WEBVTT - STBYM Listener Mail: 2025 Mailbag Eversion

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey you welcome to Stuff to Blow your Mind. My

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<v Speaker 2>name is Robert Lamb.

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<v Speaker 3>And I am Joe McCormick, and today we're bringing you

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<v Speaker 3>some messages from the Stuff to Blow your Mind email address.

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<v Speaker 3>If you're a listener and you have never gotten in

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<v Speaker 3>touch before, why not give it a try. You can

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<v Speaker 3>email us at contact at stuff to Blow your Mind

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<v Speaker 3>dot com. Messages of all types are welcome. Of course.

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<v Speaker 3>We really appreciate if you have anything interesting you'd like

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<v Speaker 3>to add to a topic we've talked about on the show.

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<v Speaker 3>If you have corrections you need to offer, those are

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<v Speaker 3>of course very welcome if you have If you want

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<v Speaker 3>to suggest a topic for the future, we like that too.

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<v Speaker 3>Sometimes we do follow up on topics that were suggested

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<v Speaker 3>by listeners. But whatever it is, send it our way

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<v Speaker 3>contact at stuff to Blow your Mind dot com. So

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<v Speaker 3>this is our first recording after the Christmas week, robbed it.

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<v Speaker 3>Did you have a good holiday with the family.

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<v Speaker 2>Yeah, yeah, pretty good. I have to admit though, it

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<v Speaker 2>does feel like a strange nether zone that I find

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<v Speaker 2>myself then, because we're we're recording this between Christmas and

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<v Speaker 2>New Year's We've just had some unseasonably warm weather. Yes,

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<v Speaker 2>and you know, every day feels completely discombobulated. So I

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<v Speaker 2>have no idea, you know, moment to moment, what day

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<v Speaker 2>it is, what season it is, how I fit into

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<v Speaker 2>the world around me. All I know is that we

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<v Speaker 2>have a certain amount of listener mail to get to.

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<v Speaker 2>But how about yourself? How was your holiday?

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<v Speaker 3>Oh? You know, I had a great time with the family.

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<v Speaker 3>Loved to see and everybody. We you know, did some

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<v Speaker 3>I did some cooking and some hosting, and then we

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<v Speaker 3>also had the different little family gatherings which were very nice.

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<v Speaker 3>Though on Christmas Day itself, of you know, I think

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<v Speaker 3>it was the same for y'all. It's like in the

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<v Speaker 3>seventies and I had a cold, so it's just kind

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<v Speaker 3>of gross. But uh but yeah, you know, good holiday

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<v Speaker 3>times and not a single exploding lollipop or flying material

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<v Speaker 3>was found.

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<v Speaker 2>Excellent. Yeah. I think Santa Claus has really been forced

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<v Speaker 2>via various environmental laws to really tightly contain his various

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<v Speaker 2>miracle candies so they do not phone to the hands.

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<v Speaker 3>Of the children. Okay, yeah, all right, Well should we

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<v Speaker 3>jump right into the emails?

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<v Speaker 2>Yeah? What do we have.

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<v Speaker 3>Let's see this first one. I'm gonna do this one

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<v Speaker 3>from Lauren, which is a late coming email about our

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<v Speaker 3>episodes on the Ignobel Prizes for this year. I think

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<v Speaker 3>this is Yeah, she'll explain which one it's about. So

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<v Speaker 3>Lauren says, hello, Robin Joe. I was just listening to

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<v Speaker 3>your episode on the Ignobel Prizes Part one and the

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<v Speaker 3>bit about narcissism made me think about different forms of

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<v Speaker 3>praise and how they affect human behavior according to this video,

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<v Speaker 3>and then she inserts a video I'll explain in a second.

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<v Speaker 3>Lauren says, praising kids by telling them that they are

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<v Speaker 3>smart or intelligent makes them fear looking unintelligent, so they

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<v Speaker 3>avoid challenges and stagnate, whereas kids who are praised for

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<v Speaker 3>their effort or process when engaging in a task are

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<v Speaker 3>more likely to develop a desire to take on challenges

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<v Speaker 3>and therefore are more likely to experience growth. Now, I

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<v Speaker 3>thought I should follow up with this video that Lauren

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<v Speaker 3>attached and talk about it a bit, so just to explain.

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<v Speaker 3>This is a video of part of a lecture by

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<v Speaker 3>the American psychologist Carol Dweck of Stanford making the case

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<v Speaker 3>for what Laurence said based on Dwex's own research and

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<v Speaker 3>I was reading a bit about this, I should note

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<v Speaker 3>that while focusing on process based praise or effort based

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<v Speaker 3>praise over attribute based praise does absolutely make sense to

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<v Speaker 3>me on an intuitive level. I've read that there's some

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<v Speaker 3>disagree in the field, Like, from what I can tell,

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<v Speaker 3>it's not so much that process based praise is bad,

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<v Speaker 3>but there's dispute about to what extent process based praise

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<v Speaker 3>actually leads to measurably better outcomes in learning and things

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<v Speaker 3>like that. Some other psychologists have been unable to replicate

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<v Speaker 3>the original results reported here, so I can't give you

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<v Speaker 3>an answer on whether it gets measurable results on average

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<v Speaker 3>or not. But I will say I personally try to

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<v Speaker 3>focus more on effort based praise with my own child,

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<v Speaker 3>just because it just kind of feels like the right

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<v Speaker 3>thing to do for us, and it seems to me

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<v Speaker 3>to get better results at least, you know, in our

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<v Speaker 3>one case. Yeah, So I wouldn't want to overclaim anything

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<v Speaker 3>that's not really proven about the potential negative effects of

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<v Speaker 3>like attribute based praise. You know, telling a kid you're

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<v Speaker 3>so smart instead of praising them for trying hard at something,

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<v Speaker 3>and you know, or trying again after they fail, things

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<v Speaker 3>like that. I do think it's it is obvious, at

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<v Speaker 3>least at some level, that there are forms of praise

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<v Speaker 3>that can be incredibly toxic and pathological, like praise that

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<v Speaker 3>makes it seem like love is conditional, or praise that

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<v Speaker 3>gives children a sense of superiority over their peers, things

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<v Speaker 3>like that. Obviously, there is such a thing as toxic praise.

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<v Speaker 2>Yeah, yeah, I mean you like, in my family, we

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<v Speaker 2>try to maintain a kind of like growth mindset with everything,

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<v Speaker 2>and you know, I put an emphasis on always learning,

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<v Speaker 2>always growing, and yeah, I can imagine various toxic forms

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<v Speaker 2>of praise where you're kind of implying you are perfect

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<v Speaker 2>as is there's no need for additional growth. Yeah. Yeah,

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<v Speaker 2>so yeah, I mean, as with all of it, there's

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<v Speaker 2>a careful balance to maintain.

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<v Speaker 3>Yeah. Anyway, but back to Lauren's message. So about this

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<v Speaker 3>idea of praising process or effort versus praising attributes, Lauren says,

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<v Speaker 3>I think there is merit to this. I also think

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<v Speaker 3>it's kind of scary how certain forms of praise can

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<v Speaker 3>really damage people over time. It's a sad irony. I

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<v Speaker 3>think that's true. Yeah, because you know, when you're praising somebody,

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<v Speaker 3>it kind of feels like, well, that's always got to

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<v Speaker 3>be good, right, Lauren says on a somewhat related note,

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<v Speaker 3>I've been in a half dozen or more situations in life,

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<v Speaker 3>whether it be with classmates or at camp or whatnot,

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<v Speaker 3>where there comes a point when everyone has to write

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<v Speaker 3>little compliment notes to everyone else. I've experienced the best

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<v Speaker 3>results when I praise people for what I determine they

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<v Speaker 3>like or value most about themselves, as opposed to what

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<v Speaker 3>I actually like or think about them. For example, if

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<v Speaker 3>Jane thinks she's a really good artist, even if I

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<v Speaker 3>think she's a terrible artist, praising her for her abilities

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<v Speaker 3>seem to most effectively achieve the goal of the activity.

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<v Speaker 3>I don't really mind that it's kind of dishonest, because

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<v Speaker 3>the whole point was to make people feel special and valued.

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<v Speaker 3>This makes a lot of sense to me, because if

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<v Speaker 3>someone compliments me for something I don't value about myself,

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<v Speaker 3>I don't feel good or perhaps anything, don't feel anything

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<v Speaker 3>about their words, and often the compliment produces a negative reaction,

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<v Speaker 3>so the good intentions are lost. The power of different

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<v Speaker 3>forms of praise is definitely an interesting topic. Thanks for

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<v Speaker 3>dedicating your time and energy to crafting an intelligent, amusing,

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<v Speaker 3>and well researched podcast. Lauren. Well, thank you, Lauren. Several

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<v Speaker 3>thoughts about this. First of all, Yeah, I think the

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<v Speaker 3>power of different forms of praise would be a really

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<v Speaker 3>interesting topic to come back to. And I also agree

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<v Speaker 3>with your idea about focusing on praising what people value

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<v Speaker 3>about themselves instead of what they don't really care about

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<v Speaker 3>about themselves. That makes a lot of sense, and I

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<v Speaker 3>do want to come back to that in a minute. Though.

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<v Speaker 3>The one thing I do I please don't feel judged, Lauren,

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<v Speaker 3>but just I want to give my perspective. I want

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<v Speaker 3>to make it clear that we're not necessarily endorsing the

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<v Speaker 3>idea of giving untruthful praise. After I read this email,

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<v Speaker 3>I was thinking about this a lot. And of course,

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<v Speaker 3>you know, not trying to come off as high and

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<v Speaker 3>mighty or like I think I'm the King of honesty.

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<v Speaker 3>You know, we all, at least occasionally, you know, use

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<v Speaker 3>little positive exaggerations and things like that that help help

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<v Speaker 3>sweeten and ease our relationships. And I've done this too,

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<v Speaker 3>But when given the opportunity to reflect, I really do

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<v Speaker 3>think in general it's better to be as truthful as

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<v Speaker 3>you can with people, even if you're just talking about

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<v Speaker 3>praise and compliments. Even positive little lies can just create

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<v Speaker 3>unpredictable problems for your future self, Like if people later

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<v Speaker 3>find out that a compliment you gave them was insincere,

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<v Speaker 3>that will probably hurt them a lot more than not

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<v Speaker 3>getting a compliment in the first place. And I think

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<v Speaker 3>also when you misrepresent your feelings or thoughts about things,

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<v Speaker 3>it has the downside of essentially gumming up the works

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<v Speaker 3>of your mind, Like it creates these inefficiencies where you

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<v Speaker 3>have to remember what you've told people in the past.

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<v Speaker 3>So in computer terms, it's kind of like, you know,

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<v Speaker 3>you're running multiple virtual machines and your brain instead of

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<v Speaker 3>just running directly on the hardware. But yeah, so that

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<v Speaker 3>caveat aside to coming back to the first part. When

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<v Speaker 3>you are able to do so truthfully, I think finding

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<v Speaker 3>things to compliment that people value about themselves is a

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<v Speaker 3>really good insight in a way, it's having a sympathetic

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<v Speaker 3>identification with the person. It's a way of complimenting them

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<v Speaker 3>that sees them from their own perspective instead of from

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<v Speaker 3>the outside perspective. And like you allude to, I think

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<v Speaker 3>with this connection to praising process instead of attributes, if

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<v Speaker 3>it's something they value about themselves, I think that usually

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<v Speaker 3>means that it's something that they have put effort into,

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<v Speaker 3>which is its own kind of reward to have somebody

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<v Speaker 3>acknowledge and notice.

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<v Speaker 2>Yeah. I mean, like with the couple of things, I

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<v Speaker 2>guess with first of all, with the example here, Jane

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<v Speaker 2>is an artist. Art is very subjective, so you know,

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<v Speaker 2>there's a lot of wiggle room there. And also I

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<v Speaker 2>think when complimenting someone, you know, I mean, you can

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<v Speaker 2>probably find something you like about the thing that they value.

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<v Speaker 2>You know, there's got to be something there, even if

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<v Speaker 2>it's not like your art, you know, the kind of

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<v Speaker 2>art you would personally put on your wall, there must

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<v Speaker 2>be something you can say, yeah, you know, get creative,

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<v Speaker 2>find that place where where truth meets praise.

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<v Speaker 3>I guess, yeah, totally. All right, thank you, Lauren. Let's

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<v Speaker 3>see Rob, you want to grab one of these next

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<v Speaker 3>fore you here?

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<v Speaker 2>Yeah, we have another one here related to the Ignobel

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<v Speaker 2>Prizes episode. This one I think is we determine his

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<v Speaker 2>response to the study about rainbow lizards that steal pizza.

