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

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Speaker 2: Hey you 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 hey folks. I know

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Speaker 3: we don't usually do a preamble on our show before

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Speaker 3: every episode, but I thought it'd be good in case

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Speaker 3: there are some new listeners out there, to kind of

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Speaker 3: remind you who we are if you're new to the show.

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Speaker 3: Stuff to Blow Your Mind has been an audio podcast

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Speaker 3: for like fifteen years or sixteen Rob and when did

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Speaker 3: it actually start?

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Speaker 2: We've always been here, it's been a while.

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Speaker 3: Our core episodes published on Tuesdays and Thursdays of every week,

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Speaker 3: and those are about diverse topics that we get interested in.

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Speaker 3: Usually they have something to do with science or culture

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Speaker 3: in some way. Most Wednesdays we publish a short form

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Speaker 3: scripted episode, and then on Fridays we do a sub

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Speaker 3: show called Weird House Cinema where we just talk about

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Speaker 3: a strange film. You can find all of those episodes

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Speaker 3: in the Stuff to Blow your Mind podcast feed wherever

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Speaker 3: you get your podcasts. In today's episode, this is a

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Speaker 3: recurring segment we do called Listener mail where we're going

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Speaker 3: to read and respond to some email from listeners. We

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Speaker 3: do this at variable intervals now, usually maybe once every

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Speaker 3: month or month and a half. And I'll go ahead

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Speaker 3: and give you the email address in case you would

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Speaker 3: like to get in touch and send us a message

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Speaker 3: that could be featured on a show like this in

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Speaker 3: the future. That email address is contact at stuff to

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Speaker 3: Blow your Mind dot com. Also, we just wanted to

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Speaker 3: check in about the fact that just within the past

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Speaker 3: month we started recording a video version of the show

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Speaker 3: that you can find on Netflix. It's the exact same content,

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Speaker 3: it's just with the cameras turned on, and so we're

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Speaker 3: still relatively new at this. I think we're kind of

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Speaker 3: getting used to the merciless unblinking eye. But we have

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Speaker 3: gotten some encouraging emails from listeners saying they're enjoying the

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Speaker 3: video version, So thank you for that. The kind words

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Speaker 3: really do mean a lot to us. If you happen

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Speaker 3: to be watching us on Netflix now and you want

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Speaker 3: to subscribe, you can click the remind me buttons so

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Speaker 3: future episodes will pop up when they publish. And please listeners,

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Speaker 3: if your game, we encourage you to just leap wantonly

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Speaker 3: from one platform to another and consume the show however

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Speaker 3: you like best. So if you found us on Netflix, please, yes,

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Speaker 3: go subscribe to our audio format wherever you get your podcasts.

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Speaker 3: And if you're an audio listener, please look us up

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Speaker 3: on Netflix if you're so inclined.

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Speaker 2: Yeah, if you're listening to us, if you're watching us,

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Speaker 2: whatever you're comfortable with, we're just pleased that you took

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Speaker 2: time out of your day to listen to our content,

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Speaker 2: and we're grateful.

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Speaker 3: All right, Rob, are you ready to get right into

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Speaker 3: the messages.

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Speaker 2: Yeah, A lot of these, or at least the ones

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Speaker 2: at the top, are gonna have to do with our

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Speaker 2: recent series on personifications of death. Anthropomorphic personification, so death

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Speaker 2: like the grim Reaper certainly in Western traditions, but other

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Speaker 2: related figures. We weren't able to cover everything out there

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Speaker 2: because this is a sort of figure that occurs just

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Speaker 2: throughout human cultures, and there's so many different varieties and

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Speaker 2: yet at the same time, there are certain aspects, certain

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Speaker 2: tropes that you'll find again and again, and so we

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Speaker 2: reached out to listeners because we knew that people would

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Speaker 2: have all sorts of personal but also cultural details to

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Speaker 2: fill in for us. Right.

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Speaker 3: So, Rob, if it's okay with you, I'm going to

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Speaker 3: do this message from Maya. Yeah, Maya, says dear Robin, Joe.

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Speaker 3: What a fascinating discussion about the personification of death and

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Speaker 3: grammatical gender. As a speaker of Mexican Spanish as my

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Speaker 3: first language, I found it especially compelling given my country's

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Speaker 3: fascination with death and its many representations. Curiously enough, every

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Speaker 3: name we give to death, and there are hundreds I looked,

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Speaker 3: is a feminine noun. La morte death is feminine, but

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Speaker 3: so are Laparca, one of the fates in Greek myth,

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Speaker 3: and Laflaca, the skinny one. Folk images of death seem

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Speaker 3: to be divided. A very well known representation of death

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Speaker 3: is Lakatrina, an image created first created by the engraver

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Speaker 3: Jose Guadalupe Posada, that depicts death as a high class lady.

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Speaker 3: Its name means something like the well dressed one. And Rob,

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Speaker 3: I went and looked up this image. I pulled it

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Speaker 3: into our outline. So this is Lakatrina by Jose Guadalupe Pasada.

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Speaker 3: It's a figure of a skeleton who seems to be

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Speaker 3: I don't know what these kind of fluffy things around

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Speaker 3: its shoulders are maybe they're bushes or clouds. I guess

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Speaker 3: clouds would make sense. But it's wearing this big, elaborate,

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Speaker 3: beautiful hat. It's like a gently sloping kind of domed

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Speaker 3: hat with flowers on the top and big, you know,

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Speaker 3: dangling feathers coming off, and then also something seemingly tucked

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Speaker 3: into the skeleton's ear, though of course a skull wouldn't

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Speaker 3: have an ear. But what are those things down there?

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Speaker 3: Are those like tassels or flowers?

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Speaker 2: Yeah? Yeah, the overall appearances yet death in a festive hat.

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Speaker 2: And this this image was discussed in some of the

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Speaker 2: sources that I was using for those episodes, but I

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Speaker 2: I didn't get to it, but it is quite an

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Speaker 2: important one, I'm to understand.

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Speaker 3: Maya's email goes on to say the Maschika deities of

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Speaker 3: death were a male and female skeletal figure. Mictlandakoutli was

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Speaker 3: the lord of mik Dlan the underworld, and mik Takasi

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Speaker 3: Watt was his wife. And Maya this you may have

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Speaker 3: written this email before we discussed them on the show,

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Speaker 3: but these figures did come up, I think in part

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Speaker 3: four of our discussion there, where we were talking about

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Speaker 3: a paper about what were the cultural inputs on the

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Speaker 3: creation of Santa Marte, which does come up in this email.

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Speaker 3: By the way, Maya says, in many other visual traditions,

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Speaker 3: death is a male figure. Rob will be happy to

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Speaker 3: note that there was a Lucha libre character known as

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Speaker 3: La Parca, although he tragically died as a result of

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Speaker 3: injuries sustained in a match. Rob, I think you've got

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Speaker 3: some stuff on Laparca.

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Speaker 2: Later I do, and we have another listener male that

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Speaker 2: will also fill in some of the blanks for us.

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Speaker 3: Yeah, okay, Maya says. Punk and heavy metal depictions of

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Speaker 3: death as a male, devilish figure coexist with the controversial

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Speaker 3: La Santa Morte the Holy Death, a folk cult figure

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Speaker 3: that appears as a female skeletal deity who personifies death

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Speaker 3: and is venerated by people from all walks of life,

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Speaker 3: and Argentinian equivalent, in contrast is a male figure San

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Speaker 3: la Morte. And of course, during Da da Mortos, the

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Speaker 3: Day of the Dead, you can write your name on

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Speaker 3: the forehead of a sugar skull and add it to

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Speaker 3: the altar or afrienda, and in doing so you turn

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Speaker 3: a neutral, genderless confection into your own gendered alter ego.

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Speaker 2: Ah, that's a nice, nice tidbit to mentioned. Yeah, there's

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Speaker 2: an excellent Day of the Dead celebration here in Atlanta.

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Speaker 2: Every year. They hold it at the historic Cokeland Cemetery,

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Speaker 2: and we generally try to go.

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Speaker 3: As somebody who didn't grow up with Day of the

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Speaker 3: Dead celebrations. I for a long time, I think I

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Speaker 3: had the wrong idea that it was only it was

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Speaker 3: like Mardi Gras, that it was only like this big

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Speaker 3: public festival kind of thing. But I realized more recently, Yeah,

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Speaker 3: that you know, you can have private celebrations. And I

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Speaker 3: actually went to one that was hosted by some family

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Speaker 3: of ours this past fall. It was beautiful and the

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Speaker 3: afriendo was I don't know, I found it very touching.

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Speaker 3: Oh nice, coming back to Maya's email. As for grammatical gender,

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Speaker 3: its influence on our perception of external objects is still

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Speaker 3: up for debate. Some studies have found that we tend

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Speaker 3: to think of feminine inanimate objects such as table mesa,

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Speaker 3: as having more feminine attributes than masculine objects, but other

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Speaker 3: research has found these effects to be more subtle or

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Speaker 3: even non existent. Yeah, we talked about that in the

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Speaker 3: episodes too. There's kind of a mixed research picture on

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Speaker 3: to what extent this is really happening. But Maya says,

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Speaker 3: in the case of death, nothing seems to prevent us

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Speaker 3: from thinking about it as both the mascular and feminine figure.

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Speaker 3: Despite the grammatical gender of the noun, we used to

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Speaker 3: refer to it a wonderful series. Keep up the great

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Speaker 3: work and know that you have many non native English

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Speaker 3: speakers as fans all over the world. Maya. Well, thank you, Maya,

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Speaker 3: very nice, wonderful. It warms my heart. And then also

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Speaker 3: Maya had a follow up email just to share a

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Speaker 3: picture with us, She says, Dear Joe and rob By

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Speaker 3: the way, here you have a picture of the Santa

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Speaker 3: Morte van that makes the rounds in my brother's neighborhood,

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Speaker 3: so her devotees can worship her from the comfort of

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Speaker 3: their own homes. All the best, Maya, And this is wonderful.

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Speaker 3: It's a Santa Morte figure enthroned on a big chair,

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Speaker 3: draped in looks like gold satin or something kind of

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Speaker 3: a gold leaf texture, sitting in the bed of a

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Speaker 3: trailer or the back of a pickup truck, or it

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Speaker 3: might be like one of those small three wheel pickup trucks,

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Speaker 3: and so she's a very dry skeleton. As we talked

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Speaker 3: about she usually, you know, she's very parched. But she's

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Speaker 3: wearing a pink floral gown and a mantle like a

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Speaker 3: hood over the top of her head. In her right hand,

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Speaker 3: she's holding a scythe. In her left hand a golden

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Speaker 3: ball which I think could be the earth. It's like

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Speaker 3: a globe. And then she has an owl perched over

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Speaker 3: either shoulder. Do you see the two owls.

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Speaker 2: Rob Oh, yeah, I didn't see them at first, but

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Speaker 2: now I see.

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Speaker 3: Them hiding in the ruffles of the gold on the chair.

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Speaker 2: That's great.

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Speaker 3: And then also in the same hand as the scythe,

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Speaker 3: she's got some kind of foliage. I don't know exactly

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Speaker 3: what that is. I was wondering, could that be a

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Speaker 3: palm leaf?

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Speaker 2: It does kind of look like a palm leaf.

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Speaker 3: Yeah, yeah, I can't say for sure what that is,

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Speaker 3: but this is great. Thank you so much for sending Maya.

