WEBVTT - Weirdhouse Cinema: Invitation to Hell (1984) 0:00:02.440 --> 0:00:08.719 Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 0:00:12.880 --> 0:00:16.120 Hey you welcome to Weird House Cinema. This is Rob Lamb. 0:00:16.079 --> 0:00:19.599 And I am Joe McCormick. And today on Weird House Cinema, 0:00:19.640 --> 0:00:22.239 we're going to be talking about the nineteen eighty four 0:00:22.440 --> 0:00:28.360 ABC made for TV horror movie Invitation to Hell, directed 0:00:28.400 --> 0:00:31.319 by none other than Wes Craven. Did you know he 0:00:31.360 --> 0:00:32.920 made for TV movies? 0:00:33.520 --> 0:00:34.640 Was this multiple? 0:00:34.960 --> 0:00:37.760 Was this before Nightmare on Elm Street or after? 0:00:38.800 --> 0:00:40.640 We'll get into this in a bit, but I believe 0:00:40.680 --> 0:00:43.600 this came out right before and or in the same 0:00:43.720 --> 0:00:46.199 year as Nightmare, So okay, we had a couple of 0:00:46.200 --> 0:00:47.880 different things happening at the same time. Here. 0:00:48.000 --> 0:00:52.640 Wow, So Invitation to Hell starring Robert Urich, Joanna Cassidy, 0:00:52.720 --> 0:00:56.680 and Susan Lucci. Of apparently, I didn't know this when 0:00:56.720 --> 0:00:59.920 I first watched this movie, but apparently of like soap 0:01:00.040 --> 0:01:02.280 opera Royalty, Urreat fame. 0:01:02.120 --> 0:01:04.039 Superstar in the soap opera world. 0:01:04.480 --> 0:01:08.280 But this movie is about an expensive and exclusive West 0:01:08.280 --> 0:01:11.800 Coast country club that is in fact run by Satan. 0:01:13.560 --> 0:01:17.760 It's true. So this one originally aired on Thursday May 0:01:17.800 --> 0:01:21.119 twenty fourth, nineteen eighty four in the eight to ten 0:01:21.200 --> 0:01:24.640 PM slot Eastern Time. I was looking this up on 0:01:24.680 --> 0:01:26.959 tv tango dot com. I think it was the highest 0:01:27.040 --> 0:01:30.520 rated network offering that night, beat out Simon and Simon 0:01:30.840 --> 0:01:34.440 Memory if my memory is correct. There it is not 0:01:34.520 --> 0:01:38.400 to be confused with a nineteen eighty two British horror 0:01:38.480 --> 0:01:41.640 film of the same name, directed by Michael J. Murphy. 0:01:42.040 --> 0:01:44.600 So there are two invitations to hell out there. You 0:01:44.600 --> 0:01:47.200 can accept them both, but just don't confuse the two. 0:01:47.600 --> 0:01:51.720 Both seem to involve people being invited to like swanky, 0:01:51.840 --> 0:01:55.240 fancy parties in order to be killed or exploited in 0:01:55.280 --> 0:01:59.720 some way. Yeah, so earlier this week, the reason I 0:01:59.760 --> 0:02:02.200 picked this movie is that I found myself craving that 0:02:02.400 --> 0:02:06.280 that sweet, unique flavor of made for TV horror. Oh. 0:02:06.320 --> 0:02:09.600 We've covered at least two other made for TV horror 0:02:09.600 --> 0:02:13.240 movies on Weird House Cinema. One was the nineteen seventy 0:02:13.320 --> 0:02:17.920 eight CBS film Death Moon starring Robert Foxworth. That was 0:02:18.000 --> 0:02:21.239 the work beast of the work, based about a guy 0:02:21.280 --> 0:02:23.680 who he's getting too stressed out at work, so he 0:02:23.720 --> 0:02:26.399 goes on vacation to Hawaii, but uh oh, turns into 0:02:26.400 --> 0:02:27.079 a were wolf. 0:02:27.440 --> 0:02:29.480 Yeah. Love that movie. I finally had to buy a 0:02:29.480 --> 0:02:33.400 bootleg of it, because if you look around, if you 0:02:33.440 --> 0:02:36.480 grow attached to some of these seventies and eighties TV movies, 0:02:37.280 --> 0:02:40.040 there's not always a physical media choice out there, not 0:02:40.160 --> 0:02:42.920 always a legitimate one. So sometimes you have to be 0:02:42.919 --> 0:02:45.440 a little creative if you want to give it a 0:02:45.480 --> 0:02:46.720 forever home in your house. 0:02:47.400 --> 0:02:50.480 The other one that we've done already is the nineteen 0:02:50.560 --> 0:02:55.120 seventy two CBS horror fantasy Gargoyles. That was the one 0:02:55.160 --> 0:02:58.440 with Cornell Wild, Bernie k C, Jennifer Salt, and Scott 0:02:58.480 --> 0:03:03.080 Glenn as a motorcycle hooligan. That one was about subterranean 0:03:03.160 --> 0:03:07.639 demons living in the American Southwest, which are called gargoyles 0:03:07.680 --> 0:03:09.359 for some unspecified reason. 0:03:09.880 --> 0:03:13.200 Yeah. Also an excellent film, excellent weird film. 0:03:13.680 --> 0:03:15.520 Have we done another one that I'm forgetting? I think 0:03:15.520 --> 0:03:17.400 those are the only two made for TV. 0:03:17.680 --> 0:03:20.480 Now, Shedy, I don't think we've actually done any other 0:03:20.480 --> 0:03:23.880 weird House episodes on other TV films. Of note that 0:03:23.919 --> 0:03:25.960 we have scouted a few others. I know we've talked 0:03:25.960 --> 0:03:29.360 about nineteen seventy three's The Horror at thirty seven thousand feet. 0:03:30.200 --> 0:03:32.079 Is that the one that's like an adaptation of the 0:03:32.720 --> 0:03:35.680 Twilight Zone thing with Shatner with the Grimlin on the 0:03:35.680 --> 0:03:37.480 airplane wing or is that a different one. Oh no, 0:03:37.560 --> 0:03:40.480 this is the one with druid magic. Yeah, druid magic 0:03:40.480 --> 0:03:41.160 on the airplane. 0:03:41.280 --> 0:03:44.080 Yes, some sort of druid magic or extorcism. So a 0:03:44.160 --> 0:03:47.600 number of different elements, including the shat going on at 0:03:47.600 --> 0:03:49.040 thirty seven thousand feet. 0:03:48.920 --> 0:03:50.240 That must have been the association. 0:03:50.360 --> 0:03:53.080 Yeah, okay, Yeah. We've also kind of batted around the 0:03:53.080 --> 0:03:55.600 idea of doing nineteen seventy three's of the night Stalker 0:03:56.120 --> 0:03:58.880 the kickstart of the TV series as well as of course, 0:03:58.880 --> 0:04:03.040 there are various Frameskenstein, Dracula and other horror adaptations for 0:04:03.120 --> 0:04:06.400 the small screen, though sometimes in those cases you get 0:04:06.560 --> 0:04:08.520 kind of out of because one of the things we're 0:04:08.560 --> 0:04:12.040 kind of talking about here are these weird one shot 0:04:12.400 --> 0:04:16.640 TV movies that are not a part of any other franchise, 0:04:16.760 --> 0:04:19.599 and they're not like a prestige picture like some of 0:04:19.600 --> 0:04:22.680 these Frankenstein Dracula pictures are kind of like the big 0:04:22.720 --> 0:04:25.360 mini series of the day, Like you wouldn't compare this 0:04:25.480 --> 0:04:29.400 film to say any get like you wouldn't compare it 0:04:29.400 --> 0:04:32.520 to the old Showgun TV mini series. Like obviously that 0:04:32.600 --> 0:04:36.000 was a real prestige project. This is something a little 0:04:36.000 --> 0:04:40.279 different somewhere, kind of stuck between a prestige TV mini 0:04:40.360 --> 0:04:47.240 series or a prestige TV movie and your standard episodic offerings. 0:04:47.600 --> 0:04:50.960 Yeah, I would say this movie is in its business 0:04:51.000 --> 0:04:53.359 life more of a quick and dirty cash in, but 0:04:53.680 --> 0:04:55.760 I you know, I want to sing for its virtues 0:04:55.920 --> 0:04:59.760 in this episode. So another reason that I was thinking 0:04:59.760 --> 0:05:02.400 about made for TV movies is that just recently, like 0:05:02.440 --> 0:05:05.240 in the past week, Rachel and I watched another one 0:05:05.320 --> 0:05:07.600 from also from nineteen seventy eight, the same year as 0:05:07.839 --> 0:05:11.960 Death Moon, which was an ABC made for TV horror 0:05:12.040 --> 0:05:15.320 called The Initiation of Sarah. Have you seen this, rob 0:05:15.440 --> 0:05:19.080 I have not. Seems heavily based on Stephen King's Carrie. 0:05:19.880 --> 0:05:22.320 The movie version of Carrie with Sissy's Basic came out 0:05:22.360 --> 0:05:24.640 in nineteen seventy six, so this would have been, you know, 0:05:24.720 --> 0:05:26.360 in the wake of that a couple of years after. 0:05:27.440 --> 0:05:30.279 This movie was about a It's about a troubled young 0:05:30.320 --> 0:05:34.640 woman with telekinetic powers who goes to college, gets bullied 0:05:34.640 --> 0:05:37.720 by a bunch of mean sorority girls led by Morgan Fairchild, 0:05:38.279 --> 0:05:40.800 and you can guess where it goes based on the 0:05:40.839 --> 0:05:43.159 Carry model, a similar kind of arc. There's you know, 0:05:43.200 --> 0:05:45.520 there's no pig's blood, but there's a similar there's like 0:05:45.880 --> 0:05:48.960 she sort of casts a spell that turns Morgan fairchild 0:05:49.080 --> 0:05:54.039 like like, evil looking and ugly, though this one has 0:05:54.080 --> 0:05:58.279 a variant Unlike Carrie, where the telekinetic girl is sort 0:05:58.279 --> 0:06:01.480 of coached in the dark side of the force by 0:06:01.560 --> 0:06:04.560 a mentor, an evil mentor, in this movie it's Shelley 0:06:04.560 --> 0:06:07.119 Winter is wearing a druid robe and a huge wig. 0:06:08.320 --> 0:06:10.479 So that one was pretty fun. But anyway, that brought 0:06:10.520 --> 0:06:13.599 me to Invitation to Hell, which I think is even 0:06:13.640 --> 0:06:17.760 more of a winner. There is something I find delightful 0:06:17.920 --> 0:06:23.839 and even intoxicating about the particular combination of spiciness and 0:06:24.279 --> 0:06:28.200 blandness that you get with American made for TV horror 0:06:28.200 --> 0:06:31.640 from these decades, from the seventies and eighties. Often these 0:06:31.680 --> 0:06:36.960 movies do have a really weird and disturbing premise and 0:06:37.040 --> 0:06:41.839 some wild ideas inside them, kind of trapped inside, but 0:06:42.080 --> 0:06:47.080 the imagination at work feels muted, muffled, of course censored 0:06:47.080 --> 0:06:50.280 for content because it was on TV, but also contorted 0:06:50.360 --> 0:06:53.520 into a particular shape. I think we talked about this 0:06:53.560 --> 0:06:55.640 When we did the episode on Gargoyles, you know that 0:06:55.680 --> 0:06:59.200 you got to accommodate ad breaks and hit predictable plot 0:06:59.240 --> 0:07:05.159 beats on the tea timeline, So it creates this weird effect, 0:07:05.240 --> 0:07:08.359 especially when it's a horror story where I wanted to 0:07:08.360 --> 0:07:11.480 compare it to seeing the outline of a dread outer god, 0:07:11.600 --> 0:07:17.600 but only through translucent glass bricks. Like occasionally, something weird 0:07:17.640 --> 0:07:20.840 and wild kind of gets loose in the story and 0:07:20.960 --> 0:07:23.960 for a moment it breaks through the confines of the format, 0:07:24.200 --> 0:07:27.080 before everything kind of settles back down and the being 0:07:27.120 --> 0:07:29.760 goes back behind the wall, and it ends up being 0:07:29.800 --> 0:07:32.360 kind of quaint and cozy at the same time. I 0:07:32.480 --> 0:07:33.280 really like it. 0:07:33.880 --> 0:07:35.640 Yeah, Yeah, We were talking a little bit about this 0:07:35.680 --> 0:07:39.520 off Mike before we started recording. We were talking about 0:07:39.560 --> 0:07:43.600 other West Craven pictures, and I pointed out that I 0:07:43.640 --> 0:07:45.320 was trying to figure out how to express how I 0:07:45.320 --> 0:07:47.240 felt about this, because I'm not gonna I'm not gonna 0:07:47.240 --> 0:07:48.760 go out there and say this is the best West 0:07:48.760 --> 0:07:51.960 Craven film at and it's also far from the worst. 0:07:52.560 --> 0:07:55.880 But I might have liked it in ways that I 0:07:55.960 --> 0:07:58.560 have never liked of West Craven film, and I think 0:07:58.600 --> 0:08:02.200 it comes down to comfy. This film felt comfy in 0:08:02.240 --> 0:08:07.600 a way that even I think objectively better West Craven 0:08:07.640 --> 0:08:10.680 films and certainly more influential West Craven films, are not. 0:08:11.040 --> 0:08:14.000 Like that might be part of what you're talking about here, 0:08:14.120 --> 0:08:19.040 Like the TV format is kind of this this way, 0:08:19.160 --> 0:08:22.360 this way of grounding the storytelling and in a way 0:08:22.400 --> 0:08:24.040 that makes you feel a little safer, Like this is 0:08:24.080 --> 0:08:27.800 network television in the seventies or eighties. It can only 0:08:27.800 --> 0:08:30.280 go so hard on me, you know. It's it has 0:08:30.440 --> 0:08:32.560 kid gloves on, perhaps to a certain extent because they 0:08:32.600 --> 0:08:33.880 got to wrap this up by ten pm. 0:08:34.240 --> 0:08:39.560 But it also provides a funny and comfortable contrast with 0:08:39.840 --> 0:08:44.320 the weirder and wilder elements of the horror themes. I 0:08:44.400 --> 0:08:46.920 just like the hot and cold showers element of it. 0:08:47.040 --> 0:08:49.560 Oh yeah, and this one's got some This one really 0:08:49.720 --> 0:08:50.760 goes all over the place. 0:08:50.920 --> 0:08:53.240 Yeah yeah, Now you were saying, in a way, you 0:08:53.280 --> 0:08:55.480 might think of this as kind of a favorite of 0:08:55.559 --> 0:08:59.200 Wes craven experiences. Some reviewers online regard this as Wes 0:08:59.280 --> 0:09:03.480 Craven's war movie. I don't think that's right. I'll give 0:09:03.480 --> 0:09:06.120 it that it is. He certainly has movies that I 0:09:06.120 --> 0:09:11.880 think are more artistically ambitious and more interesting and certainly scarier. 0:09:11.960 --> 0:09:14.680 This movie, I think is not very scary, but it 0:09:14.760 --> 0:09:18.640 is highly watchable and very entertaining and a lot of fun, 0:09:18.720 --> 0:09:20.840 I would say, much more so than some of Craven's 0:09:20.880 --> 0:09:26.719 lesser theatrical releases. And you know, even it has a 0:09:26.840 --> 0:09:29.600 kind of made for TV hokiness, but has some ideas. 0:09:29.679 --> 0:09:33.440 It's like it's having some fun. It's it's playing around. 0:09:33.280 --> 0:09:36.720 It's having some fun. It has things to say about 0:09:37.120 --> 0:09:42.319 ambition in the American dream. Yeah. So yeah, it's there's 0:09:42.360 --> 0:09:44.160 a fair amount going on here in this picture. And 0:09:44.600 --> 0:09:47.400 as we'll discuss too, it is perhaps a cut above 0:09:48.160 --> 0:09:50.839 some of the other made for TV films that were 0:09:50.840 --> 0:09:54.200 popping out around this time. Yeah, and to be clear, 0:09:54.200 --> 0:09:56.960 it is I think it is very easy to dismiss 0:09:57.120 --> 0:10:00.000 made for TV movies, particularly from this era, is lower 0:10:00.080 --> 0:10:04.360 budget productions produced to adhere to network standards, you know, 0:10:04.440 --> 0:10:07.280 thinking of them as sort of bland sandboxes for bland 0:10:07.320 --> 0:10:10.360 filmmakers and bland actors. But of course there's still plenty 0:10:10.360 --> 0:10:13.319 of room for talent to shine through even in those constraints, 0:10:14.360 --> 0:10:16.400 and I think part of it may be as well, 0:10:16.440 --> 0:10:18.240 that a lot of us have gotten away from watching 0:10:18.320 --> 0:10:23.920 films on broadcast television in general, but TV absolutely was, 0:10:24.040 --> 0:10:26.040 and you know, I guess, to a large distance still 0:10:26.080 --> 0:10:29.240 is a medium for film watching. In fact, TV is 0:10:29.280 --> 0:10:32.120 where some films really cemented their following. And I'm not 0:10:32.160 --> 0:10:34.960 just talking about like the cult films that you know, 0:10:35.040 --> 0:10:37.320 you and I may have grown up watching on TV 0:10:37.360 --> 0:10:39.120 and listeners may have grown up watching on TV like 0:10:39.160 --> 0:10:41.600 Beast Master and Clash of the Titans and stuff like that. 0:10:42.400 --> 0:10:45.120 You can say that about films like The Wizard of Oz. 0:10:45.920 --> 0:10:49.360 I was recently rewatching this film with my kid and 0:10:50.679 --> 0:10:53.679 it had the Turner Classic Movies intro by Ben Menkwitz, 0:10:54.040 --> 0:10:57.240 and he pointed out in this intro that when this 0:10:57.320 --> 0:10:59.600 film was released in thirty nine and then re released 0:10:59.600 --> 0:11:01.679 in forty nine and fifty five, you know, it's a 0:11:01.720 --> 0:11:06.160 critical success, but really only a modest financial success. It 0:11:06.240 --> 0:11:09.640 might sound crazy, but it was on TV that The 0:11:09.679 --> 0:11:14.680 Wizard of Oz apparently really caused viewers to fall in 0:11:14.679 --> 0:11:17.280 love with it. This is where it really began to 0:11:17.360 --> 0:11:21.920 take on the legendary status that it has today, which 0:11:22.000 --> 0:11:23.640 was that was a real eye opener for me. 0:11:24.040 --> 0:11:25.840 I wonder if that's the case with a lot of 0:11:25.880 --> 0:11:29.959 classic films. I'm just speculating, so I don't know in 0:11:30.360 --> 0:11:33.679 this case, but like I would strongly suspect that there 0:11:33.679 --> 0:11:36.199 are may be a lot of holiday films that are 0:11:36.280 --> 0:11:38.920 like that, that are like big because of reruns on TV. 0:11:39.080 --> 0:11:40.599 Like I wonder if that's the case with It's a 0:11:40.640 --> 0:11:43.679 Wonderful Life. Comparing the original release of that to like 0:11:44.000 --> 0:11:46.520 how much love it got in the years, you know, 0:11:46.600 --> 0:11:49.439 as I played in the holidays and stuff like that. 0:11:49.480 --> 0:11:51.560 I would not be surprised at all. Yeah, if that 0:11:51.600 --> 0:11:54.319 were the case, and even into fairly recent years, I 0:11:54.320 --> 0:11:56.880 think it's been surprising at how you can be surprised 0:11:56.880 --> 0:11:59.960 at at like what films can really like. Spike Rate 0:12:02.800 --> 0:12:05.120 a friend of mine who at the time worked for 0:12:05.160 --> 0:12:07.640 Cartoon Network and pointed out that like whenever they would 0:12:07.640 --> 0:12:11.000 play The Mask Too, the sequel to Jim Carrey's The Mask, 0:12:11.440 --> 0:12:13.720 ratings would just go through the like it was it 0:12:13.760 --> 0:12:15.400 was it was I'm not gonna say we'd go through 0:12:15.400 --> 0:12:16.920 the roof, but I think the idea was like if 0:12:16.960 --> 0:12:18.760 they needed to like sort of juice the ratings a 0:12:18.800 --> 0:12:21.040 little bit, this was always a film they could they 0:12:21.040 --> 0:12:23.240 could call upon this is always a lever they could pull. 0:12:23.440 --> 0:12:25.840 Is that just like ninety minutes of a cartoon faced 0:12:25.840 --> 0:12:27.000 dog biting crotches? 0:12:27.280 --> 0:12:29.520 I guess so. But you know, it's it's what, it's 0:12:29.520 --> 0:12:32.840 what works now. But to come back to this film 0:12:32.840 --> 0:12:34.600 and some of the others we've talked about, I am 0:12:34.640 --> 0:12:37.640 just continually impressed by just how weird and daring some 0:12:37.720 --> 0:12:40.840 of these TV movies of the Week were in the 0:12:40.880 --> 0:12:44.320 seventies and eighties, you know, rolling out strange scripts, bringing 0:12:44.360 --> 0:12:47.680 them to life, often with with modest budget casts and 0:12:47.720 --> 0:12:51.160 production values, and sometimes with up and coming or future 0:12:51.200 --> 0:12:53.360 big name actors attached, you know, the likes of John 0:12:53.400 --> 0:12:55.880 Carpenter and Steven Spielberg and of course Wes Craven. 