WEBVTT - Listener Mail: Holidays on Ice-Nine

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of

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<v Speaker 1>My Heart Radio. Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 1>Listener mail. My name is Robert Lamb and I'm Joe McCormick,

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<v Speaker 1>and today we're bringing you some of the messages that

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<v Speaker 1>you've sent in over the past couple of weeks. Rob,

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<v Speaker 1>if you don't mind, I'm going to kick us off

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<v Speaker 1>today with a message from Albert that addresses at least

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<v Speaker 1>a half dozen subjects. All right, let's have it. Hit

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<v Speaker 1>us with the uh with the bird shot that is

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<v Speaker 1>Albert's email. Okay, Albert says, Hi, Robert and Joe, it's

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<v Speaker 1>been a while since I rode in and I have

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<v Speaker 1>much feedback, and I think we're gonna skip over a

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<v Speaker 1>section or two of the email to condense, but maybe

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<v Speaker 1>we can start with these comments about our episode on

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<v Speaker 1>the invention of the mirror. Albert says, I'm surprised you

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<v Speaker 1>did not mention the dreaded iPhone selfie image. I thought

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<v Speaker 1>we did, but maybe you're right. Um it goes on.

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<v Speaker 1>I personally hate it that it is always a mirror image,

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<v Speaker 1>not obvious unless you see lettering or wearing an asymmetric

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<v Speaker 1>clothing such as the Japanese kimono, where it is always

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<v Speaker 1>worn with left over right. In the iPhone selfie, this

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<v Speaker 1>becomes right over left, and the only time you wear

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<v Speaker 1>a kimono right over left is when you are dead.

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<v Speaker 1>Ghosts in Japan also wear the kimono right over left,

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<v Speaker 1>as they are usually wearing their white funeral kimono. I've

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<v Speaker 1>never heard this before, No me neither. Alright. Subsection three

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<v Speaker 1>concerning the invention of the chainsaw, Albert says, you mentioned

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<v Speaker 1>the limitations of the circular saw in this episode, but

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<v Speaker 1>in cartoons they will cut through beyond their center attachment point.

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<v Speaker 1>Remember what we were talking about. That was one of

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<v Speaker 1>the limitations of like using a circular saw to try

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<v Speaker 1>to cut down a tree is they've got to be

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<v Speaker 1>mounted from the middle, and so you can only go

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<v Speaker 1>like half the diameter of the of the saw into

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<v Speaker 1>a tree. But Albert is correct. He has attached a

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<v Speaker 1>clip of speed Racer showing speed Racers mock five. I

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<v Speaker 1>guess that's the name of the car. I never really

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<v Speaker 1>watched speed Racers, so I don't know anything about it.

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<v Speaker 1>But uh, this scene is showing It's like the scene

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<v Speaker 1>in James Bond where they show you all the new

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<v Speaker 1>gadgets on the car. This is like a collection of

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<v Speaker 1>here's what the mock five can do. And in this clip,

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<v Speaker 1>one of the things that happens is it puts out

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<v Speaker 1>a couple of circular saws on bars that are sweeping

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<v Speaker 1>around in front of the car as it drives, and

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<v Speaker 1>it shows the car just plowing through a forest of

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<v Speaker 1>giant trees, just cutting right through them without even slowing down,

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<v Speaker 1>which was very funny. Oh yeah, I mean, I guess

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<v Speaker 1>we touched on this a little bit that. But cartoon

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<v Speaker 1>saws and chain saws and circular saws are just unstoppable.

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<v Speaker 1>They'll just cut through everything like a like a hot

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<v Speaker 1>knife through butter. Okay. Now, regarding our episodes on crabs,

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<v Speaker 1>Albert says, you mentioned you wanted to know about any

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<v Speaker 1>crab stories. I remember one from my childhood, a Japanese

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<v Speaker 1>folk tale called the Monkey Crab Battle. Uh. And then

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<v Speaker 1>he attaches some links and so on this one. I

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<v Speaker 1>sort of went deep. I went and found a translation

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<v Speaker 1>of the story, and I I wrote up a little

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<v Speaker 1>summary here that we could relay to you, because I know,

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<v Speaker 1>Rob you were you were burning for more crab folk tales.

