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

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

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Speaker 3: And I am Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we're going to be talking about the nineteen eighty four

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Speaker 3: ABC made for TV horror movie Invitation to Hell, directed

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Speaker 3: by none other than Wes Craven. Did you know he

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Speaker 3: made for TV movies?

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Speaker 2: Was this multiple?

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Speaker 3: Was this before Nightmare on Elm Street or after?

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Speaker 2: We'll get into this in a bit, but I believe

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Speaker 2: this came out right before and or in the same

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Speaker 2: year as Nightmare, So okay, we had a couple of

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Speaker 2: different things happening at the same time. Here.

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Speaker 3: Wow, So Invitation to Hell starring Robert Urich, Joanna Cassidy,

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Speaker 3: and Susan Lucci. Of apparently, I didn't know this when

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Speaker 3: I first watched this movie, but apparently of like soap

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Speaker 3: opera Royalty, Urreat fame.

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Speaker 2: Superstar in the soap opera world.

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Speaker 3: But this movie is about an expensive and exclusive West

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Speaker 3: Coast country club that is in fact run by Satan.

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Speaker 2: It's true. So this one originally aired on Thursday May

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Speaker 2: twenty fourth, nineteen eighty four in the eight to ten

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Speaker 2: PM slot Eastern Time. I was looking this up on

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Speaker 2: tv tango dot com. I think it was the highest

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Speaker 2: rated network offering that night, beat out Simon and Simon

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Speaker 2: Memory if my memory is correct. There it is not

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Speaker 2: to be confused with a nineteen eighty two British horror

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Speaker 2: film of the same name, directed by Michael J. Murphy.

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Speaker 2: So there are two invitations to hell out there. You

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Speaker 2: can accept them both, but just don't confuse the two.

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Speaker 3: Both seem to involve people being invited to like swanky,

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Speaker 3: fancy parties in order to be killed or exploited in

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Speaker 3: some way. Yeah, so earlier this week, the reason I

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Speaker 3: picked this movie is that I found myself craving that

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Speaker 3: that sweet, unique flavor of made for TV horror. Oh.

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Speaker 3: We've covered at least two other made for TV horror

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Speaker 3: movies on Weird House Cinema. One was the nineteen seventy

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Speaker 3: eight CBS film Death Moon starring Robert Foxworth. That was

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Speaker 3: the work beast of the work, based about a guy

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Speaker 3: who he's getting too stressed out at work, so he

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Speaker 3: goes on vacation to Hawaii, but uh oh, turns into

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Speaker 3: a were wolf.

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Speaker 2: Yeah. Love that movie. I finally had to buy a

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Speaker 2: bootleg of it, because if you look around, if you

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Speaker 2: grow attached to some of these seventies and eighties TV movies,

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Speaker 2: there's not always a physical media choice out there, not

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Speaker 2: always a legitimate one. So sometimes you have to be

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Speaker 2: a little creative if you want to give it a

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Speaker 2: forever home in your house.

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Speaker 3: The other one that we've done already is the nineteen

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Speaker 3: seventy two CBS horror fantasy Gargoyles. That was the one

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Speaker 3: with Cornell Wild, Bernie k C, Jennifer Salt, and Scott

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Speaker 3: Glenn as a motorcycle hooligan. That one was about subterranean

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Speaker 3: demons living in the American Southwest, which are called gargoyles

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Speaker 3: for some unspecified reason.

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Speaker 2: Yeah. Also an excellent film, excellent weird film.

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Speaker 3: Have we done another one that I'm forgetting? I think

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Speaker 3: those are the only two made for TV.

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Speaker 2: Now, Shedy, I don't think we've actually done any other

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Speaker 2: weird House episodes on other TV films. Of note that

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Speaker 2: we have scouted a few others. I know we've talked

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Speaker 2: about nineteen seventy three's The Horror at thirty seven thousand feet.

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Speaker 3: Is that the one that's like an adaptation of the

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Speaker 3: Twilight Zone thing with Shatner with the Grimlin on the

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Speaker 3: airplane wing or is that a different one. Oh no,

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Speaker 3: this is the one with druid magic. Yeah, druid magic

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Speaker 3: on the airplane.

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Speaker 2: Yes, some sort of druid magic or extorcism. So a

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Speaker 2: number of different elements, including the shat going on at

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Speaker 2: thirty seven thousand feet.

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Speaker 3: That must have been the association.

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Speaker 2: Yeah, okay, Yeah. We've also kind of batted around the

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Speaker 2: idea of doing nineteen seventy three's of the night Stalker

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Speaker 2: the kickstart of the TV series as well as of course,

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Speaker 2: there are various Frameskenstein, Dracula and other horror adaptations for

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Speaker 2: the small screen, though sometimes in those cases you get

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Speaker 2: kind of out of because one of the things we're

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Speaker 2: kind of talking about here are these weird one shot

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Speaker 2: TV movies that are not a part of any other franchise,

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Speaker 2: and they're not like a prestige picture like some of

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Speaker 2: these Frankenstein Dracula pictures are kind of like the big

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Speaker 2: mini series of the day, Like you wouldn't compare this

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Speaker 2: film to say any get like you wouldn't compare it

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Speaker 2: to the old Showgun TV mini series. Like obviously that

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Speaker 2: was a real prestige project. This is something a little

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Speaker 2: different somewhere, kind of stuck between a prestige TV mini

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Speaker 2: series or a prestige TV movie and your standard episodic offerings.

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Speaker 3: Yeah, I would say this movie is in its business

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Speaker 3: life more of a quick and dirty cash in, but

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Speaker 3: I you know, I want to sing for its virtues

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Speaker 3: in this episode. So another reason that I was thinking

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Speaker 3: about made for TV movies is that just recently, like

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Speaker 3: in the past week, Rachel and I watched another one

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Speaker 3: from also from nineteen seventy eight, the same year as

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Speaker 3: Death Moon, which was an ABC made for TV horror

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Speaker 3: called The Initiation of Sarah. Have you seen this, rob

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Speaker 3: I have not. Seems heavily based on Stephen King's Carrie.

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Speaker 3: The movie version of Carrie with Sissy's Basic came out

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Speaker 3: in nineteen seventy six, so this would have been, you know,

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Speaker 3: in the wake of that a couple of years after.

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Speaker 3: This movie was about a It's about a troubled young

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Speaker 3: woman with telekinetic powers who goes to college, gets bullied

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Speaker 3: by a bunch of mean sorority girls led by Morgan Fairchild,

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Speaker 3: and you can guess where it goes based on the

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Speaker 3: Carry model, a similar kind of arc. There's you know,

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Speaker 3: there's no pig's blood, but there's a similar there's like

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Speaker 3: she sort of casts a spell that turns Morgan fairchild

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Speaker 3: like like, evil looking and ugly, though this one has

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Speaker 3: a variant Unlike Carrie, where the telekinetic girl is sort

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Speaker 3: of coached in the dark side of the force by

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Speaker 3: a mentor, an evil mentor, in this movie it's Shelley

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Speaker 3: Winter is wearing a druid robe and a huge wig.

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Speaker 3: So that one was pretty fun. But anyway, that brought

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Speaker 3: me to Invitation to Hell, which I think is even

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Speaker 3: more of a winner. There is something I find delightful

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Speaker 3: and even intoxicating about the particular combination of spiciness and

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Speaker 3: blandness that you get with American made for TV horror

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Speaker 3: from these decades, from the seventies and eighties. Often these

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Speaker 3: movies do have a really weird and disturbing premise and

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Speaker 3: some wild ideas inside them, kind of trapped inside, but

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Speaker 3: the imagination at work feels muted, muffled, of course censored

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Speaker 3: for content because it was on TV, but also contorted

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Speaker 3: into a particular shape. I think we talked about this

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Speaker 3: When we did the episode on Gargoyles, you know that

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Speaker 3: you got to accommodate ad breaks and hit predictable plot

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Speaker 3: beats on the tea timeline, So it creates this weird effect,

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Speaker 3: especially when it's a horror story where I wanted to

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Speaker 3: compare it to seeing the outline of a dread outer god,

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Speaker 3: but only through translucent glass bricks. Like occasionally, something weird

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Speaker 3: and wild kind of gets loose in the story and

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Speaker 3: for a moment it breaks through the confines of the format,

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Speaker 3: before everything kind of settles back down and the being

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Speaker 3: goes back behind the wall, and it ends up being

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Speaker 3: kind of quaint and cozy at the same time. I

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Speaker 3: really like it.

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Speaker 2: Yeah, Yeah, We were talking a little bit about this

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Speaker 2: off Mike before we started recording. We were talking about

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Speaker 2: other West Craven pictures, and I pointed out that I

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Speaker 2: was trying to figure out how to express how I

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Speaker 2: felt about this, because I'm not gonna I'm not gonna

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Speaker 2: go out there and say this is the best West

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Speaker 2: Craven film at and it's also far from the worst.

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Speaker 2: But I might have liked it in ways that I

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Speaker 2: have never liked of West Craven film, and I think

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Speaker 2: it comes down to comfy. This film felt comfy in

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Speaker 2: a way that even I think objectively better West Craven

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Speaker 2: films and certainly more influential West Craven films, are not.

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Speaker 2: Like that might be part of what you're talking about here,

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Speaker 2: Like the TV format is kind of this this way,

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Speaker 2: this way of grounding the storytelling and in a way

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Speaker 2: that makes you feel a little safer, Like this is

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Speaker 2: network television in the seventies or eighties. It can only

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Speaker 2: go so hard on me, you know. It's it has

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Speaker 2: kid gloves on, perhaps to a certain extent because they

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Speaker 2: got to wrap this up by ten pm.

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Speaker 3: But it also provides a funny and comfortable contrast with

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Speaker 3: the weirder and wilder elements of the horror themes. I

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Speaker 3: just like the hot and cold showers element of it.

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Speaker 2: Oh yeah, and this one's got some This one really

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Speaker 2: goes all over the place.

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Speaker 3: Yeah yeah, Now you were saying, in a way, you

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Speaker 3: might think of this as kind of a favorite of

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Speaker 3: Wes craven experiences. Some reviewers online regard this as Wes

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Speaker 3: Craven's war movie. I don't think that's right. I'll give

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Speaker 3: it that it is. He certainly has movies that I

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Speaker 3: think are more artistically ambitious and more interesting and certainly scarier.

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Speaker 3: This movie, I think is not very scary, but it

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Speaker 3: is highly watchable and very entertaining and a lot of fun,

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Speaker 3: I would say, much more so than some of Craven's

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Speaker 3: lesser theatrical releases. And you know, even it has a

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Speaker 3: kind of made for TV hokiness, but has some ideas.

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Speaker 3: It's like it's having some fun. It's it's playing around.

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Speaker 2: It's having some fun. It has things to say about

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Speaker 2: ambition in the American dream. Yeah. So yeah, it's there's

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Speaker 2: a fair amount going on here in this picture. And

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Speaker 2: as we'll discuss too, it is perhaps a cut above

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Speaker 2: some of the other made for TV films that were

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Speaker 2: popping out around this time. Yeah, and to be clear,

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Speaker 2: it is I think it is very easy to dismiss

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Speaker 2: made for TV movies, particularly from this era, is lower

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Speaker 2: budget productions produced to adhere to network standards, you know,

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Speaker 2: thinking of them as sort of bland sandboxes for bland

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Speaker 2: filmmakers and bland actors. But of course there's still plenty

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Speaker 2: of room for talent to shine through even in those constraints,

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Speaker 2: and I think part of it may be as well,

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Speaker 2: that a lot of us have gotten away from watching

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Speaker 2: films on broadcast television in general, but TV absolutely was,

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Speaker 2: and you know, I guess, to a large distance still

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Speaker 2: is a medium for film watching. In fact, TV is

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Speaker 2: where some films really cemented their following. And I'm not

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Speaker 2: just talking about like the cult films that you know,

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Speaker 2: you and I may have grown up watching on TV

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Speaker 2: and listeners may have grown up watching on TV like

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Speaker 2: Beast Master and Clash of the Titans and stuff like that.

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Speaker 2: You can say that about films like The Wizard of Oz.

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Speaker 2: I was recently rewatching this film with my kid and

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Speaker 2: it had the Turner Classic Movies intro by Ben Menkwitz,

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Speaker 2: and he pointed out in this intro that when this

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Speaker 2: film was released in thirty nine and then re released

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Speaker 2: in forty nine and fifty five, you know, it's a

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Speaker 2: critical success, but really only a modest financial success. It

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Speaker 2: might sound crazy, but it was on TV that The

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Speaker 2: Wizard of Oz apparently really caused viewers to fall in

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Speaker 2: love with it. This is where it really began to

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Speaker 2: take on the legendary status that it has today, which

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Speaker 2: was that was a real eye opener for me.

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Speaker 3: I wonder if that's the case with a lot of

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Speaker 3: classic films. I'm just speculating, so I don't know in

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Speaker 3: this case, but like I would strongly suspect that there

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Speaker 3: are may be a lot of holiday films that are

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Speaker 3: like that, that are like big because of reruns on TV.

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Speaker 3: Like I wonder if that's the case with It's a

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Speaker 3: Wonderful Life. Comparing the original release of that to like

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Speaker 3: how much love it got in the years, you know,

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Speaker 3: as I played in the holidays and stuff like that.

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Speaker 2: I would not be surprised at all. Yeah, if that

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Speaker 2: were the case, and even into fairly recent years, I

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Speaker 2: think it's been surprising at how you can be surprised

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Speaker 2: at at like what films can really like. Spike Rate

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Speaker 2: a friend of mine who at the time worked for

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Speaker 2: Cartoon Network and pointed out that like whenever they would

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Speaker 2: play The Mask Too, the sequel to Jim Carrey's The Mask,

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Speaker 2: ratings would just go through the like it was it

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Speaker 2: was it was I'm not gonna say we'd go through

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Speaker 2: the roof, but I think the idea was like if

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Speaker 2: they needed to like sort of juice the ratings a

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Speaker 2: little bit, this was always a film they could they

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Speaker 2: could call upon this is always a lever they could pull.

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Speaker 3: Is that just like ninety minutes of a cartoon faced

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Speaker 3: dog biting crotches?

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Speaker 2: I guess so. But you know, it's it's what, it's

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Speaker 2: what works now. But to come back to this film

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Speaker 2: and some of the others we've talked about, I am

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Speaker 2: just continually impressed by just how weird and daring some

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Speaker 2: of these TV movies of the Week were in the

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Speaker 2: seventies and eighties, you know, rolling out strange scripts, bringing

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Speaker 2: them to life, often with with modest budget casts and

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Speaker 2: production values, and sometimes with up and coming or future

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Speaker 2: big name actors attached, you know, the likes of John

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Speaker 2: Carpenter and Steven Spielberg and of course Wes Craven.

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Speaker 3: Yeah, that's right, was Steven Spielberg's duel made for TV

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Speaker 3: movie also, I believe it was. Yeah, also had early

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Speaker 3: made for TV stuff. So yeah, it is not just

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Speaker 3: a play place for hacks. I mean, you know, some

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Speaker 3: of the best and most revered directors in Hollywood did

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Speaker 3: a lot of work here. Another thing that I think

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Speaker 3: is interesting about Invitation to Hell is that it reminds

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Speaker 3: me of a favorite that we have covered on Weird

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Speaker 3: House Cinema, before, and that is the unloved but excellent

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Speaker 3: Halloween sequel Halloween three, Season of the Witch. These are

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Speaker 3: examples of the rare horror movie in which a sort

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Speaker 3: of that have as their main feature a kind of

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Speaker 3: economic or class critique, and that have a business as

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Speaker 3: the main demonic villain. I thought that was kind of interesting.

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Speaker 3: You would think there'd be more movies like that, But

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Speaker 3: I struggle to come up with many examples. I mean,

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Speaker 3: it's the case here. I mean, the closest thing you

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Speaker 3: get is stuff it's more on the border of like

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Speaker 3: horror and sci fi where you get it's like a

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Speaker 3: weird creature that is made by some experiment or something

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Speaker 3: like that. And even then like the monster is just

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Speaker 3: made by corporate malfeasance, you know, and ignoring safety protocols

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Speaker 3: and so forth. Now, this, this movie we're talking about

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Speaker 3: today has well. Actually, this would be kind of difficult

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Speaker 3: thing to disentangle. Do you think in Invitation to Hell

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Speaker 3: that the country club or the corporation is actually the

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Speaker 3: main evil institution, which is the main servant of Hell,

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Speaker 3: and which one is more in service of the other.

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Speaker 2: I guess it's the country Club. I don't want to

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Speaker 2: spoil too much at this point, but I guess it's

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Speaker 2: the country club, even though like with the country club exists,

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Speaker 2: if the company wasn't there, I don't know. They are

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Speaker 2: kind of intermingled, and it seems like there's a lot

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Speaker 2: of influence going back both ways.

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Speaker 3: It seems like almost like the corporation exists. I mean,

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Speaker 3: they're making aerospace technology, but it just exists to funnel

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Speaker 3: people into the country club.

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Speaker 2: Yeah, and then the head of the country club can

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Speaker 2: just come over and tour your top secret projects at

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Speaker 2: any moment. So that's right. It's a weird setup.

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Speaker 3: Well, maybe we should say here, as always on Weird

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Speaker 3: House Cinema, we are going to discuss the plot in

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Speaker 3: a lot of details. So if you would like to

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Speaker 3: see Invitation to Hell without any additional spoilers, go watch

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Speaker 3: it yourself. It's widely available. You can watch it streaming

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Speaker 3: pause here. Go watch it and come back and listen

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Speaker 3: to the rest. But if you think you're probably not

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Speaker 3: going to watch it, or if you just don't care

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Speaker 3: if we spoil the plot for you, you may proceed.

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Speaker 2: All right, let's go ahead and listen to a little

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Speaker 2: trailer audio. This time I was able to grab a

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Speaker 2: little bit of the ABC movie promo. I like the

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Speaker 2: network television promo for this film off of YouTube, so

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Speaker 2: let's go ahead and listen to a little bit of that.

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Speaker 3: It's a good one.

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Speaker 2: They were the perfect family finding a new life and

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Speaker 2: a new home, but.

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Speaker 3: An invitation and the hottest spot in town.

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Speaker 2: Became an invitation to Hell.

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Speaker 3: One week from to Night at eight seven, said.

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Speaker 2: I model, see, don't you want to stay up late?

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Speaker 2: I'm not really late. Don't you want to stay up

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Speaker 2: to ten pm? Watching this movie?

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Speaker 3: Now I'm tuning in. I'm going to turn down any

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Speaker 3: party invitations and any invitations to something other than Hell,

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Speaker 3: because I already have an invitation to Hell on that's

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Speaker 3: your TV screen, and.

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Speaker 2: You can still watch sixty minutes or twenty twenty afterwards.

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Speaker 2: I think it's twenty twenty that air okay?

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Speaker 3: Nice?

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Speaker 2: All right? As Joe mentioned earlier, Yeah, you can definitely

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Speaker 2: go and stream this pretty much anywhere you want. I

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Speaker 2: watched it on Prime. I believe it's It's come out

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Speaker 2: on both DVD and VHS before, but I don't think

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Speaker 2: it's received much attention on the physical media front, more

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Speaker 2: than other made for TV films to be sure, but yeah,

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Speaker 2: you're not going to find an exquisite blu ray of

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Speaker 2: Invitation to Hell.

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Speaker 3: Can I tell you my ideal way to own this.

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Speaker 3: It would be like those tapes of the Star Wars

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Speaker 3: Holiday Special where commercials are hardbaked in. If somebody out

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Speaker 3: there has that, If you have a rip of Invitation

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Speaker 3: to Hell with commercials in it, please please send it

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Speaker 3: our way. I desperately want this.

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Speaker 2: All right, let's jump into the connections here the people

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Speaker 2: who made this film, starting at the top with Wes Craven,

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Speaker 2: who lived nineteen thirty nine through twenty fifteen. This is

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Speaker 2: somehow our first Wes Craven movie.

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Speaker 3: We've talked about doing other ones. We've definitely talked about

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Speaker 3: doing Swamp Thing and a number of other movies. Yeah,

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Speaker 3: Wes Craven's got a lot of great films. But here, finally,

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Speaker 3: at last, we have made it to the crave.

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Speaker 2: Yeah. Yeah. Legendary American horror director. He was an academic

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Speaker 2: and Humanity's professor in the mid sixties. His masters was

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Speaker 2: in philosophy and writing, but then The Sirens Song of

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Speaker 2: Cinema lured him away, initially into some low level editing

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Speaker 2: position UNEs as well as some work in the adult

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Speaker 2: film industry during the early in the mid seventies, including

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Speaker 2: writing and directing under the moniker Abe Snake Abe Snake,

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Speaker 2: which I love that name because it sounds as ridiculously

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Speaker 2: made up and on brand for an adult film director

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Speaker 2: as Wes Craven does for horror. So Wes Craven was

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Speaker 2: of his actual name, so good now. It was not

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Speaker 2: uncommon for filmmakers at various points in their career to

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Speaker 2: do this, of course, especially during the adult film industry's

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Speaker 2: golden age. But of course, his first breakout directorial effort

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Speaker 2: was the notorious nineteen seventy two revenge film The Last

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Speaker 2: House on the Left, followed by nineteen seventy seven's The

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Speaker 2: Hills Have Eyes and the seventy eight TV movie Summer

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Speaker 2: of Fear starring Linda Blair.

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Speaker 3: Never Seen that one.

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Speaker 2: Oh, and then also nineteen eighty one's Deadly Blessing This

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Speaker 2: is another TV movie starring Ernest Borgnine. After this came

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Speaker 2: his take DC Swamp Thing in eighty two, which show

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Speaker 2: which you just mentioned. This one, of course starred Louis Jordaan,

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Speaker 2: Adrian Barbou and Ray Wise. Ray Wise played the Swamp

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Speaker 2: Thing and then in nineteen eighty four. This was a

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Speaker 2: very interesting year for Craven because on one hand, we

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Speaker 2: get this film, along with The Hills Have Eyes Part two,

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Speaker 2: often considered one of, if not his worst film, and

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Speaker 2: I think in part because I've also read it might

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Speaker 2: not have actually been completed. It's supposedly a mess. And

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Speaker 2: it's also a film where, if memory serves, everybody including

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Speaker 2: a dog, has a flashback to the first.

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Speaker 3: Film where they get to Reeve's footage. Yeah, pad that

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Speaker 3: thing out, baby.

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Speaker 2: Yeah. But this was also the year that he wrote

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Speaker 2: and directed the excellent A Nightmare on Elm Street, a

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Speaker 2: film that really did change horror cinema forever. You just

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Speaker 2: can't understate how important A Nightmare of That on Elm

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Speaker 2: Street was the creation of Freddy Krueger.

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Speaker 3: So around the same time as in Vita to Hell.

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Speaker 3: He's sort of there's somewhat overlapping projects night Mare on

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Speaker 3: Elm Street and Invitation to Hell.

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Speaker 2: Yeah. I don't have the exact timeline on things, but yeah,

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Speaker 2: like a number of different things were coming to Fruition,

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Speaker 2: including the big one or the first of a few

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Speaker 2: different big ones for Wes Craven. You know, he was

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Speaker 2: far from a one hit wonder.

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Speaker 3: Though his success with Elm Street Weirdly Enough would not

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Speaker 3: stop him from doing additional made for TV movies.

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Speaker 2: No, no, yeah, because the weird thing. I mean, it's

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Speaker 2: not really weird. But we've seen so many cases where

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Speaker 2: a director, you know, strikes strikes gold, and they're going

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Speaker 2: to come back and do that sequel, at least the

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Speaker 2: first sequel, because that's going to help fund the next thing.

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Speaker 2: But he did not immediately return to the Elm Street

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Speaker 2: director's chair. He kept mostly to the horror genre, but

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Speaker 2: explored some sci fi horror in the nineteen eighty five

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Speaker 2: TV movie Chiller. I haven't seen that one, but that's

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Speaker 2: like a cryogenics picture.

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Speaker 3: Yeah, it's got a guy who gets cryogenically preserved and

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Speaker 3: then comes back to life and then I think goes

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Speaker 3: around stabbing people or something as pauls Orvino as a

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Speaker 3: priest in it.

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Speaker 2: Also, nineteen eighty six is Deadly Friend, which is I

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Speaker 2: think a robotics movie. I almost rented it thinking it

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Speaker 2: was invitation to help, Like, I picked it up off

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Speaker 2: the shelf and I'm like, oh, this is the one

400
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Speaker 2: Joe was talking about, and then I realized, oh wait,

401
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Speaker 2: this is actually not.

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Speaker 3: It doesn't mean we shouldn't watch it though, No.

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Speaker 2: No. During this time he also directed an episode of

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Speaker 2: the Magical World of Disney, an episode titled Casebusters starring

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Speaker 2: Noah Hathaway. Of course we know as a Treyu from

406
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Speaker 2: the never Ending Story.

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Speaker 3: Oh okay, not the only never ending story tieing in

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Speaker 3: this episode correct.

