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Monster Isotopes · Movie Meltdown

• 0:03
  Speaker 1: Hey everybody, my name is Jonathan Frakes and you're listening
• 0:10
  Speaker 1: to Movie Meltdown.
• 0:12
  Speaker 2: Music It's showtime.
• 0:33
  Speaker 1: The following feature has been rated R by the Motion
• 0:36
  Speaker 1: Picture Association of America. It is intended for mature audiences
• 0:41
  Speaker 1: and parental discretion is advised.
• 0:43
  Speaker 3: Our nuclear reactor pumping out one million kilowatts of power.
• 1:18
  Speaker 4: We've used a radioactive isotope with compatible human DNA.
• 1:32
  Speaker 5: What's up, and welcome to Movie Meltdown.
• 1:33
  Speaker 3: I'm Brian. And I'm Sterling.
• 1:35
  Speaker 4: And we're coming to you live via digital recording from
• 1:37
  Speaker 4: the Oddity Studios, where we're enjoying a lovely.
• 1:41
  Speaker 3: Heine Brothers coffee.
• 1:43
  Speaker 4: Courtesy of Sterling, so thank you very much. And courtesy
• 1:47
  Speaker 4: of Heine Brothers for bringing this show to everyone as well.
• 1:50
  Speaker 3: Well, you know, whenever I feel like I'm about to
• 1:52
  Speaker 3: record a podcast, a couple of Heine Brothers really does
• 1:55
  Speaker 3: the trick. But yes, we're ready to get into our...
• 2:02
  Speaker 3: We've been... I mean, we've always drifted onto sci-fi over
• 2:07
  Speaker 3: the years, but we've for a while now.
• 2:10
  Speaker 4: Been discussing we should do... Cause I've already got such
• 2:13
  Speaker 4: a ongoing horror theme. I was like, when we were talking,
• 2:17
  Speaker 4: we were like, we should do like a more semi-focused
• 2:20
  Speaker 4: like sci-fi series that we're going to like, hopefully as
• 2:24
  Speaker 4: we continue on kind of hit different movies and topics
• 2:28
  Speaker 4: and maybe we'll find something along the way. Not necessarily,
• 2:31
  Speaker 4: but maybe we'll find something along the way.
• 2:35
  Speaker 3: This is like the, uh, maybe like I was envisioning
• 2:38
  Speaker 3: this almost as the, uh, podcast version of digging through
• 2:42
  Speaker 3: your uncle's video closet and just being like, ooh, what's this?
• 2:46
  Speaker 3: Let's watch it and then talk about it. I've done that?
• 2:49
  Speaker 1: Yeah.
• 2:50
  Speaker 3: Well, it's a common experience for many of us back
• 2:53
  Speaker 3: in the VHS era. Yeah.
• 2:55
  Speaker 5: I mean, that is one of those. My uncle was
• 2:56
  Speaker 5: the first person.
• 2:57
  Speaker 3: I knew who had a VHS, period. So he was
• 3:01
  Speaker 3: ahead of the curve on that because he even had
• 3:03
  Speaker 3: a camera before anybody had a camera.
• 3:05
  Speaker 1: Whoa.
• 3:06
  Speaker 2: So.
• 3:07
  Speaker 3: He wasn't super tech.
• 3:08
  Speaker 4: I think he was just interested in that one idea
• 3:11
  Speaker 4: and like went down that road.
• 3:13
  Speaker 3: And then, yeah, his time went on.
• 3:14
  Speaker 5: And especially after, sadly, he passed away.
• 3:16
  Speaker 4: But I was the one going through his basement years
• 3:19
  Speaker 4: later going, dude, look at this awesome VHS tape he's got.
• 3:23
  Speaker 4: And like he had all these weird things taped off
• 3:25
  Speaker 4: of TV that I was like, I didn't even know.
• 3:27
  Speaker 3: He's into this. He's got every episode of it ever.
• 3:30
  Speaker 3: So he had that like, you know, geek vibe. Thing
• 3:33
  Speaker 3: running through his DNA that I'm sure made it to me. Yeah, well. Maybe. Possibly. Yeah, possibly.
• 3:40
  Speaker 3: You know, back in the days when we were closeted geeks.
• 3:42
  Speaker 3: You know, when you kept your geekdom in the basement.
• 3:45
  Speaker 3: Not like now when the geekiest movies in the world
• 3:48
  Speaker 3: make billions of dollars. Billions upon billions upon billions. Billions
• 3:54
  Speaker 3: and billions of dollars. I'm so glad we could walk
• 3:58
  Speaker 3: straight out into the limelight so that we could be exploited. Um, eh,
• 4:02
  Speaker 3: I'll take it. Yeah. Yeah. I'm not, I'm not complaining, but, but, uh, yeah, no,
• 4:06
  Speaker 3: I remember when I was growing up as a, as
• 4:08
  Speaker 3: a wee lad in the Mississippi Delta and we had
• 4:12
  Speaker 3: a video store there, VHS store called Funflix. And later, yeah.
• 4:17
  Speaker 3: And later like this other company moved in and changed
• 4:20
  Speaker 3: its name to Circus Video. But of course this being
• 4:22
  Speaker 3: a small town, it was always Funflix, right? No one
• 4:25
  Speaker 3: ever called it anything else. And in retrospect, I remember that,
• 4:29
  Speaker 3: video store had such an incredible selection of cult movies
• 4:33
  Speaker 3: because of course, you know, here they are this cheap
• 4:36
  Speaker 3: store in like the middle of a small town in
• 4:39
  Speaker 3: the middle of America, like getting in whatever films they
• 4:42
  Speaker 3: could possibly to just keep people interested. So you had
• 4:44
  Speaker 3: like the wall of blockbusters of the week. And then
• 4:47
  Speaker 3: you just had like this whole deep cut section of
• 4:50
  Speaker 3: horror and sci-fi movies. And when I was a kid
• 4:53
  Speaker 3: wandering around, you're just picked up this, you pick up
• 4:55
  Speaker 3: a movie, the stuff, what is this? Like, I'm going
• 4:59
  Speaker 3: to take it home, watch it, and be amazed. Thank you, Mr. Cohen. Absolutely.
• 5:05
  Speaker 4: On the one hand, I think that is what brought
• 5:09
  Speaker 4: all of these, especially the VHS Gen X generation of geeks,
• 5:14
  Speaker 4: was usually.
• 5:15
  Speaker 3: The mom and pop video stores. Because Blockbuster, it.
• 5:18
  Speaker 4: Was fine for what it was. But it didn't delve
• 5:22
  Speaker 4: into that stuff the way that... The mom and pop ones,
• 5:27
  Speaker 4: that became... like their bread.
• 5:29
  Speaker 3: And butter was like, they specifically like realize this is
• 5:34
  Speaker 3: a weird little niche area. And like the people coming
• 5:37
  Speaker 3: in that I know are going to make use of this.
• 5:39
  Speaker 4: So they really kind of started to like stocking up
• 5:43
  Speaker 4: on that stuff and realizing it was like sort of
• 5:46
  Speaker 4: a hidden pocket of money to be made that like,
• 5:49
  Speaker 4: if they, if they indulge the geeks that we were
• 5:52
  Speaker 4: for the horror and sci-fi and all of that weird
• 5:54
  Speaker 4: sub genre stuff, like, Yeah, so I think that's where
• 5:58
  Speaker 4: we all found it.
• 5:59
  Speaker 3: I also wanted to ask, were they careful about the
• 6:02
  Speaker 3: way they set up their font?
• 6:06
  Speaker 5: I speak because.
• 6:09
  Speaker 4: Ours was a corporation that learned the hard way. When
• 6:12
  Speaker 4: you're writing the word flicks, if you put the L
• 6:16
  Speaker 4: and the I a little too close together, it makes
• 6:18
  Speaker 4: a U.
• 6:19
  Speaker 3: Oh.
• 6:22
  Speaker 4: In my corporate run, when they put out this Little
• 6:27
  Speaker 4: 8x10 sign that we were supposed to put in all
• 6:28
  Speaker 4: the little holders around the store. And it said, Hot Flicks.
• 6:33
  Speaker 5: But from across the store, that's not what it said.
• 6:37
  Speaker 3: Oh, yeah, because that's a different clientele they were marketing
• 6:41
  Speaker 3: to at that point without realizing it. Honestly, I feel
• 6:45
  Speaker 3: kind of bad for the dudes in trench coats coming in,
• 6:47
  Speaker 3: which we will get to later on in this film.
• 6:50
  Speaker 3: The dudes in trench coats who would show up at
• 6:52
  Speaker 3: that place and they walk over to where it says
• 6:54
  Speaker 3: Hot Flicks and they're just like, oh, well, this is
• 6:56
  Speaker 3: a jip. Like, you know what? This is absolutely not
• 7:00
  Speaker 3: what I was promised. Again, the.
• 7:02
  Speaker 4: The L and the I didn't really say flicks anymore.
• 7:05
  Speaker 4: But yeah, it was funny. There legitimately was like within
• 7:10
  Speaker 4: a day or two. A memo came across the printouts
• 7:13
  Speaker 4: in the morning to replace those with a different 8x10.
• 7:17
  Speaker 4: We flicked up.
• 7:18
  Speaker 3: We flicked up. We totally flicked up. Sorry about that.
• 7:21
  Speaker 3: You guys got to go do double work.
• 7:25
  Speaker 2: Sorry.
• 7:26
  Speaker 3: Corporate flicks. A bunch of corporate flicks.
• 7:30
  Speaker 5: Don't know what the hell they're doing.
• 7:32
  Speaker 3: Flick me.
• 7:33
  Speaker 1: But.
• 7:36
  Speaker 3: Yeah, no, ours was a sign. It was like one
• 7:39
  Speaker 3: of those 80s retro art deco signs.
• 7:42
  Speaker 4: Oh, nice.
• 7:44
  Speaker 5: Obviously, sitting in the place we are, I'm a sucker
• 7:46
  Speaker 5: for deco.
• 7:47
  Speaker 3: Yeah, right. I'm starting accumulating as much deco as I
• 7:51
  Speaker 3: can afford, which is almost nothing, really. But hey, you
• 7:54
  Speaker 3: got the top of the Chrysler building.
• 7:55
  Speaker 5: There's been a few pieces.
• 7:57
  Speaker 3: Once again, much.
• 7:58
  Speaker 5: Referring to the Coen, that's where the winged serpent lives.
• 8:01
  Speaker 1: Yeah.
• 8:01
  Speaker 3: In the top of the Chrysler building. And actually, that
• 8:04
  Speaker 3: was one of the movies in Fun Flicks. I would hope. Dude,
• 8:08
  Speaker 3: I picked that movie up and I was like, Q,
• 8:11
  Speaker 3: you won't have time to say its name before it
• 8:14
  Speaker 3: tears you apart. And I was just like, what the
• 8:17
  Speaker 3: heck could this be? And you're watching that movie and
• 8:20
  Speaker 3: so many of those movies that you watch from those days,
• 8:23
  Speaker 3: you feel like you signed on for maybe a monster
• 8:26
  Speaker 3: flick or something.
• 8:27
  Speaker 1: Yeah.
• 8:27
  Speaker 3: Like, I picked up Reptilicus, right, you know, and I
• 8:30
  Speaker 3: was so happy when the new MST3K did it. But
• 8:33
  Speaker 3: I picked up Q, for instance, and that movie is
• 8:35
  Speaker 3: so much more than a monster movie. It's like a
• 8:37
  Speaker 3: slow burn... It's.
• 8:38
  Speaker 5: A bad cop drama.
• 8:40
  Speaker 1: Yeah.
• 8:40
  Speaker 5: Like a 70s cop drama, except there's a monster in it.
• 8:44
  Speaker 3: Yeah, about political corruption, I think. Like, yeah, no, there's... Maybe,
• 8:48
  Speaker 3: I don't know. Yeah, maybe we should watch it as
• 8:49
  Speaker 3: part of the series, but... But yeah, no, like a
• 8:51
  Speaker 3: lot of those movies were a great opportunity to sort
• 8:54
  Speaker 3: of shoehorn in other things. So yeah, you got some
• 8:59
  Speaker 3: violence and some gore or whatever there. But you're like
• 9:02
  Speaker 3: a nine-year-old watching this monster movie, and suddenly there are
• 9:05
  Speaker 3: these long stretches of dealing with the corrupt mayoral cop force.
• 9:10
  Speaker 5: Or getting yelled at by your police chief or whatever.
• 9:13
  Speaker 3: Yeah, yeah. Damn it, I told you not to do that.
• 9:15
  Speaker 3: I'm going to have your badge.
• 9:16
  Speaker 4: That happens in every bad cop movie, specifically 70s and 80s.
• 9:20
  Speaker 3: Absolutely. Well, you've got to have the boss who's mad
• 9:23
  Speaker 3: at you for being too good at your job. Or
• 9:25
  Speaker 3: being a loose cannon. As you know, we all are eventually. So,
• 9:30
  Speaker 3: in Lethal Weapon, which one of us is... No, I'm
• 9:34
  Speaker 3: not going to ask that question. I'm going to do
• 9:36
  Speaker 3: over this shit and say that. But... The other... Does
• 9:42
  Speaker 3: that mean I make The Passion of the Christ later?
• 9:46
  Speaker 3: Among other things that we won't mention. Sorry, actually, to
• 9:50
  Speaker 3: keep in theme, it means I'm in Signs later. That's true.
• 9:56
  Speaker 3: Back when people thought that was a good filmmaker.
• 9:58
  Speaker 2: Eventually.
• 10:00
  Speaker 3: I watched the new one. I'm okay with it. That's
• 10:03
  Speaker 3: for another episode. Swing away, Brian. That's what I have
• 10:06
  Speaker 3: to say.
• 10:07
  Speaker 4: I was going to say, just as another little kind
• 10:11
  Speaker 4: of entry before we hit the movie. And because I've
• 10:14
  Speaker 4: been wanting to have this discussion and I realized, oh,
• 10:17
  Speaker 4: obviously I need to have it with you because we
• 10:18
  Speaker 4: already had the first part of this discussion. Because we're
• 10:22
  Speaker 4: going to focus mostly on movies, but occasionally, I mean,
• 10:25
  Speaker 4: the meltdown part of it is how it all comes together.
• 10:28
  Speaker 4: TV shows and sci-fi theories and all of this mess. So,
• 10:32
  Speaker 4: have you been watching this season of The Orville?
• 10:35
  Speaker 2: No.
• 10:36
  Speaker 3: I haven't, actually.
• 10:37
  Speaker 6: Oh, Lord.
• 10:38
  Speaker 3: It depresses me, because I gotta say, as one of
• 10:41
  Speaker 3: those guys who says that he enjoys the Orville more
• 10:44
  Speaker 3: than Discovery, but I feel like I'm kind of not
• 10:49
  Speaker 3: living up to my bold declarations if I'm not actually
• 10:54
  Speaker 3: watching the show. But I haven't watched either series. I've
• 10:57
  Speaker 3: actually been catching up with my girlfriend, who.
• 11:03
  Speaker 3: It's amazing. I don't know how I keep doing this,
• 11:05
  Speaker 3: but the girl that I'm dating right now is like,
• 11:08
  Speaker 3: she has not seen nearly, of course the welter of
• 11:11
  Speaker 3: like sci-fi fantasy. Forcing her to watch things is what
• 11:14
  Speaker 3: you're actually doing. Yes. Yes. Uh, I, it's under the,
• 11:18
  Speaker 3: you know, relationship bonding is sort of the, the theory, but,
• 11:22
  Speaker 3: but no, in, in real life land, uh, I've gotten
• 11:25
  Speaker 3: her into watch. She loves, uh, old, terrible sci-fi and everything. And,
• 11:29
  Speaker 3: She looked at me at one point and she was like,
• 11:30
  Speaker 3: we need to watch a series. Uh, I would like it.
• 11:33
  Speaker 3: Do you know a series that has like bad sci-fi,
• 11:36
  Speaker 3: but also like really interesting stuff going on it? Like,
• 11:38
  Speaker 3: like that operates on multiple levels. And I said, let's
• 11:41
  Speaker 3: sit down and watch Babylon five.
• 11:44
  Speaker 5: Um, I know one of your personal favorites.
• 11:46
  Speaker 3: Absolutely. One of my personal favorites. So we've been going
• 11:48
  Speaker 3: back through and watching Babylon five lately, and that's taken
• 11:51
  Speaker 3: up a lot of our, our, our, our minimal free time.
• 11:53
  Speaker 4: Uh, Well, I mean, of the, again, like, I just
• 11:57
  Speaker 4: kind of, it just sort of kicked in. It was
• 11:59
  Speaker 4: like a mid-season coming back for season two for.
• 12:01
  Speaker 3: Some weird reason. Yeah, yeah. And so, again, I don't know.
• 12:05
  Speaker 4: If half the people have realized it even came back already,
• 12:07
  Speaker 4: but they're almost to the end of the season. But it's, like,
• 12:12
  Speaker 4: surprising how well written it is. Like, I still, to this, like,
• 12:17
  Speaker 4: and most of that, I think, is Seth's fault. Like,
• 12:20
  Speaker 4: I think he almost set himself up to the point
• 12:23
  Speaker 4: that I don't know that it will ever be taken seriously.
• 12:25
  Speaker 4: I don't know that it will get the respect that
• 12:27
  Speaker 4: it probably should for the writing that they're doing because
• 12:31
  Speaker 4: he's built up his own reputation as Seth MacFarlane. Like,
• 12:34
  Speaker 4: we all, I'm still watching Brian the Dog flying a.
• 12:37
  Speaker 5: Spaceship, you know?
• 12:38
  Speaker 4: I'm just like, it's still, like, I almost can't get
• 12:40
  Speaker 4: over that hump every time where I'm just like, if
• 12:43
  Speaker 4: he wasn't there... Everything else would run kind of like
• 12:47
  Speaker 4: an updated Next Generation, and I think it would get
• 12:50
  Speaker 4: probably a little more respect in the sci-fi realm, because
• 12:54
  Speaker 4: that's the thing I've noticed specifically going into this season.
• 12:57
  Speaker 4: They are tackling not just really big sci-fi topics like
• 13:01
  Speaker 4: even old Star Trek used to do, but because it's now,
• 13:06
  Speaker 4: and written by someone, or at least the showrunner is
• 13:09
  Speaker 4: someone who likes kind of pushing the envelope, Now, he
• 13:12
  Speaker 4: used to do that in kind of an obnoxious, gross way.
• 13:15
  Speaker 3: Yeah. And I'm sure still does in other shows.
• 13:17
  Speaker 4: Here, he doesn't, but because he likes pushing that envelope,
• 13:21
  Speaker 4: he's addressing things that I don't know that anybody else
• 13:24
  Speaker 4: is going to touch. So, the fact that, I mean, everything,
• 13:28
  Speaker 4: most of it stems from the Moklin world. But, I mean,
• 13:32
  Speaker 4: the fact that all of their species is male- more
• 13:36
  Speaker 4: or less yeah as you delve into this season you
• 13:38
  Speaker 4: find out that's not exactly true but right right the
• 13:41
  Speaker 4: spoilers there's yeah there's an episode that that really gets
• 13:44
  Speaker 4: into their relationship did you see the one now this
• 13:47
  Speaker 4: is one that i was just like this would never
• 13:49
  Speaker 4: occur anywhere else maybe ever like certainly not in the
• 13:54
  Speaker 4: star trek i don't think they would ever go down
• 13:55
  Speaker 4: that road because i even remember watching the um the
• 13:59
  Speaker 4: old holodeck episodes and i'm like Okay, yeah, this is
• 14:03
  Speaker 4: cool that, you know, you get to do, like, an
• 14:05
  Speaker 4: old 30s, you know, gangster thing or whatever. But let's
• 14:09
  Speaker 4: be real what we'd actually be using holodeck technology for.
• 14:12
  Speaker 2: Right.
• 14:13
  Speaker 3: Not just as a genre escape hatch. And, yeah.
• 14:16
  Speaker 4: And that's what, like, our Moklin friend gets into Moklin porn.
• 14:21
  Speaker 3: And, like, it's an obsession. And you really want.
• 14:24
  Speaker 4: Like, I was surprised because I kept going, oh, you know,
• 14:27
  Speaker 4: they're going to wrap it up and he's going to
• 14:28
  Speaker 4: learn his lesson.
• 14:29
  Speaker 3: And, like, it really... deals with the obsession part of
• 14:32
  Speaker 3: it because even though he's getting, you know, in trouble
• 14:35
  Speaker 3: at work, even though he's totally ruining his real world relationship,
• 14:40
  Speaker 3: he keeps going back to it.
• 14:41
  Speaker 4: And I'm like, that's how the obsession part of it
• 14:43
  Speaker 4: is really, you know, there are people dealing with that
• 14:47
  Speaker 4: out there. And I was like, the fact that they're
• 14:48
  Speaker 4: doing this on not just a show, again, not a
• 14:51
  Speaker 4: 10 o'clock cop drama kind of serious show, like on
• 14:55
  Speaker 4: a sci-fi show, That they're addressing something that's this rooted
• 15:00
  Speaker 4: in reality is surprising. And then as they went into
• 15:05
  Speaker 4: the next couple of things, like there's several others where
• 15:07
  Speaker 4: like his like episodes later where his partner is being
• 15:12
  Speaker 4: really like. Anti-feminists, anti-females in general.
• 15:18
  Speaker 2: Misogynists.
• 15:18
  Speaker 3: Yeah. Yeah.
• 15:19
  Speaker 5: But I mean, because his, like, again, the race is
• 15:22
  Speaker 5: built to be that way.
• 15:24
  Speaker 2: Right.
• 15:24
  Speaker 4: So he's just really going out of his way to
• 15:27
  Speaker 4: be kind of a jerk to the female crew and
• 15:30
  Speaker 4: anybody else. And like, it's something that they kind of
• 15:34
  Speaker 4: have to address on that episode. And then there's another
• 15:37
  Speaker 4: one further in where like, you get more to what
• 15:40
  Speaker 4: happened with the And then it's almost like getting to a,
• 15:45
  Speaker 4: you know, female empowerment issues. It starts getting to almost
• 15:49
  Speaker 4: like slavery issues. It starts getting almost into like death
• 15:53
  Speaker 4: camp issues, like World War II issues.
• 15:55
  Speaker 5: So like all of these things are coming into play.
• 15:58
  Speaker 3: And I'm like, this is stuff they wouldn't be touching
• 16:01
  Speaker 3: most of the time, even in like a Star Trek,
• 16:05
  Speaker 3: you know, even in a well-funded sci-fi. Like I think
• 16:08
  Speaker 3: there's such weird touchy subjects that I don't know that,
• 16:12
  Speaker 3: anybody else would do it, which is, yeah.
• 16:14
  Speaker 4: I mean, to me it's, it's, it's amazing and I'm
• 16:17
  Speaker 4: so glad they're doing it. But at the same time,
• 16:19
  Speaker 4: I feel like.
• 16:20
  Speaker 3: Most people aren't paying attention because it's Seth MacFarlane. Well, and, and,
• 16:24
  Speaker 3: and that is, might be a strength as well as
• 16:27
  Speaker 3: a weakness. They can fly under the radar a little
• 16:29
  Speaker 3: bit too. A little bit. And, and honestly, humor, humor
• 16:32
  Speaker 3: is valuable partly because it allows us to say the
• 16:34
  Speaker 3: things that we can't say.
• 16:36
  Speaker 2: Right.
• 16:37
  Speaker 3: Um, and that's one of the reasons, by the way, uh, uh, I,
• 16:40
  Speaker 3: First off, I don't have a problem with his show
• 16:43
  Speaker 3: injecting humor into itself.
• 16:44
  Speaker 1: No.
• 16:45
  Speaker 3: He pointed out at one point that in the promotional
• 16:47
  Speaker 3: materials for the original Auroville series, it presented itself as
• 16:53
  Speaker 3: like Family Guy in space. And he thought that was
• 16:55
  Speaker 3: like the studio screwing up. I think that's how it
• 16:58
  Speaker 3: got greenlit. Right.
• 16:59
  Speaker 5: They were like, we're going to do this wacky comedy.
• 17:01
  Speaker 5: I'm making fun of Star Trek. And it's like.
• 17:04
  Speaker 1: Yeah.
• 17:04
  Speaker 5: A couple episodes in, you're like, shit, that's not what
• 17:06
  Speaker 5: this is at all.
• 17:07
  Speaker 3: No, no. And I.
• 17:10
  Speaker 3: So you think the writing is better in the second
• 17:12
  Speaker 3: season than it was in the first season. Would you
• 17:13
  Speaker 3: say that?
• 17:14
  Speaker 4: I think it's really trying for new things. The first
• 17:17
  Speaker 4: one was hitting good. It hit a good stride. But
• 17:21
  Speaker 4: I think it was still just trying to establish itself
• 17:23
  Speaker 4: as some relatively serious sci-fi. Where this has really set
• 17:27
  Speaker 4: the bar a little higher.
• 17:28
  Speaker 3: For issues that it wants to kind of address. Well,
• 17:31
  Speaker 3: I'll recite what I said before, which is that I
• 17:34
  Speaker 3: really love the fact that the Orville wants to take
• 17:36
  Speaker 3: on social issues. My problem is that I don't think
• 17:38
  Speaker 3: Seth MacFarlane understands social issues very well. I remember you
• 17:42
  Speaker 3: saying that last season. I didn't feel that this season.
