1
00:00:02,960 --> 00:00:05,280
Speaker 1: Welcome to Stuff to Blow Your Mind, a production of

2
00:00:05,360 --> 00:00:11,360
Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your Mind.

3
00:00:11,680 --> 00:00:15,840
Speaker 1: Listener mail. My name is Robert Lamb and I'm Joe McCormick,

4
00:00:15,880 --> 00:00:18,119
Speaker 1: and today we're bringing you some of the messages that

5
00:00:18,200 --> 00:00:21,479
Speaker 1: you've sent in over the past couple of weeks. Rob,

6
00:00:21,520 --> 00:00:23,400
Speaker 1: if you don't mind, I'm going to kick us off

7
00:00:23,440 --> 00:00:27,640
Speaker 1: today with a message from Albert that addresses at least

8
00:00:27,680 --> 00:00:31,200
Speaker 1: a half dozen subjects. All right, let's have it. Hit

9
00:00:31,280 --> 00:00:34,239
Speaker 1: us with the uh with the bird shot that is

10
00:00:34,320 --> 00:00:43,000
Speaker 1: Albert's email. Okay, Albert says, Hi, Robert and Joe, it's

11
00:00:43,000 --> 00:00:44,559
Speaker 1: been a while since I rode in and I have

12
00:00:44,760 --> 00:00:48,280
Speaker 1: much feedback, and I think we're gonna skip over a

13
00:00:48,400 --> 00:00:50,760
Speaker 1: section or two of the email to condense, but maybe

14
00:00:50,760 --> 00:00:53,600
Speaker 1: we can start with these comments about our episode on

15
00:00:53,720 --> 00:00:57,040
Speaker 1: the invention of the mirror. Albert says, I'm surprised you

16
00:00:57,080 --> 00:01:01,680
Speaker 1: did not mention the dreaded iPhone selfie image. I thought

17
00:01:01,680 --> 00:01:04,600
Speaker 1: we did, but maybe you're right. Um it goes on.

18
00:01:04,760 --> 00:01:08,160
Speaker 1: I personally hate it that it is always a mirror image,

19
00:01:08,440 --> 00:01:12,080
Speaker 1: not obvious unless you see lettering or wearing an asymmetric

20
00:01:12,160 --> 00:01:15,800
Speaker 1: clothing such as the Japanese kimono, where it is always

21
00:01:15,840 --> 00:01:19,120
Speaker 1: worn with left over right. In the iPhone selfie, this

22
00:01:19,200 --> 00:01:21,959
Speaker 1: becomes right over left, and the only time you wear

23
00:01:21,959 --> 00:01:24,839
Speaker 1: a kimono right over left is when you are dead.

24
00:01:25,319 --> 00:01:28,280
Speaker 1: Ghosts in Japan also wear the kimono right over left,

25
00:01:28,319 --> 00:01:32,280
Speaker 1: as they are usually wearing their white funeral kimono. I've

26
00:01:32,360 --> 00:01:36,080
Speaker 1: never heard this before, No me neither. Alright. Subsection three

27
00:01:36,120 --> 00:01:39,280
Speaker 1: concerning the invention of the chainsaw, Albert says, you mentioned

28
00:01:39,280 --> 00:01:42,160
Speaker 1: the limitations of the circular saw in this episode, but

29
00:01:42,240 --> 00:01:46,680
Speaker 1: in cartoons they will cut through beyond their center attachment point.

30
00:01:46,720 --> 00:01:48,080
Speaker 1: Remember what we were talking about. That was one of

31
00:01:48,120 --> 00:01:50,960
Speaker 1: the limitations of like using a circular saw to try

32
00:01:51,000 --> 00:01:52,520
Speaker 1: to cut down a tree is they've got to be

33
00:01:52,560 --> 00:01:54,560
Speaker 1: mounted from the middle, and so you can only go

34
00:01:54,680 --> 00:01:58,120
Speaker 1: like half the diameter of the of the saw into

35
00:01:58,160 --> 00:02:01,840
Speaker 1: a tree. But Albert is correct. He has attached a

36
00:02:02,120 --> 00:02:06,000
Speaker 1: clip of speed Racer showing speed Racers mock five. I

37
00:02:06,040 --> 00:02:07,800
Speaker 1: guess that's the name of the car. I never really

38
00:02:07,800 --> 00:02:09,760
Speaker 1: watched speed Racers, so I don't know anything about it.

39
00:02:09,800 --> 00:02:13,200
Speaker 1: But uh, this scene is showing It's like the scene

40
00:02:13,200 --> 00:02:15,000
Speaker 1: in James Bond where they show you all the new

41
00:02:15,000 --> 00:02:17,160
Speaker 1: gadgets on the car. This is like a collection of

42
00:02:17,360 --> 00:02:20,360
Speaker 1: here's what the mock five can do. And in this clip,

43
00:02:20,600 --> 00:02:23,160
Speaker 1: one of the things that happens is it puts out

44
00:02:23,160 --> 00:02:26,560
Speaker 1: a couple of circular saws on bars that are sweeping

45
00:02:26,600 --> 00:02:28,840
Speaker 1: around in front of the car as it drives, and

46
00:02:28,880 --> 00:02:31,520
Speaker 1: it shows the car just plowing through a forest of

47
00:02:31,600 --> 00:02:35,000
Speaker 1: giant trees, just cutting right through them without even slowing down,

48
00:02:35,080 --> 00:02:38,519
Speaker 1: which was very funny. Oh yeah, I mean, I guess

49
00:02:38,520 --> 00:02:40,679
Speaker 1: we touched on this a little bit that. But cartoon

50
00:02:40,800 --> 00:02:44,360
Speaker 1: saws and chain saws and circular saws are just unstoppable.

