Commentary Track: The Running Man (1987)

Episode Transcript
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Speaker 1 (00:00):
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(00:41):
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the show. Welcome Friends Podcasts podcast show Jacky and Ryan.

Speaker 2 (01:01):
They're talking bad, Ruby's loving them back.

Speaker 3 (01:03):
I guess on Baby In the year two thy seventeen,
an innocent man accused of a crime as a choice
hard time or prime time sensational perfect contestant. I want him,
he must pay or play The Running Man on your mark.

Speaker 2 (01:26):
I'll be back, Joe.

Speaker 3 (01:30):
It's a game between life and dakh Arnold Schwarzenegger is
the running Man. He's playing for a prize. The prize
is his life. Out of the life the running Man.

Speaker 2 (01:54):
Welcome to a movie film commentary track. My name is
Zachie Sign. I'm here at Brian Hall. Hey, how's it going, Zachie? Brian?
If you were a stalker on The Running Man television show,
what do you think your code name would be?

Speaker 3 (02:08):
Uh?

Speaker 2 (02:08):
Bride guy, Briye guy. Yeah, but it wouldn't.

Speaker 1 (02:13):
Well, I was gonna say it wouldn't have to do
with whatever my kill mode is necessarily right, But then
because I was thinking of a sub zero. But I
was like, of course that has to do with hockey.
I just thought the hockey thing was very funny, like
a deadly hockey blade.

Speaker 2 (02:27):
So I was like, what would brig guy do? I
don't know what would yours be. I feel like I
would I wouldn't make it to the level of stalker.
I would be dead in thirty minutes guy, right, So
breaking into the ranks of stalker. Is that something you'd

(02:47):
be the guy in the huddle? Like, I don't like
the looks of them apples pretty much.

Speaker 3 (02:54):
You know.

Speaker 2 (02:56):
All of these questions, by the way, come to mind
because of our topic of discussion today, which is the
nineteen eighty seven Arnold Schwarzenegger Arnold Schartzenegger film The Running Man. Yes,
did you just change what you were saying? I, well,
I'm not sure the word classic applies, you know what.

(03:19):
I actually do have some thoughts on its place in
history that I thought were kind of interesting. But yeah, no,
I think this isn't one that's like carried through the decades,
certainly like Terminator and things like that, But it's one
of the ones if you were around or if you
were a kid in that era, you definitely know, Like
even just the poster of this, you know, like how

(03:43):
many times can you come up with a movie poster
for an Arnold Schwarzenegger.

Speaker 1 (03:46):
Movie, Like how many times can you angles? Can you
shoot his bicep?

Speaker 3 (03:50):
You know?

Speaker 1 (03:50):
And like this is literally just his face and it's
gray and it looks sort of like degraded on an
old computer or something, And there's something really evocative about
it so that I I remember from the VHS box
when I was a kid, so I'll say, yeah, no,
this is one that lives in my memory that it exists,
but this isn't one that.

Speaker 2 (04:10):
I've seen a lot.

Speaker 1 (04:11):
Yeah, so it was kind of interesting to go back
to it, like i'd only seen it once before.

Speaker 2 (04:16):
Yeah, well kind of like you, I've probably seen it
a couple of times, but the last time I have
memory of watching it is the early part of the nineties.
So okay, it's been several decades. And so I think
that allowed for a fun opportunity obviously, And we're watching
this in the context of the new version of The
Running Man, which is due to hit theaters well tonight,

(04:37):
as we are recording this as a matter of fact,
and so I think, you know, being able to make
those contrasts is always a fun thing, absolutely, And I
have no idea what Edgar Wright and Glenn Powell have
in store for us, but I feel confident in saying
that there won't be any dialogue as brilliant as Here's

(04:58):
some zero now, oh plane zero.

Speaker 1 (05:02):
That was the one where I was like, hmm, maybe
they should have had the writer on set. You know
he gets this is like peak eighties action hero gotta
have a zinger after every kill, kind.

Speaker 2 (05:17):
Of Oh my god, it's it's zinger Palooza.

Speaker 1 (05:20):
Actually, no, maybe Commando is, but yes, it's it's But
that was the one all of them. I was like,
you know, you have a light or whatever he says.
I was like yeah, yeah, And then that one was like, huh,
maybe it's a thinker, give me a minute.

Speaker 2 (05:35):
I mean that truly is like the only dialogue I
remember from the movie like thirty years later, So that's something. Yeah.
So uh, hey, we are going to watch The Running
Man from nineteen eighty seven. If you want to watch
along with us, you're more than welcome to do that.
If not, we'll try to keep the conversation engaging enough
to pull you in, hopefully with our trademark charm and witticism.

(05:57):
That'll be Brian and the awkward silences that'll be me.
We'll see how that goes. Hey, are we ready, Brian?
I'm ready. All right, we're about to start running, So
we're gonna do the usual thing. We'll go one, two, three,
play uh and uh, and that'll be that'll be what

(06:18):
we do. All right, we go one, two three play.

Speaker 1 (06:25):
You know, whenever I see this TriStar logo the horse
running towards screen and it grows the wings, you get
excited because it makes me think.

Speaker 2 (06:33):
Of Short Circuit two. I don't know what it makes
me think of. Geez.

Speaker 1 (06:41):
I mean, I yeah, Like, I'm sure you're as familiar
with it as I am. But that's the movie that
I associated with.

Speaker 2 (06:48):
Yeah, that we I mean, I understand you. For those
of you listening who don't know, Brian has a very
specific affinity for for for the escapades of Johnny five
in Short Circuit.

Speaker 1 (06:58):
Two, I honest feel like if I ran into him somewhere,
I would probably tear up and have to hug him.
By the way, I love this this opening here. It
feels like something that was probably made on an eighties computer.

Speaker 2 (07:11):
It was like state of the art.

Speaker 1 (07:13):
Yeah, but I love that The Running Man the title
here looks like slightly fuzzy. Yeah, you know, like and
this I'm sure was made on a computer.

Speaker 2 (07:22):
But it's I love it, you know it It feels
of its.

Speaker 1 (07:26):
Time and that I love that, Yeah, you know what
I mean. And that's actually that was something I was
sort of hinting at earlier is. I think it's interesting
how some movies just somehow, no matter when they were made,
wind up feeling timeless. Like I recently saw Back to
the Future again in theaters, and that movie has been
so well preserved or maybe treated. I don't know that

(07:49):
it just looks you know, it looks very filmic, but
it also looks like it could have been shot last week, right,
you know what I mean?

Speaker 2 (07:55):
And also they do a really great job of not really.

Speaker 1 (07:59):
Sorry, I don't want to talk about this. Sorry, real quick,
but I'll just say it's real fast. Like they don't
play too much into the nineteen eighty fiveness of things,
just enough to put it in a time so it
can change, right, And the Terminator two is really old,
but if you watch it now, I don't really think
you think about the time it was made in right,
this movie feels like a movie from nineteen eighty seven,

(08:20):
you know what I mean.

Speaker 2 (08:21):
And I think that's really interesting.

Speaker 1 (08:23):
I don't even mean that in a negative way, like
I actually think it's kind of cool like it in
a weird way, watching this, I felt like was watching
something like going back in time, like a time capsule. Yeah,
Like obviously it's look, but like the type of violence,
the type of humor, the act the hero, like the
way like now I'm you would have a hero who's

(08:44):
probably a little more humble or like scraping to get
by by the skin of his teeth. But here Schwarzenegger,
even when he's down and out, is cocky and talks
down to people, which is like what people wanted from
Swarzenegger in the eighties, you know. So I just I
thought that was kind of fascinating, Like this, some movies
just have kind of a timeless quality to them, but

(09:04):
this one feels like a nineteen eighty seven film, and
that was kind of part of the fun of the
experience rewatching this for me, well.

Speaker 2 (09:12):
A nineteen eighty seven Arnold Schwartzenegger vehicle at that. And
I don't think you can talk about The Running Man
without contextualizing it with where it stood in terms of
his arc as an action hero. You know, arguably from
eighty seven to about you know, ninety in ninety one
ninety two was that was his absolute peak, you know,

(09:34):
and he he was an icon, right And I think
I think it's very telling that in adapting the book
to the screen, the entire thrust of the Ben Richards
character was shifted around where he was as written. You
know what you describe, he's just he's down on his
luck guy who's just trying to get by, and this
television show represents an opportunity to maybe make ends for

(09:56):
his family, right. And it's almost like there's this tacit
understanding that we can't buy Schwarzenegger right in that scenario,
and so they make him part of the oppressive establishment
that is, you know, brought to heel, but he can't
be brought to heel because he's the Austrian Oak for

(10:16):
goodness sake. And and I think I think that itself
is very interesting because because uh it and I have
not read the book, but you know, just just from there,
you realize it puts your character in two very different
places when you when you you've essentially reimagined him from
the ground up, with only the name being being similar.

Speaker 1 (10:39):
H I was actually I I oh, by the way,
this reminds me of Commando, you know him keep the log.

Speaker 2 (10:45):
I love that man.

Speaker 1 (10:47):
So many things I want to say about what you
just said, but you know, it's interesting. So talking about
this being kind of peak or you know, early peak Schwarzenegger.
You know, I'll due respect, I love the guy, and
I think he's He's done really great in a lot
of movies, but I was sort of surprised at how
unvarnished his acting was in this movie, you know, like

(11:08):
cause I'm used to I've seen Terminator two more times
than I can count, you know, and then true lies.
I think he's genuinely fantastica in yeah, so here You're like, oh,
he's still pretty rough here.

Speaker 2 (11:20):
Well, I think what that really speaks to is that
Paul Michael Glazer, the director, was inexperienced with a film
of this scale, and I don't think he knew how
to interface with Schorseninger. Bear in mind, this is the
same year. This is just a few months after Predator,
which I think is one of Schorsninger's best performance. That's
true the same year. That's a really great point right

(11:42):
at point, So it speaks I mean, the journey that
this movie had to the screen is it's self fascinating
right now. Now again, it is a Stephen King novel,
although it was released under the name Richard Bachman, which
I was digging into why the pseudonym existed and Apparently
it came down to the fact that the book company
didn't want to be releasing multiple books by the same

(12:04):
author in one year. Yep. And so Stephen King, who's
just kind of you know, he's just a machine when
it comes to stuff. He's just cranking this shit out.
But I would imagine that partly too. I mean, it's
not like a straight ahead horror story either, yes, yes, right,
and so maybe partly, you know, you put the Stephen
King name on it, you're sort of expecting something in

(12:25):
the vein of the shining perhaps or whatever, you know. Yeah, right,
and I think it helps, you know, by not having that.
But the book comes on eighty two, the rights are
picked up by Rob Cohen, the you know, future director
Rob Cohen. Yeah, but the version of the movie that
was going to get made had George Cozmatos as the director, right,
and Christopher Reeve as Ben Richards.

Speaker 1 (12:48):
Which you can imagine him playing the version from the book.

Speaker 2 (12:52):
Yeah, absolutely, that was indeed the plan, And.

Speaker 1 (12:57):
Which is funny that I'm saying that, by the way
about Superman, you know what I mean. I mean, I'm
just talking in contrast to you know, Arnold Schwarzenegger.

Speaker 2 (13:06):
Well, well, when you think about it, I mean, the
reason that Reeve connected as Superman was because he made
him feel mortal, you know. Yeah, And so certainly I
do wish I could step into the multiversal variant where
we got to see that movie.

Speaker 3 (13:19):
You know.

Speaker 2 (13:20):
Sure, he stepped away to make Street Smart and Superman four,
and and obviously his career went the way it did.
And he, I mean, I said, I couldn't help, but
think like that does does reality change because Christopher Reeve
does the Running Man? You know? But anyway, Andrew Davis
comes on board. He of the Fugitive, so he has

(13:41):
we're seeing a theme for him. Yeah, yeah, you know,
and and he I think he shot for like a week.
Yeah that's wild, isn't he?

Speaker 3 (13:49):
Yeah?

Speaker 2 (13:49):
I think I believe this sequence was Andrew Davis. Oh interesting.
And you can tell a difference, Yeah, you really can.
You know what's funny. I was thinking it.

Speaker 1 (14:02):
It wasn't enough for me to say it, but I
was admiring its beauty now that it really is beautifully
shot and executed. And he was, yeah, let go after
what like eight days or something, because he was already
eight million over budgets in four days behind schedule.

