Lost in Space: Pt 1
Jordan Desjardins, Ben Silverio, and Ansel Burch are pop culture observers/content creators/excellent friends who promise not to turn into weird buggy monsters no matter how long we get trapped in a time bubble. Cross our hearts.
We’re kicking off June with a movie that didn’t quite know what it wanted to be, which makes it perfect for us. Join us for a review of the movie, breaking down how this happened, what we thought about it, and how it fits into the greater oeuvre of the incredible Gary Oldman.
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Ansel Burch is @TheIndecisionist on IG, Facebook, Yowsa, Blusky, Reddit, and Threads.
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Come back next week for our drinking and smoking rules as well as a shallow dive into edutainment with more of Jordan Desjardins. Make sure you’re subscribed. Around here, it’s always Time 2 Party
Transcript
Ben Silverio 0:05
Hey, I'm Ben Silverio,
Jordan Desjardins 0:07
I'm Jordan Desjardins,
Ansel Burch 0:08
and I'm Ansel Burch,
Ben Silverio 0:10
and it's
Ansel Burch 0:11
time to party. We are not doctors, we don't give medical advice. Please drink responsibly. Today's episode was recorded on may 25 2026 Welcome back, party people. This is Producer Ansel, coming to you from the future relative to the original recording date. I come to you with the wonderful information that Jordan Desjardins used his Baja Blast headphones to record today's episode, and while they were extreme, they were also lacking in fidelity. We thank you for your patience. We've done our best to clean everything up, but there will be a few little spots where everything isn't quite as extreme as they were promised, which is pretty on brand for Baja Blast, actually. Anyway, it's time to party.
Ben Silverio 0:57
Yes, danger, danger, time to party. We're about to get lost in space. Yes, that's right. This month on the podcast, we were talking about the, I guess, remake or adaptation of the old school TV show Lost in Space. This movie comes from 1998 If you don't know what we're talking about, this is what IMDB says about it, the Robinson family was going into space to fight for a chance for humanity. Now they're fighting to live long enough to find a new way home. Well, if you're wondering who brought us this gem from the bargain bin, that would be my good friend Jordan Desjardin. How are you, my friend?
Jordan Desjardins 1:42
I am fantastic, because I just got to watch one of my all-time favorite movies to talk about it tonight. So, it's pretty exciting. It's one of those movies. It is bad in all the right ways, and it just scrapped when it comes to wanting to watch something entertaining, like it's a comfort movie. It came out when I was 10, and I vividly remember going to see this in the theater as, like, a lifetime, like, canon event had to happen. I think it defined a lot of my taste in terrible movies,
Ansel Burch 2:13
man. That tracks having good taste in terrible movies is important. It
Ben Silverio 2:18
is. I agree. Now, before we jump into it with Jordan, I want to remind you all how we do things here at Time to Party, since you know the format is new-ish, and I'm sure you may need a refresher. So, first, we come at you with a review of the movie or TV show, or whatever we're talking about. Second, we have some party favors for y'all, that is our drinking and smoking game, and our edutainment, where you might just learn something on the lazy river of a shallow dive that we go on. And finally, episode three is the conversation pit, where we get to know our guest a little bit more, dive into a few things deeper than just that shallow dive, I guess. You know, in other words, a party, right? That's what a party is, isn't
Ansel Burch 3:11
it? Yeah,
Jordan Desjardins 3:11
I do like the party.
Ben Silverio 3:13
Hell yeah! Oh my god,
Ansel Burch 3:14
party favors
Ben Silverio 3:16
Ansel. The things that we could tell you from parties at Jordans are pretty insane.
Speaker 1 3:23
Yeah, no, I am the person who had the party house consistently for a long time throughout most of my life. I think I've only stopped because I had a kid at this point, and it's.. I'm too tired to have parties anymore. So now I just go other places.
Ansel Burch 3:41
It comes for us all.
Speaker 1 3:42
Yeah. No, it's.. it's literally just.. I don't want to deal with cleaning. That's entirely it. After that, this is.. it's too much work. But I do love a good party. And when Ben asked me to join Time to Party for a special episode, I thought, and it had to do that.
Ben Silverio 4:00
Hell,
Ansel Burch 4:01
well, we are so thrilled to have you. I'm very excited to hear your thoughts, and, and to hear your feelings on this being your favorite movie, or a favorite movie.
Speaker 1 4:12
I would go as far as to say it is a thing. It is my favorite movie, but it is definitely,
Ben Silverio 4:17
it is
Speaker 1 4:18
definitely one of my favorite movies. I don't know if I didn't even say it cracked the top 10, but it's like it's got a special place in my heart that a lot of movies don't get. I was
Ansel Burch 4:28
not prepared for that.
Speaker 1 4:29
Oh, yeah, no, I love it. It's, it came out at the exact right sweet spot for me, because I was 10 years old when this hit theaters. I think I went, it was one of the few movies I got to go see with just my dad, so it like made a mark on like I had guy day with my dad and got to go see this movie in theaters, and then it was one of like two VHS tapes that I ever burned through all the way, just because I watch it constantly. It was bad in Jurassic Park, so it's like,
Ansel Burch 4:57
wow,
Speaker 1 4:58
yeah, no, it's I. I spent, I probably watched this movie more than 90% of the populace, because it's at least once annually for me, probably more.
Ben Silverio 5:11
I can say with, okay, you've probably watched it more than Gary Oldman.
Jordan Desjardins 5:17
Yeah, I don't think he's ever re-watched it. Doubtful, would it be for now
Ansel Burch 5:26
it's no fifth element, that's for sure.
Ben Silverio 5:27
I mean, so few things are,
Jordan Desjardins 5:33
yeah.
Ben Silverio 5:35
So, when you mentioned that you wanted to talk about loss in space, I tried to think, because I knew for a fact that I saw this movie. I was sure that I've seen this movie before, mostly because I remember wanting the toys, but while they were cool toys, but while watching it, I didn't recall a single thing that happened in this movie. Oh, yeah.
Jordan Desjardins 6:04
No, it's, it's very much one of those movies where you're watching it and it's happening, and it certainly is a movie that you watch, but there's not a lot of eventful moments. There's a bunch of cool set pieces and a bunch of stuff that looks like a really neat take on things other movies have done better, but like there are definitely just I think the biggest thing that this movie, the big takeaway for me is that this, and I think what it speaks to me as a person, particularly this movie is one of the most toyetic movies that ever has been made.
