May 6, 2025 • 52 mins
What happens when Disney takes characters from The Jungle Book and drops them into a quasi-1930s world with air pirates, corporate tycoons, and surprisingly adult themes? Welcome to part 2 of the strange, fascinating universe of TaleSpin, a show that broke the mold for children's animation.
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Episode Transcript
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Speaker 1 (00:00):
I paid for a fluffer, I'm getting a fluffer.
Gentlemen, let's broaden ourminds.
Speaker 2 (00:06):
Are they in the proper approach pattern for
today?
Negative.
Speaker 1 (00:17):
All weapons Now Charge the lightning field the
online fandom for this show.
Speaker 2 (00:34):
It's right up there with highlander when we were
scrolling.
Speaker 1 (00:37):
Yeah, it's some hardcore stuff, really hardcore,
and a lot of it and people arelike devoted to this show.
I don't think I could everreally grasp what they love.
I mean, I guess I getconceptually some of the things
that they love.
It didn't quite work for me.
It's a fine show, it's fine.
It's fine.
Speaker 2 (00:56):
It's definitely ambitious.
One of the few unifying thingsthat I stumbled across while
going through a lot of these fansites.
A lot of them, them, they liketo pontificate like they're
fucking writing an academicpaper, like they're gonna get
their fucking phd because ofthis, but almost all of them are
like well, the show was waymore complex, had more complex
(01:16):
themes, had more adultsituations than ducktales or
darkwing duck or Rescue Rangers.
All of them say that in one wayor another.
I kind of feel like that's whythere is a fandom for it.
I'm not going to write adissertation on it, but I think
that that's one of the reasonsit stood out.
For people like you and I wasthat it was more.
(01:37):
That's why we're doing this.
It's more odd, it's morecomplex than other cartoons of
its ilk, its era or even byDisney.
It's much more nuanced, whichis a weird thing to say for a
Disney cartoon in general.
Speaker 1 (01:54):
Especially like being based off of a cartoon that was
then based off of a classicliterature of the you know 20th
century.
Speaker 2 (02:03):
Because it does raise those weird questions about
hierarchy and about who we deemas having value and their place
in not just society but in theoverall sort of like ecosystem,
you know.
Yeah, so one of the thingsgoing through this that I think
drew you and I both to this showwas why, like, why jungle book?
(02:25):
Why do this with the junglebook, right?
Yeah, it is odd.
The only thing I could reallythink of when I was going
through stuff like that was thiswas a very specific era.
Now, I think a lot of it isbecause the creators of this
show did work on other shows ofthat era.
Like they were involved heavilyin darkwing, duck and duck
(02:46):
tales and rescue rangers.
But this was a very interestingperiod in disney's history where
they were making hugetheatrical hits.
Currently, I mean, this is kindof peak for them financially
and box office wise.
I mean we're just like a coupleyears away from little mermaid
or no, just off of littlemermaid, right around lion,
right.
So like this is a big periodand they hadn't really done a
(03:09):
lot of those Disney live actionDisney Channel shows yet and I
feel like this is in some waykind of like the original pitch
for the show in that they takethese characters that are
considered B or C list in theDisney Pantheon as far as the
Mickey Mouse thing goes, notnecessarily in the Disney
(03:30):
princesses or whatever andputting them, making them more
relevant or making peopleremember they exist, just
cashing in on IP and puttingthem in a different setting.
Rescue Rangers is Chip and Dalefrom old cartoons in a
different setting.
Goof Troop goofy in a differentsetting.
This show DuckTales, darkwingDuck, even though Darkwing Duck
(03:53):
is mostly original characters.
Speaker 1 (03:56):
It is, but you're kind of basing it off of that
duck world, the duck universe,as it were.
Speaker 2 (04:04):
Yeah, I mean Darkwing Duck is just a direct spinoff
of DuckTales, ducktales alone,which is kind of the anchor, I
think, of all these shows.
It's not about Donald, it'sabout Huey, louie and Dewey and
Scrooge.
Donald is in a couple episodesand he's kind of a bad dad
really if you really want tocrack that nut.
But we can get into that at adifferent time.
But these are like the main bigones.
This isn't minnie and mickey ordonald.
This is scrooge and chip anddale.
(04:26):
Instead of tiny tunes you had,well, I mean, tiny kids is its
own thing, but instead of likehaving a bugs bunny show, this
is about pebula pew.
You know, it's that kind oflevel which wonder brothers did
too with tasmania, actually inthat era, I mean really it's.
It's taking characters from acartoon from 25 years before
(04:47):
right that hadn't really been inanything, transposing them into
this completely different storyin different world and if it
weren't for the disney channelshowing because they used to
show constantly old, actualdisney cartoons from the 30s,
40s and 50s if it weren't forthat, the the generation that
was watching these cartoons atthe time wouldn't have any idea
(05:09):
who these characters were.
So it's kind of likereintroducing and reinventing
them for a new audience, butstill appealing to the nostalgia
of the ones that grew up on it.
I think that's kind of the goal, right?
Speaker 1 (05:19):
I mean, it seems like that was the vision, yeah, I
think there's a little snakeeating its own tail and keeping
it live, keeping it fresh, butyet keeping it in house yeah, in
the mouse house I would have toimagine.
Speaker 2 (05:31):
I mean, obviously we weren't there and there's not a
lot of documentation on it perse but I would imagine that this
whole era of doing that veryspecific thing was to highlight
ancillary characters, to keepthem relevant and sort of grow
the brand, both nostalgicallyand for a new audience.
It's really the only reason Ican think that any of this
(05:52):
happened.
Speaker 1 (05:52):
Yeah.
Speaker 2 (05:53):
I can get that.
We had DuckTales, not theAdventures of Donald.
Speaker 1 (05:56):
Yeah, as opposed to like what Looney Tunes is doing
at this time, doing kid versionsof those characters.
Speaker 2 (06:02):
Yes, they were going DC and went Legacy.
Yeah, doing kid versions ofthose characters.
Yes, they were going DC andwent Legacy, mm-hmm yeah.
Instead of using oldercharacters, warner Brothers
newer versions.
Speaker 1 (06:12):
Yeah, ultimate Universe rebranding.
Speaker 2 (06:15):
It was Looney Tunes to the next generation.
Speaker 1 (06:18):
Yeah, it really is.
Speaker 2 (06:20):
They all had analogs, even for their other characters
, and some of them were mashupsand some of them were
interesting.
But I mean, we can talk aboutTiny Toons a different time, but
I imagine that that's whatDisney was doing here, because
otherwise you would have hadshows with their main guys, not
these other side characters.
It's an approach, and you knowwhat.
We all remember them, so Iguess it worked.
Speaker 1 (06:48):
The Goofy movie was a big success, based on Goof
Troop.
Yeah, maybe I should watch theGoof movie.
Speaker 2 (06:50):
I've never seen it.
You know what?
It's one of those things whereyou'd be surprised.
Speaker 1 (06:53):
I mean, I have a really good friend.
She loves the Goofy movie.
Speaker 2 (06:57):
I actually did watch Goof Troop when it was on.
I liked that show when I was akid.
I was a little, you know.
You and I were both kind of alittle older, so it was like we
were like almost teenagersaround teenagers at that point
almost Right kind of driftingaway from the kiddie program.
Speaker 1 (07:13):
I think this was kind of an overarching vision, even
if loose you know, yeah, butalso blazing a trail in some
ways, of taking characterscompletely out of context and
doing something with those samecharacters in a whole new way.
Speaker 2 (07:27):
Kind of ahead of its time.
Not a bad idea.
And it did refresh thesecharacters, like I guarantee you
talk to people now, especiallypeople younger than us.
They will remember Chip andDale from Rescue Rangers, not
from their old cartoons, oh,yeah, 100%.
And DuckTales was so nostalgicthat they rebooted it with david
tennant, which is awesome onits own.
(07:47):
It was tenant scrooge, is thatright?
Yeah, yeah, he's scrooge.
We were more in the voltron,thundercats, gi joe era, but for
kids just a little bit old oryounger than us, ducktales and
we were there for ducktales too,but that was their big anchor.
It was these shows.
And hey, it worked because weall remember.
(08:08):
That's why we're talking aboutit today.
Speaker 1 (08:09):
Yeah, it's fascinating.
Let's get to a couple of theepisodes that we did partake in
to kind of get a flavor of this.
So I think we both watched atleast a bit of the couple
episodes of the four part pilot,which is crazy to say that
nowadays episodes of thefour-part pilot, which is a
crazy.
Speaker 2 (08:27):
To to say that nowadays, it's really bizarre.
Speaker 1 (08:28):
Yeah, yeah, but if they're only 20 minutes long
each, it's like okay, well,still, I mean, if you want to
get introduced to the series,well, strap in kid.
These are four interconnectedepisodes yeah it was essentially
a movie that they broke up intofour pilots when they put in
syndication or four episodes butfirst we're going to talk about
is From here to Machinery.
Speaker 2 (08:47):
Yes, that was my pick .
Speaker 1 (08:48):
Yeah, at least if you were to go to, say, disney Plus
and watch these.
It's one of the first episodesafter the pilot series that
comes up.
This episode is about ascientist named Professor Martin
Tork who has come to rent theSea Duck to test out his robot
pilots called auto aviators.
He's designed these full-scaleanthropomorphic robots that will
(09:13):
serve as pilots that will thenrevolutionize the air traffic
industry, replacing all pilotsbecause they are, I guess,
faster, stronger, don't need toeat, sleep, take breaks.
Your general corporate overlordreplaced the working man with a
better version idea, and sothey he rents it.
(09:38):
It's odd because at thebeginning of the episode his
first argument is kind of themain argument of the episode.
That just gets lost for thesecond half.
I'm a pilot, you know, and Ithink on the fly, you know, and
I can adapt to any situation.
This robot can't do it.
It doesn't really have anycomeback.
The professor does.
He's like well, these arebetter than I think.
Speaker 2 (09:59):
they say human pilots again, ooh we should go back
and look at that.
Speaker 1 (10:03):
I'm 90% sure that they say human pilots in this.
Wow, that's weird, why I mean?
Speaker 2 (10:10):
I get why you're saying it, but but no, there are
no humans, there are literallyno humans.
Speaker 1 (10:18):
I mean if you say you know this is better than a bear
pilot or panther pilot, or, youknow, skunk pilot or whatever,
More racial implications.
Speaker 2 (10:26):
They do say human, which is odd.
That is really interesting,especially since they are
androids essentially.
I mean they are in the form ofhuman beings, not animals.
Speaker 1 (10:38):
Yeah, why didn't I mean?
Obviously, again, youunderstand that they're just
trying to take the easy drawrobot.
That's what we're going to putin, but in a world where it's
all animals, why?
Speaker 2 (10:49):
would you make a human?
Speaker 1 (10:51):
robot.
Speaker 2 (10:52):
Yeah, wouldn't one look like a warthog or like, or
they would all look like,whatever species the creator is
why not turn into like anoctopus?
Right, sure, would that makemore sense?
It would.
Why do they look like android?
And I know, yeah, you're right,it's because it's cheap and
they just wanted people to go oh, it's a robot, but it wouldn't
take that much Extra thought tojust be like oh, they look like
(11:16):
these things they're replacing.
It would have been so easy tojust go like Well, this one
looks like Baloo and he'sreplacing Baloo.
You know what I mean.
Well, this one looks like Balooand he's replacing Baloo.
You know what I mean.
It's almost like going out ofyour way to not make that
commentary by making themhumanoid.
It's even beyond lazy at thatpoint.
Did you do it on purpose or wasthis just like not ever brought
up?
(11:36):
It's really weird.
Speaker 1 (11:39):
Yeah, it is weird when you take a second and think
about it.
Let's not put the 10 seconds ofeffort and thought into it.
Let's just go with the easy,simple thing.
Speaker 2 (11:48):
Which sounds like more effort than just thinking
about it.
You know like having thatargument internally, or even
like with your writers orwhatever seems like it'd be,
that's more effort than justbeing like well, here's the
pilot, it looks like bluebecause he's releasing blue.
You know like it just seemslike so much easier than that
yeah, it's what they went with.
Speaker 1 (12:07):
We will never know the answer to these questions,
and so the professor is like oh,I have an idea.
All right, let's publicize arace, you know, let's see who is
the better pilot.
Is it blue, the ace pilot ofall the human pilots?
Speaker 2 (12:22):
around quote, unquote Human, human.
Speaker 1 (12:29):
Or is it the auto aviator, this robot?
They do this run from CapeSuzette, where they're based, to
the North Pole, or something.
Speaker 2 (12:38):
Or something.
Speaker 1 (12:38):
Or something, and then back.
So it's supposed to be like Idon't like 24 hour flight or
something of the sort A longflight that the robot travels
slower and in a straight line asBaloo is weaving in and out,
but faster and gets to thepackage that they have to pick
up, but on the way back he isfalling asleep.
