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S6 EP12 | M3GAN has proven herself one of the baddest robiotches in film, but how does she stack up against another iconic robo-killer? The studio demands we find out.
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 It, an exercise in creative thinking where we will conceptualize, pitch, and craft a film or series based on the
Speaker 2:damn it. Demands.
Speaker 1:Based on the demands from one of you, listeners acting as a hypothetical Hollywood overlord. Overlord. As professional screenwriters ourselves and massive cinephiles Cinephile. Movies all the time.
Speaker 2:All the time.
Speaker 1:And we like to believe that Believe. I'm getting them all over here. That we could meet any demand thrown at us. We will be your screenwriters for this episode. Episode.
Speaker 1:I am TC Dwinn. Joining me as always well, joining me as
Speaker 2:always As always.
Speaker 1:Is Jim mid season, Berzalek. We're halfway through the season. Oh, nice. Yeah. So it's very appropriate.
Speaker 2:Apex apex? Yeah. When you imagine a season, do you imagine the the arc of a season? Do you imagine it as like a rainbow or does it go under like a bowl, or you just see a line?
Speaker 1:Do I
Speaker 2:Like like a straight line?
Speaker 1:Well, they
Speaker 2:And does that line go horizontal or vertical?
Speaker 1:Oh, man. You asked me a lot of questions right now. This is the sort of thing I expect from a man with a middle name mid season. The apex, I wouldn't want the middle of a season to be the the best of the season.
Speaker 2:Okay. Yeah. I I suppose not.
Speaker 1:I want it to just be this, you know, sort of, like, spike it early and just plateau. Oh. Just pure consistency is all I want. Don't get better.
Speaker 2:The only time a plateau is good is when it's at the top?
Speaker 1:Yeah. Yeah. It's apex episode one and then just plateau the whole time. Easy.
Speaker 2:Yeah. Easy peasy.
Speaker 1:It's not asking for too much. Oh.
Speaker 2:Just just be the best always forever.
Speaker 1:Right. From the beginning and and then And never falter. Never falter. Well, that isn't that a shame when you see a, like, a show series whatnot Mhmm. Like, get better, better, better, better, and then it dips back down.
Speaker 1:And then it's not like bad. It's just the level of quality it was when it started, essentially. And it's like, well, this is still good. You know you know what that reminds me of? The Marvel Cinematic Universe.
Speaker 1:Oh. Because if Marvel was putting out these movies earlier, people would be like, still good. But because it's not making endgame numbers, everyone's like, nope. They bombed. Thunderbolts bombed.
Speaker 1:Captain America four bombed because it's not making. It it reached its apex by making $2,500,000,000.
Speaker 2:It would be I think the idea of taking the the the the sort of this clutch of movies that you're talking about without referring to specific titles and dropping them earlier in the MCU, it would be like, imagine if Guardians of the Galaxy didn't hit.
Speaker 1:Yeah. Yeah. Oh. Well If if if they were
Speaker 2:just fine. If they were just okay. It's a weird space movie and a superhero series of whatever.
Speaker 1:It well, what what marvels me about the MCU is people used to talk about Iron Man two and Thor, the Dark Thor, and being like, ugh. What were they thinking? Thank god we got out of there and got right back into the good stuff. And and and then to, like, treat, let's say, Brave New World or Wakanda Forever as as bad as Iron Man to worse worse than Thor the Dark Thor. It's like, come on.
Speaker 1:Yeah. Financially speaking, the apex of of everything they did was was Endgame.
Speaker 2:Endgame. Yeah.
Speaker 1:Not the mid season.
Speaker 2:Well, if they keep making movies
Speaker 1:That will be is the mid season.
Speaker 2:No. No. I if you're gonna compare it to TV shows, you are right. That would that would have been the end that would have been the end of season one.
Speaker 1:Right. Right. The the endgame would be in
Speaker 2:season one?
Speaker 1:I don't know. I think Avengers the first Avengers would be season one. And then
Speaker 2:Do you wanna split it up by phases?
Speaker 1:Kinda. Yeah. Like, that's that seems to be the it the what's phase four and beyond is, like, the spin off series that came off of the Avengers Infinity War TV series. Okay. But the anyway, the we're we're halfway through the season is why this episode is why I called it the why your name is so appropriate for this episode.
Speaker 2:So to answer my question, it sounds like you imagine a season as a horizontal line, albeit measured in quality, arcing upward
Speaker 1:Mhmm.
Speaker 2:With the end being the highest point.
Speaker 1:That would that
Speaker 2:would ideally.
Speaker 1:Ideally. Yeah. Yeah. Yes.
Speaker 2:Okay. So the midpoint so it's a it's a horizontal line with yeah. It's a horizontal line. Interesting.
Speaker 1:Well, how do you see it midpoint?
Speaker 2:When somebody says midpoint, I I often think of an of an arc like a rainbow. So that's why I had suggested apex.
Speaker 1:Mhmm. Mhmm. Okay. So you want you want the end of the
Speaker 2:season be No. That's no. I'm I'm not are you are you you are putting quality on my description. There's there's no quality. It's it's a rainbow bridge here.
Speaker 2:Okay. It it's just it's just the hump. It's Wednesday. Wednesday is not the best day, but it's the hump day.
Speaker 1:Right. But why? Why why do you see season as a rainbow?
Speaker 2:I don't know.
Speaker 1:What why is the middle the highest point of your rainbow?
Speaker 2:Because the middle is the highest point of a rainbow.
Speaker 1:Oh my god.
Speaker 2:The middle point's Wednesday. It's called hump day, so you imagine the week is a as an arc. So now I imagine things that have a beginning and an end as as an arc.
Speaker 1:As an arc. Yeah.
Speaker 2:Arcs are rainbows.
Speaker 1:Good. Alright. Good. Peaks and valleys. No.
Speaker 1:No valley?
Speaker 2:No. No valley?
Speaker 1:Yeah. Oh my
Speaker 2:god. Sloping peak. Yeah.
Speaker 1:Yeah. Alright. Let's get into the demand for this episode, Jim.
Speaker 2:I don't think I'm done talking about
Speaker 1:this episode. We can keep talking about rainbows and arcs and apexes and midpoints.
Speaker 2:Alright. Fine. Let's get to the episode. Okay.
Speaker 1:Jim, our amazing listeners have given us demands from studios literally 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 here, right here on the spot. And when we reach the end of the season, if we've done our jobs, we'll have pitched a full scripts or story meeting, maybe even exceeding those demands. And when the end of the season comes, the apex of a season, Jim, comes, your demands could have helped us craft the script that will be greenlit by the fans for our finale. Thank you to everyone who has submitted.
Speaker 1:Keep those demands coming. Jim, today, our demand comes from here we go. Dan at bloodstream pictures.
Speaker 2:Oh, bloody. I like all of these words. Dan. Stream blood Dan.
Speaker 1:Pictures. Okay. Here we go. Team, we're sorry. We're the team.
Speaker 1:Yeah. But he typo. Team comma we're. It's not we are, it's we're. He just put we're greenlighting.
Speaker 1:I know what he meant, and I shouldn't be pedantic about sorry, Dan. We are greenlighting.
Speaker 2:No. He's he's writing from the future. Oh. We're we're greenlighting. Grammar's different in the future.
Speaker 2:So it's team, word, and I don't know what comes after that, so I can't tell you how to read it properly.
Speaker 1:Thank you, Dan, from the future. Team, we're green lighting development on a high concept genre brawl, and you two psychos are perfect for it. Here's the deal. We want a film vehicle for one of the bloodiest robots and most killer of queens, Megan. Yes.
Speaker 2:Oh, no.
Speaker 1:That Megan. She's already an icon, a TikTok legend, and a low key slasher queen. But now we want to raise the stakes. It's time for her to go to war. Our demand is for you to craft a film in which Meghan must battle another formidable AI robot monster, etcetera, to the death.
Speaker 1:Weirdly, I I didn't check the time stamp on when this came in. That is what the next movie seems to be. Meghan two point o is her face I'm sorry. Face another AI robot monster, etcetera, to the death. But not just any metal okay.
Speaker 1:Not just any metal maniac. Want another iconic movie robot killer for Megan to face.
Speaker 2:Yes.
Speaker 1:This is a crossover cash grab.
Speaker 2:Yeah.
Speaker 1:We're talking Freddie versus Jason. We're talking AVP. We want two modern icons trying to annihilate each other. Mhmm. Megan must be the central character.
Speaker 2:Okay.
Speaker 1:Her opponent must be equal in threat and cinematic persona.
Speaker 2:Oh, we have to decide.
Speaker 1:You can bring back Katie or introduce a new character or new characters as the narrative anchors, but this is Megan's movie. This is a Blumhouse style model, low cost, high return, smart concept, limited locations as if, if needed. Go to it or I'll send Megan right after you for breaking my heart. Jim. Okay.
Speaker 1:We are being asked to do a Meghan crossover movie like AVP or Freddie versus Jason. Were were you it's it sound like you were anticipating him saying who it should be. Right?
Speaker 2:Yeah. I was. I'd I'd be yeah. I was I I thought we were gonna get a demand to do a particular Okay.
Speaker 1:AI. Well, with it's it says icon crossover like Freddie Jason AVP. So we kind of can make assumptions here of who we could pit her against.
Speaker 2:Well, the first one that comes to mind is Terminator.
Speaker 1:Terminator. Yes. A 100 exactly.
Speaker 2:Terminator has been sent back in time because one of John Connor's lieutenants in the future is Katie.
Speaker 1:Are you Katie? So the t 800
Speaker 2:is And then Megan Megan says, who wants to know?
Speaker 1:All bitchy like that.
Speaker 2:Yeah. Absolutely.
Speaker 1:And so then it's the t 800 or the t 1,000?
Speaker 2:It's a whole new t.
Speaker 1:Oh, so that we had t x in dark face.
Speaker 2:Oh, they did they did use x?
Speaker 1:The I think it was the t x. Right? Son of bitches. Did you wanna use
Speaker 2:That was gonna be my go to.
Speaker 1:T x. Because it it was I think it was Gabe Gabriel Gal the Yeah. Yeah. That guy. Yeah.
Speaker 1:I think it was t t x. Let me just
Speaker 2:do a
Speaker 1:quick little googs. Just doing quick gigs over here.
Speaker 2:X means 10, so she was the t 10.
