Superman III Review

Episode Transcript
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Speaker 1 (00:00):
You were listening to DC on Screen.

Speaker 2 (00:03):
All right, welcome into DC on Screen. This is a
weird episode of DC on screen. We Uh, it's always
weird when Jason and I are were recording in the
same room, and it's weird for me when I'm not
in my office when I'm instead in his office, of course,
but uh, it's all the weird wrestling. Yeah, yeah, it's strange.
Here's what happened. As we said we were going to

(00:25):
we uh, we recorded to in order to get through
it on an emotional physical level. Yeah. We we watched
Superman three with our wives. We recorded a commentary. That
commentary is currently on Patreon. Well not currently, but when

(00:46):
you're hearing this, it will be uh. So you know,
you know, in lieu of making notes, I chose to
pay attention to the movie as best I could, and
we all just made fun of it because of Super three.
We will talk about it here, but it's not going
to be as in depth, no nearly. Yeah. So, I mean,

(01:07):
I've got some trivia and we'll talk about our general
thoughts on the on the film, but it won't be
like a play by play here here all my notes
kind of situation. I very much hope that it's not
a a you know, two and a half three hour
review as these last couple have been.

Speaker 1 (01:28):
I don't expect on this one. We did get to
digest most of it in the moment. On a lot
of that one, well, there's not a whole lot to digest.

Speaker 2 (01:35):
No, no, it is.

Speaker 1 (01:36):
It is a it's a scant little movie.

Speaker 2 (01:38):
It is a strange, scant move and by god, Richard
Pryor does cover a multitude of sense. He really does.

Speaker 1 (01:48):
Yeah, he seems to be in his own movie for
most of it. And yeah, his own half decent movie
is being filmed around this one.

Speaker 2 (01:56):
Yeah. Well that's it for our review of Superman. Thus, Yeah,
that let's sum up a good chuck of it. You know,
I the Salkins gave Lois about twelve lines in this movie. Yeah,
good ones though. Yeah, they were pretty good. I'll give them.
I'll give them that. They had some of the best
honest laughs in the film. But you know, she, uh,

(02:20):
she talked about him in the press, didn't like Lester,
didn't like the sal Kinds, and they were like, well,
as I recall you, was Superman broke up in that
last picture. Yeah, and uh, of course you know, I'm
not a big you know, rest in peace and all.
But I'm not a big Margot Kidder fan. I didn't
really care for her version of Lois Love a nett

(02:42):
O'Toole though.

Speaker 1 (02:44):
Yeah, for some reason, she does pop more and they
seem to.

Speaker 2 (02:47):
Yeah that's a word for it, poop, calm, don magnitude, Yeah,
like for some.

Speaker 1 (03:00):
And she is a little more engaging on screen, a
little more charismatic. I don't know, but I say that,
And and would have eggs thrown at me in certain
situations like it she Murder Kidder's a beloved portrayal here,
and at times I really do get she was. She
was genuinely funny with the couple of lines they gave
her here, like uh, she she bat's nearly a thousand
in this movie where she does so little.

Speaker 2 (03:21):
It's it's shocking and it's impressive that she is able
to uh she has the wherewithal to have that timing
right because she does not look well.

Speaker 1 (03:32):
She she does not.

Speaker 2 (03:33):
It is a lot.

Speaker 1 (03:34):
It's a weird face makeup situation.

Speaker 2 (03:36):
Weird face got her over tanned. And I think those
are different teeth.

Speaker 1 (03:40):
Yeah, yeah, which they were. I think those had made
an appearance in two in the portions that were filmed
in the eighties.

Speaker 2 (03:46):
Yeah, it's weird, and uh, continuity had become a bit
of a bit of a jungle with some of the
stuff that was going on there. Yeah, and like we
were Bethany was actually looked it up. I think it
was like last night was shocked that she died just
kind of recently in twenty eighteen.

Speaker 1 (04:04):
It was not Yeah, it was not that bad. Yeah,
tens I think, yeah, it was like, all remember.

Speaker 2 (04:09):
Good Lord, because she's not looked great in these movies. No,
I mean she she's not.

Speaker 1 (04:15):
She's not dying on screen here, but you can definitely
see that her help from like the very first persons
of part one to hear are not the same.

Speaker 2 (04:23):
Right that It's not really a body shaming situation. I'm
trying to get into. It's just oh my god, was
she okay?

Speaker 1 (04:29):
Yeah, she actually was having genuine health issues. Were these
were not well daysed for Marco?

Speaker 2 (04:35):
Yeah, I mean it was the seventies and eighties. They
were not well days for many people.

Speaker 1 (04:40):
It was allowed to not well daded. But one of
the things the film did that was about as regular
as every other one a couple of scenes like the
one I have played in the background right now is
the fire, the explosions in the fire. They would It's
like they just cherry picked a few and said, okay,
we'll get these right yeah.

Speaker 2 (04:56):
And everything else everything looks good.

Speaker 1 (04:59):
The superhero type stuff looked like it was well or
you know, organically oriented in the scene, not just weird.
They didn't make up powers just to show off of
camera trick they thought of right, everything was supposed to happen,
except whatever this Sassin situation is.

Speaker 2 (05:14):
Yeah, like there there are things like, you know, at
this fire, this chemical fire, Superman's you know several scenes
where he could have just like blown out the fire, yeah,
just like freeze breath the fire that one. Yeah, Instead
he stumbles and damn near just like walks even staggers

(05:34):
through some flames and squints his way through the fire,
wents from the from the smoke and everything. By the way,
all these firefighters were real though, except for that one
main firefighter who talks the black dude. Yeah he's a
he's an actor. All the others were real firefighters.

Speaker 1 (05:50):
Okay, so they'd have one actual like sag Card do
the line everybody else's.

Speaker 2 (05:54):
Yeah, yeah, that's cool though.

Speaker 1 (05:56):
But you know, on the one hand, I would be like, oh, cool,
give him some representation. They're probably cheaper. Yeah, probably it's cheaper,
and that's all they thought about.

Speaker 2 (06:03):
Maybe probably. I don't want to.

Speaker 1 (06:06):
Stop and presuppose any good intentions on the well and
the half of the producers here.

Speaker 2 (06:09):
Yeah, well I wouldn't give them, you know, the benefit
of the doubt on good intentions.

Speaker 1 (06:15):
Well, just that I'll be thinking like, oh, look, an
opportunity to cast some people in the.

Speaker 2 (06:18):
Background that would really like that. Yeah, No, nothing like that,
nothing like that. Nothing like we want authenticity on the screen.
I mean it's probably way cheaper just to get real
firefighters and be like yay, you don't get to speak.
But also we don't have to train you on how
to use this equipment, right.

Speaker 1 (06:34):
Yeah, I would argue that, like, when you want authenticity
on screen, hiring people who actually do jobs to do
those jobs on screen is not one yer, don't do that.
Now they're out there, they're back there doing stuff that's
not fake.

Speaker 2 (06:48):
Actually it's yeah, like you know, you if you had
like an extra playing firefighter, you just have like someone
grinning and staring at the camera while like Jack in
the the fucking lever, you know, like this is what
I'm doing, I'm a fireman, or are you fuck up?

Speaker 1 (07:06):
And they just get bored and like you have a
bunch of ruin takes because they're back there disassembling a
piece of equipment that doesn't look right because they don't
know how to just stay in character and chill for
a fucking second, Like.

Speaker 2 (07:17):
What did you dude? Okay, so I was. I know
it was slapstick, a lot of slapstick humor so much.
I will take a slapstick opening over just words on
a space background for ten.

Speaker 1 (07:31):
Minutes, yeah, fake Star Wars and then a bunch of
timey little white sets with the weird crystal design.

Speaker 2 (07:41):
Look, it's better than Krypton. It was better than Krypton.
I mean, I think I'll take I'll take.

Speaker 1 (07:45):
The unemployment office scene all day.

Speaker 2 (07:47):
Oh.

Speaker 1 (07:47):
That was a fantastic compared to anything else I've seen
so far.

Speaker 2 (07:50):
I mean, we've established Richard Prior as a gym in
this film. Let's just you know, everything he did was gold.

Speaker 1 (07:56):
Yeah, specifically the grunts and whimpers. Yeah, I don't know
if they if they wrote those into the script or
it just says Richard, dad lives here.

Speaker 2 (08:06):
What. But they nailed it. The nervous walking while grunting. Yeah,
those were great too. Yeah. Yes, yes, we didn't do
eight minutes of recap as we did that an improvement.
Yeah yeah, so I mean absolutely, open me on the
Unemployment Office, show me, you know, ten minutes of slapstick

(08:26):
and people falling.

Speaker 1 (08:27):
Well, so one trend that we realized that was a problem.

Speaker 2 (08:31):
God, he's so drunk.

Speaker 1 (08:33):
Brad, his ongoing substance issues or thinking this thing. So
I didn't realize that I'd be saying on Superman three
that we have a child abuse issue through the through
the re Superman films, but juxtaposed, because yes, they splicit
three different separate incidents where some child gets hit in
these films or whatever. But this was the first one

(08:54):
where I did into an eight year old boy's penis.

Speaker 2 (08:56):
So there's that. It was eight years old.

Speaker 1 (08:59):
He was like three whatever that kid is, I don't know,
he was three.

Speaker 2 (09:02):
That's a difference between like a borderline toddler or infants
dick and a ten year old's dick.

Speaker 1 (09:10):
I agree, I agree, there's a difference between the two.
Not in the amount that I want to see them usually.

Speaker 2 (09:15):
Well yeah, I mean at the same time, like I'm
not over here going like no, yeah, I'm not the
dean from community. I hope this doesn't awaken something in
me like no, it's just like, oh yeah, there's.

Speaker 1 (09:27):
Not a matter of puritanical like avoidance for me. It's
just a matter of I just did we have to
You didn't have to do full frontal. It's to me,
it's the equivalent of like you could be in a
urinal and see a side view of something. That's all
I get that. I don't get why you got drop
him down and do the thing when put your hands
on the side of all like kendo. That's a different
kind of it's just unnecessary.

Speaker 2 (09:47):
I don't think it was like all that, man, it
was you have blown that shit up in your mind.

Speaker 1 (09:52):
Well because you made me defend it, baby dick haunts you.

Speaker 2 (09:55):
Man, I just didn't realize it was the first time.

Speaker 1 (09:57):
I hadn't seen it this time as we were as
we were not getting the recap.

Speaker 2 (10:01):
Oh yeah, that scene that I didn't think it was necessary?
Why that you hated you hated it so much that
you missed it here right, Hey, Yeah, where's that baby?
Point it out later?

Speaker 1 (10:11):
To be fair, the first time, I was just like,
I don't want it, and then the second time it
just gets compounded because you're like, I didn't want it
the first time?

Speaker 2 (10:16):
Why did we?

Speaker 1 (10:17):
We made time for that? Really? And then and then
here we are. Now what are they eating?

Speaker 2 (10:23):
I don't know what they're eating? It looks like some
sort of we're doing a commentary, all right.

Speaker 1 (10:28):
That looks like some ship that cut the craft's table.
Would that's a prank?

Speaker 2 (10:31):
Sorry, we're at there's the reunion is playing in the
background now, and uh, you know they've got some kind
of it looks like Cole's law. Coleslaw. Pasta might be
potato salad, little pasta slaw. Importantly, Brad is just upset
because he's trying to get handsy with the only single
lady in town. Possibly a slow keish I'm not sure,
a slaw kiche okay, Jesus Christ.

Speaker 1 (10:54):
It was rough.

Speaker 2 (10:57):
Another big trope that fulfills a very thirsty movie. Mm
hm as as Lana dances in her yellow dress without
a brawl. M that was just what eighties bros looked like. Sure,
that's what it is? Left behind? Uh, huh.

Speaker 1 (11:12):
For like, I don't I can't imagine that was just
to set a costume design choice just for her.

Speaker 2 (11:17):
Who would have thought of that that, like anyone who
looked at her.

Speaker 1 (11:21):
How could that have possibly happened in a movie that
clearly had no interest in sexuality?

Speaker 2 (11:25):
How could that possibly seriously to me? Is that scene
where she looks at Clark and goes, one day I'll
be your mother?

Speaker 1 (11:30):
Yeah?

Speaker 2 (11:32):
Yeah, so because of Smallville.

Speaker 1 (11:34):
It's like something something Christian brought up to is like,
I don't know what age this is designed for, because
half of the movie The Slapstick Is is for five
year olds, Yeah, straight up five year olds. But then
the other half of the movie is not. It goes
from breastfeeding to the other side of what takes to
It's very much you.

Speaker 2 (11:52):
Have to understand though. Yeah, this is in the eighties
for a certain I mean, yeah, a lot of kids
are gonna be watching this, but also this is set
for a a very large segment of the population who
grew up on three Stooges. Like I remember watching this
movie with Matt just nostalgic with Matt Carroll's dad Roger,
who would just like sit there and like giggle and

(12:13):
guffall and howl at this ship.