0:12:56.000 --> 0:13:00.560 Yeah, that's right, was Steven Spielberg's duel made for TV 0:13:00.640 --> 0:13:03.240 movie also, I believe it was. Yeah, also had early 0:13:03.280 --> 0:13:06.720 made for TV stuff. So yeah, it is not just 0:13:06.840 --> 0:13:08.960 a play place for hacks. I mean, you know, some 0:13:09.040 --> 0:13:13.160 of the best and most revered directors in Hollywood did 0:13:13.200 --> 0:13:15.520 a lot of work here. Another thing that I think 0:13:15.640 --> 0:13:19.400 is interesting about Invitation to Hell is that it reminds 0:13:19.480 --> 0:13:22.880 me of a favorite that we have covered on Weird 0:13:22.880 --> 0:13:27.240 House Cinema, before, and that is the unloved but excellent 0:13:27.320 --> 0:13:31.280 Halloween sequel Halloween three, Season of the Witch. These are 0:13:32.200 --> 0:13:36.960 examples of the rare horror movie in which a sort 0:13:36.960 --> 0:13:41.520 of that have as their main feature a kind of 0:13:42.840 --> 0:13:47.840 economic or class critique, and that have a business as 0:13:47.960 --> 0:13:51.960 the main demonic villain. I thought that was kind of interesting. 0:13:51.960 --> 0:13:53.960 You would think there'd be more movies like that, But 0:13:54.160 --> 0:13:56.400 I struggle to come up with many examples. I mean, 0:13:56.440 --> 0:13:59.280 it's the case here. I mean, the closest thing you 0:13:59.320 --> 0:14:01.200 get is stuff it's more on the border of like 0:14:01.280 --> 0:14:03.840 horror and sci fi where you get it's like a 0:14:03.840 --> 0:14:07.200 weird creature that is made by some experiment or something 0:14:07.280 --> 0:14:09.240 like that. And even then like the monster is just 0:14:09.400 --> 0:14:14.520 made by corporate malfeasance, you know, and ignoring safety protocols 0:14:14.520 --> 0:14:17.560 and so forth. Now, this, this movie we're talking about 0:14:17.559 --> 0:14:20.600 today has well. Actually, this would be kind of difficult 0:14:20.600 --> 0:14:24.480 thing to disentangle. Do you think in Invitation to Hell 0:14:25.000 --> 0:14:29.000 that the country club or the corporation is actually the 0:14:29.040 --> 0:14:33.000 main evil institution, which is the main servant of Hell, 0:14:33.080 --> 0:14:35.160 and which one is more in service of the other. 0:14:35.920 --> 0:14:37.640 I guess it's the country Club. I don't want to 0:14:37.640 --> 0:14:41.360 spoil too much at this point, but I guess it's 0:14:41.400 --> 0:14:44.760 the country club, even though like with the country club exists, 0:14:44.760 --> 0:14:46.480 if the company wasn't there, I don't know. They are 0:14:46.560 --> 0:14:49.240 kind of intermingled, and it seems like there's a lot 0:14:49.240 --> 0:14:50.920 of influence going back both ways. 0:14:51.280 --> 0:14:54.400 It seems like almost like the corporation exists. I mean, 0:14:54.440 --> 0:14:58.600 they're making aerospace technology, but it just exists to funnel 0:14:58.640 --> 0:15:00.280 people into the country club. 0:15:00.560 --> 0:15:02.280 Yeah, and then the head of the country club can 0:15:02.320 --> 0:15:04.760 just come over and tour your top secret projects at 0:15:04.800 --> 0:15:07.960 any moment. So that's right. It's a weird setup. 0:15:09.040 --> 0:15:11.040 Well, maybe we should say here, as always on Weird 0:15:11.040 --> 0:15:13.560 House Cinema, we are going to discuss the plot in 0:15:13.560 --> 0:15:15.360 a lot of details. So if you would like to 0:15:15.360 --> 0:15:20.080 see Invitation to Hell without any additional spoilers, go watch 0:15:20.120 --> 0:15:22.840 it yourself. It's widely available. You can watch it streaming 0:15:22.880 --> 0:15:25.560 pause here. Go watch it and come back and listen 0:15:25.560 --> 0:15:27.440 to the rest. But if you think you're probably not 0:15:27.440 --> 0:15:29.120 going to watch it, or if you just don't care 0:15:29.160 --> 0:15:31.560 if we spoil the plot for you, you may proceed. 0:15:32.040 --> 0:15:34.880 All right, let's go ahead and listen to a little 0:15:34.880 --> 0:15:37.560 trailer audio. This time I was able to grab a 0:15:37.560 --> 0:15:40.720 little bit of the ABC movie promo. I like the 0:15:41.360 --> 0:15:44.240 network television promo for this film off of YouTube, so 0:15:44.440 --> 0:15:46.560 let's go ahead and listen to a little bit of that. 0:15:46.680 --> 0:15:49.240 It's a good one. 0:15:50.680 --> 0:15:53.280 They were the perfect family finding a new life and 0:15:53.320 --> 0:15:54.480 a new home, but. 0:15:54.560 --> 0:15:56.760 An invitation and the hottest spot in town. 0:16:00.120 --> 0:16:02.000 Became an invitation to Hell. 0:16:02.400 --> 0:16:04.240 One week from to Night at eight seven, said. 0:16:04.240 --> 0:16:10.920 I model, see, don't you want to stay up late? 0:16:11.080 --> 0:16:12.760 I'm not really late. Don't you want to stay up 0:16:12.760 --> 0:16:14.040 to ten pm? Watching this movie? 0:16:14.120 --> 0:16:16.920 Now I'm tuning in. I'm going to turn down any 0:16:17.120 --> 0:16:20.760 party invitations and any invitations to something other than Hell, 0:16:21.200 --> 0:16:23.680 because I already have an invitation to Hell on that's 0:16:23.680 --> 0:16:24.680 your TV screen, and. 0:16:24.680 --> 0:16:26.840 You can still watch sixty minutes or twenty twenty afterwards. 0:16:26.840 --> 0:16:28.360 I think it's twenty twenty that air okay? 0:16:28.760 --> 0:16:29.160 Nice? 0:16:29.640 --> 0:16:32.160 All right? As Joe mentioned earlier, Yeah, you can definitely 0:16:32.240 --> 0:16:34.600 go and stream this pretty much anywhere you want. I 0:16:34.600 --> 0:16:38.240 watched it on Prime. I believe it's It's come out 0:16:38.280 --> 0:16:41.320 on both DVD and VHS before, but I don't think 0:16:41.360 --> 0:16:45.040 it's received much attention on the physical media front, more 0:16:45.080 --> 0:16:48.600 than other made for TV films to be sure, but yeah, 0:16:48.680 --> 0:16:51.200 you're not going to find an exquisite blu ray of 0:16:51.280 --> 0:16:52.120 Invitation to Hell. 0:16:52.440 --> 0:16:55.600 Can I tell you my ideal way to own this. 0:16:56.080 --> 0:16:58.560 It would be like those tapes of the Star Wars 0:16:58.560 --> 0:17:03.080 Holiday Special where commercials are hardbaked in. If somebody out 0:17:03.120 --> 0:17:05.920 there has that, If you have a rip of Invitation 0:17:06.040 --> 0:17:09.840 to Hell with commercials in it, please please send it 0:17:09.880 --> 0:17:11.760 our way. I desperately want this. 0:17:20.200 --> 0:17:23.840 All right, let's jump into the connections here the people 0:17:23.880 --> 0:17:26.640 who made this film, starting at the top with Wes Craven, 0:17:26.720 --> 0:17:30.119 who lived nineteen thirty nine through twenty fifteen. This is 0:17:30.160 --> 0:17:32.240 somehow our first Wes Craven movie. 0:17:32.760 --> 0:17:35.120 We've talked about doing other ones. We've definitely talked about 0:17:35.160 --> 0:17:39.320 doing Swamp Thing and a number of other movies. Yeah, 0:17:39.359 --> 0:17:42.360 Wes Craven's got a lot of great films. But here, finally, 0:17:42.400 --> 0:17:44.040 at last, we have made it to the crave. 0:17:44.400 --> 0:17:49.440 Yeah. Yeah. Legendary American horror director. He was an academic 0:17:49.440 --> 0:17:52.440 and Humanity's professor in the mid sixties. His masters was 0:17:52.480 --> 0:17:55.679 in philosophy and writing, but then The Sirens Song of 0:17:55.720 --> 0:17:59.600 Cinema lured him away, initially into some low level editing 0:17:59.640 --> 0:18:02.000 position UNEs as well as some work in the adult 0:18:02.040 --> 0:18:05.040 film industry during the early in the mid seventies, including 0:18:05.080 --> 0:18:09.520 writing and directing under the moniker Abe Snake Abe Snake, 0:18:10.119 --> 0:18:14.320 which I love that name because it sounds as ridiculously 0:18:14.359 --> 0:18:17.960 made up and on brand for an adult film director 0:18:18.400 --> 0:18:22.159 as Wes Craven does for horror. So Wes Craven was 0:18:22.200 --> 0:18:26.040 of his actual name, so good now. It was not 0:18:26.119 --> 0:18:29.639 uncommon for filmmakers at various points in their career to 0:18:29.680 --> 0:18:32.679 do this, of course, especially during the adult film industry's 0:18:32.800 --> 0:18:36.960 golden age. But of course, his first breakout directorial effort 0:18:37.080 --> 0:18:40.240 was the notorious nineteen seventy two revenge film The Last 0:18:40.240 --> 0:18:44.040 House on the Left, followed by nineteen seventy seven's The 0:18:44.160 --> 0:18:48.359 Hills Have Eyes and the seventy eight TV movie Summer 0:18:48.359 --> 0:18:50.159 of Fear starring Linda Blair. 0:18:50.480 --> 0:18:51.439 Never Seen that one. 0:18:51.920 --> 0:18:55.520 Oh, and then also nineteen eighty one's Deadly Blessing This 0:18:55.560 --> 0:18:59.400 is another TV movie starring Ernest Borgnine. After this came 0:18:59.480 --> 0:19:02.680 his take DC Swamp Thing in eighty two, which show 0:19:02.680 --> 0:19:05.560 which you just mentioned. This one, of course starred Louis Jordaan, 0:19:05.960 --> 0:19:10.000 Adrian Barbou and Ray Wise. Ray Wise played the Swamp 0:19:10.040 --> 0:19:13.800 Thing and then in nineteen eighty four. This was a 0:19:13.920 --> 0:19:16.879 very interesting year for Craven because on one hand, we 0:19:16.960 --> 0:19:20.720 get this film, along with The Hills Have Eyes Part two, 0:19:21.600 --> 0:19:24.760 often considered one of, if not his worst film, and 0:19:25.720 --> 0:19:27.800 I think in part because I've also read it might 0:19:27.840 --> 0:19:31.480 not have actually been completed. It's supposedly a mess. And 0:19:31.560 --> 0:19:35.640 it's also a film where, if memory serves, everybody including 0:19:35.640 --> 0:19:37.679 a dog, has a flashback to the first. 0:19:37.400 --> 0:19:41.959 Film where they get to Reeve's footage. Yeah, pad that 0:19:41.960 --> 0:19:42.719 thing out, baby. 0:19:43.359 --> 0:19:46.720 Yeah. But this was also the year that he wrote 0:19:46.760 --> 0:19:49.119 and directed the excellent A Nightmare on Elm Street, a 0:19:49.119 --> 0:19:52.719 film that really did change horror cinema forever. You just 0:19:52.720 --> 0:19:55.720 can't understate how important A Nightmare of That on Elm 0:19:55.760 --> 0:19:57.719 Street was the creation of Freddy Krueger. 0:19:58.080 --> 0:20:00.640 So around the same time as in Vita to Hell. 0:20:01.119 --> 0:20:04.359 He's sort of there's somewhat overlapping projects night Mare on 0:20:04.400 --> 0:20:06.120 Elm Street and Invitation to Hell. 0:20:06.400 --> 0:20:09.760 Yeah. I don't have the exact timeline on things, but yeah, 0:20:09.800 --> 0:20:12.040 like a number of different things were coming to Fruition, 0:20:12.480 --> 0:20:15.600 including the big one or the first of a few 0:20:15.600 --> 0:20:18.240 different big ones for Wes Craven. You know, he was 0:20:18.720 --> 0:20:20.560 far from a one hit wonder. 0:20:20.480 --> 0:20:23.600 Though his success with Elm Street Weirdly Enough would not 0:20:23.800 --> 0:20:26.840 stop him from doing additional made for TV movies. 0:20:27.160 --> 0:20:30.160 No, no, yeah, because the weird thing. I mean, it's 0:20:30.200 --> 0:20:34.520 not really weird. But we've seen so many cases where 0:20:34.560 --> 0:20:37.280 a director, you know, strikes strikes gold, and they're going 0:20:37.320 --> 0:20:38.760 to come back and do that sequel, at least the 0:20:38.760 --> 0:20:42.520 first sequel, because that's going to help fund the next thing. 0:20:43.200 --> 0:20:45.320 But he did not immediately return to the Elm Street 0:20:45.359 --> 0:20:49.479 director's chair. He kept mostly to the horror genre, but 0:20:49.560 --> 0:20:52.400 explored some sci fi horror in the nineteen eighty five 0:20:52.440 --> 0:20:55.200 TV movie Chiller. I haven't seen that one, but that's 0:20:55.240 --> 0:20:56.480 like a cryogenics picture. 0:20:56.600 --> 0:20:59.439 Yeah, it's got a guy who gets cryogenically preserved and 0:20:59.440 --> 0:21:01.960 then comes back to life and then I think goes 0:21:02.000 --> 0:21:05.080 around stabbing people or something as pauls Orvino as a 0:21:05.119 --> 0:21:05.840 priest in it. 0:21:07.080 --> 0:21:10.200 Also, nineteen eighty six is Deadly Friend, which is I 0:21:10.200 --> 0:21:13.600 think a robotics movie. I almost rented it thinking it 0:21:13.680 --> 0:21:16.160 was invitation to help, Like, I picked it up off 0:21:16.160 --> 0:21:17.480 the shelf and I'm like, oh, this is the one 0:21:17.560 --> 0:21:19.520 Joe was talking about, and then I realized, oh wait, 0:21:19.600 --> 0:21:20.280 this is actually not. 0:21:20.359 --> 0:21:23.080 It doesn't mean we shouldn't watch it though, No. 0:21:23.080 --> 0:21:27.440 No. During this time he also directed an episode of 0:21:27.480 --> 0:21:32.399 the Magical World of Disney, an episode titled Casebusters starring 0:21:32.440 --> 0:21:35.440 Noah Hathaway. Of course we know as a Treyu from 0:21:35.440 --> 0:21:36.359 the never Ending Story. 0:21:36.520 --> 0:21:40.040 Oh okay, not the only never ending story tieing in 0:21:40.080 --> 0:21:41.480 this episode correct. 0:21:42.880 --> 0:21:45.840 He also directed five episodes of the nineteen eighties Twilight 0:21:45.920 --> 0:21:49.440 Zone revival, and then came the infamous nineteen eighty eight 0:21:49.480 --> 0:21:53.320 production of The Serpent in the Rainbow. I don't know 0:21:53.320 --> 0:21:55.159 if infamous is really the right way to describe it, 0:21:55.160 --> 0:21:58.439 but I know this one had a very troubled production story. 0:21:58.440 --> 0:22:00.320 There were a lot of complications this. 0:22:00.800 --> 0:22:02.520 Yeah, that was a movie, but voodoo. 0:22:02.880 --> 0:22:08.160 Yeah. Nineteen eighty nine Shocker came next that. That's when 0:22:08.160 --> 0:22:11.480 I know you have a fair amount of enthusiasm for Yeah. 0:22:11.640 --> 0:22:14.879 I think that's a bullseye in my category of not 0:22:15.080 --> 0:22:18.200 good but a good time. Yeah. 0:22:18.359 --> 0:22:21.080 And then nineteen ninety one's The People under the Stairs, 0:22:21.080 --> 0:22:25.080 a movie that I have seen, but it's weird. My 0:22:25.240 --> 0:22:30.480 memory of seeing it is still overshadowed by my childhood 0:22:30.520 --> 0:22:33.600 idea of what this movie might be if that makes sense, 0:22:33.640 --> 0:22:36.280 like seeing the posters, seeing the VHS box art, Like 0:22:36.320 --> 0:22:41.639 I remember my anticipation of this movie far more than 0:22:41.680 --> 0:22:43.720 I remember actually seeing it. I remember you and I 0:22:43.760 --> 0:22:44.800 have talked about this before. 0:22:44.800 --> 0:22:46.919 How you would I think we would sort of do 0:22:46.960 --> 0:22:49.880 the same thing, like wander around the video store when 0:22:49.920 --> 0:22:52.760 we were young and look at the horror box covers 0:22:53.240 --> 0:22:57.120 and just imagine what the movie is without actually seeing it. 0:22:57.240 --> 0:23:00.080 So sometimes when you actually when you're older and you 0:23:00.119 --> 0:23:02.280 can see these movies, or maybe you're still too young 0:23:02.280 --> 0:23:05.119 to be watching them, but you see them anyway, it 0:23:05.240 --> 0:23:08.080 just doesn't match the movie you already imagined, and so 0:23:08.160 --> 0:23:09.880 you end up with a blended memory. 0:23:10.280 --> 0:23:14.080 Yeah, yeah, it's true. So it wasn't until nineteen ninety 0:23:14.160 --> 0:23:17.679 four that he returned to the Elm Street franchise with 0:23:17.760 --> 0:23:21.080 the meta horror film New Nightmare, in which he, like 0:23:21.200 --> 0:23:24.120 many members of the original cast, plays himself as well 0:23:24.160 --> 0:23:25.720 in addition to directing it. 0:23:25.880 --> 0:23:28.280 I have a lot of positive feelings about New Nightmare, 0:23:28.320 --> 0:23:30.320 but my memory I haven't seen it in a long time, 0:23:30.320 --> 0:23:33.600 But my memory is it almost is more exciting as 0:23:33.600 --> 0:23:36.639 a premise than effective as a completed film. 0:23:37.359 --> 0:23:40.080 Yeah, I think what also, I saw the year it 0:23:40.119 --> 0:23:42.919 came out, but it was I think one of the 0:23:42.960 --> 0:23:45.080 factors that I have to take into account is this 0:23:45.200 --> 0:23:48.120 was the same year, nineteen ninety four that John Carpenter's 0:23:48.160 --> 0:23:50.840 In the Mouth of Madness came out. Both films that 0:23:50.920 --> 0:23:54.119 play with the sort of meta idea of horror fiction 0:23:54.359 --> 0:24:00.000 and reality blending and the membrane between the two worlds growing. 0:24:00.720 --> 0:24:03.440 And I think they're both effective in their own way. 0:24:03.560 --> 0:24:06.040 But In the Mouth of Madness really resonated with me 0:24:06.119 --> 0:24:08.560 at the time and stands out more in my own 0:24:08.600 --> 0:24:09.760 memory as a film that I love. 0:24:10.000 --> 0:24:12.480 Yeah, I think that's a more exciting film overall. But 0:24:12.640 --> 0:24:14.400 the premise of New Nightmare is really cool for people 0:24:14.440 --> 0:24:18.119 who aren't familiar. The idea is that it's about real people. 0:24:18.119 --> 0:24:20.600 It's about Wes Craven as Wes Craven, I mean, he's 0:24:20.600 --> 0:24:22.879 not the main character. The main character is Heather Langenkamp, 0:24:23.040 --> 0:24:25.520 the actress who played the main character in the first 0:24:25.600 --> 0:24:30.119 Nightmare movie as herself, and other fictionalized versions of like 0:24:30.200 --> 0:24:32.919 the actors and you know, Robert England and people involved 0:24:32.920 --> 0:24:35.600 in these movies. And the premise is that there is 0:24:35.640 --> 0:24:40.800 a sort of ancient entity which attaches itself to characters 0:24:40.840 --> 0:24:43.520 in like scary stories that are told around the campfire 0:24:43.560 --> 0:24:46.439 over the years, and it attaches itself to the idea 0:24:46.440 --> 0:24:49.520 of Freddy Krueger. So for these people in the real world, 0:24:49.640 --> 0:24:52.480 the fictional character Freddy Krueger becomes real. 0:24:53.200 --> 0:24:58.240 It is a really daring idea. I feel like it's 0:24:58.280 --> 0:25:00.720 exactly what the franchise needed at that point. I feel 0:25:00.720 --> 0:25:03.199 like we can look at the timeline of Freddy Krueger 0:25:03.200 --> 0:25:05.000 movies and can realize that it was getting long in 0:25:05.040 --> 0:25:07.760 the tooth and it needed to be shaken up one 0:25:07.760 --> 0:25:10.800 way or another, and this was like, this was a 0:25:10.800 --> 0:25:14.920 pretty artful and imaginative way to shake things up, and 0:25:15.280 --> 0:25:17.679 clearly like the way that brought Wes Craven back to 0:25:17.720 --> 0:25:20.679 the picture. Yeah, totally now. He followed that up with 0:25:20.720 --> 0:25:24.040 the nineteen ninety five Eddie Murphy horror comedy Vampire in Brooklyn, 0:25:24.400 --> 0:25:26.919 which was widely panned at the time and there were 0:25:26.920 --> 0:25:28.920 a lot of jokes about it. But I believe it's 0:25:28.960 --> 0:25:32.320 been reassessed in recent years and there's some different ideas 0:25:32.359 --> 0:25:34.720 about how we should look at Vampire in Brooklyn. I 0:25:34.720 --> 0:25:37.399 don't think I ever saw it myself, though, but the 0:25:37.480 --> 0:25:39.680 following year Craven hit it out of the park once 0:25:39.720 --> 0:25:43.040 more with a hugely successful Scream, which would spawn an 0:25:43.160 --> 0:25:46.679 entire franchise, obviously, with Craven directing the first four films, 0:25:46.720 --> 0:25:50.119 this time with twenty eleven Scream four standing as his 0:25:50.240 --> 0:25:53.360 final directorial credit before his death in twenty fifteen. 0:25:53.720 --> 0:25:56.199 You know, after the first Scream, I think you could 0:25:56.359 --> 0:26:00.360 very legitimately make the charge that the Scream movie are 0:26:00.840 --> 0:26:04.240 no longer innovating. They're just kind of varying the same formula. 