WEBVTT - Listener Mail: Keep Watching the Skies 0:00:02.960 --> 0:00:05.360 Welcome to Stuff to Blow Your Mind production of My 0:00:05.480 --> 0:00:11.160 Heart Radio. Hey, you welcome to Stuff to Blow your Mind. 0:00:11.360 --> 0:00:15.160 Listener mail. This is Robert Lamb and this is Joe McCormick. 0:00:15.280 --> 0:00:17.200 And it's Monday, the day of the week that we 0:00:17.280 --> 0:00:20.200 read back some messages you have sent into the show account, 0:00:20.320 --> 0:00:22.639 which if you've never gotten in touch before, why not 0:00:22.720 --> 0:00:26.439 try it out. The email addresses contact at stuff to 0:00:26.480 --> 0:00:29.760 Blow your Mind dot com. Anything is fair game. If 0:00:29.800 --> 0:00:34.600 you've got feedback on a previous episode, corrections, things to add, 0:00:34.960 --> 0:00:37.680 if you've got uh, you know, subjects to suggest for 0:00:37.720 --> 0:00:39.560 the future, if you just want to tell us something 0:00:39.600 --> 0:00:41.839 interesting that you found out, or if you just want 0:00:41.880 --> 0:00:45.200 to say hi, all fair game. Uh. And always movie 0:00:45.240 --> 0:00:49.040 suggestions are welcome for Weird House Cinema. Absolutely. Hey. Actually, 0:00:49.120 --> 0:00:53.200 one bit of logistical business to address before we get 0:00:53.200 --> 0:00:56.840 going today with the messages, we have been told by 0:00:56.840 --> 0:01:00.280 our bosses at the company here that there's something going 0:01:00.320 --> 0:01:04.280 on where if listeners on some platforms I think this 0:01:04.319 --> 0:01:09.200 includes Apple podcasts have not listened to the I I 0:01:09.240 --> 0:01:13.479 think it's the five most recent episodes to publish. Uh. 0:01:13.520 --> 0:01:16.240 In some cases this may result in you getting auto 0:01:16.319 --> 0:01:20.400 downloads turned off. Even if you're subscribed. I don't know 0:01:20.440 --> 0:01:23.639 how exactly all that works, but essentially, we've been told 0:01:24.280 --> 0:01:27.080 that it is good for listeners to be current on 0:01:27.160 --> 0:01:29.880 the show. So hey, if you out there are one 0:01:29.920 --> 0:01:33.360 of the many who who you know you're you're operating 0:01:33.400 --> 0:01:35.800 a few weeks behind, we don't blame you. That's fine. 0:01:35.880 --> 0:01:38.039 Listen to the show however you want, but if you 0:01:38.080 --> 0:01:40.560 want to be helpful to us and helpful to yourself 0:01:40.560 --> 0:01:43.040 to make sure you're always getting new episodes in your 0:01:43.080 --> 0:01:46.360 feed when they publish, apparently it is good for you 0:01:46.400 --> 0:01:49.840 to try to listen to current episodes new episodes when 0:01:49.880 --> 0:01:53.360 they come out, so that uh, a sneaky platform does 0:01:53.400 --> 0:01:57.000 not silently turn off auto downloads. Yeah, and we'll we'll 0:01:57.000 --> 0:01:59.400 continue to try and figure out everything on our end 0:01:59.440 --> 0:02:01.720 and figure out that practices in Ori and but yeah, 0:02:01.760 --> 0:02:05.080 in the meantime, maybe you're behind on a series that 0:02:05.120 --> 0:02:07.840 we're doing, or maybe you're behind on core episodes, but 0:02:08.040 --> 0:02:10.600 that means maybe you could check in on the most 0:02:10.639 --> 0:02:13.480 recent listener mail or Monster Fact or Weird House or 0:02:13.480 --> 0:02:17.280 something to that effect, just to sort of keep things flowing. Uh. 0:02:17.639 --> 0:02:19.480 We we often point out, you know, we we could 0:02:19.520 --> 0:02:21.480 not do this show if it wasn't for our listeners 0:02:22.000 --> 0:02:25.360 and uh and and that that applies to not only 0:02:25.400 --> 0:02:28.079 your support and your interests, but also to the hard 0:02:28.160 --> 0:02:30.760 numbers of the podcast game. That's true. So if you 0:02:30.760 --> 0:02:32.160 want to, if you want to have a way to 0:02:32.240 --> 0:02:34.840 be supportive of the show, one way to do that 0:02:35.040 --> 0:02:38.400 is to be current on your listening. Of course, another 0:02:38.400 --> 0:02:39.880 way to be support of the show is to simply 0:02:39.960 --> 0:02:41.960 right into listener mail and hey, here we are in 0:02:41.960 --> 0:02:46.480 a listener mail episode. Let's do some listener mail. That's right. 