WEBVTT - Listener Mail: Chromakey Dreamcoat 0:00:03.040 --> 0:00:06.080 Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 0:00:08.240 --> 0:00:10.479 Hey you welcome to Stuff to Blow your Mind. Listen 0:00:10.480 --> 0:00:12.200 your mail My name is Robert Lamb. 0:00:12.560 --> 0:00:15.159 And I'm Joe McCormick. And it is Monday, the day 0:00:15.200 --> 0:00:17.400 of each week that we read back messages from the 0:00:17.440 --> 0:00:20.800 Stuff to Blow your Mind mail bag. If you want 0:00:20.840 --> 0:00:23.200 to put your own entry into the mail bag, why 0:00:23.239 --> 0:00:26.480 not contact us. You can write a set contact at 0:00:26.680 --> 0:00:29.840 stuff to Blow your Mind dot com. Whatever you want 0:00:29.840 --> 0:00:32.640 to send is fine. Of course, we always appreciate feedback 0:00:32.680 --> 0:00:35.800 to recent episodes, especially if you have something interesting to 0:00:36.000 --> 0:00:39.600 add to a topic we've already talked about. One example 0:00:39.600 --> 0:00:41.600 of that would be we recently did a couple of 0:00:41.680 --> 0:00:45.360 episodes that were called Oil over Troubled Water that were 0:00:45.400 --> 0:00:49.519 about the history of beliefs and scientific investigation of what 0:00:49.600 --> 0:00:52.760 happens when you pour oil on top of water, especially 0:00:52.840 --> 0:00:56.600 the idea that pouring oil on water can still the waves. 0:00:56.640 --> 0:00:59.880 There are folk tales of this going way way back 0:01:00.080 --> 0:01:03.480 hundreds of years, and then it turned out in the 0:01:03.640 --> 0:01:07.679 eighteenth century Benjamin Franklin did experiments on this very subject. 0:01:07.959 --> 0:01:10.440 He ended up walking around the world with a hollow 0:01:10.560 --> 0:01:12.680 cane that was full of olive oil that he would 0:01:12.720 --> 0:01:15.640 like pour in people's ponds to show them how the 0:01:15.680 --> 0:01:17.280 oil would spread out over the surface. 0:01:17.680 --> 0:01:19.240 Yeah, I had like a James Bond cane with a 0:01:19.560 --> 0:01:20.480 little bit of oil in it. 0:01:21.440 --> 0:01:31.080 Anyway, Stephan writes in to add to this subject, Stephan says, 0:01:31.120 --> 0:01:33.880 thank you for your inspiring episodes about oil and water. 0:01:34.200 --> 0:01:37.640 As a chemist, I am particularly interested in everything concerning 0:01:37.680 --> 0:01:40.760 liquids and surfaces, no matter if they are muddy or oily. 0:01:41.319 --> 0:01:44.479 With water and a drop of oil, just regular stuff 0:01:44.520 --> 0:01:47.600 from the kitchen shelf, no special oil is needed. You 0:01:47.640 --> 0:01:51.880 can demonstrate the principle of a jet propulsion drive. It's 0:01:51.880 --> 0:01:55.480 a funny experiment, especially suitable for children. All you need 0:01:55.600 --> 0:01:57.720 is a bowl of water, not too big, even a 0:01:57.760 --> 0:02:00.680 soup plate will do, and a small piece of cardboard 0:02:00.800 --> 0:02:03.640 in the shape of a two D boat. Now cut 0:02:03.640 --> 0:02:06.400 out a piece of cardboard at the blunt end of 0:02:06.400 --> 0:02:08.959 the boat's silhouette. Make a hole in the shape of 0:02:09.000 --> 0:02:14.000 an old fashioned key hole. So Stefan explains a spoiler alert, 0:02:14.040 --> 0:02:16.480 I did this so, Yeah, you have kind of like 0:02:16.520 --> 0:02:19.040 a house shape and elongated house shape. It's like a 0:02:19.040 --> 0:02:21.560 box with a point on one end. And then at 0:02:21.560 --> 0:02:24.000 the back of the boat. You have this key hole 0:02:24.040 --> 0:02:27.240 cutout shape creates a circular hole and then a funnel 0:02:27.240 --> 0:02:30.280 shape leading away from it, leading out into the back 0:02:30.320 --> 0:02:33.400 of the water. Stephan attached to drawing for us, But 0:02:33.400 --> 0:02:37.520 that doesn't help you, the listener out there. But Stephan says, 0:02:37.800 --> 0:02:40.320 put this two dimensional boat flat on the surface of 0:02:40.360 --> 0:02:42.840 the water in your bowl slowly because you'll need a 0:02:42.840 --> 0:02:46.720 calm surface, and let a drop of oil fall into 0:02:46.840 --> 0:02:49.840 the circular part of the key hole shaped cut off. 0:02:50.000 --> 0:02:52.520 The oil will immediately spread out on the surface of 0:02:52.560 --> 0:02:55.919 the water, thereby pushing the small boat a little bit forward. 