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Speaker 2: He also directed five episodes of the nineteen eighties Twilight

410
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Speaker 2: Zone revival, and then came the infamous nineteen eighty eight

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Speaker 2: production of The Serpent in the Rainbow. I don't know

412
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Speaker 2: if infamous is really the right way to describe it,

413
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Speaker 2: but I know this one had a very troubled production story.

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Speaker 2: There were a lot of complications this.

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Speaker 3: Yeah, that was a movie, but voodoo.

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Speaker 2: Yeah. Nineteen eighty nine Shocker came next that. That's when

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Speaker 2: I know you have a fair amount of enthusiasm for Yeah.

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Speaker 3: I think that's a bullseye in my category of not

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Speaker 3: good but a good time. Yeah.

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Speaker 2: And then nineteen ninety one's The People under the Stairs,

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Speaker 2: a movie that I have seen, but it's weird. My

422
00:22:25,240 --> 00:22:30,480
Speaker 2: memory of seeing it is still overshadowed by my childhood

423
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Speaker 2: idea of what this movie might be if that makes sense,

424
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Speaker 2: like seeing the posters, seeing the VHS box art, Like

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Speaker 2: I remember my anticipation of this movie far more than

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Speaker 2: I remember actually seeing it. I remember you and I

427
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Speaker 2: have talked about this before.

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Speaker 3: How you would I think we would sort of do

429
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Speaker 3: the same thing, like wander around the video store when

430
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Speaker 3: we were young and look at the horror box covers

431
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Speaker 3: and just imagine what the movie is without actually seeing it.

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Speaker 3: So sometimes when you actually when you're older and you

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Speaker 3: can see these movies, or maybe you're still too young

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Speaker 3: to be watching them, but you see them anyway, it

435
00:23:05,240 --> 00:23:08,080
Speaker 3: just doesn't match the movie you already imagined, and so

436
00:23:08,160 --> 00:23:09,880
Speaker 3: you end up with a blended memory.

437
00:23:10,280 --> 00:23:14,080
Speaker 2: Yeah, yeah, it's true. So it wasn't until nineteen ninety

438
00:23:14,160 --> 00:23:17,679
Speaker 2: four that he returned to the Elm Street franchise with

439
00:23:17,760 --> 00:23:21,080
Speaker 2: the meta horror film New Nightmare, in which he, like

440
00:23:21,200 --> 00:23:24,120
Speaker 2: many members of the original cast, plays himself as well

441
00:23:24,160 --> 00:23:25,720
Speaker 2: in addition to directing it.

442
00:23:25,880 --> 00:23:28,280
Speaker 3: I have a lot of positive feelings about New Nightmare,

443
00:23:28,320 --> 00:23:30,320
Speaker 3: but my memory I haven't seen it in a long time,

444
00:23:30,320 --> 00:23:33,600
Speaker 3: But my memory is it almost is more exciting as

445
00:23:33,600 --> 00:23:36,639
Speaker 3: a premise than effective as a completed film.

446
00:23:37,359 --> 00:23:40,080
Speaker 2: Yeah, I think what also, I saw the year it

447
00:23:40,119 --> 00:23:42,919
Speaker 2: came out, but it was I think one of the

448
00:23:42,960 --> 00:23:45,080
Speaker 2: factors that I have to take into account is this

449
00:23:45,200 --> 00:23:48,120
Speaker 2: was the same year, nineteen ninety four that John Carpenter's

450
00:23:48,160 --> 00:23:50,840
Speaker 2: In the Mouth of Madness came out. Both films that

451
00:23:50,920 --> 00:23:54,119
Speaker 2: play with the sort of meta idea of horror fiction

452
00:23:54,359 --> 00:24:00,000
Speaker 2: and reality blending and the membrane between the two worlds growing.

453
00:24:00,720 --> 00:24:03,440
Speaker 2: And I think they're both effective in their own way.

454
00:24:03,560 --> 00:24:06,040
Speaker 2: But In the Mouth of Madness really resonated with me

455
00:24:06,119 --> 00:24:08,560
Speaker 2: at the time and stands out more in my own

456
00:24:08,600 --> 00:24:09,760
Speaker 2: memory as a film that I love.

457
00:24:10,000 --> 00:24:12,480
Speaker 3: Yeah, I think that's a more exciting film overall. But

458
00:24:12,640 --> 00:24:14,400
Speaker 3: the premise of New Nightmare is really cool for people

459
00:24:14,440 --> 00:24:18,119
Speaker 3: who aren't familiar. The idea is that it's about real people.

460
00:24:18,119 --> 00:24:20,600
Speaker 3: It's about Wes Craven as Wes Craven, I mean, he's

461
00:24:20,600 --> 00:24:22,879
Speaker 3: not the main character. The main character is Heather Langenkamp,

462
00:24:23,040 --> 00:24:25,520
Speaker 3: the actress who played the main character in the first

463
00:24:25,600 --> 00:24:30,119
Speaker 3: Nightmare movie as herself, and other fictionalized versions of like

464
00:24:30,200 --> 00:24:32,919
Speaker 3: the actors and you know, Robert England and people involved

465
00:24:32,920 --> 00:24:35,600
Speaker 3: in these movies. And the premise is that there is

466
00:24:35,640 --> 00:24:40,800
Speaker 3: a sort of ancient entity which attaches itself to characters

467
00:24:40,840 --> 00:24:43,520
Speaker 3: in like scary stories that are told around the campfire

468
00:24:43,560 --> 00:24:46,439
Speaker 3: over the years, and it attaches itself to the idea

469
00:24:46,440 --> 00:24:49,520
Speaker 3: of Freddy Krueger. So for these people in the real world,

470
00:24:49,640 --> 00:24:52,480
Speaker 3: the fictional character Freddy Krueger becomes real.

471
00:24:53,200 --> 00:24:58,240
Speaker 2: It is a really daring idea. I feel like it's

472
00:24:58,280 --> 00:25:00,720
Speaker 2: exactly what the franchise needed at that point. I feel

473
00:25:00,720 --> 00:25:03,199
Speaker 2: like we can look at the timeline of Freddy Krueger

474
00:25:03,200 --> 00:25:05,000
Speaker 2: movies and can realize that it was getting long in

475
00:25:05,040 --> 00:25:07,760
Speaker 2: the tooth and it needed to be shaken up one

476
00:25:07,760 --> 00:25:10,800
Speaker 2: way or another, and this was like, this was a

477
00:25:10,800 --> 00:25:14,920
Speaker 2: pretty artful and imaginative way to shake things up, and

478
00:25:15,280 --> 00:25:17,679
Speaker 2: clearly like the way that brought Wes Craven back to

479
00:25:17,720 --> 00:25:20,679
Speaker 2: the picture. Yeah, totally now. He followed that up with

480
00:25:20,720 --> 00:25:24,040
Speaker 2: the nineteen ninety five Eddie Murphy horror comedy Vampire in Brooklyn,

481
00:25:24,400 --> 00:25:26,919
Speaker 2: which was widely panned at the time and there were

482
00:25:26,920 --> 00:25:28,920
Speaker 2: a lot of jokes about it. But I believe it's

483
00:25:28,960 --> 00:25:32,320
Speaker 2: been reassessed in recent years and there's some different ideas

484
00:25:32,359 --> 00:25:34,720
Speaker 2: about how we should look at Vampire in Brooklyn. I

485
00:25:34,720 --> 00:25:37,399
Speaker 2: don't think I ever saw it myself, though, but the

486
00:25:37,480 --> 00:25:39,680
Speaker 2: following year Craven hit it out of the park once

487
00:25:39,720 --> 00:25:43,040
Speaker 2: more with a hugely successful Scream, which would spawn an

488
00:25:43,160 --> 00:25:46,679
Speaker 2: entire franchise, obviously, with Craven directing the first four films,

489
00:25:46,720 --> 00:25:50,119
Speaker 2: this time with twenty eleven Scream four standing as his

490
00:25:50,240 --> 00:25:53,360
Speaker 2: final directorial credit before his death in twenty fifteen.

491
00:25:53,720 --> 00:25:56,199
Speaker 3: You know, after the first Scream, I think you could

492
00:25:56,359 --> 00:26:00,360
Speaker 3: very legitimately make the charge that the Scream movie are

493
00:26:00,840 --> 00:26:04,240
Speaker 3: no longer innovating. They're just kind of varying the same formula.

494
00:26:04,680 --> 00:26:08,280
Speaker 3: So you know, that may be fair. But I've been

495
00:26:08,400 --> 00:26:10,959
Speaker 3: entertained by all of them. I haven't been bored by

496
00:26:10,960 --> 00:26:11,960
Speaker 3: a Scream movie yet.

497
00:26:12,560 --> 00:26:15,240
Speaker 2: Yeah, I mean, I haven't gotten to the point where

498
00:26:15,280 --> 00:26:18,800
Speaker 2: I have wanted to go back and reassess the Scream movies.

499
00:26:18,840 --> 00:26:21,600
Speaker 2: I enjoyed them. I enjoyed them at the time, and

500
00:26:22,200 --> 00:26:23,800
Speaker 2: I guess on one level, it kind of makes me

501
00:26:23,840 --> 00:26:26,159
Speaker 2: feel old to realize that ghost Face is a horror

502
00:26:26,600 --> 00:26:29,600
Speaker 2: icon now, like he's shown up in the Mortal Kombat

503
00:26:29,600 --> 00:26:34,280
Speaker 2: franchise as a DLC character at this point, alongside the

504
00:26:34,480 --> 00:26:37,920
Speaker 2: likes of Freddy Krueger and Jason Voorhees and the Xeno

505
00:26:37,960 --> 00:26:38,880
Speaker 2: Morph and Predator.

506
00:26:39,160 --> 00:26:41,600
Speaker 3: Wait a minute, if he's in Mortal does he like

507
00:26:41,680 --> 00:26:43,119
Speaker 3: call lu Kang on the phone?

508
00:26:43,720 --> 00:26:45,840
Speaker 2: I don't know. I haven't played. This is the latest

509
00:26:45,840 --> 00:26:49,440
Speaker 2: one that my poor system can't play this one. Someone

510
00:26:49,480 --> 00:26:51,239
Speaker 2: else will have to write in and tell us how

511
00:26:51,240 --> 00:26:51,880
Speaker 2: this plays out.

512
00:26:52,160 --> 00:26:55,040
Speaker 3: I mean, the phone calls are crucial. That's what scream is.

513
00:26:55,720 --> 00:26:57,680
Speaker 2: I would hope so Johnny Kaye has the phone, maybe

514
00:26:57,680 --> 00:27:01,680
Speaker 2: he can get phone calls from ghost Face. Well anyway.

515
00:27:01,800 --> 00:27:05,840
Speaker 2: Wes Craven's scream era also included some notable deviations, most

516
00:27:05,880 --> 00:27:09,080
Speaker 2: notably the nineteen ninety nine drama Music of the Heart,

517
00:27:09,119 --> 00:27:12,520
Speaker 2: which starred Meryl Streep. She was nominated for Best Actress

518
00:27:12,760 --> 00:27:15,399
Speaker 2: Academy Award for that role. He also directed a segment

519
00:27:15,480 --> 00:27:18,040
Speaker 2: in two thousand and six is Paris just him? This

520
00:27:18,160 --> 00:27:21,240
Speaker 2: is French so and may be butchering alongside the likes

521
00:27:21,240 --> 00:27:24,240
Speaker 2: of the Cohen Brothers and others. I saw this one

522
00:27:24,960 --> 00:27:27,680
Speaker 2: in the cinema. I think I only remember the Coen

523
00:27:27,720 --> 00:27:30,840
Speaker 2: Brothers segment though, okay, I think it had steep yuseim

524
00:27:30,880 --> 00:27:34,320
Speaker 2: me in it. But Craven also directed the two thousand

525
00:27:34,320 --> 00:27:38,119
Speaker 2: and five werewolf movie Cursed starring Christina Ricci, and the

526
00:27:38,160 --> 00:27:42,040
Speaker 2: air Travel thriller Red Eye, starring Rachel McAdams, Killian Murphy,

527
00:27:42,160 --> 00:27:44,000
Speaker 2: and of course the legendary Brian Cox.

528
00:27:44,119 --> 00:27:46,080
Speaker 3: Oh, I didn't know Brian Cox was in that. Now

529
00:27:46,080 --> 00:27:46,919
Speaker 3: I kind of want to see it.

530
00:27:47,160 --> 00:27:50,680
Speaker 2: Yeah, I haven't seen it. I often avoid the air

531
00:27:50,720 --> 00:27:53,640
Speaker 2: travel thrillers. But I mean that's a good cast. There's

532
00:27:53,680 --> 00:27:55,720
Speaker 2: no doubt about it. Love all three of them.

533
00:27:56,119 --> 00:27:58,800
Speaker 3: Oh yeah, well that's fair. I realist. That's probably the

534
00:27:58,800 --> 00:28:01,160
Speaker 3: reason we have not yet covered go Co body Snatcher

535
00:28:01,200 --> 00:28:01,680
Speaker 3: from Hell.

536
00:28:02,280 --> 00:28:05,480
Speaker 2: Yeah. Now's the time, though, I'm in between flights, so

537
00:28:05,560 --> 00:28:08,280
Speaker 2: you don't have any trips coming up, not for a

538
00:28:08,320 --> 00:28:08,880
Speaker 2: couple of months.

539
00:28:08,920 --> 00:28:11,000
Speaker 3: So yeah, okay, well maybe we should do it.

540
00:28:11,200 --> 00:28:15,080
Speaker 2: Yeah, all right, now that we've done Wes Craven, hopefully

541
00:28:15,160 --> 00:28:18,200
Speaker 2: due diligence there at least a brief overview, we'll move

542
00:28:18,240 --> 00:28:20,960
Speaker 2: on to the writer. The screenwriter of this TV movie.

543
00:28:21,000 --> 00:28:24,359
Speaker 2: It's Richard Rothstein, who lived nineteen forty three through twenty

544
00:28:24,400 --> 00:28:28,320
Speaker 2: eighteen American screenwriter and producer, whose first produced script was

545
00:28:28,359 --> 00:28:32,280
Speaker 2: the nineteen seventy eight western shoot The Sundown, co starring

546
00:28:32,440 --> 00:28:36,080
Speaker 2: very young Christopher Walken. His credits include various other films

547
00:28:36,080 --> 00:28:39,320
Speaker 2: and TV movies, but most Notable are eighty two episodes

548
00:28:39,360 --> 00:28:42,880
Speaker 2: of TV's The Hitchhiker, which ran eighty four through ninety seven,

549
00:28:43,240 --> 00:28:47,600
Speaker 2: and of course nineteen ninety two's Universal Soldier starring Jean

550
00:28:47,680 --> 00:28:48,320
Speaker 2: Claude van Dam.

551
00:28:48,680 --> 00:28:50,760
Speaker 3: Oh. Okay, yeah, he was.

552
00:28:50,720 --> 00:28:52,400
Speaker 2: Just involved with the first one, but you'll see him

553
00:28:52,400 --> 00:28:56,800
Speaker 2: as he gets a character credit on all subsequent Universal

554
00:28:56,800 --> 00:28:57,680
Speaker 2: Soldier movies.

555
00:28:58,200 --> 00:28:59,400
Speaker 3: That also of Doulph Lundgren.

556
00:29:00,240 --> 00:29:03,719
Speaker 2: Yep, he's definitely in the first one and eventually pops

557
00:29:03,720 --> 00:29:06,840
Speaker 2: back up in the latter ones as well. All right,

558
00:29:06,920 --> 00:29:09,880
Speaker 2: getting into the cast here, top billing goes to Robert Urick,

559
00:29:10,160 --> 00:29:15,080
Speaker 2: who plays Matt Winslow. Urick lived nineteen forty six through

560
00:29:15,200 --> 00:29:19,320
Speaker 2: two thousand and two, American leading man actor, best remembered

561
00:29:19,320 --> 00:29:21,680
Speaker 2: for his work in the seventies and eighties, which included

562
00:29:21,720 --> 00:29:24,840
Speaker 2: a lot of TV, including the title role in Spencer

563
00:29:24,920 --> 00:29:27,640
Speaker 2: for Hire and the role of Jake Spoon in the

564
00:29:27,720 --> 00:29:32,240
Speaker 2: nineteen eighty nine mini series Lonesome Dove. Oh yeah, that

565
00:29:32,360 --> 00:29:33,920
Speaker 2: that of course had a terrific cast.

566
00:29:34,240 --> 00:29:37,000
Speaker 3: I haven't seen it, but I started reading the novel

567
00:29:37,120 --> 00:29:39,240
Speaker 3: last year and really liked it, but then just didn't

568
00:29:39,240 --> 00:29:39,719
Speaker 3: finish it.

569
00:29:39,920 --> 00:29:43,040
Speaker 2: Oh yeah, it's a great novel, as well, there's another

570
00:29:43,040 --> 00:29:45,280
Speaker 2: one in that series that I read, Comanche Moon, that

571
00:29:45,320 --> 00:29:48,440
Speaker 2: I really liked. But yeah, the mini series was definitely

572
00:29:48,480 --> 00:29:51,360
Speaker 2: a prestige project, had Robert Duvall and it also had

573
00:29:51,400 --> 00:29:56,040
Speaker 2: Sonny Carl Davis in it, a bunch of people. But yeah,

574
00:29:56,080 --> 00:29:59,120
Speaker 2: Robert Urick is in that and plays a plays a

575
00:29:59,600 --> 00:30:03,880
Speaker 2: character that kind of it's easy to look at his

576
00:30:03,960 --> 00:30:06,360
Speaker 2: role in this picture and sort of identify the sort

577
00:30:06,360 --> 00:30:09,280
Speaker 2: of leading man type roles that he played. He plays

578
00:30:10,160 --> 00:30:14,480
Speaker 2: a flawed character in Lonesome Dove, a character that ends

579
00:30:14,560 --> 00:30:17,520
Speaker 2: up having not a great trajectory. Other films of his

580
00:30:17,600 --> 00:30:20,800
Speaker 2: include seventy three's Magnum Force. Oh, and then the nineteen

581
00:30:20,840 --> 00:30:25,360
Speaker 2: eighty two Alan Rudolph cattle mutilation conspiracy thriller Endangered Species.

582
00:30:25,840 --> 00:30:29,280
Speaker 2: That's another one where he gets to play a more

583
00:30:29,520 --> 00:30:32,520
Speaker 2: morally complicated character as you might expect from an Alan

584
00:30:32,600 --> 00:30:33,400
Speaker 2: Rudolph picture.

585
00:30:33,680 --> 00:30:37,280
Speaker 3: Once again, that was not the cattle mutilation movie we

586
00:30:37,360 --> 00:30:39,440
Speaker 3: talked about, that was the other one.

587
00:30:39,600 --> 00:30:43,160
Speaker 2: Yeah, Yeah, this is one where this one leans more

588
00:30:43,200 --> 00:30:46,760
Speaker 2: conspiracy thriller as opposed to aliens doing things to cows.

589
00:30:47,480 --> 00:30:50,720
Speaker 2: But it's also it's pretty great. It's like it's Alan Rudolph,

590
00:30:51,120 --> 00:30:55,000
Speaker 2: you know, going for a mainstream thriller vibe, but it's

591
00:30:55,040 --> 00:30:58,680
Speaker 2: quite effective. It's one that I've toyed around with the

592
00:30:58,680 --> 00:31:01,640
Speaker 2: idea of covering. I definitely want to some Alan Rudolph

593
00:31:01,720 --> 00:31:04,280
Speaker 2: film at one point or another. Is just a matter

594
00:31:04,320 --> 00:31:05,200
Speaker 2: of picking the right one.

595
00:31:05,440 --> 00:31:07,280
Speaker 3: I've got one on my list. We can talk about

596
00:31:07,320 --> 00:31:08,160
Speaker 3: after this episode.

597
00:31:08,200 --> 00:31:12,080
Speaker 2: Oh yeah, yeah, But anyway, I like Robert Urick, you know, yeah,

598
00:31:12,240 --> 00:31:15,120
Speaker 2: you know, very much seventies eighties leading man stock but

599
00:31:15,160 --> 00:31:17,960
Speaker 2: I feel like he always gets the job done. And

600
00:31:18,120 --> 00:31:20,880
Speaker 2: you know, obviously he's an actor we would have liked

601
00:31:20,880 --> 00:31:22,880
Speaker 2: to have seen more from. We didn't get to see

602
00:31:22,920 --> 00:31:25,160
Speaker 2: a lot of late career character work from him, as

603
00:31:25,200 --> 00:31:27,800
Speaker 2: he passed from cancer at the age of fifty five.

604
00:31:29,320 --> 00:31:32,720
Speaker 3: Yeah, the main character in this movie I actually found

605
00:31:33,160 --> 00:31:37,120
Speaker 3: quite likable, So Matt Winslow. This character, he's sort of

606
00:31:37,320 --> 00:31:41,200
Speaker 3: a classic like solid family man, like a loving father

607
00:31:41,440 --> 00:31:45,520
Speaker 3: and a good husband and an emblem of rectitude, so

608
00:31:45,560 --> 00:31:48,640
Speaker 3: you might expect, well, he's kind of an uncomplicated character,

609
00:31:48,840 --> 00:31:51,640
Speaker 3: so there's not much to get into here. But I

610
00:31:51,640 --> 00:31:55,640
Speaker 3: don't know, I really enjoyed this character. Actually, he's a

611
00:31:55,680 --> 00:31:58,680
Speaker 3: good guy by trade. In the movie he's an engineer

612
00:31:58,760 --> 00:32:02,440
Speaker 3: who works in this era space technology industry, and they

613
00:32:02,440 --> 00:32:06,040
Speaker 3: have him designing cutting edge suits for astronauts to wear,

614
00:32:06,200 --> 00:32:09,400
Speaker 3: like in the next phase of Solar System exploration. And

615
00:32:09,440 --> 00:32:13,120
Speaker 3: he has this ludicrous sci fi dialogue to deliver where

616
00:32:13,160 --> 00:32:16,280
Speaker 3: he's like having them point this spacesuit helmet at things

617
00:32:16,280 --> 00:32:19,080
Speaker 3: and it identifies whether it is human or not, or

618
00:32:19,560 --> 00:32:22,800
Speaker 3: a non human terrestrial or non terrestrial.

619
00:32:22,400 --> 00:32:26,040
Speaker 2: Being, yes, or if you are benign or malignant, is

620
00:32:26,040 --> 00:32:27,200
Speaker 2: it malignant or malicious?

621
00:32:27,640 --> 00:32:30,720
Speaker 3: Yeah, benign or malignant beings of whether or not they're

622
00:32:30,760 --> 00:32:33,240
Speaker 3: from Earth, and it just the helmet knows.

623
00:32:34,000 --> 00:32:35,920
Speaker 2: It's remarkable tech that he developed here.

624
00:32:36,440 --> 00:32:39,280
Speaker 3: So he's but he delivers that with a kind of

625
00:32:39,320 --> 00:32:44,760
Speaker 3: illan that's admirable. Also, this character, Matt and by extension, Urik,

626
00:32:44,840 --> 00:32:47,840
Speaker 3: is a megahunk, and the movie is not shy about

627
00:32:47,880 --> 00:32:50,240
Speaker 3: like letting you get a good idea of what his

628
00:32:50,240 --> 00:32:52,560
Speaker 3: butt looks like in some nice fitting khakis.

629
00:32:53,320 --> 00:32:56,240
Speaker 2: Yeah, that's right. He's at least shirtless in one scene.

630
00:32:57,000 --> 00:32:59,920
Speaker 3: But this is a kind of leading man, good guy

631
00:33:00,240 --> 00:33:05,080
Speaker 3: roll that I think we could potentially underappreciate. It takes

632
00:33:05,080 --> 00:33:07,000
Speaker 3: a little more skill than you might think when when

633
00:33:07,040 --> 00:33:08,880
Speaker 3: you first watched this movie because of all the different

634
00:33:08,880 --> 00:33:11,600
Speaker 3: stuff he has to do and that he has to

635
00:33:11,760 --> 00:33:16,880
Speaker 3: navigate the performance of like fighting off demonic versions of

636
00:33:16,920 --> 00:33:20,480
Speaker 3: his own children that are attacking him, and you know

637
00:33:20,760 --> 00:33:21,680
Speaker 3: he does well with it.

638
00:33:21,880 --> 00:33:23,480
Speaker 2: Yeah, yeah, yeah. He has to do kind of like

639
00:33:23,520 --> 00:33:26,840
Speaker 2: the grounded, believable stuff and then like really lean into

640
00:33:26,880 --> 00:33:29,560
Speaker 2: the into the into the role when it gets super

641
00:33:29,600 --> 00:33:41,120
Speaker 2: weird towards the end. Yeah, all right, So that is

642
00:33:41,240 --> 00:33:44,960
Speaker 2: Matt Winslow playing his wife. Pat Winslow is Joanna Cassidy

643
00:33:45,080 --> 00:33:48,880
Speaker 2: born nineteen forty five. Two time Emmy nominated actress for

644
00:33:49,280 --> 00:33:51,680
Speaker 2: Elite Actress role on eighty four's Buffalo Bill and then

645
00:33:51,960 --> 00:33:54,240
Speaker 2: a guest role in the TV series Six Feet Under.

