1 00:00:03,040 --> 00:00:06,080 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:12,640 --> 00:00:15,720 Speaker 2: Hey, welcome to Stuff to Blow your Mind listener mail. 3 00:00:15,800 --> 00:00:17,280 Speaker 2: My name is Robert Lamb. 4 00:00:17,560 --> 00:00:20,720 Speaker 3: And I'm Joe McCormick, and it's Monday, the day each 5 00:00:20,760 --> 00:00:23,880 Speaker 3: week we read back some messages from the mail bag. 6 00:00:24,239 --> 00:00:26,119 Speaker 3: If you have never gotten in touch with the show 7 00:00:26,120 --> 00:00:28,040 Speaker 3: before and you would like to, why not give it 8 00:00:28,080 --> 00:00:32,080 Speaker 3: a try. You can email us anytime at contact at 9 00:00:32,280 --> 00:00:34,880 Speaker 3: stuff to Blow your Mind dot com. We get a 10 00:00:34,920 --> 00:00:36,560 Speaker 3: lot of emails, so we don't get a chance to 11 00:00:37,880 --> 00:00:40,919 Speaker 3: read all of it on the show here or respond 12 00:00:40,960 --> 00:00:42,760 Speaker 3: to all of it, but we do read it all 13 00:00:42,800 --> 00:00:45,120 Speaker 3: and we really appreciate all the messages we get, so 14 00:00:45,640 --> 00:00:47,960 Speaker 3: thank you to all the people who have written in, 15 00:00:48,040 --> 00:00:50,800 Speaker 3: who keep writing in, and if you've never done it before, 16 00:00:50,840 --> 00:00:51,440 Speaker 3: give it a shot. 17 00:00:51,920 --> 00:00:54,960 Speaker 2: All right, let's kick things off with a pretty cool 18 00:00:55,080 --> 00:00:58,800 Speaker 2: monster fact listener mail that came in, and this was 19 00:00:58,800 --> 00:01:01,400 Speaker 2: in response to one of the four episodes that I 20 00:01:01,520 --> 00:01:05,760 Speaker 2: did on the Chaos Gods of Warhammer forty thousand. These 21 00:01:05,800 --> 00:01:08,399 Speaker 2: are fictional gods, but there's a lot of neat little 22 00:01:08,440 --> 00:01:10,560 Speaker 2: ins and outs to them, and this one is a 23 00:01:10,600 --> 00:01:14,160 Speaker 2: response to the episode on Zinch which is the chaos 24 00:01:14,200 --> 00:01:22,759 Speaker 2: god of change. Jay writes in and says, my name 25 00:01:22,800 --> 00:01:24,840 Speaker 2: is Jay, and I'm a costume maker. I was just 26 00:01:24,880 --> 00:01:27,639 Speaker 2: listening to your episode about the chaos demons of Zinch 27 00:01:28,000 --> 00:01:30,720 Speaker 2: and thought maybe you'd appreciate a few pictures of my 28 00:01:30,800 --> 00:01:35,600 Speaker 2: graduation piece from the twenty fifteen costume construction course at 29 00:01:35,680 --> 00:01:39,959 Speaker 2: toy Wakari in Wellington, New Zealand. The task for this 30 00:01:40,080 --> 00:01:43,080 Speaker 2: piece was to find a drawing or painting and recreate 31 00:01:43,120 --> 00:01:47,080 Speaker 2: it as a wearable garment. I loved this rendering of 32 00:01:47,120 --> 00:01:50,560 Speaker 2: a disciple of Zinch and Jay includes a photo and 33 00:01:50,600 --> 00:01:53,120 Speaker 2: I think they incorporate a lot of the elements described 34 00:01:53,120 --> 00:01:55,880 Speaker 2: in your episode. I tried finding the illustrator back when 35 00:01:55,920 --> 00:01:58,040 Speaker 2: I made this piece and had a few leads and 36 00:01:58,080 --> 00:02:01,640 Speaker 2: emails sent out, but didn't seem to find the right person. 37 00:02:01,880 --> 00:02:03,800 Speaker 2: I would love for them to see their design come 38 00:02:03,800 --> 00:02:06,120 Speaker 2: to life, so if you have some reach there, maybe 39 00:02:06,120 --> 00:02:08,680 Speaker 2: they can see it. Since graduating, my job has given 40 00:02:08,680 --> 00:02:11,560 Speaker 2: me the opportunity to work on great projects like the 41 00:02:11,600 --> 00:02:14,960 Speaker 2: new Avatar movies and the TV productions of the Lord 42 00:02:14,960 --> 00:02:18,040 Speaker 2: of the Rings and Sweet Tooth, and it has most 43 00:02:18,120 --> 00:02:21,840 Speaker 2: definitely been full of change and chaos, so I feel 44 00:02:21,919 --> 00:02:24,840 Speaker 2: choosing this piece was a good omen for me. Have 45 00:02:24,960 --> 00:02:26,480 Speaker 2: a great day, Jay. 46 00:02:26,720 --> 00:02:29,320 Speaker 3: Oh this is awesome. So Jay includes a lot of 47 00:02:29,840 --> 00:02:33,320 Speaker 3: photos here of is I can't quite tell from the photos. 48 00:02:33,480 --> 00:02:36,880 Speaker 3: Is this costume life size, like would fit on a person, 49 00:02:37,000 --> 00:02:39,480 Speaker 3: not on a like a model or a figure. 50 00:02:39,840 --> 00:02:42,240 Speaker 2: I'm assuming this is a full costume. If you'll look 51 00:02:42,240 --> 00:02:44,160 Speaker 2: carefully at the picture, you can see that it's like 52 00:02:44,200 --> 00:02:47,959 Speaker 2: a rolled white background. Yeah, and I only my wife 53 00:02:48,080 --> 00:02:49,880 Speaker 2: is a photographer, so I see this kind of thing 54 00:02:50,120 --> 00:02:54,240 Speaker 2: a lot, so maybe a little bitter identifying it, but yeah, 55 00:02:54,240 --> 00:02:59,280 Speaker 2: this looks like a full, full body outfit. Just really brilliant, 56 00:02:59,440 --> 00:03:03,040 Speaker 2: I mean to describe it. It's like, God, it's like 57 00:03:03,120 --> 00:03:05,200 Speaker 2: what has a cowl kind of a thing going on, 58 00:03:05,360 --> 00:03:10,320 Speaker 2: big shoulder extensions, there are these feather elements. It's blue 59 00:03:10,520 --> 00:03:14,360 Speaker 2: and white and gold and multiple blues and purples there, 60 00:03:14,520 --> 00:03:16,920 Speaker 2: with blue kind of being one of the primary colors 61 00:03:16,919 --> 00:03:18,120 Speaker 2: of zench What is. 62 00:03:18,120 --> 00:03:21,600 Speaker 3: It called in a garment where you take the concept 63 00:03:21,639 --> 00:03:24,400 Speaker 3: of a collar, but you make it gigantic, like you 64 00:03:24,440 --> 00:03:26,360 Speaker 3: turn it into basically a colosseum. 