1 00:00:03,040 --> 00:00:06,080 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:10,600 --> 00:00:13,280 Speaker 2: Hey you welcome to Stuff to Blow your Mind. Listener mail. 3 00:00:13,360 --> 00:00:16,439 Speaker 3: This is Robert Lamb and this is Joe McCormick. And 4 00:00:16,560 --> 00:00:18,520 Speaker 3: it is Monday, the day of each week that we 5 00:00:18,600 --> 00:00:21,200 Speaker 3: read back messages from the Stuff to Blow Your Mind 6 00:00:21,320 --> 00:00:25,560 Speaker 3: email address, which is contact at stuff to Blow your 7 00:00:25,600 --> 00:00:28,600 Speaker 3: Mind dot com. If you have never gotten in touch before, 8 00:00:28,640 --> 00:00:31,400 Speaker 3: why not give it a shot. We always welcome feedback 9 00:00:31,400 --> 00:00:34,640 Speaker 3: to recent episodes. If you have something interesting you'd like 10 00:00:34,680 --> 00:00:37,120 Speaker 3: to add to a topic we've talked about, send it 11 00:00:37,159 --> 00:00:39,279 Speaker 3: on in. Of course, if you have corrections, those are 12 00:00:39,320 --> 00:00:42,040 Speaker 3: welcome to. If you would like to suggest a topic 13 00:00:42,080 --> 00:00:44,240 Speaker 3: for the future, or if you just want to say hi, 14 00:00:44,440 --> 00:00:46,400 Speaker 3: tell us who you are, tell us you know what 15 00:00:47,040 --> 00:00:49,800 Speaker 3: you like about the show, how you listen, anything like that, 16 00:00:50,400 --> 00:00:53,680 Speaker 3: send it on in contact at stuff to Blow your 17 00:00:53,720 --> 00:00:58,600 Speaker 3: Mind dot com. Let's see, rob we got so this 18 00:00:58,640 --> 00:01:00,760 Speaker 3: week is going to be very weird, how cinema heavy. 19 00:01:00,760 --> 00:01:02,960 Speaker 3: We got a lot of weird house messages to get through, 20 00:01:04,120 --> 00:01:07,120 Speaker 3: a lot of great feedback on things such as Gorgo 21 00:01:07,400 --> 00:01:11,199 Speaker 3: and other recent features on the show. But to kick 22 00:01:11,240 --> 00:01:13,200 Speaker 3: things off, we got a couple of messages in response 23 00:01:13,240 --> 00:01:17,000 Speaker 3: to our series on hermit crabs. I think I'm going 24 00:01:17,080 --> 00:01:19,920 Speaker 3: to do this one from long time correspondent Jim in 25 00:01:20,000 --> 00:01:20,640 Speaker 3: New Jersey. 26 00:01:21,040 --> 00:01:22,000 Speaker 2: All right, let's have it. 27 00:01:22,200 --> 00:01:24,920 Speaker 3: So this is in response to our discussion of a 28 00:01:24,959 --> 00:01:30,600 Speaker 3: phenomenon known as vacancy chains, which are observed in hermit 29 00:01:30,640 --> 00:01:34,600 Speaker 3: crabs as they compete for shells, but also in markets 30 00:01:34,600 --> 00:01:39,640 Speaker 3: for some human resources like housing and certain types of jobs. Basically, 31 00:01:40,560 --> 00:01:42,280 Speaker 3: the way it works is if you put a nice 32 00:01:42,400 --> 00:01:45,399 Speaker 3: empty snail shell in the middle of a bunch of 33 00:01:45,440 --> 00:01:48,720 Speaker 3: hermit crabs, one of them will come along and decide 34 00:01:48,760 --> 00:01:50,280 Speaker 3: they want it. They want to take it, so they 35 00:01:50,320 --> 00:01:53,120 Speaker 3: will discard their old shell and upgrade to the new 36 00:01:53,200 --> 00:01:57,080 Speaker 3: empty shell. But the process doesn't stop there because in 37 00:01:57,120 --> 00:02:00,720 Speaker 3: most cases, another hermit crab will come along and decide 38 00:02:00,720 --> 00:02:04,800 Speaker 3: to swap their current shell for the shell abandoned by 39 00:02:04,800 --> 00:02:07,960 Speaker 3: the first animal, so they leave their shell behind. Then 40 00:02:08,000 --> 00:02:10,160 Speaker 3: another one will come along and decide to swap for 41 00:02:10,240 --> 00:02:12,920 Speaker 3: that shell, and so on and so on and so. 42 00:02:13,000 --> 00:02:16,080 Speaker 3: The interesting thing about vacancy chains is that you only 43 00:02:16,120 --> 00:02:21,200 Speaker 3: put one new resource into the environment, but multiple individuals 44 00:02:21,240 --> 00:02:24,400 Speaker 3: in this market get a benefit. Only one new shell 45 00:02:24,480 --> 00:02:26,880 Speaker 3: goes in but maybe three or four or even more 46 00:02:26,919 --> 00:02:29,960 Speaker 3: crabs end up with a better shell than they started with. 47 00:02:35,400 --> 00:02:38,520 Speaker 3: So Jim in New Jersey says Robert, Joe, and JJ, 48 00:02:39,000 --> 00:02:42,280 Speaker 3: your discussion of human uses for vacancy chains as seen 49 00:02:42,320 --> 00:02:48,640 Speaker 3: by hermit crabs reminded me of kidney transplants. Yeah, I 50 00:02:48,680 --> 00:02:50,880 Speaker 3: hadn't even thought of this. This is really interesting, so 51 00:02:50,960 --> 00:02:54,360 Speaker 3: Jim says. The best donor for a kidney transplant is 52 00:02:54,440 --> 00:02:58,240 Speaker 3: often a blood relative, but sometimes there are no viable 53 00:02:58,320 --> 00:03:02,679 Speaker 3: matching donors in the family. A kidney transplant vacancy chain 54 00:03:02,720 --> 00:03:06,720 Speaker 3: occurs when a group of recipients and their donors are chained. 55 00:03:07,160 --> 00:03:09,480 Speaker 3: The donor may not be a good match for their 56 00:03:09,480 --> 00:03:12,120 Speaker 3: family member, but they may be a good match for 57 00:03:12,160 --> 00:03:16,680 Speaker 3: another recipient. The chain starts with someone receiving a kidney donation. 58 00:03:17,200 --> 00:03:20,320 Speaker 3: Their own willing family member donates a kidney to the 59 00:03:20,360 --> 00:03:23,280 Speaker 3: next person in the chain, which triggers a new donor, 60 00:03:23,400 --> 00:03:27,400 Speaker 3: et cetera, until the last willing donor has no current matches, 61 00:03:28,080 --> 00:03:32,840 Speaker 3: so the original kidney donation may trigger many donations. The 62 00:03:32,840 --> 00:03:37,120 Speaker 3: world record for the longest chain is thirty five recipients. 