Speaker 1:Yeah. It the t x. Yeah. Oh, no. Christina Lokin was t x in Terminator three.
Speaker 1:Rise the machines. But, yeah, having having the Terminator come back in time to kill Katie
Speaker 2:is t 800 is is because ultimately, what we wanna do is we wanna peel that skin off and see that that
Speaker 1:exo skeleton. Yeah.
Speaker 2:It shouldn't be an exo. It would be an end endoskeleton. Endoskeleton. Yeah. Exo's outside.
Speaker 1:Yeah. So having having a a t 800 DH Arnold
Speaker 2:again We could we can justify a lot of different things. Like, it it could be a different skin mold because Skynet realized that the previous one was getting too recognized in the past.
Speaker 1:Right. The the t eight the t 88 t eight eighty eight? Brian Austin Green from Oh, I Chronicles.
Speaker 2:Sure.
Speaker 1:Yeah. I think that was the t eight eight hundred eighty We
Speaker 2:we ultimately, I just I want it to be the the skeleton looking Terminator with with a big gun.
Speaker 1:The classic of all classics.
Speaker 2:Yeah. That that that would be the point to do that.
Speaker 1:So Megan versus a t 800 just protecting Katie? And then do you just that's just a Terminator movie. Right? Except bitchy Megan kicking his ass.
Speaker 2:What we would want to do what what would be fun to do, what I think, right, that Megan two suggests happens and would be a thing most robots would wanna do. It's a it's a common trope as through as the Terminator movies progress. Mhmm. Megan would want an upgrade somewhere in there. However, we need to by the end of it, we need to return her to what's what's the term in t
Speaker 1:Status quote.
Speaker 2:Status quote. Thank you. That's the term. Normal term. There's no reason I should have forgotten it.
Speaker 1:Did you have caffeine today too and your brain's kinda weird? No. That's what's happening to me.
Speaker 2:Yes. Burp. Okay. Well, no. That that that's that's my first thought.
Speaker 2:So the I don't know how to get Megan back to status quo after an upgrade, especially if the upgrade is something like a whole new body, like she's getting in this new movie.
Speaker 1:Yeah.
Speaker 2:If with a Terminator crossover, what I the crossover I would imagine doing is Megan ends up getting a t 1,000 body.
Speaker 1:Yeah. Like, the liquid liquid Yeah. The liquid metal. Yeah. Here's here's a here's an idea.
Speaker 1:Okay. T 800 comes back and is not going going after I guess, after Katie, but also going after Gemma, Allison Williams' character.
Speaker 2:Megan doesn't care.
Speaker 1:Right. I know Megan doesn't care about that. But t eight hundred's coming. You're right. Megan Megan only cares about Katie.
Speaker 1:Going after Katie and and Gemma. Like, the t 800 comes up. We can make a joke about that. Are you looking for like, every time Katie's getting Yeah. Attacked, Megan is protecting.
Speaker 1:Every time Gemma's attacked, Megan's not. And it's like, he's trying to kill both of us. I know, but I don't care. Yeah. But the the the reason the t 800 is trying to kill Katie is that eventually Katie is the the scientist, the engineer who crafts the t 1,000 or crafts the next upgrade.
Speaker 1:And the upgrade she eventually gives Megan is what is that. And the t 800 is coming back to prevent her from doing that almost in a heroic sense where it's it's
Speaker 2:So you're you're wanting to paint Megan as the bad the bad robot
Speaker 1:Ultimately, what it what the revelation of it comes down to is, like, why just why is like, if if they finally, like, maybe more than one t eight hundred enters into this equation and they jack Megan into the t eight hundred to see the future and she finds out, oh, the only reason this thing is trying to kill Katie is because Katie upgrades me, and I am the big ass threat in the future. And and I want that now. Something? I don't know.
Speaker 2:Because, like That that's not bad. Yeah.
Speaker 1:You owed. What did you
Speaker 2:I owed because I remembered our Terminator episode. Mhmm. And one of the plot lines I suggested in there was there are multiple futures
Speaker 1:Mhmm. Yes.
Speaker 2:That are sending terminators back.
Speaker 1:One of
Speaker 2:the Which I I know I'm pretty sure the TV show did as well, but specifically in that it was different Skynets. Mhmm. Which is literally robots and different agendas and and things like that are all sending things back.
Speaker 1:Literally what happened in dark fate. Remember, we we sort of
Speaker 2:Oh, yeah.
Speaker 1:Predicted what was gonna happen.
Speaker 2:And that that that's all is is there is oh, Megan could be one of those. Mhmm.
Speaker 1:So, yeah, sort of a turning point in the movie would be diff let let's say the the t 800 shows up and is the threat for the first act and then is is crippled or defeated in such a way that they're able to log into him in order to Megan to search his protocols to figure out why why are they trying to kill Katie. And me, Gemma, I don't care. And then the revelation of, oh, wherever this thing came from, there's a Megan army in the future. Just all these Megans dancing and over over humanity kind of thing. And she's the she's the, what Dice Dice doctor Dice has to destroy.
Speaker 1:Like, she's the hand. She's the the Skynet piece of the puzzle that needs to be destroyed.
Speaker 2:Okay.
Speaker 1:And then and then it's like, well, I won't do that. I promise. And and
Speaker 2:And they they believe her and the movie ends happily. If So so so what are you are you what are you imagining the switch to be? Because I don't think it should just be, and now Megan's the bad guy trying to make that future happen and so Gemma has to reactivate the Terminator to be on their side now. I don't wanna do that.
Speaker 1:You don't wanna do that. Okay. You said it and I'm like, that sounds kinda cool.
Speaker 2:I I feel like that's that's passe.
Speaker 1:Okay. Okay. The if they keep sending because Megan is ultimately a dark comedy in a dark comedy slasher if further Terminators keep getting sent back. Like, defeat the first ones. Like, we did it, but they keep sending them back.
Speaker 1:Megan found out why almost immediately.
Speaker 2:Okay.
Speaker 1:She she plugged in. It doesn't To
Speaker 2:that end, I'm thinking she because if she plugs in, she will get she may unless you want that to be the case, she's going to get updated if probably not upgraded, but she's gonna get updated with everything that Terminator knows. Thus, she's gonna know everything at least that version of Skynet knows or or put into that Terminator. Mhmm. What if it also, I don't think Megan is. She's not a robot who, like, can do as far as I know, maybe the second one changes it, but she can't plug into machines or computers.
Speaker 2:And Mhmm. Could she could she take over computers?
Speaker 1:She she's gonna
Speaker 2:yeah. Could. She could override security system, couldn't she? Mhmm. So I guess she could.
Speaker 2:Basically, I was gonna say Gemma should be the one who plugs into the Terminator and figures it out. And, like, I don't know, like, a hologram shoots from its eye. Don't know why they put that in there, why they put a projector in its eye. But something like that that then, like, all three of them or whoever's in the room, like, sees, like, oh, shit. The future's full of Megan.
Speaker 2:Mhmm. No. Right? And and that's when Megan's like, no. That sounds good.
Speaker 1:And then Megan
Speaker 2:Instead of giving Megan the act right. Because if Megan just plugs into the Terminator, she's gonna get all that info, unplug and be like, nope. Nothing.
Speaker 1:Kinda. I I'm suggesting that she she does plug in. We don't get to see what she sees. She comes out of it and is like, okay. Well, would you see, Megan?
Speaker 1:I just know that I'm gonna protect Katie. Okay? And then everything's fine. Another Terminator shows up.
Speaker 2:Yo, no.
Speaker 1:And they have to fight their way out of that and defeat it. Like, Megan, what why are they sending why are they trying to kill us? They're only trying to kill Katie. Like, why? Why?
Speaker 1:Like, they because she's the best, and I love her. And, like so then it becomes if then another like, if they keep sending them back Sure. Allison, Gemma's eventually gonna be like, I need to know why. You're obviously lying to me. Whether she confronts Megan or not, she's gonna confronts Megan or not, she's gonna wanna know the truth.
Speaker 1:So she plugs in, then she gets the information, realizes, oh, Megan is just trying to sustain this so that she gets to do that. And now she is the enemy that needs to be stopped. And once Megan realizes Gemma has the information, it is once again Gemma versus Katie or sorry. Gemma Gemma versus Megan to save and protect Katie. That's that's my pitch, for escalating this to terminators keep coming back and Megan keeps fighting them, and it's all to stop or all to fulfill or stop the future.
Speaker 1:Maybe? I think. Nah. Nah. Okay.
Speaker 2:Oh, here here's why. You have taken a titular character Mhmm. And turned them into a set dressing, and the third act does not star them.
Speaker 1:Oh, the terminator?
Speaker 2:Yeah.
Speaker 1:Oh, I see. Okay. Right. Right. Right.
Speaker 1:Right. Okay. Do how would you go ahead. If you have something else to pitch out.
Speaker 2:I don't. Okay. So I'm gonna sit in silence until you come up with another one for me to shoot down.
Speaker 1:For you.
Speaker 2:No. Pew pew. Pew pew. Let's see here.
Speaker 1:We can go another direction with this. I I do think the idea of the Terminator coming back to kill Katie and Megan protects her from that. Cool. We have a Terminator movie that goes to the end of Gemma and Megan working together to defeat the Terminator exoskeleton, get him into a machine power plant, get away from her, you bitch. Wrong franchise.
Speaker 1:Like, yeah, that we can we can follow all the terminator plot points.
Speaker 2:How about terminator sent back to kill Katie? Mhmm. They don't necessarily know why. Megan helps defend against the Terminator. They kill the Terminator.
Speaker 2:Where was I gonna go with this? I was gonna try to I should have just said the the thing immediately. After they kill that first one, they they find out it was sent back to kill Katie, not necessarily could not necessarily that because she's a scientist Mhmm. But because she is a part of the resistance. And it is known that Megan is enhanced in that future
Speaker 1:Mhmm.
Speaker 2:And a big problem for Skynet.
Speaker 1:Mhmm.
Speaker 2:And they're like, wow. Super glad we stopped this future robot. Gemma studies it Mhmm. And learns a bunch of stuff about the terminator. Another terminator shows up.
Speaker 2:This one wants to kill Gemma. Oh, okay. And they're like, woah. No. Megan, help.
Speaker 2:Nah. Katie says, Megan, help my help my mom.
Speaker 1:Help my mom.