0:02:56.200 --> 0:02:58.760 Have a try. Thanks again for your work and for 0:02:58.840 --> 0:03:03.240 many greetings to the entire Stuff team. Stephan, well, I 0:03:03.280 --> 0:03:06.880 can report I, just before we recorded, tried this experiment 0:03:07.000 --> 0:03:09.520 in front of Rachel and the baby and it worked, 0:03:09.600 --> 0:03:12.120 though it took a couple of tries for some reason, 0:03:12.360 --> 0:03:14.840 I'm not sure exactly why. The first time I tried it, 0:03:15.600 --> 0:03:18.240 I did it in a plate with a full of water. 0:03:18.520 --> 0:03:20.240 I did the cutout in the cardboard, and then the 0:03:20.280 --> 0:03:23.359 first time it was a complete failure. The second time 0:03:23.560 --> 0:03:26.200 I tried it with a different cardboard boat after the 0:03:26.240 --> 0:03:29.160 first one got soaked through. But I dropped the oil 0:03:29.160 --> 0:03:31.080 in the hole and then the boat zipped across the 0:03:31.120 --> 0:03:33.880 surface of the water, and I guess what's going on 0:03:33.960 --> 0:03:36.400 here is Yeah, so the oil wants to spread out 0:03:36.440 --> 0:03:38.320 in as thin a layer as possible on the top 0:03:38.360 --> 0:03:40.520 of the water, and it can't do that when it's 0:03:40.560 --> 0:03:42.400 in the little circular hole at the top of the 0:03:42.480 --> 0:03:44.480 key hole at the back of the boat. So then 0:03:44.520 --> 0:03:47.760 it wants to spread out continuing across the water, and 0:03:47.840 --> 0:03:50.440 must do so by spreading through the funnel shape at 0:03:50.440 --> 0:03:53.000 the back of the boat. And it pushes the cardboard 0:03:53.000 --> 0:03:55.520 boat forward as it continues to spread going. 0:03:55.360 --> 0:03:57.200 Out the back. Oh, very cool. 0:03:57.480 --> 0:04:00.480 I wonder if the difference, because it did work the 0:04:00.480 --> 0:04:02.160 first time I tried it, and it did the second. 0:04:02.200 --> 0:04:04.800 I wonder if it's that the cardboard was thinner on 0:04:04.840 --> 0:04:06.920 my second run. That may have something to do with it. 0:04:08.280 --> 0:04:10.800 Well, that is neat. We don't often get to conduct 0:04:10.840 --> 0:04:17.240 science experiments based on listener mail, so this this was fun. 0:04:17.520 --> 0:04:19.320 Yeah, we read about them a lot, don't get to 0:04:19.360 --> 0:04:20.359 do them often enough. 0:04:20.480 --> 0:04:23.000 Yeah, sometimes we shouldn't. Definitely should not do them, because 0:04:23.040 --> 0:04:25.560 I was they're a little more on the dangerous end 0:04:25.560 --> 0:04:27.600 of the spectrum. All right, This next one comes to 0:04:27.720 --> 0:04:36.000 us from Levi. Levi says, Hello, Joe and Rob. I 0:04:36.080 --> 0:04:37.760 just wanted to send you both a quick email to 0:04:37.800 --> 0:04:39.719 say thank you from the bottom of my heart for 0:04:39.800 --> 0:04:42.799 your dedication to what you do. The shows you produce 0:04:42.880 --> 0:04:46.000 are thoughtful and well crafted and really unlike anything else 0:04:46.040 --> 0:04:49.000 out there. Please also pass my thanks onto the engineer 0:04:49.279 --> 0:04:51.920 and others who work so hard to make the podcast happen. 