June 24, 2021 • 49 mins
We discuss crossovers, movie things and serving the story. Then we serve up our versions of some classic children stories gone awry.
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Episode Transcript
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Speaker 1 (00:00):
Hey, they're friends. This is Jonathan Strickland, and before we
get into today's episode, we just want to let you
know that we get into some mature subject matter in
this episode, but don't worry, We're just as immature as always.
But we wanted to give you a heads up before
the episode started so you can decide how you want
to listen. The Large Nerdrunk Collider Podcast is a production
(00:28):
of I Heart Radio. Hi, everybody, Welcome to The Large
Nor Drunk Collider, the podcast that's all about the geeky
stuff happening in the world around us and how very
excited we are about it. I'm Ariel cast In, and
(00:49):
with me as always is the lovely, wonderful Jonathan Strickland. Hello,
I'm both lovely and wonderful. It is true. I'm also
inquisitive because Ariel, I got a question. Okay, Ariel, here's
(01:11):
your scenario, as the quidster would say, you get your
pick to be in any musical playing the role of
your choice. Which musical, Which role? I've already done it once,
but I want to do it again. Winnifred from Once
(01:31):
Upon a Mattress. I just I feel like that role
just is me. I got a chance to see you
play that and it was phenomenal. You did an amazing job.
I absolutely adored your your take on winifred Um because
you really do embody that whole shy personality. Well thanks.
(01:55):
I feel like it's a little bit of a cop
out because you know, I have played that role previously,
but on a smaller run. What about you, Oh boy?
I you know what? The actual answer changes like regularly
because I'll go through phases where a certain musical will
just hit me in a way where I just really
(02:18):
want to be in it. So I always want to
play either a rascal or an outright villain, so as
I get older, the one that really I would love
to play is Fagin from Oliver. He's a fantastic character.
I love singing his songs. I mean, I love reviewing
the situation and you know, you got to pick a
(02:38):
pocket or two. He's a fun rascal of a villain.
He's he's actually kind of a semi sympathetic villain. I
would say, like at least he doesn't treat the kids
as terribly as he does in the book. So that's
probably my answer, But others, like Thenardier from Lame Is
is another one. Rooster from Annie is another one. They're
(03:02):
all rascals and scoundrels and villains, and I love, I mean,
I love a good villain song. Well, and you know,
I had an acting coach tell me once that the
best roles you play are the ones that are diametrically
opposed to who you are in real life. So that
just means that you are, in fact, lovely and wonderful
in real life. Yeah, don't let it get around. I
(03:22):
mean you you introduced me that way already, but let's
not ruin my rep Okay. Sure, Villain roles are a
lot of fun. There's usually a lot of complexity to them,
and they do have wonderful songs. I think a good
backup for me would be Audrey from a Little Shop
of Horrors, if I'm going to pick one. That Yeah,
what a fantastic role too. I mean, it's very different
(03:46):
in the in the stage musical from the better known
movie adaptation. Um, because I remember I actually went to
the Plaza Theater because they were showing Little Shop of Horrors,
but they were showing it with the deleted original ending,
which follows the ending of the stage musical. And when
(04:06):
we got to that moment. You could tell who in
the theater had never seen the stage musical version. There
was a lot of there were a lot of upset
people in that theater that night. I believe it. I
believe it. Yeah, you gotta you gotta be prepared for
that kind of an ending, Yeah, exactly. Yeah, if you've
never seen it, you kind of gotta prep yourself forward
(04:27):
spoiler alert is not a happy ending. Yeah, speaking of
not so happy endings, well, actually, I don't know if
this one will be or not. We're going to transfer
into our news and the first news story we wanted
to talk about was whether there would be a Marvel
d C Cinematic Universe crossover. Apparently it's something people have
been asking James Gunn about now that he has directed
(04:49):
both of Marvel movie and a d C movie. Uh,
and he's talked about it with the powers that be,
But at this point it's looking like it's pretty unlikely
to happen. Yeah, he said that. According to the conversations,
which were very casual, it was something that he said,
don't don't think of it as being impossible, just being
(05:10):
extremely unlikely. However, he also said something else that I
thought was really interesting, and I thought we could probably
unpack a little and that was he has a concern
that there's a certain population of like hardcore fans, geeks
who are really into this stuff, who appear to be
fixated on minutia like Easter eggs and cameos to the
(05:36):
exclusion of the underlying story of the films that those
those things appear in. And I know that I've been
guilty of that in the past. You know, if you
ever watch any sort of video where they're breaking down
all the little tiny elements of a show like like Loki,
that's a great example that's going on right now. You
(05:59):
know what You've seen it happen where they are looking
at almost everything other than the actual story that's being told.
And I imagine as a storyteller and filmmaker, that gets
kind of frustrating because the thing you've spent most of
your time on is not the thing that most people
(06:19):
are discussing. Yeah, yeah, I would have to agree. I
feel like I feel like Easter Eggs should be the
little bone that is thrown to the die hard fans
to make them comfortable in the changes that have happened
in this story. But if that's all they're focusing on.
I mean, it's got to be frustrating is a filmmaker,
(06:41):
And I guess it just depends on where your headspace
is going into the movie, because I would also hope
that if if a story was strong enough, that it
would grab you and so those things would just be
a little pop up delights as opposed to be the
thing that you're able to focus on. I completely agree.
Like it's it's a delicate line, right, Like the filmmaker
(07:01):
and storytellers, they want to throw little fun bonus material
for those who are extremely observant who will get something
out of it, but they don't want that little like
amuse bouche to be taken as if that were the
entire meal for example. Um and I, like I said,
(07:22):
I've been guilty of this. I think it's part of fandom, right,
Like you just really start to focus in on things
that maybe we're just meant to be a playful like
nod to the fans, but not meant to be deconstructed
to the point that they always are. So here's an example,
and this is going to include spoilers for one division,
(07:42):
So if you haven't watched it about I was just
about so One Division is like the perfect example, Like,
first of all, One Division I think is my favorite
m c U product so far. Like the more I
go back to it, the more I like it because
it is such an incredible mixture of tone. There's a
(08:03):
lot of comedy, but there's a ton of tragedy as well.
It deals with the concept of grief on a level
that I thought was just beautiful. Um, it's a phenomenal show.
But one of the things they do is they introduce
a new Pietro, a new Quicksilver who is the Quicksilver
(08:25):
appears to be the Quicksilver from the Fox helmed X
Men series, the Days of Future Past version of Quicksilver,
And so for much of the second half of that show,
the implication is we're getting a true multiverse moment, right,
like we're getting characters from a different branch of Marvel
(08:48):
films that previously did not belong to Disney being incorporated
into the m c U. And then, of course it
turns out that no, that was a red herring, that
it just happens to be a guy that had been
hext to believe he was Pietro, and we're we're left
(09:09):
to assume that this is just a grand coincidence that
this guy happens to look like the actor who played
that same character but in a different line of films,
and that that, I think is something that a lot
of hardcore fans have trouble walking away from. Right They
it's hard for them to assume this isn't more meaningful.
(09:31):
It isn't an implication that the Fox version of Marvel
characters are somehow going to infiltrate the Disney ones. Now
maybe they still will, but based on the end of
One Division, we should assume that that was nothing more
than just a very fun nod two fans. Yeah. I
(09:54):
actually had a friend who hasn't watched One Division asked
about this the other day and I said, you know,
it's just they're playing with their the concepts of the
show at face value and at a metal level. Um
and yeah, a lot of people were upset when that
reveal wasn't what they wanted it to be. Um, you know,
(10:16):
but at a metal level, You've gotta think if you
look at all of the stories in sci fi and
fantasy that deal with multiple universes, like Star Trek Discovery,
for instance, there are the same like physical forms of
people in the different like universes in the in the
different multiverses who play different roles. So it could still
(10:38):
even fit if the fans think about this is going
way down rabbit hole. But it could still fit if
the fans are having a hard time letting go as
even though this version of this guy is not Pietro,
that he might be in another multiverse if he exists
in multiple universes. Um, you know, I thought it was fantastic.
(10:58):
I also think it's hard to let go because that
version of Quicksilver was phenomenal, just so much fun, and
just to have that version of Quicksilver to be able
to play with Elizabeth Olson and Paul Bettany was great
and I can understand how people want more of that.
It did distract a lot of people from what was
actually going on in the story, and the story itself,
(11:20):
as you said, was very It handled a lot of
concepts that are harder to handle it grief very well. Um,
it made them very accessible, and it was just a
really good overall story and a great set up for
the next phase of the m C. You Yeah, I
would argue that in that case, though the one division
show creators knew what they were doing like it was.
That one was a little more cheeky like it. It
(11:42):
felt almost like a this is going to be a
reference that some listeners just aren't gonna get. It was
like an Andy Kaufman esque trick on the audience, right.
It was almost a bait and switch kind of thing. Um.
So like that that one, I would I would argue,
like the show creators get what they deserved in the
sense of like fan reaction, because it was it's more
(12:05):
than just putting Howard the Duck as a cutaway gag
in The Guardians of the Galaxy, right like that, that
just opens up the possibility of a Howard the Duck
movie in the future, which I know has Ariel really
excited because she for some reason loves that god awful
movie Love Love Is it Okay? It's apt. I was
(12:28):
gonna say it's a strong word, but it's apt. It's
it's not a good movie. There are some very disturbing
moments in it, but it's also hilariously bad. Uh. But
you know, even still, I loved I love all the
little like Howard the Duck nuggets stay stick in, but
it doesn't detract from the greater story. I think James
Gunn is like the king of putting in Easter eggs
(12:49):
and other characters without detracting from the story, which are
so much of it in the Guardians of the Galaxy.