Speaker 2 (14:20):
Yeah, so that's not that's not great. Yeah, it's not
a good thing. But and again it is one of
those things where we're like we we speak from the
future and we're like, the guy who made The Fugitive, Yes,
would have kicked all kinds of ass making this movie,
you know. Uh So then they pull in Paul Michael Glazer, who,
again he was best known for playing Starski from Starsky

(14:42):
and Hudge, mostly a TV director, and and so he
did a sort of workmanlike job taking Steven Desus's script,
which was itself pretty pretty far removed from Stephen king
approach to the story. And and that's just the nature
of the beast because I don't, you know, I think
at the time, I don't know how you how you

(15:04):
make that movie that book, you know, But I I
think I think that's fundamentally the problem. The problem is
not in the script necessarily, or the performance is necessarily.
I think it's it's a director who just wasn't able
to pull pull them together in a way that elevated both.
And Schwarzenegger wasn't very happy. He was not right with

(15:27):
the yeah, because I mean, obviously he signed on to
the Andrew Davis version, right, And and you know he
said as much, right, Yeah, He's like, you know, they
just looked like a TV movie, And I would say
that's accurate. Yeah.

Speaker 1 (15:41):
I have some quote where he says, shot shot the
movie like it was a television.

Speaker 2 (15:44):
Show, losing all the deeper themes.

Speaker 1 (15:46):
Yeah, I guess the film's tone changed from a dark
allegory to a humorous action film, which Schwarzenegger wasn't very
happy with.

Speaker 2 (15:54):
And and he ain't wrong. Yeah yeah, I mean the
book itself is much darker than this, and and you know,
just just reading the synopsis of the book, I'm like, well,
there's no way that was going to be made into
this movie anyway, no matter what, right, So so sort
of like it's like, okay, the only question is how

(16:16):
how how much of a divergence were we likely to
get from that original book, you know right By.

Speaker 1 (16:22):
The way, I want to comment on that establishing shot
of the city. I was, you know, watching that on
my big television and I was like, Wow, what a
thing of beauty. I mean, that's I don't know what
it is, like Matte painting, matt painting, a combination of things.
I'm sure that ran through an optical printer or something
or other because of that TV screen.

Speaker 2 (16:40):
But I was like, wow, that is stunning.

Speaker 1 (16:43):
Yeah, it looks this is whatever version we're watching, some
recent restoration or something. It looks really nice.

Speaker 2 (16:50):
Yeah, they've they've done a nice job on this movie.

Speaker 1 (16:52):
Yeah, there's a Zappa, right, diezels Zappa, diesel Zappa.

Speaker 2 (16:56):
That's right. Yeah, it's very random. Yeah.

Speaker 1 (17:02):
By the way, so commenting on the prison break earlier,
you know, w they're having to quickly in put this
code and you know otherwise they have these devices around
their necks that will blow up if they pass a
certain point. So there's that moment where the guy's like,
can't wait any longer and he runs and his head
blows up. Yeah, and there's part of me that thought,
you know, if I saw that in real life, I'd
be horrified. But like, here I am watching something that's approximated,

(17:27):
Like it looks like a guy in his head blowing up,
and I'm like, ooh, moving on eating my popcorn. Like
I was just trying to understand the disconnect where you
know what I mean, I can like watch that happen
graphically in a very very realistic way and go oh no, yeah,
versus like, actually, no, that's really horrifying.

Speaker 2 (17:46):
By the way, Mick Fleetwood here, we should say we
got we had all kinds of rock royalty here. Yeah. Yeah.

Speaker 1 (17:53):
I guess some people online were saying, or there's a
fun fan theory that he's playing himself, playing Mick Fleetwood
because he says something about people taking away his songs
from him or something.

Speaker 2 (18:04):
Well it his characters called Mick. Yeah, yeah, yeah, right,
and it is set thirty years after it came out,
so I suppose that tracks right, Yeah, it's possible. It's
like Tom Petty playing himself in The Postman.

Speaker 1 (18:20):
Oh you know, I've never seen The Postman, but I
remember that.

Speaker 2 (18:23):
That he's in that, So that's kind of that's kind
of a thing.

Speaker 3 (18:26):
Yeah.

Speaker 1 (18:27):
Oh, by the way, so yes, I mean the whole
setup here is that Schwarzenegger were at the first scene
is in a helicopter and he's ordered to fire on
these people.

Speaker 2 (18:36):
He's ordered to fire on innocent people, and he says,
the hell with you.

Speaker 1 (18:40):
I was gonna say what it made me think of you?
Because we get like so then this, you know, people
like do your orders and he's like no, and so
he like starts punching everybody in a helicopter. I was
gonna say, we get peaked, like I know, and like
I associate.

Speaker 2 (18:55):
That sound with you.

Speaker 1 (18:58):
So the last night I just had like a little
my heart beat a little warmer just thinking about you
hearing all this.

Speaker 2 (19:04):
Oh no, like hanging out of the helicopter, Like I
have my kids doing that now. Whenever we're watching on
a movie, I'm very proud about that.

Speaker 1 (19:12):
Whenever I'm imitating Schwartzenegger doing that, I'm imitating you. So anyway,
I was like, wow, this is like we get a
lot of gold here in this first scene. But but yeah,
so he says he's not gonna do it, and then
they manipulate the story the government and say that.

Speaker 2 (19:32):
He was like I want to I want to shoot everybody.
And then like he goes to jail. So this, uh,
this little headquarters that they're they're leaving, it's it's in
the It's in the miniseries V The Final Battle. So
this is like the headquarters of the resistance. Oh funny, Okay,
so very much taking advantage of you know, because that

(19:54):
was shot around Los Angeles too. Yeah, so that would
only be a couple of years before this right, Yeah,
like that four years ago, I think, so okay, nice. Now,
I gotta say, Richard Dawson is an absolute delight in
this movie. So yes, so good he is, he is,
he has no mustache, but boy is he twirling. Yeah.

Speaker 1 (20:18):
But I didn't realize that he was actually an actor.
I only knew him as a game show host.

Speaker 2 (20:26):
Yeah. Before that, he was on Hogan's Heroes and stuff
like that.

Speaker 1 (20:29):
Yeah, but like, yeah, because he's not just kind of
like he's got a lot of modes in this right,
Like he's got talk show or game show guy mode
like we're seeing right here. But then behind the scenes, yeah,
like you're saying he's got the mustache twirling mode.

Speaker 2 (20:40):
He's just chewing it up. Oh it's great. Yeah, he's
so good. Because they wanted Chuck Woolery and I guess
the schedule didn't work, and I watched this movie and
I'm like, it would be worse with Chuck Woolery. I
think I think you needed an actor and Chuck Woolery
was not that. That's a great point. I get it.

Speaker 1 (21:00):
Yeah, and maybe even in that, well, this is stunt
casting as well in a way. But I was gonna
say maybe it would seem more like stunt casting because
he was on strictly in that moment.

Speaker 2 (21:09):
Yeah, for family feud, see see right here, right, some
characters they get there, save the cat moment, Damon killing,
he gets his fire, the janitor moment. That should be
another book. You know. One thing I love is sween
Olie Thorson as the bodyguard. The number of glares he

(21:29):
shoots Killian's away throughout the movie. As you see, this
guy is just getting progressively more pissed off. Wait where
where else is he from? I know his face? Oh
he's He's in a million things. Okay, I gotta look. Yeah, yeah,
he he was like one of Schwarzenegger's like workout buddies. Okay,
so he's one of those guys. He's in you know what?

(21:50):
You know what you know him from? I'll tell you
he's he is the security guard in Maret. Oh yes, ye, yep, yep. Yeah,
but he's in like Conan the Barbarian, he's in I'm
pretty sure he's in Batman and Robin. He's in a
bunch of short so yeah, okay, and I'm looking at it, okay, yeah, sorry,

(22:14):
I'm like going down at IMDb. Rabbit holes.

Speaker 1 (22:19):
So oh, I I the Gold's Gym thing I thought
was kind of interesting too, I guess just reading all
the trivia.

Speaker 2 (22:25):
At some point.

Speaker 1 (22:28):
Schwarzenegger did become their CEO while Joe Gold, the founder,
was having health problems, but that was after this, but
definitely him kind of boosting a buddy's gym there with
that sweatshirt.

Speaker 2 (22:43):
But it says World's gym. I think, oh did it?
I think so? Oh?

Speaker 1 (22:47):
So I thought I was, but you know, it's so funny.
That's what my brain just was, like, Oh, that's Gold Jim.

Speaker 2 (22:51):
Yeah, as you were saying, I was like, Worlds Jim. Hey,
here's Kurt Fuller playing his character.

Speaker 1 (22:58):
I was gonna say, how many movies has he been
in a TV production booth? You know this No Holds
Barred World, dude.

Speaker 2 (23:10):
I want to do No Holds Ward one of these
days with you. Man.

Speaker 1 (23:13):
I don't think I've seen that since the nineties.

Speaker 2 (23:17):
I'd be very curious to see that again. That movie
exists in a world where having a pro wrestler on
one network versus the other is the difference between you know,
success and failure, life or death. You know.

Speaker 1 (23:35):
Yeah, And I just recently rewatched the movie Miracle Mile yeah,
with Anthony Edwards. Yeah, yeah, and he gets a phone
call that's not meant for him, saying that a nuclear
bomb is heading toward l A. And Kurt Fuller is
in that, and he's playing another Kurt Fuller type.

Speaker 2 (23:51):
Yeah, a lot of fun, that's he's got. He's got
that archetype on lock. Yeah.

Speaker 1 (23:59):
I love that mugshot or whatever that is of Schwarzenegger
with the mustache, Like that is nineteen eighty seven, right
or maybe not. I mean, in twenty twenty five, it
looks like the mustache is coming back.

Speaker 2 (24:10):
So what do I know now? Twenty You say twenty
twenty five. The book is set in twenty twenty five.
That's wild, And and you know, I feel like the movie,
the new movie should just be set in twenty twenty five,
because you know, we're like, let's be honest, we're like
two steps removed from the Running Man.

Speaker 1 (24:28):
I mean, it's kind of crazy, you know what I mean.
Even like there's that fake game show where it's like
a guy climbing ropes and if he falls, he'll be
eaten or by snakes or something like that, and I'm like, yeah,
fear factor.

Speaker 2 (24:42):
We had that. Ye like that that's like twenty years old,
you know, we did. We did the We're gonna put
you in a coffin of spiders for money? Yeah yeah,
like face your worst fear and cry on camera and
like puke for money. You can you can eat this
buck of horse rectums. Yeah, and like it's like.

Speaker 1 (25:03):
Funny because you're you're not kidding, Like that's literally what
they made those people do.

Speaker 2 (25:06):
Yeah, disgusting.

Speaker 1 (25:12):
I had forgotten about this character, but this, this is
the thing that made me think that this is such a.

Speaker 2 (25:16):
Freed you mean Jesse venture No, No, the Amber, oh,
the Amber character.

Speaker 3 (25:20):
OK.

Speaker 1 (25:21):
And what I thought was funny and immediately struck me
about it was Yes, And I haven't seen the new
version with Glenn Powell yet, but I can imagine him
being like no, no, no, you don't understand, like this
is my place. Hold on, we got to figure this out.
But here, like he's just in this woman's home that
isn't his, and he's just.

Speaker 2 (25:39):
Like quiet to come with me or coming with me now? Yeah?

Speaker 1 (25:43):
Yeah, Like there's just because I guess at that time,
you know, that's what you wanted to see. You wanted
to see him in control kind of bossing the woman
around who will eventually kiss him at the end of
the movie.

Speaker 2 (25:54):
For some reason.

Speaker 1 (25:55):
Yeah, you know, I mean, because that's that's just the
template of an eighties film, you know that that.

Speaker 2 (26:01):
Is, you know, the end of the movie when when
they kiss at the end. It made me think of,
speaking of Glenn Powell the end of Twisters where they
right specifically don't kiss, yes, and and it just made
me say, like, you know, my how times change, you
know totally.

Speaker 1 (26:19):
Yeah, yeah, I watched the honest trailer about this movie.
I think it just came out like two days ago,
and it was funny because they said some joke where
it was like and then you know, Schwarzenegger kisses her
at the end because woman.

Speaker 2 (26:33):
Like, yeah, that's that's kind of what. Guess what it was.

Speaker 1 (26:37):
He's got this interesting affectation, doesn't he with his pinky Yeah? Yeah,
like everything he's holding you kind of it.

Speaker 2 (26:44):
I don't know, I don't know.

Speaker 1 (26:45):
I was wondering if that's actually him or if he
was doing that for the character, but it it gives
him this interesting sort of funny flare.

Speaker 2 (26:53):
So my my sense of you know what what I know.
Richard Dawson after his passing. Is that you know, playing
Killian wasn't that much of a stretch for him? Yeah, right, sure, sure,
you know, and I'm sure he enjoyed not having to
be Like actually, if you ever watched him on Family Feud,

(27:19):
he was like borderline creep on that show, and I
think he knew what he was doing. I think I
think he was a creep. Yeah. I watched today because I.

