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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey you welcome to Stuff to Blow your Mind listener Mail.

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Speaker 2: My name is Robert Lamb.

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Speaker 3: And I am Joe McCormick. And on listener Mail episodes,

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Speaker 3: we read back some of the messages that you have

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Speaker 3: sent into the Stuff to Blow your Mind email address.

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Speaker 3: If you've never gotten in touch before and you would

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Speaker 3: like to, why not give it a try this week?

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Speaker 3: You can write us at contact at stuff to Blow

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Speaker 3: your Mind dot com. We appreciate messages of all types,

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Speaker 3: especially if you have something to add to a topic

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Speaker 3: we've recently talked about on the show. If you have

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Speaker 3: just something interesting you want to share with us, whether

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Speaker 3: even if it's totally random, that's always fine. If you

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Speaker 3: have corrections, if you have comments, if you have questions,

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Speaker 3: if you want to suggest a topic for the future,

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Speaker 3: or suggest a movie for Weird House Cinema, whatever it is,

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Speaker 3: send it our way contact at stuff to Blow your

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Speaker 3: dot com. And if you write in, there is a

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Speaker 3: chance that your message may be featured on a future

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Speaker 3: listener Mail episode like this one.

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Speaker 2: That's right, We read all of it. We don't always

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Speaker 2: have time to respond directly to it and not everything

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Speaker 2: gets onto the podcast, obviously, but we will read anything

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Speaker 2: you said us.

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Speaker 3: A very weird house heavy batch this time, which is fine,

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Speaker 3: so be it. But I think first maybe we should

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Speaker 3: get into some responses to our episodes of Star Trek Week.

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Speaker 2: That's right, We're just coming off of Star Trek Week,

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Speaker 2: the first Star Trek Week celebrated here on stuff to

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Speaker 2: blow your mind. But if folks loved it, we'll come

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Speaker 2: back and do it again next year.

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Speaker 3: All right, rob do you mind if I do this

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Speaker 3: one from Elena?

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Speaker 2: Yes, Elena, that you do mind? Well, I do mind,

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Speaker 2: but I'm swallowing my feelings on this one.

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Speaker 3: Right, Okay, This is from Elena. Subject line Turkish Star Trek. Hello,

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Speaker 3: Robert and Joe. I just listened to the episode about

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Speaker 3: the Star Trek Salt Monster, one of the most memorable

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Speaker 3: monster designs in the show in my opinion, and the

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Speaker 3: creepy moths. This is referencing the first of two core

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Speaker 3: episodes we did during Star Trek Week, where we talked

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Speaker 3: about the first ever episode of Star Trek, the first

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Speaker 3: one ever on TV called The Man Trap, which was

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Speaker 3: about a salt vampire, a shape shifting creature that sucked

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Speaker 3: the salt out of your body through with like suckers

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Speaker 3: that attached to the face, and that, of course led

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Speaker 3: us to a biology conversation about moths that in various

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Speaker 3: ways will parasitize you for salt, will suck salt from

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Speaker 3: your tears or even from your blood. So Elena goes

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Speaker 3: on to say it immediately reminded me of oh Mayer

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Speaker 3: the Tourist in Star Trek, a nineteen seventy three Turkish film.

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Speaker 3: It's a parody movie that takes major plot inspiration from

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Speaker 3: the Man Trap episode years ago. I managed to watch

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Speaker 3: it with English subtitles and it was a fun experience.

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Speaker 3: I also recall scenes borrowed from other notable episodes, like

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Speaker 3: a fight scene between Kirk and what was supposed to

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Speaker 3: be the Gorn Rob. I dug up some screenshots from

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Speaker 3: Omer the Tourist in Star Trek. I attached them in

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Speaker 3: the outline for you to see. Here, we have a

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Speaker 3: I think this is supposed to be Spock in a

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Speaker 3: yellow shirt, but he does have the pointy years in

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Speaker 3: Spock's hair, so I think that's him. We got some

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Speaker 3: like muscly shirtless guy in a speedo. I don't know

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Speaker 3: what that's supposed to be. The poster appears to have

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Speaker 3: Godzilla on it. I don't know if that's a mashup

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Speaker 3: of Godzilla and Gorn.

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Speaker 2: Yeah, some sort of fire breathing reptile.

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Speaker 3: And also some characters standing around in what might be

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Speaker 3: Roman ruins that they're using as a set here. Yeah, yeah,

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Speaker 3: that's an interesting choice. But also having some Star Trek

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Speaker 3: uniforms in colors that I don't remember from the show,

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Speaker 3: like we've got a you know, you've got your red

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Speaker 3: shirts and you've got your yellow shirts. Here we have

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Speaker 3: a brown shirt and then kind of a teal green skirt.

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Speaker 2: Yeah, yeah, yeah, yeah, this looks interesting. I have to

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Speaker 2: admit this one was not on my radar. I'm familiar

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Speaker 2: by reputation with like Turkish Star Wars and some other

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Speaker 2: b cinema examples from Turkish film, and there are a

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Speaker 2: few Turkish movies that are still on the list for

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Speaker 2: Weird House Cinema. Oh yeah, but we haven't really gotten

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Speaker 2: around to them just yet. We'll have to remedy that

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Speaker 2: in the months ahead.

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Speaker 3: Elena says. Since it was released before Star Trek the

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Speaker 3: Motion Picture, it's technically the first movie set in the

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Speaker 3: Star Trek universe. Amazing. This is probably too strange even

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Speaker 3: for weird house cinema. Oh, Elena, you should listen this Friday,

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Speaker 3: by the way, but I wanted to share this oddity

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Speaker 3: from Turkish cinema anyway, Elena.

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Speaker 2: This is exactly the sort of weird house cinema listener

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Speaker 2: mail I like to receive. Yeah, clue me in about

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Speaker 2: something weird out there that was totally not on my radar.

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Speaker 3: Exactly. Thank you so much.

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Speaker 2: All right. We also heard from Jared Jared Wrightson and

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Speaker 2: says thank you for Star Trek week. Listening to the

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Speaker 2: episodes really brought back memories of sitting around the TV

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Speaker 2: watching Star Trek with my dad, both the original series

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Speaker 2: and the next generation. Sadly, he passed away due to

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Speaker 2: complications of COVID in twenty twenty, but this week's episode

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Speaker 2: brought back some great memories of him. My dad was

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Speaker 2: a diehard Trekie, so much so that I did not

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Speaker 2: watch a Star Wars movie until I was an adult,

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Speaker 2: as it was considered not as good in our house.

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Speaker 2: I think his love for Star Trek was influenced by

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Speaker 2: his love of other non sci fi shows such as

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Speaker 2: westerns and cereals. Such as Bonanza and gun Smoke. Something

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Speaker 2: about the portrayal of flawed characters coming together to do

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Speaker 2: what was right struck a chord with him and for me,

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Speaker 2: really formed a perspective on life that I did not

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Speaker 2: fully recognize until adulthood. As an adult, I have learned

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Speaker 2: what a cultural stepping stone Star Trek truly was, and

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Speaker 2: knowing when and where my father grew up in rural Appalachia,

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Speaker 2: watching shows like Star Trek would have been considered progressive

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Speaker 2: for the time and place, with different ethnicities being portrayed

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Speaker 2: and given rank and importance on the crew. Star Trek's

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Speaker 2: decision to step in that direction help the generation of

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Speaker 2: TV watchers become more accepting of others, even if they

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Speaker 2: were aliens. Thanks again, Live Long and prosper Jared.

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Speaker 3: Yeah, I think this is a common reception experience that

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Speaker 3: the people report, even outside of not just being in

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Speaker 3: rural Appalachia, I mean all over.

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Speaker 2: I think, yeah, absolutely. And also the connection to Westerns

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Speaker 2: is definitely worth noting as well. I don't know how

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Speaker 2: much we stress that in our episodes during Star Trek Week,

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Speaker 2: but Star Trek does come out of the world of

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Speaker 2: TV Westerns in many respects. I mean a lot of

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Speaker 2: the players, of course, were in westerns. Many of the

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Speaker 2: Riders had worked in westerns, and a good bit of

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Speaker 2: that Western DNA as president in the show.

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Speaker 3: I think you can say that about Star Wars as well.

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Speaker 3: I mean, yeah, yeah, some ways, it's got some gunslinger

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Speaker 3: stuff in there.

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Speaker 2: I mean, really, the TV and film westerns cap a

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Speaker 2: huge shadow. I mean, you hear folks like John Carpenter

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Speaker 2: for instance, Yeah, you know, very few of his films

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Speaker 2: are one hundred percent Westerns. I think he has like

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Speaker 2: what one full blown Western in the filmography, but he

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Speaker 2: credits Westerns like across his filmography for being a heavy

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Speaker 2: influence on at least the sort of the form and

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Speaker 2: function of the pictures.

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Speaker 3: That's right. I think for a lot of the directors

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Speaker 3: working in roughly that generation growing up with Westerns, it

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Speaker 3: was just it was an influence on all of them,

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Speaker 3: even if it wasn't totally their thing. So it's kind

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Speaker 3: of like, even if you're not a diehard Star Wars

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Speaker 3: or Star Trek fan, you know, most people making films

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Speaker 3: coming up nowadays have some of that influence on their childhood,

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Speaker 3: right right, all right. This next message is from Bert

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Speaker 3: Bert says, Hey, Robert and Joe love the show. It

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Speaker 3: keeps the long drives between job sites interesting. If you

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Speaker 3: think I have some worthwhile thoughts here, I'd be honored

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Speaker 3: if you include it in one of your listener mail episodes.

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Speaker 3: I was listening to the Transporters and Consciousness Star Trek

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Speaker 3: episode and I thought that the swamp Man thought experiment

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Speaker 3: was interesting but flawed. A quick refresher. This is the

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Speaker 3: thought experiment by the philosopher Donald Davidson, which was saying, Okay,

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Speaker 3: imagine I go out walking in a swamp. I get

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Speaker 3: struck by lightning. My body is completely obliterated, there's nothing left,

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Speaker 3: and just by coincidence, a tree nearby is also struck

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Speaker 3: by lightning, and it gets turned into an exact atom

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Speaker 3: for Adam replica of my body, and it can go

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Speaker 3: about my business and do everything I do. It acts

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Speaker 3: exactly as I would in every scenario. It's a perfect

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Speaker 3: copy of me. But Davidson's argument was, despite the fact

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Speaker 3: that swamp man is a perfect copy of me and

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Speaker 3: can behave exactly as I would, it actually does not

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Speaker 3: have thoughts and the signifiers of its mental activity that

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Speaker 3: it thinks, you know when it thinks about a dog.

