WEBVTT - Listener Mail: Now Available in Candle Format 0:00:03.040 --> 0:00:06.560 Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 0:00:10.360 --> 0:00:12.799 Hey you welcome to Stuff to Blow your Mind Listener mail. 0:00:13.039 --> 0:00:15.720 This is Robert Lamb and this is Joe McCormick. And 0:00:15.840 --> 0:00:17.599 it is Monday, the day of each week that we 0:00:17.680 --> 0:00:20.079 read back messages from the Stuff to Blow Your Mind 0:00:20.160 --> 0:00:22.279 email address. If you would like to make your own 0:00:22.280 --> 0:00:24.919 contribution to the mail bag, why not reach out to 0:00:25.000 --> 0:00:29.200 us at contact at stuff to Blow your Mind dot com. 0:00:29.280 --> 0:00:32.360 Whatever you want to send is fine. We always appreciate 0:00:32.360 --> 0:00:35.320 feedback to recent episodes, especially if you have something interesting 0:00:35.360 --> 0:00:36.800 you would like to add to a topic we have 0:00:36.880 --> 0:00:39.360 talked about on the show. But again, whatever you want 0:00:39.360 --> 0:00:42.320 to send, just just throw it on our way contact 0:00:42.400 --> 0:00:46.160 at stuff to Blow your Mind dot Com. All right, Rob, 0:00:46.200 --> 0:00:49.040 we got a big, big haul today. We can get 0:00:49.080 --> 0:00:51.839 through some of it here. Let's see. Maybe I will 0:00:51.920 --> 0:00:55.200 kick things off with this message from Hugh about our 0:00:55.280 --> 0:00:57.640 Vault episode on the invention of the gimbal. 0:00:58.040 --> 0:00:59.200 All right, let's have it. 0:01:04.520 --> 0:01:07.880 Hugh says, Hello, Robert, Joe, and jj I hope you 0:01:07.920 --> 0:01:10.400 and your loved ones are happy and healthy. I'm not 0:01:10.440 --> 0:01:13.120 sure if your recent Vault episode covered this aspect, but 0:01:13.200 --> 0:01:17.759 the gimbal serves another very important surface on sea going vessels, 0:01:18.120 --> 0:01:21.560 and that is helping keep the crew fed. I think 0:01:21.600 --> 0:01:23.679 this is adding to the fact that we talked about 0:01:23.720 --> 0:01:28.080 some kinds of instruments in ships at sea that would 0:01:28.120 --> 0:01:29.720 be mounted on gimbals. 0:01:29.959 --> 0:01:34.720 Right, right, and illusions I believe to ancient devices that 0:01:34.959 --> 0:01:37.080 seem to have been gimbals of one sort or another. 0:01:37.440 --> 0:01:40.840 Right, But Hughes says, yes, gimbals are also used to 0:01:40.920 --> 0:01:44.000 keep the crew fed. The email goes on to say 0:01:44.040 --> 0:01:47.680 the cook tops and ovens on vessels are usually hung 0:01:47.840 --> 0:01:51.720 on gimbals that swing perpendicularly to the vessel's center line, 0:01:52.160 --> 0:01:55.600 with some sort of adjustable rail system to capture pots 0:01:55.680 --> 0:01:58.640 and pans in the direction of travel. This makes the 0:01:58.760 --> 0:02:01.480 job of dealing with hot liquids and such safer for 0:02:01.520 --> 0:02:06.880 the galley crew while underway. Wishing you the best as always, Hugh. Well, 0:02:06.960 --> 0:02:09.160 thank you, Hugh. That is an interesting fact and I 0:02:09.240 --> 0:02:12.560 don't know if I would have considered that, but yeah, 0:02:12.600 --> 0:02:13.799 that makes perfect. 0:02:13.520 --> 0:02:18.600 Sense, absolutely, chef. All right, let's turn to some more 0:02:20.200 --> 0:02:25.200 responses from our October episodes. This one is from Colin. 0:02:25.600 --> 0:02:29.400 This was on Facebook. I believe probably the discussion module 0:02:30.120 --> 0:02:39.679 responding to our episode on Necromancer Episodes on Necromancy, Hey 0:02:39.880 --> 0:02:42.960 Joe and Rob and JJ writing in about the episodes 0:02:43.000 --> 0:02:46.440 on the Necromantic Urge, specifically part two where you talk 0:02:46.480 --> 0:02:50.240 about dream interpretation and the temples of Aslepios where this 0:02:50.400 --> 0:02:54.240 was done in ancient Greece by trade. I'm a professional 0:02:54.240 --> 0:02:57.720 actor mostly for the stage, and part of my education 0:02:58.080 --> 0:03:02.040 in classical