Speaker 1: Welcome to Stuff to Blow Your Mind production of My
Speaker 1: Heart Radio. Hey, you welcome to Stuff to Blow your Mind.
Speaker 1: Listener mail. This is Robert Lamb and this is Joe McCormick.
Speaker 1: And it's Monday, the day of the week that we
Speaker 1: read back some messages you have sent into the show account,
Speaker 1: which if you've never gotten in touch before, why not
Speaker 1: try it out. The email addresses contact at stuff to
Speaker 1: Blow your Mind dot com. Anything is fair game. If
Speaker 1: you've got feedback on a previous episode, corrections, things to add,
Speaker 1: if you've got uh, you know, subjects to suggest for
Speaker 1: the future, if you just want to tell us something
Speaker 1: interesting that you found out, or if you just want
Speaker 1: to say hi, all fair game. Uh. And always movie
Speaker 1: suggestions are welcome for Weird House Cinema. Absolutely. Hey. Actually,
Speaker 1: one bit of logistical business to address before we get
Speaker 1: going today with the messages, we have been told by
Speaker 1: our bosses at the company here that there's something going
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Speaker 1: we're doing, or maybe you're behind on core episodes, but
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Speaker 1: way to be support of the show is to simply
Speaker 1: right into listener mail and hey, here we are in
Speaker 1: a listener mail episode. Let's do some listener mail. That's right.
Speaker 1: So we got a bunch of great responses to our
Speaker 1: series on horror vakuih the Fear of the Void and
Speaker 1: it's many manifestations. This first message came from Corina Rob
Speaker 1: Do you mind if I read this? Go for it.
Speaker 1: Corina says, Hello, guys, I've enjoyed listening to your podcast
Speaker 1: for a couple of years now, but what made me
Speaker 1: write in now is that it recently contributed to a
Speaker 1: creative project of mine by coincidence. I am an avid
Speaker 1: hobby artist, and I listened to podcasts while I'm drawing
Speaker 1: or painting. I always learned something new and it helps
Speaker 1: me focus on my work. Anyway, I had just finished
Speaker 1: a sketch I wasn't entirely happy with and couldn't pinpoint
Speaker 1: what was bothering me about it. Then, while I was
Speaker 1: chuckling to myself about old maps so convoluted with details
Speaker 1: that one wishes to quote close the ads, that was
Speaker 1: a good one, Rob, that that was you, Corina says,
Speaker 1: it hit me. This issue had cross time and space
Speaker 1: and arrived directly at my desk. My comic style drawing
Speaker 1: shows two people on a cliff with a sunset sky
Speaker 1: in the background. Photos attached. If you're interested, Rob, we
Speaker 1: can take a look, which should be easy enough. I've
Speaker 1: loved drawing since I could hold a pencil, and I
Speaker 1: had a ref friends for this particular scene anyway, But
Speaker 1: I had decided to go for a blindingly colorful sky
Speaker 1: drawn in boldish lines. Uh, fill it with some clouds,
Speaker 1: then add a riot of scribbles to the cliff and
Speaker 1: way too many pebbles to boot because every one of
Speaker 1: these details, taken by itself, struck me as pretty or interesting. However,
Speaker 1: the characters who were supposed to be the center of
Speaker 1: attention ended up getting lost in this crowded chaos. After
Speaker 1: the epiphany that I had an unreasonable fixation on unnecessary decorations.
Speaker 1: I made myself really think about what is actually important
Speaker 1: and streamlined the rest, A good course of action in
Speaker 1: many a situation, I'd say at the end of the
Speaker 1: simplified scenery and in turn extra attention to the character's
Speaker 1: poses and expressions makes the finish drawing, in my opinion,
Speaker 1: far superior to the sketch. Sorry for going on a
Speaker 1: bit long, but I had to share my account of
Speaker 1: horror akawy at work. Now, please excuse me while I
Speaker 1: explore the depths of the stuff to blow your mind
Speaker 1: archive and wait for Friday's Weird House Cinema episode. Best
Speaker 1: Wishes and lots of luck from across the Ocean Corina
Speaker 1: and then Rob. I've attached both of the images she
Speaker 1: shared with us here. Uh you know, crean Up. I
Speaker 1: like them both, but I agree that the characters stand
Speaker 1: out way more in the second and the first they
Speaker 1: almost kind of blend into the background. And you're you're correct,
Speaker 1: that is a lot of pebbles. Yeah, yeah, I like these.