• 17:45
  Speaker 4: So that's why I was wondering if you'd been watching
• 17:47
  Speaker 4: to see if you feel like he's growing or if
• 17:50
  Speaker 4: it's new writers.
• 17:52
  Speaker 3: I'm frustrated. I wish that I had prepped better for
• 17:54
  Speaker 3: this episode.
• 17:55
  Speaker 5: There's still plenty of time.
• 17:57
  Speaker 3: Yeah, it's time for me to lose sleep watching all
• 18:00
  Speaker 3: of the Orville. But, um, but I will say though, that,
• 18:02
  Speaker 3: that I do, I, again, to defend the comedy in
• 18:05
  Speaker 3: the show a little bit, like when I heard the, the,
• 18:08
  Speaker 3: the thing that makes me more, the most interesting, and
• 18:11
  Speaker 3: I think I might've said this to you before also,
• 18:12
  Speaker 3: the most interesting of the Star Trek spinoffs that they're
• 18:14
  Speaker 3: plotting is, Yeah.
• 18:15
  Speaker 1: Yeah.
• 18:35
  Speaker 3: Since Battlestar Galactica's reboot, which ended in, I think it
• 18:38
  Speaker 3: was 2008, we went through kind of a desert period
• 18:41
  Speaker 3: for science fiction television. I think a lot of people
• 18:45
  Speaker 3: didn't feel that way because there were a lot of high-concept,
• 18:49
  Speaker 3: sci-fi-ish CW and EW shows.
• 18:54
  Speaker 4: And by 2008, everybody had already started streaming everything, so
• 18:56
  Speaker 4: they were probably catching up on old series.
• 18:59
  Speaker 5: So we've lost that perspective a little bit, too.
• 19:01
  Speaker 3: But there was a period there where, I mean, I'm
• 19:03
  Speaker 3: not talking about, like, again, high concept sci-fi ish shows.
• 19:08
  Speaker 3: Like I'm thinking about, uh, I mean, it's more recent,
• 19:10
  Speaker 3: but the 100 or, uh, yeah, there were all kinds
• 19:13
  Speaker 3: of shows going on, which were basically, we can shoot
• 19:16
  Speaker 3: this in a small town somewhere in America, namely Southern California.
• 19:19
  Speaker 1: Yeah.
• 19:20
  Speaker 3: But it has a theoretical sci-fi concept behind it. Walking
• 19:23
  Speaker 3: dead is another kind of example. Like it's not really
• 19:26
  Speaker 3: a science fiction show. It, it, it just kind of
• 19:29
  Speaker 3: happens to have zombies. It's dystopian future. Yeah. Yeah. Yeah.
• 19:33
  Speaker 3: But yeah, it's so, but, but the whole, like we're
• 19:37
  Speaker 3: living in space, we have uniforms and we're flying around
• 19:39
  Speaker 3: dealing with stuff like that is no, that hasn't been
• 19:44
  Speaker 3: around for quite some time now. Um, and it started
• 19:47
  Speaker 3: to come back with, uh, the expanse, uh, uh and
• 19:50
  Speaker 3: then the orville and discovery hit and um yeah i
• 19:55
  Speaker 3: Of these movies, like, or of these shows, like, The Expanse,
• 19:59
  Speaker 3: I like it. It's been really slow moving for me.
• 20:01
  Speaker 3: It's been, I swear to God, I've watched the first
• 20:04
  Speaker 3: season three times. And by the end of it, I
• 20:07
  Speaker 3: still don't know what the stakes are. I don't, like,
• 20:10
  Speaker 3: and I blame myself partly because, like, I, but for
• 20:13
  Speaker 3: whatever reason, like, I just, I get to the end
• 20:15
  Speaker 3: of that show and I'm like, well, I just saw
• 20:16
  Speaker 3: some cool stuff. but I'm not sure I really even
• 20:20
  Speaker 3: know what that guy's name is. Yeah. You know, like,
• 20:23
  Speaker 3: like there's a lot of that going on, but with
• 20:24
  Speaker 3: the Orville, I appreciated Seth MacFarlane's willingness to take on issues.
• 20:29
  Speaker 3: I felt that discovery put itself in a very specific prism, right?
• 20:34
  Speaker 3: It seemed to want to explore a very specific character
• 20:37
  Speaker 3: focused set of issues, which is not a bad thing,
• 20:40
  Speaker 3: but like they didn't, at least until this new season,
• 20:42
  Speaker 3: I hear they're doing more like landing on planets. Yeah. But,
• 20:46
  Speaker 3: but the opportunity, uh, That that format allows, the classical
• 20:51
  Speaker 3: Star Trek format allows, for exploring human problems and human
• 20:54
  Speaker 3: issues and lingering concerns. In some ways, I mean, we
• 20:58
  Speaker 3: talk about it being hokey because it's so episodic, but
• 21:01
  Speaker 3: in some ways it's really unmatched because you get to
• 21:04
  Speaker 3: literally hold up your prism to a different circumstance every
• 21:07
  Speaker 3: single time and try out different viewpoints. Now, the... Problem
• 21:12
  Speaker 3: with the Macklins. I mean, the Macklins are interesting to me.
• 21:16
  Speaker 3: I'm not sure that I really grasp what exactly is
• 21:19
  Speaker 3: going on with them. The fact that there are male species. Again,
• 21:23
  Speaker 3: the first season they didn't really.
• 21:24
  Speaker 5: It just seemed like, yeah, we need somebody to kind of.
• 21:27
  Speaker 3: Be a wharf. These are the wharfs. Yeah, sure.
• 21:30
  Speaker 4: So it's only this season where they start really kind
• 21:33
  Speaker 4: of delving into there is more to their society.
• 21:36
  Speaker 3: But that's like a microcosm of the problems with Macklins.
• 21:39
  Speaker 3: with season one. It's like, okay, you got this interesting concept.
• 21:42
  Speaker 2: Okay.
• 21:42
  Speaker 3: The Macklins are all male. And I'm thinking like, oh,
• 21:44
  Speaker 3: well maybe like they're born in like natal pods or
• 21:47
  Speaker 3: something like that. Like from a machine or whatever.
• 21:50
  Speaker 2: Yeah.
• 21:50
  Speaker 3: Uh, they're the remnants of soldiers from some ancient war, blah, blah, blah.
• 21:54
  Speaker 3: Then it turns out, oh, nope, they can have eggs. Uh,
• 21:57
  Speaker 3: but what about the one that has the egg? Are
• 21:59
  Speaker 3: they actually, does that just mean that they're androgynous? That's
• 22:01
  Speaker 3: not male, you know? Uh, but turns out, no. Yeah. Again,
• 22:06
  Speaker 3: season two. Yeah. Got to get into season two. But
• 22:09
  Speaker 3: I will say, though, that when it comes to, I
• 22:13
  Speaker 3: want to agree with what you're saying about dealing with
• 22:17
  Speaker 3: specific issues that no one else wants to touch.
• 22:19
  Speaker 2: Yeah.
• 22:19
  Speaker 3: Because I feel that there are certain issues in our culture,
• 22:24
  Speaker 3: and excuse me for being vague, but I don't want
• 22:25
  Speaker 3: to go down a rabbit hole of a specific. But
• 22:28
  Speaker 3: I feel like there are certain issues in our culture,
• 22:30
  Speaker 3: and this probably is true across cultures, where you have
• 22:33
  Speaker 3: a layer of issues that are socially acceptable to talk about.
• 22:38
  Speaker 3: And to feel different ways about like, you know, like
• 22:42
  Speaker 3: this is an issue everyone agrees that there are differences on.
• 22:44
  Speaker 3: So therefore presenting two different sides of the issue. That's
• 22:47
  Speaker 3: not really, that's no skin in the game for anybody
• 22:49
  Speaker 3: because everybody knows that that's going on. Or it's very
• 22:52
  Speaker 3: popular to present an issue like say homelessness or something
• 22:57
  Speaker 3: and be opposed to homelessness. Like it's totally cool if
• 23:00
  Speaker 3: you want to talk about homelessness. It's totally cool to
• 23:02
  Speaker 3: be opposed to homelessness, right? Like that kind of issue.
• 23:06
  Speaker 3: Which is, it's cool if everyone wants to talk about it,
• 23:08
  Speaker 3: but we know which sides you have to come out on. Yeah. Right?
• 23:11
  Speaker 4: Which.
• 23:12
  Speaker 3: And then there's this other layer, which is the issue
• 23:16
  Speaker 3: which is not cool to talk about. And which even
• 23:19
  Speaker 3: having the issue is not okay.
• 23:21
  Speaker 5: Even acknowledging that it is an issue sometimes is like.
• 23:25
  Speaker 4: Nope, not even going to go there. People will just,
• 23:28
  Speaker 4: even in real life, people will just ignore that topic
• 23:31
  Speaker 4: and not even discuss it, let alone work it into
• 23:34
  Speaker 4: your art.
• 23:35
  Speaker 3: Right, and that's one of the reasons why comedy is
• 23:36
  Speaker 3: so valuable, because it gives us an avenue to attack
• 23:40
  Speaker 3: a lot of those issues that we don't want to
• 23:42
  Speaker 3: even mention exist. And I feel like we're living in
• 23:45
  Speaker 3: a period where there's a lot of social activism going
• 23:51
  Speaker 3: And I feel like coming along with that is an
• 23:53
  Speaker 3: attitude that, oh, we're uprooting or opening up all the
• 23:56
  Speaker 3: problems that we're not talking about in society. But what
• 23:59
  Speaker 3: I see or I tend to see is that you'd
• 24:02
  Speaker 3: actually never get to the point where you're opening up
• 24:05
  Speaker 3: all the issues in society. The more stridently you're talking
• 24:08
  Speaker 3: about certain issues. The more other issues are buried as
• 24:11
  Speaker 3: either being irrelevant or so negative that they can't really
• 24:15
  Speaker 3: be talked about. Yeah.
• 24:17
  Speaker 4: Or people will just get so much on their soapbox
• 24:20
  Speaker 4: that all they do is make the statements of, obviously,
• 24:22
  Speaker 4: this is what I feel about it.
• 24:24
  Speaker 2: Right.
• 24:24
  Speaker 4: But nobody bothers to delve into the specifics and the
• 24:27
  Speaker 4: ins and outs of what's going on. in these issues
• 24:30
  Speaker 4: that probably are more of what people are struggling with
• 24:33
  Speaker 4: every day than the how do i feel about it
• 24:35
  Speaker 4: in the grand sense of yeah we all know that
• 24:38
  Speaker 4: but there's a lot of other problems that are involved
• 24:40
  Speaker 4: in all of these different things that are like a
• 24:43
  Speaker 4: real part of people's lives yeah.
• 24:45
  Speaker 3: So in a world where we're all talking about the
• 24:47
  Speaker 3: opioid crisis for instance which you know is is a
• 24:51
  Speaker 3: problem although i'm you know when people talk about the
• 24:53
  Speaker 3: opioid crisis i'm always like do you remember the 90s
• 24:55
  Speaker 3: like i I remember as a kid watching Trainspotting and
• 24:59
  Speaker 3: listening to Nirvana. That shit permeated the culture. Excuse me,
• 25:04
  Speaker 3: that flick. Anyway. But but I mean, excuse me, I
• 25:10
  Speaker 3: don't mean to measure suffering against suffering. But but but
• 25:14
  Speaker 3: when we're talking about like the opioid crisis, you know,
• 25:16
  Speaker 3: you bring up in that episode, they're apparently talking about
• 25:19
  Speaker 3: problems with porn or porn addiction. Yeah. I mean, that's
• 25:22
  Speaker 3: a problem. Like I've talked to people who have told
• 25:24
  Speaker 3: me about their problems with it and getting over it.
• 25:27
  Speaker 3: But bringing up something like that, oh, my God. Talk
• 25:30
  Speaker 3: about a great way. Nobody wants to touch. No pun intended. Like,
• 25:33
  Speaker 3: imagine that soapbox, and a dude's like, man, people are
• 25:37
  Speaker 3: suffering from opioid addiction, and people are suffering from this, that,
• 25:40
  Speaker 3: and the other. And then this one guy decides to
• 25:42
  Speaker 3: get up and says, yeah, and let's not forget those
• 25:44
  Speaker 3: suffering from porn addiction. Dude, what do you know? That's
• 25:48
  Speaker 3: not what we're here for.
• 25:49
  Speaker 2: Go home.
• 25:49
  Speaker 3: Go home, Jerry. Well, that's the thing.
• 25:52
  Speaker 5: It's like it is.
• 25:54
  Speaker 3: It's also stuff that we aren't even thinking about. It's
• 25:58
  Speaker 3: so recent.
• 26:00
  Speaker 4: It's not like that was an issue when you had
• 26:02
  Speaker 4: to go out in the woods and find some magazines.
• 26:05
  Speaker 4: But now that it is piped into your home in
• 26:08
  Speaker 4: a ridiculous amount that you could watch 24-7 for the
• 26:13
  Speaker 4: rest of your life and still not put a dent
• 26:15
  Speaker 4: in the amount of porn that is out there.
• 26:17
  Speaker 3: So it's so readily available now.
• 26:20
  Speaker 5: And it's so.
• 26:21
  Speaker 4: immersed in kids coming up that are just raised with
• 26:24
  Speaker 4: the internet on the computer so like i don't know
• 26:27
  Speaker 4: that they have their or their can they even have
• 26:30
  Speaker 4: that dividing line that previous generations had of like this
• 26:33
  Speaker 4: was my everyday life and every once in a while
• 26:35
  Speaker 4: i look at this dirty magazine where now when you're
• 26:38
  Speaker 4: in the middle of the internet which is covered in
• 26:40
  Speaker 4: god-awful stuff here and there and everywhere like Do you
• 26:44
  Speaker 4: even start dividing that stuff? Or is it just all
• 26:47
  Speaker 4: part of your existence because you're a kid and this
• 26:49
  Speaker 4: is how you were raised?
• 26:50
  Speaker 3: Well, it goes hand in hand with one of the
• 26:52
  Speaker 3: better episodes of the first season, which was the episode where,
• 26:56
  Speaker 3: oh dear, I forgot his name, but the guy who
• 26:59
  Speaker 3: becomes the chief engineer who's secretly a genius... Um, yeah. Yeah. Um,
• 27:04
  Speaker 3: he gets caught on an alien world, humping a statue
• 27:08
  Speaker 3: and the world is like, we all have.
• 27:10
  Speaker 7: Yeah.
• 27:10
  Speaker 3: And the world is completely driven.
• 27:12
  Speaker 2: Yeah.
• 27:12
  Speaker 3: Well, we've all been there. Um, but, uh, and, and,
• 27:16
  Speaker 3: and as a result, like the world is run by
• 27:18
  Speaker 3: social media and his social capital begins dropping like a stone,
• 27:22
  Speaker 3: you know? Um, and I use that word social capital
• 27:26
  Speaker 3: very specifically. Uh, there's a And yeah, you'll like this.
• 27:34
  Speaker 3: It's a sociologist studying the decline of bowling leagues in
• 27:39
  Speaker 3: America and talking about that as an extension of this
• 27:42
  Speaker 3: concept of social capital. which is this notion that if
• 27:45
  Speaker 3: I'm in a bowling league with you, then we have connections.
• 27:49
  Speaker 3: It's social. Yeah, it's social. We have connections with other people.
• 27:52
  Speaker 4: As much as the sportiness of it, it's more social
• 27:54
  Speaker 4: than anything.
• 27:55
  Speaker 3: And it seems like a really frivolous thing, but think
• 27:57
  Speaker 3: about it this way. If we're both working stiffs, working
• 28:00
  Speaker 3: 40-hour-a-week jobs, we get out on Mondays to go to
• 28:03
  Speaker 3: our bowling league. We do, let's say, every year there's
• 28:06
  Speaker 3: a championship or whatever. Well, what does that mean? Well,
• 28:09
  Speaker 3: it means that a substantial part of my free time
• 28:12
  Speaker 3: is spent with you and the other members of our
• 28:14
  Speaker 3: bowling league in this location where people can find us,
• 28:17
  Speaker 3: which means that, well, let's say your car breaks down.
• 28:21
  Speaker 3: Your family's broke. Who are you going to call? Well,
• 28:23
  Speaker 3: you're going to wind up calling members in your bowling league.
• 28:25
  Speaker 4: You want me to come be there and be part
• 28:27
  Speaker 4: of this or you guys are going to lose.
• 28:29
  Speaker 3: So come get me.
• 28:30
  Speaker 1: And yeah. Well, yeah.
• 28:30
  Speaker 3: Well, and it's not even directly connected. It's just the
• 28:33
  Speaker 3: fact that you have built up this set of relationships
• 28:36
  Speaker 3: that are intrinsic to everybody's daily life. So of course
• 28:39
  Speaker 3: you're going to help each other out. And anyway, he
• 28:41
  Speaker 3: talks about the decline of bowling leagues and therefore the
• 28:44
  Speaker 3: decline of social capital, which enables us to like connect
• 28:48
  Speaker 3: with people around us. Well, The internet is really great
• 28:52
  Speaker 3: at creating fake social capital. I have 50 million followers, right?
• 28:58
  Speaker 3: Like who of those people is actually going to be
• 29:02
  Speaker 3: there for you? I have a, I, again, it's the
• 29:05
  Speaker 3: show's page in my, but it has my stupid name
• 29:08
  Speaker 3: on it. Cause Facebook made me do that.
• 29:10
  Speaker 4: But how often do I interact with those people that
• 29:13
  Speaker 4: aren't people that I know in the real world on
• 29:15
  Speaker 4: the show?
• 29:15
  Speaker 3: How often do I hear from someone.
• 29:17
  Speaker 4: About what I'm, again, there's, thousands of people that are
• 29:21
  Speaker 4: supposedly connected to me but how often do i specifically
• 29:26
  Speaker 4: hear from them about oh i heard that episode you
• 29:28
  Speaker 4: guys did really good or you were totally stupid or
• 29:31
  Speaker 4: whatever but like how often do.
• 29:33
  Speaker 3: I actually hear from any of those people there's.
• 29:36
  Speaker 5: One i can think of like literally like that's the breakdown.
• 29:39
  Speaker 3: And now don't get me wrong social media can be
• 29:41
  Speaker 3: fantastic for for marshalling existing social capital a friend of
• 29:45
  Speaker 3: mine's engine just fell out of his car and he
• 29:47
  Speaker 3: was able to raise money on Facebook but these are
• 29:51
  Speaker 3: all people that he knows right you know the guy's
• 29:53
  Speaker 3: in his 40s I think and you know he's had
• 29:55
  Speaker 3: friends around town for a long time and so he's
• 29:57
  Speaker 3: marshaled social resources and Facebook provides a platform through which
• 30:01
  Speaker 3: you can access that. But the trick about that episode, though,
• 30:04
  Speaker 3: it reminds me of something somebody else said on the internet.
• 30:07
  Speaker 3: I was listening to an interview with a guy and
• 30:08
  Speaker 3: he said, the weird dystopia in which we find ourselves
• 30:13
  Speaker 3: is where I am always kind of defined by my
• 30:16
  Speaker 3: worst joke. You know, because the worst thing that I do, quote, worst, right?
• 30:21
  Speaker 3: Like I say something obnoxious or even cruel, you know,
• 30:25
  Speaker 3: or something. Or I reveal some level of imperfection in
• 30:31
  Speaker 3: myself that's just unacceptable. And guess what? That's there forever now.
• 30:35
  Speaker 1: Yeah.
• 30:35
  Speaker 3: Right? And it's what you're distilled down to. Right.
• 30:39
  Speaker 4: It really is the only thing that a lot of
• 30:41
  Speaker 4: people ever see or hear from you is that one
• 30:44
  Speaker 4: horrible thing that you just put out there.
• 30:46
  Speaker 1: Oh, yeah.
• 30:46
  Speaker 3: That guy who was accused of fill in the blank
• 30:50
  Speaker 3: or that girl who was in that terrible break.
• 30:53
  Speaker 1: Shit.
• 30:53
  Speaker 3: Like, who wants to be defined by their worst breakup.
• 30:55
  Speaker 2: Forever, right?
• 30:56
  Speaker 3: Well, but so what I see that, you know, that
• 30:59
  Speaker 3: issue that you bring up of porn addiction, like, you know,
• 31:02
  Speaker 3: for me, it seems like that's closely tied to that
• 31:05
  Speaker 3: decline of social capital, right? Because what's the difference between,
• 31:09
  Speaker 3: you know, porn and real life so long as I'm
• 31:11
  Speaker 3: getting my rocks off, right? Number one. And number two, like,
• 31:16
  Speaker 3: in a world where trying to form social capital, trying
• 31:19
  Speaker 3: to connect with other people is– perpetually hindered by this
• 31:23
  Speaker 3: engine of defining me by my worst moments, right? Like,
• 31:27
  Speaker 3: this is something that's going to drive you underground, essentially.
• 31:33
  Speaker 3: It's going to mean that I don't want to show
• 31:35
  Speaker 3: my face, right? I don't want to... Because that Auroville
• 31:38
  Speaker 3: episode where everyone suddenly hates me because of a picture
• 31:41
  Speaker 3: that got taken of me humping a statue on an
• 31:43
  Speaker 3: alien planet, right? That could become the defining moment of
• 31:47
  Speaker 3: my life. Yeah.
• 31:49
  Speaker 5: I mean, at this point, which.
• 31:50
  Speaker 3: again, you look at, you know, kids coming up, like,
• 31:53
  Speaker 3: freaking internet bullying.
• 31:54
  Speaker 4: Yeah.
• 31:55
  Speaker 5: Like it really, for them.
• 31:56
  Speaker 4: The entirety of their world is this existence, a good
• 31:59
  Speaker 4: portion of which is around social media.
• 32:01
  Speaker 3: Yeah.
• 32:02
  Speaker 5: So when they get like hoisted up on the flagpole,
• 32:05
  Speaker 5: like that's it.
• 32:05
  Speaker 3: Like your life is over. Yeah.
• 32:07
  Speaker 5: From their, you know, grade school perspective, that's it. That's
• 32:10
  Speaker 5: the entirety of their life that has been ruined.
• 32:13
  Speaker 1: Yeah.
• 32:13
  Speaker 3: And, and who, and the tragedy for me is, and
• 32:16
  Speaker 3: I didn't have a terrible adolescence, but who in the
• 32:18
  Speaker 3: world would want to be trapped in their adolescence forever? Yeah.
• 32:22
  Speaker 1: Right?
• 32:22
  Speaker 3: I mean, that's... Wait, I think I'm there, actually. Yeah, actually,
• 32:27
  Speaker 3: now that we say it, we're about to talk about
• 32:29
  Speaker 3: a movie called Adam Age Vampire. I was just playing
• 32:31
  Speaker 3: with Legos this morning.
• 32:33
  Speaker 5: I don't know that I'm one to talk, but I.
• 32:35
  Speaker 3: Oh, my God. Now, you know what? I'm just going
• 32:38
  Speaker 3: to shut my mouth there. But, yeah, no, I'm glad
• 32:42
  Speaker 3: that the Orville is trying to take on social issues.
• 32:44
  Speaker 3: I hope that he continues to do it because even...
• 32:48
  Speaker 3: one of the nice things I find about discussing social issues,
• 32:51
  Speaker 3: and there are plenty of people who will disagree with
• 32:53
  Speaker 3: me about this, but when you do it in art,
• 32:54
  Speaker 3: even if you do it badly, the conversation is still happening.
• 32:58
  Speaker 2: Yeah. Right.
• 32:59
  Speaker 3: Because even if it's terrible, right. It's because there were
• 33:02
  Speaker 3: awful episodes of TOS, but I remember I was listening
• 33:05
  Speaker 3: to your episode. I think it was a couple of
• 33:07
  Speaker 3: weeks ago about sci-fi storytelling.
• 33:09
  Speaker 2: Yeah.
• 33:10
  Speaker 3: And I think you were the one who pointed out like,
• 33:12
  Speaker 3: you know, there's the episode, which I love of the
• 33:15
  Speaker 3: guys who are, Black on one side and white on
• 33:17
  Speaker 3: the other side. And they're ham-fisted, but the message is
• 33:20
  Speaker 3: still there. Oh, no, you put it beautifully when you said,
• 33:23
  Speaker 3: wait a minute, that's ridiculous. Oh.
• 33:25
  Speaker 1: Oh.
• 33:26
  Speaker 3: Yeah, absolutely. I'm the idiot.
• 33:29
  Speaker 2: Okay, wait, wait.
• 33:30
  Speaker 3: You're right. You're right. I'm a horrible person. I didn't
• 33:33
  Speaker 3: even realize. You say it's ham-handed, but I guess culture
• 33:36
  Speaker 3: is ham-handed.
• 33:37
  Speaker 5: Well, and again, especially then, it was so closed.
• 33:40
  Speaker 4: Off to those kind of ideas, like the first time
• 33:43
  Speaker 4: we started seeing stuff like that addressed was probably like
• 33:46
  Speaker 4: Twilight Zone, you know, when it really started throwing that
• 33:48
  Speaker 4: out and then Star Trek and like ones that started making,
• 33:51
  Speaker 4: because like the, again, the Lux.
• 33:54
  Speaker 5: Presents theater isn't going to address.
• 33:56
  Speaker 4: Social issues of the day, but you can sneak it
• 34:00
  Speaker 4: into science fiction.