And that really makes me excited for the Suicide Squad movie,
which I mean, that's again, let's bringing us full circle,
right because James Gunn directed the first two Guardians of
the Galaxy movies, he's directing the third one after there
was that whole kerfuffle. Then he's also he's the director
(13:12):
of the new Suicide Squad movie that's coming out. So
that's kind of why this sort of discussion even happens
for the whole crossover thing. And I think a crossover
would be cool, but at the same time, you're like,
what's the story you want to tell? I mean, honestly,
with both DC and Marvel, there's an opportunity there because
(13:34):
within d C we're getting the Flashpoints storyline, which involves
multiple realities, and in Marvel we've got the Multiverse storyline.
You could argue that we're in the perfect time to
have some form of crossover, but you'd have to figure
out how to craft a story that would service that
idea well. So that it's not just hey, let's take
(13:58):
Freddie and put them with Jason, because we got that
movie and it was terrible. I agree, I agree, and totally.
Both both universes are very very different, so I feel
like they would almost it would have to Blake pull
Ezra Miller's Flash with Benedict Cumberbatch's uh Doctor Strange into Deadpool,
(14:19):
and I feel like that's the only way you can
get that cross overdone, because Deadpool is the only thing
that matches the tone of both cinematic universes. Let me
throw this to you, though, Ariel. I'm gonna throw something
out at you because you know we're spending a lot
of time on this topic, and this kind of ties
into one of the stories we were going to cover,
which is that there were some behind the scenes like
(14:41):
paparazzi style photos of Michael Keaton as Batman in the
new Flash film as it's filming. Uh, imagine this, Ariel,
if you will, A multiverse match over of d C
and Marvel in which Michael Keaton as Batman faces off
against Michael Keaton as Vulture is the best thing I've
(15:04):
ever heard of, and I want to watch that so
because Michael Keaton's version of Batman is already it's dark,
but it is tongue in cheek, and I feel like
it would be an easy transition to the m c U. Yeah,
I think I think it would be. Oh my gosh,
just saying that, like, Okay, I don't ever need it
to happen. I want to be clear, I don't ever
(15:26):
need this to actually happen, but the thought of it
possibly happening it sparks the exact same geek love that
also feeds into this problem we're talking about about fixating
on cameos and little Easter eggs and that kind of thing.
So I get it. I get it, and uh, like
my heart goes out to James Gunn because the dude
(15:47):
is a great storyteller. I very much enjoy his takes
and uh, and I want to enjoy the stories he's
telling on that full storytelling level and not fixate on
these tiny little detail But yeah, it's I can't help it.
It's just that it's just part of that geek love
I think, is that we do have this tendency to
(16:09):
speculate and fixate on things, and sometimes that's to the
detriment of our enjoyment of the whole story. I I
agree along those lines, I just want to say, well,
you know, we've got this story in our lineup to
talk about Michael Keaton as Batman and some costumes coming
out from on the set pictures. I'm generally not super
into on the set pictures. I figure when the studio
(16:32):
is ready to release their their news will get it,
and usually in a better form than leaks. But it
also came out with pictures of Supergirl's costume, which is
bright and beautiful and I love it. It's got some
amazing detail on it, so I'm very excited about that.
It just continues to excite me about Supergirl. Yeah, and
(16:53):
you know d C also just James Gunn along those lines.
We aren't really going to dive into it. But there's
a new Suicide Squad trailer out and the cast unofficially
leaked this trailer, but I'm pretty sure everybody knew it
was going to happen as a publicity stunt. It's kind
of like when Marvel did the thing with the third
(17:15):
Spider Man film and and they quote unquote leaked the
subtitle and it was three different subtitles. Kind of implying
the whole multiverse attachment again um or spider verse in
that case attachment. I think that was fun. I actually
really like those kind of creative marketing campaigns where they
(17:36):
are getting a little cheeky and having fun with it.
That trailer, it still makes me want to see Suicide Squad.
It still looks like it's going to be action packed
and filled with weird, irreverent humor. I have a feeling
that King Shark is going to be my favorite character,
but we'll see. I love I loved King Shark in
the poka ut Man. Those are going to be my
(17:58):
two faces. We'll have to see. Maybe we'll see that
one together. We never watch movies together, so maybe we'll
have to do that, like like pick a time and
we'll both go and see it. I would love to
do that. Excellent. Well, that's a great way for us
to segue into our next section. We're gonna take a
quick break and then we're gonna have a full discussion again,
but this time it will be about a slightly different topic,
(18:20):
and it's gonna be about the crazy ratings of films,
as in, like you know, the m p A A ratings.
We're going to talk about that when we come back
after this quick break. So, Ariel, you pick this discussion topic,
(18:44):
which is fantastic. It's one that comes up every now
and again. But it's about how movie ratings and the
strategy that studios take when they plan out their films,
how odd it is, how unpredictable it can be, and
that there seemed to be films that get a rating
(19:06):
that on retrospect you might look at and think like,
how the heck did this land that rating when it
feels like it should be a totally different one. Yes,
and I actually wanted to have this conversation a couple
of weeks ago when the powers behind Deadpool said that, yeah,
we think we could do a PG thirteen Deadpool to
fit it into the m c U, because to me,
(19:28):
like so much of Deadpool's humor is just rated are
and I wasn't sure how well that would fly. But
then it came back up this week because the Hunchback
of Notre Dame. Yes, that pause I beloved Disney cartoon
by some people turned I still haven't seen it was
very cute though. Yeah, turned twenty five this week. I
(19:54):
think I've seen the whole movie, but not all the
way through UM, but it came up because it's a
rated G movie that is exceptionally dark for rated G movie.
The New York Times calls it the most r rated
G movie you'll ever see. So I figured it would
be a great time to actually talk about this. Yeah,
(20:16):
and this is a weird, a weird topic. There's one
documentary that really tackled this called this Movie is Not
Yet Rated. That documentary came out more than a I
don't know, like maybe twenty years ago at this point,
I honestly can't remember. But it went through how the
whole process of getting your film rated by the Motion
(20:39):
Picture Association of America or m p a A, how
that is an obscure, dark process, and how like inherently
unfair it is in many ways. So for example, at
least traditionally, I don't know if this has changed since then,
but traditionally, and you would submit your film to the
(21:01):
m p a A to get a rating, you were
not allowed to do things like site other films that
were similar to yours and argue that that's why your
film should get the same rating as another film, which
is bizarre to me. Right, Like, if you were to
submit your film, and the m p a A A came
back and said, Okay, well this has to be R
rated for these reasons, and they give you like a
(21:24):
bullet list of the things that make it an R
rated movie. And if you were to then say, but
you gave this other movie Pg. Thirteen and it has
exactly the same elements that you cite as the problem
for my film. You're not allowed to do that. You
can't use, you know, prior art in that case, as
(21:46):
an argument to justify a change in rating. What you
have to do is what you're supposed to do anyway,
is to go back. If you want a different rating,
go back edit your film to a new edit, submitted again,
and see if you can get it changed. There have
been cases where filmmakers have allegedly submitted the exact same
(22:06):
cut to the m p a A and got a
different rating at the end of it. So this is
an imperfect system from top to bottom. I can almost
see the logic behind it, which is, you know, contextually,
let's say you've got to swear word in both movies, right,
but how and where it's used contextually might differ, which
(22:29):
might change how point they feel that is towards the rating. Um.
But yeah, the fact that you can submit it also
makes it very subjective. The fact that you can submit
the same movie twice and get two different ratings. Um,
it feels like there's not much of like in an
actual scale. But at the same time, if you say, well,
this movie did it, and they did it in a
(22:50):
less offensive way, then that scale slowly starts sliding. And
you know, the New York Times also said that PG
today is what G was in the nine nineties, So
you know that scale already is sliding. Some families are
becoming You can only get a G rating if there
is nothing that would be morally objectionable to a family
(23:11):
in your movie, pretty much, and so like that scale
has shifted over the years. Yeah, now that's that's a
great point. It's like some of these ratings depend upon
the the cultural morays that were existent when that film
were you know, film was first released. Like, did you
(23:36):
know that that Stanley Kubrick's two thousand one was rated G?
