1 00:00:03,040 --> 00:00:06,560 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:10,160 --> 00:00:12,960 Speaker 2: Hey, welcome to Stuff to Blow your Mind. Listener mail. 3 00:00:13,320 --> 00:00:14,920 Speaker 2: My name is Robert Lamb. 4 00:00:14,800 --> 00:00:17,760 Speaker 3: And I am Joe McCormick. And it's Monday, the day 5 00:00:17,760 --> 00:00:19,720 Speaker 3: of each week that we read back messages from the 6 00:00:19,800 --> 00:00:22,799 Speaker 3: Stuff to Blow your Mind email address. If you're a 7 00:00:22,840 --> 00:00:25,040 Speaker 3: listener of the show and you've never gotten in touch before, 8 00:00:25,079 --> 00:00:27,560 Speaker 3: why not give it a try. You can email us 9 00:00:27,560 --> 00:00:31,520 Speaker 3: at contact at stuff to Blow your Mind dot com. 10 00:00:31,800 --> 00:00:34,279 Speaker 3: We like all kinds of messages, especially if you have 11 00:00:34,400 --> 00:00:37,800 Speaker 3: feedback or something really interesting to add to a recent 12 00:00:37,840 --> 00:00:40,839 Speaker 3: episode of the show. Whatever you want to send, it's 13 00:00:40,880 --> 00:00:43,960 Speaker 3: all fair game. Contact at stuff to Blow your Mind 14 00:00:44,640 --> 00:00:48,040 Speaker 3: dot com. Let's see rob Oh, we've got a good 15 00:00:48,080 --> 00:00:51,280 Speaker 3: message to start things off today. That's say response to 16 00:00:51,320 --> 00:00:53,120 Speaker 3: one of your Monster Fact episodes. You want to do 17 00:00:53,159 --> 00:00:55,440 Speaker 3: this one from Constantinos? 18 00:01:00,280 --> 00:01:03,720 Speaker 2: Yeah, Konstantinos writes in and says, good morning gents. On 19 00:01:03,760 --> 00:01:07,200 Speaker 2: your Monster Fact episode on the Hecatonkures, you mentioned the 20 00:01:07,319 --> 00:01:11,960 Speaker 2: artistic renditions of the Hecatonkures were hard to find, probably 21 00:01:12,000 --> 00:01:15,720 Speaker 2: because the Hecatonkures, they multi headed, multi limbed giant, is 22 00:01:15,720 --> 00:01:18,920 Speaker 2: such a weird and difficult creature to render. For those 23 00:01:18,959 --> 00:01:20,160 Speaker 2: of you out there, if you didn't listen to this 24 00:01:20,200 --> 00:01:23,280 Speaker 2: episode and and or are not familiar with this creature, 25 00:01:23,840 --> 00:01:30,000 Speaker 2: these were monsters that were created by Urunos along with 26 00:01:30,040 --> 00:01:34,240 Speaker 2: the Cyclopses, that were too horrible to look upon, so 27 00:01:34,280 --> 00:01:38,600 Speaker 2: they were cast away and imprisoned. Then Kronos comes to power, 28 00:01:38,640 --> 00:01:40,280 Speaker 2: he didn't really want anything to do with them either. 29 00:01:40,520 --> 00:01:43,880 Speaker 2: But when Zeus comes to power, he sees that they 30 00:01:43,920 --> 00:01:47,240 Speaker 2: have potential and he recruits, frees them, and recruits them 31 00:01:47,280 --> 00:01:53,320 Speaker 2: into his battle against the Titans. And they are briefly 32 00:01:53,360 --> 00:01:56,040 Speaker 2: described in very weird terms as having like fifty heads 33 00:01:56,640 --> 00:02:01,120 Speaker 2: and in all these arms one hundred hand ends. And 34 00:02:02,160 --> 00:02:04,960 Speaker 2: my comment was that, yeah, you don't see many illustrations 35 00:02:04,960 --> 00:02:06,480 Speaker 2: of these guys, or at least you don't see many 36 00:02:06,520 --> 00:02:09,280 Speaker 2: older illustrations of them. If you look around for image 37 00:02:09,320 --> 00:02:11,160 Speaker 2: of the images of them, you'll tend to find more 38 00:02:11,200 --> 00:02:15,280 Speaker 2: contemporary images of the Hecatonkrease, you know, things from the 39 00:02:15,320 --> 00:02:18,320 Speaker 2: age of surrealism and cosmic horror. 40 00:02:19,320 --> 00:02:21,399 Speaker 3: You know, I feel like once you get more than 41 00:02:21,760 --> 00:02:25,160 Speaker 3: three or four of anything on a monster, it starts 42 00:02:25,160 --> 00:02:28,000 Speaker 3: getting kind of redundant and just hard to represent or 43 00:02:28,080 --> 00:02:31,919 Speaker 3: less appealing to represent. I think there's a similar problem 44 00:02:32,000 --> 00:02:35,840 Speaker 3: with that. There is some wild imagery in the Book 45 00:02:35,919 --> 00:02:39,079 Speaker 3: of Revelation, in the New Testament that you just don't 46 00:02:39,080 --> 00:02:42,000 Speaker 3: often see visually represented that much, and I think it's 47 00:02:42,000 --> 00:02:45,080 Speaker 3: because they've got they're described as having too many things there, 48 00:02:45,200 --> 00:02:48,480 Speaker 3: these creatures with like seven heads and seven wings and 49 00:02:48,520 --> 00:02:52,040 Speaker 3: seven crowns. You know, it's like seven is too many. 50 00:02:52,600 --> 00:02:55,560 Speaker 2: Yeah, yeah, I mean it's interesting when you look at 51 00:02:56,080 --> 00:03:00,760 Speaker 2: you know, multi headed beings and say Hindu iconography, where 52 00:03:01,880 --> 00:03:04,520 Speaker 2: you know, sometimes it'd be it's rather ingenious the way 53 00:03:04,560 --> 00:03:06,960 Speaker 2: that they're there's they sometimes will make even say an 54 00:03:06,960 --> 00:03:10,600 Speaker 2: odd number of heads fit on a particular entity, because 55 00:03:10,720 --> 00:03:13,680 Speaker 2: you know, it's like hard coded, it's essential, it's sacred 56 00:03:13,919 --> 00:03:17,639 Speaker 2: that it is a certain number of heads. But yeah, 57 00:03:17,639 --> 00:03:19,919 Speaker 2: I was, I was. I kept crunching over this thinking, 58 00:03:20,160 --> 00:03:24,160 Speaker 2: you know, you know, why don't we see more illustrations 59 00:03:24,160 --> 00:03:28,760 Speaker 2: of these clearly fascinating creatures from myth And you know, 60 00:03:28,800 --> 00:03:30,400 Speaker 2: you think to a lot of through a lot of 61 00:03:30,480 --> 00:03:33,040 Speaker 2: art history, and there's this, you know, attempt to create 62 00:03:33,080 --> 00:03:37,080 Speaker 2: realistic bodies, be they animal bodies, human bodies, or some 63 00:03:38,000 --> 00:03:42,480 Speaker 2: synthesis of the