Have You Seen?! The Movie Podcast
Grab some popcorn and join Joe and Dylan as we take on the greatest movies Dylan somehow skipped. Have You Seen?! The Movie Podcast makes every episode feel like movie night with friends and where every classic is a brand-new premiere.
Have You Seen?! The Movie Podcast
Back to the Future: Lightning Strikes Twice
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A single lightning strike, one hard-won kiss, and a letter taped back together—few finales deliver like Back to the Future’s sprint from the Enchantment Under the Sea dance to the clock tower. We pick up where we left Marty and Doc, zeroing in on how jokes, character turns, and razor-clean setups pay off in a way that still defines time travel storytelling.
We start with the 1955 culture shocks that double as plot tools: Tab and Pepsi Free, Ronald Reagan the actor, and that phone book lookup that makes analog sleuthing feel clever. Then we meet 1955 Doc, walk through the flux origin, and unpack why the fading photo is such an elegant, visual ticking clock. From Darth Vader from Vulcan to the Walkman scare and the skateboard chase, we map how pop references power the plot instead of merely winking at it. George’s arc gets its due—his “Get your dang hands off her” isn’t just a punch, it’s the hinge that rewrites a family.
On the dance floor, “Earth Angel” restores the timeline while “Johnny B. Goode” pushes cinema into myth, licensing headaches and all. We look at how the guitar solo riffs on Prince, Van Halen, and stagecraft to make a joke that aged into legend. Then it’s the clock tower: cables too short, branches in the way, a torn letter, and a train that drowns out fate. The sequence is a masterclass in escalating obstacles with crystal-clear geography. We also spotlight the Lone Pine Mall gag, Mr. Fusion’s nod to cold fusion buzz, and the clean spatial logic of this time machine that keeps you in place while time jumps.
We close with the rewritten 1985, park and backlot memories, the ride’s legacy, and why Back to the Future still anchors Universal’s icon list. It’s a love letter to practical effects, tight edits, and character-first sci-fi that respects its own rules. If you’ve ever quoted “Roads? Where we’re going, we don’t need roads,” this one’s for you.
Enjoyed the breakdown? Follow, share with a Back to the Future fan, and leave a review with the one Easter egg you love most. Your notes help us decide what to time-jump to next.
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Wait a minute. Why why do we have a random plug here? Like you can't find longer wire?
JOE:Yeah. Last time we left Doc Brown dangling from a clock tower, and Dylan was screaming, does he make it? Tonight we find out.
DYLAN:Back to the Future is Rated PG. Contains time paradoxes, guitar solos that could change your parents' marriage, and time paradoxes. I added the second part in on purpose. Because I thought it was funny. Alright, Joe. So can you give us a quick recap of what happened last week?
JOE:Well, where we ended up. Yeah. Well, we started with Marty meeting Doc Brown at the mall. He traveled back to 1955, ran into his parents, found the only person who he could confide in and get him back to the future, which is Doc. And that was pretty much where we were. Yeah.
DYLAN:Yeah, I think um we kind of left right off at the dinner right after the dinner scene. Um when he doesn't want to spend the night at his mother's house. At the at the dinner scene? Okay, but how how does he get Doc's address? Like because he he he he already okay. At the dinner scene, he already had Doc's what is it, phone number or address. It was it was both. Oh, it was both. Okay. Uh-huh. It's nice how phone books work, I guess. Yeah. So where did where did that come from? Did he steal it from their house?
JOE:Or no, he got it from the diner. When he was um when he went to the diner, he went to the phone booth. Oh, okay, yeah. The white pages would have your address and phone number for every person. And so he just looked up doc you know, Dr. Emmett Brown, he found him, and that was kind of where the um confusion came when he he asked for the street, and he said, you know, oh, that's John F. Kennedy Drive. And his grandpa essentially said, Who the heck is John F. Kennedy? Oh yeah.
DYLAN:That was a funny scene. They also definitely did kind of a good job with that of kind of showing the the difference, if you will, of you know, the the times and how things change.
JOE:Yeah. Yeah. Did you get the dialogue back and forth? I was gonna try to find it, but did you get the did you understand the dialogue in the diner when he asked for, he said, um, you know, what do you are you gonna order, kid? And then he goes, Yeah, can you give me a tab? And then he says, Well, I can't give you a tab if you don't order anything. And then he goes, Well, give me a Pepsi free. It's like, well, if you order something, you gotta pay for it. Then he finally just says, you know, just give me something without caffeine. Did you kind of get a lot of those, any of those kind of jokes?
DYLAN:Um yeah, I I got the Pepsi free one. Uh-huh. And then the it wasn't without caffeine, wasn't it without calories? Maybe it was. Oh, without sugar. With oh, without sugar, that's right, that's right.
JOE:Yeah. Yeah, something without sugar. Yeah. Um, because Tab was a uh diet cola. Oh, real time. Yeah. And so he kept just saying diet colas, but he just kept forgetting, like, oh, this isn't he he was trying to order, but yeah, yeah. So yeah, that whole scene is, you know, just going back to that real quick because it's just what builds up all the you know, 50s references.
DYLAN:But well, and it's fun too, like how they really like worked it, worked something like that into into the movie and and played with that the whole time.
JOE:Yeah, yeah. It's just every little um one of my favorite lines is you mean Ronald Reagan? The actor? Yep. Yeah.
DYLAN:That was funny.
JOE:Yeah, it I mean it yeah, in the 80s you would never know, or I mean in the 50s, I guess, 50s and 60s and 70s, you would never think an actor would be, you know, a politician of any kind, and like you know, I for when was it late nineties, two thousands or something that uh Arnold Schwarzenegger was the governator? Yeah, yeah, like yeah.
DYLAN:So yeah, so then after the after the dinner scene at his mother's, um that's when he actually meets Doc you know, 1955 Doc for the first time. And um it's so funny too, like the playoff of when, you know, future slash present time doc tells him about how he came up with the idea of the flux capacitor, and then Marty goes back in time and like Doc doesn't believe him, and you have the whole, you know, the funny scene of he thinks that Marty's just like a door-to-door salesman or something, yeah, and and has the whole contraption on his head, and and then you know, moves on to Marty is trying to convince him like pretty much of who he is, and he's like, Well, this is how you come up with that, you know, you're putting something up in your bathroom and fell, hit your head, and then had the had the idea for it, and he's like, That happened just this morning.
JOE:Yeah, you know, something yeah, yeah. Yeah, yeah. I like when he's like, he's like, you know, I was sent from from the future from a time machine that you built. He's like, Time machine. I haven't built any time machine.