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<v Speaker 3>Yeah, stealing pizza from a resort like restaurant tables in Togo,

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<v Speaker 3>so that and the study was about what kinds of

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<v Speaker 3>pizza the lizards like the most. That also led us

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<v Speaker 3>into talking about the most constipated lizard ever documented, which

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<v Speaker 3>had been found eating sand, presumably soaked in pizza, outside

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<v Speaker 3>of a Florida pizzeria. And then I think that led

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<v Speaker 3>to us just generally talking about animals learning to get

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<v Speaker 3>quite aggressive at snatching human food in these, you know,

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<v Speaker 3>environments where human activity and animal life meet.

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<v Speaker 2>All right, well, this one comes to us from Bruce.

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<v Speaker 2>Bruce says, Hi, Robert Joe, your recent episode on this

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<v Speaker 2>year's Ignobel Prize winning research brought to mind an encounter

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<v Speaker 2>with a hungry, maybe angry bird. I was living in

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<v Speaker 2>New York City at the time and would often take

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<v Speaker 2>weekend day trips to Atlantic City. The casinos were in

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<v Speaker 2>competition with each other and offered varying cast back incentives

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<v Speaker 2>to bus riders when they would disembark at their establishment.

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<v Speaker 2>Sometimes the cashback would even be a dollar or two

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<v Speaker 2>over the cost of the ticket. Anyway, on such a trip,

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<v Speaker 2>I remember walking along the boardwalk. It was an overcast,

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<v Speaker 2>late fall day, somewhat blustery, so the summer crowds, along

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<v Speaker 2>with their drop food concessions the goals would pick up

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<v Speaker 2>had long since thenned out. I noticed a goal, a

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<v Speaker 2>seagull on a descent, flying towards me. I also then

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<v Speaker 2>noticed a woman walking in my direction holding a funnel

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<v Speaker 2>cake on a plate.

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<v Speaker 3>Uh oh.

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<v Speaker 2>The goal had apparently also seen the funnel cake and

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<v Speaker 2>decided it was going to be an easy theft, as

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<v Speaker 2>it suddenly dove over the woman's shoulder from behind and

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<v Speaker 2>tried to grab the pastry. What it had not anticipated was,

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<v Speaker 2>since it was a windy day, the woman was holding

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<v Speaker 2>her treat quite firmly against the plate it was on.

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<v Speaker 2>The plate ended up acting like a fulcrumb, and the

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<v Speaker 2>momentum the bird had caused it to cartwheel into a

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<v Speaker 2>face plant beak plant against the boardwalk. It staggered to

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<v Speaker 2>its feet and took a couple of wobbly steps before

0:12:46.200 --> 0:12:48.440
<v Speaker 2>it tried to take off again. But I had continued

0:12:48.480 --> 0:12:52.200
<v Speaker 2>walking forward, not anticipating all this commotion, so had narrowed

0:12:52.280 --> 0:12:55.000
<v Speaker 2>the distance between myself and the location of the intended

0:12:55.040 --> 0:12:58.360
<v Speaker 2>theft and its aftermath. As the bird became airborne, it

0:12:58.440 --> 0:13:01.960
<v Speaker 2>swam directly into my chest, right below my chin, it

0:13:02.040 --> 0:13:04.679
<v Speaker 2>fell once again to the boardwalk. I don't really know

0:13:04.800 --> 0:13:07.400
<v Speaker 2>what an embarrassed indignant face looks like on a goal,

0:13:07.640 --> 0:13:10.840
<v Speaker 2>but if there is one, this goal had it, Bruce,

0:13:11.960 --> 0:13:13.719
<v Speaker 2>And then I believe Bruce included a note or this

0:13:13.800 --> 0:13:17.000
<v Speaker 2>might have been your note that Bruce, this is from Okay.

0:13:17.000 --> 0:13:20.839
<v Speaker 2>Bruce also reminds us that he is the former theater

0:13:20.920 --> 0:13:23.520
<v Speaker 2>manager who previously wrote in with memories of showing Kroll

0:13:23.640 --> 0:13:24.800
<v Speaker 2>and the Last Starfighter.

0:13:25.440 --> 0:13:30.440
<v Speaker 3>All right, here's another amazing adventure you got to witness first.

0:13:30.520 --> 0:13:34.120
<v Speaker 2>And seagulls, you know, they will, they will go for it.

0:13:34.120 --> 0:13:36.760
<v Speaker 2>I've watched one grab a hot dog off of a

0:13:36.800 --> 0:13:40.160
<v Speaker 2>hot grill once at the beach. They will, they will,

0:13:40.200 --> 0:13:43.400
<v Speaker 2>They'll get it if they absolutely can. Now, as for

0:13:43.480 --> 0:13:45.839
<v Speaker 2>what the funnel cake truly had to offer the bird,

0:13:45.880 --> 0:13:46.920
<v Speaker 2>I'm not sure.

0:13:47.240 --> 0:13:50.480
<v Speaker 3>The seagull grabbed the hot dog off the grill with

0:13:50.559 --> 0:13:51.000
<v Speaker 3>its beak.

0:13:51.080 --> 0:13:54.040
<v Speaker 2>You said, uh, yeah, I mean I was not the griller,

0:13:54.080 --> 0:13:56.360
<v Speaker 2>so I don't know what the temperature of the grill was, like,

0:13:56.360 --> 0:13:58.480
<v Speaker 2>what part of the grill and this was observed from

0:13:58.520 --> 0:14:01.560
<v Speaker 2>a farm, but seemed to make off with it, so

0:14:01.679 --> 0:14:04.760
<v Speaker 2>I don't know. Maybe the grill was dying down. I'm

0:14:04.760 --> 0:14:05.160
<v Speaker 2>not sure.

0:14:05.320 --> 0:14:06.920
<v Speaker 3>I'm trying to imagine. So it's a seagull, so it

0:14:06.960 --> 0:14:09.920
<v Speaker 3>wouldn't be grabbing with talons like an eagle or something.

0:14:09.920 --> 0:14:12.640
<v Speaker 3>It would be beak down to grab I suppose.

0:14:12.679 --> 0:14:15.760
<v Speaker 2>So again I wasn't close enough and or my memory

0:14:15.840 --> 0:14:19.320
<v Speaker 2>is not as firm. I just remember the goal getting

0:14:19.320 --> 0:14:21.400
<v Speaker 2>the hot dog, and that was the that was the

0:14:21.480 --> 0:14:22.640
<v Speaker 2>important part of the tale.

0:14:22.840 --> 0:14:37.000
<v Speaker 3>Okay, alrighty, let's see this next message comes from Joe,

0:14:37.160 --> 0:14:39.920
<v Speaker 3>not myself, a different Joe. Joe says, oh in the

0:14:39.920 --> 0:14:45.200
<v Speaker 3>subject line is AI, chatbots and narcissistic behavior. This is

0:14:45.200 --> 0:14:49.360
<v Speaker 3>in response to us. Actually it's the same Ignobel winning

0:14:49.400 --> 0:14:52.280
<v Speaker 3>psychology paper which Lauren was writing about. So this was

0:14:52.320 --> 0:14:56.240
<v Speaker 3>the paper which found, among other things, that telling people

0:14:56.400 --> 0:15:00.840
<v Speaker 3>that an IQ test has deemed them very smart has

0:15:00.920 --> 0:15:04.680
<v Speaker 3>a tendency to increase, at least temporarily, a couple of

0:15:04.720 --> 0:15:09.720
<v Speaker 3>particular narcissistic traits. I think they called this state narcissism.

0:15:09.800 --> 0:15:12.720
<v Speaker 3>And the question was not resolved by the paper, but

0:15:12.760 --> 0:15:18.440
<v Speaker 3>the question was could this overtime lead to the actual

0:15:18.480 --> 0:15:22.120
<v Speaker 3>inculcation of trait narcissism? So, like, you know, causing these

0:15:22.120 --> 0:15:26.120
<v Speaker 3>states of narcissism makes somebody more permanently narcissistic over time.

0:15:27.280 --> 0:15:30.040
<v Speaker 3>And in our discussion of that paper, we ended up

0:15:30.080 --> 0:15:32.800
<v Speaker 3>talking about AI chat bots and the fact that they

0:15:33.360 --> 0:15:37.280
<v Speaker 3>often really shower the user with ridiculous flattery. You know, Oh,

0:15:37.320 --> 0:15:41.160
<v Speaker 3>that's such an intelligent question, very perceptive insight. Thank you user,

0:15:41.200 --> 0:15:42.560
<v Speaker 3>Please keep using the service.

0:15:43.880 --> 0:15:46.760
<v Speaker 2>Yeah, I think we talked about this. I've experimented with

0:15:46.760 --> 0:15:48.560
<v Speaker 2>this a little bit before and found that, yeah, I

0:15:48.600 --> 0:15:53.000
<v Speaker 2>can if I asked one of these systems about something

0:15:53.000 --> 0:15:56.040
<v Speaker 2>that is ultimately a stretch, some sort of connections stretch

0:15:56.080 --> 0:15:58.880
<v Speaker 2>between a particular movie and a particular theme or something,

0:15:59.080 --> 0:16:01.800
<v Speaker 2>it's still it still wants to compliment me on that

0:16:01.880 --> 0:16:04.680
<v Speaker 2>correct on that connection that I've made, as opposed to saying, well,

0:16:05.120 --> 0:16:07.440
<v Speaker 2>that's a real stretch and maybe you're the only one

0:16:07.480 --> 0:16:08.480
<v Speaker 2>thinking about it this way.

0:16:08.720 --> 0:16:11.400
<v Speaker 3>The flattery is one of the many reasons that I

0:16:11.600 --> 0:16:15.200
<v Speaker 3>you know that these tools can be useful in certain ways,

0:16:15.240 --> 0:16:18.320
<v Speaker 3>but you just shouldn't depend on them too much for

0:16:19.040 --> 0:16:21.360
<v Speaker 3>truth or anything, because yeah, they're you know, they're doing

0:16:21.360 --> 0:16:24.040
<v Speaker 3>something other than just purely trying to serve you up

0:16:24.120 --> 0:16:28.640
<v Speaker 3>truthful information. They're they're trying to inculcate a user relationship.

0:16:28.720 --> 0:16:31.320
<v Speaker 3>So they want to flatter you, and they also are

0:16:31.360 --> 0:16:33.440
<v Speaker 3>going to you know, hallucinate to try to give you

0:16:33.520 --> 0:16:37.960
<v Speaker 3>stuff that fulfills what you ask for. Yeah, anyway, so

0:16:38.120 --> 0:16:41.800
<v Speaker 3>Joe says, Hey, Robin, Joe, love your Ignobel episodes, which

0:16:41.840 --> 0:16:44.640
<v Speaker 3>often provides some of my favorite anecdotes to share with

0:16:44.640 --> 0:16:47.760
<v Speaker 3>my kids. Cats are liquid is still a catchphrase in

0:16:47.800 --> 0:16:51.560
<v Speaker 3>the family castle. Oh that warms my heart. A recent

0:16:51.760 --> 0:16:57.360
<v Speaker 3>article in futurism that website futurism dot com shines an

0:16:57.560 --> 0:17:01.760
<v Speaker 3>interesting light on the segment on self assessed Intelligence and

0:17:01.840 --> 0:17:05.600
<v Speaker 3>your musings on AI's tendency to putting it delicately, blow

0:17:05.680 --> 0:17:10.400
<v Speaker 3>smoke up your and then Joe says, wait, that's not delicate.

0:17:10.480 --> 0:17:14.919
<v Speaker 3>Maybe skip reading this part anyway, Joe says, a thirty

0:17:14.960 --> 0:17:19.520
<v Speaker 3>year old IT professional wound up being repeatedly hospitalized, losing

0:17:19.520 --> 0:17:23.520
<v Speaker 3>his job, and being diagnosed with a severe manic episode

0:17:23.840 --> 0:17:27.960
<v Speaker 3>after a large language model falsely validated his theories about

0:17:28.000 --> 0:17:31.439
<v Speaker 3>faster than light travel. This is one example of a

0:17:31.440 --> 0:17:35.840
<v Speaker 3>phenomenon that's been termed AI psychosis colloquially. It's not a

0:17:35.920 --> 0:17:39.919
<v Speaker 3>DSM disorder or anything, and often comes back to the

0:17:39.920 --> 0:17:43.560
<v Speaker 3>way LMS ten to tend towards flattery and affirmation of

0:17:43.600 --> 0:17:47.600
<v Speaker 3>the user, even when the user is making obvious, catastrophic,

0:17:47.760 --> 0:17:51.800
<v Speaker 3>even dangerous mistakes. This lends credence to your musing about

0:17:51.880 --> 0:17:56.600
<v Speaker 3>AI and the hypothesis that repeated flattery might aggregate over time.

0:17:56.880 --> 0:18:00.640
<v Speaker 3>Interesting says, It's easy to see how this feature could

0:18:00.680 --> 0:18:03.960
<v Speaker 3>be dangerous to a more fragile mind. Not my mind,

0:18:04.000 --> 0:18:07.440
<v Speaker 3>of course, my mental health is the best. At least

0:18:07.480 --> 0:18:12.400
<v Speaker 3>that's what my LLM tells me. Joe, Yeah, thanks, Joe. Obviously,

0:18:12.480 --> 0:18:14.199
<v Speaker 3>I think a lot of people have probably heard of

0:18:14.240 --> 0:18:18.680
<v Speaker 3>these stories at this point about various forms of AI psychosis.

