"The Fog" (1980) with Nicholas Pepin & Laramy Wells

Tim Williams: Horror fans know John Carpenter best for Halloween and the thing, while action and sci-fi aficionados might think of Escape from New York, They Live, or Big Trouble in Little China. But often overlooked is this 1980 eerie crowd pleaser that overcame its low budget, do-it-yourself roots to become a massive hit, earning 20 times what it cost to make. On the eve of the town centennial celebration, a mysterious fog creeps over the coast and people suddenly start going missing or turning up dead. While the arrival is preceded by eerie supernatural phenomena like electronics going haywire, it's quickly superseded by a terrifying presence. Ghostly figures, undead pirates from a bygone era, return to exact bloody revenge. So leave your flashlights behind, double bolt your coastal windows, and listen closely to the radio tower as Nicholas Pepin, Laramie Wells, and I discuss the fog from nineteen eighty right here on the eighties flick flashback podcast. Welcome to the show, everybody. I'm your host, Tim Williams. So glad to have you on this October episode as we jump into our spooky season. So joining the broadcast booth today from the glowing red light console of K A B K Radio are two veterans of these retro discussions. First, ready to man the lighthouse beacon and make sure no wayward sailors wander blindly into the glowing vengeful cloud. It's Nicholas Pepin from Pop Culture Roulette. How are you doing, Nicholas?

Nicholas Pepin: I'm I'm new to podcasting. Are you guys weird?

Tim Williams: Yeah, I'm totally weird.

Nicholas Pepin: alright. I wouldn't want to do this if you weren't weird.

Tim Williams: Right, right. Next, he's ready to lock the doors of the local church and read old journals found on the wall. That's totally safe, right? From moving panels, it's Laramie Wells. How you doing, Laramie?

Laramy: I'm good. This is one of my favorite Stephen King stories. wait, that that's the mist. That's that's the other one. Yeah, that's the mist. Okay. I watched the wrong movie.

Tim Williams: Right, right. Yeah, yeah. We might we might talk a little bit about that. Again. scanning. yeah. I was at least I didn't watch the remake. So we'll we'll but we'll get into that too.

Laramy: Tom Welling Superman battles the fog? Come on.

Tim Williams: Yeah, it's got a 14 on Rotten Tomatoes.

Nicholas Pepin: Yeah.

Tim Williams: are you guys ready to talk about the movie that contains three of the most prominent screen queens of American cinema? All right.

Nicholas Pepin: Let's do this thing.

Laramy: Yes.

Tim Williams: Yes. All right. Well, you know how we start the show. Nicholas, when did you see the fog for the very first time?

Nicholas Pepin: Hmm I know that I did an episode of Horror Through the Decades on the Fog two years ago. So the best I can recollect is about two years ago.

Tim Williams: Okay. Was your first time seeing it?

Nicholas Pepin: Yes.

Tim Williams: Gotcha. what about you, Laramie on T V?

Laramy: Actually I don't think so. I actually think

Tim Williams: Yeah.

Laramy: I actually think this is the one I I was really racking my brain. And crazy enough, I may have actually seen the remake first

Tim Williams: Ha ha ha

Laramy: and then went back.

Nicholas Pepin: Good chance I saw the remake first as well.

Laramy: Yeah. And then went back and watched the original.

Tim Williams: Gotcha.

Laramy: Yeah.

Tim Williams: I could see that. I could see that. So yeah, I think I saw this probably the very first time, probably last Halloween when I was like watch trying, you know, the last couple of Halloween I've been trying to watch a bunch of the older eighties horror movies that I'd I've heard of but never watched. And so I'm pretty sure that was the first time I ever saw it. So this is fairly new watch, I guess for most of us. So when did you last see it before re-watching it for the podcast, Nicholas? Two years ago.

Nicholas Pepin: Well about two years ago, yeah.

Tim Williams: Laramie?

Laramy: It's been a long time. I I could not,

Tim Williams: Okay.

Laramy: could not tell you. Yeah, this this is not one of my my like go to Halloween movies.

Tim Williams: Yeah. last year I found a double pack Blu ray Scream Queens edition and it had the howling and the fog were the two movies together. So so yeah so but yeah, this is not like one of the top one of the top tier like horror movies of the decade that a lot of people talk about, even though I I enjoy it. Like I it's got a slow start, but once it kind of gets moving, it it gets better. so yeah, we'll we'll talk more about it.

Laramy: Mm-hmm.

Tim Williams: Well, let's jump into the time of the show. We put our nostalgic knowledge to the ultimate test. It's time for risky quizness. All right, here's how it works. I'm going to give you guys five statements regarding the story origin and pre-production behind the fog. All you have to do is tell me whether each statement is true or false. If you get three or more correct, you officially beat the host, win the game, and claim ultimate bragging rights. If not, well, we'll just leave you in the church alone as the fog takes its final revenge.

Nicholas Pepin: Ha ha ha.

Tim Williams: Are you guys ready to play?

Nicholas Pepin: I think I think we can do this one.

Tim Williams: Are you work? All right, work as a team. Here we go. Number one, the core idea for the fog was conceived by John Carpenter and Deborah Hill while they were visiting Stonehenge in England and walked through an eerie mist surrounding the ancient stones. True or false?

Nicholas Pepin: True.

Laramy: No, Nicholas was very confident on that, so we're going with her.

Tim Williams: He was. That is a hundred percent true. They were there to promote assault on precinct thirteen, and Hill turned to Carpenter amidst the real life mist and said, What if something was in that fog? And this sparked the conceptual foundation of the film. So one is correct. I have a feeling Nicholas might have studied this time.

Nicholas Pepin: Mm-hmm.

Tim Williams: Statement number two, when John Carpenter and Deborah Hill assembled the initial cut of the film, test screenings went so poorly that they realized the film lacked pacing and tension, forcing them to completely overhaul it. True or false?

Nicholas Pepin: Ooh. This this is one of those weird technicality questions.

Laramy: I

Tim Williams: Yeah.

Laramy: I know I actually know that one to be true. and I'm trying to remember how. It had to do with it was

Tim Williams: Yeah.

Laramy: because of Scanners. Cronenberg had just released Scanners, and Scanners was such a violent movie that test screeners were actually bored by this movie. So they had to go back and add in some actual more like graphic scenes. So like that opening scene where you actually see the guy getting stabbed and stuff like that. They had to go back and add that in. Like worm face and all that was all added back in. I remember that now.

Nicholas Pepin: Yeah, I I knew it was I knew they had to re-edit the movie to add in the that and it was short. So they had to add in like longer sc longer scenes to make it longer. So I didn't know if it was a pacing issue or they were just like there's not enough violence in this horror movie.

Tim Williams: So you going true, is that your final answer?

Nicholas Pepin: yeah, let's go true.