Speaker 1 (27:26):
Was doing all the research for this, and I was
watching clips and like there's like super cuts of him,
just like sometimes you watch a game show and you
see the contestant they're a little nervous and the host
will put their arm around them, and I feel like
you've seen that less and less because personal space is
becoming more of a thing. Yeah, but it's he would

(27:47):
literally kiss all the female contestants on the mouth.

Speaker 2 (27:51):
Yeah, like that was what he was known for.

Speaker 1 (27:53):
And so I guess I don't know who it was
network or whoever was calling him out on that and
saying stop doing that, and so he literally put out
a pull and asked the audience what they wanted, and
they're like, no, keep the kissing. That's just you know,
we didn't ask the women what does the audience want
to see. I mean, it's very creepy to watch very much.

Speaker 2 (28:14):
So see but this right here, this is what you want.
You want Arnold ripping the bed that he has the
woman tied up on, by the way.

Speaker 1 (28:21):
Which is hilarious that she's like at homeworking out in
like yeah, Victoria's secret lingerie.

Speaker 2 (28:26):
That was weird, right, I just thought that was funny. No,
I remember, just just to wrap up the Richard Dawson
family Feud thing, like, I remember being a little kid
and I had like a little paperback comedy book about like, oh,
here's video games we'd like to see or something like that,
and one of them was Family Feud the arcade game
and you get a prize for escaping Richard Dawson trying

(28:49):
to kiss you, you know. So I read that when
I was you know, like seven eight or whatever. Well
before i'd even seen Family Feued. I think I saw
The Running Man before I saw the Family Feud, you know,
And so that was my So obviously that was like
in the ether, is my point, right? Right? Yeah? Yeah,
because Richard Dawson, he he did Family Feud and then

(29:11):
he left and then they had Ray Ray Holmes I
think was his name. See, that's the family feud. I
began watching rhymes. So he and he left, and then
Dawson came back. See I don't even remember that. Yeah,
and so he came back, and then they brought it
back a couple of years later with like it was
like Louis Anderson and Richard carn and all those guys.

Speaker 1 (29:31):
Yes, yeah, then I remember that h Richard kar and
Steve Harvey.

Speaker 2 (29:33):
Of course, now Steve Harvey's pretty much just moved into
the joint. That's yes, his house. Now you don't see him.
He's got his own affectations, which I guess that. See that,
don't you kind of wish like this one they had
they had Steve Harvey in the Coleman Domingo role, you know,
just just yeah, oh there you go, Yeah, you're right,
you're right now now, like this right here amber, of

(30:02):
all the places to do that seems it seems ill timed,
Like I means, because she's in a crowd, But she
should have done it when she was near security.

Speaker 1 (30:13):
Oh sure, sure, sure, because he didn't have anywhere to run,
He didn't have anywhere to run.

Speaker 2 (30:17):
That's a good point. It is kind of funny.

Speaker 1 (30:21):
This is like an alternate non post nine to eleven
airport right where it's just like, I can't find her
security pass. You know, women and their purses, all their crap.
He's like, just go, just get on the plane.

Speaker 2 (30:32):
It's now. Compare this action sequence with the prison escape
action sequence in the beginning. You know, it's funny.

Speaker 1 (30:42):
I didn't read that fact until after I watched it.
But you're right, it's so strikingly different. Yeah, very dull,
you know, very matter of fact. Yeah, very straightforward TV.

Speaker 2 (30:53):
Now Maria Conchita Alonso would a few years later also
square off against the Predator. Yeah, right, so she and
Arnold have that weird overlap. Yeah, she was in two
write Predator too, that's right. Yeah, Predator two, which I
have to say, I don't I don't know how it's
generally thought of, but I would say it's an underrated movie.

(31:14):
I remember that.

Speaker 1 (31:15):
I don't have strong feelings for it, but I'd be
interested to revisit it.

Speaker 2 (31:18):
It's been a while. I mean, he's just so slimy,
he's such a weasel, he's so good at it, you know, Yeah,
I mean apparently he so he was a family friend
of the of the Schwarzneggers, plus Arnold was a Family

(31:39):
Feud fan, okay, which which I just want to imagine
Schwartznegger up late watching Family Feud going survey didn't say that,
you know, it's right.

Speaker 1 (31:55):
Actually I went to a taping of The Family Feud
where Richard carn was hosted.

Speaker 2 (32:00):
Oh wow, so that like twenty plus years ago.

Speaker 1 (32:03):
Yeah, And the thing I remember most was they're like,
you know, things you'd find in a you know, like
a toolbox. And I remember I think I actually said hammer,
and I was like, whoa, whoa. I can't say that
out loud. You're not at home, like you're like in
the room, but I remember saying it out loud. I
was like, oh I, oh, this is very different to
be there.

Speaker 2 (32:23):
But it was fun. I like that show. How long
did the taping take.

Speaker 1 (32:28):
I want to say it was pretty much in real time,
but you watched several like if the family progressed, you
watched them change clothes.

Speaker 2 (32:36):
And do the next episode. Oh interesting.

Speaker 1 (32:39):
I can't remember if it was the entire week or
if you just followed the family.

Speaker 2 (32:42):
But it was at least three episodes.

Speaker 1 (32:45):
Okay, yeah, that's fun. But and then I mean, as
long as I'm selling it saying personal anecdotes. And then
Chuck Woolery actually met because Sean and I were on
a game show called Lingo.

Speaker 2 (32:58):
He was the host. That's right, he's and it seems
like a nice guy. I don't know he did he
did the two and two thing. He did the two
and two and we'll be back into and too. He
just passed away, right a couple of years ago. Yeah, yeah,
oh recently recently. I don't know. We were terrible.

Speaker 1 (33:14):
I'd never seen Lingo before I went on Lingo. I
mean I don't recommend it. You don't recommend the show. No,
I don't recommend doing that. Like, if you're gonna go
on a game show, watch it first.

Speaker 2 (33:26):
Oh yeah, yeah, maybe that's not That's not the worst
idea in the world.

Speaker 1 (33:29):
Yeah, there's a strategy I did not recognize, which is
funny because Lingo is basically wordle, which I now play
every day.

Speaker 2 (33:35):
So I was like, oh, just came twenty some years
too late. Anyway. So so the whole impetus towards uh,
you know, basically dragooning Ben Richards into the game is
very different, right, So uh, whereas in the in the book,
he's coming from a place of abject despair. Yeah. Here,

(33:59):
it's well, they've got my buddy's prisoner, and so I
got to do it to save them. Although you know,
I mean I don't think the movie really establishes that
he's particularly close to them. I mean it seems like
a sort of a partnership of convenience, right, you literally
took the words out of my mouth. Yeah. Yeah, I

(34:22):
didn't really get the sense that they were like chums.
It does feel like a weird waste of f at
CODO M. Because he was a great actor.

Speaker 1 (34:36):
You know, yeah, yeah, I recognize you. Actually, I'm looking
a out now.

Speaker 2 (34:40):
I mean he's Parker and Alien, you know, he's mister
big right Live and let Die, And of course he
was one of the regulars on Homicide. I mean, a
great actor. And it's weird to me because I'm like, hey,
give him more to do, you know. Yeah, that's a
good point. Yeah, I don't know. This part here. It
always cracks me up because so we've got Amber. She's

(35:01):
watching the news footage that's obviously made up about you know,
Ben Richards massacre at the airport. But in case people
are too slow to catch it, we have to have
her say out loud. But that's not true. And I
always think about that. I'm like, how many times do
you talk out loud and comment at the screen in

(35:24):
that way?

Speaker 1 (35:26):
I well, you know, And it's funny because a lot
of times when that happens, you'll notice that it's over
their shoulder and you don't see their lips moving because
they didn't say that. Yeah, and they tested the movie
and audiences weren't tracking with something, and so they had
to add it.

Speaker 3 (35:40):
You know.

Speaker 1 (35:40):
It makes me think of Back to the Future three
when Mary stem Virgin picks up that, you know, the model.
She's like time machine, yep, yep, that's right.

Speaker 2 (35:49):
It's like, got it, you know.

Speaker 1 (35:52):
And then there are some movies where I appreciate it,
like sometimes you need it right. Other times it becomes
glaring because you're like, yeah, I got.

Speaker 2 (35:58):
It now now. One part we just talked over, which
I do love a little bit of satire where that
guy shows up. He's like, oh, I'm your court appointed,
like TV agent or whatever. Yes, very funny.

Speaker 1 (36:11):
Yeah, that's really good and like, strangely feels more prescient
as time marches on.

Speaker 2 (36:17):
Yeah, and that guy who plays the agent. He's another
one of those hey that guys totally who's been in
just a million different things, and he's he's got like
movie bureaucrat face, you know. Yeah. I also wonder if
you did, like a.

Speaker 1 (36:33):
Chart, like how much time in this ninety minutes is
dedicated to those dancers?

Speaker 2 (36:39):
I would say too much.

Speaker 1 (36:42):
I mean, aside from the Amanda right or Amber. Aside
from the Amber character, they're like the only women in
the movie. So I can kind of see where they're like, well,
we got it. You know, guys, a bunch of guys
shouldn't forestorctioning your movie.

Speaker 2 (36:55):
I gotta give him someonem. But you know, it's funny.
I actually wondered because I know in this era.

Speaker 1 (37:01):
Paula Abdul basically choreographed everything. Yeah, And so I looked
it up and the song that they're dancing to is
actually called like Paula's song Wow, named after her because
she did choreograph.

Speaker 2 (37:12):
All of that stuff. Well, wouldn't you know look at that?

Speaker 1 (37:15):
Oh man, she did. See that's the thing, like she
has so many eras if you think about it. I
think a lot of people now mostly know here, probably
from American idol and kind of that.

Speaker 2 (37:24):
Now, I mean that's been long.

Speaker 1 (37:25):
Well, yeah, you're right, even that's dated. But like for me,
of course, and you I'm sure like we think of
her as like a pop star yeap. You know, like
I think of her dancing with that cartoon cat exactly exactly.
And then before that, yeah, she was a Laker girl
and a choreographer. She I was looking at her movies
and she did Can't Buy Me Love, which that dance
sequence is one of the few things I remember about

(37:46):
that movie Coming to America, Big the Doors, Jerry Maguire
American Beauty This So she was like the choreographer in
this moment.

Speaker 2 (37:57):
Wow, yeah, yeah, okay, sorry, just one quick point I
wanted to say. You know, I think sometimes movies come
out and they're sort of of the moment, and then
they feel dated and then they're old enough that they
sort of become timeless. Yeah, And I feel like the

(38:19):
sort of kitchy aspect of the of the Game show
it sort of comes all the way back around to
being so cheesy that it's timeless. Yeah. I agree with that. Yeah,
you know, it it has such it's it's it's so kitchy.

Speaker 3 (38:35):
You know.

Speaker 2 (38:35):
Yeah. I love this moment too.

Speaker 1 (38:37):
Here by the soda machine, the woman's like six dollars
for a coke. I'm like, lady, you're not far off.
I mean, that's one of my gripes these days. You know,
still when I want to buy M and ms or something,
I'm like three bucks or like, you know, I bring

(38:58):
this up sometimes, but like pulp fiction when John Travolta
freaks out over a five dollars milkshake. Yeah, like milkshakes
now are like nine dollars. I know, I know, it's crazy,
it's weird.

Speaker 2 (39:09):
This woman's like kind of turned down by him. I
think I know that I was thinking about that. I
was like, that's certainly a choice. Yeah, I wouldn't want
to be left alone with that guy. And she takes
this like sexy drag on her cigarette. See. You know,
that's actually a question I had, like did women think
of Arnold Schwarzenegger as hot, like other than the muscles?

(39:30):
Like was he was he like a like was he?
You know what I mean? Like I understand that they
thinking like Mel Gibson during that era and whatever, like
was Arnold Schwarzeger thought of that way? Yeah? I don't know.
I have no idea.

Speaker 1 (39:46):
I mean because yeah, like Milk Gibson, I can can
understand because he's kind of like like a rugged, handsome
whatever sort of type. But Schwarzenegger to me feels like
a living action figure.

Speaker 2 (39:55):
That's what I'm saying, right, is that something that women.

Speaker 3 (40:00):
You know?

Speaker 1 (40:00):
I mean, he's a type I suppose you know, for
some I know, you think they put that character in there,
so at least they're like implanting it in your mind
a little bit. Like women find him desirable?

Speaker 2 (40:10):
Yeah, you know, because personally I think women should be
into skinny guys with flip a paunch. Yeah. I'm not
thinking of anyone in particular. I just think in general,
it's I think.