Speaker 1 (12:15):
So you think the GA interpretation was meant to be
but roughly this. I do remember that lastake. Oh those
are great tits.

Speaker 2 (12:22):
Yeah, Like, oh man, she's got some shes got a
great pair with that guy's face.

Speaker 1 (12:28):
Look at that juicy lucy juicy lucy. Yeah, yeah, I
know about your old pan.

Speaker 2 (12:37):
That Richard Pryor's color. He's funny for a colored boy. Like,
oh boy, you gotta you gotta move on from that, please,
Oh my.

Speaker 1 (12:45):
God, the demographic went wild. Honest, oh god, oh god.

Speaker 2 (12:49):
What happened? Humanity happened? I should have seen it coming.
Oh man. Uh so yeah, bad movie. So I just
did a couple of words. Terrible, terrible movie except Richard Pryor. Yeah, yeah,

(13:10):
I have seen it pointed out that the bad guy
in this film, what is his name?

Speaker 1 (13:16):
I can never caught it.

Speaker 2 (13:18):
Uh, it's not pointed it out like three times to
you in the movie. His name is not Lex uh
something Ross, Webster Ross, Webster Ross.

Speaker 1 (13:28):
I think I think his name is on several fouling
papers at some point in the movie. I should have caught.

Speaker 2 (13:32):
That Webster Ross.

Speaker 3 (13:34):
Uh.

Speaker 2 (13:34):
Basically they created lex Luthor before John Byrne did that
version of Lex Luthor. It was an incredible version, though.

Speaker 1 (13:42):
I really loved his version, like they if they just
slapped the monk around this thing, I think would have
been perfect and he would have he would have been
seen as an iconic, like a well remembered Lex Luthor
if they just put his fucking name on him, on him, right, I.

Speaker 2 (13:54):
Think everybody would annoyed that it wasn't gene happened.

Speaker 1 (13:56):
Of course, And of course if they just saw this film,
though I took it for what it was, it would
be Yeah, it would be a greater portrayal.

Speaker 2 (14:03):
Yeah, Now, this dude was uhug read the news I
saw it pointed out this dude was. You know, he
was the main character in The Man from Uncle Oh,
and the first episode of that was called like the
Vulcan Affair, and the satellite that he's fucking with in
this movie is called Vulcan Nice. I'm assuming that was
a callback. Yeah, it's fun, like of course it is.
Uh Yeah, I don't know what to say about this

(14:25):
damn movie. It's not good. It's also I think, at
this late stage in my life, I'm gonna say it's
better than two. I do think it was better than
too though.

Speaker 1 (14:35):
I do like even even the visuals that are wanting
for mockery, genuinely they're they're rough a lot, but better
than two. Yeah, Like the visuals were genuinely improvement and
not over one.

Speaker 2 (14:48):
One still hasn't. Yeah well in parts, In parts it
was better. It was like you can tell when it
when it hits the lester versions of two and they're
just trying to like buy God, make up together, make
up the you know their money. Yeah. Yeah.

Speaker 1 (15:02):
This one, though, seems to fail you in ways that
are more disappointing than than like infuriating, like you're it
lets you think it's going to go do a good
job sometimes and then it shows you something that I
can't believe. I can't believe that can't be done better.
It's not even like I can't believe you'd let it
on screen.

Speaker 2 (15:19):
I don't know. I just I can't well the bit
with the the traffic, the little figures on the traffic
lights fiving. Someone spent time and money on that. Someone
spent time and money on that, But it should have
never been.

Speaker 1 (15:31):
That should have died in concept. Yes, absolutely, I was
so stupid that was dumb and world breaking.

Speaker 2 (15:36):
It does. It makes things not make sense, but it
turns the whole thing into a cartoon.

Speaker 1 (15:40):
Yes, and well we were joking, you know in film,
we're joking about it, like is he actually just supposed
to be a genius or like we had you know, uh,
taxonomically mm hmm.

Speaker 2 (15:49):
It's it has to be that.

Speaker 1 (15:50):
It's not like a you know, tele technology kind of
telekinesis kind of thing. He's not just a savant. This
is actual magic ry.

Speaker 2 (15:58):
Yeah, there the man is using. Yeah, the computers are
just magic, and he accidentally is a savant.

Speaker 1 (16:03):
Yeah, he is typing stuff that is irrelevant to the
fact that he is magic when it comes to the computer.
So that's fine for the for the street sounds to
be spanking or whatever that was they were about to
be doing, and it was.

Speaker 2 (16:14):
It was a weird system.

Speaker 1 (16:15):
But the stuff that lets you down so thoroughly is
like just the overlaid stuff, like just the dual exposure
kind of stuff.

Speaker 2 (16:21):
Right, it's just that too.

Speaker 1 (16:24):
It's just that I'm a little hesitant to be like
that is really I've seen you do this better. I've
seen you do this better. That's the best you had like.

Speaker 2 (16:32):
Use some of those ship from the first movies. Yeah,
just reuse some shots. Don't make it worse, don't And
for really there are shots for like Super Mango's fly
away and he's he's a ghost, he's translucent. Yeah, you
can see ship behind him through him.

Speaker 1 (16:49):
He's doing like spot the Ai style glitches on the
At some point, some of those are rough.

Speaker 2 (16:55):
I know, you got like pedophile Brad over here going on,
let me show you how to have the ball.

Speaker 1 (16:59):
He really does think it's super super petty at some
point the way he's approaching him and he says something
about Clark's mouth and during the scene, I don't know,
just none of it.

Speaker 2 (17:10):
None of it was so well Lota, won't let me
touch it.

Speaker 1 (17:15):
Come to your ball, hold that ball in like you
know it's bad when I you know, it's the character
himself is in bad shake when he's just holding a ball.
But I'm like holding that ball all weird.

Speaker 2 (17:29):
Yeah, just totally in front of him. Where are you
at all if you were grabbing it. On the other hand,
you know, both Clark and Laanna are there watching Brad
with the kid. He doesn't need to protect the boy,
like you know, Clark's like I think I think a

(17:49):
little Timmy or whatever his name is. I think he
just wants to keep sucking at bowling. Brady, just don't
show him ship. I mean, maybe Brad needs some kind
of human connection. Maybe it's not just a you know,
it's not a petto the thing. Maybe he's like, you know,
his wife left him and he desperately wish he misses
his own son and that's why he drinks. Maybe there's

(18:11):
like a lifeline there. But Clark's just being a dick
and just being like, nah, I think you need to
move on. Move on, drunkie. I mean, Brad aside, be like, hey, man,
is everything going okay at home? Are you all right?

Speaker 1 (18:25):
Brad?

Speaker 2 (18:26):
You know, it's just like, let me show you up
in the most ridiculous way possible. This is what he
does though, Like, this is not a kind superman any
when he's trying not to be. No, Clark's not kind,
Clarcus Petty is ship.

Speaker 1 (18:37):
Yeah, this is not a super nice, genuinely nice guy.
I'm also just roising how much this is Anakin's haircut.

Speaker 2 (18:44):
Oh definitely that kid haircut of a lot OF's boy
looks a lot like that. Anakin.

Speaker 1 (18:50):
Yeah, I didn't realize you could as the only haircut
you were allowed to have for like twenty five years.

Speaker 2 (18:54):
Well you realize when Superman like fucks off and he's
like Superman Superman. Yeah, why like when he's done all that,
like that he Superman is creating the next Anakin. Like
that's what's happened, Like that kid, that's that's that kid's superhero,
I mean super villain origin story. Like he's gonna be
like fifteen sixteen being like I built a computer. That's

(19:15):
like Richard Pryor taught me how to build a computer.

Speaker 1 (19:18):
He's gonna be a tallow in like twenty years. Just
watched him.

Speaker 2 (19:21):
Fly away like a piece of shit. Yeah, well stood there,
needn't help he abandon us. I should have known he
was evil. His suit was darker.

Speaker 1 (19:30):
Yeah, honest, guy, Like, just you could fuck around accidentally
and have more character in this movie.

Speaker 2 (19:37):
Did It wouldn't take much. Yeah, you know that scene
from Zach's Justice League where Henry's walking around in the
fortress and all the different suits are showing up, like
coming out and spinning. Yeah, like he like that is
a you know, fantastic walking closet by the way. Yeah,
I wonder if this Clark, Yeah, I wonder if this

(20:00):
that's the same thing where he like walks into like
a big crystal walking closet and like all the different
suits come out and he's just like, no, not that one,
not that one. I'm feeling a little evil today. Ooh,
look at you. Look at this dirty one. I've been
rolling around in the muck.

Speaker 1 (20:17):
Didn't realize you could have done that with an arm wah.

Speaker 2 (20:19):
I didn't realize how how thorough it was. We were
talking about there.

Speaker 1 (20:25):
He's got is that man just gotta sea turtles?

Speaker 2 (20:28):
He's gotta that's just rough.

Speaker 1 (20:30):
What look the back of this I just realized what
the back of his decoration on his bar is.

Speaker 2 (20:36):
I mean, I can't be I've got a lot of
turtles around my house. I can't say anything about turtles.

Speaker 1 (20:40):
This is like a sea turtle shell that's been scrimshell painted.

Speaker 2 (20:43):
Oh that's sad. Yeah, that's like an actual turtle shell.
Yeah what a dick.

Speaker 1 (20:48):
Yeah yeah, it's been scrimshell painted into like whatever the
hell that is up there. There's like a family tree
ors and bullshit. Yeah, man, it's like a family crest
on a turtle shell. Yeah, that's sad. You know, maybe
it's armor. Maybe it's not a turtle show.

Speaker 2 (21:03):
Maybe it's just like that that like bulbous armor that
you know, dudes used to wear back in the day
against the proletariat. What I don't know, man, back in
the day. I don't have a specific time frame with
the poor come fross strip on the sea turtle. I'm
just imagining, you know, like the bulbous like rounded armor,
you know, that goes over their belly and then they

(21:24):
you know, they've got the uh, the cod piece. Yeah,
you know it's probably got like a little turtlehead coming
out of the cock. You know.

Speaker 1 (21:31):
Well, I would like to throw my while that was
rounded so much early on. That's probably just easier to make,
to be.

Speaker 2 (21:36):
Honest, because they didn't know about crunches and they all
had guts.

Speaker 1 (21:39):
Yeah, it made sense in the Witcher when the one
king had like he's got the rounded armor thing. But yeah,
when you watch him eat later, that tracks I.

Speaker 2 (21:48):
No, you know, I remember. Remember it's like in the Bible,
like Nebukinezer was like, hey, Daniel, what are you doing
on eating all those vegetables? That's true, you gotta eat
all this meat we have meat for Christ, say, and
I'm like Christ's sake and he's like, you know what
I mean, hasn't happened yet time, So you have visions, Daniel,

(22:10):
you know what I'm talking about? Uh yeah, So I
think that's what we're looking at. You know, I don't
know what we're talking about.

Speaker 1 (22:17):
There's like a whole section of this movie that we
would normally talk about that are there rollant, Like like
the scoring, it's the same one.

Speaker 2 (22:24):
We've had the same score for three movies. It's not
the same. It's somebody else came in and did some
John Williams in there, all right, So.

Speaker 1 (22:34):
Yeah, they used the John Williams music when they need
real score. And then what they've done is they've just
basically hired a slapstick section. There's there's the slapstick orchestration section.

Speaker 2 (22:45):
I will say I didn't I don't remember a slide whistle.

Speaker 1 (22:48):
It's not an actual yeah, yeah, it's it's as close
you can get. I think at some point I was like, oh,
there's the flutes, yeah, like that's what they do. It's
like you bring on all the little sound things.

Speaker 2 (22:59):
Yeah. And then a couple of little two bosts to
do that little thing.

Speaker 1 (23:02):
Yeah, we're halfway there, are right, but yeah, they've got
like the shitty it's like the second half of the
Yellow Submarine, you know, the pepper.

Speaker 2 (23:09):
Land that's not shitty. I feel bad. Sorry, yeah, Jesus,
like I didn't. That was it felt weird for me.

Speaker 1 (23:16):
George Martin's state apologize but yeah, like it's the section.

Speaker 2 (23:20):
You don't ever listen to. You guys can't see Jason,
he literally tensed off. It was weird, like shame. He
looks like a pastor's son who also accidentally said fuck church.
You know, like it's like, hey, man, I thought you
were going to Sunday, but you're going to the water park.
You're like, ah, fuck church. I mean not that, not

(23:41):
fuck church. I mean, like, you know, just for this week,
I'm not gonna do that. Yeah, well I've got to
go pray.

Speaker 1 (23:47):
Yeah, it's that section of Yellow Submarine we don't talk about.
But it's it's good if you're actually listening to it,
but not if you're actually trying to listen to a
long and I haven't listened to like twelve years.