DYLAN:Yeah. Yeah, and then that's that scene too, I th we touched on this a little bit in the last episode, but like just going back on it, like I love that the scene of in his living room that has all of the the famous like scientists and adventures in the in the living room and the in the portraits and stuff.
JOE:Yeah, all the mentors and Graham Bell and Yep, just everybody that the doc looked up to. Yeah, um, I wanted to correct. I said it was Einstein and Beethoven. It was actually Einstein and Leopold Stukowski, who's a conductor. And so that's where he got the oh, okay.
DYLAN:Yeah. So I want to Yeah, because you said it was Einstein and Mozart, wasn't it?
JOE:Right. Yeah. Okay. That's Zowski. But yeah, he he he was a big, big presence onset. Yeah.
DYLAN:It's it's funny to me that like they cook up this whole what would you say, like harebrained scheme of like trying to get his parents back together.
JOE:Yeah.
DYLAN:Or not b excuse me, not back together, but to like together in the first place.
JOE:Yeah, because the way he described it, he's like, Oh, that's the Florence Nightingale syndrome, and you know, now we gotta get them together. Yeah. The picture of him fading and yeah, and of his siblings like fading out.
DYLAN:That yeah, that was a super good um clock, uh-huh, if you will, to to show how much time we already have left.
JOE:Yeah, yeah, because if you didn't have something like that in the movie, it it would just feel like okay, we just gotta do this and everything.
DYLAN:You're like, I should feel stressed because you're telling me to feel stressed about it, yeah. Versus this way, you're not you're not you're not telling you're showing you know the real consequences and stuff. Yeah. So that's really cool. And it's funny when they're like walking through the you know, halls of the high school and stuff, and how um, you know, isn't Marty like talking about how how like different it is, but like also just the same.
JOE:Yeah, yeah. Like that, you know, he's like, wow, they really clean up the place. Right. Yeah. Yeah, there was a deleted scene where they actually he he they're walking in the halls and he looks in the classroom and and he sees her and she's cheating on a test. Oh yeah. So it all it already starts to like his his you know picture of of how his mom is and who she was starts to that's so funny.
DYLAN:Yeah. Yeah, but like, you know, you have such a specific image of your parents, right? And then like, you know, going back in time and you know, seeing, you know, your mom cheating on a test, and you're like, oh, if oh if only you know yeah, especially all those, you know, times that you're talking about doing your homework.
JOE:Right.
DYLAN:Oh yeah.
JOE:Right.
DYLAN:Well, we never did that back in my day. Whatever the case may be. So yeah, and then you get to the they get to the cafeteria.
JOE:Yeah, he talks to talks to George, and um, you know, they talk about creativity, and and you know, he's like, uh, I didn't know you did anything creative. And he's like, Oh, yeah, I just don't you know want to show anybody. I I don't want to take that kind of rejection, you know. Which he's like, Oh, yeah, it sounds like me.
DYLAN:The cafeteria scene definitely did uh a good job of showing that um what was his name? George. Oh, George. Um, showing that there is more to him than kind of what meets the eye. Yeah. So I definitely appreciated that scene.
JOE:Yeah, I think there were there were times when they built kind of built him up. Like there is something in there that right, he does have a little bit of sustenance to him.
DYLAN:Yeah.
JOE:Yeah, and then right after that you do have another incident with Biff and Well, I think the one scene too is that um kind of going along with what we were talking about before, with you know, you have you have Marty watching um honeymooners uh um with his family, and then he ends up in the 50s watching the same exact episode, and then that builds up because you know, when he dresses up on TV, the guy who dresses up as the spaceman from Mars, then that gives him the idea to to go and visit George at night as the space from Mars, which he says he's Darth Vader from the planet Vulcan.
DYLAN:And uh so what okay, I get Darth Vader, uh-huh, but what is the planet Vulcan from? Uh Star Trek. Star Trek, okay. So like I'm sure this is a big pop culture reference that I'm totally missing.
JOE:Very nerdy sci-fi stuff, very deep. But uh yeah, so Darth Vader, Star Wars, right, and then you have Star Trek, which was Spock, who was plu from the planet Vulcan. Gotcha. So he just mixed those two. And yeah, a couple of things was um, you know, he has a hairdryer on him, and um, there's a deleted scene where it shows like uh Doc Brown looking through the stuff that he was gonna bring to the future, and he has his case and he has all the stuff in it, and that's where the kind of hairdryer comes into play, and all the other stuff. So yeah.
DYLAN:That's funny.
JOE:But yeah, it's pretty cool like that he decides to use his Walkman to, you know, yeah.
DYLAN:Oh yeah, because he puts like the Walkman like headphones on him and just starts blasting the music of all volume.
JOE:Yeah. And that was um, you know, it says Edward Van Halen, because I guess they had some kind of contract where he could like the band itself wasn't gonna be on the album. Oh, really? So Van Halen, Eddie Van Halen himself decided to just put the the track on there as himself.
DYLAN:Oh yeah. Funny. Yeah. It's funny how stuff like that, like you know, stuff gets mixed up in the red tape. Yeah, yeah. You get funny stuff like that out of it.
JOE:Yeah, because that song actually like it was a demo at the time and didn't come out for like an album later on on Van Halen. Yeah. And uh so it would have been cool if that was some kind of hidden track or you know, some kind of on the soundtrack, yeah. Because it's such a place is such a pivotal, you know.
DYLAN:Yeah. And then okay, when he is pretending to be Darth Vader, like what does he tell George?
JOE:Um so at that point they just ended, I'm I am Darth Vader from the planet Vulcan. Right. But um George tells him that you know he he basically said that if you don't ask Lorraine out, he's gonna melt my brain. And then Marty's like, well, let's keep this brain melting stuff to ourselves. But uh there is also a deleted scene on there where he has this longer conversation and talks to him about it, yeah. And he uses chloroform to put him back to sleep. Oh, funny, and he uses too much, and so that's why he shows up late because he used too much. Which I think would have been funny. That would have been funny. It's like I don't know. At this point, I could appreciate a three-hour cut of the first movie, yeah.
DYLAN:That's so funny. That leads into the diner scene where Lorraine and her friends are are sitting there, and um you know, George like comes walking in. Yeah.
JOE:Give me a milk, chocolate. Very hardcore. Like he's in a bar, yeah. Right. So great. He's like getting up his his gumption to go and talk to her and has his little notepad, and and uh it's it's kind of a sweet moment right there because she does kind of have some, it shows like you know, because at first um he's like, he's like Lorraine, you are my density. And at first she goes, What? And then he goes, You are my destiny, and she goes, Oh, you know, like yeah, so it's so nice to see like it almost happened, and then Biff walks, yep, and then what are you doing here, McFly? Didn't I tell you not to come in here, McFly?
