"Superman II" Review & Donner Cut Comparison

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
You were listening to DC on screen.

Speaker 2 (00:03):
Oh, welcome into DC on Screen. I'm David C. Robertson.
This is Jason goss Hey, And as promised, we are
talking about Superman two in our countdown to Superman twenty
twenty five. I guess what I'm calling it, James Gunn's Superman,
and I do want to kind of apologize and also

(00:25):
kind of just let you know as an audience. I
did say we were just going to be talking about
Superman to the theatrical cut, but after watching it, I
had too many questions because you could tell you could
see the seams so much. I did a little bit
of a deep dive it. Basically like, I just find

(00:46):
that I'm not gonna be able to talk about this
movie without talking about the Donner cut right right. Betrayed
us is another way of saying that. But I understand, Oh,
I betrayed you because I'm in my mind I'm gonna
do you in doble fucking favor.

Speaker 1 (01:01):
I actually do think it. Yeah, it was seemed like
you broke the agreement to just ignore it entirely, but
you did all the homework for me.

Speaker 2 (01:07):
Yeah, I love it, like you like to be clear,
The Donner Cut is not a movie. The Donner Cut
is a novelty full of weird choices that ignore the
previous movie, that go back to his original script before
the South Kinds made him change the first movie right
and ends in a way that doesn't make any sense

(01:29):
for his movie, for his cut of Superman two, like
but we'll talk about it, and uh, I'm gonna save
some of you some time, I imagine.

Speaker 1 (01:40):
Or you know, revive curiosity.

Speaker 2 (01:42):
I mean, you know, legitimately, some of his his scenes
are better, a lot of his most of his scenes
are better. He just doesn't stick the landing. He just
fucks it. It's weird, Like as a cohesive movie, I
think the Lester version, the theatrical version, is a better movie,
which is shocking because look, I said I think in

(02:06):
the last in the Superman in the movie review that
I think I might like Superman two better. Lord knows
Chris Reep likes this version better or likes this movie
better than the first one. But going back and looking
at it now, I don't know what I was thinking.
Like this is right out of the gate, more galactic
LSD trip.

Speaker 1 (02:25):
It's a lot, it's a lot right out of the front.

Speaker 2 (02:27):
It looks weirdly cheaper, like really bad cheaper on Krypton,
and we get to see that it was Zod and
company did kind of to get in prisoned, which not initially,
but they like kind of broke out or something I guess,
and then just kind of like snapped a guard's neck
and stood really close together while they while Zod very
sassily snapped a crystal in half, right, and they're standing

(02:51):
really close together so that it'll make it easier for
the hula hoops to capture them. Like it looks bad.
I was embarrassed for them.

Speaker 1 (02:59):
Yeah, And it is clearly a.

Speaker 2 (03:00):
Very different version from the original, like different inflections. There's
no Jerrell like stuff that Darrell had said to them
was like done by someone else, and it's just it's
not the same shot that opened Superman the movie.

Speaker 1 (03:15):
Yeah, I mean, yeah, it was a shocking way to
start some of those things that last time. We were like,
oh man, the choices or I just kept thinking, God,
choices were made. They just hit you right in the
face with some of the same choices. Again.

Speaker 2 (03:30):
Well, okay, so this is what was going on. Richard
Donner was shooting Superman the movie and Superman two at
the same time, but it was over budget and the
Salkins wanted him to stop all production of Superman two
and focus on Superman the movie, And then they didn't
like how he planned to end Superman the movie, which

(03:50):
was to have Superman aim one of Lex's missiles in
outer space. The missile hits the Phantom Zone criminals and
releases them. So Superman the movie was supposed to end
on a cliffhanger of the Crypto criminals showing up, and
the Salkinds were like, no, don't end it on a cliffhanger,
and they forced him to end it with his original
Superman two ending, like Lois was supposed to die in

(04:11):
the Fortress of Solid Who at the end of Superman two,
and he was supposed to like freak out and go
back at time, do the flying around the Earth thing
reverse time, which is still stupid, still stupid idea, none
of that, but he was gonna undo all the trouble
they like criminals or Krypton criminals did as well as

(04:32):
Lois knowing his secret identity, which also like in the
Daughter Cut, he does that again. And there are some
especially interesting choices. I'll get to on that one.

Speaker 1 (04:43):
But.

Speaker 2 (04:44):
Richard Lester needed to shoot like seventy to eighty percent
of the film to get a director's credit. I don't
remember what it was back then. I've seen a.

Speaker 1 (04:50):
Couple of different seventies. What I've seen, i've seen.

Speaker 2 (04:52):
Seventy repeated, But then I've seen a few sources say eighty.
They couldn't get Brando back again, or they didn't want
to because brand dough sued them in between and got
a bunch of back end off of Superman one and
two apparently right, so they scrubbed Brando from the film,
brought in Superman's mom, she was not the original plan,

(05:14):
and then we get just so much fucking recap, like
as the credits roll.

Speaker 1 (05:18):
That was a huge, huge letdown for me.

Speaker 2 (05:21):
Like my wife was like, this looks like the opening
of a damn TV show. Okay, yeah, like the opening credits.

Speaker 1 (05:27):
Yeah, I mean to that end. That first, like the
big logo burst, the very first one is the first
spot where I was like, oh, that actually looks good,
and then pretty much everything around it awful. As far
as the CGI it goes, it was just terrible, Like
the overlaid scenes where they were walking around the Fortress
up first before the huloops. M hmm like that. Yeah,

(05:50):
that's rough. The recap was, Oh.

Speaker 2 (05:52):
You mean you mean like when they're walking around on Krypton.

Speaker 1 (05:54):
Yeah, yeah, yeah, just that little that little interesting. Yeah.
I did love the like Zodusist and like U or
whatever and like our said that you're just like a
neighbler and then it's like non, You're just you're too dumb.
We gotta kill you. Yeah, and then he seems to
look off at the camera like huh yeah, it's it's
a good indicator of what you're in for. I think

(06:16):
that off camera.

Speaker 2 (06:18):
No, yeah, man uh And by the way, I'm not
planning to just shit all over this movie. They're definitely
things I like about the movie, but I'm not gonna lie.
It was rough. It was rough going.

Speaker 1 (06:28):
Back for it. Yeah. Yeah, I thought i'd enjoy it.
I thought I enjoyed the entire series more than a half,
but it's just been kind of rough to get through. Yeah,
like it's yeah, yeah, we'll get into some of that.
It's I'm gonna point out everything I saw that I
enjoyed as a as it came up. Yeah, but yeah,
so this is hard to hard to.

Speaker 2 (06:48):
Walk straight away. I'm noticing, like the cinematography looks so
much worse and doing trivia, looking up the trivia, Richard
Lester just fired the guy. He fired the cinematographer. And
it was like I don't like this. Yeah, kind of
like this like epic sweeping thing. This like really he's like,
I want to make it, bring it back to comic books.
Yeah the fuck. So, Like what's funny is when you

(07:11):
look at the Donner cut, there are tons of these
scenes that Donner shot, and Donner shot way better. They
look pretty, they look good, and Lester just like reshot
him because one he needed a seventy percent, but also
he wanted to make it look shittier because he wanted
to bring it make it more two dimensional.

Speaker 1 (07:30):
Comic books just cheaper in general.

Speaker 2 (07:32):
Stupid, Yeah, just stupid. And it you know, it costs
the Salkons money to reshoot that shit.

Speaker 1 (07:37):
Yeah, yeah, I don't understand. They seem to be worried
about money only in portions of what they were doing.

Speaker 2 (07:43):
Yeah, And there was a point, there was a point
where and it said in the trivia that I found
that at some point the sal Kinds reached out to
Donner and said, hey, how about we do a co
directorship and Donner said no. Apparently Daughter also wanted to
get rid of one of their producers or whatever, Pierre

(08:06):
or Spangler is that his name, and we had to
look that up and they were like, no, we're not
doing that, like he's our boy. And he was also
always on daughter about you know, cutting the cutting the cost,
cutting the cost, you know, cut the cost. Son of
a bitch.

Speaker 1 (08:18):
Yeah, he had his own bone to pick about a
way he wanted to do the story a little bit,
and then he was just yeah, pulling plugs and you know,
while they were trying to shoot stuff kind of it
just a real conflict out there and he won.

Speaker 2 (08:31):
Yeah. So it's eight and a half minutes before we
get into the movie proper, and we start off at
the Daily Planet. We get this weird bit, like this
questionable choice because the entire movie is predicated on the pod,
on the idea that Clark Kent is entirely in love
with Lois Lane. But we have this We open with
this bit where Clark walks into the Daily Planet and like,

(08:53):
does this little Barney's open? He does this little Barney
five smirt. It's like hitting on this woman named Alice
and complimenting her else so she ignores him and then
he like walks away dejected. Yeah what was that about, dude? Yeah?

Speaker 1 (09:06):
Yeah, he just I don't know.

Speaker 2 (09:07):
It's eighties, hardly, very barely.

Speaker 1 (09:12):
Yeah, just yeah. I don't understand why that was an
opener that seemed like a choice on THEE.

Speaker 2 (09:20):
Now I did, I would pull.

Speaker 1 (09:22):
So I guess it's to show that he's gotten a
little bit, you know, know, I was gonna say a
little bit more comfortable in the office. But I don't
think that's gonna help you. No, he does the same
thing in the next scene.

Speaker 2 (09:30):
Yeah, I did really enjoy the uh. As Clark is
hearing Perry explained what the terrorists are doing, Clark says,
that's terrible, right right. Perry goes, that's why they call
them terrorist Kent right. That made me laugh and a
bit where Perry is like, well, so I get an
interview with the hydrogen bomb titled what makes Me tick? Dude?

(09:53):
I laughed, Dude, that got me and my wife. We
were both laughing about that one. But you know, then
we get to Paris, which, by the.

Speaker 1 (10:01):
Way, I read it more when you were doing it
because in the in the scene it's hard, there's a
lot of there's a there's a lot of a lot
of My complaints are going to be very much that, like,
this is not a Superman powers. I don't know what
this dude is, but he's not Superman and neither these
aren't Kryptonians. And oh the hearing selective and it's weird.
I just there's parts of this I couldn't get over,

(10:23):
like why can you hear? Why can you only hear
shit when you need when you're when you're really hard
thinking about it? And then later he's like, well, I
can kind of hear it, just isn't It's difficult to
get my head around knowing that that's something that's so
important for.

Speaker 2 (10:35):
Well, Yeah, there are a lot of weird inconsistencies with
the powers.

Speaker 1 (10:39):
Some of that say just made up, like they went
crazier than silver ad shit.

Speaker 2 (10:44):
Man, Okay, let me just say this in defense of this,
and I don't like it. But the year is nineteen eighty.
The movie released in nineteen eighty in Europe eighty one
in the US. Officially, I believe they're still in the
Silver Rage.

Speaker 1 (11:04):
Yeah, but that's not gonna really I don't think it's
gonna help be adding powers source material.

Speaker 2 (11:08):
Man, if they're in the if they're in the comics, there,
you know, Superman is opening a vagina on his hand
and little versions of himself are flying out, and they're
just adding powers willy nilly to suit the plot. I mean,
that's exactly what they're doing here.

Speaker 1 (11:22):
Yeah, in a way, I can give you that, And
in another way it's I don't know that.

Speaker 2 (11:27):
I'm literally pushing glass and going source material.

Speaker 1 (11:31):
Yeah, I don't know if that's going to cover enough
ground based on what people would have known about Superman,
because it's gonna be the Big Three, you know, leap tall,
blah blah blahh faster, catch a bullet like yeah, he's
he catches a bullet in here, but no one, no one.
And also, like the movie had a couple of periods
of shooting, so I mean it had like a like

(11:51):
this kind of break between the stuff. They cut him
off in the middle of the night kind of thing, right,
would you know, stop shooting this and get back to
it and then.

Speaker 2 (11:58):
Yeah, later Kryptonians now have Uh I can't say I
had if I have a word in my head that
I made up. Uh Philangil cansis.

Speaker 1 (12:14):
That's yeah.

Speaker 2 (12:14):
They have teles up the finger like they point a
finger and they can tractor beam things, bring things towards them.

Speaker 1 (12:21):
I have a note that says no eyeball levitation, God damn.

Speaker 2 (12:23):
It, yeh yeh hologram teleportation.

Speaker 1 (12:27):
Holograham where I had this, uh the Superman field thing.
Uh yeah, pointy Finger battle is a whole the whole
pointy finger battle. Yeah, which teleportation and heligram holograms some
combination of those.

Speaker 2 (12:38):
I don't The Pointy Finger Battle made me think is like,
this is the Kryptonian version of that? Oh god, what
was that was? It? Was it called Vice Principles whatever
it was with Walton Walton Goggins and U and uh
Danny McBride where they're just snapping at each other and going,
shoot your shot with the fucker.

Speaker 1 (12:58):
I haven't seen that. Sounds good.

Speaker 2 (13:00):
They're just snapping in each other's faces and.

Speaker 1 (13:03):
Yeah, come out. Yeah, they'd be perfect for that.

Speaker 2 (13:05):
It'd be amazing, Yes, terrible, terrible, uh weird, Kryptonian exclusive
to Superman two Kryptonian powers, right.

Speaker 1 (13:17):
And none of and all of that is I didn't
say memory kiss that that's the the Chef's Kiss of
the List of Ridiculous Powers.

Speaker 2 (13:25):
No, actually, I think there's very off putting. There is
a version of that in the comic and the old
Sip possibly.

Speaker 1 (13:31):
I know, I know there's a paragraph a paragraph of
stuff that you can do if you just go through
the comics. I know it's a surd Oh yeah, I'm
I'm willing to hand you that. Yeah, let's say all
of the stuff I just saw is somewhere in the comics.
I still don't want it.

Speaker 2 (13:46):
Yeah, no, I don't either.

Speaker 1 (13:47):
It's still a terrible I don't either.

Speaker 2 (13:49):
So this opening scene where he's talking to Perry and
then like the whole thing in Paris, that shit's not
in the Donner cut at all, Like it opens at
the Daily Planet, but uh, you know the the the
oh god, the bit where she jumps over the railing
into the water. She does that. She jumps out of
a window in the Daily Planet cause she's like looking

(14:11):
at the fucking newspaper. She he's a picture of Superman
and she like draws the little glasses on him and
like keeps looking at Clark and then she realizes, oh,
that's who it is. So then she's like Hey, Clark,
you know, I don't think you're gonna let me die?
Will You're Superman? She jumps out of the fucking window,
and Clark runs downstairs and like looks up and blows
wind up at her, so she slows down, and he

(14:32):
uses his eebeams to like open up the little one
of those little like awnings off, yeah, and catches her,
and then she bounces into like a fruit stand or
some shit, and then he like rushes back upstairs, and
he's like, even though in the Donner card they don't
have the footage for him to be like up at
the window yelling at her and going, hellos are you okay,

(14:53):
so like they got a stand in to stand up
there and pretend to be Clark. It looks rough, dude,
it looks so bad.

Speaker 1 (14:59):
But that's that's And so did we get Niagara Falls instead?

Speaker 2 (15:02):
I guess, well they still went to Niagara Falls. And yeah,
she just didn't jump over the railing.

Speaker 1 (15:08):
Okay, Yeah, a lot of the railing is odd. But
he doesn't look well. I don't know if it does
look particularly the stuff inside of the Honeymoon looks not
even sweet. I guess I would say it.

Speaker 2 (15:19):
Looks better but yeah, all that all that was Donner.

Speaker 1 (15:23):
That is one sleazy ass fucking bell boy. Yeah, I
want him to go away all the way.

Speaker 2 (15:30):
Yeah. I was just like, yeah, he reminded me that
they had like a similar bell hop and I'm wondering
now if they did that on purpose on the Simpsons
to be like Superman too, where he takes Homer in
Marge to the Maybe it wasn't Homer in March. Maybe
it was Homer and that lady who he was afraid
of having an affair with, but anyway, I can't remember.
But anyway, it's like he looks like that dude and

(15:50):
he's going, just in case you won a little wong, Yeah,
something like that. Uh, Eli Hernanda's Eli Hernandez will know
that fucker knows the Simpsons MANU Patreon U our Patreon subscriber,

(16:10):
Eli Hernandez.

Speaker 1 (16:12):
I like, I like knowing that. One day, if I
feel like it, I can get obsessed with the Simpsons
and there's gonna be just so much months, months of
years as I can do with that.

Speaker 2 (16:20):
Yeah. So yeah, all all of all of this Paris
ship was not was not in the Donner cut. And
it's terrible here.

Speaker 1 (16:32):
Because I kind I vaguely like the leader, he's a
bit enigmatic.