Speaker 2 (23:56):
Not for me to feel bad. I love the John
Candy back. Yeah, the John yet the guy that's clearly
not the not done game John Candy. Yeah, like the
guy and his wife who was like clearly like ten
to fifteen years older than him. Yeah, and they're gonna
go on this South American weekend or something. Why would
they send it to South America? That's a NodD choice

(24:17):
now only to only hey, because that's the only place
that the writers knew had beans. They know, Yeah, there
was a coffee situation. There was a coffee bean thing
before he decided he wanted oil. Yeah.

Speaker 1 (24:30):
Now, to be fair that I think they win the
export game there, Yeah, for sure. But that may be
the most realistic thing in all of these films, is
nailing where the exports for coffee are.

Speaker 2 (24:40):
Yeah, or for the purposes. I was a little nervous
your wife joined because I was like, she's gonna like
join on the worst fucking Superman thing that's not Superman
for and they pulled all that out. I'm like, okay, okay,
you're doing me a little proud. Yeah. Yeah, and then
a DeVault into sheer magic computer anarchy.

Speaker 1 (25:03):
He got rough real quick. I mean, at least there
was the Louis guitar yeah, yeah, which he's caring now
that bag would be worth like one hundred thousand dollars.

Speaker 2 (25:14):
He's got like a really expensive Louis uitar. It's huge too,
which is a funny. It is a funny and like
interesting little uh little detail they've thrown in because he's
clearly being like bankrolled by these rich assholes. Uh they
upgraded his yo yo. Yeah, it could have been you know,
Mortimer Duke, for Christ's sake. I don't think we would

(25:37):
have known much of a difference. Actually, that would have
been fun if it would have been the Duke brothers
from Trading Places. Oh yeah, if it had just been them,
like we could like break fuck, we have Superman two
in the Bond universe of the seventies, might as well
have this in the universe of Trading Places and coming
to America, Like.

Speaker 1 (25:56):
You could legitimately, just like the Trading Places, the dudes
would have made just as good a villain for any
of these movies. You just throw him in there and
find Yeah.

Speaker 2 (26:04):
Absolutely, I would bet you a dollar we can't make
Superman forget he's super Yeah exactly.

Speaker 1 (26:12):
That would have accomplished the same goal an ethnics to
learn a bathroom stall and it'll do.

Speaker 2 (26:18):
It'll be my undoing for a second time, now that
I think about it, that actually would be more deliberate
than anything that happened here. Like this guy didn't seem
to know what his plan was, right, just sort of yeah,
he was just rolling with ship yeah, and then designing balloons.
So there's a great bit in here where like after

(26:38):
Evil Superman plows this woman, yeah, the blonde yeah, is
just totally yeah. Yeah, I'm surprised she canna walk.

Speaker 1 (26:46):
Wait and we see her walk.

Speaker 2 (26:48):
Yeah, it's shocking, most unrealistic thing in the movie. Yeah.
And then like he later, she's like but but and
he was like, I'm sorry, that wasn't me. That was
a different man. I feel like Superman inadvertently gave every
dude the greatest line to get out of anything. Oh
the gas lighting line. Yeah, I'm sorry, that wasn't me.
I killed that man at a junkyard. He just looked

(27:11):
like me.

Speaker 1 (27:12):
I just that just wasn't me.

Speaker 2 (27:13):
That was a was a gay fore No, I saw him.
He looked like you. Was he wearing a dirty shirt? Well, yes,
I don't wear dirty shirts, bitch. Look at my light
colored shirt is so clean.

Speaker 1 (27:26):
That was another version of me from the past. Gerald,
we have two children.

Speaker 2 (27:31):
You helped name him. That was a different man. Different man.

Speaker 1 (27:35):
I've been reborn as of last Wednesday.

Speaker 2 (27:40):
I put that piece of ship in a trash compactor.

Speaker 1 (27:43):
When your cousin found a divorced.

Speaker 2 (27:45):
Then I realized, Okay, I mean, so, what are you
gonna hang out with that Lina bitch? No, no, don't
worry about her. She I put on glasses and she
thinks I'm a different guy. Yeah, now that was That
was one of the points. I mean, and I am
a different man. It's true.

Speaker 1 (28:02):
One of the most interesting things about Hollywood to me
is that like it is so like I can't believe
you get away with what you do. It's so cruel
and like they they they make Margot participate in By.

Speaker 2 (28:13):
The way, do you see these like sound waves going
into his ear in this shot where they're at the picnic,
they give a little They actually put like a cartoon
like sound waves coming off screen and going into his ear.
I want to say that again. This is in the
picnic scene and like little Tammy or Johnny or whatever
the hell's name is, he's falling on the one rock
that's in the middle of his fucking field and the

(28:34):
dog is freaking out and I'm glad.

Speaker 1 (28:36):
They this so they finally discovered his superhero or how
to use it. Like in the previous film, he just
flies away from the girl getting slapped wire the drunk
mom and.

Speaker 2 (28:45):
Like and then the kid later on is like a
petulant comic book fan. Yeah, you can't hear you.

Speaker 1 (28:51):
He does the bluetooth fucking symbol on the side there, Yeah,
like the Wi Fi symbol.

Speaker 2 (28:55):
But like as he's like leaving, leaving this kid, they're like, oh,
he can't hear you, and the kid go, he can
hear me. He has superhering. Yeah, like, oh Jesus, yeah,
that kid knows a shit.

Speaker 1 (29:05):
Calm down, ass.

Speaker 2 (29:06):
Yeah. Oh, there's a entuctive friend chicken of course. Yeah,
of course there's the Kentucky Fried chicken. But that they
should have had, as the kid go, you know what,
he doesn't have the ability to do telekinesis. They should
have picked one of the stupid things that from Superman
two that he can just magically do. Yeah, you know,
he doesn't have hypnotic kisses.

Speaker 1 (29:25):
Yeah.

Speaker 2 (29:27):
Lois cries herself to sleep every night. What are you
talking about? Jimmy, Oh, don't worry about me, don't worry
about how I know. I know.

Speaker 1 (29:34):
I mean then look, I mean we're in a world
where like so I flipped a head and we're in
the scene where like Richard Pryor's stringing this guy's fingers
so he can do all operate and the thing. And
it makes more sense practically mm hmm, and in character
than most of the three movies so far, as far
as like a scene and what happens and unfolds the
way it does.

Speaker 2 (29:53):
I mean, he's goofy and he's doofy, but like he
actually like be on computers. He actually shows like some engineity,
Like he seems like he's, you know, he's a getter.
He probably could get a better job.

Speaker 1 (30:07):
He's like, he's like one of the guys i'd be
like I have on my team. But then the first
thing I just remembered it is that like the first job,
we see that he embezzles an hour one of his job, but.

Speaker 2 (30:17):
He does it wrong. He does it wrong. He does
it wrong. Well, you're supposed to like embezzle it slowly
over time, I would imagine, like.

Speaker 1 (30:25):
You know, you know the only person you have respect
less respect for than someone betrays you as someone who
fails it betraying you.

Speaker 2 (30:31):
Right, And they don't. They don't explain it. They explain
it in How It Goes Wrong in Office Space, which
mentions this movie, and that's where they got the idea
that is okay, well, no, like in the movie they
say this was the citation for it. Yes, in the movie,
like the one of the characters like, yeah, Superman three,
and he's like, I thought, I remember this plot. Yeah cool, Yeah,

(30:53):
it's fantastic, but uh yeah I saw some status said
something like for him to make the amount of money
that he made in that first week, they would have
had to have had like sixteen million employees or something
crazy like that. Yeah.

Speaker 1 (31:07):
Yeah, that was a stupid amount of early ages money. Yeah,
Like he should have taken that check and gone and
fucked off.

Speaker 2 (31:13):
To the other side of the country with it. Mm hmm.

Speaker 1 (31:16):
Like this scam is gonna come out of there's no
way I can. Like, the whole point of the scam
was that it's supposed to be under the radar. No
no chance. Although although to be fair, we did we
came after them were pretty hard for having seemingly no
plan whatsoever to do with an embezzling employee. Afterwards, Like
a fair amount of the movie doesn't make sense, like
maybe if it was just that that heavy, Yeah, I

(31:36):
had to bring it right to I.

Speaker 2 (31:38):
Mean a great point of what doesn't make sense is
this whole sequence that's going on behind us where Richard
Pryor starts fucking with computers and then all of a sudden,
like people like just money is pouring out of ATMs,
like the Bloomingdale's bill is really really high and the
guy rubs the great fruit in the woman's face, which

(31:58):
you know clearly that that part, to me is like
old school slapstick. Angry husband sees a bill that he
is he didn't do. He blames the wife, but it's really,
you know, really Richard Pryor's computer hackery. I don't know
why any of this stuff is happening though, just except
to make chaos. This for just him screwing up and

(32:18):
trying to figure out his way of what he's doing. Yeah,
because he does. Look he is drunk as shit.

Speaker 1 (32:23):
No he is, yeah, he is. He has lit for
a portion of this movie. It is a very drunk movie.

Speaker 2 (32:28):
He does make a great little bit when he's after
Brad passes out and he's just like he's like, uh,
I fooled you to think, and I was drunk, and
he's just like falling all over the place and that's fun.
I just I do really like Richard Pryor in this movie.

Speaker 1 (32:43):
He does a great job. Like I can almost see
him leaving the set thinking, you know, I think I
did something there and having good hopes for it.

Speaker 2 (32:51):
If he was just thinking about what.

Speaker 1 (32:52):
He was doing in those things, because they even leave
alone for a couple of scenes where like, I'm sure
he felt great that day.

Speaker 2 (32:58):
Yeah, Yeah, I think that's what they wanted, and I
think he just went with it.

Speaker 1 (33:02):
And then the rest of the film got spliced in there, yeah,
which and that and that started to go wrong.

Speaker 2 (33:08):
He had to be disappointed because he had already talked
or he had he didn't talk about later how he
was hoping this would be his, uh, his launch into
dramatic roles, no, sir, And yeah, although.

Speaker 1 (33:21):
I don't know, I mean that may have been poor
planning in general. I don't I don't know to what, like,
none of what you saw in Superman one or two
should indicate to you that that like a dramatic role
is in your future if you do anything in Superman three,
there is no role here that will aid you in
your drama turn. Like, I don't know what the plan

(33:41):
was there. I can't imagine. I can't even imagine that
something just changed dramatically on set. Like that writer that
we were bitching about the other day got his way
too many times or something and something like that.

Speaker 2 (33:52):
That was probably just poor career planning.

Speaker 1 (33:55):
Yeah, producer, Yeah, this is his last right, like it
was all of them, Like, there's I don't think enough
change that that would qualify as just not great career
planning on his side.

Speaker 2 (34:06):
Yeah. Well, I mean he was, you know, apparently one
of the things that got him, that made them want
him in the first places him talking about how he
was excited to go see Superman two on Johnny Cars. So,
you know, I don't know, I think there was enough
in Superman. We'll take the one guy who wanted to
see it. Yeah, yeah, I.

Speaker 1 (34:26):
Mean all that's we're just full of shit as far
as that goes. Yeah, they don't hold up. Well, these did.

Speaker 2 (34:29):
These things made plenty of money for the time. Oh yeah,
even this one, you know, made sixty million on what
was it, thirty five thirty nine million. I've got it
written down somewhere. I mean they did fine, Yeah, I
did all right, They did fine enough for him to
make another one. But this is the last one the
Salkins had anything to do with, so.

Speaker 1 (34:48):
Which you would think would have been a good thing
in certain ways. I mean they had basically strangled anything
creatively that happened on first and second one. Mm hmm,
anything other than kind of their pet projects. They had
not made two you know, knockout movies, and the third
didn't do a bunch.

Speaker 2 (35:04):
Better like it.

Speaker 1 (35:05):
You could see the sacons leaving and all the stuff
that happened with the advertising coming in and out and
then having some major consequences that didn't that probably got
rid of a lot of the costs that they thought
they'd got, and just it went poorly.

Speaker 2 (35:16):
Mm hmmm.

Speaker 1 (35:17):
I would have thought for maybe had a fighting chance,
but it's not looking like that.

Speaker 2 (35:21):
Yeah, it just o fors awful.

Speaker 1 (35:24):
For was four is the kind of movie that, like,
now that we've sat and watched one, two and three,
I see how four made sense. Yeah, when we watched
Progression of Shit, Yeah, like, and when we watched four
Years ago. I thought four was like this kind of
weirdly aberrational thing, and it is not the case. Four
makes perfect sense.

Speaker 2 (35:43):
So that kid's name was Ricky, by the way, the
Superman little boy. Okay, the little boy you call hi,
Jimmy and Johnny. Yeah flippity flu Yeah yeah, yeah, I saw.
My wife sent me a picture of it, says Ricky.
So that's his name, folks.

Speaker 1 (36:01):
That will help us, that will help us.

Speaker 2 (36:03):
Yeah, yeah, little Ricky who never went did anything else
in his life and he's just now. So apparently there
was a kid.

