1 00:00:03,040 --> 00:00:06,080 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:09,560 --> 00:00:12,639 Speaker 2: Hey, welcome to Stuff to Blow your Mind. Listener mail. 3 00:00:13,320 --> 00:00:16,400 Speaker 3: My name is Robert Let and I am Joe McCormick. 4 00:00:16,440 --> 00:00:18,360 Speaker 3: And it's Monday, the day of each week that we 5 00:00:18,400 --> 00:00:21,000 Speaker 3: read back messages from the Stuff to Blow your Mind 6 00:00:21,120 --> 00:00:24,200 Speaker 3: email address. If you've never gotten in touch before, why 7 00:00:24,239 --> 00:00:26,520 Speaker 3: not give it a shot. You can always email us 8 00:00:26,560 --> 00:00:30,160 Speaker 3: at contact at stuff to Blow your Mind dot com. 9 00:00:30,840 --> 00:00:32,879 Speaker 3: Whatever kind of message you want to send is fine. 10 00:00:32,920 --> 00:00:35,680 Speaker 3: Of course, we appreciate feedback on recent episodes. If you 11 00:00:36,479 --> 00:00:38,479 Speaker 3: want to let us know what you thought about recent episodes, 12 00:00:38,520 --> 00:00:41,080 Speaker 3: if you want to add something interesting to a topic 13 00:00:41,159 --> 00:00:45,440 Speaker 3: that we discussed, if you want to send corrections, questions, 14 00:00:45,479 --> 00:00:47,880 Speaker 3: any of that is fine. Just send it to contact 15 00:00:48,000 --> 00:00:51,639 Speaker 3: at stuff to Blow Yourmind dot com. Also, social messages 16 00:00:51,840 --> 00:00:53,440 Speaker 3: are great if you just want to tell us what 17 00:00:53,479 --> 00:00:56,080 Speaker 3: you like about the show or how you listen. That's 18 00:00:56,160 --> 00:00:58,240 Speaker 3: all welcome to so send it on in. 19 00:00:58,560 --> 00:01:00,360 Speaker 2: Yeah, and if you want to email us and get 20 00:01:00,360 --> 00:01:03,040 Speaker 2: access to the discord, you can do that. There's a 21 00:01:03,080 --> 00:01:06,040 Speaker 2: community of listeners there you can interact with. Also, if 22 00:01:06,040 --> 00:01:08,319 Speaker 2: you're on Facebook, you know, follow us on Facebook. But 23 00:01:08,319 --> 00:01:10,200 Speaker 2: there's also a Facebook group, the Stuff to Blow your 24 00:01:10,200 --> 00:01:13,080 Speaker 2: Mind discussion module, and you'll find a community of fans 25 00:01:13,120 --> 00:01:14,360 Speaker 2: there as well. 26 00:01:14,440 --> 00:01:16,640 Speaker 3: Let's see, Rob, I'm going to start things off by 27 00:01:17,080 --> 00:01:20,679 Speaker 3: reading this message from Lurch in response to our series 28 00:01:20,720 --> 00:01:23,959 Speaker 3: on mud. Specifically, I think the second episode in that 29 00:01:24,080 --> 00:01:29,040 Speaker 3: series where we looked at wallowing behaviors and animals, especially pigs. 30 00:01:29,640 --> 00:01:37,479 Speaker 3: All right, Lurch says, good morning, gentlemen. I just finished 31 00:01:37,520 --> 00:01:40,280 Speaker 3: listening to your episodes on mud. Took me by surprise 32 00:01:40,440 --> 00:01:44,319 Speaker 3: you did. I'd never have thought such a mud day 33 00:01:44,400 --> 00:01:48,680 Speaker 3: in the subject could be so interesting. Lerch, I don't 34 00:01:48,680 --> 00:01:50,080 Speaker 3: know about that one. Did that work? 35 00:01:50,680 --> 00:01:53,800 Speaker 2: I don't know? It generated a chuckle or a smile 36 00:01:53,840 --> 00:01:56,800 Speaker 2: on my hand, so yeah, oh yeah, I'm smiling as well. Okay, well, 37 00:01:56,840 --> 00:02:00,800 Speaker 2: good job, then, Lurch. Bringing pigs into it reminded me 38 00:02:00,880 --> 00:02:03,760 Speaker 2: of the summers I used to spend on my uncle's farm. 39 00:02:04,240 --> 00:02:07,920 Speaker 2: Along with the cattle, chickens, crops, and rabbits, he raised, pigs. 40 00:02:08,320 --> 00:02:11,160 Speaker 2: Tending them was an experience I wish I could forget. 41 00:02:11,560 --> 00:02:14,160 Speaker 2: It's not that some event or practice. This was the 42 00:02:14,240 --> 00:02:19,000 Speaker 2: nineteen sixties. Husbandry has changed traumatized me. No, it was 43 00:02:19,160 --> 00:02:22,120 Speaker 2: the smell. It's been nearly sixty years since then, and 44 00:02:22,240 --> 00:02:27,320 Speaker 2: my nostril hairs still haven't uncurled. Regarding wallowing, I'd always 45 00:02:27,360 --> 00:02:30,400 Speaker 2: been told the reasons for it were twofold cooling and 46 00:02:30,600 --> 00:02:33,920 Speaker 2: protection from pests, both of which you mentioned. Since I 47 00:02:34,000 --> 00:02:36,120 Speaker 2: wasn't there in the winter, it never occurred to me 48 00:02:36,200 --> 00:02:39,480 Speaker 2: that they might wallow in the freezing cold too. I 49 00:02:39,520 --> 00:02:43,399 Speaker 2: think it's possible this might also be related to temperature regulation. 50 00:02:43,960 --> 00:02:46,120 Speaker 2: While in the summer months, as you point out, mud 51 00:02:46,120 --> 00:02:48,919 Speaker 2: can be used as a cooling jacket, in the winter, 52 00:02:49,080 --> 00:02:54,360 Speaker 2: it can actually be used to maintain heat. Interesting Blert 53 00:02:54,440 --> 00:02:57,600 Speaker 2: says this wouldn't work near the freezing point of water, 54 00:02:57,720 --> 00:02:59,799 Speaker 2: but drop a few more degrees in the surface of 55 00:02:59,840 --> 00:03:03,560 Speaker 2: the mud would freeze, forming a thermal barrier, trapping the 56 00:03:03,600 --> 00:03:07,200 Speaker 2: pig's body heat. I have personal experience with the effect 57 00:03:07,280 --> 00:03:09,600 Speaker 2: though a tadbit cleaner. In high school, I was on 58 00:03:09,639 --> 00:03:13,120 Speaker 2: the swim team and would walk home after practice. Being 59 00:03:13,160 --> 00:03:16,200 Speaker 2: the dead of winter and in Illinois, it was usually 60 00:03:16,240 --> 00:03:19,520 Speaker 2: a bit nippy outside. After the first block or so 61 00:03:19,639 --> 00:03:22,080 Speaker 2: of my journey, my wet hair would freeze into a 62 00:03:22,120 --> 00:03:25,480 Speaker 2: pretty solid head cap of ice. But since the ice 63 00:03:25,600 --> 00:03:28,880 Speaker 2: trapped warm air next to my scalp. I was comfortable 64 00:03:28,960 --> 00:03:31,160 Speaker 2: and never had to worry about where the heck had 65 00:03:31,200 --> 00:03:34,240 Speaker 2: put my hat. As always, thanks for keeping me thinking. 