Steve and Anthony consider listener feedback re: Alien: Earth (through ep.6) then cover the original film from 1979.
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00:06 --> 00:11 [SPEAKER_00]: Steve are you familiar with Alien Earth?
00:11 --> 00:12 [SPEAKER_03]: Could you sum it up real quick on it?
00:12 --> 00:13 [SPEAKER_03]: Probably could figure out.
00:13 --> 00:16 [SPEAKER_00]: Yeah, I think I could sum it up pretty quick.
00:16 --> 00:18 [SPEAKER_00]: There are some aliens and they come to Earth.
00:20 --> 00:21 [SPEAKER_03]: Oh, so it's like alph.
00:25 --> 00:27 [SPEAKER_03]: There are some cats in the show for sure.
00:27 --> 00:29 [SPEAKER_03]: It's just a shop for shot remake, dude.
00:29 --> 00:31 [SPEAKER_03]: I don't know what anybody's talking about.
00:31 --> 00:33 [SPEAKER_00]: Moro is Mrs. Authmonic?
00:33 --> 00:34 [SPEAKER_03]: Yeah, totally.
00:35 --> 00:38 [SPEAKER_03]: There's no way the dad on there wasn't a synth, right?
00:38 --> 00:39 [SPEAKER_03]: Get no emotions.
00:40 --> 00:41 [SPEAKER_03]: Of course.
00:41 --> 00:42 [SPEAKER_03]: Oh, I don't need the count.
00:42 --> 00:42 [SPEAKER_00]: Oh.
00:43 --> 00:53 [SPEAKER_00]: So because we've been helping the Laura Hound's cover season one of Alien Earth, notably episode five and six, without we take some feedback.
00:54 --> 01:00 [SPEAKER_00]: So we'll jump back into our Bacon Raps season next week with memoirs over the Missile Man.
01:00 --> 01:01 [SPEAKER_00]: Oh boy.
01:02 --> 01:13 [SPEAKER_00]: This pod here, we'll be answering this in our feedback, and then at the end of that, we will be re-airing our earlier coverage of the original alien.
01:15 --> 01:17 [SPEAKER_00]: So people have that to look forward to.
01:17 --> 01:20 [SPEAKER_00]: Do you remember recording that pod here?
01:20 --> 01:21 [SPEAKER_03]: I know we did it.
01:21 --> 01:22 [SPEAKER_03]: I was a younger man.
01:23 --> 01:28 [SPEAKER_00]: Yeah, I mean, you were really fixated on Sigourney Weaver's underwear.
01:28 --> 01:30 [SPEAKER_00]: I do like who wouldn't be.
01:32 --> 01:35 [SPEAKER_03]: It's just, I mean, this kind of shows the limits of technology.
01:35 --> 01:38 [SPEAKER_00]: I mean, I didn't even did.
01:39 --> 01:41 [SPEAKER_00]: Fabric that could cover an entire woman's ass.
01:42 --> 01:46 [SPEAKER_03]: There were no tape measures of any sort in this particular version of the future.
01:46 --> 01:55 [SPEAKER_00]: All right, okay, I want to jump right into listener feedback here.
01:55 --> 02:02 [SPEAKER_00]: This is from Kim, I knew Boy Wonder was behind that all that chaos, he murdered a whole bunch of his own citizens.
02:03 --> 02:07 [SPEAKER_00]: I'm feeling that he's going to suffer a jaw-free barathian type death.
02:07 --> 02:09 [SPEAKER_00]: Everyone's just going to be rooting for him to go down.
02:09 --> 02:10 [SPEAKER_00]: Keep up the good work.
02:10 --> 02:12 [SPEAKER_00]: I appreciate and love you all.
02:12 --> 02:13 [SPEAKER_00]: Well, we love you too, Kim.
02:14 --> 02:15 [SPEAKER_00]: Who do you think she loves the least?
02:17 --> 02:18 [SPEAKER_00]: Me, I mean, that's... You think so?
02:19 --> 02:20 [SPEAKER_00]: I mean, she said that in the email.
02:20 --> 02:23 [SPEAKER_00]: A lot of these emails... That's what she signs off.
02:25 --> 02:25 [SPEAKER_00]: P.S.
02:25 --> 02:27 [SPEAKER_00]: I love Anthony the least.
02:27 --> 02:31 [SPEAKER_00]: A lot of these emails have been truncated by me.
02:31 --> 02:32 [SPEAKER_00]: I take full credit for that.
02:33 --> 02:40 [SPEAKER_00]: Uh, I just decided I would pick out the part of the email that I thought you and I might want to respond to.
02:41 --> 02:43 [SPEAKER_00]: And then pretend like it was the entire email.
02:44 --> 02:44 [SPEAKER_00]: Yeah.
02:44 --> 02:44 [SPEAKER_00]: Okay.
02:45 --> 02:45 [SPEAKER_00]: Good.
02:45 --> 02:46 [SPEAKER_00]: All right.
02:46 --> 02:47 [SPEAKER_00]: So that's what we're going to do.
02:48 --> 02:49 [SPEAKER_00]: Same cam.
02:49 --> 02:51 [SPEAKER_00]: I believe sent another email.
02:51 --> 02:55 [SPEAKER_00]: She says she has a prediction for future internet points.
02:56 --> 03:01 [SPEAKER_00]: Kid Cavalier is going to die by the eyeball octopus.
03:03 --> 03:04 [SPEAKER_00]: I would like to see that.
03:04 --> 03:09 [SPEAKER_00]: I mean, honestly, I don't know if that kills him.
03:09 --> 03:15 [SPEAKER_00]: Like if the eye took over boy Kay, does that kill boy Kay?
03:16 --> 03:17 [SPEAKER_03]: It doesn't heck well.
03:19 --> 03:20 [SPEAKER_03]: Yeah, because so can the eye.
03:21 --> 03:29 [SPEAKER_00]: Well, that sheep, yeah, well, that sheep continued to eat without an eye, once the, once the, Oh, it's not just a plugin.
03:29 --> 03:31 [SPEAKER_03]: I think it's plugging into their brains, right?
03:31 --> 03:33 [SPEAKER_03]: So then, I imagine that's invasive.
03:34 --> 03:34 [SPEAKER_00]: Yeah.
03:34 --> 03:39 [SPEAKER_00]: I mean, it's a, it's a little bit like going to a cold play concert in that way.
03:40 --> 03:41 [SPEAKER_03]: Invasive.
03:42 --> 03:49 [SPEAKER_03]: If it gets in your brain, it gets in your brain and regardless of what you, no matter what you do, you'll always have that memory good or bad.
03:50 --> 03:51 [SPEAKER_03]: You'd be like, do I like coal play now?
03:51 --> 03:52 [SPEAKER_00]: I don't know.
03:52 --> 03:57 [SPEAKER_03]: Yeah, it's like I had a good time with the concert, but was it despite coal play or because of?
04:00 --> 04:03 [SPEAKER_00]: So yeah, it's an interesting problem.
04:03 --> 04:10 [SPEAKER_00]: I don't know if it's not like it has to kill you to take control over you.
04:10 --> 04:11 [SPEAKER_00]: It's in your eyeball.
04:11 --> 04:14 [SPEAKER_00]: You can live with that an eyeball, right?
04:14 --> 04:19 [SPEAKER_03]: But it's manipulating your entire body, which means it has to be attaching itself to your brain.
04:20 --> 04:21 [SPEAKER_00]: Are you not listening?
04:21 --> 04:23 [SPEAKER_00]: That's just like a cold play concert.
04:23 --> 04:25 [SPEAKER_00]: Do I have to repeat myself every time?
04:28 --> 04:31 [SPEAKER_00]: So you're saying, the image kills you when it takes control.
04:32 --> 04:36 [SPEAKER_03]: I mean, so we've seen it leave bodies.
04:38 --> 04:39 [SPEAKER_03]: Yes, that's right.
04:39 --> 04:42 [SPEAKER_03]: They don't go do things, I don't think afterwards.
04:42 --> 04:44 [SPEAKER_00]: Okay, that's a good question.
04:44 --> 04:46 [SPEAKER_00]: Was the cat just dead?
04:46 --> 04:49 [SPEAKER_00]: Do we see the cat scorps afterwards?
04:50 --> 04:52 [SPEAKER_03]: I don't know, I don't wanna call.
04:52 --> 04:54 [SPEAKER_03]: I wasn't, so I wasn't paying attention.
04:54 --> 04:55 [SPEAKER_03]: to that type of thing at that.
04:55 --> 04:56 [SPEAKER_00]: Yeah.
04:56 --> 04:57 [SPEAKER_00]: So I don't know.
04:57 --> 04:57 [SPEAKER_00]: It's a good.
04:57 --> 04:58 [SPEAKER_00]: It's a good question.
04:58 --> 05:08 [SPEAKER_00]: Like if the image took control of boy K. And let's say ran as company for four or five years when it decides or just boy K is just eating hey.
05:10 --> 05:16 [SPEAKER_03]: It's not quite sure what they like it was in the sheep for so long that it's just like I saw I really know.
05:20 --> 05:26 [SPEAKER_00]: All right, so anyway, Kim, if if the image does kill boy, can you get all the internet points?
05:28 --> 05:30 [SPEAKER_00]: This next email comes from Tobias.
05:30 --> 05:36 [SPEAKER_00]: What important aspect I haven't heard discussed is whether Marcy is dead or not.
05:38 --> 05:40 [SPEAKER_00]: is windy just a copy of Marcie's person.
05:40 --> 05:51 [SPEAKER_00]: We can probably already train an AI to mimic a human convincingly, but we are nowhere near the ability to transfer consciousness, all the best Tobias.
05:52 --> 05:52 [SPEAKER_00]: So what do you think?
05:53 --> 05:55 [SPEAKER_00]: Is Joe really talking to Marcie?
05:56 --> 06:01 [SPEAKER_00]: Or is he talking to something that was based on Marcie?
06:01 --> 06:02 [SPEAKER_03]: Yeah, that's, I keep thinking that.
06:03 --> 06:04 [SPEAKER_03]: I keep wondering that same thing.
06:07 --> 06:09 [SPEAKER_03]: This is the newer technology, right?
06:09 --> 06:20 [SPEAKER_03]: I mean, the hybrid is the new thing, but are we, isn't that what it says in the beginning, the first episode, doesn't it say that it's, that a hybrid is it human consciousness in?
06:21 --> 06:23 [SPEAKER_00]: Oh, that's a good point.
06:23 --> 06:28 [SPEAKER_00]: The opening title card did kind of explain what a hybrid was.
06:30 --> 06:30 [SPEAKER_00]: Yeah.
06:31 --> 06:31 [SPEAKER_00]: So,
06:33 --> 06:44 [SPEAKER_00]: I'm wondering if we take that as sort of like gospel truth or we take that as like prodigies pamphlets that they hand out.
06:45 --> 06:51 [SPEAKER_00]: I mean, I'd like for my enjoyment of the show, I like the idea that it is Marcy in there.
06:52 --> 06:53 [SPEAKER_00]: And she's evolved.
06:55 --> 06:57 [SPEAKER_00]: You know, she's not the
07:03 --> 07:05 [SPEAKER_00]: But that doesn't necessarily mean that that's true.
07:06 --> 07:17 [SPEAKER_03]: Yeah, so the definition of hybrids are another Android type created by the Project Corporation, synthetic body, outfit with a human consciousness downloader from the mind of a different being.
07:18 --> 07:22 [SPEAKER_03]: So the question I think then becomes is, like, does something happen in the download?
07:22 --> 07:23 [SPEAKER_03]: Right?
07:23 --> 07:28 [SPEAKER_03]: Is the download just a pure, is it because that's, I think that's my understanding of this,
07:30 --> 07:37 [SPEAKER_03]: It's human consciousness, but to the degree that it's Marcy, I think, is maybe questionable.
07:37 --> 07:44 [SPEAKER_03]: Like, it's the consciousness of Marcy, what happens to you when you were like, so this is a maybe even a deeper question that I don't know if this series is going to tackle an output.
07:45 --> 07:49 [SPEAKER_03]: Extracting consciousness in and of itself is just, it's, it's fanciful.
07:49 --> 07:52 [SPEAKER_03]: So what is it a simple one for one?
07:52 --> 07:54 [SPEAKER_03]: Can you just take your,
08:00 --> 08:07 [SPEAKER_03]: is a bit more abstract than just taking whatever is functioning in your brain and putting it into a synthetic brain.
08:08 --> 08:18 [SPEAKER_03]: Because I think the idea of consciousness brings in a whole, that starts to bring in things like ego and, you know, just deeper levels, right?
08:18 --> 08:27 [SPEAKER_03]: If there's a consciousness and there's a subconscious, is that transfer over and if there's a consciousness, but there's no subconscious, is that truly the consciousness of Marcy is missing something.
08:27 --> 08:27 [SPEAKER_03]: You know,
08:29 --> 08:30 [SPEAKER_03]: I think it's truly a consciousness.
08:30 --> 08:53 [SPEAKER_03]: I do think, I first say, just the way that I'm reading the title card and the intent of what a hybrid is, is that it's supposed to complicate the order of these creations that we've made, right, the cyborg, the synth, and the hybrid is supposed to be that, like, okay, well, this should be rather than just being human and machine combined.
08:54 --> 08:59 [SPEAKER_03]: Let's take the synthetic body, which we see as replaceable and better.
08:59 --> 09:02 [SPEAKER_03]: And this sort of becomes the whole immortality concept.
