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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Stuff to Blow your Mind Listener Mail.

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Speaker 2: My name is Robert Lamb.

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Speaker 3: And I am Joe McCormick, and today we are doing

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Speaker 3: a listener mail episode. These are the ones where we

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Speaker 3: read back messages from the Stuff to Blow your Mind

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Speaker 3: email address. If you are a listener and you've never

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Speaker 3: gotten in touch before, now is a great time to

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Speaker 3: try it. You can email at contact at stuff to

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Speaker 3: Blow your Mind dot com. We accept all kinds of messages.

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Speaker 3: If you just want to send a friendly note let

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Speaker 3: us know what you like about the show where you

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Speaker 3: listen from, that's great. We especially like if you have

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Speaker 3: something interesting to add to a subject we've talked about

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Speaker 3: on the show, maybe from your own professional experience or

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Speaker 3: just from your personal life or culture. Whatever you got,

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Speaker 3: send it our way contact at stuff to Blow Yourmind

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Speaker 3: dot com.

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Speaker 2: While we're at it, I'll go ahead and mention that

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Speaker 2: we have a discord server if you'd like to join that.

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Speaker 2: It's a tight net little group, but they're always welcoming

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Speaker 2: of new listeners. All you have to do is send

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Speaker 2: us an email and ask to be given the invite

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Speaker 2: link and we will provide it. Likewise, you can find us.

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Speaker 2: You can find us other places on social media. I

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Speaker 2: would say check us out on Instagram STBYM podcast. You

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Speaker 2: might be thinking yourself, I think I followed stuff to

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Speaker 2: blow your mind many years ago on Instagram. Well you

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Speaker 2: may have, but that account went away, it died and

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Speaker 2: a new one was reborn, and you'll have to rejoin

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Speaker 2: it and refollow it. And it's I think one of

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Speaker 2: the better places to sort of keep up with what

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Speaker 2: we're doing. We have little posts, little videos that come

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Speaker 2: out that will help you stay abreast of what our

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Speaker 2: latest episodes are. And then if you were a fan

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Speaker 2: of Weird House Cinema, look for us on letterboxed. We

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Speaker 2: are Weird House there and that's a great way to

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Speaker 2: keep up with the movies that we're covering on our

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Speaker 2: Friday episodes.

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Speaker 3: All right, Rob, do you mind if I kick things

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Speaker 3: off with this mess from Pamela about diatoms. Let's do it,

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Speaker 3: subject line diatoms and imaging science. Pamela says, greetings, Rob

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Speaker 3: and Joe, still listening ten or twelve years later, Love

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Speaker 3: you guys. Haven't felt the need to write in for

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Speaker 3: a while, but better late than never. While listening to

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Speaker 3: your episode on diatoms, one of the things that caught

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Speaker 3: my attention was your discussion of the very real differences

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Speaker 3: between images from different magnification sources. I figured I would

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Speaker 3: discuss this because I have experience using scanning electron microscopes

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Speaker 3: or SEM, along with other high magnification microscopy. One of

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Speaker 3: the things that is obvious to regular users, but I

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Speaker 3: realize would be strange to someone with less knowledge, is

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Speaker 3: that SEM images are in gray scale only. If you

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Speaker 3: see color on an SEM image, that is coloring added

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Speaker 3: after the fact, similar to the colored images published by

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Speaker 3: NASA for stars and galaxies. Scanning electron microscopes do not

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Speaker 3: measure light. They collect signal from a focused, high energy

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Speaker 3: beam of electrons bouncing back off the item being measured.

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Speaker 3: This produces topographic images only of the surface detail of

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Speaker 3: a very small sample. Interestingly, even when you are measuring

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Speaker 3: something that is transparent or has transparent layers or parts,

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Speaker 3: this will still be presented in the image's grayscale and

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Speaker 3: return the surface topography of the exposed part of the

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Speaker 3: transparent part, so all grayscale and nothing below the surface.

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Speaker 3: A fun fact about SEM images of biological items is

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Speaker 3: that until the last ten to fifteen years ago, these

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Speaker 3: samples would have required an ultrathin sputtered layer of gold, yes,

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Speaker 3: traditionally gold. This gold layer existed to provide enough electron

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Speaker 3: bounce activity for the collector to receive gave a signal

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Speaker 3: back instead of the electrons mostly passing into or through

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Speaker 3: the subject. This is a very simplified, non technical description.

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Speaker 3: I've only personally imaged non biological samples myself, but in

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Speaker 3: the nineteen nineties there was often an image of some

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Speaker 3: nightmare fuel looking blown some nightmare fuel looking blown up

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Speaker 3: bug posted just to show potential customers what the lab

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Speaker 3: could do with something easily interpreted. I remember one lab

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Speaker 3: had a poster size image of a cricket that was

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Speaker 3: made of about sixty sem photos carefully pieced together because

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Speaker 3: of how small the individual image area is visible. Light

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Speaker 3: microscopes offer color and show transparency to one degree or another,

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Speaker 3: depending upon the direction of the light source and the

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Speaker 3: filters that may be involved. Many biological samples are taken

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Speaker 3: with fluorescing scopes and or other filters to improve the

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Speaker 3: visibility of colorless items. Important thing to remember is that

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Speaker 3: each of these tools is selected for different purposes. You

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Speaker 3: can't get the crisp topography from visible light, and you

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Speaker 3: cannot get the genuine color from a scanning electron microscope,

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Speaker 3: though I'm sure someone is working on that. I hope

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Speaker 3: this provides some context for why images of microscopic samples

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Speaker 3: are the way they are, as they are intended to

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Speaker 3: provide very different information about the sample. So, yeah, this

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Speaker 3: is really interesting. And this is picking up on a

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Speaker 3: comment from the Diatoms episode where we were talking about

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Speaker 3: how different, how different they look in these two different

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Speaker 3: imaging methods, Like the scanning electron micro microscope images. These

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Speaker 3: micrographs often had the more alien gears look. It emphasized

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Speaker 3: the kind of inorganic seeming elements. They were, of course

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Speaker 3: all organic, but you would see these little shells, the frustuls,

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Speaker 3: looking like pieces of machinery, broken clockwork, that sort of thing.

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Speaker 3: But then when you would look in the light based images,

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Speaker 3: you would see things that look more like art, maybe

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Speaker 3: like stained glass or water colors. You would still get

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Speaker 3: strange angles, like you know, we talked about those rectangular diatoms,

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Speaker 3: the kind of strange looking thing to see in nature.

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Speaker 3: But yeah, the colors add a more organic and artistic

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Speaker 3: element to it, and some of these differences are down

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Speaker 3: to just literally different shapes of different kinds of diatoms,

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Speaker 3: but other differences are down to the imaging method used.

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Speaker 3: So this is great, Thank you Pamela, But Pamela's not done.

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Speaker 3: She has things to say about Weird House as well.

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Speaker 3: Before I sign off, I would like to offer some

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Speaker 3: requests for future Weird House episodes. Both are nineteen sixties

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Speaker 3: era Japanese movies Oni Baba from nineteen sixty four and

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Speaker 3: Jigoku from nineteen sixty Oni Baba has one of the

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Speaker 3: most powerful uses of atmosphere I've ever watched. The moody

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Speaker 3: black and white film made. The way the very tall

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Speaker 3: grasses move around like they are alive and intentional was

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Speaker 3: deeply creepy, particularly joined with the odd soundtrack elevator pitch

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Speaker 3: quote even back when there were samurai, no one really

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Speaker 3: comes out of a war undamaged. Jigoku, also called The

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Speaker 3: Sinners of Hell, maybe the first movie to really go

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Speaker 3: for it, presenting images of possible hells and punishments, warning

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Speaker 3: about the bizarre rather naked but technically legalish credits at

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Speaker 3: the beginning, but they present a completely different vibe from

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Speaker 3: than the rest of the film. I strongly recommend both

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Speaker 3: of these. Thanks for all the entertainment you have provided

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Speaker 3: throughout the years. My commutes and workouts are better for it. Pamela, Well,

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Speaker 3: thank you so much, Pamela. As I was just saying

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Speaker 3: at the top, we'd love getting notes like this. Please,

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Speaker 3: anybody out there, if you're listening, if you ever have

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Speaker 3: something to add to a subject we've talked about on

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Speaker 3: the show, from your own field or domain of expertise,

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Speaker 3: or from your own culture or personal experience, always feel

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Speaker 3: free to write in contact at stuff to blow your mind.

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Speaker 3: I'll say it again, Yeah, we love stuff like this.

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Speaker 3: Thank you so.

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Speaker 2: Much, and I really appreciate these film recommendations. I've seen

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Speaker 2: only Baba. It's been many years. I think I used

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Speaker 2: to own this on Criterion DVD. I think it was

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Speaker 2: a Criterion DVD and for some reason I liquidated it

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Speaker 2: at some point. I haven't seen the Centers of Hell,

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Speaker 2: but I'm sure both of them are at Video Drome,

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Speaker 2: Atlanta's own video drum store, which I think I'm contractually

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Speaker 2: obligated to mention since Joe and I are both wearing

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Speaker 2: our video drum t shirts at the same time in

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Speaker 2: the same podcast when we have choice.

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Speaker 3: Just from the top of the head there, yeah.

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Speaker 2: Yep, yep, but yeah, I would love to check out

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Speaker 2: either of these, but only Boba I remember as being

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Speaker 2: quite atmospheric. I remember those. I remember the tall grass

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Speaker 2: and that creepy mask. For sure.

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Speaker 3: We didn't coordinate our outfits. By the way, it's always

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Speaker 3: an accident.

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Speaker 2: It is an accident. Yes, yes, when it happens, we

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Speaker 2: celebrate it. Bye. This next one comes to us from

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Speaker 2: Stephen and Steven says, Hi, Robert and Joe, I just

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Speaker 2: discovered your podcast last week. Stuff to Blow your mind

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Speaker 2: and Weird House Cinema are just fantastic. I have a

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Speaker 2: lot of listening catch up to do and it is

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Speaker 2: a joy. You guys are smart, funny and charming. Thank you.