66 00:03:34,560 --> 00:03:39,880 Speaker 2: Keep the gravy warm, Lurch. That's interesting. I'd never heard 67 00:03:39,920 --> 00:03:43,120 Speaker 2: of that kind of effect. Interesting that that might be 68 00:03:43,160 --> 00:03:47,320 Speaker 2: worth some follow up. All right, Our next one comes 69 00:03:47,360 --> 00:03:55,480 Speaker 2: to us from Raj Raj Rights and in response to 70 00:03:56,000 --> 00:04:01,760 Speaker 2: mud Volcanoes and Puddles plus more Pokemon dream Lore, Roj says, Hello, gentlemen, 71 00:04:02,160 --> 00:04:04,560 Speaker 2: I may be too late in writing in terms of 72 00:04:04,600 --> 00:04:08,800 Speaker 2: suggesting topics ideas foods for thought for your mud episodes, 73 00:04:08,840 --> 00:04:11,960 Speaker 2: but once Robert mentioned discussing mud volcanoes at the end 74 00:04:12,000 --> 00:04:14,680 Speaker 2: of part three, it stirred a memory in me. I 75 00:04:14,720 --> 00:04:17,760 Speaker 2: remember coming across a couple of videos from a YouTuber 76 00:04:18,120 --> 00:04:23,400 Speaker 2: named physics Girl aka Diana Cowarn. One discusses a mud 77 00:04:23,520 --> 00:04:27,760 Speaker 2: volcano aka mudpot she found in California link for reference, 78 00:04:27,920 --> 00:04:31,760 Speaker 2: and another discusses a moving mud puddle link for reference. 79 00:04:32,400 --> 00:04:35,359 Speaker 3: So Raj, I actually watched both of these and they're 80 00:04:35,560 --> 00:04:38,880 Speaker 3: great videos. Again, so for you who can look it 81 00:04:38,960 --> 00:04:42,080 Speaker 3: up right now, the channel is called physics Girl and 82 00:04:42,120 --> 00:04:45,040 Speaker 3: you can probably just use search terms like moving mud puddle, 83 00:04:45,200 --> 00:04:48,159 Speaker 3: especially because that's the one to really see. But to 84 00:04:48,320 --> 00:04:51,440 Speaker 3: summarize the story for you, the one who is listening now, 85 00:04:51,880 --> 00:04:54,559 Speaker 3: I'm going to refer here to a local news article 86 00:04:54,560 --> 00:04:57,360 Speaker 3: I dug up from CBSA San Diego. This is by 87 00:04:57,680 --> 00:05:02,120 Speaker 3: a writer named Shannon Handy from March twe about the story. 88 00:05:03,120 --> 00:05:06,760 Speaker 3: So the news story goes Imperial County, California. It's not 89 00:05:06,880 --> 00:05:10,280 Speaker 3: something you normally see along a freeway, but local Cowtrans 90 00:05:10,360 --> 00:05:13,320 Speaker 3: crews have been keeping a close watch on a geyser 91 00:05:13,360 --> 00:05:17,520 Speaker 3: that's impacting both the Union Pacific Railroad and State Route 92 00:05:17,520 --> 00:05:21,279 Speaker 3: one to eleven near Nyland in Imperial County. Some describe 93 00:05:21,279 --> 00:05:24,240 Speaker 3: it as a bubbling pool of mud, often referring to 94 00:05:24,279 --> 00:05:28,159 Speaker 3: it as a mud pot. Sean Rizzuto with Caltrans said 95 00:05:28,200 --> 00:05:31,719 Speaker 3: the geyser is releasing CO two. It's been around since 96 00:05:31,839 --> 00:05:35,359 Speaker 3: nineteen fifty three, but it didn't start moving until twenty 97 00:05:35,480 --> 00:05:40,200 Speaker 3: sixteen following some seismic activity in the area. So it's 98 00:05:40,200 --> 00:05:44,160 Speaker 3: been moving about ten feet per month on average, said Rizzuto. 99 00:05:44,760 --> 00:05:47,560 Speaker 3: He said the challenge is determining where it will go next. 100 00:05:47,920 --> 00:05:50,599 Speaker 3: Quote right now, it's been static for the past two 101 00:05:50,600 --> 00:05:53,359 Speaker 3: and a half three months, so it hasn't really moved 102 00:05:53,480 --> 00:05:56,719 Speaker 3: very much, but that could change in an instant. Caltrans 103 00:05:56,800 --> 00:06:00,440 Speaker 3: officials considered several options, including a detour, which was an 104 00:06:00,480 --> 00:06:03,080 Speaker 3: ideal because it would have taken drivers eighty miles out 105 00:06:03,080 --> 00:06:05,440 Speaker 3: of the way, and the one to eleven is crucial 106 00:06:05,520 --> 00:06:08,960 Speaker 3: for the agriculture business there. So they describe how this 107 00:06:09,040 --> 00:06:12,359 Speaker 3: may be the only known moving geyser in the world, 108 00:06:12,839 --> 00:06:16,840 Speaker 3: and there were some efforts by the California Transportation authorities 109 00:06:16,839 --> 00:06:18,440 Speaker 3: to try to figure out what to do because it's 110 00:06:18,480 --> 00:06:22,440 Speaker 3: like the giant bubbling mud puddle caused by seismic activity 111 00:06:22,440 --> 00:06:24,640 Speaker 3: from below CO two is being released from it, and 112 00:06:24,680 --> 00:06:27,719 Speaker 3: it's like chasing the roads. It's approaching the road and 113 00:06:27,760 --> 00:06:30,000 Speaker 3: it's going to knock that out, and it's approaching rail 114 00:06:30,120 --> 00:06:32,600 Speaker 3: lines it's going to knock those out. So they're like 115 00:06:32,640 --> 00:06:34,920 Speaker 3: trying to find ways to either stop it from moving 116 00:06:35,040 --> 00:06:38,839 Speaker 3: or building around it, and all these plans just keep failing. 