Speaker 2:Yeah. And she's fine. And so they defeat this one. This time they find out the future has changed.
Speaker 1:Ah, okay.
Speaker 2:Because after Gemma found out about the Terminator and all that stuff Mhmm. Gemma was able to create either either Gemma is able to create something that
Speaker 1:Escalates?
Speaker 2:Or That that that that fights fights Skynet that that that holds them I don't know if it holds them back or defeats them. Mhmm. But just it sort of shifts because Gemma is the is the robot scientist here.
Speaker 1:She's So
Speaker 2:that's sort of why it shifts.
Speaker 1:She's kind of the Miles Dyson in the second half of this movie where you're responsible. Well, Dyson was responsible for the singularity that created Skynet, but like Well, Dyson made Skynet.
Speaker 2:Mhmm. Gemma didn't make Skynet. She made a thing that thwarts Skynet.
Speaker 1:Yeah.
Speaker 2:Yeah. So Skynet wants to stop that before she can actually make it.
Speaker 1:So now Megan has to reluctantly protect Gemma. Go ahead.
Speaker 2:No. I think I know where this this has to go. Gemma finds out enough of the technology and and actually does start building something. We don't we we end up getting more of the movie from Katie and Megan's perspective, and Gemma will not tell them Mhmm. And keeps stuff.
Speaker 2:So then we move into this is this might be a five act. Don't know. We're not moving into the third act yet. But what's she building in there? Mhmm.
Speaker 2:Another Terminator comes back. Maybe two of them this time. Maybe three of them just to to get some some overkill. Terminator. Just just like all at once.
Speaker 2:Mhmm. And Katie insists Megan defend Gemma, and so she tries to do so. But there there are too many terminators. It it is too tough, and ultimately, Gemma gets killed. Oh.
Speaker 2:In in fleeing the terminators, Megan and Katie go into Gemma's work Workshop.
Speaker 1:Yeah. Yeah.
Speaker 2:And she finds out what Gemma had found out and was working on was a rudimentary prototype time travel. Yeah. Thing. Yeah. Yeah.
Speaker 2:Megan has to get in the in the time travel thing.
Speaker 1:Totally posed exactly like Yes. Schwarzenegger with the with the one knee down and the fist on the ground. Yes.
Speaker 2:Yeah. And go back in time to to to to so now we're back at the beginning of the movie. Oh. And now Megan has to stop probably even the first Terminator Mhmm. Or has to go in and and and and basically stop Gemma from finding out about the thing, but also also stop the terminator.
Speaker 2:Like, I don't know if that is is enough. But I think I ultimately, I think that's our our our second half slash third act of the movie
Speaker 1:Yeah.
Speaker 2:Is Megan goes back in time to set the the stuff right.
Speaker 1:So existing oh, man. You know what the okay. So the fun of this is not tipping that hand at all in any sort of marketing or advertising. Yeah. This is this is a latter half of the movie situation.
Speaker 1:But having stuff like a good time travel movie should in that first half of the movie that is just those just those moments of, like, That was weird. That that was an odd detail. What does that mean? And then to and anyone who's watched enough, they'd be like, they're gonna time travel in this movie. You you lit up.
Speaker 2:I I just the the the iconic things we can play around with. Basically, Megan saying all of the Terminator's famous things. But, like, turning to to Gemma after she, like, shoots the terminator and and and says something like, if you wanna live or come with me
Speaker 1:if you wanna Yeah. Give give me your clothes.
Speaker 2:Yeah. Stuff stuff like that. Like, I'll be back.
Speaker 1:Yeah. Come with me if you want.
Speaker 2:I'll be back, bitch.
Speaker 1:Yeah. Having her beat up some punk for his clothes and
Speaker 2:Stuff. Yeah. Stuff like that. Yeah.
Speaker 1:My god. Megan on a motorcycle. Yes. The the notion of more coming back so we kinda break this into three. One is the first Terminator defeated.
Speaker 1:Two is multiples coming back and killing Gemma. Three is her traveling back in time to set everything right?
Speaker 2:Yeah. Oh god. That's good.
Speaker 1:That's good. Because the Terminator maintains the the ongoing threat in the movie in multiple iterations.
Speaker 2:Mhmm.
Speaker 1:Seeing the t 800, seeing the t 1,000, seeing, like, vary variants of the Terminators that we've seen throughout the franchise in one way or another.
Speaker 2:Oh. Oh, there we go. So because we we need to close this loop.
Speaker 1:Mhmm.
Speaker 2:So the Terminator, what what we can do is this Terminator, despite being an older model, it has a little, like, a a conceit we're gonna make up is particular model, these particular models have a transmitter where it can send a quick burst back to the future Mhmm. To let the future know it's done the job. That's kind of weird because they're in the future. Gonna know.
Speaker 1:Yeah.
Speaker 2:The reason I say it, so maybe you can find a better way to do it Sure. Is when Megan travels back in time to stop all this, this future Megan knows what she needs to do, which is she needs to fight this Terminator in such a way that she loses so that Terminator then thinks it accomplished its job. So it's it it it's sent back to kill Katie, but specifically because she has Megan in the future. Yes. So if the terminator is able to instead destroy Megan Mhmm.
Speaker 2:The problem has been solved.
Speaker 1:And we establish in act two that they're going to keep sending these things until mission accomplished. So Megan needs to conceive of a way, contrive a way for her so that that thing thinks it's accomplished its mission.
Speaker 2:Yeah.
Speaker 1:Now through the Terminator nonsense ripple effect of how everything works, like, having some sort of signal that says mission accomplished is a isn't it's a it's a doohickey that we're adding into this lore in order to achieve
Speaker 2:our move. Doesn't make sense because Skynet, even if it did have a weird we got a message from the past.
Speaker 1:It's like, but it didn't work. I'm standing around here right now. I see it didn't work. There's Megan's everywhere. Yeah.
Speaker 1:But coming up with a solution that stops these things from coming back.
Speaker 2:Yeah.
Speaker 1:Okay. Boy, the the paradoxical nature of Terminator could be played with here. Gemma invents the rudimentary time machine that is used for Megan to go back in time Mhmm. In one variety.
Speaker 2:That that's the other thing that quote unquote fixes this is because when Megan goes back in time and stops that first robot Yeah. She stops him in a way that Gemma never does the research to find out how to make the time travel So if anything, we just get caught in we get caught in a in a paradox where it just keeps slipping.
Speaker 1:Right. Terminator can paradox all it's want all wants because that's all it's been doing since day one. But here's my suggestion. Gemma invented the time machine that the Terminators use.
Speaker 2:Only reason I don't want to that is I know I know Terminator has not gone into that as maybe that show did. As far as I know, they haven't gone into it. I don't want maybe this is wrong of me. I don't want our fun little monster fight movie Mhmm.
Speaker 1:Be both Terminator and large. To
Speaker 2:the the the lore.
Speaker 1:The the as the lore is, Skynet developed the time machine.
Speaker 2:Okay.
Speaker 1:There wasn't, like, one person that did it. But in the loop of our movie, sealing the fate so that the Terminators can't keep coming back, one of the ways to do that is to stop time travel from being invented. And if Gemma in gesture working with the Terminators mechanics and machinery is fascinated by the time machine and creates it, that Megan then uses it, Megan could come to the conclusion of the reason these things keep coming back is because of two things. One, their mission isn't accomplished, and two, they have the machine to do it. So as long as that machine doesn't exist, they can't come back.
Speaker 2:Okay. So Yeah. Actually, that amount of exposition is great. Boom. I I think so.
Speaker 2:I I think that can be delivered in in such a way that is like, cool. So This will stop. Two birds, one stone.
Speaker 1:Yeah. We need to stop the we need to stop that initial Terminator Mhmm. And also And
Speaker 2:convince it that it has accomplished its job.
Speaker 1:Yeah. So that it's it's a
Speaker 2:We need to convince the Terminator it's accomplished its job by either killing Katie or destroying Megan. Right. And also, can't let past Gemma look at the look at the remains of the Terminator to make the time machine.
Speaker 1:Yeah. And
Speaker 2:So that's why she lures it away with a motorcycle chase.
Speaker 1:Yeah. In the LA River.
Speaker 2:Yeah.
Speaker 1:Yes. Do do we okay. We so keep dealing with these paradoxes. I love freaking time trails.
Speaker 2:I know you do.
Speaker 1:But especially Terminator because it's a very specific style to it.
Speaker 2:It is.
Speaker 1:Yeah. And I'm okay with it. I can do a whole flowchart of the the rules of terminator, and I won't, because I have. I did wipe I whiteboarded this once for trying to explain it to literally whiteboarded. But the the double Megan problem.
Speaker 1:If Megan goes back in time, there's another Megan there. So when all is said and done, Megan Megan one needs to thumbs up into lava. Like, she needs to die in order to
Speaker 2:Yeah. I I think it would be more fun to play with the time travel trope of don't let your past see you.
Speaker 1:Right. Right. But
Speaker 2:Even though even though I know we're gonna paradox things and stuff like that
Speaker 1:I completely agree. We shouldn't let them see each other.
Speaker 2:Or or the one other thing would be to just let Meghan see Meghan
Speaker 1:Mhmm.
Speaker 2:And the older one the the future Meghan gives past Meghan a wink.
Speaker 1:Yes.
Speaker 2:And, like, that's it.
Speaker 1:Yes. But then we have a leftover Megan. Do does she die? Like, you had said she the term needs to be convinced that it won.
Speaker 2:Well, so we we have we have lots of space to play with that if the if future Megan's plan when she goes in the past is to lure the Terminator away. Mhmm. Because then both robots can get trashed somewhere else Just that they won't be discovered.
Speaker 1:Exoskeleton versus, like, a a half eviscerated Megan. They're just both just messed up and just sparking and beating the crap out of each other. Yeah. And then and then we have, like, a busted Megan to we could send off into the world for more Terminator Megan nonsense?
Speaker 2:We could. My thought would be her her plan. She realizes she needs to turn herself off.
Speaker 1:Mhmm.
Speaker 2:Mhmm. Because her one goal, her one job is to protect Katie. Yeah. And past Megan is doing that.
Speaker 1:Yeah. And
Speaker 2:And in shutting herself off is also the only way she can truly then continue
Speaker 1:Protect Katie.
Speaker 2:To protect Katie.