Speaker 1 (40:22):
Yeah, we have obscure trivia knowledge about films from the
eighties and nineties.

Speaker 2 (40:27):
Yeah, that that's I don't know who that would be, No, No,
but seems like an attractive sort if you ask. Yeah,
it just feels right to me. This is right here
where the dude's like, oh yeah, just just sign on
my back and then and then I'm like, well, what

(40:48):
did you think was gonna happen?

Speaker 1 (40:50):
I get, But again, in nineteen eighty seven, that's what
we want to see Schwarzenegger, do you know what I mean?

Speaker 2 (40:58):
But like, if you were to watch that now, you
would have your hero do this. That's a good face.
Don't forget to send me a copy man. He's got
the jokes in this one.

Speaker 1 (41:13):
Yeah, so you gotta have a moment where Dawson Woo's
some sort of woman here there you go, gotta give
her a kiss.

Speaker 2 (41:22):
That's what he's known for. Yeah, but that's the same
lady who breaks bad on him later in the movie. Yes,
which so that was what I was gonna say earlier.
Is I love.

Speaker 1 (41:32):
Kind of like, uh, it makes me think of Anchorman,
where when Ron Burgundy's broadcast is on, all of San
Diego is tuning in, like, you know, roughnecks in bars,
families at home with their babies, you know. And so
I kind of love that this game, which is so
it's literally murder, like you're that's what you're tuning in for,
is to see murder. And I love that the audience

(41:54):
is made up of old women like, oh, I'm just
so happy to be here, you know, Like it's it's
I like that fun.

Speaker 2 (42:01):
See the thing about this edited version, I just love it.
It's like, no don't attack them. He's like, the hell
with you?

Speaker 3 (42:10):
You know.

Speaker 2 (42:10):
First of all, I'm like, I like that they had
all the camera angles available, you know, they had, they
had access to the b roll from the movie.

Speaker 1 (42:18):
I wish they had like at least tried to make
it look like a security cam in the helicopter.

Speaker 2 (42:22):
Right something, you know. But the other thought, I'm like,
if you can do this so easily, like the problem
I have is how do you believe anything? H Well,
we might have to contend with that soon, That's what
I'm saying. Right, Like, we're living in a world right
now where you could have a person in power on

(42:43):
video doing something horrific and it'll just be like, oh,
well that's probably deep fake, right, I mean, we're living
in it. We're like you said, I mean, we're like
touching that reality. So in this movie, it's like, hey,
you thought Ben Richards was dead. Turns out he's not dead. Yay,
Now everything now the world has changed? Well is it though,

(43:04):
because it's still just something you're watching on a TV.
Yeah you get what I'm saying. Yeah. Yeah, Well the
dancers like reacting to him, you know what I mean? Yeah? Yeah,
Well I guess we know what the women thought of
arms porsoning your back then that's just funny.

Speaker 1 (43:20):
Like this just like that's part of the vision of
the show, is like this murderer coming out and all
the dancers being like, oh no, twirling around him.

Speaker 3 (43:28):
You know.

Speaker 1 (43:30):
But that's great, That's what I mean. That's the bigger,
the better. That's what makes this work, right. I get
like you're saying, yeah, well, the satire it.

Speaker 2 (43:40):
I think that, you know, the whole nature of the
game changes, right because in the book it's a thirty
day challenge where you're out in the world, right and
basically everybody's trying to get you, and instead they make
it a three hour thing where you're in these kind
of generic looking zones and so you really it this
movie really leans into the presence of Arnold Schwarzenegger and

(44:07):
just sort of whatever he brings. I mean, he's having
to work for it in this one. I just mean
in terms of pulling the audience along, you know, And
that's that I think. That's why I love those shots.
By the way he too the previous winners, which is
very funny. Yeah, and you know it's so funny.

Speaker 1 (44:23):
I hadn't seen this movie in a while, but immediately
I was like, oh, those guys are dead.

Speaker 2 (44:28):
You just know, you just know.

Speaker 1 (44:30):
Look how happy they are in Hawaii with that lady.

Speaker 2 (44:33):
You know, Oh they're dead. They're definitely bad. But but
like Schwartznegger is having to work for it because because
there's less other stuff to draw our attention.

Speaker 1 (44:44):
Yeah, there's like interesting scenarios, but this isn't like a
huge movie like The Spectacle, isn't, you know, like the
I actually was surprised upon revisit because I didn't remember
what the challenges were, but that the first challenge is basically, yeah,
like a guy with a hockey stick that's just sharp,

(45:05):
you know what I mean? Right, Yeah, Like it's not
as bombastic as you can imagine it would be now,
and with the budget that they could have and the
resources and whatever. And also I imagine in nineteen eighty
seven it wouldn't be easy to just go out into
the world, yeah and shoot the movie that Edgar Wright
can do now, you know. So I think this is
like an interesting reimagining. It's like, all right, well in stead,

(45:28):
he's out in the world. He's in this like you know,
Gladiator Arena of Doom right in the future and it's wacky.

Speaker 2 (45:39):
Well that's that's really it. I mean, you see, you
see the adaptation process, which I'm fairly certain that Stephen
King was not a fan of this adaptation, given you
know what he you know what his thoughts are on
movies like like The Shining Shining, Yeah, exactly, you know,
but the the decisions that are made, I mean, it's

(46:04):
just sort of a matter of practicality, you know, like
what else can what else can you do well?

Speaker 1 (46:10):
And according to the screenwriter Steven E. Desuza, he told
The New York Post apparently that you know, this movie
inspired American Gladiators because I was watching this thinking like, oh,
this reminds me of American Gladiator.

Speaker 2 (46:21):
Yeah. I didn't realize what's that. And my son when
we was watching with him, he's like, oh, this is
like American Ladiators. I'm like, yeah, well, yeah, well could
appen Blaster or whatever their names are. Yeah, I mean,
you know what's so funny?

Speaker 1 (46:32):
Yeah, I didn't even think about that, Like, I was
just thinking about the sort of set piece, you know,
nature of it. But like, yeah, you're right, like the
personalities the stalkers, Yeah, that's so funny. But yeah, he
was saying, because this movie came out in eighty seven.
American Gladiators came out in nineteen eighty nine, and apparently
one of the producers, according to Desusa, sold the show

(46:55):
using clips from The Running Man and saying, we're going
to do exactly this except for the murdering part.

Speaker 2 (46:59):
Except the murdering.

Speaker 1 (47:01):
Yeah, and I loved American Gladiators when I.

Speaker 2 (47:03):
Was a kid. By the way, that line right there,
come on, that's a good one. I'll be back.

Speaker 1 (47:07):
Okay, he's already playing.

Speaker 2 (47:11):
Up that line like that. Yeah, isn't that interesting. Yeah,
he knew what he had. I'll be back, But that
is a good retort. Yeah, it's it's a good.

Speaker 1 (47:23):
This looks really good. I wonder how they did this,
you know. It kind of reminds me of that tunnel
from Empire Strikes.

Speaker 2 (47:30):
Back that Luke. Oh yeah, it totally looks like that.

Speaker 1 (47:33):
Yeah, right, but this looks great. I mean, obviously it's practical.
I wonder if it's just some sort of model that
they shot, yeah, or maybe they you know, how they
did Speaking of Star Wars, Return to the Jedi, how
they walked through a forest for the speeder bike chase
but they were filming like at a different frame rate,
so it could speed up and make it look like
it was really fast. I wonder if it was something

(47:54):
like that, like putting a camera through with fewer frames
through a yeah model tunnel.

Speaker 2 (47:59):
But anyway, it looks great. I love this Baker's Field Massacre.
Baker's Field Massacre edited version.

Speaker 1 (48:05):
Yes, is that kind of fun now that I think
about it. Yeah, this would be like a computer file.

Speaker 2 (48:13):
Yeah you know, yeah, yeah, sitting in a cloud drive
or something.

Speaker 1 (48:18):
But it looks like a what do you call those
things in the library, like a like a microfish or
the cards, the cards card catalog, I guess, yeah, yeah,
but it's like, you know, so some intern had to
type that up, you know, like the little dividers for
all those like Bakersfield Massacre.

Speaker 2 (48:36):
It's so funny. Yeah, I like this stuff. The Running
Man Home game.

Speaker 1 (48:43):
Yeah, exactly, Like she's just so excited to be there,
you know, this killer is down there, probably about to
be killed, and.

Speaker 2 (48:50):
It's like here's here's the prize. Oh I love you,
thank you, you know it's fun. Yeah. See, well I
think you know, we've talked about the prices right before,
and you know, Mike intention that Bob Barker secretly hated
doing it for probably the last two thirds of his
time on that show, and.

Speaker 1 (49:06):
I just couldn't disagree more. The man loved what he did,
and he loved everybody who was there.

Speaker 2 (49:12):
I think he would have liked his job more if
he could send people off to their death if they
if they chose the wrong price. I think I think
that would have put a little swing in a step.

Speaker 1 (49:21):
You do have to wonder, you know, if they're like, oh, guy,
come on, you know what I mean. But I went
to I can't believe I'm talking so much about game shows,
actually can That's what we're watching the place to do it.
I went to a taping of the Prices, right. I
went to two tapings. One taping my friend actually got
called up and she won some prizes. She spun the

(49:41):
wheel in won a thousand dollars and I love the
CINDI lu who dancer.

Speaker 2 (49:45):
She's got that ponytailness. Yeah right.

Speaker 1 (49:49):
But at one of them, Bob Barker came into the
audience afterward and shook people's hands, and he shook my hand,
and I gotta tell you, man, it was like meeting
a President. I was like, this was special, and I
remember he was very warm.

Speaker 2 (50:02):
It was very nice. So see, I remember afterwards he
was like that Brian Hall guy, what a piece of
shit he was. He texted me out of the blue.
I didn't even know him. Yeah who is this? Yeah? Yeah, okay,
so this gentleman. Shoot, I don't have his name in

(50:24):
front of me. Sub zero, Yeah, going to be plain zero.

Speaker 1 (50:29):
Professor Toru Tanaka. Yeah, been in a lot of things,
but I think of him as the butler in Peewe's
Big Adventure.

Speaker 2 (50:38):
Yes, yes, that's right.

Speaker 1 (50:39):
Yeah, Francis is busy, he's taking his bath.

Speaker 2 (50:42):
Wow, jeez, we're the hosing him down. He passed away
in two thousand.

Speaker 1 (50:53):
Oh you know, I'd forgotten that Jesse vent Truro was
in this.

Speaker 2 (51:00):
Yeah. Well I can see how that rug on his
head makes you not realize who you're looking at. That
is a magnificent tupe.

Speaker 1 (51:08):
It is, and it's interesting that he and Schwarzenegger both
became state governors.

Speaker 2 (51:13):
Yeah. Well, and not just that, I mean they were
just on screen together earlier this year. Yeah, in Predator.
This is I believe this is the only movie where
you get to watch two future governors fight to the death.
Yeah so far, Oh yeah, yeah, there's still time. We'll
see now. Now, Two things and number one, Jesse Ventura.

(51:37):
It feels like he was a big enough name, or
certainly well known enough that it's odd how his character
doesn't really amount to much in this movie. You know,
you sort of expect him to maybe come around to
Ben Richards's side and a more you know what I mean.
He said, he's like, I'm not going to fight him, goodbye,
and he leaves. Yeah, it's kind of weird, right, Yeah.

(51:59):
But then the other thing is Jim Brown as Fireball.
I'm like, that's Jim Brown. Like he just shows up,
He's like hey, and then he dies. Yeah.

Speaker 1 (52:10):
I wonder if just in this moment, just the novelty
of seeing him with a flamethrower on his back was enough, like.

Speaker 2 (52:16):
Maybe, you know, I don't know, I don't know. I'm like,
cause I'm like Jim Brown. I mean, that's a pretty
big deal, you know. So you know I've said to
you before about how whenever there's a guy with the glasses,
I'm like that guy, that's some bitch gonna die. I'm
pretty sure it must have started with this movie. That's
really funny because skinny guy with glasses, let's see how

(52:39):
far he makes it in this Arnold Schwarzenegger R rated movie.

Speaker 1 (52:42):
I didn't even think about that. He's the one that's
good with computers too.

Speaker 2 (52:45):
Yeah. You know what's funny though, is that at the
time this movie came out, it was critiqued for its violence,
and watching it the other day, I'm like, I don't know,
it's it's almost antiseptic the violence. You know, it's funny.

Speaker 1 (52:58):
I had a similar thought where I actually did think
about that, Like at the time, I imagine this was
probably pretty brutal. Yeah, but now it just doesn't feel
that way it.

