1 00:00:03,040 --> 00:00:06,080 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:10,080 --> 00:00:12,240 Speaker 2: Hey, welcome to Stuff to Blow your Mind. Listener mail. 3 00:00:12,320 --> 00:00:13,560 Speaker 2: My name is Robert. 4 00:00:13,360 --> 00:00:16,439 Speaker 3: Lamb and I am Joe McCormick, and it's Monday, the 5 00:00:16,520 --> 00:00:18,799 Speaker 3: day of each week that we read back messages from 6 00:00:18,880 --> 00:00:21,720 Speaker 3: the Stuff to Blow your Mind mail bag. If you 7 00:00:21,760 --> 00:00:23,639 Speaker 3: have never gotten in touch and you would like to, 8 00:00:23,680 --> 00:00:25,800 Speaker 3: why not give it a shot. You can email us 9 00:00:25,800 --> 00:00:29,480 Speaker 3: at contact at stuff to Blow your Mind dot com. 10 00:00:30,200 --> 00:00:33,199 Speaker 3: Whatever you want to send is fine. Obviously a lot 11 00:00:33,200 --> 00:00:35,879 Speaker 3: of people send in feedback to recent episodes. Maybe they 12 00:00:35,880 --> 00:00:38,519 Speaker 3: have something interesting they want to add to something we 13 00:00:38,600 --> 00:00:43,000 Speaker 3: talked about, or a question about the subject matter. Corrections 14 00:00:43,000 --> 00:00:45,280 Speaker 3: are welcome as well. Any of that. Just send it 15 00:00:45,320 --> 00:00:47,760 Speaker 3: on in. Or if you just want to say hello, 16 00:00:47,800 --> 00:00:49,800 Speaker 3: tell us how you listen to the show, where you're from, 17 00:00:49,840 --> 00:00:52,440 Speaker 3: and so forth, that's all fair game too. Send it 18 00:00:52,479 --> 00:00:56,440 Speaker 3: on in contact at stuff to Blow your Mind dot com. 19 00:00:57,000 --> 00:00:58,960 Speaker 3: Let's see, Rob, do you mind if I kick things 20 00:00:59,000 --> 00:01:01,800 Speaker 3: off with this message for Steve about our series on 21 00:01:02,000 --> 00:01:03,600 Speaker 3: the on Horse Hooves. 22 00:01:04,200 --> 00:01:11,120 Speaker 2: Yeah, let's have it, Steve. 23 00:01:10,880 --> 00:01:13,880 Speaker 3: Says, Hi again, Robert and Joe in Your Hooves Part two, 24 00:01:13,920 --> 00:01:18,880 Speaker 3: Episode Robert briefly mentioned the discovery that five fingers become 25 00:01:19,160 --> 00:01:22,080 Speaker 3: one in horse embryos during one of the phases of 26 00:01:22,120 --> 00:01:24,600 Speaker 3: their growth. I have to stop you right there, Steve. 27 00:01:24,640 --> 00:01:27,160 Speaker 3: That was me that said that, not Robert. But you know, 28 00:01:27,760 --> 00:01:30,880 Speaker 3: people mix us up sometimes It's okay, it happens. Yeah, 29 00:01:30,920 --> 00:01:35,040 Speaker 3: we're not wearing name tags. Steve goes on. Though quite interesting, 30 00:01:35,080 --> 00:01:38,720 Speaker 3: this revelation did not surprise me because it seems like 31 00:01:38,800 --> 00:01:42,040 Speaker 3: I've read about similar discoveries regarding the development of embryos 32 00:01:42,080 --> 00:01:45,880 Speaker 3: and all kinds of different animals, not specifically about fingers, 33 00:01:45,920 --> 00:01:48,600 Speaker 3: but a general pattern of growth that seems to repeat 34 00:01:48,680 --> 00:01:52,760 Speaker 3: known evolutionary developments, beginning from the very simple and progressing 35 00:01:52,760 --> 00:01:56,480 Speaker 3: to more complex forms, almost like a reenacted history of 36 00:01:56,520 --> 00:02:00,400 Speaker 3: a given animals deep evolutionary past up to its present 37 00:02:00,440 --> 00:02:05,720 Speaker 3: physical paradigm or morphological configuration. This possibility is fascinating, but 38 00:02:05,840 --> 00:02:08,120 Speaker 3: I don't know if there's a biological term for it, 39 00:02:08,280 --> 00:02:10,680 Speaker 3: or if it is something that has even been rigorously 40 00:02:10,760 --> 00:02:14,280 Speaker 3: examined as a legitimate part of the gestation slash growth 41 00:02:14,360 --> 00:02:18,600 Speaker 3: process of embryonic science. I'm not a biologist or a scientist, 42 00:02:18,720 --> 00:02:20,880 Speaker 3: but I have been a student of human anatomy and 43 00:02:20,960 --> 00:02:24,880 Speaker 3: how it affects external form. Having professional experience as both 44 00:02:24,880 --> 00:02:29,119 Speaker 3: a biomedical designer of three D printed titanium surgical guides 45 00:02:29,160 --> 00:02:32,799 Speaker 3: and as a figurative sculptor. From this perspective, I can 46 00:02:32,800 --> 00:02:36,839 Speaker 3: imagine how there might be structural slash shock absorbing advantages 47 00:02:37,320 --> 00:02:41,320 Speaker 3: to merging five fingers together from one in your example 48 00:02:41,360 --> 00:02:44,040 Speaker 3: of a horse hoof, if some traces of the other 49 00:02:44,160 --> 00:02:48,240 Speaker 3: four remain integrated with the whole. This is a crude analogy, 50 00:02:48,280 --> 00:02:50,560 Speaker 3: but if you try to break five sticks in a half, 51 00:02:50,600 --> 00:02:53,520 Speaker 3: it can be more difficult than breaking one, because there 52 00:02:53,560 --> 00:02:57,040 Speaker 3: is potentially more flexibility in the separate thin sticks than 53 00:02:57,080 --> 00:03:00,760 Speaker 3: one thick one. At the risk of betraying my profe ignorance, 54 00:03:00,840 --> 00:03:03,800 Speaker 3: I also wonder if there is some kind of potential 55 00:03:03,960 --> 00:03:07,880 Speaker 3: energy conservation