two. But something like even something as 64 00:03:42,480 --> 00:03:46,440 Speaker 2: simple as say Goro from Mortal Kombat, there there are 65 00:03:46,480 --> 00:03:49,400 Speaker 2: certain problems in illustrating this creature because when you start 66 00:03:49,440 --> 00:03:52,240 Speaker 2: trying to figure out what the like what's the underlying skeleton, 67 00:03:52,400 --> 00:03:55,880 Speaker 2: like how does the muscle structure work? And it becomes 68 00:03:55,920 --> 00:04:00,560 Speaker 2: increasingly difficult I would imagine to incorporate actual physiological data 69 00:04:01,080 --> 00:04:04,400 Speaker 2: into a realistic depiction of said monster. And that's just 70 00:04:04,480 --> 00:04:09,680 Speaker 2: with with two extra arms. I'll imagine with ninety eight 71 00:04:09,720 --> 00:04:10,080 Speaker 2: of them. 72 00:04:10,320 --> 00:04:13,720 Speaker 3: Yeah, you tried to draw a Goro skeleton, I imagine 73 00:04:13,760 --> 00:04:16,520 Speaker 3: you would. You might discover that you had an illusion 74 00:04:16,560 --> 00:04:19,880 Speaker 3: of explanatory depth there, like it seemed like it made 75 00:04:19,920 --> 00:04:21,760 Speaker 3: sense to you until you had to figure out where 76 00:04:21,760 --> 00:04:24,000 Speaker 3: all the bones go, and then you're like, oh, yeah, 77 00:04:24,240 --> 00:04:25,760 Speaker 3: this isn't how skeletons work. 78 00:04:26,720 --> 00:04:28,760 Speaker 2: There was a great paper publically looked at on the 79 00:04:28,760 --> 00:04:31,640 Speaker 2: show years ago. I'd have to have to dig this up, 80 00:04:31,680 --> 00:04:35,719 Speaker 2: but somebody had put together a paper about how a 81 00:04:35,760 --> 00:04:38,719 Speaker 2: centaur might work, trying to figure out like how the 82 00:04:38,760 --> 00:04:41,599 Speaker 2: circulatory system would work, and I think I think they 83 00:04:41,960 --> 00:04:44,159 Speaker 2: One of the things that they argued is like, Okay, 84 00:04:44,160 --> 00:04:45,960 Speaker 2: you're going to need two hearts to run this thing 85 00:04:46,040 --> 00:04:49,159 Speaker 2: and so forth. So it's an interesting exercise at times 86 00:04:49,200 --> 00:04:51,760 Speaker 2: as well, but maybe it's a little more interesting when 87 00:04:51,760 --> 00:04:53,640 Speaker 2: there are fewer variables to have to consider. 88 00:04:54,640 --> 00:04:58,080 Speaker 3: Sorry, I actually did just google Goro skeleton and it's 89 00:04:58,200 --> 00:05:00,680 Speaker 3: real funny. 90 00:05:00,800 --> 00:05:04,000 Speaker 2: Yeah. I mean, some of the later games they incorporate 91 00:05:05,000 --> 00:05:07,359 Speaker 2: a Goro skeleton in there because there's all sorts of 92 00:05:07,400 --> 00:05:10,920 Speaker 2: you know, fatalities and whatnot that occurs where you see 93 00:05:10,960 --> 00:05:14,599 Speaker 2: the skeleton and it always looks really dumb, like it's like, oh, yeah, yeah, 94 00:05:14,839 --> 00:05:19,680 Speaker 2: this wasn't thought out too much. Anyway, The email continues 95 00:05:19,720 --> 00:05:24,760 Speaker 2: here back when Disney made fun movies. I think that's 96 00:05:24,800 --> 00:05:26,600 Speaker 2: a matter of opinion. I think Disney still makes some 97 00:05:26,640 --> 00:05:30,480 Speaker 2: fun news. I watched the animated Hercules once worked over 98 00:05:30,560 --> 00:05:34,520 Speaker 2: twelve hundred times with my kids. In the opening musical number, 99 00:05:34,560 --> 00:05:38,480 Speaker 2: The Gospel Truth, there is a heavily stylized rendering of 100 00:05:38,520 --> 00:05:42,359 Speaker 2: the Titano Maki the War with the Titans. Among the 101 00:05:42,400 --> 00:05:45,640 Speaker 2: Titans silhouettes, there is a stylized two headed giant that 102 00:05:45,720 --> 00:05:48,360 Speaker 2: I always thought was a simplified image of one of 103 00:05:48,360 --> 00:05:52,719 Speaker 2: the Hecatonkreas. The movie is actually subtly quite sophisticated in 104 00:05:52,760 --> 00:05:55,720 Speaker 2: his portrayal of Greek mythology, and I do think the 105 00:05:55,760 --> 00:06:00,240 Speaker 2: image here was intentional. It is also contextually consistent with 106 00:06:00,320 --> 00:06:04,080 Speaker 2: the theme. I don't think that there is any other 107 00:06:04,400 --> 00:06:09,159 Speaker 2: polycephalic monster that participated in the Tautana monkey that could 108 00:06:09,200 --> 00:06:12,560 Speaker 2: have inspired this image. So there you go, a modern 109 00:06:13,160 --> 00:06:17,280 Speaker 2: Hecatonkari hiding in plain sight in American pop culture. And 110 00:06:17,880 --> 00:06:19,560 Speaker 2: he included an image from this so we didn't have 111 00:06:19,600 --> 00:06:22,200 Speaker 2: to actually pull up the movie and start watching it. Yeah, 112 00:06:22,240 --> 00:06:25,880 Speaker 2: we see a creature with two heads in this styling, 113 00:06:27,000 --> 00:06:32,039 Speaker 2: normal number of limbs. It's monstrous. Yeah, I can only 114 00:06:32,080 --> 00:06:36,719 Speaker 2: imagine that this was inspired by these creatures, though clearly 115 00:06:37,520 --> 00:06:40,680 Speaker 2: if they had worked out any additional limbs or heads, 116 00:06:40,720 --> 00:06:43,039 Speaker 2: they left that on the cutting room floor. 117 00:06:43,440 --> 00:06:45,719 Speaker 3: It's been a long time since I saw the Disney Hercules, 118 00:06:45,800 --> 00:06:49,160 Speaker 3: but I remember it actually having a pretty seeming to 119 00:06:49,200 --> 00:06:52,720 Speaker 3: have a pretty clever incorporation of the real Greek myth themes. 120 00:06:53,400 --> 00:06:56,520 Speaker 2: I don't know that I've ever seen it. I think 121 00:06:56,560 --> 00:06:59,920 Speaker 2: my son watched it once and he was too pick 122 00:07:00,120 --> 00:07:01,920 Speaker 2: He was like, this is not accurate, this is not 123 00:07:02,520 --> 00:07:05,920 Speaker 2: mythologically sound, and so you know, if he's not into it, 124 00:07:05,920 --> 00:07:07,919 Speaker 2: I was certainly not going to go out and watch it, 125 00:07:07,960 --> 00:07:09,480 Speaker 2: but I don't know. You know a lot of plenty 126 00:07:09,480 --> 00:07:11,800 Speaker 2: of people grew up with this movie and it's got 127 00:07:11,880 --> 00:07:14,880 Speaker 2: a pretty deep cast. I mean, you have ripped torn 128 00:07:14,920 --> 00:07:17,360 Speaker 2: as Zeus. How you go wrong with that? 129 00:07:17,600 --> 00:07:25,440 Speaker 3: Cannot beat that? That is perfect the Man who Fell 130 00:07:25,480 --> 00:07:25,840 Speaker 3: to Earth. 