Speaker 2 (16:36):
Yeah, but you know, as presented, we have Perry saying, oh,
motherfucker's got a terrorist. The terrorists they got a hydrogen
bram and they're gonna blow it up. And Clark is like, oh,
it's terrible, and he said, yeah, sint Lois, she's gonna
get an interview with the hydroen bomb called what makes
Me Tick? Okay, funny line. But then we get to Paris.
We show Paris and Lois over here's somebody talking about

(16:58):
a hydrogen bomb and she was like a hundreton bomb? What?

Speaker 1 (17:02):
Yeah, so fucking weird, so weird, Like that was so
weird that for a second, I mean I really thought
we were just going off the rails early, Like she
pulls out the language book for a second, and I
genuinely thought that she was about to linguige, like just
I don't I don't know why they I don't know
why they were about to show that. And then she
sort of lets him have it and sneaks off a
little bit. Okay, that's a little bit. Low's lady.

Speaker 2 (17:21):
She's got yeah, but she's got the language book. But
everybody in Paris is speaking fucking English.

Speaker 1 (17:28):
That's also true. Yeah, except the one guard that she
approached there, like.

Speaker 2 (17:30):
What are you trying to decipher? Yeah, I mean the
cops were unless Lois needed to hear them. The cops
did talking to speaking French, which was weird because the
terrorists talking about themselves were all speaking like this awful English,
broken French accent. Like, yeah, but we most unbelievable think

(17:56):
about all of this, and maybe even the whole movie
is chain smoking Loas walking up all those stairs at
the Eiffel Tower not being winded.

Speaker 1 (18:03):
Oh god, Yeah, that's rough to watch. That's another just
serious believability stretch. Now to this point in the movie,
I've seen three things right then, by that point where
I said the title credits for its time, the scene
where he changes into the Superman in the alley not bad,
not bad. Yeah, I really like the effect they used

(18:25):
there actually, and honestly, the elevator rescue not bad, not
bad at all. Thought, the him coming up below it
grabbing it, that looked way better than the rest of
the movie to me. It is immediately parried by the
explosion and the weird wire work afterwards. Yeah, of course,
but for a second. It was really rocking there. It's
like it's kind of like the first movie. There are

(18:46):
moments where I'm like, oh, that's what this guy was
good at and and I don't know this one. It's
a combination of that plus money troubles plus some seething
hatred in different portions of the set. So yeah, rough production.

Speaker 2 (19:02):
So do you know why Lois climbed onto the bottom
of that elevator?

Speaker 1 (19:06):
I not really no, She just like, oh, what the plan.

Speaker 2 (19:09):
Was, They're gonna get in the elevator. I can hear
them talking, so let me dangle and go all the
way back.

Speaker 1 (19:14):
That was the whole plan was to just get the
skinny on it.

Speaker 2 (19:16):
But like terrible.

Speaker 1 (19:19):
Yeah, she just lowess is her way right through that.

Speaker 2 (19:21):
One, and it she tells, Superman, how did I get
myself into this? You literally climbed into it? Yeah?

Speaker 1 (19:27):
Yeah, Yeah. There's a lot of the a lot of
stuff like that that could have gone away. Just some
of the floating in space again could have gone.

Speaker 2 (19:38):
The criminals being the criminals seemed like once they got
out of their the prison, the phantom zone, they're already
acting like they know they're strong, like they're like flying
up to the astronauts and being dicks about people being earthlings,
being puny, puny creature.

Speaker 1 (19:55):
Yeah, I don't understand why you are so immediately rude
to these people. You don't know, Yeah, I don't. I
don't know why they sensed that. I don't know why
the move was to just kill him outright. I guess
we're supposed to get a sense of how evil and
callous they are early on, but it just just just
cartoonish here. It's weird.

Speaker 2 (20:13):
Yeah.

Speaker 1 (20:14):
Also, going back, you that the thing where he stops.

Speaker 2 (20:19):
The cab, Oh, that was so dumb.

Speaker 1 (20:21):
What the absolute hap.

Speaker 2 (20:22):
That's a lester, by the way, that's that That's a
total luster, is it?

Speaker 1 (20:25):
Okay? I hate that. I hate every second of that.
She the best reporter in the company, is just staring there,
like staring at it. They get out, he's broken the thing, he's.

Speaker 2 (20:36):
The cab ran into him, destroyed the fender, destroyed the cab.

Speaker 1 (20:40):
No chance of believability to hear whatsoever that I can
get behind.

Speaker 2 (20:43):
And are we like what I mean? If you look
at the rest of the movie where he trips over
the bear skin rug and falls into the flames, and
she He's like I don't know why I did that.
She's like, maybe you wanted to. Maybe your mind didn't,
but your heart wanted to.

Speaker 1 (20:55):
That gave me at least an excuse.

Speaker 2 (20:56):
Maybe that's why he stepped out in front of the
cab because Lois was watching, was hoping she would figure
it out.

Speaker 1 (21:02):
Maybe, but like I could maybe give it that, I
can try it. It's hard the thing that I can't.
It's not so much that it happens, it's that there's
no reaction around it happened, right, There's no way this
cabby just goes well, that's weird. You just wrecked his.
And I'm not trying to get greedy in real world here.
I'm just saying, even in the presentation you gave me,
there should be some like almost cartoonish yelling in the

(21:24):
streets about my cab, and don't just walk away from
me like some weird you know, kind of New Yorker
kind of pardy shit.

Speaker 2 (21:29):
Yeah, he's just like, hey, you'd have to be Superman.
Wait a minute, yeah Superman.

Speaker 1 (21:34):
Yeah, that would have doed or Lois realizing then instead,
but instead of that, we go in and we do
this kind of kind of oddish orange juic scene where
I think you you described this to me as the
kind of overquirker Oh yes, yes, with the orange juice bit,
and it won't surprise me if we see orange juice
in Rachel's hands later, just some kind of nod like that,
But like there's does he crush his thumb in the

(21:56):
fucking orange juicer?

Speaker 2 (21:57):
That's what That's what it seems like.

Speaker 1 (22:00):
I just I can't guys, y'all don't understand how this works.
And I got I hate to sound like you'll understand
Superman Man. It's just not that this is.

Speaker 2 (22:08):
Not unless he's trying to sell it and being like, oh,
I got myself my thumb in the hun.

Speaker 1 (22:12):
He hides it though that's the thing he does it,
and he kind of like he pretends it to I
think the idea was that he was supposed to be
so strong that he could have done that to his
own finger and it hurt. But like that's not anyone
can do that to the finger and it hurt. There's no,
it's just that there's nothing there. I don't know why
it's there.

Speaker 2 (22:29):
No. Uh. I do want to point out that I
was delighted to see John Ratzenburger back Cliff from uh
cheers the Mailman m he was. He played first Controller
in Superman the movie, and here in Superman two he
plays Controller number one. Those are his official credits. Uh.
I was just happy to see. I'm like, ah, Cliff

(22:51):
got himself. By the way, this is late, late enough
people will be like, well, they didn't know, because oh,
we haven't gotten there. You know, we knew. They knew.
Everybody knew you can't fucking talk on the moon, y'all. Yeah,
everybody knew. They didn't care. They did some stupid shit. Yeah,
and there and by the way, the criminals are on them,
like after they kill everybody and at like, oh these

(23:13):
puny pieces of shit. Uh, then they're sitting there going
huh it turns out we have powers, like I don't understand. Yeah, okay,
so you know, I know you didn't have those powers.
On Krypton. I'll even go out of the way to
say it, like y'all say it. Krypton mm hmm.

Speaker 1 (23:27):
Meets you in the middle of your weird Krypton Krypton.

Speaker 2 (23:29):
The planet Krypton. I do like the planet Houston bit.

Speaker 1 (23:35):
Houstin was good.

Speaker 2 (23:36):
I do really enjoy that.

Speaker 1 (23:37):
I did like that bit I like three aiming actually,
since it starts right there. Uh, my favorite bit in
the entire movie is the uh, the bit where Ursa's
but has been picking up symbols and attaching her them
to her uniform the whole time. Yeah, it's just every
time she runs across anything that looks semi officials grid
to me.

Speaker 2 (23:56):
Yeah, that's fun. That was something. I'm glad you said
that because I I forgot to even put that down anywhere.

Speaker 1 (24:02):
I noticed it late, and there's there's the obvious bit
where she rips it off and kills the guy and
just oh, man, why but then later we have a couple. Yeah,
it just later. There was one shot where I caught it,
and I think by then she's gotten like ten or so.
There's clearly been some offscreen. I don't know, man, it
could be a co manager to Denny's. I don't know
what she was grabbing off people.

Speaker 2 (24:23):
Yeah, she's like Michael Douglas and falling down. Just yeah,
just selecting weapons and things and symbols. Good. Uh, this
was a stupid part that but I still liked it.
Ohis making the bunny the shadow Bunny ears on lex
the police spotlight. I laughed when Lex squeid.

Speaker 1 (24:41):
The squeeze kind of funny. I mean, it's it's a
funny out of scene.

Speaker 2 (24:44):
But I hated myself for laughing at it though.

Speaker 1 (24:49):
Two questions with Lex, Well, in that scene, can you
make can you make a little sense for why? Why
did why did Otis have to go? He says later
that he has to be a ballance, but like, I
don't is there a good reason I missed? He sends
Otis out, which is weird. It's a weirdly blocked scene.
Hey hm hm, and all the way out there. But like,
but they just got a light on him. It's just weird.
It's weird on screen. Yeah, but he like he steps

(25:11):
out and grabs the little thing and then you know,
Jan Hackman walks like fourteen feet over or less than
that over seven feet over. I don't know. I just
I don't know why Otis had had to do that
little beat where he walks out first.

Speaker 2 (25:21):
Oh, he walks out first to detract attention from Lex.
Like there, if anything goes wrong, they're gonna think it's
Otis and then lets can sink back into the shadows
and not be in trouble. Kay I did laugh at
the at the latter bit, I like it as he's
like running past it and it swings, you know, behind him.
He goes back the other way and it swings behind
him again. That was fun. Yeah, that I really loved

(25:45):
and I hate that. I love it Otis stepping on
the rope and just like pulling the entire balloon down
with every I mean, that was just classic physical comedy
and I really liked that one.

Speaker 1 (25:56):
It has some bits that remind me of any griff
at the little I don't know why.

Speaker 2 (26:00):
Uh, I can see that.

Speaker 1 (26:02):
Some of the slapsticky timing a little.

Speaker 2 (26:03):
I can see that. I can see that, hmm.

Speaker 1 (26:07):
Which part way in there was the oh oh the
other way with the other way with lex Is it
is there. I just don't know why he's so sure
he's the world's greatest criminal mind. I'm still not sure
what he's done.

Speaker 2 (26:19):
I don't know because like when he earlier in the movie,
when he and Otis are in the are in the
laundry room or whatever. Otis comes in and informs lex Yeah,
they can't even pick him up on radar. Every time
he every time they try to put it on him, Uh,
he disappears or whatever, and he's like, where's he going?
And he's like north, and he's like, oh north, North, North,

(26:42):
And then five seconds later he's like, oh yeah, the
little black box in my in my quarters or whatever,
my my cell can track alpha waves. Okay, why do
you have to ask Otis what direction he's going in?

Speaker 1 (26:54):
Yeah?

Speaker 2 (26:55):
If you can already track him, yeah, I'm confused. And
this is the thing that happens in both in all,
in all, all, all of these things, like every time,
like Luthor is in a movie, he's saying some shit
that if you're not paying attention, it sounds like, oh, yeah,
motherfucker's smart. But if you're like, if you think about
a half a second, you're like, wait, man, that doesn't

(27:15):
make any sense. If he can contrack the alpha waves,
why does he need Otis to tell him. But then
of course, like after test Mocker gets him and he's
they go to the Fortress of Solitude and he's listening
to to Lara or whatever talk about the Kryptonian criminals.
He's like, oh, it explains the other alpha waves I've
been picking up. All right, Well, maybe you've been picking

(27:37):
up some other alpha waves and you didn't need to
know which way Superman was going, you know which one
was him? I don't know. Yeah, I don't know.

Speaker 1 (27:46):
Without trying to do that thing where you ground the
weird science in the movie, the science within the movie,
hm is is hard to hit. Like, Yeah, his his
plan doesn't completely make sense, and that aside some stuff
that's just super unluthory, like the way he coaches them.
Uh later m hm. He's really off putting for any
kind of luthor. I don't, I don't, I don't love it.

(28:06):
He's just so quickly begging for his life in that
little office. Yeah, it doesn't, it doesn't suit me.

Speaker 2 (28:15):
Okay, but when but but when Superman shows up and
lexicoes Superman, thank god. Yeah, Zod just looks at him
like you worm.

Speaker 1 (28:25):
Yeah I knew. Uh that was that. I had a
note in the in the Oval office that the previous
president gave up faster than the one in Futurama.

Speaker 2 (28:38):
Uh.

Speaker 1 (28:40):
It's bad and weird, weird scene with the president thing
where he like I almost I almost kind of like
the uh the attack on the album office. It actually
looked pretty good.

Speaker 2 (28:50):
It looked all right. And the daughter gut though there's
a version you know when there's this odd shot that
Lester keeps with Zod picking up a machine gun and
looking at it. In the Donner cut, there's like just
this moment where Zod like kind of breaks a little
bit and just starts gleefully mowing fuckers down with this
machine gun.

Speaker 1 (29:07):
Of course, yeah, of course there would be.

Speaker 2 (29:10):
And I'm like, I kind of like it. I kind
of wish it had been kept in.

Speaker 1 (29:14):
You might as well. Yeah, oh, I found another I
had another note about a weird superpower. He can then flamethrowers, Yeah,
by blowing on them. Yeah.

Speaker 2 (29:24):
Yeah, I don't know why he wouldn't use his falangil kinesis.

Speaker 1 (29:27):
But yeah, that seemed easier. It's more at hand. It
would have been one thing I did. Like, there's at
least one line on there where I thought Reeve got
a little bit funnier on this movie.

Speaker 2 (29:39):
Hmmm.

Speaker 1 (29:40):
He does a couple of scenes. I'll find another one
where I think I'd written something else down where he
does the thing where he says like it, oh, it's
in the bed in the honeymoon thing. It's like the
last bit where they cut away and he turns on
the bed and it starts to move. It he does
a really good job with like it's alive. Oh yeah,
it's a love Yeah. I kind of dug that part.
I thought there was somewhere else where he just closed
his seeing really well. It reminded me a little bit

(30:02):
of the old chemistry. The first scene in the first
movie where you meet those two, I thought knocked it
out of the park. It was a wonderful in direction,
this joy. I thought they were charming together, And then
that ended up being the only thing I saw that
looked like that or felt like that this whole time
so far, other than little glimpses like this, like parts
of parts of that initial hotel with a little bit
of the kind of joking in the background on the

(30:23):
side eye are a little bit funny. Yeah, some of
the charm.

Speaker 2 (30:29):
So when we get to Niagara Falls straight away, I
feel like there's another hateful mother beating the fuck out
of her kid. Yeah. Yeah, And that was straight up
Donner like apparently that was like some kind of shit
he was trying to work through or something like. I
don't know, Yeah, I guess maybe it was Tom Mankowitz.

Speaker 1 (30:44):
I don't know, I don't know. Yeah, that's yeah, hopefully
a friend saw that and reached out afterwards, and.

Speaker 2 (30:50):
That kid fell for a long ass time, by the way,
it was.

Speaker 1 (30:53):
Like really did yeah it fall was hard to believe.

Speaker 2 (30:56):
Over thirty seconds. And then like some actual people came
out and have refuted the movie and said, actually, it
takes three to four seconds to hit bottom from that
where he would have fallen. So yeah, fyi. One of
the things that I loved, and I never noticed it
before I watched it this time. A lady yells as
Superman saves the kid and sars flying back up. A

(31:18):
woman yells, what a nice man. Of course he's Jewish.

Speaker 1 (31:21):
Oh gods, that is that is hilarious.

Speaker 2 (31:28):
That's a nice, nice allusion to Zeelin Schuster and yeah,
you know all the Moses slash Messiah, yeah slash uh.
You know, if you consider Krypton the Holocaust and sending
an immigrant here, you know, I would.

Speaker 1 (31:47):
Like that line. I didn't catch you, I didn't catch it. Well,
that line is possibly the smartest line in the script.
I would be happy and nominated.

Speaker 2 (31:58):
But like intermittently getting you know, lex and Testmoker going
like he's like yelling mush at her.

Speaker 1 (32:05):
Yeah, yeah, it's the funniest ship to me.

Speaker 2 (32:09):
It's like she's just like riding like a snowmobile. She's
not running it. He's just like yelling mush mush North
nor that though, And it's not him, it's not him,
it's they did. They brought in out of a person
to do his voice, I guess because they couldn't get
Hackman to come back for the ad R.

