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[SPEAKER_03]: Welcome to zombie strains the podcast where we watch all the zombie movies in order.

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[SPEAKER_03]: This week we've stumbled across a proto slasher film, 1959's Teenage Zombies.

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[SPEAKER_00]: What do you call them?

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[SPEAKER_00]: Zombie, is there something?

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[SPEAKER_05]: Zombie, what does Zombie?

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[SPEAKER_00]: Just what is a Zombie?

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[SPEAKER_05]: Well, a Zombie?

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[SPEAKER_06]: There's a... The bill is... There's a living dead There's even a Zombie!

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[SPEAKER_06]: Zombie is... Because a Zombie has no will of his own.

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[SPEAKER_06]: He's wrong.

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[SPEAKER_06]: What is wrong?

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[SPEAKER_09]: What is wrong?

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[SPEAKER_03]: Hey, everybody.

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[SPEAKER_03]: I'm John.

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[SPEAKER_03]: I'm Andy.

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[SPEAKER_03]: I'm Brad.

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[SPEAKER_03]: How are you guys doing today?

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[SPEAKER_03]: I'm doing good.

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[SPEAKER_03]: Teenage zombies.

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[SPEAKER_03]: We finally got Andy.

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[SPEAKER_03]: We recorded a episode of the 1950s where we described in detail the rise of the teenager in the younger protagonist and here at the very end.

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[SPEAKER_03]: Yes.

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[SPEAKER_03]: We get it.

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[SPEAKER_01]: Maybe you got a little too excited for that trope to appear.

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[SPEAKER_03]: Yes, but here it is.

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[SPEAKER_03]: Can't lie.

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[SPEAKER_03]: Before we jump into the movie, anybody interact with any zombie or cinema related media right now?

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[SPEAKER_01]: So I've been trying to delve into the history of the 1960s because that's right around the corner for this podcast.

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[SPEAKER_01]: So I've been reading Gerard Degroots.

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[SPEAKER_01]: Some can't tanker history of the 60s, the 60s unplugged.

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[SPEAKER_03]: I'm excited about this book, by the way, because it's, yeah, it's very cranky.

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[SPEAKER_03]: It's very cranky, and it says, look, anybody who's telling you about the 60s is just being romantic.

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[SPEAKER_03]: Yeah, yeah, which sounds pretty good.

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[SPEAKER_03]: I'm reading a book about the 1960 election,

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[SPEAKER_03]: uh... it's called count down nineteen sixty the election that defined modern politics so we are not a political podcast we're not talking about politics on the episode but i think it there's a huge bit about the sixties really becoming when the tv comes into its own and the role that played in that election and the role that plays in media going forward and i just think that's a huge part of the sixties and and we're going to be talking about that a lot i think yeah absolutely can't wait

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[SPEAKER_02]: But I just watched Strange Brew, which if you remember, the villain's plot is to taint beer with a formula that allows him to mind control people.

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[SPEAKER_02]: So in essence, in essence, he's creating zombies through beer.

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[SPEAKER_03]: yes and spoiler that's also the plot of teenage zombies by the way that all ties together except for minus the beer but the plot is very similar so and minus the entertaining part yes i don't think that teenage zombies can play hockey quite as well as uh as the Canadians in strange brew i honestly bread when you were talking about that you know what i didn't realize though

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[SPEAKER_03]: Like, I knew all along it was called the Elson or Brewery, and I just never occurred to me that this was a hat to hamlet and that the plot is essentially hamlet.

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[SPEAKER_02]: Yeah, we're talking about strange brew again, yeah.

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[SPEAKER_03]: Yeah, yeah, sorry, not teenage zombies.

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[SPEAKER_03]: Not teenage zombies.

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[SPEAKER_03]: There's not, this isn't based on anything good at all.

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[SPEAKER_03]: So anyway, but we have energy.

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[SPEAKER_03]: Let's go.

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[SPEAKER_03]: Yes, we gotta be positive.

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[SPEAKER_01]: All right, any trigger warnings here?

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[SPEAKER_01]: you know, not really.

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[SPEAKER_01]: This is a, uh, this is like he's a prototype slasher in which a bunch of random teens, just difficult to distinguish from one another are put into danger.

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[SPEAKER_01]: But this is a pretty bloodless film in all respects.

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[SPEAKER_01]: It is though.

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[SPEAKER_03]: Yeah, it does have that teen, uh, slasher vibe.

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[SPEAKER_03]: But anyway, we'll get into it when we talk about it.

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[SPEAKER_03]: Yeah, absolutely.

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[SPEAKER_01]: So Brad, what do you got to tell us about how this movie, this masterpiece, came to be unleashed on the world?

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[SPEAKER_02]: Well, my first question is, if plan nine from outer space is considered one of the worst films of all time, where does this one rate?

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[SPEAKER_03]: Yeah, like plan nine, at least.

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[SPEAKER_03]: there was effort and they had a set they constructed sets that looked like something they looked terrible but like I don't know people were giving their lines clearly and they were trying to guess what the budget for this film must have been well I was watching it and I want to I mean I want to get into it but let me say this as horrible as like the the the the film making

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[SPEAKER_03]: This is a big part of horror and specifically zombie cinema, right?

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[SPEAKER_03]: Yeah, one of the exciting things about Night of the Living Dead is it is an independent film made in Pennsylvania for no budget by a first or a burgeoning director.

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[SPEAKER_03]: Is he way better than whoever directed this thing?

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[SPEAKER_03]: Absolutely, but I just want it.

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[SPEAKER_03]: Like that's part of our aesthetic.

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[SPEAKER_01]: Oh, yeah, and you know, there's a lot of stuff to talk about in this film.

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[SPEAKER_01]: I mean, so we're passionate, but I did not.

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[SPEAKER_01]: I don't regret watching this on a, yeah, I'm actually excited about digging into it.

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[SPEAKER_02]: Teenage Zombies was released on November 18th, 1959.

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[SPEAKER_02]: This is the last film we are going to watch from the 50s.

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[SPEAKER_02]: The film was produced, directed and written by Jerry Warren, but the onscreen writer.

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[SPEAKER_02]: Sorry.

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[SPEAKER_02]: Well, yeah, but the onscreen writing credit is Jacques Lacotier, a pen name Warren often used.

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[SPEAKER_02]: I don't know, maybe it's makes him sound classier.

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[SPEAKER_02]: When you say often, how many movies did this guy write?

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[SPEAKER_02]: Jeez.

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[SPEAKER_03]: Okay, it's not so bad.

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[SPEAKER_02]: No, he hasn't done a lot, but we'll get into that.

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[SPEAKER_02]: In the 50s, Warren made very low budget films.

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[SPEAKER_02]: In addition to teenage zombies, he made man beast, the incredible petrified world and terror of the blood hunters in the 1960s.

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[SPEAKER_01]: These are amazing titles, but all three of those are going in our podcast where we watch things just based on how good the title is for sure.

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[SPEAKER_02]: I think he's a kind of filmmaker who falls into the category of you make things to sell.

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[SPEAKER_02]: Yes, not to be appreciated or loved or highly rated.

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[SPEAKER_03]: Also very common in the horror genre.

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[SPEAKER_02]: Yeah.

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[SPEAKER_02]: In the 60s, he decided to make cheaper films, and he bought foreign films.

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[SPEAKER_02]: Brad said that you should have seen our faces.

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[SPEAKER_02]: So it was like, is that possible?

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[SPEAKER_02]: Oh yeah, because what he did was he bought foreign films.

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[SPEAKER_02]: He re-edited them, inserted new footage with American actors, and released them.

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[SPEAKER_02]: And his first one he did was a Swedish film called Space Invasion of Lapland.

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[SPEAKER_02]: And he re-titled it invasion of the animal people.

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[SPEAKER_02]: Warren is quoted as saying, I shoot one day in this stuff and throw it together.

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[SPEAKER_02]: I was in the business to make money.

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[SPEAKER_02]: I never, ever tried in any way to compete or to make something worthwhile.

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[SPEAKER_02]: It's not very fair to the public.

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[SPEAKER_02]: You didn't have to go all out and make it really good picture.

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[SPEAKER_03]: That breaks my heart because those pictures are also called things like the wild world of Batwoman and House of the Black Death.

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[SPEAKER_03]: Yeah, so... He could title things I guess.

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[SPEAKER_03]: That's where he spent all his energy.

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[SPEAKER_02]: Teenage zombies was shot in five days in Los Angeles and at the Salton Sea, Lake Southeast of Palm Springs.

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[SPEAKER_02]: The house that's used for most of the film is in Mandival Canyon.

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[SPEAKER_02]: This is a neighborhood north of Brentwood that was greatly affected by the 2025 house aid fire.

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[SPEAKER_02]: And I couldn't find the address for the house to determine if it was still around or not, but it's just in that area.

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[SPEAKER_03]: Did you notice the set they used for the laboratory?

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[SPEAKER_03]: Like, what kind of space that was because I thought it was kind of funny.

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[SPEAKER_03]: It was clearly a recording studio because they had those angular windows, you know, and like the booth.

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[SPEAKER_03]: is like, that's clearly like a vocal booth where somebody's recording, and then they open spaces where the engineers have been, anyway, I thought that was hilarious.

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[SPEAKER_01]: I didn't catch up, but that makes us even better.

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[SPEAKER_03]: Yeah.

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[SPEAKER_02]: All right, you mentioned the wild world of Batwoman, that's a film that he wrote, directed and produced in 1966.

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[SPEAKER_02]: I think it's the only film in the 60s that's fully his and not collated from other films.

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[SPEAKER_02]: His last film was the 1981 Frankenstein's Island.

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[SPEAKER_02]: And both the wild world, the Batwoman of Frankenstein's Island, also starred Catherine Victor, who was in teenage zombies.

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[SPEAKER_02]: Uh-huh.

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[SPEAKER_02]: Who was he?

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[SPEAKER_02]: Catherine Victor plays Dr. Doctor.

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[SPEAKER_02]: She plays Dr. Meyer on the villain.

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[SPEAKER_02]: Now, also in Frankenstein's Island is John Carradine.

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[SPEAKER_02]: No way.

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[SPEAKER_03]: God, did he live a long time?

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[SPEAKER_03]: He is the through line of this potty.

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[SPEAKER_03]: He might be a zombie.

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[SPEAKER_02]: He's been like, or of immortal vampires.

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[SPEAKER_02]: Three of Jerry Warren's films were on Mystery Science Theater 3,000, the wild world of the Batwoman, invasion of animal people, and Frankenstein silent.

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[SPEAKER_02]: Now, I mentioned Catherine Victor.

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[SPEAKER_02]: She plays Dr. Myra, the villain of the film.

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[SPEAKER_02]: She appeared in five of Jerry Warren's films, Teenage Zombies, creature of the Walking Dead, House of the Black Death, the wild world of Batwoman and Frankenstein's island.

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[SPEAKER_03]: How we know if she was Batwoman in that movie?

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[SPEAKER_02]: I believe so, yeah.

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[SPEAKER_02]: And outside of acting, she worked in TV animation for Disney as a continuity coordinator.

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[SPEAKER_02]: Her credits include the series Tale Spin, the Little Mermaid, Aladdin, 101 Dalmatians, Hercules, and Buzz Lightyear of Star Command.

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[SPEAKER_02]: So someone emerged from this fiasco with a job, a bright future?

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[SPEAKER_02]: Oh no, no, we have a big one in the right now, Brianna Murphy.

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[SPEAKER_02]: Oh.

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[SPEAKER_02]: She plays Pam.

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[SPEAKER_02]: She's the one in the short, white shorts and the, well, the two of the girls have blonde hair.

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[SPEAKER_02]: She's one of the teens.

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[SPEAKER_03]: Yeah.

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[SPEAKER_03]: She doesn't, she's the one with the fewest lines, I think.

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[SPEAKER_02]: Yeah, but at the end, she's really chadding smiling and kind of overacting in the early 50s.

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[SPEAKER_02]: She and an actor friend crashed the opening night of wringling brother's circus and performed as clowns.

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[SPEAKER_02]: The circus then gave her a job as an assistant to the photographer where she learned the basics of photography.

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[SPEAKER_02]: Then on the waterfront, the movie with Marlon Brando directed by Elya Kazan was shooting in New York City.

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[SPEAKER_02]: She hung around the set and engrained herself and became a go-for.

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[SPEAKER_02]: and she picked up and took advantage of it, picked up the opportunity to learn about filmmaking.

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[SPEAKER_02]: She then met Jerry Warren and started working with him both in front of and behind the camera, behind the cameras she would kind of do everything.

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[SPEAKER_02]: They did several these films.

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[SPEAKER_02]: They got divorced.

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[SPEAKER_02]: She then married another director, a writer, director named Ralph Brooks, and they made a whole bunch of independent films together, but he died at an early age of 43.

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[SPEAKER_02]: She took this experience and continued to work in non-union films because there was no work for women in cinematography in studio films and union films.

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[SPEAKER_02]: In the 70s, the TV show Clumbo, the DP, was leaving, and he recommended that she fell in, and the studio was hesitant to hire a woman, but she got the job.

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[SPEAKER_02]: She built on this and she went on to do many TV shows as cinematographer, including Highway to Heaven, Square Pigs, and Breaking Away.

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[SPEAKER_02]: She was the first female member of the American Society of cinematographers.

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[SPEAKER_02]: She was nominated for four Emmy Awards in one in 1975 for NBC Special Treat.

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[SPEAKER_02]: She received an Academy Award for Scientific and Engineering because she created with someone else, the MISI, Camera, Insert, Car, and Processed Trailer.

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[SPEAKER_02]: One of her cameraman was killed doing a stunt in the dukes of hazard, and she devised a trailer and system to protect the cast and crew while shooting these kind of scenes.

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[SPEAKER_02]: Oh, wow.

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[SPEAKER_02]: Whoa.

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[SPEAKER_02]: And she co-founded Women in Film, which is a very large organization.

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[SPEAKER_02]: And NABET, a large union for television technicians.

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[SPEAKER_02]: She is like the most accomplished person we've ever discussed on this podcast.

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[SPEAKER_02]: Well, I think something that happens and you see this in the Roger Corman films.

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[SPEAKER_02]: They're like terrible films, but when you go there and you work there, you learn everything and you know, James Cameron came from there, John Sayell, the whole bunch of people constantly say this.

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[SPEAKER_03]: You have to do everything because there's nobody else to do it, right?

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[SPEAKER_03]: Yeah, right?

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[SPEAKER_02]: And so she took full advantage of it and a lot of times she would call for jobs, lower her voice and call herself Brian and set a brand to try and get jobs.

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[SPEAKER_02]: Nice.

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[SPEAKER_02]: Oh, wow.

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[SPEAKER_02]: but she succeeded.

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[SPEAKER_03]: I love her now.

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[SPEAKER_03]: That's great.

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[SPEAKER_03]: Yeah, it's always upsetting when it's as late as the 1970s and we're still having conversations about women working in film, but sometimes the trailblazers aren't big showy people that everybody knows the name of.

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[SPEAKER_03]: Sometimes there's people like Brianna Murphy who who paved the way and do all this stuff and and make it okay for women to do this job.

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[SPEAKER_02]: So I'll put this in the show notes.

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[SPEAKER_02]: The Americans society cinematographers magazine

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[SPEAKER_02]: and they quote her saying that she tried to get into the society in the early 70s but the head of the local said my wife doesn't drive you'll never get in here unless it's over my dead body and she's in it at the point they talked to her and they said how'd you get in she goes well he died that's perfect

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[SPEAKER_03]: Well, there's a line about that, like scientific theory is one funeral away from passing into the, like, you know, it's sort of how the world works, I guess.

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[SPEAKER_02]: Well, that is amazing.

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[SPEAKER_02]: She's the highlight.

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[SPEAKER_02]: Now Chuck Niles plays the zombie Ivan in real life.