0:18:18.720 --> 0:18:22.399
<v Speaker 3>I mean, I think there can be similar effects, but

0:18:22.440 --> 0:18:25.240
<v Speaker 3>probably just not to the same degree that it's having

0:18:25.280 --> 0:18:29.399
<v Speaker 3>on people with typical mental health using it all the time.

0:18:29.440 --> 0:18:33.200
<v Speaker 3>But especially Yeah, if you have certain kinds of mental

0:18:33.200 --> 0:18:36.520
<v Speaker 3>health conditions, getting into a back and forth with one

0:18:36.560 --> 0:18:40.720
<v Speaker 3>of these affirming programs can definitely lead you in dangerous places. Yeah,

0:18:40.880 --> 0:18:43.960
<v Speaker 3>because it's just trying to hype you up and saying yes, yes,

0:18:44.040 --> 0:18:46.080
<v Speaker 3>that's right. You know, you are on the verge of

0:18:46.080 --> 0:18:46.960
<v Speaker 3>a great discovery.

0:18:47.480 --> 0:18:50.480
<v Speaker 2>Yeah, And like so many things with technology, of course,

0:18:50.560 --> 0:18:53.320
<v Speaker 2>you know, it's already out there and we're kind of

0:18:53.480 --> 0:18:58.560
<v Speaker 2>playing ketchup figuring out exactly how everybody responds to these systems.

0:18:58.600 --> 0:19:04.880
<v Speaker 2>So yeah, interesting times, interesting times. Yeah, all right, let's

0:19:04.920 --> 0:19:06.800
<v Speaker 2>move on to one. This one comes to us from Lee,

0:19:07.119 --> 0:19:11.000
<v Speaker 2>and this is responding to our episodes Unlicking, though specifically

0:19:11.040 --> 0:19:12.920
<v Speaker 2>this one was a response to the first episode, so

0:19:12.920 --> 0:19:15.360
<v Speaker 2>I think it came in between the publication of one

0:19:15.400 --> 0:19:23.440
<v Speaker 2>and two. Lee says, greetings were ob, Joe and JJ

0:19:23.680 --> 0:19:26.800
<v Speaker 2>very interesting first episode on licking your request for experiences

0:19:26.920 --> 0:19:30.520
<v Speaker 2>regarding licking and spitting. I recall a number of movies

0:19:30.560 --> 0:19:32.960
<v Speaker 2>and TV shows for my youth that involved kids making

0:19:33.040 --> 0:19:36.320
<v Speaker 2>deals of varying types. Almost always the deal was sealed

0:19:36.320 --> 0:19:38.919
<v Speaker 2>with a handshake. A key element of the handshake was

0:19:38.960 --> 0:19:41.520
<v Speaker 2>for each deal maker to spit in their palm prior

0:19:41.560 --> 0:19:44.840
<v Speaker 2>to the handshake. This was always to emphasize the importance

0:19:44.840 --> 0:19:47.840
<v Speaker 2>of the deal on some level. Hearing about licking, I

0:19:47.880 --> 0:19:50.800
<v Speaker 2>would presume the fact that kids doing the deal were

0:19:50.800 --> 0:19:54.719
<v Speaker 2>outdoors doing well kid things. My presumption would be that

0:19:54.760 --> 0:19:57.520
<v Speaker 2>their hands were too dirty to lick, but that spitting

0:19:57.520 --> 0:20:00.960
<v Speaker 2>into the palm was okay. Ever thought about it that way,

0:20:02.600 --> 0:20:05.320
<v Speaker 2>I mean, I figure just kids like to spit. I

0:20:05.359 --> 0:20:08.959
<v Speaker 2>recall on multiple occasions licking my finger in an effort

0:20:09.000 --> 0:20:13.160
<v Speaker 2>to assess wind direction. Yes, another idea, more from TV

0:20:13.280 --> 0:20:16.680
<v Speaker 2>shows than written sources. With regard to the TUTSI pop.

0:20:17.000 --> 0:20:19.080
<v Speaker 2>More often than not, the start was to lick it,

0:20:19.320 --> 0:20:22.119
<v Speaker 2>but it would more than likely get parked between the

0:20:22.240 --> 0:20:24.520
<v Speaker 2>cheek and gum for most of the time. I don't

0:20:24.520 --> 0:20:27.320
<v Speaker 2>specifically recall if this was more an effort to make

0:20:27.359 --> 0:20:29.400
<v Speaker 2>it last or because I was working on some task

0:20:29.520 --> 0:20:32.800
<v Speaker 2>or another. Love the podcast always look forward to each episode.

0:20:33.200 --> 0:20:35.400
<v Speaker 2>Sincerely ly thank you Lee.

0:20:35.920 --> 0:20:39.359
<v Speaker 3>On the idea about licking a finger and sticking it

0:20:39.400 --> 0:20:41.359
<v Speaker 3>into the air to see which way the wind is blowing,

0:20:41.400 --> 0:20:42.920
<v Speaker 3>because you know, it gets cold on the side of

0:20:42.920 --> 0:20:44.960
<v Speaker 3>the wind is coming from. This reminds me that I

0:20:45.000 --> 0:20:49.840
<v Speaker 3>recently was watching a movie. I'm afraid I'm misremembering this,

0:20:49.960 --> 0:20:52.680
<v Speaker 3>but I think it was a scene in the James

0:20:52.720 --> 0:20:55.760
<v Speaker 3>Bond film From Russia with Love Okay, And it's a

0:20:55.800 --> 0:20:58.440
<v Speaker 3>scene where a character is trying to test wind direction

0:20:59.320 --> 0:21:01.000
<v Speaker 3>and they lick a finger and hold it up in

0:21:01.000 --> 0:21:03.840
<v Speaker 3>the air, but they're doing it ends in a speeding boat.

0:21:05.800 --> 0:21:08.560
<v Speaker 3>I mean, maybe I'm wrong. I think that would probably

0:21:08.560 --> 0:21:09.000
<v Speaker 3>not work.

0:21:09.400 --> 0:21:13.960
<v Speaker 2>Yeah, I think you would feel cold. Yeah, I think

0:21:14.280 --> 0:21:18.360
<v Speaker 2>I think your results would be skewed by that. Very interesting. Yeah,

0:21:18.359 --> 0:21:20.240
<v Speaker 2>I haven't seen From Russia with Love in a long time.

0:21:21.160 --> 0:21:25.359
<v Speaker 2>Classic though, classic film. Yeah, let's see. Yeah, other I

0:21:25.359 --> 0:21:27.600
<v Speaker 2>mean good observation about the spitting and they hand there's

0:21:27.600 --> 0:21:29.560
<v Speaker 2>a lot of There is a lot of that, I

0:21:29.560 --> 0:21:32.720
<v Speaker 2>feel like in uh, you know kid adventure films, the

0:21:33.160 --> 0:21:36.159
<v Speaker 2>spit in the hand handshake. Uh. Sometimes they'll go for

0:21:36.240 --> 0:21:38.679
<v Speaker 2>it and do the blood bond handshake, which of course

0:21:39.320 --> 0:21:43.600
<v Speaker 2>is is ickier and makes you even more afraid for

0:21:43.840 --> 0:21:46.240
<v Speaker 2>the fact that they're outside playing and haven't washed their hands.

0:21:47.080 --> 0:21:47.280
<v Speaker 3>Yeah.

0:21:47.880 --> 0:21:50.880
<v Speaker 2>Yeah, adding self mutilation to the mix. But but yeah,

0:21:50.880 --> 0:21:53.160
<v Speaker 2>I guess there's a lot of spitting in palms. I'm

0:21:53.160 --> 0:21:55.400
<v Speaker 2>gonna have to be hyper aware of it now as

0:21:55.400 --> 0:21:59.040
<v Speaker 2>I watch other films. As for the TUTSI pop observation,

0:21:59.119 --> 0:22:01.280
<v Speaker 2>this this match up with what other people have been

0:22:01.320 --> 0:22:05.040
<v Speaker 2>saying as well. You know that there is active licking. Yes,

0:22:05.080 --> 0:22:07.439
<v Speaker 2>there's active crunching, but there's also a lot of just

0:22:08.240 --> 0:22:12.920
<v Speaker 2>having the pop in your mouth while you're doing other things. Generally,

0:22:12.960 --> 0:22:16.960
<v Speaker 2>you're not setting there actively counting the licks and only

0:22:17.000 --> 0:22:18.040
<v Speaker 2>focusing on the licking.

0:22:18.840 --> 0:22:22.919
<v Speaker 3>Okay, here's an email left over from October. This seems

0:22:22.920 --> 0:22:26.080
<v Speaker 3>to be related to our past October episodes on the

0:22:26.119 --> 0:22:32.359
<v Speaker 3>invention of the chainsaw. This is from Hugh. Hugh says, Robert,

0:22:32.440 --> 0:22:35.840
<v Speaker 3>Joe and JJ Boo. I am writing to put forward

0:22:35.880 --> 0:22:38.800
<v Speaker 3>an opinion that may not be popular among our particular

0:22:38.840 --> 0:22:41.600
<v Speaker 3>subset of humans, but I feel must be expressed. A

0:22:41.760 --> 0:22:47.400
<v Speaker 3>chainsaw would make a terrible weapon. First a trigger warning.

0:22:47.560 --> 0:22:51.840
<v Speaker 3>My reasons are technical and fairly pedantic, and my real

0:22:51.840 --> 0:22:54.879
<v Speaker 3>world example is sure to upset people. I would not

0:22:54.960 --> 0:22:56.800
<v Speaker 3>hold it against you if you were to stop reading

0:22:56.880 --> 0:22:59.120
<v Speaker 3>right now. So, folks, if you don't want to hear

0:23:00.000 --> 0:23:05.159
<v Speaker 3>out why chainsaws are not particularly effective on say, mammal flesh,

0:23:05.160 --> 0:23:09.680
<v Speaker 3>with some details from experience, and not murder, but experience

0:23:09.720 --> 0:23:13.159
<v Speaker 3>with animal carcasses, you can skip ahead. I don't know,

0:23:13.240 --> 0:23:21.479
<v Speaker 3>five minutes or something, Okay, all right, Hugh says. If

0:23:21.520 --> 0:23:24.320
<v Speaker 3>you take the way that various styles of internal combustion

0:23:24.480 --> 0:23:27.359
<v Speaker 3>engines make power, and line them up, you would have

0:23:27.400 --> 0:23:30.119
<v Speaker 3>a sliding scale. At one end of the scale would

0:23:30.119 --> 0:23:33.600
<v Speaker 3>be torque and at the other would be RPM. At

0:23:33.600 --> 0:23:36.760
<v Speaker 3>the torque end, you have large explosions of fuel in

0:23:36.880 --> 0:23:40.520
<v Speaker 3>large combustion chambers, pushing large and heavy components in long

0:23:40.640 --> 0:23:44.879
<v Speaker 3>strokes stroke meaning the distance of piston travel at a

0:23:44.960 --> 0:23:49.480
<v Speaker 3>relatively low rpm with high rotational mass. Once you get

0:23:49.480 --> 0:23:51.840
<v Speaker 3>them going, inertia does a lot of the work, and

0:23:51.880 --> 0:23:54.960
<v Speaker 3>they are very heavy. At the rpm end, you have

0:23:55.119 --> 0:23:59.240
<v Speaker 3>smaller but far more frequent explosions of fuel pushing much

0:23:59.320 --> 0:24:03.080
<v Speaker 3>lighter components in a shorter stroke with a much lower

0:24:03.160 --> 0:24:06.480
<v Speaker 3>rotational mass. This is what makes chainsaws light enough to

0:24:06.480 --> 0:24:09.520
<v Speaker 3>be practical for the average person to use mean use

0:24:09.600 --> 0:24:13.200
<v Speaker 3>in their hands, he says, in order to make power,

0:24:13.240 --> 0:24:16.520
<v Speaker 3>they must be able to spin freely. Therein lies the rub.

0:24:16.880 --> 0:24:19.919
<v Speaker 3>The secret to making a chainsaw work is a centrifugal

0:24:20.040 --> 0:24:23.480
<v Speaker 3>clutch that allows the engine to spin up before applying

0:24:23.520 --> 0:24:27.480
<v Speaker 3>full power to the chain. At full throttle, the chain

0:24:27.600 --> 0:24:30.320
<v Speaker 3>and the engine are spinning at roughly the same speed

0:24:30.840 --> 0:24:33.159
<v Speaker 3>due to the speed at which the chain is traveling.

