1 00:00:03,040 --> 00:00:06,520 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:10,320 --> 00:00:12,840 Speaker 2: Hey you welcome to Stuff to Blow your Mind. Listener mail. 3 00:00:12,960 --> 00:00:15,840 Speaker 3: My name is Robert Lamb and I'm Joe McCormick, and 4 00:00:15,880 --> 00:00:17,880 Speaker 3: it's Monday, the day of each week that we read 5 00:00:17,920 --> 00:00:21,040 Speaker 3: back messages that you have sent in to the Stuff 6 00:00:21,079 --> 00:00:24,759 Speaker 3: to Blow Your Mind email address, which, by the way, 7 00:00:24,960 --> 00:00:26,800 Speaker 3: you should give a try if you never have before. 8 00:00:27,120 --> 00:00:30,200 Speaker 3: We always appreciate feedback to recent episodes, especially if you 9 00:00:30,200 --> 00:00:33,080 Speaker 3: have something interesting you would like to add to a 10 00:00:33,120 --> 00:00:36,640 Speaker 3: topic we've talked about. You can reach us at contact 11 00:00:36,800 --> 00:00:40,840 Speaker 3: at stuff to Blow your Mind dot com. Let's see 12 00:00:41,479 --> 00:00:43,920 Speaker 3: rob do you mind if I kick things off today? 13 00:00:43,960 --> 00:00:48,159 Speaker 3: With this message from Daniel in response to our series Well, 14 00:00:48,200 --> 00:00:50,680 Speaker 3: this was in response to our series on stickiness, but 15 00:00:50,760 --> 00:00:55,680 Speaker 3: specifically the episode where we talked about sticky memories. Yeah, 16 00:00:55,760 --> 00:00:59,040 Speaker 3: let's do it, okay, and for context. In the Sticky 17 00:00:59,080 --> 00:01:03,920 Speaker 3: Memories episode, we talked about the idea of flash bulb memories, 18 00:01:04,360 --> 00:01:09,800 Speaker 3: these memories that have a subjectively highly sticky quality to them. 19 00:01:09,880 --> 00:01:14,120 Speaker 3: People many years later will report these types of experiences 20 00:01:14,200 --> 00:01:19,319 Speaker 3: with confidence that they have very detailed, accurate memories, and 21 00:01:19,360 --> 00:01:23,319 Speaker 3: specifically flash bold memories are about the moment that a 22 00:01:23,360 --> 00:01:27,920 Speaker 3: person learned about a public event, often like a tragedy 23 00:01:27,959 --> 00:01:30,480 Speaker 3: of some kind, like the moment somebody learned about the 24 00:01:30,520 --> 00:01:34,040 Speaker 3: Kennedy assassination or the moment somebody learned about nine to eleven. 25 00:01:34,400 --> 00:01:39,560 Speaker 3: People very often report that they have detailed and very consistent, 26 00:01:39,640 --> 00:01:42,360 Speaker 3: accurate memories about what was going on when they found 27 00:01:42,360 --> 00:01:45,000 Speaker 3: out where they were and all that, and studies have 28 00:01:45,080 --> 00:01:48,280 Speaker 3: shown Nope, they don't. They just think that they do. We, 29 00:01:48,480 --> 00:01:52,840 Speaker 3: for some reason, are especially convinced that these memories are 30 00:01:52,920 --> 00:01:56,400 Speaker 3: authentic and unchanging. But you can show that they're not. 31 00:02:02,040 --> 00:02:02,120 Speaker 2: So. 32 00:02:02,440 --> 00:02:07,400 Speaker 3: Daniel says Hi in regard to your episode about sticky memories. 33 00:02:07,520 --> 00:02:11,079 Speaker 3: The unreliability of some of the details of these memories 34 00:02:11,240 --> 00:02:15,040 Speaker 3: was of extreme interest for me, as I have recorded 35 00:02:15,200 --> 00:02:18,560 Speaker 3: proof of some of these in my personal life, that is, 36 00:02:18,880 --> 00:02:23,120 Speaker 3: family events recorded on video and then years later compared 37 00:02:23,200 --> 00:02:26,520 Speaker 3: to my memory of this event, having never seen the 38 00:02:26,600 --> 00:02:31,200 Speaker 3: video until now, and noting the profound differences parentheses. I 39 00:02:31,240 --> 00:02:34,440 Speaker 3: apologize for my possible poor writing skills, as I have 40 00:02:34,520 --> 00:02:38,160 Speaker 3: autism and do not express myself well. It takes extreme 41 00:02:38,200 --> 00:02:43,519 Speaker 3: effort to generate even this well. We appreciate the effort Daniel, 42 00:02:43,919 --> 00:02:47,399 Speaker 3: think you're doing great, Daniel says. One event I will 43 00:02:47,400 --> 00:02:50,960 Speaker 3: describe now. The memory I have is this. It's two 44 00:02:51,040 --> 00:02:54,320 Speaker 3: thousand and four. I'm playing with the first solid state 45 00:02:54,400 --> 00:02:57,440 Speaker 3: memory based video camera I ever had. I met my 46 00:02:57,520 --> 00:03:01,760 Speaker 3: grandmother's place. My Auntie and I pressure cleaning the back 47 00:03:01,840 --> 00:03:06,080 Speaker 3: pavement of her house. It's a crisp, cool, coldish, late 48 00:03:06,120 --> 00:03:10,320 Speaker 3: winter's breezy day. The splashing water from the pressure cleaner 49 00:03:10,360 --> 00:03:13,760 Speaker 3: feels lovely on my legs. I'm a person who hates 50 00:03:13,800 --> 00:03:17,120 Speaker 3: hot weather, and so this is a particularly nice memory 51 00:03:17,200 --> 00:03:20,400 Speaker 3: for this reason. All this time I am recording the 52 00:03:20,440 --> 00:03:24,440 Speaker 3: event on the camera. This memory persisted for years and 53 00:03:24,520 --> 00:03:28,720 Speaker 3: still does. However, how shocked I was two years later 54 00:03:28,880 --> 00:03:33,680 Speaker 3: come across the original camera footage actual event as recorded. 55 00:03:34,080 --> 00:03:37,480 Speaker 3: I was pressure cleaning with my auntie at my grandmother's place, 56 00:03:37,920 --> 00:03:41,560 Speaker 3: washing the back pavement. But it was a stinking hot 57 00:03:41,880 --> 00:03:45,600 Speaker 3: summer's day, and in the video I was wishing it 58 00:03:45,720 --> 00:03:49,600 Speaker 3: was a much cooler winter's day. I was imagining how 59 00:03:49,680 --> 00:03:53,000 Speaker 3: much nicer it would be to feel the cold splashes 60 00:03:53,160 --> 00:03:57,480 Speaker 3: along with the coldish late winter breeze. The original event, 61 00:03:57,600 --> 00:04:01,560 Speaker 3: plus my wishful alteration to the event, was fused into 62 00:04:01,800 --> 00:04:06,080 Speaker 3: one memory event. How many of our memories actually appear 63 00:04:06,280 --> 00:04:10,920 Speaker 3: more favorable than they actually were because we included any 64 00:04:11,040 --> 00:04:15,440 Speaker 3: wishful changes in the memory. Eg. At a wedding a 65 00:04:15,720 --> 00:04:18,719 Speaker 3: lovely time, but wish Uncle John could be here. In 66 00:04:18,800 --> 00:04:22,320 Speaker 3: our memory Uncle John is there, but proven wrong by 67 00:04:22,360 --> 00:04:25,359 Speaker 3: the wedding video. This has happened a lot in my life, 68 00:04:25,360 --> 00:04:27,719 Speaker 3: as I have recorded heaps of it since I was 69 00:04:27,720 --> 00:04:30,800 Speaker 3: in primary school. Maybe this is one of the reasons 70 00:04:30,839 --> 00:04:33,160 Speaker 3: the past can seem so much better than the present. 71 00:04:33,560 --> 00:04:36,400 Speaker 3: The past has been edited by our minds in post 72 00:04:36,440 --> 00:04:39,480 Speaker 3: production to be better, and is only picked up if 73 00:04:39,480 --> 00:04:42,640 Speaker 3: we record it with technology as well and compare it. 74 00:04:43,000 --> 00:04:45,679 Speaker 3: I would never have realized the inaccuracy of the pressure 75 00:04:45,680 --> 00:04:50,560 Speaker 3: cleaner event if I hadn't recorded it as well. Cheers Daniel. 76 00:04:51,640 --> 00:04:54,159 Speaker 3: Oh well, yeah, thank you for the excellent message, Daniel. 77 00:04:54,200 --> 00:04:59,400 Speaker 3: And yeah, I think it's amazing when people have experiences 78 00:04:59,480 --> 00:05:02,440 Speaker 3: like this. I know my family didn't do a lot 79 00:05:02,440 --> 00:05:05,799 Speaker 3: of home movies, but my wife's family did some home movies, 80 00:05:05,839 --> 00:05:08,240 Speaker 3: and I think she's talked about experiences like this, like 81 00:05:08,600 --> 00:05:11,440 Speaker 3: remembering something one way but then seeing it on video 82 00:05:11,560 --> 00:05:14,880 Speaker 3: and oh, it happened a different way and being so 83 00:05:15,080 --> 00:05:19,560 Speaker 3: surprised by that. But I think there's something very perceptive 84 00:05:19,640 --> 00:05:23,400 Speaker 3: to what you're saying about the idea of you think 85 00:05:23,520 --> 00:05:27,920 Speaker 3: that the day you were out there with the pressure cleaner, 86 00:05:28,040 --> 00:05:30,640 Speaker 3: feeling the water on your legs and wishing it was 87 00:05:30,680 --> 00:05:34,960 Speaker 3: a cool day may have contaminated your memory in such 88 00:05:34,960 --> 00:05:37,839 Speaker 3: a way that you remembered it as being a cool day. 89 00:05:38,680 --> 00:05:41,520 Speaker 3: I think that could very well be a mechanism in play. 90 00:05:41,600 --> 00:05:44,480 Speaker 3: And there is evidence I've read about before of the 91 00:05:44,520 --> 00:05:49,560 Speaker 3: ability of the imagination to contaminate memories of events. So, 92 00:05:49,720 --> 00:05:54,960 Speaker 3: for example, if you intentionally imagine yourself doing something, there 93 00:05:55,040 --> 00:05:58,200 Speaker 3: is often a good chance you will later remember actually 94 00:05:58,279 --> 00:05:59,200 Speaker 3: doing that thing. 