1 00:00:00,320 --> 00:00:02,880 Speaker 1: Brought to you by the reinvented two thousand twelve camera. 2 00:00:03,200 --> 00:00:08,920 Speaker 1: It's ready. Are you get in touch with technologies with 3 00:00:09,080 --> 00:00:17,960 Speaker 1: tech Stuff from how stuff works dot com. Hello there, everybody, 4 00:00:18,000 --> 00:00:20,439 Speaker 1: and welcome to tech stuff. My name is Chris Polette, 5 00:00:20,440 --> 00:00:22,160 Speaker 1: and I am the tech editor here at how stuff 6 00:00:22,160 --> 00:00:25,319 Speaker 1: works dot Com. Sitting across from me as usual as 7 00:00:25,360 --> 00:00:30,720 Speaker 1: senior writer Jonathan Strickland turned down your lights, folks, I 8 00:00:30,760 --> 00:00:33,360 Speaker 1: guess that's your way of mentioning that that's going to 9 00:00:33,400 --> 00:00:36,760 Speaker 1: be the start of our movie episode. Yes, so this 10 00:00:36,880 --> 00:00:43,360 Speaker 1: episode comes to us courtesy of a little listener mail Missles. 11 00:00:43,360 --> 00:00:45,680 Speaker 1: Your mail comes from Richard, who says, would you guys 12 00:00:45,720 --> 00:00:50,400 Speaker 1: consider a podcast on your favorite and least favorite tech movies? Yes, Richard, 13 00:00:50,479 --> 00:00:55,000 Speaker 1: we would, We did consider it, and now we're doing it. Um. 14 00:00:55,040 --> 00:00:58,760 Speaker 1: We decided tech movies is kind of a hard thing 15 00:00:58,840 --> 00:01:01,440 Speaker 1: to quantify. We kind of decided to just go with 16 00:01:02,360 --> 00:01:05,640 Speaker 1: uh well, I mainly focus on science fiction films in 17 00:01:05,680 --> 00:01:09,440 Speaker 1: which the tech actually plays at least some role within 18 00:01:09,520 --> 00:01:13,360 Speaker 1: the story. It's not just a necessarily part of the background. 19 00:01:13,360 --> 00:01:16,360 Speaker 1: Although again fast and Loose were we didn't want to 20 00:01:16,720 --> 00:01:19,559 Speaker 1: hedge ourselves in too much, so Chris do you wanna 21 00:01:19,760 --> 00:01:21,880 Speaker 1: do you want to give it? Give us a start 22 00:01:21,920 --> 00:01:25,760 Speaker 1: here because your first pick and explain why you like it. Well, 23 00:01:25,800 --> 00:01:29,119 Speaker 1: my first pick, Jonathan, is one that we actually just 24 00:01:29,360 --> 00:01:31,560 Speaker 1: talked about. It was the first movie that came to 25 00:01:31,600 --> 00:01:33,920 Speaker 1: mind when I was thinking of movies with technology in 26 00:01:33,959 --> 00:01:37,600 Speaker 1: them that I really I thought was awesome and now 27 00:01:37,640 --> 00:01:42,080 Speaker 1: would be war games awesome. This shall we play a game? 28 00:01:43,400 --> 00:01:46,399 Speaker 1: And um, some of you younger listeners, we do have 29 00:01:46,480 --> 00:01:48,880 Speaker 1: quite a few of you, thanks for tuning in. Uh, 30 00:01:48,920 --> 00:01:51,600 Speaker 1: some of you longer, younger listeners may not be familiar 31 00:01:51,640 --> 00:01:55,240 Speaker 1: with this movie because it came out many years ago. Yes, 32 00:01:55,240 --> 00:01:59,400 Speaker 1: starring a young Matthew Broderick. The idea of being Um, 33 00:01:59,440 --> 00:02:02,080 Speaker 1: this was back when I think it's safe to say 34 00:02:02,120 --> 00:02:05,840 Speaker 1: that modems dialing in using your computer to to make 35 00:02:06,160 --> 00:02:09,200 Speaker 1: contact with another computer was sort of a novelty. Yeah. 36 00:02:09,280 --> 00:02:12,280 Speaker 1: I think that might have been like a three modem 37 00:02:12,320 --> 00:02:14,240 Speaker 1: that he was using. I mean, this was this was 38 00:02:14,280 --> 00:02:17,040 Speaker 1: a brand new I remember when I saw that movie. 39 00:02:17,160 --> 00:02:19,800 Speaker 1: I had never heard of using a computer to dial 40 00:02:19,919 --> 00:02:22,880 Speaker 1: into another computer at that point. But then again, also 41 00:02:22,919 --> 00:02:26,600 Speaker 1: I was quite young when this film came out. Of course, 42 00:02:26,800 --> 00:02:30,839 Speaker 1: in the movie, Matthew Broderick and Ali sheety, Uh, put 43 00:02:30,840 --> 00:02:32,600 Speaker 1: their take their phone off the hook, put it on 44 00:02:32,639 --> 00:02:35,960 Speaker 1: the modem phone cups. This was back when we used 45 00:02:36,000 --> 00:02:38,200 Speaker 1: to have to use well some of you, I I 46 00:02:38,520 --> 00:02:40,840 Speaker 1: doubt anyone listening to us as using a dialing modem 47 00:02:40,840 --> 00:02:42,680 Speaker 1: because we would take too long to download the episodes. 48 00:02:43,320 --> 00:02:46,440 Speaker 1: But yeah, we used to have to use phone lines 49 00:02:46,480 --> 00:02:49,560 Speaker 1: to connect to the internet. Actually before this is even 50 00:02:49,600 --> 00:02:52,560 Speaker 1: before the Internet. Yes, that's true, because they were dialing 51 00:02:52,680 --> 00:02:57,480 Speaker 1: directly into a machine and uh it was a government machine, right. 52 00:02:57,520 --> 00:02:59,440 Speaker 1: And in the beginning, you find out that he can 53 00:03:00,040 --> 00:03:04,080 Speaker 1: hack into the school computer and change things around there, 54 00:03:04,120 --> 00:03:06,440 Speaker 1: but it turns out he can hack into other things 55 00:03:06,480 --> 00:03:09,160 Speaker 1: as well. And he hears about this particular computer that 56 00:03:09,919 --> 00:03:12,200 Speaker 1: sounds like it has some incredible stuff on it, and 57 00:03:12,320 --> 00:03:15,360 Speaker 1: in true hacker fashion, he wants to know what that 58 00:03:15,440 --> 00:03:18,440 Speaker 1: stuff is. It's not that he wants to cause problems 59 00:03:18,560 --> 00:03:21,080 Speaker 1: or or be a pain in the butt. He's just 60 00:03:21,240 --> 00:03:24,520 Speaker 1: curious and he has to satisfy that curiosity. Yes, and 61 00:03:24,840 --> 00:03:26,960 Speaker 1: the computer asks him if he wants to play a game, 62 00:03:27,240 --> 00:03:30,480 Speaker 1: and uh, he's up for that, and so he starts 63 00:03:30,480 --> 00:03:34,720 Speaker 1: a game called Global Thermonuclear War. Uh. The problem being 64 00:03:34,800 --> 00:03:37,800 Speaker 1: that this computer happens to be owned by the federal 65 00:03:37,800 --> 00:03:41,680 Speaker 1: government and is used for war simulations. So of course 66 00:03:41,880 --> 00:03:44,520 Speaker 1: all the people at Norad and all the other folks 67 00:03:44,560 --> 00:03:47,440 Speaker 1: watching those boards with lots of blinking electronic planes on them, 68 00:03:48,080 --> 00:03:50,520 Speaker 1: U get very very nervous because it appears that there 69 00:03:50,560 --> 00:03:53,440 Speaker 1: is an actual attack being launched. Right, Yeah, so it 70 00:03:53,640 --> 00:03:58,080 Speaker 1: it the the computer with the simulation taps into essentially 71 00:03:58,080 --> 00:04:01,800 Speaker 1: the computer system as a whole for nora Ad, and 72 00:04:02,240 --> 00:04:05,560 Speaker 1: that's what kind of capitulates this into an awful, awful 73 00:04:05,600 --> 00:04:07,800 Speaker 1: problem where it looks like the world is on the 74 00:04:07,840 --> 00:04:13,280 Speaker 1: brink of actual thermonuclear war. And fortunately for us, Matthew 75 00:04:13,280 --> 00:04:16,800 Speaker 1: Broderick's character comes up with a solution at the very 76 00:04:16,920 --> 00:04:20,000 Speaker 1: end to try and teach the computer why this is 77 00:04:20,040 --> 00:04:22,479 Speaker 1: a bad idea. We shouldn't spoil it, I guess. Just 78 00:04:22,520 --> 00:04:24,719 Speaker 1: in case you haven't seen it, it is worth watching. 