65 00:03:27,280 --> 00:03:30,679 Speaker 2: Yeah, yeah, this big. You see this a lot of times, 66 00:03:30,760 --> 00:03:33,960 Speaker 2: especially in fantastic art, and I guess maybe like high fashion, 67 00:03:34,320 --> 00:03:37,400 Speaker 2: you know where it's beyond what is perhaps realistic for 68 00:03:37,480 --> 00:03:40,960 Speaker 2: a person to wear. But if you're a supermodel or 69 00:03:41,680 --> 00:03:45,320 Speaker 2: a wizard representing a chaos god's interest in the mortal 70 00:03:45,400 --> 00:03:49,120 Speaker 2: realm and real space, then yeah, go for it. Go 71 00:03:49,160 --> 00:03:50,960 Speaker 2: out there. It pays to be fashionable. 72 00:03:51,400 --> 00:03:53,560 Speaker 3: So you're the one of us that knows about Warhammer, 73 00:03:53,760 --> 00:03:56,680 Speaker 3: I know nothing about zench. Here what is the deal 74 00:03:56,680 --> 00:03:59,640 Speaker 3: with these creatures? To me, this looks like a skexis, 75 00:03:59,680 --> 00:04:05,640 Speaker 3: except whereas the skexes have sort of connotations of decay 76 00:04:06,080 --> 00:04:11,440 Speaker 3: and slime and filth and decadence, this looks like a 77 00:04:11,520 --> 00:04:15,160 Speaker 3: sort of glorious, clean, well manicured Skexis. 78 00:04:15,640 --> 00:04:19,560 Speaker 2: Yeah, Zinch is all about appealing to like, well, there 79 00:04:19,560 --> 00:04:21,360 Speaker 2: are various interests that can lead you down the path 80 00:04:21,400 --> 00:04:24,400 Speaker 2: of heresy to Zinch. But essentially, if you're the type 81 00:04:24,440 --> 00:04:28,880 Speaker 2: of wizard or heretic who wants to acquire a great 82 00:04:28,880 --> 00:04:33,120 Speaker 2: deal of knowledge and wisdom, and also you want to 83 00:04:33,839 --> 00:04:36,799 Speaker 2: maybe you're very ambitious and you want a lot of change, well, 84 00:04:36,920 --> 00:04:39,440 Speaker 2: Zinch is all about forming a pact with you and 85 00:04:39,440 --> 00:04:42,600 Speaker 2: giving you just more wisdom and more change than you 86 00:04:42,640 --> 00:04:46,960 Speaker 2: can possibly imagine. And some of the major avatars of 87 00:04:47,080 --> 00:04:52,320 Speaker 2: Zench often have bird like features, which is interesting, like 88 00:04:52,360 --> 00:04:55,520 Speaker 2: a lot of things in Warhammer and Warhammer forty thousand, Like, 89 00:04:55,560 --> 00:04:57,680 Speaker 2: there are a lot of influences that clearly have gone 90 00:04:57,720 --> 00:05:00,520 Speaker 2: into these designs and these factions over the years, and 91 00:05:00,560 --> 00:05:02,440 Speaker 2: you can often pinpoint some of the major ones, like 92 00:05:02,720 --> 00:05:05,520 Speaker 2: you wouldn't have Warhammer forty thousand without Dune, for example, 93 00:05:05,560 --> 00:05:06,840 Speaker 2: And the same can be said of a lot of 94 00:05:06,880 --> 00:05:09,520 Speaker 2: sci fi franchises. But it's also been its own thing 95 00:05:09,600 --> 00:05:12,960 Speaker 2: long enough that it's hard to track down all of 96 00:05:13,000 --> 00:05:16,040 Speaker 2: the influences, and everything kind of takes on this novel 97 00:05:16,720 --> 00:05:18,080 Speaker 2: feeling of being its own thing. 98 00:05:18,920 --> 00:05:21,680 Speaker 3: Yeah. Again, I don't know much about Warhammer, but when 99 00:05:21,720 --> 00:05:23,640 Speaker 3: I look at it, it seems to me to have 100 00:05:23,800 --> 00:05:27,440 Speaker 3: absorbed a lot of influences from other sci fi and fantasy, 101 00:05:27,520 --> 00:05:29,200 Speaker 3: Like it just straight up has orcs in it. 102 00:05:29,240 --> 00:05:31,719 Speaker 2: I think, oh, yeah, yeah, yeah, do you have the 103 00:05:31,560 --> 00:05:34,640 Speaker 2: The orcs of Warhammer forty thousand are like, you know, 104 00:05:34,640 --> 00:05:37,239 Speaker 2: they're green skins, and they're there. They're a lot of fun, 105 00:05:37,279 --> 00:05:40,000 Speaker 2: They're they're very punk, I guess to a large extent, 106 00:05:40,080 --> 00:05:43,080 Speaker 2: like you know, like old school British punk. But then 107 00:05:43,120 --> 00:05:47,440 Speaker 2: they also reproduce via spores, and yeah, there's a there's 108 00:05:47,480 --> 00:05:49,400 Speaker 2: a there are a lot of elements to it that 109 00:05:49,440 --> 00:05:51,320 Speaker 2: are like really grim and dark and other stuff that's 110 00:05:51,320 --> 00:05:55,520 Speaker 2: a little more whimsical. Anyway, though, this costume is incredible. 111 00:05:55,560 --> 00:05:58,120 Speaker 2: So great job, Jay, and congratulations, I'm getting to work 112 00:05:58,120 --> 00:06:02,160 Speaker 2: on these pretty awesome product I've seen at least some 113 00:06:02,240 --> 00:06:05,359 Speaker 2: of all of these, and yeah, the production designs are amazing. 114 00:06:05,960 --> 00:06:08,440 Speaker 3: Now, Jay, as to your thing about helping you maybe 115 00:06:08,680 --> 00:06:10,760 Speaker 3: get in touch with the artists, I don't know exactly 116 00:06:10,839 --> 00:06:13,240 Speaker 3: the best way to do that since this is an 117 00:06:13,279 --> 00:06:15,880 Speaker 3: audio medium, but hey, if you are listening and you 118 00:06:15,920 --> 00:06:19,440 Speaker 3: are an illustrator who has I don't know, done illustrations 119 00:06:19,440 --> 00:06:21,960 Speaker 3: of these Sorcerers of Zinch and you are wondering if 120 00:06:21,960 --> 00:06:25,120 Speaker 3: this is your illustration, you can contact us and we'll we'll, 121 00:06:25,440 --> 00:06:27,240 Speaker 3: you know, try and help you figure it out. 122 00:06:27,520 --> 00:06:29,360 Speaker 2: Yeah. I always happy to hear from artists either way. 123 00:06:29,560 --> 00:06:32,080 Speaker 3: All right, This next message is about our episodes on 124 00:06:32,120 --> 00:06:40,440 Speaker 3: the Telephone Game. This comes from Sky Sky says Hi, 125 00:06:40,560 --> 00:06:43,280 Speaker 3: Joe and Robert. I just finished the first episode and 126 00:06:43,440 --> 00:06:46,560 Speaker 3: had a few follow up thoughts. First of all, the 127 00:06:46,640 --> 00:06:50,719 Speaker 3: alternating picture slash text version of The telephone game is, 128 00:06:50,839 --> 00:06:54,440 Speaker 3: as you suspect, a fantastic game. I've never heard of 129 00:06:54,440 --> 00:06:56,480 Speaker 3: it by the name mentioned on the podcast, but have 130 00:06:56,520 --> 00:07:02,160 Speaker 3: seen it go by many others telephone pictionary, illustrations, draw seption, 131 00:07:02,440 --> 00:07:06,279 Speaker 3: and drawful. It's one of our standards for board game nights. 