646
00:33:55,120 --> 00:33:57,720
Speaker 2: Best remembered by many of you, though as the snake

647
00:33:57,800 --> 00:34:01,160
Speaker 2: handling replicant Zora in Really Scott's Blade Runner.

648
00:34:01,640 --> 00:34:04,320
Speaker 3: Oh okay, I didn't make that connection, all right.

649
00:34:04,440 --> 00:34:07,640
Speaker 2: She's the one who she's wearing like, yeah, yeah, it's

650
00:34:07,640 --> 00:34:11,279
Speaker 2: like a shower curtain trench coat and she gets gunned

651
00:34:11,320 --> 00:34:13,200
Speaker 2: down in the street by our hero.

652
00:34:13,440 --> 00:34:15,920
Speaker 3: Yeah yeah, totally. She's working at the club and she

653
00:34:15,920 --> 00:34:17,799
Speaker 3: has the snake. Yeah, yeah, I remember her.

654
00:34:18,160 --> 00:34:20,759
Speaker 2: She also played the character Dolores in nineteen eighty eights

655
00:34:20,760 --> 00:34:23,200
Speaker 2: who framed Roger Rabbit, and she had a role in

656
00:34:23,280 --> 00:34:25,120
Speaker 2: seventy three as the Laughing Policeman.

657
00:34:25,440 --> 00:34:28,600
Speaker 3: She's also good here playing a conflicted character, someone who's

658
00:34:28,600 --> 00:34:33,160
Speaker 3: torn between wanting to be like a loyal and kind

659
00:34:33,239 --> 00:34:36,160
Speaker 3: wife and mother to her family, but she's also feeling

660
00:34:36,200 --> 00:34:40,279
Speaker 3: the pull of like ostentatious wealth and the desire to

661
00:34:40,280 --> 00:34:44,279
Speaker 3: be included in this rich new jet set that the

662
00:34:44,320 --> 00:34:45,440
Speaker 3: family has moved in with.

663
00:34:45,719 --> 00:34:48,600
Speaker 2: Yeah, because that's all that's ultimately the meat, like the

664
00:34:48,640 --> 00:34:53,040
Speaker 2: social commentary that this film dabbles in as ambition and

665
00:34:53,080 --> 00:34:56,000
Speaker 2: what do you want to be versus what you are?

666
00:34:56,440 --> 00:34:58,400
Speaker 2: What are you know? What are your values? What are

667
00:34:58,440 --> 00:35:03,000
Speaker 2: your ambitions? What is the American dream that either you

668
00:35:03,120 --> 00:35:05,640
Speaker 2: have for yourself or is being inflicted upon you? And

669
00:35:05,680 --> 00:35:07,319
Speaker 2: who is doing the inflicting? Oh?

670
00:35:07,400 --> 00:35:10,040
Speaker 3: Oh, let's talk about Jessica Jones. Yes, that is the

671
00:35:10,120 --> 00:35:10,839
Speaker 3: character's name.

672
00:35:10,960 --> 00:35:14,960
Speaker 2: Yes, it's such a Yeah, it feels like such an

673
00:35:15,040 --> 00:35:17,960
Speaker 2: everyday name for this character. And I guess part of

674
00:35:17,960 --> 00:35:21,160
Speaker 2: it is like I grew up with somebody named Jessica Jones,

675
00:35:21,160 --> 00:35:23,640
Speaker 2: so it like it just feels like it's like literally

676
00:35:23,680 --> 00:35:27,480
Speaker 2: the girl next Door's name. And the character that Susan

677
00:35:27,560 --> 00:35:29,080
Speaker 2: Lucci is playing here is anything.

678
00:35:29,080 --> 00:35:33,960
Speaker 3: But isn't Jessica Jones also a superhero? There was a

679
00:35:34,000 --> 00:35:34,920
Speaker 3: show of wasn't there.

680
00:35:35,200 --> 00:35:39,640
Speaker 2: Yeah, yeah, Jessica Jones. The it's a Marvel character. But

681
00:35:39,719 --> 00:35:42,000
Speaker 2: I think they I'm not an expert on that character,

682
00:35:42,000 --> 00:35:44,080
Speaker 2: but I think they chose the name Jessica Jones right,

683
00:35:44,160 --> 00:35:46,719
Speaker 2: or at least they they focused in on it because

684
00:35:46,719 --> 00:35:49,040
Speaker 2: it sounds so normal for a superhero, and it's about

685
00:35:49,080 --> 00:35:52,440
Speaker 2: her being like an ex costume superhero now living a

686
00:35:52,480 --> 00:35:56,560
Speaker 2: more like you know, film noir, kind of like gritty

687
00:35:57,400 --> 00:35:58,560
Speaker 2: realistic existence.

688
00:35:58,680 --> 00:36:00,480
Speaker 3: Oh okay, Well I didn't know anything about it. I

689
00:36:00,560 --> 00:36:03,160
Speaker 3: just knew if the character existed. But yeah, anyway, so

690
00:36:03,239 --> 00:36:06,279
Speaker 3: this is Jessica Jones in Invitation to Hell. Is the

691
00:36:06,360 --> 00:36:11,560
Speaker 3: character played by Susan Lucci, the daytime TV soap opera

692
00:36:11,719 --> 00:36:15,720
Speaker 3: Royalty who we were talking about earlier. And Lucci seems

693
00:36:15,719 --> 00:36:18,640
Speaker 3: to be having the time of her life in this movie,

694
00:36:18,800 --> 00:36:22,160
Speaker 3: playing the Satanic impress of the golf course. I love this.

695
00:36:22,960 --> 00:36:25,120
Speaker 2: Yeah, she's really getting in there and having a good

696
00:36:25,120 --> 00:36:28,200
Speaker 2: time with this. Yeah. She was born in nineteen forty six,

697
00:36:28,239 --> 00:36:31,520
Speaker 2: still active, best known for her long running, ANY winning

698
00:36:31,600 --> 00:36:34,760
Speaker 2: role as Erica Kine on the soap opera All My Children.

699
00:36:35,040 --> 00:36:37,560
Speaker 2: I believe if I'MDB is correct here, and they usually

700
00:36:37,560 --> 00:36:41,080
Speaker 2: are oney seven hundred and forty two episodes of that series.

701
00:36:41,280 --> 00:36:42,400
Speaker 3: How is that possible?

702
00:36:44,120 --> 00:36:47,760
Speaker 2: Yeah, just they crank them out and then they run forever,

703
00:36:48,160 --> 00:36:52,120
Speaker 2: or they ran forever. She also co starred with Robert

704
00:36:52,200 --> 00:36:56,480
Speaker 2: Urick in the nineteen ninety two thriller Double Edge. Undoubtedly

705
00:36:56,560 --> 00:36:59,280
Speaker 2: a TV legend here, and I've read that this whole

706
00:36:59,320 --> 00:37:03,440
Speaker 2: film exist because her nineteen eighty three contract to keep

707
00:37:03,480 --> 00:37:06,160
Speaker 2: acting on All My Children specified that she would get

708
00:37:06,160 --> 00:37:09,560
Speaker 2: to do some sort of a like a TV movie

709
00:37:09,560 --> 00:37:12,440
Speaker 2: of the week, and so they had this script written

710
00:37:12,560 --> 00:37:14,520
Speaker 2: with her in mind. They were like, we've got to

711
00:37:14,520 --> 00:37:18,600
Speaker 2: make we need to make a sci fi drama for

712
00:37:18,880 --> 00:37:22,680
Speaker 2: Susan Lucci. See what you can put together, and so

713
00:37:23,080 --> 00:37:25,040
Speaker 2: we end up with her playing Jessica Jones. Here.

714
00:37:25,360 --> 00:37:28,960
Speaker 3: This Wes Craven movie is actually a Susan Lucci vehicle.

715
00:37:29,440 --> 00:37:32,759
Speaker 2: Yes, yeah, I think crave. I've read that Craven came

716
00:37:32,800 --> 00:37:35,440
Speaker 2: in kind of kind of laid on it, like there's

717
00:37:35,440 --> 00:37:37,799
Speaker 2: still pre production, but a lot of the elements were

718
00:37:37,800 --> 00:37:39,800
Speaker 2: already in place. But then he hit the ground running,

719
00:37:40,040 --> 00:37:42,440
Speaker 2: you know, finishing putting everything together and figuring out how

720
00:37:42,440 --> 00:37:46,279
Speaker 2: to make a few things work. But yeah, really fun

721
00:37:46,360 --> 00:37:49,000
Speaker 2: role here. I think this and the nineteen eighty seven

722
00:37:49,080 --> 00:37:53,160
Speaker 2: TV movie Haunted by Her Past maybe the only projects

723
00:37:53,200 --> 00:37:55,759
Speaker 2: she's done that have a true speculative element to them.

724
00:37:55,880 --> 00:37:58,319
Speaker 2: So you can imagine somebody who's like cranking out soap

725
00:37:58,360 --> 00:38:01,040
Speaker 2: opera after soap opera episode, you know, having a great

726
00:38:01,040 --> 00:38:02,840
Speaker 2: time getting to play the devil.

727
00:38:03,280 --> 00:38:05,200
Speaker 3: Yeah, she should have done it more.

728
00:38:05,800 --> 00:38:09,040
Speaker 2: Also, of note, she was in a nineteen ninety five

729
00:38:09,160 --> 00:38:13,120
Speaker 2: TV movie called Ebbie, in which she plays a female

730
00:38:13,239 --> 00:38:17,839
Speaker 2: version of Ebenezer Scrooge. I haven't seen that one either,

731
00:38:17,880 --> 00:38:20,000
Speaker 2: but that also sounds that sounds like that was also

732
00:38:20,120 --> 00:38:23,560
Speaker 2: a fun alternative to what she usually did.

733
00:38:23,880 --> 00:38:25,799
Speaker 3: Do you know if on All My Children did she

734
00:38:25,960 --> 00:38:28,440
Speaker 3: play a good character or a bad character?

735
00:38:29,440 --> 00:38:32,920
Speaker 2: I think maybe more bad. It seems like all the

736
00:38:32,960 --> 00:38:37,080
Speaker 2: memorable soap opera characters are baddies, right, Like those are

737
00:38:37,239 --> 00:38:41,120
Speaker 2: the characters you love to hate? Right? Maybe you know

738
00:38:41,160 --> 00:38:44,200
Speaker 2: you remember names, like you know, and I'm betraying my

739
00:38:45,560 --> 00:38:47,080
Speaker 2: you know how little I know about soap operas, But

740
00:38:47,080 --> 00:38:50,200
Speaker 2: you're gonna remember Barnabas Collins because he's a vampire. You're

741
00:38:50,200 --> 00:38:53,800
Speaker 2: gonna remember presumably Erica Kane because she's also a baddie.

742
00:38:54,400 --> 00:38:56,080
Speaker 3: Does sound like a bad character name?

743
00:38:56,160 --> 00:38:58,719
Speaker 2: Yeah, speaking of names, I guess it would have been

744
00:38:58,719 --> 00:39:00,719
Speaker 2: two on the nose if they call or Lucci for

745
00:39:00,960 --> 00:39:04,680
Speaker 2: in this you know, so they probably like just colleg

746
00:39:04,760 --> 00:39:09,600
Speaker 2: Jaska jots. All right. Up next, we have Joe Rogato

747
00:39:09,800 --> 00:39:15,600
Speaker 2: playing Tom Peterson born nineteen forty nine, probably best known

748
00:39:15,640 --> 00:39:17,200
Speaker 2: to many of you out there. This is the main

749
00:39:17,239 --> 00:39:19,040
Speaker 2: connection I had to his work because he played the

750
00:39:19,080 --> 00:39:23,400
Speaker 2: character Frank on TV's Murphy Brown, which I remember watching

751
00:39:23,440 --> 00:39:24,880
Speaker 2: a lot as a kid for some reason. I think

752
00:39:24,880 --> 00:39:26,799
Speaker 2: because it was it was on television, and that's it

753
00:39:26,840 --> 00:39:29,680
Speaker 2: was something the family was watching. But he he was

754
00:39:29,760 --> 00:39:33,120
Speaker 2: nominated for an Emmy for that performance. He was also

755
00:39:33,200 --> 00:39:35,600
Speaker 2: in the nineteen eighty six movie Raw Deal, which we

756
00:39:35,600 --> 00:39:36,959
Speaker 2: were just talking about last week.

757
00:39:37,200 --> 00:39:39,120
Speaker 3: Why were we talking about Raw Deal last time?

758
00:39:39,280 --> 00:39:41,640
Speaker 2: Oh? Yeah? Why were it was somebody? Somebody one of

759
00:39:41,680 --> 00:39:44,040
Speaker 2: the actors or up. I just looked it up.

760
00:39:44,080 --> 00:39:45,120
Speaker 3: It was Sam Wanamaker.

761
00:39:45,200 --> 00:39:46,640
Speaker 2: There you go, Yeah, who.

762
00:39:46,480 --> 00:39:48,240
Speaker 3: Directed Sindbad in the Eye of the Tiger.

763
00:39:48,320 --> 00:39:52,400
Speaker 2: There you go. Yeah. So Rogato also did I did

764
00:39:52,400 --> 00:39:54,320
Speaker 2: a lot of TV work, but also directed quite a

765
00:39:54,360 --> 00:39:57,239
Speaker 2: bit of television, including many episodes of Murphy Brown. Here

766
00:39:59,000 --> 00:39:59,399
Speaker 2: he's good.

767
00:39:59,400 --> 00:39:59,520
Speaker 3: Here.

768
00:39:59,560 --> 00:40:01,240
Speaker 2: I don't have a I have to say about this performance,

769
00:40:01,280 --> 00:40:05,880
Speaker 2: but he's good. He is the coworker, I guess, former

770
00:40:06,239 --> 00:40:09,719
Speaker 2: acquaintance of our lead character saying hey, you're working for

771
00:40:09,760 --> 00:40:10,800
Speaker 2: the big evil corporation.

772
00:40:10,960 --> 00:40:14,000
Speaker 3: Great. Yeah, Well he's I think he's the friend who

773
00:40:14,120 --> 00:40:18,080
Speaker 3: tempted Matt and his family to come into this. He's like,

774
00:40:18,200 --> 00:40:19,759
Speaker 3: I have gone to take a job at a big

775
00:40:19,800 --> 00:40:21,799
Speaker 3: evil corporation. Why don't you come work at the big

776
00:40:21,800 --> 00:40:24,759
Speaker 3: evil corporation. You'll make lots of money. Yeah, And so

777
00:40:24,840 --> 00:40:28,520
Speaker 3: he plays like an ingratiating, nervous corporate grimlin.

778
00:40:29,000 --> 00:40:32,600
Speaker 2: Yeah yeah, yeah, yeah. It's a good performance. All right.

779
00:40:32,600 --> 00:40:34,960
Speaker 2: We also have Kevin McCarthy showing up, at least for

780
00:40:35,040 --> 00:40:38,480
Speaker 2: a little bit. He's not in this much, plays mister Thompson.

781
00:40:39,120 --> 00:40:42,400
Speaker 2: McCarthy lived nineteen fourteen through twenty ten. American actor, nominated

782
00:40:42,440 --> 00:40:44,520
Speaker 2: for an Oscar for his performance in the nineteen fifty

783
00:40:44,520 --> 00:40:48,560
Speaker 2: two adaptation of Death of a Salesman, but probably best

784
00:40:48,600 --> 00:40:52,240
Speaker 2: known to many out there for his maniacal paranoid performance

785
00:40:52,239 --> 00:40:56,440
Speaker 2: in nineteen fifty six's Invasion of the Body Snatchers. He

786
00:40:56,520 --> 00:41:01,200
Speaker 2: also pops up in various genre films to follow multiple

787
00:41:01,280 --> 00:41:06,640
Speaker 2: Joe Dante films. If I remember correctly, previously mentioned him

788
00:41:06,680 --> 00:41:09,040
Speaker 2: on the show, because the episode I recorded with David

789
00:41:09,080 --> 00:41:13,680
Speaker 2: Streepy on Joe Dante's Innerspace, of course, features Kevin McCarthy.

790
00:41:14,000 --> 00:41:18,799
Speaker 3: Kevin McCarthy has powerful, malicious boss energy, and that, in

791
00:41:18,800 --> 00:41:21,160
Speaker 3: fact is exactly the role he plays in this movie.

792
00:41:21,160 --> 00:41:23,839
Speaker 3: But I imagine he was just getting cast over and

793
00:41:23,880 --> 00:41:26,560
Speaker 3: over again as the guy who calls the main character

794
00:41:26,600 --> 00:41:28,440
Speaker 3: into his office to tell him he's fired.

795
00:41:28,880 --> 00:41:32,520
Speaker 2: Yeah. Yeah, that's the generally he played like certainly later

796
00:41:32,560 --> 00:41:35,440
Speaker 2: in his career, tended to play nasty old men, and

797
00:41:35,480 --> 00:41:36,920
Speaker 2: he was excellent at it.

798
00:41:37,040 --> 00:41:39,160
Speaker 3: Oh and speaking of old men, we also in this

799
00:41:39,280 --> 00:41:42,680
Speaker 3: movie have Bill Irwin, the perpetual old man of the movies.

800
00:41:43,080 --> 00:41:47,640
Speaker 2: Yes, yes, playing Walt Henderson. Yeah. Irwin lived nineteen fourteen

801
00:41:47,680 --> 00:41:51,680
Speaker 2: through twenty ten. American character actor appeared in more than

802
00:41:51,719 --> 00:41:54,440
Speaker 2: two hundred and fifty television and film roles, including the

803
00:41:54,480 --> 00:41:57,279
Speaker 2: one that earned him an Emmy nomination in nineteen ninety three.

804
00:41:57,640 --> 00:42:01,520
Speaker 2: He played retiree Sid Fields on SIGND and we previously

805
00:42:01,560 --> 00:42:03,759
Speaker 2: discussed him in our episode on the nineteen eighty four

806
00:42:03,840 --> 00:42:04,800
Speaker 2: short film Quest.

807
00:42:05,400 --> 00:42:09,120
Speaker 3: He's got a brief sympathetic role in this movie. But yeah,

808
00:42:09,160 --> 00:42:11,520
Speaker 3: it's a nice contrast to the other things I've seen

809
00:42:11,560 --> 00:42:14,200
Speaker 3: him in, which are mainly comedies where he needs to

810
00:42:14,239 --> 00:42:15,680
Speaker 3: pop up as like a curmudgeon.

811
00:42:16,080 --> 00:42:18,880
Speaker 2: Yeah. Yeah, here he is a little bit more to do.

812
00:42:18,920 --> 00:42:20,759
Speaker 2: He has a nice scene and the last we see

813
00:42:20,760 --> 00:42:25,560
Speaker 2: of him it's it's actually really sad. Yeah, yeah, all right.

814
00:42:25,600 --> 00:42:28,080
Speaker 2: We also have a sheriff character that shows up. I

815
00:42:28,120 --> 00:42:29,919
Speaker 2: don't think he has a name. Maybe he has a name,

816
00:42:30,680 --> 00:42:33,359
Speaker 2: but it played by Nicholas Worth who lived nineteen thirty

817
00:42:33,400 --> 00:42:38,440
Speaker 2: seven through two thousand and seven. Instantly recognizable rotun typically

818
00:42:38,520 --> 00:42:42,200
Speaker 2: bald or balding American character actor, you know, kind of

819
00:42:42,239 --> 00:42:45,480
Speaker 2: like built like a like a pit bull. Probably best

820
00:42:45,520 --> 00:42:47,600
Speaker 2: known to many of you out there for his role

821
00:42:47,880 --> 00:42:51,000
Speaker 2: as the Hinchman Polly in nineteen nineties Dark Man.

822
00:42:51,400 --> 00:42:54,040
Speaker 3: He body slams Robert Urick. In this movie.

823
00:42:54,160 --> 00:42:56,520
Speaker 2: He does, he does, he gets the fulsome wrestling moves.

824
00:42:56,640 --> 00:42:57,920
Speaker 3: They have a wrestling scene.

825
00:42:58,600 --> 00:43:00,880
Speaker 2: Yeah, So obviously this guy plays a lot of heavies.

826
00:43:01,520 --> 00:43:05,239
Speaker 2: His credits include seventy three Screen Blackula Scream, seventy four

827
00:43:05,280 --> 00:43:08,720
Speaker 2: is The Terminal Man, seventy eights Coma, seventy nine's The Glove,

828
00:43:09,640 --> 00:43:11,840
Speaker 2: nineteen eighties Don't Answer the Phone. I believe he was

829
00:43:11,880 --> 00:43:14,200
Speaker 2: the main villain in that. He pops up an eighty

830
00:43:14,200 --> 00:43:17,439
Speaker 2: two Swamp Thing, eighty six is Heartbreak, Ridge, eighty eight's

831
00:43:17,480 --> 00:43:21,960
Speaker 2: Hell Comes to Frogtown, and Action Jackson and the Naked Gun. Wow.

832
00:43:22,360 --> 00:43:25,360
Speaker 2: He also plays a demon in ninety four's Dark Angel

833
00:43:25,440 --> 00:43:28,440
Speaker 2: The Ascent. He's in ninety six's Barbed Wire. Did a

834
00:43:28,480 --> 00:43:31,000
Speaker 2: lot of TV pops up on The X Files and

835
00:43:31,040 --> 00:43:32,480
Speaker 2: a couple of different Star Trek shows.

836
00:43:32,640 --> 00:43:34,720
Speaker 3: No, I don't remember what he did in the X Files,

837
00:43:35,560 --> 00:43:38,120
Speaker 3: but yeah, he's good. I don't even remember if he

838
00:43:38,160 --> 00:43:41,080
Speaker 3: has any lines in this movie, but he does stand

839
00:43:41,200 --> 00:43:43,880
Speaker 3: there and menace people, and then yeah, has a pretty

840
00:43:43,880 --> 00:43:45,200
Speaker 3: sweet fight scene.

841
00:43:45,520 --> 00:43:47,640
Speaker 2: Oh and we need to talk about the Winslow children.

842
00:43:48,400 --> 00:43:51,480
Speaker 2: Oh yes, yeah, the Winslow family. We have two children.

843
00:43:51,520 --> 00:43:55,000
Speaker 2: There's a boy and a girl, both famous in their

844
00:43:55,000 --> 00:43:57,480
Speaker 2: own right. That's right, but let's start with the girl.

845
00:43:57,520 --> 00:44:00,400
Speaker 2: Let's start with the daughter. It is the character Chrissy,

846
00:44:00,520 --> 00:44:04,600
Speaker 2: played by Soleigh Moon. Fry born nineteen seventy six. It's

847
00:44:04,640 --> 00:44:06,400
Speaker 2: TV's Punky Brewster. That's who it is.

848
00:44:06,600 --> 00:44:09,400
Speaker 3: I've never seen Punky Brewster, but the name is burned

849
00:44:09,400 --> 00:44:11,160
Speaker 3: in my brain from when I was a kid people

850
00:44:11,200 --> 00:44:14,360
Speaker 3: talked about Punky Brewster. I imagine her as just like

851
00:44:14,400 --> 00:44:16,759
Speaker 3: a girl Dennis the Menace. Is that sort of it?

852
00:44:17,000 --> 00:44:17,200
Speaker 1: Yeah?

853
00:44:17,280 --> 00:44:19,560
Speaker 2: I only have vague memories of watching this show, but

854
00:44:19,640 --> 00:44:23,520
Speaker 2: I remember it like Punky Brewster, like she was to

855
00:44:23,560 --> 00:44:27,080
Speaker 2: be celebrated. Okay, she was a lot of fun. She

856
00:44:27,160 --> 00:44:31,400
Speaker 2: was a handful obviously, child actor here turned grown person actor.

857
00:44:32,520 --> 00:44:34,920
Speaker 2: She's also known for her work in ninety three's Pumpkinhead

858
00:44:34,920 --> 00:44:38,279
Speaker 2: two Blood Wings. She's also she was a cast member

859
00:44:38,320 --> 00:44:40,920
Speaker 2: on TV Sabrina and the Teenage Witch. This is the

860
00:44:41,000 --> 00:44:43,000
Speaker 2: version that ran two thousand and through two thousand and three.

861
00:44:43,480 --> 00:44:44,920
Speaker 2: She's also done a little bit of directing.

862
00:44:45,239 --> 00:44:48,680
Speaker 3: So this movie does ask a decent amount of the

863
00:44:48,760 --> 00:44:52,640
Speaker 3: children characters she has to play not only like a

864
00:44:52,680 --> 00:44:55,239
Speaker 3: little girl who's kind of upset about her family having

865
00:44:55,280 --> 00:44:57,280
Speaker 3: to move to a new city and like she misses

866
00:44:57,320 --> 00:44:59,680
Speaker 3: their old house, but she also gets to play a

867
00:44:59,719 --> 00:45:03,640
Speaker 3: demo possessed child who's like, there's only bad Chrissy.

