1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:10,959 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your Mind. 3 00:00:11,200 --> 00:00:14,840 Speaker 1: Listener mail. My name is Robert Land, and I'm Joe McCormick. 4 00:00:14,880 --> 00:00:16,919 Speaker 1: And hey, you've written into us. Now we're going to 5 00:00:17,000 --> 00:00:19,279 Speaker 1: share back with you. Are you ready to get started, rob, 6 00:00:19,600 --> 00:00:26,880 Speaker 1: Let's jump in. Oh what is this you've got right 7 00:00:26,920 --> 00:00:29,320 Speaker 1: here at the top? Oh? Well, I I threw some 8 00:00:29,360 --> 00:00:31,440 Speaker 1: stuff in here. So a lot of the stuff we 9 00:00:31,480 --> 00:00:34,280 Speaker 1: hear from from our listeners comes in via our email. 10 00:00:34,320 --> 00:00:38,320 Speaker 1: I guess that's still the primary way we communicate. But 11 00:00:38,440 --> 00:00:42,279 Speaker 1: we do have a discord channel, um, which well, it's 12 00:00:42,360 --> 00:00:44,199 Speaker 1: kind of it's kind of hard to get to. I 13 00:00:44,200 --> 00:00:47,080 Speaker 1: think you have had to have been in the Facebook 14 00:00:47,120 --> 00:00:49,279 Speaker 1: group for Stuff to Blow your Mind, and that's where 15 00:00:49,280 --> 00:00:51,279 Speaker 1: the invite for the discord is. I don't know. I 16 00:00:51,320 --> 00:00:54,360 Speaker 1: barely understand how discord works, but I had to. Don't 17 00:00:54,400 --> 00:00:56,600 Speaker 1: think I was even aware of this? Really? Oh I 18 00:00:56,920 --> 00:00:58,600 Speaker 1: thought you were aware. Well, anyway, there is a Stuff 19 00:00:58,600 --> 00:01:00,639 Speaker 1: to Blow your Mind discord channel. I wish I could 20 00:01:00,640 --> 00:01:03,080 Speaker 1: tell you how you can access it. Um, maybe you 21 00:01:03,080 --> 00:01:05,360 Speaker 1: should tell me if you want access to it, right 22 00:01:05,400 --> 00:01:07,360 Speaker 1: in to our email address and I'll send you the 23 00:01:07,360 --> 00:01:09,920 Speaker 1: link or whatever. Uh, But I heard from a couple 24 00:01:10,000 --> 00:01:14,400 Speaker 1: of our listeners there about our episode on the Whispering 25 00:01:14,480 --> 00:01:18,840 Speaker 1: Sword about sentient weapons and mythology and legend, and of 26 00:01:18,880 --> 00:01:22,280 Speaker 1: course we we primarily looked at a few different, uh, 27 00:01:22,400 --> 00:01:27,440 Speaker 1: mythological and folkloric examples, and we alluded to some fictional examples, 28 00:01:27,440 --> 00:01:28,800 Speaker 1: but we didn't really spend a lot of time there, 29 00:01:28,800 --> 00:01:30,720 Speaker 1: and we said, hey, let us know about some of 30 00:01:30,760 --> 00:01:33,760 Speaker 1: your favorite fictional sentient weapons. And so I have a 31 00:01:33,800 --> 00:01:37,960 Speaker 1: couple of good responses here. So matt on Discord shares 32 00:01:38,000 --> 00:01:40,880 Speaker 1: the following quote love the cold open on whispers of 33 00:01:40,880 --> 00:01:43,480 Speaker 1: the Speaking Sword episode, and honestly, the narrative readings and 34 00:01:43,520 --> 00:01:46,759 Speaker 1: skits are always a highlight. Joe's comment on swords being 35 00:01:47,000 --> 00:01:49,720 Speaker 1: entitled to the tribute of cleaning to keep them happy 36 00:01:50,000 --> 00:01:52,520 Speaker 1: and that cleaning a sword is also important for maintaining 37 00:01:52,560 --> 00:01:54,920 Speaker 1: it makes me wonder if irish myth is where the 38 00:01:54,960 --> 00:01:58,800 Speaker 1: concept of the mechanicalsts belief. He's referring to something in 39 00:01:58,840 --> 00:02:02,680 Speaker 1: Warhammer forty thousand and uh in machine spirits and the 40 00:02:02,800 --> 00:02:05,680 Speaker 1: need to placate them was drawn from in the Warhammer 41 00:02:05,720 --> 00:02:09,280 Speaker 1: forty thou universe upkeep of technology has become ritualized to 42 00:02:09,280 --> 00:02:13,160 Speaker 1: the point that a firearms spirit must be placated by 43 00:02:13,200 --> 00:02:16,799 Speaker 1: annoyting it with sacred oils lest it fail in combat, 44 00:02:17,080 --> 00:02:19,640 Speaker 1: with no consideration given to the physical impact that the 45 00:02:19,639 --> 00:02:22,920 Speaker 1: oil has in the weapons operation. The ritual of annointing 46 00:02:22,960 --> 00:02:26,080 Speaker 1: the weapon has the desired effect, just not for the 47 00:02:26,160 --> 00:02:28,880 Speaker 1: reasons they think. You know, it's funny. I can imagine 48 00:02:28,919 --> 00:02:32,120 Speaker 1: things uh happening in the real world in a in 49 00:02:32,160 --> 00:02:35,800 Speaker 1: a fashion like this, though not understanding the real reason 50 00:02:35,840 --> 00:02:38,640 Speaker 1: you're performing maintenance on something and turning it into it 51 00:02:38,720 --> 00:02:42,720 Speaker 1: like a religious ritual would certainly make the practice less adaptable, 52 00:02:42,840 --> 00:02:45,320 Speaker 1: like you wouldn't you know understand as well, like how 53 00:02:45,360 --> 00:02:47,880 Speaker 1: you need to change the practice to respond to changes 54 00:02:47,880 --> 00:02:51,240 Speaker 1: in conditions. Yeah. Yeah, but but I think he may 55 00:02:51,240 --> 00:02:53,160 Speaker 1: be into something here, because yeah, there's a lot in 56 00:02:53,520 --> 00:02:57,080 Speaker 1: in that universe about you know, forgotten technology, technology that 57 00:02:57,120 --> 00:03:00,000 Speaker 1: can no longer be replicated but can only be maintain 58 00:03:00,000 --> 00:03:02,400 Speaker 1: aimed and is maybe the only half understood at best. 59 00:03:03,440 --> 00:03:07,440 Speaker 1: Fletch on Discord Shairs the following that was a great episode, 60 00:03:07,440 --> 00:03:11,959 Speaker 1: but no mention of Stormbringer lric of Melnibone's bloodthirsty demonic 61 00:03:12,000 --> 00:03:14,639 Speaker 1: blade Uh, this is, of course, we're referencing the books 62 00:03:14,680 --> 00:03:18,640 Speaker 1: by Michael Moorecock, um, which I think I've I've actually 63 00:03:18,639 --> 00:03:21,000 Speaker 1: read one of them and I enjoyed it. And then 64 00:03:21,040 --> 00:03:24,760 Speaker 1: Michael Moorecock also wrote the lyrics to Veteran of the 65 00:03:24,760 --> 00:03:29,480 Speaker 1: Psychic Wars by Blue oysterc Cult, among as many other accomplishments. 66 00:03:29,560 --> 00:03:31,840 Speaker 1: I know you've had that on your mind lately. Yeah, 67 00:03:31,840 --> 00:03:35,360 Speaker 1: it's a solid jam um. Fletch continues. Also from the 68 00:03:35,400 --> 00:03:39,160 Speaker 1: Odyssey quote the blade itself incites two deeds of violence 69 00:03:39,760 --> 00:03:42,960 Speaker 1: um was used as the title of Joe Ambercrombie's first 70 00:03:42,960 --> 00:03:46,240 Speaker 1: excellent fantasy novel, or an even better translation of the 71 00:03:46,280 --> 00:03:49,280 Speaker 1: same phrase for iron by itself can draw a man 72 00:03:49,320 --> 00:03:52,640 Speaker 1: to use It seems super relevant when Robert and Joe 73 00:03:52,640 --> 00:03:55,080 Speaker 1: were talking about how tools can encourage you to see 74 00:03:55,120 --> 00:03:58,280 Speaker 1: every problem in terms of their use. Oh yeah, of course. 