95 00:06:00,279 --> 00:06:01,880 Speaker 2: Yeah, and of course you have to keep in mind 96 00:06:01,920 --> 00:06:05,320 Speaker 2: that you know it need not be a beneficial enhancer 97 00:06:05,320 --> 00:06:07,560 Speaker 2: of memory. I mean, you can certainly have cases where 98 00:06:08,160 --> 00:06:12,680 Speaker 2: a memory is made more traumatic through recollection. You know it, 99 00:06:13,560 --> 00:06:15,840 Speaker 2: you know it's ultimately Again, it comes back to the 100 00:06:16,279 --> 00:06:19,520 Speaker 2: fact that anytime we draw that memory out of the vault, 101 00:06:19,920 --> 00:06:24,080 Speaker 2: we augment it in small ways, and that can go 102 00:06:24,080 --> 00:06:26,480 Speaker 2: in either direction subjectively. 103 00:06:26,120 --> 00:06:29,039 Speaker 3: Right, So maybe if instead of sitting there thinking about 104 00:06:29,040 --> 00:06:31,560 Speaker 3: how nice it would be if it were a cool day, 105 00:06:31,640 --> 00:06:33,920 Speaker 3: you had been thinking about how much worse it would 106 00:06:33,920 --> 00:06:36,880 Speaker 3: be if it were like one hundred and fifteen degrees outside. 107 00:06:36,880 --> 00:06:38,960 Speaker 3: Maybe you would actually remember it that way. 108 00:06:39,680 --> 00:06:43,160 Speaker 2: Yeah, but again, this is another great insight into just 109 00:06:43,200 --> 00:06:48,279 Speaker 2: how curious memory is and how susceptible to change it is. 110 00:06:48,800 --> 00:06:51,600 Speaker 3: Obviously, when I said one fifteen, I'm operating on the 111 00:06:51,640 --> 00:06:54,760 Speaker 3: inferior fahrenheit scale, I don't think it would be one 112 00:06:54,800 --> 00:06:56,240 Speaker 3: hundred and fifteen celsius out. 113 00:06:56,920 --> 00:06:59,520 Speaker 2: All right, here's another listener male for us. This one 114 00:06:59,560 --> 00:07:03,240 Speaker 2: has to do with our series of episodes on strange 115 00:07:03,320 --> 00:07:09,960 Speaker 2: underwater photos and other images that are of questionable quality. 116 00:07:10,920 --> 00:07:18,000 Speaker 2: This one comes to us from Wait, Hi, Rob, Joe, 117 00:07:18,080 --> 00:07:21,640 Speaker 2: and JJ. Thanks for the episodes on mysterious underwater photographs 118 00:07:21,640 --> 00:07:26,600 Speaker 2: and the psychological explanations involving low resolution information, where the 119 00:07:26,680 --> 00:07:29,440 Speaker 2: lack of detail seems to encourage the human mind to 120 00:07:29,440 --> 00:07:32,520 Speaker 2: come up with more fanciful explanations, while a higher resolution 121 00:07:32,640 --> 00:07:36,360 Speaker 2: image would have the opposite effect no gaps to fill in. 122 00:07:37,840 --> 00:07:41,560 Speaker 2: This made me think of HFR, or high frame rate 123 00:07:41,720 --> 00:07:45,720 Speaker 2: video content aka soap opera effect, which is higher than 124 00:07:45,720 --> 00:07:48,680 Speaker 2: the traditional twenty four frames per second. I've always wondered 125 00:07:48,680 --> 00:07:51,640 Speaker 2: why this feature is universally hated in movies and TV. 126 00:07:51,800 --> 00:07:54,640 Speaker 2: I think the low resolution principle may be working here 127 00:07:54,680 --> 00:07:57,360 Speaker 2: in reverse. We want there to be some mystery and 128 00:07:57,440 --> 00:07:59,720 Speaker 2: gaps to fill in when we are engaging with fiction, 129 00:08:00,200 --> 00:08:03,120 Speaker 2: so we can feel more like an active participant, even 130 00:08:03,120 --> 00:08:06,080 Speaker 2: though there may not be anything substantial we are actually 131 00:08:06,120 --> 00:08:09,720 Speaker 2: missing with normal film speed. Maybe our brains are translating 132 00:08:09,760 --> 00:08:12,360 Speaker 2: the lower bandwidth into a sense of mystery, which is 133 00:08:12,400 --> 00:08:15,840 Speaker 2: more enjoyable and engaging than the sterile, seeming high bandwidth 134 00:08:16,040 --> 00:08:19,040 Speaker 2: HFR version. Keep up the great work way. 135 00:08:19,840 --> 00:08:24,080 Speaker 3: Wayne, That is a really interesting idea. I don't know 136 00:08:24,160 --> 00:08:27,040 Speaker 3: if I think that that's correct or not, but I 137 00:08:27,080 --> 00:08:31,800 Speaker 3: can certainly agree that the high frame rate experience is 138 00:08:32,440 --> 00:08:35,920 Speaker 3: not one that feels very magical to me. And even worse, 139 00:08:35,960 --> 00:08:38,680 Speaker 3: I think, are the I don't even know technically what's 140 00:08:38,720 --> 00:08:40,360 Speaker 3: going on here, but the sort of you know, the 141 00:08:40,440 --> 00:08:44,040 