in the storage of DNA derived information used 56 00:03:07,880 --> 00:03:11,120 Speaker 3: by nature to control embryonic development from simple to more 57 00:03:11,120 --> 00:03:16,480 Speaker 3: complex states inherent in the DNA simply stacking revised versions 58 00:03:16,480 --> 00:03:19,360 Speaker 3: of itself on top of older versions. Thank you as 59 00:03:19,400 --> 00:03:23,160 Speaker 3: always for the fantastic content, and congrats again to Joe 60 00:03:23,240 --> 00:03:26,480 Speaker 3: on being a new dad. Happy Father's Day, Steve. Oh, 61 00:03:26,520 --> 00:03:30,880 Speaker 3: thank you Steve well. Regarding your question about animal embryos 62 00:03:31,080 --> 00:03:35,880 Speaker 3: sort of repeating their evolutionary history as they develop. We 63 00:03:35,920 --> 00:03:37,880 Speaker 3: could come back one day and do a deeper dive 64 00:03:37,920 --> 00:03:40,200 Speaker 3: on this, but I'll try to do the very short 65 00:03:40,200 --> 00:03:44,600 Speaker 3: and simple version. There is actually an obsolete hypothesis in 66 00:03:44,680 --> 00:03:47,720 Speaker 3: the history of evolutionary theory, no longer held to today, 67 00:03:48,680 --> 00:03:53,480 Speaker 3: associated most with the German naturalist Ernst Heckel, that proposes 68 00:03:54,120 --> 00:03:57,400 Speaker 3: that as an animal embryo develops, it essentially goes through 69 00:03:57,520 --> 00:04:02,320 Speaker 3: all of its ancestral forms from quote lowest to highest. 70 00:04:02,520 --> 00:04:06,080 Speaker 3: So a developing horse embryo would at some point to 71 00:04:06,120 --> 00:04:09,240 Speaker 3: sort of become a fish and then become a primitive tetrapod, 72 00:04:09,320 --> 00:04:13,240 Speaker 3: et cetera. This idea was summarized in the slogan that 73 00:04:13,360 --> 00:04:19,600 Speaker 3: quote ontogeny recapitulates phylogeny ontogeny meaning the development of an 74 00:04:19,600 --> 00:04:25,159 Speaker 3: individual organism, phylogeny meaning its evolutionary history. We note today 75 00:04:25,200 --> 00:04:29,320 Speaker 3: that as a blanket statement, this hypothesis was not correct. 76 00:04:30,320 --> 00:04:32,760 Speaker 3: In fact, it seems that while Ernest Teckel was a 77 00:04:32,800 --> 00:04:37,080 Speaker 3: great illustrator, he probably fudged some of his drawings of 78 00:04:37,120 --> 00:04:40,800 Speaker 3: animal embryos to make them better fit with his hypothesis. 79 00:04:41,680 --> 00:04:45,560 Speaker 3: But a few general comments about this idea. First of all, 80 00:04:45,680 --> 00:04:48,640 Speaker 3: in evolution, there is not actually a higher or lower. 81 00:04:49,200 --> 00:04:52,160 Speaker 3: You can order your ancestors or the ancestors of a 82 00:04:52,200 --> 00:04:56,480 Speaker 3: species chronologically, but that progression is not actually like climbing 83 00:04:56,520 --> 00:05:00,880 Speaker 3: a mountain of sophistication or refinement to quote high higher forms. 84 00:05:00,920 --> 00:05:04,240 Speaker 3: At each stage, the organism is simply adapting to its 85 00:05:04,320 --> 00:05:07,760 Speaker 3: environment and whatever pressure has happen to weigh upon it 86 00:05:07,839 --> 00:05:11,400 Speaker 3: at that point in time. But even more importantly, scientists 87 00:05:11,400 --> 00:05:15,359 Speaker 3: have discovered that ontogeny, the growth of an individual organism, 88 00:05:15,800 --> 00:05:19,839 Speaker 3: is something that itself evolves like, so how an organism 89 00:05:19,920 --> 00:05:23,279 Speaker 3: grows is something that can be selected for, and different 90 00:05:23,360 --> 00:05:26,840 Speaker 3: organisms go through different kinds of developmental stages that are 91 00:05:26,880 --> 00:05:30,479 Speaker 3: selected for the needs of the species. But it is 92 00:05:30,640 --> 00:05:36,400 Speaker 3: true that organisms in development often do manifest particular features 93 00:05:36,440 --> 00:05:41,040 Speaker 3: that look like the embryonic forms of distant ancestors, even 94 00:05:41,080 --> 00:05:44,480 Speaker 3: if those forms are not found in adults of the 95 00:05:44,480 --> 00:05:48,359 Speaker 3: embryo's own species. Hence, you get horse embryos with five 96 00:05:48,680 --> 00:05:52,120 Speaker 3: distinct toes before they vanish and then become more like 97 00:05:52,160 --> 00:05:55,040 Speaker 3: the horse hoof that it will have when it's after 98 00:05:55,120 --> 00:05:57,400 Speaker 3: it's born, or you get things like a rob You 99 00:05:57,440 --> 00:05:59,480 Speaker 3: mentioned this example, when it came up in the episode 100 00:06:00,080 --> 00:06:03,760 Speaker 3: Untold Nostrils and Dolphins. Dolphin embryos will first have a 101 00:06:03,800 --> 00:06:07,640 Speaker 3: more frontally positioned nostril that gradually moves to become a 102 00:06:07,680 --> 00:06:11,880 Speaker 3: top facing blowhole as the embryo develops. But this kind 103 00:06:11,880 --> 00:06:16,800 Speaker 3: of thing is contingent. These are isolated examples of where 104 00:06:16,839 --> 00:06:19,960 Speaker 3: that happens, and as a general rule, an organism does 105 00:06:20,000 --> 00:06:23,160 Speaker 3: not have to go through all of the past stages 106 00:06:23,160 --> 00:06:27,400 Speaker 3: of its evolutionary history during growth. Sometimes it shows some 107 00:06:27,560 --> 00:06:30,479 Speaker 3: of them, and so the interesting question becomes in the 108 00:06:30,520 --> 00:06:33,760 Speaker 3: cases when it does. Why is that? I don't know 109 00:06:33,880 --> 00:06:36,920 Speaker 3: enough to comment on your idea about like the efficiency 110 00:06:37,120 --> 00:06:40,159 Speaker 3: of information storage in DNA, whether it's more efficient to 111 00:06:40,279 --> 00:06:42,359 Speaker 3: just like stack the new plan on top of the 112 00:06:42,360 --> 00:06:45,000 Speaker 3: older I couldn't say, but it could be interesting to 113 00:06:45,000 --> 00:06:46,240 Speaker 3: come back and look at that someday. 