0:02:46.680 --> 0:02:49.119 So we got a bunch of great responses to our 0:02:49.160 --> 0:02:53.120 series on horror vakuih the Fear of the Void and 0:02:53.200 --> 0:02:57.959 it's many manifestations. This first message came from Corina Rob 0:02:58.000 --> 0:02:59.760 Do you mind if I read this? Go for it. 0:03:05.080 --> 0:03:08.240 Corina says, Hello, guys, I've enjoyed listening to your podcast 0:03:08.280 --> 0:03:09.960 for a couple of years now, but what made me 0:03:10.000 --> 0:03:13.320 write in now is that it recently contributed to a 0:03:13.440 --> 0:03:17.600 creative project of mine by coincidence. I am an avid 0:03:17.720 --> 0:03:20.520 hobby artist, and I listened to podcasts while I'm drawing 0:03:20.600 --> 0:03:23.000 or painting. I always learned something new and it helps 0:03:23.000 --> 0:03:25.760 me focus on my work. Anyway, I had just finished 0:03:25.760 --> 0:03:29.360 a sketch I wasn't entirely happy with and couldn't pinpoint 0:03:29.400 --> 0:03:32.320 what was bothering me about it. Then, while I was 0:03:32.400 --> 0:03:36.119 chuckling to myself about old maps so convoluted with details 0:03:36.120 --> 0:03:39.360 that one wishes to quote close the ads, that was 0:03:39.400 --> 0:03:42.440 a good one, Rob, that that was you, Corina says, 0:03:42.480 --> 0:03:45.200 it hit me. This issue had cross time and space 0:03:45.200 --> 0:03:48.360 and arrived directly at my desk. My comic style drawing 0:03:48.400 --> 0:03:50.840 shows two people on a cliff with a sunset sky 0:03:50.960 --> 0:03:54.200 in the background. Photos attached. If you're interested, Rob, we 0:03:54.240 --> 0:03:57.560 can take a look, which should be easy enough. I've 0:03:57.600 --> 0:03:59.480 loved drawing since I could hold a pencil, and I 0:03:59.480 --> 0:04:02.280 had a ref friends for this particular scene anyway, But 0:04:02.560 --> 0:04:05.640 I had decided to go for a blindingly colorful sky 0:04:05.760 --> 0:04:09.320 drawn in boldish lines. Uh, fill it with some clouds, 0:04:09.320 --> 0:04:11.960 then add a riot of scribbles to the cliff and 0:04:12.040 --> 0:04:14.920 way too many pebbles to boot because every one of 0:04:15.000 --> 0:04:19.520 these details, taken by itself, struck me as pretty or interesting. However, 0:04:19.720 --> 0:04:22.000 the characters who were supposed to be the center of 0:04:22.040 --> 0:04:26.320 attention ended up getting lost in this crowded chaos. After 0:04:26.360 --> 0:04:30.680 the epiphany that I had an unreasonable fixation on unnecessary decorations. 0:04:31.000 --> 0:04:34.120 I made myself really think about what is actually important 0:04:34.160 --> 0:04:36.719 and streamlined the rest, A good course of action in 0:04:36.760 --> 0:04:39.440 many a situation, I'd say at the end of the 0:04:39.560 --> 0:04:42.799 simplified scenery and in turn extra attention to the character's 0:04:42.839 --> 0:04:46.160 poses and expressions makes the finish drawing, in my opinion, 0:04:46.320 --> 0:04:49.120 far superior to the sketch. Sorry for going on a 0:04:49.120 --> 0:04:50.839 bit long, but I had to share my account of 0:04:50.839 --> 0:04:53.480 horror akawy at work. Now, please excuse me while I 0:04:53.520 --> 0:04:55.560 explore the depths of the stuff to blow your mind 0:04:55.680 --> 0:04:59.200 archive and wait for Friday's Weird House Cinema episode. Best 0:04:59.200 --> 0:05:02.160 Wishes and lots of luck from across the Ocean Corina 0:05:02.480 --> 0:05:05.440 and then Rob. I've attached both of the images she 0:05:05.520 --> 0:05:08.280 shared with us here. Uh you know, crean Up. I 0:05:08.320 --> 0:05:10.799 like them both, but I agree that the characters stand 0:05:10.839 --> 0:05:13.000 out way more in the second and the first they 0:05:13.000 --> 0:05:16.599 almost kind of blend into the background. And you're you're correct, 0:05:16.640 --> 0:05:19.760 that is a lot of pebbles. Yeah, yeah, I like these. 