1 00:00:02,960 --> 00:00:05,360 Speaker 1: Welcome to Stuff to Blow Your Mind production of My 2 00:00:05,480 --> 00:00:11,039 Speaker 1: Heart Radio. Hey, welcome to Stuff to Blow your Mind 3 00:00:11,320 --> 00:00:15,320 Speaker 1: listener mail. My name is Robert Lamb and I'm Joe McCormick. Again. 4 00:00:15,400 --> 00:00:17,320 Speaker 1: It's Monday, the day of the week that we reback 5 00:00:17,400 --> 00:00:20,080 Speaker 1: some messages from the mail bag. Here. You know what 6 00:00:20,120 --> 00:00:23,400 Speaker 1: we haven't mentioned in a while, our loyal mailbot, Carney. 7 00:00:23,960 --> 00:00:26,000 Speaker 1: I don't know why we You know, we start to 8 00:00:26,000 --> 00:00:28,360 Speaker 1: take him for granted. Yeah, I mean, if he's he's 9 00:00:28,400 --> 00:00:31,280 Speaker 1: functioning perfectly and he's not destroying all humans, then you 10 00:00:31,320 --> 00:00:33,680 Speaker 1: don't notice he's there at all. That's the thing about technology. 11 00:00:33,920 --> 00:00:36,880 Speaker 1: How about it, Carney, Have you yet decided that human 12 00:00:36,920 --> 00:00:40,800 Speaker 1: beings are a virus? Much like Agent Smith in the Matrix? 13 00:00:42,040 --> 00:00:46,319 Speaker 1: Ambiguous answer? Okay, um? I think maybe we should start 14 00:00:46,360 --> 00:00:49,159 Speaker 1: off with some responses to the episode we did on 15 00:00:49,320 --> 00:00:53,080 Speaker 1: vacuum Airships. Let's see, Rob, do you want to do 16 00:00:53,120 --> 00:01:02,680 Speaker 1: this one from longtime correspondent Jim in New Jersey? Oh yeah, yeah, 17 00:01:02,760 --> 00:01:05,319 Speaker 1: Jim and New Jersey is great about chiming in, especially 18 00:01:05,520 --> 00:01:08,720 Speaker 1: on on like physics and stuff, but also old timey 19 00:01:08,760 --> 00:01:13,080 Speaker 1: sci fi as well. So Jim shares the following Robert, 20 00:01:13,120 --> 00:01:15,319 Speaker 1: Joe and Seth. I think that null ships, which really 21 00:01:15,319 --> 00:01:18,880 Speaker 1: should be called null holes, exist on Earth, but just 22 00:01:19,000 --> 00:01:22,560 Speaker 1: not in the form you presented. I would propose that 23 00:01:22,720 --> 00:01:26,560 Speaker 1: submarines are a type of null hole design. Their buoyancy 24 00:01:26,600 --> 00:01:29,759 Speaker 1: and water is determined by the relative ratio of air 25 00:01:29,840 --> 00:01:33,600 Speaker 1: to sea water in their buoyancy tanks. In these conditions, 26 00:01:33,640 --> 00:01:36,319 Speaker 1: air would be like a vacuum relative to the surrounding 27 00:01:36,360 --> 00:01:39,640 Speaker 1: sea water. Submarines can be subjected to the crushing pressure 28 00:01:39,680 --> 00:01:42,360 Speaker 1: of the surrounding fluid, as is seen in just about 29 00:01:42,400 --> 00:01:46,360 Speaker 1: every submarine movie ever produced. If no airships were ever constructed, 30 00:01:46,360 --> 00:01:50,120 Speaker 1: I'd really be concerned with their integral structure. Any flaw 31 00:01:50,160 --> 00:01:54,520 Speaker 1: would make them susceptible to immediate crushing. The MythBusters demonstrated 32 00:01:54,560 --> 00:01:57,560 Speaker 1: this in their last season when they crushed a railroad 33 00:01:57,560 --> 00:02:01,560 Speaker 1: tanker car only by using air sure. It's implosion was 34 00:02:01,600 --> 00:02:04,120 Speaker 1: one of the most impressive things I remember them doing. 35 00:02:04,200 --> 00:02:08,240 Speaker 1: On the show Jim in New Jersey, Jim attaches a 36 00:02:08,440 --> 00:02:10,359 Speaker 1: link to a video. I couldn't tell if this was 37 00:02:10,400 --> 00:02:13,680 Speaker 1: actually from MythBusters. It didn't really look like it, but uh, 38 00:02:13,880 --> 00:02:17,240 Speaker 1: it was a clip of somebody pumping out Yeah, one 39 00:02:17,280 --> 00:02:20,799 Speaker 1: of those like you know sealed tankers you would see 40 00:02:20,840 --> 00:02:24,480 Speaker 1: being pulled on railroad tracks, and they had it hooked 41 00:02:24,520 --> 00:02:26,400 Speaker 1: up to a big truck. I guess that truck was 42 00:02:26,440 --> 00:02:30,080 Speaker 1: operating the vacuum pump. And it just it doesn't do 43 00:02:30,160 --> 00:02:32,040 Speaker 1: anything for a long time, because of course it's not 44 00:02:32,080 --> 00:02:34,360 Speaker 1: a balloon. It's got a rigid outer shell, and it 45 00:02:34,440 --> 00:02:37,320 Speaker 1: just sits there and sits there and sits there, and 46 00:02:37,320 --> 00:02:40,480 Speaker 1: then suddenly, bam, it just smashes like somebody, like an 47 00:02:40,480 --> 00:02:43,760 Speaker 1: invisible foot from the sky stomped on it. Yeah, it 48 00:02:43,880 --> 00:02:47,400 Speaker 1: just squatches. That's pretty pretty impressive. That is the pressure 49 00:02:47,440 --> 00:02:57,519 Speaker 1: of the atmosphere, same force holding the Magdeburg hemispheres together. Okay, 50 00:02:57,960 --> 00:03:01,560 Speaker 1: I'm gonna read a message about vac hume airships from Eric, 51 00:03:01,720 --> 00:03:06,040 Speaker 1: who says, Hi, gentlemen, loved the void ships episode. I've 52 00:03:06,080 --> 00:03:09,639 Speaker 1: long wondered about the feasibility of vacuum airships, and one 53 00:03:09,680 --> 00:03:12,120 Speaker 1: thing that occurred to me is the possible use of 54 00:03:12,360 --> 00:03:17,600 Speaker 1: evacuated aero gels. Aero gels are essentially a dried out 55 00:03:17,680 --> 00:03:21,239 Speaker 1: gel that retains its shape. They're estimated to be about 56 00:03:22,120 --> 00:03:26,600 Speaker 1: air inside lots of nanoscopic pores. A common example is 57 00:03:26,639 --> 00:03:31,040 