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Speaker 2: Yes, indeed, all right, I said, we're going to have

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Speaker 2: more about La Parca the Lucha Door, and indeed we're

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Speaker 2: going to read this next one from Angelo Angela, says Hi,

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Speaker 2: Robert and Joe. While listening to your podcast series about

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Speaker 2: the Personifications of death, mention of the Mexican Laparca immediately

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Speaker 2: got me thinking about professional wrestling, the WCW promotion. This

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Speaker 2: some of you may not be aware that this promotion

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Speaker 2: used to exist heyday during the nineties.

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Speaker 3: Wait, what's it called now? It's not that anymore.

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Speaker 2: It doesn't exist. It was, yeah, it went away. It

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Speaker 2: was purchased by WWE, and it is now part of

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Speaker 2: that conglonerate anyway, Angelo writes the WCW promotion showcased luchadors

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Speaker 2: in the mid to late nineties, including one named Laparca.

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Speaker 2: He wore a skeletal mask and costume to look like

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Speaker 2: a reaper, but instead of a scythe he always carried

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Speaker 2: a steel chair to the ring. He would, of course

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Speaker 2: use it on his opponents during matches, but he would

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Speaker 2: also play guitar air guitar on it during his entrances

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Speaker 2: and post match celebrations. He used the chair so much

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Speaker 2: that announcers gave him the nickname the Chairman of WCW.

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Speaker 2: He did well. He did use the Mexican grim reaper costume.

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Speaker 2: The gimmick never really went with the subject of death

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Speaker 2: in the same way that another wrestler, the Undertaker, did

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Speaker 2: in his earlier days. Other wrestlers would take on the

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Speaker 2: Laparca mantle, with the character making an appearance in this

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Speaker 2: year's WWE Royal Rumble. Anyway, the series was great and

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Speaker 2: I really learned a lot from it. Please keep up

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Speaker 2: the great work. Thanks Angela. So yes Laparka. Believe me.

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Speaker 2: When Laparca came up in our death episodes, I did

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Speaker 2: have to fight the urge to bring him up, but

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Speaker 2: I was like, we can save this for later. Somebody

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Speaker 2: will write in about this and we can follow up.

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Speaker 3: I don't think anybody would have minded if you'd, oh, we.

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Speaker 2: Had a lot of ground to cover. It was hard

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Speaker 2: to argue that we needed a side trip to louchal

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Speaker 2: Libra at that point, and I knew we'd come back

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Speaker 2: to it. Yes, Angelo did a I think a great

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Speaker 2: job here summarizing the Laparca that wrestling fans of the

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Speaker 2: nineties in the US likely remember. Tied to the Triple

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Speaker 2: A promotion in Mexico at the time, and then I

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Speaker 2: think he was full time with WCW for a spell

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Speaker 2: there too, and he was played by a wrestler named

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Speaker 2: Adolfo Ibarra born nineteen sixty five. And yeah, I believe

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Speaker 2: his real name, this character, this luchador, has never been unmasked,

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Speaker 2: but I believe his name and age are of public records,

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Speaker 2: so we're not spoiling anything there. But when he left

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Speaker 2: that promotion Triple A, Triple A retained the rights to

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Speaker 2: the costume and the gimmick, and so they handed the

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Speaker 2: gimmick over to Jesus Escoboza, who lived nineteen sixty six

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Speaker 2: through twenty twenty. This is the Laparca that was mentioned

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Speaker 2: earlier that died in twenty twenty. So but this handoff

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Speaker 2: was occurring in the late nineties, and I believe there

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Speaker 2: was a lot of like legal back and forth about

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Speaker 2: the gimmick. But certainly by around two thousand and three, Abarra,

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Speaker 2: the first Laparka, ended up altering his costume to look

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Speaker 2: like a combination of Darth Maul and the Laparca skeleton

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Speaker 2: costume that he had been wearing in order to perform

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Speaker 2: in televise matches for CMLL. That's Mexico's biggest lush promotion

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Speaker 2: and arch rival of Triple A. At this point, he

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Speaker 2: changed his name to what as an English speaker, I

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Speaker 2: always read as La park but I'm to understand in

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Speaker 2: Spanish it is pronounced la Parka, so it still sounds

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Speaker 2: like Laparca, but is spelled differently for legal regas. I see. Yeah,

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Speaker 2: so he did some great work for CML during that timeframe.

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Speaker 2: I watched some of his CML matches back in the day,

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Speaker 2: and since then, the Laparca legacy has continued, with a

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Speaker 2: third Laparka. In Triple A there was and then at

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Speaker 2: different times there were various family members of Agvarres that

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Speaker 2: ended up taking on some sort of Laparca gimmick. So

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Speaker 2: there was a super Parka, various sons of Laparca. There

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Speaker 2: was also a lark There were some La Parkitas, more

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Speaker 2: than one, like many Laparca's, and for a short while

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Speaker 2: there was a female Laparka as well. So it just

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Speaker 2: goes to show, you know, once you've established a great gimmick,

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Speaker 2: you just can't keep it down. People are gonna wear

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Speaker 2: the hood no matter what.

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Speaker 3: Wait, do you know how did Darth Maul get wrapped in?

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Speaker 3: Was that just zeitgeist?

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Speaker 2: I think it was just yeah, in the zeitgeist at

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Speaker 2: the time, and I don't know for certain, but I'm

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Speaker 2: assuming he just realized he needed to mix up the

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Speaker 2: look a little bit, and so it made sense for

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Speaker 2: him to do this. He might have actually done it

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Speaker 2: a little bit before he became La Park, if you will,

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Speaker 2: just because it was fun, you know, like sometimes costume

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Speaker 2: wrestlers in Mexico, the Lucitos, will do this where they'll

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Speaker 2: they'll take their existing costume and they'll tweak it a

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Speaker 2: little bit, maybe a'le align it with something in pop

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Speaker 2: culture beyond what they have going on. But yeah, I'm

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Speaker 2: mostly familiar with the guy who would become La Park,

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Speaker 2: and I generally describe him as a brawling, wild man

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Speaker 2: luchador that could still bust out some really sweet maneuvers

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Speaker 2: here and there. But yeah, one does not get much

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Speaker 2: of a traditional mainstream grim reprovibe from him though, you know,

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Speaker 2: especially the WCW days he was dancing, he was playing

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Speaker 2: at your guitar. He wasn't coming for people's souls or

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Speaker 2: anything like that. He was doing spin kicks. Yeah. Well, Angela,

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Speaker 2: thanks for writing in about all that. It was nice

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Speaker 2: to dive in on a little Laparka history. And then

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Speaker 2: there's so many other lugadors that have skull motifs incorporated

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Speaker 2: into their look, you know, the whole army of them.

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Speaker 3: Yeah, thank you Angelo. Okay, are you ready if I

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Speaker 3: do this message from Luisa? Yeah, Luisa says, Hi, guys,

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Speaker 3: I hope this twenty twenty six is a great year

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Speaker 3: for you and yours. I've been fascinated by your Death series.

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Speaker 3: You always give such an interesting, deep analysis of obscure information.

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Speaker 3: Thank you, Louisa, is what we hope for. We try. However,

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Speaker 3: I had hoped you would mention Las Intermittensias de la

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Speaker 3: Morte by Sarah Mago and that title is usually translated

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Speaker 3: Death with Interruptions. Luisa says, if you haven't read it yet,

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Speaker 3: I can't recommend it enough. It is elegantly written, with

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Speaker 3: a mysterious plot and a beautiful ending. Please consider it

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Speaker 3: in your reading list for this year. And if you

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Speaker 3: do happen to talk about it further on the series.

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Speaker 3: My apologies as always, thank you so much for your

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Speaker 3: wonderful podcast, Luisa. Oh, and then Luisa says, ps, every

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Speaker 3: time you go over the weekly schedule, when you say

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Speaker 3: and on Fridays, we're going to say we do weird

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Speaker 3: house cinema. But she says, when you say and on Fridays,

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Speaker 3: I expect you to say, I'm in love pop culture

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Speaker 3: and printing.

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Speaker 2: I guess that's the cure, right, Yeah, yeah, that's the cure.

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Speaker 2: That's a great song.

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Speaker 3: So this novel is by the Portuguese author Jose Saramago.

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Speaker 3: I have not read it, but Luisa, I looked it

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Speaker 3: up on your suggestion and I they genuinely ended up

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Speaker 3: ordering a copy of the English translation. This is the

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Speaker 3: translation by Margaret Joel Costa. And just to give you

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Speaker 3: a taste, the opening sentence of the book is the

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Speaker 3: following day no one died. So it's a pretty cool premise.

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Speaker 3: I don't want to spoil too much about the book,

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Speaker 3: though I did kind of read ahead about what the

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Speaker 3: plot is, and that got me hooked on wanting to

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Speaker 3: actually read the book, but just to sort of sketch

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Speaker 3: it out. The premise is that one day, in one country,

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Speaker 3: death just stops. People become unexpectedly and suddenly immortal. And

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Speaker 3: while this seems like a great blessing, actually it is horrible.

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Speaker 3: It turns into a crisis because it doesn't mean that

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Speaker 3: people are now eternally well, it just means they don't die.

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Speaker 3: So people with fatal injuries and terminal illnesses do not

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Speaker 3: get better. They just don't die, which is actually a nightmare,

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Speaker 3: and so that happens. I was reading about some interesting

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Speaker 3: plots in the middle of the book where the government

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Speaker 3: is trying to figure out like workarounds, like what can

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Speaker 3: we do with the people who are like basically.

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Speaker 2: Dead but not dying.

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Speaker 3: And then there is another part in the book where

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Speaker 3: apparently the character of Death decides to resume allowing people

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Speaker 3: to die, but she gives them a warning a week

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Speaker 3: ahead of time so they can prepare and like prepare

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Speaker 3: and use their final day as well, and this also

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Speaker 3: seems to go disastrously. It increases dread and obsession. So

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Speaker 3: it seems like the story is going to be about

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Speaker 3: paradoxes in how we think about death, Like a lot

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Speaker 3: of things that we want with respect to death, like

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Speaker 3: knowing when it will happen or avoiding it entirely, would

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Speaker 3: be absolute curses if they were to really happen. And finally,

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Speaker 3: the story does seem to involve death falling in love

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Speaker 3: with immortal, which we were just talking about stories like that,

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Speaker 3: weren't we.

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Speaker 2: Yeah, yeah, Well, actually several aspects of this story match

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Speaker 2: up with some much older tellings, you know, being taken

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Speaker 2: out of commission to what extent death is going to

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Speaker 2: give you a heads up on his or her arrival.

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Speaker 2: So yeah, this sounds very interesting, like taking all these

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Speaker 2: ideas and these literary motifs that we've been ruminating on

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Speaker 2: and sort of updating it for a twenty first century

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Speaker 2: literary treatment.

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Speaker 3: Yeah, so anyway, thank you for the recommendation, Luisa, and

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Speaker 3: I am gonna my copies on the way and I'm

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Speaker 3: going to be trying to read it this year.

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Speaker 2: All right, This next one comes to us from Albert.

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Speaker 2: Albert is the name of the human who assists death

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Speaker 2: in Terry Pratchett's Discworld books. But I think this is

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Speaker 2: a different Albert.

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Speaker 3: This is not a pseudonym Albert has written to us before.

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Speaker 2: Okay, or it could be a different Albert, or could

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Speaker 2: be the fictional character from the Discworld. Now we're about

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Speaker 2: to find out. We're about to find out Albert. Right,

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Speaker 2: sin and says dear Robin Joe. I have been thoroughly

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Speaker 2: enjoying your exploration of the anthropomorphic p sionifications of death.

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Speaker 2: I'm writing this after listening to part three. There have

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Speaker 2: been many depictions of death in various media over the years.