79 00:04:24,720 --> 00:04:27,239 Speaker 1: I mean, it's one of those movies where you're gonna 80 00:04:27,279 --> 00:04:30,120 Speaker 1: have to get over the dated references and everything. You know, 81 00:04:30,120 --> 00:04:32,560 Speaker 1: it's gonna seem kind of weird and cheesy to someone 82 00:04:32,600 --> 00:04:35,120 Speaker 1: who didn't who wasn't around in the early eighties or 83 00:04:35,440 --> 00:04:37,039 Speaker 1: you know, it was very young in the early eighties 84 00:04:37,080 --> 00:04:40,159 Speaker 1: and barely remembers it, but it is a legitimately good 85 00:04:40,160 --> 00:04:42,200 Speaker 1: tech movie. I'm glad you picked that one. Yeah, I 86 00:04:42,680 --> 00:04:46,680 Speaker 1: think we'll also give you an appreciation, especially for people 87 00:04:46,680 --> 00:04:51,800 Speaker 1: who weren't around back then, how far technology is come 88 00:04:51,800 --> 00:04:54,320 Speaker 1: in a very very short period of time. Really is 89 00:04:54,400 --> 00:04:57,080 Speaker 1: in the great scheme of things. Um. Also, I read 90 00:04:57,080 --> 00:04:59,760 Speaker 1: in Wired magazine a while ago, not too long ago, 91 00:04:59,839 --> 00:05:03,800 Speaker 1: but to apparently President Ronald Reagan had watched the movie 92 00:05:03,839 --> 00:05:08,120 Speaker 1: and it actually had clued him into the significance of 93 00:05:08,160 --> 00:05:11,280 Speaker 1: computer technology and the kinds of things that, uh it 94 00:05:11,400 --> 00:05:16,400 Speaker 1: could be used for, and apparently started the seeds of 95 00:05:17,440 --> 00:05:19,880 Speaker 1: a technology program in the government and you know what 96 00:05:20,040 --> 00:05:23,720 Speaker 1: needed to be protected. Which is funny because now just 97 00:05:23,800 --> 00:05:25,960 Speaker 1: today we had the as the day we're recording this, 98 00:05:26,000 --> 00:05:31,200 Speaker 1: we've had our cybersecurity coordinator named so kind of topical 99 00:05:31,200 --> 00:05:33,599 Speaker 1: today that that movie actually reminds me of one that 100 00:05:33,640 --> 00:05:36,080 Speaker 1: I didn't put on my list, but I probably should have, 101 00:05:36,120 --> 00:05:38,320 Speaker 1: because I do enjoy it quite a bit, which is 102 00:05:38,680 --> 00:05:41,680 Speaker 1: an older film but based on a similar topic, which 103 00:05:41,760 --> 00:05:44,680 Speaker 1: is Doctor Strangelove or How I Learned to Stop Worrying 104 00:05:44,720 --> 00:05:48,040 Speaker 1: and Love the Bomb. Yes, yes, the Kubrick film. Um. 105 00:05:48,080 --> 00:05:51,359 Speaker 1: Now in that movie, you have a uh, you have 106 00:05:51,800 --> 00:05:55,800 Speaker 1: several things all converging on one horrible, horrible event. The 107 00:05:56,000 --> 00:06:00,719 Speaker 1: first thing is you've got a crazy army base commander 108 00:06:01,080 --> 00:06:04,200 Speaker 1: who has decided that he wants to create a first 109 00:06:04,279 --> 00:06:06,919 Speaker 1: strike on the Russians because the Russians are up to 110 00:06:06,960 --> 00:06:10,120 Speaker 1: no good and will eventually attack, and they only answer 111 00:06:10,800 --> 00:06:15,040 Speaker 1: is to attack them first. So he uh, he's doing this. 112 00:06:15,080 --> 00:06:19,279 Speaker 1: On that he goes rogue essentially and and uh turns 113 00:06:19,320 --> 00:06:22,599 Speaker 1: against his own country in order to escalate a war 114 00:06:22,680 --> 00:06:27,920 Speaker 1: with Russia. Unfortunately, and unbeknownst to this commander, Russia has 115 00:06:27,960 --> 00:06:32,560 Speaker 1: developed a secret super weapon, a doomsday device, which will 116 00:06:32,640 --> 00:06:36,599 Speaker 1: essentially wipe out pretty much all life on earth. Um. 117 00:06:36,839 --> 00:06:40,159 Speaker 1: The whole idea being that by revealing the existence of 118 00:06:40,200 --> 00:06:43,320 Speaker 1: this weapon, no one would ever dare attack Russia because 119 00:06:43,360 --> 00:06:46,760 Speaker 1: it would automatically retaliate and there's no way to shut 120 00:06:46,800 --> 00:06:52,640 Speaker 1: it off. But Russia hasn't said anything about the device 121 00:06:52,760 --> 00:06:55,960 Speaker 1: because it was supposed to be a surprise. The President 122 00:06:55,960 --> 00:06:58,080 Speaker 1: wanted to reveal it on a certain day, and that 123 00:06:58,160 --> 00:07:01,000 Speaker 1: day had not yet arrived. And so you have this 124 00:07:01,040 --> 00:07:02,760 Speaker 1: whole group of people who are trying to figure out 125 00:07:02,800 --> 00:07:05,720 Speaker 1: how to get out of an impossible situation and doing 126 00:07:05,760 --> 00:07:09,000 Speaker 1: all they can to avert it. And um, I won't 127 00:07:09,040 --> 00:07:11,640 Speaker 1: spoil that one either, I'll just say that it uh, 128 00:07:11,720 --> 00:07:14,320 Speaker 1: it is a great movie. Peter Seller's plays half the 129 00:07:14,400 --> 00:07:16,880 Speaker 1: cast and he does a great job. Yes, and if 130 00:07:16,920 --> 00:07:20,080 Speaker 1: you if you have seen the movie, I would also recommend, Uh, 131 00:07:20,760 --> 00:07:23,680 Speaker 1: it's kind of a weird thing, but you should check 132 00:07:23,720 --> 00:07:27,400 Speaker 1: out the movie Failsafe because it will make you, especially 133 00:07:27,440 --> 00:07:29,520 Speaker 1: after having seen it. I had to watch it for 134 00:07:29,560 --> 00:07:33,680 Speaker 1: a class in college, and I suddenly went oh, because 135 00:07:34,360 --> 00:07:36,560 Speaker 1: Dr Strangelove actually makes a lot of references to that, 136 00:07:36,600 --> 00:07:40,440 Speaker 1: which is a very actual serious movie about the idea 137 00:07:40,560 --> 00:07:44,040 Speaker 1: that you know, Russian the Soviet Union in the United 138 00:07:44,080 --> 00:07:49,200 Speaker 1: States might go to all out nuclear war. Well, let 139 00:07:49,280 --> 00:07:51,280 Speaker 1: me do one that's actually on my list since that 140 00:07:51,320 --> 00:07:55,480 Speaker 1: one wasn't uh, keeping with kind of the young hacker theme, 141 00:07:56,240 --> 00:08:01,600 Speaker 1: Real Genius, Real Genius, starring a young Vel Kilmer. Uh. 142 00:08:01,640 --> 00:08:05,200 Speaker 1: And this is a movie about a college that uh, 143 00:08:05,520 --> 00:08:10,920 Speaker 1: that attracts really really smart people who especially are particularly 144 00:08:11,480 --> 00:08:15,360 Speaker 1: interested in things like physics, um, chemical engineering, that kind 145 00:08:15,360 --> 00:08:20,680 Speaker 1: of thing. And although their geniuses in every field essentially 146 00:08:20,680 --> 00:08:24,600 Speaker 1: at this this college, but the they actively recruit young 147 00:08:24,760 --> 00:08:28,080 Speaker 1: brilliant minds. And then it turns out that the professor 148 00:08:28,520 --> 00:08:31,240 Speaker 1: who is recruiting these young brilliant minds is doing so 149 00:08:31,680 --> 00:08:35,680 Speaker 1: in order to have them build a laser weapon device 150 00:08:35,960 --> 00:08:39,160 Speaker 1: that can be deployed from an airplane and pinpoint a 151 00:08:39,400 --> 00:08:44,120 Speaker 1: specific target on the ground from low orbit actually and 152 00:08:44,320 --> 00:08:47,680 Speaker 1: zap that target. And so essentially it's like the most 153 00:08:47,679 --> 00:08:53,000 Speaker 1: powerful sniper ever. And um, the professor has agreed to 154 00:08:53,040 --> 00:08:56,000 Speaker 1: a contract to that with the military to deliver this weapon. 155 00:08:56,040 --> 00:08:58,480 Speaker 1: But of course the professor himself is not developing any 156 00:08:58,480 --> 00:09:01,240 Speaker 1: of the technology because it's it's he's not smart enough 157 00:09:01,280 --> 00:09:04,160 Speaker 1: to do it. He has his students doing it unbeknownst 158 00:09:04,240 --> 00:09:06,040 Speaker 1: to them. They have no idea what it is that 159 00:09:06,120 --> 00:09:08,360 Speaker 1: they are, They don't know why they're developing the stuff 160 00:09:08,360 --> 00:09:10,800 Speaker 1: they're developing. They just think of it as a school project. 161 00:09:12,200 --> 00:09:15,360 Speaker 1: And uh, it's actually filled with wacky shenanigans. That description 162 00:09:15,360 --> 00:09:17,280 Speaker 1: of the plot makes it sound pretty serious, but it's 163 00:09:17,280 --> 00:09:21,559 Speaker 1: really a comedy and uh, and it's a pretty goofy one. 164 00:09:21,600 --> 00:09:24,080 Speaker 1: It Also, if you've only know Val Kilmer from his 165 00:09:24,160 --> 00:09:26,720 Speaker 1: later work, it'll it'll show him in a totally different 166 00:09:26,760 --> 00:09:31,400 Speaker 1: light to you. All Right, then your next favorite. Um, 167 00:09:32,360 --> 00:09:35,040 Speaker 1: I don't think this list would be complete without one 168 00:09:35,080 --> 00:09:37,079 Speaker 1: of us. And I bet, I'm willing to bet that 169 00:09:37,120 --> 00:09:40,000 Speaker 1: this may actually be somewhere on your list. Um, that 170 00:09:40,000 --> 00:09:42,320 Speaker 1: would be Blade Runner. You know what, not on my 171 00:09:42,360 --> 00:09:46,400 Speaker 1: list really well. Blade Runner is based on a book 172 00:09:46,480 --> 00:09:49,800 Speaker 1: by Philip K. Dick called Do Android's Dream of Electric Sheep. 