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 --> 00:00:10,680 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your 3 00:00:10,680 --> 00:00:14,360 Speaker 1: Mind listener mail. My name is Robert Lamb and I'm 4 00:00:14,440 --> 00:00:18,000 Speaker 1: Joe McCormick, and we've just been having some microphone adventures. 5 00:00:18,000 --> 00:00:20,560 Speaker 1: I hope we're over the hump on that, but but 6 00:00:20,680 --> 00:00:22,680 Speaker 1: here we are ready to talk into them so that 7 00:00:22,760 --> 00:00:24,880 Speaker 1: you can hear uh. And of course we're going to 8 00:00:24,960 --> 00:00:28,600 Speaker 1: be getting into some listener mail today. Primarily this first 9 00:00:28,600 --> 00:00:30,000 Speaker 1: big part of the mail bag is going to be 10 00:00:30,320 --> 00:00:33,320 Speaker 1: all responses to the episodes we've done on tears, and 11 00:00:33,680 --> 00:00:36,159 Speaker 1: as such, we were really concerned for the health of 12 00:00:36,200 --> 00:00:38,920 Speaker 1: Carney the mail bot today because we've all seen that 13 00:00:38,960 --> 00:00:41,600 Speaker 1: Simpsons episode and we know what happens when when a 14 00:00:41,680 --> 00:00:44,120 Speaker 1: robot learns to feel emotional pain that there may be 15 00:00:44,280 --> 00:00:47,240 Speaker 1: some sparking and melting. So we're trying to handle with 16 00:00:47,320 --> 00:00:50,879 Speaker 1: kid gloves here. Yes, tears are not good for for gears. 17 00:00:50,920 --> 00:00:53,120 Speaker 1: I guess though. We will have at least one listener 18 00:00:53,120 --> 00:01:00,920 Speaker 1: mail about gears as well. All right, Robbie, mind if 19 00:01:00,960 --> 00:01:04,800 Speaker 1: I do this? First one from Catherine Katherine said, oh 20 00:01:04,840 --> 00:01:10,319 Speaker 1: you do mind? Okay, I mean for it? Okay, Katherine says, Hey, guys, 21 00:01:10,680 --> 00:01:12,880 Speaker 1: I've only listened to part one of your series on tears, 22 00:01:12,880 --> 00:01:15,160 Speaker 1: but I had to share something that just happened to 23 00:01:15,200 --> 00:01:18,040 Speaker 1: my son last week. My son is two years old 24 00:01:18,120 --> 00:01:21,720 Speaker 1: and prone to nosebleeds. A few nights ago, at four am, 25 00:01:21,800 --> 00:01:25,360 Speaker 1: he woke up with a particularly bad nosebleed. Usually he 26 00:01:25,400 --> 00:01:28,440 Speaker 1: can clear them just by blowing his nose, so, operating 27 00:01:28,480 --> 00:01:30,959 Speaker 1: by only the light of his night light, I had 28 00:01:31,040 --> 00:01:33,760 Speaker 1: him blow his nose into a tissue, assuming this would 29 00:01:33,800 --> 00:01:35,959 Speaker 1: solve the problem and then we'd be back to bed. 30 00:01:36,520 --> 00:01:40,000 Speaker 1: Boy was I wrong. Suddenly there was blood all over 31 00:01:40,080 --> 00:01:42,080 Speaker 1: his face and I couldn't figure out where it was 32 00:01:42,120 --> 00:01:45,400 Speaker 1: coming from. I turned on the overhead light, cleaned up 33 00:01:45,440 --> 00:01:48,320 Speaker 1: his face, and had him blow his nose again. Blood 34 00:01:48,360 --> 00:01:51,520 Speaker 1: started welling up and pouring out of his right eye. 35 00:01:51,960 --> 00:01:54,120 Speaker 1: I immediately took him back to our room, where I 36 00:01:54,120 --> 00:01:56,360 Speaker 1: woke up my husband and showed him what was going on. 37 00:01:56,840 --> 00:02:00,280 Speaker 1: Husband nearly passed out, However, he stayed with our son 38 00:02:00,320 --> 00:02:02,360 Speaker 1: while I called the twenty four hour nurse line at 39 00:02:02,360 --> 00:02:05,920 Speaker 1: our pediatrician's office. Fortunately, we were able to get into 40 00:02:05,920 --> 00:02:08,600 Speaker 1: the pediatrician's office the next morning. There I found out 41 00:02:08,680 --> 00:02:10,800 Speaker 1: that It's not unheard of for blood to pool in 42 00:02:10,840 --> 00:02:13,079 Speaker 1: the sinuses if you get a bad nosebleed while you're 43 00:02:13,080 --> 00:02:15,679 Speaker 1: sleeping on your back, and if the bleed is severe enough, 44 00:02:15,720 --> 00:02:17,960 Speaker 1: blood can also end up coming out of the eyes 45 00:02:18,000 --> 00:02:20,800 Speaker 1: like tears of blood. Turns out, it's nothing to be 46 00:02:20,840 --> 00:02:24,040 Speaker 1: too alarmed by, although I challenge anyone to not be 47 00:02:24,120 --> 00:02:26,640 Speaker 1: alarmed by a two year old bleeding from the eyes 48 00:02:26,720 --> 00:02:31,639 Speaker 1: at four am. Hope y'all are staying well. Love the podcast. Catherine, Well, Catherine, 49 00:02:31,639 --> 00:02:33,919 Speaker 1: that's a riveting email. I'm glad to hear your son's 50 00:02:33,960 --> 00:02:36,160 Speaker 1: doing all right, But but yeah, I can imagine that 51 00:02:36,160 --> 00:02:38,680 Speaker 1: would be terrifying if you didn't know what was going on. Yeah, 52 00:02:38,760 --> 00:02:42,359 Speaker 1: the sinuses of a child are strange and wondrous things, 53 00:02:42,800 --> 00:02:51,600 Speaker 1: and they produced many miracles. All right. This one comes 54 00:02:51,639 --> 00:02:54,760 Speaker 1: to us from Michelle, Hi, Robert, and Joe. I just 55 00:02:54,880 --> 00:02:57,240 Speaker 1: listened to the first part of the Tears episode and 56 00:02:57,280 --> 00:03:01,200 Speaker 1: had a couple of observations. Joe talked about the different 57 00:03:01,280 --> 00:03:04,120 Speaker 1: layers of tears. About ten years ago, I had a 58 00:03:04,120 --> 00:03:06,240 Speaker 1: bad case of pink eye. I work with kids and 59 00:03:06,240 --> 00:03:08,840 Speaker 1: this happens from time to time, but I wound up 60 00:03:08,880 --> 00:03:11,080 Speaker 1: being allergic to the medication I was given to treat 61 00:03:11,120 --> 00:03:14,720 Speaker 1: the infection. It resulted in eye inflammation so severe it 62 00:03:14,880 --> 00:03:18,560 Speaker 1: changed the shape of my glasses prescription, and I developed 63 00:03:18,639 --> 00:03:22,560 Speaker 1: chronic eyelid inflammation for a long time. The lipid layer 64 00:03:22,600 --> 00:03:26,160 Speaker 1: of my tears was causing my lachrymal glands to clog. 65 00:03:26,919 --> 00:03:29,240 Speaker 1: I could get some of the water layer out, but 66 00:03:29,280 --> 00:03:32,360 Speaker 1: it dried immediately. I'm still on eye drops and have 67 00:03:32,520 --> 00:03:35,920 Speaker 1: to shampoo my eyelashes with baby shampoo from time to time. 68 00:03:36,360 --> 00:03:39,880 Speaker 1: Not being able to cry was surprisingly painful. I couldn't 69 00:03:39,920 --> 00:03:43,000 Speaker 1: go near the kitchen if anyone was cooking with onion 70 00:03:43,120 --> 00:03:46,200 Speaker 1: or garlic, and had to be careful about what I 71 00:03:46,240 --> 00:03:48,480 Speaker 1: was watching on TV or what music I listened to 72 00:03:48,520 --> 00:03:50,240 Speaker 1: because I am the kind of person who cries. It's 73 00:03:50,240 --> 00:03:53,040 Speaker 1: s happy commercials and songs. My eyes are better now, 74 00:03:53,200 --> 00:03:56,480 Speaker 1: though I'm not supposed to wear contacts again. The episode 75 00:03:56,520 --> 00:03:58,840 Speaker 1: also made me think of my experience with my daughter. 