Speaker 2 (53:08):
I mean, it feels the American Gladiators ask you know,
I should say, I you know, on YouTube they have
like the official American Gladiator channel. They got they got
entire seasons of that show on YouTube? Did they really?
And And you know what that is a good way
to spend forty five minutes? Uh? Like you mean one

(53:33):
is enough? Well? I mean at a time you don't
have to binge it, you know.

Speaker 1 (53:36):
Oh oh I do you watch one? And you don't
need that channel like forever? No?

Speaker 2 (53:41):
I mean, like you know, you got you got you
got three quarters of an hour to fill. There's something
that'll do it for you. Yeah. Yeah, see which which
mulleted person is going to defeat which other mulleted person.

Speaker 1 (53:53):
That is kind of funny though, this is like the
that's like the sunshine happy version of this, Yeah, because
they were out to defeat obviously the contestants, you know,
the gladiators, but they were also yeah, like you said,
there were zapp and it was like some woman with
a ponytail, flexing but smiling like hi kids. Yeah, you know,
like they were like the happy version, like all right,

(54:14):
I'm gonna go do my thing, and then they.

Speaker 2 (54:16):
Go out and just clabber these people. So nobody's getting
clothes lined with barbed wire on American gladiators and they
did well. Barker wish he had I know that that
would have been when some idiot, you know, says something
costs thirty three hundred thousand dollars or something.

Speaker 1 (54:38):
Yeah, you know, speaking of violence, I mean this is
the same year that RoboCop came out, and that's oh yeah,
that's always crazy to me. You know when you see
these trivia things where it's like, oh, this movie was
at one point rated X for violence. Yeah, you're like
X for like things have gotten to the point hold on,
hold on by Oh this is the line.

Speaker 2 (54:59):
Now plain zero. You know what, give that man his
retroactive oscar, right, because that's the good stuff. I love
that they walk away, they give themselves a high fight. Yeah,
think I love the way Dawson plays is too horrible,
just horrible. I know, he's such a piece of shit.
It's so great he didn't care.

Speaker 1 (55:22):
I almost want to see him like coming up next,
you know that.

Speaker 2 (55:26):
That's what's so funny. He's why that shot it says
more to come. That's that's the sad tire. The movie
does not lean nearly as far into it as it
should have. I agree, I like it.

Speaker 1 (55:37):
I think it's it's it works, But I wouldn't mind
it if they had dialed it up even a little more.

Speaker 2 (55:42):
Yeah, like like that like oh horrible, horrible.

Speaker 1 (55:45):
Yeah, after this break, you know, like I just kind
of do the switch like that.

Speaker 2 (55:49):
Yeah. No, but like the eighties, you know, Rubblecop came.

Speaker 1 (55:53):
Out this year, which is rated X for violence, and
I remember one of the Rambos three maybe it was
in the Guinness Burkle of World record for being the
most violent movie.

Speaker 2 (56:02):
Of all time.

Speaker 1 (56:02):
Like it was just like a moment, right, yeah, Like
violence was really having a moment in the eighties.

Speaker 2 (56:07):
But that's the thing. I mean, you watch certainly RoboCop,
you can watch it now and you're like, you can
still be like, no, that is insanely violent, Like they
don't movies are not that violent anymore. And you know,
you watch Predator and that's pretty violent. Like like that,
there's definitely valid you know examples. This one is pretty prosaic,

(56:30):
I think you know, no, I think so too.

Speaker 1 (56:33):
By the way, there's like this runner about people mentioning
shows from the sixties and whoever they're.

Speaker 2 (56:39):
Talking to not knowing that show yep, which.

Speaker 1 (56:42):
Is kind of funny because we would giggle in nineteen
eighty seven because everybody knows what Gilligan's Island is, right,
But now if I were to say Gilligan's Island to
like a thirteen year old, they probably wouldn't.

Speaker 2 (56:51):
Know what I was talking about. That's very true. Sad
but true. We got to carry its torch, zachy know,
we somehow keep the tradition alive. Yeah, do you think
that could ever work as a remake? Gilligan's Island. Yeah,
I don't think so, Like, I don't know what you

(57:12):
would do, you know, I think right, Like.

Speaker 1 (57:15):
I'm just thinking, like I don't know every single ip.
It seems like, I mean, even Beverly Hillbillies was turned
into a movie in the nineties, Like, I'm surprised that
one never got touched.

Speaker 2 (57:24):
I'm amazed that didn't happen like during that era. Yeah,
and I don't know why. I'm sure they tried, because they.

Speaker 1 (57:31):
Should do like Archie where it's like dark and sexual.

Speaker 2 (57:34):
They did. It was called Riverdale. No, that's not what
I'm saying.

Speaker 1 (57:36):
Well, sorry, Yeah, and it's just called the island.

Speaker 2 (57:42):
My theory of Gilligan's Island all along was that the
professor knew how to get them off the island. But
he's like, screw that. I got a movie star here
and Marianne here. If I'm feeling really freaky, I might
get with the millionaire's wife. Who's my competition, old man

(58:03):
fat Dufis and Skinny Dufis, right, right.

Speaker 1 (58:08):
That's your version, that's your take, that's the reveal, and
then he's the villain. Like in the tradition of Mission Impossible,
where you take one of your heroes and turn into
the villain. The Professor's the villain and they have to
defeat him by the end.

Speaker 2 (58:22):
Give me that, Give me that version of Gilligan. I'm
Michael Fassbender. He's the Professor. That's perfect. Okay, We're giving
you this shit for free. Everybody, You're welcome. So Dynamo.
I like Dynamo. I love I You know what I'm

(58:42):
gonna say.

Speaker 1 (58:42):
The only game that I don't really love in this
one is the hockey one. Maybe you're like sensing it
from the way I was referring to it earlier, but
to me, it just feels like something that already exists.
And then like just adding like, eh, the thing's gotta
you know, hockey six's gotta blade on it. Okay, you
know in the hockey pucks are bombs, like you know,
like I'd rather see something a little where its own thing,
And I just love that this. It's like, well, here's

(59:03):
our next guy, and it's this guy who's singing opera
covered in blinking lights who can shoot like lightning bolts.

Speaker 2 (59:10):
Yeah, like, yeah, Dynamo, I like this guy.

Speaker 1 (59:17):
In that Honest trailer, they were sort of calling that
guy out like, what this one doesn't make any sense.

Speaker 2 (59:20):
I'm like, that's why I love it. It's weird, it's
the future. He sings like the guy in that Bugs
Bunny cartoon, you know, or the opera singer that have
you seen that one? Remind he's this opera singer who
is trying to do his thing, and then you know,
Bugs Bunny is playing a banjo or something and he

(59:43):
gets he gets all up in Bugs' his face and Brian,
you just don't do that. No, you don't, you don't,
don't you don't you know, because eventually he pushes Bugs
to the point where he says, of course, you realize
this means war. And then he shows up at Dues
concert and well, let's just say it doesn't go well
for our Dynamo lookalike. That's so funny. I don't remember that.

(01:00:05):
I don't have to send you that that short. Yeah,
by the way, so that the.

Speaker 1 (01:00:10):
Guy playing Dynamo Erland van Litt. He was a classically
trained opera singer.

Speaker 2 (01:00:17):
Yeah, he died like I think before the movie came out,
yeah or maybe yeah yeah, yeah, yeah, sad heart attack
yet thirty four.

Speaker 1 (01:00:31):
But yeah, I think he's a fun one, So this okay,
So I would I kind of lost track, like how
they were off the grid for a minute. That's the
thing I think about in so many movies, even movies today,
where like you had her looking through the files or whatever,
and I'm always thinking something like that would have a
camera the Yeah, how do you not have a camera

(01:00:52):
right there? So it just in terms of them being
involved in this game show and they've wandered off and
they find this stray satellite they can tinker with. I'm like,
does no one know where they are?

Speaker 2 (01:01:01):
Yeah? I just feel like eyes would be on them
at all time. I'm I'm see what's up with those
streaks in Jim Brown's hair man? He looks embarrassed by
those streaks. He was he was you know, he was
one of the characters in that movie one Night in Miami.

(01:01:23):
Did you see that? Oh? Yeah, I did. That's a
good movie.

Speaker 3 (01:01:28):
I did.

Speaker 2 (01:01:29):
Think he was played by what's his name? Hawkman? The
hell's his name? You know what I'm talking about, right, Hawkman? Yeah,
the guy who played Hawkman in Black Adam.

Speaker 3 (01:01:41):
You know?

Speaker 1 (01:01:42):
Oh, via that I definitely don't remember. I don't know
why I'm irrationally I detest.

Speaker 3 (01:01:48):
That movie was.

Speaker 2 (01:01:49):
He was very good in that movie. By the way, Man,
I feel like I should remember that. Yeah, it's it's
it's the guy. It's I'm all this hots that's his name.
I'm I'm having a moment. Wait, was was that the
movie with Pierce Brosnan Black Adam? Yeah, yes, okay, you're
having a senior moment. Yeah, No, it's all this Hodge,

(01:02:11):
all this Hodge a great actor. Yeah. So he played
Jim Brown in One Night in Miami, Okay, which was
a great movie. And I do remember that one. That
was a good one. Yeah. Yeah, you know what I
love about this now?

Speaker 1 (01:02:27):
All right, as long as we're talking like old men, like,
so many things can be augmented now through visual effects,
and I think you know you and I say, like,
visual effects are incredible. They're like a wonderful tool. Yeah,
and when they're used in concert with things, right, and
you can make the best looking effect using mixing practical

(01:02:48):
and a visual effect. But it's too often, I think
too many things get covered by a visual effect. And
so then like a car going over a hill and
you know, slamming down, you're your brain knows it's not
real because the physics aren't correct, you know what I mean,
Like there's not a weight or a heaviness to the vehicle.
It just kind of flies, and it feels more like

(01:03:08):
an animated piece existing in the room in a real
life movie. I like watching this sequence here where we
got this little I don't know car thing and the
guy in the motorcycle, you know, because when they're like
whipping around and bumping into walls and going through narrow openings,
I'm like.

Speaker 2 (01:03:25):
Well, watch your arm, you know what i mean. Like
I'm really feeling the weight and the danger and the
tactility of it, all right, And I love that stuff.

Speaker 1 (01:03:31):
Yeah, or you think even of you know, Terminator two
while it's on my mind, you know, with Arnold on
the top of that water drain on the motorcycle and
then that stunt.

Speaker 2 (01:03:40):
Guy drives it off.

Speaker 1 (01:03:43):
Damn, Like that looks like a dude on a motorcycle.

Speaker 2 (01:03:47):
You know. I'm sure there's cables involved, but like, you know,
I just I wish.

Speaker 1 (01:03:53):
They would throw more real things around these days. It's
all I'm saying. I'm sure it's cheaper to just build
a car and then throw it into a building or something,
but it's just doesn't feel the same, and I think
we can sense that.

Speaker 2 (01:04:05):
I agree with that part, right, like I think the
human eye. I think we're at a point now where
we just roll with whatever digital you know, confection is
put in front of us, and that's fine. But I
think people just reflexively lean forward a little bit when
it when you have a sense that it's there's there's
a person or a or a you know, an object

(01:04:26):
that's real, there's real weight to it, you know, totally.

Speaker 1 (01:04:29):
I mean I think that's what the latest Mission Impossible
movies sell themselves on. Yep, be all this like a
dude on a motorcycle with a chainsaw.

Speaker 2 (01:04:39):
I'm like, oh, but but I mean, don't you feel
like like there's it's it's very limp in execution.

Speaker 1 (01:04:46):
I don't disagree with Actually, it's funny. I was just
about to comment on that. What I think is missing
is there should be like levels to this. Yeah, you
know what I mean, there should be ramps and there
should be you know, like it's just kind of a
dirt arena, like it looks like a demolition derby or
or something. Yeah, and there's it's not very dynamic. Yeah,
I mean, if you could add to this and have

(01:05:06):
what makes me think of Tron how they tried to
up the light cycle races in the second one, right,
and so they're not just going straight on a grid.
There's like levels and ramps and you go down and
up and you got to catch up to the people
and meet them where they are, you know, just.

Speaker 2 (01:05:21):
Complicated a little bit. I agree with that, yeah, because
then again I don't know what the budget was on this.
I was like thirty million. Well, come on then, I'm
just kidding. Well, thirty million in nineteen eighty seven. I
mean that's not nothing, you know, I mean that's right.
I think I think Batman costs thirty million. Wowser's right.