75 00:03:58,280 --> 00:04:00,200 Speaker 1: And you can realize this in a million different ways. 76 00:04:00,240 --> 00:04:02,200 Speaker 1: I mean, I think, for example, if I'm remembering this right, 77 00:04:02,240 --> 00:04:04,720 Speaker 1: I think Emmanuel Kand wrote about the idea that a 78 00:04:05,800 --> 00:04:08,960 Speaker 1: a country that has a standing army will always be 79 00:04:09,200 --> 00:04:12,480 Speaker 1: tempted to find uses for the army in the same 80 00:04:12,520 --> 00:04:14,680 Speaker 1: way that a person who's holding a weapon will be 81 00:04:14,720 --> 00:04:17,360 Speaker 1: more tempted to think of ways that a weapon should 82 00:04:17,360 --> 00:04:19,760 Speaker 1: be used in a scenario where, you know, if they 83 00:04:19,760 --> 00:04:21,960 Speaker 1: didn't have the weapon on their person, they might not 84 00:04:22,120 --> 00:04:26,360 Speaker 1: think that it was so important to to to choose violence. Now, 85 00:04:26,360 --> 00:04:30,679 Speaker 1: speaking of British sci fi and warfare science fiction, Fletch 86 00:04:30,760 --> 00:04:33,680 Speaker 1: also shares, Oh, another one just sprang to mind. I'm 87 00:04:33,720 --> 00:04:36,239 Speaker 1: not sure if it's a bit obscure, but Rogue Trooper, 88 00:04:36,320 --> 00:04:39,039 Speaker 1: the genetically engineered super soldier from those two thousand a 89 00:04:39,120 --> 00:04:42,400 Speaker 1: D comic strip had a rifle, helmet and backpack that 90 00:04:42,560 --> 00:04:45,520 Speaker 1: had the personality chips of three of his dead comrades, 91 00:04:45,880 --> 00:04:49,920 Speaker 1: Gunner Helm and Bagman or Bagman uh that would talk 92 00:04:49,960 --> 00:04:53,680 Speaker 1: to him and could operate equipment by themselves. Interesting. Okay, 93 00:04:53,880 --> 00:04:56,279 Speaker 1: I'm not familiar with this comic. I'm familiar with it, 94 00:04:56,279 --> 00:04:58,039 Speaker 1: but I've never read it. I've when it comes to 95 00:04:58,040 --> 00:04:59,680 Speaker 1: two thousand a D. I've read a lot of Judge 96 00:04:59,760 --> 00:05:03,840 Speaker 1: Dress and um, I don't think i've read any Roade Trooper. Oh, 97 00:05:03,880 --> 00:05:08,080 Speaker 1: that's okay. Judge Drey is two thousand yeah, okay, but 98 00:05:08,279 --> 00:05:10,840 Speaker 1: there are several like he's probably the most well known. Yeah, 99 00:05:10,880 --> 00:05:13,280 Speaker 1: he's definitely the most well known two thousand character and 100 00:05:13,560 --> 00:05:15,880 Speaker 1: win world. But but there are various other settings and 101 00:05:15,960 --> 00:05:19,599 Speaker 1: worlds that are popular underberneath that umbrella as well. I 102 00:05:19,680 --> 00:05:28,240 Speaker 1: hear he is the law, Yes, yes, all right, So 103 00:05:28,360 --> 00:05:31,720 Speaker 1: we've been getting tons of emails in response to queueing. 104 00:05:31,839 --> 00:05:33,320 Speaker 1: This has got to be one of our one of 105 00:05:33,320 --> 00:05:37,400 Speaker 1: our highest mail bag ratio episodes of all Definitely we've 106 00:05:37,400 --> 00:05:40,279 Speaker 1: gotten the same way that probably still the most we 107 00:05:40,320 --> 00:05:43,120 Speaker 1: ever got, I would guess was the one about school dreams. 108 00:05:44,320 --> 00:05:47,400 Speaker 1: Those still trickle in. Yeah, yeah, those all the time. 109 00:05:47,520 --> 00:05:49,359 Speaker 1: We've got so many of those, we couldn't even scratch 110 00:05:49,440 --> 00:05:51,239 Speaker 1: the surface. But we've also got a lot about queuing, 111 00:05:51,279 --> 00:05:53,160 Speaker 1: so we'll try to catch up reading some of these. 112 00:05:53,160 --> 00:05:55,840 Speaker 1: Sorry if you were one of the many emailers on queuing, 113 00:05:55,880 --> 00:05:57,720 Speaker 1: and sorry we we can't even come close to reading 114 00:05:57,720 --> 00:05:59,360 Speaker 1: all of these, but I grabbed a few here and 115 00:05:59,600 --> 00:06:02,599 Speaker 1: and I guess will dip in. So uh. This first 116 00:06:02,640 --> 00:06:06,640 Speaker 1: message comes to us from Max. Max says Hi, Robert, 117 00:06:06,720 --> 00:06:10,440 Speaker 1: Joe Seth and Carney. Longtime listener here from Sydney, Australia. 118 00:06:10,560 --> 00:06:12,719 Speaker 1: I was talking about your episodes on queueing with my 119 00:06:12,800 --> 00:06:17,239 Speaker 1: partner who lives in Singapore and has always said, Singaporeans 120 00:06:17,440 --> 00:06:20,400 Speaker 1: love to cueue, and she reminded me of a cultural 121 00:06:20,480 --> 00:06:23,880 Speaker 1: queuing experience that took me by surprise a few years 122 00:06:23,880 --> 00:06:27,159 Speaker 1: ago Wilston, Singapore. She brought me to a reputable Michelin 123 00:06:27,279 --> 00:06:30,960 Speaker 1: Star restaurant to eat chicken rice. Waiting for food was 124 00:06:31,000 --> 00:06:33,560 Speaker 1: handled in an orderly manner by means of a ticketed 125 00:06:33,640 --> 00:06:38,160 Speaker 1: queuing system. However, finding a table in the dedicated dining 126 00:06:38,200 --> 00:06:44,120 Speaker 1: area required self governance. This manifested as unseated patrons analyzing 127 00:06:44,160 --> 00:06:47,440 Speaker 1: people who were already seated to determine who would finish 128 00:06:47,520 --> 00:06:50,760 Speaker 1: eating the fastest e g. Do they have a child, 129 00:06:51,120 --> 00:06:53,839 Speaker 1: are they talking a lot? How full are their plates? 130 00:06:53,960 --> 00:06:56,480 Speaker 1: Et cetera. A sweet spot in the room could then 131 00:06:56,520 --> 00:06:59,480 Speaker 1: be selected for standing and waiting in until a nearby 132 00:06:59,520 --> 00:07:02,880 Speaker 1: customer finished their meal and yielded their table. I must 133 00:07:02,920 --> 00:07:06,000 Speaker 1: emphasize the nearby in this statement, as there were many 134 00:07:06,080 --> 00:07:09,320 Speaker 1: other people doing the same thing in different areas. My 135 00:07:09,440 --> 00:07:11,920 Speaker 1: partner assured me that this was common practice, yet I 136 00:07:11,960 --> 00:07:15,200 Speaker 1: still felt uncomfortable with both waiting purposefully in order to 137 00:07:15,280 --> 00:07:18,360 Speaker 1: encourage people to eat faster, and then later with the 138 00:07:18,400 --> 00:07:21,960 Speaker 1: experience of others waiting for us queues for food court 139 00:07:21,960 --> 00:07:24,200 Speaker 1: seating in general are a little bit lawless at the 140 00:07:24,200 --> 00:07:27,239 Speaker 1: best of times. However, this was not a public food court. 141 00:07:27,720 --> 00:07:29,680 Speaker 1: Thanks for your episodes over the years, and also for 142 00:07:29,760 --> 00:07:33,240 Speaker 1: recommendations such as Blind Site and the Rifters series. Looking 143 00:07:33,280 --> 00:07:36,840 Speaker 1: forward to that future Star Trek episode, Max, Yeah, we 144 00:07:36,880 --> 00:07:39,720 Speaker 1: do need to do something Star Trek related eventually. I 145 00:07:39,760 --> 00:07:42,120 Speaker 1: was just thinking about that the other day. Uh. Yeah, 146 00:07:42,400 --> 00:07:44,760 Speaker 1: this is really interesting because of course you're talking about 147 00:07:44,800 --> 00:07:47,920 Speaker 1: like pairing the different kinds of waiting experience is one 148 00:07:47,960 --> 00:07:50,680 Speaker 1: that is like just opportunistic and self governed, and the 149 00:07:50,680 --> 00:07:53,760 Speaker 1: other that's an orderly, first come, first serve q uh. 150 00:07:53,800 --> 00:07:55,960 Speaker 1: And it's funny that the first come, first serve q 151 00:07:56,200 --> 00:07:58,200 Speaker 1: is the first half of the experience. But then you 152 00:07:58,240 --> 00:08:00,600 Speaker 1: have to find a place to sit. I've into places. 153 00:08:00,640 --> 00:08:02,560 Speaker 1: In fact, there's even like a food court type place 154 00:08:02,600 --> 00:08:04,840 Speaker 1: here in Atlanta that I've been several times that it 155 00:08:05,480 --> 00:08:07,480 Speaker 1: is much like this. You know, you you wait in 156 00:08:07,520 --> 00:08:09,000 Speaker 1: line to get your food, but then you've got to 157 00:08:09,040 --> 00:08:11,600 Speaker 1: find a table, and that's actually the really stressful part 158 00:08:12,080 --> 00:08:14,080 Speaker 1: um But because at that point you've got your food 159 00:08:14,880 --> 00:08:17,360 Speaker 1: like on a tray in many cases, and then where, 160 00:08:17,360 --> 00:08:19,160 Speaker 1: like where are you gonna go like that's the worst. 161 00:08:19,160 --> 00:08:21,640 Speaker 1: It's like, oh man, uh, I'm not gonna have to 162 00:08:21,800 --> 00:08:26,120 Speaker 1: like squat and gobble this this uh this this meal somewhere. Yeah, totally. 