09:02 --> 09:08 [SPEAKER_03]: It's like if you could just keep on swapping out your body and maintain your consciousness and you could live forever.
09:08 --> 09:12 [SPEAKER_03]: Now that suggests that there is a brain rot and all that other stuff.
09:14 --> 09:38 [SPEAKER_00]: So one of the things that you just said that I thought was really interesting is what's missing like what what was there any part of Marcy that failed to transfer into windy Because you could imagine like yeah, they they mapped it pretty well and they got 90% of it or they got 97% of it or whatever
09:40 --> 09:46 [SPEAKER_00]: And now it's being approximated in this artificial intelligence.
09:47 --> 09:55 [SPEAKER_00]: To me, it's like, well, what was lost in the transfer and how much would you have to lose for it not to be the same person?
09:56 --> 10:04 [SPEAKER_03]: The very fact that they can manipulate their ages and what they can remember would suggest that they could take that consciousness and then sort of remap it, right?
10:04 --> 10:08 [SPEAKER_03]: Like, even if you got 100% of it, it could be a matter of what are they deciding to turn on
10:10 --> 10:11 [SPEAKER_03]: have enough mem.
10:11 --> 10:12 [SPEAKER_03]: Like, is it going back to the show?
10:12 --> 10:17 [SPEAKER_03]: We've made some severance connections just in terms of some of the structure and visuals.
10:18 --> 10:19 [SPEAKER_03]: But that's the same thing about severance, right?
10:19 --> 10:23 [SPEAKER_03]: Like, these people aren't just like completely blank slates.
10:23 --> 10:25 [SPEAKER_03]: They know that a wall is exist.
10:25 --> 10:27 [SPEAKER_03]: They might not be able to draw one.
10:28 --> 10:33 [SPEAKER_03]: And so they know that there is an outside.
10:33 --> 10:36 [SPEAKER_03]: They just haven't personally seen it.
10:36 --> 10:38 [SPEAKER_03]: So they have any memories, but they have,
10:39 --> 10:39 [SPEAKER_03]: awareness.
10:40 --> 10:43 [SPEAKER_03]: And so I think that's, I think they can manipulate that.
10:43 --> 10:49 [SPEAKER_03]: And so I, I, which, then banks begs the question, well, why not take off the part that wants family?
10:50 --> 10:51 [SPEAKER_00]: Yeah, that's interesting.
10:51 --> 10:53 [SPEAKER_03]: Why not undo that part.
10:53 --> 10:54 [SPEAKER_03]: Like, so that's it.
10:54 --> 11:04 [SPEAKER_03]: So the question is, is that just an inevitability of, of a, of a conscious transfer is that a, something they didn't take account for is that
11:09 --> 11:18 [SPEAKER_03]: with the idea that like, oh, he was at Nibbstus, she was pregnant, so they were like, they wanted to eliminate that whole imagination around that, whereas they haven't done that with Wendy.
11:19 --> 11:25 [SPEAKER_03]: They haven't, you know, could have been easier, just be like, well, just don't have her pain for her family, or her brother, and be done with it.
11:26 --> 11:33 [SPEAKER_00]: I guess one of the in-world clues to answer the Tobias' question is, what does boy K think?
11:34 --> 11:37 [SPEAKER_00]: He seems to have devoted a lot of time and energy
11:38 --> 11:40 [SPEAKER_00]: into making this transfer.
11:40 --> 11:45 [SPEAKER_00]: And so if it's not really, if it's just on a proclamation, is it worth doing?
11:46 --> 11:56 [SPEAKER_00]: But the other thing about this is that he hasn't transferred himself yet that we know of that we, you're right that we know now we're doing with Westworld again.
11:57 --> 11:58 [SPEAKER_00]: Right.
11:58 --> 12:03 [SPEAKER_00]: So that we know of he has not transferred himself yet.
12:03 --> 12:06 [SPEAKER_00]: And it seems like he's using these kids
12:09 --> 12:12 [SPEAKER_00]: for some outcome that we don't see yet.
12:13 --> 12:30 [SPEAKER_00]: So anyway, I mean, my, my thought on this, my, my thought on the end game is, now that we have these other creatures, is there a way to use part of what we learn from these alien physiologies, right?
12:30 --> 12:32 [SPEAKER_00]: He's, he's interested in hybrids.
12:39 --> 12:48 [SPEAKER_03]: Could you move a human consciousness into it and create the perfect whether it be weapon or just a specimen altogether?
12:48 --> 12:59 [SPEAKER_00]: Right, or use the information that you get from the Xenomorph to sort of upgrade the, you know, the next toy, so anyway, good question, good question device.
13:00 --> 13:08 [SPEAKER_00]: So we have, we get two voice notes to even I thought for the purpose of saving time, I'd play them both to you at the same time.
13:08 --> 13:09 [SPEAKER_00]: No, for.
13:10 --> 13:12 [SPEAKER_02]: Shane from the city colon in, first off episode five.
13:13 --> 13:16 [SPEAKER_02]: I think he was like, every two point out.
13:16 --> 13:17 [SPEAKER_00]: Everyone's kind of kind of like, I mean, not at all.
13:18 --> 13:18 [SPEAKER_00]: I swear.
13:18 --> 13:19 [SPEAKER_00]: Clean.
13:20 --> 13:20 [SPEAKER_00]: Don't.
13:20 --> 13:20 [SPEAKER_00]: Right.
13:21 --> 13:21 [SPEAKER_00]: Or about these characters.
13:22 --> 13:22 [SPEAKER_00]: Good.
13:22 --> 13:23 [SPEAKER_02]: Yeah.
13:23 --> 13:24 [SPEAKER_02]: They're stupid.
13:24 --> 13:25 [SPEAKER_00]: They're in space for years.
13:25 --> 13:27 [SPEAKER_00]: They're like, all your shapes are breaking.
13:27 --> 13:28 [SPEAKER_00]: I just don't know.
13:28 --> 13:29 [SPEAKER_02]: I just don't have a drain.
13:29 --> 13:30 [SPEAKER_02]: I just don't have a drain.
13:30 --> 13:31 [SPEAKER_00]: I just don't have a drain.
13:31 --> 13:32 [SPEAKER_00]: I just don't have a drain.
13:32 --> 13:34 [SPEAKER_02]: I just don't have a drain.
13:34 --> 13:35 [SPEAKER_02]: I just don't have a drain.
13:35 --> 13:36 [SPEAKER_02]: I just don't have a drain.
13:36 --> 13:36 [SPEAKER_02]: I don't have a drain.
13:36 --> 13:37 [SPEAKER_02]: I just don't have a drain.
13:38 --> 13:43 [SPEAKER_03]: I think the other way to answer this is if we answer them both at the same time.
13:43 --> 13:45 [SPEAKER_00]: Yeah, so I think so.
13:45 --> 13:50 [SPEAKER_00]: I think Shane is the guy with the sort of the younger higher voice.
13:51 --> 13:54 [SPEAKER_00]: And Brian is the one with sort of the lower dad voice.
13:55 --> 14:03 [SPEAKER_00]: I'll answer Brian's question and you answer Shane's question and come, three, two, one.
14:03 --> 14:06 [SPEAKER_00]: Yeah, so I think you've got a good point in and thanks for calling out.
14:06 --> 14:09 [SPEAKER_00]: I think it's really important that the space is going to get tension.
14:09 --> 14:12 [SPEAKER_03]: In fact, sir, your ability, you're right.
14:12 --> 14:12 [SPEAKER_03]: I do your job there.
14:12 --> 14:13 [SPEAKER_03]: I do your job there.
14:13 --> 14:15 [SPEAKER_03]: I do your job there.
14:15 --> 14:16 [SPEAKER_00]: I do your job there.
14:16 --> 14:17 [SPEAKER_03]: I do your job there.
14:17 --> 14:17 [SPEAKER_00]: I do your job there.
14:17 --> 14:18 [SPEAKER_03]: I do your job there.
14:18 --> 14:21 [SPEAKER_03]: It brings up a whole new set of questions on whether or not.
14:21 --> 14:23 [SPEAKER_00]: In addition to that, I think that we should understand that.
14:23 --> 14:25 [SPEAKER_03]: has relative artificial intelligence.
14:25 --> 14:28 [SPEAKER_03]: You're not going to do that there.
14:28 --> 14:30 [SPEAKER_00]: You billion dollars, exactly.
14:30 --> 14:42 [SPEAKER_00]: If you're a Trillionaire, and yes, if you're an indentured servant, you might be able to do a lot of things like when they aren't self-serving that survival of you are, but it would be kind of an interesting to you as to if they want to lose your family.
14:42 --> 14:45 [SPEAKER_03]: At the very least, we find out that since have passive aggression.
14:47 --> 14:51 [SPEAKER_00]: So I appreciate the voice notes from Brian and Shane.
14:52 --> 14:55 [SPEAKER_00]: You don't be strangers, you know, just send us a lot of those.
14:56 --> 15:00 [SPEAKER_00]: All right, Steve, Abbey writes about the Zeno.
15:01 --> 15:04 [SPEAKER_00]: We see the same one, is this the same one Wendy dispatched?
15:05 --> 15:12 [SPEAKER_00]: So this is the Zeno more who kills everyone in episode five.
15:15 --> 15:24 [SPEAKER_00]: And then crashes to Earth, do we think that that is the same one that we saw Wendy kill in episode four?
15:25 --> 15:29 [SPEAKER_03]: Oh, I think I had assumed so.
15:29 --> 15:29 [SPEAKER_03]: What did you think?
15:31 --> 15:32 [SPEAKER_00]: I assumed so too.
15:32 --> 15:34 [SPEAKER_00]: I mean, it's possible that it's not.
15:34 --> 15:36 [SPEAKER_00]: I thought the how how could it not?
15:36 --> 15:38 [SPEAKER_00]: What would be the possibility that it wasn't?
15:39 --> 15:41 [SPEAKER_00]: And I thought the body of
15:42 --> 15:45 [SPEAKER_00]: Who's the space trucker guy?
15:45 --> 15:47 [SPEAKER_00]: Oh, yeah, yeah.
15:47 --> 15:48 [SPEAKER_00]: I know you're talking about it.
15:48 --> 15:57 [SPEAKER_00]: So yeah, yeah, the space trucker mechanic guy the image Took control of his body through the eye and then left his body behind.
15:57 --> 16:03 [SPEAKER_00]: I could imagine because these Xenomorphs breed so fast
16:04 --> 16:11 [SPEAKER_00]: that that body becomes, you know, an incubator for another one.
16:11 --> 16:15 [SPEAKER_00]: So it could be that they didn't get all of the xenomorphs in this case.
16:15 --> 16:29 [SPEAKER_03]: Do we know, and this is, and maybe this is something that I would no better if I saw all the movies or read the book, can, as, you know, with the face hugger, you know, incubation, can it do it with the corpse?
16:29 --> 16:31 [SPEAKER_03]: Can it, doesn't have to be a living host?
16:34 --> 16:41 [SPEAKER_03]: Because I, that's kind of my thought is that it, because it keeps it alive, but then it, I think it has to be living, yeah, I think it has to be alive.
16:42 --> 16:48 [SPEAKER_03]: That, yes, because I think that's part of the horror of it, right, is that these, these people are alive and like to what I end, right.
16:50 --> 16:50 [SPEAKER_00]: Right.
16:51 --> 16:53 [SPEAKER_00]: All right, so Abby continues.
16:54 --> 17:02 [SPEAKER_00]: Seems like a selective with its victims is it, and does it feel if someone's on a contract and plays with them a little bit longer?
17:02 --> 17:04 [SPEAKER_00]: Like let's them run, run, run, run.
17:04 --> 17:09 [SPEAKER_00]: Versus if someone is playing a rich asshole, and then it's like total destruction in seconds.
17:09 --> 17:14 [SPEAKER_00]: It didn't toy much with that tang fell either, who was an autosynth after all.
17:14 --> 17:16 [SPEAKER_00]: Maybe it has a creep radar.
17:17 --> 17:18 [SPEAKER_03]: I like that.
17:18 --> 17:21 [SPEAKER_03]: How much alien versus predator are you familiar with?
17:21 --> 17:22 [SPEAKER_03]: Zero.
17:22 --> 17:26 [SPEAKER_03]: Okay, so I've seen one, I never saw, was I think Requiem or something.
17:26 --> 17:33 [SPEAKER_03]: I didn't, and so, and I know that these, they live in the same universe and there are rules for predator.
17:34 --> 17:43 [SPEAKER_03]: Right, I mean, predator, essentially, the predator is attack that, which are legit threats, right?
17:43 --> 17:44 [SPEAKER_03]: Like they're armed.
17:45 --> 17:51 [SPEAKER_00]: It's a day only attack actors who will eventually become governors of the United States.
17:52 --> 17:53 [SPEAKER_03]: I don't know.
17:54 --> 17:56 [SPEAKER_03]: Good news for Adrian Brody.
17:59 --> 18:17 [SPEAKER_03]: So I'm wondering if, because the xenomorph, I think a lot of times is considered just sort of this like killing machine and blah, blah, blah, but I, they're obvious that there appears to be some sort of whether it's code or whether it's some sort of decision-making on its own.
18:18 --> 18:20 [SPEAKER_03]: I think David may have been
18:20 --> 18:23 [SPEAKER_03]: intimated that he thought it was depending on how full they were.
18:24 --> 18:25 [SPEAKER_00]: Oh, interesting.