Speaker 1: silica aero gel, which is basically fluffy glass. I did 58 00:03:31,040 --> 00:03:33,720 Speaker 1: some math, and if we could evacuate the air from 59 00:03:33,800 --> 00:03:36,960 Speaker 1: silica aero gel and then somehow seal the surface so 60 00:03:37,000 --> 00:03:39,560 Speaker 1: air could not get back in, it would be capable 61 00:03:39,600 --> 00:03:42,360 Speaker 1: of floating at altitudes of up to four kilometers or 62 00:03:42,440 --> 00:03:45,760 Speaker 1: one point five miles. Its biggest problem would be its 63 00:03:45,760 --> 00:03:50,160 Speaker 1: compressive strength. Although aero gels are rigid, they're not all strong, 64 00:03:50,240 --> 00:03:52,960 Speaker 1: and larger aero gels may not be able to withstand 65 00:03:53,040 --> 00:03:57,160 Speaker 1: sea level pressure, especially for larger vacuum aero gel balloons. 66 00:03:57,520 --> 00:03:59,680 Speaker 1: I don't know enough about material sites to try to 67 00:03:59,680 --> 00:04:03,440 Speaker 1: calcul the performance of an aero gel at different atmospheric pressures, 68 00:04:03,480 --> 00:04:06,280 Speaker 1: but it's a fun idea, and maybe, like all the 69 00:04:06,320 --> 00:04:08,720 Speaker 1: other problems in the world, this one will be solved 70 00:04:08,760 --> 00:04:13,200 Speaker 1: by graphine or carbon nanotubes all the best. Eric that's right, 71 00:04:13,240 --> 00:04:15,600 Speaker 1: we can always kick the aero gel can down the 72 00:04:15,680 --> 00:04:20,280 Speaker 1: road to the graphine and nanotubes, for sure. I feel 73 00:04:20,279 --> 00:04:23,560 Speaker 1: like I've seen fewer articles about this in recent years. 74 00:04:23,800 --> 00:04:26,840 Speaker 1: There was a period of time. Oh I don't know, 75 00:04:26,880 --> 00:04:30,680 Speaker 1: I'm gonna say, like two thousand eleven to two thousand 76 00:04:31,120 --> 00:04:35,160 Speaker 1: thirteen or fourteen or so. We're essentially every science or 77 00:04:35,200 --> 00:04:38,280 Speaker 1: engineering article I read ended with well, we can't do 78 00:04:38,320 --> 00:04:42,279 Speaker 1: this now, but maybe with graphine or carbon nanotubes. Yeah, yeah, 79 00:04:42,279 --> 00:04:44,360 Speaker 1: I mean you still see it with with any kind 80 00:04:44,400 --> 00:04:48,839 Speaker 1: of discussion that involves the limitations of modern day materials 81 00:04:48,960 --> 00:04:51,880 Speaker 1: or structures. Inevitably that's going to come up, and for 82 00:04:51,960 --> 00:04:53,880 Speaker 1: good reason. But yeah, I think you're right. There was 83 00:04:53,920 --> 00:04:56,800 Speaker 1: a time about ten years ago where it seemed like 84 00:04:56,839 --> 00:04:59,839 Speaker 1: it was everywhere the science headlines were just crazy for nanotubes. 85 00:05:05,160 --> 00:05:08,640 Speaker 1: All right, here's one from Evan. Evan writes in and says, hey, dudes, 86 00:05:09,000 --> 00:05:11,159 Speaker 1: I always love listening to your show and learning along 87 00:05:11,200 --> 00:05:14,280 Speaker 1: with them. One of my favorite episodes was the Lesser 88 00:05:14,320 --> 00:05:17,400 Speaker 1: of two crab Claws series. But as I was listening 89 00:05:17,440 --> 00:05:20,440 Speaker 1: to your recent episode about vacuum airships, I couldn't help 90 00:05:20,480 --> 00:05:22,960 Speaker 1: but be reminded of a scene in the original Willy 91 00:05:23,040 --> 00:05:26,040 Speaker 1: Wonka and the Chocolate Factory movie. I'm not sure if 92 00:05:26,080 --> 00:05:28,760 Speaker 1: it features in the Tim Burton one, where Charlie and 93 00:05:28,800 --> 00:05:32,480 Speaker 1: Grandpa Joe sneak a sample of fizzylifting drink and are 94 00:05:32,520 --> 00:05:35,160 Speaker 1: almost chopped up by the fans in the ceiling. They 95 00:05:35,200 --> 00:05:37,800 Speaker 1: finally discovered the solution to stop floating, and to get 96 00:05:37,800 --> 00:05:41,159 Speaker 1: down is to burp slowly expelling gas, and each time 97 00:05:41,200 --> 00:05:43,440 Speaker 1: they sink a little lower until they are safe on 98 00:05:43,480 --> 00:05:45,919 Speaker 1: the ground. As you went through all the different attempts 99 00:05:46,000 --> 00:05:48,360 Speaker 1: people came up with to create these null ships, I 100 00:05:48,400 --> 00:05:50,600 Speaker 1: couldn't help but think of this scene and the comparisons 101 00:05:50,640 --> 00:05:53,320 Speaker 1: it drew. Again, thanks for all you do. Love the show. 102 00:05:53,520 --> 00:05:56,720 Speaker 1: Evan chopped up by the fans. That's a little more 103 00:05:56,800 --> 00:06:01,600 Speaker 1: gory than I recall Wonka being. Oh yeah, yeah, they 104 00:06:01,600 --> 00:06:03,440 Speaker 1: were floating. I mean they didn't get chopped up, but 105 00:06:03,480 --> 00:06:07,080 Speaker 1: they were floating up towards the obvious chopping peril of 106 00:06:07,360 --> 00:06:10,240 Speaker 1: fan on the ceiling. I mean, death is real. In 107 00:06:10,279 --> 00:06:13,400 Speaker 1: the Walker Verse, it was implied chopping. There was the 108 00:06:13,440 --> 00:06:17,360 Speaker 1: suggestion that chopping would occur, right, But I mean we 109 00:06:17,360 --> 00:06:21,640 Speaker 1: we established in in the Wonka verse here that terrible 110 00:06:21,720 --> 00:06:24,760 Speaker 1: things canon will happen to children. So it's it's for 111 00:06:24,800 --> 00:06:27,440 Speaker 1: some reason. It's a film where the threat feels very 112 00:06:27,480 --> 00:06:32,080 Speaker 1: real and Charlie and Grandpa are breaking the rules. Oh 113 00:06:32,240 --> 00:06:35,680 Speaker 1: are they? I remember Charlie and Grandpa always doing good 114 00:06:35,720 --> 00:06:37,840 Speaker 1: while it was the other kids who were doing bad. 115 00:06:38,120 --> 00:06:40,080 Speaker 1: I mean, the kids did bad too, but you might 116 00:06:40,120 --> 00:06:42,039 Speaker 1: remember at the end, this is the whole, remember the 117 00:06:42,040 --> 00:06:46,720 Speaker 1: whole wonka um rant about you get nothing anyway, this 118 00:06:46,800 --> 00:06:49,800 Speaker 1: was this was part of it. Okay, great weird film. 119 00:06:49,839 --> 00:06:51,680 Speaker 1: It's certainly one we could We could come back and 120 00:06:51,680 --> 00:06:53,480 Speaker 1: look at on weird. Howse sent him in the future. 