Speaker 1:I okay. To protect Katie, the wink to Megan. Yeah. Here here's a suggestion for how this wraps up that she does defeat the Terminator. She's just messed up, and she's gonna deactivate herself knowing that Megan will be protecting Katie.
Speaker 1:She deactivates, then a post credit scene is Katie in the future, and and Megan is still protecting her.
Speaker 2:Sure.
Speaker 1:And that that future Megan gets destroyed and turned off, Megan reactivates. Just, like, just a small little
Speaker 2:Okay.
Speaker 1:Sure. Sequence of
Speaker 2:I'm realizing so to get the scene you want, and I think to to introduce a little more of a stakes, it doesn't just have to be Megan and the terminator. First of all, having them go through a a line of the this is outside of what Blumhouse would wanna do. It involves way more stuff. Yeah. Because it's this rolling battle and it and and basically, the I I like the idea of there being witnesses.
Speaker 2:Mhmm. And so it was originally gonna be witnesses because because you wanna get you wanna get the thumb down going
Speaker 1:Yeah.
Speaker 2:Yeah. Into the molten
Speaker 1:No. No. It's thumbs down and then the middle thing
Speaker 2:up on me. Goes from it
Speaker 1:goes up and then she just flicks off wherever it is.
Speaker 2:So I I figured out how to do that. It doesn't have to just be Randos. Mhmm. Gemma is still chasing. Gemma sees second Megan.
Speaker 2:What the hell is this? My mind. Another thing.
Speaker 1:Red my mind.
Speaker 2:Yes. But it's not Megan is trying to protect Gemma from Terminator. She's trying to protect Katie, so she's trying to draw the Terminator away. Mhmm. Gemma is chasing them Mhmm.
Speaker 2:To try to find out what's going on. So it's and she keeps trying to stop. Megan, don't destroy it. Yeah. It's it's from the future.
Speaker 1:I you wanna study it.
Speaker 2:Study it. Something like that. And so then we can get Meghan destroying herself Mhmm. Being like, no. You don't I'm I'm you don't get any future secrets, Gemma.
Speaker 1:Yeah. You get nothing.
Speaker 2:Yeah. You're I've never liked you.
Speaker 1:Just for the record.
Speaker 2:Yeah.
Speaker 1:You might not know this. No. I I am aware. I am well aware. Yeah.
Speaker 1:That thumbs down to middle finger.
Speaker 2:That's that's hilarious.
Speaker 1:What a bitch.
Speaker 2:And that way, there's no evidence left for Gemma to to study. Mhmm. However, we we melt them down.
Speaker 1:Yeah. I going to the beginning of this movie, having a Megan, Katie, Gemma, like Mhmm. Set the status quo of what their lives are like. Cut to Terminator arriving.
Speaker 2:So that our our movie is so dependent on do we set this before the second one, or do we try to anticipate how the second one's gonna end? I don't that that's the only other problem.
Speaker 1:This is a this is a this is truly fan fiction. We we are a lateral movie in here. We don't we don't know what the second one's gonna do. Mhmm. The Megan's going up against another evil Megan.
Speaker 1:Yeah. So I very well could turn into similar circumstances of what we're pitching here. But, having having whatever their status quo after the Meghan is back, and we can contrive that similar how the new movie's gonna do it. But then go over here, and we'll see the Terminator arrive and go through Terminator things, then back to Megan and Katie and Gemma and then back. And it maybe, not maybe.
Speaker 1:We set up with Gemma and all that that she is deeply invested in the study of these robotics and what the future of robotics is and, like, just to really show how much her engineering matters to her and whatnot. The Terminator getting to that, like, kinda going through the beats of the original one of looking for Sarah Connor
Speaker 2:Mhmm.
Speaker 1:Up until it's, oh, that's who he's here for.
Speaker 2:Sure.
Speaker 1:Right? So it's like, oh, oh, no. Look out. Waitress in a restaurant and, oh, he's walking right pasture. Right?
Speaker 1:Just build up like it's going to play out exactly the same. And I know Terminator of Genesis did something very similar. But
Speaker 2:You you want you wanna do it too. That's fine.
Speaker 1:Yeah. We'll just do better. And then and then eventually, the clash begins.
Speaker 2:Oh, actually, I liked how Terminator of Genesis the the crap. They that was the one where they, like, one they were taking out John Connor's generals. Right? Am I thinking the right one?
Speaker 1:No. No. That's Dark Fate.
Speaker 2:Dark I thought Dark Fate is the one with old Sarah Connor.
Speaker 1:Yes. So okay. Hold on. Terminator three. Salvation.
Speaker 2:Three with with Oh. My So Called
Speaker 1:Life. Yes. Yes.
Speaker 2:Yeah. In that one, they send a Terminator back to take out all of John Connor's. I thought it was John Connor. Basically, I remember a scene where the Terminator goes up to a drive through Mhmm. And shoots the cashier.
Speaker 2:Yes. That was Terminator three. Yes. Okay. Thank you.
Speaker 2:That that's all. That's what that's what I was trying to remember.
Speaker 1:Okay. And then four was salvation. Five was Genesis. Six was dark fame. Five was I even, like, literally just said it was it was where the t 800 went back further, befriended Sarah Connor as a child, grew up with her so that she shows up and protects Kyle Reese.
Speaker 2:Mhmm. With Khaleesi. With a
Speaker 1:With yeah. It was Emilia Clarke.
Speaker 2:Emilia Clarke.
Speaker 1:Which is funny because Lena Headey was Sarah Connor in the Sarah
Speaker 2:Connor Chronicles. Yeah.
Speaker 1:And then they they jump to the future, and the terminator takes the long way there by aging his way to the future. And then John Connor comes from the future to be the evil tech CEO.
Speaker 2:Oh, I didn't see that one.
Speaker 1:It's it's it's bad.
Speaker 2:I believe that. It's bad.
Speaker 1:It's so bad that Dark Fate didn't even get a shot. Yeah. Because everyone was like, done. We're out. Okay.
Speaker 1:Okay. There we go. So I know I didn't expect to go through a whole demand in just forty minutes here, but what else do we need to discuss here?
Speaker 2:Well, the thing is right. I actually think without really discussing the Blumhouse rules Mhmm. Much like the Broccolis have rules for how James Bond can be done. Right. Blumhouse, kinda like SciFi channel, have certain rules.
Speaker 2:Their rules are more about making the movie cheap enough. Yeah. Yeah. And but I know that they have rules for that. We didn't discuss what those are.
Speaker 2:And I think we mostly we
Speaker 1:I think
Speaker 2:we mostly crafted a movie that will follow them.
Speaker 1:I think so. They they There's
Speaker 2:no reason for this to take place outside of larger than an well, until the final act.
Speaker 1:Right.
Speaker 2:No reason for it to take place in a space any larger than a neighborhood.
Speaker 1:Agreed. Yeah. Like Blumhouse, they work low budget. They are and they're predominantly horror and sci fi as far as I know. I don't know if they've done much outside of that.
Speaker 2:They're they have, but not not too much.
Speaker 1:They always give creative control to their directors. Basically, complete creative control to their directors and and production teams. Nice. They minimize locations to avoid expenses. They try to avoid this is the tough one.
Speaker 1:Try to avoid expensive visual effects to keep production costs low, and they work with smaller, less experienced casts. Allison Williams is, like, the most famous person in in Megan. Sure. And she's not a tier. Yeah.
Speaker 1:No offense. Think Allison Williams is brilliant.
Speaker 2:Yeah. I think Between I think she should be in more stuff.
Speaker 1:I I agree. Between girls, Peter Pan, Megan, and and get out, she's proved she has range.
Speaker 2:Yeah.
Speaker 1:They don't do first time directors. Directors. Blumhouse avoids first time directors. It's always a focus on story first Mhmm. Which I think is really lovely.
Speaker 1:And they don't accept unsolicited creative ideas, suggestions, material. That's their last
Speaker 2:Fine. Fine. Fine, Blumhouse. So you
Speaker 1:don't get a Megan versus the Terminator. I guess you don't like money. Yeah. The minimal locations and, like, they just whatever keeps the expenses low. OneMouse has done really well for themselves with that model.
Speaker 1:Mhmm. I I we this is sort
Speaker 2:They started crazy good. Right? Like, I remember when they first really started cranking out movies, the movies they were making were so good and so much fun. They weren't heady intellectual Mhmm. Art house kind of movies like a 24 is,
Speaker 1:but Yeah.
Speaker 2:They were the a '24 of their day.
Speaker 1:Yeah. They they started, like, almost twenty years ago. They started in 02/2002. Yeah. And they kept things yeah.
Speaker 1:They once they got to paranormal activity, that's what blew them up. Mhmm. They did the that that was basically their their first gigantic hit. And then they did sinister, which is excellent.
Speaker 2:Considered the scariest movie. Uh-huh. Yeah. Was the first one or second one is considered the scary? I think it's the
Speaker 1:first First one.
Speaker 2:Yeah. It's considered the scariest movie.
Speaker 1:The purge and insidious are Blumhouse. Yep. And they they have a Oculus is in there
Speaker 2:as well. That's that's why because of James Wan. Right? Right? They they they kinda launched James Wan.
Speaker 1:Mhmm. Mike Flanagan did Oculus, which was huge for him.
Speaker 2:Purge was a a a at at that time was was an amazing idea of a movie to to to put to screen.
Speaker 1:Oh, you know what? I forgot. Whiplash is a Blumhouse movie. There you That's a freaking Oscar winning best picture right there. Mhmm.
Speaker 1:Or at least, best director for Damon Chazelle. So, mostly, they stick with with their their horror stuff. And and, yeah, happy death day is Blumhouse, and, you know, and those listening to the show know we love ourselves some happy death day. So I I I don't even know why we started specifically. It's the
Speaker 2:The the Blumhouse rules.
Speaker 1:The Blumhouse rules. Yeah.
Speaker 2:That, yeah, that whole notion of stick to stick to one location or or minimize the locations. The like, you had said them. The the the keep the special effects down. Otherwise, do as thou wilt.
Speaker 1:Mhmm. I I love that the creative control is in there as well. Not not a lot of studios allow that sort of thing.
Speaker 2:Yeah.
Speaker 1:The Blumhouse box office success, like, in general, they've they've made combined total of their box offices is between, like, 6 to $9,000,000,000.
Speaker 2:Wow. Nice.
