WEBVTT - STBYM Listener Mail: Love on a Real Train

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey you, welcome to Stuff to Blow your Mind a

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<v Speaker 2>listener mail. My name is Robert Lamb.

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<v Speaker 3>And I am Joe McCormick, and Hey, today we're going

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<v Speaker 3>to be reading back a batch of messages from our

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<v Speaker 3>email address. If you have never gotten in touch before,

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<v Speaker 3>why not give it a try sometime. You can always

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<v Speaker 3>to recent episodes, especially if you have something interesting to

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<v Speaker 3>add to a topic that we've talked about on the show.

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<v Speaker 3>Of course, if corrections are ever necessary, you can reach

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<v Speaker 3>how you found out about us, that sort of thing.

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<v Speaker 3>That's always stuff we like to learn. Anyway. Again, contact

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<v Speaker 3>at Stuff to Blow your Mind dot com always free

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<v Speaker 3>being featured on a listener mail episode like this one.

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<v Speaker 2>Yeah, Yeah, and hey. We also have a discord server.

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<v Speaker 2>If you want to join that, email us at the

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<v Speaker 2>same address and we'll send you the like.

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<v Speaker 3>Let's see, Rob, how about we start off with this

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<v Speaker 3>response to our shield Wall episodes from our listener, Ahmed,

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<v Speaker 3>do you want to read this or should I?

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<v Speaker 2>Sure? Sure, I'll read this one, Ahmed says, Hey, guys,

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<v Speaker 2>Ahmed again here. I just listened to your first episode

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<v Speaker 2>about the speculation around captured Roman legionarias in Western China

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<v Speaker 2>and thought of another firmer example of different cultures meeting

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<v Speaker 2>and our knowledge of that via armor cling it coin

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<v Speaker 2>armor Here's one example, but you can easily find others online.

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<v Speaker 3>And then Rob, I pulled in a couple of images

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<v Speaker 3>of what Ahmed linked here into the outline, but I

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<v Speaker 3>think it's some kind of hide or leather base. And

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<v Speaker 3>then on top of that, there is just this array

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<v Speaker 3>of metal coins, all side by side, sort of strung

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<v Speaker 3>together that creates a scale like formation. Actually, to come

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<v Speaker 3>back to the image of fish scales.

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<v Speaker 2>Yeah, yeah, it's quite impressive. You know, I believe I

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<v Speaker 2>had read about this at some point in the past,

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<v Speaker 2>but I don't know that I've ever seen an example

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<v Speaker 2>of it in person, and for that matter, I'm not

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<v Speaker 2>even sure i've seen a photo of it before. I

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<v Speaker 2>think I just read like a casual mention somewhere or another.

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<v Speaker 2>But Ahmed continues and says the Tlinket of Pacific Northwest

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<v Speaker 2>were involved in both conflict and trade with Russians looking

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<v Speaker 2>for fur in the sixteen hundreds of the eighteen hundreds,

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<v Speaker 2>and through them were exposed to Chinese Chian coins, whose

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<v Speaker 2>central doughnut hole made for an easy way to secure

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<v Speaker 2>the coins into a layer. This is one of those

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<v Speaker 2>examples that exist squarely in the historical record, But I

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<v Speaker 2>often think about how nuts it would seem if it

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<v Speaker 2>did not, and we had to guess that the links

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<v Speaker 2>that brought Chinese currency into this use in North America.

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<v Speaker 3>Yeah, yeah.

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<v Speaker 2>Even beyond this example, I think the Tlingett and other

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<v Speaker 2>Pacific Coast people like the Hata had some of the

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<v Speaker 2>coolest and most unique armor in North America, with elaborately

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<v Speaker 2>carved heavy wooden armor, often covering the trunk as well

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<v Speaker 2>as the neck and head, leaving just a slit for

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<v Speaker 2>the eyes.

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<v Speaker 3>And again here rob I pulled in a picture that

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<v Speaker 3>Ahmed linked into the outline. This is of armor, the

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<v Speaker 3>armor he mentioned in a museum collection today and this

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<v Speaker 3>also looks very interesting, very cool, Like the armored part

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<v Speaker 3>on the torso is composed of kind of ribs, like

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<v Speaker 3>vertically aligned ribs that all all go side to side

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<v Speaker 3>around the lower part of the torso, and then a

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<v Speaker 3>narrower plate of ribs like that coming up through the chest. Yeah,

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<v Speaker 3>and then the helmet part of it is fascinating. It's

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<v Speaker 3>sort of bullet shaped, coming up into a cone on

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<v Speaker 3>the top with beautiful like red and orange decorations, and

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<v Speaker 3>then below that the carvings on the face have a

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<v Speaker 3>kind of monstrous marine mammal face kind of design. Is

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<v Speaker 3>that what you're seeing too?

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<v Speaker 2>Yeah, Yeah, yeah, it's it's it's very cool. Ahmed continues

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<v Speaker 2>here and says, for anybody interested in this, I highly

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<v Speaker 2>recommend the book Native North American Armor, Shields and Fortifications

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<v Speaker 2>by David Jones. It makes it clear that while we

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<v Speaker 2>do not typically think of the indigenous people of North

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<v Speaker 2>America being armored, that's because we imagine them largely in

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<v Speaker 2>the firearm age. Just like contemporary European armies who came

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<v Speaker 2>from a tradition of heavy armor. Think of a medieval

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<v Speaker 2>versus a Napoleonic soldier, Indigenous Americans put protection aside in

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<v Speaker 2>favor of mobility. Once firearms made heavy armor and shields obsolete,

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<v Speaker 2>with some interesting exceptions in areas like the Great Plains

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<v Speaker 2>and the Pueblo cultures where shields had spiritual significance. It's

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<v Speaker 2>a great look at the very diverse cultural spheres in

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<v Speaker 2>pre colonial North America seen through the lens of military defenses. Anyways,

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<v Speaker 2>keep up the great work, Amed.

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<v Speaker 3>Well, thank you so much, Ahmed. Yeah, this was really interesting.

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<v Speaker 3>Thank you for sharing with us. In fact, you always

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<v Speaker 3>write such great emails. Please get in touch after every

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<v Speaker 3>series we do.

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<v Speaker 2>All right, looks like we received some listener mail related

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<v Speaker 2>to our series on cynicism.

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<v Speaker 3>Yes, let's see, Rob, you want me to do this

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<v Speaker 3>one from Tea? Yeah, Tea says morning fellas loved the

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<v Speaker 3>series on cynicism. If you'd be so kind to throw

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<v Speaker 3>it back into the Saturday Mix in a few months,

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<v Speaker 3>I'd like to listen to it again after some time

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<v Speaker 3>to reflect. Can't promise anything, Tea. Usually we let it

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<v Speaker 3>around a year ago by maybe before we do a rerun,

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<v Speaker 3>but it varies some but you will probably hear it

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<v Speaker 3>again anyway. Of course, you can listen to it anytime

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<v Speaker 3>you want, right, Yeah, yeah, the magic of asynchronous media,

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<v Speaker 3>So Tea goes on to say, one thing I did

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<v Speaker 3>want to point out is that legitimate companies are training

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<v Speaker 3>their customer base to be cynical to anything that seems

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<v Speaker 3>to be communication from them. The fish and the smishers

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<v Speaker 3>have gotten so good. I'm not sure if I know

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<v Speaker 3>the phrase smishers fishers of course, is you know, people

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<v Speaker 3>fishing for information through like emails and stuff smishers? Would

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<v Speaker 3>that be SMS fishers.

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<v Speaker 2>Text message pad too that I just I know from

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<v Speaker 2>context of the sentence that they're bad as well, and

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<v Speaker 2>I don't trust them. Actually, JJ just confirmed for us

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<v Speaker 2>that smishers does in fact mean that, which is nice

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<v Speaker 2>because now I have a nicer name for them than

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<v Speaker 2>the one I usually call them when when I get

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<v Speaker 2>one of these messages on my phone.

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<v Speaker 3>But if it's SMS, why are they smishers and not smissshers?

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<v Speaker 2>I think you answered your own question there.

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<v Speaker 3>Anyway, Tea Rights, I'm adjacent to the mortgage industry, and

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<v Speaker 3>part of our product sends out emails about paying your

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<v Speaker 3>mortgage or things that happened on your account. We actively

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<v Speaker 3>avoid putting links to anything in those emails, simply so

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<v Speaker 3>the instructions to the customers can be to never click

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<v Speaker 3>on links and emails that seem to be about your mortgage.

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<v Speaker 3>Always go log into the portal. The text messages we

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<v Speaker 3>send out never have an actionable link in them. They're

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<v Speaker 3>all essentially this payment was made to your account. If

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<v Speaker 3>you have questions, log into your portal. And this is

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<v Speaker 3>also the customer service can reiterate to the customers to

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<v Speaker 3>not click on things about your mortgage. If you've bought

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<v Speaker 3>a house recently, likely there are footers at the bottom

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<v Speaker 3>of your agent's emails, your lenders emails, your title attorney's emails, etc.

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<v Speaker 3>Saying to not trust any wiring instructions without verifying first.