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Speaker 2: May I offer a bit of nerdy info, okay, And

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Speaker 2: in this the listener is going to be responding to

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Speaker 2: our Weird House Cinema episode on the nineteen sixty one

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Speaker 2: film The Mask, which, if you haven't seen it or

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Speaker 2: you know you didn't listen to this episode. This was

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Speaker 2: a bizarre three D picture that centered around like in

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Speaker 2: a cult scenario with a mask and a lot of

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Speaker 2: like dreamy imagery.

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Speaker 3: It was a real trip, not the one with Jim Carrey.

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Speaker 2: No, no, Jim Carrett. This is not the Jim Carrey mask.

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Speaker 2: So anyway, the listener continues. For the nineteen sixty one

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Speaker 2: film The Mask, the actor who performed the role of

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Speaker 2: the Waxy young Man was, and I hope I'm pronouncing

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Speaker 2: this correctly, Rudy Lynn Chowton, a mind performer who studied

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Speaker 2: with Marcel Marceau. I don't have a lot of info

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Speaker 2: about him, except that he also performed at the Canadian

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Speaker 2: theater company called the New Play Society, which existed until

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Speaker 2: nineteen seventy one, where he was a staff member who

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Speaker 2: offered mind teaching and demonstrations. In The Mask, you can

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Speaker 2: see his mind training clearly during the Surreal Sequences. I

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Speaker 2: would also like to suggest a few nineteen forties films

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Speaker 2: that I think would slot into the weird House vibe

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Speaker 2: very nicely. And I'll go ahead and add this is

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Speaker 2: I greatly appreciate this because I think when you do

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Speaker 2: a breakdown by decade, not counting, like without getting into

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Speaker 2: anything before the nineteen thirties, the nineteen forties are that's

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Speaker 2: probably the decade that we've featured fewer films from. Part

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Speaker 2: of that is the selection pool, but obviously there are

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Speaker 2: still some weird films from the nineteen forties, and it

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Speaker 2: is a decade I would like to come back to.

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Speaker 2: So anyway, this is what this is what Stephen has

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Speaker 2: for us. The Devil Commands Boris Karloff seeks his dead

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Speaker 2: wife with wild uncanny valley finale. Okay, sounds good. I

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Speaker 2: haven't seen it me neither. Night Monster great, great title already,

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Speaker 2: I'm kind of sold already. Great ensemble performances and an

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Speaker 2: outrageous murderer reveal.

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Speaker 3: Now, I think this is different from the Navy Versus

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Speaker 3: the Night Monster or Navy Versus the Night Monsters, which

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Speaker 3: indeed has some Navy officers in it, but also has

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Speaker 3: killer trees.

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Speaker 2: Hmm, let's see yeah, night it must be yeah, Night

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Speaker 2: Monster nineteen forty two. Yeah, directed by Ford bb. So

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Speaker 2: this is one that I, uh, yeah, I would check

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Speaker 2: this out. I've never seen it either.

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Speaker 3: Look up the poster for Navy Versus the Night Monsters.

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Speaker 2: Oh gosh, this is great. This is great. I see

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Speaker 2: the Navy in the background a little bit in the foreground,

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Speaker 2: but that monster looks amazing. There's no way we're getting

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Speaker 2: this into actual picture, but I like the look of

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Speaker 2: the poster.

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Speaker 3: I've thought about this one for Weird House. We may

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Speaker 3: do both night Monster and Navy versus Night Monsters.

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Speaker 2: Yeah yeah, bring on the night Monsters. All right, Let's

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Speaker 2: see what else we have. The mad Ghoul Evil George

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Speaker 2: Zuko turns hapless student into a ghoul.

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Speaker 3: All right, haven't seen it me.

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Speaker 2: Neither sounds good though, man made monster evil lionel Atwill

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Speaker 2: turns Lon Cheney into electro creature. Okay. I love both

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Speaker 2: of those guys, and electro creatures are good to go

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Speaker 2: as well.

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Speaker 3: This one's on my list. I actually haven't seen any

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Speaker 3: of these zero for four.

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Speaker 2: All right, We've got to return to the forties soon,

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Speaker 2: so Stephen says, in my honest opinion, these are the

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Speaker 2: weirdest of the forties horror bees. I think you will

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Speaker 2: like them. Thanks for everything. Appreciate you best, Steven.

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Speaker 3: Thank you, Steven.

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Speaker 2: All right, Joe, looks like we have one that has

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Speaker 2: to do with our dog Days episodes, which which I

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Speaker 2: do want to throw in. I was just looking the

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Speaker 2: other day. Are we in the dog Days? Technically? As

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Speaker 2: according to the Stars, and I don't think in our

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Speaker 2: neck of the woods we are quite yet. I think

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Speaker 2: we're the dog Days are still coming.

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Speaker 3: We still haven't got the wow. And we've had some

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Speaker 3: hot times. Yeah, yeah, good thing, good thing. The stars

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Speaker 3: don't really control the temperature.

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Speaker 2: Yeah. I was. I was on a hike with my

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Speaker 2: family Sunday morning and we were just we were just

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Speaker 2: swimming through it. It's just so hot and humid. And

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Speaker 2: they were like, is it. This is the dog Days?

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Speaker 2: This is it? And I'm like, Nope, not yet, not yet.

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Speaker 3: Okay. This comes from Mark. Mark says, Hey, guys, I'm

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Speaker 3: a recent fan of your show, and I'm looking for

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Speaker 3: your discord link to make it easier to send questions.

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Speaker 3: All right, we have you already hit him up?

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Speaker 2: Nope, did not, so I'll circle back to that.

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Speaker 3: After we were this episode, Mark says, I enjoyed your

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Speaker 3: dog Day's episodes. I might have heard it incorrectly, but

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Speaker 3: I think you got the Greek myth of lee lapse

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Speaker 3: and the two Messian tu Messians must mean too Messian

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Speaker 3: fox slightly wrong. At least according to Wikipedia, Zeus turned

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Speaker 3: them both into stars Canus Major lee Lapse and Canus Minor.

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Speaker 3: The too Messian fox. I think you said he turned

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Speaker 3: the dog into a star, but the fox into a stone.

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Speaker 3: Wikipedia also points out this myth of a dog that

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Speaker 3: always caught its prey versus a fox that could never

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Speaker 3: be caught as an example of the irresistible force paradox,

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Speaker 3: classically formulated as what happens when an unstoppable force meets

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Speaker 3: an immovable object. So it's interesting to me why you

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Speaker 3: said he turned one of the animals into a stone.

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Speaker 3: Do some references say that. I thought about it for

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Speaker 3: a while and then it seemed like it fit very

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Speaker 3: well with magnetism, with a simple compass, if serious, w

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Speaker 3: sort of a magnetic north and the stone or spear

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Speaker 3: that always points in that direction is the tip of

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Speaker 3: o'rion's spear. That's kind of what that constellation in the

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Speaker 3: sky has looked like, has looked to me like for

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Speaker 3: over fifty years. Interesting. Thanks for the show. You can

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Speaker 3: quote me anytime, Mark. Well, thanks Mark. So I'm going

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Speaker 3: to start off addressing this note about Greek mythology here again.

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Speaker 3: So it's the story of the hound lee lapse and

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Speaker 3: the two Messian fox and what they were. The question

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Speaker 3: is what were they turned into? So I dug deeper

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Speaker 3: into this, and the interesting thing that I found is,

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Speaker 3: by far the most common version of the story in

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Speaker 3: ancient sources actually seems to be neither what my source

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Speaker 3: in the original episode said nor what you read on

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Speaker 3: the wiki. So I think the most common answer is

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Speaker 3: something different entirely, and I'll try to untangle this. So

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Speaker 3: this story appears in many different ancient sources, with some

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Speaker 3: details being different across the different accounts, Usually the core

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Speaker 3: is pretty much the same. And just to pick one

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Speaker 3: of these tellings to start with, I'm going to read

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Speaker 3: from the Metamorphoses of Antoninus Liberalis. This is a Greek

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Speaker 3: text from the second or third century CE, and the

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Speaker 3: English translation I'm using is what I found online by

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Speaker 3: Francis Celoria. So in this book, the story sits in

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Speaker 3: the middle of this complicated saga involving a bunch of

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Speaker 3: other characters, including the Athenian princess Procrus and her husband,

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Speaker 3: the ruler Cephalus. These two they're married, but then they

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Speaker 3: get kind of tested and driven apart, like the gods

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Speaker 3: get between them. I think the god Aos of Dawn,

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Speaker 3: Goddess of Dawn seduces Cephalus, I believe, and then Cephalus

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Speaker 3: jealously tests his own wife and finds her loyalty wanting.

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Speaker 3: So they get split up, and always Medlin gods are

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Speaker 3: messing around. Also, you know, jealous love on Earth aren't

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Speaker 3: doing any They're not doing themselves any favors. So pro

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Speaker 3: Chris is split up from her husband. She goes out

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Speaker 3: of wandering, and through this wandering she comes into possession

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Speaker 3: of a couple of magical hunting tools. One is a

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Speaker 3: spear and the other is a hunting dog. And Antoninus says, quote,

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Speaker 3: no animal could escape these two, and they always reached

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Speaker 3: their target. So the spear always hits what you throw

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Speaker 3: it at, and it's a hound that always catches its quarry.

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Speaker 3: How did she get these two treasures, Well, this is

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Speaker 3: a pretty weird story. They were given to her by Minus,

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Speaker 3: the king of Crete, because pro Chris helped Minus overcome

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Speaker 3: a sexual curse against him. I think in some tellings

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Speaker 3: this curse is cast by Pacify, Minus's own wife, because

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Speaker 3: you know, Minus is fooling around, so she casts a

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Speaker 3: sexual curse on him. In the telling of Antoninus, it

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Speaker 3: frames it more as a fertility issue. So basically, according

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Speaker 3: to Antoninus, pro Chris figured out a way for Minus

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Speaker 3: to beget children despite the fact that he would ejaculate

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Speaker 3: snakes and scorpions, and the solution she came up with

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Speaker 3: involved using a goat's bladder as a condom. Pretty interesting.

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Speaker 2: This is a it's really hard to figure this one out.