Ben Silverio 6:36
Sure,
Jordan Desjardins 6:37
the whole thing is built around the idea that New Line saw this as what there could be their Star Trek, so when they made this movie, they planned it as the kicking off, kickoff point for a whole new franchise they were going to launch, so it wasn't just going to be a summer blockbuster, if it did well, which it, it started to, and then it immediately stopped, if it had done well, they were planning. They had everyone signed for a three picture deal. They were planning a live action TV show. They were planning an animated TV show for kids. They were planning tie-in novels. They had a huge toy line planned for the whole thing. They wanted this to be their money making Star Trek type property, where they could churn out a bunch of different stuff as tie-ins to it, and the movie came. It had a budget of like $80 million and in the global box office, it only brought in very hail amount. It only made 130 6 million worldwide, but it did, like, really, it had a really big opening weekend, so much so that it was, it was nicknamed the Ice Bird, because it was the movie that finally knocked Titanic out of the number one box office spot after 15 weeks in a row. Oh,
Ansel Burch 7:53
really? Oh, I didn't know that
Jordan Desjardins 7:55
it was. It had a great launch, and then the drop off was so steep that it just didn't make more money, like it pretty much everyone saw it that first week, and then everyone moved on with their lives, and I just thought that that was such an interesting thing, like that people showed up for it, and they were like they were really into it, but they didn't keep showing up for it, and I'm sure that the video sales for home were great, but I mean, at the end of the day, it's a popcorn movie. It's never meant to be more than what it is. The spectacle is really there. You can see all the money went into the set, and the special effects, and it looks for its time, it looks fantastic. I will say the special effects, while some of them are very aged, many of them hold up way better than you'd anticipate a movie from 1998 looking like I know there's definitely some things that are very, very dodgy and that look like absolutely trash, but a lot of it holds up way better than I expected it to, and like I know a lot of it is, I'm one of those nerds who deep dives into everything, so I looked into this so much more, they built full-scale sets for almost everything. They didn't want to do everything on blue screen, so most of the sets in this movie were real, and even most of,
Ansel Burch 9:10
oh,
Jordan Desjardins 9:11
they did a mix of animatronics and CGI for a lot of the things, like the robot. There's even a few shots of the alien blarp that are a puppet, even though, yeah, was it looks like the most CGI thing I've ever seen.
Ansel Burch 9:27
Yeah, it
Jordan Desjardins 9:29
looks like it looks like the thing that grew up to be Jar Jar Binks, and it's just it is a testament to how much effort they put into making this awful movie that it looks as good as it does, I think,
Ansel Burch 9:45
and I think a lot of that has to do with the amount of practical stuff that's in there, because it shows you can tell that, like, those walls are really there, the suits are all practical, the one standout being Matt LeBlanc's metal visor. Situation,
Jordan Desjardins 10:01
I will tell you right now, that thing is, I wrote like a whole whole note about, but that fucking helmet is still to this day the coolest thing ever put to cinema, point blank. I'm watching this movie after almost 30 years, it'll be 30 years in two years, about two years, so we're just shy of 30 years.
Jordan Desjardins 10:21
It's been enough that this movie's been through college and then grad school, so it's been around a while. I still get tingles every time that scene hits, and that helmet pops on, and he's clicking together. He has still one of the other things that the technology in this movie is so cool, like he has a pistol that he's got attachments for that turn it into the full scale rifle, which is amazing looking, but that fucking helmet is just chef's kiss. There's nothing cooler than that. One thing I think the thing that gets me with that is that was made done using a composite of practical effects, so essentially they pieced it in like it was CG, but essentially it's just two different shots where they just put it all in one piece at a time, and then plugged it in there, so it worked out way cooler than I ever expected it to. I just, it was before Iron Man, I was Iron Man, yeah,
Ansel Burch 11:17
yeah, I mean it's 10 years prior to Iron Man, and yeah, you can, you can see the DNA in the way that Iron Man's helmet comes together,
Jordan Desjardins 11:25
yeah, there's a lot of tech, even more
Ansel Burch 11:27
so I'd say the later Iron Man stuff, where like you see the, where like the nano helmet that he gets,
Jordan Desjardins 11:34
yeah,
Ansel Burch 11:34
I feel like that's when they finally approach the sort of like assembled on your head effect that we get with with this,
Jordan Desjardins 11:43
yeah,
Ansel Burch 11:47
it's very good. It looks sturdy, it looks real, you know, like, yeah, like that's.. I would say that's the counterpoint to blurp, blurp,
Jordan Desjardins 11:56
blurp, yeah, blurp, blurp,
Ansel Burch 11:57
the monkey thing, yeah, the monkey thing looks so god awful, like it, like I think we saw stuff like that on TV when in 1998 Yeah, and then you compare that to the to the helmet and and some of the robot stuff, even even the time rift is a little chunky, but like way, way better than 1998 generally.
Jordan Desjardins 12:22
Yeah, speaking of Blarp, I will say that, like, we saw the crappy little CG Blarp, but then another thing, a lot of people don't know, because I'm this is a giant nerd about everything. I dug deep and found out, actually fairly recently, as someone who loves this movie as much as I do, I only found out about this within the past year. There's actually a whole deleted sequence from this movie that involved an eight foot tall adult blarp from the future sequence that was a full size built by Jim Henson Studios that they filmed and everything, but it just got cut. The whole thing got strapped, but they spent all this money building. They had Jim Henson Studios make them a giant puppet for Blarp, and I've seen pictures of the thing, it looks like a giant gorilla, it's insane, but it's
Ansel Burch 13:09
that, that sounds cool,
Jordan Desjardins 13:11
so cool to think about, and it's, it's one of the things where this movie is the core of it is this about time travel, but it's not necessarily a movie about time travel, if that makes sense, like it's more of a plot device than anything else.
Ansel Burch 13:30
I mean, I like that it is a story about fathers and sons and family,
Jordan Desjardins 13:35
yeah,
Ansel Burch 13:36
mostly fathers and sons. It's very central, the Dr. Robinson will write Robinson situation.
Jordan Desjardins 13:44
Yeah,
Ansel Burch 13:45
and that's that's beautiful. I probably made it resonate that much more for you watching it with your dad back in 98 but yeah, I think there's something beautiful about time, since we're talking about time travel as a, as a media, I think there's something beautiful about what you can do with time travel when you have a familial relationship at the core of the story, because it does give you that chance to be like, what have I lost by either going back in time or forward in time, what do you lose when you lose that time in connection,
Jordan Desjardins 14:23
or more in this story, it's more about what can I prevent, or what can I gain, or save, which the big plot point here is like he realizes how much even just going into this bubble to try and find the stuff of the ship, he's lost time with his son, and he sees what happens to his son when he's not
Ansel Burch 14:43
acting. Just,
Jordan Desjardins 14:45
it's a lot more meaningful than you'd expect it to be, considering what it is. And I always, it's, it's hard to, like, even take that scene, that sequence, I guess, as seriously as it's meant to be, because I know it's against me being. Giant nerd about everything, so a lot of people don't realize that's Jared Harris as adult Will Robinson before he's like a name, Jared Harris, and they didn't like his voice, so they dubbed him after the fact.
Ansel Burch 15:15
Oh, is that why he sounded so weird?
Jordan Desjardins 15:17
So weird because they re-dubbed him after the fact, but they didn't dub every line, so they only like you can hear it's like a Frankenstein voice performance of him and some guy speaking for him, but with the words, the mouth doesn't even match up half the time, and it's just really weird to watch knowing some of this stuff, but again, I just, I'm such a giant nerd about so much of this, and especially with movies that I end up loving, like this, or
Speaker 1 15:47
sure
Jordan Desjardins 15:47
he can't not find out as much as humanly possible about it. I live for trivia, and I live for weird niche 90s sci-fi.
