1 00:00:03,040 --> 00:00:06,560 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:10,360 --> 00:00:12,799 Speaker 2: Hey you welcome to Stuff to Blow your Mind Listener mail. 3 00:00:13,039 --> 00:00:15,720 Speaker 3: This is Robert Lamb and this is Joe McCormick. And 4 00:00:15,840 --> 00:00:17,599 Speaker 3: it is Monday, the day of each week that we 5 00:00:17,680 --> 00:00:20,079 Speaker 3: read back messages from the Stuff to Blow Your Mind 6 00:00:20,160 --> 00:00:22,279 Speaker 3: email address. If you would like to make your own 7 00:00:22,280 --> 00:00:24,919 Speaker 3: contribution to the mail bag, why not reach out to 8 00:00:25,000 --> 00:00:29,200 Speaker 3: us at contact at stuff to Blow your Mind dot com. 9 00:00:29,280 --> 00:00:32,360 Speaker 3: Whatever you want to send is fine. We always appreciate 10 00:00:32,360 --> 00:00:35,320 Speaker 3: feedback to recent episodes, especially if you have something interesting 11 00:00:35,360 --> 00:00:36,800 Speaker 3: you would like to add to a topic we have 12 00:00:36,880 --> 00:00:39,360 Speaker 3: talked about on the show. But again, whatever you want 13 00:00:39,360 --> 00:00:42,320 Speaker 3: to send, just just throw it on our way contact 14 00:00:42,400 --> 00:00:46,160 Speaker 3: at stuff to Blow your Mind dot Com. All right, Rob, 15 00:00:46,200 --> 00:00:49,040 Speaker 3: we got a big, big haul today. We can get 16 00:00:49,080 --> 00:00:51,839 Speaker 3: through some of it here. Let's see. Maybe I will 17 00:00:51,920 --> 00:00:55,200 Speaker 3: kick things off with this message from Hugh about our 18 00:00:55,280 --> 00:00:57,640 Speaker 3: Vault episode on the invention of the gimbal. 19 00:00:58,040 --> 00:00:59,200 Speaker 2: All right, let's have it. 20 00:01:04,520 --> 00:01:07,880 Speaker 3: Hugh says, Hello, Robert, Joe, and jj I hope you 21 00:01:07,920 --> 00:01:10,400 Speaker 3: and your loved ones are happy and healthy. I'm not 22 00:01:10,440 --> 00:01:13,120 Speaker 3: sure if your recent Vault episode covered this aspect, but 23 00:01:13,200 --> 00:01:17,759 Speaker 3: the gimbal serves another very important surface on sea going vessels, 24 00:01:18,120 --> 00:01:21,560 Speaker 3: and that is helping keep the crew fed. I think 25 00:01:21,600 --> 00:01:23,679 Speaker 3: this is adding to the fact that we talked about 26 00:01:23,720 --> 00:01:28,080 Speaker 3: some kinds of instruments in ships at sea that would 27 00:01:28,120 --> 00:01:29,720 Speaker 3: be mounted on gimbals. 28 00:01:29,959 --> 00:01:34,720 Speaker 2: Right, right, and illusions I believe to ancient devices that 29 00:01:34,959 --> 00:01:37,080 Speaker 2: seem to have been gimbals of one sort or another. 30 00:01:37,440 --> 00:01:40,840 Speaker 3: Right, But Hughes says, yes, gimbals are also used to 31 00:01:40,920 --> 00:01:44,000 Speaker 3: keep the crew fed. The email goes on to say 32 00:01:44,040 --> 00:01:47,680 Speaker 3: the cook tops and ovens on vessels are usually hung 33 00:01:47,840 --> 00:01:51,720 Speaker 3: on gimbals that swing perpendicularly to the vessel's center line, 34 00:01:52,160 --> 00:01:55,600 Speaker 3: with some sort of adjustable rail system to capture pots 35 00:01:55,680 --> 00:01:58,640 Speaker 3: and pans in the direction of travel. This makes the 36 00:01:58,760 --> 00:02:01,480 Speaker 3: job of dealing with hot liquids and such safer for 37 00:02:01,520 --> 00:02:06,880 Speaker 3: the galley crew while underway. Wishing you the best as always, Hugh. Well, 38 00:02:06,960 --> 00:02:09,160 Speaker 3: thank you, Hugh. That is an interesting fact and I 39 00:02:09,240 --> 00:02:12,560 Speaker 3: don't know if I would have considered that, but yeah, 40 00:02:12,600 --> 00:02:13,799 Speaker 3: that makes perfect. 41 00:02:13,520 --> 00:02:18,600 Speaker 2: Sense, absolutely, chef. All right, let's turn to some more 42 00:02:20,200 --> 00:02:25,200 Speaker 2: responses from our October episodes. This one is from Colin. 43 00:02:25,600 --> 00:02:29,400 Speaker 2: This was on Facebook. I believe probably the discussion module 44 00:02:30,120 --> 00:02:39,679 Speaker 2: responding to our episode on Necromancer Episodes on Necromancy, Hey 45 00:02:39,880 --> 00:02:42,960 Speaker 2: Joe and Rob and JJ writing in about the episodes 46 00:02:43,000 --> 00:02:46,440 Speaker 2: on the Necromantic Urge, specifically part two where you talk 47 00:02:46,480 --> 00:02:50,240 Speaker 2: about dream interpretation and the temples of Aslepios where this 48 00:02:50,400 --> 00:02:54,240 Speaker 2: was done in ancient Greece by trade. I'm a professional 49 00:02:54,240 --> 00:02:57,720 Speaker 2: actor mostly for the stage, and part of my education 50 00:02:58,080 --> 00:03:02,040 Speaker 2: in classical theater mentioned this. I'm going off memory here 51 00:03:02,080 --> 00:03:04,800 Speaker 2: as I'm currently at work on a national tour of 52 00:03:04,840 --> 00:03:08,240 Speaker 2: a show and separated from my notes, but from what 53 00:03:08,360 --> 00:03:12,440 Speaker 2: I remember, there was a temple to Aslepis underneath the 54 00:03:12,440 --> 00:03:16,440 Speaker 2: theater at Epidaurus, and apparently patients were put into a 55 00:03:16,560 --> 00:03:18,919 Speaker 2: dream like or suggestive state by the use of some 56 00:03:18,960 --> 00:03:21,800 Speaker 2: sort of snake venom I think, either ingested as a 57 00:03:21,840 --> 00:03:26,639 Speaker 2: potion or patients were bitten. Under controlled circumstances, the patient's 58 00:03:26,720 --> 00:03:30,760 Speaker 2: dreams were told to one of the temple attendants called therapons, 59 00:03:31,760 --> 00:03:36,360 Speaker 2: same word rout as words like therapy, which roughly means 60 00:03:36,440 --> 00:03:40,000 Speaker 2: ritual substitutes. If a dream was judged to be significant 61 00:03:40,120 --> 00:03:43,320 Speaker 2: enough that it would benefit ancient Greek society on the whole, 62 00:03:43,760 --> 00:03:47,280 Speaker 2: the therapons would then enact elements of the Dream in 63 00:03:47,320 --> 00:03:50,360 Speaker 2: a play at the theater upstairs, so that all patrons 64 00:03:50,400 --> 00:03:54,840 Speaker 2: attending the show could learn from it. Side note, Aslepius's 65 00:03:54,880 --> 00:03:58,000 Speaker 2: association with snakes is made more apparent with the presence 66 00:03:58,040 --> 00:04:02,080 Speaker 2: of them wrapped around the staff of Estilepius, which itself 67 00:04:02,840 --> 00:04:06,520 Speaker 2: is often confused with the medical symbol of the cadusius. 