0:00

Hey there, floppers. This is Elliot speaking. Before we

0:02

begin this week, let's be nice and call it

0:04

nonsense. I just want to make

0:06

sure you knew about the live show stuff we

0:08

have coming up, in case you miss it later

0:11

in the episode or just can't wait to hear

0:13

about it. We are still in the streaming window

0:15

for the Flophouse Sinks Speed 2, our virtual online

0:17

video event. Just go

0:19

to stagepilot.com/speed, and you will see

0:21

that whole show with exclusive footage

0:24

that the in-theater audience didn't get

0:26

to see through

0:28

May 19th. After May 19th, of course,

0:30

it goes back to the Flophouse vault, where it

0:32

will never be seen again for a long time.

0:35

Then on May 24th, we will be in Oxford,

0:37

England as part of the St. Audio Podcast Festival.

0:40

We're doing two shows in one night, 7 p.m. and

0:42

9 p.m. Two totally different shows, totally

0:44

different movies, totally different presentations, totally different

0:46

questions. It'll be great. And then for

0:48

something even more completely different, on

0:51

July 26th, we will be in Boston

0:53

in person at WBUR City Space. We

0:56

don't know what movie we're doing yet, but it'll be a fun

0:58

show. It's going to be all new stuff. You're going

1:00

to love it. So that's the Flophouse Sinks Speed 2,

1:02

streaming now in Oxford May 24th

1:04

and in Boston July 26th. And now

1:06

on with our regular nonsense. Hey

1:13

there, folks. Welcome to

1:16

another Flophouse mini. That's a

1:18

mini episode of the Flophouse Podcast, a podcast where we

1:20

watch a bad movie and talk about it. And

1:23

though normally on a mini, we just kind of do

1:25

whatever we want. Today we're going to be doing something

1:27

a little bit different. We're going to be talking about

1:29

a movie we watch. Can we do something different than

1:31

whatever we want? Good point. It

1:34

implies that someone's forcing us to do this. That

1:37

is actually kind of what's happening because I'm forcing

1:39

Dan and Elliot to talk about the thing I

1:41

want to talk about today. Uh-huh. Uh-huh.

1:45

Which is we are

1:47

opening up the old movie

1:49

minute mailbag and pulling out

1:51

the first Flophouse mini.

1:54

I believe the first Flophouse mini we

1:56

did was a missed that movie. I

1:58

could be wrong. But I'm pretty sure it

2:00

was a miss that movie. And that's kind of what we're going

2:02

to do today. We're going to talk about a, a

2:05

movie that we did not cover for the podcast, but

2:07

in a way we are going to be kind of

2:09

covering it for the podcast. But before we get to

2:11

that, I'd like to introduce

2:13

myself. My name is Stuart Wellington. I'm

2:15

one of the hosts and joining me are, uh, I'm

2:18

Jamec. I'm sure wondering why mailbag was in there

2:20

other than to be another M word. And

2:24

I'm Elliot Kalin and you're right. McCoy could have been the other

2:26

M word. Oh God.

2:30

Swipe out mailbag and put in McCoy.

2:34

Anytime I said mailbag, just swap it out

2:36

for McCoy like a mad lib. Mad

2:39

lib starts with them too. Wow.

2:43

What doesn't start with that? Well, the movie we talked, we're

2:45

going to be talking about, we're talking about a movie that

2:47

starts with, well, it kind of does start with in them.

2:50

And it's the second letter. It's the runner up to the main

2:52

word in the title. Okay.

2:56

Okay. Wait, wait, wait, wait, wait, wait. Well,

2:59

I can salvage this guy. Okay. Impossible.

3:02

Now we get this back on the rails.

3:04

Okay. This is fine. Okay. Thanks again for

3:06

listening. If this is your first episode, don't

3:08

go the line. Yeah. Find a different

3:11

one. Your

3:13

first episode, throw your phone in the ground. Very it

3:16

never tell anybody about what happened. So

3:18

before I talk about what we're going to do

3:20

on this episode, let's give a little back, okay,

3:22

please. Taking the page

3:24

from me. So a couple of weeks ago, uh, I

3:28

went out for a movie date with my favorite

3:30

movie date in the world. That's right. Dan McCoy.

3:33

And we went out to a screening

3:35

at the night Hawk part of their

3:37

ridiculous sublime, uh, screening series, uh,

3:40

that's hosted by our friend Christina

3:42

Caccio, a long time friend of

3:44

the flophouse. Um, and

3:46

this is a, what a monthly screening series

3:49

they do. I believe so. And, uh, it's

3:51

been, uh, bangers so far.

3:53

I hope it keeps going on forever. It's a

3:55

great series bangers all the way down. I think

3:57

a previous recommendation prison was part of that.

4:00

the series and don't tell her it's

4:02

me. Uh, I don't, was

4:04

that part, I guess I think it must've been because

4:06

no, I'm asking you, Dan, should I tell her it's

4:08

me? Oh, just

4:11

kidding. That's a movie that is also known

4:13

as the boyfriend school. I just, I, just

4:15

because you brought it up, I have to

4:17

say that like, so Stewart and I, um,

4:19

do you have to say it

4:21

Stewart and I, and, uh, our

4:24

friends, Matt and Cassinia introduced a screening

4:26

of the boyfriend school at the Nighthawk

4:28

cinema, which is in part kind of

4:30

a weird, like anniversary screening of the

4:32

fact that one of the first things

4:34

that the flophouse ever screened was programmed

4:37

by Christina. And we watched don't tell

4:39

her it's me. Uh,

4:41

so we all came back yet. It wasn't

4:43

even like a big, it was like the

4:45

11th anniversary. It wasn't like a round number

4:47

or anything, but we were hosting the screening.

4:50

And before that there was a trailer for

4:52

prison and we had friends of the audience.

4:55

Not, not the thing. Yeah.

4:57

Not the thing. The movie. Uh, we had, we

5:00

had pals in the audience coming out to

5:02

see us do this, uh, screening and there

5:04

was like this huge reaction to this trailer

5:06

for prison, the next film in the series.

5:08

And so, so many of those people came

5:10

back for that movie. And then

5:13

before prison, there was a trailer

5:15

for the ambulance, what Sue was about to talk

5:17

about. And there was such a huge reaction to

5:19

that trailer. Bunch of people came back. They're really

5:21

selling these movies based on like good old trailers

5:24

for these things. So Dan, Dan and I went

5:26

and saw the ambulance written and directed by Larry

5:28

Cohen. Um, and what we're going to do is

5:30

we're going to talk a little bit about that

5:33

movie, but Elliot, I have a feeling you haven't

5:35

seen the ambulance in quite a while. Yes. I

5:37

saw it years, years ago, but I've not seen

5:39

it in a long time. So I don't really,

5:42

I remember kind of stuff about the basic premise,

5:44

but I don't really remember the movie very well.

5:46

So maybe, uh, what we're going to

5:48

do is we're going to take a second. We're

5:50

going to watch the trailer. I think, uh, over

5:52

the course of this episode, we'll probably reference a

5:54

couple of trailers. There'll, those will maybe be linked

5:56

in the show notes. And if not, you might

5:58

just have to use all your. own if

6:00

you want to follow along with the flomp house just

6:02

use your googling skills to watch some of these movie

6:04

trailers so we're gonna start with

6:07

the ambulance starring Eric Roberts written and directed

6:09

by Larry Cohen so why don't we

6:11

why don't we roll this first trailer the

6:18

ambulance if you call for help you're

6:21

dead so

6:25

that's the exact same trailer they played

6:28

before prison so you can see why

6:30

the audience got all worked up and

6:32

had to show up for the next

6:34

you need to the right of spring-style

6:37

riot yeah the

6:39

very specific like the

6:41

very last line I

6:43

love first off I

6:46

don't know that trailer just reminds me so

6:48

much of how much I miss the

6:50

trailer guy voice you know the

6:52

who like coaches you through what's

6:54

gonna happen to be honest

6:56

I think a lot of trailers nowadays are

6:59

not very good and no through

7:01

no fault of the people making them because they're not

7:03

allowed to use or the style went out for using

7:05

voiceover narration I think having a voiceover that can just

7:07

kind of fill in gaps in a in an exciting

7:10

way and so much trailer like trailers be much better

7:12

if you had someone who could just be just tell

7:14

you a little bit of the story and honestly I

7:16

wonder I mean maybe I'm wrong I wonder if it

7:19

has made screenplays

7:22

dumber in a way where like they

7:24

insist on having a few lines

7:27

that could just be pulled out in the

7:29

trailer to explain maybe yeah it's possible yeah

7:31

some moments of exposition they can throw in

7:33

their cell yeah the ambulance is

7:36

a movie from 1990 written and directed by

7:38

Larry Cohen it's got that grimy

7:40

New York feel stars

7:43

Eric Roberts who plays a cartoonist

7:45

working for Marvel Comics so we the

7:48

complicated we get to see Stanley himself

7:50

that's the part I remember yeah I

7:52

himself it was the first it

7:54

was his first acting role in

7:56

a movie I believe and one of his

7:59

largest parts yeah Yeah. Yeah. We

8:01

get to see the inside of

8:03

Marvel Studios, which apparently is very

8:05

inaccurate for actual Marvel Studios at

8:07

the time. And

8:10

so the premise of the movie is like,

8:12

Eric Roberts has an amazing mullet and

8:14

he wears a lot of great suits. Wait, that's the premise?