0:04:52.320 --> 0:04:54.960 I've been listening since twenty fifteen when I discovered your 0:04:55.000 --> 0:04:57.440 episode about Earth being the planet of fire, and I 0:04:57.720 --> 0:05:00.479 was hooked. Your show was a welcome bright spot through 0:05:00.480 --> 0:05:03.000 a really awful period in life, and you have both 0:05:03.040 --> 0:05:06.840 become familiar comforts. I'm sure you are inundated with quote 0:05:06.880 --> 0:05:11.080 unquote helpful suggestions for topics. Well, they're always helpful, but 0:05:11.480 --> 0:05:13.920 I had the notion the other day while playing music 0:05:14.000 --> 0:05:17.880 that electric guitars could potentially be an interesting deep dive 0:05:18.320 --> 0:05:21.159 all the science and innovation behind creating them, but also 0:05:21.240 --> 0:05:24.400 the utter chaos and weirdness of effect pedals and the 0:05:24.480 --> 0:05:28.039 endless array of sounds possible with them. Feel free to 0:05:28.080 --> 0:05:30.640 file this away in the eye roll, Ben if you'd like. 0:05:31.080 --> 0:05:33.200 Sincere best wishes and warm regards. Levi. 0:05:33.839 --> 0:05:35.960 Oh, well, first of all, thank you very much for 0:05:36.000 --> 0:05:39.479 the kind words, LEVI. Also, I would say, you know, 0:05:39.520 --> 0:05:41.840 I have a mixed reaction to this, because on one hand, 0:05:41.880 --> 0:05:45.200 I think an Invention episode on electric guitars and effects 0:05:45.240 --> 0:05:49.840 pedals would be a wonderful idea, though I ended up 0:05:49.839 --> 0:05:52.200 having a kind of curious reaction the more I thought 0:05:52.240 --> 0:05:55.600 about doing this on the show, and then I kind 0:05:55.640 --> 0:05:58.080 of became more interested in my reaction than in the 0:05:58.080 --> 0:06:00.680 topic itself. But this is what I ended up thinking. 0:06:00.760 --> 0:06:00.960 Rob. 0:06:01.000 --> 0:06:03.719 So the electric guitar is a topic that I have 0:06:03.760 --> 0:06:07.440 a hunch I would have a frustrating time preparing an 0:06:07.440 --> 0:06:11.000 episode on and would ultimately do a bad job of 0:06:11.040 --> 0:06:15.240 explaining in the episode because it's a topic that I 0:06:15.279 --> 0:06:17.880 already know a good bit about. But I feel like 0:06:17.920 --> 0:06:21.520 the knowledge I have is not the right kind of knowledge. 0:06:22.000 --> 0:06:25.000 So I play electric guitar, and I have a lot 0:06:25.040 --> 0:06:28.600 of thoughts and feelings about electric guitars, but I don't 0:06:28.640 --> 0:06:31.640 have like deep technical knowledge about how they work or 0:06:31.760 --> 0:06:33.880 much about I don't know that much about the history 0:06:33.920 --> 0:06:36.760 of their invention, and I could be wrong, but I 0:06:36.760 --> 0:06:39.280 feel like this is the wrong position to be in 0:06:39.360 --> 0:06:42.320 this is the position where it actually makes it harder 0:06:42.360 --> 0:06:45.080 to cover a subject than if you started off knowing 0:06:45.320 --> 0:06:48.279 nothing at all, if you were totally unfamiliar, because I 0:06:48.279 --> 0:06:49.840 feel like there may have been things sort of in 0:06:49.880 --> 0:06:53.359 this category before where I already had a sort of 0:06:53.920 --> 0:06:59.760 personal familiarity, and it creates a feeling that one should 0:06:59.760 --> 0:07:03.040 have lots more to say and lots more to share. 0:07:03.480 --> 0:07:06.240 But then if you start trying to say those things, 0:07:06.279 --> 0:07:09.680 it feels like you have to say it turns out 0:07:09.680 --> 0:07:11.920 you've never tried to put them into words before, and 0:07:12.000 --> 0:07:16.080 ultimately maybe they're not very insightful or not very generally interesting. 0:07:17.120 --> 0:07:20.720 I think topics like this lend themselves to an illusion 0:07:21.040 --> 0:07:24.840 of having more to say than you do, and that's 0:07:24.880 --> 0:07:26.880 not a good place to be in when you when 0:07:26.880 --> 0:07:29.000 you're recording a podcast, you know that's supposed to be 0:07:29.040 --> 0:07:31.880 interesting for other people. Rob does that make any sense? 