(01:05:43):
That was and that was a couple of years after. Yeah,
and this one barely made that back stateside. I think
it was like thirty thirty two to thirty five something
like that. Yeah, So I think, I you know, I
think it was originally supposed to be summer, which that
would have been stupid because it would have been opening
right around right on top of Predator, right. But I

(01:06:04):
think they push it to Christmas, which, you know, I
don't know that this is what people want to watch.

Speaker 1 (01:06:09):
Yeah, Shoot, I just completely my brain just stopped.

Speaker 2 (01:06:20):
But no, oh so yes.

Speaker 1 (01:06:22):
I mean when you think of like a director, it's like,
you know, yeah, you get your script and it's just like,
all right, this motorcycle guy with the chainsaw chasing after
your hero, and then you know, you want to director
collaborates with the you know, my brain is just not working,
like all all the creative people. All the departments are departments,
you know whatever like to and you build a model

(01:06:43):
and you come up with all the things, and just
maybe that wasn't the directors who are working on this, right.

Speaker 2 (01:06:50):
Yeah, well it was a situation they were focusing on. Well, yeah,
I mean Glazer comes on and he's basically you know,
a piloting a boat that's already on the water.

Speaker 1 (01:07:05):
You know, well, if they're eight million dollars behind, several
days behind already, maybe this was more complicated. Sometimes you'll
you'll hear on a commentary or something or the director
will go, oh, yeah, we had this in mind for
the sequence.

Speaker 2 (01:07:19):
We're going to do this.

Speaker 1 (01:07:19):
There's gonna be a helicopter, but we just did we
ran out of time, right, or we didn't have the money,
and maybe that's maybe that's this maybe this was simplified.

Speaker 2 (01:07:29):
Yeah, I think unfortunately, it's just you know, you're stuck
with these shortcuts forever.

Speaker 1 (01:07:36):
Yeah, yeah, you know you're left with the movie that
you know, the the the.

Speaker 2 (01:07:42):
Action and I mean, if nothing else and Arnold Schwarzenegger
movie should have some memorable action sequences in it and
it and it doesn't really get that unfortunately.

Speaker 1 (01:07:53):
Yeah, so speaking of violence, this is pretty gnarly.

Speaker 2 (01:08:02):
Yeah, I think, you know, I think this is one
of those things as soon as you watch it, you
just sort of reflexively cross your legs. I was like,
oh man, where's he? No, no, no, no, no, no.

Speaker 1 (01:08:18):
I just love too how they have to give him
this line just so Schwartzenegger can ever retort.

Speaker 2 (01:08:23):
I love this.

Speaker 4 (01:08:24):
Saw you know, Oh yeah gets fired of me. Oh yeah,
Arnold's playing it though. I gotta give him credit.

Speaker 1 (01:08:35):
Yeah yeah, you know, that's the thing I've always kind
of respected about him, Like he he always gives one
hundred and ten percent, you know what I mean. Like
one of those things I was surprised to learn about
him was before he became like a famous actor, he
was already a millionaire, Like yeah, through you know, real
estate deals and he's always been a businessman, an entrepreneur,

(01:08:56):
and then when he wanted to go into acting, he
wanted to go one hundred percent yeah and work.

Speaker 2 (01:09:02):
With the best people. And you know, like he's just
one of those people who really.

Speaker 1 (01:09:07):
Forged his own success, you know, with the determination and
it's it's it's pretty pretty admirable.

Speaker 2 (01:09:14):
I I agree, Yeah, Dynamo, there's your guy. Hey, that's
what's missing. I want to hear like like a eighties synth.
So that's that's as good a place as any to
mention Harold Faltermeyer's score, which I gotta say, I really
like the score in this movie. It it's just it's

(01:09:34):
this perfectly eighties artifact. Yeah.

Speaker 1 (01:09:37):
No, I'm totally kidding about the day thing, but I'm
on like this, I really do love this.

Speaker 2 (01:09:43):
I'm not kidding, Like there Goes Glasses Guy, Skin of
Glasses Guy.

Speaker 1 (01:09:47):
If I love the animated lightning and the it's just
so wacky.

Speaker 2 (01:09:52):
That's what I want.

Speaker 1 (01:09:52):
That's what everything I like about this movie is the wackiness,
you know what I mean.

Speaker 2 (01:09:55):
I mean they could have made his arm or not
look like a light bright though. I literally thought about
light brightes. I wondered if it was just a retro. Sure,
it looks like it. Yeah, I gotta be honest, just
looking at the corpse of that dude, A chainsaw to
your junk is maybe in the bottom three ways I
want to go.

Speaker 1 (01:10:14):
But a great band name chainsaws that you're junk?

Speaker 2 (01:10:16):
Oh yeah, I agree with that. No, yeah, literally that
would be probably last or next to last on my list. Yeah,
not a fan. I'm not a fan of it. I like,
just drop me off the building, right, you know it's

(01:10:38):
funny too. So the guy's got Dynamo's got a mohawk.
I don't I feel like we just missed mohawks.

Speaker 3 (01:10:45):
You and I.

Speaker 2 (01:10:46):
Yeah, you know what I mean.

Speaker 1 (01:10:47):
Like I've seen people with mohawks certainly in my lifetime,
but like all the movie, like it makes me think
the next movie is Star Trek four. Sure, the guy
with the mohawks, Like I just I want to, like
go back to nineteen eighty six and walk down a
street and just see dudes in mohawks.

Speaker 2 (01:11:04):
Like, well, yeah, eighties movies. Because bear in mind, I
was living overseas during the entirety of the eighties that
I was around for, and you know, based on watching
films such as this, such as Star Trek for etc.
Like every every you know the Terminator, you know, yeah, right,
got that hawk. I was fully expecting just just hordes

(01:11:25):
of mohawk hoodlums, you know, just walking hither and thither
and yeah and yeah like you Yeah. By the early
nineties we had we had a parachute pants and high hair,
but yeah, not a mohawk to be seen. Yep.

Speaker 3 (01:11:40):
You know.

Speaker 2 (01:11:40):
It's funny.

Speaker 1 (01:11:40):
I remember going to a concert and I saw a
guy who was wearing a mohawk and he had a
Ramone shirt on. And I had not heard the Ramones
at that time, so I was like, wow, what are
they like? They must be so And when I heard them,
I'm like, oh, they sound like the Beach Boys with distortion.

Speaker 2 (01:11:54):
I was like, I did not see that coming. I
always love these moments. These are the yep, the you know,
uh it's the say save save the Dynamo moment, yep, yep.

Speaker 3 (01:12:06):
I was.

Speaker 2 (01:12:06):
I always wonder about that.

Speaker 1 (01:12:08):
You know, sometimes in movies you can sense the bad
guy needs to die. Our hero could do it, but
how do we Ultimately we don't want to see our
hero just like shoot somebody. Yeah, you know, what I mean,
So they got to find either a way for him
not to do it, or a clever way for him
to have to do it, or you know what I mean.
Usually it's you know, they're holding someone off a ledge,

(01:12:30):
right and then the person like pulls a knife or something,
so they have to let go or you know, yeah,
but yeah.

Speaker 2 (01:12:39):
Well there goes Fireball. It's his it's his time in
the barrel. I gotta go at that moment for for
for Richard's obviously, it allows the audience to be like, hey,
maybe he's not the Butcher of Bakersfield, right.

Speaker 1 (01:12:52):
Yes, yeah, because they wouldn't get that sense from when
he just like he's the.

Speaker 2 (01:13:00):
Razor wire or whatever that was on the guy. Yeah right, exactly.
See now now now this should have been a bigger moment, yes, yeah,
if it Koto's dead like the not just I mean
that when he got hit that I think they should
have lingered on that a little bit. But I mean,
I think I think the movie does not do enough

(01:13:21):
to establish that that Laughlin and he Richard's are like tight, you.

Speaker 1 (01:13:26):
Know, agreed, you know, a movie like this. I was
reading we can get to it in a minute, but
I was reading Actually Desusa was talking about response from
a test screening, and we can get to that later.
But like sometimes I do wonder if you know, maybe
they did shoot those moments, you know, maybe there was

(01:13:49):
like a bonding moment, but it was slowing down what
people really wanted out of this movie, and so they'll,
you know, just keep the action moving.

Speaker 2 (01:13:57):
That's a good point. It's possible. Yeah, No, I think
I think that's very probable to me, honest.

Speaker 1 (01:14:04):
But at the end of the day, this is the
product we got and you and I are missing it
a little bit well.

Speaker 2 (01:14:10):
And I think that's what it comes down to, right,
It's like it's the little character beats that end up
having big impact because those those are the things you
plug into and that you you see that, oh, this
is a this is a human being, you know. H Yeah.

Speaker 1 (01:14:27):
I mean I don't want to say spoilers, but you
and I watched a movie recently, and you know, it's
like the character's brother gets killed, right and for the
whole movie. Now I'm on that our hero side, yeah,
and I'm feeling that burning, you know, feeling inside of
me wanting him to succeed because of that motivation, you know,
and so yeah, yeah, if we felt a little more

(01:14:50):
connection between those characters right now, we'd be like seething, right,
you know, more with personal anger versus we just know
we want Schwartzenegger to defeat the Ray.

Speaker 2 (01:15:01):
Yeah, no, that's exactly it. But I do feel like
stomach and condamn spine.

Speaker 1 (01:15:11):
I'm just gonna say these words ring true just as
much today as.

Speaker 2 (01:15:14):
They did back then. You know, the man was a poet,
you know what, They sound great coming out of his mouth,
don't that. I don't think anybody else could deliver that
dialogue like him. Yeah, all right, everybody out this whole
is that. It's pretty good. I think this com mingling

(01:15:38):
of of the entertainment media complex and and you know,
the the government, it's like we're like, yay, close to
that reality right now. I mean really really are? You know.
I remember just a few months ago there was serious
talk about Homeland Security creating a TV show where undocumented

(01:15:58):
immigrants could compete for a citizenship.

Speaker 1 (01:16:02):
Yes, I remember that, and I'm like, okay, well, you
know that that's dystopian. It's dystopian. Yeah, we may be
entering a dystopian.

Speaker 2 (01:16:19):
I don't know. I feel like we're about two steps
past or maybe we're in it.

Speaker 1 (01:16:23):
You know, it's like the the whatever, the boiling pot,
the frog and the pot.

Speaker 2 (01:16:28):
Yea, do people in the dystopia realize they're in the Dystopian?
I don't think exactly. See it doesn't it feel like
they're setting up some kind of an arc that cappin Freedom?

Speaker 3 (01:16:39):
Right?

Speaker 2 (01:16:39):
Yes? I thought there was going to be more out
of that. Yeah, kind of like what have I become?
And what? I don't know? I mean, it's very weird
because the next time we see him, he's wearing this
kakam amy you know, uh looks like a cardboard box
wrapped in tinfoil.

Speaker 1 (01:16:57):
Yeah, yeah, oh yeah, that might be one of the
orse costumes in the field.

Speaker 2 (01:17:01):
R I forgot the hell is that? Yeah, and he's like,
I'm not doing this goodbye? Basically yep. It's like what
in the world. It's very weird. Yeah, yeah, it's funny.

Speaker 1 (01:17:12):
I was just gonna say, when Jim Brown is lifting
into the air there, yeah, I know that would look
better now in twenty twenty five, but there's something about
it that I love, oh absolutely that you know, just
being lifted by cables or whatever, like it probably looks
like how it would actually look in real life if.

Speaker 2 (01:17:26):
That's exact right, exactly lifting off the air. See you
got it, Brian. You can't pick a runner to be
the guy who's gonna be right right.

Speaker 1 (01:17:36):
Well, she chooses this is America, isn't it?

Speaker 2 (01:17:41):
You know? By the way, Oh yeah, I got sorry now.
I remember seeing this lady when she's like, he's one
mean oh yeah, and I was like, wow, old ladies
swear too.

Speaker 3 (01:17:49):
You know.

Speaker 1 (01:17:50):
It's funny even now these days because I'm just so
still not used to it. Yeah, you know, and maybe
it just has to do with my grandmother's and you
know whatever, Like I still always wonder if I'm just like, oh,
how did they find an old woman to talk like that?
It's just so funny. This is like kind of a

(01:18:14):
nerdy sort of thing. But like all the shots where
they're showing screens, okay, you know, so like the people
who are watching the show outside and then you see
the screen. I mean obviously that's like an effect, right,
you know what I'm saying. Like, but what's amazing is
usually when you do that, one of the images looks

(01:18:34):
degraded because it's like a second generation to meld them
but I can't believe they both look so pristine that
I was wondering how they did it.

Speaker 2 (01:18:45):
Do you have any thoughts on how they know? I
was just I don't know.

Speaker 1 (01:18:47):
I'm just bringing it up, so it's a rhetorical question.
I'm just I'm wondering. I'm very curious how they pulled
it off, because that doesn't tend to look like that, Yeah,
you know, especially in movies of this era. I don't know.