I did not, And that involves a computer that's trying
to kill people and does Yeah. Yeah, but you know,
me watching it as an adult, because I certainly did
not appreciate it as a child. Uh. Well, if it's
(23:57):
disturbing that I can't really see other than that robot, kay,
maybe I would have given it a PG rating. Yeah. Well,
here's here's another question. So do you know when PG thirteen,
when that that rating was introduced? I do, because I
researched it for this episode. It was Red Dawn correct. Yeah,
And do you know the two movies that preceded PG
(24:19):
thirteen that kind of prompted the discussion. Steven Spielberg famously
talked with the m p a A about creating a
new designation between the ratings of P G and R
for films that kind of fell in that area because
there were there were a lot of movies coming out
where you would say, all right, this might be a
little intense even for parental guidance, like because people had
(24:42):
come to associate parental guidance meaning you know, not G
rated but still pretty tame. And there were movies that
were coming out there pushing okay, so they were and
this is some trivia. This is great bar trivia, by
the way, So if you ever get this question about
what were the two movies that prompted the discussion for
PG thirteen, there were two movies that Steven Spielberg was
(25:05):
actually connected to as a producer. Gremlin's was one of them. Okay,
I can see that, Yeah, And Indiana Jones and the
Temple of Doom was the other one, which was the
darkest of the Indiana Jones movies. Yeah, yeah, definitely, I
can totally see that. Both of those movies I would
assume we're Yeah, the only reason they weren't is because
(25:28):
they predated the PG thirteen designation. But that was a
good example of how these are movies that weren't so
extreme that they should be R rated. Like if you were,
you know, fifteen years old, then you could probably totally
handle all the stuff that's in Indiana Jones and the
Temple of Doom, even when they pull a heart out
of a guy's chest. Uh, but you know, it's it's
(25:53):
that that's definitely more extreme than what you would consider
just for a normal PG film. So yeah, it was
what what prompted that discussion. And and again it shows
exactly what the point you were making arial that this
is a fully subjective process and you can ask the
same group of people on two different days to give
(26:14):
you a rating for the exact same piece of art,
and you might get two different responses based on where
those people are on those given days, and it could
be a very frustrating experience for a movie studio or
a filmmaker who uh wants to tell a story a
very specific way, and then they find out that perhaps
(26:35):
the rating that they're going to get is going to
give a restriction on how many people can see it. So,
for another example is that movies that are so intense
or extreme that they get an n C seventeen rating
or back in the old days, a triple X rating,
which typically we associate with with material that is pornographic
(26:57):
in nature, But there have been mainstream owns that did
not include pornography that's still got that rating because they
had such intensity and their sequences. Maybe they had a
lot of drug use, or maybe there was a lot
of violence or a lot of very foul language or
some combination thereof. And back in the old days, like
there are entire there there are theater chains that just
(27:19):
have a blanket policy that they will not show any
film that has that rating. Right, you might want to
go unrated and not even submit your film to the
m p a A and have a better shot of
at least getting some theaters to show it. So there's
a lot of money involved in this too, the idea
of we don't want to restrict how many theaters can
(27:41):
actually screen this film, and and that becomes a big
part of the conversation. It's also why you had this
slate of lame horror movies. They're all rated PG thirteen
because the studio really wanted to hit as wide and
audience as possible. We start to see that shift a
(28:03):
few years ago as one studios realized that the R
rated horror movies were what fans were asking for. They
wanted those more intense horror films and two kids were
still going to the theaters and seeing these movies anyway,
so it just made more sense to go ahead, and
like the R rating became almost a way of marketing
(28:25):
your film, to say, this is the real horror, right,
It's not that watered down stuff. Yeah, it's it's interesting too,
because studios will put in, you know, a little bit
extra just to make it are sometimes even if the
story really is PG thirteen, or in the case of Deadpool,
might take out some of the swearing to make it
(28:46):
PG thirteen so that it fits within but still try
to get that r feel And I just like, I
understand you gotta play nice with the sensors. But at
the same time, I feel like, are you really much
like the crossovers? Are you really serving your story at
that point? That's a that's a great question. And yeah,
it starts to get very cynical, right, like you start
(29:08):
to say, are you making these changes because it's right
for the story you want to tell, or you just
making it just so that you can get it into
more theaters or get more eyeballs on it. In some cases,
it becomes almost like a publicity stunt in itself, like
when Deadpool released the the the family friendly version of
Deadpool two, that was felt like it was more of
(29:29):
a publicity stunt than a genuine attempt. Uh. It was
like a meta commentary, right, And you can do it
in creative ways that are a kind of interesting, But
I don't know, man, It's a complicated topic and one
that involves art and commerce and politics and subjectivity. And
(29:52):
you know this this organization that has long resisted any
attempts to have transparent see in their process, like it's
it's just a really weird world and it has to
be a constant frustration for screenwriters and directors in particular
movie studios to an extent, but I'm sure for the
(30:14):
people who are actually making these movies, it's really frustrating. Yeah,
I mean, and and the transparency is really the part
that gets me, because I have to imagine for anybody
who's rating a movie that is also a frustration for them,
because at the audience level, what I am okay with
in a PG thirteen movie is not the same as
what you are okay with in a PG thirteen movie
more than likely, um, you know. And so like, for instance,
(30:37):
when Forrest Gump came out and my family took me
to see it, they felt that that movie should have
been closer to an R rating than a PG thirteen
rating because of some of the subject matter that was
in it, um you know. But other people were like, well,
I thought it was closer to a PG movie. So
it's just just gonna be frustrating for everybody involved. Yeah. Yeah, Well,
I think about some of the movies I grew up
(30:58):
watching that we're PG or sometimes G rated films that
in retrospect, I would say, the only reason you can
get away with that rating is only because the subject
matter might have gone over the heads of the kids
who saw it. So here's an example, the movie musical
version of Greece. I'm sure it's just p G, but
(31:18):
if you really are paying attention to that movie, there's
subject matter in there that is like heavy stuff, um,
but the way it's treated as very light and it
goes over the heads of kids. So I guess you
could argue that because kids wouldn't understand the implications of
things like, you know, the pressures of premarital sex and
(31:40):
potential unplanned pregnancies and discussions about what to do in
the event of a pregnancy, and and there's like suggestions
of especially for Greece to there's suggestions of like date
rape and stuff like. It's dark stuff when you really
think about it. But because the way it's presented and
the a that kids absorbing information, it might mean that
(32:04):
that stuff just totally is a whiff, you know, for
the kids, And so why not call it p G.
I guess it also points to cultural issues, right, like
the fact that back when Greece two came out, uh,
it was a far less aware and sophisticated culture and
things like date rape. We're not treated with the level
(32:26):
of seriousness that they absolutely should be treated, and so
it's just a you could argue it was a different
world as well. Yeah, yeah, you know, I think this
has been a really fantastic conversation. I think we could
talk about it for hours more with different examples. For instance,
I'm pretty sure I watched Barbara Ella as a child
and did not realize until I was an adult how
(32:48):
unchild friendly that was that that that opens with a
nude woman floating in space. Yes, yes, so, like I
don't know, maybe it's just my my imagination playing tricks
on me, but you know, obviously it all went over
my head. If that's actually a thing I did and
not just something I've made up into my imagination. That
also makes me wonder like, should there eventually be a
(33:11):
way of re examining films and re rating them, like
rating them again in the in the context of the
modern sensibilities, because you could argue that what was PG
for one era isn't really PG for another, and should
that be something that we look at. Honestly, I don't know.
(33:34):
It's it's a very complicated thing. I can see the
pros and cons of both sides. Part of me says,
just leave it alone, But another part of me says,
but let's say that I'm a parent and I'm trying
to make a decision about whether or not a piece
of media that was made years ago would be appropriate
for my kid. Um, I mean, I guess the thing
to do is to just watch it on your own
(33:55):
and make that decision. But like, I don't know, it's
it's complicated with older movies, even with new movies. But
new movie is hard because you want to avoid spoilers.
But there are other rating systems that will tell you
how much sexual activity, how much drug us, how much violence,
how much language there is in any given movie, and
even up to topics, so that you can make more
(34:17):
itemized decision for your children. Um. I'm sure if you're
a parent you already know that, But I would say
that would be the way to go in the future,
exception of the fact that for a lot of like
scarier movies or suspense or mysteries, that's going to ruin
a lot of the plot. So yeah, it's stick. It is. Uh.
I'm glad we had this discussion and we're going to
(34:39):
take another break an aerial what's happening when we come back,
which which relates, by the way, both to our first
discussion and the one we just had. Yeah, we're gonna
cross over some Deadpool raded are with some Paddington, which
I was surprised to find out was actually p G,
not G. Well you're gonna do Paddington, I'm doing Yeah,
(35:01):
with a children's story. We'll be right back. Okay, so
(35:22):
we're back and uh, like I said, we're going to
mash up Deadpool with some children's beloved stories. And I
picked Paddington Bear, which is a story about a bear
who travels from darkness Perue to London and is adopted
by a family at the Paddington train station, um and
about his adventures in London and his eating marmalade sandwiches.
It's it's lovely, it's endearing. Uh. They made a movie
(35:46):
about it in two thousand fourteen, and then a second
movie about it later on, both of which got really
great reviews by children and adults, like I feel like
and I watched the second movie before the first. I
feel like that a really good job of balance comedy
with a story and making accessible and enjoyable by everyone. Uh.
(36:08):
I found out after picking this mash up because Paddington
a few weeks ago lost its Fresh rating due to
one reviewer that apparently both Deadpool and Paddington got nominated
for a People's Choice Award and had a social media
a war. H it was adorable, you know, Deadpool being
(36:31):
very unfamily friendly and Paddington giving hard stairs. So I
didn't know that when I wrote this mash up. But
here goes. This is called Paddington Pool. You all know
the story of Paddington Bear, You know, the one where
he stows away on a cargo ship from Darkest Crew
to London, is taken in by the Brown family who
found him at Paddington Station and named him after the
(36:53):
same you do, because I just told you about it.
You might even remember that in the two thousand fourteen
documentary about his life, he fought a taxid or miss
named Millicent Clyde, who snuck into his home attempting to
kidnap and stuff him. And during that fight he started
a kitchen fire. But what you don't know is that
the documentary didn't tell the whole truth. A bunch of
marmalade and taco seasoning ignited in that kinship fire, and
(37:15):
it burnt the top of Paddington's head and knocked him unconscious.
That enabled Millicent to capture him and bring her back
to her studio to do her dark work. She stuffed
and mounted him to put him in the Natural History Museum.
The following day, I know this is really dark. Jonathan's
making faces at me, and she thought that was that.
But after she went home that night, something remarkable happened.
(37:37):
Haddington Bear regenerated with a vengeance and a hankering for
marmalade Jimmy Chonga's. Now he was this weird abomination of
real and stuffed bear with that scarred head from the
kitchen fire. He stepped off his pedestal, did a hard
stare into a mirror at his scarred head, and then
looked out into space, as if addressing an unseen audience,
(37:58):
and said, well, at least I'm not animated or green.
Then he grabbed his prize hat off a nearby table,
used some taxidermy shears to cut out some eye holes
from the back brim, and pulled it over his face.