0:07:31.920 --> 0:07:34.480 And have you ever had this experience when making the show? 0:07:35.680 --> 0:07:39.760 I would say maybe sometimes, not often, but sometimes I 0:07:39.760 --> 0:07:42.280 feel like this within a weird house selection, Like there 0:07:42.360 --> 0:07:44.520 might be a film that I have a lot of 0:07:45.440 --> 0:07:49.080 maybe a lot of history with, and then I realized that, yeah, 0:07:49.160 --> 0:07:51.320 a lot of my knowledge about the film is more like, 0:07:51.400 --> 0:07:54.920 it's more like feelings and internalized things, and I haven't 0:07:54.960 --> 0:07:57.520 really stopped and sort of even put them in words 0:07:57.560 --> 0:08:01.080 in my head before. And sometimes it's just part of 0:08:01.120 --> 0:08:03.960 the exercise of getting ready for the episode. But other times, 0:08:03.960 --> 0:08:06.000 you know, there might be some detail about it where 0:08:06.240 --> 0:08:07.920 we actually get into recording and I was like, oh, 0:08:07.960 --> 0:08:12.520 I don't think I've actually, you know, attempted to explain 0:08:13.120 --> 0:08:15.560 how I feel about this before, and it's probably come 0:08:15.640 --> 0:08:19.320 up with some topics before when I'm just nothing, I'm 0:08:19.360 --> 0:08:21.160 struggling to come up with an example from a stuff 0:08:21.160 --> 0:08:22.400 to blow your mind episode. 0:08:22.960 --> 0:08:25.720 I know exactly what you're talking about. With Weird House, 0:08:26.160 --> 0:08:30.360 there are I feel like, some of the hardest episodes 0:08:30.400 --> 0:08:32.200 to do, and some of the ones where I've felt 0:08:32.800 --> 0:08:34.920 the least like I did a good job of making 0:08:34.960 --> 0:08:37.440 an interesting and entertaining episode were the ones where I 0:08:37.480 --> 0:08:39.440 had kind of a history with the movie and I 0:08:39.480 --> 0:08:41.120 already had a lot of feelings about it. 0:08:42.240 --> 0:08:44.200 Yeah. Yeah, Like if I'm if I'm going to try 0:08:44.240 --> 0:08:47.400 and share my excitement about, say, George Eastman popping up 0:08:47.400 --> 0:08:49.679 in a film, you know, it's like I need to 0:08:49.720 --> 0:08:51.920 be able to say more than like and it's George Eastman, 0:08:52.040 --> 0:08:54.880 and like as if you already have the same emotions 0:08:54.880 --> 0:08:56.960 that I do when his name and his grinning face 0:08:57.000 --> 0:08:59.319 comes up, Like, you know, I need to I need 0:08:59.320 --> 0:09:01.840 to actually explain why this is noteworthy. 0:09:02.400 --> 0:09:05.000 Yeah, and I think you can get there. But this 0:09:05.040 --> 0:09:07.000 is one of the to come back to a topic 0:09:07.040 --> 0:09:10.640 I've also talked about on the show before, the idea 0:09:10.720 --> 0:09:13.760 that I feel like I often don't know what I 0:09:13.840 --> 0:09:17.600 think about a subject until I've tried to write about it. 0:09:18.520 --> 0:09:21.480 I feel like maybe it's episodes where you know you 0:09:21.559 --> 0:09:24.040 already have some kind of relationship with the topic and 0:09:24.040 --> 0:09:27.000 feelings about it that really benefit from a good bit 0:09:27.040 --> 0:09:30.880 of pre writing. Otherwise, you go in with the impression 0:09:31.000 --> 0:09:34.400 that you're going to be able to talk extemporaneously about 0:09:34.400 --> 0:09:38.080 a subject in a compelling way, and then you oops, 0:09:38.160 --> 0:09:41.199 you can't. Actually you just kind of get mushmouthed and 0:09:41.320 --> 0:09:43.800 realize that the things it feels like you have to 0:09:43.800 --> 0:09:46.240 say are not actually things that are worth saying, and 0:09:46.280 --> 0:09:48.000 you should have tried to write about it first. At 0:09:48.080 --> 0:09:50.400 least that's my feeling about myself now. 0:09:50.440 --> 0:09:54.440 As far as electric guitars specifically goes as a topic 0:09:54.720 --> 0:09:56.600 in a way This would be perfect because you have 0:09:56.960 --> 0:10:00.920 some experience and some knowledge. I have very little experience 0:10:00.960 --> 0:10:03.040 with with guitars. Even I have no idea how electric 0:10:03.080 --> 0:10:05.240 guitar works really, so I know what I like when 0:10:05.280 --> 0:10:07.880 I hear it, but yeah, I don't know anything about 0:10:08.440 --> 0:10:12.480 actually how they function. So we could do an episode 0:10:12.480 --> 0:10:15.440 where I ask questions about how an electric guitar works, 0:10:15.480 --> 0:10:17.800 and then you answer, but not with words, but by 0:10:17.840 --> 0:10:21.000 noodling on the electric guitar. Yeah, and we do that 0:10:21.040 --> 0:10:22.800 for about, like, you know, an hour and a half. 0:10:23.200 --> 0:10:25.800 Yeah, I'm gonna give you a little slightly out of tune, 0:10:25.880 --> 0:10:29.920 slightly off tempo lick here to think about. But anyway, Yeah, 0:10:29.960 --> 0:10:32.760 so thank you again, Levi for suggesting this topic. I 0:10:32.800 --> 0:10:35.040 think it could be a really interesting subject, and I 0:10:35.200 --> 0:10:38.480 just have to recognize that it would probably be more 0:10:38.520 --> 0:10:43.120 difficult and require more intensive preparation than it feels like 0:10:43.200 --> 0:10:46.400 it should than my you know, than the illusion my 0:10:46.440 --> 0:10:49.480 familiarity might might create in my brain about what I 0:10:49.520 --> 0:10:53.240 already know. And anyway, if this hunch is correct, I 0:10:53.240 --> 0:10:56.280 think it's kind of interesting that it manifests this way. 0:10:56.280 --> 0:11:00.080 Sometimes that like the ideal stance from which to talk 0:11:00.120 --> 0:11:03.160 about a subject in a compelling way is to either 0:11:03.320 --> 0:11:06.600 have like a genuine mastery or expertise in a in 0:11:06.640 --> 0:11:10.240 a linguistic sense, like this is something you've already read 0:11:10.280 --> 0:11:13.400 and written a lot about and so you can form 0:11:13.600 --> 0:11:17.560 what is interesting about it into words quite readily. Or 0:11:18.000 --> 0:11:20.000 you need to be a kind of outsider who's just 0:11:20.160 --> 0:11:22.280 done a bunch of research for the first time on 0:11:22.320 --> 0:11:24.720 that subject. There's kind of a danger zone in the 0:11:24.720 --> 0:11:27.960 middle where you're already overly familiar with something on the 0:11:28.000 --> 0:11:32.920 basis of direct private personal interest, but you've never you know, 0:11:32.960 --> 0:11:36.040 you've never turned that into a communication before. 0:11:36.840 --> 0:11:39.520 Yeah, I think we've mentioned before, like that's that's the place, 0:11:39.720 --> 0:11:42.680 at least for my case, that's where I run a 0:11:42.679 --> 0:11:45.160 greater risk of getting something wrong on the podcast, where 0:11:45.160 --> 0:11:47.440 it's just something that I think, I know, it's not 0:11:47.600 --> 0:11:52.280 directly related to what we're researching and recording. So yeah, yeah, 0:11:52.280 --> 0:11:54.120 these are these are good points, and I think that Yeah, 0:11:54.160 --> 0:11:55.920 I think one of the strengths of the show is 0:11:55.960 --> 0:12:00.320 that is that you're you're listening to curious general us 0:12:00.600 --> 0:12:03.160 who are not experts in the topics they're covering. They 0:12:03.160 --> 0:12:06.480 are going in and exploring these topics for you. Slash 0:12:06.520 --> 0:12:10.520 with you. However, you want to interpret the experience of 0:12:10.559 --> 0:12:12.760 listening to an informative podcast. 0:12:12.800 --> 0:12:14.560 Right, And I think one thing we tried to do 0:12:14.679 --> 0:12:17.160 to help drive that home always is we talk about 0:12:17.200 --> 0:12:19.800 our research process a lot. Instead of just like here's 0:12:19.840 --> 0:12:23.240 the encyclopedia entry. We like talk about our experience of 0:12:23.320 --> 0:12:24.599 learning about the issue. 