1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:11,039 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your Mind. 3 00:00:11,200 --> 00:00:14,600 Speaker 1: Listener mail, This is Robert Lamb and I'm Joe McCormick. 4 00:00:14,640 --> 00:00:16,760 Speaker 1: You know, Rob, Sometimes I get tripped up on on 5 00:00:16,760 --> 00:00:19,279 Speaker 1: whether we're saying I am or whether we're saying this 6 00:00:19,520 --> 00:00:21,600 Speaker 1: is what what? What is the difference in that intro? 7 00:00:21,680 --> 00:00:23,639 Speaker 1: I'm not quite sure, but sometimes you go this is 8 00:00:23,720 --> 00:00:25,400 Speaker 1: and then I go I am, and then I feel 9 00:00:25,400 --> 00:00:28,080 Speaker 1: like I screwed something up. This is I am. I 10 00:00:28,240 --> 00:00:30,800 Speaker 1: don't know. I never actually I never planned that part. 11 00:00:30,840 --> 00:00:32,400 Speaker 1: It just kind of comes out one way or the other. 12 00:00:32,479 --> 00:00:35,720 Speaker 1: And there's no telling why. This is he as you 13 00:00:35,880 --> 00:00:44,360 Speaker 1: am me and we are all together, all right, Let's 14 00:00:44,400 --> 00:00:47,120 Speaker 1: get right into the message. This first one is about 15 00:00:47,159 --> 00:00:49,839 Speaker 1: the episode we did on the Speaking Sword, the sentient 16 00:00:49,960 --> 00:00:52,880 Speaker 1: talking weapon of mythology or are you ready rob Let's 17 00:00:52,880 --> 00:00:56,520 Speaker 1: do it? Okay? It comes from Ahmed. Ahmed says, hey, 18 00:00:56,600 --> 00:00:59,040 Speaker 1: Robert and Joe. Actually Ahmed has written in before, but 19 00:00:59,080 --> 00:01:01,680 Speaker 1: he clarifies some thing at the beginning. He says Ahmed 20 00:01:01,720 --> 00:01:06,600 Speaker 1: again pronunciation Note it's Ahmed the Pakistani way, not Ahmed 21 00:01:06,680 --> 00:01:08,600 Speaker 1: the Arab way. Though, of course you had no way 22 00:01:08,640 --> 00:01:11,440 Speaker 1: of knowing that. Well, Thanks Ahmed, and yeah, as a 23 00:01:11,480 --> 00:01:14,160 Speaker 1: side note, anybody who wants to write in in the future, 24 00:01:14,200 --> 00:01:16,960 Speaker 1: if you've got pronunciation notes on your name or pronouns 25 00:01:17,040 --> 00:01:20,160 Speaker 1: or whatever whatever would help us identify you better, but 26 00:01:20,200 --> 00:01:24,440 Speaker 1: please include them. Yes, Ahmed writes, Your recent episodes about 27 00:01:24,480 --> 00:01:28,520 Speaker 1: personality imbued weapons and weapons technologies made me think about 28 00:01:28,560 --> 00:01:33,120 Speaker 1: the peungen arrows and Tonga device of Korean archery. These 29 00:01:33,160 --> 00:01:36,160 Speaker 1: were an ingenious pair that worked together to give medieval 30 00:01:36,240 --> 00:01:40,319 Speaker 1: Korean archers an advantage in firepower. The peongen was a 31 00:01:40,400 --> 00:01:45,119 Speaker 1: small bolt like arrow whose sizement that for equivalent propulsion 32 00:01:45,160 --> 00:01:48,559 Speaker 1: it went faster and further than a typical large arrow. 33 00:01:49,080 --> 00:01:51,320 Speaker 1: But how do you use such a small arrow without 34 00:01:51,360 --> 00:01:54,600 Speaker 1: having it flopping around between the drawn bowstring and the 35 00:01:54,640 --> 00:01:58,600 Speaker 1: bow handle. This is where the tonga came in. Essentially 36 00:01:58,640 --> 00:02:02,840 Speaker 1: a longitudinally hut bamboo tube held by the archer in 37 00:02:02,880 --> 00:02:07,000 Speaker 1: the bow handle hand. This arrow guide let users support 38 00:02:07,040 --> 00:02:11,400 Speaker 1: and aim their peungen at full draw before releasing, so 39 00:02:11,480 --> 00:02:13,720 Speaker 1: kind of like a kind of like a a half 40 00:02:13,760 --> 00:02:18,239 Speaker 1: pipe rifle barrel for an arrow. That was my editorializing. 41 00:02:18,240 --> 00:02:21,079 Speaker 1: Ahmed goes on and added benefit was that in an 42 00:02:21,200 --> 00:02:24,280 Speaker 1: arrow when picking up the enemy's volleys and firing them 43 00:02:24,320 --> 00:02:28,640 Speaker 1: back with standard practice, rival archers without an overdraw device 44 00:02:28,760 --> 00:02:33,119 Speaker 1: like the Tonga found Peongan uselessly short. Oh that's great. Yeah, 45 00:02:33,120 --> 00:02:34,840 Speaker 1: so the enemy picks it up and it's like it's 46 00:02:34,880 --> 00:02:39,400 Speaker 1: too puny to fit between the bow and the draw string. Continuing, 47 00:02:39,880 --> 00:02:42,160 Speaker 1: I think Korean archery would make for a good topic 48 00:02:42,200 --> 00:02:44,040 Speaker 1: for stuff to blow your mind. There's a ton of 49 00:02:44,040 --> 00:02:47,720 Speaker 1: fascinating history and culture, and it's a subject with reverberations 50 00:02:47,760 --> 00:02:50,880 Speaker 1: to the current day, as evidenced by South Korea's domination 51 00:02:50,960 --> 00:02:55,799 Speaker 1: of Olympic archery. Anyways, keep up the great work, Ahmed. Huh, Well, 52 00:02:55,840 --> 00:02:57,920 Speaker 1: you know that this this is all wonderful. I didn't 53 00:02:57,960 --> 00:03:01,000 Speaker 1: really know anything about Korean archery, but I have thought 54 00:03:01,040 --> 00:03:03,720 Speaker 1: in the past that archery in general would be a 55 00:03:03,720 --> 00:03:06,440 Speaker 1: great topic for us to explore because you see all 56 00:03:06,480 --> 00:03:12,320 Speaker 1: these different cultural variations on a different innovations that were 57 00:03:12,360 --> 00:03:16,680 Speaker 1: often game changing innovations on the battlefield. So and then, 58 00:03:16,680 --> 00:03:18,679 Speaker 1: of course we could also potentially just get into the 59 00:03:19,160 --> 00:03:22,799 Speaker 1: basic physics of the activity. We did cover the addle 60 00:03:22,800 --> 00:03:26,240 Speaker 1: addle on, right, we did. Yeah, so we kind of did. 61 00:03:26,280 --> 00:03:29,120 Speaker 1: We kind of did the like the introductory chapter to 62 00:03:29,280 --> 00:03:31,720 Speaker 1: a series that we just haven't quite got around to doing. 63 00:03:32,280 --> 00:03:34,360 Speaker 1: It's been a while, but I recall some of the 64 00:03:34,400 --> 00:03:36,800 Speaker 1: papers we looked at for the Addle Addle did some 65 00:03:37,040 --> 00:03:42,440 Speaker 1: rough comparisons between like the the uh, the pros and 66 00:03:42,480 --> 00:03:45,640 Speaker 1: cons basically of the addleaddle versus the bows that would 67 00:03:45,640 --> 00:03:49,120 Speaker 1: come later or or in some cases before. But anyway, hey, 68 00:03:49,400 --> 00:03:56,560 Speaker 1: thanks for the email. All right, here's another one. We 69 00:03:56,600 --> 00:03:59,040 Speaker 1: heard from a lot of people regarding our Mirrors series, 70 00:03:59,160 --> 00:04:00,960 Speaker 1: which which is great. We we knew this would be 71 00:04:00,960 --> 00:04:04,160 Speaker 1: the case since we all have experience with mirrors, and 72 00:04:04,240 --> 00:04:06,560 Speaker 1: if you happen to have not had any experience of 73 00:04:06,600 --> 00:04:09,200 Speaker 1: the mirrors, then hopefully our episodes turns you onto mirrors. 