132 00:07:06,360 --> 00:07:09,280 Speaker 3: When a where a few too many people are invited, 133 00:07:09,440 --> 00:07:11,840 Speaker 3: just find a pencil for everyone, rip up some paper, 134 00:07:11,920 --> 00:07:16,440 Speaker 3: and hilarity ensues. Second point, I appreciated the reference to 135 00:07:16,480 --> 00:07:20,280 Speaker 3: the Chinese Room thought experiment, and particularly its relation to 136 00:07:20,400 --> 00:07:24,640 Speaker 3: recent large language models like chat GPT. When self driving 137 00:07:24,680 --> 00:07:26,760 Speaker 3: cars were getting a lot of attention, it seemed to 138 00:07:26,800 --> 00:07:30,640 Speaker 3: me like the trolley problem got enough attention such that 139 00:07:30,720 --> 00:07:33,640 Speaker 3: most people have now probably heard of it and somewhat 140 00:07:33,720 --> 00:07:37,400 Speaker 3: understand why it's a tricky problem for that technology. I'm 141 00:07:37,440 --> 00:07:40,880 Speaker 3: somewhat frustrated seeing the ill informed debates about whether or 142 00:07:41,000 --> 00:07:45,280 Speaker 3: not large language models are conscious and hope dearly that 143 00:07:45,360 --> 00:07:48,440 Speaker 3: the Chinese Room can also enter the zeitgeist and get 144 00:07:48,480 --> 00:07:51,400 Speaker 3: more people involved in the interesting parts of the idea. 145 00:07:51,840 --> 00:07:55,080 Speaker 3: You've focused on consciousness and many of the relevant thought 146 00:07:55,080 --> 00:07:58,200 Speaker 3: experiments in previous episodes, but I wonder if a timely 147 00:07:58,240 --> 00:08:02,200 Speaker 3: discussion of language models in relation to those topics could help. 148 00:08:02,240 --> 00:08:06,480 Speaker 3: I'd certainly listen three. Robert's voice of the mind when 149 00:08:06,520 --> 00:08:10,160 Speaker 3: talking about alterations to the boy hides from his father's 150 00:08:10,200 --> 00:08:13,560 Speaker 3: story are hilarious. I love modeling part of your subconscious 151 00:08:13,760 --> 00:08:18,680 Speaker 3: as a bunch of study lit critics. Cheers Sky. Well, yeah, 152 00:08:18,720 --> 00:08:22,480 Speaker 3: thanks for the thoughts guy. You know, I've thought recently 153 00:08:22,600 --> 00:08:27,320 Speaker 3: about whether we should do something about like chat, GPT 154 00:08:27,040 --> 00:08:31,080 Speaker 3: and all of this new these recent explosions of AI. 155 00:08:31,640 --> 00:08:35,319 Speaker 3: I feel like my inclination is it's exactly when there 156 00:08:35,400 --> 00:08:39,080 Speaker 3: are a lot of takes exploding on a subject, is 157 00:08:39,080 --> 00:08:42,320 Speaker 3: when I feel disinclined to talk about it, you know, 158 00:08:42,400 --> 00:08:46,120 Speaker 3: because I feel kind of like, is my take here 159 00:08:46,240 --> 00:08:49,040 Speaker 3: going to be just a kind of transient, ill informed 160 00:08:49,080 --> 00:08:51,200 Speaker 3: thought that will blend in with all these others and 161 00:08:51,240 --> 00:08:53,400 Speaker 3: then fade away. I always kind of feel like I 162 00:08:53,400 --> 00:08:55,440 Speaker 3: want to give it some time and then look back 163 00:08:55,480 --> 00:08:57,320 Speaker 3: on it and then figure out what I think and 164 00:08:57,360 --> 00:08:58,440 Speaker 3: say that Yeah. 165 00:08:58,480 --> 00:08:59,960 Speaker 2: I mean, We've had a couple of guests on the show, 166 00:09:00,040 --> 00:09:04,840 Speaker 2: including David Eagleman, and we've we've we've chatted with these 167 00:09:04,920 --> 00:09:08,720 Speaker 2: experts and about the topic. But I'm of the same 168 00:09:08,760 --> 00:09:10,960 Speaker 2: mind a lot of this seems to be still developing, 169 00:09:10,960 --> 00:09:13,920 Speaker 2: and I've I've waffled a lot just with my own 170 00:09:13,960 --> 00:09:18,199 Speaker 2: experience with say, like some some of the image generators 171 00:09:18,200 --> 00:09:20,440 Speaker 2: and the chatbots, you know, Like I found that I 172 00:09:20,480 --> 00:09:24,679 Speaker 2: initially find them really exciting and get into using them 173 00:09:24,720 --> 00:09:26,880 Speaker 2: a little bit, but then, like two things occur at 174 00:09:26,920 --> 00:09:30,640 Speaker 2: once generally, or they have occurred at once, I'll sort 175 00:09:30,640 --> 00:09:33,000 Speaker 2: of the more I use it, I'll sort of discover 176 00:09:33,080 --> 00:09:37,400 Speaker 2: the soullessness of the experience and find that it's not 177 00:09:37,559 --> 00:09:41,560 Speaker 2: creatively satisfying me, and in fact, it feels like it's 178 00:09:41,600 --> 00:09:44,960 Speaker 2: causing a void to grow in me creatively, and then 179 00:09:45,000 --> 00:09:46,319 Speaker 2: again I sort of push it away. 180 00:09:46,880 --> 00:09:51,960 Speaker 3: That's interesting. I've had a similar experience recently. So Okay, well, 181 00:09:52,200 --> 00:09:53,600 Speaker 3: I just said I'm not going to give a take. 182 00:09:53,640 --> 00:09:55,480 Speaker 3: Maybe this is not a take. I'm just explaining an 183 00:09:55,480 --> 00:09:59,760 Speaker 3: emotion more than a strong opinion. And it's hard to 184 00:09:59,760 --> 00:10:02,360 Speaker 3: put my reaction into words, but it's just kind of 185 00:10:02,400 --> 00:10:07,280 Speaker 3: a revulsion at the idea of a kind of explosion 186 00:10:07,559 --> 00:10:14,640 Speaker 3: of convincing insincerity in all of the content domains of 187 00:10:14,720 --> 00:10:17,559 Speaker 3: human life. And I don't know, there's something I've I've 188 00:10:17,559 --> 00:10:19,160 Speaker 3: found kind of disturbing about that. 189 00:10:20,040 --> 00:10:22,480 Speaker 2: Yeah, now, now I do want to drive home that 190 00:10:22,559 --> 00:10:24,480 Speaker 2: you know, this is what I've just said was based 191 00:10:24,480 --> 00:10:27,240 Speaker 2: on my experience toying around with it. It's it's likely 192 00:10:27,320 --> 00:10:29,280 Speaker 2: these tools are just not for me. I don't want 193 00:10:29,280 --> 00:10:33,360 Speaker 2: to steer anyone