(13:00):
This is a long bite.
He didn't have enough sleepbeforehand.
Speaker 2 (13:05):
And it's an endurance race, basically yeah it's an
endurance race.
Speaker 1 (13:07):
So he falls asleep, winds up crashing into the water
and stuck there for a bithaving to refuel while the robot
travels without having needingsleep and wins the race.
Upon doing so, shere Khan seesthis makes a big thing to buy a
thousand of his robots, and itessentially replaces all the air
(13:28):
pilot workforce with robots.
He pledges to buy a thousand.
He pledges to buy.
So then they are on a flightwith the robot.
Baloo has quit now.
Well, I mean, he's out of a job.
Speaker 2 (13:41):
Yeah, yes, yes, he's out of the game now, which is
kind of important, along withall the other pilots so all the
other pilots at Louie's, all theother Panther pilots that were
part of Shere Khan's flightcrews.
Speaker 1 (13:55):
They're all fired, they're all laid off.
It's just robots who are goinginto mass production to then
take over all of those dutiesgoing into mass production to
then take over all of thoseduties.
Now, I believe, on the firstrun, the first main job, shurkan
, is along for the ride, alongwith Professor Tork.
They're having some drinks,celebrating and, of course,
(14:16):
pirates, led by Don Carnage,attack the plane, trying to take
it over.
Professor is trying to tellthem like hey, robot, you need
to think on your feet.
You know, go outside yourpre-programmed parameters to
avoid these pirates.
And he's like no, I cannot dothat.
The fastest way is a straightline.
That's what I'm programmed todo, that's what I will do.
Speaker 2 (14:36):
He cannot deviate from the flight plan.
Speaker 1 (14:38):
His OCP hard-coded.
Speaker 2 (14:42):
His prime directive?
Speaker 1 (14:43):
Yeah, his prime directive is must fly straight
and fly right.
So do they get boarded?
I'm trying to remember now.
Speaker 2 (14:51):
So essentially what happens is they get attacked by
the pirates and they're liketake evasive action.
And there's like we will notdeviate from the flight plan.
And then they cut away to theprofessor, inventor guy is like
god, what are we going to do now?
I'm out of ideas.
And so shere khan sort of takesover and is like well, you're
(15:12):
an idiot, let me fix this foryou.
And then gets on the radio andsends out a general distress.
Call that baloo and rebecca andkit here, that's right.
Baloo's like no, I'm, I'm outof the game, let them figure it
out on their own.
And then they have pangs ofconscience and we're like well,
let's go rescue them.
You know I do like that.
Speaker 1 (15:32):
He has this line of like.
Why do you guys even hang outwith a loser like me when he's
talking to oh yeah, wildcat,it's like that's like some
existential dread that your maincharacter is displaying here,
yeah, especially since, due tothe nature of his job, it's not
fleeting, but it's fragile.
Speaker 2 (15:50):
It was always on the verge of bankruptcy, sometimes
borderline on smugglingillegally, and so like his
position, while he was proud ofit and relatively successful
because he's been able to do itnot not because it was all that
lucrative Now that it's beingchallenged head on, his entire
(16:11):
world is now undercut and he'slost.
He has no purpose or direction.
I mean, he's essentially like aDetroit autoworker in the 80s.
Yeah, robots took his job andnow he's listless.
The rug has been pulled outfrom underneath him and he
doesn't know what to do and he'sbitter.
Speaker 1 (16:30):
Oh yeah, and right before this happens, it's time
to shutter the business andRebecca is selling the sea duck
to someone else.
It's over.
Their lives are done.
They're all going to split up,go their separate ways.
This is the beginning of theshow.
Speaker 2 (16:44):
Well, and she's like I really wish I hadn't loaned
him that plane.
They all go into this fordifferent reasons, these modes
of regret and self-reflection,which is weird for a 20-minute
cartoon.
Speaker 1 (16:55):
Yeah, he gets one last spin with the sea duck
before the buyer is going to getthe keys to it, and that's when
they hear about the Tork andShere Khan's flight having
issues.
Don Carnage, they get on theplane, which, now that I'm
saying that I don't remember howthey get on the plane, because,
(17:16):
logically, how does that happen?
How are they still flying, butyet- that's what I was saying
earlier.
Speaker 2 (17:22):
Plane piracy makes no sense.
Yeah, how do you do that?
That's such a big effort thatthey do make a point of early on
and then later on just kind ofhand wave.
It doesn't really make a lot ofsense.
Speaker 1 (17:35):
Yeah.
Speaker 2 (17:36):
Huh Baloo and the crew get on the plane.
Speaker 1 (17:38):
Yeah, they get on the plane that's being hijacked.
Speaker 2 (17:41):
Not Don Carnage, you're right.
Speaker 1 (17:43):
I don't exactly remember how they board the
plane, because if they board theplane, then nobody's flying the
plane, because it was just Kitand Baloo Rebecca.
Speaker 2 (17:53):
No, rebecca isn't on the plane, that's right.
Yeah, they stay on the groundor whatever.
So is it Kit flying the plane?
Speaker 1 (17:59):
No, because, Kit comes over with Baloo onto the
plane that's being boarded.
Speaker 2 (18:03):
I remember Baloo being on the plane.
I don't remember Kit in there,but it's very possible.
I just don't remember.
You know what.
Speaker 1 (18:09):
Maybe Kit's flying it , I don't know who knows, maybe
they have a wire hooked to it.
Speaker 2 (18:20):
That's what I was thinking.
Maybe it's being towedessentially, but I mean, that's
not even really the point.
Baloo comes on board and thenshakes up like a.
I think it's supposed to be asoda, but it's basically it's a
beer.
It seems like a beer.
Speaker 1 (18:27):
I think it's supposed to be a soda, but it's in a
glass bottle.
It's an orange liquid of somesort, because anytime you try to
like touch the robot, it willelectrocute you to keep you from
interfering with its duties.
So Baloo shakes it up, spraysit all over it.
Speaker 2 (18:44):
Obviously, a robot flying a plane over water would
never encounter water in itslife cycle, so you shouldn't try
to plan for that, andespecially since it's not even a
danger of the thing shortingout.
It explodes, yeah, it blowsright up, which should kill
everyone in that plane.
There's metal shrapnel flyingthrough the air inside this
(19:08):
cabin and also explosions andpressurized things not good.
Speaker 1 (19:13):
Well, I don't know how pressurized these planes are
.
Speaker 2 (19:14):
Yeah, it's not, because he opened the door and
got in.
Yeah, they're flying low too.
Speaker 1 (19:19):
But essentially he gets in, he takes over, he uses
his ace pilot skills to evadethe pirates.
Speaker 2 (19:26):
He does the Kessel Run.
Speaker 1 (19:28):
Yeah, he made in less than 12 parsecs.
He wins the day.
Shere Khan's like.
I've reconsidered.
He ends up hiring all thepilots back.
I will not be endorsing yourpark Exactly Ends up hiring all
the pilots back.
I will not be endorsing yourpark Exactly.
And then you see, tork is nowtrying to sell these robots he
has, who have now been turnedinto maid bots Lombrosi yeah.
(19:48):
In Antarctica or wherever.
Speaker 2 (19:51):
Which is just a weird bit.
Speaker 1 (19:52):
It's a weird bit that doesn't fit at all.
They didn't know how to end theepisode essentially no, and you
know they go back to Louise andBaloo's back.
On top of being the best pilotaround, Everyone's happy that he
has saved all of their jobs.
Speaker 2 (20:06):
And technology will never threaten them ever again.
I know, I am aware, I'mperfectly aware, that this is
the lens through which I seethings, but this is an episode
of Star Trek.
Speaker 1 (20:19):
Although the odd thing is that I think in Star
Trek and a lot of other sciencefiction stories the problem
wouldn't be that the robot lacksa human component you might say
an ability to think on its feetand use its imagination, but it
would be some type ofadvancement towards violence and
(20:39):
taking over.
Speaker 2 (20:40):
You turn the evil robot vibe, but you don't get
any of that in this show yeah,normally in a lot of sci-fi it
would be that it lacks empathyand that's the, that's the crux
of the thing.
But in the original seriesepisode, the ultimate computer,
you know, they called kirkcaptain dunsel because he's no
longer required, he, he's nolonger necessary.
But the computer lacks theability to think on its feet and
(21:03):
make gut decisions, which isessentially this episode.
I mean, it's the same exactpremise, right, yeah, with a
little splash of John Henry init.
Yeah, except without thetragedy.
Speaker 1 (21:16):
So Well, I mean, I bet, if we got into the
backstory of some of thosepilots who like well, I'm sorry,
I don't have anything left.
I've lost my plane, I've lostmy job, I've lost my avenue of
freedom for my life that I'vedesigned over my 30 dog years.
I'm just going to hang myself.
Speaker 2 (21:34):
Yeah, Are you proposing that some of these
pilots killed themselves in theinterim?
I mean probably.
Speaker 1 (21:41):
Or lost their house or whatever position they had.
Couldn't make their childwelfare payments.
You know, had divorces.
Speaker 2 (21:49):
But this happens over the course of like 12 hours.
Speaker 1 (21:52):
Well, it's a fast moving world, isn't it?
Speaker 2 (21:55):
Sure, this workaday world of ours, it happens in a
New York minute If we're justgoing by.
Speaker 1 (22:00):
like what happened with them?
They were closing a businessselling the plane, had already
sold the plane, that is true.
The guy was coming up to takehis keys for the plane.
So I mean, if we're to thatpoint, I think these other
things could have happened andprobably did happen.
Speaker 2 (22:16):
A couple of these children's cartoon characters
probably hanged themselves.
Yeah, they did, or OD'd onpills or drank themselves to
death.
Speaker 1 (22:22):
Some of these pilots are now drug addicts, forced
into prostitution.
The Louie's glory hole that hehas.
Speaker 2 (22:29):
I imagine you hang upside down from something.
I'd check that out.
There's a bunch of snakes andthere's a boa in there.
A couple of them got someserious opioid addictions, yeah
a boa in there.
Speaker 1 (22:40):
A couple of them got some serious opioid addictions.
Yeah, I'm thinking of likeLouis, like when he's not there
he turns into the Gary Oldmancharacter from True Romance.
Speaker 2 (22:49):
Yeah, I see a lot of them slapping around their wives
or girlfriends.
Yeah, I'm not a man anymore.
Speaker 1 (22:55):
And then, well, honey , you were never a man, you're a
panther anymore.
And then, well, honey, you werenever a man, you're a panther.
Honey.
What is man?
Speaker 2 (23:03):
okay, look, this is a problem with the show.
If you're gonna do jungle book,which is fine, where the fuck
is mogli?
Where are the humans?
Speaker 1 (23:12):
no, how about that?
How about just no?
Speaker 2 (23:16):
that's one of the things that always fascinated me
about it was that in junglebook, the dis Disney version at
least well, in both, but in theDisney version especially, the
life in the jungle wasrudimentary.
It was Bare necessities, justthe bare fucking necessities.
There's no like advancement.
It's a simple life, but aprimitive one, but a primitive
(23:37):
one.
And the human society proves tobe more advanced and yet sadder
and less simple, which is theobvious commentary.
But this one, that quoteunquote primitive world has
advanced to the level of people,which is interesting on its
surface.
But where do you go from there?
What does that say?
But are there people?
Is there remotely?
Speaker 1 (23:58):
No, I distinctly don't think they're.
I think they're literally justtransplanting those characters.
Speaker 2 (24:03):
I think maybe this is like an alternate universe of
the jungle book yeah, becauseotherwise, just looking at it on
paper, you're like, okay, thisis an interesting idea and and
then there's no follow-up.
It is an interesting idea tocomment on.
You know, wiping away thatobviously racist metaphor that
(24:24):
they use in jungle book for theprimitives and putting them on
the level of man, but then neveraddressing man is bizarre.
It's probably the only actualfailing of the premise of the
show I just don't think they'regoing that deep into it,
honestly.
I know, but that's one of thereasons this show always stuck
out, because it raises thesequestions that you think about.
(24:45):
It makes you ponder these ideas, especially if you take Jungle
Book as a literary work but thenthey don't fulfill its premise.
It's like a half a premise,it's a concept of an idea,
really.
Yeah, I'm glad you coined that,because we're going to use that
a lot.
I didn't coin that.
Trump coined that.
He meme coined it.
Speaker 1 (25:05):
And he short sold it for $50,000.
He pumped and dumped it.
We also covered another episode.
Now this one we had to searchfor because this one isn't on
Disney+.
This is one of the two, I think, banned episodes.
Speaker 2 (25:22):
Mm-hmm.
This one was disappeared byDisney, though you can find it
quite easily nowadays online.
Speaker 1 (25:28):
Yeah, you can buy it on YouTube or Amazon, but it's
not readily available.