51
00:02:44,360 --> 00:02:47,720
Speaker 1: They'll just cut through everything like a like a hot

52
00:02:47,800 --> 00:02:51,640
Speaker 1: knife through butter. Okay. Now, regarding our episodes on crabs,

53
00:02:52,240 --> 00:02:54,960
Speaker 1: Albert says, you mentioned you wanted to know about any

54
00:02:55,120 --> 00:02:59,320
Speaker 1: crab stories. I remember one from my childhood, a Japanese

55
00:02:59,320 --> 00:03:03,680
Speaker 1: folk tale called the Monkey Crab Battle. Uh. And then

56
00:03:04,200 --> 00:03:07,200
Speaker 1: he attaches some links and so on this one. I

57
00:03:07,320 --> 00:03:09,720
Speaker 1: sort of went deep. I went and found a translation

58
00:03:09,800 --> 00:03:12,200
Speaker 1: of the story, and I I wrote up a little

59
00:03:12,240 --> 00:03:14,880
Speaker 1: summary here that we could relay to you, because I know,

60
00:03:15,000 --> 00:03:18,440
Speaker 1: Rob you were you were burning for more crab folk tales.

61
00:03:18,919 --> 00:03:21,600
Speaker 1: So the monkey Crab Battle, also known simply as the

62
00:03:21,639 --> 00:03:25,200
Speaker 1: Monkey and the Crab, is apparently a a classic Japanese

63
00:03:25,200 --> 00:03:28,720
Speaker 1: fairy tale. There there are apparently many variations with different

64
00:03:28,800 --> 00:03:32,400
Speaker 1: characters and plot details. So the version I'm about to

65
00:03:32,440 --> 00:03:35,320
Speaker 1: tell is by no means definitive. This is just one

66
00:03:35,440 --> 00:03:37,400
Speaker 1: that I happened to find in in a full text

67
00:03:37,440 --> 00:03:42,720
Speaker 1: English translation. So this is the translation by Yea Theodora Ozaki,

68
00:03:42,880 --> 00:03:45,280
Speaker 1: which uh and I think I've read that this one

69
00:03:45,360 --> 00:03:48,200
Speaker 1: might take some liberties with the source material, but it'll

70
00:03:48,200 --> 00:03:50,920
Speaker 1: give you a gist of the story. It begins there

71
00:03:50,960 --> 00:03:54,120
Speaker 1: were once two friends, a pink faced monkey and a

72
00:03:54,200 --> 00:03:57,400
Speaker 1: yellow crab, and they like to play together by the

73
00:03:57,480 --> 00:04:00,720
Speaker 1: river banks. And one day, while they're playing around together,

74
00:04:01,040 --> 00:04:04,960
Speaker 1: the crab finds a rice dumpling and the monkey finds

75
00:04:05,040 --> 00:04:08,680
Speaker 1: a persimmon seed. The crab holds up his rice dumpling

76
00:04:08,840 --> 00:04:11,080
Speaker 1: and he says, look at this nice thing I found,

77
00:04:11,520 --> 00:04:14,360
Speaker 1: And then the monkey also shows off the thing he found,

78
00:04:14,360 --> 00:04:18,159
Speaker 1: the persimmon seed. But inside the monkey is immediately jealous

79
00:04:18,200 --> 00:04:22,320
Speaker 1: because he wants that dumpling. Persimmons are one of the

80
00:04:22,320 --> 00:04:25,560
Speaker 1: monkey's favorite foods, but you can't eat the seeds. They're

81
00:04:25,560 --> 00:04:29,479
Speaker 1: just you know, hard, crunchy. You know it's not very good. Um.

82
00:04:29,720 --> 00:04:32,400
Speaker 1: So he tries to convince the crab to trade. He's like, hey,

83
00:04:32,440 --> 00:04:34,720
Speaker 1: wouldn't you rather have this seed than the dumpling? And

84
00:04:34,760 --> 00:04:36,599
Speaker 1: the crab says, no, I would like to keep my

85
00:04:36,680 --> 00:04:39,680
Speaker 1: rice dumpling, thank you. But the monkey comes up with

86
00:04:39,680 --> 00:04:43,279
Speaker 1: a plan, because monkeys often it's often the case in

87
00:04:43,279 --> 00:04:47,280
Speaker 1: these stories that monkeys are crafty. So the monkey says

88
00:04:47,320 --> 00:04:49,160
Speaker 1: to the crab, and this part's a direct quote from

89
00:04:49,200 --> 00:04:52,640
Speaker 1: the translation, how unwise you are not to think of

90
00:04:52,640 --> 00:04:55,599
Speaker 1: the future. Your rice dumpling can be eaten now, and

91
00:04:55,760 --> 00:04:58,479
Speaker 1: is certainly much bigger than my seed. But if you

92
00:04:58,680 --> 00:05:01,480
Speaker 1: sow this seed in the ground, it will soon grow

93
00:05:01,600 --> 00:05:04,440
Speaker 1: and become a great tree in a few years, and

94
00:05:04,480 --> 00:05:08,159
Speaker 1: bear an abundance of fine ripe per simmons year after year.