Ansel Burch 15:58
Okay, okay. Well, tell me then, in that same scene, when we get the don't, don't make me wait a lifetime to hear you say it again, or however he phrases that. Yeah, there's there's another moment right after that where the line read is just so weird from William Hurt, and I'm curious, do you think that was also part of that dubbing situation?
Jordan Desjardins 16:26
I think a lot of the final act ended up re-dubbed because people were, from what I understand, in test screenings, people weren't getting it, and just wasn't resonating with people, but I don't,
Ansel Burch 16:38
I mean, they saved like half of the action of the movie for the last eight minutes,
Jordan Desjardins 16:43
I mean, they got, they got their sequences mixed in. They started off with the bubble fighters, which were really cool, and then we never saw them again. Those existed quickly to sell toys, because they released two different versions of that thing as a toy that we saw for three minutes on screen, and then we got the big robot fight sequence, to you know, save the ship, and then got
Ansel Burch 17:06
to do that,
Jordan Desjardins 17:07
and everything, and then that's that's most of the thing, and then we get this lull of them just stranded on the planet doing exactly the plot of the whole thing, is Space Swiss Family Robinson, so it's the action is there, but it's so delayed, I guess, because it's so few and far, but you have when it happens, it's great, but getting there is a slog sometimes, but I like that it gave us a lot of time for character moments,
Ansel Burch 17:38
yeah, which is important. Well,
Ben Silverio 17:41
speaking of hurt, like, there there were two line reads that I specifically wrote down, I love you, wife, and I couldn't save them, and like they just seemed so robotic. Same thing with delivery,
Jordan Desjardins 17:59
he just watches them taking off from the planet as John is left behind, and she's like, "Goodbye, my love, shrug. She's goodbyes, and it's.. it's just so mailed in, and it's.. but I think that part of that is the performances, but part of that is also in the writing. I think that John and Maureen are written that way very specifically, because they're so logically based as a family unit, like you can see that Will is getting there and Penny is completely avoiding that as much as humanly possible. She's very much trying to be her own person rather than part of the family throughout, but
Ansel Burch 18:40
fair,
Jordan Desjardins 18:41
which fair, I mean, Penny's great. She is the angsty team that we have to deal with. She, she predicted vlogging as a thing, which is kind of cool, because I think that's the first movie I really remember seeing that in, before, like, now. I mean, essentially, she would, like, live for modern social media, she had,
Ansel Burch 19:00
oh yeah,
Jordan Desjardins 19:01
the camera that she would do her video journals in for no one but herself, essentially, or just to leave that log behind, but
Ben Silverio 19:11
that's true, because most, most science fiction properties only did audio. Yeah, I thought it was really cool,
Jordan Desjardins 19:16
like she had her video camera bracelet thing that she would do her vlogs on, and I thought that was like little neat thing that I never noticed it before. This recent watch is something that, like, oh yeah, I guess she kind of predicted that she essentially precursored TikTok and Instagram, and
Ansel Burch 19:34
yeah,
Speaker 1 19:35
all of that.
Ansel Burch 19:37
They were doing video logs in Star Trek at that point, but yeah, or they were more like,
Jordan Desjardins 19:43
more rather than like a little, oh, it wasn't like, yeah, Wheaton wasn't casual making personal, you know, captain's log or a video call is one thing, but like having a teenager run around with like essentially a camera on her wrist just spitting out ranch, she had essentially. Self-contained Twitter, and it was,
Ansel Burch 20:02
yeah,
Jordan Desjardins 20:03
it was interesting, and it was like, I thought that was really cool to see, considering that's something that's such a common thing now, but that happened in the movie going on 30 years ago, almost.
Ben Silverio 20:14
But also, what were Penny's qualifications to be on this mission? I mean, her sister's a doctor, her brother is a science prodigy. Her parents are scientists, like, but they went through great lengths to portray her as just a stereo. She was only there
Ansel Burch 20:29
because Dr. Robinson didn't want to leave his family behind again.
Jordan Desjardins 20:33
Yeah, that was one of.. he had
Ansel Burch 20:34
made that big stipulation about, like, my kids get to come, yep,
Ben Silverio 20:40
but it's like everyone served a purpose, like as part of
Jordan Desjardins 20:45
like do some useful things on the ship, like taking inventory and like trying to make sure things were organized and moved around and stuff, so she like found her purpose, but like ultimately she's just like the admin staff of the ship, and that's because, like, she's a teenager, and I really, I really do love this, the mindset of, you know, it's her last night on earth. She's like, 'I'm going to the mall to spend 10 years worth of allowance. What are they gonna do? Ground me? Like, of course, nothing forward to. She's a teenager that's gonna spend the next decade of her life as a popsicle, and then wake up in another galaxy, essentially waiting for them to build this hyper gate to be able to connect back to earth and bring the rest of humanity along. By the time she sees other people that aren't just there to build this gate, she's going to be an adult, and that's unfortunate. Like, she's essentially life doesn't matter, person,
Ben Silverio 21:42
yeah. and the only person she has to thirst after as a teenage girl is the guy who's hitting awkward looking on their older
Jordan Desjardins 21:48
sister in front of their dad,
Ben Silverio 21:51
yeah. While end
Jordan Desjardins 21:53
of the day, give it like 510, years, like, wait, I mean, she's like 13 to 15 in this, I think. I just figured that, oh, do one and then eventually do the other when she's older, and I mean, I don't mean to be gross, but like, what I mean, I'm curious, like, she's gonna.. it's not even something that he's gonna do, if that.. if this had continued onward, I wouldn't have been shocked to see that development as she gets older as a character, going after, pursuing him, unless they introduce another love interest.
Ansel Burch 22:22
Yeah, I mean,
Ben Silverio 22:24
but, but also the Robinsons are famous enough that you should know in this culture who the family members are, so the Colonel should know better.
Ansel Burch 22:34
I don't know, he only barely knew who John Robinson was. Yeah, he,
Jordan Desjardins 22:39
and he even only knew him by reputation, and because of his father, who was a war hero. And then everything about Major John West was phenomenal. I just love the casting there. I'm still surprised to this day that Matt LeBlanc didn't become an action star following this, just because I know it tanked, and that probably can panned all of his opportunities for that, but like this, he was so much fun in this. He had the action star charisma that was needed to carry this movie in the way that he did, and that he absolutely understood the assignment. I think,
Ansel Burch 23:17
yeah,
Ben Silverio 23:19
I think out of the entire cast, he was the least egregious of, and it's funny, it was originally
Jordan Desjardins 23:26
given to Sean Patrick Flannery, but they decided he looked too much like John Hurt, so they didn't want to do it, like he's got the same general build and the same hair color as John Hurt, so we need to cast someone who looks different. That's literally why he got the role.
Ansel Burch 23:44
That's so funny. That's wild.