68 00:04:07,160 --> 00:04:09,760 Speaker 2: I'm trying madly to back up what I've written here 69 00:04:09,800 --> 00:04:12,520 Speaker 2: with references and citations, but I'm coming up a little dry. 70 00:04:12,600 --> 00:04:15,760 Speaker 2: Perhaps someone else in the discussion module who knows about 71 00:04:15,760 --> 00:04:18,960 Speaker 2: this can give us a hand with it. Otherwise, keep 72 00:04:19,000 --> 00:04:21,320 Speaker 2: up the excellent work. Chaps. Love the podcast as always, 73 00:04:21,360 --> 00:04:23,560 Speaker 2: especially when you managed to sneak in references to D 74 00:04:23,640 --> 00:04:26,640 Speaker 2: and D. I have no doubt that game was a 75 00:04:26,720 --> 00:04:29,799 Speaker 2: part of why I chose the performing arts as a job. 76 00:04:30,200 --> 00:04:34,040 Speaker 3: Colin ah barred to the core. Well, I'd never heard 77 00:04:34,080 --> 00:04:37,760 Speaker 3: of any of this, but this is interesting, especially the 78 00:04:37,839 --> 00:04:42,080 Speaker 3: idea about re enacting parts of the Dream in a 79 00:04:42,120 --> 00:04:45,120 Speaker 3: theatrical performance. I have to say, for some reason, I'd 80 00:04:45,160 --> 00:04:48,960 Speaker 3: be a little skeptical about the snake venom aspect, but 81 00:04:49,080 --> 00:04:52,000 Speaker 3: I don't know that could be true. I'd be interested 82 00:04:52,000 --> 00:04:54,440 Speaker 3: in following up on that and looking into it. 83 00:04:55,360 --> 00:04:58,000 Speaker 2: You know that would be something though to think about 84 00:04:58,000 --> 00:04:59,839 Speaker 2: this in a modern context. What if you had to 85 00:05:00,320 --> 00:05:03,560 Speaker 2: you had to sign off the rights to any dream 86 00:05:03,640 --> 00:05:06,039 Speaker 2: contents you shared with your therapists because they might be 87 00:05:06,120 --> 00:05:07,400 Speaker 2: produced as a play. 88 00:05:07,960 --> 00:05:09,520 Speaker 3: Or how about when you go to therapy you have 89 00:05:09,560 --> 00:05:11,720 Speaker 3: to sign off on the contents of your dreams because 90 00:05:11,760 --> 00:05:13,560 Speaker 3: they will be used to train AI. 91 00:05:15,720 --> 00:05:17,520 Speaker 2: Well, you know, I guess if it helps pay for 92 00:05:18,520 --> 00:05:20,719 Speaker 2: one's therapy, I guess it would like if you could 93 00:05:20,720 --> 00:05:23,800 Speaker 2: do that instead, It's like, okay AI gets rights to 94 00:05:23,839 --> 00:05:27,640 Speaker 2: my dreams or Hollywood gets right first pass. Let's say 95 00:05:27,640 --> 00:05:31,760 Speaker 2: first pass on the contents of my dreams. But that 96 00:05:31,880 --> 00:05:33,640 Speaker 2: means I also don't have to pay We're going to 97 00:05:33,680 --> 00:05:36,159 Speaker 2: reduce rate on my therapy sessions. I don't know, I'd 98 00:05:36,160 --> 00:05:38,640 Speaker 2: have to consider it because most of these dreams are 99 00:05:38,640 --> 00:05:42,320 Speaker 2: real dogs. I mean, they're not going to really get 100 00:05:42,320 --> 00:05:43,640 Speaker 2: anywhere with this content. 101 00:05:44,120 --> 00:05:46,640 Speaker 3: Yeah, I'm trying to imagine a Greek chorus saying it 102 00:05:46,760 --> 00:05:49,320 Speaker 3: was my high school, but it was not my high school, 103 00:05:49,360 --> 00:05:52,280 Speaker 3: and it was also my first apartment, and I was me, 104 00:05:52,560 --> 00:05:54,520 Speaker 3: but I was also Brad Dourif. 105 00:05:56,440 --> 00:05:58,920 Speaker 2: Yeah, yeah, that's most of my dreams these days are 106 00:05:58,960 --> 00:06:01,120 Speaker 2: kind of like that. Oh I did have a good one. 107 00:06:01,160 --> 00:06:03,200 Speaker 2: As long as we're talking about dreams, I've been meaning 108 00:06:03,200 --> 00:06:07,760 Speaker 2: to share this one with you. So one of our 109 00:06:07,760 --> 00:06:12,359 Speaker 2: bosses in this dream, I think you know which one, 110 00:06:12,560 --> 00:06:16,279 Speaker 2: but one of our bosses an individual we both like, 111 00:06:16,360 --> 00:06:19,279 Speaker 2: we both look up to excellent chat. But in the 112 00:06:19,360 --> 00:06:23,920 Speaker 2: dream he had written a book called how to Write, 113 00:06:25,200 --> 00:06:29,960 Speaker 2: and how to Write was being released as a candle 114 00:06:30,560 --> 00:06:33,480 Speaker 2: and we had to and I don't think the candle 115 00:06:33,520 --> 00:06:36,200 Speaker 2: produced sound, but somehow the book was being released in 116 00:06:36,320 --> 00:06:41,800 Speaker 2: candle form and we had to record ads promoting the 117 00:06:41,920 --> 00:06:44,040 Speaker 2: candle adaptation of how to Write. 118 00:06:44,560 --> 00:06:47,919 Speaker 3: My god, I mean, it makes perfect dream logic. Though 119 00:06:48,000 --> 00:06:49,920 Speaker 3: I can see exactly why you dreamed that. 120 00:06:50,480 --> 00:06:52,240 Speaker 2: It is one of those rare moments too in the 121 00:06:52,320 --> 00:06:55,320 Speaker 2: dream where I was like, this is what It's a candle, 122 00:06:55,360 --> 00:06:57,640 Speaker 2: but it's an adaptation of a book. How does that work? 123 00:06:57,680 --> 00:07:01,280 Speaker 2: It doesn't produce sound, but still you know it to dream, 124 00:07:01,320 --> 00:07:01,960 Speaker 2: so you go with it. 125 00:07:02,080 --> 00:07:04,000 Speaker 3: The ad department is like, yeah, just go with it. 126 00:07:05,800 --> 00:07:07,720 Speaker 2: So you heard it here first. How to Write now 127 00:07:07,720 --> 00:07:10,200 Speaker 2: available in all formats including candle. 128 00:07:10,640 --> 00:07:14,440 Speaker 3: That's really good. Okay, we got a bunch of responses 129 00:07:14,480 --> 00:07:19,200 Speaker 3: to our anthology of horror episode from this year. Let's see, 130 00:07:19,320 --> 00:07:22,240 Speaker 3: maybe I'm going to do this one from longtime correspondent 131 00:07:22,360 --> 00:07:24,840 Speaker 3: Jim and New Jersey that has just packed with Star 132 00:07:24,920 --> 00:07:33,560 Speaker 3: Trek trivia. How about that? Yeah sounds good, okay, Jim 133 00:07:33,560 --> 00:07:37,240 Speaker 3: and New Jersey, says Robert Joe and JJ. Robert's Halloween 134 00:07:37,320 --> 00:07:41,520 Speaker 3: anthology choice reminded me of transporter technology in other stories, 135 00:07:41,640 --> 00:07:45,040 Speaker 3: especially its use in Star Trek. This is in response 136 00:07:45,080 --> 00:07:47,720 Speaker 3: to the the anthology segment Rob picked this year, which 137 00:07:47,880 --> 00:07:50,800 Speaker 3: was from the nineties Outer Limits, and it was a 138 00:07:51,320 --> 00:07:55,840 Speaker 3: parable about the use of a teleportation machine, but one 139 00:07:56,240 --> 00:07:59,880 Speaker 3: in which your body at the original the departure point 140 00:08:00,120 --> 00:08:03,360 Speaker 3: the teleportation has to be destroyed, and there were questions 141 00:08:03,360 --> 00:08:06,080 Speaker 3: about like is this really death? What is self identity 