163 00:08:26,200 --> 00:08:28,280 Speaker 1: And and then the other interesting thing about it was 164 00:08:28,680 --> 00:08:32,720 Speaker 1: how it changes your mentality about queuing and ordering access 165 00:08:32,840 --> 00:08:36,280 Speaker 1: when what you're trying to get access to is not 166 00:08:36,480 --> 00:08:39,560 Speaker 1: like a good or service that you, you know, get 167 00:08:39,600 --> 00:08:42,120 Speaker 1: done and then you can leave, but an experience, like 168 00:08:42,160 --> 00:08:43,959 Speaker 1: if you're, you know, sitting down to have a meal, 169 00:08:44,120 --> 00:08:46,640 Speaker 1: is you're you're paying to have a nice experience that 170 00:08:46,760 --> 00:08:50,480 Speaker 1: is going to be pleasant. And obviously if that experience 171 00:08:50,600 --> 00:08:52,920 Speaker 1: is tempered by the fact that you're aware of people 172 00:08:52,920 --> 00:08:55,920 Speaker 1: are like looming over your shoulder hurrying you to get up, 173 00:08:56,400 --> 00:08:59,640 Speaker 1: that doesn't think that I don't know, but it sounds like, 174 00:08:59,640 --> 00:09:01,200 Speaker 1: you know, for people who are used to it, and 175 00:09:01,280 --> 00:09:04,160 Speaker 1: this is a common way of ordering restaurants, uh uh, 176 00:09:04,360 --> 00:09:05,680 Speaker 1: you know, if you're used to it, I guess it 177 00:09:05,679 --> 00:09:08,040 Speaker 1: just doesn't bother you. I guess it's like and this 178 00:09:08,160 --> 00:09:10,920 Speaker 1: I'm very much talking pre pandemic times here. It's it's 179 00:09:10,960 --> 00:09:12,800 Speaker 1: like if you travel to somewhere like New York City 180 00:09:12,920 --> 00:09:15,200 Speaker 1: and you realize, oh, if I go to eat at 181 00:09:15,160 --> 00:09:18,200 Speaker 1: a restaurant, I'm going to be exceedingly close to everybody 182 00:09:18,200 --> 00:09:21,360 Speaker 1: else in that restaurant, because that's just how dining spaces 183 00:09:21,400 --> 00:09:24,000 Speaker 1: tend to work. In a city like this, like that 184 00:09:24,040 --> 00:09:26,400 Speaker 1: can be shocking, Uh, if you're coming from a place 185 00:09:26,440 --> 00:09:28,920 Speaker 1: where you tend to have like, uh, you know, more 186 00:09:28,960 --> 00:09:32,440 Speaker 1: of a you know, spacious dining experience. But if you 187 00:09:32,640 --> 00:09:35,040 Speaker 1: if you've experienced enough, if you've been in New York 188 00:09:35,040 --> 00:09:37,880 Speaker 1: City long enough, then you would grow accustomed to that 189 00:09:37,960 --> 00:09:40,040 Speaker 1: sort of environment, and it just makes sense that you're 190 00:09:40,040 --> 00:09:48,160 Speaker 1: this close to other people. Yeah, Rob, I wondered if 191 00:09:48,160 --> 00:09:50,080 Speaker 1: you might want to read this one from Matt because 192 00:09:50,080 --> 00:09:52,160 Speaker 1: I wonder if you've had a similar experience to what 193 00:09:52,200 --> 00:09:56,120 Speaker 1: Matt describes here with with air travel. Okay, uh yeah, 194 00:09:56,200 --> 00:09:58,600 Speaker 1: Matt rides Hello, Robert and Joe. I love the show 195 00:09:58,600 --> 00:10:00,800 Speaker 1: and really enjoy the deep ways you've think about topics. 196 00:10:00,840 --> 00:10:03,920 Speaker 1: I have three thoughts about waiting in line. Firstly, at 197 00:10:03,920 --> 00:10:06,720 Speaker 1: the airport gate, when they call my section to board 198 00:10:06,760 --> 00:10:08,920 Speaker 1: a plane, a hundred or so people jump to their 199 00:10:08,960 --> 00:10:11,400 Speaker 1: feet to make a long line, while I prefer to 200 00:10:11,440 --> 00:10:14,240 Speaker 1: stay in my seat as long as possible. Being six 201 00:10:14,280 --> 00:10:16,840 Speaker 1: too tall, I don't see the point of rushing to 202 00:10:16,960 --> 00:10:19,440 Speaker 1: leave my chair with plenty of leg room to squeeze 203 00:10:19,440 --> 00:10:21,800 Speaker 1: into the tiny and cramped coach seat on the plane, 204 00:10:22,240 --> 00:10:25,000 Speaker 1: let alone stand in line a line that doesn't help 205 00:10:25,040 --> 00:10:27,240 Speaker 1: me in any way to gain a better position on 206 00:10:27,280 --> 00:10:30,880 Speaker 1: the plane. Secondly, I would like to point out the 207 00:10:31,000 --> 00:10:33,760 Speaker 1: disappointing feeling that occurs when you join a line and 208 00:10:33,800 --> 00:10:37,160 Speaker 1: nobody else joins the line for a long time or never. 209 00:10:37,760 --> 00:10:40,080 Speaker 1: It makes the time spending the line feel like so 210 00:10:40,160 --> 00:10:42,320 Speaker 1: much more of a waste when I could have done 211 00:10:42,360 --> 00:10:45,040 Speaker 1: something else productive for all that time and not missed 212 00:10:45,080 --> 00:10:47,600 Speaker 1: out on my place in line. And Lastly, when I 213 00:10:47,640 --> 00:10:50,480 Speaker 1: was in elementary school in Australian in the nineties, kids 214 00:10:50,480 --> 00:10:55,240 Speaker 1: would frequently ask for backage, being asked can I have backage? 215 00:10:55,480 --> 00:10:57,520 Speaker 1: And it meant may I get in line behind you? 216 00:10:57,960 --> 00:11:01,720 Speaker 1: The person would usually grant the backage if they liked you, 217 00:11:02,000 --> 00:11:04,600 Speaker 1: and hence you'd only ask for backage from a friend 218 00:11:04,960 --> 00:11:09,040 Speaker 1: because it was an unofficial law amongst the kids. Although 219 00:11:09,080 --> 00:11:11,640 Speaker 1: the kids trailing in line were unhappy about it, they 220 00:11:11,640 --> 00:11:14,480 Speaker 1: would never complain about the injustice. Thanks for all the 221 00:11:14,559 --> 00:11:17,240 Speaker 1: learning I get, Matt Rob. I could be mistaken, but 222 00:11:17,280 --> 00:11:19,920 Speaker 1: I feel like what Matt describes about the airport experience 223 00:11:20,160 --> 00:11:22,720 Speaker 1: sounds like a rant you've given me before. Am I 224 00:11:22,720 --> 00:11:25,720 Speaker 1: wrong about that? I don't know. Possibly. I mean airports 225 00:11:25,800 --> 00:11:28,839 Speaker 1: make people rant, and I'm no exception to that rule. Um, 226 00:11:29,000 --> 00:11:33,040 Speaker 1: I would say the only exception that I have to 227 00:11:33,040 --> 00:11:35,920 Speaker 1: to Matt's statement here is that, yes, of all things 228 00:11:36,000 --> 00:11:38,880 Speaker 1: were equal, I would prefer not to wait in line 229 00:11:39,160 --> 00:11:41,520 Speaker 1: to then go get on a plane and be cramped 230 00:11:41,520 --> 00:11:46,600 Speaker 1: in a seat. However, more often than not, part of 231 00:11:46,760 --> 00:11:48,960 Speaker 1: wanting to get on the plane first is not so 232 00:11:49,080 --> 00:11:52,600 Speaker 1: much about getting your seat, which is generally on most 233 00:11:52,600 --> 00:11:54,440 Speaker 1: flights anyway. I mean, I think there's some airlines where 234 00:11:54,440 --> 00:11:56,080 Speaker 1: it is kind of first come, first served, but for 235 00:11:56,080 --> 00:11:58,120 Speaker 1: the most part, yeah, your seat is guaranteed, but not 236 00:11:58,200 --> 00:12:02,800 Speaker 1: necessarily space for your bag in the overhead compartment. So boy, 237 00:12:02,840 --> 00:12:04,840 Speaker 1: that is that is what makes ends up making me 238 00:12:04,960 --> 00:12:07,520 Speaker 1: nervous because I'm like, oh, all these people are already 239 00:12:07,520 --> 00:12:08,880 Speaker 1: on the plane, am I going to have a space 240 00:12:09,200 --> 00:12:11,599 Speaker 1: to put this? Or in any cases, you get the 241 00:12:11,640 --> 00:12:13,640 Speaker 1: chance to like go ahead and check your carry on, 242 00:12:13,720 --> 00:12:16,959 Speaker 1: and sometimes I do that just to avoid that particular headache. 243 00:12:17,000 --> 00:12:20,280 Speaker 1: So if you've ever had a checked bag lost. Then 244 00:12:20,440 --> 00:12:23,880 Speaker 1: that probably makes you a lot more hesitant to uh, 245 00:12:24,480 --> 00:12:26,760 Speaker 1: just like hand over your bag at the gate. It's 246 00:12:26,800 --> 00:12:29,679 Speaker 1: not fun. But I don't know. I mean, I think 247 00:12:29,679 --> 00:12:31,560 Speaker 1: I've been fortunately, I don't think I've had a bag 248 00:12:31,640 --> 00:12:35,040 Speaker 1: ever lost like that. But I still I guess some 249 00:12:35,080 --> 00:12:38,360 Speaker 1: of these unknowns right that ultimately make one nervous, like, Okay, 250 00:12:38,400 --> 00:12:40,360 Speaker 1: there's gonna be a line, how's it gonna work? What 251 00:12:40,520 --> 00:12:42,199 Speaker 1: section am I in? And then is there gonna be 252 00:12:42,240 --> 00:12:43,400 Speaker 1: a room for my bag? And I need to pre 253 00:12:43,520 --> 00:12:46,120 Speaker 1: check the bag? Now it's I'm you know, I'm just 254 00:12:46,200 --> 00:12:47,959 Speaker 1: kind of all over the place mentally. At that point, 255 00:12:48,160 --> 00:12:49,959 Speaker 1: I wondered if you were going to do an Australian 256 00:12:50,000 --> 00:12:57,760 Speaker 1: accent for the Australian elementary schoolers think apologize for that. 257 00:12:58,000 --> 00:13:00,560 Speaker 1: I don't. I don't think by Australia an accent was 258 00:13:00,559 --> 00:13:03,560 Speaker 1: ever very good at it kind of falters and becomes 259 00:13:03,600 --> 00:13:12,559 Speaker 1: a bad Irish accent later on. Alright, this next message 260 00:13:12,559 --> 00:13:15,480 Speaker 1: comes from somebody who just identified themselves as the letter A. 261 00:13:15,760 --> 00:13:19,640 Speaker 1: So uh that is just fine, A, says dear Robert 262 00:13:19,679 --> 00:13:22,680 Speaker 1: and Joe. So many things to write about Q theory. 