This is Last Horizons Boy, ohboy.
This is Last Horizons Boy, ohboy.
The other banned episode is anepisode called Flying Dupes,
which is about militaristicwarthogs using bombs and
terrorism In planes.
Speaker 2 (25:48):
Yeah, yeah, I could see why that one was a little
iffy.
I think this one was obviously.
This one was disbanded fromsyndication later.
This is after 9-11, reallyessentially that they do this.
I see why, though it really isjust last gasps of Cold War
stuff, more than it is aboutactual what we consider modern
terrorism.
Oh, the Flying Dupes one, yeah,okay, not like Last Horizons
(26:17):
which 100%.
I'm glad they banned thisepisode.
Speaker 1 (26:19):
It is so fucking racist.
Yeah, so Flying Dupes waspulled from the lineup after
airing in 1992.
The episode was re-aired onToon Disney once, possibly by
mistake, but it's never beenrebroadcast since.
Yeah, for Last Horizons.
It was temporarily banned andthen it did occasionally appear
on Toon Disney and last re-airedin December 2002 and was on the
(26:41):
DVD set, but it is notavailable on Disney Plus.
Speaker 2 (26:45):
I'm shocked that it was available that late.
Speaker 1 (26:48):
Yeah, from what I had read earlier, it was kind of
like, oh, I don't know wherethey pulled it, and then they
let it out a few times and thenpulled it back to just never let
it out again, which is wherewe're at now.
So this episode I'll do a quickbreakdown real quick, few times
and then pulled it back to justnever let it out again, which
is where we're at now.
So this episode I'll do a quickbreakdown real quick.
Cape Suzette is hosting aparade for the famed explorer
Monty Mangrove, and Baloo feelsslighted about this that he's a
(27:13):
nobody and he wants to be asomebody and to be a somebody.
He wants to be respected forbeing and lauded for being an
explorer as well.
Speaker 2 (27:23):
He says that he has seen the fabled hidden city of
pandala which is obviously astand-in for the fabled city of
shangri-la, which is by not citybut like kingdom.
I guess magic island, magickingdom.
It's a real place in real life.
They did quote discover theactual shangri-la.
(27:45):
It is real.
I watched a documentary on it.
They found it in like themid-2000s and what why is it the
shangri-la?
I think it all comes from marcopolo.
If I remember right, it was anold legend about this city that
was city-state, that was hiddenaway from the rest of mainland
China, in these mountainousregions that was outside of
(28:08):
contact, that were just livingthere autonomously for centuries
and were essentially still inan agrarian state of existence
since basically the time ofMarco Polo.
But that's also what they do inIron Fist Kunlun.
Every culture's got one ofthese Atlantis, el Dorado, these
(28:30):
fantasy places that don'treally exist.
Speaker 1 (28:32):
Hey, aren't those both Disney?
Speaker 2 (28:33):
cartoons.
Actually, I think El Dorado wasa DreamWorks one, wasn't it?
In fact, I think both of thosewere DreamWorks.
If not DreamWorks one of theother companies, it wasn't Don
Bluth, but I mean, I think itwas the goddamn Robert Mitchum.
Speaker 1 (28:48):
John Wayne movie keeps popping up.
I'm trying to yeah DreamWorks.
Speaker 2 (28:53):
Yeah, because they were taking the ones that Disney
didn't take.
Most bizarrely, anastasia, whywould you make a cartoon about a
tragic murder of a princess?
But she didn't get murdered.
They found her body recently.
Well, recently.
Speaker 1 (29:08):
But you know, hey, it's like the Shangri-La of
Russian little girls killed.
Speaker 2 (29:14):
But even then her entire family was murdered.
Speaker 1 (29:17):
Well, yeah, they kind of gloss over that pretty quick
in the beginning, they sure do,and Rasputin was a son of a
bitch and a pussy hound.
Yeah, but what if he was acraggly old wizard with a funny
bat sidekick?
Speaker 2 (29:32):
huh, that's a good point.
I mean it worked in Fern Gully,why not in Anastasia?
Speaker 1 (29:37):
You know what?
That's how I pitch all mymovies.
If it worked in Fern Gully,it's good enough for me this is
how we pitch everything.
Speaker 2 (29:44):
Hey, christopher Lloyd, funny bat.
Where do I sign?
Speaker 1 (29:48):
What does this have to do with tall blue people,
though?
Speaker 2 (29:54):
Well, you see, they come to the Americas and they
stumble across a beautiful youngwoman named Pocahontas and
Kevin Costner is there GreatDances with Pocahontas.
Speaker 1 (30:09):
And the gully of avatars.
Speaker 2 (30:12):
Yeah.
Speaker 1 (30:14):
All right.
So they're celebrating MontyMangrove and Baloo's like I know
this places, I've been there,I'm going to go again.
They're like no, baloo, don'tgo, it's dangerous.
No one's ever been there.
And he's like well, I knowwhere it's at, sparked the
question why haven't you gonethere over the years if you know
where this fabled city's at?
And so he sets out and he getsthere right away.
(30:35):
It doesn't seem to be thatdifficult.
I think he goes through like uh, is there kind of like a
whirlwind, almost like a aroundkong island, around skull island
?
Like it's dangerous weatherthat he has to make his way
through, but he's such a greatpilot that he gets through and
it's a lightning storm in space.
Yeah, one of the space holesit's an ion storm, yeah uh, but
(30:58):
he gets there.
He's stuck, though, butthankfully these panda people
from Panda Law are there andthey show up and go to help them
.
Now, these panda people, oh boy, oh boy, yeah Uh, so they look
distinctly racially Asian.
Speaker 2 (31:22):
The main guy literally has a Fu Manchu
mustache Literal Fu Manchu andhe's already covered in fur,
yeah.
And then added on top of that aFu Manchu mustache, yeah.
Speaker 1 (31:37):
Not good, not good.
But they bring Blue in to thecity, show him around and
Baloo's really excited to bethere and they're really nice to
him, they feed him and theygive him Pandala clothes.
Speaker 2 (31:49):
Yeah, they do.
The whole Temple of Doom, Everyother race is like wow, this is
some zany, wacky food.
Speaker 1 (31:55):
Yeah, but they do gloss over pretty quickly.
Yeah, they do.
Yeah, but they do gloss overpretty quickly.
Yeah, they do, as they do glossover, like the emperor has a
little daughter who has a toythat is attracted to heat.
It's like a heat seeking remotecontrol vehicle.
Speaker 2 (32:10):
Well, this is such an odd setup too, because then
they never they set it up.
So you understand what happenslater.
Speaker 1 (32:20):
No explanation, as to why or how this happens.
No, um, uh that we'll get toanother big plot point like that
in just a second.
Um, he has a couple sons andthey're like bumbling one's
one's smart but small and theother one's big and strong but
dumb.
Big and dumb it's like theideas of characters, but they
didn't actually do anything withum.
Speaker 2 (32:39):
Yeah, they're filling the blanks characters, but they
never filled it in.
Speaker 1 (32:43):
I'm also like this would have made more sense if it
was like a two part episodethat ends when Baloo gets back.
The first episode, I think,would be like introducing
Pandala and some of thesecharacters and then, when Baloo
returns and the Pandala peopleshow up, that would be the end
of the first episode.
The second part would pick upwith what they do.
(33:03):
You'd have more of thosecharacters that we met, like the
little girl might havesomething to do, maybe dealing
with the Becky's little daughter, maybe.
Kit might have something to dowith the sons.
Speaker 2 (33:16):
Anything, but they're just not there.
After that, there's like noreason to even introduce them,
except for as barely a plotdevice to introduce the heat
seeking toy yeah, it's.
Well, it'd be better too,because this episode, the whole
thing, is set up like well, thisis a fantasy paradise and we're
all really nice people, wepromise, and here's how we live
(33:38):
in harmony or whatever, and thenthere's obviously the turn
where they become evil.
So it'd be better if that wasthe second episode.
Yeah, yeah.
Speaker 1 (33:47):
If you leave a cliffhanger, like on all these
warships coming, because whathappens is so they help them out
.
They're really nice, they're.
You know, baloo's like oh man,you guys are the best.
Well, you know, baloo's like ohman, you guys are the best.
Well, you know, I love this.
And they're like but my ship,it's stuck.
And they're like well, we canhelp you.
And then they use their airballoons to help get Baloo's
(34:09):
plane up and into the air sothat he can get in and fly away.
And he's like well, thanks all.
I'm just going to leave.
Glad to meet you.
It's a Baloo balloon, exactly.
And the Emperor's like,twirling his mustache and
twiddling his fingers, you know,like yes, yes, we'll see you
soon.
(34:29):
He's literally a hand-wringingvillain, yeah he is they, then I
guess they needed a way out.
So they need to follow Baloo'spath to find Cape Suzette.
So they need to follow Baloo'spath to find Cape Suzette
Because once he takes off, hesends out the order and balloons
pop up from all of theirpagodas and structures and lift
up all of their houses andwhatnot, to then be floating air
(34:52):
fortresses.
They follow Baloo to CapeSuzette.
He gets there and he's like hey, you know, I did it, I found
Pandala.
I deserve a parade too.
You might as well get it going.
And then all the Pandala peoplecome, and I guess they have
microphone technology, becausethen they'd start loud speaking
we are going to destroy you,give up.
(35:13):
And they start shootingmissiles and things.
Speaker 2 (35:16):
Yeah, and if I remember right, don't they
misuse the word pagoda in thistoo, because in the moment where
, like, uh, what's her name?
Molly, yeah, molly's like wecan use this pagoda to get to
the thing, and they're like areyou talking about that missile?
Speaker 1 (35:30):
yeah, I don't, I don't, I don't remember, but
probably it's really weird.
Yeah, they're playing fast andloose with a lot of things here.
Yeah, no shit.
So the mayor who's like ohBaloo, you led them to us.
This isn't good at all.
I'm going to send out the AirForce because no one's going to
take over Cape Zeta on my watch.
And they have these fighterpilots go up the Pandalons.
(35:53):
I don't know what you'd callthem.
Speaker 2 (35:56):
Pandalettes, I don't know.
Speaker 1 (35:59):
Pandalabras.
The Pandalabras love it.
They then unleash their secretweapon, which are heat-seeking
missiles that take down almostall of the planes.
And so then the mayor's like ohwell, shit, there's nothing we
can do about this, let's give up.
Don't destroy the city, you canhave it, we're all over in our
(36:19):
bellies, it's all yours.
But Baloo's like nah, I have tomake up for what I did, for
bringing them here, because theyfollowed me.
I've got an idea.
And he gets a bunch of frozencargo and fills his plane with
it so that the heat-seekingmissiles won't be able to find
him, which is actually clever.
Speaker 2 (36:41):
Doesn't make any sense.
It's a Schwarzenegger, doesn'tpredator, kind of yeah, exactly.
Speaker 1 (36:44):
And then he starts flying around and dropping, I
guess, homemade bombs.
Speaker 2 (36:52):
Ordinance of some kind?
Speaker 1 (36:52):
I don't know where he got these, but he just has them
and he's dropping them on theirships and then flying around
using their own heat-seekingtechnology against them and he
wins the day.
But does he travel onto one oftheir ships or is he all on his
plane the whole time?
Speaker 2 (37:13):
I thought he was on his plane but honestly, I don't
remember the end of this.
Speaker 1 (37:16):
I don't remember the end of it either.
Speaker 2 (37:20):
That's so sad is that we watched it yesterday and I'm
like, uh, what happened?
I can always pull it up.
He's got the frozen stuff,dumps all this stuff on them.
It's like ice cream.
Oh, yeah, yeah, yeah, he had abunch of ice cream that he dumps
on the leader put my screenfalls on the dude and then drops
a cherry at the end, which isokay, whatever, shut up, uh.
(37:45):
And then he's flying throughinside their building, he's
going to the armory that's right.
And then he literally pullsDeath Star and because the
heat-seeking missiles werechasing him and he flew out the
other side, the missiles blew uptheir fortress, killing so many
pandas, killing all theseendangered pandas.
Another racist element we'dlike to throw in here they treat
(38:10):
the missiles as fireworks.
Yes, they're essentiallyfireworks.
They even make fireworks sounds.
Speaker 1 (38:15):
When he first comes to Pandala he sees a little one.
He's like oh, fireworks.
Speaker 2 (38:19):
Yeah, that's not good .
That's what happens is that heflies through their thing,
causing the missile fireworks tochase him, and then
subsequently, when they startgoing off, then the heat
attracts all the other fireworkmissiles and then the whole
thing explodes and then he fliesout.
They think he's dead for likehalf a second and then he flies
(38:40):
out and then they throw him.
Speaker 1 (38:41):
But what happened to the rest of the airships?
Did they flee?
Did they retreat?
Speaker 2 (38:46):
Well, they were balloons, so their baskets all.
Just so, all the balloonspopped.