63 00:03:37,640 --> 00:03:41,240 Speaker 3: Oh wow, yeah, and I did click through. Jim includes 64 00:03:41,280 --> 00:03:43,680 Speaker 3: a link to a page that describes this. It's on 65 00:03:43,720 --> 00:03:47,280 Speaker 3: the Guinness World Records page and it cast So I 66 00:03:47,280 --> 00:03:51,000 Speaker 3: guess when a chain like this forms, they might sometimes 67 00:03:51,040 --> 00:03:52,960 Speaker 3: get a name. I'm not sure how that works, but 68 00:03:53,000 --> 00:03:56,880 Speaker 3: this chain was called chain three point fifty seven, suggests 69 00:03:56,880 --> 00:04:01,400 Speaker 3: a magnum. I don't know if that's a coincidence or what. Anyway, 70 00:04:01,640 --> 00:04:04,280 Speaker 3: Jim goes on to say Lloyd Shapley and Alvin Roth 71 00:04:04,360 --> 00:04:08,520 Speaker 3: received the twenty twelve Nobel Prize in Economics, which specifically 72 00:04:08,560 --> 00:04:13,240 Speaker 3: included kidney chains as one of the practical applications of 73 00:04:13,360 --> 00:04:18,279 Speaker 3: their work. So I think they were studying how resources 74 00:04:18,400 --> 00:04:21,320 Speaker 3: get allotted in sort of a market where people are 75 00:04:21,320 --> 00:04:23,599 Speaker 3: trying to find the best match for what they want, 76 00:04:24,040 --> 00:04:27,600 Speaker 3: and vacancy chains would have some overlap in similarities to 77 00:04:28,040 --> 00:04:29,400 Speaker 3: that kind of situation. 78 00:04:30,600 --> 00:04:31,440 Speaker 2: That's fascinating. 79 00:04:31,839 --> 00:04:33,320 Speaker 3: So I guess we can put this on the list 80 00:04:33,360 --> 00:04:36,359 Speaker 3: of human resources that do at least in part function 81 00:04:37,040 --> 00:04:40,080 Speaker 3: these like these hermit crab shells. So you've got housing, 82 00:04:40,279 --> 00:04:43,040 Speaker 3: you've got certain types of jobs, and to some extent 83 00:04:43,080 --> 00:04:47,200 Speaker 3: also you have kidneys. Now, this next message about hermit 84 00:04:47,240 --> 00:04:51,560 Speaker 3: crabs concerns a type of snail that came up multiple 85 00:04:51,600 --> 00:04:55,000 Speaker 3: times in our series on hermit crabs, the Narrates snails, 86 00:04:55,080 --> 00:04:57,920 Speaker 3: or the Narrite snails. We talked about them the most 87 00:04:57,960 --> 00:05:00,599 Speaker 3: in the context of an essay about her crabs by 88 00:05:00,640 --> 00:05:04,320 Speaker 3: Stephen J. Gould, in which he talked about the hermits 89 00:05:04,360 --> 00:05:07,960 Speaker 3: of Bermuda, which he often observed trying to fit into 90 00:05:08,040 --> 00:05:10,880 Speaker 3: snail shells that were way, way too small for them. 91 00:05:10,880 --> 00:05:14,159 Speaker 3: And these were the snails producing the shells in question. 92 00:05:14,880 --> 00:05:17,039 Speaker 2: This would be the whole deal with the wearing of 93 00:05:17,080 --> 00:05:19,839 Speaker 2: fossil shells that was so fascinating. 94 00:05:19,680 --> 00:05:21,520 Speaker 3: Right, So most of the hermit crabs were trying to 95 00:05:21,520 --> 00:05:23,680 Speaker 3: fit into shells that were too small, but the ones 96 00:05:23,720 --> 00:05:26,680 Speaker 3: that did have a bigger shell, that shell was usually 97 00:05:26,760 --> 00:05:27,320 Speaker 3: a fossil. 98 00:05:27,960 --> 00:05:35,880 Speaker 2: Yeah, so this one comes to us from Graham. Graham says, Hi, Rob, 99 00:05:36,000 --> 00:05:38,560 Speaker 2: Joe and jj. I hope everyone is well. A big 100 00:05:38,600 --> 00:05:42,159 Speaker 2: hello from Dorset in the UK. I've just listened to 101 00:05:42,360 --> 00:05:44,400 Speaker 2: part three of your series on the hermit crabs and 102 00:05:44,400 --> 00:05:47,719 Speaker 2: your discussion on naar eed snails piqued my interest. I 103 00:05:47,720 --> 00:05:50,440 Speaker 2: have a pet near eight snail called Jeff. He is 104 00:05:50,480 --> 00:05:55,360 Speaker 2: a Naerwi natalensis, otherwise known as a zebra nairide. You'll 105 00:05:55,400 --> 00:05:58,360 Speaker 2: see why if you look at the attached picture of him, 106 00:05:58,680 --> 00:06:01,880 Speaker 2: and yeah, look at that picture, I can definitely see 107 00:06:01,880 --> 00:06:04,799 Speaker 2: the why zebra would be the animal you'd want to invoke. 108 00:06:05,240 --> 00:06:08,200 Speaker 3: Right. So, the spiral shell has these stripes running along it. 109 00:06:08,560 --> 00:06:10,920 Speaker 3: They're sort of at least in this picture. I don't 110 00:06:10,920 --> 00:06:13,000 Speaker 3: know how much that's colored by the lighting, but they're 111 00:06:13,040 --> 00:06:15,840 Speaker 3: sort of alternating black and pale orange. 112 00:06:17,360 --> 00:06:20,920 Speaker 2: He continues, he lives in my freshwater aquarium with my fish. 113 00:06:21,000 --> 00:06:23,800 Speaker 2: He roams around for four or five days constantly, and 114 00:06:23,839 --> 00:06:26,159 Speaker 2: then sleeps for a day or so. In a day, 115 00:06:26,279 --> 00:06:29,040 Speaker 2: he can do several laps of the tank, clearing up 116 00:06:29,080 --> 00:06:32,880 Speaker 2: algae and other detritus as he goes. I include a 117 00:06:32,880 --> 00:06:35,280 Speaker 2: link to a short video I took of Jeff as 118 00:06:35,279 --> 00:06:37,479 Speaker 2: he moved over the glass of my tank, so you 119 00:06:37,520 --> 00:06:40,120 Speaker 2: can see the underside of his foot when he moves. 120 00:06:40,600 --> 00:06:44,159 Speaker 2: Watch out for his goofy teeth clearing algae from the 121 00:06:44,200 --> 00:06:48,200 Speaker 2: glass as he goes. I hope you found this interesting, Graham. 122 00:06:48,360 --> 00:06:51,120 Speaker 3: Now, Rob, I want to put your mind at ease 123 00:06:51,160 --> 00:06:53,719 Speaker 3: in case you're thinking about clicking on the video but 124 00:06:53,839 --> 00:06:57,680 Speaker 3: you are worried that this might be another bleeding tooth situation. 125 00:06:57,920 --> 00:07:02,239 Speaker 3: It is not that that when Jeff is talking, not Jeff, 126 00:07:02,320 --> 00:07:04,880 Speaker 3: Jeff is the snail's name. Sorry, when Graham is talking 127 00:07:04,920 --> 00:07:11,000 Speaker 3: about Jeff's teeth, I think, sorry, Graham is talking about 128 00:07:11,000 --> 00:07:14,040 Speaker 3: the snail's actual mouth, which you can see because the 129 00:07:14,040 --> 00:07:16,480 Speaker 3: snails crawling along the opposite side of the glass of 130 00:07:16,520 --> 00:07:19,800 Speaker 3: the tank and it's flexing its little mouth as it 131 00:07:19,800 --> 00:07:22,840 Speaker 3: looks for algae to scrape up. This is not the 132 00:07:24,120 --> 00:07:27,400 Speaker 3: disgusting looking, bleeding teeth that are actually just part of 133 00:07:27,440 --> 00:07:31,120 Speaker 3: the shell of a specific naryight snail. We talked about 134 00:07:31,120 --> 00:07:33,600 Speaker 3: that in the episode two, one of the most horrifying 135 00:07:33,680 --> 00:07:35,840 Speaker 3: visions of a molluscu I've ever seen. 136 00:07:36,360 --> 00:07:38,360 Speaker 2: Yeah, this is more on the adorable end of the 137 00:07:38,680 --> 00:07:40,400 Speaker 2: snail observation spectrum here. 138 00:07:40,640 --> 00:07:43,640 Speaker 3: I agree. This is really cute, So thank you for sharing, Graham. 