DYLAN:You're gonna pay. Yeah, you're gonna pay. And then and then as as Biff is like walking over to to George, Marty trips him. Yeah. And hits hits the ground. Yep, hits the ground, starts off this whole chase scene, yeah, clocks him, gets out of there, invents the skateboard.
JOE:Oh, is that what that's supposed to be? Yeah, because the kids are looking at it afterwards like, what? Yeah.
DYLAN:I never thought of doing that. Because at that point they'd pretty much just had it was pretty much just like a scooter.
JOE:Right. Right? Yeah, it was just a box scooter with like you know, a two by four or whatever on the bottom, and then a uh crate as the you know, and so he tears it apart and it's like now it's a skateboard.
DYLAN:Yep, which lucky for him, it you know rolled so well.
JOE:Yeah, yeah. The the actual way they filmed it was like several different trucks and of different types of um, you know, wheels for the skateboard, and they traded off like you know how they have model like they'll have show cars, right? So they would have like a specific board for when he was on it and they were doing close-up shots, but then they would have him on a regular board, but then they would have different stud people on it, you know, just so many things just for that.
DYLAN:Yeah, yeah, gotcha, that's cool. And then um something that I was kind of flabbergasted about it with that scene is like when when they're like you know, the chase scene where Biff is in the car and Marty's on the skateboard, and he like Biff like drives to like the park in the center.
JOE:Yeah. I'm just like, oh yeah. That's the thing about Biff, like, and you know, we're talking about him, uh George being bullied, is like he had a gang, you know, and it wasn't like a serious, like, you know, hardcore, but like I mean, he was a big dude with a gang of other kids, and like, you know, I don't even know how he was perceived in the you know community. Like I think Strickland could have taken him down if you want to, you know, if it got out of line, but you know.
DYLAN:Well, and did they ever like really I don't think they ever went over that, right? Like Biff's and his group's like kind of stance in the community, if you will.
JOE:Yeah, not really, just not in that one.
DYLAN:Yeah. So, um but yeah, the and then has a very climactic ending with of the chase scene. Yeah. Right into the manure.
JOE:Yeah. I love how Goldie Wilson walks over just to kind of confirm it, and he's like, woo!
DYLAN:Right. Yeah, and then it says what does the side of the truck say? Something something about manure.
JOE:Yeah, just some of the company, but right.
DYLAN:You still get like the context clue of it in case you don't recognize it. Yeah, yeah, exactly. So yeah. So then he escapes from Biff and and gets back to the to Doc's garage. And then do like how far into that is it before Lorraine shows up?
JOE:Yeah, I mean, they get there and talk, he's like, What happened? Well, you know, here's what happened. Yeah. And then yeah, she shows up. And the funny thing is, like, she's on the other side of the door, and he yells, quick, cover the time machine. And then he introduces Don't make it obvious. Yeah, yeah, yeah, exactly. And then he introduces him. He's my uncle, my doc. My no, he's like, my doc, my uncle, Doc Brown. She's like, Oh, nice to meet you.
DYLAN:Yeah, and that's a good scene, too, of the the miniature, yeah, the whole town and stuff. Yeah, that's so cool.
JOE:Yeah, I mean, I love how he's like, Oh, please excuse the crudity of this model. I didn't have time to paint it.
DYLAN:Yeah, right.
JOE:Right. And it's like still so highly detailed. Yeah, there's like a watch, and you know, like you can see all these things that are like, dude, like if you had time, right.
DYLAN:That just makes me like seeing that miniature set there, like, just like made me think back to the Epic Preview Center in Universal City Walk.
JOE:Uh-huh. And yeah. Yeah, you go to that that Epic Center, and like it's cool because you can tell that it was you know, design people who made it, and the the um materials that they use and and all that. I um my wife has a friend who uh graduated from design school, and when we went, she had all her stuff out there, so you could kind of see the way you know people use that. And um, yeah, it's such a cool model. Uh, and especially when you you look at the little things that move or like the lights, or you know, you can QR code it and see how the you know right, because it has the what is it, AR, the augmented reality, where you would look at it through like the camera and stuff. Yeah. Yeah, I mean yeah, it's kind of a total Doc Brown thing. I'm sure if if he had time he he would have invented the QR code and right.
DYLAN:But yeah, like just just seeing that that miniature though is just just like really cool. And like, you know, they they didn't have to do it for the movie, but like the fact that they took the time uh and made the miniature of the town square, like it just makes it better. Yeah. Like practical effects.
JOE:Yeah, the cool thing about the town square, um, just kind of out of nowhere, but I think about is when you look at if you look at certain sections the way it's built, it looks like a flux capacitor. Like there's oh yeah, it's kind of in a triangle shape with like that, like when you have the flux capacitor, the center of it has like these two things that go and then kind of up. Yep. And if you look at the the town center, it has that shape in it. And I don't know if that was on purpose. I couldn't I couldn't find out like if that was on purpose or not, but it it's there, yeah.
DYLAN:Say if that wasn't on purpose, then it was a real happy accident, yeah, had a real Bob Ross moment with that. Right, yeah, exactly. Happy accident, and then Lorraine shows up and covered the time machine. She's not gonna notice that, yeah.
JOE:And then she asks him to ask her to the dance.
DYLAN:Right. Does she ask him or does she tell him that you're going? I don't know. I guess in my head I was she was like, You're going to ask me to the dance.
JOE:Right. Yeah, it was pretty much like that, you know. And uh he's like, What? George didn't ask you? Right. Oh, he's cute and all. Right. You know.
DYLAN:And it's so funny too, of like, you know, going back to like how you know the mom told the story of how how they met and yeah, how it all like all of this started because Marty saved his dad from getting hit.
JOE:Right.
DYLAN:And so Marty got hit by the car himself, and it just started that whole chain reaction.
JOE:Yeah, yeah.
DYLAN:And it's like, oh, has you know fixed this? The whole butterfly effect. Yeah. Later on, when Marty goes back to George and is like, you need to ask her, like trying to convince him.
JOE:Yeah. And uh they put together the the whole like, well, I'm gonna how about oh, what does he say? Well, nice girls nice girls get mad at guys when they try to take advantage of him. He's like, What? Yeah, and uh oh yeah, then he says, Do you think you you really ought to touch her on her holding the bra. Yeah, yeah. Yeah, I I think like those two actors were so great at it. Like, yeah, I wish there was more for Crispin Glover in the Back to the Future series, but yeah, you know, yeah, it just Yeah. Poor guy. So then after the laundry scene, um Yeah, they pretty much get to the dance.
