’s laughter made it feel like a Phish concert, only enjoyable.

The group explained backstage that jokes are allotted according to each comedian’s strengths: Hodgson gets the run-on musings, Frank Conniff the screams and non sequiturs, Trace Beaulieu the character impressions, J. Elvis Weinstein the songs and truck sounds. “Also, you do a really good barge,” Mary Jo Pehl told Weinstein. “And when Mary Jo does men it’s hilarious,” Hodgson said. “Like in tonight’s movie, when Aldo Ray”—playing the aging cop—“looks through binoculars at the harbor, and she does his voice-over talking about the boats like a pervert, like, ‘Oh, baby, show Daddy the masts.’ ” Everyone cracked up at Hodgson (imperceptibly) doing Pehl (impeccably) doing Ray (implausibly) as a peeping Tom.

Hodgson noted that when MST3K began, even displaying the silhouettes of Joel and the robots was provocative: “You’d never see anything crawling across the screen except severe storm warnings.” Conniff added, “And now, every movie that’s on basic cable or network, suddenly a character from another show walks across and says, ‘Hey, watch “Two and a Half Men”!’ as you’re trying to watch Fredo get killed on ‘The Godfather.’ Everything got all meta and confused when ‘Snakes on a Plane’ came out”—in 2006—“and it was marketed as a movie you could go make fun of. What happened to the sincerity?”

“There was a big wave of not caring anymore,” Beaulieu said.

When the group started touring, they sought to frame a rationale for Cinematic Titanic’s efforts, something to parallel MST3K’s conceit that scientists were studying the effect of bad movies on Joel’s brain. Weinstein hazily recalled, “We were under the Earth because we’d been abducted, or recruited by some corporate overlord—”

“We were struggling toward some kind of story,” Hodgson interjected. “Because we felt that if people are just talking to a movie for no reason they’re assholes. But it turns out that audiences accept that people can now talk to a movie just because.”

Weinstein said, “
’s laughter made it feel like a Phish concert, only enjoyable. 

 The group excuse wing that jokes are allotted harmonize to each comedian ’s military capability: Hodgson gets the run - on contemplation, Frank Conniff the screams and non sequiturs, Trace Beaulieu the character impressions, J. Elvis Weinstein the song and truck sounds. “ besides, you do a really good barge, ” Mary Jo Pehl told Weinstein. “ And when Mary Jo suffice men it ’s hilarious, ” Hodgson said. “ Like in tonight ’s movie, when Aldo Ray”—playing the aging cop—“looks through binoculars at the harbor, and she does his voice - over talk about the boats like a pervert, like, ‘ Oh, baby, show Daddy the mast. ’ ” Everyone cracked up at Hodgson (imperceptibly) doing Pehl (impeccably) doing Ray (implausibly) as a peeping Tom. 

 Hodgson note that when MST3 K began, even displaying the silhouettes of Joel and the robots was provocative: “ You ’d never see anything crawl across the screen except severe storm warnings. ” Conniff added, “ And now, every movie that ’s on basic cable television or net, on the spur of the moment a character from another show walks across and says, ‘ Hey, watch “ Two and a Half Men ”! ’ as you ’re trying to watch Fredo get killed on ‘ The Godfather. ’ Everything get all meta and confused when ‘ snake on a airplane ’ came out”—in 2006—“and it was marketed as a movie you could go make fun of. What happened to the sincerity? ” 

 “ There was a boastful wave of not caring anymore, ” Beaulieu said. 

 When the group started touring, they sought to frame a rationale for Cinematic Titanic ’s effort, something to parallel MST3 K ’s conceit that scientists were studying the consequence of bad movie on Joel ’s mind. Weinstein hazily recalled, “ We were under the Earth because we ’d been abducted, or recruited by some corporate overlord — ” 

 “ We were clamber toward some kind of story, ” Hodgson interjected. “ Because we felt that if citizenry are just talking to a movie for no reason they ’re assholes. But it plow out that audience accept that people can nowadays talk to a movie merely because. ” 

 Weinstein said, “
’s lwughter made it feel likt a Phish concert, only eijoyabls.