95
00:05:08,680 --> 00:05:10,520
Speaker 1: If only I could show it to you then, with

96
00:05:10,600 --> 00:05:13,640
Speaker 1: the yellow fruit hanging on its branches. Of course, if

97
00:05:13,640 --> 00:05:16,760
Speaker 1: you don't believe me, I shall sew it myself, though

98
00:05:16,760 --> 00:05:19,240
Speaker 1: I am sure later on you will be very sorry

99
00:05:19,279 --> 00:05:22,800
Speaker 1: you did not take my advice. And this does the trick.

100
00:05:22,960 --> 00:05:26,119
Speaker 1: The crab is persuaded to trade, and the monkey takes

101
00:05:26,160 --> 00:05:29,680
Speaker 1: the rice dumpling and gobbles it up, immediately hands over

102
00:05:29,800 --> 00:05:32,839
Speaker 1: the persimmon seed to the crab, and then the crab

103
00:05:32,920 --> 00:05:35,760
Speaker 1: takes the seed and plants it in the ground. And

104
00:05:35,800 --> 00:05:38,600
Speaker 1: then we cut two years later where the crab's patients

105
00:05:38,640 --> 00:05:42,120
Speaker 1: has paid off. One spring, he finds his persimmon tree

106
00:05:42,240 --> 00:05:46,680
Speaker 1: full of glistening ripe fruit. But there's a problem. As

107
00:05:46,720 --> 00:05:50,160
Speaker 1: a crab, he can't climb the tree to get the persimmons,

108
00:05:50,240 --> 00:05:52,760
Speaker 1: so he's just gazing up at them. They look delicious,

109
00:05:52,800 --> 00:05:54,520
Speaker 1: but he can't get to them, I guess because he

110
00:05:54,600 --> 00:05:57,880
Speaker 1: is not an arboreal species of crab. But he knows

111
00:05:57,920 --> 00:06:00,960
Speaker 1: somebody who is very good at climbing tree, the monkey.

112
00:06:01,120 --> 00:06:03,840
Speaker 1: So he goes and he finds the monkey, and he

113
00:06:03,880 --> 00:06:06,239
Speaker 1: asks if the monkey will climb the tree and bring

114
00:06:06,320 --> 00:06:09,840
Speaker 1: him some of his per simmons. The monkey agrees, but

115
00:06:10,320 --> 00:06:13,520
Speaker 1: the monkey is not a very good friend. He climbs

116
00:06:13,600 --> 00:06:15,640
Speaker 1: up in the tree and as soon as he's up there,

117
00:06:16,279 --> 00:06:19,320
Speaker 1: he's like, no, I'm just gonna eat all these myself.

118
00:06:19,360 --> 00:06:22,080
Speaker 1: He's hungry, and he just gobbles up all of the

119
00:06:22,160 --> 00:06:24,600
Speaker 1: right per simmons until there is nothing left but the

120
00:06:24,680 --> 00:06:27,960
Speaker 1: green fruits. And the green fruits are as hard as rocks.

121
00:06:28,800 --> 00:06:31,480
Speaker 1: And this whole time, the crab is frantically running around

122
00:06:31,520 --> 00:06:33,440
Speaker 1: the base of the tree, calling out to the monkey

123
00:06:33,480 --> 00:06:37,360
Speaker 1: to remember what he promised. And apparently this is annoying

124
00:06:37,400 --> 00:06:40,159
Speaker 1: to the monkey, so he begins to pelt his crab

125
00:06:40,279 --> 00:06:43,480
Speaker 1: friend with unripe per simmons. Again, these are as hard

126
00:06:43,520 --> 00:06:45,920
Speaker 1: as rocks, and so when they hit the crab, they

127
00:06:46,320 --> 00:06:49,560
Speaker 1: wound him. They bash him up real good, and eventually

128
00:06:49,560 --> 00:06:52,520
Speaker 1: the monkey pelts the crab with so many unripe per

129
00:06:52,520 --> 00:06:57,880
Speaker 1: simmons that he dies. That's a dark turn. Now here's

130
00:06:57,880 --> 00:07:00,120
Speaker 1: where it actually turns into like a seven in the

131
00:07:00,279 --> 00:07:05,320
Speaker 1: style Grindhouse revenge flick. The crabs son comes along and

132
00:07:05,440 --> 00:07:08,000
Speaker 1: finds his dead father's body. I should menage. I think

133
00:07:08,000 --> 00:07:10,160
Speaker 1: in some variations of the story, at least it's the

134
00:07:10,400 --> 00:07:13,360
Speaker 1: it's the crab's mother, not father, But I'm not sure

135
00:07:13,520 --> 00:07:16,280
Speaker 1: about what the frequency of those variations is. Anyway, In

136
00:07:16,320 --> 00:07:19,800
Speaker 1: this version, he finds his his crab dad's body, and

137
00:07:19,840 --> 00:07:23,680
Speaker 1: he weeps bitterly, and he looks around and sees the

138
00:07:23,680 --> 00:07:27,000
Speaker 1: persimmoncy it's littered all about, and he knows that it

139
00:07:27,080 --> 00:07:29,720
Speaker 1: must have been the monkey that killed his father, and

140
00:07:29,760 --> 00:07:33,320
Speaker 1: he swears revenge, and then there is sort of an