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<v Speaker 1>So the monkey Crab Battle, also known simply as the

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<v Speaker 1>Monkey and the Crab, is apparently a a classic Japanese

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<v Speaker 1>fairy tale. There there are apparently many variations with different

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<v Speaker 1>characters and plot details. So the version I'm about to

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<v Speaker 1>tell is by no means definitive. This is just one

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<v Speaker 1>that I happened to find in in a full text

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<v Speaker 1>English translation. So this is the translation by Yea Theodora Ozaki,

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<v Speaker 1>which uh and I think I've read that this one

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<v Speaker 1>might take some liberties with the source material, but it'll

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<v Speaker 1>give you a gist of the story. It begins there

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<v Speaker 1>were once two friends, a pink faced monkey and a

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<v Speaker 1>yellow crab, and they like to play together by the

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<v Speaker 1>river banks. And one day, while they're playing around together,

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<v Speaker 1>the crab finds a rice dumpling and the monkey finds

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<v Speaker 1>a persimmon seed. The crab holds up his rice dumpling

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<v Speaker 1>and he says, look at this nice thing I found,

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<v Speaker 1>And then the monkey also shows off the thing he found,

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<v Speaker 1>the persimmon seed. But inside the monkey is immediately jealous

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<v Speaker 1>because he wants that dumpling. Persimmons are one of the

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<v Speaker 1>monkey's favorite foods, but you can't eat the seeds. They're

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<v Speaker 1>just you know, hard, crunchy. You know it's not very good. Um.

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<v Speaker 1>So he tries to convince the crab to trade. He's like, hey,

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<v Speaker 1>wouldn't you rather have this seed than the dumpling? And

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<v Speaker 1>the crab says, no, I would like to keep my

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<v Speaker 1>rice dumpling, thank you. But the monkey comes up with

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<v Speaker 1>a plan, because monkeys often it's often the case in

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<v Speaker 1>these stories that monkeys are crafty. So the monkey says

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<v Speaker 1>to the crab, and this part's a direct quote from

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<v Speaker 1>the translation, how unwise you are not to think of

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<v Speaker 1>the future. Your rice dumpling can be eaten now, and

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<v Speaker 1>is certainly much bigger than my seed. But if you

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<v Speaker 1>sow this seed in the ground, it will soon grow

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<v Speaker 1>and become a great tree in a few years, and

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<v Speaker 1>bear an abundance of fine ripe per simmons year after year.

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<v Speaker 1>If only I could show it to you then, with

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<v Speaker 1>the yellow fruit hanging on its branches. Of course, if

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<v Speaker 1>you don't believe me, I shall sew it myself, though

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<v Speaker 1>I am sure later on you will be very sorry

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<v Speaker 1>you did not take my advice. And this does the trick.

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<v Speaker 1>The crab is persuaded to trade, and the monkey takes

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<v Speaker 1>the rice dumpling and gobbles it up, immediately hands over

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<v Speaker 1>the persimmon seed to the crab, and then the crab

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<v Speaker 1>takes the seed and plants it in the ground. And

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<v Speaker 1>then we cut two years later where the crab's patients

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<v Speaker 1>has paid off. One spring, he finds his persimmon tree

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<v Speaker 1>full of glistening ripe fruit. But there's a problem. As

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<v Speaker 1>a crab, he can't climb the tree to get the persimmons,

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<v Speaker 1>so he's just gazing up at them. They look delicious,

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<v Speaker 1>but he can't get to them, I guess because he

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<v Speaker 1>is not an arboreal species of crab. But he knows

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<v Speaker 1>somebody who is very good at climbing tree, the monkey.

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<v Speaker 1>So he goes and he finds the monkey, and he

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<v Speaker 1>asks if the monkey will climb the tree and bring

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<v Speaker 1>him some of his per simmons. The monkey agrees, but

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<v Speaker 1>the monkey is not a very good friend. He climbs

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<v Speaker 1>up in the tree and as soon as he's up there,

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<v Speaker 1>he's like, no, I'm just gonna eat all these myself.