139 00:07:44,200 --> 00:07:45,840 Speaker 2: All right, well, let's get into some of these weird 140 00:07:45,880 --> 00:07:48,480 Speaker 2: house cinema messages. I understand we've got a lot of 141 00:07:48,480 --> 00:07:49,760 Speaker 2: gorgo content. 142 00:07:50,120 --> 00:07:53,000 Speaker 3: Yes we do, so let's see. I don't know what's 143 00:07:53,040 --> 00:07:55,080 Speaker 3: the best order to do these, And I think I 144 00:07:55,120 --> 00:07:56,560 Speaker 3: got to start with this one because I got to 145 00:07:56,600 --> 00:08:01,400 Speaker 3: partially apologize to a listener here and explain my logic 146 00:08:01,480 --> 00:08:10,560 Speaker 3: in regards to bow ties, So Chris writes in and says, 147 00:08:10,640 --> 00:08:13,240 Speaker 3: Joe and Robert on the recent Weird House episode about 148 00:08:13,240 --> 00:08:16,080 Speaker 3: the British Kaiju film Gorgo, one of you made a 149 00:08:16,120 --> 00:08:20,560 Speaker 3: remark about the character Dorkin. Dorkin is the circus operator 150 00:08:20,600 --> 00:08:25,320 Speaker 3: in Gorgo, who, essentially London is attacked by Gorgo's mother 151 00:08:26,040 --> 00:08:29,680 Speaker 3: almost exclusively to prevent Dorkin from losing out on profits 152 00:08:29,760 --> 00:08:34,760 Speaker 3: that he would otherwise acquire. So Chris says that we 153 00:08:34,840 --> 00:08:38,400 Speaker 3: described Dorkin as a quote, pencil mustache to bow tie 154 00:08:38,440 --> 00:08:42,560 Speaker 3: wearing money freak. I did say that, Chris says, as 155 00:08:42,640 --> 00:08:46,360 Speaker 3: a longtime wearer of bow ties, self tied, not clip on. 156 00:08:46,880 --> 00:08:50,880 Speaker 3: I found that a potentially offensive characterization. I am guessing 157 00:08:50,920 --> 00:08:54,120 Speaker 3: other listeners might feel similarly, especially since the bow tie's 158 00:08:54,200 --> 00:08:58,760 Speaker 3: recent revival as stylish, tasteful, and practical apparel. Perhaps due 159 00:08:58,760 --> 00:09:01,839 Speaker 3: to my over fifty years of effort. You can make 160 00:09:01,880 --> 00:09:06,680 Speaker 3: amends by doing an episode on creation of the Humanoids. Chris, Well, 161 00:09:07,000 --> 00:09:10,120 Speaker 3: thank you for the message. Chris. I do apologize. I 162 00:09:10,160 --> 00:09:14,760 Speaker 3: did not mean to attack anything about your fashion choices. 163 00:09:15,000 --> 00:09:17,520 Speaker 3: I do have to partially defend my logic here, so 164 00:09:17,640 --> 00:09:21,200 Speaker 3: I would never insult the bow tie. In principle, I 165 00:09:21,240 --> 00:09:24,040 Speaker 3: totally agree it can look great. It's part of a 166 00:09:24,200 --> 00:09:27,960 Speaker 3: fantastic signature look for lots of people, both modern and historical. 167 00:09:28,040 --> 00:09:30,400 Speaker 3: For some reason, I was trying to think of like 168 00:09:30,520 --> 00:09:32,880 Speaker 3: people who I love the bow tie look of, and 169 00:09:32,880 --> 00:09:35,240 Speaker 3: the people who came to mind are Groucho Marx and 170 00:09:35,280 --> 00:09:39,120 Speaker 3: Abraham Lincoln. You gotta admit they both did rock a 171 00:09:39,160 --> 00:09:43,520 Speaker 3: bow tie. But I think you'll also have to admit, Chris, 172 00:09:43,600 --> 00:09:46,880 Speaker 3: that while there is absolutely nothing wrong with the bow 173 00:09:46,920 --> 00:09:50,000 Speaker 3: tie on its own, in certain cases it is part 174 00:09:50,040 --> 00:09:52,880 Speaker 3: of a different kind of signature look, and in those 175 00:09:52,960 --> 00:09:57,120 Speaker 3: cases that signature look has negative connotations. And I think 176 00:09:57,120 --> 00:10:00,560 Speaker 3: there are a lot of fashion accessories like this one. 177 00:10:00,600 --> 00:10:04,359 Speaker 3: Another one that came to my mind is like Aviator sunglasses. 178 00:10:04,760 --> 00:10:07,679 Speaker 3: So they look cool, there's absolutely nothing wrong with them 179 00:10:07,679 --> 00:10:11,520 Speaker 3: in principle as part of many people and characters looks. 180 00:10:11,600 --> 00:10:15,160 Speaker 3: They look really great, but there is also a signature, 181 00:10:15,280 --> 00:10:19,760 Speaker 3: kind of cocky jerk look that would feature Aviator sunglasses. 182 00:10:20,080 --> 00:10:22,320 Speaker 3: I think the bow tie is the same you know, 183 00:10:22,480 --> 00:10:24,720 Speaker 3: on some people it looks great, but it's also a 184 00:10:24,720 --> 00:10:28,160 Speaker 3: core part of Dorkin. The character wouldn't be Dorkin without 185 00:10:28,200 --> 00:10:31,160 Speaker 3: the bow tie, and yet it remains a wonderful part 186 00:10:31,200 --> 00:10:34,480 Speaker 3: of Groucho or Fred Astaire or you know whoever else. 187 00:10:34,679 --> 00:10:37,160 Speaker 3: So I have full faith that you are one of 188 00:10:37,200 --> 00:10:39,520 Speaker 3: the people who knows what you're doing with the bow tie. 189 00:10:39,600 --> 00:10:42,679 Speaker 3: You wear it well, looks great on you, and congratulations 190 00:10:42,679 --> 00:10:43,000 Speaker 3: for that. 191 00:10:43,840 --> 00:10:45,840 Speaker 2: All right, And well, I guess you know we'll have 192 00:10:45,880 --> 00:10:48,679 Speaker 2: to cover a creation of the humanoids at some point. 193 00:10:48,920 --> 00:10:52,600 Speaker 2: We either keep hearing requests for it or this one 194 00:10:52,640 --> 00:10:55,559 Speaker 2: listener keeps requesting it. Maybe it's the latter. 195 00:10:55,800 --> 00:10:57,600 Speaker 3: I think that one came up when a listener was 196 00:10:57,720 --> 00:11:01,320 Speaker 3: describing a movie to us that they couldn't remember the 197 00:11:01,440 --> 00:11:04,560 Speaker 3: name of and we were trying to figure out what 198 00:11:04,600 --> 00:11:07,040 Speaker 3: it was, and that was one of the candidates. Does 199 00:11:07,040 --> 00:11:07,880 Speaker 3: this sound familiar? 200 00:11:09,000 --> 00:11:11,920 Speaker 2: This does sound familiar. Yeah, it's also come up, of 201 00:11:11,920 --> 00:11:14,760 Speaker 2: course because it's uh, it's part of the filmography of 202 00:11:14,840 --> 00:11:15,680 Speaker 2: Dudley Man Love. 203 00:11:16,120 --> 00:11:20,680 Speaker 3: Oh that of course, there you go of Plan nine 204 00:11:20,679 --> 00:11:23,160 Speaker 3: from Outer Space. Fame, Yes, yours, yours? 