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S6 EP13 | After the success of Superman II, the studio demanded a third Christopher Reeve installment in the Man of Steel franchise, but for some reason with the inclusion of Richard Pryor. That didn't mean it had to be the messy film it turned out to be. T.C. and Jim are sent back to 1983 to try and meet the demands of the studio while making a better film.
Two screenwriters attempt to recreate, reimagine, or flat out fix, existing film franchises when 'the studio' demands...MORE FILMS! It's an exercise in creative thinking where they will challenge themselves to conceptualize, pitch, and craft a film based on the stipulations of a hypothetical Hollywood overlord. | Sixfive Media
Hello and welcome to the studio demands in an exercise in creative thinking where we will conceptualize, pitch, and craft a film or series based on the demands of one of you listeners acting as a hypothetical Hollywood overlord. Overlord. As professional screenwriters ourselves and massive cinephiles, we talk movies all the time.
Speaker 2:All the time.
Speaker 1:And we'd like to believe that we can meet any demand thrown at us. We will be your screenwriters for this episode. I am TC DeWitt and joining me as always is Jim Spiderwebs Berzelik. Spiderwebs? Is that a clue?
Speaker 1:You're walking into spiderwebs? Are you
Speaker 2:Leave a message and I'll call you back.
Speaker 1:Yeah. Yeah. You were you were mentioning caller ID earlier and I Yeah. And I cracked the code. I know what your middle name is.
Speaker 1:It's spiderwebs. That's that's songs
Speaker 2:about That's my that's my Spider Man name.
Speaker 1:Spider webs?
Speaker 2:My Spider family name. I'm spider webs. We
Speaker 1:got ghost spider, Venom, Scarlet Spider Mhmm. Spider Man, obviously. Mhmm. Miles Morales, Spider Man, obviously. Yep.
Speaker 1:And Spider Webs.
Speaker 2:I'm Spider Webs.
Speaker 1:Tell now Spider Webs sounds like the dollar store. Like I Jimmy, I I bought you a toy. It's Spider Man. Here you go. Yeah.
Speaker 1:And just a spider web sign.
Speaker 2:Spider Man. That's another character.
Speaker 1:Spider Man. Spider Ham. Spider Man Noir. Yeah. Spider Webs sounds like the the the Japanese dollar store knockoff.
Speaker 2:It's not.
Speaker 1:It's not? Nope. It's
Speaker 2:you. It's me.
Speaker 1:Tell me more about spider webs.
Speaker 2:Spider webs got bit by a
Speaker 1:No. No. No. You didn't get bit. You walked into us.
Speaker 1:It it so since you're walking on the you're walking on the street better.
Speaker 2:Oh, yeah. That actually happened to me
Speaker 1:earlier than oh, yeah. There you go.
Speaker 2:I walked into a bunch of spiders. So notoriously, I am an ice cream fiend.
Speaker 1:Mhmm.
Speaker 2:I think the only thing I fiend for more is soda.
Speaker 1:So I was walking with an ice cream and
Speaker 2:I was distracted by the ice cream. And I did not see the spider web that I walked into. Literally earlier this evening, it is a true story.
Speaker 1:And I was like, oh,
Speaker 2:spider webs. So in my origin as spider webs
Speaker 1:Yeah.
Speaker 2:The spider got into my ice cream and I didn't see it and I I bit the spider. Oh,
Speaker 1:that's great. You you bit the spider. Yeah. That's that's that's a turn of an origin story
Speaker 2:right there. And so it got into my system Yeah. Through my digestive tract.
Speaker 1:Yeah. Did you do the dance though when you walked into the spider web? You're like, oh. I did. I did.
Speaker 1:I was like, oh. Because that's the sound you make. That's the song you
Speaker 2:sing when you do the dance of walking through spider webs.
Speaker 1:Well, like, when when Peter Parker turns into Spider Man, it's like, Spider Man, Spider Man does whatever a spider Right? And then when you turn into one, just Ow. Ow. Ow. Ow.
Speaker 1:Oh, god.
Speaker 2:Does Spider Man turn into Spider Man? I
Speaker 1:think be costumes up.
Speaker 2:Costumes up.
Speaker 1:Spider Man. Spider. Yeah.
Speaker 2:And so what are what are my powers? I actually imagine I was gonna go a different direction with it, but then you mentioned the walking into spider webs and that's too good. But I'm still gonna go with the power of being able to traverse the Internet.
Speaker 1:Oh, webs? Yeah. Yeah. Okay. Go on.
Speaker 1:That's it. I'm I'm like full memory. Yeah.
Speaker 2:Which is weird because we're making a joke. I was with was
Speaker 1:with you every step of the way.
Speaker 2:Isn't there a Spider Man who can traverse through electricity?
Speaker 1:Surely, there must be some sort of electric Spider Man powers.
Speaker 2:You can't give me flack for
Speaker 1:No. I'm just saying For surfing for surfing the web. Ken, like an electric Spider Man electric powers. Right? Yeah.
Speaker 1:I guess like
Speaker 2:Miles Morales has electric powers, but somebody somebody I think can actually, like, teleport through electric lines.
Speaker 1:Does Spider Punk have some sort of electrical Maybe. Yeah. There's no way to know. None. No way to find out.
Speaker 2:None. Alright. We're we're gonna be silent for
Speaker 1:No. That's not bad.
Speaker 2:Six minutes as we look this stuff up.
Speaker 1:Yeah. So the do you are you a rival of Peter, or are you friends with Peter? Like, are you part of the Spider family?
Speaker 2:I think Spiderwebs Mhmm. Sees himself as a friendly rival Yeah. And thinks himself as a friend of the spider family.
Speaker 1:Yeah.
Speaker 2:Yeah. And the spider family have no he's he's the Yeah. Great Lakes Avengers No.
Speaker 1:A guy.
Speaker 2:Spider distance to to the the Spider family.
Speaker 1:I'd like to imagine him more like Hey, guys. Who is that?
Speaker 2:Who is
Speaker 1:this guy? Who is that guy? Like, Anne from Arrested Development.
Speaker 2:Yes.
Speaker 1:Bland. Like, who? Egg? Him? Egg?
Speaker 1:Yeah. That's that's spider's web. Yeah. He's always there and everyone Not just one spider webs. Spider webs.
Speaker 1:Sorry.
Speaker 2:There's multiple webs.
Speaker 1:Yeah. Boy, don't wanna screw that up.
Speaker 2:No. Spider spider's web is spider web's nemesis.
Speaker 1:He ate a bowl full of spiders.
Speaker 2:No. You know
Speaker 1:Ew. There's a way
Speaker 2:remember it. By no, I mean yes. Yes. That's what he did. Specifically because he wanted to get a power.
Speaker 2:Yeah. Because he saw spider webs. Mhmm. He saw spider webs got a power and he heard about how he did it. And he's like, well, I'm gonna get it like times 10.
Speaker 1:Yeah. You've just entered the spider's web.
Speaker 2:Yeah. And the the difference though is, you know, how the the animal totems. What's the the the spider wasp?
Speaker 1:Mhmm.
Speaker 2:Yeah. That's what he is. He didn't get the power of spiders. He got the power of web. Okay.
Speaker 2:Which really sucks because that that's actually quite good. It it wraps spider webs up Mhmm. Quite often. Yeah. And it's He's
Speaker 1:constantly getting caught. You think I'd be better at this. You know, there's been worse Spider Man stories. Have you read Brand New Day? Oh, he went there.
Speaker 1:He doesn't care what people think. Okay. Alright. Alright.
Speaker 2:Especially because that's the next movie they're making. That's true.
Speaker 1:I think whatever. That whatever. No. Gwen Stacy having illegitimate twins with Norman Osborn, that's some low that's some low storytelling with the Spider Man world. Are you still trying
Speaker 2:to figure out an electrical based spider? Only thing I can find is Miles Morales has electricity. I thought somebody had, like, a weird teleporting thing.
Speaker 1:You know who does? Spider webs. To do it.
Speaker 2:Yeah. Spider webs. He's he's the one. Yeah. He travels through the digital webs.
Speaker 2:Wow. That makes it sound like I'm, like, some sort of, like, techno computer genius.
Speaker 1:He like
Speaker 2:I'm just a dude. Literally forgets your password. About movies.
Speaker 1:You you forget your password all the time.
Speaker 2:I do.
Speaker 1:Yeah. Okay. There you go everyone. Jim Spiderwebs Berzalek. Jim, our amazing listeners have given us demands from studios all over the world and you listening right now, you can send us any demand you'd like and we will have to meet it right here on the spot.
Speaker 1:And when we reach the end of the episode, if we've done our job, we will have pitched a full script or story and story meeting or even exceeding those demands. And when the end of the season comes, your demand could have helped us craft the script that will be greenlit by the fans for our finale. Thank you to everyone who keeps submitting. Please keep them coming. Today, in preparation for Superman, I went to our list, word word searched Superman.
Speaker 2:Yeah. Pause. Yes. Spider's web originally wanted to catch all of Spider Man and all of his friends. Mhmm.
Speaker 2:And spider webs foiled him, sort of like like through through a comedy of errors Yeah. Because of course. And that's how he became the nemesis. Spider's web now hates this guy. Did this guy defeat me?
Speaker 2:I had them. I had them all in my web. In my web. I had them.
Speaker 1:Weed it all together. Spun spun a glorious web.
Speaker 2:This this defeats me? This dope Yep.
Speaker 1:Forgets his password. For some reason, can traverse through time and space through the Internet. Yeah. Sort of very Freakazoid esque.
Speaker 2:A little bit. Yeah.
Speaker 1:I mean, I
Speaker 2:probably have other powers, probably some spider stuff. Maybe I can shoot some webs.
Speaker 1:Yeah. You stick to walls. Yeah. Some all the all the all the standard spider powers that all spider people have.
Speaker 2:Do you remember do you remember Dan from Street Fighter?
Speaker 1:Yeah. Yeah.
Speaker 2:Right? He had the Hadouken. Yeah. But it was much, like, less powerful and it didn't go very far. Mhmm.
Speaker 2:That's how spider webs shoots webs. So you know how like the the amazing Spider Man can can like like almost like shots can shoot Yeah. Like a like like a gun almost. Mhmm. Well, that's what spider webs does, but not nearly as many and not nearly as far.
Speaker 2:He can he can get them like a few feet.
Speaker 1:So it's like a like a a toy store squirt gun?
Speaker 2:Yeah. Well, and it doesn't it doesn't fail immediately. When he's better written, it's almost like a scatter gun. Oh. Right?
Speaker 2:Like, be really close and he'll get you.
Speaker 1:When he's better written. Yeah. Okay.
Speaker 2:Alright. Unpause.
Speaker 1:I wanted to do a Superman episode, so I I did a word search for Superman. We've got a lot of Superman demands. So I did
Speaker 2:a Perfect.
Speaker 1:I did a I'm just going to select based on a randomizer right now which one's going up. So of the so Uh-oh. So keep sending your Spider Man or sorry. You can send Spider Man demands too if you wanna hear more about spider webs. But randomizer going from our multitude of Superman demands.
Speaker 1:Here we go. Alright. Okay. Here we go. From what are you giggling at?
Speaker 1:I keep thinking about spider webs.
Speaker 2:And the thing is the plural is his proper name. So when you wanna say something possessive, it'd be spider webses.
Speaker 1:This demand comes take this silliness into this. Okay. So this comes from from Pete Ross at I I I hear you, Pete. I know Pete Ross is Superman's buddy. From Pete Ross at you're my boy blue studios.
Speaker 2:Nice.
Speaker 1:You're already off to a good start, Pete.
Speaker 2:Oh, shit.
Speaker 1:That'd be hilarious. What are you giggling at now?
Speaker 2:Do a Superman movie a la old school. K. Like, Superman Superman decides to go to college, but he has to join a frat.
Speaker 1:He you'd want
Speaker 2:I don't I don't know. I'm I'm making it up as I go
Speaker 1:Well, that's what we do here. Yeah. Okay. Let's see what Pete's demand is. Okay.
Speaker 1:In 1980, Superman two Okay. Was a major success both critically and financially despite a troubled production. Okay. I see. Okay.
Speaker 1:Was a success both critically and financially despite a troubled production. The film was a box office hit, breaking records, and gaining acclaim. It makes sense that a third one would be produced, and there was. And for some insane reason, it was a Richard Pryor movie. Superman three is wildly widely considered a low point in the franchise due to its jarring shift in tone, poor special effects, and a reliance on comedic elements that didn't mesh well with the series.
Speaker 1:But it didn't have to be. Earlier treatments of of Superman three when Richard Donner was still involved featured Brainiac as the primary villain. The supercomputer at the end of the film is perhaps a reference to this plot. Yeah. Absolutely.
Speaker 2:Yeah.
Speaker 1:One earlier outline of the story is said to have revealed that Gus Gorman, that's Richard Pryor's character, Gus Gorman himself was brainiac in disguise. Ah. The studio demands you two fly around the earth at time altering speed, thank you, and travel back to the point in time where Superman three can be saved from itself. But it won't be as simple as that. It won't be as Uh-oh.