117 00:06:39,240 --> 00:06:41,800 Speaker 3: In fact, this is where it's definitely worth looking up 118 00:06:41,839 --> 00:06:46,240 Speaker 3: the Physics Girl videos, which are very excellent and get 119 00:06:46,240 --> 00:06:48,560 Speaker 3: into a lot more detail, and it's a very scary 120 00:06:48,600 --> 00:06:52,280 Speaker 3: and dramatic story, Like there's one part where they try 121 00:06:52,279 --> 00:06:56,240 Speaker 3: to the authorities try to bury like deep bury a 122 00:06:57,120 --> 00:07:00,240 Speaker 3: metal retaining wall to stop the puddle from spreading. But 123 00:07:00,240 --> 00:07:02,880 Speaker 3: there's one point where it just suddenly spreads beyond the 124 00:07:02,920 --> 00:07:05,560 Speaker 3: metal retaining wall, just like cracks the giant metal wall 125 00:07:05,600 --> 00:07:08,680 Speaker 3: in half, and it's going under it and emerging on 126 00:07:08,720 --> 00:07:11,760 Speaker 3: the other side. And there are these sudden moments of 127 00:07:11,880 --> 00:07:15,240 Speaker 3: dramatic collapses of the walls of the puddle as it spreads, 128 00:07:15,360 --> 00:07:18,000 Speaker 3: like you know, I don't remember exactly how far, maybe 129 00:07:18,040 --> 00:07:23,520 Speaker 3: even somewhere like twenty to sixty feet suddenly. So it's scary. 130 00:07:23,600 --> 00:07:25,840 Speaker 3: And it's not just scary because you'd think about like 131 00:07:25,920 --> 00:07:28,040 Speaker 3: I don't want to fall into that puddle and sink 132 00:07:28,120 --> 00:07:31,360 Speaker 3: down into the mud and whatever's going on beneath it. 133 00:07:31,920 --> 00:07:34,520 Speaker 3: But the bubbling, even though I think the puddle is 134 00:07:34,560 --> 00:07:37,480 Speaker 3: not thought to be hot, the bubbling is from the 135 00:07:37,520 --> 00:07:40,360 Speaker 3: release of CO two, And of course we know like 136 00:07:40,440 --> 00:07:42,760 Speaker 3: CO two is heavier than air, it tends to kind 137 00:07:42,760 --> 00:07:45,320 Speaker 3: of pool in low lying areas, so if you were 138 00:07:45,360 --> 00:07:47,280 Speaker 3: to fall into this pit, it is of course a 139 00:07:47,320 --> 00:07:50,880 Speaker 3: suffocation risk as well. So it's this moving, lethal puddle 140 00:07:50,920 --> 00:07:53,560 Speaker 3: of bubbling mud that almost seems to be like chasing 141 00:07:53,600 --> 00:07:55,240 Speaker 3: our transportation infrastructure. 142 00:07:55,960 --> 00:07:58,679 Speaker 2: I don't like that at all. I think our bubbling 143 00:07:58,720 --> 00:08:00,800 Speaker 2: death puddles need to stay in one spot where we 144 00:08:00,840 --> 00:08:02,800 Speaker 2: can keep an eye on them, not just move around 145 00:08:02,800 --> 00:08:03,320 Speaker 2: on their own. 146 00:08:03,720 --> 00:08:05,720 Speaker 3: So if you want to look up the video, the 147 00:08:05,720 --> 00:08:08,600 Speaker 3: main one by the Physics Girl channel is called the 148 00:08:08,600 --> 00:08:12,960 Speaker 3: World's Only Moving Mud Puddle, and yeah, it's definitely worth 149 00:08:12,960 --> 00:08:13,320 Speaker 3: a look. 150 00:08:13,800 --> 00:08:15,200 Speaker 2: Yeah, I was glad to send it this as well. 151 00:08:15,240 --> 00:08:16,760 Speaker 2: Yeah the footage is pretty incredible. 152 00:08:17,680 --> 00:08:20,400 Speaker 3: Oh but Raj has more to say, I think, especially 153 00:08:20,400 --> 00:08:21,120 Speaker 3: about Pokemon. 154 00:08:21,240 --> 00:08:24,600 Speaker 2: Right. Yes, Raj continues switching gears. In the most recent 155 00:08:24,640 --> 00:08:27,400 Speaker 2: listener mail episode, Gotta Dream Them All, a couple of 156 00:08:27,600 --> 00:08:31,760 Speaker 2: astute listeners mentioned a few Pokemon related to dreaming. I'd 157 00:08:31,800 --> 00:08:34,000 Speaker 2: like to add a tiny bit more by mentioning a 158 00:08:34,040 --> 00:08:37,720 Speaker 2: couple of moves or attacks that relate to dreams. One 159 00:08:37,760 --> 00:08:42,240 Speaker 2: move is called dream eater, for the description from sarahb 160 00:08:42,440 --> 00:08:46,520 Speaker 2: dot Net quote, the user your Pokemon eats the dreams 161 00:08:46,520 --> 00:08:49,480 Speaker 2: of a sleeping target your opponent's Pokemon. The user's HP 162 00:08:49,640 --> 00:08:51,840 Speaker 2: is restored by up to half the damage taken by 163 00:08:51,880 --> 00:08:55,520 Speaker 2: the target. Another move is nightmare quote a sleeping target 164 00:08:55,559 --> 00:08:59,400 Speaker 2: sees a nightmare that inflicts some one fourth damage every turn. 165 00:08:59,520 --> 00:09:04,719 Speaker 2: Again from SARAHB. Dot Net. Related to Pokemon moves are 166 00:09:04,760 --> 00:09:08,439 Speaker 2: something called abilities, which are special powers that Pokemon can have. 167 00:09:09,080 --> 00:09:12,800 Speaker 2: Dark Ray's ability is called bad dreams, which reduces the 168 00:09:12,960 --> 00:09:16,600 Speaker 2: HP of sleeping opposing Pokemon. Finally, I'd like to add 169 00:09:16,600 --> 00:09:19,560 Speaker 2: another Pokemon to the dreaming pool. While not related to 170 00:09:19,640 --> 00:09:23,520 Speaker 2: dreaming directly, there is another Pokemon in addition to Snorlax 171 00:09:23,679 --> 00:09:27,520 Speaker 2: that is known for sleeping. It's called Comala from the 172 00:09:27,679 --> 00:09:32,320 Speaker 2: Aloa region. Here is one descriptor of this Pokemon quote. 173 00:09:32,320 --> 00:09:35,720 Speaker 2: It is born asleep and it dies asleep. All its 174 00:09:35,840 --> 00:09:38,880 Speaker 2: movements are apparently no more than the results of it 175 00:09:39,000 --> 00:09:43,079 Speaker 2: tossing and turning in its dreams. Thanks for the phenomenal 176 00:09:43,120 --> 00:09:45,880 Speaker 2: work you produce, and don't forget to be awesome. Cheers 177 00:09:46,080 --> 00:09:47,160 Speaker 2: raj Ah. 178 00:09:47,200 --> 00:09:51,920 Speaker 3: Well, that is a haunting Pokemon description. It's born asleep 179 00:09:51,960 --> 00:09:54,440 Speaker 3: and dies asleep. All it does is dream, That's its 180 00:09:54,440 --> 00:09:55,120 Speaker 3: whole life. 181 00:09:55,760 --> 00:09:57,400 Speaker 2: I had to look this one up. I don't remember 182 00:09:57,440 --> 00:09:59,680 Speaker 2: seeing this one on a card or anything, but it 183 00:09:59,720 --> 00:10:03,200 Speaker 2: looks like a koala clutching like a It looks like 184 00:10:03,200 --> 00:10:05,439 Speaker 2: it's clutching a log pillow, and as far as I 185 00:10:05,440 --> 00:10:07,480 Speaker 2: can tell, it doesn't have any evolutions, which makes sense. 