121 00:06:53,920 --> 00:06:56,520 Speaker 1: You mean the old one. You cannot make me watch 122 00:06:56,600 --> 00:07:00,160 Speaker 1: the Tim Burton one. I saw it. I don't over 123 00:07:00,320 --> 00:07:02,560 Speaker 1: much about it, but I mean the original and it's 124 00:07:02,720 --> 00:07:10,800 Speaker 1: is golden. Yes, okay. How about a couple of messages 125 00:07:10,840 --> 00:07:16,280 Speaker 1: about whistling. Uh. This first one comes from Duncan. Duncan says, Hi, 126 00:07:16,560 --> 00:07:18,960 Speaker 1: I've loved your deep dive into whistling. I had no 127 00:07:19,000 --> 00:07:22,000 Speaker 1: idea it was such a large subject. In the third episode, 128 00:07:22,040 --> 00:07:24,680 Speaker 1: you talked about the use of whistling from the audience 129 00:07:24,720 --> 00:07:28,240 Speaker 1: as a negative display in ancient debates, and mentioned the 130 00:07:28,280 --> 00:07:31,480 Speaker 1: modern day British theater. Although this is more a cultural 131 00:07:31,600 --> 00:07:35,280 Speaker 1: memory as audiences in the UK don't really do this anymore. 132 00:07:35,800 --> 00:07:38,520 Speaker 1: I thought i'd share that the French rugby team have 133 00:07:38,640 --> 00:07:42,800 Speaker 1: to contend with quote the bird, a whistled display of 134 00:07:42,840 --> 00:07:46,600 Speaker 1: disappointment in turgid play from their own fans when not 135 00:07:46,720 --> 00:07:50,080 Speaker 1: performing well. This is in wide use across France today. 136 00:07:50,480 --> 00:07:53,600 Speaker 1: Keep up the good work, all the best, Duncan, Duncan. 137 00:07:53,720 --> 00:07:55,720 Speaker 1: I tried to look this up and find an example, 138 00:07:55,800 --> 00:07:57,480 Speaker 1: and I could not, But maybe I didn't know what 139 00:07:57,640 --> 00:08:00,800 Speaker 1: the right search terms were. But I believe you interesting, 140 00:08:05,920 --> 00:08:07,960 Speaker 1: all right. This one comes to us from Mark hawdy 141 00:08:08,080 --> 00:08:10,720 Speaker 1: All in part three of the Whistling series, there was 142 00:08:10,720 --> 00:08:13,160 Speaker 1: a discussion of the audience in a theater whistling at 143 00:08:13,160 --> 00:08:16,120 Speaker 1: the at a performance that they didn't like. And if 144 00:08:16,160 --> 00:08:18,040 Speaker 1: I recall I listened to it a few days ago, 145 00:08:18,480 --> 00:08:21,600 Speaker 1: you segued into Sailor's superstitions about whistling. I think there 146 00:08:21,640 --> 00:08:24,520 Speaker 1: may be some overlap between the two. There's a superstition 147 00:08:24,600 --> 00:08:27,720 Speaker 1: in the theater about whistling backstage. I asked around during 148 00:08:27,720 --> 00:08:29,640 Speaker 1: a show. I'm a musician that does a lot of 149 00:08:29,640 --> 00:08:32,680 Speaker 1: work in theaters here in Atlanta as to where this 150 00:08:32,720 --> 00:08:35,640 Speaker 1: particular superstition came from. And the only answer that was 151 00:08:35,679 --> 00:08:38,679 Speaker 1: given with any confidence is the surprisingly practical. And this 152 00:08:38,840 --> 00:08:41,440 Speaker 1: explanation is purely anecdotal, so take it with a grain 153 00:08:41,440 --> 00:08:44,840 Speaker 1: of salt. Many of the curtains, scrims, and other set 154 00:08:44,880 --> 00:08:48,079 Speaker 1: pieces are flown in from the loft using cables. Now 155 00:08:48,120 --> 00:08:50,640 Speaker 1: these cables are steel cables with easy to use locks 156 00:08:50,640 --> 00:08:53,440 Speaker 1: and counterweights. But before that there were ropes that had 157 00:08:53,520 --> 00:08:56,440 Speaker 1: to be weighted and tied to secure them. Sailors were 158 00:08:56,440 --> 00:08:59,080 Speaker 1: accustomed to running around in high places and working with 159 00:08:59,080 --> 00:09:01,520 Speaker 1: stout ropes and not unts, so when not at sea, 160 00:09:01,640 --> 00:09:03,839 Speaker 1: the theater was a good place to find work. How 161 00:09:03,840 --> 00:09:07,360 Speaker 1: do they communicate it? See whistling, which if it's even 162 00:09:07,480 --> 00:09:10,800 Speaker 1: audible to the audience, would not interfere with the dialogue. Thus, 163 00:09:11,040 --> 00:09:13,800 Speaker 1: if you whistle backstage, you risk telling the stage crew 164 00:09:13,840 --> 00:09:16,520 Speaker 1: to do something that could be embarrassing in the show, 165 00:09:16,600 --> 00:09:20,439 Speaker 1: catastrophic or even deadly, like any old cartoon that involves 166 00:09:20,440 --> 00:09:24,040 Speaker 1: a sand bag dropped on someone's head. My hypothesis is 167 00:09:24,080 --> 00:09:27,240 Speaker 1: that the audiences of old new this then perhaps an 168 00:09:27,240 --> 00:09:30,320 Speaker 1: audience whistling is an attempt to spook a superstitious actor, 169 00:09:30,760 --> 00:09:33,960 Speaker 1: cause some technical mayhem, or even to do harm to 170 00:09:34,000 --> 00:09:36,719 Speaker 1: the