WEBVTT - Listener Mail: Stormbringer

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of

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<v Speaker 1>My Heart Radio. Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 1>Listener mail. My name is Robert Land, and I'm Joe McCormick.

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<v Speaker 1>And hey, you've written into us. Now we're going to

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<v Speaker 1>share back with you. Are you ready to get started, rob,

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<v Speaker 1>Let's jump in. Oh what is this you've got right

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<v Speaker 1>here at the top? Oh? Well, I I threw some

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<v Speaker 1>stuff in here. So a lot of the stuff we

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<v Speaker 1>hear from from our listeners comes in via our email.

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<v Speaker 1>I guess that's still the primary way we communicate. But

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<v Speaker 1>we do have a discord channel, um, which well, it's

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<v Speaker 1>kind of it's kind of hard to get to. I

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<v Speaker 1>think you have had to have been in the Facebook

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<v Speaker 1>group for Stuff to Blow your Mind, and that's where

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<v Speaker 1>the invite for the discord is. I don't know. I

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<v Speaker 1>barely understand how discord works, but I had to. Don't

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<v Speaker 1>think I was even aware of this? Really? Oh I

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<v Speaker 1>thought you were aware. Well, anyway, there is a Stuff

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<v Speaker 1>to Blow your Mind discord channel. I wish I could

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<v Speaker 1>tell you how you can access it. Um, maybe you

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<v Speaker 1>should tell me if you want access to it, right

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<v Speaker 1>in to our email address and I'll send you the

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<v Speaker 1>link or whatever. Uh, But I heard from a couple

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<v Speaker 1>of our listeners there about our episode on the Whispering

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<v Speaker 1>Sword about sentient weapons and mythology and legend, and of

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<v Speaker 1>course we we primarily looked at a few different, uh,

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<v Speaker 1>mythological and folkloric examples, and we alluded to some fictional examples,

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<v Speaker 1>but we didn't really spend a lot of time there,

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<v Speaker 1>and we said, hey, let us know about some of

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<v Speaker 1>your favorite fictional sentient weapons. And so I have a

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<v Speaker 1>couple of good responses here. So matt on Discord shares

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<v Speaker 1>the following quote love the cold open on whispers of

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<v Speaker 1>the Speaking Sword episode, and honestly, the narrative readings and

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<v Speaker 1>skits are always a highlight. Joe's comment on swords being

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<v Speaker 1>entitled to the tribute of cleaning to keep them happy

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<v Speaker 1>and that cleaning a sword is also important for maintaining

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<v Speaker 1>it makes me wonder if irish myth is where the

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<v Speaker 1>concept of the mechanicalsts belief. He's referring to something in

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<v Speaker 1>Warhammer forty thousand and uh in machine spirits and the

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<v Speaker 1>need to placate them was drawn from in the Warhammer

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<v Speaker 1>forty thou universe upkeep of technology has become ritualized to

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<v Speaker 1>the point that a firearms spirit must be placated by

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<v Speaker 1>annoyting it with sacred oils lest it fail in combat,

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<v Speaker 1>with no consideration given to the physical impact that the

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<v Speaker 1>oil has in the weapons operation. The ritual of annointing

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<v Speaker 1>the weapon has the desired effect, just not for the

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<v Speaker 1>reasons they think. You know, it's funny. I can imagine

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<v Speaker 1>things uh happening in the real world in a in

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<v Speaker 1>a fashion like this, though not understanding the real reason

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<v Speaker 1>you're performing maintenance on something and turning it into it

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<v Speaker 1>like a religious ritual would certainly make the practice less adaptable,

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<v Speaker 1>like you wouldn't you know understand as well, like how

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<v Speaker 1>you need to change the practice to respond to changes

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<v Speaker 1>in conditions. Yeah. Yeah, but but I think he may

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<v Speaker 1>be into something here, because yeah, there's a lot in

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<v Speaker 1>in that universe about you know, forgotten technology, technology that

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<v Speaker 1>can no longer be replicated but can only be maintain

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<v Speaker 1>aimed and is maybe the only half understood at best.

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<v Speaker 1>Fletch on Discord Shairs the following that was a great episode,

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<v Speaker 1>but no mention of Stormbringer lric of Melnibone's bloodthirsty demonic

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<v Speaker 1>blade Uh, this is, of course, we're referencing the books

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<v Speaker 1>by Michael Moorecock, um, which I think I've I've actually

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<v Speaker 1>read one of them and I enjoyed it. And then

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<v Speaker 1>Michael Moorecock also wrote the lyrics to Veteran of the

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<v Speaker 1>Psychic Wars by Blue oysterc Cult, among as many other accomplishments.

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<v Speaker 1>I know you've had that on your mind lately. Yeah,

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<v Speaker 1>it's a solid jam um. Fletch continues. Also from the

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<v Speaker 1>Odyssey quote the blade itself incites two deeds of violence

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<v Speaker 1>um was used as the title of Joe Ambercrombie's first

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<v Speaker 1>excellent fantasy novel, or an even better translation of the

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<v Speaker 1>same phrase for iron by itself can draw a man

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<v Speaker 1>to use It seems super relevant when Robert and Joe

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<v Speaker 1>were talking about how tools can encourage you to see

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<v Speaker 1>every problem in terms of their use. Oh yeah, of course.

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<v Speaker 1>And you can realize this in a million different ways.

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<v Speaker 1>I mean, I think, for example, if I'm remembering this right,

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<v Speaker 1>I think Emmanuel Kand wrote about the idea that a

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<v Speaker 1>a country that has a standing army will always be

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<v Speaker 1>tempted to find uses for the army in the same

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<v Speaker 1>way that a person who's holding a weapon will be

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<v Speaker 1>more tempted to think of ways that a weapon should

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<v Speaker 1>be used in a scenario where, you know, if they

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<v Speaker 1>didn't have the weapon on their person, they might not

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<v Speaker 1>think that it was so important to to to choose violence. Now,

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<v Speaker 1>speaking of British sci fi and warfare science fiction, Fletch

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<v Speaker 1>also shares, Oh, another one just sprang to mind. I'm

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<v Speaker 1>not sure if it's a bit obscure, but Rogue Trooper,

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<v Speaker 1>the genetically engineered super soldier from those two thousand a

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<v Speaker 1>D comic strip had a rifle, helmet and backpack that

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<v Speaker 1>had the personality chips of three of his dead comrades,

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<v Speaker 1>Gunner Helm and Bagman or Bagman uh that would talk

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<v Speaker 1>to him and could operate equipment by themselves. Interesting. Okay,

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<v Speaker 1>I'm not familiar with this comic. I'm familiar with it,

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<v Speaker 1>but I've never read it. I've when it comes to

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<v Speaker 1>two thousand a D. I've read a lot of Judge

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<v Speaker 1>Dress and um, I don't think i've read any Roade Trooper. Oh,

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<v Speaker 1>that's okay. Judge Drey is two thousand yeah, okay, but

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<v Speaker 1>there are several like he's probably the most well known. Yeah,

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<v Speaker 1>he's definitely the most well known two thousand character and

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<v Speaker 1>win world. But but there are various other settings and

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<v Speaker 1>worlds that are popular underberneath that umbrella as well. I

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<v Speaker 1>hear he is the law, Yes, yes, all right, So

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<v Speaker 1>we've been getting tons of emails in response to queueing.

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<v Speaker 1>This has got to be one of our one of

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<v Speaker 1>our highest mail bag ratio episodes of all Definitely we've

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<v Speaker 1>gotten the same way that probably still the most we

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<v Speaker 1>ever got, I would guess was the one about school dreams.

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<v Speaker 1>Those still trickle in. Yeah, yeah, those all the time.

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<v Speaker 1>We've got so many of those, we couldn't even scratch

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<v Speaker 1>the surface. But we've also got a lot about queuing,

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<v Speaker 1>so we'll try to catch up reading some of these.

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<v Speaker 1>Sorry if you were one of the many emailers on queuing,

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<v Speaker 1>and sorry we we can't even come close to reading

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<v Speaker 1>all of these, but I grabbed a few here and

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<v Speaker 1>and I guess will dip in. So uh. This first

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<v Speaker 1>message comes to us from Max. Max says Hi, Robert,

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<v Speaker 1>Joe Seth and Carney. Longtime listener here from Sydney, Australia.