Jordan Desjardins 23:48
Yeah, no, it's crazy. Best part of the movie, I
Ben Silverio 23:50
mean, like LeBlanc is capable of doing some good work. I mean, episodes.. I
Jordan Desjardins 23:57
feel like LeBlanc gets a lot of hate because he did Friends for however long, and everyone thinks he just phones it in after that, but, like, I remember in the 90s he had a pretty steady career of middlings. He had a middling success with the box office, where he did was that he did a baseball movie with a chimp, I think, and he did right. I remember he did stuff, and I liked him as an actor, and I was like, always bummed that he didn't become more of a thing, I guess, in Hollywood, other than friends, and he pretty much just was able to keep, keep cash on those friends checks for most of his life. I mean, he did Joey, which didn't do well, he did, isn't he on Top Gear or something now, or he was, he's hosting, yeah, he's hosting our show on TV, doing something with that, and episodes is phenomenal, but I just always, you know, I look at Lost in Space and I see him in his prime, and I just feel like, man, what a missed opportunity for him to like do a lot of fun action movies because. He's got it. He's got the right charisma, and other than him and Heather Graham, everyone else, like I mean, John Hurt is stiff as a board in this. Mimi Rogers, to be fair, didn't get anything to work with to develop a character around, besides that she's
Ben Silverio 25:14
none of the women.
Ansel Burch 25:16
Yeah,
Ben Silverio 25:17
none of the women got fleshed out.
Jordan Desjardins 25:20
Okay, so I think Mimi Rogers got nothing. She was just told your mom, that's that's your whole character. You are mom, you are there to look angry when dad messes up, and when the kids do something wrong, and that is your whole bit, that's all you get. And then Judy, at least, got some stuff to do with Matt LeBlanc. Heather
Ansel Burch 25:38
Graham was the best of the women, yeah, for sure.
Jordan Desjardins 25:40
Down Heather Graham was the best of the women. That's not even a question, and I say that as someone who absolutely got probably their first Hollywood crush was Lacy Chamber from this movie, because I was 10 when this came out, and she was like 13, and this was like that point in life where I'm like, oh crap, that's like, I mean, thankfully I'm like, she is great. She's a fun actress in everything now, but like, then that was like my first introduction to her as an actress, and this is actually her first movie, because before this she'd only really been doing Party of Five, I think. And remember what else she did besides that? I know five, everyone knows her now for Mean Girls, and for the Hallmark Channel, which she effectively owns at this point.
Ben Silverio 26:27
She was on a soap opera before this. I want to say so
Ansel Burch 26:34
much stuff.
Jordan Desjardins 26:35
She has, because she's done like she's done like 100 different Hallmark Channel Christmas movies. She is literally done a
Ansel Burch 26:41
lot of voiceover.
Jordan Desjardins 26:43
Oh, yeah, no, yeah, he was the original Meg Griffin. Yeah,
Ben Silverio 26:45
she has,
Jordan Desjardins 26:46
but I love her generally. Like, I like her character. I think she's fun. She's a stereotypical late 90s teen character. She's all about boys and the mall, and she's just sort of thrown into this situation where none of that's an option anymore, so I think it's, it's interesting to see her as the, the real person, I guess, like in a lot of ways she's sort of like the real entry point to the for most people, because not everyone going to see this movie is going to be a scientist or a military guy, this is just the closest we have to an every man, because she is just like that person who's thrust into the situation, whether she wants it or not. Well,
Ansel Burch 27:25
and we quite literally get her POV, like
Jordan Desjardins 27:28
that's what the only
Ansel Burch 27:29
one journaling, yeah, like she's our target,
Jordan Desjardins 27:33
that's exactly it. And then we have her, and then we've got the kid Jack Johnson playing Will Robinson, who is a genius child prodigy, but also didn't really get a whole lot of time to develop as a character outside of, you know, the relationship with his father, which most of the really heavy lifting ended up going to Jared Harris for. So,
Ben Silverio 27:56
whose performance is actually so good in this, like he got so little, but he did, so I will say they could
Ansel Burch 28:03
have coached him a little bit more on interacting with the props, but that is a weird, that is a tiny nit to pick.
Jordan Desjardins 28:10
Yeah, and then the other thing that sort of, I love Jared Harris, and this is before he was famous, really, so this is like one of his earlier roles, but one of the things that actually kills me is knowing that originally the original series star Bill Mummy, I think, if I'm probably butchering it. Oh, who
Ansel Burch 28:31
was like, who was Will Robinson?
Jordan Desjardins 28:34
Bill Moomi, he read the script, and when they were trying to like get everyone to do cameos, he pitched playing adult Will Robinson, because he was age appropriate for it at the time, and the fact that they said no and didn't go for it just guts me, because that would have been such
Ansel Burch 28:52
a opportunity connection,
Jordan Desjardins 28:53
and like a good way to bridge everything, because to have that bridge as an opportunity, and then just be like, no, we already got this guy, and then the fact that they ended up dubbing over the guy they got anyway, just
Ansel Burch 29:05
that
Jordan Desjardins 29:05
blows my mind, because, like, only people who, because, and that led to Bill Mooney not even wanting to cameo at that point, as any kind of, you know, handing of the baton, so the only ones who actively said no to came owing were him and Jonathan Harris, the original Dr. Smith, because he was offended that he wasn't offered the role of Smith, because to him he is the end all be all of that character, that's him, that's his character, he doesn't think anyone else should be
Ben Silverio 29:32
it,
Jordan Desjardins 29:33
which is unfortunate, because they, I know they wanted him to play the guy who hired Gary Oldman and then betrays him,
Ansel Burch 29:42
ah, would have been a good way to use him.
Jordan Desjardins 29:44
It was, I would have been a really brief cameo. He'd be a hologram head, and he would have gotten like four lines of dialog, and that's it. But he declined to participate because he didn't get to be.
Ben Silverio 29:56
Here's my pitch: if they had just written it completely. You from Penny's point of view, and like, did a little bit more of, like, hey, your grandfather was a big hero. The original Professor Robinson could have been the grandfather, and then you know we could have gotten more of this feeling of, oh, Penny really is leaving all of this behind, and her brother and sister are more into this than she is, and all this other, like, I think there is a real kernel, yeah, something here that had they had better people working on it, they could have salvaged it,
Jordan Desjardins 30:34
I feel like has a lot of really strong parts to it, has a lot of really great parts, but the glue holding them all together is a little light, and like you can even see, like this is Director Stephen Hopkins, who was on this, who did not a whole lot, honestly, like he did Elm Street Five for New Line, so they like him, because that's one of the better Elm Street movies, he did Predator Two, he did Ghost in the Darkness, all great films, at least to me, because I love Schlock and Creature Features, so Ghost in the Darkness is up there for me, as is Predator Two, but then he did this, and this was probably his last big blockbuster film as a director, like he did a couple smaller things after this over the years, he still works here and there, but, like, for the most part, this is like the last big hurrah for his directorial career, because after this tank, they weren't hiring him, and the whole script is everyone's favorite Akiva Goldsman, who writes everything.