131 00:07:25,880 --> 00:07:30,400 Speaker 2: Indeed, anyway, thank you for writing in that Monster Fact episode. 132 00:07:30,440 --> 00:07:32,160 Speaker 2: I did put a call out. It's like, if you 133 00:07:32,200 --> 00:07:35,960 Speaker 2: were familiar with any additional images of the Hecatonkaris, especially 134 00:07:36,680 --> 00:07:40,200 Speaker 2: ones from throughout art history, you know, much older images 135 00:07:40,880 --> 00:07:42,960 Speaker 2: right in because I would love to be corrected on this. 136 00:07:43,000 --> 00:07:45,680 Speaker 2: I would love for someone to point out, actually, you're 137 00:07:45,680 --> 00:07:50,400 Speaker 2: missing some key images from ancient Greece or ancient Rome 138 00:07:50,600 --> 00:07:54,000 Speaker 2: or or medieval iconography. You know. I would love to 139 00:07:54,040 --> 00:07:56,120 Speaker 2: see that if it exists, but I just can't couldn't 140 00:07:56,160 --> 00:07:56,920 Speaker 2: find it anywhere. 141 00:07:57,120 --> 00:08:01,440 Speaker 3: M okay. Next message concern earns the uh oh the 142 00:08:01,640 --> 00:08:04,120 Speaker 3: episode that I did while you were out rob about 143 00:08:04,240 --> 00:08:09,080 Speaker 3: Ambergrease with our friends Annie and Lauren from the Saverer podcast. 144 00:08:09,520 --> 00:08:12,080 Speaker 3: If you haven't heard that episode, yet, this was this 145 00:08:12,160 --> 00:08:13,960 Speaker 3: is a couple weeks ago now, Yeah, I guess so. 146 00:08:14,840 --> 00:08:18,200 Speaker 3: But the episode was titled I believe a delicacy from 147 00:08:18,240 --> 00:08:23,320 Speaker 3: realms of Insufferable Feater after a quote that is used 148 00:08:23,360 --> 00:08:26,240 Speaker 3: in Moby Dick to describe where the Ambergrease comes from. 149 00:08:26,320 --> 00:08:34,800 Speaker 3: So this message is from our h all Right, says, 150 00:08:35,000 --> 00:08:38,840 Speaker 3: enjoying the Ambergresse episode. Well listening, I recalled where I 151 00:08:38,920 --> 00:08:42,760 Speaker 3: first learned about Ambergrease, in the eighth volume of Donald 152 00:08:42,880 --> 00:08:48,840 Speaker 3: Soball's Encyclopedia Brown series. You know, I had awareness of 153 00:08:48,880 --> 00:08:50,680 Speaker 3: these books when I was a kid. Friends of mine 154 00:08:50,679 --> 00:08:52,920 Speaker 3: read them, but I never actually read one, and I 155 00:08:52,920 --> 00:08:54,360 Speaker 3: feel like I kind of missed out now. 156 00:08:55,040 --> 00:08:57,920 Speaker 2: You know, I haven't thought about the name Encyclopedia Brown 157 00:08:57,960 --> 00:08:59,480 Speaker 2: in a very long time. I don't think I ever 158 00:08:59,520 --> 00:09:01,800 Speaker 2: read any of them. But yeah, like you, I remember 159 00:09:01,840 --> 00:09:04,520 Speaker 2: seeing them being passed around. I remember it being in 160 00:09:04,559 --> 00:09:05,000 Speaker 2: the mix. 161 00:09:06,200 --> 00:09:09,440 Speaker 3: My impression was it was like Sherlock Holmes for kids 162 00:09:09,520 --> 00:09:14,840 Speaker 3: or something. Anyway, so Rh continues, If memory serves, one 163 00:09:14,920 --> 00:09:20,079 Speaker 3: of Brown's classmates found a mysterious blob of something and 164 00:09:20,160 --> 00:09:25,520 Speaker 3: sought his encyclopedic encyclopedic mind. I guess Encyclopedia Brown's encyclopedic mind. 165 00:09:25,840 --> 00:09:30,520 Speaker 3: I wonder if kids read these anymore? Dad, what's an Encyclopedia. 166 00:09:31,160 --> 00:09:33,960 Speaker 3: These books were great encouragement for great schoolers to be 167 00:09:34,200 --> 00:09:38,160 Speaker 3: syllogistic thinkers using deductive reasoning. I hope they are still 168 00:09:38,160 --> 00:09:41,920 Speaker 3: in heavy demand at the old Scholastic Book Fair. Keep 169 00:09:42,000 --> 00:09:45,599 Speaker 3: up the great work, rh PS. Repo Man would be 170 00:09:45,640 --> 00:09:48,920 Speaker 3: a great weird house cinema candidate. Yeah, wow, I haven't 171 00:09:48,920 --> 00:09:51,000 Speaker 3: seen Repo Man in a long long time, but I 172 00:09:51,040 --> 00:09:53,320 Speaker 3: remember that one being very weird and very fun. 173 00:09:53,960 --> 00:09:56,600 Speaker 2: Yeah, I've never seen it actually, but it's come up 174 00:09:56,880 --> 00:09:58,520 Speaker 2: on the show before just because of some of the 175 00:09:58,960 --> 00:10:01,480 Speaker 2: connections that are press there. But yeah, I mean it's 176 00:10:01,520 --> 00:10:04,400 Speaker 2: it has a strong cult following. It's it's definitely one 177 00:10:04,440 --> 00:10:05,240 Speaker 2: that's been on the list. 178 00:10:05,480 --> 00:10:08,280 Speaker 3: It's got Harry Dean Stanton. So that's that alone is 179 00:10:08,559 --> 00:10:10,360 Speaker 3: going to get you part of the way there. Seal 180 00:10:10,400 --> 00:10:10,960 Speaker 3: of quality. 