Speaker 1 (38:55):
And then they fell into the water.
Oh, okay, they didn't actuallyshow that, though.
No, they do.
Speaker 2 (38:59):
Oh, they all popped and they all fell.
Yeah, they show the one withsome of the main characters
falling into the water.
It shows the sequence where theballoon pops it falls into the
water and then they're justadrift.
And then they don't show theother baskets falling, but they
show the other balloons popping.
So you're too inferred thatthat happened to all of them so
it's just a bunch of dead pandasand yeah bunch of dead pandas
(39:23):
and law is no more completelygenocided.
Speaker 1 (39:26):
This well, don't, don't fuck with cape suzette, I
guess.
Yeah, yeah, no matter how angryyou get and you hop up and down
as your little Chinese pandaguy, you can't beat the barrel
chested strength of the westernbear.
Speaker 2 (39:42):
And then I just imagine that each of those
baskets of afloat pandas startedto starve and ate each other on
the open sea and then we'rehungry an hour later According
to the racist logic of this.
Speaker 1 (39:56):
To continue the racist logic of this episode,
but you can't get them to fuckand propagate their species.
Speaker 2 (40:03):
No, not at all.
Speaker 1 (40:04):
One major question I have with this is that this is a
warlike Chinese inspired racistgroup of pandas One.
They are cut off from theoutside world.
So who are they warlike with?
Right?
Speaker 2 (40:19):
So this is really fascinating, because it's not.
It would be really easy for usto just go oh this is a bunch of
racial stereotypes which it is,but it's actually way more
insidious than that.
It's basically every type ofOrientalism possible, where
(40:39):
they're cut off andpseudo-primitive, but also kind
of mystical and enlightened, andthen also warlike and invading
your homeland, but with no realmotivation or backstory as to
why they would or how they would.
Well, I mean, they show the how, but I mean, like it's
basically every Orientaliststereotype all at once they're
(41:03):
coming there to take your landand your jobs, or whatever.
Speaker 1 (41:06):
No, it's just panda yellow peril.
Speaker 2 (41:09):
Yeah, and so they're both enlightened but primitive
at the same time.
Speaker 1 (41:13):
Yeah and so they're both enlightened but primitive
at the same time.
Yeah, they are militaristicwarlords, but they're cut off
from the rest of the world.
But once they get a chance tofind you and your western white
city, they will destroy it andsubjugate it for their own
purposes.
Yeah, cool.
Speaker 2 (41:33):
Great.
It's so weird because it's CapeSuzette and we never addressed
it.
But the joke is it's a play onthe French dish Crepe Suzette.
Cape Suzette is like Potter'sMill or just some fucking place
up in like Maine.
I always kind of got you thinkit's like the West Coast.
Speaker 1 (41:50):
Well, no, I think it's its own place.
It gave me more of like aMelbourne kind of vibe, you know
like a port city and like aPacific, but it's distinctly
American.
Speaker 2 (42:02):
They have I don't, I don't know, in the pilot.
They kind of make it feel likeit's like fucking Americans
living in like Jakarta.
Speaker 1 (42:09):
Yeah, I always thought that this was kind of
like or like Singapore, theseare all expats, kind of was my
vibe.
Speaker 2 (42:18):
Yeah, at the beginning, like in the From here
to Machinery, machinery, thatjust seems like they're in
mainland America.
They're just like a small porttown in like New England,
because, like this is anotherAmerican businessman doing his
thing and Sherehan is anamerican oligarch.
Essentially, because you wouldthink if it was in another land,
(42:42):
a lot of these other villainouscharacters would be more
colorful, ethnic, ethnic yeahwith don carnage.
It's kind of a comment, I guess, on like old spanish
imperialism.
I kind of got like a Spanishimperialist Philippines vibe
there.
Speaker 1 (42:59):
Yeah, I don't, I don't know.
He just seemed bits of all overEurope really, but and also not
in modern times.
Speaker 2 (43:05):
No, not at all.
He brandishes a cutlass, forChrist's sake.
He's pirate through and through.
But, like you know, in a weirdtime that's kind of set between
World War I and II.
Speaker 1 (43:17):
Maybe he came out of a time warp, which is why he
doesn't fit.
Speaker 2 (43:22):
That'd be an answer.
At least we don't get that.
Yeah yeah, we are putting toomuch onto this, we are thinking
about it too hard, but that'sbecause the show inspires these
kinds of ideas, like they'reright on the verge of saying
something it's adult enough towhere I feel like I need to
question it, as opposed to likeduckberg, where it's like uh who
(43:44):
?
Speaker 1 (43:44):
cares right, this is whatever it's.
You know it's, it's a kiddiestuff.
They're doing kiddie adventures, whatever you're right.
Speaker 2 (43:51):
I mean, like at the beginning, the pilot and things
like that, it feels like a bunchof expats living in Thailand or
something, yeah, so that's howI always thought of it.
But it's called Cape Suzetteit's a western, you know what I
mean.
Like it's obviously at least atsome point been under imperial
or colonial occupation.
It's almost like Cape Town,yeah, maybe if anything, it's
(44:13):
like South.
African.
Yeah, maybe, if anything, it'slike South African.
Yeah, you know what?
That's probably the only thingI could think of but it's been
populated by Americans.
I mean Because they go out oftheir way to show you that these
are Americans, that you havethe Spanish one and then you
have, like, a French one, butthey're not the main populace of
the town.
Speaker 1 (44:30):
And Louis, who seems to be more indigenous maybe.
Speaker 2 (44:35):
Oh, he's just the black guy, I'm sorry.
Speaker 1 (44:38):
Well, yeah, a lot of the stereotypes, a lot of the
old I know it's tough to liketalk about because, like we
don't want to.
Speaker 2 (44:46):
No, we don't, yeah, because it is bad.
We're saying it's bad, it'sminstrel show stuff.
It's not supposed to be overtlyracist, but it's sort of like
passively racist in a way thatwe feel OK with.
Speaker 1 (44:59):
Yeah, it's like a wink and a nudge.
You know what we're talkingabout.
Speaker 2 (45:02):
but I think it's even less than that.
I feel like it's more like well, we're not racist anymore, see,
because we got this guy thisracist stereotype.
Yeah, this guy, this raciststereotype, yeah I, he runs
around in hawaiian shirts in alay which has its own level of
racism that we should.
That's why I kind of got a likea philippines vibe too, because
(45:24):
like the sort of mixed culturesof the philippines and hawaii,
because, like it also gives youkind of a hawaiian vibe a little
bit yeah, I mean it's, it'sspraying in a lot of different
parts of the field.
Speaker 1 (45:35):
And again it's like so in the Tales of the Golden
Monkey, roddy McDowell, who endsup being the character.
He's a French expat who is veryFrench, his little pencil, thin
mustache and everything, but heruns this bar, you know, for
expats and whoever in thesePacific Island setting.
Speaker 2 (45:58):
First of all, it is an American-ish name for a city.
And why would somebody likeRebecca Cunningham, a single
mother trying to make her way inthe workaday world, move to
like Jakarta, like you know whatI mean Just to take over this
airline, or whatever they wantyou to?
Okay, let's just say take overthis airline, or whatever they
want you to, I OK, let's justsay they didn't think it through
(46:18):
.
Let's say that I think that'ssafe to say Totally, it's all
over the place, but there'senough there.
That's that's intriguing.
That makes us even have thesequestions, it's true.
Speaker 1 (46:30):
It's true, which I think it's a bizarre show.
It is a bizarre show, it's true.
It's true, which I think it's abizarre show.
It is a bizarre show and thiswas a bizarre episode of that
show.
Oh yeah, that obviously wastaken out of the rotation for
distinct reasons.
As we had said before, this iskind of in a post-World War
world in a way, but it's neverlike they talk about ex-fighter
pilots and some type of conflict.
(46:52):
The technology seems to be ofthat era, but they don't
actually go out and say anything.
The closest they actually getto talking about like a world
war is actually in a comic story, a short comic story in Disney
Afternoon or Disney Adventuresmagazine from 1991, in a story
(47:14):
called the Dogs of War, and inthis you have what appear to be
Nazi-inspired dog creatures,houns, h-o-u-n from Hounsland,
who are a warlike, militarized,very tight, nazi-inspired garb.
I couldn't actually track thiscomic down.
(47:37):
It seems to be hard to find.
Surprise, surprise.
Speaker 2 (47:40):
Oh, wow.
Speaker 1 (47:42):
But that was also never put into any type of
compilation or anything.
They kind of stayed away fromthat.
But at least to give you alittle more context of the world
and another slightly racist,slightly something we don't want
to speak about um version ofthis weird tailspin world.
One other thing I wanted to saybefore we move on one of the
(48:04):
episodes I hope you're gonnapick, because we each threw out
an episode to watch and checkout her chance to dream again.
They do a lot of fun.
That's a good pun.
It was about um becky findingthis suave sea captain that she
kind of falls in love with, buthe's a ghost oh, it's like
(48:24):
that's, that's your right,exactly, exactly like that and
even apparently like I was justreading through the episode she
didn't want to leave.
She wants to abandon her familyand stay with this ghost guy.
Wow, it's exactly like thatepisode she just gets.
She gets forced to go againstthe will and like send him on
his way uh that's the episode.
Speaker 2 (48:43):
I was hoping you're gonna pick, but I didn't want to
influence your decisionhonestly the reason I because I
did see that synopsis, just likea little bit of it.
I didn't pay it much mindbecause I saw From here to
Machinery and I was like, wow,this is really, I mean, poignant
today with AI and all that kindof stuff, and it felt like
exactly like, hilariously, adifferent Star Trek episode, I
(49:08):
mean, that one soundsfascinating too.
I'd love to have done that aswell.
Speaker 1 (49:12):
Yeah, a lot of these episodes seem fairly interesting
really, which is one of thereasons that I think we came
back to tailspin in the firstplace.
Conceptually, you know, it'skind of a kid show with adult
themes, dealing with an era thatyou don't really get stories
from at all anymore yeah, um,yeah, except for in, like the
(49:34):
casablanca era, or at least that, that sort of era of nostalgia
for that.
Speaker 2 (49:39):
Yeah, which?
Speaker 1 (49:39):
again, that's a that's bygone era.
Oh yeah, even talking aboutindiana jones, I mean really,
like the times they were dealingwith that the last time you saw
that was like late 80s yeah,really, you just don't get
stories about this time frameand it's so interesting that
they're like all right, let'spitch a kid show that's about
adult problems withanthropomorphic cartoons, with
(50:00):
all of these problematicpossible elements.
Let's take it from the JungleBook of all places, but only
kind of, but only kind of.
Let's also put in someCasablanca and some Cheers in
there, this weird TV show thatnobody watched from 1982.
How about that, you think?
Speaker 2 (50:18):
kids will like that.
Yeah, that's exactly why wewanted to do it, because it has
just so many weird, quirkythings that we all remember as
kids but also as adults, makesyou go back and look and like,
wow, it raises these questionsand makes you wonder what the
mode of thinking was and thecreation of the whole thing and
like what they're trying to say.
And so, even if it turns out anincomplete thought I mean
(50:46):
conceptually but it's got somuch.
It's like the originalBattlestar Galactica there's
yeah, it's kind of a schlockyshow, but there's so many, but
you can see where Ronald Moorewas like well, this is actually
really interesting.
There's more going on here.
Speaker 1 (51:03):
Yeah, 100%, which is why maybe the Seth Rogen-led
reboot of this that's supposedto be coming out.
Maybe I mean that could goeither way it really could.
I mean that could go either wayit really could.
But there's a lot ofpossibilities that if they want
to kind of stray off the path ofthe safe Disney thing and like
explore some of the stuff,there's stuff there there is.
Speaker 2 (51:24):
I hope they at least try and do that.
I mean, seth Rogen is acrapshoot when it comes to stuff
like that.
Some of his stuff that he'sproduced is decent, good,
interesting, some of it's bad.
Speaker 1 (51:35):
So I don't know.
Yeah, I do not know, but that'sa tale to spin in the future.
Indeed, and this was a, it wasa overall, I would say, a fun
and interesting look back at thegenesis of Talespin and what
the show was like, especiallyfrom adult eyes.
So that was cool and we hopeyou guys enjoyed it.
(51:56):
A little retro rewind.
I'm going to turn that into aclip of some sort.
Come back in the future, whoknows what we'll cover next?
But come back as we spin ourown tales and go on our own
adventures that, hopefully, area little less racist than these.
Just slightly, just slightly,just slightly, but definitely
(52:17):
the adult existential drama thatis inherent will be with us as
well, 100%.
Speaker 2 (52:23):
Yeah, until then, make sure that you guys out
there have cleaned up afteryourselves to some sort of
reasonable degree, that you havepaid your tabs, your bartenders
, your KJs.
You've left sizable tips forthe hard work that they do.