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[SPEAKER_02]: He was a long time jazz, disjacking Los Angeles.

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[SPEAKER_02]: He was also the radio announcer in invisible aliens who was strangled by the alien zombie.

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[SPEAKER_03]: Oh, okay.

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[SPEAKER_02]: Steve County plays Warf.

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[SPEAKER_02]: One of the bad guys.

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[SPEAKER_02]: Many of his credits are thug, hood, hood, limb, entramen, gun, convict.

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[SPEAKER_02]: He has that look that people would catch as a bad guy.

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[SPEAKER_02]: And he was in six Jerry Warren movies.

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[SPEAKER_02]: And lastly, there are 12 actors listed in the cast and for them, this was the only film that they appeared in.

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[SPEAKER_02]: I'm shocked.

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[SPEAKER_03]: shocked by that fact.

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[SPEAKER_03]: All right, should I do a, you know, do the historical, how about a very brief historical context?

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[SPEAKER_03]: This is our fourth movie in 1950.

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[SPEAKER_01]: You bet.

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[SPEAKER_01]: So, you know, I'm not going to rehash the historical events that we've discussed in the past couple episodes.

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[SPEAKER_01]: Gold bars going on civil rights are going on.

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[SPEAKER_01]: All sorts of crazy stuff is happening, but John Brad, I want to take a second and just revisit the topic of teenagers.

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[SPEAKER_01]: Because this is our,

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[SPEAKER_01]: This is out of nowhere, I feel like this is our first movie that is suddenly a very teenager movie, right?

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[SPEAKER_01]: So if you will bear with me, I just want to go into a little bit more specifics than we did in the past and talk about like so why do we have teenagers here in the 50s all of a sudden?

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[SPEAKER_01]: So John, you and I've talked about how, you know, the idea of the modern teenager.

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[SPEAKER_01]: You know, it really kind of emerged at this time.

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[SPEAKER_01]: It's kind of a new, a new thing.

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[SPEAKER_01]: It didn't come out of nowhere.

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[SPEAKER_01]: No, earlier in the century, we had in the U.S.

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[SPEAKER_01]: I'm talking here.

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[SPEAKER_01]: We had child labor laws that were

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[SPEAKER_01]: taking kids out of, you know, factories and dangerous workplaces.

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[SPEAKER_01]: We had compulsory education.

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[SPEAKER_01]: And I hadn't really made this connection, but once every kid in the country had to go to school, you started.

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[SPEAKER_01]: getting this creation of sort of a shared culture that just didn't exist before, right?

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[SPEAKER_01]: Right.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: Like in 1920, a teenager in Alabama and a teenager in New York and a teenager in Colorado might have life experiences so different from each other.

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[SPEAKER_01]: They might as well be on different planets almost.

14:52.501 --> 14:57.328

[SPEAKER_03]: Yeah, if you're the farmers kid in 1920, by the age of 15, you're like in charge of a team.

14:57.448 --> 15:07.743

[SPEAKER_03]: You're like working hard all day in physical labor and you're not going to school and meeting girls and all the stuff we sort of associate with teenager them.

15:08.233 --> 15:08.453

[SPEAKER_01]: Yeah.

15:08.493 --> 15:15.198

[SPEAKER_01]: So all of a sudden, you know, kids all over the country are spending a ton of time away from their parents with their peers.

15:15.919 --> 15:26.047

[SPEAKER_01]: They're, and with that, they're developing kind of shared vocabulary, shared interest, shared ideas about fashion, and on top of all of this,

15:27.389 --> 15:27.849

[SPEAKER_01]: as the U.S.

15:27.889 --> 15:28.770

[SPEAKER_01]: economy is booming.

15:29.330 --> 15:30.990

[SPEAKER_01]: Everyone's got more disposable income.

15:31.090 --> 15:39.934

[SPEAKER_01]: So these kids who might end up past years have had to, if they have a job, their money would go into the family budget, right?

15:40.094 --> 15:44.836

[SPEAKER_01]: But now that everyone is doing a little better financially, these kids are allowed to keep their money.

15:44.896 --> 15:51.699

[SPEAKER_01]: So they're, and they're using that money to buy clothes, and music, go to restaurants, read magazines, go to movies,

15:52.939 --> 16:10.551

[SPEAKER_01]: saving up milkshakes in the morning get milkshakes in the morning go horseback riding like the teams were about to meet and so I guess where I'm all leading up to is like I mean that the teenager it really was cemented as with so many things in US history when money entered the picture because

16:11.091 --> 16:18.256

[SPEAKER_01]: all of a sudden, all kinds of businesses are basically handed a brand new target market that had not been tapped before.

16:18.416 --> 16:25.581

[SPEAKER_01]: And boy, howdy does every industry in the world start targeting teenagers with their stuff.

16:26.022 --> 16:33.126

[SPEAKER_01]: And this movie, I think is a fantastic example of stuff that was probably cranked out really fast and aimed at teens.

16:33.347 --> 16:33.467

[SPEAKER_01]: So

16:34.068 --> 16:34.288

[SPEAKER_03]: Yeah.

16:34.469 --> 16:35.950

[SPEAKER_03]: And I feel like this movie is part of it.

16:36.030 --> 16:44.280

[SPEAKER_03]: And I feel like all the teens in this movie, like they're all wearing jeans, like with rolled cuffs and and docks shoes, one of the girls wears a poodle skirt.

16:44.320 --> 16:49.486

[SPEAKER_03]: Like these are the teenagers I thought we would be seeing all this time, because they just looked like happy days.

16:49.526 --> 16:50.207

[SPEAKER_03]: They look like the 1950s.

16:50.347 --> 16:51.829

[SPEAKER_03]: They look like they leave it to be

16:53.992 --> 17:07.232

[SPEAKER_01]: And you know, I want to make one final point, and that is as with like the horror genre in general, I mean anytime you have a new thing that comes on the cultural scene you get a sort of reactionary backlash and reactionary backlash is

17:08.449 --> 17:26.683

[SPEAKER_01]: often have an ironic way of sort of cementing the thing that they're reacting to as a real permanent thing and so there was a lot of fear mongering and concern about delinquent teens and all the scary stuff the going for drive in a boys car and like all this time.

17:26.743 --> 17:36.272

[SPEAKER_01]: Yeah, all that this new teenage world that, that, you know, in their defense must have seemed pretty bizarre and out there to a lot of parents, right?

17:36.312 --> 17:40.716

[SPEAKER_01]: So you have that backlash going on and I don't know, you have any final thoughts on that.

17:40.756 --> 17:47.663

[SPEAKER_01]: I just wanted to revisit that in a little more depth because I do, I think we're going to be seeing movies packed with teens, you know, going forward.

17:47.763 --> 17:49.585

[SPEAKER_01]: So I thought it's pause now and talk about that.

17:50.288 --> 18:09.706

[SPEAKER_03]: No, I think that's great and I think it's a good point and yeah, this is the first 50s movies that really feels like the 50s instead of teenagers We've had men in their 50s in our 1950s movies, and then always felt weird to me, and I wonder this probably a lot of movies were not seeing right Oh, for sure, they're full of that, you know, James Dean, well with that it calls all that stuff.

18:09.826 --> 18:12.429

[SPEAKER_03]: It's just not part of our our genre right now

18:12.609 --> 18:15.791

[SPEAKER_01]: Yeah, it's where, you know, when we talk historic, we talk about this stuff listeners.

18:15.831 --> 18:16.592

[SPEAKER_01]: It's worth remembering.

18:16.612 --> 18:18.873

[SPEAKER_01]: You know, we're, we're talking about B movies.

18:19.033 --> 18:24.697

[SPEAKER_01]: So every now and then I think we have found some movies that are kind of pushing, doing something new or pushing an envelope.

18:24.797 --> 18:30.701

[SPEAKER_01]: But I have to assume that in general, these movies are picking up on themes that are already out there.

18:31.141 --> 18:34.243

[SPEAKER_01]: My last thing I want to say is this movie came out in 1959.

18:34.363 --> 18:41.507

[SPEAKER_01]: And this is like, if you imagine in your mind like mid-century teenagers, this is it, right?

18:43.160 --> 18:47.684

[SPEAKER_01]: getting, you know, at the diner getting their ice cream sundays or whatever those are.

18:49.506 --> 18:57.433

[SPEAKER_01]: Pompa door here cuts duck bill here cuts like like your back to the future, you know, like this is we are at peak because it seems we get in the 50s.

18:59.060 --> 19:18.712

[SPEAKER_01]: uh... counterculture stuff and the Vietnam War politics and sixties uh... sixties and drugs and hippies and some are going to mix into like the youth movement and this kind of so there's like a couple years where we have this very iconic american retro teenager and this movie is right in the middle of it

19:19.100 --> 19:19.821

[SPEAKER_03]: Yeah, for sure.

19:20.041 --> 19:20.542

[SPEAKER_03]: Absolutely.

19:20.662 --> 19:24.587

[SPEAKER_02]: The other thing it really reminds me of is I was a as a kid a reader of the hearty boy books.

19:25.007 --> 19:25.588

[SPEAKER_02]: Oh, yeah.

19:26.068 --> 19:27.190

[SPEAKER_02]: The way these kids act.

19:27.470 --> 19:29.412

[SPEAKER_02]: That's exactly how I imagine the hearty boys.

19:29.993 --> 19:31.134

[SPEAKER_01]: Yes, exactly.

19:31.154 --> 19:31.895

[SPEAKER_01]: Yeah, exactly.

19:31.935 --> 19:35.460

[SPEAKER_01]: There's a huge huge hearty boys energy to this film.

19:36.177 --> 19:36.377

[SPEAKER_03]: Yeah.

19:36.497 --> 19:36.898

[SPEAKER_03]: For sure.

19:37.138 --> 19:37.338

[SPEAKER_01]: All right.

19:37.358 --> 19:38.078

[SPEAKER_01]: Well, that's all I got.

19:38.158 --> 19:40.140

[SPEAKER_01]: I, uh, sorry for belaboring that.

19:40.600 --> 19:41.361

[SPEAKER_03]: No, we love it.

19:41.581 --> 19:43.122

[SPEAKER_01]: We can't put it off any longer.

19:43.162 --> 19:45.223

[SPEAKER_01]: We have to face the teens at some point.

19:45.283 --> 19:50.567

[SPEAKER_01]: So, John, why don't you start us out with a 60 second overview of teenage zombies.

19:51.227 --> 19:54.310

[SPEAKER_02]: If you can take 60 seconds in this plot, John, I'll be amazed.

19:55.190 --> 19:56.331

[SPEAKER_02]: Oh, I can, yeah.

19:56.631 --> 19:57.911

[SPEAKER_02]: Take the time here's the plot.

19:57.931 --> 19:59.152

[SPEAKER_03]: You're all going to do it.

19:59.172 --> 20:00.992

[SPEAKER_03]: I could do it like a garage style, right?

20:01.133 --> 20:02.373

[SPEAKER_03]: Teenager go to island.

20:02.413 --> 20:03.474

[SPEAKER_03]: Teenager get captured.

20:03.834 --> 20:04.954

[SPEAKER_03]: Teenager get rescued.

20:04.974 --> 20:07.495

[SPEAKER_03]: No, it's a little more complex than that.

20:07.915 --> 20:16.779

[SPEAKER_03]: A group of plucky teenagers decide they're going to have a nice day out and they're going to go out on a boat and there's a mysterious island in the middle of the lake near their home.

20:17.339 --> 20:18.900

[SPEAKER_03]: So they go there on the island.

20:19.380 --> 20:32.789

[SPEAKER_03]: They discover a woman who is conducting scientific experiments that are mysterious at first, but it turns out it's part of a plot to poison the water of the entire United States to make U.S.

20:32.829 --> 20:36.652

[SPEAKER_03]: citizens docile so they can take over and rule all of us.

20:37.512 --> 20:40.975

[SPEAKER_03]: The only people who can stop this are the teenagers who've come to this island.

20:41.975 --> 20:43.196

[SPEAKER_03]: they manage to do this.

20:44.377 --> 20:45.457

[SPEAKER_03]: It's awfully chaotic.

20:45.477 --> 20:52.301

[SPEAKER_03]: They escape and then get then they are told at the end they're going to get to meet the president for saving the United States.

20:52.561 --> 20:53.682

[SPEAKER_01]: And so that's not for a summary.

20:53.922 --> 20:54.623

[SPEAKER_01]: That is perfect.

20:54.703 --> 20:55.483

[SPEAKER_01]: What is what?

20:56.164 --> 20:58.825

[SPEAKER_01]: Who was the president that they in just a few days?

20:58.865 --> 20:59.866

[SPEAKER_01]: They were all going to meet.

21:00.146 --> 21:01.287

[SPEAKER_01]: I would have been Eisenhower.

21:01.327 --> 21:01.847

[SPEAKER_01]: It would have.

21:01.887 --> 21:02.147

[SPEAKER_01]: Yes.

21:02.327 --> 21:02.627

[SPEAKER_01]: Yes.

21:02.827 --> 21:06.410

[SPEAKER_01]: So imagine stately like meeting the teens you're about to meet.

21:07.530 --> 21:10.312

[SPEAKER_01]: I would have said more names, but they don't say any names.

21:10.392 --> 21:12.493

[SPEAKER_01]: Well, I had to Google to find out these people's names.

21:12.593 --> 21:12.793

[SPEAKER_03]: Yeah.

21:12.873 --> 21:16.555

[SPEAKER_03]: Like, at the end of the movie, it's like, they're like, we got to go back and rescue Julian Panham.

21:16.575 --> 21:17.875

[SPEAKER_03]: I'm like, oh, that's their names.

21:17.895 --> 21:20.597

[SPEAKER_03]: 50 minutes into our 70 minute movie.

21:21.317 --> 21:25.799

[SPEAKER_02]: And Maurice, the boy who was not captured, I keep trying to find his friends.

21:25.879 --> 21:26.239

[SPEAKER_02]: Maurice.

21:26.719 --> 21:26.980

[SPEAKER_03]: Yes.

21:27.280 --> 21:27.480

[SPEAKER_03]: Yeah.

21:27.640 --> 21:29.121

[SPEAKER_03]: And I don't think we're going to get

21:29.961 --> 21:38.892

[SPEAKER_03]: to into the names, unless you feel really strongly about it, because I, well, I, so I think they are Pam, red, Julie, and skip, and then those are perfect.

21:39.052 --> 21:48.163

[SPEAKER_01]: And then I know that in the, a more 50s teenage, I mean, you could not come up with, and then Mori and Daddy are the two plucky teams that don't get

21:48.804 --> 21:51.965

[SPEAKER_01]: captured on the island and no except bring about the salvation of everyone.

21:52.345 --> 21:55.566

[SPEAKER_02]: But I think you could be simple to say the boys and the girls for those captured.

21:56.286 --> 21:57.127

[SPEAKER_03]: Yes, that works.

21:57.187 --> 21:57.907

[SPEAKER_03]: Name so matter.

21:58.187 --> 21:59.147

[SPEAKER_03]: Name's do not matter.

21:59.187 --> 22:01.128

[SPEAKER_03]: So let's just start with the opening music.

22:01.668 --> 22:02.228

[SPEAKER_03]: Big music.

22:02.308 --> 22:04.909

[SPEAKER_03]: It's this teenage zombies and we've got just really heavy.

22:04.929 --> 22:08.350

[SPEAKER_03]: I think like like we've got it just goes after early.

22:08.370 --> 22:13.132

[SPEAKER_03]: There's like twittering piccolo's up here and french horns down here and they're just battling the whole movie.

22:13.472 --> 22:14.093

[SPEAKER_01]: Yes, they are.

22:14.974 --> 22:20.242

[SPEAKER_01]: So I'm curious, when are we going to get the first hint of like rock music and one of these movies?

22:20.743 --> 22:23.547

[SPEAKER_01]: A movie for teens would be the place to do it.