• 34:01
  Speaker 3: And then it's like, oh, well, wait, we are dealing
• 34:04
  Speaker 3: with these things. We are addressing these topics, but in
• 34:07
  Speaker 3: a way that most of middle America, that's kind of
• 34:10
  Speaker 3: stupid and wants to complain about that stuff. Isn't going
• 34:13
  Speaker 3: to realize and isn't going to complain about like it
• 34:15
  Speaker 3: is a weird like in between place that they could
• 34:18
  Speaker 3: kind of sneak in.
• 34:19
  Speaker 5: Hey, here's some actual smart things to think about.
• 34:21
  Speaker 3: You know, I think Rod Serling, who's a hero of mine,
• 34:25
  Speaker 3: he would have said he would have said that one
• 34:28
  Speaker 3: of the most terrifying things about the Twilight Zone is
• 34:31
  Speaker 3: how adjacent how. terrifyingly adjacent it is to our own reality.
• 34:36
  Speaker 3: How close it is, right? It's not, because notice it's
• 34:39
  Speaker 3: not like, you know, the nth dimension or something. It's
• 34:41
  Speaker 3: just the twilight zone, i.e. the lights have been dimmed.
• 34:44
  Speaker 5: One thing is different.
• 34:45
  Speaker 4: It's like everything else about it is the normal world
• 34:48
  Speaker 4: that we live in.
• 34:49
  Speaker 5: And all of a sudden, oh, you have pig noses. Ah,
• 34:52
  Speaker 5: like one thing's different and that's all it takes to
• 34:55
  Speaker 5: freak you out.
• 34:56
  Speaker 4: But like, that's why it works so well is if
• 34:58
  Speaker 4: everything were crazy, if it were like the Remember when
• 35:01
  Speaker 4: the Looney Tunes would go to that crazy-ass dimension of
• 35:04
  Speaker 4: wackiness and people hitting themselves in the head with hammers?
• 35:07
  Speaker 3: With dodo. Go-go the last of the dodos.
• 35:09
  Speaker 5: Yeah, I mean, if everything were like that, you'd be like,
• 35:13
  Speaker 5: what the fuck is this?
• 35:13
  Speaker 4: Like, you wouldn't have anything to ground yourself and be
• 35:16
  Speaker 4: attached to.
• 35:17
  Speaker 3: But because Twilight Zone is.
• 35:19
  Speaker 4: So real world, that's what makes all the weird stuff, like,
• 35:22
  Speaker 4: creep you out so much.
• 35:24
  Speaker 3: Yeah, and so science fiction, I mean, it's a mirror. Yeah.
• 35:29
  Speaker 3: And that's one of its values. Uh, Ursula Le Guin, uh,
• 35:33
  Speaker 3: who passed away last year, I believe, uh, fabulous writer,
• 35:36
  Speaker 3: Harvard educated, uh, you know, and everyone was shocked when she, uh,
• 35:42
  Speaker 3: this woman who everyone thought was going to become this
• 35:44
  Speaker 3: great literary figure, immediately upon graduating starts writing science fiction novels.
• 35:50
  Speaker 3: And all of her classmates apparently were like, what are
• 35:53
  Speaker 3: you doing? Do you need money? And of course, Le
• 35:57
  Speaker 3: Guin winds up being one of the greatest sci-fi fantasy
• 36:00
  Speaker 3: writers of all time, writing The Left Hand of Darkness,
• 36:03
  Speaker 3: Wizard of Earthsea, amongst other things. And she wrote an essay,
• 36:08
  Speaker 3: a beautiful essay, about science fiction storytelling where she talks
• 36:10
  Speaker 3: about how But realism, quote unquote, is really just, you know,
• 36:15
  Speaker 3: a very recent invention. It's the last 200 years it's
• 36:18
  Speaker 3: been considered. It's been considered what literature is. But if
• 36:22
  Speaker 3: you just go back a little bit before, nothing is realistic, right?
• 36:26
  Speaker 3: Like no stories that anyone is like, like, you know,
• 36:29
  Speaker 3: you go all the way back, you look at the
• 36:31
  Speaker 3: earliest epics written by anybody. The Odyssey and the Iliad
• 36:34
  Speaker 3: are not realism, right? That doesn't mean that they don't
• 36:37
  Speaker 3: have meaningful things to say about the human condition, right?
• 36:39
  Speaker 3: In every culture. Look at, like, the fables or, like,
• 36:43
  Speaker 3: even Native American stories are usually, like, crazy talking bears
• 36:46
  Speaker 3: or whatever. Like, it all has a version of that
• 36:50
  Speaker 3: detached from realism. Well, and I wonder what it is exactly.
• 36:54
  Speaker 3: I think partly I imagine that it's something Northrop Frye
• 36:57
  Speaker 3: once said, is that we live in a world that's always...
• 37:01
  Speaker 3: like one half of our lives is lived in the
• 37:03
  Speaker 3: so-called real world. The other half is lived in our imaginations.
• 37:07
  Speaker 3: It's lived in a, and calling it that doesn't mean
• 37:10
  Speaker 3: in unreality. It just means that we live in this
• 37:13
  Speaker 3: suspended reality and this different kind of internalized reality. And
• 37:18
  Speaker 3: in any event, I think that there is something about
• 37:23
  Speaker 3: telling stories where we no longer acknowledge that we have
• 37:26
  Speaker 3: to follow certain strict rules about what can and can't be.
• 37:30
  Speaker 3: somehow that makes it easier to open up questions of
• 37:34
  Speaker 3: what is man? What is the human being? What is
• 37:37
  Speaker 3: its purpose? What should our relationships look like? What should
• 37:42
  Speaker 3: our cultures and societies look like? These are religious questions
• 37:45
  Speaker 3: and they're deep philosophical questions. And so in some sense,
• 37:50
  Speaker 3: that's one of the reasons why science fiction and fantasy
• 37:52
  Speaker 3: have always been a close ally in some way, I think,
• 37:55
  Speaker 3: of those disciplines. It's because In some way, they're trying
• 37:58
  Speaker 3: to explore those same realms. And from the very beginning
• 38:02
  Speaker 3: in science fiction, for instance, we can see I'm looking
• 38:04
  Speaker 3: at your wonderful model of the robot from Metropolis, right?
• 38:09
  Speaker 3: That story is filled with religious allegory and all kinds
• 38:14
  Speaker 3: of things. And it's not because they just happened to
• 38:16
  Speaker 3: be more religious people. It's because... For them, it was
• 38:19
  Speaker 3: very clear what the connection was between we're talking about
• 38:21
  Speaker 3: the devil and the Antichrist, and we're talking about the
• 38:24
  Speaker 3: possible freedom of human beings from the destructive powers of
• 38:28
  Speaker 3: the economy and things like that. Working in a factory
• 38:31
  Speaker 3: is the devil is what we're saying. That's what we're
• 38:32
  Speaker 3: getting at. Yeah, that's absolutely correct. So if you work
• 38:36
  Speaker 3: in a factory today... Or any job.
• 38:39
  Speaker 5: It's evil, and it's time to shut them all down.
• 38:41
  Speaker 3: Shut it down. Just shut it down. Jobs. I'm sick
• 38:43
  Speaker 3: of them. It's my takeaway. Just do podcasts. But yeah,
• 38:49
  Speaker 3: I figured that.
• 38:50
  Speaker 4: Was a good overall view, was kind of Orville related,
• 38:54
  Speaker 4: and then give us a little.
• 38:55
  Speaker 3: Intro into sci-fi. To wrap it up, it's done like
• 38:59
  Speaker 3: two towards the end of this season.
• 39:02
  Speaker 4: It did one as it got into our robot character,
• 39:05
  Speaker 4: our data knockoff guy.
• 39:07
  Speaker 3: I love that guy. Ivan.
• 39:09
  Speaker 4: It goes into like a huge, at least two episode
• 39:13
  Speaker 4: arc of his, we get back to his culture. We
• 39:16
  Speaker 4: actually do see more of his people and what the grant, again,
• 39:21
  Speaker 4: their mission for sending him in to learn more about
• 39:24
  Speaker 4: humanity and whatever. So that, like I'm watching that and
• 39:26
  Speaker 4: that gets into some of these huge action scenes. And
• 39:29
  Speaker 4: I was like, this is really well put together. And
• 39:32
  Speaker 4: this is really well done from just the epic action.
• 39:35
  Speaker 4: This is almost above and beyond what normal TV show
• 39:38
  Speaker 4: does for sci-fi action. And then we got to the
• 39:42
  Speaker 4: story after that. It gets into, again, at least a
• 39:45
  Speaker 4: two-part arc. that involves time travel and a lot more with, again,
• 39:50
  Speaker 4: I wasn't sure if Kelly was going to be kind
• 39:51
  Speaker 4: of silly.
• 39:52
  Speaker 3: She ends up being a really solid member of the crew.
• 39:55
  Speaker 4: And like, as time goes on, like this, again, this
• 39:57
  Speaker 4: two part centers around her and that she like holds
• 40:02
  Speaker 4: it down is really good in this, in this specific
• 40:05
  Speaker 4: role that she has to take on in this. And
• 40:08
  Speaker 4: I'm getting into the story in that second path of it.
• 40:10
  Speaker 4: And I'm just like, you know, this story arc and
• 40:13
  Speaker 4: this little plot line that they came up with, is
• 40:16
  Speaker 4: actually more interesting and better written than three out of
• 40:21
  Speaker 4: four of the Star Trek movies.
• 40:22
  Speaker 3: I'm like, this could easily have been a theatrically produced.
• 40:26
  Speaker 4: Like, it's a good enough story that it could.
• 40:29
  Speaker 3: Have been its own movie. Like, it could have gone.
• 40:31
  Speaker 2: But.
• 40:33
  Speaker 4: Again, I feel like it's just flying under the radar
• 40:35
  Speaker 4: because it's Seth MacFarlane. It's on a network not everybody
• 40:38
  Speaker 4: pays attention to.
• 40:39
  Speaker 3: But, you know, Jonathan Frakes is directing. As we know,
• 40:42
  Speaker 3: shout out to Jonathan Frakes, fan of The Meltdown.
• 40:45
  Speaker 5: Yeah, he listens to every episode.
• 40:48
  Speaker 3: I think that's false advertising. making that up i don't
• 40:53
  Speaker 3: think he cares about any of the episodes but he
• 40:56
  Speaker 3: put up with me and talked to me so well
• 40:58
  Speaker 3: and he's and he's a cool dude uh so like
• 41:01
  Speaker 3: you know in my in in in my estimation though
• 41:04
  Speaker 3: he's a he's a pretty underrated television director as as
• 41:07
  Speaker 3: many uh television directors very much are another shout out
• 41:10
  Speaker 3: should go out to one of the greatest television directors
• 41:12
  Speaker 3: of our age which is fred savage from the wonder
• 41:15
  Speaker 3: years yeah Who.
• 41:16
  Speaker 5: Saw that coming, but he wanted to settle in behind
• 41:19
  Speaker 5: the scenes.
• 41:20
  Speaker 3: He is one of the key figures behind the scenes,
• 41:23
  Speaker 3: I think, in the rise of the golden age of television,
• 41:26
  Speaker 3: just in terms of the quality of productions that he's
• 41:29
  Speaker 3: been a part of. But yeah, Jonathan Frakes is kind
• 41:32
  Speaker 3: of there, too. I don't think he would be involved
• 41:35
  Speaker 3: in the show just because Seth MacFarlane asked him to. Yeah.
• 41:41
  Speaker 3: And I get this from the short interviews and things
• 41:43
  Speaker 3: I've seen, that he seems to genuinely believe in what's
• 41:46
  Speaker 3: going on here.
• 41:47
  Speaker 4: Especially at this point in his career. There was a
• 41:50
  Speaker 4: time when, again, listening to his stories, he probably would
• 41:53
  Speaker 4: have taken any job. He was in a bad situation, but... Well,
• 41:57
  Speaker 4: that's every actor. Yeah, at this point in his career,
• 42:00
  Speaker 4: he is pretty well respected, especially in the genre world. So, yeah,
• 42:04
  Speaker 4: the fact that he decided to come on board and
• 42:07
  Speaker 4: has done several episodes in this season, yeah, it's definitely.
• 42:11
  Speaker 5: Says something about the quality of this show.
• 42:13
  Speaker 3: Yeah, yeah. For some reason, I'm recalling William Shatner, who
• 42:17
  Speaker 3: used to dress up as Captain Kirk for birthday parties.
• 42:20
  Speaker 3: Because during the period where, yeah, the period. The dark times. Yeah,
• 42:25
  Speaker 3: the dark times, the empire. During the 70s. What most
• 42:29
  Speaker 3: of us call the 70s. that's about right actually yeah
• 42:32
  Speaker 3: he was struggling to get well it's when when the
• 42:34
  Speaker 3: movie came out uh there's an everything wrong with for
• 42:37
  Speaker 3: the original star star wars by the way just throwing
• 42:40
  Speaker 3: that out there in case you like those um but
• 42:44
  Speaker 3: uh yeah i know uh the and and and that
• 42:47
  Speaker 3: that's a wonderful metaphor too for uh the weird relationship
• 42:51
  Speaker 3: i think that that i think you're talking about with
• 42:52
  Speaker 3: the orville but also the relationship that science fiction has
• 42:55
  Speaker 3: with the wider culture There are times where people feel
• 42:58
  Speaker 3: like this is prescient, this is communicating things, this is important.
• 43:01
  Speaker 3: And there are times when it's like a birthday clown.
• 43:04
  Speaker 3: You know, they just don't take it seriously. They think
• 43:06
  Speaker 3: it's ridiculous.
• 43:08
  Speaker 5: And you know what?
• 43:08
  Speaker 3: That's fine. Because then it's flying under the radar and
• 43:12
  Speaker 3: it can reach the people it needs to reach. We
• 43:14
  Speaker 3: don't always have to talk to a mass audience to
• 43:17
  Speaker 3: be important to the mass culture. Yeah.
• 43:19
  Speaker 1: Right?
• 43:21
  Speaker 3: And anyway, if anything can prove that, it's Star Trek.
• 43:24
  Speaker 2: Yeah.
• 43:25
  Speaker 5: The smarter people find it and kind of take what
• 43:28
  Speaker 5: needs to be taken from those kind of stories. And
• 43:30
  Speaker 5: then they're the ones that go on and build that
• 43:32
  Speaker 5: next level of civilization, probably. Dumb people are busy, I don't.
• 43:36
  Speaker 3: Know, watching sports or whatever. Maybe. No offense to sporty people.
• 43:39
  Speaker 4: But, you know, I mean, it's a different group that
• 43:42
  Speaker 4: you're dealing with. You're trying to bring in a different,
• 43:46
  Speaker 4: just like a whole different group of people. and you're
• 43:51
  Speaker 4: trying to set a different level of what you're.
• 43:53
  Speaker 3: Bringing to them. And yeah, not.
• 43:55
  Speaker 5: Everybody wants that.
• 43:57
  Speaker 3: Think about, I think, the Carol Burnett show had a
• 44:00
  Speaker 3: Star Trek parody on it. There were so many other
• 44:04
  Speaker 3: shows that did Star Trek parodies from time to time
• 44:07
  Speaker 3: before The Next Generation got going. Yeah. And this only
• 44:10
  Speaker 3: increased as time went on. To my mind, that's actually,
• 44:13
  Speaker 3: in some sense, it's evidence of its iconic success. And
• 44:16
  Speaker 3: if the Orville... is getting as good as, as you say,
• 44:19
  Speaker 3: it's getting, and you know what, maybe I'll make that
• 44:20
  Speaker 3: my mission for the next episode is, you know, lose
• 44:23
  Speaker 3: some sleep, watch some Orville, uh, and come back here
• 44:26
  Speaker 3: and we can talk about it in a little bit
• 44:28
  Speaker 3: greater detail, but with our next episode, uh, but I
• 44:33
  Speaker 3: think that, uh, but I think that, um, uh, like, again,
• 44:37
  Speaker 3: that's part of the role that science fiction has to play.
• 44:39
  Speaker 3: It's like, it's like right now people think the Orville
• 44:42
  Speaker 3: is silly. They think it's a distraction. Maybe it doesn't
• 44:45
  Speaker 3: get a, A fourth season or whatever, and it just ends.
• 44:49
  Speaker 3: And that's fine. Because eventually, it can still change the world.
• 44:54
  Speaker 3: In the long run, yeah.
• 44:56
  Speaker 4: And of your crossovers, now it makes me think I
• 44:59
  Speaker 4: really want my spaceship helmed by John Belushi.
• 45:03
  Speaker 3: But I will say, though, that one thing I definitely
• 45:09
  Speaker 3: appreciate in that comedy vein is that the Orville definitely
• 45:11
  Speaker 3: doesn't take itself as seriously while it's trying to talk
• 45:14
  Speaker 3: about meaningful issues. that discovery does uh when they're doing
• 45:20
  Speaker 3: almost has to again the deck is stacked against that when.
• 45:23
  Speaker 4: You're an official star trek you're part of that company
• 45:27
  Speaker 4: you're part of that franchise there's so much being loaded
• 45:30
  Speaker 4: on you that.
• 45:30
  Speaker 3: I guess but that you can't really do the kind
• 45:33
  Speaker 3: of things that somebody's freelancing it can do but that's
• 45:36
  Speaker 3: yeah and that if that's true then that's kind of
• 45:38
  Speaker 3: a tragedy because i remember the less self-serious episode like
• 45:42
  Speaker 3: i remember the episode where q teleported the entire crew
• 45:46
  Speaker 3: to Sherwood forest and had them play out Robin hood,
• 45:50
  Speaker 3: you know? And I remember, uh, uh, the, uh, the
• 45:53
  Speaker 3: winsome humor of the original series, you know, when they're
• 45:56
  Speaker 3: cracking jokes to each other about everything, like, you know, that,
• 45:59
  Speaker 3: that those shows knew how to, how to wink and smile,
• 46:02
  Speaker 3: how to balance it. Yeah. Um, how to have fun. Right, but, or, sorry,
• 46:07
  Speaker 3: I suddenly recalled, yeah, the original series episode, Cat's Paw,
• 46:10
  Speaker 3: where they're teleported to a gothic castle inside of a
• 46:13
  Speaker 3: bad Hammer Horror movie. And Kirk's like, alright, I guess
• 46:16
  Speaker 3: I'll seduce her now.
• 46:17
  Speaker 5: That's where we all want to live, is inside of
• 46:19
  Speaker 5: a Hammer Horror movie.
• 46:21
  Speaker 3: Absolutely. So, is that a good place to segue to?
• 46:25
  Speaker 4: I think, since we're going to get into... you know,
• 46:28
  Speaker 4: we're leaving cheesy horror. We're going to head into cheesy sci-fi.
• 46:31
  Speaker 4: So let's take our break now and come back and
• 46:34
  Speaker 4: talk about this week's cheesy movie. I bought that thing
• 46:46
  Speaker 4: for science fiction.
• 46:48
  Speaker 3: Until I sue you to death. Now that love.
• 46:53
  Speaker 8: Is my addiction.
• 46:55
  Speaker 3: I've hung on my books so much. I bought that
• 46:58
  Speaker 3: thing for science fiction. Until I sue you to death.
• 47:04
  Speaker 3: Now that love is my addiction. I've hung on my
• 47:08
  Speaker 3: books so much. Ach, hello there.
• 47:17
  Speaker 9: Just a demonstration of my new invention, the goodies machine.
• 47:22
  Speaker 9: Special for patrons of this drive-in, the machine turns out
• 47:26
  Speaker 9: delicious hot doggies one after the other. And three squinting
• 47:30
  Speaker 9: sodas also. Gives popcorn of the most tasty kind.
• 47:34
  Speaker 1: Plain and buttered.
• 47:36
  Speaker 3: Candy, too. Crunchy and dandy. Steaming hot coffee.
• 47:40
  Speaker 1: And ice cream, too.
• 47:42
  Speaker 9: These goodies are at a snack bar just waiting for you.
• 47:45
  Speaker 3: Mwah, mwah, mwah, mwah. I'll take every cent you've made.
• 48:08
  Speaker 3: On the list.
• 48:09
  Speaker 5: I do want to do... I almost went with.
• 48:11
  Speaker 3: That one first.
• 48:12
  Speaker 5: Had I enough money to rent it?
• 48:13
  Speaker 3: Sadly, I don't because... That's the lifestyle we live in.
• 48:16
  Speaker 4: I'm rolling coin to make this thing survive, which by
• 48:21
  Speaker 4: the way, this week I only came up with $ 2.
• 48:23
  Speaker 3: Worth of nickels. So... Hint, hint, if you'd like to
• 48:26
  Speaker 3: kick in and join the club and keep this thing going,
• 48:31
  Speaker 3: it's kind of hard to do without any funding.
• 48:33
  Speaker 4: Mostly, I mean, at this point, maybe even more so
• 48:36
  Speaker 4: than funding, it's like an endorsement. It's like we appreciate
• 48:41
  Speaker 4: what you guys, not just me, the number of people
• 48:45
  Speaker 4: I've roped into doing this. I feel like the more
• 48:48
  Speaker 4: people that join up and kind of join that Patreon page,
• 48:51
  Speaker 4: it shows people that... there's some reason to come on
• 48:54
  Speaker 4: board that there are other people out there that appreciate.
• 48:57
  Speaker 3: This kind of stuff. So, Hey, kick in now. That's
• 48:59
  Speaker 3: what I'm saying.
• 49:00
  Speaker 1: Yeah.
• 49:00
  Speaker 3: Speaking of kicking in, I'm going to kick in my
• 49:03
  Speaker 3: milk a tear, uh, my milk a tear donation.
• 49:07
  Speaker 4: He's throwing cash at me right now. You guys don't
• 49:10
  Speaker 4: have to do it this way.
• 49:11
  Speaker 5: You can just go to the website, go to movie meltdown.com.
• 49:14
  Speaker 5: Click on the Patreon link.
• 49:16
  Speaker 3: Yeah. Why are you throwing money at me? I'm throwing
• 49:19
  Speaker 3: money at you because I, happen to have some cash
• 49:20
  Speaker 3: in my pocket. And I'm going to get more when
• 49:23
  Speaker 3: I get back at my house. So I felt, you know, like,
• 49:26
  Speaker 3: since I so rarely contribute anything of value to the
• 49:29
  Speaker 3: Meltdown circus. That's not true. Words are valuable. Oh, my God.
• 49:36
  Speaker 3: But in any event, yeah, join up with Movie Meltdown
• 49:40
  Speaker 3: right now. That's what I keep saying. Yeah, and it's
• 49:42
  Speaker 3: a fantastic world to be a part of. It's the
• 49:45
  Speaker 3: world of terrible movies and the world of the people
• 49:47
  Speaker 3: who love them.
• 49:49
  Speaker 4: That's, yeah, that's a pretty good representation. And occasionally we
• 49:52
  Speaker 4: actually talk about a good movie.
• 49:54
  Speaker 3: Yeah, well, but don't tell the normies that.
• 49:58
  Speaker 5: Occasionally, I'm like, hey, let's go watch a new movie.
• 50:01
  Speaker 5: And oh, look, this actually was good. But many other times,
• 50:04
  Speaker 5: we're just watching Wolf Girl.
• 50:05
  Speaker 4: So if you want to hear us recap Wolf Girl
• 50:09
  Speaker 4: or Atomic Age Vampire or some other.
• 50:12
  Speaker 3: Again, if you... Get on board.
• 50:14
  Speaker 4: I want it to be interactive. I have levels where
• 50:17
  Speaker 4: I'm like, you can pick out a movie. Again, the
• 50:20
  Speaker 4: more we kind of make the club grow, I've got
• 50:23
  Speaker 4: a couple other ways I'd like to get people involved.
• 50:25
  Speaker 4: But at this point, there's not really a ton of
• 50:28
  Speaker 4: people to do it with. So I'm just like, never mind.
• 50:31
  Speaker 4: We'll wait until we lure some more people in. And
• 50:33
  Speaker 4: so far, we're still waiting for the rest of it.
• 50:35
  Speaker 4: So don't wait around anymore. Get on board now, and
• 50:39
  Speaker 4: then we can make this more of a big interactive club.
• 50:42
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• 50:44
  Speaker 4: To come over and join the club over at the
• 50:46
  Speaker 4: Movie Meltdown Patreon page. If you just chip in a
• 50:48
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• 50:51
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• 50:54
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• 50:57
  Speaker 4: to patreon.com slash movie meltdown, or go to movie meltdown.com,
• 51:00
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• 51:02
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• 51:05
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• 51:09
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• 51:12
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• 51:14
  Speaker 5: Damn the man. Save the meltdown.
• 51:30
  Speaker 3: These women have just seen their doctor.
• 51:34
  Speaker 10: Doctor Death. He stalks the city through the dark of night.
• 51:39
  Speaker 2: I think somebody's coming toward my apartment.
• 51:41
  Speaker 1: He has powers more terrible than any man who ever lived.
• 51:47
  Speaker 10: Don't answer your doorbell.
• 51:48
  Speaker 5: What do you want?
• 51:49
  Speaker 10: It may be Dr. Death.
• 51:52
  Speaker 1: Making a house call.
• 51:53
  Speaker 4: Rated R.
• 51:54
  Speaker 10: Restricted. Under 17.
• 51:55
  Speaker 3: Not admitted without parent.
• 51:57
  Speaker 1: The most popular beverage in America.
• 51:59
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• 52:01
  Speaker 2: Yes.
• 52:01
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• 52:03
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• 52:05
  Speaker 2: Oh, yes.
• 52:06
  Speaker 3: We can go get some Heine Brothers coffee right now
• 52:09
  Speaker 3: and drink it as we discuss our films. I love
• 52:13
  Speaker 3: a delicious cup of coffee from Heine Brothers.