theater mentioned this. I'm going off memory here 0:03:02.080 --> 0:03:04.800 as I'm currently at work on a national tour of 0:03:04.840 --> 0:03:08.240 a show and separated from my notes, but from what 0:03:08.360 --> 0:03:12.440 I remember, there was a temple to Aslepis underneath the 0:03:12.440 --> 0:03:16.440 theater at Epidaurus, and apparently patients were put into a 0:03:16.560 --> 0:03:18.919 dream like or suggestive state by the use of some 0:03:18.960 --> 0:03:21.800 sort of snake venom I think, either ingested as a 0:03:21.840 --> 0:03:26.639 potion or patients were bitten. Under controlled circumstances, the patient's 0:03:26.720 --> 0:03:30.760 dreams were told to one of the temple attendants called therapons, 0:03:31.760 --> 0:03:36.360 same word rout as words like therapy, which roughly means 0:03:36.440 --> 0:03:40.000 ritual substitutes. If a dream was judged to be significant 0:03:40.120 --> 0:03:43.320 enough that it would benefit ancient Greek society on the whole, 0:03:43.760 --> 0:03:47.280 the therapons would then enact elements of the Dream in 0:03:47.320 --> 0:03:50.360 a play at the theater upstairs, so that all patrons 0:03:50.400 --> 0:03:54.840 attending the show could learn from it. Side note, Aslepius's 0:03:54.880 --> 0:03:58.000 association with snakes is made more apparent with the presence 0:03:58.040 --> 0:04:02.080 of them wrapped around the staff of Estilepius, which itself 0:04:02.840 --> 0:04:06.520 is often confused with the medical symbol of the cadusius. 0:04:07.160 --> 0:04:09.760 I'm trying madly to back up what I've written here 0:04:09.800 --> 0:04:12.520 with references and citations, but I'm coming up a little dry. 0:04:12.600 --> 0:04:15.760 Perhaps someone else in the discussion module who knows about 0:04:15.760 --> 0:04:18.960 this can give us a hand with it. Otherwise, keep 0:04:19.000 --> 0:04:21.320 up the excellent work. Chaps. Love the podcast as always, 0:04:21.360 --> 0:04:23.560 especially when you managed to sneak in references to D 0:04:23.640 --> 0:04:26.640 and D. I have no doubt that game was a 0:04:26.720 --> 0:04:29.799 part of why I chose the performing arts as a job. 0:04:30.200 --> 0:04:34.040 Colin ah barred to the core. Well, I'd never heard 0:04:34.080 --> 0:04:37.760 of any of this, but this is interesting, especially the 0:04:37.839 --> 0:04:42.080 idea about re enacting parts of the Dream in a 0:04:42.120 --> 0:04:45.120 theatrical performance. I have to say, for some reason, I'd 0:04:45.160 --> 0:04:48.960 be a little skeptical about the snake venom aspect, but 0:04:49.080 --> 0:04:52.000 I don't know that could be true. I'd be interested 0:04:52.000 --> 0:04:54.440 in following up on that and looking into it. 0:04:55.360 --> 0:04:58.000 You know that would be something though to think about 0:04:58.000 --> 0:04:59.839 this in a modern context. What if you had to 0:05:00.320 --> 0:05:03.560 you had to sign off the rights to any dream 0:05:03.640 --> 0:05:06.039 contents you shared with your therapists because they might be 0:05:06.120 --> 0:05:07.400 produced as a play. 0:05:07.960 --> 0:05:09.520 Or how about when you go to therapy you have 0:05:09.560 --> 0:05:11.720 to sign off on the contents of your dreams because 0:05:11.760 --> 0:05:13.560 they will be used to train AI. 0:05:15.720 --> 0:05:17.520 Well, you know, I guess if it helps pay for 0:05:18.520 --> 0:05:20.719 one's therapy, I guess it would like if you could 0:05:20.720 --> 0:05:23.800 do that instead, It's like, okay AI gets rights to 0:05:23.839 --> 0:05:27.640 my dreams or Hollywood gets right first pass. Let's say 0:05:27.640 --> 0:05:31.760 first pass on the contents of my dreams. But that 0:05:31.880 --> 0:05:33.640 means I also don't have to pay We're going to 0:05:33.680 --> 0:05:36.159 reduce rate on my therapy sessions. I don't know, I'd 0:05:36.160 --> 0:05:38.640 have to consider it because most of these dreams are 0:05:38.640 --> 0:05:42.320 real dogs. I mean, they're not going to really get 0:05:42.320 --> 0:05:43.640 anywhere with this content. 