The Mummy (1999 Movie)

[00:00:10] Hello and welcome to Fetch the Smelling Salts, I'm Alice

[00:00:13] And I'm Kim and this is our podcast all about historical dramas from movies and TV shows to miniseries from every era and all around the world

[00:00:22] Woo! Because it's October which means we're in Spookstorical Double Feature Month once again

[00:00:32] For our first installment we bring you the 1999 film that awakened an ancient curse

[00:00:38] and all of the world's bisexuals, Brandon Fraser's The Mummy

[00:00:43] Woohoo! And today we're joined by Em, the host of the podcast Verbal Diorama

[00:00:49] where she gives you the history and legacy of all the movies, movies you know, movies you don't

[00:00:56] movies you know but for some reason you never want to watch

[00:00:59] Welcome Em!

[00:01:01] Hello!

[00:01:02] Thank you! It's like I didn't even tell you to say all that

[00:01:06] and you've just basically said like my tagline and everything, it's great

[00:01:10] This is the full experience of being a guest on someone's podcast

[00:01:14] It's like they know me, it's awesome

[00:01:16] Hello! How are you both?

[00:01:18] Yeah, we're great and you know what, we know you really well

[00:01:22] you know, we've listened to your podcast

[00:01:23] so we know that you're like a medium fan of The Mummy

[00:01:28] You're like a 6 out of 10

[00:01:30] Yeah, yeah, just a wee bit

[00:01:32] Yeah, I mean it's okay I guess

[00:01:34] I mean you really had to force me to come on

[00:01:37] You were like, do you want to do The Mummy?

[00:01:39] And I was like, oh my god, do I have to?

[00:01:41] Like, okay I guess

[00:01:44] I mean, yeah

[00:01:45] So you did The Mummy, your episode on your podcast Verbal Diorama

[00:01:49] You did an episode on The Mummy in 2019

[00:01:51] which was also the 20th anniversary year of The Mummy

[00:01:55] and since then you've been on at least, no less than, six podcasts as a guest

[00:02:04] talking about The Mummy

[00:02:05] which is now already in its 25th anniversary year

[00:02:10] It's actually more podcasts than that

[00:02:12] I was gonna say

[00:02:13] So we shout out to Pocket Casts

[00:02:16] which you introduced me to

[00:02:18] I found it really easy if I just typed in like Verbal Diorama The Mummy

[00:02:22] that it, like more than other, you know, podcast apps that I've used

[00:02:26] it's really good at giving me a list

[00:02:28] of the ones that you've been on talking about The Mummy

[00:02:30] Yeah, no, honestly, it's a great app

[00:02:33] I absolutely love it

[00:02:34] I genuinely think

[00:02:35] I don't even work for them or anything

[00:02:36] and I genuinely think it is the best podcast app

[00:02:39] because you can do stuff like that

[00:02:40] but no, it's actually

[00:02:42] I think this might be the 15th

[00:02:45] Are you kidding?

[00:02:46] Wow

[00:02:47] Like, no

[00:02:48] We really thought we were onto something

[00:02:51] We were sitting there so proud of ourselves

[00:02:52] like, I know, let's get Emma to talk about The Mummy

[00:02:56] because she likes it

[00:02:59] Sure, throw it on the pile

[00:03:01] Yeah, I get around

[00:03:04] Were they all movie podcasts?

[00:03:06] Yes

[00:03:07] Amazing

[00:03:08] So I'm hoping today that we'll be able to tell you

[00:03:12] something that you didn't know

[00:03:15] maybe not about The Mummy the movie

[00:03:17] but maybe about some history connected to The Mummy the movie

[00:03:22] Oh, absolutely

[00:03:23] No, I absolutely believe that you will

[00:03:25] That's my goal

[00:03:26] I do listen to your podcast as well

[00:03:28] and I find it completely fascinating

[00:03:30] because I love period dramas anyway

[00:03:32] I am such a huge fan

[00:03:34] and I know we've spoken quite a lot on Instagram

[00:03:36] about things like Pride and Prejudice

[00:03:39] and how much I love Pride and Prejudice

[00:03:42] Which one?

[00:03:43] The 1995 BBC serial, of course

[00:03:46] Of course

[00:03:47] Yeah, it is the superior one

[00:03:49] It is

[00:03:50] Honestly, I've seen that so many times

[00:03:53] Me too!

