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Speaker 1: Welcome to tech Stuff, a production from I Heart Radio.

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Speaker 1: Hey there, and welcome to tech Stuff. I'm your host,

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Speaker 1: Jonathan Strickland. I'm an executive producer with I Heeart Radio

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Speaker 1: and allow of all things tech, and it is time

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Speaker 1: for a classic episode of tech Stuff. This one originally

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Speaker 1: published on October two thousand thirteen, and that would be

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Speaker 1: Halloween Ean or Halloween Eve, which is already an eve. Yeah,

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Speaker 1: it's titled There's a Halloween Event on the Horizon. I

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Speaker 1: remember this. It's where I got to talk about the

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Speaker 1: movie Event Horizon and the wonderfully terrible technologies in that film.

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Speaker 1: I hope you guys enjoy it. We thought we'd take

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Speaker 1: a horror movie and look at the science and technology

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Speaker 1: in that horror movie as well, just kind of discussed

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Speaker 1: what that horror movie is all about, sort of the

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Speaker 1: same way we did Independence Day back for the fourth

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Speaker 1: of July. Now, there aren't that many horror movies that

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Speaker 1: we could think of that have a heavy tech angle.

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Speaker 1: There are some, and there are plenty, and we also,

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Speaker 1: I mean, you know, we we wanted to do something

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Speaker 1: that isn't um as completely offensive as it could be.

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Speaker 1: I mean, you know, it's the movie that we chose

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Speaker 1: is rated are and um, I think both of us

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Speaker 1: enjoy it, uh for yeah from a kind of tongue

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Speaker 1: in cheek way sometimes you I I genuinely enjoy this film,

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Speaker 1: but it is not what I would call a good movie.

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Speaker 1: It is Event Horizon. Yes, it is a space movie.

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Speaker 1: It's a movie set in space. It's all about space.

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Speaker 1: Let's go ahead and give you an overview of what

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Speaker 1: the basic plot is in case you haven't seen it, right,

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Speaker 1: although I will say that that this this discussion is

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Speaker 1: going to involve lots of spoilers, and and like I said,

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Speaker 1: we do enjoy this movie. I want you to see

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Speaker 1: it and to not be spoiled when you go into it.

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Speaker 1: So if you have not ever seen the film, and

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Speaker 1: you are of an appropriate agent constitution to watch a

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Speaker 1: thing with with kind of gory violand and uh mild

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Speaker 1: new occasional cursing, then maybe maybe just turn this podcast

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Speaker 1: off and wait until you can watch the movie. Right now,

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Speaker 1: I will say, since the film came out in all

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Speaker 1: bets are off. So here we go. Basic plot. All right,

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Speaker 1: You've got a ship, it's called the Event Horizon and

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Speaker 1: it's supposedly a research ship that's meant to explore the

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Speaker 1: further reaches of our solar system, and on its maiden

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Speaker 1: voyage it disappeared somewhere just beyond Neptune. Now that happens

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Speaker 1: in the year seven years later, a research alright, rescue

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Speaker 1: ship rather sent out, sent out with a particular engineer,

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Speaker 1: a scientist who had worked on the event Horizons propulsion

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Speaker 1: system actually designed the entire ship. Yeah, so he's he's

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Speaker 1: going along with them. They don't know what their mission

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Speaker 1: is when they first leave, but they are to go

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Speaker 1: out to Neptune and try and find the origin of

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Speaker 1: a mysterious transmission that apparently came from it's coming from

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Speaker 1: the horizon, and and rescue the ship the crew if

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Speaker 1: it all possible, Right, So they go out there, and

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Speaker 1: bad stuff happens, y'all. First of all, it turns out

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Speaker 1: that the event Horizons secret propulsion system is something that

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Speaker 1: is called a gravity drive in the movie, and the

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Speaker 1: ideas that it kind of incusses with space, right, it

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Speaker 1: creates a black hole essentially, and we'll get into that

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Speaker 1: a little bit more later on. That's yeah, Well, we'll

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Speaker 1: discuss the entire black hole thing at length because it's

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Speaker 1: interesting It's what's really interesting is how much of the

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Speaker 1: science the movie at least attempted to get right. Yeah. Yeah,

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Speaker 1: I want to give it a lot of kudos. I do.

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Speaker 1: I do think that it really tried, Like gold Star,

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Speaker 1: you tried. It didn't just use black hole as some

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Speaker 1: sort of magic, magic placeholder, right. They tried to find

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Speaker 1: a way of explaining this, and there there is some

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Speaker 1: scientific basis for some other stuff they talk about anyway.

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Speaker 1: But because it's a horror movie, Um, when it tried

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Speaker 1: to create this whole in space time to travel through, instead,

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Speaker 1: it accidentally ended up in a hell dimension. Yea, brought

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Speaker 1: a bunch of Hell back with it, and so that's haunted.

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Speaker 1: The ship is haunted by Hell and or is Hell itself. Yeah,

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Speaker 1: it could actually be possessed. It's a little weird. Yeah.

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Speaker 1: So the idea of being that that when the gravity

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Speaker 1: drive is is activated, the ship travels through a dimension,

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Speaker 1: in this case a hellish dimension of pure chaos and evil,

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Speaker 1: as what character says, and uh, and that yeah, it

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Speaker 1: brings something back and the crew is deader than dead,

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Speaker 1: super dead. Yeah, they are so dead. You see lots

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Speaker 1: of really really dead people and uh, and then the

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Speaker 1: rescue mission comes aboard and tries to do what they're

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Speaker 1: supposed to do, and then hilarity ensues. We won't spoil everything,

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Speaker 1: but essentially, obviously you have to dismantle the rescue ship

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Speaker 1: or else they could just leave, so that gets taken

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Speaker 1: care of. Then you have to separate out the crew

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Speaker 1: members for various reasons, and then have terrible things happened

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Speaker 1: to them. And all this happens at great gore and

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Speaker 1: uh and detail and entertaining. It's not at all not Shakespeare,

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Speaker 1: but it's fun. I I really appreciate that the film

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Speaker 1: and and this was this was directed by Paul Anderson.

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Speaker 1: A Paul Anderson. He has some initials in there somewhere

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Speaker 1: that I'm completely missing, and I did not write them down.

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Speaker 1: But he's the same guy who directed the Mortal Kombat movie. Yes,

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Speaker 1: he said that he wanted to have a turn at

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Speaker 1: directing something a little more eyebrow. No, he was talking

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Speaker 1: about gory. He wanted to make. He wanted a chance

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Speaker 1: to make an R rated picture after That's right, because

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Speaker 1: Mortal Kombat was PG thirteen. Um and and I and

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Speaker 1: I do, like I said, I want to give the

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Speaker 1: film a lot of kudos, you know. Okay, so it

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Speaker 1: starts out with this brief timeline, and I'd say that

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Speaker 1: it was a hopeful but not completely ridiculous timeline. They

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Speaker 1: were saying that the first permanent moon colony in this

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Speaker 1: in this science fiction setting was in uh and that

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Speaker 1: commercial mining on Mars began in two considering that, you know,

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Speaker 1: we've got some some outfits here on Earth that are

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Speaker 1: trying to get to Mars around that's time period, all right, Yeah,

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Speaker 1: and the lunar colony in is way too ambitious, but well,

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Speaker 1: but back in there was no way of knowing that

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Speaker 1: the space program was going to going to have so

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Speaker 1: many financial hits. Um so, yeah, getting into it. One

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Speaker 1: thing that confused me was the idea of even having

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Speaker 1: a ship. Now the cover the event Horizons Outer Solar

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Speaker 1: System Exploration, which a cover story, yeah it was to

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Speaker 1: say code black, but the real reason, that's the actual

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Speaker 1: thing that they said in the film. And I'm still

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Speaker 1: not sure what that means. It sounds really nifty, right,

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Speaker 1: I guess it just means super duper secret, y'all. You

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Speaker 1: have to know the secret handshake in order to get

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Speaker 1: access to it. But the thing that made me confused

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Speaker 1: was just the idea of even building a ship for

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Speaker 1: that sort of thing we've built so that people can

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Speaker 1: get out onto the surface if Neptune and walk around

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Speaker 1: and on gas giants. Yeah, that sounds like a great idea. Um,

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Speaker 1: you know, really hot gas giants where the winds are

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Speaker 1: two point one thousand kilometers per rights has the most

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Speaker 1: high worse winds in the entire Solar System. Not a

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Speaker 1: not a very nice place to go visit, yea. So

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Speaker 1: it's and lots of methane in the atmosphere too, not

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Speaker 1: great hydrogen and helium also in the atmosphere. It's not

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Speaker 1: a very great planet to to go visit if you

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Speaker 1: don't have some massive protection around you. It just seems

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Speaker 1: weird because we could do robotic probes that kind of

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Speaker 1: stuff for that sort of thing, but whatever, so uh,

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Speaker 1: they'll also just get all the way. This is one

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Speaker 1: of those space movies where we do hear sounds in

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Speaker 1: space and the initial sequence turns out to be a

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Speaker 1: dream sequence. So you can't entirely blame the fact that

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Speaker 1: you're hearing a thunderstorm on Neptune from space on on

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Speaker 1: the fact that it's Yeah, it's some sort of hallucination,

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Speaker 1: hallucination or dream or something. But assuming the rest of

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Speaker 1: the movie is not a hallucination or dream, which as

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Speaker 1: far as I can tell, that's not the intention. Point.

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Speaker 1: There's plenty of examples of hearing sound in space, absolutely

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Speaker 1: not necessarily that the characters hear it, but the audience.

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Speaker 1: Here's it also a good point from from this general

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Speaker 1: area of the film. They're um, they're showing spaceships as

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Speaker 1: being three dimensional and spaces being three dimensional and things

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Speaker 1: coming at each other from different angles, which I absolutely

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Speaker 1: approve it. Right, it's not all in the same plane

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Speaker 1: like it would be in most Star Trek. Not all

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Speaker 1: Star Trek, but most start certain points. Star Trek really

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Speaker 1: only discovered that space is multidimensional, I think, like in

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Speaker 1: the game. Yeah, and so there's also some other interesting

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Speaker 1: things that they do have artificial gravity in this in

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Speaker 1: this universe. We don't know how they generated, although they

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Speaker 1: appear to have some other means of controlling gravity with

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Speaker 1: the gravity drive. They talk about using electro magnets to

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Speaker 1: control the flow of gravitons. Uh, gravitons right now are

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Speaker 1: a hypothetical particle. We think they exist based upon the math,

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Speaker 1: but we have not identified or observed gravitons. But but

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Speaker 1: I'm cool with this science fiction film positing that we're

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Speaker 1: going to discover the graviton particle within the next forty years. Okay,

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Speaker 1: cool with thirty years. Yeah right, that's right. Sorry, I'm old.

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Speaker 1: That's cool. So so it's it's yeah, it's it's one

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Speaker 1: of those things where maybe if they discovered gravitons, they

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Speaker 1: also figured out how to create artificial gravity, because what

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Speaker 1: they are not doing is creating it through rotating a

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Speaker 1: spaceship or space station in order to use the centripetal

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Speaker 1: force to kind of fake gravity, right, so you know,

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Speaker 1: we're well, we'll give him that too. I won't. I

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Speaker 1: don't understand ever, shaving with a straight razor. I don't

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Speaker 1: have to shave my face, so I just don't think

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Speaker 1: that's a wise idea to do in space. But then

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Speaker 1: I mean, if you've got artificial gravity, you're pretty This

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Speaker 1: is this is Sam Neil's character, Samuel playing the the

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Speaker 1: physicist who, as it turns out, designed this event horizonship

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Speaker 1: and um and he's got some problems that the film

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Speaker 1: goes into pretty extensively, and so the straight razor, as

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Speaker 1: it turns out is symbolic, right, You find out that

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Speaker 1: his wife committed suicide with a straight which makes me

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Speaker 1: even more concerned for him that he's using that to

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Speaker 1: shave with. Yeah, y'all, this is a bad This is

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Speaker 1: going bad places. The psychologist would probably have a few

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Speaker 1: things to say about it. Uh. I thought that the

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Speaker 1: space station that Sam Neel's character is on at the

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Speaker 1: beginning of the film was a little odd in that

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Speaker 1: it's think of a massive grid made out of like

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Speaker 1: scaffolding or if you've ever worked on a theater set

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Speaker 1: where you've got the grid that you hang the lights

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Speaker 1: off of that looks like the skeleton of this space

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Speaker 1: station and just looks like a massive grid of this stuff,

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Speaker 1: like the set to Stomp or something. Yeah, and occasionally

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Speaker 1: you have these habitats that are you know, you can

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Speaker 1: tell that they're these these things that are connected to

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Speaker 1: the gritting grid structure that are where everyone lives, but

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Speaker 1: they don't seem to be connected to each other, Like

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Speaker 1: they're on different parts of the grid and this thing

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Speaker 1: isn't informed to be connected. Yeah, you wouldn't really want

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Speaker 1: to spacewalk in between them. Spacewalking is pretty dangerous and

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Speaker 1: lower orbit, which a little okay title comes up that

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Speaker 1: says lower. I didn't pay attention at that point, and

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Speaker 1: I took notes, and I could not remember where if

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Speaker 1: the space station was an orbit around Earth or Mars,

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Speaker 1: because there were comments that made me think, well, maybe

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Speaker 1: they were in orbit of Mars. So that makes some

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Speaker 1: of the rest of this discussion much easier for me.

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Speaker 1: But I did think it was neat that it looked modular,

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Speaker 1: which meant, you know, that makes sense. You would want

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Speaker 1: to be able to build onto any sort of permanent

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Speaker 1: space station, uh in a way that would allow you

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Speaker 1: to not have to reinmit the wheel every time. So

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Speaker 1: if it's modular, you just add a new module on.

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Speaker 1: That makes sense, So all right, I'm giving it that too.

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Speaker 1: The rescue ship is called the Lewis and Clark, named

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Speaker 1: after the explorers who quote unquote discovered lots of stuff

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Speaker 1: in America if you can consider people who had been

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Speaker 1: living there for hundreds and hundreds of years to be

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Speaker 1: not important enough to say they discovered it, but they um.

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Speaker 1: I thought the design of this was a little weird,

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Speaker 1: particularly the bridge. I wrote down that their seating structure

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Speaker 1: that main cappens tear drives me crazy. It's so, this

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Speaker 1: is a bridge in which all of the you know,

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Speaker 1: crew member chairs are normal kind of chairs. They can

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Speaker 1: roll around a little bit, but they basically a fixed

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Speaker 1: so the ground, kind of like office chairs chairs, ish um.

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Speaker 1: And this captain's chair is suspended from this kind of

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Speaker 1: track in the ceiling like a like a roller coaster seat.