18:26 --> 18:32 [SPEAKER_03]: Like if they're like not particularly hungry, they might play with their food.
18:34 --> 18:40 [SPEAKER_03]: And I wonder if that's also has something to do with where they are in their life cycle.
18:41 --> 18:46 [SPEAKER_03]: Like are the younger ones more apt to be, you know, more just
18:47 --> 19:12 [SPEAKER_00]: go go go kill kill kill kill and then later the other ones are a little more strategic I don't it's interesting I don't I'm I'm sure there's information out there on this and I think that Yeah, I think that I mean I I'm sure that the internet will come to our rescue I it is a bit it's always been my assumption that there is some kind of fear response that they want from their victims You know it's not like they just always attack
19:14 --> 19:19 [SPEAKER_00]: they, you know, that little mouth comes out of the big jaws, right?
19:20 --> 19:21 [SPEAKER_00]: And people freak out.
19:21 --> 19:28 [SPEAKER_00]: And I do think that there's a sense in which there's an instinct to chase and there's an instinct to feed.
19:30 --> 19:32 [SPEAKER_00]: And it wants the whole experience.
19:33 --> 19:37 [SPEAKER_00]: And part of that is to like, I want to smell your fear before I do this.
19:38 --> 19:45 [SPEAKER_00]: So, I don't, I mean, these things are not machines, they're animals, and animals do, they do things like that, like, truly.
19:46 --> 19:49 [SPEAKER_00]: Who can know the mind of a cat, for instance?
19:51 --> 19:52 [SPEAKER_00]: Or is this not the question?
19:53 --> 19:57 [SPEAKER_00]: So, anyway, all interesting questions, Abby.
19:58 --> 20:03 [SPEAKER_00]: Next one from Sub-Zero, I love that they are giving each hybrid a distinct path.
20:04 --> 20:12 [SPEAKER_00]: So I thought this would be a good moment to kind of chart out who these lost boys are and where they are in the story, all right.
20:14 --> 20:16 [SPEAKER_00]: So we have Wendy, all right.
20:16 --> 20:25 [SPEAKER_00]: So Wendy's just realized that she is also a specimen or she's known it for a while, but now it kind of bugs her in a way that it didn't before.
20:26 --> 20:32 [SPEAKER_00]: I think she's, the seat has been planted in her to leave the island because of Joe,
20:34 --> 20:38 [SPEAKER_00]: And so I think that she's on our trajectory to make that happen.
20:38 --> 20:43 [SPEAKER_00]: Also, we know that her internal tracker has been turned off, right?
20:44 --> 20:48 [SPEAKER_00]: So it feels like the show is telling us, okay, this is sort of the next adventure.
20:49 --> 20:50 [SPEAKER_00]: We have nibs.
20:50 --> 20:53 [SPEAKER_00]: nibs had a memory wipe.
20:54 --> 21:03 [SPEAKER_00]: And this, and also sort of an identity alteration, but she's, I think on a path to knowing that they tinkered with her.
21:03 --> 21:06 [SPEAKER_00]: And then the question is, how are she gonna react to that?
21:07 --> 21:20 [SPEAKER_03]: Well, and she was so, sort of like, threatening for a while, right, for that one episode in particular, like there was this glimpse into what happens if things don't aren't copacetic.
21:24 --> 21:46 [SPEAKER_03]: And so there is, there is definitely the, you know, again, going back to the notion of like their all specimens as well as like there is a, well, what if they don't work out or what if, what if there's a glitch, what if there's a glitch or all consciousness same and the idea is like, no, right.
21:47 --> 21:54 [SPEAKER_00]: What if there's a glitch, but also what if there's a glitch that the humans interpret as a personality defect?
21:56 --> 22:01 [SPEAKER_00]: But the body is functioning as a superhuman machine.
22:03 --> 22:05 [SPEAKER_00]: I think that's the question we're asking with them.
22:05 --> 22:05 [SPEAKER_00]: Right.
22:06 --> 22:08 [SPEAKER_00]: I mean, look, here's a question.
22:10 --> 22:13 [SPEAKER_00]: If these children decided to kill everyone on the island, how long would it take?
22:14 --> 22:14 [SPEAKER_00]: Right.
22:15 --> 22:15 [SPEAKER_00]: Right.
22:16 --> 22:18 [SPEAKER_00]: Like, like, would it take that long?
22:18 --> 22:18 [SPEAKER_00]: I don't know.
22:19 --> 22:23 [SPEAKER_00]: I don't know whether, I mean, I don't know if they have like some kind of kill switch or whatever.
22:23 --> 22:28 [SPEAKER_00]: Like boy case got like a, like a, like a safe word or something like a Tesla.
22:29 --> 22:30 [SPEAKER_00]: Do Tesla have safe words?
22:31 --> 22:35 [SPEAKER_03]: Uh, I always assume that at any point, um, it'll just, there'll be an uprising.
22:36 --> 22:37 [SPEAKER_00]: Oh, okay.
22:37 --> 22:38 [SPEAKER_00]: All right.
22:39 --> 22:41 [SPEAKER_00]: Tutals is dead.
22:41 --> 22:43 [SPEAKER_00]: Sorry, tutels for now.
22:43 --> 22:44 [SPEAKER_00]: Oh, that's right.
22:44 --> 22:49 [SPEAKER_00]: Yeah, we could, we could deal with an issue, you know, Tudos 2.0.
22:50 --> 23:08 [SPEAKER_00]: So we have slightly, slightly, a darsh, a darsh, who is now hiding an event or or creeping through event at some point with a, with a human body, a human
23:14 --> 23:21 [SPEAKER_00]: And so he must have some kind of rendezvous point with Moro, I think that's the plan, right?
23:21 --> 23:22 [SPEAKER_00]: Yeah, I would assume so.
23:23 --> 23:29 [SPEAKER_00]: Or is Moro more like just get them on the edge of the island and I'll fly in and swoop.
23:30 --> 23:31 [SPEAKER_00]: I don't know what the plan is.
23:32 --> 23:33 [SPEAKER_00]: Maybe this is the plan.
23:33 --> 23:35 [SPEAKER_00]: Maybe they don't want to get them off the island necessarily.
23:36 --> 23:39 [SPEAKER_00]: It's just that you get that xenomorph out.
23:40 --> 23:44 [SPEAKER_00]: Now the xenomorph is going to completely wreck the island.
23:45 --> 23:46 [SPEAKER_03]: Right.
23:46 --> 23:50 [SPEAKER_03]: When you switch my end, if there's an evacuation, then there's an entrance that is created.
23:50 --> 23:51 [SPEAKER_03]: Right.
23:51 --> 23:52 [SPEAKER_00]: Yeah, maybe that's it.
23:52 --> 23:52 [SPEAKER_00]: Okay.
23:53 --> 23:53 [SPEAKER_00]: I like it.
23:54 --> 23:54 [SPEAKER_00]: Okay.
23:55 --> 23:56 [SPEAKER_00]: Next one is Smee.
23:57 --> 24:05 [SPEAKER_00]: Smee is, uh, he doesn't have a lot to do, uh, Spee is sort of like destined to be picked last at dodgeball.
24:05 --> 24:06 [SPEAKER_00]: I don't know what his,
24:07 --> 24:11 [SPEAKER_00]: His story arc is going to be curly, curly is interesting to me.
24:11 --> 24:18 [SPEAKER_00]: She didn't have a lot to do the last couple episodes, but in the previous one, she was sort of setting herself up to be the new favorite.
24:19 --> 24:19 [SPEAKER_00]: Right.
24:19 --> 24:19 [SPEAKER_00]: Right.
24:20 --> 24:23 [SPEAKER_00]: And so that is kind of setting up a rivalry with her and Wendy.
24:25 --> 24:29 [SPEAKER_00]: Yeah, you could imagine that boy K is sort of the mastermind.
24:29 --> 24:37 [SPEAKER_00]: He's the big boss, and then finally, you know, when Wendy wants to take him down, he's, she's, she's got to go through curly or something.
24:37 --> 24:38 [SPEAKER_00]: Yeah, I can see that.
24:38 --> 24:45 [SPEAKER_00]: So curly and Wendy might be on a collision course in that way.
24:45 --> 24:47 [SPEAKER_03]: Yeah, it feels like that was getting set up for that.
24:49 --> 24:58 [SPEAKER_00]: Alright, so I appreciate you giving this the opportunity to sort of map that out there sub zero.
24:59 --> 25:04 [SPEAKER_00]: He goes on, I'm wondering if the hybrids are even capable of emotionally growing into adults.
25:05 --> 25:11 [SPEAKER_00]: There's growth that comes with experience, but they're also hormonal balance changes that impact maturity.
25:12 --> 25:14 [SPEAKER_00]: We talked a little bit about that last podcast.
25:15 --> 25:17 [SPEAKER_00]: And we can see each of them struggling in their own ways.
25:18 --> 25:26 [SPEAKER_00]: So, yeah, I think if unfortunately, I don't know if we're gonna see more of that theme this season.
25:27 --> 25:40 [SPEAKER_00]: If this is a five season arc, they're definitely in dealing with that, but at this point it feels like the chaos is underway and now the character development is just going to be a reaction to the chaos.
25:41 --> 25:42 [SPEAKER_00]: That is my sense of these things.
25:43 --> 25:56 [SPEAKER_03]: Yeah, I think it's really going to depend on how much of this vision they're going to get behind in terms of show running because I've seen this with other shows where it's
25:56 --> 26:07 [SPEAKER_03]: They, it's got a longer arc, but they only give them a little bit of run way, so then you kind of have to accelerate the action to kind of get to that ending really soon, right?
26:08 --> 26:08 [SPEAKER_00]: Sure.
26:09 --> 26:11 [SPEAKER_00]: This is from Jessica about Moro's hand.
26:12 --> 26:19 [SPEAKER_00]: Peter started his whole feud with Hook by cutting off Hook's hand and feeding it to the crocodile.
26:19 --> 26:26 [SPEAKER_00]: I wonder if this metaphor will extend to the show somehow, or boy K sabotaging Moro's ship is the metaphor here.
26:26 --> 26:28 [SPEAKER_00]: I don't know why I didn't make this connection before.
26:28 --> 26:30 [SPEAKER_00]: I know me too, I'm an idiot.
26:31 --> 26:41 [SPEAKER_03]: I mean it's like the Peter Pan stuff is like I'm being as I've been thinking of Captain Hook the whole time and I'm wondering and I'm like I wonder who the hook character is like well maybe the guy with the hook for a hand.
26:43 --> 26:50 [SPEAKER_03]: I've been like they've been hitting me over the head with Peter Pan stuff completely disqualified myself from any more commentary on the show.
26:51 --> 26:56 [SPEAKER_00]: So thank you Jessica neither Steve or I had even considered the hook analogy.
27:04 --> 27:09 [SPEAKER_00]: I mean, there's probably 10 more 10 other things like that that we missed, right?
27:10 --> 27:14 [SPEAKER_03]: I'm gonna find out, like, like, like, remember the whole episode about Crocodiles?
27:14 --> 27:15 [SPEAKER_03]: What?
27:18 --> 27:21 [SPEAKER_00]: Tinkerbells in every scene didn't you see?
27:21 --> 27:22 [SPEAKER_00]: Didn't you see Tinkerbell?
27:23 --> 27:23 [SPEAKER_00]: That's the image.
27:26 --> 27:27 [SPEAKER_00]: Okay, this is the last one.
27:27 --> 27:37 [SPEAKER_00]: This is from Mark, if your email was sent and not read, it says nothing about the value of the content of your email.
27:38 --> 27:42 [SPEAKER_00]: It's because I think I'm better than you.
27:43 --> 27:45 [SPEAKER_03]: And so I feel like I can vouch for his error.
27:46 --> 27:48 [SPEAKER_03]: Yeah, so sorry about that.
27:48 --> 27:49 [SPEAKER_03]: He comes by it honestly.
27:50 --> 27:56 [SPEAKER_00]: uh... this is from mark he says he likes to show there's a lot of them like in the show he says however not to
27:57 --> 28:18 [SPEAKER_00]: But I was struck by a thread that Stephen Anthony chose to leave there, despite being perhaps the path of the most unique conversation in the human history, in your discussion with David, you two were faced with an opportunity to talk to someone who had played the first street fighter game, and only the first street fighter game.
28:18 --> 28:24 [SPEAKER_00]: David made his outlandish claim, and you two left it there, you didn't ask for clarification.
28:24 --> 28:25 [SPEAKER_00]: didn't querying disbelief.
28:26 --> 28:33 [SPEAKER_00]: The moment passed and such a moment was a chance to converse with one of the rarest people who's ever walked the earth.
28:34 --> 28:35 [SPEAKER_00]: ought to have a discussion.
28:36 --> 28:39 [SPEAKER_00]: No three humans in history has ever had.
28:39 --> 28:41 [SPEAKER_00]: Would you see that it's too late now?
28:41 --> 28:42 [SPEAKER_00]: No one can ask them about it.
28:42 --> 28:46 [SPEAKER_00]: How could they to bring up a Street Fighter randomly Appropriate of nothing?
28:47 --> 28:48 [SPEAKER_00]: Well, there's a great show to talk about.
28:48 --> 28:50 [SPEAKER_00]: It would be totally absurd, right?
28:50 --> 28:52 [SPEAKER_00]: It would be a true waste of everyone's time.
