WEBVTT - Listener Mail: Fire of Unknown Origin

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of

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<v Speaker 1>My Heart Radio. Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 1>Listener Mail. My name is Robert Lamb and I'm Joe McCormick,

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<v Speaker 1>and today we're bringing you some of the messages that

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<v Speaker 1>you've sent us over the past couple of weeks. So,

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<v Speaker 1>Rob would you mind if I kick things off by

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<v Speaker 1>reading a message that we got about our machine Lords

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<v Speaker 1>of Barnard sixty eight episodes. Okay, this first message comes

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<v Speaker 1>from Aiden. Aiden writes, Hi, Robert and Joe, I just

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<v Speaker 1>finished listening to your episode about post biological intelligence. Towards

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<v Speaker 1>the end of part two, you raised the question of

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<v Speaker 1>whether such an intelligence would have something like emotions. This

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<v Speaker 1>is a great question, and in the recent Vault episodes

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<v Speaker 1>on invertebrate emotions you shared some ideas that could help

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<v Speaker 1>to answer it. In the Invertebrates episode, you focused on

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<v Speaker 1>the ways that an internal emotional state could make manifest

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<v Speaker 1>as measurable behaviors. The example that I remember most clearly

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<v Speaker 1>is the one about bees. After receiving a free sugary treat,

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<v Speaker 1>bees will forage with a more optimistic bias, but after

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<v Speaker 1>a simulated attack, they will forage with a more pessimistic bias.

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<v Speaker 1>This change in behavior may be attributable to something like

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<v Speaker 1>an emotion. Those of parenthesis and and adds as a

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<v Speaker 1>pre post biological intelligence. Writing this based on memory, I

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<v Speaker 1>may be missing something from the b example. Feel free

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<v Speaker 1>to add on or correct if you read it on air. Well,

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<v Speaker 1>nothing to add or correct so far, and you're doing good. Uh.

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<v Speaker 1>Continuing this got me thinking that maybe the same test

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<v Speaker 1>could be applied to a machine intelligence if we could

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<v Speaker 1>observe it. Maybe a free burst of gamma ray energy

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<v Speaker 1>would cause it to display some optimistic behaviors, while a destructive,

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<v Speaker 1>unexpected supernova would cause it to show more pessimistic behaviors,

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<v Speaker 1>whatever that might look like. However, such an intelligence would

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<v Speaker 1>probably have some similarity to modern machine learning in the

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<v Speaker 1>sense that it would extrapolate based on past data. Optimism

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<v Speaker 1>or pessimism would probably show up as an overreaction or

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<v Speaker 1>under reaction to the stimulus beyond what the cold calculation

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<v Speaker 1>of an algorithm would predict. For example, if the machine

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<v Speaker 1>knows that in the past a supernova or other negative

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<v Speaker 1>stimulus has caused a ten percent impact on its systems,

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<v Speaker 1>the cold, emotionless calculation of data would would suggest changing

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<v Speaker 1>its behavior by ten percent. On the other hand, if

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<v Speaker 1>the machine had some kind of emotional state like pessimism,

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<v Speaker 1>maybe it would change its behavior by fifteen percent. That

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<v Speaker 1>five percent difference could be the way to tease out

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<v Speaker 1>the effect of emotions from the effect of adaptive behavior

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<v Speaker 1>based on past experience. The caveat here is that the

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<v Speaker 1>observer would need to know what the emotionless baseline is.

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<v Speaker 1>Maybe this is a study that only an even greater

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<v Speaker 1>machine intelligence could carry out on smaller, simpler ones. It

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<v Speaker 1>was fun exploring the connection between these episodes. So thanks

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<v Speaker 1>for another week of great podcasts. Best Aiden. Yeah, this

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<v Speaker 1>is a good point and so yeah. In that Invertebrate

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<v Speaker 1>Emotions episode, we talked about the difficulties in separating out

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<v Speaker 1>the different things that we would classify as emotions, Like

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<v Speaker 1>you might be able to regard an emotion like anger

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<v Speaker 1>in one sense, as an internal state that has a

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<v Speaker 1>subjective felt quality to it, like it feels like something

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<v Speaker 1>to be angry, and then on. In another case, you

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<v Speaker 1>could say anger is a set of externally observable behaviors

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<v Speaker 1>that you see clustered together. That was you know, they

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<v Speaker 1>represent a certain number of biases and behavior that occur

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<v Speaker 1>at the same time, maybe like uh, a quickness to

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<v Speaker 1>physical aggression or something like that, in other things that

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<v Speaker 1>would correlate with anger uh. And so those are definitely

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<v Speaker 1>separate things. I guess you would have to leave aside

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<v Speaker 1>the question of whether it would feel like something to uh,

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<v Speaker 1>to have an emotion shan for a post biological intelligence

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<v Speaker 1>the same way it would feel like something for us.

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<v Speaker 1>That comes back to the question we talked about in

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<v Speaker 1>the episode of weather. Post biological intelligences would actually be conscious,

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<v Speaker 1>and one part of having a conscious experience is having

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<v Speaker 1>internal emotional states that feel like something. Yeah. The other

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<v Speaker 1>part would just be like, would they have these sort

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<v Speaker 1>of clusters of externally observable behaviors that sort of are

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<v Speaker 1>seen together and they represent a certain disposition towards external stimuli? Yeah, yeah,

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<v Speaker 1>this is a yeah, this is a good breakdown. I

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<v Speaker 1>I appreciate this. All right, let's hear from another listener.

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<v Speaker 1>This one comes to us from Chris. Chris writes, Hi, Robert,

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<v Speaker 1>Joe and Seth, good day. Your recent two part episode

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<v Speaker 1>on the Machine Lords of Barnard has been a great listen.

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<v Speaker 1>It is difficult to conceptualize how we could get to

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<v Speaker 1>a post biological point uh in the time scale that

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<v Speaker 1>might be involved, but it is a fun thought experiment.

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<v Speaker 1>The topic was particularly relevant to a short story by

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<v Speaker 1>Sushin Lieu that I am reading as part of an

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<v Speaker 1>anthology work titled to Hold Up the Sky. I had

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<v Speaker 1>first read The Three Body Problem after hearing you mentioned

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<v Speaker 1>it many times on past episodes. I really enjoyed the

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<v Speaker 1>way his sci fi has written through a completely different

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<v Speaker 1>lens that most Western readers are used to. Um or

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<v Speaker 1>maybe it's just me, this is great. I did recommend

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<v Speaker 1>The Three Body Problem in a previous summer reading episode

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<v Speaker 1>we did a few years back. I loved that novel. Uh,

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<v Speaker 1>but I have not read any of Cician lous Um

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<v Speaker 1>short stories, so so yeah, this is this is totally

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<v Speaker 1>fresh to me. Yeah, same here. I I did the

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<v Speaker 1>audio book of the of of that of that first one,

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<v Speaker 1>the Three Body Problem, but I haven't read any of

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<v Speaker 1>the subsequent books in that series, or any of his

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<v Speaker 1>shorter works. Well, that is a dark forest that we

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<v Speaker 1>should maybe both wander into all uh, they continue. The

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<v Speaker 1>short story I'm referring to is titled Cloud of Poems.

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<v Speaker 1>It is a fascinating story involving an advanced race of

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<v Speaker 1>dinosaurs called the Devouring Empire, who have recently joined the

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<v Speaker 1>Greater Galactic Civilization coming to our Solar System, enslaving humans

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<v Speaker 1>and raising them as feedstock on their interstellar ship, and

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<v Speaker 1>in a particular human named ye Ye who teaches classical

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<v Speaker 1>Chinese literature to the feed lot humans to make them

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<v Speaker 1>more tender. Now this is where the post biological life

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<v Speaker 1>comes in. Another member from the Greater Galactic Society comes

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<v Speaker 1>into the Solar System and is only referred to as

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<v Speaker 1>quote a God. There's a lot of backstory, but it

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<v Speaker 1>is made clear that this is a being from a

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<v Speaker 1>significantly more advanced race that has been that has transformed

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<v Speaker 1>itself into beings of pure energy with the ability to

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<v Speaker 1>jump from one side of the Milky Way galaxy to

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<v Speaker 1>the other. In this sci fi world, it's explained that

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<v Speaker 1>the level of civilization is based on the number of

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<v Speaker 1>dimensions it can access. The Esteemed God's race can access

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<v Speaker 1>eleven dimensions. That's a lot of dimensions. In the episode,

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<v Speaker 1>you discussed how the motivations of a post biological life

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<v Speaker 1>form might be different from our own and whether they

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<v Speaker 1>would have the same concerns as a living being, etcetera.

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<v Speaker 1>And this story gets at that point, which I think

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<v Speaker 1>is relevant. If a race evolved to a point where

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<v Speaker 1>individuals transformed past a stage where a lifespan is no

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<v Speaker 1>longer a concern, I think they would not continue to

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<v Speaker 1>have the same desires and motivations as their pre biological selves.

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<v Speaker 1>In this story, the Esteemed God, who is an intergalactic

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<v Speaker 1>art collector and researcher, is challenged by the human you

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<v Speaker 1>you to become a better poet than the classical Chinese

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<v Speaker 1>master uh liebe. The human point is that even with

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<v Speaker 1>all the technology that the Esteemed God possesses, it cannot

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<v Speaker 1>replicate the poetry of a human because it does not

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<v Speaker 1>possess the ability to understand the human spiritual realm. Since

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<v Speaker 1>this God is still an individual, albeit being a pure energy,

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<v Speaker 1>he takes the challenge, transforming himself into a human and

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<v Speaker 1>attempting to surpass the poetry. Long story short, He fails.