0:26:04.680 --> 0:26:08.280 So you know, that may be fair. But I've been 0:26:08.400 --> 0:26:10.959 entertained by all of them. I haven't been bored by 0:26:10.960 --> 0:26:11.960 a Scream movie yet. 0:26:12.560 --> 0:26:15.240 Yeah, I mean, I haven't gotten to the point where 0:26:15.280 --> 0:26:18.800 I have wanted to go back and reassess the Scream movies. 0:26:18.840 --> 0:26:21.600 I enjoyed them. I enjoyed them at the time, and 0:26:22.200 --> 0:26:23.800 I guess on one level, it kind of makes me 0:26:23.840 --> 0:26:26.159 feel old to realize that ghost Face is a horror 0:26:26.600 --> 0:26:29.600 icon now, like he's shown up in the Mortal Kombat 0:26:29.600 --> 0:26:34.280 franchise as a DLC character at this point, alongside the 0:26:34.480 --> 0:26:37.920 likes of Freddy Krueger and Jason Voorhees and the Xeno 0:26:37.960 --> 0:26:38.880 Morph and Predator. 0:26:39.160 --> 0:26:41.600 Wait a minute, if he's in Mortal does he like 0:26:41.680 --> 0:26:43.119 call lu Kang on the phone? 0:26:43.720 --> 0:26:45.840 I don't know. I haven't played. This is the latest 0:26:45.840 --> 0:26:49.440 one that my poor system can't play this one. Someone 0:26:49.480 --> 0:26:51.239 else will have to write in and tell us how 0:26:51.240 --> 0:26:51.880 this plays out. 0:26:52.160 --> 0:26:55.040 I mean, the phone calls are crucial. That's what scream is. 0:26:55.720 --> 0:26:57.680 I would hope so Johnny Kaye has the phone, maybe 0:26:57.680 --> 0:27:01.680 he can get phone calls from ghost Face. Well anyway. 0:27:01.800 --> 0:27:05.840 Wes Craven's scream era also included some notable deviations, most 0:27:05.880 --> 0:27:09.080 notably the nineteen ninety nine drama Music of the Heart, 0:27:09.119 --> 0:27:12.520 which starred Meryl Streep. She was nominated for Best Actress 0:27:12.760 --> 0:27:15.399 Academy Award for that role. He also directed a segment 0:27:15.480 --> 0:27:18.040 in two thousand and six is Paris just him? This 0:27:18.160 --> 0:27:21.240 is French so and may be butchering alongside the likes 0:27:21.240 --> 0:27:24.240 of the Cohen Brothers and others. I saw this one 0:27:24.960 --> 0:27:27.680 in the cinema. I think I only remember the Coen 0:27:27.720 --> 0:27:30.840 Brothers segment though, okay, I think it had steep yuseim 0:27:30.880 --> 0:27:34.320 me in it. But Craven also directed the two thousand 0:27:34.320 --> 0:27:38.119 and five werewolf movie Cursed starring Christina Ricci, and the 0:27:38.160 --> 0:27:42.040 air Travel thriller Red Eye, starring Rachel McAdams, Killian Murphy, 0:27:42.160 --> 0:27:44.000 and of course the legendary Brian Cox. 0:27:44.119 --> 0:27:46.080 Oh, I didn't know Brian Cox was in that. Now 0:27:46.080 --> 0:27:46.919 I kind of want to see it. 0:27:47.160 --> 0:27:50.680 Yeah, I haven't seen it. I often avoid the air 0:27:50.720 --> 0:27:53.640 travel thrillers. But I mean that's a good cast. There's 0:27:53.680 --> 0:27:55.720 no doubt about it. Love all three of them. 0:27:56.119 --> 0:27:58.800 Oh yeah, well that's fair. I realist. That's probably the 0:27:58.800 --> 0:28:01.160 reason we have not yet covered go Co body Snatcher 0:28:01.200 --> 0:28:01.680 from Hell. 0:28:02.280 --> 0:28:05.480 Yeah. Now's the time, though, I'm in between flights, so 0:28:05.560 --> 0:28:08.280 you don't have any trips coming up, not for a 0:28:08.320 --> 0:28:08.880 couple of months. 0:28:08.920 --> 0:28:11.000 So yeah, okay, well maybe we should do it. 0:28:11.200 --> 0:28:15.080 Yeah, all right, now that we've done Wes Craven, hopefully 0:28:15.160 --> 0:28:18.200 due diligence there at least a brief overview, we'll move 0:28:18.240 --> 0:28:20.960 on to the writer. The screenwriter of this TV movie. 0:28:21.000 --> 0:28:24.359 It's Richard Rothstein, who lived nineteen forty three through twenty 0:28:24.400 --> 0:28:28.320 eighteen American screenwriter and producer, whose first produced script was 0:28:28.359 --> 0:28:32.280 the nineteen seventy eight western shoot The Sundown, co starring 0:28:32.440 --> 0:28:36.080 very young Christopher Walken. His credits include various other films 0:28:36.080 --> 0:28:39.320 and TV movies, but most Notable are eighty two episodes 0:28:39.360 --> 0:28:42.880 of TV's The Hitchhiker, which ran eighty four through ninety seven, 0:28:43.240 --> 0:28:47.600 and of course nineteen ninety two's Universal Soldier starring Jean 0:28:47.680 --> 0:28:48.320 Claude van Dam. 0:28:48.680 --> 0:28:50.760 Oh. Okay, yeah, he was. 0:28:50.720 --> 0:28:52.400 Just involved with the first one, but you'll see him 0:28:52.400 --> 0:28:56.800 as he gets a character credit on all subsequent Universal 0:28:56.800 --> 0:28:57.680 Soldier movies. 0:28:58.200 --> 0:28:59.400 That also of Doulph Lundgren. 0:29:00.240 --> 0:29:03.719 Yep, he's definitely in the first one and eventually pops 0:29:03.720 --> 0:29:06.840 back up in the latter ones as well. All right, 0:29:06.920 --> 0:29:09.880 getting into the cast here, top billing goes to Robert Urick, 0:29:10.160 --> 0:29:15.080 who plays Matt Winslow. Urick lived nineteen forty six through 0:29:15.200 --> 0:29:19.320 two thousand and two, American leading man actor, best remembered 0:29:19.320 --> 0:29:21.680 for his work in the seventies and eighties, which included 0:29:21.720 --> 0:29:24.840 a lot of TV, including the title role in Spencer 0:29:24.920 --> 0:29:27.640 for Hire and the role of Jake Spoon in the 0:29:27.720 --> 0:29:32.240 nineteen eighty nine mini series Lonesome Dove. Oh yeah, that 0:29:32.360 --> 0:29:33.920 that of course had a terrific cast. 0:29:34.240 --> 0:29:37.000 I haven't seen it, but I started reading the novel 0:29:37.120 --> 0:29:39.240 last year and really liked it, but then just didn't 0:29:39.240 --> 0:29:39.719 finish it. 0:29:39.920 --> 0:29:43.040 Oh yeah, it's a great novel, as well, there's another 0:29:43.040 --> 0:29:45.280 one in that series that I read, Comanche Moon, that 0:29:45.320 --> 0:29:48.440 I really liked. But yeah, the mini series was definitely 0:29:48.480 --> 0:29:51.360 a prestige project, had Robert Duvall and it also had 0:29:51.400 --> 0:29:56.040 Sonny Carl Davis in it, a bunch of people. But yeah, 0:29:56.080 --> 0:29:59.120 Robert Urick is in that and plays a plays a 0:29:59.600 --> 0:30:03.880 character that kind of it's easy to look at his 0:30:03.960 --> 0:30:06.360 role in this picture and sort of identify the sort 0:30:06.360 --> 0:30:09.280 of leading man type roles that he played. He plays 0:30:10.160 --> 0:30:14.480 a flawed character in Lonesome Dove, a character that ends 0:30:14.560 --> 0:30:17.520 up having not a great trajectory. Other films of his 0:30:17.600 --> 0:30:20.800 include seventy three's Magnum Force. Oh, and then the nineteen 0:30:20.840 --> 0:30:25.360 eighty two Alan Rudolph cattle mutilation conspiracy thriller Endangered Species. 0:30:25.840 --> 0:30:29.280 That's another one where he gets to play a more 0:30:29.520 --> 0:30:32.520 morally complicated character as you might expect from an Alan 0:30:32.600 --> 0:30:33.400 Rudolph picture. 0:30:33.680 --> 0:30:37.280 Once again, that was not the cattle mutilation movie we 0:30:37.360 --> 0:30:39.440 talked about, that was the other one. 0:30:39.600 --> 0:30:43.160 Yeah, Yeah, this is one where this one leans more 0:30:43.200 --> 0:30:46.760 conspiracy thriller as opposed to aliens doing things to cows. 0:30:47.480 --> 0:30:50.720 But it's also it's pretty great. It's like it's Alan Rudolph, 0:30:51.120 --> 0:30:55.000 you know, going for a mainstream thriller vibe, but it's 0:30:55.040 --> 0:30:58.680 quite effective. It's one that I've toyed around with the 0:30:58.680 --> 0:31:01.640 idea of covering. I definitely want to some Alan Rudolph 0:31:01.720 --> 0:31:04.280 film at one point or another. Is just a matter 0:31:04.320 --> 0:31:05.200 of picking the right one. 0:31:05.440 --> 0:31:07.280 I've got one on my list. We can talk about 0:31:07.320 --> 0:31:08.160 after this episode. 0:31:08.200 --> 0:31:12.080 Oh yeah, yeah, But anyway, I like Robert Urick, you know, yeah, 0:31:12.240 --> 0:31:15.120 you know, very much seventies eighties leading man stock but 0:31:15.160 --> 0:31:17.960 I feel like he always gets the job done. And 0:31:18.120 --> 0:31:20.880 you know, obviously he's an actor we would have liked 0:31:20.880 --> 0:31:22.880 to have seen more from. We didn't get to see 0:31:22.920 --> 0:31:25.160 a lot of late career character work from him, as 0:31:25.200 --> 0:31:27.800 he passed from cancer at the age of fifty five. 0:31:29.320 --> 0:31:32.720 Yeah, the main character in this movie I actually found 0:31:33.160 --> 0:31:37.120 quite likable, So Matt Winslow. This character, he's sort of 0:31:37.320 --> 0:31:41.200 a classic like solid family man, like a loving father 0:31:41.440 --> 0:31:45.520 and a good husband and an emblem of rectitude, so 0:31:45.560 --> 0:31:48.640 you might expect, well, he's kind of an uncomplicated character, 0:31:48.840 --> 0:31:51.640 so there's not much to get into here. But I 0:31:51.640 --> 0:31:55.640 don't know, I really enjoyed this character. Actually, he's a 0:31:55.680 --> 0:31:58.680 good guy by trade. In the movie he's an engineer 0:31:58.760 --> 0:32:02.440 who works in this era space technology industry, and they 0:32:02.440 --> 0:32:06.040 have him designing cutting edge suits for astronauts to wear, 0:32:06.200 --> 0:32:09.400 like in the next phase of Solar System exploration. And 0:32:09.440 --> 0:32:13.120 he has this ludicrous sci fi dialogue to deliver where 0:32:13.160 --> 0:32:16.280 he's like having them point this spacesuit helmet at things 0:32:16.280 --> 0:32:19.080 and it identifies whether it is human or not, or 0:32:19.560 --> 0:32:22.800 a non human terrestrial or non terrestrial. 0:32:22.400 --> 0:32:26.040 Being, yes, or if you are benign or malignant, is 0:32:26.040 --> 0:32:27.200 it malignant or malicious? 0:32:27.640 --> 0:32:30.720 Yeah, benign or malignant beings of whether or not they're 0:32:30.760 --> 0:32:33.240 from Earth, and it just the helmet knows. 0:32:34.000 --> 0:32:35.920 It's remarkable tech that he developed here. 0:32:36.440 --> 0:32:39.280 So he's but he delivers that with a kind of 0:32:39.320 --> 0:32:44.760 illan that's admirable. Also, this character, Matt and by extension, Urik, 0:32:44.840 --> 0:32:47.840 is a megahunk, and the movie is not shy about 0:32:47.880 --> 0:32:50.240 like letting you get a good idea of what his 0:32:50.240 --> 0:32:52.560 butt looks like in some nice fitting khakis. 0:32:53.320 --> 0:32:56.240 Yeah, that's right. He's at least shirtless in one scene. 0:32:57.000 --> 0:32:59.920 But this is a kind of leading man, good guy 0:33:00.240 --> 0:33:05.080 roll that I think we could potentially underappreciate. It takes 0:33:05.080 --> 0:33:07.000 a little more skill than you might think when when 0:33:07.040 --> 0:33:08.880 you first watched this movie because of all the different 0:33:08.880 --> 0:33:11.600 stuff he has to do and that he has to 0:33:11.760 --> 0:33:16.880 navigate the performance of like fighting off demonic versions of 0:33:16.920 --> 0:33:20.480 his own children that are attacking him, and you know 0:33:20.760 --> 0:33:21.680 he does well with it. 0:33:21.880 --> 0:33:23.480 Yeah, yeah, yeah. He has to do kind of like 0:33:23.520 --> 0:33:26.840 the grounded, believable stuff and then like really lean into 0:33:26.880 --> 0:33:29.560 the into the into the role when it gets super 0:33:29.600 --> 0:33:41.120 weird towards the end. Yeah, all right, So that is 0:33:41.240 --> 0:33:44.960 Matt Winslow playing his wife. Pat Winslow is Joanna Cassidy 0:33:45.080 --> 0:33:48.880 born nineteen forty five. Two time Emmy nominated actress for 0:33:49.280 --> 0:33:51.680 Elite Actress role on eighty four's Buffalo Bill and then 0:33:51.960 --> 0:33:54.240 a guest role in the TV series Six Feet Under. 0:33:55.120 --> 0:33:57.720 Best remembered by many of you, though as the snake 0:33:57.800 --> 0:34:01.160 handling replicant Zora in Really Scott's Blade Runner. 0:34:01.640 --> 0:34:04.320 Oh okay, I didn't make that connection, all right. 0:34:04.440 --> 0:34:07.640 She's the one who she's wearing like, yeah, yeah, it's 0:34:07.640 --> 0:34:11.279 like a shower curtain trench coat and she gets gunned 0:34:11.320 --> 0:34:13.200 down in the street by our hero. 0:34:13.440 --> 0:34:15.920 Yeah yeah, totally. She's working at the club and she 0:34:15.920 --> 0:34:17.799 has the snake. Yeah, yeah, I remember her. 0:34:18.160 --> 0:34:20.759 She also played the character Dolores in nineteen eighty eights 0:34:20.760 --> 0:34:23.200 who framed Roger Rabbit, and she had a role in 0:34:23.280 --> 0:34:25.120 seventy three as the Laughing Policeman. 0:34:25.440 --> 0:34:28.600 She's also good here playing a conflicted character, someone who's 0:34:28.600 --> 0:34:33.160 torn between wanting to be like a loyal and kind 0:34:33.239 --> 0:34:36.160 wife and mother to her family, but she's also feeling 0:34:36.200 --> 0:34:40.279 the pull of like ostentatious wealth and the desire to 0:34:40.280 --> 0:34:44.279 be included in this rich new jet set that the 0:34:44.320 --> 0:34:45.440 family has moved in with. 0:34:45.719 --> 0:34:48.600 Yeah, because that's all that's ultimately the meat, like the 0:34:48.640 --> 0:34:53.040 social commentary that this film dabbles in as ambition and 0:34:53.080 --> 0:34:56.000 what do you want to be versus what you are? 0:34:56.440 --> 0:34:58.400 What are you know? What are your values? What are 0:34:58.440 --> 0:35:03.000 your ambitions? What is the American dream that either you 0:35:03.120 --> 0:35:05.640 have for yourself or is being inflicted upon you? And 0:35:05.680 --> 0:35:07.319 who is doing the inflicting? Oh? 0:35:07.400 --> 0:35:10.040 Oh, let's talk about Jessica Jones. Yes, that is the 0:35:10.120 --> 0:35:10.839 character's name. 0:35:10.960 --> 0:35:14.960 Yes, it's such a Yeah, it feels like such an 0:35:15.040 --> 0:35:17.960 everyday name for this character. And I guess part of 0:35:17.960 --> 0:35:21.160 it is like I grew up with somebody named Jessica Jones, 0:35:21.160 --> 0:35:23.640 so it like it just feels like it's like literally 0:35:23.680 --> 0:35:27.480 the girl next Door's name. And the character that Susan 0:35:27.560 --> 0:35:29.080 Lucci is playing here is anything. 0:35:29.080 --> 0:35:33.960 But isn't Jessica Jones also a superhero? There was a 0:35:34.000 --> 0:35:34.920 show of wasn't there. 0:35:35.200 --> 0:35:39.640 Yeah, yeah, Jessica Jones. The it's a Marvel character. But 0:35:39.719 --> 0:35:42.000 I think they I'm not an expert on that character, 0:35:42.000 --> 0:35:44.080 but I think they chose the name Jessica Jones right, 0:35:44.160 --> 0:35:46.719 or at least they they focused in on it because 0:35:46.719 --> 0:35:49.040 it sounds so normal for a superhero, and it's about 0:35:49.080 --> 0:35:52.440 her being like an ex costume superhero now living a 0:35:52.480 --> 0:35:56.560 more like you know, film noir, kind of like gritty 0:35:57.400 --> 0:35:58.560 realistic existence. 0:35:58.680 --> 0:36:00.480 Oh okay, Well I didn't know anything about it. I 0:36:00.560 --> 0:36:03.160 just knew if the character existed. But yeah, anyway, so 0:36:03.239 --> 0:36:06.279 this is Jessica Jones in Invitation to Hell. Is the 0:36:06.360 --> 0:36:11.560 character played by Susan Lucci, the daytime TV soap opera 0:36:11.719 --> 0:36:15.720 Royalty who we were talking about earlier. And Lucci seems 0:36:15.719 --> 0:36:18.640 to be having the time of her life in this movie, 0:36:18.800 --> 0:36:22.160 playing the Satanic impress of the golf course. I love this. 0:36:22.960 --> 0:36:25.120 Yeah, she's really getting in there and having a good 0:36:25.120 --> 0:36:28.200 time with this. Yeah. She was born in nineteen forty six, 0:36:28.239 --> 0:36:31.520 still active, best known for her long running, ANY winning 0:36:31.600 --> 0:36:34.760 role as Erica Kine on the soap opera All My Children. 0:36:35.040 --> 0:36:37.560 I believe if I'MDB is correct here, and they usually 0:36:37.560 --> 0:36:41.080 are oney seven hundred and forty two episodes of that series. 0:36:41.280 --> 0:36:42.400 How is that possible? 0:36:44.120 --> 0:36:47.760 Yeah, just they crank them out and then they run forever, 0:36:48.160 --> 0:36:52.120 or they ran forever. She also co starred with Robert 0:36:52.200 --> 0:36:56.480 Urick in the nineteen ninety two thriller Double Edge. Undoubtedly 0:36:56.560 --> 0:36:59.280 a TV legend here, and I've read that this whole 0:36:59.320 --> 0:37:03.440 film exist because her nineteen eighty three contract to keep 0:37:03.480 --> 0:37:06.160 acting on All My Children specified that she would get 0:37:06.160 --> 0:37:09.560 to do some sort of a like a TV movie 0:37:09.560 --> 0:37:12.440 of the week, and so they had this script written 0:37:12.560 --> 0:37:14.520 with her in mind. They were like, we've got to 0:37:14.520 --> 0:37:18.600 make we need to make a sci fi drama for 0:37:18.880 --> 0:37:22.680 Susan Lucci. See what you can put together, and so 0:37:23.080 --> 0:37:25.040 we end up with her playing Jessica Jones. Here. 0:37:25.360 --> 0:37:28.960 This Wes Craven movie is actually a Susan Lucci vehicle. 0:37:29.440 --> 0:37:32.759 Yes, yeah, I think crave. I've read that Craven came 0:37:32.800 --> 0:37:35.440 in kind of kind of laid on it, like there's 0:37:35.440 --> 0:37:37.799 still pre production, but a lot of the elements were 0:37:37.800 --> 0:37:39.800 already in place. But then he hit the ground running, 0:37:40.040 --> 0:37:42.440 you know, finishing putting everything together and figuring out how 0:37:42.440 --> 0:37:46.279 to make a few things work. But yeah, really fun 0:37:46.360 --> 0:37:49.000 role here. I think this and the nineteen eighty seven 0:37:49.080 --> 0:37:53.160 TV movie Haunted by Her Past maybe the only projects 0:37:53.200 --> 0:37:55.759 she's done that have a true speculative element to them. 0:37:55.880 --> 0:37:58.319 So you can imagine somebody who's like cranking out soap 0:37:58.360 --> 0:38:01.040 opera after soap opera episode, you know, having a great 0:38:01.040 --> 0:38:02.840 time getting to play the devil. 0:38:03.280 --> 0:38:05.200 Yeah, she should have done it more. 0:38:05.800 --> 0:38:09.040 Also, of note, she was in a nineteen ninety five 0:38:09.160 --> 0:38:13.120 TV movie called Ebbie, in which she plays a female 0:38:13.239 --> 0:38:17.839 version of Ebenezer Scrooge. I haven't seen that one either, 0:38:17.880 --> 0:38:20.000 but that also sounds that sounds like that was also 0:38:20.120 --> 0:38:23.560 a fun alternative to what she usually did. 0:38:23.880 --> 0:38:25.799 Do you know if on All My Children did she 0:38:25.960 --> 0:38:28.440 play a good character or a bad character? 0:38:29.440 --> 0:38:32.920 I think maybe more bad. It seems like all the 0:38:32.960 --> 0:38:37.080 memorable soap opera characters are baddies, right, Like those are 0:38:37.239 --> 0:38:41.120 the characters you love to hate? Right? Maybe you know 0:38:41.160 --> 0:38:44.200 you remember names, like you know, and I'm betraying my 0:38:45.560 --> 0:38:47.080 you know how little I know about soap operas, But 0:38:47.080 --> 0:38:50.200 you're gonna remember Barnabas Collins because he's a vampire. You're 0:38:50.200 --> 0:38:53.800 gonna remember presumably Erica Kane because she's also a baddie. 