28:52 --> 28:57 [SPEAKER_00]: So, I guess number one, my apologies.
28:57 --> 29:01 [SPEAKER_00]: Clearly, David's claim that he had only ever played
29:03 --> 29:07 [SPEAKER_00]: and had no knowledge of Street Fighter 2 is bizarre.
29:08 --> 29:09 [SPEAKER_00]: It is bizarre.
29:09 --> 29:11 [SPEAKER_00]: We should have asked him about it for sure.
29:11 --> 29:12 [SPEAKER_03]: Yeah, we left me down the bone.
29:12 --> 29:13 [SPEAKER_03]: There's no question about it.
29:14 --> 29:27 [SPEAKER_03]: And I think personally, I knew in my heart of hearts that if this was a properly Howard joint exclusively, yeah, we would have forgotten what we were there for originally.
29:27 --> 29:29 [SPEAKER_00]: I mean, I guess I was kind of sitting there.
29:34 --> 29:39 [SPEAKER_03]: when he was referring to Dalzim was like one of these way later creations that I was like, we need to have a time out.
29:40 --> 29:42 [SPEAKER_03]: Sure, yeah.
29:42 --> 29:54 [SPEAKER_03]: And again, I think the point is very or at least implied in this feedback and I think it's really worth exploring is a lot of people when they refer to Street Fighter, refer to Street Fighter II.
29:55 --> 29:57 [SPEAKER_03]: Specifically, Street Fighter II championship edition.
29:57 --> 30:00 [SPEAKER_03]: I think it's because that was the one, I think them really grabbed people.
30:01 --> 30:02 [SPEAKER_03]: That's one that you would go to.
30:03 --> 30:13 [SPEAKER_03]: Street Fighter, the original was probably somewhere in the maybe like you'd give it a shot at a 7-11, you know what I mean like a bad dudes.
30:14 --> 30:20 [SPEAKER_03]: or, you know, like it's like you would find bumping jump at a foster freeze.
30:20 --> 30:23 [SPEAKER_00]: This is sort of before Vega, right?
30:23 --> 30:24 [SPEAKER_00]: Before Vega.
30:24 --> 30:33 [SPEAKER_03]: Yeah, so then you get, then you in Street Fighter II and I don't, and I wonder if it's, if it's a timing thing, you know, like when, like it's just,
30:34 --> 30:44 [SPEAKER_03]: It grabbed people at the right time and people understood that you could fight each other and then there were there were more advanced moves and you know because then you have like the tech and crowd and you of course you've got the moral combat.
30:46 --> 30:56 [SPEAKER_03]: But but One I don't you know if you revisit it street fighter one it's it's slower it's you know whatever it's original.
30:56 --> 31:03 [SPEAKER_03]: And so I think there is something to be said for there's there's a conversation to be had but you're right that that time has gone the time is passed we've were.
31:04 --> 31:14 [SPEAKER_03]: essentially edging and here we are, you know, that's one of the things about edging is that you're, you know, in the moment you think that it's going somewhere, but you know deep down it's not, and then you never knew that.
31:15 --> 31:20 [SPEAKER_00]: For me, it was sort of like, have you ever met someone that you think might be a serial killer?
31:20 --> 31:24 [SPEAKER_00]: And then they say something that you're like, oh, no, that guy's totally a serial killer.
31:26 --> 31:27 [SPEAKER_00]: For me, that was it.
31:27 --> 31:30 [SPEAKER_00]: Like I've always kind of suspected David as a serial killer.
31:31 --> 31:40 [SPEAKER_00]: But when he said that, I don't think that I could sort of process that information in a way, in real time, that would allow me to have the conversation.
31:41 --> 31:46 [SPEAKER_00]: I think I just kind of put it out of my mind as I can't deal, I don't, well, I'm not ready for the reason.
31:48 --> 31:54 [SPEAKER_03]: You know, because the thing is, as you think about it is that if you go from a street fighter,
31:55 --> 32:00 [SPEAKER_03]: Introduction and then you have no knowledge of even Street Fighter 2 champion edition.
32:00 --> 32:04 [SPEAKER_03]: I am immediately wonder where did you have to go?
32:06 --> 32:22 [SPEAKER_03]: So this is why why did you have to be where this where this wasn't just that suggest either a consciousness blackout, which is a problem and or an actual physical removal weather.
32:23 --> 32:28 [SPEAKER_03]: by force or by choice, that says I can't be in this space with other people anymore.
32:28 --> 32:34 [SPEAKER_00]: And that's the villain and split with several personalities.
32:35 --> 32:39 [SPEAKER_00]: And it seems like one of those personalities just kind of took over for the entire 90s.
32:41 --> 32:42 [SPEAKER_00]: Right.
32:42 --> 32:45 [SPEAKER_00]: And I don't know which personality I was talking to in that podcast to be honest.
32:46 --> 32:48 [SPEAKER_03]: So no, that's what we always treat them a little cautiously.
32:50 --> 32:51 [SPEAKER_03]: Very careful with them.
32:52 --> 32:55 [SPEAKER_00]: So, yeah, you're totally right, Mark.
32:56 --> 33:01 [SPEAKER_00]: This is not a topic that we can ever bring up with David again for all the reasons we just stayed in.
33:03 --> 33:06 [SPEAKER_00]: So, thank you for your feedback.
33:06 --> 33:08 [SPEAKER_00]: We're going to continue to enjoy this show.
33:08 --> 33:10 [SPEAKER_00]: We might talk about it in another venue.
33:10 --> 33:18 [SPEAKER_00]: I don't know, but as of now, stick around and enjoy Stephen Eyes coverage of the original 79 alien.
33:23 --> 33:24 [SPEAKER_00]: that you're trapped.
33:41 --> 33:48 [SPEAKER_03]: Welcome to Concerns of Horror, the podcast that revisits classic horror films and other hope fiction.
33:49 --> 33:53 [SPEAKER_03]: Today we take a look at Ridley Scott's classic horror sci-fi film, Alien.
33:54 --> 34:03 [SPEAKER_03]: This is a movie that has it all, the tension of being separated from home, corporate greed, bloodthirsty aliens, and fighting in tiny underwear.
34:04 --> 34:06 [SPEAKER_03]: With me as always, is Dr. Anthony Lidon.
34:09 --> 34:10 [SPEAKER_00]: Very nice.
34:12 --> 34:13 [SPEAKER_00]: Well, let's just get into this.
34:13 --> 34:14 [SPEAKER_00]: Let's get into this thing.
34:16 --> 34:16 [SPEAKER_00]: Okay.
34:19 --> 34:22 [SPEAKER_03]: Much like the film The Suspense is killing me here.
34:26 --> 34:30 [SPEAKER_00]: Steve, as you know, we are covering Alien today.
34:31 --> 34:31 [SPEAKER_00]: Yes.
34:32 --> 34:34 [SPEAKER_00]: Are you prepared for this?
34:35 --> 34:35 [SPEAKER_03]: I am prepared.
34:38 --> 34:46 [SPEAKER_03]: to the degree that I've watched the movie very recently, yes, in terms of like, you know, am I prepared for what may transpire from this conversation?
34:46 --> 34:47 [SPEAKER_03]: I mean, who could be?
34:49 --> 34:55 [SPEAKER_00]: Well, the first question I have is what is your relationship to this franchise?
34:55 --> 35:01 [SPEAKER_03]: The later doctor, similar to what we talked about with Jaws, I think this may be my second time
35:05 --> 35:30 [SPEAKER_03]: only up until maybe earlier this year seen the movie aliens really yes in fact I think the first alien movie I ever saw was alien 3 I mean I understood the notion of alien had never seen the original alien nor had I seen aliens obviously and we all got very high
35:31 --> 35:39 [SPEAKER_03]: I fell asleep very early, and I nearly got three in Alien 3 and I woke up to the final scene.
35:40 --> 35:45 [SPEAKER_03]: I won't spoil it because I don't want to spoil a movie that's probably like 30 years old.
35:45 --> 35:46 [SPEAKER_03]: Yeah, 30 years old.
35:46 --> 35:52 [SPEAKER_00]: Well, for Game of Thrones fans, famously Charles Dance is in Alien 3.
35:52 --> 35:54 [SPEAKER_00]: Do you remember that part?
35:55 --> 35:56 [SPEAKER_00]: Did he show up during the time when I was asleep?
35:58 --> 36:14 [SPEAKER_03]: either a sleep or high yeah well yeah that's easy that was the both in most cases i know uh i know what Charles is said s-dutton in my correct and that uh from tv shows rock ROC isn't it you got me okay well that was good i just wanted to
36:15 --> 36:18 [SPEAKER_03]: I had to do something to take your Charles dance knowledge down.
36:20 --> 36:22 [SPEAKER_00]: Okay, so let me tell you my history here.
36:23 --> 36:33 [SPEAKER_00]: As you know, I was not a huge fan of horror films growing up, but I had seen aliens plural.
36:35 --> 36:40 [SPEAKER_00]: because I heard someone say, it may be the best action film ever made.
36:41 --> 36:46 [SPEAKER_00]: And this might have been in the 90s or whatever, but I thought, well, I should probably see this movie.
36:47 --> 36:55 [SPEAKER_00]: So I had seen aliens plural and in my mind, because my memory is faulty, Steve.
36:56 --> 37:00 [SPEAKER_00]: I had convinced myself that I had seen alien.
37:00 --> 37:03 [SPEAKER_00]: I had not seen alien until very recently.
37:04 --> 37:07 [SPEAKER_00]: Okay, so I had thought you have of course aliens awesome.
37:07 --> 37:23 [SPEAKER_00]: I love alien and then I you know Earlier this year I thought I should I should revisit alien and I realized I have not seen this movie Because I do not remember eating home in this movie
37:25 --> 37:26 [SPEAKER_03]: Right.
37:26 --> 37:26 [SPEAKER_03]: Yeah.
37:26 --> 37:31 [SPEAKER_03]: Alien considered horror, everything within the site, everything out of the sci-fi umbrella, right?
37:31 --> 37:37 [SPEAKER_03]: Uh, whereas Alien is considered horror and Aliens is considered action.
37:38 --> 37:39 [SPEAKER_00]: Interesting.
37:39 --> 37:39 [SPEAKER_00]: Yeah.
37:39 --> 37:45 [SPEAKER_00]: And because you could easily make a case that Aliens is horror as well,
37:46 --> 37:59 [SPEAKER_03]: Yeah, I think it may probably a horror action, but I think if you were if you're going to do the hierarchy I think action action more than like if you know how like if you have a weighted bourbon For it to be a bourbon, it's still must be at least 51% corn, but to be calling it weighted
37:59 --> 38:03 [SPEAKER_03]: It has to have your next highest match bill being wheat.
38:03 --> 38:10 [SPEAKER_03]: So this is a, maybe, the question is, is this a horrid action or is this an action to horror?
38:10 --> 38:11 [SPEAKER_03]: Like what would you consider it?
38:12 --> 38:15 [SPEAKER_03]: I would put aliens at probably 51% action.
38:16 --> 38:19 [SPEAKER_00]: Well, let's start with alien, because that's the one we're covering.
38:19 --> 38:24 [SPEAKER_03]: So, well, that's the way that this makes sense to talk about the movie that we're actually here to talk about.
38:24 --> 38:27 [SPEAKER_03]: I mean, that is, that's why you're running lead on this.
38:29 --> 38:32 [SPEAKER_03]: I feel like I'm doing play by play for a game we're not watching.
38:34 --> 38:37 [SPEAKER_00]: The way that this was marketed was absolutely a horror.
38:38 --> 39:04 [SPEAKER_00]: This is 1979, we had seen a few space operas, you know, the 1968 was 2001, you know, we, the first Star Wars was in the wild, then they marketed this film as Jaws in space and the trailer for this film famously said it was just alien and the subtitle was.
39:04 --> 39:08 [SPEAKER_00]: in space no one can hear you scream.
39:08 --> 39:16 [SPEAKER_00]: So to me that means you're gonna show me a horror flick and I don't think that this movie disappoints as a horror flick.
39:17 --> 39:17 [SPEAKER_00]: No, not at all.
39:18 --> 39:31 [SPEAKER_00]: Now, Aliens, the second one, absolutely certainly has some action aspects to it, and I'm thinking specifically of the final scene or the final fight scene or whatever, which maybe we shouldn't spoil.
39:31 --> 39:35 [SPEAKER_00]: But I mean, certainly has that feel to it.
39:35 --> 39:38 [SPEAKER_03]: How respectfully are we that we don't want to spoil movies that are this old?
39:39 --> 39:39 [SPEAKER_00]: I know.
39:39 --> 39:40 [SPEAKER_00]: I know.
39:40 --> 39:43 [SPEAKER_00]: We're, you know, we're quite something, you and I.
39:46 --> 40:04 [SPEAKER_00]: Yeah, okay, so my only other anecdote about my relationship with the franchise is that a few years back I was on the airplane and I decided to watch Prometheus Yeah, and I started watching that film on the plane I don't know if you've ever watched a film on a plane Steve, but it's a different kind of experience Mm-hmm.
40:05 --> 40:06 [SPEAKER_00]: It's never the same.
40:06 --> 40:11 [SPEAKER_03]: It's never it's never optimal I don't think you ever want to watch a movie for the first time on a plane.
40:11 --> 40:14 [SPEAKER_00]: Yeah, absolutely So I'm watching this on the plane and I'm thinking this is
40:15 --> 40:20 [SPEAKER_00]: This is a bad rip-off of alien, not realizing them.