0:05:44.120 --> 0:05:46.640 Yeah, I'm trying to imagine a Greek chorus saying it 0:05:46.760 --> 0:05:49.320 was my high school, but it was not my high school, 0:05:49.360 --> 0:05:52.280 and it was also my first apartment, and I was me, 0:05:52.560 --> 0:05:54.520 but I was also Brad Dourif. 0:05:56.440 --> 0:05:58.920 Yeah, yeah, that's most of my dreams these days are 0:05:58.960 --> 0:06:01.120 kind of like that. Oh I did have a good one. 0:06:01.160 --> 0:06:03.200 As long as we're talking about dreams, I've been meaning 0:06:03.200 --> 0:06:07.760 to share this one with you. So one of our 0:06:07.760 --> 0:06:12.359 bosses in this dream, I think you know which one, 0:06:12.560 --> 0:06:16.279 but one of our bosses an individual we both like, 0:06:16.360 --> 0:06:19.279 we both look up to excellent chat. But in the 0:06:19.360 --> 0:06:23.920 dream he had written a book called how to Write, 0:06:25.200 --> 0:06:29.960 and how to Write was being released as a candle 0:06:30.560 --> 0:06:33.480 and we had to and I don't think the candle 0:06:33.520 --> 0:06:36.200 produced sound, but somehow the book was being released in 0:06:36.320 --> 0:06:41.800 candle form and we had to record ads promoting the 0:06:41.920 --> 0:06:44.040 candle adaptation of how to Write. 0:06:44.560 --> 0:06:47.919 My god, I mean, it makes perfect dream logic. Though 0:06:48.000 --> 0:06:49.920 I can see exactly why you dreamed that. 0:06:50.480 --> 0:06:52.240 It is one of those rare moments too in the 0:06:52.320 --> 0:06:55.320 dream where I was like, this is what It's a candle, 0:06:55.360 --> 0:06:57.640 but it's an adaptation of a book. How does that work? 0:06:57.680 --> 0:07:01.280 It doesn't produce sound, but still you know it to dream, 0:07:01.320 --> 0:07:01.960 so you go with it. 0:07:02.080 --> 0:07:04.000 The ad department is like, yeah, just go with it. 0:07:05.800 --> 0:07:07.720 So you heard it here first. How to Write now 0:07:07.720 --> 0:07:10.200 available in all formats including candle. 0:07:10.640 --> 0:07:14.440 That's really good. Okay, we got a bunch of responses 0:07:14.480 --> 0:07:19.200 to our anthology of horror episode from this year. Let's see, 0:07:19.320 --> 0:07:22.240 maybe I'm going to do this one from longtime correspondent 0:07:22.360 --> 0:07:24.840 Jim and New Jersey that has just packed with Star 0:07:24.920 --> 0:07:33.560 Trek trivia. How about that? Yeah sounds good, okay, Jim 0:07:33.560 --> 0:07:37.240 and New Jersey, says Robert Joe and JJ. Robert's Halloween 0:07:37.320 --> 0:07:41.520 anthology choice reminded me of transporter technology in other stories, 0:07:41.640 --> 0:07:45.040 especially its use in Star Trek. This is in response 0:07:45.080 --> 0:07:47.720 to the the anthology segment Rob picked this year, which 0:07:47.880 --> 0:07:50.800 was from the nineties Outer Limits, and it was a 0:07:51.320 --> 0:07:55.840 parable about the use of a teleportation machine, but one 0:07:56.240 --> 0:07:59.880 in which your body at the original the departure point 0:08:00.120 --> 0:08:03.360 the teleportation has to be destroyed, and there were questions 0:08:03.360 --> 0:08:06.080 about like is this really death? What is self identity 0:08:06.120 --> 0:08:10.040 if you're recreated at the destination and so forth. Yeah, Jim, 0:08:10.120 --> 0:08:13.200 talking about transporter episodes of Star Trek, says, here are 0:08:13.240 --> 0:08:14.960 a few things I can recall, and I'm sure I 0:08:14.960 --> 0:08:18.280 won't remember them all. Gene Roddenberry created it since a 0:08:18.320 --> 0:08:22.040 few visual effects and glitter spinning in a tank of 0:08:22.080 --> 0:08:25.000 water would have cheaper production values than having to use 0:08:25.120 --> 0:08:30.240 the shuttle craft and the docking bay. That's interesting. You know, 0:08:30.240 --> 0:08:34.719 it wouldn't be the first time that the material and 0:08:34.800 --> 0:08:38.240 practical constraints of filmmaking led to what was in the 0:08:38.320 --> 0:08:40.559 end an interesting plot device or idea. 0:08:41.679 --> 0:08:44.360 Yeah. I mean, now, it's almost impossible to imagine Star 0:08:44.440 --> 0:08:49.440 Trek without teleportation, without people being beamed up and beamed down. 0:08:49.840 --> 0:08:51.960 But I can absolutely see how. Yeah, you would have 0:08:52.080 --> 0:08:55.080 to have fewer sets than if you were like having 0:08:55.120 --> 0:08:57.480 people take a ship down, up and down. 0:08:57.880 --> 0:09:01.120 Yeah, just right from the ship to the cave environment 0:09:01.280 --> 0:09:05.880 or the alien terrain that you've prepared on the other 0:09:06.360 --> 0:09:07.400 portion of the set. 0:09:07.760 --> 0:09:11.600 Jim says, while Kirk and crew could request being beamed 0:09:11.640 --> 0:09:15.040 out of a bad situation, there was no emergency beam 0:09:15.080 --> 0:09:16.760 out button on their communicators. 0:09:16.920 --> 0:09:18.640 It would make it too easy for them to get 0:09:18.640 --> 0:09:20.679 out of a jam. 0:09:20.840 --> 0:09:25.560 Also, Kirk never said the words beam me up, Scottie. Interesting. 0:09:26.800 --> 0:09:28.880 It's kind of like Luke, I am your father you 0:09:28.920 --> 0:09:30.280 and Darth Vader never says that. 0:09:30.600 --> 0:09:33.480 Yeah, or it's elementary, my dear Watson. Though I don't 0:09:33.480 --> 0:09:36.320 recall the details on that. It's probably been said in adaptations, 0:09:36.360 --> 0:09:39.439 but if memory serves it's not ever said in the stories. 0:09:40.760 --> 0:09:42.480 Don't quote me on that just in case. 0:09:42.880 --> 0:09:45.439 What's the actual Darth Vader quote? I think he says, No, 0:09:45.880 --> 0:09:49.360 I am your father. I think you're right anyway, Star 0:09:49.400 --> 0:09:52.840 Trek facts continue, Jim says in the Enemy within the 0:09:52.880 --> 0:09:56.960 original series, there was a transporter incident when a crew 0:09:56.960 --> 0:10:00.800 member returns from a planet with magnetic dust on his uniform. 0:10:01.240 --> 0:10:04.439 Kirk beams up next and leaves the platform. Then, after 0:10:04.480 --> 0:10:09.320 everyone leaves the transporter room, another Kirk materializes. The first 0:10:09.400 --> 0:10:12.480 Kirk has all of Kirk's good traits, the second Kirk 0:10:12.600 --> 0:10:15.800 has all of his bad traits. This was inspired by 0:10:15.880 --> 0:10:18.640 Doctor Jekyll and mister Hyde. I feel like the straying 0:10:18.720 --> 0:10:21.360 a little bit from hard science fiction, you know, saying 0:10:21.440 --> 0:10:24.920 like that the physically separated, the moral quality is into 0:10:25.000 --> 0:10:26.600 different beings. I don't know about that. 0:10:27.080 --> 0:10:30.680 Yeah, you know, the settings were weird on those older 0:10:30.720 --> 0:10:32.480 teleportation devices. 0:10:32.800 --> 0:10:35.280 Yeah, but I bet it maybe for a good episode. 0:10:35.280 --> 0:10:38.360 I've never seen that one. Let's see. Jim goes on 0:10:38.360 --> 0:10:42.160 to say doctor McCoy hates the transporter quote. I signed 0:10:42.160 --> 0:10:44.400 aboard this ship to practice medicine, not to have my 0:10:44.600 --> 0:10:47.800 atoms scattered back and forth across space by this gadget. 0:10:48.600 --> 0:10:53.080 I think sound reasoning doctor McCoy in Realm of Fear. 0:10:53.240 --> 0:10:56.679 In the Next Generation, Lieutenant Barkley has an outright phobia 0:10:56.720 --> 0:10:59.000 of the transporter. I have a vague memory that this 0:10:59.120 --> 0:11:02.080 was the first time Star Trek showed the transporter process 0:11:02.400 --> 0:11:05.280 from the point of view of the person being transported. 0:11:06.400 --> 0:11:07.160 That rings a bell. 0:11:07.840 --> 0:11:10.080 I don't remember if I ever saw that one. In 0:11:10.600 --> 0:11:14.520 Relics from the Next Generation, the Enterprise crew finds Scotty, 0:11:15.040 --> 0:11:18.120 who has rigged the transporter to be a type of 0:11:18.240 --> 0:11:22.200 suspended animation for the past seventy five years to keep 0:11:22.240 --> 0:11:26.160 him quote alive while he awaits a rescue. Oh, that's interesting. 