186 00:10:07,520 --> 00:10:08,600 Speaker 2: Because this is all it does. 187 00:10:09,000 --> 00:10:12,520 Speaker 3: Is it normal for Pokemon to get that strange and 188 00:10:12,640 --> 00:10:14,080 Speaker 3: dark or is this kind of a fluke? 189 00:10:14,559 --> 00:10:16,520 Speaker 2: No, there are a lot of strange and dark Pokemon. 190 00:10:17,000 --> 00:10:22,240 Speaker 2: I've come to learn quite a few that have just 191 00:10:22,400 --> 00:10:25,439 Speaker 2: weird qualities to them, Like some of the episodes of 192 00:10:25,440 --> 00:10:29,719 Speaker 2: Pokemon that I've been exposed to are just weird. So yeah, 193 00:10:29,760 --> 00:10:31,760 Speaker 2: there's a lot of a lot of interesting stuff out there. 194 00:10:32,000 --> 00:10:36,560 Speaker 3: Well, thanks raj Okay. This next message is from Tyler. 195 00:10:36,720 --> 00:10:39,480 Speaker 3: It starts off being about Mud but then ends with 196 00:10:39,559 --> 00:10:48,360 Speaker 3: weird house cinema. Tyler says, Hey, pals, I was listening 197 00:10:48,360 --> 00:10:51,040 Speaker 3: to The Mud Part four episode today and Rob made 198 00:10:51,080 --> 00:10:55,080 Speaker 3: a reference to Solo and mud Troopers. It took me 199 00:10:55,160 --> 00:10:58,240 Speaker 3: way too long to realize you were referencing Solo, a 200 00:10:58,360 --> 00:11:03,040 Speaker 3: Star Wars story, and nineteen ninety six is Solo, starring 201 00:11:03,120 --> 00:11:06,600 Speaker 3: Mario van Peebles as a military android that grows a 202 00:11:06,640 --> 00:11:09,520 Speaker 3: conscience and protects the village he was meant to destroy 203 00:11:10,280 --> 00:11:13,720 Speaker 3: from his creators. Oh man, I remember when this one 204 00:11:13,760 --> 00:11:16,640 Speaker 3: came out. Tyler says. This is a movie that I 205 00:11:16,679 --> 00:11:19,320 Speaker 3: saw when I was probably about eight, and it just 206 00:11:19,400 --> 00:11:21,600 Speaker 3: kind of stuck in my mind for twenty five years. 207 00:11:21,920 --> 00:11:24,439 Speaker 3: I don't think I know anyone else that has seen it. 208 00:11:24,440 --> 00:11:26,640 Speaker 3: It would be a great movie for weird house cinema. 209 00:11:26,679 --> 00:11:31,160 Speaker 3: It checks a lot of boxes, a gumbo of Terminator, Commando, Rambo, 210 00:11:31,520 --> 00:11:35,400 Speaker 3: seven Samurai, pretty much any eighties action movie with glistening, 211 00:11:35,480 --> 00:11:39,120 Speaker 3: rippling pecks or man shaped robots, and it's not too 212 00:11:39,120 --> 00:11:42,559 Speaker 3: hard to find. Thanks for all you do. Really appreciate you, Tyler. 213 00:11:43,000 --> 00:11:46,400 Speaker 2: Ah fascinating. Now. I have not seen the nineteen ninety 214 00:11:46,400 --> 00:11:48,400 Speaker 2: six solo film, but I was looking it up a 215 00:11:48,440 --> 00:11:50,400 Speaker 2: little bit and looking at the cast, and it has 216 00:11:50,679 --> 00:11:53,400 Speaker 2: a pretty great supporting cast that includes the always terrific 217 00:11:53,440 --> 00:11:56,959 Speaker 2: William Sadler. It has Adrian Brody in it, and it's 218 00:11:57,000 --> 00:11:59,920 Speaker 2: based on the nineteen eighty nine sci fi novel Web 219 00:12:00,400 --> 00:12:03,679 Speaker 2: by Robert Mason of Vietnam Veto. I think is I 220 00:12:03,720 --> 00:12:06,320 Speaker 2: don't know if he's primarily known for this, but he's 221 00:12:06,360 --> 00:12:10,480 Speaker 2: also known for having penned a memoir or multiple memoirs 222 00:12:10,480 --> 00:12:14,720 Speaker 2: about his service in Vietnam. But Mario van Peebles, you know, 223 00:12:14,880 --> 00:12:18,000 Speaker 2: always fun. He was in what the third Jaws movie, 224 00:12:18,080 --> 00:12:20,679 Speaker 2: he was in the fourth, the fourth, Okay, he was 225 00:12:20,720 --> 00:12:24,319 Speaker 2: in the third Highlander movie. Which is actually a prequel 226 00:12:24,320 --> 00:12:28,439 Speaker 2: to Highlander two. So you know, sort that out in 227 00:12:28,520 --> 00:12:30,200 Speaker 2: your head as you as you wish. 228 00:12:30,720 --> 00:12:33,840 Speaker 3: Was Christolph Lambert still in the third Highlander movie? 229 00:12:34,559 --> 00:12:38,480 Speaker 2: Yes, yeah, So the gimmick in Highlander the Final Dimension 230 00:12:38,480 --> 00:12:41,240 Speaker 2: from nineteen ninety four is it's post Highlander one, pre 231 00:12:41,360 --> 00:12:44,720 Speaker 2: Highlander two. He thinks he's won the prize and defeated 232 00:12:44,760 --> 00:12:46,600 Speaker 2: the last Immortal, but you know, it just something doesn't 233 00:12:46,640 --> 00:12:50,760 Speaker 2: feel right. Turns out there's one more immortal or maybe 234 00:12:50,800 --> 00:12:53,200 Speaker 2: like a handful of immortals that were part of like 235 00:12:53,240 --> 00:12:57,680 Speaker 2: this evil like nomadic band of immortals, and they fell 236 00:12:57,720 --> 00:13:00,760 Speaker 2: into a glacier something that got frozen. They've been out 237 00:13:00,800 --> 00:13:03,199 Speaker 2: of commission, and then they wake up and he's like, oh, 238 00:13:03,320 --> 00:13:06,040 Speaker 2: I've got one last guy to take out, and so 239 00:13:06,120 --> 00:13:09,000 Speaker 2: they have to battle and so forth. Mario van Peeples 240 00:13:09,040 --> 00:13:11,520 Speaker 2: is the villain. All right, I guess I'm gonna have 241 00:13:11,559 --> 00:13:23,280 Speaker 2: to see that sometime, all right. We also heard from 242 00:13:23,360 --> 00:13:26,720 Speaker 2: Ted ted Is responding to our episode of The Machine Speaks. 