173 00:09:50,679 --> 00:09:55,560 Speaker 1: And it's about it's about androids who walk among us, um, 174 00:09:55,600 --> 00:10:00,400 Speaker 1: some of whom have become very dangerous. Um and uh. 175 00:10:00,440 --> 00:10:04,600 Speaker 1: They're actually called replicants, both in the book and the movie. UM. 176 00:10:04,640 --> 00:10:07,840 Speaker 1: And it's uh, it's really dark and and it's kind 177 00:10:07,840 --> 00:10:10,400 Speaker 1: of scary because it gets into what it what it's 178 00:10:10,400 --> 00:10:12,160 Speaker 1: like to be human, what it means to be human, 179 00:10:12,200 --> 00:10:15,560 Speaker 1: and you know, there are questions about who is actually 180 00:10:15,640 --> 00:10:19,440 Speaker 1: human and who is actually a replicant. Um. So it's 181 00:10:19,840 --> 00:10:22,480 Speaker 1: because the main character is is his job is to 182 00:10:22,600 --> 00:10:26,280 Speaker 1: hunt down these replicants who have gotten out of hand 183 00:10:26,320 --> 00:10:30,880 Speaker 1: and are dangerous to human life. Um and uh, we'll 184 00:10:30,880 --> 00:10:33,480 Speaker 1: get into too much detail. That's interesting because it depends 185 00:10:33,520 --> 00:10:36,559 Speaker 1: it fully depends upon which version of the film you see. Yeah, 186 00:10:36,600 --> 00:10:39,240 Speaker 1: that's true because depending on the different version of the film, 187 00:10:39,360 --> 00:10:43,000 Speaker 1: some people turn out to be replicants and sometimes they don't. Yes, 188 00:10:43,280 --> 00:10:45,960 Speaker 1: And apparently part of that has to do with the 189 00:10:46,000 --> 00:10:49,280 Speaker 1: budget of the original movie and what they were able 190 00:10:49,320 --> 00:10:51,200 Speaker 1: to include and how long it was supposed to be 191 00:10:51,240 --> 00:10:52,800 Speaker 1: and all this other stuff. I have something. This is 192 00:10:52,840 --> 00:10:55,280 Speaker 1: not one of my favorites, actually one of my least favorite. 193 00:10:55,360 --> 00:10:57,240 Speaker 1: Are we gonna add some least favorites in with the favorite? 194 00:10:57,240 --> 00:10:59,040 Speaker 1: I'm just gonna sneak it in because it's related to 195 00:10:59,080 --> 00:11:01,839 Speaker 1: the one you said. So you talked about Blade Runner 196 00:11:01,840 --> 00:11:03,839 Speaker 1: and replicas in that what it means to be human. 197 00:11:04,440 --> 00:11:07,040 Speaker 1: I have a similar movie that tried to do that, 198 00:11:07,120 --> 00:11:12,480 Speaker 1: but I think was ultimately a failure. Aial Intelligence also 199 00:11:12,800 --> 00:11:15,480 Speaker 1: ties back into Dr Strangelove because it was originally a 200 00:11:15,559 --> 00:11:20,560 Speaker 1: Kubrick project. AI. The reason why I do not like 201 00:11:20,720 --> 00:11:23,319 Speaker 1: AI as well. There's several reasons. One, the movie should 202 00:11:23,320 --> 00:11:26,920 Speaker 1: have ended twenty minutes before it actually ended. Um, there 203 00:11:26,960 --> 00:11:32,199 Speaker 1: was a perfect tragic Kubrick ending. They could have finished 204 00:11:32,240 --> 00:11:34,600 Speaker 1: the film, and yes, it would have been sad, but 205 00:11:34,679 --> 00:11:37,480 Speaker 1: it was the right ending for that movie. Uh. And 206 00:11:37,520 --> 00:11:42,679 Speaker 1: instead it kept ongoing. Um. And it just there were 207 00:11:42,720 --> 00:11:47,720 Speaker 1: some really important, deep questions that it was asking, but 208 00:11:47,800 --> 00:11:50,520 Speaker 1: it wasn't. I don't think it gave the audience enough 209 00:11:50,720 --> 00:11:55,200 Speaker 1: to really make up you know, each each individual audience 210 00:11:55,200 --> 00:11:57,360 Speaker 1: member couldnot make up his or her own mind, because 211 00:11:57,960 --> 00:12:01,800 Speaker 1: the way Spielberg made that movie, the answer was already 212 00:12:01,840 --> 00:12:06,760 Speaker 1: made for you. The question I would say is, does 213 00:12:06,840 --> 00:12:12,760 Speaker 1: an artificially intelligent creature doesn't have the same sort of rights? 214 00:12:13,520 --> 00:12:16,839 Speaker 1: And uh, does it have rights like a human being 215 00:12:16,840 --> 00:12:20,400 Speaker 1: would have rights just because it is self aware? Um, 216 00:12:20,480 --> 00:12:24,920 Speaker 1: and has this ability to learn and possibly even feel. 217 00:12:25,280 --> 00:12:28,800 Speaker 1: That's another question is could an artificially intelligent construct actually 218 00:12:28,800 --> 00:12:31,960 Speaker 1: experience what we consider to be emotions? We don't know 219 00:12:32,040 --> 00:12:36,520 Speaker 1: that answer, but this movie managed to answer the question 220 00:12:36,600 --> 00:12:39,040 Speaker 1: for you. I think it's much more interesting to pose 221 00:12:39,080 --> 00:12:41,960 Speaker 1: that question to the audience and have that be a debate. 222 00:12:42,120 --> 00:12:45,920 Speaker 1: I mean, is it is it right to even create 223 00:12:45,960 --> 00:12:49,040 Speaker 1: an artificially intelligent construct if there is the potential for 224 00:12:49,080 --> 00:12:53,200 Speaker 1: it to develop not just self awareness but emotions? Um? 225 00:12:53,400 --> 00:12:55,360 Speaker 1: Is that the responsible thing to do? Because you have 226 00:12:55,440 --> 00:12:58,880 Speaker 1: essentially created a slave at that point, and that was 227 00:12:58,960 --> 00:13:00,960 Speaker 1: kind of the point of the movie. But again, like 228 00:13:01,000 --> 00:13:04,000 Speaker 1: I said, they answered the question for you without really 229 00:13:04,000 --> 00:13:09,160 Speaker 1: giving you the opportunity to ask it yourself. So did 230 00:13:09,200 --> 00:13:11,920 Speaker 1: you want to get back to one on your list. Sure, 231 00:13:13,280 --> 00:13:15,760 Speaker 1: I say a good one A movie I really enjoyed 232 00:13:16,040 --> 00:13:20,679 Speaker 1: Twelve Monkeys. Twelve Monkeys one of Terry Gilliams movies. I 233 00:13:20,880 --> 00:13:23,679 Speaker 1: Know I'm a I'm an enormous jelly Terry gilliam fan. 234 00:13:23,720 --> 00:13:26,760 Speaker 1: I could also easily put Brazil on here. Twelve Monkeys 235 00:13:26,760 --> 00:13:29,360 Speaker 1: in Brazil to me go hand in hand. Both of 236 00:13:29,400 --> 00:13:34,199 Speaker 1: them are about dystopian worlds. In twelve Monkeys, it might 237 00:13:34,240 --> 00:13:36,880 Speaker 1: even not be a real world. It's hard to say 238 00:13:36,960 --> 00:13:40,080 Speaker 1: because how much of that is actually supposed to be 239 00:13:40,120 --> 00:13:42,400 Speaker 1: happening and how much of it is within the mind 240 00:13:42,440 --> 00:13:45,480 Speaker 1: of the main character. Um. Now, twelve Monkeys, you've got 241 00:13:45,720 --> 00:13:48,360 Speaker 1: the story of a a guy who sent back in 242 00:13:48,480 --> 00:13:51,960 Speaker 1: time to change events and and sort of the the 243 00:13:52,880 --> 00:13:55,720 Speaker 1: series of circumstances that he encounters as he tries to 244 00:13:55,720 --> 00:13:59,000 Speaker 1: do this, and he misinterprets events and changes the wrong thing, 245 00:13:59,120 --> 00:14:02,440 Speaker 1: and uh, it kind of poses the question of is 246 00:14:02,559 --> 00:14:05,720 Speaker 1: time malleable or if you could travel through time, could 247 00:14:05,760 --> 00:14:07,880 Speaker 1: you actually make a difference or would you really just 248 00:14:07,920 --> 00:14:12,160 Speaker 1: be playing into the same events that that you noticed 249 00:14:12,200 --> 00:14:14,320 Speaker 1: in the future. Like if you went back in time 250 00:14:14,360 --> 00:14:16,360 Speaker 1: and try to change things, would it turn out that 251 00:14:16,400 --> 00:14:18,440 Speaker 1: the things you try to change actually lead to the 252 00:14:18,480 --> 00:14:22,000 Speaker 1: events being the way they were when you started. Um, 253 00:14:22,080 --> 00:14:23,880 Speaker 1: so I think that's it now. Now it's not really 254 00:14:23,920 --> 00:14:25,920 Speaker 1: all about the tech. In fact, that