Tim Williams: That is correct. Yes. As you both said,

Laramy: Yeah.

Tim Williams: the initial rough coat was famously described by Carpenter as a disaster. It lacked scares and narrative drive, prompting emergency reshoots that constituted roughly one-third of the final theatrical release. So, but yes, scanners did have a lot to do with it. They were like, they needed more more blood. All right. number three. So we got two for two. See if they can. Take this one. The iconic opening scene featuring legendary actor John Houseman telling a campfire ghost story to a group of children was part of the original script and shot during principal photography. True or false?

Laramy: Faults. It just feels too detached.

Tim Williams: Kinda knew that was coming, right? Yeah. Yeah. That is correct. The entire campfire framing sequence was added during the emergency reshoots. Carpenter and Hill needed a classic narrative device to set up the supernatural exposition and anchor the spooky tone right out of the gate.

Nicholas Pepin: And and it really barely feels like it's connected to the movie at all until the until the little boy makes some comment about like,

Tim Williams: Yeah.

Nicholas Pepin: so and so told me a scary story and they're like

Tim Williams: Go yeah.

Nicholas Pepin: like wait, was that part of the movie at all? Like what what was the what was the

Tim Williams: Ha ha ha

Nicholas Pepin: point of that first five seconds?

Tim Williams: Yeah. It's one of those

Laramy: It's it was like the opening of a a for for my submission to the Midnight Society. I tell this story. sorry.

Tim Williams: Yeah.

Laramy: Are you afraid of the dark reference?

Tim Williams: Gotcha.

Nicholas Pepin: okay, yeah.

Tim Williams: Gotcha. All right, so they've already got their three. Let's see if they can do a full sweep. So number four, Jamie Lee Curtis was cast strictly because she auditioned and beat out dozens of other screen queens for the role of the hitchhiker. True or false?

Laramy: I'd say false. I want to say she just asked.

Nicholas Pepin: Yeah, I would

Laramy: Like she just told John Carpenter, like, I'll be in it.

Nicholas Pepin: Or or John Carpenter like, Well, we've already worked together, let's let's just do another one.

Tim Williams: So you go on false?

Nicholas Pepin: Yeah, I'm gonna I'll go false too.

Laramy: Yeah.

Tim Williams: All right, that is correct. Curtis did an audition. She made the movie basically as a favor. After Halloween made her a star, she experienced a temporary lull waiting for offers. So Carpenter specifically created the role for her and brought in her real-life mother, Janet Lee, to star alongside her. All right, let's see if we got a clean sweep. Number five, Adrian Barbeau's iconic performance as the disc jockey was conceived on set by Barbot. She tried multiple voice inflections before deciding on the breathy tone. True or false?

Nicholas Pepin: False.

Laramy: Yeah, 'cause yeah, I'm gonna go false. I'll go false.

Tim Williams: It's a clean sweep, everybody. That is false.

Laramy: Hey

Tim Williams: She explicitly modeled her performance after real life late-night New York City radio icon Allison Steele, famously known as the Nightbird, on WNEWFM, adopting her smooth, hypnotic late-night delivery. So it's been a while since we had a clean sweep, but good job, guys. Good job, good job. So, if you played along at home, let us know. Send us an email, message us on social media, or you can leave us a comment right here on YouTube. So yeah, I thought that one was pretty, pretty easy. And that was not not it's not to take anything away from your win, but it was pretty

Laramy: I mean.

Tim Williams: easy. All well, let's jump into the cast. And as I was I was telling the guys before we started recording, I did not originally intend to do two John Carpenter movies back to back. But as we mentioned in the last episode, They Live was kind of a last minute change. But this was already kind of on the books, so we kept it. But there's a lot of overlapping here when we talk about John Carpenter and some of the cast. But let's start with the top of the cast list is Adrian Barbeau as DJ Stevie Wayne. we're not gonna go into her filmography because we've talked to her about in other episodes, such as Escape from New York, Swamp Thing, and of course, most recently, The Cannonball Run. So, so Carpenter and his co-writer producer Deborah Hill, we mentioned already, met in 1975 when she worked as a script supervisor on Assault on Precinct 13, and they began dating shortly thereafter. But they broke up in 1978 when Carpenter met Adrian Barbeau while making the TV movie Someone's Watching Me. Carpenter and Hill continued to work together for the rest of her life. She passed away in 2005, but making the fog couldn't have been easy for any of them as it starred Barbo, to whom Carpenter was newly married and wrote the role of Stevie specifically. Jamie Lee Curtis, a friend of Hill, said in a 2013 interview that it was indeed an emotionally difficult time for her. So you're the director, your producer is your ex girlfriend, your star is your current wife. That's gotta be interesting. Ha ha ha.

Nicholas Pepin: It it just it makes you question why they chose certain aspects of doing like, Hey, let's do this movie. Hey, why don't we cast this person? Like

Tim Williams: Right. Right. And this was also like her feature film debut. Like she had done a lot of TV before

Laramy: wow.

Tim Williams: this, but this was her very first like theatrical film debut. So

Laramy: I don't think I knew that.

Tim Williams: All right, next we have Jamie Lee Curtis as a Elizabeth Soli. we of course we previously covered her in Halloween too and trading places. While she's not the lead, distributor Avco Embassy Pictures insisted that Jamie Lee Curtis be featured on the promotional poster, surely to capitalize on the success of Halloween.

Nicholas Pepin: Yeah, that would be my guess. Well

Tim Williams: Yeah, which yeah. Like I remember like when I saw when when I first watched it the first time a couple years ago, and like of course it's the pu it's pretty much the poster or whatever streaming service was like I was expecting her to like the main character. And I'm like, She shows up, she's in a couple of scenes, but like this movie is not really about her. Like she's really

Laramy: No.

Tim Williams: a a side character. So

Nicholas Pepin: Yeah, I mean she's in the movie almost as much as Adrian Bourbeau is though. I mean

Tim Williams: I think Barbara might be a little bit a little bit more. Not not a whole lot, but a little bit more.

Laramy: Mm.

Nicholas Pepin: She but Jimmy Lee Curtis also has a lot more to do than Adrian Barbot does, who in enter who

Tim Williams: Yeah.

Nicholas Pepin: has one scene with one character, and other than that is solo the rest of the

Tim Williams: Right. Yeah. Yeah.

Nicholas Pepin: movie.

Tim Williams: Yep. All right. Moving right along. Janet Lee as Kathy Williams. Lee was established as one of the earliest scream queens for starring In horror films, she's also known for starring in dramatic productions for MGM. Of course, she achieved success playing in Alfred Hitchcock's horror film Psycho in 1960. She then starred in the political thriller The Manchurian Candidate in 1962, the musical Bye Bye Birdie in 63, and the thriller Harper in 66 before scaling back her career. This is the first of only two feature films that she made with her daughter, Jamie Lee Curtis, the other one being

Nicholas Pepin: H two o.