868
00:45:03,360 --> 00:45:07,200
Speaker 2: Now, yeah, yeah, yeah, so you just have some fun

869
00:45:07,239 --> 00:45:10,440
Speaker 2: with this role for sure, and then playing her brother,

870
00:45:10,680 --> 00:45:15,160
Speaker 2: Robbie Winslow is Barrett Oliver born nineteen seventy three, a

871
00:45:15,239 --> 00:45:17,200
Speaker 2: child actor that we previously talked about on the show

872
00:45:17,239 --> 00:45:21,640
Speaker 2: because he of course played Dastian Balthazar Bucks in a

873
00:45:21,719 --> 00:45:24,840
Speaker 2: much bigger film from the same year than Never Ending.

874
00:45:24,680 --> 00:45:26,359
Speaker 3: Story, both in the same year.

875
00:45:26,440 --> 00:45:28,520
Speaker 2: Wow, yeah, his other credit.

876
00:45:28,960 --> 00:45:31,800
Speaker 3: It's like Peter Mayhew being in Star Wars and Sindbad

877
00:45:31,840 --> 00:45:33,200
Speaker 3: and The Eye of the Tiger the same year.

878
00:45:33,280 --> 00:45:35,719
Speaker 2: Yeah. I mean, you keep working and some things take

879
00:45:35,719 --> 00:45:39,839
Speaker 2: off and some things don't, right, But yeah, so it's

880
00:45:40,160 --> 00:45:43,279
Speaker 2: a quite a I mean quite a cast here, and

881
00:45:43,440 --> 00:45:47,560
Speaker 2: the family itself is pretty interesting. So like, after I'd

882
00:45:47,560 --> 00:45:49,400
Speaker 2: watched the film, I had to show the first ninety

883
00:45:49,400 --> 00:45:52,319
Speaker 2: seconds of it to my wife. We'll talk about why

884
00:45:52,360 --> 00:45:54,960
Speaker 2: in just a few minutes here, but then I also like,

885
00:45:55,000 --> 00:45:57,040
Speaker 2: stick around. I've got to point out some things about

886
00:45:57,040 --> 00:46:01,120
Speaker 2: this family, all right, moving behind the scene. The cinematographer

887
00:46:01,120 --> 00:46:02,120
Speaker 2: on this is Dean Condy.

888
00:46:02,440 --> 00:46:04,560
Speaker 3: Oh yeah, we've talked about him on the show before.

889
00:46:04,600 --> 00:46:07,800
Speaker 3: He was a cinematographer and I believe the very first

890
00:46:07,920 --> 00:46:10,840
Speaker 3: movie we ever featured on Weird House Cinema right Without Warning?

891
00:46:11,200 --> 00:46:15,080
Speaker 2: Correct, yes, nineteen eighties without Warning. More famous probably for

892
00:46:15,120 --> 00:46:17,440
Speaker 2: his work on Who Framed Roger Rabbit, which he won

893
00:46:17,520 --> 00:46:21,759
Speaker 2: an oscar for ninety three's Jurassic Park ninety six is

894
00:46:21,760 --> 00:46:24,640
Speaker 2: Apollo thirteen and many others. He's worked, of course, extensively

895
00:46:24,640 --> 00:46:29,160
Speaker 2: with John Carpenter, Robert Zemeckis, Yeah, and great on Clark.

896
00:46:30,880 --> 00:46:32,960
Speaker 3: So I love Dean Coundy's work. Was he also a

897
00:46:33,000 --> 00:46:35,319
Speaker 3: cinematographer on Halloween three season of The Witch?

898
00:46:35,360 --> 00:46:37,000
Speaker 2: But I believe he was. Yeah. I believe that's one

899
00:46:37,440 --> 00:46:39,440
Speaker 2: one of the other ways that Dean Coundy has come

900
00:46:39,520 --> 00:46:40,040
Speaker 2: up before.

901
00:46:40,200 --> 00:46:43,399
Speaker 3: Interesting but also connection in that these movies share these

902
00:46:43,480 --> 00:46:47,920
Speaker 3: kind of unusual horror themes. Invitation to Hell is not

903
00:46:48,800 --> 00:46:52,080
Speaker 3: beautiful to look at by any stretch of the imagination.

904
00:46:52,840 --> 00:46:55,840
Speaker 3: The things it has to show you are mostly not

905
00:46:56,040 --> 00:47:01,520
Speaker 3: all that exciting, and yet I think Condy's cinematography is

906
00:47:01,640 --> 00:47:04,920
Speaker 3: one of the reasons the movie is so eminently watchable,

907
00:47:05,480 --> 00:47:08,319
Speaker 3: even when he really when all he has to show

908
00:47:08,360 --> 00:47:12,680
Speaker 3: you are fairly drab sets and locations. Kundy just has

909
00:47:12,719 --> 00:47:16,240
Speaker 3: a very strong sense for visual storytelling, and his camera

910
00:47:16,640 --> 00:47:20,279
Speaker 3: naturally adds momentum to the story. So I don't think

911
00:47:20,320 --> 00:47:23,360
Speaker 3: it's the only thing that makes Invitation to Hell a

912
00:47:23,440 --> 00:47:26,360
Speaker 3: very fun and watchable movie despite being somewhat low budget.

913
00:47:27,040 --> 00:47:31,200
Speaker 3: But yeah, there's something going on with the cinematography, despite

914
00:47:31,239 --> 00:47:33,240
Speaker 3: the fact that the movie is not much to write

915
00:47:33,239 --> 00:47:36,520
Speaker 3: home about in terms of visual spectacle. Yeah.

916
00:47:36,680 --> 00:47:40,600
Speaker 2: Yeah. Though on that note, it is worth pointing out that, Okay,

917
00:47:40,719 --> 00:47:43,160
Speaker 2: many of these TV movies were apparently produced if in

918
00:47:43,200 --> 00:47:45,759
Speaker 2: this era, were produced way too fast and at a

919
00:47:45,800 --> 00:47:50,440
Speaker 2: lower budget, so they couldn't really benefit from storyboarding. But apparently,

920
00:47:50,480 --> 00:47:53,640
Speaker 2: since this was a Susan Lucci vehicle in all, the

921
00:47:53,680 --> 00:47:57,000
Speaker 2: studio went the extra mile and they hired storyboard board

922
00:47:57,040 --> 00:48:02,680
Speaker 2: artist Petco d Kodiev, who is apparently known to some

923
00:48:02,800 --> 00:48:05,840
Speaker 2: extent as the count behind the scenes, to sketch everything

924
00:48:05,880 --> 00:48:08,560
Speaker 2: out in pre production. He'd previously worked on the nineteen

925
00:48:08,560 --> 00:48:11,520
Speaker 2: eighty three feature film Blue Thunder, which is the Helicopter Movie,

926
00:48:11,800 --> 00:48:13,719
Speaker 2: and went on to work on such films as eighty

927
00:48:13,760 --> 00:48:15,600
Speaker 2: six As King Kong Lives and eighty seven Is The

928
00:48:15,680 --> 00:48:16,200
Speaker 2: Running Man.

929
00:48:16,440 --> 00:48:19,600
Speaker 3: Oh okay, so the storyboarding may also have helped give

930
00:48:19,640 --> 00:48:22,440
Speaker 3: this movie more visual coherence than it might have had

931
00:48:22,480 --> 00:48:25,240
Speaker 3: otherwise it was just sort of a over the shoulder

932
00:48:25,280 --> 00:48:27,360
Speaker 3: point and shoot, like a lot of TV movies would be.

933
00:48:27,719 --> 00:48:31,400
Speaker 2: Yeah. And then finally, the composer here is Sylvester Levy,

934
00:48:31,840 --> 00:48:34,640
Speaker 2: who lived still around as far as I know. Born

935
00:48:34,719 --> 00:48:38,479
Speaker 2: nineteen forty five, Hungarian composer who also scored nineteen eighty

936
00:48:38,480 --> 00:48:43,160
Speaker 2: six's Cobra, nineteen nineties Navy Seals, and various TV projects,

937
00:48:43,160 --> 00:48:44,960
Speaker 2: including the TV series Werewolf.

938
00:48:45,280 --> 00:48:49,440
Speaker 3: Is this brother of Anton no No, but.

939
00:48:49,640 --> 00:48:53,120
Speaker 2: He's also partially responsible for the Elton John song Victim

940
00:48:53,120 --> 00:48:55,320
Speaker 2: of Love from nineteen seventy nine, one of the writers

941
00:48:55,320 --> 00:48:58,080
Speaker 2: on that, and he won a Grammy in nineteen seventy

942
00:48:58,120 --> 00:49:01,279
Speaker 2: five for the song fly Robin Fluoh, performed by the

943
00:49:01,320 --> 00:49:06,080
Speaker 2: German disco group Silver Convention, a group that he helped put together.

944
00:49:06,360 --> 00:49:08,440
Speaker 3: Rob I thought you might like the score on this movie.

945
00:49:08,440 --> 00:49:11,799
Speaker 3: It's very synth heavy, and it has it's Moody's. Those

946
00:49:11,800 --> 00:49:14,320
Speaker 3: are things I think that attract you to a film score.

947
00:49:14,680 --> 00:49:16,080
Speaker 2: Yeah, yeah, I liked it.

948
00:49:16,360 --> 00:49:17,879
Speaker 3: Yeah, Yeah, I liked it too. A lot of parts

949
00:49:18,040 --> 00:49:21,759
Speaker 3: reminded me actually of the synth themes in The Terminator.

950
00:49:22,520 --> 00:49:25,080
Speaker 2: Yeah, yeah, that's a good point. And yeah, I thought

951
00:49:25,080 --> 00:49:27,640
Speaker 2: it worked well for the picture, because especially we get

952
00:49:28,040 --> 00:49:30,520
Speaker 2: a pretty rocking opening scene, but then we get a

953
00:49:30,560 --> 00:49:34,360
Speaker 2: lot of scenes in which it's like a family getting

954
00:49:34,400 --> 00:49:37,880
Speaker 2: situated in this nice looking neighborhood, this nice little slice

955
00:49:37,920 --> 00:49:41,120
Speaker 2: of the American corporate dream, and yet the music is

956
00:49:41,120 --> 00:49:43,279
Speaker 2: here to remind us that things are maybe not what

957
00:49:43,360 --> 00:49:52,400
Speaker 2: they seem.

958
00:49:52,440 --> 00:49:54,680
Speaker 3: All Right, you want to talk about the plot, let's

959
00:49:54,760 --> 00:49:58,600
Speaker 3: jump into it. So if you don't decide to watch

960
00:49:58,800 --> 00:50:02,080
Speaker 3: Invitation to Hell in full, let me at least convince

961
00:50:02,120 --> 00:50:05,200
Speaker 3: you to watch the first ninety seconds or so. Yeah,

962
00:50:05,320 --> 00:50:08,600
Speaker 3: it has a strong, cold opening, pulling you in after.

963
00:50:09,120 --> 00:50:10,640
Speaker 3: Do you know what aired right before this?

964
00:50:11,160 --> 00:50:13,200
Speaker 2: I was trying to find out that I couldn't get

965
00:50:13,200 --> 00:50:15,080
Speaker 2: a firm answer, So I'm thinking maybe it was just

966
00:50:15,280 --> 00:50:18,439
Speaker 2: like your regional nightly Neves or maybe the national nightly news,

967
00:50:18,719 --> 00:50:20,719
Speaker 2: because it would have been seven to I mean it

968
00:50:20,719 --> 00:50:25,120
Speaker 2: would been eight to ten Eastern, So I'm guessing yeah,

969
00:50:25,120 --> 00:50:27,200
Speaker 2: you would have just been after the news, watched the movie,

970
00:50:27,440 --> 00:50:29,359
Speaker 2: and then watch twenty twenty.

971
00:50:29,840 --> 00:50:32,480
Speaker 3: Right, So it's fighting the Frizzies at eleven and then

972
00:50:32,800 --> 00:50:36,799
Speaker 3: cuts to this. So we open the We open on

973
00:50:36,840 --> 00:50:39,640
Speaker 3: the exterior of a country club. It is a bright

974
00:50:39,760 --> 00:50:44,040
Speaker 3: sunny day birds are singing, rich people doing fancy country

975
00:50:44,040 --> 00:50:46,640
Speaker 3: club stuff. You see golf carts zipping around. There are

976
00:50:46,680 --> 00:50:49,560
Speaker 3: a couple of ladies walking through the valet a lot

977
00:50:49,640 --> 00:50:52,399
Speaker 3: carrying tennis rackets with covers on them. This actually got

978
00:50:52,440 --> 00:50:56,759
Speaker 3: me wondering why did tennis rackets ever need covers? I

979
00:50:56,800 --> 00:50:59,600
Speaker 3: never had a cover for any tennis racket I ever had,

980
00:50:59,640 --> 00:51:00,960
Speaker 3: But like, what does the cover do?

981
00:51:02,000 --> 00:51:03,920
Speaker 2: I don't know. I guess if it's If it's nice,

982
00:51:04,080 --> 00:51:05,400
Speaker 2: you need to put a cover on it.

983
00:51:06,800 --> 00:51:11,879
Speaker 3: The music selection here is eerie synthesizer chords with reverb heartbeats.

984
00:51:12,640 --> 00:51:15,400
Speaker 3: And we pan over and see the see some of

985
00:51:15,400 --> 00:51:17,359
Speaker 3: the people coming to the club. There's like a guy

986
00:51:17,440 --> 00:51:20,120
Speaker 3: leaning against a no parking sign and a polo shirt

987
00:51:20,480 --> 00:51:22,319
Speaker 3: with what do you call it when you got a

988
00:51:22,320 --> 00:51:24,759
Speaker 3: sweatshirt with the arms tied around your neck? It's a

989
00:51:24,840 --> 00:51:28,080
Speaker 3: it's a real yacht club look, yeah. Yeah. And then

990
00:51:28,239 --> 00:51:30,920
Speaker 3: in the background we see a green golf course and

991
00:51:30,960 --> 00:51:34,040
Speaker 3: beyond that typical arid mountains that you would see in

992
00:51:34,080 --> 00:51:39,200
Speaker 3: coastal southern California. So a station wagon with some really

993
00:51:39,239 --> 00:51:42,520
Speaker 3: sick wood paneling hauls up to the gate and we

994
00:51:42,560 --> 00:51:44,799
Speaker 3: see a sign telling us where this is. It is

995
00:51:44,840 --> 00:51:47,520
Speaker 3: the Steaming Springs Country Club.

996
00:51:49,480 --> 00:51:53,840
Speaker 2: I love this. Every time they mentioned steaming Steaming Springs,

997
00:51:54,719 --> 00:51:56,759
Speaker 2: it just made me think of like steaming polo crap

998
00:51:56,880 --> 00:51:59,360
Speaker 2: or something. I don't know, just and I feel like

999
00:51:59,400 --> 00:52:01,360
Speaker 2: that had to ha been intentional on the part of

1000
00:52:01,400 --> 00:52:02,920
Speaker 2: the filmmaker's screenwriter.

1001
00:52:03,080 --> 00:52:06,239
Speaker 3: Here, there's a lot that on my first watch I

1002
00:52:06,280 --> 00:52:09,160
Speaker 3: thought maybe unintentional, and then when I came back to it,

1003
00:52:09,200 --> 00:52:10,760
Speaker 3: I was like, no, they did that on purpose.

1004
00:52:10,880 --> 00:52:12,720
Speaker 2: Yes, yeah.

1005
00:52:13,080 --> 00:52:16,720
Speaker 3: The station wagon is being driven by a uniformed chauffeur

1006
00:52:16,800 --> 00:52:20,239
Speaker 3: with a fancy little hat. And then we finally get

1007
00:52:20,239 --> 00:52:23,840
Speaker 3: our first good look at Susan Lucci in costume. In character.

1008
00:52:24,600 --> 00:52:26,759
Speaker 3: This is the character that will later be introduced as

1009
00:52:26,840 --> 00:52:29,840
Speaker 3: Jessica Jones. She's sort of the queen wasp of the

1010
00:52:29,880 --> 00:52:32,839
Speaker 3: club and her look is amazing.

1011
00:52:33,120 --> 00:52:34,080
Speaker 2: It is a.

1012
00:52:34,239 --> 00:52:39,160
Speaker 3: Cherry red, full body outfit. I was gonna say pant suit,

1013
00:52:39,239 --> 00:52:42,480
Speaker 3: but it's not really a pant suit. It's like because

1014
00:52:42,520 --> 00:52:45,040
Speaker 3: it's not like a jacket over something. It's more like

1015
00:52:45,239 --> 00:52:48,359
Speaker 3: a shirt and pants going down to the ankles up

1016
00:52:48,360 --> 00:52:51,680
Speaker 3: to the neck, all cherry red, with long sleeves, some

1017
00:52:51,760 --> 00:52:55,800
Speaker 3: kind of silver metal half belt object at her waist

1018
00:52:56,280 --> 00:52:59,160
Speaker 3: and big, big hair, like it's all up in this

1019
00:52:59,440 --> 00:53:05,040
Speaker 3: volumina black curly perm She's also wearing a white patch

1020
00:53:05,120 --> 00:53:07,960
Speaker 3: on her chest with a design that I couldn't decipher

1021
00:53:08,040 --> 00:53:10,279
Speaker 3: at first, but eventually you get a close up and

1022
00:53:10,320 --> 00:53:13,880
Speaker 3: I realized it is the Steaming Springs logo, which is

1023
00:53:14,000 --> 00:53:18,000
Speaker 3: three wispy lines that I guess signifies steam rising. And

1024
00:53:18,040 --> 00:53:21,239
Speaker 3: then maybe steaming springs would be like two s's, but

1025
00:53:21,280 --> 00:53:24,360
Speaker 3: then there's another S there, there's three lines. I believe

1026
00:53:24,360 --> 00:53:28,080
Speaker 3: it is not an accident that this superficially reminds us

1027
00:53:28,120 --> 00:53:29,480
Speaker 3: of the SS insignia.

1028
00:53:30,480 --> 00:53:32,440
Speaker 2: Yeah. Yeah, like maybe they originally were just going to

1029
00:53:32,520 --> 00:53:34,439
Speaker 2: have two of them on there, and they're like that's

1030
00:53:34,520 --> 00:53:36,160
Speaker 2: a little too much. We should just go back and

1031
00:53:36,200 --> 00:53:39,359
Speaker 2: just have the three of these things on there. But yeah,

1032
00:53:39,360 --> 00:53:42,360
Speaker 2: this is quite a look. Huge hair, a jumpsuit that

1033
00:53:42,400 --> 00:53:44,840
Speaker 2: makes her look like she works at Gismonics Institute instead

1034
00:53:44,880 --> 00:53:48,880
Speaker 2: of the golf club the country club. Yeah, this is

1035
00:53:48,920 --> 00:53:53,320
Speaker 2: our luetio fur and it's striking right from the beginning.

1036
00:53:53,640 --> 00:53:56,600
Speaker 3: So Jessica Jones is walking across the driveway as the

1037
00:53:56,960 --> 00:54:01,279
Speaker 3: chauffeur of the Woo Woody wagon drives up to the

1038
00:54:01,320 --> 00:54:05,839
Speaker 3: clubhouse entrance. Unfortunately, our chauffeur here gets distracted because he's

1039
00:54:05,880 --> 00:54:09,319
Speaker 3: ogling a couple of ladies in teal and purple bikinis,

1040
00:54:10,120 --> 00:54:13,120
Speaker 3: and he's on a collision course with Jessica Jones, who,

1041
00:54:13,239 --> 00:54:15,080
Speaker 3: by the way, does not even try to get out

1042
00:54:15,080 --> 00:54:17,719
Speaker 3: of the way. She just stands there staring head on

1043
00:54:17,920 --> 00:54:21,000
Speaker 3: at the car barreling toward her. The driver does a

1044
00:54:21,040 --> 00:54:25,560
Speaker 3: double take, tire screech, crash. Jessica goes under the car,

1045
00:54:25,840 --> 00:54:29,919
Speaker 3: driver stops, looks out through the rear windshield, and then

1046
00:54:30,040 --> 00:54:34,520
Speaker 3: Jessica rises up from the ground like a lever. Yes,

1047
00:54:35,360 --> 00:54:38,839
Speaker 3: totally stiff, hands on hips. She just pops up into

1048
00:54:38,880 --> 00:54:39,360
Speaker 3: the window.

1049
00:54:39,800 --> 00:54:42,239
Speaker 2: Yeah. Yeah, she totally pulls a low pan on this guy.

1050
00:54:42,360 --> 00:54:44,480
Speaker 2: Or I guess you make trouble a little China low

1051
00:54:44,520 --> 00:54:47,399
Speaker 2: pan pulls to Jessica Jones. Though, I'm gonna go ahead

1052
00:54:47,440 --> 00:54:50,239
Speaker 2: and assume that neither Craven nor Carpenter were the first

1053
00:54:50,239 --> 00:54:53,960
Speaker 2: to pull this exact sequence this. I'm curious. I have

1054
00:54:54,000 --> 00:54:56,279
Speaker 2: no answer here, but I feel like this must have

1055
00:54:56,320 --> 00:54:59,239
Speaker 2: come from somewhere. This must have been established somewhere else,

1056
00:55:00,000 --> 00:55:02,280
Speaker 2: otherwise it was created here. I don't know, well, it's.

1057
00:55:02,200 --> 00:55:04,279
Speaker 3: Like, no, sparautu again, Yeah, I get you're right.

1058
00:55:04,320 --> 00:55:04,520
Speaker 2: Yeah.

1059
00:55:04,560 --> 00:55:07,719
Speaker 3: So she then points a finger, like I curse you.

1060
00:55:08,280 --> 00:55:12,200
Speaker 3: She just points a finger and the rear windshield shatters.

1061
00:55:12,320 --> 00:55:16,040
Speaker 3: The driver starts screaming, and then there is smoke fuming

1062
00:55:16,080 --> 00:55:17,040
Speaker 3: out of his clothes.

1063
00:55:17,480 --> 00:55:20,759
Speaker 2: He's like, yeah, yeah, I showed this scene to my

1064
00:55:20,840 --> 00:55:22,960
Speaker 2: wife because I like, you gotta watch you gotta watch

1065
00:55:22,960 --> 00:55:24,760
Speaker 2: this first in the first ninety seconds of this film,

1066
00:55:24,920 --> 00:55:28,480
Speaker 2: And she commented this whole sequence with Susan Luci plays

1067
00:55:28,480 --> 00:55:31,200
Speaker 2: out like a demonic nineteen eighties hair commercial. You know,

1068
00:55:31,239 --> 00:55:32,640
Speaker 2: look at how confident she is.

1069
00:55:33,000 --> 00:55:35,920
Speaker 3: That's so right. Yeah, maybe she's born with it. Maybe

1070
00:55:35,920 --> 00:55:37,800
Speaker 3: it's a gift from the Prince of darkness.

1071
00:55:37,880 --> 00:55:41,760
Speaker 2: Yeah, she's turning heads, she's snatching souls, she's microwaving dudes

1072
00:55:41,800 --> 00:55:42,759
Speaker 2: in their cars.

1073
00:55:42,800 --> 00:55:47,520
Speaker 3: That's right. Yeah. So the driver melts pretty solid melt right, yeah. Yeah.

1074
00:55:47,760 --> 00:55:49,560
Speaker 3: I mean they don't show you too much goop. It

1075
00:55:49,680 --> 00:55:52,280
Speaker 3: is made for TV, but I did a freeze frame

1076
00:55:52,320 --> 00:55:56,000
Speaker 3: here and in mid melt he looks like Lawn Cheney

1077
00:55:56,000 --> 00:55:58,520
Speaker 3: as the Phantom of the Opera, but with huge teeth,

1078
00:55:58,880 --> 00:56:02,960
Speaker 3: hollow eyes, and sweaty wax for skin. I like this model.

1079
00:56:03,320 --> 00:56:05,080
Speaker 2: Yeah, this is Yeah, this looked I thought it looked

1080
00:56:05,120 --> 00:56:08,080
Speaker 2: really good, especially again since this is like, you know what,

1081
00:56:08,239 --> 00:56:12,960
Speaker 2: eight o five pm on a Thursday, it's hitting pretty hard.

1082
00:56:13,320 --> 00:56:15,880
Speaker 3: But I also like that they're giving you Susan Lucci

1083
00:56:15,960 --> 00:56:18,560
Speaker 3: before they give you any of the good guys. She's

1084
00:56:18,640 --> 00:56:21,200
Speaker 3: just out here at the golf course melting drivers.

1085
00:56:21,600 --> 00:56:24,799
Speaker 2: And I guess it's part of the whole vibe. Is Yeah,

1086
00:56:24,840 --> 00:56:26,520
Speaker 2: you want to get the viewer hooked right and give

1087
00:56:26,560 --> 00:56:28,480
Speaker 2: them a taste of how weird this is going to be.

1088
00:56:28,640 --> 00:56:32,040
Speaker 2: Let them see Susan Lucci, they know who Susan Lucci is,

1089
00:56:32,440 --> 00:56:35,239
Speaker 2: and then they'll be inclined to stick around for the

1090
00:56:35,239 --> 00:56:35,960
Speaker 2: rest of the picture.