114 00:06:46,440 --> 00:06:50,080 Speaker 2: Absolutely all right. The next message comes to us from 115 00:06:50,200 --> 00:06:56,400 Speaker 2: Jamie concerning our episodes on Dreams and if memory serves this, 116 00:06:56,600 --> 00:06:58,800 Speaker 2: I think this came out after the first episode, but 117 00:06:58,839 --> 00:07:07,480 Speaker 2: before the second. Yeah, Jamie writes, Dear Robert and Joe, 118 00:07:07,680 --> 00:07:10,360 Speaker 2: I'm enjoying the pod as always, and especially your recent 119 00:07:10,400 --> 00:07:13,680 Speaker 2: episode on Dreams. It reminded me that, as Frank Herbert 120 00:07:13,720 --> 00:07:17,280 Speaker 2: tells us, dreams our messages from the deep. I wonder 121 00:07:17,320 --> 00:07:20,360 Speaker 2: if Herbert was drawing in this as in so much 122 00:07:20,360 --> 00:07:23,640 Speaker 2: of the Doom series on Islamic tradition, in which there 123 00:07:23,680 --> 00:07:27,160 Speaker 2: is a long history of the interpretation of dreams. In fact, 124 00:07:27,200 --> 00:07:30,040 Speaker 2: there is a hattoth Or tradition in which the prophet 125 00:07:30,120 --> 00:07:32,440 Speaker 2: Muhammad is said to have said a good vision is 126 00:07:32,440 --> 00:07:35,520 Speaker 2: from Allah and a bad dream is from Satan, with 127 00:07:35,680 --> 00:07:40,360 Speaker 2: various later scholars developing methods for distinguishing good from bad dreams. 128 00:07:40,920 --> 00:07:43,680 Speaker 2: If this sounds very similar to Homer's Gates of Horn 129 00:07:43,760 --> 00:07:46,600 Speaker 2: and Ivory, I think that's probably because, rather than being 130 00:07:47,120 --> 00:07:51,720 Speaker 2: some kind of opponent or negation of classical antiquity, much 131 00:07:51,720 --> 00:07:54,840 Speaker 2: of early Islamic thought and civilization was actually a continuation 132 00:07:54,960 --> 00:07:59,560 Speaker 2: of it. Looking forward to the next installment, best wishes, Jamie, Well, 133 00:07:59,560 --> 00:08:03,320 Speaker 2: thanks for Jamie where of course, we're always up for 134 00:08:04,160 --> 00:08:10,320 Speaker 2: any questions or comments concerning Dune And now this particular quote. 135 00:08:11,000 --> 00:08:13,080 Speaker 2: Joe and I were just talking about this off mic 136 00:08:13,160 --> 00:08:16,360 Speaker 2: before we came in here, but this quote is from 137 00:08:16,760 --> 00:08:22,000 Speaker 2: the recent Part one movie adaptation, but does not occur 138 00:08:22,160 --> 00:08:24,480 Speaker 2: in the actual Frank Herbert novel. 139 00:08:24,800 --> 00:08:26,680 Speaker 3: Or at least we couldn't find evidence of it. I 140 00:08:26,720 --> 00:08:28,640 Speaker 3: think it is not in the novel. I saw some 141 00:08:28,800 --> 00:08:31,480 Speaker 3: website in my quick googling here saying it was just 142 00:08:31,680 --> 00:08:34,120 Speaker 3: unique to the film, but it is how the Dnievil 143 00:08:34,200 --> 00:08:35,760 Speaker 3: New movie begins. 144 00:08:36,160 --> 00:08:39,599 Speaker 2: Yeah. Now that's not to say dreams are not important 145 00:08:39,640 --> 00:08:44,200 Speaker 2: within the novel Dune, and then ultimately within the larger 146 00:08:44,280 --> 00:08:47,559 Speaker 2: series of Dune novels that Frank Herbert wrote, dreams do 147 00:08:47,640 --> 00:08:50,360 Speaker 2: play an important role there, and of course he does 148 00:08:50,480 --> 00:08:56,360 Speaker 2: draw tremendously on Islamic culture and Islamic ideas, including I think, 149 00:08:56,360 --> 00:08:59,319 Speaker 2: the importance of dreams. At the same time, he also 150 00:08:59,440 --> 00:09:03,280 Speaker 2: ends up drawing heavily on like Jungian ideas of concerning 151 00:09:03,480 --> 00:09:06,480 Speaker 2: like dreams. So I think likely with this quote that 152 00:09:06,480 --> 00:09:08,680 Speaker 2: they put together for the film, they are you know, 153 00:09:08,760 --> 00:09:10,280 Speaker 2: they're hinting at both of those. 