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Speaker 3: This is not really about adult because it has never

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Speaker 3: met a dog. So it was interrogating the idea of

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Speaker 3: what the aboutness of our thoughts really is. So Bert's

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Speaker 3: response continues, the Swampman copy might never have experienced a

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Speaker 3: dog or the original version's friend John, but it has

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Speaker 3: all of the memories from the original. It has the

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Speaker 3: memories of the experience, the memories of interactions with other minds,

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Speaker 3: the memories of petting the dog. It has the knowledge

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Speaker 3: and the feeling of what the experiences were like. Without

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Speaker 3: that knowledge, it would not have the image or concept

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Speaker 3: of what a dog or a friend is. So the

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Speaker 3: recreated Swampman or Spock or McCoy is created a thinking

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Speaker 3: being with the full knowledge and experience of what the

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Speaker 3: original new and experienced. Yeah, Bert, I think this is

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Speaker 3: a common response, and this is what a lot of

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Speaker 3: Davidson's critics would argue. And this is sort of along

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Speaker 3: the lines of what Daniel Dinnett was arguing in response

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Speaker 3: to the idea. But Bert goes on to say, there

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Speaker 3: is a second flaw. If this Sampman did not have

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Speaker 3: the connections to understand what a dog or a friend

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Speaker 3: or a coffee cup is then he would not be

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Speaker 3: able to speak intelligently. He might call a dog a rocket,

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Speaker 3: or a friend a dandelion, but it's extremely unlikely he

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Speaker 3: could formulate a legible sentence. I think Davidson and Dinnett

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Speaker 3: we're both off the mark on this one. Both Davidson,

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Speaker 3: Swampman and Dinnet's objections to it are much more applicable

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Speaker 3: to large language model ais. An AI can be programmed

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Speaker 3: with definitions and with photos describing to it what things are,

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Speaker 3: but it will have no actual experience, not even secondhand experience.

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Speaker 3: It can know, but until it actually has the experience,

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Speaker 3: it cannot truly understand. But as Dinnet points out, if

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Speaker 3: it walks like a duck, quacks like a duck, and

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Speaker 3: looks like a duck, most people would say it's a duck,

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Speaker 3: which changes the question from is an AI thinking before

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Speaker 3: it experiences? To are there any differences between what an

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Speaker 3: aides before it experiences and what it does after? It

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Speaker 3: also adds the question if there are, do the differences matter?

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Speaker 3: That's probably more than long enough for one email. Hope

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Speaker 3: you found it interesting, bert.

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Speaker 2: Oh, Yes, absolutely, thanks for writing in Bertie. We touched

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Speaker 2: on how this philosophical discussion may or may not apply

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Speaker 2: to AI a little bit in the episode, but you know, clearly,

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Speaker 2: as you point out here, you can really go into

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Speaker 2: the deep end on this one as well.

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Speaker 3: Yeah, I think this is actually a very good question. Clearly,

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Speaker 3: we learn from experience, and is there some quality, some

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Speaker 3: important quality to the nature of our experience which enables

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Speaker 3: us to learn and understand which cannot really be achieved

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Speaker 3: by feeding a machine like discrete, separate little images that

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Speaker 3: are not actually part of a continuous experience like we

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Speaker 3: believe we have so like our experience of seeing and

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Speaker 3: interacting with dogs throughout our life, is there something actually

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Speaker 3: importantly different about that than just like having a large

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Speaker 3: language model associate the word dog and other words in

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Speaker 3: a cloud around the word dog with lots, you know,

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Speaker 3: millions of different pictures of dogs. Is there actually something

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Speaker 3: importantly different there in those two different kinds of learning.

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Speaker 3: I don't know exactly what it would be, but it

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Speaker 3: strikes me as totally plausible that there's something important missing

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Speaker 3: that contributes to what we mean when we say understanding

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Speaker 3: that's missing from the training model of these AIS, but

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Speaker 3: is present in the human beings experience of the world.

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Speaker 2: Yeah, absolutely, I mean we have skin in the game,

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Speaker 2: and there are different ways to interpret how that applies.

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Speaker 2: All right, up, next we go. We got a very

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Speaker 2: nice email from Alec, who writes in and says, Hi,

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Speaker 2: Robert Joe at all. My name is Olt. I'm a

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Speaker 2: grad student at U Chicago studying the evolution and mechanics

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Speaker 2: of the mammal middle ear. I am defending later this

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Speaker 2: fall and have been doing a lot of reflecting on

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Speaker 2: the things that have kept my love of science alive,

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Speaker 2: and thus wanted to extend my deep gratitude for your show.

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Speaker 2: I have been listening since I was an undergrad, and

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Speaker 2: your topics and the way you approach your topics, particularly

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Speaker 2: your deep dives into how fictional organisms would function based

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Speaker 2: on real biology, have always kept my basic curiosity and

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Speaker 2: need to learn alive, even against grad school burnout. I

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Speaker 2: don't think it is an exaggeration to say the stuff

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Speaker 2: to Blow your mind podcast has played a pivotal role

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Speaker 2: in my development as a scientist. Thank you for the

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Speaker 2: great work you do. Cheers Alec. At ps. Have you

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Speaker 2: considered an episode on why elves, vulcans, etc. Have powenty

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Speaker 2: years from the folklore perspective. Where does that originate from

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Speaker 2: a biological perspective? What's the adaptive significance?

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Speaker 3: Great questions? Has this come up on the show before?

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Speaker 3: I would be surprised if it hadn't.

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Speaker 2: I was actually researching this a little bit prior to

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Speaker 2: Star Trek week because I was considering it as a topic.

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Speaker 2: So may come back to this sooner rather than later.

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Speaker 3: But also, Alex, thank you so much for the message.

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Speaker 3: This kind of stuff, it feels so nice, warms my heart. It. Yeah,

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Speaker 3: it really really does mean a lot to hear things

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Speaker 3: like this, So thank you so much, and best of

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Speaker 3: luck with your thesis or dissertation defense. All right, this

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Speaker 3: next message, let's do some of the responses to our

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Speaker 3: Saint Swithin episode. This one comes from Francois subject line

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Speaker 3: about Saint Swithin's revenge and apologies in advance. I'm gonna

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Speaker 3: have to read some French in this one. My pronunciation,

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Speaker 3: I'm sure is going to be abysmal, but I'll do

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Speaker 3: my best, Francois says, Dear Robert and Joe, I just

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Speaker 3: listened to your podcas cast about Saint Swithin, and when

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Speaker 3: you read the saying Saint Swithin's day. If thou dost

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Speaker 3: reign for forty days, it will remain Saint Swithin's day.

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Speaker 3: If thou be fair for forty days, twill reign ne

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Speaker 3: mere and Francois says, I thought, oh, it is an

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Speaker 3: Irish Saint Medard. Imagine my delight when you referenced our

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Speaker 3: Saint Medard. This is easily the second most used meteorological

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Speaker 3: saying in France. However, the version you used is different

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Speaker 3: from the one I know, and because I heard it

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Speaker 3: multiple times on TV, it is the official version. It

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Speaker 3: says see plu a la Saint Medard il pluvera forty

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Speaker 3: jour plutard a muang ke la sam Barnabie luis coup

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Speaker 3: le erb sioux lapide and so Francois here has a translation,

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Speaker 3: which is, if it rains on Saint Medardas day, it

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Speaker 3: will rain forty days later, unless Saint Barnabas pulls the

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Speaker 3: r from below his feet, literally cuts the grass beneath

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Speaker 3: his feet. Francois says, this side steps the issue of

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Speaker 3: forty days of uninterrupted rain. Oh yeah, as we discussed

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Speaker 3: in the episode, that that's totally very implausible and that's

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Speaker 3: basically never gonna happen. It side steps the issue of

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Speaker 3: forty days of uninterrupted rain. It just says that if

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Speaker 3: it rains on the eighth of June, it will rain

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Speaker 3: on the eleventh or eighteenth of July, a much likelier coincidence.

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Speaker 3: I must admit that I found the version you used

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Speaker 3: is the one on Catholic dot net. In English, in

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Speaker 3: case you wonder, the most used meteorological saying in France

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Speaker 3: is Noel albacon paquet autisson meaning Christmas on the balcony,

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Speaker 3: Easter by the fire, often nowadays parodied as a niege,

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Speaker 3: and November Noel and December meaning snow in November, Christmas

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Speaker 3: in December. Thank you for your podcast, best regards, Francois

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Speaker 3: and then final ps, still awaiting your take on Podawn, which,

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Speaker 3: by the way, that's the French title of Donkey Skin

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Speaker 3: with Catherine Deneuve. We will get there eventually. It's on

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Speaker 3: the list, Yes.

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Speaker 2: I am. I have to say. It looks like as

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Speaker 2: of this Friday we will already be diving into our

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Speaker 2: horror selections for October. But usually our pattern is that

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Speaker 2: once we get out of October, it's time for a

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Speaker 2: little palate cleansing, so maybe a little fantasy and definitely

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Speaker 2: a little noir. So I don't know, maybe that'll be

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Speaker 2: the time of donkey skin.

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Speaker 3: M Yeah, but I like your parody saying about December,

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Speaker 3: if I understand it correctly, by the way I mean.

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Speaker 3: It is often a joke we have around here in

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Speaker 3: the American Southeast that like, yeah, it's going to be

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Speaker 3: hot on Christmas Day, which it sometimes is.

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Speaker 2: All Right, This next one comes to us from Hugh.

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Speaker 2: Hugh says Robert, Joe and JJ. Hello there. It's been

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Speaker 2: a while since I've written. You guys have been doing

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Speaker 2: such a great job that I have had few questions

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Speaker 2: and little of use to add. Your recent episode on

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Speaker 2: Saint Swiven made me think of that an exploration of

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Speaker 2: the history of sainthood might be an interesting subject. It

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Speaker 2: turns out that during the early Middle Ages there were

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Speaker 2: many many local, regional, and magical saints chosen by communities

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Speaker 2: large and small. The official saint was part of the

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Speaker 2: Church's move to homogenize doctrine and consolidate power during the

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Speaker 2: Late Middle Ages. In early modern times, this is all

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Speaker 2: as far as I can remember, you understand, but you

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Speaker 2: get the idea keep up the good work here.

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Speaker 3: Oh that's interesting, So, Hugh, if I understand you, right,

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Speaker 3: the idea is that sainthood begins as a more grassroots

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Speaker 3: or organic phenomenon, and then later there's the idea of

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Speaker 3: the church should really be, you know, having a system

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Speaker 3: to decide who is and isn't a saint, which would

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Speaker 3: play into Saint Swithin by the way, because as we discussed,

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Speaker 3: he's called Saint Swithin, but he was never actually officially

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Speaker 3: canonized by the Catholic Church and not an official Catholics.

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Speaker 2: Right right, Yeah, yeah, So it's certainly a fascinating topic.

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Speaker 2: It would just be a matter of figuring out the

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Speaker 2: exact sort of the exact form the question takes. I

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Speaker 2: guess for treatment on stuff to blow your mind, but

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Speaker 2: I'm always fascinated by this sort of topic. So yeah,

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Speaker 2: well I've put it on the list.

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Speaker 3: I mean, we could look at it in a larger sense,

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Speaker 3: going just beyond the Catholic thing of like who is holy?

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Speaker 3: Like why do we decide that certain people are holy? Yeah?

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Speaker 2: And then what's left of the real person once we've

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Speaker 2: made them holy? Yeah. We got into that a little

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Speaker 2: bit and two previous episodes where we talked about saints. Yeah,

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Speaker 2: so yeah, this is this topic probably has legs.