else away from enjoying them. But and 194 00:10:33,400 --> 00:10:36,160 Speaker 2: it's you know, it's also possible that I just I 195 00:10:36,200 --> 00:10:39,079 Speaker 2: am not technically proficient enough to make the most out 196 00:10:39,120 --> 00:10:40,360 Speaker 2: of them. I don't know. There are various ways to 197 00:10:40,400 --> 00:10:42,800 Speaker 2: cut it. I'm not saying I'm right on the matter, 198 00:10:42,840 --> 00:10:45,640 Speaker 2: it's just my opinion. The other side of it, though, 199 00:10:45,760 --> 00:10:47,720 Speaker 2: is that, you know, I've seen plenty of artists that 200 00:10:47,800 --> 00:10:51,719 Speaker 2: I either know personally or I follow on Instagram or 201 00:10:51,760 --> 00:10:56,360 Speaker 2: something speak out against like AI art specifically, and you know, 202 00:10:56,400 --> 00:10:58,040 Speaker 2: I feel like I need to listen to them. I 203 00:10:58,080 --> 00:11:00,920 Speaker 2: need to you know, support them and here them out. 204 00:11:00,960 --> 00:11:03,440 Speaker 2: And so I've tried to do that as well. 205 00:11:04,040 --> 00:11:07,559 Speaker 3: Yeah, I agree with that. I feel like I'm feeling 206 00:11:07,600 --> 00:11:10,120 Speaker 3: the poll. I'm feeling the poll to like keep blabbering 207 00:11:10,120 --> 00:11:12,920 Speaker 3: on and just get into get into the takes. I 208 00:11:12,920 --> 00:11:14,400 Speaker 3: said I wasn't going to give, So I'm not going 209 00:11:14,480 --> 00:11:17,040 Speaker 3: to give them. We'll just let's move on to something else. 210 00:11:18,000 --> 00:11:20,360 Speaker 2: Yeah. Yeah, but you know, discussion continues if you have 211 00:11:20,360 --> 00:11:22,040 Speaker 2: thoughts about this rite in. We'd love to hear from 212 00:11:22,040 --> 00:11:24,480 Speaker 2: everyone out there if you agree with us, disagree with us, 213 00:11:24,559 --> 00:11:25,480 Speaker 2: or have more information. 214 00:11:26,280 --> 00:11:29,440 Speaker 3: Yeah, all right, We've still got plenty more messages about 215 00:11:29,520 --> 00:11:32,360 Speaker 3: childhood amnesia. We're going to do a couple here. This 216 00:11:32,440 --> 00:11:40,559 Speaker 3: one comes from Jay. Jay says, Dear Robert and Joe, 217 00:11:40,640 --> 00:11:43,760 Speaker 3: I recently listened to the Before You could Remember episodes, 218 00:11:43,760 --> 00:11:46,400 Speaker 3: and I have a memory to share. I have a 219 00:11:46,440 --> 00:11:50,200 Speaker 3: somewhat fuzzy childhood memory that doesn't feel like a memory 220 00:11:50,240 --> 00:11:53,240 Speaker 3: of an event, but more like a feeling or a dream. 221 00:11:53,640 --> 00:11:57,120 Speaker 3: I remember laying on my back and above me is 222 00:11:57,120 --> 00:12:00,480 Speaker 3: a pale brown surface, and on that surface is a bird, 223 00:12:01,160 --> 00:12:03,560 Speaker 3: and there is a voice without a body that again 224 00:12:03,600 --> 00:12:07,600 Speaker 3: and again says the words tweety bird or rather a 225 00:12:07,640 --> 00:12:12,360 Speaker 3: peepifogo in Swedish. As I grew up, the memory popped 226 00:12:12,360 --> 00:12:14,760 Speaker 3: into my mind every now and then, but I never 227 00:12:14,840 --> 00:12:16,880 Speaker 3: thought much about it. But when I was in my 228 00:12:17,000 --> 00:12:19,680 Speaker 3: late teens, I asked my mom what she thought about 229 00:12:19,800 --> 00:12:23,080 Speaker 3: the dream, or what she thought the dream meant. She 230 00:12:23,160 --> 00:12:25,880 Speaker 3: looked amused and told me that when I was a toddler. 231 00:12:25,920 --> 00:12:28,920 Speaker 3: We used to live in an old house and the 232 00:12:28,960 --> 00:12:33,040 Speaker 3: bathroom had an inner, rough cut natural wood roof, and 233 00:12:33,240 --> 00:12:36,120 Speaker 3: every time she needed to change my diapers, she took 234 00:12:36,160 --> 00:12:38,680 Speaker 3: me to the bathroom, laid me on my back on 235 00:12:38,800 --> 00:12:41,719 Speaker 3: the bathroom mat, and distracted me by pointing at the 236 00:12:41,800 --> 00:12:44,880 Speaker 3: roof and said, look at the tweety bird. The bird 237 00:12:44,960 --> 00:12:47,840 Speaker 3: she pointed at was a sawed off branch on the 238 00:12:47,880 --> 00:12:50,840 Speaker 3: wood roof that looked like the outline of a flying bird. 239 00:12:51,040 --> 00:12:53,480 Speaker 3: I've always wondered if this was a real memory or 240 00:12:53,520 --> 00:12:55,760 Speaker 3: if it was something I picked up as a child 241 00:12:56,040 --> 00:12:59,120 Speaker 3: when I after bedtime listened to the adults talking in 242 00:12:59,160 --> 00:13:02,120 Speaker 3: the living room to my bedroom. If it's a real memory, 243 00:13:02,120 --> 00:13:04,920 Speaker 3: it probably stuck because of hundreds of times I must 244 00:13:04,960 --> 00:13:08,200 Speaker 3: have seen and heard the tweety bird. Anyhow, thank you 245 00:13:08,280 --> 00:13:10,559 Speaker 3: for a great podcast and keep up the good work. 246 00:13:10,679 --> 00:13:14,080 Speaker 3: Kind regards, j oh And to be clear, this is 247 00:13:14,360 --> 00:13:16,480 Speaker 3: this is a different Jay than the other j who 248 00:13:16,600 --> 00:13:18,360 Speaker 3: just wrote in That was j Y. This is just 249 00:13:18,400 --> 00:13:21,120 Speaker 3: the letter J. But thank you J. 250 00:13:21,920 --> 00:13:25,160 Speaker 2: Yeah, and I like this term peepe fogo's that's very nice. 251 00:13:26,160 --> 00:13:29,920 Speaker 2: But yeah, this this whole topic of early childhood memories. 252 00:13:29,960 --> 00:13:34,000 Speaker 2: I think has stirred at a lot of discussion. I 253 00:13:34,040 --> 00:13:37,880 Speaker 2: know that I ended up talking about my like vague 254 00:13:37,960 --> 00:13:41,800 Speaker 2: childhood memory of my pediatrician being Gene Shallatte. I talked 255 00:13:41,840 --> 00:13:44,320 Speaker 2: about this with my mom and she of course confirmed 256 00:13:44,320 --> 00:13:47,360 Speaker 2: that Gene Shallott was not my pediatrician. But and at 257 00:13:47,400 --> 00:13:49,640 Speaker 2: first she was like, there was you know, your doctor 258 00:13:49,679 --> 00:13:52,360 Speaker 2: looked different. It didn't look anything like Gene Shallett. And 259 00:13:52,360 --> 00:13:54,920 Speaker 2: then I'm like, well, no, maybe it was, you know, 260 00:13:54,960 --> 00:13:57,280 Speaker 2: further back, and she was, And then she did confirm 261 00:13:57,320 --> 00:14:00,200 Speaker 2: that I did have a doctor pretty early on at 262 00:14:00,200 --> 00:14:02,720 Speaker 2: a mustache though I'm not sure exactly what age I 263 00:14:02,880 --> 00:14:05,880 Speaker 2: was at that point. So I think this mustachio doctor 264 00:14:06,080 --> 00:14:08,240 Speaker 2: was the Gene Shallatte of my memory. 