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Speaker 2: Some of my favorites are from the films, and we

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Speaker 2: get a short list here, The Seventh Seal, you know,

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Speaker 2: classic Monty Python in the Meaning of Life. Yes, that's

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Speaker 2: another great one. And meet Joe Black. I haven't seen

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Speaker 2: meet cho Blake who plays death in that?

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Speaker 1: Is that?

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Speaker 3: Is that Brad Pitt?

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Speaker 2: Is Is he death in that? Is he Joe Black?

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Speaker 3: I think so?

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Speaker 1: Or?

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Speaker 2: Or is he he ages backwards in this one? Towards Death?

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Speaker 2: I can't remember. I can't keep it.

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Speaker 3: This is one from the nineties. In my brain, I merged.

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Speaker 3: I used to merge Meet Joe Black and City of

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Speaker 3: Angels the American remake of Wings of Desire into one movie.

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Speaker 3: But they're different movies.

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Speaker 2: Okay, all right, Meet chob Blake. Maybe I should give it,

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Speaker 2: give it a go on the small screen. The Hitchhiker

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Speaker 2: episode from the Twilight Zone was quite memorable, and in

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Speaker 2: the various comics and graphic novels. Death of the Endless

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Speaker 2: in the Sandman series is my favorite. And we can't

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Speaker 2: forget about death the Pale Rider in the Book of Revelations.

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Speaker 2: Although side note apparently the original word describing death is

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Speaker 2: not pale, but a light green, indicating that it's actually

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Speaker 2: the color of rotting flesh. Anyway, in both Meet Joe

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Speaker 2: Black and in Sad Sandman, death is shown to be

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Speaker 2: a comforting presence, fulfilling the role of psychopomp that you mentioned.

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Speaker 3: That's right, So the distinction there is that the psychopomp

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Speaker 3: is the figure, like the way Hermes is sometimes depicted

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Speaker 3: in Greek mythology, the guide of the soul to the

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Speaker 3: afterlife takes you from one place to the next.

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Speaker 2: Yeah, Albert continues, I also looked into Japanese culture's depiction

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Speaker 2: of death. When I do a search on Shinigami, which

401
00:21:45,600 --> 00:21:48,280
Speaker 2: literally means death god, the search shows either the soul

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00:21:48,359 --> 00:21:51,920
Speaker 2: reapers from the anime Bleach or Western depictions of the

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Speaker 2: grim Reaper. As far as I know, there is a

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Speaker 2: judge of the dead in the Dio who is derived

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Speaker 2: from Yama of the Hindu pantheon. This judge of the

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Speaker 2: dead is present in many Buddhist cultures, but a death god,

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Speaker 2: a reaper, a harvester of souls seems to be absent. Anyway,

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Speaker 2: looking forward to part four, impossibly part five, thanks Albert, Oh.

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Speaker 3: That is interesting, So that would be if you're correct here, Albert,

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Speaker 3: this would be the case of a culture that doesn't

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Speaker 3: really have anything quite like a grim reaper figure like

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Speaker 3: in Japanese culture. There's maybe just not a native equivalent

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Speaker 3: of the figure that appears at your death.

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Speaker 2: Hmm. Yeah, I haven't researched this for myself yet. One

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Speaker 2: of the main sources, as I mentioned in our series,

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Speaker 2: definitely focused on more on Western models, but you know,

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Speaker 2: I love looking into Eastern cultures as well, so maybe

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Speaker 2: in the future we'll come back and look at some

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Speaker 2: of these models from Buddhism and Hinduism as well.

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Speaker 3: Ready for me to do this one for Matt?

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Speaker 2: Yeah, what does Matt have to say?

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Speaker 3: Matt says, good day, Fellas, Happy New Year. Very much

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Speaker 3: enjoyed the series on personifications of death. It's a subject

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Speaker 3: I've often thought about and had a couple of thoughts

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Speaker 3: based on my own cultural interest. Being a Knuk with

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Speaker 3: Scott's Irish Scotch Irish ancestry, and a general fascination with

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Speaker 3: Gaelic culture. I've long been interested in the myth and

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Speaker 3: stories of those cultures and how they can bleed into

429
00:23:23,600 --> 00:23:27,240
Speaker 3: the modern day. Halloween and various other holiday traditions being

430
00:23:27,320 --> 00:23:30,600
Speaker 3: easy examples. One I was attracted to from an early

431
00:23:30,680 --> 00:23:34,760
Speaker 3: age was the Banshee and the Morgan. I've written to

432
00:23:34,800 --> 00:23:38,640
Speaker 3: you previously on some explorations I've done into Morigan lore,

433
00:23:39,280 --> 00:23:42,879
Speaker 3: and then parenthetically a place called rath Krogan and the

434
00:23:43,000 --> 00:23:48,920
Speaker 3: cave of Oafnagot, for example, I vaguely recall that, don't

435
00:23:48,920 --> 00:23:51,520
Speaker 3: recall what we said about them. Is there something about

436
00:23:51,520 --> 00:23:53,639
Speaker 3: a cat at that cave that sounds.

437
00:23:53,400 --> 00:23:55,240
Speaker 2: Failing that sounded maybe a rabbit?

438
00:23:58,880 --> 00:24:02,000
Speaker 3: Matt says, What what I find interesting about the Morgan

439
00:24:02,240 --> 00:24:05,879
Speaker 3: is that she, while not exclusively a death figure, is

440
00:24:05,960 --> 00:24:09,080
Speaker 3: a death figure which seems to both mock and take

441
00:24:09,160 --> 00:24:12,720
Speaker 3: delight in trickery, while one who also acts on savage

442
00:24:12,800 --> 00:24:16,160
Speaker 3: impulses less in the tradition of the reaper, who gets

443
00:24:16,200 --> 00:24:19,360
Speaker 3: closer over time, and more in the chaotic neutral vein

444
00:24:19,480 --> 00:24:23,679
Speaker 3: where anything can propel her can propel you to her

445
00:24:24,000 --> 00:24:27,560
Speaker 3: cold embraces if you're not careful. So sort of like

446
00:24:27,680 --> 00:24:31,200
Speaker 3: the deceiver figure we were talking about, it's a common

447
00:24:31,240 --> 00:24:34,600
Speaker 3: image of death, the one who embodies a fatal irony.

448
00:24:35,359 --> 00:24:38,399
Speaker 3: So Matt says, I've only listened to part one of

449
00:24:38,440 --> 00:24:40,320
Speaker 3: the series at this point. So perhaps you mentioned this

450
00:24:40,400 --> 00:24:42,639
Speaker 3: in part two, but I find the Morgan to be

451
00:24:42,760 --> 00:24:46,480
Speaker 3: a wonderful embodiment of both the malevolence and randomness of

452
00:24:46,560 --> 00:24:49,800
Speaker 3: physical danger in our lives. To me, it's a quote,

453
00:24:49,960 --> 00:24:52,520
Speaker 3: nothing personal, but you are going to die now because

454
00:24:52,560 --> 00:24:55,920
Speaker 3: you screwed up, and the universe has little sympathy mentality.

455
00:24:56,760 --> 00:24:59,639
Speaker 3: Then there's the banshee, the ghostly version of a keening

456
00:24:59,720 --> 00:25:02,480
Speaker 3: woman at a funeral, which many a person is said

457
00:25:02,520 --> 00:25:04,800
Speaker 3: to see or at least here before someone they know

458
00:25:05,119 --> 00:25:08,320
Speaker 3: or they themselves die. I learned of the banshee when

459
00:25:08,320 --> 00:25:10,879
Speaker 3: I was about fourteen years old and had just started

460
00:25:10,920 --> 00:25:14,520
Speaker 3: getting interested in my family's history, culture, and stories. We

461
00:25:14,600 --> 00:25:17,119
Speaker 3: didn't have much, if anything from the old Country, but

462
00:25:17,359 --> 00:25:20,160
Speaker 3: a few funny sayings about not being out in bad

463
00:25:20,280 --> 00:25:24,200
Speaker 3: weather and shutting ears to strange voices. I always found

464
00:25:24,240 --> 00:25:27,240
Speaker 3: that strange. Then I came to know about the banshee.

465
00:25:27,720 --> 00:25:31,119
Speaker 3: And if you saw a piece of clothing, shoe, etc.

466
00:25:31,560 --> 00:25:34,879
Speaker 3: In the road at night, you may want to walk elsewhere.

467
00:25:35,119 --> 00:25:36,760
Speaker 3: Not sure if that's a real thing or not, but

468
00:25:36,840 --> 00:25:39,199
Speaker 3: that is what I thought at the time. I remember

469
00:25:39,680 --> 00:25:42,359
Speaker 3: being out hunting one night near the family farm and

470
00:25:42,480 --> 00:25:46,000
Speaker 3: coming across a child's dress caught on a bush from

471
00:25:46,080 --> 00:25:50,280
Speaker 3: the wind. Ugh Was it a sign? Of course it wasn't,

472
00:25:50,400 --> 00:25:53,080
Speaker 3: and was likely just caught on some foliage after some

473
00:25:53,320 --> 00:25:56,920
Speaker 3: critter ripped open a garbage bag during the previous pickup day,

474
00:25:57,280 --> 00:26:00,000
Speaker 3: it being blown by strong winds common to my homemade

475
00:26:00,160 --> 00:26:03,560
Speaker 3: home area. Regardless, it freaked me right out and I

476
00:26:03,600 --> 00:26:07,800
Speaker 3: went home immediately. I'm not a religious or superstitious person generally,

477
00:26:07,920 --> 00:26:10,680
Speaker 3: but must admit I still get a chill thinking about

478
00:26:10,720 --> 00:26:14,560
Speaker 3: that particular evening. Anyway, I suppose the lesson, as you

479
00:26:14,680 --> 00:26:17,119
Speaker 3: both put it so well, is that the personification of

480
00:26:17,200 --> 00:26:20,480
Speaker 3: death is in a way a very individual process defining

481
00:26:20,560 --> 00:26:25,120
Speaker 3: what we each fear, expect, and want to a degree personally.

482
00:26:25,320 --> 00:26:27,639
Speaker 3: If I have to go with the Morgan cackling at

483
00:26:27,720 --> 00:26:31,359
Speaker 3: me telling me how stupid a decision I had made, was,

484
00:26:31,640 --> 00:26:34,640
Speaker 3: that's all right with me. As always, love the show

485
00:26:34,880 --> 00:26:37,719
Speaker 3: and do keep it up. All the best from Ontario, Matt.

486
00:26:38,600 --> 00:26:40,720
Speaker 2: Well, thanks, Matt. I'm gonna have to say no thank

487
00:26:40,800 --> 00:26:44,000
Speaker 2: you to the Morgan with the whole death blaming thing.

488
00:26:44,200 --> 00:26:47,600
Speaker 2: I mean, come on, have a little bedside matter. Send

489
00:26:47,680 --> 00:26:50,840
Speaker 2: in Joe Black instead. I guess, yeah, all right, This

490
00:26:50,960 --> 00:26:56,119
Speaker 2: next one comes to us from Stephanie titled Death Listens. Hi,

491
00:26:56,280 --> 00:26:59,480
Speaker 2: Robert and Joe, thanks for the episodes entitled Oh Death.

492
00:27:00,160 --> 00:27:02,160
Speaker 2: This has been among my favorite series from the show.