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Speaker 3: All right. This next message comes from Kieran. Kieran says, Hi,

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Speaker 3: Joe and Rob, this is Kieran from New Zealand. With

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Speaker 3: all this talk of Wallace. This is in response in

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Speaker 3: part by the way to our episode episodes on Alfred

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Speaker 3: Russell Wallace and the Wallace line. Kieran says, with all

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Speaker 3: this talk of my mind immediately jumped to a potential

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Speaker 3: candidate for weird house cinema, and that is the fantastic

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Speaker 3: two thousand and six film called The Fall. In the film,

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Speaker 3: it features a fictional Wallace and his monkey sidekick named Darwin.

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Speaker 3: Now one quick note, I had I looked this movie up,

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Speaker 3: and Kieran, I don't. I hesitate to correct you because

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Speaker 3: you've seen the film and I haven't. But when I

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Speaker 3: looked it up, it seems to me like it might

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Speaker 3: be the other way around, that there's a Darwin character

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Speaker 3: with a monkey named Wallace. But again I haven't seen it,

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Speaker 3: so maybe there's something I'm missing. Anyway, Kieran continues Wallace

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Speaker 3: and Darwin feature and story in a story within the

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Speaker 3: story in the film, though not main characters. They play

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Speaker 3: an important part in the events of the imaginary story

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Speaker 3: featured in the film. It's honestly one of the most

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Speaker 3: visually beautiful films I've ever seen, A criminally underrated masterpiece

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Speaker 3: with plenty of interesting content to fulfill the weird house quota.

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Speaker 3: Is this by the same director of The Cell with

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Speaker 3: Jennifer Lopez and Vincent and Afrio.

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Speaker 2: It absolutely is. Yes, Tarsian Tarsi singh. I think he

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Speaker 2: just goes by Tarsan. Yeah, and I have I have

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Speaker 2: seen The Fall. It's I have not seen it since

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Speaker 2: it came out. It had a young Lee Pace in

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Speaker 2: it before Lee Pace got completely ripped. A great actor.

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Speaker 2: Lipace a big fan and enjoying really enjoying him on

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Speaker 2: foundation of late. But yeah, the Fall, I remember, like

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Speaker 2: The Cell being just a you know, a visual treat,

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Speaker 2: but I don't remember much about the plot. It's just

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Speaker 2: been too long since i've seen it.

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Speaker 3: Well, I'll have to check it out. Thanks for the recommendation, and.

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Speaker 2: It's very possible we might come back and do The Cell. Yeah,

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Speaker 2: The Cell is one I do remember getting very excited

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Speaker 2: for when it came out, and and certainly the visuals

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Speaker 2: did not disappoint at the time.

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Speaker 3: If I recall correctly, that was one of the movies

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Speaker 3: that Roger Ebert really went out on a limb for.

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Speaker 3: He was like, this is awesome. You've got to see it.

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Speaker 2: Sure enough to sell four stars.

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Speaker 3: All right, let's see. Karing goes on to say, one

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Speaker 3: of the things I also love about Weird House is

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Speaker 3: how both of you have an immense talent for unpacking

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Speaker 3: a film and succinctly describing its concepts and themes. Therefore,

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Speaker 3: another film I would love to hear given the Weird

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Speaker 3: House treatment is a childhood favorite of mine. It's Terry

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Speaker 3: Gilliams The Adventures of Baron Munchausen. Many consider this film

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Speaker 3: to be an utter folly in the gilliam film catalog,

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Speaker 3: but I have a serious soft spot for this one.

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Speaker 3: It too, can be considered visually to be a ravishing spectacle,

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Speaker 3: full of amazing practical effects, brilliant sets, puppetry, costumes, and

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Speaker 3: so much more that leaves one thinking, how on earth

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Speaker 3: did they manage to get all this shot? This must

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Speaker 3: have been a nightmare to film, which apparently it was.

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Speaker 3: There's also an interesting tension I am sure you would

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Speaker 3: both like between the black and white childhood idea of myth, imagination, heroism,

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Speaker 3: and fantasy, and the adult gray world of reason, rationality, bureaucracy,

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Speaker 3: political expediency, and so forth. I really feel you would

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Speaker 3: both do an excellent job at unpacking this film with

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Speaker 3: its warts and all, discussing its production, themes, story, and

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Speaker 3: the rollicking good time it truly is. Thanks so much

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Speaker 3: for your excellent show, your gifts for science communication, your

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Speaker 3: respect for differing worldviews, and your love of pop culture

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Speaker 3: always keeps the show fun. Keep up the good work, Yours, sincerely, Kieran. Well,

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Speaker 3: thank you so much for all the kind words. Kieran,

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Speaker 3: It's been a long time since I've seen Baron Munchausen.

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Speaker 3: I remember back when I saw it, I both found

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Speaker 3: it difficult to watch and also really respected it, and

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Speaker 3: I think I had that thought about it more than

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Speaker 3: one Terry Gilliam film. It was some Gillian films I

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Speaker 3: just straight up love, but this one I remember thinking

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Speaker 3: it had some parts that were not the most gripping,

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Speaker 3: but also it had a lot of just weird integrity,

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Speaker 3: strange performances, like when it like Robin William This plays

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Speaker 3: the Man in the Moon on it and he's so

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Speaker 3: weird in it, and yeah, I don't know, there's been

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Speaker 3: a lot that I've forgotten about it by this point,

430
00:24:18,440 --> 00:24:20,320
Speaker 3: but I would like to go back and revisit it totally.

431
00:24:20,560 --> 00:24:23,000
Speaker 2: Yeah, we've never done a Terry Gilliam film for Weird

432
00:24:23,000 --> 00:24:26,680
Speaker 2: House Cinema, and it's of course he's on my mind

433
00:24:26,760 --> 00:24:29,639
Speaker 2: anytime we're coming up with selections. But I guess I

434
00:24:29,920 --> 00:24:32,080
Speaker 2: kind of have a certain amount of decision fatigue when

435
00:24:32,080 --> 00:24:35,120
Speaker 2: it comes to him, because he's made so many iconically

436
00:24:35,160 --> 00:24:38,960
Speaker 2: weird films like do I go with Brazil? Do I

437
00:24:39,000 --> 00:24:42,360
Speaker 2: go with Time Bandits? Do I go with this selection?

438
00:24:43,000 --> 00:24:46,800
Speaker 2: Do I maybe go a little further back, or do

439
00:24:46,880 --> 00:24:48,600
Speaker 2: I know, take a chance on one of the more

440
00:24:48,640 --> 00:24:51,200
Speaker 2: recent pictures, you know, because there's going to be something.

441
00:24:51,200 --> 00:24:53,480
Speaker 2: He's one of those directors where even in his quote

442
00:24:53,520 --> 00:24:56,679
Speaker 2: unquote lesser works, there's going to be something to talk about.

443
00:24:57,040 --> 00:24:59,879
Speaker 2: There's going to be some nugget of absolute gold in there.

444
00:25:00,320 --> 00:25:04,360
Speaker 2: So yeah, for that reason, never actually selected something from

445
00:25:04,400 --> 00:25:08,359
Speaker 2: his filmography. Jabberwakee, that's another one.

446
00:25:08,880 --> 00:25:10,800
Speaker 3: I saw that one when I was way too young.

447
00:25:10,920 --> 00:25:13,679
Speaker 3: I did not I did not fully get the vision

448
00:25:13,760 --> 00:25:17,600
Speaker 3: I think at the time. But yeah, I think when

449
00:25:17,600 --> 00:25:19,919
Speaker 3: I saw that, I had also seen Monty Python in

450
00:25:19,960 --> 00:25:21,800
Speaker 3: The Holy Grail when I was really too young to

451
00:25:21,880 --> 00:25:24,879
Speaker 3: have seen that, and I was like, I just wanted

452
00:25:24,880 --> 00:25:28,120
Speaker 3: another movie like that, and Jabberwaukee was like weirder than

453
00:25:28,320 --> 00:25:29,320
Speaker 3: what I was bargaining for.

454
00:25:29,880 --> 00:25:31,800
Speaker 2: Yeah, I mean, when you talk about the vision with

455
00:25:31,880 --> 00:25:35,480
Speaker 2: Terry Gilliam, it's always a mad vision, So I think

456
00:25:35,520 --> 00:25:37,280
Speaker 2: it's always going to be a little bit challenging one

457
00:25:37,280 --> 00:25:37,840
Speaker 2: way or another.

458
00:25:38,200 --> 00:25:40,000
Speaker 3: All Right, you want to do some straight up weird

459
00:25:40,040 --> 00:25:40,760
Speaker 3: house messages.

460
00:25:41,200 --> 00:25:44,119
Speaker 2: Sure, Sure, let's see what do we have here. This

461
00:25:44,160 --> 00:25:48,240
Speaker 2: one comes to us from Scott subject line mor Locke perspective.

462
00:25:48,800 --> 00:25:51,399
Speaker 2: This is, of course a response to our episode on

463
00:25:51,440 --> 00:25:59,560
Speaker 2: the nineteen sixty film adaptation of The Time Machine. Hi,

464
00:25:59,640 --> 00:26:02,840
Speaker 2: Robert Joe. You'll doubtless here from many people on this,

465
00:26:03,040 --> 00:26:05,639
Speaker 2: but there is a story of the time traveler's adventures

466
00:26:05,800 --> 00:26:10,040
Speaker 2: from the Morlocks perspective. David Lake's nineteen eighty one novel

467
00:26:10,359 --> 00:26:13,000
Speaker 2: The Man Who Loved Morlocks. It's been a while since

468
00:26:13,040 --> 00:26:16,200
Speaker 2: I read it, but must confess it didn't seem highly memorable,

469
00:26:17,000 --> 00:26:20,040
Speaker 2: in part because the Morlocks weren't presented as sufficiently alien

470
00:26:20,119 --> 00:26:22,920
Speaker 2: in their psychology and culture as I would have expected

471
00:26:22,920 --> 00:26:26,399
Speaker 2: from post humans after eight hundred thousand years of evolution. Instead,

472
00:26:26,440 --> 00:26:28,760
Speaker 2: they seem more or less like very normal human beings

473
00:26:28,800 --> 00:26:32,280
Speaker 2: who had simply been misunderstood by a plundering traveler. But

474
00:26:32,359 --> 00:26:35,920
Speaker 2: perhaps other readers have different and more positive reviews.

475
00:26:36,080 --> 00:26:40,280
Speaker 3: Scott, Yeah, you know, I'm actually of two minds about

476
00:26:40,280 --> 00:26:43,760
Speaker 3: the idea of taking, you know, doing a whole treatment

477
00:26:43,800 --> 00:26:47,160
Speaker 3: of a story where you flip the hero villain dynamic.