1091
00:56:36,320 --> 00:56:39,240
Speaker 3: As you said, she microwaves him he's good and melted,

1092
00:56:39,320 --> 00:56:41,480
Speaker 3: and then she just looks very pleased with her work

1093
00:56:41,600 --> 00:56:43,839
Speaker 3: and walks away from the car. She like tosses her

1094
00:56:43,880 --> 00:56:46,719
Speaker 3: hair and walks away beaming. And I was thinking, who

1095
00:56:46,800 --> 00:56:49,359
Speaker 3: has to clean this up? Do they have staff there

1096
00:56:49,400 --> 00:56:52,080
Speaker 3: who just mop up melted chauffeurs? And also this is

1097
00:56:52,080 --> 00:56:54,399
Speaker 3: a company car. It says steaming springs on the side

1098
00:56:54,400 --> 00:56:54,640
Speaker 3: of it.

1099
00:56:54,880 --> 00:56:57,880
Speaker 2: Yeah. Yeah, And the screenshot you included in the outline.

1100
00:56:57,960 --> 00:57:00,000
Speaker 2: You can see that this dude that she just melts.

1101
00:57:00,040 --> 00:57:04,200
Speaker 2: It has the silver Spring, Silver Springs, the Steaming Springs

1102
00:57:04,280 --> 00:57:07,319
Speaker 2: logo on his outfit as well. So, yeah, she just

1103
00:57:07,360 --> 00:57:09,080
Speaker 2: totally melted an employee.

1104
00:57:09,320 --> 00:57:12,279
Speaker 3: Did I say silver springs earlier? I know, I was

1105
00:57:12,280 --> 00:57:14,040
Speaker 3: hearing this in Stevie Nick's voice a lot.

1106
00:57:14,160 --> 00:57:15,560
Speaker 2: It will happen again.

1107
00:57:15,920 --> 00:57:22,320
Speaker 3: You can be my melted driver, let's see. Oh yeah, okay,

1108
00:57:22,360 --> 00:57:24,880
Speaker 3: so that's the cold open. After that we go on

1109
00:57:25,000 --> 00:57:28,520
Speaker 3: to meet our main family, the main characters. This is

1110
00:57:28,520 --> 00:57:31,400
Speaker 3: the Winslow family. So you got the father Matt Winslow

1111
00:57:31,480 --> 00:57:34,880
Speaker 3: played by Robert Urick, the mother, Patricia Winslow played by

1112
00:57:35,000 --> 00:57:38,880
Speaker 3: Joanna Cassidy, the daughter Chrissy played by Seleih Moonfry, and

1113
00:57:38,920 --> 00:57:41,600
Speaker 3: the son Robbie played by Barrett Oliver. And also we

1114
00:57:41,600 --> 00:57:43,480
Speaker 3: don't see him until later, but the family has a

1115
00:57:43,560 --> 00:57:45,200
Speaker 3: very cute dog named Albert.

1116
00:57:45,560 --> 00:57:47,040
Speaker 2: Oh yes, he'll be important later on.

1117
00:57:47,280 --> 00:57:50,240
Speaker 3: Yeah, do check in with the does the dog die crowd?

1118
00:57:50,960 --> 00:57:53,560
Speaker 3: I'll say the answer is no, but the dog is

1119
00:57:53,800 --> 00:57:55,400
Speaker 3: conceptually threatened.

1120
00:57:55,680 --> 00:57:55,960
Speaker 2: Yes.

1121
00:57:57,120 --> 00:57:58,920
Speaker 3: So the family they're on a car trip when we

1122
00:57:58,920 --> 00:58:01,120
Speaker 3: first see them. There crew in down the highway and

1123
00:58:01,960 --> 00:58:05,400
Speaker 3: another gorgeous American made station wagon of the nineteen eighties.

1124
00:58:05,440 --> 00:58:08,320
Speaker 3: I don't know if this one has wood panels, but

1125
00:58:08,400 --> 00:58:11,360
Speaker 3: we get the title and the credits, playing and terminator

1126
00:58:11,400 --> 00:58:15,160
Speaker 3: font over aerial shots of the highway and like recently

1127
00:58:15,200 --> 00:58:19,600
Speaker 3: developed valley subdivisions in southern California, and of course more

1128
00:58:19,640 --> 00:58:24,680
Speaker 3: golf courses, and then in the car our first impression

1129
00:58:24,720 --> 00:58:28,200
Speaker 3: of the family is of Robbie the Sun, and we

1130
00:58:28,280 --> 00:58:30,400
Speaker 3: get the idea that he's the kind of kid who's

1131
00:58:30,440 --> 00:58:33,720
Speaker 3: really interested in getting the high score. He's into points,

1132
00:58:34,480 --> 00:58:36,720
Speaker 3: so he's like, there's a dog five points, and I

1133
00:58:36,840 --> 00:58:40,160
Speaker 3: just saw two flags fifteen points, four hundred and seventy,

1134
00:58:40,160 --> 00:58:42,720
Speaker 3: four hundred and eighty, and he's just saying numbers. It

1135
00:58:42,760 --> 00:58:45,480
Speaker 3: reminds me that Tim and Eric sketch where it's an

1136
00:58:45,520 --> 00:58:50,040
Speaker 3: ad and they're just saying numbers. Anyway, Chrissy is tired

1137
00:58:50,080 --> 00:58:53,280
Speaker 3: of playing Robbie's game, and she is especially annoyed that

1138
00:58:53,360 --> 00:58:55,840
Speaker 3: he counted those flags he just saw because they're on

1139
00:58:55,880 --> 00:58:59,120
Speaker 3: a golf course and golf course flags do not count

1140
00:58:59,160 --> 00:59:02,479
Speaker 3: as flags. But she also wants to quit the game

1141
00:59:02,520 --> 00:59:05,720
Speaker 3: because there are no more animals to see, just dumb buildings.

1142
00:59:05,840 --> 00:59:10,200
Speaker 3: I think that's a metaphor. So the family is moving

1143
00:59:10,360 --> 00:59:12,720
Speaker 3: from their home in the Midwest to their new house

1144
00:59:12,760 --> 00:59:16,280
Speaker 3: in southern California because Matt, who is an engineer, got

1145
00:59:16,360 --> 00:59:20,560
Speaker 3: a new job at a company called Micro Digitech. And

1146
00:59:20,840 --> 00:59:22,920
Speaker 3: for a second I was like, surely they can't be

1147
00:59:22,960 --> 00:59:25,720
Speaker 3: playing on a real company, because Digitech is the real

1148
00:59:25,920 --> 00:59:28,440
Speaker 3: is the name of a real brand. They're the makers of,

1149
00:59:28,840 --> 00:59:31,400
Speaker 3: like the beloved Digitech whammy pedal for guitars.

1150
00:59:31,880 --> 00:59:34,320
Speaker 2: Well, what sound is the whammy pedal responsible for?

1151
00:59:34,560 --> 00:59:37,880
Speaker 3: Well, it's like a it's like an octave shifting pedal

1152
00:59:37,960 --> 00:59:40,440
Speaker 3: or tone shifting pedal, So you can play one note

1153
00:59:40,440 --> 00:59:42,920
Speaker 3: on your guitar and then with a whammy pedal you

1154
00:59:42,920 --> 00:59:45,440
Speaker 3: can make it an octave below or an octave above

1155
00:59:45,520 --> 00:59:49,200
Speaker 3: that actual tone. So it's like what you hear Jack

1156
00:59:49,200 --> 00:59:51,720
Speaker 3: White playing the guitar, but it sounds like a bass guitar.

1157
00:59:51,840 --> 00:59:54,160
Speaker 3: He's making that bass guitar sound with a whammy pedal

1158
00:59:54,200 --> 00:59:57,080
Speaker 3: to kick it an octave down. Oh okay, I see,

1159
00:59:57,600 --> 00:59:59,440
Speaker 3: But I think this is just a coincidence. I mean,

1160
00:59:59,440 --> 01:00:01,400
Speaker 3: it's kind of an obvious name for a company I

1161
01:00:01,400 --> 01:00:06,440
Speaker 3: guess that makes digital technology Digitech, But this is Micro

1162
01:00:06,560 --> 01:00:09,880
Speaker 3: Digitech anyway. So the family's driving into town and Robbie,

1163
01:00:09,920 --> 01:00:12,800
Speaker 3: the son, he's a computer boy, and he's reading off

1164
01:00:12,800 --> 01:00:15,760
Speaker 3: the names of various company headquarters. He's like, oh, the

1165
01:00:15,880 --> 01:00:21,000
Speaker 3: TRX Corporation, Microchip International, Boy, it sounds like computer heaven.

1166
01:00:21,720 --> 01:00:29,360
Speaker 3: And then Chrissy, his sister, says, computers don't go to heaven. Well,

1167
01:00:29,400 --> 01:00:32,920
Speaker 3: we'll see about that. So on the drive, Matt and

1168
01:00:32,920 --> 01:00:35,680
Speaker 3: Patricia have a conversation, making it clear that this is

1169
01:00:35,720 --> 01:00:38,439
Speaker 3: a big step up for them, this move, but one

1170
01:00:38,480 --> 01:00:42,480
Speaker 3: that Matt is a little bit uncertain about. Previously, they

1171
01:00:42,480 --> 01:00:46,120
Speaker 3: were scraping by on Matt's meager income from whatever he

1172
01:00:46,200 --> 01:00:48,440
Speaker 3: was doing before. I guess he was either an independent

1173
01:00:48,560 --> 01:00:51,000
Speaker 3: engineer and inventor or he was like working at a

1174
01:00:51,080 --> 01:00:54,160
Speaker 3: university or something. They say this is his first time

1175
01:00:54,240 --> 01:00:57,720
Speaker 3: working for a big corporation, so it's a huge increase

1176
01:00:57,760 --> 01:01:02,040
Speaker 3: in pay and prestige, and Tricia is very excited for him,

1177
01:01:02,760 --> 01:01:04,840
Speaker 3: but he's like, I don't know, I've never worked for

1178
01:01:04,880 --> 01:01:08,240
Speaker 3: a big corporation. I'm just not sure about it. And

1179
01:01:08,280 --> 01:01:11,000
Speaker 3: the kids also seem divided on the move. Robbie is

1180
01:01:11,160 --> 01:01:13,600
Speaker 3: very excited for a taste of the good life, but

1181
01:01:13,760 --> 01:01:16,760
Speaker 3: Chrissy says she misses the snow back home, and she

1182
01:01:16,840 --> 01:01:19,320
Speaker 3: also says she doesn't like the building that her dad

1183
01:01:19,400 --> 01:01:21,640
Speaker 3: is going to be working in. They showed this building.

1184
01:01:21,720 --> 01:01:24,880
Speaker 3: It's like a high rise office building, much taller than

1185
01:01:25,200 --> 01:01:27,960
Speaker 3: any of the other structures around it, with these mirrored

1186
01:01:28,000 --> 01:01:32,280
Speaker 3: windows top to bottom reflecting the sun. And Matt asks

1187
01:01:32,360 --> 01:01:35,080
Speaker 3: Chrissy why she doesn't like the building. She says, because

1188
01:01:35,120 --> 01:01:36,800
Speaker 3: you can't see the people inside.

1189
01:01:37,280 --> 01:01:38,800
Speaker 2: M Yeah, I like that moment.

1190
01:01:39,320 --> 01:01:41,360
Speaker 3: They don't play it like it's all that ponderous though.

1191
01:01:41,640 --> 01:01:43,160
Speaker 3: She just kind of says it and they move on.

1192
01:01:43,320 --> 01:01:45,760
Speaker 3: But I don't know, it's stuck and stuck in here

1193
01:01:45,800 --> 01:01:46,000
Speaker 3: for me.

1194
01:01:46,080 --> 01:01:48,720
Speaker 2: Yeah, it's a subtle effect. And in general, I love

1195
01:01:48,760 --> 01:01:50,400
Speaker 2: the banter with the family. Yeah, I felt like the

1196
01:01:50,440 --> 01:01:53,920
Speaker 2: banter felt very realistic. It felt like a realistic amount

1197
01:01:54,000 --> 01:01:56,640
Speaker 2: of squabbling between the children, but also laid out in

1198
01:01:56,640 --> 01:01:59,280
Speaker 2: a way that helped establish some of the overall themes

1199
01:01:59,680 --> 01:02:03,800
Speaker 2: and establishing like what's going on in this family's life. Right.

1200
01:02:03,880 --> 01:02:06,680
Speaker 3: So they arrive at their new home. It's a big,

1201
01:02:06,800 --> 01:02:11,120
Speaker 3: beautiful house and a beautiful subdivision. Think of the Simpsons episode.

1202
01:02:11,160 --> 01:02:15,000
Speaker 3: If you've seen it, you only move twice. In fact,

1203
01:02:15,160 --> 01:02:18,280
Speaker 3: this movie as a whole has serious overlap with you

1204
01:02:18,360 --> 01:02:22,680
Speaker 3: Only moved twice. Yeah, but it's more like like an

1205
01:02:22,720 --> 01:02:26,640
Speaker 3: eighties West Coast version of the house on Maple Systems Drive,

1206
01:02:27,720 --> 01:02:29,360
Speaker 3: or at least that's what it's supposed to be, because

1207
01:02:29,400 --> 01:02:32,400
Speaker 3: the house is indeed huge and spacious and nice looking

1208
01:02:32,400 --> 01:02:35,360
Speaker 3: from the outside. A lot of the interior sets look

1209
01:02:35,440 --> 01:02:39,000
Speaker 3: like they were hastily built on a sound stage. So

1210
01:02:39,360 --> 01:02:42,160
Speaker 3: the kitchen is huge, with the cabinets and stuff kind

1211
01:02:42,160 --> 01:02:46,120
Speaker 3: of remind me of my college dorm room. So anyway,

1212
01:02:46,200 --> 01:02:50,280
Speaker 3: everybody's happy to move in. They're laughing, exploring. Matt picks

1213
01:02:50,320 --> 01:02:53,760
Speaker 3: up Patricia and carries her over the threshold, and while

1214
01:02:53,800 --> 01:02:56,320
Speaker 3: the movers are bringing things in, Patricia and Matt they

1215
01:02:56,360 --> 01:02:58,920
Speaker 3: have a mild argument. Matt's unpacking some kind of high

1216
01:02:58,960 --> 01:03:03,160
Speaker 3: tech gizmo from padded steel carrying case, and Patricia's like

1217
01:03:03,240 --> 01:03:05,440
Speaker 3: hold it. She tells him that she wants him to

1218
01:03:05,480 --> 01:03:08,280
Speaker 3: take all his computer things and inventions into the lab

1219
01:03:08,320 --> 01:03:10,520
Speaker 3: at work, because she wants this to be a home,

1220
01:03:11,000 --> 01:03:13,680
Speaker 3: not a laboratory. And you never see it, but you

1221
01:03:13,720 --> 01:03:15,880
Speaker 3: get the idea that maybe their house in the Midwest

1222
01:03:16,000 --> 01:03:18,720
Speaker 3: was kind of like doctor Forrester's Burrow in Deep thirteen.

1223
01:03:19,600 --> 01:03:22,480
Speaker 2: Yeah. Yeah, And I think it's important to note that

1224
01:03:23,160 --> 01:03:28,120
Speaker 2: Patty's Patty's not being unreasonable here. And he also, you know,

1225
01:03:28,480 --> 01:03:31,360
Speaker 2: sees the logic and what she's saying and quickly agrees.

1226
01:03:31,440 --> 01:03:33,600
Speaker 2: He's like, yeah, yeah, I'll put this in the garage.

1227
01:03:33,600 --> 01:03:35,760
Speaker 2: You know. She's like, this is a chance for us

1228
01:03:35,760 --> 01:03:40,480
Speaker 2: to live a little differently. And at this point in

1229
01:03:40,520 --> 01:03:43,400
Speaker 2: the film, it doesn't feel like that ambition is getting

1230
01:03:43,400 --> 01:03:45,760
Speaker 2: out of control at all. It seems reasonable totally.

1231
01:03:45,960 --> 01:03:47,800
Speaker 3: You do not get the idea at all in the

1232
01:03:47,880 --> 01:03:53,080
Speaker 3: beginning that there's anything wrong with what Patricia wants. Yeah,

1233
01:03:53,280 --> 01:03:55,760
Speaker 3: that comes in more with like the influence of the

1234
01:03:56,040 --> 01:03:59,640
Speaker 3: Queen Wasp at the club and stuff. Also, there's a

1235
01:03:59,720 --> 01:04:03,040
Speaker 3: very he's seen with Robbie the Son antagonizing the moving men.

1236
01:04:03,400 --> 01:04:07,080
Speaker 3: He's on this computer in his new room, and the

1237
01:04:07,080 --> 01:04:09,200
Speaker 3: moving man's like, what you got on their games? And

1238
01:04:09,200 --> 01:04:12,080
Speaker 3: he's like, no, I have a computerized inventory of all

1239
01:04:12,080 --> 01:04:14,520
Speaker 3: my things, so i'll know if you lose any of it.

1240
01:04:15,320 --> 01:04:18,280
Speaker 3: And indeed his computer starts flashing and reveals that he

1241
01:04:18,400 --> 01:04:21,720
Speaker 3: is missing a candy bar. He must have inventoried that,

1242
01:04:22,320 --> 01:04:24,960
Speaker 3: And then we see the mover like surreptitiously put a

1243
01:04:25,000 --> 01:04:26,760
Speaker 3: candy bar, like pull it out of his pocket and

1244
01:04:26,800 --> 01:04:29,919
Speaker 3: put it on the kid's bed. But like, how would

1245
01:04:29,960 --> 01:04:33,040
Speaker 3: the computer know the candy bar was missing unless it

1246
01:04:33,120 --> 01:04:36,760
Speaker 3: had been inventoried in by a human. This is just

1247
01:04:36,800 --> 01:04:40,560
Speaker 3: a good prelude to the way the movie generally treats computers,

1248
01:04:41,200 --> 01:04:44,240
Speaker 3: which is that they are omniscient. They are somehow fully

1249
01:04:44,280 --> 01:04:46,320
Speaker 3: aware of their physical surroundings.

1250
01:04:46,480 --> 01:04:49,800
Speaker 2: Yeah, it's a great example of late seventies early eighties

1251
01:04:50,040 --> 01:04:53,200
Speaker 2: computers and films. In a way, this matches up very

1252
01:04:53,240 --> 01:04:56,920
Speaker 2: closely with what Mother does in Alien. Yeah, of course

1253
01:04:57,800 --> 01:05:01,240
Speaker 2: Alien takes place in the future. It is a at

1254
01:05:01,320 --> 01:05:03,680
Speaker 2: least by our own, from our own vantage point, a

1255
01:05:03,680 --> 01:05:07,080
Speaker 2: retro futuristic view of computer technology. But also in films

1256
01:05:07,080 --> 01:05:09,040
Speaker 2: like that, it's just this is just what computers do, right.

1257
01:05:09,160 --> 01:05:13,040
Speaker 2: You just talk to him conversationally, kind of like what

1258
01:05:13,040 --> 01:05:17,560
Speaker 2: we're doing now with these different chat bots, but at

1259
01:05:17,600 --> 01:05:21,040
Speaker 2: the time, you know, completely beyond what they were capable

1260
01:05:21,040 --> 01:05:22,040
Speaker 2: of doing totally.

1261
01:05:22,040 --> 01:05:25,560
Speaker 3: There's a scene where Matt later just goes starts typing

1262
01:05:25,600 --> 01:05:28,560
Speaker 3: in open ended questions on like a doss prompt, and

1263
01:05:28,920 --> 01:05:31,680
Speaker 3: like it's like he's using chat GPT, but it's the

1264
01:05:31,760 --> 01:05:44,400
Speaker 3: green letters on the black screen. So later that night,

1265
01:05:44,680 --> 01:05:48,680
Speaker 3: the Winslows get a visit from some family friends who

1266
01:05:48,760 --> 01:05:52,880
Speaker 3: already live here and already work for this corporation. This

1267
01:05:53,000 --> 01:05:56,720
Speaker 3: is Mary and Tom Peterson and their kids, old family friends.

1268
01:05:57,800 --> 01:05:59,800
Speaker 3: We already talked about this, I think, But Tom is

1269
01:05:59,840 --> 01:06:02,040
Speaker 3: the who already took a job at this company, and

1270
01:06:02,080 --> 01:06:06,080
Speaker 3: he invited Matt to come join him. And first there's

1271
01:06:06,200 --> 01:06:08,680
Speaker 3: kind of a jump scare where they're hearing rattling outside

1272
01:06:08,720 --> 01:06:13,720
Speaker 3: the windows, and Robbie the Sun is like, it's zombies. Definitely,

1273
01:06:13,920 --> 01:06:18,640
Speaker 3: they do stuff like that, but they go, you know,

1274
01:06:18,720 --> 01:06:20,920
Speaker 3: we get a boot scare, and then the friends come in. Oh,

1275
01:06:20,960 --> 01:06:22,840
Speaker 3: it's actually just our friends. They brought a bucket of

1276
01:06:22,920 --> 01:06:23,600
Speaker 3: chicken with them.

1277
01:06:24,200 --> 01:06:25,920
Speaker 2: What time is it supposed to be, but it.

1278
01:06:26,240 --> 01:06:29,400
Speaker 3: Looks like late late at night? Is pitch black outside?

1279
01:06:29,400 --> 01:06:31,920
Speaker 3: Did they show up with a bucket of KFC? And

1280
01:06:31,960 --> 01:06:34,760
Speaker 3: then the kids just each reach in and grab a

1281
01:06:34,800 --> 01:06:38,240
Speaker 3: fried chicken piece and run away. I mean, I remember

1282
01:06:38,280 --> 01:06:39,320
Speaker 3: no plates here.

1283
01:06:40,960 --> 01:06:44,080
Speaker 2: I mean, I can I remember these buckets of chicken

1284
01:06:44,120 --> 01:06:46,760
Speaker 2: well from my own childhood. I can only imagine in

1285
01:06:46,800 --> 01:06:50,120
Speaker 2: this case, there's some cold chicken in there, not that

1286
01:06:50,200 --> 01:06:54,120
Speaker 2: it matters. In fact, I feel like KFC buckets. We're

1287
01:06:54,200 --> 01:06:58,560
Speaker 2: consumed like at least half the time, like just completely

1288
01:06:58,680 --> 01:07:01,000
Speaker 2: room temperature, if not fridge temperature.

1289
01:07:01,160 --> 01:07:04,400
Speaker 3: Yeah. So the kids run off and play and the

1290
01:07:04,440 --> 01:07:07,760
Speaker 3: adults gather around a piano and Patricia starts playing music.

1291
01:07:07,800 --> 01:07:09,640
Speaker 3: She's playing when the Saints go marching in. I think

1292
01:07:09,640 --> 01:07:12,360
Speaker 3: they're trying to do a sing along. There were comments

1293
01:07:12,400 --> 01:07:15,880
Speaker 3: earlier about her once being a struggling music major, and

1294
01:07:15,920 --> 01:07:18,280
Speaker 3: in this scene you really get some of the class

1295
01:07:18,440 --> 01:07:22,760
Speaker 3: anxiety themes coming out. Tom and Mary both make kind

1296
01:07:22,760 --> 01:07:26,160
Speaker 3: of awkward comments. Mary is like, oh, yeah, remember when

1297
01:07:26,200 --> 01:07:28,240
Speaker 3: we used to do this in the dorm room, gathered

1298
01:07:28,240 --> 01:07:31,439
Speaker 3: around that horrible, old, upright piano. But then they're like, oh,

1299
01:07:31,520 --> 01:07:35,080
Speaker 3: is this still the same piano you have? And Tom says,

1300
01:07:35,120 --> 01:07:37,920
Speaker 3: no worries. The days of out of tune pianos and

1301
01:07:38,000 --> 01:07:40,720
Speaker 3: beat up old furniture they're all behind you. Now you're

1302
01:07:40,720 --> 01:07:43,640
Speaker 3: in the big leagues. And Tom tries to make them

1303
01:07:43,680 --> 01:07:46,720
Speaker 3: toast to success, and once again it's like that that

1304
01:07:46,760 --> 01:07:48,560
Speaker 3: hammer horror toast to satan.

1305
01:07:50,000 --> 01:07:53,240
Speaker 2: Yeah. The piano here made me think of the of

1306
01:07:53,760 --> 01:07:57,040
Speaker 2: the TV show The Unbreakable Kimmy Schmidt. At one point,

1307
01:07:57,080 --> 01:07:59,200
Speaker 2: they pick up a stand up piano that is like

1308
01:07:59,320 --> 01:08:03,000
Speaker 2: left on the curb, that has the word bed bugs

1309
01:08:03,000 --> 01:08:05,280
Speaker 2: spray painted on it, and they end up bringing it

1310
01:08:05,320 --> 01:08:07,680
Speaker 2: into the apartment. So I can only imagine a similar

1311
01:08:07,680 --> 01:08:08,439
Speaker 2: situation here.

1312
01:08:09,680 --> 01:08:12,760
Speaker 3: Sure, you just don't sleep on the piano, You'll be fine.

