1 00:00:03,040 --> 00:00:06,080 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:10,039 --> 00:00:12,480 Speaker 2: Hey you welcome to Stuff to Blow your Mind Listener mail. 3 00:00:12,560 --> 00:00:14,000 Speaker 2: My name is Robert Lamb. 4 00:00:14,000 --> 00:00:16,720 Speaker 3: And my name is Joe McCormick. And it's Monday, the 5 00:00:16,800 --> 00:00:19,119 Speaker 3: day of each week that we read back messages from 6 00:00:19,160 --> 00:00:22,480 Speaker 3: the Stuff to Blow your Mind mail bag. If you've 7 00:00:22,520 --> 00:00:25,120 Speaker 3: never gotten in touch before, why not give it a shot. 8 00:00:25,160 --> 00:00:28,200 Speaker 3: You can email us at contact at Stuff to Blow 9 00:00:28,240 --> 00:00:30,760 Speaker 3: your Mind dot com. Whatever kind of message you want 10 00:00:30,760 --> 00:00:33,720 Speaker 3: to send is great. Of course, we always welcome feedback 11 00:00:33,760 --> 00:00:36,040 Speaker 3: to recent episodes. If you have something interesting you'd like 12 00:00:36,120 --> 00:00:38,479 Speaker 3: to add, or a correction or a question, any kind 13 00:00:38,479 --> 00:00:40,479 Speaker 3: of follow up on something we've talked about, send it 14 00:00:40,520 --> 00:00:43,280 Speaker 3: on in. If you want to suggest a topic for 15 00:00:43,400 --> 00:00:45,640 Speaker 3: us to do in the future, that's always welcome. Or 16 00:00:45,680 --> 00:00:47,599 Speaker 3: if you just want to say hi, let us know 17 00:00:47,960 --> 00:00:50,480 Speaker 3: your thoughts about the show, or how you listen, where 18 00:00:50,479 --> 00:00:53,640 Speaker 3: you listen from, tell us about yourself. That's all fine too. 19 00:00:54,000 --> 00:00:57,920 Speaker 3: It is contact at Stuff to Blow your Mind dot com. 20 00:00:58,440 --> 00:01:00,040 Speaker 3: Let's see Rob if you don't mind, I'm going to 21 00:01:00,120 --> 00:01:03,840 Speaker 3: kick things off with a response to our series on mud. 22 00:01:04,319 --> 00:01:05,160 Speaker 2: Yes, please date. 23 00:01:05,680 --> 00:01:09,880 Speaker 3: This is from Stefan and Stefan says that he is German, 24 00:01:10,040 --> 00:01:14,720 Speaker 3: so he hopes his German English is acceptable. It's perfectly acceptable, Steffan. 25 00:01:14,760 --> 00:01:17,640 Speaker 3: We always want to hear from anybody whatever state you're 26 00:01:17,680 --> 00:01:19,880 Speaker 3: English is in, you know, send it on in. We'll 27 00:01:19,920 --> 00:01:23,520 Speaker 3: do what we can with it. So we appreciate this. 28 00:01:23,520 --> 00:01:28,440 Speaker 3: This is following up from a digression in one part 29 00:01:28,440 --> 00:01:32,440 Speaker 3: of that series about the famous scene in the movie Predator, 30 00:01:32,480 --> 00:01:36,640 Speaker 3: the Original Predator with Arnold Schwarzenegger where he evades the 31 00:01:36,680 --> 00:01:40,639 Speaker 3: heat vision of the alien hunter by covering his body 32 00:01:40,640 --> 00:01:42,840 Speaker 3: in mud, and we talked a little bit about whether 33 00:01:42,880 --> 00:01:44,840 Speaker 3: that would actually work. It seems like if it did work, 34 00:01:44,880 --> 00:01:47,120 Speaker 3: it would only work for a very short time, basically 35 00:01:47,160 --> 00:01:49,760 Speaker 3: until the mud heats up to same temperature as the 36 00:01:49,800 --> 