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Marvel and DC Crossover · Large Nerdron Collider

0:00
Speaker 1: Hey, they're friends. This is Jonathan Strickland, and before we
0:03
Speaker 1: get into today's episode, we just want to let you
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Speaker 1: know that we get into some mature subject matter in
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Speaker 1: this episode, but don't worry, We're just as immature as always.
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Speaker 1: But we wanted to give you a heads up before
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Speaker 1: the episode started so you can decide how you want
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Speaker 1: to listen. The Large Nerdrunk Collider Podcast is a production
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Speaker 1: of I Heart Radio. Hi, everybody, Welcome to The Large
0:40
Speaker 1: Nor Drunk Collider, the podcast that's all about the geeky
0:43
Speaker 1: stuff happening in the world around us and how very
0:45
Speaker 1: excited we are about it. I'm Ariel cast In, and
0:49
Speaker 1: with me as always is the lovely, wonderful Jonathan Strickland. Hello,
0:55
Speaker 1: I'm both lovely and wonderful. It is true. I'm also
1:01
Speaker 1: inquisitive because Ariel, I got a question. Okay, Ariel, here's
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Speaker 1: your scenario, as the quidster would say, you get your
1:16
Speaker 1: pick to be in any musical playing the role of
1:22
Speaker 1: your choice. Which musical, Which role? I've already done it once,
1:29
Speaker 1: but I want to do it again. Winnifred from Once
1:31
Speaker 1: Upon a Mattress. I just I feel like that role
1:34
Speaker 1: just is me. I got a chance to see you
1:38
Speaker 1: play that and it was phenomenal. You did an amazing job.
1:44
Speaker 1: I absolutely adored your your take on winifred Um because
1:50
Speaker 1: you really do embody that whole shy personality. Well thanks.
1:55
Speaker 1: I feel like it's a little bit of a cop
1:56
Speaker 1: out because you know, I have played that role previously,
2:00
Speaker 1: but on a smaller run. What about you, Oh boy?
2:04
Speaker 1: I you know what? The actual answer changes like regularly
2:09
Speaker 1: because I'll go through phases where a certain musical will
2:14
Speaker 1: just hit me in a way where I just really
2:18
Speaker 1: want to be in it. So I always want to
2:19
Speaker 1: play either a rascal or an outright villain, so as
2:24
Speaker 1: I get older, the one that really I would love
2:28
Speaker 1: to play is Fagin from Oliver. He's a fantastic character.
2:34
Speaker 1: I love singing his songs. I mean, I love reviewing
2:36
Speaker 1: the situation and you know, you got to pick a
2:38
Speaker 1: pocket or two. He's a fun rascal of a villain.
2:42
Speaker 1: He's he's actually kind of a semi sympathetic villain. I
2:47
Speaker 1: would say, like at least he doesn't treat the kids
2:50
Speaker 1: as terribly as he does in the book. So that's
2:54
Speaker 1: probably my answer, But others, like Thenardier from Lame Is
2:57
Speaker 1: is another one. Rooster from Annie is another one. They're
3:02
Speaker 1: all rascals and scoundrels and villains, and I love, I mean,
3:06
Speaker 1: I love a good villain song. Well, and you know,
3:09
Speaker 1: I had an acting coach tell me once that the
3:11
Speaker 1: best roles you play are the ones that are diametrically
3:15
Speaker 1: opposed to who you are in real life. So that
3:17
Speaker 1: just means that you are, in fact, lovely and wonderful
3:20
Speaker 1: in real life. Yeah, don't let it get around. I
3:22
Speaker 1: mean you you introduced me that way already, but let's
3:25
Speaker 1: not ruin my rep Okay. Sure, Villain roles are a
3:29
Speaker 1: lot of fun. There's usually a lot of complexity to them,
3:32
Speaker 1: and they do have wonderful songs. I think a good
3:34
Speaker 1: backup for me would be Audrey from a Little Shop
3:37
Speaker 1: of Horrors, if I'm going to pick one. That Yeah,
3:42
Speaker 1: what a fantastic role too. I mean, it's very different
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Speaker 1: in the in the stage musical from the better known
3:50
Speaker 1: movie adaptation. Um, because I remember I actually went to
3:54
Speaker 1: the Plaza Theater because they were showing Little Shop of Horrors,
3:58
Speaker 1: but they were showing it with the deleted original ending,
4:02
Speaker 1: which follows the ending of the stage musical. And when
4:06
Speaker 1: we got to that moment. You could tell who in
4:09
Speaker 1: the theater had never seen the stage musical version. There
4:12
Speaker 1: was a lot of there were a lot of upset
4:14
Speaker 1: people in that theater that night. I believe it. I
4:18
Speaker 1: believe it. Yeah, you gotta you gotta be prepared for
4:20
Speaker 1: that kind of an ending, Yeah, exactly. Yeah, if you've
4:23
Speaker 1: never seen it, you kind of gotta prep yourself forward
4:27
Speaker 1: spoiler alert is not a happy ending. Yeah, speaking of
4:31
Speaker 1: not so happy endings, well, actually, I don't know if
4:34
Speaker 1: this one will be or not. We're going to transfer
4:36
Speaker 1: into our news and the first news story we wanted
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Speaker 1: to talk about was whether there would be a Marvel
4:41
Speaker 1: d C Cinematic Universe crossover. Apparently it's something people have
4:46
Speaker 1: been asking James Gunn about now that he has directed
4:49
Speaker 1: both of Marvel movie and a d C movie. Uh,
4:53
Speaker 1: and he's talked about it with the powers that be,
4:55
Speaker 1: But at this point it's looking like it's pretty unlikely
4:59
Speaker 1: to happen. Yeah, he said that. According to the conversations,
5:04
Speaker 1: which were very casual, it was something that he said,
5:07
Speaker 1: don't don't think of it as being impossible, just being
5:10
Speaker 1: extremely unlikely. However, he also said something else that I
5:14
Speaker 1: thought was really interesting, and I thought we could probably
5:17
Speaker 1: unpack a little and that was he has a concern
5:21
Speaker 1: that there's a certain population of like hardcore fans, geeks
5:26
Speaker 1: who are really into this stuff, who appear to be
5:30
Speaker 1: fixated on minutia like Easter eggs and cameos to the
5:36
Speaker 1: exclusion of the underlying story of the films that those
5:41
Speaker 1: those things appear in. And I know that I've been
5:44
Speaker 1: guilty of that in the past. You know, if you
5:46
Speaker 1: ever watch any sort of video where they're breaking down
5:50
Speaker 1: all the little tiny elements of a show like like Loki,
5:56
Speaker 1: that's a great example that's going on right now. You
5:59
Speaker 1: know what You've seen it happen where they are looking
6:03
Speaker 1: at almost everything other than the actual story that's being told.
6:07
Speaker 1: And I imagine as a storyteller and filmmaker, that gets
6:12
Speaker 1: kind of frustrating because the thing you've spent most of
6:16
Speaker 1: your time on is not the thing that most people
6:19
Speaker 1: are discussing. Yeah, yeah, I would have to agree. I
6:24
Speaker 1: feel like I feel like Easter Eggs should be the
6:27
Speaker 1: little bone that is thrown to the die hard fans
6:31
Speaker 1: to make them comfortable in the changes that have happened
6:34
Speaker 1: in this story. But if that's all they're focusing on.