263 00:13:22,840 --> 00:13:26,320 Speaker 1: I consider myself a good natured pedant with an appreciation 264 00:13:26,400 --> 00:13:30,160 Speaker 1: for the categorical imperative. For decades, I have gleefully and 265 00:13:30,280 --> 00:13:34,640 Speaker 1: cautiously zoomed past dutiful fellow Midwesterners who start lining up 266 00:13:34,679 --> 00:13:37,760 Speaker 1: single file at the first notice of a lane closure. 267 00:13:38,200 --> 00:13:41,480 Speaker 1: My conscience is clear, as I'm mentally broadcast. Actually, it 268 00:13:41,640 --> 00:13:44,160 Speaker 1: is better for everybody to use all the available lane 269 00:13:44,200 --> 00:13:47,520 Speaker 1: capacity upon merging at a late enough entry point to 270 00:13:47,559 --> 00:13:49,680 Speaker 1: get a little bit of a thrill. I will gladly 271 00:13:49,760 --> 00:13:52,600 Speaker 1: let somebody else in front of me, and at times 272 00:13:52,600 --> 00:13:55,520 Speaker 1: when I'm caught waiting through the long backup, I'll still 273 00:13:55,600 --> 00:13:57,920 Speaker 1: happily let in someone who is on their game and 274 00:13:57,960 --> 00:14:00,280 Speaker 1: gets in at the last minute, saluting them for their 275 00:14:00,320 --> 00:14:03,280 Speaker 1: good use of the road. I related something like this 276 00:14:03,320 --> 00:14:05,400 Speaker 1: to my boss on the way to a job site, 277 00:14:05,640 --> 00:14:07,800 Speaker 1: and he said that people who wait until the last 278 00:14:07,800 --> 00:14:10,120 Speaker 1: minute to merge should be taken out of their cars 279 00:14:10,160 --> 00:14:14,040 Speaker 1: and publicly executed. Fortunately, he's hard of hearing, so he 280 00:14:14,160 --> 00:14:16,800 Speaker 1: just assumed I was complaining about those who use all 281 00:14:16,840 --> 00:14:19,840 Speaker 1: of the road that the public has given. He's quite reasonable, 282 00:14:19,880 --> 00:14:22,320 Speaker 1: and normally we would be up for a loud discussion 283 00:14:22,360 --> 00:14:24,760 Speaker 1: about a traffic study, but I let the matter rest 284 00:14:25,360 --> 00:14:28,160 Speaker 1: This reminds me of the thing about I think the 285 00:14:28,200 --> 00:14:30,800 Speaker 1: conclusion I came to about the late merging thing is 286 00:14:30,840 --> 00:14:34,000 Speaker 1: that obviously, yes, it is clearly logical that that everybody 287 00:14:34,040 --> 00:14:36,400 Speaker 1: should use all the lanes and do the late merging thing. 288 00:14:36,440 --> 00:14:40,200 Speaker 1: But the problem is not everybody knows this, and until 289 00:14:40,440 --> 00:14:43,560 Speaker 1: it is widely known and everybody gets it, you still 290 00:14:43,600 --> 00:14:46,720 Speaker 1: maybe like have disincentives from doing it just because like 291 00:14:47,040 --> 00:14:50,280 Speaker 1: people freak out, yeah, or it's just not the cultural norm. 292 00:14:50,320 --> 00:14:53,119 Speaker 1: It's kind of like, um, it's like like eating bananas. 293 00:14:53,520 --> 00:14:55,800 Speaker 1: So if you were hanging out with some with some people, 294 00:14:55,880 --> 00:14:58,080 Speaker 1: or you just in an environment where hey, everybody has 295 00:14:58,080 --> 00:15:00,440 Speaker 1: a banana. Now everybody gets to eat a banana. Are 296 00:15:00,480 --> 00:15:02,680 Speaker 1: you going to open your banana the human way? Or 297 00:15:02,760 --> 00:15:04,520 Speaker 1: you're going to open it the way that I believe 298 00:15:04,720 --> 00:15:08,280 Speaker 1: primates have been observed to open it other non human primates, uh, 299 00:15:08,320 --> 00:15:11,400 Speaker 1: from the bottom of the banana. Which I've heard the argument, 300 00:15:11,440 --> 00:15:12,720 Speaker 1: and I don't know if this is actually the case, 301 00:15:12,720 --> 00:15:14,800 Speaker 1: but I've heard the argument being made that this is 302 00:15:14,840 --> 00:15:17,920 Speaker 1: the better way to open the banana. But if everyone 303 00:15:17,960 --> 00:15:20,560 Speaker 1: else is doing it the other way, you're gonna feel 304 00:15:20,640 --> 00:15:24,960 Speaker 1: social pressure to uh to to follow their suit right. Well, yeah, 305 00:15:25,000 --> 00:15:28,160 Speaker 1: but also I mean there is a there is more 306 00:15:28,160 --> 00:15:30,960 Speaker 1: of an illusion of a competition for resources in the 307 00:15:30,960 --> 00:15:34,480 Speaker 1: traffic situation. Whereas a few people would want to shoot 308 00:15:34,520 --> 00:15:36,640 Speaker 1: you in the face for the way you open a banana, 309 00:15:36,800 --> 00:15:39,600 Speaker 1: people actually would say they want to do that about traffic. 310 00:15:39,680 --> 00:15:42,800 Speaker 1: But of course, please nobody never engage in violence over 311 00:15:42,880 --> 00:15:45,480 Speaker 1: even if somebody is actually genuinely very rude in traffic, 312 00:15:45,520 --> 00:15:48,240 Speaker 1: Come on, it's not worth it and let people eat 313 00:15:48,240 --> 00:15:49,920 Speaker 1: bananas how they want to eat bananas. Don't be a 314 00:15:50,000 --> 00:15:52,160 Speaker 1: jerk about that either. I'm just gonna put that out there, 315 00:15:52,520 --> 00:15:55,160 Speaker 1: So A goes on. I believe Q theory has some 316 00:15:55,240 --> 00:15:58,760 Speaker 1: interesting applications in other dynamic road settings. When I'm on 317 00:15:58,920 --> 00:16:01,320 Speaker 1: foot and need to cross street, I would much rather 318 00:16:01,400 --> 00:16:05,360 Speaker 1: a multi ton vehicle keep its momentum rather than stop 319 00:16:05,520 --> 00:16:09,080 Speaker 1: for me to cross and have to accelerate again. Um, 320 00:16:09,160 --> 00:16:15,080 Speaker 1: that is really admirable global energy conservation thinking. A my 321 00:16:15,160 --> 00:16:18,440 Speaker 1: hat is off to you, uh goes on, particularly when 322 00:16:18,480 --> 00:16:20,840 Speaker 1: there are no other cars and everyone would be on 323 00:16:20,880 --> 00:16:23,320 Speaker 1: their way more quickly if I only had to wait 324 00:16:23,320 --> 00:16:25,840 Speaker 1: for them to cruise past my crossing point rather than 325 00:16:25,880 --> 00:16:28,040 Speaker 1: waiting for them to come to a full stop before 326 00:16:28,080 --> 00:16:31,000 Speaker 1: I cross in front of their deadly vehicle. I would 327 00:16:31,040 --> 00:16:34,080 Speaker 1: consider this to be a good example of a parado improvement. 328 00:16:34,440 --> 00:16:38,080 Speaker 1: I will typically conceal my intention to cross in order 329 00:16:38,080 --> 00:16:41,480 Speaker 1: to facilitate this. Also, I'd much rather wait for a 330 00:16:41,520 --> 00:16:43,760 Speaker 1: slug of traffic to clear the road than to make 331 00:16:43,840 --> 00:16:46,680 Speaker 1: multiple cars stop just for me and mess up the flow. 332 00:16:47,160 --> 00:16:49,800 Speaker 1: Where I live, people seem to fall all over themselves 333 00:16:49,800 --> 00:16:52,960 Speaker 1: to stop their car for pedestrians waiting to cross. I 334 00:16:53,000 --> 00:16:55,479 Speaker 1: believe this is the law, and there are obvious situations 335 00:16:55,480 --> 00:16:57,440 Speaker 1: where it is the right thing to do, but it's 336 00:16:57,440 --> 00:17:00,400 Speaker 1: clear that the system is flawed. Oh. I've certainly been 337 00:17:00,400 --> 00:17:04,280 Speaker 1: in situations where clearly the pedestrian has the right away 338 00:17:04,280 --> 00:17:08,159 Speaker 1: and there is a crosswalk, but traffic is terrifying, and 339 00:17:08,200 --> 00:17:10,679 Speaker 1: therefore I might wait for, yeah, for there to be 340 00:17:10,720 --> 00:17:13,560 Speaker 1: like a slight clearance, Like I'm not gonna be the 341 00:17:13,600 --> 00:17:15,360 Speaker 1: one to like. I mean, my right of way only 342 00:17:15,359 --> 00:17:17,800 Speaker 1: goes so far if a car actually hits me. Um, 343 00:17:17,920 --> 00:17:20,840 Speaker 1: And sometimes I'll wait and for another person to want 344 00:17:20,840 --> 00:17:23,800 Speaker 1: to cross as well, and we realize that their strength 345 00:17:23,800 --> 00:17:26,840 Speaker 1: in numbers, surely they won't run over two or three 346 00:17:26,880 --> 00:17:29,600 Speaker 1: of us. Or do you ever wait for a cyclist who, 347 00:17:29,880 --> 00:17:32,120 Speaker 1: at least in my experience, for some reason, just seem 348 00:17:32,200 --> 00:17:34,080 Speaker 1: to be more fearless. Maybe the fact that people on 349 00:17:34,119 --> 00:17:37,879 Speaker 1: bicycles are just so constantly threatened and menaced by people 350 00:17:37,880 --> 00:17:41,960 Speaker 1: in cars that like they become immune to it. Uh. Yeah, 351 00:17:42,160 --> 00:17:46,000 Speaker 1: I always try and be very careful around uh bicyclists. 