technology takes a 255 00:14:26,040 --> 00:14:29,800 Speaker 1: kind of a back seat in that one. But all 256 00:14:29,840 --> 00:14:32,880 Speaker 1: the visions of the dystopian future are really really disturbing 257 00:14:32,920 --> 00:14:36,520 Speaker 1: in that very visual gilliam style. So that's one that 258 00:14:36,560 --> 00:14:40,920 Speaker 1: sticks with me. Okay, then your turn. Um, speaking of 259 00:14:41,000 --> 00:14:43,640 Speaker 1: movies that involved tech, but they it sort of takes 260 00:14:43,640 --> 00:14:46,120 Speaker 1: a back seat. One of my favorites would probably be 261 00:14:46,560 --> 00:14:49,120 Speaker 1: Eternal Sunshine of the Spotless Mind, another one I haven't 262 00:14:49,120 --> 00:14:53,920 Speaker 1: seen really Yeah, oh well it's uh, you know, the 263 00:14:54,000 --> 00:14:57,680 Speaker 1: tech really sort of plays that well, it's a crucial 264 00:14:57,720 --> 00:14:59,680 Speaker 1: part in the movie, but it's not about the technology, 265 00:14:59,720 --> 00:15:04,240 Speaker 1: but um about the company that will let you erase 266 00:15:04,360 --> 00:15:07,920 Speaker 1: your memories. So essentially you're able to start over if 267 00:15:07,920 --> 00:15:09,800 Speaker 1: you have something that you just want to forget about. 268 00:15:10,440 --> 00:15:15,240 Speaker 1: And actually sees from Dollhouse just flashed through my mind. 269 00:15:15,240 --> 00:15:19,360 Speaker 1: But that's a TV show talking about erasing your memories. Um, 270 00:15:19,480 --> 00:15:23,040 Speaker 1: but it's it's really really enjoyable. Um, and I liked 271 00:15:23,080 --> 00:15:25,560 Speaker 1: it very much, but uh, you know, I won't get 272 00:15:25,560 --> 00:15:29,280 Speaker 1: into the details of the movie. But the characters, of 273 00:15:29,320 --> 00:15:32,880 Speaker 1: course um interact with one another, and you know, find 274 00:15:32,880 --> 00:15:36,080 Speaker 1: out when they get their access to their old memories 275 00:15:36,080 --> 00:15:39,800 Speaker 1: back some things that you know, they were a little 276 00:15:39,840 --> 00:15:43,400 Speaker 1: surprised to find out. So it's it's an ext onent movie. 277 00:15:43,480 --> 00:15:46,560 Speaker 1: It's weally, it's kind of weird, but you know it 278 00:15:46,560 --> 00:15:48,520 Speaker 1: would be because it's about memory. And everyone I know 279 00:15:48,520 --> 00:15:50,920 Speaker 1: who saw it really enjoyed it. That's just one. You know, 280 00:15:50,960 --> 00:15:52,800 Speaker 1: there's always those movies that get away from you that 281 00:15:52,800 --> 00:15:54,760 Speaker 1: you never got a chance to see and have lots 282 00:15:54,760 --> 00:16:00,520 Speaker 1: of um. I was gonna mention Gatica. You know, people 283 00:16:00,560 --> 00:16:02,840 Speaker 1: like that as a as a tech movie. There's something 284 00:16:03,160 --> 00:16:08,520 Speaker 1: about dystopian futures that I find really really fascinating. I like. 285 00:16:08,720 --> 00:16:12,680 Speaker 1: I like both in in novels and in films, and 286 00:16:12,720 --> 00:16:14,080 Speaker 1: I think part of the reason why I like it 287 00:16:14,120 --> 00:16:16,960 Speaker 1: is because I consider them warnings like this is a 288 00:16:16,960 --> 00:16:20,920 Speaker 1: warning of what can happen if you aren't careful, and 289 00:16:21,040 --> 00:16:23,840 Speaker 1: you know, just just think about the consequences of your 290 00:16:23,880 --> 00:16:26,840 Speaker 1: actions and the act not not your actions as in 291 00:16:26,880 --> 00:16:30,240 Speaker 1: you the individual, but actions kind of as a collective group, 292 00:16:30,960 --> 00:16:33,320 Speaker 1: and and the decisions we make and how that can 293 00:16:33,400 --> 00:16:37,440 Speaker 1: lead to a really terrible situation. Now in Gatica, you've 294 00:16:37,480 --> 00:16:42,360 Speaker 1: got a world where you've got these genetically hiss genetically 295 00:16:42,360 --> 00:16:45,320 Speaker 1: designed people who are you know, more or less as 296 00:16:45,400 --> 00:16:47,600 Speaker 1: as perfect as they possibly can be. Kind of a 297 00:16:47,600 --> 00:16:51,480 Speaker 1: brave new world situation. And uh, and they are given 298 00:16:51,520 --> 00:16:54,680 Speaker 1: preferential treatment because you will automatically know from a genetic 299 00:16:54,880 --> 00:16:57,800 Speaker 1: level these people are superior to the folks who are 300 00:16:58,400 --> 00:17:01,000 Speaker 1: born the good old fashioned way. And so why take 301 00:17:01,000 --> 00:17:05,159 Speaker 1: a risk on someone who wasn't designed when you know, 302 00:17:05,680 --> 00:17:08,080 Speaker 1: you know, genetically this person is perfect. Therefore they should 303 00:17:08,119 --> 00:17:10,480 Speaker 1: take the job. And uh, it's the story of a 304 00:17:10,760 --> 00:17:16,640 Speaker 1: guy who was not one of the designed, who uh nevertheless, 305 00:17:16,760 --> 00:17:20,720 Speaker 1: is determined to pursue his goal and as in order 306 00:17:20,760 --> 00:17:23,040 Speaker 1: to do so he must he must put upon the 307 00:17:23,080 --> 00:17:26,800 Speaker 1: appearance of being one of the perfect people. And the 308 00:17:27,119 --> 00:17:30,000 Speaker 1: it talks about the great lengths he goes to to 309 00:17:30,119 --> 00:17:33,919 Speaker 1: disguise his identity and try to slip under the radar 310 00:17:34,080 --> 00:17:37,520 Speaker 1: of a society that is not only incredibly advanced but 311 00:17:37,680 --> 00:17:42,960 Speaker 1: also incredibly paranoid. The the company he works for does 312 00:17:43,480 --> 00:17:47,680 Speaker 1: routine uh scans of things like even the keyboard. They'll 313 00:17:47,760 --> 00:17:50,680 Speaker 1: they'll vacuum up the skin particles that all between the 314 00:17:50,760 --> 00:17:53,359 Speaker 1: keys on a keyboard and analyze them to make sure 315 00:17:53,440 --> 00:17:55,520 Speaker 1: that the person who's sitting there is who they say 316 00:17:55,520 --> 00:17:59,119 Speaker 1: they are. So it's kind of interesting to show how 317 00:18:00,160 --> 00:18:04,040 Speaker 1: a person with a real drive and ambition will go 318 00:18:04,160 --> 00:18:09,160 Speaker 1: to incredible and dangerous lengths in order to achieve it. Um. 319 00:18:09,200 --> 00:18:11,919 Speaker 1: And also, I mean the audience is supposed to side 320 00:18:11,920 --> 00:18:13,800 Speaker 1: with the main character. You're supposed to say, Okay, well 321 00:18:13,800 --> 00:18:16,080 Speaker 1: this guy is right and this is a society that's wrong, 322 00:18:16,560 --> 00:18:19,000 Speaker 1: and uh, the movie makes that very easy. But it's 323 00:18:19,560 --> 00:18:22,919 Speaker 1: it's very well done. Great style to that movie. UM, 324 00:18:23,119 --> 00:18:26,080 Speaker 1: highly recommended. It's a little there's some disturbing moments in it, 325 00:18:26,280 --> 00:18:30,360 Speaker 1: I won't lie, but it's uh, I enjoyed it. All right. Well, 326 00:18:30,359 --> 00:18:32,960 Speaker 1: I've got a question for you. We both mentioned some 327 00:18:33,000 --> 00:18:34,800 Speaker 1: of the movies that we really like. Do we want 328 00:18:34,800 --> 00:18:36,120 Speaker 1: to get onto some of the ones that we really 329 00:18:36,160 --> 00:18:37,960 Speaker 1: don't because we're not gonna have a lot of time 330 00:18:38,000 --> 00:18:39,679 Speaker 1: if we go through all of our likes. All right, 331 00:18:39,720 --> 00:18:41,680 Speaker 1: let's go. If you want to mention your other likes 332 00:18:41,680 --> 00:18:45,879 Speaker 1: without getting into them, Wally, Oh yeah, definitely, Wally. Okay, 333 00:18:45,920 --> 00:18:48,280 Speaker 1: there we go. All right. So, also, Wally a little 334 00:18:48,280 --> 00:18:50,920 Speaker 1: bit of dystopian feature there. Yeah, let's go into the 335 00:18:51,440 --> 00:18:54,520 Speaker 1: ones that we either we call them least favorite, because 336 00:18:54,520 --> 00:18:57,200 Speaker 1: that's what Richard said, I like to call these hatred 337 00:18:57,320 --> 00:19:01,359 Speaker 1: with the passion of a thousand exploding on movies. Are 338 00:19:01,359 --> 00:19:03,600 Speaker 1: the Star Wars prequels on here? Then? No, I didn't 339 00:19:03,640 --> 00:19:06,200 Speaker 1: count Star Wars because those are fantasy films, not science fiction. 