74 00:04:09,560 --> 00:04:11,720 Speaker 1: And you've just been really blown away by what this 75 00:04:11,880 --> 00:04:14,200 Speaker 1: technology can do. You're like, I gotta try one of 76 00:04:14,200 --> 00:04:17,240 Speaker 1: these things. I'm hoping we can leverage this into a 77 00:04:17,240 --> 00:04:21,400 Speaker 1: sponsorship from mirror Box. It's you know, that mirror subscription service. 78 00:04:21,760 --> 00:04:23,520 Speaker 1: Is this the thing? This is actually a thing, not 79 00:04:23,560 --> 00:04:25,279 Speaker 1: making this? I mean it would be great, right for 80 00:04:25,320 --> 00:04:28,960 Speaker 1: people who just can't stop smashing mirrors? Yeah? Yeah, alright, 81 00:04:28,960 --> 00:04:32,080 Speaker 1: So Samantha Rites, Hello Robin Joe, I listened with interest 82 00:04:32,200 --> 00:04:35,239 Speaker 1: to your recent podcasts The Invention of the Mirror, Part four, 83 00:04:35,720 --> 00:04:38,520 Speaker 1: on Joe's question of why mirrors seem to be associated 84 00:04:38,560 --> 00:04:42,320 Speaker 1: with some form of local superstition. My hypothesis is that 85 00:04:42,520 --> 00:04:45,599 Speaker 1: any kind of reflection of oneself, whether physical or figurative, 86 00:04:45,920 --> 00:04:50,080 Speaker 1: tends to be a transcendental experience. It is odd, almost 87 00:04:50,160 --> 00:04:52,760 Speaker 1: jarring when we first catch sight of ourselves, such as 88 00:04:52,800 --> 00:04:56,880 Speaker 1: when a baby sees there there again, not there again, 89 00:04:56,920 --> 00:05:00,160 Speaker 1: reflection on a shiny toy, or a dog barks at 90 00:05:00,160 --> 00:05:03,560 Speaker 1: a glass door. The early forms of reflections, being distorted 91 00:05:03,600 --> 00:05:09,000 Speaker 1: and imperfect yet recognizable, might have heightened that sense of surrealism. 92 00:05:09,000 --> 00:05:11,360 Speaker 1: In truth, we never get to lay eyes on ourselves 93 00:05:11,560 --> 00:05:13,839 Speaker 1: the way we lie lay eyes on every other object 94 00:05:13,920 --> 00:05:17,080 Speaker 1: in the physical world. Reflections are a way of understanding 95 00:05:17,200 --> 00:05:19,960 Speaker 1: what others see when they lay eyes upon us, and 96 00:05:20,120 --> 00:05:23,480 Speaker 1: is essentially a not out of body, out of body experience, 97 00:05:23,520 --> 00:05:26,920 Speaker 1: since we are finally inhabiting a viewpoint that cannot belong 98 00:05:27,000 --> 00:05:31,719 Speaker 1: to us naturally. Similarly, when we do a figurative self reflection, 99 00:05:31,760 --> 00:05:33,960 Speaker 1: we are asked to step out of ourselves, inhabiting the 100 00:05:34,040 --> 00:05:36,880 Speaker 1: viewpoints of others to reflect on our own actions as 101 00:05:36,880 --> 00:05:40,280 Speaker 1: a bystander. It's very interesting that in this same podcast, 102 00:05:40,520 --> 00:05:43,839 Speaker 1: Rob mentions cameras and photographs in the same breath as mirrors. 103 00:05:43,880 --> 00:05:46,719 Speaker 1: I didn't catch what was the exact connection drawn, but 104 00:05:46,800 --> 00:05:50,120 Speaker 1: some older folk where I am do not like profiles 105 00:05:50,120 --> 00:05:53,400 Speaker 1: of themselves taken. There's an old superstition about capturing someone's 106 00:05:53,520 --> 00:05:57,120 Speaker 1: essence with camera on film, and I believe it stems 107 00:05:57,400 --> 00:06:00,440 Speaker 1: from the same discomfort of being able to see in self, 108 00:06:00,520 --> 00:06:03,240 Speaker 1: not as a reflection as in mirrors, but now in 109 00:06:03,279 --> 00:06:07,600 Speaker 1: a two dimensional portable film where obstensibly like like, some 110 00:06:07,720 --> 00:06:11,200 Speaker 1: part of one's likeness is preserved. If you believe that 111 00:06:11,240 --> 00:06:14,000 Speaker 1: your likeness forms a part of your being, than to 112 00:06:14,120 --> 00:06:17,560 Speaker 1: have your likeness preserved in another medium may lead some 113 00:06:17,720 --> 00:06:20,360 Speaker 1: to believe that some part of their being has also 114 00:06:20,480 --> 00:06:24,039 Speaker 1: been detached along with it. And if you believe that 115 00:06:24,160 --> 00:06:28,279 Speaker 1: being is a finite quantity, then the natural conclusion is 116 00:06:28,320 --> 00:06:31,640 Speaker 1: that one has somehow lost some portion of one's being 117 00:06:31,920 --> 00:06:36,599 Speaker 1: with each photo taken. Mirrors reflect, and photos capture. Perhaps 118 00:06:36,600 --> 00:06:40,440 Speaker 1: their associated superstitions remind us how infrequently we got to 119 00:06:40,480 --> 00:06:43,920 Speaker 1: see ourselves in the past. Oh thanks Samantha. Yeah, very 120 00:06:43,920 --> 00:06:47,320 Speaker 1: thoughtful email. A lot of a lot of cool stuff here. Yeah, yeah, 121 00:06:47,279 --> 00:06:50,320 Speaker 1: I think that's that's all all very valid and um 122 00:06:50,400 --> 00:06:53,000 Speaker 1: and and again it's it's interesting how you if you 123 00:06:53,200 --> 00:06:56,080 Speaker 1: you read uh boorheads, if you read his his poem 124 00:06:56,120 --> 00:06:59,200 Speaker 1: on mirrors, which I know I keep mentioning, uh, but 125 00:06:59,240 --> 00:07:01,000 Speaker 1: if if you read it in full, it's like he 126 00:07:01,040 --> 00:07:04,560 Speaker 1: manages to encapsulate all of these various, um, you know, 127 00:07:04,560 --> 00:07:08,159 Speaker 1: twisting ideas about mirrors and reflection. Uh you know what 128 00:07:08,160 --> 00:07:10,520 Speaker 1: what they mean, what they seem to mean, how they 129 00:07:10,560 --> 00:07:14,920 Speaker 1: how they impact our cognition and are how we envision 130 00:07:14,960 --> 00:07:18,520 Speaker 1: ourselves and others. It's it's it's wonderful stuff. But but 131 00:07:18,600 --> 00:07:20,720 Speaker 1: it does just come down to the fact that mirrors 132 00:07:20,720 --> 00:07:26,120 Speaker 1: are inherently weird and they turn our world on end, truly, 133 00:07:26,240 --> 00:07:28,920 Speaker 1: and and in that vein Okay, I'm gonna go straight 134 00:07:28,920 --> 00:07:38,000 Speaker 1: into this next message from Simon. All Right, Simon says, Hi, gents, 135 00:07:38,000 --> 00:07:40,200 Speaker 1: have just been listening to your series on mirrors and 136 00:07:40,280 --> 00:07:43,680 Speaker 1: was wondering if you missed an interesting question. Why do 137 00:07:43,840 --> 00:07:48,880 Speaker 1: mirrors only reverse the reflection on the horizontal plane relative 138 00:07:48,920 --> 00:07:51,640 Speaker 1: to your head? Why is it not reversed on the 139 00:07:51,760 --> 00:07:54,520 Speaker 1: vertical plane. There was a thought that it was due 140 00:07:54,520 --> 00:07:57,240 Speaker 1: to your eyes being on a horizontal plane, but if 141 00:07:57,280 --> 00:08:00,560 Speaker 1: you close one eye, the image is still reverse, and 142 00:08:00,600 --> 00:08:03,560 Speaker 1: if you tilt your head sideways, it's