154 00:09:10,600 --> 00:09:14,200 Speaker 3: Now, Jamie, As for your quote from the Hadith, I 155 00:09:14,320 --> 00:09:16,079 Speaker 3: was interested in this, so I went and looked it 156 00:09:16,160 --> 00:09:18,400 Speaker 3: up in a couple of online databases for the hadith, 157 00:09:18,440 --> 00:09:22,240 Speaker 3: which are collections of the sayings and sometimes the deeds 158 00:09:22,280 --> 00:09:25,760 Speaker 3: of the prophet Muhammad, organized by like which teacher or 159 00:09:25,880 --> 00:09:29,959 Speaker 3: companion of the prophet recorded or narrated them. So when 160 00:09:29,960 --> 00:09:32,880 Speaker 3: I dug this up on an English language resource called 161 00:09:32,920 --> 00:09:38,760 Speaker 3: the Prophetic Hadith Encyclopedia, it records two very similar sayings 162 00:09:39,080 --> 00:09:41,520 Speaker 3: next to each other. One of them is passed on 163 00:09:41,679 --> 00:09:44,840 Speaker 3: by Abu Qatada, which says a good vision is from 164 00:09:44,880 --> 00:09:48,000 Speaker 3: Allah and a bad dream is from the devil. If 165 00:09:48,040 --> 00:09:50,960 Speaker 3: any one of you sees something which he dislikes, he 166 00:09:51,000 --> 00:09:54,600 Speaker 3: should spit on his left three times and seek refuge 167 00:09:54,640 --> 00:09:58,079 Speaker 3: with Allah from the devil, then it will not harm him. 168 00:09:58,360 --> 00:10:01,000 Speaker 3: And then there's a second recorded similar to the second 169 00:10:01,080 --> 00:10:03,880 Speaker 3: half of that. This one is attributed to the version 170 00:10:03,920 --> 00:10:06,800 Speaker 3: told by Jabir that says, if any one of you 171 00:10:06,880 --> 00:10:09,480 Speaker 3: sees a dream which he dislikes, then let him spit 172 00:10:09,600 --> 00:10:12,840 Speaker 3: three times on his left side, seek refuge with Allah 173 00:10:12,880 --> 00:10:16,400 Speaker 3: from the devil three times, and then change his sleeping position. 174 00:10:17,559 --> 00:10:21,600 Speaker 3: And the interpretive material with it says that this last 175 00:10:21,600 --> 00:10:23,960 Speaker 3: piece of advice probably means if you're sleeping on one side, 176 00:10:24,040 --> 00:10:26,520 Speaker 3: roll over to the other side. And it struck me 177 00:10:26,559 --> 00:10:30,120 Speaker 3: as interesting because the advice attributed to the prophet here 178 00:10:30,200 --> 00:10:34,880 Speaker 3: for repelling a nightmare, which may well be from Satan, 179 00:10:35,440 --> 00:10:38,280 Speaker 3: is a mix of the sacred and the mundane, like 180 00:10:38,360 --> 00:10:41,000 Speaker 3: it says to take refuge with Allah to be protected 181 00:10:41,040 --> 00:10:44,200 Speaker 3: from the devil, but also to roll over onto your 182 00:10:44,240 --> 00:10:48,600 Speaker 3: other side. Oh yeah, and also to spit three times 183 00:10:48,600 --> 00:10:51,920 Speaker 3: on the left side. So yeah, scholars of the Hadith 184 00:10:52,000 --> 00:10:55,400 Speaker 3: or Islamic history, if you're listening, you've got any contexts 185 00:10:55,400 --> 00:10:58,600 Speaker 3: on this kind of advice, I'd be curious if there's 186 00:10:58,640 --> 00:10:59,800 Speaker 3: anything more to know about this. 187 00:11:00,400 --> 00:11:02,880 Speaker 2: Yeah. Yeah, because we in the second episode in our 188 00:11:02,920 --> 00:11:07,320 Speaker 2: dream series, we get into some Islamic dream traditions, but 189 00:11:07,360 --> 00:11:11,280 Speaker 2: they are keyed into a very particular time and place 190 00:11:11,400 --> 00:11:15,520 Speaker 2: within the Islamic world. So there's so much that we 191 00:11:15,600 --> 00:11:19,240 Speaker 2: did not research or cover for that part of the episode. 192 00:11:19,520 --> 00:11:21,880 Speaker 2: All right, so we skip ahead to some Weird House 193 00:11:21,920 --> 00:11:22,880 Speaker 2: Cinema messages. 194 00:11:23,520 --> 00:11:25,760 Speaker 3: Oh yeah, okay, So to kick things off on Weird 195 00:11:25,800 --> 00:11:28,040 Speaker 3: House Cinema, I'm going to mention that we heard back 196 00:11:28,040 --> 00:11:31,360 Speaker 3: from Michelle who wrote in and we read her message 197 00:11:31,360 --> 00:11:35,320 Speaker 3: on a previous Listener mail episode where she described a 198 00:11:35,360 --> 00:11:39,000 Speaker 3: movie that she had seen about a woman who left 199 00:11:39,040 --> 00:11:42,560 Speaker 3: her human boyfriend in favor of a relationship with a robot. 200 00:11:42,960 --> 00:11:45,760 Speaker 3: Gave us some plot details and so forth, and we 201 00:11:45,760 --> 00:11:48,280 Speaker 3: were trying to figure out what the movie was. We failed. 202 00:11:48,320 --> 00:11:51,160 Speaker 3: We also tried to see if AI could help us 203 00:11:51,160 --> 00:11:54,160 Speaker 3: with the task. AI also failed. But then we read 204 00:11:54,160 --> 00:11:57,000 Speaker 3: the message out and it turns out that one of 205 00:11:57,040 --> 00:11:59,520 Speaker 3: the listeners who got in touch with the potential answer 206 00:11:59,840 --> 00:12:08,240 Speaker 3: was on the money. Michelle says, thanks guys, and Chris. 207 00:12:08,360 --> 00:12:11,440 Speaker 3: Chris was the listener who wrote in about this. The 208 00:12:11,559 --> 00:12:14,840 Speaker 3: Creation of the Humanoids is the movie I was thinking of. 209 00:12:14,960 --> 00:12:17,719 Speaker 3: This was the one from the nineteen sixties, was not 210 00:12:17,840 --> 00:12:20,000 Speaker 3: in black and white as she originally said. I think 211 00:12:20,040 --> 00:12:22,520 Speaker 3: this one is in color. But Rob you said this 212 00:12:22,559 --> 00:12:24,440 Speaker 3: one looked like it was worth a look. 213 00:12:25,080 --> 00:12:27,800 Speaker 2: I believe Michael Weldon's write up of it said it 214 00:12:27,840 --> 00:12:30,440 Speaker 2: was fun and hey, it has Dudley man Love in it, 215 00:12:30,480 --> 00:12:35,560 Speaker 2: with that cinematic charisma like that in the cast. You 216 00:12:35,600 --> 00:12:37,160 Speaker 2: can't dismiss it. You've got to go in for a 217 00:12:37,160 --> 00:12:37,800 Speaker 2: closer look. 218 00:12:38,160 --> 00:12:40,440 Speaker 3: Don't you sometimes wish it had been Dudley man Love 219 00:12:40,480 --> 00:12:42,400 Speaker 3: in the role in two thousand and one, Like he's 220 00:12:42,440 --> 00:12:45,040 Speaker 3: the one going through the stargate, He's there in the 221 00:12:46,200 --> 00:12:48,000 Speaker 3: baroque French room and all that. 222 00:12:48,240 --> 00:12:50,760 Speaker 2: Man, If only, if only it could have been your 223 00:12:50,880 --> 00:13:02,800 Speaker 2: stupid mind. This the next one comes to us from Kelsey. 