340 00:19:07,640 --> 00:19:11,800 Speaker 1: But they are about never go ahead. Um, but yes, 341 00:19:11,920 --> 00:19:17,399 Speaker 1: the prequels are terrible. Okay, so my my top disliked heavily, 342 00:19:17,560 --> 00:19:21,080 Speaker 1: leaning on tech film Independence Day. Oh that's on my list. 343 00:19:21,119 --> 00:19:24,840 Speaker 1: Do score big, you know. And what's crazy is the 344 00:19:24,920 --> 00:19:26,920 Speaker 1: very first time I saw it, I enjoyed that movie. 345 00:19:27,040 --> 00:19:29,480 Speaker 1: It was on subsequent viewings that I realized how stupid 346 00:19:29,520 --> 00:19:31,919 Speaker 1: that film is. Yeah, that's that's the annoying part of it. 347 00:19:31,960 --> 00:19:34,200 Speaker 1: I mean, the story itself is kind of fun, but 348 00:19:34,240 --> 00:19:38,160 Speaker 1: then the whole premise of bringing down an alien intelligence 349 00:19:38,240 --> 00:19:43,160 Speaker 1: with um a virus. Yes that was from my Mac 350 00:19:43,280 --> 00:19:48,560 Speaker 1: No less a virus. Mac computer known for the virus, Right, 351 00:19:48,560 --> 00:19:51,440 Speaker 1: how would you design a computer virus for an alien 352 00:19:51,520 --> 00:19:56,199 Speaker 1: technology that you have never encountered before? You don't know 353 00:19:56,240 --> 00:19:58,280 Speaker 1: what the operating systems like how why would it even 354 00:19:58,320 --> 00:20:04,600 Speaker 1: be based on binary? I am yeah, no that that movie, 355 00:20:04,760 --> 00:20:07,840 Speaker 1: just that premise alone drives me crazy. But there's plenty 356 00:20:07,840 --> 00:20:10,200 Speaker 1: in that film too. And of course that that started 357 00:20:10,200 --> 00:20:12,960 Speaker 1: the whole disaster porn thing that the guy started. You 358 00:20:12,960 --> 00:20:15,040 Speaker 1: know that he also did The Day After Tomorrow and 359 00:20:15,080 --> 00:20:18,920 Speaker 1: he did two thousand twelve, and so yeah, he needs 360 00:20:18,920 --> 00:20:21,360 Speaker 1: to be stopped. Um. I mean he makes stuff blow 361 00:20:21,400 --> 00:20:23,280 Speaker 1: up real good, don't get me wrong. And you're a 362 00:20:23,320 --> 00:20:26,600 Speaker 1: McKinsey brother, you like that stuff. But yeah, I'm not 363 00:20:26,680 --> 00:20:30,240 Speaker 1: a I'm not a fan of that. Um that movie. 364 00:20:30,760 --> 00:20:33,359 Speaker 1: So here's one of mine. Okay, this is like the 365 00:20:33,440 --> 00:20:36,359 Speaker 1: movie that I will never forgive my parents for taking 366 00:20:36,359 --> 00:20:38,399 Speaker 1: me to when I was a kid. So it was 367 00:20:38,600 --> 00:20:43,720 Speaker 1: a fantasy slash science fiction film. You're the Hunter from 368 00:20:43,720 --> 00:20:47,840 Speaker 1: the Future. Did you ever see this? But I've not 369 00:20:47,960 --> 00:20:50,080 Speaker 1: seen it, but I know it exists. It is so 370 00:20:50,400 --> 00:20:52,680 Speaker 1: terrible people, all right now, I am I'm telling you. 371 00:20:52,800 --> 00:20:56,080 Speaker 1: I'm telling you text stuff listeners, you know the how 372 00:20:56,119 --> 00:20:58,600 Speaker 1: they say that, oh that movie is so bad. It's good. Okay, 373 00:20:58,640 --> 00:21:01,840 Speaker 1: this movie is so bad, gut riching, lee awful. Do 374 00:21:02,000 --> 00:21:05,480 Speaker 1: not watch this movie. It is just it is boring. 375 00:21:05,760 --> 00:21:10,119 Speaker 1: It makes no sense. Uh the there are none of 376 00:21:10,160 --> 00:21:13,320 Speaker 1: the characters have any sort of charisma or acting ability. 377 00:21:13,800 --> 00:21:17,439 Speaker 1: Um it is. It is just a total mess of 378 00:21:17,440 --> 00:21:22,199 Speaker 1: a movie. It has prehistoric sections where where there's a 379 00:21:22,200 --> 00:21:25,640 Speaker 1: guy fighting dinosaurs and there's stuff on a spaceship and 380 00:21:25,720 --> 00:21:28,120 Speaker 1: there's no real explanation how this all works, and it's 381 00:21:28,200 --> 00:21:32,320 Speaker 1: just dumb. And I will never forgive my I can. 382 00:21:32,400 --> 00:21:35,600 Speaker 1: I can vividly remember my dad teasing me before we 383 00:21:35,640 --> 00:21:37,240 Speaker 1: go see this movie as why are we gonna go 384 00:21:37,240 --> 00:21:42,199 Speaker 1: see your movie? My movie? Not your movie? Your movie? 385 00:21:42,840 --> 00:21:45,200 Speaker 1: Ha ha ha, Dad, Well, not a lapse on you, 386 00:21:45,320 --> 00:21:49,280 Speaker 1: because I'm gonna bill you for the psychological damage that 387 00:21:49,359 --> 00:21:52,840 Speaker 1: film caused me over the last thirty years. Actually it's 388 00:21:52,880 --> 00:21:57,000 Speaker 1: not that long, but anyway, go ahead. This one is 389 00:21:57,000 --> 00:22:01,600 Speaker 1: is another one that's sort of peripheral. Arman, you know what. 390 00:22:01,840 --> 00:22:05,040 Speaker 1: I have not watched that I but I have seen 391 00:22:05,040 --> 00:22:09,400 Speaker 1: Phil Plate the Bad Astronomer, do a shot for shot 392 00:22:09,680 --> 00:22:13,840 Speaker 1: criticism of one I think two minutes section of that movie, 393 00:22:14,480 --> 00:22:18,440 Speaker 1: and it was so funny. I mean, if you want 394 00:22:18,520 --> 00:22:22,960 Speaker 1: to you know, land two space shuttles on an asteroid 395 00:22:23,200 --> 00:22:27,159 Speaker 1: that has headed for Earth, you know, then it's the 396 00:22:27,200 --> 00:22:29,400 Speaker 1: movie to watch if you actually believe that that's possible, 397 00:22:29,640 --> 00:22:33,320 Speaker 1: I have doubts. He talked about Plate talked about what 398 00:22:33,359 --> 00:22:35,320 Speaker 1: you would actually want to do in order to get 399 00:22:35,400 --> 00:22:37,840 Speaker 1: rid of uh, an asteroid that size. He said that 400 00:22:37,840 --> 00:22:39,639 Speaker 1: blowing it up is the last thing you want to 401 00:22:39,640 --> 00:22:42,960 Speaker 1: do because it just makes lots of asteroids heading towards 402 00:22:42,960 --> 00:22:46,199 Speaker 1: It's that that makes sense. But he talked about, you know, 403 00:22:46,240 --> 00:22:47,640 Speaker 1: what you would really want to do? This is kind 404 00:22:47,640 --> 00:22:50,600 Speaker 1: of just interesting from a science perspective. Phil Plate said, 405 00:22:51,160 --> 00:22:52,679 Speaker 1: what you might want to do is you want to 406 00:22:52,680 --> 00:22:54,399 Speaker 1: move the asteroid out of the way so it's no 407 00:22:54,440 --> 00:22:57,639 Speaker 1: longer moving within the path of the planet. So you 408 00:22:57,680 --> 00:23:01,040 Speaker 1: would do something like perhaps send a rocket up there 409 00:23:01,080 --> 00:23:04,800 Speaker 1: that could deploy a second rocket it would actually attached 410 00:23:04,880 --> 00:23:07,959 Speaker 1: to the asteroid and then propel the asteroid just a 411 00:23:08,000 --> 00:23:11,960 Speaker 1: few thousand miles off course, and that would allow it 412 00:23:12,040 --> 00:23:15,959 Speaker 1: to miss the planet. And it was interesting to me 413 00:23:16,000 --> 00:23:18,120 Speaker 1: that he could both deconstruct a film and show how 414 00:23:18,160 --> 00:23:21,359 Speaker 1: it could actually work. And also, uh, no one needs 415 00:23:21,400 --> 00:23:27,520 Speaker 1: to die or sing leaving on a jet plane. Um 416 00:23:27,720 --> 00:23:31,159 Speaker 1: lawnmower Man. Okay, the reason long Moro Man is just 417 00:23:31,200 --> 00:23:33,320 Speaker 1: a bad movie all around. But the really the reason 418 00:23:33,359 --> 00:23:35,359 Speaker 1: it made this list is not just because it's a 419 00:23:35,400 --> 00:23:37,960 Speaker 1: bad movie, but it's one of those films that gave 420 00:23:37,960 --> 00:23:40,639 Speaker 1: people the wrong idea of what virtual reality can and 421 00:23:40,720 --> 00:23:45,080 Speaker 1: can't do. You know. It gave people the unrealistic expectation 422 00:23:45,160 --> 00:23:48,240 Speaker 1: of what virtual reality is capable of doing. And I 423 00:23:48,280 --> 00:23:50,680 Speaker 1: think that is one of those movies that helped kill 424 00:23:50,840 --> 00:23:55,000 Speaker 1: the term virtual reality because once people realize that VR 425 00:23:55,200 --> 00:23:58,320 Speaker 1: wasn't anywhere