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<v Speaker 1>Then instead decides to build a quantum computer to write

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<v Speaker 1>and record every possible poem using the Chinese alphabet and

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<v Speaker 1>save them each on an atomic level storage device where

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<v Speaker 1>each poem is stored on a single atom. It's then

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<v Speaker 1>discussed that it will take ten to the hundred and

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<v Speaker 1>seventy second power number of atoms to store every possible combination,

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<v Speaker 1>and that unfortunately there are only ten to the eightieth

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<v Speaker 1>power of atoms in the entire universe. I don't know

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<v Speaker 1>how to check these numbers, so I am unsure if

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<v Speaker 1>they actually match up to reality. Uh maybe Seth can

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<v Speaker 1>help me out on that. Let's let's hear it. Let's

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<v Speaker 1>Seth quickly in real time chime in and uh in

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<v Speaker 1>fact check those numbers for us. He's got to go

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<v Speaker 1>count him. Okay, he's gonna count. You'll come back um

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<v Speaker 1>in ten to the hundred and seventy second power minutes.

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<v Speaker 1>Uh So, anyway, the Esteemed God then decides to start

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<v Speaker 1>building the quantum computer, and to do so, he will

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<v Speaker 1>need to deconstruct the entire Solar System, humans and the

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<v Speaker 1>Devouring Empire to their constituent atoms a mere ten to

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<v Speaker 1>the fifty seven power to do so, and has no

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<v Speaker 1>had has no qualms with the destruction to achieve those ends.

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<v Speaker 1>This was an entirely too long email, but I did

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<v Speaker 1>do my best to summarize an astounding work by Sushin Lou.

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<v Speaker 1>You should really just just read it. But to but

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<v Speaker 1>suffice to say, I think a post biological race that

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<v Speaker 1>is descended from previously living beings would be extremely dangerous,

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<v Speaker 1>especially if they have the power available to them, like

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<v Speaker 1>the esteemed god of our story, willing to destroy entire

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<v Speaker 1>races and solar systems with no second thought to achieve

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<v Speaker 1>a goal. Again, great episode. Thanks for all you do

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<v Speaker 1>bringing us listeners, great content. Best Chris. Oh thanks Chris.

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<v Speaker 1>This sounds like a like a great read. Yeah, yeah,

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<v Speaker 1>I um, I love the ideas explored in this. Uh

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<v Speaker 1>you know the this This is definitely an ideas author

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<v Speaker 1>that toys with wonderful sci fi concepts. I mean, based

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<v Speaker 1>on the one novel I've read. Um, that's kind of

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<v Speaker 1>how it rolls out. So there's a lot of individuals

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<v Speaker 1>discussing very at times high minded science scientific topics, but

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<v Speaker 1>with some other fun stuff thrown in as well, like

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<v Speaker 1>real world, um, political concerns, Chinese mythology, etcetera. Yeah, totally,

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<v Speaker 1>And I will say I don't want to spoil anything,

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<v Speaker 1>but the book also has a really great, a really

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<v Speaker 1>great science fiction weapon in it that's extremely counterintuitive that

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<v Speaker 1>comes in towards the end. I won't say any more

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<v Speaker 1>than that it's it's it's not a piece of wood

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<v Speaker 1>with a nail in it though. But yeah, I really

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<v Speaker 1>like this idea of a a super intelligent post biological

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<v Speaker 1>being being challenged to try to write poetry that transcends

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<v Speaker 1>the great poets of Earth, like the example in the

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<v Speaker 1>story would be would be lead by I think a

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<v Speaker 1>lot of Western readers probably know his name spelled more

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<v Speaker 1>like a Leapo or lee Bow, often like l I

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<v Speaker 1>p O or l I b O, but like a

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<v Speaker 1>Tang Tang dynasty era poet who's just a wonderful poet.

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<v Speaker 1>And so it raises the question of like, well, you know,

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<v Speaker 1>if this, if this being is so so intellectually past

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<v Speaker 1>human beings, why would it be that it couldn't write

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<v Speaker 1>poetry better than you know, the than the poetry produced

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<v Speaker 1>by the best of this you know, biologically confined uh

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<v Speaker 1>species on the planet Earth. Well, I think there actually

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<v Speaker 1>maybe is something plausible to that, because you know, almost

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<v Speaker 1>all great art is about like suffering in some way. Uh.

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<v Speaker 1>And so if you were to take a being that

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<v Speaker 1>is is just like so powerful it essentially has no

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<v Speaker 1>real wants or physical limitations, you can imagine how a

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<v Speaker 1>being like that could have real trouble creating compelling narratives

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<v Speaker 1>community that that would like, uh, speak emotionally to the

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<v Speaker 1>experience of beings who are limited like humans are. Yeah,

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<v Speaker 1>so then it has to take human form and try

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<v Speaker 1>and create human art. It has to be the word

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<v Speaker 1>made flesh, right, it has to come down and become

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<v Speaker 1>one of us. Yeah, exactly how else can it possibly

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<v Speaker 1>understand it? So? Yeah, definitely, Yeah, thank you for the recommendation, Chris.

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<v Speaker 1>I will have to look that that story up all right. Well, well, Carney,

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<v Speaker 1>our mail bot has even more machine and AI and

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<v Speaker 1>robotic based listener mail for us here today. Yes, this

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<v Speaker 1>next message is a response to part one of our

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<v Speaker 1>episode about punishing machines. This comes from Karen. Karen says,

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<v Speaker 1>love the show. I'm just going to jump into this.

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<v Speaker 1>I think that if we judge a robot able to

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<v Speaker 1>commit a crime, the robot is also implicitly able to

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<v Speaker 1>have a crime committed against it. But if a human

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<v Speaker 1>or another robot victimizes a robot, what would the consequences be.

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<v Speaker 1>Let's say that I commit a crime against a robot.

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<v Speaker 1>I take the Amazon Virtual Assistant Alex and throw the

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<v Speaker 1>device on the floor, constituting an assault on Alexa. What

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<v Speaker 1>happens next? What is justice to her? Is it based

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<v Speaker 1>on the robots programmed values, likes, dislikes, or goals? If so,

0:13:13.360 --> 0:13:16.880
<v Speaker 1>then Alexa's greatest value is supporting Amazon, and her goal

0:13:16.960 --> 0:13:19.800
<v Speaker 1>is to sell Amazon products. What do you do with that?

0:13:20.240 --> 0:13:23.480
<v Speaker 1>Another silly example, Think of the security robot who drove

0:13:23.559 --> 0:13:25.640
<v Speaker 1>into a pond. I like that, you say, who by

0:13:25.679 --> 0:13:28.520
<v Speaker 1>the way, I think of the security robot who drove

0:13:28.559 --> 0:13:33.320
<v Speaker 1>into a pond and drowned itself in people saw that happen.

0:13:33.600 --> 0:13:37.240
<v Speaker 1>Would people who witnessed a robot getting damaged without stopping

0:13:37.240 --> 0:13:40.200
<v Speaker 1>it be guilty of some sort of neglect if they were,

0:13:40.520 --> 0:13:43.160
<v Speaker 1>what would make it right to the robot? If you

0:13:43.240 --> 0:13:45.200
<v Speaker 1>made it this far, thanks for reading, and what do

0:13:45.280 --> 0:13:48.920
<v Speaker 1>you think? Well, Karen, we actually do talk about this

0:13:48.960 --> 0:13:51.920
<v Speaker 1>a little bit in part two of that series, but

0:13:52.200 --> 0:13:55.160
<v Speaker 1>I've been thinking about it more since we recorded that

0:13:55.240 --> 0:13:58.120
<v Speaker 1>part two, and I think this raises some really good questions.

0:13:58.360 --> 0:14:01.120
<v Speaker 1>So a few distinctions on my thoughts about whether robots

0:14:01.160 --> 0:14:03.400
<v Speaker 1>could be the victim of a crime. I would say,

0:14:03.440 --> 0:14:07.800
<v Speaker 1>at the surface level, this depends, at least in my opinion,

0:14:07.840 --> 0:14:10.840
<v Speaker 1>on whether the robot is conscious or not. And I

0:14:10.880 --> 0:14:13.760
<v Speaker 1>think the standard assumption today is that machines like the

0:14:13.800 --> 0:14:18.320
<v Speaker 1>Amazon Alexa, even complex machines, they're not conscious. But in

0:14:18.360 --> 0:14:21.040
<v Speaker 1>the future it might be hard to say. And this

0:14:21.120 --> 0:14:23.520
<v Speaker 1>gets back, of course to the hard problem of consciousness,

0:14:23.520 --> 0:14:25.520
<v Speaker 1>which we talked about in the Machine Lords of Barnard

0:14:25.600 --> 0:14:29.560
<v Speaker 1>sixty eight episodes. Uh, if we don't know what consciousness

0:14:29.880 --> 0:14:32.480
<v Speaker 1>is and why it arises in the first place, even

0:14:32.480 --> 0:14:35.440
<v Speaker 1>in biological brains like ours, it's gonna be hard to

0:14:35.560 --> 0:14:39.280
<v Speaker 1>judge whether a non biological machine could ever be conscious

0:14:39.320 --> 0:14:41.960
<v Speaker 1>or not. So this is just a big open question.