• 52:15
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• 52:17
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• 52:20
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• 52:22
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• 52:25
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• 52:27
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• 52:45
  Speaker 3: Take care of the rest, shipping included.
• 52:47
  Speaker 4: So just order online at heinebrotherscoffee.com slash subscription and use
• 52:51
  Speaker 4: the offer code Meltdown for $ 5 off any gift subscription.
• 52:55
  Speaker 3: And if you're not familiar with.
• 52:56
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• 52:58
  Speaker 4: that might make it a little harder, just go to MovieMeltdown.com
• 53:01
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• 53:03
  Speaker 4: you'll find a link to take you right to HoneyBrothersCoffee.com.
• 53:06
  Speaker 3: That's right, the Meltdown Caffeinated Movie Geeks.
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• 53:27
  Speaker 10: Hi, this is Leigh Merriweather, and you're listening to Movie Meltdown.
• 53:30
  Speaker 3: Mmm.
• 53:32
  Speaker 5: Melt, melt, melt, melt.
• 53:38
  Speaker 3: It's time for Sofa Theater.
• 53:41
  Speaker 1: You will freeze as you watch a warped scientist become
• 53:45
  Speaker 1: transformed into a godless beast when his bloody scalpel probes
• 53:49
  Speaker 1: the forbidden secrets of a woman's flesh.
• 53:53
  Speaker 3: In Atom Age Vampire, you will flame to.
• 53:57
  Speaker 1: The stark ritual of a beautiful girl's last searing dance.
• 54:02
  Speaker 3: As tragedy forever mars her loveliness.
• 54:07
  Speaker 1: Leaving her to.
• 54:08
  Speaker 3: Face a world of terror.
• 54:12
  Speaker 1: I give you my word that I will restore your face.
• 54:15
  Speaker 11: Restore all your beauty.
• 54:17
  Speaker 1: You will cringe as the demented doctor experiments with a
• 54:21
  Speaker 1: girl's trusting innocence. But to possess the living miracle wrought
• 54:26
  Speaker 1: by his twisted genius, he must forever sacrifice his soul
• 54:29
  Speaker 1: to the cunning gods of evil. I'll transplant directly from
• 54:32
  Speaker 1: another human being. A mad creature born of the atomic age,
• 54:37
  Speaker 1: now shackled to a world of rotting bodies and violent death.
• 54:41
  Speaker 1: A sadist, a criminal, a depraved animal, more ferocious than Jekyll,
• 54:46
  Speaker 1: more monstrous than Frankenstein, more bloody than Dracula. Fire a
• 54:59
  Speaker 1: volley through the windowpane. You will gasp as lust and
• 55:04
  Speaker 1: madness stalk the dark and screaming night in Atom Age Vampire.
• 55:19
  Speaker 7: Do you fear this man's invention that they call atomic power?
• 55:24
  Speaker 3: Are we all in great confusion? Do we know the
• 55:28
  Speaker 3: time or hour?
• 55:30
  Speaker 7: When a terrible explosion may rain down upon our land
• 55:35
  Speaker 7: Leaving horrible destruction blotting out the works of man Are
• 55:42
  Speaker 7: you ready? Are you ready for that great atomic power?
• 55:47
  Speaker 7: Will you rise and meet your savior in the end?
• 55:52
  Speaker 7: Will you shout or will you cry when the fire
• 55:55
  Speaker 7: rains from on high? Are you ready for that great
• 55:59
  Speaker 7: atomic power?
• 56:04
  Speaker 4: So, this week's Sofa Theater feature is Adam Age Vampire.
• 56:08
  Speaker 3: Adam Age. Vampire.
• 56:11
  Speaker 5: Even though, do you see a lot of vampires in
• 56:13
  Speaker 5: this movie?
• 56:14
  Speaker 2: No.
• 56:14
  Speaker 5: So, false advertising.
• 56:16
  Speaker 3: But the best kind.
• 56:17
  Speaker 5: The year is 1960.
• 56:18
  Speaker 4: The director, I'm going to butcher this, but the guy
• 56:22
  Speaker 4: only made one other movie, so he's probably not going
• 56:25
  Speaker 4: to get mad at me, I doubt it.
• 56:26
  Speaker 2: Yeah.
• 56:27
  Speaker 5: Anton Gialone Maggiano.
• 56:30
  Speaker 3: I don't know. It's something along those lines. I'm going
• 56:32
  Speaker 3: to let you have that one. I don't know. That's perfect, yeah.
• 56:35
  Speaker 3: I'm blaming Italy. I don't know. Yeah, he's Italian, so
• 56:38
  Speaker 3: that's the important thing.
• 56:39
  Speaker 4: And the plot, according to IMDb, which kind of drifts
• 56:43
  Speaker 4: off here, and I think I'm going to let it.
• 56:45
  Speaker 4: A stripper is horribly disfigured in a car accident. A
• 56:48
  Speaker 4: brilliant scientist develops a treatment that restores her beauty and
• 56:52
  Speaker 4: falls in love with her to preserve her appearance.
• 56:54
  Speaker 5: The doctor is going to go kill.
• 56:55
  Speaker 3: A bunch of people. Whatever.
• 56:56
  Speaker 5: Spoiler alert!
• 56:58
  Speaker 4: We're going to ruin this movie, and it's a masterpiece,
• 57:01
  Speaker 4: so you should go watch it yourself and not have
• 57:04
  Speaker 4: us ruin.
• 57:04
  Speaker 5: It for you, because it's quite a piece of work.
• 57:08
  Speaker 3: Yeah, yeah. It's a thing to be seen. It's a
• 57:12
  Speaker 3: thing to be seen. Uh... So, where to start with
• 57:17
  Speaker 3: this film? First off, yeah, as you mentioned, there are no,
• 57:20
  Speaker 3: there are precious few atoms or vampires. But this is
• 57:25
  Speaker 3: a great example of like that early 60s, late 50s, like.
• 57:29
  Speaker 3: False advert. Like, we got this movie. We don't know
• 57:31
  Speaker 3: what to make of it. We've got the poster. Go
• 57:33
  Speaker 3: make a movie. I don't care what it's about.
• 57:35
  Speaker 5: My poster says, Adam Age Vampire.
• 57:37
  Speaker 3: This is why Ed Wood thought he could have a career.
• 57:41
  Speaker 3: I mean, it is how they.
• 57:42
  Speaker 5: Built, like, you know, decades of films. Like, it's just like...
• 57:46
  Speaker 5: We got to fill seats.
• 57:47
  Speaker 3: We got to fill drive-ins.
• 57:48
  Speaker 4: Like, let's come up with something that's supposed to be scandalous,
• 57:52
  Speaker 4: that's supposed to be shocking, that's supposed to be salacious. And, like,
• 57:56
  Speaker 4: we'll find a way to tie it all together.
• 57:58
  Speaker 2: Or not.
• 57:58
  Speaker 3: Who cares?
• 57:58
  Speaker 5: By that time, they've already bought their tickets.
• 58:00
  Speaker 3: Yeah, it will point out that apparently the original title
• 58:03
  Speaker 3: of this film in Italian was, like, The Heirs of
• 58:05
  Speaker 3: Satan or The Heir of Satan. Sedoc. The Heir of Satan.
• 58:09
  Speaker 2: Sedoc.
• 58:09
  Speaker 3: But there is no one named Sedok. No. Nor did
• 58:13
  Speaker 3: I notice an heir of Satan. Did you see any
• 58:15
  Speaker 3: heirs of Satan? Or really any Satanism? Because I saw little. No. But,
• 58:21
  Speaker 3: I mean, of the kickoff, like, you're like, where do
• 58:23
  Speaker 3: we begin?
• 58:24
  Speaker 4: I will say, there is both ends of this, where
• 58:27
  Speaker 4: I think it's ridiculous at times. It also has the
• 58:30
  Speaker 4: trappings of the things that I love most. Those opening
• 58:34
  Speaker 4: credits are some of the best things I've ever seen. Like,
• 58:37
  Speaker 4: the bat that flies in and makes the letters and
• 58:40
  Speaker 4: the cheesy animated drawing of our hero slash villain, whatever
• 58:45
  Speaker 4: the hell he is. Like, everything about those. And then
• 58:47
  Speaker 4: it gets to the, like.
• 58:49
  Speaker 3: swanky music playing. Everything about those opening credits, I'm like, oh,
• 58:53
  Speaker 3: this is great.
• 58:54
  Speaker 4: No matter what comes after this, this first minute and
• 58:57
  Speaker 4: a half is the most awesome thing.
• 59:00
  Speaker 3: I love that opening. If you're an MST3K fan, this
• 59:04
  Speaker 3: is the kind of movie that they would have absolutely done.
• 59:06
  Speaker 3: I actually checked on the Riff Trax website and apparently
• 59:08
  Speaker 3: there is a, you can, I didn't know this, but
• 59:11
  Speaker 3: you can go onto the Riff Trax website and you
• 59:13
  Speaker 3: can like. record your own riff tracks and they will
• 59:16
  Speaker 3: sell it through their label, I guess, if they think
• 59:19
  Speaker 3: it's good enough.
• 59:19
  Speaker 5: If it's actually funny.
• 59:20
  Speaker 3: Or maybe if you pay them the right amount or
• 59:22
  Speaker 3: some combination of the two. But either way, so this
• 59:26
  Speaker 3: is classic MST3K fare of, like you said, it's got...
• 59:31
  Speaker 3: the uh swanky uh oboe music or whatever that was
• 59:35
  Speaker 3: taken from something uh that was probably taken stolen from
• 59:38
  Speaker 3: a porn theater somewhere italian porn yeah italian porn and
• 59:41
  Speaker 3: uh it features our our real hero of the story
• 59:44
  Speaker 3: is the stripper uh she's a uh beautiful woman who
• 59:48
  Speaker 3: when the movie opens up her boyfriend straight up breaks
• 59:51
  Speaker 3: up with her i do.
• 59:52
  Speaker 4: Like as she runs in the door like the first
• 59:54
  Speaker 4: thing you see after the cheesy like graphics is her
• 59:57
  Speaker 4: barely covering herself as she comes in then i was
• 1:00:00
  Speaker 4: like oh It's.
• 1:00:01
  Speaker 3: Going to be one of those kind of movies. Oh,
• 1:00:03
  Speaker 3: good to point out also, though, that I'm not sure
• 1:00:06
  Speaker 3: about you. I watched what I later discovered was the
• 1:00:08
  Speaker 3: American cut, which lost like 20 minutes of footage.
• 1:00:12
  Speaker 4: As I kind of dove into the details after the fact,
• 1:00:15
  Speaker 4: there's like, yeah, three different. There's like the original Italian cut.
• 1:00:19
  Speaker 4: what became the U.S. theatrical cut, and then what a
• 1:00:21
  Speaker 4: lot of the video crappy quality ones got.
• 1:00:24
  Speaker 3: Cut down to even after that. Yeah, and of course
• 1:00:26
  Speaker 3: with a lot of these films, you know, remember, ladies
• 1:00:31
  Speaker 3: and gentlemen, film is not, at least until the digital age,
• 1:00:34
  Speaker 3: it was not an imperishable medium. And I think something
• 1:00:37
  Speaker 3: is estimated like half of all films shot before 1950
• 1:00:40
  Speaker 3: are lost.
• 1:00:40
  Speaker 1: Yeah.
• 1:00:41
  Speaker 3: So there's no chance we're ever going to find the
• 1:00:42
  Speaker 3: original negative of this movie.
• 1:00:43
  Speaker 4: Well, and even then, it's not like the director's cut's
• 1:00:46
  Speaker 4: going to be out there. Like, nobody cared about these
• 1:00:48
  Speaker 4: kind of movies as to, like, containing and preserving the
• 1:00:52
  Speaker 4: dignity of this work of art.
• 1:00:53
  Speaker 2: Yeah.
• 1:00:54
  Speaker 3: They're just like, whatever, get it out there and make
• 1:00:56
  Speaker 3: some money. Cool graphics notwithstanding. But yeah, there's a, there's
• 1:00:59
  Speaker 3: a bat that flies in and forms the V of
• 1:01:02
  Speaker 3: the vampire. Adam age vampire. So awesome. And the poster
• 1:01:05
  Speaker 3: is great too.
• 1:01:06
  Speaker 5: Like again, that's why I think they made the poster
• 1:01:09
  Speaker 5: first and went halfway.
• 1:01:10
  Speaker 4: Go make a movie. I don't care if there's vampires
• 1:01:12
  Speaker 4: in it or not. My poster says this, go make something.
• 1:01:15
  Speaker 3: When I presented this idea to you, uh, to do
• 1:01:17
  Speaker 3: that was the, I was, I was confident that the
• 1:01:19
  Speaker 3: poster would sell itself. Um, We can watch this movie.
• 1:01:23
  Speaker 3: It's like, there's a vampire and some Adam ages.
• 1:01:25
  Speaker 2: Okay.
• 1:01:26
  Speaker 1: We'll see.
• 1:01:27
  Speaker 3: But anyway, so this stripper comes in and her boyfriend,
• 1:01:30
  Speaker 3: who I guess is in like the Merchant Marines or
• 1:01:34
  Speaker 3: some stuff, immediately breaks up with her. And it's all
• 1:01:39
  Speaker 3: terribly English dubbed. Well, because of her job. I guess.
• 1:01:44
  Speaker 3: Your women and your careers. Careers as strippers. Whatever. He
• 1:01:49
  Speaker 3: just seems very dismissive of her doing whatever it is
• 1:01:51
  Speaker 3: she's doing. Regardless of if it's being a stripper. In fact,
• 1:01:55
  Speaker 3: he seems straight up bored with the entire thing. And
• 1:01:58
  Speaker 3: I got the impression that he was going out to
• 1:01:59
  Speaker 3: see and he had to say goodbye to like one
• 1:02:01
  Speaker 3: of his three mistresses.
• 1:02:03
  Speaker 1: Yeah.
• 1:02:03
  Speaker 3: You know, on his way out. Like, what night is it?
• 1:02:04
  Speaker 5: Tuesday?
• 1:02:05
  Speaker 3: All right, I'll go hit this one. It's just.
• 1:02:08
  Speaker 5: Gotta get the other two before I leave town.
• 1:02:10
  Speaker 3: Anyway, this guy, Pierre, is his name. And the woman's
• 1:02:14
  Speaker 3: name is Jeanette. And Jeanette is, like I said, in
• 1:02:17
  Speaker 3: my view, she's pretty much our hero because she's the
• 1:02:20
  Speaker 3: one who is actually subjected to most stuff. The movie
• 1:02:23
  Speaker 3: wants you to think that the mad scientist is the hero,
• 1:02:25
  Speaker 3: which I am in favor of because I like mad
• 1:02:28
  Speaker 3: scientist heroes. I do really like mad scientists in general,
• 1:02:31
  Speaker 3: but he's kind of a dick the whole time. Well,
• 1:02:33
  Speaker 3: and if we're clear as to who the bulk of
• 1:02:36
  Speaker 3: the suffering is placed on and everything, of course it's
• 1:02:39
  Speaker 3: our stripper, Jeanette. And she's apparently French, and after her
• 1:02:45
  Speaker 3: boyfriend breaks up with her, in a fit of female pique, uh,
• 1:02:49
  Speaker 3: you know, as is want in this film. One thing we,
• 1:02:52
  Speaker 3: we got to get out of the way with this
• 1:02:53
  Speaker 3: movie is that of course, uh, many male and female
• 1:02:56
  Speaker 3: roles are very deeply, strictly stereotyped. It is 1960.
• 1:03:00
  Speaker 2: Yeah.
• 1:03:01
  Speaker 3: And it's Italy.
• 1:03:02
  Speaker 9: Yeah.
• 1:03:03
  Speaker 3: Yeah. So obviously she's so overwhelmed with her, overwhelmed with
• 1:03:08
  Speaker 3: her emotions. Grief and emotions.
• 1:03:10
  Speaker 2: Uh, yeah.
• 1:03:11
  Speaker 3: Uh, that she immediately jumps into her car, goes driving
• 1:03:14
  Speaker 3: by a windy, uh, by a windy road next to
• 1:03:17
  Speaker 3: the sea calling you Dr. Strange. And crashes the car,
• 1:03:22
  Speaker 3: which transforms into multiple different kinds of cars as it crashes. Like,
• 1:03:26
  Speaker 3: there's actually different shots of different cars that are burning. Also,
• 1:03:29
  Speaker 3: it doesn't even crash.
• 1:03:30
  Speaker 2: No.
• 1:03:30
  Speaker 3: It just rolls down a hill. Yeah. And then eventually,
• 1:03:34
  Speaker 3: not even bursting, it just kind of flames a little bit.
• 1:03:37
  Speaker 2: Yep.
• 1:03:37
  Speaker 3: And I was just like, what happened to the car, her,
• 1:03:40
  Speaker 3: any of this? Like, how did we get down this?
• 1:03:42
  Speaker 3: It was a Soviet-built car, and so it was just
• 1:03:45
  Speaker 3: prone to disaster.
• 1:03:46
  Speaker 5: It was a Pinto.
• 1:03:47
  Speaker 1: Yeah. Yeah.
• 1:03:48
  Speaker 3: Just burst into flames for no good reason. Oh, man. Anyway,
• 1:03:55
  Speaker 3: later on, that company tried to sue the studio, which
• 1:04:00
  Speaker 3: is why it changes cars. Anyway.
• 1:04:03
  Speaker 4: And quickly, they realized, oh, these guys have no money.
• 1:04:06
  Speaker 4: Wait till we get to the makeup later. We can't
• 1:04:09
  Speaker 4: take anything from them.
• 1:04:10
  Speaker 1: Yeah.
• 1:04:10
  Speaker 3: It's like beating up a kid for his lunch money.
• 1:04:13
  Speaker 3: In any event, so... What winds up happening is she
• 1:04:17
  Speaker 3: gets put in the hospital. And this whole movie, actually,
• 1:04:21
  Speaker 3: another good thing to mention here is apparently it's a rip-off, spin-off,
• 1:04:25
  Speaker 3: something from Eyes Without a Face, the classic horror film.
• 1:04:29
  Speaker 3: Which is well-regarded. Yeah, which is true. Unlike this movie.
• 1:04:33
  Speaker 3: So to start off our series with an appropriate level
• 1:04:38
  Speaker 3: of scale, we are in fact reviewing the rip-off of
• 1:04:41
  Speaker 3: a good movie that everyone has completely forgotten about. Well,
• 1:04:45
  Speaker 3: she wakes up in the hospital. Her face is all
• 1:04:47
  Speaker 3: bandaged up, right? So, again, it's kind of like, oh,
• 1:04:53
  Speaker 3: what's his name in Punisher, Jigsaw in Punisher. Her face
• 1:04:58
  Speaker 3: is all wrapped up in bandages, and she's busy. Jeanette,
• 1:05:02
  Speaker 3: our stripper, who has apparently been scarred for life, she's
• 1:05:06
  Speaker 3: busy being a dick to everyone in the hospital who's like,
• 1:05:09
  Speaker 3: We're trying to help you. And she's like, let me
• 1:05:11
  Speaker 3: throw things around the room and break the window.
• 1:05:13
  Speaker 5: My looks is the only thing that's important.
• 1:05:16
  Speaker 3: Yeah, or something. Even though she is physically fine. Like,
• 1:05:20
  Speaker 3: her face is scarred. But it's really only half of
• 1:05:22
  Speaker 3: her face. She does that cool Lana Turner swoop thing
• 1:05:25
  Speaker 3: with her hair. You don't even notice. Like, go for it.
• 1:05:28
  Speaker 3: Keep that going. Yeah, Veronica Lake, like, peekaboo thing. She's
• 1:05:31
  Speaker 3: got that going. But no, listen. The point is that
• 1:05:36
  Speaker 3: she's basically like, yeah, my career is over. As a stripper,
• 1:05:39
  Speaker 3: which tells me that she must be new to her
• 1:05:40
  Speaker 3: career as a stripper because I'm pretty confident that you
• 1:05:43
  Speaker 3: could still get a job because, you know, after all, yeah, it's...
• 1:05:46
  Speaker 3: I mean, even now, go to a strip club. You're
• 1:05:50
  Speaker 3: not always going to be pulling in the top of
• 1:05:52
  Speaker 3: the line. Yeah, she could be the masked stripper. But anyway,
• 1:05:56
  Speaker 3: it doesn't really matter. The point is that she's decided
• 1:05:58
  Speaker 3: this is the end of her life and she's deeply depressed.
• 1:06:00
  Speaker 2: Mm-hmm.
• 1:06:01
  Speaker 3: Which is very unfortunate because she can still walk, talk,
• 1:06:04
  Speaker 3: and do everything normally. She just kind of is less pretty, maybe,
• 1:06:07
  Speaker 3: depending on.
• 1:06:08
  Speaker 2: That's how.
• 1:06:08
  Speaker 3: Depression works, though.
• 1:06:09
  Speaker 4: People in great situations in life, seemingly to everyone else,
• 1:06:13
  Speaker 4: are horribly miserable.
• 1:06:14
  Speaker 3: They've loaded her up on some painkillers that also just
• 1:06:18
  Speaker 3: completely depressed her, obviously. Anyway... that's bad anyway medicating during
• 1:06:23
  Speaker 3: all of this it turns out simultaneously somewhere nearby there
• 1:06:27
  Speaker 3: is an evil scientist who is living quite comfortably in
• 1:06:30
  Speaker 3: his mansion with his mute gardener uh whom he refers
• 1:06:35
  Speaker 3: to as his factotum and uh his brunette assistant uh
• 1:06:40
  Speaker 3: by the way jeanette the stripper is blonde uh And
• 1:06:43
  Speaker 3: I think you can see where this is going. I'm
• 1:06:44
  Speaker 3: kind of on board with the brunette. Well, the brunette.
• 1:06:47
  Speaker 4: As I got into it, I'm like, not only is
• 1:06:49
  Speaker 4: she kind of smart and with it, but.
• 1:06:51
  Speaker 3: She's also between the two. Oh, she's not just kind
• 1:06:54
  Speaker 3: of smart. She's his partner.
• 1:06:55
  Speaker 2: I know.
• 1:06:55
  Speaker 3: So Monique. is her name, and Sasha is the name
• 1:06:59
  Speaker 3: of the gardener. Of Igor. Yeah, of Igor. Of his Igor.
• 1:07:03
  Speaker 3: When we were watching this movie, my girlfriend said, you know,
• 1:07:05
  Speaker 3: his role would have been so much better if he
• 1:07:07
  Speaker 3: had had a hump.
• 1:07:08
  Speaker 5: He needs to just make a.
• 1:07:10
  Speaker 3: He makes no noises. No, no. He is mute. He
• 1:07:14
  Speaker 3: is mute, which I guess is because they couldn't be
• 1:07:16
  Speaker 3: bothered to write any dialogue for him. But I do
• 1:07:19
  Speaker 3: want to say... It saves a lot of time. I
• 1:07:21
  Speaker 3: do want to break this down a little bit and
• 1:07:22
  Speaker 3: say that of the three of them, Sasha, the Igor character...
• 1:07:27
  Speaker 3: the mute factotum, is possibly the more interesting character.
• 1:07:30
  Speaker 5: He has a conscience.
• 1:07:32
  Speaker 3: And he's got a face that looks like it was
• 1:07:34
  Speaker 3: pulled from the finest silent films. Like, it's long, and
• 1:07:38
  Speaker 3: it's graven, and every now and again the camera just
• 1:07:40
  Speaker 3: zooms in on his expression, and it's always something interesting.
• 1:07:44
  Speaker 3: So when you're watching the movie, you're like, you know,
• 1:07:47
  Speaker 3: if this had been a silent film, I really would
• 1:07:49
  Speaker 3: have lost nothing. In his end, yeah. Yeah, it's dubbed,
• 1:07:54
  Speaker 3: and the plot's not exactly hard to follow, although they
• 1:07:58
  Speaker 3: do feel the need to have a scene of incredibly complicated,
• 1:08:00
  Speaker 3: scientifically gobbled, scientific... quote-unquote gobbledygook. But anyway, so we have
• 1:08:06
  Speaker 3: these three living in more or less mutual harmony. We
• 1:08:08
  Speaker 3: got the mad scientist, who, by the way, I've already
• 1:08:10
  Speaker 3: forgotten his name because for some reason he's not really important.
• 1:08:13
  Speaker 3: He is less important to me than either his brunette
• 1:08:16
  Speaker 3: assistant or his mute factotum, Igor.
• 1:08:20
  Speaker 4: He's not really that interesting, and part of it is
• 1:08:23
  Speaker 4: because he's not even good at... Again, the best part
• 1:08:26
  Speaker 4: of most of our mad scientists is that they're kind of.
• 1:08:30
  Speaker 3: crazy luring in some way like you either.
• 1:08:33
  Speaker 4: They like lure you in with like being super smart
• 1:08:36
  Speaker 4: and like you buy into all their science or they
• 1:08:39
  Speaker 4: are themselves kind of suave and like you know lure
• 1:08:42
  Speaker 4: the ladies in but he's a dick to her at
• 1:08:45
  Speaker 4: every turn like he is always just abrupt and I
• 1:08:48
  Speaker 4: don't think it's just the bad like dubbing or even
• 1:08:51
  Speaker 4: the writing like it's everything together the writing for him
• 1:08:54
  Speaker 4: is terrible.
• 1:08:55
  Speaker 5: But then even the performance is like.
