Alert regular “Sitting Duck” sez:
Throughout MST3K’s run, characters from the shorts and movies have made appearances in the host segments. Which character who has not made such an appearance would you like to have seen on the SoL/in Deep 13/on the Hexfield? I’m going with Ro-Man of Robot Monster. He could have talked about what he’s been up to since the events in the movie and how his relationship with Alice was going.
I’d like to hear more from the “Leave Robert Denby alone!” guy. I bet he’s still upset. But I bet he thinks that Abby’s some gal.
The first movie in the Ator saga. Stream or download it here.
Short: (1956) While her songwriter husband struggles with a difficult tune, a newlywed dreams of redecorating her house with phones.
Movie: (1958) After his rocket crashes, an astronaut discovers he is carrying alien embryos.
Turkey Day bumpers
1: Dr. F. is at it again, planning to rule the world using his collection of MST3K experiments. His mother is stopping by later, and he wants to rule the world before she gets there. Then, Jack Perkins arrives. He explains that TV’s Frank invited a bunch of guests for Thanksgiving dinner months before he was assumed into second banana heaven.
2: Mr. B Natural pops in.
3: Pitch appears.
4: The Kitten With The Whip arrives.
5: Dr. F is unhappy until he hears piano stylings of Michael Feinstein.
6. The party continues but nobody hears Pearl banging at the door of Deep 13.
7: Pearl arrives. She’s upset that Frank is gone but joins the party.
Turkey Day host segments–aka 701T
First shown: 11/23/95
Opening: M&tB rain sports cliches on a baffled Gypsy
Intro: Dr. F.’s party continues with Pearl providing the movie
Host segment 1: Crow and Tom present: “Stuffing vs. Potatoes”
Host segment 2: “Art” and Pearl have a chat
Host segment 3: Thanksgiving dinner on the SOL and in Deep 13
End: Tom is mincemeat; Pearl’s “Turkey surprise” is a hit in Deep 13
Stinger: “Wounded animal that large isn’t good”
Regular show host segments
First shown: 2/3/96
Opening: Crow and Tom are concerned about their personal security, so they taze Mike
Intro: Dr. F. has a traumatic trombone recital, but Crow shines
Host segment 1: M&tB sing about decorating with phones
Host segment 2: Pearl makes Dr. F. apologize
Host segment 3: Crow claims he’s pregnant with shrimp babies
End: Crow’s rant about babies disrupts Mike’s attempts to read letters; Pearl wants Dr . F. to act like a baby
Stinger: “Wounded animal that large isn’t good”
• This episode, with the Turkey Day bumpers included as extras, is included in the “Mystery Science Theater 3000 Collection: Vol. XVI.”
• We are proud to point you to our EXCLUSIVE season-seven continuation of the Amazing Colossal Episode Guide, here on this site. We paid good money to get these! You’re welcome. Read them! Mike talks about the main episode here and Bridget offers some thoughts on the Turkey Day version here. Now on with the discussion…
Turkey Day bumpers
• Of course, there’s no way any of the following Turkey Day bumper sets could ever rival the fun and delight of the first one, but these were okay. They got the job done and there were some genuine laughs.
• In the third segment, Dr. F says “I will rule the WORLD!! AHAHAHAHA!” almost exactly like he does in the opening of “MST3K:TM.”
• Mike’s song goes on too long.
• Mike is hilarious as a smitten Jack Perkins, prepared to “change teams” if necessary to the enjoy the pleasures of Mr. B Natural, and Bridget is equally funny as a guy who isn’t really into what Jack has in mind.
The Turkey Day host segments:
• According to our records, the host segments, that debuted on Nov. 23, 1995, ran three more times, on Dec. 2 (at 5 p.m.), Dec. 3 (at 10 a.m.) and Dec. 4 (at 2 a.m.). So that makes a total of four showings.
• For the record, the stretch between the end of season six and the beginning of season seven was 243 days (more than eight months!), the second-longest amount of time MSTies had to wait between episodes. (The stretch between seasons 7 and 8 was the longest.). Fans were jonesing bad.