00:01:58,280 Speaker 3: rest of your body. Stefan says, Hey, Robert and Joe, 37 00:01:58,400 --> 00:02:01,200 Speaker 3: great podcast has always many thanks for your work. A 38 00:02:01,280 --> 00:02:05,880 Speaker 3: short remark to mud, Arnold's and Predators. This is a 39 00:02:05,920 --> 00:02:11,079 Speaker 3: direct reference to the German legend daslid der Nibelungen. Siegfried, 40 00:02:11,160 --> 00:02:15,120 Speaker 3: the hero of this legend, killed a wildly feared dragon 41 00:02:15,240 --> 00:02:19,519 Speaker 3: with his sword, the Balmung. A bit of the dragon's 42 00:02:19,639 --> 00:02:22,880 Speaker 3: blood spilled on his skin, and he noticed that his 43 00:02:22,960 --> 00:02:27,760 Speaker 3: skin became invulnerable due to this plaster. He jumped into 44 00:02:28,280 --> 00:02:31,600 Speaker 3: the puddle of dragon's blood and in this way provided 45 00:02:31,680 --> 00:02:36,720 Speaker 3: himself with an impenetrable armor, except one little spot on 46 00:02:36,880 --> 00:02:40,639 Speaker 3: his back, right between his shoulder blades, which was accidentally 47 00:02:40,680 --> 00:02:45,120 Speaker 3: covered by a leaf of a linden tree. The story 48 00:02:45,160 --> 00:02:49,920 Speaker 3: goes that his wife cream Hilled, gave this information to 49 00:02:50,040 --> 00:02:56,120 Speaker 3: his rival Hagen van Tronier Tronia, sorry, I'm doing my best, 50 00:02:56,120 --> 00:03:00,000 Speaker 3: also who a little later took the opportunity to kill 51 00:03:00,200 --> 00:03:03,240 Speaker 3: Siegfried by stabbing him with a spear right at the 52 00:03:03,240 --> 00:03:05,480 Speaker 3: spot in his back which was covered by the leaf 53 00:03:05,560 --> 00:03:11,120 Speaker 3: and therefore still vulnerable. I think mister Antol, the director 54 00:03:11,160 --> 00:03:14,480 Speaker 3: of the first Predators movie. And a quick side note, 55 00:03:14,760 --> 00:03:18,560 Speaker 3: I think Stephan might have been confused here because Antol 56 00:03:18,680 --> 00:03:22,480 Speaker 3: is the name of the director of the twenty ten 57 00:03:22,560 --> 00:03:25,760 Speaker 3: movie Predators, but the name of the director of the 58 00:03:25,919 --> 00:03:29,520 Speaker 3: first movie from nineteen eighty seven was John McTiernan. But 59 00:03:29,600 --> 00:03:33,239 Speaker 3: whatever the case, Stefan is saying about the director of 60 00:03:33,280 --> 00:03:36,360 Speaker 3: the first Predator movie, Stephan says must have been a 61 00:03:36,360 --> 00:03:39,880 Speaker 3: big fan of the German legends. So replace Siegfried by 62 00:03:40,040 --> 00:03:43,240 Speaker 3: Arnold and dragon's blood by mud, and you don't have 63 00:03:43,280 --> 00:03:45,760 Speaker 3: to go a long way to Arnold's and mud puddles 64 00:03:45,880 --> 00:03:49,880 Speaker 3: winky face emoji. I hope my German English was sufficient 65 00:03:49,920 --> 00:03:53,040 Speaker 3: to get this remark across. Looking forward to your next podcast, 66 00:03:53,120 --> 00:03:57,360 Speaker 3: Greetings from northern Germany, half between Hamburg and New Munster 67 00:03:58,000 --> 00:04:00,120 Speaker 3: if you are interested, Stefan. 