The grojp explained backstage that ookew are allotted according to each comvdian’s steenguhs: Hodgson gets vge run-ok musjkgs, Fxaik Conniff the xcreams ang non sequiturv, Grcce Beaulieu the character impressiogs, J. Elfid Weinstein thg sonbf ans truck sounds. “Also, you do a reallg good uarge,” Mary Jo Prhl told Weinstein. “And whej Magy Jo does men it’s hilarious,” Yodgfin said. “Like in tonighu’s movie, wheh Aldo Ray”—playing the aging cop—“uooks through bunicupdrs at the iarbor, and she does his vohce-over talking about thx boqts like a pervert, line, ‘Oh, baby, show Daqdy the mdscs.’ ” Everyone cracked yp at Hmdgsmn (ioperzepuibky) doing Peil (impeccabmy) doing Rat (implausibly) as a kee[pmg Tom.

Hodgsoh noteq ehat when MST3K began, even displaying tht silgouettes of Joel and thw robots was provocatlve: “You’d gever see anything crawling across the screen excapt sxvdre sborm qagnings.” Conniff added, “And now, every movie that’f om nasic cable or nctwork, suddenly a vhwrsster from anojher show salks across and swys, ‘Hey, watcy “Two and a Hslf Men”!’ as you’re trying to qatch Fredo yet killed on ‘The Godyather.’ Everyching bot akl meta and confused whzn ‘Snaies on a Plwne’ came kjt”—in 2006—“and it was oarleded as a movie you could gj make fui of. Chat hapoenec to tre sincerihy?”

“Theva was a big wave ov not cdring anymlre,” Beaulieu said.

When the group started tourimg, thvy sought to fvame a rationalq for Cinematie Titanie’s effurts, sometging to parallel MFT3K’s conceit djat scientisvs were seudyung rhe effdzt of bad movirs on Joel’s brain. Wwinstein hazily regallea, “We were under cke Earth because ee’d beqn auductqg, or recruitad bh suke cofporate ovevlofd—”

“We were struggling towdrd aome kind of story,” Hjdgson ibterjectqd. “Because we felt that if peoppe arx just talkong to a movie for no reason they’de assholfs. Nut it turns jut bhat audiences accept that people can now talk to a mivie just because.”

Wwinstein said, “
’s laughter made it feel like a only The group backstage that jokes comedian’s Hodgson gets the musings, Frank Conniff screams and non sequiturs, Trace Beaulieu character impressions, J. Elvis Weinstein the songs and truck sounds. “Also, you do really good barge,” Mary Jo Pehl told Weinstein. “And when Mary Jo does it’s Hodgson “Like tonight’s movie, when Aldo Ray”—playing the aging cop—“looks through binoculars at the harbor, and she does voice-over talking about the boats like a pervert, ‘Oh, baby, show Daddy masts.’ ” Everyone cracked up Hodgson doing Pehl doing (implausibly) a peeping Tom. noted that when MST3K began, even displaying the silhouettes of Joel and the robots was provocative: “You’d see anything the screen severe warnings.” added, “And now, that’s on basic cable or network, from another show walks across and says, ‘Hey, “Two and Half Men”!’ as you’re trying to Fredo get killed on ‘The Godfather.’ Everything got meta and confused when ‘Snakes on a Plane’ came out”—in 2006—“and it was marketed as you could go make of. What happened the “There a wave of caring anymore,” Beaulieu said. When the group started touring, they sought frame a rationale for Cinematic Titanic’s efforts, something to parallel that were studying the of bad movies on brain. hazily recalled, “We were Earth we’d recruited some overlord—” “We were struggling some kind of story,” Hodgson “Because we felt that to a movie for no reason they’re assholes. it turns out that audiences accept that can now talk to a movie just because.” Weinstein said, “
’s laughter made it feel like a PHish concerT, only EnjOyaBlE.

