1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow your Mind, a production of 2 00:00:05,360 --> 00:00:10,960 Speaker 1: My Heart Radio. Hey, welcome to stuff to Blow your Mind. 3 00:00:11,000 --> 00:00:14,320 Speaker 1: A listener male. My name is Robert Lamb and I'm 4 00:00:14,360 --> 00:00:18,120 Speaker 1: Joe McCormick. And Carney is just spilling dry beans out 5 00:00:18,120 --> 00:00:20,279 Speaker 1: of his body today. That must mean that the first 6 00:00:20,280 --> 00:00:22,639 Speaker 1: messages we're gonna read are in response to our two 7 00:00:22,680 --> 00:00:30,360 Speaker 1: parter on the Humble being. All Right, what do we 8 00:00:30,400 --> 00:00:32,800 Speaker 1: have first, Joe, Well, let's see. The first note is 9 00:00:33,200 --> 00:00:36,479 Speaker 1: we received a very brief communic a from the food 10 00:00:36,520 --> 00:00:40,120 Speaker 1: historian Ken Albola, the author of the book Beans a History, 11 00:00:40,159 --> 00:00:42,440 Speaker 1: which we talked about a lot in those two episodes 12 00:00:42,440 --> 00:00:46,480 Speaker 1: on beans Can, contacted us to say, very nice episodes. 13 00:00:46,880 --> 00:00:49,559 Speaker 1: That's it seems Ken is into the whole brevity thing. 14 00:00:49,640 --> 00:00:52,279 Speaker 1: But thanks so much for the kind words and and 15 00:00:52,560 --> 00:01:00,080 Speaker 1: your book was a big help. Awesome all right, This 16 00:01:00,160 --> 00:01:02,960 Speaker 1: next one comes to us from Hannah. Hannah rides Hi, 17 00:01:03,120 --> 00:01:06,400 Speaker 1: Robert and Joe. I loved your reconsider the being episodes 18 00:01:06,480 --> 00:01:09,080 Speaker 1: this week. As a long time vegetarian, I am something 19 00:01:09,120 --> 00:01:12,200 Speaker 1: of a bean stand. Uh it's like a fan, right, 20 00:01:12,319 --> 00:01:16,320 Speaker 1: that's yeah, it means like a fan. I think a 21 00:01:16,440 --> 00:01:18,800 Speaker 1: stand is not just a fan as in somebody who 22 00:01:18,800 --> 00:01:21,240 Speaker 1: likes it, but a fan who like puts effort into 23 00:01:21,280 --> 00:01:24,800 Speaker 1: their appreciation of something. All right, and one of my 24 00:01:24,840 --> 00:01:27,000 Speaker 1: favorite things of stuff to blow your mind episodes are 25 00:01:27,040 --> 00:01:30,640 Speaker 1: deep dives into seemingly mundane things. To answer the question 26 00:01:30,720 --> 00:01:33,320 Speaker 1: of favorite beans, I must admit that my heart lies 27 00:01:33,400 --> 00:01:37,640 Speaker 1: with the humble black bean that being has range. I 28 00:01:37,680 --> 00:01:40,440 Speaker 1: wanted to write in to mention an interesting fictional treatment 29 00:01:40,440 --> 00:01:43,080 Speaker 1: of beans relating to the Jack and the Beanstalk fairy 30 00:01:43,120 --> 00:01:47,360 Speaker 1: tale and Stephen Sondheim's musical Into the Woods. I know 31 00:01:47,440 --> 00:01:49,040 Speaker 1: there was a movie version that came out a few 32 00:01:49,120 --> 00:01:51,640 Speaker 1: years ago, but I personally have not seen it and 33 00:01:51,720 --> 00:01:53,920 Speaker 1: have little interest in doing so, as it is, from 34 00:01:53,960 --> 00:01:58,320 Speaker 1: what i've heard, a sanded down, pretty mediocre adaptation. I'm 35 00:01:58,320 --> 00:02:01,760 Speaker 1: perfectly satisfied with the p BS filmed on stage version. 36 00:02:02,280 --> 00:02:04,840 Speaker 1: I think most people familiar with it are so because 37 00:02:04,880 --> 00:02:08,639 Speaker 1: it's a popular choice for high schools and local regional 38 00:02:08,680 --> 00:02:11,960 Speaker 1: theaters to put on. Anyway, the story and is a 39 00:02:11,960 --> 00:02:15,080 Speaker 1: bunch of fairy tales, including Jack and the Beanstalk, interweaving 40 00:02:15,120 --> 00:02:18,400 Speaker 1: until eventually the story spins out of control. The score 41 00:02:18,440 --> 00:02:21,800 Speaker 1: reflects this, creating a complex web of musical motifs and 42 00:02:21,880 --> 00:02:25,400 Speaker 1: ideas that not only helps the audience orient themselves among 43 00:02:25,480 --> 00:02:28,320 Speaker 1: the many characters, but also helps create a through line 44 00:02:28,520 --> 00:02:31,560 Speaker 1: to make all of these different storylines form a cohesive 45 00:02:31,600 --> 00:02:34,160 Speaker 1: piece of theater. This is something that Sondheim is very 46 00:02:34,160 --> 00:02:38,280 Speaker 1: good at, taking little phrases and musical ideas and shifting 47 00:02:38,320 --> 00:02:41,560 Speaker 1: them around, inverting them, combining them, etcetera, so that the 48 00:02:41,680 --> 00:02:45,720 Speaker 1: narrative and thematic concepts are also baked into the score. 49 00:02:46,000 --> 00:02:50,440 Speaker 1: Oh much like baked beans, uh, they continued. One character 50 00:02:50,800 --> 00:02:54,559 Speaker 1: that gets its own musical motif is the magic beans themselves, 51 00:02:54,960 --> 00:02:57,840 Speaker 1: and this bean theme or bean motif as it is 52 00:02:57,919 --> 00:03:01,040 Speaker 1: usually called, is all over the music zical. In this 53 00:03:01,160 --> 00:03:03,840 Speaker 1: version of the story, the beans were originally stolen by 54 00:03:03,840 --> 00:03:07,160 Speaker 1: the Baker's father from the Witch's garden, tying into the 55 00:03:07,160 --> 00:03:11,320 Speaker 1: witchy associations from English folklore, and as they change, various 56 00:03:11,400 --> 00:03:14,680 Speaker 1: hands bring if not outright bad luck and curses sort 57 00:03:14,720 --> 00:03:18,640 Speaker 1: of monkeys paw esque quote unquote good luck that eventually 58 00:03:18,680 --> 00:03:21,760 Speaker 1: causes a lot of chaos and destruction and related to 59 00:03:21,760 --> 00:03:24,840 Speaker 1: the association of beings with genitals discussed in these episodes 60 00:03:24,880 --> 00:03:27,280 Speaker 1: of the Witch reveals to the Baker that she cursed 61 00:03:27,280 --> 00:03:30,400 Speaker 1: his whole family to be infertile as retribution for his 62 00:03:30,480 --> 00:03:33,640 Speaker 1: father's being theft The baker is later the one to 63 00:03:33,720 --> 00:03:36,680 Speaker 1: trade the beans to Jack for his cow in a 64 00:03:36,800 --> 00:03:40,120 Speaker 1: quest to reverse the curse. In this way, the beans 65 00:03:40,160 --> 00:03:43,080 Speaker 1: themselves come to represent the central conflict of the show, 66 00:03:43,120 --> 00:03:46,280 Speaker 1: which ends up being all of the characters unwillingness to 67 00:03:46,360 --> 00:03:49,120 Speaker 1: change and take responsibility for their own actions. I'm not 68 00:03:49,160 --> 00:03:53,480 Speaker 1: sure if this is necessarily explicitly intended, but the hardy 69 00:03:53,560 --> 00:03:56,520 Speaker 1: and long lasted dry beans seems like a good symbol 70 00:03:56,720 --> 00:03:59,720 Speaker 1: for being static and stubborn and for bad luck you 71 00:03:59,800 --> 00:04:02,760 Speaker 1: can get rid of. Huh, I've seen into the woods. 