0:05:19.800 --> 0:05:23.520 So yeah, the kind of punk, goth Edward gory kind 0:05:23.520 --> 0:05:26.640 of images, I like it. That's good. Alright. This next 0:05:26.680 --> 0:05:34.960 one comes to us from Chuck five. Chuck five says, 0:05:35.040 --> 0:05:39.000 in your conversations about the abhorrent void, I suggest discussing MOM, 0:05:39.200 --> 0:05:43.320 the Japanese aesthetic theory that what is not there defines 0:05:43.480 --> 0:05:47.200 what is. If you've ever watched anime the breathing room 0:05:47.279 --> 0:05:50.640 carved out by scenes of water dripping from leaves or 0:05:50.680 --> 0:05:54.360 just silent planes of snow, this is MOM. It also 0:05:54.440 --> 0:06:00.560 saves animation time and money. Winky emoticon um and Chuck 0:06:00.600 --> 0:06:02.599 five includes a link here and says I find it 0:06:02.640 --> 0:06:06.400 peaceful and not depending on what part of nothing is depicted. 0:06:07.600 --> 0:06:09.880 So I was reading more about this concept. I've seen 0:06:09.920 --> 0:06:14.000 it described as a a Japanese or a Sino Japanese concept, 0:06:14.120 --> 0:06:16.919 but it came across a good explanation of it in 0:06:17.000 --> 0:06:20.000 a recent art and architecture book by a uv A 0:06:20.120 --> 0:06:25.640 architecture professor named Sanda Ilisque. The book was called Experiencing 0:06:25.760 --> 0:06:31.040 Art and Architecture lessons on Looking from two and uh So. 0:06:31.080 --> 0:06:34.080 In this book, the author makes a distinction between the 0:06:34.160 --> 0:06:38.560 Japanese aesthetic of MA and negative space as it's usually 0:06:38.680 --> 0:06:42.239 understood in Western art and design. What would that difference 0:06:42.240 --> 0:06:45.440 be well, she argues that in Western art, most of 0:06:45.440 --> 0:06:49.680 the time, negative space is not taken as meaningful in 0:06:49.880 --> 0:06:53.520 itself and is not necessarily a point of focus in 0:06:53.600 --> 0:06:56.599 an artwork, but rather a way to like highlight or 0:06:56.640 --> 0:07:00.440 contextualize the figure of the artwork. The point of focus, 0:07:00.480 --> 0:07:03.040 like the characters maybe standing in the middle of the frame, 0:07:03.080 --> 0:07:06.520 surrounded by some kind of negative space. So the in 0:07:06.520 --> 0:07:10.040 in Western art, she's saying, the figure usually has primacy, 0:07:10.120 --> 0:07:12.800 and the negative space is used to maybe make you 0:07:12.920 --> 0:07:16.160 see the figure in a certain way. However, she argues 0:07:16.240 --> 0:07:20.600 that in Japanese are the space itself can have primacy, 0:07:20.640 --> 0:07:23.480 It can in a way have its own meaning and 0:07:23.520 --> 0:07:26.800 maybe even be the point of focus or a a 0:07:26.960 --> 0:07:31.160 major point of focus uh quote. Japanese aesthetics, however, has 0:07:31.200 --> 0:07:34.160 a word for empty space ma and does not conceive 0:07:34.240 --> 0:07:37.680 of it as in opposition to anything. On the contrary. 0:07:37.720 --> 0:07:41.360 In Japanese aesthetics, mass space allows for, and even encourages 0:07:41.400 --> 0:07:45.160 an awareness of both space and object, and suggests not 0:07:45.200 --> 0:07:49.960 only an interdependence but also a reconciliation of voids and solids. 0:07:50.440 --> 0:07:54.200 In mass space, the boundary between form and non form 0:07:54.320 --> 0:07:57.000 is always on the verge of dissolving, and if you 0:07:57.000 --> 0:08:00.280 look at a lot of the great Japanese artworks are 0:08:00.360 --> 0:08:04.680 highlighted as examples of this esthetic of MA. One example 0:08:04.720 --> 0:08:06.440 that often gets used, and it comes up in this 0:08:06.480 --> 0:08:11.400 book itself is a sixteenth century ink on paper screen 0:08:11.720 --> 0:08:15.440 painting or or drawing called The Pine Trees Screen by 0:08:15.840 --> 0:08:19.640 Hassegawa to Haku. I see exactly what that means about. 