0:38:54.400 --> 0:38:56.080 Does sound like a bad character name? 0:38:56.160 --> 0:38:58.719 Yeah, speaking of names, I guess it would have been 0:38:58.719 --> 0:39:00.719 two on the nose if they call or Lucci for 0:39:00.960 --> 0:39:04.680 in this you know, so they probably like just colleg 0:39:04.760 --> 0:39:09.600 Jaska jots. All right. Up next, we have Joe Rogato 0:39:09.800 --> 0:39:15.600 playing Tom Peterson born nineteen forty nine, probably best known 0:39:15.640 --> 0:39:17.200 to many of you out there. This is the main 0:39:17.239 --> 0:39:19.040 connection I had to his work because he played the 0:39:19.080 --> 0:39:23.400 character Frank on TV's Murphy Brown, which I remember watching 0:39:23.440 --> 0:39:24.880 a lot as a kid for some reason. I think 0:39:24.880 --> 0:39:26.799 because it was it was on television, and that's it 0:39:26.840 --> 0:39:29.680 was something the family was watching. But he he was 0:39:29.760 --> 0:39:33.120 nominated for an Emmy for that performance. He was also 0:39:33.200 --> 0:39:35.600 in the nineteen eighty six movie Raw Deal, which we 0:39:35.600 --> 0:39:36.959 were just talking about last week. 0:39:37.200 --> 0:39:39.120 Why were we talking about Raw Deal last time? 0:39:39.280 --> 0:39:41.640 Oh? Yeah? Why were it was somebody? Somebody one of 0:39:41.680 --> 0:39:44.040 the actors or up. I just looked it up. 0:39:44.080 --> 0:39:45.120 It was Sam Wanamaker. 0:39:45.200 --> 0:39:46.640 There you go, Yeah, who. 0:39:46.480 --> 0:39:48.240 Directed Sindbad in the Eye of the Tiger. 0:39:48.320 --> 0:39:52.400 There you go. Yeah. So Rogato also did I did 0:39:52.400 --> 0:39:54.320 a lot of TV work, but also directed quite a 0:39:54.360 --> 0:39:57.239 bit of television, including many episodes of Murphy Brown. Here 0:39:59.000 --> 0:39:59.399 he's good. 0:39:59.400 --> 0:39:59.520 Here. 0:39:59.560 --> 0:40:01.240 I don't have a I have to say about this performance, 0:40:01.280 --> 0:40:05.880 but he's good. He is the coworker, I guess, former 0:40:06.239 --> 0:40:09.719 acquaintance of our lead character saying hey, you're working for 0:40:09.760 --> 0:40:10.800 the big evil corporation. 0:40:10.960 --> 0:40:14.000 Great. Yeah, Well he's I think he's the friend who 0:40:14.120 --> 0:40:18.080 tempted Matt and his family to come into this. He's like, 0:40:18.200 --> 0:40:19.759 I have gone to take a job at a big 0:40:19.800 --> 0:40:21.799 evil corporation. Why don't you come work at the big 0:40:21.800 --> 0:40:24.759 evil corporation. You'll make lots of money. Yeah, And so 0:40:24.840 --> 0:40:28.520 he plays like an ingratiating, nervous corporate grimlin. 0:40:29.000 --> 0:40:32.600 Yeah yeah, yeah, yeah. It's a good performance. All right. 0:40:32.600 --> 0:40:34.960 We also have Kevin McCarthy showing up, at least for 0:40:35.040 --> 0:40:38.480 a little bit. He's not in this much, plays mister Thompson. 0:40:39.120 --> 0:40:42.400 McCarthy lived nineteen fourteen through twenty ten. American actor, nominated 0:40:42.440 --> 0:40:44.520 for an Oscar for his performance in the nineteen fifty 0:40:44.520 --> 0:40:48.560 two adaptation of Death of a Salesman, but probably best 0:40:48.600 --> 0:40:52.240 known to many out there for his maniacal paranoid performance 0:40:52.239 --> 0:40:56.440 in nineteen fifty six's Invasion of the Body Snatchers. He 0:40:56.520 --> 0:41:01.200 also pops up in various genre films to follow multiple 0:41:01.280 --> 0:41:06.640 Joe Dante films. If I remember correctly, previously mentioned him 0:41:06.680 --> 0:41:09.040 on the show, because the episode I recorded with David 0:41:09.080 --> 0:41:13.680 Streepy on Joe Dante's Innerspace, of course, features Kevin McCarthy. 0:41:14.000 --> 0:41:18.799 Kevin McCarthy has powerful, malicious boss energy, and that, in 0:41:18.800 --> 0:41:21.160 fact is exactly the role he plays in this movie. 0:41:21.160 --> 0:41:23.839 But I imagine he was just getting cast over and 0:41:23.880 --> 0:41:26.560 over again as the guy who calls the main character 0:41:26.600 --> 0:41:28.440 into his office to tell him he's fired. 0:41:28.880 --> 0:41:32.520 Yeah. Yeah, that's the generally he played like certainly later 0:41:32.560 --> 0:41:35.440 in his career, tended to play nasty old men, and 0:41:35.480 --> 0:41:36.920 he was excellent at it. 0:41:37.040 --> 0:41:39.160 Oh and speaking of old men, we also in this 0:41:39.280 --> 0:41:42.680 movie have Bill Irwin, the perpetual old man of the movies. 0:41:43.080 --> 0:41:47.640 Yes, yes, playing Walt Henderson. Yeah. Irwin lived nineteen fourteen 0:41:47.680 --> 0:41:51.680 through twenty ten. American character actor appeared in more than 0:41:51.719 --> 0:41:54.440 two hundred and fifty television and film roles, including the 0:41:54.480 --> 0:41:57.279 one that earned him an Emmy nomination in nineteen ninety three. 0:41:57.640 --> 0:42:01.520 He played retiree Sid Fields on SIGND and we previously 0:42:01.560 --> 0:42:03.759 discussed him in our episode on the nineteen eighty four 0:42:03.840 --> 0:42:04.800 short film Quest. 0:42:05.400 --> 0:42:09.120 He's got a brief sympathetic role in this movie. But yeah, 0:42:09.160 --> 0:42:11.520 it's a nice contrast to the other things I've seen 0:42:11.560 --> 0:42:14.200 him in, which are mainly comedies where he needs to 0:42:14.239 --> 0:42:15.680 pop up as like a curmudgeon. 0:42:16.080 --> 0:42:18.880 Yeah. Yeah, here he is a little bit more to do. 0:42:18.920 --> 0:42:20.759 He has a nice scene and the last we see 0:42:20.760 --> 0:42:25.560 of him it's it's actually really sad. Yeah, yeah, all right. 0:42:25.600 --> 0:42:28.080 We also have a sheriff character that shows up. I 0:42:28.120 --> 0:42:29.919 don't think he has a name. Maybe he has a name, 0:42:30.680 --> 0:42:33.359 but it played by Nicholas Worth who lived nineteen thirty 0:42:33.400 --> 0:42:38.440 seven through two thousand and seven. Instantly recognizable rotun typically 0:42:38.520 --> 0:42:42.200 bald or balding American character actor, you know, kind of 0:42:42.239 --> 0:42:45.480 like built like a like a pit bull. Probably best 0:42:45.520 --> 0:42:47.600 known to many of you out there for his role 0:42:47.880 --> 0:42:51.000 as the Hinchman Polly in nineteen nineties Dark Man. 0:42:51.400 --> 0:42:54.040 He body slams Robert Urick. In this movie. 0:42:54.160 --> 0:42:56.520 He does, he does, he gets the fulsome wrestling moves. 0:42:56.640 --> 0:42:57.920 They have a wrestling scene. 0:42:58.600 --> 0:43:00.880 Yeah, So obviously this guy plays a lot of heavies. 0:43:01.520 --> 0:43:05.239 His credits include seventy three Screen Blackula Scream, seventy four 0:43:05.280 --> 0:43:08.720 is The Terminal Man, seventy eights Coma, seventy nine's The Glove, 0:43:09.640 --> 0:43:11.840 nineteen eighties Don't Answer the Phone. I believe he was 0:43:11.880 --> 0:43:14.200 the main villain in that. He pops up an eighty 0:43:14.200 --> 0:43:17.439 two Swamp Thing, eighty six is Heartbreak, Ridge, eighty eight's 0:43:17.480 --> 0:43:21.960 Hell Comes to Frogtown, and Action Jackson and the Naked Gun. Wow. 0:43:22.360 --> 0:43:25.360 He also plays a demon in ninety four's Dark Angel 0:43:25.440 --> 0:43:28.440 The Ascent. He's in ninety six's Barbed Wire. Did a 0:43:28.480 --> 0:43:31.000 lot of TV pops up on The X Files and 0:43:31.040 --> 0:43:32.480 a couple of different Star Trek shows. 0:43:32.640 --> 0:43:34.720 No, I don't remember what he did in the X Files, 0:43:35.560 --> 0:43:38.120 but yeah, he's good. I don't even remember if he 0:43:38.160 --> 0:43:41.080 has any lines in this movie, but he does stand 0:43:41.200 --> 0:43:43.880 there and menace people, and then yeah, has a pretty 0:43:43.880 --> 0:43:45.200 sweet fight scene. 0:43:45.520 --> 0:43:47.640 Oh and we need to talk about the Winslow children. 0:43:48.400 --> 0:43:51.480 Oh yes, yeah, the Winslow family. We have two children. 0:43:51.520 --> 0:43:55.000 There's a boy and a girl, both famous in their 0:43:55.000 --> 0:43:57.480 own right. That's right, but let's start with the girl. 0:43:57.520 --> 0:44:00.400 Let's start with the daughter. It is the character Chrissy, 0:44:00.520 --> 0:44:04.600 played by Soleigh Moon. Fry born nineteen seventy six. It's 0:44:04.640 --> 0:44:06.400 TV's Punky Brewster. That's who it is. 0:44:06.600 --> 0:44:09.400 I've never seen Punky Brewster, but the name is burned 0:44:09.400 --> 0:44:11.160 in my brain from when I was a kid people 0:44:11.200 --> 0:44:14.360 talked about Punky Brewster. I imagine her as just like 0:44:14.400 --> 0:44:16.759 a girl Dennis the Menace. Is that sort of it? 0:44:17.000 --> 0:44:17.200 Yeah? 0:44:17.280 --> 0:44:19.560 I only have vague memories of watching this show, but 0:44:19.640 --> 0:44:23.520 I remember it like Punky Brewster, like she was to 0:44:23.560 --> 0:44:27.080 be celebrated. Okay, she was a lot of fun. She 0:44:27.160 --> 0:44:31.400 was a handful obviously, child actor here turned grown person actor. 0:44:32.520 --> 0:44:34.920 She's also known for her work in ninety three's Pumpkinhead 0:44:34.920 --> 0:44:38.279 two Blood Wings. She's also she was a cast member 0:44:38.320 --> 0:44:40.920 on TV Sabrina and the Teenage Witch. This is the 0:44:41.000 --> 0:44:43.000 version that ran two thousand and through two thousand and three. 0:44:43.480 --> 0:44:44.920 She's also done a little bit of directing. 0:44:45.239 --> 0:44:48.680 So this movie does ask a decent amount of the 0:44:48.760 --> 0:44:52.640 children characters she has to play not only like a 0:44:52.680 --> 0:44:55.239 little girl who's kind of upset about her family having 0:44:55.280 --> 0:44:57.280 to move to a new city and like she misses 0:44:57.320 --> 0:44:59.680 their old house, but she also gets to play a 0:44:59.719 --> 0:45:03.640 demo possessed child who's like, there's only bad Chrissy. 0:45:03.360 --> 0:45:07.200 Now, yeah, yeah, yeah, so you just have some fun 0:45:07.239 --> 0:45:10.440 with this role for sure, and then playing her brother, 0:45:10.680 --> 0:45:15.160 Robbie Winslow is Barrett Oliver born nineteen seventy three, a 0:45:15.239 --> 0:45:17.200 child actor that we previously talked about on the show 0:45:17.239 --> 0:45:21.640 because he of course played Dastian Balthazar Bucks in a 0:45:21.719 --> 0:45:24.840 much bigger film from the same year than Never Ending. 0:45:24.680 --> 0:45:26.359 Story, both in the same year. 0:45:26.440 --> 0:45:28.520 Wow, yeah, his other credit. 0:45:28.960 --> 0:45:31.800 It's like Peter Mayhew being in Star Wars and Sindbad 0:45:31.840 --> 0:45:33.200 and The Eye of the Tiger the same year. 0:45:33.280 --> 0:45:35.719 Yeah. I mean, you keep working and some things take 0:45:35.719 --> 0:45:39.839 off and some things don't, right, But yeah, so it's 0:45:40.160 --> 0:45:43.279 a quite a I mean quite a cast here, and 0:45:43.440 --> 0:45:47.560 the family itself is pretty interesting. So like, after I'd 0:45:47.560 --> 0:45:49.400 watched the film, I had to show the first ninety 0:45:49.400 --> 0:45:52.319 seconds of it to my wife. We'll talk about why 0:45:52.360 --> 0:45:54.960 in just a few minutes here, but then I also like, 0:45:55.000 --> 0:45:57.040 stick around. I've got to point out some things about 0:45:57.040 --> 0:46:01.120 this family, all right, moving behind the scene. The cinematographer 0:46:01.120 --> 0:46:02.120 on this is Dean Condy. 0:46:02.440 --> 0:46:04.560 Oh yeah, we've talked about him on the show before. 0:46:04.600 --> 0:46:07.800 He was a cinematographer and I believe the very first 0:46:07.920 --> 0:46:10.840 movie we ever featured on Weird House Cinema right Without Warning? 0:46:11.200 --> 0:46:15.080 Correct, yes, nineteen eighties without Warning. More famous probably for 0:46:15.120 --> 0:46:17.440 his work on Who Framed Roger Rabbit, which he won 0:46:17.520 --> 0:46:21.759 an oscar for ninety three's Jurassic Park ninety six is 0:46:21.760 --> 0:46:24.640 Apollo thirteen and many others. He's worked, of course, extensively 0:46:24.640 --> 0:46:29.160 with John Carpenter, Robert Zemeckis, Yeah, and great on Clark. 0:46:30.880 --> 0:46:32.960 So I love Dean Coundy's work. Was he also a 0:46:33.000 --> 0:46:35.319 cinematographer on Halloween three season of The Witch? 0:46:35.360 --> 0:46:37.000 But I believe he was. Yeah. I believe that's one 0:46:37.440 --> 0:46:39.440 one of the other ways that Dean Coundy has come 0:46:39.520 --> 0:46:40.040 up before. 0:46:40.200 --> 0:46:43.399 Interesting but also connection in that these movies share these 0:46:43.480 --> 0:46:47.920 kind of unusual horror themes. Invitation to Hell is not 0:46:48.800 --> 0:46:52.080 beautiful to look at by any stretch of the imagination. 0:46:52.840 --> 0:46:55.840 The things it has to show you are mostly not 0:46:56.040 --> 0:47:01.520 all that exciting, and yet I think Condy's cinematography is 0:47:01.640 --> 0:47:04.920 one of the reasons the movie is so eminently watchable, 0:47:05.480 --> 0:47:08.319 even when he really when all he has to show 0:47:08.360 --> 0:47:12.680 you are fairly drab sets and locations. Kundy just has 0:47:12.719 --> 0:47:16.240 a very strong sense for visual storytelling, and his camera 0:47:16.640 --> 0:47:20.279 naturally adds momentum to the story. So I don't think 0:47:20.320 --> 0:47:23.360 it's the only thing that makes Invitation to Hell a 0:47:23.440 --> 0:47:26.360 very fun and watchable movie despite being somewhat low budget. 0:47:27.040 --> 0:47:31.200 But yeah, there's something going on with the cinematography, despite 0:47:31.239 --> 0:47:33.240 the fact that the movie is not much to write 0:47:33.239 --> 0:47:36.520 home about in terms of visual spectacle. Yeah. 0:47:36.680 --> 0:47:40.600 Yeah. Though on that note, it is worth pointing out that, Okay, 0:47:40.719 --> 0:47:43.160 many of these TV movies were apparently produced if in 0:47:43.200 --> 0:47:45.759 this era, were produced way too fast and at a 0:47:45.800 --> 0:47:50.440 lower budget, so they couldn't really benefit from storyboarding. But apparently, 0:47:50.480 --> 0:47:53.640 since this was a Susan Lucci vehicle in all, the 0:47:53.680 --> 0:47:57.000 studio went the extra mile and they hired storyboard board 0:47:57.040 --> 0:48:02.680 artist Petco d Kodiev, who is apparently known to some 0:48:02.800 --> 0:48:05.840 extent as the count behind the scenes, to sketch everything 0:48:05.880 --> 0:48:08.560 out in pre production. He'd previously worked on the nineteen 0:48:08.560 --> 0:48:11.520 eighty three feature film Blue Thunder, which is the Helicopter Movie, 0:48:11.800 --> 0:48:13.719 and went on to work on such films as eighty 0:48:13.760 --> 0:48:15.600 six As King Kong Lives and eighty seven Is The 0:48:15.680 --> 0:48:16.200 Running Man. 0:48:16.440 --> 0:48:19.600 Oh okay, so the storyboarding may also have helped give 0:48:19.640 --> 0:48:22.440 this movie more visual coherence than it might have had 0:48:22.480 --> 0:48:25.240 otherwise it was just sort of a over the shoulder 0:48:25.280 --> 0:48:27.360 point and shoot, like a lot of TV movies would be. 0:48:27.719 --> 0:48:31.400 Yeah. And then finally, the composer here is Sylvester Levy, 0:48:31.840 --> 0:48:34.640 who lived still around as far as I know. Born 0:48:34.719 --> 0:48:38.479 nineteen forty five, Hungarian composer who also scored nineteen eighty 0:48:38.480 --> 0:48:43.160 six's Cobra, nineteen nineties Navy Seals, and various TV projects, 0:48:43.160 --> 0:48:44.960 including the TV series Werewolf. 0:48:45.280 --> 0:48:49.440 Is this brother of Anton no No, but. 0:48:49.640 --> 0:48:53.120 He's also partially responsible for the Elton John song Victim 0:48:53.120 --> 0:48:55.320 of Love from nineteen seventy nine, one of the writers 0:48:55.320 --> 0:48:58.080 on that, and he won a Grammy in nineteen seventy 0:48:58.120 --> 0:49:01.279 five for the song fly Robin Fluoh, performed by the 0:49:01.320 --> 0:49:06.080 German disco group Silver Convention, a group that he helped put together. 0:49:06.360 --> 0:49:08.440 Rob I thought you might like the score on this movie. 0:49:08.440 --> 0:49:11.799 It's very synth heavy, and it has it's Moody's. Those 0:49:11.800 --> 0:49:14.320 are things I think that attract you to a film score. 0:49:14.680 --> 0:49:16.080 Yeah, yeah, I liked it. 0:49:16.360 --> 0:49:17.879 Yeah, Yeah, I liked it too. A lot of parts 0:49:18.040 --> 0:49:21.759 reminded me actually of the synth themes in The Terminator. 0:49:22.520 --> 0:49:25.080 Yeah, yeah, that's a good point. And yeah, I thought 0:49:25.080 --> 0:49:27.640 it worked well for the picture, because especially we get 0:49:28.040 --> 0:49:30.520 a pretty rocking opening scene, but then we get a 0:49:30.560 --> 0:49:34.360 lot of scenes in which it's like a family getting 0:49:34.400 --> 0:49:37.880 situated in this nice looking neighborhood, this nice little slice 0:49:37.920 --> 0:49:41.120 of the American corporate dream, and yet the music is 0:49:41.120 --> 0:49:43.279 here to remind us that things are maybe not what 0:49:43.360 --> 0:49:52.400 they seem. 0:49:52.440 --> 0:49:54.680 All Right, you want to talk about the plot, let's 0:49:54.760 --> 0:49:58.600 jump into it. So if you don't decide to watch 0:49:58.800 --> 0:50:02.080 Invitation to Hell in full, let me at least convince 0:50:02.120 --> 0:50:05.200 you to watch the first ninety seconds or so. Yeah, 0:50:05.320 --> 0:50:08.600 it has a strong, cold opening, pulling you in after. 0:50:09.120 --> 0:50:10.640 Do you know what aired right before this? 0:50:11.160 --> 0:50:13.200 I was trying to find out that I couldn't get 0:50:13.200 --> 0:50:15.080 a firm answer, So I'm thinking maybe it was just 0:50:15.280 --> 0:50:18.439 like your regional nightly Neves or maybe the national nightly news, 0:50:18.719 --> 0:50:20.719 because it would have been seven to I mean it 0:50:20.719 --> 0:50:25.120 would been eight to ten Eastern, So I'm guessing yeah, 0:50:25.120 --> 0:50:27.200 you would have just been after the news, watched the movie, 0:50:27.440 --> 0:50:29.359 and then watch twenty twenty. 0:50:29.840 --> 0:50:32.480 Right, So it's fighting the Frizzies at eleven and then 0:50:32.800 --> 0:50:36.799 cuts to this. So we open the We open on 0:50:36.840 --> 0:50:39.640 the exterior of a country club. It is a bright 0:50:39.760 --> 0:50:44.040 sunny day birds are singing, rich people doing fancy country 0:50:44.040 --> 0:50:46.640 club stuff. You see golf carts zipping around. There are 0:50:46.680 --> 0:50:49.560 a couple of ladies walking through the valet a lot 0:50:49.640 --> 0:50:52.399 carrying tennis rackets with covers on them. This actually got 0:50:52.440 --> 0:50:56.759 me wondering why did tennis rackets ever need covers? I 0:50:56.800 --> 0:50:59.600 never had a cover for any tennis racket I ever had, 0:50:59.640 --> 0:51:00.960 But like, what does the cover do? 0:51:02.000 --> 0:51:03.920 I don't know. I guess if it's If it's nice, 0:51:04.080 --> 0:51:05.400 you need to put a cover on it. 0:51:06.800 --> 0:51:11.879 The music selection here is eerie synthesizer chords with reverb heartbeats. 