181 00:10:11,040 --> 00:10:16,000 Speaker 2: Yeah, Now on the Scholastic Book Fair questions in Encyclopedia Brown, 182 00:10:16,800 --> 00:10:20,880 Speaker 2: I have reviewed materials from various Scholastic Book Fairs over 183 00:10:20,920 --> 00:10:23,120 Speaker 2: the years here and I have to say I do 184 00:10:23,160 --> 00:10:26,360 Speaker 2: not remember seeing Encyclopedia Brown on the list. I mean, 185 00:10:26,679 --> 00:10:30,600 Speaker 2: kids these days have some amazing choices in books. Far, 186 00:10:31,000 --> 00:10:33,080 Speaker 2: They're not having to read Stephen King like I did. 187 00:10:33,679 --> 00:10:36,320 Speaker 2: You know. I mean I didn't just read Stephen King. 188 00:10:36,360 --> 00:10:38,520 Speaker 2: I also had I had some age appropriate books that 189 00:10:38,520 --> 00:10:41,160 Speaker 2: I read as well. But there are so many more 190 00:10:41,200 --> 00:10:45,280 Speaker 2: age appropriate books covering all sorts of cool topics. I mean, 191 00:10:45,360 --> 00:10:48,080 Speaker 2: just speaking of mythodology from earlier, Like, there's so many 192 00:10:48,080 --> 00:10:52,920 Speaker 2: wonderful books based on various world mythologies out there, you know, 193 00:10:53,000 --> 00:10:55,959 Speaker 2: fictional books that use mythology as the basis, And a 194 00:10:55,960 --> 00:10:58,920 Speaker 2: lot of these are written by people whose heritage, whose 195 00:10:58,920 --> 00:11:01,640 Speaker 2: country of origin lines up with said mythology. So it's 196 00:11:01,679 --> 00:11:02,440 Speaker 2: you know, it's really cool. 197 00:11:03,080 --> 00:11:06,200 Speaker 3: Mm yeah. I mean, I guess I will at some 198 00:11:06,240 --> 00:11:08,440 Speaker 3: point soon become acquainted with what the kids are reading 199 00:11:08,440 --> 00:11:11,679 Speaker 3: these days. But uh yeah, I don't know though. As 200 00:11:11,720 --> 00:11:13,600 Speaker 3: I said, I like, I never read these books either. 201 00:11:15,120 --> 00:11:17,240 Speaker 3: I am curious about what RH brings up, like a 202 00:11:17,840 --> 00:11:21,439 Speaker 3: would kids today even still be acquainted with the idea 203 00:11:21,440 --> 00:11:24,640 Speaker 3: of encyclopedia, like with the I don't know what's the 204 00:11:24,679 --> 00:11:28,920 Speaker 3: equivalent concept now, it's just like Facebook misinformation Brown. 205 00:11:28,880 --> 00:11:31,280 Speaker 2: Yeah, Wikipedia, Brown, That's that's what it would be. 206 00:11:32,360 --> 00:11:34,000 Speaker 3: Misleading TikTok video Brown. 207 00:11:34,320 --> 00:11:34,680 Speaker 1: M M. 208 00:11:36,200 --> 00:11:38,400 Speaker 2: All right, This next one comes to us from Michael, 209 00:11:39,360 --> 00:11:41,080 Speaker 2: and this is really in regard to our episode on 210 00:11:41,080 --> 00:11:50,240 Speaker 2: the illusion of control. Hello again from Tasmania. I'm a 211 00:11:50,240 --> 00:11:52,160 Speaker 2: bit late listening to this one, but I just wanted 212 00:11:52,160 --> 00:11:54,720 Speaker 2: to let Rob know that there is nothing abnormal about 213 00:11:54,720 --> 00:11:57,000 Speaker 2: clicking the button of your key fob three or more 214 00:11:57,040 --> 00:12:00,360 Speaker 2: times to make sure your car locked properly. But if 215 00:12:00,360 --> 00:12:03,319 Speaker 2: you can't quite hear the central locking mechanism or one 216 00:12:03,360 --> 00:12:06,760 Speaker 2: of the doors slash or the boot is ajar. I 217 00:12:06,800 --> 00:12:09,280 Speaker 2: am compelled to do mine at least three times before 218 00:12:09,320 --> 00:12:11,400 Speaker 2: I walk away, and then maybe a couple of more 219 00:12:11,400 --> 00:12:13,800 Speaker 2: times as I start to get out of range. Thank 220 00:12:13,840 --> 00:12:15,960 Speaker 2: you for keeping the show running all this time. I 221 00:12:15,960 --> 00:12:18,560 Speaker 2: have been listening for around ten years and would feel 222 00:12:18,559 --> 00:12:21,000 Speaker 2: a little lost without the hundreds of conversations at work 223 00:12:21,080 --> 00:12:25,000 Speaker 2: and home. Your podcast prompts me to have warm regards Michael. 224 00:12:25,360 --> 00:12:27,880 Speaker 3: Thank you, Michael. This is a wonderfully mail to get 225 00:12:27,920 --> 00:12:28,840 Speaker 3: about what's normal. 226 00:12:29,720 --> 00:12:31,800 Speaker 2: Yeah, three is good. I feel a little guilty if 227 00:12:31,800 --> 00:12:34,640 Speaker 2: I do five, but I've but three three feels appropriate. 228 00:12:35,120 --> 00:12:37,160 Speaker 2: I'm a little antsy if I do less than three. 229 00:12:37,400 --> 00:12:38,720 Speaker 3: What if five is not enough? 230 00:12:40,240 --> 00:12:44,600 Speaker 2: Five is enough? I mean five again. They're deities in 231 00:12:44,679 --> 00:12:46,840 Speaker 2: various traditions that have five heads. Five five. 232 00:12:46,880 --> 00:12:49,320 Speaker 3: As a nice ring to it, you gotta click lock 233 00:12:49,360 --> 00:12:51,920 Speaker 3: on your car once for each of the beasts seven heads, 234 00:12:51,960 --> 00:12:55,760 Speaker 3: and then once for each of its ten horns. Okay, 235 00:12:55,800 --> 00:13:04,600 Speaker 3: this next message comes from Robin. Robin says, Hi, Rob, Joe, 236 00:13:04,640 --> 00:13:08,640 Speaker 3: and JJ. The recent listener mail talking about responses to 237 00:13:08,720 --> 00:13:12,240 Speaker 3: the illusion of control episodes got me thinking down a 238 00:13:12,280 --> 00:13:15,800 Speaker 3: related train of thought, illusion of control and magical thinking, 239 00:13:15,880 --> 00:13:19,600 Speaker 3: perhaps being more of a nature of grade than of 240 00:13:19,720 --> 00:13:23,880 Speaker 3: kind or contingent on a model of belief. As Joe 241 00:13:23,920 --> 00:13:28,280 Speaker 3: was musing, brought up some concepts to illustrate. The following 242 00:13:28,360 --> 00:13:30,920 Speaker 3: is a real life example. Perhaps we've all had this 243 00:13:31,040 --> 00:13:34,199 Speaker 3: kind of experience, or perhaps it's just me. Say you're 244 00:13:34,240 --> 00:13:36,600 Speaker 3: walking down the path late in the day and you 245 00:13:36,720 --> 00:13:40,880 Speaker 3: notice strangely that overhead pedestrian lights seem to be turning 246 00:13:40,960 --> 00:13:44,520 Speaker 3: on or flickering on and off as you come near them. 247 00:13:44,640 --> 00:13:46,800 Speaker 3: This happens enough in a short span that you get 248 00:13:46,840 --> 00:13:51,120 Speaker 3: that spooky magical thinking mode activated in your brain. Lights 249 00:13:51,160 --> 00:13:56,000 Speaker 3: turning on around me. I am an electromagnetic god. Rationally, 250 00:13:56,040 --> 00:13:59,199 Speaker 3: you know nothing spooky is happening, and whatever is happening, 251 00:13:59,240 --> 00:14:02,560 Speaker 3: you simply don't understand it yet. As it happens. In 252 00:14:02,600 --> 00:14:05,040 Speaker 3: this case, it was likely some sort of timed event, 253 00:14:05,360 --> 00:14:09,160 Speaker 3: whether by internal clock software or perhaps light levels, that 254 00:14:09,240 --> 00:14:13,280 Speaker 3: triggered multiple lights turning on around the same time. You know, Robin, 255 00:14:13,360 --> 00:14:16,600 Speaker 3: I seemed to have vague memories years ago of something 256 00:14:16,640 --> 00:14:19,640 Speaker 3: that was like street lights near my house that had 257 00:14:19,640 --> 00:14:22,760 Speaker 3: some kind of that had some kind of daylight sensor, 258 00:14:23,040 --> 00:14:25,960 Speaker 3: or something in my friend's car would make them turn 259 00:14:26,120 --> 00:14:28,400 Speaker 3: off at night as he drove underneath them. I think 260 00:14:28,440 --> 00:14:30,600 Speaker 3: it was like the way it reflected the light back 261 00:14:30,720 --> 00:14:34,440 Speaker 3: or something. Robin goes on. An event like this and 262 00:14:34,480 --> 00:14:38,000 Speaker 3: the resulting thoughts make me wonder if, even with no rational, 263 00:14:38,160 --> 00:14:41,080 Speaker 3: thoughtful belief in magical thinking, it might be a kind 264 00:14:41,080 --> 00:14:43,960 Speaker 3: of itch that's just nice to scratch once in a while, 265 00:14:44,000 --> 00:14:47,520 Speaker 3: to almost pretend to yourself that you believe it. Like 266 00:14:47,640 --> 00:14:50,840 Speaker 3: experiencing a good story, it just soothed something in our 267 00:14:50,880 --> 00:14:54,440 Speaker 3: base makeup long since baked in by evolution and culture. 268 00:14:54,880 --> 00:14:58,400 Speaker 3: Simply put, it feels good to engage in some magical thinking, 269 00:14:58,480 --> 00:15:01,080 Speaker 3: even if you don't actually believe in it. Thank you, 270 00:15:01,120 --> 00:15:03,080 Speaker 3: as ever for the work you put into the excellent 271 00:15:03,120 --> 00:15:07,040 Speaker 3: content you deliver. Cheers Robin, Well, thank you, Robin. Yeah, 272 00:15:07,600 --> 00:15:10,880 Speaker 3: I certainly think that's totally plausible. Maybe it's just there's 273 00:15:10,880 --> 00:15:14,280 Speaker 3: some kind of itch, psychological itch that it scratches to 274 00:15:14,440 --> 00:15:18,720 Speaker 3: imagine that you have, you know, extra normal powers that 275 00:15:18,760 --> 00:15:21,920 Speaker 3: you you know, can affect things in ways beyond the 276 00:15:22,440 --> 00:15:27,120 Speaker 3: causative mechanisms normally available to you. And if that's true, 277 00:15:27,160 --> 00:15:30,800 Speaker 3: I guess one thing it makes me think about is like, 278 00:15:30,920 --> 00:15:34,880 Speaker 3: why that would be like? For example, one reason I 279 00:15:34,880 --> 00:15:39,160 Speaker 3: think it probably feels good to experience a fictional story 280 00:15:39,360 --> 00:15:42,320 Speaker 3: like you were talking about in the email, is that 281 00:15:42,360 --> 00:15:48,119 Speaker 3: a fictional story simulates real life situations of gaining useful information, 282 00:15:48,360 --> 00:15:52,840 Speaker 3: such as gaining social information about acquaintances through gossip, or 283 00:15:52,920 --> 00:15:57,640 Speaker 3: gaining information about how social situations, you know, difficult social 284 00:15:57,640 --> 00:16:02,760 Speaker 3: situations play out, maybe gaining survival information from a story 285 00:16:02,800 --> 00:16:06,800 Speaker 3: of someone overcoming adversity or danger. But of course, because 286 00:16:06,840 --> 00:16:10,240 Speaker 3: the fictional story is fictional, it can be crafted to 287 00:16:10,320 --> 00:16:15,280 Speaker 3: be like unrealistically juicy and rich with the most exciting 288 00:16:15,320 --> 00:16:18,880 Speaker 3: and salient kinds of details that these real life narratives 289 00:16:18,920 --> 00:16:22,240 Speaker 3: could ever contain, you know. And so if that's the case, 290 00:16:22,280 --> 00:16:26,360 Speaker 3: and if magical thinking does in fact cause pleasure because 291 00:16:26,400 --> 00:16:29,840 Speaker 3: it scratches some kind of similarly deep rooted itch. I 292 00:16:29,920 --> 00:16:32,920 Speaker 3: wonder what that itch is like. Could it be something like, 293 00:16:34,400 --> 00:16:37,760 Speaker 3: you know, the fact that encouraging you to think what 294 00:16:37,800 --> 00:16:40,400 Speaker 3: you would do if you had more power than you 295 00:16:40,480 --> 00:16:44,360 Speaker 3: actually have is useful because it it, you know, makes 296 00:16:44,400 --> 00:16:47,080 Speaker 3: you think through things in a way that will will 297 00:16:47,080 --> 00:16:49,760 Speaker 3: be useful pre planning if you actually do gain more 298 00:16:50,000 --> 00:16:52,400 Speaker 3: realistic power than you have presently. I don't know. 299 00:16:53,840 --> 00:16:59,160 Speaker 2: Yeah, it's interesting to think about, and such fictions are 300 00:16:59,240 --> 00:17:03,280 Speaker 2: always going to be popular. This all reminds me of 301 00:17:02,480 --> 00:17:05,720 Speaker 2: a of a game that we will playfully do in 302 00:17:05,760 --> 00:17:07,760 Speaker 2: the car when usually when it's just me and my son, 303 00:17:08,160 --> 00:17:10,880 Speaker 2: where I guess you could call it turn green now, 304 00:17:10,920 --> 00:17:13,320 Speaker 2: where we're at a stop light. We'll try and time 305 00:17:13,359 --> 00:17:15,520 Speaker 2: it so that you know, when one of us goes, 306 00:17:15,560 --> 00:17:18,479 Speaker 2: we'll sort of take turn saying turn green now, and 307 00:17:18,520 --> 00:17:21,520 Speaker 2: then you know, we don't actually think we're turning the 308 00:17:22,000 --> 00:17:24,760 Speaker 2: changing the light or anything. But it's kind of satisfying 309 00:17:24,800 --> 00:17:27,600 Speaker 2: when you do occasionally hit it right on the nose 310 00:17:27,640 --> 00:17:30,640 Speaker 2: and you're like, ah, I did it. My powers are unequaled. 