Speaker 1 (36:09):
Actually, I mean, I don't know the prognosis. And most
of the people Superman saved here, we brought that too.
The girl with the cat uh huh. I don't know
what happened to her family. It's not looking great right
that second. No, I mean the Jimmy, the kid from
the Niagara Falls. He's dead in two weeks from some misaveners,
like like.

Speaker 2 (36:25):
I meant to tell you though, when that at the
beginning of the movie where he like runs into that
phone booth to say the drowning guy.

Speaker 1 (36:32):
Yeah, he saves the man the photo booth. Okay, yeah, yeah,
there's a yeah.

Speaker 2 (36:39):
The kid that he hands the picture to that is
the naked kid that played him in the first movie. Nice,
that's the naked boy. So you got to see him.
That's funny. You just didn't see his dick because he's
too old for that. Now. Yeah.

Speaker 1 (36:51):
Yeah, Notice notice how when he was when he was clothed,
he remained unremarked.

Speaker 2 (36:56):
In my head, I was like, oh, yeah.

Speaker 1 (36:57):
That that's true.

Speaker 2 (36:58):
You didn't even recognize he recognized I'll hang out.

Speaker 1 (37:05):
He just flopped it out, med and seeing like oh.

Speaker 2 (37:08):
You yeah, oh there you are. Yeah, there's also your
problem with Watchmen. You didn't You didn't recognize doctor Manhattan
unless he had his dick out, like oh that blue guy.

Speaker 1 (37:20):
It's just I never thought about watching Watchmen in like
black and white.

Speaker 2 (37:24):
But what the fuck? I thought the electron on his
head looked familiar.

Speaker 4 (37:28):
Yeah all right, Oh you got anything else to say
about the actual movie in terms of like strocture acting,
I don't.

Speaker 2 (37:40):
I mean it. Interestingly, We've got Lana working at the
UH at the Daily Planet. She may or may not
be engaged to Clark. That part's kind of ambiguous. He
never asked, but he did give her a diamond ring,
and they do seem romantically entwined.

Speaker 1 (37:53):
True, Well, that that's something I was saying, right. So
the cruelest part of how this this goes, like they
the end of this movie is just unnecessary. There's absolutely
no reason for the scene where they just put a
nail on the fact that Lana has completely taken over everything.
You know, Lois is absolutely.

Speaker 2 (38:10):
Relevant at this point in They brought her back just
to be like he's got a new lady.

Speaker 3 (38:15):
Now.

Speaker 1 (38:16):
Yeah, Like there's a couple of lines there for fun,
but I mean it's just they. But it's a weird
thing in Hollywood where you can have someone show up
and help you do the work of making not not
even just making fun of you, insulting you actively m hm.
Like it reminds me of like, you know, rumors and
having like people sing backup vocals on songs where you're

(38:38):
like tell it calling him a piece of shit for
cheating on you.

Speaker 2 (38:41):
Sure, it's a weird thing.

Speaker 1 (38:44):
I don't understand why do some extent people participate in
these things instead of say like no, I will be
there that day.

Speaker 2 (38:50):
Yeah, I know, contracts you're pretty much held.

Speaker 1 (38:53):
But I guess that's why that it's such a bullshit
environment in some way.

Speaker 2 (38:57):
I mean without that kind of shit, you don't get art. Yeah,
in the way of rumors anyway, right, yeah, like no,
what they're supposed to do. They gotta they gotta make
their art. Yeah, that's all falling out of a window
on some I like it because, like it is bad,
it's dumb. But I like it because he like lands
in the middle of the street and on the skis

(39:17):
and he just like uh laboredly turns around and looks
up and even he can't believe.

Speaker 1 (39:24):
In the cool Yeah.

Speaker 5 (39:27):
Yeah, yeah you should that. That's not how real life, man,
it all works. But okay, that's okay, Richard Pryor your
mere existence made it okay.

Speaker 2 (39:39):
Yeah, yeah, I thought the ending was atrocious. Uh, there
was no reason for that woman to become his awful sister,
to become a robot woman.

Speaker 1 (39:48):
No, No, I did not realize that was I've seen
that reposted recently, and that was why I didn't realize
exactly why.

Speaker 2 (39:55):
People were Yeah, I've seen people posting that they were
you know, oh, childhood truma unlocked. I remember this, Oh God,
and I'm like, why was this a trauma for you?
Of course I was watching ship like the Twilight Zone
that was way creepier and had like better effects in
some regards where it's just like you know, like Twilight

(40:17):
Zone like and even Old Star Trek to some degree
knew how to like show you just enough that you
had to use your imagination and be really truly freaked out.

Speaker 1 (40:25):
Yes, that's the point, though you'd leave it to the cut. Yeah,
the editor would make it scary.

Speaker 2 (40:30):
Yeah.

Speaker 1 (40:31):
Sometimes I thought they did. Hear though, Will in a
couple of scenes where they just left out the parts
that would have made it awkward.

Speaker 2 (40:36):
You know, and they got rid of her pretty quick. Yeah,
and then they pinned that lady by her crotch to
the to the side of the k and the just
vaginal uh sparklers as we've talked about. Even like looking
at Lana here in this scene where you know she's

(40:58):
on the phone but she's grabbed her crotch, Yeah, and
it looks like she's like just like oh, you could
just be like, oh yeah, she's just like hitched up
her dress a little to like sit down. But it
was like ride in her in her coup man. Yeah,
it was right there, like middle Finger in the Crees. Dude. Yeah,
she's doing laundry like right after this, Yeah, for sure,
Like she's talking to Clark on the phone. She's got

(41:20):
a knuckle on the clip and.

Speaker 1 (41:21):
Put some very uneven sheets in that dryer. It was
just such a thirsty movie.

Speaker 2 (41:42):
It was a thirsty movie. Yeah, it was. It was. Yeah,
she's always like looking over her shoulder and go back
in the go back in the kitchen, ricky. Yeah, mommy's
on the phone, Ricky. Lock these doors. It's been so long. Yeah,
the only man asking is Brad. I haven't been able
to bring myself.

Speaker 1 (42:02):
To that yet, and he can not get it up
like he thinks he can't.

Speaker 2 (42:05):
Oh my god, he's got whiskey dick all day. Yeah,
you can't do anything else because of those two front teams.

Speaker 1 (42:11):
My god, fans livers harder than his dick. Oh you're shitty, you're.

Speaker 2 (42:19):
What is the that thety cake? You know what? You know.

Speaker 1 (42:22):
To be fair, they didn't know he was coming and
they just did the best they could with short notice.
They made a cake. But at the same time they
got a whole plat. It's kind of hard to draw
out Superman simpl Yeah, I know, but like you've got
a whole platform and a giant. This is not an
entire procedure, and you just got to shoot a little cake.

Speaker 2 (42:39):
Small bas like Mayberry though they're like, you know, an't
be fixed up a cake. We got Superman coming to town.

Speaker 1 (42:45):
Yeah, well, she whoever was the cake specialist, laid out sick.
But the guys who build stages were feeling great that week,
so they did a fine job. Did they ever put
him in padding, by the way, for these.

Speaker 2 (42:56):
Roles in padding? Yeah, I don't think so.

Speaker 1 (42:59):
I'm gottest this to my Is he just in spandex
for this?

Speaker 2 (43:01):
Yeah? I think he's just in spandex. Like he actually
looks like he's in better shape to this movie than
he did for the Freeze.

Speaker 1 (43:06):
To right he does? Yeah, he looks amazing.

Speaker 2 (43:09):
Yeah, dude, I love this. I love the patent speech.
It's so stupid. I was Richard Pryor doing Patton. It's great.

Speaker 1 (43:17):
I think I would like it more if I watched
it right now.

Speaker 2 (43:19):
Probably again.

Speaker 1 (43:20):
I spent the first time he's doing it, you spend
the whole time just one more fuck he's up to?

Speaker 2 (43:23):
Why are you doing this?

Speaker 1 (43:24):
What are we doing here?

Speaker 2 (43:25):
Where does this end? Where does it get us? Where?
You just don't care where does it go? It's just
Richard Pryor doing I think, Yeah, I'm just enjoying the
performance basically, and when I.

Speaker 1 (43:34):
Forgot I was supposed to be looking for something and
just listening to it.

Speaker 2 (43:36):
It was good. Yeah. I mean, it's just like I'm
just like watching him go on and on and I'm like,
I don't know what he's getting too, because I don't
remember this from you know, the last time I watched it.
But uh, you know, he's He's a lot of fun
to watch it at the very least. And it did
come together, by god, came together a bit. Yeah.

Speaker 1 (43:53):
Yeah, I'm I'm glad they really let him just completely
off the hook when it was his turn to do
stuff on set, because it was the sound of doing
point of this. Yeah, it's certainly not the plot or
the fight between two Superman later. I don't even know
what that fight is. It's it's a it's a bludgeoning fight.
It like he just meets his ass for a while,
and then the one who's getting his ask beat kills

(44:14):
the other one, and yeah, and then they become one.

Speaker 2 (44:17):
I don't know. That was good and overcoming the evil.

Speaker 1 (44:20):
You didn't overcome the evil. You killed a man and
then magically the man became part of you instead of
a corpse you were responsible for.

Speaker 2 (44:27):
But they were both the saying they were split by
the weird kryptonite. Yeah you didn't know that when you
were choking them out, bitch he did.

Speaker 6 (44:34):
Yeah, maybe he did think any the consequences of that
way you were doing all these movies, do some weird
ship with that, Like in the last movie, you know,
he was in that in the chamber and Superman like
wilted and died as like Suave Kent came out like
Stefan or Kel, Like suddenly he's got the damn like
white shirt with.

Speaker 2 (44:52):
The I think I said the last time that like
I think.

Speaker 1 (44:55):
When the chest hanging out, when the clothes changed, when
he had I had to take a break, Oh last time.

Speaker 2 (45:02):
It's like hair, his hair changed and everything. It's like
a third person. It wasn't Clark, but it wasn't Superman.
It was just like suave MacDougall. Yeah, just pimping out
like I know, you know, I don't have many powers now,
but girl, what up? What? I love?

Speaker 1 (45:19):
The premise, The whole premise of this this scene, by
the way, was that he he would just pretend to
be a.

Speaker 2 (45:24):
General so that he could gift him something. Uh huh.

Speaker 1 (45:26):
And then for some reason Superman was gonna see the
rock and just be like awesome, and I just you know,
throw that somewhere.

Speaker 2 (45:32):
It's just strange. Well, he's not gonna do it, you know.
He took it, and he was like, okay, well across
the cryptonite. If it's not in lead, it's gonna make
him feel sick. So he knows it's not kryptonite.

Speaker 1 (45:41):
Oh yeah, sure, I hope I hope he knows that.

Speaker 2 (45:43):
But then he like picks it up and he's like
holding it and he feels normal. So he's just like, Okay,
this is just a weird thing that gifted me. It
just so happens to look like kryptonite. Yeah, uh, not
doing anything to me, you know. But then of course
he didn't know that there was you know whatever it
was zero point five eight or whatever that.

Speaker 1 (46:04):
Which is, by the way, not a single substance, not
a single substance at all. It's just another shouting him.
I really I really liked the uh the actor for
the villain that.

Speaker 2 (46:15):
Robert Yeah, yeah, oh he's good. He's done some good
voice acting stuff too. He's he's got a good voice. Yeah.

Speaker 1 (46:22):
I kind of wish while we were doing the actual
the sing along, I'll call I kind of wish I
had taken the time to estimate where I think I
would have had to have paused and taken a break,
you know, without people here to watch with me. Kind
of feel like if I just had to do this
alone one it would just be one pause, or would
I had to do this over a couple of days now,

(46:44):
I'm not sure. You know, it was a different experience
with without by yourself. Honestly, that second one is a
little daunting.

Speaker 4 (46:50):
M hm.

Speaker 2 (46:51):
At some point you got like the face.

Speaker 1 (46:54):
Christopher's making here, Yeah, when his Superman's being taken over
by dumb Superman or whatever the fuck that is.

Speaker 2 (47:00):
By evil Superman. Yeah, it was. It was like a
weird combination of red kryptonite and black cryptoize. Yeah, kind
of because it like turns some evil, but then it
also splits his personalities into two different beings that he
has to fight. You know.

Speaker 1 (47:11):
It was writer kryptonite.

Speaker 2 (47:12):
Yeah, it was weird.

Speaker 1 (47:14):
It was darkens his uniform and his eyelight. Yeah, like
absolutely significantly. Yeah, over time, really, it was.

Speaker 2 (47:22):
Like, well, well, well it looks like my version of Superman.
It's going to be the hot topic of conversation. I uh,
this is my new nominee for Come Deener from Sprockets
Easily pat to.

Speaker 3 (47:35):
My Monkeys Broken the The ongoing bit and by itself
is a funny joke, like it would it would make
for a funny three comic panel.

Speaker 2 (47:46):
We're wrong there, but the Tower of Pieza thing, the
Tower of Pisa.

