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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of

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Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your Mind.

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Speaker 1: Listener mail. This is Robert Lamb and this is Joe McCormick,

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Speaker 1: and today we are reading back some of the messages

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Speaker 1: that you've sent in over the past week or two. So, Robbi,

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Speaker 1: if you're ready, I think I'll jump right into one

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Speaker 1: of these messages about our episodes on tears. Right. Okay,

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Speaker 1: So this one comes from a listener who did share

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Speaker 1: her name, but I think I'm gonna keep this one

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Speaker 1: anonymous just in case because it gets into some potentially

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Speaker 1: dicey territory. But but this was a good one. So

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Speaker 1: this listener says, Hey, I wanted to share a funny

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Speaker 1: story about crocodile tears. My husband and I had only

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Speaker 1: been dating for a few weeks when he accompanied me

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Speaker 1: to a pawn shop. I needed money and decided to

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Speaker 1: sell my engagement ring from my ex fiance. While haggling

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Speaker 1: with the pawn shop employee, who was, of course trying

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Speaker 1: to give me as little as possible, I started crying

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Speaker 1: and giving a sob story about how sad I was

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Speaker 1: to part with it, and so on. My husband's jaw

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Speaker 1: hit the floor, and he was quietly fuming. He hated

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Speaker 1: my ex and had thought I did too. He certainly

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Speaker 1: didn't think I cared a spit about this sad little ring.

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Speaker 1: I managed to get a few more dollars from the

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Speaker 1: pawn shop guy, and when we walked outside, my husband

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Speaker 1: turned to me, probably ready to break things off, and

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Speaker 1: with my cheeks still wet with tears, I just started laughing.

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Speaker 1: He stared at me, dumbfounded. You're not upset, he asked me, God, No,

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Speaker 1: why would I be. I just needed as much as

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Speaker 1: I could possibly get. I told him, have you ever

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Speaker 1: done that to me? He asked, not yet? I told him,

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Speaker 1: and we both had a good laugh. He still loves

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Speaker 1: to tell that story because he totally fell for it

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Speaker 1: as we stood in the pawn shop. Well, that that's

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Speaker 1: that sounds like a scene from a movie. I feel

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Speaker 1: like I would see that on a like a drama

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Speaker 1: TV show. Yeah, totally, But I have more questions. I

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Speaker 1: feel like I'm one to know, like did you plan

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Speaker 1: to do this or did it just kind of happen spontaneously?

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Speaker 1: Like what what's the approach on that? I I think

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Speaker 1: I can honestly say I have never uh as an

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Speaker 1: adult at least used tears in an intentionally persuasive manner. Uh.

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Speaker 1: And I don't know if I would be able to

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Speaker 1: do so if I tried. Yeah, I mean, of course,

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Speaker 1: I mean we all do things with our delivery and

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Speaker 1: our our body language at times to try and influence

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Speaker 1: these sorts of encounters. I mean, we've all I think

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Speaker 1: read about, you know, the supposed benefits, and occasionally I

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Speaker 1: think I've seen some criticism of this idea too, of

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Speaker 1: of taking on the like the humble brontosaurus pose. Uh

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Speaker 1: when say, dealing with uh with a with a person

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Speaker 1: of sort of bureaucratic authority, or even if you've been like,

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Speaker 1: you know, pulled over that sort of thing. What is

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Speaker 1: the humble brontos source pose. It's sort of a I

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Speaker 1: forget the details of, but it's like, imagine you are

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Speaker 1: a Saara pod uh and one that is humble and

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Speaker 1: not threatening. It's sort of like taking on this sort

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Speaker 1: of uh, this this humble body language approach to not

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Speaker 1: so much too direct conflict, I think, but sort of

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Speaker 1: these these milder forms of interaction where you could potentially

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Speaker 1: be shut down by somebody and you you maybe want

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Speaker 1: like a little bit more help, uh than than they

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Speaker 1: definitely have to give you. But like I said, if

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Speaker 1: if memory serves, I think there's been some back and

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Speaker 1: forth on that, and it's certainly it certainly is not

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Speaker 1: something that's gonna be applicable to to every scenario. Okay,