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<v Speaker 1>I was talking about your episodes on queueing with my

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<v Speaker 1>partner who lives in Singapore and has always said, Singaporeans

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<v Speaker 1>love to cueue, and she reminded me of a cultural

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<v Speaker 1>queuing experience that took me by surprise a few years

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<v Speaker 1>ago Wilston, Singapore. She brought me to a reputable Michelin

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<v Speaker 1>Star restaurant to eat chicken rice. Waiting for food was

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<v Speaker 1>handled in an orderly manner by means of a ticketed

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<v Speaker 1>queuing system. However, finding a table in the dedicated dining

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<v Speaker 1>area required self governance. This manifested as unseated patrons analyzing

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<v Speaker 1>people who were already seated to determine who would finish

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<v Speaker 1>eating the fastest e g. Do they have a child,

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<v Speaker 1>are they talking a lot? How full are their plates?

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<v Speaker 1>Et cetera. A sweet spot in the room could then

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<v Speaker 1>be selected for standing and waiting in until a nearby

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<v Speaker 1>customer finished their meal and yielded their table. I must

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<v Speaker 1>emphasize the nearby in this statement, as there were many

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<v Speaker 1>other people doing the same thing in different areas. My

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<v Speaker 1>partner assured me that this was common practice, yet I

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<v Speaker 1>still felt uncomfortable with both waiting purposefully in order to

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<v Speaker 1>encourage people to eat faster, and then later with the

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<v Speaker 1>experience of others waiting for us queues for food court

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<v Speaker 1>seating in general are a little bit lawless at the

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<v Speaker 1>best of times. However, this was not a public food court.

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<v Speaker 1>Thanks for your episodes over the years, and also for

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<v Speaker 1>recommendations such as Blind Site and the Rifters series. Looking

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<v Speaker 1>forward to that future Star Trek episode, Max, Yeah, we

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<v Speaker 1>do need to do something Star Trek related eventually. I

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<v Speaker 1>was just thinking about that the other day. Uh. Yeah,

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<v Speaker 1>this is really interesting because of course you're talking about

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<v Speaker 1>like pairing the different kinds of waiting experience is one

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<v Speaker 1>that is like just opportunistic and self governed, and the

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<v Speaker 1>other that's an orderly, first come, first serve q uh.

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<v Speaker 1>And it's funny that the first come, first serve q

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<v Speaker 1>is the first half of the experience. But then you

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<v Speaker 1>have to find a place to sit. I've into places.

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<v Speaker 1>In fact, there's even like a food court type place

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<v Speaker 1>here in Atlanta that I've been several times that it

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<v Speaker 1>is much like this. You know, you you wait in

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<v Speaker 1>line to get your food, but then you've got to

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<v Speaker 1>find a table, and that's actually the really stressful part

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<v Speaker 1>um But because at that point you've got your food

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<v Speaker 1>like on a tray in many cases, and then where,

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<v Speaker 1>like where are you gonna go like that's the worst.

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<v Speaker 1>It's like, oh man, uh, I'm not gonna have to

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<v Speaker 1>like squat and gobble this this uh this this meal somewhere. Yeah, totally.

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<v Speaker 1>And and then the other interesting thing about it was

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<v Speaker 1>how it changes your mentality about queuing and ordering access

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<v Speaker 1>when what you're trying to get access to is not

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<v Speaker 1>like a good or service that you, you know, get

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<v Speaker 1>done and then you can leave, but an experience, like

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<v Speaker 1>if you're, you know, sitting down to have a meal,

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<v Speaker 1>is you're you're paying to have a nice experience that

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<v Speaker 1>is going to be pleasant. And obviously if that experience

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<v Speaker 1>is tempered by the fact that you're aware of people

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<v Speaker 1>are like looming over your shoulder hurrying you to get up,

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<v Speaker 1>that doesn't think that I don't know, but it sounds like,

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<v Speaker 1>you know, for people who are used to it, and

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<v Speaker 1>this is a common way of ordering restaurants, uh uh,

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<v Speaker 1>you know, if you're used to it, I guess it

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<v Speaker 1>just doesn't bother you. I guess it's like and this

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<v Speaker 1>I'm very much talking pre pandemic times here. It's it's

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<v Speaker 1>like if you travel to somewhere like New York City

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<v Speaker 1>and you realize, oh, if I go to eat at

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<v Speaker 1>a restaurant, I'm going to be exceedingly close to everybody

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<v Speaker 1>else in that restaurant, because that's just how dining spaces

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<v Speaker 1>tend to work. In a city like this, like that

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<v Speaker 1>can be shocking, Uh, if you're coming from a place

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<v Speaker 1>where you tend to have like, uh, you know, more

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<v Speaker 1>of a you know, spacious dining experience. But if you

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<v Speaker 1>if you've experienced enough, if you've been in New York

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<v Speaker 1>City long enough, then you would grow accustomed to that

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<v Speaker 1>sort of environment, and it just makes sense that you're

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<v Speaker 1>this close to other people. Yeah, Rob, I wondered if

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<v Speaker 1>you might want to read this one from Matt because

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<v Speaker 1>I wonder if you've had a similar experience to what

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<v Speaker 1>Matt describes here with with air travel. Okay, uh yeah,

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<v Speaker 1>Matt rides Hello, Robert and Joe. I love the show

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<v Speaker 1>and really enjoy the deep ways you've think about topics.

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<v Speaker 1>I have three thoughts about waiting in line. Firstly, at

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<v Speaker 1>the airport gate, when they call my section to board

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<v Speaker 1>a plane, a hundred or so people jump to their

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<v Speaker 1>feet to make a long line, while I prefer to

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<v Speaker 1>stay in my seat as long as possible. Being six

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<v Speaker 1>too tall, I don't see the point of rushing to

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<v Speaker 1>leave my chair with plenty of leg room to squeeze

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<v Speaker 1>into the tiny and cramped coach seat on the plane,

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<v Speaker 1>let alone stand in line a line that doesn't help

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<v Speaker 1>me in any way to gain a better position on

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<v Speaker 1>the plane. Secondly, I would like to point out the

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<v Speaker 1>disappointing feeling that occurs when you join a line and

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<v Speaker 1>nobody else joins the line for a long time or never.

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<v Speaker 1>It makes the time spending the line feel like so

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<v Speaker 1>much more of a waste when I could have done

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<v Speaker 1>something else productive for all that time and not missed

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<v Speaker 1>out on my place in line. And Lastly, when I

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<v Speaker 1>was in elementary school in Australian in the nineties, kids

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<v Speaker 1>would frequently ask for backage, being asked can I have backage?

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<v Speaker 1>And it meant may I get in line behind you?

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<v Speaker 1>The person would usually grant the backage if they liked you,

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<v Speaker 1>and hence you'd only ask for backage from a friend

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<v Speaker 1>because it was an unofficial law amongst the kids. Although

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<v Speaker 1>the kids trailing in line were unhappy about it, they

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<v Speaker 1>would never complain about the injustice. Thanks for all the

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<v Speaker 1>learning I get, Matt Rob. I could be mistaken, but

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<v Speaker 1>I feel like what Matt describes about the airport experience

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<v Speaker 1>sounds like a rant you've given me before. Am I

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<v Speaker 1>wrong about that? I don't know. Possibly. I mean airports

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<v Speaker 1>make people rant, and I'm no exception to that rule. Um,

0:11:29.000 --> 0:11:33.040
<v Speaker 1>I would say the only exception that I have to

0:11:33.040 --> 0:11:35.920
<v Speaker 1>to Matt's statement here is that, yes, of all things

0:11:36.000 --> 0:11:38.880
<v Speaker 1>were equal, I would prefer not to wait in line

0:11:39.160 --> 0:11:41.520
<v Speaker 1>to then go get on a plane and be cramped

0:11:41.520 --> 0:11:46.600
<v Speaker 1>in a seat. However, more often than not, part of

0:11:46.760 --> 0:11:48.960
<v Speaker 1>wanting to get on the plane first is not so

0:11:49.080 --> 0:11:52.600
<v Speaker 1>much about getting your seat, which is generally on most

0:11:52.600 --> 0:11:54.440
<v Speaker 1>flights anyway. I mean, I think there's some airlines where

0:11:54.440 --> 0:11:56.080
<v Speaker 1>it is kind of first come, first served, but for

0:11:56.080 --> 0:11:58.120
<v Speaker 1>the most part, yeah, your seat is guaranteed, but not

0:11:58.200 --> 0:12:02.800
<v Speaker 1>necessarily space for your bag in the overhead compartment. So boy,

0:12:02.840 --> 0:12:04.840
<v Speaker 1>that is that is what makes ends up making me

0:12:04.960 --> 0:12:07.520
<v Speaker 1>nervous because I'm like, oh, all these people are already

0:12:07.520 --> 0:12:08.880
<v Speaker 1>on the plane, am I going to have a space

0:12:09.200 --> 0:12:11.599
<v Speaker 1>to put this? Or in any cases, you get the

0:12:11.640 --> 0:12:13.640
<v Speaker 1>chance to like go ahead and check your carry on,

0:12:13.720 --> 0:12:16.959
<v Speaker 1>and sometimes I do that just to avoid that particular headache.