76 00:03:59,480 --> 00:04:01,560 Speaker 1: For the first month or so after she was placed 77 00:04:01,600 --> 00:04:04,560 Speaker 1: with me, when she cried, I would think you're hungry, 78 00:04:04,640 --> 00:04:07,400 Speaker 1: or you're tired, et cetera. When she was about six 79 00:04:07,440 --> 00:04:10,800 Speaker 1: weeks old, she started crying with tears, and suddenly when 80 00:04:10,800 --> 00:04:13,040 Speaker 1: she cried. It broke my heart, and I just wanted 81 00:04:13,080 --> 00:04:15,480 Speaker 1: to make it better for her. I realized that up 82 00:04:15,560 --> 00:04:19,440 Speaker 1: until then she hadn't produced tears. When she cried. Suddenly, 83 00:04:19,440 --> 00:04:22,919 Speaker 1: I thought, you're sad, rather than attributing her tears immediately 84 00:04:22,920 --> 00:04:26,440 Speaker 1: to something physical, even though the causes were still generally 85 00:04:26,480 --> 00:04:29,919 Speaker 1: the same. I can see an evolutionary advantage and crying 86 00:04:30,240 --> 00:04:33,279 Speaker 1: if those big eyes welling up with tears makes caregrivers 87 00:04:33,360 --> 00:04:36,800 Speaker 1: more attentive, particularly if it happens after they've reached a 88 00:04:36,839 --> 00:04:40,919 Speaker 1: few weeks of exhaustion and sleep deprivation. Thank you for 89 00:04:41,000 --> 00:04:44,159 Speaker 1: the much needed mental stimulation while I have the itsy 90 00:04:44,240 --> 00:04:47,000 Speaker 1: Bitsy spider on a loop in my head, and for 91 00:04:47,080 --> 00:04:51,479 Speaker 1: keeping me awake during the two a m. Feeds. Michelle, Well, thanks, Michelle. 92 00:04:51,640 --> 00:04:53,479 Speaker 1: So I'm thinking about the first half of your email 93 00:04:53,480 --> 00:04:55,680 Speaker 1: where you're talking about what happened with your eyes. This 94 00:04:55,760 --> 00:04:59,200 Speaker 1: is interesting because it um it contrasts with some of 95 00:04:59,240 --> 00:05:02,440 Speaker 1: the other tear duct cloggage we had been talking about. 96 00:05:02,440 --> 00:05:05,640 Speaker 1: Now in the episodes, we talked about cloggage of like 97 00:05:05,880 --> 00:05:08,680 Speaker 1: um the punkta or the tear ducts where the tears 98 00:05:08,680 --> 00:05:11,000 Speaker 1: would actually drain away from the eyes. So those are 99 00:05:11,000 --> 00:05:13,440 Speaker 1: towards the inside of the eye, and they're what allows 100 00:05:13,520 --> 00:05:16,200 Speaker 1: the liquid from the surface of the eye to drain 101 00:05:16,279 --> 00:05:18,480 Speaker 1: off into the nasal cavity. And of course if those 102 00:05:18,560 --> 00:05:21,279 Speaker 1: become clogged or blocked in some way, that can result 103 00:05:21,320 --> 00:05:23,839 Speaker 1: in tears welling up and overflowing from the eyes. But 104 00:05:23,880 --> 00:05:25,720 Speaker 1: I think if I understand what you're saying is that 105 00:05:25,800 --> 00:05:29,160 Speaker 1: you had clogging of the ducks leading from the lachrymal 106 00:05:29,200 --> 00:05:32,840 Speaker 1: gland to the eye, so you would have like a 107 00:05:32,839 --> 00:05:35,839 Speaker 1: tear reflex response or an emotional tear response, and the 108 00:05:36,000 --> 00:05:39,120 Speaker 1: gland would want to be secreting tears, but the tears 109 00:05:39,120 --> 00:05:42,080 Speaker 1: basically couldn't get out of the gland onto your eyes. 110 00:05:42,240 --> 00:05:45,279 Speaker 1: That did you read that the same way? Rob, Yeah, Yeah, 111 00:05:45,320 --> 00:05:47,440 Speaker 1: that's what I took took them to mean. Yeah, that 112 00:05:47,440 --> 00:05:51,800 Speaker 1: sounds frustrating in a totally different way. Now, speaking of 113 00:05:51,880 --> 00:05:56,840 Speaker 1: strange tears and tear issues and the bloody tears, Uh, 114 00:05:57,480 --> 00:06:00,160 Speaker 1: we should probably I imagine a number of few will 115 00:06:00,160 --> 00:06:03,160 Speaker 1: probably thought back to that. The James Bond film Casino Royal, 116 00:06:03,640 --> 00:06:06,480 Speaker 1: in which the villain has a condition that causes him 117 00:06:06,480 --> 00:06:09,840 Speaker 1: to shed tears of blood, which which of course was 118 00:06:09,880 --> 00:06:12,680 Speaker 1: just a choice they made because it looks cool and 119 00:06:12,760 --> 00:06:14,880 Speaker 1: it's a you know, an effect, and this kind of 120 00:06:14,920 --> 00:06:17,559 Speaker 1: like mildly weird thing you can do with your villain 121 00:06:17,880 --> 00:06:20,640 Speaker 1: during a time period of the Bond franchise where they 122 00:06:20,680 --> 00:06:22,960 Speaker 1: really didn't want to get too weird with things, but 123 00:06:23,000 --> 00:06:25,120 Speaker 1: I was just thinking what if they had what if 124 00:06:25,160 --> 00:06:27,960 Speaker 1: it had been something less cool, Like what if he 125 00:06:28,200 --> 00:06:29,760 Speaker 1: had kind of dry eyes and he just was having 126 00:06:29,800 --> 00:06:33,000 Speaker 1: to constantly put eye drops in, so so like Bonds 127 00:06:33,000 --> 00:06:34,719 Speaker 1: trying to talk with them and they're having trying to 128 00:06:34,760 --> 00:06:37,440 Speaker 1: have some serious conversation and he's just he's back there 129 00:06:37,440 --> 00:06:40,159 Speaker 1: putting eye drops in. I don't know. I just like 130 00:06:40,240 --> 00:06:42,320 Speaker 1: the mental I like the the idea of Mad's doing 131 00:06:42,360 --> 00:06:45,040 Speaker 1: that in a scene that's very good. But I also 132 00:06:45,120 --> 00:06:47,240 Speaker 1: like the idea of a villain with just a constantly 133 00:06:47,320 --> 00:06:51,679 Speaker 1: running nose, absolutely pure evil, but he's just like wiping 134 00:06:51,680 --> 00:06:54,800 Speaker 1: with a tissue and it's sniffling. Huh yeah, has that 135 00:06:54,839 --> 00:06:57,400 Speaker 1: ever been Sheley? We've had some villains that are like that. 136 00:06:58,200 --> 00:07:01,320 Speaker 1: Wasn't there a Dick Tracy villain, like an Easy or something? Well, 137 00:07:01,360 --> 00:07:03,360 Speaker 1: the Dick Tracy villains are the opposite of what you're 138 00:07:03,400 --> 00:07:05,560 Speaker 1: talking about with not wanting to get too weird with 139 00:07:05,600 --> 00:07:08,200 Speaker 1: the villain because they're all like impossible. They've all got like, 140 00:07:08,279 --> 00:07:09,920 Speaker 1: you know, a face on the back of their head 141 00:07:10,040 --> 00:07:12,880 Speaker 1: or something. Yeah. Yeah, I think I've said it before. 