DYLAN:So Marty's mom like pretty much starts off by going to the dance, still with Marty. And you know, Mart Marty's all nervous, and he definitely shows that as being nervous because like it's you know, he doesn't want to be inappropriate and yeah, right.
JOE:He has to do stuff so that he has he's born essentially, right, but they're still trying to save face and you know, trying to I think the cool thing is like the actress sh who played Lorraine, um she took it from such a 50s perspective that like if you didn't then it would feel icky, yeah, you know, right? But she was she played it so innocently that that's what made it okay, you know. Um and so she just yeah, put she was like her thought process was I'm this 50s innocent girl who meets this sweet guy from out of nowhere, you know. Yeah, and so what what would anybody do? And you know, whereas like the audience is like, oh, this is your son. She's just like, this is just some cute guy who showed up out of nowhere, right?
DYLAN:You know, try you know, he's trying to work up the nerve pretty much to he he tries to like start reach out to like grab her leg, and then that's when George is supposed to you know come swoop in and save the day, yeah, yeah.
JOE:And the way it all shakes down is kind of interesting too because he's like, Well, I I think maybe we should park. And she's like, Well, Marty, it's not my first time parking, and he's like, What? What? So, like the things that he's gonna be able to he thinks he's gonna be able to use, thinking that her mom is his mom is innocent, right? Right, like, well, I'm just gonna tell her we're gonna park and see what she does with that, you know. And like, okay, you know, and then like she busts out booze, and he's like, What? You're drinking too. Yep.
DYLAN:Um one of the forgot about the booze.
JOE:Yeah, she busts it out and he's like, What? And uh, and then he he talks to her about it, and then she's like, Marty, you're starting to sound like my mother. Gives her this look like, Well, you are my mother. Right. Um one of the scenes that uh blooper from that is it was his birthday. Uh it was, I think it was like his 21st birthday. Oh, okay. And so in that scene, they replaced it with real booze. So when he went to drink, he really spit it out for the first time. So that's funny. So it was a surprise to him. Yeah. But yeah, after after all that, you know, she kisses him and and they're just like, she's like. When I kiss you, it's like I'm kissing my brother. She's like, I don't know if that makes any sense. He's like, That makes a lot of sense.
DYLAN:Yep. And then the door, you know, the door gets yanked open, and Barty is in his head thinking it's George when it turns out to be Biff. Yeah. And like that was a good turn too. Because like, you know, me watching it, I I was expecting it to be George. Right. You know, I expect I expected it to all pretty much play out the way they talked about. Right. And then for for the reveal of it being Biff, and you're like, oh, what's gonna happen?
JOE:Yeah. Um that made me think of sometimes I'm thinking of a lot of deleted scenes and stuff. Yeah. But at some point, George Um, so at one point they show Biff spiking the punch, and then another point, um, George goes and drinks the punch. Oh. But then he gets um somehow he gets bullied and thrown into a locker or something like that. So he gets oh, into a telephone booth at the school. So then he gets stuck in there, and then he finally gets let out, and that's what causes um him to be late so that Biff gets there instead of him. So there's a little like, you know, there's kind of a longer cut of how things go. Right. But the way I think the way they did it ultimately had a cool effect because yeah, the first time you see it, you think it's gonna be George and it's gonna just be all Panky Dory. You know, I think that ups the ante because there's just a sense too that I forget that before the dance he meets with Doc and they're they plan things out again, and he tries to give him the letter. Uh oh. Yeah.
DYLAN:Okay, I was thinking that was after the dance.
JOE:Yeah, no, it's before they prep and then he goes to the dance. And uh, and so there's just this feeling of like this needs to happen. This needs, you know, the the the timing, and even in the music, it's just dun dun dun dun dun dun, you know, like it's um it starts to it's almost like it feels like a clock, you know, the rhythm and the of the music of of everything. And uh and so yeah, when when he comes, you're like, oh no. Like um, you're just you're just like, oh no, and and so he gets you know taken by the by the guys. Yep.
DYLAN:Yeah, and then it's an interesting course that gets taken there because he gets taken by the gang and around the back of the school where the band is out there having a having a little smoke break. Yeah. And Marty gets thrown into the boot of their car. The band scares the gang off, right? Is that how that worked out?
JOE:Pretty much, because they're like, you know, they're like, hey, what do you, you know, what do you Peckerwood's messing with my my car, you know, and he's like, hey, I don't want to, you know, ultimately the guy at the last line is like, I don't want to mess with no reefer addicts, and they're like, Reefer addicts, and they start running after him and they take off. Yeah, yeah. But then Marty's locked in the trunk, the keys are in the trunk, or the boot. And they gotta get him out, and uh Marvin uh um cuts his hand with the screwdriver trying to get Marty out, so he can't play guitar. Uh and then he gets out, he he runs over, and then between all that is the situation with Biff and and George.
DYLAN:Yep. Yeah, and so Biff, like after after Marty gets carried off, Biff pretty much slides into the car and yeah. Biff yeah, Biff jumps into the car then and Lorraine somehow ends up on the floorboard. He's Biff is like leaning over then, yeah, and you don't see what's going on, but you can unfortunately assume uh and then that's when that's when George comes in and thinking that it's going to be Marty, yeah, pulls the door open.
JOE:Does he punch him first or does he ri recognize well I think he even hesitates thinking thinking it was Marty because it's like, oh, it looks like they're already doing something. I don't know, you know. But he opens the door and says, Um, get your dang hands off her. And he and he turns around, he's like, Walk away, McFly. And he goes, Oh, and then she cries out for help, and he's like, No, Biff, you leave her alone. You know, it's such a great I mean, you just see that right, no, like I'm not gonna let this happen.
DYLAN:Right, that is such a good redemption for him.
JOE:Yeah, yeah, yeah. If anything, like I know um at the end there was uh some debate on whether they were rich or however that ends up, but for me, it was just that point of whatever happened, whatever however his redemption story was gonna happen, like that part of it was like, you know, just that was the catalyst, yeah. Getting past himself right to defend her. Yeah. And then I think that's what really changed the whole space-time continuum, you know. You can feel it.
DYLAN:Yeah, because ultimately in the end, George does, you know, knock Biv out.
JOE:Yeah, yeah. And I like that she kind of helped, you know, and then ultimately he just took over and you know, so then all of that happens and Marty makes his way out of the trunk and back around to the front of the building again to, you know, at that point figure out what was happening.