0:14:42.000 --> 0:14:43.920
<v Speaker 1>To me. I don't really come down on one side

0:14:44.040 --> 0:14:47.160
<v Speaker 1>or the other. But with that huge caveat, I would

0:14:47.200 --> 0:14:49.880
<v Speaker 1>say that I think if robots are ever able to

0:14:50.000 --> 0:14:52.920
<v Speaker 1>be conscious, if for whatever reason we decide yes they

0:14:52.960 --> 0:14:56.080
<v Speaker 1>are having an inner experience like we are, then I

0:14:56.120 --> 0:14:59.000
<v Speaker 1>think the obvious implication would be that they have the

0:14:59.120 --> 0:15:01.880
<v Speaker 1>right to be protect it against harm just like anybody else,

0:15:02.400 --> 0:15:05.080
<v Speaker 1>but for an Alexa or whatever. Since I don't think

0:15:05.120 --> 0:15:08.760
<v Speaker 1>anybody really has suspicions that Alexa is conscious or that

0:15:08.800 --> 0:15:12.160
<v Speaker 1>Alexa has any kind of internal experience, I think harm

0:15:12.240 --> 0:15:15.040
<v Speaker 1>done against an Alexa would really just be a property

0:15:15.080 --> 0:15:17.160
<v Speaker 1>crime against its owner, like if you were to damage

0:15:17.200 --> 0:15:22.000
<v Speaker 1>somebody's wheelbarrow or something. But then there's another big complication

0:15:22.040 --> 0:15:24.600
<v Speaker 1>that I'll throw in that that your email really made

0:15:24.600 --> 0:15:29.840
<v Speaker 1>me think about, which is the possible brutalizing effect on

0:15:30.200 --> 0:15:35.920
<v Speaker 1>society and on onlookers of tolerating crime against robots that

0:15:36.040 --> 0:15:39.800
<v Speaker 1>appear to be conscious even though they're not. This is

0:15:39.840 --> 0:15:42.160
<v Speaker 1>something that I'd take kind of seriously. So I'm imagining

0:15:42.160 --> 0:15:44.040
<v Speaker 1>a scenario like this, see if this makes any sense

0:15:44.080 --> 0:15:47.600
<v Speaker 1>to rob Like, so we imagine most people are still

0:15:48.480 --> 0:15:50.800
<v Speaker 1>decided that, yeah, there's nothing that it's like to be

0:15:50.840 --> 0:15:54.040
<v Speaker 1>a robot. Robots can't actually suffer, so they don't have

0:15:54.120 --> 0:15:56.560
<v Speaker 1>like inherent rights that we need to protect because there's

0:15:56.560 --> 0:15:58.320
<v Speaker 1>nothing that it's like to be them that they just

0:15:58.320 --> 0:16:01.040
<v Speaker 1>don't care. But if you were to make a robot

0:16:01.160 --> 0:16:06.640
<v Speaker 1>that convincingly acted out suffering when it was harmed, and

0:16:06.680 --> 0:16:10.600
<v Speaker 1>then you just had lots of robots like this constantly

0:16:10.680 --> 0:16:14.600
<v Speaker 1>like being harmed in public views, Like a humanoid looking

0:16:14.680 --> 0:16:17.880
<v Speaker 1>robot that could just like sit there while somebody beat

0:16:17.920 --> 0:16:20.040
<v Speaker 1>it with a stick and it would scream in pain.

0:16:21.120 --> 0:16:24.600
<v Speaker 1>Something does seem like very wrong about that that just

0:16:24.680 --> 0:16:28.320
<v Speaker 1>being stimuli that we are constantly exposed to and doing

0:16:28.360 --> 0:16:30.960
<v Speaker 1>nothing about. You know, it almost seems like that that

0:16:31.040 --> 0:16:35.640
<v Speaker 1>would have a kind of horrible numbing effect on onlookers,

0:16:35.680 --> 0:16:39.760
<v Speaker 1>that would desensitize them to the real suffering of human

0:16:39.800 --> 0:16:44.520
<v Speaker 1>beings and of animals. Yeah, I guess. On a related note,

0:16:44.680 --> 0:16:47.520
<v Speaker 1>I know in my household with a with a with

0:16:47.560 --> 0:16:52.640
<v Speaker 1>a child, we we have stressed at times that you know,

0:16:52.880 --> 0:16:56.360
<v Speaker 1>even though you know Alexa or Amazon or Google or

0:16:56.400 --> 0:16:58.760
<v Speaker 1>whatever you're talking to, uh, you know, even though it's

0:16:58.760 --> 0:17:01.960
<v Speaker 1>not a real person, and we're very clear about that. Um,

0:17:02.200 --> 0:17:05.560
<v Speaker 1>you know, you you shouldn't talk mean mean to it.

0:17:05.640 --> 0:17:07.359
<v Speaker 1>You know, you should you should be nice when you

0:17:07.400 --> 0:17:12.320
<v Speaker 1>address the robot. You shouldn't be you know, unnecessarily uh,

0:17:12.560 --> 0:17:17.959
<v Speaker 1>you know, angry or or you know, or anything like that. Uh. Likewise,

0:17:18.080 --> 0:17:20.639
<v Speaker 1>we've we've had this discussion when when one is playing

0:17:20.680 --> 0:17:25.800
<v Speaker 1>against an AI in a game, particularly you know, certainly

0:17:25.800 --> 0:17:28.200
<v Speaker 1>if it's like an enemy AI, but but more specifically,

0:17:28.560 --> 0:17:31.000
<v Speaker 1>you know, if it's something like an online Settlers of

0:17:31.040 --> 0:17:35.560
<v Speaker 1>Catan situation where it's like a fake human player, Like,

0:17:35.600 --> 0:17:39.240
<v Speaker 1>you're not allowed to just say mean things to the

0:17:39.680 --> 0:17:42.560
<v Speaker 1>non human in the in the chat box because that

0:17:42.720 --> 0:17:45.600
<v Speaker 1>it just sets a weird precedent, you know, right, it's

0:17:45.640 --> 0:17:48.840
<v Speaker 1>and it's not because it would hurt the AI. It's

0:17:48.880 --> 0:17:52.840
<v Speaker 1>because it's like it trains you to behave that way,

0:17:52.960 --> 0:17:55.680
<v Speaker 1>and eventually you may end up behaving that way towards

0:17:55.720 --> 0:17:59.359
<v Speaker 1>somebody who could actually be harmed by it. Yeah, so anyway,

0:17:59.400 --> 0:18:01.520
<v Speaker 1>I mean, of course, it's it's in a whole additional

0:18:01.560 --> 0:18:03.800
<v Speaker 1>area of like, how do we treat how do we

0:18:03.880 --> 0:18:10.200
<v Speaker 1>treat you know, virtual entities in simulated environments and in games. Yeah, well,

0:18:10.240 --> 0:18:12.160
<v Speaker 1>I guess this starts to sort of bleed over into

0:18:12.200 --> 0:18:15.760
<v Speaker 1>the bigger, big controversial question of like whether you know,

0:18:16.000 --> 0:18:18.760
<v Speaker 1>whether video games that have violence in them train people

0:18:18.800 --> 0:18:21.679
<v Speaker 1>to commit violence in the real world. And I'm certainly

0:18:21.720 --> 0:18:24.600
<v Speaker 1>not taking a position on that. I I don't have

0:18:24.840 --> 0:18:27.040
<v Speaker 1>a strong opinion one way or another about that. Maybe

0:18:27.080 --> 0:18:29.240
<v Speaker 1>we could look at the research more on that in

0:18:29.280 --> 0:18:32.080
<v Speaker 1>the future. But um, but I mean I would say

0:18:32.119 --> 0:18:34.320
<v Speaker 1>that there there's something like if something is happening in

0:18:34.359 --> 0:18:37.760
<v Speaker 1>physical space and you're seeing people actually like use physical

0:18:37.920 --> 0:18:41.760
<v Speaker 1>violence against a robot or be uh, you know, performatively

0:18:41.920 --> 0:18:45.679
<v Speaker 1>verbally abusive to a robot, even in in real physical space,

0:18:46.359 --> 0:18:50.320
<v Speaker 1>and nothing is is just being tolerated. Something about that,

0:18:50.400 --> 0:18:52.840
<v Speaker 1>at least intuitively to me, would have would seem to

0:18:52.880 --> 0:18:56.840
<v Speaker 1>have a kind of deadening and and very detrimental effect

0:18:56.960 --> 0:19:00.080
<v Speaker 1>on on the culture. Right, But then again, we have

0:19:00.160 --> 0:19:02.360
<v Speaker 1>to be open to the idea that there could conceivably

0:19:02.400 --> 0:19:07.680
<v Speaker 1>be situations in which the robot's presence is intolerable. Maybe

0:19:07.680 --> 0:19:11.880
<v Speaker 1>it's not the robot's fault, but um, like say, there's

0:19:11.920 --> 0:19:13.679
<v Speaker 1>some sort of a I mean you to go back

0:19:13.720 --> 0:19:16.720
<v Speaker 1>to the cigarette robot example from that the first episode.

0:19:16.880 --> 0:19:20.320
<v Speaker 1>If if the cigarette bot can roll into your house uninvited,

0:19:20.960 --> 0:19:22.720
<v Speaker 1>I mean, I I think you should be able to,

0:19:23.080 --> 0:19:26.800
<v Speaker 1>um to kick it out of your house, right right?

0:19:27.160 --> 0:19:29.119
<v Speaker 1>Sure you know we were not going to stand for

0:19:29.160 --> 0:19:31.679
<v Speaker 1>the tyranny of cigarette bot. Yeah. Maybe so that's the

0:19:31.720 --> 0:19:33.879
<v Speaker 1>other side of it. Maybe maybe we should. Maybe there

0:19:33.880 --> 0:19:37.240
<v Speaker 1>are cases where it's actually good to to appear to

0:19:37.400 --> 0:19:40.280
<v Speaker 1>violate the rights of a robot if that robot represents

0:19:40.320 --> 0:19:42.719
<v Speaker 1>something really evil and bad that you want to like

0:19:43.440 --> 0:19:47.120
<v Speaker 1>demonstrate your disapproval against. I guess that that actually did

0:19:47.160 --> 0:19:49.160
<v Speaker 1>come up in the paper. They were talking about arguments

0:19:49.240 --> 0:19:52.919
<v Speaker 1>that like part of what juries sometimes want to do

0:19:53.080 --> 0:19:58.280
<v Speaker 1>is just like symbolically demonstrate moral approprium. Yeah, here's an idea.