22:24.249 --> 22:24.489

[SPEAKER_03]: Yeah.

22:25.009 --> 22:27.371

[SPEAKER_03]: A lot of scores aren't rock now, though.

22:27.391 --> 22:28.171

[SPEAKER_03]: That's true.

22:28.211 --> 22:28.411

[SPEAKER_01]: Yeah.

22:29.072 --> 22:31.853

[SPEAKER_02]: The music for this movie obviously was sourced.

22:31.933 --> 22:32.794

[SPEAKER_02]: It wasn't written for it.

22:33.314 --> 22:36.135

[SPEAKER_02]: And most of it was taken from a movie called Cronos, which came out 1957.

22:36.175 --> 22:38.517

[SPEAKER_02]: Did that have zombies in it?

22:38.537 --> 22:39.277

[SPEAKER_02]: We could watch that.

22:40.197 --> 22:40.478

[SPEAKER_02]: Sorry.

22:40.638 --> 22:46.221

[SPEAKER_02]: It's aliens from another world send a huge robotic aculmator invade the earth and absorb all energy.

22:46.421 --> 22:47.481

[SPEAKER_02]: It comes in contact with.

22:47.981 --> 22:48.762

[SPEAKER_02]: That sounds good.

22:49.548 --> 22:49.809

[SPEAKER_03]: All right.

22:50.169 --> 22:50.450

[SPEAKER_03]: Sorry.

22:50.690 --> 22:53.095

[SPEAKER_03]: That's like the plot of, uh, derelict Andy.

22:53.436 --> 22:53.796

[SPEAKER_01]: Yeah.

22:53.836 --> 22:54.037

[SPEAKER_01]: Yeah.

22:54.117 --> 22:54.237

[SPEAKER_01]: Hey.

22:54.257 --> 22:55.600

[SPEAKER_01]: We're listening to this other podcast.

22:55.900 --> 22:56.261

[SPEAKER_03]: Never mind.

22:56.802 --> 22:59.327

[SPEAKER_01]: Would you say that these teams are a lolly gagging around?

23:01.506 --> 23:02.986

[SPEAKER_03]: there are a bunch of lolly gaggers.

23:03.206 --> 23:04.347

[SPEAKER_03]: Yeah.

23:04.687 --> 23:06.207

[SPEAKER_03]: So they're just hanging out.

23:06.247 --> 23:07.027

[SPEAKER_03]: They're loitering.

23:07.047 --> 23:07.907

[SPEAKER_03]: Yeah.

23:08.228 --> 23:09.368

[SPEAKER_03]: But the movie gets right into it.

23:09.488 --> 23:13.529

[SPEAKER_03]: It's just that the teens are sitting at a table sharing a milk shake.

23:14.569 --> 23:17.130

[SPEAKER_03]: A couple of them are two that don't get captured.

23:18.270 --> 23:19.750

[SPEAKER_03]: Mori and Doddy did we say?

23:20.210 --> 23:20.410

[SPEAKER_03]: Yes.

23:21.031 --> 23:30.793

[SPEAKER_03]: They are they they leave the group and decide to go horseback riding and then the rest of them are going to meet pick them up in a boat and they're all going to go to this island.

23:31.673 --> 23:56.630

[SPEAKER_03]: together or they're gonna they're gonna do a picnic together now there's a lot of banter here right like establishing these as quick-witted funny characters you've got the the soda jerk right the guy who's serving them their milkshakes at eight in the morning like you do like so it's just trying to create that sort of dine 50s diner mystique right and that these are hip kids and and they're really sharp and clever and all that kind of stuff

23:57.330 --> 24:00.651

[SPEAKER_01]: It's got super-stilted dialogue.

24:00.771 --> 24:02.672

[SPEAKER_01]: Like, and it starts right here at the beginning.

24:02.712 --> 24:08.133

[SPEAKER_01]: I mean, I don't know how teens talk to each other in the 50s, but I promise it wasn't like this.

24:08.574 --> 24:16.816

[SPEAKER_03]: No, and I think part of the problem is like, like, brand me a comment about like if plan nine is the worst movie, this movie literally does not move the camera.

24:16.976 --> 24:21.878

[SPEAKER_03]: Like they set up the camera on these kids at the table, and then they just talk.

24:22.498 --> 24:32.261

[SPEAKER_03]: There's no emphasis, there are no close-ups in this movie, except once, when it's a gun loose on the floor, there's a close-up of a hand grabbing it, and other than that, they're literally are none.

24:32.701 --> 24:36.603

[SPEAKER_02]: And Captain Victor, who plays Dr. Myra, said she was given very little direction.

24:36.643 --> 24:40.644

[SPEAKER_02]: So I imagine the cameras put up, they had the script, and they were left to figure out what to do.

24:40.664 --> 24:41.124

[SPEAKER_02]: Yeah.

24:41.144 --> 24:45.986

[SPEAKER_02]: Because there's a lot of times they're just sort of standing around, we're all waiting for what actors going to do something.

24:46.366 --> 24:46.606

[SPEAKER_03]: Yeah.

24:46.947 --> 24:47.227

[SPEAKER_03]: Yeah.

24:47.467 --> 24:47.928

[SPEAKER_03]: Exactly.

24:48.408 --> 24:49.229

[SPEAKER_03]: So I will say this.

24:49.289 --> 24:52.612

[SPEAKER_03]: So so they decide to go to this island.

24:52.892 --> 24:53.913

[SPEAKER_03]: Little rebellious, right?

24:53.953 --> 24:54.754

[SPEAKER_03]: Like take a chance.

24:54.794 --> 24:55.535

[SPEAKER_03]: Be a little risky.

24:56.035 --> 24:59.158

[SPEAKER_03]: So four of them go to the island and just this set up.

25:00.674 --> 25:02.794

[SPEAKER_03]: feels like a slasher vibe, right?

25:02.834 --> 25:03.915

[SPEAKER_03]: Like 14 ages.

25:04.115 --> 25:09.136

[SPEAKER_03]: And so I just, it had that strong vibe, and it's not something we've seen before.

25:09.416 --> 25:09.736

[SPEAKER_01]: Totally.

25:09.836 --> 25:12.477

[SPEAKER_01]: They're going to an island that's like kind of a secret.

25:12.497 --> 25:13.337

[SPEAKER_01]: It's not well known.

25:13.497 --> 25:16.598

[SPEAKER_01]: So like they're going somewhere where people won't know where to find them.

25:16.778 --> 25:19.638

[SPEAKER_03]: Hey, do you want to go to that abandoned sleepaway camp?

25:19.898 --> 25:20.078

[SPEAKER_01]: Right.

25:20.118 --> 25:21.239

[SPEAKER_03]: I dare you to sleep there.

25:21.279 --> 25:22.999

[SPEAKER_03]: Like it just feels like that for sure.

25:23.039 --> 25:23.119

[SPEAKER_01]: And

25:23.379 --> 25:24.560

[SPEAKER_01]: I got to give this movie credit.

25:25.341 --> 25:28.645

[SPEAKER_01]: We are two minutes into this movie and we are already on the island.

25:28.745 --> 25:34.791

[SPEAKER_01]: Yeah, there's none of that hour of scared stiff setup or ghostbreakers.

25:34.831 --> 25:42.279

[SPEAKER_02]: So my mind instantly goes to where in the US is there a leg big enough that there's a mysterious island that no one knows about.

25:42.839 --> 25:44.939

[SPEAKER_03]: Yeah, only in Michigan, right?

25:44.980 --> 25:48.900

[SPEAKER_03]: Like, like, there could be one in the in the middle before satellites.

25:48.920 --> 25:51.021

[SPEAKER_03]: There could have been one in the middle, like Michigan, nobody knew about it.

25:51.041 --> 25:54.702

[SPEAKER_02]: And later in the film, the sheriff asked more, where is this island he goes?

25:54.742 --> 25:56.382

[SPEAKER_02]: Get to go 30 to 40 miles out.

25:56.882 --> 25:56.962

[SPEAKER_01]: Yeah.

25:57.002 --> 25:57.282

[SPEAKER_01]: Yeah.

25:57.762 --> 25:57.902

[UNKNOWN]: Yeah.

25:59.583 --> 26:09.705

[SPEAKER_01]: Well, we do experience that because I would say about 40% of this movie is watching both like stock video of boats just trolling across the screen.

26:09.885 --> 26:10.065

[SPEAKER_03]: Right.

26:10.245 --> 26:17.988

[SPEAKER_03]: And another 30% is watching people walk from place to place or or just walk randomly around those two things.

26:18.048 --> 26:20.409

[SPEAKER_03]: So that's 70% of your movie right here.

26:20.749 --> 26:24.190

[SPEAKER_01]: Okay, we got to um, sorry, let's go.

26:24.430 --> 26:28.772

[SPEAKER_03]: Let's let's read and talk about this beginning of this movie longer than the beginning of the movie.

26:28.872 --> 26:29.012

[SPEAKER_01]: Okay.

26:29.752 --> 26:40.536

[SPEAKER_03]: So, they are going to do a picnic on the island, they just go march around, they find a couple of abandoned buildings, and then they see a train or a group of slow walking people.

26:40.976 --> 26:44.197

[SPEAKER_03]: And there's a woman comes out, well, here's what happens.

26:44.257 --> 26:45.577

[SPEAKER_03]: They see these slow walking people.

26:45.597 --> 26:50.879

[SPEAKER_03]: They look like zombies to me, Andy, and one of our characters says the following.

26:59.873 --> 27:00.314

[SPEAKER_03]: Don't.

27:00.714 --> 27:02.415

[SPEAKER_03]: A dead or something.

27:02.996 --> 27:05.278

[SPEAKER_03]: Yeah, so also the soundtrack there.

27:05.558 --> 27:08.360

[SPEAKER_03]: That's how it is for the whole movie.

27:08.680 --> 27:11.903

[SPEAKER_03]: There's no tension in the action or acting or talking.

27:12.344 --> 27:15.486

[SPEAKER_03]: So they're trying to just add tension through this soundtrack.

27:15.686 --> 27:19.550

[SPEAKER_02]: But the soundtrack adds tension by conflicting with the movie.

27:19.570 --> 27:21.251

[SPEAKER_02]: It's fighting it.

27:23.913 --> 27:30.636

[SPEAKER_01]: So I will say this movie has one scene that was almost legitimately unironically creepy.

27:31.057 --> 27:31.257

[SPEAKER_01]: Yeah.

27:31.337 --> 27:36.980

[SPEAKER_01]: And that is this scene where they stumble across this band of zombies.

27:37.740 --> 27:39.701

[SPEAKER_01]: And there's a woman overseeing them.

27:40.081 --> 27:41.742

[SPEAKER_01]: This is Dr. Myra, I think like John said.

27:42.282 --> 27:45.184

[SPEAKER_01]: And she turns and notices them.

27:45.484 --> 27:47.565

[SPEAKER_01]: And I thought that was the one effective

27:48.285 --> 27:58.209

[SPEAKER_01]: spooky moment in this whole film because she turns, she notices them and then she just points or gestures at them as if she's like sticking the zombies on them.

27:58.549 --> 27:58.809

[SPEAKER_04]: Yeah.

27:58.969 --> 27:59.869

[SPEAKER_01]: And that was pretty cool.

27:59.909 --> 28:04.371

[SPEAKER_01]: That was, that was the last time in this movie I felt a thrill of some sort of human emotion.

28:05.144 --> 28:10.545

[SPEAKER_03]: Yeah, the actress, I will say this for the actress who plays, let me get her name right, hola, Dr. Myra.

28:11.005 --> 28:16.026

[SPEAKER_03]: Yeah, but I will say this for Catherine Victor, who plays Dr. Myra, she does have presence, right?

28:16.086 --> 28:16.206

[SPEAKER_01]: Yeah.

28:16.226 --> 28:17.466

[SPEAKER_03]: She's like an old school actress.

28:17.486 --> 28:18.547

[SPEAKER_03]: She's got square shoulders.

28:18.567 --> 28:23.608

[SPEAKER_03]: So when she sort of turns in points, like she just, it's because of her that that scene works, you know?

28:23.648 --> 28:26.388

[SPEAKER_01]: Yeah, she has a sort of regal stage presence, I think.

28:26.408 --> 28:26.628

[SPEAKER_02]: Yeah.

28:26.928 --> 28:30.049

[SPEAKER_02]: Is it her presence or the fact that she's always in an evening gown?

28:30.609 --> 28:30.990

[SPEAKER_03]: That helps.

28:31.390 --> 28:35.415

[SPEAKER_03]: She's got like short hair and evening gown and she's I think she's really tall too.

28:35.976 --> 28:39.521

[SPEAKER_01]: She looks like she's from a movie like 15 years earlier than this.

28:39.601 --> 28:40.922

[SPEAKER_01]: Yeah, yeah, for sure.

28:41.383 --> 28:44.266

[SPEAKER_03]: She should be in like a Cleopatra or something.

28:44.547 --> 28:44.787

[SPEAKER_01]: Right.

28:44.827 --> 28:45.047

[SPEAKER_01]: Right.

28:45.148 --> 28:45.568

[SPEAKER_03]: Exactly.

28:46.189 --> 28:48.211

[SPEAKER_01]: Uh, so it's came out after this, by the way.

28:48.271 --> 28:48.432

[SPEAKER_01]: Right.

28:50.599 --> 28:53.180

[SPEAKER_01]: Yeah, but she is, you don't know, sorry.

28:53.461 --> 28:58.884

[SPEAKER_01]: I somewhere around here, they go back, they run back to like find their boat and they discover it's missing.

28:59.164 --> 28:59.444

[SPEAKER_01]: Yes.

28:59.744 --> 29:03.146

[SPEAKER_01]: So did you notice it like every scene that was shot on the beach?

29:03.766 --> 29:07.629

[SPEAKER_01]: They had dubbed the audio in later in the most comical fashion.

29:07.989 --> 29:13.132

[SPEAKER_01]: They were always facing away from the camera and finding ways to hide their faces.

29:13.632 --> 29:15.794

[SPEAKER_01]: So they hadn't noticed that, but so the sense.

29:15.995 --> 29:22.601

[SPEAKER_01]: Dialogue that does not in any way match like there are emotions or anything like that could be dubbed in over.

29:22.681 --> 29:24.423

[SPEAKER_01]: It's, I don't know.

29:24.664 --> 29:29.108

[SPEAKER_01]: I don't even know why, you know, I don't even know why they would have to do this, but it made me laugh.

29:29.388 --> 29:30.430

[SPEAKER_01]: And there's a lot of theory.

29:31.050 --> 29:36.417

[SPEAKER_03]: and that doing synchronized sound in those locations, they couldn't afford body mics or anything like that.

29:36.477 --> 29:43.746

[SPEAKER_03]: So doing synchronized sound would have caught all the waves and they knew they couldn't edit them out so they had to tap the spear.

29:44.087 --> 29:47.151

[SPEAKER_01]: It's so blatant any time they're on in a beach scene.

29:47.511 --> 29:48.411

[SPEAKER_03]: Yeah.

29:48.651 --> 29:49.812

[SPEAKER_03]: So they go back to the beach.

29:50.392 --> 29:51.332

[SPEAKER_03]: The boat is gone.

29:51.352 --> 29:54.474

[SPEAKER_03]: And here's the first genius thing to do.

29:54.534 --> 29:56.994

[SPEAKER_03]: The boys go, hey, we'll go look around for the boat.

29:57.075 --> 30:04.177

[SPEAKER_03]: You two stay here despite the fact that we just saw a dozen zombies and they're chasing us.

30:04.277 --> 30:05.438

[SPEAKER_03]: They didn't say that last part.

30:05.578 --> 30:06.478

[SPEAKER_03]: I'm seeing that last part.

30:06.738 --> 30:09.942

[SPEAKER_01]: Yes, I mean, this is so horror movie trope though, right?