72 00:04:02,760 --> 00:04:06,000 Speaker 1: I did not think to make any of these connections. 73 00:04:06,040 --> 00:04:08,600 Speaker 1: The beans always seemed incidental to me. But I see 74 00:04:08,640 --> 00:04:13,640 Speaker 1: everything you're saying, Hannah. Yeah, these beans go deep, Hannah continues. 75 00:04:14,160 --> 00:04:16,120 Speaker 1: The second to last song of the show is largely 76 00:04:16,120 --> 00:04:19,400 Speaker 1: about how complex and difficult morality really is, and how 77 00:04:19,440 --> 00:04:22,120 Speaker 1: even though there is no one there to guide the 78 00:04:22,160 --> 00:04:24,640 Speaker 1: remaining characters, perhaps they will be able to figure it 79 00:04:24,640 --> 00:04:27,919 Speaker 1: out together. This is just before the story resolves, and 80 00:04:27,960 --> 00:04:31,000 Speaker 1: in this song, the bean motif is inverted. When this 81 00:04:31,040 --> 00:04:33,400 Speaker 1: is applied to melodies. This means that if you were 82 00:04:33,600 --> 00:04:36,360 Speaker 1: to picture the phrase written on sheet music, you would 83 00:04:36,400 --> 00:04:38,719 Speaker 1: then flip it upside down, so the direction of the 84 00:04:38,720 --> 00:04:41,919 Speaker 1: intervals between notes is reversed. For example, instead of the 85 00:04:41,920 --> 00:04:45,719 Speaker 1: interval between the first two notes going down a perfect fifth, 86 00:04:46,080 --> 00:04:49,240 Speaker 1: it now goes up a perfect fifth. Crucially, the inversion 87 00:04:49,279 --> 00:04:53,000 Speaker 1: happens on the lyric people make mistakes where these characters 88 00:04:53,000 --> 00:04:56,320 Speaker 1: are finally admitting their own fault, something that just two 89 00:04:56,360 --> 00:05:00,200 Speaker 1: scenes earlier they were frantically thrusting onto one another. They 90 00:05:00,200 --> 00:05:02,919 Speaker 1: are finally ready to admit when they are wrong, to 91 00:05:03,000 --> 00:05:07,800 Speaker 1: grow and learn, they have canceled out the beans. Sorry 92 00:05:07,800 --> 00:05:09,680 Speaker 1: that this got so long and that I felt compelled 93 00:05:09,720 --> 00:05:12,080 Speaker 1: to do music theory at you. Here is a link 94 00:05:12,120 --> 00:05:14,960 Speaker 1: of Sonheim himself talking about this motif so that you 95 00:05:15,000 --> 00:05:16,960 Speaker 1: can hear what it sounds like, and they include a 96 00:05:17,040 --> 00:05:19,520 Speaker 1: link and then in this video at about the three 97 00:05:19,560 --> 00:05:23,640 Speaker 1: minute mark at four forty five talking about resolution inversion 98 00:05:23,680 --> 00:05:26,719 Speaker 1: of this theme. Endless thanks for this awesome show. It 99 00:05:26,760 --> 00:05:29,200 Speaker 1: always gives me something new and interesting to think about. 100 00:05:30,360 --> 00:05:32,680 Speaker 1: And here are the clips Hannah was talking about. And 101 00:05:33,200 --> 00:05:35,680 Speaker 1: also I would like to point out that when you're 102 00:05:35,680 --> 00:05:39,560 Speaker 1: singing the release of the second part when they're all 103 00:05:39,600 --> 00:05:45,920 Speaker 1: singing together, people make mistakes. It's going like this, and that, 104 00:05:46,040 --> 00:05:48,400 Speaker 1: of course, is the inversion of the bean thing. It's 105 00:05:48,400 --> 00:05:54,800 Speaker 1: the upside down version, so that everything finally comes together 106 00:05:55,160 --> 00:05:58,640 Speaker 1: in in one song. Well, thanks Hannah, interesting stuff. Yeah, 107 00:05:58,680 --> 00:06:00,359 Speaker 1: this connects to a bunch of things we talked about. 108 00:06:00,360 --> 00:06:03,320 Speaker 1: The Yeah, the cursed beans from English folklore, the beans 109 00:06:03,320 --> 00:06:06,120 Speaker 1: and reproduction. I did not see any of this coming, 110 00:06:06,160 --> 00:06:14,320 Speaker 1: so so thank you very much. Anyway, This next message 111 00:06:14,360 --> 00:06:18,200 Speaker 1: comes from Greg. Greg says, I enjoyed listening to your 112 00:06:18,200 --> 00:06:22,240 Speaker 1: two part episode on beans. Fascinating stuff. My favorite bean 113 00:06:22,400 --> 00:06:24,640 Speaker 1: encounter was at a dinner with a friend of mine 114 00:06:24,680 --> 00:06:27,800 Speaker 1: from Mexico. I'm on a restricted diet that does not 115 00:06:27,880 --> 00:06:30,680 Speaker 1: allow chocolate, but he served what appeared to be a 116 00:06:30,839 --> 00:06:33,760 Speaker 1: chocolate cake for dessert. When I saw it, I reminded 117 00:06:33,800 --> 00:06:35,720 Speaker 1: him that I couldn't eat chocolate, and he told me 118 00:06:35,800 --> 00:06:38,200 Speaker 1: there wasn't any in the cake. He asked me to 119 00:06:38,240 --> 00:06:40,920 Speaker 1: guess what the cake was made from. I had no idea. 120 00:06:41,240 --> 00:06:45,440 Speaker 1: He revealed it was black beans, no chocolate whatsoever. I 121 00:06:45,520 --> 00:06:48,840 Speaker 1: was blown away. The cake was great. It really fooled 122 00:06:48,880 --> 00:06:51,359 Speaker 1: the mind into thinking it was chocolate. I'll have to 123 00:06:51,400 --> 00:06:53,960 Speaker 1: get that recipe and make it again. Keep up the 124 00:06:54,000 --> 00:06:57,680 Speaker 1: great work. Always entertaining and fascinating podcasts, including the Weird 125 00:06:57,720 --> 00:07:02,840 Speaker 1: House Cinema ones Still trying to Find Frall from nineteen two. Greg, Oh, 126 00:07:02,920 --> 00:07:04,720 Speaker 1: I've never heard of this, or Rob if you had 127 00:07:05,080 --> 00:07:10,080 Speaker 1: a black bean cake? Uh, you know, it sounds vaguely familiar. 