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Speaker 1: And it looks really goofy and I'm not share what

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Speaker 1: they were going. Lawrence Fishburn, who plays the captain, sits

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Speaker 1: in this chair. It means that his feet are actually

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Speaker 1: dangling off the ground. He's not. He doesn't have contact

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Speaker 1: with the ground. It allows him to turn degrees and

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Speaker 1: move along this track, but so would a chair with

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Speaker 1: wheels on it and or standing up. Yeah, so I

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Speaker 1: don't understand this because if you were to argue, well

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Speaker 1: this way, if there were some sort of problem, his

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Speaker 1: chair wouldn't go sliding all over the room. But then

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Speaker 1: everyone else's chairs seemed to have that ability. There's one

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Speaker 1: guy who pushes back from his workstation and rolls halfway

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Speaker 1: across the bridge. So if you're not going to do

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Speaker 1: it for everybody, don't do it for anyone. That's what

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Speaker 1: I say. Let's make this fair. Gosh, darn't it um?

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Speaker 1: But yeah, I just thought that was a weird thing. Yeah, No,

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Speaker 1: I I did want to say that, I that I

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Speaker 1: do actually like the design aesthetic of the Lewis and

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Speaker 1: Clark because it's more functional than pretty most of the time,

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Speaker 1: and I feel like it's very much based in the

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Speaker 1: general aesthetic of today's NASA ships. Right, it looks it

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Speaker 1: looks like it's functional. It doesn't look like it's made

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Speaker 1: out of you know, it's not. It's not some sort

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Speaker 1: of Star Wars type thing where everything is pristine and

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Speaker 1: beautiful as long as you're working for the Empire. It's

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Speaker 1: it's definitely it's more on the firefly range where this

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Speaker 1: this looks like this is something that does work. It

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Speaker 1: doesn't look like it's a set necessarily, right. You know,

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Speaker 1: it's a little bit roomier than perhaps a real spaceship

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Speaker 1: would be in order to have those those good cameras,

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Speaker 1: but better than that, I'm willing to give them that.

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Speaker 1: It reminded me a little bit of like an expanded submarine,

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Speaker 1: which is kind of what you would expect down the

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Speaker 1: propulsion system. I thought was really interesting. They talk this

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Speaker 1: is kind of just mentioned offhand and dialogue. That's an

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Speaker 1: ion drive, which those really existing. Yeah, yeah, so an

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Speaker 1: ion drive uses thrusters and ionized particles. Those are charged

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Speaker 1: particles in order to accelerate, and they can generate these

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Speaker 1: charged particles and excite them in two major ways right now.

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Speaker 1: We have the electrostatic force, which involves usually bombarding particles

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Speaker 1: with electron beams so that you build up a negative charge.

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Speaker 1: And there's also the electro magnetic approach, where you use

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Speaker 1: electromagnets to excite these ions at any rate. Either way

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Speaker 1: you're using this, you can output these ions and create thrust.

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Speaker 1: But the thing about this is that it builds acceleration

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Speaker 1: and the accelerating force is very low, so it reaches

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Speaker 1: very fast acceleration at the end of this process, but

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Speaker 1: it takes a minute to get it takes a long time. Yeah,

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Speaker 1: you're talking about like it's it's continuously accelerating, so it's

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Speaker 1: not like it accelerates and then just stops, but at

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Speaker 1: the rate of acceleration is very low. So I'm a

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Speaker 1: little concerned that they wouldn't be able to get from

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Speaker 1: Earth to Neptune and any reasonable amount of time using

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Speaker 1: an eye on drive. I mean I guess you could

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Speaker 1: do it, but I think it would take longer than

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Speaker 1: fifty six days, which is how long it takes within

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Speaker 1: the film. Actually did do the math, and the current

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Speaker 1: ion fusters that we've got can reach speeds of some

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Speaker 1: ninety kilometers per second, which is over two hundred thousand

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Speaker 1: miles per hour in space, which is pretty screaming compared

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Speaker 1: with like the Space Shuttle, which is about eighteen thousand

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Speaker 1: kilometers per second UM. But even if the vehicle could

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Speaker 1: go at that speed, the entire distance from Earth to Neptune,

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Speaker 1: which it could not see above ree, it takes a

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Speaker 1: long time to warm up UM, it would still take

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Speaker 1: five dred and fifty three days unless I did the

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Speaker 1: math wrong, which I don't. I don't think it sounds

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Speaker 1: about right because the distance between Earth and Neptune is

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Speaker 1: about four point four billion kilometers, and granted, we're talking

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Speaker 1: about forty years in the future, and forty years can

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Speaker 1: bring a lot of technological changes. I think it's a possibility,

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Speaker 1: but it's a stretch, yeah, cutting it down. I mean,

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Speaker 1: you're just talking about such huge distances, and keep in

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Speaker 1: mind four point four billion kilometers that's the average distance

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Speaker 1: between Neptuno an Earth change. So I calculated that um

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Speaker 1: from the closest point at which it's about four point

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Speaker 1: three billion miles, right, Yeah, And and even then you

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Speaker 1: have to plan it, like just as we had to

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Speaker 1: plan the Curiosity or over to land on Mars months

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Speaker 1: in advance, because you know the orbits as the their

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Speaker 1: you know, the plants continue to move across their orbital

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Speaker 1: past even after you launch the ship, because they do

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Speaker 1: not just hold in place. Yeah, so you can't. You

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Speaker 1: can't just launch when they're closest, because they'll be moving

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Speaker 1: apart from each other from that moment moving on. So

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Speaker 1: it's complicated. You'll um. But at any rate, in order

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Speaker 1: to not be bored for some fifty days on this ship,

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Speaker 1: that die or die I guess the crew goes into stasis. Right.

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Speaker 1: They do give the excuse of of of at the

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Speaker 1: speeds that we're going, your skull would liquefy, which is

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Speaker 1: not true. That is super inaccurate. Okay, yeah, they're talking

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Speaker 1: about they would endure forces of excess of thirty g

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Speaker 1: s or around thirty g s. That's thirty times the

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Speaker 1: gravitational force you feel here on Earth. All right, here's

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Speaker 1: some other issues. First of all, going into stasis. That's

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Speaker 1: always a problem, right as far as we understand it today,

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Speaker 1: because anything that is going to slow down your bodily

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Speaker 1: functions is not really that good for you and montion

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Speaker 1: the time movies portray it as freezing or in this case,

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Speaker 1: it's being in this giant s. Yeah, it's it's more

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Speaker 1: liquid than goo. I would say it comes on like water,

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Speaker 1: but it's um. That's just not good for your body. No, No,

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Speaker 1: your skin will absorb liquid, especially once the oils begin

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Speaker 1: to wash off. That's why if you spend too long

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Speaker 1: in the bath or the pool, your fingers start to

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Speaker 1: prune up. Your epidermis is absorbing water. And wherever the

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Speaker 1: epidermis and dermis meat it's anchored, that's where you have

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Speaker 1: those those valley parts, the crevices that are in the

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Speaker 1: pruny skin, and then the bulgy bits that's where all

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Speaker 1: the liquid has been absorbed. So imagine that all over

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Speaker 1: your body. It's not great. It gives rise to potential

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Speaker 1: for bacterial infections. It's bad stuff. Also, your muscles would

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Speaker 1: atrophy after you had been spending that much time we're

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Speaker 1: talking about, you know, two months in in non you know, motionless,

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Speaker 1: you would be in bad shape by the end of that.

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Speaker 1: They don't appear to be at all affected in that way.

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Speaker 1: They cough a bit and that's it. Yeah, Sam Neil's character,

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Speaker 1: who is not used to it, kind of stumbles a

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Speaker 1: little bit and like isn't sure if he wants coffee,

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Speaker 1: And that's that's about the that's the worst problem he has.

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Speaker 1: But the other side of it, the whole thirty G issue. So,

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Speaker 1: first of all, the the record for enduring gravitational forces

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Speaker 1: goes to UH, to John Stapp who for a very

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Speaker 1: very short moment experienced a force of forty six point

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Speaker 1: two gs. He was doing UH acceleration tests. You know,

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Speaker 1: this was part of the whole like how much can

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Speaker 1: a person endure um turns out, you know, anything above

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Speaker 1: say twenty geez or so you're talking eyeballs out gravitational forces.

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Speaker 1: That's what they refer to it as. By the way, guys,

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Speaker 1: so at four six point two his eyeball stayed in

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Speaker 1: his head. They didn't pop out. That's a relief, but

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Speaker 1: he did suffer permanent eye damage. He had vision problems

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Speaker 1: for the rest of his life. He did live a

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Speaker 1: good long while after that. It wasn't like he you know,

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Speaker 1: suffered serious health issues that led to his death. But

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Speaker 1: he did have serious health issues, they just were chronic

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Speaker 1: and lasted, you know, for the rest of his life.

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Speaker 1: So uh, but at for the six point two g's

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Speaker 1: even at that incredible amount of force supply to you,

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Speaker 1: your skull will not liquefy. Your brains and eyeballs might

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Speaker 1: if if you're exposed to it for long enough period

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Speaker 1: of time, you know, so a certain fifty two days,

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Speaker 1: like a couple of months, Yeah, you might have some issues,

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Speaker 1: uh at that point. So yes, it would be deadly. However,

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Speaker 1: I'm pretty sure that submerging someone in liquid would not

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Speaker 1: mean that you had to get out of jail free

377
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Speaker 1: card for enduring that amount of force, especially not water.

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Speaker 1: I don't think that's how it works. No, if you

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Speaker 1: if you were suddenly put under the ocean at a

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00:19:56,520 --> 00:19:59,480
Speaker 1: depth where the pressure would be enough to crush you, you

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00:19:59,400 --> 00:20:02,520
Speaker 1: you still get rushed, even if you know the whole

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Speaker 1: thing in the abyss where they have to breathe in

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00:20:04,440 --> 00:20:08,000
Speaker 1: the liquid oxygen is meant to say that if you

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Speaker 1: have yeah, if you have air inside your lungs, then

385
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Speaker 1: that's going to pop your lungs. But by putting liquid

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Speaker 1: you can endure more pressure, you still are not able

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Speaker 1: to endure endless amounts of pressure, So I'm not sure

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Speaker 1: that that would necessarily help. But then that brings us

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Speaker 1: to the kind of computer devices they use, which are tablets. Yeah,

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Speaker 1: and I think that it's a pretty Again, it's a

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Speaker 1: pretty good estimation of what they were going to have.

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Speaker 1: And you know, no one working on this movie clearly

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Speaker 1: had talked to Steve Jobs, and I knew that the

394
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Speaker 1: iPad was going to come out. Yeah, we U seven.

395
00:20:43,320 --> 00:20:46,240
Speaker 1: That might have been a little premature. Yeah, yeah, I

396
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Speaker 1: mean it's they use tablet computers. I think by twenty

397
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Speaker 1: four you will probably have moved beyond your basic tablet.

398
00:20:52,320 --> 00:20:55,400
Speaker 1: But again, you're extrapolating from now as opposed to from

399
00:20:56,359 --> 00:20:57,800
Speaker 1: That's another thing that I'm willing to give them a

400
00:20:57,800 --> 00:20:59,639
Speaker 1: pass on due to the fact that all of the

401
00:20:59,680 --> 00:21:03,040
Speaker 1: tech on their ship, which I think is purposefully clunky,

402
00:21:03,119 --> 00:21:05,840
Speaker 1: and I think it's for purely aesthetic reasons. But um,

403
00:21:06,160 --> 00:21:07,840
Speaker 1: but I can excuse it by the fact that all

404
00:21:07,880 --> 00:21:09,679
Speaker 1: of the tech on their ship needs to withstand the

405
00:21:09,720 --> 00:21:14,880
Speaker 1: same forces, these incredible skull liquefying forces. Um and so

406
00:21:14,920 --> 00:21:17,080
Speaker 1: that therefore, if it's a little bit clunky, maybe that's

407
00:21:17,080 --> 00:21:19,959
Speaker 1: why just butting in here to say where It'll be

408
00:21:20,080 --> 00:21:23,119
Speaker 1: right back to talk more about event horizon in just

409
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Speaker 1: a moment, But first let's take a quick break. Now,

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Speaker 1: let's get back to event horizon, and let's finally talk

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Speaker 1: about this gravity drive thing. Yes, it's it's bizarre. Well okay,

412
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Speaker 1: so so we hear the scientific explanation of it before

413
00:21:43,000 --> 00:21:45,720
Speaker 1: we ever see the thing, Yes, we do. He says

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Speaker 1: that the gravity drive will create an infinite curvature of space,

415
00:21:50,960 --> 00:21:54,560
Speaker 1: resulting in a singularity. And uh, here's the thing, guys,

416
00:21:54,680 --> 00:21:57,600
Speaker 1: that's a real thing. Singularity infinite, well real in the

417
00:21:57,640 --> 00:22:00,440
Speaker 1: sense of this is how we understand black holes right now,

418
00:22:00,480 --> 00:22:06,560
Speaker 1: according to general relativity, right, yeah, this is absolutely a

419
00:22:06,600 --> 00:22:09,600
Speaker 1: concept that is based in reality. Now, super proud of

420
00:22:09,600 --> 00:22:13,120
Speaker 1: the way that they described it. The scientist character goes

421
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Speaker 1: into this kind of long spiel and and all of

422
00:22:15,160 --> 00:22:18,880
Speaker 1: the other guy so like go like in English please, yeah,

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Speaker 1: And I kind of wish that they had let him

424
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Speaker 1: go for another half hour because I could have listened

425
00:22:22,280 --> 00:22:25,000
Speaker 1: to this hilarious because first he says, well in layman's terms,

426
00:22:25,040 --> 00:22:27,560
Speaker 1: and it's really pretty simple. I mean, it's the simplest

427
00:22:27,560 --> 00:22:29,959
Speaker 1: description of a black hole you can get to without

428
00:22:30,160 --> 00:22:33,240
Speaker 1: super dumbing it down, which he ultimately does do. Yeah,

429
00:22:34,040 --> 00:22:37,679
Speaker 1: but but it's he's he describes a retaining magnetic field

430
00:22:37,720 --> 00:22:41,680
Speaker 1: focusing a narrow beam of gravitans to fold space time. Yeah,

431
00:22:41,920 --> 00:22:45,200
Speaker 1: and then this creates a wormhole through which a ship

432
00:22:45,240 --> 00:22:47,560
Speaker 1: can travel. And the idea of being that you can

433
00:22:47,640 --> 00:22:50,480
Speaker 1: fold space time so that the two points that you

434
00:22:50,560 --> 00:22:54,440
Speaker 1: are interested in, your beginning and your destination are adjacent

435
00:22:54,480 --> 00:22:56,840
Speaker 1: to one another, even if in reality they are across

436
00:22:56,880 --> 00:23:00,000
Speaker 1: the universe from each other. So let's use an example.