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Speaker 1: I just looked it up. I think the phrase you've

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Speaker 1: used for this before is the kindly browntosaurus. Okay, kind

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Speaker 1: of not humble. Yeah yeah, well maybe humble, maybe not,

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Speaker 1: but it's sort of, uh, sort of the the head

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Speaker 1: is bent down a little bit and then the front

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Speaker 1: arms are sort of clasped, the hands are clasped together

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Speaker 1: in front of you. Uh, it looks very it looks

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Speaker 1: very humble and supplicant. Yeah. Yeah, So I mean, not

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Speaker 1: so much to really back up the pros and cons

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Speaker 1: of that specifically, but just in general, of course, we

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Speaker 1: all do things that are maybe not quite at the

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Speaker 1: level of a summoning, uh you know, the orchestrated tears

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Speaker 1: of some form or another, but doing things to lean

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Speaker 1: into creating a certain emotional ambiance that we want someone

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Speaker 1: else to pick up on. Like what happens Joe if

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Speaker 1: you have to go into a hardware store in a

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Speaker 1: let's say, a small southern town. Do you find things

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Speaker 1: happen to your voice? Oh that's a good question. Uh,

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Speaker 1: that may indeed be true. I don't know. I've never

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Speaker 1: consciously monitored myself for that, but I suspect I may

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Speaker 1: shift back into my East Tennessee roots a little bit

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Speaker 1: more depending on the context. Yeah. I think I have

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Speaker 1: at times caught myself becoming like a little folks here

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Speaker 1: in interactions like that. So so basically, what I'm trying

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Speaker 1: to say is, though even though quote unquote fake tears

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Speaker 1: may seem like an extreme manipulation I mean to to some,

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Speaker 1: I don't think it's really that extreme when you take

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Speaker 1: into account all the various other ways that we augment

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Speaker 1: our emotional ambiance for others. Yeah, yeah, totally. Okay, So

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Speaker 1: if we do this next message from Matthew, I just

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Speaker 1: wanted to preface this by saying this touches on some

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Speaker 1: of the same Dune content mentioned by a previous listener,

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Speaker 1: but kind of expands on the idea. So, rob do

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Speaker 1: you want to do this one? Sure? Uh, they write, Hey,

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Speaker 1: Robert and Joe. One interesting example of cultural meaning of

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Speaker 1: tears can be found in the Dune series I guess

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Speaker 1: at some point during his initial stay at the taveris

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Speaker 1: speech or seeched. I never know how to say this.

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Speaker 1: There's so many words and phrases and dune that they

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Speaker 1: kind of just ricochet through through my brain and I'm

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Speaker 1: not necessarily using them in everyday conversation anyway. Paul weeps

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Speaker 1: for the man whom he has recently killed than a duel.

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Speaker 1: The Fremen are deeply touched by his tears. In the

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Speaker 1: harsh desert environment of Aracus, wasting vital bodily fluid for

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Speaker 1: someone or somebody can be seen as an honest signal

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Speaker 1: of commitment and emotional investment. I was surprised that you

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Speaker 1: hadn't mentioned it, since I know both of you are

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Speaker 1: big fans of Doone. Yeah, so this expands. Another listener

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Speaker 1: wrote in about the scene and Done, where where Paul

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Speaker 1: cries after he has has killed one of the firm

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Speaker 1: in a in a duel um. But Yeah, I like

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Speaker 1: the idea that the stakes of the water content of

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Speaker 1: someone's body being so high in the environment of Done

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Speaker 1: makes the tear signal especially important, and you could view

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Speaker 1: it as consequently honest, like an honest signal to a

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Speaker 1: much greater extent because water is so precious in this environment. Uh.

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Speaker 1: And and this does kind of relate to the idea

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Speaker 1: I I pondered in one of the Tier episodes. Again,

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Speaker 1: this is not something that I know of any direct

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Speaker 1: evidence for. Is just something I was kind of wondering

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Speaker 1: out loud about, which was, what if adult tears could

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Speaker 1: in part be an adaptation, uh to the complexity of

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Speaker 1: the human capacity for deceit. So because humans can lie

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Speaker 1: not only about external matters of fact, but about internal

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Speaker 1: subjective states. So for example, you can claim to care

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Speaker 1: about someone when in fact you don't. Tears being difficult

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Speaker 1: to fake could help serve as an honest signal of

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Speaker 1: an internal emotional states that could help bonding and trust

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Speaker 1: between humans. And I remember when I was researching tears.