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Speaker 3: Yeah, yeah, I don't know. It doesn't get super into

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Speaker 3: the mechanics of all this, but anyway, Minus is very

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Speaker 3: grateful for pro Chris's cleverness and help with this problem,

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Speaker 3: so he gives pro Chris the spear and the dog,

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Speaker 3: which neither of which could fail in the hunt. And

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Speaker 3: then later in the story, pro Chris, disguised as a man,

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Speaker 3: goes to Attica and becomes the hunting buddy of her

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Speaker 3: own estranged husband Cephalus without him recognizing her. So they're

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Speaker 3: hunting together, but she's in disguise, and then Antoninus Liberalis

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Speaker 3: writes quote, when Cephalus saw that he never caught anything

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Speaker 3: when hunting while everything went the way of pro Chris,

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Speaker 3: he yearned to have that spear for himself. Pro Chris

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Speaker 3: promised to give him the dog as well if he

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Speaker 3: would agree to enjoy her youthful charms. So they lie

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Speaker 3: down together and then pro Chris reveals who she is.

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Speaker 3: She's like Cautia, but still a deal's a deal, and

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Speaker 3: he gets to keep the magic spear and the dog.

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Speaker 3: And then we cut to another character, Infittrion, who this

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Speaker 3: is a guy from Greek mythology who would later become

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Speaker 3: interesting because he is the earthly stepfather of Heracles, who

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Speaker 3: has a you know, divine, divine father, but Infittrion is

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Speaker 3: his earthly father, kind of like, you know, Joseph, father

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Speaker 3: of Jesus, gotcha. And so the following passage gives the

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Speaker 3: details of the story where you actually get to the

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Speaker 3: fox and the hound. It gives the details in a

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Speaker 3: somewhat bizarre order, but I'm just going to read it

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Speaker 3: as written. Infittrion, who needed the dog, went to Cephal

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Speaker 3: and asked him if he would be willing to join

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Speaker 3: him with the dog in going after the fox. He

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Speaker 3: promised to hand over to him a share of the booty,

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Speaker 3: which he would take from the Teleboans, for at that

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Speaker 3: time there had appeared in the land of the people

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Speaker 3: of Cadmus a fox that was a monstrous creature. Yeah,

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Speaker 3: it's like the ordering of these sentences is strange, but

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Speaker 3: so we get this monstrous creature, the fox plaguing the

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Speaker 3: people of Cadmus. Quote. It would regularly issue out of tumesis,

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Speaker 3: snatching up Cadmians. Every thirty days, they would put out

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Speaker 3: a child for it, and the fox would take it

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Speaker 3: and eat it up. Imphitrion had asked Creon and the

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Speaker 3: Cadmians to help in making war against the Teleboans. They

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Speaker 3: refused unless he helped them do away with the fox.

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Speaker 3: Imfitrion accepted these conditions from the Cadmians and went to

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Speaker 3: Cephalus and told him about the agreement and urged him

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Speaker 3: to go to Thebes with the dog. Cephalus accepted the

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Speaker 3: proposal and set out to hunt the fox, but it

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Speaker 3: had been ordained that the fox could not be taken

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Speaker 3: by any hunter, and that nothing should escape the dog

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Speaker 3: when it went hunting. Zeus saw them when they reached

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Speaker 3: the plane of Thebes and turned them both into stones.

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Speaker 3: So that's how you get to the turning them into things.

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Speaker 3: And note there, what did Zeus turn them into stars

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Speaker 3: constellations or one into a stone, one into a star. No,

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Speaker 3: here he turns them both into stones. So I checked

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Speaker 3: the telling in the Biblioteca, the library of Pseudo Apollodorus.

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Speaker 3: This is another early so I think this is actually

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Speaker 3: going to be a second or third century CE source,

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Speaker 3: but it's attributed probably incorrectly to an earlier author. But

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Speaker 3: basically the details are the same. Certainly in the conclusion

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Speaker 3: of the story, they're about the same. At the end,

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Speaker 3: Zeus sees the hound chasing the killer fox, and both

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Speaker 3: creatures are turned into stone. Now neither source says why

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Speaker 3: Zeus changes the fox and the hound into stone, but

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Speaker 3: my interpretation is that this is done to avoid a

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Speaker 3: logical contradiction. It's like to solve a paradox which, if

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Speaker 3: it were allowed to go on, would possibly cast doubt

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Speaker 3: on the authority or consistency of the gods. It's kind

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Speaker 3: of like the more familiar paradox to monotheists is, if

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Speaker 3: God is all powerful, can he create a rock so

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Speaker 3: big that he cannot lift it? Like, if the gods

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Speaker 3: are all powerful, can they make a fox that can

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Speaker 3: never be caught and a dog that always catches the

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Speaker 3: fox at the same time, what if these two things

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Speaker 3: come together? It's a contradiction. Yeah, yeah, so yeah, that

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Speaker 3: seems to be what's going on there. Is Zeus is like, oh, yeah,

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Speaker 3: you can't have this thing kind of thing going on,

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Speaker 3: So we just got to change in both to stone.

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Speaker 2: It's like a dungeon master has been too liberal, is

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Speaker 2: that gifting of magical items, powerful magic items to his players,

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Speaker 2: And then suddenly those atoms are in conflict with each other,

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Speaker 2: and instead of like ruling one side or the other

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Speaker 2: just goes ahead and kills the whole party.

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Speaker 3: They both disappear. Yeah. Also, I just wanted to mention

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Speaker 3: one of the footnotes from James Fraser's translation of Pseudo

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Speaker 3: Apollodorus in the Telling of the story, because Fraser writes,

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Speaker 3: quote by an easy application of the rationalistic instrument, which

404
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Speaker 3: cuts so many mythological knots. The late Greek writer Palofatus, Yeah,

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Speaker 3: Palofadus converted the ferocious animal into a gentleman named Fox

406
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Speaker 3: of a truculent disposition and predatory habits, who proved a

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Speaker 3: thorn in the flesh of the Thebans until Cephalis rid

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Speaker 3: them of the nuisance by knocking him on the head.

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Speaker 3: Cephalis knocked him on the head. That's it anyway. So

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Speaker 3: bring this back to the original discussion in our episode

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Speaker 3: of From the Dog Days. So when this came up.

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Speaker 3: I was talking about a nineteen eighty four paper by

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Speaker 3: the American folklore scholar Eleanor Long, in which she was

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Speaker 3: writing about the star serious and its association with dogs,

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Speaker 3: and she referred to this myth by saying that at

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Speaker 3: the end of the story, the fox is turned into

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Speaker 3: a stone and the dog into a star. So I

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Speaker 3: went back and I checked the reference. This is in

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Speaker 3: fact what she says. I didn't get it wrong from

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Speaker 3: her paper, but I was like, well, why does she

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Speaker 3: say this? Well, Long does have a footnote. She cites

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Speaker 3: this fact to a source called the Polyvisova, which is

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Speaker 3: a German language encyclopedia about classical antiquity, and she adds

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Speaker 3: in the same footnote actually that in an earlier version

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Speaker 3: of the story, both animals are turned into stone. Which there,

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Speaker 3: that's exactly what I found. So I don't have access

427
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Speaker 3: to this reference work that she cites the Polyvisova, so

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Speaker 3: I don't know what its basis is for saying that

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00:25:02,640 --> 00:25:06,000
Speaker 3: one animal became stone and the other became a star.

430
00:25:07,160 --> 00:25:10,200
Speaker 3: In all of the full text versions of the story

431
00:25:10,200 --> 00:25:13,159
Speaker 3: that I could find, both animals are turned into a stone.

432
00:25:13,320 --> 00:25:17,879
Speaker 3: But there are other reference sources, like, for example, the

433
00:25:17,920 --> 00:25:21,840
Speaker 3: Star Myths page of Theoi dot Com which make reference

434
00:25:21,880 --> 00:25:24,520
Speaker 3: to ancient sources in which the Hound and the Fox

435
00:25:24,600 --> 00:25:28,960
Speaker 3: are turned into constellations or are turned into stars. And

436
00:25:29,040 --> 00:25:32,320
Speaker 3: I believe it's possible there could be another source from

437
00:25:32,400 --> 00:25:34,920
Speaker 3: antiquity where you know, you get a mix and match

438
00:25:35,040 --> 00:25:37,280
Speaker 3: like that, or where they're turned into stars like some

439
00:25:37,520 --> 00:25:40,679
Speaker 3: point to a source by Aritosthenes that I was not

440
00:25:40,760 --> 00:25:44,719
Speaker 3: able to find in full text, So I don't know,

441
00:25:45,200 --> 00:25:47,200
Speaker 3: I'll maybe I'll find that later. We can circle back

442
00:25:47,200 --> 00:25:49,720
Speaker 3: to that in a future listener mail. But the main

443
00:25:49,760 --> 00:25:52,880
Speaker 3: takeaway is that in most versions of this story, it's

444
00:25:52,920 --> 00:25:55,119
Speaker 3: not stars at all. They just get turned into rocks.

445
00:25:55,400 --> 00:25:57,919
Speaker 2: M Okay, well, it's good to know before we actually

446
00:25:57,920 --> 00:26:02,439
Speaker 2: travel through these places in spaceships and expect to find

447
00:26:03,200 --> 00:26:15,200
Speaker 2: some sign of Canine or fox origin there. All right,

448
00:26:15,359 --> 00:26:18,920
Speaker 2: let's look at another one here. This one's from a

449
00:26:18,920 --> 00:26:24,200
Speaker 2: different mark. Okay, this is subject line Netflix in the Uncanny.

450
00:26:24,960 --> 00:26:28,240
Speaker 2: Hi guys, I started watching y'all on Netflix recently. Yeah,

451
00:26:28,320 --> 00:26:31,440
Speaker 2: reminded everyone out there that we are an audio podcast,

452
00:26:31,440 --> 00:26:33,399
Speaker 2: but there's a video component if you check us out

453
00:26:33,440 --> 00:26:36,520
Speaker 2: on Netflix. Go check that out. And I got to

454
00:26:36,600 --> 00:26:38,679
Speaker 2: say it's a trip. It's funny to say, but it

455
00:26:38,720 --> 00:26:40,879
Speaker 2: took me a long time to reconcile the hundreds of

456
00:26:40,880 --> 00:26:43,640
Speaker 2: hours of listening to your voices with those same voices

457
00:26:43,720 --> 00:26:46,760
Speaker 2: now coming out of your faces, which is surprising because

458
00:26:46,800 --> 00:26:49,360
Speaker 2: I did already know what y'all look like. It made

459
00:26:49,400 --> 00:26:52,040
Speaker 2: me feel a small bit of how I imagine prosopagnosia

460
00:26:52,160 --> 00:26:55,800
Speaker 2: might feel, something like, that's definitely what Robert and Joe

461
00:26:55,840 --> 00:26:59,640
Speaker 2: look like, but it's not my Robert and Joe imposters.