Speaker 3: digital simulations of it with like the it's called different 142 00:08:44,040 --> 00:08:48,480 Speaker 3: things on different TVs, but the cursed motion smoothing effect 143 00:08:48,600 --> 00:08:51,480 Speaker 3: that comes as turned on by default, and a lot 144 00:08:51,480 --> 00:08:56,640 Speaker 3: of new televisions just looks abysmal. Awful movies look terrible 145 00:08:56,720 --> 00:08:57,400 Speaker 3: with this thing on. 146 00:08:58,920 --> 00:09:01,640 Speaker 2: Yeah, it's it can be quite an experience I was. 147 00:09:02,400 --> 00:09:04,040 Speaker 2: I was with my family and we were staying with 148 00:09:04,080 --> 00:09:07,200 Speaker 2: my wife's uncle and aunt, and you know, we were 149 00:09:07,200 --> 00:09:09,200 Speaker 2: staying at somebody's house. You don't want to go necessarily 150 00:09:09,280 --> 00:09:14,720 Speaker 2: messing around with other people's TV settings. Some folks don't 151 00:09:14,760 --> 00:09:17,600 Speaker 2: like that, and they don't mind showing you. Sorry it 152 00:09:17,679 --> 00:09:20,319 Speaker 2: laughs into a Texas chainsaw mESC A quote there, But 153 00:09:20,440 --> 00:09:22,360 Speaker 2: the point is still the same. It's it may be 154 00:09:22,400 --> 00:09:27,600 Speaker 2: impolite to mess around with someone's TV settings. So Uncle 155 00:09:27,600 --> 00:09:30,480 Speaker 2: and Ann had gone to bed. We decided to watch 156 00:09:30,760 --> 00:09:34,720 Speaker 2: Black Panther, of you know, spectacular special effects laden film 157 00:09:34,760 --> 00:09:37,360 Speaker 2: with some great performances in it as well some high drama. 158 00:09:37,800 --> 00:09:39,720 Speaker 2: But we had to face the fact are we going 159 00:09:39,760 --> 00:09:43,080 Speaker 2: to keep watching it in this strange format or are 160 00:09:43,120 --> 00:09:45,520 Speaker 2: we going to just go to bed early? We decided 161 00:09:45,520 --> 00:09:47,840 Speaker 2: to watch the whole film and it was still It 162 00:09:47,880 --> 00:09:50,240 Speaker 2: was still great. You know, a film like that I 163 00:09:50,280 --> 00:09:53,440 Speaker 2: think can take the visual ding. But it was weird. 164 00:09:53,480 --> 00:09:56,720 Speaker 2: It was like watching like an old school Doctor Who 165 00:09:56,800 --> 00:10:01,480 Speaker 2: episode instead of like the sleek Marvel Cinematic Universe film 166 00:10:01,480 --> 00:10:01,960 Speaker 2: that it is. 167 00:10:02,360 --> 00:10:04,160 Speaker 3: I don't know if i've I may have told the 168 00:10:04,200 --> 00:10:07,240 Speaker 3: story on the podcast before. If so, apologies, but one 169 00:10:07,280 --> 00:10:11,400 Speaker 3: time my wife and I started watching a significant chunk 170 00:10:11,440 --> 00:10:14,040 Speaker 3: of the first Lord of the Rings film with the 171 00:10:14,120 --> 00:10:16,640 Speaker 3: motions moothing on and a TV in a different place, 172 00:10:16,720 --> 00:10:20,400 Speaker 3: and wooh boy, I mean, how to really suck the 173 00:10:20,440 --> 00:10:23,760 Speaker 3: mystery and magic out of that prologue site with the 174 00:10:23,920 --> 00:10:26,200 Speaker 3: seal door and the you know, the Wargan saur on 175 00:10:26,360 --> 00:10:30,080 Speaker 3: and all that. It takes like the swirling mist and 176 00:10:30,160 --> 00:10:32,840 Speaker 3: haze of mythology and turns it into just kind of 177 00:10:32,880 --> 00:10:36,520 Speaker 3: like a hokey smudge. Everything looks so cheap and fake. 178 00:10:37,080 --> 00:10:40,920 Speaker 2: Wow. I mean, this is why you see some filmmakers 179 00:10:41,160 --> 00:10:46,720 Speaker 2: and actors railing against it. You know, it's it kind 180 00:10:46,720 --> 00:10:48,440 Speaker 2: of you know, it disrupts the way that the art 181 00:10:48,480 --> 00:10:50,760 Speaker 2: is supposed to be immuted and appreciated. 182 00:10:51,120 --> 00:10:53,200 Speaker 3: Now, to be fair, I think we have somewhat strayed 183 00:10:53,240 --> 00:10:57,320 Speaker 3: from because Wayne was talking about high frame rate video 184 00:10:57,400 --> 00:11:01,000 Speaker 3: content or high frame rate film. I don't know what 185 00:11:01,080 --> 00:11:05,800 Speaker 3: the exact technical relationship of that to the motion smoothing 186 00:11:05,800 --> 00:11:08,840 Speaker 3: effect on the TVs is, but I will say it 187 00:11:08,960 --> 00:11:12,120 Speaker 3: feels similar whatever is going on in these cases. I 188 00:11:12,160 --> 00:11:15,679 Speaker 3: don't know if there is significant overlap technically. 189 00:11:15,679 --> 00:11:19,920 Speaker 2: But the basic point about enhanced detail, taking away from immersion. 