Tim Williams: Who knows?

Laramy: Halloween H two O.

Tim Williams: There you go. I knew both you guys on you would know that.

Laramy: Yeah.

Tim Williams: So yep.

Laramy: Although they also were both in the Scream Queens T V series. Yeah.

Tim Williams: yes, that's true. Yep. That is true as well. but Janet Lee was a true professional. So the rumor is that Janet Lee saw Halloween and contacted John Carpenter, said, I loved your movie. If you ever need me for a role, I will gladly do it. So he was ecstatic to have her on the film because it gave some, you know, having like a a for real established movie star. especially in the horror genre, gave him a lot a lot of extras from the studio. but he also told the story that the scene in the bar right before the festival kicks off required Janet Lee to cry. They had to shoot it fourteen times because of technical reasons, but like a true professional, she cried on each take. So That's what you do.

Laramy: Yeah. That's something you gotta have in you though. Like I

Tim Williams: I know. Yeah, I don't think I'd be able to do that.

Laramy: you know what though, you'd be surprised. Like I was I was actually in a show this past summer and there there was a part at the end and just in my head, like I wasn't told by the director or anything, but in my head I was

Tim Williams: Mm-hmm.

Laramy: like, you know what? I think this would be more powerful if I could cry. And so we got to, you know, final dress and all that, and I started actually crying.

Tim Williams: Mm-hmm.

Laramy: And I and I was and you know, people were like, you started crying and I lost it and you know, people are telling me all that and I was like,

Tim Williams: Ha ha ha.

Laramy: Well, I don't know if I can do that every night. And then I did it every night, yeah.

Tim Williams: Mm. But you did.

Laramy: So, yeah, I don't know what it is, but there's just something that that'll click sometimes.

Tim Williams: Yeah. yeah. I could see that.

Nicholas Pepin: Well, until recently when James Gunn broke me, I wasn't I never cried at a movie anyway, so I don't know if I could cry on command.

Tim Williams: Was this in Supergirl?

Nicholas Pepin: No, well that that was a different reason for crying. But no, I'm saying Yeah, that was that

Laramy: No. That was another another type of crying.

Tim Williams: I was like Right.

Nicholas Pepin: was a different type of crying. No, I'm saying like, you know, I I had a streak of not crying at movies until James Gunn with Guardians three. And then ever ever ever

Tim Williams: yeah.

Laramy: Yeah.

Nicholas Pepin: since then I've been just losing it at movies all over the place.

Tim Williams: Gotcha.

Nicholas Pepin: James Gunn broke me.

Tim Williams: Yeah.

Laramy: Mm-hmm.

Tim Williams: man. All right. Well, let's keep moving. We got Hal Holbrook as Father Patrick Malone. He made his film debut in Sidney Lemay's The Group in 66. He later gained international fame, first performance as Deep Throat in the 1976 film All the President's Men. He's played Abraham Lincoln in the 1974 miniseries Lincoln and again in the 1985 miniseries North and South. He's also appeared in films such as Magnum Force in 73. Creep Show in 82, Wall Street in 87, The Firm in 93, and Men of Honor in 2000. So the role of Father Malone was actually offered to Christopher Lee, who was also offered the role of Dr. Loomis. but Lee was unavailable and Hal Holbrook eventually was cast. So

Laramy: John Carpenter really wanted to work with Christopher Lee.

Tim Williams: Yeah, he did. Well Christopher Lee said that he turned down the role of Dr. Loomis then after he saw the movie he wished he would have taken it. So but then this one he just couldn't make this make the schedule work. So but

Nicholas Pepin: Christopher the AKA the the real most interesting man in the world.

Tim Williams: Yeah. And then of course, two years later, Hal Holbrook and Adrian Barbeau would again be cast together in George A. Romero's creep show in 82, which they may not covered last year, two years ago. but in that movie they played husband and wife,

Laramy: And he wants to kill her.

Tim Williams: Yeah, yeah. Then we've got Tom Atkins as Nicholas Nick Castle. Previously covered in episodes about Creep Show and Halloween three season of the witch. Yes, his character's name is Nick Castle, which is the name of the original actor who played the shape or Michael Myers in the classic Halloween, nineteen seventy-eight, which because Carpenter wrote the script, just about all the character names are associated with somebody either he knows or is an homage to somebody that he likes or is a fan of. Then my next favorite cast member is Nancy Loomis as Sandy Fidel. her actual name is Nancy Kaies or Keys, K-Y-E-S, but she was known at that time and billed in the movie as Nancy Loomis, having the same last name as a psychiatrist, Dr. Sam Loomis, in the Halloween movies. Including this movie, Loomis has appeared in five movies, either directed or produced by Carpenter. The other movies were Assault on Precinct 13, 1976, Halloween, Halloween two, and Halloween three season of the witch. I think she changed her name to be Loomis just so she could be in the movie. Maybe.

Nicholas Pepin: Yes.

Laramy: Yeah.

Tim Williams: And then I will say the lead ghost Blake was played by special effects artist Rob Botton. When Botten asked for the job, John Carpenter asked him to stand up. Boton then expected Carpenter to say, and get out. But when Carpenter saw that Botten was a very large man at six foot five, which was needed for the character Blake, he was hired. And All of the hands or all of the arms that you see in the movie are all the same person. They're all Rob Button.

Laramy: Very nice. Yeah.

Nicholas Pepin: All right.

Tim Williams: Yeah. And then our two special appearance, John Houseman, as Mr. McKinnon covered in previous episodes about Scrooge and the Naked Gun. so but yeah, great actor. And then if you noticed somebody else looked familiar too, Father Malone's assistant Bennett was played uncredited by the director himself, John Carpenter.

Laramy: John Carpenter.

Tim Williams: Carpenter felt so terrible in the role that he stopped acting in his movies except for helicopter pilots and walk ons. His

Nicholas Pepin: Mm-hmm.

Tim Williams: words, not mine, so.

Laramy: Well he did he did body bags.

Tim Williams: Yeah.

Laramy: Or he was the the you know, Cripkeeper type character.

Tim Williams: Yeah. I didn't think he was that bad, but I did know it was him. No, I did know it was him. Yeah, I didn't yeah,

Laramy: You didn't? you did, okay, yeah.

Tim Williams: yeah. I could tell. I was like, yeah, there he there's the director. Well, that's the cast I have. There were a few that didn't have any kind of bio, meaning this was probably the only movie they did, and others that were just not people that I remembered in the movie at all or weren't in it long enough to be mentioned.

Nicholas Pepin: Meant to I meant to look up the kid and see if he went on to do anything, but apparently since he didn't make your list, he did not.