0:08:20.200 --> 0:08:22.680 It's not just like that there are figures in the 0:08:22.800 --> 0:08:26.480 artwork and then spaces between them, but there's a kind 0:08:26.600 --> 0:08:31.200 of like almost kind of a fluctuating in and out 0:08:31.280 --> 0:08:36.439 of existence or visibility of the figural parts and the 0:08:36.720 --> 0:08:39.400 moss space. The empty space is kind of hard to 0:08:39.440 --> 0:08:41.960 describe it. It's almost kind of like a a cloud 0:08:42.080 --> 0:08:45.600 of boundary between existing and non existing that doesn't neatly 0:08:45.640 --> 0:08:48.120 follow the outlines of the trees, say, kind of like 0:08:48.160 --> 0:08:51.400 penetrates them in a way. Do you know what I'm saying, rob, Yeah, 0:08:51.640 --> 0:08:53.600 But a couple of other things she says that I 0:08:53.640 --> 0:08:58.080 find interesting. She argues that moss space often encourages the 0:08:58.200 --> 0:09:01.680 viewer to see the moss space in a temporal sense, 0:09:02.240 --> 0:09:05.040 meaning like you get the idea that what is empty 0:09:05.120 --> 0:09:08.000 now may once have been full and may become full again, 0:09:08.400 --> 0:09:11.240 and what is full now may become empty. And in 0:09:11.280 --> 0:09:13.640 that same way, she says that in many works of 0:09:13.720 --> 0:09:19.760 Japanese art in architecture, moss space is understood as poignant. Uh, 0:09:19.800 --> 0:09:22.240 you know that it it in a way brings a 0:09:22.280 --> 0:09:25.319 tear to the eye. It seems to suggest thoughts about 0:09:25.320 --> 0:09:29.040 the passage of time and impermanence and the ephemerality of 0:09:29.080 --> 0:09:33.200 life and other phenomena. Yeah, it can often overflow with 0:09:33.520 --> 0:09:39.600 feelings of nostalgia as well. Um. The listener here mentions anime. 0:09:39.800 --> 0:09:42.800 And there's actually a two thousand and two interview that 0:09:42.920 --> 0:09:46.200 Roger Ebert conducted with Hayam Miyazaki, uh, the you know, 0:09:46.320 --> 0:09:51.199 legendary Japanese animation director responsible for such films as NAUSICAA 0:09:51.320 --> 0:09:54.360 and Spirited Away. And you can find this it's on 0:09:54.640 --> 0:09:57.160 Roger ebert dot com website. But I just want to 0:09:57.160 --> 0:09:59.800 read a section from it here where they talk about this. 0:10:00.600 --> 0:10:03.440 Ebert writes, I told me a Zaki, I love the 0:10:03.559 --> 0:10:07.840 quote unquote gratuitous motion in his films. Instead of every 0:10:07.880 --> 0:10:11.160 movement being dictated by the story, sometimes people will just 0:10:11.200 --> 0:10:13.840 sit for a moment where they will sigh, or look 0:10:13.840 --> 0:10:16.160 in a running stream, or do something extra not to 0:10:16.200 --> 0:10:18.720 advance the story. But only to give the sense of 0:10:18.800 --> 0:10:22.280 time and place and who they are. We have a 0:10:22.280 --> 0:10:25.480 word for that in Japanese, he said, it's called mom emptiness. 0:10:25.720 --> 0:10:29.160 It's there intentionally. Is that like the pillow words that 0:10:29.240 --> 0:10:33.800 separate phrases in Japanese poetry? Ebert asks, and then Yazaki says, 0:10:33.960 --> 0:10:36.080 I don't think it's like the pillow word. He clapped 0:10:36.080 --> 0:10:39.760 his hands three or four times, and then he says, quote, 0:10:39.760 --> 0:10:42.599 the time in between my clapping is ma. If you 0:10:42.679 --> 0:10:45.280 just have NonStop action with no breathing space at all, 0:10:45.360 --> 0:10:48.079 it's just dizziness. But if you take a moment, then 0:10:48.080 --> 0:10:50.240 the tension building and the film can grow into a 0:10:50.280 --> 0:10:53.240 wider dimension. If you just have constant tension at eighty 0:10:53.280 --> 0:10:56.440 degrees all the time, you just get numb, and there's 0:10:56.440 --> 0:10:57.840 a great deal more. It's a it's a it's a 0:10:57.920 --> 0:11:01.320 nice little interview piece. So anyway to Chuck five, Yes, 0:11:01.360 --> 0:11:03.679 thank you for suggesting this concept. I think it has 0:11:04.000 --> 0:11:05.880 lots of relevance to what we talked about in the 0:11:05.880 --> 0:11:08.640 horror Vakawee episodes. I would say it's almost kind of 0:11:08.640 --> 0:11:15.079 a full eighty degree anti horror Vakawe not only tolerance 0:11:15.120 --> 0:11:18.880 for empty space, but a kind of reveling in empty space. 