352 00:17:46,000 --> 00:17:47,600 Speaker 1: You know that they say share the road, but I 353 00:17:48,080 --> 00:17:50,520 Speaker 1: feel like yield the road is a little a little 354 00:17:50,560 --> 00:17:54,320 Speaker 1: more accurate. Um, And I'm fine with it. I would 355 00:17:54,400 --> 00:17:57,320 Speaker 1: rather I would. Yeah. I mean it's difficult because a 356 00:17:57,320 --> 00:17:59,760 Speaker 1: lot of roads in modern cities and places are just 357 00:17:59,800 --> 00:18:02,080 Speaker 1: not designed with cyclists in mind. I mean it's quae 358 00:18:02,119 --> 00:18:04,320 Speaker 1: if they are like bike lanes or protected bike lanes 359 00:18:04,400 --> 00:18:06,439 Speaker 1: or whatever. A lot of roads just like this is 360 00:18:06,480 --> 00:18:11,040 Speaker 1: clearly this was not built to accommodate bicycles. Yeah, and 361 00:18:11,160 --> 00:18:13,199 Speaker 1: um yeah, I mean I have friends who have have 362 00:18:13,280 --> 00:18:17,320 Speaker 1: been in some some rough um scrape ups between their 363 00:18:17,400 --> 00:18:20,120 Speaker 1: their bicycles and other cars. So I mean I always 364 00:18:20,240 --> 00:18:24,000 Speaker 1: always be careful around bicyclists. A goes on. While I 365 00:18:24,080 --> 00:18:26,600 Speaker 1: was visiting South Korea a while back. It was the 366 00:18:26,680 --> 00:18:29,800 Speaker 1: norm for drivers to blow through red lights when no 367 00:18:29,880 --> 00:18:33,080 Speaker 1: other vehicles were in sight quite rightly, in my opinion, 368 00:18:33,440 --> 00:18:36,679 Speaker 1: it makes sense to reject the one vehicle queue. Also, 369 00:18:36,760 --> 00:18:39,720 Speaker 1: they definitely didn't treat pedestrians waiting to cross with the 370 00:18:39,760 --> 00:18:42,840 Speaker 1: same indulgence they get over here. I'm no expert, but 371 00:18:42,880 --> 00:18:46,119 Speaker 1: it seems like widespread modern traffic is maybe more recent 372 00:18:46,240 --> 00:18:48,960 Speaker 1: and even a developed country like South Korea, and that 373 00:18:49,080 --> 00:18:52,600 Speaker 1: perhaps a country's general approach to traffic queuing situations will 374 00:18:52,680 --> 00:18:57,199 Speaker 1: change as more generations go by widespread automobile use. I 375 00:18:57,240 --> 00:18:59,520 Speaker 1: believe this was the case in the US as cars 376 00:18:59,560 --> 00:19:02,880 Speaker 1: became more common, although that is obviously a bit different. 377 00:19:03,280 --> 00:19:05,439 Speaker 1: Why do we wait at red lights at three am 378 00:19:05,480 --> 00:19:07,600 Speaker 1: when no one else is on the road. When did 379 00:19:07,600 --> 00:19:10,159 Speaker 1: we start doing this? Is this from our culture or 380 00:19:10,200 --> 00:19:13,439 Speaker 1: because vehicular travel has reached a level of maturity or 381 00:19:13,520 --> 00:19:16,600 Speaker 1: more abundity in our society. It seems counter to the 382 00:19:16,640 --> 00:19:20,800 Speaker 1: American ideal of individualism. I mean, I guess in my 383 00:19:21,400 --> 00:19:24,080 Speaker 1: perspective on that it would depend on you would want 384 00:19:24,080 --> 00:19:26,520 Speaker 1: to be really sure that you were actually able to 385 00:19:26,600 --> 00:19:29,320 Speaker 1: see clearly in every direction and make sure that you 386 00:19:29,600 --> 00:19:32,080 Speaker 1: weren't mistaken about the fact that somebody wasn't coming. Though 387 00:19:32,080 --> 00:19:34,920 Speaker 1: I guess that's also true of just to stop sign Yeah, 388 00:19:34,920 --> 00:19:37,080 Speaker 1: our our turn signals, you know. I mean, that's always 389 00:19:37,080 --> 00:19:40,720 Speaker 1: a situation where the turn signal lets people know what 390 00:19:40,800 --> 00:19:44,240 Speaker 1: you're going to do, including people that you might not see, 391 00:19:44,320 --> 00:19:47,080 Speaker 1: someone who might be in your blind spot, etcetera. Finally, 392 00:19:47,160 --> 00:19:50,639 Speaker 1: a truly egregious cue violation is when a car intending 393 00:19:50,680 --> 00:19:53,560 Speaker 1: to travel straight through an intersection stops in order to 394 00:19:53,640 --> 00:19:57,080 Speaker 1: yield to a vehicle queued up to turn left, waving 395 00:19:57,119 --> 00:19:59,560 Speaker 1: them through the intersection and into the path of other 396 00:19:59,600 --> 00:20:02,560 Speaker 1: cars that are still following the natural queuing order and 397 00:20:02,640 --> 00:20:05,720 Speaker 1: may not be able to react to this apostasy. This 398 00:20:05,800 --> 00:20:08,919 Speaker 1: mock politeness is nothing more than a thoughtless, self serving 399 00:20:08,960 --> 00:20:12,159 Speaker 1: grab for warm feelings and can be deadly. However, I 400 00:20:12,200 --> 00:20:15,440 Speaker 1: do not believe it warrants public execution. Love the show 401 00:20:15,680 --> 00:20:18,320 Speaker 1: A Oh yeah. I mean I encounter a version of 402 00:20:18,359 --> 00:20:20,600 Speaker 1: that a lot where I'm I'm in a turn lane, 403 00:20:20,840 --> 00:20:23,360 Speaker 1: or I'm trying to make a turn across traffic, and 404 00:20:23,400 --> 00:20:26,440 Speaker 1: there I have to go across two lanes of oncoming traffic, 405 00:20:26,800 --> 00:20:30,000 Speaker 1: and a person in one lane will suddenly stop and 406 00:20:30,000 --> 00:20:32,879 Speaker 1: try and wave me on, but they can't see I 407 00:20:32,920 --> 00:20:35,520 Speaker 1: can't see the other lane. They're not there. They probably 408 00:20:35,560 --> 00:20:38,000 Speaker 1: have an entirely different view of this whole scenario. And 409 00:20:38,040 --> 00:20:41,480 Speaker 1: I'm not gonna venture into this this danger, but it 410 00:20:41,520 --> 00:20:43,280 Speaker 1: puts you in a tough spot because one person is 411 00:20:43,320 --> 00:20:45,680 Speaker 1: trying to be polite. They're just you know, they don't 412 00:20:45,840 --> 00:20:48,200 Speaker 1: have all the they don't have the virtues of your 413 00:20:48,280 --> 00:20:52,280 Speaker 1: perspective on the situation which in which you realize that 414 00:20:52,320 --> 00:20:56,240 Speaker 1: there's danger in following, uh, following their advice. I think 415 00:20:56,280 --> 00:20:59,120 Speaker 1: the correct solution to this is that all settled areas 416 00:20:59,160 --> 00:21:02,399 Speaker 1: of human habitation aations should be fully grid grid mapped 417 00:21:02,440 --> 00:21:05,280 Speaker 1: in terms of road access, and left turns should all 418 00:21:05,320 --> 00:21:08,280 Speaker 1: be illegal, so everywhere you get you go full right 419 00:21:08,280 --> 00:21:20,399 Speaker 1: turns and nothing. But yeah, maybe so all right, we 420 00:21:20,440 --> 00:21:23,160 Speaker 1: have another bit of listener male about sentient weapons here. 421 00:21:23,480 --> 00:21:26,320 Speaker 1: Uh shall I read this one? Go for it? All right? 422 00:21:26,720 --> 00:21:29,280 Speaker 1: This is from camera and hello Robert and Joe. I 423 00:21:29,359 --> 00:21:31,840 Speaker 1: just listened to your episode Whispers of the Speaking Sword. 