Then he once again turned to the invisible audience and said,
close your eyes, kids, Patty's going to exact some vengeance
and off, He set to find Millicent and make her pay,
(38:19):
stopping only at a Mexican food cart for a snack
along the way. When Paddington got to Millicent's house, he
chased her to the roof. Once he had her cornered
on the edge of the roof, he pulled out the
marmalade chimmy chonga that he had grabbed at the food
cart from under his hat mask, because all good bears
keep a marmalade sandwich under their hat mask, and yes,
and chimmy chonga is a sandwich. I will fight you
on this, and he threw it at Millicent, knocking her
(38:41):
off the roof, but as she fell, she grabbed Paddington's
arm and it ripped off his body. Paddington's shouted an
expletive that is not suitable for documentary nor children's entertainment,
and then looked off the roof to see that Millicent
had fallen, unconscious but alive, into some shrubs below. Paddington
went into her home and called the cops on her,
turning once again into the invisible audience to say, what
(39:01):
did you think would have happened? I'm a bear, not
a criminal, before going outside to grab his arm back
from the unconscious melicine and limping home to crawl into bed.
The next morning, when Paddington awoke, he realized that his
arm had restitched itself to his body good as new.
His head was still scarred, though, so he put on
his hat to hide it and went down to meet
the Browns for breakfast, and they were none the wiser.
(39:22):
Ever since that day, Paddington has lived his sweet family
life during the day and gone out to fight crime
as a snarky mouthed mirk with the marmalade at night,
hunting down criminals, ne'er do wells, and nosy neighbors with
great success, telling the Browns that he was going to
visit his aunt Lucy so they wouldn't catch on until
last week, when he disappeared along with half of London's
(39:43):
orange preserves and flower tortillas. It's rumored in underground circles
that he has traveled to Peru to hunt down the
deadly Tea ray, the most feared of all dinosaurs that
lives in the Peruvian jungle, and killed his family, the
whole reason he traveled to London in the first place. Wow,
I should have warned that maybe that was it family friendly,
But this whole episode is not family friendly. I um so,
(40:06):
I don't know if you listeners will hear it, because
tari is an amazing producer. But Ariel actually had to
stop and do a second take of part of that
because I was laughing too hard. Oh no, I didn't
mind you laughing. I distracted myself and stumbled over the words. Then,
but that the mark with marmalade just totally took me
(40:29):
by surprise and I lost it as a fantastic joke,
really well done, way darker than I anticipated, and super
dark compared to mine. Yeah, so mine is Deadpool and
Muppet Babies, and just as a backdrop for people who
aren't familiar, although you might be because there's a new
(40:50):
Muppet Babies series that's going now on on like Disney
Junior and stuff. Ariel's making faces. Does that mean that
you don't you don't approve of the reboot Muppet Babies.
It's fine, I just don't like it, that's fair. So
Muppet Babies started out kind of as a joint thing
because Muppets Take Manhattan, the third of the original Muppet films,
(41:14):
came out in n four and had a fantasy sequence. Uh,
the Muppets as Babies all singing music together. And then
there was an animated series that came out that same
year that featured the adventures of the Muppets as Babies.
That one ran from. Then in two thousand eighteen, we
got the computer animated reboot of Muppet Babies that runs
(41:38):
on like Disney Channel and Disney Jr. I'm mostly focusing,
in fact, I'm really focusing on the nineteen eight four
version because that was the one that was out when
I was a kid. So this one's just called Baby Deadpool,
and uh, here we go. It's let's get started. Nanny
has a problem. She's in charge of looking after a
(42:00):
group of curious, inventive, and mischievous babies. They include Kermit
the Frog, Miss Piggy, Bozzy Bear, Animal Scooter, Skeeter, Ralph
the Dog, and Gonzo. And now there's a new baby
joining the group, Little Baby Deadpool with his cute little
baby toy katanas and baby bubble handguns. Baby Deadpool fits
(42:25):
right in Mike Baby Gonzo. He has a habit of
breaking the fourth wall, and Deadpool and Gonzo become best pals.
But Baby Deadpool does tend to get on Kermit's nerves,
as Deadpool finds that winding up Baby Kermit to be
one of the most satisfying forms of entertainment there is.
Baby Deadpool also points out repeatedly that they are all
(42:47):
subject to the Great Mouse, which confuses the other babies,
and then he says, well, see, through a series of
acquisitions and mergers, the Walt Disney Company came into possession
of both of Jim Henson Productions and Marvel Comics, not
to mentioned twenty one Century Fox, and so we all
serve the same rodent overlord. Then he spikes the camera
(43:07):
as will we all. They're coming for you too, I
mean you, audience, you watching this, Disney is coming for
you too. If they don't own you already, and let's
face it, they probably do. Then he winks that was weird,
says Miss Piggy. When Nanny leaves the room, the group
(43:28):
decides that it's time to play pretend. Baby Deadpool suggests
that they all pretend to break into a top secret
laboratory in Canada, a facility called Weapon X run by
the Nefarious Department k. Baby Deadpool reveals that that's where
he's from. Fozzy is to take on the role of
a secret experiment known as bear Verine, whom the others
(43:51):
must help escape the dangerous facility. Kermit is Gambit because
the names are similar. Miss Piggy is Rogue, School is Cyclops,
Skeeter is Dazzler, Ralph is Beast, Gonzo is Nightcrawler, and
Baby Buns and Honeydew visits and becomes Professor X, giving
instructions to the group. Beaker is I don't know, Banshee,
(44:15):
but honey Dew and Beakers stay behind, so they don't
really like factor into the rest of the story. We
see the fantasy play out, with Miss Piggy taking up
way too much time showing off her winter outfit designed
specifically to navigate through the frozen North, and the team
makes their way to this remote facility in Canada, staring
at it from far away and taking note of their defenses.
(44:36):
Among those defenses is a big furry guy played by
Baby Sweet UM's who they recognize as saber Tooth. Baby
Dead Pull takes the lead and brings the other muppets
down to confront saber Tooth, challenging him to a game
of freeze tag, and they play with saber Tooth getting
really frustrated because Gonzo Nightcrawler just keeps teleporting out of
the way at the last second, and Gonzo and Dead
(44:58):
Bull managed to trick saber Tooth into running out onto
the surface of a frozen lake and the ice cracks
under his weight and he splashes down becomes a giant
ice cube, and the heroes continue on into the facility.
The muppets use their amazing powers to bypass security and
trick guards into playing games like hop Scotch and checkers.
Everybody gets a moment. Current Slash Gambit causes a door
(45:21):
knob to blow up so they could get through a
locked door. Scooter Slash Cyclops blasts a snowman just outside
the facility that turns out to be a security camp.
Skeeter Slash Dazzler distract some guards with a pretty light display.
Ralph Slash Beast climbs up on the ceiling and drops
a piano on a robot sentry, and this piggy goes
(45:41):
rogue all over a group of no fewer than fifteen guards,
reducing them to a pile of broken bones and sobbing bodies.
Baby Deadpool is really impressed. They continue to search for
Bear Verene when they encounter Baby Sam Eagle, who introduces
a himself as Lex Luthor. Sam says, Kermit, that's the
(46:04):
wrong comic book company. Yeah, even Disney won't be able
to clear this, says Ms. Piggy. Hey guys, says Gonzo,
looking at a newspaper vending machine that for some reason
is in the middle of the Weapon X facility, says
here Disney just bought Warner Brothers. Huh, says Baby Deadpool.
Welcome to the family, and then he blasts Sam the
(46:24):
Eagle with his bubble handguns, which appears to do the
trick and clears the way. They make their way into
the core of Weapon X and discover something incredible. Bear
Verine isn't a captive. He is the captor. He's not
being held against his will at all. Instead, he's making
the rest of the facility listen to his quote unquote
(46:44):
tight forty five minute stand up act, which might be
the most tortuous thing anyone has ever experienced. Realizing that
their rescue attempt is now a humanitarian mission, the team
managed to kidnap Bear Verine and get him out of
the stility, much to the relief of the other residents.
Of Weapon X. They all head back home to form
(47:05):
a cohesive team called the Ex Babies. The Deadpool decides
he's not really ready to commit to a team full time,
and that's when Nanny comes back in and explains it's
time for Baby Deadpool to head home. The end, that
was lovely. It did get do get a little dark
at one point. I mean, miss Piggy is a force
of dangerous reckoning always always. That was delightful. Yeah, I had.
(47:32):
I had a lot of fun with that, and I
honestly so, I wrote this before I actually looked at
all the different stories in our lineup, so I didn't
even see the one the Marvel d C crossover. So again,
just an amazing coincidence that I wrote a joke about
a Marvel d C crossover. You're just that brilliant, Jonathan,
I'm just that predictable. Well that's our mash up approach
(47:54):
to merging Deadpool with a work of a media that's
intended for children. Um, if you have your own versions,
we would love to hear them. You can always email
us the email addresses l n C at I heart
media dot com, or you can get in touch with
us on the social media's over on Twitter. We are
(48:15):
ll n c Underscore podcast on Facebook and Instagram. Were
Large Nerdron Collider, and of course we have our website,
Large nerdron collider dot com. That's where you can find
show notes and links to the stories we cover. Sometimes
we even include links to stories that we didn't get
a chance to cover. Yeah, we might do that this
week because we were going to talk about more stuff,
but we're just very long winded. If you send us
(48:37):
a mash up and we like it, we'll even read
it on an episode. Also, please make sure to tell
your friends if you like us, make sure to rate
and review us. Uh, you know, word of mouth is
how we grow our geeky family and man, do we
love you? Yes, we do. And until next time, I
am Jonathan deadpul Strickland and I am Ariel Marmally casting
(49:10):
m h m hm m m m m m. The
Large nurdern Collider is production of I Heart Radio and
was created by Ariel cast In. Jonathan Strickland is the
(49:32):
executive producer. This show is produced, edited and published by
Tory Harrison. For more podcasts on my heart Radio, visit
the i Heart Radio app Apple Podcasts or wherever you
listen to your favorite shows.