40:20 --> 40:22 [SPEAKER_00]: That's a real existential connection.
40:22 --> 40:23 [SPEAKER_00]: It is part of canon.
40:25 --> 40:31 [SPEAKER_00]: And I didn't know that, and I was just thinking, these assholes are just ripping off alien.
40:33 --> 40:35 [SPEAKER_03]: Even they're even taking the director's name.
40:37 --> 40:37 [SPEAKER_00]: So judgy.
40:38 --> 40:39 [SPEAKER_00]: Just so judgy about it.
40:42 --> 40:45 [SPEAKER_00]: All right, Steve, do you have an elevator pitch for this movie?
40:46 --> 40:50 [SPEAKER_03]: Well, yeah, I mean, I was so the what the jaws and space was probably a really app.
40:50 --> 40:52 [SPEAKER_03]: Like, and give credit to jaws, right?
40:52 --> 41:00 [SPEAKER_03]: Cause like, then we talk about this is just everything that happens anywhere is jaws in and same thing where like, die hard, die hard was that way too.
41:02 --> 41:10 [SPEAKER_03]: on a bus under seizures like die hard in a submarine, die hard to is die hard in a worse movie.
41:12 --> 41:21 [SPEAKER_03]: So for alien I mean it's it's I mean my elevator pitch you're probably people you don't care about in an awful situation.
41:23 --> 41:27 [SPEAKER_00]: People you don't care about in an awful situation.
41:27 --> 41:27 [SPEAKER_00]: Yeah.
41:28 --> 41:30 [SPEAKER_00]: Is this because you're a dog guy and you don't like cats?
41:31 --> 41:31 [SPEAKER_00]: Is that what the
41:34 --> 41:36 [SPEAKER_03]: I don't know if it's my relationship with Tom Scarrett.
41:38 --> 41:41 [SPEAKER_00]: I love Tom Scarrett, how do you not like Tom Scarrett?
41:41 --> 41:46 [SPEAKER_03]: I don't dislike Tom Scarrett, but I don't know that I've ever been moved by Tom Scarrett.
41:47 --> 41:49 [SPEAKER_00]: Oh, I'm a big river runs through his fan.
41:50 --> 41:55 [SPEAKER_03]: Okay, see I'd to me Tom Skarrett is Which is the anti-action movie?
41:56 --> 41:58 [SPEAKER_00]: I don't know if you've ever run through it.
41:58 --> 42:00 [SPEAKER_00]: But it is as boring as it sounds.
42:00 --> 42:01 [SPEAKER_03]: Yeah, exactly.
42:02 --> 42:04 [SPEAKER_03]: Yeah, basically a river is going to do what a river is going to do.
42:04 --> 42:07 [SPEAKER_03]: It's going to be called watching the current.
42:09 --> 42:11 [SPEAKER_03]: Tom Skarrett is like the Bob Seeger of acting.
42:11 --> 42:12 [SPEAKER_03]: Okay.
42:13 --> 42:41 [SPEAKER_03]: which if it shows up cool I'm probably in but like let's say you're doing a music festival and and and Bob Seeger is like the final act that that's probably not a great music festival but a Bob Seeger is like middle that's you might be in something here and I'd feel like when Skara is like the lead guy yeah I'm like all right I
42:44 --> 42:45 [SPEAKER_03]: I'm here for something else.
42:45 --> 42:47 [SPEAKER_00]: Okay, I'm gonna push back on you.
42:47 --> 42:48 [SPEAKER_00]: Okay.
42:48 --> 42:49 [SPEAKER_00]: Are you ready for this?
42:51 --> 42:52 [SPEAKER_00]: Are you ready?
42:52 --> 42:53 [SPEAKER_00]: Are you ready for this?
42:53 --> 42:53 [SPEAKER_00]: Are you ready for this?
42:53 --> 42:54 [SPEAKER_00]: Yeah.
42:54 --> 42:55 [SPEAKER_00]: That was a rhetorical.
42:57 --> 43:00 [SPEAKER_00]: It's brilliant to make him the fall lead guy.
43:00 --> 43:01 [SPEAKER_00]: Because he's not the lead guy.
43:01 --> 43:03 [SPEAKER_00]: So, according to the others, the lead guy.
43:04 --> 43:07 [SPEAKER_00]: And to put Tom Scarrett in that role,
43:08 --> 43:18 [SPEAKER_00]: He's the perfect guy for that role because you're thinking, they probably could have chosen a better actor to play the lead guy, but he's just believable enough to think, yeah, why not?
43:18 --> 43:19 [SPEAKER_00]: Why not Tom's Garrett?
43:21 --> 43:28 [SPEAKER_00]: And then when you realize about 20 minutes into the movie, oh no, Sigourney Weaver's absolutely the lead guy in this.
43:29 --> 43:33 [SPEAKER_00]: Then you're happy to dismiss Tom's Garrett at that point.
43:34 --> 43:44 [SPEAKER_00]: Where is if you would have brought in a sort of a heavy hitter for that part, that transition to Sir Courtney Weaver would have felt a little different.
43:45 --> 43:50 [SPEAKER_03]: Well, so let me bring this element, here's my retort.
43:50 --> 43:54 [SPEAKER_00]: In 1979, we're the way that I'm not ready for it, let me get good news.
43:55 --> 43:58 [SPEAKER_03]: Yeah, my bad, I did not try to get you prepped.
43:58 --> 43:59 [SPEAKER_00]: OK, all right.
44:00 --> 44:01 [SPEAKER_03]: I'm ready.
44:01 --> 44:06 [SPEAKER_03]: In 1979, isn't Scarrett bigger, a bigger deal than us or any we were.
44:07 --> 44:07 [SPEAKER_00]: Yeah, probably.
44:07 --> 44:22 [SPEAKER_00]: I mean, I don't know their filmography, but I think that that's one of the great tricks that this movie plays is that this is going to be a female lead horror flick, and you would never know it within the first 20 minutes.
44:22 --> 44:27 [SPEAKER_00]: And so Tom Scare is a really nice sort of magicians.
44:29 --> 44:30 [SPEAKER_00]: What do you call it when I'm a magician?
44:31 --> 44:33 [SPEAKER_00]: Like, shows you one hand of them, does something with the other?
44:33 --> 44:34 [SPEAKER_03]: Slide of hand.
44:34 --> 44:35 [SPEAKER_00]: Yeah, yeah, there you go.
44:35 --> 44:37 [SPEAKER_00]: So Tom Scared is a really good slide of hand.
44:38 --> 45:00 [SPEAKER_03]: So, well, that may be the case, but if this is a true horror, like this actually falls right in line with the trope, writes Tom Scarrot, maybe the police officer that shows up on the scene and is, you're expecting to be the hero, but really the final girl is gonna be the one that has to eventually dispatch the creature, or the madman, or whatever, maybe.
45:01 --> 45:03 [SPEAKER_03]: So, I mean, in many ways, in so that's kind of, it does feel,
45:04 --> 45:08 [SPEAKER_03]: Prototypically horrific or horror in that in that regard.
45:08 --> 45:17 [SPEAKER_03]: Maybe I'm judging on too harshly about like people I don't care about but I mean like it's it's interesting because it does feel like you just you just kind of enter their world, right?
45:17 --> 45:18 [SPEAKER_03]: And I think that's intentional.
45:19 --> 45:24 [SPEAKER_03]: It's not like we've had a lot of backstory where we get enough we get enough the idea that the that the grunts.
45:24 --> 45:27 [SPEAKER_03]: on the, are feeling like they're not getting there.
45:27 --> 45:36 [SPEAKER_03]: They're due, because Harry, Dean, Stan, won't shut up about it, like, at all.
45:36 --> 45:42 [SPEAKER_03]: Like at some point, I think you just got, it was just just, let's deal with the, like, who are you talking to about this?
45:44 --> 45:45 [SPEAKER_00]: I think this is more of a Parker thing.
45:46 --> 45:53 [SPEAKER_00]: I mean, maybe the, the, the Brett character is sort of behind it, but it's the Parker character
45:56 --> 46:16 [SPEAKER_03]: They're not because I think even when they're down there in the next time after they talk about it during the after they're in their little galley that they go down into the whatever and uh, and he's just still going on about it and I think it's like the other guy even went to stop talking about he was talking about something else and yeah, no, I guess you're right.
46:16 --> 46:22 [SPEAKER_00]: The Harry Dean stand characters absolutely behind the whole uh, I don't know labor dispute.
46:23 --> 46:33 [SPEAKER_00]: But I feel like Parker's the mouthpiece for it, but I want to talk about that part of it too, because I really enjoyed that twist.
46:33 --> 46:37 [SPEAKER_00]: So, you know, we talked about some of these other films that had been put out, you know, we've got a 2001
46:39 --> 47:00 [SPEAKER_00]: You know, the great, you know, exploration, but either exploration with what AI can do or exploration with, you know, what we can find out in space and what we find out about ourselves in space, you have jaws where it's like, let's just, let's save human life, you know, like that's the absolute motivation of the characters, like,
47:01 --> 47:09 [SPEAKER_00]: We can't let this monster eat innocent people, you know, Star Wars is like the key motivation for these characters is let's do right by our friends.
47:11 --> 47:14 [SPEAKER_00]: What's the primary motivation for this crew?
47:14 --> 47:16 [SPEAKER_00]: It is to make money.
47:16 --> 47:17 [SPEAKER_00]: This is to get the job done.
47:18 --> 47:19 [SPEAKER_00]: It is capitalist driven.
47:20 --> 47:25 [SPEAKER_00]: They have to, they have to absolutely, they have to abide by their contract.
47:26 --> 47:28 [SPEAKER_00]: And that's the thing that gets them in the trouble.
47:28 --> 47:32 [SPEAKER_00]: They want better bonuses, but they absolutely have to abide by that contract.
47:33 --> 47:40 [SPEAKER_00]: And so the motivating factor in itself is part of the horror flick, and I enjoyed that part.
47:40 --> 47:47 [SPEAKER_03]: Right, and the whole detour, which really, I mean, you don't get a sense that anybody would have been on board with it.
47:47 --> 47:49 [SPEAKER_03]: Like, everyone's reluctant about it, but because
47:49 --> 47:51 [SPEAKER_03]: their paycheck is essentially at stake.
47:51 --> 47:52 [SPEAKER_00]: Yeah.
47:53 --> 47:55 [SPEAKER_03]: And so that is interesting, right?
47:56 --> 48:01 [SPEAKER_03]: So that is a good twist in the sense that these aren't heroes because they're heroic.
48:01 --> 48:07 [SPEAKER_03]: They're in this situation because that's the task that was handed to them.
48:08 --> 48:11 [SPEAKER_00]: And I think this goes back to yours elevator pitch, right?
48:11 --> 48:13 [SPEAKER_00]: So why do we care about these people?
48:13 --> 48:16 [SPEAKER_00]: I mean, we know why we care about the people in Star Wars, right?
48:17 --> 48:22 [SPEAKER_00]: Because they care about each other and they're likable people, you know, they want to save the galaxy.
48:22 --> 48:28 [SPEAKER_00]: And we know the way we care about the people in jazz, because they're vulnerable, they're like, they're raw humanity.
48:29 --> 48:34 [SPEAKER_00]: These people, these people are, they're motivated by money.
48:34 --> 48:35 [SPEAKER_00]: So why do we care about them at all?
48:36 --> 48:40 [SPEAKER_00]: And I think, I mean, I think I care about a few of these guys more than others.
48:40 --> 48:44 [SPEAKER_00]: I mean, absolutely care about Sigourney Weaver by the end of the film.
48:45 --> 48:46 [SPEAKER_00]: or else it wouldn't work.
48:47 --> 48:49 [SPEAKER_00]: Are you saying you don't even care about security weaver?
48:50 --> 48:52 [SPEAKER_03]: Not saying they don't care about security weaver.
48:52 --> 48:57 [SPEAKER_03]: I'm just, I guess when I say don't care about what I mean is these are people that you wouldn't care about.
48:57 --> 48:58 [SPEAKER_00]: That's right.
48:58 --> 49:01 [SPEAKER_03]: That doesn't mean that we don't care about them in this instance.
49:02 --> 49:07 [SPEAKER_03]: Because ultimately this would be like, if this was not in space.
49:07 --> 49:10 [SPEAKER_00]: They're not friends, they're not a family.
49:10 --> 49:13 [SPEAKER_00]: It's gonna be an old worker that are tolerating each other.
49:13 --> 49:17 [SPEAKER_03]: It could be an office where they're like, yeah, we're here for the weekend.
49:17 --> 49:18 [SPEAKER_03]: We've got to do this other task.
49:19 --> 49:28 [SPEAKER_03]: I just got this instructions that if we want to get our bonus, we've got to go and go up into the, you know, to the attic and we had to look for some files.
49:28 --> 49:30 [SPEAKER_03]: This is just a clerical thing.
49:30 --> 49:36 [SPEAKER_03]: This is ridiculous and then they go up there in the encounter, some sort of creature, which, by the way, I just wrote a movie.
49:39 --> 49:39 [SPEAKER_00]: All right.
49:39 --> 49:45 [SPEAKER_00]: So part of the reason I care about Sigourney Weaver is the cat.
49:46 --> 49:46 [SPEAKER_00]: It's the cat.
49:46 --> 49:47 [SPEAKER_03]: All right.
49:47 --> 49:48 [SPEAKER_03]: Put a pin at that.