478
00:26:47,920 --> 00:26:50,120
Speaker 3: You know, there's like that classic example we've talked about

479
00:26:50,119 --> 00:26:52,159
Speaker 3: on the show before. I've actually not read this novel,

480
00:26:52,200 --> 00:26:56,399
Speaker 3: but there's that famous take on Lord of the Rings

481
00:26:56,440 --> 00:26:58,439
Speaker 3: which flips it all around, which is like from the

482
00:26:58,600 --> 00:27:01,679
Speaker 3: Orc's perspective, and the org are actually like nice people

483
00:27:01,720 --> 00:27:04,119
Speaker 3: who are just like trying to live in peace, and

484
00:27:04,160 --> 00:27:07,560
Speaker 3: they are being brutally assaulted by the wizards and the elves,

485
00:27:07,640 --> 00:27:11,800
Speaker 3: and so it's the kind of thing where that can

486
00:27:11,960 --> 00:27:15,600
Speaker 3: be really interesting if you have an interesting take on it.

487
00:27:16,119 --> 00:27:18,360
Speaker 3: But it could also be too easy, right you could

488
00:27:18,440 --> 00:27:20,720
Speaker 3: just say, like I'm just gonna flip everything and then

489
00:27:21,240 --> 00:27:23,520
Speaker 3: maybe not bring a lot of imagination to it. It

490
00:27:23,680 --> 00:27:26,040
Speaker 3: literally is just flipping everything. I'm not acute, by the way,

491
00:27:26,080 --> 00:27:29,000
Speaker 3: I haven't read this book, so I'm not accusing David

492
00:27:29,080 --> 00:27:31,560
Speaker 3: Lake of doing that. I don't have an opinion on it,

493
00:27:31,640 --> 00:27:36,720
Speaker 3: but I can see how a hero hero villain flipping

494
00:27:36,760 --> 00:27:40,959
Speaker 3: novel could easily be actually kind of unremarkable or uninteresting.

495
00:27:41,560 --> 00:27:44,040
Speaker 2: Yeah, you would have to play it just right, and

496
00:27:44,040 --> 00:27:46,320
Speaker 2: and they're different. It also comes down to like, exactly

497
00:27:46,320 --> 00:27:48,040
Speaker 2: what sort of story are you trying to tell? What

498
00:27:48,080 --> 00:27:50,479
Speaker 2: sort of points are you trying to make about the

499
00:27:50,520 --> 00:27:54,200
Speaker 2: more locks or or the other factions or characters in

500
00:27:54,280 --> 00:27:57,320
Speaker 2: the narrative. So yeah, yeah, I was not familiar with

501
00:27:57,359 --> 00:28:01,080
Speaker 2: this book though, or really this particular author. I noticed

502
00:28:01,119 --> 00:28:03,800
Speaker 2: that he also wrote another book, The Truth about Weena,

503
00:28:03,880 --> 00:28:05,040
Speaker 2: from nineteen ninety eight.

504
00:28:06,280 --> 00:28:08,800
Speaker 3: I wonder if that's a Is that a sequel to the.

505
00:28:09,160 --> 00:28:11,000
Speaker 2: I guess so, or at least it's you know, it's

506
00:28:11,040 --> 00:28:12,880
Speaker 2: within the time Machine universe.

507
00:28:13,200 --> 00:28:16,040
Speaker 3: Yeah, yeah, I may have already said this a minute ago,

508
00:28:16,080 --> 00:28:17,600
Speaker 3: But the more I'm thinking about it, the more it's

509
00:28:17,640 --> 00:28:19,720
Speaker 3: just like, for a story to work this way, you

510
00:28:19,760 --> 00:28:22,000
Speaker 3: have to find some way to make it original. It

511
00:28:22,000 --> 00:28:24,760
Speaker 3: can't just be the same story. But actually the bad

512
00:28:24,760 --> 00:28:27,120
Speaker 3: guys are the good guys, you know, it would need

513
00:28:27,160 --> 00:28:29,440
Speaker 3: to bring something new or creative.

514
00:28:29,840 --> 00:28:31,880
Speaker 2: Yeah, I mean, we can all think of stellar examples

515
00:28:31,880 --> 00:28:34,399
Speaker 2: of this. For example, one that we've mentioned on the

516
00:28:34,400 --> 00:28:37,199
Speaker 2: show many times is John Gardner's Grindle, which tells the

517
00:28:37,200 --> 00:28:40,520
Speaker 2: story of Bailwil from the monstrous perspective. But yeah, like

518
00:28:40,560 --> 00:28:45,280
Speaker 2: that's an excellent treatment, an excellent use of this basic

519
00:28:45,360 --> 00:28:50,080
Speaker 2: flip the script method. So not every not every flipping

520
00:28:50,120 --> 00:28:52,760
Speaker 2: of the script is going to be as good as Grindle.

521
00:28:53,040 --> 00:28:55,960
Speaker 3: And it's basically a new story. It's yeah, just yeah,

522
00:28:56,080 --> 00:28:59,480
Speaker 3: all right. This next message is from Matt subject line

523
00:28:59,520 --> 00:29:08,600
Speaker 3: of Vertue. Hey, Robin, Joe, Matt here, just listen to

524
00:29:08,600 --> 00:29:11,520
Speaker 3: your Vault episode on Black Sabbath. And I was wondering

525
00:29:11,960 --> 00:29:14,680
Speaker 3: if you have seen the twenty twenty three Oh, by

526
00:29:14,680 --> 00:29:17,200
Speaker 3: the way, that's the Mario Bava film Black Sabbath, not

527
00:29:17,240 --> 00:29:20,000
Speaker 3: the band, though the band got their name from the

528
00:29:20,000 --> 00:29:23,640
Speaker 3: title of the film, seeing it on a marquee, but yes,

529
00:29:24,440 --> 00:29:26,560
Speaker 3: let's see, Matt says, I was wondering if you have

530
00:29:26,680 --> 00:29:30,000
Speaker 3: seen the twenty twenty three French horror film The Verduolac,

531
00:29:30,320 --> 00:29:33,840
Speaker 3: directed by Adrian bo. It is a weird and creepy

532
00:29:33,920 --> 00:29:38,000
Speaker 3: new adaptation of Alexei Tolstoy's story. I loved the Black

533
00:29:38,040 --> 00:29:41,120
Speaker 3: Sabbath vignette, but it's interesting to see the story through

534
00:29:41,160 --> 00:29:44,520
Speaker 3: the lens of a modern filmmaker. I was particularly weirded

535
00:29:44,520 --> 00:29:47,560
Speaker 3: out by the use of vampire folklore regarding the chewing

536
00:29:47,640 --> 00:29:50,920
Speaker 3: of garments on a different Black Sabbath topic. I have

537
00:29:51,000 --> 00:29:53,960
Speaker 3: seen two different versions, both of which I believe were

538
00:29:54,040 --> 00:29:56,959
Speaker 3: dubbed into English. It's been some years since I watched it,

539
00:29:57,040 --> 00:30:00,000
Speaker 3: but I think the alternate version of the telephone, which

540
00:30:00,120 --> 00:30:02,960
Speaker 3: is one of the segments in the movie, the more

541
00:30:03,080 --> 00:30:08,200
Speaker 3: jallowy one with less supernatural elements. Matt says it removed

542
00:30:08,280 --> 00:30:11,560
Speaker 3: all reference to lesbian relationships and had the phone calls

543
00:30:11,600 --> 00:30:15,440
Speaker 3: coming from the main character's dead husband. I imagine that

544
00:30:15,480 --> 00:30:19,320
Speaker 3: would be the American International Pictures release. Anyway, I love

545
00:30:19,400 --> 00:30:23,280
Speaker 3: the show and look forward to future episodes. Matt oh Man,

546
00:30:23,320 --> 00:30:27,320
Speaker 3: I can't imagine a bowdlerized version of Black Sabbath. That

547
00:30:27,320 --> 00:30:27,960
Speaker 3: seems wrong.

548
00:30:28,480 --> 00:30:35,160
Speaker 2: Yeah. Absolutely. Now, as for this twenty twenty three film, yes, well, no,

549
00:30:35,160 --> 00:30:37,840
Speaker 2: no one. Yes, no, I have not seen it, but yes,

550
00:30:37,880 --> 00:30:40,280
Speaker 2: I'm familiar with it because this one has been eyeing

551
00:30:40,320 --> 00:30:43,520
Speaker 2: me from the shelves at Video Drum here in Atlanta

552
00:30:43,600 --> 00:30:48,600
Speaker 2: for a while. It looks like a unique treatment on

553
00:30:48,640 --> 00:30:52,480
Speaker 2: the vampire legend with live action and what I believe

554
00:30:52,560 --> 00:30:55,920
Speaker 2: puppetry or stop motion, one or both of the two

555
00:30:56,120 --> 00:30:58,200
Speaker 2: used to depict the titular monster.

556
00:30:58,640 --> 00:31:02,160
Speaker 3: I have not seen it, but I'm very interested. JJ

557
00:31:02,320 --> 00:31:04,480
Speaker 3: has seen it, by the way. I remembered that because

558
00:31:04,520 --> 00:31:06,480
Speaker 3: he had brought it up with me in the past.

559
00:31:06,520 --> 00:31:08,680
Speaker 3: But JJ just confirmed he thinks it would be a

560
00:31:08,680 --> 00:31:11,480
Speaker 3: good weird house movie. So that's a couple of votes

561
00:31:11,480 --> 00:31:12,040
Speaker 3: in its favor.

562
00:31:12,360 --> 00:31:22,200
Speaker 2: Excellent, all right. The next one comes to us from

563
00:31:22,280 --> 00:31:24,840
Speaker 2: Doug and in this one, he's writing in response to

564
00:31:24,880 --> 00:31:27,440
Speaker 2: our Weird House Cinema episode on Willy Wonka and the

565
00:31:27,480 --> 00:31:30,360
Speaker 2: Chocolate Factory. He says, cap this podcast on a whim

566
00:31:30,400 --> 00:31:33,080
Speaker 2: and absolutely loved it. Willy Wonka in the Chocolate Factory

567
00:31:33,120 --> 00:31:35,640
Speaker 2: is one of my most favorite films. I used to

568
00:31:35,640 --> 00:31:39,080
Speaker 2: torture my children with on movie nights. They're all grown now,

569
00:31:39,120 --> 00:31:41,440
Speaker 2: and I hope to share it with the grandkids someday.

570
00:31:42,160 --> 00:31:44,600
Speaker 2: And although the film is over fifty years old, it

571
00:31:44,640 --> 00:31:47,520
Speaker 2: seems much of its content is still relatable. Candy and

572
00:31:47,560 --> 00:31:50,560
Speaker 2: imagination never go out of style. The over the top

573
00:31:50,560 --> 00:31:53,160
Speaker 2: performance of Gene Wilder and the dream like songs are

574
00:31:53,200 --> 00:31:55,880
Speaker 2: timeless masterpieces. This is one of the few movies I

575
00:31:55,960 --> 00:31:59,000
Speaker 2: keep on DVD to have accessible. Hopefully we don't lose

576
00:31:59,080 --> 00:32:00,320
Speaker 2: DVD players too, so.

577
00:32:00,960 --> 00:32:04,600
Speaker 3: The market for them is has already greatly narrowed. But

578
00:32:04,680 --> 00:32:08,640
Speaker 3: you can still, to my relief, watch films on disc

579
00:32:08,680 --> 00:32:11,480
Speaker 3: and you can still get new players. I hope that's

580
00:32:11,480 --> 00:32:14,360
Speaker 3: something that comes back. I hope we just haven't like

581
00:32:14,480 --> 00:32:16,720
Speaker 3: given up and let the streamers fully win.

