Which riffing of an experiment’s end credits is your favorite?
The skewering of Manos (1966) would be mine. Recapping and mentioning the cast or crew while reviewing the flick in real time is a highlight of MST. Manos reprising highlights of the movie led to particularly good riffs.
The femmy movie battle between Mike and the Bots at the end of Alien from L.A.
A close second would be Servo’s defense of his claim that Being from Another Planet was the worst film they’ve ever done (up to that point, of course… he’d still have Monster a Go-Go and Manos to go in that very same season, the poor dope). Great callbacks to all the other movies they’ve riffed on.
Just watched Being From Another Planet (1982). This starts with “This movie sucks!” “THIS MOVIE sucks!!!” “This movie SUCKS!!!” The number of ways Servo says “Worse” as they list every other experiment cracks me up.
Too obvious? Maybe, but I have to go with TUSK!
Agreed. Gotta love Kevin Murphy’s verbal acrobatics to make his “worse!!!” deliveries varied AND hilarious.
Oh snap, I forgot about that! Good call!
Brilliant song medley. Just perfect!
Only The Castle of Fu Manchu (1969) matched Being (1982) as equally awful according to Servo. Memorable exchange.
This is before Manos (1966). So I wonder what he would say if it were mentioned.
Honestly? They were being too harsh on Being from Another Planet by equating it to The Castle of Fu Manchu.
Semi-related: although it wasn’t a sustained credits bit, I loved the brokenheartedness of Servo’s “Even the credits stink!” from the end of The Castle of Fu Manchu. A rare bright spot in a slog of an episode.
True. Being (1982) isn’t as bad as Kevin’s shtick. Nonetheless we largely remember it because of this moment. I do at least. The sleazy Egyptian POVs and flesh eating mold stand out as does the roasting during the credits.
The Movie riffing their own credits.
USA Network TV Movies from Outlaw.
All other options posted above are why I dig it whenever they stay for the end credits.
Agreed—TUSK! almost made me wet ‘em.
I don’t have very many gripes about the Jonah era, but I will say that I wish they had more end credit bits.
That being said, I really liked the discussion about the fate of the land at the end of Wizards of the Lost Kingdom I.
The end credits of Space Mutiny.
And the cinematic universe of Carnival Magic (1983) analysis as the end titles rolled amused me as Tom and Crow fabricated sequel names and offshoots.
I wish they had done more of the After Happily Ever After type sketches as seen with Soul Taker and Wizards of the Lost Kingdom. An experiment that could have really used one is City Limits. The Clippers come across as Designated Heroes who don’t do anything all that worthwhile. Meanwhile, the “evil” corporation is attempting to restore power and services to the derelict city, which doesn’t have a very fiendish vibe. When they do start committing overtly evil acts, it’s so over the top and out of left field that it’s difficult to take seriously.
He learned almost too late that man is a feeling creature… and, because of it, the greatest in the universe. He learned too late for himself that men have to find their own way, to make their own mistakes. There can’t be any gift of perfection from outside ourselves. And when men seek such perfection… they find only death… fire… loss… disillusionment… the end of everything that’s gone forward. Men have always sought an end to the toil and misery, but it can’t be given, it has to be achieved. There is hope, but it has to come from inside — from man himself.
Watching Squirm (1976) last night, I realized it qualifies. Fairly funny interplay.
dun dun dun… DUUUUUUUUUUUN DUUUUUUUUUUUUUUUUUUN