49:48 --> 49:49 [SPEAKER_03]: I'm going to come back to that.
49:49 --> 49:50 [SPEAKER_03]: You do your thing.
49:50 --> 49:52 [SPEAKER_03]: And I'm going to tell you why the cat may be a problem.
49:53 --> 49:53 [SPEAKER_00]: All right.
49:55 --> 49:57 [SPEAKER_00]: I think that there is a problem.
49:57 --> 50:00 [SPEAKER_00]: And I think that you've got your finger on the pulse of the problem.
50:01 --> 50:06 [SPEAKER_00]: And that is we need a reason to care about these people because they're motivated by money.
50:07 --> 50:09 [SPEAKER_00]: they don't really like each other.
50:09 --> 50:16 [SPEAKER_00]: So why do we, you know, why do they're being commanded by some sort of AI thing called mother?
50:16 --> 50:17 [SPEAKER_00]: Right.
50:17 --> 50:21 [SPEAKER_00]: So it's not even their leader as sort of the soulless machine.
50:22 --> 50:24 [SPEAKER_00]: Why do we care about these people?
50:24 --> 50:35 [SPEAKER_00]: And the answer is maybe we don't, but by the end, Sigourney Weaver has to show her humanity in some way.
50:36 --> 50:41 [SPEAKER_00]: and her care for the cat is how they get me to care for her.
50:41 --> 50:42 [SPEAKER_01]: Hmm.
50:43 --> 50:43 [SPEAKER_00]: I've done.
50:43 --> 50:43 [SPEAKER_00]: All right.
50:43 --> 50:44 [SPEAKER_00]: I'm done.
50:44 --> 50:44 [SPEAKER_00]: I'm all done.
50:46 --> 50:59 [SPEAKER_03]: The issue with the cat, it seems incongruous to me that somebody who was willing to let a coworker person die for the greater good of maintaining quarantine.
51:00 --> 51:07 [SPEAKER_03]: Yeah, yes, would be like, oh, there's a cat loose where there's an alien loose.
51:08 --> 51:14 [SPEAKER_03]: I should probably jeopardize the escape to go get that cat.
51:16 --> 51:25 [SPEAKER_03]: That's that scene could work a whole lot better in a movie that was different prior to that.
51:26 --> 51:42 [SPEAKER_03]: Okay, because so I mean, I understand the necessity of the cat in in the grander scheme of like you said there's a humanization because she's been fairly cold and and but I don't know that she's had a relationship with this cat.
51:42 --> 51:48 [SPEAKER_03]: I mean, the cat means purpose has been to just for jump scares up into this point.
51:49 --> 51:55 [SPEAKER_00]: And I don't think so, I think she pets the cat a few times when they're eating the cats on the table like sitting right next to her.
51:56 --> 51:58 [SPEAKER_03]: So you think she can't deal with people as well as she can deal with cats.
51:59 --> 52:09 [SPEAKER_00]: It's very well, I very well could be, but here's the other thing about this that I feel like there's a transition in the movie that goes from protocol to like total chaos.
52:10 --> 52:19 [SPEAKER_00]: So early on, everything's about protocol that, you know, they're welcome up because the AI mother wants them to go explore this planet.
52:20 --> 52:23 [SPEAKER_00]: And the big question is like, look, there's a contract.
52:24 --> 52:26 [SPEAKER_00]: You're not going to get a better bonus.
52:26 --> 52:27 [SPEAKER_00]: You're going to have to read your contract.
52:27 --> 52:28 [SPEAKER_00]: If you don't go to the death of the planet.
52:29 --> 52:31 [SPEAKER_00]: You're not going to get your paycheck.
52:31 --> 52:32 [SPEAKER_00]: You got to read the contract.
52:33 --> 52:38 [SPEAKER_00]: So Courtney Weaver is not supposed to let the guy in because of contamination.
52:39 --> 52:41 [SPEAKER_00]: She's like going by protocol.
52:41 --> 52:44 [SPEAKER_00]: Everything at that point is protocol protocol.
52:44 --> 52:46 [SPEAKER_00]: And everyone sort of has their duty.
52:47 --> 52:49 [SPEAKER_00]: They've got this hierarchy of rank.
52:49 --> 52:54 [SPEAKER_00]: And then what happens is that Ash decides he's going to break protocol.
52:54 --> 52:57 [SPEAKER_00]: And he's going to let the contaminated guy in.
52:58 --> 53:02 [SPEAKER_00]: And at that point, it's a corny weaver's kind of like kicking against goats.
53:02 --> 53:05 [SPEAKER_00]: She's like, hey, what about protocol?
53:05 --> 53:07 [SPEAKER_00]: And Tom Scarrett's like, eh, come on, come on, come on.
53:08 --> 53:11 [SPEAKER_00]: At that point, everything goes to chaos.
53:11 --> 53:14 [SPEAKER_00]: And no one really knows what they're supposed to do.
53:14 --> 53:20 [SPEAKER_00]: And then, of course, the chaos presents itself in another way with the actual alien on board.
53:21 --> 53:26 [SPEAKER_00]: At that point, it becomes less about protocol and more about just holding back the chaos.
53:27 --> 53:32 [SPEAKER_00]: And so in Sigurdie Weaver goes to get the cat, it's because the rules have changed.
53:32 --> 53:33 [SPEAKER_00]: That's my point.
53:33 --> 53:35 [SPEAKER_03]: The rules have changed.
53:35 --> 53:35 [SPEAKER_03]: Yes.
53:35 --> 53:39 [SPEAKER_03]: So you think she's a letter of the law not the intent of the law?
53:39 --> 53:44 [SPEAKER_00]: I think the earlier in the movie, she was letter of the law, she wanted to follow the rules.
53:44 --> 53:56 [SPEAKER_00]: And then when everything else around her, when everyone else around her kind of like throws the rules against the wall and it kind of shatters, she has to figure out how to hold back the chaos.
53:57 --> 53:57 [SPEAKER_03]: Okay.
53:58 --> 54:00 [SPEAKER_03]: I just feel like that's fine.
54:00 --> 54:09 [SPEAKER_03]: But then you just saw that this alien lays eggs into cane.
54:09 --> 54:10 [SPEAKER_00]: Yeah, that's right.
54:11 --> 54:12 [SPEAKER_03]: You don't know what you have.
54:12 --> 54:15 [SPEAKER_03]: The cat can't tell you what it's interaction with this alien has been.
54:16 --> 54:17 [SPEAKER_03]: You don't know anything about this alien.
54:19 --> 54:20 [SPEAKER_03]: you don't get the cat.
54:21 --> 54:23 [SPEAKER_03]: It seems problematic to me.
54:23 --> 54:25 [SPEAKER_03]: I could, and I'm right there with you.
54:25 --> 54:28 [SPEAKER_03]: I was like, oh, well, this is kind of a moment where it's like, look, this is a crisis moment.
54:30 --> 54:34 [SPEAKER_03]: She's on the verge of being alone, maybe the idea, like, she doesn't want to leave it.
54:34 --> 54:35 [SPEAKER_03]: Now she doesn't want to leave anyone behind.
54:36 --> 54:36 [SPEAKER_03]: That's whole different.
54:37 --> 54:45 [SPEAKER_03]: That could be a turning point for this character, but it just doesn't work for me.
54:50 --> 54:59 [SPEAKER_03]: Well, there's a couple of things that don't work for this is a very obnoxious sounding movie Okay, wait before we go there.
54:59 --> 55:03 [SPEAKER_00]: I want to say one more thing about the cat I want to say one more thing about the cat.
55:04 --> 55:09 [SPEAKER_00]: I want to say that there's a lot of motherhood themes in this movie
55:11 --> 55:14 [SPEAKER_03]: And what's it with the with the a I called mother perchance?
55:15 --> 55:31 [SPEAKER_00]: Well, I'm just saying that that's the way it starts But you can name like 50 others and it was very conscious and what they wanted to do We're Ian home looks like he's spitting up after breastfeeding after he gets out of the way Sorry, I think Indeed indeed that's part of it
55:32 --> 55:45 [SPEAKER_00]: I mean, what they were trying to do with this film was they were trying to make 1975 men who were very insecure about their masculinity, feel vulnerable, deep down, you know, deep down.
55:45 --> 55:51 [SPEAKER_00]: They were basically using feminine images to scare men in 1979.
55:52 --> 55:57 [SPEAKER_00]: So I think that there's something about Sigourney Weaver's relationship to the cat that's important
56:04 --> 56:06 [SPEAKER_00]: It might be a whole six weeks until she gets to eat again.
56:06 --> 56:17 [SPEAKER_03]: Yeah, well, it's, it's, it's the old, uh, proverb writing, uh, give a man a cat, feed him for a night, teach a man a cat, feed him for a lifetime.
56:20 --> 56:22 [SPEAKER_00]: All right, so tell me about the music here.
56:22 --> 56:34 [SPEAKER_03]: Well, the music is probably the least of my, this movie is relentless for a good chunk of this film about just with the beeps and the blurps and and the alarms, I mean, it is.
56:36 --> 56:37 [SPEAKER_03]: And I think it's intentional, right?
56:37 --> 56:44 [SPEAKER_03]: But it's unsettling almost to a point where like I was getting agitated.
56:44 --> 56:46 [SPEAKER_00]: Well, I think that was the point, right?
56:46 --> 56:49 [SPEAKER_03]: But it just like for anything.
56:49 --> 56:52 [SPEAKER_03]: Like not like in scenes where like, oh, this is gonna be dramatic.
56:53 --> 56:54 [SPEAKER_03]: Where it's just like, oh, there's just there.
56:54 --> 56:59 [SPEAKER_03]: And it's just like, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah,
57:00 --> 57:06 [SPEAKER_03]: for a movie that would implies, you know, a certain amount of, well, in space, no one can hear you scream, I'm like, well, I can hear everything.
57:08 --> 57:16 [SPEAKER_03]: I, I hear too much, the reason why no one can hear you scream is not because space is so vast and empty, but because there's so much other freaking noise.
57:19 --> 57:22 [SPEAKER_03]: It wasn't enough to be a car, so keep in mind.
57:22 --> 57:24 [SPEAKER_03]: I like this movie, I think this movie is very effective.
57:25 --> 57:27 [SPEAKER_03]: I think it holds up really well, I think.
57:28 --> 57:47 [SPEAKER_03]: the alien is is fantastic to look at um i think i think i i think the big reveal at the end where you find out that the reason why so go any weaver is is so on edge is not so much because she's rigid and by the book it's because her underwear's got to be incredibly uncomfortable the entire journey
57:48 --> 57:51 [SPEAKER_00]: Yeah, she's she's wearing like a four-year-old's underwear.
57:52 --> 58:14 [SPEAKER_03]: The Nostromo issued underpants are an app that that look I understand you're trying to you're trying to cut costs, but good lord All right, so like so was she would like when they first started the journey I can assume she was seven And then when she cryogenically woke up as an adult person
58:15 --> 58:18 [SPEAKER_03]: I mean, Tom, thanks, underwear in big fit, better.
58:18 --> 58:28 [SPEAKER_00]: All right, so I think I think that you've already hinted at this, but let's talk about, does the movie hold up?
58:29 --> 58:29 [SPEAKER_00]: Yeah, yeah.
58:32 --> 58:48 [SPEAKER_00]: I mean, here's here's the thing with this is that I think that part of the appreciation for this movie is that you know that it had an impact in that time in place and its DNA gets imprinted on so many other movies, right?
58:49 --> 58:55 [SPEAKER_00]: And like the chess burser it's just totally iconic and yet
58:56 --> 59:22 [SPEAKER_00]: the chasperister if you look at the chasperister it runs away that's my favorite part it's a little bit like you know i don't know like grover when he's in his super grover outfit running away i mean he is that thing is full on uh like one of those old race car tracks we used to have the takeout yeah he just gone straight gone
59:24 --> 59:30 [SPEAKER_03]: Yeah, I mean as far as as far as effects go, that's probably like the worst effect in the whole movie.
59:30 --> 59:32 [SPEAKER_03]: It's the most iconic thing about the movie though.
59:33 --> 59:40 [SPEAKER_03]: But you could imagine that scene pops out of the chest and then you just hear it scary away and they're looking for it.
59:41 --> 59:41 [SPEAKER_03]: It's perfectly fine.
59:42 --> 59:47 [SPEAKER_03]: But that thing we're just running towards you, but as straight as can be, it's just in one pose.
59:48 --> 59:54 [SPEAKER_03]: It's just what I watched by children play with action figures, you know, and they just don't even try to make the legs move.
59:59 --> 01:00:02 [SPEAKER_00]: Yeah, I mean, it's, it's a pretty great scene.
01:00:03 --> 01:00:03 [SPEAKER_00]: It's an iconic scene.
01:00:04 --> 01:00:10 [SPEAKER_03]: Well, the scene, up until that moment, I mean, the acting that goes on in that sequence is really impressive.
01:00:11 --> 01:00:23 [SPEAKER_00]: Famously, I mean, this has been, this is sort of an internet lore, but famously, really Scott did not tell the actors what was going to happen, as far as the actual effects.
01:00:24 --> 01:00:34 [SPEAKER_00]: And so when the, when the chest burst or came out of the dummy's body or whatever, they were legitimately surprised.
01:00:34 --> 01:00:39 [SPEAKER_00]: And I don't know why one of them at least didn't laugh because that thing looked like
01:00:41 --> 01:00:56 [SPEAKER_00]: with this little under-buy ring, I mean, I can see watching it for the first time and feeling like horrified by it, but I couldn't help it laugh.