141
00:07:33,320 --> 00:07:37,400
Speaker 1: assembling the team montage. The young crab recruits his friends

142
00:07:37,480 --> 00:07:40,920
Speaker 1: to help execute the plan of revenge, and his friends

143
00:07:40,960 --> 00:07:43,560
Speaker 1: are again this is this list of friends is another

144
00:07:43,600 --> 00:07:46,760
Speaker 1: thing that varies by version, but there is a bee

145
00:07:47,000 --> 00:07:52,400
Speaker 1: like honey bee, a chestnut h a mortar like like

146
00:07:52,440 --> 00:07:55,960
Speaker 1: a mortar, and pestle like a stone mortar. And then

147
00:07:56,040 --> 00:07:59,400
Speaker 1: some versions also include some kind of slippery substance like

148
00:07:59,480 --> 00:08:03,200
Speaker 1: a pile of cow dung or a puddle of oil. Okay,

149
00:08:03,280 --> 00:08:07,600
Speaker 1: all right, so this is quite the team involving animals, vegetables, uh,

150
00:08:07,640 --> 00:08:13,280
Speaker 1: inanimate objects um, slime or dung, which I love. So

151
00:08:13,400 --> 00:08:17,360
Speaker 1: they hatch a conspiracy. Meanwhile, the monkey is off by himself.

152
00:08:17,400 --> 00:08:21,040
Speaker 1: He is congratulating himself greatly for getting away with his crime,

153
00:08:21,160 --> 00:08:24,080
Speaker 1: and he, you know, he thinks himself so clever. He's like, well,

154
00:08:24,120 --> 00:08:26,200
Speaker 1: I killed that crab and nobody's ever going to know.

155
00:08:27,120 --> 00:08:30,320
Speaker 1: And later he is invited to a feast commemorating the

156
00:08:30,400 --> 00:08:33,800
Speaker 1: life and death of the elder crab. And starting here,

157
00:08:33,840 --> 00:08:36,680
Speaker 1: I'm going to read directly from the Ozaki translation. Maybe

158
00:08:36,679 --> 00:08:41,080
Speaker 1: we'll do some voices for the characters. Quote the feast over.

159
00:08:41,200 --> 00:08:44,040
Speaker 1: He was next invited to the tea ceremony room to

160
00:08:44,120 --> 00:08:46,600
Speaker 1: drink a cup of tea. When the young crab had

161
00:08:46,640 --> 00:08:49,040
Speaker 1: conducted the monkey to the tea room, he left him

162
00:08:49,040 --> 00:08:52,439
Speaker 1: and retired. Time passed and he still did not return.

163
00:08:52,840 --> 00:08:56,560
Speaker 1: At last, the monkey became impatient. He said to himself,

164
00:08:56,960 --> 00:08:59,760
Speaker 1: the tea ceremony is always a very slow affair. I

165
00:08:59,800 --> 00:09:02,240
Speaker 1: am tired of waiting so long. I am very thirsty

166
00:09:02,280 --> 00:09:04,679
Speaker 1: after drinking so much sake at the dinner. He then

167
00:09:04,720 --> 00:09:07,560
Speaker 1: approached the charcoal fireplace and began to pour out some

168
00:09:07,679 --> 00:09:11,120
Speaker 1: hot water from the kettle boiling there, when something burst

169
00:09:11,160 --> 00:09:13,880
Speaker 1: out from the ashes with a great pop and hit

170
00:09:13,920 --> 00:09:17,120
Speaker 1: the monkey right in the neck. It was the chestnut,

171
00:09:17,360 --> 00:09:20,320
Speaker 1: one of the crab's friends, who had hidden himself in

172
00:09:20,360 --> 00:09:24,480
Speaker 1: the fireplace. The monkey, taken by surprise, jumped backward and

173
00:09:24,480 --> 00:09:27,760
Speaker 1: then started to run out of the room. The bee,

174
00:09:27,840 --> 00:09:31,200
Speaker 1: who was hiding outside the screens, now flew out and

175
00:09:31,320 --> 00:09:34,559
Speaker 1: stung him on the cheek. The monkey was in great pain.

176
00:09:34,800 --> 00:09:37,839
Speaker 1: His neck was burned by the chestnut and his face

177
00:09:37,960 --> 00:09:40,960
Speaker 1: badly stung by the bee, But he ran on, screaming

178
00:09:40,960 --> 00:09:45,240
Speaker 1: and chattering with rage. Now the stone mortar had hidden

179
00:09:45,320 --> 00:09:47,920
Speaker 1: himself with several other stones on the top of the

180
00:09:48,000 --> 00:09:51,720
Speaker 1: crab's gate. And as the monkey ran underneath the mortar

181
00:09:51,800 --> 00:09:55,360
Speaker 1: and all fell down upon the monkey's head. Was it

182
00:09:55,400 --> 00:09:57,600
Speaker 1: possible for the monkey to bear the weight of the

183
00:09:57,640 --> 00:09:59,920
Speaker 1: mortar falling upon him from the top of the gate.

184
00:10:00,480 --> 00:10:03,440
Speaker 1: He lay crushed and in great pain, quite unable to

185
00:10:03,440 --> 00:10:06,320
Speaker 1: get up. As he lay there helpless, the young crab

186
00:10:06,480 --> 00:10:10,520
Speaker 1: came up, and, holding his great claw scissors over the monkey,

187
00:10:10,920 --> 00:10:15,320
Speaker 1: he said, do you now remember that you murdered my father?