462
00:27:00,440 --> 00:27:03,040
Speaker 2: Truly uncanny. I wonder if there's any science on this.

463
00:27:03,520 --> 00:27:06,360
Speaker 2: I had also not realized that your record that you

464
00:27:06,400 --> 00:27:09,919
Speaker 2: record a new version of your name introductions with each episode.

465
00:27:10,080 --> 00:27:12,320
Speaker 2: I really thought it was the same each time, but

466
00:27:12,440 --> 00:27:16,720
Speaker 2: turns out it's always new, always anyways, Once I adjusted,

467
00:27:17,359 --> 00:27:19,800
Speaker 2: Netflix is a great way to catch the show. Definitely

468
00:27:19,840 --> 00:27:22,800
Speaker 2: a new perspective and remove the ad breaks. I also

469
00:27:22,840 --> 00:27:25,840
Speaker 2: find myself laughing more because I can catch the subtleties

470
00:27:25,840 --> 00:27:28,480
Speaker 2: of your expressions. So I appreciate you putting it out

471
00:27:28,480 --> 00:27:29,520
Speaker 2: there with gratitude.

472
00:27:29,720 --> 00:27:33,560
Speaker 3: Mark, Thank you so much. Mark. I'm I'm always gratified

473
00:27:33,560 --> 00:27:36,439
Speaker 3: to hear people are enjoying the video version of the

474
00:27:36,440 --> 00:27:40,280
Speaker 3: show because I'm not really a consumer of video podcasts myself,

475
00:27:40,359 --> 00:27:43,160
Speaker 3: and you know, I can't remember if we've talked about

476
00:27:43,160 --> 00:27:46,080
Speaker 3: this on air before, but at the beginning, I was like,

477
00:27:46,200 --> 00:27:49,120
Speaker 3: I don't know if this is a thing people want

478
00:27:49,200 --> 00:27:50,719
Speaker 3: or not, but a lot of people are telling us

479
00:27:50,760 --> 00:27:53,320
Speaker 3: it is a thing they want, so that's great.

480
00:27:53,520 --> 00:27:56,440
Speaker 2: Yeah, so yeah, so hey, if you enjoy it that way, yeah,

481
00:27:56,560 --> 00:27:59,200
Speaker 2: share it with other folks, tell them about it, and

482
00:27:59,480 --> 00:28:04,199
Speaker 2: certainly keep watching slash Listening on Netflix. As for us

483
00:28:04,240 --> 00:28:06,840
Speaker 2: not looking like we're supposed to look, I mean, I

484
00:28:06,840 --> 00:28:08,680
Speaker 2: don't know. I feel that way a little bit as well,

485
00:28:08,720 --> 00:28:11,680
Speaker 2: Like it's not I'm used to looking at myself in

486
00:28:11,720 --> 00:28:13,760
Speaker 2: a mirror and that's not the way I look in video.

487
00:28:13,920 --> 00:28:17,240
Speaker 2: So already I get a little bit of the uncanny

488
00:28:17,320 --> 00:28:18,520
Speaker 2: when when I see it.

489
00:28:19,200 --> 00:28:20,880
Speaker 3: I've never looked the way I'm supposed to look.

490
00:28:22,840 --> 00:28:25,520
Speaker 2: Yeah. Yeah, But plus, I mean, everything's in too much,

491
00:28:25,760 --> 00:28:28,320
Speaker 2: you know, the quality is too high. I I've heard

492
00:28:28,320 --> 00:28:32,040
Speaker 2: this from I think stand up comedians talking about this,

493
00:28:32,320 --> 00:28:35,679
Speaker 2: like like seeing yourself in HD, It's it's just too

494
00:28:35,720 --> 00:28:39,360
Speaker 2: much detail. It's just too much. Nobody's supposed to see

495
00:28:39,760 --> 00:28:42,240
Speaker 2: see that much detail on their face. It's in a

496
00:28:42,280 --> 00:28:44,680
Speaker 2: casual setting, like you know, walking in somewhere and seeing

497
00:28:44,680 --> 00:28:47,760
Speaker 2: it on a screen, or or searching a Netflix for

498
00:28:47,840 --> 00:28:50,320
Speaker 2: something unrelated to your own podcast, and then suddenly there's

499
00:28:50,360 --> 00:28:52,800
Speaker 2: your face. It can be a little jarring.

500
00:28:53,080 --> 00:28:55,360
Speaker 3: If I'm going to be on screens, I would really

501
00:28:55,400 --> 00:28:58,320
Speaker 3: prefer to have some jallo lighting and a soft focused lens.

502
00:28:58,440 --> 00:28:59,160
Speaker 3: That would be nice.

503
00:28:59,280 --> 00:29:02,000
Speaker 2: That's not can pitch that, yes, and at least for October.

504
00:29:02,080 --> 00:29:04,920
Speaker 3: Right, yeah, all right. Let's take a look at a

505
00:29:04,920 --> 00:29:07,880
Speaker 3: couple of messages that came in on discord. This one

506
00:29:08,000 --> 00:29:11,360
Speaker 3: is from Gorpie regarding our episodes on the Prairie. I

507
00:29:11,400 --> 00:29:14,160
Speaker 3: think this was sent in not after the whole thing

508
00:29:14,320 --> 00:29:16,840
Speaker 3: was aired, only one or two episodes had aired at

509
00:29:16,840 --> 00:29:17,200
Speaker 3: this time.

510
00:29:17,600 --> 00:29:18,360
Speaker 2: Mid Prairies.

511
00:29:18,640 --> 00:29:28,800
Speaker 3: Okay, Gorpie says, also you mentioned little House on the Prairie.

512
00:29:29,080 --> 00:29:32,840
Speaker 3: I lived briefly in Walnut Grove, Minnesota, where Laura Ingles

513
00:29:32,840 --> 00:29:35,560
Speaker 3: Wilder grew up. It was explained to me that the

514
00:29:35,640 --> 00:29:38,920
Speaker 3: name Walnut Grove came from the fact that walnut trees

515
00:29:38,960 --> 00:29:42,360
Speaker 3: grow quickly and hardy enough in one season to survive

516
00:29:42,480 --> 00:29:45,480
Speaker 3: the yearly burning. So this is tying into our discussions

517
00:29:45,480 --> 00:29:48,560
Speaker 3: about fire in the maintenance of the prairie and the

518
00:29:48,600 --> 00:29:52,600
Speaker 3: plant balance there, Gorpie says, making the walnut trees the

519
00:29:52,640 --> 00:29:55,920
Speaker 3: primary trees in the area. It's also important to remember

520
00:29:55,960 --> 00:29:59,000
Speaker 3: that the prairies of the Midwest, even before Europeans, were

521
00:29:59,040 --> 00:30:02,960
Speaker 3: not in a complete natural state. Native groups maintained and

522
00:30:03,000 --> 00:30:05,960
Speaker 3: burned the areas to prevent tree growth, creating more land

523
00:30:06,000 --> 00:30:11,040
Speaker 3: for bison. More bison trampled and composted more plants and

524
00:30:11,120 --> 00:30:14,720
Speaker 3: seeds in ways that promoted more grassland. It was all

525
00:30:14,840 --> 00:30:21,160
Speaker 3: very complicated and manufactured for millennia before European footprints. And yeah, Gorpia,

526
00:30:21,160 --> 00:30:23,360
Speaker 3: I think that's largely true. We talked about this sum.

527
00:30:23,600 --> 00:30:25,520
Speaker 3: I don't know which parts of the series you had

528
00:30:25,520 --> 00:30:27,760
Speaker 3: heard when you did this comment, but yeah, we talked

529
00:30:27,760 --> 00:30:31,120
Speaker 3: about this sum in the series that the Plains Native

530
00:30:31,120 --> 00:30:36,480
Speaker 3: American tribes frequently used fire to manage the bison populations

531
00:30:36,560 --> 00:30:39,840
Speaker 3: and to clear routes for travel and things like that.

532
00:30:39,920 --> 00:30:42,800
Speaker 3: So fire was used by a native peoples before the

533
00:30:42,880 --> 00:30:46,880
Speaker 3: arrival of Europeans on the Plains. Yeah, totally. So all

534
00:30:47,000 --> 00:30:51,160
Speaker 3: humans have an impact, but what individual humans and groups

535
00:30:51,160 --> 00:30:54,520
Speaker 3: of humans choose to do has a different impact than

536
00:30:54,600 --> 00:30:56,600
Speaker 3: doing something else. Exactly.

537
00:30:56,720 --> 00:31:04,560
Speaker 2: Yeah, we'll see we had another message. This was from PK,

538
00:31:05,480 --> 00:31:09,360
Speaker 2: a frequent commentator, and PK says I wanted to comment

539
00:31:09,520 --> 00:31:12,400
Speaker 2: on this new episode as I listen and I have thoughts.

540
00:31:12,800 --> 00:31:15,520
Speaker 2: I grew up in the Prairies southern Manitoba, and I

541
00:31:15,640 --> 00:31:18,880
Speaker 2: didn't appreciate the vastness. To me, it was boring reality.