01:00:58 --> 01:01:00 [SPEAKER_00]: Yeah.
01:01:01 --> 01:01:03 [SPEAKER_00]: So for me, okay, does it hold up?
01:01:03 --> 01:01:08 [SPEAKER_00]: Yes, and in the same way that Jaws holds up, you know, you were mentioning in Jaws that
01:01:09 --> 01:01:13 [SPEAKER_00]: You know, you could see the hinge in the, in the jaws mouth or whatever.
01:01:13 --> 01:01:14 [SPEAKER_00]: Right.
01:01:15 --> 01:01:21 [SPEAKER_00]: For me, it was like, you know, the chest Brewster is a little bit, uh, I'll tell you what though that face sucker thing.
01:01:23 --> 01:01:23 [SPEAKER_00]: Yeah.
01:01:25 --> 01:01:26 [SPEAKER_00]: That's a net, it's a nightmare.
01:01:26 --> 01:01:28 [SPEAKER_03]: It is a nightmare.
01:01:28 --> 01:01:32 [SPEAKER_03]: Yeah, that one, that's, that's a, that whole, yeah, that's that egg sequence.
01:01:33 --> 01:01:33 [SPEAKER_03]: Yeah.
01:01:35 --> 01:01:35 [SPEAKER_03]: It got me.
01:01:35 --> 01:01:37 [SPEAKER_03]: Like it's still, it was like just the whole, the
01:01:39 --> 01:01:42 [SPEAKER_03]: I was, like, there's a lot of the, like, what are you doing?
01:01:42 --> 01:01:46 [SPEAKER_03]: You don't know, you know, like, why would you do that kind of a thing that goes on in horror movies?
01:01:48 --> 01:01:54 [SPEAKER_03]: But this one, I kind of, I kind of understood, you know, it's like, you're there.
01:01:55 --> 01:01:57 [SPEAKER_03]: And it's like, on one hand, I'll be here, be terrified.
01:01:57 --> 01:01:59 [SPEAKER_03]: But the other hand, you're like, I don't know what I'm looking at.
01:01:59 --> 01:02:03 [SPEAKER_03]: Like, there's kind of a, there's this sense of genuine curiosity.
01:02:03 --> 01:02:04 [SPEAKER_03]: And he looks at it.
01:02:06 --> 01:02:08 [SPEAKER_03]: you know, he doesn't know what he's about to encounter.
01:02:08 --> 01:02:13 [SPEAKER_03]: Now for me, I assume everything I don't understand is trying to kill me.
01:02:14 --> 01:02:17 [SPEAKER_03]: So I have a different approach than obviously this individual.
01:02:18 --> 01:02:27 [SPEAKER_03]: But but I thought that whole sequence was and it was done so well when they like and then they the edit as soon as it like jumps into his face and then time takes him down.
01:02:27 --> 01:02:28 [SPEAKER_03]: That whole sequence
01:02:36 --> 01:02:37 [SPEAKER_03]: Right.
01:02:37 --> 01:02:37 [SPEAKER_03]: So I mean, it does.
01:02:37 --> 01:02:39 [SPEAKER_03]: That's your jaws hinge.
01:02:39 --> 01:02:40 [SPEAKER_03]: Yeah.
01:02:40 --> 01:02:40 [SPEAKER_03]: Yeah.
01:02:40 --> 01:02:44 [SPEAKER_03]: Is the entirety of they made the entire alien out of the jaws hinge at that point?
01:02:45 --> 01:02:45 [SPEAKER_00]: Right.
01:02:45 --> 01:02:56 [SPEAKER_00]: I think that if you were completely shocked, let's say you're in the movie in 1979 and you're seeing that for the first time, you're completely shocked by that so that whatever comes next, you're so disoriented.
01:02:56 --> 01:03:00 [SPEAKER_00]: You're not going to be able to be a critic in the way that we are being critics of it.
01:03:01 --> 01:03:14 [SPEAKER_03]: Well, and if you recall what it was like to watch Star Wars in the theater when we were young, our expectation without necessarily even thinking about it, our expectation for what effects on a movie screen could be.
01:03:14 --> 01:03:42 [SPEAKER_03]: they were calibrated to a certain expectation right we didn't you put a guy in a garbage can and given like Michelin man legs yeah yeah that's a robot we see stop motion stop motion clash of the titan scenes and no one's like we were just like that's what that's that's it that's a that's a scene so yeah i think there's two things like i said the the effectiveness of the scene prior to it and probably the expectation of like i don't think there was that same degree of a critical i
01:03:43 --> 01:03:51 [SPEAKER_03]: Like, because I mean, Jurassic Park, you know, you look at Jurassic Park at the time, and it was like, what are my eyes even seen?
01:03:51 --> 01:03:53 [SPEAKER_03]: This isn't saying these dinosaurs there.
01:03:53 --> 01:04:01 [SPEAKER_03]: You watch it now, even on like 4K, and I'm like, well, yeah, I mean, they're a little flat, you know, it's the colorings different, you know, you see that.
01:04:03 --> 01:04:11 [SPEAKER_03]: Because also, that's the advantage of a rewatch, is that you look at it now with a little bit more of a discerning eye, and you lose some of the magic, right, of that first experience.
01:04:12 --> 01:04:16 [SPEAKER_00]: My first thought when I saw the chess puristor, he's kind of cute.
01:04:17 --> 01:04:18 [SPEAKER_00]: Yeah, a little bit.
01:04:19 --> 01:04:22 [SPEAKER_00]: I wonder who's cute or each year this chess puristor?
01:04:23 --> 01:04:24 [SPEAKER_03]: Well, and I thought about that a lot actually.
01:04:24 --> 01:04:26 [SPEAKER_03]: I was like, why is he cute?
01:04:26 --> 01:04:28 [SPEAKER_03]: Is he cute because he's small?
01:04:28 --> 01:04:33 [SPEAKER_03]: And I liked the idea that I liked to think that they intentionally made him a little cute because it's just,
01:04:33 --> 01:04:37 [SPEAKER_03]: In regardless of creature, babies are always just a touch-cuter.
01:04:38 --> 01:04:41 [SPEAKER_03]: Yeah, they're, they're, they're kind of an exaggerated version.
01:04:41 --> 01:04:44 [SPEAKER_00]: Those little jaws with the silver teeth, I mean.
01:04:44 --> 01:04:50 [SPEAKER_03]: Yeah, the idea that he's cute seems both authentic and contradictory.
01:04:50 --> 01:04:52 [SPEAKER_03]: Like I want to know, I'm like, yeah, well, he's kind of cute like that.
01:04:52 --> 01:04:58 [SPEAKER_03]: Like they, and then it's even more interesting, the fact that, oh, this thing is terrifying, and it's adorable.
01:05:00 --> 01:05:04 [SPEAKER_00]: All right, let's talk about how fast this thing goes up.
01:05:04 --> 01:05:06 [SPEAKER_03]: Yeah, I'd like to see that thing's underwear.
01:05:11 --> 01:05:18 [SPEAKER_00]: This thing goes from Alvin and the chipmunk to Harry and the Henderson's in like a space of an hour.
01:05:20 --> 01:05:24 [SPEAKER_03]: Yeah, yeah, I mean, as far as we're understanding the time, for sure.
01:05:24 --> 01:05:27 [SPEAKER_03]: And we see, we see like one of its multi-discine.
01:05:29 --> 01:05:32 [SPEAKER_03]: And it was like, it went from that to like, well, I guess I'm giant now.
01:05:35 --> 01:05:38 [SPEAKER_00]: The, the multid scanner, whatever that Harry didn't stand picks up.
01:05:38 --> 01:05:43 [SPEAKER_03]: Yeah, when he finds the, the alien condom, it's actually made of condoms.
01:05:43 --> 01:05:45 [SPEAKER_03]: Yeah, so you were expecting to be a little bigger.
01:05:46 --> 01:05:51 [SPEAKER_03]: And then it's, yeah, then it's to campaign with tumble.
01:05:54 --> 01:05:55 [SPEAKER_03]: Who is this movie made for?
01:05:57 --> 01:05:59 [SPEAKER_03]: I think it's a general audience, right?
01:05:59 --> 01:06:05 [SPEAKER_03]: I think it's a general adult audience, because I think there's something, it doesn't feel so sci-fi.
01:06:05 --> 01:06:12 [SPEAKER_03]: I mean, it's sci-fi, but it doesn't feel so sci-fi that you're gonna get caught up in the tactical side, right?
01:06:13 --> 01:06:20 [SPEAKER_03]: And I think that goes back to what you were saying is that these are just their workers, their worker beasts, essentially, right?
01:06:20 --> 01:06:24 [SPEAKER_03]: I mean, they're on the ship, but like, I not mix them a little bit more relatable
01:06:28 --> 01:06:42 [SPEAKER_03]: who who has and they defer to them are a lot right you don't really he gets a little sciencey but a lot of it's like hey that's where you're the science officer and that kind of feels like that helps a kind of like the lay person be like yeah I wouldn't get it either and don't explain it to me
01:06:43 --> 01:06:44 [SPEAKER_03]: let that guy figure out.
01:06:44 --> 01:06:44 [SPEAKER_03]: Sure.
01:06:45 --> 01:06:45 [SPEAKER_00]: Yeah.
01:06:45 --> 01:06:54 [SPEAKER_00]: I think it's for people who enjoyed like 2001, Star Wars, they just thought, we need a space movie.
01:06:55 --> 01:06:57 [SPEAKER_00]: And for some reasons, space movies are selling.
01:06:57 --> 01:06:59 [SPEAKER_00]: So let's do Jaws and Space.
01:07:00 --> 01:07:04 [SPEAKER_00]: And I think it was the right, it was the exact right time for this particular
01:07:07 --> 01:07:12 [SPEAKER_00]: is glacially slow, you know, talk about sci-fi.
01:07:12 --> 01:07:16 [SPEAKER_00]: I mean, if you're not into sci-fi, you are absolutely not going to like them, movie.
01:07:16 --> 01:07:22 [SPEAKER_03]: Right, and I just like that movie so much that it almost made me hate sci-fi.
01:07:23 --> 01:07:26 [SPEAKER_00]: Okay, I loved it, of course, because I'm a river around so it kind of guy.
01:07:27 --> 01:07:30 [SPEAKER_00]: And then, of course, you got Star Wars on the other end of it.
01:07:31 --> 01:07:34 [SPEAKER_00]: you know, which is sort of it's more of an action.
01:07:34 --> 01:07:36 [SPEAKER_00]: I mean, you could argue it.
01:07:36 --> 01:07:37 [SPEAKER_00]: It's not sci-fi at all.
01:07:37 --> 01:07:42 [SPEAKER_00]: It's it's fantasy at, you know, fantasy adventure.
01:07:42 --> 01:07:54 [SPEAKER_03]: Yeah, I think fantasy is a really good way to put that because there is it's sci-fi because it's in space and there's robots and all that, but but it does follow more of the fantasy ideals than it does.
01:07:56 --> 01:08:02 [SPEAKER_03]: I think maybe that's also, maybe that's part of the reason why the prequels aren't as well regarded.
01:08:02 --> 01:08:14 [SPEAKER_03]: I mean, there's a few reasons, but maybe it dips its toe a little bit more in the science fiction and the sense that it by it being more political, by trying to have some other sort of statement, it becomes less fantasy and more and more science fiction.
01:08:15 --> 01:08:22 [SPEAKER_03]: And maybe that's a, that's a, that's a, that's a jarring part of for the, for the, the audience that it had cultivated, right?
01:08:22 --> 01:08:42 [SPEAKER_00]: Well, regardless of that, this movie is like right in that sweet spot, where as Star Wars was a little bit too action-adventure for you, or a little bit too, you know, I don't know, Disneyland for you, and 2001 was a little bit too, I know, philosophical or something.
01:08:43 --> 01:08:50 [SPEAKER_00]: This movie, I mean, this is the perfect space movie for this particular moment in film history.
01:08:52 --> 01:08:59 [SPEAKER_00]: Yeah, the thing I want to talk about is the fact that when the alien gets into the escape pod, he just lounge in there.
01:09:00 --> 01:09:01 [SPEAKER_00]: Is he stuck?
01:09:03 --> 01:09:07 [SPEAKER_00]: He's completely horizontal and it looks like he's on a shelf.
01:09:08 --> 01:09:09 [SPEAKER_01]: Yeah.
01:09:09 --> 01:09:10 [SPEAKER_00]: And he's not.
01:09:10 --> 01:09:12 [SPEAKER_00]: He looks like he just needs a nap.
01:09:13 --> 01:09:14 [SPEAKER_03]: Yeah, what's he doing?
01:09:14 --> 01:09:17 [SPEAKER_03]: And then, like, she has to go through a variety of things.
01:09:17 --> 01:09:20 [SPEAKER_03]: They have to kind of to spook him to get him out.
01:09:22 --> 01:09:24 [SPEAKER_00]: Well, why is he just laying there?
01:09:26 --> 01:09:27 [SPEAKER_03]: I don't know.
01:09:27 --> 01:09:27 [SPEAKER_03]: I don't know.
01:09:27 --> 01:09:29 [SPEAKER_00]: I mean, he put the all-tuckered out, I guess.
01:09:31 --> 01:09:32 [SPEAKER_03]: Is he molting again?