Don't forget to support yourlocal comic shops and retailers.
And from Dispatch Ajax we wouldlike to say Godspeed, fair
Wizard.
Speaker 1 (52:43):
Please go away.
I paid for a fluffer, I'm getting a fluffer.
Gentlemen, let's broaden ourminds.
Speaker 2 (00:06):
Are they in the proper approach pattern for
today?
Negative.
Speaker 1 (00:17):
All weapons Now Charge the lightning field the
online fandom for this show.
Speaker 2 (00:34):
It's right up there with highlander when we were
scrolling.
Speaker 1 (00:37):
Yeah, it's some hardcore stuff, really hardcore,
and a lot of it and people arelike devoted to this show.
I don't think I could everreally grasp what they love.
I mean, I guess I getconceptually some of the things
that they love.
It didn't quite work for me.
It's a fine show, it's fine.
It's fine.
Speaker 2 (00:56):
It's definitely ambitious.
One of the few unifying thingsthat I stumbled across while
going through a lot of these fansites.
A lot of them, them, they liketo pontificate like they're
fucking writing an academicpaper, like they're gonna get
their fucking phd because ofthis, but almost all of them are
like well, the show was waymore complex, had more complex
(01:16):
themes, had more adultsituations than ducktales or
darkwing duck or Rescue Rangers.
All of them say that in one wayor another.
I kind of feel like that's whythere is a fandom for it.
I'm not going to write adissertation on it, but I think
that that's one of the reasonsit stood out.
For people like you and I wasthat it was more.
(01:37):
That's why we're doing this.
It's more odd, it's morecomplex than other cartoons of
its ilk, its era or even byDisney.
It's much more nuanced, whichis a weird thing to say for a
Disney cartoon in general.
Speaker 1 (01:54):
Especially like being based off of a cartoon that was
then based off of a classicliterature of the you know 20th
century.
Speaker 2 (02:03):
Because it does raise those weird questions about
hierarchy and about who we deemas having value and their place
in not just society but in theoverall sort of like ecosystem,
you know.
Yeah, so one of the thingsgoing through this that I think
drew you and I both to this showwas why, like, why jungle book?
(02:25):
Why do this with the junglebook, right?
Yeah, it is odd.
The only thing I could reallythink of when I was going
through stuff like that was thiswas a very specific era.
Now, I think a lot of it isbecause the creators of this
show did work on other shows ofthat era.
Like they were involved heavilyin darkwing, duck and duck
(02:46):
tales and rescue rangers.
But this was a very interestingperiod in disney's history where
they were making hugetheatrical hits.
Currently, I mean, this is kindof peak for them financially
and box office wise.
I mean we're just like a coupleyears away from little mermaid
or no, just off of littlemermaid, right around lion,
right.
So like this is a big periodand they hadn't really done a
(03:09):
lot of those Disney live actionDisney Channel shows yet and I
feel like this is in some waykind of like the original pitch
for the show in that they takethese characters that are
considered B or C list in theDisney Pantheon as far as the
Mickey Mouse thing goes, notnecessarily in the Disney
(03:30):
princesses or whatever andputting them, making them more
relevant or making peopleremember they exist, just
cashing in on IP and puttingthem in a different setting.
Rescue Rangers is Chip and Dalefrom old cartoons in a
different setting.
Goof Troop goofy in a differentsetting.
This show DuckTales, darkwingDuck, even though Darkwing Duck
(03:53):
is mostly original characters.
Speaker 1 (03:56):
It is, but you're kind of basing it off of that
duck world, the duck universe,as it were.
Speaker 2 (04:04):
Yeah, I mean Darkwing Duck is just a direct spinoff
of DuckTales, ducktales alone,which is kind of the anchor, I
think, of all these shows.
It's not about Donald, it'sabout Huey, louie and Dewey and
Scrooge.
Donald is in a couple episodesand he's kind of a bad dad
really if you really want tocrack that nut.
But we can get into that at adifferent time.
But these are like the main bigones.
This isn't minnie and mickey ordonald.
This is scrooge and chip anddale.
(04:26):
Instead of tiny tunes you had,well, I mean, tiny kids is its
own thing, but instead of likehaving a bugs bunny show, this
is about pebula pew.
You know, it's that kind oflevel which wonder brothers did
too with tasmania, actually inthat era, I mean really it's.
It's taking characters from acartoon from 25 years before
(04:47):
right that hadn't really been inanything, transposing them into
this completely different storyin different world and if it
weren't for the disney channelshowing because they used to
show constantly old, actualdisney cartoons from the 30s,
40s and 50s if it weren't forthat, the the generation that
was watching these cartoons atthe time wouldn't have any idea
(05:09):
who these characters were.
So it's kind of likereintroducing and reinventing
them for a new audience, butstill appealing to the nostalgia
of the ones that grew up on it.
I think that's kind of the goal, right?
Speaker 1 (05:19):
I mean, it seems like that was the vision, yeah, I
think there's a little snakeeating its own tail and keeping
it live, keeping it fresh, butyet keeping it in house yeah, in
the mouse house I would have toimagine.
Speaker 2 (05:31):
I mean, obviously we weren't there and there's not a
lot of documentation on it perse but I would imagine that this
whole era of doing that veryspecific thing was to highlight
ancillary characters, to keepthem relevant and sort of grow
the brand, both nostalgicallyand for a new audience.
It's really the only reason Ican think that any of this
(05:52):
happened.
Speaker 1 (05:52):
Yeah.
Speaker 2 (05:53):
I can get that.
We had DuckTales, not theAdventures of Donald.
Speaker 1 (05:56):
Yeah, as opposed to like what Looney Tunes is doing
at this time, doing kid versionsof those characters.
Speaker 2 (06:02):
Yes, they were going DC and went Legacy.
Yeah, doing kid versions ofthose characters.
Yes, they were going DC andwent Legacy, mm-hmm yeah.
Instead of using oldercharacters, warner Brothers
newer versions.
Speaker 1 (06:12):
Yeah, ultimate Universe rebranding.
Speaker 2 (06:15):
It was Looney Tunes to the next generation.
Speaker 1 (06:18):
Yeah, it really is.
Speaker 2 (06:20):
They all had analogs, even for their other characters
, and some of them were mashupsand some of them were
interesting.
But I mean, we can talk aboutTiny Toons a different time, but
I imagine that that's whatDisney was doing here, because
otherwise you would have hadshows with their main guys, not
these other side characters.
It's an approach, and you knowwhat.
We all remember them, so Iguess it worked.
Speaker 1 (06:48):
The Goofy movie was a big success, based on Goof
Troop.
Yeah, maybe I should watch theGoof movie.
Speaker 2 (06:50):
I've never seen it.
You know what?
It's one of those things whereyou'd be surprised.
Speaker 1 (06:53):
I mean, I have a really good friend.
She loves the Goofy movie.
Speaker 2 (06:57):
I actually did watch Goof Troop when it was on.
I liked that show when I was akid.
I was a little, you know.
You and I were both kind of alittle older, so it was like we
were like almost teenagersaround teenagers at that point
almost Right kind of driftingaway from the kiddie program.
Speaker 1 (07:13):
I think this was kind of an overarching vision, even
if loose you know, yeah, butalso blazing a trail in some
ways, of taking characterscompletely out of context and
doing something with those samecharacters in a whole new way.
Speaker 2 (07:27):
Kind of ahead of its time.
Not a bad idea.
And it did refresh thesecharacters, like I guarantee you
talk to people now, especiallypeople younger than us.
They will remember Chip andDale from Rescue Rangers, not
from their old cartoons, oh,yeah, 100%.
And DuckTales was so nostalgicthat they rebooted it with david
tennant, which is awesome onits own.
(07:47):
It was tenant scrooge, is thatright?
Yeah, yeah, he's scrooge.
We were more in the voltron,thundercats, gi joe era, but for
kids just a little bit old oryounger than us, ducktales and
we were there for ducktales too,but that was their big anchor.
It was these shows.
And hey, it worked because weall remember.
(08:08):
That's why we're talking aboutit today.
Speaker 1 (08:09):
Yeah, it's fascinating.
Let's get to a couple of theepisodes that we did partake in
to kind of get a flavor of this.
So I think we both watched atleast a bit of the couple
episodes of the four part pilot,which is crazy to say that
nowadays episodes of thefour-part pilot, which is a
crazy.
Speaker 2 (08:27):
To to say that nowadays, it's really bizarre.
Speaker 1 (08:28):
Yeah, yeah, but if they're only 20 minutes long
each, it's like okay, well,still, I mean, if you want to
get introduced to the series,well, strap in kid.
These are four interconnectedepisodes yeah it was essentially
a movie that they broke up intofour pilots when they put in
syndication or four episodes butfirst we're going to talk about
is From here to Machinery.
Speaker 2 (08:47):
Yes, that was my pick .
Speaker 1 (08:48):
Yeah, at least if you were to go to, say, disney Plus
and watch these.
It's one of the first episodesafter the pilot series that
comes up.
This episode is about ascientist named Professor Martin
Tork who has come to rent theSea Duck to test out his robot
pilots called auto aviators.
He's designed these full-scaleanthropomorphic robots that will
(09:13):
serve as pilots that will thenrevolutionize the air traffic
industry, replacing all pilotsbecause they are, I guess,
faster, stronger, don't need toeat, sleep, take breaks.
Your general corporate overlordreplaced the working man with a
better version idea, and sothey he rents it.
(09:38):
It's odd because at thebeginning of the episode his
first argument is kind of themain argument of the episode.
That just gets lost for thesecond half.
I'm a pilot, you know, and Ithink on the fly, you know, and
I can adapt to any situation.
This robot can't do it.
It doesn't really have anycomeback.
The professor does.
He's like well, these arebetter than I think.
Speaker 2 (09:59):
they say human pilots again, ooh we should go back
and look at that.
Speaker 1 (10:03):
I'm 90% sure that they say human pilots in this.
Wow, that's weird, why I mean?
Speaker 2 (10:10):
I get why you're saying it, but but no, there are
no humans, there are literallyno humans.
Speaker 1 (10:18):
I mean if you say you know this is better than a bear
pilot or panther pilot, or, youknow, skunk pilot or whatever,
More racial implications.
Speaker 2 (10:26):
They do say human, which is odd.
That is really interesting,especially since they are
androids essentially.
I mean they are in the form ofhuman beings, not animals.
Speaker 1 (10:38):
Yeah, why didn't I mean?
Obviously, again, youunderstand that they're just
trying to take the easy drawrobot.
That's what we're going to putin, but in a world where it's
all animals, why?
Speaker 2 (10:49):
would you make a human?
Speaker 1 (10:51):
robot.
Speaker 2 (10:52):
Yeah, wouldn't one look like a warthog or like, or
they would all look like,whatever species the creator is
why not turn into like anoctopus?
Right, sure, would that makemore sense?
It would.
Why do they look like android?
And I know, yeah, you're right,it's because it's cheap and
they just wanted people to go oh, it's a robot, but it wouldn't
take that much Extra thought tojust be like oh, they look like
(11:16):
these things they're replacing.
It would have been so easy tojust go like Well, this one
looks like Baloo and he'sreplacing Baloo.
You know what I mean.
Well, this one looks like Balooand he's replacing Baloo.
You know what I mean.
It's almost like going out ofyour way to not make that
commentary by making themhumanoid.
It's even beyond lazy at thatpoint.
Did you do it on purpose or wasthis just like not ever brought
up?
(11:36):
It's really weird.
Speaker 1 (11:39):
Yeah, it is weird when you take a second and think
about it.
Let's not put the 10 seconds ofeffort and thought into it.
Let's just go with the easy,simple thing.
Speaker 2 (11:48):
Which sounds like more effort than just thinking
about it.
You know like having thatargument internally, or even
like with your writers orwhatever seems like it'd be,
that's more effort than justbeing like well, here's the
pilot, it looks like bluebecause he's releasing blue.
You know like it just seemslike so much easier than that
yeah, it's what they went with.
Speaker 1 (12:07):
We will never know the answer to these questions,
and so the professor is like oh,I have an idea.
All right, let's publicize arace, you know, let's see who is
the better pilot.
Is it blue, the ace pilot ofall the human pilots?
Speaker 2 (12:22):
around quote, unquote Human, human.
Speaker 1 (12:29):
Or is it the auto aviator, this robot?
They do this run from CapeSuzette, where they're based, to
the North Pole, or something.
Speaker 2 (12:38):
Or something.
Speaker 1 (12:38):
Or something, and then back.
So it's supposed to be like Idon't like 24 hour flight or
something of the sort A longflight that the robot travels
slower and in a straight line asBaloo is weaving in and out,
but faster and gets to thepackage that they have to pick
up, but on the way back he isfalling asleep.
(13:00):
This is a long bite.
He didn't have enough sleepbeforehand.