265 00:14:08,520 --> 00:14:09,800 Speaker 3: Oh that's very interesting. 266 00:14:17,280 --> 00:14:19,000 Speaker 2: All right, here's another one. This one comes to us 267 00:14:19,000 --> 00:14:23,680 Speaker 2: from Josh, Rob, Joe, JJ and letter writer Scott. We've 268 00:14:23,680 --> 00:14:26,360 Speaker 2: got listener mail folks talking to other listener mail folks, 269 00:14:26,880 --> 00:14:30,400 Speaker 2: which is great. While listening to the podcast regarding childhood amnesia, 270 00:14:30,480 --> 00:14:34,200 Speaker 2: I wondered over my earliest memory with no satisfaction. However, 271 00:14:34,320 --> 00:14:37,080 Speaker 2: during Rob's reading of a letter replying to the episode 272 00:14:37,080 --> 00:14:40,400 Speaker 2: about a sort of first moment of consciousness from Scott. 273 00:14:40,600 --> 00:14:43,520 Speaker 2: My mind was absolutely blown. A memory came back to 274 00:14:43,560 --> 00:14:45,600 Speaker 2: me that I haven't thought of in what must be 275 00:14:45,880 --> 00:14:48,960 Speaker 2: like thirty five years. I remember waking up in the 276 00:14:49,000 --> 00:14:51,240 Speaker 2: morning and having a memory of the previous day, of 277 00:14:51,320 --> 00:14:54,320 Speaker 2: which I doubted the trustworthiness. I remember believing that I 278 00:14:54,400 --> 00:14:58,720 Speaker 2: began existence upon waking and stepped into oblivion when I 279 00:14:58,760 --> 00:15:02,760 Speaker 2: went to sleep. Remember devising a test wherein I resolved 280 00:15:02,800 --> 00:15:05,160 Speaker 2: to send myself a message and decided that if I 281 00:15:05,200 --> 00:15:08,560 Speaker 2: would remember this specific message from myself, I would lay 282 00:15:08,600 --> 00:15:11,840 Speaker 2: the question to rest and believe in yesterday. I figured 283 00:15:11,840 --> 00:15:14,640 Speaker 2: that through repeating the message many times as I fell asleep, 284 00:15:14,680 --> 00:15:17,480 Speaker 2: I created the greatest likelihood of remembering it, and that 285 00:15:17,600 --> 00:15:20,960 Speaker 2: I should keep it simple, I told myself, remember thinking this, 286 00:15:21,560 --> 00:15:23,800 Speaker 2: I did in fact remember the message, although there is 287 00:15:23,840 --> 00:15:25,640 Speaker 2: no way to know if it was the first time 288 00:15:25,680 --> 00:15:28,320 Speaker 2: I tried this experiment, and if my experiment is to 289 00:15:28,320 --> 00:15:32,080 Speaker 2: be trusted, every day since I have believed in Yesterday. 290 00:15:32,360 --> 00:15:34,480 Speaker 2: Thanks for the memories, cheers, Josh. 291 00:15:34,520 --> 00:15:37,160 Speaker 3: That's interesting, Josh. This sounds like the kinds of thoughts 292 00:15:37,200 --> 00:15:39,080 Speaker 3: that I think I had when I was a little kid. 293 00:15:40,080 --> 00:15:42,000 Speaker 3: Weird psychedelic childhood thoughts. 294 00:15:43,000 --> 00:15:45,320 Speaker 2: Yeah, yeah, yeah, I engaged in a bit of that, 295 00:15:45,360 --> 00:15:47,360 Speaker 2: a lot of closing the eyes and looking at the 296 00:15:47,400 --> 00:15:49,200 Speaker 2: starscape and so forth. 297 00:15:49,560 --> 00:15:52,120 Speaker 3: All Right, maybe we should do some weird house cinema email. 298 00:15:52,160 --> 00:15:54,840 Speaker 3: Are you ready for that? Rob, Let's have it? Okay, 299 00:15:54,840 --> 00:16:02,880 Speaker 3: I'm going to do this one from Emily Hi, Robin Joe, 300 00:16:03,200 --> 00:16:07,040 Speaker 3: Whether you're finished experiencing the smorgasbord of late twentieth century 301 00:16:07,080 --> 00:16:09,920 Speaker 3: three D cinema, here's a suggestion for a non three 302 00:16:10,000 --> 00:16:13,040 Speaker 3: D but still deeply weird film. My husband and I 303 00:16:13,240 --> 00:16:17,200 Speaker 3: just watched Sunshine two thousand and seven, starring Killian Murphy 304 00:16:17,240 --> 00:16:21,160 Speaker 3: and Chris Evans. The tagline on IMDb is a team 305 00:16:21,240 --> 00:16:24,320 Speaker 3: of international astronauts is sent on a dangerous mission to 306 00:16:24,400 --> 00:16:28,120 Speaker 3: reignite the dying Sun with a nuclear fission bomb in 307 00:16:28,200 --> 00:16:31,640 Speaker 3: twenty fifty seven, which is already compelling, But I would 308 00:16:31,680 --> 00:16:34,640 Speaker 3: further describe the experience of watching this film as like 309 00:16:34,720 --> 00:16:37,880 Speaker 3: trying to watch two thousand and one, A Space Odyssey, Alien, 310 00:16:38,120 --> 00:16:41,240 Speaker 3: and Solaris at the same time by flipping back and 311 00:16:41,280 --> 00:16:45,920 Speaker 3: forth between TV channels. Indeed, the director names specifically those 312 00:16:45,960 --> 00:16:49,800 Speaker 3: three films as direct influences, and it shows. I think 313 00:16:49,840 --> 00:16:51,880 Speaker 3: the film is plenty weird enough to be featured on 314 00:16:51,920 --> 00:16:54,840 Speaker 3: Weird House. But it also, I think prompts a broader 315 00:16:54,840 --> 00:16:58,000 Speaker 3: discussion of science fiction as a genre. Does it become 316 00:16:58,040 --> 00:17:02,200 Speaker 3: more or less difficult to write hard sci fi as 317 00:17:02,240 --> 00:17:05,679 Speaker 3: we as a global society learn more and more about 318 00:17:05,720 --> 00:17:08,760 Speaker 3: the world we inhabit and how it works? Will general 319 00:17:08,760 --> 00:17:11,679 Speaker 3: public scientific literacy ever reach a point at which the 320 00:17:11,840 --> 00:17:15,160 Speaker 3: average person will struggle to enjoy or engage