68 00:04:00,320 --> 00:04:05,000 Speaker 2: Oh, that's wonderful. I mean, obviously, connections between myth and 69 00:04:05,080 --> 00:04:09,000 Speaker 2: legend and modern horror and sci fi movies. I mean, 70 00:04:09,040 --> 00:04:11,520 Speaker 2: that's that's our that's our cup of tea. 71 00:04:11,760 --> 00:04:13,680 Speaker 3: Now, this is a good question. I haven't seen the 72 00:04:13,720 --> 00:04:17,839 Speaker 3: original Predator in quite a while. I don't recall how 73 00:04:17,880 --> 00:04:22,800 Speaker 3: the mud invisibility armor is eventually compromised. What happens? Does 74 00:04:23,320 --> 00:04:27,479 Speaker 3: Arnold fall into water and that washes it off? I 75 00:04:27,480 --> 00:04:28,680 Speaker 3: think that might be the case. 76 00:04:29,440 --> 00:04:31,760 Speaker 2: Yeah, yeah, I'm trying to remember as well. Because he 77 00:04:31,839 --> 00:04:36,120 Speaker 2: evades the Predator successfully and then of course preps for 78 00:04:36,279 --> 00:04:40,560 Speaker 2: the big showdown where he makes an unrealistically powerful long bow. 79 00:04:40,839 --> 00:04:44,200 Speaker 3: Yeah, he builds a bow, just like stretching it with 80 00:04:44,240 --> 00:04:44,800 Speaker 3: his arms. 81 00:04:45,400 --> 00:04:48,120 Speaker 2: Yeah, and then he covers himself with mud again, and 82 00:04:48,600 --> 00:04:52,279 Speaker 2: you know, looks really badass to go out for this fight. 83 00:04:52,360 --> 00:04:55,719 Speaker 2: But yeah, This is where you can really get You 84 00:04:55,720 --> 00:04:58,360 Speaker 2: can ask a lot of questions about how long the 85 00:04:58,440 --> 00:05:01,040 Speaker 2: mud would be effective, were were effective at all. I 86 00:05:01,080 --> 00:05:04,320 Speaker 2: don't remember how how that battle really plays out. I 87 00:05:04,320 --> 00:05:06,200 Speaker 2: think there's some back and forth there, because it's a 88 00:05:06,200 --> 00:05:09,760 Speaker 2: pretty good fight. You know, it's the it's it's it's 89 00:05:09,960 --> 00:05:13,159 Speaker 2: it's man against alien. It's it's Dutch bringing all of 90 00:05:13,200 --> 00:05:16,800 Speaker 2: his clever tricks versus the tricks that the Predator still 91 00:05:16,880 --> 00:05:20,960 Speaker 2: has a bit sleeve, including a nuclear weapon literally up. 92 00:05:22,160 --> 00:05:25,400 Speaker 3: Well, and it has a move in it that I 93 00:05:25,560 --> 00:05:28,000 Speaker 3: always like in movies. For some reason, I find a 94 00:05:28,040 --> 00:05:33,799 Speaker 3: lot of the best human versus monster movies have this convention, 95 00:05:33,920 --> 00:05:36,600 Speaker 3: which is the humans set a trap for the monster 96 00:05:37,160 --> 00:05:40,200 Speaker 3: that always works well. I like that in you know, 97 00:05:40,240 --> 00:05:43,239 Speaker 3: going way back to the Thing from Another World nineteen 98 00:05:43,640 --> 00:05:47,200 Speaker 3: fifty is it nineteen fifty the Howard Hawks movie, you know, 99 00:05:47,200 --> 00:05:50,080 Speaker 3: where they set the electricity trap and they you know, 100 00:05:50,240 --> 00:05:52,840 Speaker 3: Dutch does it. In Predator. He like builds up a 101 00:05:52,920 --> 00:05:56,720 Speaker 3: counterweight log trap to try to pin the Predator up 102 00:05:56,720 --> 00:06:00,719 Speaker 3: against like an overhanging branch that he hides by knives, 103 00:06:00,760 --> 00:06:03,280 Speaker 3: and that doesn't exactly work out to plan, but he's 104 00:06:03,320 --> 00:06:06,320 