6:38
Speaker 1: I mean, it's got to be frustrating is a filmmaker,
6:41
Speaker 1: And I guess it just depends on where your headspace
6:43
Speaker 1: is going into the movie, because I would also hope
6:46
Speaker 1: that if if a story was strong enough, that it
6:50
Speaker 1: would grab you and so those things would just be
6:52
Speaker 1: a little pop up delights as opposed to be the
6:55
Speaker 1: thing that you're able to focus on. I completely agree.
6:58
Speaker 1: Like it's it's a delicate line, right, Like the filmmaker
7:01
Speaker 1: and storytellers, they want to throw little fun bonus material
7:07
Speaker 1: for those who are extremely observant who will get something
7:10
Speaker 1: out of it, but they don't want that little like
7:14
Speaker 1: amuse bouche to be taken as if that were the
7:17
Speaker 1: entire meal for example. Um and I, like I said,
7:22
Speaker 1: I've been guilty of this. I think it's part of fandom, right,
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Speaker 1: Like you just really start to focus in on things
7:28
Speaker 1: that maybe we're just meant to be a playful like
7:32
Speaker 1: nod to the fans, but not meant to be deconstructed
7:36
Speaker 1: to the point that they always are. So here's an example,
7:40
Speaker 1: and this is going to include spoilers for one division,
7:42
Speaker 1: So if you haven't watched it about I was just
7:45
Speaker 1: about so One Division is like the perfect example, Like,
7:50
Speaker 1: first of all, One Division I think is my favorite
7:52
Speaker 1: m c U product so far. Like the more I
7:56
Speaker 1: go back to it, the more I like it because
8:00
Speaker 1: it is such an incredible mixture of tone. There's a
8:03
Speaker 1: lot of comedy, but there's a ton of tragedy as well.
8:07
Speaker 1: It deals with the concept of grief on a level
8:10
Speaker 1: that I thought was just beautiful. Um, it's a phenomenal show.
8:15
Speaker 1: But one of the things they do is they introduce
8:19
Speaker 1: a new Pietro, a new Quicksilver who is the Quicksilver
8:25
Speaker 1: appears to be the Quicksilver from the Fox helmed X
8:30
Speaker 1: Men series, the Days of Future Past version of Quicksilver,
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Speaker 1: And so for much of the second half of that show,
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Speaker 1: the implication is we're getting a true multiverse moment, right,
8:43
Speaker 1: like we're getting characters from a different branch of Marvel
8:48
Speaker 1: films that previously did not belong to Disney being incorporated
8:54
Speaker 1: into the m c U. And then, of course it
8:57
Speaker 1: turns out that no, that was a red herring, that
9:00
Speaker 1: it just happens to be a guy that had been
9:04
Speaker 1: hext to believe he was Pietro, and we're we're left
9:09
Speaker 1: to assume that this is just a grand coincidence that
9:12
Speaker 1: this guy happens to look like the actor who played
9:16
Speaker 1: that same character but in a different line of films,
9:19
Speaker 1: and that that, I think is something that a lot
9:23
Speaker 1: of hardcore fans have trouble walking away from. Right They
9:26
Speaker 1: it's hard for them to assume this isn't more meaningful.
9:31
Speaker 1: It isn't an implication that the Fox version of Marvel
9:36
Speaker 1: characters are somehow going to infiltrate the Disney ones. Now
9:40
Speaker 1: maybe they still will, but based on the end of
9:44
Speaker 1: One Division, we should assume that that was nothing more
9:48
Speaker 1: than just a very fun nod two fans. Yeah. I
9:54
Speaker 1: actually had a friend who hasn't watched One Division asked
9:56
Speaker 1: about this the other day and I said, you know,
9:58
Speaker 1: it's just they're playing with their the concepts of the
10:04
Speaker 1: show at face value and at a metal level. Um
10:08
Speaker 1: and yeah, a lot of people were upset when that
10:11
Speaker 1: reveal wasn't what they wanted it to be. Um, you know,
10:16
Speaker 1: but at a metal level, You've gotta think if you
10:18
Speaker 1: look at all of the stories in sci fi and
10:20
Speaker 1: fantasy that deal with multiple universes, like Star Trek Discovery,
10:24
Speaker 1: for instance, there are the same like physical forms of
10:29
Speaker 1: people in the different like universes in the in the
10:33
Speaker 1: different multiverses who play different roles. So it could still
10:38
Speaker 1: even fit if the fans think about this is going
10:41
Speaker 1: way down rabbit hole. But it could still fit if
10:43
Speaker 1: the fans are having a hard time letting go as
10:46
Speaker 1: even though this version of this guy is not Pietro,
10:50
Speaker 1: that he might be in another multiverse if he exists
10:54
Speaker 1: in multiple universes. Um, you know, I thought it was fantastic.
10:58
Speaker 1: I also think it's hard to let go because that
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Speaker 1: version of Quicksilver was phenomenal, just so much fun, and
11:08
Speaker 1: just to have that version of Quicksilver to be able
11:10
Speaker 1: to play with Elizabeth Olson and Paul Bettany was great
11:13
Speaker 1: and I can understand how people want more of that.
11:15
Speaker 1: It did distract a lot of people from what was
11:18
Speaker 1: actually going on in the story, and the story itself,
11:20
Speaker 1: as you said, was very It handled a lot of
11:23
Speaker 1: concepts that are harder to handle it grief very well. Um,
11:26
Speaker 1: it made them very accessible, and it was just a
11:28
Speaker 1: really good overall story and a great set up for
11:32
Speaker 1: the next phase of the m C. You Yeah, I
11:34
Speaker 1: would argue that in that case, though the one division
11:37
Speaker 1: show creators knew what they were doing like it was.
11:40
Speaker 1: That one was a little more cheeky like it. It
11:42
Speaker 1: felt almost like a this is going to be a
11:44
Speaker 1: reference that some listeners just aren't gonna get. It was
11:47
Speaker 1: like an Andy Kaufman esque trick on the audience, right.
11:51
Speaker 1: It was almost a bait and switch kind of thing. Um.
11:55
Speaker 1: So like that that one, I would I would argue,
11:57
Speaker 1: like the show creators get what they deserved in the
12:00
Speaker 1: sense of like fan reaction, because it was it's more
12:05
Speaker 1: than just putting Howard the Duck as a cutaway gag
12:09
Speaker 1: in The Guardians of the Galaxy, right like that, that
12:13
Speaker 1: just opens up the possibility of a Howard the Duck
12:15
Speaker 1: movie in the future, which I know has Ariel really
12:18
Speaker 1: excited because she for some reason loves that god awful
12:22
Speaker 1: movie Love Love Is it Okay? It's apt. I was
12:28
Speaker 1: gonna say it's a strong word, but it's apt. It's
12:30
Speaker 1: it's not a good movie. There are some very disturbing
12:32
Speaker 1: moments in it, but it's also hilariously bad. Uh. But
12:36
Speaker 1: you know, even still, I loved I love all the
12:39
Speaker 1: little like Howard the Duck nuggets stay stick in, but
12:41
Speaker 1: it doesn't detract from the greater story. I think James
12:45
Speaker 1: Gunn is like the king of putting in Easter eggs
12:49
Speaker 1: and other characters without detracting from the story, which are
12:53
Speaker 1: so much of it in the Guardians of the Galaxy.