Speaker 2 (01:18:59):
I just thought, I mean, the I noticed whoever did it?
I noticed the four K whatever restoration they've done. I mean,
this looks pretty good. I gotta say it's very good quality.
I feel like they're getting better and better at it. Yeah,
well during these films, I mean, you know, there was
there was a restoration of Predator, which was freaking awful. Yeah. Well,

(01:19:20):
and the Cameron films aren't very good. You know, well
they're they're not great. But I also this is this
is just me, you tell me from I feel like
there's a lot of online uproar that's like kind of much.

Speaker 1 (01:19:34):
Also, I won't disagree with that because I think that's
always true. But like, I don't love the T two restoration,
and they've also recolor timed it, which drives me nuts.

Speaker 2 (01:19:48):
Oh that's interesting. So that's you know, that's weird, right
because Cameron does that and William Friedkin did that to
the French Connection before he died, Like why yeah.

Speaker 1 (01:19:58):
Yeah, I don't know, but I yeah, you know, and
they can go too hard and they when they're trying
to get rid of grain and things like that, and
then the human beings can start to look kind of
waxy because they've removed all texture. I mean, I know
you know this, but like so there's like it's like
a fine art to like, Yes, this movie probably doesn't
look exactly like the film, does you know. I mean

(01:20:20):
they've probably treated it a little bit, made it a
little smoother, but they've left it filmic enough. You know,
it still looks of its era, right, but there's a
sharpness and a detail to it, and you know, like
I just feel like this is a really good.

Speaker 2 (01:20:35):
Example of a restoration. Yeah, no, I agree with that. Yeah. Yeah.

Speaker 1 (01:20:42):
Flamethrowers, man, I remember I was freaking out earlier this
year about Ballerina because I had a flamethrower fight. I
remember that, and then remember lethal weapon four, Like, flame
throwers are just cool.

Speaker 2 (01:20:53):
It gives you very distinct cinematic sequences.

Speaker 1 (01:20:57):
Yeah, well they're just so you can't get close to
the person. So it's like, well, how are you gonna
disarm them?

Speaker 2 (01:21:03):
Right? So you know, I'm watching this movie trying to
trying to find chemistry between Ben Richards and Amber. Yes,
and and no disrespect to either of these performers, but
not not a ton no. Uh and by not a ton,

(01:21:24):
I mean not a not at all. It's good. It's good. No,
I agree. Yeah, the kiss feels like completely out of
left field. Yeah, sort of focus grouped. Mm hmm. So
here here here's what you get.

Speaker 3 (01:21:46):
Here.

Speaker 2 (01:21:46):
You win the show. Now, No, this is a good reveal.
But also we wouldn't dispose of the bodies.

Speaker 1 (01:21:55):
That's a good point, right, that's a great point.

Speaker 2 (01:21:58):
Actually, just from there, here's these three guys that, uh,
everybody we say one but they actually died, and here's
their decomposing corpses.

Speaker 1 (01:22:09):
Where are they are they still? Unlike their grid?

Speaker 2 (01:22:12):
Is there a grid? This is the one of the
grid areas?

Speaker 3 (01:22:16):
Right?

Speaker 1 (01:22:16):
Okay, So I mean you have to imagine after each
show they have PA's that kind of tidy things up, right.

Speaker 2 (01:22:22):
Wouldn't you incinerate them or something.

Speaker 1 (01:22:24):
Yeah, oh yeah, well let alone that it's evidence.

Speaker 2 (01:22:27):
But yeah, also just yeah, why would you leave them
a better run? Now, Fireball goes out like a bitch
for all the hype, right, he goes out. He it's
he has more of a punk debt than the other ones.
I would have liked a little more. You know what

(01:22:52):
I'm trying to say.

Speaker 1 (01:22:53):
Someone is z zazz Yeah, just uh like like choreography
or so, you know what I mean, Like just a
litle more steps, That's what I'm trying to say, Like
a little more steps.

Speaker 2 (01:23:03):
If you got Jim Brown in there, then then and
you're not gonna have you know, well, I guess they
do like the made up fight with Captain Freedom, but
like do like a physical like a throwdown with him
and Schwartzeninggger. I totally agree, you know. Yeah, there he

(01:23:26):
looks like one of those latter day he Man figures.
Like by the end of the line when Mattel clearly
stopped caring, dude.

Speaker 1 (01:23:32):
That's yeah, totally are gonna say, like one of those
like made for TV Disney films where like the dad
is like a superhero but he made it out of
parts in his garage. I'm air conditioner man. Okay, dad,
that's what he looks like.

Speaker 2 (01:23:49):
See like this here right where he's like, you know,
it's a sport of death and honor. Well it's not right,
that's bullshit, right, that's true you're talking about. But like
it feels like the movie was trying to point him
in some direction and then they just kind of lost
the nerve or just forgot.

Speaker 1 (01:24:08):
Yeah, he could be sort of that unexpected thing that
comes that hand.

Speaker 2 (01:24:13):
That the spiny Thorson becomes. See look at swenole Thorson
in his glare. He's like because but because that's the thing,
because because Killian's like steroids get into your brain or something,
and and you have to be paying attention to realize that, Yes,
that comes back at the end.

Speaker 1 (01:24:33):
I did clock that line. It stood out for whatever reason,
but I wasn't thinking about it. But then yeah, when
it did come back at the end, I did have
sort of oh, actually I had to rewind it because
I couldn't understand him.

Speaker 2 (01:24:44):
I had to I had to do the no disrespect,
but I had to do the close caption, and I
was like, oh man, it's a pretty important line. See.
The only thing missing here is we need? Uh Carl
Weathers dressed up like the American flag dancing around? Yeah? Wow,
what were they riffing on with this here? Well, this

(01:25:07):
and and and Rocky four? Like obviously that was and
that was meant to be.

Speaker 1 (01:25:13):
This is ridiculous, Yeah, you know what I mean? So,
like what obviously there's something happening in this moment that
they were like responding to.

Speaker 2 (01:25:21):
There was well, I mean there was a lot of
that type of stuff, right, I'm sure there was. I
don't exclad dancers. Yeah. See now, now this is frightening
because we are basically here, yeah, this this deep fake
fight between Jesse Venture and Arnold. I'm like, well, hello

(01:25:41):
Sora or whatever.

Speaker 1 (01:25:42):
You know.

Speaker 2 (01:25:43):
I know, I know.

Speaker 1 (01:25:45):
And by the way, for being a movie this old,
I feel like they do a great job of explaining
it and demonstrating it like it looks pretty good. Yeah, which, okay,
so that's what I was going to talk about. So Desusa,
the screenwriter was saying that when they this movie to
test audiences, that scene explaining the deep fake used to

(01:26:05):
come after the reveal, Right, like you saw the fight
first and we're like, what's happening?

Speaker 2 (01:26:11):
And then they're like, oh, well, this is how we
did it. It was a deep fake.

Speaker 1 (01:26:15):
Yeah, but audiences, well, according to Desusa, enough of the
audience was confused. He thought the majority wasn't The majority
got it, but enough people were confused by it that
they decided to flip the order of the scenes to
be like, here's what we're gonna do. This whole fight
scene coming up isn't real. It's a deep fake, you
know kind of a thing.

Speaker 2 (01:26:33):
I actually think that is a better choice. Not because
it's hard to follow, yeah, but because I think that
if you have them thinking this is real and then
you say, oh, actually it was just like you know,
cgi or whatever, I think the audience would be upset
at that fake out, sort of like it was all

(01:26:54):
a dream exactly. You know.

Speaker 1 (01:26:59):
Yeah, I can imagine two versions of it, to be honest,
it depends on the execution and what you want us
to feel or whatever.

Speaker 2 (01:27:05):
There is no you're right, you know what. No, I
think you're right.

Speaker 1 (01:27:08):
Actually, because I was reading what he was saying, I
understood why he didn't like that.

Speaker 2 (01:27:12):
Switch, So I was I totally get where he's coming from. Yeah,
But I just think because obviously it would be like
we would see Ben Richards die, Yeah, and then we
would cut to the explanation and see the c g
I and look at look at we fooled them or whatever.
And I totally I get that instinct, but I just
feel like, I don't know, I don't, I don't. I

(01:27:35):
think it would feel like, oh then what what what
were we investing our emotion in right now? Yeah, Like,
if you watch this knowing it's fake, then you're kind
of you just go with it. Yeah.

Speaker 1 (01:27:47):
No, I think you're right, because yes, I was understanding
his perspective when I was reading that. Yeah, but I think, yeah,
I think you're ultimately right.

Speaker 2 (01:27:54):
Right.

Speaker 1 (01:27:54):
It gives you that feeling like when the sun shows
up at the end of war the world, you know,
Oh yeah right, yeah, Oh okay, I guess you know.

Speaker 2 (01:28:05):
I mean I say this a lot, right, Audiences like
to be tricked, but they don't like to be made
fools of. And I think that when you invest emotion
into something and then you're like, oh, psych, you know,
I don't think people like that, right, So less about
whether people would understand it, I think people, oh, oh,
it was just a made up thing, Okay. I think
they'd go with it, but I think it would feel

(01:28:26):
like a like a needless rug pull. Yeah yeah.

Speaker 1 (01:28:32):
And it's really more important, I suppose, about how this affects.

Speaker 2 (01:28:37):
People in this world, right, yeah, exactly.

Speaker 1 (01:28:42):
But you see what I'm saying, Like this, it's like
eighties graphics or whatever, and they're undoing the face.

Speaker 2 (01:28:45):
It was pretty It's good. I think, I think so,
and and and again. I mean I remember watching this
as a kid and being like, well that's frightening, you know, yeah,
and then again and like well, we're here, yeah, we are,
we are here. I mean it is it is deeply
scary that this little made up fight sequence the capacity

(01:29:09):
now exists to do that and to fool a certainly
a plurality of people. Right, Yeah, where's Mick Fleetwood when
we need him? In his Underground resist and duezl Zappa. Yeah,
you know, it's it's uh, we haven't had a good
underground Resistance movie in a while, have we. Yeah.

Speaker 1 (01:29:30):
I'm thinking of Demolition Man and Dennis Leary.

Speaker 2 (01:29:33):
You know, yep, yep. I feel like there's something else
we watched that long ago that was like that too. Yeah.

Speaker 1 (01:29:41):
Right, people in the sewers, you know, and they're the
ones who really, maybe I'm just a king dumb Oh
did you notice this these credits? It says what next?
I don't know, make up, paint your face? This is
going on too long, Like some guy like was totally
having fun.

Speaker 2 (01:29:56):
With those things and like those weren't meant to be seen.
Yeah yeah, yeah wow.

Speaker 1 (01:30:01):
But it's not even like Seymour butts, you know, like
trying to be names.

Speaker 2 (01:30:05):
It's just like, who's reading this? Nobody? That's really funny. Yeah,
gotta have Arnold with this stogy. See like Amber here,
now she's suddenly hafting a gun. Wasn't she just doing
the lingerie exercise a while ago? Like when did she
become this character? Right?

Speaker 3 (01:30:27):
You know?

Speaker 2 (01:30:28):
Right?

Speaker 1 (01:30:31):
Or like I can see her being this character by
the end, maybe after she's been to her she has
been through trials.

Speaker 2 (01:30:37):
But I give to what you're saying, Like she she
gets I think, a good moment with Dynamo where she right,
she gets to take him out and in a in
a you know, he gets kind of a a deserved death, right.
Yeah yeah, But up up to that point, up to

(01:30:59):
this point, she's been you know, a scared normy who's
thrust into this game, right, no, totally. You know, Yeah,
that's a good point. Actually if oh no, God, idea
the mister Spock and he says, who's mister Spock? Uh,
Because if you're gonna have Schwarzenegger be the guy who's

(01:31:22):
just good at everything and not afraid of anything, and
even when he's you know, being hunted down, he's still
being you know, cocky and confident. Yeah, it's like we
need maybe like an audience surrogate a little bit or something. Yeah,
Like I'm wondering what they could have done, you know,
maybe have her be you know, secretly part of the

(01:31:43):
resistance the whole time or even.

Speaker 1 (01:31:48):
I mean, this isn't even that big a deal to me,
but like I just like you were saying, they've like
turned her into like now she's like the female Schwarzenegger,
like all confident with her gun. I'm not saying that
she needs to have her knees shaking.

Speaker 2 (01:31:59):
No, no, no, like.

Speaker 1 (01:32:01):
Like maybe like, yeah, I'm saying do this because it's
the right thing to do. Like I think you could
just play it a different sort of mode and still
get the same effect.