128 00:07:10,080 --> 00:07:11,600 Speaker 1: I feel like I've had I may have had some 129 00:07:11,640 --> 00:07:13,720 Speaker 1: sort of a baked good that was ultimately made from 130 00:07:13,720 --> 00:07:16,160 Speaker 1: beans and had kind of a chocolate consistency to it. 131 00:07:16,200 --> 00:07:19,400 Speaker 1: But but but I don't have a specific memory of it. Now, 132 00:07:19,880 --> 00:07:21,520 Speaker 1: this is funny. I forgot to bring this up in 133 00:07:21,560 --> 00:07:25,040 Speaker 1: the other episode. But I've been cooking with something that's 134 00:07:25,080 --> 00:07:27,320 Speaker 1: often called black beans. It's not the same as the 135 00:07:27,320 --> 00:07:29,720 Speaker 1: black bean you would usually have in like the like 136 00:07:29,800 --> 00:07:33,760 Speaker 1: the version of fassiolas that that is called black beans. 137 00:07:33,800 --> 00:07:36,480 Speaker 1: That they're the fermented black beans that are often used 138 00:07:36,480 --> 00:07:40,679 Speaker 1: in uh some regional dishes of Chinese cooking. And uh, 139 00:07:40,720 --> 00:07:42,320 Speaker 1: I got a pack of those that I ordered off 140 00:07:42,360 --> 00:07:44,600 Speaker 1: to the internet. They're actually soy beans and they're really 141 00:07:44,640 --> 00:07:48,040 Speaker 1: good as for frogs and where you can find a 142 00:07:48,080 --> 00:07:50,320 Speaker 1: copy of it? Um, I said, just keep looking look 143 00:07:50,360 --> 00:07:53,040 Speaker 1: at look, look, look around online, because I think you'll 144 00:07:53,040 --> 00:07:56,040 Speaker 1: at least find some scenes from it that have been uploaded. 145 00:08:01,320 --> 00:08:03,840 Speaker 1: All right, here's another bit of listener mail. This comes 146 00:08:03,840 --> 00:08:07,000 Speaker 1: to us from Peggy. Peggy writes in and says hi, 147 00:08:07,200 --> 00:08:10,120 Speaker 1: Rob and Joe enjoyed your discussions on beans this week, 148 00:08:10,200 --> 00:08:12,840 Speaker 1: especially part two where you talked about particular traditions and 149 00:08:12,880 --> 00:08:15,960 Speaker 1: beliefs about beans. My love of a good bean dish 150 00:08:16,360 --> 00:08:20,080 Speaker 1: refried black beans please, has unfortunately been ruined by my 151 00:08:20,120 --> 00:08:23,480 Speaker 1: body's decision not to digest them properly, causing more than 152 00:08:23,520 --> 00:08:28,960 Speaker 1: a few guttural hauntings. Maybe Pythagoras had ibs. I lived 153 00:08:28,960 --> 00:08:32,080 Speaker 1: in Japan for a year fifteen years ago and participated 154 00:08:32,120 --> 00:08:36,040 Speaker 1: in sets A Bun festivities that February. There could be 155 00:08:36,280 --> 00:08:39,400 Speaker 1: uh different traditions and other regions of Japan, but in 156 00:08:39,760 --> 00:08:44,160 Speaker 1: Kansai Osaka, Kyoto region, you're supposed to clean your house 157 00:08:44,240 --> 00:08:48,280 Speaker 1: and yell only sato demons out while emptying the dirt outside. 158 00:08:48,920 --> 00:08:52,640 Speaker 1: It's also traditional to eat timaki, an uncut sushi roll, 159 00:08:52,840 --> 00:08:55,360 Speaker 1: while sitting in a certain direction, though I can't remember 160 00:08:55,360 --> 00:08:57,959 Speaker 1: which direction. I went to a ceremony at a local 161 00:08:58,000 --> 00:09:01,560 Speaker 1: temple where a full of demons were banished. With the 162 00:09:01,600 --> 00:09:04,480 Speaker 1: help of the crowd, we all threw soybeans at them, 163 00:09:04,520 --> 00:09:08,080 Speaker 1: yelling on a sto until they were defeated. I have 164 00:09:08,160 --> 00:09:10,520 Speaker 1: a feeling this ties back to the old Lunar New 165 00:09:10,600 --> 00:09:12,760 Speaker 1: Year with the idea of starting out with a clean, 166 00:09:12,840 --> 00:09:15,440 Speaker 1: demon free house. And yes, I believe that is the 167 00:09:15,440 --> 00:09:17,520 Speaker 1: case as well, based on some material I was looking at. 168 00:09:18,320 --> 00:09:21,040 Speaker 1: But they continue. You were trying to remember when you 169 00:09:21,200 --> 00:09:24,040 Speaker 1: talked about driving evil spirits out of the house. I 170 00:09:24,040 --> 00:09:26,079 Speaker 1: think it was in your episode from early last year 171 00:09:26,120 --> 00:09:30,520 Speaker 1: about animate objects in Chinese and Japanese culture. In Japan, 172 00:09:30,640 --> 00:09:33,600 Speaker 1: New Year's celebrated January one, but I remember it's also 173 00:09:33,679 --> 00:09:36,800 Speaker 1: traditional to clean the house beforehand and get some new clothes, 174 00:09:37,040 --> 00:09:39,520 Speaker 1: starting the year off fresh. I hadn't heard of throwing 175 00:09:39,600 --> 00:09:41,320 Speaker 1: used objects out of the house as you mentioned in 176 00:09:41,320 --> 00:09:44,040 Speaker 1: the episode, but maybe that's an older edition. I did 177 00:09:44,080 --> 00:09:46,000 Speaker 1: get a kick out of the story about a religious 178 00:09:46,000 --> 00:09:49,280 Speaker 1: scroll trying to convert a bunch of discarded objects, uh 179 00:09:49,320 --> 00:09:52,400 Speaker 1: to Shingon Buddhism. I'm biased, but the scroll was right. 180 00:09:52,440 --> 00:09:56,040 Speaker 1: It is the best school to convert to. Apologies for 181 00:09:56,120 --> 00:09:59,120 Speaker 1: sounding like that religious scroll, but you might find Shingan 182 00:09:59,200 --> 00:10:02,080 Speaker 1: interesting from his story and cultural perspective. It comes from 183 00:10:02,120 --> 00:10:04,920 Speaker 1: the same roots as Tibetan Buddhism, incorporates a lot of 184 00:10:04,920 --> 00:10:08,920 Speaker 1: Shinto beliefs, and is colorful and complex compared to the 185 00:10:09,040 --> 00:10:13,080 Speaker 1: simplicity of zin. It's founder, known as Koboda, actually lived 186 00:10:13,120 --> 00:10:16,400 Speaker 1: during the Hayon period of tenth century and developed the 187 00:10:17,280 --> 00:10:21,200 Speaker 1: hiragana and u kata kana writing system still used today. 188 00:10:21,679 --> 00:10:23,640 Speaker 1: There are all kinds of legends about his life and 189 00:10:23,720 --> 00:10:26,600 Speaker 1: is believed to have preserved his own body after death. 