with stories 321 00:17:15,200 --> 00:17:18,320 Speaker 3: like this because of all the scientific liberties taken for 322 00:17:18,359 --> 00:17:22,080 Speaker 3: the sake of the plot. Keep up the great work, Emily, Okay, 323 00:17:22,119 --> 00:17:24,600 Speaker 3: I'll respond to both points. On the second point, If 324 00:17:24,800 --> 00:17:28,879 Speaker 3: you know, increasing scientific literacy, I guess it's debatable whether 325 00:17:29,000 --> 00:17:31,840 Speaker 3: that is really going on overall. I want to see 326 00:17:31,880 --> 00:17:35,720 Speaker 3: some information, some stats on that. But to the extent 327 00:17:35,800 --> 00:17:39,160 Speaker 3: that is true, I don't know. I don't really see 328 00:17:39,160 --> 00:17:41,720 Speaker 3: that causing much of a problem because I don't feel like, 329 00:17:41,840 --> 00:17:46,479 Speaker 3: as in my life my personal scientific literacy increased, that 330 00:17:46,680 --> 00:17:51,600 Speaker 3: made me less able to enjoy unrealistic science fiction. In fact, 331 00:17:52,280 --> 00:17:55,320 Speaker 3: it's almost been exactly the opposite, Like the more kind 332 00:17:55,359 --> 00:17:58,399 Speaker 3: of scientific literacy I've had throughout my life, kind of 333 00:17:58,400 --> 00:18:03,240 Speaker 3: the more I've enjoyedid absurd nonsense and as you know, 334 00:18:03,320 --> 00:18:06,200 Speaker 3: the pseudoscience and sci fi plots. I don't know, it's 335 00:18:06,240 --> 00:18:08,440 Speaker 3: you know, you can suspend disbelief, it's just fun. 336 00:18:08,840 --> 00:18:10,800 Speaker 2: Yeah, absolutely, I mean they're always going to have to 337 00:18:10,800 --> 00:18:15,119 Speaker 2: suspend disbelief to some level with a science fiction motion picture, 338 00:18:15,160 --> 00:18:16,920 Speaker 2: I think. I mean, I think even the more the 339 00:18:17,240 --> 00:18:19,920 Speaker 2: hardest examples of sci fi you could point to, you're 340 00:18:19,960 --> 00:18:22,600 Speaker 2: still you know, you still have to immerse yourself in 341 00:18:22,119 --> 00:18:26,119 Speaker 2: the movie viewing experience and certain elements of the plot 342 00:18:26,240 --> 00:18:32,520 Speaker 2: and and you know, certain conveniences of storytelling. So yeah, 343 00:18:32,600 --> 00:18:34,520 Speaker 2: I tend to not think that's the problem. I mean, 344 00:18:34,520 --> 00:18:36,840 Speaker 2: there's probably a larger, more complex discussion to be had 345 00:18:36,880 --> 00:18:40,520 Speaker 2: about the role science fiction could play in both increasing 346 00:18:40,520 --> 00:18:44,640 Speaker 2: scientific literacy and also dulling it perhaps in some cases. 347 00:18:45,400 --> 00:18:48,479 Speaker 2: And that's that's probably more you know, the danger as 348 00:18:48,520 --> 00:18:51,879 Speaker 2: opposed to people, you know, losing out on appreciation for 349 00:18:52,160 --> 00:18:54,399 Speaker 2: films that get it a little bit or a whole 350 00:18:54,440 --> 00:18:55,720 Speaker 2: lot wrong. You know what. 351 00:18:55,760 --> 00:18:59,280 Speaker 3: There is though, an area where I can see this 352 00:18:59,359 --> 00:19:02,320 Speaker 3: maybe being a problem, which is like a film that 353 00:19:02,680 --> 00:19:05,560 Speaker 3: is trying to be hard sci fi, like it is 354 00:19:05,600 --> 00:19:09,560 Speaker 3: going strongly for realism and fails at that, Like that 355 00:19:09,640 --> 00:19:12,400 Speaker 3: can kind of be a problem. But as long as 356 00:19:12,480 --> 00:19:14,639 Speaker 3: a film is just you know, committing to some kind 357 00:19:14,640 --> 00:19:17,879 Speaker 3: of pseudoscientific absurdity, you know, Yeah, I don't care, that's fine. 358 00:19:18,480 --> 00:19:20,679 Speaker 3: I think the problem is when it's insisting, no, this 359 00:19:20,880 --> 00:19:23,359 Speaker 3: is real, this is really how the world is, and 360 00:19:23,400 --> 00:19:24,560 Speaker 3: it's still getting it wrong. 361 00:19:25,640 --> 00:19:27,399 Speaker 2: Yeah. Yeah, I mean generally, I think a lot of 362 00:19:27,440 --> 00:19:29,159 Speaker 2: sci fi are going to take those real things that 363 00:19:29,200 --> 00:19:32,280 Speaker 2: are happening and just and use those as as a 364 00:19:32,320 --> 00:19:35,000 Speaker 2: springboard to get into other fantastic ideas. 365 00:19:35,480 --> 00:19:39,760 Speaker 3: Yeah. Now, the other thing about Sunshine, I haven't seen 366 00:19:39,800 --> 00:19:42,000 Speaker 3: this movie in a long time, but I remember liking 367 00:19:42,040 --> 00:19:45,200 Speaker 3: it when it came out. Though. It's funny about the influences, 368 00:19:45,240 --> 00:19:48,840 Speaker 3: so it's like two thousand and one Alien Solaris. I 369 00:19:48,880 --> 00:19:51,239 Speaker 3: can see all of those influences in it, but in 370 00:19:51,280 --> 00:19:55,399 Speaker 3: my memory definitely more in the first half because spoiler 371 00:19:55,480 --> 00:19:58,080 Speaker 3: alert if you haven't seen this, doesn't it sort of 372 00:19:58,160 --> 00:20:01,840 Speaker 3: turn into Friday the thirteenth in space in the second half, 373 00:20:01,920 --> 00:20:03,639 Speaker 3: like it becomes a slasher movie. 374 00:20:04,160 --> 00:20:06,280 Speaker 2: Yeah, it goes a little bit of then Horizon Eate, 375 00:20:06,320 --> 00:20:08,639 Speaker 2: which I remember. I think I saw this in the 376 00:20:08,640 --> 00:20:11,320 Speaker 2: theater and I remember everyone was pretty excited for it 377 00:20:11,359 --> 00:20:13,320 Speaker 2: because I mean, it's Danny Boyle and you know, he 378 00:20:13,480 --> 00:20:15,880 Speaker 2: was riding really high at that point, could do no wrong. 379 00:20:15,960 --> 00:20:19,600 Speaker 2: Alex Garland, you know, could do no wrong. A great cast, 380 00:20:19,960 --> 00:20:23,719 Speaker 2: even outside of the people we've already mentioned here. Underworld 381 00:20:23,760 --> 00:20:26,560 Speaker 2: worked on part of the music along with John Murphy. 