0:12:25.040 --> 0:12:35.040 Yeah, all right, shall we dive into a little Weird 0:12:35.040 --> 0:12:37.080 House Cinema mail? Ah? Yeah? 0:12:37.160 --> 0:12:41.319 Yeah, how about this message from Christopher. Christopher says, Hi, 0:12:41.640 --> 0:12:44.760 longtime listener to your podcast, especially a fan of Weird 0:12:44.800 --> 0:12:47.200 House Cinema, which is my favorite thing to see coming 0:12:47.280 --> 0:12:50.720 up in my podcast feed. I recently watched the tabletop 0:12:50.880 --> 0:12:56.040 RPG spinoff movie Mutant Chronicles with some friends. Preparatory to 0:12:56.920 --> 0:13:00.200 the email, here says staying off a campaign of the game. 0:13:00.240 --> 0:13:03.080 I think maybe Christopher means starting off a campaign of 0:13:03.120 --> 0:13:05.760 the game. That would make sense, and we all agreed 0:13:05.800 --> 0:13:08.960 that it is awesomely weird. I've been meaning to mail 0:13:09.040 --> 0:13:12.120 you guys as a suggestion and only now realized how 0:13:12.160 --> 0:13:14.559 new it is. Two thousand and eight is maybe too 0:13:14.600 --> 0:13:16.600 recent for weird House, but otherwise I think it's a 0:13:16.600 --> 0:13:20.480 good fit. Failing that, perhaps one of my old favorites, 0:13:20.520 --> 0:13:24.040 also starring Ron Pearlman The City of Lost Children from 0:13:24.120 --> 0:13:28.520 nineteen ninety five. Keep up the good work, Christopher ah Well. 0:13:28.520 --> 0:13:32.440 Thanks Christopher Well. First of all, this year we did 0:13:32.520 --> 0:13:35.040 expand our range on Weird House Cinnam into the twenty 0:13:35.080 --> 0:13:38.160 first century, at least a little bit. So as of 0:13:38.240 --> 0:13:41.040 right now, from the nineteen twenties through the twenty twenties, 0:13:41.440 --> 0:13:45.560 we've covered films from every decade except the dreaded twenty tens, 0:13:46.840 --> 0:13:49.400 which I'm kidding. There's definitely some stuff from the twenty 0:13:49.400 --> 0:13:51.520 tens we could cover, but thus far we have not 0:13:51.559 --> 0:13:54.840 done it. Now. As for two thousand and eights, Mutant 0:13:54.920 --> 0:13:58.760 Chronicles in particular, I do remember when this one came out, 0:13:59.000 --> 0:14:01.040 I don't, I guess I saw the trailer. I remember 0:14:01.080 --> 0:14:03.560 seeing stills. I know I've picked up the box at 0:14:03.640 --> 0:14:07.760 Video Drome, the rental store here in Atlanta, but I've 0:14:07.760 --> 0:14:10.720 never seen it. I looked it up again. Yeah, it 0:14:10.760 --> 0:14:12.719 has a solid cast. I like a number of the 0:14:12.800 --> 0:14:15.959 individuals that are in it. And I was vaguely familiar 0:14:16.120 --> 0:14:19.680 with Mutant Chronicles the RPG from seeing the materials for 0:14:19.720 --> 0:14:22.640 it in bookstores over the years. Mostly, you know, looking 0:14:22.680 --> 0:14:25.400 at the cover art, which tends to have this kind 0:14:25.440 --> 0:14:28.520 of colorful euro comic vibe, reminds me a little bit 0:14:28.560 --> 0:14:31.480 of like two thousand and eighty, a little bit of 0:14:31.880 --> 0:14:36.560 various Warhammer covers, especially the older Warhammer covers an yea 0:14:36.840 --> 0:14:40.240 and some nice splashes of color. I look at stills 0:14:40.240 --> 0:14:42.960 from this film and I just don't see that same 0:14:43.120 --> 0:14:46.760 visual vibe. It looks all a little dreary, and I 0:14:46.800 --> 0:14:48.680 think that's the reason I never picked it up and 0:14:48.720 --> 0:14:51.080 never gave it a chance. But who knows that. I mean, 0:14:52.080 --> 0:14:55.040 you know, if Christopher thinks it's weird and worth a 0:14:55.080 --> 0:14:57.360 second look, then maybe I should check it out. 0:14:57.520 --> 0:14:59.800 I mean, Rob, I think one fair thing to consider 0:14:59.880 --> 0:15:02.600 is this kind of dreary looking color palette, the kind 0:15:02.600 --> 0:15:05.480 of gray, brown and orange color palette there was common 0:15:05.480 --> 0:15:08.520 to many movies in the two thousands, is also right 0:15:08.520 --> 0:15:10.240 there in one of your favorites. That's sort of the 0:15:10.320 --> 0:15:11.520 vibe of Chronicles Riddic. 