190 00:10:26,960 --> 00:10:29,079 Speaker 1: Might be of interest to look up into his life 191 00:10:29,080 --> 00:10:32,800 Speaker 1: an impact on Japanese culture. You know, I think, um, 192 00:10:32,880 --> 00:10:35,400 Speaker 1: back when Christian was on the show, I think uh, 193 00:10:35,520 --> 00:10:37,560 Speaker 1: I think we I discussed this with him at one 194 00:10:37,559 --> 00:10:41,440 Speaker 1: point when we're doing a series on various mummification rituals 195 00:10:41,960 --> 00:10:46,560 Speaker 1: self mummification. Uh. They continue. This also calls back to 196 00:10:46,559 --> 00:10:50,240 Speaker 1: your episode a while ago Unsacred Mountains asking about personal 197 00:10:50,320 --> 00:10:53,800 Speaker 1: or lesser known spots. Mine is uh mount to Koya 198 00:10:54,320 --> 00:10:58,480 Speaker 1: or Koya San in Japan. When I first read about it, 199 00:10:58,480 --> 00:11:00,880 Speaker 1: it sounded like some spiritual for your land, but no. 200 00:11:01,000 --> 00:11:03,440 Speaker 1: It's about an hour east of Osaka. It's not very 201 00:11:03,520 --> 00:11:06,920 Speaker 1: high or notable, but in the center of Shingon Buddhism, 202 00:11:07,040 --> 00:11:10,000 Speaker 1: home to dozens of temples, some originally built over a 203 00:11:10,000 --> 00:11:13,360 Speaker 1: thousand years ago. It also has Japan's largest cemetery, a 204 00:11:13,360 --> 00:11:16,520 Speaker 1: beautiful area full of huge cedar trees and countless monuments 205 00:11:16,960 --> 00:11:20,760 Speaker 1: uh from a tiny moss covered Stupa's two giant memorials, 206 00:11:20,800 --> 00:11:25,439 Speaker 1: including Kobodaishi's tomb. I visited twice, and it's one of 207 00:11:25,480 --> 00:11:28,680 Speaker 1: the most significant places in my early introduction to meditation 208 00:11:28,720 --> 00:11:31,640 Speaker 1: and Buddhism. It's an amazing place to visit, regardless, and 209 00:11:31,679 --> 00:11:34,520 Speaker 1: I hope to go back one day. All that said, 210 00:11:34,880 --> 00:11:36,439 Speaker 1: I've been listening to stuff to blow your mind for 211 00:11:36,520 --> 00:11:39,560 Speaker 1: a few years now and love the strange and unexpected 212 00:11:39,559 --> 00:11:42,240 Speaker 1: corners of science and culture you look into and weird 213 00:11:42,280 --> 00:11:44,520 Speaker 1: how cinema is fantastic. I could listen to you guys 214 00:11:44,559 --> 00:11:47,800 Speaker 1: talk about movies all day. My suggestion, Hobo with a shotgun. 215 00:11:48,280 --> 00:11:51,000 Speaker 1: Maybe it's two tongue in cheek to be true. Weird house, 216 00:11:51,040 --> 00:11:53,360 Speaker 1: but it's got Rutger howerd was inspired by one of 217 00:11:53,360 --> 00:11:56,920 Speaker 1: those Tarantino Grindhouse trailers and has some cameos only a 218 00:11:56,920 --> 00:12:00,200 Speaker 1: Canadian would appreciate. Thank you both of your continued work 219 00:12:00,200 --> 00:12:03,120 Speaker 1: to inform and inspire. It's been especially appreciated through a 220 00:12:03,200 --> 00:12:05,400 Speaker 1: year of working from home. Hope you and your families 221 00:12:05,400 --> 00:12:09,040 Speaker 1: continue to stay healthy, eat your beings. Cheers, Peggy. Oh, 222 00:12:09,040 --> 00:12:11,240 Speaker 1: thanks Peggy. Well, you know, I would not have expected 223 00:12:11,240 --> 00:12:14,319 Speaker 1: a single email to be as as tightly focused about 224 00:12:14,320 --> 00:12:19,520 Speaker 1: shingon Buddhism and Hobo with a Shotgun. Uh. Yeah, I 225 00:12:19,640 --> 00:12:23,959 Speaker 1: really appreciate the thoughts on on on Japanese culture there, 226 00:12:24,000 --> 00:12:27,559 Speaker 1: but also Hobo with a Shotgun was a lot of 227 00:12:27,600 --> 00:12:30,640 Speaker 1: fun when I watched it years back. I remember it 228 00:12:30,800 --> 00:12:34,920 Speaker 1: ultimately went places that were weirder than than anticipated. So 229 00:12:35,040 --> 00:12:37,599 Speaker 1: I I don't know for sure that it would be 230 00:12:37,640 --> 00:12:40,280 Speaker 1: something we would cover on Weird House, but I would 231 00:12:40,320 --> 00:12:43,160 Speaker 1: say that it's at least a possibility, given on on 232 00:12:43,240 --> 00:12:46,880 Speaker 1: how weird that film ultimately is. Like it, it takes 233 00:12:46,880 --> 00:12:50,640 Speaker 1: its initial, you know, grind housey concept and then goes 234 00:12:50,720 --> 00:12:59,400 Speaker 1: in some unexpected directions. All right, This next message comes 235 00:12:59,440 --> 00:13:04,160 Speaker 1: from Travis. Travis says, Dear Robert and Joe. Hello, I've 236 00:13:04,240 --> 00:13:07,640 Speaker 1: listened to your podcast in the past, probably since, but 237 00:13:07,800 --> 00:13:11,000 Speaker 1: recently got earbuds to where during work I pretty much 238 00:13:11,040 --> 00:13:13,679 Speaker 1: get six hours a day of YouTube or Chuck and 239 00:13:13,800 --> 00:13:16,839 Speaker 1: Josh on some occasions. I have consumed much of your 240 00:13:16,840 --> 00:13:20,000 Speaker 1: content in a very short period of time. I'm running 241 00:13:20,040 --> 00:13:24,199 Speaker 1: low on episodes. Travis goes on, Anyway, I've been meaning 242 00:13:24,240 --> 00:13:26,640 Speaker 1: to write in for a while, but have been occupied 243 00:13:26,679 --> 00:13:30,200 Speaker 1: with school. I just graduated with my bachelor's. During school, 244 00:13:30,240 --> 00:13:33,400 Speaker 1: I worked stocking produce and continue to while I do 245 00:13:33,600 --> 00:13:37,200 Speaker 1: the deadly job hunt. Since listening to your tomato episode, 246 00:13:37,240 --> 00:13:40,520 Speaker 1: I have so much useful knowledge for work and home. 247 00:13:40,920 --> 00:13:44,040 Speaker 1: I now almost subconsciously stocked the tomatoes with the stem 248 00:13:44,120 --> 00:13:47,679 Speaker 1: facing down to seal in moisture. I've been questioned by 249 00:13:47,720 --> 00:13:51,760 Speaker 1: co workers and had a logical explanation. Thanks well, Travis. 