Speaker 1:It's not as simple as flying around the Earth to go Richard Pryor as Gus Gorman must remain in the film as a primary character. Chris Reeve, Margo Kidder, Annette O'Toole, Robert Vaughan, and the main cast must remain as well. Write this to be produced in the nineteen eighties production scope. Write this to be produced with a nineteen eighties production scope. Good luck, gentlemen.
Speaker 1:The future of this film now rests in your hand. Jim, the studio demands Superman three. Hell yeah. Thank you, Pete. This is great.
Speaker 1:Okay. Superman three and Superman four are bad movies. But so we in we've recently rewatched Superman three for
Speaker 2:We did.
Speaker 1:For our commentary track. So this is perfectly fresh in our heads. There are parts of Superman three that are generally good, genuinely good. Sure. That that junkyard fight
Speaker 2:Mhmm.
Speaker 1:Is Chris Reeve, man, he's awesome. Love when he's flicking himself? Peanuts at the mirror
Speaker 2:Oh, yeah.
Speaker 1:And shattering bottles. I love Annette O'Toole, Martha Kenton, Smallville Mhmm. Lana Lang here. But what a freaking weird choice for Richard Pryor to be the main character of this movie. And so
Speaker 2:You explained to me Yeah. How he got to be there.
Speaker 1:Yeah. He was such a fan of Superman too that he would when I was on The Tonight Show, just excitedly his whole interview was how excited he was to see a third Superman movie. And Alexander Selkin, was basically the arbiter of Superman movies, was like, man, this Richard Pryor guy really likes Superman. Let's put him in the next one. Like, that's it.
Speaker 1:Like, it was just that he was a super fan Mhmm. Of Superman and wanted to be him. He wanted to be in the movie.
Speaker 2:Sure.
Speaker 1:So Salkin made it happen, and thus the disaster that is Superman three with oh, man. It it it did terribly in by the critics, and it did care terribly in the box office. And Yeah. And then it was a slash budget from the second one. Like, the Superman four movies that Chris Reverend are a documentary unto themselves for the disaster that yet yielded results.
Speaker 1:That first one is an anomaly. That second one is a miracle, and the third and fourth one are probably what we would have gotten for one and two if it weren't for the skill of Richard Downer. That said, taking Superman three and stripping it down to its part I didn't know this Brainiac tidbit because that's I you can kinda see it. Computers are a huge part
Speaker 2:of this. While we were watching, I'd I'd like, in the third act, I was like, you think you think that maybe that's supposed to be brainiac?
Speaker 1:Yeah. It absolutely was meant to be, like Mhmm. Clearly was. Clearly, it was not. So now, for those comic book readers out there, I am aware that there is a a continuation of this series through comic books much like they did with Batman, the Keaton Batman.
Speaker 2:Oh, really?
Speaker 1:And the Adam West Batman. They did a comic book run where they did Further Adventures of Batman 66 was a comic book run, and it was Adam West drawn and campy as hell. They did a Michael Keaton one where they brought in they continued that story as well. And they did that also with Chris Reeve, Superman, drawing it in the style, very hokey.
Speaker 2:Okay.
Speaker 1:So I am aware that there is a Brainiac comic set in this universe. We're gonna ignore that because I haven't read it, and I don't wanna just spitball it here now. Oh. Besides Oh. We've been set back to 1983
Speaker 2:It's true.
Speaker 1:That comic doesn't exist yet.
Speaker 2:That's also true.
Speaker 1:So Jim Jim Jim Jim Jim, Jim, Jim. How do you want to attack this?
Speaker 2:Well, I just kinda wanna say all this stuff.
Speaker 1:You you said
Speaker 2:during during the watch, you were like, you should save this all for the episode.
Speaker 1:I Because I
Speaker 2:I can't. Then I just all the ideas came up.
Speaker 1:I I I yeah. I did I did not encourage you to continue brainstorming while we're doing the watch because I there was a chance that Superman three and skimming the the demands, Superman three came up a couple times. So some of I should look up the
Speaker 2:other Also, a a lot of my pitch wasn't about how to do a Superman three movie. It would be because it's it would it would be how to incorporate the characters into the comics. It'd be if I got the chance to write Superman Mhmm. Here's what I would here's probably what I
Speaker 1:would write. The comic book Superman. Yeah. Yeah. Go
Speaker 2:ahead. Oh, yeah. If I were to write the the comic book Superman, basically, would because I then ask you and you did a quick search Mhmm. Because you hadn't heard of it. Anyone doing Gus Gorman in in the the the comic book world and you said, no.
Speaker 2:No one did it. And I came up with something. And it would work for them for a movie. I don't know if it would work for a nineteen eighties movie because I think so my idea was Gus Gorman is a technopath. He is not brainiac himself.
Speaker 2:He is a guy who communicates, in his case unknowingly, unwittingly with technology. It's why he's down on his He can't get a job. He can't do any of this stuff. And then he suddenly gets a data entry job and he excels. Mhmm.
Speaker 2:But but that's my my phone's making noise.
Speaker 1:You're good. You're good.
Speaker 2:But but he excels and he doesn't know why. It just he's good at this. Mhmm. Right? He is just punches it.
Speaker 2:Every computer says hello to him, and and he he types at
Speaker 1:it. He he can hit any keys, and the computer does what he wants it to That's what you're suggesting. Yeah. Like, that doesn't matter what keystrokes he has, the computers respond to him Yeah. As though he told told him exactly what he wanted.
Speaker 2:And he he doesn't really understand or realize he's a metahuman. He just and and he doesn't even necessarily understand that that machines are kind of going his way. They because they don't go so far as to, like like, the ATM machines don't just start spitting money at them. I'm I'm sorry. I'm sorry.
Speaker 2:The the automatic teller m's.
Speaker 1:Sorry. I shouldn't make such a deal. Go ahead. Continue. They just start ATM machine.
Speaker 1:They don't Electric shock every time I
Speaker 2:hear it. They're they they don't just start spitting money at him. Right? But they're they they start communicating with him. And for Superman three, as the movie's going, I kept thinking about this idea.
Speaker 2:And so much more of it kinda starts falling in place then so then Webster shows up. Webster gets a hold of him because Gorman is ripping him off. Mhmm. And off of off of a stupid little additional thing, I I came up with a thing for Webster. But basically, Webster sees who this Gorman guy is, and he figures out before Gorman does that he has a way with machines.
Speaker 2:Mhmm. Like a preternatural way with machines.
Speaker 1:Yeah.
Speaker 2:And so he starts to use using him as as a tool Mhmm. To do these stuff. And and Gorman's, oh, you're and he's he's getting paid well. He's being taken care of. He's getting to hang out hobnob with rich people.
Speaker 2:So, you know, this is great. This is what I always wanted. Thank you, mister Webster. I'll gladly do any of this, mister Webster. Mhmm.
Speaker 2:Mean and then what I what I did for Webster's, Webster himself is not the mastermind. It's actually his sister and his girlfriend. Mhmm. I've just forgotten their names.
Speaker 1:Kitty.
Speaker 2:Kitty and Lorelai? Yes. Lorelai. And and both of them basically vie to manipulate Webster Mhmm. Because he's the one who holds the purse.
Speaker 2:And what I decided I would do were I to write these characters
Speaker 1:in the comic Sorry. Of Vera Vera and Lorelei and Vera.
Speaker 2:Lorelei and Vera. Collects superpowers. He is crazy rich, and so he buys them where he can. He'll buy serums. He'll buy devices.
Speaker 2:He'll buy all kinds of things that he can to be a super.
Speaker 1:Okay. Yes.
Speaker 2:Okay. And and and it it was really a throwaway joke in the movie. He he slaps his hands on the arms of his chair
Speaker 1:And they break.
Speaker 2:Falls apart.
Speaker 1:Yeah.
Speaker 2:Yeah. It's it's just it's a chair it's a chair gag for no reason.
Speaker 1:Like a lot of you were in this movie.
Speaker 2:And I decided, oh, basically, he he bought a low level of super strength Mhmm. At some point. So so he has some of his own powers, but he's not the smartest guy, and Vera and Lorelei manipulate him constantly. Lorelei plays Lorelei uses her wiles. She knows what she's about.
Speaker 2:She plays a ditz, but she is actually incredibly smart.
Speaker 1:Right. And they do show that in the movie where she's, like, reading Kant. Mhmm. Yeah.
Speaker 2:And Vera has no charisma, but she has the love of her brother. And so she's constantly manipulating him to get what she wants. Mhmm. The two are sometimes comedically at odds in manipulating Webster. They're almost never on the same page because both of them have different ideas of what world domination would be.
Speaker 2:Right. And so the four of these people go about trying to dominate the world and it it's kind of working. And the the major beats, the movie kinda happens the way it happens. Right.
Speaker 1:It's just a matter of
Speaker 2:Well, and then in in my in my comic, I can go and do other things with these with these villains. Well
Speaker 1:I don't see any reason why we can't just take all of that and use this because we
Speaker 2:In in in 1983 ninety eight two?
Speaker 1:'22.
Speaker 2:In the early eighties Yeah. I think explaining a tech techno pat well, no. I guess it wouldn't be that hard. You wouldn't have to even say the words. Mhmm.
Speaker 2:You would just you would actually do something like He just ATMs spit money at Gus Gorman. Just like like a little bit. Mhmm. It keeps him going. Like, oh, I sure am down on luck.
Speaker 2:Sure wish I could pay rent. Oh, that's lucky.
Speaker 1:Yeah.
Speaker 2:Okay. So maybe that's that's not a terrible the problem is that's a weird thing that we then have to explain and pay off.
Speaker 1:Mhmm.
Speaker 2:And if we want it to be brainiac, basically, the the idea is as a technopath, the machines, Gus doesn't necessarily realize he doesn't have a conversation. Mhmm. But basically, the machines are talking to him. So the plans he puts together again, he's not a he's not a techno whiz Yeah. By the way people would define it.
Speaker 1:He's a dope.
Speaker 2:He's a dope who has come up with the schematics for the superst of computers that will ever be.
Speaker 1:Mhmm.
Speaker 2:And Webster has the resources to build it.
Speaker 1:Yeah.
Speaker 2:And so through through the the through this, as Webster uses Gorman Moore, he basically gets better at his ability, starts having these ideas for a supercomputer that could control all sorts of things, mister Webster. It could control
Speaker 1:The weather.
Speaker 2:All the way up to the the weather.
Speaker 1:Yeah. The stock markets. It can it can control Mhmm. Traffic lights. It can control
Speaker 2:It's media. All these things, all that. It could control the weather. Yeah. And Webster's like, oh, okay.
Speaker 2:That sounds good, Gus. Let's build it.
Speaker 1:Build that. And the only thing it can't control is Superman. Like, that's Oh, sure. That's that's the that's the this computer can do anything. Why can't it control Superman?
Speaker 1:I and I have a something to offer to that. But Sure. The the fact that you okay. Rewind here. Mhmm.
Speaker 1:And then we gotta work Superman into this. But I think we're doing similarly what we did with James Bond is create our villain story because then we can work Superman into it. Superman is basically static in this, and we can we can discuss that in a bit because there's the whole small villain, Clark Kent, and Lana, blah blah blah blah. Having Webster be this dude who is so wealthy, he wants to control the world, he has the money to collect super things. Mhmm.
Speaker 1:Even having so going so far as to, want to have super abilities. Mhmm. I I think they I think that can work that he's someone who is he he got some of Superman's blood. Like, that's that's that's his big thing when we we meet him.
Speaker 2:I see. I see. Basically, I'm missing is I'm building characters that are gonna work into a world of super powered people Yeah. The comics where many many of these exist in in our world of of the movie here. It's just Yeah.
Speaker 1:But having this that guy is obsessed with the powers that he can have and control, like, that's his thing. He can con he likes to use his money and power to control the world. Sure. He wants the coffee beans. He wants the he wants the
Speaker 2:the oil.
Speaker 1:He wants the oil. Yeah. So even going so far as the the one of the first things we see is that he collects has a he has see, Superman doesn't bleed. So I don't know how he would get that. Now grand Superman four, get a piece of his hair and clone him and make this the solar man.
Speaker 1:That didn't happen yet. But having him trying to have literal power, Having Gus be this fluke of a human, a meta of sorts that Mhmm. Can that computers are talking to him, connect those two dots so that Webster's, like in the movie, I'm gonna use you and your super computer powers. You talk to computers. Amazing.
Speaker 1:What can I do with that? I could have so much money. And then that's when the sister and Laurel Vera and Laurel are like, or you can control the sociopolitical economics of the entire planet. Mhmm. You can rule the world with Gus's abilities.
Speaker 1:More and more and more. That it's essentially what happens in the movie, but just just making the here's the the thing. Get to that supercomputer faster, and the explanation of why Gus is like this doesn't have to be that he's a metahuman, which is not something that exists in this world of two movies we have so far. All we know is Superman and Kryptonians. So perhaps oh, I'm just saying out loud.