205 00:11:23,240 --> 00:11:26,319 Speaker 2: What your was it? Your stupid lot? Was it? Stupid lives, 206 00:11:26,360 --> 00:11:31,920 Speaker 2: your stupid minds, your stupid mind, stupid stupid Yes, great performance. 207 00:11:31,960 --> 00:11:34,160 Speaker 2: He's sadly not the lead of creation of the human rights, 208 00:11:34,160 --> 00:11:36,560 Speaker 2: but at any rate, still still worth a peek at 209 00:11:36,600 --> 00:11:39,439 Speaker 2: some point. All right, This next one comes to us 210 00:11:39,480 --> 00:11:47,360 Speaker 2: from column. Colum writes, and it says, Hi, guys, just 211 00:11:47,400 --> 00:11:49,840 Speaker 2: watch Gorgo last night, and watch with interest the first 212 00:11:49,840 --> 00:11:51,920 Speaker 2: part of the film, which you said was set in Ireland. 213 00:11:52,280 --> 00:11:54,160 Speaker 2: I wanted to see if I could recognize any of 214 00:11:54,200 --> 00:11:58,000 Speaker 2: the locations used. Turns out the location was not any 215 00:11:58,080 --> 00:12:01,320 Speaker 2: rugged and remote island off the Way coast, but actually 216 00:12:01,400 --> 00:12:04,400 Speaker 2: right here in Dublin, in the suburbs. It's a place 217 00:12:04,520 --> 00:12:08,720 Speaker 2: called Dalki. I have included some Google map but links 218 00:12:08,760 --> 00:12:11,319 Speaker 2: and some photos with the email. There are a couple 219 00:12:11,320 --> 00:12:14,320 Speaker 2: of small islands just a few hundred meters off the coast, 220 00:12:14,559 --> 00:12:17,160 Speaker 2: and the little harbor they used is right there also. 221 00:12:17,960 --> 00:12:21,160 Speaker 2: Dalki is a very affluent suburb on the south side 222 00:12:21,200 --> 00:12:24,160 Speaker 2: of Dublin Bay. It's home to Bono and Edge of 223 00:12:24,200 --> 00:12:27,760 Speaker 2: You Two, Van Morrison, Anya, and a host of other 224 00:12:27,800 --> 00:12:33,640 Speaker 2: celebrities and notable figures. I remember hearing about that. I 225 00:12:33,640 --> 00:12:37,080 Speaker 2: think like Matt Damon was over there during the pandemic 226 00:12:37,160 --> 00:12:39,120 Speaker 2: or something and was talking about living there, And I 227 00:12:39,160 --> 00:12:44,079 Speaker 2: remember getting poked fun of in various like late night 228 00:12:44,120 --> 00:12:46,240 Speaker 2: comedy bits because it was I guess it was like, 229 00:12:46,280 --> 00:12:48,320 Speaker 2: you know, big celebrity being down to earth, just talking 230 00:12:48,320 --> 00:12:52,440 Speaker 2: about how nice the super affluent suburb this living in was. 231 00:12:53,000 --> 00:12:54,920 Speaker 2: But I but I remember talking about like like his 232 00:12:55,040 --> 00:12:58,040 Speaker 2: neighbor was Anya and so forth. Anyway, he goes on 233 00:12:58,080 --> 00:13:02,280 Speaker 2: to include yeah, some links, some photos, and I know, 234 00:13:02,320 --> 00:13:04,200 Speaker 2: for for our part, I think we just had to 235 00:13:04,240 --> 00:13:07,680 Speaker 2: look at these and imagine a Gorgo in the shot, 236 00:13:07,840 --> 00:13:09,320 Speaker 2: and then we might be able to say, oh, yeah, 237 00:13:09,320 --> 00:13:13,520 Speaker 2: this is definitely it. This looks exactly like the Gorgo area. 238 00:13:13,559 --> 00:13:15,640 Speaker 3: No doubt at all for me, Rob, especially if you 239 00:13:15,679 --> 00:13:19,680 Speaker 3: scroll down to the pictures of Collimore Harbor that column 240 00:13:19,679 --> 00:13:22,720 Speaker 3: included here, M yeah, you see these, like oh yeah, 241 00:13:22,760 --> 00:13:25,319 Speaker 3: this is where. This is where they came in on 242 00:13:25,440 --> 00:13:28,719 Speaker 3: the dinghy. This is where they walked up to go 243 00:13:28,760 --> 00:13:32,480 Speaker 3: to the harbor master's shack and meet with the scheming 244 00:13:32,559 --> 00:13:34,920 Speaker 3: archaeologist who is trying to keep all the Viking gold 245 00:13:34,960 --> 00:13:38,640 Speaker 3: for himself. This is where Gorgo attacks first, before he's 246 00:13:38,679 --> 00:13:41,440 Speaker 3: even called Gorgo, when he's just Ogre, the sea spirit, 247 00:13:41,920 --> 00:13:44,720 Speaker 3: a giant rat attacking the harbor. This is where they 248 00:13:44,840 --> 00:13:47,760 Speaker 3: throw fire at him and drive him back into the water. 249 00:13:48,720 --> 00:13:51,240 Speaker 3: It's all there and I can see it. And also, yeah, 250 00:13:51,280 --> 00:13:54,880 Speaker 3: the little island, Dalky Island is beautiful. I'd like to 251 00:13:54,880 --> 00:13:58,239 Speaker 3: walk around on it. And I think I must recognize 252 00:13:58,280 --> 00:14:00,320 Speaker 3: that from the movie too. That might be so in 253 00:14:00,320 --> 00:14:04,080 Speaker 3: the background of maybe some of the I don't know 254 00:14:04,120 --> 00:14:05,839 Speaker 3: what the effect would be called, but you know where 255 00:14:05,840 --> 00:14:09,320 Speaker 3: they've got Gorgo in the foreground and this location shot 256 00:14:09,320 --> 00:14:10,079 Speaker 3: in the background. 257 00:14:10,679 --> 00:14:12,040 Speaker 2: Yeah. Oh, and then they need to build like a 258 00:14:12,040 --> 00:14:12,959 Speaker 2: bronze statue of. 259 00:14:12,880 --> 00:14:17,520 Speaker 4: Gorgo, right, Yes, that would fit right in. Yeah, celebrate, well, 260 00:14:17,559 --> 00:14:20,240 Speaker 4: thank you call them? Yeah, yeah, thanks for sending in 261 00:14:20,280 --> 00:14:23,520 Speaker 4: these shots. Always it's always fun to hear about anyone's 262 00:14:24,240 --> 00:14:27,760 Speaker 4: personal connection to various locations featured in these films. 263 00:14:28,280 --> 00:14:33,080 Speaker 3: I agree. Actually, yes, message to listeners if you have physical, direct, 264 00:14:33,080 --> 00:14:35,960 Speaker 3: physical access to a location where a movie we talked 265 00:14:36,000 --> 00:14:37,720 Speaker 3: about was shot, and you want to send us photos 266 00:14:37,720 --> 00:14:39,960 Speaker 3: of it and stuff, please do Yeah. 267 00:14:40,080 --> 00:14:42,680 Speaker 2: Yeah, I mean, it's it's always great. I you know, 268 00:14:43,080 --> 00:14:45,440 Speaker 2: we've talked about a few films that have been shot 269 00:14:45,480 --> 00:14:49,920 Speaker 2: in places that either around the Atlanta area or places 270 00:14:49,920 --> 00:14:52,600 Speaker 2: we've traveled to, and yeah, I always appreciate that connection, 271 00:14:52,760 --> 00:14:55,480 Speaker 2: you know, where it's like, yeah, this is this is where, 272 00:14:56,000 --> 00:14:58,640 Speaker 2: this is this is where John Saxon came out of 273 00:14:58,680 --> 00:15:02,400 Speaker 2: the subway. That's actually the artist system before he turned 274 00:15:02,400 --> 00:15:03,760 Speaker 2: into a cannibal, that sort of thing. 