250 00:13:51,760 --> 00:13:54,080 Speaker 1: I know that grind I have worked in a grocery 251 00:13:54,080 --> 00:13:56,920 Speaker 1: store as well. That I didn't do produce. I worked 252 00:13:56,920 --> 00:14:00,520 Speaker 1: in dry grocery and stocking stocking dairy. But yeah, I 253 00:14:00,559 --> 00:14:03,000 Speaker 1: know that world. Uh and I don't think I ever 254 00:14:03,080 --> 00:14:04,920 Speaker 1: got to listen to podcasts while I was doing it, 255 00:14:05,000 --> 00:14:08,320 Speaker 1: so so so I hope that makes it more fun. Um. 256 00:14:08,520 --> 00:14:11,800 Speaker 1: But anyway, back to the message, Travis says about your 257 00:14:11,880 --> 00:14:15,360 Speaker 1: leshy episode, I love mythology and the lushy is my 258 00:14:15,400 --> 00:14:18,040 Speaker 1: new favorite creature after you to introduced it to me. 259 00:14:18,360 --> 00:14:21,640 Speaker 1: There's a Cartoon Network mini series I love called Over 260 00:14:21,680 --> 00:14:25,160 Speaker 1: the Garden Wall. If you're not familiar, I highly recommend it. 261 00:14:25,240 --> 00:14:28,080 Speaker 1: I watch it every October so I won't spoil too much. 262 00:14:28,440 --> 00:14:31,800 Speaker 1: There's a creature in the episode named the Beast. Once 263 00:14:31,840 --> 00:14:34,760 Speaker 1: I heard your Leshi podcast, it made me think of him. 264 00:14:34,800 --> 00:14:37,560 Speaker 1: He's a forest creature who tricks and lures people who 265 00:14:37,640 --> 00:14:40,920 Speaker 1: wander into the woods. He keeps himself hidden. You never 266 00:14:40,960 --> 00:14:43,160 Speaker 1: see him until the last episode, when you get a 267 00:14:43,280 --> 00:14:46,160 Speaker 1: very brief shot. I will attach an image. It's not 268 00:14:46,200 --> 00:14:48,480 Speaker 1: really a spoiler to see him. Maybe he's based on 269 00:14:48,520 --> 00:14:52,600 Speaker 1: the leshy and Robbi attached the image that Travis attached 270 00:14:52,640 --> 00:14:55,280 Speaker 1: so you can have a look here. Oh yes, it's very, 271 00:14:55,400 --> 00:14:58,000 Speaker 1: very frightful. I actually watched I think the first episode 272 00:14:58,000 --> 00:15:00,800 Speaker 1: of this and remember remember thinking it was pretty cool 273 00:15:00,840 --> 00:15:02,640 Speaker 1: at the time. But yeah, it looks like I'll have 274 00:15:02,680 --> 00:15:05,840 Speaker 1: to go back and explore it for real. Travis attached 275 00:15:05,920 --> 00:15:08,800 Speaker 1: a link to a video that's like a song from 276 00:15:08,800 --> 00:15:11,600 Speaker 1: the show. That's a song about being a highwayman who 277 00:15:11,680 --> 00:15:15,880 Speaker 1: does crimes or something. It seemed fun, but anyway, Travis says, 278 00:15:16,080 --> 00:15:18,480 Speaker 1: just a couple of fun tidbits for you, seriously, over 279 00:15:18,520 --> 00:15:21,960 Speaker 1: the garden Wall is great with an amazing soundtrack. Thanks 280 00:15:22,000 --> 00:15:24,160 Speaker 1: for taking the time to read. I love your podcast 281 00:15:24,200 --> 00:15:26,040 Speaker 1: and how much I learned. You guys are the reason 282 00:15:26,120 --> 00:15:28,520 Speaker 1: I got so into mythology and folk tales, and I 283 00:15:28,640 --> 00:15:31,480 Speaker 1: love Weird House cinema. I'm a film buff, So thank 284 00:15:31,520 --> 00:15:35,280 Speaker 1: you so much. Stay chatty and keep reading. All the best, Travis. 285 00:15:43,840 --> 00:15:46,120 Speaker 1: All right, here's another bit of listener mail. This one 286 00:15:46,120 --> 00:15:48,920 Speaker 1: actually comes to us off of the stuff to Blow 287 00:15:48,960 --> 00:15:52,520 Speaker 1: your Mind discussion module, which is of course over there 288 00:15:52,560 --> 00:15:56,280 Speaker 1: on the Old Book of Faces. And this comes to 289 00:15:56,360 --> 00:15:58,840 Speaker 1: us from Cliff. Cliff writes in and says, I noticed 290 00:15:58,960 --> 00:16:01,400 Speaker 1: on the Weird House anema today and this is referring 291 00:16:01,440 --> 00:16:05,800 Speaker 1: to the episode we did on the Humanoid Um. The 292 00:16:05,840 --> 00:16:09,560 Speaker 1: fellows mentioned Moonraker and the girl that smiles at Jaws 293 00:16:10,040 --> 00:16:13,600 Speaker 1: that had braces on, well she did until September two 294 00:16:13,640 --> 00:16:17,200 Speaker 1: thousand eight. That's when the the Hadron collider was fully 295 00:16:17,200 --> 00:16:20,960 Speaker 1: functional and it shifted us into this reality. And then 296 00:16:21,000 --> 00:16:25,840 Speaker 1: there's a like a winking emoji that's included and um, 297 00:16:26,440 --> 00:16:31,840 Speaker 1: Cliff includes this um this little screenshot UH from a 298 00:16:32,760 --> 00:16:35,640 Speaker 1: website of some sort that has a picture of Jaws 299 00:16:36,120 --> 00:16:39,800 Speaker 1: in the movie with the character Dolly, and the text 300 00:16:40,280 --> 00:16:43,360 Speaker 1: reads in the case of Dolly and Moonraker. It is 301 00:16:43,400 --> 00:16:46,360 Speaker 1: perhaps the way the sequence is edited that after Jaws 302 00:16:46,360 --> 00:16:50,000 Speaker 1: smiles and exposes his metal teeth, Dolly then smiles in 303 00:16:50,040 --> 00:16:52,960 Speaker 1: the next shot as the music hits its crescendo. The 304 00:16:53,000 --> 00:16:57,760 Speaker 1: actress who played Dolly, Blanche Ravallek, did not wear braces 305 00:16:57,800 --> 00:17:01,000 Speaker 1: in the film WHOA, Well, that's on me. I'm the 306 00:17:01,040 --> 00:17:03,360 Speaker 1: one who said that, so I this is one of 307 00:17:03,360 --> 00:17:05,760 Speaker 1: those things. This is uh. This is cited as one 308 00:17:05,760 --> 00:17:08,399 Speaker 1: of the many examples of the so called Mandela effect, 309 00:17:08,480 --> 00:17:12,840 Speaker 1: to the effect where huge numbers of people apparently all 310 00:17:13,040 --> 00:17:16,520 Speaker 1: misremember events in the same way, and it very often 311 00:17:16,560 --> 00:17:20,160 Speaker 1: happens with scenes in movies. Lines in movies, for example, 312 00:17:20,240 --> 00:17:23,760 Speaker 1: like everybody thinking that the movie The Empire Strikes Back 313 00:17:23,800 --> 00:17:26,560 Speaker 1: has the line Luke, I am your father. The Darth 314 00:17:26,640 --> 00:17:29,919 Speaker 1: Vader never says that, uh, he says, he says, no, 315 00:17:30,480 --> 00:17:34,080 Speaker 1: I am your father. And despite you know, the millions 316 00:17:34,080 --> 00:17:36,399 Speaker 1: and millions of people who remember it the wrong way. 317 00:17:36,600 --> 00:17:39,320 Speaker 1: So apparently I'm not the only one who remember Dolly 318 00:17:39,400 --> 00:17:41,640 Speaker 1: in this movie as uh, you know, the the girl 319 00:17:41,720 --> 00:17:44,480 Speaker 1: that Jaws falls in