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<v Speaker 1>He's hungry, and he just gobbles up all of the

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<v Speaker 1>right per simmons until there is nothing left but the

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<v Speaker 1>green fruits. And the green fruits are as hard as rocks.

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<v Speaker 1>And this whole time, the crab is frantically running around

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<v Speaker 1>the base of the tree, calling out to the monkey

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<v Speaker 1>to remember what he promised. And apparently this is annoying

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<v Speaker 1>to the monkey, so he begins to pelt his crab

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<v Speaker 1>friend with unripe per simmons. Again, these are as hard

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<v Speaker 1>as rocks, and so when they hit the crab, they

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<v Speaker 1>wound him. They bash him up real good, and eventually

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<v Speaker 1>the monkey pelts the crab with so many unripe per

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<v Speaker 1>simmons that he dies. That's a dark turn. Now here's

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<v Speaker 1>where it actually turns into like a seven in the

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<v Speaker 1>style Grindhouse revenge flick. The crabs son comes along and

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<v Speaker 1>finds his dead father's body. I should menage. I think

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<v Speaker 1>in some variations of the story, at least it's the

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<v Speaker 1>it's the crab's mother, not father, But I'm not sure

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<v Speaker 1>about what the frequency of those variations is. Anyway, In

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<v Speaker 1>this version, he finds his his crab dad's body, and

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<v Speaker 1>he weeps bitterly, and he looks around and sees the

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<v Speaker 1>persimmoncy it's littered all about, and he knows that it

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<v Speaker 1>must have been the monkey that killed his father, and

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<v Speaker 1>he swears revenge, and then there is sort of an

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<v Speaker 1>assembling the team montage. The young crab recruits his friends

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<v Speaker 1>to help execute the plan of revenge, and his friends

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<v Speaker 1>are again this is this list of friends is another

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<v Speaker 1>thing that varies by version, but there is a bee

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<v Speaker 1>like honey bee, a chestnut h a mortar like like

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<v Speaker 1>a mortar, and pestle like a stone mortar. And then

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<v Speaker 1>some versions also include some kind of slippery substance like

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<v Speaker 1>a pile of cow dung or a puddle of oil. Okay,

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<v Speaker 1>all right, so this is quite the team involving animals, vegetables, uh,

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<v Speaker 1>inanimate objects um, slime or dung, which I love. So

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<v Speaker 1>they hatch a conspiracy. Meanwhile, the monkey is off by himself.

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<v Speaker 1>He is congratulating himself greatly for getting away with his crime,

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<v Speaker 1>and he, you know, he thinks himself so clever. He's like, well,

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<v Speaker 1>I killed that crab and nobody's ever going to know.

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<v Speaker 1>And later he is invited to a feast commemorating the

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<v Speaker 1>life and death of the elder crab. And starting here,

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<v Speaker 1>I'm going to read directly from the Ozaki translation. Maybe

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<v Speaker 1>we'll do some voices for the characters. Quote the feast over.

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<v Speaker 1>He was next invited to the tea ceremony room to

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<v Speaker 1>drink a cup of tea. When the young crab had

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<v Speaker 1>conducted the monkey to the tea room, he left him

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<v Speaker 1>and retired. Time passed and he still did not return.

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<v Speaker 1>At last, the monkey became impatient. He said to himself,

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<v Speaker 1>the tea ceremony is always a very slow affair. I

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<v Speaker 1>am tired of waiting so long. I am very thirsty

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<v Speaker 1>after drinking so much sake at the dinner. He then

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<v Speaker 1>approached the charcoal fireplace and began to pour out some

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<v Speaker 1>hot water from the kettle boiling there, when something burst

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<v Speaker 1>out from the ashes with a great pop and hit

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<v Speaker 1>the monkey right in the neck. It was the chestnut,

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<v Speaker 1>one of the crab's friends, who had hidden himself in

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<v Speaker 1>the fireplace. The monkey, taken by surprise, jumped backward and

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<v Speaker 1>then started to run out of the room. The bee,

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<v Speaker 1>who was hiding outside the screens, now flew out and

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<v Speaker 1>stung him on the cheek. The monkey was in great pain.