folks on stage. Just a bit of speculation, but 171 00:09:36,800 --> 00:09:39,840 Speaker 1: seems plausible. Thanks for the great shows, topics and movies, 172 00:09:39,960 --> 00:09:43,200 Speaker 1: Mark Well Mark, I'm of two minds about this. On 173 00:09:43,200 --> 00:09:45,360 Speaker 1: one hand, I am taking this with a grain of salt. 174 00:09:45,600 --> 00:09:49,320 Speaker 1: I'm not sure, but it's a beautiful story. Yeah, yeah, 175 00:09:49,400 --> 00:09:54,520 Speaker 1: I I like these possible connections. Um, it certainly changes 176 00:09:54,600 --> 00:09:59,320 Speaker 1: the um the the flavor of whistling at someone on 177 00:09:59,320 --> 00:10:01,959 Speaker 1: a stage of what you're ultimately trying to do is 178 00:10:01,960 --> 00:10:04,319 Speaker 1: get a chandelier dropped on their head. Yeah, or make 179 00:10:04,360 --> 00:10:07,640 Speaker 1: the sets start lifting off the ground or something. Yeah. Yeah, 180 00:10:07,800 --> 00:10:09,920 Speaker 1: I mean nobody wants to hear you know, your favorite 181 00:10:09,960 --> 00:10:12,800 Speaker 1: musician do any new material, but you don't want stuff 182 00:10:12,840 --> 00:10:15,000 Speaker 1: to fall on them. Oh, I was just taken to 183 00:10:15,080 --> 00:10:18,360 Speaker 1: a to a moment I lived through. I remember when 184 00:10:18,640 --> 00:10:23,040 Speaker 1: Art Garfunkel was doing an outdoor festival show in Chattanooga, Tennessee, 185 00:10:23,120 --> 00:10:26,440 Speaker 1: and uh and he announced to a crowd of many 186 00:10:26,520 --> 00:10:28,400 Speaker 1: thousands that he was going to do a song off 187 00:10:28,400 --> 00:10:31,000 Speaker 1: his new album, and everyone at once got up to 188 00:10:31,040 --> 00:10:35,840 Speaker 1: get a beer. There exceptions to this rule, but but 189 00:10:35,880 --> 00:10:38,960 Speaker 1: it does seem to see a common occurrence with especially 190 00:10:39,000 --> 00:10:50,160 Speaker 1: older performers. Okay, I think it's time for some weird 191 00:10:50,160 --> 00:10:53,679 Speaker 1: house cinema messages. And we got so many emails about 192 00:10:53,679 --> 00:10:55,560 Speaker 1: return to OZ we are not going to be able 193 00:10:55,600 --> 00:10:58,200 Speaker 1: to do them all today. Maybe we'll feature more OZ 194 00:10:58,200 --> 00:11:01,160 Speaker 1: in the in the next episode, but let's do a 195 00:11:01,200 --> 00:11:04,240 Speaker 1: selection at least. First message I've got lined up here 196 00:11:04,880 --> 00:11:09,480 Speaker 1: is from Brian. Brian says, when I saw Return to 197 00:11:09,600 --> 00:11:13,000 Speaker 1: Oz in my podcast feed, I had a visceral reaction 198 00:11:13,080 --> 00:11:16,880 Speaker 1: and a chill ran down my spine. I was transported 199 00:11:16,880 --> 00:11:19,640 Speaker 1: back to nineteen eighty six, when as a five year 200 00:11:19,679 --> 00:11:22,400 Speaker 1: old boy, I was subjected to a home viewing with 201 00:11:22,440 --> 00:11:25,040 Speaker 1: my older sister. I'm not sure if I watched it 202 00:11:25,120 --> 00:11:27,280 Speaker 1: more than once over my childhood years, but I could 203 00:11:27,320 --> 00:11:31,439 Speaker 1: clearly picture each segment you discussed, and I recalled those 204 00:11:31,480 --> 00:11:35,120 Speaker 1: scenes as I had originally experienced them through a haze 205 00:11:35,160 --> 00:11:38,960 Speaker 1: of confused horror. I suspect if I watched it today, I, 206 00:11:39,040 --> 00:11:42,320 Speaker 1: like you would appreciate the weirdness, the beautiful production design, 207 00:11:42,360 --> 00:11:46,400 Speaker 1: and the creativity involved. However, I was not prepared for 208 00:11:46,440 --> 00:11:49,880 Speaker 1: any of it as a child. The Wheeler specifically gave 209 00:11:49,880 --> 00:11:53,480 Speaker 1: me nightmares for months, if not years. Mom b and 210 00:11:53,559 --> 00:11:56,360 Speaker 1: her hallway of severed heads were also a bit much. 211 00:11:56,600 --> 00:11:59,920 Speaker 1: In summary, it thoroughly messed me up. I remember late 212 00:12:00,000 --> 00:12:02,880 Speaker 1: are in my preteen and teenage years having memories of 213 00:12:02,920 --> 00:12:06,640 Speaker 1: these scenes, but as they were during pre internet times, 214 00:12:06,640 --> 00:12:10,040 Speaker 1: I wasn't sure what movie, if any, they had come from. 215 00:12:10,080 --> 00:12:13,160 Speaker 1: I remember that feeling Brian, I believe I finally stumbled 216 00:12:13,160 --> 00:12:15,520 Speaker 1: back upon it during college in the late nineties and 217 00:12:15,559 --> 00:12:18,600 Speaker 1: was gladdened and relieved to learn I hadn't simply dreamed 218 00:12:18,640 --> 00:12:22,440 Speaker 1: the whole thing up a surreal, trippy experience. Thanks for 219 00:12:22,480 --> 00:12:26,040 Speaker 1: the memories, Brian, Ah, that's good. Yeah. I enjoyed hearing 220 00:12:26,080 --> 00:12:29,000 Speaker 1: from everybody out there who had memories of having seen 221 00:12:29,480 --> 00:12:34,040 Speaker 1: the film and also specific childhood memories that could attest 222 00:12:34,120 --> 00:12:38,439 Speaker 1: to the the dark tones and the sense of fear 223 00:12:38,520 --> 00:12:46,000 Speaker 1: and the picture. Now one of my favorites came from 224 00:12:46,120 --> 00:12:49,200 Speaker 1: a listener, Shana. Shana writes then and says, Okay, weird 225 00:12:49,400 --> 00:12:51,520 Speaker 1: emailing you guys two weeks in a row, but ah, 226 00:12:51,600 --> 00:12:53,640 Speaker 1: you covered one of my favorite movies of all time. 227 00:12:54,120 --> 00:12:56,640 Speaker 1: I have such a deep relationship