12:55
Speaker 1: And that really makes me excited for the Suicide Squad movie,
12:58
Speaker 1: which I mean, that's again, let's bringing us full circle,
13:01
Speaker 1: right because James Gunn directed the first two Guardians of
13:04
Speaker 1: the Galaxy movies, he's directing the third one after there
13:08
Speaker 1: was that whole kerfuffle. Then he's also he's the director
13:12
Speaker 1: of the new Suicide Squad movie that's coming out. So
13:15
Speaker 1: that's kind of why this sort of discussion even happens
13:20
Speaker 1: for the whole crossover thing. And I think a crossover
13:24
Speaker 1: would be cool, but at the same time, you're like,
13:26
Speaker 1: what's the story you want to tell? I mean, honestly,
13:30
Speaker 1: with both DC and Marvel, there's an opportunity there because
13:34
Speaker 1: within d C we're getting the Flashpoints storyline, which involves
13:38
Speaker 1: multiple realities, and in Marvel we've got the Multiverse storyline.
13:43
Speaker 1: You could argue that we're in the perfect time to
13:47
Speaker 1: have some form of crossover, but you'd have to figure
13:51
Speaker 1: out how to craft a story that would service that
13:53
Speaker 1: idea well. So that it's not just hey, let's take
13:58
Speaker 1: Freddie and put them with Jason, because we got that
14:01
Speaker 1: movie and it was terrible. I agree, I agree, and totally.
14:05
Speaker 1: Both both universes are very very different, so I feel
14:10
Speaker 1: like they would almost it would have to Blake pull
14:13
Speaker 1: Ezra Miller's Flash with Benedict Cumberbatch's uh Doctor Strange into Deadpool,
14:19
Speaker 1: and I feel like that's the only way you can
14:21
Speaker 1: get that cross overdone, because Deadpool is the only thing
14:24
Speaker 1: that matches the tone of both cinematic universes. Let me
14:28
Speaker 1: throw this to you, though, Ariel. I'm gonna throw something
14:31
Speaker 1: out at you because you know we're spending a lot
14:33
Speaker 1: of time on this topic, and this kind of ties
14:35
Speaker 1: into one of the stories we were going to cover,
14:37
Speaker 1: which is that there were some behind the scenes like
14:41
Speaker 1: paparazzi style photos of Michael Keaton as Batman in the
14:46
Speaker 1: new Flash film as it's filming. Uh, imagine this, Ariel,
14:51
Speaker 1: if you will, A multiverse match over of d C
14:55
Speaker 1: and Marvel in which Michael Keaton as Batman faces off
14:59
Speaker 1: against Michael Keaton as Vulture is the best thing I've
15:04
Speaker 1: ever heard of, and I want to watch that so
15:08
Speaker 1: because Michael Keaton's version of Batman is already it's dark,
15:11
Speaker 1: but it is tongue in cheek, and I feel like
15:13
Speaker 1: it would be an easy transition to the m c U. Yeah,
15:17
Speaker 1: I think I think it would be. Oh my gosh,
15:21
Speaker 1: just saying that, like, Okay, I don't ever need it
15:23
Speaker 1: to happen. I want to be clear, I don't ever
15:26
Speaker 1: need this to actually happen, but the thought of it
15:29
Speaker 1: possibly happening it sparks the exact same geek love that
15:35
Speaker 1: also feeds into this problem we're talking about about fixating
15:39
Speaker 1: on cameos and little Easter eggs and that kind of thing.
15:43
Speaker 1: So I get it. I get it, and uh, like
15:45
Speaker 1: my heart goes out to James Gunn because the dude
15:47
Speaker 1: is a great storyteller. I very much enjoy his takes
15:52
Speaker 1: and uh, and I want to enjoy the stories he's
15:55
Speaker 1: telling on that full storytelling level and not fixate on
15:58
Speaker 1: these tiny little detail But yeah, it's I can't help it.
16:03
Speaker 1: It's just that it's just part of that geek love
16:05
Speaker 1: I think, is that we do have this tendency to
16:09
Speaker 1: speculate and fixate on things, and sometimes that's to the
16:13
Speaker 1: detriment of our enjoyment of the whole story. I I
16:17
Speaker 1: agree along those lines, I just want to say, well,
16:20
Speaker 1: you know, we've got this story in our lineup to
16:22
Speaker 1: talk about Michael Keaton as Batman and some costumes coming
16:25
Speaker 1: out from on the set pictures. I'm generally not super
16:28
Speaker 1: into on the set pictures. I figure when the studio
16:32
Speaker 1: is ready to release their their news will get it,
16:35
Speaker 1: and usually in a better form than leaks. But it
16:40
Speaker 1: also came out with pictures of Supergirl's costume, which is
16:43
Speaker 1: bright and beautiful and I love it. It's got some
16:46
Speaker 1: amazing detail on it, so I'm very excited about that.
16:49
Speaker 1: It just continues to excite me about Supergirl. Yeah, and
16:53
Speaker 1: you know d C also just James Gunn along those lines.
16:56
Speaker 1: We aren't really going to dive into it. But there's
16:58
Speaker 1: a new Suicide Squad trailer out and the cast unofficially
17:04
Speaker 1: leaked this trailer, but I'm pretty sure everybody knew it
17:09
Speaker 1: was going to happen as a publicity stunt. It's kind
17:12
Speaker 1: of like when Marvel did the thing with the third
17:15
Speaker 1: Spider Man film and and they quote unquote leaked the
17:20
Speaker 1: subtitle and it was three different subtitles. Kind of implying
17:24
Speaker 1: the whole multiverse attachment again um or spider verse in
17:28
Speaker 1: that case attachment. I think that was fun. I actually
17:31
Speaker 1: really like those kind of creative marketing campaigns where they
17:36
Speaker 1: are getting a little cheeky and having fun with it.
17:39
Speaker 1: That trailer, it still makes me want to see Suicide Squad.
17:42
Speaker 1: It still looks like it's going to be action packed
17:46
Speaker 1: and filled with weird, irreverent humor. I have a feeling
17:50
Speaker 1: that King Shark is going to be my favorite character,
17:53
Speaker 1: but we'll see. I love I loved King Shark in
17:56
Speaker 1: the poka ut Man. Those are going to be my
17:58
Speaker 1: two faces. We'll have to see. Maybe we'll see that
18:00
Speaker 1: one together. We never watch movies together, so maybe we'll
18:02
Speaker 1: have to do that, like like pick a time and
18:05
Speaker 1: we'll both go and see it. I would love to
18:08
Speaker 1: do that. Excellent. Well, that's a great way for us
18:11
Speaker 1: to segue into our next section. We're gonna take a
18:14
Speaker 1: quick break and then we're gonna have a full discussion again,
18:17
Speaker 1: but this time it will be about a slightly different topic,
18:20
Speaker 1: and it's gonna be about the crazy ratings of films,
18:24
Speaker 1: as in, like you know, the m p A A ratings.