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<v Speaker 1>His neck was burned by the chestnut and his face

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<v Speaker 1>badly stung by the bee, But he ran on, screaming

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<v Speaker 1>and chattering with rage. Now the stone mortar had hidden

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<v Speaker 1>himself with several other stones on the top of the

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<v Speaker 1>crab's gate. And as the monkey ran underneath the mortar

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<v Speaker 1>and all fell down upon the monkey's head. Was it

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<v Speaker 1>possible for the monkey to bear the weight of the

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<v Speaker 1>mortar falling upon him from the top of the gate.

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<v Speaker 1>He lay crushed and in great pain, quite unable to

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<v Speaker 1>get up. As he lay there helpless, the young crab

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<v Speaker 1>came up, and, holding his great claw scissors over the monkey,

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<v Speaker 1>he said, do you now remember that you murdered my father?

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<v Speaker 1>Then you ah, my enemy, gasped the monkey brokenly. Of course,

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<v Speaker 1>said the young crab. It was your father's fault, not mine,

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<v Speaker 1>gasped the unrepentant monkey. Can you still lie? I will

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<v Speaker 1>soon put an end to your breath. Uh. And with

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<v Speaker 1>that he cut off the monkey's head with his pincher claws.

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<v Speaker 1>Thus the wicked monkey met his well merited punishment, and

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<v Speaker 1>the young crab avenged his father's death. Alright, alright, that's

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<v Speaker 1>that's pretty good, I applauded as a strong crab centric folk.

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<v Speaker 1>Taylor Methrow, What have you? Does this have a moral?

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<v Speaker 1>I've started to think like, uh, I mean, I guess

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<v Speaker 1>the monkey, Yeah, there. Maybe the moral for the monkey

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<v Speaker 1>is like, hey, don't betray and kill your friends or

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<v Speaker 1>else you will you will meet a similar fate. I

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<v Speaker 1>don't know. He kind of started off feeling, you know,

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<v Speaker 1>like kind of like a Subs Fables, but then it

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<v Speaker 1>ended up feeling more like a shot Brothers picture. Yeah,

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<v Speaker 1>so I don't know. I don't know. Um, I guess

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<v Speaker 1>the lesson is don't trust monkeys or even if they're

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<v Speaker 1>there there that they have, you know, a good what

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<v Speaker 1>seems to be a good, you know, business offer for

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<v Speaker 1>you because ultimately, like the monkeys trick pays off for

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<v Speaker 1>the crab, he's just betrayed by the monkey a second time. Right,

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<v Speaker 1>that's the funny part. So you think the monkey is

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<v Speaker 1>tricked to the crab, but everything the monkey said was true,

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<v Speaker 1>like he gives the crab in the long run the

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<v Speaker 1>better deal, but then he just he just cheats him

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<v Speaker 1>a second time. Yeah, anyway. To finish off, Alberts email

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<v Speaker 1>one last note, he mentions the Dunwich horror. He says,

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<v Speaker 1>for some reason, I remember this movie being in black

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<v Speaker 1>and white. After watching it, I remember thinking that film

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<v Speaker 1>is a very hard medium to adapt. The dread and

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<v Speaker 1>horror of Lovecraft's mythos. You clearly like Lovecraft, so I

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<v Speaker 1>can recommend Daygone. It is an adaptation of the novella

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<v Speaker 1>The Shadow Over in Smith and then attaches a link. Okay,

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<v Speaker 1>that's it, thank you and keep up the great work,

0:12:24.520 --> 0:12:27.400
<v Speaker 1>Albert Albert. I. It's been many years now, but I

0:12:27.400 --> 0:12:30.000
<v Speaker 1>do remember enjoying Dagon when I was in college. I

0:12:30.000 --> 0:12:33.600
<v Speaker 1>think it's one of those movies that's maybe not great

0:12:33.679 --> 0:12:36.080
<v Speaker 1>in every way, but it it has some things that

0:12:36.080 --> 0:12:39.480
<v Speaker 1>that really work. I remember having a kind of uh,

0:12:39.720 --> 0:12:44.360
<v Speaker 1>pleasing color contrast, because most of the sets and and

0:12:44.559 --> 0:12:47.760
<v Speaker 1>locations in the movie are are very kind of dark

0:12:47.880 --> 0:12:50.280
<v Speaker 1>and blue and green, you know, the colors of the

0:12:50.360 --> 0:12:53.040
<v Speaker 1>sea or like caves in the ocean. But the main

0:12:53.160 --> 0:12:56.000
<v Speaker 1>character wears a bright orange sweater and that always stuck

0:12:56.000 --> 0:13:00.800
<v Speaker 1>in my head. Yeah. Yeah, it's it's a fun flick.