0:11:26.200 --> 0:11:30.679 So he can like beam himself to well, I don't know, 0:11:30.840 --> 0:11:33.400 just beam himself to nowhere, just in the middle of 0:11:33.440 --> 0:11:36.040 a transport while he's waiting for somebody to come get 0:11:36.120 --> 0:11:36.840 him physically. 0:11:37.440 --> 0:11:39.800 Yeah, it's a great way to have him serve as 0:11:39.800 --> 0:11:42.040 a guest star on an episode. But I do remember 0:11:42.040 --> 0:11:45.880 this episode. I actually referenced it in my interview with 0:11:46.040 --> 0:11:50.559 the astrophysicist Adam Frank because this is the Dyson Sphere 0:11:50.800 --> 0:11:54.360 episode of Star Trek the Next Generation, and I had 0:11:54.400 --> 0:11:58.040 distinctly remember watching this episode for the first time when 0:11:58.040 --> 0:12:01.000 I was probably in junior high, maybe a little or earlier, 0:12:01.040 --> 0:12:04.000 but it was just such a mind blowing episode, you 0:12:04.000 --> 0:12:06.840 know this. I don't think I'd ever been introduced to 0:12:06.880 --> 0:12:10.560 the idea of a cosmic megastructure before, and it was 0:12:10.720 --> 0:12:14.760 just amazing. Like this episode, which I haven't watched in 0:12:14.800 --> 0:12:17.480 a very long time, but it's one of those episodes 0:12:17.480 --> 0:12:19.080 that made me fall in love with Star Trek the 0:12:19.080 --> 0:12:21.480 Next Generation and just blew my young mind. 0:12:23.000 --> 0:12:25.800 Okay, one last bullet point here, Jim says in Second 0:12:25.920 --> 0:12:29.319 Chances from the Next Generation, we learned that when Riker 0:12:29.400 --> 0:12:32.480 had been rescued from a planet via the transporter eight 0:12:32.559 --> 0:12:37.120 years previously, the transporter beam split. One version was rescued, 0:12:37.200 --> 0:12:40.400 the other version bounced back to the original planet. There 0:12:40.440 --> 0:12:43.400 have been two Rikers, and one has been stranded for 0:12:43.440 --> 0:12:46.480 eight years. His personality is much more bitter than the 0:12:46.559 --> 0:12:49.920 Riker we know, and for good reasons. I heard that 0:12:50.000 --> 0:12:54.079 the food replicators are based on transporter technology. That means 0:12:54.080 --> 0:12:57.360 that every cup of Picard's Earl Gray Hot is identical 0:12:57.440 --> 0:13:01.160 to the one before. This begs the question Dartrek's transport 0:13:01.200 --> 0:13:06.040 technology transport the original atoms or just transport the information 0:13:06.200 --> 0:13:09.920 about those atoms the replicators, and several plotlines in the 0:13:09.920 --> 0:13:12.920 show tend to suggest that it's the information and not 0:13:13.040 --> 0:13:16.679 the atoms themselves. So what about this for the show? 0:13:17.040 --> 0:13:19.400 Every time a landing crew is sent on a mission, 0:13:19.640 --> 0:13:22.640 the transporter maintains a copy of what it sent, sort 0:13:22.640 --> 0:13:26.080 of like what Scotty rigs up. Therefore, when one of 0:13:26.120 --> 0:13:29.240 the Red Shirts buys the farm, they can just spin 0:13:29.320 --> 0:13:32.120 up a new one from the transporter, much like saving 0:13:32.160 --> 0:13:35.120 the state of a video game and then restarting it 0:13:35.160 --> 0:13:38.200 once your character dies. Of course, this could work for 0:13:38.240 --> 0:13:40.760 everyone on the landing party, but let's be serious, it's 0:13:40.840 --> 0:13:43.400 only the Red Shirts who are in danger. I would 0:13:43.400 --> 0:13:46.280 think that it would mess with a security officer's mind 0:13:46.320 --> 0:13:48.800 to know that they could be dying repeatedly and then 0:13:48.880 --> 0:13:52.600 resurrected without any memory of their deaths Jim in New Jersey. 0:13:54.600 --> 0:13:57.000 But then again, getting back to the basic premise of 0:13:57.080 --> 0:13:59.440 think like a dinosaur and so forth, is like the 0:13:59.520 --> 0:14:03.240 idea that that's what teleportation is, dying repeatedly and then 0:14:03.280 --> 0:14:05.360 being resurrected without any memory of your death. 