Tim Williams: He did not.

Laramy: He did. Yep.

Tim Williams: All right, well let's talk about iconic scenes of the fog. So I'll start with Laramie. Laramie, when someone says the fog from nineteen eighty, not the mist and not the remake, what's the first scene that pops in your head?

Laramy: Honestly, it's just it's Adrian Barboa just in the lighthouse. Like

Tim Williams: yeah.

Laramy: probably after watching it, I go, yeah, the shots of like you can see their silhouettes in the in the fog. But

Tim Williams: Mm-hmm, mm-hmm.

Laramy: but that wasn't until after I watched it. Like if you

Tim Williams: Right.

Laramy: if you were to just ask me, like it it probably would just be the Adrian Barboa, you know, commenting on what she can see from the lighthouse and what she's

Tim Williams: Mm-hmm.

Laramy: she's discovering from the lighthouse. Like I that's honestly it for me.

Tim Williams: did those scenes where she just like commentating on the radio didn't it feel like I was you were watching like a radio broadcast, like almost like War of the Worlds, like I'm listening to a story on the radio?

Laramy: Yeah. It also made me wonder a couple of times. I mean, I get that it was nineteen eighty, the movie was filmed in seventy nine. you

Tim Williams: Right, right.

Laramy: know, I I get a part of me was also wondering, like like is this the only radio station? Like she's talking as if everyone hears every yeah, that there's no chance that someone's listening

Nicholas Pepin: Mm-hmm.

Tim Williams: Yeah. Everybody listens to that radio station. Yeah. Yeah.

Laramy: to another radio station.

Tim Williams: Yeah. Well it's gotta be a pretty small town too, because I don't ever see more than like fifteen people in one place. So and I might that might be a stretch.

Laramy: Yeah, but again, I I but again, weren't there other radio stations? Like

Tim Williams: Yeah.

Laramy: every everyone just listens to Adrian Barboa's character and soft jazz. That's Yes.

Tim Williams: right, and only at night, yeah.

Nicholas Pepin: Yeah, to say, 'cause I I gotta say, I understand they were doing soft jazz because that's all they could afford the the rights to. Yeah,

Tim Williams: Right. That's exactly why I was jazz. Yeah.

Nicholas Pepin: that's why you know it was you know, some sort of unlicensed music they could get a hold of. Yeah.

Tim Williams: Mm-hmm, mm-hmm.

Nicholas Pepin: But yeah, like I mean if this was a real thing and like I'm just like, Yeah, I don't care that my mom's on the radio, I'm listening to this other station.

Laramy: Yeah.

Tim Williams: Right.

Laramy: Listen to some eighties hair metal. Come

Tim Williams: Yeah.

Laramy: on.

Nicholas Pepin: Yeah.

Tim Williams: Yeah, something. Yeah. Is interesting. Lots of lots of plot holes. All right. So Nicholas, what about you? Iconic scene.

Nicholas Pepin: I was struggling with this one because there isn't really like anything like other than like the silhouetted pirate or and I'm using the word kind of air quoted pirates

Tim Williams: Right, right.

Nicholas Pepin: coming through the fog, like especially towards the end when they're breaking into the church and you kind of see them. I

Tim Williams: Mm-hmm.

Nicholas Pepin: do I do appreciate and I kind of wish maybe we'd go back to this style of filmmaking where like That was what made Alien great and so

Tim Williams: Mm-hmm.

Nicholas Pepin: Jaws, like you don't really see what's in the fog until towards the end or halfway through. Like like

Tim Williams: Yeah, yeah, for sure.

Nicholas Pepin: you you let your imagination be worse. 'Cause even even when the when the pirates attack the sea bass or sea snake or whatever the seaweed, whatever that original boat was, you

Tim Williams: The but boat was, yeah.

Nicholas Pepin: see them kind of, but you really don't see them very well. Like it isn't until

Tim Williams: Mm.

Nicholas Pepin: You got the two attacking Adrian Barbeau who for whatever reason decided to climb to the top of the lighthouse. And then when

Tim Williams: Right. Right.

Nicholas Pepin: they were like how how Holbrook was like, I've got this giant gold cross that I'm gonna like attack the pirates with. But yeah, I I don't really it's there's nothing like I mean it's it's a it's a fine movie in a in and of itself, but there's nothing like like there's not like one like man you gotta see this one scene or there's not like a like

Tim Williams: Mm-hmm.

Nicholas Pepin: a hook scene in this movie.

Tim Williams: Yeah. Yeah. I'm I'm kinda like I'm the same with you guys, like of course also because we've all s we all saw this much later than when it originally came out. I don't really have like a real iconic scene either. I think it's the same, like you guys said, the the silhouettes and the fog, like but once again, like you said, I mean I only say that now because I just watched today. Like if

Laramy: Mm.

Tim Williams: the only iconic thing I have about this movie is the poster, just because I've seen the poster so many times. It's Jamie Lee Curtis up against the door with the fog kind of leaking out of the side. I mean, that's if there's an iconic scene, even though that scene's not even in the movie, that's what I would want to think of. And I think Nicholas and I talked about this, I think, with Escape from New York. Like the poster shows like the Statue of Liberty crumbled or like on you know, in the middle of New York, that's not even in the movie at all. Like the the the Statue of Liberty stays completely intact in the movie. So but that's what I remember.

Laramy: Yeah. And even though 'cause the

Nicholas Pepin: So what you're saying is that John Carpenter movie posters lie.

Tim Williams: Yeah. yeah,

Laramy: Yeah.

Tim Williams: that's true.

Laramy: 'Cause yeah, the thing with the the sh guy with the bright light behind him or whatever it's supposed to be. Yeah.

Tim Williams: Yeah. Right. Which is not even yeah.

Laramy: But even my D V D copy of the fog shows the pirates in the kind of silhouette. Like that's still not what I think of. So

Tim Williams: Okay. Yeah. Right, right. All right, what about favorite scenes? Are there any favorite scenes in this movie or

Nicholas Pepin: Th there was there was one scene that that struck me as really funny today because it seemed

Tim Williams: Yes.

Nicholas Pepin: so out of place. they're on the Tom Atkins and and Jamie Lee Curtis are on the boat. And she's

Tim Williams: Mm-hmm.

Nicholas Pepin: like he she sa they say something about like, they were probably drunk last night and he goes she goes, Well, what's that like? Or no, what's what's that like and he well, you know, you kinda you start seeing the room span, he's like, No, fishing.

Tim Williams: even when they're on the like when they're on the boat on the ocean and she's like, Is it like this all the time? He's like, It's different all the time. Like, why is that important? Like it was like it was just some like random line just said, There's some there there's some interesting dialogue. And then my one of my my favorite line, which made me laugh, was it's when the guys on the ship I guess and they're like, They said there's inc there's incoming fog. There's no incoming fog. They said there's incoming fog. I don't see any incoming fog. I'm telling you to say there's incoming fog. Hey

Laramy: Yeah.