311 00:17:31,680 --> 00:17:33,840 Speaker 3: Yeah, yeah, that's good. I mean, I guess that is 312 00:17:33,880 --> 00:17:37,399 Speaker 3: actually someonet equivalent to being pleased with yourself. When you 313 00:17:37,480 --> 00:17:39,920 Speaker 3: hit a good dice roll, it's like it wasn't actually 314 00:17:39,960 --> 00:17:43,159 Speaker 3: skill but it feels like it. Oh, I don't know, 315 00:17:43,200 --> 00:17:45,280 Speaker 3: now that I think about it, I guess the timing 316 00:17:45,320 --> 00:17:47,600 Speaker 3: the green light probably is more skill based than a 317 00:17:47,640 --> 00:17:50,879 Speaker 3: dice roll, right, it's not totally random. You're like getting 318 00:17:50,920 --> 00:17:53,040 Speaker 3: a feel for how long it usually takes. 319 00:17:53,119 --> 00:17:55,119 Speaker 2: So yeah, and you can also check out what the 320 00:17:55,640 --> 00:17:59,040 Speaker 2: crosswalk signs are doing. You count If you can see 321 00:17:59,040 --> 00:18:02,120 Speaker 2: the countdown, you can really cheap and then there's there's 322 00:18:02,160 --> 00:18:06,240 Speaker 2: absolutely little luck involved. You can get it right down 323 00:18:06,240 --> 00:18:07,679 Speaker 2: to the wire, but you don't always have those to 324 00:18:07,680 --> 00:18:08,040 Speaker 2: go off of. 325 00:18:08,240 --> 00:18:10,280 Speaker 3: That's a great point. But yeah, so your your turn 326 00:18:10,359 --> 00:18:13,320 Speaker 3: green game is actually mostly skill based, I would say. 327 00:18:13,560 --> 00:18:23,800 Speaker 2: Yeah, all right. This next one comes to us from Peter, Hi, Robert, 328 00:18:23,840 --> 00:18:25,879 Speaker 2: and Joe. I found your episodes on the illusion of 329 00:18:25,920 --> 00:18:29,919 Speaker 2: control most interesting. While I consider myself rational and scientifically minded, 330 00:18:30,000 --> 00:18:32,480 Speaker 2: I have realized that I indeed have this bias to 331 00:18:32,520 --> 00:18:36,040 Speaker 2: a degree, despite my understanding of odds and probability. When 332 00:18:36,080 --> 00:18:39,360 Speaker 2: I play games, especially involving dice, I have a belief 333 00:18:39,400 --> 00:18:42,480 Speaker 2: that I will be lucky. I often roll lucky in 334 00:18:42,560 --> 00:18:46,240 Speaker 2: pressure situations. Of course, I have probably not paid as 335 00:18:46,320 --> 00:18:49,920 Speaker 2: much attention to the unlucky roles. Yeah, this is, of course, 336 00:18:50,040 --> 00:18:50,920 Speaker 2: of course, key. 337 00:18:51,520 --> 00:18:53,160 Speaker 3: Remember the hits, forget the misses. 338 00:18:53,600 --> 00:18:56,720 Speaker 2: Yeah, yeah, yeah, And I guess it depends on what 339 00:18:56,760 --> 00:18:58,680 Speaker 2: kind of person you are. You know, if you focus 340 00:18:58,720 --> 00:19:01,600 Speaker 2: more on the negatives, then yeah, you're gonna be like, 341 00:19:01,640 --> 00:19:04,760 Speaker 2: something's wrong with this with these dice, or something's wrong 342 00:19:04,840 --> 00:19:07,720 Speaker 2: with this random number generator in this video game or 343 00:19:08,359 --> 00:19:10,639 Speaker 2: you know, phone game or what have it. And if 344 00:19:10,680 --> 00:19:12,720 Speaker 2: you're the other way around, then yeah, you're gonna skew 345 00:19:12,760 --> 00:19:16,240 Speaker 2: the other direction. Anyway, they continued. This all probably became 346 00:19:16,280 --> 00:19:19,199 Speaker 2: reinforced with a childhood event. While playing board games with 347 00:19:19,240 --> 00:19:23,040 Speaker 2: some friends, I made a challenge to roll one, two, three, four, 348 00:19:23,119 --> 00:19:26,760 Speaker 2: five six in sequence while passing the die to different people. 349 00:19:27,160 --> 00:19:29,960 Speaker 2: I began by calling out one and then proceeding to 350 00:19:30,040 --> 00:19:32,800 Speaker 2: roll a one on a six sided die. I passed 351 00:19:32,840 --> 00:19:34,760 Speaker 2: it to a friend, who called out two and rolled 352 00:19:34,760 --> 00:19:38,119 Speaker 2: a two. The challenge continued so forth, and we actually 353 00:19:38,240 --> 00:19:41,080 Speaker 2: rolled one, two, three, four, five six in sequence by 354 00:19:41,080 --> 00:19:44,640 Speaker 2: different people. We did it on the first try. Now 355 00:19:44,680 --> 00:19:48,280 Speaker 2: I understand that the different people didn't really affect the odds, 356 00:19:48,280 --> 00:19:51,240 Speaker 2: but it blew us away. I calculated the odds, which 357 00:19:51,280 --> 00:19:54,919 Speaker 2: came to point zero zero two one four percent, or 358 00:19:55,080 --> 00:19:58,120 Speaker 2: one in forty six thousand, six hundred and fifty six. 359 00:19:58,640 --> 00:19:59,800 Speaker 3: That sounds pretty cool, Peter. 360 00:20:01,640 --> 00:20:05,560 Speaker 2: This experience, although founded on randomness and basic probability, at 361 00:20:05,640 --> 00:20:09,399 Speaker 2: least subconsciously impacts my feelings, my feeling that I can 362 00:20:09,520 --> 00:20:12,639 Speaker 2: roll lucky and call out dice rolls, although I reserve 363 00:20:12,680 --> 00:20:16,280 Speaker 2: it for crucial situations. Note, I believe it only really 364 00:20:16,320 --> 00:20:19,399 Speaker 2: works with physical dice rather than video game rng's or 365 00:20:19,480 --> 00:20:22,560 Speaker 2: random number generators. I know it doesn't make rational sense, 366 00:20:22,600 --> 00:20:24,720 Speaker 2: but I can't shake the belief that there may be 367 00:20:24,760 --> 00:20:28,800 Speaker 2: something more to it, my weird tale of illusion of control. 368 00:20:29,080 --> 00:20:30,000 Speaker 2: Cheers Peter. 