382 00:20:27,200 --> 00:20:29,280 Speaker 2: So all these things were lining up, and then the 383 00:20:29,320 --> 00:20:32,959 Speaker 2: movie itself is kind of a mess, kind of and 384 00:20:33,040 --> 00:20:34,600 Speaker 2: you know, kind of just you know it is. The 385 00:20:35,359 --> 00:20:39,000 Speaker 2: idea of switching channels definitely was part of the experience. 386 00:20:39,040 --> 00:20:41,639 Speaker 2: So I remember being a little underwhelmed by it but 387 00:20:41,800 --> 00:20:44,800 Speaker 2: finding it interesting. So in a way that makes it 388 00:20:44,840 --> 00:20:47,200 Speaker 2: the perfect kind of film to discuss on weird House cinema. 389 00:20:47,359 --> 00:20:49,320 Speaker 3: Orbit of Mercury, Chainsaw Massacre. 390 00:20:49,920 --> 00:20:52,680 Speaker 2: Yeah. Yeah, Like there's a guy who goes nuts because 391 00:20:52,680 --> 00:20:54,320 Speaker 2: he's like, I love staring at the sun. 392 00:20:54,920 --> 00:20:58,120 Speaker 3: Well, I liked that element, actually, I thought that was cool. 393 00:20:58,160 --> 00:20:59,800 Speaker 3: So one of the themes of the movie is that, 394 00:20:59,880 --> 00:21:02,480 Speaker 3: like as the ship gets closer to the sun, there's 395 00:21:02,520 --> 00:21:04,960 Speaker 3: like a viewing deck I guess where you can see 396 00:21:05,080 --> 00:21:08,119 Speaker 3: you can look at it with reduced intensity, and some 397 00:21:08,160 --> 00:21:10,720 Speaker 3: people just get like hypnotized by it. It's almost like 398 00:21:10,760 --> 00:21:13,080 Speaker 3: it's a you know, it's an ancient god and they 399 00:21:13,119 --> 00:21:16,560 Speaker 3: become worshipers of it, and some become so obsessed with 400 00:21:16,880 --> 00:21:18,560 Speaker 3: the sun god in front of them that they lose 401 00:21:18,600 --> 00:21:21,680 Speaker 3: their minds. I thought that was cool, but yeah, the 402 00:21:22,000 --> 00:21:25,640 Speaker 3: slasher element, I thought, I don't know, Yeah, I'd watch 403 00:21:25,680 --> 00:21:27,679 Speaker 3: it again. I mean it's been a long time, you know, 404 00:21:27,800 --> 00:21:31,919 Speaker 3: most movies I watched like fifteen years ago. My opinion 405 00:21:31,960 --> 00:21:33,000 Speaker 3: could be very different now. 406 00:21:33,560 --> 00:21:35,760 Speaker 2: Yeah. Yeah, so we'll have to put it on the 407 00:21:36,080 --> 00:21:39,280 Speaker 2: list of potential films for Weird House for sure. All right, 408 00:21:39,280 --> 00:21:48,000 Speaker 2: here's another one. This one comes from Anna. Hello, Robert, Joe, 409 00:21:48,200 --> 00:21:50,760 Speaker 2: and JJ boy. There are a lot of j's and 410 00:21:50,840 --> 00:21:54,840 Speaker 2: JJ's in this episode. Anna continues in your recent Weird 411 00:21:54,840 --> 00:21:57,720 Speaker 2: House Cinema episode about the never Ending Story, you talked 412 00:21:57,720 --> 00:22:00,639 Speaker 2: about a scene in the book where bast is in 413 00:22:00,680 --> 00:22:03,720 Speaker 2: a bookshop. This brought back a very strong memory of 414 00:22:03,720 --> 00:22:07,439 Speaker 2: reading the book Matilda by Roald Dahl. Near the start 415 00:22:07,480 --> 00:22:11,240 Speaker 2: of the book, she Matilda wants to escape her horrible family, 416 00:22:11,320 --> 00:22:14,119 Speaker 2: and she finds refuge in the library. She sits for 417 00:22:14,240 --> 00:22:17,119 Speaker 2: hours in the library reading books. Then one day the 418 00:22:17,160 --> 00:22:19,840 Speaker 2: librarian tells her she can take books home. She can 419 00:22:19,920 --> 00:22:21,879 Speaker 2: take as many as she likes. As long as she 420 00:22:21,920 --> 00:22:25,080 Speaker 2: brings them back. This was a pivotal moment in her life. 421 00:22:25,320 --> 00:22:28,240 Speaker 2: This huge, magical world had opened up. I think part 422 00:22:28,240 --> 00:22:30,320 Speaker 2: of the magic of the scene is also that someone 423 00:22:30,440 --> 00:22:33,640 Speaker 2: has recognized her own sense of imagination and encouraged it, 424 00:22:33,840 --> 00:22:36,359 Speaker 2: rather than try to suppress it like the other adults 425 00:22:36,359 --> 00:22:38,720 Speaker 2: in her life. I remember when the movie came out. 426 00:22:38,800 --> 00:22:43,200 Speaker 2: This is alluding to what the nineteen nineties adaptation. There's 427 00:22:43,359 --> 00:22:49,159 Speaker 2: a wonderful new adaptation of the stage musical that my 428 00:22:49,280 --> 00:22:52,960 Speaker 2: son is super into, and I've seen it twice already. 429 00:22:53,000 --> 00:22:57,600 Speaker 2: It's great, But I also finally remember what the nineteen 430 00:22:57,640 --> 00:23:01,600 Speaker 2: nineties adaptation. Anyway, Anna rites, I remember when the movie 431 00:23:01,600 --> 00:23:03,760 Speaker 2: came out. It seemed like a different story. There was 432 00:23:03,800 --> 00:23:07,520 Speaker 2: some controversy because it was depicting supernatural themes. I was 433 00:23:07,560 --> 00:23:10,160 Speaker 2: so surprised because I had completely forgotten about the parts 434 00:23:10,160 --> 00:23:12,480 Speaker 2: of the book where she moves things about with her mind. 435 00:23:13,040 --> 00:23:15,359 Speaker 2: The magic in the story of Matilda was always the 436 00:23:15,359 --> 00:23:19,560 Speaker 2: books and imagination, not the telekinesist stuff. The villains were 437 00:23:19,560 --> 00:23:22,200 Speaker 2: the people who had lost their sense of imagination, people 438 00:23:22,240 --> 00:23:24,359 Speaker 2: who had forgotten what it was like to be a kid. 439 00:23:24,840 --> 00:23:27,359 Speaker 2: This was a common theme in the Doll Books. A 440 00:23:27,400 --> 00:23:29,520 Speaker 2: lot of the books you were given as a kid 441 00:23:29,680 --> 00:23:33,280 Speaker 2: felt like just some adult contriving a story in order 442 00:23:33,320 --> 00:23:36,640 Speaker 2: to teach you a moral. But with the Doll Books, 443 00:23:36,760 --> 00:23:39,960 Speaker 2: it was as if he was sharing a secret with us. 444 00:23:40,240 --> 00:23:44,919 Speaker 2: Using funny words and using Quinton Blake's simple illustrations was 445 00:23:44,960 --> 00:23:48,520 Speaker 2: part of this. It felt like he was one of us. Okay, 446 00:23:48,520 --> 00:23:51,199 Speaker 2: now a side note about childhood amnesia. One of my 447 00:23:51,280 --> 00:23:53,600 Speaker 2: strong first memories is of putting on my own shoes. 