0:11:19.520 --> 0:11:21.920 So when I look at this Pines artwork, the pine 0:11:21.920 --> 0:11:26.960 Tree screen, it's in the empty space where the imagination dwells. 0:11:27.080 --> 0:11:28.520 You know, when you look at this and it kind 0:11:28.559 --> 0:11:32.520 of makes makes your your mind come to life. Your 0:11:32.520 --> 0:11:35.080 mind comes to life not by looking at the trees, 0:11:35.160 --> 0:11:37.680 but by looking at the empty spaces between them. That's 0:11:37.679 --> 0:11:42.240 where it feels like it is suggesting emotions. Yeah, it 0:11:42.320 --> 0:11:45.920 also makes me think of various lines from Corey McCarthy 0:11:45.920 --> 0:11:47.920 where we all have a bite where it will be 0:11:47.960 --> 0:11:51.439 like he chewed quietly and thought about his life. Well, 0:11:51.480 --> 0:11:53.360 I want to say there are some some places where 0:11:53.360 --> 0:11:55.760 it will be something to that effect, Like this character 0:11:55.880 --> 0:11:59.160 stares at something and it's just and generally it's a 0:11:59.440 --> 0:12:03.360 Cormack writes that this individual is reflecting on something, but 0:12:03.440 --> 0:12:06.720 we're not like given their stream of consciousness filled. Instead, 0:12:06.760 --> 0:12:10.240 it's just all we're looking from the outside as they think, 0:12:10.280 --> 0:12:13.280 and we're not told what they think. Yeah, exactly, there's 0:12:13.320 --> 0:12:16.840 no running into your dialogue in these particular moments. Okay. 0:12:16.880 --> 0:12:19.560 Next message, also in response to horrorv Akawy. This is 0:12:19.600 --> 0:12:27.000 from Anna and it says, Hi, Robert, Joe and j J. 0:12:27.480 --> 0:12:30.240 I've been enjoying your latest episodes on Fear of Empty Space, 0:12:30.280 --> 0:12:32.360 and I was thinking about how this relates to the 0:12:32.440 --> 0:12:36.120 power of silence. I've heard from a few different sources 0:12:36.160 --> 0:12:39.040 that silence is very powerful in getting people to tell 0:12:39.080 --> 0:12:44.040 you something that could be in political interviews or police interrogations. 0:12:44.240 --> 0:12:47.080 If you leave a silence, people will just want to 0:12:47.160 --> 0:12:49.840 fill it and they will end up revealing something that 0:12:49.920 --> 0:12:53.280 they did not mean to. Just think about how awkward 0:12:53.360 --> 0:12:56.400 silences can be with people you don't know that well, 0:12:56.440 --> 0:12:59.439 say on a first date or something. Sometimes that silence 0:12:59.480 --> 0:13:02.520 can seem almost painful. Keep up the good work, Anna, 0:13:03.720 --> 0:13:06.760 thank you, and yeah, great point, and you're exactly right. 0:13:07.160 --> 0:13:12.480 It is an underappreciated, uh powerful dynamic in in conversation, 0:13:12.679 --> 0:13:16.240 in rhetoric to just pause and not say anything for 0:13:16.280 --> 0:13:19.880 a while. Of course, in in rhetoric, like in speechmaking, 0:13:20.040 --> 0:13:25.160 pauses are very They can be very powerful in um, 0:13:25.200 --> 0:13:27.680 you know, sort of like increasing tension in the audience 0:13:27.800 --> 0:13:30.440 or calling attention to what you just said, making it 0:13:30.480 --> 0:13:33.559 have more gravity, or in leading up to what you're 0:13:33.600 --> 0:13:36.200 about to say either way. But yeah, the thing about 0:13:36.240 --> 0:13:40.000 the police interrogations is great too, because certainly or or 0:13:40.040 --> 0:13:43.920 like trying to interview a slippery politician. You can often 0:13:43.960 --> 0:13:46.320 get a lot out of somebody just by not saying 0:13:46.360 --> 0:13:57.880 anything and letting them sit there in silence. Alright, This 0:13:58.000 --> 0:14:00.840 next one comes to us from Steven Steve and says, Hey, 0:14:00.960 --> 0:14:03.600 Robin Joe, I'm about a week behind in my podcast 0:14:03.760 --> 0:14:07.400 right now. Uh, yeah, that's exactly what we're talking about. Uh, 0:14:07.440 --> 0:14:09.240 it can be hard to get caught back up from 0:14:09.320 --> 0:14:12.240 the holidays. I wanted to comment on something you spoke 0:14:12.280 --> 0:14:15.480 about in the episode Horror Back Away Part two. Rob 0:14:15.559 --> 0:14:17.920 said he wished to see