0:13:00.880 --> 0:13:03.360
<v Speaker 1>It is um it's a Stewart Gordon movie, so you

0:13:03.360 --> 0:13:04.640
<v Speaker 1>can go into that. You know you're going to get

0:13:04.640 --> 0:13:08.520
<v Speaker 1>a certain amount of of grizzliness and gruesomeness. But it

0:13:08.880 --> 0:13:11.679
<v Speaker 1>has some fun monsters, some over the top gore, and

0:13:11.760 --> 0:13:16.600
<v Speaker 1>it has um a Kidnas style mermaid if memory serves.

0:13:16.600 --> 0:13:19.559
<v Speaker 1>So that's a pretty fun one. Um. I haven't seen

0:13:19.679 --> 0:13:22.320
<v Speaker 1>this one in many years, but I was always partial

0:13:22.760 --> 0:13:28.600
<v Speaker 1>to the Dan O'Bannon directed film The Resurrected from which

0:13:29.200 --> 0:13:31.199
<v Speaker 1>who let's see who starting that? Oh yeah, it had

0:13:31.640 --> 0:13:34.920
<v Speaker 1>it had Chris Surrandon in it. I've not seen that one,

0:13:35.800 --> 0:13:37.240
<v Speaker 1>Like I said, it's been a long time. I think

0:13:37.240 --> 0:13:39.480
<v Speaker 1>that when I saw it was on VHS, So I'm

0:13:39.480 --> 0:13:41.320
<v Speaker 1>not sure if it's aged well or not, but it

0:13:41.360 --> 0:13:43.120
<v Speaker 1>but it may have. I mean, it's Dan O'Bannon, so

0:13:43.200 --> 0:13:50.719
<v Speaker 1>it has that going for it totally. Now, speaking of

0:13:51.280 --> 0:13:55.200
<v Speaker 1>Dan O'Bannon, who was also like another one of his

0:13:55.400 --> 0:13:58.120
<v Speaker 1>his films that he directed is worth noting, as of course,

0:13:58.120 --> 0:14:00.280
<v Speaker 1>the Return of the Living Dead from nineteen eighty five.

0:14:01.160 --> 0:14:04.280
<v Speaker 1>Uh So, here's little bit of listener mail from Alan,

0:14:04.400 --> 0:14:07.160
<v Speaker 1>Alan writes in during the podcast, and this is responding

0:14:07.200 --> 0:14:10.320
<v Speaker 1>to our Wholy Undead episode from back in October, which,

0:14:10.360 --> 0:14:13.760
<v Speaker 1>by the way, is also a holiday episode, so it's

0:14:13.760 --> 0:14:16.520
<v Speaker 1>both Halloween episode and a Christmas episode. So if you

0:14:16.520 --> 0:14:18.280
<v Speaker 1>didn't listen to it, then listen to it now and

0:14:18.360 --> 0:14:21.880
<v Speaker 1>maybe listen to it again. Um. Alan writes during the podcast,

0:14:21.920 --> 0:14:24.200
<v Speaker 1>I recall you wondering why a bunch of pious undead

0:14:24.200 --> 0:14:26.960
<v Speaker 1>would attend services, but then also try to attack and

0:14:27.000 --> 0:14:31.160
<v Speaker 1>kill the living who accidentally wander in. Presumably, the undead

0:14:31.240 --> 0:14:34.640
<v Speaker 1>want to live on live as much as anyone, and

0:14:34.680 --> 0:14:37.240
<v Speaker 1>having been discovered, realized that the living would be a

0:14:37.320 --> 0:14:39.960
<v Speaker 1>huge threat to their continued existence if word got out,