142 00:07:12,880 --> 00:07:17,000 Speaker 1: I called back face. I think I've said it before, 143 00:07:17,040 --> 00:07:19,560 Speaker 1: but I would I would love if someone revisited that, 144 00:07:20,120 --> 00:07:23,080 Speaker 1: but really leaned into the mutation, the idea that the 145 00:07:23,240 --> 00:07:27,600 Speaker 1: criminal enterprise causes like just grotesque changes to the body. 146 00:07:27,880 --> 00:07:29,960 Speaker 1: You heard about the new boss that's muscling in on 147 00:07:30,000 --> 00:07:33,160 Speaker 1: our territory. He's called hand face. He's got a hand 148 00:07:33,240 --> 00:07:35,440 Speaker 1: for a face. I can picture in my head. I 149 00:07:35,440 --> 00:07:39,400 Speaker 1: can imagine it working armpit face. Okay, Okay, We've we've 150 00:07:39,400 --> 00:07:47,920 Speaker 1: got enough, all right. This next message about tears comes 151 00:07:48,080 --> 00:07:51,640 Speaker 1: from Joe, uh, not me, from another Joe, and this 152 00:07:51,760 --> 00:07:55,160 Speaker 1: ties into stuff we were talking about about um about 153 00:07:55,320 --> 00:07:58,360 Speaker 1: non spontaneous tears, actors being able to cry, and other 154 00:07:58,360 --> 00:08:00,680 Speaker 1: other people who are able to cry on command or 155 00:08:00,680 --> 00:08:04,160 Speaker 1: cry in a performative way. So Joe says, Dear Robin, Joe, 156 00:08:04,280 --> 00:08:06,800 Speaker 1: thanks for your excellent episode on tears. It was really fun. 157 00:08:06,880 --> 00:08:10,040 Speaker 1: Aside from the occasional itch inducing awareness that I am 158 00:08:10,080 --> 00:08:14,680 Speaker 1: constantly lubricating these spheres of vitreous fluid in my face. Well, 159 00:08:14,720 --> 00:08:16,480 Speaker 1: you know what they say in the pod business. If 160 00:08:16,520 --> 00:08:19,520 Speaker 1: if you're making them itch, you're doing it right. Um, 161 00:08:19,800 --> 00:08:22,640 Speaker 1: Joe goes on. Although I am decades removed from my 162 00:08:22,720 --> 00:08:25,480 Speaker 1: time pursuing acting as a craft, I wanted to share 163 00:08:25,520 --> 00:08:29,360 Speaker 1: my learned perspective on crying on que, a skill actors 164 00:08:29,400 --> 00:08:32,600 Speaker 1: often developed to a greater or lesser degree. Each actor's 165 00:08:32,600 --> 00:08:35,000 Speaker 1: approach is different, although I'd say they fall into two 166 00:08:35,040 --> 00:08:40,360 Speaker 1: main categories. First, emotionally cute crying. When an actor wants 167 00:08:40,400 --> 00:08:43,760 Speaker 1: to cry, he or she sometimes chooses to talk themselves 168 00:08:43,800 --> 00:08:47,040 Speaker 1: into it by remembering a tragic event in their life 169 00:08:47,160 --> 00:08:50,720 Speaker 1: or even saying hurtful things to themselves in their heads. 170 00:08:51,200 --> 00:08:54,080 Speaker 1: This is not a healthy approach and loses effectiveness over 171 00:08:54,160 --> 00:08:57,520 Speaker 1: time as you numb yourself to tragedy or self abuse. 172 00:08:57,920 --> 00:08:59,720 Speaker 1: Oh that does sound awful, Like I don't want to 173 00:08:59,720 --> 00:09:02,920 Speaker 1: think of out my favorite actors being mean to themselves 174 00:09:02,960 --> 00:09:06,120 Speaker 1: in order to produce that that really heart wrenching scene. 175 00:09:06,320 --> 00:09:07,840 Speaker 1: I don't know why this is where my brain went, 176 00:09:07,880 --> 00:09:10,760 Speaker 1: but I'm just imagining the internal monologue of Christopher Lee 177 00:09:10,840 --> 00:09:17,400 Speaker 1: going you, oh, you buffoon? Is that your internal critical voice? 178 00:09:17,440 --> 00:09:19,800 Speaker 1: Christopher Lee. Well, no, I mean I was imagining him 179 00:09:19,840 --> 00:09:22,280 Speaker 1: saying that to himself to make I think you mean 180 00:09:22,400 --> 00:09:24,640 Speaker 1: it like that, because oh my god. But if Christopher 181 00:09:24,720 --> 00:09:26,800 Speaker 1: Lee told me I was a buffoon, Yeah, that would 182 00:09:26,880 --> 00:09:28,920 Speaker 1: that would sting. I wonder if it would make it better, 183 00:09:28,920 --> 00:09:30,880 Speaker 1: Like if if we if we made if we could 184 00:09:30,920 --> 00:09:35,240 Speaker 1: somehow change the tuning on our critical voices in her 185 00:09:35,280 --> 00:09:38,240 Speaker 1: head and make them be the voices of, say, Christopher Lee. 186 00:09:38,280 --> 00:09:42,040 Speaker 1: I wonder if I don't know, like a suitably villainous figure, 187 00:09:42,080 --> 00:09:43,960 Speaker 1: and then you'd be like, oh, well, that's that's the 188 00:09:44,000 --> 00:09:47,600 Speaker 1: devil talking to me. That's that's that's that's negative self talk. 189 00:09:47,679 --> 00:09:49,760 Speaker 1: That's that's bad stuff. I don't need to listen to that, 190 00:09:50,080 --> 00:09:54,040 Speaker 1: you claude, you fool, Like, shut up, Dracula, I'm not 191 00:09:54,040 --> 00:09:57,640 Speaker 1: gonna I'm not gonna listen to your crap. Okay. Joe 192 00:09:57,640 --> 00:10:02,679 Speaker 1: goes on number two. Since memory physiological crying, when an 193 00:10:02,679 --> 00:10:05,880 Speaker 1: actor wants to cry, here, she can engage and relax 194 00:10:05,960 --> 00:10:08,840 Speaker 1: their facial muscles in a way that ac cused tears 195 00:10:08,880 --> 00:10:12,040 Speaker 1: to well up. This is slightly different for each individual, 196 00:10:12,120 --> 00:10:15,400 Speaker 1: but usually involves relaxing the muscles at the base of 197 00:10:15,440 --> 00:10:20,000 Speaker 1: the jaw and tongue, letting your chin quiver, and taking deep, 198 00:10:20,200 --> 00:10:24,679 Speaker 1: shuttering breaths, focusing on relaxing the diaphragm and allowing your 199 00:10:24,720 --> 00:10:29,000 Speaker 1: lungs to expand downwards towards your sacrum, and then expelling 200 00:10:29,080 --> 00:10:32,680 Speaker 1: every last molecule of air you can as you breathe out. 201 00:10:33,160 --> 00:10:35,640 Speaker 1: With a little practice, it takes one breath to get 202 00:10:35,679 --> 00:10:37,840 Speaker 1: your eyes to well up, and two or three to 203 00:10:37,880 --> 00:10:40,800 Speaker 1: get tears to spill down your cheeks. Even though it's 204 00:10:40,800 --> 00:10:43,480 Speaker 1: been years since I used the skill, the sense memory 205 00:10:43,520 --> 00:10:46,360 Speaker 1: approach is reliable. I was able to shed a few 206 00:10:46,400 --> 00:10:49,400 Speaker 1: tears while frying an egg this morning using the technique. 