Speaker 1 (32:26):
They could not.

Speaker 2 (32:29):
When they get into the dude, I laughed so hard
we rewounded like five times. And I laughed just as
hard every time they get into the Fortress of Solitude,
Lex and test Mocker and she's holding on to his
sleeve and he just like violently rips his fucking arm
away from her.

Speaker 1 (32:44):
Yeah, it's such a dick. Yeah, I didn't understand. That
was cold. That was that was weirdly cold. And also
it did not seem necessary.

Speaker 2 (32:56):
Even back when I was a kid watching the scene,
I was just always like, build a fucking door, Superman. Yeah,
what's got a bunch of damn crystals? And people are
just walking in and going like oh look.

Speaker 1 (33:09):
Yeah, yeah, they like they didn't pull some of the
stuff you really have to pull from me, like the
big giant key, or at least the small one that's
super heavy, whatever your version you want to do. Sure,
like any of these basic security measures, I would have
taken a robot or two.

Speaker 2 (33:24):
Sure. And those things existed in the comics, by the way,
so those were right there, ready and willing.

Speaker 1 (33:31):
Yeah, please use me, use me, daddy. Yeah, but no, no, no,
spread me.

Speaker 2 (33:39):
Like Potter daddy. So anyway, uh oh.

Speaker 1 (33:45):
I did I forgot. There was a bit about that
kid like did you did you hear the kid? Actually,
when he got back up, he says something along lines
like again, I guess, yeah, it's sort of he came like, dude,
that kid is a year later there at that kid's funeral.

Speaker 2 (33:58):
Yeah, and SuperM has like only one ride per customer. Yeah,
m hmm, sorry good.

Speaker 1 (34:05):
Yeah, well he won't be able to hear him famously now.

Speaker 2 (34:08):
And that boy grew up to create Jackass. Yeah that
was Steve O.

Speaker 1 (34:15):
Yeah, I don't know who that was. Rough. There were
just so many little moments like this that you you
can't it's hard to get invested. What was that guy
for even a few minutes?

Speaker 2 (34:24):
Who was that guy? Who who did Jackass?

Speaker 1 (34:27):
That is a name of the one of the piece
of purpose persons that was I remember that was name
Johnny Knoxville, Johnny Knoxville. The other name was the guy,
and the rest of it was someone that if you
name them, I could maybe tell you if it was.

Speaker 2 (34:39):
It was like Doo Doo and donk Man and we Man.

Speaker 1 (34:42):
I don't know, I don't know you would be if
you said that confidently, I would believe that.

Speaker 2 (34:46):
I don't. I don't actually know. I know Steve O and.

Speaker 1 (34:49):
Those the only names I would buck on.

Speaker 2 (34:51):
And I barely got Knoxville out.

Speaker 1 (34:52):
Yeah, I had that one ready. I'd read something recently.

Speaker 2 (34:55):
I love that Lex is like listening to h Lara,
Laura whatever, Superman's mom, which, by the way, in the
Donner cut it is Joerel. They have the footage, but
this the quote is the same. It might this phantom
zone might be cracked by a nuclear explosion in space,
and I'm like, motherfucker, that is specific. Yeah, well He's like, yeah,

(35:18):
oh my god, that's exactly what happened too.

Speaker 1 (35:21):
Yeah, yeah, yeah, I don't. I don't know what the
direction was in this scene that it's hard to it's
hard to it's hard to imagine for me, but I
for some reason loved Hackman's hackling I bought it's hackling.
I don't know what else to call it. He's having
way too much fun with this scene. Yeah, but I
enjoyed the shit out of it. It was one of my
favorite performances of the whole movie. Is this scene with him?

(35:41):
Mm hmm. Parts of it almost seemed improv like he
was just trying to make the crew laugh a little.
I don't know, it seemed warm.

Speaker 2 (35:49):
He brought it, man, he brought it to this characters.
As doofy and ridiculous as his lex Luthor is at times,
I enjoy it almost every moment he's on screen.

Speaker 1 (36:00):
Yeah, I mean, even the thing later with the standoff
you know where where powers get lost and or don't
and yeah, ah that the everything that happens with him
is awkward, weird. I don't know what to do with it.
That The writing is all over the place, But individually
he does great with it. Yeah, if you I'm sure

(36:20):
if you cut all those scenes into what they into
something that made more sense, it would look better. But yeah,
you pull any of his scenes that looked fine.

Speaker 2 (36:26):
Yeah, and of course you know near the certainly the
last the last thing he shot was in the Daily Planet. No,
it was in the White House. That's the last thing
Hackman shot. He was in the Daily Planet later in
the film, but they shot that earlier. But when they
fly him to the Fortress of Solitude, so much of
that as a stunt double.

Speaker 1 (36:47):
Yeah.

Speaker 2 (36:47):
Yeah, it's like a guy in like a face mold
turned away from the camera. It's like a and it's
a you know, voice actor doing a doing a Hackman impersonation,
and you can tell, you can tell he's like sliding
down the eyes with his face not shown, Like I
got it. He's like grumbling like a damn.

Speaker 1 (37:03):
Cartoon character, right, Like he's you know, mid cigar the
whole time. Yeah, what was that Hackman who who slithers
down the wall in the in that meeting In the meeting,
there's like in that man like let's just sort of
like gets in there. But it's like there's this moment
where he seems to drop out of the wall like
a spidery got poisoned. Hm hm As we're watching, if

(37:24):
I catch it again, I'll I'll send you a time.

Speaker 2 (37:27):
Sure, sure, send me a time. At some point so
during I actually prefer Lester's version where Lois jumps over
the railing and almost drowns. I think it works better
than her jumping out of the window of the Daily Planet.
I don't know.

Speaker 1 (37:45):
I think i'd like the spectacle of the one you
described more. I mean this, this is simple. She falls
out at the thing's weird. He doesn't get her, he
pretends later it's it's kind of SIMPLESH Well, it's yeah,
it's been workable. What I like about it, I think
it looks great. But because she's looks like a weird
floating devil.

Speaker 2 (38:02):
Well, I like more about it. Both versions look terrible.
But what I like about it more is that she's
a little closer to figuring out that he's Superman, because
like he does a thing where he takes off his
glasses and she's like looking at him, like the fuck,
and then he like puts it back on. She's like
caw and start. Yeah, it's all starting to like come
together in her head, like really come together, instead of

(38:25):
it happening at the very beginning of the movie. And
then like, oh, well, I guess I was wrong. And
then like he takes off his glasses, and you know,
I don't know, like I feel like because like he
does take off the glasses and the Donner cut and
she like looks at him, but then it cuts to
like them at the hotel, which is completely different now
because Donner didn't have didn't actually have a shot scene,

(38:45):
what he wound up using was a a screen test
of that scene in a different place where.

Speaker 1 (38:53):
You can tell from the from the adr that feels
like it leaps out behind your like, it's man, this
sound is so weird, all this money.

Speaker 2 (39:00):
And in the screen test though, she's talking about how
he's Superman, He's like, no, I'm not. Whatever, why are
you saying that? And she pulls out a gun and
aims at at him and he's like, no, it's no, don't,
please don't. She shoots him and he like, okay, aquiesce,
this takes off the glasses. She's like, and he goes, uh,
you realize, of course, if you've been wrong, Clark Kent

(39:20):
would be dead. And she's like, you know, with a
with a blank she tricked him.

Speaker 1 (39:25):
Yeah.

Speaker 2 (39:26):
I like the scene.

Speaker 1 (39:27):
Yeah, it's it's a it's a well done piece.

Speaker 2 (39:32):
But also I like Clark not pretending that he can't
swim and her going this is this is who I
thought was Superman.

Speaker 1 (39:37):
Yeah, yeah, I mean that wasn't bad.

Speaker 2 (39:41):
Almost.

Speaker 1 (39:41):
I feel like, yeah, coming in like two wet cats,
that scene feels cold. So this this is a lester
though for sure, the whole fall over the rail.

Speaker 2 (39:52):
Thing, Yeah, the fall over the rail is a lester.

Speaker 1 (39:54):
Yeah, okay, I was so, I was wondering, pretty cloar.
I loved this so much. That made the notes and
a positive you know, while we were watching, I'm kind
of let it play in the background. What's your hurry, Superman?
I fell in love with her again in that scene,
and for the moment it was it was just it
was there's moments where her that she's just absolutely off
the screen charming.

Speaker 2 (40:13):
Right, you forget that she's like knee deep in coke.

Speaker 1 (40:16):
Yeah, yeah, you can't. And even this and yeah yeah,
and like you can tell there's kind of a difference
in how both of them look obviously like and it's
like to your difference. His hair fucking bothers me in
this and all the pickup shots. It kills me. Yeah,
everyone gets eight five eighty is a fide in a
way that just m.

Speaker 2 (40:34):
And all the pickup shots, like Zod's hair changes so drastically,
like he's got like a big old bushel of curly
hair on the back. He's got like a like a
straight up fucking mullet in the lester shots and then
I'll cut back to like something with the short hair
and you're like, oh, okay, well.

Speaker 1 (40:50):
Yeah that was a daughter. Yeah. The thing like on
the on the shots and the like and all the
secondary of the second set of shots that you can
tell it's it looks like she's not healthy, but in
a way that she looks better on some days than others,
Like she's she's not having a good time doing that.

Speaker 2 (41:06):
It looks like, well they were all against Leicster.

Speaker 1 (41:10):
Yeah. Yeah, it was about as stressful as it could
be for everyone there. Like, I don't, I don't, I
mean it. It really did remind me a lot of
the you know, twenty seventeen version of events. Mmm, like a.

Speaker 2 (41:24):
Bunch of people didn't come back. Test Maker refused to
come back, Baby didn't refuse to come back, Cac refused
to come back. Yeah. After the first you know, after
that one scene with her in Lex and the Fortress,
she never comes back. Like the next time we see Lex,
he's like, you know, twitching a little white handkerchief at
Zod and Crew in the White House and Eva's a Gowan.

Speaker 1 (41:46):
Yeah, that was a real shame to see, though, I
mean it I said it did have some spots, but
for the most part, I mean, as you're going through it,
I'm kind of cataloging which ones I did like and
didn't like. There have been some stuff in there is
some stuff in here that I think I would have
liked better, or some shots that at least we're good anyway.

Speaker 2 (42:01):
Yeah, I have to talk about this Jason. Okay, he's
fallen over the thing. He's his hand has gone into
the fire. She realizes he's Superman. She tells him, I'm
I'm in love with you, the whole thing, and he says,
I guess we really do need to talk, and then
Clark says, quote, we can't talk here, Perry's gonna be

(42:24):
calling any second. Yeah, what the fuck? That is some
ADHD shit. If I ever heard it, like, I'd be like,
I can't go to the store right now. I have
to go to work at six hours, Like Clark, just
don't answer the phone. You gotta take Lowis to the fortress.
Perry can't contact you there anyway, or do you can't.

Speaker 1 (42:43):
Unplug those things.

Speaker 2 (42:44):
Or do you think they just like that is it is?
And do you think they just hung around awkwardly waiting
for Perry to call to get it out of the way,
and then went.

Speaker 1 (42:52):
To the fortress like yeah, I really need to see that.

Speaker 2 (42:55):
I want to know. Like that was such a strange take, Like, well,
let's not get started on this whole conversation, Terry. Perry's
gonna be calling any second.

Speaker 1 (43:07):
I didn't get that either.

Speaker 2 (43:10):
I mean I got it, but in the exact way
that I described it, Like that's adhd.

Speaker 1 (43:14):
Shit, dude, Oh yeah, yeah.

Speaker 2 (43:16):
And I imagine if you're Superman and you can hear
shit all over the world and you can hear people
crying for you and ever all the gunshots and the
crimes and the accidents and cranes falling from skies and shit,
I imagine your a little LADYHD.

Speaker 1 (43:29):
I mean sure, and a proper late seventies hotel phone
cannot be helping that is that is a loud motherfucker.
But that was rough. Now, I think I liked in
that scene, and I liked it in a way that
I think was probably I can't tell, I might I
might be liking it in a way that smarter than
the scene is. But I love I love that she
starts the like her when when it comes back to her,

(43:50):
she starts with I'm sorry. I he kind of says, like,
I don't know why I did that. They go into
that a little bit. You already kind of pointed out like, hey,
that that was their out. I thought it was one
of out the like maybe you kind of wanted to
with your heart kind of thing. Mm hmm.

Speaker 2 (44:03):
That was before. That's before his parents said, by the way,
if you're gonna fuck a human, Yeah.

Speaker 1 (44:08):
Yeah, that whole, that whole turn is completely bizarre, like
they I mean, it's a that's a god, that's a
that's a whole. That's all set right there. But at
least in the moment, like when she first starts she says,
she starts off with the I'm sorry part. I liked
the idea that she understood the gravity of what had
just happened and felt a little bit like, ooh, sorry, sorry,
we just unpacked that. Like it's it's a lot. I

(44:30):
like the acknowledgement.

Speaker 2 (44:31):
Yeah, uh so, let's let's talk about the criminals, because
that's where we are. In my notes, I really did
do it, like beat for beat, like where the on
my notes? Yep, the criminals show up in a small town, right.
We get a dumb shot of uh non trying to
use his heat vision and not being able to figure
it out. That's all Lester, Oh uh more powers. I

(44:53):
didn't love walking on water.

Speaker 1 (44:56):
I guess you could.

Speaker 2 (44:57):
Yeah, I guess he could, but just kind of fly.

Speaker 1 (45:00):
He didn't even do it that well you can see
the ramp.

Speaker 2 (45:02):
Yeah, and why would he do it? Because he's fucking Kryptonian.
He has no knowledge of Jesus Christ. He had no
knowledge that that was gonna mean Jack ship to the
guy in the boat, the fisherman, you know, yeah, he
just but it's definitely like a oh I will walk
on the surface like he knows exactly what he's doing

(45:23):
and it I yeah.

Speaker 1 (45:26):
It's just it's strange beat and I couldn't tell. Like
the fisherman even does that little bit where he looks
at his glass and throws it away. Oh, just yeah
that I wondered if that was old even then, and
I'm gonna guess yes it was.

Speaker 2 (45:37):
It was. I've seen that bit done on like the fish.

Speaker 1 (45:41):
And Maybury probably Yeah.

Speaker 2 (45:42):
I mean I don't know about I don't think they
had a maybe maybe well, I don't know. I really
need to rewatch. I know I've seen it. It's done
on the Twilight Zone.

Speaker 1 (45:49):
Oh yeah, I'm sure.

Speaker 2 (45:50):
So that predates Maybury, so fuck it.

Speaker 1 (45:52):
But the more confusing powers like yeah, he yeah, she
can do. Why does the snake bite hurt?

Speaker 2 (45:59):
Like he just sense it?

Speaker 1 (46:00):
He just She's like, she just didn't like the aggression.
She didn't like the six vibe.

Speaker 2 (46:05):
Yeah, she didn't. She didn't care for the snakes. Well
she picked it up.

Speaker 1 (46:08):
Yeah, yeah, I thought they were gonna be friends. I
thought I thought that, like she was gonna put her
over her neck and that was gonna be your new body.
And then it bites her on that and for some
reason she gives a damn yeah, because there's just no
Verdon events that I'm willing to accept where she dies yep. Oh,
I'm already talked about like your density and all this
other stuff earlier in the film.

Speaker 2 (46:24):
I just yeah. And by the way, they did straight
up base her on Feora. They just didn't want to
fucking pay the the person who created her. Yeah, anyway,
they had to call her something else.

Speaker 1 (46:34):
Costs were cut.

Speaker 2 (46:38):
So here's a thing. And I yelped when I saw
this ship because I was just like, clearly not and
I had to look it up to make sure that
I was right something. It's something I never noticed when
I was a kid, because I didn't know what I
was looking at. The fucking sheriff. The sheriff in the
police car. That guy was Clifton James, the late American
actor Clifton James m h. And while it's not stay

(47:00):
did what his name is? He is playing a character
named j W. Pepper. Okay in Circles online, there are
those who consider Superman two to be the third part
of the j. W. Pepper trilogy. The character previously appears
in James Bond films Live and Let Die and The
Man with the Golden Gun. All three were written by

(47:20):
Tom Makoitz. The character was created by Tom Mankowitz. Oh,
since me and Bethany are did breaking Bond, we knew
j W. Pepper awful Louisiana racist sheriff who would get
into pus niggertive situations.

Speaker 1 (47:40):
With James Bond. And here he is training new recruits
to be just as contankerous in personality.

Speaker 2 (47:46):
You gotta learn to kick grass if you want to
be a pace maker bond.

Speaker 1 (47:49):
Yeah.

Speaker 2 (47:53):
I was so happy to see him and so sad
to see him. Oh god.