still reversed on 143 00:08:03,640 --> 00:08:06,960 Speaker 1: the horizontal plane relative to your head. I mean, I 144 00:08:07,000 --> 00:08:08,840 Speaker 1: don't know the answer, but I'd love to hear you 145 00:08:08,880 --> 00:08:11,560 Speaker 1: guys discuss it. Thanks and keep up the good work. 146 00:08:11,600 --> 00:08:15,880 Speaker 1: I love the podcast, Simon. Okay, so this is something 147 00:08:16,000 --> 00:08:18,600 Speaker 1: I have definitely wondered about before, and it can be 148 00:08:18,680 --> 00:08:22,640 Speaker 1: really difficult to reason your way through this. I actually 149 00:08:22,760 --> 00:08:25,760 Speaker 1: already tried to answer this email once on last week's 150 00:08:25,760 --> 00:08:28,800 Speaker 1: Listener Mail episode, but then I was not satisfied with 151 00:08:28,840 --> 00:08:30,760 Speaker 1: how I explained it, so I cut that out and 152 00:08:30,800 --> 00:08:33,320 Speaker 1: I'm trying again. This is my second run on this, 153 00:08:33,760 --> 00:08:36,400 Speaker 1: and it's my best attempt to clarify the answer to 154 00:08:36,440 --> 00:08:39,440 Speaker 1: this question. So, first of all, I would argue that 155 00:08:39,559 --> 00:08:42,920 Speaker 1: the clearest way to understand what a mirror is doing 156 00:08:42,960 --> 00:08:46,439 Speaker 1: to your image is to start by just ignoring the 157 00:08:46,480 --> 00:08:50,959 Speaker 1: concept of left and right and only think about objective 158 00:08:51,080 --> 00:08:54,680 Speaker 1: directions within a reference frame. So I'll try to illustrate that. 159 00:08:54,720 --> 00:08:57,840 Speaker 1: I'll give you something to picture in your head. Imagine 160 00:08:57,880 --> 00:09:01,160 Speaker 1: you are standing facing a mirror or that is mounted 161 00:09:01,160 --> 00:09:04,160 Speaker 1: on a wall directly to the north of you. So 162 00:09:04,280 --> 00:09:07,120 Speaker 1: when you look into that mirror, you are facing straight 163 00:09:07,160 --> 00:09:11,960 Speaker 1: to the north. Your back is facing directly to the south. Now, 164 00:09:12,040 --> 00:09:15,000 Speaker 1: if you're in this situation and you raise your left 165 00:09:15,240 --> 00:09:18,319 Speaker 1: arms straight out to the side, which cardinal direction is 166 00:09:18,360 --> 00:09:20,960 Speaker 1: it pointing? That would be west right. And now if 167 00:09:20,960 --> 00:09:23,800 Speaker 1: you imagine looking at your reflection, which direction is your 168 00:09:23,840 --> 00:09:28,120 Speaker 1: reflection pointing also to the west? Same for your other arm. 169 00:09:28,160 --> 00:09:30,160 Speaker 1: If you raise it up to the to your side 170 00:09:30,160 --> 00:09:32,960 Speaker 1: and you point to the east, your reflection also points 171 00:09:33,000 --> 00:09:36,000 Speaker 1: to the east. Now, notice that the same thing is 172 00:09:36,040 --> 00:09:38,720 Speaker 1: true on the vertical plane as well. Your head is 173 00:09:38,760 --> 00:09:41,560 Speaker 1: pointing up, your feet are pointing down, and the same 174 00:09:41,600 --> 00:09:44,200 Speaker 1: thing is true of your reflection. The head is up, 175 00:09:44,240 --> 00:09:48,160 Speaker 1: the feet are down. But now imagine this, take a 176 00:09:48,200 --> 00:09:52,600 Speaker 1: step toward the mirror, and here you can actually see 177 00:09:52,720 --> 00:09:56,839 Speaker 1: the first time in this thought experiment, that the directionality 178 00:09:56,920 --> 00:10:00,439 Speaker 1: of your reflected image actually does the opposite of what 179 00:10:00,559 --> 00:10:03,760 Speaker 1: you did within the reference frame around you. You took 180 00:10:03,760 --> 00:10:06,760 Speaker 1: a step to the north, and your reflection took a 181 00:10:06,800 --> 00:10:11,200 Speaker 1: step to the south. So the real direction that is 182 00:10:11,280 --> 00:10:15,040 Speaker 1: reversed in a mirror is not along the horizontal plane 183 00:10:15,280 --> 00:10:17,880 Speaker 1: or the vertical plane, but it is along the z 184 00:10:18,320 --> 00:10:22,239 Speaker 1: axis the plane of depth or the plane of distance 185 00:10:22,440 --> 00:10:26,800 Speaker 1: from the mirror surface. A mirror inverts the order of 186 00:10:26,880 --> 00:10:30,679 Speaker 1: objects moving away from its surface. So what does this 187 00:10:30,760 --> 00:10:33,959 Speaker 1: mean for your reflection in a mirror. Well, the best 188 00:10:33,960 --> 00:10:37,079 Speaker 1: way that I've seen this put is that maybe you 189 00:10:37,080 --> 00:10:39,959 Speaker 1: should think about your reflection in a mirror not as 190 00:10:40,120 --> 00:10:44,679 Speaker 1: reversed from left to right, but as inside out. That's 191 00:10:44,720 --> 00:10:48,000 Speaker 1: almost quite literally what it is. The inside is the 192 00:10:48,040 --> 00:10:52,360 Speaker 1: outside in terms of the depth dimension. Okay, so that 193 00:10:52,400 --> 00:10:54,320 Speaker 1: gets you halfway there, because that gives you a clearer 194 00:10:54,320 --> 00:10:57,280 Speaker 1: picture of what a mirror is actually doing to your image. 195 00:10:57,920 --> 00:11:01,680 Speaker 1: But the question still remains of why, when we look 196 00:11:01,720 --> 00:11:05,440 Speaker 1: at this inside out version of ourselves, why does it 197 00:11:05,640 --> 00:11:10,000 Speaker 1: seem to be reversed horizontally but not vertically. Why is 198 00:11:10,040 --> 00:11:12,240 Speaker 1: that the way our brain makes sense of what we're 199 00:11:12,280 --> 00:11:15,280 Speaker 1: looking at. I think the answer to this is that 200 00:11:15,320 --> 00:11:19,200 Speaker 1: the image seems to be reversed along the horizontal plane 201 00:11:20,000 --> 00:11:24,840 Speaker 1: because our bodies are horizontally symmetrical, and thus we have 202 00:11:24,920 --> 00:11:30,880 Speaker 1: a concept of handedness only along the horizontal plane. Uh So, 203 00:11:31,000 --> 00:11:34,319 Speaker 1: to to see the difference here, try to imagine a 204 00:11:34,360 --> 00:11:40,000 Speaker 1: creature that is vertically symmetrical, but not horizontally symmetrical. And 205 00:11:40,080 --> 00:11:42,800 Speaker 1: for simplicity's sake, to do this, really all you have 206 00:11:42,840 --> 00:11:45,680 Speaker 1: to do is imagine a human, but a human that 207 00:11:45,760 --> 00:11:50,760 Speaker 1: travels everywhere by levitating in the air on their side. Okay, 208 00:11:50,800 --> 00:11:53,160 Speaker 1: So they never stand upright on the ground. They float 209 00:11:53,200 --> 00:11:57,120 Speaker 1: sideways in the air, so such that if they lift 210 00:11:57,160 --> 00:11:59,880 Speaker 1: out their right hand, their right hand points towards the ground, 211 00:12:00,240 --> 00:12:02,280 Speaker 1: and if they lift up their left hand, their left 212 00:12:02,320 --> 00:12:06,040 Speaker 1: hand points towards the sky. Can you picture this, I'm picturing. 