275 00:15:04,080 --> 00:15:06,800 Speaker 3: Yeah, Marta is in the deleted scenes and Escape from New. 276 00:15:06,800 --> 00:15:09,760 Speaker 2: York too, that's right. Yeah, sometimes I like to go 277 00:15:09,840 --> 00:15:12,800 Speaker 2: to the museum here in Atlanta, which of course is 278 00:15:12,840 --> 00:15:17,360 Speaker 2: the very place that doctor Hannibal Lecter was sequestered in 279 00:15:17,440 --> 00:15:22,960 Speaker 2: the film Manhunter. Manhunter, Yes, the adaptation of Red Dragon. 280 00:15:23,640 --> 00:15:25,320 Speaker 2: So yeah, there are all sorts of fun and creos 281 00:15:25,400 --> 00:15:26,400 Speaker 2: like that. I love it. 282 00:15:26,960 --> 00:15:29,200 Speaker 3: But that was Brian Cox's Hannibal Lecter of course. 283 00:15:29,280 --> 00:15:32,120 Speaker 2: That yeah, that was og Hannibal Lecter. 284 00:15:32,280 --> 00:15:44,720 Speaker 3: Yeah, all right. This next message is from Roberta. Roberta says, 285 00:15:44,960 --> 00:15:47,560 Speaker 3: I've been thinking about writing in since you covered the 286 00:15:47,640 --> 00:15:52,280 Speaker 3: Magic Sword on Weird House. Now, Rob, we haven't done 287 00:15:52,320 --> 00:15:54,400 Speaker 3: an episode on the Magic Sword, but I know the 288 00:15:54,440 --> 00:15:57,800 Speaker 3: Magic Sword came up in another episode. Was it when 289 00:15:57,800 --> 00:15:59,800 Speaker 3: we were talking about Attack of the Puppet People? 290 00:16:00,480 --> 00:16:03,200 Speaker 2: Possibly? Because Yeah, this is a bird Eye Gordon film 291 00:16:03,400 --> 00:16:06,320 Speaker 2: that I've seen before. It was featured on MST three K. 292 00:16:06,440 --> 00:16:10,560 Speaker 2: It has Basle Rathbone in it and Estelle Lynnwood, Gary Lockwood. 293 00:16:11,520 --> 00:16:14,200 Speaker 2: It's a lot of fun, and I remember a sort 294 00:16:14,200 --> 00:16:16,480 Speaker 2: of like putting a pin in it that we might 295 00:16:16,480 --> 00:16:17,800 Speaker 2: come back to this one in the future. 296 00:16:18,240 --> 00:16:20,320 Speaker 3: I remember the same. Yeah, it's on my mental list 297 00:16:20,400 --> 00:16:22,880 Speaker 3: for the show. So that must be what Roberta is 298 00:16:22,920 --> 00:16:25,720 Speaker 3: referring to here. So Roberta says, recently, you mentioned that 299 00:16:25,800 --> 00:16:28,040 Speaker 3: you'd love to hear from people who saw the movies 300 00:16:28,120 --> 00:16:31,920 Speaker 3: during their original releases. I saw The Magic Sword during 301 00:16:31,920 --> 00:16:35,400 Speaker 3: its original release at a drive in. I was three 302 00:16:35,600 --> 00:16:38,120 Speaker 3: or four years old, and it was supposed to be 303 00:16:38,200 --> 00:16:41,120 Speaker 3: a kids movie. This, of course was my very first 304 00:16:41,160 --> 00:16:45,680 Speaker 3: exposure to movie acid pools and movie quicksand I sat 305 00:16:45,680 --> 00:16:48,680 Speaker 3: in the far back part of the station wagon in 306 00:16:48,720 --> 00:16:52,960 Speaker 3: my pajamas, absolutely terrified. I went through my childhood with 307 00:16:53,040 --> 00:16:56,520 Speaker 3: a real fear of being dissolved in acid or being 308 00:16:56,560 --> 00:16:59,240 Speaker 3: smothered in quicksand not to mention the fear of being 309 00:16:59,320 --> 00:17:05,360 Speaker 3: ensorceled real witches. I can really sympathize with you there, Roberta. 310 00:17:05,480 --> 00:17:09,680 Speaker 3: I also had when I was younger for some reason, 311 00:17:09,760 --> 00:17:11,879 Speaker 3: I really don't remember what triggered this, but I remember 312 00:17:11,920 --> 00:17:14,640 Speaker 3: when I was young, I had an intense fear of 313 00:17:14,720 --> 00:17:17,680 Speaker 3: like quicksand or of just being buried in sand, It 314 00:17:17,720 --> 00:17:21,359 Speaker 3: was like an image that captivated my mind, and I 315 00:17:21,400 --> 00:17:23,560 Speaker 3: don't know exactly where it came from. It was horrifying. 316 00:17:23,840 --> 00:17:25,479 Speaker 2: Yeah, I mean, it's a clear and present danger if 317 00:17:25,480 --> 00:17:28,199 Speaker 2: you're just going off of various films they're airing on 318 00:17:28,359 --> 00:17:31,440 Speaker 2: like a on TPS on a Sunday afternoon, that sort 319 00:17:31,480 --> 00:17:31,720 Speaker 2: of thing. 320 00:17:33,040 --> 00:17:36,120 Speaker 3: ROBERTA continues. This was the first feature at the drive 321 00:17:36,160 --> 00:17:38,199 Speaker 3: in that night, after which my older sister and I 322 00:17:38,240 --> 00:17:41,600 Speaker 3: were expected to fall asleep while mom and Dad watched 323 00:17:41,640 --> 00:17:44,840 Speaker 3: the second feature, which we weren't supposed to watch, But 324 00:17:45,160 --> 00:17:47,600 Speaker 3: as as soon as the music came up, I was 325 00:17:47,720 --> 00:17:51,359 Speaker 3: riveted to the screen. The second feature was Gypsy, the 326 00:17:51,480 --> 00:17:55,280 Speaker 3: musical about the famous stripper Gypsy rose Lee. This went 327 00:17:55,320 --> 00:17:58,119 Speaker 3: a long way toward calming my fears. I became lost 328 00:17:58,119 --> 00:18:01,000 Speaker 3: in the music. Unfortunately, we were new in town, and 329 00:18:01,040 --> 00:18:03,679 Speaker 3: I went around singing my favorite song from the movie 330 00:18:04,119 --> 00:18:08,119 Speaker 3: If Mama was married in nineteen sixty three, This was 331 00:18:08,160 --> 00:18:11,520 Speaker 3: some serious scandal anyhow. I wouldn't say the magic Sword 332 00:18:11,600 --> 00:18:14,200 Speaker 3: scarred me for life, but it definitely scarred me for 333 00:18:14,320 --> 00:18:17,520 Speaker 3: my childhood. Many thanks for your well researched podcast. Of 334 00:18:17,560 --> 00:18:20,919 Speaker 3: all types. When my friends start complaining about their various ailments. 335 00:18:21,200 --> 00:18:24,200 Speaker 3: I tried out random facts from your podcasts, like about 336 00:18:24,200 --> 00:18:27,320 Speaker 3: how lobsters have one cutting claw and one grinding claw. 337 00:18:27,680 --> 00:18:30,399 Speaker 3: It really helps to get people talking about something interesting. 