542
00:31:19,400 --> 00:31:22,000
Speaker 2: Many who grew up there are very keen on seeing

543
00:31:22,040 --> 00:31:24,160
Speaker 2: the rocky mountains. They love to visit the ocean too,

544
00:31:24,440 --> 00:31:27,120
Speaker 2: but they don't really want to live there. In part,

545
00:31:27,160 --> 00:31:29,600
Speaker 2: it might be a change in climate not comfy, and

546
00:31:29,680 --> 00:31:32,120
Speaker 2: for me, the first time I drove through the mountains

547
00:31:32,120 --> 00:31:34,480
Speaker 2: it felt claustrophobic. On the plains, I was used to

548
00:31:34,560 --> 00:31:36,920
Speaker 2: having at least a dirt road to turn off every

549
00:31:37,000 --> 00:31:41,280
Speaker 2: kilometer and larger roads not too far away. Driving inside

550
00:31:41,280 --> 00:31:44,560
Speaker 2: the mountains felt like a tunnel, no way out until

551
00:31:44,560 --> 00:31:47,640
Speaker 2: the very end. But I eventually moved to British Columbia

552
00:31:47,680 --> 00:31:51,200
Speaker 2: in the mountains and slowly it changed. Eventually, being nestled

553
00:31:51,200 --> 00:31:53,800
Speaker 2: in the mountains felt like a safety blanket somehow, and

554
00:31:53,840 --> 00:31:55,920
Speaker 2: when I returned to the Prairies, I felt a tinge

555
00:31:56,280 --> 00:32:01,760
Speaker 2: of agoraphobia. It felt cold. I've never moved back and Honestly,

556
00:32:01,880 --> 00:32:05,400
Speaker 2: I still can't appreciate the big, open sunrises and sunsets

557
00:32:05,440 --> 00:32:09,040
Speaker 2: as much as most, it seems. And also I feel

558
00:32:09,040 --> 00:32:11,840
Speaker 2: bad when, as in every spot I've ever visited, some

559
00:32:12,000 --> 00:32:14,760
Speaker 2: local senior citizen tells me this is God's country, the

560
00:32:14,760 --> 00:32:17,160
Speaker 2: most beautiful place on earth, be it the flat prairies

561
00:32:17,280 --> 00:32:19,760
Speaker 2: or the swampy lands north of there, and I feel

562
00:32:19,800 --> 00:32:23,400
Speaker 2: nothing because I can't appreciate the ecosystem. I also have

563
00:32:23,520 --> 00:32:26,000
Speaker 2: a tree bias. I ended up wanting to live on

564
00:32:26,040 --> 00:32:28,720
Speaker 2: the ocean, like I feel a need to have a

565
00:32:28,800 --> 00:32:31,240
Speaker 2: view of it from my window, and the only place

566
00:32:31,280 --> 00:32:34,680
Speaker 2: I could afford to do that at the time was Newfoundland,

567
00:32:34,800 --> 00:32:38,320
Speaker 2: so I moved way out east, never having been there before,

568
00:32:38,560 --> 00:32:42,239
Speaker 2: being been here before a prairie boy who can't even swim, who,

569
00:32:42,360 --> 00:32:45,360
Speaker 2: unlike most others who grew up there, felt no attachment

570
00:32:45,400 --> 00:32:47,120
Speaker 2: to it and wants to live by the water and

571
00:32:47,160 --> 00:32:50,440
Speaker 2: ideally mountains too. Thankfully, I'm moving back to the warmer

572
00:32:50,520 --> 00:32:53,240
Speaker 2: West coast soon. I used to be a tree planner,

573
00:32:53,280 --> 00:32:56,040
Speaker 2: and yet I didn't know the prairies were treeless, in

574
00:32:56,120 --> 00:32:59,160
Speaker 2: large part due to fires. That's very interesting. We were

575
00:32:59,160 --> 00:33:02,000
Speaker 2: once driving behind some person on a prairie highway next

576
00:33:02,000 --> 00:33:04,400
Speaker 2: to a grassy field. I saw them flick out a

577
00:33:04,440 --> 00:33:06,640
Speaker 2: cigarette a little ways in front of us, or at

578
00:33:06,720 --> 00:33:09,040
Speaker 2: least I saw the flicking motion. And as we drove

579
00:33:09,120 --> 00:33:11,800
Speaker 2: by that spot, I looked back. The grass was already

580
00:33:11,800 --> 00:33:14,280
Speaker 2: on fire. We called it in, and I'm sure it

581
00:33:14,360 --> 00:33:17,880
Speaker 2: was quite big before anyone arrived to put it out. Yeah,

582
00:33:17,960 --> 00:33:19,960
Speaker 2: it makes sense that in this dry climate, with this

583
00:33:20,080 --> 00:33:24,720
Speaker 2: grass kindling, it would hurt a young tree's chances. And

584
00:33:24,760 --> 00:33:28,320
Speaker 2: then pKa also has some stuff that he shared about

585
00:33:28,400 --> 00:33:32,080
Speaker 2: grizzly bears, which I thought was also fascinating. But anyway,

586
00:33:32,120 --> 00:33:34,240
Speaker 2: it was great to hear from someone who has a

587
00:33:34,240 --> 00:33:37,720
Speaker 2: lot more experience with the prairie landscape and then comparing

588
00:33:37,760 --> 00:33:40,280
Speaker 2: it to others. I particularly liked that bit talking about

589
00:33:40,720 --> 00:33:44,320
Speaker 2: again to be clear, like not talking about actually driving

590
00:33:44,360 --> 00:33:47,120
Speaker 2: through a mountain tunnel, but feeling like just driving through

591
00:33:47,120 --> 00:33:50,200
Speaker 2: the mountains it felt constrained like that, as if one

592
00:33:50,280 --> 00:33:52,280
Speaker 2: was in a tunnel. I thought that was a nice detail.

593
00:33:53,800 --> 00:33:55,640
Speaker 3: All right, do you want to do some weird house

594
00:33:55,640 --> 00:33:56,480
Speaker 3: cinema messages?

595
00:33:56,760 --> 00:33:57,520
Speaker 2: Yeah, let's do it.

596
00:33:58,400 --> 00:34:01,880
Speaker 3: Okay, this first one we should definitely mention a few

597
00:34:01,880 --> 00:34:04,320
Speaker 3: things about So this is somebody writing in about the

598
00:34:04,480 --> 00:34:08,880
Speaker 3: scene in the Beast from twenty thousand fathoms where the Ritosaurus,

599
00:34:09,000 --> 00:34:12,600
Speaker 3: the monster the dinosaur in the movie attacks a lighthouse,

600
00:34:13,560 --> 00:34:16,440
Speaker 3: and what was the deal with the Pokemon scene we

601
00:34:16,520 --> 00:34:17,319
Speaker 3: compared this to.

602
00:34:18,360 --> 00:34:20,440
Speaker 2: I had just been searching around and found that there

603
00:34:20,480 --> 00:34:24,040
Speaker 2: was an episode of the Pokemon TV show where basically

604
00:34:24,040 --> 00:34:27,120
Speaker 2: the same thing happened, like clearly inspired by either this

605
00:34:27,320 --> 00:34:31,400
Speaker 2: movie and or the original story upon which it was based.

606
00:34:31,640 --> 00:34:34,319
Speaker 3: Okay, cool, So there was a scene yeah, where a

607
00:34:34,320 --> 00:34:37,600
Speaker 3: giant Pokemon sort of attacks, or at least looms against

608
00:34:37,640 --> 00:34:42,239
Speaker 3: a lighthouse. And we said, in passing not Pokemon experts here,

609
00:34:42,320 --> 00:34:45,399
Speaker 3: certainly not, I can't claim to be. It was like, yeah,

610
00:34:45,400 --> 00:34:48,400
Speaker 3: it looks like a Charizard, right, I think I know

611
00:34:48,400 --> 00:34:48,920
Speaker 3: what it looked at me.

612
00:34:49,120 --> 00:34:51,799
Speaker 2: I think that was my initial judgment as well. It's like, oh,

613
00:34:51,800 --> 00:34:53,560
Speaker 2: it's a giant chartsar. Surely. Yeah.

614
00:34:53,600 --> 00:34:57,759
Speaker 3: And then after we finished recording, our producer JJ was like,

615
00:34:57,960 --> 00:35:02,040
Speaker 3: it was like, sorry, guys, not charizard.

616
00:35:02,600 --> 00:35:04,680
Speaker 2: You're gonna get messages. Do you want to rerecord it.

617
00:35:04,760 --> 00:35:07,600
Speaker 2: We're like no, no, it's fine, we're gonna hear the corrections.

618
00:35:07,719 --> 00:35:11,160
Speaker 3: Well, here from Taylor, our regular Pokemon correspondent, you want

619
00:35:11,160 --> 00:35:11,719
Speaker 3: to take this one.

620
00:35:11,719 --> 00:35:19,400
Speaker 2: Rob, Sure, Sure, Taylor says, hello stuff to Will your

621
00:35:19,440 --> 00:35:23,560
Speaker 2: Mind crew, as the podcast self declared Pokemon pedant, I

622
00:35:23,680 --> 00:35:27,360
Speaker 2: am duty bound to respond to your call out for details.

623
00:35:27,400 --> 00:35:30,400
Speaker 2: On the nineteen ninety seven Pokemon anime episode Mystery at

624
00:35:30,400 --> 00:35:33,960
Speaker 2: the Lighthouse, the Pokemon featured in the episode is not Charizard,

625
00:35:34,600 --> 00:35:39,719
Speaker 2: but rather the dragon Dragonite. In the episode, a lighthouse

626
00:35:39,760 --> 00:35:43,120
Speaker 2: keeper hears the quote beautiful and eerie call of a

627
00:35:43,200 --> 00:35:47,120
Speaker 2: huge beast on foggy nights, accompanied by the protagonist. The

628
00:35:47,200 --> 00:35:50,680
Speaker 2: lighthouse keeper records and plays back the call, leading to

629
00:35:50,760 --> 00:35:54,439
Speaker 2: an encounter with a colossal variant of the Pokemon Dragonite.