Speaker 1:Maybe that's what, Webster gets. He gets Kryptonian blood from Zod and Don. They believe, though? They became human at the end of the he took their powers away. They in in the end of Superman two, he turns them human, and then they deleted scene, get arrested.
Speaker 1:So they exist in this universe. Webster could we don't have to have Terrence Stamp and the guys come
Speaker 2:back. Mhmm.
Speaker 1:But Webster having the power to get blood or something.
Speaker 2:Yeah. All all it takes is, do you know what this is, mister mister Gorman?
Speaker 1:It's the blood of Kryptonian. Yeah.
Speaker 2:Yep. You got Superman's blood? No. Almost as good. Almost as good.
Speaker 1:Yeah. Almost as good. Are you Lex Luther? Almost as good. Almost as good.
Speaker 1:So okay. The essentially getting this to be brainiac in the long run
Speaker 2:is what I'm suggesting. So for my my little pet notion of Gorman actually being a metahuman, I can I can go and write that in the real world?
Speaker 1:Yeah. When when when DC
Speaker 2:I'll write my fan fiction.
Speaker 1:When DC picks you up Yeah. You you I'll
Speaker 2:do that. Yeah. Yeah. But for our rewrite, Gorman seems to have a way with machines. Mhmm.
Speaker 2:And he like, that maybe that's one of the things Webster almost notes pretty early. The machines talk to him. No one else.
Speaker 1:Don't don't know why. Why are why do they talk
Speaker 2:to you, Gus? I don't know.
Speaker 1:Guess I'm just good at computers.
Speaker 2:Yeah. And so then by the end of the first act, he's already begun taking notes. The computers have given him things to write down. Mhmm. And so, basically, it is Brainiac.
Speaker 2:Yes. Yes. Brainiac is the computers.
Speaker 1:It has it's some for some reason, another selected Gorman Mhmm. To be his patsy, to be his avatar to get to build that supercomputer so that he can come out. Yeah. And then and then we have a, like the end of the movie, a Brainiac fight. Yep.
Speaker 1:Funny enough. I know we did Brainiac in our '95 Justice League as well. Yeah. But Brainiac is one of the biggest threats
Speaker 2:classic Superman villain.
Speaker 1:And having a supercomputer that's manifest and Superman can punch it.
Speaker 2:Yeah.
Speaker 1:Great. Cool. We can have a we can have a throw down.
Speaker 2:So should that should Brainiac's embodiment be Vera?
Speaker 1:We could still do that. I but, you know, I don't know if Chris Reeves is gonna wanna punch a woman. I think it should be either just a fully autonomous robotic entity or Gus himself is but Richard Pryor is not gonna wanna turn into a supervillain. I think it's better off if Webster becomes the he wants to be super. Right?
Speaker 2:Was Robert Vaughn. Vaughn was would he be willing to become a robot?
Speaker 1:He was mustache twirling in this. I think once he gets in it, like, we can have them throwing down
Speaker 2:Okay.
Speaker 1:Even if it's a stunt double. Now getting us there and having Superman fight, now let's rewind here. This the Clark Kent Superman story in in this movie, let's let's make it matter more to the overall movie. Because as it is, it's these disparate elements of ideas that ultimately come back to Sure. Like, it just slowly congeal.
Speaker 1:And that's not to say you can't do a movie that way. You can't you can do two stories that can that collide in the end Mhmm. And it was worth it all along.
Speaker 2:Yeah.
Speaker 1:I think this needs to have a little bit more, cohesion. Okay. I gonna suggest this. I'm gonna do it right now. Here we go.
Speaker 1:The vial of blood from Zod.
Speaker 2:The computer
Speaker 1:I love that.
Speaker 2:Like Okay.
Speaker 1:Almost as good. Yeah. The computer that can the slowly revealing that the computer can control everything, but the weather getting reversed back. And, like, the plans are being foiled because Superman is able to stop this and that from happening, being Superman. Like, Gus comes and says, oh, man.
Speaker 1:He he showed up and stopped the waterslide or the the mudslide and saved the village. Superman is the the x factor that that Webster can't control. So if he can't control Superman, why not make a Superman? Again, I know Superman.
Speaker 2:Steal steal Floor's plot? I it hasn't come out
Speaker 1:yet. Kinda. We kinda get Bizarro Superman in this. We get red kryptonite Superman in this movie.
Speaker 2:We do. Also, that is a thing I would change as well. It wouldn't just be green kryptonite with tar in it.
Speaker 1:Yeah.
Speaker 2:The tar turns it red. Yeah. Which is also why when it's given to Clark, he doesn't freak out.
Speaker 1:He doesn't question it. It's just a red thing. Yeah. So now
Speaker 2:Even if it makes him feel a little funny even in the moment, it's like, well, it's not kryptonite.
Speaker 1:Yeah. I don't know. That's thank thank you for this gift. So I'm I two two things to consider. We can fig we can just make Clark become like he does in this movie, evil Superman.
Speaker 1:Red red kryptonite affected Superman. For those who don't know the comics, there are multiple colors of kryptonite that have multiple effects. Blue kryptonite removes the powers from Kryptonians. The it's a whole thing. So red kryptonite turns turns Kryptonians into the bad versions of themselves in some some versions.
Speaker 2:You know what I want in the comics? I want the colors of kryptonite to some way correlate. They don't have to be one for one. It doesn't have to be related could contrast. They but but in some way, I want the colors of kryptonite to coordinate to the lanterns.
Speaker 1:Oh, yeah. That'd be fun. Yeah. Like, making that matter more.
Speaker 2:Yes.
Speaker 1:So we have a whole rainbow of characters over here and another rainbow group of things over here. None related. Get get resin. Resin. We could either have Clark go bad, like we see in the movie, or we actually have him fight Bizarro Superman, like, actually create a second Superman under Von sorry, Webster's control.
Speaker 1:So there's two Supermen running around, and then Clark literally has to fight Bizarro Superman. I I don't know. I'm I'm putting that out as an option because the juggling act here is, well, now we have two Supermen running around. Why wouldn't this obviously be one's an impostor and one isn't? You know?
Speaker 2:Yeah. I'm I mean, so I love the the the bad Superman in this. Mhmm. It it affects him so much. It changes his costume.
Speaker 1:He's so grimy. I stopped shaving too. Chris Reeve plays the hell out of it. He does. It's so good.
Speaker 2:To to the point that literally Superman has, like, his personality splits physically and he has a fight with himself.
Speaker 1:Yeah.
Speaker 2:Now to be fair, it might just be in his head Mhmm. And that he's just throwing himself around the the the junkyard.
Speaker 1:Telling me he's fight clubbing it. Like
Speaker 2:but it's 1983. That wasn't a notion yet. So instead, they do this weird thing where Superman splits.
Speaker 1:And then he fights himself.
Speaker 2:I I I guess we can we can well, you're you're so I don't I don't don't like the idea of cloning Superman.
Speaker 1:Great. That's fine. I I wanted to put it out there as an option because it it felt like it was a possibility.
Speaker 2:And it still is I might not have a better alternative. I have a notion for how to give Brainiac a body. Okay. That's not one of the characters getting transformed.
Speaker 1:Okay. Great.
Speaker 2:It it and it also is well, where did Brainiac come from? I like the notion because Brainiac is an AI computer from Krypton. Right?
Speaker 1:In many in many of the Canon in many of the versions of the Canon, Brainiac was the supercomputer of Krypton. We don't have to go here.
Speaker 2:We could just say because in 1983 and the movie actually does a good job of saying computer over and over and over again
Speaker 1:Yeah.
Speaker 2:Yeah. To let us know that that is the theme through this. And these computers, they sure are the future and they they don't they don't go quite far enough to say that they're going to get out of our own control. If we wanna go that far to say, oh, they're coming to life on their own. Mhmm.
Speaker 2:That's one thing. The other would be to try to incorporate Brainiac's origin of coming from Krypton
Speaker 1:Mhmm.
Speaker 2:As well. And my idea for that is unfortunately, I don't know all the other things. Where did all of his crystal computers come from up in the Fortress Of Solitude?
Speaker 1:In the vessel that brought Kal El to Earth, there was a crystal inside of it that once thrown into the Great White North,
Speaker 2:grew Grew into
Speaker 1:the into the fortress along with the crystals with that are within the fortress.
Speaker 2:Is it possible that there was another crystal or a crystal from the fortress or something like that went errant, went missing?
Speaker 1:Oh, here we go. Yes. Kind of. When the negative zone breaks Mhmm. And Zod and and his gang end up on Earth, those shards could be pieces of the Okay.
Speaker 1:Device that contained them within the zone.
Speaker 2:And so my idea is
Speaker 1:A shard of that.
Speaker 2:Somehow a shard of that has gotten into maybe it just communicates with technology on its own, or it has been incorporated as, right, like
Speaker 1:Phantom zone. Sorry. Negative zone is fantastic for me. I just realized I've been saying the wrong thing.
Speaker 2:Or it gets incorporated into a computer itself, or it's something Webster bought and had built into a computer.
Speaker 1:I'll let that yes. And then it's Gus Gorman's computer that just happens to finally activate with if if he's used that shard as some sort of computer chip.
Speaker 2:Even do something like have on on Gorman's first day, have somebody else say, the computer's saying hello to me again. Just restart it. Mhmm. That'll go away. When it happens to like, we then see it happen to Gus Yeah.
Speaker 2:And he doesn't restart He says hello back.
Speaker 1:Yeah. And then that's how Brainiac or the computer start talking to Gus. Yeah. Yeah. And that and and having that come from if if the first time we meet Webster, he's bragging in some capacity about his collection and talking about, I have a shard from this and we see, like, pieces of Superman one and two props that we can bring back.
Speaker 1:Like, you know what that is right there? Those are the last few bricks from the White House when that general Zod destroyed it.
Speaker 2:Sure.
Speaker 1:Made a whole shelf out of it. Nice. Isn't it? Yeah. Stuff like that.
Speaker 1:So then then when we
Speaker 2:My my Superman collection is second only to Luther.
Speaker 1:Yes. Yeah. Something like that. And having in fact, having oh, that you see that right there? That's Luther's projector device that he broke out of prison with.
Speaker 1:Just a collection. Yeah. Yeah. Yeah. Making him an a a walk for proving how good it is.
Speaker 1:So then if we show that up front, when the blood comes into play at some point, you know, this is right here. This is the blood of a Kryptonian. Superann's nearly as good. Mhmm. And and maybe that's what he I don't know if we're gonna even need that anymore.
Speaker 2:Honestly, we we don't.
Speaker 1:Okay. Yeah. Then just having the collection of the shards and all that, put it into his technology, in his, telecommunications company, that's where Gus is. He's the one who answers the computer. Then the And
Speaker 2:so now he has this conversation with his work computer. It's why he stays late. Computer keeps giving him ideas on on stuff and
Speaker 1:And giving him money.
Speaker 2:Giving gives him money. Yeah. And like maybe we even have a scene where he's talking to you like, well, how do I get you out of work? I can't I can't talk to you just here. Mhmm.
Speaker 2:And the computer's like, you could build me a you could build another computer. Here's some I'm gonna start giving you some plans.
Speaker 1:Blueprints. Yeah.
Speaker 2:Yeah. So that way he has he starts having that probably even before Webster nabs him.
Speaker 1:Mhmm. The first little little in terms of the eighties computer that he builds so that he can talk to, like so when Webster confronts him, he'd be like, I'm sorry, mister Webster. The computer started talking to me, I talked back. I'm sorry. I'm sorry.
Speaker 1:I was just talking to the computer. You can you can talk to a computer. Well, explains everything. You're a man who can talk to computers. Vera, are you hearing this?
Speaker 1:He talks to computers. Well, tell the computer
Speaker 2:Show us.
Speaker 1:Show us. Yeah. Show us.
Speaker 2:Okay. And he goes over to a computer and types in hello. And because it's connected to to Webster's Yeah. System Yeah. It says hello back.
Speaker 2:Magnificent.
Speaker 1:Magnificent. Is brilliant. Tell it to to momentarily raise my stock. Raise my stock. No.
Speaker 1:No. Momentarily do this, and then and then Lorelei is the one who's like, oh, you could just do this. And I mean, whatever. And then he does it.
Speaker 2:Yeah. That kind of thing. Yeah.
Speaker 1:Proving proving his worth. Yeah. And then thus begins the plot, basically, we see it, where Webster uses gusts.
Speaker 2:You say, basically, as we see it, there's some real corny scenes that
Speaker 1:we we
Speaker 2:can redo. So let's that goes back to the thing you were trying to talk about, and I keep going back to Gorman.
Speaker 1:That's okay.
Speaker 2:Webster, Superman. Yes. And Superman's role in this. And we we need to cut from Gorman to Clark way sooner.