[00:03:54] Oh, it's like my go-to movie

[00:03:56] when I'm just feeling sick

[00:03:57] Yeah, it's like comfort watch

[00:04:01] Oh, I love it so much

[00:04:03] and I love the fact

[00:04:04] because it's a series

[00:04:05] and it's like six episodes

[00:04:06] they've got plenty of time

[00:04:08] to like build up this world

[00:04:10] and the characters

[00:04:11] Right? Yes

[00:04:11] Yeah, it's great

[00:04:13] Yeah, Colin Firth

[00:04:14] I know they say about the lake scene

[00:04:17] and it is good

[00:04:17] but I just think his Darcy

[00:04:19] is just the best Darcy

[00:04:21] It's the best

[00:04:22] It is the best

[00:04:23] He's so good

[00:04:23] And, you know

[00:04:24] it's like Jennifer Ailey

[00:04:25] as Elizabeth Bennet

[00:04:26] Like she is

[00:04:28] She is the Elizabeth Bennet

[00:04:30] that I compare all Elizabeth Bennets to

[00:04:32] Yes

[00:04:33] And they don't measure up

[00:04:34] All due respect to everyone else

[00:04:36] who's ever played Elizabeth Bennet

[00:04:38] on screen, on stage

[00:04:39] in your living room, whatever

[00:04:41] but you've been reaching for Jennifer Ailey

[00:04:43] and just not quite making it

[00:04:44] No

[00:04:45] But, you know, land amongst the stars

[00:04:46] I know

[00:04:47] And also she looks amazing

[00:04:49] She's so busty

[00:04:50] and so gorgeous

[00:04:51] and, you know

[00:04:52] she's just great

[00:04:53] So I recently learned

[00:04:55] about this phenomenon

[00:04:57] in Regency dress

[00:04:59] where the corsets create

[00:05:00] if you're doing like

[00:05:02] cosplay kind of Regency dress

[00:05:04] what you want to do

[00:05:06] is get yourself

[00:05:07] a corset for your dress

[00:05:09] that will create

[00:05:10] a boob shelf

[00:05:11] That's how you know

[00:05:12] that you're in the period

[00:05:13] and you're in that dress

[00:05:16] Yes, historically, accurately, boobily

[00:05:18] Yeah

[00:05:19] I want to be historically, accurately, boobily

[00:05:22] Yep

[00:05:23] I want a boob shelf so bad

[00:05:25] Like we

[00:05:25] made a little promise

[00:05:27] to ourselves

[00:05:28] that one of these days

[00:05:29] we're going to make it

[00:05:30] to the Jane Austen Festival

[00:05:31] Yes

[00:05:31] In Bath

[00:05:32] all the boob shelves

[00:05:33] Oh my god

[00:05:33] That sounds amazing

[00:05:34] Shelves upon shelves upon shelves

[00:05:35] I want like three boob shelves

[00:05:37] Mm-hmm

[00:05:38] You recently did an episode

[00:05:40] on

[00:05:41] so the latest of your episodes

[00:05:42] that I have listened to

[00:05:43] was on

[00:05:45] one of my

[00:05:45] very favorite period dramas

[00:05:47] Prey

[00:05:48] Yes

[00:05:49] Which is a predator movie

[00:05:51] Yeah

[00:05:51] Which is set in

[00:05:53] 18th century

[00:05:54] Yeah

[00:05:54] Plains United States

[00:05:56] and it's all indigenous people

[00:05:58] and

[00:05:59] I always have wanted

[00:06:01] more indigenous stories

[00:06:02] and kind of like

[00:06:03] more out there stories

[00:06:04] that are away from

[00:06:05] the Isle of Britain

[00:06:06] Mm-hmm

[00:06:07] Because I find them

[00:06:08] so interesting and fascinating

[00:06:09] I love being immersed

[00:06:10] in that world

[00:06:11] but to find it

[00:06:12] in a predator movie

[00:06:14] was amazing

[00:06:16] and wild

[00:06:17] and

[00:06:17] it's become

[00:06:19] one of my favorites

[00:06:19] I know

[00:06:21] and it's just

[00:06:21] so amazing as well

[00:06:23] because obviously

[00:06:24] Hollywood is full of

[00:06:25] white men

[00:06:26] and we know this for a fact

[00:06:28] but when you've got

[00:06:29] a white man like

[00:06:30] Dan Trachtenberg

[00:06:31] who's like

[00:06:32] yeah okay

[00:06:33] I've got privilege

[00:06:33] I'm a white man in Hollywood

[00:06:35] he's got the privilege

[00:06:36] to get stuff done

[00:06:37] but he actually kind of

[00:06:39] thinks about it

[00:06:39] and goes

[00:06:40] well do you know what

[00:06:40] I'm going to actually

[00:06:41] speak to some Comanche people

[00:06:43] and I'm going to get

[00:06:44] some proper Comanche people

[00:06:46] in the cast and crew

[00:06:47] and you know

[00:06:48] we're going to

[00:06:49] basically do this

[00:06:49] big wide search

[00:06:51] for indigenous people

[00:06:52] from all tribes

[00:06:53] to kind of get them

[00:06:54] all involved

[00:06:54] and to get elders involved

[00:06:56] and to kind of resurrect

[00:06:58] a language

[00:06:58] that's pretty much

[00:07:00] dying

[00:07:01] you know

[00:07:01] to kind of get

[00:07:02] this Comanche dub

[00:07:03] honestly for me

[00:07:05] Prey is one of the most

[00:07:06] astonishing movies

[00:07:07] of recent years

[00:07:08] and it still pains me

[00:07:09] so much

[00:07:10] that we didn't get it

[00:07:11] at the cinema

[00:07:12] I wish

[00:07:13] I wish we'd got it

[00:07:14] at the cinema

[00:07:15] I'm glad we have it

[00:07:16] and I will always be glad

[00:07:17] for Prey

[00:07:17] I think it's just

[00:07:18] so phenomenal

[00:07:19] that there is

[00:07:20] so much space out there

[00:07:21] and there's so much

[00:07:22] opportunity out there

[00:07:23] for these

[00:07:25] you know

[00:07:25] big name directors

[00:07:26] okay Dan Trachtenberg's

[00:07:27] not really a big name

[00:07:28] but he is a name director

[00:07:29] just to kind of say

[00:07:31] well you know

[00:07:31] I could make this project

[00:07:33] about you know

[00:07:34] these white people

[00:07:34] or I could actually go

[00:07:37] but you know what

[00:07:38] let's do something

[00:07:39] a bit different

[00:07:39] you know

[00:07:40] let's

[00:07:41] representation

[00:07:41] is so important

[00:07:43] you know

[00:07:43] and I say that

[00:07:44] as a cis white woman

[00:07:45] you know

[00:07:46] representation

[00:07:47] is so important

[00:07:48] and if we can do it

[00:07:50] across the spectrum

[00:07:51] of cinema

[00:07:52] then great

[00:07:52] but especially

[00:07:53] with period drama

[00:07:54] when we're talking

[00:07:55] about like

[00:07:55] actual history

[00:07:57] even if it might be

[00:07:58] slightly

[00:07:58] you know

[00:07:59] not completely factual

[00:08:00] because sometimes

[00:08:01] they're not

[00:08:01] but

[00:08:02] it's just so important

[00:08:04] to tell those stories

[00:08:05] and I think that's why

[00:08:06] I love your podcast

[00:08:07] so much

[00:08:08] is because you actually

[00:08:09] take the time

[00:08:09] to find those stories

[00:08:10] and talk about those stories

[00:08:11] because those are the stories

[00:08:13] that we actually

[00:08:14] need to know about

[00:08:15] Pride and Prejudice

[00:08:16] is great

[00:08:16] and I love it

[00:08:17] but you know

[00:08:19] it's basically

[00:08:20] just full of white people

[00:08:21] talking about

[00:08:22] you know

[00:08:23] lots of British history

[00:08:23] that we know about

[00:08:24] so let's find

[00:08:26] some period dramas

[00:08:27] talking about history

[00:08:28] that we don't know about

[00:08:29] and that's what

[00:08:30] you know

[00:08:30] that's what you do

[00:08:31] so well

[00:08:32] oh thank you

[00:08:33] I mean to be fair

[00:08:34] we do love Jane Austen

[00:08:35] we do love a bunch

[00:08:36] of white people

[00:08:36] just visiting each other's houses

[00:08:38] and then eventually

[00:08:39] kissing

[00:08:41] but

[00:08:42] it's like

[00:08:43] oh my god

[00:08:43] they're showing

[00:08:44] all kinds of ankle

[00:08:45] in this period drama

[00:08:46] it's scandalous

[00:08:47] but honestly

[00:08:48] if you can make

[00:08:49] a predator

[00:08:50] period drama

[00:08:51] you've got no excuse

[00:08:52] exactly

[00:08:52] just to all

[00:08:53] filmmakers everywhere

[00:08:54] so keep

[00:08:55] making stories

[00:08:57] in which

[00:08:58] people visit

[00:08:59] each other's houses

[00:08:59] and kiss

[00:09:00] maybe stop making them

[00:09:01] just about white people

[00:09:02] which I think

[00:09:03] Bridgerton

[00:09:03] has already

[00:09:05] opened the door

[00:09:05] for

[00:09:06] Bridgerton

[00:09:06] has stepped through

[00:09:07] the door

[00:09:08] that Brandy's

[00:09:09] Cinderella

[00:09:10] opened for them

[00:09:11] and then

[00:09:12] keep giving us

[00:09:14] what we want

[00:09:14] I think

[00:09:15] period dramas

[00:09:16] are in

[00:09:16] like a beautiful

[00:09:17] era right now

[00:09:18] and we're loving it

[00:09:19] but

[00:09:20] can we bring it back

[00:09:22] yeah

[00:09:22] now

[00:09:22] to a different

[00:09:23] era of cinema

[00:09:24] because 1999

[00:09:25] I think was a very

[00:09:27] different era

[00:09:28] of cinema

[00:09:28] and I'm so glad

[00:09:30] for it

[00:09:30] because

[00:09:31] it gave us

[00:09:33] what I hadn't

[00:09:34] really considered

[00:09:35] a period drama

[00:09:36] until I kind of

[00:09:37] looked at it

[00:09:38] through our lens

[00:09:39] because of course

[00:09:41] it is a romp

[00:09:42] it is

[00:09:43] it's not sci-fi

[00:09:44] it's an action romp

[00:09:45] but there's

[00:09:46] real history

[00:09:47] to be had there

[00:09:48] and there's

[00:09:49] so many interesting

[00:09:50] things around

[00:09:51] this movie

[00:09:51] that we're so

[00:09:53] excited to talk

[00:09:54] about

[00:09:54] are you excited

[00:09:54] to talk about

[00:09:55] it too

[00:09:56] yeah

[00:09:57] yeah

[00:09:58] should we start

[00:09:59] that

[00:10:00] summary

[00:10:01] all right

[00:10:01] so

[00:10:02] we are in

[00:10:03] ancient Egypt

[00:10:04] specifically in

[00:10:06] Thebes

[00:10:06] in about

[00:10:07] 1290

[00:10:08] BC

[00:10:08] where we are

[00:10:09] introduced to

[00:10:10] Imhotep

[00:10:11] the high priest

[00:10:11] of Pharaoh

[00:10:12] Seti I

[00:10:13] now

[00:10:15] Imhotep

[00:10:16] is a bad

[00:10:17] bad boy

[00:10:17] Imhotep

[00:10:18] is a bad

[00:10:19] bad boy

[00:10:20] because he's

[00:10:21] having an affair

[00:10:22] with the Pharaoh's

[00:10:23] super hot mistress

[00:10:24] oh my gosh

[00:10:26] oh my god

[00:10:28] awakenings

[00:10:30] she's so

[00:10:30] freaking hot

[00:10:31] it's ridiculous

[00:10:31] because is what

[00:10:32] she's wearing

[00:10:33] actually

[00:10:33] it's not

[00:10:34] transparent

[00:10:35] no

[00:10:36] it's like

[00:10:36] holes in it

[00:10:37] right

[00:10:37] basically

[00:10:38] yeah

[00:10:38] but it's just

[00:10:39] an

[00:10:39] yeah

[00:10:40] I mean

[00:10:40] her body

[00:10:41] is freaking

[00:10:41] ridiculous

[00:10:42] right

[00:10:42] so

[00:10:42] her name

[00:10:43] is

[00:10:43] Angsunamun

[00:10:44] one fateful

[00:10:45] day

[00:10:46] Pharaoh

[00:10:46] catches them

[00:10:47] together

[00:10:47] and

[00:10:48] they slay him

[00:10:49] as the palace

[00:10:50] guards come in

[00:10:51] Imhotep manages

[00:10:52] to escape

[00:10:53] but

[00:10:53] Angsunamun

[00:10:54] kills herself

[00:10:55] believing that

[00:10:56] her lover

[00:10:56] will find a

[00:10:57] way to

[00:10:57] resurrect her

[00:10:58] true enough

[00:10:59] Imhotep

[00:10:59] and his priest

[00:11:00] steal

[00:11:01] her corpse

[00:11:02] and they take

[00:11:03] it to

[00:11:03] Hamunaptra

[00:11:04] the city

[00:11:05] of the dead

[00:11:05] where he tries

[00:11:06] to resurrect

[00:11:06] her using

[00:11:07] the book

[00:11:07] of the dead

[00:11:08] however

[00:11:09] Imhotep is

[00:11:09] smack in the

[00:11:10] middle of this

[00:11:11] resurrection ritual

[00:11:12] when he's

[00:11:13] interrupted by

[00:11:13] the pharaoh's

[00:11:14] bodyguards

[00:11:15] the magi

[00:11:15] as punishment

[00:11:17] Imhotep's

[00:11:18] priests are

[00:11:19] mummified alive

[00:11:20] superheroes

[00:11:21] while Imhotep

[00:11:23] himself is

[00:11:24] condemned

[00:11:24] to their

[00:11:25] home die

[00:11:25] so it's

[00:11:26] this curse

[00:11:26] so his

[00:11:27] tongue is

[00:11:27] cut

[00:11:28] he's

[00:11:28] buried alive

[00:11:29] with flesh

[00:11:30] eating

[00:11:30] scarabs

[00:11:31] and most

[00:11:31] importantly

[00:11:32] there is a

[00:11:33] curse that says

[00:11:34] if he's

[00:11:35] ever released

[00:11:36] he would

[00:11:36] literally bring

[00:11:37] death and

[00:11:37] destruction

[00:11:38] onto the

[00:11:38] world

[00:11:39] while being

[00:11:39] invulnerable

[00:11:40] himself

[00:11:41] so I made

[00:11:42] a note here

[00:11:42] you know

[00:11:43] my note is

[00:11:43] see that's

[00:11:44] the thing

[00:11:44] I don't

[00:11:45] get

[00:11:45] the curse

[00:11:46] is what

[00:11:47] gives him

[00:11:48] power

[00:11:48] right

[00:11:49] why not

[00:11:50] curse him

[00:11:51] to become

[00:11:51] a dung beetle

[00:11:52] or have

[00:11:54] something where

[00:11:54] the curse

[00:11:55] is upon

[00:11:56] the people

[00:11:57] who release

[00:11:58] him

[00:11:58] and have

[00:11:59] them die

[00:12:00] a horrible

[00:12:00] death

[00:12:00] so I'm

[00:12:01] not an

[00:12:01] Egyptian

[00:12:02] wizard

[00:12:02] but in

[00:12:03] defense of

[00:12:04] the curse

[00:12:05] I think

[00:12:05] it's about

[00:12:06] give and

[00:12:06] take

[00:12:06] what you

[00:12:07] really

[00:12:09] want

[00:12:09] is for

[00:12:10] him

[00:12:10] to be

[00:12:11] eaten

[00:12:12] semi-alive

[00:12:13] by beetles

[00:12:14] forever

[00:12:15] and ever

[00:12:15] with no

[00:12:16] tongue

[00:12:17] then the

[00:12:18] flip side

[00:12:19] of that

[00:12:19] is

[00:12:20] you've got

[00:12:20] to risk

[00:12:21] him being

[00:12:21] resurrected

[00:12:22] and turned

[00:12:22] into this

[00:12:23] monster

[00:12:23] and bringing

[00:12:24] all the

[00:12:24] plagues

[00:12:25] so that's

[00:12:26] that's my

[00:12:26] limited

[00:12:27] understanding

[00:12:28] of curses

[00:12:29] and magic

[00:12:30] is you've

[00:12:30] got to

[00:12:30] take the

[00:12:31] bad with

[00:12:31] the good

[00:12:31] I mean

[00:12:32] was it

[00:12:33] a bit

[00:12:34] of overkill

[00:12:35] maybe not

[00:12:36] I mean

[00:12:36] to be fair

[00:12:37] they didn't

[00:12:37] have to

[00:12:38] kill the

[00:12:38] king

[00:12:39] did they

[00:12:40] they just

[00:12:41] got caught

[00:12:41] like

[00:12:42] in the same

[00:12:44] room together

[00:12:44] and he was

[00:12:45] like hey

[00:12:45] and they were

[00:12:50] going to

[00:12:51] die horrible

[00:12:53] deaths anyway

[00:12:53] right so

[00:12:54] they figured

[00:12:55] might as well

[00:12:55] take someone

[00:12:55] with them

[00:12:56] anyway

[00:12:57] fast forward

[00:12:58] to 1923

[00:12:59] we are back

[00:13:00] in Hamunatra

[00:13:01] where Rick

[00:13:01] O'Connell

[00:13:02] our Brendan

[00:13:03] Fraser

[00:13:03] is fighting

[00:13:04] with the

[00:13:04] French Foreign

[00:13:05] Legion

[00:13:05] so again

[00:13:06] I still have

[00:13:06] no idea

[00:13:07] what the

[00:13:07] whole battle

[00:13:08] is about

[00:13:08] someone can

[00:13:09] enlighten me

[00:13:10] you know

[00:13:10] anyway

[00:13:11] just as he's

[00:13:11] about to get

[00:13:12] shot by the

[00:13:12] opposing faction

[00:13:13] they all

[00:13:14] suddenly flee

[00:13:14] because he's

[00:13:15] standing in

[00:13:16] some forbidden

[00:13:17] cursed place

[00:13:17] the sand

[00:13:18] around him

[00:13:19] you know

[00:13:19] forms a face

[00:13:20] and we hear

[00:13:21] someone whispering

[00:13:22] you will die

[00:13:23] so he runs

[00:13:24] away into the

[00:13:25] desert where

[00:13:26] the magi are

[00:13:26] watching from

[00:13:27] a distant

[00:13:27] spoiler

[00:13:28] he does not

[00:13:29] die

[00:13:29] so now

[00:13:30] three years

[00:13:30] later in

[00:13:31] Cairo

[00:13:31] and you have

[00:13:32] Evelyn

[00:13:33] who is working

[00:13:34] as a librarian

[00:13:35] at the

[00:13:35] museum

[00:13:36] of

[00:13:36] antiquities

[00:13:37] so as

[00:13:38] someone who

[00:13:38] was a

[00:13:39] library

[00:13:39] assistant

[00:13:39] for many

[00:13:40] many

[00:13:40] years

[00:13:40] I was

[00:13:40] like

[00:13:41] awesome

[00:13:42] yeah

[00:13:43] so she's

[00:13:43] a bit

[00:13:44] clumsy

[00:13:46] but extremely

[00:13:47] knowledgeable

[00:13:47] in Egyptology

[00:13:48] one day

[00:13:49] her free-spirited

[00:13:50] brother

[00:13:50] Jonathan

[00:13:51] presents her

[00:13:51] with a

[00:13:52] box

[00:13:52] which he

[00:13:52] supposedly

[00:13:53] found on

[00:13:54] a dig

[00:13:54] upon opening

[00:13:55] Evelyn finds

[00:13:56] it contains

[00:13:56] a map

[00:13:57] to the

[00:13:57] legendary

[00:13:58] city

[00:13:58] of

[00:13:58] Hamunapra

[00:13:59] she shows

[00:14:00] it to

[00:14:00] her boss

[00:14:00] the curator

[00:14:01] who not

[00:14:01] only claims

[00:14:02] that the

[00:14:03] whole

[00:14:03] Hamunapra

[00:14:03] legend is a

[00:14:04] bunch of

[00:14:05] hokum

[00:14:05] but also

[00:14:06] you know

[00:14:08] accidentally

[00:14:08] burns part

[00:14:09] of the

[00:14:09] map

[00:14:10] oh

[00:14:10] whoops

[00:14:11] yeah

[00:14:11] oh dear

[00:14:12] oh no

[00:14:13] nonetheless

[00:14:14] Jonathan

[00:14:14] takes Evelyn

[00:14:15] to see

[00:14:16] Rick

[00:14:16] who is now

[00:14:17] in prison

[00:14:17] in Cairo

[00:14:18] so Evelyn

[00:14:18] not only

[00:14:19] convinces

[00:14:19] Rick

[00:14:20] to take

[00:14:20] them

[00:14:20] to

[00:14:20] Hamunapra

[00:14:21] but basically

[00:14:22] bribes

[00:14:22] the prison

[00:14:23] warden

[00:14:23] into setting

[00:14:23] him free

[00:14:24] so the trio

[00:14:25] accompanied

[00:14:26] by the

[00:14:26] warden

[00:14:26] they travel

[00:14:27] by boat

[00:14:27] part of

[00:14:28] the way

[00:14:28] to

[00:14:28] Hamunapra

[00:14:29] and on

[00:14:29] the boat

[00:14:30] they meet

[00:14:30] with a

[00:14:31] bunch

[00:14:31] of

[00:14:31] American

[00:14:32] treasure

[00:14:32] hunters

[00:14:32] like very

[00:14:33] American

[00:14:34] this is so

[00:14:34] hilarious

[00:14:35] right

[00:14:35] led by

[00:14:36] this

[00:14:36] spineless

[00:14:37] guy

[00:14:37] called

[00:14:37] Benny

[00:14:38] whom

[00:14:38] had

[00:14:38] previously

[00:14:39] left

[00:14:39] Rick

[00:14:40] to die

[00:14:40] like three

[00:14:41] years ago

[00:14:41] meanwhile

[00:14:42] Evelyn is

[00:14:42] clearly both

[00:14:43] enamored by

[00:14:44] Rick

[00:14:44] who had cheekily

[00:14:45] kissed her

[00:14:45] when she met

[00:14:46] him at the

[00:14:46] prison

[00:14:46] and annoyed

[00:14:47] by him

[00:14:48] right

[00:14:48] this whole

[00:14:48] you know

[00:14:49] will they

[00:14:49] won't they

[00:14:50] blah blah

[00:14:50] blah

[00:14:50] as she's

[00:14:52] in her

[00:14:52] cabin

[00:14:53] she's

[00:14:53] attacked

[00:14:53] by the

[00:14:54] magi

[00:14:54] who want

[00:14:55] to take

[00:14:55] the map

[00:14:56] away

[00:14:56] from her

[00:14:57] huge

[00:14:57] couple

[00:14:57] ensues

[00:14:58] and the

[00:14:58] entire

[00:14:58] boat

[00:14:59] ends up

[00:14:59] being set

[00:14:59] on fire

[00:15:01] miraculously

[00:15:01] no one

[00:15:02] dies

[00:15:02] not even

[00:15:03] the horses

[00:15:03] yay

[00:15:04] yay

[00:15:05] yeah

[00:15:06] and when

[00:15:06] they all

[00:15:06] arrive on

[00:15:07] shore

[00:15:07] Rick and

[00:15:08] his crew

[00:15:08] they end

[00:15:09] up buying

[00:15:09] some camels

[00:15:10] and traveling

[00:15:10] over the

[00:15:11] desert

[00:15:11] to Hamunapra

[00:15:12] soon enough

[00:15:14] however

[00:15:14] they encounter

[00:15:15] the Americans

[00:15:15] again

[00:15:16] right

[00:15:16] and both

[00:15:17] parties

[00:15:17] like race

[00:15:18] to the

[00:15:18] side

[00:15:19] claiming that

[00:15:19] whoever gets

[00:15:20] there first

[00:15:21] will own

[00:15:21] it

[00:15:22] you know

[00:15:22] because

[00:15:22] hashtag

[00:15:23] colonialism

[00:15:24] anyway

[00:15:26] Rick and

[00:15:27] his crew

[00:15:27] get there

[00:15:28] first

[00:15:28] but both

[00:15:29] crews begin

[00:15:30] excavating

[00:15:31] and obviously

[00:15:31] the sexual

[00:15:32] tension between

[00:15:33] Evelyn and

[00:15:34] Rick

[00:15:34] needless to

[00:15:35] say

[00:15:35] shit starts

[00:15:36] to happen

[00:15:36] when the

[00:15:36] prison warden

[00:15:37] and with

[00:15:38] the prison

[00:15:38] warden

[00:15:39] and the

[00:15:39] American

[00:15:40] diggers

[00:15:40] being the

[00:15:41] first to

[00:15:41] succumb to

[00:15:41] a series

[00:15:42] of like

[00:15:42] booby traps

[00:15:43] so the

[00:15:43] warden gets

[00:15:44] eaten alive

[00:15:45] by like

[00:15:45] this

[00:15:46] flesh-eating

[00:15:47] scarab

[00:15:47] which like

[00:15:48] hatches from

[00:15:49] you know

[00:15:49] this blue

[00:15:50] gold scarab

[00:15:51] ornament

[00:15:52] that he tries

[00:15:52] to steal

[00:15:53] and the

[00:15:54] poor

[00:15:54] digging

[00:15:54] crew

[00:15:55] to get

[00:15:55] scalded

[00:15:55] by like

[00:15:56] acid

[00:15:56] which pours

[00:15:57] out of

[00:15:58] the wall

[00:15:58] right

[00:15:59] meanwhile

[00:16:00] Evelyn

[00:16:01] Rick

[00:16:01] and Jonathan

[00:16:02] come across

[00:16:03] the sarcophagus

[00:16:04] of Imhotep

[00:16:05] which just

[00:16:06] falls out

[00:16:07] from the

[00:16:07] ceiling

[00:16:08] miraculously

[00:16:09] not killing

[00:16:10] anybody

[00:16:10] you know

[00:16:11] and they're

[00:16:12] just like

[00:16:12] oh

[00:16:12] hello

[00:16:13] what is

[00:16:13] this

[00:16:14] you know

[00:16:14] anyway

[00:16:15] Evelyn

[00:16:16] realizes

[00:16:16] that the

[00:16:17] box that

[00:16:17] she has

[00:16:18] is the

[00:16:18] key

[00:16:18] to

[00:16:19] opening

[00:16:19] the

[00:16:19] sarcophagus

[00:16:20] and before

[00:16:21] long

[00:16:21] the magi

[00:16:22] arrive

[00:16:23] warning them

[00:16:23] all to

[00:16:24] just stay

[00:16:24] the hell

[00:16:24] away

[00:16:25] but obviously

[00:16:26] no one

[00:16:26] listens

[00:16:26] in fact

[00:16:28] the americans

[00:16:29] end up

[00:16:29] finding a

[00:16:30] chest

[00:16:30] with a

[00:16:31] warning

[00:16:31] literally

[00:16:31] inscribed

[00:16:32] onto it

[00:16:33] right

[00:16:34] and obviously

[00:16:35] what they

[00:16:35] do

[00:16:36] they open

[00:16:36] it

[00:16:36] inside

[00:16:37] they find

[00:16:38] the book

[00:16:39] of the dead

[00:16:39] together with

[00:16:40] some gold

[00:16:41] urns

[00:16:41] containing

[00:16:42] what I

[00:16:43] found

[00:16:44] out to be

[00:16:45] later

[00:16:45] the remains

[00:16:46] of