0:12:17.000 --> 0:12:20.280
<v Speaker 1>So if you've ever had a checked bag lost. Then

0:12:20.440 --> 0:12:23.880
<v Speaker 1>that probably makes you a lot more hesitant to uh,

0:12:24.480 --> 0:12:26.760
<v Speaker 1>just like hand over your bag at the gate. It's

0:12:26.800 --> 0:12:29.679
<v Speaker 1>not fun. But I don't know. I mean, I think

0:12:29.679 --> 0:12:31.560
<v Speaker 1>I've been fortunately, I don't think I've had a bag

0:12:31.640 --> 0:12:35.040
<v Speaker 1>ever lost like that. But I still I guess some

0:12:35.080 --> 0:12:38.360
<v Speaker 1>of these unknowns right that ultimately make one nervous, like, Okay,

0:12:38.400 --> 0:12:40.360
<v Speaker 1>there's gonna be a line, how's it gonna work? What

0:12:40.520 --> 0:12:42.199
<v Speaker 1>section am I in? And then is there gonna be

0:12:42.240 --> 0:12:43.400
<v Speaker 1>a room for my bag? And I need to pre

0:12:43.520 --> 0:12:46.120
<v Speaker 1>check the bag? Now it's I'm you know, I'm just

0:12:46.200 --> 0:12:47.959
<v Speaker 1>kind of all over the place mentally. At that point,

0:12:48.160 --> 0:12:49.959
<v Speaker 1>I wondered if you were going to do an Australian

0:12:50.000 --> 0:12:57.760
<v Speaker 1>accent for the Australian elementary schoolers think apologize for that.

0:12:58.000 --> 0:13:00.560
<v Speaker 1>I don't. I don't think by Australia an accent was

0:13:00.559 --> 0:13:03.560
<v Speaker 1>ever very good at it kind of falters and becomes

0:13:03.600 --> 0:13:12.559
<v Speaker 1>a bad Irish accent later on. Alright, this next message

0:13:12.559 --> 0:13:15.480
<v Speaker 1>comes from somebody who just identified themselves as the letter A.

0:13:15.760 --> 0:13:19.640
<v Speaker 1>So uh that is just fine, A, says dear Robert

0:13:19.679 --> 0:13:22.680
<v Speaker 1>and Joe. So many things to write about Q theory.

0:13:22.840 --> 0:13:26.320
<v Speaker 1>I consider myself a good natured pedant with an appreciation

0:13:26.400 --> 0:13:30.160
<v Speaker 1>for the categorical imperative. For decades, I have gleefully and

0:13:30.280 --> 0:13:34.640
<v Speaker 1>cautiously zoomed past dutiful fellow Midwesterners who start lining up

0:13:34.679 --> 0:13:37.760
<v Speaker 1>single file at the first notice of a lane closure.

0:13:38.200 --> 0:13:41.480
<v Speaker 1>My conscience is clear, as I'm mentally broadcast. Actually, it

0:13:41.640 --> 0:13:44.160
<v Speaker 1>is better for everybody to use all the available lane

0:13:44.200 --> 0:13:47.520
<v Speaker 1>capacity upon merging at a late enough entry point to

0:13:47.559 --> 0:13:49.680
<v Speaker 1>get a little bit of a thrill. I will gladly

0:13:49.760 --> 0:13:52.600
<v Speaker 1>let somebody else in front of me, and at times

0:13:52.600 --> 0:13:55.520
<v Speaker 1>when I'm caught waiting through the long backup, I'll still

0:13:55.600 --> 0:13:57.920
<v Speaker 1>happily let in someone who is on their game and

0:13:57.960 --> 0:14:00.280
<v Speaker 1>gets in at the last minute, saluting them for their

0:14:00.320 --> 0:14:03.280
<v Speaker 1>good use of the road. I related something like this

0:14:03.320 --> 0:14:05.400
<v Speaker 1>to my boss on the way to a job site,

0:14:05.640 --> 0:14:07.800
<v Speaker 1>and he said that people who wait until the last

0:14:07.800 --> 0:14:10.120
<v Speaker 1>minute to merge should be taken out of their cars

0:14:10.160 --> 0:14:14.040
<v Speaker 1>and publicly executed. Fortunately, he's hard of hearing, so he

0:14:14.160 --> 0:14:16.800
<v Speaker 1>just assumed I was complaining about those who use all

0:14:16.840 --> 0:14:19.840
<v Speaker 1>of the road that the public has given. He's quite reasonable,

0:14:19.880 --> 0:14:22.320
<v Speaker 1>and normally we would be up for a loud discussion

0:14:22.360 --> 0:14:24.760
<v Speaker 1>about a traffic study, but I let the matter rest

0:14:25.360 --> 0:14:28.160
<v Speaker 1>This reminds me of the thing about I think the

0:14:28.200 --> 0:14:30.800
<v Speaker 1>conclusion I came to about the late merging thing is

0:14:30.840 --> 0:14:34.000
<v Speaker 1>that obviously, yes, it is clearly logical that that everybody

0:14:34.040 --> 0:14:36.400
<v Speaker 1>should use all the lanes and do the late merging thing.

0:14:36.440 --> 0:14:40.200
<v Speaker 1>But the problem is not everybody knows this, and until

0:14:40.440 --> 0:14:43.560
<v Speaker 1>it is widely known and everybody gets it, you still

0:14:43.600 --> 0:14:46.720
<v Speaker 1>maybe like have disincentives from doing it just because like

0:14:47.040 --> 0:14:50.280
<v Speaker 1>people freak out, yeah, or it's just not the cultural norm.

0:14:50.320 --> 0:14:53.119
<v Speaker 1>It's kind of like, um, it's like like eating bananas.

0:14:53.520 --> 0:14:55.800
<v Speaker 1>So if you were hanging out with some with some people,

0:14:55.880 --> 0:14:58.080
<v Speaker 1>or you just in an environment where hey, everybody has

0:14:58.080 --> 0:15:00.440
<v Speaker 1>a banana. Now everybody gets to eat a banana. Are

0:15:00.480 --> 0:15:02.680
<v Speaker 1>you going to open your banana the human way? Or

0:15:02.760 --> 0:15:04.520
<v Speaker 1>you're going to open it the way that I believe

0:15:04.720 --> 0:15:08.280
<v Speaker 1>primates have been observed to open it other non human primates, uh,

0:15:08.320 --> 0:15:11.400
<v Speaker 1>from the bottom of the banana. Which I've heard the argument,

0:15:11.440 --> 0:15:12.720
<v Speaker 1>and I don't know if this is actually the case,

0:15:12.720 --> 0:15:14.800
<v Speaker 1>but I've heard the argument being made that this is

0:15:14.840 --> 0:15:17.920
<v Speaker 1>the better way to open the banana. But if everyone

0:15:17.960 --> 0:15:20.560
<v Speaker 1>else is doing it the other way, you're gonna feel

0:15:20.640 --> 0:15:24.960
<v Speaker 1>social pressure to uh to to follow their suit right. Well, yeah,

0:15:25.000 --> 0:15:28.160
<v Speaker 1>but also I mean there is a there is more

0:15:28.160 --> 0:15:30.960
<v Speaker 1>of an illusion of a competition for resources in the

0:15:30.960 --> 0:15:34.480
<v Speaker 1>traffic situation. Whereas a few people would want to shoot

0:15:34.520 --> 0:15:36.640
<v Speaker 1>you in the face for the way you open a banana,

0:15:36.800 --> 0:15:39.600
<v Speaker 1>people actually would say they want to do that about traffic.