Speaker 1:Oh, yeah. I mean, absolutely need to get this needs to be a Superman movie and not a Richard Pryor
Speaker 2:And I tech movie. I think what we can do is we can parallel actually. Gorman is down on his luck. Mhmm. He's have it right.
Speaker 2:He's at the unemployment line. He he loses his job. He's at the unemployment line. He's having he's down on his luck. We cut this with Clark at work and rather than just having it be a goofy word salad comedy there in the office with Lois, Jimmy, and
Speaker 1:Perry.
Speaker 2:Perry. I make it sound like it was pointless. It wasn't. They they were driving home computers. But what we do what we double down on is Clark is losing work to the computers.
Speaker 2:I know that we're not in the the age of AI. Okay. So it's not that they're writing his job, but it's stuff like, well, I was thinking of doing this kind of report. I I don't know, Clark. We got there there's this brand new computer over here.
Speaker 2:Why don't you do a story on on on this? What Mhmm. You really think that's interesting,
Speaker 1:miss mister White?
Speaker 2:Mister White? Yeah. Mister Perry.
Speaker 1:Oh, gosh. Mister Perry. Chief, I'm gonna I'm gonna spin off that because I I I think I like where you're going with this, but I let me let me offer up this. That Lois is the one pushing to do more stories about the advancements of technology, and therefore, we can get Margo out of the movie. Margo Kitter was very upset with the Salkins for firing Richard Donner.
Speaker 1:So she made such a stink that the Salkins said, get her out of this movie as fast as but she's in five minutes of the movie. Okay. Now we we don't have to do that. In in our rewriting of this, we got to travel back in time. We might have been able to pave over that.
Speaker 2:Because because I was gonna write out Smallville.
Speaker 1:Like Oh.
Speaker 2:It feels Okay. It feels real fake
Speaker 1:Okay.
Speaker 2:To me. Him the the whole go like, literally, I right. I did the math. They haven't they're having an eighteenth eighteenth year or annual year reunion or eighteenth year reunion. That's not a
Speaker 1:The I okay. Let's let's say we can heal the the divide with Margo Kidder and the producers, and we can keep Lois Lane involved in this. If there's that way you like
Speaker 2:Potentially, we can have her go off. She doesn't have to be here. We can follow Clark and Lois' off doing a story out of out of town.
Speaker 1:I I do
Speaker 2:think We're basically reverse the roles.
Speaker 1:Yeah. I mean, having Lana Lang be a presence in the movie where she shows up to just connect with Clark. Like, hey. I'm I'm in town. Yeah.
Speaker 1:I'm getting divorced. I need a job. And he can get her that job at the newspaper right away.
Speaker 2:So okay. So you want you wanna keep Lana Lang?
Speaker 1:Well, the the reason I would suggest keeping her is to Was
Speaker 2:that a part of the demand where we're to
Speaker 1:Yeah. An editorial is supposed to be be maintained part of the cast. So I'm I'm trying to maintain that in so much as
Speaker 2:Fair enough.
Speaker 1:It could still allow her friendship with Clark and to be the Clark her, you know, little freaking Billy over here. Ricky. Ricky. Ricky. Sorry.
Speaker 1:Ricky being like, remember who you are, Superman. Remember who you are.
Speaker 2:I mean, that could be any kid in
Speaker 1:the city. They like, all of them would love and care about Superman. I'm saying we give that to Lana. Lana's the voice that breaks through Superman. Oh, I see.
Speaker 1:Because she she could yes. She could say that Because
Speaker 2:she never had a relationship with Superman. She had a
Speaker 1:relationship with Yeah. So that it's her voice getting through to whatever damage is done in Superman that Clark hears hears her and fights out of the red kryptonite that he's in. That's why I think she should stay in the movie and and but just having her in the first act visit and him getting her a job because he's a good guy, thus creating a Clark plot Mhmm. Through the movie that still doesn't solve Superman's plot because, and also, what did you wanna do with Lois? I I kinda
Speaker 2:catch I didn't have an I just, the the idea occurred to me. Sorry. Because Clark Clark is a traditional journalist. Right. I writes on a notepad, types it out on a typewriter and computers.
Speaker 2:Gee whiz.
Speaker 1:Gee whiz,
Speaker 2:mister How am gonna learn how to do all this stuff? Right. Well, if Jimmy also is like, you gotta get with the future, Clark. Even cameras are about to are are becoming disposable.
Speaker 1:That's good.
Speaker 2:That actually might be too soon as well.
Speaker 1:Having having a you talked about paralleling Gus and Clark. I'm gonna say, let's juxtapose the two so that while Gus is at the bottom and slowly working his way up, having Clark at the top and working his way down, like, Lois is is taking some big assignment out of out of the city because she's, like, chasing after the fact that Clark has been a rising success as a reporter and basically can write whatever he wants at this point. And so no. See, that that would allow him to go back to
Speaker 2:You want do you wanna go to Smallville?
Speaker 1:No. We don't have to go to Smallville. Okay.
Speaker 2:Yeah. I We can.
Speaker 1:No. I just want Lana to Lana has to stay in because Annette O'Toole has to stay in.
Speaker 2:Okay.
Speaker 1:So we don't have to go to Smallville. Freaking Ricky, get out away from that thresher. That dog hit him with a rock. Dog the dog was the villain the whole time. How do we give Superman enough to do in the first part of this movie that then he becomes evil Superman that then he has to fight Brainiac?
Speaker 1:That's that's the thing in the Sure.
Speaker 2:Easiest easiest, most broad answer
Speaker 1:Yeah.
Speaker 2:For you to fill in Yeah. Webster is trying to do stuff that Superman is foiling.
Speaker 1:Okay. So like the landslide controlling the weather and Superman's there to save the day.
Speaker 2:Maybe. It I I don't know if we want it to be weather right away, but, like
Speaker 1:Blowing up the the the power plant. Sure. Could be Webster. Yeah. It could be a competing conglomerate for him.
Speaker 2:He finds out Superman foiled him.
Speaker 1:Yeah.
Speaker 2:It is Superman.
Speaker 1:Superman. Not so not so Superman if you ask me.
Speaker 2:Which which means that when he discovers Gorman Mhmm. Right, the the way the scene would play out is Webster at first would be like, how dare you steal from me? I talked to computer. I'm so sorry. What do mean you talk to the computer?
Speaker 2:That's crazy talk. And then Lorelei would be the one who breaks like, wait, you talk to a computer? And then Veera's like, wait. Yeah. What?
Speaker 2:What
Speaker 1:does that mean? Show us.
Speaker 2:Show us.
Speaker 1:Yeah. Let's let's okay. Yeah. Oh, yeah. Yeah.
Speaker 1:Okay. We see Superman foil the nuke. That's in the new the nuclear power plant.
Speaker 2:Yeah.
Speaker 1:Great. That's the first act big set piece for Superman there. In in still in the first act when we're introducing Gus to Webster, he's like, do this. Prove it. Show us.
Speaker 1:Talk to computer. And he does it, and he does, like, something small. And he's like, oh, great. Well, they could do this. And Lorelei suggests the stocks, and he's like, yeah.
Speaker 1:Great. Oh, man. What can't this do? Distracts can you control Superman? No.
Speaker 1:I can't control a person. Well, let's see if we can't keep him busy. Do this and then create some threat to see if Superman can
Speaker 2:Sure.
Speaker 1:Stop it. And he does.
Speaker 2:And and
Speaker 1:and it could be a matter of, like, ah, he foiled it. But, no, we have proven we can distract him.
Speaker 2:Yeah. Can keep him busy. Yeah. It would the way they see they would see it happen and then Lorelei would be like, he did what you wanted. Vera would be like, yes.
Speaker 2:We're we're controlling him. And we're sort of go, good. Good. Good, Gus. Good.
Speaker 1:But then there needs to be the point of the red kryptonite. Like, how do we keep him so under our thumb? And maybe that's something that the computer could suggest. Instead of distracting him with hurting people, I don't know if I feel good about that, mister Webster. Why don't we just figure out a way we can control him?
Speaker 1:And that's when we're like, kryptonite. Ah, the thing that could hurt because Lorelai is the one that said kryptonite. She's the one that remembered kryptonite can hurt him.
Speaker 2:Then then to to make their need that reason, they they can't figure out a way to to manipulate Superman yet. Okay. Basically, through their efforts, they fail.
Speaker 1:Yeah. Yeah.
Speaker 2:They they they fail a second time. Superman sees through it slash works around whatever their manipulation was. Mhmm. And they're like, ah, drat.
Speaker 1:Drat. Yes.
Speaker 2:I guess computers can't do everything.
Speaker 1:Yeah.
Speaker 2:And then they start, like, like, if if if only there was a way to neutralize him.
Speaker 1:Yes. Kryptonite. What?
Speaker 2:Yeah. Something like that.
Speaker 1:I remember reading an article where they said kryptonite's the only thing they heard of. And then
Speaker 2:And this could this could play out nearly identically. Except
Speaker 1:the fact that Webster just knew it. It could be like, well, where where where do we get kryptonite? And then, oh, the computer tells Gus without prompt. Like, Gus didn't ask the computer. The computer just goes, you know, there's this kryptonite over here collection.
Speaker 1:I don't know. Something like that.
Speaker 2:Well, but then they would have kryptonite, and they they needed to
Speaker 1:Oh, no.
Speaker 2:Make make their own.
Speaker 1:Right. Right. Right. Right. Is no more kryptonite.
Speaker 2:Yeah. So so the computer tells
Speaker 1:Make it.
Speaker 2:Tells him everything that's there. And rather than saying unknown Mhmm. Or it it it says it says an alien word. Right. Actually, it'd be hilarious if it says Mixo Pixalite.
Speaker 1:Oh, yeah. Or something like that.
Speaker 2:But that's more of a joke for nerds like us. Yeah. I don't need and then what's the what's this last thing?
Speaker 1:It's in it's in crypton cryptonese.
Speaker 2:And and then Gus ask ask the computer, what what is the last one? And and it just rewrites it as unknown. Mhmm. And then so they're sitting around, is it around, and like, low tar.
Speaker 1:Yeah. Yeah. It's kind of more or less how it goes. Contrive a freaking Ricky and the birthday party. Makes more sense if it's in Metropolis.
Speaker 1:Right? I told I told the kids in school that Superman's gonna come to my birthday party.
Speaker 2:It's way easier.
Speaker 1:He's from Kansas. Why do you sound like that? Oh, my dad. My dad's not from around here. Oh, mom.
Speaker 1:Oh, jeez. Ricky, I think that thresher got you. No. The dog just keeps hitting me with a rock.
Speaker 2:Dang dog. Ding dang dog.
Speaker 1:Yeah. And then crypt yeah. Red Kryptonite to Superman.
Speaker 2:We get Superman being an asshole.
Speaker 1:We
Speaker 2:get Superman fight fighting Clark.
Speaker 1:Remember who you are. Please, Superman, remember who you are.
Speaker 2:Yeah. I guess I guess we get we get that fight. Yeah. As is. No changes.
Speaker 2:Yep.
Speaker 1:Yeah. He still has a a knight on top of the Statue Of Liberty with with Lorelei. Oh, no. No. He meets her on the top of the statue.
Speaker 1:Wait. Is it Statue Of Liberty? He meets her Yeah.
Speaker 2:Yeah. He he she's just hanging out there.
Speaker 1:Yeah.
Speaker 2:Like, there was there wasn't an emergency call like, Superman, we need you to rescue someone from She was just up there.
Speaker 1:She's bugs bunnying it. She's in the oven. She goes, yoo hoo. Hey, lady. Could you go get that oil tanker for me?
Speaker 1:Ricky sounds a lot like Lorelei.
Speaker 2:Oh. Uh-oh. Is Lorelei Ricky's dad?
Speaker 1:The whole time. And then So do we do the do we do
Speaker 2:that whole plot the same?
Speaker 1:More or less. We can handle it a little more nuance than than it. I don't know, you lady. That wasn't me. That's in the fourth in the in the finale.
Speaker 2:The the fifth act? Yeah. The sixth act?
Speaker 1:Having him be bad Superman and then having that be the time that Webster is able to do all the all the stuff he wants to do. It's not just about building computer. With Superman down for the count and distracted, Webster should be running amok. He should he should be through computers
Speaker 2:Yeah.
Speaker 1:Through the cloak and dair from the shadows beginning to take over the world.
Speaker 2:Yeah. Yeah. And and we would we would need to see that. Sorry. I was getting hung up on if we should have the the the veiled suggested Lorelei seducing Superman Mhmm.
Speaker 2:Bit. Yeah. Like, if that serves if that serves the perp like, what does that do? He's all he's clearly already distracted. He's not rescuing anything.
Speaker 2:He's ruining the Olympics because he thinks it's funny.
Speaker 1:He's fixing the leaning tower.
Speaker 2:Yeah. Jerk. Yeah. Yeah. He's he's just doing jerk stuff.
Speaker 2:Yeah.