[00:16:46] Ang Sunamun

[00:16:47] yeah

[00:16:48] so

[00:16:48] yeah

[00:16:49] yeah

[00:16:49] because I

[00:16:49] was a bit

[00:16:50] confused at

[00:16:50] first

[00:16:50] it was like

[00:16:51] what is

[00:16:51] in there

[00:16:52] okay

[00:16:53] so

[00:16:53] Rick and

[00:16:53] his crew

[00:16:54] they use

[00:16:55] the box

[00:16:55] to open

[00:16:56] Immunep's

[00:16:57] sarcophagus

[00:16:58] where they

[00:16:59] find his

[00:16:59] corpse is

[00:17:00] still decomposing

[00:17:01] after literally

[00:17:02] thousands of

[00:17:02] years

[00:17:03] it's juicy

[00:17:04] I know

[00:17:04] it's like

[00:17:05] literally still

[00:17:05] juicy right

[00:17:06] yeah

[00:17:06] finding the

[00:17:07] skeleton of

[00:17:08] a scarab

[00:17:08] Evelyn

[00:17:09] realizes that

[00:17:10] Imhotep was

[00:17:11] given the

[00:17:11] hom-dye

[00:17:12] punishment

[00:17:12] and left

[00:17:13] to be eaten

[00:17:14] alive

[00:17:14] that night

[00:17:15] she steals

[00:17:16] the book

[00:17:16] of the dead

[00:17:16] from the

[00:17:17] Americans

[00:17:17] and uses

[00:17:18] her little

[00:17:18] box key

[00:17:19] right

[00:17:19] to open

[00:17:19] it

[00:17:20] and

[00:17:20] reads aloud

[00:17:21] from it

[00:17:22] thus

[00:17:23] awakening

[00:17:24] Immhotep

[00:17:24] who starts

[00:17:25] attacking

[00:17:26] the various

[00:17:27] Americans

[00:17:27] and somehow

[00:17:29] confuses

[00:17:29] Evelyn with

[00:17:30] Ang Sunamun

[00:17:31] so then

[00:17:32] everybody

[00:17:32] you know

[00:17:33] flees back

[00:17:33] to Cairo

[00:17:34] but Immhotep

[00:17:35] follows them

[00:17:36] having taken

[00:17:37] Benny as his

[00:17:37] personal assistant

[00:17:38] so to speak

[00:17:39] one by one

[00:17:40] he attacks

[00:17:41] the remaining

[00:17:42] Americans

[00:17:42] using their

[00:17:43] bodies and

[00:17:43] like

[00:17:43] life force

[00:17:44] to regenerate

[00:17:45] oh yeah

[00:17:46] and he brings

[00:17:46] about the

[00:17:47] 10 plagues

[00:17:47] of Egypt

[00:17:49] again

[00:17:49] my note

[00:17:50] here says

[00:17:51] bit confused

[00:17:52] wasn't that

[00:17:53] a Moses thing

[00:17:53] yeah I can

[00:17:54] clarify the

[00:17:55] the 10

[00:17:56] commandments

[00:17:56] thing but

[00:17:57] so

[00:17:58] if you think

[00:17:59] about the

[00:17:59] bible

[00:17:59] so we're

[00:18:00] in about

[00:18:01] you know

[00:18:01] if this all

[00:18:02] happened in

[00:18:03] 1290

[00:18:04] then

[00:18:04] bible times

[00:18:05] there

[00:18:06] you know

[00:18:07] Moses is in

[00:18:08] Exodus

[00:18:08] second book

[00:18:09] of the bible

[00:18:10] that's a way

[00:18:11] long time ago

[00:18:12] yeah

[00:18:13] so that'll be

[00:18:13] like several

[00:18:14] thousand years

[00:18:15] before that

[00:18:16] so if they're

[00:18:16] coming up with

[00:18:17] a curse

[00:18:17] then I don't

[00:18:19] know

[00:18:19] they have

[00:18:20] the 10

[00:18:21] plagues as

[00:18:21] reference already

[00:18:22] yeah

[00:18:23] they're like

[00:18:23] hey why the hell

[00:18:24] not right

[00:18:25] yeah remember

[00:18:26] how shitty that

[00:18:26] was when that

[00:18:27] all went down

[00:18:28] here

[00:18:28] let's do that

[00:18:29] again

[00:18:29] fair fair fair

[00:18:31] fair

[00:18:32] okay

[00:18:32] oh yes

[00:18:33] also

[00:18:34] turns out

[00:18:35] Immhotep is

[00:18:36] afraid of cats

[00:18:37] I love it

[00:18:38] my favorite

[00:18:38] part of the

[00:18:39] movie

[00:18:40] why doesn't

[00:18:41] that cat

[00:18:42] get a name

[00:18:42] right

[00:18:43] we were

[00:18:44] we were

[00:18:44] messaging about

[00:18:45] that

[00:18:45] we're like

[00:18:45] does he

[00:18:46] have a name

[00:18:47] so while

[00:18:47] trying to

[00:18:48] figure out

[00:18:49] how to

[00:18:49] kill

[00:18:50] Immhotep

[00:18:50] Evelyn and

[00:18:51] the crew

[00:18:51] realized

[00:18:51] that the

[00:18:52] curator

[00:18:54] is part

[00:18:54] of the

[00:18:55] magi

[00:18:55] this explains

[00:18:56] the whole

[00:18:56] burning of

[00:18:57] the map

[00:18:58] thing

[00:18:58] right

[00:18:58] because I

[00:18:59] was at

[00:18:59] the time

[00:19:00] I was like

[00:19:00] no self

[00:19:01] respecting

[00:19:01] Egyptologist

[00:19:02] would handle

[00:19:03] an artifact

[00:19:03] like that

[00:19:04] you know

[00:19:04] they also

[00:19:05] learn that

[00:19:06] Immhotep is

[00:19:06] afraid of

[00:19:07] cats

[00:19:07] because

[00:19:07] cats

[00:19:08] are the

[00:19:08] keepers

[00:19:08] of the

[00:19:09] underworld

[00:19:10] anyway

[00:19:11] so they

[00:19:11] figure out

[00:19:12] that somehow

[00:19:12] Immhotep wants

[00:19:13] to use

[00:19:13] Evelyn to

[00:19:14] resurrect

[00:19:15] Ang Sunamun

[00:19:16] and she

[00:19:16] herself

[00:19:17] being the

[00:19:17] brilliant

[00:19:17] woman that

[00:19:18] she is

[00:19:19] deduces

[00:19:20] that since

[00:19:21] the book

[00:19:21] of the

[00:19:22] dead

[00:19:22] brought

[00:19:23] Immhotep

[00:19:24] back to

[00:19:24] life

[00:19:24] the book

[00:19:25] of Amodra

[00:19:26] can kill

[00:19:27] him again

[00:19:28] also because

[00:19:29] she's

[00:19:29] brilliant

[00:19:30] like I said

[00:19:31] she figures

[00:19:31] that that

[00:19:32] book has

[00:19:33] to also

[00:19:34] be hidden

[00:19:34] back in

[00:19:35] Hamunaptra

[00:19:35] however

[00:19:36] before they

[00:19:36] can all

[00:19:37] get there

[00:19:37] Immhotep

[00:19:37] and his

[00:19:38] army of

[00:19:38] zombies

[00:19:39] they

[00:19:39] kind of

[00:19:39] like

[00:19:39] storm

[00:19:40] the

[00:19:40] museum

[00:19:40] chase

[00:19:41] them

[00:19:41] all

[00:19:42] and to

[00:19:42] save her

[00:19:43] crew

[00:19:44] Evelyn agrees

[00:19:45] to go

[00:19:45] with Immhotep

[00:19:46] figuring that

[00:19:47] you know

[00:19:47] what

[00:19:47] he has

[00:19:48] to take

[00:19:49] her to

[00:19:49] Hamunaptra

[00:19:50] anyway

[00:19:51] so they

[00:19:51] can all

[00:19:51] you know

[00:19:52] meet back

[00:19:52] there

[00:19:52] together

[00:19:53] with the

[00:19:54] help

[00:19:54] of an

[00:19:54] old

[00:19:55] World War

[00:19:56] One

[00:19:56] airman

[00:19:56] who has

[00:19:57] a severe

[00:19:58] case of

[00:19:58] survivor's

[00:19:59] guilt

[00:19:59] the poor

[00:19:59] guy

[00:20:01] Rick

[00:20:01] Jonathan

[00:20:02] and Ardeth

[00:20:03] who is

[00:20:04] also

[00:20:04] who is

[00:20:04] the

[00:20:05] hottie

[00:20:05] I think

[00:20:06] he's

[00:20:06] hot

[00:20:07] everyone

[00:20:07] thinks

[00:20:08] he's

[00:20:08] hot

[00:20:09] yes

[00:20:10] okay

[00:20:11] good

[00:20:11] because you

[00:20:11] know

[00:20:11] I also

[00:20:12] have

[00:20:12] really weird

[00:20:12] taste in

[00:20:13] Ben

[00:20:13] so you

[00:20:14] know

[00:20:14] I never

[00:20:15] know

[00:20:15] so

[00:20:15] all right

[00:20:16] with

[00:20:17] Hottie

[00:20:17] Ardeth

[00:20:18] who is

[00:20:18] the head

[00:20:18] of the

[00:20:18] Magi

[00:20:19] right

[00:20:19] they

[00:20:20] fly

[00:20:21] to

[00:20:21] Hamunaptra

[00:20:21] however

[00:20:23] Imhotep

[00:20:23] who has

[00:20:24] magically

[00:20:24] transported

[00:20:25] himself

[00:20:26] Benny

[00:20:26] and

[00:20:27] Evelyn

[00:20:27] by means

[00:20:28] of

[00:20:28] sandstorm

[00:20:29] to

[00:20:30] Hamunaptra

[00:20:30] conjures up

[00:20:31] another

[00:20:32] sandstorm

[00:20:32] to crash

[00:20:33] their plane

[00:20:33] thus killing

[00:20:34] the poor

[00:20:35] airman

[00:20:36] but you

[00:20:36] know

[00:20:36] what

[00:20:36] he died

[00:20:37] hero's

[00:20:37] death

[00:20:38] which is

[00:20:38] what he

[00:20:38] wanted

[00:20:38] so Rick

[00:20:39] Jonathan

[00:20:39] and Ardeth

[00:20:40] they manage

[00:20:41] to find

[00:20:41] the book

[00:20:42] of

[00:20:42] Amunrah

[00:20:42] and

[00:20:43] there's

[00:20:44] this whole

[00:20:44] bit where

[00:20:45] you know

[00:20:45] Imhotep

[00:20:45] is like

[00:20:46] preparing

[00:20:46] to sacrifice

[00:20:47] Evelyn

[00:20:47] to resurrect

[00:20:48] his love

[00:20:49] I'm not

[00:20:50] going to

[00:20:50] go into

[00:20:50] the crazy

[00:20:51] details

[00:20:51] of the

[00:20:51] whole

[00:20:52] fight

[00:20:52] with

[00:20:53] monsters

[00:20:53] but

[00:20:53] this

[00:20:53] is

[00:20:53] fun

[00:20:55] the fight

[00:20:56] scene

[00:20:56] amazing

[00:20:57] the fight

[00:20:57] scene

[00:20:58] the fight

[00:20:58] scene

[00:20:58] kicking

[00:21:00] around

[00:21:00] some

[00:21:00] mummies

[00:21:01] yeah

[00:21:02] exactly

[00:21:02] mummies

[00:21:03] you get

[00:21:04] some really

[00:21:04] good

[00:21:04] sight gags

[00:21:05] as well

[00:21:05] stone

[00:21:06] monsters

[00:21:07] come

[00:21:07] about

[00:21:08] you know

[00:21:09] fight

[00:21:09] fight

[00:21:09] fight

[00:21:10] Brendan

[00:21:10] Frazier

[00:21:11] you know

[00:21:11] rescues

[00:21:12] Evelyn

[00:21:12] and then

[00:21:13] this whole

[00:21:14] her bungling

[00:21:15] brother

[00:21:16] gets the

[00:21:17] book

[00:21:17] and he's

[00:21:18] like

[00:21:18] oh no

[00:21:19] I don't

[00:21:19] know

[00:21:19] how to

[00:21:19] read it

[00:21:20] and then

[00:21:20] she's

[00:21:21] almost

[00:21:21] dying

[00:21:22] but

[00:21:22] she's

[00:21:22] telling

[00:21:23] him

[00:21:23] how

[00:21:24] to

[00:21:24] read

[00:21:24] the

[00:21:25] text

[00:21:25] and

[00:21:26] stuff

[00:21:26] anyway

[00:21:26] eventually

[00:21:27] Evelyn is

[00:21:28] able to

[00:21:28] read from

[00:21:29] the book

[00:21:29] of

[00:21:29] Amunrah

[00:21:30] thus

[00:21:31] making

[00:21:31] Imhotep

[00:21:31] mortal

[00:21:32] so there's

[00:21:33] this whole

[00:21:33] big scene

[00:21:34] where

[00:21:34] you're

[00:21:34] like

[00:21:34] is he

[00:21:35] dying

[00:21:35] is

[00:21:35] he

[00:21:36] gonna

[00:21:36] die

[00:21:36] no

[00:21:36] this

[00:21:37] is

[00:21:42] yeah

[00:21:43] exactly

[00:21:43] he's

[00:21:44] like

[00:21:44] and then

[00:21:45] you're

[00:21:45] like

[00:21:46] wait

[00:21:46] he's

[00:21:46] not

[00:21:46] dead

[00:21:46] yet

[00:21:47] and then

[00:21:47] he

[00:21:47] realizes

[00:21:47] oh

[00:21:48] he's

[00:21:48] mortal

[00:21:49] so Brendan

[00:21:50] Frazier

[00:21:50] stabs him

[00:21:51] and he

[00:21:51] dies

[00:21:52] and he's

[00:21:53] like

[00:21:53] I'll be

[00:21:54] back

[00:21:55] meanwhile

[00:21:56] I mean

[00:22:03] paraphrased

[00:22:04] from the

[00:22:05] ancient

[00:22:05] Egyptian

[00:22:10] so meanwhile

[00:22:12] Benny

[00:22:12] don't forget

[00:22:12] about him

[00:22:13] right

[00:22:13] he's

[00:22:13] running

[00:22:13] around

[00:22:14] because

[00:22:14] by the

[00:22:14] way

[00:22:15] they

[00:22:15] actually

[00:22:16] found

[00:22:16] this

[00:22:17] giant

[00:22:18] cavern

[00:22:18] with

[00:22:19] all the

[00:22:20] riches

[00:22:20] of

[00:22:20] the

[00:22:21] pharaoh

[00:22:21] very

[00:22:22] a la

[00:22:22] Aladdin's

[00:22:23] cave

[00:22:23] you know

[00:22:23] cave

[00:22:24] of

[00:22:24] windows

[00:22:24] so cool

[00:22:25] right

[00:22:25] so he's

[00:22:26] like

[00:22:26] damn

[00:22:26] I'm

[00:22:27] gonna

[00:22:27] take

[00:22:27] all

[00:22:27] this

[00:22:27] shit

[00:22:27] so he's

[00:22:29] trying to

[00:22:29] like

[00:22:29] you know

[00:22:29] get out

[00:22:30] with all

[00:22:31] his

[00:22:31] riches

[00:22:32] and stuff

[00:22:33] ends up

[00:22:34] setting off

[00:22:34] this like

[00:22:34] booby trap

[00:22:35] you know

[00:22:36] which basically

[00:22:37] has to

[00:22:38] like

[00:22:38] causes the

[00:22:38] city to

[00:22:39] collapse

[00:22:39] thankfully

[00:22:40] everybody

[00:22:40] escapes

[00:22:41] not him

[00:22:42] though

[00:22:42] he

[00:22:43] basically

[00:22:44] is killed

[00:22:44] by a

[00:22:45] swarm

[00:22:45] of

[00:22:45] you know

[00:22:46] our

[00:22:46] favorite

[00:22:47] flesh

[00:22:47] eating

[00:22:47] scarabs

[00:22:49] and

[00:22:49] then

[00:22:50] Haudy

[00:22:50] Ardiff

[00:22:51] was like

[00:22:51] okay bye

[00:22:52] thanks guys

[00:22:53] you did

[00:22:54] well

[00:22:54] and then

[00:22:55] Rick

[00:22:56] Evelyn

[00:22:56] and Jonathan

[00:22:57] kind of

[00:22:57] like ride

[00:22:58] off into

[00:22:58] the sunset

[00:22:59] on this

[00:23:00] pair of

[00:23:01] camels

[00:23:01] one of

[00:23:02] them

[00:23:02] or at

[00:23:03] least

[00:23:03] at least

[00:23:03] one of

[00:23:04] them

[00:23:04] actually

[00:23:05] happens to

[00:23:06] have some

[00:23:06] of the

[00:23:06] loot

[00:23:07] that

[00:23:08] Benny

[00:23:08] had kind

[00:23:09] of stashed

[00:23:10] away

[00:23:10] and they

[00:23:10] didn't know

[00:23:11] that yet

[00:23:12] dn

[00:23:13] hooray

[00:23:16] okay

[00:23:16] great job

[00:23:17] thanks

[00:23:18] I try to

[00:23:19] make it as

[00:23:19] snappy as

[00:23:20] I could

[00:23:20] oh no

[00:23:21] brilliant

[00:23:22] there's so

[00:23:22] much going

[00:23:23] on in the

[00:23:23] movie

[00:23:24] so much

[00:23:25] going on

[00:23:25] and obviously

[00:23:26] not that

[00:23:27] not that

[00:23:27] I'm an

[00:23:28] expert on

[00:23:28] this movie

[00:23:29] by any

[00:23:30] stretch of

[00:23:30] the imagination

[00:23:32] however

[00:23:34] however

[00:23:34] I am happy

[00:23:36] to attempt

[00:23:36] to answer

[00:23:37] questions

[00:23:37] about this

[00:23:38] movie

[00:23:39] if you

[00:23:39] have any

[00:23:40] please

[00:23:40] yes

[00:23:42] I've seen

[00:23:43] it a lot

[00:23:43] this is the

[00:23:44] one movie

[00:23:45] you know

[00:23:45] there's always

[00:23:46] one movie

[00:23:46] that you've

[00:23:47] seen like

[00:23:47] so many

[00:23:48] times in

[00:23:48] your life

[00:23:49] like the

[00:23:49] most times

[00:23:49] this is the

[00:23:50] movie that

[00:23:51] I've seen

[00:23:51] the most

[00:23:51] times in

[00:23:52] my entire

[00:23:52] life

[00:23:53] so

[00:23:54] again

[00:23:55] if not

[00:23:56] this movie

[00:23:57] what movie

[00:23:58] exactly

[00:23:58] my question

[00:24:00] yeah

[00:24:00] it's

[00:24:01] and also

[00:24:02] as well

[00:24:03] in the UK

[00:24:04] especially

[00:24:05] this movie

[00:24:06] is always

[00:24:07] on like

[00:24:08] ITV2

[00:24:09] on a Saturday

[00:24:10] afternoon

[00:24:10] but it's

[00:24:11] like a

[00:24:11] really

[00:24:12] cut down

[00:24:12] version

[00:24:13] because

[00:24:13] it's like

[00:24:14] they put

[00:24:14] it on

[00:24:14] on a

[00:24:15] Saturday

[00:24:15] afternoon

[00:24:15] so they

[00:24:16] take out

[00:24:16] all of

[00:24:16] the really

[00:24:17] gory

[00:24:17] stuff

[00:24:18] it's not

[00:24:18] really

[00:24:18] gory

[00:24:18] but you

[00:24:19] know

[00:24:19] what I

[00:24:19] mean

[00:24:19] like

[00:24:20] the more

[00:24:21] suggestive

[00:24:22] stuff

[00:24:22] they take

[00:24:23] out

[00:24:24] yeah

[00:24:24] so it's just

[00:24:25] like

[00:24:26] ITV2

[00:24:26] just put it

[00:24:27] on at

[00:24:27] nine o'clock

[00:24:27] at night

[00:24:28] like a

[00:24:28] normal

[00:24:28] channel

[00:24:29] yeah

[00:24:29] exactly

[00:24:29] but anyway

[00:24:30] yeah

[00:24:30] so why

[00:24:31] do we

[00:24:31] love this

[00:24:32] movie so

[00:24:32] much

[00:24:32] why

[00:24:33] can you

[00:24:33] explain that

[00:24:34] to us

[00:24:34] can you

[00:24:35] can you

[00:24:35] elaborate

[00:24:36] on oh

[00:24:37] I don't

[00:24:38] know

[00:24:38] maybe the

[00:24:39] history and

[00:24:39] legacy

[00:24:40] of this

[00:24:40] film

[00:24:55] I mean

[00:24:56] the mummy

[00:24:56] quite

[00:24:56] fascinating

[00:24:57] so first

[00:24:57] of all

[00:24:58] I've never

[00:24:58] actually seen

[00:24:59] the original

[00:25:00] 1932 version

[00:25:01] but I really

[00:25:02] want to

[00:25:03] because

[00:25:04] this movie

[00:25:05] took so

[00:25:06] much from

[00:25:06] that

[00:25:07] so I've

[00:25:07] never seen

[00:25:08] that film

[00:25:08] Kim you've

[00:25:09] never seen

[00:25:09] that film

[00:25:10] no

[00:25:10] this is

[00:25:10] actually the

[00:25:11] only mummy

[00:25:11] film I've

[00:25:12] ever seen

[00:25:12] I mean

[00:25:13] it's the

[00:25:13] only one

[00:25:14] you need

[00:25:14] to see

[00:25:14] yeah

[00:25:17] okay

[00:25:17] well that's

[00:25:18] good

[00:25:19] I know

[00:25:19] that there

[00:25:20] was a

[00:25:20] 2017

[00:25:21] reboot

[00:25:21] which

[00:25:22] you said

[00:25:22] oh my

[00:25:23] god

[00:25:23] it was

[00:25:23] horrible

[00:25:24] I watched

[00:25:24] that one

[00:25:25] did you

[00:25:25] because I

[00:25:25] was bored

[00:25:26] we don't

[00:25:26] talk about

[00:25:27] that one

[00:25:27] no

[00:25:29] that's the

[00:25:30] Bruno of

[00:25:31] like all

[00:25:32] conversations

[00:25:32] we don't

[00:25:33] talk about

[00:25:33] Bruno

[00:25:33] that's the

[00:25:34] Bruno

[00:25:37] it's just

[00:25:38] not good

[00:25:38] so with

[00:25:40] regards to

[00:25:41] this movie

[00:25:41] Universal

[00:25:42] and sort

[00:25:43] of their

[00:25:43] history with

[00:25:44] their own

[00:25:45] monsters

[00:25:46] is quite

[00:25:47] fascinating

[00:25:47] because obviously

[00:25:48] they had a

[00:25:48] period of

[00:25:49] time where

[00:25:49] the Universal

[00:25:50] monsters

[00:25:51] kind of

[00:25:51] you know

[00:25:52] in the

[00:25:53] kind of

[00:25:54] 30s

[00:25:54] the 50s

[00:25:55] kind of

[00:25:56] thing

[00:25:56] the Universal

[00:25:56] Monsters

[00:25:57] were

[00:25:58] basically

[00:25:58] like cinema

[00:25:59] that was

[00:25:59] that was

[00:26:00] really what

[00:26:00] people wanted

[00:26:01] to see

[00:26:01] and there's

[00:26:02] so many

[00:26:03] Universal

[00:26:03] monster

[00:26:04] movies

[00:26:04] they are

[00:26:05] classics

[00:26:05] for a

[00:26:05] reason

[00:26:06] but like

[00:26:06] most things

[00:26:07] in Hollywood

[00:26:07] Hollywood

[00:26:08] will always

[00:26:08] try and

[00:26:09] make

[00:26:09] they don't

[00:26:10] even need

[00:26:10] to make

[00:26:10] an excuse

[00:26:10] they will

[00:26:11] always

[00:26:12] want to

[00:26:12] recycle

[00:26:12] IP

[00:26:13] and it's

[00:26:14] like you

[00:26:14] see it

[00:26:15] nowadays

[00:26:15] and it tends

[00:26:15] to be

[00:26:16] like in a

[00:26:16] particular

[00:26:17] you know

[00:26:17] the cycle

[00:26:18] of nostalgia

[00:26:18] like something

[00:26:19] that was big

[00:26:19] 30 years ago

[00:26:20] they'll do

[00:26:21] a reboot

[00:26:22] or you know

[00:26:23] a sequel

[00:26:23] legacy sequels

[00:26:24] are like all

[00:26:25] the rage

[00:26:25] at the moment

[00:26:26] oh yeah

[00:26:27] like you

[00:26:27] know

[00:26:27] Beetlejuice 2

[00:26:28] exactly

[00:26:29] literally

[00:26:30] just come out

[00:26:31] as of recording

[00:26:32] this podcast

[00:26:32] and in a way

[00:26:34] it makes sense

[00:26:34] because the

[00:26:35] people who are

[00:26:36] making these movies

[00:26:37] grew up with

[00:26:38] those movies

[00:26:38] just as we

[00:26:39] grew up

[00:26:39] watching

[00:26:40] those movies

[00:26:41] so it's like

[00:26:42] they're tapping

[00:26:42] into that nostalgia

[00:26:43] so that people

[00:26:44] like us

[00:26:44] will go

[00:26:45] oh my god

[00:26:45] I loved

[00:26:46] Beetlejuice

[00:26:46] I'm gonna go

[00:26:47] and see that

[00:26:47] and to be fair

[00:26:48] I love

[00:26:49] Beetlejuice

[00:26:50] oh I love

[00:26:51] Beetlejuice

[00:26:51] so I am probably

[00:26:53] gonna be that

[00:26:53] person going to

[00:26:54] the cinema this

[00:26:55] weekend and watching

[00:26:56] Beetlejuice

[00:26:56] Beetlejuice

[00:26:57] I need to see

[00:26:58] Winona Ryder

[00:26:58] and her triangle

[00:27:00] goth hair again

[00:27:01] oh she's

[00:27:02] and the thing is

[00:27:03] is literally

[00:27:04] I wanted to be

[00:27:05] Winona Ryder

[00:27:06] so much

[00:27:06] when I was a kid

[00:27:07] she was like

[00:27:08] my idol

[00:27:09] and like my

[00:27:10] little goth idol

[00:27:11] because I had

[00:27:12] like the dark

[00:27:13] hair and

[00:27:13] the pale skin

[00:27:14] and you know

[00:27:15] all of that

[00:27:17] you know

[00:27:17] in many ways

[00:27:18] I still kind of

[00:27:19] do

[00:27:20] because I am

[00:27:20] incredibly pale

[00:27:22] but it's

[00:27:23] it's one of those

[00:27:24] things that Hollywood

[00:27:25] loves to do

[00:27:26] and it's like

[00:27:27] why bother

[00:27:27] investing in

[00:27:28] something that

[00:27:29] we don't know

[00:27:30] if people will

[00:27:30] go and see

[00:27:31] when we've

[00:27:32] got something

[00:27:33] that we know

[00:27:34] people will go

[00:27:34] and see

[00:27:35] but it was

[00:27:36] quite interesting

[00:27:36] because they

[00:27:37] had very little

[00:27:38] faith in this

[00:27:40] as a concept

[00:27:40] so the story

[00:27:41] starts back

[00:27:42] in 1992

[00:27:43] with two

[00:27:44] producers

[00:27:44] James Jackson

[00:27:45] Sean Daniel

[00:27:46] and they

[00:27:46] basically had

[00:27:47] this idea

[00:27:48] to produce

[00:27:49] a new version

[00:27:50] of the

[00:27:51] 1932 version

[00:27:52] of The Mummy

[00:27:53] and Universal

[00:27:54] were like

[00:27:54] yeah yeah

[00:27:55] that's cool

[00:27:55] you can do

[00:27:56] that but

[00:27:56] you have to

[00:27:57] have

[00:27:57] you can only

[00:27:58] have 10

[00:27:58] million dollars

[00:27:58] and obviously

[00:27:59] nowadays

[00:28:00] that's practically

[00:28:01] nothing for a

[00:28:02] movie

[00:28:02] but even

[00:28:03] kind of

[00:28:03] in the 90s

[00:28:04] that's not

[00:28:05] a great deal

[00:28:06] of money

[00:28:06] for a

[00:28:08] monster movie

[00:28:09] but they

[00:28:10] were like

[00:28:10] okay well

[00:28:11] who's a

[00:28:12] director

[00:28:12] who is

[00:28:14] fairly good

[00:28:15] with monsters

[00:28:15] and stuff

[00:28:16] I know

[00:28:17] let's call

[00:28:17] Clive Barker

[00:28:18] and obviously

[00:28:19] Clive Barker

[00:28:20] probably most

[00:28:20] well known

[00:28:21] for Hellraiser

[00:28:21] which is

[00:28:22] very dark

[00:28:23] very sexual

[00:28:24] very violent

[00:28:26] so the fact

[00:28:28] that Barker's

[00:28:29] vision was

[00:28:30] very dark

[00:28:31] very violent

[00:28:32] very sexual

[00:28:32] not really

[00:28:34] a massive

[00:28:35] surprise