30:10.142 --> 30:12.164

[SPEAKER_03]: Like, yeah, right, do the dumb thing.

30:12.364 --> 30:16.009

[SPEAKER_01]: This is what kids in modern slasher movies do, right?

30:16.409 --> 30:16.649

[SPEAKER_03]: Yes.

30:17.831 --> 30:21.034

[SPEAKER_03]: The boys go to a house, they find a house.

30:21.675 --> 30:25.499

[SPEAKER_03]: At this point, you know, Ivan is lurking going to capture the girls.

30:26.360 --> 30:28.141

[SPEAKER_03]: But they don't show us capturing the girls.

30:28.221 --> 30:30.261

[SPEAKER_03]: They show the boys walking around for 10 minutes.

30:30.841 --> 30:36.003

[SPEAKER_03]: And then when the boys get to the doctor's house, the girls are already there.

30:36.263 --> 30:41.184

[SPEAKER_03]: So the scene that could have been action happens in the background and then they're just here.

30:41.645 --> 30:43.365

[SPEAKER_03]: Like this is this movie.

30:44.806 --> 30:45.606

[SPEAKER_03]: This is this movie.

30:45.746 --> 30:47.086

[SPEAKER_03]: Everybody says what they're gonna do.

30:47.466 --> 30:50.307

[SPEAKER_03]: We film them doing it for an extended period of time.

30:50.727 --> 30:52.988

[SPEAKER_03]: And then they say they're going to do something else.

30:53.128 --> 30:54.388

[SPEAKER_03]: And sometimes it's punctuated

30:57.067 --> 31:01.348

[SPEAKER_01]: And if something exciting happens, it happens while we're watching them do the boring thing.

31:01.368 --> 31:05.710

[SPEAKER_01]: They said they were going to do, and then, yeah, this might be worse than plan nine from under space.

31:05.890 --> 31:06.130

[SPEAKER_01]: Okay.

31:06.990 --> 31:08.250

[SPEAKER_03]: I'm getting ahead of myself.

31:08.290 --> 31:20.074

[SPEAKER_03]: So, one thing I love is they go to talk to the zombie master, and she gives his speech, and I'll play a clip in a second, but she talks about how

31:20.994 --> 31:21.876

[SPEAKER_03]: They don't have a boat.

31:22.036 --> 31:23.338

[SPEAKER_03]: Nobody comes to the silent.

31:23.378 --> 31:24.440

[SPEAKER_03]: Nobody leave the silent.

31:24.480 --> 31:27.746

[SPEAKER_03]: And oh, by the way, I have a refrigerator with soda inside of it.

31:28.467 --> 31:31.713

[SPEAKER_03]: So she offers them a soft drink.

31:33.832 --> 31:39.235

[SPEAKER_03]: then they hear the girls screaming and Ivan comes in and everybody's been captured.

31:39.275 --> 31:40.196

[SPEAKER_03]: The girls are captured.

31:40.316 --> 31:47.020

[SPEAKER_03]: The boys get captured and then the doctor sort of starts to unveil her sinister plan.

31:47.180 --> 31:53.243

[SPEAKER_01]: And when people are captured in this movie, they're sort of gently prodded along by the back of the neck.

31:53.463 --> 31:56.305

[SPEAKER_01]: Yeah, you cut like they got to get a tap on the shoulder

32:00.107 --> 32:04.390

[SPEAKER_03]: So they've been asking if she knows where their boat is and now that they're captured, she gives this speech.

32:06.051 --> 32:07.932

[SPEAKER_05]: Our first answer, your other question.

32:08.692 --> 32:11.534

[SPEAKER_05]: We've taken care of your boat, and none of you will leave here.

32:12.574 --> 32:16.297

[SPEAKER_05]: Instead, you will help me in some very important work.

32:17.698 --> 32:22.100

[SPEAKER_05]: No one asks you here, but your curious nature will and turn aid me very much.

32:23.421 --> 32:25.422

[SPEAKER_08]: But what kind of a creek joint is this?

32:29.043 --> 32:32.425

[SPEAKER_05]: The place where science is free from the interference of stupid politicians.

32:33.146 --> 32:33.626

[SPEAKER_05]: Oh, yeah.

32:34.247 --> 32:35.288

[SPEAKER_06]: Well, you won't get away with it.

32:35.888 --> 32:37.369

[SPEAKER_06]: We've got some friends waiting for us.

32:37.869 --> 32:41.872

[SPEAKER_06]: When we don't show up, they're going to follow us out here looking for us, and they're going to bust up this whole workplace.

32:42.553 --> 32:43.413

[SPEAKER_05]: Please let us go.

32:43.433 --> 32:45.815

[SPEAKER_05]: We're a part of us, never to tell anyone about it.

32:46.516 --> 32:47.917

[SPEAKER_05]: I'm afraid that's impossible.

32:48.768 --> 32:49.829

[SPEAKER_01]: Yeah, delicious.

32:50.129 --> 32:51.511

[SPEAKER_01]: How about that creep joint Andy?

32:51.651 --> 32:51.911

[SPEAKER_01]: Yeah.

32:52.291 --> 32:52.652

[SPEAKER_01]: Yeah.

32:53.052 --> 32:54.253

[SPEAKER_01]: You'll never get away with this.

32:55.434 --> 32:56.776

[SPEAKER_03]: We're going to bust up this joint.

32:57.316 --> 33:01.480

[SPEAKER_03]: So, so as following in the form of this film, he mentions his friends who are waiting for him.

33:01.500 --> 33:04.083

[SPEAKER_03]: So we cut back to the diner and his friends are waiting for him.

33:05.064 --> 33:05.884

[SPEAKER_03]: And he doesn't show up.

33:06.505 --> 33:11.189

[SPEAKER_03]: And the wise, the wise man behind the counter at this sort of fountain.

33:11.530 --> 33:12.931

[SPEAKER_03]: He's really the Gandalf figure.

33:13.011 --> 33:13.391

[SPEAKER_03]: He's done.

33:13.532 --> 33:13.792

[UNKNOWN]: He's done.

33:16.018 --> 33:19.480

[SPEAKER_03]: again, no figure gives wise advice and says, go see the sheriff.

33:21.060 --> 33:25.902

[SPEAKER_03]: They go see the sheriff, and they talk, do you want to go into detail in any of this?

33:25.922 --> 33:27.223

[SPEAKER_03]: Because I'm just going to keep going.

33:27.543 --> 33:29.024

[SPEAKER_03]: There's all the sheriff's office is great.

33:29.164 --> 33:33.126

[SPEAKER_03]: It's like a room and there's like a window that somebody looks through to talk to them.

33:33.866 --> 33:34.646

[SPEAKER_03]: There's no doors.

33:34.686 --> 33:35.607

[SPEAKER_03]: There's no, yep.

33:35.987 --> 33:41.289

[SPEAKER_01]: The best part about this scene is they spend a torturously long time talking to the person behind the window

33:42.830 --> 33:50.457

[SPEAKER_01]: And then, only after this long conversation which recaps everything has happened, then they got behind the window and goes, oh, well, you should tell this to this sheriff.

33:50.697 --> 33:52.439

[SPEAKER_01]: So this wasn't even the sheriff.

33:52.819 --> 33:56.322

[SPEAKER_01]: So then the sheriff has to come out and we have another, we do it again.

33:56.402 --> 33:57.423

[SPEAKER_01]: It's just like, come on.

33:57.943 --> 33:59.265

[SPEAKER_03]: Yes, and in a better film,

34:00.565 --> 34:05.407

[SPEAKER_03]: It would have been more obvious that the sheriff is in on the secret plan on the island.

34:05.908 --> 34:07.929

[SPEAKER_03]: But we just think everybody here is stupid.

34:08.369 --> 34:12.711

[SPEAKER_03]: So when he's trying to talk to him out of looking for their friends, it just sounds like he's done.

34:13.051 --> 34:13.231

[SPEAKER_01]: Yeah.

34:13.331 --> 34:27.158

[SPEAKER_01]: You know, getting some real, uh, voodoo man, uh, police chief vibes or is like, yeah, yeah, don't all these, all these women keep getting killed on the single stretch of road, but I, there's just nothing I could ever do to figure it out.

34:27.578 --> 34:30.340

[SPEAKER_03]: At the end, there's such a perfect line along those lines.

34:30.400 --> 34:35.104

[SPEAKER_03]: I'll we'll hit it at the end because I wrote, I didn't get a clip of it, but I wrote it down because it's so ridiculous.

34:35.925 --> 34:36.145

[SPEAKER_03]: Okay.

34:36.866 --> 34:40.268

[SPEAKER_03]: So the sheriff agrees to go out in a boat and look.

34:40.689 --> 34:46.053

[SPEAKER_03]: And while he does that, uh, mori and daddy are like, well, we'll just borrow our friends boat and we'll do it too.

34:46.874 --> 34:50.957

[SPEAKER_03]: So they managed to get to the island somehow at the exact same beach location.

34:51.277 --> 34:52.879

[SPEAKER_03]: And um,

34:54.200 --> 34:55.261

[SPEAKER_03]: They walk around the island too.

34:55.301 --> 34:57.104

[SPEAKER_03]: So now we have all the teens on the island.

34:57.424 --> 35:00.067

[SPEAKER_03]: They see 16 total are now on the island.

35:00.668 --> 35:02.390

[SPEAKER_03]: They knock on the they go to the house.

35:02.591 --> 35:03.672

[SPEAKER_03]: They knock on the door.

35:05.394 --> 35:07.316

[SPEAKER_03]: I forget even how they oh

35:08.544 --> 35:09.906

[SPEAKER_03]: Then how how do they get out?

35:10.407 --> 35:12.590

[SPEAKER_03]: Oh, yeah, so they go inside.

35:12.610 --> 35:14.332

[SPEAKER_03]: I don't even remember what happened to any.

35:14.352 --> 35:14.652

[SPEAKER_01]: Yeah.

35:14.692 --> 35:15.033

[SPEAKER_01]: Hang on.

35:15.073 --> 35:15.333

[SPEAKER_01]: Hang on.

35:15.353 --> 35:15.894

[SPEAKER_01]: I might be catching up.

35:15.914 --> 35:16.194

[SPEAKER_01]: All right.

35:16.555 --> 35:20.039

[SPEAKER_01]: They so Moria dotty land there.

35:20.440 --> 35:20.620

[SPEAKER_01]: Yep.

35:21.702 --> 35:24.485

[SPEAKER_01]: We see so much filler footage of people and boats by the way.

35:24.505 --> 35:25.206

[SPEAKER_01]: Yeah.

35:25.787 --> 35:26.888

[SPEAKER_01]: They approach the same house.

35:27.468 --> 35:29.229

[SPEAKER_01]: Dr. Meira is in a different dress.

35:29.409 --> 35:30.889

[SPEAKER_01]: I think this is like a day later.

35:30.909 --> 35:32.830

[SPEAKER_01]: And they just leave.

35:33.050 --> 35:34.291

[SPEAKER_01]: So she says there's nothing here.

35:34.371 --> 35:38.773

[SPEAKER_01]: And so the teens just are like, okay, so they go back to the boat and they leave.

35:39.513 --> 35:43.235

[SPEAKER_01]: But as they leave though, something they see something suspicious.

35:43.315 --> 35:43.875

[SPEAKER_01]: And what is this?

35:44.495 --> 35:49.818

[SPEAKER_03]: They see a boat with two men wearing suits coming to the island.

35:51.239 --> 35:53.580

[SPEAKER_03]: And now we know we're all the soda pop comes from.

35:53.821 --> 36:01.567

[SPEAKER_01]: So is it possible that this like 15 foot stretch of beach is the only like non hazardous approach like is it?

36:01.987 --> 36:11.515

[SPEAKER_03]: I think we should just assume the rest of the island is surrounded by jagged rocks because it's the only thing explained that explains them having to pass within two feet of each other and be like, oh, that's weird.

36:11.975 --> 36:14.197

[SPEAKER_03]: Like, so, yes, let's just say that.

36:14.397 --> 36:15.658

[SPEAKER_03]: But anyway, it's easy to do.

36:15.998 --> 36:19.321

[SPEAKER_01]: It does get quite a bit juicier here all of a sudden with these two guys on the scene.

36:19.861 --> 36:20.421

[SPEAKER_01]: carry on job.

36:20.602 --> 36:25.465

[SPEAKER_03]: So one thing about this is they never say who they are were them from other than referring to South America.

36:25.565 --> 36:28.286

[SPEAKER_03]: So can I posit a theory about these people?

36:28.326 --> 36:31.789

[SPEAKER_03]: So so what we get here and I'll I'll play a clip about this in a second.

36:31.809 --> 36:35.111

[SPEAKER_03]: But what we get here is that there is a plot against America.

36:35.591 --> 36:36.952

[SPEAKER_03]: And they don't say who's doing it.

36:37.532 --> 36:38.833

[SPEAKER_03]: But it's 1959 and we're talking about

36:42.251 --> 36:44.993

[SPEAKER_03]: like poisoning America and taking over people's minds.

36:45.734 --> 36:53.139

[SPEAKER_03]: So in a really hand-fisted way, this is about communism and like the and the Latin American revolutions of the late 50s.

36:53.500 --> 36:56.982

[SPEAKER_03]: Yes, this is an attempt to try to bring that into the movie.

36:57.002 --> 36:58.023

[SPEAKER_03]: I think that's what they're talking about.

36:58.043 --> 36:58.424

[SPEAKER_01]: Do you agree?

36:58.444 --> 37:02.327

[SPEAKER_01]: It's weird to me when these movies bother being coy about this stuff, right?

37:02.747 --> 37:02.887

[SPEAKER_01]: Right.

37:03.007 --> 37:07.210

[SPEAKER_03]: Like they don't say Nazi and revenge of the zombies, even though it's Dr. Whatever.

37:07.310 --> 37:08.071

[SPEAKER_03]: No, whatever.

37:08.091 --> 37:08.411

[SPEAKER_03]: Yeah.

37:08.611 --> 37:14.135

[SPEAKER_01]: Are they afraid of offending Soviet watching teenage zombies or something?

37:14.155 --> 37:17.257

[SPEAKER_03]: Are they afraid of offending all the Cuban watchers of this film?

37:18.398 --> 37:19.459

[SPEAKER_01]: Not watching this film.

37:19.559 --> 37:24.963

[SPEAKER_01]: At one point, one of these henchmen mentions are that they've received orders from the East.

37:25.283 --> 37:25.883

[SPEAKER_01]: So yes.

37:26.144 --> 37:27.945

[SPEAKER_01]: That it clearly hits the Soviet Union.

37:28.185 --> 37:37.399

[SPEAKER_03]: Yeah, it's a bit hand-wavey, but so I could have clipped five minutes where they just do exposition on the mysterious plot here because again, this is a tell-down show movie.

37:37.640 --> 37:37.780

[SPEAKER_03]: Yeah.

37:38.020 --> 37:41.726

[SPEAKER_03]: Uh, but what happens is they argue about like if anything, you know,

37:42.640 --> 37:46.062

[SPEAKER_03]: If anything happens, this will ruin our entire plan.

37:46.182 --> 37:49.984

[SPEAKER_03]: And there's a mention of hydrogen bombs, which have nothing to do with the plot.

37:50.224 --> 37:51.885

[SPEAKER_01]: So here's what I think.

37:52.406 --> 37:53.887

[SPEAKER_01]: So I was confused about that too.

37:54.287 --> 38:01.291

[SPEAKER_01]: So I think if they can't get this plan to work, Russia is just going to nuke America.

38:01.791 --> 38:02.132

[SPEAKER_01]: Okay.

38:02.272 --> 38:10.161

[SPEAKER_01]: And Dr. Maira kind of reacts with horror about that because she's sure that she has a better way to subdue rather than destroy America.