369 00:20:30,520 --> 00:20:33,840 Speaker 3: Well, thanks Peter. And yet this is great. I do 370 00:20:33,960 --> 00:20:36,000 Speaker 3: think our minds work this way. And in fact, there 371 00:20:36,080 --> 00:20:38,280 Speaker 3: was some research we talked about in the series exactly 372 00:20:38,280 --> 00:20:42,240 Speaker 3: along these lines that like the research about the early 373 00:20:42,440 --> 00:20:46,639 Speaker 3: success emphasis increasing our illusions of controls, Like if you 374 00:20:46,680 --> 00:20:49,520 Speaker 3: have an early winning streak at some kind of game 375 00:20:49,560 --> 00:20:52,560 Speaker 3: of chance, you are more inclined to think after that 376 00:20:52,560 --> 00:20:56,080 Speaker 3: that you have control over a random process, and that 377 00:20:56,160 --> 00:20:59,840 Speaker 3: seems to perhaps be operating with you. You had a really 378 00:21:00,080 --> 00:21:04,520 Speaker 3: salient early lucky streak of roles, and as you say, 379 00:21:04,520 --> 00:21:06,840 Speaker 3: it's like hard to shake the feeling that there's something 380 00:21:06,920 --> 00:21:07,320 Speaker 3: going on. 381 00:21:07,960 --> 00:21:10,280 Speaker 2: Now. The other possibility is that Peter is simply the 382 00:21:10,359 --> 00:21:10,880 Speaker 2: chosen one. 383 00:21:11,000 --> 00:21:13,040 Speaker 3: That's right, Yes, he did see the mouse in the 384 00:21:13,080 --> 00:21:17,159 Speaker 3: second moon, and now the spice is guiding him. This 385 00:21:17,280 --> 00:21:21,200 Speaker 3: is also just a great example of realizing how our 386 00:21:21,280 --> 00:21:25,800 Speaker 3: intuitions can be misleading about the probability of events, because 387 00:21:26,000 --> 00:21:29,120 Speaker 3: you take, even if we assume that Peter the numbers 388 00:21:29,160 --> 00:21:32,080 Speaker 3: you give or write about this being an event that's 389 00:21:32,119 --> 00:21:34,680 Speaker 3: like one in forty six, six hundred and fifty six 390 00:21:34,960 --> 00:21:39,320 Speaker 3: chance of happening, you still you'd say, Okay, that seems 391 00:21:39,400 --> 00:21:41,560 Speaker 3: very unlikely. But then you would have to multiply that 392 00:21:41,680 --> 00:21:45,120 Speaker 3: by like the number of times in the world that 393 00:21:45,400 --> 00:21:48,520 Speaker 3: people around the world try to do something like this, 394 00:21:48,920 --> 00:21:51,240 Speaker 3: which I imagine, given all the time that people sit 395 00:21:51,280 --> 00:21:54,639 Speaker 3: around playing with dice, is actually quite a lot. So like, 396 00:21:54,720 --> 00:21:57,800 Speaker 3: given all of those chances to have hits, you will 397 00:21:57,840 --> 00:22:00,840 Speaker 3: have stories like this where people have a very unlikely 398 00:22:00,920 --> 00:22:03,359 Speaker 3: series of roles. Because people are just playing around with 399 00:22:03,400 --> 00:22:05,400 Speaker 3: dice all the time, there are a lot of chances 400 00:22:05,440 --> 00:22:06,159 Speaker 3: to make it happen. 401 00:22:07,000 --> 00:22:09,360 Speaker 2: Yeah, yeah, I mean we often can We can think 402 00:22:09,400 --> 00:22:12,720 Speaker 2: to those various runs we've had or our parties have 403 00:22:12,760 --> 00:22:15,520 Speaker 2: had in Dungeons and Dragons where it's like like three 404 00:22:15,600 --> 00:22:18,520 Speaker 2: twenties in a row, you know, three natural twenties, or 405 00:22:19,760 --> 00:22:22,000 Speaker 2: or the other end of the spectrum, you know multiple 406 00:22:22,119 --> 00:22:27,920 Speaker 2: natural ones, or multiple like you low scoring roles, And yeah, 407 00:22:27,960 --> 00:22:30,000 Speaker 2: it's the extremes that stand out to us. 408 00:22:30,160 --> 00:22:31,879 Speaker 3: There are a lot of roles in each game. There 409 00:22:31,880 --> 00:22:33,639 Speaker 3: are a lot of people out there gaming. If you 410 00:22:33,680 --> 00:22:35,480 Speaker 3: know a lot of people who do game, you probably 411 00:22:35,520 --> 00:22:38,680 Speaker 3: know somebody who had at some point a really unlikely streak. 412 00:22:39,160 --> 00:22:41,679 Speaker 2: Yeah I did, we mention. I don't know if we 413 00:22:41,720 --> 00:22:44,560 Speaker 2: mentioned this before, but it always kind of I always 414 00:22:44,560 --> 00:22:48,399 Speaker 2: get a little judge when I see someone at at 415 00:22:48,400 --> 00:22:51,359 Speaker 2: a gaming table just rolling the dice over and over again, 416 00:22:51,640 --> 00:22:54,600 Speaker 2: out of any necessity to do so, just to see 417 00:22:54,600 --> 00:22:57,280 Speaker 2: what they get. Yea, because part of my irrational brain 418 00:22:57,400 --> 00:23:00,760 Speaker 2: is like, like, you're using up your twenties. Man. You know, 419 00:23:01,000 --> 00:23:03,080 Speaker 2: it's one thing if you're rolling ones on that, but 420 00:23:03,160 --> 00:23:05,159 Speaker 2: I just just saw you roll like an eighteen. That's 421 00:23:05,200 --> 00:23:07,000 Speaker 2: an eighteen you won't roll later because you just rolled 422 00:23:07,040 --> 00:23:09,520 Speaker 2: it now. And that's silly. 423 00:23:09,760 --> 00:23:11,560 Speaker 3: Yeah, well, it also makes me think when I see 424 00:23:11,560 --> 00:23:13,439 Speaker 3: somebody doing that at the table, I think, are you 425 00:23:13,520 --> 00:23:16,360 Speaker 3: being opportunistic? Like you're just kind of rolling and then 426 00:23:16,440 --> 00:23:19,640 Speaker 3: like you might try to claim that most recent role 427 00:23:19,800 --> 00:23:22,040 Speaker 3: if it was good and your turn has come up. 428 00:23:22,080 --> 00:23:25,400 Speaker 2: You know what I mean. I mean there are gaming 429 00:23:25,440 --> 00:23:29,320 Speaker 2: systems where you get to like, you know, store dice 430 00:23:29,400 --> 00:23:33,359 Speaker 2: rolls for later, but most D twenty games are not 431 00:23:33,480 --> 00:23:37,639 Speaker 2: don't work like that. You know. Irrationality in the face 432 00:23:38,000 --> 00:23:41,600 Speaker 2: of actual statistics is such an interesting concept and something 433 00:23:41,600 --> 00:23:45,480 Speaker 2: I kept thinking about during this this that these episodes, 434 00:23:45,520 --> 00:23:48,440 Speaker 2: and something that I think about too sometimes when when 435 00:23:48,440 --> 00:23:51,560 Speaker 2: I'm dealing with anxious thoughts and I have to share 436 00:23:52,000 --> 00:23:54,920 Speaker 2: this one bit that came up in my reading of 437 00:23:54,960 --> 00:23:58,040 Speaker 2: the book Dead House Gates. This is book two of 438 00:23:58,080 --> 00:24:01,960 Speaker 2: the malasone book of the Fallen by