DYLAN:Yeah.
JOE:And comes and finds out that George has already saved the day. Yeah, because he runs out there, and right when he gets there, he clocks him and he's just like, Yep. Yeah. He's like, yes. But then he realizes that even though that's happened, right? They still have to kiss on the dance floor. Right. And he looks at the picture and it's still fading.
DYLAN:Still fading. Counting down. Yep. And then so I thought it was cool that that Marty got to play with the band. And like all the students there, you know, bore into it, enjoyed it, whatever. Yeah. And then like he goes off on I don't know, like a tangent playing, you know, playing the guitar, his solo, yeah, his one and done solo career there.
JOE:Yeah. Well, the funny thing about that too was um they said that to get the rights to that music, yeah, that song, was the most expensive out of the whole movie. Oh really? Yeah. But they wanted it to be Johnny be good because because they wanted to center it around the the upbringing or the the rising of the teenager, they felt like that was really the song that that made rock and roll. Right. And so they they wanted that to be a huge thing. And in the middle of editing and all that other stuff, they had a cut without it, and they were gonna show that, but somebody else was like, no, let's let's watch it with it and let's show it to this audience. And when that scene came up, everybody just was just yeah, yeah, because it's such a great scene, you know, like because he takes when he's playing the guitar, he was doing Johnny Be Good, he guitar styles, he starts to do Prince and he starts to do all these other Van Halen, and he starts to play all these licks from you know, other you know, even his movements and all that were were from all these different guitarists, and so when he ends up on the ground, he's more like Prince, like doing what Prince would do, and yeah, and so then when he gets up and he's like, Ah, I guess you guys aren't ready for that, but your kids are gonna love it. Kids are gonna love it. Yeah. But the whole audience seeing that, he was they were like, He Robert Sameka said, like, I'm so glad I kept that in because I just lost focus. Yeah, you know, he wanted to cut it and he just lost focus. He's like, Oh man, that was such a you know, like that saved the movie. Yeah, you know, I mean it was yeah, it just made it so much better. Right. Because it feels like it feels like a little bit of a tangent, um, because after he plays Earth Angel, um, you know, they go from they go on the dance floor, they start playing Earth Angel, somebody else tries to cut in, and then he pushes you know, George pushes that guy down, and they're just like, Yeah, you should go for class president, you know. Um, but then they're like, Hey, why don't we do something that really you know cooks and you know, yeah, and so like you know what they wanted to do there too is is have Marty invent rock and roll. And so, yeah, and so Marvin Barry calls his cousin Chuck Barry and says, Hey Chuck, you know, you know that sound that you've been looking for. Well, this is you know, listen to this, yeah. And so it was like Chuck Barry was on the other line listening to some random music and writing it down at the time, and and then he invented rock and roll, you know. So some people get too deep with it. I think it's just a fun little thing to like you know, throw in there. People throw race and all this other stuff, but most people know that like between Chuck Berry and Little Richard, like it's still a debate on who invented rock and roll. Oh, really?
DYLAN:Yeah, it was a good scene, and I liked the Johnny V good part, but when when he starts, you know, doing all of the solo stuff, and like that's where you kind of lost me a little bit. Oh yeah. I'm also not a fan of that kind of music, it's oh yeah, not my preference.
JOE:Uh-huh. So, but it was still good. Yeah, when like someone like me, and especially in the generation, like if you were watching, you know, watching him emulate those artists, you would know who those people were and what he was doing. Right. So that's kind of it's just like with Huey Lewis showing up in the you know, the first act as yeah, you know, right? People were like, oh, that's Huey Lewis, you know. So um so yeah, I guess generationally it could get lost, huh?
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DYLAN:Yeah, so after that, then that's where we kind of have our big finale of the the clock tower scene. And I really I really liked how they had it um how they had it all like play out. Yeah like the pacing was good and like just the the growing tension throughout the whole thing was was good. Yeah. Um and that, you know, I'm sure that has to do with a lot of editing and stuff.
JOE:And and even throwing in, okay. Marty has two things going on in his head. Getting his parents to fall in love, right? And then getting Doc not killed. Yeah. You know, getting the message to him that on that night that he gets sent back, that yeah, you know, and so that's a continual thing. Like part of the tension in that scene is like, you know, he gave him the letter, right? He rips it up, and so then he's like, you know, Doc, you know, on the night that you go back, you know, and he's like, What?
DYLAN:Yeah, loud train rushes by, yeah, yeah, exactly. It's just like uh Yeah, because he gives so he gives the letter to Doc, and then Doc like you know, is like No, we we can't you know what does he say?
JOE:We can't mess with the um I mean it I think he essentially says like you know that it would mess with the space-time continuum and you know, cause other things to happen, right? Just like just what just happened. And he said, and you know, Marty's just like, well, your life depends on it, you know, and uh he doesn't want to hear it.
DYLAN:So yeah, yeah, well, and like it's cool too of like, you know, spoiler alert for the end of the movie, but Doc makes it, yeah. And um like going back to the letter and shows like Doc like you know repairing it essentially, yeah, and putting it putting it all back together. So that was it was definitely a good good end there. Yeah. Okay, one thing that I was not a big fan of was the the whole thing with the wire from the clock tower to down in front of the DeLorean and how like that got you know unplugged. Unplugged, and I'm like, okay, wait a minute, why why do we have a random plug here? Uh-huh. Like you can't find the longer wire?
JOE:Yeah.
DYLAN:But it's like it's the whole thing of it getting unplugged, and so he goes to the top of the clock tower and then you know goes to plug it back in, but it's stuck under the the tree branch, and then yeah, because the tree branch breaks while they're working on it, and yeah.
JOE:Yeah, it's suspension of disbelief.
DYLAN:Yeah. But I don't know. Part of me is it gets that, and then the other part of me is like, we already know what's gonna happen. Like he's gonna get it in just you know, just the nick of time. And yeah, but yeah, like because you were talking about you know, like kind of doc being imperil by doing that. And like, I don't know. I I don't really get the imperil part of that just because like we already have future doc. Yeah, or you know, current time doc. I don't know. However you want to think about that.
JOE:Yeah, and well, yeah, like 50 55 Doc still could have died, and that would have changed time as well. Yeah. So I mean, there's there's that whole thing because I mean you just learned that the parents almost didn't get together and he was gonna fade away. So what happens if Doc dies on this clock tower? You know, that's true. Yeah. Um the funny thing is in eighty eighty-five, if you pay attention to the clock tower, there's a piece of the ledge broken off.
DYLAN:Oh, yeah.