0:51:12.640 --> 0:51:15.400 And we pan over and see the see some of 0:51:15.400 --> 0:51:17.359 the people coming to the club. There's like a guy 0:51:17.440 --> 0:51:20.120 leaning against a no parking sign and a polo shirt 0:51:20.480 --> 0:51:22.319 with what do you call it when you got a 0:51:22.320 --> 0:51:24.759 sweatshirt with the arms tied around your neck? It's a 0:51:24.840 --> 0:51:28.080 it's a real yacht club look, yeah. Yeah. And then 0:51:28.239 --> 0:51:30.920 in the background we see a green golf course and 0:51:30.960 --> 0:51:34.040 beyond that typical arid mountains that you would see in 0:51:34.080 --> 0:51:39.200 coastal southern California. So a station wagon with some really 0:51:39.239 --> 0:51:42.520 sick wood paneling hauls up to the gate and we 0:51:42.560 --> 0:51:44.799 see a sign telling us where this is. It is 0:51:44.840 --> 0:51:47.520 the Steaming Springs Country Club. 0:51:49.480 --> 0:51:53.840 I love this. Every time they mentioned steaming Steaming Springs, 0:51:54.719 --> 0:51:56.759 it just made me think of like steaming polo crap 0:51:56.880 --> 0:51:59.360 or something. I don't know, just and I feel like 0:51:59.400 --> 0:52:01.360 that had to ha been intentional on the part of 0:52:01.400 --> 0:52:02.920 the filmmaker's screenwriter. 0:52:03.080 --> 0:52:06.239 Here, there's a lot that on my first watch I 0:52:06.280 --> 0:52:09.160 thought maybe unintentional, and then when I came back to it, 0:52:09.200 --> 0:52:10.760 I was like, no, they did that on purpose. 0:52:10.880 --> 0:52:12.720 Yes, yeah. 0:52:13.080 --> 0:52:16.720 The station wagon is being driven by a uniformed chauffeur 0:52:16.800 --> 0:52:20.239 with a fancy little hat. And then we finally get 0:52:20.239 --> 0:52:23.840 our first good look at Susan Lucci in costume. In character. 0:52:24.600 --> 0:52:26.759 This is the character that will later be introduced as 0:52:26.840 --> 0:52:29.840 Jessica Jones. She's sort of the queen wasp of the 0:52:29.880 --> 0:52:32.839 club and her look is amazing. 0:52:33.120 --> 0:52:34.080 It is a. 0:52:34.239 --> 0:52:39.160 Cherry red, full body outfit. I was gonna say pant suit, 0:52:39.239 --> 0:52:42.480 but it's not really a pant suit. It's like because 0:52:42.520 --> 0:52:45.040 it's not like a jacket over something. It's more like 0:52:45.239 --> 0:52:48.359 a shirt and pants going down to the ankles up 0:52:48.360 --> 0:52:51.680 to the neck, all cherry red, with long sleeves, some 0:52:51.760 --> 0:52:55.800 kind of silver metal half belt object at her waist 0:52:56.280 --> 0:52:59.160 and big, big hair, like it's all up in this 0:52:59.440 --> 0:53:05.040 volumina black curly perm She's also wearing a white patch 0:53:05.120 --> 0:53:07.960 on her chest with a design that I couldn't decipher 0:53:08.040 --> 0:53:10.279 at first, but eventually you get a close up and 0:53:10.320 --> 0:53:13.880 I realized it is the Steaming Springs logo, which is 0:53:14.000 --> 0:53:18.000 three wispy lines that I guess signifies steam rising. And 0:53:18.040 --> 0:53:21.239 then maybe steaming springs would be like two s's, but 0:53:21.280 --> 0:53:24.360 then there's another S there, there's three lines. I believe 0:53:24.360 --> 0:53:28.080 it is not an accident that this superficially reminds us 0:53:28.120 --> 0:53:29.480 of the SS insignia. 0:53:30.480 --> 0:53:32.440 Yeah. Yeah, like maybe they originally were just going to 0:53:32.520 --> 0:53:34.439 have two of them on there, and they're like that's 0:53:34.520 --> 0:53:36.160 a little too much. We should just go back and 0:53:36.200 --> 0:53:39.359 just have the three of these things on there. But yeah, 0:53:39.360 --> 0:53:42.360 this is quite a look. Huge hair, a jumpsuit that 0:53:42.400 --> 0:53:44.840 makes her look like she works at Gismonics Institute instead 0:53:44.880 --> 0:53:48.880 of the golf club the country club. Yeah, this is 0:53:48.920 --> 0:53:53.320 our luetio fur and it's striking right from the beginning. 0:53:53.640 --> 0:53:56.600 So Jessica Jones is walking across the driveway as the 0:53:56.960 --> 0:54:01.279 chauffeur of the Woo Woody wagon drives up to the 0:54:01.320 --> 0:54:05.839 clubhouse entrance. Unfortunately, our chauffeur here gets distracted because he's 0:54:05.880 --> 0:54:09.319 ogling a couple of ladies in teal and purple bikinis, 0:54:10.120 --> 0:54:13.120 and he's on a collision course with Jessica Jones, who, 0:54:13.239 --> 0:54:15.080 by the way, does not even try to get out 0:54:15.080 --> 0:54:17.719 of the way. She just stands there staring head on 0:54:17.920 --> 0:54:21.000 at the car barreling toward her. The driver does a 0:54:21.040 --> 0:54:25.560 double take, tire screech, crash. Jessica goes under the car, 0:54:25.840 --> 0:54:29.919 driver stops, looks out through the rear windshield, and then 0:54:30.040 --> 0:54:34.520 Jessica rises up from the ground like a lever. Yes, 0:54:35.360 --> 0:54:38.839 totally stiff, hands on hips. She just pops up into 0:54:38.880 --> 0:54:39.360 the window. 0:54:39.800 --> 0:54:42.239 Yeah. Yeah, she totally pulls a low pan on this guy. 0:54:42.360 --> 0:54:44.480 Or I guess you make trouble a little China low 0:54:44.520 --> 0:54:47.399 pan pulls to Jessica Jones. Though, I'm gonna go ahead 0:54:47.440 --> 0:54:50.239 and assume that neither Craven nor Carpenter were the first 0:54:50.239 --> 0:54:53.960 to pull this exact sequence this. I'm curious. I have 0:54:54.000 --> 0:54:56.279 no answer here, but I feel like this must have 0:54:56.320 --> 0:54:59.239 come from somewhere. This must have been established somewhere else, 0:55:00.000 --> 0:55:02.280 otherwise it was created here. I don't know, well, it's. 0:55:02.200 --> 0:55:04.279 Like, no, sparautu again, Yeah, I get you're right. 0:55:04.320 --> 0:55:04.520 Yeah. 0:55:04.560 --> 0:55:07.719 So she then points a finger, like I curse you. 0:55:08.280 --> 0:55:12.200 She just points a finger and the rear windshield shatters. 0:55:12.320 --> 0:55:16.040 The driver starts screaming, and then there is smoke fuming 0:55:16.080 --> 0:55:17.040 out of his clothes. 0:55:17.480 --> 0:55:20.759 He's like, yeah, yeah, I showed this scene to my 0:55:20.840 --> 0:55:22.960 wife because I like, you gotta watch you gotta watch 0:55:22.960 --> 0:55:24.760 this first in the first ninety seconds of this film, 0:55:24.920 --> 0:55:28.480 And she commented this whole sequence with Susan Luci plays 0:55:28.480 --> 0:55:31.200 out like a demonic nineteen eighties hair commercial. You know, 0:55:31.239 --> 0:55:32.640 look at how confident she is. 0:55:33.000 --> 0:55:35.920 That's so right. Yeah, maybe she's born with it. Maybe 0:55:35.920 --> 0:55:37.800 it's a gift from the Prince of darkness. 0:55:37.880 --> 0:55:41.760 Yeah, she's turning heads, she's snatching souls, she's microwaving dudes 0:55:41.800 --> 0:55:42.759 in their cars. 0:55:42.800 --> 0:55:47.520 That's right. Yeah. So the driver melts pretty solid melt right, yeah. Yeah. 0:55:47.760 --> 0:55:49.560 I mean they don't show you too much goop. It 0:55:49.680 --> 0:55:52.280 is made for TV, but I did a freeze frame 0:55:52.320 --> 0:55:56.000 here and in mid melt he looks like Lawn Cheney 0:55:56.000 --> 0:55:58.520 as the Phantom of the Opera, but with huge teeth, 0:55:58.880 --> 0:56:02.960 hollow eyes, and sweaty wax for skin. I like this model. 0:56:03.320 --> 0:56:05.080 Yeah, this is Yeah, this looked I thought it looked 0:56:05.120 --> 0:56:08.080 really good, especially again since this is like, you know what, 0:56:08.239 --> 0:56:12.960 eight o five pm on a Thursday, it's hitting pretty hard. 0:56:13.320 --> 0:56:15.880 But I also like that they're giving you Susan Lucci 0:56:15.960 --> 0:56:18.560 before they give you any of the good guys. She's 0:56:18.640 --> 0:56:21.200 just out here at the golf course melting drivers. 0:56:21.600 --> 0:56:24.799 And I guess it's part of the whole vibe. Is Yeah, 0:56:24.840 --> 0:56:26.520 you want to get the viewer hooked right and give 0:56:26.560 --> 0:56:28.480 them a taste of how weird this is going to be. 0:56:28.640 --> 0:56:32.040 Let them see Susan Lucci, they know who Susan Lucci is, 0:56:32.440 --> 0:56:35.239 and then they'll be inclined to stick around for the 0:56:35.239 --> 0:56:35.960 rest of the picture. 0:56:36.320 --> 0:56:39.240 As you said, she microwaves him he's good and melted, 0:56:39.320 --> 0:56:41.480 and then she just looks very pleased with her work 0:56:41.600 --> 0:56:43.839 and walks away from the car. She like tosses her 0:56:43.880 --> 0:56:46.719 hair and walks away beaming. And I was thinking, who 0:56:46.800 --> 0:56:49.359 has to clean this up? Do they have staff there 0:56:49.400 --> 0:56:52.080 who just mop up melted chauffeurs? And also this is 0:56:52.080 --> 0:56:54.399 a company car. It says steaming springs on the side 0:56:54.400 --> 0:56:54.640 of it. 0:56:54.880 --> 0:56:57.880 Yeah. Yeah, And the screenshot you included in the outline. 0:56:57.960 --> 0:57:00.000 You can see that this dude that she just melts. 0:57:00.040 --> 0:57:04.200 It has the silver Spring, Silver Springs, the Steaming Springs 0:57:04.280 --> 0:57:07.319 logo on his outfit as well. So, yeah, she just 0:57:07.360 --> 0:57:09.080 totally melted an employee. 0:57:09.320 --> 0:57:12.279 Did I say silver springs earlier? I know, I was 0:57:12.280 --> 0:57:14.040 hearing this in Stevie Nick's voice a lot. 0:57:14.160 --> 0:57:15.560 It will happen again. 0:57:15.920 --> 0:57:22.320 You can be my melted driver, let's see. Oh yeah, okay, 0:57:22.360 --> 0:57:24.880 so that's the cold open. After that we go on 0:57:25.000 --> 0:57:28.520 to meet our main family, the main characters. This is 0:57:28.520 --> 0:57:31.400 the Winslow family. So you got the father Matt Winslow 0:57:31.480 --> 0:57:34.880 played by Robert Urick, the mother, Patricia Winslow played by 0:57:35.000 --> 0:57:38.880 Joanna Cassidy, the daughter Chrissy played by Seleih Moonfry, and 0:57:38.920 --> 0:57:41.600 the son Robbie played by Barrett Oliver. And also we 0:57:41.600 --> 0:57:43.480 don't see him until later, but the family has a 0:57:43.560 --> 0:57:45.200 very cute dog named Albert. 0:57:45.560 --> 0:57:47.040 Oh yes, he'll be important later on. 0:57:47.280 --> 0:57:50.240 Yeah, do check in with the does the dog die crowd? 0:57:50.960 --> 0:57:53.560 I'll say the answer is no, but the dog is 0:57:53.800 --> 0:57:55.400 conceptually threatened. 0:57:55.680 --> 0:57:55.960 Yes. 0:57:57.120 --> 0:57:58.920 So the family they're on a car trip when we 0:57:58.920 --> 0:58:01.120 first see them. There crew in down the highway and 0:58:01.960 --> 0:58:05.400 another gorgeous American made station wagon of the nineteen eighties. 0:58:05.440 --> 0:58:08.320 I don't know if this one has wood panels, but 0:58:08.400 --> 0:58:11.360 we get the title and the credits, playing and terminator 0:58:11.400 --> 0:58:15.160 font over aerial shots of the highway and like recently 0:58:15.200 --> 0:58:19.600 developed valley subdivisions in southern California, and of course more 0:58:19.640 --> 0:58:24.680 golf courses, and then in the car our first impression 0:58:24.720 --> 0:58:28.200 of the family is of Robbie the Sun, and we 0:58:28.280 --> 0:58:30.400 get the idea that he's the kind of kid who's 0:58:30.440 --> 0:58:33.720 really interested in getting the high score. He's into points, 0:58:34.480 --> 0:58:36.720 so he's like, there's a dog five points, and I 0:58:36.840 --> 0:58:40.160 just saw two flags fifteen points, four hundred and seventy, 0:58:40.160 --> 0:58:42.720 four hundred and eighty, and he's just saying numbers. It 0:58:42.760 --> 0:58:45.480 reminds me that Tim and Eric sketch where it's an 0:58:45.520 --> 0:58:50.040 ad and they're just saying numbers. Anyway, Chrissy is tired 0:58:50.080 --> 0:58:53.280 of playing Robbie's game, and she is especially annoyed that 0:58:53.360 --> 0:58:55.840 he counted those flags he just saw because they're on 0:58:55.880 --> 0:58:59.120 a golf course and golf course flags do not count 0:58:59.160 --> 0:59:02.479 as flags. But she also wants to quit the game 0:59:02.520 --> 0:59:05.720 because there are no more animals to see, just dumb buildings. 0:59:05.840 --> 0:59:10.200 I think that's a metaphor. So the family is moving 0:59:10.360 --> 0:59:12.720 from their home in the Midwest to their new house 0:59:12.760 --> 0:59:16.280 in southern California because Matt, who is an engineer, got 0:59:16.360 --> 0:59:20.560 a new job at a company called Micro Digitech. And 0:59:20.840 --> 0:59:22.920 for a second I was like, surely they can't be 0:59:22.960 --> 0:59:25.720 playing on a real company, because Digitech is the real 0:59:25.920 --> 0:59:28.440 is the name of a real brand. They're the makers of, 0:59:28.840 --> 0:59:31.400 like the beloved Digitech whammy pedal for guitars. 0:59:31.880 --> 0:59:34.320 Well, what sound is the whammy pedal responsible for? 0:59:34.560 --> 0:59:37.880 Well, it's like a it's like an octave shifting pedal 0:59:37.960 --> 0:59:40.440 or tone shifting pedal, So you can play one note 0:59:40.440 --> 0:59:42.920 on your guitar and then with a whammy pedal you 0:59:42.920 --> 0:59:45.440 can make it an octave below or an octave above 0:59:45.520 --> 0:59:49.200 that actual tone. So it's like what you hear Jack 0:59:49.200 --> 0:59:51.720 White playing the guitar, but it sounds like a bass guitar. 0:59:51.840 --> 0:59:54.160 He's making that bass guitar sound with a whammy pedal 0:59:54.200 --> 0:59:57.080 to kick it an octave down. Oh okay, I see, 0:59:57.600 --> 0:59:59.440 But I think this is just a coincidence. I mean, 0:59:59.440 --> 1:00:01.400 it's kind of an obvious name for a company I 1:00:01.400 --> 1:00:06.440 guess that makes digital technology Digitech, But this is Micro 1:00:06.560 --> 1:00:09.880 Digitech anyway. So the family's driving into town and Robbie, 1:00:09.920 --> 1:00:12.800 the son, he's a computer boy, and he's reading off 1:00:12.800 --> 1:00:15.760 the names of various company headquarters. He's like, oh, the 1:00:15.880 --> 1:00:21.000 TRX Corporation, Microchip International, Boy, it sounds like computer heaven. 1:00:21.720 --> 1:00:29.360 And then Chrissy, his sister, says, computers don't go to heaven. Well, 1:00:29.400 --> 1:00:32.920 we'll see about that. So on the drive, Matt and 1:00:32.920 --> 1:00:35.680 Patricia have a conversation, making it clear that this is 1:00:35.720 --> 1:00:38.439 a big step up for them, this move, but one 1:00:38.480 --> 1:00:42.480 that Matt is a little bit uncertain about. Previously, they 1:00:42.480 --> 1:00:46.120 were scraping by on Matt's meager income from whatever he 1:00:46.200 --> 1:00:48.440 was doing before. I guess he was either an independent 1:00:48.560 --> 1:00:51.000 engineer and inventor or he was like working at a 1:00:51.080 --> 1:00:54.160 university or something. They say this is his first time 1:00:54.240 --> 1:00:57.720 working for a big corporation, so it's a huge increase 1:00:57.760 --> 1:01:02.040 in pay and prestige, and Tricia is very excited for him, 1:01:02.760 --> 1:01:04.840 but he's like, I don't know, I've never worked for 1:01:04.880 --> 1:01:08.240 a big corporation. I'm just not sure about it. And 1:01:08.280 --> 1:01:11.000 the kids also seem divided on the move. Robbie is 1:01:11.160 --> 1:01:13.600 very excited for a taste of the good life, but 1:01:13.760 --> 1:01:16.760 Chrissy says she misses the snow back home, and she 1:01:16.840 --> 1:01:19.320 also says she doesn't like the building that her dad 1:01:19.400 --> 1:01:21.640 is going to be working in. They showed this building. 1:01:21.720 --> 1:01:24.880 It's like a high rise office building, much taller than 1:01:25.200 --> 1:01:27.960 any of the other structures around it, with these mirrored 1:01:28.000 --> 1:01:32.280 windows top to bottom reflecting the sun. And Matt asks 1:01:32.360 --> 1:01:35.080 Chrissy why she doesn't like the building. She says, because 1:01:35.120 --> 1:01:36.800 you can't see the people inside. 1:01:37.280 --> 1:01:38.800 M Yeah, I like that moment. 1:01:39.320 --> 1:01:41.360 They don't play it like it's all that ponderous though. 1:01:41.640 --> 1:01:43.160 She just kind of says it and they move on. 1:01:43.320 --> 1:01:45.760 But I don't know, it's stuck and stuck in here 1:01:45.800 --> 1:01:46.000 for me. 1:01:46.080 --> 1:01:48.720 Yeah, it's a subtle effect. And in general, I love 1:01:48.760 --> 1:01:50.400 the banter with the family. Yeah, I felt like the 1:01:50.440 --> 1:01:53.920 banter felt very realistic. It felt like a realistic amount 1:01:54.000 --> 1:01:56.640 of squabbling between the children, but also laid out in 1:01:56.640 --> 1:01:59.280 a way that helped establish some of the overall themes 1:01:59.680 --> 1:02:03.800 and establishing like what's going on in this family's life. Right. 1:02:03.880 --> 1:02:06.680 So they arrive at their new home. It's a big, 1:02:06.800 --> 1:02:11.120 beautiful house and a beautiful subdivision. Think of the Simpsons episode. 1:02:11.160 --> 1:02:15.000 If you've seen it, you only move twice. In fact, 1:02:15.160 --> 1:02:18.280 this movie as a whole has serious overlap with you 1:02:18.360 --> 1:02:22.680 Only moved twice. Yeah, but it's more like like an 1:02:22.720 --> 1:02:26.640 eighties West Coast version of the house on Maple Systems Drive, 1:02:27.720 --> 1:02:29.360 or at least that's what it's supposed to be, because 1:02:29.400 --> 1:02:32.400 the house is indeed huge and spacious and nice looking 1:02:32.400 --> 1:02:35.360 from the outside. A lot of the interior sets look 1:02:35.440 --> 1:02:39.000 like they were hastily built on a sound stage. So 1:02:39.360 --> 1:02:42.160 the kitchen is huge, with the cabinets and stuff kind 1:02:42.160 --> 1:02:46.120 of remind me of my college dorm room. So anyway, 1:02:46.200 --> 1:02:50.280 everybody's happy to move in. They're laughing, exploring. Matt picks 1:02:50.320 --> 1:02:53.760 up Patricia and carries her over the threshold, and while 1:02:53.800 --> 1:02:56.320 the movers are bringing things in, Patricia and Matt they 1:02:56.360 --> 1:02:58.920 have a mild argument. Matt's unpacking some kind of high 1:02:58.960 --> 1:03:03.160 tech gizmo from padded steel carrying case, and Patricia's like 1:03:03.240 --> 1:03:05.440 hold it. She tells him that she wants him to 1:03:05.480 --> 1:03:08.280 take all his computer things and inventions into the lab 1:03:08.320 --> 1:03:10.520 at work, because she wants this to be a home, 1:03:11.000 --> 1:03:13.680 not a laboratory. And you never see it, but you 1:03:13.720 --> 1:03:15.880 get the idea that maybe their house in the Midwest 1:03:16.000 --> 1:03:18.720 was kind of like doctor Forrester's Burrow in Deep thirteen. 1:03:19.600 --> 1:03:22.480 Yeah. Yeah, And I think it's important to note that 1:03:23.160 --> 1:03:28.120 Patty's Patty's not being unreasonable here. And he also, you know, 1:03:28.480 --> 1:03:31.360 sees the logic and what she's saying and quickly agrees. 1:03:31.440 --> 1:03:33.600 He's like, yeah, yeah, I'll put this in the garage. 1:03:33.600 --> 1:03:35.760 You know. She's like, this is a chance for us 1:03:35.760 --> 1:03:40.480 to live a little differently. And at this point in 1:03:40.520 --> 1:03:43.400 the film, it doesn't feel like that ambition is getting 1:03:43.400 --> 1:03:45.760 out of control at all. It seems reasonable totally. 