Tim Williams: guys, there's incoming fog. I'm like I didn't know it was a comedy all of a sudden. But yeah.

Nicholas Pepin: I I also liked the Jan Lee and whatever her assistant was, like, You're annoying, but thank you.

Tim Williams: Yeah. Right. Yeah. Yeah. And that was another thing. Like none of the characters seemed in any way connected, but they all like by the end were just, you know, like we've we've been in this together from the beginning and like they just met like five minutes ago.

Laramy: Yeah. I honestly thought you were about to say none of the characters in this felt like they were inept at all.

Tim Williams: That's true.

Laramy: Yeah. somebody's knocking at the door. Let me go find out who it is.

Tim Williams: Yeah.

Laramy: It's twelve forty five at night. Doop de doop de

Tim Williams: Right, right.

Laramy: doop.

Tim Williams: yeah. And then the was it the weather guy that had the crush on the on Adrian Barbo he like, they're gonna be sorry they came up knocking on my door like dude. Right, right,

Laramy: While she's yelling at him, like don't answer the door.

Tim Williams: right, right. She's screaming, yeah. So

Laramy: Yeah. I'm not listening to you, woman. I'm gonna go

Tim Williams: Right, right.

Nicholas Pepin: Yeah. Punk high punk high school kids.

Tim Williams: man. all right. Any other favorite scenes or let's just talk let's just talk about any scenes we want to just kinda talk about.

Laramy: I will say that something that I wish they had played a little bit more with was I liked, for instance, because I get Carpenter's idea was I wanna tell a traditional ghost story.

Tim Williams: Mm-hmm.

Laramy: And so I liked the part in the lighthouse where all of a sudden water starts coming out of the the piece of wood. Yeah.

Tim Williams: Yeah, yeah, of the wood wood, right.

Laramy: And and it short circuits her stuff. Like, okay, I I'm I'm more for something like that

Tim Williams: Mm-hmm.

Laramy: than what we got, honestly. But

Tim Williams: Ha.

Laramy: going back to the Aneptist, the meteorologist is the worst meteorologist. The fact that he talks about that there he tells Adrian Barboa that there's a fog And then she explains to him How can the fog be moving west when the wind is blowing east?

Tim Williams: Mm-hmm.

Laramy: And he just goes, I don't know, but there's a fog.

Tim Williams: Yep.

Nicholas Pepin: And then he still goes

Laramy: like

Nicholas Pepin: and opens the door anyway.

Laramy: Yeah and then yeah and then let me go

Tim Williams: Right. Right.

Laramy: let me go open this door. the all the lights have gone out. Do yeah.

Tim Williams: Mm-hmm.

Laramy: He's he's horrible. I just wanted to say that.

Tim Williams: Yeah. yeah. I there's there'll be no rebuttal for me on that that statement.

Nicholas Pepin: Mm-hmm.

Tim Williams: So all right. So I want to talk about which the I will not say it's the most iconic scene, but I also when I think about this movie, I think about What kind of stud is Atkins? I can't think of his first name now, the actor.

Laramy: Yes.

Nicholas Pepin: Tom Atkins.

Tim Williams: Yeah, I mean, season of the witch, he's bedding the lady,

Laramy: Yes.

Tim Williams: and then he picks up Jamie Lee Curtis, who's obviously 20 years younger than him, at least, maybe 15, maybe 20 is a spring. They meet, you know, and then we we obviously see that they've they've had relations in the biblical sense. And then they say, So what was your name? Like tell what what was your name? Like then they've never ex you know, I'm like, I was like, okay, this this this part's a little little too sh too stretchy for me. So maybe, you know, you know, it's fast and loose in the seventies,

Nicholas Pepin: I

Tim Williams: I guess, but

Nicholas Pepin: I don't think we understand how magnetic Tom Atkins is. We are we

Tim Williams: Yeah, yeah.

Nicholas Pepin: are n he's operating on another level than the

Tim Williams: He's got to be.

Nicholas Pepin: the rest of us are ever been able to.

Tim Williams: Right, right. And then the fact that she stays with him, like it's not just like you know, thanks for the ride, you know, thanks for the night eleven or whatever. But then she's like, No, I want to investigate this thing with you. Take me with you. And it's like there's really no reason for her to be in this movie at this point besides just to be Jamie Lee Curtis in a movie because she needs to be in a movie, so

Nicholas Pepin: It's not terribly different than Season of the Witch when like the girl's like, Hey, you were investigating my father, but now I'm gonna just be here for you.

Tim Williams: Right, right, right.

Laramy: Yeah. But yeah, Season of the Witch, I I recently rewatched that and

Tim Williams: Mm-hmm.

Laramy: and we had that exact comment. It was like what? Like He's old enough to be her dad. And we actually looked it up. And he is. Like he he's he was like

Tim Williams: Right, right. Yeah. Yeah.

Laramy: twenty, twenty one years older than her, than the actress.

Tim Williams: Mm-hmm. Mm-hmm. It's much more evident in that one. Yeah, it's much more evident in that one. But even still, like Jamie Lee Curtis, even though like she had played a teenager, what, a year before that? Or two years before that on Halloween. but still, yeah.

Laramy: No, I I just looked it up. He's twenty years older than Jamie Lee Curtis.

Tim Williams: there you go. I I I rest my case. I wasn't I wasn't

Laramy: Yeah. Tom Atkins

Tim Williams: I wasn't that far off.

Laramy: Yeah, Tom Atkins was born

Nicholas Pepin: Silver.

Laramy: in thirty-eight and Jamie Lee Curtis was born in fifty-eight. And they were both born in November. It is almost exactly

Tim Williams: Ha ha. That's crazy.

Nicholas Pepin: Tom Atkin Tom Atkins is the silver fox. He just gets it done.

Tim Williams: I guess so. Okay,

Laramy: Yeah.

Tim Williams: I'm ready to move on to something else. I just had to get that out of my system.

Laramy: Which means he w he was he was forty years old, forty one when they were making this movie, and

Tim Williams: Mm-hmm. Mm-hmm.

Laramy: and Jamie Lee Curtis was twenty one. Yeah.

Tim Williams: Twenty one. That's crazy. That's crazy. All right. What else we want to talk about? man. yeah. all right. So l go ahead, go,

Laramy: Moving on. I love I I

Nicholas Pepin: So

Tim Williams: go ahead.

Laramy: I just wanna get in my other Stephen King reference.

Tim Williams: Yes.

Laramy: I love that when the the ghost touches the cross, it glows a la Salem's lot. 'cause that is the

Tim Williams: Mm-hmm. Mm-hmm.