38:10.201 --> 38:15.608

[SPEAKER_01]: She says something about like, well, if you do that, you're going to be ruling over just like an uninhabitable land.

38:15.708 --> 38:17.470

[SPEAKER_01]: But I can, I have another way to do it.

38:17.490 --> 38:18.251

[SPEAKER_03]: I think you're right.

38:19.092 --> 38:22.537

[SPEAKER_03]: Um, so they go down to the lab to discuss a potential solution she has.

38:22.597 --> 38:24.741

[SPEAKER_03]: Now, mother best part is she's wearing her cocktail dress.

38:24.761 --> 38:27.104

[SPEAKER_03]: She has like these big armlet bracelets.

38:27.184 --> 38:34.014

[SPEAKER_03]: She's, you know, perfectly appointed and she comes down 11 just puts on a lab coat casually over the cocktail dress, which looks.

38:34.895 --> 38:36.197

[SPEAKER_02]: just casually methodically.

38:36.217 --> 38:39.200

[SPEAKER_02]: It takes like 15 seconds of screen time.

38:39.300 --> 38:40.781

[SPEAKER_03]: This movie could be half an hour.

38:41.142 --> 38:43.004

[SPEAKER_03]: Like I'm going to let's go down to the lab.

38:43.124 --> 38:43.845

[SPEAKER_03]: We're in the lab.

38:44.085 --> 38:45.266

[SPEAKER_03]: Let me put on my lab coat.

38:45.486 --> 38:46.828

[SPEAKER_03]: John, let me go over to the lab tape.

38:46.848 --> 38:53.875

[SPEAKER_01]: What I'm hearing you doing is you're committing to do like us, like people do a Star Wars, like a special cut of this movie, right?

38:53.895 --> 38:55.216

[SPEAKER_01]: I'm going to do the Phantom Edit.

38:55.477 --> 38:56.117

[SPEAKER_01]: But for

38:57.400 --> 38:58.560

[SPEAKER_01]: teenage zombies.

38:59.381 --> 38:59.661

[SPEAKER_01]: Okay.

39:00.761 --> 39:03.723

[SPEAKER_01]: So they're down in their lab slash sound studio.

39:04.043 --> 39:04.243

[SPEAKER_03]: Right.

39:04.443 --> 39:10.885

[SPEAKER_03]: And they talk about these these drugs she's invented and how they can basically turn people into docile servants.

39:11.025 --> 39:18.508

[SPEAKER_03]: But it's complicated and different different drugs and different lengths of exposure affect different people differently.

39:18.548 --> 39:21.730

[SPEAKER_03]: So here's you know here's some of the

39:23.533 --> 39:26.155

[SPEAKER_03]: Here's some of the direction on what she's working on here.

39:26.195 --> 39:27.677

[SPEAKER_03]: So she shows a couple of subjects.

39:28.097 --> 39:33.541

[SPEAKER_03]: She turns on a light and there's like a calm zombie and like a frantic zombie.

39:34.062 --> 39:35.383

[SPEAKER_03]: And here's what she says about that.

39:37.325 --> 39:40.327

[SPEAKER_05]: If you'll notice the subjects are direct opposites.

39:40.968 --> 39:43.150

[SPEAKER_05]: One has no spark and a desire for anything.

39:44.231 --> 39:45.652

[SPEAKER_05]: The other teams with rage.

39:46.152 --> 39:48.174

[SPEAKER_09]: What about that fellow we saw last month?

39:48.654 --> 39:49.975

[SPEAKER_09]: His reaction was perfect.

39:52.605 --> 40:03.193

[SPEAKER_05]: The perfect slave desired to work, perfect health, and obeys every command, with half the people on earth and his condition, we'd have the epitome of civilization.

40:04.254 --> 40:07.757

[SPEAKER_07]: In the bombing of the United States, how many would turn out like him?

40:08.397 --> 40:10.299

[SPEAKER_05]: Not enough to take care of the wild ones.

40:11.239 --> 40:13.961

[SPEAKER_05]: You couldn't possibly drop the pellets as they now exist.

40:15.082 --> 40:17.604

[SPEAKER_07]: Then you must find out what it is about Ivan that produced the effect.

40:21.586 --> 40:45.424

[SPEAKER_03]: his body chemistry is basically the same as the rest well you'll have to figure it out so here's the pressure that line delivery just kills me it's like they're just reading off of a paper uh... i know you know if you know what's good for you figure it out that was for energy that he had though we should just punch up this movie and redo it yeah okay okay that'll be next episode next episode

40:46.156 --> 40:51.739

[SPEAKER_01]: So I'll say this, this is a more interesting plot than this movie deserves.

40:53.420 --> 40:54.720

[SPEAKER_01]: And there's more nuance in it.

40:54.820 --> 41:04.105

[SPEAKER_01]: I really like that I really like the idea that she can zombify people, but a certain percentage of them turns into these ferole rage zombies.

41:04.245 --> 41:07.607

[SPEAKER_01]: And I think that's kind of a cool idea, the idea, yeah.

41:08.287 --> 41:13.650

[SPEAKER_03]: And they also say they get their plot against America has been betrayed by some of named Felix.

41:15.255 --> 41:28.646

[SPEAKER_03]: And then as soon as this happens, we cut to a fairy, it's like we get it's supposed to be a federal building, but it's like three windows in a building and then there's like a quick go back to the raid zombie real quick.

41:28.726 --> 41:29.066

[SPEAKER_02]: Yeah, yeah.

41:29.867 --> 41:34.791

[SPEAKER_02]: So she presents the raid zombie and the other subjects is exactly the exact opposite.

41:34.971 --> 41:36.012

[SPEAKER_02]: They're on the same space.

41:37.358 --> 41:38.519

[SPEAKER_02]: What what does rage mean to her.

41:38.559 --> 41:41.041

[SPEAKER_02]: He's the rage zombie is not attacking the other one next to him.

41:41.081 --> 41:42.302

[SPEAKER_02]: He's just in their flailing.

41:45.945 --> 41:51.289

[SPEAKER_03]: He's he's a rage zombie, but only against humans, I guess, only well, yeah, it's weird.

41:52.710 --> 41:57.536

[SPEAKER_01]: So have we seen the gorilla yet when when no and I don't really show up.

41:57.816 --> 41:59.438

[SPEAKER_01]: I don't spoil things Andy.

41:59.618 --> 42:00.199

[SPEAKER_01]: Sorry sorry.

42:00.459 --> 42:02.341

[SPEAKER_03]: I don't even know what the gorilla is.

42:02.361 --> 42:03.142

[SPEAKER_01]: I don't like it.

42:03.342 --> 42:04.704

[SPEAKER_01]: Okay, it is it is in the scene.

42:04.744 --> 42:05.485

[SPEAKER_01]: I'm just okay I know.

42:05.605 --> 42:05.785

[SPEAKER_01]: All right.

42:05.825 --> 42:06.326

[SPEAKER_01]: Yeah, please.

42:06.486 --> 42:08.428

[SPEAKER_01]: This scene is just skipping the gorilla.

42:08.808 --> 42:08.989

[SPEAKER_01]: Bye

42:10.330 --> 42:24.625

[SPEAKER_01]: we get a live demonstration of the zombie gas in action because they put a gorilla in the sound booth and then they fog up the window and then we are told not shown that this gorilla has been rendered docile.

42:25.325 --> 42:30.090

[SPEAKER_01]: Yes, they fogged up the entire sound so you cannot see the docile gorilla but

42:31.131 --> 42:39.079

[SPEAKER_01]: Anyway, the gorilla, I don't know if it's that guy that Brad mentioned earlier on the gorilla suit that was in all these movies, but it's a pretty great gorilla suit.

42:39.179 --> 42:41.401

[SPEAKER_03]: I think this movie's too bad for that guy.

42:41.421 --> 42:42.322

[SPEAKER_01]: It's a lot more.

42:42.422 --> 42:43.343

[SPEAKER_01]: Or they couldn't afford him.

42:43.723 --> 42:45.124

[SPEAKER_02]: Yeah, they couldn't afford him.

42:45.785 --> 42:46.826

[SPEAKER_02]: Ray Corrigan is the guy.

42:46.846 --> 42:47.707

[SPEAKER_02]: This is a name you're looking for.

42:47.727 --> 42:48.708

[SPEAKER_03]: The Corrigan suit, that's right.

42:48.988 --> 42:55.675

[SPEAKER_01]: Yeah, so anyway, so we have Chekhov's gorilla is basically why this is here because, and there's a big gorilla on the poster of this movie.

42:56.575 --> 42:59.037

[SPEAKER_01]: So we have not seen the last question about that.

42:59.417 --> 43:00.718

[SPEAKER_03]: We didn't talk about the poster.

43:00.918 --> 43:01.439

[SPEAKER_03]: That's all right.

43:01.879 --> 43:03.360

[SPEAKER_01]: You know what we did last time listeners.

43:03.380 --> 43:03.980

[SPEAKER_01]: You can go back.

43:04.040 --> 43:04.260

[SPEAKER_01]: Yeah.

43:05.221 --> 43:05.401

[SPEAKER_03]: All right.

43:05.441 --> 43:06.742

[SPEAKER_03]: So okay.

43:06.782 --> 43:14.907

[SPEAKER_03]: So so her plot is to use this gas to take over people and apparently the US government knows all about all the details of this plot.

43:15.728 --> 43:23.013

[SPEAKER_03]: So we cut to like a federal building, which is just barely a building that just anyway we go into some generals office.

43:24.403 --> 43:51.425

[SPEAKER_03]: there's a discussion and the unveil this plan here's how they're going to find the enemy base you ready they're going to surveil the entire country with helicopters they're going to start in California and then go state by state and they only sure time to do it so anyway and what are they looking for then looking for just like a they have a photo of Dr. Meyer that's right they're looking for a single face with all these helicopters across the entire continent

43:52.807 --> 44:18.403

[SPEAKER_06]: Yeah, so anyway, but it's very urgent, it's so urgent because as one of the general says to the other With your permissions, I'd like to also request Marina Navy helicopters and every reconnaissance plane the Air Force has available That's a big order, I hope we can fill it It must be filled, if you realize, Colonel, if we don't find their base and stop them now Before they distribute this gas and rivers and water supplies across the nation,

44:18.947 --> 44:22.969

[SPEAKER_06]: We'll be able to save it best, 20% of the population when they strike.

44:25.630 --> 44:26.430

[SPEAKER_01]: Well, that's a bummer.

44:26.851 --> 44:35.194

[SPEAKER_01]: It is a bummer, you know, how do you think the phrase, oh, I sure hope we can do is often said by high ranking generals in the Pentagon.

44:35.615 --> 44:41.397

[SPEAKER_03]: You know, if you don't have the budget to like show anything your movie, you know, just just have a general be really worried about something.

44:41.557 --> 44:45.359

[SPEAKER_01]: Yeah, you know, they couldn't even get us some stock photos of some helicopters flying around.

44:45.379 --> 44:47.060

[SPEAKER_03]: Yeah, just to helicopter flying around.

44:47.340 --> 44:54.205

[SPEAKER_01]: Yeah, I picture that these are like those really goofy looking like fort 50s helicopters.

44:54.626 --> 44:54.946

[SPEAKER_01]: Yeah.

44:55.206 --> 44:55.846

[SPEAKER_01]: We're libert.

44:55.907 --> 44:56.567

[SPEAKER_01]: We're libert.

44:57.067 --> 44:57.268

[SPEAKER_01]: Yeah.

44:57.868 --> 44:58.128

[SPEAKER_01]: Anyway.

44:58.148 --> 44:59.289

[SPEAKER_01]: All right.

44:59.889 --> 45:03.852

[SPEAKER_03]: Back on the island to the original 14agers who we haven't seen in half an hour.

45:05.035 --> 45:12.357

[SPEAKER_03]: the boys have managed to get their cage open and they get out and they try to undo the girls padlock and they can't do it.

45:13.657 --> 45:25.060

[SPEAKER_01]: They can't or they won't because a huge amount of this scene is spent with the boys insisting to the girls that the best plan is if the girls stay in their cage.

45:25.901 --> 45:28.001

[SPEAKER_01]: Like yes, for sure.

45:28.341 --> 45:30.782

[SPEAKER_03]: And then the boys are going to sneak out at night,

45:31.905 --> 45:33.747

[SPEAKER_03]: and try to find the boat.

45:34.407 --> 45:39.712

[SPEAKER_03]: So Ivan comes in, he threatens the girls, the boys pretend that their cage is still locked.

45:40.678 --> 45:43.259

[SPEAKER_03]: So then they go on and they wander around.

45:43.359 --> 45:46.280

[SPEAKER_03]: So the boys leave for the night trying to find their boats.

45:46.300 --> 45:48.640

[SPEAKER_03]: So they wander around for another three to four.

45:48.660 --> 45:49.640

[SPEAKER_01]: Yeah, we're told it's night.

45:49.680 --> 45:52.661

[SPEAKER_01]: We're not showing this by the lighting in the essence by that.

45:53.261 --> 45:54.402

[SPEAKER_01]: And they can't find a boat.

45:54.422 --> 45:55.462

[SPEAKER_01]: So what did they decide to do?

45:55.482 --> 46:02.604

[SPEAKER_01]: They built a raft with a pile of like lumber pre-cut for building a raft that they find.

46:02.684 --> 46:04.284

[SPEAKER_03]: Just some scrap wood lying.

46:04.344 --> 46:05.865

[SPEAKER_03]: It's like a cattle halissel.

46:06.145 --> 46:06.445

[SPEAKER_03]: What's that?

46:07.185 --> 46:07.645

[SPEAKER_03]: And rope.

46:08.006 --> 46:08.486

[SPEAKER_03]: It ropes.

46:08.806 --> 46:09.987

[SPEAKER_03]: Just a line or a find it.

46:11.127 --> 46:22.413

[SPEAKER_01]: And so when they go back and tell the girls that they've built the raft, there's a funny exchange where they don't want to like reveal where the raft is in case the bad guys find out.

46:22.533 --> 46:29.037

[SPEAKER_01]: And when they are finally convinced to say where the raft is, this is where they say they say we hit it down by the water.

46:30.142 --> 46:30.542

[SPEAKER_01]: Really?

46:30.783 --> 46:31.203

[SPEAKER_03]: Okay.

46:31.263 --> 46:37.248

[SPEAKER_03]: Well, that's on an island that could be literally anywhere on the island because you're on an island and it's all done by the water, but that's all right.

46:37.268 --> 46:39.750

[SPEAKER_03]: But back in town though, Mori is starting to freak out.

46:40.351 --> 46:41.031

[SPEAKER_03]: I love this bit.

46:41.091 --> 46:42.893

[SPEAKER_03]: So he calls the sheriff.

46:43.943 --> 47:08.188

[SPEAKER_03]: the sheriff's not there but the guy the guy who stands in the window of the sheriff's office talks like I don't know what's happening with deputy yeah yeah he says well the sheriff's not here so you have to go to his house and he reads out the sheriff's address over the phone so these two teenagers go to the sheriff's house and they have a debate about the island and he's like I know about the island but I don't think anybody lives there so this is a first

47:09.008 --> 47:31.228

[SPEAKER_03]: glimpse that maybe the sheriff's not on the open up not that I really knew that then because I'm because everything is so flat, but but clearly he wants to avoid it, but he agrees to take them to the island indeed he does and they go to the island now how do they get captured because we get back to the land no they don't yeah the sheriff like escorts them into myra's house and then it becomes clear that he's in on the plan

47:32.202 --> 47:54.165

[SPEAKER_03]: But myra and her and the henchmen are down in the basement doing some exciting science some exciting lab work they explain the whole plot again, and then the sheriff and Mori and daddy come in and the sheriff betrays them and they get captured as well, but then he's filled with regret.