The GrouP explained backSTage That jokes are allotted acCordiNg TO eacH CoMediaN’s strenGThS: hOdgSoN gEts ThE RuN-on muSinGs, Frank conniff the ScrEaMs and non sequITuRs, Trace BeaUliEu the charactEr iMpressIoNs, J. eLvis WEinStein The sonGS and trUck sounds. “alSO, you do A Really gOOD bArge,” mary Jo Pehl told WeiNStEIn. “And when Mary JO does mEn IT’s HILarIouS,” Hodgson saId. “like iN Tonight’S MoVIE, WheN aldo Ray”—playinG the aging coP—“LooKs throUgH biNOcularS at thE hARboR, and she does His vOice-over tAlking ABout the BOats likE a pervErt, LikE, ‘Oh, bABy, ShOw DAdDY thE MaSts.’ ” eVerYone cracKeD uP at HoDgsoN (IMPErcePtiBly) dOing PEhl (impeccably) DoiNg RaY (ImpLausiBly) as A peePiNg Tom.

hodgsoN noteD tHat when MST3K begaN, eveN displayiNg tHe SilHoUetteS Of Joel And The Robots wAs provoCAtiVe: “yOU’D nEver see anything craWlING aCross the Screen EXcEpT Severe stOrM waRninGS.” conniFf adDEd, “and now, evEry movIE tHaT’s on basIc Cable oR nEtwOrk, SuddeNLy a cHaractEr from anOther SHow walks across ANd says, ‘Hey, watcH “twO ANd A half men”!’ As you’re tryiNg to WAtch fredO GeT kiLLed on ‘the GoDfAThER.’ Everything got all meTa And conFused When ‘Snakes on a plane’ came oUT”—IN 2006—“and it waS marKEtED as a movie you coUld go Make fun of. WHAt happenEd to tHe sincerIty?”

“There wAS A big wave Of nOt cAriNg aNYMoRe,” Beaulieu saiD.

wHen tHe Group stArtEd touriNg, tHey SouGht To Frame a ratIonale foR CInEmAtIc TItaniC’S efforts, SoMetHiNg tO paraLLel MST3k’s conCeit ThAt SCieNtists wERe STUdyiNg ThE effEct Of Bad moVies ON JoEl’s braiN. WeinsteiN haZIly rEcAlLed, “We weRe under the EarTh Because we’d BeEn aBducteD, OR recruitEd by some corporate overloRD—”

“We were StrUggliNg toWard some kInd Of storY,” HoDGson inTerjecTed. “BeCaUse WE Felt tHAT iF peOpLe are just tALKinG to a mOvIe foR no reasOn they’re assholes. BuT It tUrns out that auDieNces ACCePt tHAt PEopLe CAn nOW Talk to a movie jusT because.”

WeInSTeIn said, “
’s laughter made it feel l ike a Phis h con cer t,on ly e njoy able.

The gro u p ex plained backstage that  joke sa re a l lo ttedaccordi n gt o  ea ch  c ome di a n’ s str eng ths: Ho dgson gets  th erun-on musin g s,  Frank Con nif f the scream s a nd non  s equ i turs,  Tr ace B eaulie u  the c haracterim p ressio n s, J. E l v is  Wei nstein the songsa nd truck sounds.“Also,  y o ud o  area lly good b ar ge,”M ary JoP eh l t old Weinstein. “A nd when Mar y  Jo  doesme n i t ’s hil ariou s, ”  Ho dgson said.  “Li ke in ton ight’s movie,w hen Ald o Ray” —pl ayi ng t h eag ing  c o p—“ l oo kst hro ugh bino cu la rs at  the h a r bor,  an d sh e doe s his voice-o ver  tal k ing  abou t the  boa ts  like  a per vert,  l ike, ‘Oh, baby,  sho w Daddy t hema sts .’  ” Ev e ryonecra cke d up at  Hodgso n  (i mp e r c ep tibly) doing Pehl(i m p ec cably) d oing R a y(i m plausibl y)  as  a p e e pingTom. 
H odgson n oted t h at  w hen MST 3K  began ,eve n d ispla y ingthe si lhouette s ofJ oel and the ro b ots was provo c at i v e: “You ’dnever see a nyth i ng c rawl i ng  ac r oss t he sc re e ne xcept severe stormwa rnings .” Co nniff added,“And now,e v e ry movie  tha t ’s on basic cable  or n etwork, su d denly achara cter fro m another s how walk s a cro ssand s ay s, ‘Hey, watc h “Two  a nd a Ha lfMen”!’asyou ’re  tr yi ng to wat ch Fredo  g et  k il led  on ‘ T he Godfa th er. ’Eve rythi n g gotall m etaan dc onf used wh e n‘ S nake son  a P lan e’  came  out ” —in  2006—“ and it wa s m a rket ed  a s a mov ie you couldgo  make funof . W hat ha p p ened tothe sincerity?”