0:15:39.680 --> 0:15:42.800
<v Speaker 1>But of course, please nobody never engage in violence over

0:15:42.880 --> 0:15:45.480
<v Speaker 1>even if somebody is actually genuinely very rude in traffic,

0:15:45.520 --> 0:15:48.240
<v Speaker 1>Come on, it's not worth it and let people eat

0:15:48.240 --> 0:15:49.920
<v Speaker 1>bananas how they want to eat bananas. Don't be a

0:15:50.000 --> 0:15:52.160
<v Speaker 1>jerk about that either. I'm just gonna put that out there,

0:15:52.520 --> 0:15:55.160
<v Speaker 1>So A goes on. I believe Q theory has some

0:15:55.240 --> 0:15:58.760
<v Speaker 1>interesting applications in other dynamic road settings. When I'm on

0:15:58.920 --> 0:16:01.320
<v Speaker 1>foot and need to cross street, I would much rather

0:16:01.400 --> 0:16:05.360
<v Speaker 1>a multi ton vehicle keep its momentum rather than stop

0:16:05.520 --> 0:16:09.080
<v Speaker 1>for me to cross and have to accelerate again. Um,

0:16:09.160 --> 0:16:15.080
<v Speaker 1>that is really admirable global energy conservation thinking. A my

0:16:15.160 --> 0:16:18.440
<v Speaker 1>hat is off to you, uh goes on, particularly when

0:16:18.480 --> 0:16:20.840
<v Speaker 1>there are no other cars and everyone would be on

0:16:20.880 --> 0:16:23.320
<v Speaker 1>their way more quickly if I only had to wait

0:16:23.320 --> 0:16:25.840
<v Speaker 1>for them to cruise past my crossing point rather than

0:16:25.880 --> 0:16:28.040
<v Speaker 1>waiting for them to come to a full stop before

0:16:28.080 --> 0:16:31.000
<v Speaker 1>I cross in front of their deadly vehicle. I would

0:16:31.040 --> 0:16:34.080
<v Speaker 1>consider this to be a good example of a parado improvement.

0:16:34.440 --> 0:16:38.080
<v Speaker 1>I will typically conceal my intention to cross in order

0:16:38.080 --> 0:16:41.480
<v Speaker 1>to facilitate this. Also, I'd much rather wait for a

0:16:41.520 --> 0:16:43.760
<v Speaker 1>slug of traffic to clear the road than to make

0:16:43.840 --> 0:16:46.680
<v Speaker 1>multiple cars stop just for me and mess up the flow.

0:16:47.160 --> 0:16:49.800
<v Speaker 1>Where I live, people seem to fall all over themselves

0:16:49.800 --> 0:16:52.960
<v Speaker 1>to stop their car for pedestrians waiting to cross. I

0:16:53.000 --> 0:16:55.479
<v Speaker 1>believe this is the law, and there are obvious situations

0:16:55.480 --> 0:16:57.440
<v Speaker 1>where it is the right thing to do, but it's

0:16:57.440 --> 0:17:00.400
<v Speaker 1>clear that the system is flawed. Oh. I've certainly been

0:17:00.400 --> 0:17:04.280
<v Speaker 1>in situations where clearly the pedestrian has the right away

0:17:04.280 --> 0:17:08.159
<v Speaker 1>and there is a crosswalk, but traffic is terrifying, and

0:17:08.200 --> 0:17:10.679
<v Speaker 1>therefore I might wait for, yeah, for there to be

0:17:10.720 --> 0:17:13.560
<v Speaker 1>like a slight clearance, Like I'm not gonna be the

0:17:13.600 --> 0:17:15.360
<v Speaker 1>one to like. I mean, my right of way only

0:17:15.359 --> 0:17:17.800
<v Speaker 1>goes so far if a car actually hits me. Um,

0:17:17.920 --> 0:17:20.840
<v Speaker 1>And sometimes I'll wait and for another person to want

0:17:20.840 --> 0:17:23.800
<v Speaker 1>to cross as well, and we realize that their strength

0:17:23.800 --> 0:17:26.840
<v Speaker 1>in numbers, surely they won't run over two or three

0:17:26.880 --> 0:17:29.600
<v Speaker 1>of us. Or do you ever wait for a cyclist who,

0:17:29.880 --> 0:17:32.120
<v Speaker 1>at least in my experience, for some reason, just seem

0:17:32.200 --> 0:17:34.080
<v Speaker 1>to be more fearless. Maybe the fact that people on

0:17:34.119 --> 0:17:37.879
<v Speaker 1>bicycles are just so constantly threatened and menaced by people

0:17:37.880 --> 0:17:41.960
<v Speaker 1>in cars that like they become immune to it. Uh. Yeah,

0:17:42.160 --> 0:17:46.000
<v Speaker 1>I always try and be very careful around uh bicyclists.

0:17:46.000 --> 0:17:47.600
<v Speaker 1>You know that they say share the road, but I

0:17:48.080 --> 0:17:50.520
<v Speaker 1>feel like yield the road is a little a little

0:17:50.560 --> 0:17:54.320
<v Speaker 1>more accurate. Um, And I'm fine with it. I would

0:17:54.400 --> 0:17:57.320
<v Speaker 1>rather I would. Yeah. I mean it's difficult because a

0:17:57.320 --> 0:17:59.760
<v Speaker 1>lot of roads in modern cities and places are just

0:17:59.800 --> 0:18:02.080
<v Speaker 1>not designed with cyclists in mind. I mean it's quae

0:18:02.119 --> 0:18:04.320
<v Speaker 1>if they are like bike lanes or protected bike lanes

0:18:04.400 --> 0:18:06.439
<v Speaker 1>or whatever. A lot of roads just like this is

0:18:06.480 --> 0:18:11.040
<v Speaker 1>clearly this was not built to accommodate bicycles. Yeah, and

0:18:11.160 --> 0:18:13.199
<v Speaker 1>um yeah, I mean I have friends who have have

0:18:13.280 --> 0:18:17.320
<v Speaker 1>been in some some rough um scrape ups between their

0:18:17.400 --> 0:18:20.120
<v Speaker 1>their bicycles and other cars. So I mean I always

0:18:20.240 --> 0:18:24.000
<v Speaker 1>always be careful around bicyclists. A goes on. While I

0:18:24.080 --> 0:18:26.600
<v Speaker 1>was visiting South Korea a while back. It was the

0:18:26.680 --> 0:18:29.800
<v Speaker 1>norm for drivers to blow through red lights when no

0:18:29.880 --> 0:18:33.080
<v Speaker 1>other vehicles were in sight quite rightly, in my opinion,

0:18:33.440 --> 0:18:36.679
<v Speaker 1>it makes sense to reject the one vehicle queue. Also,

0:18:36.760 --> 0:18:39.720
<v Speaker 1>they definitely didn't treat pedestrians waiting to cross with the

0:18:39.760 --> 0:18:42.840
<v Speaker 1>same indulgence they get over here. I'm no expert, but

0:18:42.880 --> 0:18:46.119
<v Speaker 1>it seems like widespread modern traffic is maybe more recent

0:18:46.240 --> 0:18:48.960
<v Speaker 1>and even a developed country like South Korea, and that

0:18:49.080 --> 0:18:52.600
<v Speaker 1>perhaps a country's general approach to traffic queuing situations will

0:18:52.680 --> 0:18:57.199
<v Speaker 1>change as more generations go by widespread automobile use. I

0:18:57.240 --> 0:18:59.520
<v Speaker 1>believe this was the case in the US as cars

0:18:59.560 --> 0:19:02.880
<v Speaker 1>became more common, although that is obviously a bit different.

0:19:03.280 --> 0:19:05.439
<v Speaker 1>Why do we wait at red lights at three am

0:19:05.480 --> 0:19:07.600
<v Speaker 1>when no one else is on the road. When did

0:19:07.600 --> 0:19:10.159
<v Speaker 1>we start doing this? Is this from our culture or

0:19:10.200 --> 0:19:13.439
<v Speaker 1>because vehicular travel has reached a level of maturity or

0:19:13.520 --> 0:19:16.600
<v Speaker 1>more abundity in our society. It seems counter to the

0:19:16.640 --> 0:19:20.800
<v Speaker 1>American ideal of individualism. I mean, I guess in my

0:19:21.400 --> 0:19:24.080
<v Speaker 1>perspective on that it would depend on you would want

0:19:24.080 --> 0:19:26.520
<v Speaker 1>to be really sure that you were actually able to

0:19:26.600 --> 0:19:29.320
<v Speaker 1>see clearly in every direction and make sure that you

0:19:29.600 --> 0:19:32.080
<v Speaker 1>weren't mistaken about the fact that somebody wasn't coming. Though

0:19:32.080 --> 0:19:34.920
<v Speaker 1>I guess that's also true of just to stop sign Yeah,

0:19:34.920 --> 0:19:37.080
<v Speaker 1>our our turn signals, you know. I mean, that's always