Speaker 1: So yeah, the kind of punk, goth Edward gory kind
Speaker 1: of images, I like it. That's good. Alright. This next
Speaker 1: one comes to us from Chuck five. Chuck five says,
Speaker 1: in your conversations about the abhorrent void, I suggest discussing MOM,
Speaker 1: the Japanese aesthetic theory that what is not there defines
Speaker 1: what is. If you've ever watched anime the breathing room
Speaker 1: carved out by scenes of water dripping from leaves or
Speaker 1: just silent planes of snow, this is MOM. It also
Speaker 1: saves animation time and money. Winky emoticon um and Chuck
Speaker 1: five includes a link here and says I find it
Speaker 1: peaceful and not depending on what part of nothing is depicted.
Speaker 1: So I was reading more about this concept. I've seen
Speaker 1: it described as a a Japanese or a Sino Japanese concept,
Speaker 1: but it came across a good explanation of it in
Speaker 1: a recent art and architecture book by a uv A
Speaker 1: architecture professor named Sanda Ilisque. The book was called Experiencing
Speaker 1: Art and Architecture lessons on Looking from two and uh So.
Speaker 1: In this book, the author makes a distinction between the
Speaker 1: Japanese aesthetic of MA and negative space as it's usually
Speaker 1: understood in Western art and design. What would that difference
Speaker 1: be well, she argues that in Western art, most of
Speaker 1: the time, negative space is not taken as meaningful in
Speaker 1: itself and is not necessarily a point of focus in
Speaker 1: an artwork, but rather a way to like highlight or
Speaker 1: contextualize the figure of the artwork. The point of focus,
Speaker 1: like the characters maybe standing in the middle of the frame,
Speaker 1: surrounded by some kind of negative space. So the in
Speaker 1: in Western art, she's saying, the figure usually has primacy,
Speaker 1: and the negative space is used to maybe make you
Speaker 1: see the figure in a certain way. However, she argues
Speaker 1: that in Japanese are the space itself can have primacy,
Speaker 1: It can in a way have its own meaning and
Speaker 1: maybe even be the point of focus or a a
Speaker 1: major point of focus uh quote. Japanese aesthetics, however, has
Speaker 1: a word for empty space ma and does not conceive
Speaker 1: of it as in opposition to anything. On the contrary.
Speaker 1: In Japanese aesthetics, mass space allows for, and even encourages
Speaker 1: an awareness of both space and object, and suggests not
Speaker 1: only an interdependence but also a reconciliation of voids and solids.
Speaker 1: In mass space, the boundary between form and non form
Speaker 1: is always on the verge of dissolving, and if you
Speaker 1: look at a lot of the great Japanese artworks are
Speaker 1: highlighted as examples of this esthetic of MA. One example
Speaker 1: that often gets used, and it comes up in this
Speaker 1: book itself is a sixteenth century ink on paper screen
Speaker 1: painting or or drawing called The Pine Trees Screen by
Speaker 1: Hassegawa to Haku. I see exactly what that means about.
Speaker 1: It's not just like that there are figures in the
Speaker 1: artwork and then spaces between them, but there's a kind
Speaker 1: of like almost kind of a fluctuating in and out
Speaker 1: of existence or visibility of the figural parts and the
Speaker 1: moss space. The empty space is kind of hard to
Speaker 1: describe it. It's almost kind of like a a cloud
Speaker 1: of boundary between existing and non existing that doesn't neatly
Speaker 1: follow the outlines of the trees, say, kind of like
Speaker 1: penetrates them in a way. Do you know what I'm saying, rob, Yeah,
Speaker 1: But a couple of other things she says that I
Speaker 1: find interesting. She argues that moss space often encourages the
Speaker 1: viewer to see the moss space in a temporal sense,
Speaker 1: meaning like you get the idea that what is empty
Speaker 1: now may once have been full and may become full again,
Speaker 1: and what is full now may become empty. And in
Speaker 1: that same way, she says that in many works of
Speaker 1: Japanese art in architecture, moss space is understood as poignant. Uh,
Speaker 1: you know that it it in a way brings a
Speaker 1: tear to the eye. It seems to suggest thoughts about
Speaker 1: the passage of time and impermanence and the ephemerality of
Speaker 1: life and other phenomena. Yeah, it can often overflow with
Speaker 1: feelings of nostalgia as well. Um. The listener here mentions anime.