1:03:45.960 --> 1:03:47.800 You do not get the idea at all in the 1:03:47.880 --> 1:03:53.080 beginning that there's anything wrong with what Patricia wants. Yeah, 1:03:53.280 --> 1:03:55.760 that comes in more with like the influence of the 1:03:56.040 --> 1:03:59.640 Queen Wasp at the club and stuff. Also, there's a 1:03:59.720 --> 1:04:03.040 very he's seen with Robbie the Son antagonizing the moving men. 1:04:03.400 --> 1:04:07.080 He's on this computer in his new room, and the 1:04:07.080 --> 1:04:09.200 moving man's like, what you got on their games? And 1:04:09.200 --> 1:04:12.080 he's like, no, I have a computerized inventory of all 1:04:12.080 --> 1:04:14.520 my things, so i'll know if you lose any of it. 1:04:15.320 --> 1:04:18.280 And indeed his computer starts flashing and reveals that he 1:04:18.400 --> 1:04:21.720 is missing a candy bar. He must have inventoried that, 1:04:22.320 --> 1:04:24.960 And then we see the mover like surreptitiously put a 1:04:25.000 --> 1:04:26.760 candy bar, like pull it out of his pocket and 1:04:26.800 --> 1:04:29.919 put it on the kid's bed. But like, how would 1:04:29.960 --> 1:04:33.040 the computer know the candy bar was missing unless it 1:04:33.120 --> 1:04:36.760 had been inventoried in by a human. This is just 1:04:36.800 --> 1:04:40.560 a good prelude to the way the movie generally treats computers, 1:04:41.200 --> 1:04:44.240 which is that they are omniscient. They are somehow fully 1:04:44.280 --> 1:04:46.320 aware of their physical surroundings. 1:04:46.480 --> 1:04:49.800 Yeah, it's a great example of late seventies early eighties 1:04:50.040 --> 1:04:53.200 computers and films. In a way, this matches up very 1:04:53.240 --> 1:04:56.920 closely with what Mother does in Alien. Yeah, of course 1:04:57.800 --> 1:05:01.240 Alien takes place in the future. It is a at 1:05:01.320 --> 1:05:03.680 least by our own, from our own vantage point, a 1:05:03.680 --> 1:05:07.080 retro futuristic view of computer technology. But also in films 1:05:07.080 --> 1:05:09.040 like that, it's just this is just what computers do, right. 1:05:09.160 --> 1:05:13.040 You just talk to him conversationally, kind of like what 1:05:13.040 --> 1:05:17.560 we're doing now with these different chat bots, but at 1:05:17.600 --> 1:05:21.040 the time, you know, completely beyond what they were capable 1:05:21.040 --> 1:05:22.040 of doing totally. 1:05:22.040 --> 1:05:25.560 There's a scene where Matt later just goes starts typing 1:05:25.600 --> 1:05:28.560 in open ended questions on like a doss prompt, and 1:05:28.920 --> 1:05:31.680 like it's like he's using chat GPT, but it's the 1:05:31.760 --> 1:05:44.400 green letters on the black screen. So later that night, 1:05:44.680 --> 1:05:48.680 the Winslows get a visit from some family friends who 1:05:48.760 --> 1:05:52.880 already live here and already work for this corporation. This 1:05:53.000 --> 1:05:56.720 is Mary and Tom Peterson and their kids, old family friends. 1:05:57.800 --> 1:05:59.800 We already talked about this, I think, But Tom is 1:05:59.840 --> 1:06:02.040 the who already took a job at this company, and 1:06:02.080 --> 1:06:06.080 he invited Matt to come join him. And first there's 1:06:06.200 --> 1:06:08.680 kind of a jump scare where they're hearing rattling outside 1:06:08.720 --> 1:06:13.720 the windows, and Robbie the Sun is like, it's zombies. Definitely, 1:06:13.920 --> 1:06:18.640 they do stuff like that, but they go, you know, 1:06:18.720 --> 1:06:20.920 we get a boot scare, and then the friends come in. Oh, 1:06:20.960 --> 1:06:22.840 it's actually just our friends. They brought a bucket of 1:06:22.920 --> 1:06:23.600 chicken with them. 1:06:24.200 --> 1:06:25.920 What time is it supposed to be, but it. 1:06:26.240 --> 1:06:29.400 Looks like late late at night? Is pitch black outside? 1:06:29.400 --> 1:06:31.920 Did they show up with a bucket of KFC? And 1:06:31.960 --> 1:06:34.760 then the kids just each reach in and grab a 1:06:34.800 --> 1:06:38.240 fried chicken piece and run away. I mean, I remember 1:06:38.280 --> 1:06:39.320 no plates here. 1:06:40.960 --> 1:06:44.080 I mean, I can I remember these buckets of chicken 1:06:44.120 --> 1:06:46.760 well from my own childhood. I can only imagine in 1:06:46.800 --> 1:06:50.120 this case, there's some cold chicken in there, not that 1:06:50.200 --> 1:06:54.120 it matters. In fact, I feel like KFC buckets. We're 1:06:54.200 --> 1:06:58.560 consumed like at least half the time, like just completely 1:06:58.680 --> 1:07:01.000 room temperature, if not fridge temperature. 1:07:01.160 --> 1:07:04.400 Yeah. So the kids run off and play and the 1:07:04.440 --> 1:07:07.760 adults gather around a piano and Patricia starts playing music. 1:07:07.800 --> 1:07:09.640 She's playing when the Saints go marching in. I think 1:07:09.640 --> 1:07:12.360 they're trying to do a sing along. There were comments 1:07:12.400 --> 1:07:15.880 earlier about her once being a struggling music major, and 1:07:15.920 --> 1:07:18.280 in this scene you really get some of the class 1:07:18.440 --> 1:07:22.760 anxiety themes coming out. Tom and Mary both make kind 1:07:22.760 --> 1:07:26.160 of awkward comments. Mary is like, oh, yeah, remember when 1:07:26.200 --> 1:07:28.240 we used to do this in the dorm room, gathered 1:07:28.240 --> 1:07:31.439 around that horrible, old, upright piano. But then they're like, oh, 1:07:31.520 --> 1:07:35.080 is this still the same piano you have? And Tom says, 1:07:35.120 --> 1:07:37.920 no worries. The days of out of tune pianos and 1:07:38.000 --> 1:07:40.720 beat up old furniture they're all behind you. Now you're 1:07:40.720 --> 1:07:43.640 in the big leagues. And Tom tries to make them 1:07:43.680 --> 1:07:46.720 toast to success, and once again it's like that that 1:07:46.760 --> 1:07:48.560 hammer horror toast to satan. 1:07:50.000 --> 1:07:53.240 Yeah. The piano here made me think of the of 1:07:53.760 --> 1:07:57.040 the TV show The Unbreakable Kimmy Schmidt. At one point, 1:07:57.080 --> 1:07:59.200 they pick up a stand up piano that is like 1:07:59.320 --> 1:08:03.000 left on the curb, that has the word bed bugs 1:08:03.000 --> 1:08:05.280 spray painted on it, and they end up bringing it 1:08:05.320 --> 1:08:07.680 into the apartment. So I can only imagine a similar 1:08:07.680 --> 1:08:08.439 situation here. 1:08:09.680 --> 1:08:12.760 Sure, you just don't sleep on the piano, You'll be fine. 1:08:14.320 --> 1:08:17.840 So later there's a scene where Matt is tucking the 1:08:17.920 --> 1:08:21.080 kids into bed and Robbie is up in his bed 1:08:21.120 --> 1:08:23.680 playing a handheld kind of beat boop game where he's 1:08:23.720 --> 1:08:26.880 blasting spaceships to save the galaxy, and he says, you know, 1:08:26.920 --> 1:08:29.080 how come I can save the whole galaxy, but I 1:08:29.080 --> 1:08:32.599 can't go to the Halloween party? What Halloween party? It's 1:08:32.640 --> 1:08:34.840 the one Tom and Mary's kids are going to. It's 1:08:34.880 --> 1:08:39.200 at the club and it's for members only. Don't you 1:08:39.240 --> 1:08:39.880 want to fit in? 1:08:39.960 --> 1:08:45.320 Matt? I kept wondering about this handheld device that Robbie's 1:08:45.400 --> 1:08:48.280 playing on here. Is this supposed to be an actual 1:08:48.320 --> 1:08:51.439 device or is this can we never see the screen? 1:08:52.000 --> 1:08:55.479 I never saw the screen clearly, so I'm wondering if 1:08:55.479 --> 1:08:57.920 this is this tab that he's playing on, which, you know, 1:08:57.960 --> 1:09:00.280 we looks just like some sort of an iPad something 1:09:00.320 --> 1:09:02.679 here today if this was actually some sort of video 1:09:02.760 --> 1:09:06.320 gaming device of the time, or they're just getting a 1:09:06.320 --> 1:09:07.360 little futuristic care. 1:09:07.520 --> 1:09:11.559 Yeah, what were handheld gaming devices like in nineteen eighty four? 1:09:11.760 --> 1:09:15.400 That seems I don't think there was a game boy yet, 1:09:15.560 --> 1:09:15.880 was there? 1:09:15.960 --> 1:09:18.320 No? No, And by the early nineties he still had 1:09:18.320 --> 1:09:21.400 some very like I don't know, he's a crude little 1:09:21.439 --> 1:09:24.720 video game. I'm not even sure. I forget the terminology 1:09:24.760 --> 1:09:26.720 for them, but they were barely video games. You know, 1:09:26.760 --> 1:09:28.960 you're moving a few pixels around. They were not on 1:09:29.000 --> 1:09:30.639 the level of like a game boy or anything. 1:09:30.720 --> 1:09:35.519 They're more like a digital watch where you press buttons. Yeah, okay, 1:09:35.560 --> 1:09:39.240 well anyway, so that's what he's playing. He's you know, blasting. 1:09:39.360 --> 1:09:41.760 I think they call it Astrobomber is the name of 1:09:41.800 --> 1:09:44.680 the game. But so the next day we're going to 1:09:44.720 --> 1:09:48.519 get some work stuff. We get carpooling to Matt's new 1:09:48.640 --> 1:09:51.519 job where he's riding to work with Tom. When he 1:09:51.560 --> 1:09:55.000 gets into Tom's car, Tom basically has Clarence Bodiker in 1:09:55.040 --> 1:09:58.439 the backseat and it's his boss. It's this character named 1:09:59.080 --> 1:10:03.559 Larry Ferress. Yes, and Tom is embarrassed that he has 1:10:03.600 --> 1:10:05.920 to give his boss a ride to work in his car, 1:10:05.960 --> 1:10:09.000 which he calls a junker. But I'm gonna say, I 1:10:09.080 --> 1:10:12.640 cannot tell the difference between these supposedly good cars and 1:10:12.680 --> 1:10:15.479 the allegedly bad cars in this movie. They all just 1:10:15.520 --> 1:10:18.760 look the same. They look like huge American made sedans 1:10:18.800 --> 1:10:19.640 from the eighties. 1:10:20.040 --> 1:10:23.759 Yeah, yeah, I mean I have similar problems today figuring 1:10:23.760 --> 1:10:26.840 out what is a nice car what's not. But I 1:10:26.880 --> 1:10:28.960 do want to point out, like this was definitely I'm 1:10:29.000 --> 1:10:31.880 so used to watching a weird house film and as 1:10:31.960 --> 1:10:35.200 certainly if there's some sort of an evil corporation going on. 1:10:35.520 --> 1:10:38.439 When the boss is introduced, I take note. I'm like, Okay, 1:10:38.439 --> 1:10:40.360 I need to look this guy up. See this actor 1:10:40.479 --> 1:10:44.439 is But it really doesn't matter. With Larry Ferris. They 1:10:44.479 --> 1:10:46.760 really don't come back around to him, not much. 1:10:46.800 --> 1:10:49.280 I mean, later at the Halloween party he shows up 1:10:49.280 --> 1:10:53.160 in a very tasteless costume, but that's about it. 1:10:53.200 --> 1:10:55.320 Like otherwise, Yeah, he's not much of a character. 1:10:56.400 --> 1:10:59.760 But we do find out that Larry is Tom's sponsor 1:11:00.080 --> 1:11:04.000 at the club. So at the office we meet first 1:11:04.040 --> 1:11:07.479 of all Matt's secretary Grace, who is the first time 1:11:07.520 --> 1:11:10.240 we meet her. She's sneaking around with some secret binders 1:11:10.320 --> 1:11:13.320 hiding things and drawers and stuff. But we also meet 1:11:13.360 --> 1:11:17.920 Matt's project, which is the EVA Suit for the Astronauts 1:11:18.000 --> 1:11:20.799 of the future, and this is why Matt was hired 1:11:21.240 --> 1:11:26.960 to design computer components for this suit that Tom explains 1:11:27.080 --> 1:11:30.920 astronauts are going to wear for an upcoming manned mission 1:11:30.960 --> 1:11:34.800 to the surface of Venus. Hilarious concept. 1:11:35.200 --> 1:11:38.040 And at this point I have to also the suit 1:11:38.080 --> 1:11:41.439 is hanging from the ceiling, almost as if it is 1:11:41.479 --> 1:11:44.880 an object of worship. Yeah, And I feel like at 1:11:44.880 --> 1:11:47.799 this point, if you weren't already hooked in and strapped 1:11:47.840 --> 1:11:50.840 in for this movie, you strap in at this point 1:11:50.840 --> 1:11:55.160 because Okay, we started with the Lucifer blat, melting dudes 1:11:55.160 --> 1:11:58.840 and cars, and now we have introduced a clearly important 1:11:58.880 --> 1:12:02.400 spacesuit and we're about to get more rad details about it. 1:12:02.479 --> 1:12:05.760 Like already this movie's going a little bonkers on us. 1:12:05.880 --> 1:12:08.960 Yeah, but to be clear, like for a mission that 1:12:09.000 --> 1:12:12.519 will never happen, there is no reason to take human 1:12:12.600 --> 1:12:15.080 crew to the surface of Venus, and that that is 1:12:15.120 --> 1:12:16.040 not really doable. 1:12:16.280 --> 1:12:20.440 Well, we don't know in this reality. Perhaps there's something 1:12:20.479 --> 1:12:22.680 else that has occurred. I don't know. We can we 1:12:22.680 --> 1:12:23.760 can dream about it. 1:12:24.640 --> 1:12:28.280 The other thing that's funny is so Tom, he explained, 1:12:28.400 --> 1:12:30.920 Tom is in the marketing department. He's going to be 1:12:30.960 --> 1:12:34.320 responsible for selling this suit. And I was thinking, is 1:12:34.360 --> 1:12:37.799 there a marketing department for technology that you're only gonna 1:12:37.960 --> 1:12:41.160 ever make a handful of for a single buyer, Like, 1:12:41.520 --> 1:12:44.760 wouldn't it instead be you would make a bid and 1:12:44.800 --> 1:12:47.720 get a government contract to make a select number of them. 1:12:47.760 --> 1:12:50.480 Here it seems like they're kind of making this spacesuit 1:12:50.560 --> 1:12:53.439 on spec and the marketing department will have to sell 1:12:53.479 --> 1:12:58.000 it to NASA. Yeah, so anyway, Yeah, let's take a 1:12:58.000 --> 1:13:01.160 look at the suit, whatever it's features. Well, we learn 1:13:01.240 --> 1:13:04.080 that it can withstand heat up to a bazillion degrees. 1:13:04.160 --> 1:13:06.680 They demonstrate by blasting it with a flame thrower and 1:13:06.720 --> 1:13:12.160 there's no damage. It is armed with a laser pistol 1:13:12.439 --> 1:13:15.280 that shoots out of the like shoots out on a 1:13:15.320 --> 1:13:18.880 slide mechanism from the wrist, like Travis Bickle's gun and 1:13:18.960 --> 1:13:23.280 taxi driver. It is this concealed shootout into the hand 1:13:23.600 --> 1:13:25.640 a laser pistol. What is this for? 1:13:26.479 --> 1:13:32.440 I mean, one can guess blasting Venusians, blasting rival astronauts. 1:13:33.920 --> 1:13:38.719 Maybe it's really more of a utility laser and they're 1:13:38.800 --> 1:13:40.679 just you know, firing it off. But then why would 1:13:40.680 --> 1:13:42.160 you need a quick draw on it. I don't know, 1:13:42.479 --> 1:13:45.719 in a dangerous environment on Venus or in orbit above 1:13:45.760 --> 1:13:49.320 Venus or in the clouds above Venus. But either way, 1:13:49.360 --> 1:13:51.360 I do love this thing. And you can already tell 1:13:51.439 --> 1:13:52.559 this is going to be important. 1:13:52.800 --> 1:13:56.360 Yes, it's also armed with a flame thrower of its own. 1:13:56.439 --> 1:13:58.519 We just saw it getting blasted with one, but it 1:13:58.520 --> 1:14:00.679 has one that comes out of the arm. This also 1:14:00.760 --> 1:14:05.360 will clearly be very useful on Venus. And then I 1:14:05.400 --> 1:14:09.320 think this is Matt's main contribution. It's got a computerized 1:14:09.560 --> 1:14:12.920 visor that is going to tell you the temperature of 1:14:13.000 --> 1:14:16.439 whatever you're looking at, and then also whether the thing 1:14:16.479 --> 1:14:20.439 you're looking at is human or non human, terrestrial or 1:14:20.479 --> 1:14:25.200 non terrestrial, and malignant or benign. How does it know 1:14:25.240 --> 1:14:28.160 those things? Never explained at this point. 1:14:28.160 --> 1:14:31.000 I feel like maybe we do want just a little 1:14:31.040 --> 1:14:33.920 additional hint that I guess there are aliens on Venus 1:14:33.960 --> 1:14:38.519 and we don't know how they feel about humans, and 1:14:38.560 --> 1:14:41.439 maybe they're difficult to tell from humans. That's the only 1:14:41.439 --> 1:14:42.800 way this technology makes sense. 1:14:42.840 --> 1:14:44.920 Oh, I didn't even think about that. Yeah, this would 1:14:44.920 --> 1:14:47.360 only be necessary if the thing you were looking at 1:14:47.439 --> 1:14:51.280 is indistinguishable from human anyway. Yeah, because if they just 1:14:51.479 --> 1:14:54.400 encounter a being on Venus and it's coming towards them, 1:14:54.439 --> 1:14:57.080 would they be like, is this from Earth? I don't know. 1:14:58.160 --> 1:15:01.160 I want to stress again that this script was apparently 1:15:01.560 --> 1:15:04.840 written for Susan Lucci, so one can imagine like this 1:15:04.960 --> 1:15:08.360 script was plopped on her agent's desk and then on 1:15:08.400 --> 1:15:11.280 her desk, and she looked through it and she was like, yes, 1:15:11.520 --> 1:15:12.200 let's do this. 1:15:12.479 --> 1:15:16.679 Give me that, give me more of that. So back 1:15:16.680 --> 1:15:21.280 home there is a conflict about furniture. Patricia wants new 1:15:21.320 --> 1:15:25.680 stuff befitting of their upgraded social status. First, Matt kind 1:15:25.680 --> 1:15:28.559 of scoffs at this, but then like some boys from 1:15:28.600 --> 1:15:32.240 the neighborhood come by to play Astrobomber the video game. 1:15:32.880 --> 1:15:35.720 And this includes not just the not just Tom and 1:15:35.760 --> 1:15:39.000 Mary's kid, but the kid of Larry Ferris, the Clarence 1:15:39.040 --> 1:15:43.960 Bodiker guy, the Boss, and Billy Ferris. The kid. He 1:15:44.080 --> 1:15:46.160 first of all, he is a poor sport. He gets 1:15:46.160 --> 1:15:49.240 mad and smashes Robbie's game when he loses, and also 1:15:49.320 --> 1:15:52.519 when he walks into the house he insults the Winslow's furniture. 1:15:52.640 --> 1:15:54.800 He's like, why do you all have such old furniture? 1:15:55.880 --> 1:15:58.479 But like, have you ever heard a kid I'll say something. 1:15:58.560 --> 1:16:02.840 I don't know if they observe that anyway. So the 1:16:02.880 --> 1:16:06.280 Winslow's all head out to the furniture store. That's the 1:16:06.320 --> 1:16:08.960 last straw we got to get new furniture. On the way, 1:16:09.040 --> 1:16:11.839 they nearly get run off the road by a chauffeured 1:16:11.960 --> 1:16:15.599 car that is like doing a doing tokyo drifting into 1:16:15.760 --> 1:16:19.880 the club, but the steaming springs entrance and Matt is 1:16:20.200 --> 1:16:22.040 he gets out. He's very angry. He gets out of 1:16:22.040 --> 1:16:24.760 the car to trade insurance info. But the passenger of 1:16:24.800 --> 1:16:28.200 this car gets out and it is Jessica Jones played 1:16:28.200 --> 1:16:32.640 by Susan Lucci. She introduces herself as the club's directors. 1:16:32.840 --> 1:16:34.880 She's like, I know all about you, she knows all 1:16:34.880 --> 1:16:37.800 of the family names and everything. She says, no need 1:16:37.800 --> 1:16:40.920 to trade insurance info. Allow me to have my goons 1:16:40.960 --> 1:16:43.400 intimidate you instead. So she just gets back in the 1:16:43.400 --> 1:16:45.800 car and here we get this. Who's the actor of 1:16:45.840 --> 1:16:49.160 the sheriff worth Yeah, yeah, the sheriff guy. He says, here, 1:16:49.280 --> 1:16:51.960 we're a small, tight knit community. We do things a 1:16:52.000 --> 1:16:55.439 little differently, and I think that includes like not trading 1:16:55.479 --> 1:16:58.519 insurance info when it's this car. Maybe she's just going 1:16:58.600 --> 1:17:04.200 to send you some suspect to get instead. So next 1:17:04.640 --> 1:17:07.439 we see an initiation at the club. So we see 1:17:07.439 --> 1:17:12.640 Tom and Mary's family undergoing their final initiation into steaming Springs, 1:17:13.280 --> 1:17:16.919 and we have the Honorable Jessica Jones presiding. So the family, 1:17:17.040 --> 1:17:21.120 they're all standing there in these terry cloth robes in 1:17:21.120 --> 1:17:24.080 front of this door that is like, you know, has 1:17:24.320 --> 1:17:27.040 steam pouring out of it in white light, and Jessica 1:17:27.120 --> 1:17:30.320 Jones says, you are now accepted into the inner Circle, 1:17:30.680 --> 1:17:34.080 and by the symbolic entrance into our ancient spring, you 1:17:34.160 --> 1:17:39.200 forever forsake the mundane world and merge yourself into the protective, 1:17:39.400 --> 1:17:43.960 exclusive shield of the Club. And so they're standing there 1:17:43.960 --> 1:17:46.760 and the doors open, the steam pours out the white light, 1:17:47.240 --> 1:17:50.360 and Jones says, do you forsake all for the club? 1:17:50.680 --> 1:17:53.519 And the family all say they say, I do. Then 1:17:53.800 --> 1:17:57.320 enter into the spring and taste its power. So they 1:17:57.320 --> 1:17:59.640 go inside and the doors close behind them, and then 1:17:59.680 --> 1:18:02.719 the sheer just stands outside the door, our arms folded. 