0:15:12.000 --> 0:15:15.480 True, True, Chronicles of Ritic does have that that basic 0:15:15.560 --> 0:15:20.160 color scheme or lack thereof, But I don't know, Yeah, 0:15:21.000 --> 0:15:23.800 this one might have to just really bite the bullet 0:15:23.800 --> 0:15:25.760 and give this one a go, because again, I like 0:15:25.760 --> 0:15:27.360 like all the folks in this. You got Thomas Jane, 0:15:27.360 --> 0:15:31.400 you got Ron Pearlman, you got Bino Fuhman, who I've 0:15:31.480 --> 0:15:37.680 grown to really love on Babylon Berlin the German. It's 0:15:37.920 --> 0:15:41.040 a historic crime series. It's really good. You got John 0:15:41.080 --> 0:15:44.840 Malkovich in there. So yeah, a lot of solid actors, 0:15:45.000 --> 0:15:48.160 and I'm generally down for some sort of weird post 0:15:48.200 --> 0:15:51.520 apocalyptics type thing. So I don't know. I wonder if 0:15:51.520 --> 0:15:53.800 they'll ever be an effort to put films off this 0:15:53.960 --> 0:15:57.560 Nature Grant technic color with like they're so fat and 0:15:57.640 --> 0:15:59.600 let's get some color in there. Yeah, because you see 0:15:59.600 --> 0:16:01.120 a lot of the reverse like where they're like, this 0:16:01.280 --> 0:16:03.600 is so good, let us do it in black and 0:16:03.600 --> 0:16:07.680 white as well, and this like yeah, the miss they 0:16:07.720 --> 0:16:09.600 did on an episode of one of the episodes of 0:16:09.640 --> 0:16:13.480 Cabinet of Curiosities too. I noticed the one about the 0:16:13.760 --> 0:16:16.760 rat episode, the grave robber episode, that is rather good. 0:16:17.200 --> 0:16:19.560 But yeah, they also put it in black and white. 0:16:19.840 --> 0:16:22.160 I wonder if we should get back into doing some 0:16:22.200 --> 0:16:24.520 sort of some of the color colorization and the weird 0:16:24.560 --> 0:16:26.720 colorization once more. 0:16:27.200 --> 0:16:28.760 I do feel like this has kind of been a 0:16:28.800 --> 0:16:31.720 force pushing me away from selecting movies from the two 0:16:31.800 --> 0:16:34.920 thousands for weird House Cinema because a lot of the 0:16:35.040 --> 0:16:38.360 like sci fi and horror type movies of this period, 0:16:38.400 --> 0:16:43.240 movies in our kind of genre zone have this this horrible, murky, 0:16:43.320 --> 0:16:46.840 dreary look. They've got you know, cgi that just wasn't 0:16:46.920 --> 0:16:49.360 quite there yet, but the movie is full of it, 0:16:49.800 --> 0:16:53.520 and they've got this you know, earth tones, but not 0:16:53.640 --> 0:16:57.560 the nice kind. It just kind of just gloomy, dreary, 0:16:58.240 --> 0:17:02.440 unexciting color palettes and and not enough actual props and sets. 0:17:03.280 --> 0:17:06.080 Yeah, yeah, I think again. It's one of the reasons 0:17:06.280 --> 0:17:09.520 I love Panos Cosmnics's stuff so much, because, yeah, the 0:17:09.600 --> 0:17:12.800 sets are there and the color is definitely there. Say 0:17:12.840 --> 0:17:16.119 what you will about Panos Cosmonics films, but they are colorful. 0:17:16.480 --> 0:17:19.439 Yes, But I don't know, I'm here, I'm just judging 0:17:19.440 --> 0:17:21.520 off of like a few screenshots in the posters, so 0:17:21.600 --> 0:17:24.399 maybe that's not yet representative. I'd give it a shot. 0:17:24.800 --> 0:17:26.919 Yeah, I mean, plus, we love some black and white films, 0:17:26.960 --> 0:17:30.360 so yeah. Now, as far as The City of Lost 0:17:30.440 --> 0:17:33.439 Children specifically goes, oh, I mean that obviously is a 0:17:33.440 --> 0:17:35.560 great film. I haven't seen it in a number of years, 0:17:35.560 --> 0:17:37.360 but for a while it was one of my favorites. 0:17:37.359 --> 0:17:39.320 I think when I was first turned on to it, 0:17:39.359 --> 0:17:41.600 you know, I was like, oh, well, this is great. 0:17:41.640 --> 0:17:45.520 It's French cinema from here on out, and we do 0:17:45.640 --> 0:17:48.919 need to watch some French cinema on Weirdelse Cinema. In 0:17:48.920 --> 0:17:52.520 addition to keeping track of the decades we've covered, we 0:17:52.600 --> 0:17:56.679 have yet to cover an actual French film. We've you know, 0:17:56.680 --> 0:17:58.760 covered some stuff with French talent in it, but nothing 0:17:58.800 --> 0:18:00.960 you could really say, you know, this is this is 0:18:01.000 --> 0:18:02.000 French cinema. 