Speaker 1: And there's actually a two thousand and two interview that
Speaker 1: Roger Ebert conducted with Hayam Miyazaki, uh, the you know,
Speaker 1: legendary Japanese animation director responsible for such films as NAUSICAA
Speaker 1: and Spirited Away. And you can find this it's on
Speaker 1: Roger ebert dot com website. But I just want to
Speaker 1: read a section from it here where they talk about this.
Speaker 1: Ebert writes, I told me a Zaki, I love the
Speaker 1: quote unquote gratuitous motion in his films. Instead of every
Speaker 1: movement being dictated by the story, sometimes people will just
Speaker 1: sit for a moment where they will sigh, or look
Speaker 1: in a running stream, or do something extra not to
Speaker 1: advance the story. But only to give the sense of
Speaker 1: time and place and who they are. We have a
Speaker 1: word for that in Japanese, he said, it's called mom emptiness.
Speaker 1: It's there intentionally. Is that like the pillow words that
Speaker 1: separate phrases in Japanese poetry? Ebert asks, and then Yazaki says,
Speaker 1: I don't think it's like the pillow word. He clapped
Speaker 1: his hands three or four times, and then he says, quote,
Speaker 1: the time in between my clapping is ma. If you
Speaker 1: just have NonStop action with no breathing space at all,
Speaker 1: it's just dizziness. But if you take a moment, then
Speaker 1: the tension building and the film can grow into a
Speaker 1: wider dimension. If you just have constant tension at eighty
Speaker 1: degrees all the time, you just get numb, and there's
Speaker 1: a great deal more. It's a it's a it's a
Speaker 1: nice little interview piece. So anyway to Chuck five, Yes,
Speaker 1: thank you for suggesting this concept. I think it has
Speaker 1: lots of relevance to what we talked about in the
Speaker 1: horror Vakawee episodes. I would say it's almost kind of
Speaker 1: a full eighty degree anti horror Vakawe not only tolerance
Speaker 1: for empty space, but a kind of reveling in empty space.
Speaker 1: So when I look at this Pines artwork, the pine
Speaker 1: Tree screen, it's in the empty space where the imagination dwells.
Speaker 1: You know, when you look at this and it kind
Speaker 1: of makes makes your your mind come to life. Your
Speaker 1: mind comes to life not by looking at the trees,
Speaker 1: but by looking at the empty spaces between them. That's
Speaker 1: where it feels like it is suggesting emotions. Yeah, it
Speaker 1: also makes me think of various lines from Corey McCarthy
Speaker 1: where we all have a bite where it will be
Speaker 1: like he chewed quietly and thought about his life. Well,
Speaker 1: I want to say there are some some places where
Speaker 1: it will be something to that effect, Like this character
Speaker 1: stares at something and it's just and generally it's a
Speaker 1: Cormack writes that this individual is reflecting on something, but
Speaker 1: we're not like given their stream of consciousness filled. Instead,
Speaker 1: it's just all we're looking from the outside as they think,
Speaker 1: and we're not told what they think. Yeah, exactly, there's
Speaker 1: no running into your dialogue in these particular moments. Okay.
Speaker 1: Next message, also in response to horrorv Akawy. This is
Speaker 1: from Anna and it says, Hi, Robert, Joe and j J.
Speaker 1: I've been enjoying your latest episodes on Fear of Empty Space,
Speaker 1: and I was thinking about how this relates to the
Speaker 1: power of silence. I've heard from a few different sources
Speaker 1: that silence is very powerful in getting people to tell
Speaker 1: you something that could be in political interviews or police interrogations.
Speaker 1: If you leave a silence, people will just want to
Speaker 1: fill it and they will end up revealing something that
Speaker 1: they did not mean to. Just think about how awkward
Speaker 1: silences can be with people you don't know that well,
Speaker 1: say on a first date or something. Sometimes that silence
Speaker 1: can seem almost painful. Keep up the good work, Anna,
Speaker 1: thank you, and yeah, great point, and you're exactly right.