• Of course, we have new theme song lyrics, mostly involving changing the personal pronouns from plural to singular, reflecting the departure of Frank. There’s also some great new footage in the opening.
• The opening is fun and breezy, with poor Gypsy trying to make sense of M&tB as they spout endless sports cliches.
• Why does Pearl call Crow “Art?” [Deep breath] Calling Crow “Art” is an obscure BBI in-joke. During a host segment in episode 203- JUNGLE GODDESS, Joel was introducing the ‘bots at the end of a sketch in the same manner Jackie Gleason used to use at the end of his TV show: bringing out each cast member to take a bow. In fact, when he got to Crow, he got so into the Jackie Gleason premise that he introduced Crow as “Art Crow!” much as Gleason would yell “Art Carney!” when introducing his long-time co-star. Well, apparently some little kid saw that, didn’t get the Jackie Gleason reference, and assumed that Crow’s name was actually Art. That kid wrote a letter to the show, which was read in episode 402- THE GIANT GILA MONSTER. The letter included pictures of each of the robots, and the drawing of Crow was labeled “Art.” When Pearl calls Crow “Art,” it’s a reference to that. [Exhale]
• The stuffing vs. potatoes bit is very funny. “Nature’s Bouncing Betty…”
• Although Dr. F would be browbeaten and henpecked by Pearl — to the dismay of some fans (see below) — this season, the two also seem to work reasonably well together in this episode, working together to defeat the unpleasant guests.
• I had forgotten Pearl’s hilarious “Turkey Surprise” recipe: “Bake at 200 degrees for one hour and then rub with a turtle.” Brilliant.
The regular episode:
• This was the first new episode (sort of) in six weeks.
• The riffing, both of the short and the main feature, is just hilarious. Very strong and a great start to this all-too-short season.
• If the movie’s scenery looks familiar, it should: Yes, this was another movie featuring exterior shots done in Bronson Canyon. Other movies where that location was used include: “Robot Monster,” “King Dinosaur,” “It Conquered The World,” “Viking Women,” “War Of The Colossal Beast” and “Teenagers From Outer Space.”
• Note that in the background of the redecorated Deep 13 is the projector from Deep 13 set of “MST3K: TM.”
• The opening, with the bots torturing Mike for no discernible reason, is the beginning of what will be a season 7 running theme.
• Ah, the trombone recital. The beginning of all “the troubles” in the view of some folks (again, see below). I will be honest: I laughed. I thought it was pretty funny and I think Trace and Mary Jo do a great job in the scene. But not everybody thought so. Another reason there was some dismay about this segment came later: the outtake that appeared in “Poopie 2,” when it appears that Trace actually was injured slightly during the filming. A bit disturbing.
• Crow’s solo is the same song — “Getting Sentimental Over You” — that our hero plays at the end of Mr. B Natural. And, hey! Crow’s arms work!
• Nice job on the prop trombone that constantly shoots spit.
• Pearl again calls Crow Art.
• Pearl makes several references to wishing Clayton had been a girl, topped with the announcement that Dr. F’s two middle names are “Deborah Susan.”
• The short is a gem: One of those weird promotional things that never actually comes right out and says what they’re selling.
• The little song “Line em up against the wall and pop goes the weasel,” is from “Duck Soup.”
• Crow mispronounces Ray Manzarek’s name.
• During the riffing they do a parody of Eddie Bauer — “comes in loden, pant and twerp” — that they would expand on in a later episode.
• I love Tom singing the sign in the movie.
• One riff, “We learned not to send Polacks into space” caused a small kerfuffle after the episode aired. Some felt it was an uncharacteristically mean-spirited riff.
• A couple of times they make a reference to “undercupping.” Visit this site, for an explanation of what that term means.
• Callback: “The Beast of Yucca Flats.”
