --> 00:28:45,320
Speaker 2: who I've mentioned already. Born in nineteen forty three, He's

522
00:28:45,360 --> 00:28:49,240
Speaker 2: our stressed out surgeon and friend of ZIPKNS. Robert Walden

523
00:28:49,280 --> 00:28:52,240
Speaker 2: was nominated for three Primetime Emmys for his work on

524
00:28:52,600 --> 00:28:54,160
Speaker 2: what seems to I don't know. I'd never heard of

525
00:28:54,200 --> 00:28:56,080
Speaker 2: this before, so it feels like maybe a kind of

526
00:28:56,120 --> 00:29:00,600
Speaker 2: forgotten successful TV series titled Lou Grant which in seventy

527
00:29:00,600 --> 00:29:02,400
Speaker 2: seven through eighty two. Did you know about this series?

528
00:29:02,920 --> 00:29:05,280
Speaker 3: This is a spinoff of Mary Tyler Moore. Luke Grant

529
00:29:05,360 --> 00:29:06,840
Speaker 3: is Mary Tyler Moore's boss.

530
00:29:07,080 --> 00:29:09,800
Speaker 2: There you go ed Asner, right, yeah, yeah, oh, okay,

531
00:29:09,800 --> 00:29:12,000
Speaker 2: well this is yeah, this is the ed Asner spinoff series.

532
00:29:12,040 --> 00:29:16,280
Speaker 2: I've never seen anything from this series, but apparently it

533
00:29:16,360 --> 00:29:19,600
Speaker 2: was popular and Robert Walden must have been good on it,

534
00:29:20,000 --> 00:29:22,120
Speaker 2: and I totally believe it based on his work here

535
00:29:22,120 --> 00:29:24,640
Speaker 2: in Blue Sunshine, because again, there are a lot of

536
00:29:24,680 --> 00:29:27,680
Speaker 2: solid performances in this picture, but Walden's was the one

537
00:29:27,720 --> 00:29:29,760
Speaker 2: that instantly jumped out of me as being like a

538
00:29:29,920 --> 00:29:31,440
Speaker 2: very lived in portrayal, you know.

539
00:29:32,040 --> 00:29:35,200
Speaker 3: Yeah, and you really do feel for this character because

540
00:29:35,560 --> 00:29:39,400
Speaker 3: the movie plants these seeds of worry in its opening scenes.

541
00:29:39,400 --> 00:29:43,160
Speaker 3: Like the opening the credits of the movie keep intercutting

542
00:29:43,160 --> 00:29:47,600
Speaker 3: with these vignettes of characters having mounting tension and headaches.

543
00:29:47,640 --> 00:29:50,240
Speaker 3: And stress as the camera Kinnel like zooms in on

544
00:29:50,280 --> 00:29:53,400
Speaker 3: their face and really implies there's something wrong with their brain.

545
00:29:53,960 --> 00:29:56,640
Speaker 3: And this character gets that treatment, and we see other

546
00:29:56,760 --> 00:30:00,960
Speaker 3: characters in these vignettes have psychotic episod and then you

547
00:30:01,800 --> 00:30:03,840
Speaker 3: get to know more of this character because he's a

548
00:30:03,840 --> 00:30:07,120
Speaker 3: good friend of the protagonist and you really worry for him.

549
00:30:07,400 --> 00:30:10,600
Speaker 2: Yeah, as he explains in the extras that he'd been

550
00:30:10,640 --> 00:30:14,200
Speaker 2: hard up for work for a period there in the

551
00:30:14,200 --> 00:30:17,400
Speaker 2: mid seventies, but then his performance in nineteen seventy six

552
00:30:17,560 --> 00:30:21,120
Speaker 2: is All the President's Men really stirred things back up again,

553
00:30:21,160 --> 00:30:24,520
Speaker 2: and he started getting all these different scripts and inquiries.

554
00:30:24,360 --> 00:30:25,880
Speaker 3: Who was he? And All the President's Men?

555
00:30:28,240 --> 00:30:30,000
Speaker 2: You know, I've never seen All the President's Men, but

556
00:30:31,640 --> 00:30:33,840
Speaker 2: he's like, you know, fourth or fifth down, So it's

557
00:30:34,240 --> 00:30:37,080
Speaker 2: you know, a sizeable supporting role. Li I'm to assume.

558
00:30:37,720 --> 00:30:39,480
Speaker 3: Oh I just looked it up. He played one of

559
00:30:39,560 --> 00:30:40,520
Speaker 3: Nixon's lawyers.

560
00:30:40,760 --> 00:30:44,760
Speaker 2: Okay, yeah, yeah, So All the President's Men comes out

561
00:30:45,720 --> 00:30:47,720
Speaker 2: is a big enough hit that he starts getting all

562
00:30:47,800 --> 00:30:50,640
Speaker 2: these scripts and he starts saying yes to everything, including

563
00:30:50,680 --> 00:30:54,840
Speaker 2: Blue Sunshine, and in his career really you know, picks

564
00:30:54,880 --> 00:30:58,600
Speaker 2: up from there from that point on out, certainly because

565
00:30:58,640 --> 00:31:00,800
Speaker 2: of All the President's Men. Maybe not some much Blue Sunshine,

566
00:31:00,800 --> 00:31:03,240
Speaker 2: but he's great in this. In His many film credits

567
00:31:03,280 --> 00:31:07,280
Speaker 2: include nineteen seventies Bloody Mama, seventy Two's Rage, and two

568
00:31:07,320 --> 00:31:11,160
Speaker 2: Pictures of Note from seventy seven, Capricorn one and Audrey Rose.

569
00:31:11,880 --> 00:31:14,880
Speaker 3: I liked Robert Waldon in Blue Sunshine and Rob you

570
00:31:14,920 --> 00:31:16,120
Speaker 3: should see All the President's Men.

571
00:31:16,560 --> 00:31:18,640
Speaker 2: Yeah, I should. It's a classic, you know, great cast

572
00:31:18,680 --> 00:31:21,200
Speaker 2: and all. But yeah, I'll have to put it on

573
00:31:21,200 --> 00:31:22,520
Speaker 2: the list. It's not one we can ever do for

574
00:31:22,560 --> 00:31:25,080
Speaker 2: Weird House. So sometimes it's hard for me to get

575
00:31:25,080 --> 00:31:27,720
Speaker 2: around to these films that are that are not weird.

576
00:31:28,040 --> 00:31:31,600
Speaker 3: Yeah, non fiction, political journalism, thriller, that's not really our

577
00:31:31,840 --> 00:31:33,719
Speaker 3: that's not really our zone on the show. But it

578
00:31:33,760 --> 00:31:34,240
Speaker 3: is really good.

579
00:31:34,400 --> 00:31:38,720
Speaker 2: If it was all the presidents were wolves now. But yeah,

580
00:31:38,800 --> 00:31:40,000
Speaker 2: let's see, alright, you know, we got to have a

581
00:31:40,040 --> 00:31:42,160
Speaker 2: police inspector. We got to have a detective in a

582
00:31:42,200 --> 00:31:45,240
Speaker 2: film like this, and that's Detective Clay played by Charles Siebert,

583
00:31:45,240 --> 00:31:48,920
Speaker 2: who lived nineteen thirty eight through twenty twenty two. Basically

584
00:31:48,960 --> 00:31:51,400
Speaker 2: established character actor of the seventies and nineties, was in

585
00:31:51,440 --> 00:31:54,280
Speaker 2: a bunch of stuff, including seventy eights Coma, seventy nine's

586
00:31:54,400 --> 00:31:57,000
Speaker 2: Justice for All. Did a lot of TV, like a

587
00:31:57,000 --> 00:32:01,000
Speaker 2: lot of episodes of Trapper John MD, and he directed

588
00:32:01,000 --> 00:32:03,200
Speaker 2: some Trapper John MD, which led to a lot of

589
00:32:03,240 --> 00:32:07,240
Speaker 2: other TV directorial work. He directed episodes of such shows

590
00:32:07,240 --> 00:32:11,640
Speaker 2: Silk Stockings, Mortal Kombat Conquest, and both Hercules and.

591
00:32:11,600 --> 00:32:14,760
Speaker 3: Zena Mortal Kombat Conquest.

592
00:32:15,000 --> 00:32:18,400
Speaker 2: Yeah, somebody had to direct them. You've got to have

593
00:32:18,440 --> 00:32:21,720
Speaker 2: somebody direct these shows, so, you know, hats off to

594
00:32:21,800 --> 00:32:24,320
Speaker 2: the folks who step up and you take one for

595
00:32:24,360 --> 00:32:24,840
Speaker 2: the team.

596
00:32:25,440 --> 00:32:28,240
Speaker 3: I don't really recall anything about him in Blue Sunshine.

597
00:32:28,320 --> 00:32:32,400
Speaker 3: He's sort of a functional character. He's there to facilitate

598
00:32:32,480 --> 00:32:33,800
Speaker 3: the plot mechanics.

599
00:32:34,000 --> 00:32:37,320
Speaker 2: That's right now. The next character is far more impressive,

600
00:32:37,360 --> 00:32:39,360
Speaker 2: and that is the character of Wendy Fleming. This is

601
00:32:39,400 --> 00:32:44,959
Speaker 2: the the X of the politician Fleming that we already mentioned,

602
00:32:45,400 --> 00:32:48,280
Speaker 2: played by Ann Cooper. Yeah, great role.

603
00:32:48,800 --> 00:32:52,760
Speaker 3: This is such a pitiable movie character like you spend

604
00:32:52,960 --> 00:32:55,120
Speaker 3: I don't know, a good quarter of the runtime just

605
00:32:55,120 --> 00:32:57,760
Speaker 3: feeling excruciatingly bad for Wendy.

606
00:32:58,240 --> 00:33:01,480
Speaker 2: Yeah, she's damned, there's no doubt about it. And you

607
00:33:01,520 --> 00:33:03,880
Speaker 2: pretty much know that from the get go, because she's

608
00:33:03,960 --> 00:33:06,200
Speaker 2: on the cover. She's on the poster for pretty much

609
00:33:06,240 --> 00:33:09,960
Speaker 2: any any poster, any box for a blue Sunshine you

610
00:33:10,040 --> 00:33:12,520
Speaker 2: might pick up. You know, we see like the woman

611
00:33:12,600 --> 00:33:15,960
Speaker 2: with the bald head and the and the intense eyes

612
00:33:17,280 --> 00:33:20,760
Speaker 2: and so forth. So you have a sense that something

613
00:33:20,800 --> 00:33:23,720
Speaker 2: bad is coming. And I think she's pretty great in

614
00:33:23,760 --> 00:33:28,400
Speaker 2: the role. Again, a doomed, doomed role, doomed character, but

615
00:33:29,280 --> 00:33:31,240
Speaker 2: quite a quite a fine performance in my opinion.

616
00:33:31,360 --> 00:33:32,000
Speaker 3: Yeah, totally.

617
00:33:32,440 --> 00:33:34,760
Speaker 2: Now, this is Anne Cooper without an E, not to

618
00:33:34,760 --> 00:33:37,400
Speaker 2: be confused with Anne Cooper with an E, who was

619
00:33:37,440 --> 00:33:40,040
Speaker 2: also active at the same time and pops up in

620
00:33:40,080 --> 00:33:43,400
Speaker 2: some you know, some genre pictures as well. Our Anne

621
00:33:43,600 --> 00:33:47,280
Speaker 2: here was a regular in the short lived Blue Thunder

622
00:33:47,360 --> 00:33:51,160
Speaker 2: TV series in nineteen eighty four, which also featured Dana Carvey.

623
00:33:52,000 --> 00:33:54,040
Speaker 2: This was a spin off of the nineteen eighty three

624
00:33:54,160 --> 00:33:58,920
Speaker 2: Dan O'Bannon pinned helicopter movie. I have never seen the

625
00:33:59,000 --> 00:34:01,280
Speaker 2: TV series, but I I love Blue Thunder when I

626
00:34:01,360 --> 00:34:01,760
Speaker 2: was a kid.

627
00:34:01,960 --> 00:34:05,080
Speaker 3: Wait, I don't know what it's a helicopter TV show?

628
00:34:05,560 --> 00:34:10,440
Speaker 2: Yes, so Blue Thunder the movie is about a like essentially,

629
00:34:10,480 --> 00:34:14,080
Speaker 2: the police start using like a super super copter to

630
00:34:14,880 --> 00:34:20,120
Speaker 2: go after criminals and a lot of helicopter Shenanigans ensue.

631
00:34:20,560 --> 00:34:22,799
Speaker 2: It is not a kid's movie, but I somehow saw

632
00:34:22,800 --> 00:34:25,000
Speaker 2: this one when I was a bit young.

633
00:34:25,480 --> 00:34:28,359
Speaker 3: Do the criminals have helicopters too? Otherwise it seems kind

634
00:34:28,360 --> 00:34:29,280
Speaker 3: of unfair.

635
00:34:30,200 --> 00:34:34,160
Speaker 2: The criminals don't have a helicopter. But eventually Malcolm McDowell

636
00:34:34,200 --> 00:34:36,200
Speaker 2: is in a small helicopter and there's like a big

637
00:34:36,200 --> 00:34:42,040
Speaker 2: helicopter like dogfight. So I loved it when I was young.

638
00:34:42,160 --> 00:34:45,200
Speaker 2: I have no idea how it stacks up today. All right,

639
00:34:46,400 --> 00:34:49,880
Speaker 2: Let's see another one more like main cast actor to

640
00:34:49,920 --> 00:34:53,480
Speaker 2: mention here, and that is Ray Young, who plays Wayne Mulligan,

641
00:34:53,560 --> 00:34:57,760
Speaker 2: Big Wayne Mulligan. Ray Young lived nineteen forty through nineteen

642
00:34:57,840 --> 00:35:01,400
Speaker 2: ninety nine. He was a six foot six actor active

643
00:35:01,400 --> 00:35:04,040
Speaker 2: in the seventies, eighties, and nineties, a lot of TV,

644
00:35:04,160 --> 00:35:07,560
Speaker 2: but some rather fun credits. His first credited role is Mango,

645
00:35:07,600 --> 00:35:10,879
Speaker 2: the hunchback in sixty nine's Blood of Dracula's Castle starring

646
00:35:10,960 --> 00:35:14,080
Speaker 2: John Carradine, and he was also in Five Bloody Graves

647
00:35:14,080 --> 00:35:17,120
Speaker 2: the same year. Subsequent film roles include parts in seventy

648
00:35:17,160 --> 00:35:20,960
Speaker 2: three's Coffee, eighty six is Hunter's Blood and on TV.

649
00:35:21,160 --> 00:35:24,160
Speaker 2: His credits include everything from Bewitch, Bonanza, and Gun Smoke

650
00:35:24,239 --> 00:35:27,160
Speaker 2: to Quantum Leap and Star Trek Deep Space nine, and

651
00:35:27,200 --> 00:35:30,640
Speaker 2: he played Bigfoot in sixteen episodes of The Croft Super Show.

652
00:35:31,200 --> 00:35:34,719
Speaker 3: The premise of this character is so simple and yet

653
00:35:34,880 --> 00:35:40,840
Speaker 3: so effective. So the scenario is people, without warning are

654
00:35:40,920 --> 00:35:44,480
Speaker 3: are randomly like going berserk and attacking everyone around them.

655
00:35:44,760 --> 00:35:47,280
Speaker 3: And one of the guys in the mix just happens

656
00:35:47,320 --> 00:35:51,759
Speaker 3: to be gigantic. Yeah yeah, and sot you just wonder like,

657
00:35:52,000 --> 00:35:54,160
Speaker 3: uh oh.

658
00:35:53,480 --> 00:35:56,120
Speaker 2: Yeah, yeah, this guy goes off. It's not good for

659
00:35:56,160 --> 00:35:59,600
Speaker 2: anybody because when they go off, one of the details

660
00:35:59,600 --> 00:36:02,040
Speaker 2: is that they're they also have super strength. I mean

661
00:36:02,280 --> 00:36:05,080
Speaker 2: not too in a degree where it's like magical and

662
00:36:05,120 --> 00:36:09,600
Speaker 2: unrealistic perhaps, but like really strong. Yeah, all right, this

663
00:36:09,680 --> 00:36:11,080
Speaker 2: is just a bit roll. I have to mention this.

664
00:36:11,239 --> 00:36:14,400
Speaker 2: I realize I don't need to mention every like model

665
00:36:14,440 --> 00:36:16,360
Speaker 2: turned actress who pops up in a bit part in

666
00:36:16,400 --> 00:36:20,360
Speaker 2: a genre picture. But there's a campaign girl she's credited

667
00:36:20,400 --> 00:36:22,400
Speaker 2: as Campaign Girl that pops up late in the picture,

668
00:36:22,760 --> 00:36:25,719
Speaker 2: and she's played by Marcy Hanson born nineteen fifty two,

669
00:36:26,320 --> 00:36:29,600
Speaker 2: model turned actress, mostly in TV shows through about nineteen

670
00:36:29,640 --> 00:36:32,840
Speaker 2: eighty five. But of note, she was the Playboy Playmate

671
00:36:32,880 --> 00:36:35,319
Speaker 2: of the Month for October nineteen seventy eight. That's the

672
00:36:35,320 --> 00:36:38,600
Speaker 2: month I was born, so she is essentially my zodiac sign.

673
00:36:40,520 --> 00:36:42,840
Speaker 2: She is not on the cover of this Playboy though,

674
00:36:42,920 --> 00:36:45,960
Speaker 2: because and I've never I've never even looked at this Playboy.

675
00:36:46,000 --> 00:36:48,239
Speaker 2: But you're familiar with it. You probably are picturing this

676
00:36:48,280 --> 00:36:49,919
Speaker 2: is the one that had Dolly Parton on the cover.

677
00:36:50,239 --> 00:36:52,799
Speaker 2: Oh don't she has, you know, the bunny ears and

678
00:36:52,840 --> 00:36:57,520
Speaker 2: all that's apparently this edition of Playboy magazine.

679
00:36:57,640 --> 00:36:59,480
Speaker 3: Hats off to you, Dolly.

680
00:36:59,560 --> 00:37:02,200
Speaker 2: Yeah, this is just a quick bit of trivia. But

681
00:37:02,520 --> 00:37:06,759
Speaker 2: Sandy King John Carpenter's frequent producer and script supervisor. The

682
00:37:06,760 --> 00:37:09,799
Speaker 2: two were married in nineteen ninety. She was script supervisor

683
00:37:09,880 --> 00:37:10,640
Speaker 2: on this picture.

684
00:37:11,160 --> 00:37:13,319
Speaker 3: Interesting crossover. Didn't expect that.