• 1:08:57
  Speaker 3: He's just mean for no good reason yeah I think
• 1:08:59
  Speaker 3: it's a cliff I think it might be a part
• 1:09:02
  Speaker 3: of again the culture of the day of just like
• 1:09:05
  Speaker 3: you know what men are just dicks to women all
• 1:09:06
  Speaker 3: the time and they don't really regard their feelings and
• 1:09:09
  Speaker 3: that's the way that goes.
• 1:09:09
  Speaker 4: He's also building this relationship that like isn't there like
• 1:09:13
  Speaker 4: there's nothing between them well yeah we can get there
• 1:09:17
  Speaker 4: but the point is yeah not only is he a
• 1:09:18
  Speaker 4: dick not only is he Possibly not even that bright,
• 1:09:22
  Speaker 4: seeing him in that sense.
• 1:09:23
  Speaker 3: I'm actually of the opinion, the only movie I saw
• 1:09:25
  Speaker 3: is Monique was the one who was also part of
• 1:09:27
  Speaker 3: his discoveries.
• 1:09:28
  Speaker 4: Monique did all of the stuff, and he was just,
• 1:09:31
  Speaker 4: let's go kidnap some girl and.
• 1:09:34
  Speaker 3: Keep her in my big house. But the worst sin
• 1:09:36
  Speaker 3: that he commits, not as a person, but as a
• 1:09:38
  Speaker 3: movie person, is that he is wooden. And that really
• 1:09:43
  Speaker 3: is the kicker for me. It's not that he's a
• 1:09:45
  Speaker 3: dick to all the people in his life. Yeah, you
• 1:09:48
  Speaker 3: can be evil. That's fine. Specifically if you're the villain,
• 1:09:52
  Speaker 3: but don't be boring. Don't be boring. That's all we
• 1:09:54
  Speaker 3: ask here at Movie Meltdown. Don't be boring. Don't be boring.
• 1:09:58
  Speaker 3: Or we'll make fun of you, which is what we're
• 1:10:00
  Speaker 3: going to do. Yeah, so that's the line that he
• 1:10:02
  Speaker 3: crosses for us, is that he is possibly our central
• 1:10:06
  Speaker 3: character of the movie. But he is dull. Anyway, in
• 1:10:09
  Speaker 3: any event, he finds out about this. And so he
• 1:10:11
  Speaker 3: decides to send Monique dressed up in a trench coat
• 1:10:15
  Speaker 3: like she's a spy to go visit Jeanette in the hospital.
• 1:10:21
  Speaker 3: And be like, hey, we have a radical therapy that
• 1:10:24
  Speaker 3: could make you pretty again.
• 1:10:25
  Speaker 5: We can fix your face.
• 1:10:27
  Speaker 3: We can fix your face up right nice.
• 1:10:29
  Speaker 5: Try not to shoot yourself.
• 1:10:30
  Speaker 2: Yeah, but.
• 1:10:32
  Speaker 5: Hold off on your putting that gun to your head. Literally,
• 1:10:35
  Speaker 5: she walks in the room like, whoa, whoa, whoa, whoa.
• 1:10:37
  Speaker 3: Put that gun down.
• 1:10:38
  Speaker 4: I know you're depressed, but we'll make you pretty again,
• 1:10:41
  Speaker 4: and that makes everything okay.
• 1:10:42
  Speaker 3: Yeah, so Jeanette, still in her fit of female peak,
• 1:10:46
  Speaker 3: about to murder herself after having broken every glass object
• 1:10:49
  Speaker 3: in the room, is stopped.
• 1:10:51
  Speaker 5: No one came to check on her, by the way.
• 1:10:53
  Speaker 3: I was like, where's the nurse? Where's an orderly?
• 1:10:55
  Speaker 5: Like, nobody cares that she's... shattering glass at every turn.
• 1:10:59
  Speaker 3: No wonder she's depressed, right? She's been left in this room.
• 1:11:02
  Speaker 3: Nobody gives a shit. Actually, the movie, again, would have
• 1:11:04
  Speaker 3: been better if it made clear that she's been locked
• 1:11:07
  Speaker 3: alone in this room for a month. Then she would
• 1:11:10
  Speaker 3: be a little crazy. Yeah, and that would make sense.
• 1:11:12
  Speaker 3: But either way, she's mainly just depressed about her looks.
• 1:11:14
  Speaker 3: And then Monique luckily shows up to stop her from
• 1:11:16
  Speaker 3: committing suicide, thankfully. Although the gun does become important later.
• 1:11:20
  Speaker 3: We need that gun. We need that gun around. But
• 1:11:23
  Speaker 3: in any event, Sue does show up for that. Monique
• 1:11:30
  Speaker 3: basically says Listen you can come with us we'll fix
• 1:11:31
  Speaker 3: your face But you have to promise You come to
• 1:11:35
  Speaker 3: this address But you have to promise that you leave
• 1:11:37
  Speaker 3: immediately Tell no one where you're going And leave no
• 1:11:40
  Speaker 3: trace basically.
• 1:11:43
  Speaker 4: This is how most girls Are lured into a house
• 1:11:46
  Speaker 4: And we never hear from them again Just don't tell
• 1:11:48
  Speaker 4: anyone where you're going Yep don't tell anybody And just
• 1:11:52
  Speaker 4: come with us Everything's gonna be fine um yeah and
• 1:11:56
  Speaker 4: jeanette i'm assuming because she has no will to live
• 1:12:00
  Speaker 4: and is kind of hoping that someone kills her uh
• 1:12:02
  Speaker 4: does eventually show up at the mansion but back at
• 1:12:05
  Speaker 4: the mansion let's explain a little bit about the scientist
• 1:12:07
  Speaker 4: and his evil plan um a plan um so apparently
• 1:12:11
  Speaker 4: he took me a while to figure out there was
• 1:12:13
  Speaker 4: yeah right like i had to go back and go
• 1:12:15
  Speaker 4: wait does he even is this so it was like
• 1:12:18
  Speaker 4: some second pass.
• 1:12:19
  Speaker 5: To go Wait, did he? Why did this?
• 1:12:23
  Speaker 3: I'm pretty confident that even with whatever the original Italian
• 1:12:26
  Speaker 3: cut was, there had to have been like some other
• 1:12:29
  Speaker 3: section of the movie that was cut out. That explained things?
• 1:12:31
  Speaker 1: Yeah.
• 1:12:31
  Speaker 5: Because, yeah, we don't get a lot of that.
• 1:12:33
  Speaker 3: But what we can kind of piece together from the
• 1:12:36
  Speaker 3: plot is that plot, quotation marks. is that uh he
• 1:12:41
  Speaker 3: originally went over to uh japan after the bomb this
• 1:12:45
  Speaker 3: is really the only interesting part of anything to do
• 1:12:48
  Speaker 3: with him yeah and it immediately like it's one scene
• 1:12:51
  Speaker 3: and it's gone the whole rest of the movie um
• 1:12:52
  Speaker 3: well yeah and he goes over there uh and and
• 1:12:55
  Speaker 3: they actually elaborate on this in a lap in the
• 1:12:57
  Speaker 3: later scene so we had to you have to actually
• 1:13:00
  Speaker 3: piece it together from other stuff but um He goes
• 1:13:03
  Speaker 3: over to Japan to treat people who are dealing with
• 1:13:06
  Speaker 3: cancer from the radiation of Hiroshima and Nagasaki. And so
• 1:13:09
  Speaker 3: he's kind of like other characters in the movie occasionally
• 1:13:12
  Speaker 3: view him as like, oh, you're that doctor so-and-so because
• 1:13:15
  Speaker 3: he's some kind of a post-war hero for his work
• 1:13:18
  Speaker 3: and this research, which, you know, I... I guess that's
• 1:13:22
  Speaker 3: kind of a nice idea that people would be paying
• 1:13:23
  Speaker 3: that close attention to cancer research, you know, but either way.
• 1:13:27
  Speaker 5: Or even addressing the post-World War II situation.
• 1:13:30
  Speaker 1: Yeah.
• 1:13:31
  Speaker 4: We're giving a shit about Japan. Like, it's not really
• 1:13:34
  Speaker 4: where we sat in society. So, like, the fact that
• 1:13:37
  Speaker 4: this movie is even addressing that is kind of interesting.
• 1:13:41
  Speaker 3: Well, and honestly, again, it's one of the things about
• 1:13:43
  Speaker 3: this movie that make it tantalizing to me as a
• 1:13:47
  Speaker 3: resource for, like, making another movie is this idea of, like, okay,
• 1:13:51
  Speaker 3: this guy goes over there and this is basically his plan.
• 1:13:54
  Speaker 3: He's figured out when he was doing experiments on cancer patients,
• 1:13:59
  Speaker 3: he basically figured out that there is a kind of
• 1:14:02
  Speaker 3: gene or something that he can tame and control, which
• 1:14:07
  Speaker 3: allows for the regeneration of cells. So in other words,
• 1:14:11
  Speaker 3: the way they phrase it, it's like cancer cells are
• 1:14:13
  Speaker 3: out of control. He's tamed and directed that growth. Right,
• 1:14:17
  Speaker 3: so that you can basically rebuild anything because you can
• 1:14:21
  Speaker 3: make the cells do what you want it to do.
• 1:14:23
  Speaker 3: This is the part where it gets really gray area.
• 1:14:27
  Speaker 4: Because like I'm just like by like we're getting halfway
• 1:14:31
  Speaker 4: into this plot and like he's like.
• 1:14:32
  Speaker 5: Oh i'm out of this thing yeah okay this.
• 1:14:35
  Speaker 4: Serum i made is gone and like so then you
• 1:14:37
  Speaker 4: can just go get it from someone else well like
• 1:14:41
  Speaker 4: they never really explain how that works it's just like
• 1:14:43
  Speaker 4: i gotta go get me some more girls whatever like.
• 1:14:45
  Speaker 3: Nor do they explain what happens later which with him
• 1:14:48
  Speaker 3: when we talk about the vampire part the other uh
• 1:14:52
  Speaker 3: which thing he created there's two different scenes Serums, more
• 1:14:55
  Speaker 3: or less. Yeah, I guess. In any event, his, so yeah,
• 1:14:58
  Speaker 3: and so he went, saw all that, and apparently it
• 1:15:00
  Speaker 3: drove him a little nuts because he wants to try to,
• 1:15:03
  Speaker 3: you know, make his serum work. So Monique agrees to
• 1:15:06
  Speaker 3: be a, and she, by the way, again, I want
• 1:15:08
  Speaker 3: to stress, she is wearing a lab coat. She looks
• 1:15:11
  Speaker 3: a little bit like Princess Leia. And the whole movie,
• 1:15:14
  Speaker 3: she is basically his number two, right? She is the
• 1:15:17
  Speaker 3: one who is, she's not just an assistant. She looks
• 1:15:20
  Speaker 3: like a co-doctor. And in fact, she's clearly wildly in
• 1:15:23
  Speaker 3: love with this wooden man.
• 1:15:24
  Speaker 5: And knows exactly what he's talking about.
• 1:15:27
  Speaker 3: Isn't just like, go get me that.
• 1:15:28
  Speaker 4: She's actually invested in what little conversation there is about this.
• 1:15:32
  Speaker 3: Which is equally as involved yeah which which leads one
• 1:15:35
  Speaker 3: to suspect that she is like his partner in this
• 1:15:37
  Speaker 3: endeavor or.
• 1:15:38
  Speaker 4: Came up with all of this and he just latched
• 1:15:40
  Speaker 4: onto it because he had photos of mutant people yeah
• 1:15:42
  Speaker 4: like look i've got this book i must be the
• 1:15:44
  Speaker 4: doctor right yeah she's like yeah i made this serum
• 1:15:47
  Speaker 4: shut up like yeah well and that's and that's again
• 1:15:49
  Speaker 4: part of the weirdness of his relationship with her because
• 1:15:53
  Speaker 4: i'm listening to them talk and she's clearly in love
• 1:15:55
  Speaker 4: with him and and clearly like thinks he's just amazing
• 1:15:58
  Speaker 4: in the bees knees and he is Not only disinterested
• 1:16:01
  Speaker 4: and rude, but also like, you know, she is your
• 1:16:05
  Speaker 4: lab partner, man.
• 1:16:07
  Speaker 3: She's like, she's helped you figure all this out. And
• 1:16:09
  Speaker 3: then she injects herself with, I guess, cancer cells. So
• 1:16:14
  Speaker 3: that he can then heal her and demonstrate that the process.
• 1:16:17
  Speaker 2: Look, it works.
• 1:16:18
  Speaker 3: Yeah, it works. In a wonderful bit of cutaway photography.
• 1:16:22
  Speaker 3: And in any event, though, the whole setup then is
• 1:16:26
  Speaker 3: that he's looking for a human subject to test the
• 1:16:29
  Speaker 3: regeneration on, you know, for an ordinary wound. And they
• 1:16:33
  Speaker 3: find Jeanette. She comes in wearing this fabulous high collared
• 1:16:39
  Speaker 3: leopard print coat. Very 60s. Of course. Of course. and
• 1:16:44
  Speaker 3: uh he's like cool come on down to my mysterious
• 1:16:46
  Speaker 3: lab and let me inject you with things and she's
• 1:16:48
  Speaker 3: like i've said that to so many people oh man
• 1:16:51
  Speaker 3: well yeah you know funny enough i still don't know
• 1:16:53
  Speaker 3: where all these doors lead in your home you don't
• 1:16:55
  Speaker 3: need to know okay until it's also those are bullet
• 1:16:58
  Speaker 3: holes behind you um sorry you know what not gonna
• 1:17:00
  Speaker 3: ask questions okay fair enough fair enough uh But anyway,
• 1:17:05
  Speaker 3: so they, of course, inject her with the whatever it is,
• 1:17:08
  Speaker 3: Derma 26. They actually have a name for it. It's
• 1:17:11
  Speaker 3: like Derma 26 or something. There's two different numbers. There's
• 1:17:14
  Speaker 3: like 58 and 20, 56. I don't know. There's two
• 1:17:18
  Speaker 3: different numbers involved in these. One makes you pretty again.
• 1:17:21
  Speaker 3: One turns you into a monster.
• 1:17:23
  Speaker 5: That's essentially how it works.
• 1:17:25
  Speaker 2: Yeah, yeah.
• 1:17:26
  Speaker 3: Yeah, and they've managed to resolve the isotopes into these
• 1:17:31
  Speaker 3: two options.
• 1:17:32
  Speaker 5: Pretty isotopes, monster isotopes.
• 1:17:37
  Speaker 1: Anywho.
• 1:17:37
  Speaker 3: Well, I suppose we've named this episode. Yeah, yeah, yeah. So,
• 1:17:42
  Speaker 3: the isotopes.
• 1:17:42
  Speaker 2: So....
• 1:17:45
  Speaker 3: What happened, I think actually when I was living in
• 1:17:47
  Speaker 3: New Mexico, that was the name of the Los Alamos
• 1:17:49
  Speaker 3: baseball team. The Isotopes. It was the Isotopes.
• 1:17:53
  Speaker 5: Monster Isotopes would be way better.
• 1:17:55
  Speaker 3: In any event, so she gets injected and sure enough
• 1:18:01
  Speaker 3: through what I'm actually going to credit as some really
• 1:18:03
  Speaker 3: fine special effects for the era. She has, there's a
• 1:18:07
  Speaker 3: great progressive shot of her face as she gradually becomes
• 1:18:10
  Speaker 3: like her scars fade away. Both versions of this, again,
• 1:18:15
  Speaker 3: what little I bothered to find on the internet after
• 1:18:17
  Speaker 3: the fact, mention that as like the defining thing, really.
• 1:18:20
  Speaker 5: One of the few things.
• 1:18:21
  Speaker 4: That people paid attention to when this movie came out
• 1:18:24
  Speaker 4: was like more so his transformation scene later. But yeah,
• 1:18:29
  Speaker 4: we get kind of like the light other direction version
• 1:18:31
  Speaker 4: with her before we.
• 1:18:32
  Speaker 3: Get to his transformation. Yeah. And so she wakes up
• 1:18:36
  Speaker 3: and she's fine and she's in a great mood and everything.
• 1:18:39
  Speaker 3: So he immediately takes her upstairs to the parlor and
• 1:18:43
  Speaker 3: they proceed to get hammer drunk. Sure. Because, you know, 50s, scientist, parlor, Europe.
• 1:18:52
  Speaker 3: And anyway, so they're sitting there getting hammer drunk and
• 1:18:56
  Speaker 3: talking about stuff, and Apparently, we're supposed to gather that
• 1:19:00
  Speaker 3: the mad scientist has become infatuated with her at this point, although.
• 1:19:03
  Speaker 4: He doesn't feel like it or seem like it or
• 1:19:06
  Speaker 4: written the way that it would appear to be that.
• 1:19:09
  Speaker 3: Yeah, but he does not radiate any kind of feeling
• 1:19:13
  Speaker 3: for anything. So our block of wood, though, mentioned the
• 1:19:16
  Speaker 3: wooden part. Yeah, our block of wood who is sitting
• 1:19:19
  Speaker 3: way too close to that fire, by the way. Um, he, uh, is, um,
• 1:19:24
  Speaker 3: he is then talking to her and at one point
• 1:19:26
  Speaker 3: he apparently becomes infatuated and Monique is like looking all
• 1:19:30
  Speaker 3: jealous and stuff who isn't even in the room. I
• 1:19:32
  Speaker 3: don't know why she's left these two alone, but in
• 1:19:35
  Speaker 3: any event, um, so, uh, Then she passes out, Jeanette does,
• 1:19:41
  Speaker 3: from drinking too much. And as he moves in to
• 1:19:44
  Speaker 3: creep on her, he notices, oh, oh no, the scars
• 1:19:47
  Speaker 3: are back.
• 1:19:48
  Speaker 2: Right?
• 1:19:48
  Speaker 3: And he freaks right the.
• 1:19:50
  Speaker 1: Hell out of her.
• 1:19:50
  Speaker 3: Gross. I don't want her now. She's not perfect. He
• 1:19:54
  Speaker 3: is absolutely the worst. It is weird that there's like.
• 1:19:59
  Speaker 4: Again, something like that, it seems like if you could
• 1:20:01
  Speaker 4: fix it, it would just be done and your life
• 1:20:04
  Speaker 4: would go on.
• 1:20:04
  Speaker 5: But the fact that it comes and goes like.
• 1:20:07
  Speaker 3: It's an itchy area on your arm or something. The
• 1:20:12
  Speaker 3: fact that the scars come back the way that they
• 1:20:15
  Speaker 3: were before is weird. Well, this is one of those
• 1:20:17
  Speaker 3: areas where, again, I want to insert where I could
• 1:20:21
  Speaker 3: have made a better movie or where a better movie
• 1:20:23
  Speaker 3: could have been made. There is, I will refer to
• 1:20:26
  Speaker 3: this as we go on, there is an almost hammer
• 1:20:29
  Speaker 3: horror element to this film that I felt like it
• 1:20:32
  Speaker 3: could have worked on a certain level. Yeah, like imagine,
• 1:20:34
  Speaker 3: I mean, if she had been more covered with scars,
• 1:20:37
  Speaker 3: you know, more hideous and everything like that, and the
• 1:20:40
  Speaker 3: serum makes her completely beautiful again, right? And then it's,
• 1:20:46
  Speaker 3: so the choice isn't between her being, you know, mildly
• 1:20:49
  Speaker 3: scarred and her being like... And her being basically incapable
• 1:20:54
  Speaker 3: of functioning in regular society, right? Like, those are your
• 1:20:57
  Speaker 3: two options. Yeah. If it was the latter, then restoring
• 1:21:02
  Speaker 3: her to beauty might make sense because that's a completely
• 1:21:04
  Speaker 3: different life, right? But as it is, anyway, it's just
• 1:21:07
  Speaker 3: not quite enough, right? And it's not quite enough to
• 1:21:09
  Speaker 3: be poignant at all. Most of the time, you're just like,
• 1:21:13
  Speaker 3: why are you going through such lengths for this? Yeah, well,
• 1:21:16
  Speaker 3: you could just part your hair differently and you'd be okay.
• 1:21:19
  Speaker 3: But whatever. You'd be fine. Yeah, yeah, yeah. But whatever.
• 1:21:22
  Speaker 3: The situation is that now he's freaked right out, the
• 1:21:25
  Speaker 3: mad scientist. So he runs downstairs and he's like, Monique,
• 1:21:28
  Speaker 3: I'm freaking right the hell out because it's back. It's back.
• 1:21:33
  Speaker 3: It's back. The scars are back. I'm a failure. Let's
• 1:21:36
  Speaker 3: kill ourselves. Or something like that.
• 1:21:38
  Speaker 2: Or her.
• 1:21:39
  Speaker 3: No, actually, yeah. He immediately went to, well, we have
• 1:21:41
  Speaker 3: to kill her. Yeah, no, that's right. That's right. I forgot.
• 1:21:43
  Speaker 3: We don't want word to get out that we suck.
• 1:21:45
  Speaker 3: Let's kill her. Yeah, no, you're right. Sorry. I forgot
• 1:21:48
  Speaker 3: that completely is that he runs down and he's immediately like,
• 1:21:50
  Speaker 3: let's kill her. Well, obviously we have to kill her. God,
• 1:21:55
  Speaker 3: this guy is terrible. So immediately after the scene where
• 1:21:58
  Speaker 3: he's supposed to fall in love with her, he's immediately like, well,
• 1:22:01
  Speaker 3: the scars are back. Let's shoot her. Bury her in
• 1:22:03
  Speaker 3: the backyard.
• 1:22:03
  Speaker 1: And.
• 1:22:05
  Speaker 3: Monique's like, whoa, whoa, whoa, whoa, whoa, whoa, whoa. Hang on.
• 1:22:08
  Speaker 3: We're not going to just kill her. Again, Monique is.
• 1:22:10
  Speaker 4: Monique, the only one with a brain or a conscience.
• 1:22:13
  Speaker 4: Except for Igor, but we'll get to him.
• 1:22:16
  Speaker 3: Yeah, we'll get to him because his... No brain, but
• 1:22:18
  Speaker 3: a little conscience.
• 1:22:19
  Speaker 10: A little bit.
• 1:22:20
  Speaker 3: So she basically says, well, look, this stuff hasn't really worked.
• 1:22:25
  Speaker 3: Calm down, doctor. This stuff hasn't really worked out. And
• 1:22:28
  Speaker 3: then they do some more science-y gobbledygook, and somehow they ascertain...
• 1:22:32
  Speaker 3: And this is really where the vampire part comes in.
• 1:22:34
  Speaker 3: They ascertain that the only way that they can really
• 1:22:39
  Speaker 3: keep it going is they have to get an extraction
• 1:22:43
  Speaker 3: from young, healthy women. We gotta get beauty isotopes. Yeah. And.
• 1:22:49
  Speaker 5: Suck them out of your face and put them on
• 1:22:51
  Speaker 5: her face.
• 1:22:52
  Speaker 3: Yeah, I think that.
• 1:22:53
  Speaker 5: Is that scientifically enough?
• 1:22:55
  Speaker 3: Something like that. It's so convoluted, it's hard to understand.
• 1:22:58
  Speaker 3: But something like they need to extract glands secretions or something. Anyway...
• 1:23:07
  Speaker 3: So they need to go find some young woman's glands
• 1:23:11
  Speaker 3: to get this going.
• 1:23:12
  Speaker 5: We all get into that situation.
• 1:23:14
  Speaker 3: And Monique is not having any of it. She's all like, nope,
• 1:23:18
  Speaker 3: we're not going to be going extracting girls' glands. Although
• 1:23:21
  Speaker 3: she's like, I will help you, but I will not
• 1:23:24
  Speaker 3: extract women's glands.
• 1:23:25
  Speaker 7: Yeah.
• 1:23:25
  Speaker 4: Again, always a useful, you know, partner in this and
• 1:23:29
  Speaker 4: just doesn't want to kill girls.
• 1:23:31
  Speaker 3: Yeah. And again, proves herself. Actually, you know, we should
• 1:23:34
  Speaker 3: have two heroes. We should have Jeanette and Monique because
• 1:23:36
  Speaker 3: Monique really ought to be, you know, the tragic hero.
• 1:23:39
  Speaker 5: Had things, you know, changed a little bit. She could
• 1:23:41
  Speaker 5: have been the hero and then we, you know, lose
• 1:23:44
  Speaker 5: her character.
• 1:23:45
  Speaker 3: Also, Monique figures out, I guess because she's become an
• 1:23:47
  Speaker 3: expert at reading Mr. Wooden's face. She figures out that, like,
• 1:23:53
  Speaker 3: he's become infatuated with her, and she gets right pissed off,
• 1:23:56
  Speaker 3: but she's still willing to help him. She's still gonna, like.
• 1:23:58
  Speaker 5: Again, she's a professional, dammit.
• 1:24:00
  Speaker 3: Yeah, and they have a massive discovery on their hands.
• 1:24:03
  Speaker 3: They're not just gonna kill her. God, you're... If you
• 1:24:06
  Speaker 3: listen to him, sure. Yeah, but anyway, cut to Monique's death.
• 1:24:10
  Speaker 3: That's where we go. Cut to Monique is dead.
• 1:24:13
  Speaker 4: Before we get too far away from the original surgery,
• 1:24:16
  Speaker 4: can I point out maybe one of my favorite things?
• 1:24:19
  Speaker 3: Go for it. Go for it.
• 1:24:20
  Speaker 4: Because this is when you get to specific types of
• 1:24:23
  Speaker 4: movies and when they just get the most basic stuff wrong.