243 00:13:27,320 --> 00:13:30,760 Speaker 2: Ted says, Hi, Robert and Joe, longtime listener, first time writer, 244 00:13:31,240 --> 00:13:33,360 Speaker 2: just finished listening to your episode The Machine Speaks, and 245 00:13:33,360 --> 00:13:37,640 Speaker 2: feel embarrassingly enough compelled to ride in with the title 246 00:13:37,720 --> 00:13:40,800 Speaker 2: and your episode preface of Heads That Talk. I thought 247 00:13:40,880 --> 00:13:43,160 Speaker 2: for sure I knew about one talking head that you 248 00:13:43,200 --> 00:13:47,359 Speaker 2: would reference. Boy was I wrong. However, the examples explained 249 00:13:47,720 --> 00:13:50,559 Speaker 2: were fascinating, and yes, my mind was blown. I suppose 250 00:13:50,640 --> 00:13:53,120 Speaker 2: my mind was drifting towards a mix of weird house 251 00:13:53,120 --> 00:13:56,680 Speaker 2: cinema in a core episode where I thought fictional characters 252 00:13:56,720 --> 00:13:58,840 Speaker 2: would be in play. I was hoping to hear your 253 00:13:58,880 --> 00:14:01,640 Speaker 2: take on Max Headroom. As a child of the eighties, 254 00:14:01,960 --> 00:14:05,040 Speaker 2: he was our futuristic talking head. I don't really remember 255 00:14:05,200 --> 00:14:07,160 Speaker 2: much of the original series, but I did love his 256 00:14:07,240 --> 00:14:10,280 Speaker 2: cameo in Back to the Future too, when Martin McFly 257 00:14:10,320 --> 00:14:13,760 Speaker 2: stumbles into the Cafe Eighties to order a pepsi from 258 00:14:13,800 --> 00:14:17,080 Speaker 2: Max the waiter. Love the show, look forward to more 259 00:14:17,200 --> 00:14:19,040 Speaker 2: of your great work. Thanks Ted. 260 00:14:19,880 --> 00:14:22,600 Speaker 3: This is a funny coincidence because I happened to have 261 00:14:23,040 --> 00:14:26,280 Speaker 3: just watched the first episode of Max Headroom just a 262 00:14:26,280 --> 00:14:29,560 Speaker 3: few nights ago. This week, I was hanging out with 263 00:14:29,560 --> 00:14:32,640 Speaker 3: a friend of mine. He had listened to our episode 264 00:14:32,720 --> 00:14:36,000 Speaker 3: on the Super Mario Brothers movie, which of course was 265 00:14:36,000 --> 00:14:39,000 Speaker 3: made by the same pair of directors as the original 266 00:14:39,000 --> 00:14:41,600 Speaker 3: Max Headroom series. I guess Max Headroom probably kind of 267 00:14:41,600 --> 00:14:45,040 Speaker 3: got them the job on Mario and he was like, well, 268 00:14:45,280 --> 00:14:47,520 Speaker 3: you should see the show. So we watched the first 269 00:14:47,560 --> 00:14:51,640 Speaker 3: episode and it was a hoot. So it is, Oh, 270 00:14:51,720 --> 00:14:54,400 Speaker 3: I don't have the right words yet in mind to 271 00:14:54,520 --> 00:14:56,360 Speaker 3: describe the vibe of it. I will say in the 272 00:14:56,400 --> 00:15:00,240 Speaker 3: opening credits, I saw somebody and I was like, is 273 00:15:00,240 --> 00:15:05,880 Speaker 3: that Michael Ironside? But it was Jeffrey tamboor not a 274 00:15:05,920 --> 00:15:07,320 Speaker 3: common mistake people make. 275 00:15:07,800 --> 00:15:10,080 Speaker 2: Yeah, they generally have different energies those two. 276 00:15:10,480 --> 00:15:13,880 Speaker 3: Yeah, but somehow, I you know, it was close enough. 277 00:15:14,640 --> 00:15:18,560 Speaker 3: But so the premise is there's a cyberpunk dystopia TV 278 00:15:18,840 --> 00:15:21,480 Speaker 3: rules over everything, so the world, you know, like the 279 00:15:21,920 --> 00:15:25,800 Speaker 3: real authorities are basically the boards of directors of television 280 00:15:25,840 --> 00:15:29,480 Speaker 3: media corporations. And there is this boardroom full of evil 281 00:15:29,520 --> 00:15:32,360 Speaker 3: corporate directors who are designing a new form of TV 282 00:15:32,480 --> 00:15:37,640 Speaker 3: advertisement called blip verts, which implants subliminal messages and viewers 283 00:15:37,680 --> 00:15:41,400 Speaker 3: forcing them to buy and consume, but also it occasionally 284 00:15:41,440 --> 00:15:44,960 Speaker 3: causes people's heads to explode. And there is a fearless 285 00:15:45,000 --> 00:15:48,800 Speaker 3: journalist named Edison Carter played by Matt Frewer, who's always 286 00:15:48,840 --> 00:15:51,840 Speaker 3: running around in a baggy leather jacket carrying a full 287 00:15:51,880 --> 00:15:55,520 Speaker 3: sized television camera in his own hand. So he's the journalist, 288 00:15:55,760 --> 00:15:58,840 Speaker 3: but he's also the cameraman. Oh and then he's also 289 00:15:58,880 --> 00:16:02,200 Speaker 3: got sort of a control roller who is like his 290 00:16:03,200 --> 00:16:06,960 Speaker 3: live producer, except the role of a producer in this 291 00:16:07,000 --> 00:16:09,960 Speaker 3: world is mostly like hacking security systems to get you 292 00:16:10,000 --> 00:16:11,200 Speaker 3: through doors and stuff. 293 00:16:11,520 --> 00:16:11,680 Speaker 1: You know. 294 00:16:11,720 --> 00:16:14,120 Speaker 2: I'm just looking at the cast list for this episode 295 00:16:14,160 --> 00:16:16,640 Speaker 2: and I noticed that Amanda Pays is in it. She 296 00:16:16,800 --> 00:16:17,960 Speaker 2: of course was the female lead. 297 00:16:18,000 --> 00:16:22,200 Speaker 3: And Leviathan, Oh yes, in fact, she is his hacker producer. 298 00:16:22,360 --> 00:16:25,120 Speaker 3: She's always like, you know, we're in But anyway, he's 299 00:16:25,200 --> 00:16:28,920 Speaker 3: investigating a case where somebody's head blew up, and I 300 00:16:28,960 --> 00:16:30,480 Speaker 3: think he's trying to get to the bottom of it, 301 00:16:30,720 --> 00:16:34,280 Speaker 3: and he's fleeing corporate security agents and then is injured 302 00:16:34,400 --> 00:16:37,360 Speaker 3: in the process in a motorcycle accident crashing against a 303 00:16:37,480 --> 00:16:40,800 Speaker 3: gate arm in a parking garage that says max headroom, 304 00:16:40,840 --> 00:16:43,960 Speaker 3: meaning like max height of the clearance for the gate arm. 305 00:16:44,800 --> 00:16:47,760 Speaker 3: And then the villain from Dumb and Dumber and a 306 00:16:48,000 --> 00:16:52,200 Speaker 3: hacker who is a child, scan his brain and create 307 00:16:52,240 --> 00:16:55,320 Speaker 3: a CGI version of him. It's like a simulation of 308 00:16:55,360 --> 00:16:59,920 Speaker 3: his brain and of his appearance, which is not actually CG. 309 00:17:00,360 --> 00:17:03,160 Speaker 3: Max Headroom is achieved with like prosthetics and makeup and 310 00:17:03,200 --> 00:17:04,040 Speaker 3: camera effects. 