685
00:37:14,040 --> 00:37:17,799
Speaker 2: And then finally getting to the music. The music here

686
00:37:17,920 --> 00:37:20,720
Speaker 2: is a score by Charles Gross, who was born nineteen

687
00:37:20,760 --> 00:37:25,920
Speaker 2: thirty four, apparently still with American composer who worked in film, TV, cartoons,

688
00:37:25,920 --> 00:37:29,879
Speaker 2: in industrial films. His biggest film scores were probably eighty

689
00:37:29,960 --> 00:37:33,200
Speaker 2: nine's Turn in Hooch and nineteen nineties Air America, two

690
00:37:33,239 --> 00:37:37,200
Speaker 2: films that I assume are not really sought after by

691
00:37:37,640 --> 00:37:42,600
Speaker 2: vinyl soundtrack and score collectors, but clearly big pictures. Other

692
00:37:42,680 --> 00:37:45,680
Speaker 2: scores of his from this time period include nineteen seventy

693
00:37:45,680 --> 00:37:48,279
Speaker 2: five's Have a Nice Weekend and the nineteen seventy eight

694
00:37:48,360 --> 00:37:51,520
Speaker 2: TV movie Siege. I can't speak to any of those

695
00:37:51,520 --> 00:37:54,080
Speaker 2: other scores, but his work on Blue Sunshine, I think

696
00:37:54,160 --> 00:37:56,840
Speaker 2: is excellent and it's a huge part of the film's

697
00:37:57,120 --> 00:37:58,240
Speaker 2: effectively creepy.

698
00:37:58,280 --> 00:38:01,960
Speaker 3: Aur I absolutely agree the music is highly effective. I

699
00:38:02,040 --> 00:38:04,560
Speaker 3: don't know exactly what the creative process was here, but

700
00:38:04,600 --> 00:38:07,720
Speaker 3: I was just imagining that I don't know, the director

701
00:38:07,960 --> 00:38:10,960
Speaker 3: came to the composer and said, this is the feeling

702
00:38:11,000 --> 00:38:13,480
Speaker 3: I want to go for, you know, paranoia, that there's

703
00:38:13,520 --> 00:38:16,040
Speaker 3: something wrong with you and that it could suddenly erupt

704
00:38:16,080 --> 00:38:19,359
Speaker 3: and take over your mind. And then the composer came

705
00:38:19,400 --> 00:38:22,880
Speaker 3: back with this and it was just bingo, exactly exactly

706
00:38:22,920 --> 00:38:26,719
Speaker 3: what the movie needs. And so there's like this opening

707
00:38:26,920 --> 00:38:29,560
Speaker 3: song that we get when we first have the credits

708
00:38:29,560 --> 00:38:31,359
Speaker 3: of the film, where you're like looking at the full

709
00:38:31,440 --> 00:38:34,400
Speaker 3: moon and the black sky and you hear these eerie,

710
00:38:34,640 --> 00:38:38,600
Speaker 3: hollow rhythms playing on a marimba, and then there is

711
00:38:38,800 --> 00:38:42,000
Speaker 3: this lead that comes in. That's kind of a dissonant,

712
00:38:42,080 --> 00:38:45,200
Speaker 3: high droning sound. It's a little bit electronic but also

713
00:38:45,239 --> 00:38:48,880
Speaker 3: hard to place. And it's just this feeling of something

714
00:38:48,960 --> 00:38:52,080
Speaker 3: inside you getting worse and worse. It is the ultimate

715
00:38:52,239 --> 00:38:55,440
Speaker 3: I got the bad acid sound. I was trying to

716
00:38:55,600 --> 00:38:59,040
Speaker 3: think of what to compare it to. The instrumentation of

717
00:38:59,080 --> 00:39:01,880
Speaker 3: this main pair of noia trac kind of reminds me

718
00:39:02,000 --> 00:39:04,520
Speaker 3: of the feeling of do you know this song Claphands

719
00:39:04,560 --> 00:39:05,400
Speaker 3: by Tom Waits.

720
00:39:05,560 --> 00:39:06,640
Speaker 2: I don't know this one though.

721
00:39:06,760 --> 00:39:09,960
Speaker 3: Oh it's a great song, but similar kind of paranoid,

722
00:39:10,000 --> 00:39:11,040
Speaker 3: bad acid feeling.

723
00:39:11,560 --> 00:39:15,560
Speaker 2: Oh wow, Yeah, it's this score. It plays with a

724
00:39:15,600 --> 00:39:17,920
Speaker 2: little bit with what I think of as the nineteen

725
00:39:17,960 --> 00:39:22,319
Speaker 2: seventies night gallery jazz sound. You know, it's it's got

726
00:39:22,520 --> 00:39:27,239
Speaker 2: unsettling bits of discordant percussion. There are those synth flourishes,

727
00:39:27,280 --> 00:39:29,640
Speaker 2: and there's there's at least one dose of sleigh bells

728
00:39:29,680 --> 00:39:31,080
Speaker 2: in the mix. I don't know if you noticed the

729
00:39:31,120 --> 00:39:33,080
Speaker 2: sleigh bells, but I'm pretty sure we hear sleigh bells

730
00:39:33,080 --> 00:39:36,200
Speaker 2: at one point. Christmas movie, Yeah, I gotta have slagh

731
00:39:36,200 --> 00:39:38,440
Speaker 2: bells if it takes place at Christmas. But more to

732
00:39:38,480 --> 00:39:41,000
Speaker 2: the point, yeah, the score I think really captures a

733
00:39:41,040 --> 00:39:44,560
Speaker 2: feeling of an order falling apart into a disorder, the

734
00:39:44,600 --> 00:39:48,440
Speaker 2: illusion of sanity into madness and hope into I don't know,

735
00:39:48,480 --> 00:39:49,200
Speaker 2: the status quo.

736
00:39:49,760 --> 00:39:51,000
Speaker 3: Yeah. Yeah.

737
00:39:51,160 --> 00:39:53,480
Speaker 2: The score, by the way, is available on disc, at

738
00:39:53,600 --> 00:39:56,040
Speaker 2: least as part of the film Centric Blu ray, So

739
00:39:56,080 --> 00:39:58,239
Speaker 2: when I got it from Videodrome, I was able to

740
00:39:58,280 --> 00:40:01,600
Speaker 2: pop the CD in to the player in my I

741
00:40:01,600 --> 00:40:04,960
Speaker 2: guess ancient automobile and play a little bit of the

742
00:40:05,160 --> 00:40:08,239
Speaker 2: Blue Sunshine score as I drove around town. And We're

743
00:40:08,280 --> 00:40:10,080
Speaker 2: going a bit long here, but I'm just gonna mention

744
00:40:10,200 --> 00:40:14,520
Speaker 2: in passing that there are also vocal tracks on the

745
00:40:14,560 --> 00:40:18,319
Speaker 2: soundtrack that are performed by the Humane Society for the

746
00:40:18,320 --> 00:40:22,520
Speaker 2: Preservation of Good Music. They include such tracks as Disco Blue,

747
00:40:23,320 --> 00:40:25,239
Speaker 2: this is going to be in our disco sequence late

748
00:40:25,280 --> 00:40:26,919
Speaker 2: in the picture, and then there's also a track called

749
00:40:26,960 --> 00:40:27,759
Speaker 2: Blue Sunshine.

750
00:40:27,920 --> 00:40:29,480
Speaker 3: Do they have lyrics about Acid?

751
00:40:30,120 --> 00:40:32,120
Speaker 2: I didn't have time to really get into the lyrics

752
00:40:32,160 --> 00:40:35,480
Speaker 2: of Disco Blue, but I don't know. Maybe they're about Acid.

753
00:40:35,719 --> 00:40:38,279
Speaker 3: I think it was in our Flash Gordon episode that

754
00:40:38,280 --> 00:40:41,640
Speaker 3: we were talking about that rare thing of movies with

755
00:40:41,800 --> 00:40:45,279
Speaker 3: soundtracks made for the film that have lyrics about the

756
00:40:45,280 --> 00:40:47,799
Speaker 3: plot of the film. You know, Flash Gordon has that

757
00:40:47,840 --> 00:40:50,440
Speaker 3: with the Queen songs, but they're saying otherwise. It seems

758
00:40:50,520 --> 00:40:53,640
Speaker 3: fairly rare in a non musical movie, but it would

759
00:40:53,640 --> 00:40:56,000
Speaker 3: be hilarious. Of Blue Sunshine is another example.

760
00:40:56,800 --> 00:40:59,160
Speaker 2: I think it may be. Yeah, I don't remember the

761
00:40:59,160 --> 00:41:01,959
Speaker 2: track Blue Sunshine, but I do remember disco blit.

762
00:41:03,239 --> 00:41:05,399
Speaker 3: Wait, is that what plays in the disco scene?

763
00:41:05,440 --> 00:41:05,719
Speaker 2: It is?

764
00:41:05,840 --> 00:41:18,280
Speaker 5: Yeah, yeah, Well, folks were about to get into the plot,

765
00:41:18,320 --> 00:41:20,759
Speaker 5: and you should know that this all leads up to

766
00:41:20,840 --> 00:41:22,759
Speaker 5: a disco horror climax.

767
00:41:23,239 --> 00:41:26,080
Speaker 2: Yeah, fittingly, fittingly so.

768
00:41:26,239 --> 00:41:28,560
Speaker 3: The action of the movie opens in a hospital in

769
00:41:28,600 --> 00:41:31,680
Speaker 3: the hallway in a hospital, and into frame comes the

770
00:41:31,680 --> 00:41:34,640
Speaker 3: first of the major characters. We meet doctor David Bloom,

771
00:41:34,719 --> 00:41:37,440
Speaker 3: played by Robert Walton, and when we meet him, he

772
00:41:37,480 --> 00:41:39,959
Speaker 3: does not look so good. He's got his white coat

773
00:41:40,120 --> 00:41:44,560
Speaker 3: hanging open. He looks disheveled, pale, with circles under his eyes.

774
00:41:45,160 --> 00:41:47,920
Speaker 3: He is a doctor, but it looks like he has

775
00:41:47,920 --> 00:41:52,719
Speaker 3: not had a good night's sleep in weeks. He stops

776
00:41:53,040 --> 00:41:55,160
Speaker 3: at a water fountain to throw back a couple of

777
00:41:55,160 --> 00:41:58,320
Speaker 3: pills before going on to visit one of his patients,

778
00:41:58,360 --> 00:42:01,120
Speaker 3: and one thing I will note is it seems I

779
00:42:01,160 --> 00:42:04,520
Speaker 3: can't say exactly how, but somehow to fit into the

780
00:42:04,560 --> 00:42:06,759
Speaker 3: same kind of theme as like not ever showing us

781
00:42:06,840 --> 00:42:10,279
Speaker 3: the psychedelic experience, not having any of the flashbacks. We

782
00:42:10,360 --> 00:42:14,280
Speaker 3: see a lot of characters taking drugs in the movie,

783
00:42:14,400 --> 00:42:18,280
Speaker 3: but they're not psychedelic drugs. They're like throwing back pills

784
00:42:18,360 --> 00:42:20,680
Speaker 3: to stop some kind of pain or distress.

785
00:42:21,160 --> 00:42:25,279
Speaker 2: Yeah, yeah, some sort of prescription pharmaceuticals or over the

786
00:42:25,280 --> 00:42:27,800
Speaker 2: counter medicine. We're not always entirely sure.

787
00:42:28,080 --> 00:42:30,719
Speaker 3: Yeah, So anyway, he takes his pills. Then he goes

788
00:42:30,760 --> 00:42:33,160
Speaker 3: to visit a patient who's an older woman lying in

789
00:42:33,160 --> 00:42:37,160
Speaker 3: a hospital bed, and even she notices that he looks exhausted.

790
00:42:37,239 --> 00:42:40,160
Speaker 3: She asks him, doctor, aren't you eating? And he tries

791
00:42:40,200 --> 00:42:42,400
Speaker 3: to put her fears to rest. He says, you know,

792
00:42:42,440 --> 00:42:45,600
Speaker 3: sometimes there's just a little too much aggravation in his job,

793
00:42:46,120 --> 00:42:49,279
Speaker 3: and he's so he's trying to assure her, but on

794
00:42:49,440 --> 00:42:51,759
Speaker 3: his way out of the room, she stops him and

795
00:42:51,800 --> 00:42:55,480
Speaker 3: she says, with some desperation, Doc, are you gonna have

796
00:42:55,560 --> 00:42:58,440
Speaker 3: to cut me up again? And it kind of seems

797
00:42:58,480 --> 00:43:00,880
Speaker 3: like the question is just too much for him, Like

798
00:43:00,960 --> 00:43:06,520
Speaker 3: his bedside manner collapses, like he can't just keep being positive,

799
00:43:06,840 --> 00:43:10,799
Speaker 3: and he says, we'll see, and then we see there's

800
00:43:10,800 --> 00:43:13,359
Speaker 3: some kind of pressure building in him. His gaze goes

801
00:43:13,400 --> 00:43:16,200
Speaker 3: sharp and far off, like he just had a horrible thought.

802
00:43:16,680 --> 00:43:19,600
Speaker 3: And then this high pitched, droning sound returns from the

803
00:43:19,640 --> 00:43:22,280
Speaker 3: soundtrack at the beginning, and we zoom on his face

804
00:43:22,520 --> 00:43:25,840
Speaker 3: and he begins to furiously rub his temples with his fingers,

805
00:43:25,880 --> 00:43:28,600
Speaker 3: trying to make the pain stop, and we cut to black.

806
00:43:29,200 --> 00:43:31,360
Speaker 3: And this is a theme we'll see with a number

807
00:43:31,400 --> 00:43:33,560
Speaker 3: of characters through the movie, this kind of like zoom

808
00:43:33,600 --> 00:43:36,480
Speaker 3: in on the face as they look pained and distressed

809
00:43:36,520 --> 00:43:38,520
Speaker 3: and it's like something is happening in their brain.

810
00:43:39,320 --> 00:43:39,960
Speaker 2: Yeah.

811
00:43:40,080 --> 00:43:42,600
Speaker 3: Now here we return to what we saw before this scene,

812
00:43:42,640 --> 00:43:45,000
Speaker 3: which was the full moon and the night sky kind

813
00:43:45,000 --> 00:43:49,200
Speaker 3: of engorged, pale full moon set against the dark background

814
00:43:49,200 --> 00:43:52,080
Speaker 3: with this eerie music playing, and here we see the

815
00:43:52,080 --> 00:43:56,600
Speaker 3: title Blue Sunshine. Now, the next vignette like this that

816
00:43:56,640 --> 00:43:59,040
Speaker 3: we get is where we meet Wendy Fleming played by

817
00:43:59,080 --> 00:44:02,359
Speaker 3: Ann Cooper and with and she is babysitting a couple

818
00:44:02,400 --> 00:44:06,040
Speaker 3: of kids. They're sitting on the seventies est of couches.

819
00:44:06,160 --> 00:44:09,680
Speaker 3: It is a I think the way you describe this

820
00:44:09,920 --> 00:44:15,239
Speaker 3: is a green, brown, orange, and baby blue vertical chevron

821
00:44:15,400 --> 00:44:19,560
Speaker 3: pattern with one of those nobbly upholstery types used to

822
00:44:19,600 --> 00:44:21,560
Speaker 3: see on these couches. I don't know what the material

823
00:44:21,640 --> 00:44:23,759
Speaker 3: is called, but my family had an old couch like

824
00:44:23,760 --> 00:44:25,880
Speaker 3: this when I was growing up, where like the I

825
00:44:25,920 --> 00:44:28,080
Speaker 3: don't know, the thread on the upholstery is not of

826
00:44:28,120 --> 00:44:30,400
Speaker 3: an even thickness, so it's all kind of nubby.

827
00:44:31,239 --> 00:44:35,120
Speaker 2: Yeah. Yeah, there's an Instagram account I really love called

828
00:44:35,200 --> 00:44:36,719
Speaker 2: Daughter of the Seventies. It has a lot of like

829
00:44:36,800 --> 00:44:41,160
Speaker 2: images of nineteen seventies decor and food and advertisements and

830
00:44:41,520 --> 00:44:44,080
Speaker 2: if you dig that vibe, blue Sunshine is for you.

831
00:44:44,480 --> 00:44:46,680
Speaker 3: Yeah, the seventies nests will not stop. We will have

832
00:44:46,719 --> 00:44:49,359
Speaker 3: to observe several things as we go on. But so,

833
00:44:49,800 --> 00:44:53,120
Speaker 3: Wendy is babysitting a couple of kids and they're simultaneously

834
00:44:53,200 --> 00:44:57,000
Speaker 3: watching TV and reading a book about Rapunzel. So there's

835
00:44:57,040 --> 00:45:00,600
Speaker 3: a kind of chaos, and the boy keeps randomly shrieking,

836
00:45:00,640 --> 00:45:03,719
Speaker 3: which is bothering Wendy. She has a terrible headache. And

837
00:45:03,760 --> 00:45:06,920
Speaker 3: then suddenly they notice that what's playing on TV is

838
00:45:06,960 --> 00:45:11,200
Speaker 3: a campaign ad for a politician named Ed Fleming who

839
00:45:11,280 --> 00:45:14,880
Speaker 3: is running for Congress, and we learn that Ed is

840
00:45:14,920 --> 00:45:19,319
Speaker 3: Wendy's husband, but they are separated. They're estranged, and the

841
00:45:19,400 --> 00:45:22,000
Speaker 3: kids know that Ed is her husband. They ask is

842
00:45:22,040 --> 00:45:25,520
Speaker 3: he going to be president someday? She says maybe. They say,

843
00:45:25,719 --> 00:45:28,000
Speaker 3: can we come to visit in the White House? And

844
00:45:28,040 --> 00:45:30,400
Speaker 3: she gets a little quiet and says she doesn't think so,

845
00:45:30,600 --> 00:45:32,880
Speaker 3: because she and mister Fleming are married, but they're not

846
00:45:33,000 --> 00:45:35,960
Speaker 3: living together right now. And we just get the sense

847
00:45:36,000 --> 00:45:38,960
Speaker 3: that Wendy is not at peace with this arrangement, like

848
00:45:39,000 --> 00:45:40,640
Speaker 3: she's not happy right.

849
00:45:40,719 --> 00:45:41,879
Speaker 2: Yeah, these kids are a lot.

850
00:45:42,560 --> 00:45:45,000
Speaker 3: So she goes on reading the Rapunzel book, and when

851
00:45:45,000 --> 00:45:47,160
Speaker 3: they get to the part about Rapunzel letting down her

852
00:45:47,160 --> 00:45:49,000
Speaker 3: hair so the prince can climb it to the top

853
00:45:49,040 --> 00:45:51,799
Speaker 3: of the tower, the little girl on the couch reaches up,

854
00:45:52,160 --> 00:45:54,799
Speaker 3: takes hold of a lock of Wendy's long, dark hair

855
00:45:54,920 --> 00:45:59,960
Speaker 3: and pulls. However, the hair comes out in her hands.

856
00:45:59,600 --> 00:46:02,880
Speaker 3: She says, like, look what I did. And then Wendy,

857
00:46:03,280 --> 00:46:06,319
Speaker 3: with horror, examines the lock of hair that has come

858
00:46:06,360 --> 00:46:09,839
Speaker 3: out of her head. She looks disturbed and afraid. Then

859
00:46:09,880 --> 00:46:12,799
Speaker 3: we cut to the night again, the moon, the dark sky,

860
00:46:12,880 --> 00:46:16,240
Speaker 3: the creepy music, the credits, we get a third vignette.