Hey, they're friends. This is Jonathan Strickland, and before we
get into today's episode, we just want to let you
know that we get into some mature subject matter in
this episode, but don't worry, We're just as immature as always.
But we wanted to give you a heads up before
the episode started so you can decide how you want
to listen. The Large Nerdrunk Collider Podcast is a production
(00:28):
of I Heart Radio. Hi, everybody, Welcome to The Large
Nor Drunk Collider, the podcast that's all about the geeky
stuff happening in the world around us and how very
excited we are about it. I'm Ariel cast In, and
(00:49):
with me as always is the lovely, wonderful Jonathan Strickland. Hello,
I'm both lovely and wonderful. It is true. I'm also
inquisitive because Ariel, I got a question. Okay, Ariel, here's
(01:11):
your scenario, as the quidster would say, you get your
pick to be in any musical playing the role of
your choice. Which musical, Which role? I've already done it once,
but I want to do it again. Winnifred from Once
(01:31):
Upon a Mattress. I just I feel like that role
just is me. I got a chance to see you
play that and it was phenomenal. You did an amazing job.
I absolutely adored your your take on winifred Um because
you really do embody that whole shy personality. Well thanks.
(01:55):
I feel like it's a little bit of a cop
out because you know, I have played that role previously,
but on a smaller run. What about you, Oh boy?
I you know what? The actual answer changes like regularly
because I'll go through phases where a certain musical will
just hit me in a way where I just really
(02:18):
want to be in it. So I always want to
play either a rascal or an outright villain, so as
I get older, the one that really I would love
to play is Fagin from Oliver. He's a fantastic character.
I love singing his songs. I mean, I love reviewing
the situation and you know, you got to pick a
(02:38):
pocket or two. He's a fun rascal of a villain.
He's he's actually kind of a semi sympathetic villain. I
would say, like at least he doesn't treat the kids
as terribly as he does in the book. So that's
probably my answer, But others, like Thenardier from Lame Is
is another one. Rooster from Annie is another one. They're
(03:02):
all rascals and scoundrels and villains, and I love, I mean,
I love a good villain song. Well, and you know,
I had an acting coach tell me once that the
best roles you play are the ones that are diametrically
opposed to who you are in real life. So that
just means that you are, in fact, lovely and wonderful
in real life. Yeah, don't let it get around. I
(03:22):
mean you you introduced me that way already, but let's
not ruin my rep Okay. Sure, Villain roles are a
lot of fun. There's usually a lot of complexity to them,
and they do have wonderful songs. I think a good
backup for me would be Audrey from a Little Shop
of Horrors, if I'm going to pick one. That Yeah,
what a fantastic role too. I mean, it's very different
(03:46):
in the in the stage musical from the better known
movie adaptation. Um, because I remember I actually went to
the Plaza Theater because they were showing Little Shop of Horrors,
but they were showing it with the deleted original ending,
which follows the ending of the stage musical. And when
(04:06):
we got to that moment. You could tell who in
the theater had never seen the stage musical version. There
was a lot of there were a lot of upset
people in that theater that night. I believe it. I
believe it. Yeah, you gotta you gotta be prepared for
that kind of an ending, Yeah, exactly. Yeah, if you've
never seen it, you kind of gotta prep yourself forward
(04:27):
spoiler alert is not a happy ending. Yeah, speaking of
not so happy endings, well, actually, I don't know if
this one will be or not. We're going to transfer
into our news and the first news story we wanted
to talk about was whether there would be a Marvel
d C Cinematic Universe crossover. Apparently it's something people have
been asking James Gunn about now that he has directed
(04:49):
both of Marvel movie and a d C movie. Uh,
and he's talked about it with the powers that be,
But at this point it's looking like it's pretty unlikely
to happen. Yeah, he said that. According to the conversations,
which were very casual, it was something that he said,
don't don't think of it as being impossible, just being
(05:10):
extremely unlikely. However, he also said something else that I
thought was really interesting, and I thought we could probably
unpack a little and that was he has a concern
that there's a certain population of like hardcore fans, geeks
who are really into this stuff, who appear to be
fixated on minutia like Easter eggs and cameos to the
(05:36):
exclusion of the underlying story of the films that those
those things appear in. And I know that I've been
guilty of that in the past. You know, if you
ever watch any sort of video where they're breaking down
all the little tiny elements of a show like like Loki,
that's a great example that's going on right now. You
(05:59):
know what You've seen it happen where they are looking
at almost everything other than the actual story that's being told.
And I imagine as a storyteller and filmmaker, that gets
kind of frustrating because the thing you've spent most of
your time on is not the thing that most people
(06:19):
are discussing. Yeah, yeah, I would have to agree. I
feel like I feel like Easter Eggs should be the
little bone that is thrown to the die hard fans
to make them comfortable in the changes that have happened
in this story. But if that's all they're focusing on.
I mean, it's got to be frustrating is a filmmaker,
(06:41):
And I guess it just depends on where your headspace
is going into the movie, because I would also hope
that if if a story was strong enough, that it
would grab you and so those things would just be
a little pop up delights as opposed to be the
thing that you're able to focus on. I completely agree.
Like it's it's a delicate line, right, Like the filmmaker
(07:01):
and storytellers, they want to throw little fun bonus material
for those who are extremely observant who will get something
out of it, but they don't want that little like
amuse bouche to be taken as if that were the
entire meal for example. Um and I, like I said,
(07:22):
I've been guilty of this. I think it's part of fandom, right,
Like you just really start to focus in on things
that maybe we're just meant to be a playful like
nod to the fans, but not meant to be deconstructed
to the point that they always are. So here's an example,
and this is going to include spoilers for one division,
(07:42):
So if you haven't watched it about I was just
about so One Division is like the perfect example, Like,
first of all, One Division I think is my favorite
m c U product so far. Like the more I
go back to it, the more I like it because
it is such an incredible mixture of tone. There's a
(08:03):
lot of comedy, but there's a ton of tragedy as well.
It deals with the concept of grief on a level
that I thought was just beautiful. Um, it's a phenomenal show.
But one of the things they do is they introduce
a new Pietro, a new Quicksilver who is the Quicksilver
(08:25):
appears to be the Quicksilver from the Fox helmed X
Men series, the Days of Future Past version of Quicksilver,
And so for much of the second half of that show,
the implication is we're getting a true multiverse moment, right,
like we're getting characters from a different branch of Marvel
(08:48):
films that previously did not belong to Disney being incorporated
into the m c U. And then, of course it
turns out that no, that was a red herring, that
it just happens to be a guy that had been
hext to believe he was Pietro, and we're we're left
(09:09):
to assume that this is just a grand coincidence that
this guy happens to look like the actor who played
that same character but in a different line of films,
and that that, I think is something that a lot
of hardcore fans have trouble walking away from. Right They
it's hard for them to assume this isn't more meaningful.
(09:31):
It isn't an implication that the Fox version of Marvel
characters are somehow going to infiltrate the Disney ones. Now
maybe they still will, but based on the end of
One Division, we should assume that that was nothing more
than just a very fun nod two fans. Yeah. I
(09:54):
actually had a friend who hasn't watched One Division asked
about this the other day and I said, you know,
it's just they're playing with their the concepts of the
show at face value and at a metal level. Um
and yeah, a lot of people were upset when that
reveal wasn't what they wanted it to be. Um, you know,
(10:16):
but at a metal level, You've gotta think if you
look at all of the stories in sci fi and
fantasy that deal with multiple universes, like Star Trek Discovery,
for instance, there are the same like physical forms of
people in the different like universes in the in the
different multiverses who play different roles. So it could still
(10:38):
even fit if the fans think about this is going
way down rabbit hole. But it could still fit if
the fans are having a hard time letting go as
even though this version of this guy is not Pietro,
that he might be in another multiverse if he exists
in multiple universes. Um, you know, I thought it was fantastic.
(10:58):
I also think it's hard to let go because that
version of Quicksilver was phenomenal, just so much fun, and
just to have that version of Quicksilver to be able
to play with Elizabeth Olson and Paul Bettany was great
and I can understand how people want more of that.
It did distract a lot of people from what was
actually going on in the story, and the story itself,
(11:20):
as you said, was very It handled a lot of
concepts that are harder to handle it grief very well. Um,
it made them very accessible, and it was just a
really good overall story and a great set up for
the next phase of the m C. You Yeah, I
would argue that in that case, though the one division
show creators knew what they were doing like it was.
That one was a little more cheeky like it. It
(11:42):
felt almost like a this is going to be a
reference that some listeners just aren't gonna get. It was
like an Andy Kaufman esque trick on the audience, right.
It was almost a bait and switch kind of thing. Um.
So like that that one, I would I would argue,
like the show creators get what they deserved in the
sense of like fan reaction, because it was it's more
(12:05):
than just putting Howard the Duck as a cutaway gag
in The Guardians of the Galaxy, right like that, that
just opens up the possibility of a Howard the Duck
movie in the future, which I know has Ariel really
excited because she for some reason loves that god awful
movie Love Love Is it Okay? It's apt. I was
(12:28):
gonna say it's a strong word, but it's apt. It's
it's not a good movie. There are some very disturbing
moments in it, but it's also hilariously bad. Uh. But
you know, even still, I loved I love all the
little like Howard the Duck nuggets stay stick in, but
it doesn't detract from the greater story. I think James
Gunn is like the king of putting in Easter eggs
(12:49):
and other characters without detracting from the story, which are
so much of it in the Guardians of the Galaxy.