Speaker 1 (48:00):
Uh so it's a cool I mean like it's a
cool beat. Uh it's a cool sneak. I like it
being in there. It adds something. It's it's weird enough.
It's weird that they combined these universes, I guess with
this dude.

Speaker 2 (48:12):
Yeah, I mean there you can there are they both
shot at Pinewood, So there, there's there are pictures of
Chris Reeve hanging out with a clown faced double oh
seven Roger Moore.

Speaker 1 (48:21):
Yeah. And in theory, somewhere out there he's stopping some
British dude while all this it must be happening in
the background.

Speaker 2 (48:27):
Yeah. Uh so, I do love how put out Zode
is with non rolling his eyes and ship. Yeah, he's
also really annoyed with Ursa. He's he's just annoyed with
Ursa doing her stupid ship and not doing his stupid ship.

Speaker 1 (48:43):
Yeah, he is very nonplus with everyone.

Speaker 2 (48:46):
Mm hmm. And then there's a we got this little shot,
this little weird bit where like Lois and Superman have
gone to the fortress and Lois says, I guess I
should be freezing, but I'm not. And I'm like, yeah,
I don't know why you're not, because eve Testmaker was
freezing the whole fucking time. She was shivering in her
giant cot the entire time.

Speaker 1 (49:01):
Yeah, but okay, didn't understand the rope wardrobe choices there
being different.

Speaker 2 (49:06):
Does the heat does the heat only come on with suit?
When it since the Superman isn't here.

Speaker 1 (49:10):
Yeah, that it's early and early Google feature.

Speaker 2 (49:14):
He doesn't have a door, doesn't have a door, but
it's gonna be cold, damn it.

Speaker 1 (49:19):
His natural heat as warms the place when he's there.

Speaker 2 (49:21):
Yeah.

Speaker 1 (49:23):
By the way, you haven't gotten to the Oval office.

Speaker 2 (49:27):
Yet, right, No, not not officially.

Speaker 1 (49:30):
Okay, Okay, I'll wait for that.

Speaker 2 (49:32):
Okay. So we've got like zod he picks up this
guy with just telekinesis his finger tractor beam the finger dangling,
And there's this kid and this kid screams, please put
my daddy down in this weird fucking accent. Yeah, we
had rewinded a couple of times to be like, what
is this accent this kid was doing?

Speaker 1 (49:52):
I think they asked him to make up three at
the same time, and do them all at once.

Speaker 2 (49:56):
I'll tell you this though, I hate that kid in
a stupid accent, him screaming, please put my daddy down. Yeah,
And there's a scene from the television edit is a
deleted scene I desperately wish they had left in and
you can find it in good quality on the internet.
If I ever, I would love to do it an edit,
a fan edit, the perfect, my perfect version of Superman too.

(50:20):
I would edit this back in. You know the bit
where None walks over and like pulls the fucking light,
the police car light, and tries to hand it to Zod,
and Zod's like, you know.

Speaker 1 (50:30):
Fuck off, what's your friend?

Speaker 2 (50:32):
Yeah? Yeah, and then he kind of he kind of
cradles it like a baby for a second.

Speaker 1 (50:36):
So in this scene it would be with him the
rest of the movie. When I saw that, by the way.

Speaker 2 (50:40):
Yeah, so in the scene, the deleted scene, he pulls
the thing off, tries to hand it to zodz Od's like, no,
what are you doing? And then the kid jumps on
a horse and goes taken off, and Zod looks over
and goes I told no one. I told no one
could I could say no one could leave or whatever,
and he goes stop him, and Non takes the light

(51:04):
and throws it at this kid, and way off of
the distance, we see this kid riding and then we
see him explode. Oh wow, and J. W. Pepper looks
really sad and disgusted, and a woman goes he was
only a boy, and ersa smiling says, who'll never become
a man?

Speaker 1 (51:21):
Jesus falls in Christ.

Speaker 2 (51:23):
Fuck. I love it though, I.

Speaker 1 (51:27):
Mean it's it's hell of a country. I mean, just
a couple of scenes earlier you're like almost bored, you
actually like none for a secon when he's trying to
light the thing on fire and he gets all giddy
about oh it made it spark. Yeah, which by is watching,
you're almost like, oh, these are gonna be tight. I
get oh no, no, I guess not.

Speaker 2 (51:44):
Great scene, great scene. I'm like, oh, I understand why
they cut it. It's too jarring for children and probably
most American audiences. But I'm just like, oh, that's some
dope shit, dude, that's some like.

Speaker 1 (51:56):
Yeah, it's a decently written scene there.

Speaker 2 (51:58):
Yeah, I mean you know, I'm just gonna say that's
some Zack Snyder ship.

Speaker 1 (52:02):
Yeah, it would, it would be maybe in that camp.
Oh god, I don't think I don't. I don't think
you would. I don't think he'd actually do it, But
I get it.

Speaker 2 (52:12):
Yeah, no, maybe maybe now Scott Snyder. For sure Scott
sid would. So I finally get a little, a little
bit of an explanation. Clark's holding that damn green crystal
until the lowest it called to me?

Speaker 1 (52:25):
Yeah, okay, yeah, cool, I had more powers that we
don't know about or have or I don't know.

Speaker 2 (52:30):
Duck Crystal call to him?

Speaker 1 (52:31):
And why are they making him? Why are the green one?

Speaker 2 (52:34):
Just yeah? Why are we confusing? To me? That says kryptonite.

Speaker 1 (52:38):
Yes, that's the coding. That's what I used to.

Speaker 2 (52:40):
I never understood that. And like I could.

Speaker 1 (52:42):
Forgive him for not for not I don't know why
there was that one red one. I could kind of
forgive him if they wanted to be lazy about that
piece of the puzzle. And maybe it was or wasn't
around in nineteen eighty. But the green part we just
did that in the in the previous film. Yeah, and
part of what you on a second ago.

Speaker 2 (53:02):
Now here's something I love. I absolutely love it. It's silly,
but it makes sense. To me, and it made me laugh.
Superman has been in a relationship officially for all of
five minutes, and he is already confronted with one of
the all time pitfalls of having a girlfriend. He says,
what do you want for dinner? Anything you want? Sky's
a limit. Lois's response is to PLoP down and look away.

Speaker 1 (53:23):
Right right.

Speaker 2 (53:23):
Clark just leaves without prodding her any longer. He really
is the perfect man. He just goes and finds whatever.
He's like, fine, fuck it, I'm just gonna go get
some groceries and come back. She'll eat whatever.

Speaker 1 (53:34):
No, that's funny, that's I like that take. So my
my mirrored, my mirriad image take was that I had
written down we can eat anything you want, flies away
without asking what.

Speaker 2 (53:44):
Well if that was my initial take too, I did,
like I relooked. I looked at the scene.

Speaker 1 (53:49):
When there's a complimentary thing going on there when you
pointed out that way though, she was just gonna ad
eat it anyway. He was just not gonna pay attention
to what she said anyway, which is perfect time saving.

Speaker 2 (53:58):
Yeah. She he really doesn't ask and she just like
sits down and looks away.

Speaker 1 (54:01):
I'm like, yeah, okay, yeah, yeah, and it reminds me
of like my grandparents. So I don't know if they
I don't know if they said anything to each other
for the last twenty years, but a lot of words
were said at one another.

Speaker 2 (54:10):
Mm hmmm.

Speaker 1 (54:11):
I don't know if I ever watched the conversation actually
grab any purchase anywhere time.

Speaker 2 (54:18):
Yeah. So back to the small town in Louisiana again,
Ursa looks at the helicopter and goes, they need machines
to fly, bitch, So did you until today?

Speaker 1 (54:30):
Yeah, you just found out about this.

Speaker 2 (54:33):
So did you until today? Yeah?

Speaker 1 (54:35):
Yeah, you posing bitch? Yeah?

Speaker 2 (54:39):
All right. So we get this bit where Lois and
this fortress says she's gonna go put on something more comfortable,
of course, and while she's doing that, Clark decides, well,
I'm just gonna, you know, talk to my mom about this, right,
And she's like, oh, if you are you sure about this?
Because to be with one of them, you have to
be one of them, right. There is no return. They're

(55:01):
very emphatic about this. There is the Lara is very
emphatic about there is no return. You cannot this is permanent. Shit.

Speaker 1 (55:09):
Yeah, is there any reason for any of the stuff
that you just explained in the movie. No, none of
it makes any sense. There's not an internal logic to
why this was done.

Speaker 2 (55:18):
At least in the Lester version, there is an implication
that he is Superman and he to be with one
of them, you can interpret that is to lay with them,
to have sex with one of them, you'd have to
you'd have to be one of them. There's no return.
So you know, as he's losing his powers in the Chamber.

Speaker 1 (55:38):
Kevin Smith problem as it would come right, right, right.

Speaker 2 (55:41):
So you know. And it's funny because as he's losing
his powers in the Chamber, there are shots of him
walking through Luther's flame gauntlet that was cut out of
Superman the movie, but but yeah, he could. He emerges
with different clothes and hair, and we watch Superman die
in the chamber who and he is now separate from Clark,
and then they retire. He and lois retired to this

(56:02):
weird hanging birthday balloon bag to get down right though.

Speaker 1 (56:06):
The clothes change, by the way, is I have a
note at the clothes change part It says, and his
clothes change, What the fuck? I have to stop for
a minute, And I did I continued two days later,
I stopped and walked outside at that at that juncture.

Speaker 2 (56:19):
Yeah, Now in the Dodner version is very different. They
they you can't imply that he can't have sex with
her unless he's human in the Donner version, because first
they get down, he beds her as Superman, and.

Speaker 1 (56:33):
Then the weird seventies bed.

Speaker 2 (56:36):
And then Lois wakes up and she wanders out, and
by the way, she is wearing just the top part
of his Superman suit and it's hot. She's got like
high socks on and just the Superman suit, and you're
just like, oh damn. But she watches Jorel and cal
discuss how he's got to become human and can never

(56:58):
go back. They don't explain it.

Speaker 1 (57:01):
No, no, there's I didn't catch a thing, or I
mean I kind of wrote down.

Speaker 2 (57:06):
Like how did it's not explained to either version?

Speaker 1 (57:08):
How did we get here? Like I've written down like
you must be one of them to be with her?
Why how did we get here? And then the other questions.
So let into this whole problem I have with Lois
that starts there. Lois just watches. She internally has absolutely
no reason to think that this is it has to
be this way. She was just a second ago, like,
oh man, you know, good for you. I guess both
is a thing. And then he says it has to

(57:28):
be this one way, and without question, she's like, got you.
And then later doesn't she double down the other way?
Look like mm hmm, she has She's logicless the entire
movie as far as what he can do with his powers.
She has no interest one way or the others, just
flows mm hmm.

Speaker 2 (57:42):
Yeah, it's either way. Is fucked up because Lois loves Superman,
she doesn't love Clark necessarily, and Superman is Superman like Clark.
Ken is the disguise of this version, even though that's
his name is earth name.

Speaker 1 (57:53):
Right, But it's like then first.

Speaker 2 (57:55):
They totally they just decided he had to be deepowered
to add drama. They could not figure out why. They
could not figure out why. At least, the Lester version
applies that they can't fuck unless he's depowered, and it's
very lightly implied, because you know, fucking kids movie, after all.
In Donner's version, it makes no sense. And I do.
I do like the Donner version slightly more because Lois

(58:17):
is hotter. Also, she's wearing the you know, just the
top part of Superman suit. In Lester's version, she's like,
I'm gonna go get more comfortable, and apparently like Superman's
just got like a bunch of clothes just in case
he brings a bitch home.

Speaker 1 (58:32):
Yeah. Yeah, he has a lot of weird stuff. He
just like he's got like a did he also grab
a table in dinnerware with the fuck chemick?

Speaker 2 (58:40):
Yeah? The fucking Because he's very emphatic, because she's like,
this is where you live and he's like, no, I
live three blocks from you. What the fuck?

Speaker 1 (58:47):
Yeah?

Speaker 2 (58:48):
So like why do you have this like sex bed,
this like this sex palace set up? Did you how
fast did it take you to put this together? While
she was sitting on her as looking around? Did you
do that shit before you presented yourself with the groceries? Like,
I'm good. I'm very confused as to what exactly happened.
But I do think I like the Donner versions slightly more.

(59:14):
But even though it makes less.

Speaker 1 (59:15):
Sense, I one day I can try. One day, I
can maybe try as the whole thing'll I might go
back and watch the other that, you know, the extra
twenty five minutes whatever if you've got. It's not twenty
five minutes. How many extra minutes is it if you
just added everything in?

Speaker 2 (59:28):
Oh you know, I don't know.

Speaker 1 (59:30):
Well that's kind of that's not saying it right though,
because some scenes replace other scenes. I don't know. I'd
have to watch the cut, right.

Speaker 2 (59:35):
Yeah, you'd probably have to watch the cut, like I
I watched clips. I saw the cut a long long
time ago and hadn't really like completely. I'd as well
say I haven't actually seen it, but yeah, yeah, I've
seen a lot of like comparisons and stuff. So I
don't know how the criminals so quickly and easily zapped

(59:57):
their faces into Mount Rushmore. It looks terrible. And the
Donner they used really bad CGI in two thousand and
six to show them toppling the Washington Monument and cutting
it in half of their vision, that also looks really bad.

Speaker 1 (01:00:08):
Yeah, it's not much better. It is better than just
stupidly knocking the face off. And then I mean, yeah,
I like I.

Speaker 2 (01:00:16):
So there was a weird slow burn of not showing
the President, and it seems like, if you're just watching
the movie, that it was just for that dumb twist
reveal of having the Underlin pretend to be the president.

Speaker 1 (01:00:25):
That is a dumb twist. Revillain. Yeah, I was w
about that.

Speaker 2 (01:00:27):
But just having shown the back of his head, I mean,
I knew it wasn't the same guy. But even though
it's not explicitly stated, looking at all the trivia, it
looks like the real reason they had they did the
slow burn of revealing the president was because they wanted
it to be a big recognizable face and they just
couldn't get around to that. They couldn't get.

Speaker 1 (01:00:46):
It, Oh okay, Yeah, so they just bought time and
then had had to do it anyway.

Speaker 2 (01:00:52):
According to what I could tell, there were at least
two bigger names that they wanted, and then they got
another guy who I've never seen anything else I don't
think may.

Speaker 1 (01:01:00):
Have Yeah, yeah he I think he reminds me vaguely
of the Mayor and Ghostbusters. But that was that's just
maybe a too yeah theme in my head.

Speaker 2 (01:01:09):
That's so funny.

Speaker 1 (01:01:11):
I'm glad you got there too.

Speaker 2 (01:01:12):
Yeah, dude, Yeah, absolutely, I just I wasn't gonna say
it because it's so stupid, But I absolutely had the
same thought, like I always do, the same association where
it's the Damn Mayor from Ghostbusters. Yes, that's great, that's
so weird. That's so weird. That should not have been
a thing.

Speaker 1 (01:01:34):
There's uh, there's a bit toward the end of that
I wrote down. I wrote this, I wrote this part down.
I hate it so much. His speech at the end
Zo after he's taken over from the Body Double and
the unknown Ghostbusters Marrior dude, he says he's stupidly too.
There's so much posing and in a lot of this
that's just awkward and strange and not lovable. But he says,

(01:01:57):
like I win, I always win. Is there no one
on this planet to even challenge me? It's just fucking
lame sentence all together. But I hated it.

Speaker 2 (01:02:06):
I win win.

Speaker 1 (01:02:08):
What what I always went? You were just in the
phantom zone, bitch, Yeah, you just left a loss. And
then is there no one on those planet can even
challenge me? You just meant like four people.

Speaker 2 (01:02:19):
Yeah, and most people could have knock J. W. Pepper out.

Speaker 1 (01:02:22):
I mean, come on, yeah, I mean it's tropy, a
little assistant. That was not a big win. Man, Like,
calm down now.

Speaker 2 (01:02:29):
When the president kneels and says, oh God, and he
goes zod I actually did love that. I felt like
that was perfect. You had to do that. It was obvious,
but I had. I had to see it.

Speaker 1 (01:02:37):
It's it's a it's a good bit. I'll take that one.

Speaker 2 (01:02:40):
But when Lois and Clark are in the diner and
Clark just got the shit kicked out of him, and
then the TV is on and he's like, he's like,
son up, Dreu, come kneel before Zod. There's a bit
he just like pushed it. He says, Neil before Zod,
and then he pushes the president hard and then looks
back and just goes zod.

Speaker 1 (01:02:58):
Yeah.

Speaker 2 (01:02:59):
And it was like he worked himself up just hard
enough to yell Zod again. It was like Will Ferrell
doing damn Robert Goulay. It just made me laugh so
hard because it was so dumb he has.