monsters in the margins of 0:14:17.920 --> 0:14:20.760 Google Maps, and I'm pleased to say that for an 0:14:20.840 --> 0:14:24.880 April Fool's joke in Maps did for a short time 0:14:25.000 --> 0:14:29.560 have hidden Pokemon scattered around to find and collect. Although 0:14:29.600 --> 0:14:32.600 it isn't quite the same as Leviathan in the Ocean, 0:14:32.760 --> 0:14:35.680 I think it has a similar vibe. Oh absolutely, I 0:14:35.720 --> 0:14:38.320 mean that there are some monster as Pokemons out there, 0:14:38.760 --> 0:14:43.120 so um, depending on what they had shuffling and sliding 0:14:43.160 --> 0:14:45.080 around in the corners of the maps, that it may 0:14:45.080 --> 0:14:48.880 have felt very appropriate. Definitely. The one I would be 0:14:48.920 --> 0:14:51.920 most afraid of is I'm told Pikachu as a baby now, 0:14:52.040 --> 0:14:56.320 and uh, Pikachu does not have a baby. There is 0:14:56.720 --> 0:15:00.160 there is a prior evolution to Pikachu called Pete. You 0:15:00.400 --> 0:15:06.760 it's not Pikachu's baby, baby Pikachu. That's just that that's dangerous. 0:15:06.800 --> 0:15:11.360 That's like high level waste. Yeah, you have if memories 0:15:11.360 --> 0:15:15.440 are Yeah, you have Piechu Pikachu, right you. And then 0:15:15.560 --> 0:15:18.000 in a separate sort of tangent, you have Detective Pikachu. 0:15:18.520 --> 0:15:23.840 Detective Pikachu. Right yeah, yeah, Detective Pikachu. Good movie. I 0:15:23.880 --> 0:15:27.920 liked it anyway. Stephen continues, I also wanted to suggest 0:15:28.360 --> 0:15:32.160 Mosquito for Weird House Cinema. Something about black bear sized 0:15:32.240 --> 0:15:35.280 mutant mosquitos rampaging ground seems right up your alley. Thank you, 0:15:35.280 --> 0:15:36.960 guys for all the great content you make. I'm always 0:15:36.960 --> 0:15:40.520 excited to hear your voices come across my podcast rotation. Stephen, 0:15:41.120 --> 0:15:43.760 is this the one that has Gunner Hanson in it? 0:15:43.760 --> 0:15:46.640 It is like Gunner Hanson is the most well known 0:15:46.880 --> 0:15:52.520 individual in the film. Um he has top building. Um, though, 0:15:52.560 --> 0:15:55.040 I mean, I don't know. You also have Ron Ashton 0:15:55.120 --> 0:15:58.200 in it, and um, he was a member of the Stooges. 0:15:58.280 --> 0:16:01.520 So I guess, depending on what circle you're in Uh, 0:16:01.840 --> 0:16:03.760 you could you could make a case for him instead, 0:16:04.680 --> 0:16:09.120 But yeah, I have not seen Mosquito, though I would 0:16:09.160 --> 0:16:12.120 be hard pressed to choose between this and two thousand 0:16:12.160 --> 0:16:15.960 five man Squito when it comes to Mosquito based hard films. 0:16:16.320 --> 0:16:18.280 So I was thinking of the right movie. But before 0:16:18.320 --> 0:16:21.040 this I realized I was confused because I was mixing 0:16:21.040 --> 0:16:23.880 it up with the similar year this came out in 0:16:24.800 --> 0:16:29.120 the movie Ticks. Yes, you know Ticks. The it's got 0:16:29.160 --> 0:16:33.840 like Seth Green and Clint Howard. Yeah, Ticks is Ticks 0:16:33.920 --> 0:16:35.800 is one we might come back to. I think we 0:16:35.880 --> 0:16:38.160 watched this back in the day for for trailer talk, 0:16:38.640 --> 0:16:42.680 and it's a it's a trashy monster movie, uh with 0:16:43.040 --> 0:16:47.080 an interesting cast. Um, it's uh, and it's gross, It's 0:16:47.200 --> 0:16:51.160 very gross. What is the premise is so weird? It's like, 0:16:51.640 --> 0:16:55.120 is it like a group of troubled teens are like 0:16:55.200 --> 0:16:57.560 loaded into a van and take into the woods for 0:16:57.640 --> 0:17:00.800 some character building. But then there are giant and ticks 0:17:00.800 --> 0:17:03.880 that have something to do with Clint Howard out there. Yeah, 0:17:03.920 --> 0:17:07.160 he's rearing him or something. I don't remember exactly how 0:17:07.200 --> 0:17:10.360 that that works. And Rance Howard's in it as well. 0:17:10.400 --> 0:17:13.280 Of course you get where one Howard goes you make 0:17:13.320 --> 0:17:16.240 get more than one? Love a two Howard movie? Yeah 0:17:16.680 --> 