448 00:23:54,480 --> 00:23:56,600 Speaker 2: There was a feeling that if you had to put 449 00:23:56,680 --> 00:24:00,399 Speaker 2: shoes on to do something, that meant it was important. Anyway, 450 00:24:00,560 --> 00:24:02,399 Speaker 2: I should end this email now before I ramble on 451 00:24:02,440 --> 00:24:05,679 Speaker 2: too much. Thanks Anna, Thanks Anna. It reminds me of 452 00:24:06,280 --> 00:24:08,760 Speaker 2: the Simpsons when they go shoe shopping for a good, 453 00:24:08,920 --> 00:24:14,040 Speaker 2: stiff church shoe. But also it's for doctor's appointments, piano recitals. 454 00:24:14,720 --> 00:24:16,480 Speaker 2: I don't remember all the other things, but yeah, you 455 00:24:16,520 --> 00:24:18,120 Speaker 2: got to put him on for anything important. 456 00:24:19,520 --> 00:24:23,200 Speaker 3: But also, Anna, yes, this thing about the never Ending Story, 457 00:24:23,200 --> 00:24:26,399 Speaker 3: I assume you're picking up on the things we were 458 00:24:26,440 --> 00:24:30,199 Speaker 3: talking about in that episode where I think my comment 459 00:24:30,440 --> 00:24:34,600 Speaker 3: was Strangely, what stuck with me most about the never 460 00:24:34,720 --> 00:24:39,960 Speaker 3: Ending Story was the most fascinating to my imagination was 461 00:24:40,000 --> 00:24:43,520 Speaker 3: actually not any of the fantasy stuff, but it was 462 00:24:43,680 --> 00:24:46,880 Speaker 3: the book stuff. It was the scene in the bookshop 463 00:24:47,480 --> 00:24:49,920 Speaker 3: where Bastion speaks with the guy about, you know, the 464 00:24:50,000 --> 00:24:53,040 Speaker 3: other books being safe in this book being dangerous. And 465 00:24:53,080 --> 00:24:55,680 Speaker 3: then the scenes where he is hiding up in the attic, 466 00:24:56,040 --> 00:24:58,159 Speaker 3: just hiding all day, where nobody can find him and 467 00:24:58,200 --> 00:25:00,400 Speaker 3: he doesn't have to do what anybody else's teme telling him. 468 00:25:00,400 --> 00:25:02,080 Speaker 3: He just gets to be alone and read. 469 00:25:02,920 --> 00:25:06,040 Speaker 2: Yeah. Yeah, really connecting with it was something that I 470 00:25:06,080 --> 00:25:07,439 Speaker 2: think a lot of us can relate to in our 471 00:25:07,520 --> 00:25:11,080 Speaker 2: childhoods Now, as far as Doll goes, yeah, this whole 472 00:25:11,119 --> 00:25:14,640 Speaker 2: idea of kids essentially being at war with adults. This 473 00:25:14,680 --> 00:25:17,000 Speaker 2: is a common theme in his work. You also see 474 00:25:17,000 --> 00:25:19,679 Speaker 2: it in The Witches, which, by the way, I mean 475 00:25:19,680 --> 00:25:22,200 Speaker 2: there was a nineteen ninety adaptation of The Witches, which 476 00:25:22,240 --> 00:25:25,680 Speaker 2: of course was pretty fun, had Jim Henson. It was 477 00:25:25,760 --> 00:25:29,359 Speaker 2: Jim Henson production, I believe, and Angelica Houston plays the 478 00:25:29,960 --> 00:25:33,520 Speaker 2: High Witch. A lot of people did not like the 479 00:25:33,640 --> 00:25:36,840 Speaker 2: twenty twenty adaptation. This is one that was directed by 480 00:25:36,960 --> 00:25:40,560 Speaker 2: Robert Zemeckis, and also the screenplay on that was at 481 00:25:40,640 --> 00:25:44,960 Speaker 2: least partially by Gimmel del Toro and Anne Hathaway plays 482 00:25:45,800 --> 00:25:48,600 Speaker 2: the High Witch. You know, this is very much a 483 00:25:48,600 --> 00:25:51,200 Speaker 2: modern take on it with a lot of computer effects. 484 00:25:51,200 --> 00:25:54,199 Speaker 2: But I thought this was pretty fabulous as well. I 485 00:25:54,280 --> 00:25:56,720 Speaker 2: enjoyed it. I thought Anne Hathaway was amazing in it. 486 00:25:57,280 --> 00:25:59,479 Speaker 2: I have room for two high Witches in my life. 487 00:26:01,040 --> 00:26:03,840 Speaker 3: Well, I haven't seen either one. Maybe this is one 488 00:26:03,880 --> 00:26:07,520 Speaker 3: of those gaps. I will, I will, I will close 489 00:26:07,600 --> 00:26:10,360 Speaker 3: once I'm watching movies with my daughter as she grows up. 490 00:26:10,800 --> 00:26:13,439 Speaker 2: Yeah, all right, we're gonna go ahead and close the 491 00:26:13,480 --> 00:26:15,520 Speaker 2: mail bag there, But we'd love to hear from everyone 492 00:26:15,520 --> 00:26:17,240 Speaker 2: out there if you have thoughts on anything were discussed 493 00:26:17,280 --> 00:26:19,680 Speaker 2: in this episode of Listener Mail. Thoughts on recent episodes 494 00:26:19,680 --> 00:26:21,280 Speaker 2: of anything that we're putting out in the Stuff to 495 00:26:21,280 --> 00:26:23,520 Speaker 2: Blow Your Mind podcast feed, let us know we'd love 496 00:26:23,560 --> 00:26:25,680 Speaker 2: to hear from you. Stuff to Blow Your Mind Listener 497 00:26:25,720 --> 00:26:27,560 Speaker 2: Mail airs on Mondays and the Stuff to Blow Your 498 00:26:27,560 --> 00:26:29,879 Speaker 2: Mind podcast feed, and you know the rest of the 499 00:26:29,920 --> 00:26:32,920 Speaker 2: schedule Core episodes in Tuesdays and Thursday's Monster Factor Artifact 500 00:26:32,920 --> 00:26:36,000 Speaker 2: on Wednesday, Weird House Cinema on Friday, and you know 501 00:26:36,040 --> 00:26:38,320 Speaker 2: What's throwing a little rerun over the weekend. 502 00:26:38,760 --> 00:26:42,359 Speaker 3: Huge thanks as always to our audio producer JJ Posway. 503 00:26:42,680 --> 00:26:44,239 Speaker 3: If you would like to get in touch with us 504 00:26:44,280 --> 00:26:46,919 Speaker 3: with feedback on this episode or any other, to suggest 505 00:26:46,960 --> 00:26:49,240 Speaker 3: a topic for the future, or just to say hello, 506 00:26:49,600 --> 00:26:52,240 Speaker 3: you can email us at contact at stuff to blow 507 00:26:52,280 --> 00:27:00,760 Speaker 3: your Mind dot com. 508 00:27:01,040 --> 00:27:04,000 Speaker 1: Stuffed Blow your Mind is a production of iHeartRadio. For 509 00:27:04,080 --> 00:27:07,919 Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 510 00:27:08,000 --> 00:27:09,760 Speaker 1: or wherever you listen to your favorite shows.