0:14:06.160 --> 0:14:08.520 Well, anyway, thank you Jim for all the trek facts. 0:14:08.640 --> 0:14:12.680 Good food for thought, you know, before we get any 0:14:12.679 --> 0:14:14.760 listener mail about this. I do want to settle the 0:14:14.840 --> 0:14:18.760 Darth Vader quote question. I had to look it up 0:14:18.840 --> 0:14:22.720 just to make sure, but basically the whole exchange is 0:14:22.840 --> 0:14:25.320 Vader says, if you only knew the power of the 0:14:25.400 --> 0:14:27.720 dark Side, Obi Wan never told you what happened to 0:14:27.800 --> 0:14:30.840 your father. Skywalker says he told me enough, He told 0:14:30.840 --> 0:14:34.040 me you killed him. And then Vader says, no, I 0:14:34.080 --> 0:14:34.880 am your father. 0:14:35.160 --> 0:14:36.720 Okay, yeah, that's what I thought it was. 0:14:37.040 --> 0:14:40.960 It's better than Luke, I am your father. The actual 0:14:41.000 --> 0:14:43.720 writing is better than the meme. Yeah. 0:14:44.000 --> 0:14:46.000 That touches on a theme that's come up in many 0:14:46.040 --> 0:14:49.000 episodes we've done this year, just coincidentally, not on purpose, 0:14:49.040 --> 0:14:53.480 but the idea of false memories. This is another one 0:14:53.480 --> 0:14:55.400 of those false memories we can have because lots of 0:14:55.440 --> 0:15:00.200 people not only mistake the line for being Luke, I 0:15:00.200 --> 0:15:01.960 am your father, it's like you can hear it in 0:15:02.000 --> 0:15:06.600 your head. You remember the voice of James Earl Jones 0:15:06.640 --> 0:15:10.160 saying Luke, I am your father, even though you never 0:15:10.240 --> 0:15:13.080 actually heard that because it wasn't in the movie. And 0:15:13.160 --> 0:15:15.840 so it's like another one of these cases where a 0:15:16.120 --> 0:15:18.400 you know, like reading a phrase has given you a 0:15:18.440 --> 0:15:22.080 false memory of like a sense impression of hearing words 0:15:22.120 --> 0:15:25.160 spoken that were not actually spoken in exactly that order. 0:15:25.520 --> 0:15:29.520 But when reality is better than the memory, or even 0:15:29.560 --> 0:15:32.240 if it's the same quality wise but different and like, 0:15:32.280 --> 0:15:34.840 it almost kind of keeps the media fresher, you know, 0:15:34.920 --> 0:15:37.120 because because you're going in there with a preconceived notion 0:15:37.200 --> 0:15:39.320 that is then subverted and improved upon. 0:15:39.560 --> 0:15:40.320 That's a good point. 0:15:40.360 --> 0:15:42.840 I agree. Yeah, It's one of the great things about 0:15:42.840 --> 0:15:46.760 getting older is that you remember less, and so when 0:15:46.800 --> 0:15:49.240 you reread your favorite book, you're like, oh man, this 0:15:49.320 --> 0:16:00.080 is great. I don't remember any of this. Yeah, this 0:16:00.080 --> 0:16:01.880 when comes to us from Mark, Mark says Hi, Robert 0:16:01.920 --> 0:16:03.960 and Joe. At the beginning of the latest Anthology of 0:16:04.000 --> 0:16:07.960 Horror episode, Robert said, this might be your last anthology episode. 0:16:08.000 --> 0:16:09.760 I am writing to say, please don't let that be 0:16:09.840 --> 0:16:12.920 the case. I genuinely look forward to the anthology episodes 0:16:12.920 --> 0:16:15.440 every year. While they are similar to weird House cinema, 0:16:15.520 --> 0:16:18.240 the medium of an anthology is so different from a film. 0:16:18.280 --> 0:16:21.120 It's like comparing short stories to novels. Yes, they are 0:16:21.160 --> 0:16:23.360 both written works, but there's something about the medium of 0:16:23.400 --> 0:16:25.840 a shorter format that changes what the creators can do 0:16:25.920 --> 0:16:29.760 with the story. Anthology shows are premise based, not character based, 0:16:29.960 --> 0:16:33.080 and almost always have a satisfying or surprising twist. Also, 0:16:33.160 --> 0:16:35.080 i'd say, on the whole, they tend to have darker, 0:16:35.200 --> 0:16:39.760 more foreboding