Speaker 2 (13:05):
And it's an endurance race, basically yeah it's an
endurance race.
Speaker 1 (13:07):
So he falls asleep, winds up crashing into the water
and stuck there for a bithaving to refuel while the robot
travels without having needingsleep and wins the race.
Upon doing so, shere Khan seesthis makes a big thing to buy a
thousand of his robots, and itessentially replaces all the air
(13:28):
pilot workforce with robots.
He pledges to buy a thousand.
He pledges to buy.
So then they are on a flightwith the robot.
Baloo has quit now.
Well, I mean, he's out of a job.
Speaker 2 (13:41):
Yeah, yes, yes, he's out of the game now, which is
kind of important, along withall the other pilots so all the
other pilots at Louie's, all theother Panther pilots that were
part of Shere Khan's flightcrews.
Speaker 1 (13:55):
They're all fired, they're all laid off.
It's just robots who are goinginto mass production to then
take over all of those dutiesgoing into mass production to
then take over all of thoseduties.
Now, I believe, on the firstrun, the first main job, shurkan
, is along for the ride, alongwith Professor Tork.
They're having some drinks,celebrating and, of course,
(14:16):
pirates, led by Don Carnage,attack the plane, trying to take
it over.
Professor is trying to tellthem like hey, robot, you need
to think on your feet.
You know, go outside yourpre-programmed parameters to
avoid these pirates.
And he's like no, I cannot dothat.
The fastest way is a straightline.
That's what I'm programmed todo, that's what I will do.
Speaker 2 (14:36):
He cannot deviate from the flight plan.
Speaker 1 (14:38):
His OCP hard-coded.
Speaker 2 (14:42):
His prime directive?
Speaker 1 (14:43):
Yeah, his prime directive is must fly straight
and fly right.
So do they get boarded?
I'm trying to remember now.
Speaker 2 (14:51):
So essentially what happens is they get attacked by
the pirates and they're liketake evasive action.
And there's like we will notdeviate from the flight plan.
And then they cut away to theprofessor, inventor guy is like
god, what are we going to do now?
I'm out of ideas.
And so shere khan sort of takesover and is like well, you're
(15:12):
an idiot, let me fix this foryou.
And then gets on the radio andsends out a general distress.
Call that baloo and rebecca andkit here, that's right.
Baloo's like no, I'm, I'm outof the game, let them figure it
out on their own.
And then they have pangs ofconscience and we're like well,
let's go rescue them.
You know I do like that.
Speaker 1 (15:32):
He has this line of like.
Why do you guys even hang outwith a loser like me when he's
talking to oh yeah, wildcat,it's like that's like some
existential dread that your maincharacter is displaying here,
yeah, especially since, due tothe nature of his job, it's not
fleeting, but it's fragile.
Speaker 2 (15:50):
It was always on the verge of bankruptcy, sometimes
borderline on smugglingillegally, and so like his
position, while he was proud ofit and relatively successful
because he's been able to do itnot not because it was all that
lucrative Now that it's beingchallenged head on, his entire
(16:11):
world is now undercut and he'slost.
He has no purpose or direction.
I mean, he's essentially like aDetroit autoworker in the 80s.
Yeah, robots took his job andnow he's listless.
The rug has been pulled outfrom underneath him and he
doesn't know what to do and he'sbitter.
Speaker 1 (16:30):
Oh yeah, and right before this happens, it's time
to shutter the business andRebecca is selling the sea duck
to someone else.
It's over.
Their lives are done.
They're all going to split up,go their separate ways.
This is the beginning of theshow.
Speaker 2 (16:44):
Well, and she's like I really wish I hadn't loaned
him that plane.
They all go into this fordifferent reasons, these modes
of regret and self-reflection,which is weird for a 20-minute
cartoon.
Speaker 1 (16:55):
Yeah, he gets one last spin with the sea duck
before the buyer is going to getthe keys to it, and that's when
they hear about the Tork andShere Khan's flight having
issues.
Don Carnage, they get on theplane, which, now that I'm
saying that I don't remember howthey get on the plane, because,
(17:16):
logically, how does that happen?
How are they still flying, butyet- that's what I was saying
earlier.
Speaker 2 (17:22):
Plane piracy makes no sense.
Yeah, how do you do that?
That's such a big effort thatthey do make a point of early on
and then later on just kind ofhand wave.
It doesn't really make a lot ofsense.
Speaker 1 (17:35):
Yeah.
Speaker 2 (17:36):
Huh Baloo and the crew get on the plane.
Speaker 1 (17:38):
Yeah, they get on the plane that's being hijacked.
Speaker 2 (17:41):
Not Don Carnage, you're right.
Speaker 1 (17:43):
I don't exactly remember how they board the
plane, because if they board theplane, then nobody's flying the
plane, because it was just Kitand Baloo Rebecca.
Speaker 2 (17:53):
No, rebecca isn't on the plane, that's right.
Yeah, they stay on the groundor whatever.
So is it Kit flying the plane?
Speaker 1 (17:59):
No, because, Kit comes over with Baloo onto the
plane that's being boarded.
Speaker 2 (18:03):
I remember Baloo being on the plane.
I don't remember Kit in there,but it's very possible.
I just don't remember.
You know what.
Speaker 1 (18:09):
Maybe Kit's flying it , I don't know who knows, maybe
they have a wire hooked to it.
Speaker 2 (18:20):
That's what I was thinking.
Maybe it's being towedessentially, but I mean, that's
not even really the point.
Baloo comes on board and thenshakes up like a.
I think it's supposed to be asoda, but it's basically it's a
beer.
It seems like a beer.
Speaker 1 (18:27):
I think it's supposed to be a soda, but it's in a
glass bottle.
It's an orange liquid of somesort, because anytime you try to
like touch the robot, it willelectrocute you to keep you from
interfering with its duties.
So Baloo shakes it up, spraysit all over it.
Speaker 2 (18:44):
Obviously, a robot flying a plane over water would
never encounter water in itslife cycle, so you shouldn't try
to plan for that, andespecially since it's not even a
danger of the thing shortingout.
It explodes, yeah, it blowsright up, which should kill
everyone in that plane.
There's metal shrapnel flyingthrough the air inside this
(19:08):
cabin and also explosions andpressurized things not good.
Speaker 1 (19:13):
Well, I don't know how pressurized these planes are
.
Speaker 2 (19:14):
Yeah, it's not, because he opened the door and
got in.
Yeah, they're flying low too.
Speaker 1 (19:19):
But essentially he gets in, he takes over, he uses
his ace pilot skills to evadethe pirates.
Speaker 2 (19:26):
He does the Kessel Run.
Speaker 1 (19:28):
Yeah, he made in less than 12 parsecs.
He wins the day.
Shere Khan's like.
I've reconsidered.
He ends up hiring all thepilots back.
I will not be endorsing yourpark Exactly Ends up hiring all
the pilots back.
I will not be endorsing yourpark Exactly.
And then you see, tork is nowtrying to sell these robots he
has, who have now been turnedinto maid bots Lombrosi yeah.
(19:48):
In Antarctica or wherever.
Speaker 2 (19:51):
Which is just a weird bit.
Speaker 1 (19:52):
It's a weird bit that doesn't fit at all.
They didn't know how to end theepisode essentially no, and you
know they go back to Louise andBaloo's back.
On top of being the best pilotaround, Everyone's happy that he
has saved all of their jobs.
Speaker 2 (20:06):
And technology will never threaten them ever again.
I know, I am aware, I'mperfectly aware, that this is
the lens through which I seethings, but this is an episode
of Star Trek.
Speaker 1 (20:19):
Although the odd thing is that I think in Star
Trek and a lot of other sciencefiction stories the problem
wouldn't be that the robot lacksa human component you might say
an ability to think on its feetand use its imagination, but it
would be some type ofadvancement towards violence and
(20:39):
taking over.
Speaker 2 (20:40):
You turn the evil robot vibe, but you don't get
any of that in this show yeah,normally in a lot of sci-fi it
would be that it lacks empathyand that's the, that's the crux
of the thing.
But in the original seriesepisode, the ultimate computer,
you know, they called kirkcaptain dunsel because he's no
longer required, he, he's nolonger necessary.
But the computer lacks theability to think on its feet and
(21:03):
make gut decisions, which isessentially this episode.
I mean, it's the same exactpremise, right, yeah, with a
little splash of John Henry init.
Yeah, except without thetragedy.
Speaker 1 (21:16):
So Well, I mean, I bet, if we got into the
backstory of some of thosepilots who like well, I'm sorry,
I don't have anything left.
I've lost my plane, I've lostmy job, I've lost my avenue of
freedom for my life that I'vedesigned over my 30 dog years.
I'm just going to hang myself.
Speaker 2 (21:34):
Yeah, Are you proposing that some of these
pilots killed themselves in theinterim?
I mean probably.
Speaker 1 (21:41):
Or lost their house or whatever position they had.
Couldn't make their childwelfare payments.
You know, had divorces.
Speaker 2 (21:49):
But this happens over the course of like 12 hours.
Speaker 1 (21:52):
Well, it's a fast moving world, isn't it?
Speaker 2 (21:55):
Sure, this workaday world of ours, it happens in a
New York minute If we're justgoing by.
Speaker 1 (22:00):
like what happened with them?
They were closing a businessselling the plane, had already
sold the plane, that is true.
The guy was coming up to takehis keys for the plane.
So I mean, if we're to thatpoint, I think these other
things could have happened andprobably did happen.
Speaker 2 (22:16):
A couple of these children's cartoon characters
probably hanged themselves.
Yeah, they did, or OD'd onpills or drank themselves to
death.
Speaker 1 (22:22):
Some of these pilots are now drug addicts, forced
into prostitution.
The Louie's glory hole that hehas.
Speaker 2 (22:29):
I imagine you hang upside down from something.
I'd check that out.
There's a bunch of snakes andthere's a boa in there.
A couple of them got someserious opioid addictions, yeah
a boa in there.
Speaker 1 (22:40):
A couple of them got some serious opioid addictions.
Yeah, I'm thinking of likeLouis, like when he's not there
he turns into the Gary Oldmancharacter from True Romance.
Speaker 2 (22:49):
Yeah, I see a lot of them slapping around their wives
or girlfriends.
Yeah, I'm not a man anymore.
Speaker 1 (22:55):
And then, well, honey , you were never a man, you're a
panther anymore.
And then, well, honey, you werenever a man, you're a panther.
Honey.
What is man?
Speaker 2 (23:03):
okay, look, this is a problem with the show.
If you're gonna do jungle book,which is fine, where the fuck
is mogli?
Where are the humans?
Speaker 1 (23:12):
no, how about that?
How about just no?
Speaker 2 (23:16):
that's one of the things that always fascinated me
about it was that in junglebook, the dis Disney version at
least well, in both, but in theDisney version especially, the
life in the jungle wasrudimentary.
It was Bare necessities, justthe bare fucking necessities.
There's no like advancement.
It's a simple life, but aprimitive one, but a primitive
(23:37):
one.
And the human society proves tobe more advanced and yet sadder
and less simple, which is theobvious commentary.
But this one, that quoteunquote primitive world has
advanced to the level of people,which is interesting on its
surface.
But where do you go from there?
What does that say?
But are there people?
Is there remotely?
Speaker 1 (23:58):
No, I distinctly don't think they're.
I think they're literally justtransplanting those characters.
Speaker 2 (24:03):
I think maybe this is like an alternate universe of
the jungle book yeah, becauseotherwise, just looking at it on
paper, you're like, okay, thisis an interesting idea and and
then there's no follow-up.
It is an interesting idea tocomment on.
You know, wiping away thatobviously racist metaphor that
(24:24):
they use in jungle book for theprimitives and putting them on
the level of man, but then neveraddressing man is bizarre.
It's probably the only actualfailing of the premise of the
show I just don't think they'regoing that deep into it,
honestly.
I know, but that's one of thereasons this show always stuck
out, because it raises thesequestions that you think about.
(24:45):
It makes you ponder these ideas, especially if you take Jungle
Book as a literary work but thenthey don't fulfill its premise.
It's like a half a premise,it's a concept of an idea,
really.
Yeah, I'm glad you coined that,because we're going to use that
a lot.
I didn't coin that.
Trump coined that.
He meme coined it.
Speaker 1 (25:05):
And he short sold it for $50,000.
He pumped and dumped it.
We also covered another episode.
Now this one we had to searchfor because this one isn't on
Disney+.
This is one of the two, I think, banned episodes.
Speaker 2 (25:22):
Mm-hmm.
This one was disappeared byDisney, though you can find it
quite easily nowadays online.
Speaker 1 (25:28):
Yeah, you can buy it on YouTube or Amazon, but it's
not readily available.
This is Last Horizons Boy, ohboy.
This is Last Horizons Boy, ohboy.
The other banned episode is anepisode called Flying Dupes,
which is about militaristicwarthogs using bombs and
terrorism In planes.