0:19:58.320 --> 0:20:01.000
<v Speaker 1>What if you could build up moral willpower by having

0:20:01.040 --> 0:20:03.800
<v Speaker 1>a robot devil that actually sits on your shoulder and

0:20:03.920 --> 0:20:06.239
<v Speaker 1>is constantly trying to tempt you to do evil, and

0:20:06.280 --> 0:20:11.040
<v Speaker 1>so you like just practice ignoring it all the time. Yeah, yeah, yeah,

0:20:11.080 --> 0:20:16.119
<v Speaker 1>I guess so I could see that working. I'm not

0:20:16.200 --> 0:20:19.000
<v Speaker 1>sure if I could. I mean, I can see people

0:20:19.040 --> 0:20:26.920
<v Speaker 1>doing it. I don't know if it would work, uh

0:20:27.200 --> 0:20:29.520
<v Speaker 1>at anyway, Well, we'll let those the listeners decide on that.

0:20:29.760 --> 0:20:31.640
<v Speaker 1>Here's another bit of listener mail for UCE. This comes

0:20:31.640 --> 0:20:34.080
<v Speaker 1>to us from Jim and New Jersey, Robert and Joe.

0:20:34.640 --> 0:20:37.400
<v Speaker 1>I would like to update the trolley car problem slightly.

0:20:37.480 --> 0:20:40.440
<v Speaker 1>For autonomous vehicles, it's not a choice of whether the

0:20:40.480 --> 0:20:43.000
<v Speaker 1>car strikes the elderly couple or the mother pushing the

0:20:43.000 --> 0:20:46.240
<v Speaker 1>baby stroller, inflicting the least possible harm. It's whether the

0:20:46.280 --> 0:20:49.440
<v Speaker 1>car chooses to crash into a wall or tree seriously

0:20:49.480 --> 0:20:52.840
<v Speaker 1>injuring or killing the passengers, or to strike pedestrians injuring

0:20:52.920 --> 0:20:56.919
<v Speaker 1>or killing them while leaving the passengers mostly unscathed. But

0:20:57.400 --> 0:21:00.639
<v Speaker 1>let's make it a bit more interesting. UM in the

0:21:01.000 --> 0:21:04.360
<v Speaker 1>gym includes a few um caveats here. First of all,

0:21:04.560 --> 0:21:07.840
<v Speaker 1>it's a choice between one passenger and a group of pedestrians,

0:21:08.280 --> 0:21:10.679
<v Speaker 1>or it's a choice between a group in the vehicle

0:21:10.760 --> 0:21:13.879
<v Speaker 1>and one pedestrian, or it's a choice between an equal

0:21:13.960 --> 0:21:16.399
<v Speaker 1>number of people in the vehicle and an equal number

0:21:16.400 --> 0:21:21.120
<v Speaker 1>of pedestrians. Does the car's decision favor passenger safety as

0:21:21.160 --> 0:21:24.879
<v Speaker 1>the car moves from basic utility vehicles into more expensive

0:21:24.960 --> 0:21:28.159
<v Speaker 1>luxury models. I don't know what these answers are or

0:21:28.200 --> 0:21:31.680
<v Speaker 1>should be. There are no easy answers, Jim. I think

0:21:31.680 --> 0:21:34.119
<v Speaker 1>this raises a great point, Jim, and we actually, I

0:21:34.119 --> 0:21:36.479
<v Speaker 1>think we this is probably the response that came in

0:21:36.520 --> 0:21:38.880
<v Speaker 1>after part one published, but before part two, So we

0:21:39.000 --> 0:21:40.800
<v Speaker 1>sort of address some of this in part two. But

0:21:40.880 --> 0:21:44.359
<v Speaker 1>this raises a bunch of other permutations that we didn't

0:21:44.400 --> 0:21:47.600
<v Speaker 1>get into. UH. And and one thing that these variations

0:21:47.640 --> 0:21:50.680
<v Speaker 1>really highlight for me is um a problem that we

0:21:50.800 --> 0:21:52.840
<v Speaker 1>also did not really get into in the episode, which

0:21:52.880 --> 0:21:56.920
<v Speaker 1>is UH, making life or death decisions when the probabilities

0:21:56.920 --> 0:21:59.879
<v Speaker 1>of the outcomes that you're trying to choose between our

0:22:00.119 --> 0:22:03.719
<v Speaker 1>very uncertain. So we were talking about how an autonomous

0:22:03.800 --> 0:22:06.399
<v Speaker 1>vehicle in reality is going to have to make like

0:22:06.480 --> 0:22:09.960
<v Speaker 1>trolley car type decisions all the time. But actually, what

0:22:10.000 --> 0:22:11.800
<v Speaker 1>it's gonna have to do is make like a trolley

0:22:11.800 --> 0:22:15.159
<v Speaker 1>problem decision where it's not one track with one person

0:22:15.359 --> 0:22:18.320
<v Speaker 1>versus another track with multiple people. It's going to be

0:22:18.600 --> 0:22:23.520
<v Speaker 1>lots of abstract branches of probabilities, like you you have

0:22:23.560 --> 0:22:27.000
<v Speaker 1>an x percent probability that someone will be injured or

0:22:27.040 --> 0:22:30.439
<v Speaker 1>harmed on this track versus that track, And a lot

0:22:30.480 --> 0:22:33.280
<v Speaker 1>of times those probabilities, even that the machine judges with

0:22:33.320 --> 0:22:35.480
<v Speaker 1>the best of information available to it, are just going

0:22:35.520 --> 0:22:38.240
<v Speaker 1>to be wrong. So it's not just that the decision

0:22:38.240 --> 0:22:40.320
<v Speaker 1>will have to be made, but the decision will have

0:22:40.359 --> 0:22:43.800
<v Speaker 1>to be made necessarily on incomplete information that could be

0:22:43.920 --> 0:22:48.000
<v Speaker 1>could be very misguided. Just one example, like if an

0:22:48.000 --> 0:22:51.080
<v Speaker 1>autonomous vehicle is trying to make a split second decision

0:22:51.560 --> 0:22:55.919
<v Speaker 1>to minimize harm in an oncoming wreck. Uh, it's going

0:22:55.960 --> 0:22:58.560
<v Speaker 1>to have to make judgments like how many people are

0:22:58.600 --> 0:23:01.879
<v Speaker 1>in the other car, but like how well it seems

0:23:01.880 --> 0:23:03.919
<v Speaker 1>like that's something that's often going to be difficult or

0:23:03.960 --> 0:23:08.160
<v Speaker 1>impossible to determine, or like what's the probability that people

0:23:08.200 --> 0:23:10.679
<v Speaker 1>will will be injured or killed in certain collisions? I

0:23:10.680 --> 0:23:14.720
<v Speaker 1>think it's unfortunately it just gets more and more difficult

0:23:14.840 --> 0:23:17.640
<v Speaker 1>the more you try to get into the details on it. Though,

0:23:17.680 --> 0:23:20.359
<v Speaker 1>as we were saying in the episode a number of times,

0:23:20.359 --> 0:23:23.800
<v Speaker 1>it's not like this is a scenario where the human

0:23:23.920 --> 0:23:27.639
<v Speaker 1>driver naturally has an advantage. I mean human drivers, I

0:23:27.640 --> 0:23:30.280
<v Speaker 1>think are often just like making split second decisions based

0:23:30.320 --> 0:23:32.840
<v Speaker 1>on almost no reasoning whatsoever. Is just sort of like

0:23:32.880 --> 0:23:37.400
<v Speaker 1>instinctual jerky movements. Though the individual human is not going

0:23:37.440 --> 0:23:40.720
<v Speaker 1>to see their own driving that way, right, So yeah,

0:23:40.720 --> 0:23:52.200
<v Speaker 1>it's it's a complicated situation. Okay. This next message is

0:23:52.240 --> 0:23:55.520
<v Speaker 1>about dad jokes and a former Listener mail episode. It

0:23:55.560 --> 0:23:58.920
<v Speaker 1>comes from Mohammed. Mohammed just says, hey, guys, just listen

0:23:58.960 --> 0:24:00.800
<v Speaker 1>to a bit in the list in her Mail episode

0:24:01.040 --> 0:24:04.240
<v Speaker 1>about indicating sarcasm and text. And I wanted to point

0:24:04.240 --> 0:24:07.320
<v Speaker 1>out another sarcasm indicator. I see a lot on social

0:24:07.359 --> 0:24:11.080
<v Speaker 1>media that I think works really well alternating upper and

0:24:11.160 --> 0:24:15.560
<v Speaker 1>lowercase letters. It reads intuitively to me as mocking and sarcastic.

0:24:16.160 --> 0:24:19.320
<v Speaker 1>And that's the whole message, except Muhammad attaches a picture

0:24:19.359 --> 0:24:23.320
<v Speaker 1>of a tattoo where it's one of those like they say,

0:24:23.359 --> 0:24:25.800
<v Speaker 1>I say things, so the parents say, you'll regret that

0:24:25.840 --> 0:24:29.280
<v Speaker 1>tattoo when you get older. And then the response is

0:24:29.359 --> 0:24:32.840
<v Speaker 1>me also saying you'll regret that tattoo when you get older.

0:24:32.880 --> 0:24:35.720
<v Speaker 1>But it's alternating upper in lowercase letters. And then the

0:24:35.720 --> 0:24:41.000
<v Speaker 1>tattoo below that is a weird looking SpongeBob square pants. Yeah,

0:24:41.160 --> 0:24:42.840
<v Speaker 1>I don't know. This looks fine and it's not a

0:24:42.880 --> 0:24:46.560
<v Speaker 1>squid word tattoo. For crying out loud, it's SpongeBob. That's

0:24:46.560 --> 0:24:49.119
<v Speaker 1>a weird SpongeBob, but it's good. I don't know the difference.