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Speaker 1: One one way this occurred to me, I think, was

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Speaker 1: I was reading several stories of someone who said they

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Speaker 1: had been planning to break up with a romantic partner

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Speaker 1: and you know, thinking that that partner didn't really care

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Speaker 1: about them until that partner began to cry during the

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Speaker 1: breakup conversation they were having, and then they changed their mind.

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Speaker 1: They changed their mind and decided they wanted to stay

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Speaker 1: with that person. Uh and you know, you could all

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Speaker 1: argue that there could be all kinds of reasons for that,

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Speaker 1: But one could be that something about the crying makes

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Speaker 1: it look like their emotional commitment to you is more real,

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Speaker 1: you can trust it more m hmm. Interesting, they continue. Also,

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Speaker 1: one could argue in favor of the view of the

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Speaker 1: function of emotional tears as making us seem more childlike

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Speaker 1: on the basis that we are already a highly neotenic

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Speaker 1: species compared to our closest relatives like chimpanzees or even

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Speaker 1: more archaic subspecies of the genus Homo. We retain many

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Speaker 1: juvenile characteristics into adulthood. Shedding emotional tears could be just

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Speaker 1: one more such factor, maybe even making a case for

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Speaker 1: humans being uniquely high on on the otany in the

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Speaker 1: entire animal kingdom. And then they close up by saying also,

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Speaker 1: the expression crocodile tears is also very common in Polish,

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Speaker 1: but I had no idea what it meant until I

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Speaker 1: listened to your episode. Best regards, Matthew. All right, well,

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Speaker 1: thank you, matt f you. Um let's see, I'm gonna

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Speaker 1: move on to a message about nail biting from a

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Speaker 1: listener another Matthew. This one's named Matt uh. And this

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Speaker 1: is funny because this is Matt responding to a third listener,

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Speaker 1: also named Matt. So the Matt we have, Mats have

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Speaker 1: plenty of cornucopia of Matt's here in the in the

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Speaker 1: Stuff to Blow your Mind verse. But Matt says Robert

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Speaker 1: and Joe, Hello, my name is Matt, and I'm writing

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Speaker 1: in response to another person named Matt. He had written

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Speaker 1: to tell you how he randomly quit biting his nails.

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Speaker 1: I also was a nail biter for the first twenty

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Speaker 1: five years of my life, but I quit. I can

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Speaker 1: point to naval boot camp as the catalyst of my quitting.

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Speaker 1: In boot camp, the drill instructors are always yelling at

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Speaker 1: people for touching their faces. This makes a lot of

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Speaker 1: sense because of the large numbers of people living in

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Speaker 1: close proximity to one another. They don't want to spreading disease.

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Speaker 1: So anyway, we were issued nail clippers, and I was

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Speaker 1: motivated to use them to keep my nails too short

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Speaker 1: for me to bite them. I love you guys in

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Speaker 1: the show. You've got me into watching old horror movies

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Speaker 1: and enjoying them much more than I ever thought I would.

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Speaker 1: Science is awesome, and so are you. It was very,

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Speaker 1: very very sweet, Matt. Thank you. All right, let's jump

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Speaker 1: ahead of some weird house cinema feedback here. This one

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Speaker 1: comes to us from Susan. Hey, guys, I just wanted

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Speaker 1: to write in about Time after Time. I almost didn't

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Speaker 1: listen to this episode because I remember seeing the movie

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Speaker 1: at the cinema with my parents when I was about

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Speaker 1: eight years old. I had nightmares for months. The scene

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Speaker 1: that got me was when Wells goes into an apartment

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Speaker 1: and it's a complete blood bath. Now, more than forty

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Speaker 1: years later, I can picture that severed arm and it

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Speaker 1: still gives me chills. Of course, after that introduction to horror,

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Speaker 1: I spent the nineteen eighties watching all the now classic