18:27
Speaker 1: We're going to talk about that when we come back
18:29
Speaker 1: after this quick break. So, Ariel, you pick this discussion topic,
18:44
Speaker 1: which is fantastic. It's one that comes up every now
18:47
Speaker 1: and again. But it's about how movie ratings and the
18:52
Speaker 1: strategy that studios take when they plan out their films,
18:58
Speaker 1: how odd it is, how unpredictable it can be, and
19:02
Speaker 1: that there seemed to be films that get a rating
19:06
Speaker 1: that on retrospect you might look at and think like,
19:09
Speaker 1: how the heck did this land that rating when it
19:13
Speaker 1: feels like it should be a totally different one. Yes,
19:16
Speaker 1: and I actually wanted to have this conversation a couple
19:19
Speaker 1: of weeks ago when the powers behind Deadpool said that, yeah,
19:23
Speaker 1: we think we could do a PG thirteen Deadpool to
19:25
Speaker 1: fit it into the m c U, because to me,
19:28
Speaker 1: like so much of Deadpool's humor is just rated are
19:32
Speaker 1: and I wasn't sure how well that would fly. But
19:35
Speaker 1: then it came back up this week because the Hunchback
19:38
Speaker 1: of Notre Dame. Yes, that pause I beloved Disney cartoon
19:43
Speaker 1: by some people turned I still haven't seen it was
19:48
Speaker 1: very cute though. Yeah, turned twenty five this week. I
19:54
Speaker 1: think I've seen the whole movie, but not all the
19:56
Speaker 1: way through UM, but it came up because it's a
20:00
Speaker 1: rated G movie that is exceptionally dark for rated G movie.
20:06
Speaker 1: The New York Times calls it the most r rated
20:09
Speaker 1: G movie you'll ever see. So I figured it would
20:12
Speaker 1: be a great time to actually talk about this. Yeah,
20:16
Speaker 1: and this is a weird, a weird topic. There's one
20:21
Speaker 1: documentary that really tackled this called this Movie is Not
20:24
Speaker 1: Yet Rated. That documentary came out more than a I
20:28
Speaker 1: don't know, like maybe twenty years ago at this point,
20:30
Speaker 1: I honestly can't remember. But it went through how the
20:36
Speaker 1: whole process of getting your film rated by the Motion
20:39
Speaker 1: Picture Association of America or m p a A, how
20:43
Speaker 1: that is an obscure, dark process, and how like inherently
20:49
Speaker 1: unfair it is in many ways. So for example, at
20:53
Speaker 1: least traditionally, I don't know if this has changed since then,
20:58
Speaker 1: but traditionally, and you would submit your film to the
21:01
Speaker 1: m p a A to get a rating, you were
21:04
Speaker 1: not allowed to do things like site other films that
21:07
Speaker 1: were similar to yours and argue that that's why your
21:11
Speaker 1: film should get the same rating as another film, which
21:14
Speaker 1: is bizarre to me. Right, Like, if you were to
21:17
Speaker 1: submit your film, and the m p a A A came
21:19
Speaker 1: back and said, Okay, well this has to be R
21:21
Speaker 1: rated for these reasons, and they give you like a
21:24
Speaker 1: bullet list of the things that make it an R
21:27
Speaker 1: rated movie. And if you were to then say, but
21:30
Speaker 1: you gave this other movie Pg. Thirteen and it has
21:35
Speaker 1: exactly the same elements that you cite as the problem
21:39
Speaker 1: for my film. You're not allowed to do that. You
21:41
Speaker 1: can't use, you know, prior art in that case, as
21:46
Speaker 1: an argument to justify a change in rating. What you
21:49
Speaker 1: have to do is what you're supposed to do anyway,
21:53
Speaker 1: is to go back. If you want a different rating,
21:55
Speaker 1: go back edit your film to a new edit, submitted again,
22:00
Speaker 1: and see if you can get it changed. There have
22:01
Speaker 1: been cases where filmmakers have allegedly submitted the exact same
22:06
Speaker 1: cut to the m p a A and got a
22:10
Speaker 1: different rating at the end of it. So this is
22:13
Speaker 1: an imperfect system from top to bottom. I can almost
22:18
Speaker 1: see the logic behind it, which is, you know, contextually,
22:22
Speaker 1: let's say you've got to swear word in both movies, right,
22:25
Speaker 1: but how and where it's used contextually might differ, which
22:29
Speaker 1: might change how point they feel that is towards the rating. Um.
22:34
Speaker 1: But yeah, the fact that you can submit it also
22:37
Speaker 1: makes it very subjective. The fact that you can submit
22:39
Speaker 1: the same movie twice and get two different ratings. Um,
22:43
Speaker 1: it feels like there's not much of like in an
22:45
Speaker 1: actual scale. But at the same time, if you say, well,
22:47
Speaker 1: this movie did it, and they did it in a
22:50
Speaker 1: less offensive way, then that scale slowly starts sliding. And
22:56
Speaker 1: you know, the New York Times also said that PG
22:59
Speaker 1: today is what G was in the nine nineties, So
23:02
Speaker 1: you know that scale already is sliding. Some families are
23:06
Speaker 1: becoming You can only get a G rating if there
23:08
Speaker 1: is nothing that would be morally objectionable to a family
23:11
Speaker 1: in your movie, pretty much, and so like that scale
23:16
Speaker 1: has shifted over the years. Yeah, now that's that's a
23:20
Speaker 1: great point. It's like some of these ratings depend upon
23:24
Speaker 1: the the cultural morays that were existent when that film
23:30
Speaker 1: were you know, film was first released. Like, did you
23:36
Speaker 1: know that that Stanley Kubrick's two thousand one was rated G?
23:42
Speaker 1: I did not, And that involves a computer that's trying
23:45
Speaker 1: to kill people and does Yeah. Yeah, but you know,
23:50
Speaker 1: me watching it as an adult, because I certainly did
23:52
Speaker 1: not appreciate it as a child. Uh. Well, if it's
23:57
Speaker 1: disturbing that I can't really see other than that robot, kay,
24:00
Speaker 1: maybe I would have given it a PG rating. Yeah. Well,
24:03
Speaker 1: here's here's another question. So do you know when PG thirteen,
24:06
Speaker 1: when that that rating was introduced? I do, because I
24:12
Speaker 1: researched it for this episode. It was Red Dawn correct. Yeah,
24:16
Speaker 1: And do you know the two movies that preceded PG
24:19
Speaker 1: thirteen that kind of prompted the discussion. Steven Spielberg famously
24:24
Speaker 1: talked with the m p a A about creating a
24:26
Speaker 1: new designation between the ratings of P G and R
24:30
Speaker 1: for films that kind of fell in that area because
24:33
Speaker 1: there were there were a lot of movies coming out
24:35
Speaker 1: where you would say, all right, this might be a
24:38
Speaker 1: little intense even for parental guidance, like because people had
24:42
Speaker 1: come to associate parental guidance meaning you know, not G
24:46
Speaker 1: rated but still pretty tame. And there were movies that
24:50
Speaker 1: were coming out there pushing okay, so they were and
24:53
Speaker 1: this is some trivia. This is great bar trivia, by
24:55
Speaker 1: the way, So if you ever get this question about
24:58
Speaker 1: what were the two movies that prompted the discussion for
25:02
Speaker 1: PG thirteen, there were two movies that Steven Spielberg was
25:05
Speaker 1: actually connected to as a producer. Gremlin's was one of them. Okay,
25:11
Speaker 1: I can see that, Yeah, And Indiana Jones and the
25:13
Speaker 1: Temple of Doom was the other one, which was the
25:16
Speaker 1: darkest of the Indiana Jones movies. Yeah, yeah, definitely, I
25:21
Speaker 1: can totally see that. Both of those movies I would
25:23
Speaker 1: assume we're Yeah, the only reason they weren't is because
25:28
Speaker 1: they predated the PG thirteen designation. But that was a
25:32
Speaker 1: good example of how these are movies that weren't so
25:36