Speaker 1 (47:51):
Uh, it's a funny one off joke to tell your
friend about. I would enjoy it very much if you
were and I made that joke together about wouldn't be
funny if this guy did this and this blah blah blah,
that would be funny. That's that should go. Yeah, it
should not be here, Yeah, it should not be here.
It should be like an SNL bit. Yeah yeah, but
I do love.

Speaker 2 (48:08):
When he like straightens it and he like spins around
to like fly past the guy and like just flicking
him off of Italian basically flicks him off at a time. Yeah,
and then the guy flicks him off. Yeah all that
was fun, Like, oh my god, that's it's wonderful. Yeah.
And then he goes and changes it at the end
of the movie and when he's good again but screws
the got twice. Yeah, fux him again. Yeah, he has

(48:29):
no sense of actual consequences. Yeah, I gotta put it back. Ahaha, Sorry, guy,
you should have waited, because Superman always comes.

Speaker 1 (48:35):
Back, like in the real universe. If this, if these
movies went on, there's a version of this in like
nineteen ninety four, right as like the authenticity Grave Hit
and Grudge Hit. Anyway, there's like a there's a nineteen
ninety three or four version of these movies if it
kept going into like Superman seven, Yeah, where he starts
to see that he was never really that good and
that he wasn't really looking for consequence. He was just

(48:56):
doing goodish things that he felt good about the whole time.
Well that he'll learn that the tower piece got killed
himself four weeks later.

Speaker 2 (49:03):
Right, Well, if we're talking about nineteen ninety seven, if
it had gone that far, like we would have, I mean,
they would have done the same thing when the Superman
movies that they did, and well shit, even in Superman
Too they did it, but it would have been like
Superman meets a lady and decides I shouldn't be Superman anymore. Yeah,
which is where this came comes from. That troupe comes
from Superman two. Yeah, like every movie, Batman's like a

(49:23):
middle lady. So I'm gonna go downstairs and pull this
big leaver and all the lights will go off in
the cave and I'll be like, never again, Alfred, never again.

Speaker 1 (49:32):
It doesn't completely even on an evolutionary level, it makes
it kind of makes no sense because in a way,
it's like, Ah, I'm glad I finally met the woman
of my dreams.

Speaker 2 (49:40):
What I should do is immediately do the least.

Speaker 1 (49:42):
Attractive thing, jettison the most attractive thing about myself out
the door.

Speaker 2 (49:45):
Mm, Like, well that is how things work generally effectively. Yeah, yeah,
you don't how many guys.

Speaker 1 (49:51):
Yeah, intend to cut off their tails after.

Speaker 2 (49:53):
They've met my god. Yeah, Like when I was in college,
I knew so many guys that were musicians. We're around
and they're badasses, and like all the ladies liked him
and ship and then like they met some girl and
then all of a sudden, like they stopped touring and
they're like living in you know, some awful place and
they're like getting rid of all their shit. I'm like

(50:14):
all the stuff that you like. No, no, no, we're
not doing this. Yeah you need a guitar strap. No no,
I don't play anything. All I've got left to the strap.
Just stares at it in the middle of the night. Yeah,
in silence. It's like crammed in the nook under the stairs.
Yeah yeah, yeah, it's not open. It takes the cover
off the vent to pull it out to look at
it at night. Yeah. It was especially bad, you know,

(50:36):
in our circles, because you know, we were in like
Christian circles, like Baptist campus ministry circles, where it was like, nope,
she's gonna have her farmhouse with her pastor you know, bullshit.
And we can't have a superman's anywhere in the house.
You don't get a man space unless you mean the
place enter the stairs. It's just weird, weird, weird culture.

(50:58):
It's a weird culture down here in Alabama, Liberta least.
I don't know, let us know if you guys have
that culture and other parts of I'm sure the Bible
belt is heavy with that. It it is.

Speaker 1 (51:09):
I mean, and I know there's a lot of sitcom
trappiness about manned spaces going back to the beginning of
sipcon trappiness.

Speaker 2 (51:16):
But it's not.

Speaker 1 (51:17):
It does have a different flavor in here. It executes differently.

Speaker 2 (51:20):
Yeah. Sure, well there's generally more of a farmhouse esthetic too. Yeah,
but yeah, but yeah, that's exactly what I'm saying. It's
like the jettison the most important, you know, the most
attractive part of themselves, and they'll be like, well, he
don't play unless it's for the youth in the church.
Sometimes he'll pull out. He becomes Reverend Tim Tom from
the middle. Yeah, you know, Pete Holmes, a guy like

(51:41):
come on, well, I'm gonna come in here and I'm
gonna think about Jesus and uh secretly lust after the
girls are about to turn eighteen, Oh my goodness, they
could have pulled the set design from the exact canyon
outside of the Batman sixty six. Or they're watching the missiles.

Speaker 1 (52:00):
Yeah, it looks like they went down the road from
the entrance to the bat Cave there.

Speaker 2 (52:07):
I don't remember the bat Cave having missiles like that though. No, No,
I do wonder if that was filmed out there. It
genuinely looked like it reminded me of the same thing
kind of also just look like a said, yeah, very
much like a little miniature, like a little miniature.

Speaker 1 (52:20):
Yeah, absolutely, but it this this scene reminds me so
uh yeah, look at that guy.

Speaker 2 (52:26):
The Atari Superman the game that should had been Yeah,
Atari made that apparently made that graphic and had a
game that they developed and they never released it for
whatever reason.

Speaker 1 (52:40):
Pure cussedness and devilry. I don't know, man, that should
have been released. I don't know the joy on that
villain's face as he I should I should have heard
stories about my parents experiencing that joy in arcades. Yeah,
like that looked I mean, you know, ship that looks
that looks good. I mean even the graphic as they

(53:00):
designed it, there is legitimately they are that that was
a workable design enough for an arcade.

Speaker 2 (53:07):
It would have been fun.

Speaker 1 (53:08):
What do you think about The big loss of this
movie is the fake game inside it? It should have
been made a real game apparently was.

Speaker 2 (53:14):
I somewhat think the big loss of the movie is
the setup that they had for Like, what was the
point of making hot girl a super genius behind everyone's
back and then they never did anything.

Speaker 1 (53:25):
But the only payoff that I found for that at
all is at the end she knows to GTFO faster
than frog Face.

Speaker 2 (53:33):
Yeah that's it, Yeah, she does.

Speaker 1 (53:35):
She does a whole download of information about why it's
gonna blow up and then says, get out of here,
frog face or whatever the fuck.

Speaker 2 (53:40):
And that's the payoff for the whole thing. Here's what
I like. Okay, the Komaks cable was gonna blow up.
I think she said, I like that the younger sister,
the benbo blonde, and the black guy that he brought
in were all smarter than the rich white guy. Oh yeah, yeah,
I like that they were all smarter than him. He
was the idiot the whole time.

Speaker 1 (54:00):
Yeah, yeah, he and I don't genuinely think he doesn't
purport himself to be anything other than a red idiot
with money and a plan.

Speaker 2 (54:07):
Yeah. And that was like a little subtle dig that
they you know, they didn't make a huge thing out
of that. They weren't making that specific point. But when
you think about, like, you know, everyone that the Robert
Bond's character surrounds himself with our you know, in nineteen
eighty two or three or whatever, it was generally considered
to be you know, a minority or a you know,

(54:30):
put up on person. Oh yeah, they're all smarter than
the rich white guy.

Speaker 1 (54:35):
Well, even in this version media, we weren't.

Speaker 2 (54:39):
We were around the era of.

Speaker 1 (54:41):
Like nine to five and Dolly riting songs about dun
blonde and like. Well then chant one called that like it.
That idea of subversion was probably very ripe around here.

Speaker 2 (54:51):
Yeah, yeah, I just enjoyed it. There's the rock rocket. Yeah, nicely.
My wife called attention to that during the common terry.
By the way, the commentary is available for five dollars patrons.
It'll also be available if you just want to pay
three bucks for just the commentary. You can watch it
while you watch this awful, awful movie.

Speaker 1 (55:11):
It like the movie bounces between rated X and.

Speaker 2 (55:14):
G right right and for spot you actually get to
hear our wives laughing, grimace and go no, we say
terrible things. That is true.

Speaker 1 (55:25):
Yeah, you hear the actual reaction I get in the
house when I say stuff.

Speaker 2 (55:28):
You get to you get a little piece of what
we we live.

Speaker 1 (55:33):
My wife's resigned no, no, don't do that.

Speaker 2 (55:39):
And my wife's boisterous laughter. Yeah, because she likes when
I'm awful. If she didn't she wouldn't have married because
I'm awful all the time.

Speaker 1 (55:50):
Mine has this classic knee jerk reaction where like that's
her version of saying something's funny. Sometimes it's just to
tell me never to do it again, Like oh, that's good,
that's good, that's good. Stop stop a secret code.

Speaker 2 (56:03):
Yeah stop. Oh that's terrible, that's the worst.

Speaker 1 (56:07):
That is a version of laugh that.

Speaker 2 (56:08):
I'll always remember this because it was so funny.

Speaker 1 (56:11):
Yeah, genuinely, there's that that particular action reminds me of
like the breakup of the Mandy War era of Scrubs.
It's like, laugh, don't you say it's funny? Laugh?

Speaker 2 (56:23):
I don't remember that. That particularly reminds me of Seinfeld.
Of course, all everything reminds me of a Seinfeld. True.
He's like he's dating a woman who just goes that's funny.
He's like, no, I'm a comedian. I need to hear
the laugh.

Speaker 1 (56:37):
Yeah yeah, same true yeah.

Speaker 2 (56:39):
So uh yeah. At the end of this movie is
just a blur of beams. We don't know what the
hell is going on. There's a blue beam or the
white beams. I can't tell what the beams are up to.

Speaker 1 (56:51):
I mean, I think the green beam is roughly Superman shaped,
but other than that, it's it's the rest of them
just are beams for beams sake.

Speaker 2 (56:58):
By the way, you mentioned that no children got beaten
in this movie.

Speaker 1 (57:01):
Now they didn't.

Speaker 2 (57:02):
What what child got beaten? Wait?

Speaker 1 (57:04):
Wait h was it beaten?

Speaker 2 (57:06):
Where?

Speaker 1 (57:06):
Where was it in this movie?

Speaker 2 (57:07):
There's some there's some active child violence somewhere in this movie.
I kid well, Ricky is it wasn't a field, but
like he landed on rock, the one rock that was
in the middle of that feat That was true.

Speaker 1 (57:18):
He did die from head and that was just him,
completely unassessed and unattended.

Speaker 2 (57:22):
That was just him. He just did that ship. God,
I wish I could remember it.

Speaker 1 (57:25):
It wasn't it wasn't that a child got hit. It
was that there was like a third act of just like, oh,
just like violence against the child that didn't have to happen.

Speaker 2 (57:33):
I didn't see another I didn't see violence against another
child in this movie. What I did see is Richard
probably throwing rocks at a donkey who didn't deserve it.
That definitely didn't have to Like He's gonna ride this
donkey all the way down the canyon, breaking this poor
Donkey's back, you know, all the satchels and ship, and
then they get down there, and then he's gonna throw
rocks at the donkey because he doesn't want the donkey

(57:53):
to follow him.

Speaker 1 (57:54):
Yeah, maybe sad dude, which I mean.

Speaker 2 (57:57):
We just see the donkey, see the rocks the donkey.
So I'm assuming no animals were harmed in the making
of this film.

Speaker 1 (58:03):
Yeah, I assume a producer scream like an ass off scream.
Sure problem they From the donkey's perspective, this is this
is a tragic tale.

Speaker 3 (58:11):
Though.

Speaker 2 (58:12):
He's brought downstairs presumably I hate a notes going on.

Speaker 1 (58:16):
He just told to go, and then he gets down
there and the guy abandoned and he was walking by him,
like where are we going? You brought me all over
down here, what have you?

Speaker 2 (58:21):
And then just throw a right on my face, just
a loyal donkey. Yeah, Richard Pryor biting Robert Vaughan's thumb.

Speaker 1 (58:29):
And just the most knocking him out, and Harry Curly
and mow thing.

Speaker 2 (58:32):
And in all of the movie somehow Wait, I'm pretty
sure Robert Vaughan just dies. I don't remember seeing what
happens to him after this. I know the place blows up.
It might just be that he did make it.

Speaker 1 (58:43):
They got the did they get all the ladies out?
I don't remember who makes that movie. I stopped paying
attention to what was happening. Consequentially, no one else in
the film seemed to care, including the writers and directors.

Speaker 2 (58:54):
I did so much.

Speaker 1 (58:55):
You need to invest myself. Some really cool sets though,
Oh the sets were phenomenal though.

Speaker 2 (59:00):
Like the underground computer center hub whatever it was, looks
like straight out of Bond. It's really cool looking. That was. Meanwhile,
they have that, but meanwhile they've got like the actual
buildings here in the city looked like cardboard ship. Yeah,
they looked like a monster's about to knock it over

(59:21):
in Power Rangers or something. Superman super again?