142 00:08:06,120 --> 00:08:10,040 Speaker 3: if you're recreated at the destination and so forth. Yeah, Jim, 143 00:08:10,120 --> 00:08:13,200 Speaker 3: talking about transporter episodes of Star Trek, says, here are 144 00:08:13,240 --> 00:08:14,960 Speaker 3: a few things I can recall, and I'm sure I 145 00:08:14,960 --> 00:08:18,280 Speaker 3: won't remember them all. Gene Roddenberry created it since a 146 00:08:18,320 --> 00:08:22,040 Speaker 3: few visual effects and glitter spinning in a tank of 147 00:08:22,080 --> 00:08:25,000 Speaker 3: water would have cheaper production values than having to use 148 00:08:25,120 --> 00:08:30,240 Speaker 3: the shuttle craft and the docking bay. That's interesting. You know, 149 00:08:30,240 --> 00:08:34,719 Speaker 3: it wouldn't be the first time that the material and 150 00:08:34,800 --> 00:08:38,240 Speaker 3: practical constraints of filmmaking led to what was in the 151 00:08:38,320 --> 00:08:40,559 Speaker 3: end an interesting plot device or idea. 152 00:08:41,679 --> 00:08:44,360 Speaker 2: Yeah. I mean, now, it's almost impossible to imagine Star 153 00:08:44,440 --> 00:08:49,440 Speaker 2: Trek without teleportation, without people being beamed up and beamed down. 154 00:08:49,840 --> 00:08:51,960 Speaker 3: But I can absolutely see how. Yeah, you would have 155 00:08:52,080 --> 00:08:55,080 Speaker 3: to have fewer sets than if you were like having 156 00:08:55,120 --> 00:08:57,480 Speaker 3: people take a ship down, up and down. 157 00:08:57,880 --> 00:09:01,120 Speaker 2: Yeah, just right from the ship to the cave environment 158 00:09:01,280 --> 00:09:05,880 Speaker 2: or the alien terrain that you've prepared on the other 159 00:09:06,360 --> 00:09:07,400 Speaker 2: portion of the set. 160 00:09:07,760 --> 00:09:11,600 Speaker 3: Jim says, while Kirk and crew could request being beamed 161 00:09:11,640 --> 00:09:15,040 Speaker 3: out of a bad situation, there was no emergency beam 162 00:09:15,080 --> 00:09:16,760 Speaker 3: out button on their communicators. 163 00:09:16,920 --> 00:09:18,640 Speaker 4: It would make it too easy for them to get 164 00:09:18,640 --> 00:09:20,679 Speaker 4: out of a jam. 165 00:09:20,840 --> 00:09:25,560 Speaker 3: Also, Kirk never said the words beam me up, Scottie. Interesting. 166 00:09:26,800 --> 00:09:28,880 Speaker 3: It's kind of like Luke, I am your father you 167 00:09:28,920 --> 00:09:30,280 Speaker 3: and Darth Vader never says that. 168 00:09:30,600 --> 00:09:33,480 Speaker 2: Yeah, or it's elementary, my dear Watson. Though I don't 169 00:09:33,480 --> 00:09:36,320 Speaker 2: recall the details on that. It's probably been said in adaptations, 170 00:09:36,360 --> 00:09:39,439 Speaker 2: but if memory serves it's not ever said in the stories. 171 00:09:40,760 --> 00:09:42,480 Speaker 2: Don't quote me on that just in case. 172 00:09:42,880 --> 00:09:45,439 Speaker 3: What's the actual Darth Vader quote? I think he says, No, 173 00:09:45,880 --> 00:09:49,360 Speaker 3: I am your father. I think you're right anyway, Star 174 00:09:49,400 --> 00:09:52,840 Speaker 3: Trek facts continue, Jim says in the Enemy within the 175 00:09:52,880 --> 00:09:56,960 Speaker 3: original series, there was a transporter incident when a crew 176 00:09:56,960 --> 00:10:00,800 Speaker 3: member returns from a planet with magnetic dust on his uniform. 177 00:10:01,240 --> 00:10:04,439 Speaker 3: Kirk beams up next and leaves the platform. Then, after 178 00:10:04,480 --> 00:10:09,320 Speaker 3: everyone leaves the transporter room, another Kirk materializes. The first 179 00:10:09,400 --> 00:10:12,480 Speaker 3: Kirk has all of Kirk's good traits, the second Kirk 180 00:10:12,600 --> 00:10:15,800 Speaker 3: has all of his bad traits. This was inspired by 181 00:10:15,880 --> 00:10:18,640 Speaker 3: Doctor Jekyll and mister Hyde. I feel like the straying 182 00:10:18,720 --> 00:10:21,360 Speaker 3: a little bit from hard science fiction, you know, saying 183 00:10:21,440 --> 00:10:24,920 Speaker 3: like that the physically separated, the moral quality is into 184 00:10:25,000 --> 00:10:26,600 Speaker 3: different beings. I don't know about that. 185 00:10:27,080 --> 00:10:30,680 Speaker 2: Yeah, you know, the settings were weird on those older 186 00:10:30,720 --> 00:10:32,480 Speaker 2: teleportation devices. 187 00:10:32,800 --> 00:10:35,280 Speaker 3: Yeah, but I bet it maybe for a good episode. 188 00:10:35,280 --> 00:10:38,360 Speaker 3: I've never seen that one. Let's see. Jim goes on 189 00:10:38,360 --> 00:10:42,160 Speaker 3: to say doctor McCoy hates the transporter quote. I signed 190 00:10:42,160 --> 00:10:44,400 Speaker 3: aboard this ship to practice medicine, not to have my 191 00:10:44,600 --> 00:10:47,800 Speaker 3: atoms scattered back and forth across space by this gadget. 192 00:10:48,600 --> 00:10:53,080 Speaker 3: I think sound reasoning doctor McCoy in Realm of Fear. 193 00:10:53,240 --> 00:10:56,679 Speaker 3: In the Next Generation, Lieutenant Barkley has an outright phobia 194 00:10:56,720 --> 00:10:59,000 Speaker 3: of the transporter. I have a vague memory that this 195 00:10:59,120 --> 00:11:02,080 Speaker 3: was the first time Star Trek showed the transporter process 196 00:11:02,400 --> 00:11:05,280 Speaker 3: from the point of view of the person being transported. 197 00:11:06,400 --> 00:11:07,160 Speaker 2: That rings a bell. 198 00:11:07,840 --> 00:11:10,080 Speaker 3: I don't remember if I ever saw that one. In 199 00:11:10,600 --> 00:11:14,520 Speaker 3: Relics from the Next Generation, the Enterprise crew finds Scotty, 200 00:11:15,040 --> 00:11:18,120 Speaker 3: who has rigged the transporter to be a type of 201 00:11:18,240 --> 00:11:22,200 Speaker 3: suspended animation for the past seventy five years to keep 202 00:11:22,240 --> 00:11:26,160 Speaker 3: him quote alive while he awaits a rescue. Oh, that's interesting. 203 00:11:26,200 --> 00:11:30,679 Speaker 3: So he can like beam himself to well, I don't know, 204 00:11:30,840 --> 00:11:33,400 Speaker 3: just beam himself to nowhere, just in the middle of 205 00:11:33,440 --> 00:11:36,040 Speaker 3: a transport while he's waiting for somebody to come get 206 00:11:36,120 --> 00:11:36,840 Speaker 3: him physically. 