188
00:10:16,200 --> 00:10:21,560
Speaker 1: Then you ah, my enemy, gasped the monkey brokenly. Of course,

189
00:10:22,240 --> 00:10:26,199
Speaker 1: said the young crab. It was your father's fault, not mine,

190
00:10:26,640 --> 00:10:31,160
Speaker 1: gasped the unrepentant monkey. Can you still lie? I will

191
00:10:31,240 --> 00:10:34,480
Speaker 1: soon put an end to your breath. Uh. And with

192
00:10:34,559 --> 00:10:37,720
Speaker 1: that he cut off the monkey's head with his pincher claws.

193
00:10:38,160 --> 00:10:41,480
Speaker 1: Thus the wicked monkey met his well merited punishment, and

194
00:10:41,520 --> 00:10:45,600
Speaker 1: the young crab avenged his father's death. Alright, alright, that's

195
00:10:45,720 --> 00:10:51,240
Speaker 1: that's pretty good, I applauded as a strong crab centric folk.

196
00:10:51,280 --> 00:10:53,960
Speaker 1: Taylor Methrow, What have you? Does this have a moral?

197
00:10:54,080 --> 00:10:56,760
Speaker 1: I've started to think like, uh, I mean, I guess

198
00:10:56,800 --> 00:11:00,400
Speaker 1: the monkey, Yeah, there. Maybe the moral for the monkey

199
00:11:00,559 --> 00:11:03,360
Speaker 1: is like, hey, don't betray and kill your friends or

200
00:11:03,400 --> 00:11:06,000
Speaker 1: else you will you will meet a similar fate. I

201
00:11:06,040 --> 00:11:08,800
Speaker 1: don't know. He kind of started off feeling, you know,

202
00:11:08,920 --> 00:11:11,280
Speaker 1: like kind of like a Subs Fables, but then it

203
00:11:11,400 --> 00:11:14,679
Speaker 1: ended up feeling more like a shot Brothers picture. Yeah,

204
00:11:15,040 --> 00:11:18,760
Speaker 1: so I don't know. I don't know. Um, I guess

205
00:11:18,800 --> 00:11:26,360
Speaker 1: the lesson is don't trust monkeys or even if they're

206
00:11:26,559 --> 00:11:29,160
Speaker 1: there there that they have, you know, a good what

207
00:11:29,200 --> 00:11:31,320
Speaker 1: seems to be a good, you know, business offer for

208
00:11:31,400 --> 00:11:35,520
Speaker 1: you because ultimately, like the monkeys trick pays off for

209
00:11:35,559 --> 00:11:39,120
Speaker 1: the crab, he's just betrayed by the monkey a second time. Right,

210
00:11:39,200 --> 00:11:41,240
Speaker 1: that's the funny part. So you think the monkey is

211
00:11:41,280 --> 00:11:43,640
Speaker 1: tricked to the crab, but everything the monkey said was true,

212
00:11:43,760 --> 00:11:45,960
Speaker 1: like he gives the crab in the long run the

213
00:11:45,960 --> 00:11:49,160
Speaker 1: better deal, but then he just he just cheats him

214
00:11:49,160 --> 00:12:00,360
Speaker 1: a second time. Yeah, anyway. To finish off, Alberts email

215
00:12:00,440 --> 00:12:03,200
Speaker 1: one last note, he mentions the Dunwich horror. He says,

216
00:12:03,240 --> 00:12:05,760
Speaker 1: for some reason, I remember this movie being in black

217
00:12:05,760 --> 00:12:08,680
Speaker 1: and white. After watching it, I remember thinking that film

218
00:12:08,800 --> 00:12:11,400
Speaker 1: is a very hard medium to adapt. The dread and

219
00:12:11,480 --> 00:12:15,480
Speaker 1: horror of Lovecraft's mythos. You clearly like Lovecraft, so I

220
00:12:15,520 --> 00:12:19,480
Speaker 1: can recommend Daygone. It is an adaptation of the novella

221
00:12:19,559 --> 00:12:22,480
Speaker 1: The Shadow Over in Smith and then attaches a link. Okay,

222
00:12:22,520 --> 00:12:24,400
Speaker 1: that's it, thank you and keep up the great work,

223
00:12:24,520 --> 00:12:27,400
Speaker 1: Albert Albert. I. It's been many years now, but I

224
00:12:27,400 --> 00:12:30,000
Speaker 1: do remember enjoying Dagon when I was in college. I

225
00:12:30,000 --> 00:12:33,600
Speaker 1: think it's one of those movies that's maybe not great

226
00:12:33,679 --> 00:12:36,080
Speaker 1: in every way, but it it has some things that

227
00:12:36,080 --> 00:12:39,480
Speaker 1: that really work. I remember having a kind of uh,

228
00:12:39,720 --> 00:12:44,360
Speaker 1: pleasing color contrast, because most of the sets and and

229
00:12:44,559 --> 00:12:47,760
Speaker 1: locations in the movie are are very kind of dark

230
00:12:47,880 --> 00:12:50,280
Speaker 1: and blue and green, you know, the colors of the

231
00:12:50,360 --> 00:12:53,040
Speaker 1: sea or like caves in the ocean. But the main

232
00:12:53,160 --> 00:12:56,000
Speaker 1: character wears a bright orange sweater and that always stuck

233
00:12:56,000 --> 00:13:00,800
Speaker 1: in my head. Yeah. Yeah, it's it's a fun flick.