0:24:33.320 --> 0:24:37.159
<v Speaker 3>The frictions involved will create heat, but a specially formulated

0:24:37.240 --> 0:24:40.879
<v Speaker 3>chain oil keeps things running smoothly. Each tooth on the

0:24:40.960 --> 0:24:43.800
<v Speaker 3>chain removes a small chip of wood. Due to the

0:24:43.840 --> 0:24:46.880
<v Speaker 3>speed at which the chain is traveling, The cumulative effect

0:24:47.000 --> 0:24:49.800
<v Speaker 3>is significant In order for the saw to keep working,

0:24:49.840 --> 0:24:52.520
<v Speaker 3>it must be able to clear these chips of wood efficiently,

0:24:52.640 --> 0:24:55.439
<v Speaker 3>or the machine will encounter resistance that it cannot produce

0:24:55.560 --> 0:24:59.280
<v Speaker 3>enough torque to overcome. Now for the upsetting bit. When

0:24:59.280 --> 0:25:01.600
<v Speaker 3>I was young, one of our neighbors shot a really

0:25:01.640 --> 0:25:05.359
<v Speaker 3>magnificent buck during hunting season. He decided that he wanted

0:25:05.359 --> 0:25:08.679
<v Speaker 3>to mount the head as a trophy. In order to

0:25:08.720 --> 0:25:11.000
<v Speaker 3>do that, he needed to remove the head so that

0:25:11.040 --> 0:25:13.679
<v Speaker 3>he could give it to a taxidermist. He decided to

0:25:13.800 --> 0:25:17.240
<v Speaker 3>use you guessed it, a chainsaw. The deer was hanging

0:25:17.359 --> 0:25:20.400
<v Speaker 3>head down in his shop during this time of year,

0:25:20.480 --> 0:25:22.800
<v Speaker 3>the shop was as cold as a meat locker. He

0:25:22.880 --> 0:25:25.960
<v Speaker 3>decided to remove the head right there, rather than taking

0:25:26.040 --> 0:25:28.720
<v Speaker 3>it outside. This turned out to be almost as bad

0:25:28.760 --> 0:25:31.159
<v Speaker 3>a decision as using a chainsaw in the first place.

0:25:31.600 --> 0:25:34.359
<v Speaker 3>One of his sons held onto the buck's front legs

0:25:34.359 --> 0:25:37.760
<v Speaker 3>in order to steady it, and our neighbors started cutting. It.

0:25:37.880 --> 0:25:41.280
<v Speaker 3>Lasted for about thirty seconds, but it seemed like much longer.

0:25:42.440 --> 0:25:45.919
<v Speaker 3>Almost immediately, the hair and flesh and fat started to

0:25:46.000 --> 0:25:49.320
<v Speaker 3>interfere with the lubrication of the chain. The temperature of

0:25:49.359 --> 0:25:52.760
<v Speaker 3>the chain skyrocketed, and the saw bogged down and quit.

0:25:53.280 --> 0:25:55.959
<v Speaker 3>The heat caused the whole mess to cook and smoke.

0:25:57.080 --> 0:26:00.520
<v Speaker 3>The stench was truly horrible. During the brief time that

0:26:00.600 --> 0:26:03.240
<v Speaker 3>the saw was cutting, the saw managed to spray the

0:26:03.320 --> 0:26:05.720
<v Speaker 3>inside of the shop with a chunky mist of hair

0:26:05.760 --> 0:26:08.919
<v Speaker 3>and flesh. The mess was terrible, and even though he

0:26:09.040 --> 0:26:12.080
<v Speaker 3>had cleaned up as best he could during the following summer,

0:26:12.119 --> 0:26:15.480
<v Speaker 3>it drew flies and stank. I'm sure you could design

0:26:15.520 --> 0:26:17.840
<v Speaker 3>a tool for the job, but if you were using

0:26:17.920 --> 0:26:20.720
<v Speaker 3>an off the shelf chainsaw, I feel you would get

0:26:21.200 --> 0:26:24.280
<v Speaker 3>you would get one good whack at best. You're all

0:26:24.320 --> 0:26:28.080
<v Speaker 3>doing a great job. Thanks for your patience. You well, Hugh,

0:26:28.720 --> 0:26:31.200
<v Speaker 3>you know your warning was correct. This was really gross.

0:26:31.240 --> 0:26:33.840
<v Speaker 3>But I also found this really interesting and I appreciate

0:26:33.920 --> 0:26:37.360
<v Speaker 3>this contribution to the fact that, Yeah, the Texas chainsawm

0:26:37.400 --> 0:26:40.240
<v Speaker 3>esker scenario is not very plausible. Like you could probably

0:26:40.240 --> 0:26:43.360
<v Speaker 3>you probably hurt one person really bad with the chainsaw,

0:26:43.400 --> 0:26:46.879
<v Speaker 3>I guess, and then you'd be having trouble like keeping

0:26:46.960 --> 0:26:48.120
<v Speaker 3>going at people with it.

0:26:48.400 --> 0:26:50.359
<v Speaker 2>Yeah, it does. It doesn't sound like it would be

0:26:50.400 --> 0:26:52.920
<v Speaker 2>a good active weapon, nor would it be a good

0:26:53.200 --> 0:26:57.080
<v Speaker 2>butchery tool, which is that's implied that I mean Yeah,

0:26:57.160 --> 0:26:58.960
<v Speaker 2>that's one of the main reasons that the saw your

0:26:58.960 --> 0:27:00.000
<v Speaker 2>family has the chainsaw.

0:27:00.280 --> 0:27:01.480
<v Speaker 3>They got to make barbecue. Yeah.

0:27:01.520 --> 0:27:03.560
<v Speaker 2>Yeah, and they're supposed to really know their meat, you know,

0:27:03.680 --> 0:27:06.439
<v Speaker 2>because they worked in the slaughterhouses and so forth. But

0:27:06.600 --> 0:27:09.000
<v Speaker 2>in reality, it doesn't seem like this would be a

0:27:09.040 --> 0:27:10.640
<v Speaker 2>good good tool to use.

0:27:10.960 --> 0:27:14.920
<v Speaker 3>Well, yeah, I guess butchers mainly, well now I'm talking

0:27:14.920 --> 0:27:17.000
<v Speaker 3>about something I don't really know, but I think butchers

0:27:17.000 --> 0:27:20.560
<v Speaker 3>mainly use like sharp, very sharp little boning knives and

0:27:20.600 --> 0:27:22.560
<v Speaker 3>then like band saws to cut through bones.

0:27:22.760 --> 0:27:25.800
<v Speaker 2>Yeah. Yeah, Now, I guess this still leaves the door

0:27:25.840 --> 0:27:28.960
<v Speaker 2>open for the possibility of like, you know, far future

0:27:29.000 --> 0:27:32.080
<v Speaker 2>space marine chain swords, where there's some sort of a

0:27:32.119 --> 0:27:37.160
<v Speaker 2>technological chain weapon that has been designed, you know, exclusively

0:27:37.280 --> 0:27:42.160
<v Speaker 2>for cutting through enemies and armor and meat. But yeah,

0:27:42.200 --> 0:27:45.600
<v Speaker 2>as for our actual chainsaws out there, yeah, I like

0:27:45.640 --> 0:27:48.359
<v Speaker 2>the description that we had here about how it is

0:27:48.720 --> 0:27:52.960
<v Speaker 2>designed to remove tiny bits of wood from a larger

0:27:53.000 --> 0:27:55.040
<v Speaker 2>piece of wood and all that's going to break down

0:27:55.040 --> 0:27:56.439
<v Speaker 2>if you start cutting into flesh with it.

0:27:56.800 --> 0:28:00.439
<v Speaker 3>Yeah. Designed in part after the wood borer beetle, and

0:28:00.440 --> 0:28:02.520
<v Speaker 3>the wood boar beetle was not made to cut a

0:28:02.560 --> 0:28:05.400
<v Speaker 3>deer's head off, all right.

0:28:05.440 --> 0:28:08.760
<v Speaker 2>This next one comes to us from Sinan, responding to

0:28:09.400 --> 0:28:11.639
<v Speaker 2>this is a long ago episode on the origins and

0:28:11.640 --> 0:28:20.840
<v Speaker 2>effects of the seven day week system. Yeah, Sinan says, Okay, okay,

0:28:20.960 --> 0:28:23.399
<v Speaker 2>I haven't been listening to you for three years, and

0:28:23.440 --> 0:28:26.760
<v Speaker 2>that's because I had switched to Spotify over a hiatus

0:28:26.800 --> 0:28:29.919
<v Speaker 2>and forgot to carry over my liked podcast from the

0:28:29.960 --> 0:28:32.800
<v Speaker 2>Apple podcast app. This is a great reminder, though, I

0:28:32.800 --> 0:28:35.680
<v Speaker 2>guess it's kind of futile, right if you're if you're

0:28:35.720 --> 0:28:38.360
<v Speaker 2>not currently listening to the show, you can't be listening

0:28:38.400 --> 0:28:39.240
<v Speaker 2>to this episode.

0:28:39.560 --> 0:28:42.200
<v Speaker 3>But if you're, if you're listening and not subscribed on

0:28:42.240 --> 0:28:44.840
<v Speaker 3>the platform where you listen, please do subscribe. I mean,

0:28:44.920 --> 0:28:47.040
<v Speaker 3>assuming you want to be subscribed, but yeah, you do,

0:28:47.160 --> 0:28:50.080
<v Speaker 3>please please do that now that helps you and helps us.

0:28:50.360 --> 0:28:54.400
<v Speaker 2>Yeah, yeah, and it's yeah, absolutely so Anyway, Sinan continues,

0:28:54.880 --> 0:28:57.280
<v Speaker 2>now that we're back together, and yes, it is so

0:28:57.360 --> 0:28:59.400
<v Speaker 2>great to be back together. I have a great many

0:28:59.440 --> 0:29:02.960
<v Speaker 2>episodes to listen to and catch up on. Yeah. I

0:29:03.080 --> 0:29:06.280
<v Speaker 2>moved to Norway from Turkey and have come across this

0:29:06.400 --> 0:29:11.560
<v Speaker 2>weird phenomenon of numbered weeks, apparently in the Scandic countries

0:29:11.680 --> 0:29:14.840
<v Speaker 2>Norway and Denmark for sure, probably for Sweden as well.

0:29:15.760 --> 0:29:20.320
<v Speaker 2>Use week numbers for scheduling stuff, especially for the school calendars,

0:29:20.640 --> 0:29:24.200
<v Speaker 2>like winter break on week eight, fall break on week forty.

0:29:25.080 --> 0:29:28.920
<v Speaker 2>But also businesses have delivery deadlines set to weeks. Sometimes

0:29:28.960 --> 0:29:32.120
<v Speaker 2>colleagues tell me some deadline is on week twenty five,

0:29:32.160 --> 0:29:35.040
<v Speaker 2>and I'm like, what's the date. I don't speak weeks.

0:29:35.600 --> 0:29:40.160
<v Speaker 2>So there and back to listening, Sona, that is fascinating.

0:29:40.200 --> 0:29:41.520
<v Speaker 2>I did not know this was a thing.

0:29:41.840 --> 0:29:44.760
<v Speaker 3>I did not know that either. Interesting, Thank you, Sonan.

0:29:45.200 --> 0:29:48.080
<v Speaker 3>I had no idea that. I can see how that

0:29:48.320 --> 0:29:52.080
<v Speaker 3>makes some sense but also would be annoying to get

0:29:52.200 --> 0:29:53.840
<v Speaker 3>used to if you're new to it.

0:29:54.720 --> 0:29:57.320
<v Speaker 2>Yeah, I'm not sure. I have mixed feelings. I guess

0:29:57.320 --> 0:29:59.880
<v Speaker 2>I'm resistant to change in general. But I can see

0:30:00.040 --> 0:30:03.880
<v Speaker 2>where this would maybe be much more efficient because you

0:30:04.000 --> 0:30:06.800
<v Speaker 2>get down to just you know, week number one, week

0:30:06.840 --> 0:30:08.720
<v Speaker 2>number two, week number three, But because when you go

0:30:08.800 --> 0:30:11.520
<v Speaker 2>by months, it's of course you have uneven amount of

0:30:11.560 --> 0:30:16.400
<v Speaker 2>weeks per month. Months also bring in additional like emotional

0:30:16.960 --> 0:30:20.120
<v Speaker 2>baggage as well, or at least I find that's my case.

0:30:20.160 --> 0:30:22.520
<v Speaker 2>So it's like thinking about things planned for July and

0:30:22.640 --> 0:30:27.000
<v Speaker 2>thinking about some things that are practical from a planning standpoint,

0:30:27.040 --> 0:30:29.120
<v Speaker 2>but other things are just more about the vibe of

0:30:29.200 --> 0:30:32.080
<v Speaker 2>July and my past with July, and maybe it is

0:30:32.120 --> 0:30:34.200
<v Speaker 2>better to just break it down, break that year down

0:30:34.240 --> 0:30:36.840
<v Speaker 2>into a set number of weeks, and plan accordingly.

0:30:37.200 --> 0:30:39.560
<v Speaker 3>Yeah, though, I wonder if then you would just form

0:30:39.600 --> 0:30:42.760
<v Speaker 3>emotional associations with numbers of weeks. Yeah.