437
00:23:00,200 --> 00:23:02,760
Speaker 1: Let's say that you get an old style roadmap. I'm

438
00:23:02,800 --> 00:23:06,840
Speaker 1: talking about a paper roadmap. Okay, you've got a paper roadmap,

439
00:23:06,880 --> 00:23:09,400
Speaker 1: and you are you want to travel between New York

440
00:23:09,440 --> 00:23:13,280
Speaker 1: City and Los Angeles, California. And normally you would have

441
00:23:13,320 --> 00:23:16,320
Speaker 1: to trace a pathway that would go along highways, and

442
00:23:16,359 --> 00:23:19,280
Speaker 1: you would travel thousands of miles. But what if you

443
00:23:19,280 --> 00:23:21,960
Speaker 1: could just fold the roadmap so that New York City

444
00:23:21,960 --> 00:23:25,320
Speaker 1: and Los Angeles were touching one another on the two sides,

445
00:23:25,720 --> 00:23:28,320
Speaker 1: and then you were able to magically jump between New

446
00:23:28,359 --> 00:23:31,520
Speaker 1: York City and Los Angeles. Then unfold the map so

447
00:23:31,560 --> 00:23:33,919
Speaker 1: it's back to its regular space. Suddenly it looks like

448
00:23:33,960 --> 00:23:37,000
Speaker 1: you've traveled faster than light. You have crossed thousands of

449
00:23:37,040 --> 00:23:41,880
Speaker 1: miles in an instant, apparently violating Einstein's theory of relativity,

450
00:23:41,920 --> 00:23:44,879
Speaker 1: except for the part where Einstein and Rosen and the

451
00:23:45,119 --> 00:23:47,520
Speaker 1: nineteen thirties I believe came up with a concept of

452
00:23:47,560 --> 00:23:50,320
Speaker 1: wormholes that allows for this, which says that if you

453
00:23:50,359 --> 00:23:53,720
Speaker 1: have um a mass on that little New York blip

454
00:23:53,760 --> 00:23:56,720
Speaker 1: and a mass on the l A blip that are

455
00:23:57,240 --> 00:24:01,840
Speaker 1: that are both massive enough to push spacetime towards itself

456
00:24:01,960 --> 00:24:05,640
Speaker 1: in in the way that spacetime is hypothetically a folded

457
00:24:05,920 --> 00:24:09,600
Speaker 1: moving sheet of spacetime because matter curves space time, and

458
00:24:09,640 --> 00:24:12,760
Speaker 1: spacetime determines how matter moves. And then eventually you're going

459
00:24:12,800 --> 00:24:15,399
Speaker 1: to get these two points touching. And then if they

460
00:24:15,400 --> 00:24:17,919
Speaker 1: were touching enough that they could break through, essentially you're

461
00:24:17,920 --> 00:24:21,800
Speaker 1: talking of them. You're removing you're removing distance. Right, You're

462
00:24:21,840 --> 00:24:24,280
Speaker 1: you're no longer traveling because you're not traveling faster than

463
00:24:24,359 --> 00:24:27,080
Speaker 1: light at that moment. At that moment, those two distances

464
00:24:27,119 --> 00:24:30,119
Speaker 1: are touching. So are those two points are touching, So

465
00:24:30,160 --> 00:24:33,080
Speaker 1: there isn't a distance between them. If there were distance

466
00:24:33,080 --> 00:24:34,600
Speaker 1: between the men, you move faster than light. That's what

467
00:24:34,680 --> 00:24:38,639
Speaker 1: Ninstein says, Hey, stop breaking the law. All right, So

468
00:24:39,760 --> 00:24:44,119
Speaker 1: let's talk about how is this related to actual real

469
00:24:44,320 --> 00:24:48,479
Speaker 1: world physics. So from what we understand what black holes,

470
00:24:49,040 --> 00:24:52,080
Speaker 1: here's the deal. You gotta you got a star that's

471
00:24:52,080 --> 00:24:55,560
Speaker 1: at least eight solar masses are larger, and as that

472
00:24:55,640 --> 00:24:58,800
Speaker 1: star dies, it loses energy, the it begins to collapse

473
00:24:58,880 --> 00:25:01,439
Speaker 1: in on itself, and so it starts to collapse in

474
00:25:01,720 --> 00:25:06,480
Speaker 1: gravitational forces get stronger. You get this tiny point that

475
00:25:06,760 --> 00:25:09,960
Speaker 1: gathers all the mass. We usually refer to it in

476
00:25:10,040 --> 00:25:14,399
Speaker 1: math as being a point that has zero volume, but

477
00:25:14,520 --> 00:25:17,280
Speaker 1: because there is mass within that zero volume and as

478
00:25:17,359 --> 00:25:21,200
Speaker 1: infinite density. So you've got this point of infinite density

479
00:25:21,520 --> 00:25:26,600
Speaker 1: that's creating this incredible gravitational pull in a large region

480
00:25:26,640 --> 00:25:30,160
Speaker 1: around it. Now we define the region around it where

481
00:25:30,320 --> 00:25:33,440
Speaker 1: let's say there's a let's say there's an imaginary boundary

482
00:25:33,520 --> 00:25:35,879
Speaker 1: that you can see around a black hole, which you

483
00:25:36,040 --> 00:25:38,920
Speaker 1: which there would not be. Yeah, but let's let's imagine

484
00:25:38,920 --> 00:25:41,679
Speaker 1: that you can see this boundary, and you know that

485
00:25:41,720 --> 00:25:45,480
Speaker 1: boundary represents the the section of space where if you

486
00:25:45,520 --> 00:25:48,359
Speaker 1: were to pass beyond that boundary, you would no longer

487
00:25:48,400 --> 00:25:51,280
Speaker 1: be able to escape the gravitational pull of that black hole.

488
00:25:51,480 --> 00:25:53,520
Speaker 1: This is the point of no return. Yeah, this is

489
00:25:53,560 --> 00:25:57,640
Speaker 1: this is the point where even light itself cannot escape

490
00:25:57,680 --> 00:26:01,080
Speaker 1: the black hole. It just will go right towards the singularity,

491
00:26:01,119 --> 00:26:03,960
Speaker 1: depending upon what the singularity, how the singularity is formed,

492
00:26:03,960 --> 00:26:05,960
Speaker 1: will get into. Then a second yeah, um, so that

493
00:26:06,119 --> 00:26:09,000
Speaker 1: point that that that area, that region is called the

494
00:26:09,040 --> 00:26:11,320
Speaker 1: event horizon. And I would like to stay for the

495
00:26:11,320 --> 00:26:14,520
Speaker 1: record right now. The terrible idea it is to name

496
00:26:14,560 --> 00:26:16,960
Speaker 1: your ship after the point of no return. Yeah, it's

497
00:26:17,000 --> 00:26:21,600
Speaker 1: like it's like calling calling your your boat the Iceberg magnet.

498
00:26:21,720 --> 00:26:23,400
Speaker 1: You know, you don't want to call your boat Iceberg

499
00:26:23,440 --> 00:26:26,760
Speaker 1: magnet or perhaps akin to naming your undersea paradise after

500
00:26:26,840 --> 00:26:28,960
Speaker 1: something out of the Book of Revelation. It's just a

501
00:26:29,119 --> 00:26:32,440
Speaker 1: terrible or even atlantis. Yeah, you don't, you know, you

502
00:26:32,480 --> 00:26:35,159
Speaker 1: don't want to necessarily go with that connotation if you

503
00:26:35,200 --> 00:26:36,879
Speaker 1: think about it for too long. But yes, so the

504
00:26:36,920 --> 00:26:39,880
Speaker 1: event horizon is named after this region of space where

505
00:26:39,880 --> 00:26:42,919
Speaker 1: if you pass through it, you are pretty much guaranteed

506
00:26:42,960 --> 00:26:44,920
Speaker 1: to go into the Singularity. You want to say pretty

507
00:26:45,000 --> 00:26:47,639
Speaker 1: much guaranteed. There are some caveats, all right. So because

508
00:26:47,640 --> 00:26:50,520
Speaker 1: there are different types of black holes, we quantify and

509
00:26:50,600 --> 00:26:53,880
Speaker 1: we classify black holes based on three basic features. These

510
00:26:53,920 --> 00:26:56,360
Speaker 1: are pretty much the only features black holes have according

511
00:26:56,400 --> 00:27:01,720
Speaker 1: to our theory of relativity, because they're weird things. They

512
00:27:01,720 --> 00:27:04,719
Speaker 1: have mass, they may or may not have spin, and

513
00:27:04,760 --> 00:27:08,360
Speaker 1: they may or may not have a charge. So the

514
00:27:08,400 --> 00:27:12,240
Speaker 1: basic black hole that is probably the simplest version, although

515
00:27:12,280 --> 00:27:15,320
Speaker 1: not the most commonly found in the universe, is the

516
00:27:15,400 --> 00:27:18,880
Speaker 1: Swortz Child black hole, which has no spin. It does

517
00:27:18,960 --> 00:27:22,120
Speaker 1: have an event horizon, and essentially this this black hole,

518
00:27:22,200 --> 00:27:24,359
Speaker 1: you can just think of it as a single point

519
00:27:24,520 --> 00:27:27,879
Speaker 1: in space of that infinite density that is pulling you

520
00:27:27,920 --> 00:27:30,600
Speaker 1: toward it if you get beyond that event horizon. So

521
00:27:31,280 --> 00:27:34,280
Speaker 1: it's just everything goes towards the center of that point.

522
00:27:34,359 --> 00:27:36,920
Speaker 1: You don't have any rotation there. You know, you can

523
00:27:36,960 --> 00:27:41,680
Speaker 1: try to use thrust to keep you from accelerating into

524
00:27:41,760 --> 00:27:44,360
Speaker 1: the point, but it's just after a point, it's there's

525
00:27:44,359 --> 00:27:47,280
Speaker 1: no point in doing that anymore either. Um you're done.

526
00:27:47,359 --> 00:27:51,960
Speaker 1: Spaghetification is on the way, which is where that's the

527
00:27:51,960 --> 00:27:54,280
Speaker 1: the idea that as you get closer to the black

528
00:27:54,320 --> 00:27:59,840
Speaker 1: holes gravity, things elongate and become noodle like, thus the spaghetification.

529
00:28:00,320 --> 00:28:04,199
Speaker 1: It is probably not terribly pleasant, although I'm guessing you

530
00:28:04,200 --> 00:28:06,320
Speaker 1: would not be alive at that point anything. I'm thinking

531
00:28:06,400 --> 00:28:11,320
Speaker 1: not um, but I think more frequently theoretical physicists say

532
00:28:11,359 --> 00:28:13,879
Speaker 1: that this probably happens more frequently, and also certainly more

533
00:28:13,920 --> 00:28:18,320
Speaker 1: frequently in films. Is predicted the the care black hole. Yes,

534
00:28:18,440 --> 00:28:22,000
Speaker 1: the Care k e r R. So the Care black

535
00:28:22,040 --> 00:28:26,840
Speaker 1: hole is formed from solar masses. Uh. And because stars

536
00:28:27,200 --> 00:28:30,320
Speaker 1: usually are rotating, there's a rotational force that has to

537
00:28:30,359 --> 00:28:33,520
Speaker 1: conserve the angular momentum. This is this is another law

538
00:28:33,600 --> 00:28:35,480
Speaker 1: that you have to follow. It has to conserve that

539
00:28:35,520 --> 00:28:38,520
Speaker 1: angular momentum. So the black hole itself is spinning, right,

540
00:28:38,560 --> 00:28:40,960
Speaker 1: which is where you get those pretty graphics with with

541
00:28:41,000 --> 00:28:44,000
Speaker 1: that kind of rotational cloud of stuff falling into a

542
00:28:44,000 --> 00:28:46,160
Speaker 1: black The black hole at the center of the Milky

543
00:28:46,240 --> 00:28:50,600
Speaker 1: Way is rotating. Therefore, it's dragging space as it rotates,

544
00:28:50,680 --> 00:28:53,800
Speaker 1: which causes this rotational force that ends up affecting the

545
00:28:53,960 --> 00:28:58,800
Speaker 1: entire galaxy. It's pretty remarkable stuff, right. Well. The other

546
00:28:58,960 --> 00:29:02,080
Speaker 1: interesting thing about this is that that spinning means the

547
00:29:02,200 --> 00:29:04,960
Speaker 1: singularity at the center of a care hole is not

548
00:29:05,480 --> 00:29:10,120
Speaker 1: a single point like it is in schwartz Child. Instead,

549
00:29:10,200 --> 00:29:14,760
Speaker 1: it's an infinitely thin ring that is also spinning, and

550
00:29:15,040 --> 00:29:17,400
Speaker 1: they are a little more complicated. They don't have just

551
00:29:17,600 --> 00:29:20,440
Speaker 1: the event horizon. They also have something called the ergosphere.

552
00:29:20,480 --> 00:29:23,800
Speaker 1: This is the region of space that is distorted because

553
00:29:24,320 --> 00:29:28,120
Speaker 1: of the rotational force of this black hole. So this

554
00:29:28,160 --> 00:29:30,840
Speaker 1: is an overly simple model that I'm going to give you.

555
00:29:30,920 --> 00:29:34,640
Speaker 1: It does not directly relate to how we see this

556
00:29:34,720 --> 00:29:38,360
Speaker 1: happening in in the universe. But imagine putting your hand

557
00:29:38,920 --> 00:29:42,040
Speaker 1: in a container of tranquil water and then moving your

558
00:29:42,040 --> 00:29:45,360
Speaker 1: hand around and seeing how it disturbs the water. The

559
00:29:45,520 --> 00:29:48,360
Speaker 1: ergosphere is kind of like that. It's this region where

560
00:29:48,400 --> 00:29:52,320
Speaker 1: that rotational force is dragging the space time and distorting

561
00:29:52,320 --> 00:29:55,600
Speaker 1: it as a result, which is kind of funky. Um.

562
00:29:55,640 --> 00:30:00,240
Speaker 1: There's also another little region that's the static limit, that's

563
00:30:00,280 --> 00:30:02,960
Speaker 1: the boundary between the ergosphere and normal space time that

564
00:30:03,120 --> 00:30:07,400
Speaker 1: is not being directly dragged and distorted by this black hole. Well,

565
00:30:07,400 --> 00:30:12,080
Speaker 1: the interesting thing about this theory is that one interesting

566
00:30:12,160 --> 00:30:14,440
Speaker 1: thing is that some people have proposed the hypothesis that

567
00:30:14,840 --> 00:30:17,160
Speaker 1: if you were to encounter one of these black holes

568
00:30:17,680 --> 00:30:20,920
Speaker 1: and you were able to enter the event horizon in

569
00:30:20,960 --> 00:30:24,320
Speaker 1: a particular way where you could sling shot around that

570
00:30:24,480 --> 00:30:28,480
Speaker 1: thin rotating singularity. You might not fall into the singularity.