01:09:32 --> 01:09:32 [SPEAKER_00]: Maybe.
01:09:33 --> 01:09:35 [SPEAKER_00]: I mean, maybe.
01:09:35 --> 01:09:37 [SPEAKER_00]: Who knows what it's motivations are.
01:09:37 --> 01:09:41 [SPEAKER_00]: What is a little bit weird to see him be so aggressive.
01:09:42 --> 01:09:44 [SPEAKER_00]: And then not at all.
01:09:45 --> 01:10:02 [SPEAKER_03]: Right, because he's like, it sees Tom Scarrett and he reaches right out of, you know, picking up people slamming his second face into their face and and he's right there next door and he's just like, She's like, oh, she's like, well, I'm gonna go get changed and he's like, well, it's fine.
01:10:02 --> 01:10:03 [SPEAKER_03]: I'm all tangled up in here.
01:10:03 --> 01:10:04 [SPEAKER_03]: I don't know what I was thinking.
01:10:05 --> 01:10:09 [SPEAKER_00]: You know what, what was happening is it's not until she actually puts on clothes.
01:10:10 --> 01:10:11 [SPEAKER_00]: That's when he gets upset.
01:10:14 --> 01:10:15 [SPEAKER_00]: Yeah, it's a fair amount of this thing.
01:10:16 --> 01:10:26 [SPEAKER_00]: He is he's absolutely only going to attack bad fashion Apparently I Maybe he was being respectfully like, look, I won't give you a fighting chance.
01:10:26 --> 01:10:26 [SPEAKER_03]: Look at this underwear.
01:10:27 --> 01:10:36 [SPEAKER_03]: You can't Yeah, I don't I mean there's I don't I don't know I don't know I live
01:10:37 --> 01:10:57 [SPEAKER_03]: And yeah, that's I'm glad you brought that up because I was a lot of times like well just convenient that he's just laying down and kind of caught in whatever that was like he actually had to go out of his way to hide in that Did you you've been fine up into this point The the mouth within a mouth is really cool.
01:10:58 --> 01:11:06 [SPEAKER_00]: I'm I'm going to say that right away But but what but why is it look like a pest dispenser?
01:11:08 --> 01:11:25 [SPEAKER_03]: It comes out so yeah, I mean it doesn't I mean it it's interesting about the alien It's like it feels and I think it's intentional if I remember looking at some of the the artwork But it feels like it's it's organic with a touch of of like metal, right?
01:11:25 --> 01:11:30 [SPEAKER_00]: Yeah, it looks a little metal, but the teeth also look a little metal, right?
01:11:30 --> 01:11:34 [SPEAKER_00]: And it's blood is acid, so it does feel like but it's drool is not
01:11:35 --> 01:11:36 [SPEAKER_00]: That's true.
01:11:36 --> 01:11:37 [SPEAKER_00]: Yeah, that's yeah.
01:11:37 --> 01:11:38 [SPEAKER_00]: Whatever, whatever it is.
01:11:40 --> 01:11:40 [SPEAKER_00]: Okay.
01:11:41 --> 01:11:45 [SPEAKER_00]: Steve, is this movie better than a Ron Howard flick?
01:11:45 --> 01:11:46 [SPEAKER_00]: Yes.
01:11:46 --> 01:11:46 [SPEAKER_00]: Okay.
01:11:47 --> 01:11:47 [SPEAKER_00]: I agree.
01:11:47 --> 01:11:49 [SPEAKER_00]: What is your Howard writing?
01:11:49 --> 01:11:51 [SPEAKER_03]: I think it's a Howard plus three.
01:11:51 --> 01:11:52 [SPEAKER_00]: Howard plus three.
01:11:54 --> 01:11:55 [SPEAKER_00]: I'm going to go Howard plus five.
01:11:56 --> 01:11:56 [SPEAKER_03]: Okay.
01:11:57 --> 01:11:57 [SPEAKER_00]: I agree.
01:11:58 --> 01:12:01 [SPEAKER_00]: Because of the place it occupies in movie history,
01:12:02 --> 01:12:06 [SPEAKER_00]: I'm going to go, I'm going to give it even a couple notches above Howard plus three.
01:12:07 --> 01:12:10 [SPEAKER_00]: I was genuinely grossed out by the face sucker.
01:12:11 --> 01:12:12 [SPEAKER_03]: Yeah.
01:12:12 --> 01:12:14 [SPEAKER_00]: To me, that was the scariest part of the film.
01:12:15 --> 01:12:23 [SPEAKER_03]: No, I think that that's, and I think that by creating a, the create a landscape, the create a setting that, um,
01:12:24 --> 01:12:48 [SPEAKER_03]: in and of itself is like it's it's what is it and I think anything this is bears repeating like how you can really put together this sort of capitalist venture it's just a job like this is a future and it's sort of like kind of take some of the romance out of space and and sci-fi a little bit sure what it's like you know what what would we do as a people if we had the ability to create these massive ships and we would immediately
01:12:53 --> 01:13:07 [SPEAKER_03]: commodity exchange we would we would turn it into something profitable and there would be people that worked in it in such a way that you know It's like instead of it being these heroic fighter pilots and these space guardians.
01:13:07 --> 01:13:12 [SPEAKER_03]: It's just yeah I'm a mechanic that works on on this
01:13:13 --> 01:13:15 [SPEAKER_03]: It's like, like a cruise ship or something, you know?
01:13:15 --> 01:13:23 [SPEAKER_03]: So it's, so I think that that's kind of interesting how they demystified space at the setting.
01:13:23 --> 01:13:25 [SPEAKER_03]: Like the setting of it is, it's just a job.
01:13:25 --> 01:13:31 [SPEAKER_03]: But then they incorporate then what would be like sort of the magic of sci-fi and space.
01:13:31 --> 01:13:32 [SPEAKER_03]: Like there's an alien, right?
01:13:32 --> 01:13:33 [SPEAKER_03]: There's a different creature.
01:13:33 --> 01:13:38 [SPEAKER_03]: And this is, and then on top of it, it's one that's just, it's, it's help vent on destruction.
01:13:38 --> 01:13:39 [SPEAKER_03]: And these people are not,
01:13:40 --> 01:13:43 [SPEAKER_03]: They're not trained for this, right?
01:13:43 --> 01:13:50 [SPEAKER_03]: So your thought would be, well, if you're in space fighting aliens, you're probably trained to fight in space against aliens.
01:13:51 --> 01:14:03 [SPEAKER_03]: And the fact that these folks weren't, and it was almost like the perfect kind of scenario to acquire a space alien, because you're like, look, it'll get on board because these are people, and they'll will let it on board most likely.
01:14:04 --> 01:14:06 [SPEAKER_03]: And look, we don't care if anybody comes back.
01:14:07 --> 01:14:08 [SPEAKER_03]: We just want the ship to come back.
01:14:08 --> 01:14:10 [SPEAKER_03]: So when you have it on, not a pilot and all that.
01:14:10 --> 01:14:16 [SPEAKER_03]: And so I think that that's an interestingly different horrific notion than even the alien, right?
01:14:16 --> 01:14:23 [SPEAKER_03]: It's the whatever plot was behind this, whether the alien was good, batter, whatever.
01:14:23 --> 01:14:23 [SPEAKER_03]: They didn't care.
01:14:24 --> 01:14:25 [SPEAKER_03]: This was really just a way to get there.
01:14:25 --> 01:14:29 [SPEAKER_03]: I mean, that part becomes like, that's the horror within the horror, right?
01:14:30 --> 01:14:44 [SPEAKER_00]: There's a lot of parallels here with Star Trek, just the whole sort of like, the bridge crew, you know, the different, you know, you got the engineers, you got the science officer, you got the captain, you got the arguments between the first officer and the captain.
01:14:45 --> 01:14:47 [SPEAKER_00]: but it's almost like the anti-star track.
01:14:48 --> 01:14:49 [SPEAKER_00]: It's like everything's dirty.
01:14:49 --> 01:14:51 [SPEAKER_00]: Everything is kind of gross.
01:14:51 --> 01:14:53 [SPEAKER_00]: These are like these humans have not figured out anything.
01:14:54 --> 01:14:55 [SPEAKER_00]: It's not like there'll be on commerce.
01:14:56 --> 01:14:59 [SPEAKER_00]: It's a vision of the future that's really dirty, right?
01:14:59 --> 01:15:02 [SPEAKER_00]: So I recently watched the director's kind of this movie.
01:15:03 --> 01:15:08 [SPEAKER_00]: And I liked it and there was one major change at the end.
01:15:09 --> 01:15:11 [SPEAKER_00]: that I think improve the movie.
01:15:12 --> 01:15:19 [SPEAKER_00]: So do you remember in aliens when they find the humans that are basically being used as cocoons?
01:15:20 --> 01:15:20 [SPEAKER_00]: Yeah.
01:15:21 --> 01:15:25 [SPEAKER_00]: And I think one of the guys says kill me, you know, he wakes up and says kill me or something like that.
01:15:25 --> 01:15:25 [SPEAKER_00]: Right.
01:15:26 --> 01:15:33 [SPEAKER_00]: That, okay, so that basically that is a premise for the deleted scene that I saw in the director's cut.
01:15:34 --> 01:15:36 [SPEAKER_00]: When she's about to escape,
01:15:38 --> 01:15:46 [SPEAKER_00]: And when she leaves, she goes into this little cocoon area that the alien has set up.
01:15:47 --> 01:15:54 [SPEAKER_00]: And you actually see Tom Scarrett in that cocoon, I don't know, he's still alive, basically.
01:15:55 --> 01:15:55 [SPEAKER_03]: Interesting.
01:15:56 --> 01:15:58 [SPEAKER_00]: And he's all, he's been all cocooned up.
01:15:58 --> 01:16:02 [SPEAKER_00]: And then he says, he says, kill me, and she kills him with a blowtorch.
01:16:03 --> 01:16:04 [SPEAKER_00]: And I thought,
01:16:05 --> 01:16:26 [SPEAKER_00]: you know what that might solve the cat problem because if she leaves because I don't know why you know she leaves to go do that to kill Tom scared or to find him and kill him or whatever it's not like she has to leave because of the cat you could do that in a way where she thinks well maybe I could still save
01:16:27 --> 01:16:40 [SPEAKER_03]: Dallus like if you heard him call out or something something like that she goes up there She goes up there sees that now you know, he's she's up there to save him or at least He says he says kill me.
01:16:40 --> 01:16:51 [SPEAKER_00]: That's it's always a really effective gross thing Yeah, and she does and then she goes back and now the alien is taking an app right there We go there you go.
01:16:52 --> 01:16:53 [SPEAKER_00]: There you go right there.
01:16:53 --> 01:16:54 [SPEAKER_00]: So I don't know.
01:16:54 --> 01:16:55 [SPEAKER_00]: I think Ridley Scott
01:16:56 --> 01:17:16 [SPEAKER_00]: wanted to include that and I don't think that a lot of fans think of that as canon But I enjoyed I enjoyed the director's cut is that the only major difference that you can recall There was only one I found and then I went online and someone pointed out that she's sort of more definitive on not letting
01:17:17 --> 01:17:36 [SPEAKER_00]: the the cane character back into the into the ship um but I I felt like the theatrical cut was pretty adamant as well yeah so yeah I would be curious to see what that looks I I definitely thought that that was pretty clear
01:17:37 --> 01:17:40 [SPEAKER_00]: Yeah, I told the, I think that they told that part of the story pretty well.
01:17:40 --> 01:17:47 [SPEAKER_00]: She was the only one that wasn't going to do it, and they overwrote her, you know, her instructions to do it.
01:17:48 --> 01:17:50 [SPEAKER_00]: So, all right, one more little thing about this movie.
01:17:50 --> 01:17:59 [SPEAKER_00]: I learned that this part, the Sigourney Weaver part, was originally meant for a male character.
01:18:00 --> 01:18:00 [SPEAKER_02]: What's the right?
01:18:01 --> 01:18:05 [SPEAKER_00]: And they decided to put her in the role, but they didn't change much of the lines.
01:18:06 --> 01:18:17 [SPEAKER_00]: So I wonder, like, in retrospect, sort of Sigourney Weaver's Ripley in this world has become this, I don't know, feminist icon kind of, right?
01:18:18 --> 01:18:25 [SPEAKER_00]: And I wonder if the guys who made this film were kind of feminist on accident.
01:18:26 --> 01:18:33 [SPEAKER_00]: Like, you know, maybe they sort of created something that was important, but didn't know really what they were doing.
01:18:36 --> 01:18:36 [SPEAKER_03]: Um, yeah.
01:18:36 --> 01:18:41 [SPEAKER_03]: I mean, again, I got what I would have assumed that they did that intentionally because they were following the horror trope.
01:18:41 --> 01:18:48 [SPEAKER_00]: But um, well, I mean, clearly they decided to do all these motherhood themes throughout the film.
01:18:49 --> 01:18:54 [SPEAKER_00]: And so maybe that's why they decided to actually make the main character a mother type.
01:18:54 --> 01:18:59 [SPEAKER_00]: I could see why someone like Sigourney Weaver would have been important to bring on.
01:19:00 --> 01:19:16 [SPEAKER_00]: uh... but then choosing not to change the lines at all that's that that's also a conscious choice uh... that is interesting i don't know if they do it that information i probably want to do it uh... uh...
01:20:29 --> 01:20:32 [SPEAKER_01]: Come on, and a cocoon of horror.