861
00:46:16,600 --> 00:46:19,320
Speaker 3: It's a scene in a kitchen. A woman named Barbara

862
00:46:19,480 --> 00:46:22,800
Speaker 3: is talking to a male friend, a next door neighbor

863
00:46:23,719 --> 00:46:27,080
Speaker 3: about her husband, who is a policeman. The husband has

864
00:46:27,120 --> 00:46:30,960
Speaker 3: apparently been drinking heavily their marriage is strained. The woman

865
00:46:31,080 --> 00:46:34,240
Speaker 3: says that he's been having nightmares, he talks in his sleep,

866
00:46:34,480 --> 00:46:37,200
Speaker 3: and his hair is falling out, and she's finding ways

867
00:46:37,239 --> 00:46:39,520
Speaker 3: to blame herself. You know, am I doing something wrong?

868
00:46:39,520 --> 00:46:41,640
Speaker 3: Where she says, maybe it's the stress of his job.

869
00:46:42,000 --> 00:46:44,759
Speaker 3: He is a police officer. But the male friend, who

870
00:46:44,760 --> 00:46:48,960
Speaker 3: I think is also supposed to be a cop, dismisses this.

871
00:46:49,120 --> 00:46:51,760
Speaker 3: He says, look, you know, I'm losing a few hairs myself.

872
00:46:52,160 --> 00:46:55,160
Speaker 3: You can't blame yourself. It's not your fault. And they're

873
00:46:55,160 --> 00:46:58,360
Speaker 3: talking about it. But suddenly the husband is there standing

874
00:46:58,360 --> 00:47:02,239
Speaker 3: in the doorway. So this is one of the first

875
00:47:02,320 --> 00:47:05,320
Speaker 3: times where this scene is like tonally at odds because

876
00:47:05,719 --> 00:47:10,520
Speaker 3: the content of the scene is very tense and scary

877
00:47:10,640 --> 00:47:13,200
Speaker 3: and puts you on edge. But then the way the

878
00:47:13,320 --> 00:47:16,760
Speaker 3: husband is dressed when he shows up is very funny.

879
00:47:17,120 --> 00:47:18,640
Speaker 3: I don't know if it would have looked funny in

880
00:47:18,640 --> 00:47:22,560
Speaker 3: the seventies. Probably not, but it's very nineteen seventy seven outfit.

881
00:47:22,840 --> 00:47:26,800
Speaker 3: He's wearing like a thigh length black jacket pants hiked

882
00:47:26,880 --> 00:47:30,480
Speaker 3: up I think past his navel, tucked in blood red

883
00:47:30,520 --> 00:47:34,239
Speaker 3: polo shirt with gigantic seventies collar like the collar tips

884
00:47:34,280 --> 00:47:36,920
Speaker 3: are going out almost to his shoulders. And he's just

885
00:47:37,080 --> 00:47:40,759
Speaker 3: standing in the doorway staring with the sourst expression in

886
00:47:40,800 --> 00:47:42,200
Speaker 3: the history of our species.

887
00:47:43,440 --> 00:47:44,360
Speaker 2: And then he gets weirder.

888
00:47:45,160 --> 00:47:48,320
Speaker 3: That's right, because suddenly a macaw flies into the kitchen,

889
00:47:48,719 --> 00:47:51,800
Speaker 3: lands on his shoulder while he is still doing the

890
00:47:52,320 --> 00:47:56,240
Speaker 3: unmovable sour puss, and then the macaw says hello, Johnny,

891
00:47:56,719 --> 00:48:03,080
Speaker 3: and then it says, h bosonshine blue sunshine. What's that?

892
00:48:03,800 --> 00:48:06,280
Speaker 3: But here we get another one of those Scanner's style

893
00:48:06,480 --> 00:48:09,480
Speaker 3: zoom ins on Johnny's eyes and forehead, while the sharp

894
00:48:09,520 --> 00:48:13,560
Speaker 3: notes from the soundtrack just start stabbing. And then we

895
00:48:13,600 --> 00:48:15,719
Speaker 3: go back to the moon and the credits. And this

896
00:48:15,760 --> 00:48:18,279
Speaker 3: is where I want to emphasize again, I got a

897
00:48:18,320 --> 00:48:21,880
Speaker 3: hand it to the filmmakers the fashion choices and weird

898
00:48:21,960 --> 00:48:25,960
Speaker 3: maccaw antics acide, the movie so far is building such

899
00:48:26,040 --> 00:48:31,200
Speaker 3: an incredible atmosphere of unsafety and human malfunction. The plot

900
00:48:31,239 --> 00:48:33,800
Speaker 3: hasn't even really been articulated yet. There's not a word

901
00:48:33,800 --> 00:48:37,840
Speaker 3: about LSD. But these little dip ins with different characters,

902
00:48:37,880 --> 00:48:42,320
Speaker 3: all showing some kind of stress and disorder mounting inside

903
00:48:42,320 --> 00:48:45,880
Speaker 3: of them in intensity, they collectively add up to a

904
00:48:45,920 --> 00:48:49,640
Speaker 3: feeling already bordering on panic. There is something wrong with

905
00:48:49,680 --> 00:48:53,160
Speaker 3: these people. There is something wrong with the world, something

906
00:48:53,200 --> 00:48:57,320
Speaker 3: wrong with us that we don't understand. And it's this feeling,

907
00:48:57,400 --> 00:48:59,759
Speaker 3: it's this terror that we're at the edge of a

908
00:48:59,760 --> 00:49:01,200
Speaker 3: toe loss of control.

909
00:49:01,719 --> 00:49:02,319
Speaker 2: Absolutely.

910
00:49:02,880 --> 00:49:05,480
Speaker 3: Now next, we're actually about to meet our protagonists. So

911
00:49:05,520 --> 00:49:08,040
Speaker 3: we go to a house party. It's a house party

912
00:49:08,080 --> 00:49:12,440
Speaker 3: in a very seventies house, big cozy, a frame, logs

913
00:49:12,560 --> 00:49:17,040
Speaker 3: roasting in the fireplace, shag carpets to infinity, very you know,

914
00:49:17,120 --> 00:49:20,720
Speaker 3: wood paneling everywhere, liquor bottles all over the kitchen counter.

915
00:49:21,000 --> 00:49:22,480
Speaker 3: I should have checked if there was j and B.

916
00:49:23,000 --> 00:49:24,560
Speaker 3: I don't know. I don't know if they had Jane B.

917
00:49:24,719 --> 00:49:27,880
Speaker 3: But there's like, you know, they're cool guys sitting backwards

918
00:49:27,880 --> 00:49:30,160
Speaker 3: on chairs or sitting up on the back of the couch,

919
00:49:31,120 --> 00:49:34,240
Speaker 3: and it's kind of like the feeling of the scene

920
00:49:34,320 --> 00:49:37,239
Speaker 3: is like that orson Wells Poll mess on Commercial, but

921
00:49:37,400 --> 00:49:39,480
Speaker 3: younger and hipper and more bohemian.

922
00:49:40,239 --> 00:49:43,160
Speaker 2: Yeah, it's it's an interesting vibe. And the fireplace looks

923
00:49:43,239 --> 00:49:47,560
Speaker 2: looks great a little Netflix, Where is my blue Sunshine fireplace? Yes,

924
00:49:47,840 --> 00:49:51,640
Speaker 2: you're wasting time on the squid game in which the

925
00:49:51,680 --> 00:49:54,400
Speaker 2: fireplace is too small. I watched it last night. Fireplace

926
00:49:54,480 --> 00:49:57,400
Speaker 2: is too small. Give us like a large blue Sunshine

927
00:49:57,480 --> 00:49:58,960
Speaker 2: nineteen seventies fireplace.

928
00:49:59,480 --> 00:50:02,600
Speaker 3: Wait this point or after all the murders take place.

929
00:50:03,800 --> 00:50:07,600
Speaker 2: But I think I would prefer before the murders. Yeah,

930
00:50:07,600 --> 00:50:09,960
Speaker 2: that's more the vibe I want in my living room.

931
00:50:10,000 --> 00:50:11,680
Speaker 2: But I'll take what I can get.

932
00:50:11,840 --> 00:50:13,960
Speaker 3: Okay. So here we get to Zelman King playing our

933
00:50:14,000 --> 00:50:17,399
Speaker 3: protagonist Jerry Zipkin, and he is huddled up in an

934
00:50:17,400 --> 00:50:20,640
Speaker 3: intimate corner of the room talking to Deborah Winters playing

935
00:50:20,640 --> 00:50:24,160
Speaker 3: the character Alicia Sweeney. They're here on a date together

936
00:50:24,239 --> 00:50:26,480
Speaker 3: and they're acting very lovey dovey. It's a lot of

937
00:50:26,560 --> 00:50:28,799
Speaker 3: kind of cuddling and kissing and oh I love you.

938
00:50:29,640 --> 00:50:33,080
Speaker 3: By the way, here I want to note Jerry's master work,

939
00:50:33,239 --> 00:50:37,000
Speaker 3: Christmas Sweater. Yes, it plays a bit against type in

940
00:50:37,080 --> 00:50:39,640
Speaker 3: terms of color scheme, though it's weird. I was noticing

941
00:50:39,680 --> 00:50:44,200
Speaker 3: something about the photography in the movie. I had totally

942
00:50:44,239 --> 00:50:47,640
Speaker 3: different ideas of what color this sweater was depending on

943
00:50:47,719 --> 00:50:50,799
Speaker 3: the scene. Like there's one scene where he's outside and

944
00:50:50,880 --> 00:50:53,920
Speaker 3: it looks it looks like deep blue, like royal blue

945
00:50:53,920 --> 00:50:55,919
Speaker 3: and white, and then there's another scene where it looks

946
00:50:55,920 --> 00:50:58,080
Speaker 3: more kind of purple and red. So I'm not sure

947
00:50:58,120 --> 00:51:01,560
Speaker 3: which is the truer color, but at least in terms

948
00:51:01,600 --> 00:51:04,279
Speaker 3: of the earlier color scheme, we see the blue and

949
00:51:04,320 --> 00:51:07,279
Speaker 3: white Christmas sweater. That's interesting because it's like, you know,

950
00:51:07,520 --> 00:51:09,279
Speaker 3: it should be red and green, shouldn't it if it's

951
00:51:09,360 --> 00:51:12,359
Speaker 3: Christmas sweater? But he can't be stopped. He's like he's

952
00:51:12,360 --> 00:51:15,719
Speaker 3: a rebel in all aesthetics. And the main imagery on

953
00:51:15,760 --> 00:51:19,719
Speaker 3: the Christmas sweater is prancing pairs of reindeer with enormous,

954
00:51:19,760 --> 00:51:25,120
Speaker 3: almost irish elk sized antlers. So anyway, we get Zalman

955
00:51:25,200 --> 00:51:27,960
Speaker 3: king here wearing this, you know, making a statement kind

956
00:51:28,000 --> 00:51:32,240
Speaker 3: of copy uniform Christmas sweater, and he's having this sweet

957
00:51:32,239 --> 00:51:36,040
Speaker 3: little conversation in the corner with his date Alicia, and

958
00:51:36,160 --> 00:51:39,879
Speaker 3: suddenly their attention is diverted from each other by who

959
00:51:39,920 --> 00:51:41,840
Speaker 3: is that over in the corner of the other corner

960
00:51:41,880 --> 00:51:44,840
Speaker 3: of the room. That's Brian James morphing into Rodin.

961
00:51:45,440 --> 00:51:48,000
Speaker 2: That's right, playing the character Tony, who we only see

962
00:51:48,040 --> 00:51:51,560
Speaker 2: in this scene. Brian James lived nineteen forty five through

963
00:51:51,640 --> 00:51:54,600
Speaker 2: nineteen ninety nine. Veteran character actor that I think most

964
00:51:54,600 --> 00:51:56,840
Speaker 2: of you probably know best from his role as Leon

965
00:51:56,960 --> 00:52:00,200
Speaker 2: and really Scott's Blade Runner. He was also the one

966
00:52:00,239 --> 00:52:03,200
Speaker 2: of the generals in the Fifth Element Unforgettable Mug.

967
00:52:03,239 --> 00:52:06,160
Speaker 3: This guy, Yeah, good character actor. He's the guy who

968
00:52:06,239 --> 00:52:09,640
Speaker 3: you see him really flound during in the Void Comptest

969
00:52:09,719 --> 00:52:12,840
Speaker 3: in Blade Letter, in this my mother, I'll tell you

970
00:52:12,920 --> 00:52:13,640
Speaker 3: about my mother.

971
00:52:13,920 --> 00:52:18,319
Speaker 2: That's the one in this though, Tony is either the

972
00:52:18,360 --> 00:52:21,160
Speaker 2: only guy in the social group who is still taking

973
00:52:21,320 --> 00:52:24,239
Speaker 2: LSD or is the guy in the social group who

974
00:52:24,400 --> 00:52:29,720
Speaker 2: took way too much LSD. Yeah, it's an interesting choice. Yeah.

975
00:52:29,760 --> 00:52:32,880
Speaker 3: So he starts like raising up his arms as if

976
00:52:32,920 --> 00:52:35,759
Speaker 3: he's flapping his wings and making monster sounds, and then

977
00:52:35,840 --> 00:52:38,040
Speaker 3: runs around the room in monster mode, and the other

978
00:52:38,120 --> 00:52:42,080
Speaker 3: characters are like, hey, remember Rodan, somebody's like the artist, No,

979
00:52:42,280 --> 00:52:47,279
Speaker 3: the monster. Anyway, After the Rodane attack, the friends all

980
00:52:47,320 --> 00:52:49,560
Speaker 3: decide to pose for a picture. But before that they

981
00:52:49,600 --> 00:52:52,399
Speaker 3: convince one of the guys at the party a dude. Now,

982
00:52:52,600 --> 00:52:55,439
Speaker 3: this is confusing because they really do call this guy

983
00:52:55,640 --> 00:53:00,640
Speaker 3: different name yes sometimes that I was so confused. They

984
00:53:00,719 --> 00:53:04,680
Speaker 3: call him both Frankie and Franny, and they call him

985
00:53:04,719 --> 00:53:08,279
Speaker 3: Frankie more often early, but then they keep calling him

986
00:53:08,320 --> 00:53:10,439
Speaker 3: Franny when they refer back to him for the rest

987
00:53:10,440 --> 00:53:12,080
Speaker 3: of the movie. So I think I'm gonna say Franny

988
00:53:12,080 --> 00:53:15,439
Speaker 3: instead of Frankie because that name usage persists more.

989
00:53:15,800 --> 00:53:19,400
Speaker 2: Yeah, and I believe that's how he's listed in like

990
00:53:19,440 --> 00:53:21,520
Speaker 2: IMDb and all on the credits for the movie.

991
00:53:21,840 --> 00:53:23,840
Speaker 3: Yeah, So they ask him to sing a song like

992
00:53:23,880 --> 00:53:26,160
Speaker 3: he used to. This guy's he's sort of a life

993
00:53:26,200 --> 00:53:28,799
Speaker 3: of the party type. He's a cool guy. Again. The

994
00:53:28,840 --> 00:53:32,440
Speaker 3: seventies noss of his clothing is overwhelming. He's wearing what

995
00:53:32,480 --> 00:53:36,440
Speaker 3: looks like a brown vulure sport jacket over a purple

996
00:53:36,520 --> 00:53:40,640
Speaker 3: and white plaid shirt with a huge black tie hanging

997
00:53:40,680 --> 00:53:43,600
Speaker 3: down to the crotch of his pants, and he starts

998
00:53:43,600 --> 00:53:46,760
Speaker 3: singing an old standard from the fifties called just in Time,

999
00:53:47,160 --> 00:53:49,960
Speaker 3: which has some interesting lyrics. It's I don't know who

1000
00:53:49,960 --> 00:53:51,880
Speaker 3: originally did this song. It sounds like it could be

1001
00:53:51,920 --> 00:53:54,880
Speaker 3: a you know, Frank Sinatra type singer song, but I

1002
00:53:54,920 --> 00:53:57,959
Speaker 3: don't think it was Sinatra, but that sort of thing.

1003
00:53:58,960 --> 00:54:02,560
Speaker 3: And the lyrics include things like my time was running low,

1004
00:54:02,719 --> 00:54:05,640
Speaker 3: the losing dice were tossed, my bridges all were crossed,

1005
00:54:05,800 --> 00:54:08,600
Speaker 3: nowhere to go? Now you're here, and now I know

1006
00:54:08,880 --> 00:54:12,960
Speaker 3: just where I'm going. Yeah, going, You're going to a

1007
00:54:12,960 --> 00:54:13,600
Speaker 3: bad place.

1008
00:54:14,680 --> 00:54:20,400
Speaker 2: It's interesting the juxtaposition between Tony's acid antics and then

1009
00:54:20,440 --> 00:54:22,560
Speaker 2: this song. It kind of like fits into this theme

1010
00:54:22,560 --> 00:54:27,839
Speaker 2: you see throughout the movie where the characters are I think,

1011
00:54:27,880 --> 00:54:33,080
Speaker 2: to varying degrees, maybe a little embarrassed by their psychedelic

1012
00:54:33,160 --> 00:54:36,719
Speaker 2: experiences and sort of the culture of the sixties, and

1013
00:54:36,760 --> 00:54:40,480
Speaker 2: so it's almost like a gut reaction to Tony still

1014
00:54:40,480 --> 00:54:43,040
Speaker 2: doing his thing and being like a little embarrassing. Is like,

1015
00:54:43,120 --> 00:54:45,239
Speaker 2: let's do an old standard, Let's do the kind of

1016
00:54:45,280 --> 00:54:49,560
Speaker 2: music that our parents liked, you know. And so they

1017
00:54:49,600 --> 00:54:51,319
Speaker 2: start belding this fifties number, you know.

1018
00:54:51,719 --> 00:54:54,400
Speaker 3: Yeah. So while Frannie is singing the song, he starts

1019
00:54:54,480 --> 00:54:56,600
Speaker 3: dancing with one of the women at the party, and

1020
00:54:56,640 --> 00:54:59,879
Speaker 3: then he goes to dip her and I think her date.

1021
00:55:00,080 --> 00:55:02,120
Speaker 3: This guy is not happy about this, and he reaches

1022
00:55:02,160 --> 00:55:05,120
Speaker 3: out and grabs Franny by the hair, which is already

1023
00:55:05,160 --> 00:55:09,080
Speaker 3: a weird thing to do. But suddenly, to everyone's shock,

1024
00:55:09,560 --> 00:55:13,520
Speaker 3: Franny's hair all comes off at once in the guy's hand,

1025
00:55:14,080 --> 00:55:18,080
Speaker 3: leaving Franny completely bald except for a few patches, and

1026
00:55:18,160 --> 00:55:21,600
Speaker 3: the tone of the scene changes in an instant. Franny

1027
00:55:21,719 --> 00:55:25,600
Speaker 3: suddenly looks wild and deranged. The music starts skittering with

1028
00:55:25,640 --> 00:55:28,919
Speaker 3: these tense violins, and Franny bolts out the front door

1029
00:55:28,960 --> 00:55:30,160
Speaker 3: of the house into the night.