582
00:32:17,520 --> 00:32:19,640
Speaker 2: No, absolutely, and I think once I think most of

583
00:32:19,680 --> 00:32:22,520
Speaker 2: you are beginning to realize, if you're not already one

584
00:32:22,560 --> 00:32:25,440
Speaker 2: hundred percent on board of this already, that having access

585
00:32:25,480 --> 00:32:29,000
Speaker 2: to physical media means you have access to your media

586
00:32:29,520 --> 00:32:32,520
Speaker 2: that you can count on long term. And that's why

587
00:32:32,560 --> 00:32:34,640
Speaker 2: if you have some sort of a video store in

588
00:32:34,680 --> 00:32:39,360
Speaker 2: your cities, like certainly support and chaerish it because there

589
00:32:39,360 --> 00:32:43,080
Speaker 2: can and and beyond that as well also your libraries,

590
00:32:43,640 --> 00:32:46,440
Speaker 2: whatever disks are available to your libraries. This this is

591
00:32:46,480 --> 00:32:51,320
Speaker 2: absolutely worth worth supporting and getting behind, because yeah, otherwise

592
00:32:51,360 --> 00:32:53,640
Speaker 2: it's just completely up in the air, like, well, will

593
00:32:53,640 --> 00:32:56,640
Speaker 2: this film be available streaming next week, next month? You

594
00:32:56,680 --> 00:32:58,719
Speaker 2: don't know, And then if it is, what version will

595
00:32:58,800 --> 00:33:04,000
Speaker 2: it be in what voices in the world might influence

596
00:33:04,280 --> 00:33:06,840
Speaker 2: what cut of a film you get to see later on.

597
00:33:07,600 --> 00:33:11,840
Speaker 2: So yeah, these are all excellent reasons to look after

598
00:33:11,920 --> 00:33:14,120
Speaker 2: your films and make sure you have access to them,

599
00:33:14,160 --> 00:33:15,280
Speaker 2: to them the way you want them.

600
00:33:15,480 --> 00:33:18,000
Speaker 3: Yeah. Here here by the way, if you want to

601
00:33:18,000 --> 00:33:21,640
Speaker 3: write in and let us know about your local video

602
00:33:21,720 --> 00:33:24,000
Speaker 3: rental store. If you've got something like a video drome

603
00:33:24,160 --> 00:33:26,680
Speaker 3: or like a future shock video in your hometown and

604
00:33:26,720 --> 00:33:28,080
Speaker 3: you want to write in and tell us about it

605
00:33:28,160 --> 00:33:31,040
Speaker 3: what you love about it, please do contact at stuff

606
00:33:31,080 --> 00:33:32,400
Speaker 3: to Blow your Mind dot com.

607
00:33:32,840 --> 00:33:37,000
Speaker 2: Absolutely anyway. Doug continues here and says, when Charlie and

608
00:33:37,040 --> 00:33:39,320
Speaker 2: the Chocolate Factory came out, I was excited to see

609
00:33:39,320 --> 00:33:43,400
Speaker 2: a modernization of Willy Wonka, Tim Burton and Johnny Depp.

610
00:33:43,440 --> 00:33:44,600
Speaker 2: What a perfect combination.

611
00:33:45,360 --> 00:33:45,880
Speaker 3: Or was it?

612
00:33:46,200 --> 00:33:49,080
Speaker 2: I don't know. It was filled with imagination and depths

613
00:33:49,120 --> 00:33:51,600
Speaker 2: over the top performance, but it lacked the connection with

614
00:33:51,640 --> 00:33:54,840
Speaker 2: the audience, and maybe I wasn't the right audience. I

615
00:33:54,840 --> 00:33:57,320
Speaker 2: don't know. It never connected with me. Thank you so

616
00:33:57,400 --> 00:33:59,840
Speaker 2: much for the imaginative distraction. It was fun going down

617
00:33:59,880 --> 00:34:03,840
Speaker 2: the road today, Doug. Yeah, it sounds like Doug was

618
00:34:04,120 --> 00:34:05,840
Speaker 2: pretty much in the same boat as we were with

619
00:34:05,880 --> 00:34:09,239
Speaker 2: the Tim Burton Willy Wonka picture. Like, you know, was

620
00:34:09,280 --> 00:34:13,040
Speaker 2: it creative that certainly that it has some really neat

621
00:34:13,520 --> 00:34:18,080
Speaker 2: sets and costumes and so forth. Yeah, absolutely, But yeah,

622
00:34:18,120 --> 00:34:20,680
Speaker 2: I can also say it didn't really stick with me

623
00:34:21,000 --> 00:34:22,680
Speaker 2: in the same way that the original did.

624
00:34:23,120 --> 00:34:26,120
Speaker 3: Yeah. Yeah, I mean I can totally love a Burton

625
00:34:26,640 --> 00:34:29,360
Speaker 3: depth collab. I mean, the movie ed Wood is a

626
00:34:29,360 --> 00:34:32,759
Speaker 3: long time one of my favorites. This is great, but yeah,

627
00:34:32,840 --> 00:34:35,280
Speaker 3: this one never never looked like something I could endure.

628
00:34:37,200 --> 00:34:40,600
Speaker 3: All right, This next message is from Bert. Oh I

629
00:34:40,600 --> 00:34:42,440
Speaker 3: didn't check to see Is this the same bird as

630
00:34:42,440 --> 00:34:45,120
Speaker 3: our previous Burt message or a different Bert. I'm not sure,

631
00:34:45,480 --> 00:34:47,720
Speaker 3: but this is also about Charlie and the Chocolate Factory,

632
00:34:48,880 --> 00:34:52,000
Speaker 3: or actually it's about Willy Wonka and the Chocolate Factory

633
00:34:52,000 --> 00:34:59,799
Speaker 3: because it's the movie. Bert says, there was so much

634
00:35:00,000 --> 00:35:01,640
Speaker 3: I wanted to say as you went through the movie,

635
00:35:01,640 --> 00:35:04,360
Speaker 3: but I was driving and couldn't take notes. So Bert,

636
00:35:04,360 --> 00:35:07,239
Speaker 3: I'm glad you didn't, so I will limit myself to

637
00:35:07,280 --> 00:35:10,640
Speaker 3: two observations. First, I think all of the children actually

638
00:35:10,680 --> 00:35:15,080
Speaker 3: suffer from the same problem obsession. Augustas Gloup is obsessed

639
00:35:15,120 --> 00:35:19,160
Speaker 3: with food, Veruk Assault is obsessed with herself, Violet Beauregard

640
00:35:19,239 --> 00:35:22,440
Speaker 3: is obsessed with gum Man gum That is a pretty

641
00:35:22,520 --> 00:35:27,280
Speaker 3: narrow obsession, and Mike TV is obsessed with TV only

642
00:35:27,400 --> 00:35:31,759
Speaker 3: Charlie doesn't have any obsessions. The second observation I'd like

643
00:35:31,840 --> 00:35:34,160
Speaker 3: to make is I love your take on Willy Wonka

644
00:35:34,239 --> 00:35:38,960
Speaker 3: as a proto supernatural character, possibly with supernatural enemies, he

645
00:35:39,000 --> 00:35:42,400
Speaker 3: has to contend with sort of a mister Rourke of

646
00:35:42,440 --> 00:35:45,280
Speaker 3: the candy world. I think that's referring to the Ricardo

647
00:35:45,360 --> 00:35:49,160
Speaker 3: Montlebond character on Fantasy Island who can make your fantasies

648
00:35:49,200 --> 00:35:52,880
Speaker 3: come true, has a supernatural kind of quality, a mister

649
00:35:53,000 --> 00:35:55,600
Speaker 3: Rourke of the candy world. Just as we eventually learned

650
00:35:55,640 --> 00:35:59,239
Speaker 3: that mister Rourke is a direct opponent of Satan, we

651
00:35:59,280 --> 00:36:02,799
Speaker 3: could possibly learned that in the future that Slugworth is

652
00:36:02,880 --> 00:36:07,360
Speaker 3: actually the Evil County counterpart to Willy Wonka. Oh, like

653
00:36:07,760 --> 00:36:11,440
Speaker 3: a demonic candy maker of the rival company. Yeah, I

654
00:36:11,440 --> 00:36:13,439
Speaker 3: guess not the Slugworth we see in the movie, because

655
00:36:13,480 --> 00:36:16,520
Speaker 3: that was a counterfeit slug Worth that was actually a

656
00:36:16,560 --> 00:36:20,360
Speaker 3: servant of the Lord opposing as a demon. But Bert

657
00:36:20,400 --> 00:36:22,560
Speaker 3: finishes by saying I'm not an author, but I may

658
00:36:22,640 --> 00:36:24,080
Speaker 3: have to try to write that story.

659
00:36:25,200 --> 00:36:25,480
Speaker 2: Bert.

660
00:36:25,560 --> 00:36:28,480
Speaker 3: Go for it, man, Yeah, nothing to stop you.

661
00:36:29,000 --> 00:36:32,600
Speaker 2: Slug Worth does show up in the recent Wonka film,

662
00:36:32,640 --> 00:36:36,279
Speaker 2: twenty twenty three's Wonka. Oh, and you know they don't

663
00:36:36,280 --> 00:36:39,640
Speaker 2: really play up the magical mystical aspects of this character,

664
00:36:39,760 --> 00:36:44,320
Speaker 2: but he is played by the excellent Patterson Joseph. So again,

665
00:36:44,880 --> 00:36:46,960
Speaker 2: you know, I wouldn't say that twenty twenty three's Wonka

666
00:36:47,000 --> 00:36:50,240
Speaker 2: is on the same level as the original Willy Wonka

667
00:36:50,480 --> 00:36:52,759
Speaker 2: picture for me personally, but I thought it was a

668
00:36:52,760 --> 00:36:53,279
Speaker 2: lot of fun.

669
00:36:53,680 --> 00:36:55,440
Speaker 3: I haven't seen it, can't comment.

670
00:36:55,880 --> 00:36:57,640
Speaker 2: All right, This next one comes to us from Amy,

671
00:36:57,719 --> 00:37:00,600
Speaker 2: and this one is going to be a correction. And

672
00:37:00,800 --> 00:37:03,239
Speaker 2: I just want to note here that JJ and I

673
00:37:03,280 --> 00:37:06,239
Speaker 2: have already gone back to our episode and plugged in

674
00:37:07,200 --> 00:37:09,959
Speaker 2: a little note about this. So the correction is also

675
00:37:10,080 --> 00:37:18,319
Speaker 2: present in the Weird House Cinema episode moving forward. So

676
00:37:18,440 --> 00:37:21,160
Speaker 2: Amy says, hi, guys, I listened to you every single morning,

677
00:37:21,160 --> 00:37:22,760
Speaker 2: and I was delighted to hear you do WILLI walcome

678
00:37:22,800 --> 00:37:25,319
Speaker 2: the chocolate factory on Weird House? And I never want

679
00:37:25,360 --> 00:37:27,000
Speaker 2: to be a nitpicker, but I wanted to let you

680
00:37:27,040 --> 00:37:30,839
Speaker 2: know before you get the will actually people talking about

681
00:37:30,880 --> 00:37:34,600
Speaker 2: Gene Wilder, you mentioned Blazing Saddles best comedy ever and

682
00:37:34,760 --> 00:37:37,640
Speaker 2: said it quote would lead to four more films with

683
00:37:37,719 --> 00:37:41,440
Speaker 2: Richard Pryor. Richard Pryor was set to star in Blazing Saddles,

684
00:37:41,600 --> 00:37:44,840
Speaker 2: but he was too spicy for the producers. Cleveland Little

685
00:37:44,880 --> 00:37:47,560
Speaker 2: replaced him and hit it out of the park. Thank

686
00:37:47,600 --> 00:37:50,560
Speaker 2: you for attending Mike cleveland Little fan Club meeting. Love

687
00:37:50,600 --> 00:37:51,080
Speaker 2: you guys.