0:19:37.080 --> 0:19:40.720
<v Speaker 1>a situation where the turn signal lets people know what

0:19:40.800 --> 0:19:44.240
<v Speaker 1>you're going to do, including people that you might not see,

0:19:44.320 --> 0:19:47.080
<v Speaker 1>someone who might be in your blind spot, etcetera. Finally,

0:19:47.160 --> 0:19:50.639
<v Speaker 1>a truly egregious cue violation is when a car intending

0:19:50.680 --> 0:19:53.560
<v Speaker 1>to travel straight through an intersection stops in order to

0:19:53.640 --> 0:19:57.080
<v Speaker 1>yield to a vehicle queued up to turn left, waving

0:19:57.119 --> 0:19:59.560
<v Speaker 1>them through the intersection and into the path of other

0:19:59.600 --> 0:20:02.560
<v Speaker 1>cars that are still following the natural queuing order and

0:20:02.640 --> 0:20:05.720
<v Speaker 1>may not be able to react to this apostasy. This

0:20:05.800 --> 0:20:08.919
<v Speaker 1>mock politeness is nothing more than a thoughtless, self serving

0:20:08.960 --> 0:20:12.159
<v Speaker 1>grab for warm feelings and can be deadly. However, I

0:20:12.200 --> 0:20:15.440
<v Speaker 1>do not believe it warrants public execution. Love the show

0:20:15.680 --> 0:20:18.320
<v Speaker 1>A Oh yeah. I mean I encounter a version of

0:20:18.359 --> 0:20:20.600
<v Speaker 1>that a lot where I'm I'm in a turn lane,

0:20:20.840 --> 0:20:23.360
<v Speaker 1>or I'm trying to make a turn across traffic, and

0:20:23.400 --> 0:20:26.440
<v Speaker 1>there I have to go across two lanes of oncoming traffic,

0:20:26.800 --> 0:20:30.000
<v Speaker 1>and a person in one lane will suddenly stop and

0:20:30.000 --> 0:20:32.879
<v Speaker 1>try and wave me on, but they can't see I

0:20:32.920 --> 0:20:35.520
<v Speaker 1>can't see the other lane. They're not there. They probably

0:20:35.560 --> 0:20:38.000
<v Speaker 1>have an entirely different view of this whole scenario. And

0:20:38.040 --> 0:20:41.480
<v Speaker 1>I'm not gonna venture into this this danger, but it

0:20:41.520 --> 0:20:43.280
<v Speaker 1>puts you in a tough spot because one person is

0:20:43.320 --> 0:20:45.680
<v Speaker 1>trying to be polite. They're just you know, they don't

0:20:45.840 --> 0:20:48.200
<v Speaker 1>have all the they don't have the virtues of your

0:20:48.280 --> 0:20:52.280
<v Speaker 1>perspective on the situation which in which you realize that

0:20:52.320 --> 0:20:56.240
<v Speaker 1>there's danger in following, uh, following their advice. I think

0:20:56.280 --> 0:20:59.120
<v Speaker 1>the correct solution to this is that all settled areas

0:20:59.160 --> 0:21:02.399
<v Speaker 1>of human habitation aations should be fully grid grid mapped

0:21:02.440 --> 0:21:05.280
<v Speaker 1>in terms of road access, and left turns should all

0:21:05.320 --> 0:21:08.280
<v Speaker 1>be illegal, so everywhere you get you go full right

0:21:08.280 --> 0:21:20.399
<v Speaker 1>turns and nothing. But yeah, maybe so all right, we

0:21:20.440 --> 0:21:23.160
<v Speaker 1>have another bit of listener male about sentient weapons here.

0:21:23.480 --> 0:21:26.320
<v Speaker 1>Uh shall I read this one? Go for it? All right?

0:21:26.720 --> 0:21:29.280
<v Speaker 1>This is from camera and hello Robert and Joe. I

0:21:29.359 --> 0:21:31.840
<v Speaker 1>just listened to your episode Whispers of the Speaking Sword.

0:21:31.920 --> 0:21:33.600
<v Speaker 1>I wanted to point out a couple of examples of

0:21:33.640 --> 0:21:37.080
<v Speaker 1>such weapons. I am familiar with. The first, perhaps unsurprisingly

0:21:37.119 --> 0:21:41.119
<v Speaker 1>considering the mythological origins comes from J. R. Tolkien. Token

0:21:41.200 --> 0:21:45.240
<v Speaker 1>encountered the Calavaga before his earliest Middle Earth writings were begun,

0:21:45.640 --> 0:21:49.000
<v Speaker 1>and some aspects of some of the stories would become

0:21:49.240 --> 0:21:52.800
<v Speaker 1>the sill Marillion can be traced back to it. In particular,

0:21:53.040 --> 0:21:58.479
<v Speaker 1>Token's tragic character Turin Tourambar from the chapter of Turin

0:21:58.560 --> 0:22:02.480
<v Speaker 1>tour Rambar in the Silmarrian also and also from the

0:22:02.600 --> 0:22:05.840
<v Speaker 1>longer version of the same tale has published more recently,

0:22:06.040 --> 0:22:09.760
<v Speaker 1>The Children of huran Um. Anyway, they continued. This was

0:22:09.840 --> 0:22:14.080
<v Speaker 1>inspired by Kolervo and even has a talking sword of

0:22:14.119 --> 0:22:18.159
<v Speaker 1>its own. Turin's sword, named Girthong, appears to speak to

0:22:18.160 --> 0:22:21.359
<v Speaker 1>Turin just before Turin uses it to commit suicide after

0:22:21.400 --> 0:22:25.679
<v Speaker 1>discovering the truth about his accidentally incestuous marriage to his sister.

0:22:26.080 --> 0:22:29.080
<v Speaker 1>This is of course, right out of the the Kalavala

0:22:29.200 --> 0:22:33.400
<v Speaker 1>here Um Anyway, they continue. In earlier versions of the

0:22:33.680 --> 0:22:37.280
<v Speaker 1>sill Marillion, this same sword is prophesized to be used

0:22:37.320 --> 0:22:41.960
<v Speaker 1>during the final battle Degre Degre to defeat the first

0:22:42.040 --> 0:22:46.240
<v Speaker 1>dark Lord more Goth when he returns from the void. Additionally,

0:22:46.320 --> 0:22:50.560
<v Speaker 1>sentient or at least intelligent weapons also appear in um

0:22:50.680 --> 0:22:54.160
<v Speaker 1>In Shin shah Uh. This is I believe literally Immortal

0:22:54.240 --> 0:22:57.840
<v Speaker 1>hero Uh, the genre of Chinese fantasy literature where they

0:22:57.880 --> 0:23:01.360
<v Speaker 1>are often referred to an English translation and as spiritual weapons.

0:23:01.920 --> 0:23:04.679
<v Speaker 1>These weapons often appear to have some sense of preferences

0:23:04.760 --> 0:23:08.520
<v Speaker 1>or intentions, a strong spiritual connection to their users or makers,

0:23:08.760 --> 0:23:11.879
<v Speaker 1>and sometimes the ability to act with some degree of autonomy.

0:23:12.440 --> 0:23:14.919
<v Speaker 1>I am personally very new to this genre, but a

0:23:14.960 --> 0:23:17.720
<v Speaker 1>recent example has gained popularity in the US and the

0:23:17.760 --> 0:23:21.760
<v Speaker 1>live action drama The Untamed, which includes a few examples

0:23:21.800 --> 0:23:25.399
<v Speaker 1>of spiritual weapons being used by its main characters. Thanks

0:23:25.440 --> 0:23:28.480
<v Speaker 1>for another enjoyable episode. Camera. You know my current D

0:23:28.600 --> 0:23:31.359
<v Speaker 1>and D campaign. One of the members of our party

0:23:31.440 --> 0:23:33.119
<v Speaker 1>is a cleric, and he's got a He's got a

0:23:33.160 --> 0:23:35.680
<v Speaker 1>really good spiritual weapon. It's a big old ghost hammer.