[00:28:36] but Universal

[00:28:37] were like

[00:28:38] no we

[00:28:39] don't really

[00:28:40] want like

[00:28:40] the mummy

[00:28:41] version of

[00:28:42] Hellraiser

[00:28:43] you know

[00:28:43] it's not

[00:28:44] really kind

[00:28:44] of our

[00:28:45] thing

[00:28:45] so then

[00:28:47] it's like

[00:28:47] they went

[00:28:48] through like

[00:28:48] a list

[00:28:48] of people

[00:28:49] and the next

[00:28:50] person they

[00:28:50] went to

[00:28:50] was Joe

[00:28:51] Dante

[00:28:52] he's one

[00:28:52] of the

[00:28:53] directors

[00:28:53] that we

[00:28:54] all grew

[00:28:55] up with

[00:28:55] and it's

[00:28:55] like things

[00:28:56] like gremlins

[00:28:56] and stuff

[00:28:57] like that

[00:28:58] and like

[00:28:59] Joe Dante

[00:29:00] is the sort

[00:29:00] of guy

[00:29:00] he makes

[00:29:01] something

[00:29:01] like gremlins

[00:29:02] and then he

[00:29:02] goes

[00:29:02] do you know

[00:29:03] what I'm

[00:29:03] going to make

[00:29:04] gremlins 2

[00:29:04] the new batch

[00:29:05] and it's just

[00:29:05] going to be

[00:29:05] so completely

[00:29:06] batshit crazy

[00:29:07] that no one's

[00:29:09] going to want

[00:29:09] to make

[00:29:09] another gremlins

[00:29:10] movie ever

[00:29:10] again

[00:29:11] and obviously

[00:29:11] they still

[00:29:12] haven't

[00:29:12] but his

[00:29:13] idea was

[00:29:14] Daniel Day

[00:29:15] Lewis

[00:29:16] which is

[00:29:17] bizarre

[00:29:17] Daniel Day

[00:29:18] Lewis

[00:29:19] as like

[00:29:20] this broody

[00:29:21] contemporary mummy

[00:29:22] who was like

[00:29:23] haunted

[00:29:24] and like

[00:29:25] it had this

[00:29:26] big epic

[00:29:26] love story

[00:29:27] oh my god

[00:29:28] I would love

[00:29:29] that

[00:29:29] okay

[00:29:29] yes

[00:29:30] so that does

[00:29:31] sound very

[00:29:32] sexy

[00:29:32] but you

[00:29:33] cannot give

[00:29:34] Daniel Day

[00:29:35] Lewis

[00:29:35] a mummy

[00:29:36] character

[00:29:36] to play

[00:29:37] he will

[00:29:37] literally

[00:29:38] mummify

[00:29:38] himself

[00:29:39] yeah

[00:29:40] he would

[00:29:40] he would

[00:29:41] he would

[00:29:42] but in my

[00:29:43] mind I kind

[00:29:44] of look at it

[00:29:44] a bit like

[00:29:45] Bram Stoker's

[00:29:45] Dracula

[00:29:46] you know

[00:29:46] when it's

[00:29:47] like

[00:29:47] because Gary

[00:29:47] Oldman

[00:29:48] in that movie

[00:29:48] you know

[00:29:49] he's kind

[00:29:50] of a bit

[00:29:50] method as

[00:29:51] well

[00:29:51] and he

[00:29:51] kind of

[00:29:52] went a bit

[00:29:52] vampire

[00:29:53] but he's

[00:29:54] like

[00:29:54] he's so

[00:29:55] sexy

[00:29:56] in that

[00:29:57] movie

[00:29:57] and I

[00:29:58] love

[00:29:59] Bram Stoker's

[00:29:59] Dracula

[00:29:59] I think

[00:30:00] it's

[00:30:00] awesome

[00:30:01] you too

[00:30:01] I think

[00:30:02] it's

[00:30:02] incredible

[00:30:03] movie

[00:30:03] beautiful

[00:30:04] production

[00:30:05] design

[00:30:05] almost

[00:30:06] completely

[00:30:07] practical

[00:30:07] effects

[00:30:07] as well

[00:30:08] which I

[00:30:08] love

[00:30:09] beautiful

[00:30:09] costumes

[00:30:10] everything

[00:30:10] perfect

[00:30:11] but that

[00:30:12] idea for

[00:30:13] like

[00:30:13] you can

[00:30:14] make

[00:30:14] Dracula

[00:30:14] sexy

[00:30:15] because

[00:30:15] like

[00:30:16] vampires

[00:30:16] are basically

[00:30:18] you know

[00:30:19] a metaphor

[00:30:19] for desire

[00:30:20] and sex

[00:30:21] and all

[00:30:21] of that

[00:30:21] sort of

[00:30:21] stuff

[00:30:21] you can't

[00:30:22] really

[00:30:22] make a

[00:30:23] mummy

[00:30:23] sexy

[00:30:24] I mean

[00:30:25] they try

[00:30:26] their best

[00:30:27] in this

[00:30:27] movie

[00:30:30] but

[00:30:31] Joe Dante

[00:30:32] actually was

[00:30:33] the one

[00:30:34] who thought

[00:30:34] of the

[00:30:34] flesh-eating

[00:30:35] scarabs

[00:30:36] so

[00:30:37] that's

[00:30:38] kind of

[00:30:38] Elizabeth and

[00:30:39] Joe Dante

[00:30:39] that kind

[00:30:40] of made

[00:30:41] it

[00:30:41] but the

[00:30:41] problem

[00:30:42] with this

[00:30:42] movie

[00:30:43] with Daniel

[00:30:43] Day-Lewis

[00:30:44] was it

[00:30:44] was going

[00:30:45] to cost

[00:30:45] 15

[00:30:45] million

[00:30:46] dollars

[00:30:46] so over

[00:30:47] the 10

[00:30:48] so they

[00:30:49] were like

[00:30:49] no it's

[00:30:49] too expensive

[00:30:50] you can't

[00:30:50] do it

[00:30:51] then they

[00:30:51] went

[00:30:52] to

[00:30:52] another

[00:30:53] legendary

[00:30:54] horror

[00:30:54] director

[00:30:55] George

[00:30:56] Romero

[00:30:56] obviously

[00:30:57] most famous

[00:30:58] for

[00:30:58] Night of

[00:30:59] the Living

[00:30:59] Dead

[00:30:59] which is

[00:31:00] an absolute

[00:31:01] classic

[00:31:01] I did it

[00:31:03] on the podcast

[00:31:03] last year

[00:31:03] and I

[00:31:04] completely

[00:31:04] loved that

[00:31:05] movie

[00:31:05] but Romero

[00:31:06] also wanted

[00:31:07] it to be

[00:31:08] quite dark

[00:31:08] and violent

[00:31:09] and he

[00:31:10] wanted like

[00:31:10] elements of

[00:31:11] tragic

[00:31:11] romance

[00:31:12] and all

[00:31:13] of that

[00:31:13] sort of

[00:31:14] stuff

[00:31:14] and his

[00:31:15] version was

[00:31:16] quite interesting

[00:31:16] but he

[00:31:17] had contractual

[00:31:18] obligations

[00:31:18] elsewhere

[00:31:19] so it

[00:31:20] kind of

[00:31:20] never

[00:31:21] happened

[00:31:21] well it

[00:31:21] didn't

[00:31:24] really

[00:31:25] know

[00:31:25] who

[00:31:25] Mick

[00:31:25] Garris

[00:31:25] is

[00:31:26] but he

[00:31:26] was

[00:31:27] offered

[00:31:27] it

[00:31:28] and then

[00:31:28] Wes Craven

[00:31:29] was offered

[00:31:30] it as well

[00:31:30] and obviously

[00:31:31] Wes Craven

[00:31:31] also another

[00:31:33] iconic horror

[00:31:34] director

[00:31:34] but Wes Craven

[00:31:36] turned it down

[00:31:36] so it was at

[00:31:38] that point

[00:31:38] it was not

[00:31:39] so this whole

[00:31:40] story all started

[00:31:41] in 1992

[00:31:41] with James Jackson

[00:31:43] and Daniel

[00:31:43] it's now

[00:31:44] 1997

[00:31:46] and completely

[00:31:47] separate

[00:31:48] Stephen

[00:31:49] Summers

[00:31:50] calls them

[00:31:51] and says

[00:31:52] I have an

[00:31:53] idea for a

[00:31:53] mummy movie

[00:31:54] and he

[00:31:55] wanted like

[00:31:56] an Indiana

[00:31:57] Jones

[00:31:57] style

[00:31:58] mix with

[00:32:00] like Jason

[00:32:00] in the Argonauts

[00:32:01] kind of

[00:32:02] action adventure

[00:32:03] movie

[00:32:03] with like

[00:32:04] a hero

[00:32:05] and a

[00:32:06] creature

[00:32:06] and basically

[00:32:08] he'd seen the

[00:32:09] original movie

[00:32:10] when he was a

[00:32:10] kid

[00:32:10] and he is

[00:32:12] just a huge

[00:32:12] fan of

[00:32:13] Universal

[00:32:13] Monsters

[00:32:14] he also did

[00:32:15] the movie

[00:32:15] Van Helsing

[00:32:16] as well

[00:32:16] where it's

[00:32:17] basically just

[00:32:18] a love-in

[00:32:20] for him

[00:32:20] and the

[00:32:21] Universal

[00:32:21] Monsters

[00:32:21] Van Helsing

[00:32:22] is a fascinating

[00:32:23] movie in its own

[00:32:24] right but

[00:32:25] it was like

[00:32:25] reminded him of

[00:32:26] his dad

[00:32:26] and so he was

[00:32:27] like I really

[00:32:28] want to make

[00:32:28] a mummy movie

[00:32:29] and the reason

[00:32:30] that this

[00:32:31] version of the

[00:32:31] mummy actually

[00:32:32] got made in

[00:32:32] the first place

[00:32:33] is fascinating

[00:32:34] because

[00:32:36] Universal

[00:32:37] weren't doing

[00:32:38] so well

[00:32:39] at the time

[00:32:39] and they

[00:32:41] basically had

[00:32:41] a string of

[00:32:42] box office

[00:32:42] failures

[00:32:43] and so that

[00:32:44] basically changed

[00:32:45] the management

[00:32:46] at Universal

[00:32:46] and the

[00:32:47] main box

[00:32:48] office failure

[00:32:49] that they

[00:32:49] had was

[00:32:50] the Babe

[00:32:51] sequel

[00:32:52] Babe

[00:32:52] Pig in the

[00:32:53] City

[00:32:54] and the

[00:32:55] loss of

[00:32:56] Babe

[00:32:56] Pig in the

[00:32:57] City

[00:32:58] led Universal

[00:32:59] to revisit

[00:33:00] those successful

[00:33:01] franchises of

[00:33:01] the past

[00:33:02] to kind of

[00:33:02] say well

[00:33:02] what can we

[00:33:03] do to make

[00:33:03] some more

[00:33:04] money

[00:33:04] we're running

[00:33:05] out

[00:33:05] like all

[00:33:06] of these

[00:33:07] particular

[00:33:07] movies

[00:33:07] aren't

[00:33:08] making

[00:33:08] money

[00:33:08] we've

[00:33:09] lost

[00:33:09] loads

[00:33:10] of money

[00:33:10] on Babe

[00:33:10] Pig

[00:33:10] in the

[00:33:11] City

[00:33:11] so what

[00:33:12] can we

[00:33:12] do to

[00:33:12] try and

[00:33:13] fix the

[00:33:13] problem

[00:33:13] and so

[00:33:14] basically

[00:33:15] the reason

[00:33:15] why we

[00:33:16] got this

[00:33:16] movie was

[00:33:16] because of

[00:33:17] Babe

[00:33:17] Pig in the

[00:33:18] City

[00:33:18] being a

[00:33:18] failure

[00:33:20] I love

[00:33:21] that movie

[00:33:24] it's just

[00:33:25] one of those

[00:33:26] weird things

[00:33:27] in Hollywood

[00:33:27] it's like

[00:33:28] the dominoes

[00:33:29] Hollywood sets

[00:33:29] up the

[00:33:30] dominoes

[00:33:30] and wherever

[00:33:31] the dominoes

[00:33:31] choose to

[00:33:32] fall is

[00:33:32] wherever

[00:33:33] they choose

[00:33:33] to fall

[00:33:33] but I

[00:33:34] find stuff

[00:33:35] fascinating

[00:33:36] like this

[00:33:36] that something

[00:33:37] else can

[00:33:38] basically be

[00:33:38] the catalyst

[00:33:39] for a

[00:33:40] studio

[00:33:40] like

[00:33:41] Universal

[00:33:41] to say

[00:33:42] oh well

[00:33:43] okay we'll

[00:33:43] make this

[00:33:44] then

[00:33:44] because

[00:33:45] they ended

[00:33:46] up liking

[00:33:47] the idea

[00:33:47] so much

[00:33:48] that they

[00:33:49] not only

[00:33:49] approved

[00:33:50] the concept

[00:33:51] but they

[00:33:52] increased

[00:33:52] the budget

[00:33:53] as well

[00:33:53] so even

[00:33:55] though they

[00:33:55] had these

[00:33:56] losses

[00:33:56] they were

[00:33:56] basically

[00:33:57] like okay

[00:33:57] we really

[00:33:58] like the

[00:33:58] concept

[00:33:58] but we're

[00:33:58] going to

[00:33:59] need to

[00:33:59] spend

[00:33:59] some

[00:33:59] money

[00:33:59] on

[00:34:00] this

[00:34:00] so the

[00:34:01] budget

[00:34:02] was

[00:34:02] increased

[00:34:02] up

[00:34:03] from

[00:34:04] like the

[00:34:04] 10

[00:34:04] million

[00:34:05] dollars

[00:34:05] that it

[00:34:05] was

[00:34:06] to

[00:34:06] 80

[00:34:07] million

[00:34:07] dollars

[00:34:08] oh my

[00:34:08] god

[00:34:08] that's a

[00:34:09] hell

[00:34:09] a lot

[00:34:09] increase

[00:34:10] yeah

[00:34:10] and

[00:34:11] but the

[00:34:12] reason why

[00:34:12] they needed

[00:34:13] to do

[00:34:13] that was

[00:34:14] for many

[00:34:15] different

[00:34:15] reasons

[00:34:15] but the

[00:34:16] biggest

[00:34:17] amount

[00:34:17] of money

[00:34:18] that was

[00:34:18] spent

[00:34:19] on you

[00:34:20] know in

[00:34:20] the budget

[00:34:21] in its

[00:34:21] entirety

[00:34:22] was on

[00:34:23] the visual

[00:34:23] effects

[00:34:23] and I

[00:34:25] hear a lot

[00:34:25] of people

[00:34:26] who will

[00:34:26] basically say

[00:34:27] oh the

[00:34:28] mummy

[00:34:28] looks

[00:34:28] crap

[00:34:28] it really

[00:34:30] doesn't

[00:34:30] where

[00:34:30] the mummy

[00:34:32] looks

[00:34:32] fantastic

[00:34:33] the CG

[00:34:34] ages

[00:34:35] and this

[00:34:36] is just

[00:34:36] a thing

[00:34:36] this is a

[00:34:37] fact of

[00:34:37] life

[00:34:37] CG

[00:34:38] age

[00:34:39] but the

[00:34:40] movie was

[00:34:41] a first

[00:34:41] this was

[00:34:42] industrial

[00:34:42] light of

[00:34:42] magic

[00:34:43] obviously

[00:34:43] one of

[00:34:44] the greatest

[00:34:44] visual

[00:34:45] effects

[00:34:45] studios

[00:34:45] in the

[00:34:46] whole

[00:34:46] of

[00:34:46] Hollywood

[00:34:46] and

[00:34:47] Imhotep

[00:34:47] was the

[00:34:48] first

[00:34:48] fully

[00:34:49] computer

[00:34:49] generated

[00:34:49] character

[00:34:50] to have

[00:34:50] full

[00:34:51] human

[00:34:52] anatomy

[00:34:52] so

[00:34:53] Imhotep

[00:34:53] was created

[00:34:54] as a

[00:34:55] skeleton

[00:34:56] and then

[00:34:56] he

[00:34:57] individual

[00:34:57] muscles

[00:34:58] were added

[00:34:58] and it

[00:34:59] was basically

[00:35:00] all sequenced

[00:35:01] Arnold

[00:35:02] Vosloo

[00:35:02] actually

[00:35:03] did

[00:35:03] motion

[00:35:04] capture

[00:35:04] for it

[00:35:05] which was

[00:35:05] also

[00:35:06] quite

[00:35:06] new

[00:35:07] they

[00:35:07] didn't

[00:35:07] really

[00:35:07] do

[00:35:08] very

[00:35:08] much

[00:35:08] motion

[00:35:08] capture

[00:35:09] at the

[00:35:09] time

[00:35:09] and it

[00:35:10] usually

[00:35:11] if you

[00:35:11] did

[00:35:12] do

[00:35:12] motion

[00:35:12] capture

[00:35:12] it

[00:35:12] was

[00:35:13] with a

[00:35:13] stunt

[00:35:13] person

[00:35:14] but

[00:35:14] Arnold

[00:35:14] Vosloo

[00:35:15] did

[00:35:15] that

[00:35:15] whole

[00:35:15] performance

[00:35:16] so

[00:35:16] the

[00:35:16] whole

[00:35:16] performance

[00:35:17] that

[00:35:17] you

[00:35:17] see

[00:35:17] as

[00:35:18] the

[00:35:18] CG

[00:35:18] version

[00:35:19] of

[00:35:19] Imhotep

[00:35:19] in all

[00:35:20] of his

[00:35:20] stages

[00:35:21] is

[00:35:22] all

[00:35:22] Arnold

[00:35:22] Vosloo

[00:35:24] and

[00:35:24] 20%

[00:35:25] of the

[00:35:26] budget

[00:35:26] was

[00:35:27] visual

[00:35:27] effects

[00:35:27] alone

[00:35:28] so

[00:35:29] a huge

[00:35:31] amount

[00:35:31] of money

[00:35:31] was spent

[00:35:32] on the

[00:35:33] visual

[00:35:33] effects

[00:35:34] of this

[00:35:34] movie

[00:35:34] it

[00:35:35] wasn't

[00:35:35] filmed

[00:35:35] in

[00:35:36] Egypt

[00:35:36] because

[00:35:36] they

[00:35:37] couldn't

[00:35:37] film

[00:35:37] in

[00:35:37] Egypt

[00:35:38] because

[00:35:38] filming

[00:35:39] in

[00:35:39] Egypt

[00:35:39] just

[00:35:39] doesn't

[00:35:40] happen

[00:35:40] I think

[00:35:41] there's

[00:35:41] I'm

[00:35:42] trying to

[00:35:42] think

[00:35:42] I think

[00:35:42] it's

[00:35:43] like

[00:35:43] a

[00:35:43] Transformers

[00:35:44] movie

[00:35:44] or

[00:35:44] something

[00:35:45] like

[00:35:45] that

[00:35:45] was

[00:35:45] one

[00:35:45] of

[00:35:45] the

[00:35:46] first

[00:35:46] movies

[00:35:46] that

[00:35:46] was

[00:35:46] allowed

[00:35:47] to

[00:35:47] film

[00:35:47] in

[00:35:47] Egypt

[00:35:48] but

[00:35:50] anything

[00:35:50] that

[00:35:50] says

[00:35:51] it's

[00:35:51] filmed

[00:35:51] in

[00:35:51] Egypt

[00:35:53] is

[00:35:53] normally

[00:35:54] filmed

[00:35:54] in

[00:35:54] Morocco

[00:35:56] so

[00:35:56] this

[00:35:57] movie

[00:35:57] was

[00:35:57] filmed

[00:35:58] in

[00:35:58] Marrakesh

[00:35:58] and

[00:35:59] Urfud

[00:35:59] Morocco

[00:36:01] and

[00:36:02] they

[00:36:20] the

[00:36:26] movie

[00:36:28] is

[00:36:34] the

[00:36:34] sixth

[00:36:35] highest

[00:36:35] grossing

[00:36:35] movie

[00:36:35] of

[00:36:36] 1999

[00:36:36] after

[00:36:37] Star Wars

[00:36:38] Episode

[00:36:38] 1

[00:36:38] The Phantom

[00:36:39] Menace

[00:36:39] which was

[00:36:39] the biggest

[00:36:40] The Sixth

[00:36:41] Then

[00:36:41] Toy Story

[00:36:41] 2

[00:36:42] The Matrix

[00:36:42] and

[00:36:43] Tarzan

[00:36:43] Oh wow

[00:36:44] I mean

[00:36:44] a lot of

[00:36:45] big hitting

[00:36:46] movies

[00:36:46] 1999

[00:36:48] is a

[00:36:48] huge

[00:36:49] year

[00:36:49] for

[00:36:50] movies

[00:36:50] and

[00:36:51] what's

[00:36:52] completely

[00:36:52] fascinating

[00:36:52] is that

[00:36:53] Universal

[00:36:54] had so

[00:36:54] little

[00:36:55] faith

[00:36:55] in this

[00:36:55] movie

[00:36:56] they

[00:36:56] didn't

[00:36:56] really

[00:36:57] do

[00:36:57] a

[00:36:57] great

[00:36:57] deal

[00:36:58] of

[00:36:58] marketing

[00:36:58] or

[00:36:59] push

[00:36:59] or

[00:36:59] anything

[00:36:59] like

[00:37:00] that

[00:37:00] this

[00:37:01] was

[00:37:01] basically

[00:37:01] very

[00:37:02] organic

[00:37:03] in

[00:37:03] people

[00:37:04] who

[00:37:04] went

[00:37:04] to

[00:37:04] see

[00:37:05] this

[00:37:05] movie

[00:37:05] it

[00:37:06] grew

[00:37:06] on

[00:37:06] word

[00:37:07] of

[00:37:07] mouth

[00:37:07] pretty

[00:37:07] much

[00:37:08] alone

[00:37:08] and

[00:37:09] people

[00:37:09] loved

[00:37:09] it

[00:37:09] and

[00:37:10] it's

[00:37:10] like

[00:37:10] even

[00:37:11] to

[00:37:11] this

[00:37:11] day

[00:37:11] like

[00:37:12] 25

[00:37:12] years

[00:37:12] later

[00:37:13] I

[00:37:13] went

[00:37:13] to

[00:37:14] see

[00:37:14] it

[00:37:14] at

[00:37:14] the

[00:37:14] cinema

[00:37:15] this

[00:37:15] year

[00:37:15] for

[00:37:15] its

[00:37:15] 25th

[00:37:16] anniversary

[00:37:16] and

[00:37:18] it's

[00:37:19] so good

[00:37:19] it's

[00:37:20] amazing

[00:37:20] to watch

[00:37:21] on the

[00:37:21] big screen

[00:37:21] and

[00:37:22] you

[00:37:23] can

[00:37:23] pick

[00:37:24] at

[00:37:24] it

[00:37:24] it's

[00:37:25] one

[00:37:25] of

[00:37:25] those

[00:37:25] things

[00:37:26] yes

[00:37:26] it

[00:37:26] does

[00:37:26] look

[00:37:27] its

[00:37:40] that's

[00:37:41] kind

[00:37:41] the

[00:37:41] whole

[00:37:42] point

[00:37:42] of

[00:37:42] it

[00:37:42] it's

[00:37:43] set

[00:37:43] in

[00:37:43] the

[00:37:43] 20s

[00:37:43] it's

[00:37:44] it's

[00:37:44] got

[00:37:45] that

[00:37:45] pulp

[00:37:45] cinema

[00:37:45] feel

[00:37:46] of

[00:37:47] adventure

[00:37:48] romance

[00:37:49] all of

[00:37:49] that

[00:37:49] sort

[00:37:50] of

[00:37:50] thing

[00:37:50] I

[00:37:50] loved it

[00:37:51] I

[00:37:51] loved it

[00:37:51] honestly

[00:37:52] this movie

[00:37:53] is the

[00:37:53] greatest

[00:37:54] movie

[00:37:54] ever made

[00:37:54] and that

[00:37:55] is just

[00:37:55] a

[00:37:55] stone

[00:37:56] cold

[00:37:56] fact

[00:37:56] I

[00:38:10] think

[00:38:10] of

[00:38:11] it

[00:38:11] as

[00:38:11] a

[00:38:11] period

[00:38:11] drama

[00:38:12] no

[00:38:12] yeah

[00:38:13] you

[00:38:13] think

[00:38:13] of

[00:38:13] it

[00:38:14] as

[00:38:14] a

[00:38:14] campy

[00:38:15] kind

[00:38:15] of

[00:38:15] goofy

[00:38:16] romp

[00:38:17] a

[00:38:17] really

[00:38:17] fun

[00:38:18] thing

[00:38:18] to

[00:38:18] sit

[00:38:18] down

[00:38:19] and

[00:38:19] watch

[00:38:19] on

[00:38:19] a

[00:38:19] Sunday

[00:38:20] something

[00:38:21] that

[00:38:21] awakens

[00:38:22] things

[00:38:22] in

[00:38:23] you

[00:38:23] sexually

[00:38:23] that

[00:38:23] you

[00:38:24] never

[00:38:24] knew

[00:38:24] were

[00:38:24] there

[00:38:26] more

[00:38:27] and

[00:38:27] more

[00:38:27] every

[00:38:28] time

[00:38:28] you

[00:38:28] watch

[00:38:28] it

[00:38:28] hopefully

[00:38:29] yeah

[00:38:30] but

[00:38:30] a

[00:38:30] period

[00:38:31] drama

[00:38:31] like

[00:38:32] you

[00:38:32] would

[00:38:32] think

[00:38:33] that

[00:38:33] it

[00:38:33] would

[00:38:34] have

[00:38:34] some

[00:38:34] kind

[00:38:34] of

[00:38:35] real

[00:38:35] connection

[00:38:37] aesthetically

[00:38:38] or

[00:38:38] historically

[00:38:39] to

[00:38:39] ancient

[00:38:40] Egypt

[00:38:40] or

[00:38:40] the

[00:38:41] 20s

[00:38:41] turns

[00:38:42] out

[00:38:42] it

[00:38:42] does

[00:38:43] are

[00:38:44] you

[00:38:44] gonna

[00:38:44] tell

[00:38:44] us

[00:38:45] about

[00:38:45] it

[00:38:45] Alice

[00:38:45] I'm

[00:38:46] sorry

[00:38:46] just

[00:38:46] please

[00:38:46] bear

[00:38:47] with

[00:38:47] my

[00:38:47] awkwardness

[00:38:47] while

[00:38:48] I'm

[00:38:48] drinking

[00:38:48] a lot

[00:38:48] of

[00:38:49] water

[00:38:49] and

[00:38:49] also

[00:38:50] some

[00:38:50] beer

[00:38:50] because

[00:38:51] they

[00:38:51] made

[00:38:51] beer

[00:38:52] in

[00:38:52] Egypt

[00:38:52] we

[00:38:53] checked

[00:38:53] it's

[00:38:54] true

[00:38:55] history

[00:38:56] over

[00:38:57] yeah

[00:38:59] there's

[00:39:00] just

[00:39:00] so

[00:39:01] much

[00:39:01] that

[00:39:02] one

[00:39:03] could

[00:39:03] cover

[00:39:04] about

[00:39:05] ancient

[00:39:06] Egypt

[00:39:06] and

[00:39:07] mummies

[00:39:08] okay

[00:39:09] to

[00:39:09] give

[00:39:09] you

[00:39:10] some

[00:39:10] kind

[00:39:10] of

[00:39:10] historical

[00:39:11] context

[00:39:11] for

[00:39:11] this

[00:39:12] film

[00:39:12] so

[00:39:12] I

[00:39:12] tried

[00:39:13] to

[00:39:13] zoom

[00:39:13] in

[00:39:13] really

[00:39:14] close

[00:39:14] and

[00:39:15] just

[00:39:16] talk

[00:39:16] about

[00:39:16] things

[00:39:16] that

[00:39:17] are

[00:39:17] directly

[00:39:18] related

[00:39:19] to

[00:39:19] the

[00:39:19] film

[00:39:20] that

[00:39:20] we

[00:39:20] see

[00:39:20] in

[00:39:20] the

[00:39:20] film

[00:39:21] so

[00:39:22] I'm

[00:39:22] going

[00:39:22] to

[00:39:22] talk

[00:39:22] a

[00:39:35] which

[00:39:36] is

[00:39:36] a

[00:39:36] series

[00:39:37] of

[00:39:37] blog

[00:39:37] posts

[00:39:38] from

[00:39:38] the

[00:39:38] Egypt

[00:39:39] at

[00:39:39] Manchester

[00:39:39] Museum

[00:39:40] blog

[00:39:42] Manchester

[00:39:43] Museum

[00:39:43] it turns

[00:39:44] out

[00:39:44] they

[00:39:44] have

[00:39:45] some

[00:39:45] really

[00:39:45] good

[00:39:46] things

[00:39:46] to

[00:39:46] say

[00:39:46] about

[00:39:47] the

[00:39:47] mummy

[00:39:47] and

[00:39:48] particularly

[00:39:49] by

[00:39:49] an

[00:39:50] author

[00:39:50] called

[00:39:51] Matt

[00:39:51] Zafran

[00:39:52] who

[00:39:52] pointed

[00:39:53] out

[00:39:53] the

[00:39:53] fact

[00:39:54] that

[00:39:54] the

[00:39:54] mummy

[00:39:54] obviously

[00:39:55] fictionalizes

[00:39:56] a lot

[00:39:57] and we

[00:39:57] don't

[00:39:57] care

[00:39:58] because

[00:39:58] it's

[00:39:58] a

[00:39:59] romp

[00:39:59] and

[00:39:59] Brendan

[00:39:59] Frazier

[00:40:00] and

[00:40:00] Rachel

[00:40:01] Weiss

[00:40:01] but

[00:40:02] the

[00:40:02] film

[00:40:02] producers

[00:40:03] did

[00:40:04] actually

[00:40:05] employ

[00:40:05] an

[00:40:05] Egyptologist

[00:40:06] named

[00:40:07] Dr.