213 00:12:06,080 --> 00:12:08,320 Speaker 1: It's weird, but I'm picturing, okay. So think about how 214 00:12:08,400 --> 00:12:11,280 Speaker 1: this would be affected by the inside out reflection this 215 00:12:11,320 --> 00:12:15,720 Speaker 1: person sees in a mirror. If this sideways levitating human 216 00:12:15,880 --> 00:12:20,120 Speaker 1: looked into a mirror, their handedness would be reversed, not 217 00:12:20,320 --> 00:12:23,720 Speaker 1: on the horizontal plane, but on the vertical plane. So 218 00:12:23,720 --> 00:12:26,920 Speaker 1: they're floating sideways. If they reach out with their right hand, 219 00:12:27,000 --> 00:12:30,400 Speaker 1: which is pointing down, their reflection would reach out with 220 00:12:30,520 --> 00:12:35,240 Speaker 1: its left hand, which would be pointing down, and vice versa. 221 00:12:35,600 --> 00:12:37,920 Speaker 1: So in the end, I think this is the best 222 00:12:37,920 --> 00:12:40,000 Speaker 1: way to make sense of it. The fact that we 223 00:12:40,200 --> 00:12:45,560 Speaker 1: perceive ourselves as horizontally reversed but not vertically reversed in 224 00:12:45,600 --> 00:12:50,800 Speaker 1: a mirror is because our bodies are horizontally symmetrical on 225 00:12:50,840 --> 00:12:55,040 Speaker 1: each side, and thus we have a horizontal concept of handedness. 226 00:12:55,080 --> 00:12:58,760 Speaker 1: It's not really about the mirror, but about the orientations 227 00:12:58,760 --> 00:13:02,600 Speaker 1: of our bodies and how our concept of handedness works. 228 00:13:03,200 --> 00:13:05,439 Speaker 1: Now that I've taken two runs at that, I hope 229 00:13:05,480 --> 00:13:07,920 Speaker 1: that it at least provides some clarity on the issue. 230 00:13:08,760 --> 00:13:11,600 Speaker 1: That's my my best attempt. I don't know. I think 231 00:13:11,600 --> 00:13:18,960 Speaker 1: it works. I think it works all right. Here's another 232 00:13:19,000 --> 00:13:21,200 Speaker 1: one that comes to us from Matt. Good day, gentlemen, 233 00:13:21,520 --> 00:13:25,080 Speaker 1: enjoyed still and enjoying the Mirror series. Quick thought on 234 00:13:25,120 --> 00:13:27,960 Speaker 1: what it's likely the most irrelevant part of the recent episodes. 235 00:13:28,400 --> 00:13:32,880 Speaker 1: Don't knock the beef tea too hard? How did thee 236 00:13:33,240 --> 00:13:35,720 Speaker 1: come up? Stand up for beef tea? Oh? I remember 237 00:13:35,760 --> 00:13:39,400 Speaker 1: it was because we talked about UM Eustace fun lie Big, 238 00:13:39,720 --> 00:13:46,120 Speaker 1: who was the inventor of the silvering process for mirrors. 239 00:13:46,320 --> 00:13:49,360 Speaker 1: Because remember we talked about how UM going into the 240 00:13:49,440 --> 00:13:52,440 Speaker 1: nineteenth century, a lot of the mirrors that were made 241 00:13:52,440 --> 00:13:55,240 Speaker 1: in these factories were made with a mercury tin amalgam 242 00:13:55,320 --> 00:13:58,679 Speaker 1: that had mercury content. That was Oh, we didn't even 243 00:13:58,720 --> 00:14:00,240 Speaker 1: bring this up in the episodes. So we talked about 244 00:14:00,280 --> 00:14:03,440 Speaker 1: how the mercury tin amalgam was hazardous to the health 245 00:14:03,480 --> 00:14:05,960 Speaker 1: of the workers and the mirror shops that made the 246 00:14:06,000 --> 00:14:10,520 Speaker 1: looking glass. But also I was reading about how antique 247 00:14:10,559 --> 00:14:15,080 Speaker 1: mirrors can sometimes just in somebody's house give them mercury poisoning, 248 00:14:15,160 --> 00:14:17,600 Speaker 1: like if the mercury starts leaching out of the the 249 00:14:17,640 --> 00:14:20,960 Speaker 1: amalgam at the back of the mirror. But anyway, von 250 00:14:21,080 --> 00:14:24,040 Speaker 1: Lee Big was responsible for coming up with UM some 251 00:14:24,120 --> 00:14:28,120 Speaker 1: innovations in the in the process that allowed the chemical 252 00:14:28,200 --> 00:14:32,600 Speaker 1: reaction to deposit a thin layer of silver. I think 253 00:14:32,600 --> 00:14:34,760 Speaker 1: now a lot of mirrors are also made with aluminum, 254 00:14:34,760 --> 00:14:37,480 Speaker 1: but some are still made with this silver process. Uh, 255 00:14:37,520 --> 00:14:39,600 Speaker 1: this layer of silver on the back of the glass 256 00:14:39,640 --> 00:14:43,119 Speaker 1: that led to or was the precursor for the the 257 00:14:43,160 --> 00:14:46,760 Speaker 1: mirror making process that is still used in some places today. 258 00:14:46,800 --> 00:14:49,960 Speaker 1: But another thing that used as fondly Big did was 259 00:14:50,120 --> 00:14:53,360 Speaker 1: he was really into UM. He was really into the 260 00:14:53,400 --> 00:14:57,960 Speaker 1: idea of like preserving nutrition from meats and and maximizing 261 00:14:58,040 --> 00:15:01,080 Speaker 1: nutrition in agriculture and things like that, and so he 262 00:15:01,120 --> 00:15:03,480 Speaker 1: had he played some role in the creation of these 263 00:15:03,640 --> 00:15:08,080 Speaker 1: meat extract things that I think eventually gave rise to 264 00:15:08,160 --> 00:15:11,320 Speaker 1: like the Oxo beef boullion type packets that would be 265 00:15:11,400 --> 00:15:14,240 Speaker 1: used in making something in the episode we called beef tea, 266 00:15:14,560 --> 00:15:18,360 Speaker 1: but would probably more appetizingly be called beef broth. Yes, 267 00:15:18,400 --> 00:15:20,280 Speaker 1: and so so this is what Matt is referring to. 268 00:15:20,360 --> 00:15:22,680 Speaker 1: Matt can take these quote. It might be some of 269 00:15:22,720 --> 00:15:26,000 Speaker 1: the stereotypical British heritage coming out here, but a little 270 00:15:26,040 --> 00:15:30,000 Speaker 1: hot beef tea broth really goes pretty well with a biscuit. Also, 271 00:15:30,280 --> 00:15:32,560 Speaker 1: it can be a nice change from chicken broth when 272 00:15:32,640 --> 00:15:37,840 Speaker 1: sick bovril oxo packets. It's a world of options. This 273 00:15:37,920 --> 00:15:40,720 Speaker 1: might seem ridiculous to many, but different strokes for different folks, 274 00:15:40,760 --> 00:15:45,120 Speaker 1: you know, keep on keeping on, Matt. Oh thanks, Matt. Well, yeah, 275 00:15:45,160 --> 00:15:47,280 Speaker 1: I don't. I didn't mean to knock beef tea. I 276 00:15:47,280 --> 00:15:49,160 Speaker 1: think we were just making fun of what the words 277 00:15:49,200 --> 00:15:54,440 Speaker 1: sounded like. Yeah, and certainly various broths can be quite 278 00:15:54,480 --> 00:15:57,880 Speaker 1: satisfying if it's said, if it's a good meaty broth, 279 00:15:58,000 --> 00:15:59,200 Speaker 1: or if you're you know, you're going with like a 280 00:15:59,280 --> 00:16:03,240 Speaker 1: veggie broth or something. Um. Yeah, so so many uh so, 281 00:16:03,240 --> 00:16:05,520 Speaker 1: so many options there, though, I do wonder are we 282 00:16:05,560 --> 00:16:09,080 Speaker 1: talking when we're talking about a biscuit here? What specifically 283 00:16:09,080 --> 00:16:11,240 Speaker 1: are we talking about something on the sweeter end or 284 00:16:11,280 --> 00:16:16,000 Speaker 1: something more uh savory? Oh yeah, so if this is 285 00:16:16,320 --> 00:16:19,160 Speaker 1: by the British definition, I think a biscuit would be 286 00:16:19,280 --> 00:16:24,680 Speaker 1: what Americans might call a cookie or a cracker. Yeah. 287 00:16:24,720 --> 00:16:28,280 Speaker 1: I don't know, but certainly I can easily agree with 288 00:16:28,480 --> 00:16:31,760 Speaker 1: the value of dipping a sort of savory baked good 289 00:16:31,920 --> 00:16:35,680 Speaker 1: into some sort of hardy broth. Uh that that sounds delicious? 