Speaker 1: It is an underappreciated, uh powerful dynamic in in conversation,
Speaker 1: in rhetoric to just pause and not say anything for
Speaker 1: a while. Of course, in in rhetoric, like in speechmaking,
Speaker 1: pauses are very They can be very powerful in um,
Speaker 1: you know, sort of like increasing tension in the audience
Speaker 1: or calling attention to what you just said, making it
Speaker 1: have more gravity, or in leading up to what you're
Speaker 1: about to say either way. But yeah, the thing about
Speaker 1: the police interrogations is great too, because certainly or or
Speaker 1: like trying to interview a slippery politician. You can often
Speaker 1: get a lot out of somebody just by not saying
Speaker 1: anything and letting them sit there in silence. Alright, This
Speaker 1: next one comes to us from Steven Steve and says, Hey,
Speaker 1: Robin Joe, I'm about a week behind in my podcast
Speaker 1: right now. Uh, yeah, that's exactly what we're talking about. Uh,
Speaker 1: it can be hard to get caught back up from
Speaker 1: the holidays. I wanted to comment on something you spoke
Speaker 1: about in the episode Horror Back Away Part two. Rob
Speaker 1: said he wished to see monsters in the margins of
Speaker 1: Google Maps, and I'm pleased to say that for an
Speaker 1: April Fool's joke in Maps did for a short time
Speaker 1: have hidden Pokemon scattered around to find and collect. Although
Speaker 1: it isn't quite the same as Leviathan in the Ocean,
Speaker 1: I think it has a similar vibe. Oh absolutely, I
Speaker 1: mean that there are some monster as Pokemons out there,
Speaker 1: so um, depending on what they had shuffling and sliding
Speaker 1: around in the corners of the maps, that it may
Speaker 1: have felt very appropriate. Definitely. The one I would be
Speaker 1: most afraid of is I'm told Pikachu as a baby now,
Speaker 1: and uh, Pikachu does not have a baby. There is
Speaker 1: there is a prior evolution to Pikachu called Pete. You
Speaker 1: it's not Pikachu's baby, baby Pikachu. That's just that that's dangerous.
Speaker 1: That's like high level waste. Yeah, you have if memories
Speaker 1: are Yeah, you have Piechu Pikachu, right you. And then
Speaker 1: in a separate sort of tangent, you have Detective Pikachu.
Speaker 1: Detective Pikachu. Right yeah, yeah, Detective Pikachu. Good movie. I
Speaker 1: liked it anyway. Stephen continues, I also wanted to suggest
Speaker 1: Mosquito for Weird House Cinema. Something about black bear sized
Speaker 1: mutant mosquitos rampaging ground seems right up your alley. Thank you,
Speaker 1: guys for all the great content you make. I'm always
Speaker 1: excited to hear your voices come across my podcast rotation. Stephen,
Speaker 1: is this the one that has Gunner Hanson in it?
Speaker 1: It is like Gunner Hanson is the most well known
Speaker 1: individual in the film. Um he has top building. Um, though,
Speaker 1: I mean, I don't know. You also have Ron Ashton
Speaker 1: in it, and um, he was a member of the Stooges.
Speaker 1: So I guess, depending on what circle you're in Uh,
Speaker 1: you could you could make a case for him instead,
Speaker 1: But yeah, I have not seen Mosquito, though I would
Speaker 1: be hard pressed to choose between this and two thousand
Speaker 1: five man Squito when it comes to Mosquito based hard films.
Speaker 1: So I was thinking of the right movie. But before
Speaker 1: this I realized I was confused because I was mixing
Speaker 1: it up with the similar year this came out in
Speaker 1: the movie Ticks. Yes, you know Ticks. The it's got
Speaker 1: like Seth Green and Clint Howard. Yeah, Ticks is Ticks
Speaker 1: is one we might come back to. I think we
Speaker 1: watched this back in the day for for trailer talk,
Speaker 1: and it's a it's a trashy monster movie, uh with
Speaker 1: an interesting cast. Um, it's uh, and it's gross, It's
Speaker 1: very gross. What is the premise is so weird? It's like,
Speaker 1: is it like a group of troubled teens are like
Speaker 1: loaded into a van and take into the woods for
Speaker 1: some character building. But then there are giant and ticks
Speaker 1: that have something to do with Clint Howard out there. Yeah,
Speaker 1: he's rearing him or something. I don't remember exactly how
Speaker 1: that that works. And Rance Howard's in it as well.