[00:40:07] Stuart

[00:40:08] Tyson

[00:40:08] Smith

[00:40:08] and

[00:40:09] it's

[00:40:09] really

[00:40:10] interesting

[00:40:10] to see

[00:40:11] what

[00:40:11] historical

[00:40:12] details

[00:40:12] they

[00:40:13] did

[00:40:13] decide

[00:40:14] to

[00:40:14] work

[00:40:14] in

[00:40:15] in

[00:40:15] the

[00:40:15] film

[00:40:15] in

[00:40:16] the

[00:40:16] props

[00:40:16] and

[00:40:16] all

[00:40:17] sorts

[00:40:17] of

[00:40:17] things

[00:40:17] so

[00:40:18] I'm

[00:40:18] going

[00:40:18] to

[00:40:18] talk

[00:40:18] a

[00:40:35] a

[00:40:35] lot

[00:40:35] which

[00:40:36] I'm

[00:40:36] not

[00:40:36] mad

[00:40:36] about

[00:40:36] then

[00:40:37] we

[00:40:37] have

[00:40:38] Seti

[00:40:38] the

[00:40:38] first

[00:40:39] second

[00:40:40] pharaoh

[00:40:40] of

[00:40:40] the

[00:40:40] 19th

[00:40:41] dynasty

[00:40:41] which

[00:40:42] is

[00:40:42] what

[00:40:43] they

[00:40:43] refer

[00:40:43] to

[00:40:43] him

[00:40:44] as

[00:40:44] fully

[00:40:44] in

[00:40:44] the

[00:40:44] film

[00:40:45] and

[00:40:45] then

[00:40:46] we

[00:40:46] have

[00:40:46] Imhotep

[00:40:46] our

[00:40:47] boy

[00:40:47] Imhotep

[00:40:49] Immi

[00:40:49] Immi

[00:40:50] so

[00:40:52] the

[00:40:52] opening

[00:40:53] of

[00:40:53] the

[00:40:53] movie

[00:40:53] takes

[00:40:53] us

[00:40:54] to

[00:40:54] 1290

[00:40:54] BC

[00:40:55] during

[00:40:56] the

[00:40:56] reign

[00:40:56] of

[00:40:57] quote

[00:40:57] Seti

[00:40:58] the

[00:40:58] first

[00:40:58] second

[00:40:59] pharaoh

[00:40:59] of

[00:40:59] the

[00:40:59] 19th

[00:41:00] dynasty

[00:41:00] and

[00:41:01] Seti

[00:41:02] the

[00:41:02] first

[00:41:02] was

[00:41:03] a

[00:41:03] real

[00:41:03] pharaoh

[00:41:04] and

[00:41:04] he

[00:41:04] was

[00:41:04] really

[00:41:05] the

[00:41:05] second

[00:41:05] of

[00:41:06] the

[00:41:06] 19th

[00:41:07] dynasty

[00:41:07] he

[00:41:08] was

[00:41:08] the

[00:41:08] son

[00:41:09] of

[00:41:09] Ramses

[00:41:09] the

[00:41:10] first

[00:41:10] and

[00:41:11] the

[00:41:11] father

[00:41:12] of

[00:41:12] Ramses

[00:41:12] the

[00:41:13] second

[00:41:13] I

[00:41:14] don't

[00:41:14] know

[00:41:14] how

[00:41:14] many

[00:41:14] Ramses

[00:41:15] there

[00:41:15] were

[00:41:16] I

[00:41:16] know

[00:41:16] some

[00:41:17] of

[00:41:17] them

[00:41:17] are

[00:41:18] pretty

[00:41:18] famous

[00:41:18] and

[00:41:19] that

[00:41:20] is

[00:41:20] my

[00:41:20] level

[00:41:21] of

[00:41:21] Egyptological

[00:41:22] knowledge

[00:41:23] even

[00:41:24] though

[00:41:24] I

[00:41:25] did

[00:41:25] go

[00:41:25] through

[00:41:25] as

[00:41:26] a

[00:41:26] child

[00:41:26] an

[00:41:27] ancient

[00:41:27] Egypt

[00:41:28] phase

[00:41:28] did

[00:41:28] you

[00:41:28] guys

[00:41:29] oh

[00:41:29] yeah

[00:41:29] oh

[00:41:30] yeah

[00:41:30] of

[00:41:30] course

[00:41:31] Ramses

[00:41:32] the

[00:41:32] second

[00:41:32] was

[00:41:32] the

[00:41:32] big

[00:41:33] one

[00:41:33] right

[00:41:33] I

[00:41:34] thought

[00:41:34] maybe

[00:41:34] it

[00:41:34] was

[00:41:35] Ramses

[00:41:35] the

[00:41:35] third

[00:41:35] but

[00:41:35] I

[00:41:36] don't

[00:41:36] remember

[00:41:36] they

[00:41:39] get

[00:41:39] around

[00:41:40] yeah

[00:41:41] they

[00:41:42] did

[00:41:42] stuff

[00:41:42] well

[00:41:42] Seti

[00:41:43] the

[00:41:43] first

[00:41:44] did

[00:41:44] stuff

[00:41:44] too

[00:41:44] it

[00:41:45] turns

[00:41:45] out

[00:41:45] that

[00:41:45] Ramses

[00:41:46] the

[00:41:46] first

[00:41:47] he

[00:41:47] was

[00:41:47] a

[00:41:49] really

[00:41:52] tough

[00:41:53] warrior

[00:41:54] and

[00:41:54] a

[00:41:54] really

[00:41:54] good

[00:41:54] leader

[00:41:55] and

[00:41:55] he

[00:41:55] got

[00:41:56] back

[00:41:56] lands

[00:41:57] that

[00:41:57] Egypt

[00:41:57] had

[00:41:57] lost

[00:41:58] and

[00:41:59] he

[00:42:00] fought

[00:42:00] people

[00:42:00] and

[00:42:01] then

[00:42:01] Ramses

[00:42:02] the

[00:42:02] second

[00:42:02] I

[00:42:02] think

[00:42:03] he

[00:42:03] was

[00:42:03] also

[00:42:04] sound

[00:42:05] maybe

[00:42:05] he

[00:42:05] was

[00:42:05] famous

[00:42:06] again

[00:42:07] I

[00:42:07] could

[00:42:08] not

[00:42:08] get

[00:42:08] very

[00:42:08] deep

[00:42:09] into

[00:42:10] the

[00:42:10] history

[00:42:10] of

[00:42:10] ancient

[00:42:11] Egypt

[00:42:12] but

[00:42:13] I

[00:42:13] still

[00:42:13] think

[00:42:13] this

[00:42:14] is

[00:42:14] worthwhile

[00:42:15] the

[00:42:16] stuff

[00:42:16] that

[00:42:16] connects

[00:42:17] specifically

[00:42:17] to

[00:42:17] the

[00:42:17] mummy

[00:42:18] so

[00:42:18] Seti

[00:42:19] the

[00:42:19] first

[00:42:19] was

[00:42:20] a

[00:42:21] real

[00:42:21] pharaoh

[00:42:21] Seti

[00:42:22] the

[00:42:22] first

[00:42:22] was

[00:42:23] also

[00:42:23] made

[00:42:24] pharaoh

[00:42:24] in

[00:42:25] the

[00:42:25] year

[00:42:25] 1290

[00:42:26] so

[00:42:26] that's

[00:42:27] accurate

[00:42:27] that's

[00:42:28] not

[00:42:28] the

[00:42:28] year

[00:42:28] he

[00:42:28] died

[00:42:29] and

[00:42:29] we

[00:42:29] have

[00:42:29] no

[00:42:29] evidence

[00:42:30] that

[00:42:30] he

[00:42:31] died

[00:42:31] from

[00:42:32] violence

[00:42:32] he

[00:42:33] probably

[00:42:34] died

[00:42:34] from

[00:42:35] a

[00:42:35] toothache

[00:42:36] or

[00:42:36] something

[00:42:37] like

[00:42:37] that

[00:42:39] UTI

[00:42:39] you know

[00:42:42] scarabite

[00:42:43] yeah

[00:42:43] definitely

[00:42:44] infected

[00:42:45] scarabite

[00:42:46] and the

[00:42:46] other

[00:42:47] historical

[00:42:47] character

[00:42:48] that we

[00:42:48] meet

[00:42:49] is of

[00:42:49] course

[00:42:49] Imhotep

[00:42:50] and he

[00:42:51] was born

[00:42:51] sometime

[00:42:52] between

[00:42:52] 2667

[00:42:54] and 2648

[00:42:56] BCE

[00:42:57] so

[00:42:58] quite a ways

[00:42:59] before

[00:43:00] Seti

[00:43:00] and he

[00:43:01] worked for

[00:43:02] King

[00:43:02] Djoser

[00:43:03] who reigned

[00:43:04] from

[00:43:05] 2630

[00:43:06] to 2611

[00:43:07] BCE

[00:43:08] which is

[00:43:09] the third

[00:43:09] dynasty

[00:43:10] and that's

[00:43:10] when the

[00:43:11] capital of

[00:43:12] Egypt was

[00:43:12] in Memphis

[00:43:13] and

[00:43:13] Imhotep

[00:43:14] if you

[00:43:15] know

[00:43:15] anything

[00:43:15] about

[00:43:16] Egyptian

[00:43:16] history

[00:43:16] or

[00:43:17] art

[00:43:17] history

[00:43:17] Imhotep

[00:43:18] is most

[00:43:18] commonly

[00:43:19] remembered

[00:43:19] as the

[00:43:20] architect

[00:43:20] of the

[00:43:21] step

[00:43:21] pyramid

[00:43:22] you know

[00:43:23] that one

[00:43:23] looks like

[00:43:24] steps

[00:43:25] yeah

[00:43:26] yeah

[00:43:27] you know

[00:43:27] it

[00:43:28] so

[00:43:29] Imhotep's

[00:43:30] really an

[00:43:30] alien from

[00:43:31] outer space

[00:43:31] exactly

[00:43:32] yeah

[00:43:33] we all

[00:43:33] know

[00:43:33] that the

[00:43:34] aliens

[00:43:34] yes

[00:43:36] we've

[00:43:38] got more

[00:43:38] proof of

[00:43:39] that coming

[00:43:39] up

[00:43:39] so

[00:43:40] not

[00:43:40] only

[00:43:40] the

[00:43:41] step

[00:43:41] pyramid

[00:43:41] but

[00:43:41] there's

[00:43:42] a whole

[00:43:42] necropolis

[00:43:43] that was

[00:43:44] kind of

[00:43:44] like

[00:43:44] maybe the

[00:43:45] inspiration

[00:43:45] for

[00:43:46] Hamanopja

[00:43:46] a city

[00:43:48] of the

[00:43:48] dead

[00:43:48] basically

[00:43:49] around

[00:43:50] the

[00:43:50] step

[00:43:50] pyramid

[00:43:51] which is

[00:43:52] called

[00:43:53] Saqqara

[00:43:53] and this

[00:43:54] is considered

[00:43:55] the first

[00:43:55] Egyptian

[00:43:56] pyramid

[00:43:57] ever

[00:43:57] and

[00:43:58] according

[00:43:59] to one

[00:43:59] source

[00:43:59] I read

[00:44:00] the first

[00:44:01] known

[00:44:01] stone

[00:44:02] structure

[00:44:03] ever

[00:44:03] created

[00:44:03] I'm not

[00:44:04] sure how

[00:44:05] they're

[00:44:05] classifying

[00:44:05] a stone

[00:44:06] structure

[00:44:06] and

[00:44:07] nobody

[00:44:08] has

[00:44:08] rediscovered

[00:44:09] Imhotep's

[00:44:09] tomb

[00:44:10] which

[00:44:11] kind of

[00:44:11] adds to

[00:44:12] the mystery

[00:44:12] around him

[00:44:13] he's

[00:44:15] lost

[00:44:15] somewhere

[00:44:17] but we

[00:44:18] know quite a lot

[00:44:18] about him

[00:44:19] from his boss

[00:44:21] King

[00:44:21] Djoser's tomb

[00:44:22] and the fact

[00:44:24] that he

[00:44:24] Imhotep

[00:44:25] became so

[00:44:26] famous

[00:44:27] after his

[00:44:27] death

[00:44:28] like really

[00:44:29] quickly

[00:44:29] by the fourth

[00:44:30] dynasty

[00:44:31] so remember

[00:44:32] he was in

[00:44:32] the third

[00:44:33] dynasty

[00:44:33] by the fourth

[00:44:34] dynasty

[00:44:35] about a hundred

[00:44:36] years after

[00:44:36] his death

[00:44:37] Imhotep's

[00:44:38] already

[00:44:39] started to

[00:44:39] be venerated

[00:44:40] as a

[00:44:41] demigod

[00:44:41] and not

[00:44:42] because he

[00:44:43] was an

[00:44:43] amazing

[00:44:43] architect

[00:44:44] although

[00:44:45] obviously

[00:44:45] he was

[00:44:46] because

[00:44:46] steps

[00:44:48] but because

[00:44:49] of his

[00:44:50] skills

[00:44:50] as a

[00:44:51] scribe

[00:44:51] and a

[00:44:52] physician

[00:44:53] and a

[00:44:54] seer

[00:44:55] so even

[00:44:56] when he

[00:44:56] was alive

[00:44:57] people

[00:44:57] really revered

[00:44:58] him because

[00:44:59] he was

[00:44:59] literate

[00:45:00] and he

[00:45:00] could

[00:45:00] make

[00:45:01] medicines

[00:45:02] so like

[00:45:03] just think

[00:45:03] about it

[00:45:04] if you're

[00:45:04] an architect

[00:45:04] today

[00:45:05] like if

[00:45:07] you're an

[00:45:07] architect

[00:45:07] who can

[00:45:08] read and

[00:45:08] write

[00:45:09] and you

[00:45:09] know about

[00:45:10] germ theory

[00:45:11] and

[00:45:12] and your

[00:45:12] self-esteem

[00:45:13] isn't very

[00:45:13] good

[00:45:14] just think

[00:45:15] about

[00:45:15] how

[00:45:16] like if

[00:45:17] you just

[00:45:17] got

[00:45:17] transported

[00:45:18] back in

[00:45:18] time

[00:45:19] you'd be

[00:45:19] a demigod

[00:45:21] you're

[00:45:21] amazing

[00:45:23] Imhotep

[00:45:23] was like

[00:45:24] written

[00:45:25] about

[00:45:25] he was

[00:45:26] included

[00:45:27] in songs

[00:45:27] and mentioned

[00:45:28] on tombs

[00:45:29] and he

[00:45:30] became

[00:45:30] a patron

[00:45:31] of scribes

[00:45:32] and like

[00:45:33] people

[00:45:33] prayed to

[00:45:34] him

[00:45:34] and offered

[00:45:35] stuff to

[00:45:36] his

[00:45:36] ka

[00:45:37] which is

[00:45:38] the

[00:45:38] ancient

[00:45:39] egyptian

[00:45:40] version of

[00:45:40] a soul

[00:45:42] and eventually

[00:45:43] you know

[00:45:44] down the

[00:45:45] line after

[00:45:45] his death

[00:45:46] mythically

[00:45:47] he was

[00:45:48] given

[00:45:49] godparents

[00:45:49] and I

[00:45:50] don't mean

[00:45:50] godparents

[00:45:51] like how

[00:45:51] Kim is

[00:45:52] the godmother

[00:45:53] of my

[00:45:53] children

[00:45:53] but they

[00:45:54] assigned him

[00:45:55] to be

[00:45:55] the son

[00:45:56] of this

[00:45:57] goddess

[00:45:57] and this

[00:45:58] god

[00:45:59] what are

[00:46:00] you saying

[00:46:00] I'm not

[00:46:01] a goddess

[00:46:01] I'm sure

[00:46:02] to them

[00:46:02] you are

[00:46:07] and a

[00:46:08] cult

[00:46:09] formed

[00:46:09] around

[00:46:10] him

[00:46:10] with his

[00:46:10] own

[00:46:11] brand

[00:46:11] of

[00:46:12] priests

[00:46:12] in

[00:46:12] Memphis

[00:46:12] so we

[00:46:13] know

[00:46:13] this

[00:46:14] as like

[00:46:14] the

[00:46:14] kind

[00:46:15] of

[00:46:15] religious

[00:46:15] historical

[00:46:16] version

[00:46:16] of the

[00:46:17] word

[00:46:17] cult

[00:46:17] rather than

[00:46:18] like the

[00:46:18] modern day

[00:46:19] version

[00:46:19] of a

[00:46:19] cult

[00:46:20] where

[00:46:20] everyone

[00:46:20] like gets

[00:46:21] together

[00:46:21] like in

[00:46:22] a compound

[00:46:23] and does

[00:46:23] weird

[00:46:23] sex stuff

[00:46:24] yeah

[00:46:25] and so

[00:46:27] this is

[00:46:27] more of

[00:46:28] like the

[00:46:29] religious

[00:46:29] following

[00:46:30] that kind

[00:46:31] of grows

[00:46:32] out of a

[00:46:32] particular

[00:46:33] figure

[00:46:33] you still

[00:46:33] see this

[00:46:34] kind of

[00:46:34] thing

[00:46:34] in

[00:46:35] catholicism

[00:46:35] with saints

[00:46:36] and there

[00:46:37] are marian

[00:46:37] cults

[00:46:38] that kind

[00:46:38] of thing

[00:46:38] it's totally

[00:46:39] chill

[00:46:40] it's like

[00:46:40] a chill

[00:46:40] cult

[00:46:41] Imhotep's

[00:46:42] cultists

[00:46:42] would make

[00:46:43] pilgrimages

[00:46:43] to

[00:46:44] Sakat

[00:46:44] in Memphis

[00:46:45] the

[00:46:45] step

[00:46:46] pyramid

[00:46:46] and ask

[00:46:47] to be

[00:46:48] cured

[00:46:48] of health

[00:46:49] problems

[00:46:49] so that's

[00:46:50] the same

[00:46:50] kind of

[00:46:51] thing

[00:46:51] that we

[00:46:51] do

[00:46:51] for like

[00:46:51] people

[00:46:52] going

[00:46:52] making

[00:46:53] trips

[00:46:53] to

[00:46:54] lords

[00:46:54] yeah

[00:46:55] by the

[00:46:56] Ptolemaic

[00:46:57] period

[00:46:57] when the

[00:46:58] Greeks

[00:46:58] conquered

[00:46:59] Egypt

[00:46:59] around

[00:47:00] 330

[00:47:01] BCE

[00:47:02] Imhotep

[00:47:03] had by

[00:47:04] this time

[00:47:04] six festivals

[00:47:06] in his

[00:47:06] honor

[00:47:07] throughout

[00:47:07] the year

[00:47:08] six festivals

[00:47:09] a year

[00:47:10] so it's like

[00:47:11] every two

[00:47:11] months

[00:47:11] yeah

[00:47:11] just for

[00:47:12] Imhotep

[00:47:13] they all

[00:47:13] had like

[00:47:14] feasting

[00:47:14] and partying

[00:47:16] and dancing

[00:47:16] and so

[00:47:18] Imhotep

[00:47:18] himself

[00:47:19] as a

[00:47:20] figure

[00:47:21] like in

[00:47:21] statues

[00:47:22] and drawings

[00:47:23] and stuff

[00:47:24] he's depicted

[00:47:25] as bald

[00:47:26] or wearing

[00:47:28] a cap

[00:47:29] which looks

[00:47:29] a little

[00:47:30] bit like

[00:47:30] maybe

[00:47:30] something

[00:47:31] an alien

[00:47:32] would wear

[00:47:35] and he's

[00:47:36] sitting

[00:47:37] with a

[00:47:38] scroll

[00:47:38] on his

[00:47:38] lap

[00:47:39] so it

[00:47:39] all sounds

[00:47:40] extremely

[00:47:41] chill

[00:47:41] very nerdy

[00:47:42] just like

[00:47:43] a pragmatic

[00:47:44] cat

[00:47:45] sitting down

[00:47:47] it's giving

[00:47:48] me

[00:47:48] I'm devoted

[00:47:50] to my

[00:47:50] work

[00:47:50] and I

[00:47:51] never

[00:47:51] actually

[00:47:51] touched

[00:47:52] a butt

[00:47:56] so I

[00:47:57] think he

[00:47:57] got like

[00:47:58] quite a

[00:47:59] sexy glow

[00:47:59] up in

[00:48:00] the mummy

[00:48:02] so the

[00:48:02] cult of

[00:48:03] Imhotep

[00:48:03] historically

[00:48:04] it faded

[00:48:05] away with

[00:48:05] the Arab

[00:48:06] conquest of

[00:48:07] North Africa

[00:48:07] but a lot

[00:48:08] of his

[00:48:09] writings

[00:48:09] particularly

[00:48:10] his medical

[00:48:11] writings

[00:48:11] survived

[00:48:12] and when

[00:48:13] ancient

[00:48:13] Egyptian

[00:48:13] culture

[00:48:14] was like

[00:48:16] rediscovered

[00:48:17] in the

[00:48:18] 19th century

[00:48:19] by Europeans

[00:48:20] it sparked

[00:48:22] this renewed

[00:48:22] interest

[00:48:23] in him

[00:48:23] so obviously

[00:48:25] logically

[00:48:25] making him

[00:48:26] a hottie

[00:48:27] in 1999

[00:48:28] was the

[00:48:29] next step

[00:48:29] so just

[00:48:30] other little

[00:48:31] bits

[00:48:31] about

[00:48:32] ancient

[00:48:32] Egypt

[00:48:33] as it

[00:48:33] relates

[00:48:33] to the

[00:48:34] mummy

[00:48:34] there is

[00:48:36] really a

[00:48:41] that the

[00:48:42] book of

[00:48:43] the dead

[00:48:43] is basically

[00:48:43] a whole

[00:48:44] big set

[00:48:45] of instructions

[00:48:46] that were

[00:48:47] written on

[00:48:48] the inside

[00:48:49] of tombs

[00:48:49] or on

[00:48:50] the inside

[00:48:50] of sarcophagi

[00:48:51] or sometimes

[00:48:52] on really

[00:48:52] really long

[00:48:53] scrolls

[00:48:54] that were

[00:48:55] meant just

[00:48:55] for the

[00:48:56] dead

[00:48:56] after they

[00:48:57] had been

[00:48:58] mummified

[00:48:58] to help

[00:48:59] them through

[00:49:00] the journey

[00:49:01] into the

[00:49:02] afterlife

[00:49:02] so that

[00:49:03] they don't

[00:49:03] get lost

[00:49:04] it's like

[00:49:04] a map

[00:49:05] yeah

[00:49:07] so if you

[00:49:08] read it

[00:49:08] out loud

[00:49:09] probably nothing

[00:49:10] would happen

[00:49:11] but I

[00:49:13] wouldn't risk

[00:49:13] it

[00:49:13] yeah

[00:49:14] well no

[00:49:15] harm ever

[00:49:16] came from

[00:49:16] reading a

[00:49:16] book

[00:49:17] did it

[00:49:17] so

[00:49:19] this is

[00:49:20] why I

[00:49:21] don't

[00:49:21] read

[00:49:24] I on

[00:49:25] the other

[00:49:25] hand

[00:49:25] love reading

[00:49:26] I loved

[00:49:27] absolutely

[00:49:28] loved a

[00:49:29] bit where

[00:49:29] she goes

[00:49:31] I'm a

[00:49:31] librarian

[00:49:32] I was like

[00:49:33] yeah you

[00:49:33] go girl

[00:49:34] you are

[00:49:35] a librarian

[00:49:36] you are

[00:49:37] a 1920s

[00:49:38] librarian

[00:49:39] and you

[00:49:40] are tipsy

[00:49:41] and you

[00:49:41] should kiss

[00:49:42] that Brendan

[00:49:42] Fraser

[00:49:43] did you

[00:49:43] see him

[00:49:44] in Encino

[00:49:45] man

[00:49:46] that's

[00:49:47] where I

[00:49:47] fell in

[00:49:48] love with

[00:49:48] Brendan

[00:49:48] Fraser

[00:49:50] so the

[00:49:51] Magi

[00:49:52] as well

[00:49:52] were a bit

[00:49:54] real

[00:49:54] they were

[00:49:55] a real

[00:49:55] tribe

[00:49:56] that were

[00:49:56] living in

[00:49:57] the desert

[00:49:57] from Egypt

[00:49:58] all the way

[00:49:59] to the Red

[00:49:59] Sea

[00:49:59] and archaeologists

[00:50:01] traced them

[00:50:01] back as

[00:50:02] far as

[00:50:03] 2400 BC

[00:50:04] so still

[00:50:05] after Imhotep

[00:50:06] but very

[00:50:07] very old

[00:50:08] and they

[00:50:09] were known

[00:50:09] for being

[00:50:10] fighters

[00:50:10] and warriors

[00:50:11] and mercenaries

[00:50:12] and hot

[00:50:14] and hot

[00:50:14] all of them

[00:50:15] 201

[00:50:17] man woman

[00:50:17] and child

[00:50:18] old and young

[00:50:19] hot

[00:50:19] that's fact

[00:50:20] another really

[00:50:22] interesting detail

[00:50:23] so this movie

[00:50:24] apparently is

[00:50:25] for how

[00:50:26] outlandish it

[00:50:27] is and how

[00:50:28] fun it is

[00:50:29] and how much

[00:50:29] we don't really

[00:50:30] care about

[00:50:30] the history

[00:50:31] in it

[00:50:31] necessarily

[00:50:32] there are

[00:50:33] these little

[00:50:33] details

[00:50:34] that are

[00:50:35] apparently

[00:50:35] historically

[00:50:36] accurate

[00:50:37] thanks to

[00:50:38] our

[00:50:38] Egyptologist

[00:50:39] one of them

[00:50:41] is Imhotep's

[00:50:42] mummy wrappings

[00:50:43] like when he's

[00:50:44] getting mummified

[00:50:45] alive in those

[00:50:46] first scenes

[00:50:46] and I'll like

[00:50:48] quote from

[00:50:49] the article

[00:50:50] by Matt

[00:50:51] Zafron

[00:50:51] so the

[00:50:53] wrappings

[00:50:53] have a

[00:50:54] herringbone

[00:50:55] weave pattern

[00:50:56] on the torso

[00:50:57] and strips

[00:50:58] of outer

[00:50:58] wrapping

[00:50:59] encircling

[00:51:00] the body

[00:51:02] the traditional

[00:51:02] figure eight

[00:51:03] style

[00:51:05] you don't

[00:51:06] want no

[00:51:07] houndstooth

[00:51:07] on your

[00:51:08] mummy wrappings

[00:51:09] I love it

[00:51:10] when movies

[00:51:11] have things

[00:51:12] like this

[00:51:12] little snippets

[00:51:14] of really

[00:51:15] historically

[00:51:16] accurate

[00:51:17] things

[00:51:17] the props

[00:51:17] department

[00:51:18] just got

[00:51:18] so into

[00:51:19] it

[00:51:20] they're like

[00:51:20] yes

[00:51:21] we have

[00:51:21] to

[00:51:21] have another

[00:51:22] it's basically

[00:51:22] just like

[00:51:23] you know

[00:51:23] that they've

[00:51:24] done their

[00:51:24] research

[00:51:25] it's not

[00:51:26] just

[00:51:26] oh let's

[00:51:27] just depict

[00:51:27] it however

[00:51:28] we want

[00:51:29] but then

[00:51:30] it's like

[00:51:30] Arnold

[00:51:31] Vosloo

[00:51:31] really did

[00:51:32] get wrapped

[00:51:33] up

[00:51:33] like a mummy

[00:51:34] and can you

[00:51:35] imagine how

[00:51:35] terrifying

[00:51:37] it would be

[00:51:38] to have

[00:51:38] like them

[00:51:39] putting bandages

[00:51:39] over your

[00:51:40] face

[00:51:40] oh no

[00:51:42] no

[00:51:42] and he did

[00:51:43] that for real

[00:51:44] so

[00:51:44] did he really

[00:51:45] yeah

[00:51:46] because you know

[00:51:47] that herringbone

[00:51:48] pattern did not

[00:51:49] take a short

[00:51:50] amount of time

[00:51:51] mm-hmm

[00:51:52] it looks so

[00:51:53] tight

[00:51:54] yeah

[00:51:55] well

[00:51:55] there's quite

[00:51:56] there's quite a

[00:51:57] famous story

[00:51:58] about this movie

[00:51:58] that Brendan

[00:51:59] Fraser almost

[00:52:00] died

[00:52:00] what

[00:52:01] what

[00:52:02] so you know

[00:52:03] the scene

[00:52:04] with Evie and

[00:52:05] Jonathan go

[00:52:06] to the prison

[00:52:07] and they're

[00:52:08] obviously she's

[00:52:09] bartering with

[00:52:09] the warden

[00:52:10] and in the

[00:52:10] background

[00:52:11] Rick is being

[00:52:12] hanged

[00:52:13] yeah

[00:52:13] and

[00:52:14] basically

[00:52:15] Brendan Fraser

[00:52:16] was there

[00:52:17] with like the

[00:52:17] noose around