• The whole “Steves” running gag was funny and all, but there was only one character in the movie named Steve. Don’t really see where it comes from, is all…
• I want to address what happened in the fan base when Pearl arrived and the whole dynamic in Deep 13 changed. What happened, I believe, was an unfortunate disconnect between the writing staff and the fans, and although the fans might have made more of an effort to understand what was happening, I must lay most of the blame at the feet of the writing staff. Let me lay it out for you.
In the writing room, it’s clear they felt they were running out of fresh comedic permutations for the characters. I think they felt they’d taken these characters in every direction they could possibly go. And I got the sense that they were thrilled at the arrival of Pearl, and the chance to “shake things up” — a phrase they would use often later on, when fans began to ask them what the hell was going on. From the writers’ point of view, Dr. F and Pearl were simply characters on a page, representing a whole new set of comedic possibilities.
But for a lot of fans, Dr. F was not a concept on a page, to be played with any way the writers liked. He was an established character, a personality they had come to love and appreciate. And when the writers took that established character and began to take it in new directions, some fans didn’t like it. Put simply, they liked to see Dr. F. evil and in charge. They didn’t want to see him henpecked and timid, even if that allowed the writers to try new comic ideas. It was really one of the first times on this show that the fans and writers parted company.
In public appearances and interviews, Mary Jo and Trace expressed genuine confusion when fans questioned the direction they were taking Dr. F (and that’s when the “we just wanted to shake things up” explanations began coming out). It was pretty clear they simply didn’t see any reason not to change the characters any way they liked, as long as they thought it was funny.
In the end, for most fans, it wasn’t a deal breaker (though for a few it was). But it was something new for a show where, previously, the cast and the writers could virtually do no wrong.
• Cast and crew round up. I am not going to do the Arkoff or Roger Corman litany again. Producer and story writer Gene Corman was also the producer of “Attack of the Giant Leeches.” Director Bernard L. Kowalski also worked on “Giant Leeches.” Cinematographer John Nicholaus worked on “Giant Leeches” and “High School Big Shot.” Editor Jodie Copelan worked on “Ring of Terror” and “Laserblast.” Editor Richard Currier also worked on “The Unearthly.” Makeup guy Harry Thomas also worked on “The Unearthly,” “High School Big Shot,” “The Mad Monster,” “Project Moon Base,” “Bride of the Monster,” “Invasion USA” and “Racket Girls.” Production Manager Jack Bohrer also worked on “Giant Leeches” and was assistant director on “Teenage Caveman” and “Viking Women and the Sea Serpent.” Art director Dan Haller also worked “Giant Leeches” and “The Girl in Lovers Lane.” Prop master Karl Brainard also worked on “It Conquered the World,” “Teenage Caveman,” “The Undead” and “The She Creature.” Sound guy Herman Lewis also worked on “Teenage Caveman,” “Viking Women and the Sea Serpent” and “Mitchell.” Score composer Alexander Laszlo also worked on “Giant Leeches,” “Manhunt in Space” and “Crash of Moons.”
In front of the camera: Michael Emmet was also on “Giant Leeches” and “Untamed Youth.” Ed Nelson was also in “Teenage Caveman,” “Swamp Diamonds,” “Riding with Death” and “Superdome.” He was also a costumer for “Giant Leeches.” Tyler McVey was also in “Giant Leeches. Ross Sturlin was also in “Teenage Caveman,” “Viking Women” and “Giant Leeches.”
• CreditsWatch: Beginning with this episode, Best Brains began to behave in a way they hadn’t had to behave in several years: When they got an order for episodes, they assembled a crew and pumped them out. When the order was complete, they laid people off and closed down the studio until another order came in. In other words, there were a lot of new faces. And many longtime regulars had departed.