0:24:49.160 --> 0:24:50.520
<v Speaker 1>What what what would be the deal if it was

0:24:50.520 --> 0:24:53.280
<v Speaker 1>a squid word tattoo? Does that have political significance? No? No,

0:24:53.320 --> 0:24:56.520
<v Speaker 1>it's just like squid Where have you ever watched SpongeBob? No?

0:24:56.720 --> 0:24:58.639
<v Speaker 1>Never a whole episode. I mean, I know what it is,

0:24:58.720 --> 0:25:01.119
<v Speaker 1>but well, I I could explain it to you, but

0:25:01.320 --> 0:25:03.000
<v Speaker 1>the best thing to do just do. You have to

0:25:03.040 --> 0:25:05.399
<v Speaker 1>watch and then you'll you'll understand the context. But yes,

0:25:05.440 --> 0:25:08.080
<v Speaker 1>squid word is one of the other characters. And I

0:25:08.080 --> 0:25:10.480
<v Speaker 1>guess there's squid word tattoos out there. Maybe there's some

0:25:10.520 --> 0:25:14.840
<v Speaker 1>great squid word tattoos. Um, but I feel like SpongeBob

0:25:14.920 --> 0:25:19.040
<v Speaker 1>is the better choice. I did not know we would

0:25:19.080 --> 0:25:22.160
<v Speaker 1>get factionalism in the response to this, But this is good.

0:25:27.680 --> 0:25:30.840
<v Speaker 1>All right. Let's get to some weird House related listener

0:25:30.840 --> 0:25:33.320
<v Speaker 1>mail here. This one comes to us from Chris offhand.

0:25:33.320 --> 0:25:35.119
<v Speaker 1>I don't know if this is the same Chris as earlier,

0:25:35.160 --> 0:25:37.920
<v Speaker 1>but different one different Chris. A lot of a lot

0:25:37.920 --> 0:25:39.600
<v Speaker 1>of Chris. Is a lot of Chris is out there,

0:25:39.640 --> 0:25:43.560
<v Speaker 1>all right? This Chris says, Hello, Rob and Joe. Well

0:25:43.680 --> 0:25:46.119
<v Speaker 1>we all have that first time it denied was the

0:25:46.240 --> 0:25:49.520
<v Speaker 1>night I experienced Highlander. This is not related to any

0:25:49.560 --> 0:25:53.160
<v Speaker 1>recent podcast specifically, but after searching and watching related weird

0:25:53.200 --> 0:25:56.280
<v Speaker 1>house cinema shows on Prime, I'm being presented with quite

0:25:56.440 --> 0:25:59.320
<v Speaker 1>the bevy of sci fi and weird house options. So

0:25:59.359 --> 0:26:01.919
<v Speaker 1>tonight I try Odd Highlander. It's not over yet, but

0:26:01.960 --> 0:26:05.159
<v Speaker 1>Sean Connery is Egyptian but has a Scottish accent. We

0:26:05.240 --> 0:26:08.479
<v Speaker 1>helped just roll with it, I guess onward um. On

0:26:08.520 --> 0:26:11.480
<v Speaker 1>another note, the dad joke episode was great. I'm a

0:26:11.520 --> 0:26:13.800
<v Speaker 1>father to four children, the oldest is the same age

0:26:13.800 --> 0:26:15.840
<v Speaker 1>as your son, Robert, and she has gotten to the

0:26:15.840 --> 0:26:18.679
<v Speaker 1>point where she's trying her hand at making up jokes.

0:26:18.720 --> 0:26:21.480
<v Speaker 1>A few land with her siblings or parents, but most

0:26:21.480 --> 0:26:24.919
<v Speaker 1>are rather misunderstood. But she persists as far as the

0:26:24.960 --> 0:26:27.639
<v Speaker 1>way a captive audience reinforces our dad jokes. This is

0:26:27.680 --> 0:26:31.439
<v Speaker 1>spot on. The word play jokes and fart innuendo just

0:26:31.680 --> 0:26:34.720
<v Speaker 1>make makes for an easy target for the five to

0:26:34.800 --> 0:26:37.600
<v Speaker 1>nine year old age group. Fortunately, I'm going to have

0:26:37.800 --> 0:26:40.840
<v Speaker 1>around a decade of time with children in that age range,

0:26:41.040 --> 0:26:44.000
<v Speaker 1>so I'll be well entrenched in the dad joke mindset.

0:26:44.400 --> 0:26:48.800
<v Speaker 1>So one for the road then not knock, who's there? Who? Who? Who?

0:26:48.880 --> 0:26:52.119
<v Speaker 1>What are you? And al Yeah, that's the end of

0:26:52.119 --> 0:26:57.560
<v Speaker 1>the regards Chris, I've encountered that one in the wild before. Now.

0:26:57.600 --> 0:27:01.040
<v Speaker 1>As for Highlander, um, yeah, absolutely. Highlander is a is

0:27:01.080 --> 0:27:05.000
<v Speaker 1>a wonderful and and weird film, Uh that I think

0:27:05.040 --> 0:27:07.840
<v Speaker 1>about quite a bit. And obviously we're we're big fans,

0:27:08.200 --> 0:27:13.120
<v Speaker 1>huge fans, enormous fans. We're princess of the universe of Now,

0:27:13.119 --> 0:27:16.560
<v Speaker 1>regarding the idea that Sean Connery is Egyptian in The Highlander,

0:27:16.600 --> 0:27:21.760
<v Speaker 1>I recalled that's actually multiply confusing because, uh, if I'm

0:27:21.800 --> 0:27:25.080
<v Speaker 1>not mistaken, it's Sean Connery not even attempting to mask

0:27:25.240 --> 0:27:29.159
<v Speaker 1>his Scottish accent, but he's playing a guy who comes

0:27:29.240 --> 0:27:35.040
<v Speaker 1>from Egypt originally, but his name is one Sanchez Villa

0:27:35.119 --> 0:27:37.879
<v Speaker 1>Lobos Ramirez, and I think he is supposed to have

0:27:37.920 --> 0:27:42.600
<v Speaker 1>been more recently Spanish, right, yes, So you know, I

0:27:42.640 --> 0:27:44.800
<v Speaker 1>don't know. It's I guess there are different ways you

0:27:44.840 --> 0:27:47.199
<v Speaker 1>could crack that apart. I mean, the obvious answer is

0:27:48.040 --> 0:27:50.640
<v Speaker 1>Sean Connery is not going to do an accent. He's

0:27:50.640 --> 0:27:53.639
<v Speaker 1>going to Sean Connery's accents. So he's going to be

0:27:53.680 --> 0:27:57.320
<v Speaker 1>Scottish in any and everything, whether he's playing an ancient

0:27:57.320 --> 0:28:01.680
<v Speaker 1>Egyptian immortal or like a Russian submarine captain, you're getting

0:28:01.800 --> 0:28:04.159
<v Speaker 1>you're getting the same accent. But I don't know you

0:28:04.200 --> 0:28:06.360
<v Speaker 1>could I guess say that, like if you live long enough,

0:28:06.400 --> 0:28:09.320
<v Speaker 1>perhaps you're fluid enough to move through different cultures. You

0:28:09.400 --> 0:28:12.679
<v Speaker 1>also moved through different languages, and you move through different accents,

0:28:12.760 --> 0:28:15.000
<v Speaker 1>and I don't know how you wind up there, But

0:28:15.119 --> 0:28:17.320
<v Speaker 1>like I guess the thing is, you could look at

0:28:17.359 --> 0:28:21.639
<v Speaker 1>it this way. Ramirez is traveling in Scotland at the time,

0:28:22.160 --> 0:28:26.520
<v Speaker 1>uh in that movie, That's how he encounters McLeod um. Therefore,

0:28:26.640 --> 0:28:31.359
<v Speaker 1>perhaps he's just shifted into Scottish mode. And indeed we

0:28:31.480 --> 0:28:34.320
<v Speaker 1>never see him in that film anyway out of the

0:28:34.359 --> 0:28:38.160
<v Speaker 1>Scottish context. So that's right. Yeah, he's a worldly wanderer

0:28:38.280 --> 0:28:44.320
<v Speaker 1>in the Highlands. He's like, he's like Brian Cox and Braveheart. Yeah.

0:28:44.320 --> 0:28:46.240
<v Speaker 1>So I don't know. I guess it makes I'm gonna

0:28:46.240 --> 0:28:47.480
<v Speaker 1>go I'm gonna go with Hi. I'm gonna say it

0:28:47.520 --> 0:28:50.880
<v Speaker 1>makes perfect sense. It's what It makes perfect sense within

0:28:50.920 --> 0:28:54.600
<v Speaker 1>the context of Highlander one. I guess it. In Highland

0:28:54.640 --> 0:28:58.000
<v Speaker 1>or two he's a ghost, so he's he's just set

0:28:58.120 --> 0:29:00.640
<v Speaker 1>in whatever he was, right, but where he died. So,

0:29:00.720 --> 0:29:02.560
<v Speaker 1>you know what, I'm going to take it a step further.

0:29:02.720 --> 0:29:06.160
<v Speaker 1>It works perfectly in Highlander two as well. I don't

0:29:06.160 --> 0:29:08.280
<v Speaker 1>know if I agree that he's a ghost in Highlander

0:29:08.360 --> 0:29:11.680
<v Speaker 1>two isn't. Well, he's the product of some kind of

0:29:11.720 --> 0:29:14.240
<v Speaker 1>necromancy from the planet Zeist. So the way it goes,

0:29:14.320 --> 0:29:17.600
<v Speaker 1>he's he's killed in Highlander one and then many years

0:29:17.640 --> 0:29:22.080
<v Speaker 1>in the future, Uh, Connor McCloud yells his name, and

0:29:22.120 --> 0:29:25.200
<v Speaker 1>then yelling his name causes him to be like reborn

0:29:25.840 --> 0:29:28.880
<v Speaker 1>in Scotland, and then he comes to visit Connor McCloud.