And that really makes me excited for the Suicide Squad movie,
which I mean, that's again, let's bringing us full circle,
right because James Gunn directed the first two Guardians of
the Galaxy movies, he's directing the third one after there
was that whole kerfuffle. Then he's also he's the director
(13:12):
of the new Suicide Squad movie that's coming out. So
that's kind of why this sort of discussion even happens
for the whole crossover thing. And I think a crossover
would be cool, but at the same time, you're like,
what's the story you want to tell? I mean, honestly,
with both DC and Marvel, there's an opportunity there because
(13:34):
within d C we're getting the Flashpoints storyline, which involves
multiple realities, and in Marvel we've got the Multiverse storyline.
You could argue that we're in the perfect time to
have some form of crossover, but you'd have to figure
out how to craft a story that would service that
idea well. So that it's not just hey, let's take
(13:58):
Freddie and put them with Jason, because we got that
movie and it was terrible. I agree, I agree, and totally.
Both both universes are very very different, so I feel
like they would almost it would have to Blake pull
Ezra Miller's Flash with Benedict Cumberbatch's uh Doctor Strange into Deadpool,
(14:19):
and I feel like that's the only way you can
get that cross overdone, because Deadpool is the only thing
that matches the tone of both cinematic universes. Let me
throw this to you, though, Ariel. I'm gonna throw something
out at you because you know we're spending a lot
of time on this topic, and this kind of ties
into one of the stories we were going to cover,
which is that there were some behind the scenes like
(14:41):
paparazzi style photos of Michael Keaton as Batman in the
new Flash film as it's filming. Uh, imagine this, Ariel,
if you will, A multiverse match over of d C
and Marvel in which Michael Keaton as Batman faces off
against Michael Keaton as Vulture is the best thing I've
(15:04):
ever heard of, and I want to watch that so
because Michael Keaton's version of Batman is already it's dark,
but it is tongue in cheek, and I feel like
it would be an easy transition to the m c U. Yeah,
I think I think it would be. Oh my gosh,
just saying that, like, Okay, I don't ever need it
to happen. I want to be clear, I don't ever
(15:26):
need this to actually happen, but the thought of it
possibly happening it sparks the exact same geek love that
also feeds into this problem we're talking about about fixating
on cameos and little Easter eggs and that kind of thing.
So I get it. I get it, and uh, like
my heart goes out to James Gunn because the dude
(15:47):
is a great storyteller. I very much enjoy his takes
and uh, and I want to enjoy the stories he's
telling on that full storytelling level and not fixate on
these tiny little detail But yeah, it's I can't help it.
It's just that it's just part of that geek love
I think, is that we do have this tendency to
(16:09):
speculate and fixate on things, and sometimes that's to the
detriment of our enjoyment of the whole story. I I
agree along those lines, I just want to say, well,
you know, we've got this story in our lineup to
talk about Michael Keaton as Batman and some costumes coming
out from on the set pictures. I'm generally not super
into on the set pictures. I figure when the studio
(16:32):
is ready to release their their news will get it,
and usually in a better form than leaks. But it
also came out with pictures of Supergirl's costume, which is
bright and beautiful and I love it. It's got some
amazing detail on it, so I'm very excited about that.
It just continues to excite me about Supergirl. Yeah, and
(16:53):
you know d C also just James Gunn along those lines.
We aren't really going to dive into it. But there's
a new Suicide Squad trailer out and the cast unofficially
leaked this trailer, but I'm pretty sure everybody knew it
was going to happen as a publicity stunt. It's kind
of like when Marvel did the thing with the third
(17:15):
Spider Man film and and they quote unquote leaked the
subtitle and it was three different subtitles. Kind of implying
the whole multiverse attachment again um or spider verse in
that case attachment. I think that was fun. I actually
really like those kind of creative marketing campaigns where they
(17:36):
are getting a little cheeky and having fun with it.
That trailer, it still makes me want to see Suicide Squad.
It still looks like it's going to be action packed
and filled with weird, irreverent humor. I have a feeling
that King Shark is going to be my favorite character,
but we'll see. I love I loved King Shark in
the poka ut Man. Those are going to be my
(17:58):
two faces. We'll have to see. Maybe we'll see that
one together. We never watch movies together, so maybe we'll
have to do that, like like pick a time and
we'll both go and see it. I would love to
do that. Excellent. Well, that's a great way for us
to segue into our next section. We're gonna take a
quick break and then we're gonna have a full discussion again,
but this time it will be about a slightly different topic,
(18:20):
and it's gonna be about the crazy ratings of films,
as in, like you know, the m p A A ratings.
We're going to talk about that when we come back
after this quick break. So, Ariel, you pick this discussion topic,
(18:44):
which is fantastic. It's one that comes up every now
and again. But it's about how movie ratings and the
strategy that studios take when they plan out their films,
how odd it is, how unpredictable it can be, and
that there seemed to be films that get a rating
(19:06):
that on retrospect you might look at and think like,
how the heck did this land that rating when it
feels like it should be a totally different one. Yes,
and I actually wanted to have this conversation a couple
of weeks ago when the powers behind Deadpool said that, yeah,
we think we could do a PG thirteen Deadpool to
fit it into the m c U, because to me,
(19:28):
like so much of Deadpool's humor is just rated are
and I wasn't sure how well that would fly. But
then it came back up this week because the Hunchback
of Notre Dame. Yes, that pause I beloved Disney cartoon
by some people turned I still haven't seen it was
very cute though. Yeah, turned twenty five this week. I
(19:54):
think I've seen the whole movie, but not all the
way through UM, but it came up because it's a
rated G movie that is exceptionally dark for rated G movie.
The New York Times calls it the most r rated
G movie you'll ever see. So I figured it would
be a great time to actually talk about this. Yeah,
(20:16):
and this is a weird, a weird topic. There's one
documentary that really tackled this called this Movie is Not
Yet Rated. That documentary came out more than a I
don't know, like maybe twenty years ago at this point,
I honestly can't remember. But it went through how the
whole process of getting your film rated by the Motion
(20:39):
Picture Association of America or m p a A, how
that is an obscure, dark process, and how like inherently
unfair it is in many ways. So for example, at
least traditionally, I don't know if this has changed since then,
but traditionally, and you would submit your film to the
(21:01):
m p a A to get a rating, you were
not allowed to do things like site other films that
were similar to yours and argue that that's why your
film should get the same rating as another film, which
is bizarre to me. Right, Like, if you were to
submit your film, and the m p a A A came
back and said, Okay, well this has to be R
rated for these reasons, and they give you like a
(21:24):
bullet list of the things that make it an R
rated movie. And if you were to then say, but
you gave this other movie Pg. Thirteen and it has
exactly the same elements that you cite as the problem
for my film. You're not allowed to do that. You
can't use, you know, prior art in that case, as
(21:46):
an argument to justify a change in rating. What you
have to do is what you're supposed to do anyway,
is to go back. If you want a different rating,
go back edit your film to a new edit, submitted again,
and see if you can get it changed. There have
been cases where filmmakers have allegedly submitted the exact same
(22:06):
cut to the m p a A and got a
different rating at the end of it. So this is
an imperfect system from top to bottom. I can almost
see the logic behind it, which is, you know, contextually,
let's say you've got to swear word in both movies, right,
but how and where it's used contextually might differ, which
(22:29):
might change how point they feel that is towards the rating. Um.
But yeah, the fact that you can submit it also
makes it very subjective. The fact that you can submit
the same movie twice and get two different ratings. Um,
it feels like there's not much of like in an
actual scale. But at the same time, if you say, well,
this movie did it, and they did it in a
(22:50):
less offensive way, then that scale slowly starts sliding. And
you know, the New York Times also said that PG
today is what G was in the nine nineties, So
you know that scale already is sliding. Some families are
becoming You can only get a G rating if there
is nothing that would be morally objectionable to a family
(23:11):
in your movie, pretty much, and so like that scale
has shifted over the years. Yeah, now that's that's a
great point. It's like some of these ratings depend upon
the the cultural morays that were existent when that film
were you know, film was first released. Like, did you
(23:36):
know that that Stanley Kubrick's two thousand one was rated G?