Speaker 1:Having
Speaker 2:And and and I realized the whole the whole point to it is to show Superman violating sounds strong, but violating his morals. Mhmm. And one of them would be
Speaker 1:Sleeping with a lady. Ladies. A red woman.
Speaker 2:And I don't I don't know I don't know if that's important. Again, sounds big Mhmm. But if that's important to have.
Speaker 1:It's it shows how far he's fallen that he is drinking and vandalizing and sleeping around. Yeah. Like, that's we can maintain it. It's 1983.
Speaker 2:Sure. Okay. It felt real weird to me in the end for him to be like, I'm I'm good again
Speaker 1:and I don't know you lady. You
Speaker 2:slept with me, you jerk. Just because you regret it doesn't mean you didn't do it.
Speaker 1:More like super jerk. Am I right? And so Yeah. After he is thick, like, after he, like, overcomes and fights in the graveyard and he becomes Superman again, there's a big jump straight into the supercomputer fight, least in the movie as it is. Right?
Speaker 1:Mhmm. So I think we need to just bridge that a little bit better. And I'd like to discuss that next, but I wanna take a break. Okay. So yeah.
Speaker 1:Alright. So Superman three up we basically kinda we yeah. We we went up basically. We hashed out an an act one and act two.
Speaker 2:Yeah. Mostly. Yeah.
Speaker 1:Yeah. And so we're we're moving into actually fighting Brainiac. Yeah. Okay. So let's take a quick break here.
Speaker 1:We're gonna get a few messages from six five media and we'll be right super back.
Speaker 2:Oh. What? I had sorry. I I had to I solved my problem. We can we can't explain it.
Speaker 1:Don't lose your thought. I won't. Okay. We'll be right back. Alright.
Speaker 1:So we're back. Now Okay. The original opening on to your
Speaker 2:thought because I am.
Speaker 1:Yep. Original opening that we have is this farce of just this comedy of errors, Rube Goldberg nonsense of things going awry in Metropolis like and Clark, you know, shows up as Superman and stops a guy from drowning in his car.
Speaker 2:Oh, yeah.
Speaker 1:Do we want to maintain that, or can we possibly open this better? I know going right to the front end of this movie, but here here's my So soft pitch for it. Okay. Oh, go ahead. It's just if this movie's gonna be about Brainiac, should we put some Kryptonian opening here to like, the the first two movies open with Kryptonian stuff.
Speaker 1:Well, no. It's not true. The second one opens with France, but the Donner cut version of it is the the Phantom Zone getting broken. And there's there's Kryptonian stuff in the second one with him talking to his mother and so on. Go ahead.
Speaker 2:What if we do a red balloon montage following the shard?
Speaker 1:Now we're onto something. That if if it is if we can still do the you say red balloon like in
Speaker 2:The the the film red balloon. Okay. I think that's what wasn't that what it was called?
Speaker 1:Yeah. The comedy of errors that exists, Rube Goldberg type is the is the sequence of nonsense in Metropolis. You're saying instead show us a sequence of the shard from the Phantom Zone Collective, like, in Texas in Houston.
Speaker 2:Yeah.
Speaker 1:Where it gets from a to b to c to d all the way to
Speaker 2:All the way to Webster. Webster. And getting put into his computer system.
Speaker 1:Yeah. Yeah. That that's while the opening credits are occurring.
Speaker 2:While opening credits are occurring, and we can also have snippets of the news in the background saying Superman saves the day doing so and so. Superman saves the day doing so and so. This is happening over here in the world. Things like that.
Speaker 1:That's good. That's probably the way to go, but I'm gonna offer another suggestion here. We see the the shard working its way from Houston to Webster. Mhmm. And every so often, some thing occurs be like, in the presence of the shard that causes a thing that Superman needs to come in and save the day.
Speaker 1:Not not that we see the full thing, but just as it's
Speaker 2:I think I think that goes too far. That gives that gives the shard power, like, telekinetically.
Speaker 1:Okay. Then then I think you're probably onto something of seeing Superman saving the day through news and and what have you.
Speaker 2:Is it weird that Brainiac is a piece of the whatever the the the
Speaker 1:Phantom Zone.
Speaker 2:Phantom Zone jail is?
Speaker 1:I mean, in 1983 logic, no. Okay. In in our logic, there's a little more bending over backwards to twist yourself in a pretzel and gymnastic your gymnastic your way into making that work. Okay. I think 9883, it's just a piece of the Phantom Zone.
Speaker 1:It's Kryptonian tech.
Speaker 2:Sure.
Speaker 1:There you go. Okay. Yeah. But I like that that maybe if Richard Lester isn't directing this, then we don't have to have
Speaker 2:wacka wacka wacka. Yeah. So Oh, what what I feel like no shade to mister Lester.
Speaker 1:Mhmm.
Speaker 2:But the movie is what it is because he directed it that way. Even if we were to give him our script, he was still going to direct it that way.
Speaker 1:Right. Let's let's
Speaker 2:assume. Would have to be someone else.
Speaker 1:Maybe maybe we get Richard down there.
Speaker 2:I think there's there's actually a young filmmaker who's who's doing a lot of good stuff here.
Speaker 1:In '80
Speaker 2:Steve something.
Speaker 1:Spiel Spiel Spielman?
Speaker 2:Yeah. Real close to yeah. Real close to the Superman
Speaker 1:writers. Yeah. Shuster and Siegel.
Speaker 2:Yeah. Yeah. So so the Siegel Siegelberg. Spiel Spielberg.
Speaker 1:No. I don't think that's it. I don't think we could
Speaker 2:get Steven Spielberg movie. Steven Spielberg 1983 Superman three.
Speaker 1:Oh my god. Now we're talking. I mean, he's he's already done Jaws.
Speaker 2:He is
Speaker 1:the one of the most powerful young directors in Hollywood. You can lie if you can lock in Spielberg to do a Superman, we can just throw this entire script away and start from scratch.
Speaker 2:Is it the same year that he does ET? Or the year after? '84?
Speaker 1:ET is '82, so it's the year.
Speaker 2:Oh, it's '82.
Speaker 1:Yeah. Oh, okay. Spielberg. Whatever the case, we don't have to worry about the director. Having, quote, a red balloon style file of the shard, great.
Speaker 1:Getting us to Webster, seeing Superman's exploits through newspaper reports and TV reports Mhmm. Getting us to Gus. So we see Superman through the montage on the chart.
Speaker 2:Gets us to Webster getting gets it put in the computer, and that's where we leave the computer. Yes. We go to Gus. We cut we smash cut to Gus in the unemployment line.
Speaker 1:Yes. Yeah. Yeah. And then and then then going to the Daily Planet and seeing what the status quo is with Clark. Mhmm.
Speaker 1:And mister White, Clark, you're doing this in your newspaper. So they get right. Right. But mister White about the, hey, Lois, what are you doing here? I'm like, I'm like, mister White's like, and then you know what I mean?
Speaker 1:And the last thing I need to talk about is when am I gonna get a new replacement secretary? Mister White, that's exactly what I've been trying to talk to you about. A friend of mine from Smallville's in town, and and I thought she might be a good fit here at the planet. I know. I'm trying to introduce everything
Speaker 2:that's possible. Somewhere well, that might be a little a little too soon. Yeah. That that
Speaker 1:But just giving Clark some Clark Kent antics in the daily planet.
Speaker 2:The funny I don't know. The that the the scene they did have wasn't too terrible. I liked that they got right to computers being central even as as goofy of a way as they did it.
Speaker 1:The the bingo numbers thing. Yeah. And and also laying the track for Jimmy Olsen to have a mini story arc and like Mhmm. Jimmy, you know, Olsen, you have to always have your camera ready. You have to always chase the story no matter what.
Speaker 1:Yeah. That's how Lois got where she is. That's right. And now I'm off to Europe. And and Kent's on his way up for as well.
Speaker 1:He's he's always got his eyes up up and away, always looking off for, yeah, golly, mister White. You're sure being kind. Alright. Alright, chief. I mean, sir, I will I'll do better.
Speaker 1:Sure. Because because Jimmy disappears from the movie after he fails at the new the
Speaker 2:power Oh, that's right. He did have an extra scene over Lois.
Speaker 1:Yeah. Maybe there's a way to keep Jimmy involved in this as well.
Speaker 2:If we stay in Metropolis, most definitely.
Speaker 1:Yeah. But now you you had had an idea, lightning bulb.
Speaker 2:It just it solved my laurel eye problem.
Speaker 1:Lightning bulb.
Speaker 2:Do you put in your bulbs?
Speaker 1:I don't know. Fire fireflies? Fireflies.
Speaker 2:Oh, fireflies. Oh, I see. You you do magic. I do science.
Speaker 1:Okay. Loser.
Speaker 2:I'm I'm doctor Venture. You're I can't remember his name.
Speaker 1:Monarch? No. Phantom Lyn. Oh, no. I'm I'm Orpheus.
Speaker 2:Orpheus. Yes.
Speaker 1:Doctor Orpheus. You had an idea.
Speaker 2:You used an orphan's heart? Sorry. I had an idea. It it solved my issue with Lorelei seducing Superman. Mhmm.
Speaker 2:What it is is why. Why does she do that? Like like that super it it's not that like, oh, asshole Super man wouldn't stay with a loose woman. No. He would.
Speaker 2:That's that wasn't my issue. My issue is why is Lorelai doing this?
Speaker 1:Mhmm.
Speaker 2:And the the reason is what we can set up is she's actually trying she's an opportunist.
Speaker 1:Mhmm.
Speaker 2:And she has Webster or she's wrapped around
Speaker 1:how what's the freaking phrase? She's got him under her thumb.
Speaker 2:No. Not Wrapped her on
Speaker 1:her finger?
Speaker 2:Wrapped her on her finger. Yes. That's thank I don't know why.
Speaker 1:It's a hand metaphor.
Speaker 2:It is a hand metaphor. Fingers. Phalanges. She's involved. She's got him wrapped around her finger, but she's always looking for more.
Speaker 2:Mhmm. So now that Superman's not acting normally, like, maybe she could seduce Superman. Mhmm. So that's why she goes and does that, and she thinks she has. She thinks she can now manipulate something like that.
Speaker 2:That's Sure. That's all. I I just satisfied myself with a motivation there and it's Lorelei going a little bit rogue.
Speaker 1:She's just her she's opportunistically looking for more power as well and who's more powerful than Superman. If I can get Superman under my thumb as well as Webster, I now control the two most powerful men on the planet. Yes. Not she probably wouldn't say that.
Speaker 2:And and we don't need too much of that. Honestly, that doesn't even necessarily have to come out until the end where she then tries appealing to Superman to let her go. Mhmm. And he's all like, no. I wasn't the same person, and I don't care for your ways.
Speaker 2:Mhmm. And then Webster really,
Speaker 1:what ways? Would and then she
Speaker 2:could finally
Speaker 1:She could drop the act and, like, totally have, like, turn on him and be like, you don't understand the manipulation that I've been controlling over the course of many, you know, she just rattles off this, like, very eloquent, like
Speaker 2:And then Who are you? And then ends it with ends it with a, I'm so sorry, honey.
Speaker 1:Yeah. Yeah. I mean, I'm so sorry. Yeah. Okay.
Speaker 1:Yeah. That So that that's a little hard.
Speaker 2:That was all. It just it it lets us keep that in there, but gives a reason for it.
Speaker 1:Sure. Sure. Okay. So Superman becoming Red Kryptonite Superman Mhmm. Going through that whole spiel of just being a bad guy and not stopping these events around the world that he could be helping Mhmm.
Speaker 1:That's allowing Webster to accumulate more power. Mhmm. Maybe even having Webster get so bold as to I don't know. I as showbodied as he is, re tipping his hand and revealing to the world that he's doing this, I don't I don't think that's a smart move. Like, he could even say, like, I should I should con contact the the United Nations right now and demand that they bow to me, and Vera is the one going, don't do that.
Speaker 1:As soon as the as soon as they know you're a threat, then everyone's coming after you. At this case, they don't know why the world's falling apart. You're just the smiling face of this company who just happens to be coming out on top. Like, you know what mean? Like
Speaker 2:Yeah. Yeah.
Speaker 1:Like, couldn't pull his ego back so he doesn't say, I rule the world.
Speaker 2:You're going to ruin us, you idiot. Yes.
Speaker 1:Yeah. Yeah. Bubba, how do we then get to fighting Brainiac? Like because when when Superman
Speaker 2:How how do we how do we get how did Superman get to the computer?
Speaker 1:Everything's computer. Everything's computer. Oh, god.
Speaker 2:Right. Because he comes out he comes out of being a a bad Superman.
Speaker 1:Yeah.
Speaker 2:And then he what? He just goes to Arizona?
Speaker 1:I it's it's such a big jump in in the the narrative that suddenly he's like, I gotta stop these guys. Right? Like, where what how? Like, why is this happening? So getting let's let us decide how he he he concludes that it is that I need to go fight this this man.