love with as having braces. Maybe 320 00:17:44,640 --> 00:17:46,720 Speaker 1: I don't know. I'm not sure quite what it is 321 00:17:46,760 --> 00:17:50,119 Speaker 1: that created that misimpression. I mean I didn't specifically remember it, 322 00:17:50,440 --> 00:17:54,720 Speaker 1: but when you described it as such, I I instantly 323 00:17:54,760 --> 00:17:57,160 Speaker 1: saw it in my own head like I I then 324 00:17:57,720 --> 00:18:00,200 Speaker 1: like altered my memory of it, which is kind of 325 00:18:00,200 --> 00:18:03,280 Speaker 1: faint because I haven't seen Moonraker in a very long time. 326 00:18:03,960 --> 00:18:08,479 Speaker 1: But you you're misremembering of it, like change my memory 327 00:18:08,520 --> 00:18:11,239 Speaker 1: of it. So perhaps that's you know that we can 328 00:18:11,280 --> 00:18:13,120 Speaker 1: sort of think about. That is like a way that 329 00:18:13,119 --> 00:18:16,600 Speaker 1: that these sort of things end up spreading from person 330 00:18:16,640 --> 00:18:19,399 Speaker 1: to person. I've got no excuse. I watched Moonraker once 331 00:18:19,440 --> 00:18:23,320 Speaker 1: a week. No, I mean I don't, but I I have. 332 00:18:23,640 --> 00:18:27,040 Speaker 1: I've seen it way too many times to have that excuse. Well, 333 00:18:27,080 --> 00:18:30,600 Speaker 1: it also just it sounds correct. It sounds like exactly 334 00:18:30,600 --> 00:18:35,800 Speaker 1: the kind of visual joke that this film would perpetrate. 335 00:18:36,520 --> 00:18:38,640 Speaker 1: It has a it has a pigeon doing a double take, 336 00:18:38,720 --> 00:18:41,480 Speaker 1: so you think it also it would have Dolly with braces. 337 00:18:41,520 --> 00:18:44,160 Speaker 1: That would make sense. You know, of course that that's 338 00:18:44,200 --> 00:18:46,080 Speaker 1: what they've got in common. They both have metal in 339 00:18:46,160 --> 00:18:48,760 Speaker 1: their mouths, but in fact, what they have in common is. 340 00:18:49,080 --> 00:18:54,359 Speaker 1: I don't know, They're both just awkward and don't say much. Well, Cliff, 341 00:18:54,400 --> 00:18:58,560 Speaker 1: thanks for bringing that to our attention. Um, it's interesting 342 00:18:58,600 --> 00:19:08,840 Speaker 1: how our memories of of movies, particularly on Altar, like this. Okay, 343 00:19:08,880 --> 00:19:11,360 Speaker 1: we've got another message about weird house cinema. This one 344 00:19:11,400 --> 00:19:15,200 Speaker 1: comes from ian Ian, says hile thoroughly enjoying the new 345 00:19:15,240 --> 00:19:17,840 Speaker 1: directions you're taking the podcast in, and I have a 346 00:19:17,960 --> 00:19:22,119 Speaker 1: viewing suggestion. Frogs are just me too cold. What you 347 00:19:22,200 --> 00:19:24,920 Speaker 1: really need is something with a little more warm blood. 348 00:19:25,320 --> 00:19:28,439 Speaker 1: Have you ever come across? Two is Night of the 349 00:19:28,560 --> 00:19:32,879 Speaker 1: leapis also released as Rabbits. I haven't seen it for 350 00:19:32,920 --> 00:19:36,240 Speaker 1: twenty years, but I still bear the mental scars, the 351 00:19:36,320 --> 00:19:39,800 Speaker 1: poor acting. Although we do get DeForest Kelly, people in 352 00:19:39,800 --> 00:19:44,600 Speaker 1: furry suits, padding with stock footage, dubious miniature sets, crawling 353 00:19:44,680 --> 00:19:48,520 Speaker 1: with petting zoo extras, stomping on cardboard. This film has 354 00:19:48,560 --> 00:19:51,680 Speaker 1: it all, along with the failure to realize that rabbits 355 00:19:51,760 --> 00:19:55,199 Speaker 1: just don't work as monsters. With the possible exception of 356 00:19:55,480 --> 00:19:58,240 Speaker 1: Frank maybe if it had just been James Duval in 357 00:19:58,280 --> 00:20:01,639 Speaker 1: the rabbit costumes. I'm not sure who the James Duval 358 00:20:01,680 --> 00:20:03,480 Speaker 1: there is referring to is that is that an actor 359 00:20:03,520 --> 00:20:06,119 Speaker 1: who is in Donnie Darko. I think that's the creepy 360 00:20:06,160 --> 00:20:08,920 Speaker 1: franc that's being referred to here, is it? I don't 361 00:20:08,920 --> 00:20:11,960 Speaker 1: remember on that front. Unless this is supposed to refer 362 00:20:12,040 --> 00:20:14,720 Speaker 1: to Robert Duval, I don't know. Uh well, I'll check 363 00:20:14,760 --> 00:20:17,159 Speaker 1: on that later. Anyway, Ian goes on it truly is 364 00:20:17,200 --> 00:20:19,479 Speaker 1: worth a watch as a shining example of how not 365 00:20:19,600 --> 00:20:22,480 Speaker 1: to make a horror film. Keep the wonderful episodes coming 366 00:20:22,520 --> 00:20:28,080 Speaker 1: your regular companions in my dark underground laboratory. Ian, Well, 367 00:20:28,119 --> 00:20:32,200 Speaker 1: you know two so that movie is right in there, 368 00:20:32,600 --> 00:20:35,400 Speaker 1: the same year as Frogs. So yeah, I wonder if 369 00:20:35,440 --> 00:20:39,840 Speaker 1: the rabbits are created by pollution or by animal experimentation 370 00:20:39,920 --> 00:20:42,760 Speaker 1: gone wrong. Yeah, I've never seen it in its entirety, 371 00:20:42,760 --> 00:20:45,320 Speaker 1: but this is one I remember, I think catching part 372 00:20:45,400 --> 00:20:47,760 Speaker 1: of on T B S or t n T, like 373 00:20:47,800 --> 00:20:51,160 Speaker 1: in the lazy middle of a Saturday or Sunday afternoon 374 00:20:51,200 --> 00:20:55,600 Speaker 1: and just seeing the rabbits stampede across the Minitri city. 375 00:20:55,800 --> 00:20:58,400 Speaker 1: If I am not mistaken, I believe it was featured 376 00:20:58,440 --> 00:21:02,800 Speaker 1: on t n T is recurring segment Monster Vision. Do 377 00:21:02,800 --> 00:21:05,800 Speaker 1: you remember this thing? Oh? Yeah, yeah, with Joe Bob Riggs. Yeah, 378 00:21:06,359 --> 00:21:09,600 Speaker 1: but anyway, I remember this being basically frogs but with 379 00:21:09,680 --> 00:21:18,280 Speaker 1: rabbits instead of all the amphibians and reptiles. All right, 380 00:21:18,320 --> 00:21:20,920 Speaker 1: here's another one. This one comes to us from Riley 381 00:21:20,960 --> 00:21:25,560 Speaker 1: with the subject heading shock waves seven. Great job, guys. 382 00:21:25,680 --> 00:21:28,080 Speaker 1: Loved this movie since seeing it as a kid. Great 383 00:21:28,119 --> 00:21:31,600 Speaker 1: to