Ben Silverio 31:39
Oh,
Jordan Desjardins 31:39
yeah,
Ansel Burch 31:40
wow, you talk about wanting to get into Star Trek's territory. Well,
Jordan Desjardins 31:45
Batman Forever and Batman and Robin, which hadn't released yet by the time they were filming this, they hired him for Lost in Space. I mean, he went on to do plenty of other stuff over the years, but like essentially knocked this out, and then Batman and Robin in the same year, so I can't really imagine he was in a great head space putting this movie together. Yeah,
Ben Silverio 32:09
speaking, speaking of Batman and Robin, I did feel a very like, like a kinship between these movies, because of how tight your spacesuits were. Whose decision was it to put those very tight and defining spacesuits on children?
Jordan Desjardins 32:28
Yeah, because like they're gonna be frozen for 10 years and stuff, but like you gotta figure what if they measure them for that suit and then the kid hit puberty before they launched, like what do you do with that thing's not gonna grow it, barely breathes, like so I mean, they're in
Ansel Burch 32:43
cryo freeze, they're not growing.
Jordan Desjardins 32:45
Oh, I know that, but I mean, like, God forbid they like measured him, and they're making the suits and stuff, and then the kid has puberty the week before he can have a growth spurt, and they're stuck, and they gotta, I mean, start all over. Like,
Ansel Burch 32:55
same question about the production of the film, though. Like, what a bold choice to tailor those suits, these kids,
Ben Silverio 33:04
oh yeah, they literally
Jordan Desjardins 33:06
had to cut Matt LeBlanc out of his in the movie, like even like in the
Ansel Burch 33:11
movie, yeah,
Jordan Desjardins 33:12
they had to cut him out of it because it was just like they weren't getting him out of it otherwise, they had to chop it open to bust him out, and that's,
Ben Silverio 33:22
oh, we haven't, we haven't dug into Gary Oldman, no, right?
Jordan Desjardins 33:26
I love him so much in this, and
Ben Silverio 33:30
if it wasn't for the robot and the betrayal, Gary Oldman's Dr. Smith would have been on Rocket Man with Harlan Williams, that's that's what that movie would have been, I I love Rocket Man. Rocket Man, very funny. What, Bill Sadler.. uh, Rocket Man was.. I'm saying he would have been the
Jordan Desjardins 33:52
Bill Sadler role in Rocket Man. Is that what you're.. yeah. Oh
Ben Silverio 33:56
yeah,
Jordan Desjardins 33:57
because Bill Sadler, yeah, I love Bill Sadler so much, he is an un, what's the word here, he deserves so many more flowers than he gets as an actor.
Ben Silverio 34:10
Sure, absolutely, but I mean, just like he would have been left alive while everyone was cryoly, cryogenically frozen, you know, like he would have been. I thought you were saying,
Jordan Desjardins 34:21
like, that was his other project he could have done, which I mean, good, no, that's what I meant, like, what we've been the Bill Sadler role, because I thought you meant like he was gonna do that movie, but they got him for this instead, and I just, Gary Oldman, I was
Ansel Burch 34:35
around the same time,
Jordan Desjardins 34:36
yeah, it was not too far off, I get what you're saying now, 97
Ansel Burch 34:39
yeah,
Jordan Desjardins 34:40
and I get what you're saying, and that does make sense a little more now, but I love everything Gary Oldman does here. He is just slimy from the get-go, and like he even says himself, like during the sequence on the Proteus, where he's. It's like, you know, evil recognized
Ansel Burch 35:01
evil, yeah,
Jordan Desjardins 35:03
yeah. And I love that, because he doesn't even try to have redeeming qualities. He's just a creep from start to finish. And I again, just me doing my digging, he was going through early stage sobriety at that point, and he did this movie because he wanted to do a movie that his kids would be able to watch, because he always does all those are everything that was rated R, all these dark performances, so he's like getting sober and trying to do a family film at the same time, so that you can just see it in his performance that he is struggling, and I don't mean that like in a bad way, I mean, like it shows through, like he picked the right time to do exactly this, because, like, he just, you can feel it in him that he is just exasperated the entire movie, and that's what Smith needs to be, because he is literally stuck nowhere where he wants to be with people he can't stand, he is constantly reminding everyone he's the smartest person in the room, but he's also a giant dick bag, and he tried to kill all of them recently, so like there's not really much reason to keep him alive other than the knowledge that he has, so he has to keep reminding them that he has it, so they don't kill him.
Ben Silverio 36:21
Yeah, yeah, every good thing that came from Dr. Smith came from Old Man's performance, because the writing was like super weak. I mean, like, when they were trying to establish that, like, that he knew them before, that he was like their family physician or whatever. When they were like, 'You tried to kill us, we trusted you. I was like, 'When did that happen? Why don't you trust him? Like, I thought he was just the base
Jordan Desjardins 36:43
position for the mission, so he was the one doing all of their tests to make sure they were physically capable to go on this journey. So that's like the whole, that's his whole role. His role was essentially make sure they're good to go to even be going anywhere.
Ben Silverio 37:02
Mm-hmm. I just think that was, uh, that it wasn't, uh, like I had to read that to
Jordan Desjardins 37:11
crap and editing, like they had so much more stuff that got trimmed down and cut out, and it's still like a way longer movie than it should be, but it's, it's got a lot of sequences that were cut. I feel like
Ansel Burch 37:24
was it meant to be two movies? Do we know?
Jordan Desjardins 37:27
I don't think it was meant to be two movies. I just think that they were trying to go much bigger than they ended up going, and they kept what they wanted to keep, but like, I know there was apparently a lot more to do on that planet, then we ended up seeing, like, apparently that
Ansel Burch 37:43
felt like
Jordan Desjardins 37:44
it. Well, the time bubbles were originally going to be something with there were going to be more of them, so they were going to go through like layers of these bubbles, and each one was going to have a different climate, so it was going to be like there even crash landed on the icy part, where it's all cold and shitty, and then they were gonna be like in, like, a monsoon, almost. And then they end up where they end up, where it's almost like a desk, like a desert, but also a swamp, somehow
Ansel Burch 38:11
the swamp desert thing. Yeah, yeah. And it's
Jordan Desjardins 38:13
like, conceptually, I think that's really interesting. And they built all the sets and filmed a bunch of this stuff, but they cut all of it, and that's just between that and then the eight foot blark puppet. It's just really hard to forgive how much this movie hit the cutting room floor, because I see what they made and I can see what they tried to do, and that I love that for both nostalgia purposes and because it is just such a cheesy movie. But generally, just knowing what they could have done, like I would really love to see the shooting script for this, and just to see what we could add versus what we ended up with.
Ansel Burch 38:50
Well, and it's also, I don't know about you, but speaking of Gary Oldman specifically, like comparing this movie to The Fifth Element, which came a year after, like, it's, it's so different in quality of performance and quality of effects, because we also talking about practical effects in, in fifth element, like, all of that stuff was, was in camera for the most part, so yeah, it's just really interesting to see the two against one another when one has clearly a stronger grasp of the vision from the start and the other is trying to set up a franchise, but clearly getting bogged down in all sorts of production hell and studio interference.