0:17:19.600 at any rate, Yes, Stephen, thanks for the recommendations. All right, 0:17:19.640 --> 0:17:23.880 let's see Rob. Should I do this one from Dion? Yes, 0:17:23.960 --> 0:17:32.560 go for it, Dion says, dear Robin Joe. Congratulations to 0:17:32.640 --> 0:17:34.920 Joe on his new arrival. It's been lovely to hear 0:17:34.960 --> 0:17:39.680 your thoughtful parenting anecdotes lately. Um, which were the thoughtful ones? 0:17:39.760 --> 0:17:43.639 I'm not sure off to review? Um? What was really 0:17:43.680 --> 0:17:46.359 interesting to hear Seth on the show. I'm also a 0:17:46.440 --> 0:17:49.640 sound designer and record enthusiasts, so I enjoyed the Seth 0:17:49.680 --> 0:17:54.359 based content. Thank you for consistently fascinating podcasts. I've just 0:17:54.400 --> 0:17:57.480 listened to the great episode about horror Akay part one. 0:17:58.000 --> 0:18:00.679 I really enjoyed all the different angles that considered an 0:18:00.680 --> 0:18:03.640 excellent listen. I can weigh in a little on the 0:18:03.680 --> 0:18:07.560 food plating discussion. Remember we talked about uh, yeah, so 0:18:07.880 --> 0:18:10.399 we were talking about art and design and maps and stuff, 0:18:10.400 --> 0:18:12.520 but I guess also about plates like how much white 0:18:12.520 --> 0:18:15.040 space do you leave on a plate? And and uh 0:18:15.240 --> 0:18:19.080 is there more space on the plate typically in fancy restaurants? Yeah, 0:18:19.640 --> 0:18:22.600 Dion goes on I was a chef in all kinds 0:18:22.600 --> 0:18:27.080 of restaurants for fifteen years. The quote closed white space 0:18:27.160 --> 0:18:31.080 taboo in newspapers isn't specifically a thing for plated food. 0:18:31.440 --> 0:18:34.439 The equivalent, no, no would be the rim of a plate, 0:18:34.640 --> 0:18:38.040 which should be kept clean and clear in almost all circumstances. 0:18:38.280 --> 0:18:41.480 I'm talking about classic twelve inch white plates with a 0:18:41.600 --> 0:18:45.440 nice wide rim. Some restaurants have more bespoke and even 0:18:45.480 --> 0:18:48.640 colored plates more recently, but in my mind, at least, 0:18:48.680 --> 0:18:52.200 the white plate remains the classic choice. You'll find more 0:18:52.280 --> 0:18:55.240 amateur chefs will have an instinctive fear of the void, 0:18:55.520 --> 0:18:58.520 and will often do things like scatter cracked pepper around 0:18:58.560 --> 0:19:02.040 the rim of the plate for decorationation. In practice, violating 0:19:02.040 --> 0:19:04.720 the white frame seldom works. It's one of those rules 0:19:04.760 --> 0:19:08.399 that should only be broken thoughtfully, deliberately, and by experts. 0:19:09.640 --> 0:19:13.360 A little more about plating. The trend in the nineties 0:19:13.520 --> 0:19:17.959 was for altitude, great towering things that would be virtually 0:19:18.000 --> 0:19:21.080 impossible for the white staff to deliver to the table intact. 0:19:21.520 --> 0:19:24.719 I've heard this discussed as a reaction to the seventies 0:19:24.840 --> 0:19:29.359 flat presentation, shunning the old flat and rural and embracing 0:19:29.359 --> 0:19:33.680 the modern urban environment of the skyscraper. This presentation leaves 0:19:33.720 --> 0:19:35.920 a lot of white space on a large plate which 0:19:35.960 --> 0:19:39.440 would usually be sparsely decorated, drawing focus to the centerpiece. 0:19:39.480 --> 0:19:42.240 As you have discussed again, current trends are a little 0:19:42.240 --> 0:19:46.040 more diverse, but this presentation is still with us. Dion, 0:19:46.119 --> 0:19:50.560 that is really funny about the chefs having an aversion 0:19:50.640 --> 0:19:52.720 to putting stuff on the rim of the plate. I 0:19:52.760 --> 0:19:55.080 have a specific memory. I don't know what this is from, 0:19:55.119 --> 0:19:58.760 but of like a a gift of like, uh, because 0:19:58.840 --> 0:20:02.240 Gordon Ramsey just like blowing parsley off the rim of 0:20:02.280 --> 0:20:06.560 a plate he was handed. That's kind of rude, but okay, yeah, well, 0:20:06.600 --> 0:20:08.600 I mean that was kind of his his whole gimmick 0:20:09.200 --> 0:20:12.879 for a long time. I'm a jerk. Yeah, um that 0:20:13.040 --> 0:20:15.439 that the altitude thing. I know, this was something that 0:20:15.480 --> 0:20:18.159 I think some stand up comedians had a lot of 0:20:18.160 --> 0:20:21.760 fun with. But I think that you know, if it's 0:20:21.880 --> 0:20:23.840 if it's the right dish, it can still be pretty 0:20:23.880 --> 0:20:26.840 fun to have your I don't know, your your tuna 0:20:26.920 --> 0:20:29.920 slices forming a little tower at the center of the plate. 