revisit. I've always felt like this movie inspired one 384 00:21:31,680 --> 00:21:36,240 Speaker 1: of the of Lord Humongous is Dogs of War from 385 00:21:36,280 --> 00:21:40,480 Speaker 1: The Road Warrior. In one watched the boomerang scene you 386 00:21:40,520 --> 00:21:42,520 Speaker 1: will know of whom I right to keep up the 387 00:21:42,520 --> 00:21:45,399 Speaker 1: great work, Riley. Well, I did not. I was not 388 00:21:45,480 --> 00:21:47,480 Speaker 1: able to go back and rewatch this. But what I'm 389 00:21:47,560 --> 00:21:51,199 Speaker 1: guessing Riley saying is that there's a character in The 390 00:21:51,320 --> 00:21:54,919 Speaker 1: Road Warrior who is wearing goggles like the goggles the 391 00:21:55,000 --> 00:21:59,400 Speaker 1: Nazis the Nazi zombies are wearing in chock Waves. Okay, yeah, 392 00:21:59,400 --> 00:22:01,240 Speaker 1: It's been a long time since I've seen The Road 393 00:22:01,240 --> 00:22:04,560 Speaker 1: Warrior as well. Um, I don't know, may maybe I 394 00:22:04,600 --> 00:22:06,480 Speaker 1: need to give it a revisit. Maybe it's just too 395 00:22:06,520 --> 00:22:13,840 Speaker 1: too much, too much time has passed, I don't know. Alright. 396 00:22:13,880 --> 00:22:16,840 Speaker 1: This next message comes from Chris. The subject line is 397 00:22:16,960 --> 00:22:21,000 Speaker 1: waxy looking old movies. Chris says there's a setting on 398 00:22:21,160 --> 00:22:23,760 Speaker 1: h D t vs that causes this, and it can 399 00:22:23,800 --> 00:22:29,159 Speaker 1: be reversed. It's generally called motion smoothing only beneficial really 400 00:22:29,160 --> 00:22:31,440 Speaker 1: in sports, you can go to your settings and turn 401 00:22:31,480 --> 00:22:33,480 Speaker 1: it off. You could do a story on it too. 402 00:22:33,760 --> 00:22:37,800 Speaker 1: Even Casablanca looked like crap. I know what Chris is 403 00:22:37,800 --> 00:22:39,800 Speaker 1: talking about here. I think I was actually talking about 404 00:22:39,840 --> 00:22:43,280 Speaker 1: something different. I believe I was. Uh. I believe what 405 00:22:43,359 --> 00:22:46,439 Speaker 1: I was witnessing on like a DVD of Predator that 406 00:22:46,480 --> 00:22:49,520 Speaker 1: looked really bad, was not due to the setting on TVs. 407 00:22:49,600 --> 00:22:52,520 Speaker 1: But Chris is absolutely correct that a lot of times, 408 00:22:52,560 --> 00:22:54,960 Speaker 1: if you get a new TV, everything on it will 409 00:22:55,000 --> 00:22:57,480 Speaker 1: look terrible until you figure out how to turn off 410 00:22:57,520 --> 00:23:00,080 Speaker 1: this setting that is turned on by default. I have 411 00:23:00,160 --> 00:23:03,400 Speaker 1: no idea why. I think it's for sports. I think 412 00:23:03,640 --> 00:23:06,520 Speaker 1: that's where it becomes most important. Yeah, I guess so. 413 00:23:06,600 --> 00:23:09,239 Speaker 1: I mean so, but I never watched sports. And it 414 00:23:09,280 --> 00:23:13,400 Speaker 1: makes movies and TV shows look not just bad, but 415 00:23:13,480 --> 00:23:16,960 Speaker 1: like like hilarious. It makes it makes everything look like 416 00:23:17,119 --> 00:23:21,120 Speaker 1: a bad sort of daytime TV production that somehow manages 417 00:23:21,200 --> 00:23:25,320 Speaker 1: to make everything look cheap. Uh, it make it totally 418 00:23:25,640 --> 00:23:31,000 Speaker 1: ruins the immersion of all fictional film media. It just 419 00:23:31,080 --> 00:23:33,960 Speaker 1: makes everything look fake and like a set of people 420 00:23:34,000 --> 00:23:37,640 Speaker 1: wearing goofy costumes. I'm not sure exactly why, but that 421 00:23:37,640 --> 00:23:40,879 Speaker 1: that's the effect that it has. Uh and uh and yes, 422 00:23:40,960 --> 00:23:43,200 Speaker 1: sometimes it's called motion smoothing. I think on my TV 423 00:23:43,280 --> 00:23:46,679 Speaker 1: it was called jutter reduction or something like that, whatever 424 00:23:46,680 --> 00:23:48,600 Speaker 1: it is. If you get a new TV and everything 425 00:23:48,640 --> 00:23:50,920 Speaker 1: looks terrible, you've got to find the setting and turn 426 00:23:50,960 --> 00:23:55,760 Speaker 1: it off. I watched the entirety of Black Panther television 427 00:23:55,840 --> 00:23:58,880 Speaker 1: like this. We were staying at a relative's house and 428 00:23:59,240 --> 00:24:01,800 Speaker 1: I didn't want them us with their TV settings, so 429 00:24:01,840 --> 00:24:04,520 Speaker 1: I'm like, okay, we'll just stick with it. And you know, 430 00:24:04,640 --> 00:24:06,840 Speaker 1: on one level, it was bad because it made a 431 00:24:07,520 --> 00:24:09,199 Speaker 1: you know, the last kind of movie you want to 432 00:24:09,240 --> 00:24:13,200 Speaker 1: see reduced is going to be a big budget summer 433 00:24:13,280 --> 00:24:17,120 Speaker 1: blockbuster like that. But on the other hand, it kind 434 00:24:17,119 --> 00:24:21,480 Speaker 1: of made the whole movie into like a classic Doctor 435 00:24:21,520 --> 00:24:24,720 Speaker 1: Who episode, okay, and it kind of forced me to 436 00:24:24,760 --> 00:24:26,760 Speaker 1: focus on the performance is a little bit more so. 437 00:24:26,840 --> 00:24:28,880 Speaker 1: I don't know, Yeah, I know what you're saying. We 438 00:24:28,880 --> 00:24:31,040 Speaker 1: we actually have watched a number of movies like this, 439 00:24:31,160 --> 00:24:34,360 Speaker 1: like sometimes we've actually sometimes turned it on just for laughs. 440 00:24:34,920 --> 00:24:37,440 Speaker 1: Speaking of James Bond, we watched part of a James 441 00:24:37,520 --> 00:24:40,240 Speaker 1: Bond movie one time with this on, and it's really 442 00:24:40,240 --> 00:24:44,000 Speaker 1: funny because it makes even big budget movies look like 443 00:24:44,000 --> 00:24:53,680 Speaker 1: a community theater production. Yeah, it does, all right. Here's 444 00:24:53,680 --> 00:24:57,399 Speaker 1: another one. Boy Carney is just frothing with schlock today. 445 00:24:57,840 --> 00:25:00,119 Speaker 1: This one comes to us from Raj Dearest to have 446 00:25:00,200 --> 00:25:02,399 Speaker 1: to blow your mind. I know I am tardy to 447 00:25:02,480 --> 00:25:05,000 Speaker 1: the party, but thank you for reading my listener mail 448 00:25:05,040 --> 00:25:08,719 Speaker 1: about Weird House Cinema, the episode on Battle for Indoor. 