424 00:21:31,920 --> 00:21:33,600 Speaker 1: I wanted to point out a couple of examples of 425 00:21:33,640 --> 00:21:37,080 Speaker 1: such weapons. I am familiar with. The first, perhaps unsurprisingly 426 00:21:37,119 --> 00:21:41,119 Speaker 1: considering the mythological origins comes from J. R. Tolkien. Token 427 00:21:41,200 --> 00:21:45,240 Speaker 1: encountered the Calavaga before his earliest Middle Earth writings were begun, 428 00:21:45,640 --> 00:21:49,000 Speaker 1: and some aspects of some of the stories would become 429 00:21:49,240 --> 00:21:52,800 Speaker 1: the sill Marillion can be traced back to it. In particular, 430 00:21:53,040 --> 00:21:58,479 Speaker 1: Token's tragic character Turin Tourambar from the chapter of Turin 431 00:21:58,560 --> 00:22:02,480 Speaker 1: tour Rambar in the Silmarrian also and also from the 432 00:22:02,600 --> 00:22:05,840 Speaker 1: longer version of the same tale has published more recently, 433 00:22:06,040 --> 00:22:09,760 Speaker 1: The Children of huran Um. Anyway, they continued. This was 434 00:22:09,840 --> 00:22:14,080 Speaker 1: inspired by Kolervo and even has a talking sword of 435 00:22:14,119 --> 00:22:18,159 Speaker 1: its own. Turin's sword, named Girthong, appears to speak to 436 00:22:18,160 --> 00:22:21,359 Speaker 1: Turin just before Turin uses it to commit suicide after 437 00:22:21,400 --> 00:22:25,679 Speaker 1: discovering the truth about his accidentally incestuous marriage to his sister. 438 00:22:26,080 --> 00:22:29,080 Speaker 1: This is of course, right out of the the Kalavala 439 00:22:29,200 --> 00:22:33,400 Speaker 1: here Um Anyway, they continue. In earlier versions of the 440 00:22:33,680 --> 00:22:37,280 Speaker 1: sill Marillion, this same sword is prophesized to be used 441 00:22:37,320 --> 00:22:41,960 Speaker 1: during the final battle Degre Degre to defeat the first 442 00:22:42,040 --> 00:22:46,240 Speaker 1: dark Lord more Goth when he returns from the void. Additionally, 443 00:22:46,320 --> 00:22:50,560 Speaker 1: sentient or at least intelligent weapons also appear in um 444 00:22:50,680 --> 00:22:54,160 Speaker 1: In Shin shah Uh. This is I believe literally Immortal 445 00:22:54,240 --> 00:22:57,840 Speaker 1: hero Uh, the genre of Chinese fantasy literature where they 446 00:22:57,880 --> 00:23:01,360 Speaker 1: are often referred to an English translation and as spiritual weapons. 447 00:23:01,920 --> 00:23:04,679 Speaker 1: These weapons often appear to have some sense of preferences 448 00:23:04,760 --> 00:23:08,520 Speaker 1: or intentions, a strong spiritual connection to their users or makers, 449 00:23:08,760 --> 00:23:11,879 Speaker 1: and sometimes the ability to act with some degree of autonomy. 450 00:23:12,440 --> 00:23:14,919 Speaker 1: I am personally very new to this genre, but a 451 00:23:14,960 --> 00:23:17,720 Speaker 1: recent example has gained popularity in the US and the 452 00:23:17,760 --> 00:23:21,760 Speaker 1: live action drama The Untamed, which includes a few examples 453 00:23:21,800 --> 00:23:25,399 Speaker 1: of spiritual weapons being used by its main characters. Thanks 454 00:23:25,440 --> 00:23:28,480 Speaker 1: for another enjoyable episode. Camera. You know my current D 455 00:23:28,600 --> 00:23:31,359 Speaker 1: and D campaign. One of the members of our party 456 00:23:31,440 --> 00:23:33,119 Speaker 1: is a cleric, and he's got a He's got a 457 00:23:33,160 --> 00:23:35,680 Speaker 1: really good spiritual weapon. It's a big old ghost hammer. 458 00:23:36,160 --> 00:23:38,720 Speaker 1: Oh yeah, spiritual weapon. That's a that's a good, a 459 00:23:38,720 --> 00:23:41,639 Speaker 1: good cleric spell. And every time he uses it, I 460 00:23:42,119 --> 00:23:45,480 Speaker 1: end up singing that Snoop Dogg song spiritual weapon. I 461 00:23:45,520 --> 00:23:49,439 Speaker 1: think the radio edit is called sensual seduction, but I 462 00:23:49,440 --> 00:23:54,320 Speaker 1: seek spiritual weapon. Okay, And I've say I'm not familiar 463 00:23:54,320 --> 00:23:56,760 Speaker 1: with this. Untamed TV series appears to be a two 464 00:23:56,800 --> 00:24:00,240 Speaker 1: thousand nineteen Chinese television series adapted from a non full 465 00:24:00,320 --> 00:24:02,760 Speaker 1: so it looks interesting, but I'm assuming this is one 466 00:24:02,760 --> 00:24:07,479 Speaker 1: that has available, Uh, internationally on one service or another. 467 00:24:07,640 --> 00:24:16,439 Speaker 1: So if you're interested in that, look it up. All right, Joe, 468 00:24:16,480 --> 00:24:19,480 Speaker 1: do we have any weird house cinema listener mail to 469 00:24:19,560 --> 00:24:21,560 Speaker 1: round things out with? Oh yeah, we got a bunch. 470 00:24:21,600 --> 00:24:23,480 Speaker 1: I guess we've only got time for a couple right here, 471 00:24:23,680 --> 00:24:26,160 Speaker 1: but i'll read this first one from Stacy since it's 472 00:24:26,160 --> 00:24:29,639 Speaker 1: about Deep Blue Cy. Stacy says, hello again, gentlemen. I 473 00:24:29,680 --> 00:24:32,560 Speaker 1: have indeed seen Deep Bluecy at the movies when it 474 00:24:32,680 --> 00:24:35,600 Speaker 1: was new. I loved it then and still do. The 475 00:24:35,640 --> 00:24:38,119 Speaker 1: biggest thing being talked about in my circles of the 476 00:24:38,119 --> 00:24:42,160 Speaker 1: time was how this movie mercilessly killed off almost its 477 00:24:42,240 --> 00:24:46,159 Speaker 1: whole cast. Whole families were saved in Jurassic Park, not 478 00:24:46,320 --> 00:24:49,840 Speaker 1: so with the Smart Sharks. Also, I always thought Michael 479 00:24:49,880 --> 00:24:53,040 Speaker 1: Rappaport's character was more of a facility engineer type. I 480 00:24:53,040 --> 00:24:55,240 Speaker 1: think she's answering the fact that I said he was 481 00:24:55,280 --> 00:24:58,440 Speaker 1: the scientist, so apologies about that, but she says he 482 00:24:58,520 --> 00:25:01,879 Speaker 1: knew about the emergency hatch ladder. That's that's a good memory, Stacy. 483 00:25:02,200 --> 00:25:06,400 Speaker 1: Best regards Stacy, and uh yeah, we're regarding your comparison 484 00:25:06,440 --> 00:25:10,840 Speaker 1: to Jurassic Park, which is relatively uh very wooly, uh, 485 00:25:10,880 --> 00:25:13,960 Speaker 1: compared to the way this movie treats its characters. I 486 00:25:14,040 --> 00:25:16,480 Speaker 1: wonder if this is what the Jurassic Park franchise was 487 00:25:16,480 --> 00:25:21,080 Speaker 1: trying to fix by filling Jurassic World with absolutely totally 488 00:25:21,160 --> 00:25:26,440 Speaker 1: inappropriate deaths by torture of characters who had done nothing wrong. Yeah, 489 00:25:26,480 --> 00:25:30,159 Speaker 1: there's that whole sequence with the the lady getting scooped 490 00:25:30,240 --> 00:25:33,720 Speaker 1: up by the Daranodon and then or or screaming or yeah, 491 00:25:33,720 --> 00:25:36,760 Speaker 1: and then she's dropped into the tank with the Oh yeah, yeah, 492 00:25:36,760 --> 00:25:39,280 Speaker 1: it's it's it's rough. I can't remember if I've ranted 493 00:25:39,280 --> 00:25:41,680 Speaker 1: on this show before about how much I hate Jurassic World, 494 00:25:41,760 --> 00:25:45,520 Speaker 1: that I found that movie just repellent. Um. Yeah, I 495 00:25:45,560 --> 00:25:49,240 Speaker 1: remember disliking the tone of the time I first saw, 496 00:25:49,320 --> 00:25:51,479 Speaker 1: but then I watched it again with the boy with 497 00:25:51,520 --> 00:25:54,000 Speaker 1: my son and uh, and he seemed alright with it, 498 00:25:54,080 --> 00:25:56,680 Speaker 1: so I'm kind of like, Okay, maybe I'm overreacting. Um. 499 00:25:56,760 --> 00:25:59,040 Speaker 1: And then we watched that more recent one, which I 500 00:25:59,440 --> 00:26:01,040 Speaker 1: don't know if I've mentioned this on the show before, 501 00:26:01,040 --> 00:26:03,600 Speaker 1: but I found it interesting that it's it's essentially a 502 00:26:03,640 --> 00:26:07,439 Speaker 1: Hannibal Lecter movie with but with dinosaurs. Was the Haunted 503 00:26:07,480 --> 00:26:11,000 Speaker 1: House one? Yeah, yeah. Oh I liked that one more. Yeah, 504 00:26:11,119 --> 00:26:14,000 Speaker 1: because that one was just absolutely that was goober licious. 