Speaker 1: extreme that they should be R rated. Like if you were,
25:40
Speaker 1: you know, fifteen years old, then you could probably totally
25:42
Speaker 1: handle all the stuff that's in Indiana Jones and the
25:44
Speaker 1: Temple of Doom, even when they pull a heart out
25:47
Speaker 1: of a guy's chest. Uh, but you know, it's it's
25:53
Speaker 1: that that's definitely more extreme than what you would consider
25:56
Speaker 1: just for a normal PG film. So yeah, it was
25:59
Speaker 1: what what prompted that discussion. And and again it shows
26:02
Speaker 1: exactly what the point you were making arial that this
26:06
Speaker 1: is a fully subjective process and you can ask the
26:11
Speaker 1: same group of people on two different days to give
26:14
Speaker 1: you a rating for the exact same piece of art,
26:17
Speaker 1: and you might get two different responses based on where
26:20
Speaker 1: those people are on those given days, and it could
26:24
Speaker 1: be a very frustrating experience for a movie studio or
26:27
Speaker 1: a filmmaker who uh wants to tell a story a
26:31
Speaker 1: very specific way, and then they find out that perhaps
26:35
Speaker 1: the rating that they're going to get is going to
26:39
Speaker 1: give a restriction on how many people can see it. So,
26:42
Speaker 1: for another example is that movies that are so intense
26:46
Speaker 1: or extreme that they get an n C seventeen rating
26:49
Speaker 1: or back in the old days, a triple X rating,
26:53
Speaker 1: which typically we associate with with material that is pornographic
26:57
Speaker 1: in nature, But there have been mainstream owns that did
27:01
Speaker 1: not include pornography that's still got that rating because they
27:04
Speaker 1: had such intensity and their sequences. Maybe they had a
27:07
Speaker 1: lot of drug use, or maybe there was a lot
27:09
Speaker 1: of violence or a lot of very foul language or
27:11
Speaker 1: some combination thereof. And back in the old days, like
27:17
Speaker 1: there are entire there there are theater chains that just
27:19
Speaker 1: have a blanket policy that they will not show any
27:24
Speaker 1: film that has that rating. Right, you might want to
27:27
Speaker 1: go unrated and not even submit your film to the
27:30
Speaker 1: m p a A and have a better shot of
27:32
Speaker 1: at least getting some theaters to show it. So there's
27:36
Speaker 1: a lot of money involved in this too, the idea
27:39
Speaker 1: of we don't want to restrict how many theaters can
27:41
Speaker 1: actually screen this film, and and that becomes a big
27:45
Speaker 1: part of the conversation. It's also why you had this
27:48
Speaker 1: slate of lame horror movies. They're all rated PG thirteen
27:56
Speaker 1: because the studio really wanted to hit as wide and
28:00
Speaker 1: audience as possible. We start to see that shift a
28:03
Speaker 1: few years ago as one studios realized that the R
28:08
Speaker 1: rated horror movies were what fans were asking for. They
28:11
Speaker 1: wanted those more intense horror films and two kids were
28:15
Speaker 1: still going to the theaters and seeing these movies anyway,
28:18
Speaker 1: so it just made more sense to go ahead, and
28:20
Speaker 1: like the R rating became almost a way of marketing
28:25
Speaker 1: your film, to say, this is the real horror, right,
28:28
Speaker 1: It's not that watered down stuff. Yeah, it's it's interesting too,
28:34
Speaker 1: because studios will put in, you know, a little bit
28:38
Speaker 1: extra just to make it are sometimes even if the
28:40
Speaker 1: story really is PG thirteen, or in the case of Deadpool,
28:44
Speaker 1: might take out some of the swearing to make it
28:46
Speaker 1: PG thirteen so that it fits within but still try
28:51
Speaker 1: to get that r feel And I just like, I
28:54
Speaker 1: understand you gotta play nice with the sensors. But at
28:57
Speaker 1: the same time, I feel like, are you really much
29:00
Speaker 1: like the crossovers? Are you really serving your story at
29:02
Speaker 1: that point? That's a that's a great question. And yeah,
29:05
Speaker 1: it starts to get very cynical, right, like you start
29:08
Speaker 1: to say, are you making these changes because it's right
29:11
Speaker 1: for the story you want to tell, or you just
29:13
Speaker 1: making it just so that you can get it into
29:16
Speaker 1: more theaters or get more eyeballs on it. In some cases,
29:19
Speaker 1: it becomes almost like a publicity stunt in itself, like
29:21
Speaker 1: when Deadpool released the the the family friendly version of
29:26
Speaker 1: Deadpool two, that was felt like it was more of
29:29
Speaker 1: a publicity stunt than a genuine attempt. Uh. It was
29:34
Speaker 1: like a meta commentary, right, And you can do it
29:38
Speaker 1: in creative ways that are a kind of interesting, But
29:42
Speaker 1: I don't know, man, It's a complicated topic and one
29:46
Speaker 1: that involves art and commerce and politics and subjectivity. And
29:52
Speaker 1: you know this this organization that has long resisted any
29:57
Speaker 1: attempts to have transparent see in their process, like it's
30:02
Speaker 1: it's just a really weird world and it has to
30:06
Speaker 1: be a constant frustration for screenwriters and directors in particular
30:11
Speaker 1: movie studios to an extent, but I'm sure for the
30:14
Speaker 1: people who are actually making these movies, it's really frustrating. Yeah,
30:17
Speaker 1: I mean, and and the transparency is really the part
30:20
Speaker 1: that gets me, because I have to imagine for anybody
30:22
Speaker 1: who's rating a movie that is also a frustration for them,
30:24
Speaker 1: because at the audience level, what I am okay with
30:28
Speaker 1: in a PG thirteen movie is not the same as
30:30
Speaker 1: what you are okay with in a PG thirteen movie
30:33
Speaker 1: more than likely, um, you know. And so like, for instance,
30:37
Speaker 1: when Forrest Gump came out and my family took me
30:40
Speaker 1: to see it, they felt that that movie should have
30:42
Speaker 1: been closer to an R rating than a PG thirteen
30:45
Speaker 1: rating because of some of the subject matter that was
30:47
Speaker 1: in it, um you know. But other people were like, well,
30:50
Speaker 1: I thought it was closer to a PG movie. So
30:52
Speaker 1: it's just just gonna be frustrating for everybody involved. Yeah. Yeah, Well,
30:56
Speaker 1: I think about some of the movies I grew up
30:58
Speaker 1: watching that we're PG or sometimes G rated films that
31:03
Speaker 1: in retrospect, I would say, the only reason you can
31:06
Speaker 1: get away with that rating is only because the subject
31:09
Speaker 1: matter might have gone over the heads of the kids
31:11
Speaker 1: who saw it. So here's an example, the movie musical
31:15
Speaker 1: version of Greece. I'm sure it's just p G, but
31:18
Speaker 1: if you really are paying attention to that movie, there's
31:22
Speaker 1: subject matter in there that is like heavy stuff, um,
31:27
Speaker 1: but the way it's treated as very light and it
31:29
Speaker 1: goes over the heads of kids. So I guess you
31:32
Speaker 1: could argue that because kids wouldn't understand the implications of
31:35
Speaker 1: things like, you know, the pressures of premarital sex and
31:40
Speaker 1: potential unplanned pregnancies and discussions about what to do in
31:44
Speaker 1: the event of a pregnancy, and and there's like suggestions
31:49
Speaker 1: of especially for Greece to there's suggestions of like date
31:53
Speaker 1: rape and stuff like. It's dark stuff when you really
31:56
Speaker 1: think about it. But because the way it's presented and
31:59
Speaker 1: the a that kids absorbing information, it might mean that
32:04
Speaker 1: that stuff just totally is a whiff, you know, for
32:07
Speaker 1: the kids, And so why not call it p G.