Speaker 3: still able to use the trap in a counterintuitive way 105 00:06:06,560 --> 00:06:09,520 Speaker 3: to win in the end. In fact, speaking of myth 106 00:06:09,560 --> 00:06:13,520 Speaker 3: and legend, I would be interested in in tracing that 107 00:06:13,520 --> 00:06:17,000 Speaker 3: that sort of human versus monster trope all the way back, Like, 108 00:06:17,680 --> 00:06:19,560 Speaker 3: are what are the early versions of that where the 109 00:06:19,600 --> 00:06:22,839 Speaker 3: hero is not able to defeat the monster in a 110 00:06:22,880 --> 00:06:26,080 Speaker 3: direct contest, but defeats it by setting a clever trap. 111 00:06:26,839 --> 00:06:29,839 Speaker 2: Oh, you know, this is something we could potentially explore 112 00:06:29,839 --> 00:06:31,680 Speaker 2: in a future episode. Maybe this would be a good 113 00:06:31,680 --> 00:06:37,640 Speaker 2: one for Halloween season this year. We've touched on ghost 114 00:06:37,640 --> 00:06:40,039 Speaker 2: traps before on the show before, but there could be 115 00:06:40,080 --> 00:06:43,920 Speaker 2: more there, you know, monster traps and myth and legend, 116 00:06:44,240 --> 00:06:48,279 Speaker 2: whereas ghost traps are often actual physical items and artifacts 117 00:06:48,320 --> 00:06:49,040 Speaker 2: of superstition. 118 00:06:50,640 --> 00:06:54,000 Speaker 3: Right in about your favorite monster traps, whether that's from 119 00:06:54,040 --> 00:06:55,960 Speaker 3: an ancient myth or from a modern movie. 120 00:06:56,360 --> 00:06:58,560 Speaker 2: All right, We continue to hear from a lot of 121 00:06:58,560 --> 00:07:01,800 Speaker 2: folks concerning our Dream Falls series. This one comes to 122 00:07:01,880 --> 00:07:10,080 Speaker 2: us from Adam. Adam writes, Hello, Robert and Joe and 123 00:07:10,160 --> 00:07:16,040 Speaker 2: the rest, by which you means Jja, longtime listener of 124 00:07:16,080 --> 00:07:18,120 Speaker 2: the show here. I've always wanted to write in, but 125 00:07:18,240 --> 00:07:21,640 Speaker 2: after listening to the last listener mail episode, I now 126 00:07:21,680 --> 00:07:24,600 Speaker 2: have some things to share. It's time for some more 127 00:07:24,760 --> 00:07:29,600 Speaker 2: Baku content. In the video game Neo, there are many 128 00:07:29,640 --> 00:07:32,880 Speaker 2: types of guardian spirits. We had to look this up. 129 00:07:32,880 --> 00:07:33,280 Speaker 3: By the way. 130 00:07:33,280 --> 00:07:37,400 Speaker 2: This is a Japanese video game that I believe is 131 00:07:37,520 --> 00:07:40,920 Speaker 2: released on like the PlayStations. I'm not sure which format 132 00:07:41,000 --> 00:07:43,800 Speaker 2: you know. I'm not familiar with the PlayStation so much 133 00:07:43,880 --> 00:07:44,440 Speaker 2: these days. 134 00:07:44,640 --> 00:07:47,880 Speaker 3: Neither of us have played it, so we're unfamiliar. 