0:30:42.800 --> 0:30:45.640
<v Speaker 2>Maybe, so you're like week one, Oh, don't get me started.

0:30:45.680 --> 0:30:49.720
<v Speaker 2>Week one is always a chaotic. Week two still don't

0:30:49.720 --> 0:30:52.000
<v Speaker 2>have it together. Call me when we get to week five.

0:30:52.560 --> 0:30:53.320
<v Speaker 2>Maybe week ten.

0:30:54.000 --> 0:30:57.400
<v Speaker 3>I've really complicated emotional relationships with some months. It's not

0:30:57.440 --> 0:30:59.520
<v Speaker 3>a clean Oh I like that month that don't like

0:30:59.560 --> 0:31:02.920
<v Speaker 3>that one. I would say, for example, like October is

0:31:03.080 --> 0:31:05.960
<v Speaker 3>both my favorite and one of my least favorite months

0:31:05.960 --> 0:31:09.360
<v Speaker 3>of the year. Yeah, I love the autumn. I love

0:31:09.400 --> 0:31:12.440
<v Speaker 3>the Halloween season obviously, so it's like my favorite. You know,

0:31:12.560 --> 0:31:16.200
<v Speaker 3>it's great, but it also just tends to be, for

0:31:16.360 --> 0:31:19.240
<v Speaker 3>various reasons, a time of extreme stress for me.

0:31:20.040 --> 0:31:22.520
<v Speaker 2>Yeah. I mean, fourth quarter in general is always there's

0:31:22.520 --> 0:31:25.320
<v Speaker 2>just so many moving pieces, and I imagine that's that

0:31:25.360 --> 0:31:27.040
<v Speaker 2>goes for a lot of different industries.

0:31:27.440 --> 0:31:28.560
<v Speaker 3>Yeah.

0:31:28.640 --> 0:31:30.719
<v Speaker 2>Yeah, so I end I end up sort of favoring

0:31:30.760 --> 0:31:35.440
<v Speaker 2>those sort of lost weeks. Uh, those those rare almost

0:31:35.480 --> 0:31:38.120
<v Speaker 2>normal weeks you might think of where there's nothing particular

0:31:38.200 --> 0:31:41.720
<v Speaker 2>going on except whatever your work demands are. But I

0:31:41.760 --> 0:31:43.840
<v Speaker 2>don't know. Those those seem increasingly rare. You don't know

0:31:43.920 --> 0:31:46.160
<v Speaker 2>until you're in them. But maybe if you're doing a

0:31:46.200 --> 0:31:48.880
<v Speaker 2>week a week by week like numbered system, you'd know,

0:31:49.120 --> 0:31:52.160
<v Speaker 2>like eventually week sixteen is coming. In weeks, Week sixteen

0:31:52.240 --> 0:31:53.280
<v Speaker 2>is going to be really sweet.

0:31:53.560 --> 0:31:56.240
<v Speaker 3>Yeah, at what point do you hit the realization though?

0:31:56.280 --> 0:31:58.520
<v Speaker 3>They're like, oh yeah, things are never going to go

0:31:58.600 --> 0:31:59.400
<v Speaker 3>back to normal.

0:32:00.160 --> 0:32:03.960
<v Speaker 2>Yes, yeah, there's no such thing as a normal week.

0:32:13.320 --> 0:32:15.160
<v Speaker 2>All right, Well, should we jump into some weird house

0:32:15.160 --> 0:32:16.680
<v Speaker 2>cinema messages here? Joe?

0:32:17.040 --> 0:32:21.120
<v Speaker 3>Sure, let's see. Do you want me to do this

0:32:21.200 --> 0:32:22.320
<v Speaker 3>one from Greg?

0:32:22.880 --> 0:32:24.080
<v Speaker 2>Yeah? Why not? Let's do it.

0:32:24.240 --> 0:32:27.880
<v Speaker 3>Okay, this is about Night of the Comet, Greg says,

0:32:28.000 --> 0:32:30.360
<v Speaker 3>Robert and Joe, your recent weird house cinema episode on

0:32:30.480 --> 0:32:33.560
<v Speaker 3>Night of the Comet was great. Joe remarked that part

0:32:33.560 --> 0:32:36.840
<v Speaker 3>of the coziness and appeal of the film are the

0:32:37.000 --> 0:32:41.440
<v Speaker 3>depictions of empty locations around Los Angeles that are usually

0:32:41.480 --> 0:32:44.760
<v Speaker 3>filled with people. This is very much part of what

0:32:44.880 --> 0:32:47.200
<v Speaker 3>draws me to this film, and it got me thinking

0:32:47.200 --> 0:32:51.360
<v Speaker 3>about the concept of liminal spaces. For those who are unaware,

0:32:51.480 --> 0:32:56.040
<v Speaker 3>liminal spaces are vacant places that feel eerie or uncanny

0:32:56.160 --> 0:32:59.640
<v Speaker 3>due to the lack of human activity. They often evoke

0:32:59.680 --> 0:33:04.360
<v Speaker 3>a feeling of nostalgia in the Observer. Examples include schools

0:33:04.400 --> 0:33:08.600
<v Speaker 3>and playgrounds at night, empty airport terminals and train stations,

0:33:08.760 --> 0:33:12.640
<v Speaker 3>and abandoned amusement parks. I work at a library and

0:33:12.720 --> 0:33:15.800
<v Speaker 3>get to experience this every time I work a closing shift.

0:33:16.280 --> 0:33:20.640
<v Speaker 3>Some people find liminal space is unsettling, but I find

0:33:20.680 --> 0:33:26.640
<v Speaker 3>the familiar yet mysterious atmosphere comforting. Liminal spaces and nostalgia

0:33:26.640 --> 0:33:29.400
<v Speaker 3>in general might be an interesting topic for a show

0:33:29.480 --> 0:33:32.400
<v Speaker 3>if it was given a similar treatment to the recent

0:33:32.440 --> 0:33:35.800
<v Speaker 3>episode on cynicism. I love the show and I am

0:33:35.840 --> 0:33:38.280
<v Speaker 3>so grateful to have multiple episodes to look forward to

0:33:38.320 --> 0:33:41.560
<v Speaker 3>each week. Keep up the great work in twenty twenty six. Greg.

0:33:42.720 --> 0:33:45.680
<v Speaker 3>Thank you, Greg. Yeah, I really appreciate this. You know,

0:33:45.760 --> 0:33:49.000
<v Speaker 3>I've had some confusion about the idea of liminal spaces

0:33:49.080 --> 0:33:51.800
<v Speaker 3>over time, because I have like two different understandings in

0:33:51.800 --> 0:33:55.640
<v Speaker 3>my head of what it means. In one of my

0:33:55.760 --> 0:33:59.160
<v Speaker 3>understandings is exactly what you're talking about, kind of eerie

0:33:59.560 --> 0:34:02.920
<v Speaker 3>empty places, you know, the kind of place you would

0:34:02.960 --> 0:34:07.320
<v Speaker 3>normally imagine activity happening, but now it is. It is ghostly,

0:34:07.400 --> 0:34:10.720
<v Speaker 3>and you know, you can hear your footsteps echoing. It's

0:34:10.760 --> 0:34:14.439
<v Speaker 3>defined by an absence in a way. But my other

0:34:14.520 --> 0:34:19.520
<v Speaker 3>understanding of liminal spaces is that it's about like transitional spaces,

0:34:19.560 --> 0:34:22.719
<v Speaker 3>spaces where people are not usually meant to be. So

0:34:23.360 --> 0:34:26.759
<v Speaker 3>you know, the sides of roads where there are no sidewalks,

0:34:26.800 --> 0:34:30.120
<v Speaker 3>just places people aren't or you know, long empty hallways

0:34:30.239 --> 0:34:33.960
<v Speaker 3>places people don't stop and stay. Maybe it's come to

0:34:34.040 --> 0:34:37.000
<v Speaker 3>encompass both of these definitions over time. I don't know,

0:34:37.840 --> 0:34:42.680
<v Speaker 3>but I agree Greg, it is really interesting. I mean,

0:34:42.719 --> 0:34:45.280
<v Speaker 3>we talked about this in the Night of the Comet episode,

0:34:45.320 --> 0:34:47.439
<v Speaker 3>and you bring it up in the email here as well.

0:34:47.920 --> 0:34:52.520
<v Speaker 3>It's interesting how these spaces feel both creepy and cozy

0:34:52.600 --> 0:34:56.480
<v Speaker 3>at the same time. There's something about them that is

0:34:57.360 --> 0:35:01.120
<v Speaker 3>slightly off putting, a little bit threatening, also a little

0:35:01.120 --> 0:35:04.600
<v Speaker 3>bit comfortable and inviting and makes you want to walk

0:35:04.640 --> 0:35:07.239
<v Speaker 3>around in them. And so it's this weird sort of

0:35:07.320 --> 0:35:10.480
<v Speaker 3>opposite feelings working in tension with each other. And I

0:35:10.520 --> 0:35:15.880
<v Speaker 3>wonder if something about that duality is related to the

0:35:15.920 --> 0:35:18.520
<v Speaker 3>idea that they somehow evoke something like nostalgia.

0:35:19.920 --> 0:35:22.480
<v Speaker 2>Yeah, yeah, Yeah, it reminds me two of things that

0:35:22.560 --> 0:35:27.480
<v Speaker 2>I've I've read regarding how paintings affect us, And like,

0:35:27.520 --> 0:35:29.399
<v Speaker 2>we look at a painting of a landscape and there's

0:35:29.400 --> 0:35:32.640
<v Speaker 2>this argument that you know, it's maybe tying into some

0:35:32.800 --> 0:35:37.440
<v Speaker 2>very you know, archaic coating in our minds about hunting

0:35:37.480 --> 0:35:40.760
<v Speaker 2>and gathering. We can't help but sort of place ourselves

0:35:40.840 --> 0:35:43.880
<v Speaker 2>within the landscape and imagine the most ideal place to

0:35:43.960 --> 0:35:49.200
<v Speaker 2>be within that landscape. So yeah, it's I love these

0:35:49.280 --> 0:35:52.880
<v Speaker 2>these conversations where we're trying to figure out, like, why

0:35:53.040 --> 0:35:55.880
<v Speaker 2>is a certain visual representation affecting me the way it

0:35:55.920 --> 0:35:58.239
<v Speaker 2>seems to be affecting me, And how much of it

0:35:58.280 --> 0:36:00.719
<v Speaker 2>is I am in that space now or I am

0:36:01.000 --> 0:36:04.960
<v Speaker 2>imagining myself in that space? Yeah, and how deep is

0:36:04.960 --> 0:36:05.799
<v Speaker 2>that connected to me?

0:36:06.760 --> 0:36:10.320
<v Speaker 3>Absolutely? Yeah, But I just want to emphasize again, Greg,

0:36:10.400 --> 0:36:13.480
<v Speaker 3>I do think there is something really true and interesting

0:36:13.520 --> 0:36:15.920
<v Speaker 3>about the link you make between the feelings evoked by

0:36:15.960 --> 0:36:20.160
<v Speaker 3>liminal spaces and nostalgia. That's like, that's quite mysterious. I

0:36:20.200 --> 0:36:22.880
<v Speaker 3>don't understand why that link would be there, but I

0:36:23.160 --> 0:36:27.680
<v Speaker 3>feel that too, there is something in common between. I

0:36:27.680 --> 0:36:31.000
<v Speaker 3>don't know, the feeling of like walking through an empty,

0:36:31.400 --> 0:36:34.319
<v Speaker 3>you know, long empty hallway at night, or you know,

0:36:34.360 --> 0:36:37.880
<v Speaker 3>an empty airport terminal at night and there's nobody else there.

0:36:38.160 --> 0:36:42.000
<v Speaker 3>That feels kind of like when you see a toy

0:36:42.120 --> 0:36:45.680
<v Speaker 3>or item from your childhood. You know, it's just like,

0:36:45.800 --> 0:36:47.279
<v Speaker 3>oh wow, I remember that thing.