Speaker 2 (25:48):
Yeah, yeah, I could see why that one was a little
iffy.
I think this one was obviously.
This one was disbanded fromsyndication later.
This is after 9-11, reallyessentially that they do this.
I see why, though it really isjust last gasps of Cold War
stuff, more than it is aboutactual what we consider modern
terrorism.
Oh, the Flying Dupes one, yeah,okay, not like Last Horizons
(26:17):
which 100%.
I'm glad they banned thisepisode.
Speaker 1 (26:19):
It is so fucking racist.
Yeah, so Flying Dupes waspulled from the lineup after
airing in 1992.
The episode was re-aired onToon Disney once, possibly by
mistake, but it's never beenrebroadcast since.
Yeah, for Last Horizons.
It was temporarily banned andthen it did occasionally appear
on Toon Disney and last re-airedin December 2002 and was on the
(26:41):
DVD set, but it is notavailable on Disney Plus.
Speaker 2 (26:45):
I'm shocked that it was available that late.
Speaker 1 (26:48):
Yeah, from what I had read earlier, it was kind of
like, oh, I don't know wherethey pulled it, and then they
let it out a few times and thenpulled it back to just never let
it out again, which is wherewe're at now.
So this episode I'll do a quickbreakdown real quick, few times
and then pulled it back to justnever let it out again, which
is where we're at now.
So this episode I'll do a quickbreakdown real quick.
Cape Suzette is hosting aparade for the famed explorer
Monty Mangrove, and Baloo feelsslighted about this that he's a
(27:13):
nobody and he wants to be asomebody and to be a somebody.
He wants to be respected forbeing and lauded for being an
explorer as well.
Speaker 2 (27:23):
He says that he has seen the fabled hidden city of
pandala which is obviously astand-in for the fabled city of
shangri-la, which is by not citybut like kingdom.
I guess magic island, magickingdom.
It's a real place in real life.
They did quote discover theactual shangri-la.
(27:45):
It is real.
I watched a documentary on it.
They found it in like themid-2000s and what why is it the
shangri-la?
I think it all comes from marcopolo.
If I remember right, it was anold legend about this city that
was city-state, that was hiddenaway from the rest of mainland
China, in these mountainousregions that was outside of
(28:08):
contact, that were just livingthere autonomously for centuries
and were essentially still inan agrarian state of existence
since basically the time ofMarco Polo.
But that's also what they do inIron Fist Kunlun.
Every culture's got one ofthese Atlantis, el Dorado, these
(28:30):
fantasy places that don'treally exist.
Speaker 1 (28:32):
Hey, aren't those both Disney?
Speaker 2 (28:33):
cartoons.
Actually, I think El Dorado wasa DreamWorks one, wasn't it?
In fact, I think both of thosewere DreamWorks.
If not DreamWorks one of theother companies, it wasn't Don
Bluth, but I mean, I think itwas the goddamn Robert Mitchum.
Speaker 1 (28:48):
John Wayne movie keeps popping up.
I'm trying to yeah DreamWorks.
Speaker 2 (28:53):
Yeah, because they were taking the ones that Disney
didn't take.
Most bizarrely, anastasia, whywould you make a cartoon about a
tragic murder of a princess?
But she didn't get murdered.
They found her body recently.
Well, recently.
Speaker 1 (29:08):
But you know, hey, it's like the Shangri-La of
Russian little girls killed.
Speaker 2 (29:14):
But even then her entire family was murdered.
Speaker 1 (29:17):
Well, yeah, they kind of gloss over that pretty quick
in the beginning, they sure do,and Rasputin was a son of a
bitch and a pussy hound.
Yeah, but what if he was acraggly old wizard with a funny
bat sidekick?
Speaker 2 (29:32):
huh, that's a good point.
I mean it worked in Fern Gully,why not in Anastasia?
Speaker 1 (29:37):
You know what?
That's how I pitch all mymovies.
If it worked in Fern Gully,it's good enough for me this is
how we pitch everything.
Speaker 2 (29:44):
Hey, christopher Lloyd, funny bat.
Where do I sign?
Speaker 1 (29:48):
What does this have to do with tall blue people,
though?
Speaker 2 (29:54):
Well, you see, they come to the Americas and they
stumble across a beautiful youngwoman named Pocahontas and
Kevin Costner is there GreatDances with Pocahontas.
Speaker 1 (30:09):
And the gully of avatars.
Speaker 2 (30:12):
Yeah.
Speaker 1 (30:14):
All right.
So they're celebrating MontyMangrove and Baloo's like I know
this places, I've been there,I'm going to go again.
They're like no, baloo, don'tgo, it's dangerous.
No one's ever been there.
And he's like well, I knowwhere it's at, sparked the
question why haven't you gonethere over the years if you know
where this fabled city's at?
And so he sets out and he getsthere right away.
(30:35):
It doesn't seem to be thatdifficult.
I think he goes through like uh, is there kind of like a
whirlwind, almost like a aroundkong island, around skull island
?
Like it's dangerous weatherthat he has to make his way
through, but he's such a greatpilot that he gets through and
it's a lightning storm in space.
Yeah, one of the space holesit's an ion storm, yeah uh, but
(30:58):
he gets there.
He's stuck, though, butthankfully these panda people
from Panda Law are there andthey show up and go to help them
.
Now, these panda people, oh boy, oh boy, yeah Uh, so they look
distinctly racially Asian.
Speaker 2 (31:22):
The main guy literally has a Fu Manchu
mustache Literal Fu Manchu andhe's already covered in fur,
yeah.
And then added on top of that aFu Manchu mustache, yeah.
Speaker 1 (31:37):
Not good, not good.
But they bring Blue in to thecity, show him around and
Baloo's really excited to bethere and they're really nice to
him, they feed him and theygive him Pandala clothes.
Speaker 2 (31:49):
Yeah, they do.
The whole Temple of Doom, Everyother race is like wow, this is
some zany, wacky food.
Speaker 1 (31:55):
Yeah, but they do gloss over pretty quickly.
Yeah, they do.
Yeah, but they do gloss overpretty quickly.
Yeah, they do, as they do glossover, like the emperor has a
little daughter who has a toythat is attracted to heat.
It's like a heat seeking remotecontrol vehicle.
Speaker 2 (32:10):
Well, this is such an odd setup too, because then
they never they set it up.
So you understand what happenslater.
Speaker 1 (32:20):
No explanation, as to why or how this happens.
No, um, uh that we'll get toanother big plot point like that
in just a second.
Um, he has a couple sons andthey're like bumbling one's
one's smart but small and theother one's big and strong but
dumb.
Big and dumb it's like theideas of characters, but they
didn't actually do anything withum.
Speaker 2 (32:39):
Yeah, they're filling the blanks characters, but they
never filled it in.
Speaker 1 (32:43):
I'm also like this would have made more sense if it
was like a two part episodethat ends when Baloo gets back.
The first episode, I think,would be like introducing
Pandala and some of thesecharacters and then, when Baloo
returns and the Pandala peopleshow up, that would be the end
of the first episode.
The second part would pick upwith what they do.
(33:03):
You'd have more of thosecharacters that we met, like the
little girl might havesomething to do, maybe dealing
with the Becky's little daughter, maybe.
Kit might have something to dowith the sons.
Speaker 2 (33:16):
Anything, but they're just not there.
After that, there's like noreason to even introduce them,
except for as barely a plotdevice to introduce the heat
seeking toy yeah, it's.
Well, it'd be better too,because this episode, the whole
thing, is set up like well, thisis a fantasy paradise and we're
all really nice people, wepromise, and here's how we live
(33:38):
in harmony or whatever, and thenthere's obviously the turn
where they become evil.
So it'd be better if that wasthe second episode.
Yeah, yeah.
Speaker 1 (33:47):
If you leave a cliffhanger, like on all these
warships coming, because whathappens is so they help them out
.
They're really nice, they're.
You know, baloo's like oh man,you guys are the best.
Well, you know, baloo's like ohman, you guys are the best.
Well, you know, I love this.
And they're like but my ship,it's stuck.
And they're like well, we canhelp you.
And then they use their airballoons to help get Baloo's
(34:09):
plane up and into the air sothat he can get in and fly away.
And he's like well, thanks all.
I'm just going to leave.
Glad to meet you.
It's a Baloo balloon, exactly.
And the Emperor's like,twirling his mustache and
twiddling his fingers, you know,like yes, yes, we'll see you
soon.
(34:29):
He's literally a hand-wringingvillain, yeah he is they, then I
guess they needed a way out.
So they need to follow Baloo'spath to find Cape Suzette.
So they need to follow Baloo'spath to find Cape Suzette
Because once he takes off, hesends out the order and balloons
pop up from all of theirpagodas and structures and lift
up all of their houses andwhatnot, to then be floating air
(34:52):
fortresses.
They follow Baloo to CapeSuzette.
He gets there and he's like hey, you know, I did it, I found
Pandala.
I deserve a parade too.
You might as well get it going.
And then all the Pandala peoplecome, and I guess they have
microphone technology, becausethen they'd start loud speaking
we are going to destroy you,give up.
(35:13):
And they start shootingmissiles and things.
Speaker 2 (35:16):
Yeah, and if I remember right, don't they
misuse the word pagoda in thistoo, because in the moment where
, like, uh, what's her name?
Molly, yeah, molly's like wecan use this pagoda to get to
the thing, and they're like areyou talking about that missile?
Speaker 1 (35:30):
yeah, I don't, I don't, I don't remember, but
probably it's really weird.
Yeah, they're playing fast andloose with a lot of things here.
Yeah, no shit.
So the mayor who's like ohBaloo, you led them to us.
This isn't good at all.
I'm going to send out the AirForce because no one's going to
take over Cape Zeta on my watch.
And they have these fighterpilots go up the Pandalons.
(35:53):
I don't know what you'd callthem.
Speaker 2 (35:56):
Pandalettes, I don't know.
Speaker 1 (35:59):
Pandalabras.
The Pandalabras love it.
They then unleash their secretweapon, which are heat-seeking
missiles that take down almostall of the planes.
And so then the mayor's like ohwell, shit, there's nothing we
can do about this, let's give up.
Don't destroy the city, you canhave it, we're all over in our
(36:19):
bellies, it's all yours.
But Baloo's like nah, I have tomake up for what I did, for
bringing them here, because theyfollowed me.
I've got an idea.
And he gets a bunch of frozencargo and fills his plane with
it so that the heat-seekingmissiles won't be able to find
him, which is actually clever.
Speaker 2 (36:41):
Doesn't make any sense.
It's a Schwarzenegger, doesn'tpredator, kind of yeah, exactly.
Speaker 1 (36:44):
And then he starts flying around and dropping, I
guess, homemade bombs.
Speaker 2 (36:52):
Ordinance of some kind?
Speaker 1 (36:52):
I don't know where he got these, but he just has them
and he's dropping them on theirships and then flying around
using their own heat-seekingtechnology against them and he
wins the day.
But does he travel onto one oftheir ships or is he all on his
plane the whole time?
Speaker 2 (37:13):
I thought he was on his plane but honestly, I don't
remember the end of this.
Speaker 1 (37:16):
I don't remember the end of it either.
Speaker 2 (37:20):
That's so sad is that we watched it yesterday and I'm
like, uh, what happened?
I can always pull it up.
He's got the frozen stuff,dumps all this stuff on them.
It's like ice cream.
Oh, yeah, yeah, yeah, he had abunch of ice cream that he dumps
on the leader put my screenfalls on the dude and then drops
a cherry at the end, which isokay, whatever, shut up, uh.
(37:45):
And then he's flying throughinside their building, he's
going to the armory that's right.
And then he literally pullsDeath Star and because the
heat-seeking missiles werechasing him and he flew out the
other side, the missiles blew uptheir fortress, killing so many
pandas, killing all theseendangered pandas.
Another racist element we'dlike to throw in here they treat
(38:10):
the missiles as fireworks.
Yes, they're essentiallyfireworks.
They even make fireworks sounds.
Speaker 1 (38:15):
When he first comes to Pandala he sees a little one.
He's like oh, fireworks.
Speaker 2 (38:19):
Yeah, that's not good .
That's what happens is that heflies through their thing,
causing the missile fireworks tochase him, and then
subsequently, when they startgoing off, then the heat
attracts all the other fireworkmissiles and then the whole
thing explodes and then he fliesout.
They think he's dead for likehalf a second and then he flies
(38:40):
out and then they throw him.
Speaker 1 (38:41):
But what happened to the rest of the airships?
Did they flee?
Did they retreat?
Speaker 2 (38:46):
Well, they were balloons, so their baskets all.
Just so, all the balloonspopped.
Speaker 1 (38:55):
And then they fell into the water.
Oh, okay, they didn't actuallyshow that, though.
No, they do.
Speaker 2 (38:59):
Oh, they all popped and they all fell.