0:20:30.000 --> 0:20:32.520 That kind of thing. As long as it's not too precarious, 0:20:32.600 --> 0:20:34.720 go for it. I agree. I think it depends on 0:20:34.720 --> 0:20:36.360 what kind of food item it is. Like, I think 0:20:36.400 --> 0:20:40.400 altitude is fun on a plate if it's also uh 0:20:40.600 --> 0:20:43.840 fun and still appetizing once you demolish it, you know, 0:20:44.000 --> 0:20:46.359 is it like fun to take apart and demolish and 0:20:46.400 --> 0:20:49.120 then eat or does the altitude just make it kind 0:20:49.160 --> 0:20:52.480 of cumbersome? M yeah, it's kind of And I guess 0:20:52.560 --> 0:20:55.200 sometimes it's it's a real trade off because take the 0:20:55.240 --> 0:20:58.200 stuffed bell pepper versus just having the bell pepper chopped 0:20:58.280 --> 0:21:01.080 up in whatever would go in stuffing. You know, like 0:21:01.080 --> 0:21:03.920 the clearly the stuff bell pepper is a great presentation, 0:21:04.080 --> 0:21:08.359 but the experience of eating it can sometimes feel a 0:21:08.359 --> 0:21:11.800 little lackluster when you're sitting there carving up your your 0:21:11.800 --> 0:21:14.680 bell pepper and then combining that with whatever was stuffed inside, 0:21:14.720 --> 0:21:16.280 and then you run out of the stuff inside the 0:21:16.320 --> 0:21:19.680 bell pepper before you finish off the rest of the pepper. 0:21:20.359 --> 0:21:21.800 I don't know, maybe I'm the only one who has 0:21:21.880 --> 0:21:25.960 this this experience. No, I think you're right. I'm also 0:21:25.960 --> 0:21:28.200 I'm thinking of examples where you know, there's there's some 0:21:28.359 --> 0:21:31.119 piled high food that really sort of defeats the purpose 0:21:31.200 --> 0:21:35.159 of the food I'm thinking about your classic example nachos. Okay, 0:21:35.400 --> 0:21:37.879 you see nachos piled really high. What's gonna be the 0:21:37.920 --> 0:21:40.080 deal with the nachos on the bottom of that pile? 0:21:40.840 --> 0:21:43.199 Nothing on them or they're super soggy. I think the 0:21:43.240 --> 0:21:46.400 best nachos are a very flat, even layer, because then 0:21:46.560 --> 0:21:50.200 it's all you know, every chip is great, yeah, absolutely yeah. 0:21:50.240 --> 0:21:52.920 Otherwise yeah, you're just gonna get just plain chips down 0:21:52.960 --> 0:21:56.080 there at the bottom. Okay, anyway, coming back, uh Dion 0:21:56.119 --> 0:21:59.440 says on a complete tangent, you might enjoy this Skippy 0:21:59.520 --> 0:22:03.000 the Bush Kangaroo trailer that I neglected to send after 0:22:03.040 --> 0:22:05.920 the Whistling episodes. Remember we did a series on whistling 0:22:06.000 --> 0:22:08.600 earlier last year. I don't know if this ever got 0:22:08.680 --> 0:22:12.200 popular beyond our shores, but all Australians of a certain 0:22:12.280 --> 0:22:14.960 vintage have it baked into their d NA. These were 0:22:15.000 --> 0:22:17.960 simpler times when we only had four free to air channels. 0:22:18.240 --> 0:22:21.360 There's always a eucalypt close by over here, but not 0:22:21.440 --> 0:22:24.919 necessarily a kangaroo, and I think every kid fantasized that 0:22:24.960 --> 0:22:28.120 they could grab a leaf and call for Skippy. Actually, 0:22:28.160 --> 0:22:30.840 I'm fairly sure that leaves are too thick for it 0:22:30.880 --> 0:22:33.480 to actually work as a whistle. You can make a 0:22:33.520 --> 0:22:36.000 sort of hand kazoo with a blade of grass held 0:22:36.040 --> 0:22:38.640 between your thumbs. However, again, thank you for all you do. 0:22:38.760 --> 0:22:42.920 Warm regards, Dion ps. I don't think kangaroos can throw 0:22:42.960 --> 0:22:45.080