with Return to Oz 228 00:12:56,679 --> 00:12:59,839 Speaker 1: from many different stages in my life. I was a 229 00:13:00,880 --> 00:13:03,199 Speaker 1: baby and my mother took me to see this film 230 00:13:03,200 --> 00:13:06,000 Speaker 1: when I was a wee little child. It is actually 231 00:13:06,000 --> 00:13:09,280 Speaker 1: one of my earliest foundational memories because as soon as 232 00:13:09,400 --> 00:13:12,920 Speaker 1: momby pulled off her head, I ran screaming from the 233 00:13:12,920 --> 00:13:17,640 Speaker 1: movie theater. I became a well established scaredy cat and 234 00:13:17,800 --> 00:13:20,360 Speaker 1: also ran out of my friend's house crying during the 235 00:13:20,440 --> 00:13:25,720 Speaker 1: Dark Crystal and ampted this day traumatized by Grimlin's older brothers. Yes, 236 00:13:26,160 --> 00:13:29,679 Speaker 1: say no more on both those fronts, but especially on Gremlins, 237 00:13:29,720 --> 00:13:32,479 Speaker 1: which is among all of these films, I think especially 238 00:13:32,760 --> 00:13:37,400 Speaker 1: potentially traumatic because it is so uh miscalibrated as a film. 239 00:13:37,440 --> 00:13:39,440 Speaker 1: It really doesn't know of it if it's trying to 240 00:13:39,480 --> 00:13:44,160 Speaker 1: be cute or um or grotesque or frightening. Is it 241 00:13:44,200 --> 00:13:48,600 Speaker 1: a kid's movie that also doesn't mind using a grizzly 242 00:13:48,880 --> 00:13:53,240 Speaker 1: scenario to spoil Santa for viewers. So it's it's it's 243 00:13:53,240 --> 00:13:55,720 Speaker 1: it's a weird film to to take in. It is. 244 00:13:55,760 --> 00:13:57,680 Speaker 1: But you know what this makes me think, Rob, I 245 00:13:57,720 --> 00:14:00,640 Speaker 1: think on weird house cinema, we should do ones too, 246 00:14:00,960 --> 00:14:06,080 Speaker 1: which is just up bonanza. Yeah, g two baby, um, 247 00:14:06,160 --> 00:14:08,480 Speaker 1: well for Christmas we should do that with it. It's 248 00:14:08,520 --> 00:14:13,320 Speaker 1: definitely in the movie, all right. Shana continues. I rediscovered 249 00:14:13,360 --> 00:14:16,120 Speaker 1: Returned to Oz in high school after falling in love 250 00:14:16,320 --> 00:14:19,240 Speaker 1: with Rouza Balk from the Craft The Return to Oz 251 00:14:19,320 --> 00:14:22,680 Speaker 1: DVD from My local Video store Rental Store Silver Screen 252 00:14:22,800 --> 00:14:26,800 Speaker 1: Video r I p. Twenty nineteen Auto started with an 253 00:14:26,800 --> 00:14:30,240 Speaker 1: interview with Bog talking about her experiences on set watching 254 00:14:30,240 --> 00:14:33,240 Speaker 1: the film again with Surreal It was like having deja vu. 255 00:14:33,400 --> 00:14:35,200 Speaker 1: I wouldn't have been able to tell you what was 256 00:14:35,240 --> 00:14:37,160 Speaker 1: going to happen, but as soon as I saw it, 257 00:14:37,480 --> 00:14:41,600 Speaker 1: I remembered cut to college where I'm studying TV film editing. 258 00:14:41,920 --> 00:14:45,200 Speaker 1: In the Blink of an Eye by Walter Merch was required. 259 00:14:45,240 --> 00:14:48,560 Speaker 1: Reading IMDb dot com was kind of new and discovering 260 00:14:48,560 --> 00:14:52,600 Speaker 1: this world famous editor directed that childhood trauma turned beloved 261 00:14:52,640 --> 00:14:56,160 Speaker 1: movie blew my Mind. I got married in twenty eleven 262 00:14:56,240 --> 00:14:59,480 Speaker 1: in a steampunk themed wedding. We had the privilege and 263 00:14:59,600 --> 00:15:02,680 Speaker 1: honor to have a robotic ring bear created by one 264 00:15:02,680 --> 00:15:06,160 Speaker 1: of the best humans who has ever lived, Grant Immahara. 265 00:15:06,560 --> 00:15:11,040 Speaker 1: When creating the head, Grant took inspiration from TikTok TikTok, 266 00:15:11,080 --> 00:15:15,280 Speaker 1: being the the cool automaton ian returned to Oz. I've 267 00:15:15,320 --> 00:15:20,240 Speaker 1: included two photos of Heisenborg as he was named, and 268 00:15:20,280 --> 00:15:22,760 Speaker 1: indeed here are the photos. Jip so his head is 269 00:15:22,800 --> 00:15:26,320 Speaker 1: a copper sphere with the with the big walrus mustache 270 00:15:26,480 --> 00:15:29,960 Speaker 1: or not walrus. What do you call that can handlebar mustache? Ah? Yeah, 271 00:15:29,960 --> 00:15:32,480 Speaker 1: I guess so. Yeah, it's a tiktoki kind of mustache 272 00:15:32,520 --> 00:15:34,880 Speaker 1: with a monocle a top hat. I think it's got 273 00:15:34,880 --> 00:15:37,800 Speaker 1: a bow tie. Uh, TikTok didn't have a bow tie 274 00:15:37,840 --> 00:15:40,440 Speaker 1: as far as I recall, but so this one is 275 00:15:40,480 --> 00:15:42,760 Speaker 1: more finely dressed. But maybe this is what TikTok would 276 00:15:42,800 --> 00:15:45,360 Speaker 1: look like if he was going to a wedding. Yeah, 277 00:15:45,400 --> 00:15:47,640 Speaker 1: and as we can see in the second photo it 278 00:15:47,640 --> 00:15:50,360 Speaker 1: it seems to be a fully functioning automaton. We see 279 00:15:50,400 --> 00:15:54,160 Speaker 1: the tracks, we see the remote control that was used 280 00:15:54,200 --> 00:15:58,040 Speaker 1: to operate it. So yeah, kudos. I mean this, this 281 00:15:58,120 --> 00:16:00,560 Speaker 1: looks like a steampunk wedding that really went for it. 282 00:16:00,840 --> 00:16:03,040 Speaker 1: They finish up here listening to you guys fall in 283 00:16:03,040 --> 00:16:05,600 Speaker 1: love with this film made me so happy. Avon reviewing, 284 00:16:05,720 --> 00:16:09,480 Speaker 1: y'all will find more details and surprises. As always, thank 285 00:16:09,520 --> 