688
00:37:51,360 --> 00:37:54,600
Speaker 3: Amy. Yeah, so, I did not know that Richard Pryor

689
00:37:54,640 --> 00:37:56,759
Speaker 3: had been in the running to play the lead in

690
00:37:56,840 --> 00:37:59,440
Speaker 3: Blazing Saddles. He was one of the screenwriters on the movie,

691
00:37:59,600 --> 00:38:03,960
Speaker 3: but apparently he was also Melbrooks's original choice to play

692
00:38:04,120 --> 00:38:07,400
Speaker 3: the lead the character of bart. Brooks himself has claimed

693
00:38:07,400 --> 00:38:09,680
Speaker 3: in multiple accounts that even though he wanted prior for

694
00:38:09,719 --> 00:38:13,160
Speaker 3: the role, the executives at Warner Brothers would not allow

695
00:38:13,200 --> 00:38:15,960
Speaker 3: it because they said he was uninsurable due to previous

696
00:38:16,080 --> 00:38:19,319
Speaker 3: drug arrests. I don't know if that story is true.

697
00:38:19,320 --> 00:38:21,719
Speaker 3: It had like it's never been confirmed by anybody on

698
00:38:21,719 --> 00:38:24,360
Speaker 3: the Warner Brothers side, but that's what Melbrooks always said.

699
00:38:24,920 --> 00:38:27,879
Speaker 3: Though apparently after he was ruled out for the role,

700
00:38:27,920 --> 00:38:30,120
Speaker 3: prior did recommend Cleveland Little.

701
00:38:29,800 --> 00:38:32,560
Speaker 2: For the role. Yeah, yeah, and true enough, he's great

702
00:38:32,600 --> 00:38:34,960
Speaker 2: in it. Yeah, real quick. I want to throw in

703
00:38:35,000 --> 00:38:38,080
Speaker 2: a note here that, of course, the Willywalk episode of

704
00:38:38,080 --> 00:38:40,800
Speaker 2: Weird House I dedicated to my mom, who had passed

705
00:38:40,800 --> 00:38:43,680
Speaker 2: away the month before. A number of you heard that

706
00:38:43,760 --> 00:38:46,480
Speaker 2: and wrote in with some very nice comments, and I

707
00:38:46,520 --> 00:38:48,200
Speaker 2: just want to just want to say I appreciate it.

708
00:38:48,800 --> 00:38:50,480
Speaker 2: All right, Joe, I'm going to pass it back to you.

709
00:38:50,520 --> 00:38:53,480
Speaker 2: Here we have an excellent one from Lindsay here. Lindsay's

710
00:38:54,080 --> 00:38:57,000
Speaker 2: listener mail writing is kind of like a work of poetry,

711
00:38:57,040 --> 00:38:58,360
Speaker 2: a little stream of consciousness.

712
00:38:58,360 --> 00:39:08,520
Speaker 3: Here Lindsey says, hey, y'all think about Grizzly too. Weird

713
00:39:08,560 --> 00:39:12,040
Speaker 3: stuff around it. Shot in nineteen eighty three, finally released

714
00:39:12,040 --> 00:39:16,000
Speaker 3: in twenty twenty. Shot in Hungary, portraying a nineteen eighty

715
00:39:16,040 --> 00:39:19,760
Speaker 3: three music festival in a US national park. Evil promoter

716
00:39:19,920 --> 00:39:24,320
Speaker 3: played by Louise Fletcher, very young, George Clooney, Charlie Sheen,

717
00:39:24,440 --> 00:39:29,240
Speaker 3: Laura Dern, John ry S Davies as a French frontier trapper,

718
00:39:29,760 --> 00:39:34,400
Speaker 3: bad accent, fringe, buckskin single shot twelve Gage with native decorations,

719
00:39:34,880 --> 00:39:38,880
Speaker 3: A bunch of other eighties character actor names awful film errors,

720
00:39:38,880 --> 00:39:42,480
Speaker 3: showing a cartridge flying as a bullet kickstarting an entirely

721
00:39:42,520 --> 00:39:47,480
Speaker 3: different motorcycle from when he was riding National Park jeep

722
00:39:47,520 --> 00:39:50,960
Speaker 3: with government plates, several brit bands, and what I think

723
00:39:51,080 --> 00:39:54,719
Speaker 3: was a Hungarian rock band singing in Hungarian. I have

724
00:39:54,760 --> 00:39:57,040
Speaker 3: a pretty high tolerance for weird, but this one was

725
00:39:57,160 --> 00:40:00,360
Speaker 3: off the charts. Has to be a twisted story behind it,

726
00:40:00,440 --> 00:40:04,520
Speaker 3: somewhere right on Lindsey WHOA.

727
00:40:05,280 --> 00:40:10,880
Speaker 2: Will color me intrigued interested putting it on the list exactly?

728
00:40:11,680 --> 00:40:13,520
Speaker 2: All right? Here's another one. This one comes to us

729
00:40:13,520 --> 00:40:16,480
Speaker 2: from Ian and says, dear Robin Joe, I wanted to

730
00:40:16,480 --> 00:40:18,680
Speaker 2: write in to suggest a movie for weird house Cinema,

731
00:40:18,719 --> 00:40:22,600
Speaker 2: The Adventures of Buckeroo Bonzai Across the Eighth Dimension. Somehow

732
00:40:22,719 --> 00:40:25,120
Speaker 2: I had managed to never hear of this movie, despite

733
00:40:25,160 --> 00:40:27,879
Speaker 2: being a child of the eighties and it apparently being

734
00:40:27,920 --> 00:40:30,799
Speaker 2: a cult classic from that era, until my wife and

735
00:40:30,840 --> 00:40:33,040
Speaker 2: I stumbled across it on Amazon Prime the other day,

736
00:40:33,080 --> 00:40:35,760
Speaker 2: and boy was it a treat. You have Peter Weller

737
00:40:35,920 --> 00:40:39,520
Speaker 2: and Jeff Goldbloom battling rubber suit aliens from another dimension

738
00:40:39,600 --> 00:40:42,840
Speaker 2: led by an evil John Lithgow It's campy and janki

739
00:40:42,920 --> 00:40:45,440
Speaker 2: and borderline nonsensical, and a joy from the start to

740
00:40:45,480 --> 00:40:48,400
Speaker 2: the finish. The one thing that disappointed me about the

741
00:40:48,440 --> 00:40:52,360
Speaker 2: movie was that the sequel promised and the credits never materialized.

742
00:40:52,800 --> 00:40:55,560
Speaker 2: Though Buckeroo Bonzai against the World of Crime does sound

743
00:40:55,600 --> 00:40:58,799
Speaker 2: like a step down from fighting trans dimensional aliens, that

744
00:40:59,040 --> 00:41:01,359
Speaker 2: travesty aside. I would love to hear y'all discuss it.

745
00:41:01,400 --> 00:41:04,200
Speaker 2: Your thoughts are always a treat. Thanks for the great show,

746
00:41:04,400 --> 00:41:05,320
Speaker 2: Ian I.

747
00:41:05,400 --> 00:41:08,680
Speaker 3: This is a wonderful suggestion. John Smallberry's must be heard.

748
00:41:10,360 --> 00:41:12,360
Speaker 2: And I also have to say I do in general

749
00:41:12,480 --> 00:41:16,120
Speaker 2: love love slash hate it. It's a it's a mix

750
00:41:16,160 --> 00:41:17,960
Speaker 2: of feelings. When you have a film set up a

751
00:41:18,000 --> 00:41:20,839
Speaker 2: sequel that sounds really cool and it never happens, Yeah

752
00:41:21,960 --> 00:41:24,960
Speaker 2: every time. It's like when you do that, you create

753
00:41:25,040 --> 00:41:28,560
Speaker 2: an alternate timeline where that movie exists and we can

754
00:41:28,600 --> 00:41:31,759
Speaker 2: only dream what ourselves are like in that timeline.

755
00:41:32,800 --> 00:41:34,840
Speaker 3: Can I can I offer a counter opinion though this

756
00:41:34,960 --> 00:41:36,719
Speaker 3: maybe this is the love half of your love hate

757
00:41:36,719 --> 00:41:40,200
Speaker 3: relationship with this. I have come, as I've gotten older,

758
00:41:40,320 --> 00:41:44,439
Speaker 3: more and more to appreciate all the different varieties of

759
00:41:44,960 --> 00:41:49,359
Speaker 3: something leaving you wanting more. I think that's actually a

760
00:41:49,400 --> 00:41:52,239
Speaker 3: good thing. And I when I was younger, I would

761
00:41:52,280 --> 00:41:55,600
Speaker 3: be more inclined to be upset that there could have

762
00:41:55,680 --> 00:41:58,719
Speaker 3: been more that we didn't get, and now to kind

763
00:41:58,760 --> 00:42:02,240
Speaker 3: of feel positive, feel kind of like love and gratefulness

764
00:42:02,280 --> 00:42:04,759
Speaker 3: when all there is is enough to make me want

765
00:42:04,840 --> 00:42:08,400
Speaker 3: more instead of there being more that isn't what I want.

766
00:42:09,120 --> 00:42:11,759
Speaker 2: Yeah, yeah, I mean that's isn't that always the case

767
00:42:11,760 --> 00:42:12,439
Speaker 2: with life? Right?

768
00:42:12,520 --> 00:42:13,160
Speaker 3: Yeah?

769
00:42:13,200 --> 00:42:16,560
Speaker 2: We have to have to be glad that it happened,

770
00:42:17,040 --> 00:42:20,000
Speaker 2: not sad that it's over, and so forth, be happy

771
00:42:20,080 --> 00:42:22,760
Speaker 2: with the film you got, and yeah, be be glad

772
00:42:22,760 --> 00:42:25,040
Speaker 2: that it left while people were still wanting it to stay.

773
00:42:26,120 --> 00:42:28,920
Speaker 2: But of course the counter argument there is, oh, well,

774
00:42:29,200 --> 00:42:31,760
Speaker 2: I guess you didn't need aliens. I guess you didn't

775
00:42:31,760 --> 00:42:35,320
Speaker 2: need terminator too. I guess you didn't need scanners to

776
00:42:36,280 --> 00:42:38,759
Speaker 2: Well maybe we didn't need scanners too, But at any rate,

777
00:42:39,719 --> 00:42:42,719
Speaker 2: there needed scanner cop We did did we do We

778
00:42:42,719 --> 00:42:43,600
Speaker 2: didn't do scanner cop?