630
00:35:54,800 --> 00:35:57,799
Speaker 2: The lighthouse keeper speculates that this Dragonite is perhaps the

631
00:35:57,880 --> 00:36:01,239
Speaker 2: last of its kind, deprived of and came to the

632
00:36:01,320 --> 00:36:04,799
Speaker 2: lighthouse seeking company. When Team Rocket these are the bad

633
00:36:04,800 --> 00:36:08,280
Speaker 2: guys I believe assaults the Dragon Nighte in an attempt

634
00:36:08,280 --> 00:36:10,480
Speaker 2: to capture it. It attacks the lighthouse in a rage

635
00:36:10,480 --> 00:36:13,680
Speaker 2: and retreats into the ocean. The similarity of the plot

636
00:36:13,680 --> 00:36:16,560
Speaker 2: beats in Mystery at the Lighthouse to the Beast from

637
00:36:16,600 --> 00:36:19,920
Speaker 2: twenty thousand Fathoms is no coincidence. The writers have commented

638
00:36:19,960 --> 00:36:23,480
Speaker 2: that like the Beast, Mystery at the Lighthouse is adapted

639
00:36:23,520 --> 00:36:26,799
Speaker 2: from Ray Bradbury's The Foghorn. It is a mysterious and

640
00:36:26,840 --> 00:36:32,239
Speaker 2: melancholy entry in the usually boisterous anime. As ever, thank

641
00:36:32,280 --> 00:36:34,120
Speaker 2: you for continuing to enrich my life with your thought

642
00:36:34,160 --> 00:36:37,920
Speaker 2: provoking contemplations and weird film recommendations. May you keep doing

643
00:36:37,960 --> 00:36:41,000
Speaker 2: so as long as it brings you joy. Cheers Taylor.

644
00:36:41,719 --> 00:36:43,160
Speaker 3: Thank you Taylor as always.

645
00:36:44,480 --> 00:36:47,239
Speaker 2: Yeah, and I should have asked my kiddo about this

646
00:36:47,280 --> 00:36:51,560
Speaker 2: as well. Like they they're I guess less like actively

647
00:36:51,600 --> 00:36:54,920
Speaker 2: engaged in Pokemon content these days, but I think it's

648
00:36:54,960 --> 00:36:57,360
Speaker 2: one of it's like we've heard from so many other people, like,

649
00:36:57,400 --> 00:37:01,319
Speaker 2: once you've had that initial influx Pokemon knowledge, it never

650
00:37:01,400 --> 00:37:04,200
Speaker 2: truly leaves you and it remains a part of your being.

651
00:37:04,400 --> 00:37:07,680
Speaker 2: So so yeah, I should have checked with them as well.

652
00:37:08,160 --> 00:37:22,000
Speaker 3: Yeah, that would be my guess. Pokemon fluency is for life. Okay,

653
00:37:22,120 --> 00:37:25,520
Speaker 3: let's see, should I do this one from Alan?

654
00:37:26,440 --> 00:37:29,160
Speaker 2: Yes? Yes, I think. Okay, we're going to be berated,

655
00:37:29,600 --> 00:37:30,920
Speaker 2: but go for it.

656
00:37:30,960 --> 00:37:34,239
Speaker 3: Alan writes to chastise Us, I told myself I would

657
00:37:34,280 --> 00:37:38,240
Speaker 3: stop asking about the Ice Pirates, but I was listening

658
00:37:38,239 --> 00:37:41,360
Speaker 3: to the Weird House Cinema rewind episode about the movie

659
00:37:41,520 --> 00:37:45,200
Speaker 3: Invitation to Hell. That was the made for TV movie

660
00:37:45,280 --> 00:37:49,160
Speaker 3: about the country club that is actually hell where you

661
00:37:49,200 --> 00:37:54,200
Speaker 3: go to Hell with Robert Urick. And who else was

662
00:37:54,239 --> 00:37:54,480
Speaker 3: in that?

663
00:37:54,800 --> 00:37:56,719
Speaker 2: Oh, I'm blanking on her name right now, but the

664
00:37:57,200 --> 00:37:58,440
Speaker 2: soap opera queen.

665
00:38:00,200 --> 00:38:01,960
Speaker 3: In something.

666
00:38:03,080 --> 00:38:04,520
Speaker 2: I had to look it up to remind myself, but

667
00:38:04,520 --> 00:38:05,360
Speaker 2: it is Susan Lucci.

668
00:38:06,440 --> 00:38:07,680
Speaker 3: Yes, Lucis.

669
00:38:07,719 --> 00:38:09,880
Speaker 2: She does Erica Kane from All My Children.

670
00:38:10,239 --> 00:38:12,759
Speaker 3: If you haven't watched Invitation to Hell, just watched the

671
00:38:12,800 --> 00:38:19,799
Speaker 3: first minute of it. She's yeah. Anyway, Alan goes on

672
00:38:19,840 --> 00:38:23,359
Speaker 3: to say, watched the movie Invitation to Hell. I sat there,

673
00:38:23,440 --> 00:38:27,000
Speaker 3: stunned at first, then a little broken hearted. You discussed

674
00:38:27,080 --> 00:38:30,880
Speaker 3: leading man Robert Urick at some length and didn't once

675
00:38:30,960 --> 00:38:33,960
Speaker 3: mention the other great weird movie he started in, and

676
00:38:34,000 --> 00:38:37,560
Speaker 3: that was released the same year, The Ice Pirates. At

677
00:38:37,560 --> 00:38:40,080
Speaker 3: this point, I may have already talked it up too much,

678
00:38:40,160 --> 00:38:42,319
Speaker 3: but I would still love to hear an episode about it.

679
00:38:42,440 --> 00:38:44,840
Speaker 3: Your content has yet to disappoint, so I trust you

680
00:38:44,920 --> 00:38:47,319
Speaker 3: know what we're doing, what you're doing, and we'll make

681
00:38:47,320 --> 00:38:49,880
Speaker 3: this episode if and when the time is right, And

682
00:38:49,920 --> 00:38:52,160
Speaker 3: I'll keep poking when I think the time is right.

683
00:38:52,400 --> 00:38:55,800
Speaker 3: Hopefully not so much that you end up blocking me. Thanks, Alan,

684
00:38:56,040 --> 00:39:00,160
Speaker 3: No worries, Alan, It's fine. I assume. I assume we'll

685
00:39:00,200 --> 00:39:01,839
Speaker 3: get around there. Sometimes I don't know why we haven't

686
00:39:01,880 --> 00:39:02,319
Speaker 3: done it yet.

687
00:39:02,480 --> 00:39:05,040
Speaker 2: We almost did it one week. I remember, you know,

688
00:39:05,280 --> 00:39:06,719
Speaker 2: I don't know if there was something we were going

689
00:39:06,800 --> 00:39:08,440
Speaker 2: to do and we decided not to do that, and

690
00:39:08,480 --> 00:39:10,320
Speaker 2: I was like, well, maybe we'll just do Ice Pirates.

691
00:39:10,360 --> 00:39:12,320
Speaker 2: Then we did something else instead, But I don't remember

692
00:39:12,680 --> 00:39:13,520
Speaker 2: how exactly that.

693
00:39:13,480 --> 00:39:15,839
Speaker 3: Came to be we having trouble finding it.

694
00:39:17,239 --> 00:39:19,680
Speaker 2: Well, that might have been an issue. Sometimes that is,

695
00:39:20,120 --> 00:39:22,600
Speaker 2: sometimes we expect there to be a problem sourcing a

696
00:39:22,600 --> 00:39:27,160
Speaker 2: particular disc or or stream, and then other times we

697
00:39:27,280 --> 00:39:29,520
Speaker 2: just assume that we can access the movie, and then

698
00:39:29,640 --> 00:39:32,799
Speaker 2: we discovered that it's harder than we thought it would be. Yeah, yeah,

699
00:39:32,880 --> 00:39:34,640
Speaker 2: in the you know, because it's also we want to

700
00:39:34,640 --> 00:39:36,759
Speaker 2: watch something generally, we want to watch it in a

701
00:39:36,760 --> 00:39:41,520
Speaker 2: certain quality, and if that quality isn't available, then sometimes

702
00:39:41,560 --> 00:39:44,080
Speaker 2: we you know, we wait a bit. Like The Amazing

703
00:39:44,080 --> 00:39:46,799
Speaker 2: Colossal Man, for example, I really want to do that

704
00:39:46,840 --> 00:39:48,680
Speaker 2: when I've wanted to do that for years, but I

705
00:39:48,680 --> 00:39:50,800
Speaker 2: feel like if I to do it. I'm going to

706
00:39:50,880 --> 00:39:53,600
Speaker 2: have to watch it on a VHS tape or a

707
00:39:53,719 --> 00:39:56,920
Speaker 2: rip and I don't know I should Maybe I should

708
00:39:56,960 --> 00:39:59,640
Speaker 2: stop waiting for the right time and we just watch

709
00:39:59,680 --> 00:40:01,279
Speaker 2: it all w whatever. We can find a disc of

710
00:40:01,360 --> 00:40:02,279
Speaker 2: unknown origins and.

711
00:40:02,719 --> 00:40:05,000
Speaker 3: I can't wait until we get a Criterion disc of

712
00:40:05,200 --> 00:40:06,000
Speaker 3: Colossal Man.

713
00:40:06,040 --> 00:40:10,000
Speaker 2: It deserves a Criterion disc. Yeah, or you know, you know,

714
00:40:10,040 --> 00:40:13,200
Speaker 2: at least there's a whole complicated story behind it, and

715
00:40:13,200 --> 00:40:15,480
Speaker 2: I only know a quarter of it. But at some

716
00:40:15,560 --> 00:40:16,360
Speaker 2: point we'll get.

717
00:40:16,239 --> 00:40:19,080
Speaker 3: It, all right, rob take your pick of what's next?

718
00:40:19,080 --> 00:40:20,680
Speaker 3: Do you want to do? Mouth and Madness?

719
00:40:20,960 --> 00:40:22,640
Speaker 2: Oh? Yeah, yeah, we got some good stuff here. This

720
00:40:22,719 --> 00:40:25,879
Speaker 2: one came to us from Matt, and I suspected Matt

721
00:40:25,880 --> 00:40:28,920
Speaker 2: would write in about this subject line Church from in

722
00:40:28,960 --> 00:40:36,719
Speaker 2: the Mouth of Madness. Matt writes, Robert and Joe, I

723
00:40:36,719 --> 00:40:39,640
Speaker 2: really enjoy your show, especially the movie episodes you mentioned

724
00:40:39,640 --> 00:40:42,839
Speaker 2: the massive church used in the Mouth of Madness. Feel

725
00:40:42,880 --> 00:40:45,919
Speaker 2: free to share any of my reminiscences that I share here.