0:29:28.960 --> 0:29:31.719
<v Speaker 1>So I don't know what you call that. Yeah, I'm

0:29:31.720 --> 0:29:36.200
<v Speaker 1>going to call it a ghost. Okay. He appears very fleshy,

0:29:36.280 --> 0:29:44.840
<v Speaker 1>but but maybe maybe a fleshy ghost. Okay, this next

0:29:44.960 --> 0:29:47.800
<v Speaker 1>message is about Weird House Cinema. It comes from Andy,

0:29:48.000 --> 0:29:50.800
<v Speaker 1>and he says, Hey, guys, I really dig the relatively

0:29:50.840 --> 0:29:53.640
<v Speaker 1>new Weird House Cinema segment. I noticed you haven't done

0:29:53.640 --> 0:29:56.560
<v Speaker 1>any animated features. May be wrong on that point. I

0:29:56.600 --> 0:29:58.560
<v Speaker 1>haven't had the chance to listen to them all. So

0:29:58.600 --> 0:30:00.840
<v Speaker 1>I had a couple of suggestions. Two of my personal

0:30:00.880 --> 0:30:03.760
<v Speaker 1>favorites from when I was a kid, nineteen seventy seven's

0:30:04.000 --> 0:30:08.360
<v Speaker 1>Wizards and nineteen eighty threes Rock and Rule. Both are

0:30:08.400 --> 0:30:13.000
<v Speaker 1>fun and definitely strange post apocalyptic animated features. Wizards is

0:30:13.040 --> 0:30:16.160
<v Speaker 1>a Ralph backsheet film with some great humor. Rock and

0:30:16.280 --> 0:30:19.600
<v Speaker 1>Rule contains wonderful music by lou Rey, Debbie Harry and

0:30:19.680 --> 0:30:22.680
<v Speaker 1>Cheap Trick, as well as a demon made of animated

0:30:22.720 --> 0:30:25.560
<v Speaker 1>cow brains. LOOK forward to seeing your thoughts on these

0:30:25.560 --> 0:30:30.080
<v Speaker 1>fantastically weird animated features, Andy. Well, Andy, I've read about

0:30:30.120 --> 0:30:34.080
<v Speaker 1>both of these movies but seen neither one. Same. Yeah,

0:30:34.080 --> 0:30:37.160
<v Speaker 1>I'm not familiar with Rock and Rule at all, but

0:30:37.200 --> 0:30:40.040
<v Speaker 1>I'm familiar with Wizards just because it's it's often held

0:30:40.080 --> 0:30:42.160
<v Speaker 1>up there. It has this you know, it's a. It's

0:30:42.200 --> 0:30:46.640
<v Speaker 1>favorite for people who are into like seventies weird animated features,

0:30:46.680 --> 0:30:50.080
<v Speaker 1>and you know, I like, we're other work by Ralph

0:30:50.120 --> 0:30:52.120
<v Speaker 1>bak Sheef for sure, So I don't know, maybe that

0:30:52.120 --> 0:30:54.320
<v Speaker 1>one's in our future. I know we've we have a couple,

0:30:54.400 --> 0:30:56.560
<v Speaker 1>at least a couple of animated titles that we've been

0:30:56.680 --> 0:30:59.280
<v Speaker 1>kind of knocking around, and uh, I think we may

0:30:59.320 --> 0:31:03.240
<v Speaker 1>have animated content discussed on the show in the near future.

0:31:08.520 --> 0:31:12.960
<v Speaker 1>So this one is from Landon, and Landon says, hey, guys,

0:31:13.280 --> 0:31:17.680
<v Speaker 1>my older brother had a Turbo Graphics sixteen rob which

0:31:17.840 --> 0:31:19.880
<v Speaker 1>I think this came up in Gunhead, right, because we're

0:31:19.880 --> 0:31:23.719
<v Speaker 1>talking about the idea of Gunhead having uh ports for

0:31:23.840 --> 0:31:26.560
<v Speaker 1>multiple systems. Is a video game, and one of them

0:31:26.600 --> 0:31:28.520
<v Speaker 1>was a game on the Turbo Graphics sixteen that I

0:31:28.520 --> 0:31:30.560
<v Speaker 1>don't recall playing, but when I was a kid, I

0:31:30.600 --> 0:31:33.600
<v Speaker 1>had this, uh this weird game console, and we talked

0:31:33.600 --> 0:31:37.160
<v Speaker 1>about the game Balk's Adventure, which is about an aggressive

0:31:37.280 --> 0:31:42.360
<v Speaker 1>caveman baby that headbuts dinosaurs to death. Yeah. I had

0:31:42.360 --> 0:31:44.080
<v Speaker 1>to look it up that it is some sort of

0:31:44.080 --> 0:31:47.080
<v Speaker 1>caveman baby. I also recall that at some point, I

0:31:47.160 --> 0:31:50.520
<v Speaker 1>think you have to rescue the Princess of the Moon

0:31:51.160 --> 0:31:53.040
<v Speaker 1>or something like. You go to the Moon and the

0:31:53.080 --> 0:31:55.400
<v Speaker 1>bad guys from the Moon, and the bad guy has

0:31:55.440 --> 0:32:00.360
<v Speaker 1>been transforming dinosaurs into evil versions of themselves, and if

0:32:00.400 --> 0:32:03.200
<v Speaker 1>you like head butt the dinosaurs enough, they revert to

0:32:03.320 --> 0:32:07.680
<v Speaker 1>their sort of sweet, nerdy former selves. Anyway, Uh, Landing

0:32:07.760 --> 0:32:11.640
<v Speaker 1>goes on about other turbographic sixteen games, says says Bonks

0:32:11.760 --> 0:32:14.640
<v Speaker 1>was a great game, but Landon also says Keith Courage

0:32:14.800 --> 0:32:17.960
<v Speaker 1>was good too. Now, Keith Courage, I think the game

0:32:18.040 --> 0:32:21.400
<v Speaker 1>was called Keith Courage in Alpha zones. And this was

0:32:21.560 --> 0:32:24.200
<v Speaker 1>a really bizarre game that I also had. It was

0:32:24.280 --> 0:32:28.000
<v Speaker 1>a it was a two D platform side scroller, but

0:32:28.040 --> 0:32:31.520
<v Speaker 1>it had two very different types of levels. One was

0:32:31.600 --> 0:32:33.600
<v Speaker 1>like and they would alternate. You'd go one, and then

0:32:33.640 --> 0:32:36.840
<v Speaker 1>the other one was this cute animated overworld where you'd

0:32:36.880 --> 0:32:39.479
<v Speaker 1>walk around and and go into shops and stuff, and

0:32:39.480 --> 0:32:41.640
<v Speaker 1>it was animated in a way almost loo kind of

0:32:41.640 --> 0:32:44.920
<v Speaker 1>like earth Bound or something except two D. Uh, just

0:32:44.960 --> 0:32:47.560
<v Speaker 1>like very like cute and sunny and bright, and then

0:32:47.600 --> 0:32:50.920
<v Speaker 1>every other level was just this demonic nightmare in these

0:32:50.960 --> 0:32:55.800
<v Speaker 1>caves with like satanic robots attacking you, very very hot

0:32:55.840 --> 0:32:59.840
<v Speaker 1>and cold showers to use the Grand Guniol phrase. But

0:33:00.000 --> 0:33:02.320
<v Speaker 1>then anyway, Landing goes on. There was also a really

0:33:02.320 --> 0:33:05.320
<v Speaker 1>cool racing slash adventure game too. You had to wander

0:33:05.360 --> 0:33:08.280
<v Speaker 1>a world and look for people to race. I wish

0:33:08.320 --> 0:33:10.160
<v Speaker 1>I remember what it was called. I don't know what

0:33:10.200 --> 0:33:13.120
<v Speaker 1>that one was land but Landon says, I've been really

0:33:13.240 --> 0:33:16.680
<v Speaker 1>enjoying the Weird House Cinema episodes. I've seen several that

0:33:16.720 --> 0:33:19.880
<v Speaker 1>have been covered. Robot Jocks was a childhood favorite for

0:33:19.920 --> 0:33:22.800
<v Speaker 1>me and my brothers. Crash and burn became a catchphrase

0:33:22.880 --> 0:33:25.480
<v Speaker 1>for us. What do you think about doing an episode

0:33:25.480 --> 0:33:31.720
<v Speaker 1>on the movie Universal Soldier? Thanks for the great shows, Landon, Um, Well,

0:33:31.760 --> 0:33:33.600
<v Speaker 1>I don't know Universal Soldier. It's been a long time

0:33:33.600 --> 0:33:35.640
<v Speaker 1>since I've seen it, But I don't know. I guess

0:33:35.640 --> 0:33:38.680
<v Speaker 1>anything's possible. We've we often have this discussion, like we

0:33:38.680 --> 0:33:41.920
<v Speaker 1>we don't really have a a set in stone criteria

0:33:41.960 --> 0:33:44.240
<v Speaker 1>for Weird House Cinema is it's it's kind of a

0:33:44.960 --> 0:33:47.160
<v Speaker 1>does it feel right, does it feel like it fits?

0:33:48.240 --> 0:33:50.240
<v Speaker 1>And and then we kind of go with it. So

0:33:50.640 --> 0:33:52.560
<v Speaker 1>I don't know, I'm not sure. I haven't looked at

0:33:52.880 --> 0:33:57.360
<v Speaker 1>Universal Soldiers. Roland Imrick, isn't it I think is it. Yeah,

0:33:57.400 --> 0:34:00.000
<v Speaker 1>I believe it was in early one of his films.