1030
00:55:30,760 --> 00:55:32,880
Speaker 2: Yeah, and at first everyone's just like WHOA, that was

1031
00:55:32,960 --> 00:55:36,120
Speaker 2: super weird and random, right, But then like it does

1032
00:55:36,239 --> 00:55:38,680
Speaker 2: kick in that everybody here is friends to some degree,

1033
00:55:38,840 --> 00:55:41,160
Speaker 2: and they sort of decide, well, we should go look

1034
00:55:41,200 --> 00:55:42,600
Speaker 2: for him that dude needs help.

1035
00:55:42,920 --> 00:55:45,920
Speaker 3: Well, I think it's mainly Jerry that decides to go

1036
00:55:45,960 --> 00:55:47,759
Speaker 3: look for him. People get weirded out and the party

1037
00:55:47,840 --> 00:55:50,280
Speaker 3: kind of breaks up in multiple directions. So, like several

1038
00:55:50,320 --> 00:55:54,000
Speaker 3: of the friends, including Jerry's date Alisha that's Debbor Winters,

1039
00:55:54,280 --> 00:55:57,919
Speaker 3: they get into a car to head into town. She's

1040
00:55:57,960 --> 00:56:00,680
Speaker 3: saying like, I need some honey, honey, you'll help me feel.

1041
00:56:00,480 --> 00:56:03,680
Speaker 2: Better, and Tony, I guess, just flies off into the night.

1042
00:56:03,719 --> 00:56:04,840
Speaker 2: We never see Tony again.

1043
00:56:05,160 --> 00:56:08,640
Speaker 3: Yeah, oh, yeah, that's right. Where does Tony go? I

1044
00:56:08,640 --> 00:56:11,560
Speaker 3: don't know. He does not stay behind to become one

1045
00:56:11,560 --> 00:56:14,399
Speaker 3: of the murder victims, but he also maybe he goes

1046
00:56:14,440 --> 00:56:16,600
Speaker 3: to town. I don't know. Maybe Tony needs some honey,

1047
00:56:16,600 --> 00:56:19,839
Speaker 3: he needs Rodane food. But anyway, so a few more

1048
00:56:19,880 --> 00:56:22,719
Speaker 3: stay behind at the house and Jerry alone decides to

1049
00:56:22,760 --> 00:56:25,360
Speaker 3: go look around outside for Franny to make sure he's okay.

1050
00:56:25,440 --> 00:56:36,920
Speaker 3: He takes a flashlight goes out walking in the trees. Meanwhile,

1051
00:56:36,960 --> 00:56:39,440
Speaker 3: back at the house, a few guests are hanging around

1052
00:56:39,480 --> 00:56:42,800
Speaker 3: the fire smoking cigarettes, talking about what happened. They can't

1053
00:56:42,800 --> 00:56:45,240
Speaker 3: figure out if it was a prank or not. Franny's

1054
00:56:45,239 --> 00:56:48,080
Speaker 3: the kind of guy who does pull pranks, but I

1055
00:56:48,160 --> 00:56:51,319
Speaker 3: don't know. It was so strange. Then there's a knock

1056
00:56:51,360 --> 00:56:54,280
Speaker 3: at the door. One of them goes to answer, and uh, oh,

1057
00:56:54,320 --> 00:56:58,440
Speaker 3: here he is again. It's Franny. Bald, pale, with a manic,

1058
00:56:58,640 --> 00:57:02,120
Speaker 3: crazed look in his eyes. He bursts through the threshold

1059
00:57:02,360 --> 00:57:07,960
Speaker 3: and commences a homicidal rampage, and it is a shocking scene.

1060
00:57:08,000 --> 00:57:10,319
Speaker 3: He murders the other guests of the party, one of

1061
00:57:10,360 --> 00:57:13,759
Speaker 3: them at least by like throwing her into the fireplace.

1062
00:57:13,840 --> 00:57:14,680
Speaker 3: It is horrible.

1063
00:57:14,920 --> 00:57:18,160
Speaker 2: Yeah, it's horrifying. This is not the fireplace I want

1064
00:57:18,280 --> 00:57:19,760
Speaker 2: in my living room. Netflix.

1065
00:57:20,360 --> 00:57:23,000
Speaker 3: So meanwhile, Jerry's out walking in the woods and he

1066
00:57:23,120 --> 00:57:27,720
Speaker 3: finds Franny's hair hanging from a tree branch, and I

1067
00:57:27,800 --> 00:57:30,400
Speaker 3: recall it, so I have more perspective on this now.

1068
00:57:30,760 --> 00:57:32,800
Speaker 3: I think this is supposed to be a wig. But

1069
00:57:32,880 --> 00:57:35,160
Speaker 3: I remember the first time I saw the movie, I

1070
00:57:35,280 --> 00:57:38,440
Speaker 3: was really confused, like, is it that his real hair

1071
00:57:38,560 --> 00:57:40,720
Speaker 3: all fell off at once and is still in a

1072
00:57:40,760 --> 00:57:44,000
Speaker 3: single mass like this, or within the movie, is it

1073
00:57:44,080 --> 00:57:45,960
Speaker 3: supposed to be a wig with the idea that like,

1074
00:57:46,040 --> 00:57:48,480
Speaker 3: his hair's been falling out and he's been wearing a

1075
00:57:48,480 --> 00:57:50,040
Speaker 3: wig to hide it. I think it's the latter.

1076
00:57:50,480 --> 00:57:53,600
Speaker 2: Yeah, Yeah, because this seems to be a common feature

1077
00:57:53,600 --> 00:57:55,600
Speaker 2: in the film, is that people are losing their hair

1078
00:57:56,120 --> 00:58:00,520
Speaker 2: to the Blue Sunshine syndrome. They are obtaining wig We

1079
00:58:00,560 --> 00:58:03,360
Speaker 2: see wigs for sale in some of the scenes late

1080
00:58:03,400 --> 00:58:05,520
Speaker 2: in the picture, and it almost becomes this kind of

1081
00:58:05,560 --> 00:58:11,280
Speaker 2: metaphor for like the mask of normal life that one

1082
00:58:11,720 --> 00:58:15,920
Speaker 2: imposes upon themself to despite the trauma that's going on

1083
00:58:16,000 --> 00:58:16,560
Speaker 2: inside you.

1084
00:58:17,200 --> 00:58:21,000
Speaker 3: Yeah. So here Jerry hears a scream coming from the house,

1085
00:58:21,040 --> 00:58:22,720
Speaker 3: so he goes running back to the house and he

1086
00:58:22,760 --> 00:58:27,120
Speaker 3: finds the three remaining guests all murdered and they're like

1087
00:58:27,240 --> 00:58:30,640
Speaker 3: burning in the fireplace. Again. It's a horrible scene. So

1088
00:58:30,680 --> 00:58:33,680
Speaker 3: he's in shock from this and he's like sort of

1089
00:58:33,800 --> 00:58:37,000
Speaker 3: just wandering around, like what's going on, and suddenly Franny

1090
00:58:37,160 --> 00:58:40,600
Speaker 3: pops out from behind a curtain and attacks him. They

1091
00:58:40,640 --> 00:58:44,560
Speaker 3: begin to fight. This scuffle leads them outside outside in

1092
00:58:44,600 --> 00:58:46,800
Speaker 3: front of the house and then into the street, where

1093
00:58:46,880 --> 00:58:50,520
Speaker 3: Franny is hit by a passing truck and we do

1094
00:58:50,560 --> 00:58:52,440
Speaker 3: get a jump scare when the truckers like go to

1095
00:58:52,520 --> 00:58:54,320
Speaker 3: check on him, he like pops up again, but then

1096
00:58:54,360 --> 00:58:58,360
Speaker 3: falls down and dies. Jerry goes back up to the

1097
00:58:58,360 --> 00:59:00,200
Speaker 3: house and just kind of sits in front of front

1098
00:59:00,240 --> 00:59:05,080
Speaker 3: of the fireplace, and one of the truckers jumps to conclusions,

1099
00:59:05,120 --> 00:59:08,080
Speaker 3: gets a revolver out of his glovebox and follows Jerry

1100
00:59:08,160 --> 00:59:10,440
Speaker 3: up to the house, where he confronts him shoots him

1101
00:59:10,440 --> 00:59:13,400
Speaker 3: in the arm. It's clear the trucker thinks Jerry is

1102
00:59:13,520 --> 00:59:16,920
Speaker 3: responsible for all these murders, and then Jerry, in a

1103
00:59:17,000 --> 00:59:21,120
Speaker 3: strange acting moment, issues this grating, full volume proclamation that

1104
00:59:21,320 --> 00:59:25,080
Speaker 3: I didn't kill anybody, and then he escapes in his car.

1105
00:59:26,360 --> 00:59:28,560
Speaker 2: Not looking good. Jerry not looking good, and.

1106
00:59:28,520 --> 00:59:30,960
Speaker 3: Then it's clear that when the cops arrive later, they

1107
00:59:30,960 --> 00:59:33,720
Speaker 3: come to the same conclusion as the trucker. They're obviously

1108
00:59:33,720 --> 00:59:36,880
Speaker 3: as Almon King did all of this. There's a scene

1109
00:59:36,880 --> 00:59:39,960
Speaker 3: where a detective is interviewing Alicia outside the house. She's

1110
00:59:40,000 --> 00:59:42,400
Speaker 3: back here now, and she is adamant that Jerry is

1111
00:59:42,440 --> 00:59:45,560
Speaker 3: not responsible, but the detective is adamant that he is.

1112
00:59:46,400 --> 00:59:48,439
Speaker 3: Just wanted to note this movie does have I think

1113
00:59:48,480 --> 00:59:52,280
Speaker 3: the inspector here is Inspector Clay, just like Plann nine

1114
00:59:52,280 --> 00:59:54,040
Speaker 3: from Outer Space. That's to worst character.

1115
00:59:54,200 --> 00:59:56,880
Speaker 2: Oh man, that can't be an accident. That's got to

1116
00:59:56,920 --> 00:59:57,440
Speaker 2: be intentional.

1117
00:59:57,640 --> 00:59:59,280
Speaker 3: Then we get a scene with the cops talking to

1118
00:59:59,280 --> 01:00:01,600
Speaker 3: each other where they explain their theories. One of them

1119
01:00:01,600 --> 01:00:05,120
Speaker 3: says that Zipkin is erratic as hell. He graduated from

1120
01:00:05,200 --> 01:00:07,960
Speaker 3: Cornell top of his class, and now he hasn't got

1121
01:00:08,000 --> 01:00:10,120
Speaker 3: a pot to piss in. He must have had ten

1122
01:00:10,240 --> 01:00:12,640
Speaker 3: jobs for in the last five years. He quit his

1123
01:00:12,720 --> 01:00:16,440
Speaker 3: last one because the firm wouldn't hire enough women. And

1124
01:00:16,480 --> 01:00:20,040
Speaker 3: this really gets the partner's attention. And I thought he

1125
01:00:20,080 --> 01:00:22,400
Speaker 3: was going to say something sexist here, but instead he says,

1126
01:00:22,920 --> 01:00:25,520
Speaker 3: and then he barbecues three of them in a fireplace.

1127
01:00:27,000 --> 01:00:30,520
Speaker 3: It seems counterintuitive to the cops, and yet they are

1128
01:00:30,520 --> 01:00:33,840
Speaker 3: not deterred. He is their prime suspect. Anyway, Jerry's now

1129
01:00:33,840 --> 01:00:35,440
Speaker 3: on the run from the cops. He shows up at

1130
01:00:35,480 --> 01:00:38,880
Speaker 3: the hospital looking for his friend David, the doctor, very

1131
01:00:38,920 --> 01:00:42,440
Speaker 3: stressed out doctor who he met earlier. So he's got

1132
01:00:42,520 --> 01:00:46,160
Speaker 3: an obvious, bloody gunshot wound in his arm, but he

1133
01:00:46,600 --> 01:00:49,680
Speaker 3: he's like dabbing it and carrying this dirty, bloody rag

1134
01:00:50,560 --> 01:00:53,800
Speaker 3: walks into the hospital and the reception is a receptionist

1135
01:00:53,880 --> 01:00:56,080
Speaker 3: is like, oh, yeah, the doctor will see you his

1136
01:00:56,120 --> 01:00:58,920
Speaker 3: offices down the hall. Just go on in. Like what

1137
01:01:00,080 --> 01:01:02,720
Speaker 3: doctors work like that in the seventies or is this

1138
01:01:02,920 --> 01:01:03,640
Speaker 3: just movie magic?

1139
01:01:03,680 --> 01:01:03,880
Speaker 4: Yeah?

1140
01:01:03,880 --> 01:01:05,440
Speaker 2: No, no, it's just a little more laid back, right.

1141
01:01:05,760 --> 01:01:08,600
Speaker 3: And I like how when David looks at the wound,

1142
01:01:09,600 --> 01:01:12,440
Speaker 3: the first thing he says is like, hmm, not too bad.

1143
01:01:12,840 --> 01:01:15,400
Speaker 3: The inflection is almost kind of like nice, good job.

1144
01:01:17,080 --> 01:01:19,720
Speaker 3: Jerry tries to lie and tell him he was accidentally

1145
01:01:19,760 --> 01:01:22,880
Speaker 3: shot by a hunter, but David is like, Jerry, I

1146
01:01:22,920 --> 01:01:25,480
Speaker 3: have to report all gunshot wounds. I can't, you know,

1147
01:01:25,640 --> 01:01:28,960
Speaker 3: just forget about this. So they have an argument because

1148
01:01:29,320 --> 01:01:33,160
Speaker 3: David knows that he's lying. He's hiding something. And after

1149
01:01:33,240 --> 01:01:35,320
Speaker 3: David leaves the room, there's a part where Jerry notices

1150
01:01:35,320 --> 01:01:37,960
Speaker 3: a bunch of hair on the floor. His doctor buddy

1151
01:01:38,000 --> 01:01:41,480
Speaker 3: seems to be shedding, and there's ominous music here. When

1152
01:01:41,560 --> 01:01:44,440
Speaker 3: Jerry asks about this, Bloom shrugs it off. He's just

1153
01:01:44,480 --> 01:01:47,200
Speaker 3: like as stress of the job. But in this conversation

1154
01:01:47,280 --> 01:01:50,520
Speaker 3: he casually drops a mention of past drug use. He's like,

1155
01:01:50,600 --> 01:01:53,720
Speaker 3: you know, I don't party like I used to. Now.

1156
01:01:53,720 --> 01:01:55,680
Speaker 3: There's a scene where we meet up with Windy again,

1157
01:01:55,800 --> 01:01:58,920
Speaker 3: who the lady who was babysitting earlier, and she's getting

1158
01:01:58,960 --> 01:02:01,760
Speaker 3: her hair shampooed in the sink by another lady. I

1159
01:02:01,800 --> 01:02:03,640
Speaker 3: was not quite sure if this is her friend or

1160
01:02:03,640 --> 01:02:05,440
Speaker 3: her hairstylist. I think it's a friend.

1161
01:02:05,680 --> 01:02:07,560
Speaker 2: Yeah, I wasn't sure if this was the kid's parents

1162
01:02:07,600 --> 01:02:09,480
Speaker 2: or what. But at any rate, it's not essential.

1163
01:02:09,800 --> 01:02:11,720
Speaker 3: So they're trying to figure out why her hair is

1164
01:02:11,800 --> 01:02:14,640
Speaker 3: falling out. The other lady speculates that it could be

1165
01:02:14,640 --> 01:02:18,840
Speaker 3: because Wendy isn't quote getting any This is a true

1166
01:02:18,840 --> 01:02:22,080
Speaker 3: health fact, she read in Cosmo. It affects your bioorrhythms,

1167
01:02:22,160 --> 01:02:22,880
Speaker 3: she said.

1168
01:02:23,160 --> 01:02:25,480
Speaker 2: And it's kind of ridiculous, but they play it well.

1169
01:02:25,480 --> 01:02:26,200
Speaker 2: They play it well.

1170
01:02:26,960 --> 01:02:31,360
Speaker 3: But Wendy confesses that she's having persistent headaches and terrible

1171
01:02:31,480 --> 01:02:34,400
Speaker 3: nightmares whenever she sleeps. She's frightened that something is really

1172
01:02:34,440 --> 01:02:36,760
Speaker 3: wrong with her. And once again the fear in this

1173
01:02:36,880 --> 01:02:39,680
Speaker 3: scene is palpable, and you really feel bad for Wendy,

1174
01:02:40,720 --> 01:02:43,800
Speaker 3: Wendy and David both. I've already said this, but I

1175
01:02:43,840 --> 01:02:46,480
Speaker 3: really just do want to emphasize that in a kind

1176
01:02:46,480 --> 01:02:50,040
Speaker 3: of an exploitation thriller movie like this, and you wouldn't

1177
01:02:50,040 --> 01:02:54,120
Speaker 3: necessarily expect to feel a lot of empathy, like a

1178
01:02:54,120 --> 01:02:57,440
Speaker 3: lot of emotional sympathy for the characters and their struggles,

1179
01:02:57,480 --> 01:02:59,720
Speaker 3: but in this movie, you really really do, or at

1180
01:02:59,760 --> 01:03:02,600
Speaker 3: least I did. Like Wendy and David, you are feeling

1181
01:03:02,680 --> 01:03:04,680
Speaker 3: so bad for and so worried for.

1182
01:03:05,240 --> 01:03:06,000
Speaker 2: Yeah.

1183
01:03:06,240 --> 01:03:09,840
Speaker 3: Now, ultimately, in this conversation Wendy's friend here she links

1184
01:03:09,920 --> 01:03:13,080
Speaker 3: Wendy's stress and her nightmares and everything to her separation

1185
01:03:13,160 --> 01:03:15,920
Speaker 3: from her husband, because again, Wendy doesn't really seem to

1186
01:03:15,920 --> 01:03:18,520
Speaker 3: be at peace with this situation. She hasn't recovered from it.

1187
01:03:19,400 --> 01:03:22,840
Speaker 3: And then there's a great cut coming up, where Wendy's like,

1188
01:03:22,920 --> 01:03:25,480
Speaker 3: how can I put Eddie in the past when his

1189
01:03:25,720 --> 01:03:28,400
Speaker 3: gorgeous face is plastered all over the city, you know,

1190
01:03:28,400 --> 01:03:31,240
Speaker 3: because he's running for office, so there are the posters everywhere.

1191
01:03:31,400 --> 01:03:34,960
Speaker 3: Then we cut straight to a campaign poster, a defaced

1192
01:03:35,320 --> 01:03:38,000
Speaker 3: ed fleming for Congress poster stuck up to the back

1193
01:03:38,040 --> 01:03:41,040
Speaker 3: of a bus station where somebody has wided out his

1194
01:03:41,200 --> 01:03:44,720
Speaker 3: eyes and half of his hair and drawn fangs and

1195
01:03:44,760 --> 01:03:47,360
Speaker 3: a snake tongue coming out of his lips so he

1196
01:03:47,400 --> 01:03:51,480
Speaker 3: looks like a clownish reptilian grindle. And the slogan on

1197
01:03:51,520 --> 01:03:53,520
Speaker 3: top of the sign is here is the Future.