290 00:16:35,920 --> 00:16:47,960 Speaker 1: Oh yeah, okay. The next message comes to us from Diana. 291 00:16:48,280 --> 00:16:52,160 Speaker 1: Diana says, Hello, Robin Joe, thank you for providing infinite 292 00:16:52,240 --> 00:16:54,600 Speaker 1: questions for my kids to ask while we're driving. We 293 00:16:54,640 --> 00:16:58,480 Speaker 1: all enjoy the show. But to the cats, I have 294 00:16:58,720 --> 00:17:01,280 Speaker 1: three cats, and while I don't know if they recognize 295 00:17:01,320 --> 00:17:05,080 Speaker 1: themselves in the mirror, they clearly know how mirrors work, 296 00:17:05,600 --> 00:17:08,320 Speaker 1: just like venus. I think that might be referring to 297 00:17:08,359 --> 00:17:11,800 Speaker 1: the rogueby Venus. Uh. They often scope out others in 298 00:17:11,840 --> 00:17:15,400 Speaker 1: the mirror and from around corners. Then when they move 299 00:17:15,520 --> 00:17:17,879 Speaker 1: to pounce, they will run around the corners and not 300 00:17:18,040 --> 00:17:22,200 Speaker 1: into the mirror, so they seem to understand reflections. Also, 301 00:17:22,320 --> 00:17:25,200 Speaker 1: if their prey makes eye contact through the mirror, they'll 302 00:17:25,240 --> 00:17:29,040 Speaker 1: break off the attack. By prey, I mean humans, lady, 303 00:17:29,160 --> 00:17:32,919 Speaker 1: the elderly dog, or each other. Maybe a sky raisin. 304 00:17:33,480 --> 00:17:38,480 Speaker 1: Thanks for everything, including the car conversations. Have a great day, Diana. Diana, 305 00:17:38,560 --> 00:17:40,520 Speaker 1: I did not know what a sky raisin was. I 306 00:17:40,560 --> 00:17:44,160 Speaker 1: looked it up. I think that means a fly. Oh okay, 307 00:17:44,280 --> 00:17:49,160 Speaker 1: that's that's maybe sort of cat speech. Yeah, that might 308 00:17:49,200 --> 00:17:52,119 Speaker 1: be kind of a loll cat dialect thing. But the 309 00:17:52,160 --> 00:17:54,879 Speaker 1: sky raising like it's a fly meaning a treat that 310 00:17:54,920 --> 00:17:58,320 Speaker 1: comes from the air. Yeah. Yeah, this is fascinating though. 311 00:17:58,720 --> 00:18:02,760 Speaker 1: Hearing more about uh, cat owners and and pet owners 312 00:18:02,800 --> 00:18:06,240 Speaker 1: in general, and how they're observing their pets, engaging or 313 00:18:06,280 --> 00:18:09,800 Speaker 1: not engaging with mirrors. Uh that the I love this, 314 00:18:09,880 --> 00:18:13,760 Speaker 1: the little the little predators making use of the reflections. Yeah, 315 00:18:19,280 --> 00:18:22,920 Speaker 1: all right. We have heard from more folks regarding our 316 00:18:22,960 --> 00:18:26,360 Speaker 1: weird house cinema episodes. Uh this one, next, next one 317 00:18:26,400 --> 00:18:30,800 Speaker 1: comes to us from Dalen. I believe I have that right, um. 318 00:18:31,000 --> 00:18:35,120 Speaker 1: Dalen writes, Hello there, I was wondering how y'all would 319 00:18:35,200 --> 00:18:38,119 Speaker 1: rank the Star Wars movies. Popped in my head to 320 00:18:38,200 --> 00:18:41,040 Speaker 1: ask because the way you describe some Weird House Movies 321 00:18:41,119 --> 00:18:45,440 Speaker 1: makes me, uh think that Episodes eight and Episodes nine 322 00:18:45,440 --> 00:18:48,880 Speaker 1: fit the bill for interestingly bad movies. I hope you're 323 00:18:48,880 --> 00:18:52,760 Speaker 1: doing at least pretty okay. I like how Dalin's just 324 00:18:52,880 --> 00:18:55,960 Speaker 1: like needling us with this thing. Could you talk about 325 00:18:56,040 --> 00:19:01,320 Speaker 1: ranking the Star Wars movies? Well, let's see, so ranking 326 00:19:01,320 --> 00:19:04,600 Speaker 1: the Star Wars movies, So ranking films, I don't know. 327 00:19:04,600 --> 00:19:06,240 Speaker 1: It's one of those things that can certainly be fun 328 00:19:06,280 --> 00:19:09,720 Speaker 1: and I engage in sometimes that I tend to approach 329 00:19:09,760 --> 00:19:14,360 Speaker 1: it a very subjectively, like I'm I'm not trying to 330 00:19:14,359 --> 00:19:16,679 Speaker 1: to to be you know, very objective, like this is 331 00:19:16,720 --> 00:19:20,240 Speaker 1: what the universe thinks of and should think of these films. 332 00:19:20,280 --> 00:19:22,679 Speaker 1: It's just not how I approach films in general. And 333 00:19:22,680 --> 00:19:25,880 Speaker 1: then also you you don't you don't coerce with your 334 00:19:25,880 --> 00:19:29,639 Speaker 1: opinions about and the And I totally understand the movies 335 00:19:29,680 --> 00:19:32,639 Speaker 1: that I like are not necessarily the movies other people like. Uh, 336 00:19:32,760 --> 00:19:34,520 Speaker 1: and then the movies that I like today are not 337 00:19:34,560 --> 00:19:36,520 Speaker 1: necessarily the movies I'm gonna like tomorrow. Like that's the 338 00:19:36,520 --> 00:19:41,280 Speaker 1: other part of it. So if I just counting the 339 00:19:41,320 --> 00:19:43,400 Speaker 1: main films, this is the order I would go in 340 00:19:43,720 --> 00:19:46,800 Speaker 1: right now. Based on my current relationship with the Star 341 00:19:46,840 --> 00:19:53,000 Speaker 1: Wars films, I'd go Return Revenge, Empire, Clones, Last Jedi, Uh, 342 00:19:53,400 --> 00:19:57,520 Speaker 1: New Hope, Phantom, Menace, Force Awakens, uh, and then the 343 00:19:57,600 --> 00:20:00,960 Speaker 1: Rise of Skywalk I respect your autonomy that some of 344 00:20:00,960 --> 00:20:04,080 Speaker 1: those orderings are strange to me, but I respect it. Yeah, 345 00:20:04,160 --> 00:20:06,200 Speaker 1: I mean, like I said, some of it, this is 346 00:20:06,240 --> 00:20:07,919 Speaker 1: not where I would have been years ago. For instance, 347 00:20:07,920 --> 00:20:10,560 Speaker 1: An Attack of the Clones was never my favorite Star 348 00:20:10,560 --> 00:20:13,080 Speaker 1: Wars film. Um. In fact, when it came out, I 349 00:20:13,119 --> 00:20:16,159 Speaker 1: remember being very vocal about problems I had with it. 350 00:20:16,280 --> 00:20:20,639 Speaker 1: But my son loves it and has watched it multiple times, 351 00:20:20,840 --> 00:20:22,560 Speaker 1: so it's kind of rubbed off on me, like I 352 00:20:22,600 --> 00:20:26,080 Speaker 1: can't I can't dislike this film that he likes so much. 353 00:20:26,520 --> 00:20:28,679 Speaker 1: And then I'll also have to throw in that the 354 00:20:28,680 --> 00:20:32,480 Speaker 1: Clone Wars animated series builds upon those movies so much 355 00:20:32,840 --> 00:20:36,040 Speaker 1: and and adds so