JOE:Yeah. Funny.
DYLAN:Yeah. So it's like you've okay, you've been to the back lot where it was filmed, right? Uh-huh. Is that is that ledge missing?
JOE:I can't remember. Oh, you're letting me down. I can't remember. Well, here's the thing. So do they still have that? Up until 89. Um, it was the original set. Yeah. At a certain point after that, there was a fire, and they had to essentially rebuild everything. Really? Yeah. The original building um that stood was cement. Yeah. And then they built like the facade on the outside. The facade on the outside of the old uh the clock tower. Right. Yeah. So like, and there wasn't it was originally just a justice building for you know, movies. Right. And then when they did Back to the Future, they added the clock and and the the little lions and yeah, you know, up there and all that for the set. So yeah. And they filmed, so we talked about Gremlins when we talked about Goonies. They filmed Gremlins there, and then it was on a bunch of TV shows and stuff. But gotcha. Yeah. It was the first time that they ever took that particular set and made it something all new. That's cool. But because of that, they kept it that way for a long time. Gotcha. But after the fire, like there was a lot of sets at Universal that burned because it was this huge fire. It was so sad. Yeah. Um I think King Kong, the one of the the original King Kong uh rides burned too. Yeah. Yeah.
DYLAN:I think I think I heard about that. Yeah. So yeah. Well, maybe if we go back in time, we can stop it from happening. Yeah. Once Marty makes it back to 85 and like he, you know, you come back and he like comes back and it's it's kind of funny how they play with the idea of you know the moving vehicle, and so he jumps and like immediately crashes because he doesn't have enough room on the other side. Right. Future me problem, I guess. Yeah, yeah, exactly. So then yeah, crashes and meets homeless guy. And then what were you saying about the the radio? Something was playing on the radio.
JOE:Oh, just that there was a song from Eric Clapton playing on the radio, uh, and the the bum is chilling there. Uh, and and there's an Eric Clapton song playing, and so when he comes up, he's like, Red, you know, like, it's good to see you, you know. And he's glad to be back in in '85. Right. Gotcha. Yeah.
DYLAN:And then gets back to the parking lot of the mall, and Doc's still laying on the ground. Yeah. And so you're, you know, you're you kind of have a heartbroken moment of like, oh, it, you know, the letter didn't work.
JOE:Yeah. So did you get when he got back to the mall, that the mall name changed?
DYLAN:Oh, I did not notice that. Okay. So see, that's why we shouldn't have watched it in the movie theater. Yeah. Because we could have made it an 18-hour epic of watching for five minutes and then pausing and going back over the street. Exactly.
JOE:Yeah, that's what we'll have to go over it again. But that's one of the funniest, long, longest jokes in that movie. Yeah. Is so at the beginning, Dox says Meet me at the Twin Pines Momb. Right. So he tells them the story about Peabody wanting to make a farm of pine trees. Right. Right. So when Marty jets out of there after almost being shot, he runs over one of the the pine trees.
DYLAN:Yeah.
JOE:So that leaves one pine tree. So when he gets back to the mall, it's the lone pine mall.
DYLAN:That's so funny. Oh my gosh. I didn't even.
JOE:Yeah. Some people good. Yeah. Some people catch it, some people don't. And that's why I was like, oh, did he get it?
DYLAN:Right. Yeah. I bet that's one of those things that I I'm sure I probably read it and then just like I was so heartbroken by Doc not making it.
JOE:Yeah, right. Yeah. You're so concerned about Doc. Right. And and and I think it's cool. Um the way he when he comes back, how they replay the whole scene, and it's from that different perspective. Right. You know, it's just that whole like um alternate universe time thing. Yeah.
DYLAN:Yeah. Which is super interesting too because when he time travels back, does he purposefully like come back early?
JOE:Yeah. Yeah. Because when he's when he's, you know, he wasn't able to get the word to to Doc, and he's like, you know, I I wanted to, you know, I wanted to let him know. And he's like, and then he tells himself, what am I talking about? I'm in a time machine. I could just go back earlier and reset the time. Yeah. And then he ends up doing that. And so he he changes the time to earlier. And then when he gets sent back, he he has enough time. That's why he like the car goes out, you know, in the middle of of you know the the town. And so then he has to get on a skateboard and just get to the mall because the the Libyans are coming now. And so that gives him enough time to gotcha. Yeah.
DYLAN:I thought the car went out in the town just because it was the DeLorean, and that's what they do.
JOE:Well, I mean that's the cool thing about what they do with the time machine. A lot of time machines in movies will not take into account like space and time at the same time. Right. And this does. And so like they're not gonna set there's no way that they could set their you know their counters or whatever to go to Paris in 1955, right? Yeah, so where you are is where you are, yeah. So he took off in the town and he ended up in the town because he was in the town.
DYLAN:Well, he ended up in the wall, right?
JOE:In the wall. Yeah, yeah. So he moved, but he was still within that space. I think that's just a skill issue on his part. Yeah, yeah. But they were saying like a lot of time travel movies, like, oh, you'll bonk your head, and then now you're in, you know, England. Right, which is super true. Right, right. That always happens. Hate when that happens. No. And then, you know, Queen of England hasn't met the king, and you gotta get them together and save the UK. But uh, I digress. So they they noticed that with mad men. Yeah. So they noticed that with a lot of movies, and they wanted to make it a little more, you know, like realistic.
DYLAN:Realistic. Yeah. For a time traveling, yeah, gritty realistic. Right. Because that's what we want from uh from a sci-fi movie. It's the realistic movie. Dark night of travel, time travel movies.
JOE:So yeah, he gets back, gets to the mall, meets Doc, Doc's alive.
DYLAN:Yep. I like I love that scene too of like seeing the DeLorean from the other perspective to take it, take off, go back in time. Yeah.
unknown:Yeah.
DYLAN:And you had to watch the whole movie over again. Right?
JOE:Yeah, it's just it's a loop. Yeah, that's right. Pretty much start it from where it takes off, and he's back in peabodies.
DYLAN:And then he runs over to Doc, right? Thinking that Doc's still dead.
JOE:Yeah, yeah. He's crying and he's like, no, Doc, no. And he turns him over and he has a bulletproof vest. Yeah, pulls the letter out, and it's like yeah, that's such a good moment right there.
DYLAN:Yeah.
JOE:Like, what about all that stuff about the space-time continuum?
unknown:I thought, what the heck?
JOE:What the heck? Yeah.
DYLAN:How did Back to the Future um change sci-fi?