00:16:12,400 Speaker 1: you so much for the content. If you end up 286 00:16:12,440 --> 00:16:16,080 Speaker 1: looking for more weird, dark Disney children's films, I recommend 287 00:16:16,160 --> 00:16:20,440 Speaker 1: Escape to Which Mountain Vour. The music is fantastic and 288 00:16:20,480 --> 00:16:24,200 Speaker 1: it's just a super weird movie. Also available on Disney Plus. 289 00:16:24,600 --> 00:16:26,840 Speaker 1: I've heard very good things about Escape to Which Mountain, 290 00:16:26,880 --> 00:16:29,680 Speaker 1: but I've never seen it. I saw it as a kid, 291 00:16:30,040 --> 00:16:34,360 Speaker 1: and I don't remember the particulars of it other than 292 00:16:35,120 --> 00:16:36,800 Speaker 1: it was one of there were I think a couple 293 00:16:36,840 --> 00:16:39,320 Speaker 1: of Disney films from this era that we're a little 294 00:16:39,840 --> 00:16:44,080 Speaker 1: creepy and felt like they weren't quite meant for kids, 295 00:16:44,120 --> 00:16:46,200 Speaker 1: even though I mean, clearly it was okay for kids 296 00:16:46,200 --> 00:16:48,840 Speaker 1: to see them, but they felt a little dangerous seeing 297 00:16:48,840 --> 00:16:50,680 Speaker 1: the trailers for them as a as a child. On 298 00:16:50,760 --> 00:16:54,720 Speaker 1: other Disney VHS tapes, this one had Donald Pleasants in 299 00:16:54,800 --> 00:16:59,280 Speaker 1: it all that. Oh yes, wait, they just they did 300 00:16:59,280 --> 00:17:03,080 Speaker 1: a remake this movie with with Wayne the Stone, didn't they. 301 00:17:03,160 --> 00:17:04,760 Speaker 1: Oh yeah, I think yeah. I don't know if the 302 00:17:04,840 --> 00:17:10,440 Speaker 1: Rock plays Donald Pleasants's role or or not. I don't know. 303 00:17:10,440 --> 00:17:13,200 Speaker 1: I assume he plays maybe the Eddie Albert role. But um, 304 00:17:13,240 --> 00:17:15,360 Speaker 1: but yeah, I did not see the Rock remake. Yeah, 305 00:17:15,359 --> 00:17:17,520 Speaker 1: I mean neither. Well, maybe I will check out the original. 306 00:17:17,800 --> 00:17:19,879 Speaker 1: I feel like there was some other Disney film of 307 00:17:19,920 --> 00:17:23,400 Speaker 1: this era that was frightening looking in the trailers, something 308 00:17:23,400 --> 00:17:27,960 Speaker 1: with ghosts in it. Perhaps it had it had Hayley 309 00:17:28,000 --> 00:17:31,280 Speaker 1: Mills in it, but I don't, I mean, it wouldn't Pollyanna, right, 310 00:17:31,320 --> 00:17:35,439 Speaker 1: Pollyanna is not a ghost story. It's not the parent Trap. 311 00:17:36,240 --> 00:17:38,400 Speaker 1: I've never seen it. I don't know. Well, let's look 312 00:17:38,480 --> 00:17:41,000 Speaker 1: up the Hailey Mills Philip Filmography. See, it might not 313 00:17:41,040 --> 00:17:43,200 Speaker 1: have been Haley Mills. It might have been just another 314 00:17:43,280 --> 00:17:46,000 Speaker 1: child actor that reminded me of her, But there was 315 00:17:46,080 --> 00:17:48,199 Speaker 1: some other Disney film from this era that gave me 316 00:17:48,200 --> 00:17:51,520 Speaker 1: the creeps. And or maybe I'm just it's just like 317 00:17:51,560 --> 00:17:54,879 Speaker 1: a splinter memory of Escape from which Mountain? I don't know. Waiter, 318 00:17:54,880 --> 00:17:56,960 Speaker 1: are you thinking of Watcher in the World? I am 319 00:17:56,960 --> 00:17:59,840 Speaker 1: thinking of Watcher in the Woods? Yes, eight film. Yes, 320 00:18:00,160 --> 00:18:03,679 Speaker 1: that's the one. I should have known immediately. I was 321 00:18:03,720 --> 00:18:06,800 Speaker 1: wondering that one is one. Yeah, I just distinctly remember 322 00:18:06,840 --> 00:18:09,840 Speaker 1: being troubled by the trailers for that on other Disney 323 00:18:09,920 --> 00:18:13,480 Speaker 1: VHS tapes. And uh, yeah, I don't think I've ever 324 00:18:13,840 --> 00:18:16,439 Speaker 1: sat down and watched it as an adult, but I 325 00:18:16,480 --> 00:18:19,000 Speaker 1: have read about some of the like the stuff that 326 00:18:19,040 --> 00:18:20,679 Speaker 1: got cut. There was something to do with like the 327 00:18:20,800 --> 00:18:22,760 Speaker 1: entity in the film, and they had a more frightening 328 00:18:22,880 --> 00:18:24,760 Speaker 1: vision of that entity that they were going to use. 329 00:18:24,800 --> 00:18:26,600 Speaker 1: But then they had to they had to pull back 330 00:18:26,640 --> 00:18:28,320 Speaker 1: a little bit, and they had to remind everybody, no, 331 00:18:28,400 --> 00:18:30,879 Speaker 1: this is Disney, we can't we can't do do something 332 00:18:30,960 --> 00:18:36,680 Speaker 1: this dark and uh and ethereal Robert, stop right now 333 00:18:37,000 --> 00:18:39,480 Speaker 1: and google Watcher in the woods. Monster. You need to 334 00:18:39,480 --> 00:18:42,400 Speaker 1: see it. Oh god, yeah, this is this is terrifying. 