32:09
Speaker 1: I guess it also points to cultural issues, right, like
32:13
Speaker 1: the fact that back when Greece two came out, uh,
32:17
Speaker 1: it was a far less aware and sophisticated culture and
32:22
Speaker 1: things like date rape. We're not treated with the level
32:26
Speaker 1: of seriousness that they absolutely should be treated, and so
32:30
Speaker 1: it's just a you could argue it was a different
32:32
Speaker 1: world as well. Yeah, yeah, you know, I think this
32:36
Speaker 1: has been a really fantastic conversation. I think we could
32:39
Speaker 1: talk about it for hours more with different examples. For instance,
32:42
Speaker 1: I'm pretty sure I watched Barbara Ella as a child
32:45
Speaker 1: and did not realize until I was an adult how
32:48
Speaker 1: unchild friendly that was that that that opens with a
32:52
Speaker 1: nude woman floating in space. Yes, yes, so, like I
32:57
Speaker 1: don't know, maybe it's just my my imagination playing tricks
33:00
Speaker 1: on me, but you know, obviously it all went over
33:03
Speaker 1: my head. If that's actually a thing I did and
33:04
Speaker 1: not just something I've made up into my imagination. That
33:07
Speaker 1: also makes me wonder like, should there eventually be a
33:11
Speaker 1: way of re examining films and re rating them, like
33:15
Speaker 1: rating them again in the in the context of the
33:20
Speaker 1: modern sensibilities, because you could argue that what was PG
33:26
Speaker 1: for one era isn't really PG for another, and should
33:30
Speaker 1: that be something that we look at. Honestly, I don't know.
33:34
Speaker 1: It's it's a very complicated thing. I can see the
33:36
Speaker 1: pros and cons of both sides. Part of me says,
33:39
Speaker 1: just leave it alone, But another part of me says,
33:41
Speaker 1: but let's say that I'm a parent and I'm trying
33:43
Speaker 1: to make a decision about whether or not a piece
33:46
Speaker 1: of media that was made years ago would be appropriate
33:50
Speaker 1: for my kid. Um, I mean, I guess the thing
33:53
Speaker 1: to do is to just watch it on your own
33:55
Speaker 1: and make that decision. But like, I don't know, it's
33:59
Speaker 1: it's complicated with older movies, even with new movies. But
34:03
Speaker 1: new movie is hard because you want to avoid spoilers.
34:05
Speaker 1: But there are other rating systems that will tell you
34:07
Speaker 1: how much sexual activity, how much drug us, how much violence,
34:12
Speaker 1: how much language there is in any given movie, and
34:14
Speaker 1: even up to topics, so that you can make more
34:17
Speaker 1: itemized decision for your children. Um. I'm sure if you're
34:20
Speaker 1: a parent you already know that, But I would say
34:22
Speaker 1: that would be the way to go in the future,
34:24
Speaker 1: exception of the fact that for a lot of like
34:26
Speaker 1: scarier movies or suspense or mysteries, that's going to ruin
34:29
Speaker 1: a lot of the plot. So yeah, it's stick. It is. Uh.
34:35
Speaker 1: I'm glad we had this discussion and we're going to
34:39
Speaker 1: take another break an aerial what's happening when we come back,
34:43
Speaker 1: which which relates, by the way, both to our first
34:46
Speaker 1: discussion and the one we just had. Yeah, we're gonna
34:49
Speaker 1: cross over some Deadpool raded are with some Paddington, which
34:54
Speaker 1: I was surprised to find out was actually p G,
34:56
Speaker 1: not G. Well you're gonna do Paddington, I'm doing Yeah,
35:01
Speaker 1: with a children's story. We'll be right back. Okay, so
35:22
Speaker 1: we're back and uh, like I said, we're going to
35:25
Speaker 1: mash up Deadpool with some children's beloved stories. And I
35:29
Speaker 1: picked Paddington Bear, which is a story about a bear
35:32
Speaker 1: who travels from darkness Perue to London and is adopted
35:35
Speaker 1: by a family at the Paddington train station, um and
35:38
Speaker 1: about his adventures in London and his eating marmalade sandwiches.
35:42
Speaker 1: It's it's lovely, it's endearing. Uh. They made a movie
35:46
Speaker 1: about it in two thousand fourteen, and then a second
35:48
Speaker 1: movie about it later on, both of which got really
35:51
Speaker 1: great reviews by children and adults, like I feel like
35:56
Speaker 1: and I watched the second movie before the first. I
35:58
Speaker 1: feel like that a really good job of balance comedy
36:02
Speaker 1: with a story and making accessible and enjoyable by everyone. Uh.
36:08
Speaker 1: I found out after picking this mash up because Paddington
36:12
Speaker 1: a few weeks ago lost its Fresh rating due to
36:17
Speaker 1: one reviewer that apparently both Deadpool and Paddington got nominated
36:23
Speaker 1: for a People's Choice Award and had a social media
36:26
Speaker 1: a war. H it was adorable, you know, Deadpool being
36:31
Speaker 1: very unfamily friendly and Paddington giving hard stairs. So I
36:36
Speaker 1: didn't know that when I wrote this mash up. But
36:40
Speaker 1: here goes. This is called Paddington Pool. You all know
36:45
Speaker 1: the story of Paddington Bear, You know, the one where
36:47
Speaker 1: he stows away on a cargo ship from Darkest Crew
36:49
Speaker 1: to London, is taken in by the Brown family who
36:51
Speaker 1: found him at Paddington Station and named him after the
36:53
Speaker 1: same you do, because I just told you about it.
36:55
Speaker 1: You might even remember that in the two thousand fourteen
36:58
Speaker 1: documentary about his life, he fought a taxid or miss
37:01
Speaker 1: named Millicent Clyde, who snuck into his home attempting to
37:03
Speaker 1: kidnap and stuff him. And during that fight he started
37:06
Speaker 1: a kitchen fire. But what you don't know is that
37:09
Speaker 1: the documentary didn't tell the whole truth. A bunch of
37:12
Speaker 1: marmalade and taco seasoning ignited in that kinship fire, and
37:15
Speaker 1: it burnt the top of Paddington's head and knocked him unconscious.
37:19
Speaker 1: That enabled Millicent to capture him and bring her back
37:22
Speaker 1: to her studio to do her dark work. She stuffed
37:25
Speaker 1: and mounted him to put him in the Natural History Museum.
37:28
Speaker 1: The following day, I know this is really dark. Jonathan's
37:31
Speaker 1: making faces at me, and she thought that was that.
37:34
Speaker 1: But after she went home that night, something remarkable happened.
37:37
Speaker 1: Haddington Bear regenerated with a vengeance and a hankering for
37:41
Speaker 1: marmalade Jimmy Chonga's. Now he was this weird abomination of
37:45
Speaker 1: real and stuffed bear with that scarred head from the
37:48
Speaker 1: kitchen fire. He stepped off his pedestal, did a hard
37:52
Speaker 1: stare into a mirror at his scarred head, and then
37:55
Speaker 1: looked out into space, as if addressing an unseen audience,
37:58
Speaker 1: and said, well, at least I'm not animated or green.
38:02
Speaker 1: Then he grabbed his prize hat off a nearby table,
38:05
Speaker 1: used some taxidermy shears to cut out some eye holes
38:07
Speaker 1: from the back brim, and pulled it over his face.