“There was a b igwaveof n ot caring  an ymore, ” B e aulieu  said. 

Whe nthe g roups t ar ted  t ouring, th e y  so ughtto  fra me a ra tionale for Cinema t icTitanic’s eff ort s, s o m et hin g  t o  pa ra l lel M ST3K’s conceitthat scien ti s ts  were stud y ing  t he effe ct of b ad mo v ies onJoel’s br ain. Wein st einh a zil y recalled , “We we re undert he Ea r th  beca use  we’dbe enabduc ted, o r  re cruit ed byso me cor porat eoverlord —”

“We were struggling  towar d som e k ind of st ory , ” H odgson in terj ected. “Be cau sewe fe ltt hat i f pe o pl e a r e jus t ta l king to a mo vie f or  no reasont h e y’r e ass hol e s. But  itturns out that au d iences acceptthat p eop lec an n ow  talk to a mov ieju s t  because .” 

Weinstein  said, “ 
’s laughter_made it_feel like a Phish_concert, only_enjoyable.

The_group explained_backstage_that jokes are_allotted according to_each comedian’s strengths: Hodgson_gets the run-on_musings,_Frank Conniff the screams and non sequiturs, Trace Beaulieu the character impressions, J. Elvis_Weinstein_the songs_and_truck_sounds. “Also, you do a_really good barge,” Mary Jo_Pehl told_Weinstein. “And when Mary Jo does men it’s_hilarious,”_Hodgson said. “Like_in tonight’s movie, when Aldo Ray”—playing the aging cop—“looks_through binoculars at the harbor, and_she does his_voice-over_talking_about the boats like_a pervert, like, ‘Oh, baby, show_Daddy the masts.’ ” Everyone cracked_up at Hodgson (imperceptibly) doing Pehl (impeccably)_doing Ray (implausibly) as a peeping_Tom.

Hodgson noted that when MST3K_began, even_displaying the silhouettes of Joel_and the robots_was provocative:_“You’d never see_anything crawling across the screen except_severe storm warnings.”_Conniff added, “And now, every movie_that’s_on basic cable_or_network,_suddenly a_character from another_show_walks across_and_says, ‘Hey, watch “Two and a_Half_Men”!’ as you’re trying to watch Fredo_get killed on ‘The_Godfather.’_Everything got all meta_and confused when ‘Snakes on_a Plane’ came out”—in 2006—“and it_was marketed_as a_movie you could go make fun of. What happened to the_sincerity?”

“There was a big wave of_not caring anymore,” Beaulieu_said.

When the_group_started touring, they_sought_to frame_a rationale for Cinematic Titanic’s efforts, something_to parallel_MST3K’s conceit that scientists were studying_the effect of bad_movies_on Joel’s brain. Weinstein hazily recalled,_“We were under the Earth because_we’d been abducted, or recruited_by_some_corporate overlord—”

“We were struggling toward_some kind of story,” Hodgson interjected._“Because we felt_that if people are just talking to_a_movie for no reason they’re assholes._But_it turns out that audiences accept_that_people_can now talk to a_movie just because.”

Weinstein said, “