Part II Minute 58 – George Marley

Part 2 Minute-00058

Biff tells Marty all about the day he got the almanac.

GUEST: Pat Driscoll


Special Thanks to Patreon Associate Producers: David Jeffreys & Leaper 182

One thought on “Part II Minute 58 – George Marley

  1. [-00:01]
    Omg, the picture you chose for this minute makes me think of anime from the ’90s where old men are just supposed to look like that, no matter who they are. O_O

    One of the things that always makes me facepalm is the fact that (A) Marty thinks that stuttering will help save his serious goof, and (B) that Biff doesn’t have a reaction shot like, “Gotcha!” or something. Because we already know that he knows about the old man and the kid. He just didn’t know it was Marty until this conversation.

    It’s funny how the Bobs didn’t want to do the bleak, Blade Runner hopelessness for the future, but then they have this dystopian 1985, and it’s like, “Didn’t you guys JUST SAY you didn’t want that?” Because there’s a way to show things are messed up without toxic dumps and horrific neighborhoods and stuff. Zemeckis could’ve gone more Stepford Wives and go for the psychological horror rather than, “wow, the present went punk?”

    I understand that they needed to show Hell Valley was horrible and it sucked because of something that Marty started, but again, if they hadn’t wanted to go super-dark for the future, going super-dark for the present feels like a weird thing to do… :\

    I don’t mind that BTTF went a little dark, and I loved the idea of the stakes being upped for both Doc and Marty. I think it’s just the fact that the Bobs had shied away from darkness before, and for them to go full throttle feels like I’m running on uneven ground and I just stepped wrong and went sprawling. Like, even in the different drafts for 2015, the final version of the “bad” future doesn’t have Marty and Jen on the brink of divorce, or have their kids look like fat slobs or whatever it is that’s supposed to be a mark of complete loser-dom. Going full Clockwork Orange on things just feels like, “You could have eased us into the darkness a little more during 2015, and you didn’t.” Yes, there were the references to drug use, but seeing as how that was a problem in the ’80s, it doesn’t feel like such a dramatic shift.

    The thing with Empire is that, while there isn’t this “we’ve defeated evil” conclusion, there was still a definitive, “This chapter has finished” which Part 2 doesn’t have because it literally strings together Parts 1 and 3. Part 2 doesn’t have a “Doc’s been gone for a month, I really miss him”, and it doesn’t end with “Wow, I’m stuck in 1955, what do I do now?” I dunno if that works as an explanation.

    Think of it like how you read a sentence out loud. Sometimes, you know what the writer was trying to say, and so your voice is tonally going to go to the “right” places. The end of the sentence will finish on a down-note because that’s how we denote periods as opposed to question marks. Now, if you’re not sure how the words are supposed to be read, the way you say them is going to sound really weird to native speakers of that language.

    I wonder if part of the reason there’s so much running around from characters — Jennifer getting knocked out and running around the house, Doc and Marty going all over the place and all over time to do things — is because there’s so much exposition. We need to combat the boring-ness of exposition with action! NEEDS MOAR ACTION.

    I like reinterpreting the “You know your history. Very good.” line as being sarcastic because it sounds really, really weird if Biff were being genuine.

    I love the idea of Biff inflating his own legend. I mean, he had to in order to have a museum based on his life and all, but I just like it cropping up in throwaway lines too. It’s so much of a habit that it’s reflex at this point for him.

    “Now I *know* you is a city slicka if’n you don’t know about Biff and then wagon fulla shit. See here, a loooong time ago….”

    The fact that Biff just accepts that George would’ve told his 5-year-old son about Biff driving into a manure truck because the new kid in town wasn’t about to let himself get killed is just so incredibly bizarre. Why would Biff believe that?

    Yeah, I know that Biff believing that time travel is possible would be even weirder, but there has to be something exceptionally hinky about George telling his
    youngest son about that story.

    Hahahaha, omg. I wouldn’t be surprised if Biff was *that* stupid. I could readily believe that Biff is surprised that Marty would remember George, since he was so little when Biff shot G– oh, um, when George was *tragically* murdered. Yeah. That.

    I do like the idea of Tiff being so forward-thinking that she doesn’t take her husband’s last name. Or maybe she decided she didn’t want the bum around, and decided to just stay with her parents or something.

    (I almost said “night” instead of “name”. Man, *that* would’ve been weird.)

    In the first movie, he wants Lorraine and you don’t get any idea of what he was going to do after high school. He could drag race, and he liked cars, but that’s about it. From there, Beta-Biff started his own auto-detailing business. It felt like an easy choice in terms of what kind of job he’d have when he was older.

    Eh, it’s your podcast. If you want to go off-topic, that’s your thing? If people didn’t like it, I imagine they’d stop listening?

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