207 00:10:49,760 --> 00:10:53,600 Speaker 1: It's also much safer for the performers psychological health. Uh. 208 00:10:53,679 --> 00:10:57,199 Speaker 1: The text and story can also really help an actor cry. 209 00:10:57,400 --> 00:11:00,280 Speaker 1: Shakespeare has some amazing moments where he guide it's the 210 00:11:00,320 --> 00:11:03,920 Speaker 1: actor into the vocal and breath space they need to 211 00:11:04,000 --> 00:11:07,560 Speaker 1: find the emotion. A great example is from Romeo and Juliet. 212 00:11:07,640 --> 00:11:11,440 Speaker 1: As Romeo is mourning his supposedly fall in love, preparing 213 00:11:11,480 --> 00:11:15,079 Speaker 1: to take his own life, he says, eyes, look your 214 00:11:15,200 --> 00:11:19,520 Speaker 1: last arms, take your last embrace, and lips, oh you. 215 00:11:20,200 --> 00:11:23,240 Speaker 1: The doors of breath seal with a righteous kiss, a 216 00:11:23,320 --> 00:11:28,120 Speaker 1: dateless bargain with engrossing death. Note that, unlike almost every 217 00:11:28,120 --> 00:11:31,480 Speaker 1: other line in this play and lips oh you, that 218 00:11:31,600 --> 00:11:34,920 Speaker 1: was a whole line into itself, has just four syllables. 219 00:11:34,960 --> 00:11:37,920 Speaker 1: The actor is meant to draw that oh out as 220 00:11:37,920 --> 00:11:42,319 Speaker 1: a moan over seven long beats. It's a perfect physiological 221 00:11:42,400 --> 00:11:45,800 Speaker 1: queue to get the waterworks going in that moment, cradling 222 00:11:45,800 --> 00:11:48,520 Speaker 1: your love in your arms, crying out oh, until your 223 00:11:48,559 --> 00:11:52,560 Speaker 1: breath runs out. It's harder not to cry. Honestly, excellent 224 00:11:52,600 --> 00:11:55,640 Speaker 1: theatrical writing like this hands the actor everything they need 225 00:11:55,640 --> 00:11:58,400 Speaker 1: to nail the moment. Thanks as always for the great 226 00:11:58,400 --> 00:12:01,040 Speaker 1: episodes and taking me back to my halcyon days. Is 227 00:12:01,080 --> 00:12:05,920 Speaker 1: an eponymous protagonist looking forward to part two. Joe, Uh, well, 228 00:12:05,960 --> 00:12:09,640 Speaker 1: that's interesting, especially the bit, the second bit about sort 229 00:12:09,640 --> 00:12:12,880 Speaker 1: of relaxing your face and allowing tears to come out 230 00:12:12,920 --> 00:12:16,800 Speaker 1: that way. I mean that that Actually, that probably contradicts 231 00:12:16,880 --> 00:12:18,320 Speaker 1: some of the things I said towards the end of 232 00:12:18,320 --> 00:12:21,400 Speaker 1: episode three, where where I'm saying, hey, if somebody's if 233 00:12:21,440 --> 00:12:25,040 Speaker 1: somebody's crying, then you need to you know, acknowledge some 234 00:12:25,120 --> 00:12:28,920 Speaker 1: sort of emotional mechanism going on underneath there. But what 235 00:12:29,000 --> 00:12:33,400 Speaker 1: we've we've heard here from uh actor Joe. You know, 236 00:12:33,440 --> 00:12:35,360 Speaker 1: you could certainly have a situation where at least a 237 00:12:35,400 --> 00:12:40,839 Speaker 1: trained actor or or a trained deceiver could utilize this 238 00:12:41,080 --> 00:12:45,280 Speaker 1: self relaxation technique. Well, the funny thing is, I wonder 239 00:12:45,360 --> 00:12:48,880 Speaker 1: if the feedback mechanism could go the other way as well. Though. 240 00:12:49,360 --> 00:12:52,160 Speaker 1: That's true because I mean we've talked about this is 241 00:12:52,200 --> 00:12:55,480 Speaker 1: something that's still somewhat controversial in biology. But there are 242 00:12:55,520 --> 00:12:58,920 Speaker 1: things such as the the facial feedback hypothesis, like the 243 00:12:59,000 --> 00:13:03,200 Speaker 1: idea that not only are our facial expressions determined by 244 00:13:03,240 --> 00:13:06,439 Speaker 1: our underlying emotions, but in a way they also determine 245 00:13:06,480 --> 00:13:09,240 Speaker 1: the emotions themselves. So that sort of goes both ways. 246 00:13:09,280 --> 00:13:12,840 Speaker 1: Like they've the processes feedback into each other um and 247 00:13:12,880 --> 00:13:15,240 Speaker 1: so that could be possible with something like tears. Maybe 248 00:13:15,240 --> 00:13:17,240 Speaker 1: if you just use a sort of like sense tear 249 00:13:17,320 --> 00:13:21,600 Speaker 1: trigger mechanism in the body that's not initially emotional. I 250 00:13:21,679 --> 00:13:23,920 Speaker 1: wonder if you could do that without it in some 251 00:13:24,040 --> 00:13:27,120 Speaker 1: way summoning emotions as a result of you doing it. 252 00:13:27,920 --> 00:13:31,440 Speaker 1: That's yeah, that's true, especially given the acting, Well, any 253 00:13:31,440 --> 00:13:34,760 Speaker 1: of these techniques that if it be acting or say 254 00:13:34,800 --> 00:13:37,560 Speaker 1: being a paid moren or at a funeral. In neither 255 00:13:37,600 --> 00:13:41,280 Speaker 1: of these situations is the crying just happening in a 256 00:13:41,360 --> 00:13:45,400 Speaker 1: void or you know, or in a vacuum. Both of 257 00:13:45,400 --> 00:13:48,640 Speaker 1: these are going to be accompanied by either a situation 258 00:13:49,400 --> 00:13:53,559 Speaker 1: uh that provokes sadness or you know, emotion, or it's 259 00:13:53,559 --> 00:13:55,800 Speaker 1: going to be a scene in a play or whatnot 260 00:13:55,880 --> 00:13:58,960 Speaker 1: that it's going to summon some sort of an emotional state. 261 00:13:59,080 --> 00:14:10,160 Speaker 1: So yeah, it's it's interesting to think about, alright. This 262 00:14:10,240 --> 00:14:14,080 Speaker 1: next one comes to us from one of our mini gyms. Uh, 263 00:14:14,240 --> 00:14:16,199 Speaker 1: we do have a we have at least a handful 264 00:14:16,240 --> 00:14:19,840 Speaker 1: of Gim's, a legion, a legion of gym's. Uh. This Jim, 265 00:14:20,600 --> 00:14:22,880 Speaker 1: Uh who was just Jim. I was just checking to 266 00:14:22,920 --> 00:14:25,640 Speaker 1: see if this gym had not Jersey Jym this or 267 00:14:25,720 --> 00:14:28,440 Speaker 1: Jim that I know, this is just Jim Jim's out there. 