8:17

Yeah. And

8:19

he, it becomes obsessed with a woman

8:21

he sees whenever he takes his

8:24

lunch break. Of course, it's Janine Turner. So it makes

8:26

sense that he's obsessed with her because there's

8:28

a period of time where she was the hottest woman on

8:30

the planet. You may remember her as the female

8:33

lead in Northern Exposure, a show that

8:36

has just come to Amazon

8:38

Prime. So we've started rewatching it or

8:40

Audrey for the first time. Uh-huh. So

8:43

you might also know that she's in the movie, Cliffhanger,

8:45

which rules. And

8:47

he becomes obsessed with her only to

8:50

follow her around. And then she collapses in

8:52

the street and is picked up by a

8:54

mysterious ambulance that whisks her away. And

8:57

when he tries to track her down, he

8:59

is unable to. Is this mysterious ambulance a

9:01

murder machine? It could be that he tried,

9:03

the problem might be that he tries to

9:05

track her down by showing around this drawing

9:07

that he has done of her that looks

9:09

more like a Nagel painting than a Demi

9:12

Turner. Which is like, I feel

9:14

like I'm not the best artist in the

9:16

world and I certainly don't work for Marvel Comics. No,

9:18

don't put yourself down, Stuart. I think you are.

9:20

I feel like you're in the conversation. Yeah, I

9:22

think you're the best artist. You're certainly in the

9:25

top three. Yep, thank you. Elliot

9:27

is being the voice of my therapist. I'm gonna

9:30

do my best. I shouldn't minimize

9:32

myself in front of the audience. But I

9:35

think that I could probably do a quicker sketch

9:38

of Jeanine Turner, the more

9:41

accurate version, certainly. He's

9:43

like shopping around this sketch of her

9:45

with a word bubble that says, like,

9:47

have you seen me? I think it's

9:49

very good. Luckily,

9:55

walking around with this drawing, he manages

9:57

to bump into her roommate somehow. and

10:00

he buys her the largest pina colada I've ever

10:02

seen in my life. And

10:04

you're a bartender, you're a professional. I'm a bartender,

10:06

I've seen plenty of pina coladas. This

10:09

is a lot of pina colada, am

10:11

I right? Along the way, he runs

10:13

a file of the police. Yeah,

10:16

yep, I'm sorry. Okay, hold on, we have

10:18

to pause. He rolled over your joke, yeah.

10:20

Okay. We haven't been working

10:22

together that long, yeah. Along

10:24

the way, he runs a file of the police, and

10:27

we are introduced to James Earl Jones, he plays

10:29

a police detective. Dan, so

10:31

Eric Roberts' performance is a little big,

10:33

right? Yeah.

10:36

How do you describe James Earl Jones?

10:38

Eric Roberts, a man who is not

10:41

afraid to go big has gone big

10:43

for this, what could have

10:45

been played as a utterly normal leading man

10:47

role, but he decides to- That's

10:49

not what Eric Roberts does. Eric Roberts does

10:52

not play normal people. And meanwhile- James Earl

10:54

Jones bring the gravitas, he usually brings to-

10:56

Well, that's the thing, if you want to

10:58

see James Earl Jones cut loose, if you're

11:00

like, sure, you know, respected

11:03

actor James Earl Jones, as you say, brings

11:05

the gravitas, if you want to see him

11:07

instead, do sort of like

11:10

his gum chewing spin on a, you

11:14

know, a cop,

11:16

a police chief in an old

11:19

Superman serial, say, then

11:23

that's kind of what he's bringing to the

11:25

table here. Now, Elliot, having watched the trailer,

11:27

do you remember any of the movie or

11:29

is this like a- I'm

11:32

remembering more of it than I thought. I had

11:34

forgotten, I'd remember that it was like, the ambulance

11:36

takes people to a place where they die. I

11:39

can't really remember why or what, but

11:41

there's scenes in it that I remember now from

11:43

the, like when he's, I had forgotten, but the

11:46

part where he's strapped to a, like

11:48

a gurney bed in the back of the ambulance

11:50

and kind of wills himself out of the back

11:52

of the ambulance through the

11:54

power of shaking slightly, that part I

11:56

had forgotten, but now it's coming back to me. So

11:58

Larry Cohen, I would- Do you remember, do

12:00

you remember it? Does Academy Award winner, Red Buttons, how

12:02

does he come off in the middle? Oh

12:05

my God. Red Buttons is, there's a period

12:07

in this, in the middle of this movie

12:09

that turns into an Eric Roberts, Red Buttons

12:12

buddy detective movie, a

12:15

team up. You never in a million

12:17

years would have thought you needed, but it's great.

12:19

It's like all of a sudden Red Buttons comes on

12:22

and just grabs steering wheel. And he's like, we're going

12:24

where I want to go. And

12:28

I mean, I feel like Larry Cohen

12:30

is a specific type of like Schlockmeister,

12:33

who puts out some really

12:35

great junk, like really great,

12:37

very entertaining junk. And

12:39

I feel like so much of his work,

12:42

and we're going to be talking about some of his

12:44

other movies later, uh, but so

12:46

much of his work is based on him, like seeing

12:48

something normal and being like, what if that thing

12:51

was scary? Yeah. Yeah. Yeah. Very much. I feel

12:53

like, I feel like ambulance, the ambulance is very

12:55

much alike. What I've instead of an

12:57

ambulance came to pick you up for safety.

12:59

It picked you up for bad things. Yeah.

13:02

I will. Larry Cohen is so

13:04

known for, as you say,

13:07

these high concept grabby premises,

13:09

like, you know, like this,

13:11

you got, it's alive with like a monster baby. We'll

13:14

get into some of them, but

13:16

I think that what's interesting

13:18

to me is he actually doesn't sort

13:20

of rest on his laurels with those premises.

13:22

I think a lot of actual, you

13:25

know, big budget blockbusters are like, okay, we got

13:27

a great idea done. Whereas

13:29

he's like, no, the audience has to

13:31

be entertained at all moments. And what

13:34

struck me about the ambulances, he, the

13:36

movie is perfectly happy to waste time

13:38

on characters acting weird or doing like

13:40

funny bits of red buttons. He's

13:43

doing funny bits. Yeah. And

13:46

in the meantime, like stuff that like

13:48

normally would be in a normal movie,

13:50

like characters sort of getting to know

13:52

each other and relationships developing or like,

13:55

like the plot mechanics needed to get you

13:57

to one place to the next. Like he stripped that down.

14:00

to the bone and

14:02

you're like, yeah, you've seen a movie before you get

14:04

it, you know, and it's really entertaining. They're

14:06

like, Oh, the people that are all missing, uh,

14:08

they all have a diabetes. And then like a

14:10

woman gets a woman gets strangled as

14:13

a way for the bad guys to get

14:15

to Eric Roberts and they're like, that woman

14:17

who just died, she also has. Wait,

14:21

how's that figure? And you killed her. Doesn't

14:23

make any sense. Why did that have to happen? He's

14:25

someone who Larry Cohen is one of these guys who

14:28

I think is a, he

14:30

exists kind of halfway between the schlock

14:32

world and the, and

14:34

the respectable world, his work and like, he's someone who

14:36

gets more respect than your average Schlockmeister. But yeah, you

14:38

watch his stuff and you're like, this is someone who

14:40

knows how a movie works and is deciding at different

14:42

points, but we're not going to do it that way

14:44

this time. Like we're going to, yeah, it's all, it's,

14:46

I'm going to do the most out of things. And

14:49

he's, I'm exciting about that. Yeah. And

14:51

each scene, it feels like they're like, we

14:54

could block it out and have choreography like

14:56

choreographed this fight sequence, or these guys can

14:58

just wrestle on camera for a minute and

15:00

we'll see how it shakes out. Uh,

15:03

there's like car chases where James Earl

15:06

Jones is chasing the ambulance and he's

15:08

chewing gum the whole time and seeming

15:10

kind of bored, but then they'll cut

15:12

to shots of like cars whizzing through

15:14

the rainy mean streets of New York.

15:17

It's great. Uh,

15:19

over the course of the movie, we discover, yeah,

15:21

that the, uh, these, this ambulance is picking up

15:23

people so that they can, uh, test

15:25

drugs on them. Uh,

15:28

and then eventually dispose of their

15:30

bodies and they're doing this in,

15:32

uh, what, like the

15:34

second floor of apartment buildings

15:37

of dance clubs. Yeah. He

15:40

eventually, uh, you know, he tracks the, uh,

15:42

it goes back and forth where he gets

15:44

taken away by a different ambulance. He

15:47

you're worried about these guys coming after

15:49

him. The whole premise is that like,

15:51

he, it could lean into

15:53

the idea that Eric Roberts doesn't know if

15:55

he's like imagining things or not, but that

15:57

is not the case, he is a hundred

15:59

percent. correct. Uh,

16:01

he, this ambulance is bad. The

16:03

cops eventually side with him, but

16:06

it does become this weird buddy comedy. Um,

16:09

and then of course there's a big

16:11

showdown in a dance club that features

16:13

the ambulances, the titular ambulances

16:15

parked in the club in the center

16:17

of the club. And then the bad

16:20

guy drives it around inside before driving

16:22

through a wall or a doorway. Yeah.