338 00:18:30,760 --> 00:18:34,679 Speaker 3: Thanks again, Roberta. Oh well, thank you, Roberta. That's heartwarming 339 00:18:34,720 --> 00:18:35,000 Speaker 3: to hear. 340 00:18:35,440 --> 00:18:37,240 Speaker 2: Yeah, and this is why you should You should keep 341 00:18:37,240 --> 00:18:39,760 Speaker 2: a lobster on you at all times as a conversation starter. 342 00:18:39,920 --> 00:18:42,800 Speaker 2: You know, you know, if somebody starts talking about politics 343 00:18:43,119 --> 00:18:45,960 Speaker 2: at a dinner, they just bust out a lobster instantly, 344 00:18:46,840 --> 00:18:49,560 Speaker 2: just cleanses the palate, instantly changes the subject. 345 00:18:49,680 --> 00:18:51,800 Speaker 3: Let's talk about the bleeding tooth naried. 346 00:18:54,000 --> 00:18:55,960 Speaker 2: All right, Well, I think there's only one listener mail 347 00:18:56,000 --> 00:18:57,600 Speaker 2: we can go to from that. Since we're on the 348 00:18:57,640 --> 00:19:01,639 Speaker 2: subject of content in a scarring one for life and 349 00:19:01,680 --> 00:19:09,800 Speaker 2: so forth, this one comes to us from Jeff. Jeff says, 350 00:19:09,800 --> 00:19:13,360 Speaker 2: Greetings science humans. First of all, I wanted to thank 351 00:19:13,400 --> 00:19:16,840 Speaker 2: you for attempting to express just how horrible Emil's death 352 00:19:16,920 --> 00:19:19,680 Speaker 2: is in RoboCop. To this day, I do not care 353 00:19:19,720 --> 00:19:22,000 Speaker 2: for body heart. And while RoboCop was one of my 354 00:19:22,000 --> 00:19:25,679 Speaker 2: favorite movies as a kid, experiencing that scene once was 355 00:19:25,760 --> 00:19:28,480 Speaker 2: quite enough for me. Ever since, I have averted my 356 00:19:28,560 --> 00:19:31,639 Speaker 2: eyes from that part of the film, which, as you noted, 357 00:19:31,880 --> 00:19:35,480 Speaker 2: just keeps going on. Somehow, it makes me feel better 358 00:19:35,560 --> 00:19:40,040 Speaker 2: that even you guys were struck by its awfulness, truly revolting. 359 00:19:40,119 --> 00:19:41,320 Speaker 3: Correct on all counts. 360 00:19:41,400 --> 00:19:44,160 Speaker 2: Yep, Yeah, absolutely, it was hard to watch this when 361 00:19:44,160 --> 00:19:49,679 Speaker 2: I rewatched it in December. Anyway, Jeff continues, I'm a 362 00:19:49,680 --> 00:19:51,840 Speaker 2: bit older than you, so to me, the weirdest thing 363 00:19:51,840 --> 00:19:54,720 Speaker 2: about Robocop's appearance on Weird House was that this is 364 00:19:54,760 --> 00:19:56,879 Speaker 2: an obvious classic and one of the best movies of 365 00:19:56,920 --> 00:19:59,119 Speaker 2: the eighties. As if you dug up a little known 366 00:19:59,200 --> 00:20:04,119 Speaker 2: nugget called cast Blanca for us, you know, I have. 367 00:20:04,240 --> 00:20:05,919 Speaker 2: It has crossed my mind before. It's like, what if 368 00:20:05,920 --> 00:20:08,200 Speaker 2: we did Casablanca? What if we just did Castle Blanka 369 00:20:08,200 --> 00:20:09,960 Speaker 2: on Weird House. It's not weird, but like as a 370 00:20:10,000 --> 00:20:13,440 Speaker 2: one off, like it could be fun. It's got weird 371 00:20:13,440 --> 00:20:14,040 Speaker 2: actors in it. 372 00:20:15,040 --> 00:20:16,280 Speaker 3: Yeah, Peter Lourie all that. 373 00:20:16,840 --> 00:20:17,240 Speaker 2: Yeah. 374 00:20:17,680 --> 00:20:20,439 Speaker 3: I've mentioned a few times before in summarizing the show 375 00:20:20,480 --> 00:20:22,960 Speaker 3: that on Weird House we will cover movies that are 376 00:20:23,000 --> 00:20:26,520 Speaker 3: good or bad, well known or obscure. Uh, the only 377 00:20:26,560 --> 00:20:29,720 Speaker 3: real criterion is that they're weird. I guess with the 378 00:20:30,600 --> 00:20:33,960 Speaker 3: secondary unspoken criterion that like, they're weird and there's something 379 00:20:34,000 --> 00:20:36,879 Speaker 3: we actually want to talk about. You know, there are 380 00:20:36,920 --> 00:20:40,480 Speaker 3: plenty of weird movies that I would not be very 381 00:20:40,480 --> 00:20:43,000 Speaker 3: interested in watching or would not be very interested in 382 00:20:43,040 --> 00:20:44,439 Speaker 3: talking about for ninety minutes. 383 00:20:44,800 --> 00:20:48,480 Speaker 2: Yeah, and sometimes they're boring, you know. Yeah, but and 384 00:20:48,520 --> 00:20:50,560 Speaker 2: sometimes they're boring in just the right way. So it's yeah, 385 00:20:50,560 --> 00:20:52,680 Speaker 2: it's really hard to nail down exactly what makes it 386 00:20:53,040 --> 00:20:56,119 Speaker 2: a weird house selection other than like, can weirdness be 387 00:20:56,240 --> 00:21:00,320 Speaker 2: isolated in this sample anyway? Jeff continues and says, but 388 00:21:00,400 --> 00:21:03,680 Speaker 2: I can imagine what expectations might be if your first 389 00:21:03,720 --> 00:21:06,760 Speaker 2: exposure to it RoboCop was looking at the box on 390 00:21:06,800 --> 00:21:10,359 Speaker 2: the video store shelf next to something like Eliminators. And 391 00:21:10,480 --> 00:21:13,359 Speaker 2: I certainly see the value of directing listeners to a 392 00:21:13,359 --> 00:21:15,720 Speaker 2: film that, on the surface appears to be a standard 393 00:21:15,720 --> 00:21:18,640 Speaker 2: boring eight shoot them up. It is it is worth noting, yeah, 394 00:21:18,640 --> 00:21:20,119 Speaker 2: that if you're just going off of the like the 395 00:21:20,200 --> 00:21:23,960 Speaker 2: VHS box art and so forth, you know, a lot 396 00:21:23,960 --> 00:21:26,719 Speaker 2: of these films appeared to be on equal footing, and 397 00:21:26,960 --> 00:21:29,600 Speaker 2: especially in my experienced, films that you didn't get to 398 00:21:29,640 --> 00:21:31,280 Speaker 2: see or you weren't allowed to see at the time, 399 00:21:31,560 --> 00:21:33,840 Speaker 2: you know, your mind would just put them on that level. 400 00:21:33,880 --> 00:21:37,840 Speaker 2: You would assume that the eliminators in RoboCop are like 401 00:21:37,960 --> 00:21:41,000 Speaker 2: exactly the same like effects wise, Like at a young age, 402 00:21:41,000 --> 00:21:42,760 Speaker 2: I really didn't, you know, I didn't have quite that 403 00:21:42,840 --> 00:21:45,680 Speaker 2: expectation for like, this is going to be a good movie, 404 00:21:45,760 --> 00:21:47,000 Speaker 2: this is going to might be a bad one. This 405 00:21:47,040 --> 00:21:49,399 Speaker 2: one has a huge budget, this one has a minuscule budget, 406 00:21:49,440 --> 00:21:50,000 Speaker 2: and so forth. 