0:23:36.160 --> 0:23:38.720
<v Speaker 1>Oh yeah, spiritual weapon. That's a that's a good, a

0:23:38.720 --> 0:23:41.639
<v Speaker 1>good cleric spell. And every time he uses it, I

0:23:42.119 --> 0:23:45.480
<v Speaker 1>end up singing that Snoop Dogg song spiritual weapon. I

0:23:45.520 --> 0:23:49.439
<v Speaker 1>think the radio edit is called sensual seduction, but I

0:23:49.440 --> 0:23:54.320
<v Speaker 1>seek spiritual weapon. Okay, And I've say I'm not familiar

0:23:54.320 --> 0:23:56.760
<v Speaker 1>with this. Untamed TV series appears to be a two

0:23:56.800 --> 0:24:00.240
<v Speaker 1>thousand nineteen Chinese television series adapted from a non full

0:24:00.320 --> 0:24:02.760
<v Speaker 1>so it looks interesting, but I'm assuming this is one

0:24:02.760 --> 0:24:07.479
<v Speaker 1>that has available, Uh, internationally on one service or another.

0:24:07.640 --> 0:24:16.439
<v Speaker 1>So if you're interested in that, look it up. All right, Joe,

0:24:16.480 --> 0:24:19.480
<v Speaker 1>do we have any weird house cinema listener mail to

0:24:19.560 --> 0:24:21.560
<v Speaker 1>round things out with? Oh yeah, we got a bunch.

0:24:21.600 --> 0:24:23.480
<v Speaker 1>I guess we've only got time for a couple right here,

0:24:23.680 --> 0:24:26.160
<v Speaker 1>but i'll read this first one from Stacy since it's

0:24:26.160 --> 0:24:29.639
<v Speaker 1>about Deep Blue Cy. Stacy says, hello again, gentlemen. I

0:24:29.680 --> 0:24:32.560
<v Speaker 1>have indeed seen Deep Bluecy at the movies when it

0:24:32.680 --> 0:24:35.600
<v Speaker 1>was new. I loved it then and still do. The

0:24:35.640 --> 0:24:38.119
<v Speaker 1>biggest thing being talked about in my circles of the

0:24:38.119 --> 0:24:42.160
<v Speaker 1>time was how this movie mercilessly killed off almost its

0:24:42.240 --> 0:24:46.159
<v Speaker 1>whole cast. Whole families were saved in Jurassic Park, not

0:24:46.320 --> 0:24:49.840
<v Speaker 1>so with the Smart Sharks. Also, I always thought Michael

0:24:49.880 --> 0:24:53.040
<v Speaker 1>Rappaport's character was more of a facility engineer type. I

0:24:53.040 --> 0:24:55.240
<v Speaker 1>think she's answering the fact that I said he was

0:24:55.280 --> 0:24:58.440
<v Speaker 1>the scientist, so apologies about that, but she says he

0:24:58.520 --> 0:25:01.879
<v Speaker 1>knew about the emergency hatch ladder. That's that's a good memory, Stacy.

0:25:02.200 --> 0:25:06.400
<v Speaker 1>Best regards Stacy, and uh yeah, we're regarding your comparison

0:25:06.440 --> 0:25:10.840
<v Speaker 1>to Jurassic Park, which is relatively uh very wooly, uh,

0:25:10.880 --> 0:25:13.960
<v Speaker 1>compared to the way this movie treats its characters. I

0:25:14.040 --> 0:25:16.480
<v Speaker 1>wonder if this is what the Jurassic Park franchise was

0:25:16.480 --> 0:25:21.080
<v Speaker 1>trying to fix by filling Jurassic World with absolutely totally

0:25:21.160 --> 0:25:26.440
<v Speaker 1>inappropriate deaths by torture of characters who had done nothing wrong. Yeah,

0:25:26.480 --> 0:25:30.159
<v Speaker 1>there's that whole sequence with the the lady getting scooped

0:25:30.240 --> 0:25:33.720
<v Speaker 1>up by the Daranodon and then or or screaming or yeah,

0:25:33.720 --> 0:25:36.760
<v Speaker 1>and then she's dropped into the tank with the Oh yeah, yeah,

0:25:36.760 --> 0:25:39.280
<v Speaker 1>it's it's it's rough. I can't remember if I've ranted

0:25:39.280 --> 0:25:41.680
<v Speaker 1>on this show before about how much I hate Jurassic World,

0:25:41.760 --> 0:25:45.520
<v Speaker 1>that I found that movie just repellent. Um. Yeah, I

0:25:45.560 --> 0:25:49.240
<v Speaker 1>remember disliking the tone of the time I first saw,

0:25:49.320 --> 0:25:51.479
<v Speaker 1>but then I watched it again with the boy with

0:25:51.520 --> 0:25:54.000
<v Speaker 1>my son and uh, and he seemed alright with it,

0:25:54.080 --> 0:25:56.680
<v Speaker 1>so I'm kind of like, Okay, maybe I'm overreacting. Um.

0:25:56.760 --> 0:25:59.040
<v Speaker 1>And then we watched that more recent one, which I

0:25:59.440 --> 0:26:01.040
<v Speaker 1>don't know if I've mentioned this on the show before,

0:26:01.040 --> 0:26:03.600
<v Speaker 1>but I found it interesting that it's it's essentially a

0:26:03.640 --> 0:26:07.439
<v Speaker 1>Hannibal Lecter movie with but with dinosaurs. Was the Haunted

0:26:07.480 --> 0:26:11.000
<v Speaker 1>House one? Yeah, yeah. Oh I liked that one more. Yeah,

0:26:11.119 --> 0:26:14.000
<v Speaker 1>because that one was just absolutely that was goober licious.

0:26:14.119 --> 0:26:16.040
<v Speaker 1>It was I don't know how else to put it.

0:26:16.040 --> 0:26:19.040
<v Speaker 1>It was a Haunted House movie, but with raptors instead

0:26:19.040 --> 0:26:22.040
<v Speaker 1>of ghosts. Yeah, yeah, yeah, yeah, I can I can

0:26:22.119 --> 0:26:25.440
<v Speaker 1>definitely see I can see the Haunted House comparisons. I

0:26:25.440 --> 0:26:27.280
<v Speaker 1>I do think it does have some It's kind of

0:26:27.280 --> 0:26:30.480
<v Speaker 1>like if Thomas Harris wrote a dinosaur movie as well.

0:26:30.520 --> 0:26:32.720
<v Speaker 1>There's some some some areas of it that I think

0:26:32.720 --> 0:26:35.800
<v Speaker 1>line up with Hannibal elector fiction. But yeah, it was

0:26:35.840 --> 0:26:43.440
<v Speaker 1>pretty fun. All right, I'm gonna read one here from Dan.

0:26:43.760 --> 0:26:47.240
<v Speaker 1>Dan says, hello, Mr Rob and Mr Joe. I love

0:26:47.280 --> 0:26:49.840
<v Speaker 1>Brad Doris and I'm so glad you finally discussed one

0:26:49.880 --> 0:26:52.840
<v Speaker 1>of his movies. Why is Blood Next? I've never seen

0:26:52.880 --> 0:26:55.679
<v Speaker 1>Spontaneous Combustion, though it sounds like something I might have

0:26:55.720 --> 0:26:57.680
<v Speaker 1>watched on the Sci Fi Channel or T and T

0:26:57.880 --> 0:27:00.680
<v Speaker 1>in the mid to late nineties, possibly with Joe Bob

0:27:00.680 --> 0:27:04.440
<v Speaker 1>Briggs intro. Highly possible they continue. Two movies that show

0:27:04.520 --> 0:27:06.800
<v Speaker 1>Doriff's range as an actor that you did not mention

0:27:06.920 --> 0:27:09.280
<v Speaker 1>or talk much about that I'd like to recommend are

0:27:09.400 --> 0:27:14.280
<v Speaker 1>Alan Parker's Mississippi Burning and Werner Herzog's The Wild Blue Yonder,

0:27:14.920 --> 0:27:17.879
<v Speaker 1>the former being about the FBI investigation into the murders

0:27:17.920 --> 0:27:21.199
<v Speaker 1>of three civil rights workers in Mississippi, in which Dorof

0:27:21.280 --> 0:27:25.400
<v Speaker 1>plays a sheriff's deputy and KKK member involved in the killings,

0:27:25.680 --> 0:27:29.479
<v Speaker 1>while the later is pure uncut doriff crazed intensity, in

0:27:29.520 --> 0:27:32.399
<v Speaker 1>which he plays the alien that's all caps or at

0:27:32.480 --> 0:27:37.000
<v Speaker 1>least capitalized, who spends much of this documentary quote unquote

0:27:37.320 --> 0:27:39.920
<v Speaker 1>ranting to the camera about how he came from another

0:27:39.960 --> 0:27:43.680
<v Speaker 1>galaxy and how we earthlings think aliens are so powerful

0:27:43.720 --> 0:27:47.520
<v Speaker 1>but in truth just suck. Um. I um. It's been

0:27:47.560 --> 0:27:49.760
<v Speaker 1>a long time time since I saw Mississippi Burning. I

0:27:49.760 --> 0:27:52.080
<v Speaker 1>think I'm you know, I was like in junior higher

0:27:52.160 --> 0:27:54.280
<v Speaker 1>so when I saw it, So I don't remember much

0:27:54.359 --> 0:27:58.240
<v Speaker 1>of of Doriff's performance. I I definitely I remember of

0:27:58.240 --> 0:28:01.480
<v Speaker 1>what's the who else? In that gene Hackman? Um. I've

0:28:01.480 --> 0:28:04.040
<v Speaker 1>never seen it, obviously, dealing with the much more serious

0:28:04.080 --> 0:28:07.240
<v Speaker 1>subject matter than anything we usually do in weird house cinema. Yeah, yeah,

0:28:07.240 --> 0:28:08.679
<v Speaker 1>I don't think it's one of well we'll come back to.