16:25

Why is this, why is this

16:27

kitschy interesting club decoration gassed up and

16:29

ready to go? It

16:32

turns out as a killer ambulance. It's

16:34

just, it's, it's this wild thing of

16:36

like it. The one thing that I

16:38

love about the movie is that it's

16:40

constantly like coming up with new ways

16:42

to be interesting, even if that doesn't

16:44

necessarily relate to what was going

16:46

on before. And

16:50

of course, like Eric Roberts is giving one of

16:52

those like career all time performances where you're like,

16:54

this guy's a pro. He knows,

16:56

he knows what this movie needs is a

16:58

lot of life and energy and he, you

17:00

know, he brings it. It's

17:02

great. Yeah. This is a movie that no

17:05

one is acting normally in this film. No

17:08

one is acting like sort

17:10

of your basic model

17:12

human. You know, it's a movie that

17:15

where Larry Cohen was like, what if

17:17

everyone was like

17:19

really weird in some way and

17:22

they exhibited it in most

17:24

scenes and I'd even forgotten there's

17:26

a whole sequence where James Earl

17:28

Jones is what assistant, the

17:32

other, the police, the other, the lady

17:35

becomes more important. Yeah. Like shows

17:37

up in uniform initially to mainly

17:40

remind James Earl Jones about

17:42

his schedule. She then spends the

17:46

rest of the movie helping Eric

17:48

Roberts track down this ambulance, but

17:52

she's not in uniform anymore and they kind of fall

17:54

in love. And there's a lot of scenes where you're

17:56

like, are they going to try and do like a

17:58

love scene, but they kind of don't. It's

18:01

very fascinating. I wish I remembered more

18:03

of the movie because honestly I was

18:05

fucking wasted. Wow,

18:08

this is a real twist from the end of the

18:10

ambulance here. Not what I expected. Wow. Yeah,

18:13

no, I love that. I love the way

18:15

that woman who eventually becomes sort

18:17

of the female lead is

18:19

introduced where she's reminding James

18:21

Earl Jones about his dentist

18:24

appointment. And he yells at her like mad

18:26

that she's in his business, mad that she

18:28

knows his schedule, and then she reminds him

18:31

for something else. He's like, get out. And

18:33

then he gives a little fly smile where

18:35

you're like, he likes it. So

18:39

weird. And then of course he has a death scene

18:41

that is one of the strangest things I've ever seen.

18:43

See, I don't remember that part. What happens to him?

18:46

So he's shooting, you know, he's

18:48

having like a, he's playing chicken with

18:50

the ambulance. Yeah. He's like shooting.

18:53

He's trying to shoot the ambulance, right? And

18:56

he eventually like the, the ambulance runs him over

18:58

it, like, you know, it

19:01

hits him and he's chewing gum at the time. And

19:03

then he rolls over on his back and

19:06

he's still chewing gum as he dies.

19:08

Yeah, but it becomes a sort

19:10

of mechanical, like, you know, death

19:12

slows down. Yeah. Chewing. And

19:15

he does it in this like death

19:17

like Richter's grin of chewing. And

19:21

the ambulance is not, there's nothing supernatural, right? No, no,

19:23

it's not. It's

19:27

the idea. So the movie, it's the

19:29

problem is really not the ambulance so

19:31

much as the people driving the ambulance.

19:33

Yes. It's not like the ambulance is

19:35

a character. It's not like Christine or

19:37

something. Yeah. I mean, it's literally a

19:39

car. I'm not going to name the names

19:41

of the other movies because

19:43

then it would be spoilers for those movies, but it's one of

19:45

those, like, the medical profession is,

19:47

uh, you know, stealing

19:49

people for tests and such kind of movies. You

19:52

know, one of those kind of movies. Now, there

19:54

are other ones. The three measures is or whatever.

19:56

Now, eventually they track down the... I

20:00

apologize, I shouldn't have. That's the

20:02

one that we all promised on our,

20:07

on the souls of our parents, never to reveal what

20:09

was going on in it. Yeah, yeah,

20:11

well when we went to go see Extreme Measures, we're

20:13

like, I wonder how these measures are. You

20:16

think they're normal? I remember when... Regular measures.

20:19

I remember when Michael Apted came out after the

20:21

screening and said, please, don't ever reveal the twist

20:23

of what's happening in Extreme Measures. And I was

20:25

like, are you gonna do any of those movies?

20:27

And he goes, I have to wait seven years

20:29

in between them. I wish I didn't... I

20:32

wish I had given them a different name, so I didn't have

20:34

to wait so much time between them. Anyway. So

20:37

one of the fascinating things about this movie

20:39

is that Eric Roberts' character is obsessed with

20:41

Janine Turner and his, like, driving forces that

20:43

he wants to try and find this woman

20:45

and save her. This woman he believes is

20:47

in danger. A woman he

20:49

has only seen from afar and then

20:52

had one conversation with her in the street.

20:55

That's all... And he knows

20:57

she's diabetic. Eventually, he tracks

20:59

her down... He tracks her down in this, like, weird medical

21:01

ward above a dance club. And

21:06

they're, like, rescuing all the people

21:08

who were patient prisoners of the

21:10

ambulance operation. And he

21:12

finally gets to have a conversation with her, and

21:15

she's obviously overjoyed that she's been saved, and she's

21:17

like, can you

21:19

call my boyfriend and tell him I'm okay? And

21:22

Eric Roberts walks away so sad,

21:24

and he's like, boyfriend, what a

21:26

bitch. It's

21:28

like such a... That, like, Matt Berry's

21:31

snuffbox bit, where he's like... As

21:34

soon as each woman mentions a boyfriend, he just,

21:36

like, smashes her. He's,

21:39

like, carrying a fish tank for one of them, and he's like,

21:41

well, I'll be helping with that, my lady. And then he sees

21:43

his boyfriend, and he just drops it. A

21:46

brilliant turn by the movie, because, like, when you... He's our

21:48

hero, and he does eventually help a bunch of people, but we

21:51

are introduced to him being, like, a

21:53

real pest-a-jean Turner. And so

21:55

it is a funny turnabout for her to be like... Yeah, I

21:58

have a boyfriend. That's

22:00

why I was trying to brush you off. Like you

22:02

didn't have to like go through all the, you

22:05

didn't even clarify that. She's just like, yeah,

22:07

yeah. You could just tell my boyfriend. I'm

22:09

okay. But it's a good antidote

22:11

to movies that are like, well, you

22:13

know, the guy rescued her. So now

22:16

they're together, I guess. If

22:18

you're enough of a pest to the point that

22:20

you'll defeat a criminal organization. Yeah,

22:24

no, it's a, it's a wild, funny,

22:26

fun movie. So that

22:28

was the ambulance. Now, Larry Cohen, as, as

22:30

we mentioned, has a huge, uh, as a,

22:32

as a pretty big career of as both

22:34

a writer and a director. And I want

22:36

to talk a little bit about some of

22:38

these movies, both that primarily focusing

22:41

on things that he's written, but ideally things

22:43

that he's both written and directed. And I've

22:45

collected a collection of trailers kind of going

22:48

through his career. Now, I think one of

22:50

the big ones is the it's alive series.

22:52

Now, what have you guys seen any of

22:54

the it's alive movies? I've seen it's alive.

22:57

I've not seen any sequels to it's alive.

23:00

I've seen it's alive and the two sequels,

23:02

but I strangely, actually, maybe I've

23:04

never seen the second one. I remember it's alive.

23:06

I know very well. And it's alive three Island

23:08

of the alive. I remember very well, but it's

23:10

alive. It lives again. The second one, maybe I

23:13

haven't seen it actually. Now all, uh, the

23:16

third one probably thought ever was showing on

23:18

monster vision. Obviously

23:20

the premise of this one is what

23:22

if a baby, but scary, right? Um,

23:25

and, uh, also I gotta say that

23:28

this is a perfect example of how

23:30

I feel like Larry Cohen's movies also

23:32

all had banger posters, my

23:35

posters poster. Yeah.

23:37

The poster for it's alive. And then

23:39

the poster for it's alive three Island

23:41

of the alive, which is the same

23:43

baby bassinet just sitting on a beach.

23:47

Not a visual medium. Perhaps you can say

23:49

what the poster is. That's what I just

23:51

said. It's a bat, a baby bassinet shot

23:54

from behind the exact same one. That's in

23:56

the, on the cover of the original. It's

23:58

alive movie. But we

24:00

didn't even clarify that. No, we should. The first one.

24:02

So the first movie, there's a baby bassinet and it's

24:04

kind of like a claw coming out of

24:06

it. Yeah. And it's not one of the all

24:08

time great movie taglines. There's only one thing wrong

24:11

with the with the Davis baby. And then at

24:13

the bottom, it's alive. Like what

24:15

a great that there's only one thing wrong with it.

24:17

It's it's literally that it's alive

24:19

because it's a monster. But it's

24:22

it's a perfect movie poster because

24:24

it raises just as many questions.

24:26

It's answers. Yeah. Like what is

24:28

it? Yeah. What is it? Okay. So

24:30

they okay. Yeah.

24:33

Um, so why don't we fire up some

24:35

of these trailers? If you guys are familiar

24:37

with the first it's alive. We don't necessarily

24:39

need to see that trailer. Okay. Yeah. It's

24:41

it's great. But it it is mainly clips

24:43

from the movie. The the next two trailers

24:45

are actually much shorter. Let's just do the

24:47

second or third one just because he's a

24:49

lot of the trailers here. Okay.

24:54

It's alive baby is back again. Only

24:57

now there are three of them. It's

25:03

alive part three island

25:05

of the alive. Don't see it alone.

25:11

Okay, guys. So that's that's alive. So

25:14

that it's alive again that it lives

25:16

again. Trailer is it's

25:18

a work of art. It was it was that's maybe

25:20

the most punctury trailer I've ever seen.

25:23

Yeah. Well, remember the it's alive baby. Well,

25:26

there's three of them now. It

25:28

lives again the movie. So you see a

25:31

cake with a little claw

25:33

footprint in it. I love

25:35

that. And then so

25:37

but I love it's

25:39

alive three of the trailer because I had

25:41

no idea. This is where the series went.