407 00:21:50,560 --> 00:21:53,000 Speaker 3: Yeah, from a distance, all sci fi action movies look 408 00:21:53,080 --> 00:21:56,480 Speaker 3: the same, and but of course when you get up 409 00:21:56,520 --> 00:21:58,720 Speaker 3: close to them you might realize that some are actually 410 00:21:59,040 --> 00:22:01,639 Speaker 3: quite complex, are interesting, or is there's something you know, 411 00:22:01,640 --> 00:22:03,479 Speaker 3: they've got a heart to them, There's something going on 412 00:22:03,600 --> 00:22:06,040 Speaker 3: that there is not in most of them. In fact, 413 00:22:06,080 --> 00:22:09,320 Speaker 3: I would say that Paul Verhoven in particular specializes in 414 00:22:09,400 --> 00:22:13,800 Speaker 3: making movies of this type, movies like RoboCop, Total Recall, 415 00:22:14,080 --> 00:22:18,000 Speaker 3: Starship Troopers, all movies that I think are actually quite 416 00:22:18,040 --> 00:22:21,840 Speaker 3: smart and quite complex and interesting. But from a distance 417 00:22:21,920 --> 00:22:23,960 Speaker 3: or if you you know, you know, with a little 418 00:22:23,960 --> 00:22:26,399 Speaker 3: bit of blur on could just be taken as another 419 00:22:26,480 --> 00:22:27,840 Speaker 3: dumb sci fi shoot them up. 420 00:22:28,280 --> 00:22:32,440 Speaker 2: Yeah, absolutely, all right, Well, Jeff has more to say 421 00:22:32,600 --> 00:22:35,720 Speaker 2: and has some more movies to mention here. Jeff says, 422 00:22:35,760 --> 00:22:37,399 Speaker 2: also thanks to the listener who beat me to the 423 00:22:37,440 --> 00:22:40,439 Speaker 2: punch by drawing attention to the connection between Peter Weller 424 00:22:40,480 --> 00:22:43,960 Speaker 2: films and rat kings. I haven't seen an unknown origin 425 00:22:44,240 --> 00:22:46,760 Speaker 2: in this century, but I do remember it being pleasantly 426 00:22:46,800 --> 00:22:50,040 Speaker 2: weird and funny if memory serves. It also features a 427 00:22:50,160 --> 00:22:53,719 Speaker 2: lock and load scene, although I only remember the final result. 428 00:22:53,960 --> 00:22:56,920 Speaker 2: It's not clear to me. If there's an appropriately clicky 429 00:22:57,000 --> 00:23:00,359 Speaker 2: and snappy montage on another retro subject, I might have 430 00:23:00,400 --> 00:23:02,359 Speaker 2: missed it. But I was surprised that you didn't mention 431 00:23:02,480 --> 00:23:07,280 Speaker 2: the fire Gang from Labyrinth during the episodes on headless creatures, or, 432 00:23:07,320 --> 00:23:10,480 Speaker 2: for that matter, the ones about beasts and humans flinging 433 00:23:10,520 --> 00:23:13,919 Speaker 2: things such as heads. I had a friend who, if 434 00:23:14,000 --> 00:23:16,240 Speaker 2: he saw you from a distance, would shout, and I'm 435 00:23:16,240 --> 00:23:19,080 Speaker 2: not going to do the voice, where are you going 436 00:23:19,200 --> 00:23:25,679 Speaker 2: with a head like that? Labyrinth fans know exactly the 437 00:23:25,680 --> 00:23:28,119 Speaker 2: creatures we're talking about here, and I would like to 438 00:23:28,160 --> 00:23:30,840 Speaker 2: come back and perhaps discuss Labyrinth at some point, because 439 00:23:30,880 --> 00:23:35,000 Speaker 2: it is a film that's full of perplexing details, and 440 00:23:35,280 --> 00:23:37,439 Speaker 2: at times there are things that don't make a lot 441 00:23:37,480 --> 00:23:40,480 Speaker 2: of sense, and it invites interpretations, so I'm a huge 442 00:23:40,520 --> 00:23:42,960 Speaker 2: Elabyrinth fan, so we may have to come back to 443 00:23:43,000 --> 00:23:45,880 Speaker 2: that one anyway. Jeff continues, Finally, I'm sure you don't 444 00:23:45,880 --> 00:23:49,520 Speaker 2: need another recommendation to check out Godzilla minus one, but 445 00:23:49,600 --> 00:23:52,320 Speaker 2: I am going to provide you with an unprovoked one anyway. 446 00:23:52,560 --> 00:23:56,040 Speaker 2: It's a truly wonderful and emotional film. I'd even say 447 00:23:56,080 --> 00:23:59,040 Speaker 2: the giant lizard is not the best part, but all 448 00:23:59,160 --> 00:24:02,520 Speaker 2: that effective melow drama and social commentary plus a giant 449 00:24:02,520 --> 00:24:06,000 Speaker 2: lizard must see cinema. Thanks again for putting so much 450 00:24:06,000 --> 00:24:08,000 Speaker 2: effort into entertaining and informing us. 451 00:24:08,080 --> 00:24:11,840 Speaker 3: All well, thank you, Jeff. Yeah, Godzilla minus one is 452 00:24:12,119 --> 00:24:14,240 Speaker 3: near the top of my list of new releases. I'm 453 00:24:14,280 --> 00:24:15,480 Speaker 3: sure I will see it quite soon. 454 00:24:16,160 --> 00:24:19,760 Speaker 2: Yeah, all right, Hey, maybe Gorgo minus one. 455 00:24:20,880 --> 00:24:29,320 Speaker 3: All right, This last message comes from Jared. Jared says, Greetings, 456 00:24:29,400 --> 00:24:31,840 Speaker 3: Joe and Robert. I'm quite a bit behind on my listening, 457 00:24:31,920 --> 00:24:33,879 Speaker 3: but I wanted to comment on something you mentioned in 458 00:24:33,920 --> 00:24:37,359 Speaker 3: the Weird House Cinema episode about Creature with the Adam Brain. 459 00:24:37,960 --> 00:24:40,720 Speaker 3: You commented on how the hero of the movie was 460 00:24:40,760 --> 00:24:44,880 Speaker 3: a quote science cop. What was the deal with that? Yeah, 461 00:24:45,000 --> 00:24:47,040 Speaker 3: it was like not clear whether that he was like 462 00:24:47,080 --> 00:24:48,600 Speaker 3: a scientist or a cop. 463 00:24:49,680 --> 00:24:51,439 Speaker 2: This might have been one of the ones where this 464 00:24:51,560 --> 00:24:54,480 Speaker 2: is like a non police officer who just gets to 465 00:24:54,600 --> 00:24:57,400 Speaker 2: hang out and ask questions at murder investigations. Oh yeah, 466 00:24:57,480 --> 00:25:00,199 Speaker 2: it feels about right. We often encounter that sort of 467 00:25:00,200 --> 00:25:02,800 Speaker 2: of character, like what's your role in the investigation? Again? 468 00:25:03,240 --> 00:25:06,840 Speaker 3: Yeah, Jared goes on. Over the Halloween season just passed. 469 00:25:06,920 --> 00:25:08,680 Speaker 3: I had decided to see if I could find any 470 00:25:08,720 --> 00:25:11,920 Speaker 3: movies from any of my subscription streaming services that were 471 00:25:11,920 --> 00:25:14,480 Speaker 3: in the vein of what you feature on your Friday shows. 