224 00:13:02,920 --> 00:13:06,079 Speaker 2: Kelsey says, Hello Robin Joe. While I love the regular 225 00:13:06,080 --> 00:13:08,800 Speaker 2: feed of science efacts and tellings, I normally only half 226 00:13:08,800 --> 00:13:10,880 Speaker 2: listened to the Weird House Cinema episodes, as I have 227 00:13:11,000 --> 00:13:14,040 Speaker 2: never had the attention to watch movies, and especially ones 228 00:13:14,040 --> 00:13:18,480 Speaker 2: with strange plots, weird storylines, etc. However, when I saw 229 00:13:18,600 --> 00:13:21,960 Speaker 2: Blade come across this week, I knew I had to 230 00:13:22,080 --> 00:13:25,000 Speaker 2: listen see. I am a young millennial whose mother had 231 00:13:25,000 --> 00:13:28,720 Speaker 2: a strange fascination with Wesley Snipes. So when these movies 232 00:13:28,760 --> 00:13:31,800 Speaker 2: came out, and when we subscribe to mail order Netflix 233 00:13:31,800 --> 00:13:34,880 Speaker 2: in the following years, my mom insisted that her children 234 00:13:34,960 --> 00:13:38,080 Speaker 2: watch them with her. Now, my sister and I are 235 00:13:38,320 --> 00:13:41,240 Speaker 2: neither quite thirty years old yet, so this places us 236 00:13:41,320 --> 00:13:44,160 Speaker 2: in the under ten category when these movies were released. 237 00:13:44,880 --> 00:13:47,320 Speaker 2: This may not seem strange except for the fact that 238 00:13:47,360 --> 00:13:50,320 Speaker 2: I was raised in a very Christian conservative household where 239 00:13:50,360 --> 00:13:53,720 Speaker 2: Harry Potter and the Da Vinci Code were banned. I 240 00:13:53,840 --> 00:13:56,000 Speaker 2: was shocked when you describe the amount of cursing in 241 00:13:56,040 --> 00:14:00,439 Speaker 2: the movie, as in our household, even euphemisms for such 242 00:14:00,440 --> 00:14:04,320 Speaker 2: as darn or frick were off limits. Anyways, I guess 243 00:14:04,320 --> 00:14:07,120 Speaker 2: it goes to show you how much influence Wesley Snipes 244 00:14:07,440 --> 00:14:10,520 Speaker 2: has in the world. Ps. I also had a garage 245 00:14:10,559 --> 00:14:13,640 Speaker 2: TV growing up with that my dad would often watch 246 00:14:13,800 --> 00:14:16,960 Speaker 2: while working on cars, tractors, et cetera. I believe it 247 00:14:17,280 --> 00:14:19,400 Speaker 2: was the style that they built in VCR. 248 00:14:19,760 --> 00:14:24,920 Speaker 3: Sincerely, Kelsey, is this because I mentioned that I watched 249 00:14:25,400 --> 00:14:27,320 Speaker 3: Blade on a garage TV? 250 00:14:28,120 --> 00:14:30,320 Speaker 2: I think you did. Yeah, that was as an episode 251 00:14:30,320 --> 00:14:33,600 Speaker 2: from last year that we reran recently. 252 00:14:33,840 --> 00:14:36,440 Speaker 3: Well, I love this email. So yeah, Harry Potter, the 253 00:14:36,480 --> 00:14:40,800 Speaker 3: Da Vinci Code demonic, absolute hard. No, but Blade the 254 00:14:41,520 --> 00:14:46,680 Speaker 3: R rated non stop swearfest with like beheadings and people 255 00:14:46,760 --> 00:14:49,240 Speaker 3: like melting into piles of blood. That's good. 256 00:14:49,920 --> 00:14:52,800 Speaker 2: Well, you know where Blade stands, you know where he stands, 257 00:14:53,400 --> 00:14:55,840 Speaker 2: and it is just it's a captivating performance. It's just 258 00:14:56,440 --> 00:15:00,400 Speaker 2: as we discussed at length in that episode. I mean, 259 00:15:00,440 --> 00:15:02,560 Speaker 2: Wesley Snipes just absolutely brings it. 260 00:15:02,840 --> 00:15:06,440 Speaker 3: Who could disagree? But wait, Kelsey says she she says 261 00:15:06,680 --> 00:15:09,680 Speaker 3: these movies so not just Blade. It sounds like she's 262 00:15:09,720 --> 00:15:13,560 Speaker 3: talking about the Blade franchise. Like, Kelsey, if you if 263 00:15:13,600 --> 00:15:15,760 Speaker 3: you want to reply to us again, do you mean 264 00:15:15,800 --> 00:15:20,360 Speaker 3: that your mom also Netflix ordered Blade two and Blade 265 00:15:20,440 --> 00:15:22,760 Speaker 3: three and so forth. I don't know if there ever 266 00:15:22,880 --> 00:15:24,760 Speaker 3: was a Blade four, Like did you see them all? 267 00:15:25,760 --> 00:15:28,720 Speaker 2: No, there was no four. There was there was Blade one, terrific, 268 00:15:29,400 --> 00:15:34,920 Speaker 2: Blade two, incredible, Blade three almost entirely disappointing outside of 269 00:15:35,520 --> 00:15:38,520 Speaker 2: like one or two lines from Blade. Then there was 270 00:15:38,560 --> 00:15:42,440 Speaker 2: a TV series which I haven't seen, that does not 271 00:15:42,520 --> 00:15:45,480 Speaker 2: have Wesley Snipes in it. And then I think there 272 00:15:45,480 --> 00:15:47,360 Speaker 2: may have been some animated stuff as well, and so 273 00:15:47,400 --> 00:15:50,640 Speaker 2: forth here and there. But you know, we're on the 274 00:15:50,760 --> 00:15:53,240 Speaker 2: we're on the cusp of getting a new Blade film. 275 00:15:53,840 --> 00:15:55,880 Speaker 2: His fingers crossed that they can they can make it work. 276 00:15:55,920 --> 00:15:58,360 Speaker 2: It sounds like it's off to they keep changing who's 277 00:15:58,400 --> 00:16:01,640 Speaker 2: involved in it, and there have been some shakeups with it, 278 00:16:02,120 --> 00:16:04,160 Speaker 2: but I mean, at hard it sounds like they're going 279 00:16:04,200 --> 00:16:07,400 Speaker 2: back to some of the core material concerning this character. 