25:44

Starts off with Hey, remember

25:46

those babies? I mean, like again, it's like, Hey,

25:48

those babies where we put them. We put them

25:51

on an island. The

25:53

crazy thing about that movie is so the babies

25:55

are growing up. They're older now. And they're on

25:58

this island, but they still look like. babies

26:00

like they still you know they don't

26:02

become grown-ups interesting you know there's still

26:04

baby monsters and me and so just

26:07

real quick the premise of

26:09

it's alive is that it's

26:11

a that

26:14

like medical like

26:16

medical experimentation has been causing

26:19

babies to be born monsters right okay

26:23

trying to remember I don't is it I think I

26:25

thought it was waste of some kind I thought it

26:27

was like it was it was I can't

26:29

remember that they go down to like the like they're

26:32

in the sewers or viaducts or something

26:35

using the sewers to travel around even though

26:42

the baby is a newborn it has an intense

26:44

understanding of public municipal infrastructure

26:46

yeah the baby has claws and

26:48

sharp teeth and what's good so what

26:50

I like in that movie is that the dad

26:52

is like we got to kill this thing but then when

26:54

he's confronted with it he's like this is my this

26:57

is my child you know and it's

26:59

kind of goofy and silly but the second

27:01

one I don't think I have seen but there's more of

27:03

them is it and

27:05

they do have I think the later

27:07

ones have Michael Moriarty or is he in

27:09

the first one as well I mean he

27:11

seems to be a Larry Cohen special he's

27:13

in a lot like he's in Q he's

27:15

in a lot of Larry Cohen stuff yeah

27:18

apologies well I was gonna say it's the

27:20

doctor who prescribed the contraceptive pills I'm reading

27:22

out the Wikipedia right now that's is contacted

27:24

by an executive of pharmaceutical company

27:27

who acknowledges that the Davis's child's

27:29

mutation may have been caused by

27:31

the drugs yeah so again we're we

27:33

have some regular Larry Cohen touchstones we have

27:35

a seemingly normal thing

27:37

is now scary but also the element of like

27:40

like big business or

27:42

whatever is conspiring against

27:44

you there's like he's

27:47

got it he likes having a satirical bent to

27:49

things you know but or a or to take

27:51

on so like the stuff is another one of

27:53

his yeah maybe we'll talk about that later yeah

27:57

of course now yeah so

27:59

that's it alive. I feel like that

28:01

was, uh, that was kind of one of

28:04

his earlier movie, the one of his early

28:06

hits. Yes. I think that was his

28:08

first one. That was like a big hit. And

28:10

the, oh no, you know what? I

28:13

wonder if black Caesar was, it was his first

28:15

big hit, but, uh, yeah, black Caesar was before

28:17

it's alive. Yeah. Cause he started more, more of

28:19

black splication stuff, but it's alive. It's the crazy

28:21

thing about it is that Bernard Herman does the

28:23

score for it. And it's one of his last

28:25

scores and he listened to it and there's so

28:27

much in it that sounds like the taxi driver

28:29

score, which was his last score, which he did

28:31

right pretty much right afterwards. And it's, this time

28:33

it's like, how did he like, how did

28:36

he like, like, how did let it let Cohen get our

28:38

score for it? It's like, well, you

28:41

worked with Hitchcock, you were, you know, you're one of the, you're

28:43

one of the all time greats you're old, you're getting towards the

28:45

end of your life. Do you want to do this killer baby?

28:47

Movie? Well, not a little baby said

28:50

that I'm imagining Larry Cohen like hanging out outside, you

28:52

know, the recording studio, being like, Hey, if you got

28:54

any casts off from taxi driver, any tracks you're not

28:56

going to use, we'll just put it in. It's alive.

28:59

You know? I mean, that is my, that's my theory

29:01

is I want, I don't know the timeline of it,

29:03

but I wonder if he was already doing taxi driver

29:05

and he was like, yeah, I'll take this other job.

29:07

Why not? Here's some stuff I did for tax. But

29:09

you can use it now. Okay. So

29:11

we're going to move on. Oh, and we showed that so

29:14

that it was a, the baby was created by Rick Baker.

29:16

So there's a lot of good stuff working on this. A

29:18

lot of good people were kind. It's alive. Um,

29:20

I want to, I want to go to, uh, one

29:23

of his next movies. There's a movie called

29:25

God told me to, is a nice trailer

29:27

about, but I've never seen it and

29:29

I've been meaning to watch it for, for a

29:31

while. But this, I just, I got to

29:33

mention again, just if anyone to see that

29:35

short, uh, the short trailer for it lives

29:37

again, it's just totally worth it for the

29:39

read of the voice voiceover guy, which is

29:42

like, Hey, there's three of them now. And

29:45

it's so funny cause it begins like it

29:47

shows a birthday cake. Monster claw slaps the

29:49

shit out of that cake. Then we get

29:51

the voiceover. We see the bassinets and then

29:53

the camera just pans back down to that

29:55

birthday cake. It's like, what, what do

29:58

you expect? This

30:00

is like an early version

30:02

of like James Cameron walking and

30:04

adding an ass daily

30:07

What if there's three it's alive babies? I

30:10

mean they should have called it. It's the lives that would have been

30:12

right I mean they're alive.

30:14

I feel like is too Thoughtful.

30:17

Yeah. Yeah implies too

30:20

much too much work. Yeah, okay.

30:22

So watch this trailer. Yeah, let's fire up. God

30:24

told me to I

30:43

Told him to Now Stuart

30:45

I do want to point out is

30:47

released in some theatrical markets as demon.

30:50

Okay. I have seen God

30:53

told me to but rewatching that trailer right now. I

30:55

was like, I don't remember I don't remember.

30:57

I Can't

31:00

even remember like I think the ultimate

31:02

solution is I don't think

31:04

I think God is actually telling them to but I forget

31:07

No, there's there's somewhere there's somewhere. It's aliens

31:10

are involved somehow. Yeah Spoiler

31:12

this was this is one that yeah,

31:15

I know I really wanted to see this one

31:17

in particular because to me that's

31:19

such a creepy idea

31:22

in Larry Cohen's like book of

31:24

great ideas like Killers

31:27

who are all just like God told me to like that's

31:30

alarming because You

31:32

know, it puts such a I

31:35

mean, I don't know. I don't you don't see in movies, you

31:37

know that sort of distrust

31:39

of religion because there's

31:42

too much fear of Well,

31:44

that's not like that story, you know,

31:46

you want a wide appeal thing You're

31:49

gonna offend a big group of people

31:51

maybe doing it that way and I

31:53

don't know I find that very effective idea. Well,

31:55

especially cuz it like it it puts it. I

31:58

mean it puts in the title Yeah.

32:01

Now this is a, I mean, I

32:03

feel like this is an element of like

32:06

tying in with a, like a rip from

32:08

the headlines, fear of mass shootings and, uh,

32:10

and killer and like serial killers who are,

32:14

uh, motivated by religion. Um, I

32:17

love that it's more like grimy New

32:19

York crap. Uh, I

32:21

feel like, uh, I feel like we lost

32:24

a little something. We don't have as many

32:26

grimy New York movies. I mean, New York

32:28

is less grimy certainly. So that's, that's why

32:30

there's less movies. You're not going

32:33

to the good parts. There are fewer, I think

32:35

movies, um, at least at

32:37

this level that are shooting,

32:40

you know, on location too is a lot of

32:42

fun. That's true. And in

32:44

the, if this period too is also very easy

32:46

to shoot a movie in New York, like the

32:48

city made it very easy to do so, which

32:50

meant that a lower budget production like this, uh,

32:54

could, could do it, could, could shoot in

32:56

New York much more easily, easily. And they're also

32:58

like the, so, uh, Larry

33:00

Cohen was on, uh, Gilbert

33:02

Godfrey's amazing colossal podcast at least once. And he

33:04

would talk about how they would just go do

33:06

stuff. You know, they just like, if there's

33:09

a scene with a sniper, they're not, they don't worry about

33:11

that, especially the way he did it. They would just go

33:13

and like shoot this scene in times square or whatever and

33:15

not, and not really worry about, uh, permits

33:17

or things like that. Let normal

33:20

people deal with the fact that this is going on,

33:22

you know, is this the one where they stole a

33:24

bunch of parade footage or is that Q like one

33:26

of them, they like shot in the middle of a

33:28

parade and they were just like, yeah, we're here. It's

33:30

fine. Like, yeah, the way it

33:32

used to be. It's great. That's looking

33:34

at Wikipedia right now. I didn't realize

33:36

that Bernard Herman almost scored this movie

33:38

as well, that he died. I

33:41

told him to come home. Cohen

33:45

then asked composer Miklos Rosa to score the film. Rosa

33:48

turned it down saying God told me not to. Amazing.

33:52

That's a good bit. Um, I feel like

33:54

this is the perfect time to take a

33:56

little break and, uh, have a word from

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It's just a movie, it's a movie that just,

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39:27

Go to stagepilot.com/speed. You can see the trailers to

39:29

see for yourself. You can buy tickets for the

39:31

show. You can buy a Flophouse VIP experience where

39:33

you get to talk to us through your computer,

39:35

or you can buy exclusive Flophouse merchandise

39:37

that's only available from StagePilot during the

39:39

streaming window. If you saw the show

39:41

when we performed it live last year,

39:44

there's footage in this video that you

39:46

didn't see. How is that possible? You'll

39:48

have to go to stagepilot.com/speed to find

39:50

out, but you've only got until May

39:52

19th to see it, so

39:54

don't miss your chance. Hey, something

39:56

else you don't wanna miss that's also in

39:58

May, next month. Next,

40:01

Dan, do you not know? I'll

40:03

tell you. I got so wrapped up. Dan,

40:06

how would you like it if the flophouse went

40:08

to England? I would love it. As a member

40:10

of the flophouse, I would love to go to

40:12

England. Well, guess what, Dan? Because

40:14

you're going. Because we're doing two shows on the

40:16

night of May 24th in Oxford, England, as part

40:18

of the St. Audio Podcast Festival. Dan, were you

40:20

aware of this, or is this a surprise to

40:22

you? You know what? I

40:25

like to live every moment, you

40:27

know, in the moment. And the

40:29

past and the future are sort of

40:31

a gauzy haze. Yeah, it

40:34

all kind of becomes one, right? Like, you don't

40:36

know, time is different for Dan.