726
00:40:46,760 --> 00:40:49,840
Speaker 2: About fifteen years ago, when my fiance now wife and

727
00:40:49,880 --> 00:40:52,440
Speaker 2: I were driving north of Toronto to meet the jeweler

728
00:40:52,480 --> 00:40:55,680
Speaker 2: who is designing the rings for our wedding. Along the way,

729
00:40:55,760 --> 00:40:58,839
Speaker 2: I suddenly spotted an enormous and imposing church building that

730
00:40:58,880 --> 00:41:02,480
Speaker 2: in a seemingly random area, surrounded by farmers fields on

731
00:41:02,480 --> 00:41:05,480
Speaker 2: one side and across the way from more recent housing

732
00:41:05,520 --> 00:41:08,120
Speaker 2: developments on the other side. It stuck out from the

733
00:41:08,160 --> 00:41:11,319
Speaker 2: surrounding landscape in an obvious and ill fitting way. I

734
00:41:11,360 --> 00:41:14,400
Speaker 2: made a mental note to look it up later. Some

735
00:41:14,640 --> 00:41:16,759
Speaker 2: time after that, I was watching in the Mouth of

736
00:41:16,840 --> 00:41:19,719
Speaker 2: Madness for the second or third time, and I suspected

737
00:41:19,800 --> 00:41:22,560
Speaker 2: that the church was the one we had recently discovered

738
00:41:22,560 --> 00:41:26,520
Speaker 2: north of Toronto. IMDb confirmed it. A few years later,

739
00:41:26,640 --> 00:41:30,640
Speaker 2: I was an Anglican seminarian at the University of Toronto. Somehow,

740
00:41:30,680 --> 00:41:33,239
Speaker 2: that same church came up in a class discussion a

741
00:41:33,320 --> 00:41:38,120
Speaker 2: random tangent, and our professor was generally familiar with its history,

742
00:41:38,239 --> 00:41:43,279
Speaker 2: which included some tensions between its local Eastern Catholic congregation

743
00:41:43,680 --> 00:41:46,840
Speaker 2: and the wider church authorities. This is in line with

744
00:41:46,880 --> 00:41:49,920
Speaker 2: Wikipedia's noting of it having been closed for about a

745
00:41:49,960 --> 00:41:53,879
Speaker 2: decade and then more recently being used by a different congregation.

746
00:41:54,520 --> 00:41:59,120
Speaker 2: I also noticed that apparently the recently excommunicated Society of

747
00:41:59,360 --> 00:42:02,759
Speaker 2: Saint Pios the Tenth currently rents the space. It is

748
00:42:02,840 --> 00:42:05,960
Speaker 2: ironic and sad that a church consecrated by a pope

749
00:42:06,120 --> 00:42:10,560
Speaker 2: has been the focus of repeated tensions. A side note,

750
00:42:10,640 --> 00:42:13,160
Speaker 2: the seminary professor who mentioned the church is a neighbor

751
00:42:13,200 --> 00:42:17,839
Speaker 2: of filmmaker Bruce McDonald, director of Hardcore Logo and Pontypool.

752
00:42:19,280 --> 00:42:21,799
Speaker 2: Another bit of trivia is that the covered bridge that

753
00:42:21,880 --> 00:42:24,680
Speaker 2: appears in the film is the same one filmed for

754
00:42:24,760 --> 00:42:28,520
Speaker 2: the recent It movie adaptation, and it is located just

755
00:42:28,560 --> 00:42:32,200
Speaker 2: a few minutes outside of where I live, Kitchener Waterloo,

756
00:42:32,280 --> 00:42:35,080
Speaker 2: about an hour and a half southwest of Toronto. I'm

757
00:42:35,080 --> 00:42:38,000
Speaker 2: happy to report that married almost fifteen years now, we

758
00:42:38,040 --> 00:42:40,680
Speaker 2: are still very happy with our rings, though mine fits

759
00:42:40,719 --> 00:42:44,600
Speaker 2: a bit more tightly than originally. Discovering that remarkable church

760
00:42:44,640 --> 00:42:48,120
Speaker 2: building helped make a long and frustrating rush hour drive

761
00:42:48,200 --> 00:42:52,799
Speaker 2: through Toronto traffic worthwhile and memorable mat. All right, So

762
00:42:52,880 --> 00:42:57,359
Speaker 2: that's one mat. But here's the fun thing. There's another mat.

763
00:42:57,440 --> 00:43:00,319
Speaker 2: In our discord, server who is also visit to this

764
00:43:00,400 --> 00:43:05,759
Speaker 2: church and shared some photos from his visit to these locations,

765
00:43:05,800 --> 00:43:08,839
Speaker 2: and so these are in the discord. If you join

766
00:43:08,920 --> 00:43:10,960
Speaker 2: our discord you can find them there. I pulled these

767
00:43:11,040 --> 00:43:13,160
Speaker 2: up for you to look at as well Joe, but

768
00:43:13,760 --> 00:43:16,440
Speaker 2: you can clearly see up there's the Cursed Church from

769
00:43:16,440 --> 00:43:19,320
Speaker 2: in the Mouth of Madness rising up off of the

770
00:43:20,440 --> 00:43:25,360
Speaker 2: grasslands there. And then he also this Matt traveled to

771
00:43:25,480 --> 00:43:27,920
Speaker 2: two other locations in the film. One is a I

772
00:43:27,960 --> 00:43:30,759
Speaker 2: believe this is a water treatment plant that stands in

773
00:43:30,840 --> 00:43:36,200
Speaker 2: for the Insane asylum. Very location, yea beautiful. And then

774
00:43:36,520 --> 00:43:42,720
Speaker 2: there is the Ellington Grand This is the movie theater,

775
00:43:43,560 --> 00:43:45,640
Speaker 2: at least the exterior of the movie theater that we

776
00:43:45,680 --> 00:43:48,400
Speaker 2: see at the very end of In the Mouth of Madness.

777
00:43:49,440 --> 00:43:53,040
Speaker 2: And I had to look this place up because obviously

778
00:43:53,120 --> 00:43:55,920
Speaker 2: this would be the movie theater to catch a showing

779
00:43:56,080 --> 00:43:59,960
Speaker 2: of In the Mouth of Madness at. And apparently, when

780
00:44:00,160 --> 00:44:02,759
Speaker 2: in the Mouth of Madness had its original theatrical run,

781
00:44:02,840 --> 00:44:06,879
Speaker 2: it did play here. Because this is an historic Art

782
00:44:06,920 --> 00:44:10,280
Speaker 2: deco movie theater. It was built in nineteen thirty six,

783
00:44:10,360 --> 00:44:13,400
Speaker 2: that's I think three years before Atlanta's o Plaza Theater,

784
00:44:14,000 --> 00:44:17,839
Speaker 2: and it showed movies I'm reading for sixty seven years

785
00:44:17,960 --> 00:44:22,120
Speaker 2: or thereabouts until two thousand and three, and now it

786
00:44:22,200 --> 00:44:26,520
Speaker 2: is just an event's venue. So not to say someone

787
00:44:26,560 --> 00:44:29,960
Speaker 2: couldn't do some sort of screening there, but it mostly

788
00:44:30,000 --> 00:44:33,239
Speaker 2: seems set up for weddings and social events events now,

789
00:44:33,280 --> 00:44:35,600
Speaker 2: so you'd have to do an in the Mouth of

790
00:44:35,640 --> 00:44:39,719
Speaker 2: Madness themed wedding here, I think. I'm not sure if

791
00:44:39,719 --> 00:44:42,760
Speaker 2: you could, if anyone's thought about actually doing a showing.

792
00:44:43,640 --> 00:44:47,320
Speaker 2: The location was only used for exteriors. However, they apparently

793
00:44:47,360 --> 00:44:52,080
Speaker 2: filmed inside of another Toronto theater which no longer exists.

794
00:44:52,080 --> 00:44:55,600
Speaker 3: Man, can you imagine going to see the movie at

795
00:44:55,600 --> 00:44:57,880
Speaker 3: that theater but not knowing that it was going to

796
00:44:57,880 --> 00:44:58,680
Speaker 3: be in the movie.

797
00:44:58,960 --> 00:44:59,880
Speaker 2: That would be simpling.

798
00:45:00,160 --> 00:45:00,799
Speaker 3: Some people did.

799
00:45:00,880 --> 00:45:03,279
Speaker 2: Yeah, yeah, some people did. I mean I don't. Again,

800
00:45:03,320 --> 00:45:05,080
Speaker 2: I don't think the movie did that well, so not

801
00:45:05,440 --> 00:45:07,960
Speaker 2: that many people did, but some people had that experience,

802
00:45:08,000 --> 00:45:11,640
Speaker 2: and I hope they were aware of it. For that matter,

803
00:45:11,680 --> 00:45:15,000
Speaker 2: I hope some people get married here and then later

804
00:45:15,400 --> 00:45:18,000
Speaker 2: are watching or rewatching in the Mouth of Madness and

805
00:45:18,120 --> 00:45:22,279
Speaker 2: have have the realization that they had a wedding in

806
00:45:22,360 --> 00:45:25,520
Speaker 2: the Mouth of Madness, and and I hope that they

807
00:45:26,360 --> 00:45:29,200
Speaker 2: they realize how special that is as.

808
00:45:29,080 --> 00:45:31,120
Speaker 3: Their spouse turns into tentacles in the.

809
00:45:31,040 --> 00:45:36,480
Speaker 2: Best Yeah, but man, yeah, I think and in the

810
00:45:36,480 --> 00:45:38,480
Speaker 2: Mouth of Madness themed wedding would be great. You could

811
00:45:38,520 --> 00:45:44,000
Speaker 2: be you could have Setter Cane impersonator do the the officiating.

812
00:45:44,360 --> 00:45:46,960
Speaker 2: It would be pretty great. Everybody's wearing crucifixes all over

813
00:45:47,000 --> 00:45:48,440
Speaker 2: their their bodies and faces.