0:14:40.360 --> 0:14:43.280
<v Speaker 1>so they would need to eliminate any source of leakage

0:14:43.320 --> 0:14:46.440
<v Speaker 1>that arise. Uh. They to see sister would of course

0:14:46.480 --> 0:14:50.640
<v Speaker 1>feel the need to warn her living sister. Okay, so

0:14:51.040 --> 0:14:54.560
<v Speaker 1>under your idea here alan, Uh, the reason somebody might

0:14:54.600 --> 0:14:58.560
<v Speaker 1>wander into a night service of the pious undead listening

0:14:58.560 --> 0:15:00.840
<v Speaker 1>to a sermon in the church, and and they attack

0:15:00.920 --> 0:15:05.000
<v Speaker 1>her because they're afraid that if she spreads word, people

0:15:05.000 --> 0:15:06.440
<v Speaker 1>are going to come in. And I don't know what

0:15:06.600 --> 0:15:09.280
<v Speaker 1>do do? An exorcism or something that will not allow

0:15:09.360 --> 0:15:13.120
<v Speaker 1>them to dwell there in the church anymore, I guess.

0:15:13.200 --> 0:15:17.400
<v Speaker 1>But the other stories seemed to suggest that the churches,

0:15:17.560 --> 0:15:20.160
<v Speaker 1>or at least the regional church, is powerless to stop

0:15:20.320 --> 0:15:22.360
<v Speaker 1>the undead, So like, what are they gonna do? They

0:15:22.520 --> 0:15:25.280
<v Speaker 1>they're afraid the Pope's gonna show up and squash everything,

0:15:25.440 --> 0:15:29.440
<v Speaker 1>or you know, or some higher member of whatever. The uh,

0:15:29.480 --> 0:15:33.000
<v Speaker 1>you know the church organization is in place. Um it

0:15:33.000 --> 0:15:34.800
<v Speaker 1>it seems like they kind of get whatever, they get

0:15:34.840 --> 0:15:36.720
<v Speaker 1>to do whatever they want because they own the night.

0:15:37.000 --> 0:15:39.720
<v Speaker 1>It's good to own the night. Uh. This reminds me.

0:15:39.800 --> 0:15:42.240
<v Speaker 1>We did hear from another listener though, who was telling

0:15:42.280 --> 0:15:45.320
<v Speaker 1>about a local folk tale about a parish somewhere in

0:15:45.360 --> 0:15:48.760
<v Speaker 1>Poland where Um, I think the idea was that the

0:15:48.800 --> 0:15:51.720
<v Speaker 1>priest was believed the ghost of the former priest was

0:15:51.760 --> 0:15:55.240
<v Speaker 1>believed to haunt the churchyard because it had never been consecrated,

0:15:55.280 --> 0:15:58.680
<v Speaker 1>and then once it was consecrated, Uh, he his spirit

0:15:58.720 --> 0:16:00.920
<v Speaker 1>could leave or something. And am I getting that sort

0:16:00.960 --> 0:16:03.560
<v Speaker 1>of right? Remember that that sounds right? Yeah? Yeah, So

0:16:03.640 --> 0:16:05.480
<v Speaker 1>sometimes I guess there are things that that the undead

0:16:05.480 --> 0:16:08.040
<v Speaker 1>actually want the church to do on some level. Anyway,

0:16:08.320 --> 0:16:10.320
<v Speaker 1>I guess it depends on like do you want to

0:16:10.400 --> 0:16:12.000
<v Speaker 1>keep hanging out at the church or do you want

0:16:12.000 --> 0:16:14.040
<v Speaker 1>to move on to that, I don't know, the afterlife

0:16:14.080 --> 0:16:16.680
<v Speaker 1>or wherever else you're supposed to go. Yeah, and then

0:16:16.720 --> 0:16:18.840
<v Speaker 1>what afterlife are we dealing with? Are we dealing with

0:16:18.880 --> 0:16:22.880
<v Speaker 1>like the the new Christian afterlife or remember these are

0:16:22.960 --> 0:16:25.680
<v Speaker 1>ideas that are that are kind of embedded in older