[00:52:18] his neck

[00:52:18] and he

[00:52:19] he did drop

[00:52:20] and

[00:52:21] what

[00:52:22] he basically

[00:52:24] almost hanged

[00:52:24] himself

[00:52:25] oh my god

[00:52:26] for this movie

[00:52:28] and

[00:52:28] yeah

[00:52:29] that

[00:52:29] he

[00:52:30] was

[00:52:31] really

[00:52:32] really

[00:52:33] close to

[00:52:34] actually

[00:52:34] physically

[00:52:34] dying

[00:52:35] on this

[00:52:36] movie

[00:52:36] oh my

[00:52:36] goodness

[00:52:37] because he

[00:52:38] was he did

[00:52:38] the stunt

[00:52:39] for real

[00:52:39] and

[00:52:40] yeah

[00:52:41] that was a

[00:52:41] long

[00:52:42] hanging

[00:52:42] scene

[00:52:43] yeah

[00:52:43] the note

[00:52:44] that I wrote

[00:52:45] there was like

[00:52:46] wait hang on

[00:52:46] a sec

[00:52:46] no one can

[00:52:47] can be

[00:52:48] hanging

[00:52:48] you would

[00:52:49] have gotten

[00:52:50] brain damage

[00:52:51] right

[00:52:51] like for real

[00:52:52] if you were

[00:52:53] really

[00:52:53] hanging

[00:52:54] that bartering

[00:52:54] could get

[00:52:55] at least

[00:52:55] 60 seconds

[00:52:56] so I think

[00:52:57] what it was

[00:52:58] because obviously

[00:52:58] if an actor

[00:53:00] is doing a stunt

[00:53:00] like that

[00:53:01] they normally

[00:53:01] have like

[00:53:02] a

[00:53:03] like a harness

[00:53:04] or something

[00:53:05] but I think

[00:53:07] what happened

[00:53:07] was I think

[00:53:08] the harness

[00:53:08] broke

[00:53:09] and they

[00:53:10] oh my god

[00:53:11] and they just

[00:53:11] thought he was

[00:53:12] being like

[00:53:13] a really good

[00:53:13] actor

[00:53:13] so

[00:53:14] so he was

[00:53:15] basically like

[00:53:16] looking like

[00:53:17] he was

[00:53:18] dying

[00:53:19] and they

[00:53:20] were like

[00:53:20] oh Brendan

[00:53:21] you're doing

[00:53:21] great

[00:53:21] like this

[00:53:22] is a great

[00:53:22] performance

[00:53:23] oh my

[00:53:24] and he

[00:53:24] continued acting

[00:53:25] after that

[00:53:25] I'll be like

[00:53:26] fuck

[00:53:26] yeah

[00:53:27] I think

[00:53:28] they only

[00:53:29] realized when

[00:53:29] he was actually

[00:53:30] turning blue

[00:53:32] that the

[00:53:33] the harness

[00:53:34] had failed

[00:53:35] because yeah

[00:53:36] how you're

[00:53:36] hanging there

[00:53:37] like how do

[00:53:37] you signal

[00:53:38] to someone

[00:53:38] that your

[00:53:39] harness

[00:53:39] is broken

[00:53:40] yeah

[00:53:41] so yeah

[00:53:41] he nearly

[00:53:42] died

[00:53:42] so they

[00:53:43] have intimacy

[00:53:44] coordinators

[00:53:45] these days

[00:53:46] on films

[00:53:46] they really

[00:53:48] should have

[00:53:48] had something

[00:53:48] like a

[00:53:49] hanging

[00:53:49] coordinator

[00:53:50] yeah

[00:53:51] this is why

[00:53:52] we watch

[00:53:52] period dramas

[00:53:53] sometimes

[00:53:53] it's like

[00:53:54] I feel like

[00:53:54] the stakes

[00:53:55] are low

[00:53:55] yeah

[00:53:56] you have to

[00:53:57] be prepared

[00:53:57] if you're

[00:53:58] going in

[00:53:58] to a high

[00:53:59] stakes period

[00:54:00] drama

[00:54:01] it's a

[00:54:02] different

[00:54:02] experience

[00:54:02] yeah

[00:54:03] there's

[00:54:03] there's

[00:54:04] not

[00:54:04] there's

[00:54:04] not much

[00:54:05] kind of

[00:54:06] you know

[00:54:06] high stakes

[00:54:07] and adrenaline

[00:54:07] when someone's

[00:54:09] sitting in a

[00:54:09] parlour

[00:54:10] doing some

[00:54:11] embroidery

[00:54:12] drinking some

[00:54:13] tea

[00:54:13] and waiting

[00:54:14] for the

[00:54:15] dashing young

[00:54:15] eligible bachelor

[00:54:16] to turn up

[00:54:17] for a turn

[00:54:19] around the

[00:54:20] room

[00:54:20] you know

[00:54:21] although

[00:54:22] turning around

[00:54:23] the room

[00:54:23] that can be

[00:54:24] dangerous

[00:54:25] you could trip

[00:54:26] exactly

[00:54:26] you could trip

[00:54:26] on your long

[00:54:28] long tray

[00:54:29] yeah

[00:54:29] you could

[00:54:30] bang into

[00:54:30] something

[00:54:31] turning around

[00:54:32] the room

[00:54:32] is I think

[00:54:32] a lot more

[00:54:33] dangerous

[00:54:33] than people

[00:54:33] think

[00:54:34] yeah

[00:54:35] I mean

[00:54:35] the tea

[00:54:36] could be

[00:54:36] really

[00:54:36] really

[00:54:36] scurping

[00:54:36] of course

[00:54:37] yeah

[00:54:37] you could

[00:54:38] scold yourself

[00:54:38] on the

[00:54:38] tea

[00:54:39] you could

[00:54:39] prick

[00:54:40] yourself

[00:54:40] with the

[00:54:41] embroidery

[00:54:41] needle

[00:54:42] yep

[00:54:42] all sorts

[00:54:43] you guys

[00:54:44] respect

[00:54:45] I have to

[00:54:45] get back

[00:54:46] to this

[00:54:46] sorry

[00:54:47] so much

[00:54:48] okay

[00:54:49] so one

[00:54:51] thing that

[00:54:51] they did not

[00:54:52] give a fuck

[00:54:53] about the

[00:54:53] details of

[00:54:54] was the

[00:54:55] ten plagues

[00:54:56] that whole

[00:54:57] thing

[00:54:58] so for

[00:54:59] those of

[00:55:00] those of

[00:55:00] you who

[00:55:00] can't

[00:55:01] you know

[00:55:01] rattle

[00:55:02] them off

[00:55:02] the top

[00:55:02] of your

[00:55:03] head

[00:55:03] you got

[00:55:04] ten of

[00:55:04] them

[00:55:05] famously

[00:55:05] ten

[00:55:05] first one

[00:55:07] water to

[00:55:07] blood

[00:55:07] then frogs

[00:55:10] gnats

[00:55:10] flies

[00:55:11] then all

[00:55:12] your livestock

[00:55:13] dies

[00:55:14] the sixth

[00:55:15] one is

[00:55:16] boils

[00:55:16] but only

[00:55:17] for the

[00:55:17] Egyptians

[00:55:17] you got

[00:55:19] hail

[00:55:19] you got

[00:55:20] locusts

[00:55:21] then you got

[00:55:22] three days of

[00:55:23] darkness

[00:55:23] and then

[00:55:25] the tenth

[00:55:25] one

[00:55:26] all of your

[00:55:27] firstborn die

[00:55:27] yeah

[00:55:28] that what I remember

[00:55:29] yeah

[00:55:30] so in the

[00:55:31] film

[00:55:32] it's a bit

[00:55:33] more higgledy

[00:55:34] piggledy than

[00:55:35] that

[00:55:36] in a few ways

[00:55:37] so you only

[00:55:37] get

[00:55:38] you get

[00:55:39] you get

[00:55:39] some of them

[00:55:40] they're not

[00:55:41] quite in order

[00:55:42] first we see

[00:55:43] locusts

[00:55:43] they also

[00:55:44] don't seem

[00:55:45] to affect

[00:55:45] everybody

[00:55:46] equally

[00:55:46] because

[00:55:47] for example

[00:55:48] the first time

[00:55:49] we see the

[00:55:49] locusts

[00:55:49] they seem

[00:55:50] to like

[00:55:50] swarm

[00:55:51] and like

[00:55:52] eat

[00:55:52] two

[00:55:53] Egyptian

[00:55:53] dudes

[00:55:54] but then

[00:55:55] they also

[00:55:56] land on

[00:55:57] this other

[00:55:58] guy

[00:55:59] who is

[00:56:00] there

[00:56:00] leading the

[00:56:01] American

[00:56:01] team

[00:56:02] of

[00:56:03] explorers

[00:56:04] and they're

[00:56:04] just kind

[00:56:05] of like

[00:56:05] chilling

[00:56:05] all over

[00:56:06] his body

[00:56:06] and he's

[00:56:07] fine

[00:56:07] yeah

[00:56:08] because that's

[00:56:08] when he says

[00:56:09] look what

[00:56:09] we've done

[00:56:10] yeah

[00:56:11] well he's

[00:56:12] clutching this

[00:56:13] book that

[00:56:14] like he's

[00:56:14] not supposed

[00:56:15] to have

[00:56:15] we see

[00:56:17] water turned

[00:56:18] into blood

[00:56:18] because it

[00:56:19] ruins everybody's

[00:56:20] vodka

[00:56:21] and it doesn't

[00:56:22] even look like

[00:56:23] blood

[00:56:23] it just looks

[00:56:24] like juice

[00:56:25] cranberry

[00:56:25] yeah

[00:56:26] yeah

[00:56:27] I mean

[00:56:28] to be fair

[00:56:28] there's like

[00:56:28] a volumetric

[00:56:29] kind of thing

[00:56:30] like I don't

[00:56:31] know how much

[00:56:31] of their drink

[00:56:32] was actually

[00:56:32] water

[00:56:33] water

[00:56:34] yeah

[00:56:34] maybe it was

[00:56:35] just the ice

[00:56:36] bit that turned

[00:56:37] into blood

[00:56:37] yeah

[00:56:37] maybe

[00:56:38] yeah

[00:56:38] yeah

[00:56:39] then we get

[00:56:40] hail

[00:56:40] but it's like

[00:56:41] really fiery

[00:56:42] hail

[00:56:43] that lasts

[00:56:44] for a little

[00:56:44] while

[00:56:45] we get

[00:56:45] some kind

[00:56:46] of darkness

[00:56:47] yeah

[00:56:47] flies I wasn't

[00:56:49] sure about

[00:56:50] because there

[00:56:50] is a part

[00:56:51] where

[00:56:52] Imhotep

[00:56:52] opens his mouth

[00:56:54] for a ride

[00:56:55] and a bunch

[00:56:55] of flies

[00:56:56] fly out

[00:56:57] yeah

[00:56:57] I think

[00:56:58] that counts

[00:56:58] as flies

[00:56:59] yeah

[00:56:59] I'm gonna

[00:56:59] count

[00:57:00] yeah

[00:57:00] and then

[00:57:01] we get

[00:57:02] quote

[00:57:03] last but not

[00:57:04] least

[00:57:05] the boils

[00:57:06] yeah

[00:57:07] which also

[00:57:08] only seem

[00:57:09] to affect

[00:57:10] the Egyptians

[00:57:11] and at first

[00:57:12] I asked myself

[00:57:13] why

[00:57:13] you know

[00:57:14] like why

[00:57:14] are only

[00:57:15] Egyptians

[00:57:15] getting all

[00:57:16] of these

[00:57:16] boils

[00:57:17] and not

[00:57:17] like the

[00:57:18] central cast

[00:57:18] but I thought

[00:57:19] that's a really

[00:57:20] stupid question

[00:57:20] because why

[00:57:21] would you have

[00:57:22] your whole

[00:57:22] central cast

[00:57:24] covered in

[00:57:24] boils for

[00:57:25] the rest

[00:57:25] of the

[00:57:25] movie

[00:57:26] that'd be

[00:57:26] dumb

[00:57:26] I think

[00:57:27] as well

[00:57:27] just to

[00:57:28] kind of

[00:57:28] think of

[00:57:29] it logically

[00:57:29] because I

[00:57:29] like to

[00:57:30] think of

[00:57:30] it logically

[00:57:30] they do

[00:57:31] say that

[00:57:32] like they're

[00:57:33] all his

[00:57:34] slaves

[00:57:35] so maybe

[00:57:36] you have

[00:57:37] to be

[00:57:37] like a

[00:57:38] one of

[00:57:39] Imhotep's

[00:57:39] slaves

[00:57:40] in order

[00:57:40] to have

[00:57:42] that particular

[00:57:42] curse

[00:57:43] affect you

[00:57:43] because it

[00:57:44] is all

[00:57:45] of them

[00:57:45] all of

[00:57:46] the Egyptian

[00:57:46] extras

[00:57:48] and no one

[00:57:49] else

[00:57:49] so I think

[00:57:50] it's just

[00:57:50] to do with

[00:57:51] the fact

[00:57:51] that like

[00:57:51] they're

[00:57:52] they're his

[00:57:53] slaves

[00:57:53] they're his

[00:57:54] people

[00:57:54] and maybe

[00:57:55] they're

[00:57:56] because of

[00:57:56] that link

[00:57:57] that he

[00:57:57] has with

[00:57:57] them

[00:57:57] that's the

[00:57:58] only way

[00:57:59] he can

[00:57:59] maybe like

[00:58:00] maybe some

[00:58:00] sort of

[00:58:01] ancestral link

[00:58:01] maybe

[00:58:02] so that's

[00:58:03] all I have

[00:58:03] for the

[00:58:04] ancient

[00:58:04] Egyptian

[00:58:05] side of

[00:58:06] things

[00:58:07] but this

[00:58:08] is also

[00:58:08] a movie

[00:58:09] that is

[00:58:10] set in

[00:58:11] a real

[00:58:11] time and

[00:58:12] place

[00:58:12] starting

[00:58:13] in 1923

[00:58:14] we first

[00:58:15] see Rick

[00:58:15] O'Connell

[00:58:16] as being

[00:58:17] a soldier

[00:58:18] in the

[00:58:18] French

[00:58:19] Foreign

[00:58:19] Legion

[00:58:19] and

[00:58:20] that's

[00:58:21] why he

[00:58:21] was called

[00:58:22] a

[00:58:22] legionnaire

[00:58:23] and

[00:58:24] so the

[00:58:24] French

[00:58:24] Foreign

[00:58:24] Legion

[00:58:25] they

[00:58:25] hired

[00:58:26] foreigners

[00:58:26] to do

[00:58:27] French

[00:58:28] fighting

[00:58:28] basically

[00:58:29] but then

[00:58:30] you know

[00:58:30] the question

[00:58:30] is why

[00:58:31] would they

[00:58:31] be interested

[00:58:32] in a

[00:58:33] place like

[00:58:33] Hamunaptra

[00:58:34] and I'll

[00:58:36] come back

[00:58:36] to that

[00:58:37] but it

[00:58:37] has to

[00:58:38] do with

[00:58:39] the big

[00:58:39] thing that

[00:58:40] happened in

[00:58:40] Egyptology

[00:58:41] in February

[00:58:43] of 1923

[00:58:44] and that

[00:58:45] is when

[00:58:45] Howard

[00:58:46] Carter

[00:58:46] and his

[00:58:47] team

[00:58:48] opened

[00:58:49] the

[00:58:49] tomb

[00:58:50] of

[00:58:50] Tutankhamun

[00:58:52] which

[00:58:53] led to

[00:58:53] arguably

[00:58:54] the biggest

[00:58:55] revival

[00:58:55] of interest

[00:58:56] in ancient

[00:58:57] Egyptian

[00:58:57] stuff

[00:58:58] in history

[00:58:59] and what's

[00:59:01] now referred

[00:59:01] to as

[00:59:02] Egyptomania

[00:59:03] okay but

[00:59:04] love for

[00:59:05] ancient Egypt

[00:59:05] was not

[00:59:06] new

[00:59:07] in 1923

[00:59:08] in fact

[00:59:09] it goes

[00:59:09] back to

[00:59:10] the late

[00:59:10] Roman Empire

[00:59:11] when leaders

[00:59:13] and wealthy

[00:59:13] citizens

[00:59:14] showed off

[00:59:15] their

[00:59:15] fashionable

[00:59:16] creds

[00:59:17] by having

[00:59:18] obelisks

[00:59:18] built

[00:59:19] or brought

[00:59:20] up from

[00:59:20] Egypt

[00:59:20] for their

[00:59:21] homes

[00:59:21] and ancient

[00:59:23] Egyptian

[00:59:23] style and

[00:59:24] symbolism

[00:59:25] was adopted

[00:59:26] by so many

[00:59:27] people throughout

[00:59:27] history including

[00:59:28] the Freemasons

[00:59:30] Mozart

[00:59:31] he had some

[00:59:32] of that in

[00:59:33] his operas

[00:59:33] the French

[00:59:35] revolutionaries

[00:59:36] including

[00:59:36] Napoleon

[00:59:37] they were

[00:59:37] well into

[00:59:38] ancient

[00:59:38] Egypt

[00:59:39] and free

[00:59:41] thinking

[00:59:41] elites

[00:59:42] in Europe

[00:59:43] like

[00:59:44] Percy Shelley

[00:59:45] in the 1800s

[00:59:46] who had

[00:59:46] these ancient

[00:59:48] Egyptian

[00:59:48] motifs

[00:59:49] to their

[00:59:50] houses

[00:59:51] and mansions

[00:59:51] to let

[00:59:52] everybody

[00:59:52] know

[00:59:53] that they

[00:59:53] were

[00:59:53] oh yeah

[00:59:54] and didn't

[00:59:54] he write

[00:59:55] Ozyman

[00:59:55] Ozyman

[00:59:55] Dias

[00:59:56] I don't

[00:59:56] know

[00:59:58] it's a poem

[00:59:59] about

[01:00:01] Ramsey

[01:00:01] oh cool

[01:00:02] yes

[01:00:02] I believe

[01:00:03] so

[01:00:04] so this

[01:00:05] coincides

[01:00:05] with something

[01:00:06] that we

[01:00:06] really also

[01:00:07] don't have

[01:00:07] time to

[01:00:08] discuss

[01:00:08] which is

[01:00:09] the whole

[01:00:09] history

[01:00:09] of

[01:00:16] go

[01:00:17] through

[01:00:17] it

[01:00:17] all

[01:00:18] but

[01:00:18] in

[01:00:19] 1882

[01:00:20] two

[01:00:21] things

[01:00:22] happened

[01:00:22] that are

[01:00:24] relevant

[01:00:24] to the

[01:00:24] mummy

[01:00:24] one

[01:00:25] the

[01:00:26] British

[01:00:26] empire

[01:00:27] who had

[01:00:28] pretty much

[01:00:28] already been

[01:00:29] all up in

[01:00:30] Egypt's

[01:00:30] grill for a

[01:00:31] while

[01:00:31] they established

[01:00:33] a de facto

[01:00:34] protectorate

[01:00:35] over Egypt

[01:00:35] putting themselves

[01:00:37] in charge of

[01:00:37] the military

[01:00:38] and the

[01:00:39] economy

[01:00:39] and two

[01:00:41] some British

[01:00:43] and European

[01:00:43] Egyptologists

[01:00:44] established

[01:00:46] the Egypt

[01:00:47] exploration

[01:00:48] society

[01:00:48] which

[01:00:49] still exists

[01:00:50] today

[01:00:51] but is

[01:00:52] you know

[01:00:53] less icky

[01:00:54] and colonial

[01:00:54] so

[01:00:55] in the

[01:00:56] library

[01:00:56] scene

[01:00:57] when Evie

[01:00:57] is putting

[01:00:58] all that

[01:00:58] stuff away

[01:00:59] we see

[01:01:00] these shelves

[01:01:01] and shelves

[01:01:01] of bound

[01:01:02] volumes

[01:01:03] and binders

[01:01:03] and these

[01:01:05] binders

[01:01:05] are meant

[01:01:06] to be

[01:01:06] field reports

[01:01:07] of the

[01:01:08] Egyptian

[01:01:08] exploration

[01:01:09] society

[01:01:10] and we

[01:01:10] know

[01:01:10] that

[01:01:11] because

[01:01:11] the

[01:01:11] props

[01:01:11] department

[01:01:12] took

[01:01:12] the

[01:01:12] real

[01:01:13] logo

[01:01:13] from

[01:01:14] the

[01:01:14] society

[01:01:15] and put

[01:01:16] them

[01:01:16] on there

[01:01:17] replicated

[01:01:18] it

[01:01:19] and replicated

[01:01:19] these

[01:01:20] binders

[01:01:20] so cool

[01:01:21] so they're

[01:01:22] just like

[01:01:22] reports

[01:01:23] from all

[01:01:24] of the

[01:01:24] people

[01:01:24] doing

[01:01:25] these

[01:01:25] digs

[01:01:25] or

[01:01:26] where

[01:01:27] they were

[01:01:27] sending

[01:01:27] artifacts

[01:01:28] that they

[01:01:28] had

[01:01:29] or

[01:01:29] what

[01:01:30] lectures

[01:01:30] people

[01:01:31] were

[01:01:31] holding

[01:01:31] in

[01:01:31] Europe

[01:01:32] or

[01:01:32] what

[01:01:32] artifacts

[01:01:33] were

[01:01:33] being

[01:01:33] put

[01:01:33] on

[01:01:34] display

[01:01:34] in

[01:01:34] different

[01:01:34] museums

[01:01:35] in

[01:01:35] Europe

[01:01:35] because

[01:01:36] that's

[01:01:36] a lot

[01:01:36] of what

[01:01:36] the

[01:01:37] society

[01:01:37] did

[01:01:37] and in

[01:01:38] case

[01:01:38] you're

[01:01:38] curious

[01:01:39] in

[01:01:40] 1926

[01:01:41] I went

[01:01:42] through

[01:01:42] the

[01:01:43] annual

[01:01:43] report

[01:01:44] of the

[01:01:44] Egyptian

[01:01:45] exploration

[01:01:46] society

[01:01:46] from

[01:01:47] 1926

[01:01:48] which you

[01:01:48] can access

[01:01:49] online

[01:01:49] and they

[01:01:50] were doing

[01:01:51] a lot

[01:01:51] of like

[01:01:52] excavating

[01:01:52] stuff

[01:01:53] belonging

[01:01:54] to

[01:01:55] Seti

[01:01:56] the

[01:01:56] first

[01:01:56] wow

[01:01:57] okay

[01:01:58] I don't

[01:01:59] know if

[01:01:59] the makers

[01:01:59] of this

[01:02:00] movie

[01:02:00] knew

[01:02:00] that

[01:02:01] or

[01:02:01] anything

[01:02:02] so all

[01:02:03] of this

[01:02:04] fascination

[01:02:04] with ancient

[01:02:05] Egypt

[01:02:05] really

[01:02:06] exploded

[01:02:07] in

[01:02:07] 1923

[01:02:08] when

[01:02:09] Howard

[01:02:09] Carter

[01:02:09] and his

[01:02:10] crew

[01:02:10] opened

[01:02:11] the

[01:02:11] tomb

[01:02:11] of

[01:02:12] Tutankhamun

[01:02:13] which was

[01:02:14] incredibly

[01:02:14] well

[01:02:15] preserved

[01:02:15] and housed

[01:02:17] like over

[01:02:17] 5,000

[01:02:18] artifacts

[01:02:19] like not

[01:02:20] to mention

[01:02:20] all of

[01:02:21] the stuff

[01:02:21] written

[01:02:22] and painted

[01:02:23] all over

[01:02:23] the walls

[01:02:24] and then

[01:02:24] with this

[01:02:25] new

[01:02:25] 20th

[01:02:26] century

[01:02:26] media

[01:02:27] at the

[01:02:27] time

[01:02:28] news

[01:02:29] and images

[01:02:29] of the

[01:02:29] tomb

[01:02:30] discovery

[01:02:31] just spread

[01:02:31] all over

[01:02:32] the world

[01:02:33] relatively

[01:02:33] really quickly

[01:02:34] and the

[01:02:35] items

[01:02:35] themselves

[01:02:36] were

[01:02:36] of course

[01:02:37] taken

[01:02:37] out

[01:02:37] and put

[01:02:38] on display

[01:02:39] in exhibitions

[01:02:40] all over

[01:02:41] Europe

[01:02:41] and America

[01:02:42] wasn't there

[01:02:43] a famous

[01:02:44] curse

[01:02:44] on Tutankhamun's

[01:02:45] tomb

[01:02:45] as well

[01:02:48] that like

[01:02:49] something

[01:02:49] happened to

[01:02:50] the people

[01:02:50] who did

[01:02:51] actually go

[01:02:52] into the

[01:02:52] tomb

[01:02:52] or like

[01:02:53] there's

[01:02:53] like a

[01:02:54] conspiracy

[01:02:54] like there's

[01:02:55] theories

[01:02:55] about it

[01:02:56] that they

[01:02:57] died in

[01:02:58] like suspicious

[01:02:58] circumstances

[01:02:59] or something

[01:03:00] I can't

[01:03:01] remember off

[01:03:01] the top of

[01:03:01] my head

[01:03:02] but I'm

[01:03:02] sure there's

[01:03:02] something

[01:03:03] no absolutely

[01:03:04] so

[01:03:05] explorers

[01:03:05] who

[01:03:06] excavated

[01:03:07] Tutankhamun's

[01:03:08] tomb

[01:03:08] didn't

[01:03:08] die

[01:03:09] dramatically

[01:03:10] right away

[01:03:11] after they

[01:03:11] opened the

[01:03:12] tomb

[01:03:12] but enough

[01:03:13] of them

[01:03:14] died

[01:03:14] deaths

[01:03:15] that were

[01:03:15] suspicious

[01:03:16] enough

[01:03:16] and close

[01:03:17] enough

[01:03:17] to the

[01:03:18] discovery

[01:03:18] of the

[01:03:19] tomb

[01:03:19] that this

[01:03:20] rumor

[01:03:20] started

[01:03:21] that it

[01:03:22] was the

[01:03:22] tomb

[01:03:22] itself

[01:03:23] that because

[01:03:24] it was

[01:03:24] so well

[01:03:25] preserved

[01:03:25] and because

[01:03:25] they were

[01:03:26] the first

[01:03:26] people

[01:03:26] to open

[01:03:27] it

[01:03:33] and that

[01:03:33] that's

[01:03:34] where this

[01:03:34] idea of

[01:03:35] the mummy's

[01:03:35] curse

[01:03:35] really

[01:03:36] began

[01:03:37] so there's

[01:03:38] a huge

[01:03:39] huge influence

[01:03:40] that we

[01:03:41] can see

[01:03:41] the through

[01:03:42] line like

[01:03:42] from the

[01:03:43] mummy

[01:03:43] in 1999

[01:03:44] through the

[01:03:45] 1932 movie

[01:03:46] and then back

[01:03:46] to the

[01:03:47] 20s because

[01:03:48] 1920s

[01:03:49] Egyptomania

[01:03:50] heavily

[01:03:50] influenced so

[01:03:51] many things

[01:03:52] in American

[01:03:53] and British

[01:03:54] and European

[01:03:54] Western culture

[01:03:55] and from

[01:03:57] architecture

[01:03:57] and design

[01:03:58] it kicked

[01:03:59] off the

[01:04:00] art deco

[01:04:00] movement

[01:04:01] so anytime

[01:04:01] you watch

[01:04:02] a Poirot

[01:04:03] on TV

[01:04:04] and you

[01:04:04] can appreciate

[01:04:05] his London

[01:04:07] apartment

[01:04:07] and know

[01:04:08] that it was

[01:04:09] all inspired

[01:04:09] by ancient

[01:04:10] Egypt in

[01:04:11] the 20s

[01:04:11] it was big

[01:04:12] in fashion

[01:04:12] and beauty

[01:04:13] trends

[01:04:14] including

[01:04:14] black wing

[01:04:15] eyeliner

[01:04:16] which we

[01:04:16] still enjoy