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<v Speaker 3>There are some real horror stories of fishers getting to

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<v Speaker 3>a buyer at just the wrong time and having them

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<v Speaker 3>wire their down payment for the house to them instead

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<v Speaker 3>of the Escro agent. Thanks as always, Tea from Florida. Yeah,

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<v Speaker 3>te this is really interesting and I have a number

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<v Speaker 3>of thoughts here. This actually connects to something I've said

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<v Speaker 3>on the show. I think months or even years ago

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<v Speaker 3>before we did the Cynicism series, and so I'll come

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<v Speaker 3>back to that in a minute. But I remember when

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<v Speaker 3>I was not too long ago going through the mortgage process,

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<v Speaker 3>we got lots of warnings exactly like this, that we

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<v Speaker 3>would likely be hammered with attempted scams, you know, while

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<v Speaker 3>you're involved in getting a mortgage, or when you've recently

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<v Speaker 3>gotten a mortgage, Just be aware of that. Also, all

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<v Speaker 3>this stuff you're mentioning, don't wire money except to this

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<v Speaker 3>exact account. Ignore emails giving you a link to click on,

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<v Speaker 3>or saying that account details have changed, stuff like that.

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<v Speaker 3>And I would argue that this kind of particular preparation

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<v Speaker 3>within the mortgage lending scenario falls more under the reasonable

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<v Speaker 3>social skepticism umbrella than under social cynicism. And remember in

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<v Speaker 3>the series, we made the distinction that, at least as

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<v Speaker 3>we were using the terms, skepticism is like doing your

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<v Speaker 3>best to either grant or withhold trust on the basis

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<v Speaker 3>of evidence. You're looking for objective clues, objective information about

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<v Speaker 3>the trustworthiness of a person or situation, whereas cynicism is

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<v Speaker 3>a bias, it's an evidence neutral bias against trust. So

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<v Speaker 3>another way I'd put it relevant to your example t

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<v Speaker 3>is that I would not call it cynical to be

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<v Speaker 3>cautious of scams in a situation where scams are very

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<v Speaker 3>common and very dangerous. It would be cynical to be

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<v Speaker 3>cautious of scams in a situation where you have no

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<v Speaker 3>good reason or evidence to suspect a scam is taking place.

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<v Speaker 2>Yeah, Like, it's cynical to assume everyone is Jason Vorhees,

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<v Speaker 2>but it's it's healthy to assume that anyone wandering through

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<v Speaker 2>the woods in a hockey mask with a big old

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<v Speaker 2>machete is Jason Vorhees. And that's what and that's the

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<v Speaker 2>thing most of these sketchy emails and texts are. They

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<v Speaker 2>are very sketchy for a reason, you know. I mean,

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<v Speaker 2>I guess some are more convincing than others, obviously, But yeah,

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<v Speaker 2>this is a healthy amount of skepticism that people are

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<v Speaker 2>employing here.

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<v Speaker 3>Great analogy, exactly right. So yeah, so I would call

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<v Speaker 3>this like reasonable situation skepticism rather than cynicism. On the

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<v Speaker 3>other hand, tee, I think I get exactly the point

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<v Speaker 3>you're driving at. We looked at a bunch of studies

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<v Speaker 3>in the Cynicism series pointing to the fact that a

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<v Speaker 3>person's level of social cynicism is I think partly an

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<v Speaker 3>aspect of their fixed personality, but it's partly, not partially.

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<v Speaker 3>It is something that can fluctuate, According to our experiences,

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<v Speaker 3>and so I would suspect that having to deal with

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<v Speaker 3>a lot of situations in which a reasonable evidence based

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<v Speaker 3>approach is to be very wary and stingy with trust,

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<v Speaker 3>that having those sorts of experiences could sort of bump

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<v Speaker 3>up your general cynical biases in unrelated areas of life,

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<v Speaker 3>whether or not those biases are actually protecting you the

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<v Speaker 3>same way they would in these situations rife with scams.

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<v Speaker 3>And another thing is beyond just like the mortgage process,

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<v Speaker 3>certain things about modern life I would say, especially about

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<v Speaker 3>communications technology, I think have the toxic effect of creating

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<v Speaker 3>a digitally ever present threat of scams because the Internet

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<v Speaker 3>and also various forms of computer based automation have made

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<v Speaker 3>scamming so much more efficient in the last couple decades.

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<v Speaker 3>Like you can you know, it used to be real

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<v Speaker 3>work to develop each scam lead, you know, back in

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<v Speaker 3>the day, and now you can just spam millions of

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<v Speaker 3>people with attempts to initiate an email or text message

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<v Speaker 3>scam at extremely little cost. And even more, sort of

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<v Speaker 3>customized or targeted scams are easier to confect with the

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<v Speaker 3>digital tools available today. So even though in most aspects

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<v Speaker 3>of life, most people most of the time are still

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<v Speaker 3>very trustworthy. The fact that you are always digitally a

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<v Speaker 3>few clicks away from an ever present threat of having

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<v Speaker 3>your identity still in or having somebody steal your life savings,

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<v Speaker 3>that the proximity of that threat throughout your entire life now,

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<v Speaker 3>I think, just kind of waters the weeds of cynicism

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<v Speaker 3>so that they grow everywhere in your mind, not just

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<v Speaker 3>where they belong, like which is like on sketchy looking

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<v Speaker 3>emails and text messages. And so given all this, I

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<v Speaker 3>think I've said this on the show before, I believe

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<v Speaker 3>that it is underappreciated how maliciously influential internet and phone

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<v Speaker 3>based scams are in our culture today, not just because

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<v Speaker 3>of people's material losses. I mean, I think almost everybody

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<v Speaker 3>knows somebody or has a has a close relative who's

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<v Speaker 3>lost a bunch of money to some like, you know,

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<v Speaker 3>to an email or phone scammer. But it's not just

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<v Speaker 3>the material losses which can be devastating. It's because the

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<v Speaker 3>presence of these types of scams viciously undermines general social trust,

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<v Speaker 3>which I think we now have even better reason to

0:12:58.840 --> 0:13:01.640
<v Speaker 3>believe and a better underst standing of how that kind

0:13:01.640 --> 0:13:05.240
<v Speaker 3>of generalized cynicism is a really really bad thing for

0:13:05.320 --> 0:13:07.199
<v Speaker 3>each individual and for the culture.

0:13:07.920 --> 0:13:10.040
<v Speaker 2>Yeah, I mean I feel like it's honestly ruined some

0:13:10.080 --> 0:13:13.120
<v Speaker 2>forms of communication, Like I don't answer my phone. Like

0:13:13.200 --> 0:13:17.160
<v Speaker 2>if someone calls me, I just assume that it's some

0:13:17.200 --> 0:13:21.760
<v Speaker 2>sort of at worst nefarious force, but perhaps just some

0:13:21.800 --> 0:13:23.719
<v Speaker 2>sort of like a cold call, you know, trying to

0:13:23.760 --> 0:13:26.040
<v Speaker 2>get me to donate money and sometimes to a good cause.

0:13:26.200 --> 0:13:27.679
<v Speaker 2>But I'm not going to do that over the phone

0:13:27.920 --> 0:13:31.680
<v Speaker 2>because of all the scammers. So you know, I just

0:13:31.760 --> 0:13:33.679
<v Speaker 2>been like, all right, let it go to voicemail and

0:13:33.960 --> 0:13:35.360
<v Speaker 2>I will probably delete it there.

0:13:35.600 --> 0:13:41.000
<v Speaker 3>Yeah, our digital and communications environment has created an asymmetrical

0:13:41.280 --> 0:13:45.120
<v Speaker 3>scam thread where it's weird that I think it really

0:13:45.160 --> 0:13:48.280
<v Speaker 3>still is the case that you can trust most people

0:13:48.400 --> 0:13:50.840
<v Speaker 3>most of the time, but at the same time, through

0:13:50.880 --> 0:13:55.240
<v Speaker 3>electronic communication, a scammer is always just is right there

0:13:55.280 --> 0:13:58.320
<v Speaker 3>waiting for you. You know, they're like a picked up

0:13:58.360 --> 0:14:01.079
<v Speaker 3>phone call or a text message reply away.

0:14:01.800 --> 0:14:03.959
<v Speaker 2>Yeah, we've made the world smaller in a lot of

0:14:04.040 --> 0:14:06.880
<v Speaker 2>wonderful ways, but also in a lot of terrifying ways.

0:14:07.160 --> 0:14:10.120
<v Speaker 2>So I might not put my faith in phone calls anymore.

0:14:10.360 --> 0:14:13.280
<v Speaker 2>Maybe I should put my faith instead into mystery cults.

0:14:14.320 --> 0:14:16.080
<v Speaker 2>We of course did a series on mystery cults, and

0:14:16.200 --> 0:14:19.720
<v Speaker 2>we continue to hear back from some folks about this topic.

0:14:20.160 --> 0:14:28.040
<v Speaker 2>This one comes to us from Lex like says, super

0:14:28.080 --> 0:14:30.760
<v Speaker 2>short message, but this was too funny and on point

0:14:30.800 --> 0:14:33.880
<v Speaker 2>not to send your way. In your episodes about mystery cults,

0:14:33.880 --> 0:14:37.560
<v Speaker 2>you discussed that certain techniques or special special effects might

0:14:37.600 --> 0:14:40.800
<v Speaker 2>be off putting because they seem deceptive or irreverent in

0:14:40.800 --> 0:14:44.360
<v Speaker 2>some way. Looks like some churches are really towing that line,

0:14:44.960 --> 0:14:47.000
<v Speaker 2>and they included a link for us to check out here.