• 1:24:28
  Speaker 1: Yeah.
• 1:24:30
  Speaker 5: When they're in the middle of the surgery.
• 1:24:31
  Speaker 4: And I didn't really realize it until we're in the
• 1:24:33
  Speaker 4: middle of the surgery.
• 1:24:34
  Speaker 3: And I'm like, I guess I've seen... A thousand surgery scenes.
• 1:24:38
  Speaker 4: In every movie and bad doctor TV show ever. You've
• 1:24:42
  Speaker 4: seen them in the operating room. The doctor's doing something
• 1:24:45
  Speaker 4: with a scalpel, and he's asking whoever else is in
• 1:24:47
  Speaker 4: the room, hand me this, hand me a sponge, hand
• 1:24:49
  Speaker 4: me a whatever. In this one, she is, I don't know, two,
• 1:24:56
  Speaker 4: three feet away from the entire tray full of equipment.
• 1:24:59
  Speaker 3: Yeah. So every time he's like, hand me a this. Step, step, step.
• 1:25:03
  Speaker 3: Go get it. Step, step, step.
• 1:25:05
  Speaker 5: Walk back and hand it to him.
• 1:25:06
  Speaker 3: Now, give me a sponge. Step, step, step. Go over
• 1:25:09
  Speaker 3: and get it. I'm just like, could you not roll
• 1:25:10
  Speaker 3: the cart closer to where you're working?
• 1:25:13
  Speaker 4: Like, it was so basically dysfunctional that I was just like,
• 1:25:17
  Speaker 4: oh my God.
• 1:25:18
  Speaker 3: And he did it three, four times. Wasn't Sasha in
• 1:25:21
  Speaker 3: that scene like watching? Probably.
• 1:25:23
  Speaker 4: Even he was watching going, why wouldn't you just move
• 1:25:25
  Speaker 4: the part a little closer, man?
• 1:25:26
  Speaker 3: What are they doing? Yeah, yeah, yeah. So you're watching.
• 1:25:28
  Speaker 3: And I can just imagine the director saying, no, no, no, man.
• 1:25:31
  Speaker 3: We've got all this space. We want to use this space.
• 1:25:34
  Speaker 5: Look at this wonderful set we built. It's a basement.
• 1:25:39
  Speaker 3: Not everybody has a basement. Like, why would you want
• 1:25:42
  Speaker 3: it to be so boring where she's just handing him stuff?
• 1:25:44
  Speaker 3: We could have her handing him stuff and walking.
• 1:25:46
  Speaker 10: Oh, my God.
• 1:25:47
  Speaker 4: Again, to me, that was just a nice little snapshot
• 1:25:50
  Speaker 4: of the dysfunction level of some of the things going
• 1:25:53
  Speaker 4: on in this movie.
• 1:25:54
  Speaker 2: Yeah, I know.
• 1:25:54
  Speaker 3: This movie, like, this is absolutely one of the films
• 1:25:57
  Speaker 3: where Ed Wood would have said every shot is perfect.
• 1:26:00
  Speaker 4: We want to address how much she has to deal
• 1:26:02
  Speaker 4: with every day like walking all the way over there
• 1:26:05
  Speaker 4: to get a scalpel you know it's a lot of
• 1:26:07
  Speaker 4: work it's trouble for me.
• 1:26:10
  Speaker 3: So see it's metaphor anyway cut print perfect moving on
• 1:26:15
  Speaker 3: absolutely perfect okay so Monique is dead that's where we
• 1:26:19
  Speaker 3: left it that's where we left it because Dr. Wooden
• 1:26:22
  Speaker 3: was looking at her with something I guess to be
• 1:26:24
  Speaker 3: intensity and then cut to she's lying on the bed
• 1:26:27
  Speaker 3: dead and the cops have been called At that point, okay? Well,
• 1:26:30
  Speaker 3: I was gonna kill this one, officer, but I decided, eh,
• 1:26:34
  Speaker 3: this one's bugging me, so I'm gonna kill her instead. Okay,
• 1:26:37
  Speaker 3: so the deal is, Monique is dead, she's lying on
• 1:26:39
  Speaker 3: her bed, and these cops come in. Now, this is,
• 1:26:42
  Speaker 3: I'm gonna call them the Trenchcoat Brigade, because honestly, even
• 1:26:46
  Speaker 3: though they, the movie actually goes through some trouble to
• 1:26:49
  Speaker 3: establish that they're different characters... Right, amongst the non-major players.
• 1:26:53
  Speaker 3: I don't remember ever paying attention to any of the cops. Yeah,
• 1:26:56
  Speaker 3: the film is too indistinct to make it out, make
• 1:26:59
  Speaker 3: out their faces well enough, and they're all dark-haired Italian guys,
• 1:27:03
  Speaker 3: and they're all wearing trench coats.
• 1:27:04
  Speaker 5: It's Italy, 1960, of course. They're all wearing trench coats.
• 1:27:07
  Speaker 3: Yeah, and so I'm sorry if this sounds terrible, but yeah,
• 1:27:10
  Speaker 3: I couldn't tell any of them apart. And so we
• 1:27:13
  Speaker 3: got the boyfriend, we've got the main officer, the main detective,
• 1:27:18
  Speaker 3: and then we got his assistant and a bunch of
• 1:27:20
  Speaker 3: other extra detectives.
• 1:27:22
  Speaker 4: Eventually I remember the boyfriend only because he is ridiculously tall.
• 1:27:27
  Speaker 4: He is significantly taller than most of the other dudes.
• 1:27:30
  Speaker 3: But whatever. The point is that these guys show up
• 1:27:33
  Speaker 3: and in the midst of investigating the death, The coroner
• 1:27:37
  Speaker 3: looks and is like, oh, yeah, it looks like she
• 1:27:38
  Speaker 3: had a heart paralysis. She had a heart attack or something,
• 1:27:42
  Speaker 3: even though she appears to be a perfectly healthy young
• 1:27:45
  Speaker 3: woman of like 30.
• 1:27:45
  Speaker 5: Yeah, I was going to say, it's not like she's
• 1:27:48
  Speaker 5: even pushing 50.
• 1:27:49
  Speaker 3: She's like 30 at tops. Yeah, at tops. Her face
• 1:27:54
  Speaker 3: has no wrinkles on it. She should be fine. But
• 1:27:56
  Speaker 3: the coroner says nothing to be worried about. Here, the
• 1:27:59
  Speaker 3: doctor helpfully offers... Fine. It's probably not murder at all.
• 1:28:02
  Speaker 3: But the doctor helpfully... Sorry. Mad scientist helpfully offers them
• 1:28:06
  Speaker 3: a cardioencephalograph showing that she's had heart problems. You know?
• 1:28:11
  Speaker 3: That's just right here. I just happened to have this
• 1:28:14
  Speaker 3: on me. Yeah. He... Oh, no. What was it?
• 1:28:16
  Speaker 2: The line?
• 1:28:16
  Speaker 3: He says, I kept this in a place she would
• 1:28:19
  Speaker 3: never find it. And then he, like, walks over three
• 1:28:22
  Speaker 3: feet from her bed. It's in a drawer.
• 1:28:23
  Speaker 1: Yeah.
• 1:28:25
  Speaker 3: And it's not even a step, step, step. Here's your report.
• 1:28:29
  Speaker 3: It's not even, like, in a locked drawer. It's just
• 1:28:32
  Speaker 3: in her room. Like, I kept it in a place
• 1:28:34
  Speaker 3: she would never find it. what one why did you
• 1:28:36
  Speaker 3: keep a secret Cardiocephalogram. Anyway, I'm not even going to
• 1:28:40
  Speaker 3: try to.
• 1:28:41
  Speaker 4: I keep those in my, I have all my x-rays
• 1:28:43
  Speaker 4: in mine as well.
• 1:28:44
  Speaker 3: They're all in this drawer, which you will never, ever
• 1:28:48
  Speaker 3: look in. You'll never find it. It's got a handle,
• 1:28:50
  Speaker 3: but you'll never find it. But anyway, I guess she
• 1:28:54
  Speaker 3: was kind of a pack rat. But anyway, so the
• 1:28:57
  Speaker 3: coroner declares nothing's wrong here. And meanwhile, the detectives are
• 1:29:01
  Speaker 3: really interested in the fact that they are in the
• 1:29:04
  Speaker 3: house of This famous scientist. This is when we learn
• 1:29:07
  Speaker 3: about his work in Hiroshima and Nagasaki. He's got Hiroshima bottles. Yeah,
• 1:29:11
  Speaker 3: he's got a bunch of glass bottles, like artwork, scattered
• 1:29:15
  Speaker 3: around his house. This is actually a really nice touch.
• 1:29:17
  Speaker 3: Glass bottles have been fused together by the blast. So
• 1:29:20
  Speaker 3: they're put up in his different places in his house,
• 1:29:23
  Speaker 3: like works of art. Again, it's one of the few
• 1:29:25
  Speaker 3: things that's interesting in Hiroshima. What they piece together in
• 1:29:27
  Speaker 3: the story. That and the conversation that ensues where they're
• 1:29:30
  Speaker 3: talking about his work in Hiroshima and Nagasaki. He's got
• 1:29:33
  Speaker 3: this large black photo album of images of people's injuries.
• 1:29:39
  Speaker 3: And then mutations that followed. Now, I do want to
• 1:29:43
  Speaker 3: talk about, like, we do need to point out, this
• 1:29:45
  Speaker 3: is an exploitation film, right? And in the classical sense
• 1:29:49
  Speaker 3: of that, we're basically trying to shock people with whatever's horrible, titillating, etc.,
• 1:29:54
  Speaker 3: So that's why our main character is a stripper. That's
• 1:29:56
  Speaker 3: why we're showing pictures of Hiroshima and Nagasaki is because
• 1:30:00
  Speaker 3: it's horrifying. But at the same time, I don't want
• 1:30:04
  Speaker 3: to overlook that when I also point out that I
• 1:30:07
  Speaker 3: do think it's kind of poignant. That this movie takes
• 1:30:10
  Speaker 3: that very Adam age, if you will, concern as a
• 1:30:13
  Speaker 3: jumping off point.
• 1:30:15
  Speaker 4: Much like we said earlier, it's addressing an issue that
• 1:30:19
  Speaker 4: nobody wanted to talk about.
• 1:30:20
  Speaker 5: It's doing it in a really, again, exploitative way.
• 1:30:25
  Speaker 3: Yeah. But it's saying something about it, which basically no
• 1:30:29
  Speaker 3: one else in society was willing to talk about. Oh,
• 1:30:31
  Speaker 3: remember when we... No, no, never mind, never mind.
• 1:30:33
  Speaker 5: We didn't do anything.
• 1:30:34
  Speaker 3: I don't know what you're talking about. Yeah, this is
• 1:30:35
  Speaker 3: where I actually jump forward and say movies like The
• 1:30:38
  Speaker 3: Day the Earth Stood Still and Them. qualify as legit
• 1:30:42
  Speaker 3: great movies they're not just sci-fi schlock.
• 1:30:45
  Speaker 4: Godzilla yeah right godzilla perfect example of like hey guess
• 1:30:49
  Speaker 4: what you guys did yeah a lot of horrible.
• 1:30:52
  Speaker 3: Shit to our culture by the way um and and
• 1:30:56
  Speaker 3: and and actually uh on the godzilla note i'll note
• 1:30:58
  Speaker 3: that uh godzilla is apparently a creature from some previous
• 1:31:03
  Speaker 3: age and i love how they did this in the
• 1:31:04
  Speaker 3: new movie where they said there was a previous atomic
• 1:31:08
  Speaker 3: age of monsters who just shot radiation at each other
• 1:31:11
  Speaker 3: all day long. I was like, that's a great update. Anyway,
• 1:31:14
  Speaker 3: the point is that the atomic bomb isn't actually a
• 1:31:18
  Speaker 3: modern horror. The idea is it's unleashed something, a primordial
• 1:31:23
  Speaker 3: malevolence upon the human race. And similarly, movies like Them
• 1:31:28
  Speaker 3: or The Day the Earth Stood Still basically just take
• 1:31:31
  Speaker 3: this act of detonating a bomb. The interesting thing is
• 1:31:33
  Speaker 3: they don't make the bomb... The biggest problem, right? It's
• 1:31:38
  Speaker 3: what comes after. Yeah, they make it an inciting incident
• 1:31:41
  Speaker 3: in mankind discovering that there's a whole universe, literally, in
• 1:31:45
  Speaker 3: the day the Earth stood still. Of horrible things we
• 1:31:46
  Speaker 3: could do. Of consequences, yeah. So in this sense, we're
• 1:31:51
  Speaker 3: looking at, I mean, if you want to be ultra
• 1:31:53
  Speaker 3: charitable to the film, we're looking at a little drama
• 1:31:55
  Speaker 3: between a doctor and some women that he's in love
• 1:31:58
  Speaker 3: with or not in love with or whatever. Doesn't care
• 1:32:00
  Speaker 3: about anyone.
• 1:32:01
  Speaker 1: Yeah.
• 1:32:02
  Speaker 3: And we're situating it in terms of man's treatment of
• 1:32:05
  Speaker 3: man as a consequence of this catastrophe. So we've got
• 1:32:09
  Speaker 3: the worst thing people have ever done to each other, right?
• 1:32:12
  Speaker 3: World War II. And then coming out of that as
• 1:32:14
  Speaker 3: a guy trying to fix things by directing that energy elsewhere.
• 1:32:20
  Speaker 3: But it rapidly turns into, guess what? Another way to
• 1:32:24
  Speaker 3: do horrible things to people. So I kind of love
• 1:32:27
  Speaker 3: that angle. I'm probably giving the director a little bit
• 1:32:31
  Speaker 3: too much credit here. Probably. But I do want to
• 1:32:33
  Speaker 3: shout out. But the concept, yes. Well, and I think
• 1:32:36
  Speaker 3: it's important when we're watching crappy movies like this that
• 1:32:38
  Speaker 3: we give it a little bit more.
• 1:32:42
  Speaker 5: And again, by the end, I do have a wrap-up
• 1:32:45
  Speaker 5: that goes into that.
• 1:32:46
  Speaker 4: There are moments in there that I think visually it
• 1:32:50
  Speaker 4: does some good. specifically the smoke.
• 1:32:52
  Speaker 3: Dome yeah yeah i want one of those i.
• 1:32:55
  Speaker 4: Don't even know what for i don't even like most
• 1:32:57
  Speaker 4: people that would be like a great hot box action thing.
• 1:32:59
  Speaker 3: Yeah i'm not normally even doing that but i'm like
• 1:33:02
  Speaker 3: it just looks.
• 1:33:02
  Speaker 4: Really cool when he does whatever again that was one
• 1:33:05
  Speaker 4: of those i'm like do i need to back that
• 1:33:06
  Speaker 4: up and figure out what the hell he's actually doing
• 1:33:08
  Speaker 4: is yeah taking him out of his monster mode i
• 1:33:12
  Speaker 4: think so but yeah i think that's what it was
• 1:33:13
  Speaker 4: supposed to be.
• 1:33:14
  Speaker 3: Doing We'll get to that in a bit. But he
• 1:33:17
  Speaker 3: talks to the detectives who basically decide that he's a
• 1:33:20
  Speaker 3: great guy because... Isn't he? Yeah, isn't he just the best?
• 1:33:24
  Speaker 3: I also want to mention, oh, there's a nice little
• 1:33:26
  Speaker 3: touch in this movie that at first I thought was
• 1:33:28
  Speaker 3: so strange because it's a movie made in 1960. The
• 1:33:32
  Speaker 3: lead detective has quit smoking.
• 1:33:33
  Speaker 4: Yeah, it was pretty progressive for 1960.
• 1:33:37
  Speaker 3: Especially Europe, you know? Yeah. But it's actually kind of
• 1:33:40
  Speaker 3: a great touch because everyone's constantly offering him cigarettes and
• 1:33:43
  Speaker 3: he's like, no, I don't... Yeah, he's like, I quit, God.
• 1:33:47
  Speaker 3: And so it gives him a little bit of personality that,
• 1:33:50
  Speaker 3: you know, he always, you know, I'm getting too old
• 1:33:52
  Speaker 3: for this. He's always got that.
• 1:33:54
  Speaker 4: No more cigarettes for me.
• 1:33:57
  Speaker 3: So anyway, they decide that the doctor's a great guy
• 1:34:01
  Speaker 3: and they're just going to, you know, let all this
• 1:34:04
  Speaker 3: wrap up and leave. Meanwhile, cut to... A woman is
• 1:34:08
  Speaker 3: dead in the woods somewhere. Now, when I first saw this,
• 1:34:12
  Speaker 3: I thought that was like Monique's body. Like they literally
• 1:34:15
  Speaker 3: left him to like deal with Monique and he just
• 1:34:17
  Speaker 3: tossed her in the woods somewhere. Sure.
• 1:34:19
  Speaker 5: Seems like him.
• 1:34:20
  Speaker 3: But no, it looks like there was another girl that
• 1:34:22
  Speaker 3: was killed. Now, I get the impression. At first, I
• 1:34:25
  Speaker 3: thought he was like getting Monique's glands, but I guess
• 1:34:28
  Speaker 3: he went after this girl's glands. Maybe he decided Monique
• 1:34:31
  Speaker 3: wasn't young and pretty enough for her. Yeah, he just
• 1:34:32
  Speaker 3: killed her to shut her up, I guess. Yeah. We
• 1:34:35
  Speaker 3: don't really get into any of it. Whatever. Anyway, the
• 1:34:37
  Speaker 3: point is, there's another girl that's dead, but conveniently, and
• 1:34:41
  Speaker 3: one of my favorite lines in the movie, there is
• 1:34:44
  Speaker 3: an escaped gorilla from the zoo who must have done it.
• 1:34:48
  Speaker 3: From another horror movie being made somewhere in Universal Studios. Like,
• 1:34:53
  Speaker 3: literally blocked. Actually, no, literally blocked. Because, like, the escaped gorilla,
• 1:34:57
  Speaker 3: that old chestnut, like... Somebody call Edgar Allen Poe. It's
• 1:35:02
  Speaker 3: very old school. Anyway, so apparently everyone's decided the woman
• 1:35:07
  Speaker 3: getting killed in the woods is not a big deal
• 1:35:10
  Speaker 3: because this escaped gorilla wraps that up nicely. And then
• 1:35:14
  Speaker 3: next thing you know, our heroine, our heroine, what's her name?
• 1:35:19
  Speaker 3: Jeanette has been healed again. Everything's cool. But now she's
• 1:35:23
  Speaker 3: all like, hey, I maybe want to leave at some point.
• 1:35:27
  Speaker 3: I'm kind of sick of you, weird wooden dude.
• 1:35:29
  Speaker 5: Can I get out in the world now?
• 1:35:31
  Speaker 3: Yeah, and he's like, no. Which does seem like him. Yeah,
• 1:35:38
  Speaker 3: pretty much. But basically, yeah, it goes back and forth
• 1:35:41
  Speaker 3: a bit. Um, but he's like, oh, your treatment's not done.
• 1:35:45
  Speaker 3: You know, we need to do more stuff. She's all like,
• 1:35:47
  Speaker 3: where's Monique? And he's like, I'm not even sure she asks.
• 1:35:50
  Speaker 3: Don't ask any questions. Yeah, I forget. But, but whatever.
• 1:35:53
  Speaker 3: The whole point is, is that she's starting to sort
• 1:35:55
  Speaker 3: of wise up now that she's not, uh, hysterical and
• 1:35:59
  Speaker 3: or drunk.
• 1:36:00
  Speaker 5: This dude's a little creepy.
• 1:36:01
  Speaker 3: Yeah. She was kind of starting to put it together.
• 1:36:04
  Speaker 3: And so she's starting to feel like, man, we need,
• 1:36:06
  Speaker 3: I need to maybe get on out of here. And
• 1:36:09
  Speaker 3: wakes up in a bedroom with bars on the windows
• 1:36:13
  Speaker 3: and the door is locked and starts calling for Sasha
• 1:36:18
  Speaker 3: to come help her. And Sasha is making all these
• 1:36:20
  Speaker 3: gestures like stuff's terrible. And again, Sasha is, once again,
• 1:36:27
  Speaker 3: far more compelling than our villain hero, our anti-hero lead character.
• 1:36:32
  Speaker 3: Because even in his gestures, his little grunts and everything,
• 1:36:35
  Speaker 3: he is... way more compelling and sympathetic than almost anybody else. Yeah.
• 1:36:40
  Speaker 3: In the movie.
• 1:36:41
  Speaker 5: Cause that's the thing. Our lead, if we want to
• 1:36:44
  Speaker 5: call her the hero is also not great.
• 1:36:46
  Speaker 4: That's one of those things that like in a different movie,
• 1:36:49
  Speaker 4: you could sell this if we were really invested in her.
• 1:36:52
  Speaker 1: Yeah.
• 1:36:52
  Speaker 3: But she's not really smart. She's attractive ish.
• 1:36:57
  Speaker 4: But like, again, there's like nothing about her personality. That's
• 1:37:00
  Speaker 4: really like something to attach on. Like she's equally as,
• 1:37:04
  Speaker 4: Lame as our villain. So you're kind of like a
• 1:37:07
  Speaker 4: shrug across the board. The only interesting girl is dead now.
• 1:37:10
  Speaker 4: So we've got this mute guy that's our only other
• 1:37:13
  Speaker 4: hope to have something interesting come about.
• 1:37:16
  Speaker 3: And again, I pitch the hammer horror redux of this movie.
• 1:37:20
  Speaker 3: Where imagine if she was, let's say, an older woman
• 1:37:23
  Speaker 3: who was always horribly disfigured. She's done nothing but hang
• 1:37:27
  Speaker 3: out and read great novels and philosophy her whole life.
• 1:37:30
  Speaker 3: And has developed this really brilliant internal life. And meanwhile,
• 1:37:34
  Speaker 3: the mad scientist then, like, cleans her up, makes her
• 1:37:37
  Speaker 3: look pretty and young and all this stuff. And then
• 1:37:41
  Speaker 3: falls in love with her because she's also really interesting.
• 1:37:43
  Speaker 3: Hammer presents my fair lady. Now I can take her
• 1:37:47
  Speaker 3: out in society. Look, she's beautiful. I would watch the
• 1:37:51
  Speaker 3: hell out of that movie. Yeah, I'm kind of, we
• 1:37:52
  Speaker 3: need to start putting this together right now. Yeah, but, like,
• 1:37:56
  Speaker 3: there I could kind of get, like, okay, this is
• 1:37:59
  Speaker 3: why he's infatuated with her. This is why we care
• 1:38:01
  Speaker 3: about her transformation.
• 1:38:02
  Speaker 2: Yeah.
• 1:38:03
  Speaker 3: Et cetera, et cetera. But as it stands, we're just
• 1:38:05
  Speaker 3: kind of, lady, you need to just go get a
• 1:38:07
  Speaker 3: different job. Like, you know, if you were seriously looking
• 1:38:11
  Speaker 3: at your future and you're saying, I have no future
• 1:38:13
  Speaker 3: because I can't be a stripper anymore. Yeah. Sorry, I
• 1:38:16
  Speaker 3: don't mean to be overly cruel to our lady who
• 1:38:20
  Speaker 3: works in the salacious arts. But in any event, then
• 1:38:25
  Speaker 3: our scientists, there's a back and forth. These next scenes
• 1:38:29
  Speaker 3: were kind of difficult. for me to keep together because
• 1:38:33
  Speaker 3: then as he continues on her treatment we discover what
• 1:38:37
  Speaker 3: in fact killed one if not both of the women
• 1:38:40
  Speaker 3: which is his transformation into the Adam age vampire.
• 1:38:47
  Speaker 4: Vampire sort of He really is mostly just a strangler.
• 1:38:50
  Speaker 3: Creepy green dude. But it's in black and white, so
• 1:38:54
  Speaker 3: you can't really tell. But I assume that he's green.
• 1:38:56
  Speaker 11: You've been impressed by the recurring factor in these cases
• 1:38:59
  Speaker 11: of the wound from the throat to the sternum. The
• 1:39:01
  Speaker 11: obsession of a vindictive-minded man who has been poisoned or
• 1:39:04
  Speaker 11: disfigured forever by atomic radiation. One might even say a
• 1:39:08
  Speaker 11: vampire of the atom age who wants to recover.
• 1:39:10
  Speaker 2: Exactly. What do you say?
• 1:39:12
  Speaker 11: The hypothesis is melodramatic, but not to be excluded.
• 1:39:15
  Speaker 3: So he takes that other serum that we talked about before.
• 1:39:17
  Speaker 3: We had the beautiful serum. Serum 58 or whatever it was.
• 1:39:21
  Speaker 3: And derma something else. And injects himself with it. And
• 1:39:24
  Speaker 3: then we have another great transformation shot.
• 1:39:26
  Speaker 4: This one is like classic, I was a teenage werewolf
• 1:39:30
  Speaker 4: kind of slowly changing, you know, fix this part of
• 1:39:35
  Speaker 4: your face, then add this on and that is on
• 1:39:37
  Speaker 4: and just it layers the images and it looks pretty good.
• 1:39:40
  Speaker 3: Although I will probably give the actor more credit than
• 1:39:42
  Speaker 3: he deserves and say that during this entire process, he
• 1:39:45
  Speaker 3: does in fact have a look on his face that says,
• 1:39:47
  Speaker 3: what am I becoming?