I did not, And that involves a computer that's trying
to kill people and does Yeah. Yeah, but you know,
me watching it as an adult, because I certainly did
not appreciate it as a child. Uh. Well, if it's
(23:57):
disturbing that I can't really see other than that robot, kay,
maybe I would have given it a PG rating. Yeah. Well,
here's here's another question. So do you know when PG thirteen,
when that that rating was introduced? I do, because I
researched it for this episode. It was Red Dawn correct. Yeah,
And do you know the two movies that preceded PG
(24:19):
thirteen that kind of prompted the discussion. Steven Spielberg famously
talked with the m p a A about creating a
new designation between the ratings of P G and R
for films that kind of fell in that area because
there were there were a lot of movies coming out
where you would say, all right, this might be a
little intense even for parental guidance, like because people had
(24:42):
come to associate parental guidance meaning you know, not G
rated but still pretty tame. And there were movies that
were coming out there pushing okay, so they were and
this is some trivia. This is great bar trivia, by
the way, So if you ever get this question about
what were the two movies that prompted the discussion for
PG thirteen, there were two movies that Steven Spielberg was
(25:05):
actually connected to as a producer. Gremlin's was one of them. Okay,
I can see that, Yeah, And Indiana Jones and the
Temple of Doom was the other one, which was the
darkest of the Indiana Jones movies. Yeah, yeah, definitely, I
can totally see that. Both of those movies I would
assume we're Yeah, the only reason they weren't is because
(25:28):
they predated the PG thirteen designation. But that was a
good example of how these are movies that weren't so
extreme that they should be R rated. Like if you were,
you know, fifteen years old, then you could probably totally
handle all the stuff that's in Indiana Jones and the
Temple of Doom, even when they pull a heart out
of a guy's chest. Uh, but you know, it's it's
(25:53):
that that's definitely more extreme than what you would consider
just for a normal PG film. So yeah, it was
what what prompted that discussion. And and again it shows
exactly what the point you were making arial that this
is a fully subjective process and you can ask the
same group of people on two different days to give
(26:14):
you a rating for the exact same piece of art,
and you might get two different responses based on where
those people are on those given days, and it could
be a very frustrating experience for a movie studio or
a filmmaker who uh wants to tell a story a
very specific way, and then they find out that perhaps
(26:35):
the rating that they're going to get is going to
give a restriction on how many people can see it. So,
for another example is that movies that are so intense
or extreme that they get an n C seventeen rating
or back in the old days, a triple X rating,
which typically we associate with with material that is pornographic
(26:57):
in nature, But there have been mainstream owns that did
not include pornography that's still got that rating because they
had such intensity and their sequences. Maybe they had a
lot of drug use, or maybe there was a lot
of violence or a lot of very foul language or
some combination thereof. And back in the old days, like
there are entire there there are theater chains that just
(27:19):
have a blanket policy that they will not show any
film that has that rating. Right, you might want to
go unrated and not even submit your film to the
m p a A and have a better shot of
at least getting some theaters to show it. So there's
a lot of money involved in this too, the idea
of we don't want to restrict how many theaters can
(27:41):
actually screen this film, and and that becomes a big
part of the conversation. It's also why you had this
slate of lame horror movies. They're all rated PG thirteen
because the studio really wanted to hit as wide and
audience as possible. We start to see that shift a
(28:03):
few years ago as one studios realized that the R
rated horror movies were what fans were asking for. They
wanted those more intense horror films and two kids were
still going to the theaters and seeing these movies anyway,
so it just made more sense to go ahead, and
like the R rating became almost a way of marketing
(28:25):
your film, to say, this is the real horror, right,
It's not that watered down stuff. Yeah, it's it's interesting too,
because studios will put in, you know, a little bit
extra just to make it are sometimes even if the
story really is PG thirteen, or in the case of Deadpool,
might take out some of the swearing to make it
(28:46):
PG thirteen so that it fits within but still try
to get that r feel And I just like, I
understand you gotta play nice with the sensors. But at
the same time, I feel like, are you really much
like the crossovers? Are you really serving your story at
that point? That's a that's a great question. And yeah,
it starts to get very cynical, right, like you start
(29:08):
to say, are you making these changes because it's right
for the story you want to tell, or you just
making it just so that you can get it into
more theaters or get more eyeballs on it. In some cases,
it becomes almost like a publicity stunt in itself, like
when Deadpool released the the the family friendly version of
Deadpool two, that was felt like it was more of
(29:29):
a publicity stunt than a genuine attempt. Uh. It was
like a meta commentary, right, And you can do it
in creative ways that are a kind of interesting, But
I don't know, man, It's a complicated topic and one
that involves art and commerce and politics and subjectivity. And
(29:52):
you know this this organization that has long resisted any
attempts to have transparent see in their process, like it's
it's just a really weird world and it has to
be a constant frustration for screenwriters and directors in particular
movie studios to an extent, but I'm sure for the
(30:14):
people who are actually making these movies, it's really frustrating. Yeah,
I mean, and and the transparency is really the part
that gets me, because I have to imagine for anybody
who's rating a movie that is also a frustration for them,
because at the audience level, what I am okay with
in a PG thirteen movie is not the same as
what you are okay with in a PG thirteen movie
more than likely, um, you know. And so like, for instance,
(30:37):
when Forrest Gump came out and my family took me
to see it, they felt that that movie should have
been closer to an R rating than a PG thirteen
rating because of some of the subject matter that was
in it, um you know. But other people were like, well,
I thought it was closer to a PG movie. So
it's just just gonna be frustrating for everybody involved. Yeah. Yeah, Well,
I think about some of the movies I grew up
(30:58):
watching that we're PG or sometimes G rated films that
in retrospect, I would say, the only reason you can
get away with that rating is only because the subject
matter might have gone over the heads of the kids
who saw it. So here's an example, the movie musical
version of Greece. I'm sure it's just p G, but
(31:18):
if you really are paying attention to that movie, there's
subject matter in there that is like heavy stuff, um,
but the way it's treated as very light and it
goes over the heads of kids. So I guess you
could argue that because kids wouldn't understand the implications of
things like, you know, the pressures of premarital sex and
(31:40):
potential unplanned pregnancies and discussions about what to do in
the event of a pregnancy, and and there's like suggestions
of especially for Greece to there's suggestions of like date
rape and stuff like. It's dark stuff when you really
think about it. But because the way it's presented and
the a that kids absorbing information, it might mean that
(32:04):
that stuff just totally is a whiff, you know, for
the kids, And so why not call it p G.
I guess it also points to cultural issues, right, like
the fact that back when Greece two came out, uh,
it was a far less aware and sophisticated culture and
things like date rape. We're not treated with the level
(32:26):
of seriousness that they absolutely should be treated, and so
it's just a you could argue it was a different
world as well. Yeah, yeah, you know, I think this
has been a really fantastic conversation. I think we could
talk about it for hours more with different examples. For instance,
I'm pretty sure I watched Barbara Ella as a child
and did not realize until I was an adult how
(32:48):
unchild friendly that was that that that opens with a
nude woman floating in space. Yes, yes, so, like I
don't know, maybe it's just my my imagination playing tricks
on me, but you know, obviously it all went over
my head. If that's actually a thing I did and
not just something I've made up into my imagination. That
also makes me wonder like, should there eventually be a
(33:11):
way of re examining films and re rating them, like
rating them again in the in the context of the
modern sensibilities, because you could argue that what was PG
for one era isn't really PG for another, and should
that be something that we look at. Honestly, I don't know.
(33:34):
It's it's a very complicated thing. I can see the
pros and cons of both sides. Part of me says,
just leave it alone, But another part of me says,
but let's say that I'm a parent and I'm trying
to make a decision about whether or not a piece
of media that was made years ago would be appropriate
for my kid. Um, I mean, I guess the thing
to do is to just watch it on your own
(33:55):
and make that decision. But like, I don't know, it's
it's complicated with older movies, even with new movies. But
new movie is hard because you want to avoid spoilers.
But there are other rating systems that will tell you
how much sexual activity, how much drug us, how much violence,
how much language there is in any given movie, and
even up to topics, so that you can make more
(34:17):
itemized decision for your children. Um. I'm sure if you're
a parent you already know that, But I would say
that would be the way to go in the future,
exception of the fact that for a lot of like
scarier movies or suspense or mysteries, that's going to ruin
a lot of the plot. So yeah, it's stick. It is. Uh.
I'm glad we had this discussion and we're going to
(34:39):
take another break an aerial what's happening when we come back,
which which relates, by the way, both to our first
discussion and the one we just had. Yeah, we're gonna
cross over some Deadpool raded are with some Paddington, which
I was surprised to find out was actually p G,
not G. Well you're gonna do Paddington, I'm doing Yeah,
(35:01):
with a children's story. We'll be right back. Okay, so
(35:22):
we're back and uh, like I said, we're going to
mash up Deadpool with some children's beloved stories. And I
picked Paddington Bear, which is a story about a bear
who travels from darkness Perue to London and is adopted
by a family at the Paddington train station, um and
about his adventures in London and his eating marmalade sandwiches.
It's it's lovely, it's endearing. Uh. They made a movie
(35:46):
about it in two thousand fourteen, and then a second
movie about it later on, both of which got really
great reviews by children and adults, like I feel like
and I watched the second movie before the first. I
feel like that a really good job of balance comedy
with a story and making accessible and enjoyable by everyone. Uh.
(36:08):
I found out after picking this mash up because Paddington
a few weeks ago lost its Fresh rating due to
one reviewer that apparently both Deadpool and Paddington got nominated
for a People's Choice Award and had a social media
a war. H it was adorable, you know, Deadpool being
(36:31):
very unfamily friendly and Paddington giving hard stairs. So I
didn't know that when I wrote this mash up. But
here goes. This is called Paddington Pool. You all know
the story of Paddington Bear, You know, the one where
he stows away on a cargo ship from Darkest Crew
to London, is taken in by the Brown family who
found him at Paddington Station and named him after the
(36:53):
same you do, because I just told you about it.
You might even remember that in the two thousand fourteen
documentary about his life, he fought a taxid or miss
named Millicent Clyde, who snuck into his home attempting to
kidnap and stuff him. And during that fight he started
a kitchen fire. But what you don't know is that
the documentary didn't tell the whole truth. A bunch of
marmalade and taco seasoning ignited in that kinship fire, and
(37:15):
it burnt the top of Paddington's head and knocked him unconscious.
That enabled Millicent to capture him and bring her back
to her studio to do her dark work. She stuffed
and mounted him to put him in the Natural History Museum.
The following day, I know this is really dark. Jonathan's
making faces at me, and she thought that was that.
But after she went home that night, something remarkable happened.
(37:37):
Haddington Bear regenerated with a vengeance and a hankering for
marmalade Jimmy Chonga's. Now he was this weird abomination of
real and stuffed bear with that scarred head from the
kitchen fire. He stepped off his pedestal, did a hard
stare into a mirror at his scarred head, and then
looked out into space, as if addressing an unseen audience,
(37:58):
and said, well, at least I'm not animated or green.
Then he grabbed his prize hat off a nearby table,
used some taxidermy shears to cut out some eye holes
from the back brim, and pulled it over his face.