47:55.298 --> 48:05.843

[SPEAKER_01]: And as he says, I'm leaving, and I'm going to tell the world what happens, Andy, well, they shoot the sheriff for being a weak link in their conspiracy correct, but they didn't shoot the deputy.

48:06.043 --> 48:06.664

[SPEAKER_03]: So yes.

48:07.384 --> 48:10.726

[SPEAKER_01]: And they, I think the quote, it didn't he know that no one can quit.

48:11.286 --> 48:15.168

[SPEAKER_01]: Actually, it's didn't, he knows that none can quit, which is a weird way to say it.

48:15.188 --> 48:15.568

[SPEAKER_01]: About time.

48:16.198 --> 48:22.980

[SPEAKER_03]: Yeah, there's an interesting conversation about the desires of communism and how it's like a cult here.

48:23.180 --> 48:26.462

[SPEAKER_03]: And that's a big vibe of this movie.

48:27.182 --> 48:28.162

[SPEAKER_01]: Oh, we do learn some.

48:28.182 --> 48:31.263

[SPEAKER_01]: Then the sheriff has been supplying them on the island.

48:31.483 --> 48:35.685

[SPEAKER_01]: Has been supplying Dr. Meira with drugs and prisoners, they say, right?

48:35.705 --> 48:41.107

[SPEAKER_01]: So basically, people from the local jail have been getting secretly shipped off to be zombified.

48:41.207 --> 48:43.567

[SPEAKER_03]: Which as we learn later, was not that secret.

48:46.109 --> 48:48.412

[SPEAKER_03]: So they bring in to the original girls.

48:48.572 --> 48:51.736

[SPEAKER_03]: They're going to put them in the booth and they're going to show how this gas works on them.

48:51.756 --> 48:57.843

[SPEAKER_03]: They're going to test this gas to see if they get the right docile, you know, affect out of these people.

48:57.863 --> 48:58.003

[SPEAKER_03]: Yeah.

48:58.384 --> 49:00.086

[SPEAKER_03]: Then there's a huge fight.

49:00.767 --> 49:01.808

[SPEAKER_03]: I don't even know what to sit.

49:02.088 --> 49:05.731

[SPEAKER_02]: Well, when they pulled the girls out, the boys then snuck out and followed and that's right.

49:05.751 --> 49:12.455

[SPEAKER_03]: Yeah, the boys snuck out and they burst in, so, and everybody's fighting and it's really clear there's no direct change.

49:12.515 --> 49:17.078

[SPEAKER_01]: Is it fighting to like the fighting, like people or we're just like just told like, yeah, just fight.

49:17.258 --> 49:19.560

[SPEAKER_01]: So they kind of roll around and convincingly on the floor.

49:19.680 --> 49:28.866

[SPEAKER_03]: This is this is fighting like Brad and I would do in middle school like where we're just like sort of grabbing each other's arms and like we don't really have a plan.

49:30.487 --> 49:31.388

[SPEAKER_03]: the rolling around.

49:31.668 --> 49:33.670

[SPEAKER_03]: There's no way like roundhouse punches.

49:34.831 --> 49:44.999

[SPEAKER_03]: Yes, the one thing you can sort of see is that the doctors trying to reach some switch, which will turn on the gas in the recording booth to turn the girls into zombies, and Daddy is trying to stop her, but she's unsuccessful.

49:46.079 --> 49:49.022

[SPEAKER_03]: And now Julie and Pam are zombies.

49:50.267 --> 49:53.990

[SPEAKER_03]: And there's this sort of bit where they're like, okay, tell us how to reverse it and she's like, I don't know.

49:54.330 --> 49:58.654

[SPEAKER_03]: And so then our teenagers turn into like ruthless interrogators.

49:59.214 --> 50:01.676

[SPEAKER_03]: And they say, hey, we're gonna tune to his home.

50:01.696 --> 50:03.237

[SPEAKER_03]: He's really put the doctor in the booth.

50:03.277 --> 50:03.698

[SPEAKER_03]: But why?

50:03.838 --> 50:05.239

[SPEAKER_01]: Why do they turn into his home?

50:05.259 --> 50:07.481

[SPEAKER_01]: Because they shall be docile and obey their commands.

50:08.441 --> 50:08.621

[SPEAKER_03]: Right.

50:08.641 --> 50:12.364

[SPEAKER_03]: So she'll tell them how to undo the effect on the girls.

50:12.404 --> 50:12.905

[SPEAKER_03]: But it doesn't work.

50:12.925 --> 50:13.986

[SPEAKER_01]: It's surprisingly ruthless.

50:15.805 --> 50:26.127

[SPEAKER_03]: Yes, so they threatened to do it to these communist mobsters as well and they're like, okay, okay, we'll help and so they give another medicine to the zombie doctor.

50:27.601 --> 50:31.303

[SPEAKER_03]: who wakes up and then destroys the rest of the medicine.

50:31.423 --> 50:33.024

[SPEAKER_03]: Did I understand that correctly?

50:33.104 --> 50:34.684

[SPEAKER_02]: Yes, so they snap?

50:34.944 --> 50:35.165

[SPEAKER_02]: No.

50:36.025 --> 50:39.827

[SPEAKER_02]: No, what happens is the henchmen says, I saw her making an antidote.

50:39.947 --> 50:40.927

[SPEAKER_02]: I think it's this one.

50:41.227 --> 50:41.928

[SPEAKER_02]: He brings it over.

50:42.008 --> 50:43.528

[SPEAKER_02]: They give it to Dr. Myra.

50:43.849 --> 50:44.009

[SPEAKER_02]: Yeah.

50:44.049 --> 50:44.949

[SPEAKER_02]: She comes out of it.

50:45.489 --> 50:46.670

[SPEAKER_02]: And she goes to smash it.

50:46.730 --> 50:51.092

[SPEAKER_02]: And as it's dripping, the boys collect a few drops in a cup, so they sounded some.

50:51.472 --> 50:54.976

[SPEAKER_03]: All right, so that's how we get Pam and Julie Unzomba.

50:55.016 --> 50:58.299

[SPEAKER_01]: Is that how I, I, I like miss that entirely.

50:58.319 --> 51:10.671

[SPEAKER_03]: I, I, as well, the mayhem in the scene is the scene, the choreography of this air quotes, T-REX quotes, fight is so chaotic and unfollowable that, um, it's a single camera.

51:11.011 --> 51:12.393

[SPEAKER_02]: It's a really no cutting.

51:12.873 --> 51:14.514

[SPEAKER_02]: There's no insert shots.

51:14.614 --> 51:15.554

[SPEAKER_02]: There's no close up.

51:15.574 --> 51:17.175

[SPEAKER_02]: There's nothing to direct your eye to anything.

51:17.255 --> 51:21.657

[SPEAKER_02]: You have to pay attention to the whole screen to find out what's important because the camera doesn't tell you.

51:21.937 --> 51:23.678

[SPEAKER_03]: You know what they skipped in this movie.

51:23.698 --> 51:27.360

[SPEAKER_03]: The one thing they could have added blocking, right?

51:27.400 --> 51:29.681

[SPEAKER_03]: Like, like, the actors don't even move.

51:29.701 --> 51:30.101

[SPEAKER_03]: That's the problem.

51:30.121 --> 51:31.582

[SPEAKER_03]: They don't know, they don't know to do.

51:31.602 --> 51:32.443

[SPEAKER_03]: Yeah, exactly.

51:33.443 --> 51:44.550

[SPEAKER_03]: Like, uh, I just listen to it in every with Ryan Kugler and he said, you know, like, you know what, he's taught Christopher Nolan is a big mentor of his and he said, Christopher Nolan taught me the importance of blocking.

51:44.610 --> 51:48.132

[SPEAKER_03]: Like you can make a scene home with just good blocking of the actors, right?

51:48.172 --> 51:50.733

[SPEAKER_03]: And like, that's just not an idea of this movie.

51:50.873 --> 51:56.517

[SPEAKER_03]: So, um, and then the eight shows up, the gorilla shows up and

51:57.305 --> 51:58.166

[SPEAKER_03]: people escape.

51:58.866 --> 52:01.568

[SPEAKER_03]: The villains get to the boat first, but they stop the villains.

52:02.429 --> 52:05.091

[SPEAKER_03]: He do you want to comment on the show?

52:05.111 --> 52:06.953

[SPEAKER_01]: Yeah, I mean, that's about it.

52:07.033 --> 52:10.575

[SPEAKER_01]: It's the gorilla charges it in a and it attacks just the bad guys.

52:11.176 --> 52:12.297

[SPEAKER_01]: Um, thank goodness.

52:12.437 --> 52:16.020

[SPEAKER_01]: I mean, I guess that makes sense if it has figured out that they poisoned it, whatever.

52:16.040 --> 52:17.301

[SPEAKER_01]: And the teams make a run for it.

52:18.021 --> 52:22.204

[SPEAKER_01]: Some of the bad guys are in the boat and they like, I don't know, the beat them up or they grab them or something.

52:22.345 --> 52:22.605

[SPEAKER_01]: And then

52:22.985 --> 52:23.205

[SPEAKER_02]: Yes.

52:23.885 --> 52:27.007

[SPEAKER_02]: So the teams with Dr. Myra and one of the henchmen escape.

52:27.047 --> 52:29.988

[SPEAKER_02]: I think the other henchmen was attacked and Oh, yeah.

52:30.008 --> 52:30.388

[SPEAKER_01]: That's right.

52:30.428 --> 52:36.471

[SPEAKER_01]: Myra and henchmen make a run for the boat and the teams catch up to them and for sure take them out.

52:37.131 --> 52:40.173

[SPEAKER_03]: So then we get to we go back to the sheriff station.

52:41.273 --> 52:49.420

[SPEAKER_01]: uh, and um, oh, you know, we missed how the, the gorilla reverted to it's non-zombie format it.

52:49.860 --> 52:53.122

[SPEAKER_01]: Oh, how do they have some of the antidote out of the floor?

52:53.503 --> 52:57.606

[SPEAKER_01]: That's right.

52:58.206 --> 53:04.951

[SPEAKER_03]: Okay, so they just go to the sheriff's office in front of the little window that people stand in front of, they wrap up the whole story and the,

53:06.097 --> 53:07.098

[SPEAKER_03]: The general is there.

53:07.398 --> 53:12.841

[SPEAKER_03]: Well, before the general gets there, the, um, our, uh, deputy says the following.

53:13.982 --> 53:15.943

[SPEAKER_08]: The army will be very grateful to you, kids.

53:16.543 --> 53:19.265

[SPEAKER_08]: You know, it's funny that the picture that woman just arrived this morning.

53:19.325 --> 53:20.966

[SPEAKER_06]: You know how good of that sheriff had been here.

53:20.986 --> 53:22.127

[SPEAKER_06]: You were in the city at all.

53:22.567 --> 53:23.607

[SPEAKER_08]: I guess you're right, Murray.

53:24.048 --> 53:25.989

[SPEAKER_08]: I expect the full investigation of this office.

53:26.540 --> 53:28.241

[SPEAKER_08]: We had a lot of prisoners on account for it.

53:32.405 --> 53:37.009

[SPEAKER_03]: Like this is like the young women going missing.

53:37.609 --> 53:40.592

[SPEAKER_03]: That's where those men are the prisoners of it.

53:40.612 --> 53:45.215

[SPEAKER_01]: All those prisoners that went missing.

53:45.235 --> 53:49.419

[SPEAKER_01]: I have I have my up most faith in the investigation.

53:49.459 --> 53:51.781

[SPEAKER_01]: They're going to do that branch of the sheriff's office.

53:52.835 --> 53:59.143

[SPEAKER_03]: Yeah, and then the general shows up tells them they can go to make it to me like that they'll get to meet the president.

53:59.163 --> 54:02.167

[SPEAKER_03]: They don't say Ike, but they like like they're excited.

54:02.507 --> 54:06.672

[SPEAKER_03]: So it's sort of like actually sort of the, um, the, the,

54:07.572 --> 54:11.473

[SPEAKER_03]: Reclamation of teenagers because these teenagers end up being nice, you know what I mean?

54:11.513 --> 54:12.294

[SPEAKER_03]: Like they're excited.

54:12.354 --> 54:13.314

[SPEAKER_03]: They obey authority.

54:14.374 --> 54:17.236

[SPEAKER_03]: So it's sort of like a fantasy of what what the teenagers like.

54:17.736 --> 54:21.877

[SPEAKER_03]: And then there's a joke about going horse riding, horseback riding, and then they all drive away.

54:22.397 --> 54:25.558

[SPEAKER_01]: It this especially the way this final final scene plays out.

54:25.618 --> 54:29.580

[SPEAKER_01]: I mean it has huge like young adult story energy.

54:30.620 --> 54:37.665

[SPEAKER_01]: I don't say that to be derogatory about it, but there's this, I mean, the kids save the day, the kids do all the work.

54:38.185 --> 54:44.749

[SPEAKER_01]: It's not a story where the kids get captured and the adult authority figures figure it out and come in and save them at the end.

54:45.309 --> 54:53.054

[SPEAKER_01]: This is that this is a kids do something that the government can't, or that the authority figures are incapable of doing the story.

54:53.274 --> 54:54.074

[SPEAKER_01]: Very Scooby-Doo.

54:54.174 --> 54:54.395

[SPEAKER_03]: Yeah.

54:54.495 --> 54:55.235

[SPEAKER_01]: Very Scooby-Doo.

54:55.395 --> 54:55.575

[SPEAKER_01]: Yeah.

54:55.855 --> 54:56.576

[SPEAKER_03]: Very Scooby-Doo.

54:56.876 --> 54:57.917

[SPEAKER_01]: And that's a wrap, right?

54:58.863 --> 54:59.584

[SPEAKER_03]: that's a wrap.

55:00.484 --> 55:21.419

[SPEAKER_03]: I don't have a lot to say about this movie, but I do want to reiterate, like first of all, the shooting, the framing, the quality of the filming, the lighting, it's all terrible, but I just want to reiterate again like this is also independent cinema in the fifties, like we get some handheld camera shots, like there's a couple of things, and I'm not saying that this is comparable to Nighta Living Dead.

55:21.459 --> 55:22.760

[SPEAKER_03]: I just want to make the point that

55:23.734 --> 55:30.556

[SPEAKER_03]: that a lot of our horror movies are going to be more kitchen sink, you know, amateur, independent kind of things.

55:30.936 --> 55:33.017

[SPEAKER_03]: And that's part of this era of horror.

55:33.037 --> 55:35.558

[SPEAKER_01]: Yeah, you know, I, I didn't hate this movie.

55:35.718 --> 55:39.539

[SPEAKER_01]: I mean, we spent a lot of time knocking on this movie, and it is not a good movie.

55:39.799 --> 55:43.641

[SPEAKER_01]: It's one of the worst ones you've seen in this podcast as far as the quality of the film goes.

55:44.261 --> 55:46.782

[SPEAKER_01]: That said, I didn't like hate watching it, you know?

55:47.862 --> 55:48.822

[SPEAKER_01]: I would go so far as,

55:50.823 --> 56:10.672

[SPEAKER_01]: I, something I have learned from this podcast is that there is a lot of charm to be found even in very amateurish productions, and I do not, that does not amount to me saying anyone should really seek this movie out and watch it, but I mean, I've watched worse movies that cost probably 500 times what this one did, right?

56:11.513 --> 56:30.746

[SPEAKER_03]: for sure for sure and I what's interesting to me about the 50s so far another word the end of the 50s is I don't think we've seen that hidden gem you know like in the 30s and the 40s there were a couple there was I walked with a zombie where we went wow that was it really like yeah like we're we're at in absolute slot B territory nobody know what tour is trying to

56:31.486 --> 56:39.690

[SPEAKER_03]: to make the big leagues by making a horror movie, it's just a different vibe and if we don't embrace where you are, you'll just be miserable.

56:39.710 --> 56:40.450

[SPEAKER_03]: So we might as well show it.