near where the movies said it was, they 426 00:23:58,359 --> 00:24:01,359 Speaker 1: lost interest and therefore the our projects lost funding and 427 00:24:01,400 --> 00:24:05,080 Speaker 1: then set them back by like five years. So bad movie, 428 00:24:05,160 --> 00:24:09,119 Speaker 1: lawnmore Man, Bad movie. How many more bad movies do 429 00:24:09,160 --> 00:24:13,119 Speaker 1: you have? A few? Well, I've already done AI, So 430 00:24:13,119 --> 00:24:17,040 Speaker 1: that's off. I've got two more. Okay, because uh, I 431 00:24:17,080 --> 00:24:19,960 Speaker 1: was going to mention The black Hole, which you know, 432 00:24:20,000 --> 00:24:22,280 Speaker 1: it's got lasers, it's got robots, it's got a ship 433 00:24:22,359 --> 00:24:24,399 Speaker 1: that's going to be plunging into a black hole. What 434 00:24:24,440 --> 00:24:28,480 Speaker 1: could possibly be more boring than that movie? Oh my god? Yeah. 435 00:24:28,520 --> 00:24:31,840 Speaker 1: I you know what, if you have insomnia, here's what 436 00:24:31,920 --> 00:24:34,439 Speaker 1: you do. Just curl up in bed, put on the 437 00:24:34,480 --> 00:24:38,120 Speaker 1: black Hole, and prepare for the deep embrace of the 438 00:24:38,119 --> 00:24:41,959 Speaker 1: best sleep you've ever had in your life. And you know, 439 00:24:42,040 --> 00:24:45,080 Speaker 1: as a kid, though, I enjoyed it, but I didn't realize. 440 00:24:45,480 --> 00:24:48,400 Speaker 1: You know, it's surprising I should have been bored to tea. Yes, 441 00:24:48,480 --> 00:24:50,920 Speaker 1: the black hole, that's what has turned Chris Palette into 442 00:24:50,960 --> 00:24:56,320 Speaker 1: the dynamo he is today. Go ahead, okay, back to 443 00:24:56,359 --> 00:25:00,800 Speaker 1: the Future too. Back to the Future to only exists 444 00:25:00,960 --> 00:25:03,840 Speaker 1: as a link between the first and third movie. That's 445 00:25:03,880 --> 00:25:06,240 Speaker 1: the only reason for Back to the Future Too to exist. 446 00:25:06,359 --> 00:25:10,000 Speaker 1: And all the stupid futuristic tech they came up with 447 00:25:10,400 --> 00:25:15,000 Speaker 1: was dumb, cartoony, had no basis in reality. And we're 448 00:25:15,440 --> 00:25:17,760 Speaker 1: rapidly closing in on the year two thousand fifteen, that 449 00:25:17,880 --> 00:25:21,720 Speaker 1: is when they traveled to Have you seen anything flying cars? Huh? 450 00:25:21,800 --> 00:25:24,920 Speaker 1: Flying cars? It's funny that you would say that, because 451 00:25:24,920 --> 00:25:27,359 Speaker 1: I put Back to the Future three on. This is 452 00:25:27,400 --> 00:25:32,520 Speaker 1: a freaking awesome movie. Space Train. No, that's like steam punk, Man, 453 00:25:32,640 --> 00:25:37,200 Speaker 1: steam Punk is awesome. Okay. I would like to apologize 454 00:25:37,200 --> 00:25:39,439 Speaker 1: to all our listeners out there, who, along with me, 455 00:25:39,520 --> 00:25:41,720 Speaker 1: are screaming at Poulette saying, but Back to the Future 456 00:25:41,760 --> 00:25:43,919 Speaker 1: three it was a good movie. I have my defenders, 457 00:25:44,520 --> 00:25:48,359 Speaker 1: all right. The two people who wrote in agreed to 458 00:25:48,440 --> 00:25:51,359 Speaker 1: me that the Western aspect of Back to the Future. 459 00:25:51,400 --> 00:25:54,120 Speaker 1: Three alone makes it better than Part two. Part two 460 00:25:54,200 --> 00:25:57,080 Speaker 1: was terrible. Man, I mean, there's no defending Part two. 461 00:25:58,000 --> 00:26:00,400 Speaker 1: It is not. Here's here's the one reason why Part 462 00:26:00,400 --> 00:26:04,720 Speaker 1: two falls apart all by itself. It cannot stand alone 463 00:26:04,760 --> 00:26:07,440 Speaker 1: as its own movie because it all it is is 464 00:26:07,480 --> 00:26:10,280 Speaker 1: a transition between one and three. No, I will give 465 00:26:10,320 --> 00:26:14,080 Speaker 1: you that, but anyway, actually, three in a way can't 466 00:26:14,080 --> 00:26:16,639 Speaker 1: stand on its own either, because it depends upon the 467 00:26:16,760 --> 00:26:18,840 Speaker 1: ending of part two in order for it to make sense. 468 00:26:18,840 --> 00:26:21,439 Speaker 1: But that's the whole thing, because it reminds me of 469 00:26:21,440 --> 00:26:26,080 Speaker 1: another set of trilogy or another trilogy that was really dependent. 470 00:26:26,119 --> 00:26:28,200 Speaker 1: Oh my god, you better not be talking about that. 471 00:26:28,320 --> 00:26:30,320 Speaker 1: There's only one movie in the trilogy you're about to 472 00:26:30,320 --> 00:26:33,679 Speaker 1: talk about. Well, there's certainly one that stands on its own, Yes, 473 00:26:33,760 --> 00:26:37,479 Speaker 1: the Matrix. Yeah, because the sequels were about again, they 474 00:26:37,480 --> 00:26:40,240 Speaker 1: were about blowing stuff up. This is this. This part 475 00:26:40,240 --> 00:26:42,960 Speaker 1: of the podcast is called wind up Jonathan until his 476 00:26:43,000 --> 00:26:45,240 Speaker 1: head explodes again. And no, no, it's not worth that 477 00:26:45,280 --> 00:26:47,960 Speaker 1: because we're running out of time. But there's there's not 478 00:26:48,040 --> 00:26:50,159 Speaker 1: exactly a lot of plots. Okay, so the Matrix, the 479 00:26:50,160 --> 00:26:53,800 Speaker 1: first Matrix film was really really stylistic and cool and awesome, 480 00:26:53,800 --> 00:26:56,119 Speaker 1: and I loved it. And yeah, granted, the more you 481 00:26:56,160 --> 00:26:58,439 Speaker 1: started to think about things, the more it kind of 482 00:26:58,440 --> 00:27:01,320 Speaker 1: fell apart, but it still was really neat. The problem 483 00:27:01,320 --> 00:27:04,560 Speaker 1: was that Matrix two did not capitalize on the first 484 00:27:04,720 --> 00:27:07,359 Speaker 1: Matrix film, and not only that, but it kind of 485 00:27:07,400 --> 00:27:09,199 Speaker 1: ignored a lot of the stuff that were that was 486 00:27:09,240 --> 00:27:12,000 Speaker 1: set up in the first movie. Like the impression I got. 487 00:27:12,000 --> 00:27:13,520 Speaker 1: I don't know about you, but the impression I got 488 00:27:13,520 --> 00:27:15,639 Speaker 1: after watching the first Matrix film was that what these 489 00:27:15,720 --> 00:27:18,320 Speaker 1: characters were going to do next would be trying to 490 00:27:18,359 --> 00:27:21,159 Speaker 1: find a way to overthrow the robots and save the 491 00:27:21,240 --> 00:27:24,360 Speaker 1: human race. But then in parts two and three, essentially 492 00:27:24,400 --> 00:27:26,240 Speaker 1: the story was not, oh, no, that part of the 493 00:27:26,280 --> 00:27:28,680 Speaker 1: human race is pretty much done for. We're just gonna 494 00:27:28,720 --> 00:27:30,879 Speaker 1: save the ones that are left in the center of 495 00:27:30,920 --> 00:27:34,679 Speaker 1: the planet, you know, floating around and there, those are 496 00:27:34,680 --> 00:27:37,040 Speaker 1: the only ones we really want to save. That's pretty much. 497 00:27:37,040 --> 00:27:42,040 Speaker 1: It drew me nuts. Hated it. Hated it. Also, the Architect, 498 00:27:42,240 --> 00:27:46,359 Speaker 1: if you read that stupid, stupid speech he has and 499 00:27:46,400 --> 00:27:48,520 Speaker 1: you boil it down to what he's actually saying, he's 500 00:27:48,560 --> 00:27:51,720 Speaker 1: not saying a damn thing. OK, He's just using a 501 00:27:51,760 --> 00:27:54,160 Speaker 1: lot of twenty five dollar words to say nothing at all. 502 00:27:54,920 --> 00:27:57,600 Speaker 1: I can say nothing at all for cheap, That's all 503 00:27:57,640 --> 00:28:02,479 Speaker 1: I'm saying. Um a minority report that was actually on 504 00:28:02,480 --> 00:28:04,600 Speaker 1: my list of good but not at the top of 505 00:28:04,600 --> 00:28:08,159 Speaker 1: my life. See I I like the tech, but I 506 00:28:08,240 --> 00:28:12,240 Speaker 1: can't get past the basic premise, which is, how can 507 00:28:12,280 --> 00:28:16,760 Speaker 1: he be framed for a premeditated murder when he doesn't 508 00:28:16,760 --> 00:28:19,520 Speaker 1: even know the identity of the person he's supposed to kill? 509 00:28:19,680 --> 00:28:23,639 Speaker 1: How can he premeditate a murder for someone he doesn't know? 510 00:28:23,800 --> 00:28:25,520 Speaker 1: He can't And that's the point. Well, I know, but 511 00:28:25,720 --> 00:28:28,400 Speaker 1: how does the ball pop up? Then? Because the precods 512 00:28:28,400 --> 00:28:30,720 Speaker 1: are only seeing flashes of what's going on? But see 513 00:28:30,720 --> 00:28:33,800 Speaker 1: the no, the whole basis of it, like for the 514 00:28:33,880 --> 00:28:36,439 Speaker 1: murder too, for the murder to actually have to happen, 515 00:28:36,760 --> 00:28:39,320 Speaker 1: the ball has to pop up. It's a it's a 516 00:28:39,360 --> 00:28:43,240 Speaker 1: self fulfilling prophecy. There's no initial act for that ball 517 00:28:43,280 --> 00:28:45,840 Speaker 1: to pop up in the first place. That's my problem. 