234
00:13:00,880 --> 00:13:03,360
Speaker 1: It is um it's a Stewart Gordon movie, so you

235
00:13:03,360 --> 00:13:04,640
Speaker 1: can go into that. You know you're going to get

236
00:13:04,640 --> 00:13:08,520
Speaker 1: a certain amount of of grizzliness and gruesomeness. But it

237
00:13:08,880 --> 00:13:11,679
Speaker 1: has some fun monsters, some over the top gore, and

238
00:13:11,760 --> 00:13:16,600
Speaker 1: it has um a Kidnas style mermaid if memory serves.

239
00:13:16,600 --> 00:13:19,559
Speaker 1: So that's a pretty fun one. Um. I haven't seen

240
00:13:19,679 --> 00:13:22,320
Speaker 1: this one in many years, but I was always partial

241
00:13:22,760 --> 00:13:28,600
Speaker 1: to the Dan O'Bannon directed film The Resurrected from which

242
00:13:29,200 --> 00:13:31,199
Speaker 1: who let's see who starting that? Oh yeah, it had

243
00:13:31,640 --> 00:13:34,920
Speaker 1: it had Chris Surrandon in it. I've not seen that one,

244
00:13:35,800 --> 00:13:37,240
Speaker 1: Like I said, it's been a long time. I think

245
00:13:37,240 --> 00:13:39,480
Speaker 1: that when I saw it was on VHS, So I'm

246
00:13:39,480 --> 00:13:41,320
Speaker 1: not sure if it's aged well or not, but it

247
00:13:41,360 --> 00:13:43,120
Speaker 1: but it may have. I mean, it's Dan O'Bannon, so

248
00:13:43,200 --> 00:13:50,719
Speaker 1: it has that going for it totally. Now, speaking of

249
00:13:51,280 --> 00:13:55,200
Speaker 1: Dan O'Bannon, who was also like another one of his

250
00:13:55,400 --> 00:13:58,120
Speaker 1: his films that he directed is worth noting, as of course,

251
00:13:58,120 --> 00:14:00,280
Speaker 1: the Return of the Living Dead from nineteen eighty five.

252
00:14:01,160 --> 00:14:04,280
Speaker 1: Uh So, here's little bit of listener mail from Alan,

253
00:14:04,400 --> 00:14:07,160
Speaker 1: Alan writes in during the podcast, and this is responding

254
00:14:07,200 --> 00:14:10,320
Speaker 1: to our Wholy Undead episode from back in October, which,

255
00:14:10,360 --> 00:14:13,760
Speaker 1: by the way, is also a holiday episode, so it's

256
00:14:13,760 --> 00:14:16,520
Speaker 1: both Halloween episode and a Christmas episode. So if you

257
00:14:16,520 --> 00:14:18,280
Speaker 1: didn't listen to it, then listen to it now and

258
00:14:18,360 --> 00:14:21,880
Speaker 1: maybe listen to it again. Um. Alan writes during the podcast,

259
00:14:21,920 --> 00:14:24,200
Speaker 1: I recall you wondering why a bunch of pious undead

260
00:14:24,200 --> 00:14:26,960
Speaker 1: would attend services, but then also try to attack and

261
00:14:27,000 --> 00:14:31,160
Speaker 1: kill the living who accidentally wander in. Presumably, the undead

262
00:14:31,240 --> 00:14:34,640
Speaker 1: want to live on live as much as anyone, and

263
00:14:34,680 --> 00:14:37,240
Speaker 1: having been discovered, realized that the living would be a

264
00:14:37,320 --> 00:14:39,960
Speaker 1: huge threat to their continued existence if word got out,

265
00:14:40,360 --> 00:14:43,280
Speaker 1: so they would need to eliminate any source of leakage

266
00:14:43,320 --> 00:14:46,440
Speaker 1: that arise. Uh. They to see sister would of course

267
00:14:46,480 --> 00:14:50,640
Speaker 1: feel the need to warn her living sister. Okay, so

268
00:14:51,040 --> 00:14:54,560
Speaker 1: under your idea here alan, Uh, the reason somebody might

269
00:14:54,600 --> 00:14:58,560
Speaker 1: wander into a night service of the pious undead listening

270
00:14:58,560 --> 00:15:00,840
Speaker 1: to a sermon in the church, and and they attack

271
00:15:00,920 --> 00:15:05,000
Speaker 1: her because they're afraid that if she spreads word, people

272
00:15:05,000 --> 00:15:06,440
Speaker 1: are going to come in. And I don't know what

273
00:15:06,600 --> 00:15:09,280
Speaker 1: do do? An exorcism or something that will not allow

274
00:15:09,360 --> 00:15:13,120
Speaker 1: them to dwell there in the church anymore, I guess.

275
00:15:13,200 --> 00:15:17,400
Speaker 1: But the other stories seemed to suggest that the churches,

276
00:15:17,560 --> 00:15:20,160
Speaker 1: or at least the regional church, is powerless to stop

277
00:15:20,320 --> 00:15:22,360
Speaker 1: the undead, So like, what are they gonna do? They

278
00:15:22,520 --> 00:15:25,280
Speaker 1: they're afraid the Pope's gonna show up and squash everything,

279
00:15:25,440 --> 00:15:29,440
Speaker 1: or you know, or some higher member of whatever. The uh,

280
00:15:29,480 --> 00:15:33,000
Speaker 1: you know the church organization is in place. Um it

281
00:15:33,000 --> 00:15:34,800
Speaker 1: it seems like they kind of get whatever, they get

282
00:15:34,840 --> 00:15:36,720
Speaker 1: to do whatever they want because they own the night.