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Speaker 1: flasher films. Thanks for a fun travel through time to

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Speaker 1: the early days of scary movies. Funny, I don't remember

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Speaker 1: the love part of that movie, just the blood. No love,

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Speaker 1: only blood. Yeah. I mean, it is kind of a

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Speaker 1: shocking scene when you get that, because there hasn't really

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Speaker 1: been much blood in the film at that point, I

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Speaker 1: mean a little here and there, but but then suddenly, yes,

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Speaker 1: severed arm. Uh. I could see where that would definitely

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Speaker 1: be a lot of you were eight years old. Yeah, yeah,

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Speaker 1: well I think we mentioned this in the Time Aftertime episode,

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Speaker 1: But it's kind of amazing what could get a PG

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Speaker 1: in nineteen nine. Yeah, yeah, yeah, it's a it's a

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Speaker 1: it's a it's in late seventies PG. So it's certainly

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Speaker 1: anybody looking to pick that up to think about it.

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Speaker 1: But I guess it follows a trend that you know,

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Speaker 1: has been widely observed for a long time that for

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Speaker 1: some reason, the people who issue ratings classifications for movies

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Speaker 1: tend to be far more motivated to kick up ratings

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Speaker 1: in response to, say, harsh language or sexuality than they

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Speaker 1: do in response to violence. So you can get away

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Speaker 1: with a big, bloody dismemberment as long as people aren't

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Speaker 1: saying the bad words. Yeah. I'm always I'm always fascinated

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Speaker 1: when people share their stories about what was like the

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Speaker 1: first or one of the first scary movies to really

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Speaker 1: kind of you know, get to them when they were kids,

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Speaker 1: Because for me, it was it was almost certainly Toby

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Speaker 1: Hooper's poulter Geist. I remember seeing part of that when

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Speaker 1: I was a kid, and uh bathroom mirror scene who

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Speaker 1: uh I don't know if it was that's and I

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Speaker 1: don't even know how I was watching it per se um,

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Speaker 1: but there was I don't know, just stuff. Some of

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Speaker 1: it was probably not even like the really grizzly stuff,

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Speaker 1: but just like scenes of children being afraid in dark rooms.

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Speaker 1: You know, like some of that can really get to

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Speaker 1: you at a at a young age. I mean, it's

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Speaker 1: it's surprising, how you know, how scary certain concepts and

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Speaker 1: ideas can be to young children. I was trying to

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Speaker 1: tell my son about the duck that said that there

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Speaker 1: were recordings of the duck speaking and saying you bloody fool,

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Speaker 1: and he was like, that's too much. He I got

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Speaker 1: upset that I was telling him this before bed, and

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Speaker 1: I was like, wow, I didn't think about the speaking

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Speaker 1: ducks saying you bloody fool would be nightmare material. But

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Speaker 1: I don't know. Maybe so, I mean, who am I

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Speaker 1: to argue with this reaction here? What about Billy Bass?

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Speaker 1: He'd probably be amused by Billy bass um, but I

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Speaker 1: have not introduced him to that technology either. Billy Bass

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Speaker 1: will haunt your dreams. It's funny what you're talking about.

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Speaker 1: It makes me remember one movie that I got very

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Speaker 1: freaked out by as a kid. I remember was the

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Speaker 1: movie Cat's I in which there it's a sort of

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Speaker 1: horror anthology film or I don't know if it's all horror.

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Speaker 1: At least one of the segments is horror and features

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Speaker 1: this little weird, creepy gremlin running around in a bedroom

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Speaker 1: that does battle with a cat. Uh. And I remember

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Speaker 1: that gremlin really creeped me out. Yeah they had it

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Speaker 1: was a great design on that critter. Okay, This next

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Speaker 1: weird house cinema response comes from Simon. This is a

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Speaker 1: very long email, so I'm doing some regiments in editing.