Speaker 1 39:44
Yeah, I mean, really,
Ansel Burch 39:45
just, yeah,
Jordan Desjardins 39:46
they were literally filmed back to back, I think, because I know Lost in Space dropped in April 98 and then Fifth Element dropped in October, same year, so they were literally like he went from one to the other, so maybe. He just saved all the gas for Fifth Element.
Ansel Burch 40:03
I mean, Denise Villeneuve is going to do that too. Yeah,
Jordan Desjardins 40:07
yeah. No, it's.. I understand the logic. I just.. just seeing what Gary Oldman was doing at that point in his career, but he was also trying to like reestablish himself again, trying to make sure he found that stable footing, and that he still could carry that career now that he was trying to do it sober.
Ansel Burch 40:26
Yeah, well, and it might be that fifth element was his last sober, or lack his last before he started, you know, treatment or whatever. Yeah, I don't know where he was in his life from one production to the next, but he's definitely,
Jordan Desjardins 40:46
but like, you could definitely see something there in him throughout both of those films that is just there's a dark, especially this one, there is a darkness there that he doesn't seem to carry in the fifth element,
Ansel Burch 41:04
yeah. The fifth element, it's because
Ben Silverio 41:06
Dr. Smith was so bad at murder, like he throws Smith off a cliff, doesn't check that he died, he throws Dr. Robinson off the cliff, doesn't check if he died, just it
Jordan Desjardins 41:19
was adult Will Robbins, and he threw him into the, he threw him into a giant blender, and missed, like, so bad at this.
Ansel Burch 41:29
Then he turned into a spider monster,
Jordan Desjardins 41:31
giant spider monster at that point, and I love that. As he, it's funny, because he started off as just this devious slime bag guy, and as he became a spider, he just leaned into I'm just gonna be full camp now, and he went just Shakespearean with that shit, and I love it, like he just leaned into as cheesy as he could possibly be, monologuing all over the place, answering all the questions, he did his big villain speech when called out for, hey, I think you actually murdered our whole family. He's like, yeah, whatever. What are you gonna do,
Ben Silverio 42:10
Rob?
Jordan Desjardins 42:11
He's like, you know, it took me 30 years, but you got me. All these years living with him, he never once questioned it until just then. He's like, "Wait.
Ben Silverio 42:26
Also, Will Robinson's a genius. How did it take him 30 years to come? He's like his father.
Jordan Desjardins 42:32
He just got his head down in the morning. Sure,
Ben Silverio 42:38
but like, I think you nailed it there with the, with the camp, because, like, that's really what the movie was missing, and it took way too long. Yeah, because the original
Jordan Desjardins 42:45
was all camp,
Ben Silverio 42:46
like it
Jordan Desjardins 42:47
was very cheesy, very campy, and like that's 60s sci-fi TV, of course, it's going to be cheesy and campy. It's great, and the movie effectively traded all of that camp for shiny late 90s future esthetic, which I love, shiny late 90s, curvy, smooth future esthetic, like every, like that is like the, the with the Windows media player look, as I call it, like that esthetic is my sweet, I live for that shit, and this movie just also just leaned into it, and I, you know, what I can probably credit this movie with, why I love this shit so much, because I love that awful smooth every, like, what is it, the Sony, it wasn't Walkman, it was like that other thing they had, the mini disc player with the big alien head guy, those
Ansel Burch 43:42
men it
Jordan Desjardins 43:43
was this man, it was like something.. it was just everything that was going on with that esthetic was exactly my vibe, and it's probably because this movie leaned into it so hard, and then the score, which was also phenomenal. They had the amazing iconic theme song from the original series turned into a techno remix for the closing credits of the film, but then bother, but they didn't bother to use the original theme in any other aspect of the movie. They used it in the end credits with the techno remix, and then they use that exact techno remix in every single ad and trailer for the film, but then that theme song was nowhere to be found in the film itself. They had a complete original score, which ended up going way harder than it had any right to in comparison. Like, I really like Bruce Broughton did a lot of heavy lifting with it, and it's funny, because the original score was done by John Williams, like the original original score for the show that they, the remix, so it's funny you have something so iconic and so on brand right there, and they're like, "nah, let's do something else entirely, and I thought it just nailed everything. It
Ansel Burch 45:01
does, though, again indicate how much they couldn't decide whether this needed to be a bridge to the old series or something of its own, like they can, they, they waffled so much on that they didn't hit either mark
Jordan Desjardins 45:14
exactly, which
Ansel Burch 45:15
is too bad,
Jordan Desjardins 45:16
which is probably why it flopped as hard as it did, like it's it showed up. It was one of those things where people either loved it or hated it. There is very little in between. There's a lot of people who saw it and just sort of shrugged, and they're like, "Yes, I guess it was a movie, but there's that very small dedicated fan base of like 12 of us who really love the movie.
Ansel Burch 45:42
Hey everybody, who was 10 in 1998 like this,
Jordan Desjardins 45:45
and it's funny because, like, they had all this stuff planned. They had, like, waves upon waves of, like, toys and products. They made that. They made a toy of that pistol that has all the clip on attachments to make it a rifle. They made what's called, was it
Ansel Burch 46:02
a Nerf thing? Am I remembering they had a Nerf gun version of that?
Jordan Desjardins 46:07
Yeah, it had all the
Ben Silverio 46:08
attacks to
Jordan Desjardins 46:09
turn the pistol into the rifle and everything, and it came with the dog tags and a belt attachment, so you could carry all the parts on your belt and have it as a pistol, and then rip them all off the belt to assemble the rifle, and it was the coolest thing. It was so cool. I saw one in Chinatown in Philly a few years ago, new in the box, and I just like couldn't justify $200 for it, because
Ben Silverio 46:31
it'll
Jordan Desjardins 46:31
find it with all the parts. Yes,
Ben Silverio 46:35
sure. It's
Jordan Desjardins 46:35
a don't think I wasn't tempted, because of all the people who would spend $200 on that, it's probably me, of course, but it was also kids scaled, so like, if it was adult scaled, no question would have bought it. I bought what did I buy? I bought a 12 inch, like PVC figure from, like, Applause. If you remember Applause from the 90s, they made like those like hollow plastic vinyl figures of everything, and then they made all those mini PVC figures, but I bought like a giant like 12 foot, 12 foot, 12 inch tall Don West figure recently, because buy shit on eBay, and it still had the tags on it, and I keep debating sending in the thing to redeem for the free CD ROM there. If I mail this,
Ben Silverio 47:32
it's just one guy in the office. Thank God,
Ansel Burch 47:37
I finally got
Jordan Desjardins 47:41
one. He hits the buzzer, like it's the Ghostbusters, but
Ansel Burch 47:44
yep, yep, they finally
Jordan Desjardins 47:47
can mail out the last copy of this godforsaken thing to paint them all there.
Ben Silverio 47:50
Oh my god,
Ansel Burch 47:56
my mission is complete.