505 00:26:14,119 --> 00:26:16,040 Speaker 1: It was I don't know how else to put it. 506 00:26:16,040 --> 00:26:19,040 Speaker 1: It was a Haunted House movie, but with raptors instead 507 00:26:19,040 --> 00:26:22,040 Speaker 1: of ghosts. Yeah, yeah, yeah, yeah, I can I can 508 00:26:22,119 --> 00:26:25,440 Speaker 1: definitely see I can see the Haunted House comparisons. I 509 00:26:25,440 --> 00:26:27,280 Speaker 1: I do think it does have some It's kind of 510 00:26:27,280 --> 00:26:30,480 Speaker 1: like if Thomas Harris wrote a dinosaur movie as well. 511 00:26:30,520 --> 00:26:32,720 Speaker 1: There's some some some areas of it that I think 512 00:26:32,720 --> 00:26:35,800 Speaker 1: line up with Hannibal elector fiction. But yeah, it was 513 00:26:35,840 --> 00:26:43,440 Speaker 1: pretty fun. All right, I'm gonna read one here from Dan. 514 00:26:43,760 --> 00:26:47,240 Speaker 1: Dan says, hello, Mr Rob and Mr Joe. I love 515 00:26:47,280 --> 00:26:49,840 Speaker 1: Brad Doris and I'm so glad you finally discussed one 516 00:26:49,880 --> 00:26:52,840 Speaker 1: of his movies. Why is Blood Next? I've never seen 517 00:26:52,880 --> 00:26:55,679 Speaker 1: Spontaneous Combustion, though it sounds like something I might have 518 00:26:55,720 --> 00:26:57,680 Speaker 1: watched on the Sci Fi Channel or T and T 519 00:26:57,880 --> 00:27:00,680 Speaker 1: in the mid to late nineties, possibly with Joe Bob 520 00:27:00,680 --> 00:27:04,440 Speaker 1: Briggs intro. Highly possible they continue. Two movies that show 521 00:27:04,520 --> 00:27:06,800 Speaker 1: Doriff's range as an actor that you did not mention 522 00:27:06,920 --> 00:27:09,280 Speaker 1: or talk much about that I'd like to recommend are 523 00:27:09,400 --> 00:27:14,280 Speaker 1: Alan Parker's Mississippi Burning and Werner Herzog's The Wild Blue Yonder, 524 00:27:14,920 --> 00:27:17,879 Speaker 1: the former being about the FBI investigation into the murders 525 00:27:17,920 --> 00:27:21,199 Speaker 1: of three civil rights workers in Mississippi, in which Dorof 526 00:27:21,280 --> 00:27:25,400 Speaker 1: plays a sheriff's deputy and KKK member involved in the killings, 527 00:27:25,680 --> 00:27:29,479 Speaker 1: while the later is pure uncut doriff crazed intensity, in 528 00:27:29,520 --> 00:27:32,399 Speaker 1: which he plays the alien that's all caps or at 529 00:27:32,480 --> 00:27:37,000 Speaker 1: least capitalized, who spends much of this documentary quote unquote 530 00:27:37,320 --> 00:27:39,920 Speaker 1: ranting to the camera about how he came from another 531 00:27:39,960 --> 00:27:43,680 Speaker 1: galaxy and how we earthlings think aliens are so powerful 532 00:27:43,720 --> 00:27:47,520 Speaker 1: but in truth just suck. Um. I um. It's been 533 00:27:47,560 --> 00:27:49,760 Speaker 1: a long time time since I saw Mississippi Burning. I 534 00:27:49,760 --> 00:27:52,080 Speaker 1: think I'm you know, I was like in junior higher 535 00:27:52,160 --> 00:27:54,280 Speaker 1: so when I saw it, So I don't remember much 536 00:27:54,359 --> 00:27:58,240 Speaker 1: of of Doriff's performance. I I definitely I remember of 537 00:27:58,240 --> 00:28:01,480 Speaker 1: what's the who else? In that gene Hackman? Um. I've 538 00:28:01,480 --> 00:28:04,040 Speaker 1: never seen it, obviously, dealing with the much more serious 539 00:28:04,080 --> 00:28:07,240 Speaker 1: subject matter than anything we usually do in weird house cinema. Yeah, yeah, 540 00:28:07,240 --> 00:28:08,679 Speaker 1: I don't think it's one of well we'll come back to. 541 00:28:08,720 --> 00:28:11,040 Speaker 1: But I remembered as is being a good film. It 542 00:28:11,080 --> 00:28:14,760 Speaker 1: has what's his name? Green Goblin? Oh, Willem Dafoe. William 543 00:28:14,800 --> 00:28:16,919 Speaker 1: Dafoe is in it. He's he's good. Uh. And I 544 00:28:16,920 --> 00:28:19,520 Speaker 1: think it has some other actors of note. Uh. And 545 00:28:19,560 --> 00:28:22,320 Speaker 1: I haven't seen The Wild Blue Yonder. There's another one 546 00:28:22,359 --> 00:28:25,119 Speaker 1: I'm familiar with. I definitely know it's one of the 547 00:28:25,160 --> 00:28:29,679 Speaker 1: Herzog Dorriff joints, but it's not one that I've seen anyway. 548 00:28:29,760 --> 00:28:32,879 Speaker 1: Dan continues speaking of aliens. What is it about Alien 549 00:28:32,960 --> 00:28:36,000 Speaker 1: Resurrection that Joe hates so much? I haven't seen it 550 00:28:36,000 --> 00:28:37,840 Speaker 1: in a long time, but I don't remember it being 551 00:28:37,920 --> 00:28:41,120 Speaker 1: that terrible. Was it that they brought Ripley back as 552 00:28:41,120 --> 00:28:43,800 Speaker 1: a clone with Zeno morph d n A. On another note, 553 00:28:43,840 --> 00:28:45,560 Speaker 1: I just want to say that I enjoy how Robert 554 00:28:45,600 --> 00:28:48,800 Speaker 1: calls movies films, motion pictures or just picture. I think 555 00:28:48,840 --> 00:28:50,600 Speaker 1: it brings a lot of classiness to the show. I 556 00:28:50,640 --> 00:28:54,240 Speaker 1: hope you're doing well. Love the show, Dan. I think 557 00:28:54,280 --> 00:28:56,600 Speaker 1: for some reason you were saying motion picture a lot 558 00:28:56,640 --> 00:29:00,360 Speaker 1: in the episode on spontaneous combustion just in the air 559 00:29:00,480 --> 00:29:02,240 Speaker 1: that day. I don't know, I mean a lot of 560 00:29:02,240 --> 00:29:06,040 Speaker 1: it's probably elegant variation on my part, but but now 561 00:29:06,080 --> 00:29:07,480 Speaker 1: maybe I was trying to class it up a little 562 00:29:07,520 --> 00:29:12,480 Speaker 1: bit too. About Alien Resurrection. It's not any particular broad 563 00:29:12,640 --> 00:29:15,800 Speaker 1: plot decisions. I mean, I think most broad plot decisions 564 00:29:15,800 --> 00:29:18,520 Speaker 1: I could be okay with, if you know, if they're executed. Well, 565 00:29:18,560 --> 00:29:23,080 Speaker 1: it's just something I just find the movie esthetically nauseating, 566 00:29:23,200 --> 00:29:26,480 Speaker 1: just like every single frame of it and the way 567 00:29:26,480 --> 00:29:29,920 Speaker 1: it looks, the way it sounds is just disgusting to me. 568 00:29:30,480 --> 00:29:33,040 Speaker 1: M I have to say, I don't know much about 569 00:29:33,280 --> 00:29:35,360 Speaker 1: like the making of story on that one, but it 570 00:29:35,440 --> 00:29:38,120 Speaker 1: clearly has It has so many talented people involved in it. 571 00:29:38,840 --> 00:29:42,080 Speaker 1: Uh the I mean, the the whole cast we we 572 00:29:42,120 --> 00:29:44,680 Speaker 1: mentioned briefly, I think the last one. How how many 573 00:29:44,720 --> 00:29:49,120 Speaker 1: great names are involved in that one? Um uh, you know, 574 00:29:49,200 --> 00:29:52,160 Speaker 1: bit players and the main characters, and of course the 575 00:29:52,320 --> 00:29:55,640 Speaker 1: director Jean Pierre Janet, who did such films as a 576 00:29:55,760 --> 00:30:00,200 Speaker 1: Malay and Delicatessen, UM, Very Long Lost Children, Yes, did 577 00:30:00,200 --> 00:30:03,640 Speaker 1: City of Lost Children as well, which you know is 578 00:30:03,640 --> 00:30:07,680 Speaker 1: is these are all films that really pop visually and 579 00:30:07,440 --> 00:30:11,200 Speaker 1: and and I really like. Uh. Resurrection is not a 580 00:30:11,240 --> 00:30:14,640 Speaker 1: film that I'm tremendously opposed to, but it's also not 581 00:30:14,680 --> 00:30:17,160 Speaker 1: a film I've I've really watched a lot and I 582 00:30:17,160 --> 00:30:19,720 Speaker 1: would be curious as to what it's production history is 583 00:30:19,720 --> 00:30:21,720 Speaker 1: because I know, when you're dealing with an Alien film, 584 00:30:21,720 --> 00:30:26,280 Speaker 1: you're dealing with a you know, a huge corporate product. Uh. 585 00:30:26,320 --> 00:30:29,320 Speaker 1: And of course they're stories, especially like Alien three, about 586 00:30:29,360 --> 00:30:33,160 Speaker 1: how susceptible that product is to like produce or tinkering 587 00:30:33,200 --> 00:30:35,960 Speaker 1: and so forth. Yeah, I mean, I guess, just being 588 00:30:36,040 --> 00:30:38,760 Speaker 1: a huge fan of the first two Alien movies, I 589 00:30:38,800 --> 00:30:41,480 Speaker 1: have a lot of strong feelings about it too, so 590 00:30:41,680 --> 00:30:44,440 Speaker 1: uh though I actually really appreciate a lot of things 591 00:30:44,480 --> 00:30:47,080 Speaker 1: about Alien three. I mean, Alien three is a hard movie, 592 00:30:47,520 --> 00:30:50,560 Speaker 1: uh to judge in terms of quality, because I think 593 00:30:50,600 --> 00:30:52,160 Speaker 1: I've said this on the show before, but I sort 594 00:30:52,160 --> 00:30:55,040 Speaker 1: of have to regard it as an unfinished film. It 595 00:30:55,120 --> 00:30:57,040 Speaker 1: is a movie that has a lot of good stuff 596 00:30:57,080 --> 00:30:59,719 Speaker 1: on the screen, a lot of good creative energy behind it, 597 00:31:00,080 --> 00:31:02,600 Speaker 1: some really great actors in it. Of course, Sigourney Weavers 598 00:31:02,600 --> 00:31:05,960 Speaker 1: wonderful as always, Charles Stutton, you know, that's all great stuff. 