0:18:02.840 --> 0:18:05.640 Well, as long as we're talking about Jean Pierre June, 0:18:05.840 --> 0:18:08.200 I know you're you're trying to needle me into talking 0:18:08.200 --> 0:18:09.320 about Alien Resurrection. 0:18:11.680 --> 0:18:14.800 Well, yeah, obviously that's a that it as one of 0:18:14.840 --> 0:18:16.919 the films he directed. I don't know if it's a 0:18:16.960 --> 0:18:20.680 great example of French cinema per se. It does have 0:18:21.080 --> 0:18:23.480 his fingerprints on it. It has a lot of people's 0:18:23.480 --> 0:18:28.400 fingerprints on it. And Ron Pearlman, Yeah, Ron Pearlman's in there. 0:18:28.560 --> 0:18:31.399 I mean, Brad Doro, I mean, you got you got 0:18:31.400 --> 0:18:34.120 a tremendous cast in that film. You've got some you've 0:18:34.119 --> 0:18:39.320 got monsters, you've got a daring take on the franchise. 0:18:39.800 --> 0:18:41.439 But also I guess a lot of stuff that just 0:18:41.480 --> 0:18:44.080 really doesn't quite work. This is a film you famously 0:18:44.160 --> 0:18:45.640 hate too, you. 0:18:45.600 --> 0:18:48.280 Know our attitude, we try to find things to like 0:18:48.359 --> 0:18:51.399 and appreciate, even about you know, b movies and stuff 0:18:51.440 --> 0:18:54.879 that's not not great in a traditional critical sense. But 0:18:55.480 --> 0:18:57.800 oh yeah, that's one I can't really mask. I just 0:18:57.880 --> 0:19:00.879 don't like it. It's it's gross and it's ugly, and 0:19:00.920 --> 0:19:03.760 it's just I don't know that. The sights and the 0:19:03.800 --> 0:19:05.840 sounds are not what I want in my brain. It 0:19:06.000 --> 0:19:09.680 just and I think it also maybe maybe part of 0:19:09.760 --> 0:19:11.800 it's just emotional to me because I love the early 0:19:11.880 --> 0:19:14.479 Alien movies so much, you know, the first two are 0:19:14.760 --> 0:19:18.200 are some of my favorites, and seeing it go to 0:19:18.400 --> 0:19:20.640 go to that place just causes pain. 0:19:22.359 --> 0:19:24.600 Well, you know, maybe maybe City or Lost Children or 0:19:24.680 --> 0:19:27.639 Delicatessen would be something to consider. And I know, as 0:19:27.680 --> 0:19:30.359 far as French film in general goes, eyes without a 0:19:30.440 --> 0:19:33.880 Face has been kind of like up there as a possibility, 0:19:34.040 --> 0:19:36.000 but we've we've yet to really pull the trigger. So 0:19:36.280 --> 0:19:38.960 we'd love to hear from folks out there. If you 0:19:39.040 --> 0:19:42.439 are an officionado of weird French cinema, hit us up 0:19:42.480 --> 0:19:44.680 with some recommendations because we need to check that one 0:19:44.720 --> 0:19:45.240 off the list. 0:19:45.880 --> 0:19:47.520 You know, there's one I was looking at just the 0:19:47.640 --> 0:19:51.720 other day, a French fantasy musical that is in Michael 0:19:51.720 --> 0:19:55.800 Weldon's collection called Donkey Skin. I've never seen it. 0:19:56.040 --> 0:19:59.560 Oh yeah, I'm I'm familiar with the listing, but I 0:19:59.640 --> 0:20:00.800 haven't s this one either. 0:20:01.320 --> 0:20:03.480 I don't know how weird it actually is. But it 0:20:03.640 --> 0:20:07.240 made the Psychotronic Guide and it's got a reputation for 0:20:07.320 --> 0:20:10.680 being quite good. But yeah, I don't know anything else 0:20:10.680 --> 0:20:13.439 about it. It's got donkey in the title, it's French. 0:20:13.560 --> 0:20:14.399 They sing songs. 0:20:15.119 --> 0:20:17.360 Well, next time I go into video drama, I'll ask, 0:20:18.440 --> 0:20:20.840 dear sir, do you have Donkey Skin? All right? 0:20:20.920 --> 0:20:24.520 One last message today. This is from Lee. Lisays, good day, Rob, 0:20:24.640 --> 0:20:27.880 Joe and JJ, replying to your request for feedback from 0:20:28.160 --> 0:20:32.159 first time viewers of The Maze. I will echo your 0:20:32.160 --> 0:20:34.840