endings. Your anthology episode discussions are a glorious 0:16:39.800 --> 0:16:43.600 buffet of supernatural concepts and twists. I love them. Weird 0:16:43.640 --> 0:16:46.160 house cinema episodes seem to focus more on the elements 0:16:46.160 --> 0:16:50.120 of the film, casting, dialogue, special effects, etc. And marveling 0:16:50.120 --> 0:16:52.400 at the weirdness of the final product, which I also 0:16:52.480 --> 0:16:58.000 enjoy very much. Please continue the anthology series, your fan, Mark, Ah, Well. 0:16:57.880 --> 0:17:01.240 Thank you, Mark. Yes, I agree that there are things 0:17:01.280 --> 0:17:04.160 that are very often just just different across the board 0:17:04.560 --> 0:17:09.479 about anthology episodes versus movies. Anthology episodes tend to be often, 0:17:09.680 --> 0:17:13.760 like you say, more premise based or more about philosophical ideas, 0:17:13.800 --> 0:17:16.720 whereas you know, full length movies tend to be more 0:17:16.760 --> 0:17:20.600 involved with the struggles of particular characters and more about plot. 0:17:20.960 --> 0:17:22.719 But I would say the other big difference is that 0:17:22.800 --> 0:17:25.600 you know, our anthology episodes we treat as core episodes 0:17:25.600 --> 0:17:29.040 of the show. They're Tuesday Thursday outings, so we usually 0:17:29.400 --> 0:17:34.040 use the anthology segment as a springboard to talk about 0:17:34.040 --> 0:17:36.840 some kind of idea or topic raised in it, more 0:17:36.920 --> 0:17:40.480 like we would in a regular core episode, whereas in 0:17:40.520 --> 0:17:42.439 Weird House Cinema we're just talking about the movies. 0:17:43.080 --> 0:17:45.320 Yeah. Yeah, it can be hard to select something for 0:17:45.359 --> 0:17:48.040 anthology of horror because you have to find that they 0:17:48.080 --> 0:17:49.960 have to have to be this right, everything else to 0:17:50.000 --> 0:17:53.639 line up just so. You want something that is genuinely enjoyable, 0:17:54.119 --> 0:17:57.480 you know, that's fun to talk about, it's well made. 0:17:57.840 --> 0:18:01.000 But also whatever that premise is, whatever that nugget is, 0:18:01.400 --> 0:18:03.600 for the purposes of a core episode, there has to 0:18:03.600 --> 0:18:05.960 be some way to spin that off into sort of 0:18:06.000 --> 0:18:09.240 a core episode discussion. And there are just a lot 0:18:09.240 --> 0:18:11.760 of things that don't match up. Like there's so many 0:18:11.800 --> 0:18:14.080 great I love Tales from the Crypt, so many wonderful 0:18:14.080 --> 0:18:17.200 episodes of Tales from the Crypt, but very few of them, 0:18:17.200 --> 0:18:20.600 in my experience so far of going through them, actually 0:18:20.600 --> 0:18:26.040 have something you can talk about in a core episode. 0:18:26.119 --> 0:18:28.720 You know, there's only so much science or culture of 0:18:28.760 --> 0:18:31.480 mythology you can necessarily squeeze out of a given one. 0:18:31.920 --> 0:18:34.639 I mean, most of them are bad thing happens to 0:18:34.720 --> 0:18:37.320 bad person, you know, and that's fine, that's what it is, 0:18:38.400 --> 0:18:40.600 which is probably one of the reasons we often come 0:18:40.920 --> 0:18:44.080 back to things like Outer Limits and Twilight Zone, as 0:18:44.119 --> 0:18:47.399 those tend to be a little more sci fi, sometimes 0:18:47.480 --> 0:18:50.800 a little more contemplative, where other shows like Night Gallery, 0:18:50.800 --> 0:18:53.720 which is another one I love to death. Again, most 0:18:53.760 --> 0:18:56.760 of those don't necessarily have something you can really spin off, 0:18:56.960 --> 0:18:58.240 or at least for our purposes. 0:18:58.840 --> 0:19:00.919 But we'll see. I mean, if we can bring it 0:19:00.920 --> 0:19:03.320 back for next year, maybe we will. I guess we 0:19:03.320 --> 0:19:04.800 shouldn't promise anything. 0:19:06.960 --> 0:19:08.320 Card subject to change. 