268 00:14:28,440 --> 00:14:30,960 Speaker 1: Feel free to give yourself an additional moniker if you 269 00:14:31,040 --> 00:14:36,880 Speaker 1: like anyway, Yeah, yeah, or you know, you can be 270 00:14:37,040 --> 00:14:39,440 Speaker 1: you know, like classy gym or jazzy gym. There's so 271 00:14:39,440 --> 00:14:43,280 Speaker 1: many possibilities. Um. This gym is writing in with two 272 00:14:43,280 --> 00:14:46,520 Speaker 1: thoughts on the nature of tears and dune. Of course, 273 00:14:46,520 --> 00:14:48,760 Speaker 1: this instantly got our attention. If you write in and 274 00:14:48,760 --> 00:14:51,120 Speaker 1: you connect something we've been talking about to Dune. We're 275 00:14:51,160 --> 00:14:54,680 Speaker 1: you know, we're gonna be there. Um. Jim writes the following, 276 00:14:55,200 --> 00:14:57,520 Speaker 1: It was very interesting to hear how there are several 277 00:14:57,520 --> 00:15:01,240 Speaker 1: different layers that lubricate our eyes and duced tears in 278 00:15:01,360 --> 00:15:04,560 Speaker 1: Dune on Aracus, the Fremen do everything they can to 279 00:15:04,600 --> 00:15:08,160 Speaker 1: minimize water loss from their bodies. One thing they seem 280 00:15:08,280 --> 00:15:11,680 Speaker 1: less concerned about is moisture lost from the eyes. Is 281 00:15:11,720 --> 00:15:14,360 Speaker 1: it possible that one of the side effects of spice 282 00:15:14,920 --> 00:15:17,400 Speaker 1: is that the spice alters some of the layers that 283 00:15:17,480 --> 00:15:20,800 Speaker 1: lubricate the eyes so that there would be less moisture 284 00:15:20,920 --> 00:15:24,280 Speaker 1: lost from the eyes than normal human eyes, and because 285 00:15:24,320 --> 00:15:28,320 Speaker 1: of that turns the eyes blue. Just a thought number two. Also, 286 00:15:28,360 --> 00:15:31,160 Speaker 1: you may recall from Dune, when Paul and Jessica first 287 00:15:31,280 --> 00:15:35,120 Speaker 1: arrive at the siege, Paul engaged in ritual combat with 288 00:15:35,160 --> 00:15:39,360 Speaker 1: a Fremen named Jamie, who Paul killed. Paul later shed 289 00:15:39,400 --> 00:15:42,920 Speaker 1: a tear for Jamie, which the Fremen called gave water 290 00:15:43,040 --> 00:15:46,320 Speaker 1: to the dead. Keep up the great work, Jim. This 291 00:15:46,400 --> 00:15:48,920 Speaker 1: is this is a wonderful point. Always love bringing things 292 00:15:48,920 --> 00:15:52,440 Speaker 1: back to Dune, And yeah, this is interesting. So I 293 00:15:52,560 --> 00:15:55,680 Speaker 1: don't recall this ever being addressed in the book, even 294 00:15:55,720 --> 00:15:59,240 Speaker 1: like in the supplementary writings by Dr Kinds and all 295 00:15:59,240 --> 00:16:01,440 Speaker 1: that that sort of plain more about the ecology of 296 00:16:01,440 --> 00:16:04,640 Speaker 1: the desert on Iraqus and things. But that would make sense. 297 00:16:04,800 --> 00:16:07,400 Speaker 1: I can imagine in this fictional world that maybe consuming 298 00:16:07,440 --> 00:16:10,440 Speaker 1: the spice like beefs up the lipid layer on the 299 00:16:10,440 --> 00:16:13,840 Speaker 1: outside of your eyes and an additionally prevents evaporation of 300 00:16:13,880 --> 00:16:18,160 Speaker 1: the of the aqueous liquid in the Tier film. Yeah, yeah, 301 00:16:18,280 --> 00:16:20,440 Speaker 1: or you know, I mean, certainly it would seem to 302 00:16:20,960 --> 00:16:24,240 Speaker 1: It seems like one of the effects of the spice, 303 00:16:24,360 --> 00:16:26,520 Speaker 1: in addition to its other named effects, would be this 304 00:16:26,800 --> 00:16:31,920 Speaker 1: sense of concentration. Concentration is often linked with sight, so uh, 305 00:16:31,960 --> 00:16:35,520 Speaker 1: you know, who knows exactly, But I was thinking about this, 306 00:16:35,800 --> 00:16:38,480 Speaker 1: and I suppose one of the big issues here is 307 00:16:38,520 --> 00:16:40,720 Speaker 1: that the eyes of the frem and still have to 308 00:16:40,760 --> 00:16:43,360 Speaker 1: remain free of dust and sand particles on what is 309 00:16:43,400 --> 00:16:46,720 Speaker 1: again a desert planet, and therefore to some extent, uh, 310 00:16:46,840 --> 00:16:50,680 Speaker 1: the tears must flow. So I was looking around just 311 00:16:50,720 --> 00:16:52,240 Speaker 1: a little bit on this. I didn't have a lot 312 00:16:52,240 --> 00:16:55,400 Speaker 1: of time to just really go in depth. Um, I 313 00:16:55,560 --> 00:16:57,520 Speaker 1: though I was quite quite interested, But I was looking 314 00:16:57,520 --> 00:17:01,000 Speaker 1: at papers on the eyes of desert rodents uh, thinking well, 315 00:17:01,040 --> 00:17:03,440 Speaker 1: perhaps there's something there, though they wouldn't be you know, 316 00:17:03,480 --> 00:17:05,879 Speaker 1: a one to one, because the desert rodent is something 317 00:17:05,920 --> 00:17:09,640 Speaker 1: that has evolved over time to thrive. And I'm I'm 318 00:17:09,680 --> 00:17:11,240 Speaker 1: not sure if you could really make the same case 319 00:17:11,320 --> 00:17:16,359 Speaker 1: for UH technology using UH sort of post humans on 320 00:17:16,359 --> 00:17:20,160 Speaker 1: on some sort of a desert world. Um. But it's 321 00:17:20,200 --> 00:17:23,879 Speaker 1: so far it seems that there's nothing unusual and the 322 00:17:23,920 --> 00:17:27,359 Speaker 1: morphological aspect of this in particular paper I was looking, 323 00:17:27,359 --> 00:17:29,520 Speaker 1: I was looking at a desert gerbil, so there was 324 00:17:29,560 --> 00:17:35,719 Speaker 1: nothing particularly different in its orbital glands. Um. But on 325 00:17:35,760 --> 00:17:38,359 Speaker 1: the other hand, I'm thinking maybe a cultural aversion to 326 00:17:38,440 --> 00:17:41,320 Speaker 1: emotional tears like we see that the fremen h plus 327 00:17:41,359 --> 00:17:45,760 Speaker 1: some sort of farmac pharmacological intervention via the spice. And 328 00:17:45,800 --> 00:17:48,159 Speaker 1: then if you're wearing goggles anyway when you're out in 329 00:17:48,200 --> 00:17:52,400 Speaker 1: the desert, then then maybe the hypothesis works. Oh yeah, 330 00:17:52,400 --> 00:17:55,280 Speaker 1: I can see that. But though I would wonder, um 331 00:17:55,320 --> 00:17:58,080 Speaker 1: if some desert dwelling animals that might be dealing with 332 00:17:58,119 --> 00:18:00,800 Speaker 1: a lot of dust and sand and other irritants getting 333 00:18:00,800 --> 00:18:03,359 Speaker 1: into the eyes might deal with that in ways other 334 00:18:03,440 --> 00:18:07,439 Speaker 1: than having excesses of of tears in their eyes and 335 00:18:07,520 --> 00:18:09,879 Speaker 1: might deal with it, for example, by having a nictitating 336 00:18:09,960 --> 00:18:13,000 Speaker 1: mid brain like the third eyelid. The third eyelid would 337 00:18:13,040 --> 00:18:14,720 Speaker 1: would certainly be kay. I mean that that's what we 338 00:18:14,760 --> 00:18:17,639 Speaker 1: see with something like the elephant. We also see that 339 00:18:17,720 --> 00:18:20,520 Speaker 1: in various other creatures that need to, say, you know, 340 00:18:20,640 --> 00:18:24,639 Speaker 1: shield their eye during feeding and so forth. Um, but 341 00:18:26,359 --> 00:18:28,880 Speaker 1: I do not believe the Fremen. I think I feel 342 00:18:28,880 --> 00:18:30,280 Speaker 1: like Herbert would have told us that they had the 343 00:18:30,280 --> 00:18:33,880 Speaker 1: Freemen featured a third eyelids. Oh, that would be really good. 344 00:18:34,840 --> 00:18:36,840 Speaker 1: That's how you can tell the gola form from the 345 00:18:36,880 --> 00:18:41,000 Speaker 1: original the golatitating membrane. But I'll consider it an open question. 