Laramy: exact same thing that happens in Salem's lot is the the crosses glow when they get close to the vampires. So look, I don't know if you have this in yes. I

Tim Williams: And s and Salem's law was seventies, right? Yeah.

Laramy: I don't know if you have this in your notes, but I I do wanna point out that Stephen King wrote The Mist four years before this movie came out. So Yeah.

Tim Williams: Ooh, okay. No, I didn't have that in my notes. I know he pulled from a lot of like he drew inspiration from a lot of different like stories, at least that's how it's documented. Like, you know, there was a true account of like a ship being pillaged by the by the town, and that, you know, like that was that was somewhat true. not the ghost part of it, but like the actual what happened to the what happened at the town. he pulled a lot from like Lovecraft stories and then some of the was it the E C comics that

Laramy: Yes.

Tim Williams: also that also creep show was based on. So he had it but

Laramy: Yeah. The look of the the pirates I know that he got from E C comics.

Tim Williams: There you go. Yeah. which I it made me chuckle when the when I first saw the the the little hook. I was like, I didn't know that I know what you did last summer was a sequel to this movie.

Nicholas Pepin: Yeah.

Laramy: That one guy in the beginning, correct

Tim Williams: But that would that can

Laramy: me if I'm wrong, he takes the hook in a spot that

Tim Williams: Mm-hmm.

Laramy: would not be comfortable. Like it yes, but I mean, especially where he takes it.

Tim Williams: No, you know I don't think it'd be comfortable in any spot, but especially uncomfortable, yes. Yeah, yeah, yeah. I would agree with that. Yeah,

Laramy: Just right up there. Yeah.

Tim Williams: yeah. but yeah, but like we're talking about the influences, cause to me I think the the biggest challenge or the biggest problem the movie has, even though I do I did enjoy it, it feels like a hodgepodge. Of other movies and even some movies that hadn't come out yet. So I don't know if like their more homages, but it just felt like I've seen all of these kind of situations before, but then other movies. So what what other movies would you associate with this? Even if it's not the whole movie, just like maybe a specific scene or a specific plot point.

Laramy: That came out before this or since?

Tim Williams: No, it can be it can be but it can be before or since. Just like when you saw the scene, like, that that kind of reminds me of this, or that feels a lot like this movie.

Nicholas Pepin: What was that Apple T V show that we were talking

Tim Williams: Mm-hmm.

Nicholas Pepin: about not that long ago, Raremy? We that we both watched. Yeah, Widows Bay.

Laramy: Widows Bay.

Tim Williams: Widows Bay.

Nicholas Pepin: Yeah. Widows Bay

Tim Williams: I haven't watched it yet.

Nicholas Pepin: Widows Bay clearly also influenced by the fog as as they they did at least one episode

Tim Williams: Okay.

Laramy: Yeah. Yeah, but I it Widows Bay is an homage to a bunch of horror movies though, so

Nicholas Pepin: Well yeah,

Tim Williams: Mm-hmm.

Nicholas Pepin: but I mean that that was the when I was watching the fog again today I was like, yeah, that's right. I that that's why so much of that one particular episode of Widows Bay made was so

Laramy: Mm-hmm.

Nicholas Pepin: familiar to me because I I had seen the fog a h a handful of times in the past for my research for the other stuff.

Laramy: I'm jokingly saying it, but obviously the Mist. even though even though, like I said, Stephen King originally

Tim Williams: Mm-hmm.

Laramy: wrote it in seventy six, it was first published in nineteen eighty.

Tim Williams: Mm-hmm.

Laramy: although the Skeleton Crew, the book collection that it's in for Stephen King didn't come out until thing like eighty five, eighty six, but it

Tim Williams: Okay.

Laramy: was originally published in nineteen eighty. so But you know, when when Adrian Barboa says there's something in the fog, like I hear there's something in the mist.

Tim Williams: Mm-hmm. yeah.

Laramy: so yeah. no, I definitely thought of the the I Know What You Did Last Summer connection as well.

Tim Williams: Mm-hmm.

Laramy: I'm honestly trying to think if there was anything else before that. Let me ask you a question though, because I I didn't do

Tim Williams: Yeah.

Laramy: I didn't do any research on on this one pre preparing for this. I know that John Carpenter originally wanted the Halloween movies to be an anthology series.

Tim Williams: Right.

Laramy: Was this one of his ideas? Like, did he want this to be a Halloween movie?

Nicholas Pepin: No

Tim Williams: I didn't see anything in my notes about that, and this was just a its own separate story they came up with.

Nicholas Pepin: No, but he he did want to turn this into an anth apparently John Carpenter

Tim Williams: He did, yes.

Nicholas Pepin: was obsessed with the idea of turning his things into anthologies and then just never

Tim Williams: Into anthologies. Yeah, that's true.

Nicholas Pepin: followed through on any of it.

Tim Williams: Yeah, yeah.

Laramy: Well, and body bags. But it was just an anthology movie. But

Nicholas Pepin: Yeah, no, but I mean like 'cause like you said, he wanted Halloween to be an anthology thing, but then he didn't. He let it just kind of become its own franchise and he wanted the fog to be an anthology and then just well, yeah, I mean

Tim Williams: Well, he didn't have he didn't have a choice. Yeah. He didn't have a choice of Halloween. They took the the studio took over that one, so

Laramy: But would this like would they've all been called the fog? Like that's where I'm confused too. Like

Nicholas Pepin: Yeah. I don't know. I mean there there the idea of creatures coming out of the fog

Tim Williams: Mm-hmm.

Nicholas Pepin: wasn't exactly a novel an unknown concept before he did in Nighty. I mean I can't immediately come up with anything but like, you know, what goes bump in the night is you know, older than, you know, John Carpenter is himself, you know. So I I don't I mean he Him and Deborah Hill had the idea when they were at Stonehenge, but like other people had always had the idea of like, you know, what what danger lurks in the woods, what you know. So I can't

Tim Williams: Mm-hmm.

Nicholas Pepin: but I can't immediately come up with anything that would be exactly like this, but it's not exactly like this is unfamiliar territory.

Laramy: No.

Tim Williams: Mm-hmm. Yeah.

Laramy: And and honestly it would have been around this same time that Sam Raimi's doing The Evil Dead, which also has the like fog going through the woods. Yeah.

Tim Williams: Mm-hmm. Yeah. Element. Yeah. Yeah. That's true. Yep. So I'll say the couple of movies that I thought of. I thought of Jaws, which I know Nicholas has kind of already mentioned because you don't really see what you don't see the monster, quote unquote, until much later in the movie. So there's a lot of anticipation. Is it as well done as Jaws? No. But I did that. And also with the whole thing with the town of like they're having the the celebr celebration of like,

Laramy: Yeah, celebration.