190 00:11:20,600 --> 00:11:23,040 Speaker 2: You do see that at times. You see it in 191 00:11:23,080 --> 00:11:25,480 Speaker 2: cases we've talked about in Weird House cinema before, where 192 00:11:25,640 --> 00:11:29,000 Speaker 2: there may be a wire visible, or a velcro a 193 00:11:29,080 --> 00:11:32,439 Speaker 2: velcros strap, or a zipper visible on a monster that 194 00:11:32,520 --> 00:11:35,559 Speaker 2: would not have been visible, and say the VHS age. 195 00:11:35,840 --> 00:11:37,839 Speaker 2: But now and with restore, you know, some of these 196 00:11:37,840 --> 00:11:41,160 Speaker 2: glorious restored editions we have, sometimes you get to see 197 00:11:41,160 --> 00:11:44,120 Speaker 2: the seams a little more than was intended. And I 198 00:11:44,200 --> 00:11:47,560 Speaker 2: understand it makes some of those old effects folks kind 199 00:11:47,600 --> 00:11:49,720 Speaker 2: of WinCE at times because they're like, I was never 200 00:11:49,760 --> 00:11:52,800 Speaker 2: meant to be seen like this, and yet now it is. Well. 201 00:11:53,040 --> 00:11:55,640 Speaker 3: But when I see a wire or a zipper today, 202 00:11:55,679 --> 00:11:58,599 Speaker 3: I find that charming. I mean, that's just lovely. I 203 00:11:59,120 --> 00:12:02,280 Speaker 3: do not feel that about the act of taking a 204 00:12:02,360 --> 00:12:06,160 Speaker 3: Grand tolkienesque battle scene and turning it into a soap opera. 205 00:12:07,040 --> 00:12:10,640 Speaker 2: Yeah. Yeah. Another example that comes to mind is sometimes 206 00:12:10,720 --> 00:12:14,040 Speaker 2: you'll be watching a period piece, you know, maybe it's 207 00:12:14,040 --> 00:12:18,920 Speaker 2: a medieval saga, and one of the heroes or villains 208 00:12:19,040 --> 00:12:21,640 Speaker 2: you know, gets a nice close up and they yell 209 00:12:21,800 --> 00:12:24,000 Speaker 2: something and when their mouth is open, you get to 210 00:12:24,000 --> 00:12:25,760 Speaker 2: see all of their dental work. All of their modern 211 00:12:25,840 --> 00:12:28,199 Speaker 2: don't work, and you know that might there might be 212 00:12:28,240 --> 00:12:29,640 Speaker 2: a case to be made there. It's like we were 213 00:12:29,640 --> 00:12:32,760 Speaker 2: never meant to see everything inside this actor's mouth with 214 00:12:32,800 --> 00:12:36,080 Speaker 2: perfect clarity. And you know, I'm not saying it ruins 215 00:12:36,080 --> 00:12:38,480 Speaker 2: a film or anything, but you know, for a split 216 00:12:38,520 --> 00:12:41,360 Speaker 2: second you're like, oh, oh, I see those feelings there, 217 00:12:41,480 --> 00:12:42,240 Speaker 2: medieval Warrior. 218 00:12:42,559 --> 00:12:44,840 Speaker 3: But so, to come back to Wayne's idea, I guess 219 00:12:44,840 --> 00:12:49,480 Speaker 3: the question would be, is that because part of the 220 00:12:49,520 --> 00:12:53,040 Speaker 3: magic of cinema relies on like the el tanna and 221 00:12:53,280 --> 00:12:58,280 Speaker 3: antenna effect, that like you're seeing some kind of something 222 00:12:58,360 --> 00:13:01,440 Speaker 3: is lower resolution, or some kind of information is missing 223 00:13:01,840 --> 00:13:04,760 Speaker 3: and part of the fun of watching cinema is letting 224 00:13:04,800 --> 00:13:08,640 Speaker 3: your mind fill in those gaps, or it is the 225 00:13:08,720 --> 00:13:11,840 Speaker 3: cause something else. Is there a different reason that we 226 00:13:12,240 --> 00:13:15,440 Speaker 3: prefer the look of the you know, traditional lower frame rate. 227 00:13:16,040 --> 00:13:26,720 Speaker 2: Yeah, these are great questions. All right, Well, you know 228 00:13:26,800 --> 00:13:29,320 Speaker 2: I think up next, Joe, it's time for our favorite 229 00:13:29,360 --> 00:13:32,120 Speaker 2: section of listener mail. It's time for a little more 230 00:13:32,160 --> 00:13:32,600 Speaker 2: tea talk. 231 00:13:32,880 --> 00:13:34,920 Speaker 3: All right, Well, I can read this one if you want, 232 00:13:34,960 --> 00:13:36,600 Speaker 3: but you're gonna have to comment on it because you're 233 00:13:36,640 --> 00:13:40,080 Speaker 3: the tea guy. Okay, you're the t man between us. 234 00:13:40,559 --> 00:13:40,640 Speaker 2: So. 235 00:13:40,760 --> 00:13:45,440 Speaker 3: This is from Susan on the Facebook discussion module. Susan says, 236 00:13:45,480 --> 00:13:49,360 Speaker 3: how did I not comment on Lapsong souchong before? I 237 00:13:49,400 --> 00:13:52,120 Speaker 3: feel like I did. It's just lost to time. AnyWho 238 00:13:52,240 --> 00:13:56,920 Speaker 3: Lapsong souchong is delicious. I'm