This review is part of our 31 Days of Horror series. You can check out the other posts by clicking these words.
Blimey, these episode titles.
Anyway, we’re back. And this time I even managed to watch the episode and write the recap with a degree of urgency, so with any luck we’ll be ranked 6,347,425th in the Google search rankings and as many of you as possible will get to read exactly how I feel about “The Butcher’s Knife Cares Not for the Lamb’s Cry”, aka “Which of These Letters Should Be Capitalised in the Title?” aka “It Cannot Be Safe To Keep That Thing on the Ship.”
Well, allow me to wipe the egg from my face. In last week’s recap of Star Trek: Discovery’s first two episodes, I bragged quite openly about how privileged I was to be able to watch the show on Netflix, without having to clamber over the CBS All-Access paywall with the rest of the peasants. Oh, how convenient, I thought. What a doddle this’ll be. And yet suddenly I find myself sat here, at 00:15am, on a school night no less, staring at a mostly-blank Word document after just having watching the third episode, “Context is for Kings.” Throughout the entirety of last week, Netflix assured me in their infinite wisdom that a new episode of this show would air on October 9th. I’m sure it will. But they forgot to fucking tell me that one would also air today, on October 2nd, which is technically yesterday, as it’s after midnight, and now my eyes feel like they’ve had sea salt thrown in them, and I have to be up bright and early to cook my daughter’s breakfast and take her to the thieves’ den where she learns through play for £200 a week.
This is Episode 66 of the Ready, Steady, Cut! Podcast. On this episode, to celebrate the release of Blade Runner 2049, we discuss Blade Runner (1982)
We also discuss What’s Happening At Ready Steady Cut, Trailer Talk is The Maze Runner: The Death Cure and Gotti and as always, we play another game of You Can’t Beat Me! This week it is Chick Flick Characters.
00:00 – Introduction and Episode Summary
02:44 – What’s Happening at Ready, Steady, Cut!
08:34 – Trailer Talk – The Maze Runner: The Death Cure
12:01 – Trailer Talk – Gotti
14:24 – Blade Runner (1982) Discussion
1:16:25 – Questions from Listeners
1:32:32 – You Can’t Beat Me – Chick Flick Characters
1:48:02 – Final Comments
A futuristic Western-themed amusement park allows high paying guests to live out their wildest fantasies without real world consequences.
Westworld is a theme park with a difference – it enables rich holidaymakers to experience whatever fantasies they possess through artificial consciousness. The park is maintained by robotic ‘hosts’, who aid the fulfilment of the guests’ desires. However, the many advances in technology that have taken place since the park opened have meant the hosts have become increasingly lifelike over the years. Now, they’ve reached a point where they are growing more and more self-aware and have a stronger grasp on reality, that reality being that they are simply there to carry out a function. After this long, it would appear that the hosts have had enough, and the ultimate rebellion starts to get underway.
It really must require a considerable amount of effort to take a premise as deliciously high-concept as the one found in Rememory and transform it into such vapid, self-serious drivel. Consider the implications of a device, like the one seen here, that can extract the memories of its users perfectly intact, allowing anyone to comb through their recollections without the impediments of personal bias or natural forgetfulness. Imagine the creator of that device found mysteriously dead, and a guilt-ridden amateur sleuth investigating his untimely demise. Imagine all of this, and then forget it. The reality is, after all, never quite as compelling as the imaginary.
Gordon Dunn (Martin Donovan) is the mind behind this device; a mild-mannered scientist-psychologist whose machine accesses the subconscious of his patients to “objectively” – his own word – replay memories that they have distorted or suppressed. It’s a revolutionary form of treatment for the traumatised and unstable, and a conceptually audacious hook for a psychological whodunit, especially after Dunn is found dead in his office shortly after unveiling the prototype. His friend, Sam Bloom (Peter Dinklage), a model-maker who is crippled by guilt after causing a car crash that resulted in the death of his rock-singer brother (Matt Ellis), begins his own investigation into the skulduggery surrounding Dunn’s death and device; spurred on by his own need for closure, and his fear that any blemish on Dunn’s legacy might damage his tech company, Cortex, which is being run by a nakedly sinister British executive (Henry Ian Cusick) whose beard gives away his moral allegiance long before the plot does.
This is Episode 58 of the Ready, Steady, Cut! Podcast. On this episode, with the wide re-release and 4k remastered version hitting our shelves, we discuss what is regarded to be the Stephen Spielberg’s most significant visionary work – Close Encounters of the Third Kind.
We also discuss rumours involving The Batman standalone movie and the standalone Joker movie. As always, we answer questions raised by our listeners and play another game of You Can’t Beat Me! This week it is mystical characters.
00:00 – Introduction and Episode Summary
04:43 – Rumours – The Batman and Joker
12:24 – Close Encounters of the Third Kind
1:01:29 – You Can’t Beat Me! – Mystical Characters
1:18:44 – Final Comments\