Speaker 1:He needs to be smart enough to figure
Speaker 2:that out. So, by the way, I think while he's bad Superman, he crushes Jimmy Olsen's camera. That's Jimmy Olsen goes to take hey, Superman. Oh. Oh.
Speaker 2:Oh, shucks. Remember who you are. How about this? Clark beats Superman. He becomes normal Superman again.
Speaker 2:Mhmm. Superman turns back into Clark Kent. Go because he's kind of out of it. Right? He Yeah.
Speaker 2:I think he shouldn't forget. Like like, it it it's not amnesia. Mhmm. He remembers what happened, but he's not like, it's kinda fuzzy.
Speaker 1:Yeah. Like, he was drunk. Mhmm.
Speaker 2:And so he goes back to planet, to the daily planet. Mhmm. And Perry White is like, Clark, my god. Thank god you're here. Where where have you been?
Speaker 2:I can't get a hold of any of my reporters. The world's going mad. Superman's Gone
Speaker 1:gone insane.
Speaker 2:Gone insane. And all of these problems are happening all at once. Gee, mister mister White, tell me tell me what's going on. What what what needs what needs to what's going wrong? What needs fixing?
Speaker 2:And White points out things. That's bad writing. Well He points out things, and Superman says, I figured it out. It is is essentially what I'm getting to. So right.
Speaker 2:So Clark so Superman gets to be smart here. It's not just
Speaker 1:There you
Speaker 2:go. Invulnerable punching. He connects the dots.
Speaker 1:Yes. That that's that's it. He he he sleuths it out. So when he comes back in the movie as it is, he wakes up in the graveyard after defeating himself. He pulls his fresh Mhmm.
Speaker 1:Suit out, and then he goes and fixes the the oil tanker, and then he goes to Arizona to fight Webster. In this case, he overcomes red kryptonite. Mhmm. He returns to the plant. We get to see Clark Kent because there's very little Clark Kent in the latter half of this movie.
Speaker 1:Having Perry panicking, all this and this and this and this. So he's basically getting a list of the things he has done. Mhmm. And using his reporting skills, he works backwards. He goes this, this, this,
Speaker 2:this, this. It's not well, I I I guess it could be. It's not that Superman has been doing all the things. While Superman was distracted, all of the world events Yeah. That have been happening.
Speaker 2:Like, what's what's the thing that links them all? Mhmm. Superman figures Clark Kent figures that out.
Speaker 1:Right. Right.
Speaker 2:And and works out that that Webster Inc Mhmm. Has this mysterious project going on in In in Arizona. I realize that's a whole lot of information and exposition to to logic leap through in, like, even five minutes.
Speaker 1:Maybe less two minutes or so. The the what what just essentially what needs to happen here is he needs to go, it was this. And if it's working his way through all the everything that's occurring and everything he did and tracing it back to why he turned out the way he did, which was this weird, ceremony where he was gifted the red kryptonite. Mhmm. That's when he goes, oh, where did the red kryptonite that's it.
Speaker 1:The the the key to all this is why I was given that, oh, even if oh, Jimmy took a photo at the events.
Speaker 2:Oh, sure. There you
Speaker 1:go. And there's in the photo of the kryptonite being handed to Clark. In the background is either Gus, Vera, Lorelai, some that's it. That's it's in a photo. Jimmy is the is the x factor here that Clark goes, and he looks in at the photo and uses his supervision to enhance it.
Speaker 1:A fuzzy. Because that's what they did. They just made up powers from but he basically
Speaker 2:How dare you? Jimmy Olsen is a professional photographer.
Speaker 1:He would be in He would take a clear picture. Yeah. But having in the photo Gus or yeah. And being like, I mean
Speaker 2:So okay. Because he met, right, Clark? Aside from, like, the the happenstance meeting in the events that I think we got rid of in our version Mhmm. Clark Clark never meets any of the bad guys
Speaker 1:Right.
Speaker 2:Until the end. That's a little bit of a problem.
Speaker 1:Well, no. Because he we have him meet Lorelei and we have him meet Gus. Gus is the one who hands him.
Speaker 2:Oh, yeah. That that's right. And That's right. We did we we didn't discuss how that happens, but it can be really similar. So what he recognizes so well, doesn't have to I can be Gus.
Speaker 2:It doesn't
Speaker 1:have to be. It doesn't have to be.
Speaker 2:But I was gonna say because he recognizes Lorelei, he's like, who are these people? Yes. And excuse me. And he starts and he starts connecting dots back to Webster.
Speaker 1:There's in the movie itself already, Vera is there. She's the one who drove Gus as the general into the scene. So he
Speaker 2:So have him recognize Vera?
Speaker 1:Him see Vera and go, that's because at the very beginning, they do, the magazine piece Jimmy has taken the photos of Lorelei. And who's that? Oh, that's that's Webster's sister.
Speaker 2:That's right. That's right.
Speaker 1:Jimmy's photos are like this the lynchpin of all of this. So he looks at the so he looks
Speaker 2:at the and I'd actually love that.
Speaker 1:I love So he looks at
Speaker 2:the picture, recognizes Vera here, and literally camera follows him looking up at the wall at where, like, they have that the cut that cover
Speaker 1:Uh-huh.
Speaker 2:Framed for some reason. Or just over at at another desk where that that issue has come out
Speaker 1:or something. Mhmm.
Speaker 2:And and he puts two and two And
Speaker 1:then knows it's
Speaker 2:So if knows it's Webster, I don't know how he figures out there in Arizona.
Speaker 1:Mhmm. That yeah. That's the last That's not the last, but we need to connect that dot. How does he get to maybe if he just flies straight to Webster's penthouse and Webster's left behind a taunting message.
Speaker 2:Oh, sure. Yeah. That's not bad.
Speaker 1:Yeah. Very Lex Luther of him.
Speaker 2:Yeah. Something not not not I'll be in Arizona. Like like, something like it's is Arizona the sunshine state?
Speaker 1:Yes.
Speaker 2:It's I'm sorry, Arizona friends.
Speaker 1:The state is it the sunshine state? It's the Arizona is Keep talking.
Speaker 2:No. No. I wanna watch you do this.
Speaker 1:Oh, god.
Speaker 2:Well, no. Because well, because if it is right? It would be it would be a clue, like, I'll be relaxing in the sunshine.
Speaker 1:It is the sunshine. No. No. It is not.
Speaker 2:It's not.
Speaker 1:It is the what is Grand Canyon State. It's the Grand Canyon State.
Speaker 2:Sorry to have mesa'd you.
Speaker 1:It's the Grand Canyon,
Speaker 2:Steve. And then there could be something about the Grand Canyon.
Speaker 1:Yeah. Some some wordplay. Yeah. And then Superman is like
Speaker 2:That means the Grand Canyon.
Speaker 1:I know that.
Speaker 2:And then he so then he goes there. We get the video game missiles.
Speaker 1:We can still have some sort of video game missile montage here. And then he shows up at the supercomputer, and Gus loses control of it, which does happen. The movie the computer becomes smart enough to take over. And
Speaker 2:So and, basically, what the whole thing does, rather than transforming any of these four
Speaker 1:Oh, yeah. You'd say you
Speaker 2:had a name. Reveals another thread that I kinda wanna wanna leave early on, maybe Gus, even when he first talks to the computer, he asks, what's your name? Mhmm. And it avoids telling him. When he's like, don't worry mister Webster, I can I'll show you.
Speaker 2:And he he like, hello. And the computer walks back like fascinating. Mhmm. And and like, what else can you do? I don't know.
Speaker 2:What Lorelei, what's its name? Mhmm. Gus, like, don't know. It never told you. And and or what's its name?
Speaker 2:And Veera says, who cares what its name is?
Speaker 1:Yeah. Yeah. Cut it off.
Speaker 2:Yeah. Like that. But basically, kinda keep alluding to this. Mhmm. So that way, at the end, Superman says, like, what's your name?
Speaker 2:Eventually, so the four aren't transformed. At this point, the four are almost taken prisoner. Mhmm. Yes. Literally taken prisoner as
Speaker 1:At first they think they're At first they think they're them. They have Superman. They have dead to dead to rights Superman. Wait. What's happening?
Speaker 1:What's happening? Oh oh, no. Superman. Save me. Save me, Superman.
Speaker 2:And in maybe instead of transforming Vera, although that was a wonderfully creepy scene for children everywhere Scared me very much. Have like a panel, a door open and a robot man steps out. Mhmm. You may call me Brainiac. Yeah.
Speaker 2:Something like that. Yeah. And actually, we need actually so so they keep asking it its name and they keep dropping the reference. Oh, you're a real brainiac. Maybe that's what they keep calling Gorman.
Speaker 2:And Mhmm. And he it's not me. It's the computer.
Speaker 1:Yeah. Yeah. Yeah.
Speaker 2:Something like that. Sure. So that way at the end when it says, I I am Brainiac, now we've we've given it a name. It now has an entity. And he can do like he does now he does technokinesis stuff where, like, he puts his hand out and, like, squires go and wrap around Superman and stuff.
Speaker 2:Mhmm. But now we can we can possibly have, like like, a punch them up fight.
Speaker 1:Yeah. And and we're three years out of Empire Strikes Back, so there's no reason not to use, you know, force powers
Speaker 2:Sure.
Speaker 1:And have them beat the crap out of each other in in so much as we're allowed to do with these effects at this time in this time. But, yeah, having Well,
Speaker 2:so so we have him fighting a robot, so we don't need to worry about blood.
Speaker 1:Right. Right.
Speaker 2:So you can punch punch him up, and he can tear technology apart. Like, Brainiac swings one of those big transistors at him. And Superman blocks it and then tears it apart. Mhmm. And then we just do a thing where Brainiac points at it and it, like, fuses back together Mhmm.
Speaker 2:To show that, oh, the Superman is gonna have to punch it twice Yeah. Kinda thing.
Speaker 1:And and and having Superman seemingly lose and run away like he did, like, where Brainiac has him dead to like, has him against the ropes and Superman just just backs off and flies away. Like, no. He's leaving. He's leaving. And then the computer turns on Webster and starts, you know, just explaining the master plan of, I will take over this planet.
Speaker 1:I as I've done to many planets before, including Krypton, that's when Superman comes back with the acid and beats him with acid. Yeah. Just a regular glass glass of water. He he with with whole milk. Splash.
Speaker 1:But but that Superman still beats him with, you know, good old
Speaker 2:With the acid?
Speaker 1:Good old fashioned. Like, that's because that's the the acid from the nuke plant in the beginning. Yeah. The power plant in the beginning is comes back into play here.
Speaker 2:So I then through the fight, I think what Superman learns through the punch them up Mhmm. Is that whatever is controlling Brainiac isn't in the person. Mhmm. So that way Superman goes past the person of Brainiac over to where the motherboard is or the the brain of the computer and that that he pours it there.
Speaker 1:Oh, it could even be like, Gus could the whole time Gus isn't captured. The three the other three are. Okay. And Gus is try I'm trying, Superman. I'm trying.
Speaker 1:And and and maybe we leave the the power plant set up in the first one. This thing is controlled by the same stuff. So, like, the he doesn't have to leave to get the acid. But Superman going, I I realize now something like better dialogue than this, but I can't defeat you. I have to destroy your brain.
Speaker 1:And he looks at Gus, and Gus is like, wait. Wait, Superman. What are you doing, Superman? And then he goes past Gus and throws the acid on the motherboard just for a moment to think. Yeah.
Speaker 1:Yeah. You know, I need to con
Speaker 2:Is he still bad Superman?
Speaker 1:No. No. He's gonna hurt Gus. And Gus, like, oh, man, Superman. When you I saw it in your I thought you but I knew you weren't because we're pals.
Speaker 1:Right? Yeah. I knew you weren't gonna really do that. And then destroys the board with just a just a good old
Speaker 2:ass Good old over the counter ass.
Speaker 1:And then Bereania goes like, no. Yeah. And then Webster's free and he's like, oh, great job, Superman. My goodness. Oh, wow.
Speaker 1:A a Kryptonian robot. This is gonna be such a great addition to my collection. Oh, my god. What wait. What are you doing?
Speaker 1:What what are you doing here?
Speaker 2:Well, so the three of them are already wrapped up. Yeah. The because Brainiac took them prisoner. Mhmm. So Webster and and and the ladies think he's coming over to free him and he doesn't.
Speaker 2:Just walks behind, picks up the the unit holding all three of them. Wait. What? Where are you taking? What?
Speaker 2:Then
Speaker 1:I have more money than god.
Speaker 2:Flies them to jail.
Speaker 1:I have more money than god, Superman. Yeah. He flies them to jail. I know I do this every movie, Morton, I believe they say confession
Speaker 2:It's a trope at this point.
Speaker 1:Say confession's good for the soul. I've listened to these three. Superman, due process, brother. You cannot keep bringing people to us like this.
Speaker 2:Wait. No. They can get their due process. They're just gonna wait in a jail.
Speaker 1:Yeah.
Speaker 2:An American jail.