Then he once again turned to the invisible audience and said,
close your eyes, kids, Patty's going to exact some vengeance
and off, He set to find Millicent and make her pay,
(38:19):
stopping only at a Mexican food cart for a snack
along the way. When Paddington got to Millicent's house, he
chased her to the roof. Once he had her cornered
on the edge of the roof, he pulled out the
marmalade chimmy chonga that he had grabbed at the food
cart from under his hat mask, because all good bears
keep a marmalade sandwich under their hat mask, and yes,
and chimmy chonga is a sandwich. I will fight you
on this, and he threw it at Millicent, knocking her
(38:41):
off the roof, but as she fell, she grabbed Paddington's
arm and it ripped off his body. Paddington's shouted an
expletive that is not suitable for documentary nor children's entertainment,
and then looked off the roof to see that Millicent
had fallen, unconscious but alive, into some shrubs below. Paddington
went into her home and called the cops on her,
turning once again into the invisible audience to say, what
(39:01):
did you think would have happened? I'm a bear, not
a criminal, before going outside to grab his arm back
from the unconscious melicine and limping home to crawl into bed.
The next morning, when Paddington awoke, he realized that his
arm had restitched itself to his body good as new.
His head was still scarred, though, so he put on
his hat to hide it and went down to meet
the Browns for breakfast, and they were none the wiser.
(39:22):
Ever since that day, Paddington has lived his sweet family
life during the day and gone out to fight crime
as a snarky mouthed mirk with the marmalade at night,
hunting down criminals, ne'er do wells, and nosy neighbors with
great success, telling the Browns that he was going to
visit his aunt Lucy so they wouldn't catch on until
last week, when he disappeared along with half of London's
(39:43):
orange preserves and flower tortillas. It's rumored in underground circles
that he has traveled to Peru to hunt down the
deadly Tea ray, the most feared of all dinosaurs that
lives in the Peruvian jungle, and killed his family, the
whole reason he traveled to London in the first place. Wow,
I should have warned that maybe that was it family friendly,
But this whole episode is not family friendly. I um so,
(40:06):
I don't know if you listeners will hear it, because
tari is an amazing producer. But Ariel actually had to
stop and do a second take of part of that
because I was laughing too hard. Oh no, I didn't
mind you laughing. I distracted myself and stumbled over the words. Then,
but that the mark with marmalade just totally took me
(40:29):
by surprise and I lost it as a fantastic joke,
really well done, way darker than I anticipated, and super
dark compared to mine. Yeah, so mine is Deadpool and
Muppet Babies, and just as a backdrop for people who
aren't familiar, although you might be because there's a new
(40:50):
Muppet Babies series that's going now on on like Disney
Junior and stuff. Ariel's making faces. Does that mean that
you don't you don't approve of the reboot Muppet Babies.
It's fine, I just don't like it, that's fair. So
Muppet Babies started out kind of as a joint thing
because Muppets Take Manhattan, the third of the original Muppet films,
(41:14):
came out in n four and had a fantasy sequence. Uh,
the Muppets as Babies all singing music together. And then
there was an animated series that came out that same
year that featured the adventures of the Muppets as Babies.
That one ran from. Then in two thousand eighteen, we
got the computer animated reboot of Muppet Babies that runs
(41:38):
on like Disney Channel and Disney Jr. I'm mostly focusing,
in fact, I'm really focusing on the nineteen eight four
version because that was the one that was out when
I was a kid. So this one's just called Baby Deadpool,
and uh, here we go. It's let's get started. Nanny
has a problem. She's in charge of looking after a
(42:00):
group of curious, inventive, and mischievous babies. They include Kermit
the Frog, Miss Piggy, Bozzy Bear, Animal Scooter, Skeeter, Ralph
the Dog, and Gonzo. And now there's a new baby
joining the group, Little Baby Deadpool with his cute little
baby toy katanas and baby bubble handguns. Baby Deadpool fits
(42:25):
right in Mike Baby Gonzo. He has a habit of
breaking the fourth wall, and Deadpool and Gonzo become best pals.
But Baby Deadpool does tend to get on Kermit's nerves,
as Deadpool finds that winding up Baby Kermit to be
one of the most satisfying forms of entertainment there is.
Baby Deadpool also points out repeatedly that they are all
(42:47):
subject to the Great Mouse, which confuses the other babies,
and then he says, well, see, through a series of
acquisitions and mergers, the Walt Disney Company came into possession
of both of Jim Henson Productions and Marvel Comics, not
to mentioned twenty one Century Fox, and so we all
serve the same rodent overlord. Then he spikes the camera
(43:07):
as will we all. They're coming for you too, I
mean you, audience, you watching this, Disney is coming for
you too. If they don't own you already, and let's
face it, they probably do. Then he winks that was weird,
says Miss Piggy. When Nanny leaves the room, the group
(43:28):
decides that it's time to play pretend. Baby Deadpool suggests
that they all pretend to break into a top secret
laboratory in Canada, a facility called Weapon X run by
the Nefarious Department k. Baby Deadpool reveals that that's where
he's from. Fozzy is to take on the role of
a secret experiment known as bear Verine, whom the others
(43:51):
must help escape the dangerous facility. Kermit is Gambit because
the names are similar. Miss Piggy is Rogue, School is Cyclops,
Skeeter is Dazzler, Ralph is Beast, Gonzo is Nightcrawler, and
Baby Buns and Honeydew visits and becomes Professor X, giving
instructions to the group. Beaker is I don't know, Banshee,
(44:15):
but honey Dew and Beakers stay behind, so they don't
really like factor into the rest of the story. We
see the fantasy play out, with Miss Piggy taking up
way too much time showing off her winter outfit designed
specifically to navigate through the frozen North, and the team
makes their way to this remote facility in Canada, staring
at it from far away and taking note of their defenses.
(44:36):
Among those defenses is a big furry guy played by
Baby Sweet UM's who they recognize as saber Tooth. Baby
Dead Pull takes the lead and brings the other muppets
down to confront saber Tooth, challenging him to a game
of freeze tag, and they play with saber Tooth getting
really frustrated because Gonzo Nightcrawler just keeps teleporting out of
the way at the last second, and Gonzo and Dead
(44:58):
Bull managed to trick saber Tooth into running out onto
the surface of a frozen lake and the ice cracks
under his weight and he splashes down becomes a giant
ice cube, and the heroes continue on into the facility.
The muppets use their amazing powers to bypass security and
trick guards into playing games like hop Scotch and checkers.
Everybody gets a moment. Current Slash Gambit causes a door
(45:21):
knob to blow up so they could get through a
locked door. Scooter Slash Cyclops blasts a snowman just outside
the facility that turns out to be a security camp.
Skeeter Slash Dazzler distract some guards with a pretty light display.
Ralph Slash Beast climbs up on the ceiling and drops
a piano on a robot sentry, and this piggy goes
(45:41):
rogue all over a group of no fewer than fifteen guards,
reducing them to a pile of broken bones and sobbing bodies.
Baby Deadpool is really impressed. They continue to search for
Bear Verene when they encounter Baby Sam Eagle, who introduces
a himself as Lex Luthor. Sam says, Kermit, that's the
(46:04):
wrong comic book company. Yeah, even Disney won't be able
to clear this, says Ms. Piggy. Hey guys, says Gonzo,
looking at a newspaper vending machine that for some reason
is in the middle of the Weapon X facility, says
here Disney just bought Warner Brothers. Huh, says Baby Deadpool.
Welcome to the family, and then he blasts Sam the
(46:24):
Eagle with his bubble handguns, which appears to do the
trick and clears the way. They make their way into
the core of Weapon X and discover something incredible. Bear
Verine isn't a captive. He is the captor. He's not
being held against his will at all. Instead, he's making
the rest of the facility listen to his quote unquote
(46:44):
tight forty five minute stand up act, which might be
the most tortuous thing anyone has ever experienced. Realizing that
their rescue attempt is now a humanitarian mission, the team
managed to kidnap Bear Verine and get him out of
the stility, much to the relief of the other residents.
Of Weapon X. They all head back home to form
(47:05):
a cohesive team called the Ex Babies. The Deadpool decides
he's not really ready to commit to a team full time,
and that's when Nanny comes back in and explains it's
time for Baby Deadpool to head home. The end, that
was lovely. It did get do get a little dark
at one point. I mean, miss Piggy is a force
of dangerous reckoning always always. That was delightful. Yeah, I had.
(47:32):
I had a lot of fun with that, and I
honestly so, I wrote this before I actually looked at
all the different stories in our lineup, so I didn't
even see the one the Marvel d C crossover. So again,
just an amazing coincidence that I wrote a joke about
a Marvel d C crossover. You're just that brilliant, Jonathan,
I'm just that predictable. Well that's our mash up approach
(47:54):
to merging Deadpool with a work of a media that's
intended for children. Um, if you have your own versions,
we would love to hear them. You can always email
us the email addresses l n C at I heart
media dot com, or you can get in touch with
us on the social media's over on Twitter. We are
(48:15):
ll n c Underscore podcast on Facebook and Instagram. Were
Large Nerdron Collider, and of course we have our website,
Large nerdron collider dot com. That's where you can find
show notes and links to the stories we cover. Sometimes
we even include links to stories that we didn't get
a chance to cover. Yeah, we might do that this
week because we were going to talk about more stuff,
but we're just very long winded. If you send us
(48:37):
a mash up and we like it, we'll even read
it on an episode. Also, please make sure to tell
your friends if you like us, make sure to rate
and review us. Uh, you know, word of mouth is
how we grow our geeky family and man, do we
love you? Yes, we do. And until next time, I
am Jonathan deadpul Strickland and I am Ariel Marmally casting
(49:10):
m h m hm m m m m m. The
Large nurdern Collider is production of I Heart Radio and
was created by Ariel cast In. Jonathan Strickland is the
(49:32):
executive producer. This show is produced, edited and published by
Tory Harrison. For more podcasts on my heart Radio, visit
the i Heart Radio app Apple Podcasts or wherever you
listen to your favorite shows.
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