571
00:30:28,480 --> 00:30:30,440
Speaker 1: You might get shot out again, but you get shot

572
00:30:30,440 --> 00:30:33,280
Speaker 1: out at a different point in space time. Thus you

573
00:30:33,280 --> 00:30:36,040
Speaker 1: would have this wormhole theory. I don't know that you

574
00:30:36,080 --> 00:30:39,280
Speaker 1: can necessarily control exactly where you would end up or

575
00:30:39,360 --> 00:30:41,680
Speaker 1: when you would end up, because spacetime. And there's also

576
00:30:41,720 --> 00:30:45,000
Speaker 1: the possibility this could allow for time travel, so that

577
00:30:45,440 --> 00:30:48,240
Speaker 1: increases the Grandfather paradox, and there's other issues that we'd

578
00:30:48,240 --> 00:30:50,440
Speaker 1: have to get into. That's an entirely different podcast. I

579
00:30:50,640 --> 00:30:54,080
Speaker 1: don't recommend trying that without about time. I tried doing it,

580
00:30:54,160 --> 00:30:56,400
Speaker 1: but then I went back in time and stopped myself,

581
00:30:56,440 --> 00:30:59,200
Speaker 1: so I'm like, I just can't guys. I mean, I'll

582
00:30:59,240 --> 00:31:01,720
Speaker 1: just do it again. And the way back machine is

583
00:31:01,760 --> 00:31:04,000
Speaker 1: still in Mongolia, so we're kind of stuck. But so

584
00:31:04,120 --> 00:31:07,120
Speaker 1: this is a hypothetical possibility, yes, I mean, and and

585
00:31:07,360 --> 00:31:10,720
Speaker 1: all of this, we should say is based upon theoretical astrophysics,

586
00:31:10,760 --> 00:31:13,240
Speaker 1: which if you couldn't tell from the name, I mean,

587
00:31:13,320 --> 00:31:15,400
Speaker 1: we've never gone out in a ship and checked out

588
00:31:15,400 --> 00:31:17,160
Speaker 1: a black hole and been like, oh, that's how it works.

589
00:31:17,520 --> 00:31:19,720
Speaker 1: It's you know, this is all based on the way

590
00:31:19,720 --> 00:31:24,200
Speaker 1: that we observe electromagnetic radiation behaving in spaces around what

591
00:31:24,240 --> 00:31:27,120
Speaker 1: we have called black holes. Yeah, and and it's also

592
00:31:27,160 --> 00:31:30,160
Speaker 1: based on a lot of math that we've tried to

593
00:31:30,200 --> 00:31:33,960
Speaker 1: make work out. But things like infinite density and zero volume.

594
00:31:34,120 --> 00:31:37,200
Speaker 1: It's really hard to deal with that, so it's impossible

595
00:31:37,240 --> 00:31:39,400
Speaker 1: for us to truly conceive of it. It's beyond our

596
00:31:39,440 --> 00:31:42,880
Speaker 1: our ability to do so. And in fact, some people

597
00:31:42,920 --> 00:31:45,200
Speaker 1: have gone so far and I don't think it's that

598
00:31:45,400 --> 00:31:47,800
Speaker 1: far really, but to say that singularity is really more

599
00:31:47,840 --> 00:31:51,479
Speaker 1: of a placeholder. Like the terms we're using our placeholders

600
00:31:51,520 --> 00:31:55,120
Speaker 1: that are good enough for now, but we need better

601
00:31:55,240 --> 00:31:59,400
Speaker 1: clarification and some integration of the quantum model of physics.

602
00:31:59,760 --> 00:32:03,400
Speaker 1: My end up clarifying these terms so that we we

603
00:32:03,440 --> 00:32:06,440
Speaker 1: don't just have these vague placeholders. Right there is speaking

604
00:32:06,480 --> 00:32:11,680
Speaker 1: of quantum stuff there. Scientists start theorizing that this is

605
00:32:11,720 --> 00:32:13,640
Speaker 1: happening at the quantum level, like a like at the

606
00:32:13,680 --> 00:32:17,440
Speaker 1: plunk kind of level of particles. Wormholes are being created,

607
00:32:18,000 --> 00:32:20,920
Speaker 1: uh a lot. Yeah, Well, that was one of the

608
00:32:20,920 --> 00:32:23,360
Speaker 1: things that they talked about with the large hadron colliders,

609
00:32:23,440 --> 00:32:26,840
Speaker 1: that these collisions could result in tiny little black holes

610
00:32:26,880 --> 00:32:30,240
Speaker 1: that are on the you know, atomic or smaller scale

611
00:32:30,680 --> 00:32:33,160
Speaker 1: and last less than a you know, like a like

612
00:32:33,200 --> 00:32:35,560
Speaker 1: a nanosecond long. That's how long they last. But it

613
00:32:35,600 --> 00:32:37,240
Speaker 1: may of course that knowing that they were going to

614
00:32:37,320 --> 00:32:41,440
Speaker 1: make some black holes, that made some media outlets go, oh,

615
00:32:41,720 --> 00:32:44,080
Speaker 1: we're all gonna get sucked into a black hole and die.

616
00:32:44,800 --> 00:32:46,960
Speaker 1: And thus we had things like, you know, has the

617
00:32:46,960 --> 00:32:49,320
Speaker 1: world been destroyed by the large Hadron collider and you

618
00:32:49,400 --> 00:32:52,800
Speaker 1: go to the u r L and it would say no. Um.

619
00:32:52,880 --> 00:32:55,680
Speaker 1: But one interesting thing, there's a paper published in the

620
00:32:55,720 --> 00:32:59,880
Speaker 1: Physical Review Letters recently by Rodolfo Gambini and Jorge Pool,

621
00:33:00,600 --> 00:33:04,200
Speaker 1: and it was about a quantum black hole model in

622
00:33:04,240 --> 00:33:06,600
Speaker 1: which the black hole doesn't have a singularity, but rather

623
00:33:06,880 --> 00:33:10,120
Speaker 1: is a gateway. So this gateway would put you into

624
00:33:10,480 --> 00:33:15,280
Speaker 1: possibly another universe, not necessarily another dimension, but another universe. Uh,

625
00:33:16,400 --> 00:33:19,520
Speaker 1: there's some issues with this that we'd have to explore.

626
00:33:19,520 --> 00:33:21,200
Speaker 1: It may very well be true, and it may be

627
00:33:21,400 --> 00:33:24,840
Speaker 1: that this is the beginning of replacing those placeholders like

628
00:33:24,880 --> 00:33:28,800
Speaker 1: singularity with more specific terms. But some of the problems

629
00:33:28,840 --> 00:33:32,440
Speaker 1: involved things like, well, you probably still wouldn't survive any

630
00:33:32,520 --> 00:33:35,440
Speaker 1: kind of trip through a black hole, the tidal forces

631
00:33:35,480 --> 00:33:38,040
Speaker 1: you would undergo as you would go through this intense

632
00:33:38,040 --> 00:33:41,080
Speaker 1: gravity would still squish you and kill you if you

633
00:33:41,120 --> 00:33:43,920
Speaker 1: did somehow find a way to survive. There's no guarantee

634
00:33:43,920 --> 00:33:46,640
Speaker 1: that what universe you would UH end up in would

635
00:33:46,680 --> 00:33:48,800
Speaker 1: have the same laws of physics that our universe has,

636
00:33:48,880 --> 00:33:51,760
Speaker 1: and thus you end up dying anyway because physics don't

637
00:33:51,760 --> 00:33:55,360
Speaker 1: work um. And then there's the problem of, well, if

638
00:33:55,400 --> 00:33:58,080
Speaker 1: there are black holes in various universes, they're connecting each

639
00:33:58,080 --> 00:34:00,720
Speaker 1: other together, where are the outputs, because we don't see

640
00:34:00,760 --> 00:34:03,400
Speaker 1: any in our universe. Where are the white holes? These

641
00:34:03,440 --> 00:34:06,160
Speaker 1: these holes where matter from the black hole on the

642
00:34:06,160 --> 00:34:09,240
Speaker 1: other end is being spewed out into the universe. Because

643
00:34:09,480 --> 00:34:11,880
Speaker 1: if the black hole end is pulling everything in, the

644
00:34:11,920 --> 00:34:14,360
Speaker 1: white hole end must be pushing everything back out. And

645
00:34:14,360 --> 00:34:16,800
Speaker 1: if we don't see evidence of that in our universe,

646
00:34:17,080 --> 00:34:20,480
Speaker 1: either that means that we only have exits, no entrances,

647
00:34:20,600 --> 00:34:24,120
Speaker 1: or there's some other problems with this UH this UH theory,

648
00:34:24,239 --> 00:34:26,360
Speaker 1: or it may just be that we haven't found a

649
00:34:26,360 --> 00:34:28,880
Speaker 1: way to observe it yet. I don't know. Maybe it

650
00:34:28,880 --> 00:34:32,160
Speaker 1: turns out the white holes are the source of all

651
00:34:32,280 --> 00:34:36,759
Speaker 1: dark dark matter, which represents more mass than anything else

652
00:34:36,800 --> 00:34:38,799
Speaker 1: we can observe. We don't know what dark matter is.

653
00:34:39,280 --> 00:34:42,000
Speaker 1: Maybe that's it. If it turns out to be that,

654
00:34:42,200 --> 00:34:45,880
Speaker 1: you can mail my Nobel Prize our addresses on the website.

655
00:34:46,480 --> 00:34:49,560
Speaker 1: So at any rate, we're going to assume that in

656
00:34:49,560 --> 00:34:52,200
Speaker 1: the movie they want to open up a care black

657
00:34:52,239 --> 00:34:54,759
Speaker 1: hole k E er R, not c A r E,

658
00:34:55,560 --> 00:34:58,120
Speaker 1: and they're going to use that to zip over to

659
00:34:58,200 --> 00:35:01,680
Speaker 1: some other part of the universe, and that things went wrong.

660
00:35:02,160 --> 00:35:04,399
Speaker 1: So I think you think it's safe to say that

661
00:35:04,400 --> 00:35:06,439
Speaker 1: that's more or less what they meant based upon what's

662
00:35:06,440 --> 00:35:09,640
Speaker 1: said in the film. I feel like that's extrapolating, but

663
00:35:09,760 --> 00:35:11,719
Speaker 1: a fair extrapolation. I mean, you know, I think that

664
00:35:11,760 --> 00:35:14,719
Speaker 1: he was talking about a pretty straight wormhole kind of situation. Yeah,

665
00:35:14,800 --> 00:35:17,839
Speaker 1: but I'm just trying to justify it anyway. Again. I mean,

666
00:35:17,920 --> 00:35:21,240
Speaker 1: it could be that that the science and event horizon

667
00:35:21,480 --> 00:35:23,920
Speaker 1: back in was ahead of its time, and that the

668
00:35:24,000 --> 00:35:27,560
Speaker 1: quantum research that we're talking about right now ends up

669
00:35:27,600 --> 00:35:29,920
Speaker 1: being exactly what or more or less what they were

670
00:35:29,920 --> 00:35:31,759
Speaker 1: saying in that movie, which would be kind of cool

671
00:35:31,800 --> 00:35:33,400
Speaker 1: because then you're like, well, the science was wrong, but

672
00:35:33,440 --> 00:35:36,759
Speaker 1: then it was right. Again based upon our understanding. Well,

673
00:35:36,760 --> 00:35:38,759
Speaker 1: we've got a lot more to say now that we've

674
00:35:38,760 --> 00:35:40,520
Speaker 1: got the black hole stuff out of the way. But

675
00:35:40,600 --> 00:35:42,560
Speaker 1: before we do, let's take another quick break to thank

676
00:35:42,560 --> 00:35:45,960
Speaker 1: our sponsor. Now you've probably tried Hulu dot Com. Now

677
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678
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679
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681
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692
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694
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695
00:36:35,880 --> 00:36:39,280
Speaker 1: sent you go to Hulu Plus dot Com Forward slash Tech. Now,

696
00:36:39,600 --> 00:36:41,520
Speaker 1: you know, one of the things I love about Hulu

697
00:36:41,560 --> 00:36:45,040
Speaker 1: Plus is getting access to old shows that I did

698
00:36:45,200 --> 00:36:47,600
Speaker 1: you know, I I remember loving when they were on,

699
00:36:47,760 --> 00:36:50,799
Speaker 1: but hadn't really revisited in a long time. One of those,

700
00:36:50,840 --> 00:36:54,600
Speaker 1: of course, is Buffy the Vampire Slayer. Uh. Josh Sweden

701
00:36:54,719 --> 00:36:57,799
Speaker 1: really made his name with this series, and it was

702
00:36:58,480 --> 00:37:03,000
Speaker 1: really it changed television. There's so many shows now that

703
00:37:03,120 --> 00:37:06,279
Speaker 1: obviously follow in that same kind of model. So if

704
00:37:06,320 --> 00:37:09,480
Speaker 1: you never actually seen that series, I highly recommend it

705
00:37:09,520 --> 00:37:11,799
Speaker 1: go check that out. All right, so let's get back

706
00:37:11,840 --> 00:37:15,080
Speaker 1: to the movie. Now. We've talked about the gravity drive,

707
00:37:15,120 --> 00:37:17,439
Speaker 1: we talked about that iron propulsion, we talked about whether

708
00:37:17,520 --> 00:37:21,200
Speaker 1: or not your skull would liquefy. Surely we've gotten through

709
00:37:21,200 --> 00:37:24,720
Speaker 1: all the problems, right, We were actually still pretty early

710
00:37:24,719 --> 00:37:26,760
Speaker 1: in the movie. This only takes us up through before

711
00:37:26,800 --> 00:37:29,960
Speaker 1: they're even on the titular event horizons. We've got a

712
00:37:29,960 --> 00:37:33,560
Speaker 1: lot of ground, We've got a lot of space to cover. Yeah, okay, alright,

713
00:37:33,600 --> 00:37:36,520
Speaker 1: So alright. There's a good side and a bad side

714
00:37:36,560 --> 00:37:40,200
Speaker 1: to this, Lauren. The good side is that pretty soon

715
00:37:40,239 --> 00:37:43,040
Speaker 1: we're gonna be talking about supernatural stuff which has nothing

716
00:37:43,040 --> 00:37:45,600
Speaker 1: to do with technology, and then we're okay, right, right,

717
00:37:45,600 --> 00:37:48,880
Speaker 1: because when you start talking about hell dimensions invading, I'm like, well,

718
00:37:48,920 --> 00:37:51,080
Speaker 1: I'll give that a pass because I don't know. I

719
00:37:51,080 --> 00:37:54,239
Speaker 1: don't have any data how that would work. It doesn't

720
00:37:54,280 --> 00:37:57,360
Speaker 1: involve technology or any science that we understand at this moment,

721
00:37:57,400 --> 00:38:00,319
Speaker 1: so therefore we cannot comment on it. However, there some

722
00:38:00,480 --> 00:38:02,799
Speaker 1: science stuff we can talk about. Yeah, okay. So so

723
00:38:02,880 --> 00:38:05,640
Speaker 1: when our search and rescue crew of Lewis and Clark

724
00:38:06,200 --> 00:38:09,719
Speaker 1: arrived at the event horizon, it is I guess it's

725
00:38:09,760 --> 00:38:12,279
Speaker 1: supposed to be an orbit of Neptune. That's that was

726
00:38:12,400 --> 00:38:14,160
Speaker 1: what I felt it was supposed to be. It's in

727
00:38:14,200 --> 00:38:17,239
Speaker 1: the orbit around Neptune, but it's it's kind of within

728
00:38:17,760 --> 00:38:20,680
Speaker 1: Neptune's atmosphere because there are all of these big storms

729
00:38:20,719 --> 00:38:23,279
Speaker 1: going on, and it is accurate that there would be

730
00:38:23,320 --> 00:38:27,080
Speaker 1: big storms on Neptune. Um. It is much much like Jupiter.