Speaker 1 (01:03:12):
There's a couple of moments where it doesn't work out.
For the most part, he plays this very straight and
I kind of loved it. And there's there's a couple
over the tops like that, and a couple of moments
where the the overall effects of the what's happening just
killed It doesn't matter what he said, but it's not
gonna work next to that, like flying through the air
and doing weird shit sometimes, So it's just a hard sell.

Speaker 2 (01:03:40):
Dude, like, oh, by the way, I love Clark getting
sucked up with the diner. I love that dude beating
the shit out of Clark. Yeah. Yeah, because it's such
a like, it's like immediate, it's the It's.

Speaker 1 (01:03:54):
This is what I hate so much about watching these
movies right now is and I'm glad we didn't. I'm
glad we didn't because I would have been so mad.
That's the least fucking Superman think I've seen a long time. Yeah,
he just like he gets he goes human, and he
goes completely to the dark mode, like he turns into
a bro just in seconds. Like with I mean enough
provocation to be very mad, of course, but like, yeah,

(01:04:16):
I just don't buy that the Clark kent that I knew.
It's like all the testosterone rushed to his head from
just being biological. I don't know, man, I'm.

Speaker 2 (01:04:25):
Fine with that because and here's why this is not
the Clark kent. You know, this is Superman who has
given up his powers. And he even says it while
he's bleeding out on the floor. He says, I'm not
the man you fell in love with. He knows, and
he wants to prove to himself when that guy is
hitting on Lois that he could still protect her the way.

Speaker 1 (01:04:45):
That he protected her in the scene. Yeah, and he can't.
I like, well, I think I'd written down somewhere. I'm
trying to find that note like I knew, I know
what they were going for in the scene. I like
it like he should. He has asked me, especially like
you know he's supposed to. There's some execution there that
was good, so you know, you're seeing he's physically getting
the news feed of the shit he's missing out on,

(01:05:05):
like what he's fucked up, where he's and that. But
I read that more is regret like I'm not the
MANU fuld in love with it, like his regret of
oh I fucked up.

Speaker 2 (01:05:12):
Oh he already knows, dude.

Speaker 1 (01:05:13):
But I definitely buy him getting his ask it because
this is again the ind universe explanation here of in
this universe, this Superman has never really been challenged. I
don't think he's been in a real fight.

Speaker 2 (01:05:25):
But he's also such a boy scout. Take note that
he's like, well, stuff outside and as he's walking away,
the dude like just punches him in the back of
the head.

Speaker 1 (01:05:32):
Yeah. Absolutely, I mean yeah, but when he when he
does get back into his groove and square up, he
is not winning this fire. He is he gets his
ass beat, and I'm perfectly happy with that. This is
not a guy who's really been challenged.

Speaker 2 (01:05:43):
No, No, he came up.

Speaker 1 (01:05:44):
Shouldn't have a lift in you know, lifting the truck, right.

Speaker 2 (01:05:47):
Yeah, he didn't even have a fight in the first one. Dude,
he like for some rockets.

Speaker 1 (01:05:51):
Yeah, he's only ever fault feeling very ill the entire
time he's been on Earth.

Speaker 2 (01:05:56):
Yeah, he got a little woozy and they took the rock.

Speaker 1 (01:05:57):
Off, right. Yeah, that's the only adverse adversity we see
him go through so far. So yes, he gets his
ass beat by the trucker and the diner bar and
the dire thing.

Speaker 2 (01:06:05):
Yeah, but then like what's even worse is like Lois,
It's like you are the man I fell in love with. Oh, well,
I'm gonna use the car and drive back to the city. Uh,
you can walk back to the fortress, right.

Speaker 1 (01:06:17):
Yeah, why like she does. That's another spot. She does
nothing to convince him to. She first she didn't convince
him change his mind, and then she didn't convince Hi
change She just goes with whatever.

Speaker 2 (01:06:27):
Yeah, She's like, I don't know, I don't understand your
bullshit Kryptonian crap. I don't know who there's doing, and
then funks off, like you said, there was no reason
for you to do what you did. I don't understand. Oh,
I don't know. And this is one of these things
that all these movies, so many of these early early
movies up to ninety seven, because they didn't Batman and
Robin as well a little bit early started to and
then they dropped the whole line. Yeah, there's this idea

(01:06:48):
that like, in order for the superhero to fall in
love and be in a relationship, he cannot be the superhero.

Speaker 1 (01:06:54):
Yeah, he has to be heman on somehow.

Speaker 2 (01:06:56):
And they had like, well, I don't know, maybe it's
time for me give up Batman, you know, Oh, maybe
I'll let Vicky into the back cave and ruin all that.
And well he was still Batman at the end of
that movie, So of course Vicky's not going to be
in the movie the next time, right, And oh well,
now it was Selena and Oh, that's not gonna work out,
and oh, well no, it's gotta be chasing. I'm gonna
just shut her the whole thing. It's like, over and

(01:07:17):
over again, that's the narrative. And it started with Superman Too, essentially,
where it was just like, oh, to be with her,
you can't be what you are, you have to change.
And maybe that's some weird patriarchal shit where it's like, oh,
to be with a woman, you've got to completely like
change who, everything, everything she fell in love with in
the first place. She's gonna change that shit.

Speaker 1 (01:07:35):
It's mab TV trope forever.

Speaker 2 (01:07:36):
Yeah, maybe it's that. I don't know, maybe that's where
it comes from, or maybe it is just to you know,
insert some stupid drama to make people go, oh no,
it's gonna happen. But yeah, annoying because nobody wants these
characters to stop being the superhero.

Speaker 1 (01:07:51):
No. I know. It's my least favorite part of anything.
And something written down too is just like they make
These writers made the same mistake they will forty years later,
and I I hate it every time. The deep power
I'm so he's interesting thing is something that I'm almost
always bored with I'll grant some of that's exhaustion just
from what we've been staring at for twenty years now.

Speaker 2 (01:08:12):
Dude, I didn't even like it in the Beetlejuice cartoon.

Speaker 1 (01:08:15):
I get it. It's part. It's not what I tuned
in for. I tuned in for the fun parts.

Speaker 2 (01:08:19):
Yeah.

Speaker 1 (01:08:20):
I definitely can go through some deconstructive rides too here
and there and have some fun with it, but I
do get exhausted with it. A lot sounds like this.
It's something I get exhausted with quickly, like the body
swapping thing is. But you may it's hard to sell
from me that particularly kind of storyline. So yeah, alternate
take on lost though? What if? What if I hadn't
thought about it till I was I may have talked

(01:08:40):
myself into something though, So what if? What if? So
she watches and changes mine The first time, she's super supportive.
He does it again. She's trying to be supportive again
the second time he changes back. The third time, she
sucks up with the car and goes back home. Okay,
I would I would like to see the internal like that.
It's the only thing I could possibly say to explain
her behavior, though, I don't know.

Speaker 2 (01:08:59):
It just seems super shitty that she would just be like, well,
I'm gonna take the car.

Speaker 1 (01:09:03):
Oh yeah, you should have some scene where she's like
storming off in a parking lot, you know, up in
her feelings about it, and like running away listening to
the radio that happens to play a wonderful song. That's
their emotions show out.

Speaker 2 (01:09:12):
And also I'm like, you're gonna let her drive all
the way back home? She couldn't even get a burger
without needing to stop.

Speaker 1 (01:09:19):
Yeah, yeah, like I thought a lot. I thought some
terrible things about tapad her when she's tied up on
that counter. Like I thought the film might be going
in really dark places like it was. This is not
a great play. Well, I guess that trucker left.

Speaker 2 (01:09:30):
Yeah, like and he he.

Speaker 1 (01:09:31):
Was clearly kind of the bully. Everyone else seems pretty chill.
But yeah, she's not that sick. I guess it's better
for her to keep the car. But is so is
the fortress in like walking distance?

Speaker 2 (01:09:40):
Though I don't think so. It's north north north. I
don't know where they got that car because Superman flew
were there. Yeah, I mean, I guess they could have
they're stealing shit, I don't know, mushed to the nearest
town and then maybe there was a car rental plays there,
I don't know. Yeah, or maybe he flew and got
a car somewhere brought the car there, and I will

(01:10:03):
need this if I'm doing what I'm gonna think, I'm
gonna do like I just and it's been both versions.
It just doesn't make any sense.

Speaker 1 (01:10:10):
Yeah, so yeah, oh, let's grab a quick break, sure, yep, uh.

Speaker 2 (01:10:14):
Yeah, I got a pee too, yep. All right, yeah, back,
all right, we're back, and so is Clark to the
Fortress of Solitude after having walked with this poor little
baby thumb out everybody driving past.

Speaker 1 (01:10:31):
Him, presumably Chris Cornell playing in the background.

Speaker 2 (01:10:34):
Yeah, well I was nineteen eighty so it was Jim Crochey.

Speaker 1 (01:10:39):
Right, but uh, let's proto grunge.

Speaker 2 (01:10:45):
This fucking trucker did pull on supermass KP. Right, So
we get this sequence and like before they left, we
saw that Lois, We very clearly saw that green crystal
being left on the ground and in the fortress.

Speaker 1 (01:10:57):
Yeah, mat so make a point of it.

Speaker 2 (01:11:00):
We get this, We get this scene where basically silhouette
of Christopher Reeve walks around and then spins on his
heel and screams father.

Speaker 1 (01:11:10):
Yeah yeah, which I was like, in the worst line
in the movie, worst line in a lot of movies.

Speaker 2 (01:11:15):
Which you know, in the lesser version, you're like, the
line is mother.

Speaker 1 (01:11:19):
Yeah, it's playing right now. Actually there he is father.
He does this groping thing with his hand. It is
he does Dad on every level. I hate it.

Speaker 2 (01:11:26):
It does. And it's totally not Chris Reeve, like not
not the far away the wide shot of the guy
in silhouette, Like that's totally not Chris Reeve.

Speaker 1 (01:11:34):
The guy groping isn't.

Speaker 2 (01:11:36):
Yeah. Well yeah, I mean there was a version of
it that makes sense. This is in the Donner version
where he's like yelling father because he actually did talk
to his dad before, but here he's like father and
he gets nothing, and then he like looks over sees
the crystal and it's all silhoutte because it's a reshoot.
And but the daughter version, which is better, Joe l

(01:11:58):
pops up and he's all like, you know, it's all
dark and shit, and he's all looking kind of rough
and he's like, okay, so there's a way, but you'll
never see me again. This is my second death. I'm
using all the remaining energy of myself and the fortress
to give you back your powers. We get no explanation.
In the lesser version. He goes back, he sees the
green crystal, and then we cut away from Clark and

(01:12:20):
Superman's journey. And is you know Lex whimpering and saying
my fullness to odd and shit and making me laugh.
I mean, it was funny when he said my fullness.
I laughed and wrote it down. Of course, So Lex
wants Australia. Of course he wants land. Jesus God, why
the fuck does he want land? Some of the fucking

(01:12:41):
land fiend over here?

Speaker 1 (01:12:42):
He really loves it. What good is land when you
know you're never going to be able to do a
land war with it? Like he's just I don't just
he's just picking a retirement community at that point. He's
not bad.

Speaker 2 (01:12:53):
He's like Australia, the entire the entire place is beach
front property, land, my boy, land fucking lick hell.

Speaker 1 (01:13:02):
Yeah, And you get rid of any enemies. You just
send him inward the you know what's there, I'll take
care of it for you.

Speaker 2 (01:13:08):
Uh, And we get this nice little bit where Ursa
says to Lois, what an undemanding man this Superman must be?
I kind of agree, Yeah, like this is not my
favorite loess Man. Margot Kidder is is not my favorite Lois.
They they quirked her up too much. They kind of
made her too She's just too much. She's extra as hell.

Speaker 1 (01:13:28):
She is she is.

Speaker 2 (01:13:31):
Oh yeah, Superman showing up Luther hilariously Superman, Thank God,
because it's Odds straight up about to kill Luthor, Like,
all right, let's kill him. No, no, you'd kill me
Lex Luthor's criminal mind at the top. Shut the fuck up,
You're dead. Yeah. At this point I found it necessary
to point out that nons noises are gross and painful.
They are.

Speaker 1 (01:13:51):
They are I hated. Like, there's a couple when he's
flying that are just grunts, not even grunts that like
it feels like they ask him to make a weird sound.

Speaker 2 (01:14:01):
Yeah. Now this was shot by Donner, but he didn't
like a bunch of the shit. Apparently, which one are
we know when they're fighting in the streets or whatever.
I don't know exactly who was Donner and who was Lester.
Because so we've got Superman and the Kryptonian criminals fighting

(01:14:21):
and then at some point criminals they get in the
street and they're blowing and everyone's blowing away, everyone on
the street, and they are all these stupid gags.

Speaker 1 (01:14:33):
Yes, I assumed that was Lester.

Speaker 2 (01:14:35):
I have seen trivia that said it was Lester. I
have seen trivia that said it was Donner and that
he argued against it and they made him do it. Anyway,
In Donner's cut, those stupid gags are not in there.
In the Leicester cut, they are and they do seem
very luster. So I'm not sure exactly what went down.

Speaker 1 (01:14:54):
If we're just talking about, like, you know, what, was
it more of a Donner of Paul Sung kind of
kind of feeling. Yeah, that that very much feels like luster.

Speaker 2 (01:15:02):
Yeah, well, the sal Kinds were bothering Donner to make
more humor, more Doofias humor anyway, right the whole time.

Speaker 1 (01:15:11):
This is why he gets Matilda style throne, and Zod
does at some point into a billboard or or whatever
that was.

Speaker 2 (01:15:17):
Look, I actually wrote down the toss into the giant
coke sign looked good as hell for Widow. I liked
that one.

Speaker 1 (01:15:25):
I think I wrote something like enjoy a fucking cokesone
or something. Yeah, speaking of just so much advertising this movie.
That's where there's a spot where there's a note I
had earlier where Red written and I like, oh, funny,
that's cool. Uh, that's that's great. So Marlboro was making
so many deliveries in the seventies eighties that they had
a they had their own trucks.

Speaker 2 (01:15:42):
Yeah, dude, they were. Marlborough was the primary. Uh that
was they were the primary sponsor of this movie. They
were the biggest sponsor of this movie. And because of
how much Marlboro bullshit was in this movie, it actually
went to it went to court. God like people. There
was an investigation of overall those I almost opened the

(01:16:04):
show with here's our review of Marlborough Presents Superman Too,
and I forgotten to do it.

Speaker 1 (01:16:10):
Look, I'm surprised it's not JBC. They are. They seem
to be the ones who have been in both. I
think Marvel was representing the first one as well. But yeah,
they definitely showed out in this one. And I was,
you know, initially I was just thinking, man that you know,
the Marble van just kind of it stands. Initially, I
was like that's good advertising, though, way that thing really
stands out in the background and then it becomes a

(01:16:32):
set piece later. Oh okay, that's why.

Speaker 2 (01:16:34):
Yeah, now plans for that of the humor, I have
to say, ads though everywhere. Oh definitely due the couch
of the bars.

Speaker 1 (01:16:43):
They're like, there's so much.

Speaker 2 (01:16:45):
To some degree, I'm okay with it because it also
takes me out of a movie when you can't see
any advertising anywhere, and I'm like, I, dude, I go
out in the street and like, I walk outside of
my house and there's like a McDonald's rapper laying in
my yard.

Speaker 1 (01:16:57):
Yeah, and I didn't put it there.

Speaker 2 (01:16:59):
Yeah, I mean I assume because we live in a
damn bowl. I assume it just like flew and got caught,
but that's snucked into the bowl. But like, there's advertising everywhere.
You know, you go to a bar, you're gonna see
Budweiser signs and and Heineken signs and all that shit.

Speaker 1 (01:17:12):
I know. I think that's my favorite middle ground is
where people just make up companies. Yeah, but have it
ubiquitous like you would.

Speaker 2 (01:17:19):
I don't like I get aggravated when I'm like, well,
I'm like, oh, there's Clark sitting down for a big
bowl of cheery. Ya's like, no one knows what a
cheery AA is. It's clearly like, well, I'm like, well,
it looks like ma Kent shops at the Aldie. Yeah,
I mean I guess they would. They're not rich people,
you know, they're poor. Yeah, I saw a number.

Speaker 1 (01:17:41):
Of this scene is playing the ground. It is rough.
He just caged non. She literally just says he's caged non,
Like how did cage Non?

Speaker 2 (01:17:50):
It didn't because he flew he was right, he was
free a second later. Yeah, so yeah, you got like
a I did really laugh when that stupid woman from
the Daily Planet was watching with Lowas and she's like,
the Big One is just as strong as Superman. Lowis
just like knocks her into the other room.