207 00:11:37,440 --> 00:11:39,800 Speaker 2: Yeah, it's a great way to have him serve as 208 00:11:39,800 --> 00:11:42,040 Speaker 2: a guest star on an episode. But I do remember 209 00:11:42,040 --> 00:11:45,880 Speaker 2: this episode. I actually referenced it in my interview with 210 00:11:46,040 --> 00:11:50,559 Speaker 2: the astrophysicist Adam Frank because this is the Dyson Sphere 211 00:11:50,800 --> 00:11:54,360 Speaker 2: episode of Star Trek the Next Generation, and I had 212 00:11:54,400 --> 00:11:58,040 Speaker 2: distinctly remember watching this episode for the first time when 213 00:11:58,040 --> 00:12:01,000 Speaker 2: I was probably in junior high, maybe a little or earlier, 214 00:12:01,040 --> 00:12:04,000 Speaker 2: but it was just such a mind blowing episode, you 215 00:12:04,000 --> 00:12:06,840 Speaker 2: know this. I don't think I'd ever been introduced to 216 00:12:06,880 --> 00:12:10,560 Speaker 2: the idea of a cosmic megastructure before, and it was 217 00:12:10,720 --> 00:12:14,760 Speaker 2: just amazing. Like this episode, which I haven't watched in 218 00:12:14,800 --> 00:12:17,480 Speaker 2: a very long time, but it's one of those episodes 219 00:12:17,480 --> 00:12:19,080 Speaker 2: that made me fall in love with Star Trek the 220 00:12:19,080 --> 00:12:21,480 Speaker 2: Next Generation and just blew my young mind. 221 00:12:23,000 --> 00:12:25,800 Speaker 3: Okay, one last bullet point here, Jim says in Second 222 00:12:25,920 --> 00:12:29,319 Speaker 3: Chances from the Next Generation, we learned that when Riker 223 00:12:29,400 --> 00:12:32,480 Speaker 3: had been rescued from a planet via the transporter eight 224 00:12:32,559 --> 00:12:37,120 Speaker 3: years previously, the transporter beam split. One version was rescued, 225 00:12:37,200 --> 00:12:40,400 Speaker 3: the other version bounced back to the original planet. There 226 00:12:40,440 --> 00:12:43,400 Speaker 3: have been two Rikers, and one has been stranded for 227 00:12:43,440 --> 00:12:46,480 Speaker 3: eight years. His personality is much more bitter than the 228 00:12:46,559 --> 00:12:49,920 Speaker 3: Riker we know, and for good reasons. I heard that 229 00:12:50,000 --> 00:12:54,079 Speaker 3: the food replicators are based on transporter technology. That means 230 00:12:54,080 --> 00:12:57,360 Speaker 3: that every cup of Picard's Earl Gray Hot is identical 231 00:12:57,440 --> 00:13:01,160 Speaker 3: to the one before. This begs the question Dartrek's transport 232 00:13:01,200 --> 00:13:06,040 Speaker 3: technology transport the original atoms or just transport the information 233 00:13:06,200 --> 00:13:09,920 Speaker 3: about those atoms the replicators, and several plotlines in the 234 00:13:09,920 --> 00:13:12,920 Speaker 3: show tend to suggest that it's the information and not 235 00:13:13,040 --> 00:13:16,679 Speaker 3: the atoms themselves. So what about this for the show? 236 00:13:17,040 --> 00:13:19,400 Speaker 3: Every time a landing crew is sent on a mission, 237 00:13:19,640 --> 00:13:22,640 Speaker 3: the transporter maintains a copy of what it sent, sort 238 00:13:22,640 --> 00:13:26,080 Speaker 3: of like what Scotty rigs up. Therefore, when one of 239 00:13:26,120 --> 00:13:29,240 Speaker 3: the Red Shirts buys the farm, they can just spin 240 00:13:29,320 --> 00:13:32,120 Speaker 3: up a new one from the transporter, much like saving 241 00:13:32,160 --> 00:13:35,120 Speaker 3: the state of a video game and then restarting it 242 00:13:35,160 --> 00:13:38,200 Speaker 3: once your character dies. Of course, this could work for 243 00:13:38,240 --> 00:13:40,760 Speaker 3: everyone on the landing party, but let's be serious, it's 244 00:13:40,840 --> 00:13:43,400 Speaker 3: only the Red Shirts who are in danger. I would 245 00:13:43,400 --> 00:13:46,280 Speaker 3: think that it would mess with a security officer's mind 246 00:13:46,320 --> 00:13:48,800 Speaker 3: to know that they could be dying repeatedly and then 247 00:13:48,880 --> 00:13:52,600 Speaker 3: resurrected without any memory of their deaths Jim in New Jersey. 248 00:13:54,600 --> 00:13:57,000 Speaker 2: But then again, getting back to the basic premise of 249 00:13:57,080 --> 00:13:59,440 Speaker 2: think like a dinosaur and so forth, is like the 250 00:13:59,520 --> 00:14:03,240 Speaker 2: idea that that's what teleportation is, dying repeatedly and then 251 00:14:03,280 --> 00:14:05,360 Speaker 2: being resurrected without any memory of your death. 252 00:14:06,160 --> 00:14:08,520 Speaker 3: Well, anyway, thank you Jim for all the trek facts. 253 00:14:08,640 --> 00:14:12,680 Speaker 2: Good food for thought, you know, before we get any 254 00:14:12,679 --> 00:14:14,760 Speaker 2: listener mail about this. I do want to settle the 255 00:14:14,840 --> 00:14:18,760 Speaker 2: Darth Vader quote question. I had to look it up 256 00:14:18,840 --> 00:14:22,720 Speaker 2: just to make sure, but basically the whole exchange is 257 00:14:22,840 --> 00:14:25,320 Speaker 2: Vader says, if you only knew the power of the 258 00:14:25,400 --> 00:14:27,720 Speaker 2: dark Side, Obi Wan never told you what happened to 259 00:14:27,800 --> 00:14:30,840 Speaker 2: your father. Skywalker says he told me enough, He told 260 00:14:30,840 --> 00:14:34,040 Speaker 2: me you killed him. And then Vader says, no, I 261 00:14:34,080 --> 00:14:34,880 Speaker 2: am your father. 262 00:14:35,160 --> 00:14:36,720 Speaker 3: Okay, yeah, that's what I thought it was. 263 00:14:37,040 --> 00:14:40,960 Speaker 2: It's better than Luke, I am your father. The actual 264 00:14:41,000 --> 00:14:43,720 Speaker 2: writing is better than the meme. Yeah. 265 00:14:44,000 --> 00:14:46,000 Speaker 3: That touches on a theme that's come up in many 266 00:14:46,040 --> 00:14:49,000 Speaker 3: episodes we've done this year, just coincidentally, not on purpose, 267 00:14:49,040 --> 00:14:53,480 Speaker 3: but the idea of false memories. This is another one 268 00:14:53,480 --> 00:14:55,400 Speaker 3: of those false memories we can have because lots of 269 00:14:55,440 --> 00:15:00,200 Speaker 3: people not only mistake the line for being Luke, I 270 00:15:00,200 --> 00:15:01,960 Speaker 3: am your father, it's like you can hear it in 271 00:15:02,000 --> 00:15:06,600 Speaker 3: your head. You remember the voice of James Earl Jones 272 00:15:06,640 --> 00:15:10,160 Speaker 3: saying Luke, I am your father, even though you never 273 00:15:10,240 --> 00:15:13,080 Speaker 3: actually heard that because it wasn't in the movie. And 274 00:15:13,160 --> 00:15:15,840 Speaker 3: so it's like another one of these cases where a 275 00:15:16,120 --> 00:15:18,400 Speaker 3: you know, like reading a phrase has given you a 276 00:15:18,440 --> 00:15:22,080 Speaker 3: false memory of like a sense impression of hearing words 277 00:15:22,120 --> 00:15:25,160 Speaker 3: spoken that were not actually spoken in exactly that order. 