Speaker 1: Of course you get where one Howard goes you make
Speaker 1: get more than one? Love a two Howard movie? Yeah
Speaker 1: at any rate, Yes, Stephen, thanks for the recommendations. All right,
Speaker 1: let's see Rob. Should I do this one from Dion? Yes,
Speaker 1: go for it, Dion says, dear Robin Joe. Congratulations to
Speaker 1: Joe on his new arrival. It's been lovely to hear
Speaker 1: your thoughtful parenting anecdotes lately. Um, which were the thoughtful ones?
Speaker 1: I'm not sure off to review? Um? What was really
Speaker 1: interesting to hear Seth on the show. I'm also a
Speaker 1: sound designer and record enthusiasts, so I enjoyed the Seth
Speaker 1: based content. Thank you for consistently fascinating podcasts. I've just
Speaker 1: listened to the great episode about horror Akay part one.
Speaker 1: I really enjoyed all the different angles that considered an
Speaker 1: excellent listen. I can weigh in a little on the
Speaker 1: food plating discussion. Remember we talked about uh, yeah, so
Speaker 1: we were talking about art and design and maps and stuff,
Speaker 1: but I guess also about plates like how much white
Speaker 1: space do you leave on a plate? And and uh
Speaker 1: is there more space on the plate typically in fancy restaurants? Yeah,
Speaker 1: Dion goes on I was a chef in all kinds
Speaker 1: of restaurants for fifteen years. The quote closed white space
Speaker 1: taboo in newspapers isn't specifically a thing for plated food.
Speaker 1: The equivalent, no, no would be the rim of a plate,
Speaker 1: which should be kept clean and clear in almost all circumstances.
Speaker 1: I'm talking about classic twelve inch white plates with a
Speaker 1: nice wide rim. Some restaurants have more bespoke and even
Speaker 1: colored plates more recently, but in my mind, at least,
Speaker 1: the white plate remains the classic choice. You'll find more
Speaker 1: amateur chefs will have an instinctive fear of the void,
Speaker 1: and will often do things like scatter cracked pepper around
Speaker 1: the rim of the plate for decorationation. In practice, violating
Speaker 1: the white frame seldom works. It's one of those rules
Speaker 1: that should only be broken thoughtfully, deliberately, and by experts.
Speaker 1: A little more about plating. The trend in the nineties
Speaker 1: was for altitude, great towering things that would be virtually
Speaker 1: impossible for the white staff to deliver to the table intact.
Speaker 1: I've heard this discussed as a reaction to the seventies
Speaker 1: flat presentation, shunning the old flat and rural and embracing
Speaker 1: the modern urban environment of the skyscraper. This presentation leaves
Speaker 1: a lot of white space on a large plate which
Speaker 1: would usually be sparsely decorated, drawing focus to the centerpiece.
Speaker 1: As you have discussed again, current trends are a little
Speaker 1: more diverse, but this presentation is still with us. Dion,
Speaker 1: that is really funny about the chefs having an aversion
Speaker 1: to putting stuff on the rim of the plate. I
Speaker 1: have a specific memory. I don't know what this is from,
Speaker 1: but of like a a gift of like, uh, because
Speaker 1: Gordon Ramsey just like blowing parsley off the rim of
Speaker 1: a plate he was handed. That's kind of rude, but okay, yeah, well,
Speaker 1: I mean that was kind of his his whole gimmick
Speaker 1: for a long time. I'm a jerk. Yeah, um that
Speaker 1: that the altitude thing. I know, this was something that
Speaker 1: I think some stand up comedians had a lot of
Speaker 1: fun with. But I think that you know, if it's
Speaker 1: if it's the right dish, it can still be pretty
Speaker 1: fun to have your I don't know, your your tuna
Speaker 1: slices forming a little tower at the center of the plate.