JOE:Yeah, I think it set up kind of the reasoning, the science, and a lot of um ways that movies would tell time, you know, tell time travel. Um at the end of the movie, you know, after the mall scene, he gets home, um, he goes goes to sleep.
DYLAN:Right, because the whole thing starts at what was it, like 1 a.m. or something like that?
JOE:Yeah, yeah. So he needs a nap. Yeah, I would too. From spending all week with his parents. And uh wakes up and you know, his his sister and and and brother have these office jobs and they're these yuppies. Um, do you know what a yuppie is?
DYLAN:No.
JOE:Uh it was an 80s term for young urban professional. Okay. Yeah. It was like basically, you know, you work in an office, you work, uh, you you do um, you know, you have prof a you know, young professional job, like, yeah. Um, and so that's what they were. That's kind of what they were going for in that scene. You know, I remember at that time, like grapefruit was like the big thing, like that was like a a big diet for you. Yeah, um, there was all these diet trends in the 80s, but that was one of them that that I keyed into. Uh but uh you know it's funny because she goes from like not have not having a boyfriend to having multiple boyfriends, and you know, their high house is nice, and um you know um his parents are successful and they look you know professional, right? You know, their house is is nice, and there used to be a catalog called Spiegel, which was like a send away, like you order stuff, and I would say that a lot of their stuff looked like it was out of that catalog. But then yeah, he his book it comes out, Biff brings it in, and then he goes outside, and then oh, they talk about his trip, you know.
DYLAN:Hey, you know, the right the top secret trip. Yeah.
JOE:His mom would freak out. Yeah. So he has his truck, and then Jennifer shows up and hey, how about a ride, Mister? And you know, they're they're talking, and then Doc comes back. Yeah. And DeLorean mark two. Yeah, exactly. Yeah, that's a funny thing. A lot of people refer to that as the DeLorean from part two, but it's still part one. Yeah. But uh so at the end of at the end of that when he says, you know, we gotta see about your kids and and all that. Well, there's this Mr. Fusion on the back. He says, roads, where we're going. We don't need roads. Well, before that, he says, We gotta see. You're telling me we have to go back? Yeah, what are our kids? Become idiots or something? Oh, no, no, no. You guys turn out fine. It's your kids, it's your kids. So when he says, you know, oh, we're we need more plutonium, we you know, we can, you know, and all that, and he puts the beer can and the banana. Yeah, the garbage. Yeah, and there's that Mr. Fusion. So apparently, um, cold fusion science was new back then. Oh, yeah. And when they put that in the movie, like they had researched it and they had built things on the car to look like it would be used for them. Right, some government agency contacted them and asked them what they knew about cold fusion because it was so new that they were like, Well, how do you guys know about this? Oh, funny. So, I mean, when you're talking, you know, how how did this story and how did this movie change sci-fi and all that? I mean, it it changed pop culture in a lot of ways, right? Um, but even the science behind some of the things that they did just to be nerdy kind of you know um made an impact.
DYLAN:Yeah, you know. Um well, and it's it's just stuff like that that that does have the impact, and that's that's why.
JOE:Yeah. Yeah, Rick and Morty was based off of Back to the Future.
DYLAN:Yeah, I can see that.
JOE:Doc and Morty, Rick and Morty. Um yeah, Avengers Endgame, I feel like to a back to the future fan, they like I think it was like a slap in the face. Yeah, you have you seen it? Endgame? Yeah, yeah. I I just and oh man, um you know, Ant-Man is one of my favorites, um, actor-wise too. Like, but in that whole scene where they talk about you know, time and space and all that other, they totally like they're like, oh, like back to the future, that's just you know, they just like write it off, and it's like, oh really? Yeah, yeah. Cause I know, and I understand they want to build their own story and they want to have their own like multiverse, right?
DYLAN:But you don't have to diss on.
JOE:Yeah, I felt like it it was too much of a diss for me as a back to the future fan to be like, oh, come on, you know. Right. Like, because I mean I mean the rules are pretty good, you know, as far as like you know, when you go to the past and if you do something in the past, it changes your future, and you know, and I feel like it was nice and clean the way they did it, the way that Back to the Future did it and set it up. Um yeah, so the cool thing is like I I feel like Universal still understands that um whether it's Florida or Hollywood, that that that Back to the Future is one of their core IPs, you know. Yeah, and even though, you know, it's it both parks replaced the Back to the Future ride with Simpsons, yeah. There's still some, you know, at Orlando, there's the train and the DeLorean right next to each other, so there's still some a monument to it. Right. They're they're included in the um the latest uh parade. Um I've got what's yeah, the yeah, so the mega movie parade is uh it's the first float to come out, so it's it's kind of cool. Like it sets the pace, you know?
DYLAN:Yeah, I have only seen that a couple of times, so I don't remember it too well. Yeah, but um did they have like did they have um floats of Back to the Future in any other parades or anything? Not that I remember. Yeah.
JOE:Like not as far as Universal, I don't think. Yeah, yeah, gotcha. And I grew up going to the Hollywood one. So the biggest thing for me was going through the town. Yeah. Um, because that was part of the tram ride. So is it still? It is now, yeah. They've they've actually improved it lately because uh like HHN, the Hollywood Halloween horror nights, uh huh, they now have a different um I forget what that's called, but it's a different kind of night where they do they cover different movies, and you can actually go down to the the set and they have food and they have like reenactments of the movie. Oh really? Different people dressed up as you know, Doc and Marty, and you can dress up. Yeah, they have the cars there. Um, so it's a really cool like they have uh band that plays uh and then they have the Marty get up and play uh Johnny Be Good. Yeah, yeah. It I've seen it online and I'm like, oh that'd be so cool. Why am I not there?
DYLAN:We'll have to add it to our travel list, yeah.
JOE:Exactly. Hopefully, we'll make a podcast about it. But yeah, that's something in the future that I want to do. Um that whole night, I guess it covers different movies and stuff. So you can stay there or you can go to other ones. Interesting, yeah. Which I really like because it's I think they listen to people who go to HHN or to other, you know, or or don't go to HHN and want to do something else, so it makes it cool. Um of my my favorite things as a kid was to go on the Back of the Future ride. It was just it it was better than The Simpsons to me. Yeah. Um, because it wasn't as the it's definitely on the the hurl scale, a 10. Yeah. I mean, most people who go on that ride, the Simpsons ride, just want to puke after.
DYLAN:Well, and that's what like I don't get motion sick. I've got a good stomach for that sort of stuff. You know, I can ride rides all the all the day and yeah, not even blink. Yeah. And yeah, like riding that one, like getting off of it, I'm like, oh, I need I need a second. Right.