0:28:08.720 --> 0:28:11.040
<v Speaker 1>But I remembered as is being a good film. It

0:28:11.080 --> 0:28:14.760
<v Speaker 1>has what's his name? Green Goblin? Oh, Willem Dafoe. William

0:28:14.800 --> 0:28:16.919
<v Speaker 1>Dafoe is in it. He's he's good. Uh. And I

0:28:16.920 --> 0:28:19.520
<v Speaker 1>think it has some other actors of note. Uh. And

0:28:19.560 --> 0:28:22.320
<v Speaker 1>I haven't seen The Wild Blue Yonder. There's another one

0:28:22.359 --> 0:28:25.119
<v Speaker 1>I'm familiar with. I definitely know it's one of the

0:28:25.160 --> 0:28:29.679
<v Speaker 1>Herzog Dorriff joints, but it's not one that I've seen anyway.

0:28:29.760 --> 0:28:32.879
<v Speaker 1>Dan continues speaking of aliens. What is it about Alien

0:28:32.960 --> 0:28:36.000
<v Speaker 1>Resurrection that Joe hates so much? I haven't seen it

0:28:36.000 --> 0:28:37.840
<v Speaker 1>in a long time, but I don't remember it being

0:28:37.920 --> 0:28:41.120
<v Speaker 1>that terrible. Was it that they brought Ripley back as

0:28:41.120 --> 0:28:43.800
<v Speaker 1>a clone with Zeno morph d n A. On another note,

0:28:43.840 --> 0:28:45.560
<v Speaker 1>I just want to say that I enjoy how Robert

0:28:45.600 --> 0:28:48.800
<v Speaker 1>calls movies films, motion pictures or just picture. I think

0:28:48.840 --> 0:28:50.600
<v Speaker 1>it brings a lot of classiness to the show. I

0:28:50.640 --> 0:28:54.240
<v Speaker 1>hope you're doing well. Love the show, Dan. I think

0:28:54.280 --> 0:28:56.600
<v Speaker 1>for some reason you were saying motion picture a lot

0:28:56.640 --> 0:29:00.360
<v Speaker 1>in the episode on spontaneous combustion just in the air

0:29:00.480 --> 0:29:02.240
<v Speaker 1>that day. I don't know, I mean a lot of

0:29:02.240 --> 0:29:06.040
<v Speaker 1>it's probably elegant variation on my part, but but now

0:29:06.080 --> 0:29:07.480
<v Speaker 1>maybe I was trying to class it up a little

0:29:07.520 --> 0:29:12.480
<v Speaker 1>bit too. About Alien Resurrection. It's not any particular broad

0:29:12.640 --> 0:29:15.800
<v Speaker 1>plot decisions. I mean, I think most broad plot decisions

0:29:15.800 --> 0:29:18.520
<v Speaker 1>I could be okay with, if you know, if they're executed. Well,

0:29:18.560 --> 0:29:23.080
<v Speaker 1>it's just something I just find the movie esthetically nauseating,

0:29:23.200 --> 0:29:26.480
<v Speaker 1>just like every single frame of it and the way

0:29:26.480 --> 0:29:29.920
<v Speaker 1>it looks, the way it sounds is just disgusting to me.

0:29:30.480 --> 0:29:33.040
<v Speaker 1>M I have to say, I don't know much about

0:29:33.280 --> 0:29:35.360
<v Speaker 1>like the making of story on that one, but it

0:29:35.440 --> 0:29:38.120
<v Speaker 1>clearly has It has so many talented people involved in it.

0:29:38.840 --> 0:29:42.080
<v Speaker 1>Uh the I mean, the the whole cast we we

0:29:42.120 --> 0:29:44.680
<v Speaker 1>mentioned briefly, I think the last one. How how many

0:29:44.720 --> 0:29:49.120
<v Speaker 1>great names are involved in that one? Um uh, you know,

0:29:49.200 --> 0:29:52.160
<v Speaker 1>bit players and the main characters, and of course the

0:29:52.320 --> 0:29:55.640
<v Speaker 1>director Jean Pierre Janet, who did such films as a

0:29:55.760 --> 0:30:00.200
<v Speaker 1>Malay and Delicatessen, UM, Very Long Lost Children, Yes, did

0:30:00.200 --> 0:30:03.640
<v Speaker 1>City of Lost Children as well, which you know is

0:30:03.640 --> 0:30:07.680
<v Speaker 1>is these are all films that really pop visually and

0:30:07.440 --> 0:30:11.200
<v Speaker 1>and and I really like. Uh. Resurrection is not a

0:30:11.240 --> 0:30:14.640
<v Speaker 1>film that I'm tremendously opposed to, but it's also not

0:30:14.680 --> 0:30:17.160
<v Speaker 1>a film I've I've really watched a lot and I

0:30:17.160 --> 0:30:19.720
<v Speaker 1>would be curious as to what it's production history is

0:30:19.720 --> 0:30:21.720
<v Speaker 1>because I know, when you're dealing with an Alien film,

0:30:21.720 --> 0:30:26.280
<v Speaker 1>you're dealing with a you know, a huge corporate product. Uh.

0:30:26.320 --> 0:30:29.320
<v Speaker 1>And of course they're stories, especially like Alien three, about

0:30:29.360 --> 0:30:33.160
<v Speaker 1>how susceptible that product is to like produce or tinkering

0:30:33.200 --> 0:30:35.960
<v Speaker 1>and so forth. Yeah, I mean, I guess, just being

0:30:36.040 --> 0:30:38.760
<v Speaker 1>a huge fan of the first two Alien movies, I

0:30:38.800 --> 0:30:41.480
<v Speaker 1>have a lot of strong feelings about it too, so

0:30:41.680 --> 0:30:44.440
<v Speaker 1>uh though I actually really appreciate a lot of things

0:30:44.480 --> 0:30:47.080
<v Speaker 1>about Alien three. I mean, Alien three is a hard movie,

0:30:47.520 --> 0:30:50.560
<v Speaker 1>uh to judge in terms of quality, because I think

0:30:50.600 --> 0:30:52.160
<v Speaker 1>I've said this on the show before, but I sort

0:30:52.160 --> 0:30:55.040
<v Speaker 1>of have to regard it as an unfinished film. It

0:30:55.120 --> 0:30:57.040
<v Speaker 1>is a movie that has a lot of good stuff

0:30:57.080 --> 0:30:59.719
<v Speaker 1>on the screen, a lot of good creative energy behind it,

0:31:00.080 --> 0:31:02.600
<v Speaker 1>some really great actors in it. Of course, Sigourney Weavers

0:31:02.600 --> 0:31:05.960
<v Speaker 1>wonderful as always, Charles Stutton, you know, that's all great stuff.

0:31:06.240 --> 0:31:08.560
<v Speaker 1>And I really like some of the production design on it.

0:31:08.640 --> 0:31:11.400
<v Speaker 1>And and basically the premise of the movie is interesting

0:31:11.440 --> 0:31:14.040
<v Speaker 1>and very gutsy in a way. But also I mean,

0:31:14.080 --> 0:31:17.040
<v Speaker 1>I mean, having read about the production, I can understand

0:31:17.080 --> 0:31:20.320
<v Speaker 1>why Fincher tried to disown it. The director David Fincher,

0:31:20.360 --> 0:31:23.040
<v Speaker 1>I think just because like it's a movie that, uh,

0:31:23.120 --> 0:31:27.160
<v Speaker 1>he was not allowed to complete in a way that

0:31:27.320 --> 0:31:30.040
<v Speaker 1>was creatively acceptable to him. And so in a way

0:31:30.080 --> 0:31:32.440
<v Speaker 1>what we have is just sort of like a an

0:31:32.560 --> 0:31:37.320
<v Speaker 1>unfinished film held together by duct tape and staples. Resurrection

0:31:37.360 --> 0:31:41.200
<v Speaker 1>I find absolutely revolting and it literally hurts the viewer

0:31:41.880 --> 0:31:46.040
<v Speaker 1>um as once you get back into the modern era.