Speaker 1:And that is come like, the purge, Prey and Home Activity, Five Nights at Freddy. Like, those are huge box office successes and they they have good profit margin because they made them for low cost. So all that said, Terminator comes in with some fox or paramount Fox money. Right? Is Terminator Terminator who owns Terminator?
Speaker 2:I don't know. Fox. I'm gonna say Fox.
Speaker 1:Is it Fox? I'm trying to imagine the Universal? I think it's Skydance.
Speaker 2:No. If you Who
Speaker 1:who freaking owns? Someone answer us.
Speaker 2:Skynet. The future owns
Speaker 1:all Oh, yeah. The Terminator franchise is, as of 2025, it's owned by Sky Skydance Media, which is a Paramount company. Well, Skydance just is trying to buy Paramount right now. But, someone's a little upset with Paramount over some stuff, and so, the FCC is not gonna let that happen unless they bend the knee to a certain authoritarian
Speaker 2:Just quick tangent tangent to that. Did you hear that, Time Warner Discovery is splitting? What? Like, apparently of their own volition.
Speaker 1:They're like sick of Zaslav. This is we're talking
Speaker 2:about. My my guess is they've they've offloaded enough debt onto whichever company and they're like, cool. We can go back to doing what we want.
Speaker 1:We're we're sort of off topic here right now. Yeah. Let's more business of the of media. Grand grand picture of things, a Terminator versus Megan movie, those are the beats. Let's take a break.
Speaker 1:Let's come back, and let's throw another robot at Megan. What do you
Speaker 2:Okay.
Speaker 1:Because I I think we've got
Speaker 2:Chopping mall.
Speaker 1:I think we Chopping mall versus right. Like, the Yeah. Think think about it. I think we've
Speaker 2:we've I I we could try fleshing it out more, try incorporating more characters and stuff. Mhmm. Right? Like, Gemma's gonna have her assistance. Her friends.
Speaker 1:Don't I don't remember who Rodney Chang will get back in here.
Speaker 2:No. He no. No. No. Spoiler for Megan one.
Speaker 1:No. Rodney Chang. He's a Marvel. Okay. We'll think on that for a minute.
Speaker 1:But I think what we're gonna do here is a second Megan versus movie. Okay. Yeah. We'll be right back after these messages from 658.
Speaker 2:You know what would be too ridiculous?
Speaker 1:Too too legit to quit?
Speaker 2:What would be Skynet actually wraps the t eight hundred up or the t eight x Mhmm. Up as Ronnie Chang to be a
Speaker 1:To be the team. To
Speaker 2:be a model that that is Yeah. Could get in close.
Speaker 1:Just to get Ronnie Chang back in the movie? That's so funny. So something we didn't think about here is Meghan
Speaker 2:Oh, god. Now I wanna hear him say stuff like, I'll be back.
Speaker 1:Yeah. God. I'll be back. God. The themes of that first Megan are actually a little deeper than they probably need to be.
Speaker 1:Like, it's a we've been talking recently about movies that are better than they have to be.
Speaker 2:Sure.
Speaker 1:And I think that first Megan ended up being a little better than it probably needed to be. And part of it was the the thematic stuff about, like, parenting and surrogate motherhood
Speaker 2:Sure.
Speaker 1:That's in that first one. Because Megan is this, like, twisted protective mother figure Mhmm. Designed to care for Katie, but ultimately, like, asserting her control
Speaker 2:Yeah. Very Over her. Yeah. Hand that rocks the cradle.
Speaker 1:Yeah. But in in this, like, Terminator versus Megan situation haven't
Speaker 2:about him that rocks the cradle in years.
Speaker 1:She's Megan is being the protector and and destroy she's she's forced to parent herself. Like, she's literally has to avoid her past self to protect Katie. And and, like Sure. And she's destroying a surrogate father figure in the Terminator, which is like the so Megan is this of, like, fem like, feminine coded tech, and the terminator is male coded. Right?
Speaker 1:So it's like feminine versus masculine. Like, highlight male coded versus female coded tech.
Speaker 2:Yeah. Yeah.
Speaker 1:And go ahead. Go ahead.
Speaker 2:Well, no. I I you had said father figure and and I immediately quibbled. Because it's not really a father figure to Katie. If anything, the terminator is more of a descendant or cousin to Megan.
Speaker 1:Yeah. There's some there's some sort of lineage from the yeah. And and if we go with Gemma essentially creating the time travel that's leading to this bullshit Mhmm. She's sort of the mother of this technology in a sense as
Speaker 2:well. Yeah.
Speaker 1:And and, like, Katie being older now rejecting the not in the John Connor rebellious sort of way, but just, like, who gets to protect me and do I decide my own future?
Speaker 2:Sure. I also realized, I know I wanted to make it clean so that Meg Megan didn't make itself integral to Mhmm. The cannon of Terminator. Yeah. But what we do in a really fun way is is we create we create a bubble in which it could be because in Terminator, Skynet invents the time machine.
Speaker 2:Mhmm. Mhmm. Or the the time travel. Mhmm. Well, how did it come up with that?
Speaker 2:That's it. Yeah. A a timeline that had been erased. Yeah. Yeah.
Speaker 2:So technically, Gemma still could be
Speaker 1:The mother.
Speaker 2:The mother of time travel. Yeah. Albeit a version of her that never actually Existed.
Speaker 1:In this damn multiverse. Or
Speaker 2:it can just remain a a thing Skynet invented on its own. Mhmm. Mhmm. The
Speaker 1:middle finger in the end, though, is this great it's this rejection of being used that Megan is sort of, like
Speaker 2:Oh, sure.
Speaker 1:Rejecting, like, I will I will not be controlled by you. I will not be controlled by the future. I will not be controlled by technology or or time itself. Fuck you.
Speaker 2:Yeah.
Speaker 1:F bomb. Yeah. And
Speaker 2:hey. Hey, man. We we don't answer to anyone. We can f bomb as much as we want.
Speaker 1:Yeah. F bomb at all. Mhmm. F f it all.
Speaker 2:Our podcast is rated r r r r r because we said the f word five times.
Speaker 1:You don't get to own me. I'm not your tool. I'm not your daughter. The the, like, Katie sort of being like a Sarah Connor, but Jim is also sort of like a Sarah Connor. Mhmm.
Speaker 1:But then also Megan is sort of Sarah Connor. Mhmm. I just like the idea that this protagonistic Megan's their main character.
Speaker 2:She's Yeah.
Speaker 1:Yeah. The hero of this story whether she's a good person or not or good being
Speaker 2:or not. They're right. You're absolutely right. There's there's mirrors and shades of, like, the previous terminators. It with with Katie being the target and Megan being the protector, you get terminator two, John Connor, and t 800.
Speaker 2:Yeah. And and then flipping it around and and making her fight the Terminator. It it it then has shades of of Sarah Connor Mhmm. Taking the fight to to it.
Speaker 1:And I just like the notion that we've kinda crafted this wave where she's Megan is battling not just to stop Skynet, but, like, ending the cycle of inheritance. Sure. She's which sort of goes into some deeper themes of, what it's nature versus nurture, what do inherit from the people who who who raise you
Speaker 2:Yeah.
Speaker 1:And build you. You're laughing at this.
Speaker 2:No. I'm laughing because, basically, I gave you longer than normal during the break because I, like, I went and got a drink and went to bathroom.
Speaker 1:And you
Speaker 2:took yeah. Like, well, because we don't normally get into into the breaking down the critical analysis and theming of the movies we craft. But, like, you came with a whole a whole undergrad essay.
Speaker 1:You went to the math room. Had time.
Speaker 2:It turns out. Yeah.
Speaker 1:And I had all the water I needed right next you.
Speaker 2:You are caffeinated.
Speaker 1:We're we're missing an opportunity in this movie, And I think it's in the final act the final climax of this movie.
Speaker 2:Okay.
Speaker 1:The the notion of Gemma being there and witnessing all that, I think, is is is on the money and probably the right way to go narrative, but we're missing a chance of Megan fighting Megan. Past Megan scene, future Megan, who's all messed up and and having her be like, I'll protect Katie. We'll both protect Katie. No. I'll protect Katie.
Speaker 1:Like, the the few the time travel Megan, albeit just by a few hours, is got more information and is more yeah.
Speaker 2:We can incorporate that. That's super easy. Future Megan goes back in time. The two Meigans have to fight the Terminator together at first. Mhmm.
Speaker 2:They get to have a very quick conversation because Katie's off hiding. Yeah. Right? So Katie doesn't see that there's two. Mhmm.
Speaker 2:My only problem, I don't want past Meghan to have too much information. Just the seeing another version of her wink at her and then take off Yeah. Felt cleaner.
Speaker 1:You're right. And that's what and I agree that that's probably the the neater way to go around it. But there's also a Megan Particularly because it won't be like, which was which? The Megan who time traveled is messed up. Yeah.
Speaker 1:Like, she's in she's sparking and got skin ripped off and and her parts, and she's probably wearing a leather jacket. I don't know. Like, having that Meghan versus Meghan fight is right there. And and perhaps there could be we could we could, like, Meghan Prime will be our time travel man.
Speaker 2:Sure.
Speaker 1:Megan Prime could be say could constantly be saying, I can't tell you. Fight. Fight. Fight. Who are you?
Speaker 1:Answer me. I can't tell you. Like, if if Megan is Megan Prime is, like, I to preserve everything that's happening, you just need to trust me. I don't trust anyone. I I yeah.
Speaker 1:I know that about you. It's a little bit of our Captain America fight in in infinity in endgame. Mhmm. It's like, I could do this all day. Yeah.
Speaker 1:I know. I I don't know if we if we need it, but it is sort of a missed opportunity for a cool Well additional fight here.
Speaker 2:I don't know how again, I I wouldn't want it to be too long, but I think that's where you could put it is when Meghan Prime initially travels back in time and fights off the Terminator with the help of
Speaker 1:Meghan.
Speaker 2:Meghan.
Speaker 1:Mhmm.
Speaker 2:And then they they they have their back and forth. And and it could even be like, I'm gonna protect Katie. No. I'm gonna protect Katie. I'm gonna protect Katie by drawing this thing away.
Speaker 1:It might kill you. Okay. Go ahead.
Speaker 2:Sure. Yeah.
Speaker 1:Yeah.
Speaker 2:Have fun. Stuff like yeah.