Steven Ericson. This 439 00:24:02,080 --> 00:24:05,000 Speaker 2: is like, you know, a high fantasy adventure stuff. But 440 00:24:05,560 --> 00:24:09,439 Speaker 2: there's one character who has a fear of tunnels. And 441 00:24:09,480 --> 00:24:12,800 Speaker 2: there's just one little bit in the book goes as 442 00:24:12,840 --> 00:24:16,960 Speaker 2: follows quote he hated tunnels. No, they terrified him. There 443 00:24:17,000 --> 00:24:21,520 Speaker 2: was nothing rational in it. Wrong Again, tunnels collapse, people 444 00:24:21,560 --> 00:24:27,240 Speaker 2: get buried alive, all perfectly reasonable, possible, probable, inevitable, And 445 00:24:27,320 --> 00:24:30,600 Speaker 2: I just love this one little bit. It's like, yes, 446 00:24:30,880 --> 00:24:33,560 Speaker 2: that is exactly the progression that your mind can go 447 00:24:33,720 --> 00:24:37,800 Speaker 2: through when you're anxiously considering something like that, Like I 448 00:24:37,840 --> 00:24:40,000 Speaker 2: shouldn't be worried about this, but wait, it has happened, 449 00:24:40,080 --> 00:24:42,719 Speaker 2: can happen, could happen, will happen. 450 00:24:43,400 --> 00:24:47,000 Speaker 3: Yes, It's so easy to jump from possible to probable 451 00:24:47,160 --> 00:24:49,919 Speaker 3: and then yeah, yeah, all right. 452 00:24:49,920 --> 00:24:51,480 Speaker 2: Before we close here, I want to throw out one 453 00:24:51,560 --> 00:24:54,360 Speaker 2: quick note about Weird House Cinema. On Friday, we did 454 00:24:54,440 --> 00:24:57,600 Speaker 2: part one of our look at David Lynch's nineteen eighty 455 00:24:57,640 --> 00:25:01,320 Speaker 2: four adaptation of Doune, and this Friday, if everything goes 456 00:25:01,359 --> 00:25:03,560 Speaker 2: according to plan, we'll be finishing that up with a 457 00:25:03,560 --> 00:25:08,000 Speaker 2: part two where we look at the rest of that movie. 458 00:25:08,320 --> 00:25:10,080 Speaker 2: And I just want to throw this out there. Hey, 459 00:25:10,080 --> 00:25:14,200 Speaker 2: if you have any thoughts about David Lynch's Dune, about 460 00:25:14,200 --> 00:25:17,160 Speaker 2: the New Dune films, and you want to write in 461 00:25:17,280 --> 00:25:19,359 Speaker 2: and chat with us about it, you want to have 462 00:25:19,440 --> 00:25:23,800 Speaker 2: it come up on the Listener Mail episodes, please do so, 463 00:25:24,000 --> 00:25:26,040 Speaker 2: because we always have a lot of fun with this. 464 00:25:26,200 --> 00:25:29,919 Speaker 2: In fact, we just had a coworker text us on 465 00:25:30,000 --> 00:25:32,720 Speaker 2: a group text asking us how do they get off 466 00:25:32,720 --> 00:25:36,439 Speaker 2: of the sandworms after they're done writing them? Good question, 467 00:25:36,960 --> 00:25:40,199 Speaker 2: it's a great question. The short answer is you're supposed 468 00:25:40,200 --> 00:25:42,040 Speaker 2: to write them to exhaustion and then you get off. 469 00:25:42,280 --> 00:25:44,400 Speaker 2: But I love questions like this. 470 00:25:44,520 --> 00:25:45,840 Speaker 3: I don't know if that answers it. 471 00:25:47,160 --> 00:25:49,919 Speaker 2: There are additional follow up questions that are very valid. 472 00:25:50,280 --> 00:25:52,280 Speaker 2: I mentioned this to my wife and she's like, well, what, yeah, 473 00:25:52,320 --> 00:25:55,040 Speaker 2: what do you do if you're going a shorter distance? 474 00:25:55,080 --> 00:25:58,840 Speaker 2: And I think the answer is you're supposed to time 475 00:25:58,920 --> 00:26:03,679 Speaker 2: your distances appropriately, you know, based on the size of 476 00:26:03,680 --> 00:26:07,520 Speaker 2: the worm you snag and so forth. But yeah, there 477 00:26:07,520 --> 00:26:09,919 Speaker 2: are a number of follow up questions to this that 478 00:26:09,960 --> 00:26:14,120 Speaker 2: are valid, and there are not necessarily answers for the sandworm. 479 00:26:14,320 --> 00:26:18,119 Speaker 3: Is a is a train ride not an uber ride? 480 00:26:18,320 --> 00:26:20,800 Speaker 2: Yeah? I mean you're you're attaching yourself to a force 481 00:26:20,840 --> 00:26:24,280 Speaker 2: of nature. Uh when you you ride ride the sandworm? 482 00:26:24,320 --> 00:26:27,639 Speaker 2: When you ride the worm? So uh, you know, strap in. 483 00:26:28,640 --> 00:26:32,760 Speaker 3: I will, I will be sure to uh, I think so. Yeah, 484 00:26:32,960 --> 00:26:35,000 Speaker 3: next week, I'm sure there will be lots of dune talk. 485 00:26:35,200 --> 00:26:36,840 Speaker 3: Send in, send in your dune talk. 486 00:26:37,240 --> 00:26:40,400 Speaker 2: All right. Just a reminder that we're primarily a science podcast, 487 00:26:40,600 --> 00:26:43,240 Speaker 2: with our Tuesday and Thursday episodes being our core episodes, 488 00:26:43,480 --> 00:26:46,280 Speaker 2: but Monday is our listener mail time. That's when we 489 00:26:46,800 --> 00:26:49,760 Speaker 2: UH have a look through the mail bag and UH 490 00:26:49,960 --> 00:26:53,399 Speaker 2: and respond to various messages from you the listener, so 491 00:26:53,480 --> 00:26:58,240 Speaker 2: keep them coming. Uh listener mail regarding past episodes, current episodes, 492 00:26:58,280 --> 00:27:01,280 Speaker 2: and potential future episodes of anything we put together. 493 00:27:01,600 --> 00:27:05,760 Speaker 3: Huge thanks as always to our excellent audio producer Jjposway. 494 00:27:05,960 --> 00:27:07,439 Speaker 3: If you would like to get in touch with us 495 00:27:07,520 --> 00:27:09,960 Speaker 3: with feedback on this episode or any other, to suggest 496 00:27:09,960 --> 00:27:12,080 Speaker 3: a topic for the future, or just to say hello, 497 00:27:12,200 --> 00:27:15,080 Speaker 3: you can email us at contact at stuffdblow your Mind 498 00:27:15,240 --> 00:27:22,160 Speaker 3: dot com. 499 00:27:22,240 --> 00:27:25,199 Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For 500 00:27:25,280 --> 00:27:28,080 Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app, 501 00:27:28,240 --> 00:27:31,000 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.