[01:04:17] today

[01:04:18] styles like

[01:04:19] bob haircuts

[01:04:20] and those

[01:04:21] like 1920s

[01:04:22] headbands

[01:04:23] those were

[01:04:24] Egyptian

[01:04:25] inspired

[01:04:26] and

[01:04:26] marketing

[01:04:27] and advertisement

[01:04:28] for just

[01:04:29] about any

[01:04:30] kind of

[01:04:30] product

[01:04:31] you could

[01:04:31] think of

[01:04:32] had some

[01:04:32] kind of

[01:04:33] Egyptian

[01:04:33] stamp

[01:04:34] on it

[01:04:34] soap

[01:04:34] cigarettes

[01:04:36] biscuit

[01:04:37] tins

[01:04:37] and of

[01:04:38] course

[01:04:38] we've got

[01:04:39] the spooky

[01:04:40] lore that

[01:04:41] we were

[01:04:41] just talking

[01:04:41] about

[01:04:42] that made

[01:04:43] the mummy

[01:04:44] into the

[01:04:45] monster

[01:04:45] that we

[01:04:46] see in

[01:04:47] our 1932

[01:04:48] film

[01:04:48] so all

[01:04:50] of that

[01:04:51] kind of

[01:04:51] explains

[01:04:52] why Rick

[01:04:54] O'Connell

[01:04:55] would be

[01:04:55] there

[01:04:56] why the

[01:04:57] French

[01:04:57] would be

[01:04:57] interested

[01:04:58] in finding

[01:04:59] a place

[01:04:59] like

[01:05:00] Kaminatra

[01:05:00] interested

[01:05:01] enough

[01:05:02] that they

[01:05:02] would

[01:05:02] employ

[01:05:03] the

[01:05:03] legionnaires

[01:05:03] to go

[01:05:04] and fight

[01:05:05] the magi

[01:05:06] and look

[01:05:06] for it

[01:05:08] it also

[01:05:09] explains

[01:05:11] why

[01:05:11] Evie and

[01:05:12] her brother

[01:05:12] are there

[01:05:13] in the

[01:05:13] first place

[01:05:14] if her

[01:05:14] father is

[01:05:15] this

[01:05:16] famous

[01:05:17] British

[01:05:17] is he

[01:05:18] British

[01:05:18] famous

[01:05:19] yeah

[01:05:20] so her

[01:05:21] father is

[01:05:21] this famous

[01:05:22] British

[01:05:22] explorer

[01:05:23] there with

[01:05:24] the

[01:05:24] Egyptian

[01:05:24] exploration

[01:05:25] society

[01:05:26] and that's

[01:05:27] how she

[01:05:28] ends up

[01:05:28] being there

[01:05:29] with her

[01:05:30] brother

[01:05:30] yeah

[01:05:31] because she

[01:05:31] mentions that

[01:05:32] her father

[01:05:33] loved Egypt

[01:05:33] so much

[01:05:34] that he

[01:05:35] married an

[01:05:35] Egyptian

[01:05:36] woman

[01:05:36] and then

[01:05:37] obviously

[01:05:38] that's how

[01:05:38] and have the

[01:05:39] whitest

[01:05:39] children in

[01:05:40] the world

[01:05:40] yeah

[01:05:41] there is no

[01:05:42] there is no

[01:05:43] Egyptian

[01:05:43] blood

[01:05:44] there

[01:05:44] like at

[01:05:45] least

[01:05:46] they gave

[01:05:47] you know

[01:05:47] Rachel Weisz

[01:05:48] had her

[01:05:48] dark hair

[01:05:49] yeah

[01:05:50] but also

[01:05:51] Rachel Weisz

[01:05:51] I just want

[01:05:52] to mention

[01:05:52] her makeup

[01:05:53] is so

[01:05:53] beautiful

[01:05:54] 1920s

[01:05:55] like

[01:05:55] the Betty

[01:05:56] Boop of

[01:05:56] it all

[01:05:57] is so

[01:05:58] gorgeous

[01:05:58] to see

[01:05:59] it really

[01:06:00] suits her

[01:06:00] face

[01:06:01] anyway

[01:06:02] yeah

[01:06:02] I just

[01:06:03] think that

[01:06:04] Evie

[01:06:04] Evie's one

[01:06:05] of those

[01:06:05] characters

[01:06:06] that obviously

[01:06:06] she's incredibly

[01:06:07] beautiful

[01:06:08] as you would

[01:06:09] expect her

[01:06:10] to be

[01:06:10] but I

[01:06:11] always think

[01:06:12] I mentioned

[01:06:13] earlier

[01:06:13] about a

[01:06:13] representation

[01:06:14] and like

[01:06:15] growing up

[01:06:16] having a

[01:06:17] woman

[01:06:17] on screen

[01:06:19] like Evie

[01:06:20] was it

[01:06:20] wasn't really

[01:06:21] heard of

[01:06:21] yes she is

[01:06:23] damseled at

[01:06:23] one point

[01:06:24] but otherwise

[01:06:25] you know

[01:06:26] she's the

[01:06:26] smartest person

[01:06:27] in the room

[01:06:28] she's resourceful

[01:06:29] she knows what

[01:06:30] she's talking

[01:06:31] about

[01:06:31] she is the

[01:06:33] catalyst for

[01:06:33] all of this

[01:06:34] happening

[01:06:34] and that's

[01:06:34] true

[01:06:35] but she is

[01:06:36] also the

[01:06:37] person who's

[01:06:37] like no

[01:06:38] I want to

[01:06:38] fix this

[01:06:39] she doesn't

[01:06:39] kind of run

[01:06:40] away from

[01:06:40] it

[01:06:40] and to have

[01:06:41] like a

[01:06:42] woman

[01:06:42] depicted as

[01:06:43] like somewhat

[01:06:44] of a hero

[01:06:44] in the late

[01:06:46] 90s

[01:06:46] when every

[01:06:47] other woman

[01:06:47] was like

[01:06:48] oh my god

[01:06:49] what are we

[01:06:50] gonna do

[01:06:51] yeah

[01:06:52] especially the

[01:06:53] Indiana Jones

[01:06:54] type

[01:06:54] exactly

[01:06:55] right

[01:06:55] exactly

[01:06:56] yeah

[01:06:56] so I

[01:06:58] yeah

[01:06:58] genuinely

[01:06:59] she is one

[01:06:59] of the best

[01:07:00] characters

[01:07:00] that's why

[01:07:01] I named

[01:07:01] my cat

[01:07:02] after her

[01:07:03] because

[01:07:03] oh really

[01:07:04] yeah

[01:07:05] my cat's

[01:07:05] called

[01:07:05] Evie

[01:07:07] oh

[01:07:08] welcome

[01:07:08] Evie

[01:07:09] when I

[01:07:09] got

[01:07:09] Evie

[01:07:10] she reminded

[01:07:11] me of

[01:07:11] Evie

[01:07:12] because she

[01:07:12] was just

[01:07:12] this little

[01:07:13] adventurous

[01:07:14] beautiful

[01:07:14] little thing

[01:07:15] and she

[01:07:15] loves to

[01:07:16] climb trees

[01:07:16] and she

[01:07:18] loves you

[01:07:18] know she's

[01:07:18] just

[01:07:19] I figured

[01:07:20] you know

[01:07:20] Evie in

[01:07:21] the movie

[01:07:22] like she

[01:07:22] climbs up a

[01:07:23] ladder and

[01:07:23] knocks a load

[01:07:24] of books

[01:07:24] over so

[01:07:25] I reckon

[01:07:26] my Evie

[01:07:26] would do

[01:07:26] that

[01:07:27] she's pretty

[01:07:27] clumsy

[01:07:28] but yeah

[01:07:29] anyway sorry

[01:07:30] I just

[01:07:30] wanted to

[01:07:30] say I

[01:07:31] just love

[01:07:32] Rachel

[01:07:32] Weisz in

[01:07:32] this movie

[01:07:33] so much

[01:07:33] she's amazing

[01:07:34] and she is

[01:07:35] a good

[01:07:35] fighter

[01:07:35] and I

[01:07:37] even like

[01:07:38] that she

[01:07:39] is like

[01:07:39] the reason

[01:07:40] a lot of

[01:07:41] the mess

[01:07:41] happens

[01:07:42] because it's

[01:07:42] like we

[01:07:44] so often

[01:07:44] see women

[01:07:45] having to

[01:07:46] clean up

[01:07:46] men's

[01:07:46] messes

[01:07:47] so it's

[01:07:48] nice that

[01:07:48] she drives

[01:07:49] the plot

[01:07:50] in so many

[01:07:51] ways

[01:07:51] and she's

[01:07:52] very good

[01:07:52] on a

[01:07:53] camel

[01:07:54] and

[01:07:54] yes

[01:07:56] okay

[01:07:57] so obviously

[01:07:58] she's not

[01:07:58] an Egyptian

[01:07:59] actress

[01:08:00] but I

[01:08:01] like that

[01:08:01] at least

[01:08:01] the film

[01:08:02] tried to

[01:08:03] make her

[01:08:03] an Egyptian

[01:08:04] character

[01:08:04] because

[01:08:05] otherwise

[01:08:06] in this

[01:08:06] film if I

[01:08:07] do have

[01:08:07] a criticism

[01:08:07] for it

[01:08:08] it's that

[01:08:08] the Egyptian

[01:08:09] characters

[01:08:09] are fairly

[01:08:12] backgrounded

[01:08:14] we certainly

[01:08:15] don't see

[01:08:15] any Egyptian

[01:08:16] women

[01:08:17] coming to

[01:08:18] the foreground

[01:08:18] we see

[01:08:19] some Egyptian

[01:08:20] men as

[01:08:21] baddies or

[01:08:22] working with

[01:08:23] baddies or

[01:08:24] just you

[01:08:25] know a bunch

[01:08:26] of guys

[01:08:26] getting their

[01:08:27] faces all

[01:08:28] messed up

[01:08:29] by boils

[01:08:29] or hot

[01:08:31] salt

[01:08:31] acid

[01:08:31] so I

[01:08:33] don't want

[01:08:34] to overlook

[01:08:34] the fact

[01:08:35] that this

[01:08:36] whole time

[01:08:37] period in

[01:08:37] the 1920s

[01:08:38] with Egyptomania

[01:08:39] it wasn't

[01:08:40] just about

[01:08:41] European

[01:08:42] and American

[01:08:44] hijacking

[01:08:45] ancient Egyptian

[01:08:46] aesthetic

[01:08:47] aesthetic and

[01:08:47] creating a

[01:08:48] whole personality

[01:08:49] from it

[01:08:49] at the time

[01:08:51] the mummy

[01:08:51] is set

[01:08:52] Egypt

[01:08:53] itself

[01:08:53] was going

[01:08:54] through an

[01:08:55] incredible

[01:08:55] time of

[01:08:56] change in

[01:08:57] basically every

[01:08:58] part of

[01:08:58] society

[01:08:58] and that

[01:08:59] was also

[01:09:00] influenced by

[01:09:02] this rediscovery

[01:09:03] of ancient

[01:09:03] Egypt

[01:09:04] so I

[01:09:05] mentioned that

[01:09:06] the British

[01:09:06] had taken

[01:09:07] de facto

[01:09:07] control

[01:09:08] of Egypt

[01:09:09] in 1882

[01:09:10] in 1919

[01:09:12] there was

[01:09:13] a popular

[01:09:13] uprising

[01:09:14] again this

[01:09:14] is very

[01:09:15] truncated

[01:09:16] and I'm

[01:09:16] sorry for

[01:09:17] that but

[01:09:17] in 1919

[01:09:18] there was

[01:09:19] a popular

[01:09:19] uprising

[01:09:20] and a

[01:09:21] general

[01:09:21] strike

[01:09:22] that led

[01:09:23] to the

[01:09:23] establishment

[01:09:24] of at

[01:09:25] least limited

[01:09:26] independence

[01:09:26] in 1922

[01:09:28] and throughout

[01:09:29] the 1920s

[01:09:30] Cairo and

[01:09:31] other Egyptian

[01:09:32] cities were

[01:09:33] centers of

[01:09:34] like in

[01:09:35] addition to

[01:09:36] this political

[01:09:36] upheaval

[01:09:37] new arts

[01:09:39] and culture

[01:09:40] movements

[01:09:40] and a

[01:09:41] nightlife

[01:09:42] scene

[01:09:42] with music

[01:09:43] and dancing

[01:09:44] and this

[01:09:45] included opera

[01:09:46] cabaret

[01:09:47] jazz

[01:09:48] and a

[01:09:49] revival of

[01:09:50] traditional Arab

[01:09:51] singing

[01:09:51] and a

[01:09:53] trend of

[01:09:53] anti-colonial

[01:09:54] songs which

[01:09:55] I think is

[01:09:55] very fun

[01:09:55] and European

[01:09:57] and American

[01:09:58] performers

[01:09:59] actually came

[01:10:00] over to

[01:10:01] join this

[01:10:02] scene

[01:10:03] in the

[01:10:03] 20s

[01:10:04] and as

[01:10:05] in Europe

[01:10:06] like ancient

[01:10:07] Egyptian

[01:10:07] style became

[01:10:08] really popular

[01:10:09] in like

[01:10:10] modern

[01:10:10] Egyptian

[01:10:11] especially

[01:10:11] architecture

[01:10:12] we see a

[01:10:13] lot of

[01:10:13] examples of

[01:10:13] this even

[01:10:14] today

[01:10:14] and the

[01:10:15] international

[01:10:16] obsession with

[01:10:17] ancient Egypt

[01:10:18] was this

[01:10:19] big national

[01:10:20] morale boost

[01:10:21] for Egyptians

[01:10:22] as well

[01:10:23] as they

[01:10:23] started to

[01:10:24] take control

[01:10:25] of their

[01:10:25] history back

[01:10:26] from the

[01:10:27] British

[01:10:27] and other

[01:10:28] Europeans

[01:10:28] and so

[01:10:29] just as a

[01:10:30] side note

[01:10:30] today I

[01:10:32] said the

[01:10:32] Egyptian

[01:10:33] exploration

[01:10:33] society

[01:10:34] much less

[01:10:35] colonial

[01:10:36] and is

[01:10:37] very

[01:10:37] Egyptian

[01:10:38] focused

[01:10:38] populated

[01:10:39] by

[01:10:39] Egyptian

[01:10:40] scholars

[01:10:41] and works

[01:10:42] with Egyptian

[01:10:42] museums

[01:10:43] and they

[01:10:44] have a

[01:10:45] couple of

[01:10:46] online courses

[01:10:47] you can

[01:10:47] take that

[01:10:48] you might be

[01:10:48] interested in

[01:10:49] including

[01:10:50] women's work

[01:10:51] in the

[01:10:51] history of

[01:10:52] Egyptology

[01:10:53] and ancient

[01:10:54] Egyptian

[01:10:55] hieroglyphs

[01:10:56] which I was

[01:10:57] shocked to

[01:10:58] learn does

[01:10:59] not just

[01:11:00] mean that like

[01:11:01] Egyptian stamp

[01:11:02] book that I

[01:11:03] got as a

[01:11:03] child where

[01:11:04] like bird

[01:11:06] equals a

[01:11:07] and feather

[01:11:08] equals b

[01:11:09] and you can

[01:11:10] write notes

[01:11:10] to your

[01:11:11] friends that

[01:11:11] way make

[01:11:12] them learn

[01:11:13] a cipher

[01:11:13] and they're

[01:11:14] like this is

[01:11:15] too much

[01:11:15] effort to

[01:11:16] be your

[01:11:16] friend

[01:11:17] you're like

[01:11:17] why

[01:11:19] and that's

[01:11:20] why

[01:11:22] and the

[01:11:23] whole thing

[01:11:23] with bats

[01:11:25] so that

[01:11:26] is what

[01:11:26] I that

[01:11:27] is the

[01:11:27] history

[01:11:27] that I

[01:11:28] have to

[01:11:28] share with

[01:11:28] you did

[01:11:29] I teach

[01:11:29] you

[01:11:29] anything

[01:11:30] new

[01:11:30] oh my

[01:11:31] god yes

[01:11:33] yeah that's

[01:11:34] amazing

[01:11:34] and it's

[01:11:36] so cool

[01:11:37] and it's

[01:11:37] really interesting

[01:11:38] as well because

[01:11:39] going back to

[01:11:40] this movie

[01:11:41] you have to

[01:11:42] believe that

[01:11:43] someone

[01:11:44] obviously and

[01:11:46] the 1932

[01:11:46] movie got

[01:11:47] you know

[01:11:47] that someone

[01:11:48] must have

[01:11:49] been like

[01:11:49] well we've

[01:11:50] got dates

[01:11:51] as to when

[01:11:52] Tutankhamun's

[01:11:53] tomb was

[01:11:54] first opened

[01:11:55] so like

[01:11:56] maybe we

[01:11:57] could set

[01:11:57] this movie

[01:11:58] around the

[01:11:58] same time

[01:11:59] and it

[01:12:00] all just

[01:12:01] makes so

[01:12:02] much sense

[01:12:02] if you

[01:12:03] if you put

[01:12:04] the pieces

[01:12:04] of the

[01:12:05] puzzle

[01:12:05] together

[01:12:05] it just

[01:12:06] it's like

[01:12:07] it's like

[01:12:07] it clicks

[01:12:08] in your

[01:12:08] brain

[01:12:08] and you're

[01:12:08] like

[01:12:09] actually

[01:12:09] that makes

[01:12:10] sense

[01:12:11] that's why

[01:12:12] like the

[01:12:12] 2017

[01:12:13] mummy movie

[01:12:13] just doesn't

[01:12:14] make sense

[01:12:14] because it's

[01:12:15] like it's

[01:12:15] not smart

[01:12:16] enough to

[01:12:16] think like

[01:12:17] this

[01:12:18] right so

[01:12:19] they see

[01:12:19] I don't know

[01:12:20] very much

[01:12:20] about the

[01:12:20] film but

[01:12:21] they do

[01:12:21] try to

[01:12:22] like make

[01:12:22] it very

[01:12:23] modern

[01:12:23] like there's

[01:12:24] a whole

[01:12:24] thing with

[01:12:25] with Middle

[01:12:25] Eastern

[01:12:26] kind of

[01:12:26] modern warfare

[01:12:27] and that

[01:12:28] being some

[01:12:29] kind of like

[01:12:30] catalyst for a

[01:12:31] mummy thing

[01:12:31] happening right

[01:12:32] it's just

[01:12:33] it's just a

[01:12:33] pile of

[01:12:34] horseshit

[01:12:35] no mummy

[01:12:36] movie should

[01:12:37] ever exist

[01:12:38] like be set

[01:12:40] outside of

[01:12:41] either ancient

[01:12:43] Egypt or the

[01:12:44] 1920s

[01:12:45] exactly

[01:12:45] you know that

[01:12:46] part of it

[01:12:46] was filmed in

[01:12:47] Oxford

[01:12:48] which one

[01:12:49] what

[01:12:50] the bad

[01:12:50] one

[01:12:51] the bad

[01:12:51] one

[01:12:52] oh

[01:12:52] I'm sorry

[01:12:53] yeah

[01:12:55] I can't

[01:12:56] believe they

[01:12:56] like closed

[01:12:56] down the

[01:12:57] streets for

[01:12:57] that

[01:12:58] and

[01:12:58] because it

[01:12:59] was like

[01:12:59] Tom Cruise

[01:13:00] and they

[01:13:00] were like

[01:13:00] Mr. Cruise

[01:13:01] what do you

[01:13:01] want we'll

[01:13:02] do anything

[01:13:02] for you

[01:13:03] you wanna

[01:13:03] run around

[01:13:05] Oxford

[01:13:05] go for

[01:13:06] it

[01:13:07] yeah

[01:13:07] so my

[01:13:08] notes for

[01:13:09] this film

[01:13:09] are very

[01:13:10] scattered

[01:13:11] because I

[01:13:12] just kind

[01:13:12] of sat

[01:13:13] and enjoyed

[01:13:13] it

[01:13:13] for a lot

[01:13:14] of the

[01:13:14] time

[01:13:15] again there

[01:13:16] are things

[01:13:16] you can

[01:13:17] pick out

[01:13:18] like why

[01:13:18] doesn't

[01:13:19] everybody

[01:13:19] have boils

[01:13:20] but you're

[01:13:20] like who

[01:13:22] cares

[01:13:22] other things

[01:13:23] were a bit

[01:13:23] more fun

[01:13:25] to try to

[01:13:26] work out

[01:13:26] and be

[01:13:27] confused by

[01:13:28] if that

[01:13:28] makes sense

[01:13:29] like I

[01:13:31] wanna know

[01:13:31] we didn't

[01:13:32] see Imhotep

[01:13:34] get from

[01:13:35] Hamanatra

[01:13:35] to Cairo

[01:13:37] with Benny

[01:13:39] so we see

[01:13:39] them go back

[01:13:40] and it's this

[01:13:41] whole thing

[01:13:41] so I presume

[01:13:42] he did the

[01:13:43] whirlwind thing

[01:13:43] I think he

[01:13:44] either

[01:13:44] he's okay

[01:13:45] so he probably

[01:13:47] didn't walk

[01:13:48] so maybe

[01:13:49] he sandstormed

[01:13:50] or he just

[01:13:51] like sanded

[01:13:52] in some way

[01:13:53] if we can

[01:13:53] call it

[01:13:54] like sanding

[01:13:54] a verb

[01:13:55] that's also

[01:13:56] a form of

[01:13:56] travel

[01:13:57] but also

[01:13:58] where did

[01:13:59] he get

[01:14:00] that disguise

[01:14:00] that disguise

[01:14:02] is so good

[01:14:03] and then

[01:14:04] I love

[01:14:05] the fact

[01:14:06] that he

[01:14:07] can do

[01:14:07] so many

[01:14:08] versatile

[01:14:08] things

[01:14:09] with sand

[01:14:09] and this

[01:14:10] is part

[01:14:11] of the

[01:14:11] curse

[01:14:11] and that

[01:14:12] includes

[01:14:13] when

[01:14:14] Imhotep

[01:14:15] makes himself

[01:14:16] into sand

[01:14:17] in order

[01:14:17] to seep

[01:14:18] through

[01:14:18] the keyhole

[01:14:20] into

[01:14:21] isn't that

[01:14:21] so

[01:14:21] Bram Stoker's

[01:14:23] Dracula

[01:14:24] and that

[01:14:25] made me

[01:14:25] wonder

[01:14:26] what's

[01:14:26] sexier

[01:14:27] someone

[01:14:28] sanding

[01:14:29] into your

[01:14:29] room

[01:14:29] or someone

[01:14:30] green misting

[01:14:32] into your

[01:14:32] room

[01:14:32] and then

[01:14:34] it's like

[01:14:34] you don't

[01:14:36] think that

[01:14:36] mummies can

[01:14:37] be sexy

[01:14:37] but then

[01:14:38] Arnold Vosloo

[01:14:39] turns up

[01:14:39] and you're

[01:14:40] like no

[01:14:40] actually

[01:14:41] I would

[01:14:42] but that's

[01:14:44] the great

[01:14:44] thing about

[01:14:44] this movie

[01:14:45] is that

[01:14:45] literally

[01:14:45] every main

[01:14:46] cast member

[01:14:47] whether you're

[01:14:49] gay,

[01:14:50] straight,

[01:14:50] bi,

[01:14:51] whatever

[01:14:51] you're like

[01:14:51] I would

[01:14:52] yeah I

[01:14:53] would

[01:14:53] I would

[01:14:55] you would

[01:14:56] for everyone

[01:14:57] Benny

[01:14:58] absolutely

[01:14:59] maybe not

[01:15:01] hey you don't

[01:15:02] know what he

[01:15:02] looks like

[01:15:03] underneath that

[01:15:03] I looked up

[01:15:04] the actor

[01:15:04] and he's

[01:15:06] very handsome

[01:15:06] I think

[01:15:07] I see

[01:15:08] yeah

[01:15:08] I also

[01:15:09] didn't

[01:15:09] realize

[01:15:09] that the

[01:15:10] character

[01:15:10] was supposed

[01:15:11] to be

[01:15:11] Hungarian

[01:15:12] until I

[01:15:13] watched the

[01:15:14] movie with

[01:15:14] subtitles

[01:15:14] and it

[01:15:15] has him

[01:15:16] saying

[01:15:17] something

[01:15:17] in Hungarian

[01:15:18] so always

[01:15:20] watch your

[01:15:20] movie with

[01:15:21] subtitles

[01:15:22] so can I

[01:15:23] tell you

[01:15:24] guys

[01:15:24] the personal

[01:15:25] connection

[01:15:25] that I

[01:15:26] have

[01:15:27] to this

[01:15:27] movie

[01:15:27] it's

[01:15:29] it's

[01:15:29] sort of

[01:15:29] so it's

[01:15:30] more Keith's

[01:15:30] thing

[01:15:30] it's like

[01:15:31] Keith's

[01:15:31] family

[01:15:31] so Keith

[01:15:32] is Irish

[01:15:32] he's from

[01:15:33] Galway

[01:15:33] and you

[01:15:35] know the

[01:15:38] Amad Jalili

[01:15:38] yeah

[01:15:38] Amad Jalili

[01:15:39] so his

[01:15:40] character's

[01:15:41] name is

[01:15:42] Gad Hassan

[01:15:43] I don't

[01:15:43] know if we

[01:15:43] were actually

[01:15:44] hear that

[01:15:44] in the

[01:15:45] film

[01:15:45] but the

[01:15:46] actor

[01:15:47] who plays

[01:15:48] Lev Warden

[01:15:48] is a

[01:15:49] comedian

[01:15:50] called

[01:15:51] Amad Jalili

[01:15:52] and he

[01:15:53] is actually

[01:15:54] also in

[01:15:55] The Gladiator

[01:15:56] he plays a

[01:15:57] slave trader

[01:15:58] so The Gladiator

[01:15:59] which is a

[01:15:59] movie that we

[01:16:00] covered recently

[01:16:01] that came out

[01:16:02] the year

[01:16:02] after this film

[01:16:03] in the year

[01:16:03] 2000

[01:16:04] he is

[01:16:05] not Arab

[01:16:06] actually

[01:16:06] not Egyptian

[01:16:08] he's

[01:16:09] Iranian

[01:16:09] Persian

[01:16:09] and he

[01:16:11] is

[01:16:11] Baha'i

[01:16:12] ah

[01:16:12] okay

[01:16:14] I see

[01:16:14] the connection

[01:16:15] now

[01:16:15] so

[01:16:15] for listeners

[01:16:17] who aren't

[01:16:17] familiar

[01:16:18] the Baha'i

[01:16:18] faith

[01:16:19] I can't

[01:16:19] really explain

[01:16:20] an entire

[01:16:21] religious tradition

[01:16:22] like real

[01:16:22] quick

[01:16:23] but it's

[01:16:24] a religion

[01:16:24] and

[01:16:25] it comes

[01:16:26] from

[01:16:27] Persia

[01:16:27] but there's

[01:16:28] also

[01:16:28] Baha'i

[01:16:29] communities

[01:16:30] there are

[01:16:30] Baha'i

[01:16:31] communities

[01:16:31] all over

[01:16:32] the world

[01:16:32] including

[01:16:33] in Ireland

[01:16:34] and

[01:16:35] my husband

[01:16:36] slash the

[01:16:37] sound

[01:16:37] engineer

[01:16:37] of this

[01:16:38] podcast

[01:16:39] grew up

[01:16:39] with

[01:16:40] Baha'i

[01:16:40] parents

[01:16:41] in

[01:16:41] Galway

[01:16:42] Ireland

[01:16:42] and so

[01:16:43] when

[01:16:44] stand-up

[01:16:44] comedian

[01:16:45] Ahmed

[01:16:45] Jalili

[01:16:46] from the

[01:16:47] mummy

[01:16:48] came to

[01:16:49] Galway

[01:16:49] to do

[01:16:49] a stand-up

[01:16:50] show

[01:16:50] Keith's

[01:16:51] parents

[01:16:52] sent him

[01:16:53] with a

[01:16:54] handwritten

[01:16:54] note