346 00:18:41,040 --> 00:18:42,440 Speaker 1: I'm gonna have to think on this one a little 347 00:18:42,440 --> 00:18:49,640 Speaker 1: bit more. Maybe we'll come back to it. All right, 348 00:18:49,720 --> 00:18:52,479 Speaker 1: So I guess today's episode is mostly reactions to tears 349 00:18:52,480 --> 00:18:54,639 Speaker 1: that We've got a number of other great emails. We've 350 00:18:54,680 --> 00:18:58,399 Speaker 1: got several in response to our episode about gears in 351 00:18:58,480 --> 00:19:04,480 Speaker 1: biology talking about a a fictional creature from a set 352 00:19:04,520 --> 00:19:06,119 Speaker 1: of books that I love, And so I'm going to 353 00:19:06,200 --> 00:19:09,600 Speaker 1: read this message from Michael. Michael says Hi, Rob and Joe. 354 00:19:10,240 --> 00:19:13,320 Speaker 1: Although it ended up being a short intro to the discussion. 355 00:19:13,320 --> 00:19:15,679 Speaker 1: When you spoke about wheels and their lack of a 356 00:19:15,720 --> 00:19:18,440 Speaker 1: presence in the natural world, all I could think about 357 00:19:18,600 --> 00:19:20,919 Speaker 1: was the creatures in the third book of the His 358 00:19:21,040 --> 00:19:24,800 Speaker 1: Dark Material series by Philip Pullman. As a side, these 359 00:19:24,800 --> 00:19:27,359 Speaker 1: are my favorite books of all time. I read them 360 00:19:27,359 --> 00:19:29,360 Speaker 1: when they were very first published when I was a kid, 361 00:19:29,400 --> 00:19:32,199 Speaker 1: and I've reread them several times. The movie wasn't all 362 00:19:32,200 --> 00:19:34,639 Speaker 1: that great, but I still appreciated it more than most, 363 00:19:35,119 --> 00:19:37,439 Speaker 1: and now I'm very happy that HBO has done a 364 00:19:37,440 --> 00:19:40,160 Speaker 1: great job making a series out of it. I don't 365 00:19:40,160 --> 00:19:42,359 Speaker 1: think these creatures have appeared yet, but I don't watch 366 00:19:42,400 --> 00:19:45,160 Speaker 1: the show directly on HBO, so maybe others have heard 367 00:19:45,200 --> 00:19:48,040 Speaker 1: of them already. Anyway, the creatures I wanted to tell 368 00:19:48,040 --> 00:19:50,679 Speaker 1: you about are called the Moulafa, and they are the 369 00:19:50,760 --> 00:19:53,560 Speaker 1: sentient species in one of the particular worlds that the 370 00:19:53,560 --> 00:19:56,560 Speaker 1: books center on. In this world, all of the creatures 371 00:19:56,560 --> 00:19:59,480 Speaker 1: have a diamond shaped body structure, so they have two 372 00:19:59,560 --> 00:20:02,040 Speaker 1: legs side by side, with another in the front and 373 00:20:02,119 --> 00:20:04,720 Speaker 1: one in the back. The mula Fa also have co 374 00:20:04,840 --> 00:20:08,040 Speaker 1: evolved with a tree species of this world, which produces 375 00:20:08,160 --> 00:20:11,919 Speaker 1: very hard and nearly perfect round seeds. These seeds have 376 00:20:11,960 --> 00:20:14,840 Speaker 1: a hole down the center which the mulafa are able 377 00:20:14,880 --> 00:20:18,720 Speaker 1: to stick their front and back feet through, basically becoming wheels. 378 00:20:19,200 --> 00:20:22,399 Speaker 1: They then propel themselves using their two side legs, almost 379 00:20:22,400 --> 00:20:25,760 Speaker 1: like living bicycles. I'm sure I don't paint the most 380 00:20:25,760 --> 00:20:28,280 Speaker 1: descriptive picture of these creatures, but these books are a 381 00:20:28,280 --> 00:20:30,920 Speaker 1: thousand percent worth of read. HBO does a good job 382 00:20:30,960 --> 00:20:34,000 Speaker 1: of it. I really hope seeing this incredibly imagined creature 383 00:20:34,040 --> 00:20:36,240 Speaker 1: on the screen is something we do get to experience. 384 00:20:36,720 --> 00:20:38,800 Speaker 1: I can't speak enough praise for these books, but I'm 385 00:20:38,840 --> 00:20:41,119 Speaker 1: so happy to share this interesting creature with you. In 386 00:20:41,200 --> 00:20:43,600 Speaker 1: relation to the recent episode, Thank you both for all 387 00:20:43,600 --> 00:20:47,280 Speaker 1: you do. Michael Um Well, Michael, I can certainly relate 388 00:20:47,320 --> 00:20:50,000 Speaker 1: to the to the gushing about Philip Pullman. Yeah, I 389 00:20:50,000 --> 00:20:52,840 Speaker 1: I love those books as well, really really wonderful reads. 390 00:20:53,240 --> 00:20:55,600 Speaker 1: I have not been able to bring myself to watch 391 00:20:55,640 --> 00:20:59,199 Speaker 1: the series on TV, not necessarily as a commentary on it. 392 00:20:59,520 --> 00:21:01,520 Speaker 1: I just sort of I guess I just sort of 393 00:21:01,520 --> 00:21:04,360 Speaker 1: like feared, I wouldn't like it and thus never ventured there. 394 00:21:04,480 --> 00:21:07,800 Speaker 1: But but yeah, the books are magical, just just great. Well, 395 00:21:07,840 --> 00:21:09,800 Speaker 1: I have not I have not read them. I think 396 00:21:09,800 --> 00:21:12,879 Speaker 1: I started reading them um years ago, and I just 397 00:21:13,080 --> 00:21:15,240 Speaker 1: I didn't get sucked into him at the time, and 398 00:21:15,280 --> 00:21:17,119 Speaker 1: it's just, you know, not not the book for for 399 00:21:17,200 --> 00:21:20,280 Speaker 1: that time. For whatever reason, I did not watch the movie, 400 00:21:20,320 --> 00:21:22,840 Speaker 1: but I did watch the first season of the TV show, 401 00:21:23,240 --> 00:21:26,119 Speaker 1: and I thought it was was pretty fun. Lynn Manuel 402 00:21:26,200 --> 00:21:27,760 Speaker 1: Miranda was it was a lot of fun in it. 403 00:21:27,800 --> 00:21:30,520 Speaker 1: I like the Polar Bears, and I've looked up this 404 00:21:31,080 --> 00:21:34,440 Speaker 1: Molefa creature m U l e f A, and it's 405 00:21:34,440 --> 00:21:36,760 Speaker 1: turned up some fan art of these creatures and they're 406 