1:18:03.640 --> 1:18:05.479 So at first it looks like I don't know, maybe 1:18:05.520 --> 1:18:07.959 they're going into just a really steamy sauna. 1:18:09.920 --> 1:18:12.720 Yeah. At first you would assume, okay, this is the 1:18:12.760 --> 1:18:18.040 actual spring, this is the steaming spring. Yeah. But there's 1:18:18.080 --> 1:18:21.400 more details emerge. It becomes clear this is no ordinary spring. 1:18:21.479 --> 1:18:24.400 This is something infernal. 1:18:24.760 --> 1:18:28.320 Right. So, back at the office, Matt catches Grace sneaking 1:18:28.360 --> 1:18:31.000 around in the records room where she doesn't have clearance, 1:18:31.040 --> 1:18:33.400 and she nervously hands him a file that she wants 1:18:33.479 --> 1:18:36.839 him to look into. They get interrupted by Harry Thompson, 1:18:36.880 --> 1:18:40.160 the president of the company. Matt does not rat out 1:18:40.200 --> 1:18:43.559 Grace here, he covers for her, and the president of 1:18:43.560 --> 1:18:46.160 the company, Thompson, is like, here's a very important person 1:18:46.200 --> 1:18:48.759 I want you to meet, Matt. It's TV Susan Lucci. 1:18:50.000 --> 1:18:52.799 This is Kevin McCarthy playing mister Thompson here. 1:18:52.720 --> 1:18:56.920 Right, yeah, yeah, the boss guy. And this guy suggests 1:18:57.000 --> 1:18:58.880 that Matt. First of all, he's like, hey, did you 1:18:58.880 --> 1:19:00.679 know she has a club? You should join her club. 1:19:01.479 --> 1:19:03.559 There's a lot of scenes like that. It does kind 1:19:03.600 --> 1:19:06.960 of get repetitive somewhat. There's so much insisting that people 1:19:07.000 --> 1:19:11.960 join the club. But the boss also says that he 1:19:12.040 --> 1:19:13.920 needs to give her a tour of all his highly 1:19:13.960 --> 1:19:18.680 classified research. And Matt's like, but isn't that stuff classified? 1:19:18.720 --> 1:19:23.080 And he says, Matt, miss Jones is family. So he's 1:19:23.120 --> 1:19:27.240 trying to show off the suit's capabilities, and Jessica is like, ooh, Matt, 1:19:27.560 --> 1:19:30.400 did you play a sport in college? I like your muscles. 1:19:31.080 --> 1:19:33.080 And she says, at the club we have lots of 1:19:33.160 --> 1:19:38.920 exercise equipment, lots of pleasurable things. And Matt is like, well, 1:19:39.160 --> 1:19:41.719 I guess I'm not much of a joiner and she says, 1:19:41.760 --> 1:19:43.200 you know, you should think about it. It can do 1:19:43.240 --> 1:19:45.920 a lot more for you than you would think. And 1:19:45.960 --> 1:19:49.000 then ooh, we get a stinger here. So as Jessica 1:19:49.080 --> 1:19:52.440 is walking out of the room, we see from inside 1:19:52.520 --> 1:19:55.759 the space helmet and when she walks across its field 1:19:55.760 --> 1:19:59.040 of view, it renders a judgment on her. The screen 1:19:59.120 --> 1:20:01.200 says non human malignant. 1:20:02.880 --> 1:20:04.719 That's just for us the viewer at this point. 1:20:04.800 --> 1:20:08.599 All right, Matt doesn't get to see it. Okay, So 1:20:08.720 --> 1:20:11.800 next we have let's see, oh, we have a scene 1:20:11.840 --> 1:20:14.960 where we find out that since being initiated into the club, 1:20:15.439 --> 1:20:17.759 Tom has gotten a promotion. Now he has a big, 1:20:17.800 --> 1:20:20.800 fancy office. It's got like six computers in it does 1:20:20.960 --> 1:20:23.559 doesn't Tom work in marketing? Does he need all those computers? 1:20:23.800 --> 1:20:26.080 It looks like a multiperson workspace. But they're just saying, 1:20:26.160 --> 1:20:27.040 is this is his office now? 1:20:27.280 --> 1:20:27.639 Yeah. 1:20:27.840 --> 1:20:31.599 Tom again insists that Matt should join the club. He says, 1:20:31.600 --> 1:20:34.000 you join the club, you start rubbing shoulders with top 1:20:34.439 --> 1:20:36.920 top people. It's like the end of Indiana Jones and 1:20:36.960 --> 1:20:41.599 the Top Men. But Matt is resistant. He's got bad 1:20:41.640 --> 1:20:45.799 feelings about it, and he leaves with Tom still insisting. Meanwhile, 1:20:45.920 --> 1:20:49.320 Mary arrives at their house and is showing off to 1:20:49.439 --> 1:20:53.240 Patricia her new car. Patricia is very jealous, and Patricia 1:20:54.080 --> 1:20:56.479 she's telling Matt she she thinks they should join the club. 1:20:56.520 --> 1:20:58.479 She's like, it's our turn, Matt, It's our turn to 1:20:58.479 --> 1:21:01.240 have a little piece of success. And this is the 1:21:01.280 --> 1:21:03.679 part of the movie where there's like it's the middle 1:21:03.720 --> 1:21:05.400 of the night and Matt gets up. The kids are 1:21:05.400 --> 1:21:08.559 having a slumber party, and that creepy kid, Billy Ferris 1:21:08.600 --> 1:21:11.120 is there, and Matt goes into the kitchen and Billy 1:21:11.160 --> 1:21:14.120 Ferris is like up at midnight staring at a TV 1:21:14.400 --> 1:21:17.680 that's just showing old footage of riots and violence in 1:21:17.720 --> 1:21:18.280 the streets. 1:21:18.760 --> 1:21:20.519 This is a local channel I'm the. 1:21:20.479 --> 1:21:27.240 Semi Yeah, so let's see. There's a some more plot stuff. 1:21:27.360 --> 1:21:29.960 Matt finds out at work that Grace has been fired 1:21:30.000 --> 1:21:33.639 by Thompson, the big Boss, and he goes to confront 1:21:33.640 --> 1:21:35.439 Thompson about this. He says he wants him to hire 1:21:35.479 --> 1:21:37.760 her back, and Thompson kind of implies, well, he might 1:21:37.840 --> 1:21:42.439 consider it if Matt and his family join the club. Geez, okay, 1:21:42.439 --> 1:21:45.840 you're making your point. So finally, Matt, Patricia, and the 1:21:45.840 --> 1:21:49.080 family get a tour of the club. Tom and Mary 1:21:49.080 --> 1:21:51.360 are sponsoring them, and they walk around seeing all of 1:21:51.400 --> 1:21:55.400 the wonderful facilities. You got tennis courts, a pool, golf course, 1:21:55.560 --> 1:21:58.559 Jim with a big weight room full of beautiful athletic 1:21:58.600 --> 1:22:02.760 people sculpting their body, and Jessica Jones tells them that 1:22:02.800 --> 1:22:05.080 they could be initiated in as little as three or 1:22:05.080 --> 1:22:09.120 four weeks. And Matt wanders off from the tour into 1:22:09.200 --> 1:22:12.800 an off limits corridor down to the door. The door 1:22:12.840 --> 1:22:15.639 we saw earlier from the initiation. This is the door 1:22:15.680 --> 1:22:19.280 to the spring, and he's sort of getting ready to 1:22:19.640 --> 1:22:22.400 try to look inside, but Jessica Jones finds him and 1:22:22.439 --> 1:22:25.759 stops him. He explains that he thought he heard someone 1:22:25.800 --> 1:22:28.120 crying out for help on the other side of the door, 1:22:28.640 --> 1:22:32.240 and Jessica's like, oh, it was probably someone crying out 1:22:32.439 --> 1:22:36.600 in ecstasy. Pleasure can make you feel that good, you know, 1:22:36.880 --> 1:22:40.559 did you know? Pleasure can make you feel good? Jessica 1:22:40.640 --> 1:22:43.240 Jones tells him that she can carry. She can tell 1:22:43.280 --> 1:22:45.479 he doesn't care about money, but she thinks he does 1:22:45.560 --> 1:22:48.840 care about pleasure, and she will make sure that his 1:22:48.960 --> 1:22:53.320 membership is as pleasurable as possible. Now, this is a 1:22:53.320 --> 1:22:56.000 theme they're kind of developing the movie, But I think 1:22:56.120 --> 1:22:59.360 this one doesn't necessarily work right because you never get 1:22:59.360 --> 1:23:02.640 the feeling that Matt is all that tempted or like 1:23:02.680 --> 1:23:04.400 he's about to give in or anything. 1:23:04.640 --> 1:23:07.200 Yeah, I feel like we would need a couple of 1:23:07.240 --> 1:23:10.360 scenes sprinkled here there that show that he is to 1:23:10.439 --> 1:23:15.640 some degree sexually frustrated or you know, or particularly hedonistic 1:23:15.720 --> 1:23:18.559 in one way or another. As it stands, it's kind 1:23:18.560 --> 1:23:23.320 of like Jessica Jones is just saying, you're a human, 1:23:23.520 --> 1:23:27.280 you're all hot to trot, so let me just push 1:23:27.360 --> 1:23:30.679 those buttons. Yeah, it feels a little desperate on her part, 1:23:30.720 --> 1:23:34.439 and it makes him feel a little more immune to 1:23:35.479 --> 1:23:36.559 her various powers. 1:23:37.280 --> 1:23:38.800 Yeah, I agree. I think it would have worked a 1:23:38.800 --> 1:23:41.840 little better if they'd shown him being slightly more vulnerable 1:23:41.920 --> 1:23:44.320 to the seduction. And it's just like bullets bouncing off 1:23:44.360 --> 1:23:47.400 of Superman. He doesn't really seem I mean, he seems 1:23:47.439 --> 1:23:48.559 like bothered by it. 1:23:48.840 --> 1:23:52.000 He's bothered. He's bothered by this temptation. He's bothered by 1:23:52.040 --> 1:23:55.840 the door to perhaps hell, and he's also bothered by 1:23:55.880 --> 1:23:58.559 the fact that there's no basketball court here. He does 1:23:58.600 --> 1:24:00.880 point back, He's like, where the where's where's the bee ball? 1:24:00.960 --> 1:24:03.240 And they're just all that like, oh, it's a great place, 1:24:03.320 --> 1:24:06.040 Like they were like, oh, we forgot the basketball court. 1:24:06.760 --> 1:24:07.280 Oh yeah. 1:24:07.360 --> 1:24:10.559 If only that would be the final victory for Satan, if. 1:24:10.479 --> 1:24:12.920 She should have led with that, she'd be like, we 1:24:13.000 --> 1:24:16.439 will add a basketball court. Man, two of them full 1:24:16.479 --> 1:24:17.200 sid have done it. 1:24:17.360 --> 1:24:20.519 Yea recruited. Now he gets to become spawn because they 1:24:20.600 --> 1:24:24.519 made a basketball court. But so he gets freaked out 1:24:24.520 --> 1:24:26.599 and leaves after this, and he has a fight with 1:24:26.640 --> 1:24:28.960 Patricia in the parking lot. She wants to join the club, 1:24:29.080 --> 1:24:32.360 Matt does not, and they're at an impasse. This is 1:24:32.360 --> 1:24:34.840 one of those movie conflicts that I think could be 1:24:34.960 --> 1:24:39.120 alleviated simply by one character telling the other what happened, 1:24:39.240 --> 1:24:40.599 but for some reason he doesn't. 1:24:40.880 --> 1:24:41.240 Yeah. 1:24:41.280 --> 1:24:44.679 So Patricia is upset because there is a club rule 1:24:44.720 --> 1:24:47.400 that says families have to join as a unit, but 1:24:47.479 --> 1:24:50.640 Matt won't join, so so she's like, oh, no, I 1:24:50.680 --> 1:24:52.720 want to join, but we can't. But then Patricia has 1:24:52.760 --> 1:24:55.559 a meeting with Jessica Jones, and Jessica says, you know, 1:24:55.600 --> 1:24:58.960 we don't have to be rigidly religious about our rules. 1:24:59.720 --> 1:25:03.000 So we cut straight to the initiation once again, steamy door, 1:25:03.080 --> 1:25:05.600 the terry cloth robes, and the liturgy about you know, 1:25:05.600 --> 1:25:08.280 we're gonna forsake all others merge with the protective shield 1:25:08.320 --> 1:25:11.160 of the club, and it is Patricia, Robbie, and Chrissy 1:25:11.280 --> 1:25:13.760 joining without Matt. When we see them walk into the 1:25:13.800 --> 1:25:17.400 steamy doorway, Chrissy gets scared tries to run away, but 1:25:17.479 --> 1:25:20.360 the creepy sheriff stops her, makes her go in, and 1:25:20.400 --> 1:25:32.519 then we get what's clearly an ad break. At this point, 1:25:32.520 --> 1:25:35.680 Matt's family has been replaced by replicants, a kind of 1:25:35.800 --> 1:25:41.439 Stepford Satan family that is simultaneously perfect and evil. They 1:25:41.479 --> 1:25:46.280 are very docile and elegant and well behaved, but also 1:25:46.479 --> 1:25:50.120 obsessed with the club and cruel and getting barked and 1:25:50.160 --> 1:25:53.280 growled at by their dog. And there's a whole subplot 1:25:53.320 --> 1:25:56.200 with the dog, by the way. So Matt later gets 1:25:56.200 --> 1:26:00.320 a call at work from Bill Irwin, playing a veteran 1:26:00.920 --> 1:26:04.599 Uh this is just by coincidence, the husband of Grace, 1:26:04.760 --> 1:26:09.360 Matt's former secretary and the you know. He asks him 1:26:09.360 --> 1:26:13.000 to come out to his kennel and he explains that 1:26:13.000 --> 1:26:17.040 Patricia brought their dog. Albert said it was vicious from 1:26:17.120 --> 1:26:19.840 day one, probably some kind of brain tumor, and it 1:26:19.920 --> 1:26:22.639 had attacked their children and needed to be put down. 1:26:23.280 --> 1:26:25.599 So the vet lied to her and said he would 1:26:25.640 --> 1:26:28.639 do it after she left. Fortunately, the dog's still okay, folks, 1:26:28.680 --> 1:26:31.200 and we see it runs out and Matt pet's the 1:26:31.240 --> 1:26:32.439 dog and everybody's happy. 1:26:32.680 --> 1:26:35.040 But not only did she say that she wanted the 1:26:35.080 --> 1:26:37.160 dog put down, She's like, I want to watch. Yeah, 1:26:37.160 --> 1:26:39.960 that was good. That was a nice detail. That was it. 1:26:40.439 --> 1:26:44.639 He said, we don't do things that way. So Matt 1:26:44.680 --> 1:26:48.360 goes home to confront Patricia about this, and when he arrives, 1:26:48.360 --> 1:26:51.120 she has had the house goth renod while he was 1:26:51.160 --> 1:26:54.439 at work, so now it's all dark blue walls. Moody 1:26:54.560 --> 1:26:55.559 abstract art. 1:26:56.280 --> 1:26:58.200 It's like the House and Beele Juice at this point. 1:26:59.040 --> 1:27:02.720 Yeah, and later see Jessica Jones has sent Patricia a 1:27:02.760 --> 1:27:07.639 new grand piano. So he comes in, uh, and she's 1:27:07.640 --> 1:27:10.880 in the kitchen with a knife in a black cocktail dress. 1:27:11.280 --> 1:27:13.760 He confronts her about the dog and she just sort 1:27:13.800 --> 1:27:16.719 of deflects and manipulates him with the knife in her hand. 1:27:17.200 --> 1:27:19.360 And she wants him to join the club. So things 1:27:19.400 --> 1:27:20.879 are not right with his family. 1:27:21.320 --> 1:27:23.720 You know, this is the point where Joanna Cassidy, I think, 1:27:23.720 --> 1:27:27.280 really gets to shine as well, because she's great earlier 1:27:27.280 --> 1:27:29.920 in the picture playing the normal pat but now she 1:27:29.920 --> 1:27:33.479 gets to play the sinister, ambitious, the sort of possessed 1:27:33.520 --> 1:27:38.759 Stepford pat And yeah, it has it's a nice performance. 1:27:39.120 --> 1:27:39.680 I enjoyed it. 1:27:39.720 --> 1:27:43.200 You know, you expect her to start going on a 1:27:43.240 --> 1:27:44.840 replicant rampage at any moment. 1:27:45.000 --> 1:27:47.880 Yeah, and then also there's a funny seat. Later that night, 1:27:47.960 --> 1:27:51.800 Patricia is all like sexually aggressive with him. She's like 1:27:52.000 --> 1:27:55.479 she's jumping him and she she's there's one part where 1:27:55.479 --> 1:27:58.360 she's just repeating, I'm just making love to you, darling. 1:28:00.040 --> 1:28:02.120 But it looks like who he's been making love to 1:28:02.240 --> 1:28:05.240 is Freddy Krueger, because you see the scratches on his back. 1:28:05.400 --> 1:28:08.200 He's like looking in the mirror and they're like deep gouges. 1:28:08.720 --> 1:28:10.519 Yeah, she goes zool on him. 1:28:10.520 --> 1:28:13.759 For sure does not look like fingernails, cause this looks 1:28:13.800 --> 1:28:18.080 like knives. Yeah, let's see. So the next day, Matt 1:28:18.120 --> 1:28:22.479 finds out that Grace, his old secretary, was unfortunately killed 1:28:22.479 --> 1:28:25.800 in a terrible car accident with someone trying to shut 1:28:25.800 --> 1:28:29.320 her up. And Matt goes and finds the files that 1:28:29.360 --> 1:28:31.240 Grace had tried to get him to read earlier. I 1:28:31.240 --> 1:28:33.559 guess he forgot about it till now. And then this 1:28:33.600 --> 1:28:35.800 is the scene where he's just typing questions into a 1:28:35.840 --> 1:28:38.920 computer to get information. What he finds out here is 1:28:38.920 --> 1:28:42.760 that all of the senior management at micro Digitech were 1:28:42.800 --> 1:28:46.920 promoted after becoming members of the Steaming Springs Country Club. 1:28:47.240 --> 1:28:50.000 So Matt now he has to learn more. He sneaks 1:28:50.000 --> 1:28:52.720 into the country club to investigate. He goes down into 1:28:52.760 --> 1:28:56.080 the basement to the door. He first uses some kind 1:28:56.080 --> 1:28:59.639 of gadget to hack the key code to access the door. 1:28:59.680 --> 1:29:03.800 The key includes the number six sixty six, and then 1:29:03.840 --> 1:29:07.639 he uses a thermometer probe from the spacesuit to test 1:29:07.760 --> 1:29:10.160 the temperature inside the door when he gets at a 1:29:10.240 --> 1:29:13.559 crack open and he says, eight hundred degrees. No human 1:29:13.600 --> 1:29:16.479 could withstand it. And while he's sitting there, you know, 1:29:16.520 --> 1:29:19.240 getting the temperature, there's an ambush. He is attacked by 1:29:19.439 --> 1:29:22.040 the sheriff and they have a big fight scene. This 1:29:22.080 --> 1:29:24.200 is the scene with the wrestling moves where Matt gets 1:29:24.240 --> 1:29:27.439 like body slammed into the floor. So how's he going 1:29:27.479 --> 1:29:31.160 to defeat this this demonic sheriff. Well, he electrocutes him 1:29:31.160 --> 1:29:34.280 on a chain link fence with a lamp. After this, 1:29:34.439 --> 1:29:36.479 Matt comes home. This is the Oh. Then we get 1:29:36.479 --> 1:29:40.000 the scene where the children are you know, fully evilfied. 1:29:40.120 --> 1:29:43.320 Now he comes home and he finds Chrissy mutilating her 1:29:43.360 --> 1:29:46.720 stuffed bunny with a crowbar and he's like, hey, let's 1:29:46.800 --> 1:29:49.160 be nice, and she says, we do not like nice, 1:29:49.320 --> 1:29:52.400 and she's whacking with the crowbar. He says, you're not 1:29:52.520 --> 1:29:55.760 my daughter, and then with a pazuzu voice, she says, 1:29:55.800 --> 1:29:59.160 but I am your daughter. And he's like, is she 1:29:59.320 --> 1:30:03.000 down there in the springs and she says, she explains 1:30:03.000 --> 1:30:06.080 that the mechanics here. She says, good, Chrissy is down 1:30:06.120 --> 1:30:09.400 there in the springs. But you've just got bad Chrissy 1:30:09.520 --> 1:30:14.439 now bad, bad, bad Chrissy. And so Matt is attacked 1:30:14.479 --> 1:30:17.840 by evil children, by bad Chrissy and bad Robbie, and 1:30:17.880 --> 1:30:20.240 he has to lock both of them inside a closet. 1:30:20.280 --> 1:30:22.800 Why does that closet lock from the outside. That's not 1:30:22.880 --> 1:30:25.120 a yeah, you shouldn't have closets locked from the outside. 1:30:25.200 --> 1:30:27.280 I mean, maybe it was part of these new renovations 1:30:27.360 --> 1:30:31.120 that all sorts of sinister changes to the house. 