0:14:47.040 --> 0:14:51.040
<v Speaker 2>And I'm not going to tell you how to define this.

0:14:51.680 --> 0:14:53.520
<v Speaker 2>I don't know. Maybe you're sure familiar with this already,

0:14:53.560 --> 0:14:57.200
<v Speaker 2>but it involves some sort of a church environment where

0:14:57.240 --> 0:15:01.280
<v Speaker 2>there's like a big drop cloth that presents the this

0:15:01.360 --> 0:15:04.160
<v Speaker 2>kind of like puppet Jesus that rises up from the tomb.

0:15:04.560 --> 0:15:06.480
<v Speaker 2>Am I interpreting this correctly? Yeah?

0:15:06.560 --> 0:15:08.720
<v Speaker 3>Yeah, So there's like an altar and then behind it,

0:15:08.840 --> 0:15:11.040
<v Speaker 3>by the way, it looks to me like it's an

0:15:11.040 --> 0:15:13.040
<v Speaker 3>Easter service, but I can't tell for sure, and I

0:15:13.040 --> 0:15:16.480
<v Speaker 3>don't know where or what church this is, but yeah,

0:15:16.480 --> 0:15:19.040
<v Speaker 3>there's like a tapestry in the background showing a golden

0:15:19.120 --> 0:15:24.240
<v Speaker 3>archway and a sunrise landscape. Also electronic dance music is thumping.

0:15:24.320 --> 0:15:27.080
<v Speaker 3>It's like a four on the floor beat. But then

0:15:27.120 --> 0:15:30.480
<v Speaker 3>suddenly the tapestry falls away and it reveals a different painting.

0:15:30.520 --> 0:15:33.120
<v Speaker 3>It's like a blooming garden and a blue sky. And

0:15:33.160 --> 0:15:37.000
<v Speaker 3>then a spring loaded Jesus statue launches up out of

0:15:37.040 --> 0:15:39.840
<v Speaker 3>some hidden device in front of the painting, so that

0:15:39.960 --> 0:15:42.400
<v Speaker 3>his head is framed by like a big painted halo

0:15:42.480 --> 0:15:45.440
<v Speaker 3>on the backdrop. Jesus is also holding a flag looks

0:15:45.480 --> 0:15:48.520
<v Speaker 3>like a red velvet flag. And no judgment by the way,

0:15:48.560 --> 0:15:51.200
<v Speaker 3>you know, religious art and special effects. It's a matter

0:15:51.240 --> 0:15:53.720
<v Speaker 3>of taste to some degree at least, But the switchblade

0:15:53.800 --> 0:15:56.720
<v Speaker 3>Jesus was indeed funny to me. I think the funniest

0:15:56.720 --> 0:16:00.160
<v Speaker 3>part was the speed at which Jesus rises up. He

0:16:00.200 --> 0:16:02.960
<v Speaker 3>had just risen slower, it would have been less funny.

0:16:03.280 --> 0:16:05.440
<v Speaker 2>I mean, I'm all for it. Yeah, throw some production

0:16:07.080 --> 0:16:11.320
<v Speaker 2>into it, you know. Puppet Jesus'. Like I say, puppetry

0:16:11.480 --> 0:16:17.440
<v Speaker 2>is a legitimate and very ancient medium. It is an

0:16:17.520 --> 0:16:21.640
<v Speaker 2>art form. Therefore, I think it's perfectly fine. It's great

0:16:21.680 --> 0:16:25.680
<v Speaker 2>that it should be involved in religious rites. It has

0:16:25.720 --> 0:16:28.920
<v Speaker 2>been since time out of mind anyway, Le says, love

0:16:28.920 --> 0:16:31.040
<v Speaker 2>the show and appreciate your hard work to bring it

0:16:31.040 --> 0:16:31.360
<v Speaker 2>to us.

0:16:31.440 --> 0:16:35.560
<v Speaker 3>Happy Friday, Lex, Okay, general call the listeners here, please

0:16:35.600 --> 0:16:42.200
<v Speaker 3>send us more examples of puppetry, animate statues and automata

0:16:42.440 --> 0:16:45.760
<v Speaker 3>used in earnest not for laughs, in religious services. I

0:16:46.000 --> 0:16:46.880
<v Speaker 3>want to see more of that.

0:16:47.320 --> 0:16:49.480
<v Speaker 2>Yeah, yeah, I mean there are some terrific example. You know,

0:16:49.600 --> 0:16:53.480
<v Speaker 2>very recently my family went and saw a performance of

0:16:53.840 --> 0:17:00.600
<v Speaker 2>Javanese puppetry here at Emory here in Atlanta, Emory University,

0:17:01.000 --> 0:17:06.240
<v Speaker 2>and you know, these are generally they're telling retelling Hindu epics,

0:17:06.640 --> 0:17:10.080
<v Speaker 2>you know, and it is a very traditional and like

0:17:10.200 --> 0:17:14.360
<v Speaker 2>sacred performance. So yeah, I'd love to hear more examples

0:17:14.359 --> 0:17:17.560
<v Speaker 2>of that sort of thing, as well as like contemporary examples,

0:17:17.600 --> 0:17:19.639
<v Speaker 2>like there's a lot of church puppetry out there, like

0:17:19.680 --> 0:17:24.359
<v Speaker 2>in Protestant services, and yeah, that that stuff can be

0:17:25.040 --> 0:17:26.720
<v Speaker 2>can be interesting in its own right as well.

0:17:34.640 --> 0:17:37.480
<v Speaker 3>All right, let's see here we got a message from Carlos.

0:17:37.720 --> 0:17:40.520
<v Speaker 3>This is in response to our series on pretend play

0:17:40.840 --> 0:17:45.920
<v Speaker 3>subject line in defense of Vygotsky. So, Rob, it's been

0:17:45.960 --> 0:17:48.920
<v Speaker 3>a little while since we did this episode, so I've

0:17:48.960 --> 0:17:52.520
<v Speaker 3>kind of forgotten the context of The person here that

0:17:52.560 --> 0:17:56.320
<v Speaker 3>Carlos is talking about is the twentieth century Russian psychologist

0:17:56.480 --> 0:17:59.000
<v Speaker 3>Love Vygotsky. Can you can you remind me what the

0:17:59.160 --> 0:18:01.720
<v Speaker 3>context was in the episode that Vygotsky came up.

0:18:01.880 --> 0:18:04.959
<v Speaker 2>Basically, I think we were talking more about the ideas

0:18:04.960 --> 0:18:08.600
<v Speaker 2>of doctor Sandra Russ. There's a paper talking about her

0:18:08.640 --> 0:18:11.040
<v Speaker 2>ideas and also comparing some of her ideas to those

0:18:11.040 --> 0:18:14.240
<v Speaker 2>of Viogotsky. If memory serves though, I don't think any

0:18:14.240 --> 0:18:17.600
<v Speaker 2>of Russ's ideas were like necessarily tearing down Vogotsky, but

0:18:17.720 --> 0:18:22.760
<v Speaker 2>you know, kind of like building upon them. But then again,

0:18:22.880 --> 0:18:25.639
<v Speaker 2>I think that the comments here that Carlos wrote in

0:18:25.680 --> 0:18:28.280
<v Speaker 2>about it are fair. So yeah, let's good and hear him.

0:18:28.480 --> 0:18:31.080
<v Speaker 3>Okay, Carlos says, Hey, y'all just wanted to write in

0:18:31.200 --> 0:18:34.800
<v Speaker 3>to defend Vygotsky, whom you featured in your recent episodes

0:18:34.800 --> 0:18:38.480
<v Speaker 3>on imagination and play. In your episode, he came off

0:18:38.520 --> 0:18:41.520
<v Speaker 3>as stodgy and anti play, but I'm not sure that's fair.

0:18:41.840 --> 0:18:44.240
<v Speaker 3>I was already acquainted with his work as it pertains

0:18:44.240 --> 0:18:48.000
<v Speaker 3>to art and literature, especially his the psychology of art.

0:18:48.359 --> 0:18:50.800
<v Speaker 3>In this work, he seems to really appreciate the value

0:18:50.800 --> 0:18:53.359
<v Speaker 3>of art. While this isn't quite the same as play,

0:18:53.440 --> 0:18:56.920
<v Speaker 3>it definitely gets into the importance of the imagination. Just

0:18:56.960 --> 0:18:59.960
<v Speaker 3>a couple of quotes from the Mit Press Edition nineteen

0:19:00.080 --> 0:19:04.120
<v Speaker 3>seventy one. Quote, Thus, poetry or art is a special

0:19:04.160 --> 0:19:07.239
<v Speaker 3>way of thinking which, in the final analysis, leads to

0:19:07.320 --> 0:19:11.399
<v Speaker 3>the same results as scientific knowledge, but in a different way.