0:34:00.000 --> 0:34:03.880
<v Speaker 1>Could be wrong about that. Speaking of Roland Emerick, Rachel

0:34:03.920 --> 0:34:07.160
<v Speaker 1>and I just recently decided to re revisit a movie

0:34:07.160 --> 0:34:09.120
<v Speaker 1>I hadn't seen in a long time. We watched the

0:34:09.239 --> 0:34:14.879
<v Speaker 1>nineteen Godzilla, directed by Roland Emerick, and what a travesty.

0:34:15.080 --> 0:34:18.720
<v Speaker 1>Just that movie is just direct, no offense to anybody

0:34:18.719 --> 0:34:22.319
<v Speaker 1>who worked on it. But yeah, just I don't know,

0:34:22.480 --> 0:34:24.839
<v Speaker 1>as someone who's who's come to really be more discerning

0:34:24.880 --> 0:34:28.279
<v Speaker 1>about Kaishu type films as as time goes on, that

0:34:28.320 --> 0:34:30.560
<v Speaker 1>one is just the bottom of the barrel. This is

0:34:30.600 --> 0:34:34.719
<v Speaker 1>the Godzilla in name only picture. I don't know what

0:34:34.760 --> 0:34:37.080
<v Speaker 1>you mean by that. I mean it's the one with

0:34:37.120 --> 0:34:41.080
<v Speaker 1>Matthew Broderick and genre No and those people. Yeah, yeah,

0:34:41.120 --> 0:34:43.080
<v Speaker 1>I think it's sometimes called I've seen it referred to

0:34:43.120 --> 0:34:47.200
<v Speaker 1>as Gino as Godzilla in name Only. Well yeah, well,

0:34:47.239 --> 0:34:50.120
<v Speaker 1>like most of the movie is not actually Godzilla. It's

0:34:50.440 --> 0:34:52.680
<v Speaker 1>Matthew Broderick and a bunch of people running around in

0:34:52.719 --> 0:34:56.960
<v Speaker 1>a building running from velociraptors. I think there's the baby godzillas.

0:34:57.000 --> 0:34:58.920
<v Speaker 1>But so it came out a few years after Jurassic

0:34:59.000 --> 0:35:02.959
<v Speaker 1>Park and so there are raptor sized baby Godzilla's doing

0:35:03.080 --> 0:35:05.600
<v Speaker 1>most of the action in the film. Well, you know

0:35:05.920 --> 0:35:08.799
<v Speaker 1>Roland Imerick, he he had some He did some fun pictures. Though.

0:35:08.800 --> 0:35:11.400
<v Speaker 1>We have to remember he did Stargate. Oh, Argate was

0:35:11.480 --> 0:35:14.479
<v Speaker 1>kind of fun. You know, Stargate was fun. I haven't

0:35:14.480 --> 0:35:17.200
<v Speaker 1>seen it in a long time, but ye say, remember

0:35:17.280 --> 0:35:20.319
<v Speaker 1>had a gloriously befuddled James Spader in it. It was

0:35:20.400 --> 0:35:23.960
<v Speaker 1>James Spader and Hugh Grant mode. Yeah. Yeah, and there

0:35:24.040 --> 0:35:27.759
<v Speaker 1>was some fun teleportation high jinks. Uh. Other than that,

0:35:27.800 --> 0:35:36.160
<v Speaker 1>I'm a little little foggy on what happened. Okay, all right,

0:35:36.200 --> 0:35:37.880
<v Speaker 1>here's another bit of listener mail. Lison comes to us

0:35:37.920 --> 0:35:40.680
<v Speaker 1>from Cheryl. Cheryl Rights, I've come across a movie that

0:35:40.760 --> 0:35:43.120
<v Speaker 1>might be suitable for this feature. It is a late

0:35:43.200 --> 0:35:45.919
<v Speaker 1>sixties sort of movie when studios were trying to catch

0:35:45.960 --> 0:35:48.279
<v Speaker 1>up with youth culture. It goes about as well as

0:35:48.280 --> 0:35:50.680
<v Speaker 1>you'd expect. I'd be interested in your take on it.

0:35:50.960 --> 0:35:54.080
<v Speaker 1>The Magic Christian stars Peter Seller's and Ringo Starr, with

0:35:54.120 --> 0:35:58.040
<v Speaker 1>an amazing cast of credited and uncredited actors, including John

0:35:58.120 --> 0:36:02.400
<v Speaker 1>Cleese and Wilfred Hyde. Y Yule Brenner sings a torch

0:36:02.480 --> 0:36:05.960
<v Speaker 1>Song in Drag very well too. Thanks for what you

0:36:06.000 --> 0:36:09.560
<v Speaker 1>do best, Cheryl. Oh, I've seen The Magic Christian. This

0:36:09.600 --> 0:36:11.799
<v Speaker 1>movie is nuts. I also it's been a while since

0:36:11.800 --> 0:36:15.160
<v Speaker 1>I've seen it, but it's uh, it doesn't really have,

0:36:15.360 --> 0:36:18.360
<v Speaker 1>as far as I recall, much of an overarching narrative.

0:36:18.520 --> 0:36:20.680
<v Speaker 1>It's not like a plot driven movie. It's more just

0:36:20.800 --> 0:36:26.440
<v Speaker 1>kind of a series of bizarre vignette strung together of

0:36:26.440 --> 0:36:29.600
<v Speaker 1>of people. Like the main thing I remember about it

0:36:29.640 --> 0:36:31.400
<v Speaker 1>is it has like somebody who's got a lot of

0:36:31.480 --> 0:36:36.440
<v Speaker 1>money tricking people into like like doing pranks on people,

0:36:36.520 --> 0:36:41.399
<v Speaker 1>essentially getting people into bizarre scenarios under the impression, under

0:36:41.400 --> 0:36:44.919
<v Speaker 1>the idea that people will do anything for money. Yeah,

0:36:44.960 --> 0:36:47.120
<v Speaker 1>I've I've never seen it, but yeah, it does have

0:36:47.160 --> 0:36:49.880
<v Speaker 1>a lot of interesting people attached to it, and I

0:36:49.880 --> 0:36:52.360
<v Speaker 1>don't know, it seems to be part of a a

0:36:52.440 --> 0:36:55.040
<v Speaker 1>genre that I have very little exposure to, sort of

0:36:55.080 --> 0:37:01.800
<v Speaker 1>a like a late sixties British satire. The film um

0:37:01.840 --> 0:37:05.839
<v Speaker 1>like I was looking at Joseph McGrath's uh work here,

0:37:06.080 --> 0:37:09.480
<v Speaker 1>Scottish film director, and it's a lot of stuff that

0:37:09.520 --> 0:37:12.400
<v Speaker 1>I've never heard of. But also stuff like the nineteen

0:37:12.520 --> 0:37:18.480
<v Speaker 1>seven Casino Royal adaptation which had Peter Sellers in it

0:37:18.680 --> 0:37:22.400
<v Speaker 1>and Ursa Landrew's David Niven, etcetera. Yeah, I think it

0:37:22.480 --> 0:37:24.680
<v Speaker 1>was based on something that was written by by the

0:37:24.719 --> 0:37:29.560
<v Speaker 1>writer Terry Southern and uh, actually, fact, I remember I'm

0:37:29.560 --> 0:37:33.480
<v Speaker 1>pretty sure The Magic Christian was a favorite of former

0:37:33.560 --> 0:37:37.799
<v Speaker 1>show host Christian Seger. Really okay, yeah, maybe that's maybe

0:37:37.840 --> 0:37:39.600
<v Speaker 1>that's why it sort of rings about, like maybe I

0:37:39.600 --> 0:37:47.080
<v Speaker 1>remember him talking about it. Yeah, all right, what do

0:37:47.080 --> 0:37:48.920
<v Speaker 1>we have? Looks like we have one left in the

0:37:48.960 --> 0:37:52.760
<v Speaker 1>bag there. Ah, yeah, okay. This comes from Greg. Greg,

0:37:53.160 --> 0:37:56.880
<v Speaker 1>also writing about Weird House Cinema, says The Keep is

0:37:56.920 --> 0:38:00.239
<v Speaker 1>an interesting film by Michael Mann, his second feat. Sure,

0:38:00.480 --> 0:38:02.480
<v Speaker 1>I was super excited to see this movie when it

0:38:02.520 --> 0:38:07.480
<v Speaker 1>first came out after seeing production stills in maybe Fangoria. Anyway,

0:38:07.560 --> 0:38:10.920
<v Speaker 1>the film is a beautifully shot, confusing mess with Nazi

0:38:11.200 --> 0:38:15.400
<v Speaker 1>SS troops, an Immortal Warrior, and pure evil every fog

0:38:15.440 --> 0:38:18.279
<v Speaker 1>machine ever made crank to eleven during the whole thing.

0:38:18.600 --> 0:38:21.320
<v Speaker 1>Oh and an all star cast. Look it up. Maybe

0:38:21.320 --> 0:38:23.919
<v Speaker 1>worth a visit for Weird House Cinema. Thanks and love

0:38:24.040 --> 0:38:27.760
<v Speaker 1>the show. Greg. Have you seen The Keep? Rob? I haven't.

0:38:27.800 --> 0:38:29.840
<v Speaker 1>It's been on my list for a long time. I

0:38:29.880 --> 0:38:33.040
<v Speaker 1>think it's one that I've occasionally like powered up like

0:38:33.280 --> 0:38:35.479
<v Speaker 1>and I'm like, I think tonight's tonight, I'm gonna watch

0:38:35.480 --> 0:38:37.799
<v Speaker 1>the keep and then it just doesn't happen for one

0:38:37.800 --> 0:38:40.960
<v Speaker 1>reason or another. I'm almost positive it's got a Tangerine

0:38:41.040 --> 0:38:44.840
<v Speaker 1>Dream score. That's what thats you in. That's probably it.