493
00:27:02,359 --> 00:27:04,520
Speaker 2: I've had a lot of fun reflecting on what I

494
00:27:04,640 --> 00:27:08,880
Speaker 2: think death looks like. When you mentioned the Death Listens artwork,

495
00:27:08,960 --> 00:27:11,080
Speaker 2: I looked it up since I found it interesting that

496
00:27:11,240 --> 00:27:13,360
Speaker 2: one of you thought the figure looked a bit awkward

497
00:27:13,680 --> 00:27:17,040
Speaker 2: or similar just hanging out. I noticed that Death was

498
00:27:17,119 --> 00:27:21,040
Speaker 2: holding flowers and almost contemplating the figure playing the violin.

499
00:27:21,600 --> 00:27:24,280
Speaker 2: To me, this figure is one of the comforting deaths.

500
00:27:24,720 --> 00:27:27,240
Speaker 2: She knows this is hard for the humans, so she

501
00:27:27,400 --> 00:27:30,040
Speaker 2: takes time to enjoy the song of the young Man

502
00:27:30,160 --> 00:27:33,760
Speaker 2: before she goes about her duties. This thought was confirmed

503
00:27:33,800 --> 00:27:37,479
Speaker 2: for me when I realized Seinberg also painted the Garden

504
00:27:37,640 --> 00:27:41,200
Speaker 2: of Death, which features three figures tending a garden with care.

505
00:27:41,720 --> 00:27:45,080
Speaker 2: One is particularly enraptured with the flowers, which is impressive

506
00:27:45,960 --> 00:27:49,680
Speaker 2: to convey on a skull. Thanks again for such a

507
00:27:49,880 --> 00:27:52,720
Speaker 2: fun and interesting series on this subject. It's so neat

508
00:27:52,760 --> 00:27:55,199
Speaker 2: to learn about the cultural and historical differences of how

509
00:27:55,320 --> 00:27:57,560
Speaker 2: death is personified. Thank you, Stephanie.

510
00:27:58,560 --> 00:28:02,119
Speaker 3: So Rob four reference, I put both of the artworks

511
00:28:02,240 --> 00:28:05,080
Speaker 3: that Stephanie mentions in our outline here, so first you

512
00:28:05,119 --> 00:28:06,639
Speaker 3: can look at that. This is the one we were

513
00:28:06,640 --> 00:28:09,840
Speaker 3: actually talking about in the series, the painting Death Listens

514
00:28:09,920 --> 00:28:12,920
Speaker 3: by Hugo. I was saying, Simberg, did you say Seinberg?

515
00:28:13,119 --> 00:28:15,040
Speaker 2: I might have said Seinberg here, but at the top

516
00:28:15,040 --> 00:28:16,560
Speaker 2: of my head, I'm not sure which one is correct.

517
00:28:16,680 --> 00:28:19,360
Speaker 3: I don't know either, Okay, So Hugo, Simberg or Seinberg.

518
00:28:19,920 --> 00:28:22,480
Speaker 3: This was painted in eighteen ninety seven. This is the

519
00:28:22,520 --> 00:28:25,880
Speaker 3: one we talked about where there is an old woman

520
00:28:26,000 --> 00:28:29,040
Speaker 3: lying in a bed in the background, looking very frail.

521
00:28:29,160 --> 00:28:31,119
Speaker 3: And then the weird thing is that death is not

522
00:28:31,320 --> 00:28:36,040
Speaker 3: oriented toward the dying woman. She is standing there draped

523
00:28:36,080 --> 00:28:38,360
Speaker 3: in black. It's a skeletal figure draped in black holding

524
00:28:38,440 --> 00:28:42,200
Speaker 3: flowers across from a young man playing a violin. So

525
00:28:42,280 --> 00:28:44,280
Speaker 3: it's like she's listening to the violin, just kind of

526
00:28:44,320 --> 00:28:47,280
Speaker 3: ignoring the dying woman, and we were wondering what to

527
00:28:47,360 --> 00:28:50,960
Speaker 3: make of that. It is very curious. But then yeah,

528
00:28:51,160 --> 00:28:53,360
Speaker 3: so Robi also pulled in the Garden of Death, which

529
00:28:53,400 --> 00:28:56,160
Speaker 3: Stephanie brought up, and I see what you're saying, Stephanie.

530
00:28:56,520 --> 00:29:00,560
Speaker 3: It's hard to convey expressions on skeletons because it's expressions

531
00:29:00,680 --> 00:29:04,120
Speaker 3: are movements of the soft tissue of the face. But yeah,

532
00:29:04,280 --> 00:29:07,080
Speaker 3: this one skeleton in the middle here, So the main

533
00:29:07,240 --> 00:29:10,600
Speaker 3: layout is three skeletons are tending two plants in a

534
00:29:10,720 --> 00:29:13,440
Speaker 3: garden with raised beds, and then also pots that are

535
00:29:13,480 --> 00:29:16,480
Speaker 3: down on the ground. And there they're just one of

536
00:29:16,520 --> 00:29:18,840
Speaker 3: them is watering plants. One of them is bent over

537
00:29:19,040 --> 00:29:21,560
Speaker 3: looking away from us, probably looking at plants, and then

538
00:29:21,600 --> 00:29:24,600
Speaker 3: one of them is just clutching a flower, almost as

539
00:29:24,640 --> 00:29:27,840
Speaker 3: in like the way a child clutches their stuffy Just

540
00:29:27,960 --> 00:29:30,120
Speaker 3: I love it. I'm, you know, a happy little embrace

541
00:29:30,160 --> 00:29:34,200
Speaker 3: of an inanimate object clutching this flower, and it does

542
00:29:34,320 --> 00:29:36,320
Speaker 3: have a big grin on its face. I think the

543
00:29:36,400 --> 00:29:41,160
Speaker 3: way Simberg did this is by like curling the the

544
00:29:41,280 --> 00:29:44,400
Speaker 3: mouth into like a U shape so that it looks

545
00:29:44,440 --> 00:29:47,280
Speaker 3: like a smile, even though I think you would actually

546
00:29:47,440 --> 00:29:49,160
Speaker 3: to convey that, you would have to move the lips,

547
00:29:49,240 --> 00:29:51,560
Speaker 3: which the scale the skull does not have. So it's

548
00:29:51,560 --> 00:29:52,560
Speaker 3: a bit of trickery here.

549
00:29:52,800 --> 00:29:54,360
Speaker 2: Yeah, I don't think I get a real sense of

550
00:29:54,400 --> 00:29:57,880
Speaker 2: sadness off of that. That middle skeleton here, they fill

551
00:29:57,920 --> 00:30:01,680
Speaker 2: a closeness to human That's what I get from this

552
00:30:01,880 --> 00:30:05,480
Speaker 2: and that there's a there's there's sorrow in their work,

553
00:30:06,120 --> 00:30:08,680
Speaker 2: and they have mixed feelings about it, but it's part

554
00:30:09,040 --> 00:30:12,800
Speaker 2: of the process, you know, it's part of the garden. Yeah.

555
00:30:13,760 --> 00:30:15,960
Speaker 3: In both of these paintings, there is a mix of

556
00:30:16,160 --> 00:30:20,240
Speaker 3: imagery because of course, a comforting death figure is not

557
00:30:20,400 --> 00:30:23,920
Speaker 3: all that unusual. In fact, in the American psychology studies

558
00:30:23,960 --> 00:30:25,840
Speaker 3: we looked at, it was the most common type of

559
00:30:25,880 --> 00:30:29,080
Speaker 3: death figure. People imagine some sort of a soothing comforter,

560
00:30:30,040 --> 00:30:34,800
Speaker 3: but that the comforter was usually depicted as more human,

561
00:30:35,120 --> 00:30:38,320
Speaker 3: you know, fully fleshed and maybe like an old man

562
00:30:38,560 --> 00:30:40,600
Speaker 3: or a woman or you know, somebody somebody coming to

563
00:30:40,680 --> 00:30:43,760
Speaker 3: you with the flesh still on. Here, we're combining like

564
00:30:43,920 --> 00:30:48,680
Speaker 3: the imagery of the monstrous, rotten, decayed death figure who's

565
00:30:48,720 --> 00:30:53,280
Speaker 3: skeletal in nature, with the posture and the emotional tone

566
00:30:53,440 --> 00:30:54,120
Speaker 3: of the comforter.

567
00:30:54,960 --> 00:30:57,000
Speaker 2: Yeah. Yeah, it's it's quite a feat to pull off

568
00:30:57,320 --> 00:31:01,400
Speaker 2: visually here, but you know they managed to. I'll go

569
00:31:01,440 --> 00:31:04,240
Speaker 2: ahead and ad you know, we're always referencing paintings and

570
00:31:04,400 --> 00:31:07,680
Speaker 2: works of art and visual media in these episodes, and

571
00:31:07,760 --> 00:31:10,680
Speaker 2: we generally cannot show it to you. So if there's

572
00:31:10,680 --> 00:31:13,480
Speaker 2: ever an opportunity to look something up that we've talked about,

573
00:31:15,280 --> 00:31:18,360
Speaker 2: and you know, and analyze it for yourself right in

574
00:31:18,560 --> 00:31:21,000
Speaker 2: and give us your feedback. You know, that's always fair game,

575
00:31:21,120 --> 00:31:31,479
Speaker 2: always fun to talk about these images more. All right,

576
00:31:31,480 --> 00:31:33,080
Speaker 2: we're gonna go ahead and skip out of the Death

577
00:31:33,200 --> 00:31:35,440
Speaker 2: Zone here and we're gonna talk about the Twilight Zone

578
00:31:35,440 --> 00:31:38,440
Speaker 2: a little bit. This one comes to us from Paul.

579
00:31:39,760 --> 00:31:44,600
Speaker 2: Paul says, hey, guys, you were talking about high end

580
00:31:44,680 --> 00:31:48,840
Speaker 2: aluminum wears during the episode on the Twilight Zone episode.

581
00:31:48,920 --> 00:31:51,320
Speaker 2: This is the Rip Van Winkle Caper.

582
00:31:52,600 --> 00:31:55,520
Speaker 3: I guess we should re establish the context. The story

583
00:31:55,560 --> 00:31:58,720
Speaker 3: of the Rip Van Winkle Caper is about some guys

584
00:31:58,760 --> 00:32:00,720
Speaker 3: who steal a bunch of goal and then they go

585
00:32:00,840 --> 00:32:03,360
Speaker 3: into cryo sleep for one hundred years so they can

586
00:32:03,400 --> 00:32:05,760
Speaker 3: get away with the crime. And then they come out

587
00:32:05,840 --> 00:32:08,120
Speaker 3: and then there's a bunch of drama in the middle

588
00:32:08,160 --> 00:32:10,400
Speaker 3: where they're betraying each other, stabbing each other in the

589
00:32:10,480 --> 00:32:12,920
Speaker 3: back and stuff. But the twist at the end of

590
00:32:12,960 --> 00:32:15,000
Speaker 3: the episode is that in the future where they have

591
00:32:15,080 --> 00:32:19,600
Speaker 3: emerged to finally take advantage of their ill gotten gains,

592
00:32:19,760 --> 00:32:23,400
Speaker 3: the gold they still has become worthless because now we

593
00:32:23,520 --> 00:32:26,440
Speaker 3: have the technology to just manufacture gold, so it's you know,

594
00:32:26,560 --> 00:32:29,880
Speaker 3: it has lost all value. In the episode, we talked

595
00:32:29,880 --> 00:32:34,000
Speaker 3: about how it's unlikely that in any real time frame

596
00:32:34,440 --> 00:32:38,680
Speaker 3: we would be able to manufacture gold in enough quantities

597
00:32:38,760 --> 00:32:41,360
Speaker 3: that something like this could happen. You know, it might

598
00:32:41,400 --> 00:32:44,080
Speaker 3: be a byproduct of fusion technology or something, but it

599
00:32:44,160 --> 00:32:49,240
Speaker 3: probably would not be manufactured in mass quantities. However, we

600
00:32:49,360 --> 00:32:52,240
Speaker 3: did come up with a historical analogy, which was aluminum,

601
00:32:52,440 --> 00:32:54,880
Speaker 3: which over the course of a few decades in the

602
00:32:54,960 --> 00:32:59,800
Speaker 3: eighteen hundreds, in the late eighteen hundreds, went from extremely

603
00:33:00,080 --> 00:33:02,640
Speaker 3: precious and rare because of how difficult it was to

604
00:33:02,880 --> 00:33:05,640
Speaker 3: extract from the ore form in which it occurs on Earth,

605
00:33:06,040 --> 00:33:08,640
Speaker 3: to much much cheaper. I mean, like, if you had

606
00:33:08,720 --> 00:33:11,800
Speaker 3: stolen a bunch of aluminum in eighteen sixty and then

607
00:33:11,840 --> 00:33:14,360
Speaker 3: waited one hundred years, you would be severely disappointed and

608
00:33:14,440 --> 00:33:15,120
Speaker 3: your returns.