599 00:31:06,240 --> 00:31:08,560 Speaker 1: And I really like some of the production design on it. 600 00:31:08,640 --> 00:31:11,400 Speaker 1: And and basically the premise of the movie is interesting 601 00:31:11,440 --> 00:31:14,040 Speaker 1: and very gutsy in a way. But also I mean, 602 00:31:14,080 --> 00:31:17,040 Speaker 1: I mean, having read about the production, I can understand 603 00:31:17,080 --> 00:31:20,320 Speaker 1: why Fincher tried to disown it. The director David Fincher, 604 00:31:20,360 --> 00:31:23,040 Speaker 1: I think just because like it's a movie that, uh, 605 00:31:23,120 --> 00:31:27,160 Speaker 1: he was not allowed to complete in a way that 606 00:31:27,320 --> 00:31:30,040 Speaker 1: was creatively acceptable to him. And so in a way 607 00:31:30,080 --> 00:31:32,440 Speaker 1: what we have is just sort of like a an 608 00:31:32,560 --> 00:31:37,320 Speaker 1: unfinished film held together by duct tape and staples. Resurrection 609 00:31:37,360 --> 00:31:41,200 Speaker 1: I find absolutely revolting and it literally hurts the viewer 610 00:31:41,880 --> 00:31:46,040 Speaker 1: um as once you get back into the modern era. 611 00:31:47,280 --> 00:31:51,360 Speaker 1: I haven't seen Prometheus again since I saw it in 612 00:31:51,400 --> 00:31:53,000 Speaker 1: the theater, and I wonder what I would think of 613 00:31:53,000 --> 00:31:55,720 Speaker 1: it now. I mean, my memory of it is, uh 614 00:31:55,800 --> 00:31:58,040 Speaker 1: that it was very beautiful to look at and had 615 00:31:58,080 --> 00:32:00,760 Speaker 1: some really good sequences, but overall not make a lot 616 00:32:00,760 --> 00:32:03,560 Speaker 1: of sense and and kind of irritated me. And then 617 00:32:03,600 --> 00:32:05,760 Speaker 1: once you get into oh what was the one after 618 00:32:05,840 --> 00:32:09,400 Speaker 1: that one called Covenant? Alien Covenant, once you get into 619 00:32:09,480 --> 00:32:11,920 Speaker 1: that area, it's like so stupid that it can just 620 00:32:11,960 --> 00:32:15,080 Speaker 1: be pure fun again. Uh So that's one of those movies. 621 00:32:15,120 --> 00:32:17,120 Speaker 1: I think I've said this about a few movies recently. 622 00:32:17,160 --> 00:32:19,520 Speaker 1: It's one where almost everything I can think of to 623 00:32:19,520 --> 00:32:21,800 Speaker 1: say about it as a criticism and yet I really 624 00:32:21,880 --> 00:32:23,800 Speaker 1: enjoyed it I love how in the middle of the 625 00:32:23,800 --> 00:32:26,920 Speaker 1: movie you have no choice, like your eyes just turned 626 00:32:26,920 --> 00:32:29,760 Speaker 1: into ping pong balls. It is it? Uh is? It 627 00:32:29,800 --> 00:32:33,480 Speaker 1: turns into this Island of Dr Moreau movie with with 628 00:32:33,480 --> 00:32:36,880 Speaker 1: with Michael Fastbender in the in the Moreau role. I 629 00:32:37,080 --> 00:32:39,560 Speaker 1: don't know. It's so weird and so dumb and makes 630 00:32:39,600 --> 00:32:42,000 Speaker 1: so little sense, but it's a lot of fun. Yeah. 631 00:32:42,000 --> 00:32:44,800 Speaker 1: I think Alien Covenant is essentially there three films in there, 632 00:32:44,800 --> 00:32:47,560 Speaker 1: and I love two of them. Um, but but but 633 00:32:47,800 --> 00:32:50,280 Speaker 1: what about the a VP films? Joe, you just get 634 00:32:50,360 --> 00:32:52,240 Speaker 1: right over him. You can't talk about dumb alien films 635 00:32:52,280 --> 00:32:55,960 Speaker 1: without touching touching in on those right. Oh yeah, that's 636 00:32:55,960 --> 00:32:59,080 Speaker 1: a different kind of dumb. I haven't watched those in 637 00:32:59,080 --> 00:33:03,440 Speaker 1: a while. I think I remember the first one being bad, 638 00:33:03,480 --> 00:33:07,160 Speaker 1: but you know, in an enjoyable kind of schlocky movie 639 00:33:07,200 --> 00:33:09,560 Speaker 1: that I would definitely watched a couple of times in college. 640 00:33:10,560 --> 00:33:12,840 Speaker 1: There was one that came after that. There was like 641 00:33:12,920 --> 00:33:15,400 Speaker 1: set in an American city. It was more like the 642 00:33:15,520 --> 00:33:17,200 Speaker 1: you know, trying to do the thing that that the 643 00:33:17,480 --> 00:33:20,440 Speaker 1: more recent Predator movie was also doing, just like unleashing 644 00:33:20,440 --> 00:33:23,320 Speaker 1: these on suburbia or whatever. I remember thinking that that 645 00:33:23,360 --> 00:33:27,160 Speaker 1: one was really gross and unpleasant. Yeah, I think what 646 00:33:27,240 --> 00:33:29,280 Speaker 1: the world needed. I don't know if this is still 647 00:33:29,280 --> 00:33:33,880 Speaker 1: a viable option, but I'm thinking underworld versus alien versus predator, 648 00:33:34,000 --> 00:33:36,280 Speaker 1: that's what the world needs. You get you get your alien, 649 00:33:36,400 --> 00:33:38,000 Speaker 1: I mean, you get your aliens in there, eena more 650 00:33:38,080 --> 00:33:40,160 Speaker 1: so you have your predators in there. You also have 651 00:33:40,200 --> 00:33:45,640 Speaker 1: werewolves and vampires. How about and leprechron also because you 652 00:33:45,680 --> 00:33:50,640 Speaker 1: gotta have brad Dora. Oh yeah, yeah, why not? Why not? 653 00:33:50,760 --> 00:33:56,640 Speaker 1: How about alien versus Chucky? There you go. Alien is 654 00:33:56,680 --> 00:33:57,880 Speaker 1: not gonna know what to do. This is just a 655 00:33:57,880 --> 00:34:00,760 Speaker 1: stuff toy, right right? Or let a man lebra con 656 00:34:00,800 --> 00:34:02,920 Speaker 1: What's he gonna do is grant a wish to a xenomorph? 657 00:34:05,040 --> 00:34:08,720 Speaker 1: But what does the xenomorph dream about? I wish for meat? Yeah, Okay, 658 00:34:08,719 --> 00:34:10,880 Speaker 1: we've gone too long, alright, alright, Well we're gonna go 659 00:34:10,920 --> 00:34:13,040 Speaker 1: ahead and close it up here. But we thank everybody 660 00:34:13,080 --> 00:34:16,640 Speaker 1: who wrote in shared messages with us. Keep keep them coming. 661 00:34:16,719 --> 00:34:19,480 Speaker 1: We don't have time to respond to all of them. 662 00:34:19,560 --> 00:34:21,520 Speaker 1: We don't have time to read them all on the show, 663 00:34:22,160 --> 00:34:24,239 Speaker 1: but we we do. We do read them when they 664 00:34:24,239 --> 00:34:28,080 Speaker 1: come in, at least to ourselves internally, in our own brains. Uh. 665 00:34:28,160 --> 00:34:30,879 Speaker 1: So yeah, if you have thoughts on recent episodes, um, 666 00:34:31,160 --> 00:34:34,319 Speaker 1: past episodes, Uh, if you have episodes on I mean 667 00:34:34,400 --> 00:34:36,600 Speaker 1: you have thoughts on possible future episodes, or if you 668 00:34:36,600 --> 00:34:40,120 Speaker 1: have episodes on possible future thoughts, Uh, just let us know. 669 00:34:40,440 --> 00:34:41,799 Speaker 1: You know how to get in touch with us, and 670 00:34:41,840 --> 00:34:43,759 Speaker 1: you can find listener mail every Monday and the Stuff 671 00:34:43,800 --> 00:34:45,960 Speaker 1: to Boil Your Mind feed Core episodes on Tuesdays and 672 00:34:45,960 --> 00:34:48,800 Speaker 1: Thursday's Artifact on Wednesday, Weird House cent them on Friday. 673 00:34:48,800 --> 00:34:51,120 Speaker 1: That's our time to just set most of the science 674 00:34:51,160 --> 00:34:53,680 Speaker 1: aside and discuss a weird film. And on the weekends 675 00:34:53,960 --> 00:34:56,760 Speaker 1: we have a rerun for you Huge Things. As always 676 00:34:56,760 --> 00:34:59,680 Speaker 1: to our excellent audio producers Seth Nicholis Johnson. If you 677 00:34:59,680 --> 00:35:01,799 Speaker 1: would to get in touch with us with feedback on 678 00:35:01,840 --> 00:35:04,000 Speaker 1: this episode or any other, to suggest a topic for 679 00:35:04,040 --> 00:35:05,960 Speaker 1: the future, or just to say hello, you can email 680 00:35:06,000 --> 00:35:16,200 Speaker 1: us at contact at stuff to Blow your Mind dot com. 681 00:35:16,320 --> 00:35:18,840 Speaker 1: Stuff to Blow Your Mind is production of I Heart Radio. 682 00:35:19,160 --> 00:35:21,480 Speaker 1: For more podcasts my Heart Radio, visit the i heart 683 00:35:21,560 --> 00:35:24,279 Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your 684 00:35:24,280 --> 00:35:25,000 Speaker 1: favorite shows.