56:40.470 --> 56:52.516

[SPEAKER_01]: And what's interesting is that we have seen a ton of movement towards the modern zombie world in the 50s, in these movies that are pretty just workmen like productions, right?

56:52.556 --> 56:55.078

[SPEAKER_01]: Like you said, none of these are masterpieces,

56:56.158 --> 56:57.440

[SPEAKER_01]: you know of cinema.

56:58.001 --> 57:11.819

[SPEAKER_01]: And so right I mean maybe we're getting ahead then we should talk about this when we do our questions in a sec, but it's interesting to me that like I mean the the hard work of moving the zombie genre for it is being done by these amateur.

57:13.337 --> 57:15.279

[SPEAKER_01]: films, I think, for sure.

57:15.699 --> 57:17.441

[SPEAKER_01]: Should we jump into our wrap up questions?

57:17.481 --> 57:21.425

[SPEAKER_01]: We've already kind of gotten into them a little bit here, but so, hey, John.

57:22.466 --> 57:25.869

[SPEAKER_01]: Okay, in teenage zombies, is there a hero party?

57:26.489 --> 57:28.091

[SPEAKER_03]: For sure, a very solid one.

57:29.152 --> 57:30.774

[SPEAKER_03]: And it's three couples in their all teenagers.

57:31.154 --> 57:33.376

[SPEAKER_01]: And yeah, I would say it's a very, well, we'll get to it.

57:33.676 --> 57:34.797

[SPEAKER_01]: How does the party do?

57:34.857 --> 57:35.598

[SPEAKER_01]: How many survived?

57:36.519 --> 57:37.240

[SPEAKER_01]: They all survived.

57:38.160 --> 57:39.962

[SPEAKER_03]: Two of them get temporarily turn into zombies.

57:40.162 --> 57:43.406

[SPEAKER_01]: Ah, what kind of zombie are we dealing within this zombie, John?

57:44.327 --> 57:46.349

[SPEAKER_03]: These are science-created zombies.

57:46.830 --> 57:47.791

[SPEAKER_03]: Is there a zombie hoard?

57:50.374 --> 57:50.854

[SPEAKER_03]: Kind of?

57:51.595 --> 57:55.259

[SPEAKER_03]: There's that dozen at the beginning, they're not very hoard like though, but there's multiple zombies.

57:55.399 --> 57:55.920

[SPEAKER_03]: Yep, that works.

57:55.960 --> 57:58.463

[SPEAKER_03]: How are zombies destroyed or killed in this movie?

57:59.848 --> 58:03.612

[SPEAKER_03]: they're not really you can you can give them an antidote and then they won't be zombies anymore.

58:05.014 --> 58:07.336

[SPEAKER_03]: But they don't really get into trying to kill the zombies.

58:07.356 --> 58:08.758

[SPEAKER_03]: There's very little trying to kill.

58:08.778 --> 58:12.181

[SPEAKER_03]: The only person who gets killed is the sheriff and he's a filthy trader.

58:12.281 --> 58:14.644

[SPEAKER_01]: Yeah, yes.

58:15.064 --> 58:17.186

[SPEAKER_03]: Is the world threatened in teenage zombies?

58:18.067 --> 58:20.349

[SPEAKER_03]: It is, but it doesn't come to fruition.

58:20.409 --> 58:25.332

[SPEAKER_03]: So the whole thing is about this plot to take over to turn Americans into mindless automatons.

58:25.392 --> 58:32.037

[SPEAKER_03]: It can be easily controlled by the Russians via Cuba or something, and that's what's threatening the world for sure.

58:32.578 --> 58:40.944

[SPEAKER_01]: Part the feeling this movie gives of being a story for like younger kids is the incredible disparity between like the

58:41.744 --> 58:49.610

[SPEAKER_01]: the scale of the heroes and the in the stakes of the threat like the threat is like this over the top like the U.S.

58:49.650 --> 59:06.322

[SPEAKER_01]: is going to be destroyed and all but the scale of the story is like just a few bumbling fist fights on this little island you know just some teenagers out for a good time yeah uh yeah anyway all right so are there any new strains or zombie firsts in this movie john

59:06.802 --> 59:07.823

[SPEAKER_03]: I don't know if it's a first.

59:07.883 --> 59:17.690

[SPEAKER_03]: We move along the path of scientific zombies a little bit here, because we've got a doctor actively trying to create them and can create different types based on different criteria.

59:17.790 --> 59:25.576

[SPEAKER_03]: I don't think that's a first, but it feels like a move towards something from day of the dead kind of thing, like it's a step in that direction.

59:25.596 --> 59:33.281

[SPEAKER_01]: Yeah, apart from that, I think there are, well, so I think this is our first female mad scientist.

59:35.427 --> 59:36.187

[SPEAKER_03]: Thank you right.

59:36.448 --> 59:37.228

[SPEAKER_01]: It's not our first.

59:37.468 --> 59:37.668

[SPEAKER_01]: No.

59:37.688 --> 59:38.649

[SPEAKER_01]: What about the doctor?

59:38.809 --> 59:39.389

[SPEAKER_01]: Well, first.

59:39.469 --> 59:39.649

[SPEAKER_01]: Okay.

59:39.669 --> 59:40.710

[SPEAKER_01]: Melzombie Master.

59:40.930 --> 59:45.412

[SPEAKER_01]: But because that goes back to Cleely and Wange.

59:45.572 --> 59:45.753

[SPEAKER_03]: No.

59:45.813 --> 59:46.213

[SPEAKER_03]: There was it.

59:46.633 --> 59:47.613

[SPEAKER_03]: So I don't think this counts.

59:47.674 --> 59:52.076

[SPEAKER_03]: There is a female mad scientist in Abbot and Custella meet Frankenstein.

59:52.096 --> 59:52.816

[SPEAKER_01]: Oh, that's right.

59:52.896 --> 59:53.176

[SPEAKER_01]: Okay.

59:53.597 --> 59:55.017

[SPEAKER_03]: But that's not a zombie move.

59:55.097 --> 59:55.398

[SPEAKER_01]: Yeah.

59:55.418 --> 59:57.899

[SPEAKER_01]: But I think I will scrap that.

59:57.919 --> 01:00:02.861

[SPEAKER_01]: This is not the first appearance of a female mad scientist in our podcast.

01:00:03.942 --> 01:00:04.122

[SPEAKER_01]: Right.

01:00:04.323 --> 01:00:11.210

[SPEAKER_01]: And there are some other horror things that we are seeing for the first time in this podcast.

01:00:11.790 --> 01:00:16.756

[SPEAKER_03]: Yeah, like that proto slash, I think these teenagers going out on their own and having an adventure on an eye.

01:00:16.776 --> 01:00:19.078

[SPEAKER_01]: Yeah, that felt incredibly 80s.

01:00:19.118 --> 01:00:19.639

[SPEAKER_01]: Yes, I did.

01:00:21.040 --> 01:00:28.789

[SPEAKER_01]: Okay, so I mean, what we're saying is there's there's not a lot of zombie meat here that we either haven't seen before or that really matters much in the film.

01:00:29.050 --> 01:00:35.397

[SPEAKER_02]: And the question is, is it the first raid zombie we had one in maniac that we labeled rage because of the way it behaved.

01:00:35.978 --> 01:00:39.379

[SPEAKER_02]: But this is the first where the scientists call the behavior rage.

01:00:39.619 --> 01:00:40.680

[SPEAKER_02]: Yes, that's right.

01:00:41.600 --> 01:00:42.861

[SPEAKER_01]: I think we can credit this film.

01:00:42.901 --> 01:00:44.001

[SPEAKER_01]: Yeah, I feel like.

01:00:44.021 --> 01:00:44.622

[SPEAKER_01]: I think so too.

01:00:44.722 --> 01:00:54.666

[SPEAKER_01]: I think maniac is a little too incoherent to really honestly be given much credit for, yeah, but John, we have a few more questions to get through here.

01:00:56.086 --> 01:00:58.367

[SPEAKER_01]: Okay, we're going to move on to your pillars of the zombie film.

01:00:58.867 --> 01:01:00.568

[SPEAKER_01]: Is there an apocalypse in this movie?

01:01:01.725 --> 01:01:09.615

[SPEAKER_03]: No, what is threatened and the mechanism could bring about the apocalypse is tested on some of these, but it's not it doesn't it doesn't happen.

01:01:09.755 --> 01:01:14.781

[SPEAKER_01]: No, oh, this next one I think might be interesting is there contagion in this movie.

01:01:16.071 --> 01:01:17.551

[SPEAKER_03]: not quite.

01:01:18.332 --> 01:01:21.953

[SPEAKER_03]: It's close, right, because you can induce zombification.

01:01:22.633 --> 01:01:26.394

[SPEAKER_03]: But I still don't think we see one zombie turning another person into a zombie.

01:01:26.414 --> 01:01:26.914

[SPEAKER_01]: We don't.

01:01:27.014 --> 01:01:29.394

[SPEAKER_01]: It does feel like a tiptoe though towards it.

01:01:30.015 --> 01:01:35.716

[SPEAKER_01]: So this is a little bit of an escalation of zombie zombification technology.

01:01:36.076 --> 01:01:38.957

[SPEAKER_01]: This is something you could like put in a water supply.

01:01:39.737 --> 01:01:41.818

[SPEAKER_01]: and the whole town would get infected.

01:01:42.079 --> 01:01:46.041

[SPEAKER_01]: And that's not the same as, you know, as I'll be biting you and then you turn into one.

01:01:46.662 --> 01:01:52.966

[SPEAKER_01]: But obviously, we are dancing around the we're dancing around contagion.

01:01:53.466 --> 01:01:54.247

[SPEAKER_01]: Yeah, we're getting close.

01:01:54.267 --> 01:01:54.467

[SPEAKER_01]: Yeah.

01:01:54.727 --> 01:01:57.148

[SPEAKER_01]: Are there tough moral choices in this film?

01:01:58.049 --> 01:01:58.489

[SPEAKER_03]: Not really.

01:01:58.509 --> 01:02:01.952

[SPEAKER_03]: No, well, the boys just said into a band in the

01:02:04.515 --> 01:02:08.698

[SPEAKER_03]: This is a little selfish, but it quite reaches the heights of a moral.

01:02:08.838 --> 01:02:18.704

[SPEAKER_01]: I mean, the sheriff kind of repents of his wickedness before being killed, but that's like people making bad choices, not really a tough moral choice, I don't think.

01:02:19.965 --> 01:02:23.628

[SPEAKER_01]: All right, and lastly does this movie have loved ones turning against you?

01:02:24.899 --> 01:02:30.062

[SPEAKER_03]: Almost Pam and Julie get turned into zombies, but they don't become the rage zombies, so they don't attack.

01:02:30.082 --> 01:02:34.725

[SPEAKER_01]: Yeah, they missed an opportunity to up the excitement of this by having one of them be a rage zombie, right?

01:02:35.446 --> 01:02:39.108

[SPEAKER_03]: They figured to be scary enough that they're just zombies in that they have solved the problem.

01:02:39.148 --> 01:02:39.888

[SPEAKER_03]: So not quite.

01:02:39.928 --> 01:02:40.209

[SPEAKER_01]: Okay.

01:02:40.549 --> 01:02:41.870

[SPEAKER_01]: This is a movie of not quite.

01:02:41.970 --> 01:02:46.973

[SPEAKER_01]: All right, and so we don't always ask this question, John, but did the poster sell this movie accurately?

01:02:48.282 --> 01:02:51.243

[SPEAKER_03]: there are women in cages and there is a gorilla.

01:02:51.784 --> 01:02:55.225

[SPEAKER_03]: So I'm going to say and the poster is really low quality.

01:02:55.445 --> 01:02:56.486

[SPEAKER_03]: So I'm going to say yes.

01:02:57.286 --> 01:03:01.908

[SPEAKER_01]: Young ponds the rest into pulsating cages of or the cages were not pulsating.

01:03:01.928 --> 01:03:02.409

[SPEAKER_01]: No.

01:03:03.749 --> 01:03:09.253

[SPEAKER_03]: And I can see how it would be scary to be trapped in these cages by this creepy Ivan guy.

01:03:09.293 --> 01:03:10.534

[SPEAKER_03]: It just isn't scary to us.

01:03:11.034 --> 01:03:11.314

[SPEAKER_01]: Can we?

01:03:11.334 --> 01:03:11.434

[SPEAKER_01]: Yeah.

01:03:11.474 --> 01:03:11.835

[SPEAKER_01]: All right.

01:03:11.995 --> 01:03:12.655

[SPEAKER_01]: Looking at the poster.

01:03:12.996 --> 01:03:17.819

[SPEAKER_01]: Did we figure out last in the last episode what that thing is on the right side of the poster?

01:03:17.839 --> 01:03:20.360

[SPEAKER_01]: And it's like on the cage.

01:03:20.421 --> 01:03:22.322

[SPEAKER_01]: It's like just to the right of the girl on the cage.

01:03:22.482 --> 01:03:22.602

[SPEAKER_01]: What?

01:03:22.882 --> 01:03:24.864

[SPEAKER_01]: It looks like part of the man's sign to set up.

01:03:24.984 --> 01:03:26.084

[SPEAKER_01]: Oh, is that like a girl?

01:03:26.104 --> 01:03:27.285

[SPEAKER_03]: Yeah, I think it's the lab.

01:03:27.405 --> 01:03:29.387

[SPEAKER_03]: And I think it's like in the supposed to be in like the four.

01:03:29.407 --> 01:03:29.587

[SPEAKER_01]: Okay.

01:03:30.087 --> 01:03:41.232

[SPEAKER_01]: Well, like a few other movie posters that we've seen in this podcast, it doesn't really accurately depict what's going to happen in the movie, but it does convey the sort of experience you're going to have watching the movie I would say.

01:03:41.652 --> 01:03:44.493

[SPEAKER_01]: Alright, so John, turning it over to you for our 1950s questions.

01:03:44.914 --> 01:03:47.655

[SPEAKER_01]: The last time maybe that we'll be asking these questions.

01:03:48.333 --> 01:03:48.793

[SPEAKER_01]: That's right.

01:03:49.674 --> 01:04:06.891

[SPEAKER_01]: Hey, is paranoia a major theme in this, I mean, I would I think saying a major theme is maybe a bit much, but like it's certainly certainly this film relies on how plausible you think it is that, you know, there's your local town sheriff as part of a Soviet plot to

01:04:07.732 --> 01:04:08.653

[SPEAKER_01]: destroy America.

01:04:09.574 --> 01:04:16.179

[SPEAKER_01]: I mean, this scheme, this scheme couldn't work if it didn't have, you know, like American collaborators.

01:04:17.139 --> 01:04:17.460

[SPEAKER_01]: So, right.

01:04:17.720 --> 01:04:27.448

[SPEAKER_02]: I guess that said, I would say yes because the idea that there could be someone down the street or in the middle of the lake, who is a foreign spy, was a fear at the time.

01:04:27.608 --> 01:04:27.708

[SPEAKER_02]: Yeah.

01:04:27.728 --> 01:04:30.270

[SPEAKER_02]: The paranoia that communists were everywhere.

01:04:30.810 --> 01:04:31.511

[SPEAKER_02]: Yeah, for sure.

01:04:31.611 --> 01:04:31.671

[SPEAKER_02]: So,

01:04:34.874 --> 01:04:37.257

[SPEAKER_03]: Now, have our movie heroes changed?

01:04:37.417 --> 01:04:38.278

[SPEAKER_03]: Are they younger?

01:04:38.359 --> 01:04:39.901

[SPEAKER_03]: Are they sort of more diverse?

01:04:40.361 --> 01:04:43.546

[SPEAKER_01]: This is what I thought we were going to get like five years ago.

01:04:44.387 --> 01:04:50.055

[SPEAKER_01]: We have a radical change in the protagonists from every movie we've seen to date.