Speaker 1:American jail. And then and, yeah, taking the three of them and then holding Gus in his other hand. He's just flying with the three like, all four of them at once.
Speaker 2:Yeah.
Speaker 1:Superman, I have I can pay you. I can pay you. Do you what? I have all the money. Do you take dollars?
Speaker 1:What about ruples? Deutsche marks? What do you want, Superman? I have it all. Have nothing, Webster.
Speaker 2:Yeah. Yeah.
Speaker 1:You know, you only you're not even counting dollars anymore. You're gonna be counting seconds and all the time you'll be serving Your
Speaker 2:Spider Man grips are better.
Speaker 1:Oh, god. Thank you. Spiders, man.
Speaker 2:No. Yeah. Spider webs.
Speaker 1:And then
Speaker 2:No. His grips are all mine.
Speaker 1:Win a
Speaker 2:That was a weird way to say that. Yeah. Right.
Speaker 1:Then he delivers them, and the epilogue of Lana. Like, in in this, like, he crushes the diamond and he gives her the ring, and her idiot alcohol ex shows up, and Superman makes an idiot of him again. And then he
Speaker 2:Do we keep that?
Speaker 1:No. No. I but we can have if we go back into this and bring Lana in in the first act where he's doing a favor to an old friend, and there's a little hint of, like, a potential romance here that never comes to any fulfillment because they're just childhood friends that the the opportunity for that came and went, and he's just helping a friend out. She's the one who's like, know, Superman, remember who you are. Mhmm.
Speaker 1:Freaking Ricky. And then giving her, a little bit at the end there where she thanks him for, you know, Clark for being a good guy or whatever. Something something like that. Like, giving giving her arc a conclusion here. Because Lois comes back and is like, who are you?
Speaker 2:Well, I I also I guess, how do we wanna end end it? Right? The the the status quo at the end of Superman three is upset. Lana is still around. She's she's engaged to Clark.
Speaker 1:Mhmm. Well, no.
Speaker 2:She just he just gave her the most expensive diamonds.
Speaker 1:It's just a friendship ring. Good god. That's what that was supposed to Lois does it. Lois is like, wait. Clark gave you that ring?
Speaker 1:It's like, yeah. It was it's it's not it's not what you think. Lois can assume it is, and there's that little bit of jealousy.
Speaker 2:I was I guess I wasn't paying attention because I assumed so as well.
Speaker 1:No. No. No. Yeah. Having Lois having Lois come back and be like, so what have you all been up to while I was off cracking this Pulitzer Prize winning story?
Speaker 1:Just hanging about. Kevin, what did you do to my room? Sorry. Was humbling in you. Yeah.
Speaker 1:And and having having Superman up up and away and fly off into this wink at the camera like he always does. Right?
Speaker 2:Because we didn't resolve what happens with Lana and Lois there. The way you said that it sounds like Lana shows the ring. Lois is like, what's going on? And Clark just Yep. Burp.
Speaker 2:And Superman flies out of the room.
Speaker 1:Does anybody hear that? I'm like, over there. Yeah. Yeah.
Speaker 2:Sure. I don't I don't I acquiesce to whatever the denouement for these characters is.
Speaker 1:Well, I mean, is is there anything left unresolved here other than Lois? Lois, like, wait. Who's this new person? She'll be in she's not gonna be in the next movie. Right?
Speaker 1:Perry didn't pick the bingo numbers. Oh, that's right. He didn't the the computer short circuits and he's like, that's it. I'm going back to No more computer with us. No more computers.
Speaker 1:Everyone back to typewriters and no notepads. No. Gus is left just walking off down the road at the end of the movie because Clark drops him off and he's like, hey. Give this guy a job. And he's like, nah.
Speaker 1:I'm just gonna take a bus. Mhmm. Is that good enough for for Gus Gorman? Our no. I don't think so.
Speaker 1:I think he deserves a better conclusion as well.
Speaker 2:I I love more open ended kind of stuff, so I'll pitch this. It's probably not what we should end with. Mhmm. It get he he gets back to Metropolis and he's he's walking. He's like, oh.
Speaker 2:And he he does turn down I don't mind him turning down a
Speaker 1:job. Yeah.
Speaker 2:Sure. But he's walking down the street and he walks up to an ATM machine. Mhmm. You're
Speaker 1:doing it on purpose now. I am. At this point, I am doing it on purpose.
Speaker 2:And he pauses for a second and he goes over and and I don't know if it just hello or hello computer. Hello brainiac. Yeah. And if just leave it there or if we act if the computer actually responds.
Speaker 1:He he goes up. He's he's back in Metropolis. Pin put a pin in this. We'll come back to it. Should Gus still be afraid of heights?
Speaker 1:Because that was something that was in the end where he didn't wanna fly. We'll come back to it.
Speaker 2:Oh, you're putting a pin in that. Okay.
Speaker 1:He comes to the ATM and is like looks around. Oh, hello? Nothing. Nothing. Like and then he turns, and then he goes
Speaker 2:Oh, nice.
Speaker 1:And he kinda looks back and just goes, and then smiles. And then that's it. That's all we we don't we just hear the money start coming out or see it, and then he just turns and looks goes, and then that's it.
Speaker 2:Yeah. I like that.
Speaker 1:Yeah. Alright. Pen. Should he still be afraid of heights?
Speaker 2:I say why not? We just need to have it come up more than twice.
Speaker 1:Yeah. Having him fall off the roof on
Speaker 2:skis. More time. Yeah.
Speaker 1:Yeah. Even at
Speaker 2:the Did the ski thing work?
Speaker 1:It's I don't know. It's a it's a fun antic Yeah. Antic, I guess. It's it's it's hijinks. When he's in when he's called up to Webster's office and he's in that elevator.
Speaker 1:Elevator. Oh, god. I don't wanna go to the Top Floor. Oh my god. Like and and so showing he's afraid to go up there.
Speaker 1:Also, he's afraid of heights. When Webster says, you and I are gonna do great things together, Gus. We're gonna think of the heights we'll achieve. Well, actually, mister Webster, not a big fan of heights. Sure.
Speaker 1:I just
Speaker 2:Like like, plant that a little more.
Speaker 1:Yeah. Yeah.
Speaker 2:Actually, have a scene on a private plane as they're flying to Arizona. Mhmm. And Gus is yeah.
Speaker 1:I'm just not a fan of flying. I'm just not a fan of flying. So then when Superman picks him up and he's he's just, like, clinging to him, he's like, or has he finally overcome his fear at that point?
Speaker 2:No. I don't I I no. I don't think he overcomes his fear now that I'm thinking about it. The only problem with that is there's no stakes. It's literally just a gag Mhmm.
Speaker 2:To have Richard Pryor act scared. Yeah. Because literally, we're in the denouement. Right? The climax is over.
Speaker 2:Mhmm. The only thing we don't know is what Superman is going to do with Gus.
Speaker 1:Right. Yeah. I'd say we can lose the Freda Heights thing. It doesn't serve any real purpose.
Speaker 2:Yeah.
Speaker 1:Yeah. But getting him back to Metropolis and dropping him off.
Speaker 2:Unless we change how the computer is designed. Right now, it's two stories. Mhmm. If we make it three or four, and Gus, to help Superman, has to climb up.
Speaker 1:To the motherboard at the top. Something like Sure. That's it's it's a small little achievement in his character arc, but That's that's something.
Speaker 2:And and that he he overcame his well, one of his flaws Yeah. To help Superman.
Speaker 1:Yeah. Yeah. That's cute. That's cute. I like that.
Speaker 1:And then Richard Pryor mugging the whole time, like, woah. Look at that. Don't look down. They say don't look down. I just look down.
Speaker 1:Mhmm. Yeah. I don't wanna look up either. But then after he does that, when Superman flies him, he can he
Speaker 2:can be like still be afraid.
Speaker 1:Okay. I would say he's like now happy with heights. Like, I'm flying with Superman. Woo. See, I would Can you read my mind?
Speaker 2:That's pretty funny, but I I think it'd be funny. Not that Superman purposely does it Mhmm. But like, they they they turn or something and like he goes Yeah.
Speaker 1:He goes right back to me and dude bothers me. He's like, wee wee. Oh, okay. No. No.
Speaker 1:I'm still having fun. I'm still having fun.
Speaker 2:Yeah. Yeah. That kind of thing. Yeah. Was there
Speaker 1:Oh, and and him you're not gonna turn me in, Superman? Gus, I believe every man deserves a second chance. Sure. Like
Speaker 2:What about mister Webster? Not him.
Speaker 1:Not him. He's had his chance. Yeah. Yeah. And then, yeah, the ATM moment and then cut to Clark at the Daily Planet, taking off, up up in a wave, smile, wink at camera.
Speaker 1:Superman. I
Speaker 2:thought there was one more thing I wanted to put in there. I can't think of it now. Okay. So perfect movie.
Speaker 1:At least a little more coherently constructed Yeah. Making things matter more. And and and we we maintained what the studio demanded of the time. Richard Pryor should be in this movie. Mhmm.
Speaker 1:Perhaps the studio did want it to be a little lighter and and but that can't be true because we have a sex scene in this movie and he fights himself to the death.
Speaker 2:It's we don't actually have a sex scene.
Speaker 1:Implied sex scene. It's an implied sex scene. Yeah. A sexy sex
Speaker 2:It's not even tastefully behind a screen. It it cuts before anything happens.
Speaker 1:God darn it.
Speaker 2:Like, he's he's so standing in the doorway, he might have even just left.
Speaker 1:But, yeah, just stitching this together a little better. At the very least, it should be as good as the first two. Right? Yeah. That that would be the goal because the drop off on this is pretty significant.
Speaker 2:The so he doesn't have to have the the the guard that Gus gets drunk doesn't have to have a personality and a through line. It doesn't have to be Lana's
Speaker 1:Lana's ex. Yeah. We lose all that. Because, like, that was so dumb that he had to go to Smallville for that specific computer. Then they it was so contrived.
Speaker 1:Yeah. If all of this takes place in Metropolis in and around until the finale Mhmm. Superman globetrots in this because he screws off around the world. Yeah. And then the finale's in the Grand Canyon.
Speaker 1:That's great. But, yeah, I don't think we gain anything by maintaining Smallville. If the if the thing from Smallville that matters is Lana, then just bring Lana to Metropolis.
Speaker 2:And she comes to Metropolis. Right. So
Speaker 1:Yeah. So just yeah. She she comes halfway through the movie to Metropolis anyway. So let's just let's just cut out Smallville, and we now save some of our budget for other things.
Speaker 2:Mhmm. Right. We we like, it we didn't even get, like, a a a retread. We didn't see
Speaker 1:Mark Kent again. Didn't see his yeah.
Speaker 2:We didn't see any of that. It was just picnics in a wheat field that are currently being harvested.
Speaker 1:And with a tornado on the way. Like Yeah. Should we be That that didn't pay off. Yeah. Just distant storm.
Speaker 2:Like, was that was that supposed to be thematic? Like, Clark's having a good time now, but there's Does this seem like a little bit
Speaker 1:that troubled itself with visual themes?
Speaker 2:No.
Speaker 1:Yeah. Yeah. Are I I say yes. But do you think there's any advantage of trying to insert Lois more into this plot, or are we at an advantage by removing her from it?
Speaker 2:I don't know if we're at an advantage, and I stopped thinking about her the moment you said back backstage or or behind the camera politics Mhmm. Made her wanna leave, but we're supposed to incorporate her. Right?
Speaker 1:Sure. Sure. And we we did keep her in the movie as much as she is. Okay. But if you did you have an idea of what we would utilize?
Speaker 2:There just would have been one other cameo bit. Like, you suggested that she's off to Europe Mhmm. For for a story or something on Superman's trip. Just have a shot of her being like, I know him. Yeah.
Speaker 2:I don't know. Something like it. And or, like like, during during the troubles when Superman's not answering anything, she comments about how like, my my notion was a bunch of terrible things are happening and someone she's with says, like, oh my gosh. What like, all this stuff. She goes, well, they always say follow the money.
Speaker 2:Sure.
Speaker 1:Yeah. Yeah. That might be enough to, oh, follow the money. Yeah.
Speaker 2:Well, whether whether that ends up meaning anything to anyone in the moment Mhmm. To the audience. So like, ah, Lois Lois would have figured this out.
Speaker 1:Yeah. If Lois is here, she would have solved this in the first day. Yeah. Yeah. Yeah.
Speaker 1:I like that. That's fun. Yeah. Getting just right in the middle of the movie of of Lois Mhmm. Scene small, scene lit.
Speaker 2:Otherwise, to incorporate her more
Speaker 1:I just
Speaker 2:It would it would be more like like she would be following this thread about how computers seem seem to be taking over everything. Yeah. And as things are are going wrong, maybe, like, maybe she does end up sort of following this. Like, this Webster guy keeps popping up everywhere.
Speaker 1:Yeah. I I see where you're going. It takes a lot away from Clark being the smart one who figures it out. So I think I like it better where we just she just one more scene in the middle of the movie.