779
00:42:43,880 --> 00:42:45,319
Speaker 3: No, we didn't do it. On the show I said

780
00:42:45,320 --> 00:42:46,359
Speaker 3: we needed scanner, we.

781
00:42:46,320 --> 00:42:50,239
Speaker 2: Needed scanner cop and scanners too. Was the the the

782
00:42:50,239 --> 00:42:56,040
Speaker 2: the the bridge? So yeah, I mean it all works

783
00:42:56,040 --> 00:42:56,839
Speaker 2: out in the wash for.

784
00:42:56,800 --> 00:43:00,640
Speaker 3: Sure, all right, Well, so you want me to do

785
00:43:00,680 --> 00:43:04,440
Speaker 3: this last one from Jeff? Sure, all right, Jeff says

786
00:43:04,680 --> 00:43:08,040
Speaker 3: a subject line bad to the Bones, and note, by

787
00:43:08,040 --> 00:43:09,799
Speaker 3: the way, this came up probably in response to our

788
00:43:09,800 --> 00:43:11,839
Speaker 3: episode on Sinbad and the Eye of the Tiger, because

789
00:43:11,840 --> 00:43:14,839
Speaker 3: it's about Ray Harry Housen. That movie has a bunch

790
00:43:14,880 --> 00:43:17,960
Speaker 3: of great stop motion effects by Ray Harry Housen, including

791
00:43:18,000 --> 00:43:20,560
Speaker 3: some skeleton ghouls which are raised up out of a

792
00:43:20,600 --> 00:43:23,200
Speaker 3: bonfire by the Witch Queens and Obia. They're sent to

793
00:43:23,200 --> 00:43:26,560
Speaker 3: destroy Sindbad, which leads to a cool sword fight scene.

794
00:43:26,640 --> 00:43:28,719
Speaker 3: Sinbad has to think quick and find a way to

795
00:43:28,800 --> 00:43:32,160
Speaker 3: destroy the skeletons, which are impervious to being stabbed obviously

796
00:43:32,200 --> 00:43:36,160
Speaker 3: because they're kind of skeletons. And I think that sent

797
00:43:36,280 --> 00:43:39,120
Speaker 3: us on a good tangent about skeleton warriors and various

798
00:43:39,120 --> 00:43:40,920
Speaker 3: things you always end up finding some in your D

799
00:43:40,960 --> 00:43:45,200
Speaker 3: and D. Right, Yeah, well that's exactly what this emails about.

800
00:43:50,560 --> 00:43:53,880
Speaker 3: Jeff says, greetings, Joe and Rob, regarding the recent discussion

801
00:43:53,960 --> 00:43:56,840
Speaker 3: of Clackety Harry House and skeletons. In my first D

802
00:43:56,880 --> 00:43:59,960
Speaker 3: and D campaign as a kid, we received a standard

803
00:44:00,080 --> 00:44:03,759
Speaker 3: issue in assigned mission to collect a magical something or

804
00:44:03,840 --> 00:44:07,080
Speaker 3: other from a nearby dungeon. We had spent days creating

805
00:44:07,160 --> 00:44:11,240
Speaker 3: characters with cool powers like talking to squirrels and creating

806
00:44:11,280 --> 00:44:14,360
Speaker 3: sparkly light shows, but we didn't pay enough attention to

807
00:44:14,440 --> 00:44:18,640
Speaker 3: including the required party beefcake Rob. Is this a standard

808
00:44:18,719 --> 00:44:20,800
Speaker 3: D and D term or is this is this a

809
00:44:20,880 --> 00:44:24,840
Speaker 3: Jeff ism here? I assume Jeff is referring to like

810
00:44:24,920 --> 00:44:26,840
Speaker 3: a tank character or something.

811
00:44:27,360 --> 00:44:30,320
Speaker 2: Ah, yeah, this is not terminology we use at our table,

812
00:44:30,360 --> 00:44:34,799
Speaker 2: but my table is not exactly maybe a great snapshot

813
00:44:34,800 --> 00:44:36,800
Speaker 2: of what all gamers are doing and talking about.

814
00:44:37,080 --> 00:44:40,839
Speaker 3: Yeah, anyway, what I could be wrong, but what I

815
00:44:40,840 --> 00:44:43,680
Speaker 3: imagine Jeff means there is like, yes, a damage dealing

816
00:44:43,719 --> 00:44:48,640
Speaker 3: and absorbing character, a fighter or something. Yeah yeah, tank, yeah,

817
00:44:48,760 --> 00:44:51,240
Speaker 3: Jeff says. By the time we got to the dungeon entrance,

818
00:44:51,280 --> 00:44:53,880
Speaker 3: we had already had the crap kicked out of us

819
00:44:53,880 --> 00:44:57,160
Speaker 3: by some dumb creatures who were not impressed with ventriloquism

820
00:44:57,280 --> 00:44:59,400
Speaker 3: or the ability to pick pockets.

821
00:44:59,360 --> 00:44:59,920
Speaker 2: Some low roll.

822
00:45:00,560 --> 00:45:04,480
Speaker 3: Yeah. As we approached, a bunch of skeletons came charging

823
00:45:04,520 --> 00:45:07,000
Speaker 3: out at us like ants from a disturbed ant hill.

824
00:45:07,440 --> 00:45:10,399
Speaker 3: The cleric, happy to finally get something fun to do

825
00:45:10,800 --> 00:45:15,160
Speaker 3: did a turn undead on them, but due to our

826
00:45:15,200 --> 00:45:18,000
Speaker 3: low level, it didn't destroy them, but it did make

827
00:45:18,040 --> 00:45:20,600
Speaker 3: them flee, and for the first time none of us

828
00:45:20,719 --> 00:45:24,640
Speaker 3: got hurt. Rob Can you do a quick Encyclopedia entry

829
00:45:24,640 --> 00:45:28,080
Speaker 3: on turn undead? That's it's a cleric ability.

830
00:45:28,239 --> 00:45:32,000
Speaker 2: Yes, yes, we have pretty standard ability of good holy

831
00:45:32,120 --> 00:45:36,919
Speaker 2: characters to just make lower level undead, you know, drop

832
00:45:36,960 --> 00:45:39,480
Speaker 2: and run or drop. In general, it can and at

833
00:45:39,480 --> 00:45:43,040
Speaker 2: some point it can ramp up to being destroyed undead.

834
00:45:44,000 --> 00:45:46,239
Speaker 2: I never play a cleric though, so I don't have

835
00:45:46,280 --> 00:45:49,480
Speaker 2: a lot of like hands on experience with it.

836
00:45:49,800 --> 00:45:52,560
Speaker 3: But so, like the standard effect is that you get

837
00:45:52,600 --> 00:45:55,400
Speaker 3: some zombies or skeletons or whatever, you do turn undead

838
00:45:55,440 --> 00:45:57,720
Speaker 3: on them and they like drop their weapons and run away.

839
00:45:58,000 --> 00:46:00,920
Speaker 2: Yeah you can do, yeah they run away, or again

840
00:46:00,960 --> 00:46:03,880
Speaker 2: you just destroy them, like, yeah, they just can't stand

841
00:46:03,920 --> 00:46:07,800
Speaker 2: against the Cross or the Pentagram or whatever kind of

842
00:46:08,239 --> 00:46:10,960
Speaker 2: holy item and deity you represent.

843
00:46:10,719 --> 00:46:14,400
Speaker 3: Okay, Jeff goes on. We discovered the dungeon was infested

844
00:46:14,440 --> 00:46:17,239
Speaker 3: with skeletons, so we worked out a plan to quietly enter,

845
00:46:17,400 --> 00:46:20,560
Speaker 3: make a bunch of noise, run screaming back outside to

846
00:46:20,680 --> 00:46:24,560
Speaker 3: draw out the skeletons, have the cleric turn them and repeat.

847
00:46:25,080 --> 00:46:28,520
Speaker 3: Because turn on dead was an ability and not a spell,

848
00:46:28,840 --> 00:46:31,239
Speaker 3: we could do that all day, which we did so,

849
00:46:31,360 --> 00:46:33,880
Speaker 3: meaning you have a limited number of spell slots that

850
00:46:33,920 --> 00:46:35,719
Speaker 3: you would use up if it were a spell, but

851
00:46:35,840 --> 00:46:38,040
Speaker 3: it's not like that. You can just keep doing it

852
00:46:38,080 --> 00:46:42,239
Speaker 3: over and over. And I like this because this is

853
00:46:42,280 --> 00:46:44,880
Speaker 3: like a video game cheese strategy, but you're doing it

854
00:46:44,920 --> 00:46:48,040
Speaker 3: in a tabletop setting, which Finn, you know, when I'm

855
00:46:48,040 --> 00:46:52,040
Speaker 3: playing like a single player video game, I do. I

856
00:46:52,040 --> 00:46:53,759
Speaker 3: don't know if I want to admit this, but I

857
00:46:53,800 --> 00:46:57,279
Speaker 3: often find myself just figuring out little like cheese strategies,

858
00:46:57,320 --> 00:46:59,240
Speaker 3: like how do I get the enemies to just funnel

859
00:46:59,320 --> 00:47:01,920
Speaker 3: into like a near corridor where I can fight them

860
00:47:01,920 --> 00:47:06,520
Speaker 3: more easily, And you know that just happens. Sometimes you

861
00:47:06,600 --> 00:47:10,080
Speaker 3: find your way into like trying to find easier ways

862
00:47:10,120 --> 00:47:11,960
Speaker 3: to get through encounters, even if it's not what the

863
00:47:12,000 --> 00:47:14,719
Speaker 3: game developers probably intended, because they wanted you to have

864
00:47:14,760 --> 00:47:18,200
Speaker 3: a more kind of like challenging and thrilling way of

865
00:47:18,200 --> 00:47:20,000
Speaker 3: getting through. I don't know, we just tend to want

866
00:47:20,040 --> 00:47:21,560
Speaker 3: to find an easier way to do something.

867
00:47:21,800 --> 00:47:25,040
Speaker 2: I guess it works in real life exactly. Of course,

868
00:47:25,040 --> 00:47:27,440
Speaker 2: we're going to solve problems in a virtual world the

869
00:47:27,480 --> 00:47:27,879
Speaker 2: same way.

870
00:47:28,320 --> 00:47:31,320
Speaker 3: But I don't really have that problem in tabletop ore like,

871
00:47:31,360 --> 00:47:33,680
Speaker 3: I'm not usually looking for a cheese strategy when I'm

872
00:47:33,680 --> 00:47:35,200
Speaker 3: playing D and D with my friends.