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Speaker 1: So Simon says, hey, fellas, welcome from the royal town

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Speaker 1: of Sutton Coalfield, West Midland's UK birthplace of ken Gt,

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Speaker 1: forty miles uh from I guess this is somebody from

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Speaker 1: Ford versus Ferrati, which which I haven't seen. Um. But

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Speaker 1: Simon says it's also mentioned in Shakespeare when fall Staff says,

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Speaker 1: Bardolf get thee before to Coventry, fill me a bottle

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Speaker 1: of sack. Our soldiers shall march through wheel to Sutton

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Speaker 1: coal Field tonight. And then finally Simon says it is

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Speaker 1: the location of a shower of Frogs in nineteen fifty four.

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Speaker 1: I think to look that one up, but Simon says,

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Speaker 1: apologies in advance for the long email. I guess an

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Speaker 1: epic podcast deserves epic feedback. I love stuff to blow

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Speaker 1: your mind and the content that you provide. I store

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Speaker 1: up episodes to play while I undertake my artwork at home.

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Speaker 1: Weird how cinema is especially my favorite as a long

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Speaker 1: term cinephile myself. Beloved movies that I have collected include

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Speaker 1: ref Madness from nineteen thirty six, The Outlaw from nineteen

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Speaker 1: forty three, the movie for which Howard Hughes designed the

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Speaker 1: cantilever bra and Carry On Up the Kaiber from sixty eight,

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Speaker 1: the ninety nine greatest British movie of all time and

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Speaker 1: one of the funniest. I think. Actually the only one

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Speaker 1: of those I've seen is read for Madness, But Simon says,

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Speaker 1: I'm mainly writing a response to your reference to the

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Speaker 1: TV movie The Day After in your Weird House Cinema

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Speaker 1: episode on Time after Time. Remember that was the another

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Speaker 1: film that was made by Nicholas Meyer, the writer and

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Speaker 1: director of Time after Time, which was a television film

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Speaker 1: about what would happen in the aftermath of a nuclear

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Speaker 1: war between the United States and the Soviet Union. Simon

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Speaker 1: goes on, you reference the cultural impact of the Day After,

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Speaker 1: but I guess that you're already aware of the UK

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Speaker 1: film that it is constantly compared to Threads from nineteen

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Speaker 1: eighty four, the UK BBC DOCU drama about the horrific

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Speaker 1: of effects of and after a nuclear war. Scariest movie

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Speaker 1: ever made by a country mile directed by the man

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Speaker 1: who would later direct The Bodyguard. Um massively well researched,

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Speaker 1: with input by Carl Sagan. Interesting in its comparison to

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Speaker 1: the U S movie The Day After, which, although had

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Speaker 1: a higher budget, has nowhere near the nightmare depicted by Threads.

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Speaker 1: Plus the latter does tend to eschew drama for information.

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Speaker 1: Not an easy watch, perhaps undermined a little by use

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Speaker 1: of stock footage and televisual feel, but utterly essential viewing.

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Speaker 1: I own both movies, but only Threads keeps me awake

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Speaker 1: at night, uh per and then uh Simon includes a

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Speaker 1: quote from The New York Times. The film is not

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Speaker 1: a balanced discussion about the pros and cons of nuclear armaments.

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Speaker 1: It is a candidly biased warning, and it is as calculated,

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Speaker 1: unsettlingly powerful. I like the New York Times warning you

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Speaker 1: that it that it does not reveal the prose of

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Speaker 1: nuclear war um. The director of this, Mike I'm sorry,

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Speaker 1: Mick Jackson, not a guy I'm that familiar with. But

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Speaker 1: he also directed Volcano in and uh The Temple Grand

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Speaker 1: and Bio that came out in two thousand ten starring

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Speaker 1: Claire Danes. Oh. Okay, well, anyway, Simon goes on to say, obviously,

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Speaker 1: the input of Carl Sagan and the almost documentary feel

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Speaker 1: of the film make this irrelevant subject for consideration by

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Speaker 1: you chaps. Science the Cold War psychology of fear, paranoia,

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Speaker 1: and mutually sure destruction. The final scene of the birth

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Speaker 1: of a child born of rape and fallout is beyond

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Speaker 1: terrifying and is reminiscent of the effects of depleted uranium

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Speaker 1: ordinance on unborn children in recent wars. On a personal note,

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Speaker 1: my grandfather was part of the Allied occupation of Japan

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Speaker 1: in nineteen forty five and experienced firsthand what was left

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Speaker 1: of Hiroshima. It happened to be the forty anniversary five

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Speaker 1: that he began to describe it to me The same year.