38:10
Speaker 1: Then he once again turned to the invisible audience and said,
38:13
Speaker 1: close your eyes, kids, Patty's going to exact some vengeance
38:17
Speaker 1: and off, He set to find Millicent and make her pay,
38:19
Speaker 1: stopping only at a Mexican food cart for a snack
38:22
Speaker 1: along the way. When Paddington got to Millicent's house, he
38:25
Speaker 1: chased her to the roof. Once he had her cornered
38:27
Speaker 1: on the edge of the roof, he pulled out the
38:29
Speaker 1: marmalade chimmy chonga that he had grabbed at the food
38:31
Speaker 1: cart from under his hat mask, because all good bears
38:34
Speaker 1: keep a marmalade sandwich under their hat mask, and yes,
38:36
Speaker 1: and chimmy chonga is a sandwich. I will fight you
38:38
Speaker 1: on this, and he threw it at Millicent, knocking her
38:41
Speaker 1: off the roof, but as she fell, she grabbed Paddington's
38:44
Speaker 1: arm and it ripped off his body. Paddington's shouted an
38:47
Speaker 1: expletive that is not suitable for documentary nor children's entertainment,
38:51
Speaker 1: and then looked off the roof to see that Millicent
38:53
Speaker 1: had fallen, unconscious but alive, into some shrubs below. Paddington
38:57
Speaker 1: went into her home and called the cops on her,
38:59
Speaker 1: turning once again into the invisible audience to say, what
39:01
Speaker 1: did you think would have happened? I'm a bear, not
39:03
Speaker 1: a criminal, before going outside to grab his arm back
39:06
Speaker 1: from the unconscious melicine and limping home to crawl into bed.
39:09
Speaker 1: The next morning, when Paddington awoke, he realized that his
39:12
Speaker 1: arm had restitched itself to his body good as new.
39:14
Speaker 1: His head was still scarred, though, so he put on
39:16
Speaker 1: his hat to hide it and went down to meet
39:19
Speaker 1: the Browns for breakfast, and they were none the wiser.
39:22
Speaker 1: Ever since that day, Paddington has lived his sweet family
39:25
Speaker 1: life during the day and gone out to fight crime
39:27
Speaker 1: as a snarky mouthed mirk with the marmalade at night,
39:30
Speaker 1: hunting down criminals, ne'er do wells, and nosy neighbors with
39:33
Speaker 1: great success, telling the Browns that he was going to
39:35
Speaker 1: visit his aunt Lucy so they wouldn't catch on until
39:40
Speaker 1: last week, when he disappeared along with half of London's
39:43
Speaker 1: orange preserves and flower tortillas. It's rumored in underground circles
39:47
Speaker 1: that he has traveled to Peru to hunt down the
39:48
Speaker 1: deadly Tea ray, the most feared of all dinosaurs that
39:51
Speaker 1: lives in the Peruvian jungle, and killed his family, the
39:53
Speaker 1: whole reason he traveled to London in the first place. Wow,
39:58
Speaker 1: I should have warned that maybe that was it family friendly,
40:01
Speaker 1: But this whole episode is not family friendly. I um so,
40:06
Speaker 1: I don't know if you listeners will hear it, because
40:08
Speaker 1: tari is an amazing producer. But Ariel actually had to
40:12
Speaker 1: stop and do a second take of part of that
40:15
Speaker 1: because I was laughing too hard. Oh no, I didn't
40:18
Speaker 1: mind you laughing. I distracted myself and stumbled over the words. Then,
40:23
Speaker 1: but that the mark with marmalade just totally took me
40:29
Speaker 1: by surprise and I lost it as a fantastic joke,
40:34
Speaker 1: really well done, way darker than I anticipated, and super
40:38
Speaker 1: dark compared to mine. Yeah, so mine is Deadpool and
40:43
Speaker 1: Muppet Babies, and just as a backdrop for people who
40:47
Speaker 1: aren't familiar, although you might be because there's a new
40:50
Speaker 1: Muppet Babies series that's going now on on like Disney
40:54
Speaker 1: Junior and stuff. Ariel's making faces. Does that mean that
40:58
Speaker 1: you don't you don't approve of the reboot Muppet Babies.
41:02
Speaker 1: It's fine, I just don't like it, that's fair. So
41:05
Speaker 1: Muppet Babies started out kind of as a joint thing
41:09
Speaker 1: because Muppets Take Manhattan, the third of the original Muppet films,
41:14
Speaker 1: came out in n four and had a fantasy sequence. Uh,
41:18
Speaker 1: the Muppets as Babies all singing music together. And then
41:23
Speaker 1: there was an animated series that came out that same
41:25
Speaker 1: year that featured the adventures of the Muppets as Babies.
41:30
Speaker 1: That one ran from. Then in two thousand eighteen, we
41:34
Speaker 1: got the computer animated reboot of Muppet Babies that runs
41:38
Speaker 1: on like Disney Channel and Disney Jr. I'm mostly focusing,
41:43
Speaker 1: in fact, I'm really focusing on the nineteen eight four
41:46
Speaker 1: version because that was the one that was out when
41:47
Speaker 1: I was a kid. So this one's just called Baby Deadpool,
41:52
Speaker 1: and uh, here we go. It's let's get started. Nanny
41:57
Speaker 1: has a problem. She's in charge of looking after a
42:00
Speaker 1: group of curious, inventive, and mischievous babies. They include Kermit
42:05
Speaker 1: the Frog, Miss Piggy, Bozzy Bear, Animal Scooter, Skeeter, Ralph
42:11
Speaker 1: the Dog, and Gonzo. And now there's a new baby
42:15
Speaker 1: joining the group, Little Baby Deadpool with his cute little
42:19
Speaker 1: baby toy katanas and baby bubble handguns. Baby Deadpool fits
42:25
Speaker 1: right in Mike Baby Gonzo. He has a habit of
42:28
Speaker 1: breaking the fourth wall, and Deadpool and Gonzo become best pals.
42:33
Speaker 1: But Baby Deadpool does tend to get on Kermit's nerves,
42:36
Speaker 1: as Deadpool finds that winding up Baby Kermit to be
42:39
Speaker 1: one of the most satisfying forms of entertainment there is.
42:43
Speaker 1: Baby Deadpool also points out repeatedly that they are all
42:47
Speaker 1: subject to the Great Mouse, which confuses the other babies,
42:51
Speaker 1: and then he says, well, see, through a series of
42:53
Speaker 1: acquisitions and mergers, the Walt Disney Company came into possession
42:56
Speaker 1: of both of Jim Henson Productions and Marvel Comics, not
42:59
Speaker 1: to mentioned twenty one Century Fox, and so we all
43:02
Speaker 1: serve the same rodent overlord. Then he spikes the camera
43:07
Speaker 1: as will we all. They're coming for you too, I
43:12
Speaker 1: mean you, audience, you watching this, Disney is coming for
43:16
Speaker 1: you too. If they don't own you already, and let's
43:20
Speaker 1: face it, they probably do. Then he winks that was weird,
43:25
Speaker 1: says Miss Piggy. When Nanny leaves the room, the group
43:28
Speaker 1: decides that it's time to play pretend. Baby Deadpool suggests
43:32
Speaker 1: that they all pretend to break into a top secret
43:35
Speaker 1: laboratory in Canada, a facility called Weapon X run by
43:39
Speaker 1: the Nefarious Department k. Baby Deadpool reveals that that's where
43:44
Speaker 1: he's from. Fozzy is to take on the role of
43:47
Speaker 1: a secret experiment known as bear Verine, whom the others
43:51
Speaker 1: must help escape the dangerous facility. Kermit is Gambit because
43:56
Speaker 1: the names are similar. Miss Piggy is Rogue, School is Cyclops,
44:01
Speaker 1: Skeeter is Dazzler, Ralph is Beast, Gonzo is Nightcrawler, and
44:07
Speaker 1: Baby Buns and Honeydew visits and becomes Professor X, giving
44:11
Speaker 1: instructions to the group. Beaker is I don't know, Banshee,
44:15
Speaker 1: but honey Dew and Beakers stay behind, so they don't
44:17
Speaker 1: really like factor into the rest of the story. We
44:20
Speaker 1: see the fantasy play out, with Miss Piggy taking up
44:22
Speaker 1: way too much time showing off her winter outfit designed
44:25
Speaker 1: specifically to navigate through the frozen North, and the team
44:29
Speaker 1: makes their way to this remote facility in Canada, staring
44:32
Speaker 1: at it from far away and taking note of their defenses.