1313
01:08:14,320 --> 01:08:17,840
Speaker 3: So later there's a scene where Matt is tucking the

1314
01:08:17,920 --> 01:08:21,080
Speaker 3: kids into bed and Robbie is up in his bed

1315
01:08:21,120 --> 01:08:23,680
Speaker 3: playing a handheld kind of beat boop game where he's

1316
01:08:23,720 --> 01:08:26,880
Speaker 3: blasting spaceships to save the galaxy, and he says, you know,

1317
01:08:26,920 --> 01:08:29,080
Speaker 3: how come I can save the whole galaxy, but I

1318
01:08:29,080 --> 01:08:32,599
Speaker 3: can't go to the Halloween party? What Halloween party? It's

1319
01:08:32,640 --> 01:08:34,840
Speaker 3: the one Tom and Mary's kids are going to. It's

1320
01:08:34,880 --> 01:08:39,200
Speaker 3: at the club and it's for members only. Don't you

1321
01:08:39,240 --> 01:08:39,880
Speaker 3: want to fit in?

1322
01:08:39,960 --> 01:08:45,320
Speaker 2: Matt? I kept wondering about this handheld device that Robbie's

1323
01:08:45,400 --> 01:08:48,280
Speaker 2: playing on here. Is this supposed to be an actual

1324
01:08:48,320 --> 01:08:51,439
Speaker 2: device or is this can we never see the screen?

1325
01:08:52,000 --> 01:08:55,479
Speaker 2: I never saw the screen clearly, so I'm wondering if

1326
01:08:55,479 --> 01:08:57,920
Speaker 2: this is this tab that he's playing on, which, you know,

1327
01:08:57,960 --> 01:09:00,280
Speaker 2: we looks just like some sort of an iPad something

1328
01:09:00,320 --> 01:09:02,679
Speaker 2: here today if this was actually some sort of video

1329
01:09:02,760 --> 01:09:06,320
Speaker 2: gaming device of the time, or they're just getting a

1330
01:09:06,320 --> 01:09:07,360
Speaker 2: little futuristic care.

1331
01:09:07,520 --> 01:09:11,559
Speaker 3: Yeah, what were handheld gaming devices like in nineteen eighty four?

1332
01:09:11,760 --> 01:09:15,400
Speaker 3: That seems I don't think there was a game boy yet,

1333
01:09:15,560 --> 01:09:15,880
Speaker 3: was there?

1334
01:09:15,960 --> 01:09:18,320
Speaker 2: No? No, And by the early nineties he still had

1335
01:09:18,320 --> 01:09:21,400
Speaker 2: some very like I don't know, he's a crude little

1336
01:09:21,439 --> 01:09:24,720
Speaker 2: video game. I'm not even sure. I forget the terminology

1337
01:09:24,760 --> 01:09:26,720
Speaker 2: for them, but they were barely video games. You know,

1338
01:09:26,760 --> 01:09:28,960
Speaker 2: you're moving a few pixels around. They were not on

1339
01:09:29,000 --> 01:09:30,639
Speaker 2: the level of like a game boy or anything.

1340
01:09:30,720 --> 01:09:35,519
Speaker 3: They're more like a digital watch where you press buttons. Yeah, okay,

1341
01:09:35,560 --> 01:09:39,240
Speaker 3: well anyway, so that's what he's playing. He's you know, blasting.

1342
01:09:39,360 --> 01:09:41,760
Speaker 3: I think they call it Astrobomber is the name of

1343
01:09:41,800 --> 01:09:44,680
Speaker 3: the game. But so the next day we're going to

1344
01:09:44,720 --> 01:09:48,519
Speaker 3: get some work stuff. We get carpooling to Matt's new

1345
01:09:48,640 --> 01:09:51,519
Speaker 3: job where he's riding to work with Tom. When he

1346
01:09:51,560 --> 01:09:55,000
Speaker 3: gets into Tom's car, Tom basically has Clarence Bodiker in

1347
01:09:55,040 --> 01:09:58,439
Speaker 3: the backseat and it's his boss. It's this character named

1348
01:09:59,080 --> 01:10:03,559
Speaker 3: Larry Ferress. Yes, and Tom is embarrassed that he has

1349
01:10:03,600 --> 01:10:05,920
Speaker 3: to give his boss a ride to work in his car,

1350
01:10:05,960 --> 01:10:09,000
Speaker 3: which he calls a junker. But I'm gonna say, I

1351
01:10:09,080 --> 01:10:12,640
Speaker 3: cannot tell the difference between these supposedly good cars and

1352
01:10:12,680 --> 01:10:15,479
Speaker 3: the allegedly bad cars in this movie. They all just

1353
01:10:15,520 --> 01:10:18,760
Speaker 3: look the same. They look like huge American made sedans

1354
01:10:18,800 --> 01:10:19,640
Speaker 3: from the eighties.

1355
01:10:20,040 --> 01:10:23,759
Speaker 2: Yeah, yeah, I mean I have similar problems today figuring

1356
01:10:23,760 --> 01:10:26,840
Speaker 2: out what is a nice car what's not. But I

1357
01:10:26,880 --> 01:10:28,960
Speaker 2: do want to point out, like this was definitely I'm

1358
01:10:29,000 --> 01:10:31,880
Speaker 2: so used to watching a weird house film and as

1359
01:10:31,960 --> 01:10:35,200
Speaker 2: certainly if there's some sort of an evil corporation going on.

1360
01:10:35,520 --> 01:10:38,439
Speaker 2: When the boss is introduced, I take note. I'm like, Okay,

1361
01:10:38,439 --> 01:10:40,360
Speaker 2: I need to look this guy up. See this actor

1362
01:10:40,479 --> 01:10:44,439
Speaker 2: is But it really doesn't matter. With Larry Ferris. They

1363
01:10:44,479 --> 01:10:46,760
Speaker 2: really don't come back around to him, not much.

1364
01:10:46,800 --> 01:10:49,280
Speaker 3: I mean, later at the Halloween party he shows up

1365
01:10:49,280 --> 01:10:53,160
Speaker 3: in a very tasteless costume, but that's about it.

1366
01:10:53,200 --> 01:10:55,320
Speaker 2: Like otherwise, Yeah, he's not much of a character.

1367
01:10:56,400 --> 01:10:59,760
Speaker 3: But we do find out that Larry is Tom's sponsor

1368
01:11:00,080 --> 01:11:04,000
Speaker 3: at the club. So at the office we meet first

1369
01:11:04,040 --> 01:11:07,479
Speaker 3: of all Matt's secretary Grace, who is the first time

1370
01:11:07,520 --> 01:11:10,240
Speaker 3: we meet her. She's sneaking around with some secret binders

1371
01:11:10,320 --> 01:11:13,320
Speaker 3: hiding things and drawers and stuff. But we also meet

1372
01:11:13,360 --> 01:11:17,920
Speaker 3: Matt's project, which is the EVA Suit for the Astronauts

1373
01:11:18,000 --> 01:11:20,799
Speaker 3: of the future, and this is why Matt was hired

1374
01:11:21,240 --> 01:11:26,960
Speaker 3: to design computer components for this suit that Tom explains

1375
01:11:27,080 --> 01:11:30,920
Speaker 3: astronauts are going to wear for an upcoming manned mission

1376
01:11:30,960 --> 01:11:34,800
Speaker 3: to the surface of Venus. Hilarious concept.

1377
01:11:35,200 --> 01:11:38,040
Speaker 2: And at this point I have to also the suit

1378
01:11:38,080 --> 01:11:41,439
Speaker 2: is hanging from the ceiling, almost as if it is

1379
01:11:41,479 --> 01:11:44,880
Speaker 2: an object of worship. Yeah, And I feel like at

1380
01:11:44,880 --> 01:11:47,799
Speaker 2: this point, if you weren't already hooked in and strapped

1381
01:11:47,840 --> 01:11:50,840
Speaker 2: in for this movie, you strap in at this point

1382
01:11:50,840 --> 01:11:55,160
Speaker 2: because Okay, we started with the Lucifer blat, melting dudes

1383
01:11:55,160 --> 01:11:58,840
Speaker 2: and cars, and now we have introduced a clearly important

1384
01:11:58,880 --> 01:12:02,400
Speaker 2: spacesuit and we're about to get more rad details about it.

1385
01:12:02,479 --> 01:12:05,760
Speaker 2: Like already this movie's going a little bonkers on us.

1386
01:12:05,880 --> 01:12:08,960
Speaker 3: Yeah, but to be clear, like for a mission that

1387
01:12:09,000 --> 01:12:12,519
Speaker 3: will never happen, there is no reason to take human

1388
01:12:12,600 --> 01:12:15,080
Speaker 3: crew to the surface of Venus, and that that is

1389
01:12:15,120 --> 01:12:16,040
Speaker 3: not really doable.

1390
01:12:16,280 --> 01:12:20,440
Speaker 2: Well, we don't know in this reality. Perhaps there's something

1391
01:12:20,479 --> 01:12:22,680
Speaker 2: else that has occurred. I don't know. We can we

1392
01:12:22,680 --> 01:12:23,760
Speaker 2: can dream about it.

1393
01:12:24,640 --> 01:12:28,280
Speaker 3: The other thing that's funny is so Tom, he explained,

1394
01:12:28,400 --> 01:12:30,920
Speaker 3: Tom is in the marketing department. He's going to be

1395
01:12:30,960 --> 01:12:34,320
Speaker 3: responsible for selling this suit. And I was thinking, is

1396
01:12:34,360 --> 01:12:37,799
Speaker 3: there a marketing department for technology that you're only gonna

1397
01:12:37,960 --> 01:12:41,160
Speaker 3: ever make a handful of for a single buyer, Like,

1398
01:12:41,520 --> 01:12:44,760
Speaker 3: wouldn't it instead be you would make a bid and

1399
01:12:44,800 --> 01:12:47,720
Speaker 3: get a government contract to make a select number of them.

1400
01:12:47,760 --> 01:12:50,480
Speaker 3: Here it seems like they're kind of making this spacesuit

1401
01:12:50,560 --> 01:12:53,439
Speaker 3: on spec and the marketing department will have to sell

1402
01:12:53,479 --> 01:12:58,000
Speaker 3: it to NASA. Yeah, so anyway, Yeah, let's take a

1403
01:12:58,000 --> 01:13:01,160
Speaker 3: look at the suit, whatever it's features. Well, we learn

1404
01:13:01,240 --> 01:13:04,080
Speaker 3: that it can withstand heat up to a bazillion degrees.

1405
01:13:04,160 --> 01:13:06,680
Speaker 3: They demonstrate by blasting it with a flame thrower and

1406
01:13:06,720 --> 01:13:12,160
Speaker 3: there's no damage. It is armed with a laser pistol

1407
01:13:12,439 --> 01:13:15,280
Speaker 3: that shoots out of the like shoots out on a

1408
01:13:15,320 --> 01:13:18,880
Speaker 3: slide mechanism from the wrist, like Travis Bickle's gun and

1409
01:13:18,960 --> 01:13:23,280
Speaker 3: taxi driver. It is this concealed shootout into the hand

1410
01:13:23,600 --> 01:13:25,640
Speaker 3: a laser pistol. What is this for?

1411
01:13:26,479 --> 01:13:32,440
Speaker 2: I mean, one can guess blasting Venusians, blasting rival astronauts.

1412
01:13:33,920 --> 01:13:38,719
Speaker 2: Maybe it's really more of a utility laser and they're

1413
01:13:38,800 --> 01:13:40,679
Speaker 2: just you know, firing it off. But then why would

1414
01:13:40,680 --> 01:13:42,160
Speaker 2: you need a quick draw on it. I don't know,

1415
01:13:42,479 --> 01:13:45,719
Speaker 2: in a dangerous environment on Venus or in orbit above

1416
01:13:45,760 --> 01:13:49,320
Speaker 2: Venus or in the clouds above Venus. But either way,

1417
01:13:49,360 --> 01:13:51,360
Speaker 2: I do love this thing. And you can already tell

1418
01:13:51,439 --> 01:13:52,559
Speaker 2: this is going to be important.

1419
01:13:52,800 --> 01:13:56,360
Speaker 3: Yes, it's also armed with a flame thrower of its own.

1420
01:13:56,439 --> 01:13:58,519
Speaker 3: We just saw it getting blasted with one, but it

1421
01:13:58,520 --> 01:14:00,679
Speaker 3: has one that comes out of the arm. This also

1422
01:14:00,760 --> 01:14:05,360
Speaker 3: will clearly be very useful on Venus. And then I

1423
01:14:05,400 --> 01:14:09,320
Speaker 3: think this is Matt's main contribution. It's got a computerized

1424
01:14:09,560 --> 01:14:12,920
Speaker 3: visor that is going to tell you the temperature of

1425
01:14:13,000 --> 01:14:16,439
Speaker 3: whatever you're looking at, and then also whether the thing

1426
01:14:16,479 --> 01:14:20,439
Speaker 3: you're looking at is human or non human, terrestrial or

1427
01:14:20,479 --> 01:14:25,200
Speaker 3: non terrestrial, and malignant or benign. How does it know

1428
01:14:25,240 --> 01:14:28,160
Speaker 3: those things? Never explained at this point.

1429
01:14:28,160 --> 01:14:31,000
Speaker 2: I feel like maybe we do want just a little

1430
01:14:31,040 --> 01:14:33,920
Speaker 2: additional hint that I guess there are aliens on Venus

1431
01:14:33,960 --> 01:14:38,519
Speaker 2: and we don't know how they feel about humans, and

1432
01:14:38,560 --> 01:14:41,439
Speaker 2: maybe they're difficult to tell from humans. That's the only

1433
01:14:41,439 --> 01:14:42,800
Speaker 2: way this technology makes sense.

1434
01:14:42,840 --> 01:14:44,920
Speaker 3: Oh, I didn't even think about that. Yeah, this would

1435
01:14:44,920 --> 01:14:47,360
Speaker 3: only be necessary if the thing you were looking at

1436
01:14:47,439 --> 01:14:51,280
Speaker 3: is indistinguishable from human anyway. Yeah, because if they just

1437
01:14:51,479 --> 01:14:54,400
Speaker 3: encounter a being on Venus and it's coming towards them,

1438
01:14:54,439 --> 01:14:57,080
Speaker 3: would they be like, is this from Earth? I don't know.

1439
01:14:58,160 --> 01:15:01,160
Speaker 2: I want to stress again that this script was apparently

1440
01:15:01,560 --> 01:15:04,840
Speaker 2: written for Susan Lucci, so one can imagine like this

1441
01:15:04,960 --> 01:15:08,360
Speaker 2: script was plopped on her agent's desk and then on

1442
01:15:08,400 --> 01:15:11,280
Speaker 2: her desk, and she looked through it and she was like, yes,

1443
01:15:11,520 --> 01:15:12,200
Speaker 2: let's do this.

1444
01:15:12,479 --> 01:15:16,679
Speaker 3: Give me that, give me more of that. So back

1445
01:15:16,680 --> 01:15:21,280
Speaker 3: home there is a conflict about furniture. Patricia wants new

1446
01:15:21,320 --> 01:15:25,680
Speaker 3: stuff befitting of their upgraded social status. First, Matt kind

1447
01:15:25,680 --> 01:15:28,559
Speaker 3: of scoffs at this, but then like some boys from

1448
01:15:28,600 --> 01:15:32,240
Speaker 3: the neighborhood come by to play Astrobomber the video game.

1449
01:15:32,880 --> 01:15:35,720
Speaker 3: And this includes not just the not just Tom and

1450
01:15:35,760 --> 01:15:39,000
Speaker 3: Mary's kid, but the kid of Larry Ferris, the Clarence

1451
01:15:39,040 --> 01:15:43,960
Speaker 3: Bodiker guy, the Boss, and Billy Ferris. The kid. He

1452
01:15:44,080 --> 01:15:46,160
Speaker 3: first of all, he is a poor sport. He gets

1453
01:15:46,160 --> 01:15:49,240
Speaker 3: mad and smashes Robbie's game when he loses, and also

1454
01:15:49,320 --> 01:15:52,519
Speaker 3: when he walks into the house he insults the Winslow's furniture.

1455
01:15:52,640 --> 01:15:54,800
Speaker 3: He's like, why do you all have such old furniture?

1456
01:15:55,880 --> 01:15:58,479
Speaker 3: But like, have you ever heard a kid I'll say something.

1457
01:15:58,560 --> 01:16:02,840
Speaker 3: I don't know if they observe that anyway. So the

1458
01:16:02,880 --> 01:16:06,280
Speaker 3: Winslow's all head out to the furniture store. That's the

1459
01:16:06,320 --> 01:16:08,960
Speaker 3: last straw we got to get new furniture. On the way,

1460
01:16:09,040 --> 01:16:11,839
Speaker 3: they nearly get run off the road by a chauffeured

1461
01:16:11,960 --> 01:16:15,599
Speaker 3: car that is like doing a doing tokyo drifting into

1462
01:16:15,760 --> 01:16:19,880
Speaker 3: the club, but the steaming springs entrance and Matt is

1463
01:16:20,200 --> 01:16:22,040
Speaker 3: he gets out. He's very angry. He gets out of

1464
01:16:22,040 --> 01:16:24,760
Speaker 3: the car to trade insurance info. But the passenger of

1465
01:16:24,800 --> 01:16:28,200
Speaker 3: this car gets out and it is Jessica Jones played

1466
01:16:28,200 --> 01:16:32,640
Speaker 3: by Susan Lucci. She introduces herself as the club's directors.

1467
01:16:32,840 --> 01:16:34,880
Speaker 3: She's like, I know all about you, she knows all

1468
01:16:34,880 --> 01:16:37,800
Speaker 3: of the family names and everything. She says, no need

1469
01:16:37,800 --> 01:16:40,920
Speaker 3: to trade insurance info. Allow me to have my goons

1470
01:16:40,960 --> 01:16:43,400
Speaker 3: intimidate you instead. So she just gets back in the

1471
01:16:43,400 --> 01:16:45,800
Speaker 3: car and here we get this. Who's the actor of

1472
01:16:45,840 --> 01:16:49,160
Speaker 3: the sheriff worth Yeah, yeah, the sheriff guy. He says, here,

1473
01:16:49,280 --> 01:16:51,960
Speaker 3: we're a small, tight knit community. We do things a

1474
01:16:52,000 --> 01:16:55,439
Speaker 3: little differently, and I think that includes like not trading

1475
01:16:55,479 --> 01:16:58,519
Speaker 3: insurance info when it's this car. Maybe she's just going

1476
01:16:58,600 --> 01:17:04,200
Speaker 3: to send you some suspect to get instead. So next

1477
01:17:04,640 --> 01:17:07,439
Speaker 3: we see an initiation at the club. So we see

1478
01:17:07,439 --> 01:17:12,640
Speaker 3: Tom and Mary's family undergoing their final initiation into steaming Springs,

1479
01:17:13,280 --> 01:17:16,919
Speaker 3: and we have the Honorable Jessica Jones presiding. So the family,

1480
01:17:17,040 --> 01:17:21,120
Speaker 3: they're all standing there in these terry cloth robes in

1481
01:17:21,120 --> 01:17:24,080
Speaker 3: front of this door that is like, you know, has

1482
01:17:24,320 --> 01:17:27,040
Speaker 3: steam pouring out of it in white light, and Jessica

1483
01:17:27,120 --> 01:17:30,320
Speaker 3: Jones says, you are now accepted into the inner Circle,

1484
01:17:30,680 --> 01:17:34,080
Speaker 3: and by the symbolic entrance into our ancient spring, you

1485
01:17:34,160 --> 01:17:39,200
Speaker 3: forever forsake the mundane world and merge yourself into the protective,

1486
01:17:39,400 --> 01:17:43,960
Speaker 3: exclusive shield of the Club. And so they're standing there

1487
01:17:43,960 --> 01:17:46,760
Speaker 3: and the doors open, the steam pours out the white light,

1488
01:17:47,240 --> 01:17:50,360
Speaker 3: and Jones says, do you forsake all for the club?

1489
01:17:50,680 --> 01:17:53,519
Speaker 3: And the family all say they say, I do. Then

1490
01:17:53,800 --> 01:17:57,320
Speaker 3: enter into the spring and taste its power. So they

1491
01:17:57,320 --> 01:17:59,640
Speaker 3: go inside and the doors close behind them, and then

1492
01:17:59,680 --> 01:18:02,719
Speaker 3: the sheer just stands outside the door, our arms folded.

1493
01:18:03,640 --> 01:18:05,479
Speaker 3: So at first it looks like I don't know, maybe

1494
01:18:05,520 --> 01:18:07,959
Speaker 3: they're going into just a really steamy sauna.

1495
01:18:09,920 --> 01:18:12,720
Speaker 2: Yeah. At first you would assume, okay, this is the

1496
01:18:12,760 --> 01:18:18,040
Speaker 2: actual spring, this is the steaming spring. Yeah. But there's

1497
01:18:18,080 --> 01:18:21,400
Speaker 2: more details emerge. It becomes clear this is no ordinary spring.

1498
01:18:21,479 --> 01:18:24,400
Speaker 2: This is something infernal.

1499
01:18:24,760 --> 01:18:28,320
Speaker 3: Right. So, back at the office, Matt catches Grace sneaking

1500
01:18:28,360 --> 01:18:31,000
Speaker 3: around in the records room where she doesn't have clearance,

1501
01:18:31,040 --> 01:18:33,400
Speaker 3: and she nervously hands him a file that she wants

1502
01:18:33,479 --> 01:18:36,839
Speaker 3: him to look into. They get interrupted by Harry Thompson,

1503
01:18:36,880 --> 01:18:40,160
Speaker 3: the president of the company. Matt does not rat out

1504
01:18:40,200 --> 01:18:43,559
Speaker 3: Grace here, he covers for her, and the president of

1505
01:18:43,560 --> 01:18:46,160
Speaker 3: the company, Thompson, is like, here's a very important person

1506
01:18:46,200 --> 01:18:48,759
Speaker 3: I want you to meet, Matt. It's TV Susan Lucci.

1507
01:18:50,000 --> 01:18:52,799
Speaker 2: This is Kevin McCarthy playing mister Thompson here.

1508
01:18:52,720 --> 01:18:56,920
Speaker 3: Right, yeah, yeah, the boss guy. And this guy suggests

1509
01:18:57,000 --> 01:18:58,880
Speaker 3: that Matt. First of all, he's like, hey, did you

1510
01:18:58,880 --> 01:19:00,679
Speaker 3: know she has a club? You should join her club.

1511
01:19:01,479 --> 01:19:03,559
Speaker 3: There's a lot of scenes like that. It does kind

1512
01:19:03,600 --> 01:19:06,960
Speaker 3: of get repetitive somewhat. There's so much insisting that people

1513
01:19:07,000 --> 01:19:11,960
Speaker 3: join the club. But the boss also says that he

1514
01:19:12,040 --> 01:19:13,920
Speaker 3: needs to give her a tour of all his highly

1515
01:19:13,960 --> 01:19:18,680
Speaker 3: classified research. And Matt's like, but isn't that stuff classified?

1516
01:19:18,720 --> 01:19:23,080
Speaker 3: And he says, Matt, miss Jones is family. So he's

1517
01:19:23,120 --> 01:19:27,240
Speaker 3: trying to show off the suit's capabilities, and Jessica is like, ooh, Matt,

1518
01:19:27,560 --> 01:19:30,400
Speaker 3: did you play a sport in college? I like your muscles.

1519
01:19:31,080 --> 01:19:33,080
Speaker 3: And she says, at the club we have lots of

1520
01:19:33,160 --> 01:19:38,920
Speaker 3: exercise equipment, lots of pleasurable things. And Matt is like, well,

1521
01:19:39,160 --> 01:19:41,719
Speaker 3: I guess I'm not much of a joiner and she says,

1522
01:19:41,760 --> 01:19:43,200
Speaker 3: you know, you should think about it. It can do

1523
01:19:43,240 --> 01:19:45,920
Speaker 3: a lot more for you than you would think. And

1524
01:19:45,960 --> 01:19:49,000
Speaker 3: then ooh, we get a stinger here. So as Jessica

1525
01:19:49,080 --> 01:19:52,440
Speaker 3: is walking out of the room, we see from inside

1526
01:19:52,520 --> 01:19:55,759
Speaker 3: the space helmet and when she walks across its field

1527
01:19:55,760 --> 01:19:59,040
Speaker 3: of view, it renders a judgment on her. The screen

1528
01:19:59,120 --> 01:20:01,200
Speaker 3: says non human malignant.

1529
01:20:02,880 --> 01:20:04,719
Speaker 2: That's just for us the viewer at this point.

1530
01:20:04,800 --> 01:20:08,599
Speaker 3: All right, Matt doesn't get to see it. Okay, So

1531
01:20:08,720 --> 01:20:11,800
Speaker 3: next we have let's see, oh, we have a scene

1532
01:20:11,840 --> 01:20:14,960
Speaker 3: where we find out that since being initiated into the club,

1533
01:20:15,439 --> 01:20:17,759
Speaker 3: Tom has gotten a promotion. Now he has a big,

1534
01:20:17,800 --> 01:20:20,800
Speaker 3: fancy office. It's got like six computers in it does

1535
01:20:20,960 --> 01:20:23,559
Speaker 3: doesn't Tom work in marketing? Does he need all those computers?