609
00:33:15,640 --> 00:33:19,080
Speaker 2: Yeah. Absolutely, And so that's what Paul's following up on here.

610
00:33:19,280 --> 00:33:22,600
Speaker 2: Paul says, I have a very old aluminium bread basket

611
00:33:22,760 --> 00:33:26,160
Speaker 2: sort of piece that is a sheet with cutouts to

612
00:33:26,280 --> 00:33:30,000
Speaker 2: mimic lace, then scrunched to form a ten inch scalloped

613
00:33:30,120 --> 00:33:34,120
Speaker 2: bowl shape with textured A fourth of an inch wire

614
00:33:34,360 --> 00:33:38,240
Speaker 2: coiled into disks and attached as handles. Okay, kind of

615
00:33:38,280 --> 00:33:40,000
Speaker 2: hard for me to picture all that, but I'm just

616
00:33:40,040 --> 00:33:43,360
Speaker 2: gonna imagine it's ornate, it's scrunchy, and it's made out

617
00:33:43,360 --> 00:33:47,840
Speaker 2: of aluminum. He continues, based on the workmanship, it is

618
00:33:47,960 --> 00:33:51,840
Speaker 2: probably from shortly after aluminum became more available, but before

619
00:33:51,880 --> 00:33:55,440
Speaker 2: it became cheap, because the handles are clearly just cut

620
00:33:55,600 --> 00:33:58,760
Speaker 2: wire bolted on. I got it at least third hand,

621
00:33:58,920 --> 00:34:02,640
Speaker 2: so no origins. Now this is where Paul gets into

622
00:34:02,680 --> 00:34:07,560
Speaker 2: fantasy territory, and I love it. Paul says, aluminum is mythriel,

623
00:34:07,960 --> 00:34:11,080
Speaker 2: or at least that is my head canon. Mythriel is

624
00:34:11,160 --> 00:34:15,080
Speaker 2: a whitish silver metal that is light, extremely hard, magically scarce,

625
00:34:15,520 --> 00:34:19,040
Speaker 2: and doesn't corrode. Aluminum is a whitish silver metal that

626
00:34:19,280 --> 00:34:22,560
Speaker 2: is light, extra hard at the surface, magically scarce as metal,

627
00:34:23,080 --> 00:34:28,440
Speaker 2: and doesn't visibly corrode. Therefore, Mithriel is aluminum. I like

628
00:34:28,520 --> 00:34:30,320
Speaker 2: a sacred metal from Lord of the Rings.

629
00:34:30,880 --> 00:34:34,840
Speaker 3: Aluminum is that what Bilbo's male is made out of?

630
00:34:35,280 --> 00:34:38,360
Speaker 2: Yeah? Yeah, I believe so, Okay, all right, I applaud

631
00:34:38,400 --> 00:34:41,040
Speaker 2: all of that, Paul. But then Paul switches over to

632
00:34:41,120 --> 00:34:44,880
Speaker 2: another past episode and he says, I'm sure you've gotten

633
00:34:44,880 --> 00:34:47,040
Speaker 2: this a bunch already. But in the licking episodes, you

634
00:34:47,200 --> 00:34:51,400
Speaker 2: left out the movie trope of licking a blade, sometimes bloody,

635
00:34:51,880 --> 00:34:57,160
Speaker 2: or licking the hostage or victim's face as a threat. Hmm,

636
00:34:57,880 --> 00:35:00,520
Speaker 2: this is true. You do see the licking of the blade,

637
00:35:01,480 --> 00:35:06,160
Speaker 2: I guess. I instantly think of Bromstoker's Dracula, Francisca Coppola's.

638
00:35:05,680 --> 00:35:09,319
Speaker 3: Same here, Gary Oldman, it's the the shaving razor there

639
00:35:09,960 --> 00:35:12,360
Speaker 3: where he's shaving, he's giving him a shave, and then he's.

640
00:35:13,840 --> 00:35:16,240
Speaker 2: Yeah, I think of that. Every time I lick peanut

641
00:35:16,280 --> 00:35:19,480
Speaker 2: butter off of a butter knife, I think of I

642
00:35:19,600 --> 00:35:21,240
Speaker 2: think of Dracula.

643
00:35:21,120 --> 00:35:22,799
Speaker 3: Even a butter knife. That creeps me out.

644
00:35:23,560 --> 00:35:25,640
Speaker 2: If you know what you're doing like I do, it's

645
00:35:25,719 --> 00:35:26,360
Speaker 2: never an issue.

646
00:35:27,160 --> 00:35:30,319
Speaker 3: Don't tell the people that we're gonna get sued. Don't

647
00:35:30,360 --> 00:35:30,960
Speaker 3: look a knife.

648
00:35:32,680 --> 00:35:36,280
Speaker 2: Yeah, be careful out there, everyone. You're not a vampire.

649
00:35:36,320 --> 00:35:38,279
Speaker 2: You can't regrow your tongue. You don't know how many

650
00:35:38,560 --> 00:35:42,239
Speaker 2: tongues Gary Oldman's Dracula lost over the years perfecting that

651
00:35:42,360 --> 00:35:46,239
Speaker 2: little trick. So yes, the good point that is a

652
00:35:46,320 --> 00:35:49,600
Speaker 2: common trope, especially the blade licking. Sometimes the face lick.

653
00:35:49,640 --> 00:35:51,600
Speaker 2: I don't know, the face licking sometimes is a bit much.

654
00:35:52,880 --> 00:35:55,680
Speaker 2: Paul continues, I sent you a suggestion for content a

655
00:35:55,760 --> 00:35:58,480
Speaker 2: while back on the theme of you Are what You Eat,

656
00:35:58,880 --> 00:36:02,120
Speaker 2: citing several animals that concentrate poisons from their food, and

657
00:36:02,200 --> 00:36:07,600
Speaker 2: wanted to expand on that idea microplastics, mercurial tuna see

658
00:36:07,680 --> 00:36:13,640
Speaker 2: fourteen dating land reclamation using heavy metal, sequestering plants, flamingo, feathers,

659
00:36:13,880 --> 00:36:17,040
Speaker 2: Sam and fletch. I forget a couple, lol. Keep up

660
00:36:17,040 --> 00:36:17,959
Speaker 2: the good work, Paul.

661
00:36:18,480 --> 00:36:19,080
Speaker 3: Thank you, Paul.

662
00:36:19,960 --> 00:36:23,080
Speaker 2: Now that's that's a good that's a good topic idea. Yeah, yeah,

663
00:36:23,880 --> 00:36:24,799
Speaker 2: you are what you eat?

664
00:36:25,040 --> 00:36:28,880
Speaker 3: Yeah, okay. Another response to that episode comes from Brian.

665
00:36:29,200 --> 00:36:38,000
Speaker 3: This is subject line death from gold Happy New Year, Robert,

666
00:36:38,080 --> 00:36:41,560
Speaker 3: Joe and JJ loved your Twilight Zone question can you

667
00:36:41,760 --> 00:36:45,120
Speaker 3: die from being painted gold We didn't actually answer that

668
00:36:45,239 --> 00:36:47,239
Speaker 3: question in the episode. It just came up because we

669
00:36:47,320 --> 00:36:50,400
Speaker 3: were talking about Goldfinger and m is that is that?

670
00:36:50,480 --> 00:36:51,560
Speaker 3: What is from Goldfinger?

671
00:36:51,719 --> 00:36:54,560
Speaker 2: Yes? I think I mentioned that. Growing up everything I

672
00:36:54,600 --> 00:36:58,759
Speaker 2: knew about gold I learned from Goldfinger that you could

673
00:36:58,760 --> 00:37:00,759
Speaker 2: paint somebody to death with it and that if you

674
00:37:00,920 --> 00:37:04,600
Speaker 2: radiated a large supply of gold, then your supply of

675
00:37:04,640 --> 00:37:05,640
Speaker 2: gold would be worth more.

676
00:37:05,840 --> 00:37:09,920
Speaker 3: Gold Finger science. Well, so we talked in the episode

677
00:37:09,920 --> 00:37:12,760
Speaker 3: about whether that's actually true, that you can be painted

678
00:37:12,760 --> 00:37:14,720
Speaker 3: gold or not, but we didn't research it for the episode.

679
00:37:14,719 --> 00:37:16,320
Speaker 3: It just kind of came up in passing, so we

680
00:37:16,360 --> 00:37:19,360
Speaker 3: didn't know the answer. Brian says, believe it or not,

681
00:37:20,040 --> 00:37:23,680
Speaker 3: someone did it, as in, killed someone by painting them gold.

682
00:37:24,680 --> 00:37:28,239
Speaker 3: His example is Pope Leo the tenth, a Medici and

683
00:37:28,880 --> 00:37:32,000
Speaker 3: arguably the worst pope of all time, had a boy

684
00:37:32,120 --> 00:37:35,320
Speaker 3: fully painted gold to celebrate the Pope's return to Florence.

685
00:37:35,760 --> 00:37:38,640
Speaker 3: The boy died mere days later. I'm sure paint in

686
00:37:38,719 --> 00:37:41,840
Speaker 3: the sixteenth century was highly questionable in and of itself,

687
00:37:42,040 --> 00:37:45,160
Speaker 3: so presumably any of the substances in the paint could

688
00:37:45,239 --> 00:37:48,200
Speaker 3: have been the cause. But yes, we do have death

689
00:37:48,280 --> 00:37:51,640
Speaker 3: by gold paint, and maybe also Ian Fleming's inspiration for

690
00:37:51,680 --> 00:37:56,080
Speaker 3: the Goldfinger Woman. All the best, Brian, Well, Brian, I

691
00:37:56,120 --> 00:38:00,080
Speaker 3: looked this up. So obviously with stories like this you

692
00:38:00,160 --> 00:38:02,800
Speaker 3: never know how much faith to put in. But I

693
00:38:02,880 --> 00:38:05,000
Speaker 3: did look this up, and this is a real historical

694
00:38:05,080 --> 00:38:09,239
Speaker 3: anecdote that part of this big festival in whatever year

695
00:38:09,320 --> 00:38:13,920
Speaker 3: this was, this was the sixteenth or seventeenth century that

696
00:38:14,760 --> 00:38:17,360
Speaker 3: whatever year this was, there was a big parade, a

697
00:38:17,440 --> 00:38:20,880
Speaker 3: big festival, and yeah it was. A baker's son was

698
00:38:20,960 --> 00:38:24,080
Speaker 3: painted gold as one of the dancers at this festival,

699
00:38:24,920 --> 00:38:28,239
Speaker 3: and it is said that he died later and it

700
00:38:29,360 --> 00:38:31,560
Speaker 3: gives the measly sum of money that was paid to

701
00:38:31,680 --> 00:38:34,920
Speaker 3: his family. As I was saying, you never know for

702
00:38:35,040 --> 00:38:39,480
Speaker 3: sure how much accuracy stories like that have from that

703
00:38:39,600 --> 00:38:42,880
Speaker 3: far back in history, but I guess it does seem plausible.