0:16:25.720 --> 0:16:28.960
<v Speaker 1>systems of relief. Are we're talking about something a little grayer,

0:16:29.440 --> 0:16:33.200
<v Speaker 1>a little um maybe less appetizing, or maybe something that

0:16:33.280 --> 0:16:37.600
<v Speaker 1>is a little more like the midnight Mass itself, you know,

0:16:37.800 --> 0:16:40.360
<v Speaker 1>And in a sense, this is the afterlife. They're already there,

0:16:40.800 --> 0:16:43.200
<v Speaker 1>and it consists of going to church in the middle

0:16:43.200 --> 0:16:45.960
<v Speaker 1>of the night when the humans aren't around. Another way

0:16:45.960 --> 0:16:47.920
<v Speaker 1>of thinking about it is maybe they're afraid if word

0:16:47.960 --> 0:16:50.960
<v Speaker 1>gets out to all the living that they're doing these things,

0:16:50.800 --> 0:16:53.120
<v Speaker 1>that the living are gonna everybody's gonna come swarm to

0:16:53.120 --> 0:16:55.360
<v Speaker 1>see them, and it'll just get too crowded in there.

0:16:55.480 --> 0:16:58.040
<v Speaker 1>You know. There were the restaurant principle. Sometimes you love

0:16:58.080 --> 0:16:59.960
<v Speaker 1>a good restaurant, you kind of don't want people to

0:17:00.040 --> 0:17:09.160
<v Speaker 1>find out about it. Okay, we got one message regarding

0:17:09.160 --> 0:17:12.359
<v Speaker 1>our Weird House Cinema episode on blood Beat. This is

0:17:12.400 --> 0:17:16.480
<v Speaker 1>just a quick little hello from Maria. The subject line

0:17:16.640 --> 0:17:20.720
<v Speaker 1>was just to say hello parentheses blood Beat. Um. I

0:17:20.800 --> 0:17:23.399
<v Speaker 1>have to thank you because today's episode Weird House Cinema

0:17:23.480 --> 0:17:26.879
<v Speaker 1>was so hilarious. I was walking and laughing with my dog.

0:17:28.080 --> 0:17:30.280
<v Speaker 1>I hope that doesn't mean your dog was laughing as well,

0:17:30.320 --> 0:17:33.399
<v Speaker 1>because that sounds demonic. But Maria finishes saying lots of

0:17:33.440 --> 0:17:36.359
<v Speaker 1>love from Italy, and then she attaches an image of

0:17:36.440 --> 0:17:39.800
<v Speaker 1>her dog this. Uh. We don't know the dog's name, though,

0:17:39.840 --> 0:17:42.240
<v Speaker 1>I would like to know that. This is a gorgeous

0:17:42.240 --> 0:17:45.320
<v Speaker 1>looking animal that is lying down in the snow and

0:17:45.400 --> 0:17:48.320
<v Speaker 1>chewing on a blue plastic toy of some kind. Looks

0:17:48.359 --> 0:17:51.440
<v Speaker 1>like it looks like this dog is having a great time. Yeah.

0:17:51.520 --> 0:17:53.200
<v Speaker 1>I don't know. If this dog laughed, I don't think

0:17:53.200 --> 0:17:57.800
<v Speaker 1>it would necessarily be demonic. Seems like a good dog. No,

0:17:57.960 --> 0:17:59.560
<v Speaker 1>I mean, this looks like a great dog. This is

0:17:59.600 --> 0:18:01.680
<v Speaker 1>the kind of dog that would not laugh, because dogs

0:18:01.720 --> 0:18:11.200
<v Speaker 1>don't laugh. Everything is serious to dogs, all right. Here's

0:18:11.200 --> 0:18:14.000
<v Speaker 1>the one from Matt, who also wrote in about blood

0:18:14.000 --> 0:18:16.520
<v Speaker 1>Beat with the subject blood Beat a better way to

0:18:16.600 --> 0:18:20.480
<v Speaker 1>hunt Good Day Fellas. The weird House episode on blood

0:18:20.480 --> 0:18:22.919
<v Speaker 1>Beat was hilarious. I've not seen it, but love your

0:18:22.920 --> 0:18:25.960
<v Speaker 1>description of the chaos. I'm an active hunter, and no,

0:18:26.280 --> 0:18:29.240
<v Speaker 1>the way the film portrays hunting strategies is rather off target.