0:19:12.040 --> 0:19:16.600
<v Speaker 3>And then also quote, psychological investigation reveals that art is

0:19:16.720 --> 0:19:21.760
<v Speaker 3>the supreme center of biological and social individual processes in society,

0:19:22.119 --> 0:19:25.439
<v Speaker 3>that it is a method for finding an equilibrium between

0:19:25.520 --> 0:19:28.640
<v Speaker 3>man and his world in the most critical and important

0:19:28.640 --> 0:19:32.320
<v Speaker 3>stages in his life. And then Carlos picks up again,

0:19:32.400 --> 0:19:34.720
<v Speaker 3>not directly related to play, but he does seem to

0:19:34.720 --> 0:19:37.600
<v Speaker 3>have a great appreciation for the role of creativity, perhaps

0:19:37.600 --> 0:19:40.960
<v Speaker 3>above and beyond productivity in society.

0:19:41.320 --> 0:19:45.240
<v Speaker 2>Thanks Carlos, Yeah, yeah, well, thanks for writing in, Carlos,

0:19:47.320 --> 0:19:50.160
<v Speaker 2>A point well taken. And these are also some wonderful

0:19:50.200 --> 0:19:53.200
<v Speaker 2>quotes here. All right, let's get into a little weird

0:19:53.240 --> 0:19:57.080
<v Speaker 2>house cinema listener mail. It looks like we're continuing to

0:19:57.119 --> 0:20:00.720
<v Speaker 2>hear from folks about the telephone box. This one comes

0:20:00.760 --> 0:20:08.760
<v Speaker 2>to us from Bo. Bo says, Hi, guys, I love

0:20:08.800 --> 0:20:10.960
<v Speaker 2>your show and have listened for years. I'm a little

0:20:10.960 --> 0:20:12.600
<v Speaker 2>behind in the moment, but I was thrilled to hear

0:20:12.640 --> 0:20:16.000
<v Speaker 2>your episode on La Caabina. This struck a chord with me.

0:20:16.119 --> 0:20:19.240
<v Speaker 2>You mentioned that some films or movies viewed as a

0:20:19.320 --> 0:20:21.800
<v Speaker 2>child may leave a lasting impression, and for me this

0:20:22.040 --> 0:20:24.800
<v Speaker 2>was the one. I'm Norwegian but lived a few years

0:20:24.840 --> 0:20:27.400
<v Speaker 2>in Spain as a child in the seventies. At the time,

0:20:27.440 --> 0:20:30.440
<v Speaker 2>there were only two TV channels there, both controlled by

0:20:30.440 --> 0:20:34.119
<v Speaker 2>the regime. TV one was the news propaganda channel and

0:20:34.200 --> 0:20:37.119
<v Speaker 2>TV two was a bit more for entertainment. Mind you,

0:20:37.400 --> 0:20:39.639
<v Speaker 2>no channels apping, as you had to go over to

0:20:39.680 --> 0:20:42.040
<v Speaker 2>the TV and push a button to change the channel.

0:20:42.240 --> 0:20:43.000
<v Speaker 3>Good old days.

0:20:43.160 --> 0:20:47.040
<v Speaker 2>Yeah, So, one day, watching whatever was on TV two,

0:20:47.200 --> 0:20:49.560
<v Speaker 2>this film was shown. This was in seventy three or

0:20:49.600 --> 0:20:51.840
<v Speaker 2>seventy four, so it was a rerun. I was twelve

0:20:51.960 --> 0:20:54.119
<v Speaker 2>or thirteen, and it started out as funny, that is

0:20:54.320 --> 0:20:56.919
<v Speaker 2>until the end, which scared the Bejesus out of me

0:20:57.200 --> 0:20:59.720
<v Speaker 2>and gave me nightmares for some time, and it definitely

0:20:59.760 --> 0:21:04.000
<v Speaker 2>became unforgettable. At the same time, of course, I had

0:21:04.000 --> 0:21:06.600
<v Speaker 2>no idea about the symbolism of the film. The director

0:21:06.600 --> 0:21:08.560
<v Speaker 2>says that the film can be interpreted in many ways,

0:21:08.560 --> 0:21:11.680
<v Speaker 2>which is true, but for me, in the grown up hindsight,

0:21:11.880 --> 0:21:16.160
<v Speaker 2>it is clearly a political statement. Remember that disappearances actually

0:21:16.240 --> 0:21:19.399
<v Speaker 2>happened at this time under the Franco regime. What happened

0:21:19.400 --> 0:21:21.960
<v Speaker 2>to those people, Well, obviously they did not end up

0:21:21.960 --> 0:21:24.520
<v Speaker 2>in telephone boxes in a bunker. But this is what

0:21:24.640 --> 0:21:28.680
<v Speaker 2>the film carefully addresses. And then we get a bullet list. Here.

0:21:29.080 --> 0:21:32.240
<v Speaker 2>The surveillance view of the plaza may may be someone

0:21:32.440 --> 0:21:36.240
<v Speaker 2>pushing the button. If someone suspicious enters the box, the

0:21:36.359 --> 0:21:40.800
<v Speaker 2>tie is key as a symbol of nonconformity, a slash suspicion.

0:21:41.160 --> 0:21:43.320
<v Speaker 2>The other guy caught in a separate box also has

0:21:43.320 --> 0:21:46.600
<v Speaker 2>an unusual tie. We talked about the pattern a bit above,

0:21:46.680 --> 0:21:50.160
<v Speaker 2>all these times with a dotted pattern. On the other hand,

0:21:50.200 --> 0:21:52.679
<v Speaker 2>there is a short scene during the transport where a

0:21:52.720 --> 0:21:55.440
<v Speaker 2>guy who exits a red telephone box with no problem.

0:21:55.560 --> 0:21:57.480
<v Speaker 2>He wears a nice neutral gray tie.

0:21:57.960 --> 0:21:59.840
<v Speaker 3>H I didn't notice that.

0:22:00.160 --> 0:22:05.000
<v Speaker 2>Yeah, the mindless telecompany workers, non thinking and just doing

0:22:05.040 --> 0:22:09.280
<v Speaker 2>their job, actually symbolizing normal people not wanting to upset anything.

0:22:09.920 --> 0:22:14.280
<v Speaker 2>The apartment complex building, the uniform, the uniform frame for

0:22:14.359 --> 0:22:18.600
<v Speaker 2>the followers, and the circus performers are the marginalized weirdos

0:22:18.640 --> 0:22:22.120
<v Speaker 2>that are non threatening to the regime, providing plausible excuse

0:22:22.240 --> 0:22:25.119
<v Speaker 2>for openness. I could go on, the bottom line is

0:22:25.160 --> 0:22:27.480
<v Speaker 2>that this film deeply touched me and I am glad

0:22:27.520 --> 0:22:31.080
<v Speaker 2>that you covered it. Bes regards Bo now living in Copenhagen.

0:22:30.800 --> 0:22:32.680
<v Speaker 3>Well thanks, Bo, I think, yeah, you make some great

0:22:32.720 --> 0:22:34.960
<v Speaker 3>points there. I think we talked about this in the episode.

0:22:34.960 --> 0:22:37.800
<v Speaker 3>But my take on it was despite the director saying that,

0:22:38.280 --> 0:22:41.639
<v Speaker 3>you know, the film could be interpreted as being about

0:22:41.640 --> 0:22:46.119
<v Speaker 3>whatever kind of box metaphorically you are trapped in, it

0:22:46.359 --> 0:22:49.080
<v Speaker 3>just struck me as that it had to at some

0:22:49.200 --> 0:22:51.760
<v Speaker 3>level be a political analysis like that it was a

0:22:51.760 --> 0:22:54.479
<v Speaker 3>political comment, especially when some of the comments the director

0:22:54.480 --> 0:22:56.760
<v Speaker 3>made about it not being a direct critique of the

0:22:56.760 --> 0:23:01.080
<v Speaker 3>Franco regime were made early on, where it seems like

0:23:01.160 --> 0:23:03.200
<v Speaker 3>he may have thought he had to say that, right,

0:23:03.280 --> 0:23:05.320
<v Speaker 3>you know, in order to actually get it out, he

0:23:05.359 --> 0:23:07.240
<v Speaker 3>had to say no, no, no, this isn't a threatening

0:23:07.280 --> 0:23:10.679
<v Speaker 3>piece of art. It seems to me like it obviously is.

0:23:10.800 --> 0:23:14.119
<v Speaker 3>It's clearly supposed to be politically subversive, though I can

0:23:14.160 --> 0:23:17.080
<v Speaker 3>also believe that it had these secondary meanings as well,

0:23:17.119 --> 0:23:19.840
<v Speaker 3>that it's not just a political allegory. It's just like

0:23:20.640 --> 0:23:22.359
<v Speaker 3>it can mean a lot of things, and there is

0:23:22.440 --> 0:23:24.720
<v Speaker 3>one thing especially that it seems to mean.