1198
01:03:53,920 --> 01:03:54,480
Speaker 2: Yeah.

1199
01:03:54,560 --> 01:03:57,000
Speaker 3: I was thinking about this, and I wonder if the

1200
01:03:57,080 --> 01:04:00,240
Speaker 3: subplot of the political campaign in this movie was all

1201
01:04:00,400 --> 01:04:03,120
Speaker 3: inspired by Taxi Driver, which came out the year before.

1202
01:04:03,280 --> 01:04:04,880
Speaker 3: I can't be sure there, but I don't know. I

1203
01:04:04,920 --> 01:04:06,720
Speaker 3: felt some similarities.

1204
01:04:07,080 --> 01:04:09,240
Speaker 2: Yeah, yeah, it might be there, just sort of in

1205
01:04:09,320 --> 01:04:14,400
Speaker 2: terms of basic structure, different purpose, and different characters obviously,

1206
01:04:15,000 --> 01:04:18,640
Speaker 2: but yeah, he might be onto something there. I'm just

1207
01:04:18,640 --> 01:04:20,560
Speaker 2: going to add that all of this was shot in

1208
01:04:20,680 --> 01:04:24,200
Speaker 2: la so anytime we're outdoors in this picture, we do

1209
01:04:24,240 --> 01:04:28,400
Speaker 2: get these authentic scenes of nineteen seventies Los Angeles. Be

1210
01:04:28,480 --> 01:04:32,280
Speaker 2: it something like MacArthur Park or you know, various the

1211
01:04:32,360 --> 01:04:34,680
Speaker 2: Arthur J. Will Memorial Fountain and so forth.

1212
01:04:35,440 --> 01:04:38,640
Speaker 3: Yeah, a lot of beautiful, notable public spaces in this movie.

1213
01:04:38,640 --> 01:04:41,520
Speaker 3: You see a lot of parks and pedestrian overpasses and

1214
01:04:41,600 --> 01:04:45,960
Speaker 3: interesting little plazas and stuff. Anyway, in this scene, we

1215
01:04:46,040 --> 01:04:48,720
Speaker 3: get Jerry, who is still on the run from police,

1216
01:04:49,080 --> 01:04:53,120
Speaker 3: meeting up with Alicia. She does believe he's innocent, but

1217
01:04:53,360 --> 01:04:56,360
Speaker 3: she thinks maybe he should turn himself in anyway because

1218
01:04:56,440 --> 01:05:00,160
Speaker 3: running makes him look guilty. And I like that, Jerry.

1219
01:05:00,440 --> 01:05:02,640
Speaker 3: I feel like this is not a thing that would

1220
01:05:02,640 --> 01:05:05,840
Speaker 3: normally make the protagonist on the run from police say

1221
01:05:06,200 --> 01:05:08,480
Speaker 3: but I like that. His response is I can't go

1222
01:05:08,560 --> 01:05:12,560
Speaker 3: to jail, even for one day. I'll go bananas. It's

1223
01:05:12,560 --> 01:05:15,200
Speaker 3: a different kind of response. It's like, okay, know thyself,

1224
01:05:15,320 --> 01:05:17,640
Speaker 3: I cannot do the time, even until I make bail.

1225
01:05:17,840 --> 01:05:20,200
Speaker 3: Just can't do it. I feel like the more normal

1226
01:05:20,240 --> 01:05:22,440
Speaker 3: protagonist there would have said like, I've got to get

1227
01:05:22,480 --> 01:05:24,640
Speaker 3: to the bottom of who the real killer is or something.

1228
01:05:24,680 --> 01:05:25,680
Speaker 3: I don't know, something like that.

1229
01:05:26,000 --> 01:05:27,600
Speaker 2: Yeah, yeah, I don't know. It kind of feels like

1230
01:05:27,600 --> 01:05:29,280
Speaker 2: one of those lines you throw in when you realize,

1231
01:05:29,440 --> 01:05:31,160
Speaker 2: you know, I really need to put something in here

1232
01:05:31,200 --> 01:05:33,919
Speaker 2: to explain why he's doing this, And you know, maybe

1233
01:05:33,960 --> 01:05:36,480
Speaker 2: it's a little bit throwaway, but it establishes, okay, there

1234
01:05:36,560 --> 01:05:37,160
Speaker 2: is a reason.

1235
01:05:37,600 --> 01:05:40,400
Speaker 3: So they argue about what could have made Franny act

1236
01:05:40,480 --> 01:05:43,400
Speaker 3: the way he did, and while they're having this conversation,

1237
01:05:43,480 --> 01:05:46,960
Speaker 3: they just happen to stumble across a guy reading a newspaper.

1238
01:05:47,440 --> 01:05:51,040
Speaker 3: The paper is a copy of the National Informer, which

1239
01:05:51,040 --> 01:05:54,320
Speaker 3: has this shocking photo and then the headline that says

1240
01:05:54,360 --> 01:05:58,600
Speaker 3: Glendale detective goes mad. It kills wife, children, neighbor, then

1241
01:05:58,720 --> 01:06:03,680
Speaker 3: kill self, even neighbors dog not spared. Night of terror.

1242
01:06:04,160 --> 01:06:07,080
Speaker 3: So we look at this and we're like, oh, wait

1243
01:06:07,120 --> 01:06:09,240
Speaker 3: a minute, we know who that is. That is the

1244
01:06:09,280 --> 01:06:11,600
Speaker 3: guy from the opening vignette who was wearing the cherry

1245
01:06:11,640 --> 01:06:14,000
Speaker 3: red shirt with the mild wide collar and the macaw

1246
01:06:14,120 --> 01:06:17,520
Speaker 3: on his shoulder, yelling blue sunshine, something terrible happened.

1247
01:06:18,360 --> 01:06:21,360
Speaker 2: This is hilarious because I just love the idea that

1248
01:06:21,400 --> 01:06:26,440
Speaker 2: this newspaper is running a photograph of a corpse. Yes,

1249
01:06:26,560 --> 01:06:29,920
Speaker 2: front page partially above the fold, it's mostly below the fold,

1250
01:06:29,960 --> 01:06:34,320
Speaker 2: but still, like, when is you ever see something this grotesque,

1251
01:06:34,680 --> 01:06:36,800
Speaker 2: but at the same time, maybe it does kind of

1252
01:06:36,840 --> 01:06:42,080
Speaker 2: work because like maybe that's blue Sunshine is theorizing like

1253
01:06:42,320 --> 01:06:44,200
Speaker 2: this is where the world is. You would run this

1254
01:06:44,280 --> 01:06:45,960
Speaker 2: on the front page of your newspaper.

1255
01:06:46,160 --> 01:06:48,200
Speaker 3: This is the bleak, broken world we live in.

1256
01:06:48,480 --> 01:06:49,280
Speaker 2: Yeah.

1257
01:06:49,400 --> 01:06:51,960
Speaker 3: So Jerry and Alicia see the photo and they noticed

1258
01:06:52,000 --> 01:06:55,440
Speaker 3: that the murderer is hairless, looking exactly like Franny. They

1259
01:06:55,440 --> 01:06:58,440
Speaker 3: don't know this guy, but they're like, what another bald

1260
01:06:58,800 --> 01:07:03,760
Speaker 3: murder rampage. That's so Jerry buys a copy of the

1261
01:07:03,800 --> 01:07:07,040
Speaker 3: paper at a newsstand starts reading it as he like

1262
01:07:07,160 --> 01:07:10,240
Speaker 3: drifts away up an escalator, while Alicia yells at him

1263
01:07:10,240 --> 01:07:12,080
Speaker 3: not to leave her behind. She's like, I want to

1264
01:07:12,080 --> 01:07:14,160
Speaker 3: go on the lamb with you and help you figure

1265
01:07:14,200 --> 01:07:17,440
Speaker 3: this out. He ignores her and reads the story. I

1266
01:07:17,480 --> 01:07:18,880
Speaker 3: want to say, this is a case of there are

1267
01:07:18,920 --> 01:07:22,760
Speaker 3: several moments like this in the movie where I feel

1268
01:07:22,760 --> 01:07:25,560
Speaker 3: like Alicia is trying to be helpful and Jerry is

1269
01:07:25,720 --> 01:07:28,720
Speaker 3: just not. He's not being very nice.

1270
01:07:29,080 --> 01:07:31,480
Speaker 2: No, no, and again he's having a hard time.

1271
01:07:31,520 --> 01:07:34,520
Speaker 3: But still, anyway, it's obvious what the next move is.

1272
01:07:34,880 --> 01:07:37,480
Speaker 3: In order to prove his innocence, Jerry himself has to

1273
01:07:37,520 --> 01:07:39,520
Speaker 3: solve the case. He's got to figure out what's going on,

1274
01:07:40,040 --> 01:07:43,080
Speaker 3: that's right. Yeah, So the first stop is he wants

1275
01:07:43,120 --> 01:07:45,320
Speaker 3: to go to the scene of the crime reported in

1276
01:07:45,360 --> 01:07:47,240
Speaker 3: the paper. I guess the paper just like gives out

1277
01:07:47,280 --> 01:07:50,520
Speaker 3: the address where the crimes occur. So Jerry goes and

1278
01:07:50,560 --> 01:07:53,600
Speaker 3: he talks to the neighbor lady who's suspicious of reporters.

1279
01:07:53,680 --> 01:07:56,440
Speaker 3: He has to assure her he is not one. This

1280
01:07:56,760 --> 01:07:59,680
Speaker 3: character actress here seemed very familiar to me. I was like,

1281
01:07:59,760 --> 01:08:01,160
Speaker 3: I know her from something.

1282
01:08:01,360 --> 01:08:03,840
Speaker 2: Oh yeah, this is Alice Ghostly, who lived nineteen twenty

1283
01:08:03,880 --> 01:08:07,160
Speaker 2: three through two thousand and seven. Very familiar character actress.

1284
01:08:07,720 --> 01:08:10,520
Speaker 2: Her film credits alone include nineteen sixty twos To Kill

1285
01:08:10,520 --> 01:08:14,760
Speaker 2: a Mockingbird, sixty seven's The Graduate, seventy eight's Grease, and

1286
01:08:14,800 --> 01:08:16,599
Speaker 2: just loads of other stuff. She was on forty eight

1287
01:08:16,640 --> 01:08:20,000
Speaker 2: episodes of Designing Women on TV. So, yeah, this is

1288
01:08:20,040 --> 01:08:23,920
Speaker 2: a very familiar face, even if you can't line it

1289
01:08:24,000 --> 01:08:26,320
Speaker 2: up with a particular title like you've seen her before.

1290
01:08:26,720 --> 01:08:30,720
Speaker 3: So she starts filling Jerry in with mostly she's just

1291
01:08:31,280 --> 01:08:34,080
Speaker 3: recounting a lot of the grizzly details of the crime,

1292
01:08:34,200 --> 01:08:38,200
Speaker 3: like explaining all of the fatal injuries, though strangely, she

1293
01:08:38,320 --> 01:08:41,360
Speaker 3: explains that in years past, Johnny was always so gentle

1294
01:08:41,400 --> 01:08:43,400
Speaker 3: and kind, he was the nicest guy. What could have

1295
01:08:43,479 --> 01:08:48,240
Speaker 3: changed in him? Jerry breaks into the house and one

1296
01:08:48,240 --> 01:08:50,120
Speaker 3: of the funny things here is that there is a

1297
01:08:50,200 --> 01:08:54,240
Speaker 3: framed photo of Johnny in full copy uniform by himself,

1298
01:08:54,280 --> 01:08:57,400
Speaker 3: sitting on the mantle. Just seems like an odd thing

1299
01:08:57,439 --> 01:08:58,280
Speaker 3: to have in your house.

1300
01:08:58,800 --> 01:09:02,200
Speaker 2: Yeah, you know, need an establishing shot, right.

1301
01:09:02,680 --> 01:09:06,840
Speaker 3: Yeah, there's a oh my god. He goes up to

1302
01:09:06,880 --> 01:09:09,439
Speaker 3: the stairs where there is like a white tape outline

1303
01:09:09,479 --> 01:09:11,360
Speaker 3: of a body, you know, like in a crime scene,

1304
01:09:11,720 --> 01:09:15,240
Speaker 3: but it's on top of the stairs which are completely

1305
01:09:15,360 --> 01:09:18,280
Speaker 3: covered in orange shag carpet.

1306
01:09:18,800 --> 01:09:20,040
Speaker 2: Yeah, it's pretty glorious.

1307
01:09:20,720 --> 01:09:25,200
Speaker 3: Not just carpeted stairs, orange shag carpet stairs. Go Valls.

1308
01:09:26,920 --> 01:09:29,920
Speaker 3: So anyway, he's like looking, Jerry's looking at the crime scene,

1309
01:09:30,320 --> 01:09:35,240
Speaker 3: and somehow here he like viscerally relives the crime. Strange

1310
01:09:35,280 --> 01:09:37,920
Speaker 3: thing is this is the closest the movie ever comes

1311
01:09:37,960 --> 01:09:41,800
Speaker 3: to anything that feels like a sharing of a psychedelic perspective.

1312
01:09:41,880 --> 01:09:44,599
Speaker 3: It's like he's hallucinating that he's there during the crime.

1313
01:09:45,080 --> 01:09:47,400
Speaker 3: Except we get the feeling that Jerry is not on

1314
01:09:47,479 --> 01:09:51,320
Speaker 3: drugs and probably never did any drugs, and so I

1315
01:09:51,320 --> 01:09:53,639
Speaker 3: don't know. That's kind of odd. It's almost like they're

1316
01:09:53,680 --> 01:09:56,280
Speaker 3: implying he's psychic. But this never comes back again in

1317
01:09:56,320 --> 01:09:56,719
Speaker 3: the movie.

1318
01:09:57,040 --> 01:09:59,559
Speaker 2: I feel like Jerry did some drugs. I don't know. Oh, okay,

1319
01:10:00,439 --> 01:10:03,320
Speaker 2: I mean he didn't do Blue Sunshine, but I bet

1320
01:10:03,400 --> 01:10:04,519
Speaker 2: I think he did a little something.

1321
01:10:05,040 --> 01:10:07,960
Speaker 3: Oh maybe they never talk about it. Yeah, but maybe

1322
01:10:07,960 --> 01:10:11,680
Speaker 3: he just has the shining. Also, there's a bird scare here.

1323
01:10:11,800 --> 01:10:13,840
Speaker 3: There's like, oh, here's something in the closet, and he

1324
01:10:13,880 --> 01:10:17,200
Speaker 3: opens it up and the McCaw flies out. But the

1325
01:10:17,280 --> 01:10:20,160
Speaker 3: macaw says, hello, Johnny. And then what was the other

1326
01:10:20,200 --> 01:10:22,280
Speaker 3: thing the bird said in the earlier scene? It says

1327
01:10:22,479 --> 01:10:27,200
Speaker 3: blue sunshine. M Now this rattles something in Jerry's brain.

1328
01:10:27,320 --> 01:10:30,240
Speaker 3: He's like, blue sunshine. Where have I heard those words before?

1329
01:10:31,200 --> 01:10:34,120
Speaker 3: So he goes and breaks into another dwelling. He goes

1330
01:10:34,160 --> 01:10:37,200
Speaker 3: to Franny's house. I think this is Franny's photo studio.

1331
01:10:39,160 --> 01:10:40,920
Speaker 3: And he goes and he looks around and there are

1332
01:10:40,920 --> 01:10:43,880
Speaker 3: pictures on the wall of Jerry and Franny and other

1333
01:10:43,920 --> 01:10:46,439
Speaker 3: friends of theirs. And then he comes to one photo.

1334
01:10:46,840 --> 01:10:49,040
Speaker 3: He's one he's seen before. And it's the one he's

1335
01:10:49,080 --> 01:10:52,439
Speaker 3: looking for. Why who is that in the photo? It

1336
01:10:52,520 --> 01:10:56,200
Speaker 3: is aspiring congressman Ed Fleming, who we've seen several times

1337
01:10:56,280 --> 01:10:59,519
Speaker 3: now in his campaign commercials and posters, except here he's

1338
01:10:59,520 --> 01:11:02,160
Speaker 3: a bit younger, and he is dressed up like some

1339
01:11:02,280 --> 01:11:05,960
Speaker 3: kind of new age spiritual guru with long blonde Richard

1340
01:11:06,080 --> 01:11:09,200
Speaker 3: Lynch hair, wearing shell beads in a kind of double

1341
01:11:09,200 --> 01:11:12,639
Speaker 3: exposure shot with rays of light emanating from his face.

1342
01:11:13,120 --> 01:11:15,519
Speaker 3: And then the title of this photo is on a

1343
01:11:15,560 --> 01:11:18,880
Speaker 3: label underneath. It's called Blue Sunshine.

1344
01:11:19,000 --> 01:11:21,080
Speaker 2: Yeah, and this is the this is the image that

1345
01:11:21,840 --> 01:11:26,559
Speaker 2: implies so much about Fleming's past, and again it's it's

1346
01:11:26,560 --> 01:11:30,599
Speaker 2: better than a dozen flashbacks, Like yeah, your mind goes there.

1347
01:11:30,640 --> 01:11:32,280
Speaker 2: Just by seeing this image.

1348
01:11:31,960 --> 01:11:34,479
Speaker 3: The plot thickened. So time to go to a campaign event.

1349
01:11:35,360 --> 01:11:37,439
Speaker 3: We go to an Ed flaming campaign event where we

1350
01:11:37,439 --> 01:11:41,160
Speaker 3: meet several other major characters. Fleming himself, who is who

1351
01:11:41,240 --> 01:11:45,400
Speaker 3: is handsome, charismatic and assertive, but also we're going to

1352
01:11:45,400 --> 01:11:49,760
Speaker 3: get the sense that he is maybe an untrustworthy, unsavory guy.

1353
01:11:49,800 --> 01:11:53,519
Speaker 3: He's a guy who you know, he's he's a glad hander.

1354
01:11:53,640 --> 01:11:57,840
Speaker 3: He he's very charming in person, but he's probably a

1355
01:11:57,920 --> 01:12:00,639
Speaker 3: liar and a cheat and maybe other things.