704
00:38:43,440 --> 00:38:46,800
Speaker 3: The commonly given interpretation is the one they talk about

705
00:38:46,840 --> 00:38:50,080
Speaker 3: in Goldfinger, where you have to breathe through your skin

706
00:38:51,000 --> 00:38:54,600
Speaker 3: and painting your skin gold prevents you from breathing. That,

707
00:38:54,880 --> 00:38:57,319
Speaker 3: from what I can tell, is not true. I mean,

708
00:38:57,760 --> 00:39:01,000
Speaker 3: as we talked about a bit in the Twilight Zone episode,

709
00:39:01,280 --> 00:39:04,160
Speaker 3: you breathe with your lungs, not significantly through your skin,

710
00:39:04,760 --> 00:39:07,680
Speaker 3: but painting your skin could still be dangerous for other

711
00:39:07,800 --> 00:39:11,200
Speaker 3: reasons not related to preventing you from getting oxygen. You

712
00:39:11,239 --> 00:39:13,319
Speaker 3: can breathe through you lungs, but you need to say

713
00:39:13,440 --> 00:39:16,480
Speaker 3: sweat and you know, exchange heat with the environment through

714
00:39:16,520 --> 00:39:20,000
Speaker 3: your skin. So painting the whole body, not just gold,

715
00:39:20,120 --> 00:39:24,280
Speaker 3: but painting the whole body any color could quite possibly

716
00:39:24,520 --> 00:39:27,560
Speaker 3: prevent you from getting heat out of your body and

717
00:39:27,600 --> 00:39:30,680
Speaker 3: could lead to overheating and heat stroke, which, if this

718
00:39:30,760 --> 00:39:33,200
Speaker 3: story is true, could be the more likely cause. Or

719
00:39:33,640 --> 00:39:35,440
Speaker 3: what Brian is saying, since we don't know what was

720
00:39:35,480 --> 00:39:38,000
Speaker 3: in the paint, could also be the paint was fairly toxic.

721
00:39:38,840 --> 00:39:41,440
Speaker 2: Yeah, well, it's harder to do this on MythBusters. I

722
00:39:41,480 --> 00:39:45,560
Speaker 2: guess right, all right, we'll probably hear from them. Maybe

723
00:39:45,560 --> 00:39:47,719
Speaker 2: they did. They'll be like, yeah, they did it on MythBusters.

724
00:39:48,000 --> 00:39:49,000
Speaker 2: Multiple people died.

725
00:39:49,400 --> 00:39:54,160
Speaker 3: I don't know they painted Jamie Gold, so I would

726
00:39:54,160 --> 00:39:56,600
Speaker 3: say questions remain there, but yes, thank you, Brian.

727
00:39:57,600 --> 00:39:59,080
Speaker 2: All right, here's a quick one. This one comes to

728
00:39:59,160 --> 00:40:01,520
Speaker 2: us from Zach. This is a response to a Vault

729
00:40:01,600 --> 00:40:05,120
Speaker 2: episode about the Rowan Tree. Zach says, greetings, Robert and Joe.

730
00:40:05,200 --> 00:40:07,839
Speaker 2: During the episode on lightning struck trees in the Rowan Tree,

731
00:40:07,920 --> 00:40:11,480
Speaker 2: you mentioned using Rowan sticks to protect milk. This reminded

732
00:40:11,520 --> 00:40:13,800
Speaker 2: me of a practice continuing until as late as the

733
00:40:13,880 --> 00:40:17,279
Speaker 2: early twentieth century, of putting frogs in fresh milk to

734
00:40:17,400 --> 00:40:21,520
Speaker 2: keep it fresh. Researchers recently have found that anti microbials

735
00:40:21,560 --> 00:40:24,279
Speaker 2: on the frog's skin probably helped in this. It also

736
00:40:24,400 --> 00:40:27,360
Speaker 2: harkens back to the protective properties of frogs in magic

737
00:40:28,160 --> 00:40:32,399
Speaker 2: mentioned in the Heart episodes. Thanks for the wonderful content, Zach.

738
00:40:33,000 --> 00:40:33,520
Speaker 3: Interesting.

739
00:40:33,719 --> 00:40:36,920
Speaker 2: Huh, yeah, let's try this out too. Let's get some

740
00:40:37,040 --> 00:40:39,479
Speaker 2: frogs in our milk. Does it work with oat milk?

741
00:40:39,760 --> 00:40:42,040
Speaker 2: Do I have to use a different frog? Maybe I'm slift.

742
00:40:42,080 --> 00:40:44,520
Speaker 2: He's a toad in that case, or a newt I'm

743
00:40:44,600 --> 00:40:44,959
Speaker 2: not sure.

744
00:40:50,239 --> 00:40:53,520
Speaker 3: Okay, next message, David got in touch with an email

745
00:40:53,600 --> 00:40:56,400
Speaker 3: that does not seem to be related to a particular episode.

746
00:40:56,440 --> 00:40:58,400
Speaker 3: I think he just wanted to share something that he

747
00:40:58,480 --> 00:41:02,120
Speaker 3: thought would appeal to us. He attached a photo he

748
00:41:02,280 --> 00:41:06,200
Speaker 3: took from Visalia, California. It's a bit of graffiti on

749
00:41:06,320 --> 00:41:08,440
Speaker 3: the side of a building that just says one word,

750
00:41:08,640 --> 00:41:13,359
Speaker 3: and the word is Cthulhu. Scene. So the word play

751
00:41:13,440 --> 00:41:17,000
Speaker 3: here seems to be on the names of geological epics

752
00:41:17,080 --> 00:41:21,160
Speaker 3: like the Pleistocene or the Holocene. And I originally interpreted

753
00:41:21,239 --> 00:41:25,080
Speaker 3: this to just be a joke, meaning that we live

754
00:41:25,160 --> 00:41:28,920
Speaker 3: in a particularly wretched and monstrous time. It is the

755
00:41:29,000 --> 00:41:31,319
Speaker 3: cursed era. At the time of Cthulhu. We are being

756
00:41:32,160 --> 00:41:36,000
Speaker 3: We're living under the reign of a wretched, hateful, monstrous being,

757
00:41:36,880 --> 00:41:39,719
Speaker 3: and maybe that is it. But I decided to look

758
00:41:39,800 --> 00:41:42,080
Speaker 3: up this word to see if it's actually from something,

759
00:41:42,520 --> 00:41:45,799
Speaker 3: and it is. So I found references to this term

760
00:41:45,960 --> 00:41:49,480
Speaker 3: used by an American scholar and critical theorist named Donna Harroway,

761
00:41:50,080 --> 00:41:54,760
Speaker 3: who is a professor emeritus at University of California, Santa Cruz.

762
00:41:54,840 --> 00:41:57,040
Speaker 3: She wrote a famous essay from the nineteen eighties called

763
00:41:57,080 --> 00:42:00,120
Speaker 3: the Cyborg Manifesto. Did you ever talk about this on

764
00:42:00,160 --> 00:42:00,640
Speaker 3: the show, Rob?

765
00:42:00,800 --> 00:42:03,239
Speaker 2: Yeah, yeah, yeah. This has been discussed in the show

766
00:42:03,560 --> 00:42:06,000
Speaker 2: in the past and much older episodes, so certainly something

767
00:42:06,040 --> 00:42:07,359
Speaker 2: we could come back to. Yeah.

768
00:42:08,200 --> 00:42:10,560
Speaker 3: So I was trying to understand what she means by

769
00:42:10,600 --> 00:42:13,719
Speaker 3: the term Cuthulhu scene I looked at Obviously, I haven't

770
00:42:13,760 --> 00:42:16,480
Speaker 3: read the book that is mainly about this idea, and

771
00:42:16,560 --> 00:42:19,920
Speaker 3: I was trying to understand it by reading some summaries.

772
00:42:20,680 --> 00:42:24,600
Speaker 3: I think I apologize if I'm misunderstanding this in any way,

773
00:42:24,719 --> 00:42:27,560
Speaker 3: but I think she is proposing it as an alternative

774
00:42:28,040 --> 00:42:31,160
Speaker 3: to the term. Some people have used the term entroposcene

775
00:42:31,320 --> 00:42:34,760
Speaker 3: to describe our current age. The entroposcene is the idea

776
00:42:34,880 --> 00:42:37,719
Speaker 3: that the age we live in now is the geological

777
00:42:37,800 --> 00:42:40,680
Speaker 3: age that will be defined by human influence. So it's

778
00:42:40,840 --> 00:42:44,240
Speaker 3: our influence on the climate, on geology, on the environment,

779
00:42:44,360 --> 00:42:50,200
Speaker 3: and ecology. Again, this is my best attempt to understand

780
00:42:50,320 --> 00:42:51,479
Speaker 3: what her work means.

781
00:42:51,520 --> 00:42:51,680
Speaker 2: Here.

782
00:42:51,920 --> 00:42:56,360
Speaker 3: It's that anthroposcene is too human centric a term, and

783
00:42:56,680 --> 00:43:00,359
Speaker 3: so she uses Cuthulhu scene as the name for an

784
00:43:00,440 --> 00:43:04,319
Speaker 3: age in which the illusion that humankind is separate from

785
00:43:04,520 --> 00:43:08,600
Speaker 3: and dominant over nature will no longer be sustainable, and

786
00:43:08,840 --> 00:43:12,239
Speaker 3: it will become obvious that we are not discrete individuals,

787
00:43:12,640 --> 00:43:15,160
Speaker 3: that we are not separate from the natural world, that

788
00:43:15,320 --> 00:43:18,960
Speaker 3: everything has its tentacles in everything else, us in nature,

789
00:43:19,200 --> 00:43:22,360
Speaker 3: nature in us, because we're not actually separate, we're just

790
00:43:22,400 --> 00:43:26,480
Speaker 3: fully entangled. Again, apologies to Hairway if I've mischaracterized this

791
00:43:26,600 --> 00:43:29,200
Speaker 3: in any way, but that is my understanding of this word,

792
00:43:29,640 --> 00:43:33,040
Speaker 3: and so I feel like I understand it less as

793
00:43:33,280 --> 00:43:36,719
Speaker 3: a as a graffito with that meaning, though I don't know,

794
00:43:36,800 --> 00:43:39,400
Speaker 3: maybe it's just trying to bring awareness of this concept.

795
00:43:40,520 --> 00:43:43,360
Speaker 3: I can't rule out that it's just a coincidence and

796
00:43:43,440 --> 00:43:46,120
Speaker 3: somebody independently came up with this word to mean like

797
00:43:46,239 --> 00:43:47,759
Speaker 3: we live in the age of monsters.

798
00:43:48,360 --> 00:43:51,799
Speaker 2: M yeah, yeah, I don't have to read more about

799
00:43:51,800 --> 00:43:54,440
Speaker 2: this Cuthus scene idea. It does kind of feel like

800
00:43:54,520 --> 00:43:58,600
Speaker 2: a shoehorning of Cthulhu into something that didn't require Cthulhu.