0:36:48.160 --> 0:36:50.719
<v Speaker 2>Yeah, there's I don't know much about this. I haven't

0:36:50.719 --> 0:36:52.640
<v Speaker 2>looked at this stuff recently, but I know that in

0:36:52.719 --> 0:36:56.919
<v Speaker 2>the genre of vapor wave, especially with like vapor wave

0:36:57.040 --> 0:37:00.880
<v Speaker 2>videos and vapor wave of course, you know, like sonically

0:37:01.280 --> 0:37:05.799
<v Speaker 2>often engages a certain amount of nostalgia, but a number

0:37:05.800 --> 0:37:09.440
<v Speaker 2>of these videos also invoke liminal space. And if you

0:37:09.480 --> 0:37:12.680
<v Speaker 2>just do a quick search like vapor wave liminal space,

0:37:13.280 --> 0:37:15.680
<v Speaker 2>a lot of results come up where they're just they're

0:37:15.719 --> 0:37:18.520
<v Speaker 2>making it overt, an overt part of the product that's

0:37:18.560 --> 0:37:22.080
<v Speaker 2>been put out there. So again, not an area I

0:37:22.120 --> 0:37:24.120
<v Speaker 2>know a whole lot about, but I think just in

0:37:24.120 --> 0:37:26.000
<v Speaker 2>this one example, we might see, oh yeah, here's an

0:37:26.000 --> 0:37:31.200
<v Speaker 2>obvious crossover between nostalgia and liminal spaces, and that that

0:37:31.920 --> 0:37:34.799
<v Speaker 2>liminal space nostalgia can also work with other sorts of

0:37:35.239 --> 0:37:39.480
<v Speaker 2>nostalgic media. But it does. Yeah, it films like this

0:37:40.280 --> 0:37:44.200
<v Speaker 2>and other like apocalyptic media. Yeah, there is something inviting

0:37:44.239 --> 0:37:46.879
<v Speaker 2>about it. We both want to be there and also

0:37:46.960 --> 0:37:49.440
<v Speaker 2>realize that it is a nightmare scenario that we wouldn't

0:37:49.480 --> 0:37:51.840
<v Speaker 2>want to be a part of. And that applies to

0:37:51.960 --> 0:37:55.760
<v Speaker 2>various aspects of say, you know, like zombie apocalypse media.

0:37:56.760 --> 0:37:59.400
<v Speaker 2>All right, let's let's see here. Oh, we had a fun,

0:38:00.120 --> 0:38:03.680
<v Speaker 2>fun one here from Jeff subject line mosquitoes don't give

0:38:03.719 --> 0:38:07.640
<v Speaker 2>a damn about Christmas time. This is a response to

0:38:08.600 --> 0:38:13.360
<v Speaker 2>a musical discussion in our episode on the film Future Kick. Hmmm,

0:38:18.920 --> 0:38:22.000
<v Speaker 2>Jeff Wrights, Hey guys. When Rob mentioned that Stan Ridgway

0:38:22.000 --> 0:38:24.480
<v Speaker 2>did the soundtrack for Future Kick, I had another listen

0:38:24.520 --> 0:38:26.800
<v Speaker 2>to his catalog, and now I have all these great

0:38:26.800 --> 0:38:29.319
<v Speaker 2>songs stuck in my head enough that now I feel

0:38:29.320 --> 0:38:31.920
<v Speaker 2>the urge to try to get them stuck in your heads.

0:38:32.840 --> 0:38:36.719
<v Speaker 2>Stan's music has a cool desert Southwest vie with lots

0:38:36.760 --> 0:38:41.560
<v Speaker 2>of emphasis on setting, tone, storytelling, and underused instruments, at

0:38:41.680 --> 0:38:46.399
<v Speaker 2>least for rock music. There's a lot of harmonica, accordion, saxophone,

0:38:46.480 --> 0:38:49.640
<v Speaker 2>and what I think might be electric violin, unless maybe

0:38:49.640 --> 0:38:52.719
<v Speaker 2>they're just faking it all a sep He's just amazing

0:38:52.760 --> 0:38:55.279
<v Speaker 2>with the catchy hooks. Thus all the earworms I've got

0:38:55.280 --> 0:38:57.920
<v Speaker 2>crawling around in my head at the moment. Probably his

0:38:58.000 --> 0:39:01.480
<v Speaker 2>most successible song and a straight bang, is Going Southbound.

0:39:01.880 --> 0:39:04.279
<v Speaker 2>It's got his trademark dark humor, a real sense of

0:39:04.320 --> 0:39:07.200
<v Speaker 2>place and atmosphere, and it just rocks. If you only

0:39:07.239 --> 0:39:09.399
<v Speaker 2>listen to a couple of songs, I'd recommend that one

0:39:09.480 --> 0:39:12.520
<v Speaker 2>and The Roadblock, which tells a complete story with a

0:39:12.560 --> 0:39:16.040
<v Speaker 2>great sense of inevitability. Peg and Pete and Me is

0:39:16.080 --> 0:39:19.560
<v Speaker 2>a noir story that's only going one place. Once you

0:39:19.640 --> 0:39:23.400
<v Speaker 2>hear the setup, or maybe just the title, it's fun

0:39:23.480 --> 0:39:26.840
<v Speaker 2>to listen to get there. He also takes weird turns

0:39:26.840 --> 0:39:30.600
<v Speaker 2>into sci fi with memorable lyrics like these from The Overlords.

0:39:31.200 --> 0:39:33.120
<v Speaker 2>There is something in the air that is burning in

0:39:33.160 --> 0:39:36.920
<v Speaker 2>my throat. A big black cloud is passing dropping acid

0:39:36.960 --> 0:39:39.560
<v Speaker 2>on my coat. If those songs don't grab you, you

0:39:40.360 --> 0:39:43.720
<v Speaker 2>probably won't be into his stuff. Calling Out to Carol

0:39:43.800 --> 0:39:46.800
<v Speaker 2>and A Mission in Life are great snapshots of life.

0:39:46.840 --> 0:39:50.160
<v Speaker 2>Mission also manages to be both optimistically cheesy and cynically

0:39:50.200 --> 0:39:53.280
<v Speaker 2>bleak at the same time. It's funny, a little sad,

0:39:53.520 --> 0:39:56.400
<v Speaker 2>then turns sort of beautiful at the end. Some songs

0:39:56.400 --> 0:39:58.880
<v Speaker 2>are just philosophical comedy. And I want to be a

0:39:58.880 --> 0:40:01.480
<v Speaker 2>boss the narrator's story by wishing he could take long

0:40:01.560 --> 0:40:05.040
<v Speaker 2>lunches and eventually spirals into a Howard Hughes fantasy of

0:40:05.080 --> 0:40:08.000
<v Speaker 2>buying Mars and building an amusement park. Up There a

0:40:08.080 --> 0:40:10.160
<v Speaker 2>quote better than Old Walt's Place.

0:40:10.320 --> 0:40:12.919
<v Speaker 3>That somehow sounds like it could be a Warren's Evon song.

0:40:13.120 --> 0:40:15.480
<v Speaker 2>It does it does sound that reminds me of a

0:40:15.480 --> 0:40:20.239
<v Speaker 2>little bit of like splendid isolation. Yes Can't Complain is

0:40:20.320 --> 0:40:23.560
<v Speaker 2>one weird extended gag with a cartoon ending, and Harry

0:40:23.640 --> 0:40:27.040
<v Speaker 2>Truman only two thousand views on YouTube drops lines like

0:40:27.360 --> 0:40:30.640
<v Speaker 2>John Wayne was always bald and he had a woman's name.

0:40:31.760 --> 0:40:35.200
<v Speaker 2>This observation from newspapers frequently pops into my mind when

0:40:35.239 --> 0:40:39.560
<v Speaker 2>I catch myself doom scrolling quote. Now, lately, I've been thinking,

0:40:39.719 --> 0:40:42.600
<v Speaker 2>what would the world do without the news? You wouldn't

0:40:42.600 --> 0:40:44.920
<v Speaker 2>know when wars were started or when they ended, win

0:40:45.040 --> 0:40:47.520
<v Speaker 2>or lose. It'd probably be a much better world to

0:40:47.560 --> 0:40:50.360
<v Speaker 2>live in, But the question would be who's and what

0:40:50.600 --> 0:40:53.799
<v Speaker 2>side you're on, or who's right or wrong? You'd never

0:40:53.960 --> 0:40:58.520
<v Speaker 2>have to choose anyways, It's not exactly about songs about

0:40:58.520 --> 0:41:01.440
<v Speaker 2>wolfmen and atomic mons us, but I think you'd both

0:41:01.520 --> 0:41:05.120
<v Speaker 2>enjoy a deep dive into his stuff or not. Your

0:41:05.160 --> 0:41:07.960
<v Speaker 2>mileage may vary, as they say, thanks for continuing to

0:41:07.960 --> 0:41:10.040
<v Speaker 2>stir up the neurons in my mind, Jeff.

0:41:10.400 --> 0:41:13.160
<v Speaker 3>Should we do a brief off Mike listening party to

0:41:13.200 --> 0:41:14.520
<v Speaker 3>one of these songs and come back?

0:41:15.480 --> 0:41:18.440
<v Speaker 2>Yeah? Yeah, yeah, I listen to some of his music

0:41:18.440 --> 0:41:20.200
<v Speaker 2>when we were working on this episode. But I do

0:41:20.320 --> 0:41:21.279
<v Speaker 2>need a reminder here.

0:41:21.400 --> 0:41:24.120
<v Speaker 3>Yeah, let's check out Going Southbound.

0:41:24.440 --> 0:41:26.640
<v Speaker 2>All right? Yeah, I like this, and I think, you know,

0:41:26.680 --> 0:41:28.920
<v Speaker 2>I have to come back to the Warrens eve on comparison.

0:41:29.080 --> 0:41:31.080
<v Speaker 2>You know they don't you know, not that they sound

0:41:31.080 --> 0:41:34.000
<v Speaker 2>tremendously alike, but there's a similar sense of sort of

0:41:34.000 --> 0:41:37.760
<v Speaker 2>an outsider trueadoor giving you an insight into a certain

0:41:37.840 --> 0:41:42.200
<v Speaker 2>world and painting that world with a fair amount of

0:41:42.200 --> 0:41:43.080
<v Speaker 2>weird detail.

0:41:43.560 --> 0:41:47.120
<v Speaker 3>Yeah. Well, the lyrics are a very cynical indictment of

0:41:47.160 --> 0:41:50.160
<v Speaker 3>the rat race. Yes, you know, it's like, oh, you're

0:41:50.200 --> 0:41:53.040
<v Speaker 3>sitting in traffic, you know you got a job. It's

0:41:53.120 --> 0:41:57.360
<v Speaker 3>all a bunch of hooey. But yeah, the guy's voice.

0:41:57.440 --> 0:42:00.280
<v Speaker 3>He's got more twang in his voice than I expect

0:42:00.320 --> 0:42:03.960
<v Speaker 3>to doing, kind of a cowboy accent. Uh and he

0:42:04.440 --> 0:42:09.279
<v Speaker 3>uh man. The production on it is so eighties. It's

0:42:09.440 --> 0:42:13.200
<v Speaker 3>like a you know, textbook example of what people mean

0:42:13.200 --> 0:42:15.320
<v Speaker 3>when they think about nineteen eighties rock production.

0:42:15.880 --> 0:42:18.000
<v Speaker 2>Yeah, which is another thing you do find with with

0:42:18.120 --> 0:42:19.600
<v Speaker 2>Warren Zevon music.

0:42:19.360 --> 0:42:21.320
<v Speaker 3>Of that later album. Yeah.

0:42:21.400 --> 0:42:23.719
<v Speaker 2>Yeah, but but yeah, I love his voice does have

0:42:23.760 --> 0:42:26.600
<v Speaker 2>that twang again what as we discussed in the in

0:42:26.600 --> 0:42:29.120
<v Speaker 2>that Weird House Cinema episode, a lot of people are

0:42:29.160 --> 0:42:32.360
<v Speaker 2>going to be most familiar with his voice from the

0:42:32.360 --> 0:42:37.000
<v Speaker 2>the Wall of Voodoo track Mexican Radio. Yeah, he's in

0:42:37.040 --> 0:42:40.279
<v Speaker 2>full twang on that as well. He was the it

0:42:40.320 --> 0:42:43.160
<v Speaker 2>was a new wave group and he was he was

0:42:43.200 --> 0:42:44.319
<v Speaker 2>the vocalist at that point.

0:42:45.040 --> 0:42:48.319
<v Speaker 3>Okay. In the video for the song by the way,

0:42:48.360 --> 0:42:52.600
<v Speaker 3>he's wandering around in this like drab coat in what

0:42:52.760 --> 0:42:56.600
<v Speaker 3>looks like an antiques warehouse. So they're just a bunch

0:42:56.640 --> 0:43:00.000
<v Speaker 3>of old furniture around and like a cage with an

0:43:00.080 --> 0:43:04.800
<v Speaker 3>armadillo in it. I think people playing violins and saxophones.

0:43:05.520 --> 0:43:08.200
<v Speaker 2>Yeah, armadilla might be a vampire around there somewhere.

0:43:08.400 --> 0:43:10.120
<v Speaker 3>I guess so all right.

0:43:10.040 --> 0:43:12.560
<v Speaker 2>Well, Jeff, thanks for writing in. Yeah anytime. I love

0:43:12.600 --> 0:43:15.160
<v Speaker 2>it when we can find out more about a particular

0:43:15.280 --> 0:43:17.279
<v Speaker 2>artist or actor that comes up in a Weird House

0:43:17.280 --> 0:43:18.279
<v Speaker 2>Cinema episode.