40:38

He's kind of the alien from Arrival. Yeah,

40:43

exactly. Yeah, Dan is experiencing all moments at

40:45

once and no moments at once. And he

40:47

communicates with inkblots like the fireworks from

40:49

Dune 2. Well, Dan,

40:52

on May 24th, we'll be in Oxford, England,

40:54

doing two shows at 7 p.m. We're talking

40:56

about The Avengers, starring with Herman and Ray

40:58

Fiennes from the 90s. And

41:01

at 9 p.m., we'll be talking Spice World. And

41:03

we're doing new presentations. It's going to be really

41:05

fun. Question, answer session. All the stuff you see

41:07

in a flophouse live show. But this time, it's

41:09

in England and we're going to do our

41:11

best to use the right words. We're going

41:13

to say Laurie instead of truck. We're going

41:16

to say Ben instead of garbage can. We're

41:18

going to say England instead of America. All

41:20

the words that we're supposed to say for

41:22

different things. For tickets and more information, go

41:24

to flophousepodcast.com/events, and then scroll down slightly to

41:26

the Oxford show listing and then click on

41:28

more info that will take you right to

41:31

the ticket links for each individual show. You

41:33

know, speaking of June, Iraq is

41:35

this kind of a spice world. Yeah.

41:38

Yeah. Yeah. Pretty much. That's all. Thanks.

41:43

I feel like I spice spice spice

41:45

world, Dan. I mean, I haven't seen

41:48

the movie Spice World yet, but I'm

41:50

assuming the the stars, the Spice Girls

41:52

make reference to Iraq is quite a

41:54

bit. Yeah, probably. I think it's all

41:56

about how baby spice can fold can

41:58

fold space. Oh, You

42:00

can do it girl pop abilities from the

42:02

spice belong Hey

42:05

guys, guess what we're also doing another live

42:07

show this summer. Yeah in

42:10

July That's right. The the month

42:12

when both America and France celebrate

42:14

their independence for independence from things

42:18

We're going to be in Boston, Massachusetts That's

42:20

right. Just a few weeks after

42:22

independence day will be in the

42:24

cradle of independence itself, Boston, Massachusetts

42:26

at the WBUR city space courtesy

42:28

of WB our radio We

42:31

have not decided as of this recording what movie it's

42:33

gonna be But it's gonna be something

42:35

exciting and something bad that we can make some

42:37

jokes about it's gonna be super fun We went to Boston

42:39

years ago. We did some really fun shows there and we're

42:41

really glad to be back all these years later I hear

42:44

the goodwill hunting is especially good this season

42:46

the goodwill population is really Exploded because it

42:48

has no natural predators. So they've stopped enforcing

42:50

the limits on how much goodwill you can

42:52

bag I'm looking forward to taking on some

42:54

goodwill pelts after the show give them to

42:56

my family It'll be great. This is

42:59

a little hunting for that goodwill for tickets. You can

43:01

either go to wbur.org/event slash

43:03

nine three one zero eight

43:05

nine slash the dash flop

43:07

dash house dash live or

43:09

Google the flophouse and WBUR or

43:11

perhaps maybe by the time this

43:14

episode is up Dan will have

43:16

put a listing for it on

43:18

flophousepodcast.com/events. I bet he will Yeah,

43:21

three great three great ways to see

43:23

the flophouse go to stage pilot.com/speed to

43:25

see us online on your computer Or

43:27

go to Oxford England May 24th or

43:29

go to Boston, Massachusetts America

43:33

July 26th go to

43:35

flophousepodcast.com/events for all the information on

43:37

all of those shows Hi,

43:44

this is Ben and this is the

43:47

final season of one bad mother

43:49

a comedy podcast about parenting This

43:51

is going to be a year

43:53

of celebrating all that makes this

43:55

podcast and this community magical I'm

43:57

so glad that I found I

44:02

just cannot thank you enough for just

44:04

being the voice of reason as I'm

44:06

trying to figure all of this out.

44:09

Thank you and cheers to your incredible show and

44:11

the vision you have to provide this space for

44:13

all of us. This is still

44:15

a show about life after giving life. And

44:17

yes, there will be swears. You

44:20

can find us on maximumfun.org.

44:23

And as always, you are doing

44:25

a great job. Alright, class. Alright

44:28

class, tomorrow's exam will cover the

44:30

science of cosmic rays, the morals

44:32

of art forgery, and whether or

44:34

not fish can drown. Any questions?

44:36

Yes, you in the back. Uh,

44:38

what is this? It's the podcast

44:40

Let's Learn Everything, where we learn about

44:42

science and a bit of everything else. My

44:45

name's Tom, I study cognitive and computer science,

44:47

but I'll also be your teacher for intermediate

44:49

emojis. My name's Caroline and I did

44:51

my Masters in Biodiversity Conservation and I'll be

44:53

teaching you Intro to Things of British Museum

44:55

Soul. My name's Ella, I did a PhD

44:58

in STEM cell biology, so obviously I'll be

45:00

teaching you the history of fan fiction.

45:02

Class meets every other Thursday on Maximum

45:04

Fun. So do I still get credit for this?

45:08

No. No. Obviously not. No.

45:11

It's a podcast. And

45:13

now back to our show with your

45:16

host Stuart Wellington. Hey, this is Stuart

45:18

Wellington and we are talking about the

45:20

films of Schlockmeister,

45:23

Larry Cohen. Uh, we've

45:25

talked about a couple of good ones. Now we're going to

45:27

talk a little bit about Q the winged serpent. Now I

45:30

feel like you guys are both familiar

45:32

with this movie. I've seen this one. Yeah, I feel

45:34

like we almost don't need to pull up the trailer,

45:37

although if you haven't seen it yet, you should check

45:39

out the trailer at home folks. Uh,

45:41

so Q the winged serpent. This is a

45:43

star as a carradine. And

45:45

which one? Well, it's Michael Moriarty,

45:48

basically, right? Yeah. But

45:50

like one of the, one of the things that I

45:52

love about the trailer is it highlights the carradine-ness of

45:54

it. Oh, does it? Well, the carradine is in it.

45:56

Yeah. Yeah. Who

45:59

is, I argue, I think at the time. I'm probably a bigger

46:01

star than Michael Moriarty. Am I

46:03

being an asshole saying that? No, no, David Carradine had

46:05

been the star of a television show, yeah. And

46:08

the premise is that a

46:11

giant flying dinosaur thing is

46:13

flying around eating people in New York. That

46:15

was summoned by a cult, right? Is that

46:18

the? Oh, that Carradine, okay.

46:20

There's only three. There's only Carradine's running around,

46:22

I have to. There's only the three Carradine.

46:24

Yeah. So, yes, this is

46:27

David Carradine, brother of Keith, son

46:29

of John. Yeah, there's, what

46:32

I always find funny about this movie is, so there's

46:34

a giant dragon that was brought into existence because

46:37

of an Aztec cult, right? Yeah, Q

46:39

stands for Quetzalcoatl, or how do you?

46:41

Quetzalcoatl is, I believe, a feathered serpent.

46:43

And the monster in Q has no

46:45

feathers. He's very much a reptilian dragon

46:47

type, which I think shows you how

46:50

accurate the movie is striving to be

46:52

at all times. But this is a,

46:54

it's such a, it's a

46:56

weird combination movie because it's a very schlocky, kind

46:59

of cheap looking monster. I mean, there's great, there's

47:01

stop motion effects that I love in it. Yeah.

47:04

But it is a, but at the middle of it, Michael

47:06

Moriarty's performance, he is taking it so seriously at

47:08

all times. Like he is really performing the hell

47:10

out of this movie when he

47:12

really doesn't have to. And it feels so often

47:14

as if you are ping ponging between two movies.

47:16

One about kind of like a low level crime

47:19

figure with no where to run,

47:21

and one about a stop motion dragon that is biting

47:23

people's heads off. You know, was

47:25

this a Samuel Arkoff production or

47:28

whatever? Yeah, it was, yeah.

47:30

Okay, because I remember

47:32

reading, and perhaps you've read

47:34

this anecdote too, like Roger Ebert talked about running

47:37

into Arkoff at like a film festival and

47:39

being like, Q, what a

47:41

surprise, like all that schlock, and in the

47:43

middle of this great method performance from Michael

47:46

Moriarty, and Arkoff said, the schlock was my

47:48

idea. Oh,

47:50

that's great. So this,

47:52

I feel like this is a fun one,

47:55

and it's a super weird one, but it

47:57

still has Larry Cohen's fingerprints all over it.