much more to them that like 356 00:20:36,080 --> 00:20:38,840 Speaker 1: you can sort of retroactively go back and find more 357 00:20:38,880 --> 00:20:41,440 Speaker 1: things to enjoy those films, or at least I could. Uh. 358 00:20:41,600 --> 00:20:45,680 Speaker 1: So Yeah, it's very subjective, but ultimately I love Star 359 00:20:45,680 --> 00:20:49,000 Speaker 1: Wars movies. All these Star Wars movies had something for me, 360 00:20:49,320 --> 00:20:51,600 Speaker 1: Like even though I put Rise of Skywalker last on 361 00:20:51,600 --> 00:20:53,919 Speaker 1: the list. I think it still had some very solid 362 00:20:53,920 --> 00:20:55,719 Speaker 1: elements to it as well. It has some great light 363 00:20:55,800 --> 00:20:58,080 Speaker 1: saber battle, so you know, at the end of the day, 364 00:20:58,560 --> 00:21:01,359 Speaker 1: I like that more than most things. Yeah, I also 365 00:21:01,480 --> 00:21:04,000 Speaker 1: so much like you, Rob, I uh, I feel like 366 00:21:04,040 --> 00:21:08,440 Speaker 1: I used to rank things like movies and and albums 367 00:21:08,520 --> 00:21:10,400 Speaker 1: and stuff like that more in my head. I would 368 00:21:10,440 --> 00:21:13,040 Speaker 1: make lists of my favorites of things, and now I 369 00:21:13,080 --> 00:21:16,960 Speaker 1: find that a really almost kind of painful activity to attempt. 370 00:21:18,040 --> 00:21:20,080 Speaker 1: But I want to be a good sport and play along, 371 00:21:20,320 --> 00:21:23,159 Speaker 1: um so, so I'll try to do mine. Dallan. So 372 00:21:23,440 --> 00:21:26,480 Speaker 1: my rankings, I think would have to split into sort 373 00:21:26,480 --> 00:21:30,359 Speaker 1: of an upper compartment and a lower compartment in which 374 00:21:30,600 --> 00:21:34,199 Speaker 1: completely different rules apply to the two different compartments. So 375 00:21:34,240 --> 00:21:36,080 Speaker 1: I think it would probably go something like this. Also, 376 00:21:36,119 --> 00:21:38,720 Speaker 1: I think my my upper level ordering and going to 377 00:21:38,800 --> 00:21:41,359 Speaker 1: have a lot of surprises. You know. As much as 378 00:21:41,400 --> 00:21:43,360 Speaker 1: it might pain me that this is true, I'd say 379 00:21:43,359 --> 00:21:47,600 Speaker 1: it probably conforms to general critical consensus. So I'd go 380 00:21:47,720 --> 00:21:51,600 Speaker 1: definitely Empire Strikes Back first, then the original Star Wars, 381 00:21:51,720 --> 00:21:54,560 Speaker 1: then Return of the Jedi. Then I'd go the Last Jedi, 382 00:21:55,560 --> 00:21:58,840 Speaker 1: and then after those four. At this point, the list 383 00:21:58,920 --> 00:22:01,760 Speaker 1: becomes much more certain, because I think all four of 384 00:22:01,800 --> 00:22:03,720 Speaker 1: the ones I just named our movies that I feel 385 00:22:03,720 --> 00:22:06,919 Speaker 1: are just solidly good, and I can compare them in 386 00:22:06,960 --> 00:22:12,080 Speaker 1: some way that's comprehensible. After this, it becomes unclear to 387 00:22:12,119 --> 00:22:15,840 Speaker 1: me how I should compare the movies. But my initial 388 00:22:15,880 --> 00:22:18,320 Speaker 1: read was to go something like Revenge of the Sith, 389 00:22:18,520 --> 00:22:22,440 Speaker 1: Force Awakens, Phantom Menace, Attack of the Clones, Rise of Skywalker. 390 00:22:23,320 --> 00:22:25,800 Speaker 1: And so it's kind of hard for me to compare 391 00:22:25,960 --> 00:22:29,600 Speaker 1: my feelings about like the prequels and the first and 392 00:22:29,720 --> 00:22:34,040 Speaker 1: third Revival film because I think they they succeed and 393 00:22:34,160 --> 00:22:37,440 Speaker 1: fail in extremely different ways, and the way I would 394 00:22:37,440 --> 00:22:41,520 Speaker 1: express that is for me, the later sequels push the 395 00:22:41,560 --> 00:22:45,280 Speaker 1: buttons on my brain much more effectively, like in Force 396 00:22:45,320 --> 00:22:48,560 Speaker 1: Awakens and Rise of Skywalker, even though I rated them lower. 397 00:22:48,600 --> 00:22:50,639 Speaker 1: There are plenty of moments in those sequels where I 398 00:22:50,680 --> 00:22:52,679 Speaker 1: really get caught up in the story. I feel strong 399 00:22:52,760 --> 00:22:56,480 Speaker 1: emotional reactions to the characters, um like they can really 400 00:22:56,520 --> 00:22:58,200 Speaker 1: make me feel something, you know, I can. I can 401 00:22:58,240 --> 00:23:01,760 Speaker 1: get close to the like tears alling up, which definitely 402 00:23:02,000 --> 00:23:05,639 Speaker 1: never happens for me at all in the prequels. But 403 00:23:05,880 --> 00:23:09,520 Speaker 1: at the same time, I think I respect the prequels 404 00:23:09,600 --> 00:23:13,520 Speaker 1: more as a kind of bold, weird realization of somebody's 405 00:23:13,600 --> 00:23:18,600 Speaker 1: genuine artistic vision, however flawed. Uh. The sequels, especially like 406 00:23:18,640 --> 00:23:22,720 Speaker 1: seven and nine, feel to me more like products created 407 00:23:22,800 --> 00:23:26,800 Speaker 1: by a kind of impersonal machine, a machine designed to 408 00:23:26,880 --> 00:23:30,679 Speaker 1: crank out highly effective blockbuster movies. So they hit the 409 00:23:30,760 --> 00:23:34,000 Speaker 1: right beats, and sometimes they even affect me emotionally. I'd 410 00:23:34,000 --> 00:23:37,000 Speaker 1: like some things about the characters in them, but uh, 411 00:23:37,119 --> 00:23:40,240 Speaker 1: something about them also kind of taste synthetic in a 412 00:23:40,280 --> 00:23:45,760 Speaker 1: way that neither the original trilogy nor the prequels do. Um. Yeah, 413 00:23:45,800 --> 00:23:48,399 Speaker 1: so so there's something different. Like regarding seven through nine, 414 00:23:48,720 --> 00:23:51,280 Speaker 1: each time I walked out of the theater thinking, wow, 415 00:23:51,320 --> 00:23:54,200 Speaker 1: I really like that. That was super fun. But then 416 00:23:54,720 --> 00:23:59,639 Speaker 1: seven and nine both from the age pretty poorly upon reflection. Uh. 417 00:23:59,760 --> 00:24:02,560 Speaker 1: With the prequels, I have exactly the opposite pattern. Like, 418 00:24:02,560 --> 00:24:06,240 Speaker 1: while I'm watching the prequels, in the moment, I'm thinking 419 00:24:06,359 --> 00:24:09,320 Speaker 1: I cannot believe how bad this is, this is unreal, 420 00:24:09,840 --> 00:24:13,240 Speaker 1: But then upon later reflection, I kind of feel fondly 421 00:24:13,280 --> 00:24:16,520 Speaker 1: about them. I'm like, oh, yeah, Revenge of the Sith, Yeah, 422 00:24:16,600 --> 00:24:18,679 Speaker 1: I mean it is. I think one of the things 423 00:24:18,720 --> 00:24:21,600 Speaker 1: about the Star Wars films that that it makes them 424 00:24:21,600 --> 00:24:24,879 Speaker 1: different than other works of of of cinema is that 425 00:24:25,119 --> 00:24:28,240 Speaker 1: there's so many different variations on them that come afterwards, 426 00:24:28,280 --> 00:24:30,520 Speaker 1: like not only the Clone Wars stuff, but