518 00:28:45,840 --> 00:28:47,480 Speaker 1: This, this this is my problem with a lot of Phillip 519 00:28:47,560 --> 00:28:51,440 Speaker 1: Kate Dick's stuff and also UH Highland stuff. UM a 520 00:28:51,480 --> 00:28:55,360 Speaker 1: lot they a lot of their their premises are based 521 00:28:55,480 --> 00:28:58,440 Speaker 1: upon things that have already that they're They're like a 522 00:28:58,480 --> 00:29:01,680 Speaker 1: closed loop system, right, There's no way to start it, 523 00:29:01,720 --> 00:29:04,360 Speaker 1: there's no way to finish it. It's just that you 524 00:29:04,520 --> 00:29:08,040 Speaker 1: experienced the loop. And I hate those because how does 525 00:29:08,080 --> 00:29:13,960 Speaker 1: that loop exist on? It's okay, Calm, I have a 526 00:29:14,000 --> 00:29:16,920 Speaker 1: movie that fits in both categories, one that I both 527 00:29:17,000 --> 00:29:22,840 Speaker 1: love and hate. Tron. Yeah, Tron was some of the 528 00:29:22,880 --> 00:29:26,200 Speaker 1: coolest effects I had ever seen at that point. I 529 00:29:26,200 --> 00:29:28,720 Speaker 1: mean it was, especially when you consider that most of 530 00:29:28,720 --> 00:29:31,560 Speaker 1: that stuff was hand drawn. It wasn't actually computer animation. 531 00:29:32,240 --> 00:29:34,080 Speaker 1: A lot and a lot of it was computer animation, 532 00:29:34,080 --> 00:29:37,280 Speaker 1: but not all of it. Um it was a really 533 00:29:37,280 --> 00:29:42,240 Speaker 1: cool concept. It was really really cool set design. Horrible script. 534 00:29:42,960 --> 00:29:45,360 Speaker 1: Horrible script. I didn't realize how horrible script it was 535 00:29:45,440 --> 00:29:49,560 Speaker 1: until I attended a staged reading of the screenplay of Tron. 536 00:29:50,040 --> 00:29:52,479 Speaker 1: It was done as a joke. All the actors were 537 00:29:52,520 --> 00:29:55,680 Speaker 1: dressed up in stage blacks with they Some of them 538 00:29:55,680 --> 00:29:58,120 Speaker 1: had glow tape on them so that when the UV 539 00:29:58,320 --> 00:30:00,719 Speaker 1: lights shined on them, they would actually glow lively characters 540 00:30:00,720 --> 00:30:03,640 Speaker 1: in Tron, And they treated it like it was Shakespeare. 541 00:30:03,640 --> 00:30:05,680 Speaker 1: And it was the funniest thing I've ever seen. And 542 00:30:05,720 --> 00:30:08,280 Speaker 1: I also realized at the same time how terrible that 543 00:30:08,360 --> 00:30:12,959 Speaker 1: screenplay was still looking forward to the sequel because I'm 544 00:30:13,000 --> 00:30:17,600 Speaker 1: a glutton for punishment. Yeah yeah, And uh, then I 545 00:30:17,640 --> 00:30:21,920 Speaker 1: have some honorable mentions. Honorable mentions go to Ghostbusters, which 546 00:30:22,000 --> 00:30:26,320 Speaker 1: is hands down a phenomenal movie, one of the funniest 547 00:30:26,360 --> 00:30:30,240 Speaker 1: comedies ever. But the reason it's an honorable mention is 548 00:30:30,240 --> 00:30:34,360 Speaker 1: because the tech is really really good tertiary. It's cool tech, 549 00:30:34,480 --> 00:30:38,640 Speaker 1: it's fun stuff. Um. But it also spawned an entire 550 00:30:38,720 --> 00:30:40,680 Speaker 1: industry that I kind of looked down on, which the 551 00:30:40,720 --> 00:30:46,000 Speaker 1: whole ghost hunting thing. But anyway, the Truman Show, which 552 00:30:46,360 --> 00:30:50,000 Speaker 1: was almost good but it was it was interesting because 553 00:30:50,000 --> 00:30:52,200 Speaker 1: it was really that that was kind of it's sort 554 00:30:52,240 --> 00:30:57,400 Speaker 1: of um predicted the whole live streaming thing, Like the 555 00:30:57,440 --> 00:31:01,040 Speaker 1: Truman Show was really looking ahead in a way because 556 00:31:01,040 --> 00:31:03,880 Speaker 1: there weren't a lot of uh, there wasn't a lot 557 00:31:03,920 --> 00:31:07,200 Speaker 1: of examples of live streaming at that point. Uh. The 558 00:31:07,280 --> 00:31:11,600 Speaker 1: Iron Giant, which is guys, if you have not seen 559 00:31:11,640 --> 00:31:14,640 Speaker 1: The Iron Giant by Brad Bird, do yourself a favor 560 00:31:14,720 --> 00:31:18,120 Speaker 1: and watch it. Have a box of Kleenex handy is 561 00:31:18,160 --> 00:31:21,240 Speaker 1: a is a phenomenal movie. I mean, he's got tons 562 00:31:21,240 --> 00:31:23,880 Speaker 1: and tons of heart. The main you know, one of 563 00:31:23,920 --> 00:31:28,000 Speaker 1: the main characters is this gigantic robot, and so that's 564 00:31:28,000 --> 00:31:30,440 Speaker 1: why it kind of fits in tech. But again it's 565 00:31:30,480 --> 00:31:33,840 Speaker 1: more of a it's more like a childhood friendship story, 566 00:31:33,960 --> 00:31:36,560 Speaker 1: very much like et ET would probably be the one 567 00:31:36,600 --> 00:31:39,239 Speaker 1: that I would link it to the most strongly. If 568 00:31:39,280 --> 00:31:42,680 Speaker 1: you have not seen Iron Giant, please rent that movie. 569 00:31:42,720 --> 00:31:46,480 Speaker 1: It is a phenomenal cartoon. It is uh and and 570 00:31:46,520 --> 00:31:48,320 Speaker 1: Brad Bird the guy who did it. He's also the 571 00:31:48,320 --> 00:31:51,280 Speaker 1: guy behind The Incredibles, so I mean, the guy knows 572 00:31:51,280 --> 00:31:53,320 Speaker 1: how to tell a good story. And my last one 573 00:31:53,400 --> 00:31:58,040 Speaker 1: is The Signal, which is a locally produced film and 574 00:31:58,160 --> 00:32:01,720 Speaker 1: actually did see receive wide distribution for like a day 575 00:32:01,720 --> 00:32:04,760 Speaker 1: and a half. But the story behind that is a 576 00:32:04,760 --> 00:32:08,720 Speaker 1: mysterious signal goes out over cell phones, television's radios, and 577 00:32:08,760 --> 00:32:14,040 Speaker 1: it turns on this kind of primitive um base nature 578 00:32:14,200 --> 00:32:17,400 Speaker 1: within people. People either get really violent or really paranoid, 579 00:32:17,440 --> 00:32:20,400 Speaker 1: really scared, whatever, and they start reacting to it in 580 00:32:20,560 --> 00:32:22,920 Speaker 1: very crazy ways. Only a few people seemed to be 581 00:32:23,040 --> 00:32:26,280 Speaker 1: resistant to it. Uh, No, one's really sure why. It's 582 00:32:26,280 --> 00:32:27,920 Speaker 1: told from the point of view of characters who are 583 00:32:27,920 --> 00:32:30,280 Speaker 1: in the middle of this experience, so they don't have 584 00:32:30,320 --> 00:32:33,960 Speaker 1: any expertise whatsoever. They don't know why things are happening. 585 00:32:33,960 --> 00:32:37,600 Speaker 1: They're just trying to survive. So um uh, it was 586 00:32:37,640 --> 00:32:40,680 Speaker 1: filmed in Atlanta. Actually, if you look very carefully in 587 00:32:40,760 --> 00:32:42,400 Speaker 1: one section, you will see the back of my head 588 00:32:43,320 --> 00:32:46,560 Speaker 1: because I was in a big, gigantic meleey scene in 589 00:32:46,600 --> 00:32:49,600 Speaker 1: that movie. Um And a lot of people might be saying, hey, 590 00:32:49,600 --> 00:32:52,120 Speaker 1: this sounds a lot like Stephen King's The Cell. Well, 591 00:32:52,160 --> 00:32:54,000 Speaker 1: when the movie was being made, it was actually being 592 00:32:54,040 --> 00:32:56,320 Speaker 1: made before The Cell was published, So this was not 593 00:32:57,080 --> 00:32:58,880 Speaker 1: This was not in reaction to The Cell. It was 594 00:32:58,920 --> 00:33:03,560 Speaker 1: being made concurrently with The Cell. Uh. It's a horror 595 00:33:03,560 --> 00:33:06,880 Speaker 1: movie in three parts. Three different directors directed it. One 596 00:33:06,920 --> 00:33:10,560 Speaker 1: did each part. The three parts are not the same 597 00:33:10,640 --> 00:33:13,760 Speaker 1: in tone, and it's was done on purpose, and each 598 00:33:13,840 --> 00:33:17,160 Speaker 1: part kind of concentrates on a different character within the story. 