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Speaker 1: I leave that Threads was shown on TV. It took

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Speaker 1: me from age fourteen to forty five to summon the

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Speaker 1: courage to watch it, and that thirty one years of

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Speaker 1: preparation was essential, as I was by now a father's stuff.

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Speaker 1: Yes it is. But from here the message gets lighter.

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Speaker 1: Simon goes onto list and suggest a bunch of movies

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Speaker 1: that he thinks we would be interested in. For weird House,

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Speaker 1: I'm not going to go through the whole list here,

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Speaker 1: but I'll read one of them that's on the lighter

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Speaker 1: side of the nuclear cinema uh catalog, he says. On

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Speaker 1: a connected theme, can I suggest the fantastic Protect and

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Speaker 1: Survive UK information films? They are terrifying and hilarious in

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Speaker 1: their naivety. Don't forget to brush the fallout from your jacket.

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Speaker 1: It's pure public service nostalgia for Cold War addicts, and

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Speaker 1: he includes some some links for us to view. I've

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Speaker 1: watched at least one of these clips and and the

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Speaker 1: one of the parts that stuck out to me is

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Speaker 1: this very dry British radio voice saying, uh, if someone

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Speaker 1: has died, move their body to another room. Cover it

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Speaker 1: in poly eurythene I, I seem to recall that there

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Speaker 1: was a parody of this on The Young Ones back

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Speaker 1: in the day. Oh yeah, I think in fact, even um,

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Speaker 1: I think Simon may mention that later in his email. Okay, sorry, Simon,

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Speaker 1: that is still in your thunder here. But I think

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Speaker 1: I think that's all we're doing from Okay, alright, so

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Speaker 1: well I'm not stealing your thunder then well I'm completely

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Speaker 1: stealing it, I guess, because then we're not even reading

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Speaker 1: where you mentioned that. But um, telepathically you're robbing him

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Speaker 1: at any rate. Yes, it is my understanding, uh, and

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Speaker 1: my faint memory that it is lampooned on The Young Ones.

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Speaker 1: All right, the fantasy Bomba Deal casting continues. We heard

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Speaker 1: from Casey. Casey right right, wrote in and says hello,

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Speaker 1: I've been listening to you guys since around the time

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Speaker 1: of the Bicameral Mind episodes that have been a regular

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Speaker 1: listener ever since. I often think about writing in, but

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Speaker 1: usually dissuade myself from it. However, in light of the

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Speaker 1: ongoing Bomba Deal debate, I decided I had better speak up.

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Speaker 1: In general, I think adaptations are a bad idea. The

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Speaker 1: particular impact of a story is often bound up with

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Speaker 1: the specific medium it's told in and something always gets

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Speaker 1: lost in translation, no matter how well executed. Because bomba

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Speaker 1: Deal is one of my favorite parts of the books,

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Speaker 1: I'm glad he hasn't been realized on the screen. All

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Speaker 1: the same, if I had to pick a human bomba Deal,

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Speaker 1: one could do worse than the wayfaring stranger himself. Burl Ives.

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Speaker 1: He's jovial, plump and sings in a friendly, folksy style. Anyway,

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Speaker 1: thanks for continuing to deliver interesting, engaging, and eclectic content,

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Speaker 1: Casey burl Ives, Okay, interesting option, Yeah, yeah, I mean

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Speaker 1: when he's he's in that uh the Rudolph Um animated

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Speaker 1: Um show, as I recall, he's the narrator in that

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Speaker 1: and plays the what the Snowman, So he's already we

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Speaker 1: already know that he can play a musical elemental force.

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Speaker 1: This sort of stands outside of the story, so it

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Speaker 1: makes sense. I would say, you want to make sure

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Speaker 1: that he's not in cat on a hot tin roof mode,

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Speaker 1: because although bomba Deal maybe a sort of god or elemental,

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Speaker 1: he is no big Daddy. We'll tell me this, Joe,

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Speaker 1: I know you're a big Jim Steinman fan. If Jim

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Speaker 1: Steinman had adapted The Fellowship of the Ring. Uh do

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Speaker 1: you think you could have seen meat Loaf as bomba

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Speaker 1: Deal without a word? Oh that's the sweet spot. Yeah,

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Speaker 1: I could see that kind of a rock Obomba Deal.