335 00:18:43,160 --> 00:18:48,359 Speaker 1: It's like a like a a fallen slime angel. And 336 00:18:48,720 --> 00:18:51,760 Speaker 1: this is not the way that it appears in the movie, right, 337 00:18:52,000 --> 00:18:54,360 Speaker 1: this is that I don't remember. I remember there being 338 00:18:54,400 --> 00:18:57,000 Speaker 1: something scary in the movie, but this maybe this isn't 339 00:18:57,000 --> 00:18:58,960 Speaker 1: it was this the cut one. I don't know. I 340 00:18:58,960 --> 00:19:01,320 Speaker 1: can't sort it out right now. Well, the trailer was 341 00:19:01,359 --> 00:19:03,199 Speaker 1: creepy that much. I remember you and you have like 342 00:19:03,200 --> 00:19:12,280 Speaker 1: the weird girl with the blindfold on. Yeah, alright, let's 343 00:19:12,280 --> 00:19:14,880 Speaker 1: do at least one more return to OZ message. Let's 344 00:19:14,880 --> 00:19:18,960 Speaker 1: see how about this one from Athena, who said subject 345 00:19:19,000 --> 00:19:23,200 Speaker 1: line returned to return to Oz Hi Robin Joe. When 346 00:19:23,200 --> 00:19:25,639 Speaker 1: I was in middle school, I remember a friend giving 347 00:19:25,640 --> 00:19:28,359 Speaker 1: me a play by play of everything that happened in 348 00:19:28,400 --> 00:19:32,040 Speaker 1: the movie returned to OZ with these wild, wide eyes, 349 00:19:32,480 --> 00:19:34,760 Speaker 1: as if they had to tell me everything just to 350 00:19:34,840 --> 00:19:37,199 Speaker 1: get it out of their head. I didn't watch it 351 00:19:37,280 --> 00:19:39,399 Speaker 1: for years. I read all the books when I was 352 00:19:39,440 --> 00:19:41,760 Speaker 1: a teenager much later, and I could see how it 353 00:19:41,800 --> 00:19:46,000 Speaker 1: would be very disturbing. I would absolutely one recommended that 354 00:19:46,040 --> 00:19:48,840 Speaker 1: you read at least the first three Wizard of Oz books. 355 00:19:49,119 --> 00:19:51,760 Speaker 1: They're very short. It won't take long. Uh. There was 356 00:19:51,840 --> 00:19:54,040 Speaker 1: so much more to the Wonderful Wizard of Oz than 357 00:19:54,080 --> 00:19:56,560 Speaker 1: what happened in the thirty nine movie. There was a 358 00:19:56,600 --> 00:20:00,480 Speaker 1: whole town of breakable porcelain people. There were people with 359 00:20:00,600 --> 00:20:04,000 Speaker 1: heads that shoot from their necks, etcetera. I'm not sure 360 00:20:04,000 --> 00:20:05,840 Speaker 1: if I even understand what that means, shoot like a 361 00:20:05,880 --> 00:20:09,520 Speaker 1: bullet from their necks, like their heads are little rockets 362 00:20:09,520 --> 00:20:13,080 Speaker 1: that take off. In the successive books, every time Dorothy 363 00:20:13,160 --> 00:20:16,040 Speaker 1: goes back to Oz, years have passed when only a 364 00:20:16,119 --> 00:20:19,920 Speaker 1: short amount of time has passed by in our world. Rob. 365 00:20:20,040 --> 00:20:23,520 Speaker 1: This may explain one of your son's questions about the movie, 366 00:20:23,680 --> 00:20:26,240 Speaker 1: which is that if if that's true, maybe there's even 367 00:20:26,280 --> 00:20:29,960 Speaker 1: a reverse time lineup, which is why Dorothy is younger 368 00:20:30,000 --> 00:20:32,160 Speaker 1: in the sequel than she is in the original movie. 369 00:20:33,880 --> 00:20:36,639 Speaker 1: Nade Anyway, Athena says, I would say that Returned to 370 00:20:36,640 --> 00:20:38,840 Speaker 1: Oz is very true to the spirit of the books. 371 00:20:39,119 --> 00:20:41,800 Speaker 1: They are evocative of an early American idea of what 372 00:20:41,920 --> 00:20:45,040 Speaker 1: foreign lands are like, and they are really quite scary 373 00:20:45,080 --> 00:20:47,159 Speaker 1: in the best way possible. Thank you so much for 374 00:20:47,200 --> 00:20:50,360 Speaker 1: the great show, Athena. Yeah, I'm tempted to to pick 375 00:20:50,400 --> 00:20:51,639 Speaker 1: one up now. I was talking to a friend the 376 00:20:51,680 --> 00:20:53,520 Speaker 1: other day who'd read a bunch of them when when 377 00:20:53,560 --> 00:20:56,880 Speaker 1: they were a kid. I also think that there I agree, 378 00:20:57,000 --> 00:20:59,399 Speaker 1: even not having read the books and just seeing the movies, 379 00:20:59,440 --> 00:21:02,800 Speaker 1: that there is some thing distinctly American about the kind 380 00:21:02,880 --> 00:21:05,600 Speaker 1: of fantasy in them, because like the Wizard, it turns out, 381 00:21:05,680 --> 00:21:09,879 Speaker 1: essentially is a patent medicine salesman, like a huckster and 382 00:21:09,960 --> 00:21:15,400 Speaker 1: Carnival Barker. It seems like a very American kind of choice. Yeah. Yeah, 383 00:21:15,440 --> 00:21:17,480 Speaker 1: And you know one thing that I thought was interesting 384 00:21:17,520 --> 00:21:19,960 Speaker 1: really in in both the thirty nine Ods and in 385 00:21:20,080 --> 00:21:23,520 Speaker 1: Return to Oz, there's also this sense of of the 386 00:21:23,560 --> 00:21:26,560 Speaker 1: Emerald City that, uh that kind of reminds me of 387 00:21:26,560 --> 00:21:31,000 Speaker 1: some of the futuristic optimism concerning the nature of the 388 00:21:31,040 --> 00:21:34,840 Speaker 1: American city. Uh. That that I think is as president 389 00:21:34,840 --> 00:21:42,400 Speaker 1: of the fiction here. All right, let's do one more 390 00:21:42,480 --> 00:21:45,920 Speaker 1: here from the oz bag. This is from Nathaniel. Nathaniel says, Hello, 391 00:21:46,000 --> 00:21:49,119 Speaker 1: Robert and Joe. I was excited when Joe solicited calls 392 00:21:49,160 --> 00:21:52,199 Speaker 1: for the best forest sets because I also love a 393 00:21:52,240 --> 00:21:56,040 Speaker 1: good forest at peace, and my all time favorite, without 394 00:21:56,040 --> 00:21:59,720 Speaker 1: any competition, is the queue for the Et Adventure ride 395 00:21:59,720 --> 00:22:03,760 Speaker 1: at Universal Studios, Florida. The ride itself is fine, and 396 00:22:03,840 --> 00:22:07,080 Speaker 1: against all odds, still appears to be open. However, the 397 00:22:07,119 --> 00:22:10,160 Speaker 1: indoor queue for the ride was wonderful, winding through an 398 00:22:10,160 --> 00:22:13,920 Speaker 1: air conditioned indoor forest. It was relatively quiet and dark, 399 00:22:14,160 --> 00:22:18,199 Speaker 1: and there were sound effects throughout, possibly also an ominous soundtrack, 