731
00:38:27,120 --> 00:38:31,760
Speaker 1: It has these very giant, very violent, um slightly quicker storms.

732
00:38:32,040 --> 00:38:35,840
Speaker 1: The storms on Jupiter are much longer lasting. Right. But

733
00:38:35,960 --> 00:38:37,960
Speaker 1: here's the problem is that if that ship were in

734
00:38:38,040 --> 00:38:40,920
Speaker 1: fact in within the atmosphere, the atmosphere would slow the

735
00:38:40,960 --> 00:38:43,840
Speaker 1: ship's pathway down so much that would have just the

736
00:38:43,920 --> 00:38:46,040
Speaker 1: orbit would have decayed much more rapidly. The ship would

737
00:38:46,040 --> 00:38:50,680
Speaker 1: be crashing into Neptune. So the clouds there are a

738
00:38:50,680 --> 00:38:53,120
Speaker 1: problem because it would suggest that it's too late the

739
00:38:54,160 --> 00:38:56,640
Speaker 1: If it's truly an orbit, it would be above the atmosphere.

740
00:38:57,400 --> 00:39:00,040
Speaker 1: But since it's in the atmosphere, I think that you

741
00:39:00,120 --> 00:39:02,680
Speaker 1: have to say this is for the spooky effect, because

742
00:39:02,680 --> 00:39:05,240
Speaker 1: how can you have a haunted house movie in space

743
00:39:05,280 --> 00:39:10,040
Speaker 1: without a thunderstorm going on outside? Right, I'd say pretty easily. Um,

744
00:39:10,080 --> 00:39:12,080
Speaker 1: you can totally. I mean I've seen Alien and that

745
00:39:12,320 --> 00:39:16,000
Speaker 1: basically work, which isn't a haunted house situation, but still close.

746
00:39:16,080 --> 00:39:18,560
Speaker 1: It's close. I mean, you know, you fall, we're playing

747
00:39:18,600 --> 00:39:22,440
Speaker 1: upon the same primal fears obviously. Um, I'm just amazed

748
00:39:22,480 --> 00:39:26,240
Speaker 1: there weren't space wolves howling outside the windows of the ship.

749
00:39:26,440 --> 00:39:30,080
Speaker 1: But actually there there were enough characters having hallucinations that

750
00:39:30,160 --> 00:39:34,879
Speaker 1: I am I am, I am actually shocked that space bowlves. Yeah, well,

751
00:39:34,920 --> 00:39:36,799
Speaker 1: maybe we missed it because some of those were like

752
00:39:37,440 --> 00:39:40,360
Speaker 1: montages of really fast clips of you know, this just

753
00:39:40,400 --> 00:39:44,839
Speaker 1: looks like a Clive Barker nightmare scenario smashed into half

754
00:39:44,840 --> 00:39:47,279
Speaker 1: a second. So maybe there were some space wolves in there,

755
00:39:47,480 --> 00:39:50,080
Speaker 1: we don't know, but there definitely was a storm. Um.

756
00:39:50,120 --> 00:39:52,640
Speaker 1: If anyone, by the way, wants to photoshops and spacewolves

757
00:39:52,680 --> 00:39:56,040
Speaker 1: into some footage from from the Horizon, I would look

758
00:39:56,080 --> 00:39:59,160
Speaker 1: in at you, Aaron Cooper, and I'm absolutely willing to

759
00:39:59,320 --> 00:40:03,239
Speaker 1: read your name on air. Yeah. So, um, all right,

760
00:40:03,280 --> 00:40:06,600
Speaker 1: what about the way that they before they get onto

761
00:40:06,640 --> 00:40:09,080
Speaker 1: event horizon, they decide to take a look and see

762
00:40:09,080 --> 00:40:12,359
Speaker 1: if there's anything alive on it. They do a life scan, right, Well,

763
00:40:12,400 --> 00:40:15,520
Speaker 1: there's a bunch of life scanning related technology that happens

764
00:40:15,600 --> 00:40:17,960
Speaker 1: in this middle portion of the film. And uh and yes,

765
00:40:18,000 --> 00:40:20,799
Speaker 1: one is from the Lewis and Clark. And then once

766
00:40:20,840 --> 00:40:23,760
Speaker 1: they get onto the ship, they've got these little shiny

767
00:40:23,880 --> 00:40:27,440
Speaker 1: laser related hand devices. Mostly looks like a laser that's

768
00:40:27,440 --> 00:40:30,880
Speaker 1: put through a splitter of some sort, And I'm not

769
00:40:30,920 --> 00:40:36,320
Speaker 1: sure how that would work. Maybe it's uh, I'm thinking thermal,

770
00:40:36,680 --> 00:40:38,960
Speaker 1: that's the closest it was. Something that is warmer than

771
00:40:39,000 --> 00:40:42,160
Speaker 1: the than the surrounding environment would suggest a life form

772
00:40:42,600 --> 00:40:46,040
Speaker 1: or if you've got extremely sensitive audio technology, I suppose

773
00:40:46,120 --> 00:40:49,279
Speaker 1: that you could scan for heartbeats or something like that, right,

774
00:40:49,360 --> 00:40:52,160
Speaker 1: you know. Now we know that in other science fiction

775
00:40:52,760 --> 00:40:55,879
Speaker 1: shows and movies, things like Star Trek, they have life

776
00:40:55,960 --> 00:41:00,000
Speaker 1: form scanning technology that can even identify things like uh, creatures,

777
00:41:00,040 --> 00:41:02,560
Speaker 1: blood type if they have a right or a brain

778
00:41:02,600 --> 00:41:05,799
Speaker 1: wave or something like. Yeah. But there's no explanation here,

779
00:41:05,920 --> 00:41:08,720
Speaker 1: not not that we necessarily expect it. I mean, clearly,

780
00:41:08,760 --> 00:41:11,400
Speaker 1: if this movie were to explain every single piece of

781
00:41:11,400 --> 00:41:15,239
Speaker 1: science and something really long, and I would watch it forever, actually,

782
00:41:15,280 --> 00:41:17,279
Speaker 1: that would be I would love that movie. It would

783
00:41:17,280 --> 00:41:19,319
Speaker 1: be called Arthur C. Clark's Tooth in than One is

784
00:41:19,320 --> 00:41:21,520
Speaker 1: what it would be called. And there'll probably be fewer,

785
00:41:22,200 --> 00:41:26,000
Speaker 1: fewer hell demons, but maybe more space wolves. I'm honestly

786
00:41:26,040 --> 00:41:30,160
Speaker 1: more confused about that that visual of the of the

787
00:41:30,239 --> 00:41:33,080
Speaker 1: split laser thing on board, because if you're using I mean,

788
00:41:33,120 --> 00:41:37,640
Speaker 1: if if it's just a method to let the operator

789
00:41:37,760 --> 00:41:40,240
Speaker 1: know where he's pointing the beam, where she is pointing

790
00:41:40,280 --> 00:41:43,080
Speaker 1: the beam, then then I guess that counts. But otherwise,

791
00:41:43,120 --> 00:41:48,200
Speaker 1: if it's if it's a visual light spectrum analysis, it's

792
00:41:48,200 --> 00:41:50,799
Speaker 1: not going to penetrate anything, and they're clearly trying to

793
00:41:50,800 --> 00:41:53,399
Speaker 1: sweep rooms with it would make it pretty easy, which

794
00:41:53,400 --> 00:41:56,200
Speaker 1: means that you could do something else like use your eyes, right,

795
00:41:56,400 --> 00:41:58,799
Speaker 1: you know those things that each of the characters had

796
00:41:58,840 --> 00:42:02,320
Speaker 1: no well full a while anyway, some of the characters

797
00:42:02,360 --> 00:42:06,560
Speaker 1: don't end up with eyes because spoiler alert, spoiler alert,

798
00:42:06,680 --> 00:42:10,799
Speaker 1: where we're going, we don't need that's That's exactly what

799
00:42:10,840 --> 00:42:14,239
Speaker 1: he says. Uh, So I have here in my notes.

800
00:42:14,320 --> 00:42:16,239
Speaker 1: This is a says, not so much a note as

801
00:42:16,239 --> 00:42:18,600
Speaker 1: an observation. This is just one of those things that

802
00:42:18,600 --> 00:42:20,280
Speaker 1: I picked up on while I was watching the movie.

803
00:42:20,640 --> 00:42:23,719
Speaker 1: The docking bay, that the event horizon, well, that the

804
00:42:23,840 --> 00:42:27,279
Speaker 1: Lewis and Clark uses to access the event horizon is

805
00:42:27,320 --> 00:42:31,520
Speaker 1: for reasons that are never explained. Docking Bay thirteen. It's

806
00:42:31,800 --> 00:42:36,000
Speaker 1: X I I I in Roman numerals, so it's thirteen. Uh.

807
00:42:36,080 --> 00:42:38,879
Speaker 1: The Doctor Weir Sam Neil's character. We didn't name him

808
00:42:38,880 --> 00:42:41,640
Speaker 1: earlier in the podcast, but Lauren reminded me that the

809
00:42:41,719 --> 00:42:43,719
Speaker 1: character does affect have a name. Is not just Sam

810
00:42:43,800 --> 00:42:47,640
Speaker 1: names the character. Um. Dr Weir says that it's the

811
00:42:47,680 --> 00:42:50,160
Speaker 1: main docking bay. So I don't know why your main

812
00:42:50,239 --> 00:42:52,319
Speaker 1: docking bay would be thirteen. I guess this is just

813
00:42:52,360 --> 00:42:54,640
Speaker 1: one of those little you know, winks of the to

814
00:42:54,680 --> 00:42:58,360
Speaker 1: the audience, or you could explain it as being, um

815
00:42:58,520 --> 00:43:03,759
Speaker 1: a representation shin of of how much doctor we are

816
00:43:03,800 --> 00:43:06,359
Speaker 1: need psychiatric help. Yeah, that will get a lot more

817
00:43:06,400 --> 00:43:08,719
Speaker 1: indication of that in a very short while. When they

818
00:43:08,719 --> 00:43:12,360
Speaker 1: get aboard the Event Horizon. So they do the scan.

819
00:43:12,640 --> 00:43:16,240
Speaker 1: It does not come back with any anything that would

820
00:43:16,280 --> 00:43:18,719
Speaker 1: suggest a life form. But then they say, well, we're

821
00:43:18,719 --> 00:43:20,919
Speaker 1: gonna have to do this the old fashioned way, room

822
00:43:20,960 --> 00:43:23,759
Speaker 1: by room. Well, they say that there's these weird like

823
00:43:23,840 --> 00:43:27,120
Speaker 1: kind of amorphous sort of sort of blobs of life

824
00:43:27,120 --> 00:43:29,919
Speaker 1: forms kind of everywhere, and that they're not seeing any

825
00:43:30,000 --> 00:43:32,520
Speaker 1: individual human people, which is what they're looking for. So

826
00:43:32,800 --> 00:43:34,799
Speaker 1: they decided to go onto the ship exactly. So, a

827
00:43:34,800 --> 00:43:38,640
Speaker 1: couple of the guys they create an umbilicus, a pathway

828
00:43:38,680 --> 00:43:41,239
Speaker 1: that will connect the two ships. This is something else

829
00:43:41,239 --> 00:43:43,720
Speaker 1: that confused me, all right, So the Lewis and Clark

830
00:43:43,840 --> 00:43:47,600
Speaker 1: has artificial gravity. The Event Horizon normally would have artificial gravity,

831
00:43:47,640 --> 00:43:51,040
Speaker 1: but that system is down. Exactly, they connect an umbilicus

832
00:43:51,160 --> 00:43:55,799
Speaker 1: between the Lewis and Clark and the Event Horizon. As

833
00:43:55,840 --> 00:43:58,680
Speaker 1: soon as the characters get into the Umbilicus, they're in

834
00:43:58,719 --> 00:44:01,160
Speaker 1: a zero G environment. Back aboard the Lewis and Clark,

835
00:44:01,239 --> 00:44:04,080
Speaker 1: you still have artificial gravity. I'm wondering where you cut

836
00:44:04,080 --> 00:44:08,200
Speaker 1: that off, Like, how does the artificial gravity know literally

837
00:44:08,400 --> 00:44:12,600
Speaker 1: the artificial gravity the gravitons get into your air supply,

838
00:44:13,040 --> 00:44:15,719
Speaker 1: and so if you're not sharing air supplies, then you're

839
00:44:15,719 --> 00:44:19,520
Speaker 1: not sharing. Almost certain air supply did not supply any

840
00:44:19,520 --> 00:44:22,000
Speaker 1: of the music in this movie. I'd have to go

841
00:44:22,040 --> 00:44:23,720
Speaker 1: back and watch it again to see if air supply

842
00:44:23,920 --> 00:44:25,640
Speaker 1: is in this film, but I don't think it is

843
00:44:25,920 --> 00:44:28,600
Speaker 1: all right. So anyway, that was another little goofy bit.

844
00:44:28,920 --> 00:44:31,799
Speaker 1: So they do a quick tour of the ship. You

845
00:44:31,840 --> 00:44:33,960
Speaker 1: have some characters going towards the front of the ship,

846
00:44:33,960 --> 00:44:35,880
Speaker 1: which is where the bridge is, in the living quarters,

847
00:44:35,920 --> 00:44:38,319
Speaker 1: the medical center, all of that is on the front end.