278 00:15:25,520 --> 00:15:29,520 Speaker 2: But when reality is better than the memory, or even 279 00:15:29,560 --> 00:15:32,240 Speaker 2: if it's the same quality wise but different and like, 280 00:15:32,280 --> 00:15:34,840 Speaker 2: it almost kind of keeps the media fresher, you know, 281 00:15:34,920 --> 00:15:37,120 Speaker 2: because because you're going in there with a preconceived notion 282 00:15:37,200 --> 00:15:39,320 Speaker 2: that is then subverted and improved upon. 283 00:15:39,560 --> 00:15:40,320 Speaker 3: That's a good point. 284 00:15:40,360 --> 00:15:42,840 Speaker 2: I agree. Yeah, It's one of the great things about 285 00:15:42,840 --> 00:15:46,760 Speaker 2: getting older is that you remember less, and so when 286 00:15:46,800 --> 00:15:49,240 Speaker 2: you reread your favorite book, you're like, oh man, this 287 00:15:49,320 --> 00:16:00,080 Speaker 2: is great. I don't remember any of this. Yeah, this 288 00:16:00,080 --> 00:16:01,880 Speaker 2: when comes to us from Mark, Mark says Hi, Robert 289 00:16:01,920 --> 00:16:03,960 Speaker 2: and Joe. At the beginning of the latest Anthology of 290 00:16:04,000 --> 00:16:07,960 Speaker 2: Horror episode, Robert said, this might be your last anthology episode. 291 00:16:08,000 --> 00:16:09,760 Speaker 2: I am writing to say, please don't let that be 292 00:16:09,840 --> 00:16:12,920 Speaker 2: the case. I genuinely look forward to the anthology episodes 293 00:16:12,920 --> 00:16:15,440 Speaker 2: every year. While they are similar to weird House cinema, 294 00:16:15,520 --> 00:16:18,240 Speaker 2: the medium of an anthology is so different from a film. 295 00:16:18,280 --> 00:16:21,120 Speaker 2: It's like comparing short stories to novels. Yes, they are 296 00:16:21,160 --> 00:16:23,360 Speaker 2: both written works, but there's something about the medium of 297 00:16:23,400 --> 00:16:25,840 Speaker 2: a shorter format that changes what the creators can do 298 00:16:25,920 --> 00:16:29,760 Speaker 2: with the story. Anthology shows are premise based, not character based, 299 00:16:29,960 --> 00:16:33,080 Speaker 2: and almost always have a satisfying or surprising twist. Also, 300 00:16:33,160 --> 00:16:35,080 Speaker 2: i'd say, on the whole, they tend to have darker, 301 00:16:35,200 --> 00:16:39,760 Speaker 2: more foreboding endings. Your anthology episode discussions are a glorious 302 00:16:39,800 --> 00:16:43,600 Speaker 2: buffet of supernatural concepts and twists. I love them. Weird 303 00:16:43,640 --> 00:16:46,160 Speaker 2: house cinema episodes seem to focus more on the elements 304 00:16:46,160 --> 00:16:50,120 Speaker 2: of the film, casting, dialogue, special effects, etc. And marveling 305 00:16:50,120 --> 00:16:52,400 Speaker 2: at the weirdness of the final product, which I also 306 00:16:52,480 --> 00:16:58,000 Speaker 2: enjoy very much. Please continue the anthology series, your fan, Mark, Ah, Well. 307 00:16:57,880 --> 00:17:01,240 Speaker 3: Thank you, Mark. Yes, I agree that there are things 308 00:17:01,280 --> 00:17:04,160 Speaker 3: that are very often just just different across the board 309 00:17:04,560 --> 00:17:09,479 Speaker 3: about anthology episodes versus movies. Anthology episodes tend to be often, 310 00:17:09,680 --> 00:17:13,760 Speaker 3: like you say, more premise based or more about philosophical ideas, 311 00:17:13,800 --> 00:17:16,720 Speaker 3: whereas you know, full length movies tend to be more 312 00:17:16,760 --> 00:17:20,600 Speaker 3: involved with the struggles of particular characters and more about plot. 313 00:17:20,960 --> 00:17:22,719 Speaker 3: But I would say the other big difference is that 314 00:17:22,800 --> 00:17:25,600 Speaker 3: you know, our anthology episodes we treat as core episodes 315 00:17:25,600 --> 00:17:29,040 Speaker 3: of the show. They're Tuesday Thursday outings, so we usually 316 00:17:29,400 --> 00:17:34,040 Speaker 3: use the anthology segment as a springboard to talk about 317 00:17:34,040 --> 00:17:36,840 Speaker 3: some kind of idea or topic raised in it, more 318 00:17:36,920 --> 00:17:40,480 Speaker 3: like we would in a regular core episode, whereas in 319 00:17:40,520 --> 00:17:42,439 Speaker 3: Weird House Cinema we're just talking about the movies. 320 00:17:43,080 --> 00:17:45,320 Speaker 2: Yeah. Yeah, it can be hard to select something for 321 00:17:45,359 --> 00:17:48,040 Speaker 2: anthology of horror because you have to find that they 322 00:17:48,080 --> 00:17:49,960 Speaker 2: have to have to be this right, everything else to 323 00:17:50,000 --> 00:17:53,639 Speaker 2: line up just so. You want something that is genuinely enjoyable, 324 00:17:54,119 --> 00:17:57,480 Speaker 2: you know, that's fun to talk about, it's well made. 325 00:17:57,840 --> 00:18:01,000 Speaker 2: But also whatever that premise is, whatever that nugget is, 326 00:18:01,400 --> 00:18:03,600 Speaker 2: for the purposes of a core episode, there has to 327 00:18:03,600 --> 00:18:05,960 Speaker 2: be some way to spin that off into sort of 328 00:18:06,000 --> 00:18:09,240 Speaker 2: a core episode discussion. And there are just a lot 329 00:18:09,240 --> 00:18:11,760 Speaker 2: of things that don't match up. Like there's so many 330 00:18:11,800 --> 00:18:14,080 Speaker 2: great I love Tales from the Crypt, so many wonderful 331 00:18:14,080 --> 00:18:17,200 Speaker 2: episodes of Tales from the Crypt, but very few of them, 332 00:18:17,200 --> 00:18:20,600 Speaker 2: in my experience so far of going through them, actually 333 00:18:20,600 --> 00:18:26,040 Speaker 2: have something you can talk about in a core episode. 334 00:18:26,119 --> 00:18:28,720 Speaker 2: You know, there's only so much science or culture of 335 00:18:28,760 --> 00:18:31,480 Speaker 2: mythology you can necessarily squeeze out of a given one. 336 00:18:31,920 --> 00:18:34,639 Speaker 2: I mean, most of them are bad thing happens to 337 00:18:34,720 --> 00:18:37,320 Speaker 2: bad person, you know, and that's fine, that's what it is, 338 00:18:38,400 --> 00:18:40,600 Speaker 2: which is probably one of the reasons we often come 339 00:18:40,920 --> 00:18:44,080 Speaker 2: back to things like Outer Limits and Twilight Zone, as 340 00:18:44,119 --> 00:18:47,399 Speaker 2: those tend to be a little more sci fi, sometimes 341 00:18:47,480 --> 00:18:50,800 Speaker 2: a little more contemplative, where other shows like Night Gallery, 342 00:18:50,800 --> 00:18:53,720 Speaker 2: which is another one I love to death. Again, most 343 00:18:53,760 --> 00:18:56,760 Speaker 2: of those don't necessarily have something you can really spin off, 344 00:18:56,960 --> 00:18:58,240 Speaker 2: or at least for our purposes. 345 00:18:58,840 --> 00:19:00,919 Speaker 3: But we'll see. I mean, if we can bring it 346 00:19:00,920 --> 00:19:03,320 Speaker 3: back for next year, maybe we will. I guess we 347 00:19:03,320 --> 00:19:04,800 Speaker 3: shouldn't promise anything. 348 00:19:06,960 --> 00:19:08,320 Speaker 2: Card subject to change. 