Speaker 1 (59:24):
Do you know that? I mean, I lost track of
the timing. Was he good again at this point? I
don't know if they could.

Speaker 2 (59:29):
He's good at this point?

Speaker 1 (59:31):
A printed in other days worth of I guess.

Speaker 2 (59:33):
The subway just went dark, and the guy in the
hat with the flowery shirt just looks like a fucking
watcher from Fringe. Dude called weird looking. I don't know,
he looks like, what's that guy? The guy's playing Metamorpho
right now. I couldn't remember his name. Anthony Carigan, Yeah,
well done.

Speaker 1 (59:51):
I was gonna say, soho, Barry is that his name
on this show?

Speaker 2 (59:57):
I think it was Barry on Barry. No, No, No,
his name wasn't so Yeah, that's right. His name wasn't
Barry too, thank you. For some reason, I was thinking
it was like a knockoff Berry version. Oh No, Zaz
would be an easy one to remember for me. Yeah, Saz, who.

Speaker 1 (01:00:13):
He was equally good at. I've never seen that man.
Do I have anything wrong on screen?

Speaker 2 (01:00:18):
Yeah? He even had.

Speaker 1 (01:00:20):
I think it's on Gotham.

Speaker 2 (01:00:22):
He had no way, the way Reeve pimps off, the
way he like walks out of that he like, yeah,
the cocks the energy shaft is. He's like hobbling out
holding his arm, and she's like, Superman, don't leave us
or whatever, and he just like looks back at her
and I swear it's just like understood, bitch, and he
like just runs away.

Speaker 1 (01:00:42):
Yeah, where do you get one? Where does one acquire
one of those seventies rich Dude Jackets?

Speaker 2 (01:00:49):
Seventies rich dude Jackets. I think you just you know,
go into a uh you pretend to be part of
the staff at a golf club and you just steal one.

Speaker 1 (01:01:02):
I've been in some golf clubs. I've never seen anything
near of that classic.

Speaker 2 (01:01:04):
Because he either looks like he's a doctor. He either
looks like he's a doctor, or he looks like he
is part of the wait staff.

Speaker 1 (01:01:14):
A little, yeah, a little, you know.

Speaker 2 (01:01:17):
He looks like here, he looks like the captain from
the Love Boat. Very much, so, very much so.

Speaker 1 (01:01:21):
I I've seen this clip of her a couple of times.

Speaker 2 (01:01:25):
It's just it's stupid every time. Like the cyborg it's
Cybeborgs is ridiculous. Yeah, she's just blasting him. I mean
she's sick of his ship too. Yeah, like she does.

Speaker 1 (01:01:36):
She hits the other lady right right in the vagina,
hits him right in the fucking eyes.

Speaker 2 (01:01:40):
Just yeah.

Speaker 1 (01:01:41):
The thing she despised about both of them the most.

Speaker 2 (01:01:43):
The thing that she, yes, she hates about both of them,
than both of you.

Speaker 1 (01:01:47):
At your vagina, at your face. She's still at their
pinned ben By the ways, it's it's.

Speaker 2 (01:01:52):
A little three D mesh of Superman on this computer.
They took the time to put the s on the
back of the cape.

Speaker 1 (01:01:59):
A weird until it like the end of this climax
that I just don't know. It's a it's a hard
movie to like wrap up, but like they I don't.
I still don't fully understand what happened. I mean, well,
there were lasers, Superman stopped it. Yeah, I I do.
It reminded me of a right, so this will this
will be some shade against the across the Spider Verse
or across the York or whatever.

Speaker 2 (01:02:20):
What's the end of the Spiders into the Spider Verse?
The first one? How are you gonna give ship to
Spider Verse? I'm curious.

Speaker 1 (01:02:28):
I said it was gonna sound like that, but hear
me sound like that, so it's not actual shap Yeah,
so this climax reminds me of it, though in a
way that doesn't work out, so it's hard. So like
in that, I think it's in the first one, right
where he goes into the like the big quantum machine.

Speaker 2 (01:02:42):
Oh he went by the way he destroys it using
that acid from the.

Speaker 1 (01:02:45):
Front, Yeah, from because because writing.

Speaker 2 (01:02:47):
Right, I mean, I've seen worse.

Speaker 1 (01:02:51):
They finally found some Superman four happens.

Speaker 2 (01:02:53):
Yea that god, Yeah, I don't even know. I don't
even remember like that. I don't think that makes sense
at all. I kind of to watch it. Part of
Superman two didn't make any sense. I really sure.

Speaker 1 (01:03:02):
I want to give someone for another try now, just
be sure, Like I want to see if it was
as bad as I think it is in context, but
in uh in the Spider Verse movie. So you go
in and like the whole climax, most of the action
is just that they're in a giant machine and they're
all kind of reacting visually, like it's more storyboarding that
it is story for a chunk there, but that can

(01:03:25):
be done well or poorly. Like there's nothing like go
go tell someone what happened in that scene for about
seven minutes hard to really it was a big fight,
it was you had to be there, you know, sure
this this whole climaxes you had to be there, but
would know, but it wasn't worth it to be there.

Speaker 2 (01:03:40):
Mm hmm. Like that that is a very big difference.
I don't know. I don't know. I still think Richard
Pryor is enough, but he's not in this scene. He's
not in this scene. Watching the rest of the movie
is worth it because of Richard Pryor.

Speaker 1 (01:03:51):
Yeah, I still think overall it is a better hang
than two for sure, and I think possibly than one.

Speaker 2 (01:03:59):
I think, not willing to go there with it.

Speaker 1 (01:04:01):
I think there's a chance I would watch this one
again before I watched that the other.

Speaker 2 (01:04:04):
Two it's got I think it's got more rewatchability because
of Richard Pryor. Yeah, that's it. Yeah, that's the only
real that's the only real reason. Wh Actually, Jeene Hackman,
it's really good in that other one first.

Speaker 1 (01:04:15):
But the first he's so good, but the movie barely movies.
He just crawls it. It doesn't remember it's supposed to
do anything for an hour and like that, so harsh man.
I wrote down the.

Speaker 2 (01:04:30):
Time we all did. But it was harsh. It's harsh,
you know.

Speaker 1 (01:04:34):
It's a classics. I do believe that's harsh, I know,
And it's a certain kind of story structure that just yeah,
I'm making fun of it against it.

Speaker 2 (01:04:43):
I'm fine with the slow pacing for the most part.
I'm like, I'm hitting from a different wet class on
that I know, but so rough. But you know, me
and me and Bethany are gonna watch Superman four. Yeah,
so if you uh, you know, after a Gun's Superman
comes out if you want to snot on up and
do a do a like a nine years later or

(01:05:03):
ten years whatever. The fun it was.

Speaker 1 (01:05:05):
Yeah, that's been a minute.

Speaker 2 (01:05:06):
Yeah, it's been something nine ten years since we since
we talked about Superman four. We've changed a fair amount,
so I'm sure we won't like it more.

Speaker 1 (01:05:16):
But it was a it was a shared review then too.

Speaker 2 (01:05:20):
With Scott Madison. Yeah, I believe I think so. Yeah,
yeah it was Madison. Was Madison? Scott Madison? Yeah, I
couldn't remember. I remember that was a crosser event of
some kind, but God help me. It's been a minute
on that one.

Speaker 1 (01:05:32):
Scott and Madison and it was it was the particularly
bad movies we hit at that time.

Speaker 2 (01:05:37):
Mm hmm. Yeah. We did a crossover close to then
with uh Squadcast.

Speaker 1 (01:05:43):
Yeah, the Batman and Robin which dude, squad Cast is ending.

Speaker 2 (01:05:46):
Did you see that? I did. They're wrapping her up.

Speaker 1 (01:05:48):
Oh they're gonna pull a Mark Man.

Speaker 2 (01:05:50):
They're they're they're not only that, they're taking their ship
off line. What why, I don't know. I guess because
they don't want to pay the lips in okay, because
they've been doing lips in all this time. Yeah. Tim
sent me the audio for the first part of our
Batman and Robin review, So, uh, you know, here in
the coming weeks or months or something, I'm gonna i'll

(01:06:10):
post both together.

Speaker 1 (01:06:12):
It's fair as a Batman and Robin review.

Speaker 2 (01:06:14):
That's fair. Just be like, hey, we were part of that.
Don't take that part of we had part two? Damn it?

Speaker 1 (01:06:23):
Yeah true, all.

Speaker 2 (01:06:24):
Right, you want to do some trivia? Yeah, that all right.
Christopher Reeve threatened, he said, you didn't want to come
back for this film, Uh, to protest Richard Donner's firing,
and he hated the script. Yeah. I feel like that.

Speaker 1 (01:06:36):
At some point I realized that the Richard Donner firing
was an excuse they were using to not come back
to these spaking films.

Speaker 2 (01:06:42):
The film was already in pre production. The producer scrambled
to find an actor to play Superman. John Travolta was
approached but declined. Jeff Bridges and Kurt Russell were also concerned, considered,
but they were they weren't interested at all. A few
days after filming was set to begin, Uh, the Salkind
settled on Tony Danzel up as Clark. Kent and Superman.

(01:07:02):
Richard Lester was mortified with the casting of Danza, pleaded
for Reeve to return. Reeve eventually agreed if he was
allowed to change the script. The producers agreed he didn't
change it enough.

Speaker 1 (01:07:15):
I'd say, well, I do want to see it before
and after? Did he make this worse or better? Did
he insist on stuff?

Speaker 2 (01:07:20):
And then I well, we know that originally the script
and I'll get to this, I guess in a minute.
But yeah, they they this was gonna be like Brainiac
teaming up with Mystery Mix. Yes, spit Lick and Mix Mix. Yes,
Spilick was going to be played by Dudley Moore. I
see a drunk little imp Superman.

Speaker 1 (01:07:46):
I'd like to see that script.

Speaker 2 (01:07:47):
But but they were also going to introduce introduce Supergirl,
except she wasn't gonna be his cousin. She was going
to be his love interest. No. They they were just
all about like, Okay, let's let's set up the next thing,
the next franchise, but also like fuck you Margo.

Speaker 1 (01:08:08):
Yeah, well I don't know, like.

Speaker 2 (01:08:11):
It always gonna bonus calls. I mean, she's Margo.

Speaker 1 (01:08:15):
But there's also just they had every woman in these
films threw themselves at chrisphe Yeah, as long as he's
not Clark Kent.

Speaker 2 (01:08:24):
Yeah, well some of them me. If you d a
lot of.

Speaker 1 (01:08:28):
Lona was about was all about Clark, was all about Superman.

Speaker 2 (01:08:32):
She like she really is the true one.

Speaker 1 (01:08:34):
Yeah, because, like Margot Kidder like, that's a funny, funny
thing about that. The big speech at the end of
that she's crying over is like she's gonna be left
with Like imagine someone crying because they were gonna get
rid of the half of you that they liked, and
you're like, so you're just left of the half of
like the half of me that I remember that I
am a part of is so bad that I'm just

(01:08:55):
giving you two Okay, I don't think I'm gonna be
in don't.

Speaker 2 (01:08:58):
It's just a rough scene. Altogether, it does seem like
she's like really into Superman, but at the same time,
like I can see an interpretation where she's just like,
I'm excited because you're Superman, and I like, you know,
Superman hanging out, that's really cool, thanks for coming and
seeing my master child. And then you know she actually
genuinely likes Clark, and that's a nice that if you

(01:09:19):
look at it that way. That's a nice juxtaposition from Lois,
who was like, you know, oh, Clark, you're okay, but
Superman is the real thing, you know, And then Lana's like, no,
I genuinely just like Clark, you bitch both. I'm good. Yeah,
She's also that might be the universe.

Speaker 1 (01:09:36):
Definitely.

Speaker 2 (01:09:37):
That might be one of the most misogynistic things in
the movie is that Lana is just kind of almost
throwing herself at both Superman and Clark. She's just like,
I'm a single mom.

Speaker 1 (01:09:46):
I mean, yeah, I guess, but like from the lower
from the Clark or at least she's not dating Brad
true actively, I just realized it always looks like he's
just head swim goggles on the entire movie. It does, right, thanks,
he had swim goggles on the internety.

Speaker 2 (01:10:02):
Yeah, okay, we've already talked about Lois twelve twelve lines.
Screw her, that's what they thought. This is the first
time Christopher Reeve had top billing, and uh Reeve was
not happy with the film and often expressed in interviews
that he was mostly disappointed and how it turned out.
He initially swore never to play the role again, saying
he was aging out of the role. He was persuaded

(01:10:24):
to make Superman four in exchange for more input on
the script. How did that work out? This is like
when I think we talked about this before. Rob was
just like the more creative input Reeve has the worst
the films get. I'm not sure that's his fault, but
it's sort of like, you know, in Star Trek Nemesis,
Patrick Stewart finally got like creative control to some degree,

(01:10:45):
and he's like, I want to drive a dune buggy
and they're like, all right, this is a mistake. Like
that's a weird sequence. We made an air. When it
was first revealed producers that Lana Lane would be a
single mother, a comic book was quickly written explaining how
Lana came to be in that situation. How do you think?