311 00:17:04,480 --> 00:17:07,719 Speaker 2: The villain would be that's what Charles Rocket, That's right? 312 00:17:07,800 --> 00:17:10,399 Speaker 3: Yeah now, yeah, yeah, he's the villain from Dumb and 313 00:17:10,480 --> 00:17:13,760 Speaker 3: Dummer and in this he's like a you know, corporate skis. 314 00:17:14,400 --> 00:17:17,360 Speaker 3: But anyway, so they create this version of him. They meanwhile, 315 00:17:17,359 --> 00:17:19,879 Speaker 3: they like send him off to like a morgue, but 316 00:17:20,000 --> 00:17:23,080 Speaker 3: it turns out he survives. I think Amanda Pays revives him, 317 00:17:23,720 --> 00:17:26,680 Speaker 3: uh and so, so like he's still alive, but there's 318 00:17:26,760 --> 00:17:31,320 Speaker 3: this simulated version of his brain that is now a 319 00:17:31,720 --> 00:17:35,159 Speaker 3: TV character, and the you know, the bosses that the 320 00:17:35,160 --> 00:17:38,040 Speaker 3: media corporation love him. The villains like him because he's 321 00:17:38,040 --> 00:17:41,000 Speaker 3: like really entertaining TV content, So they, you know, they 322 00:17:41,080 --> 00:17:46,119 Speaker 3: like him broadcasting because people watch. But Max Headroom is 323 00:17:46,200 --> 00:17:48,119 Speaker 3: very sly, and he seems to make a lot of 324 00:17:48,760 --> 00:17:53,359 Speaker 3: glitchy satirical comments about his owners that fly under the radar. 325 00:17:54,840 --> 00:17:57,440 Speaker 3: I don't know how exactly it develops as the show 326 00:17:57,480 --> 00:17:59,879 Speaker 3: goes on, but yeah, he seems to be both a 327 00:18:00,480 --> 00:18:05,080 Speaker 3: product of an evil media corporation and constantly making little 328 00:18:05,160 --> 00:18:07,000 Speaker 3: jokes at their expense. 329 00:18:06,840 --> 00:18:08,639 Speaker 2: So you're gonna keep going with the series? Did you 330 00:18:08,640 --> 00:18:10,600 Speaker 2: get a taste for it and you need both? What 331 00:18:10,720 --> 00:18:11,720 Speaker 2: two seasons and etc. 332 00:18:12,200 --> 00:18:15,240 Speaker 3: Oh man, I can't stop with the late eighties dystopian 333 00:18:15,320 --> 00:18:18,480 Speaker 3: sci fi. I will say either a good thing about 334 00:18:18,480 --> 00:18:20,400 Speaker 3: it or a bad thing about it, depending on your 335 00:18:21,080 --> 00:18:25,639 Speaker 3: appetite for ironically appealing aesthetics. Is that it's very MTV. 336 00:18:27,560 --> 00:18:30,920 Speaker 3: You know that feeling it has MTV cinematography. 337 00:18:31,880 --> 00:18:35,000 Speaker 2: Yeah, yeah, I know exactly exactly what you mean there, 338 00:18:35,000 --> 00:18:38,920 Speaker 2: and you see that you see ripples of that continue 339 00:18:38,960 --> 00:18:42,800 Speaker 2: to move through cinema for gosh decades, I think, And 340 00:18:42,840 --> 00:18:45,000 Speaker 2: which makes sense too, because I mean, just in general, 341 00:18:45,040 --> 00:18:47,800 Speaker 2: without thinking too hard about it, like MTV as a 342 00:18:47,800 --> 00:18:50,399 Speaker 2: whole back in the day in compass not only like 343 00:18:50,480 --> 00:18:54,960 Speaker 2: the sort of like local MTV flare, but also the 344 00:18:55,040 --> 00:18:57,919 Speaker 2: various music videos that were featured, which often featured the 345 00:18:57,960 --> 00:19:01,840 Speaker 2: work of filmmakers who would in many cases go on 346 00:19:01,920 --> 00:19:05,359 Speaker 2: to make feature length films. Not always, but often you 347 00:19:05,400 --> 00:19:07,439 Speaker 2: see that, and so it makes sense that some of 348 00:19:07,440 --> 00:19:10,960 Speaker 2: the same stylistic trends would continue to carry over, but 349 00:19:11,040 --> 00:19:14,200 Speaker 2: not everybody, like, for instance, you know Chris Cunningham, a 350 00:19:14,640 --> 00:19:18,560 Speaker 2: great British video artist and music video director. I think 351 00:19:18,600 --> 00:19:20,879 Speaker 2: for a while he was attached to direct. I think 352 00:19:20,920 --> 00:19:22,960 Speaker 2: everybody at one point has been attached to do a 353 00:19:23,000 --> 00:19:27,440 Speaker 2: film adaptation of Neuromancer William Gibson, and it's never come 354 00:19:27,480 --> 00:19:30,760 Speaker 2: to pass. I think maybe it's just one of those books. 355 00:19:30,800 --> 00:19:33,520 Speaker 2: It's like it's too big, its shadow is too great, 356 00:19:34,000 --> 00:19:38,399 Speaker 2: and also it's been all the ideas of Neuromancer just 357 00:19:38,440 --> 00:19:40,920 Speaker 2: about have been used, so like it seems like a 358 00:19:41,040 --> 00:19:44,199 Speaker 2: very difficult adaptation task to take on. 359 00:19:44,680 --> 00:19:47,720 Speaker 3: Yeah, we already have the matrix that's like fifty percent 360 00:19:47,760 --> 00:19:49,200 Speaker 3: of Neuromancer, isn't it. 361 00:19:50,000 --> 00:19:54,560 Speaker 2: Yeah. But speaking of Neuromancer, we also heard from listener 362 00:19:54,640 --> 00:19:59,000 Speaker 2: Fletch on Discord related to Neuromancer, which comes up briefly 363 00:19:59,040 --> 00:20:01,359 Speaker 2: in The Machine Speak. It's kind of an offense comment 364 00:20:01,359 --> 00:20:10,159 Speaker 2: from me. Fletch says, Rob mentioned Neuromancer briefly in the 365 00:20:10,200 --> 00:20:14,200 Speaker 2: Machine Speaks in relation to making Faustian deals with AI. 366 