814
00:45:48,680 --> 00:45:52,960
Speaker 3: Good times, he sees you. Yeah, okay, Next, I'm going

815
00:45:53,000 --> 00:45:55,800
Speaker 3: to do this message from Chris, subject line weird House

816
00:45:55,840 --> 00:46:00,520
Speaker 3: explosion fest. Hi, Rob, Joe and JJ. Warning spoiler alert

817
00:46:00,560 --> 00:46:03,120
Speaker 3: for anyone who has not viewed Nemesis. Oh what's the

818
00:46:03,160 --> 00:46:11,560
Speaker 3: spoiler about Nemesis going to be? Chris says, got around

819
00:46:11,600 --> 00:46:14,760
Speaker 3: to watching Nemesis this weekend after your excellent weird House

820
00:46:14,800 --> 00:46:17,880
Speaker 3: episode a few months ago. Got to say, this is

821
00:46:17,920 --> 00:46:20,319
Speaker 3: going to be a new fave. I don't remember if

822
00:46:20,360 --> 00:46:23,800
Speaker 3: you discussed this in the episode, but in the last

823
00:46:24,120 --> 00:46:27,120
Speaker 3: half one third of the movie, the amount of just

824
00:46:27,360 --> 00:46:32,360
Speaker 3: absolutely gratuitous shooting and the subsequent enormous explosions from what

825
00:46:32,480 --> 00:46:36,000
Speaker 3: appears to be normal gunfire is just amazing. Such a

826
00:46:36,040 --> 00:46:39,120
Speaker 3: fun watch. Thanks for sharing this gem that I wouldn't

827
00:46:39,160 --> 00:46:43,200
Speaker 3: have discovered without you all stay weird, Chris. Well, thank

828
00:46:43,239 --> 00:46:45,960
Speaker 3: you so much. Chris. I really appreciate the message, Except

829
00:46:46,000 --> 00:46:48,960
Speaker 3: where was the spoiler? Is this a spoiler that there

830
00:46:48,960 --> 00:46:52,080
Speaker 3: are explosions in Nemesis? Yeah?

831
00:46:52,120 --> 00:46:54,239
Speaker 2: I mean it's it's a selling point. I think. Yeah,

832
00:46:54,280 --> 00:46:56,520
Speaker 2: there will be there will be explosions, there will be

833
00:46:56,600 --> 00:47:00,759
Speaker 2: gratuitous gunfire, and there will be cyborgs. That's it's all

834
00:47:00,800 --> 00:47:02,840
Speaker 2: there in the first book of Nemesis.

835
00:47:03,080 --> 00:47:05,560
Speaker 3: What's this about the second half or third that's in

836
00:47:05,600 --> 00:47:08,120
Speaker 3: the beginning too, the beginning. Do you remember that huge

837
00:47:08,280 --> 00:47:09,800
Speaker 3: shootout in the waste land?

838
00:47:09,920 --> 00:47:13,400
Speaker 2: Yeah, yeah, yeah, it's honestly, there's a lot of it

839
00:47:13,400 --> 00:47:17,360
Speaker 2: that is now just a glorious blur of gunfire. I

840
00:47:17,440 --> 00:47:20,240
Speaker 2: mainly remember that scene where like one of the characters

841
00:47:20,320 --> 00:47:24,880
Speaker 2: escapes from the building with gunfire, like like like blast

842
00:47:24,960 --> 00:47:25,520
Speaker 2: the big hole.

843
00:47:25,760 --> 00:47:28,320
Speaker 3: Yeah, shoots a hole in the wall or in the floor.

844
00:47:28,440 --> 00:47:31,200
Speaker 2: Yeah, amazing.

845
00:47:33,000 --> 00:47:35,680
Speaker 3: I think in the world of Nemesis, they use gunfire

846
00:47:35,760 --> 00:47:39,520
Speaker 3: based construction methods, so like when they're building a house,

847
00:47:39,600 --> 00:47:43,680
Speaker 3: they just like shoot the boards together, and they probably

848
00:47:43,760 --> 00:47:46,200
Speaker 3: move their cars by just sitting and shooting out the

849
00:47:46,239 --> 00:47:46,799
Speaker 3: back of them.

850
00:47:47,080 --> 00:47:48,960
Speaker 2: Yeah. They don't use a leaf blower. They use a

851
00:47:49,000 --> 00:47:53,560
Speaker 2: gatling gun. They just let it go. Yeah.

852
00:47:53,800 --> 00:47:56,400
Speaker 3: Okay, let's see, do we want to do another message

853
00:47:56,440 --> 00:47:57,560
Speaker 3: or should we wrap it up there?

854
00:47:58,200 --> 00:48:00,879
Speaker 2: Let's see. I mean, we had a good message from

855
00:48:01,000 --> 00:48:06,720
Speaker 2: Chris about something from the twenty twenty two Jordan Peel

856
00:48:06,800 --> 00:48:12,239
Speaker 2: film Nope. However, it does include spoilers about something in

857
00:48:12,239 --> 00:48:16,759
Speaker 2: that picture. And yeah, like we could read it and

858
00:48:16,800 --> 00:48:18,480
Speaker 2: I could give you a spoiler warning and you could

859
00:48:18,520 --> 00:48:21,719
Speaker 2: zip ahead or duck out early. But I don't even

860
00:48:21,719 --> 00:48:22,480
Speaker 2: know if you've seen.

861
00:48:22,560 --> 00:48:26,040
Speaker 3: Let's talk skip this one. Well I had, Let's skip

862
00:48:26,120 --> 00:48:28,879
Speaker 3: this one for now. Maybe we can find a non

863
00:48:28,960 --> 00:48:31,439
Speaker 3: spoiler way to come back and talk about Chris's point later.

864
00:48:31,800 --> 00:48:34,279
Speaker 2: Yeah. I talked about what Chris is talking about here

865
00:48:34,320 --> 00:48:36,920
Speaker 2: on an episode of The Monster Effect once, but I

866
00:48:37,000 --> 00:48:39,600
Speaker 2: had to like put big spoiler warnings on that. So

867
00:48:40,120 --> 00:48:43,080
Speaker 2: before we can read this, everyone go out and see Nope.

868
00:48:43,080 --> 00:48:45,080
Speaker 2: If you haven't seen it once, everyone that listens to

869
00:48:45,120 --> 00:48:47,840
Speaker 2: stuff to blow your mind has caught up and watched

870
00:48:47,880 --> 00:48:50,279
Speaker 2: the movie, then we can safely cover When is.

871
00:48:50,320 --> 00:48:54,040
Speaker 3: The appropriate time cut off for spoilers? Is there just

872
00:48:54,200 --> 00:48:56,600
Speaker 3: not one? If it's like a really good surprise.

873
00:48:57,160 --> 00:48:59,840
Speaker 2: Yeah, I mean, you know, there are true surprises that

874
00:49:00,080 --> 00:49:02,520
Speaker 2: are just really a lot of fun to experience, And

875
00:49:02,840 --> 00:49:04,759
Speaker 2: I guess that's what I come down to, Like, is

876
00:49:04,840 --> 00:49:06,919
Speaker 2: it fun and do you want to pass that fun

877
00:49:07,000 --> 00:49:10,160
Speaker 2: on to someone else? Then that's what I'm thinking about

878
00:49:10,200 --> 00:49:12,080
Speaker 2: and then other times it's like, I want people to

879
00:49:12,120 --> 00:49:14,480
Speaker 2: see this film, and to get you to see it,

880
00:49:14,560 --> 00:49:16,320
Speaker 2: you're gonna have to have a little bit of spoiler,

881
00:49:16,480 --> 00:49:19,520
Speaker 2: like you know most films. We've got to have a reason.

882
00:49:19,560 --> 00:49:21,520
Speaker 2: We got to have some sort of cheese on that

883
00:49:22,120 --> 00:49:24,680
Speaker 2: you know, that's baiting us into the whole scenario. So

884
00:49:25,120 --> 00:49:27,239
Speaker 2: I don't know, you know, it's a fine line though.

885
00:49:27,280 --> 00:49:28,800
Speaker 3: Of course, if you're new to the show, as we

886
00:49:28,920 --> 00:49:32,359
Speaker 3: usually say, our Weird House discussions are full spoiler if

887
00:49:32,400 --> 00:49:35,839
Speaker 3: you go to the end, so always be warned there. Yeah.

888
00:49:35,960 --> 00:49:37,960
Speaker 2: Yeah, once you've read to the end, you're done for

889
00:49:39,440 --> 00:49:41,680
Speaker 2: all right, Well, I think that's a good place to

890
00:49:41,719 --> 00:49:43,480
Speaker 2: go ahead and call it here. We didn't get to

891
00:49:43,520 --> 00:49:45,719
Speaker 2: everything in our notes, but you know that means we

892
00:49:45,800 --> 00:49:48,080
Speaker 2: have some listener mails to come back to in the future,

893
00:49:48,200 --> 00:49:50,560
Speaker 2: so keep them coming in. If you have thoughts about

894
00:49:51,960 --> 00:49:54,920
Speaker 2: recent or ongoing episodes of stuff to blow your mind, yeah,

895
00:49:54,960 --> 00:49:55,640
Speaker 2: go ahead.

896
00:49:55,320 --> 00:49:56,320
Speaker 3: And chip in.

897
00:49:56,960 --> 00:49:59,720
Speaker 2: If you have thoughts on episodes of Weird House Cinema,

898
00:50:00,000 --> 00:50:02,600
Speaker 2: any of the shorty episodes we put on Wednesdays, all

899
00:50:02,640 --> 00:50:05,480
Speaker 2: of that is fair game recommendations for the future. Just

900
00:50:05,560 --> 00:50:07,719
Speaker 2: keep it coming We love your field reports, we love

901
00:50:07,760 --> 00:50:10,719
Speaker 2: your suggestions, we love your corrections. Whatever it happens to be.

902
00:50:11,080 --> 00:50:14,840
Speaker 3: Huge, thanks as always to our excellent audio producer, JJ Posway.

903
00:50:15,200 --> 00:50:16,880
Speaker 3: If you would like to get in touch with us

904
00:50:16,960 --> 00:50:19,360
Speaker 3: with feedback on this episode or any other, to suggest

905
00:50:19,400 --> 00:50:21,440
Speaker 3: a topic for the future, or just to say hello,

906
00:50:21,640 --> 00:50:24,200
Speaker 3: you can email us at contact at stuff to Blow

907
00:50:24,280 --> 00:50:25,200
Speaker 3: your Mind dot com.

908
00:50:32,160 --> 00:50:35,080
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

909
00:50:35,200 --> 00:50:37,959
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

910
00:50:38,160 --> 00:50:40,880
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