01:04:50.676 --> 01:04:56.161

[SPEAKER_01]: because as we've talked about at great length, these are the heroes here are the teens.

01:04:57.282 --> 01:04:59.444

[SPEAKER_01]: And they look, you know, they look plausibly like teens.

01:04:59.504 --> 01:05:04.328

[SPEAKER_01]: It's not like these are 28 year old actors trying to know stock or chanting.

01:05:04.908 --> 01:05:06.950

[SPEAKER_01]: She's 31 when she did great.

01:05:07.470 --> 01:05:08.972

[SPEAKER_01]: So yeah, big change.

01:05:09.292 --> 01:05:10.813

[SPEAKER_01]: This is a bad movie.

01:05:10.833 --> 01:05:12.675

[SPEAKER_03]: This is what I've been waiting for this stuff.

01:05:13.295 --> 01:05:14.657

[SPEAKER_03]: And I think it's happening in movies all

01:05:17.959 --> 01:05:22.605

[SPEAKER_03]: science and sci-fi are they more important to they take a bigger role in these zombie movies.

01:05:22.785 --> 01:05:27.390

[SPEAKER_01]: I don't think they take a bigger role but certainly the evil plot is science-based.

01:05:27.910 --> 01:05:30.333

[SPEAKER_01]: And sure there's nothing mystical about this at all.

01:05:30.473 --> 01:05:36.380

[SPEAKER_01]: It's you know the zombies are the result of you know just a chemical substance that you make in a lab.

01:05:37.565 --> 01:05:42.750

[SPEAKER_03]: And I feel like, and tell me if you agree, we've left the roots of zombie dim, the roots of voodoo.

01:05:42.890 --> 01:05:45.612

[SPEAKER_03]: Oh yeah, we now have zombie creatures that have nothing to do.

01:05:45.632 --> 01:05:49.676

[SPEAKER_01]: There's nothing in here at all about, you know, the Haitian origins of zombies.

01:05:49.696 --> 01:05:49.876

[SPEAKER_01]: Yeah.

01:05:50.617 --> 01:05:52.579

[SPEAKER_01]: All right, all right, let's wrap it up.

01:05:52.639 --> 01:05:56.743

[SPEAKER_01]: All right, John, last couple of questions, would you and I survive in this zombie world?

01:05:57.378 --> 01:05:58.099

[SPEAKER_03]: I think so.

01:05:58.539 --> 01:06:00.761

[SPEAKER_03]: I feel like we could just walk in the teens.

01:06:01.762 --> 01:06:02.663

[SPEAKER_03]: Yeah, we're not teens.

01:06:03.384 --> 01:06:10.010

[SPEAKER_03]: I mean, I feel like we'd be the wise soda jerk in the in the diner or the deputy behind the desk or the dip.

01:06:10.030 --> 01:06:15.415

[SPEAKER_01]: Well, like so if we were the deputy, we wouldn't do anything to solve fix this problem because we

01:06:21.861 --> 01:06:32.908

[SPEAKER_01]: So I think so this plot is a I mean, if they did get this into the water supply, you know, like that would be a meaningful threat, but I think there's a lot of steps before we get to that happening.

01:06:32.928 --> 01:06:37.131

[SPEAKER_03]: Yeah, and I think we're too old to just go to a random island in the middle of the lake.

01:06:37.231 --> 01:06:37.952

[SPEAKER_01]: I think so too.

01:06:37.992 --> 01:06:39.113

[SPEAKER_03]: Yeah, it sounds like a dumb idea.

01:06:39.153 --> 01:06:39.953

[SPEAKER_03]: We're not going to do that.

01:06:40.453 --> 01:06:42.255

[SPEAKER_03]: So yeah, I think I think would be fine.

01:06:42.415 --> 01:06:45.377

[SPEAKER_01]: Is this a zombie movie or a movie with zombies?

01:06:46.418 --> 01:06:52.025

[SPEAKER_03]: I think it's a zombie movie and I think it's not revolves around turning people into zombies.

01:06:52.145 --> 01:06:52.305

[SPEAKER_03]: Yep.

01:06:52.445 --> 01:06:53.006

[SPEAKER_01]: I think so too.

01:06:53.726 --> 01:06:57.551

[SPEAKER_01]: And do you recommend this movie first, generally, as a film?

01:06:57.831 --> 01:07:02.516

[SPEAKER_01]: And second, do you recommend it specifically to our Legion of Zombie Loving Freaks?

01:07:02.976 --> 01:07:04.098

[SPEAKER_01]: Who are listening to this podcast?

01:07:04.498 --> 01:07:06.259

[SPEAKER_03]: I think I've got to go no on both.

01:07:06.379 --> 01:07:06.799

[SPEAKER_03]: Yeah.

01:07:07.600 --> 01:07:13.823

[SPEAKER_03]: I sadly like there are a couple of decent moments, but it's just too poor of a movie.

01:07:14.083 --> 01:07:15.344

[SPEAKER_03]: Yeah, to recommend.

01:07:15.744 --> 01:07:19.887

[SPEAKER_01]: Yeah, sadly also I hate having to do it, but I'm going to say no on both.

01:07:20.727 --> 01:07:22.108

[SPEAKER_01]: Yeah, sorry teenage zombies.

01:07:22.128 --> 01:07:24.809

[SPEAKER_03]: I think that's our first double note in a long time.

01:07:24.889 --> 01:07:25.490

[SPEAKER_03]: I think so.

01:07:25.530 --> 01:07:25.790

[SPEAKER_03]: Yes.

01:07:26.170 --> 01:07:28.331

[SPEAKER_03]: If we've ever had one, but yeah, for sure.

01:07:28.852 --> 01:07:29.832

[SPEAKER_03]: You can add a third note.

01:07:30.693 --> 01:07:31.113

[SPEAKER_03]: Yeah.

01:07:32.035 --> 01:07:32.195

[SPEAKER_03]: Yeah.

01:07:32.215 --> 01:07:34.277

[SPEAKER_03]: Well, then an absolutely not.

01:07:34.357 --> 01:07:37.879

[SPEAKER_01]: Is there anyone else John that shouldn't watch this Brad, would you say it?

01:07:38.360 --> 01:07:38.520

[SPEAKER_03]: No.

01:07:39.561 --> 01:07:40.121

[SPEAKER_03]: Once is enough.

01:07:40.882 --> 01:07:41.482

[SPEAKER_03]: Once is enough.

01:07:41.822 --> 01:07:42.363

[SPEAKER_02]: I'll remember.

01:07:42.383 --> 01:07:42.543

[SPEAKER_03]: Sure.

01:07:42.603 --> 01:07:46.025

[SPEAKER_03]: Hey, if you like this, remember each of us has another podcast.

01:07:46.246 --> 01:07:52.630

[SPEAKER_03]: I have a RPG Topics podcast called The Splat book, which comes out semi-monthly.

01:07:53.291 --> 01:07:55.833

[SPEAKER_03]: We just have a good time talking about role playing games and

01:07:56.493 --> 01:07:58.774

[SPEAKER_03]: how to run a good game that kind of stuff.

01:07:58.854 --> 01:07:59.334

[SPEAKER_03]: It's pretty fun.

01:07:59.414 --> 01:08:00.455

[SPEAKER_03]: Andy, what are you going to do?

01:08:00.475 --> 01:08:04.757

[SPEAKER_01]: Yeah, I also have an RPG podcast comes out every other week and it's called Roll for Topic.

01:08:05.417 --> 01:08:10.679

[SPEAKER_01]: And me and my co-host Chris pick a different topic each week related to running role-playing games.

01:08:10.820 --> 01:08:13.641

[SPEAKER_01]: And we discuss it sometimes with a brilliant guest.

01:08:13.861 --> 01:08:13.961

[SPEAKER_01]: So.

01:08:14.141 --> 01:08:17.982

[SPEAKER_03]: And the last thing I have to say is your last guest was excellent because he rolled excellent dice.

01:08:18.022 --> 01:08:20.463

[SPEAKER_03]: You've really got to work with Chris on his dice roll.

01:08:20.543 --> 01:08:21.324

[SPEAKER_03]: Yeah, it's bad.

01:08:21.344 --> 01:08:21.664

[SPEAKER_01]: All right.

01:08:21.684 --> 01:08:22.384

[SPEAKER_01]: That's good feedback.

01:08:22.404 --> 01:08:23.164

[SPEAKER_01]: That's good feedback.

01:08:23.365 --> 01:08:23.705

[SPEAKER_02]: Yeah.

01:08:23.725 --> 01:08:25.185

[SPEAKER_02]: Pretty sure Brad, but you got to go on on.

01:08:25.465 --> 01:08:30.207

[SPEAKER_02]: I'm on multiplex over thruster hosted by Havier Greedso Markswatch and Paul Alvarado.

01:08:30.227 --> 01:08:33.288

[SPEAKER_02]: Dexter, we watch movies currently from the early 80s.

01:08:33.348 --> 01:08:37.710

[SPEAKER_02]: We just watch Strange Brew and Mr. Mom and Death Stalker.

01:08:38.050 --> 01:08:40.751

[SPEAKER_02]: You did watch, I remember death stalker.

01:08:40.991 --> 01:08:41.772

[SPEAKER_02]: Of course you do.

01:08:41.912 --> 01:08:46.533

[SPEAKER_02]: It turns out it's a very popular film for a large number of people and we didn't know that.

01:08:46.914 --> 01:08:48.474

[SPEAKER_03]: Yeah, and they're remaking it.

01:08:48.534 --> 01:08:50.295

[SPEAKER_03]: Did you see I posted the trailer for the remake?

01:08:50.315 --> 01:08:51.315

[SPEAKER_03]: Yeah, Pat and Oslo.

01:08:51.375 --> 01:08:53.676

[SPEAKER_01]: I've seen death stalker too.

01:08:53.916 --> 01:08:54.657

[SPEAKER_03]: There are four of them.

01:08:55.237 --> 01:08:58.138

[SPEAKER_03]: Yeah, but they're like trashy, heavy metal fantasy movies, right?

01:08:58.218 --> 01:08:58.418

[SPEAKER_03]: Yes.

01:08:59.018 --> 01:09:00.479

[SPEAKER_03]: Yeah, I kind of want to see them.

01:09:01.419 --> 01:09:02.260

[SPEAKER_03]: Okay, new podcast.

01:09:02.940 --> 01:09:04.260

[SPEAKER_03]: trashy fantasy movies from the 80s.

01:09:04.280 --> 01:09:06.021

[SPEAKER_03]: So it's after we finish this up.

01:09:06.201 --> 01:09:07.361

[SPEAKER_03]: So excellent.

01:09:07.381 --> 01:09:08.682

[SPEAKER_03]: Well, thanks everybody for listening.

01:09:08.802 --> 01:09:13.683

[SPEAKER_03]: Listen to where the shows and subscribe to this one in your podcast app of choice or the next time.

01:09:13.703 --> 01:09:15.984

[SPEAKER_03]: Oh, we could talk about what our next film is.

01:09:16.344 --> 01:09:19.925

[SPEAKER_01]: So hey, we we almost forgot in our excitement over all of this stuff.

01:09:20.426 --> 01:09:23.327

[SPEAKER_01]: But we are to the scariest part of each episode.

01:09:23.347 --> 01:09:27.248

[SPEAKER_01]: And that is where producer Brad reveals to us the movie we will be watching next.

01:09:27.448 --> 01:09:28.388

[SPEAKER_01]: So producer Brad,

01:09:31.289 --> 01:09:35.413

[SPEAKER_01]: I don't know how I feel about your choices lately, but let's see what you got for us.

01:09:35.453 --> 01:09:35.753

[SPEAKER_03]: Yeah.

01:09:36.474 --> 01:09:45.081

[SPEAKER_02]: We are finally leaving the 50s and not only are we taking a step into the 60s, we're jumping 1960 and going straight to 1961.

01:09:45.461 --> 01:09:46.522

[SPEAKER_03]: No zombie movies in 1960.

01:09:47.523 --> 01:09:50.566

[SPEAKER_02]: And here's the poster for our first 60s zombie film.

01:09:50.586 --> 01:09:52.668

[SPEAKER_02]: Oh, the dead one.

01:09:53.197 --> 01:10:15.294

[SPEAKER_01]: exotic voodoo rituals describe this poster Andy let's say it's kind it's kind of stylish it's it's a deep blood red the entire poster is and then in like black ink drawings we have a pretty zombie looking guy looming over a woman

01:10:15.954 --> 01:10:20.115

[SPEAKER_01]: in a white dresser gown, who he looks like he's wearing a tuxedo.

01:10:20.155 --> 01:10:20.695

[SPEAKER_01]: He does.

01:10:20.735 --> 01:10:21.075

[SPEAKER_01]: Yeah.

01:10:21.516 --> 01:10:22.996

[SPEAKER_01]: And her gown looks kind of see through.

01:10:23.056 --> 01:10:23.416

[SPEAKER_01]: Yeah.

01:10:23.516 --> 01:10:26.777

[SPEAKER_01]: No salacious promises beyond exotic beauty rituals.

01:10:26.837 --> 01:10:29.638

[SPEAKER_01]: I thought it would be interesting if Voodoo is is back all of a sudden.

01:10:30.238 --> 01:10:33.359

[SPEAKER_03]: And I think those squares in the background are like the city lights or something.

01:10:33.939 --> 01:10:35.580

[SPEAKER_03]: And it is filmed in ultra scope.

01:10:36.140 --> 01:10:37.680

[SPEAKER_03]: Does anybody know what that is?

01:10:37.800 --> 01:10:38.020

[SPEAKER_03]: No.

01:10:38.340 --> 01:10:40.381

[SPEAKER_02]: But look on the bottom right of the poster.

01:10:40.421 --> 01:10:41.041

[SPEAKER_02]: What does it say?

01:10:41.461 --> 01:10:43.902

[SPEAKER_02]: ESM and oh, what is that?

01:10:44.402 --> 01:10:45.162

[SPEAKER_02]: Eastman color.

01:10:45.363 --> 01:10:48.304

[SPEAKER_02]: It's Kodak Eastman colors can be our first filming color.

01:10:48.324 --> 01:10:50.225

[SPEAKER_02]: Okay, okay.

01:10:50.245 --> 01:10:51.746

[SPEAKER_02]: Yeah, I couldn't read the yellows.

01:10:52.066 --> 01:10:52.346

[SPEAKER_02]: Okay.

01:10:52.386 --> 01:10:53.787

[SPEAKER_02]: Each letter is alternating colors.

01:10:53.847 --> 01:10:54.707

[SPEAKER_03]: It's it's hard to read.

01:10:55.547 --> 01:10:55.928

[SPEAKER_03]: All right.

01:10:56.208 --> 01:10:57.588

[SPEAKER_03]: So I'm excited.

01:10:57.628 --> 01:11:01.450

[SPEAKER_01]: It doesn't vote super well for the film, but you don't keep it open mind.

01:11:02.391 --> 01:11:04.992

[SPEAKER_03]: Well, tune in next time where we talk about the dead one.

01:11:06.270 --> 01:11:06.990

[SPEAKER_03]: Thanks everybody.

01:11:07.550 --> 01:11:09.271

[SPEAKER_03]: You've been listening to zombie strains.

01:11:09.771 --> 01:11:13.072

[SPEAKER_03]: We'll be back next episode to talk about another zombie movie.

01:11:13.512 --> 01:11:18.294

[SPEAKER_03]: If you enjoyed our podcast, please take a moment to rate us in your podcast Apple Choice.

01:11:18.814 --> 01:11:22.615

[SPEAKER_03]: Tell a friend, follow us on Instagram at ZombieStrains.

01:11:23.436 --> 01:11:26.016

[SPEAKER_03]: All of this helps like my did people find this show.

01:11:26.697 --> 01:11:27.337

[SPEAKER_03]: See you next time.