349 00:19:08,640 --> 00:19:10,800 Speaker 3: All right, you want to do some Weird House messages 350 00:19:10,840 --> 00:19:11,760 Speaker 3: before we wrap up? 351 00:19:12,040 --> 00:19:14,760 Speaker 2: Yeah, what do we have in the bag here? Oh? 352 00:19:14,800 --> 00:19:17,040 Speaker 2: Do we have some Critters email? 353 00:19:17,400 --> 00:19:21,520 Speaker 3: Oh boy, yes, the crits are chompin'. Let's see. This 354 00:19:21,560 --> 00:19:30,200 Speaker 3: first message comes from Jeff. Jeff says greeting science humans. 355 00:19:30,320 --> 00:19:33,120 Speaker 3: In the Weird House Cinema episode on Critters, you briefly 356 00:19:33,160 --> 00:19:37,480 Speaker 3: discussed the origins of the quote suiting up scene. Yeah, 357 00:19:37,520 --> 00:19:40,400 Speaker 3: so this is the montage that's in like every Batman 358 00:19:40,520 --> 00:19:44,120 Speaker 3: movie where you get a series of rapid close up 359 00:19:44,160 --> 00:19:47,959 Speaker 3: shots of buckles fastening and things snapping into place, and 360 00:19:48,000 --> 00:19:51,200 Speaker 3: gear going into sheaths and stuff, and then you finally 361 00:19:51,280 --> 00:19:54,280 Speaker 3: zoom out and you see the full suit in its 362 00:19:54,280 --> 00:19:57,560 Speaker 3: assembled form. Obviously it's in all these Batman movies, but 363 00:19:57,600 --> 00:19:59,840 Speaker 3: it's in other movies too, and we saw that it 364 00:19:59,880 --> 00:20:03,520 Speaker 3: is in Critters, which predates all of the modern Batman movies. 365 00:20:04,040 --> 00:20:05,960 Speaker 3: I can't remember if there's a montage like this in 366 00:20:06,040 --> 00:20:09,200 Speaker 3: the the sixties Batman. I don't think so, but it's 367 00:20:09,200 --> 00:20:12,199 Speaker 3: certainly there from the eighty nine Tim Burton Batman on 368 00:20:12,560 --> 00:20:14,919 Speaker 3: it's in Critters from nineteen eighty six, and we were 369 00:20:14,960 --> 00:20:19,560 Speaker 3: asking how far back does this visual meme go. Jeff says, 370 00:20:19,680 --> 00:20:22,040 Speaker 3: I have no idea where the tradition began, but I 371 00:20:22,080 --> 00:20:24,359 Speaker 3: wanted to strongly recommend that all your listeners take a 372 00:20:24,359 --> 00:20:28,439 Speaker 3: moment to enjoy Bruce Campbell's epic workshed suit up in 373 00:20:28,600 --> 00:20:32,600 Speaker 3: Evil Dead Too. Just spectacular. There is no aspect of 374 00:20:32,640 --> 00:20:35,360 Speaker 3: this scene which is not perfect, So folks at home, 375 00:20:35,359 --> 00:20:36,679 Speaker 3: if you want to look up a video of this, 376 00:20:36,880 --> 00:20:39,920 Speaker 3: I'm sure there are multiple YouTube videos that clip it out. 377 00:20:40,320 --> 00:20:42,560 Speaker 3: But it's from the movie Evil Dead Too. It's it's 378 00:20:42,640 --> 00:20:46,560 Speaker 3: where the two surviving human characters who have not been 379 00:20:47,160 --> 00:20:50,840 Speaker 3: possessed by demons go to the workshed and Bruce Campbell 380 00:20:51,400 --> 00:20:55,359 Speaker 3: like builds a way to He's cut his own hand 381 00:20:55,440 --> 00:20:57,600 Speaker 3: off at this point in the movie, and he builds 382 00:20:57,640 --> 00:21:01,480 Speaker 3: a way to attach a chainsaw to his wrist and 383 00:21:01,760 --> 00:21:04,040 Speaker 3: puts like a little like hook on his suspenders so 384 00:21:04,080 --> 00:21:06,960 Speaker 3: he can, you know, pull the pull cord on the 385 00:21:07,040 --> 00:21:09,960 Speaker 3: chainsaw by just hooking, you know, looping it through the hook. 386 00:21:10,680 --> 00:21:12,439 Speaker 3: And then in his other hand, of course, he has 387 00:21:12,480 --> 00:21:13,119 Speaker 3: the boomstick. 388 00:21:13,680 --> 00:21:16,320 Speaker 2: Yeah, it's ridoculous, but it's pretty awesome. 389 00:21:16,560 --> 00:21:19,480 Speaker 3: Jeff says, it's unlikely that a dedicated weird house listener 390 00:21:19,480 --> 00:21:22,159 Speaker 3: would be unfamiliar with this classic scene, but do we 391 00:21:22,280 --> 00:21:24,840 Speaker 3: have the right to take that chance. I have to 392 00:21:24,880 --> 00:21:28,480 Speaker 3: assume Sam Raimi was riffing on previous suit up montages, 393 00:21:28,520 --> 00:21:34,080 Speaker 3: but it's difficult to imagine anyone topping that one. Steay groovy, Jeff, Jeff, 394 00:21:34,119 --> 00:21:36,720 Speaker 3: I agree, this is a great example, but I still 395 00:21:36,760 --> 00:21:40,280 Speaker 3: am no closer to understanding where this this meme comes from, 396 00:21:40,320 --> 00:21:41,600 Speaker 3: So I don't know the origin. 397 00:21:42,200 --> 00:21:44,560 Speaker 2: Yeah, I've been meaning to reach out to some folks, 398 00:21:44,600 --> 00:21:47,920 Speaker 2: maybe our friends at Videodrome or some of our coworkers 399 00:21:47,960 --> 00:21:53,760 Speaker 2: who were really versed in film history, because I was 400 00:21:53,800 --> 00:21:56,919 Speaker 2: looking around and I saw this sort of meme, this 401 00:21:56,920 --> 00:21:59,840 Speaker 2: this basic idea referred to as the lock and load montage. 402 00:22:00,000 --> 00:22:02,560 Speaker 2: I've seen it referred to as the gearing up montage. 403 00:22:03,200 --> 00:22:06,080 Speaker 2: I found some lists that show that it at least 404 00:22:06,160 --> 00:22:09,439 Speaker 2: goes back to the nineteen eighties, but in terms of 405 00:22:09,480 --> 00:22:13,320 Speaker 2: like what's the patient zero here, I'm not exactly sure yet. 406 00:22:14,040 --> 00:22:16,119 Speaker 2: I mean, I would guess it goes back at least 407 00:22:16,240 --> 00:22:20,119 Speaker 2: a decade earlier. And I and also it would have 408 00:22:20,160 --> 00:22:24,160 Speaker 2: to line up with certain trends in editing, because I mean, 409 00:22:24,200 --> 00:22:26,800 Speaker 2: it's not just a matter of close ups, right, it's 410 00:22:26,840 --> 00:22:29,359 Speaker 2: a matter of the editing, the way you're cutting things 411 00:22:29,400 --> 00:22:32,520 Speaker 2: together to show these various pieces coming together in the hole. 412 00:22:32,720 --> 00:22:34,880 Speaker 3: Yeah, it tends to be rapid editing. It's a lot 413 00:22:34,920 --> 00:22:36,600 Speaker 3: of short quick shots. 