Gone from the season six list of writers are Frank Conniff and Mike Dodge. Gone from contributing writers is Colleen Williams. The Turkey Day host segments were directed by Jim Mallon. The regular episode segments were directed by Trace Beaulieu. Replacing Jann Johnson at production manager (the separate job of production coordinator goes away completely) is Wendell Jon Andersson (formerly an intern–something that rarely happened!). In the job of “production assistant,” held by the departing Sarah Wisner since season four, is Mary Banovets and Michael D. Parker in the Turkey Day episode. Parker took over the job by himself during the regular season. With the departure of Toolmaster Jef Maynard, the new job of “prop master” appears. One Dean Trisko did the job for the Turkey Day segments. During the regular season the job was held by Helena Espinosa. There was also a new “prop assistant” job. One Beth McKeever first appears in the credits in that role for the Turkey Day episode, along with a Wilson Webb. Beez was also an intern for the first two episodes of the season. Dean Trisko was in the role for the regular episode. The “audio” credit is gone. Tim Paulson no longer appears under “Editors” leaving Brad Keeley in that post alone. Jann and Ellen McDonough are both gone from the “post-production coordination” job and in their place are Wendell and Brad. Andrea DuCane did hair and makeup for all episodes this season except 704. Working as an intern both on the regular show and the Turkey Day segments was Debra Baxter. Danika King and Kelly Schrandt worked as interns for the entire regular season. The “additional original music written and arranged by” credit, which went to Mike for all of season six, again goes to him for the Turkey Day segments and for the rest of the season, but not the regular episode, where Kevin’s name appears instead. Barbara Tebben appears in the credits for the first time, with the title “assistant poobah,” as Julie Walker began to eye the exit. The “special makeup effects” credit for the turkey day segments went to Crist Ballas and Gary Bohem.
• Fave riff from the short: “What would Liberace do? Oh, better not do that!” Honorable mention: “What rhymes with blue balls?”
• Fave riff from the movie: “No more questions! More boobies!” Honorable mention: “You ever seen stroganoff?” and “Honey! You’re taller than you were last year!”
Episodes 523- VILLAGE OF THE GIANTS
and 208- LOST CONTINENT
have been added for the month of March to Shout Factory TV.
And, by the way, episodes 821- TIME CHASERS and 813- JACK FROST were added in February.
Thanks to Paul for the heads up.
Alert regular MSTie suggests:
We’ve covered good acting performances in bad MST movies, but how about “Non-Acting Bright Spots in Otherwise Horrible Movies”? It could be particularly beautiful scenery, a surprisingly well-done camera shot, music, good special effects, etc.
I thought of this the other night when watching “The Sky Divers.” When the dancing starts at the party, the first girl is an AWESOME dancer. She’s the one in the striped top wearing a wide headband in her hair, and she’s really got those 1960s dance moves down.
And continuing in a Coleman Francis mode, two words to say about “The Beast of Yucca Flats” — the bunny.
Two words: The Platters.
Movie: An atomic scientist is invited to collaborate on a mysterious project that has interplanetary consequences.
First shown: 4/19/96
Intro: Dr. F. explains the premise
Opening: Mike’s begins his day, but what’s that rhythmic pounding?
Host segment 1: After the film breaks, Crow and Tom goad Mike into piloting the SOL–with disastrous results!
Host segment 2: Mike and Crow check out the interociter in Tom’s room, but the Metalunan they contact is no help
End: Dr. F. is sure Mike’s will has been broken, but on the SOL its party time — with a “THIS ISLAND EARTH” theme. Dr. F.’s attempt to poop the party backfires. Aaaahhhh!
Stinger: No stinger, but Mike, Crow and Tom return to riff their own credits!
• There is SO much to talk about when it comes to this all-too-brief attempt at mainstreaming an almost unmainstreamable product. I’ll try to hit as many of the high notes as possible.
• For a lot of background on the movie, read our FAQ (which needs a little updating, see below).
• There were a number of releases of the film, first on VHS, later on DVD, also on Laserdisk and Blu-ray. The DVD went out of print for a while (which was around the last time we updated the FAQ) and then came out in a bare-bones, movie-only edition. After that went out of print in 2013, Shout Factory finally got the rights and put together a features-laden DVD release, including the deleted scenes. And take note of the background music on the menu: it’s the almost-never-used Dave Alvin and the Blasters (actually on his Facebook page, he says it was he and a group called “The Guilty Men”) rendition of the theme song, which had been, in Alvin’s words, “in rights limbo” for more than a decade.