• 1:39:48
  Speaker 1: Right.
• 1:39:49
  Speaker 3: And whether that was genuine confusion... My wood! It's getting ruined!
• 1:39:53
  Speaker 3: He becomes more compelling as a person once he's wearing
• 1:39:56
  Speaker 3: a mask. He really does. But, hey, that's why we
• 1:39:59
  Speaker 3: watch movies like this, right?
• 1:40:00
  Speaker 2: Yes.
• 1:40:01
  Speaker 3: I'm not interested in you. I'm interested in your evil
• 1:40:03
  Speaker 3: monster counterpart. The creature is way more interesting than the person. Yes, absolutely. Well... Anyway,
• 1:40:08
  Speaker 3: so he transforms himself into what I take to be
• 1:40:12
  Speaker 3: a monstrous sort of Mr. Hyde based around the images
• 1:40:17
  Speaker 3: in the book of Hiroshima and Nagasaki victims. Like, that
• 1:40:20
  Speaker 3: seems to be the angle they're going for, is he
• 1:40:23
  Speaker 3: has turned himself into some kind of post-atomic mutant.
• 1:40:27
  Speaker 4: There's also this weird other thing that happens a couple
• 1:40:32
  Speaker 4: of times in the movie where he has voiceover of
• 1:40:35
  Speaker 4: him talking to himself.
• 1:40:36
  Speaker 2: Yeah.
• 1:40:37
  Speaker 4: That in our version that made it to this country
• 1:40:40
  Speaker 4: is really hard to hear and understand.
• 1:40:42
  Speaker 5: So that first time I was like, wait, what is
• 1:40:44
  Speaker 5: he saying to himself? Oh, wait, he was.
• 1:40:45
  Speaker 3: Arguing with Monique in his head.
• 1:40:48
  Speaker 5: And then later he comes back to him like, oh, what.
• 1:40:50
  Speaker 3: It is is he's basically.
• 1:40:51
  Speaker 4: He needs to go out and kill girls to make
• 1:40:54
  Speaker 4: this work. He, as the doctor that he is, would
• 1:40:58
  Speaker 4: find that objectionable. But if he allows himself to take
• 1:41:01
  Speaker 4: this serum... He takes that conscious out of the way.
• 1:41:05
  Speaker 4: This monster that he becomes has no problem killing women.
• 1:41:08
  Speaker 4: So he can use this to his advantage to then take.
• 1:41:12
  Speaker 4: It's just like taking that out of the equation by
• 1:41:15
  Speaker 4: becoming a monster, which I'm like is interesting, but kind of.
• 1:41:19
  Speaker 5: Clunky at the.
• 1:41:20
  Speaker 4: Same time that you don't have a problem with turning
• 1:41:23
  Speaker 4: yourself into a monster to go kill girls.
• 1:41:25
  Speaker 3: Yeah, but you have to turn yourself into a monster
• 1:41:28
  Speaker 3: because otherwise you're dealing with that pesky conscience. Yeah, you
• 1:41:31
  Speaker 3: have to kill that girl over there because she's ugly again. Again,
• 1:41:33
  Speaker 3: it would be interesting if the monster did have a
• 1:41:35
  Speaker 3: different personality and that, you know, you saw like a
• 1:41:37
  Speaker 3: war personality. Again, getting into that hammer horror gothic element
• 1:41:42
  Speaker 3: of like, here he is trying to, let's say, get
• 1:41:46
  Speaker 3: the relationship he wants with something beautiful, someone beautiful. Yeah.
• 1:41:49
  Speaker 3: But as a consequence, he has to turn himself into
• 1:41:52
  Speaker 3: a monster which has its own objectives. Like that's where
• 1:41:56
  Speaker 3: you start teasing out the gothic. And I do want
• 1:41:59
  Speaker 3: to shout that out is that even though this is
• 1:42:01
  Speaker 3: another– even though this is an almost archetypal drive-in bad
• 1:42:06
  Speaker 3: monster movie from another country, at the same time, It
• 1:42:10
  Speaker 3: has the seeds in it of actually something of a
• 1:42:12
  Speaker 3: poignant gothic arch drama, which I appreciate.
• 1:42:16
  Speaker 4: If it was more Hammer-like, I also feel like the
• 1:42:19
  Speaker 4: monster would have his own personality and would actually be
• 1:42:24
  Speaker 4: kind of suave and kind of cool and would be
• 1:42:26
  Speaker 4: able to then lure girls in maybe before they saw
• 1:42:30
  Speaker 4: how hideous he was. It would almost be this, like,
• 1:42:33
  Speaker 4: he was really well-spoken. And, like, again, if this was
• 1:42:36
  Speaker 4: Hammer and, like, he could be really cool, like, it
• 1:42:39
  Speaker 4: would be interesting that then, like, this wooden clunky loser
• 1:42:42
  Speaker 4: in the real world then becomes this, like, suave monster
• 1:42:47
  Speaker 4: that can use that to his advantage to get what
• 1:42:49
  Speaker 4: he wants. And then the idiot that he becomes back
• 1:42:52
  Speaker 4: in the normal day can, like, gain from that.
• 1:42:55
  Speaker 5: And he actually profits from this little.
• 1:42:57
  Speaker 3: Engagement. Yeah, and that's actually got some great social, and
• 1:43:00
  Speaker 3: we're talking about social issues, you know, it's got some
• 1:43:02
  Speaker 3: great social implications of like, yo, the clunky loser who
• 1:43:05
  Speaker 3: can't approach women in order to become suave and capable enough.
• 1:43:09
  Speaker 3: It becomes the nutty professor. Yeah, yeah, right? But with
• 1:43:13
  Speaker 3: the horrifying twist that Buddy Love might have actually had,
• 1:43:16
  Speaker 3: which is that Buddy Love is kind of a rapist.
• 1:43:18
  Speaker 1: Yeah.
• 1:43:18
  Speaker 3: Right? So in other words, to become suave enough and
• 1:43:21
  Speaker 3: confident enough and powerful enough to approach women, he becomes
• 1:43:23
  Speaker 3: also a monster. He becomes a monster. That kills women, right? Yeah.
• 1:43:27
  Speaker 3: And that's what he thinks he wants in order to
• 1:43:29
  Speaker 3: get the thing, the person, the relationship that he wants,
• 1:43:32
  Speaker 3: which of course is, again, like there's that kind of
• 1:43:34
  Speaker 3: half logic that plays into it. I think that that
• 1:43:38
  Speaker 3: kind of works, but... That's not really what's going on.
• 1:43:40
  Speaker 3: That's not what's in our movie.
• 1:43:42
  Speaker 4: As I do every episode, I try to come up
• 1:43:44
  Speaker 4: with a better movie that they should have made.
• 1:43:46
  Speaker 3: Me too. Me too. And anyway, but in this movie,
• 1:43:49
  Speaker 3: what he does is injects himself with the serum. And
• 1:43:52
  Speaker 3: when you're watching it, you're not really clear why he's
• 1:43:55
  Speaker 3: doing this.
• 1:43:55
  Speaker 5: Well, you couldn't even.
• 1:43:56
  Speaker 4: Again, I went back to watch because they... It's so
• 1:43:59
  Speaker 4: badly framed. You don't even see him inject himself. He
• 1:44:02
  Speaker 4: picks up the serum.
• 1:44:03
  Speaker 3: You see that.
• 1:44:04
  Speaker 5: Cause again, I went back to go, what.
• 1:44:06
  Speaker 3: Did he even do? So he does.
• 1:44:08
  Speaker 5: And then like below the frame off screen, he injects himself.
• 1:44:12
  Speaker 4: And then he goes to sit down at the desk
• 1:44:13
  Speaker 4: and turn into a monster. I'm like, okay, I guess
• 1:44:16
  Speaker 4: he injected himself out of the frame so then this.
• 1:44:19
  Speaker 3: Happens, but don't make that clear at all. Or they
• 1:44:22
  Speaker 3: lost that footage. Yeah, that could be in the edited
• 1:44:24
  Speaker 3: version because we couldn't handle an injection or something. Who knows?
• 1:44:28
  Speaker 3: But whatever happens, he escapes his own home and goes
• 1:44:33
  Speaker 3: and kills some ladies. and apparently extracts their glands. And
• 1:44:38
  Speaker 3: he's actually able to talk as a monster, which is interesting.
• 1:44:41
  Speaker 5: Hey, lady!
• 1:44:42
  Speaker 3: That's usually what it is. It's always, hey, come over
• 1:44:45
  Speaker 3: here for a minute. And she's like, are you lost?
• 1:44:48
  Speaker 3: What is it?
• 1:44:50
  Speaker 4: Somehow they're like a barmaid from England. Yeah, what do
• 1:44:54
  Speaker 4: you want? Why this is happening in Italy in the 60s,
• 1:44:58
  Speaker 4: I don't know.
• 1:45:00
  Speaker 3: Oh, man. What do you need, sonny? And at one point,
• 1:45:03
  Speaker 3: I think he kills someone, and he gets the entire
• 1:45:07
  Speaker 3: town chasing him, because she screams murder. Or was he... Oh, man,
• 1:45:13
  Speaker 3: maybe I was confused, because I think... Doesn't he try
• 1:45:16
  Speaker 3: to kill someone when he's human? And they scream murder
• 1:45:20
  Speaker 3: and they go chasing after him. And that confirms.
• 1:45:22
  Speaker 5: There was a time when I was like, wait, why
• 1:45:24
  Speaker 5: is he not changed.
• 1:45:25
  Speaker 3: Into the monster now? Again, it might have just been
• 1:45:28
  Speaker 3: badly put together. Now I remember what it was. Because
• 1:45:31
  Speaker 3: he kills them as the monster. He's able to restore her,
• 1:45:34
  Speaker 3: but he needs more time. Yeah.
• 1:45:35
  Speaker 2: Right.
• 1:45:36
  Speaker 3: Well, what winds up happening is then she's like, again,
• 1:45:40
  Speaker 3: I need to get on out of here. She escapes
• 1:45:43
  Speaker 3: and goes and finds Pierre. Pierre, meanwhile, remember her boyfriend?
• 1:45:46
  Speaker 1: Yeah.
• 1:45:47
  Speaker 3: Pierre, meanwhile, even though he apparently had problems with her
• 1:45:50
  Speaker 3: being a stripper, there is a scene where he goes
• 1:45:52
  Speaker 3: back to the club.
• 1:45:53
  Speaker 2: Where she works.
• 1:45:53
  Speaker 3: All he does is hang out at the strip club.
• 1:45:55
  Speaker 3: All he does. And get drunk, by the way. It's
• 1:45:57
  Speaker 3: like you might have been able to rescue her where
• 1:45:59
  Speaker 3: you're not drunk off your ass the whole movie. Again,
• 1:46:01
  Speaker 3: there are precious few male characters in this movie that
• 1:46:04
  Speaker 3: you don't want to just fucking murder. Excuse me. Flicking murder.
• 1:46:08
  Speaker 3: The cop, basically. Yeah.
• 1:46:11
  Speaker 5: The non-smoking cop's pretty cool by the end of it.
• 1:46:13
  Speaker 3: Yeah, yeah. And Sasha. Sasha. This is the mute factotum. Gardner.
• 1:46:19
  Speaker 3: But anyway, so he at some point sits down and
• 1:46:22
  Speaker 3: listens to some music that is definitely not coming out
• 1:46:25
  Speaker 3: of the instruments which the band is playing. And he
• 1:46:27
  Speaker 3: claps offbeat for a couple of seconds. That doesn't make
• 1:46:31
  Speaker 3: any noise. Again, the audio tracks on this are a
• 1:46:34
  Speaker 3: little weird. A little off. But then decides that that's
• 1:46:37
  Speaker 3: not what he wants to do. And he just wants
• 1:46:39
  Speaker 3: to sit and look sad while surrounded by strippers. yeah
• 1:46:43
  Speaker 3: and uh you are i guess supposed to infer that
• 1:46:46
  Speaker 3: it's because you know he's not with his lady love
• 1:46:48
  Speaker 3: he goes back to the hospital look for her and
• 1:46:50
  Speaker 3: i was actually able to piece this together is what
• 1:46:52
  Speaker 3: i had to go back and like who is this
• 1:46:53
  Speaker 3: guy going into the hospital like cracking jokes at all
• 1:46:56
  Speaker 3: the female uh nurses and being like so by the
• 1:46:59
  Speaker 3: way where's my girlfriend you know it's like is this
• 1:47:02
  Speaker 3: a news reporter Like, what's what's going on here? And
• 1:47:05
  Speaker 3: that guy does show up a couple of times.
• 1:47:07
  Speaker 5: And I'm like, why are we listening to this idiot?
• 1:47:08
  Speaker 3: Yeah. And then eventually I realized, oh, wait, no, that's
• 1:47:11
  Speaker 3: her ex-boyfriend who came in, discovered that she's not there.
• 1:47:13
  Speaker 3: And he's like, OK, I'm whatever and leaves. Uh, so, okay.
• 1:47:17
  Speaker 3: So that's his investigation thus far. Well, guess what? Jeanette
• 1:47:21
  Speaker 3: is now going to find him and she's going to
• 1:47:22
  Speaker 3: do a damn better job. Uh, cause she's going to
• 1:47:24
  Speaker 3: go right to the wharf where he works, uh, and
• 1:47:28
  Speaker 3: meet him, uh, down. Although there's a weird moment where
• 1:47:31
  Speaker 3: she's hanging out. She's escaped. She's on her own. Uh,
• 1:47:33
  Speaker 3: she's hanging out on the wharf and someone calls down
• 1:47:36
  Speaker 3: from the boat like, Hey miss, you want to come
• 1:47:39
  Speaker 3: onto the boat? And she's like, no, I'll just wait
• 1:47:41
  Speaker 3: down here. She's waiting to get murdered on the wharf.
• 1:47:44
  Speaker 5: Don't mind me.
• 1:47:45
  Speaker 3: I'm sitting here in the dark. Just walking in and
• 1:47:47
  Speaker 3: out of that light, you know. Anyway, then Pierre shows
• 1:47:51
  Speaker 3: up and we're thinking to ourselves, okay, he'll like get
• 1:47:54
  Speaker 3: her out of here or something like that.
• 1:47:56
  Speaker 2: Nope.
• 1:47:56
  Speaker 3: Sure enough, Doctor and Sasha show up, knock him unconscious
• 1:48:00
  Speaker 3: and into the water, which wakes him right back up.
• 1:48:03
  Speaker 3: And she faints from just sheer, I guess, boredom. And
• 1:48:08
  Speaker 3: they smuggle her into the car and drive her away.
• 1:48:11
  Speaker 3: And then now she's truly and well locked in the mansion.
• 1:48:16
  Speaker 3: And she wakes up and the doctor's all creeping on
• 1:48:18
  Speaker 3: her again. He's like, you can't. leave we gotta do
• 1:48:21
  Speaker 3: stuff okay I gotta fix you I don't like.
• 1:48:23
  Speaker 8: This at all and she's like okay well that's creepy
• 1:48:27
  Speaker 8: but I'll let you do it I guess maybe and
• 1:48:29
  Speaker 8: wait for another opportunity to escape I mean have fun
• 1:48:33
  Speaker 8: and then he at that point I think is trying
• 1:48:37
  Speaker 8: to free himself from the creature. I think he's trying
• 1:48:41
  Speaker 8: to make this work right without like resorting to becoming
• 1:48:45
  Speaker 8: the monster. I think at some point in there, that's
• 1:48:47
  Speaker 8: when he got into the bubble. And yeah, so, so
• 1:48:50
  Speaker 8: what happens is when he kills the first lady and
• 1:48:53
  Speaker 8: he comes back after, I guess, having extracted her glands again,
• 1:48:56
  Speaker 8: they don't, they don't really show like what exactly he's doing.
• 1:48:59
  Speaker 3: Anything that would make any of this make sense. But yeah, but, and,
• 1:49:02
  Speaker 3: and so far that description at this point is kind
• 1:49:04
  Speaker 3: of confusing. Then you will have a part of the
• 1:49:06
  Speaker 3: experience of watching this movie. Um, but anyway, after he
• 1:49:09
  Speaker 3: returns as the monster, I think the first time he
• 1:49:11
  Speaker 3: gets up under this, uh, bell jar, which descends upon giant, Yeah,
• 1:49:16
  Speaker 3: enough for you to climb into. Yeah, which had been
• 1:49:19
  Speaker 3: sitting there in the corner, and maybe I looked at
• 1:49:21
  Speaker 3: it and was like, hmm, I wonder how that plays
• 1:49:23
  Speaker 3: into a scientific... That's cool. Can I get me one
• 1:49:25
  Speaker 3: of those? But then he gets into it, and with
• 1:49:27
  Speaker 3: an actually pretty great piece of cutaway... Again, like a.
• 1:49:32
  Speaker 3: Spliced photography he gets in as the monster the bell
• 1:49:35
  Speaker 3: jar descends fills up with smoke then while it's filled
• 1:49:38
  Speaker 3: with smoke cuts away cuts back or not cuts away
• 1:49:41
  Speaker 3: cuts back but it cuts and then suddenly it's filled
• 1:49:43
  Speaker 3: with smoke in a slightly different location yeah it all
• 1:49:46
  Speaker 3: empties out as it opens up and he is back
• 1:49:49
  Speaker 3: to human it's actually.
• 1:49:50
  Speaker 4: A great little effect it's again that's that's one of
• 1:49:52
  Speaker 4: the few times i'm like okay that.
• 1:49:53
  Speaker 5: Looked really cool yeah that looked pretty sweet.
• 1:49:55
  Speaker 4: They've learned a few things from watching their other movies
• 1:49:58
  Speaker 4: that they're trying to rip off and Don't do a
• 1:50:00
  Speaker 4: great job in a lot of other ways, but that
• 1:50:02
  Speaker 4: part looked pretty cool.
• 1:50:03
  Speaker 3: That was pretty cool. And so now, though, apparently he's
• 1:50:06
  Speaker 3: not going to try to be the monster anymore. He's
• 1:50:08
  Speaker 3: going to try to just kill girls his own damn self.
• 1:50:11
  Speaker 4: You know, sometimes you just got to step up and
• 1:50:13
  Speaker 4: murderize yourself.
• 1:50:15
  Speaker 3: But for whatever reason, he decides not to do the usual, hey,
• 1:50:19
  Speaker 3: come over here, you know, like that was so effective
• 1:50:22
  Speaker 3: the other couple of times. And instead, this time, he
• 1:50:24
  Speaker 3: tries to sneak into a woman's home and kill her
• 1:50:28
  Speaker 3: inside her house. And sure enough, he's kind of terrible
• 1:50:32
  Speaker 3: at it, even though she's asleep. She wakes up, starts
• 1:50:35
  Speaker 3: screaming murder. A dog attacks him. He has to get
• 1:50:38
  Speaker 3: on the run.
• 1:50:38
  Speaker 5: The dog part is funny.
• 1:50:41
  Speaker 4: Oh, yeah.
• 1:50:41
  Speaker 3: The dog just comes at him. He has to fight
• 1:50:43
  Speaker 3: it like a lion. He's got a chair. And I'm like, oh,
• 1:50:46
  Speaker 3: my God. This is thrilling action. I'm siding with the dog.
• 1:50:51
  Speaker 3: right the dog wants to kill this film um and
• 1:50:53
  Speaker 3: he runs away while like her whole pack of like
• 1:50:56
  Speaker 3: italian guido like like like brothers and fathers and whatnot
• 1:51:00
  Speaker 3: are all chasing after him you know down the street
• 1:51:03
  Speaker 3: and he eludes them gets back to his house um
• 1:51:06
  Speaker 3: and uh and and basically tells her honey i can't
• 1:51:11
  Speaker 3: i can't do it like wakes her up Like, literally
• 1:51:13
  Speaker 3: just wakes her up with his face, like, right next
• 1:51:16
  Speaker 3: to her saying, I failed. You're just going to have
• 1:51:18
  Speaker 3: to be a mutant. Deal with it. And she, of course,
• 1:51:22
  Speaker 3: wakes up and takes it in stride. She's like, I
• 1:51:25
  Speaker 3: guess you'll just let me go now, maybe.
• 1:51:26
  Speaker 1: Okay.
• 1:51:27
  Speaker 11: Cool.
• 1:51:28
  Speaker 3: And then the cops show up. Oh, my Lord. The
• 1:51:30
  Speaker 3: cops have shown up. What are we going to do? Well, now, Sasha,
• 1:51:35
  Speaker 3: once again, she has to be knocked out. The cops
• 1:51:38
  Speaker 3: are investigating something or other. Somehow they've been led to
• 1:51:41
  Speaker 3: this place, but they've become suspicious of him for some reason.
• 1:51:45
  Speaker 3: And having become suspicious, they ask a few leading questions.
• 1:51:48
  Speaker 3: The detective's assistant gets overly aggressive at times, which was
• 1:51:52
  Speaker 3: a little weird. And the detective keeps trying to tell him,
• 1:51:55
  Speaker 3: shut up, stop asking. And I'm just like, wow, you
• 1:51:57
  Speaker 3: guys are terrible at the good cop, bad cop. But
• 1:52:01
  Speaker 3: then we come to actually a pretty great little bit
• 1:52:03
  Speaker 3: where they're leaving. And we're wondering this whole time, like,
• 1:52:06
  Speaker 3: why is Jeanette not making sound? Where is she? Like,
• 1:52:08
  Speaker 3: are they going to wander? But he gives them freedom
• 1:52:11
  Speaker 3: to search the house, blah, blah, blah. And at one
• 1:52:13
  Speaker 3: point they're walking out and they're like, hmm. That's a
• 1:52:16
  Speaker 3: fine greenhouse. I want a greenhouse, the detective says. And
• 1:52:19
  Speaker 3: he says, well, feel free to examine this one. And
• 1:52:22
  Speaker 3: they go in there. We know Sasha's in there, so
• 1:52:24
  Speaker 3: we assume the body's in there. Or Jeanette is in there,
• 1:52:28
  Speaker 3: like they're hiding her away or something. Comes in and
• 1:52:30
  Speaker 3: he mentions, this is Sasha's kingdom. And there's an interesting, again,
• 1:52:34
  Speaker 3: if this was a better film, I think they would
• 1:52:36
  Speaker 3: have made a really interesting distinction between Sasha's, like, beautiful
• 1:52:40
  Speaker 3: greenhouse that he maintains and tends, which is above ground.
• 1:52:44
  Speaker 3: It's got a lot of light, et cetera, et cetera.
• 1:52:47
  Speaker 3: And the underground place where the doctor does.
• 1:52:51
  Speaker 5: All these horrible things are taking place.
• 1:52:53
  Speaker 3: Yeah, again, they could have played up that distinction. But
• 1:52:55
  Speaker 3: either way, now Sasha's there. And it's actually referred to
• 1:52:58
  Speaker 3: as Sasha's kingdom in the story. And sure enough, the
• 1:53:05
  Speaker 3: detectives are right impressed by his petunias and turn around
• 1:53:08
  Speaker 3: and leave. And then a panelist slid away by Sasha
• 1:53:12
  Speaker 3: or the doctor to reveal that, in fact, Jeanette is
• 1:53:14
  Speaker 3: unconscious underneath. And here, at this point, we start to
• 1:53:19
  Speaker 3: wonder to ourselves, like, okay, where is this going to end?
• 1:53:22
  Speaker 3: Because at some point, he's failed to get, like, the
• 1:53:27
  Speaker 3: whatever it is that he needs. Like, he's going to
• 1:53:29
  Speaker 3: have to get glands from somewhere. And I've forgotten the
• 1:53:33
  Speaker 3: next part. Can you help me fill out? Because....
• 1:53:37
  Speaker 4: Cause I just jumped to the end at that point
• 1:53:39
  Speaker 4: when they, they show back up at the greenhouse and
• 1:53:43
  Speaker 4: then the cop basically tells them fire wildly into the
• 1:53:46
  Speaker 4: greenhouse where this innocent girl is being kept.
• 1:53:49
  Speaker 3: Like how eventually what's his face comes back. The boyfriend. Yeah.
• 1:53:54
  Speaker 3: I think Pierre comes back and I think Pierre manages to, uh,
• 1:53:59
  Speaker 3: manages to get into the house or something like whatever happens.
• 1:54:03
  Speaker 3: Either way, we come to the point of the big
• 1:54:05
  Speaker 3: epic gothic finish because this is actually the point like this.
• 1:54:09
  Speaker 3: I will give this film credit is that is the
• 1:54:11
  Speaker 3: end of the movie. I actually kind of loved the
• 1:54:14
  Speaker 3: way that it ended because Pierre gets back in the
• 1:54:16
  Speaker 3: house somehow and he's trying to free his girlfriend and
• 1:54:19
  Speaker 3: dude injects himself with the monster serum becomes a monster
• 1:54:23
  Speaker 3: and they get into a tussle.
• 1:54:25
  Speaker 5: Like you do. Which, by the way, may be the
• 1:54:27
  Speaker 5: worst fight ever.
• 1:54:29
  Speaker 3: Oh, easily. For Mr. Tall Manly Pierre in the Merchant
• 1:54:34
  Speaker 3: Marine or whatever the hell he is, he is the
• 1:54:35
  Speaker 3: worst fighter I've ever seen. I swear to God, it
• 1:54:37
  Speaker 3: looks like two grown men who are pretending to fight
• 1:54:40
  Speaker 3: but who really just want to cuddle. Just want to
• 1:54:43
  Speaker 3: roll around a little bit. They really just want to
• 1:54:45
  Speaker 3: kind of cuddle. Because it's not even a slap fight.