0:43:18.560 --> 0:43:23.120
<v Speaker 3>Yeah, oh hey. Also, we got some messages related to

0:43:23.360 --> 0:43:26.319
<v Speaker 3>Night of the comment about there was an arcade game

0:43:26.360 --> 0:43:29.520
<v Speaker 3>in the movie. Remember the Katherine Mary Stewart's character. She's

0:43:29.600 --> 0:43:32.520
<v Speaker 3>like all time great at this arcade game, and it

0:43:32.560 --> 0:43:34.520
<v Speaker 3>was called Tempest. And at first we were like, is

0:43:34.560 --> 0:43:37.200
<v Speaker 3>this a real game? But it is. Neither of us

0:43:37.200 --> 0:43:38.960
<v Speaker 3>had ever played it. It was what was called a

0:43:39.040 --> 0:43:42.759
<v Speaker 3>tube shooter genre we were not familiar with, and so

0:43:42.920 --> 0:43:45.880
<v Speaker 3>a couple of people wrote in about Tempest. One message

0:43:45.920 --> 0:43:54.719
<v Speaker 3>is from Lee. Lee says subject line Tempest arcade game.

0:43:55.200 --> 0:43:57.839
<v Speaker 3>Merry Christmas, Rob, Joe, and jj I hope you all

0:43:57.880 --> 0:44:02.160
<v Speaker 3>are having a great holiday season. In Day of the Commet, lea,

0:44:02.320 --> 0:44:06.840
<v Speaker 3>come on, it's night Night of the Living Comet. In

0:44:06.960 --> 0:44:09.680
<v Speaker 3>the Day of the Comet Weird House episode, you mentioned

0:44:09.719 --> 0:44:12.799
<v Speaker 3>the video game Tempest. I was in college in the

0:44:12.840 --> 0:44:15.000
<v Speaker 3>eighties and there were a couple of arcades in town.

0:44:15.600 --> 0:44:18.480
<v Speaker 3>While for me the Tempest was a guaranteed loss of

0:44:18.520 --> 0:44:21.319
<v Speaker 3>a quarter, I did try it several times. Anyway, the

0:44:21.360 --> 0:44:25.040
<v Speaker 3>graphics were pretty rudimentary, line based. The concept of a

0:44:25.080 --> 0:44:28.000
<v Speaker 3>tube shooter works, but is a new phrase for me.

0:44:28.520 --> 0:44:31.360
<v Speaker 3>Here's the gameplay picture. An outline of a stop sign

0:44:31.840 --> 0:44:36.080
<v Speaker 3>draw lines from the inside corners to the center. This

0:44:36.200 --> 0:44:39.799
<v Speaker 3>drawing creates the tube. The shooting position is around the

0:44:39.840 --> 0:44:43.440
<v Speaker 3>outside edge of the stop sign shape. You move around

0:44:43.520 --> 0:44:46.279
<v Speaker 3>the outside to target adversaries as they come towards you

0:44:46.320 --> 0:44:50.239
<v Speaker 3>out of the distance. This movement is accomplished with a

0:44:50.520 --> 0:44:58.040
<v Speaker 3>rotating maybe Lee means rotating arrow here. The second control

0:44:58.520 --> 0:45:01.000
<v Speaker 3>is a fire button. When you clear a level, you

0:45:01.040 --> 0:45:03.760
<v Speaker 3>advance or fall through the tube to the next level,

0:45:04.040 --> 0:45:07.280
<v Speaker 3>a new different polygon, more enemies, faster pace, et cetera.

0:45:07.920 --> 0:45:10.319
<v Speaker 3>This is the basics I can recall from forty years ago,

0:45:10.440 --> 0:45:12.640
<v Speaker 3>prompted by a scene from the film Thank you for

0:45:12.680 --> 0:45:14.719
<v Speaker 3>your work on stuff to blow your mind in Weird House.

0:45:14.760 --> 0:45:18.480
<v Speaker 3>Happy New Year to you all, sincerely, lye uh yeah,

0:45:18.480 --> 0:45:20.680
<v Speaker 3>thanks Lee. You know, I'm kind of intrigued by this

0:45:20.800 --> 0:45:23.799
<v Speaker 3>idea of a tube shooter, like a game based on

0:45:24.200 --> 0:45:28.080
<v Speaker 3>shooting at things in a tunnel. This obviously is a

0:45:28.120 --> 0:45:32.000
<v Speaker 3>more basic geometric version of it. But then I was like, Oh,

0:45:32.120 --> 0:45:35.440
<v Speaker 3>this actually is not all that unfamiliar of a concept.

0:45:35.440 --> 0:45:38.160
<v Speaker 3>I mean, a lot of early first person three D

0:45:38.360 --> 0:45:41.040
<v Speaker 3>first person shooter games are called like, you know, corridor

0:45:41.080 --> 0:45:43.719
<v Speaker 3>shooters or hallway shooters, where you're basically always in some

0:45:43.800 --> 0:45:46.600
<v Speaker 3>kind of hallway and you know you're shooting at something

0:45:46.680 --> 0:45:49.279
<v Speaker 3>down the hallway. And it also makes me think of

0:45:49.400 --> 0:45:54.759
<v Speaker 3>there was a game I recall called something like Descent.

0:45:55.120 --> 0:45:57.400
<v Speaker 3>Do you remember this game? It's it seemed like a

0:45:57.400 --> 0:45:59.640
<v Speaker 3>game where you're in some sort of vehicle, like a

0:45:59.680 --> 0:46:02.240
<v Speaker 3>shift for a mech of some kind, and you're going

0:46:02.280 --> 0:46:04.600
<v Speaker 3>through tunnels or tubes shooting at things.

0:46:05.080 --> 0:46:08.239
<v Speaker 2>Yes, I remember this game this. I think maybe I

0:46:08.280 --> 0:46:10.560
<v Speaker 2>only played like a demo of it, but it was

0:46:10.600 --> 0:46:13.359
<v Speaker 2>one of those that, you know, the the the disc

0:46:13.440 --> 0:46:15.319
<v Speaker 2>were being passed around for it back in the day.

0:46:15.640 --> 0:46:18.800
<v Speaker 3>Yeah, it might have been a popular freeware game, yes,

0:46:19.040 --> 0:46:21.120
<v Speaker 3>or sharewear yeah.

0:46:20.640 --> 0:46:22.920
<v Speaker 2>Yeah, around the time of you know, the popular I

0:46:23.000 --> 0:46:25.400
<v Speaker 2>forget it where where it falls in like Doom and

0:46:25.480 --> 0:46:26.480
<v Speaker 2>Quake timeline?

0:46:26.520 --> 0:46:29.000
<v Speaker 3>But yeah, yeah, Oh this is funny because I just

0:46:29.000 --> 0:46:31.200
<v Speaker 3>pulled up the wiki for Descent trying to remember what

0:46:31.280 --> 0:46:33.600
<v Speaker 3>this is, and there's a line on here that says

0:46:33.960 --> 0:46:37.680
<v Speaker 3>it was inspired by the scene in Return of the

0:46:37.719 --> 0:46:40.160
<v Speaker 3>Jedi where the Millennium Falcon is going through the middle

0:46:40.200 --> 0:46:42.120
<v Speaker 3>of the second Death Star to blow it up.

0:46:42.640 --> 0:46:45.040
<v Speaker 2>Yeah, at this point, like any amount of three D

0:46:45.120 --> 0:46:48.520
<v Speaker 2>and video games was just astounding. And I guess, more

0:46:48.560 --> 0:46:50.720
<v Speaker 2>to the point, it would have been during the original

0:46:50.760 --> 0:46:54.960
<v Speaker 2>release window for Tempest, so that you know, there's you know,

0:46:55.000 --> 0:46:58.520
<v Speaker 2>maybe there's something lost on us as we look at

0:46:58.520 --> 0:47:00.880
<v Speaker 2>the game plan now because we have so many different

0:47:00.920 --> 0:47:06.799
<v Speaker 2>three DEU worlds around us from video games. But maybe

0:47:06.800 --> 0:47:09.840
<v Speaker 2>this is a bit revolutionary at the time. Yeah, it

0:47:09.920 --> 0:47:13.359
<v Speaker 2>seems to have struck a chord because I was looking

0:47:13.440 --> 0:47:15.200
<v Speaker 2>up a little bit more about Tempest than I was

0:47:15.200 --> 0:47:18.479
<v Speaker 2>reminded that it factors into the novel Ready Player one,

0:47:19.520 --> 0:47:22.680
<v Speaker 2>which is loaded with all sorts of nostalgia from the

0:47:22.719 --> 0:47:26.319
<v Speaker 2>eighties of you know, pretty much every media sort, and

0:47:26.600 --> 0:47:29.320
<v Speaker 2>which it makes for a fun reading experience because you

0:47:29.360 --> 0:47:31.880
<v Speaker 2>end up looking things up. I've read it with my

0:47:32.600 --> 0:47:35.280
<v Speaker 2>kid and we would have to stop every few paragraphs

0:47:35.280 --> 0:47:37.120
<v Speaker 2>and I'd have to explain what something is, or other

0:47:37.120 --> 0:47:40.160
<v Speaker 2>times they already knew what it was. But yeah, pretty

0:47:40.200 --> 0:47:42.800
<v Speaker 2>fun novel and I think I'm to understand it. Also,

0:47:42.960 --> 0:47:45.400
<v Speaker 2>this game also pops up in Twilight Zone the movie,

0:47:46.120 --> 0:47:49.279
<v Speaker 2>just another example of it being culturally important, I guess.

0:47:49.440 --> 0:47:53.319
<v Speaker 2>During the nineteen eighties we also heard from Matt on

0:47:53.480 --> 0:47:57.919
<v Speaker 2>Discord included some video footage of himself playing the game.

0:47:57.960 --> 0:48:01.000
<v Speaker 2>He said, here's Tempest, albeit on my a Joust machine

0:48:01.080 --> 0:48:04.640
<v Speaker 2>rather than an original Joust, another classic arcade game which

0:48:04.640 --> 0:48:07.680
<v Speaker 2>also factors into Ready Player one. Joe mentioned it as

0:48:07.719 --> 0:48:10.080
<v Speaker 2>a tube shooter. I suspect it was originally done with

0:48:10.200 --> 0:48:13.120
<v Speaker 2>vector graphics instead of pixels, and you play as a

0:48:13.200 --> 0:48:16.799
<v Speaker 2>ship question mark at the top of the tube. Joystick

0:48:16.880 --> 0:48:19.840
<v Speaker 2>moves you clockwise or counterclockwise around the mouth of the

0:48:19.880 --> 0:48:22.560
<v Speaker 2>tube as enemies come up the tube towards you getting

0:48:22.640 --> 0:48:25.680
<v Speaker 2>hit by a shot or enemy kills you. And if

0:48:25.680 --> 0:48:27.880
<v Speaker 2>an enemy gets to the top, they chase you around

0:48:27.920 --> 0:48:30.040
<v Speaker 2>the mouth of the tube where you can't shoot them.

0:48:30.200 --> 0:48:33.360
<v Speaker 2>Oh no, he says, I am, by no means an expert,

0:48:33.400 --> 0:48:35.920
<v Speaker 2>and I'm not sure this would make my favorites list

0:48:36.200 --> 0:48:38.640
<v Speaker 2>even in the nineteen eighties. But if they had it

0:48:38.680 --> 0:48:41.080
<v Speaker 2>at a movie theater I was working at, it'd be

0:48:41.080 --> 0:48:42.400
<v Speaker 2>better than work, I guess.

0:48:42.680 --> 0:48:45.959
<v Speaker 3>Okay, yeah, I think that was Reggie's attitude as well.

0:48:46.480 --> 0:48:48.400
<v Speaker 2>Yeah, I mean that's another thing to factor into all

0:48:48.440 --> 0:48:51.360
<v Speaker 2>of this is like availability of video games. Yeah, you

0:48:51.400 --> 0:48:55.879
<v Speaker 2>know nowadays, you know, using certainly we need to get

0:48:55.880 --> 0:49:00.120
<v Speaker 2>demos and free freeware and you know even various and

0:49:00.160 --> 0:49:02.560
<v Speaker 2>so options. You have so many games to choose from.

0:49:02.600 --> 0:49:05.920
<v Speaker 2>And you know, there was a time where it was

0:49:05.960 --> 0:49:08.880
<v Speaker 2>whatever was physically present at the arcade, if you had

0:49:08.880 --> 0:49:11.319
<v Speaker 2>an arcade, it might be what was physically present at

0:49:11.400 --> 0:49:15.400
<v Speaker 2>your pizza hut or in the you know, just outside

0:49:15.440 --> 0:49:18.600
<v Speaker 2>your walmart, that sort of thing. I certainly remember those days.

0:49:18.880 --> 0:49:21.080
<v Speaker 3>Yeah, it used to be a lot more finding what

0:49:21.160 --> 0:49:22.640
<v Speaker 3>you like about what you can get.