1356
01:12:01,280 --> 01:12:02,960
Speaker 2: But at the same time, I think it's important to

1357
01:12:02,960 --> 01:12:06,920
Speaker 2: stress that Fleming doesn't come off as like sometimes you

1358
01:12:06,960 --> 01:12:09,519
Speaker 2: have a political character in a film like this and

1359
01:12:09,560 --> 01:12:12,240
Speaker 2: it's like this guy is a is a clear danger

1360
01:12:12,280 --> 01:12:15,960
Speaker 2: to everything. It's more like he's kind of a standard politician,

1361
01:12:16,040 --> 01:12:21,599
Speaker 2: like he's as bad as all the other political candidates

1362
01:12:21,600 --> 01:12:24,000
Speaker 2: out there. And we also get the impression, I mean,

1363
01:12:24,120 --> 01:12:27,479
Speaker 2: perhaps just because it's California, that like he's probably a

1364
01:12:27,520 --> 01:12:32,120
Speaker 2: progressive candidate. You know, they never say for sure, but

1365
01:12:32,320 --> 01:12:34,840
Speaker 2: you know, you get the impression. It's like this guy

1366
01:12:35,160 --> 01:12:37,720
Speaker 2: like on paper, he's probably not that bad, but like

1367
01:12:38,120 --> 01:12:40,040
Speaker 2: he is part of the political machine.

1368
01:12:40,160 --> 01:12:43,479
Speaker 3: He doesn't come off as frighteningly power hungry, like like

1369
01:12:43,560 --> 01:12:45,639
Speaker 3: Greg Stillson in the Dead Zone or something.

1370
01:12:45,760 --> 01:12:47,679
Speaker 2: Yeah, I was just thinking of the Dead Zone. Yeah.

1371
01:12:47,840 --> 01:12:51,520
Speaker 3: Instead, it's more just kind of like he's a maybe untrustworthy,

1372
01:12:51,600 --> 01:12:55,760
Speaker 3: narcissistic guy who's slightly ambitious and is advancing to a

1373
01:12:55,800 --> 01:12:56,719
Speaker 3: political career.

1374
01:12:57,000 --> 01:12:59,839
Speaker 2: Yeah. But it's interesting because we already have that Juxapa

1375
01:12:59,840 --> 01:13:03,120
Speaker 2: is with that photograph, so we know who he used

1376
01:13:03,160 --> 01:13:05,040
Speaker 2: to be and maybe who he used to be isn't

1377
01:13:05,080 --> 01:13:07,200
Speaker 2: that far removed from who he is now? You know,

1378
01:13:07,439 --> 01:13:11,000
Speaker 2: selling a dream, selling an idea and is there anything

1379
01:13:11,040 --> 01:13:12,599
Speaker 2: at the heart of it now?

1380
01:13:12,680 --> 01:13:15,760
Speaker 3: We also in the scene meet Wayne Mulligan, who is

1381
01:13:15,760 --> 01:13:19,920
Speaker 3: Fleming's bodyguard on the campaign, a former college football player

1382
01:13:19,960 --> 01:13:22,800
Speaker 3: who decided he like walks up to Alicia here at

1383
01:13:22,800 --> 01:13:25,320
Speaker 3: the campaign scene and I think he's trying to like

1384
01:13:25,360 --> 01:13:27,000
Speaker 3: get a date here, and he's like, hey, I used

1385
01:13:27,000 --> 01:13:30,800
Speaker 3: to play football. He's huge and imposing. You look at

1386
01:13:30,800 --> 01:13:33,080
Speaker 3: this guy and you think, wow, be really bad if

1387
01:13:33,120 --> 01:13:36,000
Speaker 3: he like lost his marbles and started running around punching people.

1388
01:13:36,360 --> 01:13:37,040
Speaker 2: Yeah.

1389
01:13:37,120 --> 01:13:39,719
Speaker 3: Anyway, Jerry gets a minute aside to talk to Fleming.

1390
01:13:39,760 --> 01:13:42,120
Speaker 3: He comes to the campaign trailer and asks to meet him,

1391
01:13:42,120 --> 01:13:44,519
Speaker 3: and Fleming does meet him. He asks him whether he

1392
01:13:44,600 --> 01:13:47,400
Speaker 3: knew Franny, and Fleming says he did, yeah, years ago.

1393
01:13:47,439 --> 01:13:49,559
Speaker 3: They went to college together. They were both at Stanford

1394
01:13:49,560 --> 01:13:53,800
Speaker 3: at the same time. And Jerry informs Fleming of Franny's death.

1395
01:13:54,840 --> 01:13:59,639
Speaker 3: And this conversation is interrupted by the way by one

1396
01:13:59,640 --> 01:14:02,800
Speaker 3: of the staffers yelling like, mister Fleming, I have the

1397
01:14:02,840 --> 01:14:06,080
Speaker 3: puppet people on the phone. This will make more sense

1398
01:14:06,160 --> 01:14:08,760
Speaker 3: later because there is a campaign event that includes a

1399
01:14:08,760 --> 01:14:13,439
Speaker 3: Puppet Show. Yeah, okay, but at the moment, I'm like,

1400
01:14:13,439 --> 01:14:16,080
Speaker 3: what is the puppet people? Are we in, mister big territory?

1401
01:14:16,120 --> 01:14:20,160
Speaker 3: Here is this attacking the puppet people? Yeah, like the

1402
01:14:20,400 --> 01:14:23,360
Speaker 3: puppet people in that movie get control of a telephone

1403
01:14:23,400 --> 01:14:25,320
Speaker 3: and they're like, we gotta call Ed Fleming. He can

1404
01:14:25,360 --> 01:14:26,000
Speaker 3: help us.

1405
01:14:26,160 --> 01:14:28,559
Speaker 2: Yeah, yeah, likely we do get some payoff on this

1406
01:14:28,960 --> 01:14:29,400
Speaker 2: later on.

1407
01:14:29,680 --> 01:14:33,680
Speaker 3: Yeah. Anyway, in this conversation, Jerry asks Fleming if he

1408
01:14:33,720 --> 01:14:37,720
Speaker 3: has ever heard the words blue sunshine, and Fleming denies it,

1409
01:14:37,800 --> 01:14:41,519
Speaker 3: but he is obviously lying. What is he hiding? Anyway,

1410
01:14:41,680 --> 01:14:44,759
Speaker 3: Mulligan comes in to break up the conversation, and suddenly

1411
01:14:44,840 --> 01:14:48,000
Speaker 3: Jerry has to flee because Alicia's police tale is here.

1412
01:14:48,040 --> 01:14:50,439
Speaker 3: She's being followed by police everywhere she goes. They spot

1413
01:14:50,520 --> 01:14:53,920
Speaker 3: Jerry and it turns into a car chase. Jerry gets

1414
01:14:53,920 --> 01:14:56,000
Speaker 3: away in this car chase because he has a vehicle

1415
01:14:56,040 --> 01:14:58,120
Speaker 3: with four wheel drive and the cops don't. He like

1416
01:14:58,160 --> 01:15:10,760
Speaker 3: goes up a hillside yep. Anyway, Jerry and Alicia meet

1417
01:15:10,840 --> 01:15:13,839
Speaker 3: up later to compare notes, and Alicia has learned some stuff.

1418
01:15:13,880 --> 01:15:16,439
Speaker 3: She learned stuff from Mulligan. When they were talking. She

1419
01:15:16,520 --> 01:15:20,160
Speaker 3: found out that Franny Fleming and the red shirt guy

1420
01:15:20,200 --> 01:15:24,080
Speaker 3: who did the horrible crime. They all graduated from Stanford

1421
01:15:24,120 --> 01:15:26,880
Speaker 3: together ten years ago at the same time. And then

1422
01:15:26,960 --> 01:15:31,080
Speaker 3: Jerry realizes his doctor friend David also graduated from Stanford

1423
01:15:31,120 --> 01:15:33,800
Speaker 3: ten years ago and his hair has been falling out too,

1424
01:15:34,600 --> 01:15:37,560
Speaker 3: and oh boy. Here we cut to a very suspenseful

1425
01:15:37,600 --> 01:15:40,360
Speaker 3: scene where David is like in the operating room getting

1426
01:15:40,360 --> 01:15:43,120
Speaker 3: ready for surgery, and we're all like, oh no, oh no,

1427
01:15:43,479 --> 01:15:46,120
Speaker 3: we know what's coming next. But it's a bit of

1428
01:15:46,120 --> 01:15:48,599
Speaker 3: a fake out because he gets through that. He does

1429
01:15:48,640 --> 01:15:51,479
Speaker 3: have like a tense moment in the surgery where he's

1430
01:15:51,479 --> 01:15:54,799
Speaker 3: like yelling at his subordinates to get him instruments and stuff,

1431
01:15:55,040 --> 01:15:57,360
Speaker 3: but it does not turn into it does not go

1432
01:15:57,439 --> 01:16:00,439
Speaker 3: where you think it's going, right, So after this, Jerry

1433
01:16:00,439 --> 01:16:03,040
Speaker 3: has a confrontation with David where Jerry tries to yank

1434
01:16:03,120 --> 01:16:06,640
Speaker 3: David's hair out. This is a strange scene, but it

1435
01:16:06,680 --> 01:16:10,040
Speaker 3: stays on and Jerry explains his theory to his friend.

1436
01:16:10,040 --> 01:16:12,720
Speaker 3: He's trying to make sense of all this, but he's like, hey,

1437
01:16:12,760 --> 01:16:16,480
Speaker 3: you went to Stanford with these three guys, and David

1438
01:16:17,040 --> 01:16:19,479
Speaker 3: fills in some more information. He's like, yeah, we did

1439
01:16:19,520 --> 01:16:22,679
Speaker 3: all go to college together. When we were there Ed Fleming,

1440
01:16:22,680 --> 01:16:25,200
Speaker 3: who's now running for Congress. He was a drug dealer.

1441
01:16:25,560 --> 01:16:29,160
Speaker 3: He was everybody's connection for all things narcotic and psychedelic.

1442
01:16:29,720 --> 01:16:32,640
Speaker 3: And David stresses, He's like, I don't want to get

1443
01:16:32,720 --> 01:16:34,920
Speaker 3: Fleming in trouble. I don't want this coming out about

1444
01:16:34,960 --> 01:16:38,040
Speaker 3: him because it could ruin his political career. And I

1445
01:16:38,120 --> 01:16:41,400
Speaker 3: was just thinking, man, any movie about politics from more

1446
01:16:41,439 --> 01:16:44,320
Speaker 3: than I don't know, eight years ago feels so quaint

1447
01:16:44,400 --> 01:16:47,000
Speaker 3: now because they're all like, wow, if we found out

1448
01:16:47,040 --> 01:16:50,160
Speaker 3: something that reflected poorly on this politician's character, they could

1449
01:16:50,240 --> 01:16:51,120
Speaker 3: never be elected.

1450
01:16:51,439 --> 01:16:56,240
Speaker 2: Yeah, yeah, for real. But it makes sense here. It's

1451
01:16:55,880 --> 01:16:59,200
Speaker 2: like he says he's donated to the campaign. He's still

1452
01:16:59,240 --> 01:17:02,080
Speaker 2: to some degree, you know, connected to this guy. There

1453
01:17:02,240 --> 01:17:05,040
Speaker 2: were friends at one point, so you know he's not

1454
01:17:05,080 --> 01:17:06,519
Speaker 2: looking to stir up some trouble.

1455
01:17:07,000 --> 01:17:10,240
Speaker 3: Yeah. And once again, the movie does not signal anything

1456
01:17:10,400 --> 01:17:13,559
Speaker 3: unusual about Fleming's political agenda. He just seems like a

1457
01:17:13,600 --> 01:17:16,400
Speaker 3: regular politician. They also don't make it clear like what

1458
01:17:16,520 --> 01:17:19,479
Speaker 3: his you know, like left right orientation is, or what

1459
01:17:19,600 --> 01:17:21,960
Speaker 3: party he's with. He's just sort of like politician.

1460
01:17:22,680 --> 01:17:24,800
Speaker 2: But he we do get the idea that he is

1461
01:17:25,080 --> 01:17:27,240
Speaker 2: he is selling the dream, you know, we see that

1462
01:17:27,280 --> 01:17:29,879
Speaker 2: on the campaign posters. He is selling the future.

1463
01:17:30,240 --> 01:17:32,760
Speaker 3: Anyway, After a lot of hmming and hauling in this conversation,

1464
01:17:32,920 --> 01:17:35,840
Speaker 3: David does come around. He's like, wait a minute, yes,

1465
01:17:36,120 --> 01:17:39,920
Speaker 3: I have heard of Blue Sunshine. That was the name

1466
01:17:40,040 --> 01:17:43,759
Speaker 3: of a particular batch of acid that Fleming was selling

1467
01:17:43,880 --> 01:17:47,360
Speaker 3: ten years ago. And there's a scary moment where David

1468
01:17:47,400 --> 01:17:49,960
Speaker 3: reveals he bought some, but then he's like, I never

1469
01:17:50,000 --> 01:17:53,200
Speaker 3: took it, so he bought some. He got scared because

1470
01:17:53,240 --> 01:17:55,680
Speaker 3: he's like, he ultimately decided they were making this in

1471
01:17:55,800 --> 01:17:58,600
Speaker 3: chemistry labs. You never knew what was in it. You

1472
01:17:58,680 --> 01:18:00,559
Speaker 3: might have gotten a bad batch. He might have gotten

1473
01:18:00,600 --> 01:18:02,960
Speaker 3: one that wasn't what it was supposed to be, so

1474
01:18:03,160 --> 01:18:05,400
Speaker 3: instead of taking it, he sold it to somebody else.

1475
01:18:05,400 --> 01:18:08,839
Speaker 3: He got rid of it. And Jerry asks him, He's like, okay,

1476
01:18:08,840 --> 01:18:11,720
Speaker 3: in your opinion as a doctor, could it be that

1477
01:18:11,760 --> 01:18:14,840
Speaker 3: there was something different about this batch, something wrong with

1478
01:18:14,880 --> 01:18:17,960
Speaker 3: it that would become like a time bomb in your body,

1479
01:18:18,000 --> 01:18:20,360
Speaker 3: causing you to lose all of your hair and then

1480
01:18:20,439 --> 01:18:24,439
Speaker 3: turn into a homicidal madman. Exactly ten years later, David

1481
01:18:24,520 --> 01:18:28,719
Speaker 3: says it's unlikely, but not impossible. Therefore, by movie logic,

1482
01:18:28,800 --> 01:18:33,320
Speaker 3: it is proven. Yes, but how could Jerry prove this

1483
01:18:33,439 --> 01:18:35,639
Speaker 3: to the police. Well, David says, you know, you would

1484
01:18:35,640 --> 01:18:38,120
Speaker 3: need to get a blood sample from one of the

1485
01:18:38,200 --> 01:18:42,680
Speaker 3: effective affected individuals while they're still alive to show the

1486
01:18:42,760 --> 01:18:46,840
Speaker 3: quote chromosomal damage. This is very like, Okay, we're coming

1487
01:18:46,880 --> 01:18:50,599
Speaker 3: to a lot of conclusions very fast. But they scheme together.

1488
01:18:50,600 --> 01:18:52,800
Speaker 3: They're like, Okay, if one of these Blue Sunshine time

1489
01:18:52,840 --> 01:18:55,719
Speaker 3: bombs is on a rampage, he will have super strength,

1490
01:18:55,920 --> 01:18:59,160
Speaker 3: so you'll need a powerful tranquilizer to sedate him and

1491
01:18:59,160 --> 01:19:01,240
Speaker 3: then the blood samp can be taken. So now you've

1492
01:19:01,240 --> 01:19:04,639
Speaker 3: got a plan. So next scene, we have another Fleming

1493
01:19:04,720 --> 01:19:08,320
Speaker 3: campaign event. Both Jerry and Alicia meet there and we

1494
01:19:08,400 --> 01:19:12,600
Speaker 3: meet Wayne Mulligan again. Remember that's Fleming's huge OAF bodyguard,

1495
01:19:12,920 --> 01:19:15,559
Speaker 3: and he sees Alicia across the crowd and follows her.

1496
01:19:16,160 --> 01:19:18,680
Speaker 3: She's like, oh, yeah, I'm just out window shopping and

1497
01:19:18,720 --> 01:19:22,639
Speaker 3: he goes, oh, you like shopping, Well, let me buy

1498
01:19:22,680 --> 01:19:26,000
Speaker 3: you whatever you want with my campaign expense account. We

1499
01:19:26,040 --> 01:19:28,639
Speaker 3: get some sense there's some corruption in the campaign here,

1500
01:19:29,600 --> 01:19:32,400
Speaker 3: but he keeps trying to hit on her, and they're

1501
01:19:32,479 --> 01:19:35,519
Speaker 3: like standing on the sidewalk, and as they're talking, a

1502
01:19:35,640 --> 01:19:39,120
Speaker 3: large truck whizzes by and honks its horn, and this

1503
01:19:39,280 --> 01:19:42,479
Speaker 3: freaks Mulligan out. First, the gust of wind from the

1504
01:19:42,520 --> 01:19:45,280
Speaker 3: truck rises up, and Mulligan grabs hold of his hair,

1505
01:19:45,320 --> 01:19:47,439
Speaker 3: almost as if he doesn't want it to blow away.

1506
01:19:47,880 --> 01:19:50,960
Speaker 3: Uh oh, and then he yells at the truck as

1507
01:19:50,960 --> 01:19:55,120
Speaker 3: though the sound of the horn were inflicting pain upon him. Anyway,

1508
01:19:55,400 --> 01:19:59,240
Speaker 3: after this outburst, he invites Alicia to their next campaign

1509
01:19:59,320 --> 01:20:01,880
Speaker 3: event because that's going to be the following night at

1510
01:20:01,960 --> 01:20:06,080
Speaker 3: quote Shoppers World. Shoppers World is a mall. Oh yeah, baby,

1511
01:20:06,160 --> 01:20:09,000
Speaker 3: We're going to a nineteen seventy seven mall. And it

1512
01:20:09,080 --> 01:20:12,599
Speaker 3: gets better because Mulligan says there's a disco tech at

1513
01:20:12,600 --> 01:20:18,080
Speaker 3: the mall called Big Daddy's Meet Me at the Bar. Also,

1514
01:20:18,160 --> 01:20:20,280
Speaker 3: did I mention in the scene Alicia is wearing a

1515
01:20:20,280 --> 01:20:22,679
Speaker 3: black cowboy hat and a red turtle deck.

1516
01:20:23,120 --> 01:20:25,720
Speaker 2: Oh yeah, she looks fabulous. Yeah, but but yeah, I

1517
01:20:25,760 --> 01:20:28,360
Speaker 2: love that. This also sets our trajectory. This movie is

1518
01:20:28,400 --> 01:20:31,120
Speaker 2: going to end in a disco tech and a shopping

1519
01:20:31,160 --> 01:20:35,000
Speaker 2: mall almost like and I'm not a disco hater. I

1520
01:20:35,080 --> 01:20:36,320
Speaker 2: love some disco, but.

1521
01:20:36,360 --> 01:20:37,960
Speaker 3: This movie might be disco hate.

1522
01:20:38,040 --> 01:20:40,360
Speaker 2: Yeah, yeah, this might be some disco hate, like presenting

1523
01:20:40,360 --> 01:20:44,120
Speaker 2: the idea that like, like American culture dies in the

1524
01:20:44,160 --> 01:20:46,280
Speaker 2: disco and in the shopping mall, you know, like this

1525
01:20:46,360 --> 01:20:49,200
Speaker 2: is the this is the perfect place for Blue Sunshine

1526
01:20:49,240 --> 01:20:50,440
Speaker 2: to reach its conclusion.