• In many ways, all their years of hard work were leading up to this and the movie is at the heart of so much that happened at (and to) Best Brains. One giant example: Joel has revealed that it was Jim’s insistence on directing this movie that was the proverbial “straw that broke the camel’s back” and led him to depart the series. How might the world, the show and Best Brains have been different if they never thought to try to make a movie? We’ll never know. The movie also caused them to put the regular series on the back burner, and that may have helped give Comedy Central the impression that BBI had no interest in continuing the show. I could probably come up with a dozen more examples, and who knows what sort of backstage stuff went on that we don’t know about?
• The movie proves one thing without a doubt: It IS possible to have closed captioning for MST3K. I forget now if the DVDs have captioning, but the VHS versions did — the dialog from the movie ran at the top of the screen and the riffs ran at the bottom. It worked reasonably well, and I really wish EVERY episode was closed captioned. I’m a bit of a militant on this issue, but I do think it can be done and I wish it would be done.
• I visited the set while they were filming (it was the day they shot Trace doing the opening bit) and everybody seemed pretty upbeat. Kevin was even speculating on the prospect of doing one of these a year for the foreseeable future (Joel told me something very similar more recently).
• Trace worked like a real trooper that day. They must have done 20 takes. Oh, and anybody who says making a movie is exciting has never actually been on the set when a movie was being made. It’s a little like a baseball game: lots of standing around and waiting, punctuated by a few seconds of excitement.
• Take a look here if you want to read many of the reviews at the time, or at least excerpts.
• Many of the harshest reviews came from people who felt “This Island Earth” is “too good” to have been the subject of riffing. And as I read these reviews, I noticed something really strange: among the people who made this charge, the words “The Day the Earth Stood Still” were often part of the review. It really was a remarkable thing. “This Island Earth” is NOT “The Day the Earth Stood Still” but the mere PROXIMITY of “This Island Earth” to “The Day the Earth Stood Still,” in the minds of these critics, was enough to disqualify it for mockery.
• I told Kevin, during a break on the set, about the people who were saying TIE was “too good to riff.” His response was very simple: He threw his head back and laughed uproariously. Then he began to tick off the fundamental flaws in the movie. First of all, he said, Cal, our hero, goes on a mind-bending journey across the universe — and yet he returns utterly unchanged in any way. Secondly, Cal is supposed to be the hero, but his most heroic act is to yell, “Run, Ruth, run!” at one point. Third, it’s fairly clear that both Rex Reason and Jeff Morrow thought THEY were the hero of the movie, and that jumbles everything up. Fourth, the chemistry between Faith Domergue and Rex Reason was tepid at best, and on and on. He hadn’t even gotten to all the criticisms before he was called back to the set.
• On the other hand, it’s hard to fairly judge TIE based on the chopped-to-shreds version we get in MST3K:TM (as noted in the FAQ, the entire running time of MST3K:TM is less than the original running time of TIE). But I have seen the full thing (indeed I watched the full thing riffed by Mike, Kevin and Trace at the first convention in 1994) and I am here to tell you that it is NOT a good movie. Visually arresting, okay, I’ll grant you that. But a deeply flawed flick.
• In the opening, just watch the real estate Trace covers as he goes through his explanation of the premise. Now imagine doing that about 20 times under hot lights.
• After the little Dr. F intro, we go into an elaborate “2001” parody during the credits. If you’re watching it carefully, they give away the joke (i.e. that at first Mike looks as if he is jogging in a giant circular spaceship as in “2001,” but then we realize he is actually on a giant hamster wheel) pretty early, but I also suspect that a lot of casual viewers may well have been finding their seats etc., and might have only gotten the joke as the credits end.
• Note that a copy of the old Satellite News newsletter is the “wire service reports” Gypsy gives to Mike.