472 00:25:14,640 --> 00:25:18,639 Speaker 3: I found The Magnetic Monster from nineteen fifty three. In 473 00:25:18,680 --> 00:25:22,880 Speaker 3: that movie, the two heroes are federal agents working for OSI, 474 00:25:23,040 --> 00:25:28,960 Speaker 3: the Office of Scientific Investigation science cops. I guess the 475 00:25:28,960 --> 00:25:31,520 Speaker 3: people behind the Magnetic Monster were maybe just a little 476 00:25:31,560 --> 00:25:35,359 Speaker 3: more decisive about the details or something. I also noticed 477 00:25:35,400 --> 00:25:38,840 Speaker 3: that the main character and his wife were also rather 478 00:25:39,000 --> 00:25:43,879 Speaker 3: affectionate slash flirtatious with each other. Oh, this was a 479 00:25:43,960 --> 00:25:46,760 Speaker 3: major feature of a creature with the Adam brain that 480 00:25:46,840 --> 00:25:49,119 Speaker 3: stood out to us, Like the main dude and his 481 00:25:49,160 --> 00:25:52,280 Speaker 3: wife were all over each other. Jared says, it doesn't 482 00:25:52,280 --> 00:25:54,720 Speaker 3: sound like they were quite as lovey Dovey as the 483 00:25:54,760 --> 00:25:57,439 Speaker 3: couple in Creature with the Adam Brain. But maybe this 484 00:25:57,600 --> 00:25:59,800 Speaker 3: was the style for some movie makers of the time, 485 00:26:00,080 --> 00:26:02,919 Speaker 3: how TV families were portrayed as much more wholesome and 486 00:26:02,960 --> 00:26:06,680 Speaker 3: polished than real families. Anyway, as always, I'm loving the show. 487 00:26:06,760 --> 00:26:09,120 Speaker 3: I'm continuing to work my way up to current day. 488 00:26:09,480 --> 00:26:13,879 Speaker 3: Cheers Jared. Well, thank you, Jared. Coming back on Creature 489 00:26:13,920 --> 00:26:16,520 Speaker 3: with the Adam Brain. I don't remember exactly what we said, 490 00:26:16,520 --> 00:26:18,280 Speaker 3: but I did want to make it clear I don't 491 00:26:18,280 --> 00:26:22,760 Speaker 3: have any objection to a monster movie, incidentally depicting a 492 00:26:22,800 --> 00:26:24,800 Speaker 3: married couple who are all over each other. It just 493 00:26:24,800 --> 00:26:28,400 Speaker 3: struck me, I think struck both of us as unexpected 494 00:26:28,480 --> 00:26:30,719 Speaker 3: for a movie of this type from this time period, 495 00:26:31,359 --> 00:26:34,959 Speaker 3: especially where like the relationship is not the central focus 496 00:26:35,000 --> 00:26:36,720 Speaker 3: of the story. Like if it was a love story, 497 00:26:36,760 --> 00:26:39,000 Speaker 3: that'd be one thing, but it's just like, oh, yes, 498 00:26:39,119 --> 00:26:42,760 Speaker 3: this guy has to investigate the murders caused by Atomic Superman. 499 00:26:43,200 --> 00:26:45,719 Speaker 3: Also his wife is just constantly trying to get him 500 00:26:45,760 --> 00:26:46,360 Speaker 3: back into bed. 501 00:26:47,200 --> 00:26:50,280 Speaker 2: Yeah, yeah, it's a fun film. And this one that 502 00:26:50,320 --> 00:26:53,600 Speaker 2: they recommend, the Magnetic Monster. Yeah, this one is also 503 00:26:54,160 --> 00:26:56,800 Speaker 2: a film that was written and I think also partially 504 00:26:56,840 --> 00:27:00,840 Speaker 2: directed by Kurt siod Mac who we talked about in 505 00:27:00,880 --> 00:27:03,280 Speaker 2: relation to that film, but also he was involved in 506 00:27:03,480 --> 00:27:05,680 Speaker 2: nineteen forty six as the Beast with five fingers. 507 00:27:06,080 --> 00:27:09,200 Speaker 3: Oh okay, that's right. Yeah, coming back to Peter Lorie. 508 00:27:09,840 --> 00:27:11,800 Speaker 2: Yeah yeah, so yeah, well have to put that one 509 00:27:11,800 --> 00:27:13,800 Speaker 2: on the list as well. All right, Well, keep the 510 00:27:13,840 --> 00:27:16,080 Speaker 2: recommendations coming. Like I say, I do try to add 511 00:27:16,119 --> 00:27:17,920 Speaker 2: these to a list, but sometimes I say I'll add 512 00:27:17,960 --> 00:27:19,640 Speaker 2: them to the list and then I forget too. So 513 00:27:20,080 --> 00:27:22,760 Speaker 2: if there's something that you're excited for, don't hesitate to 514 00:27:23,600 --> 00:27:26,560 Speaker 2: pester us about it. And you know, sometimes that's all 515 00:27:26,600 --> 00:27:28,640 Speaker 2: it takes, because a lot of times we have these films, 516 00:27:28,880 --> 00:27:31,200 Speaker 2: we have kind of have an amorphous list of movies 517 00:27:31,240 --> 00:27:33,520 Speaker 2: we want to get to, and sometimes it doesn't take 518 00:27:33,600 --> 00:27:35,560 Speaker 2: much to just sort of push one to the forefront 519 00:27:35,680 --> 00:27:37,760 Speaker 2: and help us make our decision for the week. 520 00:27:38,119 --> 00:27:39,520 Speaker 3: That's right, all right. 521 00:27:39,560 --> 00:27:42,120 Speaker 2: We'll remind everyone out there that, Hey, Stuff to Blow 522 00:27:42,119 --> 00:27:44,680 Speaker 2: Your Mind is primarily a science podcast with core episodes 523 00:27:44,720 --> 00:27:47,560 Speaker 2: on Tuesdays and Thursdays. On Mondays we do listener mail 524 00:27:47,600 --> 00:27:50,000 Speaker 2: around here. On Wednesdays we have a short form episode 525 00:27:50,080 --> 00:27:52,399 Speaker 2: and on Fridays we set aside most serious concerns to 526 00:27:52,440 --> 00:27:55,159 Speaker 2: just talk about a weird movie on Weird House Cinema. 527 00:27:55,320 --> 00:27:57,679 Speaker 2: If you haven't rated and reviewed the podcast recently, go 528 00:27:57,760 --> 00:28:00,800 Speaker 2: do that help us out. We really appreciate it. And likewise, 529 00:28:00,800 --> 00:28:03,159 Speaker 2: if you listen on an Apple device or an Apple podcast, 530 00:28:03,240 --> 00:28:05,200 Speaker 2: go in check make sure you're still subscribe, make sure 531 00:28:05,240 --> 00:28:07,760 Speaker 2: you're still receiving downloads. That also helps us out. 532 00:28:08,119 --> 00:28:11,880 Speaker 3: Huge thanks as always to our excellent audio producer Jjposway. 533 00:28:12,000 --> 00:28:13,560 Speaker 3: If you would like to get in touch with us 534 00:28:13,600 --> 00:28:16,320 Speaker 3: with feedback on this episode or any other, to suggest 535 00:28:16,359 --> 00:28:18,480 Speaker 3: a topic for the future, or just to say hello, 536 00:28:18,560 --> 00:28:21,120 Speaker 3: you can email us at contact at stuff to Blow 537 00:28:21,160 --> 00:28:28,560 Speaker 3: your Mind dot com. 538 00:28:28,640 --> 00:28:31,600 Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For 539 00:28:31,680 --> 00:28:34,480 Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app, 540 00:28:34,640 --> 00:28:37,399 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.