like even 427 00:24:30,520 --> 00:24:34,960 Speaker 1: stuff with like physical memorabilia or say miniatures. So there's 428 00:24:35,000 --> 00:24:37,840 Speaker 1: stuff like there's there's some just wonderful designs. There's a 429 00:24:37,840 --> 00:24:40,199 Speaker 1: lot of wonderful artwork that goes into those films, and 430 00:24:40,280 --> 00:24:43,119 Speaker 1: sometimes like those designs get to live a life of 431 00:24:43,160 --> 00:24:46,679 Speaker 1: their own, kind of separate from the film, uh you know, 432 00:24:46,720 --> 00:24:48,679 Speaker 1: be it in a physical form or in a video 433 00:24:48,760 --> 00:24:52,199 Speaker 1: game or some or some other treatment, sometimes by a 434 00:24:52,200 --> 00:24:55,560 Speaker 1: different author, being like a novelization. So uh yeah, there's 435 00:24:55,560 --> 00:24:57,840 Speaker 1: so many different ways to to spin it. Oh and 436 00:24:57,920 --> 00:25:00,720 Speaker 1: I just remember since you mentioned other things as well. 437 00:25:00,800 --> 00:25:03,280 Speaker 1: I haven't seen it since the theater, but I remember 438 00:25:03,320 --> 00:25:06,439 Speaker 1: I quite liked Rogue one, apart from a few moments 439 00:25:06,520 --> 00:25:08,560 Speaker 1: that I found really distasteful, like the c G I 440 00:25:08,640 --> 00:25:13,360 Speaker 1: carry Fisher and stuff, oh yeah, yeah, or Peter Cushing. Remember, yeah, 441 00:25:13,400 --> 00:25:15,920 Speaker 1: I didn't like either of those. Uh yeah, that one 442 00:25:15,960 --> 00:25:18,159 Speaker 1: was weird for me because when I watched it the 443 00:25:18,160 --> 00:25:21,679 Speaker 1: first time, I mostly really enjoyed it, And the second 444 00:25:21,680 --> 00:25:24,240 Speaker 1: time I watched it, I was watching with my son 445 00:25:24,440 --> 00:25:26,639 Speaker 1: and he just wasn't that interested in it, and so 446 00:25:26,800 --> 00:25:28,159 Speaker 1: that kind of rubbed off of me. I'm like, well, 447 00:25:28,200 --> 00:25:29,760 Speaker 1: maybe this movie is just not as fun as the 448 00:25:29,760 --> 00:25:31,800 Speaker 1: other Star Wars. I don't know how I feel about it. 449 00:25:32,040 --> 00:25:34,480 Speaker 1: Well yeah, well, like I was saying with my lower compartment, 450 00:25:34,520 --> 00:25:36,240 Speaker 1: I mean, there are ways that like I can't keep 451 00:25:36,280 --> 00:25:38,360 Speaker 1: them straight in my head, Like every time I think 452 00:25:38,400 --> 00:25:41,800 Speaker 1: about them, I start reorganizing. So it just doesn't really work. 453 00:25:41,880 --> 00:25:44,200 Speaker 1: Like Attack of the Clones I think, is in so 454 00:25:44,240 --> 00:25:47,040 Speaker 1: many ways just a you know, if I were just 455 00:25:47,040 --> 00:25:49,160 Speaker 1: trying to like write up a report card for it, 456 00:25:49,160 --> 00:25:51,480 Speaker 1: it is pretty awful. But at the same time I 457 00:25:51,520 --> 00:25:53,679 Speaker 1: think like, oh, no way, Christopher Lee, and then I 458 00:25:53,680 --> 00:25:55,359 Speaker 1: get excited and then I almost kind of want to 459 00:25:55,359 --> 00:25:58,080 Speaker 1: go watch it. Yeah. Yeah, I mean, or you take 460 00:25:58,119 --> 00:26:00,240 Speaker 1: things in isolation by saying like, well, there's a whole 461 00:26:00,280 --> 00:26:04,159 Speaker 1: planet of youth social insects that are building um uh 462 00:26:04,240 --> 00:26:06,959 Speaker 1: super weapons, you know, like that's that's neat. That's not 463 00:26:07,000 --> 00:26:10,280 Speaker 1: in every film. So yeah, and I guess films of 464 00:26:10,280 --> 00:26:13,720 Speaker 1: this nature too. It's to go beyond just the use 465 00:26:13,760 --> 00:26:15,720 Speaker 1: of elements of them in other works. It's like they 466 00:26:15,760 --> 00:26:18,800 Speaker 1: kind of explode in our culture, and so they're they're 467 00:26:18,800 --> 00:26:22,080 Speaker 1: no longer this contained and isolated thing that can just 468 00:26:22,160 --> 00:26:24,760 Speaker 1: be encountered on its own, like they're just it's all 469 00:26:24,800 --> 00:26:28,080 Speaker 1: over the place. So, uh, you know, had the Star 470 00:26:28,119 --> 00:26:30,760 Speaker 1: Wars films especially are I think they had they obeyed 471 00:26:31,080 --> 00:26:35,399 Speaker 1: different laws compared to other franchises and and and genres 472 00:26:35,440 --> 00:26:39,080 Speaker 1: that one might try and try and judge. Now, as 473 00:26:39,119 --> 00:26:42,560 Speaker 1: for the second question, uh, that was in the original 474 00:26:42,560 --> 00:26:45,720 Speaker 1: one was basically like, well, are these are these weird 475 00:26:45,720 --> 00:26:49,440 Speaker 1: house films? Could they be weird house films? Um, that's 476 00:26:49,440 --> 00:26:52,480 Speaker 1: a harder question, in part because weird our cinema has 477 00:26:52,560 --> 00:26:56,720 Speaker 1: intentionally vague um parameters, so we kind of it's kind 478 00:26:56,720 --> 00:26:58,760 Speaker 1: of a gut thing with us. I guess yeah, I 479 00:26:59,000 --> 00:27:01,240 Speaker 1: would hesitate to do though I don't know. I would 480 00:27:01,280 --> 00:27:05,160 Speaker 1: almost feel like the prequels fit more into the weird 481 00:27:05,200 --> 00:27:09,399 Speaker 1: house cinema universe than the sequels do. Yeah, so the 482 00:27:09,560 --> 00:27:12,040 Speaker 1: the e Walk movies, we did do any Walk movie 483 00:27:12,200 --> 00:27:14,119 Speaker 1: and uh, and I think that was that was the 484 00:27:14,200 --> 00:27:17,160 Speaker 1: right balance. So, yeah, it's weird. It's hard to On 485 00:27:17,160 --> 00:27:19,440 Speaker 1: one hand, it's hard to actually actually just you know, 486 00:27:19,480 --> 00:27:21,800 Speaker 1: come up with a list of keywords and boxes that 487 00:27:21,840 --> 00:27:24,399 Speaker 1: need to be checked off for what kind of films 488 00:27:24,400 --> 00:27:31,439 Speaker 1: we're going to cover on Weird Out Cinema. But on 489 00:27:31,480 --> 00:27:35,560 Speaker 1: the other hand, you can actually turn to keywords and 490 00:27:35,640 --> 00:27:37,480 Speaker 1: try and figure out what kind of films we do 491 00:27:37,520 --> 00:27:40,200 Speaker 1: on Weird Old Cinema because we actually had a listener 492 00:27:40,320 --> 00:27:44,040 Speaker 1: named Matt to do this on our discord. Um this 493 00:27:44,080 --> 00:27:46,479 Speaker 1: is what Matt wrote. Matt says, I know it was 494 00:27:46,520 --> 00:27:49,640 Speaker 1: mentioned that Deep Blue Sea was the deepest and bluest 495 00:27:49,680 --> 00:27:53,520 Speaker 1: episode yet, but which episode has been the weird housiest. 