00:21:36,800 --> 00:21:39,399 Speaker 1: kind of like, uh, kind of like skinny snuffle up 407 00:21:39,400 --> 00:21:42,840 Speaker 1: against motorcycles and uh yeah, it looks pretty cool. I 408 00:21:42,840 --> 00:21:45,399 Speaker 1: like it. It's very inventive. Yeah. There's a wonderful section 409 00:21:45,480 --> 00:21:48,359 Speaker 1: in the third book in the series where a scientist 410 00:21:48,480 --> 00:21:51,600 Speaker 1: from Earth finds herself transported to this sort of other 411 00:21:51,680 --> 00:21:55,399 Speaker 1: dimension and she ends up like sort of becoming an 412 00:21:55,400 --> 00:21:58,800 Speaker 1: anthropologist of these creatures and and it's really interesting, like 413 00:21:58,840 --> 00:22:01,639 Speaker 1: her working out how the whole biological history of this 414 00:22:01,680 --> 00:22:04,480 Speaker 1: world has happened. Are they intelligent? Do they have like 415 00:22:04,520 --> 00:22:06,760 Speaker 1: a culture? Oh yeah, yeah, yeah, they've got a whole 416 00:22:06,800 --> 00:22:10,000 Speaker 1: culture and language and everything. Yeah, it's really interesting, but 417 00:22:10,240 --> 00:22:12,919 Speaker 1: maybe we should wrap up just by doing a message 418 00:22:13,000 --> 00:22:21,320 Speaker 1: or two about Weird House cinema. Let's do it all right. 419 00:22:21,359 --> 00:22:23,240 Speaker 1: This one comes to us from my k Robin Joe. 420 00:22:23,480 --> 00:22:26,119 Speaker 1: I love your Weird House episodes and I am surprised 421 00:22:26,160 --> 00:22:29,880 Speaker 1: that you have not covered Johnny Neumonic when back when 422 00:22:29,960 --> 00:22:32,800 Speaker 1: you covered the Free Jack, I figured Johnny Numonic could 423 00:22:32,880 --> 00:22:35,880 Speaker 1: not be far behind, but alas nothing yet. I would 424 00:22:35,960 --> 00:22:38,080 Speaker 1: love to hear you guys discuss this film in all 425 00:22:38,080 --> 00:22:40,399 Speaker 1: its glory. I mean, you can't go wrong with a 426 00:22:40,440 --> 00:22:45,159 Speaker 1: stellar cast like Keanu Reeves, Dolph Lindgren, Henry Rollins and 427 00:22:45,200 --> 00:22:48,679 Speaker 1: of course Iced Tea, not to mention a talking dolphins. 428 00:22:48,680 --> 00:22:51,840 Speaker 1: Cyberpunk at its finest. I think this would be especially 429 00:22:51,880 --> 00:22:54,280 Speaker 1: timely with the new Matrix coming out in a few months. 430 00:22:54,560 --> 00:22:56,040 Speaker 1: On a side note, when I went to see the 431 00:22:56,040 --> 00:22:57,960 Speaker 1: first Matrix film in theaters, I was a little worried 432 00:22:58,040 --> 00:23:01,320 Speaker 1: that would be another Johnny Numa Tonic, which came out 433 00:23:01,359 --> 00:23:03,560 Speaker 1: just a few years prior. I could go on, but 434 00:23:03,600 --> 00:23:07,000 Speaker 1: I know you guys are busy. I love the podcast, Mike. 435 00:23:07,320 --> 00:23:09,000 Speaker 1: I don't know why that seems so funny. I guess 436 00:23:09,000 --> 00:23:11,240 Speaker 1: we are busy, but it seems like a funny comment 437 00:23:11,280 --> 00:23:13,919 Speaker 1: to make. Well, thank you, Mike. Um, Well, there are 438 00:23:13,920 --> 00:23:15,960 Speaker 1: several things to unwrap here. I guess on one level, 439 00:23:16,359 --> 00:23:18,879 Speaker 1: sometimes when we watch a film of a particular genre 440 00:23:19,000 --> 00:23:22,480 Speaker 1: or flavor, um, you know that we were pretty filled 441 00:23:22,560 --> 00:23:24,800 Speaker 1: up on that flavor for the time being, and so 442 00:23:24,840 --> 00:23:28,159 Speaker 1: we we we didn't long for something different, and so 443 00:23:28,359 --> 00:23:31,400 Speaker 1: I'm sure we'll come back to more cyberpunk or cyberpunk 444 00:23:31,520 --> 00:23:34,840 Speaker 1: esque material and maybe it'll be uh be this film, 445 00:23:34,840 --> 00:23:36,919 Speaker 1: but but I don't know. I've never actually seen it, 446 00:23:37,160 --> 00:23:39,680 Speaker 1: but certainly if you just look at it on paper, 447 00:23:39,800 --> 00:23:41,639 Speaker 1: it does have a lot of a lot of items 448 00:23:41,640 --> 00:23:44,200 Speaker 1: that line up with our interests. I enjoyed that first 449 00:23:44,200 --> 00:23:46,639 Speaker 1: sentence where you said you're surprised we haven't come or 450 00:23:46,840 --> 00:23:49,959 Speaker 1: covered Johnny Nemonic Like when I first read that, I 451 00:23:50,000 --> 00:23:59,520 Speaker 1: definitely interpreted it as shocked and appalled, like you're mad. Okay, 452 00:23:59,520 --> 00:24:02,480 Speaker 1: one last message about weird House cinema. This comes from Hugh. 453 00:24:02,760 --> 00:24:06,680 Speaker 1: This is becoming a genre of message subject line bomba 454 00:24:06,720 --> 00:24:11,760 Speaker 1: dil entirety of the message reads Stephen Root equals Tom 455 00:24:11,800 --> 00:24:14,479 Speaker 1: bomba dill. That is all. Thank you for all your 456 00:24:14,480 --> 00:24:18,800 Speaker 1: great shows, Hugh. M hmm. Okay, Yeah, I love Stephen Rude. 457 00:24:18,800 --> 00:24:22,080 Speaker 1: I mean he's national treasure absolutely, from from King of 458 00:24:22,080 --> 00:24:25,920 Speaker 1: the Hill to Barry I I celebrate his entire catalog. 459 00:24:26,920 --> 00:24:29,760 Speaker 1: Yeah he uh, he would obviously obviously he would be 460 00:24:29,800 --> 00:24:31,760 Speaker 1: a different I mean, I don't know, maybe he could 461 00:24:31,840 --> 00:24:33,560 Speaker 1: do the whole thing with kind of a British flair. 462 00:24:33,600 --> 00:24:36,840 Speaker 1: But I'm imagining him very much in keeping with say 463 00:24:36,880 --> 00:24:39,320 Speaker 1: his role in Oh Brother Were Art album, imagining a 464 00:24:39,440 --> 00:24:43,920 Speaker 1: very sort of Southern um hay Seed take on Tom 465 00:24:43,920 --> 00:24:45,960 Speaker 1: Bomba Dill, which I think could work. You know, he's 466 00:24:46,320 --> 00:24:49,240 Speaker 1: Bombadell is a son of the soil. But on the 467 00:24:49,280 --> 00:24:51,639 Speaker 1: other hand, I know they typically want to go for 468 00:24:51,720 --> 00:24:55,720 Speaker 1: more of a British feel with these these film adaptations. 