280 00:16:07,680 --> 00:16:11,000 Speaker 2: And yeah, I'm fingers crossed that it's great. 281 00:16:11,240 --> 00:16:14,360 Speaker 3: I actually saw Blade two since we recorded that episode. 282 00:16:14,400 --> 00:16:15,880 Speaker 3: A friend of mine was like, well, you've got to 283 00:16:15,920 --> 00:16:18,080 Speaker 3: see it, and he brought it over for us to watch. 284 00:16:18,440 --> 00:16:22,160 Speaker 3: It was fantastic fun. But that movie is so two 285 00:16:22,200 --> 00:16:22,920 Speaker 3: thousand and two. 286 00:16:25,640 --> 00:16:29,400 Speaker 2: Yeah, yeah, I haven't watched it in many years at 287 00:16:29,400 --> 00:16:33,400 Speaker 2: this point, but I mean, it's got that Del Toro 288 00:16:33,520 --> 00:16:38,600 Speaker 2: charm to it. Like Del Toro's monsters definitely occupy the 289 00:16:38,640 --> 00:16:42,640 Speaker 2: film monsters that you're supposed to be a sympathetic for 290 00:16:42,840 --> 00:16:47,360 Speaker 2: on some level, but they also are entirely monstrous. Yeah, 291 00:16:46,880 --> 00:16:48,840 Speaker 2: there's a lot to love in there, but there are 292 00:16:48,880 --> 00:16:51,120 Speaker 2: some aspects of it there maybe a little rougher around 293 00:16:51,120 --> 00:16:53,480 Speaker 2: the edges. I know that del Toro was never completely 294 00:16:53,720 --> 00:16:56,360 Speaker 2: satisfied with some of the CGI elements and so forth. 295 00:16:56,960 --> 00:17:00,360 Speaker 3: Everything CGI heavy from the early two thousands will, I think, 296 00:17:00,400 --> 00:17:01,760 Speaker 3: always have that issue. 297 00:17:02,120 --> 00:17:05,760 Speaker 2: Yeah, well you need to see Blade Trinity and complete 298 00:17:05,920 --> 00:17:06,520 Speaker 2: the journey. 299 00:17:07,080 --> 00:17:10,760 Speaker 3: Okay, speaking of dated visual effects, do Rob do you 300 00:17:10,800 --> 00:17:13,040 Speaker 3: mind if I finish up with this message from Jeff 301 00:17:13,560 --> 00:17:15,440 Speaker 3: go for it. A quick note, this was a very 302 00:17:15,440 --> 00:17:17,800 Speaker 3: long email, so it's edited a bit for length. Sorry 303 00:17:17,800 --> 00:17:20,000 Speaker 3: about that. Jeff just took a few things out and 304 00:17:20,480 --> 00:17:28,720 Speaker 3: tightened it up. Jeff says, greetings regarding the series on 305 00:17:28,760 --> 00:17:31,879 Speaker 3: three D movies, your description of the mask this is 306 00:17:31,880 --> 00:17:35,360 Speaker 3: the one from the sixties, not the Jim Carrey reminded 307 00:17:35,400 --> 00:17:38,800 Speaker 3: me of the best implementation of three D I've ever seen. 308 00:17:39,080 --> 00:17:43,359 Speaker 3: The Magic Journeys three D movie at Epcot in the 309 00:17:43,400 --> 00:17:46,480 Speaker 3: early nineteen eighties, Epcot was still a place of wonder 310 00:17:46,520 --> 00:17:50,199 Speaker 3: and cutting edge tech. I was fascinated by the touchscreen 311 00:17:50,359 --> 00:17:54,080 Speaker 3: GUI interface. I guess that's gooey gooey interface on the 312 00:17:54,359 --> 00:17:58,840 Speaker 3: world key park information Kiosks, which did Google Maps tricks 313 00:17:59,160 --> 00:18:02,399 Speaker 3: years before the first Macintosh, was a thing, offered a 314 00:18:02,440 --> 00:18:06,760 Speaker 3: search engine, played video, and operated like a modern website. 315 00:18:07,000 --> 00:18:11,679 Speaker 3: You could also make restaurant reservations via video phone parentheses. 316 00:18:11,720 --> 00:18:15,560 Speaker 3: Pretty Much every conversation began with the Epcot representative explaining 317 00:18:15,600 --> 00:18:17,960 Speaker 3: that yes, I am a real human, and yes I 318 00:18:18,119 --> 00:18:21,080 Speaker 3: can see you just like you can see me. While 319 00:18:21,200 --> 00:18:23,520 Speaker 3: Blade Runner and other films were telling us that the 320 00:18:23,520 --> 00:18:27,520 Speaker 3: future would be nothing but boundless misery, Epcot attractions matter 321 00:18:27,560 --> 00:18:30,480 Speaker 3: of factly explained that in the twenty first century, you'll 322 00:18:30,520 --> 00:18:32,600 Speaker 3: go to school at the bottom of the ocean, call 323 00:18:32,680 --> 00:18:36,280 Speaker 3: your friends terraforming the desert via three D phone, visit 324 00:18:36,320 --> 00:18:41,280 Speaker 3: your relatives on holidays in suburban space stations, etc. Everyone 325 00:18:41,280 --> 00:18:44,760 Speaker 3: would be living the dream, a fulfilling life with plentiful resources. 