Speaker 1 (01:11:09):
Yeah, had to have it on paper though, in case
someone looked up her you know, horrors backstory or whatever.

Speaker 2 (01:11:15):
God, Yeah, we talked about that. The scene where Superman
straightened the Tower of Pisa. H what she's doing as
we speak, that was originally planned for Superman too. I
guess that maybe the Kryptonian villains we're gonna do that
as part of their bullshit. Yeah, yeah, maybe I don't know.

Speaker 1 (01:11:34):
See that would have made more sense though, if they
had done it and then he was just trying to
correct it later by putting it back m h, instead
of in this case where he's just to douce you
to this gutch wwise.

Speaker 2 (01:11:44):
Yeah. Robert Vaughan once said in an interview that after
the film was released, he decided to no longer show
up at his son Cassidy's school because the students were
horrified that he almost killed Superman. Wow.

Speaker 1 (01:11:56):
I thought that was going into like he decided to
no longer show up in his son's life out of shame, but.

Speaker 2 (01:12:00):
Like because the movie sucked. Yeah, but no, he just
used it as an excuse. You know. His son was like, Dad,
I'm sixteen. Everybody knows what an actor is. And he's like, nope,
the kids will be distraught. I guess I'll just sit
back and watch my program.

Speaker 1 (01:12:15):
No, he's just drunk at nine forty five in the morning,
can't gus son?

Speaker 2 (01:12:19):
Canah, I go, I can't go. Almost killed Superman. So
it's fourteen years ago, dad, oh man. Yeah, it was
a return of the Jedi and Octopusy came out around
the same time, and is to believe that it cut
into the profits. But it still wasn't a flop. Everyone

(01:12:40):
says it was a flop. It wasn't ye, not on paper. No,
people on the internet don't know what the fuck they're
talking about. As usual, flop.

Speaker 1 (01:12:48):
Does not mean you didn't like it, and that is
not say that as a person on the internet.

Speaker 2 (01:12:52):
Yeah yeah, oh, and that a tool admitted to being
a big fan of Common books as a child and
was thrilled to be cast as Lana. I mean, there's
got to be I mean she was clearly happy enough
to come back and be on Smallville for most of
this run. Yeah yeah, uh. Ilia Salkin's first outline of
the script for Superman three included Brainiac and mister Mixya

(01:13:15):
Spitlick teaming up, included Superman meeting Supergirl, who, unlike her
comic counterpart, would not have been his cousin, leading to
a romantic relationship to develop between the two. Dudley Moore
was miss I can't say that name Mixy Spilick. Some
days I can say it really will, which would have
been a more malicious take on the mischievous original Brainiac
would have been portrayed as romantically interested in Supergirl, creating

(01:13:38):
the basis for conflict with Superman. So Brainiac was horny too,
and that script.

Speaker 1 (01:13:44):
It's like, there's I'm just occasionally I remember that this
was the late seventies, eighties and a lot of cocaine
was in a lot of rooms.

Speaker 2 (01:13:54):
Warner Brothers rejected the script, which sal Kind attributed to
the script being too quote unquote five for their taste,
leading to the other characters exclusion from further drafts. Yeah. Yeah, yeah, well,
well we'll watch Supergirl with Slater that came out in
the next year, eighty four. Yeah, we'll watch that ship

(01:14:15):
for a bit before Supergirl comes out the new movie.

Speaker 1 (01:14:18):
Yeah we should definitely. Yeah, let's save that one for
that one.

Speaker 2 (01:14:21):
But yeah, oh yeah, absolutely, we've never reviewed that one before.

Speaker 1 (01:14:23):
Yeah, no, that's that's perfect.

Speaker 2 (01:14:25):
Richard Pryor hated filming the flying scenes as he had
a fear of heights. Yeah. Yeah, oh dude. According to
the writers, the original choice to play Ross Webster was
Alan Alda. H h I want that universe just to
have Bill Hayter talking about Superman as Alan All.

Speaker 1 (01:14:44):
Yeah, he would have done a great job, but I
won't take away from this guy that he mentioned nothing.

Speaker 2 (01:14:48):
They wanted an actor who could be ruthless without losing charm.

Speaker 1 (01:14:52):
I think they got one.

Speaker 2 (01:14:53):
They also uh Ilias Salkind also wanted Frank Lengela, who
played Perry White and Superman Return and Skeletor the original
Masters of the Universe. Jesus okay, they used seventeen tons
of salt on that on that ski slope. Really the way, Yeah,
seventeen tons of salt. The original title was Superman Versus Superman,

(01:15:15):
and the producers of Kramer Versus Cramer threatened to sue,
so they Jesson the Superman three, one of Pierre Spangler's
last suggestions Superman also called Superman, called Superman three Jesus
clos Superman comm up but two mm hmm. Christopher Reeve
asked his father not to watch this film or Superman four.

Speaker 1 (01:15:41):
Oh that's rough, dude.

Speaker 2 (01:15:45):
Richard Lester didn't want to come back.

Speaker 1 (01:15:47):
I know I've heard that part.

Speaker 2 (01:15:49):
Richard Lester didn't want to come back, but then he
loves comedy and he heard that Richard Pryor was coming
in and he was like, oh God, and he's got
to work with he had to come back just to
work with Richard. I get it, I get it. I
would have. I would have.

Speaker 1 (01:16:01):
I would have done anything to get in a room
with Richard Pryor at that time if I was, if
I was back there. But but Dad, please never watch
those is a rough that that's a rating. I wrotten
tomatoes that you can't really get across.

Speaker 2 (01:16:13):
Yeah, you may not have caught all of this, I
hope not filmed in Calgary, Alberta, home of Canada's because
it was home of Canada's first Kentucky Fried Chicken franchise. Oh,
it includes multiple KFC references. The Metropolis Computer School payroll
is handed handed out by a man in a Sanders
style goatee. Gus walks past a Smallville display with Kentucky

(01:16:34):
Colonel outfits. Gus drags the intoxicated Brad past the closet
whose open door shows a bag hanging full of KFC items,
and Gust uses a chicken in the bucket. Secret recipe
analogy to explain to Ross why the fake Krypto Night
didn't kill Superman. I missed the first two. Yeah, the
previous film. You can't help In the previous film, though,
a KFC employee in Metropolis is carried off by the

(01:16:55):
super breath Windstorm during the three on one fight. I
think I mentioned that in the commentary. Yeah, Richard Pryor
was paid four million dollars, which was the biggest ever
salary for a black actor. Eddie Murphy beat his record
when he was paid double the amount for Beverly Hills
Cop two in nineteen eighty seven.

Speaker 1 (01:17:11):
Never tharned that more. Yeah, he was the only thing
in this movie that was worth four million dollars.

Speaker 2 (01:17:19):
At around forty nine minutes, this movie features one of
the first appearances of an ATM in a movie.

Speaker 1 (01:17:24):
Oh, I guess that is huh.

Speaker 2 (01:17:26):
I just threw the name up there real quick. Right, Okay,
you want to guess how long Margo Kidder worked on
this film? Fourteen minutes it says, total of five days. Yeah. Yeah,
this was made when Richard Pryor was heavily into his
cycle of cocaine addiction. No, I would have guessed that.

Speaker 1 (01:17:45):
Yeah, Well, I say that he actually looks great on
screen as far as that goes, I don't see like,
I don't see about a bunch of like, oh my god,
he doesn't look healthy. Yeah, but there was just like
a chunk of like a decade I think for him
where that was an ingredient somewhere in the mix, I
think mm hmmm.

Speaker 2 (01:18:03):
Jennifer Jason Lee was originally set to beast a lot
of Lang, but she turned it down because she was
too young. Well, no, shit, yeah, it would have been weird. Yeah. Also,
I don't like Jennifer Jason Lee. She always looks weird
to me. She's got a weird sensibility in her acting.
I don't know, I don't like crap. Now, she's got
kind of a cure sedgew thing that I just don't
care for. Oh Lee all spelled weird Mm I know, hurt?

(01:18:28):
Yeah yeah, where I mean, I've seen that face before.
This was the twelfth biggest grossing film in North America
nineteen eighty three, but it was released in the year
of Superman's forty fifth anniversary. H alright, let's see. There
are five attributes that make this film among the unique
amongst the Christopher Reeve Superman movies. It was the only

(01:18:50):
one not to have an opening credits in space, thank god.
H the only one without any nuclear weapons.

Speaker 1 (01:18:56):
It's a weird thing to try to do Okay, this
is the only.

Speaker 2 (01:18:59):
One which Gene Hackman, Susannah York, and John Hollis do
not appear. Okay, the only one not to have the
Fortress of Solitude and the only one not to have
romance scenes with Superman and Lois Lane.

Speaker 1 (01:19:11):
It did have a roman scene, did it, Yeah, But
Lois had the ending of the romance portrayed violently on
screen for the rest of us.

Speaker 2 (01:19:18):
Oh no, they didn't even acknowledge that ship, dude, That's
my point.

Speaker 1 (01:19:21):
I think they acknowledged it so hard that I saw her.
I saw it die in her eyes on the screen.

Speaker 2 (01:19:26):
She did have like a little there was like a
little death rapp They do.

Speaker 1 (01:19:30):
They That's the weirdest part about that scene for me
is they do stop to have her mourning.

Speaker 2 (01:19:34):
There was something there.

Speaker 1 (01:19:35):
She was like, oh yeah, and then they just like,
all right, that's a part.

Speaker 2 (01:19:39):
Of her in the back of her mind that she's
not totally conscious of it.

Speaker 1 (01:19:42):
Yeah, she was not cool with all that for some reason.
And then just it just moves on and we just
closed the movie.

Speaker 2 (01:19:47):
It's oh this that, here's something cool, all right. I
think I kind of mentioned a little bit of it
in the commentary The song Earth Angel by the Penguins
is played during the Smallville High School reunion dance attended
by Ark and Laanna. It was also played during the
Enchantment under the Sea dance at Hill Valley High School
on November twelfth, nineteen fifty five. And Back to the Future.

(01:20:09):
Mark McClure, who played Jimmy Olsen, also appeared in that
film as Marty's older brother Dave. No. You know, all
these years, I'm a huge Back of the Future fan. Yeah,
huge Superman fan. Never connected that Jimmy Olsen was Marty's brother,
Dave No, I wouldn't know. I'm pretty sure in the
first film he works at KFC.

Speaker 1 (01:20:31):
That's fine, that's good. I had the I kept drugging
that the only other notable music here. Yeah, so's the
John Williams score. And then you have the slapstick section,
just phoned in slapstick music. And then you had like
a decent they brought it. They bought a decent soundtrack
to the to the movie, like they Yeah, they brought

(01:20:53):
in their boys. The Beatles there for that one or
cover at least, But I forget who that I should
never wrote with Toad.

Speaker 2 (01:21:00):
It's gonna bother me. I'll figure it out later. So
you know, previously I told you, I told you that
Robert Vaughan, you know, he played Napoleon Solo in The
Man from Uncle the TV show. Yeah, what I didn't
say was that in the movie, the twenty fifteen movie,
Napoleon Solo was played by Henry Cavill. Oh. Yeah, that's
kind of neat, and he was in the I didn't

(01:21:22):
know that.

Speaker 1 (01:21:23):
Should we go back for those?

Speaker 2 (01:21:24):
Is that one of those just fun films that we
missed out on because we weren't panty well Man from Uncle. Yeah,
I'm not going back for that ship. Nobody even liked it,
did that. I mean, they didn't get a sequel, do well.
I don't think I noticed it. It was mixed reviews.

Speaker 1 (01:21:36):
But it was also in that period where, like I mean,
bless his heart, one one of the problems with the
Cabal is that if he wasn't doing Supermando and Cared
so he didn't get to use his star crad like
other people did.

Speaker 2 (01:21:46):
Yeah. I mean, I just I saw the trailer for
The Man from Uncle and I just thought, well, he
should probably play Bond moving.

Speaker 1 (01:21:53):
On that Bond Light looks okay.

Speaker 2 (01:21:56):
Yeah, all right. Peter Whitman, who played a larger in
Superman two that of a sheriff's deputy, has a minor
role here. I don't know who he was.

Speaker 1 (01:22:05):
There's a guy at some point that I think I
may know what you're talking about.

Speaker 2 (01:22:08):
But yeah, and then the last piece of trivia is
just the kid who played naked baby Superman was outside,
not naked baby, somebody else. Yeah, that's it. That's all
I got, man, That's all I got, and maybe all
we need. I like the movie, okay, and I also
hate it.

Speaker 1 (01:22:23):
Both of those things real good.

Speaker 2 (01:22:24):
It's one of those. It's one of those where just
like Superman three is bad, but it's in a charming way,
where a Superman four is just terrible.

Speaker 1 (01:22:31):
See now, I just want to see I want to
see four again.