848
00:44:38,400 --> 00:44:40,840
Speaker 1: And this is before they get all of these systems

849
00:44:40,880 --> 00:44:43,760
Speaker 1: back up. So everyone is in uh, you know, low

850
00:44:44,040 --> 00:44:48,879
Speaker 1: gravity um and and it's very everything is still extremely cold.

851
00:44:48,920 --> 00:44:52,160
Speaker 1: They don't have temperature online right. They have magnetic boots

852
00:44:52,200 --> 00:44:55,640
Speaker 1: which allow them to stick to the floor. I appreciated

853
00:44:55,680 --> 00:44:58,160
Speaker 1: that they at least said like, hey, we've got magnetic boots,

854
00:44:58,160 --> 00:44:59,840
Speaker 1: and they even showed a little like this is it

855
00:45:00,080 --> 00:45:02,279
Speaker 1: engaging kind of kind of sequence from I thought that

856
00:45:02,280 --> 00:45:05,200
Speaker 1: was a nice knot too maybe this could be like

857
00:45:05,360 --> 00:45:08,120
Speaker 1: reality science. Ish. I did have a problem in that

858
00:45:08,160 --> 00:45:10,960
Speaker 1: they talk about how the temperature is below freezing and

859
00:45:11,000 --> 00:45:15,440
Speaker 1: you see frozen droplets of water floating through the event horizon.

860
00:45:15,719 --> 00:45:18,759
Speaker 1: But there's also this water bottle. I assume it's a

861
00:45:18,760 --> 00:45:21,000
Speaker 1: water bottle, looks very much like a water bottle, and

862
00:45:21,040 --> 00:45:25,840
Speaker 1: it is clearly full of liquid and liquid forming noises.

863
00:45:25,960 --> 00:45:28,960
Speaker 1: So how did that not freeze? Unless, of course it's

864
00:45:28,960 --> 00:45:31,240
Speaker 1: not water in that water bottle. It could be another

865
00:45:31,280 --> 00:45:33,839
Speaker 1: liquid that has a lower freezing point. Um, I can

866
00:45:33,880 --> 00:45:36,399
Speaker 1: only assume that it is the viscera of hell. Yeah,

867
00:45:36,440 --> 00:45:39,520
Speaker 1: I was thinking vodka. But anyway, all right, so uh,

868
00:45:40,640 --> 00:45:43,120
Speaker 1: you know, honestly, I'm pretty sure that vodka is the vista.

869
00:45:44,160 --> 00:45:47,640
Speaker 1: So it's probably fairly act both of our Okay, we're

870
00:45:47,920 --> 00:45:50,960
Speaker 1: both right. That's I'm cool with that. So some of

871
00:45:51,000 --> 00:45:53,280
Speaker 1: the people go towards the forward part of the ship,

872
00:45:53,800 --> 00:45:56,200
Speaker 1: where by the way that the forward part of the

873
00:45:56,200 --> 00:45:58,239
Speaker 1: ship where the bridge and living cores and everything, all

874
00:45:58,280 --> 00:46:01,520
Speaker 1: of that is separated by an incredible long hallway from

875
00:46:01,640 --> 00:46:07,640
Speaker 1: the gravity drive engineering section. Actually specifically, the gravity drives

876
00:46:07,680 --> 00:46:09,560
Speaker 1: really the only thing we ever see on that other

877
00:46:09,640 --> 00:46:11,760
Speaker 1: side of the ship, right, even though it's the largest

878
00:46:11,760 --> 00:46:14,040
Speaker 1: part of the ship. We really just see the gravity

879
00:46:14,120 --> 00:46:17,880
Speaker 1: drive and in the the the labyrinthian hallways that surround

880
00:46:17,960 --> 00:46:24,120
Speaker 1: the gravity drive for no apparent reason because we're needs help. Yeah. Um,

881
00:46:24,160 --> 00:46:27,719
Speaker 1: this long neck I thought was pretty odd when I

882
00:46:27,760 --> 00:46:29,480
Speaker 1: first saw the design of the ship. I was like,

883
00:46:29,480 --> 00:46:31,839
Speaker 1: why would you want a neck that long? And the

884
00:46:31,880 --> 00:46:33,879
Speaker 1: only thing that I could come up with is if

885
00:46:34,040 --> 00:46:37,520
Speaker 1: within the world they talk about, you know, the gravity fluctuations,

886
00:46:37,560 --> 00:46:41,120
Speaker 1: maybe those fluctuations could adversely affect the crew, and by

887
00:46:41,160 --> 00:46:44,480
Speaker 1: creating this distance, by creating this long neck like corridor,

888
00:46:44,960 --> 00:46:48,200
Speaker 1: you minimize that. Maybe that's the reason, so I can

889
00:46:48,280 --> 00:46:50,680
Speaker 1: justify I'm willing to give them that way, ye so,

890
00:46:50,840 --> 00:46:52,640
Speaker 1: But otherwise you're just thinking, like, why is the ship?

891
00:46:52,760 --> 00:46:55,560
Speaker 1: It's basically a plot device. It looks cool, and it

892
00:46:55,560 --> 00:46:57,960
Speaker 1: looks cool, and you get that good dramatic tension of

893
00:46:58,040 --> 00:46:59,759
Speaker 1: needing to have people run up and down it, and

894
00:47:00,000 --> 00:47:02,160
Speaker 1: an important fly up and down it when the gravity

895
00:47:02,239 --> 00:47:04,359
Speaker 1: is not you know, but or float I guess would

896
00:47:04,360 --> 00:47:07,000
Speaker 1: be the more accurate, right, speaking of so they do,

897
00:47:07,080 --> 00:47:10,279
Speaker 1: they do turn on the ship's interior gravity, so no

898
00:47:10,320 --> 00:47:13,120
Speaker 1: one has to have spent expensive effects anymore for for

899
00:47:13,160 --> 00:47:15,080
Speaker 1: a while, for a while until we get to the end,

900
00:47:15,120 --> 00:47:17,560
Speaker 1: and so we see lots of water splashing down onto

901
00:47:17,560 --> 00:47:19,919
Speaker 1: the floor and things like that. It was neat, neat

902
00:47:19,960 --> 00:47:22,520
Speaker 1: little effect. We'll have a little bit more to say

903
00:47:22,560 --> 00:47:26,480
Speaker 1: about the tech in event horizon after this short break.

904
00:47:34,160 --> 00:47:37,120
Speaker 1: Did you notice the ship's log that it's on. It's

905
00:47:37,160 --> 00:47:40,239
Speaker 1: on an optical disc DVD or CD. Yeah, so this

906
00:47:40,400 --> 00:47:43,360
Speaker 1: was made so we have to give it that allowance.

907
00:47:43,400 --> 00:47:45,800
Speaker 1: But it was so funny to me that there's a

908
00:47:45,840 --> 00:47:49,319
Speaker 1: disc and it's caught inside the computer system, right. Yeah.

909
00:47:49,640 --> 00:47:53,399
Speaker 1: My specific note I think was like, oh yes, optical disc, yes, right,

910
00:47:53,520 --> 00:47:55,719
Speaker 1: you know why go back? Yeah, we're just lucky it's

911
00:47:55,719 --> 00:47:59,360
Speaker 1: on a track. Uh yeah. So the ship's log is

912
00:47:59,400 --> 00:48:01,920
Speaker 1: stored in an to cold disk, which we thought was adorable.

913
00:48:02,320 --> 00:48:06,040
Speaker 1: And this is about when the crew discovers this gravity drive.

914
00:48:06,080 --> 00:48:08,839
Speaker 1: The doctor Weir has created um and it looks like

915
00:48:09,000 --> 00:48:11,840
Speaker 1: something out of Hell Razor. Yeah, I said, it looks

916
00:48:11,880 --> 00:48:15,359
Speaker 1: like the same designer who made the limit configuration, which

917
00:48:15,400 --> 00:48:18,600
Speaker 1: is the puzzle box and hell razor. In this case,

918
00:48:18,640 --> 00:48:20,920
Speaker 1: it's Dr Weir must have seen that, because that's what

919
00:48:21,040 --> 00:48:23,520
Speaker 1: the interior of his gravity drive room looks like. I

920
00:48:23,560 --> 00:48:27,000
Speaker 1: am so I'm so worried for him. I honestly, I

921
00:48:27,360 --> 00:48:29,160
Speaker 1: don't think that he was doing well when he was

922
00:48:29,239 --> 00:48:33,160
Speaker 1: creating this. The entire esthetic design of this ship is

923
00:48:33,320 --> 00:48:35,439
Speaker 1: very much in contrast to the design of the Lewis

924
00:48:35,520 --> 00:48:38,440
Speaker 1: and Clark, which is kind of rough and tumble and

925
00:48:38,440 --> 00:48:41,759
Speaker 1: and has been lit in a utilitarian and the interior

926
00:48:41,880 --> 00:48:44,480
Speaker 1: of this ship reminds me of nothing more than like

927
00:48:44,719 --> 00:48:48,520
Speaker 1: a nineteenth century insane asylum. You've got this this very

928
00:48:48,560 --> 00:48:52,000
Speaker 1: these very brick like metal panels in various places, and

929
00:48:52,080 --> 00:48:55,719
Speaker 1: we've got all of this weird Victorian style detailing and

930
00:48:56,120 --> 00:48:59,279
Speaker 1: crazy machinery. So it's kind of a combination of that

931
00:48:59,320 --> 00:49:02,920
Speaker 1: asylum and like, imagine that you've been shrunk down and

932
00:49:02,960 --> 00:49:06,440
Speaker 1: then thrown into the home Depot power tools section, so

933
00:49:06,480 --> 00:49:08,680
Speaker 1: you've got these enormous like drill like things that are

934
00:49:08,719 --> 00:49:13,160
Speaker 1: turning around you for no apparent reason. Um I And

935
00:49:13,239 --> 00:49:15,120
Speaker 1: there's there's a corridor in the end of the film

936
00:49:15,160 --> 00:49:17,600
Speaker 1: that has shaped like a coffin, And I'm just like

937
00:49:17,880 --> 00:49:21,160
Speaker 1: you guys. Seriously, you guys, this is amazing. No One

938
00:49:21,320 --> 00:49:23,600
Speaker 1: no one said like, hey, Dr Weir, do you want

939
00:49:23,600 --> 00:49:26,319
Speaker 1: to take a vacation and go to Disney World. I

940
00:49:26,360 --> 00:49:29,399
Speaker 1: will also say this is going back to the the

941
00:49:29,440 --> 00:49:32,960
Speaker 1: inspiration for the film I have read. I assume this

942
00:49:33,040 --> 00:49:35,600
Speaker 1: is true. It seems like it's true that the idea was,

943
00:49:35,840 --> 00:49:38,440
Speaker 1: what if we had the Shining but said it in space,

944
00:49:38,960 --> 00:49:40,680
Speaker 1: in which case, if you're talking about the film version

945
00:49:40,680 --> 00:49:44,040
Speaker 1: of The Shining, you know Jack Nicholson, Jack Nicholson's character

946
00:49:44,120 --> 00:49:47,640
Speaker 1: is already pretty freaking crazy before he shows up at

947
00:49:47,640 --> 00:49:51,520
Speaker 1: the Overlook Hotel. Totally. Dr Weir kind of falls that model. Yeah, yeah,

948
00:49:52,160 --> 00:49:53,760
Speaker 1: And I did want to say that it's actually clever

949
00:49:53,880 --> 00:49:57,879
Speaker 1: that the that drive itself is built like a giant gyroscope,

950
00:49:57,920 --> 00:50:02,560
Speaker 1: like a giant hellish gyroscope, because um, because real spaceships do.

951
00:50:02,600 --> 00:50:05,960
Speaker 1: In fact, you use gyroscopes in their inertial navigation systems,

952
00:50:06,000 --> 00:50:10,000
Speaker 1: albeit not giant puzzle box looking ones. Right, Yeah, the

953
00:50:10,400 --> 00:50:13,400
Speaker 1: one that you're talking about in the movie. It's imagine

954
00:50:13,440 --> 00:50:16,360
Speaker 1: a globe that's inside of a ring, that's inside of

955
00:50:16,440 --> 00:50:19,640
Speaker 1: another ring, and all of these can can rotate independently

956
00:50:19,640 --> 00:50:21,799
Speaker 1: of each other. Yeah, and when it lines up, it

957
00:50:21,880 --> 00:50:25,600
Speaker 1: flashes light at you and bad things happen. Um dr.

958
00:50:25,640 --> 00:50:28,440
Speaker 1: We're assures the crew that the gravity drive is not on,

959
00:50:30,239 --> 00:50:35,120
Speaker 1: totally on, and it's totally not safe. Yeah, but that's

960
00:50:35,160 --> 00:50:38,520
Speaker 1: because the ship, as it turns out, is alive. Uh

961
00:50:38,719 --> 00:50:41,360
Speaker 1: I said that. Another thing that was kind of interesting.

962
00:50:41,400 --> 00:50:43,839
Speaker 1: I thought it was a little weird. The characters are

963
00:50:43,880 --> 00:50:48,120
Speaker 1: forced aboard the Event Horizon because the Lewis and Clark

964
00:50:48,320 --> 00:50:51,319
Speaker 1: is compromised. All right, there's a whole breach and their

965
00:50:51,400 --> 00:50:55,479
Speaker 1: air supply. UM starts going, I'm not gonna make another joke. Yeah,

966
00:50:55,520 --> 00:50:59,279
Speaker 1: So the everyone, everyone aside from a repair crew, goes

967
00:50:59,320 --> 00:51:01,719
Speaker 1: aboard the Horizon. The repair crew tries to repair the

968
00:51:01,800 --> 00:51:05,360
Speaker 1: damage to the Lewis and Clark. So they discovered that

969
00:51:05,440 --> 00:51:09,239
Speaker 1: the oxygen, to be more specific, the carbon dioxide levels

970
00:51:09,280 --> 00:51:12,520
Speaker 1: are rising and are going to hit because the scrubbers

971
00:51:12,520 --> 00:51:15,560
Speaker 1: are something something I don't know, The CEO two scrubbers

972
00:51:15,560 --> 00:51:17,960
Speaker 1: are not not functioning properly, and even if they brought

973
00:51:17,960 --> 00:51:20,080
Speaker 1: the ones aboard from the Lewis and Clark, it would

974
00:51:20,120 --> 00:51:21,920
Speaker 1: only give them a little extra time. They only have

975
00:51:21,920 --> 00:51:24,520
Speaker 1: twenty hours of breathable air on the event Horizon, which

976
00:51:24,560 --> 00:51:26,960
Speaker 1: is enormous, is a huge ship. It's very large. I

977
00:51:27,000 --> 00:51:30,319
Speaker 1: cannot believe that they only had twenty hours of breathable air.