326 00:18:45,119 --> 00:18:48,480 Speaker 3: Integrated into all the fantasy was real life, impressive tech 327 00:18:48,560 --> 00:18:53,160 Speaker 3: that actually worked. Magic journeys was featured in the Journey 328 00:18:53,200 --> 00:18:58,359 Speaker 3: into Imagination pavilion in the now corrupted and renamed Future 329 00:18:58,400 --> 00:19:01,440 Speaker 3: World section of the park. Isn't that the name of 330 00:19:01,480 --> 00:19:02,600 Speaker 3: the sequel to Westworld? 331 00:19:03,080 --> 00:19:05,440 Speaker 2: Ah? Yeah, yeah, yeah, it is Future World, but a 332 00:19:06,119 --> 00:19:06,840 Speaker 2: different attraction. 333 00:19:07,359 --> 00:19:11,119 Speaker 3: Yeah okay. Jeff goes on where the other attractions focused 334 00:19:11,160 --> 00:19:15,920 Speaker 3: on specific elements of future living. The imagination Pavilion explained 335 00:19:15,960 --> 00:19:19,840 Speaker 3: that those innovations would be impossible without human creativity and 336 00:19:19,920 --> 00:19:23,840 Speaker 3: abstract thinking. Your description of the mask reminded me of 337 00:19:23,880 --> 00:19:28,480 Speaker 3: a sequence of eerie floating masks from the film, which 338 00:19:28,520 --> 00:19:32,000 Speaker 3: begins as a dreamy, trippy flight of wonder and at 339 00:19:32,000 --> 00:19:36,280 Speaker 3: the halfway point turns decidedly creepy and weird. House. One 340 00:19:36,320 --> 00:19:40,359 Speaker 3: scene in particular featured a witch shooting lightning bolts from 341 00:19:40,400 --> 00:19:43,439 Speaker 3: her fingers directly at the audience, and to my eyes, 342 00:19:43,920 --> 00:19:46,719 Speaker 3: the bolts seem to end just inches in front of 343 00:19:46,720 --> 00:19:50,000 Speaker 3: my nose. Usually at least one small child would start 344 00:19:50,040 --> 00:19:53,440 Speaker 3: crying loudly at that point. I've never before or since 345 00:19:53,520 --> 00:19:55,840 Speaker 3: seen an effect that seemed to jump so far out 346 00:19:55,880 --> 00:19:59,199 Speaker 3: of the screen. And then Jeff provides some links to 347 00:19:59,320 --> 00:20:01,680 Speaker 3: like a podcast I think about this three D film 348 00:20:02,200 --> 00:20:05,520 Speaker 3: in a video showing samples from it. Jeff goes on 349 00:20:05,560 --> 00:20:08,680 Speaker 3: the eight millimeter film to YouTube conversion leaves a lot 350 00:20:08,720 --> 00:20:11,840 Speaker 3: to be desired, but I assure you the visuals were stunning. 351 00:20:12,240 --> 00:20:16,000 Speaker 3: The deliberate slow pace created the feel of altered consciousness, 352 00:20:16,280 --> 00:20:19,000 Speaker 3: although this does not translate at all in a crappy 353 00:20:19,040 --> 00:20:21,680 Speaker 3: two D resolution, and you might be tempted to hit 354 00:20:21,720 --> 00:20:25,200 Speaker 3: the two X speed button. However, the music is worth 355 00:20:25,280 --> 00:20:30,760 Speaker 3: experiencing properly. It was similarly bizarre, featuring rich eighty synth 356 00:20:30,840 --> 00:20:34,639 Speaker 3: and freaky lyrics about quote splashing in the stream of 357 00:20:34,720 --> 00:20:39,240 Speaker 3: an unremembered dream end quote, the atoms that repose in 358 00:20:39,320 --> 00:20:42,840 Speaker 3: the heartbeat of a Rose. Disney would never make anything 359 00:20:42,960 --> 00:20:48,280 Speaker 3: so meditative and aggressively weird these days, and then an 360 00:20:48,359 --> 00:20:52,360 Speaker 3: unrelated Jeff also recommends an Amazon Prime video series called 361 00:20:52,560 --> 00:20:56,639 Speaker 3: Jean Claude Van Johnson, which is about Jean Claude Van 362 00:20:56,720 --> 00:21:00,800 Speaker 3: dam quote. The premise is that JCVD, the actor, was 363 00:21:00,880 --> 00:21:03,920 Speaker 3: also a secret agent in real life. It's an action 364 00:21:04,040 --> 00:21:06,520 Speaker 3: comedy that is both a parody and a celebration of 365 00:21:06,560 --> 00:21:09,840 Speaker 3: the actor in his movies VANDAM is hilarious in multiple 366 00:21:09,960 --> 00:21:13,280 Speaker 3: roles and a surprisingly effective actor and good sport. You 367 00:21:13,320 --> 00:21:16,600 Speaker 3: can easily binge the whole series in a weekend, and 368 00:21:16,640 --> 00:21:18,720 Speaker 3: then he goes on to say some things. Apparently it 369 00:21:18,760 --> 00:21:21,840 Speaker 3: also ends in a cliffhanger. But to wrap it up, 370 00:21:22,000 --> 00:21:26,160 Speaker 3: Jeff says finally, in regards to attempts to conceptualize distance 371 00:21:26,240 --> 00:21:30,280 Speaker 3: between the planets discussed in the Urinus episodes, on the 372 00:21:30,440 --> 00:21:33,920 Speaker 3: Washington Mall in DC, beginning near the Air and Space Museum, 373 00:21:34,119 --> 00:21:36,879 Speaker 3: there is a one to ten billion scale model of 374 00:21:36,920 --> 00:21:39,399 Speaker 3: our solar system. The Sun is about the size of 375 00:21:39,440 --> 00:21:42,800 Speaker 3: a grapefruit, and following the trail along the sidewalk, you 376 00:21:42,880 --> 00:21:46,680 Speaker 3: quickly run into the inner planets, with information stations and 377 00:21:46,720 --> 00:21:49,520 Speaker 3: size comparisons at each one. By the time you get 378 00:21:49,520 --> 00:21:52,119 Speaker 3: to Neptune, it's easy to forget why you were walking 379 00:21:52,160 --> 00:21:54,760 Speaker 3: in that direction in the first place, especially with all 380 00:21:54,760 --> 00:21:58,359 Speaker 3: the exciting distractions in DC. Thanks