“Blade Runner, 1982”

“Quite an experience to live in fear, isn’t it? That’s what it is to be a slave.”

Blade Runner, 1982 (Harrison Ford), The Ladd Company

I knew I had to end my Vintage Cable Box series with, what I regard to be, one of the greatest movies ever made. Nothing can prepare you for Blade Runner after a couple of years of the standard cable television fare. Occasionally, you had the big-budget spectacles, fine examples of genre film-making, Alfred Hitchcock and Stanley Kubrick, but Blade Runner was unique. I only vaguely remembered trailers and teasers running on broadcast television. I never saw a preview at the movies, nor did I even see the movie in theaters. Ridley Scott had made a name for himself as a first-notch filmmaker with The Duellists and Alien after paying his dues in production design and advertising. The script and story treatments for Blade Runner floated around for a couple of years while Scott was preparing an adaptation of Dune. The Dune project fell through (and would eventually be helmed by David Lynch), and Scott was eager to start working on Blade Runner, based on Philip K. Dick’s Do Androids Dream of Electric Sheep.

The year is 2019, and the place is Los Angeles. Our world in 2019 is a dystopian nightmare. Constant sheets of acid rain have destroyed the already-dilapidated metropolis and most humans have taken to life in “off-world colonies” (“The chance to begin again in a golden land of opportunity,” the advertisements proclaim). Replicants, initially considered a form of android but then ret-conned in 2017’s Blade Runner 2049 as “manufactured humans” have become a dangerous liability when confronted with their slave status and the built-in obsolescence of a four year life span. In an effort to control these replicants, developer Eldon Tyrell (Joe Turkel) implants memories in them, but this backfires when they inevitably crave life more than the humans who built them. Errant replicant Roy Batty (Rutger Hauer) leads a bunch of them to jump ship and return to Earth to meet their maker. Enter Rick Deckard (Harrison Ford), a replicant killer more commonly known as a “Blade Runner.”

Deckard is tasked with interviewing a beautiful woman, Tyrell’s assistant, named Rachael (Sean Young) who may or may not be a replicant. It seems Tyrell’s task is to either deceive authorities as to the identity of his replicants, or perhaps make his replicants believe they are human. It takes a while for Deckard to come to the conclusion that Rachael doesn’t know she’s a replicant. She saves his life when another replicant, the sub-intelligent Leon (Brion James) tries to kill him. He takes her back to his apartment and promises to keep her secret. Tyrell tells him she has no shut-off date; that she is, in effect, unique. Deckard retires the remaining replicants, but Batty proves to be a challenge. He taunts Deckard and leads him on a merry chase through the Bradbury Building. While Deckard is intent on finishing the job, Batty is fighting for his life, even as he knows his time is limited. Batty is incensed that Deckard has mercilessly killed his friends, and he tortures him for it. Ultimately, he spares Deckard’s life and perhaps Deckard has re-discovered his humanity.

Blade Runner was unfairly maligned by critics upon release in 1982, but over the years, the movie has attained an enormous cult following, culminating in the release of Blade Runner 2049 last year. In 1992, a “director’s cut” was released which removed the original film’s narration (considered by Scott to be tedious) and introduced a scene where Deckard dreams of a unicorn, making the reveal at the end of the movie (Deckard discovers a small origami unicorn in his hallway) ambiguous about Deckard’s humanity. Personally, I do not believe Deckard to be a replicant because, for me, it would make the ending of the movie and Batty’s sacrifice less meaningful. I would rather Deckard learn the lesson of his humanity, rather than believe him to be an amnesiac android. Blade Runner 2049 continues along this line of reasoning; perhaps what we value as humans is our capacity for understanding the gift of memory, and when our memories are manufactured, we will retain less of that value. Everything about this movie is perfect.

That about wraps it up for Vintage Cable Box. Again, I want to thank my readers. It’s been so much fun going back and revisiting and re-living these movies and that crazy time period, that time-line of what I saw and experienced and how it shaped me. Blade Runner just might be the most influential movie of the last 40 years, and it played constantly on cable television back in those days. Blade Runner 2049 manages to successfully evoke all of the best qualities about the original movie (and even improve upon certain aspects), which surprises me. Before I sign off, I have to thank a few people. Mark Jeacoma hosted these articles on his VHS Rewind! page. Andrew La Ganke suggested some great movies and found me a couple of hard-to-find titles. Geno Cuddy suggested Metropolis and provided a copy of the movie for me. Tony Verruso from the Vintage HBO Guides on Facebook was a staunch ally in dark times. Thanks for reading.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month. Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.