135 00:07:47,640 --> 00:07:51,400 Speaker 2: So Adam continues. These are animal familiars that grant divine 136 00:07:51,440 --> 00:07:54,920 Speaker 2: protection and power to those they favor. In the sequel 137 00:07:55,520 --> 00:07:59,520 Speaker 2: Neo two, one of these guardian spirits is a baku. 138 00:07:59,680 --> 00:08:04,760 Speaker 2: This particular baku is called Yumihami. Its name literally means 139 00:08:04,920 --> 00:08:09,600 Speaker 2: dream eater. Its dream eating abilities are not shown in game, 140 00:08:09,760 --> 00:08:14,200 Speaker 2: and it uses lightning powers instead. I believe its dream 141 00:08:14,240 --> 00:08:18,080 Speaker 2: eating nature is more symbolic. In the story, Yumihami is 142 00:08:18,200 --> 00:08:23,400 Speaker 2: the guardian spirit of the game's main antagonist, Otakimaru. Otakimaru 143 00:08:23,480 --> 00:08:27,200 Speaker 2: bestows Yumihami to a character whose ambitions are getting out 144 00:08:27,200 --> 00:08:30,440 Speaker 2: of hand, causing him to turn into a villainous warlord. Thus, 145 00:08:30,720 --> 00:08:32,960 Speaker 2: it could be said that the baku devours the dreams 146 00:08:33,000 --> 00:08:36,080 Speaker 2: and ambitions of others. To fuel its own. In the 147 00:08:36,080 --> 00:08:40,800 Speaker 2: game's expansions, you eventually acquire a Baku named as such. 148 00:08:41,160 --> 00:08:44,840 Speaker 2: The game describes the Baku as devouring the desires of people. 149 00:08:45,280 --> 00:08:49,520 Speaker 2: It appears to have been corrupted by Otakimaru's dream to 150 00:08:49,559 --> 00:08:53,640 Speaker 2: destroy humanity, which, given his history of interfering with humanity 151 00:08:53,679 --> 00:08:56,560 Speaker 2: to cause conflict, also lines up with the idea of 152 00:08:56,640 --> 00:08:59,920 Speaker 2: devouring the dreams of others to fuel its own. Otakima 153 00:09:00,000 --> 00:09:02,920 Speaker 2: Momorrow eventually fuses with the Baku in an attempt to 154 00:09:02,960 --> 00:09:06,200 Speaker 2: fulfill his dream, causing him to become a horrible monster, 155 00:09:06,559 --> 00:09:10,080 Speaker 2: which has no physical Baku traits for his final battle. 156 00:09:10,400 --> 00:09:12,880 Speaker 3: Now, it would be funny if the horrible monster did 157 00:09:12,880 --> 00:09:14,960 Speaker 3: have Baku traits and it, you know, it looked like 158 00:09:15,000 --> 00:09:17,680 Speaker 3: a taper that you like, a monster taper that you 159 00:09:17,720 --> 00:09:18,200 Speaker 3: had to fight. 160 00:09:18,640 --> 00:09:20,959 Speaker 2: I mean, I'm sure it could be done. People love 161 00:09:21,040 --> 00:09:24,080 Speaker 2: taking cute things and twisting them into a little bit 162 00:09:24,120 --> 00:09:28,320 Speaker 2: to the left into something a little more horrifying. But anyway, 163 00:09:28,320 --> 00:09:29,720 Speaker 2: I'm gonna have to do an image search on these 164 00:09:29,760 --> 00:09:33,000 Speaker 2: later and see what these look like. Yeah, Adam continues 165 00:09:33,320 --> 00:09:35,640 Speaker 2: that appears to be all the interesting things about the 166 00:09:35,679 --> 00:09:38,800 Speaker 2: Baku in Neo two that I can think of. The 167 00:09:38,880 --> 00:09:42,319 Speaker 2: neo games have their own interesting takes on Japanese folklore 168 00:09:42,360 --> 00:09:45,040 Speaker 2: and mythology, and the Baku's depiction is just one of them. 169 00:09:45,480 --> 00:09:48,040 Speaker 2: Never anything really deep, but fun to talk about. Anyways, 170 00:09:48,400 --> 00:09:50,520 Speaker 2: thank you for hosting this show for many years and 171 00:09:50,600 --> 00:09:53,319 Speaker 2: for all the interesting topics you've discussed. Hopefully I can 172 00:09:53,320 --> 00:09:56,440 