Speaker 2:Sure. I mean, his to be fair, what we put together is he figures it out by looking at a picture
Speaker 1:That should be
Speaker 2:remembering and then looking at another picture. Picture.
Speaker 1:Yeah. Deduction. This is why I want the middle of the movie cameo from Lois. When we see it in some European clip after Superman has done something, she is full on in a disguise in the middle of some, like, adventure. Like because she's this, you know, tenacious investigative reporter, and we just she's in some sort of gown and, like, dealing with a guy in a tux and a spy mode.
Speaker 1:She's like, what was that story? This, like, very random Yeah. What? And so then, you know, the
Speaker 2:Why is Lois Lane in a James Bond adventure?
Speaker 1:Right. Right. So what was going on? I'm you you know when you watch Superman three, there's that scene where Lois is in the gown with the James Bond? What a
Speaker 2:ridiculous movie that was.
Speaker 1:Yeah. What a you ever wonder what we should the demand is we write that movie. It's like yeah. We we right? Like, that that'd be a fun thing to go, like, is that here?
Speaker 1:Let's imagine what Lois was up to all this because she comes
Speaker 2:back the organization. Smush. What? Is is that in DC?
Speaker 1:Oh, no. No. No. I'm sorry. Checkmate.
Speaker 1:It would be like they're
Speaker 2:Oh, I don't know what that what's what's Amanda Waller. Argus. Argus. Yeah. Lois Lane, agent of Argus?
Speaker 1:Yeah. Yeah. Something like that. It just because she comes back in his head. Only you, Lois Lane, could turn a vacation into a Pulitzer Prize winning story.
Speaker 1:Like, well, chief, as you always say, follow the money. Not her.
Speaker 2:Yeah. Like,
Speaker 1:having I just like the notion of just in the middle of the movie, some other movie happened that we didn't get to ever see. It's like it's like in Ghostbusters when Ray's pants come off while he's sleeping.
Speaker 2:Uh-huh.
Speaker 1:Yeah. You know, like, there's a whole other movie there we never got to see.
Speaker 2:I saw that movie.
Speaker 1:Oh, god. Ghost ghost ghost bustier.
Speaker 2:Oh, that's good.
Speaker 1:Oh, yeah. Yeah.
Speaker 2:Oh, I wanna watch that one.
Speaker 1:It's in the back room. The cases are pink for those movies.
Speaker 2:The one I saw is just called Ghostbusting.
Speaker 1:Oh, god. Alright. Alright. Okay. Pete Ross, if that is your real name.
Speaker 1:How are we doing here? Okay. Did we did we meet your demand today? I'm gonna I'm gonna kinda wrap up here, the demand at least, because there's I just wanna throw out some other fun conversation points here. But I I don't think this is gonna end up for the episode, but for the demand at least, how do we do, Pete?
Speaker 1:You listening, did we agree? Do you agree with us? Do disagree with us? What did we miss? Whatever you have to say, let us know.
Speaker 1:Before we move on into some final thoughts, the the idea that this would come out and be a success
Speaker 2:Mhmm.
Speaker 1:We would get a Superman four, and maybe it is the solar man Mhmm. That we got and Lenny Luther and all that nonsense. It could maybe that's still it. We we had talked about this in season two with, oh, if Michael Keaton is Batman, Chris Reeve would be Superman. No.
Speaker 1:No. Nick Cage would be. But the idea of Chris Reeves Superman being successful enough, they did a super girl movie.
Speaker 2:Mhmm.
Speaker 1:The idea that another hero could come into the d from the DC universe into the Superman universe, that might be a whole another thing, and maybe we we move to bonus territory to discuss that. We could. Well, so off the top of my
Speaker 2:head, the whole notion of multiple superheroes in a movie
Speaker 1:Yeah.
Speaker 2:Nerds talked about it forever.
Speaker 1:Yeah.
Speaker 2:But it wasn't a thing. It wasn't a possibility until the twenty first century.
Speaker 1:Not necessarily because the the Incredible Hulk Returns, which was in '88, has Thor in it and Daredevil.
Speaker 2:Who had did they have their own
Speaker 1:No. Okay. They they just appeared in Hulk.
Speaker 2:So that's that's that's a I feel like that's a different animal than what I'm talking about here. So so you're saying for an alternate suit for a different Superman four, could we have other heroes? Was was that
Speaker 1:Yeah. I I more or less just fantasizing about if Chris Reeve had gotten to see the Flash or Green Lantern or Batman or Wonder Woman. Like, or Aquaman. Like, the main Justice League characters.
Speaker 2:Okay.
Speaker 1:I'm just wondering if they're surely, could sit here and speculate. We could do a whole movie about those characters right now. It's just one of those, just a fun momentary thought experiment of thinking of, like, well, '83, eighty six ish, you know, we're moving towards the end of the eighties. John Stewart Green Lantern is out there and having I know we've used John Stewart for our Green Lantern previously. Just wondering what what what sort of world we'd live in if that sort of thing had happened.
Speaker 1:You know?
Speaker 2:Okay. I feel like the way the Chris Reeve Superman movies break down who Superman the the world of Superman Mhmm. Isn't isn't the kind of world that that's not fair to say. It does it feels really hard to incorporate other powered people in. Mhmm.
Speaker 2:I feel like the narrative at the time would never be, oh, you had adventures and you just crossed my path now. Mhmm. Mhmm. It would be, your adventures are beginning now, which is why we've never heard of you before.
Speaker 1:Right. Right. Which which is the more traditional way of presenting Superman to the world is that he's the first superhero and inspires everybody else.
Speaker 2:Also given that, I don't think they would do Wonder Woman because that would be my god.
Speaker 1:Linda. Yes. Carter.
Speaker 2:Linda Carter as as Wonder Woman. People would expect that. You so so you you wouldn't be able to do a different Wonder Woman. Batman at that time Mhmm. Would be
Speaker 1:Ed West.
Speaker 2:Ed West. You
Speaker 1:That was six years guess
Speaker 2:you could do that. It doesn't matter. Sure. Sure. What people in the eighties are going to be thinking of as that.
Speaker 1:Gotcha. Gotcha. Unless
Speaker 2:we wait until Tim Burton makes his Batman. Mhmm. Because that's it takes a movie like that to break like like, even the first Superman has to break the previous mold. Mhmm. It's not until the I would say at earliest to the mid nineties that our culture starts thinking about franchises in any way that really lets really kinda lets them breathe on their own and recast.
Speaker 2:Like, James Bond is one of the, like, one of the only one British series are the only ones that keep recasting new people. Every time Americans do it, it needs to be it's a reset.
Speaker 1:Right.
Speaker 2:Every time it's a reset.
Speaker 1:Sure.
Speaker 2:So if you recast Batman or Wonder Woman into a Superman movie, it can't like like, it's who who is this? This isn't the one I'm like This isn't
Speaker 1:Linda Carter. This isn't
Speaker 2:So that that would mean it would need to be like a Wonder Woman movie. Mhmm. Where you've recast Wonder Woman. And then Superman shows up in Wonder Woman's movie. Sure.
Speaker 2:The nerds are gonna go crazy, but general audiences are gonna be like, what?
Speaker 1:Yeah. I guess I you're you're right. You're right. I that's the the comics can do whatever they want,
Speaker 2:and
Speaker 1:and they did. Yes. Specifically, the Chris Reeve and Yeah. Michael Keaton and yeah. The I I think you're right.
Speaker 1:That that this is a universe All that said Okay. I was just agreeing
Speaker 2:with you. Were you trying have you have we ended the episode yet? And are
Speaker 1:are this bonus contest? This is still standard episode.
Speaker 2:Whatever. I I will stop talking when you tell me to stop talking. Having said that, I think a Superman four of the heroes that would most fit Mhmm. I think you could introduce Hal Jordan Green Lantern.
Speaker 1:I am nodding into the microphone.
Speaker 2:You end up chain you you end up doing exactly what I said earlier. The Green Lantern is powered by kryptonite, and that's the conflict between our heroes that they need to overcome and figure out.
Speaker 1:Yeah. Funny enough that, given the alternate reality where that's a thing, that would forever alter the with the success of that movie really would. Alter the Green Lantern in the comics where that they would adopt that. Mhmm. Because that's just the way the success of comic book movies this is an actual statistic.
Speaker 1:Oh. The success of comic book movies does not translate into successful comic book sales Nope. Until the comics start adopting the successful comic book movie things. Iron Man comics didn't start selling off the shelves until they embraced Robert Downey juniorisms into the comics. And it's a it's a it's a strange thing because you'd think, oh, I just saw this great movie.
Speaker 1:Now I'm gonna go read the comics. No. Because you see the great movie, and then you go read the comics, and the comics are nothing like the movie.
Speaker 2:It's different. Yeah. So I'm not gonna read this. Why would I read this? The whole reason I want to is because I wanna follow more of that Yeah.
Speaker 1:So that's that is an anomaly or just a fact a thing about comic book movies. They affect the comics more than the comics affect the movies.
Speaker 2:Yep.
Speaker 1:It's like, oh, let's let's scavenge this for parts. We're not doing listen. Civil War is gonna be one movie. Okay? Nah.
Speaker 1:None of them are in it. Just just an interesting thing that occurs within it. But okay. Anyway, let's let let us actually wrap up the episode here. Pete, as I said, let us know what you think.
Speaker 1:Let us let you all let know. Sorry. My brainiac is
Speaker 2:That would mean Green Lantern's origin, the alien that crashes to earth gives him the ring
Speaker 1:Yeah.
Speaker 2:Would by the nature of this, we don't wanna introduce too many more aliens. Mhmm. So he is a Kryptonian.
Speaker 1:The the crypt though, it's a Kryptonian. Green Lanterns are another Well they're police force from Krypton. Off the top of my off the top of
Speaker 2:my head. Sure. Actually, that might be the way to salvage that. I was gonna end up saying, other way, you you scrap most of the Green Lantern stuff. Mhmm.
Speaker 2:Hal Jordan is the first Green Lantern with the Kryptonian ring, which this this dead Kryptonian gave to him.
Speaker 1:The the idea that a Kryptonian police agent has been on ice something or also in the Phantom Zone till he got booted out, gives the ring to Al Jordan, then he's like, I must police. Superman's Superman's bad. I don't know.
Speaker 2:Sure. That's a whole another movie for us to kick around. Well,
Speaker 1:you can message us directly at studiodemandsit.com or on Instagram at studio demands it. Look for this post in particular if you'd like to comment there specifically. If you're not already, you can subscribe to us. It's super easy, barely any inconvenience. Just hit your thumb on the thing and the plus sign.
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Speaker 1:Jim.
Speaker 2:Come join the conversation on Reddit at subreddit rr/studiodemandsit.com. No. Not.com. R/studiodemandsit where we have conversations, and I post super regularly. Mhmm.
Speaker 2:Honest. Or you can join us on our Discord. Go to our website studiodemandsit.com, and there's an invite link to the Discord server there at the top of the page. We'll see you in the spider webs.
Speaker 1:And check this out. If you want even more, you can head on over to Patreon. We're a couple bucks a month. You can get episodes early, commercial free, extended double length episodes, and movie commentary tracks. Our June commentary was Days of Thunder, the Tom Cruise movie in conjunction with f one.
Speaker 1:And and I wanna remind you all, for those of you who are subscribers on the Patreon, each commentary track comes with a bonus extended conversation episode. So for example, after days of thunder, after that hour forty five minutes or so, we do a whole another half hour forty five minutes of rewriting the movie Yeah. And and subsequent conversations there. You can also you know, if you go back and look at our James, sorry, not our Mission Impossible commentary track, we did a whole pitch for how we would continue the franchise. So if you were a subscriber of Patreon or would like to be, it does come with with some fun bonus content.
Speaker 1:And I just felt like, you know, really hammering that home to you all. So you had a thing?
Speaker 2:No. I just remembered how I kept making up what days of thunder could mean.
Speaker 1:Yeah. We're trying to work the title into it.
Speaker 2:And I I can't remember if I had had remembered during the commentary or not. Thunder Alley is a name for racing.
Speaker 1:It's the
Speaker 2:it's the
Speaker 1:a pity
Speaker 2:out there. And so it's clearly that that's why it's days of thunder. That's why, the crew is so dang pivotal in the movie. Important It's just the it's their days of mean
Speaker 1:Are they important in the movie? You can find out how alright. Okay. Unless Jim has anything else, that's it for this episode. We'll be back again soon with another one of your demands to challenge ourselves to improve the world of cinema.
Speaker 1:I'm TC.
Speaker 2:And I am here to I'm Jim. Jim is here. Jim is well, we're done now. So, Jim will be leaving.
Speaker 1:That's how that's how this ends with Jim leaving.
Speaker 2:That's awful. Oh,
Speaker 1:and also Richard Pryor would make a really good mister mix yes piddle. Just wanna throw that in there if you ask me. Goodbye.