Extreme Cinema! “Dangerously Twisted”


Albert Pyun is an American film director best known for having made many low-budget B-movies and direct-to-video action films. The Independent Film Channel said that Pyun “has carved out a unique niche as a director of low-budget, high-concept genre films starring actors past their prime”, adding that “others believe this a charitable description for Pyun, who has also been [unfairly] derided as the new Ed Wood.” Though he frequently blends kickboxing and hybrid martial arts with science fiction and dystopic or post-apocalyptic themes, which often include cyborgs. Pyun stated in an interview that “I have really no interest in cyborgs. And I’ve never really had any interest in post-apocalyptic stories or settings. It just seemed that those situations presented a way for me to make movies with very little money, and to explore ideas that I really wanted to explore — even if they were [controversial].”


Andrew and I discuss two Albert Pyun 1980s classics, Dangerously Close (1986) and Down Twisted (1987), both starring the beautiful Carey Lowell.

Written by David Lawler and Andrew La Ganke.
“Love Theme from Extreme Cinema” composed and performed by Alex Saltz.
Introduction written by Bronwyn Knox.
Narrator, “The Voice”: Valerie Sachs

Running Time: 1:21:25

Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. I do this ’cause it’s fun, and nothing else.

This podcast is dedicated to the memory of David A. Prior (1955-2015)


Vintage Cable Box: “Midnight Madness, 1980”

New VCB Logo

“See you at the finish line… wherever that may be.”

midnight madness

Midnight Madness, 1980 (David Naughton), Buena Vista

Midnight Madness is a movie I remember watching a hundred times on cable television, and I recall the three major disparate element that make up what is essentially the fun of a truly entertaining movie.  The first element is David (“Makin’ It“) Naughton, the dancing Dr. Pepper spokesperson (he is actually seen drinking a Dr. Pepper late in the movie!), who would eventually transform into a werewolf and woo Jenny Agutter in An American Werewolf In London.  The second element is the scavenger hunt; an all-night Amazing Race wherein the contestants retrieve items and search for clues in an effort to get the grand prize.  The third element is a young Michael J. Fox, portraying David’s annoying little brother, Scott, pleading for attention in every scene he is featured.  Family Ties had been on the air for a year-and-a-half before I first saw this movie on cable, so I identified him immediately.

We start off with some hot roller-babes delivering invitations to all the prospective entrants, as (what I can only assume) the movie’s upbeat, disco-tinged theme song plays during the credits.  Naughton, along with Stephen “Flounder” Furst, and Eddie Deezen have to assemble teams for the “Great All-Nighter” organized by huge-brained Leon (whom will one day create Microsoft, I’m sure).  We have typical college archetypes: the nerds, the jocks (led by Dirk Blocker), the feminists, the idiots apparently like a high-concept Animal House or Revenge of the Nerds.  It would be cute to think this was the college Naughton’s character was attending before he became a werewolf, but probably not, and also kind-of sad.

Meanwhile, Michael J. Fox has a chip on his shoulder.  Naughton spots him at a bus station running away from home.  Laura pressures him to be supportive of his younger brother.  She’ll make a great wife some day!  Scott’s a bit of a hellion, trying to score beer, and being otherwise unpleasant and obstinate.  He reminds me of myself as an angry young Canadian television actor.  It’s surprising to me, given the nearly two-hour running time, so little effort is put into his character.  All we tend to see are scenes of him angry, pissed-off, and rebellious yelling at David Naughton or  whining to Laura.  Apparently big brother forgot his little brother’s birthday.  Get over it, kid!  And comb your hair while you’re at it!


With a discreet clean-up of some of the more off-color concepts, this movie could easily play as a made-for-tv movie.  It has a television sensibility, and it’s utterly harmless, innocent fun that teaches “life lessons” along the way.  What those lessons are escape me, except that you listen to your snotty younger brother, and you should always make a move on a pretty girl who likes you.  I really enjoyed this movie revisiting it after some odd thirty years, even with all the lip gloss and the hot pants, and the roller-skates.  Recently transferred to high definition, the photography is quite good, and the editing keeps up a very nice pace.  Sometimes the character development gets in the way of the action, or is it the other way around?  Either way, this movie was a welcome respite from They Call Me Bruce? and The Lonely Lady.  Look for a pre-Pee Wee Herman Paul Reubens in the arcade scene, dressed up as a cowboy to boot!  This movie puts me in the mood for similarly-themed titles, such as The Cannonball Run and Tag: The Assassination Game.

Check out a cool podcast discussion of this movie during the “Summer of Deezen” (or #deezenpalooza) at VHS Rewind!

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month.  Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.

BlissVille Fridays: “We’ll Gather At The Roadhouse With Our Next Of Kin”


New season! Join us as we discuss Andrew’s recent whirlwind cruise line trip to Europe. We also talk about the horrors of California.

It should go without saying (at this point) that Andrew and I have fairly loose tongues and we tend to pepper our speech with obscenity and profanity.  This is because we record a podcast in an atmosphere where we like to be comfortable.  If you are easily offended by harsh or foul language and terse pronouncements, don’t listen.