44:36
Speaker 1: Among those defenses is a big furry guy played by
44:40
Speaker 1: Baby Sweet UM's who they recognize as saber Tooth. Baby
44:44
Speaker 1: Dead Pull takes the lead and brings the other muppets
44:47
Speaker 1: down to confront saber Tooth, challenging him to a game
44:50
Speaker 1: of freeze tag, and they play with saber Tooth getting
44:53
Speaker 1: really frustrated because Gonzo Nightcrawler just keeps teleporting out of
44:56
Speaker 1: the way at the last second, and Gonzo and Dead
44:58
Speaker 1: Bull managed to trick saber Tooth into running out onto
45:01
Speaker 1: the surface of a frozen lake and the ice cracks
45:03
Speaker 1: under his weight and he splashes down becomes a giant
45:06
Speaker 1: ice cube, and the heroes continue on into the facility.
45:09
Speaker 1: The muppets use their amazing powers to bypass security and
45:13
Speaker 1: trick guards into playing games like hop Scotch and checkers.
45:17
Speaker 1: Everybody gets a moment. Current Slash Gambit causes a door
45:21
Speaker 1: knob to blow up so they could get through a
45:23
Speaker 1: locked door. Scooter Slash Cyclops blasts a snowman just outside
45:27
Speaker 1: the facility that turns out to be a security camp.
45:30
Speaker 1: Skeeter Slash Dazzler distract some guards with a pretty light display.
45:35
Speaker 1: Ralph Slash Beast climbs up on the ceiling and drops
45:37
Speaker 1: a piano on a robot sentry, and this piggy goes
45:41
Speaker 1: rogue all over a group of no fewer than fifteen guards,
45:46
Speaker 1: reducing them to a pile of broken bones and sobbing bodies.
45:50
Speaker 1: Baby Deadpool is really impressed. They continue to search for
45:55
Speaker 1: Bear Verene when they encounter Baby Sam Eagle, who introduces
45:59
Speaker 1: a himself as Lex Luthor. Sam says, Kermit, that's the
46:04
Speaker 1: wrong comic book company. Yeah, even Disney won't be able
46:08
Speaker 1: to clear this, says Ms. Piggy. Hey guys, says Gonzo,
46:12
Speaker 1: looking at a newspaper vending machine that for some reason
46:15
Speaker 1: is in the middle of the Weapon X facility, says
46:17
Speaker 1: here Disney just bought Warner Brothers. Huh, says Baby Deadpool.
46:22
Speaker 1: Welcome to the family, and then he blasts Sam the
46:24
Speaker 1: Eagle with his bubble handguns, which appears to do the
46:27
Speaker 1: trick and clears the way. They make their way into
46:30
Speaker 1: the core of Weapon X and discover something incredible. Bear
46:33
Speaker 1: Verine isn't a captive. He is the captor. He's not
46:39
Speaker 1: being held against his will at all. Instead, he's making
46:42
Speaker 1: the rest of the facility listen to his quote unquote
46:44
Speaker 1: tight forty five minute stand up act, which might be
46:49
Speaker 1: the most tortuous thing anyone has ever experienced. Realizing that
46:54
Speaker 1: their rescue attempt is now a humanitarian mission, the team
46:57
Speaker 1: managed to kidnap Bear Verine and get him out of
46:59
Speaker 1: the stility, much to the relief of the other residents.
47:02
Speaker 1: Of Weapon X. They all head back home to form
47:05
Speaker 1: a cohesive team called the Ex Babies. The Deadpool decides
47:09
Speaker 1: he's not really ready to commit to a team full time,
47:12
Speaker 1: and that's when Nanny comes back in and explains it's
47:15
Speaker 1: time for Baby Deadpool to head home. The end, that
47:19
Speaker 1: was lovely. It did get do get a little dark
47:22
Speaker 1: at one point. I mean, miss Piggy is a force
47:24
Speaker 1: of dangerous reckoning always always. That was delightful. Yeah, I had.
47:32
Speaker 1: I had a lot of fun with that, and I
47:33
Speaker 1: honestly so, I wrote this before I actually looked at
47:36
Speaker 1: all the different stories in our lineup, so I didn't
47:38
Speaker 1: even see the one the Marvel d C crossover. So again,
47:41
Speaker 1: just an amazing coincidence that I wrote a joke about
47:44
Speaker 1: a Marvel d C crossover. You're just that brilliant, Jonathan,
47:49
Speaker 1: I'm just that predictable. Well that's our mash up approach
47:54
Speaker 1: to merging Deadpool with a work of a media that's
47:59
Speaker 1: intended for children. Um, if you have your own versions,
48:02
Speaker 1: we would love to hear them. You can always email
48:05
Speaker 1: us the email addresses l n C at I heart
48:09
Speaker 1: media dot com, or you can get in touch with
48:12
Speaker 1: us on the social media's over on Twitter. We are
48:15
Speaker 1: ll n c Underscore podcast on Facebook and Instagram. Were
48:18
Speaker 1: Large Nerdron Collider, and of course we have our website,
48:22
Speaker 1: Large nerdron collider dot com. That's where you can find
48:25
Speaker 1: show notes and links to the stories we cover. Sometimes
48:28
Speaker 1: we even include links to stories that we didn't get
48:30
Speaker 1: a chance to cover. Yeah, we might do that this
48:32
Speaker 1: week because we were going to talk about more stuff,
48:34
Speaker 1: but we're just very long winded. If you send us
48:37
Speaker 1: a mash up and we like it, we'll even read
48:40
Speaker 1: it on an episode. Also, please make sure to tell
48:43
Speaker 1: your friends if you like us, make sure to rate
48:45
Speaker 1: and review us. Uh, you know, word of mouth is
48:48
Speaker 1: how we grow our geeky family and man, do we
48:52
Speaker 1: love you? Yes, we do. And until next time, I
48:55
Speaker 1: am Jonathan deadpul Strickland and I am Ariel Marmally casting
49:10
Speaker 1: m h m hm m m m m m. The
49:25
Speaker 1: Large nurdern Collider is production of I Heart Radio and
49:28
Speaker 1: was created by Ariel cast In. Jonathan Strickland is the
49:32
Speaker 1: executive producer. This show is produced, edited and published by
49:35
Speaker 1: Tory Harrison. For more podcasts on my heart Radio, visit
49:38
Speaker 1: the i Heart Radio app Apple Podcasts or wherever you
49:42
Speaker 1: listen to your favorite shows.