not a fan of barbecue, 239 00:13:57,000 --> 00:13:59,480 Speaker 3: so I wouldn't call it that, but it definitely is 240 00:13:59,559 --> 00:14:02,480 Speaker 3: smoky all get out, or at least it should be. 241 00:14:03,040 --> 00:14:04,959 Speaker 3: I had to give it up, though, because my father 242 00:14:05,080 --> 00:14:08,440 Speaker 3: refuses to not make fun of the smell and I 243 00:14:08,480 --> 00:14:12,120 Speaker 3: got tired of it. I finally found a pooerr that 244 00:14:12,320 --> 00:14:15,120 Speaker 3: I've liked, which is exciting because all the others I've 245 00:14:15,120 --> 00:14:19,520 Speaker 3: tried have one percent tasted like boiled leather shoes. I 246 00:14:19,560 --> 00:14:22,240 Speaker 3: remember forcing myself to drink my way through a box 247 00:14:22,280 --> 00:14:24,640 Speaker 3: of it because I don't like to waste things, but 248 00:14:25,200 --> 00:14:28,640 Speaker 3: for some reason, I try again every few years. I 249 00:14:28,640 --> 00:14:31,160 Speaker 3: think the one I tried recently was a chocolate one, 250 00:14:31,200 --> 00:14:34,680 Speaker 3: and I guess my brain went chocolate shoe leather yum. 251 00:14:35,520 --> 00:14:38,080 Speaker 3: And then as a footnote, I guess to the idea 252 00:14:38,080 --> 00:14:40,840 Speaker 3: of not liking to throw things out or waste them. 253 00:14:40,960 --> 00:14:44,120 Speaker 3: Susan says this is also why I drank a box 254 00:14:44,120 --> 00:14:46,720 Speaker 3: of tea that tasted like hot kool aid discovered I 255 00:14:46,760 --> 00:14:49,320 Speaker 3: do not like the taste of hibiscus. 256 00:14:49,640 --> 00:14:51,280 Speaker 2: Hmm. You know, I haven't had a lot of high 257 00:14:51,320 --> 00:14:54,760 Speaker 2: biscus tea, but I do like some cocktail mixes that 258 00:14:54,840 --> 00:14:58,400 Speaker 2: involve high biscuits, like some things of that nature, some 259 00:14:58,400 --> 00:15:01,480 Speaker 2: sweeteners that have hibiscus head to them. But as for 260 00:15:01,800 --> 00:15:07,600 Speaker 2: her larger points here, I totally can relate to needing 261 00:15:07,640 --> 00:15:10,400 Speaker 2: to consume all of the tea that you buy. I 262 00:15:10,480 --> 00:15:12,320 Speaker 2: like trying out new teas and occasionally I get one 263 00:15:12,320 --> 00:15:14,960 Speaker 2: that I'm not crazy about. But I do feel like 264 00:15:15,000 --> 00:15:16,960 Speaker 2: I owe it to the tea to go ahead and 265 00:15:17,040 --> 00:15:19,960 Speaker 2: just go through the entire amount that I ordered, like 266 00:15:20,040 --> 00:15:21,840 Speaker 2: it would be. I'm not just going to leave it 267 00:15:21,840 --> 00:15:24,640 Speaker 2: in there and eventually throw it out. I'm not going 268 00:15:24,720 --> 00:15:28,000 Speaker 2: to compost it. I'm going to consume it, even if 269 00:15:28,000 --> 00:15:29,600 Speaker 2: I'm not crazy about it, you know, sort of in 270 00:15:29,600 --> 00:15:32,680 Speaker 2: a way, sort of give it to the end of 271 00:15:31,600 --> 00:15:35,760 Speaker 2: the package to try and win me over. Now, as 272 00:15:35,800 --> 00:15:41,160 Speaker 2: for the lopsong Sushan, I'm still getting used to it. 273 00:15:41,160 --> 00:15:43,760 Speaker 2: It's not going to be my everyday tea, but I 274 00:15:43,800 --> 00:15:47,200 Speaker 2: do enjoy it. And other members of my household are 275 00:15:47,240 --> 00:15:52,000 Speaker 2: tolerating it's aroma, so that's all well and good. But 276 00:15:52,200 --> 00:15:55,640 Speaker 2: I do love the poo airs. In fact, I'm drinking 277 00:15:55,760 --> 00:15:58,440 Speaker 2: at this very moment an evil snake king poo air 278 00:15:58,560 --> 00:16:01,160 Speaker 2: that I really like. And a number of these do 279 00:16:01,280 --> 00:16:04,360 Speaker 2: have a very kind of earthy, perhaps leathery, even kind 280 00:16:04,360 --> 00:16:09,080 Speaker 2: of barnyard sort of flavor profile. That. Yeah, it can 281 00:16:09,120 --> 00:16:10,040 Speaker 2: take some good news to. 282 00:16:10,680 --> 00:16:12,960 Speaker 3: All right, Rob, I want to take your pick between 283 00:16:12,960 --> 00:16:14,720 Speaker 3: these two weird house messages here. 284 00:16:15,240 --> 00:16:18,840 Speaker 2: Sure, sure, sure, Let's say we have one. This one 285 00:16:18,880 --> 00:16:22,640 Speaker 2: relates to Danger Diabolic. This one comes to us from 286 00:16:22,720 --> 00:16:31,240 Speaker 2: Paul Robin Joe. My wife and I watch Danger Diabolic 287 00:16:31,280 --> 00:16:34,000 Speaker 2: on Saturday night and thoroughly enjoyed it. After watching it, 288 00:16:34,040 --> 00:16:37,240 Speaker 2: though I have one observation and one question. First, you 289 00:16:37,320 --> 00:16:40,680 Speaker 2: noted in your review that Diabolic is more anti than 290 00:16:40,720 --> 00:16:44,080 Speaker 2: we may be used to in our anti heroes, in 291 00:16:44,120 --> 00:16:46,920 Speaker 2: that he murders people who don't seemingly deserve it based 292 00:16:46,920 --> 00:16:51,080 Speaker 2: on their actions. He definitely appears to quote unquote shoot first. However, 293 00:16:51,160 --> 00:16:53,640 Speaker 2: in the first heist we see in the film, he's 294 00:16:53,760 --> 00:16:56,960 Speaker 2: entirely nonviolent. The gas he uses to confuse the agents 295 00:16:56,960 --> 00:16:59,800 Speaker 2: guarding the cash as non toxic, and even when he's 296 00:16:59,840 --> 00:17:03,040 Speaker 2: being shot at from the helicopters, he's evasive but non 297 00:17:03,200 --> 00:17:06,919 Speaker 2: violent in response. It's only after the government reinstates the 298 00:17:07,000 --> 00:17:10,400 Speaker 2: death penalty specifically because of him, that we see him 299 00:17:10,480 --> 00:17:15,240 Speaker 2: use violent tactics. Maybe it's the government that shot first. Second, 300 00:17:15,320 --> 00:17:19,800 Speaker 2: where do supervillains hire their contractors? That underground Layer is fantastic, I, 301 00:17:19,880 --> 00:17:21,600 Speaker 2: on the other hand, have a hard time just finding 302 00:17:21,680 --> 00:17:24,800 Speaker 2: a competent plumber. Is there a secret version of Craigslist 303 00:17:24,920 --> 00:17:27,920 Speaker 2: only available to supervillains? Looking forward to the next weird 304 00:17:27,920 --> 00:17:28,520 Speaker 2: house cinema? 305 00:17:28,920 --> 00:17:33,000 Speaker 3: Paul, I do imagine if you are hiring people to 306 00:17:33,160 --> 00:17:37,600 Speaker 3: make modifications to your underground Layer and your Diabolic, you 307 00:17:37,800 --> 00:17:39,440 Speaker 3: will have the problem that you will have to find 308 00:17:39,520 --> 00:17:44,320 Speaker 3: contractors who accept as payment like sweaty, smelly money. 309 00:17:46,760 --> 00:17:49,439 Speaker 2: Yeah. I also had some of the same thoughts watching it, 310 00:17:49,520 --> 00:17:51,760 Speaker 2: like who built I mean? And then this is the 311 00:17:51,760 --> 00:17:53,919 Speaker 2: type of film where you can easily jump out of 312 00:17:53,960 --> 00:17:57,639 Speaker 2: that kind of of thinking, But yeah, who would build this? 313 00:17:57,760 --> 00:18:00,399 Speaker 2: Where did this come from? What is the origin story 314 00:18:00,400 --> 00:18:03,639 Speaker 2: of this vast facility underground? And I do love that 315 00:18:03,680 --> 00:18:06,399 Speaker 2: a film like Danger Diabolic does not feel like it 316 00:18:06,480 --> 00:18:11,080 Speaker 2: needs to explain that, whereas plenty of modern films would that. 317 00:18:11,160 --> 00:18:12,920 Speaker 2: Being said, you know, I do have to single out 318 00:18:13,240 --> 00:18:16,240 Speaker 2: the television series Better Call Saul for doing one of 319 00:18:16,280 --> 00:18:19,000 Speaker 2: the better jobs I've ever seen of explaining the origin 320 00:18:19,119 --> 00:18:23,159 Speaker 2: story of a complex underground villain's layer in a in 321 00:18:23,200 --> 00:18:26,159 Speaker 2: a believable sense, like how would this possibly come together? 322 00:18:26,480 --> 00:18:28,760 Speaker 2: And how would you possibly attempt to keep it secret? 323 00:18:29,160 --> 00:18:31,440 Speaker 2: On the subject of danger Diabolic, we also heard from 324 00:18:31,480 --> 00:18:40,439 Speaker 2: listener Matt in discord. He commented, quote Diabolic share some 325 00:18:40,600 --> 00:18:44,000 Speaker 2: DNA with chronicles of Riddick. I guess in that quote 326 00:18:44,080 --> 00:18:46,760 Speaker 2: evil should be fought with a different type of evil. 327 00:18:46,840 --> 00:18:50,840 Speaker 2: Unquote it's a pretty good point. Pretty good point. Yeah. However, 328 00:18:50,920 --> 00:18:53,720 Speaker 2: I will say there are no good guys encouraging Diabolic 329 00:18:53,840 --> 00:18:55,879 Speaker 2: to fight evil in the film. He just gets drawn 330 00:18:55,920 --> 00:19:02,200 Speaker 2: into a prolonged feud with criminals and government. Nobody's saying like, yes, 331 00:19:02,359 --> 00:19:06,159 Speaker 2: finally we can use Diabolic to uh to deliver us 332 00:19:06,160 --> 00:19:09,280 Speaker 2: from the tyranny of the government and or the crime lords. 333 00:19:09,800 --> 00:19:13,440 Speaker 3: Can you imagine in a movie that's Riddick versus Terry Thomas. 