469 00:24:55,720 --> 00:24:58,040 Speaker 1: That's well why does But I mean, I'm fine with 470 00:24:58,240 --> 00:25:01,280 Speaker 1: British accents and in fantasy, but why does it always 471 00:25:01,280 --> 00:25:03,480 Speaker 1: have to be British accents in fantasy. Why not a 472 00:25:03,520 --> 00:25:07,760 Speaker 1: Texas accent and fantasy? Yeah? No, I agree that that 473 00:25:07,840 --> 00:25:10,640 Speaker 1: reminds me. On on the Facebook group for our show 474 00:25:10,640 --> 00:25:13,200 Speaker 1: the Stuff to Blow Your Mind discussion module, someone also 475 00:25:13,240 --> 00:25:17,840 Speaker 1: brought up Nick Offerman as the potential Bomba Dell's strange Yeah, 476 00:25:18,160 --> 00:25:20,119 Speaker 1: but I don't know. I could see it. Well, I 477 00:25:20,119 --> 00:25:22,440 Speaker 1: don't know. I don't know if if if nick Offerman 478 00:25:22,480 --> 00:25:26,359 Speaker 1: has the pipes to to really sing the role and 479 00:25:26,400 --> 00:25:29,240 Speaker 1: bring the song to life musically. But when I start 480 00:25:29,280 --> 00:25:31,440 Speaker 1: thinking about my son and I are listening to the 481 00:25:31,440 --> 00:25:33,480 Speaker 1: part now where they're having the big council talk about 482 00:25:33,480 --> 00:25:36,080 Speaker 1: what to do with the ring and they're discussing, well, 483 00:25:36,119 --> 00:25:38,159 Speaker 1: maybe we could give it to Bomba Dill and they're like, 484 00:25:38,480 --> 00:25:40,040 Speaker 1: well again, I was like, well, you could give it 485 00:25:40,080 --> 00:25:42,480 Speaker 1: to Bomba Dill, but he doesn't actually have any power 486 00:25:42,520 --> 00:25:44,600 Speaker 1: over it. It It just doesn't have power over him. He'd 487 00:25:44,600 --> 00:25:46,879 Speaker 1: probably get bored with it or lose it. And at 488 00:25:46,920 --> 00:25:48,840 Speaker 1: the very least you'd reach this point, like at the 489 00:25:48,960 --> 00:25:52,000 Speaker 1: end of time where it's just like the global forces 490 00:25:52,040 --> 00:25:56,000 Speaker 1: of Mordor surrounding the last forest in which Bomba Dill 491 00:25:56,440 --> 00:25:59,080 Speaker 1: is is hanging out and singing and has you know, 492 00:25:59,160 --> 00:26:03,320 Speaker 1: lost the rings where and and in that scenario, I 493 00:26:03,320 --> 00:26:05,280 Speaker 1: don't know it could I can imagine like a tough 494 00:26:05,400 --> 00:26:07,560 Speaker 1: nick Off from him Bomba deal making a last stand 495 00:26:07,600 --> 00:26:12,040 Speaker 1: against the forces of darkness. That's funny. Uh yeah, okay, 496 00:26:12,080 --> 00:26:14,159 Speaker 1: I was I was trying to remember what the reason 497 00:26:14,280 --> 00:26:16,840 Speaker 1: was he gave. Yeah, it seemed my read on it 498 00:26:16,920 --> 00:26:20,040 Speaker 1: was that Gandalf was saying that Bomba Dill wouldn't necessarily 499 00:26:20,160 --> 00:26:22,880 Speaker 1: lose the ring to more Door, but he also wouldn't 500 00:26:22,920 --> 00:26:25,560 Speaker 1: really actively defend either. He would just sort of it 501 00:26:25,560 --> 00:26:28,119 Speaker 1: would be like just taking a crucial piece of the 502 00:26:28,119 --> 00:26:31,919 Speaker 1: game off the table and now you just can't really play. Yeah, 503 00:26:31,960 --> 00:26:33,640 Speaker 1: but I always like that part of the book because 504 00:26:33,640 --> 00:26:35,399 Speaker 1: it's there's a lot of like what if. There's a 505 00:26:35,400 --> 00:26:38,960 Speaker 1: lot of those strategic planning and and it, and it 506 00:26:39,000 --> 00:26:41,520 Speaker 1: creates these sort of alternate scenarios in your mind, like 507 00:26:41,560 --> 00:26:44,600 Speaker 1: what if they had tried to just hide the ring indefinitely. 508 00:26:44,800 --> 00:26:48,280 Speaker 1: What if they had somehow transported it to bomba Deal 509 00:26:48,400 --> 00:26:50,800 Speaker 1: or tried to transport it to Bombadale or something else 510 00:26:50,840 --> 00:26:52,520 Speaker 1: didn't work and they just had to fall back on 511 00:26:52,600 --> 00:26:55,080 Speaker 1: that plan. What if we gave the ring to the 512 00:26:55,119 --> 00:27:02,480 Speaker 1: Sackville Torbens is Yeah, Yeah, there's so many possibilities. Bilbo's like, 513 00:27:02,560 --> 00:27:05,280 Speaker 1: you've been trying to get my inheritance. Here, you go here, 514 00:27:06,359 --> 00:27:09,639 Speaker 1: it's your job now. And yes, I am aware that 515 00:27:09,680 --> 00:27:12,640 Speaker 1: I said Torpens instead of Baggings. It's just sometimes it's 516 00:27:12,640 --> 00:27:15,280 Speaker 1: Torbens for me. Now. Oh, yes, you've been you've been, 517 00:27:15,359 --> 00:27:19,000 Speaker 1: You've been tainted by the keepers, I've been propagandized. Yeah, 518 00:27:20,560 --> 00:27:22,159 Speaker 1: all right. I mean it's fitting we're talking about this 519 00:27:22,200 --> 00:27:25,240 Speaker 1: because this is uh, this is Hobbit week. This is 520 00:27:25,280 --> 00:27:29,560 Speaker 1: the week of Bilbo and Frodo's birthday. Yeah. And and 521 00:27:29,560 --> 00:27:32,480 Speaker 1: we're actually going to have a Lord of the Rings 522 00:27:32,520 --> 00:27:37,960 Speaker 1: related artifacts slash monster fact episode this Wednesday. Oh nice, 523 00:27:38,240 --> 00:27:40,760 Speaker 1: So tune in for that. Also tune in for our 524 00:27:40,800 --> 00:27:45,040 Speaker 1: core episodes on Tuesday and Thursday and this Friday. Yes, 525 00:27:45,080 --> 00:27:47,439 Speaker 1: it will be another Weird House cinema. Then there'll be 526 00:27:47,440 --> 00:27:49,320 Speaker 1: a rerun over the weekend, and we'll be back with 527 00:27:49,359 --> 00:27:53,080 Speaker 1: another listener mail on the other side. So hey, right in, 528 00:27:53,280 --> 00:27:55,320 Speaker 1: let us know. Do you have thoughts about Bomba Dell, 529 00:27:56,000 --> 00:28:01,560 Speaker 1: about recent episodes, about older episodes, about possible future episodes, Well, 530 00:28:01,760 --> 00:28:03,480 Speaker 1: reach out to us. We'd love to hear from you. 531 00:28:03,480 --> 00:28:06,040 Speaker 1: You can find the show wherever you get your podcasts, 532 00:28:06,280 --> 00:28:09,399 Speaker 1: in the Stuff to Blow your Mind podcast feed Huge 533 00:28:09,440 --> 00:28:13,320 Speaker 1: thanks as always to our excellent audio producer Seth Nicholas Johnson. 534 00:28:13,600 --> 00:28:15,160 Speaker 1: If you would like to get in touch with us 535 00:28:15,160 --> 00:28:17,640 Speaker 1: with feedback on this episode or any other to suggest 536 00:28:17,640 --> 00:28:19,440 Speaker 1: the topic for the future, or just to say hello. 537 00:28:19,520 --> 00:28:22,200 Speaker 1: You can email us at contact at stuff to Blow 538 00:28:22,240 --> 00:28:31,960 Speaker 1: your Mind dot com. Stuff to Blow Your Mind is 539 00:28:31,960 --> 00:28:34,720 Speaker 1: a production of I heart Radio. For more podcasts my 540 00:28:34,760 --> 00:28:37,720 Speaker 1: heart Radio, visit the i heart Radio app, Apple Podcasts, 541 00:28:37,760 --> 00:28:39,560 Speaker 1: or wherever you listen to your favorite shows.