Speaker 1 (01:18:07):
Dude, that was taking me out so bad. They are
so into this battle like it that's another just in universe?
What the hell is dude? You are just you just
got new fascists installed, like you just you just learned
about your like you're literally an owned planet. Now you
met these people yesterday or no, no wait right now,

(01:18:28):
not yesterday, he says, because he says earlier, like you
just like the day before and the day before that,
I was bored.

Speaker 2 (01:18:34):
Yes, it took odd no time to get bored.

Speaker 1 (01:18:38):
Yeah, seventy two hours later and he has just done
with this fucking planet wants to play with Superman. But
all right, so let's say he's been there for like
a week or so. Anyway, you just found out that
this is this is the new ownership, and you're just like, oh, look,
they're a bit strong. I don't know, it just it's
too playful. It's way too playful to have anything even
I hate how much. Like there are moments where I'm like,

(01:19:00):
I feel like I sound like I'm trying to ground
this movie, but it's just not. It's so far, so
far into the suspension of this belief.

Speaker 2 (01:19:07):
Yeah, like that lady is just clearly there to give
Lois something to do because she she like takes care
of Lois when Lois seems like she's gonna fall down later,
And yeah, she doesn't seem like a bad person except
for that one scene where they just needed to have
Lois do something and be against something. So she's just
gonna yeah punch this Louine character because she was like, oh,
the big one is as strong as Superman.

Speaker 1 (01:19:28):
Like, yeah, it's just gonna be a friend of hers
that she dragged into the movie.

Speaker 2 (01:19:32):
Yeah. And then you got the people on the street
who are like kind of bloodthirsty and kind of being like, wow, yeah,
let's get them, get them Superman. Yeah.

Speaker 1 (01:19:39):
I don't like any of the cheering what street things.

Speaker 2 (01:19:41):
But then when they kill it, when they were like,
remember They're like, hey, they killed Superman, let's go get them,
I'm like, what the fuck do you think you're gonna do?
But I like their spunk.

Speaker 1 (01:19:50):
I did like the spunk on that. That's when the
crowd was finally acting like a normal crowd. I thought, well, we.

Speaker 2 (01:19:55):
Got like a woman screaming my baby, but she's not
moving her mouth.

Speaker 1 (01:19:59):
Yeah she's not and I'm not moving.

Speaker 2 (01:20:03):
Yeah. And speaking of that, there's a bit with the
bus Superman.

Speaker 1 (01:20:07):
Left right front or back what we've gotten you out
of that.

Speaker 2 (01:20:09):
And there's a bit where Superman is watching them with
the bus and he's like, no, don't do it, the
people and I'm like, I get them, Superman, just stop them, Yeah,
fly over there and stop him. Dude.

Speaker 1 (01:20:22):
Okay, he just he just got smacked by a sewer
lid into a Kentucky Fried chicken basket.

Speaker 2 (01:20:27):
Yeah, and we got two different gags, but two different
guys on the payphone. As the payphone is blowing away
and the court has ripped, they're still talking and laughing
on the phone. Yea, we got a We got a couple,
one woman. The woman loses her wig, the man loses
his hair. We got a guy in a sequin vest
rolling backwards on roller skates. Yeah. We got the ice

(01:20:48):
cream bit, Like some twerp is sitting there eating an
ice cream cone. It blows off another dude's face. Why
is this happening?

Speaker 1 (01:20:54):
They just credible hate it I've seen in a very
long time. I hated it now.

Speaker 2 (01:21:01):
I do love that Bongo march music when they're flying
to the Fortress of Solitude with the criminals. It might
be the Twilight Zone, dude, I love that.

Speaker 1 (01:21:11):
Somewhere around that area, is there there's some flying shots
over Arizona in particular air in area that kind of
looked Arizone ish, I guess, is what I say. Anyway,
some flying over kind some desert with some lake kind
of situation.

Speaker 2 (01:21:20):
Mm hmm.

Speaker 1 (01:21:20):
Looks fantastic. A couple like one or two of the
flying scenes are just great, and and I don't know
what happened with some of the rest.

Speaker 2 (01:21:29):
It's i'll tell you this, I'll tell you this, and
I'll go back a little bit. But throughout the course
of the movie, because of their costumes, every time I
see the criminals flying, especially when it's like in the distance,
I just I'm sitting there laughing because it's like they
look like little lobsters, little crawdads. It's like just little

(01:21:53):
lobsters flying to the White House. It cracked me up
every time I look a those lobsters chain and the
faces on Mount rushmore like crawled ads over something over there.
I don't know, it's stupid.

Speaker 1 (01:22:08):
Yeah, I mean, I hate to all right, So I
mean to put us back a little bit. We are
still in the era where like the tagline just three
years before or two three years before, it was you know,
you'll believe a man can fly, like uh huh. We
are in the area still where that was a bit novel.
But it is really hard to watch at the second mm.

Speaker 2 (01:22:25):
Hmm it is. I'm really not trying to be mean
about this movie, dude.

Speaker 1 (01:22:30):
Yeah, yeah, I'm I see some spots that were a
lot of fun. But yeah, it is in spots just
a nightmare of a bunch of people fighting on screen
and got made anyway. Like that's the other thing about
getting about Like the only thing I feel bad about
is any any part where it feels that we're making
for something you're that's loved or nostalgically loved her anyway.
It's not that anyone involved here. It feels so disjointed

(01:22:55):
that it would it would be hard for any one
person to feel like they saw through this product that
they made called super to and be really mad about
a critique here.

Speaker 2 (01:23:03):
Yeah, I mean everyone seems.

Speaker 1 (01:23:05):
To have abandoned it spiritually one at one point or another.

Speaker 2 (01:23:07):
Yeah, I love it in a way, and then I
did not remember it being this bad. But what's funny, though,
is that, like when how I felt about it when
we started this podcast, I had a certain view of
this movie. And it's been probably at least ten or
fifteen years since I've seen this movie, and there's been

(01:23:29):
a lot of stuff that's come out since. And you know,
I had my frustrations with these movies over the years,
specifically particularly in the Snyder years, when people could not
get over Richard Donner and everybody was like, it's got
to be exactly like Richard Donner, Richard Donner, Richard Donner,
Richard Donner, Chris Reeve, Chris Reeve, Chris Reeve, and we

(01:23:50):
were dealing with you know, Supergirl and every other iteration
that popped its head up, trying to emulate something from
you know, Singer to on through Supergirl, wanting to emulate
exactly what was happening in Christopher Reeve Superman. I got
frustrated then, because I was like, these things should be
able to move on and do something different. I'm not
saying it should be Snyder necessarily, but we should be

(01:24:13):
open to new things. And now looking back though myself
being you know, happy and hopeful and saying, you know, like, okay, fine,
I did enjoy Snyder stuff. I'm looking forward to gun stuff.
I liked the Christopher Reeve stuff. But at the same
time I'm looking back and going, ooh, there was some stuff.
There was some stuff in this Christopher Reeve stuff that
was not good.

Speaker 1 (01:24:34):
Yeah, so it is better enjoyed through the lens of memory.

Speaker 2 (01:24:38):
I think, yeah, both of these things can be true
that I'm as a forty one year old going oh,
some of this shit doesn't hold up even for the time, right,
And I do mean that even for the time. Yeah,
because I just watched Superman the movie and it was
like way better than this.

Speaker 1 (01:24:55):
Yeah. I had Mike Colms with one, but it was
it was different. Now. I did say though, that out
of the gate, I like this one a little bit
more because I thought it functioned more like a movie,
which I still is my main critique of one versus
this is it feels one feels like this. I don't know, man,
it feels like a song where all the parts are
rearranged in a way that I can't get behind, whereas

(01:25:16):
this one it feels like I'm at the Antagon instead
of Spot where I wanted to. All the you know,
all the rhythms are in place, the spots I was familiar. Yeah,
but it didn't. But that was kind of it. Structurally
as far as what I thought was a huge improvement.

Speaker 2 (01:25:30):
Yeah, yeah, i'd say that, you know, definitely, the first
one suffers a little bit from they shouldn't have kept that.
They should not have kept the bed at the beginning
with the criminals in that first one. That only works
if you're going to do what they originally planned to,
which would be to introduce the criminals at the end
of the first one and keep it a cliffhanger. Yeah,
but they didn't do that. So they should have cut

(01:25:51):
the criminals from the first one. And there's you know,
plenty of other little things, but that would have helped.
But there are other little things in the first one
that really like they were trying to do a big,
sweeping epic and really like do like link Lader's Boyhood
with Superman. Right, and even though that was way before Boyhood.

Speaker 1 (01:26:08):
Well, and it's not really excuse to say, like, well,
you know, that's kind of serialized, but we're used to
a more smooth, fluent version of that now. No, we're
this this This was filmed in a world that already
had star wars and pieces it and very much Yeah,
but like there was very much the idea that you could,
even in a movie form, I actually just tell a story.

(01:26:29):
Was not They didn't just accidentally break ground here this, Yeah,
it's just clumsy.

Speaker 2 (01:26:34):
But you're right, Superman two is in his final theatrical form.
It is definitely shaped more like a movie.

Speaker 1 (01:26:41):
Yeah, yeah, it would, it would definitely. So this, this
is closer to what an a I would spit out
if I if I asked for a movie, yeah, rather
than the first one. The first one was that would
definitely be a human design.

Speaker 2 (01:26:53):
And the comedy is closer to what an a I
would spit out if you asked for a comedy, right, yes,
they quote unquote air quote comedy. Yeah, all right.

Speaker 1 (01:27:03):
So by the way, one one spot, you're at the
office scene where he busts through there, you know, he
gets it, they get their hostages and all that dude
was that. I don't know, man, it's there are a
lot of choices like that. It's just it's clumsy. He's
just bareling through some office thing. It's they made choices
about where certain scenes were where, Like, it doesn't help

(01:27:23):
my characters at all. The big reveal here is that
none can bust through like a drunk step dad through
a couple of office cubicles.

Speaker 2 (01:27:30):
Yeah, it seems to have a little trouble doing it.

Speaker 1 (01:27:33):
Yeah, it's not it's not easy. He's stumbling and like, yeah,
it's not a huge win. It just I don't know
what they thought they accomplished here.

Speaker 2 (01:27:43):
And then you have that weird gene hackman, but it's
not his voice saying like, I got to teach these
guys to use doorknobs or something.

Speaker 1 (01:27:52):
Yeah, yeah, this beautifully came up just as I was
about to say it. It's at one thirty three oh three.
There's a spot where he's he he I'm gonna get
the actual dialogue. He says, like, I mean get him,
it's right, yeah, that would you get a step outside Superman?
You know that that scene where he flies outside Superman.
Thank god, I mean get him come to me, son

(01:28:14):
of Jory l right, yeah, and then Neil before that
is the most it has implied give me a blow
drop a couple of times. Uh huh, but that one
as that, Yeah, that is give me one.

Speaker 2 (01:28:27):
Yeah all right, Uh, I will tell you sis for
going back. I was gonna I almost forgot it, but
you pulled me back and I saw this side. I
didn't mention it, and I've got to mention it, dude.
My favorite line of the entire movie, and this a lester. Uh.
There is a version of it in the Donner version.
This is a reshoot. He's so, he says it so
much more menacingly, and the Donner version I prefer the

(01:28:48):
Luster version. Zod says to Luther, Why do you say
this to me? Would you know I will kill you
for it?

Speaker 1 (01:28:57):
I I he has a amused phil I love it. Yeah.

Speaker 2 (01:29:01):
That was a real life yeah, And the Donter version,
he's like, why do you say this to me when
you know I will kill you for it? Like it's
not fun like this one is. Why why would you
say this to me? You know I will kill you
for it?

Speaker 1 (01:29:15):
None was just flying in the background, by the way,
and the subtitles just said growling.

Speaker 2 (01:29:20):
Yeah, that's it. He just said you used to be
flying on hm.

Speaker 1 (01:29:24):
It just it just said growling and brackets there like yeah,
there's a one of my notes just says, every moment
in the showdown looks worse than the last. I hated it.
I'm sorry, man, Why does the concrete thing blow up
and have somebody sparks? What is the There's like he
throws a concrete block at him at some point and
it makes an explosion, like it's just crumble.

Speaker 2 (01:29:45):
Oh well because he blasted with his heat vision.

Speaker 1 (01:29:48):
It doesn't just no, I mean sure.

Speaker 2 (01:29:51):
My My question was not why does it explode? My
question was like Zod was picking up this giant wall
from the bottom and then the way he throws it
is should.

Speaker 1 (01:30:00):
Have flipped, oh easily. Yeah, it is odd all by itself.

Speaker 2 (01:30:04):
Yeah, it should not have flown straight in slow motion.
It should have like flipped. Maybe it would go towards Superman.

Speaker 1 (01:30:12):
Yeah, it's so awkward. He goes at some point here
they do this little flying chase thing and he goes
over the ridge. He does this thing. It looks like
he tries to swim through the air. It's a strange moment.

Speaker 2 (01:30:23):
Just flying and shaking his ass.

Speaker 1 (01:30:25):
Yeah. I didn't know to do that.

Speaker 2 (01:30:29):
No, I didn't. I'm just playing. I don't know, all right.
So they the Kryptonians and Lois and the weird Lex
stand in body double and everybody goes with the Fortress
of Solitude and they just dump Lex, and we've just
got this body double like sliding down walls and trying

(01:30:50):
to figure out how to get down there and clearly
not being Lex, of course. And the Kryptonians now are
projecting holograms, all of them, Superman and the in the
Criminals all projecting holograms and astral projections or something. I
don't know what's happening.

Speaker 1 (01:31:05):
I could not tell when it was teleportation holograms.

Speaker 2 (01:31:08):
Yeah, body, Superman smirks and says, we used to play
this game at school. Never was any good at it.
Motherfucker you crashed here as a baby? What school?

Speaker 1 (01:31:19):
Yeah?

Speaker 2 (01:31:20):
Were you doing this in?

Speaker 1 (01:31:21):
Yeah? I didn't play that game. I don't. I don't.
I don't know what he's doing.

Speaker 2 (01:31:27):
I looked into it and people were saying, oh, he's
talking about hide and Seek, and the implication is he's
bad at hide and seek because he can see through shit.
I don't understand how they got that at all. Sure,
that is not what they were doing. They were not
playing hide and Seek. I think I legitimately believe they
forgot that motherfucker came here as a baby. Yeah, and

(01:31:48):
they thought they were talking about Oh back on Krypton,
we used to do this in school. Yeah, that's what
I think the writers thought for a second.

Speaker 1 (01:31:54):
Yeah, they just forgot. Yeah, it's it's probably just a
genuine gap. Oh nope, nope, I fast forwarded. There is
slithering down the wall. It's just uh, it's when Lex
just pops in and under it. It just said groaning in brackets.
You just here like reirl. It's a weird sound.

Speaker 2 (01:32:14):
So Superman tricks lex In and betraying him. M hm.
He somehow reverses the machine that's never really explained versus
the machine he used to lose his powers so he
can stand inside and be protected while taking away the
criminal's powers. And Superman seems to kill a powerless Sod,
seems to kill a powerless SOD, and Lois kills a
powerless Ursa, and Non kills a powerless NOD. Of course,

(01:32:34):
yeah that's how that would go. Yeah, No, of course
he did like throw the shield at him and stop
him for like two seconds.

Speaker 1 (01:32:42):
Right, which is completely pointless.

Speaker 2 (01:32:44):
And I don't like if you're looking for, you know,
ways to cut back on the budget, yes, maybe, yeah,
look at what doesn't make sense? Yeah all right, so yeah,
Superman literally like kneels before his OD, takes his hand,
crushes the shit out of his hand, throws him against

(01:33:06):
a wall. He slides into oblivion as the theatrical cut
seems to indicate Zod is dead and Superman killed him.

Speaker 1 (01:33:14):
I mean, I didn't really think about the aftermath of
where they went other than that looks pretty painful for
some humans.

Speaker 2 (01:33:19):
Yeah right, And I'm like, all right, so what were
you all crying? About was Zack Snyder snap on a neck?
I don't get it. I've said it before. He kills
him here. And then other people say, well, that's not
what happened because the deleted scene shows them being taken
away to prison. That's true. There is a deleted scene
that was shown on television in certain markets where the
police are suddenly outside. Fucking police cars are outside of
the Fortress of Solitude. I don't know how they knew

(01:33:41):
how to get there. Do Superman fly away and pick
up the police cars and the police officers and take
them and say take them away? Boys? Yeah, I don't
know what happened, but that's not properly in either version,
So fuck that. They're dead. And in the Daughter version,
Superman turns around and like uses his heat vision to
blow like he destroys the Fortress of Solitude with his

(01:34:04):
heat vision as like a symbolic cutting of the cord
between he and Joel or some shit, of course, but
in this version they did like he threw humans down
into a shaft.