Speaker 1: That kind of thing. As long as it's not too precarious,
Speaker 1: go for it. I agree. I think it depends on
Speaker 1: what kind of food item it is. Like, I think
Speaker 1: altitude is fun on a plate if it's also uh
Speaker 1: fun and still appetizing once you demolish it, you know,
Speaker 1: is it like fun to take apart and demolish and
Speaker 1: then eat or does the altitude just make it kind
Speaker 1: of cumbersome? M yeah, it's kind of And I guess
Speaker 1: sometimes it's it's a real trade off because take the
Speaker 1: stuffed bell pepper versus just having the bell pepper chopped
Speaker 1: up in whatever would go in stuffing. You know, like
Speaker 1: the clearly the stuff bell pepper is a great presentation,
Speaker 1: but the experience of eating it can sometimes feel a
Speaker 1: little lackluster when you're sitting there carving up your your
Speaker 1: bell pepper and then combining that with whatever was stuffed inside,
Speaker 1: and then you run out of the stuff inside the
Speaker 1: bell pepper before you finish off the rest of the pepper.
Speaker 1: I don't know, maybe I'm the only one who has
Speaker 1: this this experience. No, I think you're right. I'm also
Speaker 1: I'm thinking of examples where you know, there's there's some
Speaker 1: piled high food that really sort of defeats the purpose
Speaker 1: of the food I'm thinking about your classic example nachos. Okay,
Speaker 1: you see nachos piled really high. What's gonna be the
Speaker 1: deal with the nachos on the bottom of that pile?
Speaker 1: Nothing on them or they're super soggy. I think the
Speaker 1: best nachos are a very flat, even layer, because then
Speaker 1: it's all you know, every chip is great, yeah, absolutely yeah.
Speaker 1: Otherwise yeah, you're just gonna get just plain chips down
Speaker 1: there at the bottom. Okay, anyway, coming back, uh Dion
Speaker 1: says on a complete tangent, you might enjoy this Skippy
Speaker 1: the Bush Kangaroo trailer that I neglected to send after
Speaker 1: the Whistling episodes. Remember we did a series on whistling
Speaker 1: earlier last year. I don't know if this ever got
Speaker 1: popular beyond our shores, but all Australians of a certain
Speaker 1: vintage have it baked into their d NA. These were
Speaker 1: simpler times when we only had four free to air channels.
Speaker 1: There's always a eucalypt close by over here, but not
Speaker 1: necessarily a kangaroo, and I think every kid fantasized that
Speaker 1: they could grab a leaf and call for Skippy. Actually,
Speaker 1: I'm fairly sure that leaves are too thick for it
Speaker 1: to actually work as a whistle. You can make a
Speaker 1: sort of hand kazoo with a blade of grass held
Speaker 1: between your thumbs. However, again, thank you for all you do.
Speaker 1: Warm regards, Dion ps. I don't think kangaroos can throw
Speaker 1: things with their hands, but maybe they could kick up
Speaker 1: dust with their tail ausee style. Um. I've never heard
Speaker 1: of Skippy the Kangaroo here, but I was looking at
Speaker 1: the trailer and yeah, it looks like a lot of fun.
Speaker 1: I love. I love hearing from folks in different countries
Speaker 1: or different reach and where they had a particular show
Speaker 1: that was just a part of everyone's childhood there that
Speaker 1: maybe didn't travel as far, you know, Like I'm reminded
Speaker 1: of like a British variant being things like a Stick
Speaker 1: of the Dump hearing people talk about watching Stick of
Speaker 1: the Dump when there a kid, which is about a
Speaker 1: if memory served a children's show about a boy who
Speaker 1: be friends a caveman living in the local dump. Uh,
Speaker 1: you know, things like that. They just we did not
Speaker 1: have that here, so it wasn't a part of our childhood. Likewise,
Speaker 1: Skippy the Bush Kangaroo. The one I'm really envious of
Speaker 1: is the spirit of Dark and Lonely Water. I know
Speaker 1: that's not a show, but that Donald Pleasants, the the
Speaker 1: Jenny Green Teeth Pools, that's just good. Yes, you know
Speaker 1: one thing we did so. I was also not familiar
Speaker 1: with Skippy the Bush Kangaroo. But I recall when I
Speaker 1: was a child, like in the late eighties early nineties,
Speaker 1: I feel like there was just a glut of Australian
Speaker 1: themed US media, And I don't know if any of
Speaker 1: it was actually Australian in origin, or if that was
Speaker 1: just a time like a lot of especially children's oriented
Speaker 1: media where just got really into the idea of Australia.