978
00:51:30,360 --> 00:51:34,520
Speaker 1: That's maybe maybe the gravity drive eats oxygen. Maybe maybe

979
00:51:34,560 --> 00:51:36,920
Speaker 1: the hell demons that are in that are living in

980
00:51:37,120 --> 00:51:40,480
Speaker 1: heavy breathers. That could be. I mean, I mean, statistically,

981
00:51:40,480 --> 00:51:43,480
Speaker 1: I think most hell demons are and they've been on

982
00:51:43,520 --> 00:51:46,640
Speaker 1: that ship for seven years, so it's possible. Um. I

983
00:51:48,320 --> 00:51:51,480
Speaker 1: also say that the another fun little fact. This is

984
00:51:51,480 --> 00:51:53,880
Speaker 1: another not so technical thing, but just one of those

985
00:51:53,920 --> 00:51:56,680
Speaker 1: things that if you've watched a lot of movies you appreciate.

986
00:51:57,200 --> 00:52:01,000
Speaker 1: So they have the Sick Sick Bay, a medical center

987
00:52:01,360 --> 00:52:04,720
Speaker 1: which supposedly has never been used. Well on a counter.

988
00:52:04,880 --> 00:52:07,960
Speaker 1: In this medical bay, they have an array of medical tools,

989
00:52:08,080 --> 00:52:10,480
Speaker 1: most of which are most are made just for films.

990
00:52:10,560 --> 00:52:14,480
Speaker 1: They're not actual analogs to real medical tools, although there

991
00:52:14,520 --> 00:52:16,920
Speaker 1: I mean, and a lot of them are our corners

992
00:52:16,960 --> 00:52:19,080
Speaker 1: tools more than medical tools. Really, it's the kind of

993
00:52:19,080 --> 00:52:21,720
Speaker 1: thing that you're not going to see in actual medical

994
00:52:21,920 --> 00:52:26,480
Speaker 1: practice outside of the Victorian era. So, but if you

995
00:52:26,520 --> 00:52:29,840
Speaker 1: had ever watched a movie like the Tim Burton's Batman

996
00:52:30,160 --> 00:52:32,839
Speaker 1: or Little Shop of Horrors, you will recognize some of these.

997
00:52:32,880 --> 00:52:35,360
Speaker 1: They're the same medical devices that have shown up in

998
00:52:35,480 --> 00:52:38,600
Speaker 1: movie after movie whenever there's some form of medical horror

999
00:52:38,640 --> 00:52:42,439
Speaker 1: element to the film. So I thought I appreciated that, like, oh,

1000
00:52:42,600 --> 00:52:46,000
Speaker 1: especially amongst all of these incredibly are not incredibly high

1001
00:52:46,000 --> 00:52:50,360
Speaker 1: tech looking, but but more fancy, shiny, inexplicable bits of

1002
00:52:50,480 --> 00:52:54,080
Speaker 1: medical tech that they've got floating around. Right. Well, moving forward,

1003
00:52:54,120 --> 00:52:58,839
Speaker 1: you know, things go wrong, demons are unleashed, people are hallucinating,

1004
00:52:59,200 --> 00:53:01,919
Speaker 1: and then that's when you start to see characters try

1005
00:53:01,920 --> 00:53:05,200
Speaker 1: and take action. Dr Weir wants to go and activate

1006
00:53:05,239 --> 00:53:08,719
Speaker 1: the failsafe circuit to turn off the gravity track. Right.

1007
00:53:09,320 --> 00:53:14,520
Speaker 1: What's weird is how inconveniently placed the failsafe circuit is. Furthermore,

1008
00:53:14,600 --> 00:53:16,800
Speaker 1: and it's in this tunnel that, as far as I

1009
00:53:16,800 --> 00:53:19,399
Speaker 1: can tell, is composed of circuit board, which I think

1010
00:53:19,520 --> 00:53:22,640
Speaker 1: is probably a categorically bad idea for I mean, first,

1011
00:53:22,640 --> 00:53:24,719
Speaker 1: it's sharp, like, it's delicate, you don't really want to

1012
00:53:24,719 --> 00:53:27,600
Speaker 1: be crawling around on top of it. It reminded me

1013
00:53:27,800 --> 00:53:30,240
Speaker 1: of those scenes and Star Trek the Next Generation whenever

1014
00:53:30,239 --> 00:53:35,279
Speaker 1: anything was seriously wrong with the ten miles away, Like

1015
00:53:35,400 --> 00:53:37,600
Speaker 1: maybe we should start putting that stuff closer to where

1016
00:53:37,640 --> 00:53:40,520
Speaker 1: we work, guys. Furthermore, it's a it's an entire tunnel

1017
00:53:40,560 --> 00:53:42,239
Speaker 1: made of circuit board, and he has to go to

1018
00:53:42,280 --> 00:53:44,600
Speaker 1: this one very specific panel, as far as I can tell,

1019
00:53:44,640 --> 00:53:47,440
Speaker 1: the only panel within this tunnel of circuit board, and

1020
00:53:47,480 --> 00:53:51,000
Speaker 1: pull out another piece of circuit board and do something too. Yeah. Yeah,

1021
00:53:51,120 --> 00:53:53,640
Speaker 1: the expansion slot for the event horizon is in an

1022
00:53:53,680 --> 00:53:58,160
Speaker 1: inconvenient location. Go buy a different ship, guys. Uh So. Also,

1023
00:53:58,200 --> 00:54:00,680
Speaker 1: I have a little plot note here. The commanding officer

1024
00:54:00,719 --> 00:54:04,560
Speaker 1: of the Lewis and Clark comes to a conclusion, right

1025
00:54:04,680 --> 00:54:07,200
Speaker 1: right she She says to the captain that she thinks,

1026
00:54:07,280 --> 00:54:11,600
Speaker 1: based upon I don't believe zero evidence whatsoever, that the

1027
00:54:11,600 --> 00:54:14,960
Speaker 1: ship is alive. Now, first of all, she's right, but

1028
00:54:15,120 --> 00:54:18,160
Speaker 1: this turns out to be the fantastical element of the film. Yes,

1029
00:54:18,719 --> 00:54:20,640
Speaker 1: but how she I made the same note. I was

1030
00:54:20,680 --> 00:54:22,719
Speaker 1: just like, I'm not sure where she got that, And

1031
00:54:22,800 --> 00:54:25,560
Speaker 1: it was very convenient, like the audience is picking up

1032
00:54:25,600 --> 00:54:28,200
Speaker 1: on it, but the characters shouldn't. Necessarily I did. I

1033
00:54:28,239 --> 00:54:31,040
Speaker 1: did read that um, nearly half an hour of footage

1034
00:54:31,080 --> 00:54:35,200
Speaker 1: was taken out of the film before it went to theaters, possible,

1035
00:54:35,200 --> 00:54:37,359
Speaker 1: and and that a lot of that was was more

1036
00:54:37,480 --> 00:54:39,720
Speaker 1: along the gore end. And I think that the film

1037
00:54:40,040 --> 00:54:42,680
Speaker 1: benefited from not having that in there, because I thought

1038
00:54:42,680 --> 00:54:45,320
Speaker 1: that the subtle flashes of gore were very effective here.

1039
00:54:45,360 --> 00:54:47,759
Speaker 1: But maybe that was part of maybe that, maybe that

1040
00:54:47,840 --> 00:54:51,040
Speaker 1: gave her some of the feelings she had. Maybe not,

1041
00:54:51,719 --> 00:54:54,720
Speaker 1: we don't know. The Captain describes what fire and zero

1042
00:54:54,760 --> 00:54:57,240
Speaker 1: G is like and gets it almost exactly wrong, super wrong.

1043
00:54:57,520 --> 00:55:02,360
Speaker 1: He says that it's like liquid, which Laurence fishburn. So

1044
00:55:02,400 --> 00:55:04,920
Speaker 1: he's very dramatic about it. Yeah, not like me. I

1045
00:55:04,920 --> 00:55:08,080
Speaker 1: can't I can't manage drama. Well, I can't manage drama,

1046
00:55:08,160 --> 00:55:11,920
Speaker 1: but I'm not dramatic. Uh. Yeah, he says it's like liquid.

1047
00:55:11,960 --> 00:55:14,239
Speaker 1: I I interpreted that to mean that he thought it

1048
00:55:14,280 --> 00:55:17,640
Speaker 1: was like liquid on a surface that has gravity, like

1049
00:55:17,680 --> 00:55:21,759
Speaker 1: it behaves like liquid wood on Earth. Um, even if

1050
00:55:21,760 --> 00:55:24,240
Speaker 1: you meant liquid and zero G, it's not exactly true.

1051
00:55:24,600 --> 00:55:27,200
Speaker 1: If you were to say, light a match in a

1052
00:55:27,320 --> 00:55:30,520
Speaker 1: zero G environment or a micro gravity environment, it would

1053
00:55:30,920 --> 00:55:34,480
Speaker 1: the flame would form a little globe around the match head,

1054
00:55:34,600 --> 00:55:37,800
Speaker 1: and it would probably burn in a very very uh

1055
00:55:38,120 --> 00:55:42,200
Speaker 1: faint but very hot flame like you would usually get

1056
00:55:42,200 --> 00:55:44,799
Speaker 1: a little blue flame around the head of the match

1057
00:55:44,920 --> 00:55:50,959
Speaker 1: sticks upposedly elongated yellow yellow exactly, So fire does behave

1058
00:55:51,000 --> 00:55:53,080
Speaker 1: in an interesting way in zero G, but not really

1059
00:55:53,120 --> 00:55:56,840
Speaker 1: like liquid um. I have a little bit about Cooper.

1060
00:55:57,440 --> 00:55:59,880
Speaker 1: We gotta talk about Cooper. Yeah, yeah, So so this

1061
00:56:00,080 --> 00:56:03,440
Speaker 1: is moving. As the plot moves forward, like we said,

1062
00:56:03,560 --> 00:56:05,680
Speaker 1: it becomes a little bit more fantastical, and therefore we

1063
00:56:05,680 --> 00:56:08,839
Speaker 1: don't have quite as many things to complain about. Are

1064
00:56:08,880 --> 00:56:12,000
Speaker 1: lovingly complain about. But yes, so so during one of

1065
00:56:12,040 --> 00:56:15,200
Speaker 1: these spacewalks wherein one of the crew members, Cooper is

1066
00:56:15,239 --> 00:56:20,280
Speaker 1: trying to repair the Claris and Clark, uh, there's an explosion,

1067
00:56:21,160 --> 00:56:24,879
Speaker 1: massive catastrophic explosion that destroys the Lewis and Clark and

1068
00:56:24,920 --> 00:56:28,239
Speaker 1: and shuttles this little bit of ship that he was

1069
00:56:28,280 --> 00:56:32,680
Speaker 1: standing on, spinning wildly off into space. Right, so Cooper

1070
00:56:32,840 --> 00:56:35,920
Speaker 1: is on He's tethered to this piece of the ship

1071
00:56:36,440 --> 00:56:39,920
Speaker 1: and the ship is hurtling off into space with Cooper

1072
00:56:39,960 --> 00:56:42,680
Speaker 1: on it. Cooper has no real means of he has

1073
00:56:42,719 --> 00:56:44,680
Speaker 1: no means of getting He doesn't have like a jet

1074
00:56:44,680 --> 00:56:48,520
Speaker 1: packet pack, which is terrible because I mean NASA and

1075
00:56:48,760 --> 00:56:51,719
Speaker 1: has jet packs and standard and every space suit and

1076
00:56:51,760 --> 00:56:58,560
Speaker 1: I guess standards just slipped anyway standards. First thing he

1077
00:56:58,600 --> 00:57:03,440
Speaker 1: does is he matches himself from the rotating UH stuff,

1078
00:57:03,440 --> 00:57:06,719
Speaker 1: which is problematic too, and that if you were on

1079
00:57:07,560 --> 00:57:11,280
Speaker 1: a rotating piece of equipment and then you let go somehow,

1080
00:57:11,600 --> 00:57:14,120
Speaker 1: and considering that you weigh less than the rotating piece

1081
00:57:14,160 --> 00:57:16,520
Speaker 1: of equipment, you're going to start moving at a slightly

1082
00:57:16,520 --> 00:57:19,080
Speaker 1: different rate of speed, and your your mass is different.

1083
00:57:19,360 --> 00:57:22,880
Speaker 1: You're still conserving the angular momentum, so but your mass

1084
00:57:22,920 --> 00:57:25,000
Speaker 1: is different. So you're gonna speak, You're gonna turn faster.

1085
00:57:25,320 --> 00:57:27,680
Speaker 1: So we can see this on earth if you are

1086
00:57:27,840 --> 00:57:30,480
Speaker 1: on say ice skates, and you start spinning and then

1087
00:57:30,520 --> 00:57:32,520
Speaker 1: you pull your arms in, or you can try this

1088
00:57:32,720 --> 00:57:34,760
Speaker 1: in your office if you like, sit on a chair

1089
00:57:34,800 --> 00:57:37,040
Speaker 1: that can spin around and around, have someone start spinning.

1090
00:57:37,040 --> 00:57:39,400
Speaker 1: You have your arms out and then start pulling your

1091
00:57:39,480 --> 00:57:41,360
Speaker 1: arms in. You will start to spin faster if you're

1092
00:57:41,360 --> 00:57:43,440
Speaker 1: do If you're listening to this in an office right now,

1093
00:57:43,480 --> 00:57:45,800
Speaker 1: I recommend doing this and just seeing just to see

1094
00:57:45,840 --> 00:57:48,720
Speaker 1: what reaction your code until everybody when they ask you

1095
00:57:48,760 --> 00:57:50,840
Speaker 1: why you're doing that that Josh and Chuck told you to,

1096
00:57:51,520 --> 00:57:54,960
Speaker 1: because we don't want to heat anyway. So if you

1097
00:57:55,000 --> 00:57:57,840
Speaker 1: were to actually detach yourself. You would start spinning even faster.

1098
00:57:57,960 --> 00:58:00,000
Speaker 1: This is also a problem I have with the film,

1099
00:58:00,200 --> 00:58:03,120
Speaker 1: uh Gravity, which I don't think it's a spoiler because

1100
00:58:03,160 --> 00:58:07,440
Speaker 1: it happens within the trailer. So anyway, Um. He then

1101
00:58:07,600 --> 00:58:10,640
Speaker 1: ends up designed to use his oxygen supply as a

1102
00:58:10,680 --> 00:58:14,320
Speaker 1: means of propelling himself back to the event Horizon, and

1103
00:58:14,360 --> 00:58:17,720
Speaker 1: he vents his oxygen and rockets back to the ship.