1527
01:20:50,960 --> 01:20:53,960
Speaker 3: Okay, next scene, we're back with poor Wendy Fleming and

1528
01:20:54,000 --> 01:20:57,040
Speaker 3: the kids she's babysitting. They're watching cartoons on TV, and

1529
01:20:57,080 --> 01:20:59,920
Speaker 3: Wendy's in the kitchen, and oh boy, one of my

1530
01:21:00,000 --> 01:21:02,000
Speaker 3: favorite things in the movies, we get a peek inside

1531
01:21:02,000 --> 01:21:04,880
Speaker 3: the cabinet to see some bona fide nineteen seventy seven food.

1532
01:21:05,840 --> 01:21:08,759
Speaker 3: I see some Quaker oats, I think some kidney beans,

1533
01:21:09,400 --> 01:21:12,200
Speaker 3: Campbell's canned soup. You can't quite read the label, but

1534
01:21:12,280 --> 01:21:15,080
Speaker 3: let's just say it's cream of celery or maybe split

1535
01:21:15,120 --> 01:21:18,479
Speaker 3: pea with ham. But then finally, what we definitely see

1536
01:21:19,000 --> 01:21:21,639
Speaker 3: is a can of Hormel canned to Molly's.

1537
01:21:22,520 --> 01:21:23,320
Speaker 2: I think I remember this.

1538
01:21:23,720 --> 01:21:26,400
Speaker 3: Yeah, also a vial of pills stored in the same

1539
01:21:26,400 --> 01:21:30,559
Speaker 3: cabinet as the food, which also seems very seventy seven. Yeah.

1540
01:21:30,600 --> 01:21:32,840
Speaker 3: So the mother of the two kids is hanging out

1541
01:21:32,880 --> 01:21:35,000
Speaker 3: at first, and she's like about to leave them there

1542
01:21:35,120 --> 01:21:38,720
Speaker 3: with Wendy and go back home for a bit when

1543
01:21:38,800 --> 01:21:41,880
Speaker 3: Jerry Zipken knocks at the door, So the other lady

1544
01:21:41,880 --> 01:21:43,479
Speaker 3: looks out the peep hole and she sees him and

1545
01:21:43,520 --> 01:21:46,840
Speaker 3: she's like, hmm, not bad, what a hunk. So they

1546
01:21:46,880 --> 01:21:50,200
Speaker 3: let Jerry in, you know, she goes off. He introduces

1547
01:21:50,280 --> 01:21:53,080
Speaker 3: himself as a friend of Eddie, and Jerry and Wendy

1548
01:21:53,160 --> 01:21:55,640
Speaker 3: exchanged some niceties, but eventually, once they're out of ear

1549
01:21:55,680 --> 01:21:58,080
Speaker 3: shot of the kids, he gets to the point he says,

1550
01:21:58,439 --> 01:22:02,960
Speaker 3: did you ever hear of Blue Sunshine? And she plays coy,

1551
01:22:03,080 --> 01:22:06,519
Speaker 3: pretends she doesn't know. She's like, are you trying to

1552
01:22:06,520 --> 01:22:10,000
Speaker 3: score from Eddie? Almost implying that he still deals drugs,

1553
01:22:11,960 --> 01:22:15,040
Speaker 3: But she gets very defensive of her estranged husband, accusing

1554
01:22:15,120 --> 01:22:18,120
Speaker 3: Jerry of trying to damage his political career. Jerry's like,

1555
01:22:18,160 --> 01:22:19,960
Speaker 3: I don't care about that. That's not what it is.

1556
01:22:20,040 --> 01:22:22,240
Speaker 3: I'm just trying to find out everybody who may have

1557
01:22:22,320 --> 01:22:25,400
Speaker 3: received this batch of acid, and she gets very upset

1558
01:22:25,439 --> 01:22:29,000
Speaker 3: and kicks Jerry out of her apartment. But uh oh.

1559
01:22:29,400 --> 01:22:33,479
Speaker 3: After Jerry leaves, Wendy is very stressed out. She's breathing heavily.

1560
01:22:33,920 --> 01:22:37,519
Speaker 3: The kids start chanting that the kids are chanting we

1561
01:22:37,560 --> 01:22:40,320
Speaker 3: want ice cream, we want ice cream, and then screaming

1562
01:22:40,360 --> 01:22:43,200
Speaker 3: we want hot dogs, we want hot dogs. I think

1563
01:22:43,240 --> 01:22:46,000
Speaker 3: we can all see where this is going. Wendy starts

1564
01:22:46,000 --> 01:22:47,920
Speaker 3: to have a blue sunshine freak out.

1565
01:22:48,520 --> 01:22:52,360
Speaker 2: Yeah, and this is a terrifying sequence. This apelds up.

1566
01:22:52,760 --> 01:22:55,639
Speaker 3: The level of menace is off the charts. She starts

1567
01:22:55,720 --> 01:22:58,639
Speaker 3: like frantically chewing up all her pills. Then her eyes

1568
01:22:58,760 --> 01:23:00,840
Speaker 3: roll back in her head of thing at the mouth.

1569
01:23:01,080 --> 01:23:03,960
Speaker 3: Then she pulls her wig off to reveal a totally

1570
01:23:04,000 --> 01:23:07,439
Speaker 3: bald head, so creepy, and then she looks at the

1571
01:23:07,520 --> 01:23:11,479
Speaker 3: kitchen knives and this is so it's horrible. She's here

1572
01:23:11,479 --> 01:23:14,200
Speaker 3: with the kids. But just as Jerry is leaving the building,

1573
01:23:14,600 --> 01:23:17,040
Speaker 3: something doesn't quite feel right to him, and he decides

1574
01:23:17,080 --> 01:23:19,040
Speaker 3: to go back. And then there's a kind of this

1575
01:23:19,120 --> 01:23:22,240
Speaker 3: is against tone because this scene in the apartment above

1576
01:23:22,439 --> 01:23:26,439
Speaker 3: is so creepy and awful. But then, like Jerry is,

1577
01:23:26,560 --> 01:23:28,439
Speaker 3: it's taking too long for him to get back up

1578
01:23:28,479 --> 01:23:30,800
Speaker 3: there because they are like older people taking forever in

1579
01:23:30,840 --> 01:23:35,320
Speaker 3: the elevator. Yes, and so we're intercutting between that funny

1580
01:23:35,320 --> 01:23:38,320
Speaker 3: thing and the elevator with bald windy like walking up

1581
01:23:38,360 --> 01:23:41,800
Speaker 3: behind the kids with a knife. This movie absolutely does

1582
01:23:41,920 --> 01:23:45,479
Speaker 3: not pass the Gene Siskel test. It has scenes of

1583
01:23:45,800 --> 01:23:49,240
Speaker 3: a maniac chasing little children around with a knife. Of course,

1584
01:23:49,280 --> 01:23:51,559
Speaker 3: you know, Ciskel didn't like any movie where kids were

1585
01:23:51,600 --> 01:23:56,479
Speaker 3: shown in peril. This is some explicit horrifying children in peril.

1586
01:23:56,720 --> 01:23:59,360
Speaker 2: Yeah, because the way they play it, too, is so believable,

1587
01:23:59,400 --> 01:24:02,639
Speaker 2: because it's like the kids don't understand what's happening. They

1588
01:24:02,720 --> 01:24:05,080
Speaker 2: think it is a game, and then they're getting a

1589
01:24:05,120 --> 01:24:08,400
Speaker 2: little upset about the game, and yeah, it's rough.

1590
01:24:08,840 --> 01:24:12,599
Speaker 3: Fortunately the children are unharmed. Jerry gets back bursts in

1591
01:24:12,600 --> 01:24:15,799
Speaker 3: in time to stop her, and then Jerry and Wendy

1592
01:24:15,840 --> 01:24:18,880
Speaker 3: wrestle for the knife until finally Wendy is thrown from

1593
01:24:18,880 --> 01:24:22,280
Speaker 3: the park apartment balcony. In the struggle, she falls to

1594
01:24:22,320 --> 01:24:25,679
Speaker 3: her death, leaving Jerry standing there holding a bloody knife.

1595
01:24:26,400 --> 01:24:28,680
Speaker 3: And then by the time people get there, it just

1596
01:24:28,800 --> 01:24:32,040
Speaker 3: looks like Jerry has murdered again. Jerry is really bad

1597
01:24:32,080 --> 01:24:34,640
Speaker 3: about doing things that make him look guilty when he

1598
01:24:34,720 --> 01:24:37,400
Speaker 3: is not a murderer. Like the neighbor comes in and

1599
01:24:37,439 --> 01:24:40,240
Speaker 3: sees him and starts screaming, and his reaction is not

1600
01:24:40,400 --> 01:24:43,400
Speaker 3: like no, no, you don't understand. Instead, he runs up

1601
01:24:43,439 --> 01:24:46,160
Speaker 3: to her and puts a bloody hand over her mouth

1602
01:24:46,240 --> 01:24:47,719
Speaker 3: and yells at her to be quiet.

1603
01:24:48,439 --> 01:24:50,280
Speaker 2: I also have to throw in this sequence where Wendy

1604
01:24:50,360 --> 01:24:52,800
Speaker 2: goes out the window and falls to her death. Very

1605
01:24:52,800 --> 01:24:56,760
Speaker 2: well executed. We've all seen films where someone falls from

1606
01:24:56,760 --> 01:24:59,800
Speaker 2: a height and it's not believable. This is very well

1607
01:24:59,840 --> 01:25:04,320
Speaker 2: done and is quite believable. Nobody's chunking a mannequin out

1608
01:25:04,320 --> 01:25:05,759
Speaker 2: of a window for this sequence.

1609
01:25:06,080 --> 01:25:08,080
Speaker 3: Okay. We get a few more scenes where just some

1610
01:25:08,200 --> 01:25:11,800
Speaker 3: information is shared between characters. Fleming finds out about the

1611
01:25:11,840 --> 01:25:13,800
Speaker 3: death of his wife, and he finds out from the

1612
01:25:13,800 --> 01:25:17,839
Speaker 3: police that they think Jerry Zipken is responsible for the murder.

1613
01:25:19,040 --> 01:25:22,759
Speaker 3: We get a scene of Jerry meeting again with David.

1614
01:25:22,800 --> 01:25:24,920
Speaker 3: They meet in the park where Jerry is getting the

1615
01:25:24,960 --> 01:25:28,160
Speaker 3: tranquilizers that he's going to use, but David is dressed

1616
01:25:28,240 --> 01:25:30,240
Speaker 3: up like a drug dealer. He's wearing like shades in

1617
01:25:30,280 --> 01:25:31,840
Speaker 3: a long coat. I think there's supposed to be some

1618
01:25:31,880 --> 01:25:35,439
Speaker 3: irony here. And in the scene, David mentions another guy

1619
01:25:35,479 --> 01:25:39,000
Speaker 3: he remembered taking the Blue Sunshine, a football player named

1620
01:25:39,040 --> 01:25:42,880
Speaker 3: Wayne Mulligan. All he wanted was acid, acid, acid.

1621
01:25:43,160 --> 01:25:44,880
Speaker 2: Oh man, he didn't even care if it was blue

1622
01:25:44,960 --> 01:25:45,160
Speaker 2: or not.

1623
01:25:45,600 --> 01:25:48,840
Speaker 3: Also another random scene of Jerry being mean for no reason.

1624
01:25:48,840 --> 01:25:51,680
Speaker 3: He steals money from a guy with drug addiction for

1625
01:25:51,720 --> 01:25:52,679
Speaker 3: no particular reason.

1626
01:25:53,080 --> 01:25:54,840
Speaker 2: Is this the guy who's like coming up in close

1627
01:25:54,880 --> 01:25:56,479
Speaker 2: talking to him on the bench.

1628
01:25:56,560 --> 01:25:58,559
Speaker 3: Yeah, the guys like I need you to go over

1629
01:25:58,600 --> 01:26:00,880
Speaker 3: there and buy some for me. Takes his money and

1630
01:26:00,920 --> 01:26:01,879
Speaker 3: then he just leaves.

1631
01:26:02,560 --> 01:26:05,000
Speaker 2: There is a really creepy bald guy who comes up

1632
01:26:05,040 --> 01:26:08,559
Speaker 2: and stares at him in this scene. And it's fun

1633
01:26:08,600 --> 01:26:11,400
Speaker 2: detail is that Jeff Lieberman says that they were filming

1634
01:26:11,439 --> 01:26:13,800
Speaker 2: and this dude just walked up and they were like,

1635
01:26:14,120 --> 01:26:17,160
Speaker 2: get a release in that dude's hands. We got to

1636
01:26:17,240 --> 01:26:18,880
Speaker 2: get him to sign a release. We've got to have

1637
01:26:18,960 --> 01:26:20,200
Speaker 2: him in the picture. But this is just a guy

1638
01:26:20,200 --> 01:26:20,960
Speaker 2: who wandered up.

1639
01:26:21,280 --> 01:26:23,640
Speaker 3: Also a scene around here where Alicia is talking to

1640
01:26:23,720 --> 01:26:26,679
Speaker 3: the detective who's been following her and she's like, look,

1641
01:26:26,760 --> 01:26:29,360
Speaker 3: Jerry's innocent and I can prove it. She comes up

1642
01:26:29,360 --> 01:26:31,479
Speaker 3: with the scheme. All we got to do is get

1643
01:26:31,520 --> 01:26:35,800
Speaker 3: this guy Wayne Mulligan and have him tested. Have him test.

1644
01:26:35,840 --> 01:26:40,200
Speaker 3: Oh yeah, I have him tested for Blue Sunshine. But

1645
01:26:40,400 --> 01:26:42,800
Speaker 3: there's also a scene there's like a gun store scene

1646
01:26:42,800 --> 01:26:46,240
Speaker 3: of Jerry buying a hand pumped pellet gun to shoot

1647
01:26:46,280 --> 01:26:50,360
Speaker 3: the Tranquilizer dart, and I thought this scene is interesting

1648
01:26:50,400 --> 01:26:54,160
Speaker 3: because Jerry learns a litany to defeat the villain. It's

1649
01:26:54,200 --> 01:26:57,840
Speaker 3: like he's practicing a magic spell that has rhyming lines.

1650
01:26:58,360 --> 01:27:01,519
Speaker 3: The last line is about how to operate the pellet

1651
01:27:01,560 --> 01:27:04,479
Speaker 3: gun with the darts, but the last line of the

1652
01:27:04,840 --> 01:27:07,880
Speaker 3: litany is because if you jerk, it won't work.

1653
01:27:08,520 --> 01:27:11,080
Speaker 2: Yeah, it's a full mantra that he learns here from

1654
01:27:11,120 --> 01:27:14,080
Speaker 2: the dude at the gun store, and it's very effect.

1655
01:27:14,160 --> 01:27:16,559
Speaker 2: It's kind of ridiculous in its own way, which I

1656
01:27:16,560 --> 01:27:18,280
Speaker 2: think you're about to touch on, but you know, I

1657
01:27:18,280 --> 01:27:19,960
Speaker 2: don't know. You get a feel for the weapon that

1658
01:27:20,040 --> 01:27:23,200
Speaker 2: is clearly going to be pivotal in the finale of

1659
01:27:23,240 --> 01:27:27,720
Speaker 2: the picture, and and we have this weird, almost you know,

1660
01:27:27,760 --> 01:27:31,599
Speaker 2: semi magical litany that he's going to recite. So I

1661
01:27:31,600 --> 01:27:31,960
Speaker 2: dig it.

1662
01:27:32,400 --> 01:27:35,160
Speaker 3: So as a story element, it really works. But there

1663
01:27:35,160 --> 01:27:38,599
Speaker 3: are also ridiculous things about this scene, like the gun

1664
01:27:38,680 --> 01:27:41,800
Speaker 3: store has a practice range inside the store where there's

1665
01:27:41,800 --> 01:27:44,280
Speaker 3: a target on the wall that they're shooting at, but

1666
01:27:44,439 --> 01:27:47,400
Speaker 3: it's just the target is just down the middle of

1667
01:27:47,439 --> 01:27:50,520
Speaker 3: the store from where they are, like where customers are browsing.

1668
01:27:50,920 --> 01:27:54,040
Speaker 3: There's like he like raises his gun to aim at

1669
01:27:54,040 --> 01:27:56,599
Speaker 3: the target. There's just some cop shopping in the store

1670
01:27:56,760 --> 01:27:59,080
Speaker 3: leans in front of the target. What.

1671
01:27:59,560 --> 01:28:02,760
Speaker 2: Yeah, this is not a good gun layout, gun storm layer.

1672
01:28:02,800 --> 01:28:04,559
Speaker 2: I mean, I don't know what good gun store layout is,

1673
01:28:04,600 --> 01:28:07,360
Speaker 2: but it's not this. Also, this sequence always makes this

1674
01:28:07,439 --> 01:28:09,479
Speaker 2: Noggs makes me think of terminator. You know just what

1675
01:28:09,520 --> 01:28:10,400
Speaker 2: you see here pel.

1676
01:28:10,520 --> 01:28:14,200
Speaker 3: Yeah, yeah, a phase plasma rifle with forty watt range.

1677
01:28:14,600 --> 01:28:18,040
Speaker 3: They do not have it. It's just dark gun here. Okay,

1678
01:28:18,080 --> 01:28:19,880
Speaker 3: but we're headed up to the climax. So we had

1679
01:28:19,880 --> 01:28:23,200
Speaker 3: two shoppers World for the campaign event. Slash Disco Tech,

1680
01:28:23,280 --> 01:28:26,000
Speaker 3: Acid freak Out. Fleming and Mulligan are going to be

1681
01:28:26,000 --> 01:28:28,280
Speaker 3: there for the campaign event, or Mulligan's going to be there,

1682
01:28:28,280 --> 01:28:31,360
Speaker 3: I guess to go on a date with Alisha. Jerry's

1683
01:28:31,360 --> 01:28:34,120
Speaker 3: going to be there with his tranquilizer gun. Alicia will

1684
01:28:34,160 --> 01:28:36,639
Speaker 3: be there to entrap Mulligan so he can be caught

1685
01:28:36,640 --> 01:28:41,040
Speaker 3: at the cops and then quote tested on Alisha's say. So, well,

1686
01:28:41,040 --> 01:28:43,080
Speaker 3: why the cops are going along with this, I don't know,

1687
01:28:43,160 --> 01:28:47,320
Speaker 3: But she's convinced them, so good job, Alisha. Also puppets.

1688
01:28:47,360 --> 01:28:49,639
Speaker 3: Here we get to the puppets. What is the deal

1689
01:28:49,760 --> 01:28:53,280
Speaker 3: with this puppet show co headlining with the fleming campaign event?

1690
01:28:53,320 --> 01:28:56,280
Speaker 3: It makes me think of in Spinal Tap though, when

1691
01:28:56,320 --> 01:28:59,080
Speaker 3: the puppet show gets top billing over Spinal Tap at

1692
01:28:59,120 --> 01:28:59,960
Speaker 3: the at the carnival.