47:59

Yeah. Yes. This is like, I feel like this

48:01

is Larry Cohen when he's, when he's really doing what he

48:03

does best, which is like Throwing together

48:05

a mess of a movie that is Surprising

48:08

you all the time, you know, just each for

48:10

moment to moment is not what you necessarily expect

48:12

from it Relentlessly desires to

48:14

entertain you. Yes. Does everything

48:16

in its power. Yeah So

48:19

the next movie I want to talk about is

48:21

one I definitely haven't seen but I had to

48:23

watch the trailer for It's called

48:25

full moon high from 1981. I think he just

48:28

wrote it I don't think he I don't think

48:30

I did this one But

48:32

this came out. I got a point out came

48:34

out four years before team All

48:37

right, interesting. I'll buy it. Yeah, I gotta see this

48:39

trailer too cuz I haven't seen I've never Moon

48:46

I If

48:49

not just another teenage

48:51

werewolf movie Fight

48:54

out on that town See

48:59

So full moon high is clearly yeah, it's

49:01

like a comedy werewolf teen movie now This

49:03

is years before teen wolf, but it is

49:05

years after I was a teenage werewolf Yeah,

49:07

this is the movie that teen wolf is

49:09

also pulling from but I will say Larry

49:12

Cohen Sometimes ahead of ahead of his

49:14

time one of the things that uh, one of his legacies

49:16

also is that He was one

49:19

of the people that sued 20th Century Fox

49:21

and Alan Moore when League of Extraordinary Gentlemen

49:23

came out saying that they had stolen from

49:25

his script Which was called cast of characters

49:28

and then hired Alan Moore to write a

49:30

comic series using that concept

49:32

so that they could then base the movie on

49:34

that and They and the

49:36

studio ended up settling and Alan Moore was so pissed

49:38

off about that That's that's more the reasons he removed

49:41

his name from that movie was because he was I

49:43

mean It's also bad movie But that he felt like

49:45

he needed his day in court to prove that he

49:47

would never Be like a hired

49:49

gun stealing someone else's idea if he's

49:51

gonna steal someone else's idea He's gonna mention it in

49:53

the comic just like he did in Watchmen when he

49:56

ripped off that Outer Limits episode He mentions the

49:58

Outer Limits episode in the comic. So So

50:00

Larry Cohen got Alan Moore mad at him, which

50:02

is not that hard. Yeah, I wanted

50:04

to issue a correction to

50:06

I looked up Larry Cohen did direct this as

50:08

well as writing it. So it was

50:11

a full Cohen, which now

50:13

Larry Cohen doesn't do a

50:15

lot of comedy. Well, yeah, not

50:17

like straight comedy like this appears to

50:19

be like this is really in

50:21

the zany mode. Yeah, I mean,

50:23

I would say most of his movies have have

50:26

it have a comic edge at some point or

50:28

another. Of course. And

50:30

I feel like he often couches

50:32

comedy like there's there's comedy and

50:34

then he also manages to get

50:36

a little bit of, you know,

50:38

like cultural critique satire in there.

50:40

So here he's critiquing the high

50:43

school reliance on werewolves to win.

50:46

Yeah, it looks very silly. I

50:49

thought it was it felt

50:51

like such an outlier when looking at his filmography

50:53

that I'm like, we have to talk about. I

50:55

definitely like ran to my letterbox to see what

50:57

people are saying about full moon high and like

50:59

whether I should add this to my watch list.

51:02

It's a lower rating. It's a 2.6 overall. And

51:07

letterbox tends to be people like

51:09

me who are exuberant about

51:11

movies. So it's a warning sign, but

51:13

I'm still curious. You should

51:16

look up Dan. I think you should look

51:18

up the poster for full moon high if

51:20

you haven't already, which is there a button

51:22

called is it a full moon? No, it's

51:25

very much a it's very much

51:27

a sub Jack Davis characters chasing

51:29

each other. Yeah, I

51:31

love it. Where it is a

51:33

woman with a knife is chasing Adam Arkin.

51:35

He's turned into a wolf and he has

51:37

I was a teenage werewolf written on his

51:40

shirt. So they're reminding you of the other

51:42

movie, but not just a woman.

51:45

She's wearing a halter top and Daisy Dukes,

51:47

of course. Yes, this is a,

51:49

you know, a sexy. And it even

51:51

says on the tagline is

51:53

he he's today's teenage werewolf.

51:57

Only the rules have changed. I wonder if there is. I wonder

51:59

what the rules are. No, not the rules are. What

52:01

I like also is at the corner in this one at

52:03

least, there are a couple of bats flying in the air,

52:05

which doesn't make sense for a werewolf. Yeah. It's not a

52:07

werewolf thing. Yeah, that's not a werewolf thing. I guess it's

52:10

just a spooky thing, you know, just to have bats. That

52:12

was the leftover on the page, yeah. Look,

52:14

we were making a poster for a Dracula movie.

52:17

It just has a moon and bats on it.

52:19

Just make it a werewolf. No one's going to

52:21

ask about the bats. It's fine. So speaking of

52:23

satires, I think the next movie we'll talk about

52:25

is something I think we have all definitely seen,

52:27

and that's the stuff, right? Yes. The stuff which

52:29

is like full-on, kind of silly.

52:33

Yeah, I would say that the

52:35

ambulance, maybe I just had such a great

52:37

time in the movies or whatever, but like

52:39

that may have edged out the

52:41

stuff, but that stuff was my previous

52:43

favorite Larry Cohen movie that I'd seen.

52:47

Elliot, do you have any, do you

52:49

have a history with the stuff? Just, I mean, just

52:51

having seen it, I wasn't involved in the making of

52:53

it. I didn't written any books about it. You

52:56

own stuff and you feed stuff around. I

52:59

do own stuff. I'm familiar with George Carlin's

53:01

stuff routine, which is not about the movie

53:03

stuff, but it's, I mean. Certain Oreos have

53:05

double of it. That

53:08

stuff with one F, Dan. That's a different thing.

53:10

That's Stuf. That's a different thing. Yeah. No,

53:12

but I'm familiar with the stuff. One of the

53:15

few film appearances by Clara Peller from

53:17

Wendy's commercials. Now, for our listeners who may

53:20

not be familiar with this stuff, we should

53:22

clarify that the stuff is a sort of

53:24

a delicious goop. That

53:27

looks kind of like. It looks like a partial fluff, kind

53:29

of. Yeah. Yeah. But it is

53:32

insidious. It's the thing

53:34

that like kills you, turns into

53:36

a blob. Yeah. It turns into sort of

53:38

a blob. And then another great weird performance

53:40

by Michael Moriarty in it. He goes up

53:42

wearing a cowboy hat. And

53:46

it was, is it the

53:48

stuff where one of the taglines was enough is

53:50

never enough at one point, which, but. Maybe. Yeah.

53:53

I think so. Yeah. They start selling

53:55

this white stuff everywhere and people love

53:57

it. Oh, the white stuff. The

53:59

movie. The first astronauts

54:03

White all of them. Yeah, that's uh,

54:05

wasn't that a weird owl parody as

54:08

well? Oh Maybe on

54:10

the right stuff by new kids on the block

54:12

I don't know if that was a real weird

54:14

owl one or just or one that went

54:16

around maybe it was okay I don't know about

54:18

Oreos right? Yeah, maybe it is Dan you'll do

54:21

put our researchers on that I'm

54:24

looking at the Find

54:26

kind of bad thing about the stuff is that

54:28

by the start of the movie this stuff is

54:30

already super popular, right? I

54:33

don't remember I feel like it opens

54:36

and the stuff is already this like

54:38

popular everyday part of life that is That

54:41

we learn as the movie goes on

54:43

becomes more Terrifying but

54:46

the best stuff about the best parts are like

54:48

the commercials and things like that, right? Great and

54:50

also Paul's ravino as the like mulit the anti

54:52

stuff. Yeah Yeah, that's

54:54

great to I am yeah again Michael

54:56

Moriarty just doing weird It's

55:01

definitely movies that I remember seeing the

55:03

cover for and the the poster was

55:06

very scary guys faces all like melty

55:08

often stuff The

55:12

tagline for the stuff which is one of these old

55:15

movie poster taglines at several paragraphs

55:19

Bear with me But it goes like this if

55:21

you see the stuff in stores call

55:23

the police if you have it in

55:25

your home Don't touch it get

55:27

out The stuff is a

55:30

product of nature a deadly

55:32

living organism. It is addictive

55:34

and destructive It can overcome your

55:36

mind and take over your body and

55:38

nothing can stop it the stuff

55:41

And the thing is so much information It's

55:44

so much information and it is not necessary because

55:46

stuff and you see a guy and there's goop coming out

55:48

of his eyes and Mouth you're like, I guess I got

55:51

a pretty good idea of what the stuff is referring to,

55:53

you know Yeah, like I probably shouldn't touch it. Oh, that's

55:55

the stuff. Okay. Oh, that's the

55:57

stuff. Yeah I mean, I don't know of seeing

55:59

that picture will indicate that that is

56:01

found in nature. And you don't

56:03

know it's a deadly living. But arguably that

56:05

should be a review. Yeah, that

56:07

could be revealed. If the posters telling you, maybe,

56:10

maybe that's not cool. Okay. Oh, that

56:12

feeling. The other tagline was, are you eating it or is

56:14

it eating you? That was the other one. That's right. Yeah. That's

56:16

a good tagline. That's a good, that's what you put on

56:18

the poster, not this long, epic

56:20

poem about what the stuff is, you know,

56:22

we'll skip over a return to Salem's lot,

56:25

uh, considered to be kind of a wacky one.

56:28

Yeah. I've never seen it. I honestly, I've

56:30

not even seen the original Salem slot, which

56:33

everyone speaks, uh, well of, but have seen

56:35

it. Yeah. I tried to watch it. I'm

56:37

like, this TV pacing of the time isn't

56:39

working for me. I can't. So let's talk

56:41

about the maniac cop series, which is again,

56:43

what's it's going on with Larry Cohen's idea.

56:45

Like with the stuff it's like, what if

56:48

a marshmallow fluff was scary? In this case,

56:50

he's like, what if a cop was a

56:52

maniac? And I'm like, Oh, I'm sorry, Larry,

56:54

but let me show you some statistics. They're

56:56

kind of disturbing. I figured this was going

56:58

to come up at some point. Yeah. Uh,

57:01

I sort of want to push back just

57:03

slightly on the idea that Larry Cohen thing is

57:05

what if this, but scary? Cause that could,

57:08

that could describe many horror films. But

57:11

I feel like he has a way of

57:13

like finding specific, like there's this, uh, specific,

57:15

like close at hand innocuous thing that people

57:17

would look for comfort. He's good at finding

57:19

like, like a, a nerve that can be

57:22

hit in a, in a, to make,

57:24

this is the scary thing that maybe you, that you didn't

57:26

expect. Yeah. That's true. Uh, have

57:28

you guys seen the maniac cop movies? Uh,

57:31

I definitely have seen at least maniac cop. I don't

57:33

remember it that well, but I have seen it. Okay.