0:19:08.640 --> 0:19:10.800 All right, you want to do some Weird House messages 0:19:10.840 --> 0:19:11.760 before we wrap up? 0:19:12.040 --> 0:19:14.760 Yeah, what do we have in the bag here? Oh? 0:19:14.800 --> 0:19:17.040 Do we have some Critters email? 0:19:17.400 --> 0:19:21.520 Oh boy, yes, the crits are chompin'. Let's see. This 0:19:21.560 --> 0:19:30.200 first message comes from Jeff. Jeff says greeting science humans. 0:19:30.320 --> 0:19:33.120 In the Weird House Cinema episode on Critters, you briefly 0:19:33.160 --> 0:19:37.480 discussed the origins of the quote suiting up scene. Yeah, 0:19:37.520 --> 0:19:40.400 so this is the montage that's in like every Batman 0:19:40.520 --> 0:19:44.120 movie where you get a series of rapid close up 0:19:44.160 --> 0:19:47.959 shots of buckles fastening and things snapping into place, and 0:19:48.000 --> 0:19:51.200 gear going into sheaths and stuff, and then you finally 0:19:51.280 --> 0:19:54.280 zoom out and you see the full suit in its 0:19:54.280 --> 0:19:57.560 assembled form. Obviously it's in all these Batman movies, but 0:19:57.600 --> 0:19:59.840 it's in other movies too, and we saw that it 0:19:59.880 --> 0:20:03.520 is in Critters, which predates all of the modern Batman movies. 0:20:04.040 --> 0:20:05.960 I can't remember if there's a montage like this in 0:20:06.040 --> 0:20:09.200 the the sixties Batman. I don't think so, but it's 0:20:09.200 --> 0:20:12.199 certainly there from the eighty nine Tim Burton Batman on 0:20:12.560 --> 0:20:14.919 it's in Critters from nineteen eighty six, and we were 0:20:14.960 --> 0:20:19.560 asking how far back does this visual meme go. Jeff says, 0:20:19.680 --> 0:20:22.040 I have no idea where the tradition began, but I 0:20:22.080 --> 0:20:24.359 wanted to strongly recommend that all your listeners take a 0:20:24.359 --> 0:20:28.439 moment to enjoy Bruce Campbell's epic workshed suit up in 0:20:28.600 --> 0:20:32.600 Evil Dead Too. Just spectacular. There is no aspect of 0:20:32.640 --> 0:20:35.360 this scene which is not perfect, So folks at home, 0:20:35.359 --> 0:20:36.679 if you want to look up a video of this, 0:20:36.880 --> 0:20:39.920 I'm sure there are multiple YouTube videos that clip it out. 0:20:40.320 --> 0:20:42.560 But it's from the movie Evil Dead Too. It's it's 0:20:42.640 --> 0:20:46.560 where the two surviving human characters who have not been 0:20:47.160 --> 0:20:50.840 possessed by demons go to the workshed and Bruce Campbell 0:20:51.400 --> 0:20:55.359 like builds a way to He's cut his own hand 0:20:55.440 --> 0:20:57.600 off at this point in the movie, and he builds 0:20:57.640 --> 0:21:01.480 a way to attach a chainsaw to his wrist and 0:21:01.760 --> 0:21:04.040 puts like a little like hook on his suspenders so 0:21:04.080 --> 0:21:06.960 he can, you know, pull the pull cord on the 0:21:07.040 --> 0:21:09.960 chainsaw by just hooking, you know, looping it through the hook. 0:21:10.680 --> 0:21:12.439 And then in his other hand, of course, he has 0:21:12.480 --> 0:21:13.119 the boomstick. 0:21:13.680 --> 0:21:16.320 Yeah, it's ridoculous, but it's pretty awesome. 0:21:16.560 --> 0:21:19.480 Jeff says, it's unlikely that a dedicated weird house listener 0:21:19.480 --> 0:21:22.159 would be unfamiliar with this classic scene, but do we 0:21:22.280 --> 0:21:24.840 have the right to take that chance. I have to 0:21:24.880 --> 0:21:28.480 assume Sam Raimi was riffing on previous suit up montages, 0:21:28.520 --> 0:21:34.080 but it's difficult to imagine anyone topping that one. Steay groovy, Jeff, Jeff, 0:21:34.119 --> 0:21:36.720 I agree, this is a great example, but I still 0:21:36.760 --> 0:21:40.280 am no closer to understanding where this this meme comes from, 0:21:40.320 --> 0:21:41.600 So I don't know the origin. 0:21:42.200 --> 0:21:44.560 Yeah, I've been meaning to reach out to some folks, 0:21:44.600 --> 0:21:47.920 maybe our friends at Videodrome or some of our coworkers 0:21:47.960 --> 0:21:53.760 who were really versed in film history, because I was 0:21:53.800 --> 0:21:56.919 looking around and I saw this sort of meme, this 0:21:56.920 --> 0:21:59.840