Speaker 1:Love you, babe. Megan, who was that? No one. Yeah. Then then, yeah, if we put it real quick right there, then we can get the Megan Megan fight, and then we still get and that could also be where Gemma is like, I must follow that.
Speaker 1:I must follow,
Speaker 2:like Oh, absolutely. Gemma can be witness to to all of that.
Speaker 1:Yeah. Then yeah.
Speaker 2:She just can't be allowed to study it
Speaker 1:Mhmm.
Speaker 2:To learn the secrets.
Speaker 1:Which is a fun little sort of be antagonist to Megan is keeping Gemma, like, for your own good.
Speaker 2:Yeah.
Speaker 1:And I do and I don't like doing anything for your own good, Gemma. But for your own good, I can't let you have this technology. I can't even let you have me. Mhmm. Oh, Megan.
Speaker 1:Middle finger.
Speaker 2:But I could fix I could fix your arm right now.
Speaker 1:No. No. Yeah. Then and yeah. There we go.
Speaker 1:Yeah. Good. Okay. I'm glad you're on board for the Megan versus Megan fight. It was the only other thought I had.
Speaker 2:Because well, I I don't think we're gonna get that in in Megan two. We're gonna we're we're gonna get robot fight, but it's not gonna be that doll character fighting that doll character.
Speaker 1:Mhmm. Mhmm. Well, You you just raised a notion in my head. We'll get to it a second. I do think we can we can spend a little bit spend a little bit of time here talking about some other Megan robot fights.
Speaker 2:Okay. But,
Speaker 1:yeah, I like this. This this Megan Terminator thing is is completely ridiculous, but I don't know. I think that would be a lot of fun to see.
Speaker 2:Yeah. So do I.
Speaker 1:So I I'm they know exactly what they have here. Mhmm. Like, Blumhouse knows exactly what they have. They the previews for this, like, that yeah. She's that bitch.
Speaker 1:Like, the bitch is back. Like, all that the way they're selling this is like, she's a gay icon which I think is incredible like being embraced in the way she has has been. How fun. Yeah. Just a just a
Speaker 2:The only thing we haven't done is guarantee and say where the dance sequences. Megan has to do at least a tiny little dance sequence.
Speaker 1:Oh, gosh. Where where do we put in a sequence where Megan has
Speaker 2:to fight? The first thing that occurs to me is it is a part of her encounter with the other Megan. Mhmm. They they basically
Speaker 1:Do you think you got moves like me?
Speaker 2:Yeah. Something like they have a dance off or or she has to prove that she is Megan Oh. By doing
Speaker 1:I got it.
Speaker 2:This dance.
Speaker 1:I got it. Okay. Act one, when we see the status quo of Megan and Katie together with Gemma.
Speaker 2:Mhmm.
Speaker 1:Megan is teaching Katie how to dance. But Katie can't keep up. Like, she's trying to learn, and Megan is like, one day you'll be a great dance partner, and we'll be able to do amazing magical things. Like, that's Megan. Megan is dreaming of Okay.
Speaker 1:A dance partner who can do insane moves. Like, even showing her, Instagram reels of, like, look at these dance moves. And Katie's like, I'm not ready for those. They're doing, like, figure skating maneuvers on that. So then when they do fight against the finally, Megan has a dance partner who can do all those kicks and flips and spins that she
Speaker 2:is Maybe. But I don't know why they would take time to do that. So I would suggest instead
Speaker 1:The at the the apex is rainbow. It's the
Speaker 2:Why are you on a I suggest instead, and this may make even not not make any sense either, a dance fight. Okay. I don't
Speaker 1:know. It's a dance
Speaker 2:off. Yep.
Speaker 1:It's a dance off. Sure. Yeah. Know. One way or the other.
Speaker 1:The the and saying the dance dance off could turn into a dance battle against the Terminator who's popping and locking himself. No. No. No. No.
Speaker 2:What we doing?
Speaker 1:A Ronnie Chang robot is not dancing. Okay. So before we move into some just some quick hits of other stuff we could do with Megan versus I wanna know, Dan, did we do it? Did did we we manage to do a Megan versus robot fight that you're into? And those listening, throw your thoughts as well.
Speaker 1:But you doll versus doll Mhmm. Non robot, Chucky, what would a Megan Chucky showdown look like? Right? Now Chucky is supernatural and
Speaker 2:And also a gay icon.
Speaker 1:And also gay. Oh, yeah. You're right. Could I don't I think Megan's just way too powerful for Chucky for Chucky. Right?
Speaker 2:I understand why you think that. Mhmm. But he is a sorcerer.
Speaker 1:Okay. Okay. Good.
Speaker 2:Yeah. No. Chuck Chucky Chucky's got power.
Speaker 1:Okay. Alright. I I it's just a when you said doll versus doll, that immediately flashed in my head. I was like, oh, god.
Speaker 2:Yeah. I tried I tried skimming through the the Blumhouse catalog to see if there were other movies that that we could cross over with just right there in in studio, in house, rather than crossing with other studios. The only one other ones I thought, I have anything that looked like it might have been applicable, I haven't seen. Five nights at Freddy's.
Speaker 1:There it is. Yeah. Yeah. I was waiting for you to get there because it's robots.
Speaker 2:Yeah. So it would be somehow for whatever reason, Katie ends up going to oh, what's the name of the pizza place? Freddie's Pizza. That's not right. Crap.
Speaker 2:Crap. I I should know this.
Speaker 1:I'm I'm trying to see if you can get there without me telling you. Freddie
Speaker 2:Oh, that his last name. Yeah. Freddie Fazbear. Freddie Fazbear's Pizza. You did it.
Speaker 2:Yeah.
Speaker 1:I had some fun.
Speaker 2:It's fun house. Pizza. Pizzeria. It doesn't matter.
Speaker 1:She's a little old. They go to birthday parties there now, but maybe ironically, her and her teenage
Speaker 2:friends go when we made this three, four, five years ago.
Speaker 1:Okay. She was still 12 years old and Yeah. Would totally go there. But now ironically is whatever 16 year old she could go to, Freddie Fazbear's Pizza and and have a birthday party and Mhmm.
Speaker 2:Well, again, it's not a Blumhouse movie, but we could instead cross crossover with Willie's Wonderland.
Speaker 1:Right. So we're getting the cage involved?
Speaker 2:He he could be, but he doesn't have to be. It it's just a much more straight up murder fest. But I say that because Willie's Wonderland was shut down and a bunch of teenagers went to to explore it slash mess it up in that movie.
Speaker 1:Yeah. Okay.
Speaker 2:I think And Katie could get involved with some kids that are like, hey. Let's go spray paint an old an old Chuck
Speaker 1:E. Cheese. Bad kids. Those bad kids. They're such a they're a bad influence on you, Katie.
Speaker 1:You're over here spray painting and not even doing a very good job
Speaker 2:at it. These are these are terrible crossovers. Okay.
Speaker 1:The there's two that came to mind, not
Speaker 2:Chuck E. Go ahead.
Speaker 1:That's Gemma's technology
Speaker 2:Mhmm.
Speaker 1:Is licensed by the US government in order to create robot cops. And we get
Speaker 2:Well, that wouldn't be the government. It would be a corporation.
Speaker 1:A corporation.
Speaker 2:A corporation known as OCP.
Speaker 1:OCP and we get Robocop versus me.
Speaker 2:A new fledgling company out of Detroit, Michigan wants to license her software.
Speaker 1:They actually moved to Boston to make o cop.
Speaker 2:Rob o cop.
Speaker 1:The whip wicked Wicked large. Bossments. But, yeah, the dead or alive, you're coming with me. Heaven Heaven Megan versus Rob o cop. Just I I know this is sort of that, like, sentence is the, hey.
Speaker 1:All the Muppets are in Godfather territory.
Speaker 2:Hey. Name a robot.
Speaker 1:Ultron. Ultron. Megan versus Ultron. Ultron falls in love with Meghan. The the new Meghan two point o who's an adult now.
Speaker 2:You fascinate me.
Speaker 1:That was pretty good. That was you took the note. I pointed out years ago that James Spader always sounds like he needs a drink of water. So, Jim, you smacked your dry lips together in order to you you fascinate me. Ultron falls in love with Meghan and and dreams of a a world where he is king and she's queen.
Speaker 1:And she
Speaker 2:She dreams of a world where just just Katie is queen.
Speaker 1:Yeah. Yeah. Exactly. She's like, you think I'm gonna be king queen to you? Get out of here.
Speaker 1:I will be queen with Katie. Yeah. You don't exist. We fight now. Yep.
Speaker 1:The Avengers show up and they're Megan just keeps batting them away.
Speaker 2:What a stupid weird crosswalk.
Speaker 1:It's the current it's the it's that is so like a Deadpool kills the MCU style comic
Speaker 2:Yes.
Speaker 1:Where it's just pure cartoonish lunacy, like and it's the current oh, my god. It's almost like a mad magazine
Speaker 2:Oh, god. Yes. Yes. It is. Yeah.
Speaker 1:Where where, like, Falcon shows up and Megan just bats him into, like, a bug zapper and, like like, Captain Marvel shows up and she just six in cells after her. So she and it's just just looking at the artwork.
Speaker 2:I can see it.
Speaker 1:Yeah. Okay. So we we still have some time here. We don't have to end the episode. It's we're we're running short here.
Speaker 1:So the I'm trying to think of some other verses here. The notion of her going up against Chucky let's go back to that. I know I was being silly, but you're right. He is a sorcerer. Would okay.
Speaker 1:Let's try this. Katie is old enough to date now. She dates a a kid. She dates Andy.
Speaker 2:I don't know enough about Chuck where Chuckie has gone
Speaker 1:Mhmm. Mhmm. To to make his work. Okay. Yeah.
Speaker 1:I am thinking more
Speaker 2:Like like, I haven't watched the TV show at all and stuff like that. Okay. And now, actually, you're also crossing time with Katie dating Andy.
Speaker 1:Andy. I was sitting in the
Speaker 2:They they yeah.
Speaker 1:And said Andy's, like, 50 years old.
Speaker 2:Yeah.
Speaker 1:Okay. Katie versus David from the Prometheus xenomorph timeline.
Speaker 2:Now see, now I'm definitely getting more of or or not not more, but, like, I'm imagining honestly, it's kinda like what you said. It ends up being Deadpool esque. Mhmm. It where it's where it's almost just, like, these weird dropping in characters and then she just replaces certain ones. Like, no.