1536
01:20:23,800 --> 01:20:26,080
Speaker 3: It looks like a multiperson workspace. But they're just saying,

1537
01:20:26,160 --> 01:20:27,040
Speaker 3: is this is his office now?

1538
01:20:27,280 --> 01:20:27,639
Speaker 2: Yeah.

1539
01:20:27,840 --> 01:20:31,599
Speaker 3: Tom again insists that Matt should join the club. He says,

1540
01:20:31,600 --> 01:20:34,000
Speaker 3: you join the club, you start rubbing shoulders with top

1541
01:20:34,439 --> 01:20:36,920
Speaker 3: top people. It's like the end of Indiana Jones and

1542
01:20:36,960 --> 01:20:41,599
Speaker 3: the Top Men. But Matt is resistant. He's got bad

1543
01:20:41,640 --> 01:20:45,799
Speaker 3: feelings about it, and he leaves with Tom still insisting. Meanwhile,

1544
01:20:45,920 --> 01:20:49,320
Speaker 3: Mary arrives at their house and is showing off to

1545
01:20:49,439 --> 01:20:53,240
Speaker 3: Patricia her new car. Patricia is very jealous, and Patricia

1546
01:20:54,080 --> 01:20:56,479
Speaker 3: she's telling Matt she she thinks they should join the club.

1547
01:20:56,520 --> 01:20:58,479
Speaker 3: She's like, it's our turn, Matt, It's our turn to

1548
01:20:58,479 --> 01:21:01,240
Speaker 3: have a little piece of success. And this is the

1549
01:21:01,280 --> 01:21:03,679
Speaker 3: part of the movie where there's like it's the middle

1550
01:21:03,720 --> 01:21:05,400
Speaker 3: of the night and Matt gets up. The kids are

1551
01:21:05,400 --> 01:21:08,559
Speaker 3: having a slumber party, and that creepy kid, Billy Ferris

1552
01:21:08,600 --> 01:21:11,120
Speaker 3: is there, and Matt goes into the kitchen and Billy

1553
01:21:11,160 --> 01:21:14,120
Speaker 3: Ferris is like up at midnight staring at a TV

1554
01:21:14,400 --> 01:21:17,680
Speaker 3: that's just showing old footage of riots and violence in

1555
01:21:17,720 --> 01:21:18,280
Speaker 3: the streets.

1556
01:21:18,760 --> 01:21:20,519
Speaker 2: This is a local channel I'm the.

1557
01:21:20,479 --> 01:21:27,240
Speaker 3: Semi Yeah, so let's see. There's a some more plot stuff.

1558
01:21:27,360 --> 01:21:29,960
Speaker 3: Matt finds out at work that Grace has been fired

1559
01:21:30,000 --> 01:21:33,639
Speaker 3: by Thompson, the big Boss, and he goes to confront

1560
01:21:33,640 --> 01:21:35,439
Speaker 3: Thompson about this. He says he wants him to hire

1561
01:21:35,479 --> 01:21:37,760
Speaker 3: her back, and Thompson kind of implies, well, he might

1562
01:21:37,840 --> 01:21:42,439
Speaker 3: consider it if Matt and his family join the club. Geez, okay,

1563
01:21:42,439 --> 01:21:45,840
Speaker 3: you're making your point. So finally, Matt, Patricia, and the

1564
01:21:45,840 --> 01:21:49,080
Speaker 3: family get a tour of the club. Tom and Mary

1565
01:21:49,080 --> 01:21:51,360
Speaker 3: are sponsoring them, and they walk around seeing all of

1566
01:21:51,400 --> 01:21:55,400
Speaker 3: the wonderful facilities. You got tennis courts, a pool, golf course,

1567
01:21:55,560 --> 01:21:58,559
Speaker 3: Jim with a big weight room full of beautiful athletic

1568
01:21:58,600 --> 01:22:02,760
Speaker 3: people sculpting their body, and Jessica Jones tells them that

1569
01:22:02,800 --> 01:22:05,080
Speaker 3: they could be initiated in as little as three or

1570
01:22:05,080 --> 01:22:09,120
Speaker 3: four weeks. And Matt wanders off from the tour into

1571
01:22:09,200 --> 01:22:12,800
Speaker 3: an off limits corridor down to the door. The door

1572
01:22:12,840 --> 01:22:15,639
Speaker 3: we saw earlier from the initiation. This is the door

1573
01:22:15,680 --> 01:22:19,280
Speaker 3: to the spring, and he's sort of getting ready to

1574
01:22:19,640 --> 01:22:22,400
Speaker 3: try to look inside, but Jessica Jones finds him and

1575
01:22:22,439 --> 01:22:25,759
Speaker 3: stops him. He explains that he thought he heard someone

1576
01:22:25,800 --> 01:22:28,120
Speaker 3: crying out for help on the other side of the door,

1577
01:22:28,640 --> 01:22:32,240
Speaker 3: and Jessica's like, oh, it was probably someone crying out

1578
01:22:32,439 --> 01:22:36,600
Speaker 3: in ecstasy. Pleasure can make you feel that good, you know,

1579
01:22:36,880 --> 01:22:40,559
Speaker 3: did you know? Pleasure can make you feel good? Jessica

1580
01:22:40,640 --> 01:22:43,240
Speaker 3: Jones tells him that she can carry. She can tell

1581
01:22:43,280 --> 01:22:45,479
Speaker 3: he doesn't care about money, but she thinks he does

1582
01:22:45,560 --> 01:22:48,840
Speaker 3: care about pleasure, and she will make sure that his

1583
01:22:48,960 --> 01:22:53,320
Speaker 3: membership is as pleasurable as possible. Now, this is a

1584
01:22:53,320 --> 01:22:56,000
Speaker 3: theme they're kind of developing the movie, But I think

1585
01:22:56,120 --> 01:22:59,360
Speaker 3: this one doesn't necessarily work right because you never get

1586
01:22:59,360 --> 01:23:02,640
Speaker 3: the feeling that Matt is all that tempted or like

1587
01:23:02,680 --> 01:23:04,400
Speaker 3: he's about to give in or anything.

1588
01:23:04,640 --> 01:23:07,200
Speaker 2: Yeah, I feel like we would need a couple of

1589
01:23:07,240 --> 01:23:10,360
Speaker 2: scenes sprinkled here there that show that he is to

1590
01:23:10,439 --> 01:23:15,640
Speaker 2: some degree sexually frustrated or you know, or particularly hedonistic

1591
01:23:15,720 --> 01:23:18,559
Speaker 2: in one way or another. As it stands, it's kind

1592
01:23:18,560 --> 01:23:23,320
Speaker 2: of like Jessica Jones is just saying, you're a human,

1593
01:23:23,520 --> 01:23:27,280
Speaker 2: you're all hot to trot, so let me just push

1594
01:23:27,360 --> 01:23:30,679
Speaker 2: those buttons. Yeah, it feels a little desperate on her part,

1595
01:23:30,720 --> 01:23:34,439
Speaker 2: and it makes him feel a little more immune to

1596
01:23:35,479 --> 01:23:36,559
Speaker 2: her various powers.

1597
01:23:37,280 --> 01:23:38,800
Speaker 3: Yeah, I agree. I think it would have worked a

1598
01:23:38,800 --> 01:23:41,840
Speaker 3: little better if they'd shown him being slightly more vulnerable

1599
01:23:41,920 --> 01:23:44,320
Speaker 3: to the seduction. And it's just like bullets bouncing off

1600
01:23:44,360 --> 01:23:47,400
Speaker 3: of Superman. He doesn't really seem I mean, he seems

1601
01:23:47,439 --> 01:23:48,559
Speaker 3: like bothered by it.

1602
01:23:48,840 --> 01:23:52,000
Speaker 2: He's bothered. He's bothered by this temptation. He's bothered by

1603
01:23:52,040 --> 01:23:55,840
Speaker 2: the door to perhaps hell, and he's also bothered by

1604
01:23:55,880 --> 01:23:58,559
Speaker 2: the fact that there's no basketball court here. He does

1605
01:23:58,600 --> 01:24:00,880
Speaker 2: point back, He's like, where the where's where's the bee ball?

1606
01:24:00,960 --> 01:24:03,240
Speaker 2: And they're just all that like, oh, it's a great place,

1607
01:24:03,320 --> 01:24:06,040
Speaker 2: Like they were like, oh, we forgot the basketball court.

1608
01:24:06,760 --> 01:24:07,280
Speaker 2: Oh yeah.

1609
01:24:07,360 --> 01:24:10,559
Speaker 3: If only that would be the final victory for Satan, if.

1610
01:24:10,479 --> 01:24:12,920
Speaker 2: She should have led with that, she'd be like, we

1611
01:24:13,000 --> 01:24:16,439
Speaker 2: will add a basketball court. Man, two of them full

1612
01:24:16,479 --> 01:24:17,200
Speaker 2: sid have done it.

1613
01:24:17,360 --> 01:24:20,519
Speaker 3: Yea recruited. Now he gets to become spawn because they

1614
01:24:20,600 --> 01:24:24,519
Speaker 3: made a basketball court. But so he gets freaked out

1615
01:24:24,520 --> 01:24:26,599
Speaker 3: and leaves after this, and he has a fight with

1616
01:24:26,640 --> 01:24:28,960
Speaker 3: Patricia in the parking lot. She wants to join the club,

1617
01:24:29,080 --> 01:24:32,360
Speaker 3: Matt does not, and they're at an impasse. This is

1618
01:24:32,360 --> 01:24:34,840
Speaker 3: one of those movie conflicts that I think could be

1619
01:24:34,960 --> 01:24:39,120
Speaker 3: alleviated simply by one character telling the other what happened,

1620
01:24:39,240 --> 01:24:40,599
Speaker 3: but for some reason he doesn't.

1621
01:24:40,880 --> 01:24:41,240
Speaker 2: Yeah.

1622
01:24:41,280 --> 01:24:44,679
Speaker 3: So Patricia is upset because there is a club rule

1623
01:24:44,720 --> 01:24:47,400
Speaker 3: that says families have to join as a unit, but

1624
01:24:47,479 --> 01:24:50,640
Speaker 3: Matt won't join, so so she's like, oh, no, I

1625
01:24:50,680 --> 01:24:52,720
Speaker 3: want to join, but we can't. But then Patricia has

1626
01:24:52,760 --> 01:24:55,559
Speaker 3: a meeting with Jessica Jones, and Jessica says, you know,

1627
01:24:55,600 --> 01:24:58,960
Speaker 3: we don't have to be rigidly religious about our rules.

1628
01:24:59,720 --> 01:25:03,000
Speaker 3: So we cut straight to the initiation once again, steamy door,

1629
01:25:03,080 --> 01:25:05,600
Speaker 3: the terry cloth robes, and the liturgy about you know,

1630
01:25:05,600 --> 01:25:08,280
Speaker 3: we're gonna forsake all others merge with the protective shield

1631
01:25:08,320 --> 01:25:11,160
Speaker 3: of the club, and it is Patricia, Robbie, and Chrissy

1632
01:25:11,280 --> 01:25:13,760
Speaker 3: joining without Matt. When we see them walk into the

1633
01:25:13,800 --> 01:25:17,400
Speaker 3: steamy doorway, Chrissy gets scared tries to run away, but

1634
01:25:17,479 --> 01:25:20,360
Speaker 3: the creepy sheriff stops her, makes her go in, and

1635
01:25:20,400 --> 01:25:32,519
Speaker 3: then we get what's clearly an ad break. At this point,

1636
01:25:32,520 --> 01:25:35,680
Speaker 3: Matt's family has been replaced by replicants, a kind of

1637
01:25:35,800 --> 01:25:41,439
Speaker 3: Stepford Satan family that is simultaneously perfect and evil. They

1638
01:25:41,479 --> 01:25:46,280
Speaker 3: are very docile and elegant and well behaved, but also

1639
01:25:46,479 --> 01:25:50,120
Speaker 3: obsessed with the club and cruel and getting barked and

1640
01:25:50,160 --> 01:25:53,280
Speaker 3: growled at by their dog. And there's a whole subplot

1641
01:25:53,320 --> 01:25:56,200
Speaker 3: with the dog, by the way. So Matt later gets

1642
01:25:56,200 --> 01:26:00,320
Speaker 3: a call at work from Bill Irwin, playing a veteran

1643
01:26:00,920 --> 01:26:04,599
Speaker 3: Uh this is just by coincidence, the husband of Grace,

1644
01:26:04,760 --> 01:26:09,360
Speaker 3: Matt's former secretary and the you know. He asks him

1645
01:26:09,360 --> 01:26:13,000
Speaker 3: to come out to his kennel and he explains that

1646
01:26:13,000 --> 01:26:17,040
Speaker 3: Patricia brought their dog. Albert said it was vicious from

1647
01:26:17,120 --> 01:26:19,840
Speaker 3: day one, probably some kind of brain tumor, and it

1648
01:26:19,920 --> 01:26:22,639
Speaker 3: had attacked their children and needed to be put down.

1649
01:26:23,280 --> 01:26:25,599
Speaker 3: So the vet lied to her and said he would

1650
01:26:25,640 --> 01:26:28,639
Speaker 3: do it after she left. Fortunately, the dog's still okay, folks,

1651
01:26:28,680 --> 01:26:31,200
Speaker 3: and we see it runs out and Matt pet's the

1652
01:26:31,240 --> 01:26:32,439
Speaker 3: dog and everybody's happy.

1653
01:26:32,680 --> 01:26:35,040
Speaker 2: But not only did she say that she wanted the

1654
01:26:35,080 --> 01:26:37,160
Speaker 2: dog put down, She's like, I want to watch. Yeah,

1655
01:26:37,160 --> 01:26:39,960
Speaker 2: that was good. That was a nice detail. That was it.

1656
01:26:40,439 --> 01:26:44,639
Speaker 3: He said, we don't do things that way. So Matt

1657
01:26:44,680 --> 01:26:48,360
Speaker 3: goes home to confront Patricia about this, and when he arrives,

1658
01:26:48,360 --> 01:26:51,120
Speaker 3: she has had the house goth renod while he was

1659
01:26:51,160 --> 01:26:54,439
Speaker 3: at work, so now it's all dark blue walls. Moody

1660
01:26:54,560 --> 01:26:55,559
Speaker 3: abstract art.

1661
01:26:56,280 --> 01:26:58,200
Speaker 2: It's like the House and Beele Juice at this point.

1662
01:26:59,040 --> 01:27:02,720
Speaker 3: Yeah, and later see Jessica Jones has sent Patricia a

1663
01:27:02,760 --> 01:27:07,639
Speaker 3: new grand piano. So he comes in, uh, and she's

1664
01:27:07,640 --> 01:27:10,880
Speaker 3: in the kitchen with a knife in a black cocktail dress.

1665
01:27:11,280 --> 01:27:13,760
Speaker 3: He confronts her about the dog and she just sort

1666
01:27:13,800 --> 01:27:16,719
Speaker 3: of deflects and manipulates him with the knife in her hand.

1667
01:27:17,200 --> 01:27:19,360
Speaker 3: And she wants him to join the club. So things

1668
01:27:19,400 --> 01:27:20,879
Speaker 3: are not right with his family.

1669
01:27:21,320 --> 01:27:23,720
Speaker 2: You know, this is the point where Joanna Cassidy, I think,

1670
01:27:23,720 --> 01:27:27,280
Speaker 2: really gets to shine as well, because she's great earlier

1671
01:27:27,280 --> 01:27:29,920
Speaker 2: in the picture playing the normal pat but now she

1672
01:27:29,920 --> 01:27:33,479
Speaker 2: gets to play the sinister, ambitious, the sort of possessed

1673
01:27:33,520 --> 01:27:38,759
Speaker 2: Stepford pat And yeah, it has it's a nice performance.

1674
01:27:39,120 --> 01:27:39,680
Speaker 3: I enjoyed it.

1675
01:27:39,720 --> 01:27:43,200
Speaker 2: You know, you expect her to start going on a

1676
01:27:43,240 --> 01:27:44,840
Speaker 2: replicant rampage at any moment.

1677
01:27:45,000 --> 01:27:47,880
Speaker 3: Yeah, and then also there's a funny seat. Later that night,

1678
01:27:47,960 --> 01:27:51,800
Speaker 3: Patricia is all like sexually aggressive with him. She's like

1679
01:27:52,000 --> 01:27:55,479
Speaker 3: she's jumping him and she she's there's one part where

1680
01:27:55,479 --> 01:27:58,360
Speaker 3: she's just repeating, I'm just making love to you, darling.

1681
01:28:00,040 --> 01:28:02,120
Speaker 3: But it looks like who he's been making love to

1682
01:28:02,240 --> 01:28:05,240
Speaker 3: is Freddy Krueger, because you see the scratches on his back.

1683
01:28:05,400 --> 01:28:08,200
Speaker 3: He's like looking in the mirror and they're like deep gouges.

1684
01:28:08,720 --> 01:28:10,519
Speaker 2: Yeah, she goes zool on him.

1685
01:28:10,520 --> 01:28:13,759
Speaker 3: For sure does not look like fingernails, cause this looks

1686
01:28:13,800 --> 01:28:18,080
Speaker 3: like knives. Yeah, let's see. So the next day, Matt

1687
01:28:18,120 --> 01:28:22,479
Speaker 3: finds out that Grace, his old secretary, was unfortunately killed

1688
01:28:22,479 --> 01:28:25,800
Speaker 3: in a terrible car accident with someone trying to shut

1689
01:28:25,800 --> 01:28:29,320
Speaker 3: her up. And Matt goes and finds the files that

1690
01:28:29,360 --> 01:28:31,240
Speaker 3: Grace had tried to get him to read earlier. I

1691
01:28:31,240 --> 01:28:33,559
Speaker 3: guess he forgot about it till now. And then this

1692
01:28:33,600 --> 01:28:35,800
Speaker 3: is the scene where he's just typing questions into a

1693
01:28:35,840 --> 01:28:38,920
Speaker 3: computer to get information. What he finds out here is

1694
01:28:38,920 --> 01:28:42,760
Speaker 3: that all of the senior management at micro Digitech were

1695
01:28:42,800 --> 01:28:46,920
Speaker 3: promoted after becoming members of the Steaming Springs Country Club.

1696
01:28:47,240 --> 01:28:50,000
Speaker 3: So Matt now he has to learn more. He sneaks

1697
01:28:50,000 --> 01:28:52,720
Speaker 3: into the country club to investigate. He goes down into

1698
01:28:52,760 --> 01:28:56,080
Speaker 3: the basement to the door. He first uses some kind

1699
01:28:56,080 --> 01:28:59,639
Speaker 3: of gadget to hack the key code to access the door.

1700
01:28:59,680 --> 01:29:03,800
Speaker 3: The key includes the number six sixty six, and then

1701
01:29:03,840 --> 01:29:07,639
Speaker 3: he uses a thermometer probe from the spacesuit to test

1702
01:29:07,760 --> 01:29:10,160
Speaker 3: the temperature inside the door when he gets at a

1703
01:29:10,240 --> 01:29:13,559
Speaker 3: crack open and he says, eight hundred degrees. No human

1704
01:29:13,600 --> 01:29:16,479
Speaker 3: could withstand it. And while he's sitting there, you know,

1705
01:29:16,520 --> 01:29:19,240
Speaker 3: getting the temperature, there's an ambush. He is attacked by

1706
01:29:19,439 --> 01:29:22,040
Speaker 3: the sheriff and they have a big fight scene. This

1707
01:29:22,080 --> 01:29:24,200
Speaker 3: is the scene with the wrestling moves where Matt gets

1708
01:29:24,240 --> 01:29:27,439
Speaker 3: like body slammed into the floor. So how's he going

1709
01:29:27,479 --> 01:29:31,160
Speaker 3: to defeat this this demonic sheriff. Well, he electrocutes him

1710
01:29:31,160 --> 01:29:34,280
Speaker 3: on a chain link fence with a lamp. After this,

1711
01:29:34,439 --> 01:29:36,479
Speaker 3: Matt comes home. This is the Oh. Then we get

1712
01:29:36,479 --> 01:29:40,000
Speaker 3: the scene where the children are you know, fully evilfied.

1713
01:29:40,120 --> 01:29:43,320
Speaker 3: Now he comes home and he finds Chrissy mutilating her

1714
01:29:43,360 --> 01:29:46,720
Speaker 3: stuffed bunny with a crowbar and he's like, hey, let's

1715
01:29:46,800 --> 01:29:49,160
Speaker 3: be nice, and she says, we do not like nice,

1716
01:29:49,320 --> 01:29:52,400
Speaker 3: and she's whacking with the crowbar. He says, you're not

1717
01:29:52,520 --> 01:29:55,760
Speaker 3: my daughter, and then with a pazuzu voice, she says,

1718
01:29:55,800 --> 01:29:59,160
Speaker 3: but I am your daughter. And he's like, is she

1719
01:29:59,320 --> 01:30:03,000
Speaker 3: down there in the springs and she says, she explains

1720
01:30:03,000 --> 01:30:06,080
Speaker 3: that the mechanics here. She says, good, Chrissy is down

1721
01:30:06,120 --> 01:30:09,400
Speaker 3: there in the springs. But you've just got bad Chrissy

1722
01:30:09,520 --> 01:30:14,439
Speaker 3: now bad, bad, bad Chrissy. And so Matt is attacked

1723
01:30:14,479 --> 01:30:17,840
Speaker 3: by evil children, by bad Chrissy and bad Robbie, and

1724
01:30:17,880 --> 01:30:20,240
Speaker 3: he has to lock both of them inside a closet.

1725
01:30:20,280 --> 01:30:22,800
Speaker 3: Why does that closet lock from the outside. That's not

1726
01:30:22,880 --> 01:30:25,120
Speaker 3: a yeah, you shouldn't have closets locked from the outside.

1727
01:30:25,200 --> 01:30:27,280
Speaker 2: I mean, maybe it was part of these new renovations

1728
01:30:27,360 --> 01:30:31,120
Speaker 2: that all sorts of sinister changes to the house.

1729
01:30:32,400 --> 01:30:36,519
Speaker 3: Then bad Patricia attacks him with a golf club. He escapes,

1730
01:30:36,800 --> 01:30:39,920
Speaker 3: He escapes the house, and then he goes to the lab,

1731
01:30:40,280 --> 01:30:43,960
Speaker 3: the lab at work, where he dons the suit.

1732
01:30:44,640 --> 01:30:46,519
Speaker 2: I think it was coming at this point. You knew

1733
01:30:46,560 --> 01:30:47,200
Speaker 2: it was coming.

1734
01:30:47,439 --> 01:30:50,639
Speaker 3: Yeah, it's all coming together now. So while he's all

1735
01:30:50,640 --> 01:30:54,760
Speaker 3: getting suited up in the spacesuit, he is confronted by

1736
01:30:54,800 --> 01:30:58,160
Speaker 3: Tom with a gun and Tom, this is bad Tom,

1737
01:30:58,200 --> 01:31:02,479
Speaker 3: I guess also, and bad Tom says, you're not one

1738
01:31:02,520 --> 01:31:05,840
Speaker 3: of us, Matt, You're a loser. We're the winners and

1739
01:31:05,880 --> 01:31:07,920
Speaker 3: we have to get rid of the losers. And he's

1740
01:31:07,920 --> 01:31:10,680
Speaker 3: going to shoot him, but it's like a duel. It's

1741
01:31:10,680 --> 01:31:14,320
Speaker 3: a quick draw. There's a blast, and what you realize

1742
01:31:14,320 --> 01:31:17,240
Speaker 3: happened is that Matt has blasted Tom with the sleeve

1743
01:31:17,360 --> 01:31:19,000
Speaker 3: laser guy on the suit.

1744
01:31:20,120 --> 01:31:21,840
Speaker 2: Yeah, you knew it was going to be important and

1745
01:31:21,880 --> 01:31:22,360
Speaker 2: there was.

1746
01:31:22,920 --> 01:31:25,400
Speaker 3: So Matt puts on the suit helmet, which has a

1747
01:31:25,479 --> 01:31:28,639
Speaker 3: dark visor, and then uses it to sneak into the

1748
01:31:28,640 --> 01:31:32,280
Speaker 3: club during the Halloween party we've heard so much about.

1749
01:31:32,920 --> 01:31:36,120
Speaker 3: This party has a number of guests, including Larry Ferris,

1750
01:31:36,160 --> 01:31:40,640
Speaker 3: the Boss, dressed as Nazi officers. Not a great Halloween costume.

1751
01:31:40,640 --> 01:31:44,280
Speaker 2: No, I mean, you know, some things were acceptable in

1752
01:31:44,320 --> 01:31:48,400
Speaker 2: the eighties. Maybe this was a little more acceptable at

1753
01:31:48,400 --> 01:31:52,200
Speaker 2: the time. But I don't know. He's really He's really

1754
01:31:52,240 --> 01:31:54,160
Speaker 2: into it here, So I think we are meant to

1755
01:31:54,720 --> 01:31:56,200
Speaker 2: see this as somewhat sucks.