Speaker 2 (01:22:33):
And I mean, you're gonna have fun with Lex. But
then when you get Lex, you have John Cryer.

Speaker 1 (01:22:39):
Well that's what you're curious about. It is like, I
don't know, I do remember pieces of that. But what's
funny is I remember being so struck by how bad
some of four looked, and now I can't imagine it
looks any worse than some of the stuff I always does.

Speaker 2 (01:22:52):
I mean, I know that volcano is bad, but it does.
And do you not remember just Superman flying around and
our Space around the moon and ship with Mariel Hemingway,
neither one of them having a problem breathing. No, I don't.
It's so bad, man, that's rough. It's so bad. And

(01:23:13):
John Cryer is Alex's nephew, Lenny, he's like, who sounds
like it's like he's just doing fucking Sean Penn from
Ridgemont High, which is what everybody who did back then.
It was all like California surfer boy bullshit?

Speaker 1 (01:23:33):
Was that the origination of that, because like, in my
head it just sounds like a bad Michaelanjo impression because
it's an anachronism in my head.

Speaker 2 (01:23:41):
But the origination of it is a thing that happened
in California.

Speaker 1 (01:23:45):
Yeah, yeah, there's a there's a Valley book. But yeah,
I do think we're started showing up on the screen.

Speaker 2 (01:23:52):
I don't know. I'm sure that where it came from,
at least in a large popular sense, was Spiccoli from Ridgemont's.
I mean, I know, Valley Girl.

Speaker 1 (01:24:02):
I think in the I want to say, in the
late seventies Zapad Valley girl, like I know there, I
know the references around the time became one of those
weird accents that it's okay to.

Speaker 2 (01:24:11):
Blame us for it because I don't know why we
did that either. Yeah, as a nation. Sorry, yeah, they did.
Like there's a female version of it, and it's like
basically like the clueless girl. Yeah yeah, Alicia Servers time
just put a put a nail in that way.

Speaker 1 (01:24:25):
It can't be done any better. She Yeah, it made
distilled it into perfect form.

Speaker 2 (01:24:32):
Back when we were living together, I felt like there
was it was let me take a selfie song came out.
I felt like it came back for a while. It
was it was a big enough style.

Speaker 1 (01:24:41):
And again she did such a good job of like
formalizing it that like, yeah, I think it's gonna make
some little back and forth.

Speaker 2 (01:24:46):
It's gonna be a mullet situation. Definitely. I hate that
that's back. Yeah. Yeah.

Speaker 1 (01:24:52):
And the mustaches and the Pennsylvan pedo mustache, yeah yeah.
I thought that one would be immune Danny, you know,
whims of just because it's a pino mustache. Yeah, I
just thought that would overrule any other thing. But now, well,
you know, they need to look slightly different one out.

Speaker 2 (01:25:10):
It's not beyond me that I think it took a
different route, because yeah, it kind of. I think it
was a bit of a taking back situation because it
was a thing where it was like gay dudes started
doing the mustache because of Freddie Mercury originally, and then
society started trying to paint gay people as pedophiles. So
then the media started portraying pedophiles as having thin mustaches

(01:25:31):
because they thought it seems right somehow. But then that's recently,
somewhat recently that that dude did that queen movie, that
Freddie Mercury movie. Yeah, yeah, and that's when it came back.
That could be. That's just I'm just looking at the
timeline and going like, maybe.

Speaker 1 (01:25:49):
It could be those little mild cultural inflections mean more
than anything to do. It didn't take much start a pencil,
thin musters.

Speaker 2 (01:25:56):
I mean, they just see it. They're like, oh, holy shit, Yeah,
Freddy looked great with that mustache. Yeah, I think I'm
gonna try to rock that.

Speaker 1 (01:26:04):
But he could sing.

Speaker 2 (01:26:05):
But also, like the nineties resurgence, and everybody was like,
oh yeah, of course.

Speaker 1 (01:26:09):
Though these things happen. I mean I had a bowllllet.
It wasn't because I loved the look of the ball cute.
It was because the ball cut took over and I
had to have one too.

Speaker 2 (01:26:18):
Yeah, in order to not be made fun of for
not having a bowkye, I refused. So for a summer
I had a bowl cut. I refused most of my childhood.
If you look at like school pictures or anything like,
I straight up have like a cone and O'Brien like,
that's that's what I did.

Speaker 1 (01:26:33):
Which does sound loudly. I would like to see that.

Speaker 2 (01:26:35):
Yeah, I mean I was a fat guy. I was fat,
so I was like the fat red faced kid, you know,
the cheeks all red. Yeah.

Speaker 1 (01:26:41):
So I'm just caliky and weird. So it just it
just looks strange in general.

Speaker 2 (01:26:46):
Last part, if I ever find pictures, I'll send them
to you if anyone ever took in. Yeah, I was also,
you know, despite my weight, a fairly active kid. So
the unless I had hairspray, the hair didn't stay up
very long. Yeah, but it got messed up easily. Mine would.
I had.

Speaker 1 (01:27:03):
Many of my hair were determined to reach the heavens
or another planet or whatever. It was they're reaching out
for mm hmm, but not my head, your poor head. Yeah,
I think we're gonna wrap it. Man, what do you
think you good? I could stand to you can stand
to do more. I could stand a rap it. Oh,
you can stand a rap it.

Speaker 2 (01:27:19):
Okay. I just want to make sure you're not trying
to push you. Not trying to push you. Yeah. I
think we've done as much of this movie as could
be done, not trying to be fresh, not trying to
be four. All right, I don't know what's happening here.
Uh now, did you want to do Superman Returns? So
we should probably announce it. We do you have one
more one more week? Yeah? I think so? All right,

(01:27:40):
Superman Returns. Do you want to do a commentary first
or do you want to do it like the old days?

Speaker 1 (01:27:44):
Kind of enjoyed the commentary part, okay, but all right,
I don't know. I don't know what that I mean,
it's it's different, but I don't know.

Speaker 2 (01:27:50):
We'll have to talk about that part, okay, because I'm
not sure either we'll see Returns is a very different
beast than like Returns is a very differs better movie.

Speaker 1 (01:27:57):
I might have to actually say.

Speaker 2 (01:27:59):
Yeah, you gonna need to pay attention. Yeah, I need
you to very very Uh, I don't know, I need
you to be very a keyed into how much Superman
is just a basically just a sad stalker, just a
MOPy stalker. I feel like that's going to show up
pretty keenly people giving ship to a Man of Steel,
you know. I think it's because they are already sick
of him being an emo mope stalker in the first name,

(01:28:24):
and Man of Steel for like he was a stalker.
It was a he was emo for half a verse
and it was a decent song. It was just MOPy
was just saying it was.

Speaker 1 (01:28:33):
It was way better than some of the portrayals we've seen.

Speaker 2 (01:28:34):
Absolutely, so yeah, absolutely it was not nearly as bad
as what people make it out to be. But I
think people are also remembering Superman Returns, where all he
did was like look sad and hang around out said
Lewis's house and watch her with her fiance. I mean,
I mean, it's crazy small bill even we spent ten
years with that show and it was relatively MOPy for Yeah, yeah, dude,

(01:28:56):
hell yah Clark sitting on his windmill out in the
middle of the Clark the color is sitting up in
the loft of the windows. You're proud. I forget that
soundtrack where here were.

Speaker 7 (01:29:11):
Oh lord weo we here christ Yeah, I feel like
that was every episode or did they get them up
on the windmill and I'd be like, uh after.

Speaker 2 (01:29:29):
It's like where these shows where half of them he's
like holding hands with Lana, but they're still not together.

Speaker 1 (01:29:35):
I could I could probably find just the cumulative soundtrack
for that show and just go over hamming.

Speaker 2 (01:29:40):
I think we're probably at a prom that I was
at at the point, and it's gonna be a lot. Oh, absolutely,
gotta be a lot. Absolutely. I don't think that. Well,
you know what I thought, like, well, that show didn't
have a bronze, but they totally did because Lana opened
up that damn coffee shop and then they had musical guests.
Oh yeah, the bronze being from Buffy Buffy, Yeah, yeah,
like all those shows had to have like like Nanotoo

(01:30:00):
had the peach Pit and then the peach Pit after Dark, Yeah,
where there was the club that Valerie ran freaking you know, uh,
Tiffany AMPERTHEESI and uh yeah, I knowed too much about
all this shit.

Speaker 1 (01:30:12):
There was this period that we were only like culturally,
we were only about forty thirty forty years removed round,
Like so teenagers didn't exist until like fifty years before that, okay,
and there was only about like twenty five years before that.
The teenagers didn't theory had enough money to market to right, Like,
I think there was just still a holdover generation that
was like, but I don't know if the teenagers will
watch stuff unless we give them something really interesting.

Speaker 2 (01:30:32):
Yeah, they're make sure they have their music there. Yeah,
they'll sit and watch the rest of the show. Mm hmm,
Well I wanted to miss the Walmart advertisements. Yeah, there
was a bit of a teenagers are gonna go out
and they're not gonna watch our show. Okay, keep their attention.
But then they started they caught they caught, uh, they
caught wise man. They started airing that kind of shit
on like Thursday nights. Like where what we're gonna do

(01:30:53):
is we're gonna air it on Thursday nights. We're gonna
get their their hormones all jazzed up for Friday night.
Enjoy that. They're gonna they're gonna watch Brandon and Kelly
get it on in a pool and then they're gonna
go try that and be like, why does the water
dry it out? Yeah, and then we'll be able to
hawk our Noxima and ouration products. Yeah.

Speaker 1 (01:31:16):
And then the following Thursday, we're going to do a
very special.

Speaker 2 (01:31:19):
Infection episode, right right, Oh God, did that ship hard?

Speaker 1 (01:31:25):
Probably?

Speaker 2 (01:31:26):
Oh Kelly waking up and she goes and looks in
the mirror and she's got red boils all over. And
then then she wakes up. She's like, I thought I
had AIDS because that's what she thought, AIDS.

Speaker 1 (01:31:38):
Yeah, you just get the plague.

Speaker 2 (01:31:40):
Well, she cut herself and she was in the proximity
of some dude or something. Something happened. She was dealing
with some dude who had AIDS.

Speaker 1 (01:31:46):
Someone said AIDS in the vicinity of a knife. She
thought she had it, yeah, because there was a period.

Speaker 2 (01:31:51):
That something happened and then she thought, like, I don't know,
it's kind of fun. It was a good show. It
was bad, it was good. Oh. The here's the thing
that one of the guys on the Nino too, that
one of the kind of background guys who got lines
from time to time. Yea was the guy that played
Lex Luthor on Superman and Lois of course, and he
had like a flat top and he was wearing a

(01:32:11):
letterman you know, and he was always like mooning over
fucking Brenda and be like, we want to dance, Brenda.
She's like I'm yelling, you know. But then she danced.
She dances with him. After she and Dylan breaks up,
he gets a little bit of a victory.

Speaker 1 (01:32:26):
That would be a funnier Ordin story than what's in
Tyler or uh Lissen Superman, Yeah, Lesson card whatever.

Speaker 2 (01:32:31):
Yeah, it's like, why are you so mean? Why do
you hate us so much? Lex? That bitch Brenda wouldn't
dance with me this Superman's last words. That was another universe,
was a different universe. Hum with the multiverse bitch.

Speaker 1 (01:32:51):
Actually they would just have the John Krivers like Luthor
going I know and I don't care and come to
the page and you're gone.

Speaker 2 (01:32:56):
Anyway, Yeah, I would. I would Actually, I would love
to see a small vignette of like John Cryer's legs
going through the multiverse with that book from Elseworld or
a crisis, and then he just like comes upon a
universe where like he's like, oh, Lex thinking of him
and he's like Uncle X where and he's like, oh Jesus,

(01:33:18):
what is this? That would be so much fun. Alcoholic
Lenny Luthor just sitting there wondering why his uncle gave
up on him.

Speaker 1 (01:33:27):
That would be I tried my best, Uncle X.

Speaker 2 (01:33:31):
That would be a joint.

Speaker 1 (01:33:32):
Oh, he has to go, and it just him right out.

Speaker 2 (01:33:37):
I remember his Nuclear Man came.

Speaker 1 (01:33:40):
Actually the John criversion would just do something. Oh that
won't do at all.

Speaker 2 (01:33:46):
Yeah. Anyway, ah right, I guess we're gonna go, and uh,
I guess we'll see you when we do Superman Returns
and some capacity.

Speaker 1 (01:33:55):
However, we've worked out the nuts and bolts of that.

Speaker 2 (01:33:57):
Yeah, we've worked out those nuts and bolt. Hopefully we're
not going to be teaching a kid how to hold balls.

Speaker 1 (01:34:03):
No, we're talking about mouths in the same conversation.

Speaker 2 (01:34:07):
M m mm hmmmm. Alright, Well, until next time, keep
some DC on your screen.

Speaker 1 (01:34:12):
Bye,

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