Speaker 2: write in another time with more ideas regards Adam. 173 00:09:56,800 --> 00:09:59,200 Speaker 3: So, one thing this got me thinking about is the 174 00:09:59,520 --> 00:10:04,520 Speaker 3: multiple meanings of the word dream in English. So in English, 175 00:10:04,840 --> 00:10:08,600 Speaker 3: a dream is the on one hand, the experience you 176 00:10:08,720 --> 00:10:11,240 Speaker 3: have while you are asleep. It's like, you know, you 177 00:10:11,280 --> 00:10:13,200 Speaker 3: go to the dream world, you have dreams, but the 178 00:10:13,240 --> 00:10:16,520 Speaker 3: same word is used to mean desires, basically the things 179 00:10:16,600 --> 00:10:19,000 Speaker 3: you wish to accomplish with your life, or you wish 180 00:10:19,080 --> 00:10:23,520 Speaker 3: what happen to you. And I realized I don't know 181 00:10:23,720 --> 00:10:26,840 Speaker 3: if that same double meaning occurs in other languages. So 182 00:10:27,000 --> 00:10:30,120 Speaker 3: like in Japanese, does the same word mean the things 183 00:10:30,120 --> 00:10:32,320 Speaker 3: that you see when you're asleep and the things that 184 00:10:32,400 --> 00:10:35,120 Speaker 3: you desire in your life? I would assume based on 185 00:10:35,200 --> 00:10:38,040 Speaker 3: the blurring here in the game, where a quote dream 186 00:10:38,080 --> 00:10:41,240 Speaker 3: eater is something that eats your ambitions, that means that 187 00:10:41,360 --> 00:10:43,520 Speaker 3: it's the same way in Japanese, and I wonder if 188 00:10:43,559 --> 00:10:44,920 Speaker 3: it's that way in many languages. 189 00:10:46,360 --> 00:10:48,160 Speaker 2: Yeah, it's a fascinating question, you know, when you get 190 00:10:48,160 --> 00:10:51,960 Speaker 2: into the linguistics of things like this. Well, Adam, thanks 191 00:10:52,000 --> 00:10:54,200 Speaker 2: for writing in. So many of these video games are 192 00:10:54,200 --> 00:10:57,400 Speaker 2: off our radar, especially these days, so it's great to 193 00:10:57,440 --> 00:11:00,600 Speaker 2: hear from folks who are familiar with them, because, yeah, 194 00:11:00,720 --> 00:11:03,480 Speaker 2: there's so much amazing, amazing creativity that goes into these 195 00:11:04,400 --> 00:11:07,920 Speaker 2: these virtual worlds that have been and continue to be 196 00:11:08,040 --> 00:11:13,480 Speaker 2: created for the video game making a market. 197 00:11:18,800 --> 00:11:22,600 Speaker 3: All right, I'm going to read a message in response 198 00:11:22,640 --> 00:11:27,000 Speaker 3: to our episode The Machine Speaks, which was about machines 199 00:11:27,000 --> 00:11:31,360 Speaker 3: that were designed to synthesize human speech from before the 200 00:11:31,440 --> 00:11:36,680 Speaker 3: age of electrical machines. So basically just like acoustical mechanical 201 00:11:36,720 --> 00:11:40,679 Speaker 3: machines almost kind of pipe organs that were that were 202 00:11:40,720 --> 00:11:43,160 Speaker 3: designed to try to speak like a human and to 203 00:11:43,360 --> 00:11:47,600 Speaker 3: some degree accomplished that feat. So this message is from Magnolia. 