496 00:27:53,960 --> 00:27:56,880 Speaker 1: Across the thirty seven episodes so far, there have been 497 00:27:57,160 --> 00:28:00,320 Speaker 1: two thousand, six d fifty one unique plot key words 498 00:28:00,320 --> 00:28:04,800 Speaker 1: associated with the films. On IMDb, the top keywords are 499 00:28:04,920 --> 00:28:07,960 Speaker 1: as follows and so um. I'm not gonna read the 500 00:28:08,200 --> 00:28:11,240 Speaker 1: full list, but the number one and and again this 501 00:28:11,320 --> 00:28:15,000 Speaker 1: is of a few episodes ago. The number one is murder. No, 502 00:28:15,560 --> 00:28:20,200 Speaker 1: I hate murder, true, but think of like all most 503 00:28:20,240 --> 00:28:22,880 Speaker 1: of the great works of of literature and film, they 504 00:28:22,880 --> 00:28:24,600 Speaker 1: do have a murder in them. So if you're just 505 00:28:24,640 --> 00:28:27,959 Speaker 1: going to say does this film contain murder, the answer 506 00:28:28,160 --> 00:28:35,359 Speaker 1: is generally yes. Um uh The second keyword is psychotronic film, 507 00:28:35,359 --> 00:28:38,760 Speaker 1: which which I found interesting. I think this is because somebody, 508 00:28:38,800 --> 00:28:41,800 Speaker 1: at some point, or maybe multiple people have taken films 509 00:28:41,840 --> 00:28:46,840 Speaker 1: that are covered in Michael Weldon's Psychatronic Film Guides and 510 00:28:46,920 --> 00:28:50,160 Speaker 1: has then tagged all of those in IMDb. Well this 511 00:28:50,200 --> 00:28:54,000 Speaker 1: makes sense, yeah, yeah, because our tastes often match up 512 00:28:54,000 --> 00:28:58,360 Speaker 1: with with films that are chronicled in those books. Um uh. Though, 513 00:28:58,440 --> 00:29:00,480 Speaker 1: on the other hand, there are plenty of film that 514 00:29:00,520 --> 00:29:02,960 Speaker 1: are that are at least mentioned, that are chronicled in 515 00:29:03,040 --> 00:29:07,280 Speaker 1: the Psychotronic film books that wouldn't really be the sorts 516 00:29:07,280 --> 00:29:09,160 Speaker 1: of films we would cover, but there does seem to 517 00:29:09,160 --> 00:29:13,920 Speaker 1: be significant overlap there. Sure. The third keyword independent film 518 00:29:13,960 --> 00:29:16,040 Speaker 1: alright makes sense, especial if we were dealing with a 519 00:29:16,080 --> 00:29:20,200 Speaker 1: lot of B movies. The fourth one is monster, which 520 00:29:20,320 --> 00:29:24,520 Speaker 1: totally works. I would have thought that would be number one. Yeah. 521 00:29:24,920 --> 00:29:28,760 Speaker 1: The next three are blood, corpse, and violence. Uh and 522 00:29:28,880 --> 00:29:30,960 Speaker 1: does makes sense. I mean, we've already we already have 523 00:29:31,080 --> 00:29:33,680 Speaker 1: murder and monster in there. These these are just going 524 00:29:33,720 --> 00:29:36,680 Speaker 1: to occur. Um. But then the next one is fun too. 525 00:29:36,760 --> 00:29:43,160 Speaker 1: The next one is bare chested mail, but I think 526 00:29:43,200 --> 00:29:46,720 Speaker 1: that's just from that keyword appearing one thousand times in 527 00:29:46,760 --> 00:29:51,000 Speaker 1: the meta of Frogs referring to Sam Elliott. Yeah. Perhaps, 528 00:29:51,200 --> 00:29:53,880 Speaker 1: but now I can't say, like, shortly after this, we 529 00:29:53,960 --> 00:29:58,960 Speaker 1: did um Cannibal Apocalypse, and then what does John Saxon do? 530 00:29:59,040 --> 00:30:01,680 Speaker 1: Whips his shirt off, just completely shirtless and several things. 531 00:30:01,680 --> 00:30:03,760 Speaker 1: I'm like, well, there it is. There's the bare chested 532 00:30:03,800 --> 00:30:07,959 Speaker 1: mail that helps define a weird out cinema selection. You 533 00:30:07,960 --> 00:30:09,680 Speaker 1: can tell he wanted to show off that he was 534 00:30:09,720 --> 00:30:12,640 Speaker 1: in great shape in his fifties. Yeah he was. I 535 00:30:12,640 --> 00:30:15,480 Speaker 1: think he was in his forties, his forties, Sorry, but 536 00:30:15,480 --> 00:30:17,840 Speaker 1: but yeah, he was in great shape. But anyway, Matt 537 00:30:18,000 --> 00:30:21,080 Speaker 1: finished this up by saying, you get yourself a psychotronic 538 00:30:21,120 --> 00:30:24,080 Speaker 1: independent film with some bloody murder and a bare chested mail, 539 00:30:24,360 --> 00:30:29,640 Speaker 1: and you've got yourself a winner. Well the numbers don't lie. Yeah, well, 540 00:30:29,800 --> 00:30:32,400 Speaker 1: isn't been so low? Uh, he's pretty bare chested in 541 00:30:32,400 --> 00:30:34,000 Speaker 1: some of those later Star Wars. Coming back to our 542 00:30:34,000 --> 00:30:37,200 Speaker 1: previous discussion, so what what what what this is a 543 00:30:37,280 --> 00:30:39,400 Speaker 1: what are what are we coming back to? We're coming 544 00:30:39,400 --> 00:30:42,000 Speaker 1: back to the Star Wars? And remember, isn't that like 545 00:30:42,040 --> 00:30:45,600 Speaker 1: he's bare chested, you know at least yeah, I forget 546 00:30:45,600 --> 00:30:48,360 Speaker 1: which movies, but people may like, a, really, he's wearing 547 00:30:48,360 --> 00:30:52,440 Speaker 1: that weird looking cumberbun thing, or yeah, yeah he's got 548 00:30:52,480 --> 00:30:54,920 Speaker 1: he's looks like he's wearing like luchador pants where they 549 00:30:54,960 --> 00:30:58,880 Speaker 1: have him like cinched up above the navel. Yeah cool, 550 00:31:01,200 --> 00:31:03,160 Speaker 1: All right, Well, I guess we're gonna go and close 551 00:31:03,200 --> 00:31:05,400 Speaker 1: it out there, but we would we'd love to hear 552 00:31:05,440 --> 00:31:09,000 Speaker 1: from everybody. Um, yeah, just a reminder, it is a 553 00:31:09,040 --> 00:31:12,560 Speaker 1: pretty small operation here. It is Joe and myself, we're 554 00:31:12,600 --> 00:31:15,000 Speaker 1: you know, researching all of this, recording all these and 555 00:31:15,040 --> 00:31:18,600 Speaker 1: then Seth is our our fabulous producer, and without him 556 00:31:18,600 --> 00:31:21,160 Speaker 1: we wouldn't be able to pull this off. But yeah, 557 00:31:21,200 --> 00:31:23,360 Speaker 1: we depend on all of you to write in as well. 558 00:31:23,440 --> 00:31:25,120 Speaker 1: Let us know what you think about the content we're 559 00:31:25,120 --> 00:31:29,440 Speaker 1: putting out. Let us, you know, chime in with your suggestions, 560 00:31:29,640 --> 00:31:34,040 Speaker 1: with your corrections, with your tips for the future. What 561 00:31:34,040 --> 00:31:35,840 Speaker 1: what sort of episodes you'd like to hear as well 562 00:31:35,880 --> 00:31:39,400 Speaker 1: as your your your professional or just daily experience with 563 00:31:39,480 --> 00:31:42,200 Speaker 1: the various topics we cover In the meantime, if you 564 00:31:42,200 --> 00:31:44,600 Speaker 1: would like to listen to other episodes of Stuff to 565 00:31:44,640 --> 00:31:47,240 Speaker 1: Blow your Mind, you can find core episodes on Tuesdays 566 00:31:47,240 --> 00:31:49,080 Speaker 1: and Thursdays and the Stuff to Blow your Own podcast 567 00:31:49,080 --> 00:31:53,400 Speaker 1: feed Weird House Cinnamon on Friday's, Artifact on Wednesday, and 568 00:31:53,480 --> 00:31:56,800 Speaker 1: more listener mail on Monday's Big Thanks as always to 569 00:31:56,880 --> 00:32:00,280 Speaker 1: our audio producer Seth Nicholas Johnson. 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