57:35

Well, part two is the best one. Uh,

57:37

you guys, why don't we fire up this trailer? Either

57:41

the maniac cop, the first maniac cop trailer

57:44

is great. Okay. No.

57:57

Pretty app law. Maniac

58:01

Cop, now obviously I'm sure you guys notice

58:04

it stars as one of my favorite actors

58:06

of all time, Tom Atkins. Yeah,

58:08

well, yes. We

58:11

will address Tom Atkins, but also it starts Robert

58:13

Zadar. There's a part at which the,

58:15

the, uh, narrator says like, you

58:17

don't remember his face or something like that.

58:19

What? The Maniac Cop is Robert Zadar. If

58:22

there's one thing memorable, you will remember his

58:24

face. He's a distinctive looking man. It's a

58:26

fairy. His face is his main thing. Uh,

58:28

there's also the fact that they're like, no

58:30

one in the trailer, like no one knows

58:33

his name. No one knows his face. And

58:35

I'm like, then how do they know he's

58:37

a cop? Wait a minute. Are his victims

58:39

being, like, are they finding like cop juice

58:41

on the, on the victims? Yeah, they check

58:44

the scat, but I apologize back to Tom

58:46

Atkins, Tom Atkins. Tom Atkins. I

58:49

love the guy, you know, from a night

58:51

of the creeps from Halloween

58:54

three season of the witch.

58:57

Uh, yeah, he's just so fun. Uh, I love

58:59

that guy. And of course it's got Bruce Campbell in it.

59:02

Uh, everybody loves such a baby face

59:04

in it. He's a baby face. Bruce

59:06

Campbell. You got Robert Zadar. I feel

59:08

like Maniac Cop two gets a little

59:11

bit crazier and also features another great

59:13

Robert. That's right. Robert Dobby. What

59:16

a cavalcade of great like somebody

59:18

Robert genre performers. Yeah. Dobby

59:21

versus the Darr. Yeah.

59:25

But I, again, this is, you know,

59:27

it's, it's, it's grimy New York. It's

59:29

leaning into some classic, uh,

59:32

it's leaning into like, uh,

59:34

corruption and, uh, the

59:36

idea of a conspiracy like city hall

59:38

is like trying to, there's a certain

59:40

amount of protection going around protecting

59:42

the identity of this maniac cop and

59:44

then trying to find him. It's great.

59:46

Thumbs up to Maniac Cop. Uh,

59:49

so good. They made three. I like it. We're

59:51

getting kind of a unified theory of Larry Cohen

59:53

throughout this thing. Yeah.

59:56

I want to point out this is a slightly different grimy

59:58

New York too. So that's what's exciting. about getting into

1:00:00

the Maniac Cop era is that God told

1:00:02

me and some of the other

1:00:04

ones, those are 70s, Grimy

1:00:07

New York, this is late 80s, early 90s, Grimy

1:00:09

New York, so this is the very last days

1:00:11

of Grimy New York, and it's just got a

1:00:13

different feel to it. Yeah,

1:00:16

the ambulance has kind of that same

1:00:18

vibe. The ambulance came out in 1990, I

1:00:21

think Maniac Cop was a year or

1:00:23

two before that. Yeah,

1:00:25

yeah, Maniac Cop's 88, according to

1:00:27

this, yeah. I would've placed it earlier, I didn't know

1:00:30

that it was as late as 88. Okay.

1:00:32

It was 88, that was the tagline, Maniac

1:00:34

Cop, late as 88. Didn't

1:00:36

make much sense at the time, but now,

1:00:38

but now in retrospect, for this conversation, it

1:00:40

does make sense, yeah. Again, I

1:00:43

feel like of the Maniac Cop movies, I

1:00:45

feel like Maniac Cop 2 is

1:00:47

probably the most fun of them. Put

1:00:50

it on my list. But

1:00:53

we're gonna start jumping ahead. So

1:00:56

we've talked a little bit about that

1:00:58

era of Larry Cohen, I'm

1:01:00

gonna talk about, this is kind of a smaller

1:01:02

one, and this isn't a feature film. I

1:01:04

wanna talk about the episode of Masters of

1:01:06

Horror redirected the episode

1:01:09

Pick Me Up, which was actually one of

1:01:11

my favorites, and certainly my favorite, again, it's

1:01:13

a Larry Cohen thing, so it's got a

1:01:15

big premise, but I think this premise is

1:01:17

fucking great. Why

1:01:19

don't we watch that trailer? You

1:01:22

all for me, right? That's the

1:01:24

way it's supposed to go. The

1:01:26

only question is if you wanna give the dinner, and

1:01:28

then I'll just take off. Ah! I'll

1:01:35

tell you one thing I miss from that trailer.

1:01:37

It's a fun trailer. I

1:01:39

miss that voiceover narration already, that

1:01:41

we're now in the era when they don't do

1:01:44

voiceovers in trailers as much. Yeah, and I

1:01:46

feel like that would have punched it up.

1:01:48

So the premise of this is that a woman

1:01:50

is on a bus that breaks down Country Road,

1:01:53

and she ends up getting caught. Country Road is

1:01:56

not taking her home. It's broken down. And

1:01:58

she gets caught between two. You have Wheeler,

1:02:00

played by Michael Moriarty, who is a truck driver

1:02:02

who picks up people and kills them, and

1:02:06

Walker, who is a hitchhiker who gets picked up and

1:02:08

kills the people who picks them up. And I think

1:02:10

that's such a fun, silly part. Yes.

1:02:12

Yeah. That's great. I remember this

1:02:14

well, of course, because we watched this back

1:02:16

in the day, and we

1:02:19

were- That was like a regular Stuart and Dan

1:02:21

weekly thing. Yeah, it's true. We did watch episodes

1:02:23

of Masters of Horror as they came out. And

1:02:27

there's a line reading in here that we referenced

1:02:30

a lot because it was still goofball, where

1:02:33

it's Michael Moriarty passing, it's

1:02:37

an advertisement for a sideshow or whatever, like

1:02:40

it says Monster Babies or Baby Monster. And

1:02:43

he goes, Baby Monster, you ever see one?

1:02:47

Freak me out. Or, freak

1:02:49

me out or something like that. It's

1:02:51

a weird hat reading. I

1:02:53

think that's a weird hat. It's a weird

1:02:56

hat reading. I guess the reference to

1:02:58

It's Alive kind of too. Yeah.

1:03:01

Yeah. Yeah. It's fun.

1:03:04

I feel like that whole, I

1:03:06

mean, there's not to do a

1:03:08

deep dive in Masters of Horror, which would be

1:03:10

a completely different podcast mini, but

1:03:12

there's definitely some gems that came out of there. And

1:03:15

I like this one quite a bit. And

1:03:17

it's also, it came up pretty late. Like this is pretty

1:03:19

late career, Larry Cowan, but I still think it's a

1:03:21

lot of fun. And

1:03:23

then I just want to wrap it up. The

1:03:26

next three movies that we can talk about

1:03:28

relatively quickly, I mainly think are funny because

1:03:30

these are all movies that he wrote. But

1:03:34

you have Phone Booth, starring

1:03:36

Colin Farrell, of course, Cellular, and then

1:03:38

a movie called Messages Deleted. And I

1:03:41

feel like it's so funny that it's

1:03:43

three movies in a

1:03:45

row that are all about phones. I mean, it

1:03:47

makes sense for an elderly man. At

1:03:49

that point, he was an aging man to be like, these

1:03:52

phones, wait a minute, there's something there.

1:03:54

Hold on. One of the things that's

1:03:56

kind of great about Phone Booth

1:03:58

is that it is set in New York. which is

1:04:00

again, this is a Larry Cohen thing. Um,

1:04:03

and also that it, uh,

1:04:05

from when he originally wrote the screenplay to

1:04:08

when it was made phone booths didn't exist anymore.

1:04:10

So they had to make, they had to change the

1:04:12

script to make it be like, this is the last

1:04:14

phone booth in New York. Yeah.

1:04:16

The phone booth is a movie that I remember

1:04:18

I haven't seen it since it was in the

1:04:20

theaters, which is, you know, what 10, 12 years

1:04:23

ago now, but I remember, I

1:04:25

remember being like, uh, yeah, it must be more than

1:04:27

there was like 20 years ago. Well,

1:04:30

uh, well for the purpose of my self esteem,

1:04:32

let's say, let's say it was five years ago,

1:04:34

the, uh, but I remember watching it and it

1:04:37

like it say, Oh, it was like 20 years

1:04:39

ago. It's a, uh, it's a really,

1:04:41

it's a well constructed like, uh,

1:04:44

like thriller, you know, it's a, there's

1:04:46

some parts in it that are super tense just

1:04:49

because the character is so overwhelmed with stuff going

1:04:51

on the, the motivation of the bad guy in

1:04:53

it, I always thought was pretty weak. Like it's

1:04:55

pretty, they're like, admit to your

1:04:57

wife that you once had lustful thoughts for

1:04:59

someone you work for. And it's like, that's

1:05:01

wait, that's the crime he committed that justifies

1:05:03

like his, his being tested by a psycho.

1:05:05

You know, I feel like that's, that's, that's

1:05:08

similar. That reminds me of some of, uh,

1:05:10

Larry Cohen's other work in that it's like.