Speaker 2 (01:32:09):
It's a good point. Yeah, I love these old timy Yeah.

Speaker 1 (01:32:22):
I was gonna say like uplinks to satellites.

Speaker 3 (01:32:24):
Yeah.

Speaker 2 (01:32:24):
Yeah, well and the whole idea of static, which is
not really a thing anymore. No, that's a good point.
Killing is lying to you.

Speaker 1 (01:32:37):
And I mean at this point, who who knows what's true?

Speaker 2 (01:32:41):
Like, well, maybe they're lying, you know, that's the point, right,
It's like, well, we're just talking about like okay, well
couldn't that just be made up? These images of these
dead runners right right, it's you know, it's like no, no,
here's the real like like that whole chestnut of you know,
we've talked about this before, right where you know, the
penguin is running from Mayor until Batman plays the audio

(01:33:03):
of him saying, oh, you know, I played the stink
in town like a harp from hell, and everyone's like,
well forget though, Oh I don't like that at all,
and that everybody walks away en mass. You know, like
that feels that trope, which is you know that Batman returns.
It's a part of a proud lineage of that trope. Yeah, right,

(01:33:25):
is very antiquated because I don't think we live in
a world with that would ever work now, you know,
like literally like nine years ago, you know, Donald Trump
was on tape talking about grabbing women by the word right,
and he said, no, no, it's fake.

Speaker 3 (01:33:40):
Right.

Speaker 2 (01:33:41):
He admitted it for like a second, and then later
he's like, no, no, it was faked, right. And the
thing is he can do that because well technology exists.
Now that you've got that that reasonable doubt, you know, right, right.

Speaker 1 (01:33:58):
And just saying it can uses the conversation and then
it's like now it's all confused and moving on next.

Speaker 2 (01:34:04):
Distraction and then move on to the next thing exactly.

Speaker 1 (01:34:09):
But you know, to this audience here, like we've seen
a lot of deceptions so far, but they haven't sure
that they're aware of you know what I mean.

Speaker 2 (01:34:17):
They think Ben Richards is dead and then up pops
Ben Richards. Yes. So that's why Grandma's like, bullshit, I
get it, get those efforts.

Speaker 1 (01:34:29):
Yeah, it's cool, Grandma. Which is kind of funny that
became a thing kind of in the nineties, like the
rapping granny.

Speaker 2 (01:34:39):
Rapping granny yeah from a wedding singer, right, yeah, And
then I feel like that just became the thing.

Speaker 1 (01:34:45):
And then it was like, you know, Betty White being
like foul mouthed and the Alligator movie, and it was
like the old lady swearing like it became like a
whole character trop Onto itself, Lake Placid, right, Yes, that's it.

Speaker 2 (01:34:58):
Yeah, yeah, yeah, I'm thinking of this massion. I'm taking
back what I said. Wait, what about Dynamo. Yeah, I'm
I was wrong. I'm sorry. Yeah, don't be walking around
in your in your light bright suit. Yeah.

Speaker 1 (01:35:20):
Although yeah cool death Okay, And I think she did
need Arnold's help.

Speaker 2 (01:35:27):
Yep.

Speaker 1 (01:35:27):
Yeah, I think in this day and age, I would
love to make a movie and use all state of
the art, you know, visual effects. But I would love
to have cartoon lightning still, Like I'm still that's my
one fight with the studio.

Speaker 2 (01:35:44):
No, no, the lighting's gotta be cartoon animated as cartoon lightning.

Speaker 1 (01:35:50):
It's pretty amazing, actually, isn't it. I mean really, I
mean even if you think of Return of the Jedi
and the bolts coming out of the Emperor, like it's
someone hand animated that stuff, it looks incredible.

Speaker 2 (01:35:59):
And it still looks like Jit man, I think, so,
oh Killian's watching get his up ince Yep.

Speaker 1 (01:36:16):
See, I I have a vague memory of watching this
or seeing a bit of this on TV as a
as a little kid. Sure, sure, I kind of remember
this kind of feels like.

Speaker 2 (01:36:27):
A WGN Saturday Afternoon type thing, didn't it.

Speaker 1 (01:36:30):
Yeah, Oh, certainly that, But I think I feel like
I remember it being on like ABC Sunday Night, okay,
like and I kind of remember this, Yeah, putting the
game show host in this tube and it feeling like
scary or something.

Speaker 2 (01:36:45):
See like this here now, not no disrespect to spend
Onlee Thorson, But don't you think it would mean more
if that was Captain Freedom walking up?

Speaker 1 (01:36:54):
I yeah, yeah, yeah, no, I do right, Like I
get it because he.

Speaker 2 (01:37:03):
He's shitting, He's shitting on the little guy the whole movie.
He does fire that janitor totally, but I don't know
that that moment doesn't land where he's like I got
to score some steroids peace out. Yeah, yeah, you know,
you're right. You're right.

Speaker 1 (01:37:20):
This almost feels like a thing where like in a book,
there would be two characters and it would sort of
make sense for a book, but in a movie, you
just kind of condense that idea into one person. Yeah,
and like you're saying, maybe go with the gesse Ventura character, Yeah, if.

Speaker 2 (01:37:37):
Only because I mean you've set him up to be
something you know right now, The ending of the book
is vastly different because essentially Richard's who believes that in
the In the book, it's you know, he's he's doing
it for his his wife and child. He believes that
they're dead. So after winning, he agrees to become a

(01:37:58):
runner excuse me, uh, a stalker, a stalker, and and
then he finds out they're alive, and then he crashes
the plane that he and Killian are on and they
both die. The end so little. I can't see this
movie going that way. Instead, we we we get I

(01:38:20):
call this the the The Simpsons. Mister Smith goes to
Washington remake, ending right right where it's like, let's kill
the guy kiss the girl.

Speaker 1 (01:38:31):
You know, yeah yeah, but is it satisfying? I mean, see,
is who's condoned all this stuff and just has.

Speaker 2 (01:38:43):
No he's oh it is it is righteous vengeance.

Speaker 1 (01:38:46):
Yeah, seeing him get thrown into his own game.

Speaker 2 (01:38:50):
After spending the eighties trying to kiss all them women, right,
And I do love though that. It's like, you know,
fire him right into a sign to just blodes like, yeah,
it's great, that's what this movie's doing.

Speaker 3 (01:39:04):
M M.

Speaker 1 (01:39:04):
Exactly what does he say, like, yeah, there you go.
It's just so big and silly and dumb and fun.

Speaker 2 (01:39:20):
That's kind of I mean, that's my takeaway. Watching this
is like having revisited the other day. It's like this
is this is not a classic, but it has just
enough kitch and charm that it kept me engaged. And
you know there there definitely was something about Schwarzenegger during
this era of his career where he made the joint

(01:39:40):
watchable man totally. Oh man. I mean that's the thing.

Speaker 1 (01:39:43):
That's why he's like lightning in a bottle, Like he's
got the physicality, but he's also you know, he's got warmth,
but he's also got like a charm and a humor.

Speaker 2 (01:39:56):
He's you know, they don't make them like this very often.

Speaker 1 (01:40:00):
Yeah, and so I agree, like, if you put someone
else in this movie, you know, one of the like
more third tier sort of action guys, I don't know that.

Speaker 2 (01:40:09):
It would be as watchable. Yeah, all these years later,
now I'm going to kiss you. What did you say?
Because woman, people, I did. I wish i'd come up
with that.

Speaker 1 (01:40:21):
But yeah, I also love the lyrics of this song
where it's like no pain, no gain, like.

Speaker 2 (01:40:28):
This song is probably the most most stated part of
the whole movie. Yeah. I love that.

Speaker 1 (01:40:37):
He just like grabs her by the neck and ushers
their way.

Speaker 2 (01:40:40):
We will go and copulate now, Yeah The running Man,
Brian The Running Man.

Speaker 1 (01:40:54):
Yeah, I mean, you know, I gotta say this was
a lot of fun because I think this is maybe
aside from watching it in preparation for this, this was
like the second time I've ever seen it. Okay, you know,
so it's exactly what you said. I mean, it's I
don't think it's as rewatchable or memorable of some you know,

(01:41:15):
other Schwarzenegger classics, but it's wacky enough that it's intriguing.
And Schwarzenegger really carries this thing by just being himself
that like, if you were to just stop on this
on TV, you could like take it to the end
and go, all right, that was fun.

Speaker 2 (01:41:32):
Yeah, you know it's yeah, I would say it's like
third tier Schwarzenegger from that era. So what I heard
somebody else say, and forgive me, I can't remember who
it was, but they're like, if don't use this to
introduce somebody to Schwarzenegger, totally, if you want more Schwartzenegger yeah,
if you're already on board, hey, check this out, you know, totally, totally.

(01:41:53):
I think that's very apt because because I think top
tier would be like T two or Predator, you know,
and then you know, maybe throw a total recall in there,
and then you know, you move down a step and
you get your Commando, and then you move down another
step and maybe you got your Raw Deal and your
running Man you know. Mmmmm, yeah, you know I've never
seen Raw Deal. That's another one. I saw it in

(01:42:16):
the eighties. Red Heat that's another one I saw that.
You know, it's been decades since I saw.

Speaker 1 (01:42:21):
That same Actually, that's I those are like the two
I can see the VHS boxes. Yeah, but I don't
think I've seen either of those.

Speaker 2 (01:42:30):
There. Choreography by PAULA Abduel. Look at that, I'll be darned.
So we're mentioning briefly the career trajectory of director Paul
Michael Glazer, because he goes from The Running Man to
in nineteen ninety two, the Cutting Edge huh no kidding? Yeah, yeah,
and then in nineteen ninety four he did the Air
up there, remember that with Kevin Bacon. Wow, Okay, yeah,

(01:42:53):
I mean sorta but yeah, and then in nineteen ninety
six he did Kazam. Oh and that was it. Oh No,
that killed his directing career dead wow, d ed dead. Yeah.
I think he went on to do television. He's I'm
not mistaken, he's still directing TV. But Kazam made his

(01:43:20):
you know, shack snapped his fingers or whatever his genie
character does and made his directing career disappear. Yeah, well,
feature film, that's yeah, his his feature directing career. Yeah,
which is it? You know, we've talked of this before,
something like you can you can do several okay, performing
movies and then one one one, one nuclear megaton bomb

(01:43:43):
and then that's it. Yeah, it's kind of wild. I
I've seen that happen enough times that it I find
it a perplexing phenomenon, like like, you're not you're not
allowed at least one catastrophic failure. Mm hmmm. What kind
of what kind of world are we living in? Brian
where a man can't direct Kazam without ruining his future

(01:44:06):
movie prospects? Not a world I want to live in,
that's right. That sounds more like the world of the
Running Man if you ask me, right, well, let's put
it in a cart and shoot it through a tube.
See what happens. Yeah, yeah, but hey, those are our
thoughts on the Running Man. But let us know your thoughts.

(01:44:26):
You can email us at moviefilm Podcasts at gmail dot com.
You can also hit like on our Facebook page Facebook
dot com slash movie Film Podcast and message us there.
As always, please go to Apple Podcasts and leave a review,
leave a star rating. Every a little bit helps. Also,
if you're listening to this on YouTube, please hit subscribe.
Hit like that definitely helps. And speaking of helping, Hey, Brian,
we do have a Patreon page. That's right.

Speaker 1 (01:44:46):
If you head over to patreon dot com slash Moviefilm
podcast and hit subscribe. For only five dollars a month,
you'll find every commentary we've ever done in every episode
moving forward, absolutely ad free.

Speaker 2 (01:44:58):
Our free feed will always be available.

Speaker 1 (01:45:00):
This is our way of providing what we believe is
the most satisfying way to enjoy this show. No ads,
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please head over to patreon dot com slash Movie Film

(01:45:22):
Podcast and subscribe.

Speaker 2 (01:45:23):
We'd be very grateful. There we go, and as far
as if you're looking for me online, you can find
me on social media at Zaki's Corner. That' z akis Corner.
You can also read my reviews at the San Pransuser
Chronicle and also at IGN and The Rap and Brian
what about you?

Speaker 1 (01:45:42):
So I was just still looking at the credits and
I saw rocket Propulsion specialist, So I'm not I'm really
wondering how they.

Speaker 2 (01:45:48):
Did those tubes. That's how those things got out launched.

Speaker 1 (01:45:51):
Yeah, you can find episodes I've written of Puppy Dog
Pals and Young Jedi Adventures streaming on Disney Plus.

Speaker 2 (01:46:00):
And with that on behalf of my partner Brian Hall.
My name is Zachie Asan. This has been our commentary
track for The Running Man. We'll catch you next time.
Thanks folks,

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