00:20:14,680 --> 00:20:17,880 Speaker 2: But there's actually a mechanical talking head inspired by Favors 367 00:20:17,880 --> 00:20:21,560 Speaker 2: Euphonia that is featured in the novel too. The head 368 00:20:21,640 --> 00:20:26,800 Speaker 2: is stolen from the reclusive Tessier Ashpool family's orbital habitat 369 00:20:27,160 --> 00:20:31,399 Speaker 2: and they send their cloned ninja to recover it. It's described 370 00:20:31,800 --> 00:20:35,879 Speaker 2: like this quote. Jimmy was a burglar and other things 371 00:20:35,920 --> 00:20:39,080 Speaker 2: as well, and just back from a year in high orbit, 372 00:20:39,440 --> 00:20:42,800 Speaker 2: having carried certain things back down the gravity. Well. The 373 00:20:42,840 --> 00:20:46,280 Speaker 2: most unusual thing Jimmy had managed to score on his 374 00:20:46,400 --> 00:20:51,400 Speaker 2: swing through the archipelago was a head, an intrigantly worked 375 00:20:51,600 --> 00:20:56,119 Speaker 2: bust cloison at over platinum, studded with seed pearls and lapis. 376 00:20:56,520 --> 00:21:00,640 Speaker 2: Smith's sign had put down his pocket microscope and advised 377 00:21:00,680 --> 00:21:04,000 Speaker 2: Jimmy to melt the thing down. It was contemporary, not 378 00:21:04,040 --> 00:21:07,719 Speaker 2: an antique, and had no value to the collector. Jimmy laughed. 379 00:21:08,040 --> 00:21:11,119 Speaker 2: The thing was a computer terminal, he said. It could talk, 380 00:21:11,600 --> 00:21:14,600 Speaker 2: and not a synth voice, but with a beautiful arrangement 381 00:21:14,640 --> 00:21:17,840 Speaker 2: of gears and miniature organ pipes. It was a baroque 382 00:21:17,880 --> 00:21:21,080 Speaker 2: thing for anyone to have constructed, a perverse thing, because 383 00:21:21,119 --> 00:21:24,800 Speaker 2: synth voice chips cost next to nothing. It was a curiosity. 384 00:21:25,280 --> 00:21:28,520 Speaker 2: Smith jacked the head into his computer and listened as 385 00:21:28,560 --> 00:21:32,919 Speaker 2: the melodious inhuman voice piped the figures of last year's 386 00:21:32,960 --> 00:21:37,840 Speaker 2: tax return. Oh that's beautiful. I had forgotten all about this. 387 00:21:38,280 --> 00:21:41,800 Speaker 2: It's been a long time since I read Neuromancer. But yeah, 388 00:21:41,840 --> 00:21:44,800 Speaker 2: William Gibson is exactly the sort of author that would 389 00:21:45,080 --> 00:21:47,920 Speaker 2: that would would fit this historical nugget in there. 390 00:21:48,560 --> 00:21:51,479 Speaker 3: You think this is a direct reference to Joseph Fobber 391 00:21:51,480 --> 00:21:53,520 Speaker 3: and the Euphonia, not just like a coincidence. 392 00:21:54,119 --> 00:21:57,040 Speaker 2: I bet it's a direct reference. Yeah, I mean that, 393 00:21:57,119 --> 00:22:01,080 Speaker 2: you know, having read plenty of other books by Gibson 394 00:22:01,200 --> 00:22:03,560 Speaker 2: like this, this is the exact kind of like tech 395 00:22:03,640 --> 00:22:07,439 Speaker 2: degree and history that he would fold into the making 396 00:22:07,480 --> 00:22:07,960 Speaker 2: of the work. 397 00:22:08,560 --> 00:22:11,040 Speaker 3: M all right, We're gonna wrap things up here with 398 00:22:11,160 --> 00:22:14,200 Speaker 3: one short message about weird House cinema. This is from Paul. 399 00:22:19,359 --> 00:22:23,640 Speaker 3: Paul says, in line with your shake hands with danger 400 00:22:24,200 --> 00:22:29,359 Speaker 3: comment in a recent Listener mail and your affinity for Gore? 401 00:22:29,720 --> 00:22:31,840 Speaker 3: Do we have an affinity for Gore? I guess in 402 00:22:31,920 --> 00:22:32,720 Speaker 3: some context. 403 00:22:32,800 --> 00:22:36,760 Speaker 2: It depends depends on exactly for me anyway, speaking for myself, 404 00:22:36,760 --> 00:22:39,960 Speaker 2: it depends how the Gore is presented it what is 405 00:22:40,000 --> 00:22:42,119 Speaker 2: the intent and what is the execution. 406 00:22:42,400 --> 00:22:45,879 Speaker 3: Like I never had a subscription to Fangoria. I love horror, 407 00:22:45,960 --> 00:22:49,080 Speaker 3: but I don't consider myself a gore hound. But with 408 00:22:49,280 --> 00:22:52,359 Speaker 3: the right inflection of absurdity, I can get into it, 409 00:22:52,400 --> 00:22:55,080 Speaker 3: like I do love Texas Chainsaw Masker too and things 410 00:22:55,160 --> 00:22:55,480 Speaker 3: like that. 411 00:22:56,119 --> 00:22:58,320 Speaker 2: Yeah, for me, it's kind of got to be the trifecta. 412 00:22:58,720 --> 00:23:02,680 Speaker 2: Is it is it over the top? Is it not 413 00:23:02,800 --> 00:23:07,440 Speaker 2: quite believable? And is it not done in a nasty way? 414 00:23:07,520 --> 00:23:09,439 Speaker 2: Is it not meant to make me feel bad? But 415 00:23:09,600 --> 00:23:12,960 Speaker 2: is like this kind of like splattery, you know, kind 416 00:23:12,960 --> 00:23:17,560 Speaker 2: of fangoria level of like just enthusiasm for the fake blood. Like, 417 00:23:17,600 --> 00:23:20,639 Speaker 2: for instance, I think I recently mentioned the Paul Nashy 418 00:23:20,720 --> 00:23:24,440 Speaker 2: movie The Hunchback of the Morgue that has some wonderful 419 00:23:24,440 --> 00:23:26,359 Speaker 2: gore in it, like it's a real gore fest, but 420 00:23:26,400 --> 00:23:30,320 Speaker 2: like none of it feels you're never in suspense about 421 00:23:30,320 --> 00:23:33,160 Speaker 2: oh did they really cut somebody's head off so easily? 