Speaker 1 (01:34:18):
Yeah, yeah, it's not very hopeful, or.

Speaker 2 (01:34:20):
He and Lois did, and they're not.

Speaker 1 (01:34:23):
They don't explain what's down there anyway, or why there's
giant crevices, or that they're allays comfortably walking around on
It looks like slippery eyes. Right, there's nothing about it.
This is a nightmare escape for me. I don't know what.

Speaker 2 (01:34:35):
Yeah, yeah, I mean previously in the previous installment, Superman
picks up the criminals and takes them to the to
the prison. I don't know how the police got to
the fortress in that deleted scene, because that looks, if
you'll forgive me, like a job for Superman. In both versions,

(01:34:56):
he takes Lois home. He takes Lowe's home, and she
promises to never tell his secret, and he says he
believes her. And now in the Lester version, we get
that in voice over as she's like looking up from
far away and we kind of got, okay, well we
heard that conversation. And the daughter version is like straight
up there on the balcony and they're doing close ups
and it is some of the best acted shit in
the movie. Yeah, where Lois is just like sobbing, knowing

(01:35:19):
that they can't be together and promising to never tell
his secret. So in the in the theatrical, we there's
not it's not clear how much time has passed Clark
comes into the Daily Planet. You think it's the next
day because he you know, she says she can't sleep,
and because they're both being weird. She's like, I get
a week asleep, And then she says, do you have
any idea what it's like coming in here every day
pretending I don't know who you are. I don't even

(01:35:41):
know what to call you. So apparently it's been more
than one day.

Speaker 1 (01:35:43):
Yeah, I got the film that had been I don't know,
like a like a weird week. I don't know, she says,
every day, like it's been a struggle for some time.
But they clearly had this plan. He's they knew.

Speaker 2 (01:35:56):
Yeah, And it's a good scene. They both act wonderfully
and he just wants him to say that she he
loves her and all this shit. He takes off the
glasses and he kisses her, eraises her memory, and the
shitty lady runs in and saves her from swooning, and
she's like, oh, see see what happens when I don't
have my orange juice? Clark, go get me an our juice.
I don't know why Lowes is just like, like Clark

(01:36:18):
is a fucking reporter. Yeah, Like why is she acting
like he's their assistant all the time, right when he
when she doesn't know he's Superman. She's just awful to Clark,
I'm like, Clark, why do you even like her? She's terrible.

Speaker 1 (01:36:30):
Yeah, it's terrible person. Shouldn't ever raise the fact that
they've still been working together for some time, right, just
that just the Superman part.

Speaker 2 (01:36:37):
So uh, yeah, he raises her memory. Then he flies
to tell the President he won't let him down again,
of course, and he's now officially chosen being Superman over love.
And then wonderfully he goes and kicks that Trucker's ass,
of course, just beats his ass. Yeah. The Dunner version,
you hated it?

Speaker 1 (01:36:56):
Yeah?

Speaker 2 (01:36:57):
Why it?

Speaker 1 (01:36:58):
It just flowing from the first scene we're shooting out
of the fight to begin with. Gotcha by itself is fine?
I hate that they did. None of the two parts
should be there.

Speaker 2 (01:37:09):
Well, I have a little thing where like half of
the family on my dad's side was like that guy
was like that Trucker, So I'm kind of routined.

Speaker 1 (01:37:16):
Yeah, I wanted and beat up too, but I wouldn't have.
I've heard both out.

Speaker 2 (01:37:21):
Here's the worst version though, Yeah, and the Donner version,
he takes Low's home. That's a better scene. That is
a better scene. All the balcony, she's crying, like you
actually see them saying those words to each other. She
promises never to tell his secret. He believes her. He
does the thing with the president. Then he flies around
the world so the entire movie doesn't happen. Yeah, he

(01:37:43):
resets everything, then goes back and kicks that trucker's ass,
the trucker who now has no idea who he gets
and never beat Clark up.

Speaker 1 (01:37:52):
Yeah, it just shows up to punish that man and
the and everyone there applauds.

Speaker 2 (01:37:58):
And flies up over the earth, smiling up the camera like, yeah,
I just did that. I just beat that.

Speaker 1 (01:38:02):
Yeah, doing what will become the most copied shot in supermandom.

Speaker 2 (01:38:07):
I literally think it's not that's not even a copy.
That's just a shot from the first damn movie.

Speaker 1 (01:38:12):
Oh And I mean, like I think I remember, like
they're just nods to it everywhere. I mean, like, I
think there's a so Cavil does it in a Man
of Steel when he's coming in out of the flight scene.
He doesn't he does that will turn a little bit.
I think they so ralth. You remember in the Infinite
Crisis thing where Rauth is Kingdom come to manors.

Speaker 2 (01:38:31):
Oh yeah, no, he totally does that at the end.

Speaker 1 (01:38:34):
Like it's it's a very noudable scene.

Speaker 2 (01:38:36):
Yeah. They totally redid that scene with him. Yeah, oh yeah.

Speaker 1 (01:38:39):
And it won't be It won't surprise me to see
it in guns if we do.

Speaker 2 (01:38:42):
I kind of hope we don't, but I get it
if they do it.

Speaker 1 (01:38:45):
It's not a bad spot to not at at all.

Speaker 2 (01:38:48):
No, it's not.

Speaker 1 (01:38:49):
I mean, speaking of the meme ability kind of things
like that, I'm glad it got us that shot this
this This is the bit where he when he does
the little two fingered you know, I hate nod to
Lex after Lex is like, oh yeah, yeah, you got him,
you got him. Yeah, like that that wink thing is
extremely popular. I love that little shot. It's it's up there.

(01:39:11):
It's kind of got that. It's it's up there with
like the thumbs up Batman bts anyway, Yeah, absolutely, yeah,
it's a little slippers like that.

Speaker 2 (01:39:20):
There were a lot or the thumbs up Batman forever
in the batwing looking down and thumbing up yeah.

Speaker 1 (01:39:26):
Or for a long time I had the can't hen
your cavil in the swing with the thumbs up. Mm hmm,
that's fun.

Speaker 2 (01:39:31):
You feel like some trivia, all right? So during one
take of the shot in which Lois punches Ursa, Margot
Kidder accidentally punched Sarah douglas A knocked her unconscious.

Speaker 1 (01:39:40):
Nice.

Speaker 2 (01:39:41):
I like that.

Speaker 1 (01:39:41):
That's great.

Speaker 2 (01:39:43):
On August first, nineteen eighty one, a television spot for
this film was the first commercial commercial ever aired on MTV.
Oh and that fun. That's cool, says here. Margot Kidder
was very unhappy during filming, as her marriage to Thomas
mcguaane was ending. She missed original director Richard Donneran was
aware that she was being very well paid to do
a small amount of work. In a nineteen eighty one

(01:40:04):
interview with Rolling Stone, she recalled that for several weeks,
I sat around my dressing room listening to music, read
The Great Shark Hunt and Orwell and a lot of
French literature. I wrote letters, worked on a screenplay, went
through the divorce, and every so often I went on
the set and said a line like, oh, Superman, Superman.

Speaker 1 (01:40:22):
That's great. So she went on a retreat where she
had like a little side gig.

Speaker 2 (01:40:25):
Yeah, bicically, Yeah, that's not bad. Uh yeah. And I
was in there going like I was reading it through
the lens, you know, So I was like, oh. In
a nineteen eighty one interview with Rolling Stone, she recalled
for several weeks, I sat around my dressing room doing cocaine.

Speaker 1 (01:40:37):
Yeah, oh yeah, that's just to be implied.

Speaker 2 (01:40:39):
And then every once in a while go on set
that's say, oh, Superman a Superman. Yeah, and they would say,
we have to do that again. You've got a little
powder on your nose lows, yeah, damn it.

Speaker 1 (01:40:48):
Yeah, this is in this around the era that like
you got Fleetwood Mac with you know, a pile in
the middle of the studio.

Speaker 2 (01:40:58):
Yeah, just wonder over when you need a Yeah. A
guy used to know used to complain about Fleetwood Mac.
I don't know, he was just a contrarian. But because
Fleetwood Mac is legitimately fucking great, yuh.

Speaker 1 (01:41:11):
Even time to come round to that too. But I
understand now.

Speaker 2 (01:41:13):
They'd be like, oh, fucking Mick Fleetwood doing one take
and then starting to fucking coke off his bass drum.
Yeah yeah, shut up, and yes, yes, yes, but shut.

Speaker 1 (01:41:24):
All that, and yeah he's a weird he's a weirdo
and wouldn't do it. But damn it, those dreams. That's that.
That that simple hit on dreams is fucking fire.

Speaker 2 (01:41:34):
Uh, isn't it just?

Speaker 1 (01:41:36):
I don't know. I don't know what else to do
with it. It shouldn't be there, but it's perfect. H.

Speaker 2 (01:41:42):
This is what I was talking about. Earlier anti smoking
campaigners opposed the film as the largest sponsor was the
cigarette brand Marlborough, who played for paid forty three thousand
dollars for the brand to be shown twenty two times
in the film. Lois Lange was shown as a chainsmoker
in the film, although she never smoked in the comic.
A prop included a rock sign written with the Marlborough logo,
although actual vehicles for tobacco distribution are unmarked for security reasons.

(01:42:06):
This led to a congressional investigation.

Speaker 1 (01:42:08):
Yeah, you keep Campbell's in those, is what you do.

Speaker 2 (01:42:11):
M h. Yeah. Gene Hackman, Ned Baby, Valerie, Perene or Perrin,
and E. G. Marshall were the only characters not to
participate in the film's reshoots under the direction of Richard Lester.
According to Sarah Douglas in Japan, her scene of Versa
killing the astronaut by kicking them. The groin was cut
due to their sensitivity of a woman being dominant.

Speaker 1 (01:42:30):
Oh no, oh no.

Speaker 2 (01:42:34):
Originally, Richard Donner had filmed Superman talking to his father
for the movie, but Marlon Brando sued four and won
a share of the film's first gross. The lawsuit also
awarded him a share of the film's gross this film's gross,
even though he doesn't appear in it. Brando's scenes were
replaced by scenes with Superman's mother, played by Susannah Yorke.
Brandos scenes appeared in Superman two. The Richard Donner cutt
and briefly during a scene in Superman returns, Yeah, they

(01:42:56):
had to.

Speaker 1 (01:42:56):
Like, I mean, they just can't just replace him just
to get out of paying him. And surely that's wrong
in some way that's legally doable.

Speaker 2 (01:43:06):
Yeah. Well, I don't know. When I was a kid,
I never noticed it. I was like, oh good, the.

Speaker 1 (01:43:10):
Mom gets some Yeah, yeah, her turn finally.

Speaker 2 (01:43:12):
Yeah, Like why wouldn't Why wouldn't she. While the sequel
was put on hold, Christopher Reeve had commitments to make
Somewhere in Time, which overlapped with return to make Superman two.
He also had reservations about the new script and the
way Richard Donner had been treated, so he was able
to renegotiate his contract at a better rate and with
more artistic input.

Speaker 1 (01:43:29):
Yeah.

Speaker 2 (01:43:30):
That's another thing, is like, yes, I love Christopher Reeve,
and I'm sure there's a lot of other things going on,
but the more artistic input he gets, the worse the
movies get.

Speaker 1 (01:43:41):
Yeah.

Speaker 2 (01:43:42):
Yeah, And I know by the end he was not
don't fit feeling it either. Yeah.

Speaker 1 (01:43:46):
I don't know that that's his fault necessarily because he
was getting control at the time that it's falling apart. Yeah,
so he's not he's not getting a fair shake there.

Speaker 2 (01:43:55):
Right, and he's like, you know, it's like finally you
get control. Why because it's a ship show. We don't
want to deal with it.

Speaker 1 (01:44:01):
Yeah yeah, yeah, yeah, here's my credit.

Speaker 2 (01:44:04):
But also, every once in a while, Christopher Reeve says
a thing that makes or a set a thing that
made me go huh okay, like he gets the vibe,
but I don't. I'm not entirely sure that he, you know,
had the creative vision that I'm looking for.

Speaker 1 (01:44:17):
Yeah.

Speaker 2 (01:44:18):
Yeah, to put it as nicely as I can, because
I think he was a great guy. Yeah, and he
was Superman. And you know, I'm literally doing this with
a Superman with a with a Chris Reeve action figure
staring at me like it's on my desk, and like
right next to me, Kate blowing in the wind, wired
Kate blowing in the wind as you could be a man. Yeah,
absolutely happy, ast shit about that.

Speaker 1 (01:44:40):
So still, like, even even not loving these like I
wanted to, he still feels a whole nostalgically. And I
don't know why. I don't know why it's the case.
It's just because he's been in the dialogue so long
for I don't know.

Speaker 2 (01:44:49):
But maybe I mean, yeah, I mean, even even at
it's worst, I'm sitting there going like, Chris Reeve still
feels like Reef still feels like home to me, right, Yeah,
you know, it's just that.

Speaker 1 (01:44:58):
Yeah, I get it at the very least the I mean, yeah,
we can make fun of the movie iness of it all,
but some of the choices I made about who Superman
is here are pristine. I mean as far as I mean,
you know, the power set's that goddamn nightmare, but it
as far as him just wanting to help and then,
like his major mistake is just that he falls in love.

(01:45:20):
He's a pure heart, and at least they've got that
going on. That was famously something that I still believe
was deeply misinterpreted by people viewing too casually in the
Snyder erse But yeah, like that was something that didn't
go well there, and something we're looking forward to in
the twenty twenty five version is just the sincerity and
the just genuine fuck it all. I just want to
help people in this of it all.

Speaker 2 (01:45:41):
Yeah, I don't necessarily, I generally don't want Superman to
be like the overpowered or completely overpowered badass who never
gets hurt. It was just like the evil, dark, gritty
piece of shit that so many people seem to want.

Speaker 1 (01:45:57):
Yeah, you don't want bright burn.

Speaker 2 (01:45:59):
I don't think that most people want that. And I
think the numbers are meeting that out on the ticket
sales for the new Superman, and you know, the super
loud people are not getting their way. Say that, and
I'll be perfectly happy with that, I think.

Speaker 1 (01:46:14):
I mean, of course he's gonna mix it up. He's
he's already said. You know, there's no completely black and
white characters here. And I know he's leaning heavy in
the trailers about UH and the promos and stuff about
the h I just want to I'm just here to
help people think he's going to mix it up. Though
this is gonna be there's gonna be some moral quandary.
It's not gonna be that simple.

Speaker 2 (01:46:31):
And also let me let me I mean, I know
I kind of feel like I say this a lot,
but if anyone's just tuning in, been like, what are
these DC on screen guys about. I do think that
Cavil Superman gets too much shit for being the dark
and gritty evil creature. He's not that. And people over
overstated that, Yeah, hyperbolize that.

Speaker 1 (01:46:49):
And and the oversimplified narrative we remember now is that right?
It's I get it, I get how it happened.

Speaker 2 (01:46:55):
It's just it's not true. It's it was not true.
Then it's there are things definitely I wouldn't have done
that Snyder did, and but at the same time, I'm like,
but that's not what what people say is. The problem
with that is not what the problem with those movies are.
There are problems, but it's not what they think.

Speaker 1 (01:47:12):
He like, he made some of the tempole moments so
so controversial that when memory flattened everything, that's what got remembered.

Speaker 2 (01:47:19):
Mm hmmm. He doesn't say anybody, he doesn't smile. He
saves tons of people and he smiles and in those movies, like.

Speaker 1 (01:47:27):
It's straightforward.

Speaker 2 (01:47:28):
But yeah, the world sucked and he was sad. Yeah,
but still, uh it's funny because it seems like guns
doing that too.

Speaker 1 (01:47:36):
So yeah, I mean there's gonna be Yeah, it'll have
a range of emotions like it's suposed to the previous
one did to it. Like I said it, hm hmmm.
It's been cast in a weird light.

Speaker 2 (01:47:47):
It has, it's all. It's always been casting a weird light,
and so of these these movies have been you know,
casting this untouchable, infallible you know, Halo that is just
looking at it in my fourties, I'm going, no, kid, Yeah,
this ain't quite it. Yeah, it's not quite what you're
thinking it was.

Speaker 1 (01:48:05):
Yeah. I mean I've enjoyed I've enjoyed parts of it,
and uh, I'll kind of I'll do the same, I'll
kind of flatten the memory and remember it like, yeah
that was fun though in just a few years.