1104
00:58:17,840 --> 00:58:20,720
Speaker 1: I have a couple of problems with the way this

1105
00:58:20,800 --> 00:58:23,640
Speaker 1: was depicted. Yeah, and just the fact that it would

1106
00:58:23,640 --> 00:58:26,240
Speaker 1: be physically impossible, the fact that he would Yeah, he

1107
00:58:26,280 --> 00:58:28,960
Speaker 1: would have no way of really directing your flight in

1108
00:58:29,000 --> 00:58:32,640
Speaker 1: a meaningful way, and nor would you necessarily be flying

1109
00:58:33,080 --> 00:58:37,240
Speaker 1: without going into an even crazier tailspin. Yeah, it's kind

1110
00:58:37,240 --> 00:58:40,600
Speaker 1: of It's problematic, but you know, dramatic, it's fun Cooper.

1111
00:58:40,680 --> 00:58:44,480
Speaker 1: So Cooper becomes a superspaceman and flies back to the

1112
00:58:44,520 --> 00:58:49,200
Speaker 1: event Horizon. Um, and then I've got uh, I only

1113
00:58:49,200 --> 00:58:51,680
Speaker 1: have one other real note, and I'll and Lauren, I'll

1114
00:58:51,720 --> 00:58:53,640
Speaker 1: ask you what else you have to say about this.

1115
00:58:53,680 --> 00:58:57,200
Speaker 1: But the last bit is the event Horizon has a

1116
00:58:57,240 --> 00:59:00,320
Speaker 1: whole breach in the bridge area, and that this point

1117
00:59:00,400 --> 00:59:06,320
Speaker 1: the possessed doctor were spoiler alert, is is attacking Laurence Fishburne,

1118
00:59:06,480 --> 00:59:10,200
Speaker 1: not the not the character. It's Lawrence fish They've they've

1119
00:59:10,240 --> 00:59:13,520
Speaker 1: gone so meta. No, it's Lawrence Fishburn's captain character. So

1120
00:59:13,920 --> 00:59:17,440
Speaker 1: doctor were possessed is attacking the captain and the breach

1121
00:59:17,840 --> 00:59:20,520
Speaker 1: the hall has breached. Dr were gets flung out into

1122
00:59:20,560 --> 00:59:24,480
Speaker 1: space technically blown out into space, not sucked out because

1123
00:59:24,560 --> 00:59:28,440
Speaker 1: the air pressure. So the captain ends up trying to

1124
00:59:28,720 --> 00:59:34,800
Speaker 1: crawl up or crawled past where the the hallway ends

1125
00:59:34,840 --> 00:59:37,160
Speaker 1: at the bridge, so they can seal it off and

1126
00:59:37,200 --> 00:59:40,439
Speaker 1: thus repressurize part of the event horizon and not get

1127
00:59:40,600 --> 00:59:43,360
Speaker 1: blown out into space. I'm not sure that you'd be

1128
00:59:43,400 --> 00:59:46,720
Speaker 1: able to do that, Like I don't considering how much

1129
00:59:47,200 --> 00:59:49,280
Speaker 1: was flying past him, I don't know that you would

1130
00:59:49,320 --> 00:59:52,320
Speaker 1: have the strength to hold on, but or that the

1131
00:59:52,360 --> 00:59:55,160
Speaker 1: materials they was holding onto it when you're just right, Yeah,

1132
00:59:55,200 --> 00:59:56,960
Speaker 1: that's I felt very much the same way. I think

1133
00:59:56,960 --> 00:59:59,600
Speaker 1: that if um, I think that would be hard enough

1134
00:59:59,640 --> 01:00:02,040
Speaker 1: in the end of pressure differentiation that you've got in

1135
01:00:02,080 --> 01:00:05,840
Speaker 1: an airplane, let alone in in the vacuum of space. Right,

1136
01:00:05,960 --> 01:00:09,520
Speaker 1: So it's he has herculean strength and he manages to

1137
01:00:09,520 --> 01:00:12,240
Speaker 1: make it Laurence Fishburn. He manages to make it into

1138
01:00:12,240 --> 01:00:13,400
Speaker 1: the hallway, and not only does he make it into

1139
01:00:13,400 --> 01:00:15,720
Speaker 1: the hallway, he's also able to rescue a fellow crew

1140
01:00:15,720 --> 01:00:18,600
Speaker 1: member and pull her to safety before closing the doors

1141
01:00:18,680 --> 01:00:21,360
Speaker 1: and sealing it off. UM. I also thought that this

1142
01:00:21,400 --> 01:00:25,120
Speaker 1: would probably make their problem of very little breathable air

1143
01:00:25,280 --> 01:00:28,720
Speaker 1: somewhat exacerbated. Right. And also also I was confused that

1144
01:00:28,760 --> 01:00:31,160
Speaker 1: within this very same movie, a little bit earlier on

1145
01:00:31,160 --> 01:00:35,160
Speaker 1: one of the other crew members, um head Head, in

1146
01:00:35,240 --> 01:00:39,840
Speaker 1: a hallucination driven fit, locked himself an air lock and

1147
01:00:39,920 --> 01:00:41,919
Speaker 1: was going to blow himself out into space. And as

1148
01:00:42,000 --> 01:00:44,720
Speaker 1: that cabin depressurized, UM, it gave you a lot of

1149
01:00:44,760 --> 01:00:48,200
Speaker 1: really great practical gore effects of his of his veins

1150
01:00:48,200 --> 01:00:51,600
Speaker 1: starting to pop, and his eyes bleeding, and all of

1151
01:00:51,600 --> 01:00:56,280
Speaker 1: these all of these terrible, terrific horror elements. Um And

1152
01:00:56,280 --> 01:01:00,320
Speaker 1: and none of that happens to these main characters. He's

1153
01:01:00,360 --> 01:01:03,520
Speaker 1: build higher with higher billing, You don't you don't get

1154
01:01:03,520 --> 01:01:06,600
Speaker 1: those easily palpable eyeballs. Oh, I see, I see, that's

1155
01:01:06,680 --> 01:01:09,000
Speaker 1: that's cool, all right, benefit of the job. When you

1156
01:01:09,080 --> 01:01:12,880
Speaker 1: raise a rank, you just get better eyeball. Yeah. Uh,

1157
01:01:12,920 --> 01:01:15,200
Speaker 1: at any rate, that is. That's kind of silly. Do

1158
01:01:15,240 --> 01:01:17,800
Speaker 1: you have any other notes that you would like to share? Um,

1159
01:01:17,840 --> 01:01:20,440
Speaker 1: I guess. Also, speaking of that airlock situation, it's one

1160
01:01:20,480 --> 01:01:25,160
Speaker 1: of my favorite goofy movie tropes, wearing UM, something terrible

1161
01:01:25,240 --> 01:01:26,960
Speaker 1: is about to happen in an airlock and you have

1162
01:01:27,000 --> 01:01:29,120
Speaker 1: to hack the door. You always have to hack the door,

1163
01:01:29,560 --> 01:01:33,000
Speaker 1: and the hacking of the airlock door is always accompanied

1164
01:01:33,000 --> 01:01:36,600
Speaker 1: by um pulling the panel out and mussing about with wires,

1165
01:01:36,840 --> 01:01:40,320
Speaker 1: and it always takes approximately four seconds longer to do

1166
01:01:40,400 --> 01:01:43,280
Speaker 1: than you actually have. I just I just love that

1167
01:01:43,280 --> 01:01:46,080
Speaker 1: that one little silly Well, it's also fun that he

1168
01:01:47,560 --> 01:01:50,120
Speaker 1: curls up into a ball, flies out of the airlock,

1169
01:01:50,280 --> 01:01:52,880
Speaker 1: is caught by the captain who's in a spacewalk, who

1170
01:01:52,960 --> 01:01:55,600
Speaker 1: jumps back into the airlock and manages to get him

1171
01:01:55,640 --> 01:01:59,040
Speaker 1: back into the ship. That's pretty amazing. Yeah, as a

1172
01:01:59,160 --> 01:02:01,720
Speaker 1: Superman rescue you and it is a Superman rescue that

1173
01:02:01,720 --> 01:02:04,160
Speaker 1: that is. I think later on there's a certain point

1174
01:02:04,160 --> 01:02:07,959
Speaker 1: at which people out run some space flames. Yeah, there's

1175
01:02:07,960 --> 01:02:11,360
Speaker 1: some space flame out running there's an explosion, right, Yeah,

1176
01:02:11,440 --> 01:02:14,520
Speaker 1: there's also you know, we didn't really mention it. The

1177
01:02:14,560 --> 01:02:18,320
Speaker 1: pathway to get to the gravity drive. The hallway that

1178
01:02:18,360 --> 01:02:22,320
Speaker 1: goes through to the gravity drive itself is lined with

1179
01:02:22,400 --> 01:02:26,240
Speaker 1: explosives just in case. Yeah, there's there's explosives to separate

1180
01:02:26,280 --> 01:02:28,880
Speaker 1: the bridge from the gravity driving case of case failure.

1181
01:02:28,920 --> 01:02:31,479
Speaker 1: Everyone who has watched Star Trek nows sometimes it's really

1182
01:02:31,520 --> 01:02:34,080
Speaker 1: important to separate the dish from here exactly. You can

1183
01:02:34,160 --> 01:02:35,520
Speaker 1: use it as a life I don't think you would

1184
01:02:35,520 --> 01:02:37,920
Speaker 1: necessarily need a neck that long to be able to

1185
01:02:37,960 --> 01:02:39,840
Speaker 1: do this, but that's okay. Now, the thing I was

1186
01:02:39,840 --> 01:02:42,000
Speaker 1: going to talk about is that really short hallway where

1187
01:02:42,000 --> 01:02:44,800
Speaker 1: you've got the spinning saw blades of death all around you, right,

1188
01:02:45,600 --> 01:02:49,480
Speaker 1: what was that for effect? Yeah? It was creepy. I

1189
01:02:50,000 --> 01:02:52,400
Speaker 1: know that Dr Weir said something in passing as they

1190
01:02:52,440 --> 01:02:54,680
Speaker 1: were walking down the hallway, but it literally made no

1191
01:02:54,720 --> 01:02:56,880
Speaker 1: sense to me. Yeah, me, me neither. I didn't I

1192
01:02:56,880 --> 01:02:58,960
Speaker 1: didn't catch what he said. I I kind of like

1193
01:02:59,000 --> 01:03:00,720
Speaker 1: I was sort of watching a going like, I'm not

1194
01:03:00,760 --> 01:03:03,280
Speaker 1: going to rewind for that one, because I'm going to

1195
01:03:03,400 --> 01:03:07,720
Speaker 1: explain in any satisfying way what this this hallway of

1196
01:03:07,800 --> 01:03:09,920
Speaker 1: saw teeth is doing here. It kind of makes me

1197
01:03:09,960 --> 01:03:12,080
Speaker 1: think of all the parodies of Star Wars and other

1198
01:03:12,160 --> 01:03:14,520
Speaker 1: movies where the characters are standing right at the edge

1199
01:03:14,560 --> 01:03:17,280
Speaker 1: of a really sharp drop in the middle of like

1200
01:03:17,320 --> 01:03:18,880
Speaker 1: The Death Star, and like, why don't we put up

1201
01:03:18,920 --> 01:03:21,400
Speaker 1: a railing? You know, it's kind of that same sort

1202
01:03:21,440 --> 01:03:24,320
Speaker 1: of why did we put all these jagged saw blades

1203
01:03:24,400 --> 01:03:28,120
Speaker 1: around this corridor? For? My favorite part about that corridor though,

1204
01:03:28,160 --> 01:03:31,200
Speaker 1: is the dramatic tension involved in it, because it is

1205
01:03:31,200 --> 01:03:33,360
Speaker 1: one of the few places on the ship that something

1206
01:03:33,480 --> 01:03:36,960
Speaker 1: bodily horrible does not happen to anybody, and it so

1207
01:03:37,160 --> 01:03:40,760
Speaker 1: sharp it looks like a tumbler specifically for killing people.

1208
01:03:40,960 --> 01:03:43,720
Speaker 1: It looks it looks like welcome to the abattoir corridor.

1209
01:03:43,920 --> 01:03:46,040
Speaker 1: This is where we will grind you into teeny tiny bits,

1210
01:03:46,080 --> 01:03:49,280
Speaker 1: but it never happens. It is pretty interesting. Um but

1211
01:03:49,280 --> 01:03:52,520
Speaker 1: but you know, I so so overall, I'm going to

1212
01:03:52,600 --> 01:03:56,439
Speaker 1: give this film a um a gold star for trying.

1213
01:03:56,560 --> 01:03:59,440
Speaker 1: I enjoyed it for what it was. It's a funge

1214
01:03:59,520 --> 01:04:03,400
Speaker 1: lucky in a horror movie. There's some great bad acting

1215
01:04:03,400 --> 01:04:07,000
Speaker 1: in it. Yeah, I think that. I think that Sam

1216
01:04:07,080 --> 01:04:10,760
Speaker 1: Neil did uh did did a good job as a

1217
01:04:11,080 --> 01:04:16,720
Speaker 1: really overblown dramatic villain. Yeah. I hope you guys enjoyed

1218
01:04:16,760 --> 01:04:19,439
Speaker 1: that classic episode. It was so much fun to talk

1219
01:04:19,480 --> 01:04:22,080
Speaker 1: about the technology of a specific film. I should do

1220
01:04:22,120 --> 01:04:24,000
Speaker 1: more of those. Maybe I should do one about the

1221
01:04:24,040 --> 01:04:26,800
Speaker 1: Matrix series, because that would be a lot of fun,

1222
01:04:26,880 --> 01:04:29,200
Speaker 1: I think. But if you guys have any suggestions for

1223
01:04:29,240 --> 01:04:33,560
Speaker 1: future topics, whether it's about a specific film, technology, or

1224
01:04:33,640 --> 01:04:36,360
Speaker 1: just a tech topic in general, send me a message

1225
01:04:36,360 --> 01:04:39,840
Speaker 1: on Twitter. The handle is tech stuff hsw not taught

1226
01:04:39,840 --> 01:04:47,240
Speaker 1: to you again really soon. Text Stuff is an I

1227
01:04:47,320 --> 01:04:50,840
Speaker 1: Heart Radio production. For more podcasts from my Heart Radio,

1228
01:04:51,160 --> 01:04:54,360
Speaker 1: visit the i Heart Radio app, Apple Podcasts, or wherever

1229
01:04:54,440 --> 01:04:55,960
Speaker 1: you listen to your favorite shows.