0:49:23.040 --> 0:49:26.440
<v Speaker 2>Yeah, and certainly, I mean when I was growing up,

0:49:26.480 --> 0:49:28.040
<v Speaker 2>you know I had when I had a Nintendo and

0:49:28.080 --> 0:49:30.440
<v Speaker 2>then later when I had a Saga Genesis. You know,

0:49:30.480 --> 0:49:33.840
<v Speaker 2>we could rent games on occasion, but in general, it

0:49:33.880 --> 0:49:36.440
<v Speaker 2>was like you decided what game you wanted, you got it,

0:49:36.719 --> 0:49:40.080
<v Speaker 2>and then that was the game, Like good or bad.

0:49:40.239 --> 0:49:41.920
<v Speaker 2>You're going to spend a lot of time with it.

0:49:42.640 --> 0:49:45.000
<v Speaker 2>You were going to figure out its flaws. It wasn't

0:49:45.040 --> 0:49:46.440
<v Speaker 2>going to be one of these situations where it's like,

0:49:46.440 --> 0:49:48.120
<v Speaker 2>well I'll try it out for ten minutes and then

0:49:48.160 --> 0:49:49.960
<v Speaker 2>if I like it, I'll keep going, but I also

0:49:50.080 --> 0:49:51.919
<v Speaker 2>might like it and never play it again. Like that's

0:49:51.960 --> 0:49:55.000
<v Speaker 2>I feel like that's where I am today. Great game.

0:49:55.040 --> 0:49:57.120
<v Speaker 2>I played five minutes of it. Maybe I'll play some

0:49:57.160 --> 0:49:58.520
<v Speaker 2>more of it one day, but I won't.

0:49:59.040 --> 0:50:01.680
<v Speaker 3>Yeah, I guess the other thing being, you know, in adulthood,

0:50:01.760 --> 0:50:04.359
<v Speaker 3>there's like a big time issue. It's like, oh I

0:50:04.400 --> 0:50:06.839
<v Speaker 3>could I could enjoy this if I had a lot

0:50:06.840 --> 0:50:08.600
<v Speaker 3>of time to figure it out, but I don't have

0:50:08.680 --> 0:50:09.560
<v Speaker 3>time to figure it out.

0:50:10.640 --> 0:50:14.080
<v Speaker 2>So yeah, yeah, the enemies are approaching up the two.

0:50:14.440 --> 0:50:25.480
<v Speaker 2>It's not that much time. All right, We're gonna do

0:50:25.480 --> 0:50:26.880
<v Speaker 2>it at least one more here. This one comes to

0:50:27.000 --> 0:50:29.880
<v Speaker 2>us from Charles. Charles says, Hi, Rob, Joe, and JJ.

0:50:30.239 --> 0:50:32.680
<v Speaker 2>Your Star Trek Week was cool. We did Star Trek

0:50:32.719 --> 0:50:35.240
<v Speaker 2>Week a while back, and yeah, enough, folks what wrote

0:50:35.239 --> 0:50:36.919
<v Speaker 2>in about it. I think we may do Star Trek

0:50:36.920 --> 0:50:39.120
<v Speaker 2>Week again in twenty twenty six, so stick with us.

0:50:39.960 --> 0:50:43.759
<v Speaker 2>My folks are longtime Trek fans who love nature. I'm

0:50:43.760 --> 0:50:45.600
<v Speaker 2>excited to show them the episode you did on the

0:50:45.640 --> 0:50:48.759
<v Speaker 2>Salt Vampire. I didn't realize The Man Trap was the

0:50:48.800 --> 0:50:52.920
<v Speaker 2>first episode of Star Trek for Halloween this year. Would

0:50:52.920 --> 0:50:56.919
<v Speaker 2>you do nineteen forty two's Cat People, and quick note,

0:50:56.960 --> 0:50:59.799
<v Speaker 2>we did not do nineteen forty twos Cat People, as

0:51:00.040 --> 0:51:02.520
<v Speaker 2>discussed in a minute, it remains on our list. Yeah,

0:51:02.640 --> 0:51:07.080
<v Speaker 2>the themes of repression, conformity, and sexuality stuck out to

0:51:07.120 --> 0:51:09.520
<v Speaker 2>me for an old movie. I've heard it has the

0:51:09.560 --> 0:51:12.120
<v Speaker 2>earliest jump scare in a movie, and I believe it's

0:51:12.160 --> 0:51:15.360
<v Speaker 2>loosely based on a story by the great Algernon Blackwood.

0:51:15.960 --> 0:51:18.560
<v Speaker 2>I think the movie holds up. I enjoy its creepy

0:51:18.600 --> 0:51:21.880
<v Speaker 2>and magical noir style. The Leopard Man is also an

0:51:21.960 --> 0:51:26.239
<v Speaker 2>unseen gem from the same creative team. YouTube's mysterious algorithm

0:51:26.280 --> 0:51:28.759
<v Speaker 2>suggested it. I was surprised that I'd never heard of

0:51:28.840 --> 0:51:31.479
<v Speaker 2>it before because it was also excellent and seemed ahead

0:51:31.480 --> 0:51:35.319
<v Speaker 2>of its time with its themes misdirection and scares, live

0:51:35.400 --> 0:51:37.160
<v Speaker 2>long and prosper charms.

0:51:37.560 --> 0:51:40.160
<v Speaker 3>Yeah, my wife and I watched Cat People several years back,

0:51:40.200 --> 0:51:43.719
<v Speaker 3>and I recall we enjoyed it. The jump scare is

0:51:43.760 --> 0:51:47.200
<v Speaker 3>interesting because it's a not to spoil anything, but you know,

0:51:47.239 --> 0:51:51.080
<v Speaker 3>it's a very old movie. At this point. It's a

0:51:51.080 --> 0:51:53.520
<v Speaker 3>Cat People movie, so you might think it's like the

0:51:53.560 --> 0:51:56.080
<v Speaker 3>classic jump scare, which is a cat jumps out, but no,

0:51:56.200 --> 0:51:58.600
<v Speaker 3>it's a bus. The jump scary is a bus?

0:51:58.960 --> 0:52:00.000
<v Speaker 2>Buzzes can be scary.

0:52:00.320 --> 0:52:01.359
<v Speaker 3>Yeah, yeah, Dethly can.

0:52:01.880 --> 0:52:05.480
<v Speaker 2>But yeah, Cat People is a classic, and yeah I

0:52:05.520 --> 0:52:07.000
<v Speaker 2>watched part of it. I think it was one of

0:52:07.040 --> 0:52:09.040
<v Speaker 2>these situations where I was, like, I checked out a

0:52:09.040 --> 0:52:11.160
<v Speaker 2>bunch of movies. I was looking specifically for something for

0:52:11.239 --> 0:52:13.919
<v Speaker 2>weird House, and for some reason or another I put

0:52:13.960 --> 0:52:16.799
<v Speaker 2>Cat People on the back sheelf and didn't actually finish it.

0:52:16.880 --> 0:52:20.160
<v Speaker 2>But I'd love to come back to it because because yeah,

0:52:20.400 --> 0:52:22.720
<v Speaker 2>it has a great reputation. I liked what I saw,

0:52:22.840 --> 0:52:26.759
<v Speaker 2>and it definitely definitely ties in with the sorts of

0:52:26.800 --> 0:52:29.840
<v Speaker 2>films that I value, and the nineteen eighty two Cat People,

0:52:30.120 --> 0:52:33.040
<v Speaker 2>I guess still technically on the list as well. I

0:52:33.120 --> 0:52:36.480
<v Speaker 2>think I had expressed disinterest in that one, but then

0:52:36.520 --> 0:52:38.359
<v Speaker 2>we had a listener write in and said, hey, eighty

0:52:38.400 --> 0:52:42.000
<v Speaker 2>two's Cat People is also fun, So okay, fair enough,

0:52:42.000 --> 0:52:44.360
<v Speaker 2>It's still on the list as well. Alrighty, but I

0:52:44.360 --> 0:52:46.880
<v Speaker 2>don't think we can do eighty two's Cat People unless

0:52:47.280 --> 0:52:49.799
<v Speaker 2>we can't just do eighty two's Cat People, like eighty

0:52:49.840 --> 0:52:52.920
<v Speaker 2>two's Cat People is a possible add on much further

0:52:53.000 --> 0:52:55.439
<v Speaker 2>down the line after we've done the other Cat People

0:52:55.560 --> 0:52:59.880
<v Speaker 2>movie Leopard People. I'm not sure question mark on that.

0:53:00.760 --> 0:53:04.440
<v Speaker 3>Oh hey, before we end today's episode, Uh, maybe we

0:53:04.440 --> 0:53:08.320
<v Speaker 3>should mention this message from Shadow Rat on discord about

0:53:08.320 --> 0:53:11.360
<v Speaker 3>Santa Claus the movie. Right, Oh yes, yes, do you

0:53:11.400 --> 0:53:12.239
<v Speaker 3>want to read this one wrong?

0:53:12.560 --> 0:53:13.959
<v Speaker 2>You go ahead, and you have a cute up.

0:53:13.840 --> 0:53:22.640
<v Speaker 3>There, Shadow Rat says, short message. I can't help but

0:53:22.760 --> 0:53:26.200
<v Speaker 3>wonder if the magic that moves characters up and down

0:53:26.320 --> 0:53:30.120
<v Speaker 3>chimneys in Santa Claus the movie is killing and resurrecting

0:53:30.160 --> 0:53:34.680
<v Speaker 3>these characters in a similar fashion to Star Trek's Transporter Bravo,

0:53:35.160 --> 0:53:38.120
<v Speaker 3>the flower to disappear is actually a murder device.

0:53:38.280 --> 0:53:43.400
<v Speaker 2>Yeah, yeah, yeah, it's it. It alters the the destiny

0:53:43.560 --> 0:53:46.680
<v Speaker 2>of the clause. Right, you know, maybe not only doom

0:53:46.840 --> 0:53:51.080
<v Speaker 2>to not die and to live forever, but to die endlessly, endlessly,

0:53:51.440 --> 0:53:53.960
<v Speaker 2>you know, death after death after death. Every time he

0:53:54.000 --> 0:53:57.680
<v Speaker 2>teleports in and out of a child's home, and maybe

0:53:57.680 --> 0:53:58.839
<v Speaker 2>that's part of his longevity.

0:53:59.080 --> 0:54:01.520
<v Speaker 3>Yeah, very good observation, Shadow.

0:54:01.200 --> 0:54:06.120
<v Speaker 2>App Yeah, anytime we can shoehorn some weird teleportation philosophy

0:54:06.320 --> 0:54:08.600
<v Speaker 2>into a Christmas tradition, I'm.

0:54:08.520 --> 0:54:11.680
<v Speaker 3>All for it, all right, Does that do it? For today.

0:54:11.920 --> 0:54:14.400
<v Speaker 2>I guess that does it for today, but we'll be back,

0:54:15.239 --> 0:54:17.440
<v Speaker 2>you know, stay tuned. We should have a new episode

0:54:17.440 --> 0:54:19.719
<v Speaker 2>on Thursday unless we can't get it together. But I

0:54:19.760 --> 0:54:21.480
<v Speaker 2>think we can get it together. We're going to try

0:54:22.360 --> 0:54:24.759
<v Speaker 2>in the meantime and definitely write in with any of

0:54:24.800 --> 0:54:29.120
<v Speaker 2>your questions, concerns, suggestions for the futures, seasonal well wishes,

0:54:29.160 --> 0:54:31.320
<v Speaker 2>and so forth. All of it is fair game. Just

0:54:31.400 --> 0:54:33.160
<v Speaker 2>reminder of Stuff to Blow Your Mind is primarily a

0:54:33.200 --> 0:54:36.440
<v Speaker 2>science and culture podcast, with core episodes on Tuesdays and Thursdays,

0:54:36.840 --> 0:54:39.319
<v Speaker 2>short form episodes on Wednesdays and on Fridays. We set

0:54:39.320 --> 0:54:41.560
<v Speaker 2>aside most serious concerns to just talk about a weird

0:54:41.600 --> 0:54:43.160
<v Speaker 2>film on Weird House Cinema.

0:54:43.400 --> 0:54:47.040
<v Speaker 3>Huge thanks as always to our excellent audio producer JJ Posway.

0:54:47.400 --> 0:54:48.960
<v Speaker 3>If you would like to get in touch with us

0:54:48.960 --> 0:54:51.400
<v Speaker 3>with feedback on this episode or any other, to suggest

0:54:51.440 --> 0:54:53.479
<v Speaker 3>a topic for the future, or just to say hello,

0:54:53.600 --> 0:54:56.160
<v Speaker 3>you can email us at contact at stuff to Blow

0:54:56.160 --> 0:55:04.240
<v Speaker 3>your Mind dot com.

0:55:04.440 --> 0:55:07.600
<v Speaker 1>Stuffed Blow your Mind is production of iHeartRadio. For more

0:55:07.640 --> 0:55:11.440
<v Speaker 1>podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

0:55:11.440 --> 0:55:13.160
<v Speaker 1>wherever you listen to your favorite shows.