Ben Silverio 47:58
We have to talk about the science, do we, because there were times when they were, I mean, we don't have to, but we probably should. Using the hyperdrive to go through the sun sounds like a terrible idea to me, like
Jordan Desjardins 48:16
why they use the hyperdrive to go through the sun, and then at the end of the movie they're like we're gonna use we're gonna go through the planet and use its gravity to slingshot us back into space and I'm like, is that all you've got, man, like you've got one
Ben Silverio 48:30
using it, using it to go through the breaking apart planet makes more sense to me than going through the sun, because if you just go through the core of the sun, you're gonna go really, really, really
Jordan Desjardins 48:41
fast, according to them. So, I mean,
Ansel Burch 48:43
yeah,
Jordan Desjardins 48:44
I get the logic. What they did there, because that wasn't even science, that was just Matt LeBlanc pulling the dumb luck card, because he's a hot shot maverick. His whole thing was, yeah, it can launch us to anywhere in space, but it won't put us right here. So, I mean, logistically it kind of makes sense from a stupid point, but that's where Don West comes in, is he makes the, you know, the rash decisions of like the scientist isn't going to come up with that, that's going to be the guy who doesn't know what he's talking about, is going to be like let's try this, I
Ben Silverio 49:22
and that was the voice of the screen, right? Yeah, the plot
Ansel Burch 49:27
says they need to get out of here, so the science expert that they had on staff probably was like, yeah, I mean, yeah, you put things close to gravity and makes them go faster, and the writer was like, "Yep, got it, gravity go faster.
Speaker 1 49:48
Oh yeah,
Ben Silverio 49:48
it's like in in Jan Son, Bob Strikes Back, where Wes Craven is just counting money, and she's just like, "Can I get a cut, Wes? Whatever, Shannon. Me, but that's
Jordan Desjardins 50:01
exactly it, though. They're just like, yeah, wouldn't we burn up going through there? But then it's like, no, no, no, you don't understand. They're going very fast,
Ansel Burch 50:10
very fast in a spaceship.
Jordan Desjardins 50:12
Yeah, very, very, very fast in a spaceship. It'll be fine. Some won't even notice they were there. So that's the logic of the year.
Ben Silverio 50:23
I want
Ansel Burch 50:23
touriously inattentive.
Ben Silverio 50:25
I want someone, I want someone to apply this logic to the next Fast and Furious movie. If,
Ansel Burch 50:32
if they don't do it in the next one, it'll be the one after that, like they're
Jordan Desjardins 50:36
broken at that point, because they didn't call the 10th one Fast 10 year seat belts, right.
Ben Silverio 50:46
Well, they still got time, because it's not even on the schedule.
Jordan Desjardins 50:48
They did fast that they did fast X already, so now it's gonna fast
Ansel Burch 50:51
X was not 10.
Speaker 1 50:53
What?
Ben Silverio 50:55
Yeah, yeah, the next one
Jordan Desjardins 51:00
is, I swear, yeah, they did Fast and the Furious, too fast, too furious, Tokyo Drift is three, then they did Fast, the Fast and the Furious, which was four, because they just rebooted it by saying the in front of it, Fast Five,
Ben Silverio 51:16
yeah, Fast Five,
Jordan Desjardins 51:19
Fast and Furious seven, fast eight, fast nine.
Ben Silverio 51:25
No one of one of them, Fate of the Furious
Jordan Desjardins 51:28
was eight, Furious for eight, and then they did Fast.
Ansel Burch 51:35
Oh no, you're right. Yeah, okay.
Jordan Desjardins 51:38
And I,
Ben Silverio 51:38
well, they can
Jordan Desjardins 51:39
do it
Ansel Burch 51:41
forever. Is the next one?
Jordan Desjardins 51:42
Yeah, because it's supposed to be the last one. They didn't, they go to space already. I think they were going to space in one of those. Did
Ansel Burch 51:47
go to space.
Jordan Desjardins 51:48
I haven't watched a live tweet of these movies before Twitter shut down, and I fell off like halfway through the fifth one because I got busy and just didn't get back to it. But I just.. I'd never watched any of them until like a year or two ago, and it bottles my mind that we are still in a day and age watching this franchise that is one of the biggest film franchises of all time at this point financially, and the whole thing launched from a movie about stealing DVD players.. like that's the concept here is, I guess the whole thing is built on the shoulder of physical media matter. Got
Ansel Burch 52:25
out of hand so fast. I have actually not seen any of them, and I would love to go on that Odyssey.
Jordan Desjardins 52:34
Yeah, no,
Ben Silverio 52:36
just watch the third one. Chocolate is one
Jordan Desjardins 52:38
of the best ones from my experience with the third Tokyo Drift rule, and too fast, too furious was a lot of fun, but mostly because Luda showed up, and I fell off halfway through five, just because I got busy, and I just didn't care enough to go back, but I didn't hate them, they were stupid fun for what they are, but we are very off topic, and until they do a time travel movie that we can't get into this.
Ben Silverio 53:06
Listen, there's still time. They're developing four different TV shows, time to talk. So, hey, let's pitch
Ansel Burch 53:18
it. They might go
Ben Silverio 53:20
well. Oh man, now that we're on the topic of time travel, the time travel mechanism,
Jordan Desjardins 53:26
two times you travel
Ben Silverio 53:31
two time two party, that's our companion podcast. Uh, available, available soon.
Ansel Burch 53:40
Sounds like a plan. I love it,
Ben Silverio 53:42
but now that we're on the topic of time travel, the time travel mechanism of Lost in Space, there isn't really a mechanism. I mean, Will Robinson figures it out somehow.
Jordan Desjardins 53:58
It's because, like, they mention it in the very beginning of the movie, and then just expect you to piece it all together on you as you go.
Ansel Burch 54:07
Yep,
Jordan Desjardins 54:08
which is fine. I actually like that they didn't just lean into it hard. I like the fact that they went through this thing, they were like, "What the hell was that? And then suddenly they find the Proteus, and they're like, "Why is everything working so well, like this is a really old ship, and everything's working way better than our stuff.
Ansel Burch 54:25
I looked so old,
Jordan Desjardins 54:26
yeah, it like looked old, but it was all more advanced than what they had, is what I'm saying. So, like, he found the robots inside, they're like, "Whoa, it's like a fancier version of the robot we have, it's way more advanced, but it's still really old and dusty, and I don't understand that. And then they had, what the hell is a
Ansel Burch 54:46
log from his buddy?
Jordan Desjardins 54:47
Yeah, the vlog from his buddy Jeb, who was from the guy from The Walking Dead, Lenny James.