0:23:25.440 --> 0:23:32.840
<v Speaker 2>Yeah. Yeah, it's interesting thinking about how repressive regimes take

0:23:34.119 --> 0:23:36.879
<v Speaker 2>art that is open to interpretation, because I think, you know,

0:23:36.920 --> 0:23:40.760
<v Speaker 2>there are plenty of examples of skilled artists being able

0:23:40.840 --> 0:23:45.159
<v Speaker 2>to sneak something by them sneak commentary and criticism and

0:23:46.240 --> 0:23:49.040
<v Speaker 2>so forth past the sensors. But then there are, you know,

0:23:49.080 --> 0:23:52.680
<v Speaker 2>any number of cases where the sensors are latching onto

0:23:52.720 --> 0:23:55.919
<v Speaker 2>things that maybe do not have a political intention, but

0:23:56.560 --> 0:23:58.880
<v Speaker 2>since you know, they're vague enough, since they are open

0:23:58.920 --> 0:24:02.760
<v Speaker 2>to interpretation, they are open to criticism from any given

0:24:02.800 --> 0:24:06.720
<v Speaker 2>regime anyway, Both, thanks for writing in. I do always

0:24:06.800 --> 0:24:11.359
<v Speaker 2>enjoy hearing about how listeners encounter these different movies and

0:24:11.400 --> 0:24:16.080
<v Speaker 2>shows in the wild in their lives and the influence

0:24:16.080 --> 0:24:18.800
<v Speaker 2>of those films had over their lives. So yeah, thanks

0:24:18.840 --> 0:24:19.399
<v Speaker 2>for writing in.

0:24:19.760 --> 0:24:23.439
<v Speaker 3>Totally Thanks both, all right, This next Weird House Cinema

0:24:23.440 --> 0:24:31.840
<v Speaker 3>message is from Megan. Meghan says, Hello, I would like

0:24:31.880 --> 0:24:34.359
<v Speaker 3>to recommend a film for Weird House Cinema. The nineteen

0:24:34.480 --> 0:24:39.800
<v Speaker 3>eighty eight Canadian horror film called pin Pi. In Canadians

0:24:39.840 --> 0:24:43.040
<v Speaker 3>around my age of forty nine, may remember it, however,

0:24:43.200 --> 0:24:46.679
<v Speaker 3>I know I always conflated it with The Changeling, a

0:24:46.720 --> 0:24:49.760
<v Speaker 3>more well known Canadian horror movie, since the box ard

0:24:49.840 --> 0:24:56.119
<v Speaker 3>for both films use imagery of a spooky wheelchair both movies. Also,

0:24:57.040 --> 0:24:59.600
<v Speaker 3>both movies always looked very frightening to me, so I

0:24:59.680 --> 0:25:03.440
<v Speaker 3>only recently decided to finally watch Pin. I would classify

0:25:03.480 --> 0:25:07.040
<v Speaker 3>it as odd and uncomfortable and having some Freudian slash

0:25:07.080 --> 0:25:10.719
<v Speaker 3>adult themes, but not really scary. Two fun facts, the

0:25:10.720 --> 0:25:14.160
<v Speaker 3>male protagonist acted in a Canadian classic you've just talked

0:25:14.160 --> 0:25:17.560
<v Speaker 3>about in listener mail, and that is Cube, not Jim

0:25:17.640 --> 0:25:21.920
<v Speaker 3>Henson's The Cube, but the Canadian I don't know puzzle

0:25:21.920 --> 0:25:24.240
<v Speaker 3>horror movie Cube, where people are in a bunch of

0:25:24.240 --> 0:25:26.560
<v Speaker 3>cubes and most of the cubes have like a razor

0:25:26.600 --> 0:25:27.800
<v Speaker 3>that cuts you apart or something.

0:25:28.119 --> 0:25:29.720
<v Speaker 2>Yeah, yeah, we may coming back to that one in

0:25:29.760 --> 0:25:33.400
<v Speaker 2>Weird House Cinema. It's become a classic in its own way.

0:25:33.680 --> 0:25:35.959
<v Speaker 3>Did I mention this last time that Cube is one

0:25:35.960 --> 0:25:39.320
<v Speaker 3>of those movies where I saw its terrible sequels before

0:25:39.359 --> 0:25:40.359
<v Speaker 3>I saw the original.

0:25:40.640 --> 0:25:42.480
<v Speaker 2>Oh no, I don't remember if you did.

0:25:42.760 --> 0:25:47.680
<v Speaker 3>Yeah, I think I first saw Cube two Hypercube. I

0:25:47.680 --> 0:25:49.919
<v Speaker 3>don't know if i'd say that one's worth it, but

0:25:50.000 --> 0:25:51.920
<v Speaker 3>I worked my way back to the original and it's

0:25:51.960 --> 0:25:54.080
<v Speaker 3>been many, many years, but I remember liking it at

0:25:54.080 --> 0:25:54.440
<v Speaker 3>the time.

0:25:55.200 --> 0:25:57.880
<v Speaker 2>I remember the scene in which the dude is cut

0:25:57.920 --> 0:26:02.320
<v Speaker 2>into little cubes by wires being like just super impressive

0:26:02.320 --> 0:26:05.960
<v Speaker 2>at the time. I think the cubes within cubes. Yeah,

0:26:06.000 --> 0:26:08.400
<v Speaker 2>that was the main thing I connected with back then,

0:26:09.000 --> 0:26:10.520
<v Speaker 2>was that that was a really cool that was a

0:26:10.600 --> 0:26:14.080
<v Speaker 2>quality kill, not so much some of the the ideas

0:26:14.119 --> 0:26:15.879
<v Speaker 2>bound up in the concept, so that one would be

0:26:15.920 --> 0:26:17.520
<v Speaker 2>a fun one for me to revisit, for sure.

0:26:18.359 --> 0:26:20.720
<v Speaker 3>Let's see. Megan goes on to say, I have a

0:26:20.760 --> 0:26:24.119
<v Speaker 3>personal connection to pen because a second cousin of mine,

0:26:24.160 --> 0:26:29.520
<v Speaker 3>Bronwyn Mantle, plays the mother. Okay, anyway, this film isn't

0:26:29.520 --> 0:26:33.240
<v Speaker 3>as wild as my previous recommendation, treasurer of the Four Crowns,

0:26:33.560 --> 0:26:35.000
<v Speaker 3>but it might be a good one to watch if

0:26:35.000 --> 0:26:38.520
<v Speaker 3>you like, if you'd like to explore some Canadian content. Megan,

0:26:38.640 --> 0:26:42.480
<v Speaker 3>that was you. We actually took your recommendation and covered

0:26:42.480 --> 0:26:45.359
<v Speaker 3>Treasure of the Four Crowns on Weird House. Absolutely not

0:26:45.560 --> 0:26:47.600
<v Speaker 3>one of the better movies we have watched, but I

0:26:47.600 --> 0:26:50.960
<v Speaker 3>have very fond memories of covering it on the show.

0:26:51.040 --> 0:26:54.000
<v Speaker 3>That one often comes to mind when I think about

0:26:54.000 --> 0:26:56.840
<v Speaker 3>how the quality of our Weird House episode seems to

0:26:56.840 --> 0:26:59.400
<v Speaker 3>be kind of unrelated to the quality of the films.

0:27:00.240 --> 0:27:02.919
<v Speaker 2>Yeah. Yeah, you never know what's gonna Sometimes it's just

0:27:02.960 --> 0:27:05.879
<v Speaker 2>great to talk about a great film. Other times, you know,

0:27:07.520 --> 0:27:09.680
<v Speaker 2>maybe more often than not, the ones I really get

0:27:09.680 --> 0:27:12.560
<v Speaker 2>into are films that are rougher around the edges, but

0:27:12.640 --> 0:27:15.359
<v Speaker 2>have those gems embedded in them that he's kind of

0:27:15.359 --> 0:27:18.880
<v Speaker 2>have to dig out with your fingernails. I don't call

0:27:18.960 --> 0:27:22.159
<v Speaker 2>what the real gems inside that particular movie were, but

0:27:22.240 --> 0:27:23.320
<v Speaker 2>I think we did find a few.

0:27:23.920 --> 0:27:26.280
<v Speaker 3>Yeah, it had fewer gyms than most I think, but

0:27:26.320 --> 0:27:29.080
<v Speaker 3>it was still. Like I've said about several things recently,

0:27:29.080 --> 0:27:32.240
<v Speaker 3>it is not good, but it's a good time anyway.

0:27:32.400 --> 0:27:35.159
<v Speaker 3>Megan says, as always, thank you for all the wonderful content,

0:27:35.240 --> 0:27:38.320
<v Speaker 3>both the regular science episodes and all the fun bonus content.

0:27:38.400 --> 0:27:41.840
<v Speaker 3>I love it all. Smiley face emoticon Megan.

0:27:42.359 --> 0:27:45.680
<v Speaker 2>Yeah, I have not seen Ken, but it is notable

0:27:45.720 --> 0:27:50.000
<v Speaker 2>that it's based on a novel by and Andrew Niederman,

0:27:50.080 --> 0:27:53.240
<v Speaker 2>who also wrote the book that the Devil's Advocate is

0:27:53.280 --> 0:27:56.400
<v Speaker 2>based upon the al Pacino Devil Lawyer movie from the nineties.

0:27:56.560 --> 0:27:56.840
<v Speaker 2>Uh huh.

0:27:56.960 --> 0:27:59.480
<v Speaker 3>Yeah. We were just talking about that movie off Mike

0:27:59.520 --> 0:28:01.680
<v Speaker 3>before we started here today, and I have a very

0:28:01.680 --> 0:28:05.400
<v Speaker 3>specific memory of being a kid in the nineties and

0:28:05.480 --> 0:28:09.520
<v Speaker 3>thinking about the Devil's Advocate. This is a serious movie

0:28:09.520 --> 0:28:11.479
<v Speaker 3>for grown ups?