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Speaker 1: Hey don Mary do? Oh? Yeah? R I p Jim Steinman.

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Speaker 1: He passed away just earlier this year. The world is

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Speaker 1: a less melodramatic place without him. All right, how about

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Speaker 1: I read this one from Hannah also about Bomba Dill's subject,

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Speaker 1: and keep it coming right Bomba dil opinions. I like

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Speaker 1: how this is the new subgenre of listener mail, Hi,

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Speaker 1: Robert and Joe. If I could pluck any actor from

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Speaker 1: any point in their career to play Bomba Deal, I'd

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Speaker 1: pick top All exactly as he was in Fiddle around

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Speaker 1: the Roof ninety one. I've always pictured Tom Bomba Dill

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Speaker 1: with a similar playfulness and warmth to his character. Uh.

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Speaker 1: That's a great idea, Hannah, But then she goes on

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Speaker 1: along that train of thought. But considering the annoying limitations

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Speaker 1: of the passage of time or whatever, I went looking

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Speaker 1: for some actors who are still currently working and have

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Speaker 1: tavy on their resumes and came up with two interesting

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Speaker 1: but very different possibilities. Alfred Molina and Harvey Firestein thoughts

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Speaker 1: all the best, Hannah. Uh yeah, both great, both great choices,

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Speaker 1: great actors in their own regard. You know, Harvey Fierstein,

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Speaker 1: uh did a voice of one of the Skexis on

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Speaker 1: the The Dark Crystal Age of Resistance and I loved it.

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Speaker 1: That's right, Yes, he was great in that. Yeah, yeah,

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Speaker 1: I've yeah, I like both of those actors. Uh so, yeah,

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Speaker 1: I could see them now. I'm not sure if if

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Speaker 1: Harvey Fierstein is maybe getting a bit of I don't know,

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Speaker 1: he's I mean, how old we're Christopher Lee and Ian

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Speaker 1: McKellan when they made uh, you know, the Fellowship of

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Speaker 1: the Ring. So I don't know. He seems fine. Let

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Speaker 1: him do it. We're just talking here anyway. Let him

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Speaker 1: do it. I'm not going to stand in the way

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Speaker 1: of this fantasy casting. Let them bomba dil Alright, Well,

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Speaker 1: it looks like we're already out of time here. I

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Speaker 1: really don't know where the time went on this episode

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Speaker 1: of feel like we we just started it, but here

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Speaker 1: we are. We'll have to get to the other bits

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Speaker 1: of listener mail next time around. In the meantime, if

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Speaker 1: you would like to listen to other episodes of Stuff

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Speaker 1: to Blow Your Mind. Listener mail what airs every Monday.

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Speaker 1: We got our core episodes on Tuesdays, and Thursday's Artifact

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Speaker 1: on Wednesday, Weird How Cinema on Friday. That's our time

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00:23:49,760 --> 00:23:52,639
Speaker 1: to set aside most of the science and deeper concerns

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00:23:52,680 --> 00:23:54,680
Speaker 1: and discuss a weird movie. And then over the weekend

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Speaker 1: we have a vault episode, which is just a fancy

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00:23:57,160 --> 00:23:59,440
Speaker 1: way of saying we do a rerun. You just thinks.

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00:23:59,480 --> 00:24:03,080
Speaker 1: As always to our wonderful audio producer Seth Nicholas Johnson.

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Speaker 1: If you would like to get in touch with us

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Speaker 1: with feedback on this episode or any other, to suggest

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Speaker 1: a topic for the future, or just to say hello,

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Speaker 1: you can email us at contact at stuff to Blow

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Speaker 1: your Mind dot com. Stuff to Blow Your Mind is

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Speaker 1: a production of I Heart Radio. For more podcasts for

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Speaker 1: my Heart Radio, visit the i heart Radio app, Apple Podcasts,

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Speaker 1: or wherever you listen to your favorite shows.