873
00:47:35,760 --> 00:47:39,719
Speaker 2: Well, D and D is special, and by DND, I'm

874
00:47:39,760 --> 00:47:42,719
Speaker 2: just referring to all social role playing games like this

875
00:47:43,200 --> 00:47:45,600
Speaker 2: and that it is social. So on one hand, you

876
00:47:45,719 --> 00:47:49,400
Speaker 2: are trying to beat, defeat an enemy, or overcome a

877
00:47:49,440 --> 00:47:52,920
Speaker 2: particular challenger in an and or system, but you're also

878
00:47:53,800 --> 00:47:57,719
Speaker 2: in theory and hopefully trying to collectively tell a really

879
00:47:57,719 --> 00:48:01,200
Speaker 2: good story with your friends. So if you go just

880
00:48:01,239 --> 00:48:06,080
Speaker 2: total cheese mode, you might be ignoring the storytelling or

881
00:48:06,120 --> 00:48:10,360
Speaker 2: ignoring the friends, the latter being the worse of the

882
00:48:10,400 --> 00:48:13,080
Speaker 2: two to ignore. So yeah, it has to be just

883
00:48:13,120 --> 00:48:13,800
Speaker 2: the right balance.

884
00:48:14,000 --> 00:48:16,400
Speaker 3: So Jeff goes on to explain the result of this

885
00:48:16,520 --> 00:48:19,719
Speaker 3: turn on dead cheese strategy. We were then able to

886
00:48:19,760 --> 00:48:22,920
Speaker 3: move through the dungeons slowly and cautiously, on the lookout

887
00:48:22,960 --> 00:48:26,000
Speaker 3: for traps and curses, without constant fear of attack and

888
00:48:26,080 --> 00:48:30,200
Speaker 3: completely lacking in dramatic tension. There you go. We eventually

889
00:48:30,200 --> 00:48:33,359
Speaker 3: found the loot and headed back for our reward. If

890
00:48:33,360 --> 00:48:36,239
Speaker 3: you've ever DMD a party of rule hacking players like that,

891
00:48:36,280 --> 00:48:38,759
Speaker 3: you can probably see where this is going. We got

892
00:48:38,800 --> 00:48:41,480
Speaker 3: back to town, which was in chaos and burning to

893
00:48:41,520 --> 00:48:44,240
Speaker 3: the ground as the civilians had been slaughtered by wave

894
00:48:44,280 --> 00:48:47,640
Speaker 3: after wave of violent skeletons who had been driven from

895
00:48:47,719 --> 00:48:50,759
Speaker 3: their home looking for revenge on the living. So we

896
00:48:50,920 --> 00:48:54,080
Speaker 3: didn't get the reward or very many experience points, but

897
00:48:54,160 --> 00:48:57,160
Speaker 3: we did certainly gain real life wisdom from an experience.

898
00:48:57,480 --> 00:49:01,359
Speaker 3: Don't f with the module there you go. I mean,

899
00:49:01,480 --> 00:49:03,479
Speaker 3: I think that's exactly what you were saying. Ron getting

900
00:49:03,520 --> 00:49:07,080
Speaker 3: in the way of the spirit of the storytelling sometimes exerts.

901
00:49:07,360 --> 00:49:12,200
Speaker 3: Sometimes it invites a kind of karmic reaction from the DM.

902
00:49:12,640 --> 00:49:14,440
Speaker 2: Yeah, but I mean, I don't know, it's like it's

903
00:49:14,440 --> 00:49:17,000
Speaker 2: totally about the table and what the whole vibe is.

904
00:49:17,040 --> 00:49:19,319
Speaker 2: Like maybe that's exactly what needs to be happened. And

905
00:49:19,320 --> 00:49:22,640
Speaker 2: it was the greatest gaming experience of all time for

906
00:49:22,719 --> 00:49:24,799
Speaker 2: everybody because that's what they were in the mood for.

907
00:49:24,920 --> 00:49:27,799
Speaker 2: So there's you know, there's no ones that way that

908
00:49:27,880 --> 00:49:29,160
Speaker 2: it needs to be for everybody.

909
00:49:29,520 --> 00:49:33,239
Speaker 3: Yeah, and then Jeff has a very nice note at

910
00:49:33,280 --> 00:49:35,520
Speaker 3: the end. Jeff says on a personal note, I wanted

911
00:49:35,520 --> 00:49:37,919
Speaker 3: to extend my deepest sympathies to Rob in his time

912
00:49:37,960 --> 00:49:40,799
Speaker 3: of loss. We all owe his mother a great debt,

913
00:49:40,880 --> 00:49:43,360
Speaker 3: both for taking on one of the world's most important

914
00:49:43,360 --> 00:49:47,560
Speaker 3: occupations referring to teaching, and for raising Rob, whose hard

915
00:49:47,560 --> 00:49:49,919
Speaker 3: work does so much to soothe people going through tough

916
00:49:49,960 --> 00:49:52,320
Speaker 3: times or just trying to make their way through the

917
00:49:52,400 --> 00:49:54,920
Speaker 3: daily grind. Props to mom for making the world a

918
00:49:54,960 --> 00:49:55,520
Speaker 3: better place.

919
00:49:55,960 --> 00:49:58,120
Speaker 2: Jeff, Oh, thank you, Jeff, that's very sweet.

920
00:49:58,160 --> 00:49:58,759
Speaker 3: I appreciate it.

921
00:49:59,440 --> 00:50:03,279
Speaker 2: And again heard from numerous other listeners out there, and

922
00:50:04,120 --> 00:50:07,879
Speaker 2: you know I appreciate all your kind words. All right, Well,

923
00:50:07,960 --> 00:50:09,640
Speaker 2: at this point, I guess it's time to go ahead

924
00:50:09,680 --> 00:50:13,000
Speaker 2: and close up the old mailbag for today, but we

925
00:50:13,040 --> 00:50:16,120
Speaker 2: will be back later. Once again, we are on the

926
00:50:16,160 --> 00:50:20,040
Speaker 2: cusp of diving into October. I know it, we're only

927
00:50:20,080 --> 00:50:22,840
Speaker 2: halfway through September, but that's where we are. It's about

928
00:50:22,880 --> 00:50:25,879
Speaker 2: to be October everyone, So that's going to be all

929
00:50:25,920 --> 00:50:30,879
Speaker 2: sorts of cool October topics, October weird house cinema selections.

930
00:50:31,480 --> 00:50:33,520
Speaker 2: On that note, like, we're putting together the list now,

931
00:50:33,600 --> 00:50:36,600
Speaker 2: so if you are just really gung ho for a

932
00:50:36,640 --> 00:50:42,360
Speaker 2: particular October weird House cinema selection, or certainly a particular

933
00:50:42,480 --> 00:50:44,719
Speaker 2: core episode of stuff to blow your mind or things

934
00:50:44,719 --> 00:50:47,759
Speaker 2: to feature on the Monster fact or the artifact. Now

935
00:50:47,920 --> 00:50:50,280
Speaker 2: is definitely the time to go ahead and start pestering

936
00:50:50,360 --> 00:50:53,360
Speaker 2: us with those suggestions, because we're putting the list together

937
00:50:53,440 --> 00:50:53,920
Speaker 2: right now.

938
00:50:54,080 --> 00:50:57,360
Speaker 3: Can I say what the October weird house vibe is?

939
00:50:57,400 --> 00:51:01,120
Speaker 3: I think, without us ever making this explain or doing

940
00:51:01,120 --> 00:51:05,080
Speaker 3: this on purpose, I think during October we lean more

941
00:51:05,239 --> 00:51:10,080
Speaker 3: toward classic supernatural horror more so than we do in

942
00:51:10,160 --> 00:51:12,120
Speaker 3: other times of the year, where we might go more

943
00:51:12,200 --> 00:51:16,759
Speaker 3: kind of sci fi or fantasy, or throughout the rest

944
00:51:16,760 --> 00:51:18,880
Speaker 3: of the year. I feel like it's more common that

945
00:51:18,960 --> 00:51:20,960
Speaker 3: the horror we do has a kind of sci fi

946
00:51:21,040 --> 00:51:23,440
Speaker 3: flavor to it, or might be one of these other

947
00:51:23,480 --> 00:51:26,719
Speaker 3: subgenres body horror or something like that. But in October

948
00:51:27,320 --> 00:51:30,480
Speaker 3: that's the time for like witches and ghosts and vampires,

949
00:51:30,560 --> 00:51:33,600
Speaker 3: that sort of thing. Do you have the same feeling, Yeah?

950
00:51:33,719 --> 00:51:36,840
Speaker 2: Yeah, And it's again, we don't have like a list

951
00:51:37,040 --> 00:51:40,719
Speaker 2: that we check off physically every time, but that does

952
00:51:40,719 --> 00:51:41,879
Speaker 2: seem to be how it works out.

953
00:51:41,960 --> 00:51:44,839
Speaker 3: Yeah, yeah, So we're not trying to be rigid about that.

954
00:51:44,960 --> 00:51:47,440
Speaker 3: But I think that is the general vibe if y'all

955
00:51:47,440 --> 00:51:50,320
Speaker 3: are making suggestions, which again are totally welcome.

956
00:51:50,520 --> 00:51:52,759
Speaker 2: Definitely a time for gothic car that's for sure.

957
00:51:52,840 --> 00:51:55,920
Speaker 3: Yeah, especially if it's gothic horror that gets really weird.

958
00:51:56,080 --> 00:51:56,960
Speaker 3: That's a sweet spot.

959
00:51:57,200 --> 00:52:00,480
Speaker 2: Yeah, we'll inevitably do a film that has one of

960
00:52:00,680 --> 00:52:03,960
Speaker 2: the big names of horror films of yesteryear, like a

961
00:52:04,040 --> 00:52:07,160
Speaker 2: Vincent Price or Christopher Lee or Cushing and so forth.

962
00:52:07,320 --> 00:52:11,759
Speaker 2: So certainly if there's a film featuring any of those individuals, like, yeah,

963
00:52:11,880 --> 00:52:14,239
Speaker 2: let us know which one you think should be on

964
00:52:14,280 --> 00:52:16,920
Speaker 2: our play. Just a reminder to everyone out there that

965
00:52:17,000 --> 00:52:18,880
Speaker 2: Stuff to Blow Your Mind is primarily a science and

966
00:52:18,920 --> 00:52:22,080
Speaker 2: culture podcast. Core episodes in Tuesdays and Thursdays, short form

967
00:52:22,120 --> 00:52:24,560
Speaker 2: episodes on Wednesdays and on Fridays. That's the time to

968
00:52:24,600 --> 00:52:26,719
Speaker 2: set aside most serious concerns and just talk about a

969
00:52:26,719 --> 00:52:28,320
Speaker 2: weird film on Weird House Cinema.

970
00:52:28,560 --> 00:52:32,400
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

971
00:52:32,560 --> 00:52:34,080
Speaker 3: If you would like to get in touch with us

972
00:52:34,080 --> 00:52:36,680
Speaker 3: with feedback on this episode or any other, to suggest

973
00:52:36,680 --> 00:52:38,839
Speaker 3: a topic for the future, or just to say hello,

974
00:52:38,960 --> 00:52:41,680
Speaker 3: you can email us at contact at Stuff to Blow

975
00:52:41,680 --> 00:52:49,239
Speaker 3: your Mind dot com.

976
00:52:49,360 --> 00:52:52,319
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

977
00:52:52,400 --> 00:52:55,200
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

978
00:52:55,320 --> 00:52:58,080
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.