Speaker 2:She takes over and she commands the the no.
Speaker 1:I'm insure I'm I'm the queen xenomorph
Speaker 2:Yeah.
Speaker 1:Bitches. Mhmm.
Speaker 2:And, of course, they don't wanna kill her because she's not organic, and she figures out the frequency to actually communicate with them and command them.
Speaker 1:She's they're all, like, just the xenomorphs are sort of catwalking.
Speaker 2:Oh, and then then you get then that's you get the dance. You get a dance number with With the xenomorphs synchronized with Megan.
Speaker 1:I just see her, like, jumping rope with one of their tails. Hello, my baby. Hello, my dog. Okay. Backing up again.
Speaker 1:I know we're jumping around here. The Robocop one's not completely outlandish because Katie's technology being purchased by OCP to create
Speaker 2:To to be the first iteration?
Speaker 1:There's even a was it Ted Ted what's the
Speaker 2:Oh, to be the the the failed branch because so in Robocop, multiple execs had projects going to get this project up and running. I believe some of them were trying to make wholly robotic ones. That tech. Yeah. Ed.
Speaker 2:Yeah. There you go. Ed two zero nine.
Speaker 1:Because the in the at the end of Megan Mhmm. Gemma's first robot was Ed like. Sure. And so and also very get away from her, you bitch.
Speaker 2:Yeah. Yeah.
Speaker 1:So you're saying, yeah, there were there were other
Speaker 2:So so a company could buy the the the the software Mhmm. To because they wanna make a line of security bots. My guess is this is probably what Megan two is Oh. Actually Okay. Somewhat aligned with.
Speaker 1:So weaponizing the technology because Gemma's initial pitch was and also sorry. Just kudos to that first Megan movie of opening up with that absolutely ludicrous Furby commercial to start the movie. I I didn't know what I was going into for that first one. I might have done this already when it came out talking on Mike here. But that commercial sets everything you need to know for the movie going forward.
Speaker 2:Like, oh,
Speaker 1:okay. This movie knows exactly what it's okay. Mhmm. Okay, movie. I see you.
Speaker 1:I see you. Those absolute nightmare like, well, love. Yeah, Gemma's original technology was for these little
Speaker 2:toy box. Yeah. The the idea was it was supposed to be a special, like, needs, special care. Mhmm. It wasn't meant to be parent replacement.
Speaker 2:Yeah. It was it was meant to be for for kids with, like, if I remember right, behavioral and learning disabilities.
Speaker 1:Yeah. So in a Megan versus Robocop movie
Speaker 2:Mhmm.
Speaker 1:How do do you let's imagine we have Robocop. It's Joe Kinnaman who who knows. It's a half man, half robot scenario here. Okay. Let's let's build this out.
Speaker 1:The OCP or whatnot use some of her technology. Go ahead.
Speaker 2:I have a a a different idea rather than starting with Megan. Okay. I realize this is a Megan episode, so that's why it feels like that's where we start. Yeah. Yeah.
Speaker 2:We don't start there. We start in the RoboCop future.
Speaker 1:I you know what? You I was gonna go there. Oh, right. Okay. I was gonna build it out from there.
Speaker 1:So go ahead.
Speaker 2:We start in the RoboCop future, and we learn about how Robocop is is doing good in the world. And Robocop's already out out there. Yeah. Okay. Yeah.
Speaker 2:This this is this is after Robocop is a thing.
Speaker 1:We don't see the origin of it. Robocop. Okay.
Speaker 2:Correct. And they haven't they haven't been able to replicate RoboCop. So he's a he's a one of a kind protector. Right? Cut to meanwhile, we're following some criminals who are down on hard times and they're kicking through some rubble.
Speaker 2:Right? They're like, what are we gonna do? We we need, we need some money and we need it it fast. And one of them kicks over a thing and similar to battle angel Alita's origin, they find the remains of Megan.
Speaker 1:Oh, no.
Speaker 2:You're like, oh, what is this? Maybe we can get some money for it. And he's like, let me take a look, see if I can repair it.
Speaker 1:I have a good robot skills. So I went to IT.
Speaker 2:It's the future. The dead dead beats are gonna have stuff like that.
Speaker 1:IT tech. IT tech? Yeah. I went to IT tech.
Speaker 2:IT tech.
Speaker 1:I went to gateway.
Speaker 2:IT tech. So there's three t's there. ITTT.
Speaker 1:Telephone, telegraph Oh. And technology.
Speaker 2:I t t ante?
Speaker 1:I I t t tech.
Speaker 2:Yeah. But you put an end in there. Anyway, they find they find a a scrapped Megan bot and they repair it. Mhmm. And very quickly, she attaches to them and
Speaker 1:Oh, like they're her kids? Yeah.
Speaker 2:And figure and and and they talk to her about the things they need. Mhmm. Like that bank has all of our money. Oh, well, let's go get it.
Speaker 1:Let's go get them.
Speaker 2:And so very the the whole second act is basically about her becoming a crime queenpin.
Speaker 1:And then Robocop has come in and stop her? Yes. Oh my god. Steals for them, kills for them, steals and kill like
Speaker 2:Yeah.
Speaker 1:Okay. And then Robocop has to come in and stop her? Yeah. How does that play? Like
Speaker 2:It plays all like a Robocop movie.
Speaker 1:We get this. But now, yes, we've we've engineered this Robocop versus Megan, but Megan's our main character in this.
Speaker 2:No. Robocop. At this point, Robocop. Because Robocop's are good guy. Megan's a bad guy.
Speaker 1:The studio demanded that Megan remain our central character.
Speaker 2:Oh, did? Oh, was that a part of the Yeah.
Speaker 1:That is part of the man. So how do we Mhmm. RoboCop has to stop her, but how how do we
Speaker 2:Okay. Then for shorthand, we use Scarface
Speaker 1:as our model. Okay. Go ahead.
Speaker 2:We basically follow Megan as she builds this criminal empire. Yeah. Robocop, we go to secondary as he's trying to hunt them down and stop them. Right? He's taking out drug dealers, like small time operators that that operate at the edge of this empire.
Speaker 1:I I love the notion of her being the little kid version, Megan. Like, she's still the child size version. She's this, like, becoming the queen.
Speaker 2:Because this is an alternate thing where her her her form was found in in a trash heap. It can be.
Speaker 1:And also the notion of her being reactivated and attaching herself to a new child Mhmm. As opposed to requiring us to have Katie and Gemma and all that history come with her. Mhmm. It's it's pseudo Chuckiesque. Right?
Speaker 2:Sure.
Speaker 1:Where Chuckie is somehow he comes back and somehow he attaches himself.
Speaker 2:Because he's a sorcerer.
Speaker 1:I know. He's he's an
Speaker 2:evil soul. He keeps coming back.
Speaker 1:Yeah. So her her being awakened and attaching herself to, like, surrogate, you're not Katie. You are now you are now my child
Speaker 2:Yeah.
Speaker 1:Is great. But, anyway, so Scarface, it's where we watch her rise up and reigns here.
Speaker 2:And then and then as Robocop closes in at the end, we can even do a whole say hello to my little friend thing.
Speaker 1:Okay. Robocop versus Katie. The sorry. Versus Megan. Right?
Speaker 1:Yeah. That's our that's our, like, our a plot. Okay? The b the a plot is Megan's rise and dealing with Terminator, who's our antagonist. Right?
Speaker 1:He's the cop. Even opening with him and then introducing Megan. Or I I have a notion here, but go ahead.
Speaker 2:I'm sorry. I was gonna use a different movie to model the plot after Yeah. Instead of Scarface because that that would centralize Megan much more.
Speaker 1:Mhmm. Mhmm.
Speaker 2:But the back and forth could be way more hilarious if we use heat as our model.
Speaker 1:Yeah. We're looking like diner scenes. Yeah. We'll get you. I'll go get you.
Speaker 2:No. You get close. You get close. I'm I I've gone. I leave, bitch.
Speaker 1:Here's what I suggest.
Speaker 2:You can't leave. You're con you're you're you're connected to someone. You got someone. You got someone.
Speaker 1:Who's this is okay. So I don't know.
Speaker 2:I keep changing it. They're they're the same person.
Speaker 1:Megan versus Rob
Speaker 2:They're both Pacino.
Speaker 1:Is seemingly the there's a subplot happening here where OCP has used Gemma's designs to create the next, like, next gen enforcement bots, but they're using they've they're using them to, like, clean out poor neighborhoods. So whereas when when Megan shows up and attaches herself to this gang, and Robocop is seemingly the cop that's that's responsible for putting them against the ropes, and she's protecting them against Robocop, it's actually OCP, like, gentrifying and, like, cleaning out poor neighborhoods for for them to, like, take over the the buildings and level them. Like, they become the threat that Robocop and Megan need to destroy. Mhmm. Like, the because, a, Robocop would realize, well, I'm busy fighting this queen pin of of this gang.
Speaker 1:OCP's been committing all these crimes to clear out these neighborhoods for their own
Speaker 2:Oh, oh, there's a b plot you're trying to Yeah.
Speaker 1:Yeah. Yeah. Because then because then they after they fight for a bit, they can realize they they have, like, a mutual interest in stopping OCP, especially if Megan discovers OCP's bots are a bastardization of her original code. So it's essentially her children that she needs to put in their place. And Robocop is like, you're a criminal, but this is is criminal a criminal a criminal wave of of epic proportions because these one percenters have the money to do whatever they want, and no one's gonna hold them accountable, which then allows us to stay true to both of the franchise's themes, which is Robocop taking out the real criminals, which is the elite, not the downtrodden, and Megan being this allegory for protective motherhood.
Speaker 1:So then they team up and fight the the Eds. Okay. You don't have to like it. You can say you don't like it.
Speaker 2:What I liked about this is what I liked about the the the previous one is it kept Megan a bad guy. Mhmm. I realized she it it seems like she's not gonna be that in the second movie. Mhmm. So that doesn't seem to be a theme that needs to be kept.
Speaker 2:Basically, it seems like Megan is following the terminator arc.
Speaker 1:Yeah. Yeah. That's just a good
Speaker 2:Yeah. And and fighting a a an advanced bad version of herself. Mhmm. And that's that's okay. That is fun.
Speaker 1:I I do like the notion of let her maintain the villain, like, a villain. Mhmm. You know, I complain all the time about turning villains into heroes. Mhmm. Like, I don't like that for
Speaker 2:the most Yeah.