449 00:25:09,119 --> 00:25:12,120 Speaker 1: I was not expecting that, so it was a pleasant surprise. 450 00:25:12,920 --> 00:25:16,119 Speaker 1: I also have some more feedback on yet another episode 451 00:25:16,119 --> 00:25:18,840 Speaker 1: of Weird House Cinema. In one of the recent ish episodes, 452 00:25:18,840 --> 00:25:22,480 Speaker 1: you discussed a film with a character named uh Thorkell 453 00:25:22,880 --> 00:25:24,760 Speaker 1: or Thorkel. I think that was the thing. We couldn't 454 00:25:24,760 --> 00:25:28,080 Speaker 1: remember how to say it, Dr Thorkell. I would know 455 00:25:28,200 --> 00:25:33,320 Speaker 1: this was um, the one about the giant um. Oh 456 00:25:33,440 --> 00:25:39,560 Speaker 1: Dr Cyclops, doctor cyclops um. Anyway, Roger continues, sorry, I 457 00:25:39,560 --> 00:25:45,240 Speaker 1: can't remember the name Gunhead. Perhaps Vandanama doctor Cyclops. You 458 00:25:45,240 --> 00:25:48,000 Speaker 1: were discussing how to pronounce that name. From my understanding 459 00:25:48,080 --> 00:25:52,000 Speaker 1: based on the British History Podcast. Uh, there were several 460 00:25:52,040 --> 00:25:55,920 Speaker 1: historical Scandinavian figures um from the eleventh century that were 461 00:25:56,000 --> 00:26:00,200 Speaker 1: named Thorkel, including Thorkell the Tall. It's pronounced the war 462 00:26:00,480 --> 00:26:04,560 Speaker 1: as in the Norse god Kel. Okay, I thought i'd 463 00:26:04,600 --> 00:26:06,639 Speaker 1: share in case you were curious to know. Keep up 464 00:26:06,640 --> 00:26:09,840 Speaker 1: the great work, raj PS. Is exciting to see episode 465 00:26:09,840 --> 00:26:12,720 Speaker 1: topics that here that relate to topics covered in the 466 00:26:12,720 --> 00:26:19,440 Speaker 1: British History Podcast, including the Hornet Helm, Ragnar Lodbrock, et cetera. Oh, thanks, Ross, 467 00:26:19,680 --> 00:26:22,560 Speaker 1: I don't know this other podcast. Maybe I'll check it out. Yeah, well, 468 00:26:22,560 --> 00:26:25,840 Speaker 1: when did we talk about Ragnar lad Brock. What's that from? Ah? Well, 469 00:26:26,280 --> 00:26:28,040 Speaker 1: I just had to look it up to confirm, but 470 00:26:28,080 --> 00:26:30,680 Speaker 1: that was from the Pit of Serpents episode. I think 471 00:26:30,720 --> 00:26:34,480 Speaker 1: there's a there was a story about Ragnar having to 472 00:26:34,680 --> 00:26:37,080 Speaker 1: like he got sent into a pit of snakes for 473 00:26:37,119 --> 00:26:40,080 Speaker 1: some reason. There really got executed in a pit of snakes, 474 00:26:40,080 --> 00:26:41,840 Speaker 1: I think or did was that the one where the 475 00:26:41,840 --> 00:26:44,520 Speaker 1: snake like crawled inside him and ate his hard or 476 00:26:46,720 --> 00:26:48,639 Speaker 1: it was it was about like being bit in the 477 00:26:48,960 --> 00:26:53,960 Speaker 1: in the liver or something. Yeah, yeah, yes, now now yeah, 478 00:26:54,119 --> 00:26:57,000 Speaker 1: it's fuzzy now but it was it was good stuff. Well, anyway, 479 00:26:57,000 --> 00:26:58,600 Speaker 1: if you're curious to go back to the Pit of 480 00:26:58,600 --> 00:27:01,840 Speaker 1: Serpents episodes, that will Yeah. All right, well that's the 481 00:27:01,920 --> 00:27:03,840 Speaker 1: end of our mail bag for today. It was a 482 00:27:03,840 --> 00:27:08,560 Speaker 1: good one. Yeah, beans, weird movies. Uh, lots of good stuff. 483 00:27:08,760 --> 00:27:11,840 Speaker 1: So hey, if you would like to write in as well, Uh, 484 00:27:11,880 --> 00:27:14,639 Speaker 1: send in your listener mail, send them in. Let's talk, 485 00:27:14,760 --> 00:27:18,840 Speaker 1: let's chat. You have a ping us, so they say 486 00:27:18,920 --> 00:27:22,840 Speaker 1: yes at us? Uh, I mean, you know, don't I mean, 487 00:27:22,840 --> 00:27:25,240 Speaker 1: I guess there's an act in the email address, because 488 00:27:25,240 --> 00:27:26,800 Speaker 1: the email that's the main way to get in touch 489 00:27:26,840 --> 00:27:30,879 Speaker 1: with us. We're not really on the social accounts that 490 00:27:30,920 --> 00:27:32,680 Speaker 1: we are. We we still have a Twitter account. I 491 00:27:33,240 --> 00:27:36,600 Speaker 1: don't know if anybody's messaging us m I don't know, 492 00:27:37,040 --> 00:27:40,159 Speaker 1: but we there's Yeah, the account still exists. I think 493 00:27:40,200 --> 00:27:43,160 Speaker 1: we're locked out of the Instagram one because somebody else 494 00:27:43,200 --> 00:27:46,879 Speaker 1: was doing it for us and then it was deemed 495 00:27:46,880 --> 00:27:49,560 Speaker 1: suspicious and so now we just have no access to it. 496 00:27:49,760 --> 00:27:52,679 Speaker 1: Very cool. So it's just setting there, uh, and nobody 497 00:27:52,800 --> 00:27:57,639 Speaker 1: knows that access it, so sitting there looking awesome. Yeah, 498 00:27:57,640 --> 00:28:00,760 Speaker 1: but but the email address is, as of this recording, 499 00:28:00,840 --> 00:28:03,159 Speaker 1: still good. So you know right in let us know. 500 00:28:03,320 --> 00:28:05,960 Speaker 1: Respond to episodes we've recorded of any of the shows 501 00:28:05,960 --> 00:28:09,160 Speaker 1: that are popping up in our feed ideas for future episodes, 502 00:28:09,200 --> 00:28:12,040 Speaker 1: Responses to stuff you heard in this listener mail episode. 503 00:28:12,080 --> 00:28:14,439 Speaker 1: It's all fair game, huge things. As always to our 504 00:28:14,480 --> 00:28:17,800 Speaker 1: excellent audio producer Seth Nicholas Johnson. If you would like 505 00:28:17,840 --> 00:28:19,760 Speaker 1: to get in touch with us with feedback on this 506 00:28:19,800 --> 00:28:22,320 Speaker 1: episode or any other, to suggest a topic for the future, 507 00:28:22,480 --> 00:28:25,320 Speaker 1: just to say hello, you can email us at contact 508 00:28:25,359 --> 00:28:35,240 Speaker 1: at stuff to Blow your Mind dot com. Stuff to 509 00:28:35,240 --> 00:28:37,359 Speaker 1: Blow Your Mind is a production of I Heart Radio. 510 00:28:37,720 --> 00:28:39,840 Speaker 1: For more podcasts for my heart Radio, visit the i 511 00:28:39,880 --> 00:28:42,720 Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to 512 00:28:42,720 --> 00:28:43,560 Speaker 1: your favorite shows.