This time in the Never Seen It hot seat is Markus Seaberry, prolific Memphis film and television actor and co-host of the Black Nerd Power podcast. He had never seen the 1986 Jim Henson fantasy Labyrinth, which was released 35 years ago this summer. We set out to fix that oversight.
Chris McCoy: What do you know about Labyrinth?
Markus Seaberry: I know David Bowie is in it, Jennifer Connelly is in it, and Jim Henson put some Muppets in it. I didn’t see it, because, for my African American churchgoing parents, the trailer has to have Black people prominent in it, or it’s no deal. That’s true to this day. I tried to show them Slumdog Millionaire, and they were like, “Where’s the Black folks?”
CM: We talked for a long time about what movie you wanted to do, and you ended up picking this one. Why, out of all the films we discussed, did you pick this one, specifically?
MS: Because I feel like my eighties kid cred is not official until I see Labyrinth and The Dark Crystal. In the early days of my podcast, Black Nerd Power, my co-host Richard Douglas Jones, found out I had never seen them, and our friendship has never been the same.
CM: OK, time to save a friendship. Let’s go.
101 minutes later…
CM: You are now someone who has seen Labyrinth. What did you think?
MS: I’m freaking out. My mind is not used to so many practical effects! It’s been so long since I’ve seen a film like this, because everything now is just CGI’d to hell. And it’s great! I love the battle scene where you get live chickens, a puppet on a live dog, Muppets all around, puppeteers in the mix controlling the big monster Ludo, and then a live Jennifer Connolly. And it’s all mixing together like orderly chaos.
CM: It feels real, in a way that the Marvel movies don’t. It hit me during that scene that this film has a “Marvel third act,” where the heroes fight a faceless army that comes out of nowhere. I guess movies have been doing that for a long time. I may not have seen this movie since the ’80s. It came out while I was working in a movie theater, so I saw everything. I remember seeing it on VHS, too. It was a lot better than I remembered.
MS: I liked in the beginning, they show you a shot of Maurice Sendak’s Where The Wild Things Are. Then, in the closing credits, it said “Jim Henson acknowledges his debt to the works of Maurice Sendak.”
CM: Ludo looks like one of those big Wild Things.

CM: Like you said while we were watching it, there is a very strong Wizard of Oz thing going on. Our heroine is not following the Yellow Brick Road, but she’s finding her way through the labyrinth. There are also a lot of beats from Alice in Wonderland. Terry Jones wrote the first draft. It’s obvious that a lot more thought went into the story than you see in a lot of movies today. It’s a dude from Monty Python self-consciously trying to construct a fairy tale-like narrative. All those guys were super well-educated. I think Terry Jones went to Oxford.
MS: I dug it. Yo, we gotta talk about Bowie, man! I mean, wow! Normally in stuff like this, I prefer people to play it straight, because I feel like if you ham it up, it makes it a cartoon. But I think this needed to be kind of cartoony and over the top. Bowie hamming it up worked, and it was cool to hear him singing the songs in the middle. It gave a kind of a musical aspect.
CM: He’s so good. And you know, whenever he acts, he’s always great. Like in The Prestige, he’s Tesla, playing opposite Christian Bale, and it’s just perfect. But yeah, you’re right about playing villains low-key. I mean, I love seeing people go over the top if they do it right. It’s such a tightrope walk.
MS: He was just perfect the whole time.
CM: Another great actor who goes over-the-top in an eighties fantasy movie is Max Von Sydow in Flash Gordon.
MS: Ming the Merciless!
CM: He might be my favorite on-screen villain. But then, from around the same time, you’ve also got James Earl Jones as Thulsa Doom in Conan The Barbarian. He plays it straight, like you were saying, and it’s chilling.
CM: Those sets! There’s that one shot, where Ludo comes out of the top of the tower, and you see the whole city behind him. That was real!
MS: Hammers and nails created that, not ones and zeroes.

CM: And that scene when that room blows up, and Sarah flies out—they really did that!
MS: Well, she had a stunt double. The first thing I saw Jennifer Connelly in was The Rocketeer. She was young in that, but she was really young in this.
CM: She was 16. This is a super hard part. Can you imagine how long they were on set?
MS: It just seems like a lot of moving pieces.
CM: They were throwing everything at it, too. There was rear projection, there was green screen. There were all kinds of practical sets. There were puppets everywhere. The MC Escher sequence, that was insane. To me, it was better than the Escher sequence in Doctor Strange.
MS: Hey now, you know I’m a Marvel zombie, man.

CM: We need to talk about David Bowie’s penis.