283
00:15:37,000 --> 00:15:39,720
Speaker 1: It's good to own the night. Uh. This reminds me.

284
00:15:39,800 --> 00:15:42,240
Speaker 1: We did hear from another listener though, who was telling

285
00:15:42,280 --> 00:15:45,320
Speaker 1: about a local folk tale about a parish somewhere in

286
00:15:45,360 --> 00:15:48,760
Speaker 1: Poland where Um, I think the idea was that the

287
00:15:48,800 --> 00:15:51,720
Speaker 1: priest was believed the ghost of the former priest was

288
00:15:51,760 --> 00:15:55,240
Speaker 1: believed to haunt the churchyard because it had never been consecrated,

289
00:15:55,280 --> 00:15:58,680
Speaker 1: and then once it was consecrated, Uh, he his spirit

290
00:15:58,720 --> 00:16:00,920
Speaker 1: could leave or something. And am I getting that sort

291
00:16:00,960 --> 00:16:03,560
Speaker 1: of right? Remember that that sounds right? Yeah? Yeah, So

292
00:16:03,640 --> 00:16:05,480
Speaker 1: sometimes I guess there are things that that the undead

293
00:16:05,480 --> 00:16:08,040
Speaker 1: actually want the church to do on some level. Anyway,

294
00:16:08,320 --> 00:16:10,320
Speaker 1: I guess it depends on like do you want to

295
00:16:10,400 --> 00:16:12,000
Speaker 1: keep hanging out at the church or do you want

296
00:16:12,000 --> 00:16:14,040
Speaker 1: to move on to that, I don't know, the afterlife

297
00:16:14,080 --> 00:16:16,680
Speaker 1: or wherever else you're supposed to go. Yeah, and then

298
00:16:16,720 --> 00:16:18,840
Speaker 1: what afterlife are we dealing with? Are we dealing with

299
00:16:18,880 --> 00:16:22,880
Speaker 1: like the the new Christian afterlife or remember these are

300
00:16:22,960 --> 00:16:25,680
Speaker 1: ideas that are that are kind of embedded in older

301
00:16:25,720 --> 00:16:28,960
Speaker 1: systems of relief. Are we're talking about something a little grayer,

302
00:16:29,440 --> 00:16:33,200
Speaker 1: a little um maybe less appetizing, or maybe something that

303
00:16:33,280 --> 00:16:37,600
Speaker 1: is a little more like the midnight Mass itself, you know,

304
00:16:37,800 --> 00:16:40,360
Speaker 1: And in a sense, this is the afterlife. They're already there,

305
00:16:40,800 --> 00:16:43,200
Speaker 1: and it consists of going to church in the middle

306
00:16:43,200 --> 00:16:45,960
Speaker 1: of the night when the humans aren't around. Another way

307
00:16:45,960 --> 00:16:47,920
Speaker 1: of thinking about it is maybe they're afraid if word

308
00:16:47,960 --> 00:16:50,960
Speaker 1: gets out to all the living that they're doing these things,

309
00:16:50,800 --> 00:16:53,120
Speaker 1: that the living are gonna everybody's gonna come swarm to

310
00:16:53,120 --> 00:16:55,360
Speaker 1: see them, and it'll just get too crowded in there.

311
00:16:55,480 --> 00:16:58,040
Speaker 1: You know. There were the restaurant principle. Sometimes you love

312
00:16:58,080 --> 00:16:59,960
Speaker 1: a good restaurant, you kind of don't want people to

313
00:17:00,040 --> 00:17:09,160
Speaker 1: find out about it. Okay, we got one message regarding

314
00:17:09,160 --> 00:17:12,359
Speaker 1: our Weird House Cinema episode on blood Beat. This is

315
00:17:12,400 --> 00:17:16,480
Speaker 1: just a quick little hello from Maria. The subject line

316
00:17:16,640 --> 00:17:20,720
Speaker 1: was just to say hello parentheses blood Beat. Um. I

317
00:17:20,800 --> 00:17:23,399
Speaker 1: have to thank you because today's episode Weird House Cinema

318
00:17:23,480 --> 00:17:26,879
Speaker 1: was so hilarious. I was walking and laughing with my dog.

319
00:17:28,080 --> 00:17:30,280
Speaker 1: I hope that doesn't mean your dog was laughing as well,

320
00:17:30,320 --> 00:17:33,399
Speaker 1: because that sounds demonic. But Maria finishes saying lots of

321
00:17:33,440 --> 00:17:36,359
Speaker 1: love from Italy, and then she attaches an image of

322
00:17:36,440 --> 00:17:39,800
Speaker 1: her dog this. Uh. We don't know the dog's name, though,

323
00:17:39,840 --> 00:17:42,240
Speaker 1: I would like to know that. This is a gorgeous

324
00:17:42,240 --> 00:17:45,320
Speaker 1: looking animal that is lying down in the snow and

325
00:17:45,400 --> 00:17:48,320
Speaker 1: chewing on a blue plastic toy of some kind. Looks

326
00:17:48,359 --> 00:17:51,440
Speaker 1: like it looks like this dog is having a great time. Yeah.