422 00:23:33,200 --> 00:23:35,760 Speaker 2: And that's actual blood? Like no, no, there's no question 423 00:23:35,800 --> 00:23:37,720 Speaker 2: about it, and you're just able to enjoy it. 424 00:23:38,000 --> 00:23:43,879 Speaker 3: I also like, like verhoven gore that, yeah. 425 00:23:42,320 --> 00:23:46,800 Speaker 2: That's certainly over the top enough that yeah, there's a 426 00:23:46,800 --> 00:23:50,439 Speaker 2: whole his gore has its own quality to it, and 427 00:23:50,560 --> 00:23:52,400 Speaker 2: I guess kind of varies film to film as well. 428 00:23:52,720 --> 00:23:55,080 Speaker 3: Yeah. Oh but anyway, sorry, we stopped in the middle 429 00:23:55,119 --> 00:23:58,800 Speaker 3: of a sentence, so picking up from Paul Paul's to 430 00:23:58,880 --> 00:24:01,720 Speaker 3: start over, Paul says, in line with your Shake Hands 431 00:24:01,720 --> 00:24:05,600 Speaker 3: with Danger comment in a recent listener Mail and your 432 00:24:05,600 --> 00:24:10,040 Speaker 3: Affinity for Gore, I thought you would appreciate forklift Driver Klaus. 433 00:24:10,359 --> 00:24:12,480 Speaker 3: It may be a bit more campy, but seems like 434 00:24:12,520 --> 00:24:14,920 Speaker 3: the type of thing you would enjoy. I remember seeing 435 00:24:14,960 --> 00:24:17,359 Speaker 3: a sequel at some point, but wasn't able to find 436 00:24:17,359 --> 00:24:20,879 Speaker 3: that with a quick search. Hope you enjoy, Paul, So, 437 00:24:21,119 --> 00:24:24,520 Speaker 3: Forklift Driver Klaus appears to be a It is like 438 00:24:24,560 --> 00:24:30,200 Speaker 3: a short comedy horror satirical film that is a parody 439 00:24:30,359 --> 00:24:34,040 Speaker 3: of workplace safety training videos like Shake Hands with Danger, 440 00:24:34,760 --> 00:24:37,399 Speaker 3: in which a German forklift driver it's his first day 441 00:24:37,440 --> 00:24:39,720 Speaker 3: on the job. He's learning how to do everything, but 442 00:24:39,760 --> 00:24:43,000 Speaker 3: he ends up maiming and mutilating everybody he works with, 443 00:24:43,040 --> 00:24:46,639 Speaker 3: and it ends with like driving a forklift covered in 444 00:24:46,720 --> 00:24:49,840 Speaker 3: mangled co workers off into the sunset being chased by 445 00:24:49,840 --> 00:24:50,600 Speaker 3: a chainsaw. 446 00:24:51,520 --> 00:24:53,920 Speaker 2: Yeah, this is a so, this is a film that's 447 00:24:54,080 --> 00:24:58,919 Speaker 2: it's a parody of actual workplace industrial safety videos. But 448 00:24:59,040 --> 00:25:01,760 Speaker 2: it yeah, it feels very much in line with Shake 449 00:25:01,760 --> 00:25:04,200 Speaker 2: Hands with Danger and so forth, and it has that 450 00:25:04,520 --> 00:25:07,639 Speaker 2: sort of energy. But yeah, then things begin to spiral 451 00:25:07,680 --> 00:25:09,800 Speaker 2: out of control, and by the end it is just 452 00:25:09,920 --> 00:25:14,720 Speaker 2: this ridiculous gore fest that is that. Yeah, it is. 453 00:25:14,960 --> 00:25:19,640 Speaker 2: I found rather delightful and hilarious to watch, just very 454 00:25:19,720 --> 00:25:23,919 Speaker 2: unbelievable in the later stages, though earlier on like you 455 00:25:23,960 --> 00:25:28,680 Speaker 2: do kind of get that cringiness that the actual workplace 456 00:25:28,720 --> 00:25:31,399 Speaker 2: safety videos tend to have because they want to show you, 457 00:25:31,440 --> 00:25:34,680 Speaker 2: they want to make you feel bad about what is happening. 458 00:25:34,920 --> 00:25:37,720 Speaker 2: But then this movie keeps going. I mean, this short 459 00:25:37,760 --> 00:25:40,679 Speaker 2: film keeps going and pushes that over the line and 460 00:25:40,880 --> 00:25:44,199 Speaker 2: just goes whole hog into this kind of like early 461 00:25:44,320 --> 00:25:47,639 Speaker 2: Peter Jackson esque blood splurting madness. 462 00:25:47,920 --> 00:25:49,520 Speaker 3: I don't know if this is true, but at least 463 00:25:49,520 --> 00:25:53,600 Speaker 3: the wiki says that some workplaces do use this film 464 00:25:53,640 --> 00:25:56,080 Speaker 3: as a training video despite the fact it's a parody. 465 00:25:57,280 --> 00:25:59,280 Speaker 2: Yeah. I could see somebody like you know, busting it 466 00:25:59,280 --> 00:26:01,520 Speaker 2: out to sort of to end on a on a 467 00:26:01,520 --> 00:26:02,919 Speaker 2: fun note for everyone. I don't know. 468 00:26:03,240 --> 00:26:04,680 Speaker 3: Okay, does that do it for today? 469 00:26:05,240 --> 00:26:07,720 Speaker 2: I believe it shall. We will go ahead and close 470 00:26:07,760 --> 00:26:10,439 Speaker 2: out today's listener mail, but we'll be back next Monday, 471 00:26:10,480 --> 00:26:12,639 Speaker 2: so keep them rolling in. If you have thoughts about 472 00:26:13,040 --> 00:26:15,120 Speaker 2: our episodes of stuff to Blow Your Mind the core 473 00:26:15,160 --> 00:26:19,119 Speaker 2: episodes from Tuesdays and Thursdays. You have any responses to 474 00:26:19,200 --> 00:26:22,439 Speaker 2: our monster fact or artifact episodes. If you have you 475 00:26:22,480 --> 00:26:26,199 Speaker 2: have monster suggestions for future monster facts, let us know. 476 00:26:26,640 --> 00:26:28,679 Speaker 2: And also Weird House Cinema. You have thoughts about these 477 00:26:28,760 --> 00:26:31,879 Speaker 2: various movies, thoughts about movies we should be considering and 478 00:26:32,760 --> 00:26:36,000 Speaker 2: watching or rewatching. All of that's fair game, so keep 479 00:26:36,040 --> 00:26:36,640 Speaker 2: it coming. 480 00:26:36,840 --> 00:26:40,679 Speaker 3: Huge thanks to our excellent audio producer JJ Posway. If 481 00:26:40,720 --> 00:26:42,280 Speaker 3: you would like to get in touch with us with 482 00:26:42,320 --> 00:26:45,440 Speaker 3: feedback on this episode or any other, to suggest topic 483 00:26:45,560 --> 00:26:47,600 Speaker 3: for the future, or just to say hi, you can 484 00:26:47,640 --> 00:26:50,359 Speaker 3: email us at contact at stuff to Blow your Mind 485 00:26:50,480 --> 00:26:58,320 Speaker 3: dot com. 486 00:26:58,480 --> 00:27:01,399 Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For 487 00:27:01,480 --> 00:27:05,320 Speaker 1: more podcasts from my iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 488 00:27:05,400 --> 00:27:07,199 Speaker 1: or wherever you listen to your favorite shows.