801
00:43:58,719 --> 00:44:04,200
Speaker 2: But yeah, or know, the general idea sounds really fascinating.

802
00:44:04,640 --> 00:44:15,160
Speaker 2: Maybe we'll come back to it. All right, here's another one.

803
00:44:15,200 --> 00:44:17,920
Speaker 2: This one comes to us from Lawrence subject line flower

804
00:44:18,000 --> 00:44:19,040
Speaker 2: to Disappear.

805
00:44:19,640 --> 00:44:21,839
Speaker 3: And I guess we should establish the context in which

806
00:44:21,960 --> 00:44:24,320
Speaker 3: this came up. I was looking back and trying to

807
00:44:24,320 --> 00:44:26,359
Speaker 3: figure it out. I think it was we were talking

808
00:44:26,400 --> 00:44:29,920
Speaker 3: about Star Trek and the question was does the Flower

809
00:44:30,000 --> 00:44:33,360
Speaker 3: to Disappear from the Mexican Santa Claus movie have the

810
00:44:33,440 --> 00:44:37,080
Speaker 3: same philosophical problem as the Star Trek Transporter, where we

811
00:44:37,200 --> 00:44:39,120
Speaker 3: can't know that it doesn't just kill you every time.

812
00:44:39,440 --> 00:44:42,480
Speaker 2: I think this was I think this connection specific connection

813
00:44:43,840 --> 00:44:45,400
Speaker 2: was brought up by a listener. I think maybe this

814
00:44:45,520 --> 00:44:48,279
Speaker 2: is this is a listener mail response to another listener mail,

815
00:44:48,840 --> 00:44:51,239
Speaker 2: which is totally fine, Oh okay for folks to do.

816
00:44:51,840 --> 00:44:54,080
Speaker 2: I thought we brought that up, but maybe I'm totally wrong.

817
00:44:54,360 --> 00:44:56,279
Speaker 2: We ended up talking about it.

818
00:44:56,680 --> 00:44:58,640
Speaker 3: Lawrence gets in touch with an email that kind of

819
00:44:58,719 --> 00:44:59,760
Speaker 3: obviates that debate.

820
00:45:00,160 --> 00:45:03,320
Speaker 2: Yes, he says, hey, guys, just a quick correction of

821
00:45:03,400 --> 00:45:05,799
Speaker 2: what I think is a mistaken conclusion from your last

822
00:45:05,840 --> 00:45:09,520
Speaker 2: mailback episode. You consider that Santa in the nineteen fifty

823
00:45:09,600 --> 00:45:12,080
Speaker 2: nine Santa Claus dies when he uses the flower to

824
00:45:12,160 --> 00:45:15,720
Speaker 2: disappear and is recreated when he reappears. I just rewatched

825
00:45:15,760 --> 00:45:18,400
Speaker 2: the film this past Christmas. If you're not familiar with

826
00:45:18,440 --> 00:45:20,080
Speaker 2: this film, look it up. We also did a past

827
00:45:20,120 --> 00:45:22,600
Speaker 2: Weird House Cinema episode about it. It's one of our favorites,

828
00:45:22,640 --> 00:45:26,080
Speaker 2: and MSD three K fans are well aware of it

829
00:45:26,400 --> 00:45:30,840
Speaker 2: as well. But Lawrence says it's pretty clear. The Flower

830
00:45:30,920 --> 00:45:34,600
Speaker 2: to Disappear is not teleportation. Is not a teleportation device.

831
00:45:34,880 --> 00:45:40,080
Speaker 2: It's an invisibility device. Santa sniffs it once and once

832
00:45:40,160 --> 00:45:43,399
Speaker 2: when visible to become invisible, and sniffs it again while

833
00:45:43,600 --> 00:45:48,799
Speaker 2: invisible to reappear. He doesn't demateialize. He can see here,

834
00:45:48,960 --> 00:45:52,120
Speaker 2: think and act while invisible. This is made pretty clear

835
00:45:52,280 --> 00:45:55,279
Speaker 2: in his dialogue with Merlin. Yes, if you're nothing here

836
00:45:55,320 --> 00:45:59,200
Speaker 2: with this movie, Merlin is also in the picture. Thanks guys, Lawrence.

837
00:46:00,000 --> 00:46:03,040
Speaker 3: Thank you Lawrence. Now that you say this, I think

838
00:46:03,080 --> 00:46:05,839
Speaker 3: you're exactly right. I remember scenes like this in the movie.

839
00:46:05,880 --> 00:46:08,120
Speaker 3: But is it not actually both ways I thought I

840
00:46:08,200 --> 00:46:11,680
Speaker 3: remembered teleportation as well. Doesn't Santa sniff the flower to

841
00:46:11,719 --> 00:46:15,080
Speaker 3: disappear and then like appear on the roof above or something.

842
00:46:16,920 --> 00:46:19,080
Speaker 2: I'm gonna have to watch it again now I'm blanking

843
00:46:19,120 --> 00:46:20,360
Speaker 2: as well. What is the sense of it?

844
00:46:21,080 --> 00:46:21,440
Speaker 3: Okay?

845
00:46:21,560 --> 00:46:21,759
Speaker 2: Rob?

846
00:46:21,920 --> 00:46:24,479
Speaker 3: Should we skip ahead to some messages for about Weird

847
00:46:24,480 --> 00:46:25,000
Speaker 3: House Cinema?

848
00:46:25,520 --> 00:46:26,239
Speaker 2: Yeah, let's do it.

849
00:46:26,480 --> 00:46:34,320
Speaker 3: Okay, I'm gonna read this one from Hannah. Hannah says,

850
00:46:34,560 --> 00:46:37,440
Speaker 3: subject line, Happy New Year, Justice for Kiefer.

851
00:46:38,160 --> 00:46:40,320
Speaker 2: I thought this was going to be about the drink,

852
00:46:40,480 --> 00:46:41,479
Speaker 2: but it's about the actor.

853
00:46:41,800 --> 00:46:46,160
Speaker 3: Oh, Kiefer Sutherland. Yes, yeah, Hannah says, Hi to your hosts,

854
00:46:46,280 --> 00:46:48,719
Speaker 3: I had a sort of potpourrie of remarks to share

855
00:46:48,800 --> 00:46:51,400
Speaker 3: this time, but I wanted to start with heartfelt gratitude

856
00:46:51,400 --> 00:46:55,000
Speaker 3: again for the companionship and brain candy your show provides.

857
00:46:55,160 --> 00:46:57,640
Speaker 3: Spotify tells me I'm in the top zero point five

858
00:46:57,680 --> 00:47:01,360
Speaker 3: percent of listeners this year, which was delightful but unsurprising

859
00:47:01,440 --> 00:47:03,880
Speaker 3: since in addition to keeping up with new episodes, I

860
00:47:04,040 --> 00:47:06,720
Speaker 3: frequently re listen to old ones when there's an idea

861
00:47:06,760 --> 00:47:08,840
Speaker 3: I want to return to and nibble upon, like a

862
00:47:08,960 --> 00:47:11,400
Speaker 3: squirrel knowing on an unsuspecting tourist.

863
00:47:12,320 --> 00:47:15,400
Speaker 2: I like it. I support it that, thank you, Hannah.

864
00:47:16,000 --> 00:47:18,719
Speaker 3: Hannah says, Plus, there were a couple of weird house

865
00:47:18,719 --> 00:47:21,680
Speaker 3: selections this year that made me audibly squeal with delight

866
00:47:21,760 --> 00:47:24,560
Speaker 3: when I saw their titles in my feed. On that topic,

867
00:47:24,920 --> 00:47:29,279
Speaker 3: Dark City controversial opinion, perhaps, but I don't totally hate

868
00:47:29,360 --> 00:47:33,120
Speaker 3: Key for Sutherland's performance. I speculate the intention might have

869
00:47:33,239 --> 00:47:35,600
Speaker 3: been to imply that he was a polio survivor with

870
00:47:35,719 --> 00:47:39,760
Speaker 3: the breathless speech plus the limp. Just a thought interesting.

871
00:47:40,120 --> 00:47:42,440
Speaker 3: I wouldn't have even had the background knowledge to understand

872
00:47:42,480 --> 00:47:43,040
Speaker 3: that reference.

873
00:47:43,239 --> 00:47:46,319
Speaker 2: Yeah, that that that could make sense. Yeah, I mean,

874
00:47:46,760 --> 00:47:50,359
Speaker 2: obviously it's It's often the case where actors will will

875
00:47:50,440 --> 00:47:54,319
Speaker 2: make their specific choices based on things that are maybe

876
00:47:54,800 --> 00:47:59,319
Speaker 2: no longer in the actual of shooting script or it's

877
00:47:59,360 --> 00:48:01,560
Speaker 2: just outside research something that they need to do to

878
00:48:02,440 --> 00:48:05,280
Speaker 2: stitch together their approach to the performance internally.

879
00:48:07,000 --> 00:48:10,919
Speaker 3: Hannah goes on next topic, Crabs. Last year, or maybe

880
00:48:10,920 --> 00:48:13,480
Speaker 3: the year before, you read my letter about Crabs in

881
00:48:13,680 --> 00:48:18,240
Speaker 3: a Werner Herzog voice, which has indelibly associated Herzog with crabs.

882
00:48:18,320 --> 00:48:21,239
Speaker 3: In my mind, imagine the end scene of his nose

883
00:48:21,280 --> 00:48:24,480
Speaker 3: Ferratu with the rider galloping into the mist, but instead

884
00:48:24,520 --> 00:48:29,920
Speaker 3: it's a crab. Okay Anyway, I was driving to work

885
00:48:30,040 --> 00:48:32,879
Speaker 3: in the breaking dawn the other day after an ice

886
00:48:32,880 --> 00:48:34,920
Speaker 3: storm took down the last of the leaves, and I

887
00:48:35,000 --> 00:48:38,279
Speaker 3: thought it's I thought, it's getting pretty bleak out here.

888
00:48:38,680 --> 00:48:42,080
Speaker 3: Makes me think about crabs. I am not demanding a

889
00:48:42,160 --> 00:48:44,799
Speaker 3: crab episode by any means, because it's much more fun

890
00:48:44,840 --> 00:48:47,839
Speaker 3: to hear about whatever y'all are y'all feel inspired to cover.

891
00:48:48,320 --> 00:48:50,600
Speaker 3: But I did ponder the idea that, just like the

892
00:48:50,680 --> 00:48:56,640
Speaker 3: process of carsonization, all podcasts may eventually become about crabs. Finally,

893
00:48:56,760 --> 00:49:00,839
Speaker 3: a weird House cinema recommendation Delicatessen, the nineteen ninety one

894
00:49:00,960 --> 00:49:07,960
Speaker 3: French dystopian romantic comedy about cannibalism, warmly Hannah. Well, thank you, Hannah.

895
00:49:08,320 --> 00:49:11,360
Speaker 3: By total coincidence, it was not because of your message.

896
00:49:11,840 --> 00:49:14,040
Speaker 3: Just last night I was looking into, like, is there

897
00:49:14,080 --> 00:49:16,320
Speaker 3: any really good crab stuff we haven't covered yet? I

898
00:49:16,440 --> 00:49:19,680
Speaker 3: just feel an itching to come back to crabs. I

899
00:49:19,880 --> 00:49:21,480
Speaker 3: was coming across a few things. I was having to

900
00:49:21,520 --> 00:49:25,000
Speaker 3: get deeper into the more obscure corners of crab science

901
00:49:25,080 --> 00:49:27,400
Speaker 3: and crab history. But I was getting some good stuff,

902
00:49:27,440 --> 00:49:29,040
Speaker 3: so Rob, we may go there in the future.