1693
01:29:00,840 --> 01:29:04,280
Speaker 2: I guess they just wanted something that's, you know, non political.

1694
01:29:04,360 --> 01:29:06,719
Speaker 2: He was he stressed that earlier. It's like they can't

1695
01:29:06,720 --> 01:29:09,719
Speaker 2: do political material, just some sort of feel good, feel

1696
01:29:09,720 --> 01:29:10,280
Speaker 2: good stuff.

1697
01:29:10,560 --> 01:29:13,080
Speaker 3: Yeah, so the puppets are singing that song just in

1698
01:29:13,160 --> 01:29:16,479
Speaker 3: time that Fran was singing earlier. We also get some

1699
01:29:16,560 --> 01:29:20,080
Speaker 3: pre rampage taste of the disco tech. Everybody's dancing, there's

1700
01:29:20,240 --> 01:29:23,040
Speaker 3: there are you know, of course you're flashing disco lights,

1701
01:29:23,040 --> 01:29:26,679
Speaker 3: but the color tone of the disco tech is very red.

1702
01:29:27,400 --> 01:29:29,080
Speaker 2: Yeah. I just I wanted to be there. It's like

1703
01:29:29,080 --> 01:29:31,200
Speaker 2: I kept thinking, like if I walked up to that bar,

1704
01:29:31,360 --> 01:29:33,640
Speaker 2: what kind of just horrible drink could I order? You

1705
01:29:33,680 --> 01:29:38,240
Speaker 2: know what, what crappy nineteen seventies cocktail could I order

1706
01:29:38,280 --> 01:29:39,960
Speaker 2: and just absolutely love it? Because of the.

1707
01:29:39,880 --> 01:29:42,240
Speaker 3: Setting, Yeah, you might think there would be some tiki

1708
01:29:42,320 --> 01:29:45,720
Speaker 3: drinks here but instead she goes up and orders a

1709
01:29:45,760 --> 01:29:49,600
Speaker 3: martini with two olives. Sidebar on martinis and movies, you know,

1710
01:29:49,760 --> 01:29:53,200
Speaker 3: every time somebody orders a martini in a movie, unless

1711
01:29:53,240 --> 01:29:56,639
Speaker 3: it's like the James Bond order, they order a dry martini,

1712
01:29:56,680 --> 01:29:59,040
Speaker 3: It's like, what, where's the appreciation for a nice wet

1713
01:29:59,080 --> 01:30:00,360
Speaker 3: martini in the movie?

1714
01:30:00,520 --> 01:30:02,719
Speaker 2: Yeah? I don't know. I guess maybe it just photographs better,

1715
01:30:04,880 --> 01:30:07,160
Speaker 2: you tell the visual difference. I don't know. I mean,

1716
01:30:07,960 --> 01:30:11,479
Speaker 2: maybe to fill it with water and olives and you're

1717
01:30:11,479 --> 01:30:12,719
Speaker 2: good to go anyway.

1718
01:30:12,800 --> 01:30:15,519
Speaker 3: Mulligan's here, but he looks like he's not doing so good.

1719
01:30:15,600 --> 01:30:19,280
Speaker 3: He is sweating, skittish. He starts yelling at the music

1720
01:30:19,360 --> 01:30:22,640
Speaker 3: for being too loud. So it seems like you're not

1721
01:30:23,200 --> 01:30:25,320
Speaker 3: getting off on the right foot for this date, Wayne,

1722
01:30:26,080 --> 01:30:28,200
Speaker 3: and then he tells Alicia that he's going to the

1723
01:30:28,200 --> 01:30:32,559
Speaker 3: men's room to freshen up. So meanwhile, Jerry arrives at

1724
01:30:32,600 --> 01:30:34,160
Speaker 3: the mall and we see him like loading up his

1725
01:30:34,240 --> 01:30:37,040
Speaker 3: trank darts in the parking lot. And at the disco,

1726
01:30:37,320 --> 01:30:40,760
Speaker 3: the police lieutenant arrives and meets with Alicia. She has

1727
01:30:40,760 --> 01:30:43,679
Speaker 3: apparently gotten somewhat drunk by this time. This is another

1728
01:30:43,720 --> 01:30:45,679
Speaker 3: one of these things where I feel like she's acting

1729
01:30:45,720 --> 01:30:48,479
Speaker 3: a bit more like this is a comedy. Yeah, Like

1730
01:30:48,720 --> 01:30:51,280
Speaker 3: she's had several drinks by the time the police arrive,

1731
01:30:51,720 --> 01:30:54,080
Speaker 3: and she's like she tells him that Mulligan's been in

1732
01:30:54,080 --> 01:30:56,720
Speaker 3: the bathroom for a long time, Like I don't know

1733
01:30:56,760 --> 01:30:58,680
Speaker 3: what he's doing in there, but like, why is she

1734
01:30:58,760 --> 01:31:01,400
Speaker 3: having any drinks when the gold there's a mission?

1735
01:31:01,680 --> 01:31:05,000
Speaker 2: Yeah, you're on a mission here. The mission was it

1736
01:31:05,080 --> 01:31:06,240
Speaker 2: to have three cocktails?

1737
01:31:06,400 --> 01:31:10,240
Speaker 3: Yes, So we go inside the bathroom with the police,

1738
01:31:10,240 --> 01:31:12,800
Speaker 3: go in there and Mulligan is having an episode a

1739
01:31:12,840 --> 01:31:16,360
Speaker 3: blue Sunshine attack is imminent. They try to interrogate Mulligan,

1740
01:31:16,680 --> 01:31:19,479
Speaker 3: but suddenly his wig comes off, and this is apparently

1741
01:31:19,520 --> 01:31:22,879
Speaker 3: the trigger. He like slams the cop against the bathroom

1742
01:31:22,960 --> 01:31:25,280
Speaker 3: stall and knocks him out, and then runs out of

1743
01:31:25,320 --> 01:31:28,880
Speaker 3: the bathroom and just goes on a rampage inside the disco.

1744
01:31:29,040 --> 01:31:31,639
Speaker 3: So a big chunk of what's left in the movie

1745
01:31:31,760 --> 01:31:34,320
Speaker 3: is just Mulligan rampaging in the disco.

1746
01:31:34,800 --> 01:31:37,280
Speaker 2: At one point he gorilla presses a girl and throws

1747
01:31:37,280 --> 01:31:38,719
Speaker 2: her across the dance floor.

1748
01:31:39,000 --> 01:31:43,639
Speaker 3: Yes, he's running around just beating everybody up. And they're

1749
01:31:44,160 --> 01:31:46,960
Speaker 3: probably the most famous line from the movie is like

1750
01:31:47,120 --> 01:31:49,439
Speaker 3: Jerry sees all these people running out of the disco

1751
01:31:49,600 --> 01:31:52,040
Speaker 3: while he's in the mall, and he's like, what's going on?

1752
01:31:52,280 --> 01:31:55,280
Speaker 3: And this man turns to Jerry and says, there's a

1753
01:31:55,320 --> 01:32:00,559
Speaker 3: bald maniac in there and he's going batch. Gerry runs

1754
01:32:00,560 --> 01:32:04,400
Speaker 3: in to rescue Alicia from the disco where she's At

1755
01:32:04,439 --> 01:32:07,559
Speaker 3: one point, she gets trapped inside the DJ's box, so

1756
01:32:07,680 --> 01:32:09,600
Speaker 3: like she's in this glass box with all of the

1757
01:32:09,680 --> 01:32:13,800
Speaker 3: music equipment, and Mulligan is outside, like beating on the

1758
01:32:13,800 --> 01:32:16,720
Speaker 3: windows trying to get to her. But she outsmarts him

1759
01:32:16,760 --> 01:32:19,840
Speaker 3: because she realizes she can turn the music all the

1760
01:32:19,840 --> 01:32:22,200
Speaker 3: way up to like drive him, you know, to like

1761
01:32:22,320 --> 01:32:25,559
Speaker 3: drive him away. So she kind of outsmarts him there.

1762
01:32:25,760 --> 01:32:28,880
Speaker 3: He runs away out of the disco, and then Jerry

1763
01:32:28,920 --> 01:32:30,640
Speaker 3: has to chase him with the darts. And so the

1764
01:32:30,680 --> 01:32:32,840
Speaker 3: final showdown is kind of a cat and mouse game

1765
01:32:32,880 --> 01:32:36,240
Speaker 3: inside a department store, and we get this scene where

1766
01:32:36,360 --> 01:32:40,400
Speaker 3: Zipken knows Mulligan is approaching him. He recites the litany

1767
01:32:40,439 --> 01:32:44,120
Speaker 3: of the pellet gun. He's like, squeeze, don't jerk. If

1768
01:32:44,120 --> 01:32:47,000
Speaker 3: you jerk, it won't work, almost like the magic spell

1769
01:32:47,080 --> 01:32:50,599
Speaker 3: to defeat the Warlock. And then as Mulligan looms boom

1770
01:32:50,800 --> 01:32:53,400
Speaker 3: dart to the neck, he nails it and we cut

1771
01:32:53,439 --> 01:32:55,320
Speaker 3: to epilogue text.

1772
01:32:55,240 --> 01:32:58,719
Speaker 2: Oh man, well we sort of it's really beautiful. I thought,

1773
01:32:58,920 --> 01:33:01,840
Speaker 2: like we have fire. Like he's downed the giant. He's

1774
01:33:01,880 --> 01:33:05,800
Speaker 2: down the maniac Mulligan. Here, he's sitting next to him,

1775
01:33:05,960 --> 01:33:08,479
Speaker 2: dark gun in hand, and we begin to pan back

1776
01:33:08,600 --> 01:33:11,600
Speaker 2: right and we begin to see more details of the

1777
01:33:11,640 --> 01:33:17,000
Speaker 2: shopping mall, and we hear Fleming's campaign speech and he's

1778
01:33:17,040 --> 01:33:20,840
Speaker 2: talking about making America good again, and he's throwing out

1779
01:33:20,840 --> 01:33:25,559
Speaker 2: all these lines about the future, selling the future to everyone,

1780
01:33:25,800 --> 01:33:29,880
Speaker 2: and it's like it's really haunting. And then we get

1781
01:33:29,920 --> 01:33:32,880
Speaker 2: the epilogue text, which I would argue is maybe what

1782
01:33:33,000 --> 01:33:36,120
Speaker 2: wasn't completely necessary. I feel like we already had a

1783
01:33:36,200 --> 01:33:39,080
Speaker 2: really firm landing here, but they lean in just a

1784
01:33:39,120 --> 01:33:41,439
Speaker 2: little bit more into the drugs politation element. Right as

1785
01:33:41,560 --> 01:33:42,560
Speaker 2: we close out.

1786
01:33:42,400 --> 01:33:45,280
Speaker 3: The epilogue text feels more like the movie poster. It

1787
01:33:45,400 --> 01:33:48,960
Speaker 3: says Wayne Mulligan was tested. Remember they were going to

1788
01:33:49,120 --> 01:33:52,680
Speaker 3: test him. He was tested and found to have extensive

1789
01:33:52,760 --> 01:33:58,720
Speaker 3: chromosomic aberrations and is confined at Alhambra State Sanitarium. A

1790
01:33:58,760 --> 01:34:03,080
Speaker 3: special task force. The United States Federal Drug Administration reports

1791
01:34:03,360 --> 01:34:07,320
Speaker 3: that two hundred and fifty five doses of Blue Sunshine

1792
01:34:07,680 --> 01:34:12,240
Speaker 3: manufactured in September nineteen sixty seven are still unaccounted for.

1793
01:34:13,200 --> 01:34:16,839
Speaker 3: And they ended the sentence with a preposition, well.

1794
01:34:19,000 --> 01:34:22,160
Speaker 2: Have to. I'm glad they didn't go full animal House

1795
01:34:23,040 --> 01:34:25,800
Speaker 2: on the epilogue here and tell you what every character did,

1796
01:34:26,120 --> 01:34:28,400
Speaker 2: because I love the ambiguity, Like, we don't know what

1797
01:34:28,479 --> 01:34:32,040
Speaker 2: happens with Fleming. Was the campaign successful? You know? What

1798
01:34:32,080 --> 01:34:34,479
Speaker 2: does he go on to do? We don't know how

1799
01:34:34,520 --> 01:34:36,960
Speaker 2: it shakes out with other people who took Blue Sunshine.

1800
01:34:37,240 --> 01:34:41,160
Speaker 2: So I think the epilogue was unnecessary. But what they

1801
01:34:41,200 --> 01:34:43,120
Speaker 2: added here is still creepy in its own right.

1802
01:34:43,680 --> 01:34:46,639
Speaker 3: Fleming comes to power on a campaign promise of blue

1803
01:34:46,680 --> 01:34:48,840
Speaker 3: Sunshine for every spine in America.

1804
01:34:49,640 --> 01:34:52,200
Speaker 2: Yeah like that, that would be too much, But yeah,

1805
01:34:52,400 --> 01:34:54,800
Speaker 2: I like the ambiguity of it, though. I like where

1806
01:34:54,800 --> 01:34:55,280
Speaker 2: we landed.

1807
01:34:55,840 --> 01:34:58,280
Speaker 3: So that's Blue Sunshine. If you've got a stomach for

1808
01:34:58,320 --> 01:35:02,599
Speaker 3: exploitation horror, I think it's a really really fine example.

1809
01:35:03,040 --> 01:35:05,400
Speaker 3: And again, once again want to emphasize what I said

1810
01:35:05,439 --> 01:35:09,680
Speaker 3: earlier works on multiple levels. It is both super effective

1811
01:35:09,720 --> 01:35:13,960
Speaker 3: as horror, incredibly creepy and paranoid and also one of

1812
01:35:14,000 --> 01:35:15,840
Speaker 3: the funniest movies I've watched in a while.

1813
01:35:16,080 --> 01:35:19,040
Speaker 2: Yeah, and with I think some very strong social commentary

1814
01:35:19,080 --> 01:35:22,680
Speaker 2: that stands the test of time. So strong recommendation for

1815
01:35:22,720 --> 01:35:25,280
Speaker 2: this one. If this is your your deal at all,

1816
01:35:25,560 --> 01:35:28,000
Speaker 2: and if you're looking for an off kilter Christmas movie,

1817
01:35:28,160 --> 01:35:32,639
Speaker 2: here you have it. Merry Christmas, Blue Sunshine. I need

1818
01:35:32,640 --> 01:35:35,720
Speaker 2: a Blue Sunshine ornament now, but I'll have to look

1819
01:35:35,800 --> 01:35:36,120
Speaker 2: end of that.

1820
01:35:37,600 --> 01:35:39,439
Speaker 3: I'm trying to think what the ornament would.

1821
01:35:39,240 --> 01:35:44,280
Speaker 2: Be bald ahead of course. Oh yeah, it's gotta be windy.

1822
01:35:44,520 --> 01:35:46,280
Speaker 3: I wonder if you can just get a copy of

1823
01:35:46,439 --> 01:35:50,280
Speaker 3: Jerry's Christmas sweater from Blue Sunshine. That'd be a deep cut.

1824
01:35:50,439 --> 01:35:52,679
Speaker 2: That'd be a deep cut. A VHS box art would

1825
01:35:52,680 --> 01:35:54,920
Speaker 2: also be really cool. I have a little VHS box

1826
01:35:55,040 --> 01:35:58,519
Speaker 2: art ornament of chopping mall on the tree. I also

1827
01:35:58,600 --> 01:36:01,960
Speaker 2: have a phantasm sphere, which you gave me last year.

1828
01:36:02,240 --> 01:36:02,439
Speaker 3: Yeah.

1829
01:36:02,680 --> 01:36:05,920
Speaker 2: So it's it's it's heavy and it's sharp. I think

1830
01:36:05,920 --> 01:36:07,080
Speaker 2: this is all made by Mondo.

1831
01:36:07,439 --> 01:36:09,720
Speaker 3: Oh I didn't mean for it to be threatening in

1832
01:36:09,760 --> 01:36:11,120
Speaker 3: your home, but yeah.

1833
01:36:11,080 --> 01:36:15,439
Speaker 2: It's it's we're all safe around sharbarbicks now, so we're good,

1834
01:36:15,479 --> 01:36:16,599
Speaker 2: but all.

1835
01:36:16,520 --> 01:36:17,439
Speaker 3: Is impacted baby.

1836
01:36:17,680 --> 01:36:21,439
Speaker 2: Yeah, all right, We're gonna go and close out this episode.

1837
01:36:21,479 --> 01:36:23,200
Speaker 2: This one of them, maybe a bit of a long one,

1838
01:36:23,200 --> 01:36:24,519
Speaker 2: but you know, we had to go into all the

1839
01:36:24,560 --> 01:36:28,080
Speaker 2: details here. It's Blue Sunshine after all. We'll remind you

1840
01:36:28,080 --> 01:36:29,680
Speaker 2: that The Stuff to Blow Your Mind is primarily a

1841
01:36:29,680 --> 01:36:32,240
Speaker 2: science and culture podcast, with core episodes in the feed

1842
01:36:32,280 --> 01:36:34,400
Speaker 2: on Tuesdays and Thursdays, but on Wednesdays we do a

1843
01:36:34,439 --> 01:36:37,439
Speaker 2: short form episode and on Fridays we do Weird House Cinema.

1844
01:36:37,479 --> 01:36:39,800
Speaker 2: That's our time to set aside most serious concerns and

1845
01:36:39,840 --> 01:36:42,640
Speaker 2: talk about a strange film like this one. And if

1846
01:36:42,680 --> 01:36:44,360
Speaker 2: you want a full list of the movies we've covered

1847
01:36:44,400 --> 01:36:47,360
Speaker 2: over the years, go to letterbox dot com. You'll find

1848
01:36:47,439 --> 01:36:49,400
Speaker 2: us there as weird House. That's our user and we

1849
01:36:49,400 --> 01:36:50,920
Speaker 2: have a list there of all the films we've covered

1850
01:36:50,960 --> 01:36:53,800
Speaker 2: so far, and sometimes sometimes there's a glimpse at what's

1851
01:36:53,840 --> 01:36:54,559
Speaker 2: coming up next.

1852
01:36:55,200 --> 01:36:58,960
Speaker 3: Huge things. As always to our excellent audio producer JJ Posway.

1853
01:36:59,320 --> 01:37:00,920
Speaker 3: If you would like to get in touch with us

1854
01:37:00,920 --> 01:37:03,240
Speaker 3: with feedback on this episode or any other, to suggest

1855
01:37:03,240 --> 01:37:05,200
Speaker 3: a topic for the future, or just to say hello,

1856
01:37:05,600 --> 01:37:08,120
Speaker 3: you can email us at contact at Stuff to Blow

1857
01:37:08,160 --> 01:37:15,600
Speaker 3: Your Mind dot com.

1858
01:37:15,720 --> 01:37:18,680
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1859
01:37:18,760 --> 01:37:21,559
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1860
01:37:21,720 --> 01:37:24,479
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.