[01:16:55] to the

[01:16:56] show

[01:16:56] so that

[01:16:56] he could

[01:16:57] approach

[01:16:57] Ahmed

[01:16:58] after the

[01:16:58] show

[01:16:59] and

[01:17:00] let him

[01:17:00] know

[01:17:01] hi

[01:17:01] my name

[01:17:02] is Keith

[01:17:03] you know

[01:17:03] my aunt

[01:17:04] Brida

[01:17:04] and here

[01:17:05] is a

[01:17:06] note

[01:17:06] from my

[01:17:06] parents

[01:17:08] how old

[01:17:13] was Keith

[01:17:13] he was

[01:17:14] about 19

[01:17:15] or 20

[01:17:15] oh my god

[01:17:16] and he

[01:17:18] said that

[01:17:19] Ahmed was

[01:17:20] so sweet

[01:17:21] so genuine

[01:17:22] and is

[01:17:23] really friends

[01:17:24] with Keith's

[01:17:25] aunt Brida

[01:17:26] oh my dear

[01:17:27] friend

[01:17:27] my dear

[01:17:28] friend

[01:17:28] Brida

[01:17:29] how is

[01:17:29] she

[01:17:33] so I

[01:17:35] never knew

[01:17:35] I never

[01:17:36] knew that

[01:17:36] our family

[01:17:36] had this

[01:17:37] connection

[01:17:38] to the

[01:17:38] mummy

[01:17:38] and I'm

[01:17:39] so happy

[01:17:39] about it

[01:17:40] that's so

[01:17:41] cool

[01:17:41] that's amazing

[01:17:42] because you

[01:17:44] know as

[01:17:44] Irish people

[01:17:45] the only

[01:17:46] period drama

[01:17:47] we've covered

[01:17:47] that they

[01:17:48] really have a

[01:17:48] personal connection

[01:17:49] to is

[01:17:50] the Magdalene

[01:17:50] sisters

[01:17:51] which is not

[01:17:52] as fun

[01:17:52] no no

[01:17:53] no

[01:17:55] so do

[01:17:56] not attack

[01:17:57] me verbally

[01:17:58] or physically

[01:17:58] right now

[01:17:59] am because

[01:18:00] I would

[01:18:00] never

[01:18:01] remake the

[01:18:02] mummy

[01:18:02] but if I

[01:18:03] were to

[01:18:04] remake the

[01:18:04] mummy

[01:18:04] but you

[01:18:05] mentioned that

[01:18:06] one of the

[01:18:06] past iterations

[01:18:07] of this film

[01:18:07] the one with

[01:18:08] Daniel Day

[01:18:08] Lewis was

[01:18:09] supposed to

[01:18:09] be romantic

[01:18:10] and I think

[01:18:11] that's the only

[01:18:12] thing that

[01:18:12] makes me a

[01:18:13] little bit sad

[01:18:13] about this

[01:18:14] movie if I

[01:18:15] think about it

[01:18:16] too hard

[01:18:17] is that

[01:18:18] Imhotep

[01:18:19] he loved

[01:18:20] and he

[01:18:22] lost

[01:18:22] and then

[01:18:23] he endured

[01:18:24] his love

[01:18:25] endured and

[01:18:26] he tried to

[01:18:27] resurrect it

[01:18:28] and I think

[01:18:28] what actually

[01:18:29] broke my

[01:18:30] heart was

[01:18:31] that we

[01:18:31] never got

[01:18:32] to see

[01:18:33] Anak Sunamun

[01:18:34] back into

[01:18:36] her sexy

[01:18:37] sexy body

[01:18:39] yeah

[01:18:40] and I'm

[01:18:41] really glad

[01:18:41] that you brought

[01:18:42] this up

[01:18:42] actually

[01:18:42] because

[01:18:43] this is

[01:18:44] one of

[01:18:44] those things

[01:18:45] that I

[01:18:46] feel like

[01:18:46] people miss

[01:18:47] about this

[01:18:48] movie

[01:18:48] is that

[01:18:49] you know

[01:18:49] this movie

[01:18:49] is so much

[01:18:50] fun

[01:18:51] it's funny

[01:18:52] it's got

[01:18:52] a bit of

[01:18:53] horror

[01:18:53] it's got

[01:18:54] this multi

[01:18:56] genre appeal

[01:18:57] you've got

[01:18:57] action

[01:18:58] adventure

[01:18:58] horror

[01:18:59] comedy

[01:19:00] romance

[01:19:01] it does

[01:19:02] them all

[01:19:02] and people

[01:19:04] focus on the

[01:19:05] romance between

[01:19:06] Rick and

[01:19:06] Evie because

[01:19:07] they're the

[01:19:07] main characters

[01:19:08] and it's like

[01:19:08] oh I really

[01:19:10] fancy you

[01:19:10] I really

[01:19:11] fancy you

[01:19:11] too

[01:19:12] and it's

[01:19:12] like

[01:19:12] will they

[01:19:13] won't they

[01:19:13] it's all

[01:19:14] great

[01:19:14] I love

[01:19:15] it

[01:19:15] I love

[01:19:16] the fact

[01:19:16] that they

[01:19:17] kiss on a

[01:19:17] camel at

[01:19:18] the end

[01:19:18] bring me

[01:19:18] more kisses

[01:19:19] on camels

[01:19:19] I would

[01:19:20] love to kiss

[01:19:21] someone on

[01:19:21] a camel

[01:19:22] but people

[01:19:23] kind of miss

[01:19:25] this is actually

[01:19:26] like almost

[01:19:27] like a tragedy

[01:19:28] in a way

[01:19:30] because Imhotep

[01:19:32] he's just a

[01:19:33] guy who

[01:19:34] fell in love

[01:19:35] with the

[01:19:35] wrong woman

[01:19:36] and he fell

[01:19:37] in love with

[01:19:37] her 3,000

[01:19:38] years ago

[01:19:39] and they

[01:19:40] couldn't be

[01:19:40] together

[01:19:41] so like

[01:19:41] he could

[01:19:43] not be with

[01:19:43] this woman

[01:19:44] because this

[01:19:44] woman was

[01:19:45] the mistress

[01:19:46] of someone

[01:19:47] else

[01:19:47] and he

[01:19:48] forbade

[01:19:48] anyone

[01:19:49] else

[01:19:50] to

[01:19:50] touch

[01:19:50] her

[01:19:50] and it

[01:19:51] was like

[01:19:52] their love

[01:19:52] was so

[01:19:53] strong

[01:19:53] that one

[01:19:54] day

[01:19:54] they

[01:19:55] give in

[01:19:55] and they

[01:19:56] kiss

[01:19:56] and it's

[01:19:57] all so

[01:19:57] romantic

[01:19:57] and lovely

[01:19:58] and then

[01:19:58] obviously

[01:19:59] the pharaoh

[01:20:00] finds out

[01:20:00] and all

[01:20:01] hell breaks

[01:20:02] loose

[01:20:02] but Imhotep's

[01:20:03] love for

[01:20:04] her was so

[01:20:04] strong

[01:20:05] that literally

[01:20:05] all he

[01:20:06] wanted to

[01:20:07] do

[01:20:07] was be with

[01:20:08] her again

[01:20:08] and you

[01:20:10] know you

[01:20:10] take away

[01:20:11] all of the

[01:20:11] action adventure

[01:20:12] bravado

[01:20:12] the treasure

[01:20:14] you know

[01:20:15] the Indiana

[01:20:15] Jones

[01:20:16] of it all

[01:20:16] and fundamentally

[01:20:17] it's just

[01:20:18] about

[01:20:19] some guy

[01:20:20] who just

[01:20:20] loves a

[01:20:21] girl so

[01:20:21] much that

[01:20:21] all he

[01:20:22] wants to

[01:20:22] do is

[01:20:22] be with

[01:20:23] her again

[01:20:24] it's

[01:20:25] heartbreaking

[01:20:25] if you

[01:20:26] think about

[01:20:26] it

[01:20:27] the fact

[01:20:27] that he's

[01:20:27] got curses

[01:20:28] upon him

[01:20:28] is kind

[01:20:29] of secondary

[01:20:29] yeah

[01:20:30] I think

[01:20:30] this is why

[01:20:33] this explains

[01:20:34] all of the

[01:20:35] ten plagues

[01:20:36] thing

[01:20:36] I just

[01:20:37] think he

[01:20:37] doesn't care

[01:20:38] enough about

[01:20:38] the ten

[01:20:38] plagues

[01:20:39] he's really

[01:20:39] half-assing

[01:20:40] them

[01:20:40] he's using

[01:20:41] them

[01:20:41] toward his

[01:20:44] end

[01:20:44] of resurrecting

[01:20:46] his love

[01:20:46] but otherwise

[01:20:47] he has no

[01:20:47] control

[01:20:48] yeah

[01:20:49] I guess

[01:20:49] some

[01:20:49] locust

[01:20:50] whatever

[01:20:50] he doesn't

[01:20:50] seem to

[01:20:51] have any

[01:20:51] world domination

[01:20:52] kind of

[01:20:53] vibes

[01:20:54] he's just

[01:20:55] like

[01:20:55] look dude

[01:20:56] just let

[01:20:57] him

[01:20:57] if it

[01:20:59] was a

[01:20:59] case

[01:20:59] where he

[01:20:59] could have

[01:21:00] resurrected

[01:21:00] her

[01:21:01] without

[01:21:02] having

[01:21:02] killed

[01:21:02] Evie

[01:21:03] then I

[01:21:04] would say

[01:21:04] go for

[01:21:04] it

[01:21:05] man

[01:21:05] that part

[01:21:05] and imagine

[01:21:06] how amazing

[01:21:08] it would be

[01:21:08] for Evie

[01:21:09] not only

[01:21:10] to figure

[01:21:11] out

[01:21:11] how to

[01:21:12] you know

[01:21:13] make him

[01:21:13] mortal

[01:21:14] send him

[01:21:14] back to

[01:21:14] wherever

[01:21:15] but if

[01:21:16] she could

[01:21:17] find

[01:21:17] if she

[01:21:17] could

[01:21:18] clock

[01:21:18] what was

[01:21:18] happening

[01:21:19] and say

[01:21:20] actually

[01:21:20] I'm going

[01:21:21] to take

[01:21:21] a beat

[01:21:22] and I'm

[01:21:22] going to

[01:21:23] find a

[01:21:23] solution

[01:21:23] for this

[01:21:24] all these

[01:21:25] guys are

[01:21:25] just focused

[01:21:25] on killing

[01:21:26] him

[01:21:27] but I'm

[01:21:28] going to

[01:21:29] look a bit

[01:21:29] deeper

[01:21:29] into the

[01:21:30] text

[01:21:30] and

[01:21:31] there's

[01:21:32] oh

[01:21:33] look

[01:21:33] there's a

[01:21:33] footnote

[01:21:34] and it's

[01:21:35] going to

[01:21:35] tell me

[01:21:36] actually

[01:21:36] if you

[01:21:36] just want

[01:21:37] to do

[01:21:38] this part

[01:21:38] then

[01:21:39] the curse

[01:21:40] will be

[01:21:40] gone

[01:21:41] their souls

[01:21:42] will be

[01:21:42] released

[01:21:42] he won't

[01:21:43] get taken

[01:21:43] away by

[01:21:44] a chariot

[01:21:44] but

[01:21:45] they'll

[01:21:46] just

[01:21:46] melt

[01:21:47] into the

[01:21:48] pool

[01:21:49] together

[01:21:49] and be

[01:21:50] kissing

[01:21:51] yeah

[01:21:52] and then

[01:21:53] make hot

[01:21:53] babies

[01:21:54] yeah

[01:21:55] well

[01:21:55] I don't

[01:21:56] know how

[01:21:56] it works

[01:21:57] with

[01:21:57] ghosts

[01:21:58] can you

[01:21:58] make

[01:21:58] babies

[01:21:59] in the

[01:21:59] afterlife

[01:22:00] or

[01:22:00] I mean

[01:22:01] I guess

[01:22:01] we'll never

[01:22:01] know

[01:22:02] until

[01:22:02] together

[01:22:03] but

[01:22:04] they could

[01:22:04] then get

[01:22:05] reincarnated

[01:22:06] and make

[01:22:07] hot babies

[01:22:08] and one

[01:22:08] of them

[01:22:08] could be

[01:22:10] Evie and

[01:22:10] Rick's

[01:22:11] baby

[01:22:11] oh

[01:22:11] there we

[01:22:12] go

[01:22:12] Evie and

[01:22:13] Rick's

[01:22:13] baby

[01:22:13] and some

[01:22:14] other

[01:22:15] baby

[01:22:16] that are

[01:22:17] the resurrected

[01:22:17] in the

[01:22:18] next moon

[01:22:19] this is the

[01:22:20] modern sequel

[01:22:20] to the mummy

[01:22:21] that we're

[01:22:21] talking about

[01:22:22] now

[01:22:22] there we go

[01:22:23] there we

[01:22:24] go

[01:22:24] but yeah

[01:22:25] I'm really

[01:22:26] glad you brought

[01:22:26] that up

[01:22:27] because

[01:22:27] it is one

[01:22:28] of those

[01:22:28] things that

[01:22:29] people don't

[01:22:30] really think

[01:22:30] about but I

[01:22:31] think about it

[01:22:31] a lot and

[01:22:32] it's like when

[01:22:34] people say

[01:22:34] oh Imhotep's so

[01:22:35] evil like he's

[01:22:37] got this curse

[01:22:37] upon him and

[01:22:38] he's gonna destroy

[01:22:38] the world and

[01:22:39] I'm like no

[01:22:39] man he's just

[01:22:40] a dude in

[01:22:40] love that's

[01:22:41] it and love

[01:22:42] makes you do

[01:22:42] crazy shit

[01:22:43] like sometimes

[01:22:45] you can't control

[01:22:45] yourself when

[01:22:46] you're so in

[01:22:47] love with someone

[01:22:49] and he's just

[01:22:50] like I really

[01:22:51] like this girl

[01:22:51] man and I'll do

[01:22:53] anything to get

[01:22:54] her back and

[01:22:55] let's be fair

[01:22:55] we've all been

[01:22:56] in relationships

[01:22:57] where we're

[01:22:57] like oh I'm

[01:22:59] really sad that

[01:22:59] finished I'd

[01:23:01] really like to

[01:23:01] see that person

[01:23:02] again like what

[01:23:03] we had was

[01:23:04] great I wish I

[01:23:05] could go on

[01:23:06] another date with

[01:23:07] them he literally

[01:23:08] just wants one

[01:23:09] more date with

[01:23:09] this girl

[01:23:10] yeah yeah

[01:23:10] I'd unhinge my

[01:23:11] jaw and let

[01:23:12] flies fly out

[01:23:14] if that helped

[01:23:14] me toward that

[01:23:15] end

[01:23:16] give the Egyptians

[01:23:17] the boils and

[01:23:18] sores like

[01:23:19] yeah if that's

[01:23:20] gonna give you

[01:23:20] like one date

[01:23:21] with like the

[01:23:22] most perfect

[01:23:22] girl on the

[01:23:23] planet yeah

[01:23:24] you would

[01:23:25] but and she

[01:23:26] liked him too

[01:23:26] and that's the

[01:23:27] thing they

[01:23:27] loved each

[01:23:28] other it's

[01:23:29] not like it

[01:23:29] was unrequited

[01:23:30] and she was

[01:23:31] trapped in

[01:23:33] this love well

[01:23:34] we don't know

[01:23:34] if it was

[01:23:34] loveless but

[01:23:35] she clearly

[01:23:36] didn't love

[01:23:37] the Pharaoh

[01:23:37] so

[01:23:38] probably you

[01:23:39] could probably

[01:23:39] imagine that

[01:23:40] you know she

[01:23:40] was probably

[01:23:41] sold to him

[01:23:42] or whatever

[01:23:43] I mean

[01:23:43] yeah

[01:23:45] exactly

[01:23:47] but yeah

[01:23:49] it's just it's

[01:23:50] just a tragic

[01:23:51] love story

[01:23:51] really but

[01:23:52] it's like

[01:23:53] then it's

[01:23:54] so much fun

[01:23:55] at the same

[01:23:56] time and

[01:23:56] you've got all

[01:23:57] these other

[01:23:57] great characters

[01:23:58] and it would

[01:23:59] be a very

[01:23:59] different movie

[01:24:00] but again

[01:24:01] in when they

[01:24:02] started making

[01:24:03] the 2017

[01:24:04] movie nobody

[01:24:05] asked us

[01:24:06] and everybody

[01:24:07] before they

[01:24:08] remake a period

[01:24:09] drama should

[01:24:10] ask us

[01:24:11] absolutely

[01:24:12] and we should

[01:24:12] have right of

[01:24:13] refusal for the

[01:24:14] screenplay

[01:24:14] I think we've

[01:24:15] proved that

[01:24:16] enough

[01:24:16] absolutely

[01:24:16] yep

[01:24:17] I'm fully on

[01:24:18] board with that

[01:24:19] and I don't

[01:24:20] know well

[01:24:21] I say I don't

[01:24:22] know anyone

[01:24:22] in Hollywood

[01:24:23] I've met a

[01:24:24] couple of

[01:24:24] directors

[01:24:24] I don't

[01:24:25] think they've

[01:24:26] ever done

[01:24:26] any period

[01:24:27] stuff though

[01:24:28] spread the

[01:24:29] word

[01:24:30] well I

[01:24:30] happen to

[01:24:31] have a

[01:24:32] personal

[01:24:32] connection

[01:24:33] to

[01:24:33] Amidjilili

[01:24:34] of the

[01:24:35] Mummy and

[01:24:36] Gladiators

[01:24:36] so

[01:24:37] I could try

[01:24:38] to watch

[01:24:38] something there

[01:24:39] that's what

[01:24:39] you need to

[01:24:40] do

[01:24:40] you need to

[01:24:40] contact

[01:24:41] Amidjilili

[01:24:42] and maybe

[01:24:43] he can get

[01:24:44] the ball

[01:24:44] rolling

[01:24:44] with regards

[01:24:45] to

[01:24:46] like

[01:24:47] something

[01:24:47] and then

[01:24:49] he can

[01:24:49] consult

[01:24:50] you

[01:24:50] and

[01:24:51] yeah

[01:24:52] it'll

[01:24:52] be like

[01:24:52] just go

[01:24:53] through my

[01:24:53] agent

[01:24:53] Amidjilili

[01:24:54] yeah

[01:24:55] yeah

[01:24:55] and then

[01:24:57] we'll

[01:24:57] finally get

[01:24:58] Northanger

[01:24:58] Abbey

[01:24:58] remade

[01:25:00] I've never

[01:25:01] seen

[01:25:01] Northanger

[01:25:01] Abbey

[01:25:02] I mean

[01:25:03] I would

[01:25:04] suggest

[01:25:04] listening to

[01:25:06] our episode

[01:25:06] about it

[01:25:07] first

[01:25:07] just so

[01:25:08] you know

[01:25:08] you can

[01:25:09] prepare for

[01:25:10] how horny

[01:25:11] you're

[01:25:11] gonna get

[01:25:11] it

[01:25:14] and don't

[01:25:14] forget

[01:25:15] our

[01:25:15] our

[01:25:15] our

[01:25:16] remake

[01:25:17] of

[01:25:17] Wuthering

[01:25:18] Heights

[01:25:18] our

[01:25:19] anime

[01:25:19] remake

[01:25:20] of

[01:25:20] Wuthering

[01:25:20] Heights

[01:25:21] where

[01:25:21] everyone

[01:25:21] is

[01:25:22] an

[01:25:22] animal

[01:25:23] and

[01:25:23] it

[01:25:23] was

[01:25:23] a

[01:25:23] sheep

[01:25:23] yeah

[01:25:24] but

[01:25:24] also

[01:25:25] all

[01:25:25] the

[01:25:25] animals

[01:25:25] in

[01:25:26] the

[01:25:26] film

[01:25:26] are

[01:25:27] still

[01:25:27] animals

[01:25:28] yes

[01:25:28] yeah

[01:25:32] okay

[01:25:32] so do

[01:25:33] we have

[01:25:34] any

[01:25:34] awards

[01:25:34] to give

[01:25:35] this

[01:25:35] film

[01:25:35] and

[01:25:35] you

[01:25:36] can't

[01:25:36] give

[01:25:36] it

[01:25:36] best

[01:25:37] period

[01:25:37] drama

[01:25:38] ever

[01:25:38] in

[01:25:39] the

[01:25:39] world

[01:25:39] that's

[01:25:39] not

[01:25:40] allowed

[01:25:40] okay

[01:25:40] so I

[01:25:41] thought

[01:25:42] really

[01:25:42] long

[01:25:42] and hard

[01:25:43] about

[01:25:43] this

[01:25:43] because

[01:25:44] I

[01:25:44] was

[01:25:44] talking

[01:25:45] to you

[01:25:46] on the

[01:25:47] Instagram

[01:25:47] going

[01:25:48] like

[01:25:48] this

[01:25:49] was

[01:25:49] like

[01:25:49] going

[01:25:50] through

[01:25:50] like

[01:25:50] this

[01:25:51] I've

[01:25:51] thought

[01:25:51] about

[01:25:51] this

[01:25:51] I've

[01:25:51] thought

[01:25:52] about

[01:25:52] this

[01:25:52] and

[01:25:52] then

[01:25:52] you

[01:25:53] kind

[01:25:53] of

[01:25:53] said

[01:25:53] I can

[01:25:54] only

[01:25:54] have

[01:25:54] one

[01:25:54] so

[01:25:55] I

[01:26:10] maybe

[01:26:11] maybe

[01:26:12] maybe

[01:26:12] should

[01:26:12] stick

[01:26:13] to

[01:26:13] don't

[01:26:14] open

[01:26:14] those

[01:26:14] floodgates

[01:26:14] maybe

[01:26:15] yeah

[01:26:15] well

[01:26:16] and also

[01:26:16] it's

[01:26:17] like

[01:26:17] reading

[01:26:18] from

[01:26:18] the

[01:26:18] book

[01:26:19] you know

[01:26:19] it's

[01:26:19] like

[01:26:20] you

[01:26:20] can

[01:26:20] only

[01:26:20] do

[01:26:21] it

[01:26:21] once

[01:26:21] and

[01:26:22] then

[01:26:22] let

[01:26:22] the

[01:26:23] carnage

[01:26:23] happen

[01:26:23] after

[01:26:24] you've

[01:26:24] read

[01:26:24] from

[01:26:24] the

[01:26:24] book

[01:26:25] yeah

[01:26:25] so

[01:26:26] I'm

[01:26:26] just

[01:26:26] going

[01:26:26] to

[01:26:26] give

[01:26:26] one

[01:26:27] award

[01:26:27] and

[01:26:27] let

[01:26:27] the

[01:26:28] carnage

[01:26:28] happen

[01:26:28] yes

[01:26:29] after

[01:26:29] because

[01:26:30] this

[01:26:30] is

[01:26:31] my

[01:26:31] favorite

[01:26:31] movie

[01:26:31] so

[01:26:32] there's

[01:26:33] so much

[01:26:34] that I

[01:26:34] could

[01:26:34] give

[01:26:34] awards

[01:26:35] for

[01:26:35] but

[01:26:36] I

[01:26:36] just

[01:26:36] thought

[01:26:36] about

[01:26:37] it

[01:26:37] logically

[01:26:37] because

[01:26:38] you know

[01:26:38] I'm

[01:26:38] a very

[01:26:39] logically

[01:26:39] driven

[01:26:39] person

[01:26:40] the

[01:26:40] award

[01:26:41] is

[01:26:41] the

[01:26:41] worst

[01:26:41] person

[01:26:42] to

[01:26:42] steal

[01:26:42] eyes

[01:26:42] from

[01:26:47] because

[01:26:48] if

[01:26:49] you're

[01:26:49] going

[01:26:49] to

[01:26:49] steal

[01:26:49] someone's

[01:26:50] eyes

[01:26:50] why

[01:26:51] would

[01:26:51] you

[01:26:52] steal

[01:26:52] the

[01:26:52] eyes

[01:26:52] of

[01:26:53] the

[01:26:53] person

[01:26:53] the

[01:26:54] only

[01:26:54] person

[01:26:54] who

[01:26:55] wears

[01:26:55] glasses

[01:26:57] that's

[01:26:58] so

[01:26:58] true

[01:26:59] it's

[01:27:00] such a

[01:27:00] like

[01:27:00] add

[01:27:00] insult

[01:27:01] to

[01:27:01] injury

[01:27:03] I

[01:27:11] this

[01:27:11] is

[01:27:11] the

[01:27:11] thing

[01:27:12] so

[01:27:12] I

[01:27:12] don't

[01:27:12] know

[01:27:12] if

[01:27:13] Imhotep

[01:27:13] knew

[01:27:14] what

[01:27:14] glasses

[01:27:14] were

[01:27:15] maybe

[01:27:15] he

[01:27:15] thought

[01:27:16] they

[01:27:16] were

[01:27:16] like

[01:27:16] oh

[01:27:17] you

[01:27:17] know

[01:27:18] they're

[01:27:18] just

[01:27:18] like

[01:27:18] fashion

[01:27:20] something

[01:27:20] I

[01:27:21] don't

[01:27:21] know

[01:27:21] and

[01:27:22] he's

[01:27:22] like

[01:27:22] fuck

[01:27:22] and

[01:27:23] then

[01:27:23] like

[01:27:24] he's

[01:27:24] got

[01:27:24] the

[01:27:24] eyes

[01:27:24] and

[01:27:24] he's

[01:27:25] like

[01:27:25] why

[01:27:25] is

[01:27:25] everything

[01:27:26] blurry

[01:27:26] like

[01:27:27] what's

[01:27:28] going

[01:27:28] on

[01:27:28] like

[01:27:29] why

[01:27:29] can't

[01:27:30] I

[01:27:30] see

[01:27:30] anything

[01:27:31] but

[01:27:31] I

[01:27:31] suppose

[01:27:32] like

[01:27:32] some

[01:27:32] eyes

[01:27:33] are

[01:27:33] better

[01:27:33] than

[01:27:33] no

[01:27:33] eyes

[01:27:34] but

[01:27:34] that

[01:27:34] award

[01:27:35] goes

[01:27:35] to

[01:27:35] Mr.

[01:27:36] who

[01:27:37] is

[01:27:37] the

[01:27:37] guy

[01:27:38] who

[01:27:39] had

[01:27:40] his

[01:27:41] eyes

[01:27:41] and

[01:27:41] actually

[01:27:42] his

[01:27:43] tongue

[01:27:43] also

[01:27:44] stolen

[01:27:44] and

[01:27:45] then

[01:27:45] he

[01:27:45] got

[01:27:45] his

[01:27:45] life

[01:27:46] force

[01:27:46] sucked

[01:27:46] out

[01:27:47] of

[01:28:02] so

[01:28:04] mine

[01:28:04] is

[01:28:05] kind

[01:28:06] of

[01:28:06] an

[01:28:06] obvious

[01:28:07] one

[01:28:07] but

[01:28:07] I

[01:28:07] also

[01:28:07] thought

[01:28:08] really

[01:28:08] hard

[01:28:08] about

[01:28:08] it

[01:28:09] and

[01:28:09] I

[01:28:09] like

[01:28:09] this

[01:28:09] one

[01:28:09] the

[01:28:10] best

[01:28:10] because

[01:28:10] I

[01:28:11] wanted

[01:28:11] to

[01:28:11] give

[01:28:11] an

[01:28:11] award

[01:28:12] to

[01:28:12] Evie

[01:28:12] and

[01:28:13] I

[01:28:14] think

[01:28:14] that

[01:28:14] hers

[01:28:15] is

[01:28:16] sort

[01:28:17] of

[01:28:17] a

[01:28:17] best

[01:28:17] worst

[01:28:18] so

[01:28:19] she

[01:28:19] has

[01:28:19] probably

[01:28:20] the

[01:28:20] worst

[01:28:21] workplace

[01:28:22] goof

[01:28:23] the

[01:28:24] worst

[01:28:24] workplace

[01:28:25] snafu

[01:28:25] that

[01:28:26] we've

[01:28:32] that

[01:28:32] ladder

[01:28:32] topples

[01:28:33] over

[01:28:34] that

[01:28:34] one

[01:28:35] bookcase

[01:28:35] and

[01:28:36] then

[01:28:36] they

[01:28:36] all

[01:28:36] go

[01:28:37] down

[01:28:37] like

[01:28:37] dominoes

[01:28:38] but

[01:28:39] it's

[01:28:39] also

[01:28:39] in

[01:28:40] the

[01:28:41] film

[01:28:41] but

[01:28:42] one

[01:28:42] of

[01:28:43] the