Ben Silverio 54:56
Love him,
Jordan Desjardins 54:57
but he's in this for like two scenes. Ever, and you know, he's aged ranked
Ben Silverio 55:04
one of them, is he's getting saved, like, yeah, it's him getting saved, and then him
Jordan Desjardins 55:10
in a vlog trying to save Matlab vlog, you know, he's aged, and he's earned a higher military rank, and it's the whole thing is in ancient video at this point, though, so like it's kind of subtle how they like pepper it in, I guess. And then they finally just like, yeah, by the way, it's time travel with the bubbles are, and like my favorite part, though, is that Will says this when they're on the planet, he's like, I think they might be time anomalies, and his dad just shrugs it off, and it's like, nah, that's not what this is, we're going in there, and he just ignores it, and then he goes in there, and it's like, ah, shit, the kid was right, and he's like, here,
Ben Silverio 55:55
and that could have been something that the mom could have been like, if you were paying attention to his science fair project, because
Jordan Desjardins 56:01
that's her whole.. there's just so, like, I feel bad, because, like, Mimi Rogers didn't do anything wrong, she just.. her whole role is written to be like the stern wife who's just frowning in the background at everything everyone else is doing,
Ben Silverio 56:14
yeah,
Jordan Desjardins 56:15
like she's just like Marge Simpson in the background, like that's what I was
Ben Silverio 56:21
gonna say. Yeah,
Ansel Burch 56:22
I wonder if that was part of the cutting, if like there was more to her. I just didn't make it into the final film.
Jordan Desjardins 56:28
I would absolutely hope so, because like she's fine, she's great in this for what she does, but she doesn't get a lot to do, and it's unfortunate, because
Ansel Burch 56:38
yeah,
Jordan Desjardins 56:38
last year, as much as like a lot of it was kind of stiff, you can leave a lot of that to the writing, and I feel like the cast here was really well put together for what they are. I mean, the fact of the matter is, you're gonna have three characters who are supposed to be children, and I believably look at those kids and say, I can believe those two came from those, those three came from those two, all also random tangent, but if this guy is so buried in his work that he can't pay any mind to his kids, how does he even have three kids? Like, how does that happen?
Ben Silverio 57:14
Yeah.
Ansel Burch 57:16
Full credit to Maureen Robinson on that one. I mean, no, I
Ben Silverio 57:21
that makes sense. Yeah, schedule,
Jordan Desjardins 57:30
that's awful, because you know exactly how it happened. The
Ansel Burch 57:35
G Cal invite. Oh, okay.
Speaker 1 57:38
Business. It
Ben Silverio 57:42
he puts on a different lab coat for that,
Jordan Desjardins 57:45
or rather he doesn't put one on, and that's how he gets the lab coat, that's how you know
Ben Silverio 57:53
he, he puts on the spacesuit, but
Jordan Desjardins 58:00
no, no, no, no. He puts on the spacesuit, and then when it's time, it just is like.. and this retracts the helmet from around his waistline.
Ansel Burch 58:18
There it is.
Ben Silverio 58:19
Oh my god, that's how it's
Ansel Burch 58:20
done.
Ben Silverio 58:22
Has anyone done the porn parody of this version yet? There was
Jordan Desjardins 58:25
a too many children
Ansel Burch 58:28
in this movie for a porn parody, I think.
Jordan Desjardins 58:31
Yeah,
Ansel Burch 58:31
I hope.
Ben Silverio 58:34
Well, you just cut the two children and then you leave Matt LeBlanc, and that's fair.
Ansel Burch 58:37
That's fair.
Jordan Desjardins 58:38
Yeah, all
Ben Silverio 58:41
right, before we get too far into the porn parody of this, the big question I think I know Jordan's answer is Lost in Space worth your time?
Jordan Desjardins 58:56
I mean, I'm gonna say massive yes, but that's also because I have a never-ending love for this super cheesy movie, it's not a good movie, but based on the episode two that we're about to get into, I'd say it's the perfect candidate for something like to watch with your friends drunk or a little in other matters, or something to watch like late at night, when you're tired and there's nothing on, and you're just trying to find some sort of fall asleep too. It's really cheesy and fun, and it's just.. there's so much to love about this movie, even though it is so terrible.
Ben Silverio 59:36
Ansel, what do you think?
Ansel Burch 59:38
Yeah, I think it's worth your time. I mean, go in knowing what it is, like it's, you know, it's a, it's a movie from 1998 that had some compromises, but like I think it's got a lot of redeeming qualities as well, like it's fun to watch, it's got some interesting time travel and sci-fi conceits that you I don't. Think you saw again until the early 2000s mid 2000s like we don't see a lot of starfighter business in the in the late 90s, so yeah, I think, I think with some caveats, this is worth your time.
Ben Silverio 1:00:17
I think it's very rare when I say something is not worth your time, because usually I will find the good in the movie, like where it's fun and all that, but I think it comes down to just not being as campy as the original, you know, like if they had just leaned into it a little bit more, I could forgive a lot, like the bad script, and like, because the practical effects are so good, like the clearly Henson worked on it, but then you know you have other special effects that are computer generated that just like do not look great, even for the time, you know. So I mean, unless you are going into it being like we're getting very drunk to watch this, I don't know if you need to be watching this. I think
Jordan Desjardins 1:01:06
just as a counterpoint, I would pitch that it doesn't have the same 60s camp that you'd expect, but it does have that certain time capsule of 90s yk hopeful future like smooth future. That's a different level of camp in a completely different way. Like this movie couldn't have happened anywhere else in the 90s than in the night, but I think my girlfriend said it best, where she was, saw like all of 10 minutes of this with me, and she said Matt LeBlanc sent this, and her takeaway was this looks like a movie Joey Tribbiani would be doing. Yes, that is probably the best recommendation I could give. It is, it's exactly that. It looks like the kind of movie that would catch Joey Tribbiani.
Ben Silverio 1:01:57
Yeah, pretty much. There you have it, party people. You need a recommendation that's about as good as it's going to get. But lucky you, we're still going to be talking about this movie for the rest of the month, so it's going to be great. We're ready to have some fun here, but you know, if you want to, if you want to talk about it some more. You can find us on the internet. I'm at Be Silverio 20 on a bunch of stuff that may not be relevant anymore.
Jordan Desjardins 1:02:30
No, everyone can find me everywhere. I am at Jordans underscore prime, literally every single website or social media contact everywhere. I somehow managed to get it, unless they don't allow an underscore, that's the same thing every single place, since, like, I don't know, 2007 probably, so going on 20 years at Jordan's Prime at this point, and also I think is that guy Jordan in a few places, but that's about
Ansel Burch 1:02:59
it, I am at the indecisionist on all of the meta properties and Blue Sky, as well as some other platforms that I probably didn't post at, but you can find me there, so feel free. It's if you can find me, you can find me. You can also find this show and all of our other shows@indecisionist.com
Ben Silverio 1:03:18
If you're still on platform that uses hashtags, you can use the hashtag Time Two Party, that's Time Number Two Party. Special
Ansel Burch 1:03:25
thanks to April Moralba for our podcast art, and to Marlon Longid of Marlon and the Shakes for our amazing theme song. This has been an Indecisionist production.
Ben Silverio 1:03:35
Yes, and if you have not had enough of Lost Space, we're coming at you next week with some party favors to ease in your viewing desire. So, party people will catch you next time. Party people, we'll see you next time. Be excellent to each other, and party on dudes, you.
Transcribed by https://otter.ai