• Also during the early moments of this scene look past Servo and Mike to the wall behind them. The set is decorated with many pink flamingos. These were a gift from some fans (me among them) presented to the cast and crew at the end of the first convention.
• One of the things that the publicity people for the movie pushed was that we would get our first glimpse of other parts of the SOL. But, in the end, we didn’t really get to see anything very memorable. I suspect they were thinking about the scenes that were eventually cut.
• As we get ready for movie sign, they make explicit the threat Dr. F has always sort of implied in the past. He pulls a lever and apparently cuts the oxygen in the SOL. Mike, of course, has the most reason to cooperate, but Crow and Tom comply as well, not wanting to be the cause of Mike’s demise.
• Look for Frank on one of the doors during the door sequence.
• The movie contains many riffs that loyal fans have heard before, sometimes on several occasions. Among them: “It’s a long par five to the nation’s capital,” “Football practice!” “Put your shoes on, we’re at grandma’s,” “I have tubes in my ears!” “I kind of live out of my [insert vehicle type]” and [you] “wake and bake every day.”
• One of the problems I do have with the movie is that, early on, when they should be establishing a riffing rhythm, there is an upsettingly long stretch of no riffs. It happens during the scene in which Cal holds an impromptu press conference as he prepares to climb into his jet. A long painful minute goes by with only a few paltry riffs, and it’s really the wrong place for a dead zone.
• Then current riffs: “John Sununu goes for a haircut,” “Look out President Clinton!”, a reference to pilots drinking rum and cokes and “The Kingdome!”
• In the live riffing, the “secret eggo project” scene went on much longer and established the “Cal always breaks things” running gag. The shortened version doesn’t really establish it, with the result that when Servo says “Cal, I don’t think there’s anything left to break!” we really don’t understand what he’s talking about.
• Take note of a few familiar faces: The “sort this, deliver that” delivery man is none other than Coleman Francis!! And, later, the Metalunan pilot who punches up the “Normal View” is none other than Richard Deacon, Mel Cooley from “The Dick Van Dyke Show.”
• Another little in-joke for fans, you can hear a light musical riff on the “Manos” theme as Mike activates the manipulator arm, which is labeled “Manos.”
• It always cracks me up the way Crow nuzzles Mike while doing his George Takei impression.
• Servo mentions hamdingers under his breath as he looks for his interociter.
• One of the most surprising, and head-scratching moments of the movie came with the appearance of actor John Brady as a Metalunan taking a shower. Brady had never been involved with MST3K (in fact this was his first movie role) and many fans were baffled by the appearance of this complete stranger.
• Just a shout-out to Jef or whoever built that replica of the catalog in the movie. Looks perfect.
• The movie contains three “shits” in the dialog, expressly added so that would avoid the dreaded “G” rating. I’m sure this made sense at the time. but, in hindsight, doesn’t seem to have helped.
• Obscure riff (there were a few!): They enter a room on the ship that looks to have wooden tile floors. Crow, in his best Henry Fonda, says “Hey the floors look great!” Fonda was a longtime pitchman for GAF flooring.
• As they riff the closing credits, most of the names they pick out are folks who have been longtime BBI staffers.
• Cast and crew wrap-up: We’re going to do this one a little differently because basically the usual Universal crew worked on this thing, and many of them also worked, within a few years on “Revenge of the Creature,” “The Leech Woman,” “The Mole People,” “The Deadly Mantis” and “The Thing that Couldn’t Die.”
Those also working on “Revenge of the Creature ” were producer William Alland, the director of the Metaluna scenes Jack Arnold, assistant director Fred Frank, special effects guy/costumer/makeup guy Bud Westmore, costumers Jack Kevan, Millicent Patrick, Robert Beau Hickman, Chris Mueller and John Kraus, hairdresser Joan St. Oegger, art director Alexander Golitzen, set dressers Russell A. Gausman, sound person Leslie I. Carey and score composers Herman Stein and Henry Mancini. In front of the camera: Robert B. Williams.