Speaker 1: Like I think there were two different children's cartoons that
Speaker 1: were about like a child who befriends magic koala bears. Well,
Speaker 1: you know koalas are adorable, so that makes sense. But
Speaker 1: do you think was this around the time of crocodile Dundee.
Speaker 1: Do you think it was part of the whole crocodile
Speaker 1: dundee craze that that took off in the States. Possibly,
Speaker 1: I don't know, Uh what I just looked at. I
Speaker 1: remembered one of them is called news Ales, and I
Speaker 1: just looked it up, and this is actually a cartoon
Speaker 1: of Japanese origin that has Australian themes and aired in
Speaker 1: the United States on Nickelodeon. Interesting, and I'm not familiar
Speaker 1: with that one. Alright, We'll close it out here with
Speaker 1: one Weird House Cinema message. This one comes to us
Speaker 1: from Karen Karen Rides, Robert and Joe. I've enjoyed your
Speaker 1: podcast for years, and although I listened to Weird House
Speaker 1: Cinema every Friday, I rarely watched the films you review.
Speaker 1: Your descriptions and banter are usually entertaining enough, and even
Speaker 1: considering that Forbidden Planet is still one of my favorite movies,
Speaker 1: I've largely lost my taste for horror and sci fi schlock.
Speaker 1: As I near seventy. This week was an exception. My
Speaker 1: husband and I signed up for a trial subscription to
Speaker 1: the Criterion Channel so we could stream Invention for Destruction,
Speaker 1: and what a treat. It was everything you promised and
Speaker 1: then some. You were right in that it was impossible
Speaker 1: to accurately describe the art. It was visually stunning and
Speaker 1: oh the lines. Thank you so much for this recommendation
Speaker 1: and for continuing to provide interesting and entertaining content. You're
Speaker 1: both skilled science communicators, knowledgeable and loads of fun to
Speaker 1: listen to to best Karen, Oh well that's too nice, Karen,
Speaker 1: But thank you then, thanks for the message, glad that
Speaker 1: you loved Invention for Destruction as we did. Yeah, yeah,
Speaker 1: it's it's it's a lot of fun. All right, We're
Speaker 1: gonna go and close it up there. But yeah, as always,
Speaker 1: we'd love to hear from everyone out there, if you
Speaker 1: have thoughts on recent episodes, old episodes, current episodes, upcoming
Speaker 1: episodes of the core podcast of Weird House Cinema, of
Speaker 1: the Monster Fact, or just things that thoughts and comments
Speaker 1: that are kicking around and listener mail. Yeah right in,
Speaker 1: we'd love to hear from you. Just a reminder that
Speaker 1: our core episodes of Stuff to Blow your Mind published
Speaker 1: on Tuesdays and Thursdays. On Monday's we do listener mail,
Speaker 1: on Wednesday's we do a short form artifactor Monster Fact,
Speaker 1: and on Friday we do Weird House Cinema. Again. That's
Speaker 1: our time to set aside most serious concerns and just
Speaker 1: talk about a weird film. Oh and hey, reminder, one
Speaker 1: more time, check and make sure that every new episode
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Speaker 1: you to stay currents, So if you want to help
Speaker 1: support the show, make sure you don't miss out on anything.
Speaker 1: Just try to be as current as you can. Try
Speaker 1: to listen to episodes from this week. Huge thanks as
Speaker 1: always to our audio producer j J. Pause Way. If
Speaker 1: you would like to get in touch with us, maybe
Speaker 1: yourself be featured on a future episode of Listener Mail.
Speaker 1: If you have feedback on any previous episodes, any corrections,
Speaker 1: anything to add, anything interesting you want to share with us,
Speaker 1: or if you just want to say hello, any of
Speaker 1: its fair game. You can email us at contact at
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Speaker 1: Your Mind is a production of I Heart Radio. For
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