for continuing to present 381 00:21:58,480 --> 00:22:01,400 Speaker 3: us with diverse information pour into our brains while stuck 382 00:22:01,440 --> 00:22:06,360 Speaker 3: in traffic and doing otherwise tedious chores. You are appreciated, Jeff. Well, 383 00:22:06,400 --> 00:22:09,399 Speaker 3: thank you. Jeff. I had never seen this movie. I 384 00:22:09,400 --> 00:22:11,760 Speaker 3: think I went to Epcot as a young child, but 385 00:22:12,080 --> 00:22:14,399 Speaker 3: if I saw this, I don't remember it. So I 386 00:22:14,480 --> 00:22:17,680 Speaker 3: looked up like a YouTube rip of this film. Obviously, 387 00:22:17,720 --> 00:22:20,199 Speaker 3: as you say, you can't really get the feeling of 388 00:22:20,240 --> 00:22:22,600 Speaker 3: what it would be like with three D. But the 389 00:22:22,720 --> 00:22:27,359 Speaker 3: Witch was extremely funny. She's kind of like the you know, 390 00:22:27,440 --> 00:22:29,920 Speaker 3: she's like the Wizard of Oz Witch, like green makeup 391 00:22:29,960 --> 00:22:34,360 Speaker 3: and the long fingernails and stuff. Beyond that, I did 392 00:22:34,400 --> 00:22:36,080 Speaker 3: get to the part you were talking about with the 393 00:22:36,119 --> 00:22:39,359 Speaker 3: masks flying out of the screen. There's like an onny 394 00:22:39,560 --> 00:22:43,720 Speaker 3: mask asteroid that blasts at you. Later, there is also 395 00:22:43,760 --> 00:22:49,560 Speaker 3: a clown segment that has strong resemblance to when Trumpy 396 00:22:49,640 --> 00:22:53,159 Speaker 3: does magic things in Pod People, but with clowns running 397 00:22:53,200 --> 00:22:56,760 Speaker 3: out of the screen and screaming at you. And also, 398 00:22:56,960 --> 00:22:58,760 Speaker 3: I don't know if this is like a sign of 399 00:22:58,800 --> 00:23:01,280 Speaker 3: a neurological disorder on my part, but when I watched 400 00:23:01,320 --> 00:23:04,520 Speaker 3: this movie, I could literally smell cigarettes. I don't know why. 401 00:23:05,960 --> 00:23:10,479 Speaker 2: I'm always impressed anytime I learned something new about the 402 00:23:10,600 --> 00:23:13,520 Speaker 2: like the history of Epcot and so forth. And I 403 00:23:13,720 --> 00:23:15,280 Speaker 2: got to go to Epcot in the last year for 404 00:23:15,320 --> 00:23:18,720 Speaker 2: the first time, and you know, I know, they are 405 00:23:18,760 --> 00:23:21,640 Speaker 2: aspects of Epcot that folks like to rag on here 406 00:23:21,680 --> 00:23:26,800 Speaker 2: and there, but I really enjoyed it. I also admire 407 00:23:26,880 --> 00:23:31,639 Speaker 2: this kind of like this retro now retro optimistic vision 408 00:23:31,720 --> 00:23:35,680 Speaker 2: for the future, you know, in which technology, like you say, 409 00:23:35,800 --> 00:23:38,480 Speaker 2: is going to make everything brighter. I also thought about 410 00:23:38,480 --> 00:23:41,160 Speaker 2: it a lot when we were discussing the black Hole. 411 00:23:41,760 --> 00:23:45,119 Speaker 2: Like I say, I guess it's the imagineer's fingerprints on 412 00:23:45,160 --> 00:23:47,800 Speaker 2: that one, but I feel like it has strong epcot energy, 413 00:23:47,880 --> 00:23:51,440 Speaker 2: even if it's ultimately telling a darker story away from Earth. 414 00:23:52,680 --> 00:23:54,480 Speaker 2: They don't really talk about Earth much in that. They're 415 00:23:54,480 --> 00:23:56,560 Speaker 2: just like, oh, you know, things are the same, it's 416 00:23:56,600 --> 00:24:02,880 Speaker 2: going great. But what what what they mean by boring 417 00:24:03,000 --> 00:24:05,360 Speaker 2: is like amazing. You have no idea. It's just it's 418 00:24:05,359 --> 00:24:07,119 Speaker 2: only boring to them because they're used to all the 419 00:24:07,160 --> 00:24:09,240 Speaker 2: flying cars and so forth. 420 00:24:09,400 --> 00:24:13,680 Speaker 3: And telepathic clowns screaming in your face. Yes, but I 421 00:24:13,720 --> 00:24:16,040 Speaker 3: don't know. Sometimes I think on weird house cinema, it 422 00:24:16,119 --> 00:24:20,280 Speaker 3: might be fun to feature more like non narrative films, 423 00:24:20,320 --> 00:24:24,159 Speaker 3: things like this that on some like special episodes. I 424 00:24:24,160 --> 00:24:26,160 Speaker 3: don't know, that could be a fun different kind. 425 00:24:26,080 --> 00:24:29,480 Speaker 2: Of thing to do, like an amusement park films like 426 00:24:29,560 --> 00:24:30,520 Speaker 2: the like. 427 00:24:30,480 --> 00:24:35,520 Speaker 3: What were service industry training films or anything? Anything sufficiently weird. 428 00:24:36,240 --> 00:24:39,360 Speaker 2: Yeah, yeah, it's sufficiently weird. Then it's you know, we're 429 00:24:39,400 --> 00:24:41,840 Speaker 2: already halfway there, right, all right. Well, on that note, 430 00:24:41,840 --> 00:24:43,679 Speaker 2: we're going to go and close it out for today, 431 00:24:43,760 --> 00:24:45,560 Speaker 2: but hey, write in. We'd love to hear from you 432 00:24:46,160 --> 00:24:50,240 Speaker 2: any questions or comments about past president or future episodes 433 00:24:50,280 --> 00:24:52,520 Speaker 2: of Stuff to Blow your Mind, Weird House, Cinema, Artifact, 434 00:24:52,520 --> 00:24:54,960 Speaker 2: Monster Fact, other episodes of listener Mail. 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