1756
01:31:56,520 --> 01:31:59,360
Speaker 3: Should we also mention Jessica Jones's costume? This is one

1757
01:31:59,400 --> 01:32:02,040
Speaker 3: of the main you will see of this movie. Is

1758
01:32:02,080 --> 01:32:05,679
Speaker 3: Susan Lucci in this Halloween costume. I don't know exactly

1759
01:32:05,680 --> 01:32:07,880
Speaker 3: what she's supposed to be. She's kind of a big hair,

1760
01:32:08,080 --> 01:32:13,080
Speaker 3: ziggy stardust devil, like a red suit, sparkles, hair, volume,

1761
01:32:13,400 --> 01:32:13,800
Speaker 3: all that.

1762
01:32:14,720 --> 01:32:16,479
Speaker 2: Yeah. Yeah, I'm not sure what it's supposed to be.

1763
01:32:16,479 --> 01:32:19,000
Speaker 2: But either are a lot of great costumes. There's generally,

1764
01:32:19,040 --> 01:32:20,840
Speaker 2: it just looks like a fun party. I mean, yes,

1765
01:32:20,880 --> 01:32:28,160
Speaker 2: it's being held by awful half demon people, but it

1766
01:32:28,200 --> 01:32:30,160
Speaker 2: looks pretty good. It looks like I got some cool snacks,

1767
01:32:30,160 --> 01:32:32,640
Speaker 2: cool decorations, and you know, I assume there's maybe a

1768
01:32:32,720 --> 01:32:34,280
Speaker 2: DJ spinning. I don't know.

1769
01:32:34,520 --> 01:32:36,600
Speaker 3: I'm not saying I would sell my soul to go

1770
01:32:36,680 --> 01:32:38,599
Speaker 3: to this party. But if I could go like Matt,

1771
01:32:38,680 --> 01:32:40,840
Speaker 3: if I could sneak in without selling my soul, I'd

1772
01:32:40,920 --> 01:32:42,040
Speaker 3: like to check this party out.

1773
01:32:42,160 --> 01:32:44,880
Speaker 2: Yeah, selling your soul. You're not selling your soul just

1774
01:32:44,920 --> 01:32:47,799
Speaker 2: for this party. There are a whole number of benefits,

1775
01:32:47,800 --> 01:32:49,800
Speaker 2: and this is just one, that's right.

1776
01:32:50,520 --> 01:32:53,360
Speaker 3: So Matt goes there, and then he sneaks away from

1777
01:32:53,400 --> 01:32:55,759
Speaker 3: the party with the suit on and enters the code

1778
01:32:55,760 --> 01:32:58,759
Speaker 3: to the secret door. And then finally he goes into

1779
01:32:59,040 --> 01:33:02,639
Speaker 3: the steaming spring. Yes, and along the way, he's followed

1780
01:33:02,640 --> 01:33:05,760
Speaker 3: by Jessica Jones. He sees her coming after him, and

1781
01:33:05,840 --> 01:33:07,920
Speaker 3: he tries to stop her with the flamethrower, but it

1782
01:33:07,960 --> 01:33:10,600
Speaker 3: doesn't seem to work on her just walks through the flames.

1783
01:33:11,360 --> 01:33:16,200
Speaker 3: And so now Matt descends into what is beyond the door.

1784
01:33:16,479 --> 01:33:18,080
Speaker 3: It's hell baby, It's hell.

1785
01:33:19,120 --> 01:33:22,960
Speaker 2: Yeah, Yeah, And again. You can see all this coming together.

1786
01:33:23,640 --> 01:33:25,120
Speaker 2: You see it, saw it coming together when all the

1787
01:33:25,120 --> 01:33:28,479
Speaker 2: pieces were on the table. But at this point, Matt,

1788
01:33:28,680 --> 01:33:33,439
Speaker 2: clad in a spacesuit of his own design, powered by AI,

1789
01:33:34,040 --> 01:33:38,439
Speaker 2: armed with a laser and a flamethrower, is descending into Hell,

1790
01:33:39,120 --> 01:33:42,919
Speaker 2: literally harrowing Hell, in an attempt to save his family

1791
01:33:43,680 --> 01:33:47,880
Speaker 2: from the depths of damnation. And he's doing this by

1792
01:33:48,040 --> 01:33:50,840
Speaker 2: venturing through an occult gateway to Hell that happens to

1793
01:33:50,840 --> 01:33:53,479
Speaker 2: be in the basement of his local country club. I mean,

1794
01:33:53,920 --> 01:33:56,640
Speaker 2: that's bonkers. I love it. This is again. This is

1795
01:33:56,680 --> 01:34:01,360
Speaker 2: all happening before ten pm on a Thursday network television.

1796
01:34:03,160 --> 01:34:06,160
Speaker 2: This is amazing. This film should be more celebrated for

1797
01:34:06,200 --> 01:34:08,599
Speaker 2: its weirdness. It's so good. Okay, so yeah.

1798
01:34:08,640 --> 01:34:12,599
Speaker 3: Hell is a craggy, red cave full of these deep

1799
01:34:12,640 --> 01:34:16,679
Speaker 3: pits from which are coming these screams for help Somewhere

1800
01:34:16,720 --> 01:34:19,400
Speaker 3: down below. Matt does hear his family calling for help,

1801
01:34:19,479 --> 01:34:22,600
Speaker 3: so he goes up to the edge and Jessica's in

1802
01:34:22,640 --> 01:34:25,360
Speaker 3: there also, still talking to him. It's like, it's hopeless.

1803
01:34:25,360 --> 01:34:27,559
Speaker 3: You can't save them, you know, you got to stop.

1804
01:34:27,640 --> 01:34:29,760
Speaker 3: But he makes a leap of faith into the pit

1805
01:34:31,040 --> 01:34:32,920
Speaker 3: and then he wakes up at the bottom in a

1806
01:34:33,000 --> 01:34:36,400
Speaker 3: kind of mirror world version of his neighborhood where he

1807
01:34:36,479 --> 01:34:39,680
Speaker 3: goes into his home and he finds his family imprisoned

1808
01:34:39,720 --> 01:34:44,640
Speaker 3: behind these animated barriers. Patricia's tortured soul is playing piano

1809
01:34:44,840 --> 01:34:48,360
Speaker 3: in Anguish and Jessica shows up once again and tells

1810
01:34:48,439 --> 01:34:50,719
Speaker 3: him that he can never rescue his family. He says,

1811
01:34:50,760 --> 01:34:53,760
Speaker 3: they all came here willingly, they made the choice, and

1812
01:34:53,800 --> 01:34:56,120
Speaker 3: then she also says that the Patricia down here is

1813
01:34:56,680 --> 01:34:59,040
Speaker 3: the week Patricia. You don't even want her bag. This

1814
01:34:59,080 --> 01:35:01,080
Speaker 3: is the one that has no no, no will, no

1815
01:35:01,240 --> 01:35:04,639
Speaker 3: power to you know, survive. This is just the weak

1816
01:35:04,680 --> 01:35:07,120
Speaker 3: part of her that has been purged. And Matt's like, no,

1817
01:35:08,040 --> 01:35:11,160
Speaker 3: that's the good Patricia, and he says, that's what you've done,

1818
01:35:11,200 --> 01:35:13,400
Speaker 3: isn't it. You've taken all the love, all the good

1819
01:35:13,439 --> 01:35:16,240
Speaker 3: in people who joined the club and put them down here.

1820
01:35:16,640 --> 01:35:20,760
Speaker 3: And you know, so this movie is it's the way

1821
01:35:20,800 --> 01:35:23,320
Speaker 3: it attacks its themes. I think you could argue is

1822
01:35:23,360 --> 01:35:26,600
Speaker 3: somewhat simplistic. But I was thinking about this, and you know,

1823
01:35:26,640 --> 01:35:29,479
Speaker 3: that's kind of interesting. The idea that in order to

1824
01:35:29,840 --> 01:35:35,080
Speaker 3: receive some kinds of luxury, people might trade in good

1825
01:35:35,200 --> 01:35:38,760
Speaker 3: parts of themselves, like put the good parts of themselves

1826
01:35:38,760 --> 01:35:42,920
Speaker 3: in storage so that a broken, diminished part of themselves

1827
01:35:43,000 --> 01:35:44,960
Speaker 3: can enjoy the fabulous amenities.

1828
01:35:46,360 --> 01:35:48,920
Speaker 2: I think, by some measurements, this would be a theological

1829
01:35:48,960 --> 01:35:52,040
Speaker 2: misuse of Hell, taking the good parts out of someone

1830
01:35:52,080 --> 01:35:54,439
Speaker 2: and keeping them there and letting the worst of them

1831
01:35:54,520 --> 01:35:57,160
Speaker 2: thrive on earth. Not to go on a tangent here

1832
01:35:57,200 --> 01:36:02,160
Speaker 2: about what hell is theologically and the role it plays

1833
01:36:02,160 --> 01:36:04,200
Speaker 2: in the human psyche, but yeah, it does give us

1834
01:36:04,200 --> 01:36:06,519
Speaker 2: some food for thought here, and I want to add

1835
01:36:06,560 --> 01:36:09,120
Speaker 2: that the effects here I think are quite good all

1836
01:36:09,160 --> 01:36:12,400
Speaker 2: things considered. I mean, you can feel this TV movie

1837
01:36:12,439 --> 01:36:16,479
Speaker 2: of the week's budget straining at the seams, but we

1838
01:36:16,560 --> 01:36:18,760
Speaker 2: have a solid, rocky set. We have that in this

1839
01:36:18,840 --> 01:36:23,120
Speaker 2: weird precipice over this gulf that contains at the very

1840
01:36:23,160 --> 01:36:25,559
Speaker 2: bottom a replica of his neighborhood, Like this is this

1841
01:36:25,640 --> 01:36:29,360
Speaker 2: is trippy and weird, and there's a palpable feeling at

1842
01:36:29,400 --> 01:36:31,240
Speaker 2: that point when he's standing on the edge of the

1843
01:36:31,280 --> 01:36:35,599
Speaker 2: cliff and he's being mocked and or tempted by Jessica

1844
01:36:35,680 --> 01:36:38,600
Speaker 2: Jones that you know, like we've traveled well beyond the

1845
01:36:38,640 --> 01:36:41,760
Speaker 2: point of no return, and again it's not even ten

1846
01:36:41,800 --> 01:36:45,400
Speaker 2: pm Eastern Time on ABC Television on a Thursday, but

1847
01:36:45,479 --> 01:36:49,000
Speaker 2: it feels like we've gone past midnight. Yeah, it's just

1848
01:36:50,320 --> 01:36:52,599
Speaker 2: it's the sort of thing I think it would feel

1849
01:36:52,640 --> 01:36:56,439
Speaker 2: right at home, and you're weirder contemporary television dramas or

1850
01:36:56,479 --> 01:37:00,400
Speaker 2: the films that have a particular psychotronic bent to them.

1851
01:37:00,800 --> 01:37:03,760
Speaker 2: So yeah, again, I feel like this film should be

1852
01:37:03,760 --> 01:37:06,360
Speaker 2: more celebrated for its weirdness. It should not be at

1853
01:37:06,360 --> 01:37:08,559
Speaker 2: the bottom of the West Craven Heap. Yeah.

1854
01:37:08,600 --> 01:37:10,400
Speaker 3: I would say, in fact, if you don't give this

1855
01:37:10,439 --> 01:37:12,559
Speaker 3: a five out of five on letterbox, you should go

1856
01:37:12,560 --> 01:37:17,280
Speaker 3: to hell. You can go straight into the steaming.

1857
01:37:16,960 --> 01:37:19,360
Speaker 2: Sportings at least the weak part of you that wasn't

1858
01:37:19,400 --> 01:37:24,160
Speaker 2: strong enough to give this film five stars. So let's see.

1859
01:37:24,439 --> 01:37:26,840
Speaker 3: Oh, we get another part here where Jessica tries to

1860
01:37:26,880 --> 01:37:29,080
Speaker 3: tempt Matt with like, you know you don't want Patricia,

1861
01:37:29,160 --> 01:37:32,719
Speaker 3: you want me once again. It doesn't really work because

1862
01:37:32,760 --> 01:37:36,160
Speaker 3: of how they've characterized Matt. You never feel like you

1863
01:37:36,280 --> 01:37:37,160
Speaker 3: seriously tempted.

1864
01:37:37,479 --> 01:37:39,240
Speaker 2: Yeah, she should have should have been be ball again.

1865
01:37:39,320 --> 01:37:41,840
Speaker 2: She'd been like, how about how about basketball? I can

1866
01:37:41,880 --> 01:37:45,000
Speaker 2: offer you all the basketball in the world, and then

1867
01:37:45,000 --> 01:37:46,439
Speaker 2: he and then he might be tempted.

1868
01:37:46,760 --> 01:37:49,439
Speaker 3: She like pulls out a copy of Space Jam and

1869
01:37:49,560 --> 01:37:52,840
Speaker 3: she's on VHS. She's like, this is from the future, Matt,

1870
01:37:53,360 --> 01:37:54,480
Speaker 3: your future.

1871
01:37:54,360 --> 01:37:57,519
Speaker 2: A Space Jam showdown right here at the end would

1872
01:37:57,520 --> 01:37:58,800
Speaker 2: have would have just capped it.

1873
01:37:58,960 --> 01:38:02,880
Speaker 3: Yes, so Matt. At this point, he decides to take

1874
01:38:02,920 --> 01:38:05,800
Speaker 3: off his spacesuit to save his family. I don't remember

1875
01:38:05,840 --> 01:38:07,439
Speaker 3: how he figures out he's got to do this, but

1876
01:38:08,280 --> 01:38:11,719
Speaker 3: this also seems thematically loaded. He has to change out

1877
01:38:11,800 --> 01:38:15,400
Speaker 3: of the protective EVA suit the technology that he has

1878
01:38:15,439 --> 01:38:18,639
Speaker 3: been working on back into khakis and a polo shirt

1879
01:38:18,800 --> 01:38:20,799
Speaker 3: to save the good parts of his family.

1880
01:38:21,439 --> 01:38:24,439
Speaker 2: Yeah. More, I guess this is more symbolic than sensible.

1881
01:38:26,479 --> 01:38:28,799
Speaker 2: But oh and I wanted to mention too, like the

1882
01:38:28,800 --> 01:38:32,840
Speaker 2: the like laser lights that his family's souls are trapped in.

1883
01:38:33,120 --> 01:38:36,880
Speaker 2: It's kind of like the laser lights from the egg

1884
01:38:37,000 --> 01:38:40,960
Speaker 2: chamber above aboard the space ship at the beginning of Alien,

1885
01:38:41,439 --> 01:38:42,719
Speaker 2: except blue instead of green.

1886
01:38:43,000 --> 01:38:45,679
Speaker 3: Yeah, it is like that. So the power of love

1887
01:38:45,760 --> 01:38:48,720
Speaker 3: saves the whole family. They you know, they embrace, and

1888
01:38:48,800 --> 01:38:51,640
Speaker 3: they all awake together back in their house, seemingly in

1889
01:38:51,680 --> 01:38:55,040
Speaker 3: the real world. They hear sirens outside. What's that noise,

1890
01:38:55,080 --> 01:38:57,479
Speaker 3: and so they go outside to look and there are

1891
01:38:57,479 --> 01:38:59,840
Speaker 3: people running around saying there is a big fire down

1892
01:38:59,840 --> 01:39:03,639
Speaker 3: in the club. It's been burning all night and okay,

1893
01:39:03,720 --> 01:39:06,559
Speaker 3: I guess that's it for the club. And then Chrissy

1894
01:39:06,640 --> 01:39:09,759
Speaker 3: says that her bunny is hungry. The bunny is intact

1895
01:39:09,800 --> 01:39:11,760
Speaker 3: once again, so we get kind of we're getting kind

1896
01:39:11,760 --> 01:39:13,960
Speaker 3: of a redo on reality. I guess things that we

1897
01:39:14,000 --> 01:39:19,160
Speaker 3: saw destroyed are actually now intact once again. And Patricia's like, oh,

1898
01:39:19,200 --> 01:39:21,880
Speaker 3: I guess we better feed bunny. Okay, And it looks

1899
01:39:21,920 --> 01:39:23,960
Speaker 3: like everything's cool now. Yeah, all good.

1900
01:39:24,520 --> 01:39:28,519
Speaker 2: Yeah, a surprisingly upbeat ending because I was again when

1901
01:39:28,520 --> 01:39:30,160
Speaker 2: he was standing on the edge of that cliff, I

1902
01:39:30,240 --> 01:39:32,760
Speaker 2: was like, oh, he's not coming back from this. This

1903
01:39:32,800 --> 01:39:36,320
Speaker 2: is going to have a bleak ending. But they pulled

1904
01:39:36,360 --> 01:39:38,840
Speaker 2: back on it and they landed us in a nice

1905
01:39:38,880 --> 01:39:42,839
Speaker 2: spot so that we can lead into twenty twenty.

1906
01:39:43,200 --> 01:39:45,640
Speaker 3: I want to revisit the question I asked earlier, now

1907
01:39:45,640 --> 01:39:48,240
Speaker 3: that we've talked about the whole plot, what is the

1908
01:39:48,360 --> 01:39:52,680
Speaker 3: core evil institution? Is it the country club or the corporation?

1909
01:39:53,120 --> 01:39:57,560
Speaker 3: I think it's Steaming Springs. It's like that micro digitech

1910
01:39:58,280 --> 01:40:03,000
Speaker 3: it is suggested exists it's only to provide employment to

1911
01:40:03,200 --> 01:40:06,240
Speaker 3: people who can be recruited into the service of our

1912
01:40:06,320 --> 01:40:08,440
Speaker 3: dark lord at Steaming Springs.

1913
01:40:09,920 --> 01:40:12,880
Speaker 2: Yeah, yeah, I think that's a good read on it.

1914
01:40:13,080 --> 01:40:16,720
Speaker 2: I guess you know. Thematically, the main threat is just

1915
01:40:18,000 --> 01:40:22,559
Speaker 2: the spirit of wealth and ambition that permeates society, both

1916
01:40:22,600 --> 01:40:25,040
Speaker 2: at work and at home and you know, in your

1917
01:40:25,040 --> 01:40:30,240
Speaker 2: social circle. But yeah, I was thinking, okay, the gateway

1918
01:40:30,280 --> 01:40:33,120
Speaker 2: to Hell is definitely at the country club, so that

1919
01:40:33,520 --> 01:40:36,639
Speaker 2: is in many ways the focal point. But then Jessica

1920
01:40:36,720 --> 01:40:40,720
Speaker 2: Jones has complete access to all the high tech, presumably

1921
01:40:40,760 --> 01:40:45,000
Speaker 2: top secret experiments going on at Digitech, so the two

1922
01:40:45,080 --> 01:40:48,560
Speaker 2: were linked at this point anyway. And who knows, maybe

1923
01:40:48,840 --> 01:40:52,200
Speaker 2: some member of the club back before it became possessed

1924
01:40:53,040 --> 01:40:57,160
Speaker 2: had some role in opening or widening that hell mouth

1925
01:40:57,400 --> 01:40:59,000
Speaker 2: so that everything can get out of whack. There's like

1926
01:40:59,040 --> 01:41:02,639
Speaker 2: a whole prequel you could explore right there. I'd watch

1927
01:41:02,720 --> 01:41:08,080
Speaker 2: that pre Invitation to Hell arriving early. Yeah.

1928
01:41:08,200 --> 01:41:11,679
Speaker 3: Okay, well that was Invitation to Hell nineteen eighty four.

1929
01:41:12,320 --> 01:41:15,880
Speaker 3: As we've said, thumbs up from me. Check it out.

1930
01:41:16,120 --> 01:41:18,040
Speaker 2: Yeah, this one was great. This is one I really

1931
01:41:18,160 --> 01:41:22,400
Speaker 2: wasn't even aware of. I was I don't know, maybe

1932
01:41:22,400 --> 01:41:25,600
Speaker 2: it's part of that attitude that we can sometimes have

1933
01:41:25,760 --> 01:41:29,200
Speaker 2: about made for TV films that even though I've certainly

1934
01:41:29,880 --> 01:41:33,840
Speaker 2: poured through Wes Craven's filmography on IMDb many times, I've

1935
01:41:33,880 --> 01:41:37,400
Speaker 2: just kind of skipped over these made for TV films

1936
01:41:37,520 --> 01:41:40,280
Speaker 2: and I've paid more attention to his more well known films.

1937
01:41:40,280 --> 01:41:42,200
Speaker 2: But yeah, this one was a real treat.

1938
01:41:42,400 --> 01:41:44,360
Speaker 3: Well, let's let's look at the other one and see

1939
01:41:44,360 --> 01:41:44,880
Speaker 3: how they are.

1940
01:41:45,520 --> 01:41:47,680
Speaker 2: Yeah, I mean, if they're as good as if they're

1941
01:41:47,720 --> 01:41:49,920
Speaker 2: even close to as good as this one, they're they're

1942
01:41:49,960 --> 01:41:53,080
Speaker 2: worth checking out for sure. All Right, Well, we're gonna

1943
01:41:53,080 --> 01:41:55,320
Speaker 2: gohead and close up this episode of Weird House Cinema.

1944
01:41:55,400 --> 01:41:57,519
Speaker 2: What we'd love to hear from everyone out there? Do

1945
01:41:57,640 --> 01:42:01,519
Speaker 2: you have thoughts on Invitation to Hell? Did you if

1946
01:42:01,560 --> 01:42:04,360
Speaker 2: anyone out there solid on network television in eighty four,

1947
01:42:05,360 --> 01:42:07,800
Speaker 2: I definitely want to hear about that. Or if you've

1948
01:42:07,800 --> 01:42:11,960
Speaker 2: watched it with commercials intact, do write in and tell

1949
01:42:12,040 --> 01:42:13,879
Speaker 2: us all about it, Or if you've watched it recently

1950
01:42:13,880 --> 01:42:16,639
Speaker 2: and you have some thoughts about how it fits into

1951
01:42:16,680 --> 01:42:20,960
Speaker 2: the filmography of this legendary director. Yeah, right in and

1952
01:42:21,000 --> 01:42:24,559
Speaker 2: we'll we'll have a little conversation we'll share potentially share

1953
01:42:24,600 --> 01:42:27,920
Speaker 2: your email on a future listener mail episode of Stuff

1954
01:42:27,920 --> 01:42:30,200
Speaker 2: to Blow Your Mind. Just a reminder that Stuff to

1955
01:42:30,200 --> 01:42:32,479
Speaker 2: Blow Your Mind is primarily a science and culture podcast,

1956
01:42:32,560 --> 01:42:34,960
Speaker 2: with core episodes on Tuesdays and Thursday, short form episode

1957
01:42:34,960 --> 01:42:37,280
Speaker 2: on Wednesdays and on Fridays. We set aside most serious

1958
01:42:37,320 --> 01:42:40,080
Speaker 2: concerns to just talk about a weird film here on

1959
01:42:40,160 --> 01:42:42,720
Speaker 2: Weird House Cinema. Look us up on a letterbox where

1960
01:42:42,760 --> 01:42:44,920
Speaker 2: we are weird House. You can follow a list of

1961
01:42:44,960 --> 01:42:47,080
Speaker 2: all the films we've covered over the years, and sometimes

1962
01:42:47,160 --> 01:42:49,640
Speaker 2: there's a peek ahead at what's coming up next. And

1963
01:42:49,720 --> 01:42:51,719
Speaker 2: next week is cat Week, by the way, we haven't

1964
01:42:51,720 --> 01:42:54,800
Speaker 2: really broadcast that fact jet on the show, but if

1965
01:42:54,840 --> 01:42:57,800
Speaker 2: you like cats or don't like cats, it's perfect week

1966
01:42:57,840 --> 01:43:01,439
Speaker 2: to tune in. We're experimenting with some thematic weeks spread

1967
01:43:01,479 --> 01:43:03,760
Speaker 2: throughout the year, and yes we will come back around

1968
01:43:03,800 --> 01:43:06,480
Speaker 2: and do a Dog Week as well, once we pinpoint

1969
01:43:06,520 --> 01:43:08,479
Speaker 2: the appropriate time of a year for that to happen.

1970
01:43:08,720 --> 01:43:12,400
Speaker 3: As the dog star rises, there you go. Huge thanks

1971
01:43:12,479 --> 01:43:16,200
Speaker 3: as always to our excellent audio producer JJ Posway. If

1972
01:43:16,240 --> 01:43:17,720
Speaker 3: you would like to get in touch with us with

1973
01:43:17,800 --> 01:43:20,200
Speaker 3: feedback on this episode or any other. To suggest a

1974
01:43:20,240 --> 01:43:22,559
Speaker 3: topic for the future, or just to say hello, you

1975
01:43:22,560 --> 01:43:25,519
Speaker 3: can email us at contact at stuff to Blow your

1976
01:43:25,600 --> 01:43:33,360
Speaker 3: Mind dot com.

1977
01:43:33,439 --> 01:43:36,400
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1978
01:43:36,479 --> 01:43:39,280
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1979
01:43:39,439 --> 01:43:42,640
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.