414 00:22:36,880 --> 00:22:40,120 Speaker 2: Yeah. So there are eras of filmmaking, or at least 415 00:22:40,160 --> 00:22:43,359 Speaker 2: the mainstream within those eras of filmmaking, where you're just 416 00:22:43,359 --> 00:22:46,000 Speaker 2: not going to probably see this kind of shot because 417 00:22:46,000 --> 00:22:49,480 Speaker 2: that's not the way they were assembling their scenes, though 418 00:22:49,520 --> 00:22:51,679 Speaker 2: at the same time you might have something akin to it. 419 00:22:51,840 --> 00:22:54,960 Speaker 3: Right, My thinking goes like this, it had to be 420 00:22:55,000 --> 00:23:00,440 Speaker 3: fairly widespread in movies because by like the nineties, some 421 00:23:00,480 --> 00:23:04,160 Speaker 3: of the uses of it in Batman are already satirical, 422 00:23:04,640 --> 00:23:06,600 Speaker 3: and I think it wouldn't. Like when it shows the 423 00:23:06,600 --> 00:23:07,280 Speaker 3: close up. 424 00:23:07,240 --> 00:23:09,320 Speaker 4: Just of like the bat butt, you know, it's just 425 00:23:09,400 --> 00:23:13,119 Speaker 4: like Batman's butt cheeks, and that's clearly meant to be 426 00:23:13,240 --> 00:23:15,919 Speaker 4: funny as part of the montage, and I think it 427 00:23:16,000 --> 00:23:18,760 Speaker 4: wouldn't It wouldn't make sense to have a joke like 428 00:23:18,800 --> 00:23:21,280 Speaker 4: that unless it was a well established visual meme in 429 00:23:21,320 --> 00:23:22,560 Speaker 4: a serious way already. 430 00:23:23,240 --> 00:23:25,280 Speaker 2: Yeah. Yeah, a lot of the times You're right, A 431 00:23:25,320 --> 00:23:28,840 Speaker 2: lot of the times that it's used, certainly more recently, 432 00:23:28,920 --> 00:23:31,480 Speaker 2: it is. It is very satirical. It's like, you know, 433 00:23:31,520 --> 00:23:35,080 Speaker 2: it's it's like an action style set up for a 434 00:23:35,359 --> 00:23:38,240 Speaker 2: less action character, like you know, maybe they're putting a 435 00:23:38,280 --> 00:23:41,320 Speaker 2: calculator into their pocket or they're into the other pocket, 436 00:23:41,320 --> 00:23:43,760 Speaker 2: that sort of thing. Yeah, So I if any of 437 00:23:43,800 --> 00:23:46,960 Speaker 2: you out there have some inside write in, we would 438 00:23:47,000 --> 00:23:48,760 Speaker 2: love to hear from you on this one. Yeah. What 439 00:23:48,760 --> 00:23:51,320 Speaker 2: what are the possible origins of the gearing up or 440 00:23:51,359 --> 00:23:53,080 Speaker 2: lock and load montage? Oh? 441 00:23:53,200 --> 00:23:56,439 Speaker 3: I just realized a movie that does this extensively, probably 442 00:23:56,480 --> 00:23:58,720 Speaker 3: like you know, five or six times throughout the movie 443 00:23:58,760 --> 00:24:02,880 Speaker 3: at least, is Sean of the Dead Edgar VI. Yeah, 444 00:24:03,320 --> 00:24:05,359 Speaker 3: lots of satirical lock and loads there. 445 00:24:05,960 --> 00:24:08,160 Speaker 2: But if you're talking about someone like, yeah, Edgar Wright 446 00:24:08,359 --> 00:24:11,720 Speaker 2: or Sam Raimi, like obviously, these are individuals that were 447 00:24:11,960 --> 00:24:19,840 Speaker 2: extremely well versed in various film editing styles and memes 448 00:24:19,840 --> 00:24:22,720 Speaker 2: and montages and so forth, so you know they they 449 00:24:22,800 --> 00:24:24,560 Speaker 2: knew what they were doing. It would be interesting to 450 00:24:24,560 --> 00:24:26,720 Speaker 2: know exactly what they were drawing from in some of 451 00:24:26,760 --> 00:24:29,480 Speaker 2: these cases. Because it can't I can say it can't 452 00:24:29,480 --> 00:24:33,639 Speaker 2: be Sam Raimi that invented it. He's referring to something else. Yeah, 453 00:24:33,960 --> 00:24:36,280 Speaker 2: there has. It has to go back further. I just 454 00:24:36,320 --> 00:24:38,879 Speaker 2: don't know how far back it goes again. If I 455 00:24:38,920 --> 00:24:40,960 Speaker 2: had to guess, if I had to put like five 456 00:24:41,000 --> 00:24:44,560 Speaker 2: bucks on it, I'd say some nineteen sixties biker movie 457 00:24:44,640 --> 00:24:47,200 Speaker 2: or something. All right, let's see. Oh, here's another one 458 00:24:47,200 --> 00:24:56,719 Speaker 2: on Critters. This one comes to us from Mark. Mark says, Hi, 459 00:24:56,840 --> 00:25:00,439 Speaker 2: Joe and Robert thoroughly enjoyed your weird House cinemon. I 460 00:25:00,480 --> 00:25:03,080 Speaker 2: recently rewatched Critters and was surprised to see how well 461 00:25:03,080 --> 00:25:05,359 Speaker 2: it held up. I think you failed to mention, however, 462 00:25:05,359 --> 00:25:09,399 Speaker 2: at the best moment of the entire Critters franchise. Well, 463 00:25:09,960 --> 00:25:12,360 Speaker 2: to be fair, we didn't discuss the entire Critters franchise. 464 00:25:12,400 --> 00:25:13,680 Speaker 2: We just talked about the first one. 465 00:25:14,320 --> 00:25:15,480 Speaker 3: We failed to mention. 466 00:25:16,960 --> 00:25:21,000 Speaker 2: But Mark does bring up a very memorable scene, he continues, 467 00:25:21,040 --> 00:25:24,159 Speaker 2: which is the giant critter ball in Critters Too. The 468 00:25:24,240 --> 00:25:28,240 Speaker 2: critter ball is an amazing and hilarious feat of practical effects. 469 00:25:28,760 --> 00:25:31,000 Speaker 2: This is back in the day before CGI, when if 470 00:25:31,040 --> 00:25:33,280 Speaker 2: your movie called for a giant ball of critters, you 471 00:25:33,400 --> 00:25:35,800 Speaker 2: went out and built a giant ball of critters. 472 00:25:36,480 --> 00:25:38,680 Speaker 3: How deep do you think the critters went on? The 473 00:25:38,720 --> 00:25:41,680 Speaker 3: giant critter ball was just like a big like I 474 00:25:41,720 --> 00:25:43,720 Speaker 3: don't know what was the inside of the ball. 475 00:25:44,760 --> 00:25:46,719 Speaker 2: I mean, it would be insane to build critters all 476 00:25:46,760 --> 00:25:50,000 Speaker 2: the way down, but you'd have to have them a 477 00:25:50,000 --> 00:25:53,800 Speaker 2: certain amount of tritters partially, you know, the way down, 478 00:25:53,840 --> 00:25:54,880 Speaker 2: so that it would look all right. 479 00:25:55,200 --> 00:25:58,080 Speaker 3: Oh no, the core of the critter ball is going critical. 480 00:25:59,520 --> 00:26:02,600 Speaker 2: So he continues. The best use of the critter ball 481 00:26:02,640 --> 00:26:04,800 Speaker 2: is when it runs over someone and reduces them to 482 00:26:04,920 --> 00:26:09,199 Speaker 2: bloody bones, instantly, terrifying and funny. It did make me 483 00:26:09,280 --> 00:26:11,679 Speaker 2: wonder if there are other animals that group together to 484 00:26:11,720 --> 00:26:14,440 Speaker 2: form balls for some reason. The closest thing I could 485 00:26:14,440 --> 00:26:16,760 Speaker 2: think of was a rat king, But I'm not sure 486 00:26:16,800 --> 00:26:19,600 Speaker 2: if those are even real good episode. Don't be afraid 487 00:26:19,600 --> 00:26:22,679 Speaker 2: to do another Gromlin episode in the future, Mark, So 488 00:26:22,800 --> 00:26:25,560 Speaker 2: I don't know where to even begin on that listener mail. 489 00:26:26,520 --> 00:26:28,600 Speaker 3: Yeah, we certainly could come back and do something more 490 00:26:28,640 --> 00:26:32,240 Speaker 3: on life forms that agglomerate. I mean, I just think 491 00:26:32,280 --> 00:26:36,760 Speaker 3: of one example would be army ants that not quite 492 00:26:36,800 --> 00:26:40,000 Speaker 3: a ball, but they will form a gigantic mass made 493 00:26:40,080 --> 00:26:43,159 Speaker 3: out of ants to protect the queen as she's moving along. 