Speaker 2 (01:48:16):
Oh yeah, yeah. Uh. Richard Richard Lester was not sympathetic
to the epic look that Richard Donner had given to Superman,
saying that he didn't want to do the David Lean thing.
Lester decided to scrap most of the Oscar winning Court
cinematographer Jeffrey Unsworth's footage and hired director Michael Winners cinematographer

(01:48:36):
Robert Petner to create a style that would evoke Superman's
roots and comic books. Lester, Paintner, and camera operator Freddy
Cooper replaced on sworts gliding camera with horizontal panning and
static framing to devote comic books, comic strips, and static
frames crammed with people and objects. Similarly, the composition of
shots that Trio developed for Superman two had objects and

(01:48:57):
people crammed into the into the frame do further emphasized
comic book composition. The action was photographed from one angle
to give the film a desired flatness, harkening back to
the techniques of the early sound era. Lester's films had
always been shot with three cameras, filming the action simultaneously,
two cameras for close ups, one for the long shot.

(01:49:17):
Lester's technique added to the friction on the set caused
by Donner's firing. Margo Kidder particularly disliked him.

Speaker 1 (01:49:28):
Yeah.

Speaker 2 (01:49:29):
This was the third most popular movie at the US
and Canadian box offices for nineteen eighty one.

Speaker 1 (01:49:34):
Not surprising it was It's gonna be a heavily hyped sequel.
Clearly everyone in advertising wanted to be in it. Mm hmm.

Speaker 2 (01:49:42):
This was the most expensive movie ever made at the
time of its release.

Speaker 1 (01:49:45):
God, how well I mean going through the direction process twice?

Speaker 2 (01:49:49):
Yeah, maybe, probably, according to Sarah Douglas, the scene Luthor. Yeah.
According to Sarah Douglas, the scene in which Lex Luthor
meets the supervillains of the Wor House was the last
scene filmed having Gene Hackman actually playing Luthor. Apparently she
really enjoyed it. She really enjoyed doing the scenes with him.

Speaker 1 (01:50:09):
Particularly understandable.

Speaker 2 (01:50:11):
According to Sarah Douglas and Jack o' hallerin, they did
not get along with Christopher Reeve. Isn't that weird? You
hear things like that and you're like, tell me more, Yeah,
what of it?

Speaker 1 (01:50:23):
I want to look into that. I mean, I'll probably
I'm gonna look into that for like a follow because
we're not I'm talking about him yet I have heard
that story somewhere, and I think I have heard a
little bit of background, but I'll find it later.

Speaker 2 (01:50:32):
Oh, Okay, he wasn't.

Speaker 1 (01:50:33):
I mean, he's not a He wasn't a cuddly bear.
He had made This was a weird time and he
made some serious mistakes too.

Speaker 2 (01:50:40):
Yeah. Richard Donner had completed about half of the film
before they replaced him with Richard Lester. Both Lester and
the sal Kins reached out to Donner at the end
of filming and offer to give him co directing credit
on part two, but Donna refused. That meant that Lester
had to go back and reshoot twenty percent of the movie,
since industry union rules dictate that a director must be
must have directed, Well, this is eighty percent of the
movie to get his his name listened in the credits. Uh,

(01:51:02):
might be seventy percent.

Speaker 1 (01:51:04):
Yeah, I'm happy to say. It's one of those two
that's so weird. Do you have somebody that run a timer?

Speaker 2 (01:51:10):
Just look at the car. Oh God, I'm not gonna
do it.

Speaker 1 (01:51:12):
I'm not. She's got left and right hand timer, and
no chance of that for me.

Speaker 2 (01:51:18):
I didn't notice. Uh, this is the only of the
first four Superman movies not to have any scenes in Smallville.

Speaker 1 (01:51:23):
Yes, it doesn't. Yeah, that was fine. I mean, you know,
she's back there getting half a paycheck alone, fucking the neighbor.

Speaker 2 (01:51:34):
I mean maybe. Uh. The scene when Lex Luthor escapes
from the prison yard is inspired by true events three
Ira prisoners escaped from Mountain Joy Prison when a helicopter
lifted them out of the yard. Yeah, it's kind of
funny that they bothered to base it on anything real.

Speaker 1 (01:51:50):
I want to say, I run across like a weird
prisoners scrape escapes, like cracked article or something where that
that was maybe a picture I'd seen somewhere. There's a
I love the idea in general, if people just floating
out of a prison yard in just such a shootable device. Yeah,
but we live in a world where we're seen like
Shelshank Redemption and yeah, they.

Speaker 2 (01:52:09):
Didn't even notice that they were like going over the
the they were all coming for Otis. They didn't realize
the balloon had gone.

Speaker 1 (01:52:15):
Yeah. Yeah.

Speaker 2 (01:52:18):
In an early draft of the screenplay, the Crystal Chamber,
which removes Superman's powers and which ultimately enables him to
defeat Zod, was lined with gold kryptonite exposure to which,
as in the comic books, will strip him of the superabilities.
Had it been kept, this would have been the movie's
sole reference to kryptonite.

Speaker 1 (01:52:33):
Yeah, I'm glad they didn't. We already said they kind
of fucked around with the colors too much.

Speaker 2 (01:52:37):
Year.

Speaker 1 (01:52:37):
Yeah, it is made it worse.

Speaker 2 (01:52:38):
Do you notice the framed photo of Bill Cosby in
Perry White's office?

Speaker 1 (01:52:43):
I did somewhere. Yeah, that's okay.

Speaker 2 (01:52:45):
Yeah, apparently it was a reference to one of Cosby's
early stand up bits on the album Bill Cosby is
a very funny fellow, right, he does a whole skit
about Superman. Oh that's why they put it in there.

Speaker 1 (01:52:57):
Yeah, that's a good nod.

Speaker 2 (01:52:59):
Mm hmm. There are several things that Superman would not
approve of, mister Cosby.

Speaker 1 (01:53:03):
Yeah, yeah, yeah, it was. Uh, it's a funny towne.
Go look at other background things like the menu in
that diner. Fantastic it said Frankfurter up there, I swear
to god.

Speaker 2 (01:53:18):
Sarah Douglas was the only cast member to do extensive
around the world press tours in support of the film,
and was one of the few actresses who held a
neutral point of view in the Richard Donner Richard Lester controversy.
By the way, She later made a guest appearance on
Supergirl in season three's Fort Ros, playing a Kryptonian priestess
Jindah khl Roz, for whom the eponymous Kryptonian maximum security

(01:53:43):
prison is named. Of course, but her, you know, Ursa's
whole her voice, Sarah Douglas's voice was partially dubbed. I
think she was. Only one scene where it wasn't dubbed
was by actress Annie Ross, who is the main bad
guy's sister Superman three, one of the co main bad guys. Really,
but we don't see her for a minute.

Speaker 1 (01:54:04):
I don't think this is That's the stage where you're
just talking to people that are still half okay with
you and being like, do you anybody here work cheap?
All right? Color?

Speaker 2 (01:54:12):
Yeah? So the movie grows fourteen million dollars domestically in
his opening weekend, and the biggest opening weekend grossed in history,
breaking the record set by Star Trek the Motion Picture
in nineteen seventy nine.

Speaker 1 (01:54:23):
Nice, followed by Immediate Regret.

Speaker 2 (01:54:27):
Yeah at around fifty minutes. Gordon Rowlings played the Fisherman
in his boat. You know. He went on to play
Man and cap during the opening sequence of Superman three, which,
by the way, I'm so sorry. I'm so sorry, Jason.
Superman three is directed by Richard Lester. I know, I know,
And the comedy is just like out the ass, just

(01:54:47):
the whole opening sequence. Well, I'll tell you it's it's
not just like you know, words in space anymore. It's
just like a whole like fucking slapstick extravaganza.

Speaker 1 (01:55:00):
That's okay. We have a plan to get us through
it this time a little bit different.

Speaker 2 (01:55:05):
Yeah, yeah, yeah.

Speaker 1 (01:55:08):
Bring he's a support structure.

Speaker 2 (01:55:10):
Yeah. Oh gosh. Now, let's see. They point out that
the trivia points out two Double O seven veterans contributed
to the screenplay, Tom Makowitz and George McDonald Fraser, although
neither is credited to Mankowitz was instead build his creative
consultant on both Superman and this film. Macowitz wrote Diamonds Forever,
Live and Let Die The Man of the Golden Gun,

(01:55:31):
and Fraser wrote Octopussy. Fraser Man Octopussy sucked.

Speaker 1 (01:55:36):
Suck seen that, but it has been decades.

Speaker 2 (01:55:39):
Man so bad. We watched it five years ago. I
just realized I was looking at the podcast that I'm
a part of today and I pulled up Breaking Bond
and uh yeah, Octopussy broke us. We that was the
last one we did.

Speaker 1 (01:55:53):
That's that's great, and.

Speaker 2 (01:55:54):
We haven't gotten back to it. And it was like
December of twenty twenty.

Speaker 1 (01:55:58):
Oh wow.

Speaker 2 (01:56:00):
Yeah, I had no idea it was that long. But
it was totally that.

Speaker 1 (01:56:02):
Long, and like, yeah, to say, it's not like it's
oh god, it's not like time was time was available.

Speaker 2 (01:56:10):
Yeah, oh, just alright, So I at around one hour
forty five minutes. The actress playing what was laying using
the typewriter during the end scene is not Margot Kidder.
Of course, the ending that was written but never filmed
had Lois died the Fortress of Solitude, which in turn
called Supermando reverse time. This is for the Donner Ker
about Donner Cut. By the way, the typewriters scene was

(01:56:30):
shot twenty two thousand and six for the restoration. Yeah.
So that's all the trivia I've got. I don't really
want to talk about. We do have a little bit
of feedback. Would you like we had some listeners write
in for us?

Speaker 1 (01:56:44):
I wouldn't day.

Speaker 3 (01:56:44):
I just want to say no, oh, well, I'd be like, alright, no, okay,
carry tott on Instagram.

Speaker 2 (01:56:55):
Old friend Carra old friend of mine said, this movie
really shows how much Cal loves Lois. He sacrifices his
powers to be with her, to show her she's first priority.
But at the end that's not true. He knows he
has a responsibility with humanity and has to finally sacrifice
his love for her and embrace the fact that he
is Superman. That is Uh, I'm glad that you see

(01:57:17):
it that way, Kara, I uh, who kind of just
feel like there's a lot of horseship based on a
really bad script.

Speaker 1 (01:57:23):
Yeah, that's the three line they were working for for sure.
I definitely saw what their what the plan was.

Speaker 2 (01:57:29):
Yeah, that was absolutely what they wanted.

Speaker 1 (01:57:31):
Just to feel the execution, I couldn't. Uh, it's just yeah, that's.

Speaker 2 (01:57:35):
Just she's absolutely right, that's what they meant. Yeah.

Speaker 1 (01:57:38):
Whoever, Well Lester, so yeah, Lester's Lester's plan stringing all
this together somehow was was.

Speaker 2 (01:57:45):
I mean, no, it was Donner. None of this ship
made sense. Yeah, none of it, Like Lester was picking
up the pieces on that one.

Speaker 1 (01:57:50):
Well, that's what mean, Yeah, it's anyway, So yeah, we'll
get a way up presented with whatever was left of
it what we saw.

Speaker 2 (01:57:55):
But either either way, it was still the same thing.
He loses his powers for no reason, no explicit reason.

Speaker 1 (01:58:00):
Yeah, that's the only part that is real frustrating about
it is that, and it makes Lewis, Yeah, her trajectory
is completely unmappable after those decisions.

Speaker 2 (01:58:09):
Mm hmm. Larry Myron Rights then says Superman two is
when the franchise went from cinema to c W. Salkins,
we're hurting for cash, but blame Richard Lesser for reshooting
to get his credit and make it look more like
a comic. Fuck that guy. Yeah, it's yeah, damn, we
got quick on that one. Yeah Yeah. Angie Kendall says,

(01:58:33):
this is my favorite of the Red films. It's the
most comic book feeling of any of the perfect mixture
of silly and cinema. I call it schlock and awe.
Hope to hear your reviews of three, four, and returns soon.
Can't wait for Superman and j a lot. Angie, we
did already do a review for four, so we're not
hitting that one up again. We did that one years ago,

(01:58:56):
but it's easily findable on our Spotify playlist. Stre can
go onto dcl screen dot com. I've got like reviews
a review section that has a playlist. You can find
it easily. Yeah.

Speaker 1 (01:59:08):
That was a fun Oh god, yeah that was Parts
of that are memorably.

Speaker 2 (01:59:12):
That m H. And finally, our final piece of feedback,
David Wang says the Lesser Theatrial cut was everything Justice
League wished it could be. And he does the L
O L, so I know he's think he thinks that's funny. Yeah,
and it is funny for for all of tens and purposes. Yeah,

(01:59:34):
the lesser cuts of Supermanto is better than the Joss
Whedon cut of Justice League. I think I don't know.
I think I don't know.

Speaker 1 (01:59:44):
Now I could rewatch the Justice League again, I don't.
I don't think I rewatched this again. They're both painful
for a number of reasons.

Speaker 2 (01:59:53):
I can watch you the one of them again.

Speaker 1 (01:59:55):
But I mean, if I had to run on right now,
I could sit down and bear my bear through one,
but the other right.

Speaker 2 (02:00:00):
The second, I'd be like, damn, okay.

Speaker 1 (02:00:03):
That might that might just be That's my answer to
day thing.

Speaker 2 (02:00:06):
Yeah, I mean me too, like, I don't know. I
might we have re In twenty twenty one, we did
go back and watch Justice League again and it's pretty rough.
I'm not there yet, but in a couple of years
I might be able to go back and watch it again.

Speaker 1 (02:00:21):
Right now, I have zero interest. I might go back
for it in some kind of slump in whatever guns
building where I'm just scored hungry for a second if
i have one of those moments, But right now I'm
just not gonna have a space for it for a second.
Not a lot of it.

Speaker 2 (02:00:33):
Yeah, I've understand.

Speaker 1 (02:00:34):
I'll hit some of it just randomly here and there,
but I won't go through a crawl. I don't. I
don't foresee it at least.

Speaker 2 (02:00:39):
Yeah, thanks changing. Yeah, Superman four Man, that's the one
that I said this last time.

Speaker 1 (02:00:45):
I do, but kind of glad we already did that.

Speaker 2 (02:00:48):
I'm glad we did Superman four already because.

Speaker 1 (02:00:50):
I mean, like the title at this point in the movies, honestly,
the title we're coming up to at some point with
Superman returns, it sounds ominous as.

Speaker 2 (02:00:56):
Yeah, Superman three. The last time I saw it, remember
thinking this movie is a fine movie until one particular
point that's so ridiculous. It took me out of the movie.
That's fair, it's one. But you know, I don't know.
I don't know. I don't want to. So I'm scared
to say anything now because I didn't remember this movie
being as bad as it is.

Speaker 1 (02:01:14):
That's fair.

Speaker 2 (02:01:15):
Well, I mean, so now I'm scared.

Speaker 1 (02:01:18):
Yeah, we're gonna We're gonna do that one next, which
will be in a couple weeks at this point. But yeah, yeah,
we do have a different plan for that one.

Speaker 2 (02:01:26):
We do. Uh, the plan is, I should tell them
the plan. The plan is Jason and I will watch
this together and record a commentary that will be a
Patreon exclusive, and right after that we are going to
record our review of it, which will be in the
main feed. But Jason's thought was to get through this,

(02:01:48):
I need to be able to make fun of this with.

Speaker 1 (02:01:49):
You, right, Yes, I need I need help.

Speaker 2 (02:01:51):
And uh, you know, for a good two thirds of
Superman two, I was making fun of it with Bethany.

Speaker 1 (02:01:59):
Yeah, see you how to help I did. I was
sitting alone.

Speaker 2 (02:02:02):
I'm sorry, man, I didn't think about that. I should
have just had you come over.

Speaker 1 (02:02:06):
Man, Yeah, I didn't realize all right.

Speaker 2 (02:02:08):
Uh Patreon dot com. By the way, if you want
to get that commentary as well as any other exclusives
that we offer, is five dollars a month for those exclusives,
or generally now you can buy those exclusives for three
dollars on their own. If you just want one of them,
it's one dollar a month to get every episode ad free.
And I'm gonna wrap this. I've got to use the bathroom.

(02:02:31):
That get no old.

Speaker 1 (02:02:32):
We've gone on as long as the donor cut.

Speaker 2 (02:02:33):
I think, yeah, yeah, we have. So anyway, thank you
guys so much for listening, and until next time, keep
the DC on your screen. Bye.

All Episodes

Episode Transcript

Popular Podcasts

Stuff You Should Know

New Heights with Jason & Travis Kelce

24/7 News: The Latest

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}"Superman II" Review & Donner Cut Comparison

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Stuff You Should Know

New Heights with Jason & Travis Kelce

24/7 News: The Latest

All Episodes

"Superman II" Review & Donner Cut Comparison

Stuff You Should Know