0:31:47.280 --> 0:31:51.360
<v Speaker 1>I haven't seen Prometheus again since I saw it in

0:31:51.400 --> 0:31:53.000
<v Speaker 1>the theater, and I wonder what I would think of

0:31:53.000 --> 0:31:55.720
<v Speaker 1>it now. I mean, my memory of it is, uh

0:31:55.800 --> 0:31:58.040
<v Speaker 1>that it was very beautiful to look at and had

0:31:58.080 --> 0:32:00.760
<v Speaker 1>some really good sequences, but overall not make a lot

0:32:00.760 --> 0:32:03.560
<v Speaker 1>of sense and and kind of irritated me. And then

0:32:03.600 --> 0:32:05.760
<v Speaker 1>once you get into oh what was the one after

0:32:05.840 --> 0:32:09.400
<v Speaker 1>that one called Covenant? Alien Covenant, once you get into

0:32:09.480 --> 0:32:11.920
<v Speaker 1>that area, it's like so stupid that it can just

0:32:11.960 --> 0:32:15.080
<v Speaker 1>be pure fun again. Uh So that's one of those movies.

0:32:15.120 --> 0:32:17.120
<v Speaker 1>I think I've said this about a few movies recently.

0:32:17.160 --> 0:32:19.520
<v Speaker 1>It's one where almost everything I can think of to

0:32:19.520 --> 0:32:21.800
<v Speaker 1>say about it as a criticism and yet I really

0:32:21.880 --> 0:32:23.800
<v Speaker 1>enjoyed it I love how in the middle of the

0:32:23.800 --> 0:32:26.920
<v Speaker 1>movie you have no choice, like your eyes just turned

0:32:26.920 --> 0:32:29.760
<v Speaker 1>into ping pong balls. It is it? Uh is? It

0:32:29.800 --> 0:32:33.480
<v Speaker 1>turns into this Island of Dr Moreau movie with with

0:32:33.480 --> 0:32:36.880
<v Speaker 1>with Michael Fastbender in the in the Moreau role. I

0:32:37.080 --> 0:32:39.560
<v Speaker 1>don't know. It's so weird and so dumb and makes

0:32:39.600 --> 0:32:42.000
<v Speaker 1>so little sense, but it's a lot of fun. Yeah.

0:32:42.000 --> 0:32:44.800
<v Speaker 1>I think Alien Covenant is essentially there three films in there,

0:32:44.800 --> 0:32:47.560
<v Speaker 1>and I love two of them. Um, but but but

0:32:47.800 --> 0:32:50.280
<v Speaker 1>what about the a VP films? Joe, you just get

0:32:50.360 --> 0:32:52.240
<v Speaker 1>right over him. You can't talk about dumb alien films

0:32:52.280 --> 0:32:55.960
<v Speaker 1>without touching touching in on those right. Oh yeah, that's

0:32:55.960 --> 0:32:59.080
<v Speaker 1>a different kind of dumb. I haven't watched those in

0:32:59.080 --> 0:33:03.440
<v Speaker 1>a while. I think I remember the first one being bad,

0:33:03.480 --> 0:33:07.160
<v Speaker 1>but you know, in an enjoyable kind of schlocky movie

0:33:07.200 --> 0:33:09.560
<v Speaker 1>that I would definitely watched a couple of times in college.

0:33:10.560 --> 0:33:12.840
<v Speaker 1>There was one that came after that. There was like

0:33:12.920 --> 0:33:15.400
<v Speaker 1>set in an American city. It was more like the

0:33:15.520 --> 0:33:17.200
<v Speaker 1>you know, trying to do the thing that that the

0:33:17.480 --> 0:33:20.440
<v Speaker 1>more recent Predator movie was also doing, just like unleashing

0:33:20.440 --> 0:33:23.320
<v Speaker 1>these on suburbia or whatever. I remember thinking that that

0:33:23.360 --> 0:33:27.160
<v Speaker 1>one was really gross and unpleasant. Yeah, I think what

0:33:27.240 --> 0:33:29.280
<v Speaker 1>the world needed. I don't know if this is still

0:33:29.280 --> 0:33:33.880
<v Speaker 1>a viable option, but I'm thinking underworld versus alien versus predator,

0:33:34.000 --> 0:33:36.280
<v Speaker 1>that's what the world needs. You get you get your alien,

0:33:36.400 --> 0:33:38.000
<v Speaker 1>I mean, you get your aliens in there, eena more

0:33:38.080 --> 0:33:40.160
<v Speaker 1>so you have your predators in there. You also have

0:33:40.200 --> 0:33:45.640
<v Speaker 1>werewolves and vampires. How about and leprechron also because you

0:33:45.680 --> 0:33:50.640
<v Speaker 1>gotta have brad Dora. Oh yeah, yeah, why not? Why not?

0:33:50.760 --> 0:33:56.640
<v Speaker 1>How about alien versus Chucky? There you go. Alien is

0:33:56.680 --> 0:33:57.880
<v Speaker 1>not gonna know what to do. This is just a

0:33:57.880 --> 0:34:00.760
<v Speaker 1>stuff toy, right right? Or let a man lebra con

0:34:00.800 --> 0:34:02.920
<v Speaker 1>What's he gonna do is grant a wish to a xenomorph?

0:34:05.040 --> 0:34:08.720
<v Speaker 1>But what does the xenomorph dream about? I wish for meat? Yeah, Okay,

0:34:08.719 --> 0:34:10.880
<v Speaker 1>we've gone too long, alright, alright, Well we're gonna go

0:34:10.920 --> 0:34:13.040
<v Speaker 1>ahead and close it up here. But we thank everybody

0:34:13.080 --> 0:34:16.640
<v Speaker 1>who wrote in shared messages with us. Keep keep them coming.

0:34:16.719 --> 0:34:19.480
<v Speaker 1>We don't have time to respond to all of them.

0:34:19.560 --> 0:34:21.520
<v Speaker 1>We don't have time to read them all on the show,

0:34:22.160 --> 0:34:24.239
<v Speaker 1>but we we do. We do read them when they

0:34:24.239 --> 0:34:28.080
<v Speaker 1>come in, at least to ourselves internally, in our own brains. Uh.

0:34:28.160 --> 0:34:30.879
<v Speaker 1>So yeah, if you have thoughts on recent episodes, um,

0:34:31.160 --> 0:34:34.319
<v Speaker 1>past episodes, Uh, if you have episodes on I mean

0:34:34.400 --> 0:34:36.600
<v Speaker 1>you have thoughts on possible future episodes, or if you

0:34:36.600 --> 0:34:40.120
<v Speaker 1>have episodes on possible future thoughts, Uh, just let us know.

0:34:40.440 --> 0:34:41.799
<v Speaker 1>You know how to get in touch with us, and

0:34:41.840 --> 0:34:43.759
<v Speaker 1>you can find listener mail every Monday and the Stuff

0:34:43.800 --> 0:34:45.960
<v Speaker 1>to Boil Your Mind feed Core episodes on Tuesdays and

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<v Speaker 1>Thursday's Artifact on Wednesday, Weird House cent them on Friday.

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<v Speaker 1>That's our time to just set most of the science

0:34:51.160 --> 0:34:53.680
<v Speaker 1>aside and discuss a weird film. And on the weekends

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<v Speaker 1>we have a rerun for you Huge Things. As always

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<v Speaker 1>to our excellent audio producers Seth Nicholis Johnson. If you

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<v Speaker 1>would to get in touch with us with feedback on

0:35:01.840 --> 0:35:04.000
<v Speaker 1>this episode or any other, to suggest a topic for

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<v Speaker 1>the future, or just to say hello, you can email

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<v Speaker 1>us at contact at stuff to Blow your Mind dot com.

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<v Speaker 1>Stuff to Blow Your Mind is production of I Heart Radio.

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<v Speaker 1>For more podcasts my Heart Radio, visit the i heart

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<v Speaker 1>Radio app, Apple Podcasts, or wherever you listen to your

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<v Speaker 1>favorite shows.