204 00:11:47,920 --> 00:11:50,600 Speaker 3: Magnolia says, maybe it was the lack of sleep that 205 00:11:50,679 --> 00:11:52,880 Speaker 3: got to me, but I listened to your recent episode 206 00:11:52,880 --> 00:11:56,760 Speaker 3: The Machine Speaks. During a late night laundry crusade. Parentheses, 207 00:11:56,840 --> 00:12:01,400 Speaker 3: broken dryer and found the story of Fober, that's Joseph Fobber, 208 00:12:01,440 --> 00:12:07,440 Speaker 3: the inventor of the Euphonia and his Euphonia, absolutely heartbreaking. 209 00:12:07,800 --> 00:12:11,160 Speaker 3: Often while listening to history, I find myself imagining myself 210 00:12:11,200 --> 00:12:13,800 Speaker 3: as a time traveler speaking to the subjects that I'm 211 00:12:13,840 --> 00:12:17,240 Speaker 3: learning about. In this particular case, I saw myself approaching 212 00:12:17,280 --> 00:12:20,720 Speaker 3: a depressed and disheveled Fober, my phone in one hand 213 00:12:20,760 --> 00:12:23,440 Speaker 3: and the tiny blue case with my earbuds in the other. 214 00:12:23,840 --> 00:12:27,440 Speaker 3: I imagine myself saying something along the lines of this for 215 00:12:27,559 --> 00:12:30,480 Speaker 3: your right ear and this for your left as I 216 00:12:30,520 --> 00:12:34,239 Speaker 3: shared the earbuds with him, and then playing something explaining 217 00:12:34,280 --> 00:12:37,520 Speaker 3: how his efforts eventually inspired the creation of the miracle 218 00:12:37,559 --> 00:12:40,400 Speaker 3: I was now demonstrating. The problem comes in when I 219 00:12:40,400 --> 00:12:42,960 Speaker 3: tried to imagine what I would play for him. The 220 00:12:43,000 --> 00:12:45,840 Speaker 3: first scenario that I imagine was playing him the episode that 221 00:12:45,880 --> 00:12:48,199 Speaker 3: I was just listening to. But I don't think hearing 222 00:12:48,200 --> 00:12:50,920 Speaker 3: people's opinions of him would have been great for his 223 00:12:51,040 --> 00:12:53,959 Speaker 3: mental health. Oh yeah, hearing all those descriptions of him 224 00:12:54,080 --> 00:12:57,120 Speaker 3: is like a disheveled and obsessed and haunted Oh. 225 00:12:57,080 --> 00:13:01,400 Speaker 2: I think we were sympathetic to it, But yes, we 226 00:13:01,400 --> 00:13:03,880 Speaker 2: were reading some unkind things by others. 227 00:13:04,080 --> 00:13:05,880 Speaker 3: Well, I think even some of the people who described 228 00:13:05,920 --> 00:13:08,640 Speaker 3: him that way were sympathetic. They were just saying like, hey, yeah, 229 00:13:08,640 --> 00:13:09,920 Speaker 3: this guy's having a hard time. 230 00:13:10,520 --> 00:13:12,559 Speaker 2: Yeah, they didn't hold anything back. 231 00:13:13,040 --> 00:13:16,200 Speaker 3: Yeah, but Magnolia goes on. The next thing I imagined 232 00:13:16,360 --> 00:13:19,720 Speaker 3: was some contemporaneous music opera maybe, but I don't know 233 00:13:19,840 --> 00:13:21,480 Speaker 3: enough about the music of his day to make a 234 00:13:21,480 --> 00:13:23,520 Speaker 3: good choice. At this point, I've spent way too much 235 00:13:23,559 --> 00:13:26,080 Speaker 3: time trying to imagine what to play for this person 236 00:13:26,160 --> 00:13:28,800 Speaker 3: I'll never actually meet. So I throw the question to you, guys, 237 00:13:28,840 --> 00:13:32,079 Speaker 3: what would you play for a depressed and disheveled fober 238 00:13:32,320 --> 00:13:34,440 Speaker 3: to give him hope and show him what the future 239 00:13:34,480 --> 00:13:39,240 Speaker 3: held Magnolia? Ah, okay, So the idea that I guess 240 00:13:39,280 --> 00:13:44,160 Speaker 3: not just music but speech could be replicated in a 241 00:13:44,200 --> 00:13:46,720 Speaker 3: synthetic way and with infinite variety. 