327
00:17:51,520 --> 00:17:53,200
Speaker 1: I don't know. If this dog laughed, I don't think

328
00:17:53,200 --> 00:17:57,800
Speaker 1: it would necessarily be demonic. Seems like a good dog. No,

329
00:17:57,960 --> 00:17:59,560
Speaker 1: I mean, this looks like a great dog. This is

330
00:17:59,600 --> 00:18:01,680
Speaker 1: the kind of dog that would not laugh, because dogs

331
00:18:01,720 --> 00:18:11,200
Speaker 1: don't laugh. Everything is serious to dogs, all right. Here's

332
00:18:11,200 --> 00:18:14,000
Speaker 1: the one from Matt, who also wrote in about blood

333
00:18:14,000 --> 00:18:16,520
Speaker 1: Beat with the subject blood Beat a better way to

334
00:18:16,600 --> 00:18:20,480
Speaker 1: hunt Good Day Fellas. The weird House episode on blood

335
00:18:20,480 --> 00:18:22,919
Speaker 1: Beat was hilarious. I've not seen it, but love your

336
00:18:22,920 --> 00:18:25,960
Speaker 1: description of the chaos. I'm an active hunter, and no,

337
00:18:26,280 --> 00:18:29,240
Speaker 1: the way the film portrays hunting strategies is rather off target.

338
00:18:29,680 --> 00:18:32,560
Speaker 1: There are many ways to hunt deer alone in a group,

339
00:18:32,800 --> 00:18:37,720
Speaker 1: moving and stalking, standing still in seasons designated for specific tools,

340
00:18:38,480 --> 00:18:42,240
Speaker 1: archery season as opposed to rifle season, for example, etcetera.

341
00:18:42,440 --> 00:18:46,720
Speaker 1: Rules and times change from jurisdiction to jurisdiction for blood Beat,

342
00:18:46,760 --> 00:18:49,080
Speaker 1: though these things don't matter. A fun film is a

343
00:18:49,119 --> 00:18:50,960
Speaker 1: fun film. I hope to give it a watch in

344
00:18:50,960 --> 00:18:55,960
Speaker 1: the near future. Thanks for the show and your time, Matt. Oh, thanks, Matt. Yeah,

345
00:18:56,000 --> 00:18:59,040
Speaker 1: if you're if you're looking for a holiday experience viewing

346
00:18:59,080 --> 00:19:03,240
Speaker 1: experience like leod Beat, um, nothing but blood Beat will do.

347
00:19:04,720 --> 00:19:08,520
Speaker 1: It's the reason for the season. All right, We're gonna

348
00:19:08,560 --> 00:19:10,280
Speaker 1: go and close the mail bag on this one, but

349
00:19:10,400 --> 00:19:13,800
Speaker 1: we'll be back in the future with more listener mail.

350
00:19:14,680 --> 00:19:16,720
Speaker 1: Just a reminder that our core episodes of Stuff to

351
00:19:16,720 --> 00:19:20,000
Speaker 1: Blow your Mind air on Tuesdays and Thursdays. On Wednesdays

352
00:19:20,040 --> 00:19:22,879
Speaker 1: we do the Artifact that's a short form episode on

353
00:19:22,920 --> 00:19:25,560
Speaker 1: Monday's at the listener Mail, and on Friday's That's Weird

354
00:19:25,560 --> 00:19:28,160
Speaker 1: how Cinema. That's when we set aside most serious concerns

355
00:19:28,560 --> 00:19:31,680
Speaker 1: to just discuss a weird film such as blood Beat.

356
00:19:32,000 --> 00:19:33,719
Speaker 1: You know, I think technically this is gonna be our

357
00:19:33,800 --> 00:19:37,760
Speaker 1: last listener mail of one, right, I believe you're right. Yeah,

358
00:19:37,920 --> 00:19:40,359
Speaker 1: but we'll read plenty more of your messages in the

359
00:19:40,359 --> 00:19:43,400
Speaker 1: new year. Yeah, so keep them coming, keep them coming, huge.

360
00:19:43,440 --> 00:19:47,360
Speaker 1: Thanks as always to our wonderful audio producer Seth Nicholas Johnson.

361
00:19:47,440 --> 00:19:49,040
Speaker 1: If you would like to get in touch with us

362
00:19:49,080 --> 00:19:52,359
Speaker 1: with feedback on this episode or any other to potentially

363
00:19:52,359 --> 00:19:55,320
Speaker 1: get a message featured on a future listener mail episode,

364
00:19:55,880 --> 00:19:58,159
Speaker 1: just to say hello, or to suggest a topic for

365
00:19:58,200 --> 00:20:00,360
Speaker 1: an episode. Any of that, you can email us at

366
00:20:00,480 --> 00:20:11,359
Speaker 1: contact at stuff to Blow your Mind dot com. Stuff

367
00:20:11,359 --> 00:20:13,600
Speaker 1: to Blow Your Mind is production of I Heart Radio.

368
00:20:13,920 --> 00:20:16,040
Speaker 1: For more podcasts for my heart Radio, visit the i

369
00:20:16,119 --> 00:20:18,919
Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to

370
00:20:18,920 --> 00:20:19,760
Speaker 1: your favorite shows