0:28:12.560 --> 0:28:14.480
<v Speaker 2>Yeah, yeah, I think it did have that air at

0:28:14.560 --> 0:28:16.680
<v Speaker 2>the time. I have not seen it since it came out,

0:28:16.720 --> 0:28:17.640
<v Speaker 2>though I have.

0:28:17.880 --> 0:28:20.359
<v Speaker 3>I don't know if it's a serious movie for grown ups,

0:28:21.200 --> 0:28:23.960
<v Speaker 3>but anyway, looking at Pin, it looks to me so

0:28:24.000 --> 0:28:28.520
<v Speaker 3>it's like a kind of bizarre psychological horror thriller. It's

0:28:28.560 --> 0:28:33.359
<v Speaker 3>got like weird family relationships and murders. The main premise,

0:28:33.400 --> 0:28:35.240
<v Speaker 3>from what I can tell, is that there's a doctor

0:28:35.720 --> 0:28:40.880
<v Speaker 3>played by Terry O'Quinn who creates an anatomically realistic human

0:28:40.960 --> 0:28:44.600
<v Speaker 3>dummy named Pin to use in educating his small children

0:28:44.640 --> 0:28:47.880
<v Speaker 3>about medicine and the human body. Unfortunately, I think at

0:28:47.920 --> 0:28:51.440
<v Speaker 3>least one of his children sort of turns into Norman Bates,

0:28:51.520 --> 0:28:54.320
<v Speaker 3>but sub in this dummy instead of Norman Bates his mother.

0:28:54.840 --> 0:28:56.760
<v Speaker 2>Hmm, all right, that doesn't sound good.

0:28:57.280 --> 0:29:00.280
<v Speaker 3>Also, Robie attached a screenshot of what the dummy looks

0:29:00.320 --> 0:29:02.680
<v Speaker 3>like there appear to be a couple of varieties. There's

0:29:02.680 --> 0:29:07.200
<v Speaker 3>a skin on and skin off variety, and yeah, super creepy.

0:29:07.320 --> 0:29:09.560
<v Speaker 2>Yeah, I agree. I agree, this is a very creepy

0:29:09.560 --> 0:29:13.480
<v Speaker 2>looking dummy for sure. Skin on also it's pretty bad

0:29:14.920 --> 0:29:17.000
<v Speaker 2>skin skin off is creepier skin but I don't know,

0:29:17.080 --> 0:29:20.520
<v Speaker 2>skin on is also kind of creepy, So yeah, I agree.

0:29:21.040 --> 0:29:23.120
<v Speaker 2>You know, I've actually been very interested in doing some

0:29:23.160 --> 0:29:25.920
<v Speaker 2>sort of ventral equos dummy horror film at some point

0:29:26.000 --> 0:29:29.080
<v Speaker 2>or Another one that I had been considering already is

0:29:29.360 --> 0:29:32.080
<v Speaker 2>the film Devil Do all black and white picture that

0:29:32.120 --> 0:29:34.560
<v Speaker 2>some of you remember from Mystery Science three thousand. But

0:29:34.640 --> 0:29:38.160
<v Speaker 2>then we also had listeners. A listener write in with

0:29:38.200 --> 0:29:40.480
<v Speaker 2>a recommendation for another one that's kind of been on

0:29:40.520 --> 0:29:41.000
<v Speaker 2>my radar.

0:29:41.400 --> 0:29:44.920
<v Speaker 3>Oh yeah, right, So our listener, Chris says, Hey, Joe

0:29:44.920 --> 0:29:47.240
<v Speaker 3>and Robert, I would like to recommend the nineteen seventy

0:29:47.280 --> 0:29:51.480
<v Speaker 3>eight film Magic, starring Anthony Hopkins and Burgess Meredith. It's

0:29:51.480 --> 0:29:53.680
<v Speaker 3>sort of an evil dummy made Me do it movie,

0:29:53.720 --> 0:29:57.480
<v Speaker 3>though there's more to it than that, Chris says. Hopkins

0:29:57.480 --> 0:30:00.480
<v Speaker 3>does an outstanding performance for what is this essentially a

0:30:00.560 --> 0:30:02.840
<v Speaker 3>ninety minute episode of Tales from the Crypt to keep

0:30:02.920 --> 0:30:04.680
<v Speaker 3>up the great work, guys, Chris.

0:30:05.120 --> 0:30:10.000
<v Speaker 2>Yeah again, Yeah. Attenborough screenplay by William Goldman, based on

0:30:10.080 --> 0:30:13.040
<v Speaker 2>his novel So yeah, it's there are a number of

0:30:13.080 --> 0:30:14.640
<v Speaker 2>attractive elements here. You know.

0:30:14.680 --> 0:30:16.800
<v Speaker 3>I think I was just browsing recently and there's a

0:30:16.880 --> 0:30:19.160
<v Speaker 3>vinegar syndrome blu ray of devil doll.

0:30:19.400 --> 0:30:21.720
<v Speaker 2>Ooh okay, yeah that's right. I think I got an

0:30:21.720 --> 0:30:24.360
<v Speaker 2>email about that. Yeah, have to check that one out.

0:30:24.640 --> 0:30:28.000
<v Speaker 2>That's one that I remember, even in its Mystery Science

0:30:28.040 --> 0:30:32.280
<v Speaker 2>Theater three thousand and form, I found pretty unsettling, just

0:30:32.320 --> 0:30:35.520
<v Speaker 2>something about it. Its tone, and there's kind of like

0:30:35.560 --> 0:30:47.120
<v Speaker 2>a dead pan uncanniness to it. This next one comes

0:30:47.160 --> 0:30:50.160
<v Speaker 2>to us from Oh it's another Robert. That's why I

0:30:50.200 --> 0:30:53.880
<v Speaker 2>was thrown off guard there this Robert says. Dear Robert

0:30:53.920 --> 0:30:57.160
<v Speaker 2>and Joe. First, thanks for a wonderfully varied podcast. I

0:30:57.200 --> 0:30:59.600
<v Speaker 2>listened regularly on my walk to and from the university,

0:30:59.600 --> 0:31:02.880
<v Speaker 2>where I can each creative writing. I just heard the

0:31:02.920 --> 0:31:05.560
<v Speaker 2>listener Mail episode from April third, twenty twenty five, and

0:31:05.640 --> 0:31:08.760
<v Speaker 2>noted one of the suggestions for the upcoming anniversary is

0:31:08.760 --> 0:31:12.880
<v Speaker 2>the Japanese film Wild Zero. Hearing it brought me back

0:31:12.880 --> 0:31:16.120
<v Speaker 2>to seeing the film in grand style at the Fantasia

0:31:16.160 --> 0:31:20.760
<v Speaker 2>Festival in Montreal in nineteen ninety nine. The director Tatsuro

0:31:20.800 --> 0:31:23.960
<v Speaker 2>Takuci was in attendance, and I recall him looking fab

0:31:24.040 --> 0:31:27.440
<v Speaker 2>in a silver sequin blazer and a feather boa, along

0:31:27.440 --> 0:31:31.240
<v Speaker 2>with an entourage of twelve or fifteen comrades, all dressed

0:31:31.320 --> 0:31:35.400
<v Speaker 2>in the over the top Shibuya chai style popular in

0:31:35.480 --> 0:31:38.560
<v Speaker 2>Tokyo at the time. The film's a science fiction rock

0:31:38.600 --> 0:31:42.000
<v Speaker 2>and roll, zombie apocalypse comedy romance gender bender, and it

0:31:42.040 --> 0:31:44.760
<v Speaker 2>holds a very special place in my heart. The real

0:31:44.800 --> 0:31:47.160
<v Speaker 2>life band at the center of the story, Guitar Wolf,

0:31:47.520 --> 0:31:50.320
<v Speaker 2>was the inspiration for a fictional band that appears in

0:31:50.360 --> 0:31:53.560
<v Speaker 2>one of my children's novels, The Creature Department, a band

0:31:53.600 --> 0:31:57.080
<v Speaker 2>with a name I know you'll enjoy, Boris Minor and

0:31:57.160 --> 0:32:00.440
<v Speaker 2>the Carlofs. It might not make the anniversary episode, but

0:32:00.480 --> 0:32:02.960
<v Speaker 2>I'd love to hear Wild Zero get the weird House treatment.

0:32:03.200 --> 0:32:04.760
<v Speaker 2>Very kind regards Robert.

0:32:05.160 --> 0:32:06.960
<v Speaker 3>As I think I said last time, I saw this

0:32:07.040 --> 0:32:08.880
<v Speaker 3>movie way back when I was in high school, and

0:32:09.160 --> 0:32:11.920
<v Speaker 3>I remember it made a very positive impression on me

0:32:11.960 --> 0:32:15.840
<v Speaker 3>then it I remember it had the feeling of a

0:32:15.840 --> 0:32:17.880
<v Speaker 3>movie with a real zest for life.

0:32:19.160 --> 0:32:21.440
<v Speaker 2>Yeah, I actually never saw it, but I'm very familiar

0:32:21.440 --> 0:32:25.520
<v Speaker 2>with seeing it's poster art, you know, definitely, you know,

0:32:25.640 --> 0:32:28.080
<v Speaker 2>going to places where I could rent or see movies

0:32:28.200 --> 0:32:30.880
<v Speaker 2>or learn about movies. I do remember seeing this box

0:32:31.000 --> 0:32:31.520
<v Speaker 2>art a lot.