334 00:19:16,640 --> 00:19:22,640 Speaker 2: Oh well, it raises a tough quest like who would 335 00:19:22,680 --> 00:19:25,479 Speaker 2: be the modern Terry Thomas, who could do that? Who 336 00:19:25,520 --> 00:19:30,360 Speaker 2: would be the actor for that role? Wait, I think 337 00:19:30,359 --> 00:19:34,719 Speaker 2: I have an idea. I think Hugh Grant could do it. 338 00:19:35,280 --> 00:19:39,400 Speaker 2: Michael Sheen, I think would especially contemporary Michael Sheen could 339 00:19:39,440 --> 00:19:43,560 Speaker 2: do a nice one. Which is interesting because Michael Sheen 340 00:19:43,640 --> 00:19:46,000 Speaker 2: definitely had his sort of action period, his sort of 341 00:19:46,000 --> 00:19:48,359 Speaker 2: like Underworld three era where he would be more of 342 00:19:48,440 --> 00:19:53,080 Speaker 2: like a fitting like physical adversary of Riddick. But but 343 00:19:53,240 --> 00:19:56,200 Speaker 2: current Michael Sheen, he's at a different stage in his 344 00:19:56,440 --> 00:19:58,520 Speaker 2: life and career where he could and of course he's 345 00:19:58,560 --> 00:20:01,639 Speaker 2: a brilliant performer that can p a serious character as 346 00:20:01,680 --> 00:20:05,520 Speaker 2: well as a highly comedic and campy character. And I 347 00:20:05,520 --> 00:20:08,439 Speaker 2: think you would be particularly delicious as that kind of 348 00:20:08,480 --> 00:20:10,959 Speaker 2: adversary for maybe not maybe not for Riddic, but somebody 349 00:20:11,119 --> 00:20:11,560 Speaker 2: like critic. 350 00:20:11,840 --> 00:20:13,679 Speaker 3: Well you know what I was, I was half joking 351 00:20:13,720 --> 00:20:19,959 Speaker 3: about Hugh Grant, but actually he plays a bullseye Terry 352 00:20:20,040 --> 00:20:24,439 Speaker 3: Thomas role in the recent Dungeons and Dragons movie. I mean, 353 00:20:24,520 --> 00:20:26,000 Speaker 3: that's a Terry Thomas character. 354 00:20:26,320 --> 00:20:29,240 Speaker 2: It is, it is, and that is a great, great role, 355 00:20:29,359 --> 00:20:32,840 Speaker 2: great role in that film. I'm enjoying late career Hugh 356 00:20:32,840 --> 00:20:35,920 Speaker 2: Grant here he's playing an oople lumpenex, which I'm excited 357 00:20:35,960 --> 00:20:36,320 Speaker 2: to see. 358 00:20:36,359 --> 00:20:37,199 Speaker 3: Oh I didn't know that. 359 00:20:37,760 --> 00:20:40,080 Speaker 2: Oh yeah, yeah, it's in the trailer. Looks it looks 360 00:20:40,160 --> 00:20:42,720 Speaker 2: looks fabulous. All right, well, we're gonna go ahead and 361 00:20:42,760 --> 00:20:45,679 Speaker 2: close up the mail bag there real quick. You might 362 00:20:45,720 --> 00:20:48,800 Speaker 2: have heard us mention the discussion module. That's the Facebook group. 363 00:20:49,000 --> 00:20:50,840 Speaker 2: If you want to join it, you can just go 364 00:20:50,840 --> 00:20:53,760 Speaker 2: to go onto Facebook, look for it, and then request entry. 365 00:20:53,880 --> 00:20:56,200 Speaker 2: I think you have to answer the easiest question in 366 00:20:56,240 --> 00:20:59,159 Speaker 2: the world, what is the name of the podcast? And 367 00:20:59,240 --> 00:21:01,159 Speaker 2: if you can't get that, then you don't get in. 368 00:21:01,240 --> 00:21:04,639 Speaker 2: I'm sorry, you don't belong. You don't belong there. You 369 00:21:04,640 --> 00:21:07,000 Speaker 2: can try again another time. And you may have heard 370 00:21:07,080 --> 00:21:12,359 Speaker 2: us mentioned as well the discord page, the discord server, 371 00:21:12,440 --> 00:21:14,560 Speaker 2: or what have you. If you would like to access that, 372 00:21:15,000 --> 00:21:17,520 Speaker 2: just email us. We'll throw up that email addressed here 373 00:21:17,560 --> 00:21:19,679 Speaker 2: in a minute. And if you just email and say, hey, 374 00:21:19,720 --> 00:21:21,480 Speaker 2: I want to be in the discord, well we'll send 375 00:21:21,480 --> 00:21:24,119 Speaker 2: you the link to access the discord. It's pretty easy. 376 00:21:24,480 --> 00:21:28,360 Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway. 377 00:21:28,560 --> 00:21:30,200 Speaker 3: If you would like to get in touch with us 378 00:21:30,200 --> 00:21:32,960 Speaker 3: with feedback on this episode, or any other to suggest 379 00:21:33,119 --> 00:21:35,639 Speaker 3: topic for the future, or just to say hello. You 380 00:21:35,640 --> 00:21:38,760 Speaker 3: can email us at contact at stuff to Blow your 381 00:21:38,840 --> 00:21:47,000 Speaker 3: Mind dot com. 382 00:21:47,160 --> 00:21:50,119 Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. 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