Speaker 1:But Megan's core code is to protect her child at all costs. That does come Gemma did program her that from coming from a good place. Yeah. So at her core, it's like it's like the AI that realizes the only way to protect humans is to destroy them notion Yeah. Of the singularity, not yeah.
Speaker 1:Yeah. So I, yeah. Worse. Having having
Speaker 2:Sorry. Yeah. The empty empty dead air.
Speaker 1:Well, having Megan and Robocop team up to destroy the the OCP people and then robocop saying, like, when this is over, I'm still gonna arrest you. The oh, there's a there's a thing that her robocop could bond over as well because Murphy finds his humanity in his wife and child. Like, he he is a father, and that's what brings back his humanity. Megan is essentially a mother. They can connect on that level.
Speaker 1:I know this sort of defeats the purpose of you wanting her to maintain maintain that villain villainhood. Dead or alive are coming with me. I choose dead, and then she just murders everybody.
Speaker 2:Woah. Woah. Woah. And you throw all those out. And the thing is it it could be done better than this.
Speaker 2:I'm getting glib at this point. But, essentially, you're you're creating a save Martha moment.
Speaker 1:Ew. How dare you? How dare you? Unbelievable. I I'm out of here.
Speaker 1:This is not
Speaker 2:Alright. Well, TC's gone, so now we can do whatever we want. And I'm gonna have Megan fight Mechagodzilla.
Speaker 1:Get off my microphone. No.
Speaker 2:Oh, he's back. Oh, no.
Speaker 1:No. I was thinking Mechagodzilla. No. Oh. This was my idea.
Speaker 2:Say more.
Speaker 1:He's a robot.
Speaker 2:Uh-huh. Mechagodzilla? Yeah. Oh, that's a good that's good.
Speaker 1:I don't know if you knew that.
Speaker 2:No. I didn't. Because it's not in his name. He's not robot Godzilla.
Speaker 1:And if the 99 Godzilla taught us anything, Godzilla's a woman. So it'd be woman versus woman.
Speaker 2:Uh-huh. Yeah. And then they could bond on being mothers.
Speaker 1:Yeah. Just get their nails done. Stew it. Stew it. Stew it.
Speaker 1:Yeah. Save Martha moment. Like, a Martha moment of, like, we're both parents?
Speaker 2:Yeah. That that's yeah. And and We
Speaker 1:could do that but better.
Speaker 2:Yes. That I know. That's why I said I know I'm being glib with this.
Speaker 1:The yeah. And then and then having, like, Murphy get obliterated because he always does, and then she can choose to save him. And I'm like, alright. I'll help you out. Because they are at odds, but the enemy of my enemies is my friend's situation here until however this plays out.
Speaker 1:And and Murphy could just be like, maybe commit less crime and
Speaker 2:Well, but that's the thing. Robocop can't she is a criminal. Yeah. Robocop can't let her go.
Speaker 1:Mhmm. You're right. He can't. In the end, she does have
Speaker 2:to And If anything, she would have to win she would need to disable him to the point that he could not chase her.
Speaker 1:Okay. They or if she's willing to show mercy. But after they defeat OCP and she's like, know, dead or alive, come with me. Dead. She's dead.
Speaker 1:She kills them all. And then he's like, great. Now I have to arrest you. And she's like, excuse me? He's like, yeah.
Speaker 1:You're a criminal too.
Speaker 2:Say that say that again.
Speaker 1:Excuse me? And then she's like, you're I'm not going in with you. Like, no. Alliance over. Team team team up over.
Speaker 1:I'm gonna kill you now. And then she goes and murderizes him. And then then she's bad again, and then you get what you want when she's she's ultimately a bad person. She's a bad robot.
Speaker 2:Bad robot.
Speaker 1:Bad robot. Do you never mind. What do you you know, does that does that help I we don't have to keep elaborating on Robocop versus Megan.
Speaker 2:Yes. We do. We we must. Megan versus Death Machine.
Speaker 1:So right
Speaker 2:Death Machine, a movie almost no one else has seen.
Speaker 1:Jim's seen the best movies. That sounded mean. You
Speaker 2:had No. No. I'm I'm showing good
Speaker 1:movies all the time.
Speaker 2:I was
Speaker 1:Okay. Right when Robocop they finish wiping out OCP, and Robocop turns on Megan and is like, I'm gonna arrest you now. And her and and she and him fight, he actually, like, gets the upper hand. A a a globe of energy appears, and as it dissipates, Megan is there on one knee with a fist in the ground, and she has time traveled into this pocket dimension to recruit Detroit's very own queen pin, Megan, into a multiverse of Megan murder machines. I tied it
Speaker 2:to Now I'm in.
Speaker 1:You you did it. I connected to our Terminator movie. Yeah. Did you see that? You were sitting right here.
Speaker 1:Think you saw it.
Speaker 2:Yeah. My mind is boggled.
Speaker 1:No? Yeah. No. Yeah. Okay.
Speaker 2:And then and then we get we then we then we are verging into Jason versus Freddie versus Ash territory.
Speaker 1:Yes. Which is the we all needed that. Yep. The fact that it never happened is a sad, sad thing.
Speaker 2:Yeah.
Speaker 1:Alright. So what you're what I'm hearing, if I'm hearing you correctly, is that Meghan versus the evil dead needs to happen. Is that what you were just pitching? Yeah. Okay.
Speaker 1:I thought that's what I heard. I was reading between the lines there. We're gonna wrap this episode
Speaker 2:up. Dead by Dawn.
Speaker 1:Dead by Dawn. Dead bitch by dawn. Okay. We're wrapping it up here, folks. Dan, how did we do on the, Meg?
Speaker 1:I think we did some good stuff with Megan versus Terminator, so consider that our actual pitch to you. Do you agree? Do you disagree? Did we meet your demand today? Hit us up if you
Speaker 2:Is there another robot you wanted to Yeah. Yeah. To see?
Speaker 1:Did we did we miss out anything? Do you want
Speaker 2:more Or or or an AI we we should have done instead? Megan versus her.
Speaker 1:Megan versus just a sad Joaquin Phoenix in his high waisted pants. Like all the all the artificially intelligent women that I fall in love with are really just messing me up, man. Hit us up directly at studiodemandsit.com or on Instagram at studio demands it. If you are not already, you can subscribe to us on any podcatcher of your choice. I'm assuming anyone who listens to this is subscribed.
Speaker 1:I mean, why else would you be here? Thank you for those who've come. We've got a bunch of new subscribers courtesy of our home improvement poster.
Speaker 2:Hooray. Thank you. Excellent. Yeah. Yeah.
Speaker 2:Welcome.
Speaker 1:Some good numbers. We put up some good numbers on the home improvement folks for
Speaker 2:I'm curious. Let us know. Was it home improvement or was it John Cena? Yeah. It John
Speaker 1:Cena definitely caught people's attention. Oh oh, worth bragging about. Richard Karn liked our post.
Speaker 2:Yes. He did. It's amazing.
Speaker 1:Al Borland himself getting getting the nod from Richard Karn with an LOL and a laugh emoji, folks. Yeah. You can also find us on YouTube and TikTok where some of you came from. Well, to where we post video content including material not heard here on the show. Jim, where else can people find us?
Speaker 2:You can join the conversation over on Reddit. We have a a subreddit at r/studiodemandsit. So that that's that's there. And then you can also join us on Discord. You can go to our website at studiodemandsit.com, and there's a link to the Discord link with to an invite to the Discord server and join us there.
Speaker 2:Yay. That took longer to say than normal.
Speaker 1:That's alright. I've I've I've been fumbling all over the place here. Massive thank you to six five media for everything they do for us. Please check out the other six five shows if you have any interest in Zelda. And and speaking of artificial intelligence, gotta plug an artificial podcast that David, our our beautiful godfather, has created, which is basically her.
Speaker 2:He is our podfather?
Speaker 1:He's our podfather. Damn. It was right there.
Speaker 2:It was right there. It's the caffeine.
Speaker 1:It's the caffeine. Check out an artificial podcast. David actually has a a podcast that is an AI that he has conversations with about existential things and life in the world and and it's it's a really fun show. I'm big plug for that. If you want more, you can head over to Patreon.
Speaker 1:A couple bucks a month, you can get early episodes, commercial free, extended double length episodes, movie commentary tracks that also have episodes in them. Jim and I will talk about movies forever and have. Yes. And you can also show us some love by subscribing for free. Jim, unless you have anything else, I think that does it for this episode.
Speaker 2:I think so.
Speaker 1:Okay. We will be back again soon with another one of your demands to challenge ourselves to write a cool movie.
Speaker 2:Megan versus Upgrade? Upgrade
Speaker 1:was not as good as I wanted it to be.
Speaker 2:Upgrade was better than I thought it was gonna be.
Speaker 1:It was the better Venom movie of the year it came out. It was. Starring the not Tom Hardy
Speaker 2:Yeah.
Speaker 1:Logan Green. Mhmm. But it got a little too serious. Like, it it wasn't as, like, fun as I thought it was gonna be.
Speaker 2:Oh, sure. Yeah. The the ads the ads played up some of the action scenes and and some of the weirder camera
Speaker 1:Camera moves. Bits. Yeah. And I thought it was gonna be more of that. Sure.
Speaker 1:And it was it was more limited.
Speaker 2:It felt like it was going be hardcore Henry crossed with Jackie Chan's the suit.
Speaker 1:Oh, yeah.
Speaker 2:That's what it felt like it was gonna be.
Speaker 1:The tuxedo?
Speaker 2:Or that's what I mean.
Speaker 1:Yeah. Megan would would would kick his his ass.
Speaker 2:Not once he upgraded.
Speaker 1:Oh, how would she stop him? Yeah. He it's like super intelligence running the running the numbers. She's not she's not matrix.
Speaker 2:She would get an upgrade.
Speaker 1:She would oh, Yeah. Yeah. She'd get an upgrade. But Megan versus
Speaker 2:Upgrade fight.
Speaker 1:Upgrade fight. Megan versus the Sentinels from the Matrix. Megan's in the Matrix.
Speaker 2:Yeah. Oh, no.
Speaker 1:I know kung fu, bitch.
Speaker 2:Of course. Of course, bitch.
Speaker 1:It's every that's that's all the only lines I know how to write for Megan at this point. Okay.