0:32:32.320 --> 0:32:35.640
<v Speaker 3>All right, This next message is from uber Cthulhu. Uber

0:32:35.640 --> 0:32:38.880
<v Speaker 3>Cthulhu says, And by the way, you know, friends, you

0:32:38.920 --> 0:32:42.320
<v Speaker 3>can always write in with the pseudonym. Just specify. We'll

0:32:42.400 --> 0:32:44.400
<v Speaker 3>use whatever name you give us, and if you use

0:32:44.400 --> 0:32:52.040
<v Speaker 3>your real name, we'll just use your first name. Uber

0:32:52.080 --> 0:32:55.240
<v Speaker 3>Cuthulhu says, Hey, guys, I absolutely love your shows. I

0:32:55.280 --> 0:32:58.080
<v Speaker 3>listened to them regularly. You have a masterful way of

0:32:58.120 --> 0:33:02.760
<v Speaker 3>dissecting and appreciating the films you feature. Thank you. I'm

0:33:02.760 --> 0:33:06.040
<v Speaker 3>curious if you have ever done a show on the equinox.

0:33:06.200 --> 0:33:08.960
<v Speaker 3>It is a film that I saw once at about

0:33:09.000 --> 0:33:13.000
<v Speaker 3>age eight and never came across again for many years,

0:33:13.320 --> 0:33:16.760
<v Speaker 3>but it really made an impression on my youthful, malleable brain.

0:33:17.240 --> 0:33:19.880
<v Speaker 3>Fast forward about thirty five years and I was having

0:33:19.880 --> 0:33:22.760
<v Speaker 3>a conversation with a great, dearly departed friend of mine

0:33:23.040 --> 0:33:26.000
<v Speaker 3>about strange films that we had seen. He turned out

0:33:26.040 --> 0:33:28.000
<v Speaker 3>to be the only other person I had ever met

0:33:28.080 --> 0:33:30.600
<v Speaker 3>that had seen it. In any case, I sought it

0:33:30.640 --> 0:33:34.080
<v Speaker 3>out and after a long search in almost eighty dollars,

0:33:34.240 --> 0:33:37.840
<v Speaker 3>I procured it. Wow, it's just as strange as I remember.

0:33:38.120 --> 0:33:40.160
<v Speaker 3>In a few words, I will describe it as young

0:33:40.200 --> 0:33:43.920
<v Speaker 3>couples in a woodsy area trying to picnic, beset by

0:33:44.240 --> 0:33:49.960
<v Speaker 3>demonic possession, other dimensions, and Ray Harryhausen type creatures. Oh boy,

0:33:50.000 --> 0:33:53.520
<v Speaker 3>you know how to get our attention, Uber Cuthulhu says,

0:33:53.520 --> 0:33:57.400
<v Speaker 3>and get this. It features a young young Herb Tarlik

0:33:57.480 --> 0:34:02.320
<v Speaker 3>from WKRP in Cincinnati. Anyway, sorry to be long winded,

0:34:02.360 --> 0:34:05.760
<v Speaker 3>love your shows, please feature it. Uber Cthulhu out peace,

0:34:06.600 --> 0:34:10.880
<v Speaker 3>Love getting tidings of peace from uber Cuthulhu. But also, wow,

0:34:11.000 --> 0:34:13.239
<v Speaker 3>I was not previously aware of this movie. I looked

0:34:13.280 --> 0:34:16.320
<v Speaker 3>it up and it looks good. According to what I've read,

0:34:17.080 --> 0:34:20.480
<v Speaker 3>it sounds like a combination of the original Evil Dead

0:34:20.680 --> 0:34:26.120
<v Speaker 3>and a movie that I've seen called The Daytime Ended One. Yeah,

0:34:26.200 --> 0:34:28.759
<v Speaker 3>it's like where a family goes to a house in

0:34:28.800 --> 0:34:32.720
<v Speaker 3>the desert to be repeatedly subjected to encounters with special

0:34:32.760 --> 0:34:36.759
<v Speaker 3>effects reels. It's mostly stop motion dinosaurs, but also there's

0:34:36.800 --> 0:34:39.640
<v Speaker 3>like a looks like a Betamax camera that floats around

0:34:39.680 --> 0:34:40.080
<v Speaker 3>in the air.

0:34:40.800 --> 0:34:41.240
<v Speaker 2>Yeah.

0:34:41.400 --> 0:34:44.840
<v Speaker 3>Yeah, but I compare it to that because so, like

0:34:45.000 --> 0:34:48.040
<v Speaker 3>Uber Cuthulhu said, Equinox is about a group of young

0:34:48.040 --> 0:34:49.799
<v Speaker 3>people who go up for a picnic. I think they're

0:34:49.800 --> 0:34:53.400
<v Speaker 3>in southern California. But the Evil Dead comparison is, I

0:34:53.400 --> 0:34:56.240
<v Speaker 3>think they find a book which allows them to summon

0:34:56.400 --> 0:34:59.560
<v Speaker 3>various demons. And then the other element is these demons

0:34:59.560 --> 0:35:02.879
<v Speaker 3>are of a of Harry House in Persuasion. So I've

0:35:02.920 --> 0:35:05.319
<v Speaker 3>found a stream of it online and I was just

0:35:05.360 --> 0:35:08.040
<v Speaker 3>like skipping through to various parts. There's one part in

0:35:08.040 --> 0:35:10.440
<v Speaker 3>the middle where a cabin in the woods is being

0:35:10.440 --> 0:35:14.680
<v Speaker 3>attacked by a giant land squid with green thorny arms.

0:35:15.680 --> 0:35:18.560
<v Speaker 3>Then there's another section that's got a monster with like

0:35:18.560 --> 0:35:21.520
<v Speaker 3>three fins on his head and big ribs protruding out

0:35:21.560 --> 0:35:24.760
<v Speaker 3>of his body. Also, at some point, the human characters

0:35:24.800 --> 0:35:27.040
<v Speaker 3>are fighting a big green guy in a pelt who

0:35:27.120 --> 0:35:30.040
<v Speaker 3>looks like a combination of Ega and the Incredible Hulk.

0:35:30.440 --> 0:35:31.319
<v Speaker 3>You see this guy here?

0:35:32.200 --> 0:35:35.160
<v Speaker 2>Yeah, I've seen some clips from this film. I've never

0:35:35.200 --> 0:35:39.120
<v Speaker 2>watched it in full. It's my understanding that it's that

0:35:39.160 --> 0:35:42.000
<v Speaker 2>the effects are largely the work of David Allen, who's

0:35:42.040 --> 0:35:44.200
<v Speaker 2>come up on the show before because he's had his

0:35:44.239 --> 0:35:48.160
<v Speaker 2>hand in stop motion effects for so many films, including

0:35:48.200 --> 0:35:52.080
<v Speaker 2>two that we've watched before, The Dungeon Master and Robot Jocks.

0:35:52.840 --> 0:35:53.399
<v Speaker 3>There we go.

0:35:54.400 --> 0:35:56.760
<v Speaker 2>So yeah, I'd be up for Equinox at some point.

0:35:57.400 --> 0:35:59.279
<v Speaker 2>One I've never seen, but it's kind of been on

0:35:59.320 --> 0:36:01.359
<v Speaker 2>the list for a long time.

0:36:01.880 --> 0:36:04.399
<v Speaker 3>I reject your reality and substitute my own.

0:36:06.360 --> 0:36:08.200
<v Speaker 2>All Right, we're going to close things out here with

0:36:09.160 --> 0:36:12.480
<v Speaker 2>a message from our discord server. This one comes to

0:36:12.560 --> 0:36:14.880
<v Speaker 2>us from hot Nae Palm Death, who writes and it says,

0:36:15.360 --> 0:36:18.160
<v Speaker 2>I was thinking you guys might consider doing the Denzel

0:36:18.360 --> 0:36:24.160
<v Speaker 2>Washington trilogy since you did Virtuosity, Fallen, and Ricochet complete

0:36:24.560 --> 0:36:28.799
<v Speaker 2>the triumvirate of Denzel versus Psycho. You did the sci fi.

0:36:29.160 --> 0:36:33.240
<v Speaker 2>Ricochet is hard drama, but Fallen is supernatural. Otherwise, basically

0:36:33.280 --> 0:36:37.520
<v Speaker 2>the same idea Denzel versus super smart Psycho all came

0:36:37.560 --> 0:36:38.520
<v Speaker 2>out in the nineties.

0:36:38.920 --> 0:36:42.280
<v Speaker 3>I remember Fallen was like a movie that a bunch

0:36:42.320 --> 0:36:45.000
<v Speaker 3>of my friends in high school thought was really cool,

0:36:45.040 --> 0:36:46.560
<v Speaker 3>and I never saw the whole thing. I think I

0:36:46.560 --> 0:36:48.319
<v Speaker 3>saw like a few minutes of it on TV and

0:36:48.360 --> 0:36:48.799
<v Speaker 3>that's it.