• 1:54:46
  Speaker 5: There's not even that much action.
• 1:54:48
  Speaker 4: It's just a lot of hugging and rolling. Like, guys, guys,
• 1:54:51
  Speaker 4: if you want to, I mean, she can step outside
• 1:54:54
  Speaker 4: if you'd like.
• 1:54:55
  Speaker 3: Because that would explain a lot about why you both
• 1:54:58
  Speaker 3: are terrible.
• 1:54:59
  Speaker 5: Why she's not really interested in what's going on here.
• 1:55:02
  Speaker 3: But she's freaked out, and eventually he manages to defeat
• 1:55:07
  Speaker 3: Pierre or something, and he knocks her unconscious again, and like...
• 1:55:12
  Speaker 3: Carries her body into the green. True monster, unconscious girl
• 1:55:16
  Speaker 3: in every movie at this point. Oh, yeah. And I'm
• 1:55:19
  Speaker 3: loving it.
• 1:55:19
  Speaker 4: That was funny that he almost just, like, snaps his
• 1:55:22
  Speaker 4: fingers and she goes unconscious.
• 1:55:24
  Speaker 3: Practically, yeah. It's a horror movie.
• 1:55:25
  Speaker 4: You're supposed to pass out now so I can carry
• 1:55:28
  Speaker 4: you around with limp bodies, the only thing that holds.
• 1:55:31
  Speaker 3: These scenes together. So he picks her up and carries
• 1:55:35
  Speaker 3: her in her draped, like, really elegant, like, night garments
• 1:55:39
  Speaker 3: while he's looking all monstrous. Carries her to, even though
• 1:55:42
  Speaker 3: the police are closing in, he carries her into the greenhouse.
• 1:55:45
  Speaker 3: And he's like, Sasha, we gotta hide the body again, blah, blah, blah.
• 1:55:48
  Speaker 3: At which point, again, like you said, the police chief
• 1:55:51
  Speaker 3: shows up. Just fire the guns. Who cares about Sasha
• 1:55:55
  Speaker 3: or the girl or anybody?
• 1:55:57
  Speaker 5: Yeah.
• 1:55:59
  Speaker 3: Just fire wildly into the greenhouse. We'll hit something we
• 1:56:02
  Speaker 3: mean to hit. And they don't.
• 1:56:04
  Speaker 2: Yeah.
• 1:56:05
  Speaker 3: And at this point, the Doctor has sufficient desperation in
• 1:56:09
  Speaker 3: his voice of only emotion he achieves throughout the end,
• 1:56:12
  Speaker 3: and that's due to the dubbing, mind you. Sure. He's
• 1:56:15
  Speaker 3: got sufficient desperation in his voice that you see the horror,
• 1:56:18
  Speaker 3: the sadness that he's become as he's trying to... Get
• 1:56:21
  Speaker 3: this body hidden so he can try to find some
• 1:56:23
  Speaker 3: way to escape. Even though he's looking pretty damn monstrous
• 1:56:26
  Speaker 3: at this point. And it's doubtful he's going to be
• 1:56:28
  Speaker 3: able to slink past on his reputation now. Probably. But
• 1:56:31
  Speaker 3: then Sasha just picks up a kind of object from
• 1:56:36
  Speaker 3: the gardening... I like to imagine it was a gardening trowel.
• 1:56:39
  Speaker 3: And as our monstrous hero is turned around, Sasha murders him.
• 1:56:45
  Speaker 3: Stabs him in the back and he dies. And this
• 1:56:50
  Speaker 3: moment is kind of fantastic because the pain that Sasha... Like,
• 1:56:54
  Speaker 3: the actor who's playing Sasha is actually working overtime.
• 1:56:56
  Speaker 8: Yeah.
• 1:56:56
  Speaker 3: He actually expresses, like, here he is, kind of mute,
• 1:57:00
  Speaker 3: trapped in this situation. Who's been, you know, growing flowers
• 1:57:03
  Speaker 3: or whatever it is he does when he's not hauling
• 1:57:05
  Speaker 3: bodies around for his bastard. And finally, he murders the
• 1:57:09
  Speaker 3: monster that's like, and it's worth noting that he and Jeanette,
• 1:57:15
  Speaker 3: like they're both fairly like in their own way. They're
• 1:57:18
  Speaker 3: not like normal, right? Like she's disfigured, quote unquote, and
• 1:57:22
  Speaker 3: he's mute. He's quote different, right? And so, of course,
• 1:57:26
  Speaker 3: he is the thing that ultimately kills the monster that the, quote,
• 1:57:29
  Speaker 3: ordinary brilliant scientist has become. So there's maybe symbolism there.
• 1:57:36
  Speaker 3: And then as the monstrous man lies dying. the serum
• 1:57:41
  Speaker 3: reverses itself for whatever reason. So we get that cool effect.
• 1:57:45
  Speaker 4: The reason, at the end of every one of these movies,
• 1:57:48
  Speaker 4: they have to turn back into the humans so we
• 1:57:49
  Speaker 4: can get that cool reverse effect.
• 1:57:50
  Speaker 3: Yeah, so we get that cool reverse effect where he
• 1:57:53
  Speaker 3: turns back into a human as he dies, and we
• 1:57:58
  Speaker 3: pan from Sasha's pained face watching the death of his master,
• 1:58:02
  Speaker 3: the man he used to be, over to some flowers,
• 1:58:05
  Speaker 3: which actually artfully obscures what's happening, and we go to Endgame.
• 1:58:10
  Speaker 3: That was, yeah.
• 1:58:10
  Speaker 4: Again, that one shot was of the handful of like, no, no,
• 1:58:14
  Speaker 4: that was pretty well done. So yeah, the pan over
• 1:58:16
  Speaker 4: to the flowers was kind of nice.
• 1:58:19
  Speaker 3: Yeah, so our exhaustive research of Adam Age Vampire, and
• 1:58:23
  Speaker 3: even we couldn't keep it all together.
• 1:58:25
  Speaker 6: No, no.
• 1:58:26
  Speaker 2: But.
• 1:58:27
  Speaker 3: That's what I was going to say.
• 1:58:28
  Speaker 4: To me, this is the interesting part of all of
• 1:58:32
  Speaker 4: these as I continually over the years delve into what
• 1:58:36
  Speaker 4: a lot of people would consider to be bad movies.
• 1:58:40
  Speaker 4: What I think is interesting is how all of these
• 1:58:42
  Speaker 4: continue to inspire other people to make more good or
• 1:58:47
  Speaker 4: bad movies yeah yeah did you i don't know how
• 1:58:51
  Speaker 4: far you went into it but did you know this
• 1:58:52
  Speaker 4: was sort of in a way remade two other times
• 1:58:56
  Speaker 4: in recent years no i.
• 1:58:58
  Speaker 6: Had no idea please fill me in yeah i went
• 1:59:01
  Speaker 6: until you say the but like only visually audio has
• 1:59:07
  Speaker 6: been the same since it got badly dubbed into english oh.
• 1:59:10
  Speaker 3: Wait no you're talking about i did find the animated.
• 1:59:13
  Speaker 4: The animated one yeah in 2009 uh the animator scott
• 1:59:17
  Speaker 4: bateman decided i'm gonna take an old cheesy movie and
• 1:59:20
  Speaker 4: do my style of animation over top of the audio
• 1:59:23
  Speaker 4: and create this new thing it is very silly with
• 1:59:28
  Speaker 4: the fact that she's a stripper comes into play because
• 1:59:30
  Speaker 4: from scene one she's just tassels continually swinging the entirety
• 1:59:38
  Speaker 4: of every every scene she's in she's tasseled except when
• 1:59:42
  Speaker 4: she's a mutant and then her face is just a
• 1:59:44
  Speaker 4: mess and then when he gives her the serum she's
• 1:59:47
  Speaker 4: back to normal stripper with tassels Her sailor boyfriend looks
• 1:59:52
  Speaker 4: like a pirate the entire time.
• 1:59:54
  Speaker 3: Hat, patch.
• 1:59:56
  Speaker 4: And then the best part to me, being the sci-fi
• 2:00:00
  Speaker 4: geek that I am, when he turns into the Adam
• 2:00:03
  Speaker 4: Age vampire, his entire body glows green. Where the rest
• 2:00:07
  Speaker 4: is all just pen and ink, black and white the
• 2:00:09
  Speaker 4: whole time. Except he turns green and he gets little fangs.
• 2:00:13
  Speaker 4: Because he's the Adam Age vampire.
• 2:00:16
  Speaker 3: Of course, yeah, duh.
• 2:00:17
  Speaker 1: Like.
• 2:00:18
  Speaker 5: It's again, I don't know if it's a better experience.
• 2:00:21
  Speaker 4: It's also funny that he almost does his own little
• 2:00:23
  Speaker 4: mystery science theater because it's like when you watch it,
• 2:00:27
  Speaker 4: at least the version that he's got available online, it's
• 2:00:30
  Speaker 4: like you can see that it's only about a half
• 2:00:33
  Speaker 4: of the frame is the the normal artwork version of it.
• 2:00:38
  Speaker 4: Underneath it is all this text of him typing in smart-ass.
• 2:00:41
  Speaker 3: Comments about all of the dumb dialogue along the way.
• 2:00:46
  Speaker 4: So that's pretty entertaining anyway. So that one's actually pretty
• 2:00:49
  Speaker 4: well done, Again, if you like that style of animation.
• 2:00:52
  Speaker 3: Well, I glimpsed that on Vimeo, I think it was,
• 2:00:55
  Speaker 3: because I searched this, and of course, their precious view
• 2:00:58
  Speaker 3: results for Adam Age Vampire. No, yeah. I was going
• 2:01:01
  Speaker 3: to say, there's not much. Personally, actually, I looked it
• 2:01:03
  Speaker 3: up so I could find people who could kind of
• 2:01:06
  Speaker 3: break down the plot for me, and I could kind
• 2:01:07
  Speaker 3: of start to put it back together. That's what I
• 2:01:09
  Speaker 3: was trying to figure out. But, yeah, I glimpsed that.
• 2:01:12
  Speaker 3: I didn't watch it. Now I might go home. Shout
• 2:01:13
  Speaker 3: out to Scott Bateman. Yeah, it is.
• 2:01:17
  Speaker 4: Again, I don't know if it's based for a better
• 2:01:19
  Speaker 4: experience or not, but it's certainly more fun.
• 2:01:21
  Speaker 3: How about we put it this way? If you are
• 2:01:25
  Speaker 3: the person, like us, to watch a movie just because
• 2:01:29
  Speaker 3: it is called Adam Age Vampire, then.
• 2:01:32
  Speaker 4: You're the kind of dork who would watch it a
• 2:01:34
  Speaker 4: second time just to see what some guy does when
• 2:01:38
  Speaker 4: he animates a.
• 2:01:38
  Speaker 3: Version of it. Let's be honest about the kind of
• 2:01:41
  Speaker 3: people we are.
• 2:01:42
  Speaker 2: Yeah.
• 2:01:42
  Speaker 3: But, yeah, so that's– and once again, I want to
• 2:01:45
  Speaker 3: give another shout-out to the Riff Trax comedy version, which, again,
• 2:01:49
  Speaker 3: I haven't listened to. But, hey, that's cool if you
• 2:01:51
  Speaker 3: are the kind of person who wants to get into
• 2:01:54
  Speaker 3: terrible movies but doesn't feel quite comfortable yet just making
• 2:01:57
  Speaker 3: fun of them on your own, on your couch, while
• 2:01:59
  Speaker 3: alone in your house. This will help you. Because you
• 2:02:01
  Speaker 3: think that might be what depressive, lonely individuals do. Shut up.
• 2:02:06
  Speaker 3: Then get Riff Trax, and it will be like you
• 2:02:08
  Speaker 3: have friends there doing it with you.
• 2:02:10
  Speaker 5: Yeah, you can pretend that these are your friends. Yeah,
• 2:02:13
  Speaker 5: just like you can do when you listen to our podcast.
• 2:02:15
  Speaker 4: That is why I was thinking that earlier when I
• 2:02:18
  Speaker 4: was creating the horror club and doing all this sci-fi.
• 2:02:24
  Speaker 4: That's why I always put the word out beforehand, like, hey,
• 2:02:26
  Speaker 4: this is the movie we're watching, to make it interactive,
• 2:02:29
  Speaker 4: that you can actually watch this nonsense beforehand and And
• 2:02:32
  Speaker 4: then listen to dorks talk about it, which is, to me,
• 2:02:35
  Speaker 4: when it all really kind of comes together.
• 2:02:36
  Speaker 3: Yeah.
• 2:02:37
  Speaker 4: So the other thing that's interesting is that's like the
• 2:02:40
  Speaker 4: more fun version of it. There's also an artsy version.
• 2:02:44
  Speaker 4: In 2011, British artist Adam Roberts made Remake. And Remake
• 2:02:51
  Speaker 4: is a scene-for-scene reshoot of this entire movie using the
• 2:02:57
  Speaker 4: original dubbed English.
• 2:02:59
  Speaker 3: Audio, but without characters.
• 2:03:02
  Speaker 2: What?
• 2:03:03
  Speaker 3: Exactly.
• 2:03:03
  Speaker 4: I watched about, there's like, I could find like a
• 2:03:06
  Speaker 4: minute and a half segment of it. And it's basically,
• 2:03:09
  Speaker 4: you're just listening to the audio from this movie, only
• 2:03:12
  Speaker 4: it's shots of a room and it will pan. It
• 2:03:16
  Speaker 4: just looks like it's at somebody's apartment or something like it.
• 2:03:19
  Speaker 4: It'd be different if he really like went out of
• 2:03:20
  Speaker 4: his way to like painstakingly find something. the perfect replacement
• 2:03:25
  Speaker 4: for these like settings, but it just seems like it's
• 2:03:27
  Speaker 4: in somebody's house.
• 2:03:28
  Speaker 3: And like, it'll cut over here. And then another person
• 2:03:31
  Speaker 3: will start talking and it'll pan over here, but there's
• 2:03:33
  Speaker 3: no humans involved. It's just rooms.
• 2:03:35
  Speaker 1: Weird.
• 2:03:35
  Speaker 3: Yeah.
• 2:03:36
  Speaker 5: That's like, that's artsy.
• 2:03:37
  Speaker 3: Like that. I feel the art.
• 2:03:39
  Speaker 5: It's funny that you can buy that film.
• 2:03:40
  Speaker 3: No, no offense.
• 2:03:42
  Speaker 4: To Adam, but to me, I'm like, thank God I
• 2:03:44
  Speaker 4: didn't pay to download this thing. Because my minute and
• 2:03:47
  Speaker 4: a half was good enough for me to like, no, no,
• 2:03:48
  Speaker 4: I get it.
• 2:03:49
  Speaker 5: I get what you're going for. It's artsy, good for you.
• 2:03:52
  Speaker 4: But that's what I think is interesting, that even a
• 2:03:54
  Speaker 4: movie as cheesy as this is, has inspired at least
• 2:03:59
  Speaker 4: two people to remake.
• 2:04:00
  Speaker 3: It in a way....
• 2:04:02
  Speaker 4: Like, that's insane, really. But that's what we take from
• 2:04:06
  Speaker 4: these things. Like, again, we've spent this much time talking
• 2:04:09
  Speaker 4: about it. We've found these other people recreating it. And
• 2:04:13
  Speaker 4: this isn't even a great movie.
• 2:04:15
  Speaker 3: No, no. But I think that with movies like this, again, like,
• 2:04:19
  Speaker 3: sort of their value in... I would like to imagine
• 2:04:23
  Speaker 3: when we talk about something like The Iliad, right? Like, again,
• 2:04:27
  Speaker 3: a great work of art made 2,500 years ago, probably
• 2:04:30
  Speaker 3: descended from an earlier oral tradition. Well, the way most
• 2:04:33
  Speaker 3: people wrote most what we call books today. How many
• 2:04:37
  Speaker 3: stories are passed down from generation to generation and what, what, what,
• 2:04:41
  Speaker 3: what happened with this movie? That's why it's so iffy.
• 2:04:44
  Speaker 2: Yeah.
• 2:04:44
  Speaker 3: Like, I don't know. I got a telephone game 17
• 2:04:47
  Speaker 3: times and here's what we shot. You know what? Hand
• 2:04:50
  Speaker 3: it to another director and editor and we'll see what
• 2:04:52
  Speaker 3: they can make of it. Uh, but, but, uh, just
• 2:04:55
  Speaker 3: like actually quite a few blockbusters these days. Uh, but, um,
• 2:04:59
  Speaker 3: 17 writers. It's all it took to make this movie
• 2:05:01
  Speaker 3: from three of the 10 producers of, uh, In any event,
• 2:05:06
  Speaker 3: but what I like to imagine is that when you're
• 2:05:08
  Speaker 3: talking about a lot of stories from those days that
• 2:05:11
  Speaker 3: we now regard as being fundamental or classics or important,
• 2:05:14
  Speaker 3: what I like to imagine is that they actually started
• 2:05:16
  Speaker 3: off as a guy talking around a campfire, and he
• 2:05:18
  Speaker 3: was telling a pretty crappy story. But then somebody heard
• 2:05:21
  Speaker 3: it and was like, you know, there's actually like two
• 2:05:22
  Speaker 3: or three interesting good things.
• 2:05:24
  Speaker 5: I'm going to take those things and then add my
• 2:05:27
  Speaker 5: own stuff.
• 2:05:27
  Speaker 3: Yeah, and so we kind of keep going like this.
• 2:05:29
  Speaker 3: And movies... trick us into thinking that they are a
• 2:05:34
  Speaker 3: static medium, right? That, in other words, unlike an oral
• 2:05:38
  Speaker 3: medium like storytelling or like even before we had really records,
• 2:05:43
  Speaker 3: you know, people would pass folk songs around and they
• 2:05:46
  Speaker 3: would get developed and grown and whatnot. Film also has
• 2:05:52
  Speaker 3: a non-static component. Movies talk to each other, right? Down
• 2:05:56
  Speaker 3: the years. So that, and I'm sure there's an example
• 2:05:59
  Speaker 3: that's on the tip of my tongue and I'm missing it.
• 2:06:01
  Speaker 3: But there are other examples of movies which were made
• 2:06:04
  Speaker 3: in this period that were terrible films that later on
• 2:06:07
  Speaker 3: got turned into the basis of great films. And lest
• 2:06:10
  Speaker 3: we forget, of course, movies like Star Wars and Jaws
• 2:06:13
  Speaker 3: came from people trying to reproduce almost this quality of
• 2:06:17
  Speaker 3: film or character of film with a higher quality. So
• 2:06:21
  Speaker 3: to my mind, it's no surprise that even a movie
• 2:06:24
  Speaker 3: with a– well, a movie with a cool– title, like
• 2:06:26
  Speaker 3: Adam Age Vampire. Which, by the way, should be the
• 2:06:29
  Speaker 3: name of an album or something.
• 2:06:32
  Speaker 4: Again, in my delving into it, there's at least... One
• 2:06:35
  Speaker 4: band out there already named Adam Age Vampire.
• 2:06:37
  Speaker 3: Oh, thank God.
• 2:06:38
  Speaker 5: And they put out a lot of songs from what
• 2:06:41
  Speaker 5: I could combine.
• 2:06:41
  Speaker 3: Oh, fantastic. Well, shout out to Adam Age Vampire.
• 2:06:44
  Speaker 5: I would go out with them, but I've got a
• 2:06:46
  Speaker 5: different one lined up. So we'll get to that in
• 2:06:48
  Speaker 5: a minute.
• 2:06:49
  Speaker 3: Well, maybe we can use them as our theme song later.
• 2:06:51
  Speaker 5: Yeah, someone has definitely claimed that as their band name.
• 2:06:54
  Speaker 3: Oh, good, good. And honestly, to my mind, movies like this.
• 2:07:00
  Speaker 3: I think what I'll go out with saying is just
• 2:07:02
  Speaker 3: that movies like this... to my mind, aren't even about
• 2:07:05
  Speaker 3: their own quality. They're about watching them with friends and
• 2:07:08
  Speaker 3: having fun. And if you've managed to do that, then
• 2:07:10
  Speaker 3: you have achieved everything that these filmmakers could have ever
• 2:07:13
  Speaker 3: hoped that you would achieve. Again, the fact that, you know,
• 2:07:16
  Speaker 3: this many years later, somebody's still sitting around.
• 2:07:18
  Speaker 5: Talking about this movie is an achievement, really.
• 2:07:21
  Speaker 4: Like, if 40, 50 years from now, somebody's talking about
• 2:07:25
  Speaker 4: this podcast... I would be amazed. The fact that equally
• 2:07:30
  Speaker 4: as crappy quality was this movie back in the day.
• 2:07:33
  Speaker 4: They can find their way through the years and find
• 2:07:35
  Speaker 4: their way to a new audience in a totally different way.
• 2:07:39
  Speaker 5: It doesn't matter.
• 2:07:40
  Speaker 3: It works.
• 2:07:40
  Speaker 5: As long as it made it there, who cares the
• 2:07:42
  Speaker 5: path or the way that.
• 2:07:43
  Speaker 3: It got treated along the way. It made an impact.
• 2:07:47
  Speaker 3: Can I say one of my hopes for this podcast
• 2:07:49
  Speaker 3: series is that It will become like an archive for
• 2:07:53
  Speaker 3: people who are looking to discover bizarre and out of
• 2:07:56
  Speaker 3: the way things. as movie meltdown has already been for
• 2:07:58
  Speaker 3: many people i'm.
• 2:07:59
  Speaker 4: Sure certainly we have uncovered some weird movies over the
• 2:08:03
  Speaker 4: years so yeah yeah this can be a nice little
• 2:08:06
  Speaker 4: sci-fi window into that and i'm sure we'll come up
• 2:08:10
  Speaker 4: with some other weird stuff are we ready to round
• 2:08:15
  Speaker 4: it out i think we're ready to round it out With,
• 2:08:17
  Speaker 4: and again, this is what I thought was interesting, once again,
• 2:08:20
  Speaker 4: crossing not just the years, but also crossing into entire
• 2:08:25
  Speaker 4: other cultures. This is, the song is Adam Age Vampire
• 2:08:31
  Speaker 4: in 308 from the Japanese.
• 2:08:33
  Speaker 5: Horror punk band, Balzac.
• 2:08:36
  Speaker 3: Yes.
• 2:08:37
  Speaker 4: This is, yeah, this is how we're going out with,
• 2:08:40
  Speaker 4: once again, a Japanese band that found this movie somewhere
• 2:08:44
  Speaker 4: along the way and thought it was fun or horrific
• 2:08:47
  Speaker 4: enough to write a song about it. And listening to them,
• 2:08:50
  Speaker 4: their style is also very American punk, so you can
• 2:08:54
  Speaker 4: pick out what bands they kind of sound like they
• 2:08:56
  Speaker 4: grew up listening to. So again, it's all about these
• 2:08:59
  Speaker 4: weird crossovers and all of us being inspired by other.
• 2:09:02
  Speaker 3: People's weird art, good, bad, or otherwise. So.
• 2:09:06
  Speaker 5: All that having been said, I'd say that about does it.
• 2:09:09
  Speaker 3: We will return next time with more Jeezy Sci-Fi. Same
• 2:09:12
  Speaker 3: geek read. Thanks for listening. Thank you. Feel the wind
• 2:09:17
  Speaker 3: in the season.
• 2:09:20
  Speaker 2: Of the dead.
• 2:09:21
  Speaker 3: Heaven and earth in desolation, unequivocal sin. The shadow of
• 2:09:28
  Speaker 3: the cursed land. The master name of the body going nowhere.
• 2:09:37
  Speaker 3: rock blend night of pain taste of blood.
• 2:10:29
  Speaker 6: Hang in your teeth Hang in your teeth Hang in
• 2:10:30
  Speaker 6: your teeth Let's cut it down, beyond the ground The
• 2:10:31
  Speaker 6: tide of the low.
• 2:10:32
  Speaker 11: The dark and the cold.
• 2:11:05
  Speaker 3: Everybody look your way. It was crazy. It was wild.
• 2:12:29
  Speaker 3: We had joy. We had fun. We had monsters in
• 2:12:32
  Speaker 3: the sun. It was pretty dark. It was pretty dark.
• 2:12:34
  Speaker 3: It was pretty dark. Yeah.
• 2:12:37
  Speaker 5: We had daffodils.
• 2:12:38
  Speaker 3: In the sun. And petunias. We had Sasha's greenhouse. Sasha's
• 2:12:47
  Speaker 3: lovely greenhouse.
• 2:12:48
  Speaker 4: Which conveniently has a good place to hide a body.
• 2:12:52
  Speaker 4: That's the way I built my greenhouse.
• 2:12:55
  Speaker 3: I don't think that's just convenience. I think that's built
• 2:12:57
  Speaker 3: to spec.
• 2:12:58
  Speaker 5: Handy is what it is. Sometimes you need to hide
• 2:13:02
  Speaker 5: a body.
• 2:13:02
  Speaker 10: This episode is a production of Movie Meltdown. Produced and
• 2:13:05
  Speaker 10: edited by The Oddity Studios, with opening music performed by
• 2:13:08
  Speaker 10: The Empires. For more on how to sponsor or support
• 2:13:11
  Speaker 10: the show, email producer at moviemeltdown.com.
• 2:13:14
  Speaker 1: Talk hard!
• 2:13:21
  Speaker 3: This program is a proud member of the Battleship Pretension Fleet.