400 00:22:18,280 --> 00:22:20,199 Speaker 1: but I can't say if that's part of my memory 401 00:22:20,240 --> 00:22:22,960 Speaker 1: that I generated or not. I never cared for the movie, 402 00:22:23,119 --> 00:22:25,600 Speaker 1: but when I think of Et, this forest still comes 403 00:22:25,640 --> 00:22:30,520 Speaker 1: to mind and brings back delightful memories. Thanks for the show, Nathaniel, oh, 404 00:22:30,560 --> 00:22:33,359 Speaker 1: and I do want to to stress too that we 405 00:22:33,480 --> 00:22:38,040 Speaker 1: are even though this episode is airing after our Weird 406 00:22:38,040 --> 00:22:42,320 Speaker 1: Out Cinema episode on Crawl, which features tremendous indoor forest 407 00:22:42,440 --> 00:22:46,520 Speaker 1: environments as well. Were um, we're recording this before we 408 00:22:46,560 --> 00:22:50,119 Speaker 1: record the Crawl episode. Strangely, I have not been to 409 00:22:50,600 --> 00:22:55,000 Speaker 1: Universal Studios, Florida since episode A kid Um sometime in 410 00:22:55,040 --> 00:22:59,280 Speaker 1: elementary school my family went, but I remember this line. 411 00:22:59,320 --> 00:23:02,800 Speaker 1: I remember it very clearly, much like I remember the 412 00:23:03,400 --> 00:23:07,560 Speaker 1: line for the Jaws ride where they they're playing like 413 00:23:07,680 --> 00:23:10,360 Speaker 1: interview clips, I think, and at least of the time 414 00:23:10,400 --> 00:23:13,520 Speaker 1: I was there. One of them was Quint claiming that 415 00:23:14,000 --> 00:23:16,520 Speaker 1: the after the shark ate him, it barfed him back 416 00:23:16,600 --> 00:23:18,800 Speaker 1: up and they just played the movie where he gets 417 00:23:19,080 --> 00:23:22,359 Speaker 1: the scene where he gets eaten in reverse. Yeah, that 418 00:23:22,440 --> 00:23:24,640 Speaker 1: was weird. But but at the e T Ride, Yeah, 419 00:23:24,680 --> 00:23:29,240 Speaker 1: I remember this kind of peaceful, dark indoor forest where 420 00:23:29,240 --> 00:23:33,040 Speaker 1: the line curl curls around and I think it's sort 421 00:23:33,040 --> 00:23:35,880 Speaker 1: of recreating the environment of the beginning of the movie, right, 422 00:23:35,880 --> 00:23:38,040 Speaker 1: because it doesn't the movie start with like the ship 423 00:23:38,160 --> 00:23:42,240 Speaker 1: landing in a this like mountain forest in California. Oh yeah, 424 00:23:42,280 --> 00:23:45,000 Speaker 1: I guess it does. I haven't seen et in forever. 425 00:23:45,280 --> 00:23:48,560 Speaker 1: Um attempted to introduce the boy to it, but we 426 00:23:48,840 --> 00:23:51,919 Speaker 1: haven't sat down and watched it. I remember Reese's candy. 427 00:23:52,000 --> 00:23:56,480 Speaker 1: It was Reese's right, Reese's pieces. I remember the shock 428 00:23:57,000 --> 00:23:58,840 Speaker 1: of the where they you think that E. T Is 429 00:23:58,880 --> 00:24:02,359 Speaker 1: dead in a gutter and you see his crumpled, um 430 00:24:02,600 --> 00:24:05,320 Speaker 1: old body down there. That that's stuck in my head 431 00:24:05,400 --> 00:24:09,080 Speaker 1: from watching the film as a kid. The scenes where 432 00:24:09,119 --> 00:24:14,199 Speaker 1: the the the humans and the bio containment outfits have 433 00:24:14,240 --> 00:24:17,000 Speaker 1: shown up. That was pretty frightening. Yeah, And I guess 434 00:24:17,040 --> 00:24:19,720 Speaker 1: his finger glows yeah, And the flying bicycle and that's it. 435 00:24:19,800 --> 00:24:22,440 Speaker 1: That's what I remember. I've seen Mac and Me more 436 00:24:22,480 --> 00:24:26,360 Speaker 1: recently than I've seen the same same and I've seen 437 00:24:26,400 --> 00:24:30,520 Speaker 1: pod People more than any of these films. Definite et vibes, 438 00:24:31,320 --> 00:24:35,040 Speaker 1: the excellent Spanish film What was the Was it? Alien Invaders? 439 00:24:35,080 --> 00:24:39,880 Speaker 1: This the original title of that one. This Potato has 440 00:24:39,960 --> 00:24:44,320 Speaker 1: big ears? All right? You want to wrap it up there? Yes, 441 00:24:44,480 --> 00:24:47,199 Speaker 1: let's go ahead and uh cap this one off. But 442 00:24:47,520 --> 00:24:50,200 Speaker 1: we'll be back with more listen mail next Monday. And 443 00:24:50,320 --> 00:24:52,359 Speaker 1: in between, yeah, we'll have core episodes of Stuff to 444 00:24:52,359 --> 00:24:55,040 Speaker 1: Blow Your Mind on Tuesdays, and Thursday's Short Form Artifact 445 00:24:55,160 --> 00:24:59,240 Speaker 1: or Monster Fact on Wednesdays, and on Friday's Weird House Cinema. 446 00:24:59,480 --> 00:25:01,679 Speaker 1: That's our time to set aside most serious concerns and 447 00:25:01,760 --> 00:25:05,119 Speaker 1: just talk about a weird film like Return to Oz Huge. 448 00:25:05,119 --> 00:25:08,800 Speaker 1: Thanks as always to our excellent audio producer Seth Nicholas Johnson. 449 00:25:09,040 --> 00:25:10,760 Speaker 1: If you would like to get in touch with us 450 00:25:10,760 --> 00:25:13,480 Speaker 1: with feedback on this episode or any other, to suggest 451 00:25:13,520 --> 00:25:15,560 Speaker 1: a topic for the future, or just to say hi, 452 00:25:15,720 --> 00:25:18,720 Speaker 1: you can email us at contact at stuff to Blow 453 00:25:18,760 --> 00:25:28,520 Speaker 1: your Mind dot com. Stuff to Blow Your Mind is 454 00:25:28,560 --> 00:25:31,280 Speaker 1: a production of I Heart Radio. For more podcasts, My 455 00:25:31,320 --> 00:25:34,280 Speaker 1: heart Radio, visit the i heart Radio app, Apple podcasts, 456 00:25:34,320 --> 00:25:36,119 Speaker 1: or wherever you listen to your favorite shows.