Those also working on “The Leech Woman” were special effects guy/costumer/makeup guy Bud Westmore, art director Alexander Golitzen set dressers Russell A. Gausman, sound person Leslie I. Carey, musical director Joseph Gershenson (who served as producer).
Those also working on “The Mole People” were producer William Alland, editor Virgil Vogel, special effects guy Clifford Stine, special effects guy/costumer/makeup guy Bud Westmore, hairdresser Joan St. Oegger, art director Alexander Golitzen, set dresser Russell A. Gausman, sound person Leslie I. Carey, musical director Joseph Gershenson, score composers Herman Stein, Hans Salter and Henry Mancini. In front of the camera: Mark Hamilton, Regis Parton and Ed Parker.
Those also working on “The Deadly Mantis” were producer William Alland, special effects guy Clifford Stine, special effects guy/costumer/makeup guy Bud Westmore, art director Alexander Golitzen, special effects guy Fred Knoth, set dresser Russell A. Gausman, sound person Leslie I. Carey, musical director Joseph Gershenson and score composer Henry Mancini.
Those also working on “The Thing That Couldn’t Die” were cinematographer Clifford Stine, special effects guy/costumer/makeup guy Bud Westmore, set dresser Russell A. Gausman and Julia Heron, sound person Leslie I. Carey, musical director Joseph Gershenson and score composer Henry Mancini.
In addition, producer William Alland also worked on “The Space Children.” Special effects guy Clifford Stine also worked on “The Creeping Terror.” Makeup guy Bud Westmore also worked on “San Francisco International. Hairdresser Joan St. Oegger also worked on “The Amazing Colossal Man.” Art director Alexander Golitzen also worked on “Kitten With A Whip,” as did musical director Joseph Gershenson. Set dresser Russell A. Gausman also worked on “The Brute Man,” as did score composer Hans J. Salter.
In front of the camera: Lance Fuller also appeared in “The She Creature.” Coleman Francis, well, you know. Ed Parker was also in “Bride of the Monster” and “Undersea Kingdom.” Russell Johnson was also in “The Space Children.”
• CreditsWatch: Regular crew members who also worked on the movie were Jeff Stonehouse, Bradley J. Keely, Michael Kienitz, Andrea Jackson DuCane, Jef Maynard, Wendell Jon Andersson, Patrick Brantseg, Crist Ballas, Tim Johnson, Barb Tebben and Julie Walker.
• Fave riff: “Hey, keep it on the road! We’re in the tubes back here!” Honorable mention: “Recognize me now, Ruth?”
Next week, we’ll start season seven.
The “Between the Cons” podcast has a wide-ranging interview with Bridget
Los Angeles–Joseph A. Wapner, a California judge who became a widely recognized symbol of tough but fair-minded American jurisprudence during the 12 years he sat on the bench of the syndicated television show “The People’s Court,” died on Feb. 26 at his home here. He was 97.
MSTies may remember that he was parodied by Joel in a host segment in episode K18- THE MILLION EYES OF SU-MURU and appeared, in cardboard standee form, in a host segment in episode 306- TIME OF THE APES.
The New York Times has the story.
Alert regular Steve writes:
So with the new season just weeks away — so close we can almost touch it — what plans do you have for the premier of MST3K Season 11? Party like it’s 1999 with a few hundred of your closest MISTIE friends? A quiet viewing with family? Just you, locked up by yourself, shades drawn, a case of Cheetos and a cooler full of beer within arms reach of the couch?
And while we are on the topic, will you binge on the whole season, or, like an exquisite meal, savor it slowly, letting each cheesy-good episode melt in your cranium, then cleansing your mental palate before moving on to the next one some hours/days/weeks later?
Me, I plan to invite a few of the “right people” over for pizza, hot wings, beer, and Minnesota Cheese, to join me and my four boys for the premier. Sure, I’ll go crazy and watch the 1st two episodes, but from there it will be weekly until the season is done.
I’ll be in my easy chair with several boxes of wine, taking frantic notes.
And I’ll probably watch two or three, but then I’ll probably do only one or two a weekend.