Yeah, they show the one withsome of the main characters
falling into the water.
It shows the sequence where theballoon pops it falls into the
water and then they're justadrift.
And then they don't show theother baskets falling, but they
show the other balloons popping.
So you're too inferred thatthat happened to all of them so
it's just a bunch of dead pandasand yeah bunch of dead pandas
(39:23):
and law is no more completelygenocided.
Speaker 1 (39:26):
This well, don't, don't fuck with cape suzette, I
guess.
Yeah, yeah, no matter how angryyou get and you hop up and down
as your little Chinese pandaguy, you can't beat the barrel
chested strength of the westernbear.
Speaker 2 (39:42):
And then I just imagine that each of those
baskets of afloat pandas startedto starve and ate each other on
the open sea and then we'rehungry an hour later According
to the racist logic of this.
Speaker 1 (39:56):
To continue the racist logic of this episode,
but you can't get them to fuckand propagate their species.
Speaker 2 (40:03):
No, not at all.
Speaker 1 (40:04):
One major question I have with this is that this is a
warlike Chinese inspired racistgroup of pandas One.
They are cut off from theoutside world.
So who are they warlike with?
Right?
Speaker 2 (40:19):
So this is really fascinating, because it's not.
It would be really easy for usto just go oh this is a bunch of
racial stereotypes which it is,but it's actually way more
insidious than that.
It's basically every type ofOrientalism possible, where
(40:39):
they're cut off andpseudo-primitive, but also kind
of mystical and enlightened, andthen also warlike and invading
your homeland, but with no realmotivation or backstory as to
why they would or how they would.
Well, I mean, they show the how, but I mean, like it's
basically every Orientaliststereotype all at once they're
(41:03):
coming there to take your landand your jobs, or whatever.
Speaker 1 (41:06):
No, it's just panda yellow peril.
Speaker 2 (41:09):
Yeah, and so they're both enlightened but primitive
at the same time.
Speaker 1 (41:13):
Yeah and so they're both enlightened but primitive
at the same time.
Yeah, they are militaristicwarlords, but they're cut off
from the rest of the world.
But once they get a chance tofind you and your western white
city, they will destroy it andsubjugate it for their own
purposes.
Yeah, cool.
Speaker 2 (41:33):
Great.
It's so weird because it's CapeSuzette and we never addressed
it.
But the joke is it's a play onthe French dish Crepe Suzette.
Cape Suzette is like Potter'sMill or just some fucking place
up in like Maine.
I always kind of got you thinkit's like the West Coast.
Speaker 1 (41:50):
Well, no, I think it's its own place.
It gave me more of like aMelbourne kind of vibe, you know
like a port city and like aPacific, but it's distinctly
American.
Speaker 2 (42:02):
They have I don't, I don't know, in the pilot.
They kind of make it feel likeit's like fucking Americans
living in like Jakarta.
Speaker 1 (42:09):
Yeah, I always thought that this was kind of
like or like Singapore, theseare all expats, kind of was my
vibe.
Speaker 2 (42:18):
Yeah, at the beginning, like in the From here
to Machinery, machinery, thatjust seems like they're in
mainland America.
They're just like a small porttown in like New England,
because, like this is anotherAmerican businessman doing his
thing and Sherehan is anamerican oligarch.
Essentially, because you wouldthink if it was in another land,
(42:42):
a lot of these other villainouscharacters would be more
colorful, ethnic, ethnic yeahwith don carnage.
It's kind of a comment, I guess, on like old spanish
imperialism.
I kind of got like a Spanishimperialist Philippines vibe
there.
Speaker 1 (42:59):
Yeah, I don't, I don't know.
He just seemed bits of all overEurope really, but and also not
in modern times.
Speaker 2 (43:05):
No, not at all.
He brandishes a cutlass, forChrist's sake.
He's pirate through and through.
But, like you know, in a weirdtime that's kind of set between
World War I and II.
Speaker 1 (43:17):
Maybe he came out of a time warp, which is why he
doesn't fit.
Speaker 2 (43:22):
That'd be an answer.
At least we don't get that.
Yeah yeah, we are putting toomuch onto this, we are thinking
about it too hard, but that'sbecause the show inspires these
kinds of ideas, like they'reright on the verge of saying
something it's adult enough towhere I feel like I need to
question it, as opposed to likeduckberg, where it's like uh who
(43:44):
?
Speaker 1 (43:44):
cares right, this is whatever it's.
You know it's, it's a kiddiestuff.
They're doing kiddie adventures, whatever you're right.
Speaker 2 (43:51):
I mean, like at the beginning, the pilot and things
like that, it feels like a bunchof expats living in Thailand or
something, yeah, so that's howI always thought of it.
But it's called Cape Suzetteit's a western, you know what I
mean.
Like it's obviously at least atsome point been under imperial
or colonial occupation.
It's almost like Cape Town,yeah, maybe if anything, it's
(44:13):
like South.
African.
Yeah, maybe, if anything, it'slike South African.
Yeah, you know what?
That's probably the only thingI could think of but it's been
populated by Americans.
I mean Because they go out oftheir way to show you that these
are Americans, that you havethe Spanish one and then you
have, like, a French one, butthey're not the main populace of
the town.
Speaker 1 (44:30):
And Louis, who seems to be more indigenous maybe.
Speaker 2 (44:35):
Oh, he's just the black guy, I'm sorry.
Speaker 1 (44:38):
Well, yeah, a lot of the stereotypes, a lot of the
old I know it's tough to liketalk about because, like we
don't want to.
Speaker 2 (44:46):
No, we don't, yeah, because it is bad.
We're saying it's bad, it'sminstrel show stuff.
It's not supposed to be overtlyracist, but it's sort of like
passively racist in a way thatwe feel OK with.
Speaker 1 (44:59):
Yeah, it's like a wink and a nudge.
You know what we're talkingabout.
Speaker 2 (45:02):
but I think it's even less than that.
I feel like it's more like well, we're not racist anymore, see,
because we got this guy thisracist stereotype.
Yeah, this guy, this raciststereotype, yeah I, he runs
around in hawaiian shirts in alay which has its own level of
racism that we should.
That's why I kind of got a likea philippines vibe too, because
(45:24):
like the sort of mixed culturesof the philippines and hawaii,
because, like it also gives youkind of a hawaiian vibe a little
bit yeah, I mean it's, it'sspraying in a lot of different
parts of the field.
Speaker 1 (45:35):
And again it's like so in the Tales of the Golden
Monkey, roddy McDowell, who endsup being the character.
He's a French expat who is veryFrench, his little pencil, thin
mustache and everything, but heruns this bar, you know, for
expats and whoever in thesePacific Island setting.
Speaker 2 (45:58):
First of all, it is an American-ish name for a city.
And why would somebody likeRebecca Cunningham, a single
mother trying to make her way inthe workaday world, move to
like Jakarta, like you know whatI mean Just to take over this
airline, or whatever they wantyou to?
Okay, let's just say take overthis airline, or whatever they
want you to, I OK, let's justsay they didn't think it through
(46:18):
.
Let's say that I think that'ssafe to say Totally, it's all
over the place, but there'senough there.
That's that's intriguing.
That makes us even have thesequestions, it's true.
Speaker 1 (46:30):
It's true, which I think it's a bizarre show.
It is a bizarre show, it's true.
It's true, which I think it's abizarre show.
It is a bizarre show and thiswas a bizarre episode of that
show.
Oh yeah, that obviously wastaken out of the rotation for
distinct reasons.
As we had said before, this iskind of in a post-World War
world in a way, but it's neverlike they talk about ex-fighter
pilots and some type of conflict.
(46:52):
The technology seems to be ofthat era, but they don't
actually go out and say anything.
The closest they actually getto talking about like a world
war is actually in a comic story, a short comic story in Disney
Afternoon or Disney Adventuresmagazine from 1991, in a story
(47:14):
called the Dogs of War, and inthis you have what appear to be
Nazi-inspired dog creatures,houns, h-o-u-n from Hounsland,
who are a warlike, militarized,very tight, nazi-inspired garb.
I couldn't actually track thiscomic down.
(47:37):
It seems to be hard to find.
Surprise, surprise.
Speaker 2 (47:40):
Oh, wow.
Speaker 1 (47:42):
But that was also never put into any type of
compilation or anything.
They kind of stayed away fromthat.
But at least to give you alittle more context of the world
and another slightly racist,slightly something we don't want
to speak about um version ofthis weird tailspin world.
One other thing I wanted to saybefore we move on one of the
(48:04):
episodes I hope you're gonnapick, because we each threw out
an episode to watch and checkout her chance to dream again.
They do a lot of fun.
That's a good pun.
It was about um becky findingthis suave sea captain that she
kind of falls in love with, buthe's a ghost oh, it's like
(48:24):
that's, that's your right,exactly, exactly like that and
even apparently like I was justreading through the episode she
didn't want to leave.
She wants to abandon her familyand stay with this ghost guy.
Wow, it's exactly like thatepisode she just gets.
She gets forced to go againstthe will and like send him on
his way uh that's the episode.
Speaker 2 (48:43):
I was hoping you're gonna pick, but I didn't want to
influence your decisionhonestly the reason I because I
did see that synopsis, just likea little bit of it.
I didn't pay it much mindbecause I saw From here to
Machinery and I was like, wow,this is really, I mean, poignant
today with AI and all that kindof stuff, and it felt like
exactly like, hilariously, adifferent Star Trek episode, I
(49:08):
mean, that one soundsfascinating too.
I'd love to have done that aswell.
Speaker 1 (49:12):
Yeah, a lot of these episodes seem fairly interesting
really, which is one of thereasons that I think we came
back to tailspin in the firstplace.
Conceptually, you know, it'skind of a kid show with adult
themes, dealing with an era thatyou don't really get stories
from at all anymore yeah, um,yeah, except for in, like the
(49:34):
casablanca era, or at least that, that sort of era of nostalgia
for that.
Speaker 2 (49:39):
Yeah, which?
Speaker 1 (49:39):
again, that's a that's bygone era.
Oh yeah, even talking aboutindiana jones, I mean really,
like the times they were dealingwith that the last time you saw
that was like late 80s yeah,really, you just don't get
stories about this time frameand it's so interesting that
they're like all right, let'spitch a kid show that's about
adult problems withanthropomorphic cartoons, with
(50:00):
all of these problematicpossible elements.
Let's take it from the JungleBook of all places, but only
kind of, but only kind of.
Let's also put in someCasablanca and some Cheers in
there, this weird TV show thatnobody watched from 1982.
How about that, you think?
Speaker 2 (50:18):
kids will like that.
Yeah, that's exactly why wewanted to do it, because it has
just so many weird, quirkythings that we all remember as
kids but also as adults, makesyou go back and look and like,
wow, it raises these questionsand makes you wonder what the
mode of thinking was and thecreation of the whole thing and
like what they're trying to say.
And so, even if it turns out anincomplete thought I mean
(50:46):
conceptually but it's got somuch.
It's like the originalBattlestar Galactica there's
yeah, it's kind of a schlockyshow, but there's so many, but
you can see where Ronald Moorewas like well, this is actually
really interesting.
There's more going on here.
Speaker 1 (51:03):
Yeah, 100%, which is why maybe the Seth Rogen-led
reboot of this that's supposedto be coming out.
Maybe I mean that could goeither way it really could.
I mean that could go either wayit really could.
But there's a lot ofpossibilities that if they want
to kind of stray off the path ofthe safe Disney thing and like
explore some of the stuff,there's stuff there there is.
Speaker 2 (51:24):
I hope they at least try and do that.
I mean, seth Rogen is acrapshoot when it comes to stuff
like that.
Some of his stuff that he'sproduced is decent, good,
interesting, some of it's bad.
Speaker 1 (51:35):
So I don't know.
Yeah, I do not know, but that'sa tale to spin in the future.
Indeed, and this was a, it wasa overall, I would say, a fun
and interesting look back at thegenesis of Talespin and what
the show was like, especiallyfrom adult eyes.
So that was cool and we hopeyou guys enjoyed it.
(51:56):
A little retro rewind.
I'm going to turn that into aclip of some sort.
Come back in the future, whoknows what we'll cover next?
But come back as we spin ourown tales and go on our own
adventures that, hopefully, area little less racist than these.
Just slightly, just slightly,just slightly, but definitely
(52:17):
the adult existential drama thatis inherent will be with us as
well, 100%.
Speaker 2 (52:23):
Yeah, until then, make sure that you guys out
there have cleaned up afteryourselves to some sort of
reasonable degree, that you havepaid your tabs, your bartenders
, your KJs.
You've left sizable tips forthe hard work that they do.
Don't forget to support yourlocal comic shops and retailers.
And from Dispatch Ajax we wouldlike to say Godspeed, fair
Wizard.
Speaker 1 (52:43):
Please go away.
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