1:05:13

There's, there's a rock solid like

1:05:15

premise, but like some of the motivation might not make the

1:05:18

most sense, but that's okay. Well, you've seen movies before. I

1:05:20

want to, you know what? You're not really watching it to

1:05:22

find out why the guy is being trapped in a phone

1:05:24

booth. You just want to see him get trapped in a

1:05:26

phone booth. Yeah. I want to briefly shine writing. You get

1:05:28

your guy trapped in a phone booth, you throw rocks at

1:05:31

them, then you let them out of the phone booth. Also.

1:05:33

I love the fact that this is a movie that posits

1:05:35

a world where Colin Farrell could play a guy named Stu.

1:05:38

You know, I want

1:05:40

to briefly shine a light on cellular, which

1:05:42

was directed by David R. Ellis, who did

1:05:45

final destination two and snakes on a plane

1:05:47

and, uh, top build cast, listen

1:05:50

to this Kim basing her Chris Evans, Jason

1:05:52

Statham, William H. Macy. Uh,

1:05:55

and I remember it being. Pretty fun

1:05:57

too. Like phone booth got the. And

1:06:00

then so your came out efforts and they're

1:06:02

like, oh phones again I'm like a fun

1:06:04

little movie, but I what is messages deleted?

1:06:07

That is what the one that I have

1:06:09

no I also want to

1:06:11

point out that cellular was also I

1:06:13

think it's a there's a

1:06:15

remake that really yeah, there's

1:06:17

a It was a lular

1:06:21

It's a pure like but you know, it was a sequel

1:06:24

to you learn then there was three yeller and then um

1:06:28

Yeah, it's a movie called connected

1:06:30

which I believe is I

1:06:33

want to say it's Korean It's

1:06:36

from Hong Kong. I'm the

1:06:40

the IMDB Synopsis

1:06:42

for messages deleted a Screenwriting

1:06:45

teacher is forced to live out the plot

1:06:47

of a screenplay idea. He stole from a

1:06:49

student who now seeks revenge Love

1:06:52

the I wonder what it seems like Larry Cohen was

1:06:54

just like what? What's

1:06:56

something that I would relate to if I was in

1:06:59

that situation like the idea of writing a movie about

1:07:01

a screenwriting teacher is very funny It

1:07:05

stars Matthew Lillard and Deborah Unger

1:07:07

Yeah, it's directed by a guy

1:07:09

named Rob Cohen, which I'm like,

1:07:11

is that Rob Cohen like the

1:07:13

movie alter ego? Yeah, I'm

1:07:15

looking it disappears to be his only

1:07:17

directoral credit. He was he's got other

1:07:20

he's like Science

1:07:22

and on space hunter adventures in the

1:07:24

forbidden zone Writer

1:07:27

of a few things he's a second unit

1:07:29

director for a lot of stuff though. Okay

1:07:31

Well, maybe we'll maybe want to track that

1:07:33

down for a future miss that movie. So

1:07:35

we did a little we did a little

1:07:37

career retrospective kind

1:07:39

of with probably about as

1:07:41

much attention as Great

1:07:45

great stuff sir. Sorry. I don't know why I

1:07:47

interrupted your wrap-up to say that That's

1:07:50

the thing. That's kind of why I came to you guys so

1:07:52

that you guys could tell me that I'm great You

1:07:55

know validations really helpful guys So

1:07:59

any final thoughts. Uh, does

1:08:01

this make, does looking through his career make

1:08:03

you want to revisit any of his older

1:08:06

movies? Does it make you want to, uh,

1:08:09

does it make you, does it make you

1:08:11

miss things from older movies? I mean, for,

1:08:13

uh, the listener at home, I'm

1:08:15

not, uh, lying when I'm saying

1:08:18

I'm adding stuff to my watch list. I

1:08:20

have letterbox stuff. I'm looking at messages deleted,

1:08:22

which is actually getting, you know, got a

1:08:24

higher score than full moon high. So maybe

1:08:26

that's worth a high

1:08:29

weight, got a higher score than full moon high. What's

1:08:33

funny is until the end of that sentence, I thought

1:08:35

you were going to be, it was going to be like

1:08:37

a surprise. Like they got a higher, uh, rating them like

1:08:39

phone booth or something. I'm like, Oh, it's

1:08:43

actually a number one on the sight and sounds top

1:08:45

10 list messages. I

1:08:48

mean, I guess in the mood for love just came in

1:08:51

right under it. Sorry

1:08:53

Wong. Not this time. I

1:08:56

guess the thing it gives me this nostalgia for

1:08:58

is something that we've talked about already a lot

1:09:00

is there was, you know, like there

1:09:02

was an earlier era where there

1:09:04

were these movies, these scrappy lower

1:09:07

budget movies with clever premises

1:09:10

that could be in movie

1:09:12

theaters. Whereas now you just don't get

1:09:14

stuff, filmmaking at that level that goes

1:09:17

out into movies a lot, unless it's

1:09:20

an Andy that, you know, I don't

1:09:22

know, picks up enough, but festival interest

1:09:24

that some distributor will put it out.

1:09:26

I mean, at best a movie like

1:09:28

that would now end the modern equivalent

1:09:30

that will end up maybe on a

1:09:32

streamer that you could possibly find if

1:09:34

someone else recommends it to you or if

1:09:36

you stumble on it. But yeah, the, the

1:09:38

era when movie theaters, when towns

1:09:40

had multiple movie theaters often and those movies or

1:09:42

in a city like New York, there were tons

1:09:45

of them and they needed movies to fill those

1:09:47

screens. And so you could, you

1:09:49

had the, you had not just

1:09:52

the access to, but like the knowledge of

1:09:54

these, these movies. Like

1:09:56

you could open up the newspaper and see an ad or

1:09:58

at least very, it's a lot of, listing for

1:10:00

like Maniac Cop or Cue the

1:10:02

Wing Serpent or something like that and then go to

1:10:05

your movie theater and see it and it's stuff you

1:10:07

take your you take the newspaper and you're like I

1:10:09

want this I want this one I want to see

1:10:11

that what's

1:10:15

got that weird hand on that bass and that

1:10:17

but uh the it's like we talked

1:10:19

before like there's greater access to this type

1:10:21

of stuff now but it's some strangely harder

1:10:23

to find like and it does

1:10:26

make me wish that there was that more of that

1:10:28

world where the kind of you

1:10:30

have like that let's say there's four tiers

1:10:32

of movies there's like your top big-budget movies

1:10:34

that are meant to be big hits then

1:10:36

they're the like smaller budget movies that studios

1:10:38

make then there's like the high independence where

1:10:40

often it's schlock and that's where you got

1:10:42

like Roger Corman or maybe Larry Cohen and

1:10:45

then under that is grindhouse

1:10:47

kind of crap you know like the

1:10:49

sewage and that's

1:10:52

true that's fair but uh but now it feels

1:10:54

like those middle two levels don't

1:11:00

really exist anymore the kind of middle budget

1:11:03

big studio movies and the higher budget kind

1:11:06

of schlocky independence you see either

1:11:08

have you're either watching Argyle or you're watching

1:11:10

some snuff movie someone made in their house

1:11:12

that's supposed to look like look like found

1:11:15

footage and there's very little in between it

1:11:17

feels like yeah okay what

1:11:19

I'm saying is a is a huge

1:11:22

generality and overstatement it's not really fully true

1:11:24

it's just the way it feels at the

1:11:26

moment yeah yeah okay well

1:11:28

I think this has been a lot of fun thanks for

1:11:30

going on this trip with me again

1:11:32

if you want to watch any of the trailers

1:11:35

of the movies we talked about you can find

1:11:37

most of them on IMDb I will of course

1:11:40

take these links and put

1:11:42

them in the show notes for

1:11:44

this to say sorry

1:11:47

Stuart it keeps calling you by each

1:11:49

other's names today no

1:11:51

Stewart and I had a call me by your

1:11:53

name situation so it's okay that we call each

1:11:55

other by each other's name yeah oh man I

1:11:58

haven't seen Fan

1:12:00

art, fan art please, fan art. I

1:12:02

haven't seen yet, that's the one where they pee

1:12:04

in a fountain and they switch bodies. Yeah, kind of.

1:12:06

There is a prominently placed fountain in one seat. What

1:12:09

I was trying to say was Stewart of course

1:12:12

compiled this list so the work has been done.

1:12:14

I will just put these links

1:12:16

in the show notes. Okay, so

1:12:18

thanks again for joining us. This

1:12:21

has been hopefully not too much

1:12:23

of a pain to edit for Mr. Alexander Smith.

1:12:26

You can find him as Howl Gody on various social media.

1:12:28

He's the best and he does a lot of great work

1:12:30

for us here at The Flophouse. You

1:12:33

can find us and other great shows

1:12:35

over at maximumfund.com. Maximumfund is our network.

1:12:37

They put out a lot of great

1:12:39

comedy and culture on this. Dot org,

1:12:41

my mistake. Sorry. I've

1:12:44

been Stewart Wellington. I've been Dan

1:12:46

McCoy, the.org corrector. I'm

1:12:50

Elliot Kalin, just amazed that Dan is still

1:12:52

using his superpower of correcting.org dot

1:12:54

com mixups. He said

1:12:56

to me, I have this power now. I'm going to be here

1:12:59

on him. So what situations is that going to be useful

1:13:01

in? And yet it continues to be useful all the time.

1:13:03

I think you're mean dot pizza. Whenever,

1:13:07

whenever, whenever internet domain names

1:13:09

are mispronounced, misspoken, the.org corrector

1:13:12

swoops in. Okay. Uh,

1:13:14

whatever. Bye. Maximum fun. A

1:13:19

worker owned network. Of

1:13:27

artists owned shows. Supported directly

1:13:29

by you.