0:36:49.160 --> 0:36:51.000
<v Speaker 2>Yeah, I think it was on in the background, like

0:36:51.040 --> 0:36:54.920
<v Speaker 2>when I was in school or something. Now. Ricochet. I

0:36:55.320 --> 0:36:58.480
<v Speaker 2>do remember seeing that one, because this is something that

0:36:59.520 --> 0:37:02.759
<v Speaker 2>the listener here gets into. But John Lithgow is in

0:37:02.800 --> 0:37:05.680
<v Speaker 2>it playing the villain, and he's a deliciously over the

0:37:05.680 --> 0:37:09.480
<v Speaker 2>top psycho villain in that picture. All right, So they

0:37:09.480 --> 0:37:11.719
<v Speaker 2>continue in there, right. Also, The Quick and the Dead,

0:37:11.880 --> 0:37:14.960
<v Speaker 2>which we mentioned, is particularly good and provides connections to

0:37:15.040 --> 0:37:18.400
<v Speaker 2>so many other things. Russell Crowe, Gene Hackman, Sharon Stone,

0:37:18.480 --> 0:37:23.640
<v Speaker 2>Leonardo DiCaprio, Lance Hendrickson, Keith David All directed by Sam Raimi.

0:37:24.360 --> 0:37:27.720
<v Speaker 2>I fully believe John Lithgow is the most versatile actor

0:37:27.760 --> 0:37:30.960
<v Speaker 2>of his generation. He is great as a villain, both

0:37:31.000 --> 0:37:35.719
<v Speaker 2>subtle dexter realistic but extreme Ricochet and completely over the

0:37:35.719 --> 0:37:36.960
<v Speaker 2>top Buckeroo Bonzai.

0:37:37.160 --> 0:37:39.840
<v Speaker 3>Oh where he's doctor Lizardo in Buffer Bonzai.

0:37:40.040 --> 0:37:44.200
<v Speaker 2>Yeah, but he is equally at home in subtle comedy world.

0:37:44.239 --> 0:37:48.040
<v Speaker 2>According to Garth, a normal comedy third Rock from the

0:37:48.080 --> 0:37:53.040
<v Speaker 2>Sun to Zany Buckeroo Bonzai again, or dramatic roles like Footloose,

0:37:53.160 --> 0:37:55.640
<v Speaker 2>Rise of the Planet of the Apes, Terms of Endearment

0:37:56.080 --> 0:37:58.719
<v Speaker 2>and so forth. Yeah, I think that's a solid read

0:37:58.800 --> 0:38:01.920
<v Speaker 2>on John liftgot he he has such a wide range

0:38:02.040 --> 0:38:06.200
<v Speaker 2>and he is He's proven himself believable in so many

0:38:06.200 --> 0:38:09.040
<v Speaker 2>different sorts of roles. I don't know that he's played

0:38:09.080 --> 0:38:11.120
<v Speaker 2>a or I haven't seen him in a villain role

0:38:11.160 --> 0:38:13.560
<v Speaker 2>in a while. So it's at times it's almost it

0:38:13.560 --> 0:38:16.439
<v Speaker 2>almost shakes me to remember that, Oh yeah, this guy

0:38:16.440 --> 0:38:19.200
<v Speaker 2>playing like the sweet old man character has played some

0:38:19.320 --> 0:38:21.360
<v Speaker 2>just vicious psychopaths in his past.

0:38:21.600 --> 0:38:26.480
<v Speaker 3>This is funny. I'm like apparently unusually underexposed to John Lithgow,

0:38:26.600 --> 0:38:28.600
<v Speaker 3>so I know him from Buckaroo Bonzi, where of course

0:38:28.600 --> 0:38:30.800
<v Speaker 3>I love him as he's the villain there. He's got

0:38:30.840 --> 0:38:33.560
<v Speaker 3>like sharp teeth and he's usually got electricity coming out

0:38:33.560 --> 0:38:35.560
<v Speaker 3>of him and stuff. But I never made it to

0:38:35.600 --> 0:38:39.399
<v Speaker 3>his season on Dexter. Never seen Ricochet, never seen the World,

0:38:39.400 --> 0:38:42.440
<v Speaker 3>according to Garp, never seen Third Rock from the Sun

0:38:43.640 --> 0:38:47.920
<v Speaker 3>or Footloose or terms of endearment. I'm just all behind.

0:38:47.760 --> 0:38:48.960
<v Speaker 2>Harry and the Henderson stuff.

0:38:49.760 --> 0:38:52.280
<v Speaker 3>I think I have seen that. It's been a while.

0:38:53.280 --> 0:38:55.040
<v Speaker 2>The most recent thing I think I saw him in

0:38:55.239 --> 0:38:58.719
<v Speaker 2>is the the what they did the two seasons of

0:38:59.560 --> 0:39:03.000
<v Speaker 2>of an new Perry Mason series on HBO that I

0:39:03.440 --> 0:39:06.560
<v Speaker 2>think was underappreciated. I thought it was excellent. John Lithgott

0:39:06.560 --> 0:39:11.520
<v Speaker 2>plays Perry Mason's this this lawyer that he looks up

0:39:11.520 --> 0:39:13.879
<v Speaker 2>to and works for early in his career, and it's

0:39:13.920 --> 0:39:15.480
<v Speaker 2>just it's it's a great performance.

0:39:16.239 --> 0:39:18.960
<v Speaker 3>Oh wait, I did catch him in he was in Conclave.

0:39:19.600 --> 0:39:22.120
<v Speaker 3>I don't want to spoil any spoil anything about Conclave,

0:39:22.200 --> 0:39:24.000
<v Speaker 3>but he's got an interesting role in that.

0:39:24.000 --> 0:39:25.759
<v Speaker 2>That's the movie where they picked the next pope, right,

0:39:25.800 --> 0:39:27.320
<v Speaker 2>that's where they picked the next I don't want to

0:39:27.320 --> 0:39:29.719
<v Speaker 2>spoilers on the pope selection, so I'm not gonna watch

0:39:29.719 --> 0:39:31.240
<v Speaker 2>it until until we get a new Pope.

0:39:31.239 --> 0:39:33.440
<v Speaker 3>I guess actually quite enjoyed Conclave.

0:39:33.760 --> 0:39:35.040
<v Speaker 2>All right, Well i'll have I'll have to give it

0:39:35.080 --> 0:39:37.319
<v Speaker 2>a look. I'll put it on the list of new

0:39:37.320 --> 0:39:41.760
<v Speaker 2>releases right under Death of the Unicorn, Death of Unicorn Conclave.

0:39:43.000 --> 0:39:45.160
<v Speaker 3>For a second, I was mixing up characters though, because

0:39:45.200 --> 0:39:47.080
<v Speaker 3>I was like, wait a minute, is John lithgow the

0:39:47.440 --> 0:39:50.600
<v Speaker 3>the pope candidate who vapes? No, he's not. That's a

0:39:50.600 --> 0:39:54.080
<v Speaker 3>different pope candidate in it. It's got a vaping, perhaps Pope.

0:39:54.120 --> 0:39:56.440
<v Speaker 2>Is this a part of the Jude law? Young Pope

0:39:56.480 --> 0:39:58.920
<v Speaker 2>Hot Pope universe or is this separate?

0:39:59.280 --> 0:40:02.320
<v Speaker 3>No? No, oh, it's not hot. No, it's not especially

0:40:02.360 --> 0:40:05.800
<v Speaker 3>hot or young or hip, but it is interesting.

0:40:06.080 --> 0:40:10.000
<v Speaker 2>Okay, all right, We're gonna go ahead and close up

0:40:10.000 --> 0:40:12.000
<v Speaker 2>the mail bag for this episode, but we'd love to

0:40:12.040 --> 0:40:15.959
<v Speaker 2>hear from you all of your Conclave related thoughts and more.

0:40:16.800 --> 0:40:19.320
<v Speaker 2>You can write into us at that email address that

0:40:19.360 --> 0:40:21.759
<v Speaker 2>we reference to the top of the episode, and Joe

0:40:21.800 --> 0:40:23.840
<v Speaker 2>will throw it out again here in a minute as well.

0:40:24.440 --> 0:40:26.640
<v Speaker 2>Let's see other places you can find us on Instagram

0:40:26.640 --> 0:40:30.000
<v Speaker 2>where stbim podcast. If you're on letterbox dot com, you

0:40:30.040 --> 0:40:32.759
<v Speaker 2>can follow weird House there. Use your name weird House.

0:40:32.800 --> 0:40:34.359
<v Speaker 2>We got a nice list of all the movies we've

0:40:34.360 --> 0:40:36.319
<v Speaker 2>covered over the years, and sometimes a peek ahead at

0:40:36.320 --> 0:40:38.040
<v Speaker 2>what comes next Huge things.

0:40:38.040 --> 0:40:41.400
<v Speaker 3>As always to our excellent audio producer JJ Posway. If

0:40:41.400 --> 0:40:42.960
<v Speaker 3>you would like to get in touch with us with

0:40:43.040 --> 0:40:45.279
<v Speaker 3>feedback on this episode or any other, to suggest a

0:40:45.360 --> 0:40:47.680
<v Speaker 3>topic for the future, or just to say hello, you

0:40:47.719 --> 0:40:50.200
<v Speaker 3>can email us at contact at stuff to Blow your

0:40:50.239 --> 0:40:58.040
<v Speaker 3>Mind dot com.

0:40:58.160 --> 0:41:01.120
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