494 00:26:43,280 --> 00:26:46,439 Speaker 3: So it is just kind of a huge ant wad 495 00:26:46,600 --> 00:26:48,320 Speaker 3: with the Queen hidden somewhere inside. 496 00:26:49,160 --> 00:26:53,040 Speaker 2: Yeah, fire ants forming a raft comes to mind. There 497 00:26:53,040 --> 00:26:56,600 Speaker 2: are various animals that kind of, you know, ban together 498 00:26:56,680 --> 00:26:59,440 Speaker 2: in a limited sense, and then there's also the discussion 499 00:26:59,480 --> 00:27:03,080 Speaker 2: of animals that coil up into balls or sort of 500 00:27:03,080 --> 00:27:06,480 Speaker 2: wheel shapes, and then the rare instances of ones that 501 00:27:06,680 --> 00:27:09,280 Speaker 2: may appear to roll. I think I've covered some of 502 00:27:09,320 --> 00:27:10,879 Speaker 2: this before in the past, but I don't have the 503 00:27:11,359 --> 00:27:13,640 Speaker 2: notes in front of me to be clear. Though, there's 504 00:27:13,640 --> 00:27:17,639 Speaker 2: nothing quite like a critter in the in the natural world. 505 00:27:17,800 --> 00:27:22,280 Speaker 2: That's why they had to create critters for movies. As 506 00:27:22,320 --> 00:27:24,800 Speaker 2: for the rat king, well, I mean that's also a 507 00:27:24,800 --> 00:27:28,640 Speaker 2: great topic that I believe I've covered in some form 508 00:27:28,680 --> 00:27:30,719 Speaker 2: in the past. I can't remember if it was on 509 00:27:30,760 --> 00:27:33,800 Speaker 2: the podcast or if it's something I wrote at some point, 510 00:27:33,880 --> 00:27:37,879 Speaker 2: but if memory serves like, the basic idea is rat kings, 511 00:27:38,160 --> 00:27:40,239 Speaker 2: the idea that you have so many rats in your 512 00:27:40,240 --> 00:27:43,639 Speaker 2: play ridden village that their tails have tangled together and 513 00:27:43,680 --> 00:27:46,280 Speaker 2: they can't become untangled. And then if you, like are 514 00:27:46,359 --> 00:27:48,400 Speaker 2: ripping up boards in a house and you see one, 515 00:27:48,880 --> 00:27:51,119 Speaker 2: you're horrified and realize that this is an omen of 516 00:27:51,160 --> 00:27:55,359 Speaker 2: great doom for your village. Like it's a cool and 517 00:27:55,359 --> 00:27:59,280 Speaker 2: grotesque idea, and I think I've read that it's maybe 518 00:27:59,320 --> 00:28:03,320 Speaker 2: not entirely beyond the realm of possibility, but also extremely 519 00:28:03,400 --> 00:28:04,680 Speaker 2: unlikely that this would happen. 520 00:28:05,000 --> 00:28:07,399 Speaker 3: I haven't researched this, so I can't speak to it, 521 00:28:07,480 --> 00:28:10,440 Speaker 3: but I just did remember what the term for the 522 00:28:10,560 --> 00:28:12,800 Speaker 3: for the ant thing is, like the driver ants or 523 00:28:12,800 --> 00:28:15,800 Speaker 3: the army ants that formed these big wads of ants 524 00:28:15,840 --> 00:28:16,480 Speaker 3: like the critter ball. 525 00:28:16,480 --> 00:28:17,520 Speaker 2: It's called a bivouac. 526 00:28:17,800 --> 00:28:20,639 Speaker 3: Was where the colony forms a bivouac that sort of 527 00:28:20,680 --> 00:28:24,520 Speaker 3: moves along with the progress of its march. 528 00:28:25,000 --> 00:28:27,680 Speaker 2: That's right, And to be clear on the rat king, 529 00:28:27,720 --> 00:28:32,760 Speaker 2: there may be more recent research into this that has 530 00:28:32,800 --> 00:28:35,760 Speaker 2: turned up some strong evidence for the existence of a 531 00:28:35,840 --> 00:28:38,480 Speaker 2: rat King at one point or another. But as I recall, 532 00:28:39,080 --> 00:28:43,600 Speaker 2: it was rather dubious. But that may have changed. But yes, 533 00:28:43,640 --> 00:28:47,680 Speaker 2: for doing more Gromlin episodes, yeah, I'm totally down for that. 534 00:28:48,040 --> 00:28:49,560 Speaker 2: I'm down for Critters too, if we want to come 535 00:28:49,600 --> 00:28:51,480 Speaker 2: back and do that when at some point, like I said, 536 00:28:51,520 --> 00:28:54,080 Speaker 2: Critters two is one the one that I definitely remember 537 00:28:54,080 --> 00:28:56,320 Speaker 2: seeing when I was younger, and I remember enjoying it 538 00:28:56,400 --> 00:28:59,120 Speaker 2: quite a bit. It makes some interesting choices, as I recalled, 539 00:28:59,160 --> 00:29:01,920 Speaker 2: it might be fun to revisit. I don't remember exactly 540 00:29:01,920 --> 00:29:02,880 Speaker 2: how they were handled, though. 541 00:29:03,440 --> 00:29:06,880 Speaker 3: Is Critters two to Critters one kind of like Evil 542 00:29:06,960 --> 00:29:09,440 Speaker 3: Dead two to Evil Dead one. It's almost like a 543 00:29:09,560 --> 00:29:12,440 Speaker 3: comedy remake of the original with a bigger budget. 544 00:29:12,920 --> 00:29:15,360 Speaker 2: I think so. It's definitely the bigger budget, you know, 545 00:29:15,360 --> 00:29:18,000 Speaker 2: because Critters was a success and they written It's one 546 00:29:18,040 --> 00:29:21,040 Speaker 2: of those situations where the studios like, yes, give us 547 00:29:21,200 --> 00:29:24,520 Speaker 2: more of this success, make us more of this movie, 548 00:29:24,960 --> 00:29:28,320 Speaker 2: and they obliged, and you know, you have some other element. 549 00:29:28,320 --> 00:29:29,360 Speaker 2: You have most of the I think most of the 550 00:29:29,360 --> 00:29:31,040 Speaker 2: same one up, maybe not most of the same cast. 551 00:29:31,080 --> 00:29:34,800 Speaker 2: Several members of the cast are back. David Towey is 552 00:29:34,840 --> 00:29:36,840 Speaker 2: on the script, so it has a lot of things 553 00:29:36,840 --> 00:29:39,280 Speaker 2: going for it as well. Definitely bigger and bolder. 554 00:29:39,640 --> 00:29:41,440 Speaker 3: All right, should we wrap it up there for today? 555 00:29:42,400 --> 00:29:44,240 Speaker 2: Yeah, let's go ahead and wrap it up into one 556 00:29:44,320 --> 00:29:48,360 Speaker 2: big Critters esque ball and send it on down towards 557 00:29:48,440 --> 00:29:49,120 Speaker 2: the farmhouse. 558 00:29:49,680 --> 00:29:51,400 Speaker 3: We've still got a bunch of things in the queue, 559 00:29:51,480 --> 00:29:53,280 Speaker 3: so we'll have to get to those next week. 560 00:29:53,600 --> 00:29:56,000 Speaker 2: That's right in the meantime, right into us. 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