0:38:45.120 --> 0:38:47.520
<v Speaker 1>H I mean, also, you know the idea Michael Mann

0:38:47.640 --> 0:38:50.560
<v Speaker 1>is not really known for his genre pictures. You know,

0:38:50.600 --> 0:38:53.840
<v Speaker 1>you tend to, so the idea of one of his

0:38:53.880 --> 0:38:57.480
<v Speaker 1>early films had a bunch of supernatural weirdness and and uh,

0:38:57.600 --> 0:39:01.000
<v Speaker 1>you know, and and and Nazis and stuff. It sounds

0:39:01.000 --> 0:39:02.880
<v Speaker 1>worth checking out. I've certainly talked to people who are

0:39:02.880 --> 0:39:06.480
<v Speaker 1>big fans of this flick. Um, So, yeah, I don't know.

0:39:06.560 --> 0:39:09.439
<v Speaker 1>Maybe maybe this is weird house material. I did look

0:39:09.440 --> 0:39:12.160
<v Speaker 1>it up. I can confirm it is music by Tangerine

0:39:12.239 --> 0:39:15.439
<v Speaker 1>Dream uh and and it fits because the movie has

0:39:15.520 --> 0:39:18.480
<v Speaker 1>a kind of that that Tangerine Dreams sort of slow

0:39:18.800 --> 0:39:21.800
<v Speaker 1>dream equality to it. There's lots of fog floating around,

0:39:22.280 --> 0:39:25.120
<v Speaker 1>and the cast is really excellent. I don't think I

0:39:25.120 --> 0:39:28.840
<v Speaker 1>could say it's a good movie. H. Greg is correct

0:39:28.960 --> 0:39:32.839
<v Speaker 1>that this movie is is very confusing, and it doesn't

0:39:32.880 --> 0:39:35.279
<v Speaker 1>I don't recall it having much of a like very

0:39:35.280 --> 0:39:39.359
<v Speaker 1>a very propulsive narrative. But it's got great actors in it.

0:39:39.360 --> 0:39:42.640
<v Speaker 1>It's got Scott Glenn as some kind of strange like

0:39:42.800 --> 0:39:46.000
<v Speaker 1>chosen One type figure who is who is drawn to

0:39:46.080 --> 0:39:49.960
<v Speaker 1>this war zone in Europe by supernatural forces. I think

0:39:50.000 --> 0:39:52.480
<v Speaker 1>at some point his eyes start glowing and I recall

0:39:52.560 --> 0:39:57.000
<v Speaker 1>Scot Glenn has unbelievable what do you call the muscles

0:39:57.040 --> 0:39:59.920
<v Speaker 1>on top of your shoulders, the where like your clavic

0:40:00.000 --> 0:40:04.640
<v Speaker 1>hold your neck, those things. Um, yeah, those traps are

0:40:04.680 --> 0:40:08.520
<v Speaker 1>those traps? Traps? Sure? His his traps are off the charts.

0:40:08.600 --> 0:40:12.280
<v Speaker 1>His traps are unbelievable. Scott Glenn is great. I mean really,

0:40:12.440 --> 0:40:14.000
<v Speaker 1>this whole I mean you look at the people in

0:40:14.000 --> 0:40:17.359
<v Speaker 1>this film is like Gabriel Byrne. Ian McKellen. Um, if

0:40:17.400 --> 0:40:19.920
<v Speaker 1>Brian Payne shows up, I think he's basically just a

0:40:20.200 --> 0:40:22.480
<v Speaker 1>rando in it. But like Bruce Payne is a great

0:40:22.520 --> 0:40:25.000
<v Speaker 1>Beam movie actor as well. Yeah, Ian McKellan is of

0:40:25.000 --> 0:40:28.400
<v Speaker 1>course wonderful as always. I think Jurgen proc Now is

0:40:28.440 --> 0:40:31.560
<v Speaker 1>in it. He plays a Nazi. I think Gabriel Burne

0:40:31.760 --> 0:40:35.040
<v Speaker 1>plays a Nazi and it is the elevator pitches that

0:40:35.120 --> 0:40:38.799
<v Speaker 1>this demon in a cave who looks like a bodybuilder

0:40:38.920 --> 0:40:43.040
<v Speaker 1>hell spawn slash robot comes to life, is awakened somehow

0:40:43.120 --> 0:40:45.359
<v Speaker 1>and kills a bunch of Nazis. Yeah. I think I've

0:40:45.400 --> 0:40:47.440
<v Speaker 1>seen a picture of the the entity in question, and

0:40:47.520 --> 0:40:51.960
<v Speaker 1>he looks like he's probably Thanos his personal trainer. Yeah,

0:40:52.080 --> 0:40:56.799
<v Speaker 1>he does lift this, This demon does lift bro Well,

0:40:56.880 --> 0:40:59.080
<v Speaker 1>I mean say no more. It's got a tangerine dream score,

0:40:59.120 --> 0:41:01.799
<v Speaker 1>so I'd watch it. Okay, Well, maybe this goes on

0:41:01.840 --> 0:41:03.880
<v Speaker 1>the list for the future. And yeah, it is funny

0:41:03.880 --> 0:41:06.520
<v Speaker 1>seeing this come out of Michael Mann, who I think

0:41:06.600 --> 0:41:09.000
<v Speaker 1>Michael Mann is a great filmmaker. I really enjoy a

0:41:09.000 --> 0:41:10.640
<v Speaker 1>lot of his movies, but most of the ones I

0:41:10.640 --> 0:41:13.920
<v Speaker 1>can think of are like crime thriller type movies, like

0:41:14.080 --> 0:41:16.640
<v Speaker 1>some of the best of that genre. But yeah, you

0:41:16.680 --> 0:41:20.040
<v Speaker 1>don't really think of him as making horror movies. Though.

0:41:20.400 --> 0:41:23.960
<v Speaker 1>One movie of his that I think is is really overlooked.

0:41:24.600 --> 0:41:27.520
<v Speaker 1>Is he in the like mid to late two thousands,

0:41:27.560 --> 0:41:29.440
<v Speaker 1>I think, like two thousand five or six or so,

0:41:30.000 --> 0:41:34.040
<v Speaker 1>did a Miami Vice movie? Did you ever see this? No?

0:41:34.200 --> 0:41:36.080
<v Speaker 1>I never did. I know the film in question, though

0:41:36.960 --> 0:41:40.160
<v Speaker 1>this movie is it is not at all what you

0:41:40.160 --> 0:41:43.719
<v Speaker 1>would expect it. Uh. It's so it's just a you know,

0:41:43.920 --> 0:41:47.680
<v Speaker 1>like cops dealing with crime and drug smugglers and stuff

0:41:47.680 --> 0:41:51.759
<v Speaker 1>in terms of story content. But stylistically, this movie is

0:41:51.960 --> 0:41:55.400
<v Speaker 1>so dark and do me. It is like it's like

0:41:55.440 --> 0:41:58.200
<v Speaker 1>the cop movie at the end of the world. The

0:41:58.239 --> 0:42:01.560
<v Speaker 1>cinematography is full of all this a negative space and

0:42:01.719 --> 0:42:07.120
<v Speaker 1>haunting low light. It's it's it is astonishingly weird and

0:42:07.200 --> 0:42:10.200
<v Speaker 1>beautiful in terms of how it looks for a cop movie,

0:42:10.280 --> 0:42:12.680
<v Speaker 1>which is what it is. I would say, it's if

0:42:12.680 --> 0:42:14.720
<v Speaker 1>you're into I don't know. If that tickles your fancy,

0:42:14.760 --> 0:42:17.520
<v Speaker 1>you should. You should look it up. Tangerine Dreamscore. Oh

0:42:17.600 --> 0:42:21.480
<v Speaker 1>I don't know. Okay, well then I can't commit. Okay,

0:42:22.040 --> 0:42:24.399
<v Speaker 1>all right, We're gonna go ahead and close it up here,

0:42:24.560 --> 0:42:27.160
<v Speaker 1>but we'll be back next week with more listener mail.

0:42:27.280 --> 0:42:30.800
<v Speaker 1>Keep it coming, um you know it. Feel free to

0:42:30.840 --> 0:42:34.360
<v Speaker 1>write in about any topics past or present or potentially

0:42:34.440 --> 0:42:38.040
<v Speaker 1>future stuff doble your mind, weird how cinema. Uh, and

0:42:38.080 --> 0:42:40.560
<v Speaker 1>you know, never be shy about even chiming in between

0:42:40.640 --> 0:42:42.920
<v Speaker 1>part one and part two of a series, because that

0:42:42.920 --> 0:42:46.040
<v Speaker 1>that's exactly the case with the Punishing Robots listener mail

0:42:46.080 --> 0:42:48.600
<v Speaker 1>that we read in this episode because we're recording this

0:42:48.640 --> 0:42:53.279
<v Speaker 1>episode between the publication of part one in part two, right, yes,

0:42:53.400 --> 0:42:57.080
<v Speaker 1>good good, Thank you for noting anyway, Thanks as always

0:42:57.080 --> 0:43:00.759
<v Speaker 1>to our excellent audio producer Seth Nicholas Anson. If you

0:43:00.760 --> 0:43:02.840
<v Speaker 1>would like to get in touch with us with feedback

0:43:02.880 --> 0:43:05.480
<v Speaker 1>on this episode or any other, to suggest a topic

0:43:05.520 --> 0:43:07.480
<v Speaker 1>for the future, or just to say hello, you can

0:43:07.520 --> 0:43:10.479
<v Speaker 1>email us at contact at stuff to Blow your Mind

0:43:10.600 --> 0:43:20.160
<v Speaker 1>dot com. Stuff to Blow Your Mind is a production

0:43:20.200 --> 0:43:22.960
<v Speaker 1>of I heart Radio. For more podcasts my heart Radio,

0:43:23.160 --> 0:43:25.840
<v Speaker 1>visit the i heart Radio app, Apple Podcasts, or wherever

0:43:25.880 --> 0:43:27.240
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