Tim Williams: we can't let people know about the fog or whatever this danger is. We've got to celebrate that kind of thing. I did get some poltergeist vibes too. Like you talked about the water coming out of the the piece of wood. And there was another part where like something moved or like something shook. I can't remember, I can't remember the exact scene right now, but I was like, Well, that's very like much like poltergeist. So but yeah, it did feel like there were just certain parts of the movie where just like, I feel like I've seen, you know. But like you said, it is a very common kind of go like a common ghost story of like. Something that you can't really see through or see what's there. And then something, you know, comes out. So, which I will say my favorite like jump scare, I guess you would say, is when Hal Holbrook comes out of the dark in the church when Janet Lee's looking for him. Like that was fun. Like when it came up, I was like, that was really good. I was kinda I wasn't expecting that one. So

Laramy: Yeah, that's a good one.

Nicholas Pepin: There was there was one thing in the movie that made no sense. Like watching the movie you don't pick up on it all. It isn't until I was doing research and reading about it that you're like, wait, what? So

Tim Williams: Mm-hmm.

Nicholas Pepin: when she's got the wood that turns that it starts water starts coming out of it, it sa it goes from saying Dale, I think.

Tim Williams: Mm-hmm.

Nicholas Pepin: It says six six bodies or six and then they pretty much don't reference it again.

Laramy: Mm-mm.

Nicholas Pepin: But as I'm reading it, they're like, well, the the the the the six people who ended up dying, and there was more than six people if you count other things, but you know, were all supposedly related to the original six charter members, which is like would have been way more interesting had they like made that a plot point or like like

Laramy: Yeah.

Tim Williams: Yeah. Yeah.

Nicholas Pepin: instead of just us having having to pick up on it later, like, that's what they

Tim Williams: Mm-hmm.

Nicholas Pepin: meant by that. Like had they been a little bit more like That's why

Tim Williams: Yeah.

Nicholas Pepin: they went after

Laramy: Yeah.

Nicholas Pepin: the babysitter and that's why they went after so and so.

Tim Williams: Mm-hmm.

Nicholas Pepin: Not just like

Laramy: But that my only I I a hundred percent agree with you, but then the movie doesn't follow through with it anyway because they're going after Hal Holbrook and he's

Tim Williams: Mm-hmm.

Laramy: supposed to be the sixth person.

Tim Williams: Right.

Laramy: So why are they also going after Adrian Barboa at the exact same time?

Tim Williams: Yeah. Yeah. Yeah.

Nicholas Pepin: Yeah, that I also yeah. Yeah, I

Tim Williams: But that

Laramy: And and then apparently we discover at the end that them killing the descendants of the s the families that killed them was more important to them than the gold.

Tim Williams: Mm-hmm.

Laramy: Because they come back and kill Hal Holbruck anyway.

Tim Williams: Which I think some of that is like I know I know the scene with Adrian Barbeau, like that's the the the ending with her on the roof, like that was definitely part of the reshoots. Like that was added to add more attention at the end. So I think that's why it doesn't that's why c it feels disconnected, like it doesn't really connect to the six of the story. but I agree with you, Nicholas. It should have been better explained because I honestly I didn't even I was trying to figure it out and then when I was reading the research, I guess the paperback novelization. explored that a lot more and made it where that was that was like the bulk of the story, but it's completely lost in the movie for sure. So All right. Well, let's talk about some trivia and some other scenes. We'll start to wrap it up here. So fun stuff. The band mentioned on the radio near the movie's beginning is the Coupe de Villes, which is an actual band that features director John Carpenter. They actually play a song over the closing credits, A Big Trouble in Little China, also directed by Carpenter. So the film's final scene with Stevie and the fog dissipating. They found it easier to create the fog than play it in reverse, so it looked like it was fading away. This meant that Adrian Barbeau had to play the scene backwards as well. So all this like all the scenes were like the fog is like coming in. They couldn't get it to work, so they would just let the fog sit. And then as it dissipated, they just ran it in reverse. So before there was CGI. That's what they had to do.

Laramy: Yep. Yep.

Tim Williams: although this was essentially a low budget independent movie, John Carpenter chose to shoot the movie an anamorphic. Is it anamorphic? Anamorphic.

Laramy: Anamorphic.

Tim Williams: There you go. Shoot the movie an anamorphic widescreen Panavision. This decision gave the movie a grander feel for the viewer, so it didn't seem like a low budget horror movie. I think it still felt like a low budget horror movie

Nicholas Pepin: Mm-hmm.

Tim Williams: in some spots. So yeah, the absence of blood was a failed attempt by John Carpenter to get a PG rating. But I'm sure that was part of his initial cut as well. So

Nicholas Pepin: there is one bit of trivia that I always found fascinating. It has

Tim Williams: Go for it.

Nicholas Pepin: has not a lot to do with the movie itself so much as the budget or the advertising.

Tim Williams: yes, I did have that, but go ahead.

Nicholas Pepin: so the the to sell the movie they s they gave fog machines to a lot of movie theaters around the country to have it as part of the posters part of a the stand in. They spent

Tim Williams: Mm-hmm.

Nicholas Pepin: so they caught the movie cost about a million dollars to make and they spent like triple that amount to like promote it.

Tim Williams: Yep. Yeah, 'cause each fog machine was like three hundred dollars each that they had to for them to rent and put in a theater.

Laramy: And that was probably before the days where the fog machines were mostly like water vapor. So Yeah. So people actually probably had a hard time breathing. Yeah.

Tim Williams: yeah, so it's probably real fog. Got a lot of complaints. Yeah. Right. For sure. So. All right. Let's talk about Box Office. The film was given a staggered release in various cities by Avco Embassy Pictures beginning February first, nineteen eighty. It was originally scheduled to come out at Christmas, but they decided to push it back to February. it expanded to further locations later in February. Its theatrical run ultimately grossed twenty one point three million dollars in the United States and Canada. So it was profitable. All right, now it's time to take a look how well this film holds up today. It's the rewatchability nostalgia meter. It's our way of measuring how enjoyable a movie is for repeat viewings, along with the waves and nostalgia it brings. Here's how it works it's a one to ten scale. Any number between one and ten will do, but here are a few parameters to help you decide. At the bottom of the meter is a number one, means I saw it once and that was enough. In the middle is a five, means it's a good rewatch every couple of years. And the highly coveted 10. On the meter is at the top, meaning it's highly rewatchable and full of nostalgia. So, Nicholas, I'll start with you. Where does the fog rank for you on the rewatchability nostalgia meter?

Nicholas Pepin: Five. It I mean, like it it's a fun movie. It's if you think too hard about it, it's really easy to pick apart a you know, as as we've kinda done here.

Tim Williams: Mm-hmm. Right. As we've done. Yeah.