903
00:49:29,280 --> 00:49:32,640
Speaker 2: Yeah, I mean, I think tomorrow's weird hat. I'm sorry,

904
00:49:32,680 --> 00:49:35,520
Speaker 2: tomorrow's Monster Fact episode is going to deal with a

905
00:49:35,560 --> 00:49:40,359
Speaker 2: fictional crab. Just happens to be the case. And I'm

906
00:49:40,400 --> 00:49:43,160
Speaker 2: not one dred percent certain, but i think there's like

907
00:49:43,239 --> 00:49:47,799
Speaker 2: a thirty forty percent chance of crabs in the next

908
00:49:47,960 --> 00:49:51,320
Speaker 2: Core episode that'll publish this Thursday. Don't hold me to that,

909
00:49:51,719 --> 00:49:53,600
Speaker 2: you know, just just a thirty to forty percent chance.

910
00:49:53,640 --> 00:49:56,719
Speaker 2: So there may be no crabs. Don't blame don't blame

911
00:49:56,760 --> 00:50:01,239
Speaker 2: the forecast if that is the case. But yeah, thanks

912
00:50:01,280 --> 00:50:05,279
Speaker 2: for this this email. I I appreciate the insight on

913
00:50:06,080 --> 00:50:10,680
Speaker 2: on Keefer's performance in Dark City. Always always open to

914
00:50:10,800 --> 00:50:14,080
Speaker 2: discussion on that sort of thing. And as far as

915
00:50:14,239 --> 00:50:18,640
Speaker 2: Delicatessen goes, Yeah, I've thought about doing a Geneau film

916
00:50:18,680 --> 00:50:21,800
Speaker 2: at some point. Maybe this or City of Lost Children

917
00:50:21,840 --> 00:50:26,680
Speaker 2: would be appropriate. Amilae even that one's that one's still

918
00:50:26,719 --> 00:50:29,799
Speaker 2: plenty weird and very very visual. Used to be one

919
00:50:29,840 --> 00:50:31,440
Speaker 2: of my favorite films. I haven't seen it in a

920
00:50:31,520 --> 00:50:34,560
Speaker 2: long time though, And of course there's Alien Resurrection.

921
00:50:36,719 --> 00:50:39,680
Speaker 3: Wait. Sorry, I just had to look this up because

922
00:50:39,719 --> 00:50:42,160
Speaker 3: I was thinking, Wait, Jean Pierre Jine did I I

923
00:50:42,280 --> 00:50:44,239
Speaker 3: was sure that we're mixing up two people here, but

924
00:50:44,320 --> 00:50:47,000
Speaker 3: you're right. All of those are City of Lost Children,

925
00:50:47,239 --> 00:50:48,640
Speaker 3: Amile Delicatessen.

926
00:50:48,920 --> 00:50:52,800
Speaker 2: Alien Resurrection, Yeah, I mean Alien re Resurrection is definitely

927
00:50:53,520 --> 00:50:56,279
Speaker 2: one of his films. I mean it's the visual fingerprints

928
00:50:56,280 --> 00:50:59,239
Speaker 2: are all over it. Say what you will about it.

929
00:51:00,200 --> 00:51:04,120
Speaker 2: It has a distinctive visual style. All right, here's another one.

930
00:51:04,160 --> 00:51:11,120
Speaker 2: This when it comes to us from Scott. Scott says,

931
00:51:11,400 --> 00:51:13,759
Speaker 2: I look forward to each Friday when the latest Weird

932
00:51:13,800 --> 00:51:16,960
Speaker 2: House episode drops. It is always interesting to hear your

933
00:51:16,960 --> 00:51:20,440
Speaker 2: take on those with which I'm already familiar and have

934
00:51:20,600 --> 00:51:23,319
Speaker 2: added several to my to watch list based on your

935
00:51:23,360 --> 00:51:28,040
Speaker 2: reviews and dissection. It recently occurred to me that Ralph

936
00:51:28,200 --> 00:51:32,120
Speaker 2: Bakshi's Wizards would fit nicely as a Weird House candidate.

937
00:51:32,520 --> 00:51:35,440
Speaker 2: I was rather surprised on checking the past episode lift

938
00:51:35,520 --> 00:51:37,560
Speaker 2: on Letterbox to see that you haven't covered any of

939
00:51:37,640 --> 00:51:41,080
Speaker 2: Boxshi's work. While his films can be somewhat uneven in

940
00:51:41,200 --> 00:51:45,000
Speaker 2: terms of quality, they almost universally tick the weird checkbox.

941
00:51:45,280 --> 00:51:47,400
Speaker 2: I'd love for you to cover any of his work. Granted,

942
00:51:47,480 --> 00:51:50,600
Speaker 2: several of them aren't exactly conducive to being covered in

943
00:51:50,680 --> 00:51:54,200
Speaker 2: a family friendly podcast, But there are several very good ones,

944
00:51:54,280 --> 00:51:55,840
Speaker 2: including my favorite Wizards.

945
00:51:56,640 --> 00:51:59,359
Speaker 3: Oh, I mean, we shure we one day do Lord

946
00:51:59,440 --> 00:52:01,319
Speaker 3: of the Ring, but then it's like, oh no, it's

947
00:52:01,400 --> 00:52:01,799
Speaker 3: this one.

948
00:52:03,560 --> 00:52:06,239
Speaker 2: Yeah, I mean, that has greatness in it. But it

949
00:52:06,400 --> 00:52:09,800
Speaker 2: is a very very uneven film. But there are some

950
00:52:09,920 --> 00:52:13,000
Speaker 2: great stretches. There's some weird choices, and you know, it

951
00:52:13,320 --> 00:52:17,279
Speaker 2: feels rather unfinished for a number of reasons. But we

952
00:52:17,440 --> 00:52:18,000
Speaker 2: very well could.

953
00:52:19,080 --> 00:52:21,480
Speaker 3: Isn't it the one that after the Battle of Helm's Deep,

954
00:52:21,560 --> 00:52:23,840
Speaker 3: it's like and thus concludes the tail.

955
00:52:23,719 --> 00:52:24,640
Speaker 2: Of the Ring?

956
00:52:25,400 --> 00:52:25,600
Speaker 3: Yeah?

957
00:52:26,680 --> 00:52:29,279
Speaker 2: Yeah, and well you also have the Wizard. They call

958
00:52:29,360 --> 00:52:31,919
Speaker 2: him Araman in that instead of Sorrowmon because they didn't

959
00:52:31,960 --> 00:52:35,160
Speaker 2: want the son Sorrowmon confusion to take it.

960
00:52:35,280 --> 00:52:36,440
Speaker 3: It looks like Santa Claus.

961
00:52:37,040 --> 00:52:39,960
Speaker 2: Yeah, well you know they do. Look he does look

962
00:52:40,040 --> 00:52:40,520
Speaker 2: like a wizard.

963
00:52:41,080 --> 00:52:43,320
Speaker 3: Oh I thought maybe I'm misremembering. I thought he was

964
00:52:43,360 --> 00:52:45,920
Speaker 3: wearing a red robe on the white is wearing a

965
00:52:46,000 --> 00:52:46,479
Speaker 3: red robe.

966
00:52:48,120 --> 00:52:51,520
Speaker 2: Yeah, But like I say, I still have a lot

967
00:52:51,520 --> 00:52:55,040
Speaker 2: of love for that picture, but it is very uneven.

968
00:52:55,840 --> 00:52:59,080
Speaker 2: Scott continues the classic good versus evil theme mixes well

969
00:52:59,200 --> 00:53:02,680
Speaker 2: talking about wizards here with a magical natural lifestyle struggling

970
00:53:02,719 --> 00:53:07,880
Speaker 2: against corrupting technology conflict premise. The movie is mostly classical

971
00:53:07,920 --> 00:53:11,279
Speaker 2: predigital animation, mixed with rotoscope snippets from classic war movies

972
00:53:11,320 --> 00:53:14,640
Speaker 2: such as Zulu, The Battle of the Bulge, and Alexander Nevsky.

973
00:53:15,040 --> 00:53:17,920
Speaker 2: Some of the animation is stunningly beautiful. The movie combines

974
00:53:17,960 --> 00:53:20,200
Speaker 2: a generous amount of humor with an examination of some

975
00:53:20,480 --> 00:53:23,719
Speaker 2: disturbing aspects of human nature and history. There are lots

976
00:53:23,719 --> 00:53:28,360
Speaker 2: of nods to underground comic legends Robert Crumb and Von Bode.

977
00:53:29,400 --> 00:53:33,359
Speaker 2: I'm not familiar with this latter figure anyway, Scott concludes here,

978
00:53:33,440 --> 00:53:36,240
Speaker 2: if you haven't seen Wizards, I highly recommend it. As always,

979
00:53:36,400 --> 00:53:38,560
Speaker 2: thanks for all the content you provide. Great stuff.

980
00:53:39,160 --> 00:53:42,000
Speaker 3: Yeah, I've never seen it. I've seen images from it

981
00:53:42,120 --> 00:53:44,560
Speaker 3: and it always looks interesting, but never seen it.

982
00:53:44,800 --> 00:53:46,600
Speaker 2: Yeah, we'll put it on the list, all right.

983
00:53:46,640 --> 00:53:48,360
Speaker 3: Do we need to call it there for today?

984
00:53:49,080 --> 00:53:52,040
Speaker 2: Let's go ahead and call it. This will be an

985
00:53:52,160 --> 00:53:54,879
Speaker 2: end to this episode of Stuff to Blidmind listener mail,

986
00:53:54,920 --> 00:53:56,480
Speaker 2: but there will be another one in the future, so

987
00:53:56,680 --> 00:54:00,799
Speaker 2: continue to write in. Write in about new episodes, episodes

988
00:54:01,239 --> 00:54:04,480
Speaker 2: episodes from the Vault, episodes you would like to hear

989
00:54:04,600 --> 00:54:07,560
Speaker 2: in the future, weird house cinema selections you would like

990
00:54:08,280 --> 00:54:12,000
Speaker 2: to gleefully discover that are coming to fruition. All of

991
00:54:12,080 --> 00:54:14,160
Speaker 2: it is fair game. Just right into say hi if

992
00:54:14,160 --> 00:54:16,920
Speaker 2: you want just a reminder to everyone out there that

993
00:54:17,280 --> 00:54:19,719
Speaker 2: Stuff to Blow Your Mind is primarily a science and

994
00:54:19,760 --> 00:54:22,719
Speaker 2: culture podcast, with core episodes on Tuesdays and Thursdays, a

995
00:54:22,760 --> 00:54:26,920
Speaker 2: short form episode on Wednesdays, and on Fridays. I'm in love.

996
00:54:28,320 --> 00:54:31,920
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

997
00:54:32,239 --> 00:54:33,880
Speaker 3: If you would like to get in touch with us

998
00:54:33,920 --> 00:54:36,320
Speaker 3: with feedback on this episode or any other, to suggest

999
00:54:36,400 --> 00:54:38,480
Speaker 3: a topic for the future, or just to say hi,

1000
00:54:38,960 --> 00:54:41,520
Speaker 3: you can email us at contact at stuff to blow

1001
00:54:41,560 --> 00:54:42,520
Speaker 3: your Mind dot com.

1002
00:54:50,600 --> 00:54:53,520
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1003
00:54:53,640 --> 00:54:56,399
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1004
00:54:56,600 --> 00:54:59,320
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.