JOE:Yeah, and when you can like pretty much I mean you pretty much throw your arms up on Velocicoaster and I'm like hanging right hanging on to dear life, you know? Yeah, and and yeah, so that's that's a huge because for me with when it was Back to the Future, because you know, they basically painted it right and uh and you can still see isn't it even isn't it even the same motion, like kind of generally, yeah, and they pretty much just redid the film, yeah. Same cars, they just took off some of the covering of the DeLorean, and uh you look at the building and you can still see um like the way they originally designed the yeah, yeah.
DYLAN:Funny, yeah. When we go back, we'll have to I'll have to definitely look at that. Yeah um and I don't know if it was where I was sitting on that ride too, uh-huh, but like I kept hitting my head so bad. Yeah, and I had a headache for the rest of that day. Yeah, that was not a good day, yeah.
JOE:Um the cool thing is that you know, at least for me, uh the the ride is on the bonus discs for for Back to the Future, yeah, and so you can actually like watch it and at least experience what it would have been like to because you can do you can pick a sequence where you're going through the whole uh pre-show and then get to the regular show, yeah. You know, because so when you're standing in line the pre-show and they're setting it up, and Doc comes out and he's like, Oh, you know, we gotta, you know, set this up, and Biff Biff somehow gets into the the DeLorean and takes off. Oh yeah, oh that's cool. It's pretty cool. Maybe you can watch it sometime, but yeah. Um yeah, overall, like I I love the fact that Universal still respects back to Future. And you know, I I went to Orlando um last week and bought a new hoodie, yeah, and there's just so much merch that they've brought. They have a they now have a um a life preserver. Oh, do they sell the jacket? They sell the vest, yeah.
DYLAN:That's cool. So is it is it in a jacket or in a vest form? It's a vest. Is it okay? Because I think I've seen ones before of it like you know, that style, but as a jacket.
JOE:So yeah, yeah, this one's it's a nice vest. It's cool. It almost it's almost like a north face or something. It's a really nice one. Right. I think they had one that was a little cheaper, but this one's worth it. Yeah, yeah. For sure.
DYLAN:So do you have any any uh favorites of the second half that we didn't attach?
JOE:Hmm. Second half of the movie, maybe there's so much about this movie. There's so many ins and outs. Um that's why we had to break it into two parts anyways. Yeah. Um, I did mention about my nephew and and uh finishing off, um I went I went to Universal and and bought a RC car and ended up giving it to him after we watched it together. Oh, did you? Oh, that's so cute. It was just like I just felt like he he needed some kind of badge of honor. Like he went through like watching. And uh he he lives he lives close to all the area where it was filmed. Yeah, that's cool. And so I want to take him some time to see the you know Biff's house and all that. And we've gone to Universal together, so that you know, I want to do that again now that we've you know we've watched it. Yeah, definitely. So that's that's on my wish list. Sad part is right now they're um they're getting close to tearing down the original um Lone Pine, Twin Pines Mall, which is the Potter Hill Small. Yeah. Um I think right now you could still go inside and see the Twin Pines sign uh they have inside of those. Oh yeah. And they've had like a couple different, so November 5th and a couple of different dates that are part of Back to the Future. Yeah. Um, they'll have meetups in the parking lot. Oh, that's cool. And so they're getting close to demo demoing it and building something else. So that's pretty sad. Yeah. Um, yeah, I think I think the movies and the music and everything that's put together. Um the funny thing, funny story was that they filmed it in Whittier, and that's about at least two hours from Hollywood. Yeah. And Michael J. Fox wasn't like they none of these actors were like really on where they're at now, you know, they were just up and coming. And so Michael J. Fox at one point um had when he was on family ties, had the lead actress was giving him a ride to work because he would get late to work because he had to take the bus. So she started giving him a ride to work, and then once he can afford his own car, then he got his own car, and yeah, you know. But at one point he he he had to drive with Crispin Glover from like Hollywood area all the way down to Whittier to film those dancing scenes and high school scenes and stuff. And he had Crispin Glover had a car that had a was a um what do you call it? Um ragtop uh um oh convertible, yeah, convertible. Yeah, and uh it wouldn't it wouldn't go up, and so they just took off and and went. Well, it started to rain, and he said with with the way as bad as his car was and and everything, like they opened up the doors and water just poured out. Oh man. And so just thinking about those scenes, having to film those scenes after that happening and yeah, and all the tension and things like that. It's like having to go from being soaking wet to getting in a in a suit and then doing these scenes is like, oh man, the stuff that they had to go through as kids, you know, and young actors and the sacrifices they made to, you know, it those simple scenes like went through so much to to do that. But it I I feel like I think we touched on it last time, but I feel like the scripts and the scenes, the music, none of it went to waste. Um, yeah, everything was like purposeful, everything had its place in this movie, and yeah.
DYLAN:So, Joe, how many flux capacitors out of 10 would you rate this?
JOE:I give it 1.21 gigawatts. Yep. Yeah. I it's it's it's my tan movie. Yeah, it is.
DYLAN:It's it is. Yeah, I I mean I would definitely rate it an eight. I enjoyed it. I would definitely watch it again.
JOE:Yeah.
DYLAN:Um I think we touched on it last time too, of like, you know, I want to go back through it and watch it again and just have you like point stuff out through the whole movie. Yeah, yeah. Because, you know, I'm sure there's just so much stuff in it that I I had no idea about. Yeah. But yeah, like it's I can definitely see it being that movie or one of those movies that you just have it on, you know, put your cleaning or something, you just have it on in the background, and you're like so you just slowly stop cleaning to watch the movie.
JOE:Yeah, yeah. It's like that meme of I'm just gonna put on a movie to clean, and then they're just standing in front of the dude. Yeah, because that's that's very much me. Yeah. I mean, you know, my my wife and I went to see it just you know a week ago and uh after we saw it. And yeah, a couple days after we we saw it in the theater. It's like watch it in the theater while you can, you know. Yeah, and we just we will all the way through part three, we will just recite it and we have our lines, and sometimes we'll just we have different movies like you know, Glorious Bastards will say Gorlami every once in a while or whatever, but uh we we'll even in our own conversation we'll sometimes just blurt out a line from Back to the Future. Yeah, yeah. We'll get there, Dylan. Anything else? Um you can do anything if you put your mind to it.
DYLAN:Well, don't forget to check the links for all of our socials, and you can now text into the show with your movie suggestions. So all the details are in the description for that. That's our time, literally. Thanks for joining us for this trip through Hill Valley. Until next week, set your clocks, check your plutonium, and whatever you do, don't mess with the space-time continuum.