Nicholas Pepin: But it it is it's it's not one that I think I'm gonna throw in every Halloween season, but every few years like, yeah, alright, you know, I I might watch that again. 'Cause it's it's

Tim Williams: Mm-hmm.

Nicholas Pepin: yeah, it's a fun little movie and it's barely ninety minutes. Like it's you know

Tim Williams: Yeah. The original cut was eighty eight minutes.

Nicholas Pepin: Yeah, like I mean it's it's not a long movie. It's it's honestly, and like like we've pointed out, like it's relatively bloodless and other than a few words here or there, like it's PG PG PG today standards, PG thirteen then, like like

Tim Williams: Yeah. Yeah. Mm-hmm. It's yeah. Yeah.

Nicholas Pepin: yeah, I mean it it you could almost air this movie unedited on TV.

Tim Williams: Mm-hmm. Yeah, there's and there's really n I mean, I was trying to say there's really no blood. I mean, you do see like some some killing, like some stabbing, but it's not overly graphic like you would exp like like you've seen in like Halloween. So

Nicholas Pepin: I I've seen more graphic stuff on CSI than what I saw on this.

Laramy: Ha ha ha.

Tim Williams: That that's true. That is true. And what about you, Laramie? Where's the rank for you?

Laramy: Yeah, I my initial reaction was a four. but I do agree with Nicholas. Like it's a fun movie to watch.

Tim Williams: Mm-hmm.

Laramy: like like most Tom Atkins movies of the time, like it like you're yeah,

Tim Williams: He's gotta run. Yeah.

Laramy: because I actually just recently revisited Night of the Creeps. So

Tim Williams: Yes, yeah, yeah.

Laramy: thinking about I mean, he's in my bloody the newer My Bloody Valentine as well. but thinking about some of those horror movies that he's in, like they're not great. They're not ones like Nicholas said, you're gonna decide this is in my list of things to watch this Halloween. But if you

Tim Williams: Mm-hmm.

Laramy: do watch it, like you're gonna be entertained. So yeah, I I still think I'll stick with a four though.

Tim Williams: Okay. Yeah, I'm with Nicholas. I it's right out of five for me. I mean, it's it's the perfect example of a good rewatch every couple of years. Like I said, I think the beginning is is pretty slow. Like if if I wasn't committed to like watching the movie all the way through, I don't know if I would have finished it the first time I watched it. just because it was so slow at the beginning. But once like the fog starts, like after they get to that first initial fog the next day and like it's actually starting to make its way into the town. That's when it kind of gets fun. It's like when it becomes more like what I'm expecting it to be. So, so yeah, I'm I'm giving it a solid five. So all right. Well, let us know where you think the fog should rank on the rewatchability nostalgia for you. You can send us an email on social media or you can leave us a comment right here on YouTube. Well, Nicholas Laramie, anything else you want to add about the fog before we wrap it all the way up?

Laramy: This sadly I will say this actually makes me want to go and watch the remake, so

Tim Williams: I wanna go watch the mist now, so

Nicholas Pepin: At no point did I want to go and re watch the remake.

Tim Williams: Ha ha ha.

Laramy: I just wanna be 'cause it's again one of those I haven't seen in so long. I would just wanna

Tim Williams: Yeah.

Laramy: kind of again visit like what is its comparability. Like

Tim Williams: Yeah. It is based on the original script, but it was much much of the PG thirteen horror movies of of its time is what I read about it. So, but I don't know if I've ever seen the remake. So I'm it it I was thinking the same thing. If I would have had time today after what after re watching the fog before recording, I would have watched the remake too, just as just so I could talk about it. But maybe we'll do that another time.

Laramy: No, I th I thought it I thought about it, although I even though I own the original on DVD, I did

Tim Williams: Mm-hmm.

Laramy: start off watching this on Peacock. And and it reminded me

Tim Williams: Yep, I did too. It was just

Laramy: how much I hate that Peacock just like almost like Tubi just completely just puts a commercial wherever the crap it wants.

Tim Williams: Yep. In the middle of a sentence. It doesn't matter. Yep. Jeff's

Laramy: Yep. Nope.

Tim Williams: yep. All right. Well, Nicholas, what's going on over at Pop Culture Roulette? I

Nicholas Pepin: Yeah.

Tim Williams: really liked your Dracula episode recently. Yes, yes.

Nicholas Pepin: the Dracula bracket was good. we just did a a Jeopardy style quiz show.

Tim Williams: Yes, I haven't listened to that one yet. I'm looking forward to that

Nicholas Pepin: so we're we're in the middle of of doing some so this celebrating the spooky season. probably probably gonna hit a hiatus for a week or two in much like true pop culture roulette fashion, we just put out our two hundredth episode.

Tim Williams: All right. Congratulations. Yeah. Yeah.

Nicholas Pepin: But we did not acknowledge it. we No fan we put it out. In fact

Laramy: Yeah, yeah. No fanfare.

Nicholas Pepin: it was so so little fanfare we didn't even know we did it until we did it.

Tim Williams: Right, right. I could see that. All right, what do you got coming up, Laramie, for the rest of October?

Laramy: so, you know, John John Carpenter, big fan of EC comics, and we are

Tim Williams: Mm-hmm.

Laramy: we are gonna tell the history of EC Comics in a one-shot. And then we are talking about the 1972 Tells from the Crypt, the

Tim Williams: yeah.

Laramy: the original. that nice little anthology movie. so we got we got that coming out, and then the week of Halloween will have an episode about the way horror has kind of found its way into the into Marvel in the MCU. And

Tim Williams: Mm-hmm, mm-hmm.

Laramy: then over on Kingsized on Halloween, we will

Tim Williams: yeah.

Laramy: be r Tim joined me to talk about all there is Pet Cemetery.

Tim Williams: Yeah. All four movies.

Laramy: All four movies.

Tim Williams: What a time we had. Yeah, go definitely check

Laramy: Yeah.

Tim Williams: that out for sure. So all right. We'll definitely check out pop culture roulette, moving panels, and king size as your supporting fellow podcasters. So, well, that's a wrap on another trip to the greatest decade of cinema. If we sparked a memory, I helped you rediscover a classic today. Please head over to Apple Podcasts and leave us a five-star review. It does help the show reach more fans like you. Make sure you're always in the loop for our next deep dive. Hit that follow or subscribe button. And if you want to help keep the show running, consider becoming a partner at buymeacoffee.com. For more 80s goodness, our digital headquarters is always open at 80sflickflashback.com. And while you're there, check out our tea public store for original designs and movie-inspired merch that I'll have you looking like an 1880s icon. Thank you, Nicholas. Thank you, Laramie, for joining. Thank you all for listening for 80s Flick Flashback Podcast. I'm Tim Williams. Get inside and lock your doors. Close your windows. There's something in the fog or the mist.