0:18:29.680 --> 0:18:32.560
<v Speaker 1>There are many ways to hunt deer alone in a group,

0:18:32.800 --> 0:18:37.720
<v Speaker 1>moving and stalking, standing still in seasons designated for specific tools,

0:18:38.480 --> 0:18:42.240
<v Speaker 1>archery season as opposed to rifle season, for example, etcetera.

0:18:42.440 --> 0:18:46.720
<v Speaker 1>Rules and times change from jurisdiction to jurisdiction for blood Beat,

0:18:46.760 --> 0:18:49.080
<v Speaker 1>though these things don't matter. A fun film is a

0:18:49.119 --> 0:18:50.960
<v Speaker 1>fun film. I hope to give it a watch in

0:18:50.960 --> 0:18:55.960
<v Speaker 1>the near future. Thanks for the show and your time, Matt. Oh, thanks, Matt. Yeah,

0:18:56.000 --> 0:18:59.040
<v Speaker 1>if you're if you're looking for a holiday experience viewing

0:18:59.080 --> 0:19:03.240
<v Speaker 1>experience like leod Beat, um, nothing but blood Beat will do.

0:19:04.720 --> 0:19:08.520
<v Speaker 1>It's the reason for the season. All right, We're gonna

0:19:08.560 --> 0:19:10.280
<v Speaker 1>go and close the mail bag on this one, but

0:19:10.400 --> 0:19:13.800
<v Speaker 1>we'll be back in the future with more listener mail.

0:19:14.680 --> 0:19:16.720
<v Speaker 1>Just a reminder that our core episodes of Stuff to

0:19:16.720 --> 0:19:20.000
<v Speaker 1>Blow your Mind air on Tuesdays and Thursdays. On Wednesdays

0:19:20.040 --> 0:19:22.879
<v Speaker 1>we do the Artifact that's a short form episode on

0:19:22.920 --> 0:19:25.560
<v Speaker 1>Monday's at the listener Mail, and on Friday's That's Weird

0:19:25.560 --> 0:19:28.160
<v Speaker 1>how Cinema. That's when we set aside most serious concerns

0:19:28.560 --> 0:19:31.680
<v Speaker 1>to just discuss a weird film such as blood Beat.

0:19:32.000 --> 0:19:33.719
<v Speaker 1>You know, I think technically this is gonna be our

0:19:33.800 --> 0:19:37.760
<v Speaker 1>last listener mail of one, right, I believe you're right. Yeah,

0:19:37.920 --> 0:19:40.359
<v Speaker 1>but we'll read plenty more of your messages in the

0:19:40.359 --> 0:19:43.400
<v Speaker 1>new year. Yeah, so keep them coming, keep them coming, huge.

0:19:43.440 --> 0:19:47.360
<v Speaker 1>Thanks as always to our wonderful audio producer Seth Nicholas Johnson.

0:19:47.440 --> 0:19:49.040
<v Speaker 1>If you would like to get in touch with us

0:19:49.080 --> 0:19:52.359
<v Speaker 1>with feedback on this episode or any other to potentially

0:19:52.359 --> 0:19:55.320
<v Speaker 1>get a message featured on a future listener mail episode,

0:19:55.880 --> 0:19:58.159
<v Speaker 1>just to say hello, or to suggest a topic for

0:19:58.200 --> 0:20:00.360
<v Speaker 1>an episode. Any of that, you can email us at

0:20:00.480 --> 0:20:11.359
<v Speaker 1>contact at stuff to Blow your Mind dot com. Stuff

0:20:11.359 --> 0:20:13.600
<v Speaker 1>to Blow Your Mind is production of I Heart Radio.

0:20:13.920 --> 0:20:16.040
<v Speaker 1>For more podcasts for my heart Radio, visit the i

0:20:16.119 --> 0:20:18.919
<v Speaker 1>heart Radio app, Apple Podcasts, or wherever you listen to

0:20:18.920 --> 0:20:19.760
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