599 00:33:17,800 --> 00:33:22,280 Speaker 1: Um It it still works. Uh. It's probably not the 600 00:33:22,320 --> 00:33:25,760 Speaker 1: smoothest film you'll ever see, but it's it's ah an 601 00:33:25,800 --> 00:33:29,320 Speaker 1: interesting take and again the technology, they're sort of taking 602 00:33:29,320 --> 00:33:32,440 Speaker 1: a background to the story and you never really know 603 00:33:32,600 --> 00:33:36,240 Speaker 1: why it happened in the first place. That's all mine 604 00:33:36,520 --> 00:33:38,720 Speaker 1: very cool. Do you have any more you wanted to 605 00:33:38,720 --> 00:33:43,320 Speaker 1: add before we sign off. No show for the last 606 00:33:43,320 --> 00:33:45,280 Speaker 1: six minutes. I'm sorry, no, no, no. I you know 607 00:33:45,320 --> 00:33:48,760 Speaker 1: I had some others that that I've considered mentioning. Maybe 608 00:33:48,840 --> 00:33:50,760 Speaker 1: we'll do one of these in the year. Oh yeah, 609 00:33:50,800 --> 00:33:53,960 Speaker 1: iron Man stuff, I forget about that. Yeah, that's a 610 00:33:53,960 --> 00:33:55,560 Speaker 1: good one. And I mean we made it through without 611 00:33:55,680 --> 00:33:59,200 Speaker 1: mentioning the time machine right there. There's tons of tons 612 00:33:59,200 --> 00:34:01,840 Speaker 1: of stuff we do JO in a year from now. 613 00:34:04,120 --> 00:34:06,520 Speaker 1: Give us a chance to see some more movies. So 614 00:34:06,920 --> 00:34:09,319 Speaker 1: let's wrap this up with a little bit more listener mail. 615 00:34:12,800 --> 00:34:16,200 Speaker 1: This comes from Skyler, who says, so, there's been a 616 00:34:16,239 --> 00:34:17,800 Speaker 1: lot of love for three D lately and I was 617 00:34:17,840 --> 00:34:20,440 Speaker 1: wondering when we will have holograms to watch movies on, 618 00:34:20,560 --> 00:34:22,560 Speaker 1: maybe make a cool show. But answer back, so I 619 00:34:22,600 --> 00:34:25,600 Speaker 1: know I have the right email. Adjust Thanks Skylar. I 620 00:34:25,640 --> 00:34:28,279 Speaker 1: haven't answered him yet, so but I will. Hopefully he'll 621 00:34:28,320 --> 00:34:30,960 Speaker 1: get my email before he hears this, Skyler, it will 622 00:34:31,000 --> 00:34:36,120 Speaker 1: be a very very long time. Holograms are tricky, uh. 623 00:34:36,200 --> 00:34:39,600 Speaker 1: One of our colleagues, Tracy Wilson, wrote an article about holograms, 624 00:34:39,640 --> 00:34:44,719 Speaker 1: and I remember her, uh specifically having massive headaches while 625 00:34:44,719 --> 00:34:47,880 Speaker 1: she was working on this because it's a very difficult 626 00:34:48,120 --> 00:34:51,880 Speaker 1: concept to understand and explain, much less get it to 627 00:34:51,920 --> 00:34:55,480 Speaker 1: work correctly. Yeah, and they as Jonathan and I were 628 00:34:55,520 --> 00:34:58,680 Speaker 1: getting ready to do the podcast, I mentioned the technology 629 00:34:58,719 --> 00:35:02,040 Speaker 1: that CNN was using during the political season. Um, and 630 00:35:02,080 --> 00:35:05,800 Speaker 1: they had holograms of people They're in three D walking 631 00:35:05,960 --> 00:35:08,520 Speaker 1: in the studio delivering their reports. What it's not really 632 00:35:09,080 --> 00:35:14,320 Speaker 1: a true hologram. Um. Now, something like that might be possible, 633 00:35:14,360 --> 00:35:16,600 Speaker 1: but it would probably be I mean as expensive as 634 00:35:16,640 --> 00:35:19,160 Speaker 1: three D TVs are now that you could have to 635 00:35:19,160 --> 00:35:21,320 Speaker 1: have a lot more equipment and have to be bigger 636 00:35:21,880 --> 00:35:23,960 Speaker 1: to deliver that kind of experience in your home. You 637 00:35:23,960 --> 00:35:28,680 Speaker 1: could get like a lenticular display television or you know whatever, 638 00:35:28,760 --> 00:35:30,640 Speaker 1: and be able to see three D images like that. 639 00:35:30,680 --> 00:35:32,680 Speaker 1: But again, you would have to be looking at the screen. 640 00:35:32,719 --> 00:35:35,640 Speaker 1: If you were if you were looking uh from the 641 00:35:35,760 --> 00:35:38,160 Speaker 1: point of view of the set, like if you were 642 00:35:38,160 --> 00:35:41,160 Speaker 1: on the if the television set were immediately to your right, 643 00:35:41,360 --> 00:35:43,440 Speaker 1: let's say, and you're both you're looking into the room, 644 00:35:43,440 --> 00:35:45,480 Speaker 1: you wouldn't see an image. Even if a friend of 645 00:35:45,480 --> 00:35:48,320 Speaker 1: yours was standing opposite you and looking at the screen, 646 00:35:48,320 --> 00:35:50,440 Speaker 1: they might see a three dimensional image that appears to 647 00:35:50,440 --> 00:35:52,359 Speaker 1: be hanging in mid air, but you wouldn't see anything 648 00:35:52,360 --> 00:35:55,479 Speaker 1: because you're not looking at the lenticular display. And that's 649 00:35:55,600 --> 00:35:57,920 Speaker 1: that's sort of when when we got this email, I 650 00:35:57,960 --> 00:36:01,680 Speaker 1: was thinking, um that he might be imagining sitting around 651 00:36:02,120 --> 00:36:04,920 Speaker 1: the movie watching, you know, like all him and all 652 00:36:04,920 --> 00:36:07,600 Speaker 1: his friends watching the movie. I think of being able 653 00:36:07,600 --> 00:36:10,240 Speaker 1: to stand up and move around and see the same 654 00:36:10,280 --> 00:36:12,960 Speaker 1: scene from a totally different perspective and you know, the 655 00:36:13,000 --> 00:36:15,279 Speaker 1: camera angle is not changing, You're the one changing. Yes, 656 00:36:15,320 --> 00:36:17,000 Speaker 1: but you'd have to have you'd have to shoot that 657 00:36:17,080 --> 00:36:22,400 Speaker 1: in a very very yeah, dogmatic way. You could do it, 658 00:36:22,719 --> 00:36:25,520 Speaker 1: You could probably do it, and well you can dome expense, 659 00:36:25,560 --> 00:36:28,240 Speaker 1: you could do a computer graphics version, you could build 660 00:36:28,280 --> 00:36:31,239 Speaker 1: three D modeled things. But yeah, but doing it in person, Yeah, no, 661 00:36:31,280 --> 00:36:33,879 Speaker 1: I can't. I can't imagine. Yeah, it's gonna be that's 662 00:36:33,880 --> 00:36:37,239 Speaker 1: gonna be a while. Yeah, Unfortunately, let's way for the singularity. 663 00:36:37,320 --> 00:36:40,120 Speaker 1: It will come then, Thanks a lot, Skyler. Well, if 664 00:36:40,120 --> 00:36:43,200 Speaker 1: any of you have any questions or suggestions, comments, anything 665 00:36:43,200 --> 00:36:45,720 Speaker 1: like that, write us. Our email address is tech stuff 666 00:36:45,719 --> 00:36:48,920 Speaker 1: at how stuff works dot com. And remember visit our 667 00:36:48,960 --> 00:36:53,000 Speaker 1: website for articles on everything from lenticular displays to why 668 00:36:53,040 --> 00:36:55,600 Speaker 1: I hate Back to the Future too. Actually, we don't 669 00:36:55,640 --> 00:36:57,520 Speaker 1: have an article on that, but we have plenty of 670 00:36:57,520 --> 00:37:01,200 Speaker 1: other ones. Yeah, I could go on for days. Um 671 00:37:01,280 --> 00:37:03,839 Speaker 1: and remember we have a live show every Tuesday one 672 00:37:03,880 --> 00:37:06,720 Speaker 1: pm Eastern. You can find links to that on our blogs. 673 00:37:06,800 --> 00:37:09,239 Speaker 1: Just go to the house Supports dot com. Look on 674 00:37:09,280 --> 00:37:11,120 Speaker 1: the right side. You'll see links to the blogs there 675 00:37:11,560 --> 00:37:14,000 Speaker 1: and Chris and I will talk to you again really soon. 676 00:37:16,600 --> 00:37:19,120 Speaker 1: For more on this and thousands of other topics, visit 677 00:37:19,160 --> 00:37:21,600 Speaker 1: how stuff Works dot com and be sure to check 678 00:37:21,600 --> 00:37:23,640 Speaker 1: out the new tech stuff blog now on the House 679 00:37:23,640 --> 00:37:31,080 Speaker 1: Stuff Works homepage, brought to you by the reinvented two 680 00:37:31,120 --> 00:37:33,680 Speaker 1: thousand twelve camera. It's ready, are you