1:30:32.400 --> 1:30:36.519 Then bad Patricia attacks him with a golf club. He escapes, 1:30:36.800 --> 1:30:39.920 He escapes the house, and then he goes to the lab, 1:30:40.280 --> 1:30:43.960 the lab at work, where he dons the suit. 1:30:44.640 --> 1:30:46.519 I think it was coming at this point. You knew 1:30:46.560 --> 1:30:47.200 it was coming. 1:30:47.439 --> 1:30:50.639 Yeah, it's all coming together now. So while he's all 1:30:50.640 --> 1:30:54.760 getting suited up in the spacesuit, he is confronted by 1:30:54.800 --> 1:30:58.160 Tom with a gun and Tom, this is bad Tom, 1:30:58.200 --> 1:31:02.479 I guess also, and bad Tom says, you're not one 1:31:02.520 --> 1:31:05.840 of us, Matt, You're a loser. We're the winners and 1:31:05.880 --> 1:31:07.920 we have to get rid of the losers. And he's 1:31:07.920 --> 1:31:10.680 going to shoot him, but it's like a duel. It's 1:31:10.680 --> 1:31:14.320 a quick draw. There's a blast, and what you realize 1:31:14.320 --> 1:31:17.240 happened is that Matt has blasted Tom with the sleeve 1:31:17.360 --> 1:31:19.000 laser guy on the suit. 1:31:20.120 --> 1:31:21.840 Yeah, you knew it was going to be important and 1:31:21.880 --> 1:31:22.360 there was. 1:31:22.920 --> 1:31:25.400 So Matt puts on the suit helmet, which has a 1:31:25.479 --> 1:31:28.639 dark visor, and then uses it to sneak into the 1:31:28.640 --> 1:31:32.280 club during the Halloween party we've heard so much about. 1:31:32.920 --> 1:31:36.120 This party has a number of guests, including Larry Ferris, 1:31:36.160 --> 1:31:40.640 the Boss, dressed as Nazi officers. Not a great Halloween costume. 1:31:40.640 --> 1:31:44.280 No, I mean, you know, some things were acceptable in 1:31:44.320 --> 1:31:48.400 the eighties. Maybe this was a little more acceptable at 1:31:48.400 --> 1:31:52.200 the time. But I don't know. He's really He's really 1:31:52.240 --> 1:31:54.160 into it here, So I think we are meant to 1:31:54.720 --> 1:31:56.200 see this as somewhat sucks. 1:31:56.520 --> 1:31:59.360 Should we also mention Jessica Jones's costume? This is one 1:31:59.400 --> 1:32:02.040 of the main you will see of this movie. Is 1:32:02.080 --> 1:32:05.679 Susan Lucci in this Halloween costume. I don't know exactly 1:32:05.680 --> 1:32:07.880 what she's supposed to be. She's kind of a big hair, 1:32:08.080 --> 1:32:13.080 ziggy stardust devil, like a red suit, sparkles, hair, volume, 1:32:13.400 --> 1:32:13.800 all that. 1:32:14.720 --> 1:32:16.479 Yeah. Yeah, I'm not sure what it's supposed to be. 1:32:16.479 --> 1:32:19.000 But either are a lot of great costumes. There's generally, 1:32:19.040 --> 1:32:20.840 it just looks like a fun party. I mean, yes, 1:32:20.880 --> 1:32:28.160 it's being held by awful half demon people, but it 1:32:28.200 --> 1:32:30.160 looks pretty good. It looks like I got some cool snacks, 1:32:30.160 --> 1:32:32.640 cool decorations, and you know, I assume there's maybe a 1:32:32.720 --> 1:32:34.280 DJ spinning. I don't know. 1:32:34.520 --> 1:32:36.600 I'm not saying I would sell my soul to go 1:32:36.680 --> 1:32:38.599 to this party. But if I could go like Matt, 1:32:38.680 --> 1:32:40.840 if I could sneak in without selling my soul, I'd 1:32:40.920 --> 1:32:42.040 like to check this party out. 1:32:42.160 --> 1:32:44.880 Yeah, selling your soul. You're not selling your soul just 1:32:44.920 --> 1:32:47.799 for this party. There are a whole number of benefits, 1:32:47.800 --> 1:32:49.800 and this is just one, that's right. 1:32:50.520 --> 1:32:53.360 So Matt goes there, and then he sneaks away from 1:32:53.400 --> 1:32:55.759 the party with the suit on and enters the code 1:32:55.760 --> 1:32:58.759 to the secret door. And then finally he goes into 1:32:59.040 --> 1:33:02.639 the steaming spring. Yes, and along the way, he's followed 1:33:02.640 --> 1:33:05.760 by Jessica Jones. He sees her coming after him, and 1:33:05.840 --> 1:33:07.920 he tries to stop her with the flamethrower, but it 1:33:07.960 --> 1:33:10.600 doesn't seem to work on her just walks through the flames. 1:33:11.360 --> 1:33:16.200 And so now Matt descends into what is beyond the door. 1:33:16.479 --> 1:33:18.080 It's hell baby, It's hell. 1:33:19.120 --> 1:33:22.960 Yeah, Yeah, And again. You can see all this coming together. 1:33:23.640 --> 1:33:25.120 You see it, saw it coming together when all the 1:33:25.120 --> 1:33:28.479 pieces were on the table. But at this point, Matt, 1:33:28.680 --> 1:33:33.439 clad in a spacesuit of his own design, powered by AI, 1:33:34.040 --> 1:33:38.439 armed with a laser and a flamethrower, is descending into Hell, 1:33:39.120 --> 1:33:42.919 literally harrowing Hell, in an attempt to save his family 1:33:43.680 --> 1:33:47.880 from the depths of damnation. And he's doing this by 1:33:48.040 --> 1:33:50.840 venturing through an occult gateway to Hell that happens to 1:33:50.840 --> 1:33:53.479 be in the basement of his local country club. I mean, 1:33:53.920 --> 1:33:56.640 that's bonkers. I love it. This is again. This is 1:33:56.680 --> 1:34:01.360 all happening before ten pm on a Thursday network television. 1:34:03.160 --> 1:34:06.160 This is amazing. This film should be more celebrated for 1:34:06.200 --> 1:34:08.599 its weirdness. It's so good. Okay, so yeah. 1:34:08.640 --> 1:34:12.599 Hell is a craggy, red cave full of these deep 1:34:12.640 --> 1:34:16.679 pits from which are coming these screams for help Somewhere 1:34:16.720 --> 1:34:19.400 down below. Matt does hear his family calling for help, 1:34:19.479 --> 1:34:22.600 so he goes up to the edge and Jessica's in 1:34:22.640 --> 1:34:25.360 there also, still talking to him. It's like, it's hopeless. 1:34:25.360 --> 1:34:27.559 You can't save them, you know, you got to stop. 1:34:27.640 --> 1:34:29.760 But he makes a leap of faith into the pit 1:34:31.040 --> 1:34:32.920 and then he wakes up at the bottom in a 1:34:33.000 --> 1:34:36.400 kind of mirror world version of his neighborhood where he 1:34:36.479 --> 1:34:39.680 goes into his home and he finds his family imprisoned 1:34:39.720 --> 1:34:44.640 behind these animated barriers. Patricia's tortured soul is playing piano 1:34:44.840 --> 1:34:48.360 in Anguish and Jessica shows up once again and tells 1:34:48.439 --> 1:34:50.719 him that he can never rescue his family. He says, 1:34:50.760 --> 1:34:53.760 they all came here willingly, they made the choice, and 1:34:53.800 --> 1:34:56.120 then she also says that the Patricia down here is 1:34:56.680 --> 1:34:59.040 the week Patricia. You don't even want her bag. This 1:34:59.080 --> 1:35:01.080 is the one that has no no, no will, no 1:35:01.240 --> 1:35:04.639 power to you know, survive. This is just the weak 1:35:04.680 --> 1:35:07.120 part of her that has been purged. And Matt's like, no, 1:35:08.040 --> 1:35:11.160 that's the good Patricia, and he says, that's what you've done, 1:35:11.200 --> 1:35:13.400 isn't it. You've taken all the love, all the good 1:35:13.439 --> 1:35:16.240 in people who joined the club and put them down here. 1:35:16.640 --> 1:35:20.760 And you know, so this movie is it's the way 1:35:20.800 --> 1:35:23.320 it attacks its themes. I think you could argue is 1:35:23.360 --> 1:35:26.600 somewhat simplistic. But I was thinking about this, and you know, 1:35:26.640 --> 1:35:29.479 that's kind of interesting. The idea that in order to 1:35:29.840 --> 1:35:35.080 receive some kinds of luxury, people might trade in good 1:35:35.200 --> 1:35:38.760 parts of themselves, like put the good parts of themselves 1:35:38.760 --> 1:35:42.920 in storage so that a broken, diminished part of themselves 1:35:43.000 --> 1:35:44.960 can enjoy the fabulous amenities. 1:35:46.360 --> 1:35:48.920 I think, by some measurements, this would be a theological 1:35:48.960 --> 1:35:52.040 misuse of Hell, taking the good parts out of someone 1:35:52.080 --> 1:35:54.439 and keeping them there and letting the worst of them 1:35:54.520 --> 1:35:57.160 thrive on earth. Not to go on a tangent here 1:35:57.200 --> 1:36:02.160 about what hell is theologically and the role it plays 1:36:02.160 --> 1:36:04.200 in the human psyche, but yeah, it does give us 1:36:04.200 --> 1:36:06.519 some food for thought here, and I want to add 1:36:06.560 --> 1:36:09.120 that the effects here I think are quite good all 1:36:09.160 --> 1:36:12.400 things considered. I mean, you can feel this TV movie 1:36:12.439 --> 1:36:16.479 of the week's budget straining at the seams, but we 1:36:16.560 --> 1:36:18.760 have a solid, rocky set. We have that in this 1:36:18.840 --> 1:36:23.120 weird precipice over this gulf that contains at the very 1:36:23.160 --> 1:36:25.559 bottom a replica of his neighborhood, Like this is this 1:36:25.640 --> 1:36:29.360 is trippy and weird, and there's a palpable feeling at 1:36:29.400 --> 1:36:31.240 that point when he's standing on the edge of the 1:36:31.280 --> 1:36:35.599 cliff and he's being mocked and or tempted by Jessica 1:36:35.680 --> 1:36:38.600 Jones that you know, like we've traveled well beyond the 1:36:38.640 --> 1:36:41.760 point of no return, and again it's not even ten 1:36:41.800 --> 1:36:45.400 pm Eastern Time on ABC Television on a Thursday, but 1:36:45.479 --> 1:36:49.000 it feels like we've gone past midnight. Yeah, it's just 1:36:50.320 --> 1:36:52.599 it's the sort of thing I think it would feel 1:36:52.640 --> 1:36:56.439 right at home, and you're weirder contemporary television dramas or 1:36:56.479 --> 1:37:00.400 the films that have a particular psychotronic bent to them. 1:37:00.800 --> 1:37:03.760 So yeah, again, I feel like this film should be 1:37:03.760 --> 1:37:06.360 more celebrated for its weirdness. It should not be at 1:37:06.360 --> 1:37:08.559 the bottom of the West Craven Heap. Yeah. 1:37:08.600 --> 1:37:10.400 I would say, in fact, if you don't give this 1:37:10.439 --> 1:37:12.559 a five out of five on letterbox, you should go 1:37:12.560 --> 1:37:17.280 to hell. You can go straight into the steaming. 1:37:16.960 --> 1:37:19.360 Sportings at least the weak part of you that wasn't 1:37:19.400 --> 1:37:24.160 strong enough to give this film five stars. So let's see. 1:37:24.439 --> 1:37:26.840 Oh, we get another part here where Jessica tries to 1:37:26.880 --> 1:37:29.080 tempt Matt with like, you know you don't want Patricia, 1:37:29.160 --> 1:37:32.719 you want me once again. It doesn't really work because 1:37:32.760 --> 1:37:36.160 of how they've characterized Matt. You never feel like you 1:37:36.280 --> 1:37:37.160 seriously tempted. 1:37:37.479 --> 1:37:39.240 Yeah, she should have should have been be ball again. 1:37:39.320 --> 1:37:41.840 She'd been like, how about how about basketball? I can 1:37:41.880 --> 1:37:45.000 offer you all the basketball in the world, and then 1:37:45.000 --> 1:37:46.439 he and then he might be tempted. 1:37:46.760 --> 1:37:49.439 She like pulls out a copy of Space Jam and 1:37:49.560 --> 1:37:52.840 she's on VHS. She's like, this is from the future, Matt, 1:37:53.360 --> 1:37:54.480 your future. 1:37:54.360 --> 1:37:57.519 A Space Jam showdown right here at the end would 1:37:57.520 --> 1:37:58.800 have would have just capped it. 1:37:58.960 --> 1:38:02.880 Yes, so Matt. At this point, he decides to take 1:38:02.920 --> 1:38:05.800 off his spacesuit to save his family. I don't remember 1:38:05.840 --> 1:38:07.439 how he figures out he's got to do this, but 1:38:08.280 --> 1:38:11.719 this also seems thematically loaded. He has to change out 1:38:11.800 --> 1:38:15.400 of the protective EVA suit the technology that he has 1:38:15.439 --> 1:38:18.639 been working on back into khakis and a polo shirt 1:38:18.800 --> 1:38:20.799 to save the good parts of his family. 1:38:21.439 --> 1:38:24.439 Yeah. More, I guess this is more symbolic than sensible. 1:38:26.479 --> 1:38:28.799 But oh and I wanted to mention too, like the 1:38:28.800 --> 1:38:32.840 the like laser lights that his family's souls are trapped in. 1:38:33.120 --> 1:38:36.880 It's kind of like the laser lights from the egg 1:38:37.000 --> 1:38:40.960 chamber above aboard the space ship at the beginning of Alien, 1:38:41.439 --> 1:38:42.719 except blue instead of green. 1:38:43.000 --> 1:38:45.679 Yeah, it is like that. So the power of love 1:38:45.760 --> 1:38:48.720 saves the whole family. They you know, they embrace, and 1:38:48.800 --> 1:38:51.640 they all awake together back in their house, seemingly in 1:38:51.680 --> 1:38:55.040 the real world. They hear sirens outside. What's that noise, 1:38:55.080 --> 1:38:57.479 and so they go outside to look and there are 1:38:57.479 --> 1:38:59.840 people running around saying there is a big fire down 1:38:59.840 --> 1:39:03.639 in the club. It's been burning all night and okay, 1:39:03.720 --> 1:39:06.559 I guess that's it for the club. And then Chrissy 1:39:06.640 --> 1:39:09.759 says that her bunny is hungry. The bunny is intact 1:39:09.800 --> 1:39:11.760 once again, so we get kind of we're getting kind 1:39:11.760 --> 1:39:13.960 of a redo on reality. I guess things that we 1:39:14.000 --> 1:39:19.160 saw destroyed are actually now intact once again. And Patricia's like, oh, 1:39:19.200 --> 1:39:21.880 I guess we better feed bunny. Okay, And it looks 1:39:21.920 --> 1:39:23.960 like everything's cool now. Yeah, all good. 1:39:24.520 --> 1:39:28.519 Yeah, a surprisingly upbeat ending because I was again when 1:39:28.520 --> 1:39:30.160 he was standing on the edge of that cliff, I 1:39:30.240 --> 1:39:32.760 was like, oh, he's not coming back from this. This 1:39:32.800 --> 1:39:36.320 is going to have a bleak ending. But they pulled 1:39:36.360 --> 1:39:38.840 back on it and they landed us in a nice 1:39:38.880 --> 1:39:42.839 spot so that we can lead into twenty twenty. 1:39:43.200 --> 1:39:45.640 I want to revisit the question I asked earlier, now 1:39:45.640 --> 1:39:48.240 that we've talked about the whole plot, what is the 1:39:48.360 --> 1:39:52.680 core evil institution? Is it the country club or the corporation? 1:39:53.120 --> 1:39:57.560 I think it's Steaming Springs. It's like that micro digitech 1:39:58.280 --> 1:40:03.000 it is suggested exists it's only to provide employment to 1:40:03.200 --> 1:40:06.240 people who can be recruited into the service of our 1:40:06.320 --> 1:40:08.440 dark lord at Steaming Springs. 1:40:09.920 --> 1:40:12.880 Yeah, yeah, I think that's a good read on it. 1:40:13.080 --> 1:40:16.720 I guess you know. Thematically, the main threat is just 1:40:18.000 --> 1:40:22.559 the spirit of wealth and ambition that permeates society, both 1:40:22.600 --> 1:40:25.040 at work and at home and you know, in your 1:40:25.040 --> 1:40:30.240 social circle. But yeah, I was thinking, okay, the gateway 1:40:30.280 --> 1:40:33.120 to Hell is definitely at the country club, so that 1:40:33.520 --> 1:40:36.639 is in many ways the focal point. But then Jessica 1:40:36.720 --> 1:40:40.720 Jones has complete access to all the high tech, presumably 1:40:40.760 --> 1:40:45.000 top secret experiments going on at Digitech, so the two 1:40:45.080 --> 1:40:48.560 were linked at this point anyway. And who knows, maybe 1:40:48.840 --> 1:40:52.200 some member of the club back before it became possessed 1:40:53.040 --> 1:40:57.160 had some role in opening or widening that hell mouth 1:40:57.400 --> 1:40:59.000 so that everything can get out of whack. There's like 1:40:59.040 --> 1:41:02.639 a whole prequel you could explore right there. I'd watch 1:41:02.720 --> 1:41:08.080 that pre Invitation to Hell arriving early. Yeah. 1:41:08.200 --> 1:41:11.679 Okay, well that was Invitation to Hell nineteen eighty four. 1:41:12.320 --> 1:41:15.880 As we've said, thumbs up from me. Check it out. 1:41:16.120 --> 1:41:18.040 Yeah, this one was great. This is one I really 1:41:18.160 --> 1:41:22.400 wasn't even aware of. I was I don't know, maybe 1:41:22.400 --> 1:41:25.600 it's part of that attitude that we can sometimes have 1:41:25.760 --> 1:41:29.200 about made for TV films that even though I've certainly 1:41:29.880 --> 1:41:33.840 poured through Wes Craven's filmography on IMDb many times, I've 1:41:33.880 --> 1:41:37.400 just kind of skipped over these made for TV films 1:41:37.520 --> 1:41:40.280 and I've paid more attention to his more well known films. 1:41:40.280 --> 1:41:42.200 But yeah, this one was a real treat. 1:41:42.400 --> 1:41:44.360 Well, let's let's look at the other one and see 1:41:44.360 --> 1:41:44.880 how they are. 1:41:45.520 --> 1:41:47.680 Yeah, I mean, if they're as good as if they're 1:41:47.720 --> 1:41:49.920 even close to as good as this one, they're they're 1:41:49.960 --> 1:41:53.080 worth checking out for sure. All Right, Well, we're gonna 1:41:53.080 --> 1:41:55.320 gohead and close up this episode of Weird House Cinema. 1:41:55.400 --> 1:41:57.519 What we'd love to hear from everyone out there? Do 1:41:57.640 --> 1:42:01.519 you have thoughts on Invitation to Hell? Did you if 1:42:01.560 --> 1:42:04.360 anyone out there solid on network television in eighty four, 1:42:05.360 --> 1:42:07.800 I definitely want to hear about that. Or if you've 1:42:07.800 --> 1:42:11.960 watched it with commercials intact, do write in and tell 1:42:12.040 --> 1:42:13.879 us all about it, Or if you've watched it recently 1:42:13.880 --> 1:42:16.639 and you have some thoughts about how it fits into 1:42:16.680 --> 1:42:20.960 the filmography of this legendary director. Yeah, right in and 1:42:21.000 --> 1:42:24.559 we'll we'll have a little conversation we'll share potentially share 1:42:24.600 --> 1:42:27.920 your email on a future listener mail episode of Stuff 1:42:27.920 --> 1:42:30.200 to Blow Your Mind. Just a reminder that Stuff to 1:42:30.200 --> 1:42:32.479 Blow Your Mind is primarily a science and culture podcast, 1:42:32.560 --> 1:42:34.960 with core episodes on Tuesdays and Thursday, short form episode 1:42:34.960 --> 1:42:37.280 on Wednesdays and on Fridays. We set aside most serious 1:42:37.320 --> 1:42:40.080 concerns to just talk about a weird film here on 1:42:40.160 --> 1:42:42.720 Weird House Cinema. Look us up on a letterbox where 1:42:42.760 --> 1:42:44.920 we are weird House. You can follow a list of 1:42:44.960 --> 1:42:47.080 all the films we've covered over the years, and sometimes 1:42:47.160 --> 1:42:49.640 there's a peek ahead at what's coming up next. And 1:42:49.720 --> 1:42:51.719 next week is cat Week, by the way, we haven't 1:42:51.720 --> 1:42:54.800 really broadcast that fact jet on the show, but if 1:42:54.840 --> 1:42:57.800 you like cats or don't like cats, it's perfect week 1:42:57.840 --> 1:43:01.439 to tune in. We're experimenting with some thematic weeks spread 1:43:01.479 --> 1:43:03.760 throughout the year, and yes we will come back around 1:43:03.800 --> 1:43:06.480 and do a Dog Week as well, once we pinpoint 1:43:06.520 --> 1:43:08.479 the appropriate time of a year for that to happen. 1:43:08.720 --> 1:43:12.400 As the dog star rises, there you go. Huge thanks 1:43:12.479 --> 1:43:16.200 as always to our excellent audio producer JJ Posway. If 1:43:16.240 --> 1:43:17.720 you would like to get in touch with us with 1:43:17.800 --> 1:43:20.200 feedback on this episode or any other. To suggest a 1:43:20.240 --> 1:43:22.559 topic for the future, or just to say hello, you 1:43:22.560 --> 1:43:25.519 can email us at contact at stuff to Blow your 1:43:25.600 --> 1:43:33.360 Mind dot com. 1:43:33.439 --> 1:43:36.400 Stuff to Blow Your Mind is production of iHeartRadio. For 1:43:36.479 --> 1:43:39.280 more podcasts from my heart Radio, visit the iHeartRadio app, 1:43:39.439 --> 1:43:42.640 Apple Podcasts, or wherever you listen to your favorite shows.