242 00:13:47,520 --> 00:13:47,760 Speaker 1: Hmm. 243 00:13:48,440 --> 00:13:51,760 Speaker 3: I mean, I guess the boring answer is to set 244 00:13:51,800 --> 00:13:54,000 Speaker 3: him a talking to Siri or something, you know, just 245 00:13:54,000 --> 00:13:57,360 Speaker 3: get him with like a digital voice assistant there. But 246 00:13:57,559 --> 00:14:00,520 Speaker 3: I bet we could do better than that. To say, 247 00:14:00,640 --> 00:14:03,960 Speaker 3: I would play some of those Peter Frampton songs that 248 00:14:04,040 --> 00:14:06,920 Speaker 3: have the vocoder in them. You know what I'm talking about. 249 00:14:07,760 --> 00:14:10,440 Speaker 2: Oh yeah, yeah, yeah, yeah, that would be a good choice. 250 00:14:10,840 --> 00:14:12,480 Speaker 3: Does he feel like we do. 251 00:14:14,520 --> 00:14:14,679 Speaker 2: Now? 252 00:14:14,679 --> 00:14:17,040 Speaker 3: He does because he's because he's hearing it himself. 253 00:14:17,280 --> 00:14:20,360 Speaker 2: Oh well, how about the nineteen eighty three Neil Young 254 00:14:20,400 --> 00:14:21,560 Speaker 2: album trans. 255 00:14:21,600 --> 00:14:23,680 Speaker 3: Wow, Well that's kind of out of nowhere, but okay, 256 00:14:23,760 --> 00:14:25,720 Speaker 3: yeah that does have vocoder, Yeah, I. 257 00:14:25,640 --> 00:14:29,840 Speaker 2: See, yeah, robot voice going on in there. Yeah, I 258 00:14:29,840 --> 00:14:33,080 Speaker 2: don't know. I guess in general, I would I would think, well, 259 00:14:33,240 --> 00:14:35,160 Speaker 2: he's in a tough place. I want to probably play 260 00:14:35,520 --> 00:14:38,400 Speaker 2: some self help content, like, you know, think some eck 261 00:14:38,440 --> 00:14:41,040 Speaker 2: cart toole or something. But if I but it was 262 00:14:41,120 --> 00:14:43,040 Speaker 2: just music, I you know, i'd probably fall back on 263 00:14:43,120 --> 00:14:46,360 Speaker 2: Tangerine Dream, you know, play him a nice, nice Tangerine 264 00:14:46,400 --> 00:14:49,160 Speaker 2: Dream album. Maybe Ruby Kant, that's a good one. Nineteen 265 00:14:49,200 --> 00:14:49,760 Speaker 2: seventy five. 266 00:14:51,320 --> 00:14:54,080 Speaker 3: I'm cycling through the songs on that Neil Young album 267 00:14:54,120 --> 00:14:58,880 Speaker 3: in my head. Maybe maybe maybe he should hear Computer Cowboy. 268 00:15:00,320 --> 00:15:05,840 Speaker 2: Oh, I remember liking some of them, Transformer Man, Unit 269 00:15:05,880 --> 00:15:06,760 Speaker 2: to Sample and hold. 270 00:15:07,160 --> 00:15:11,600 Speaker 3: There's actually a there's a nice cover of Transformer Man, 271 00:15:11,680 --> 00:15:16,000 Speaker 3: but an acoustic one on his unplugged album from oh nineties. 272 00:15:16,240 --> 00:15:18,480 Speaker 2: I don't think i've heard that. Opticos Go look that up. 273 00:15:18,880 --> 00:15:20,760 Speaker 2: All right, We're gonna go ahead and transition into some 274 00:15:20,800 --> 00:15:23,680 Speaker 2: weird house listener mail here. This one comes to us 275 00:15:23,680 --> 00:15:33,040 Speaker 2: from Pat. Guys, you recently asked about Elvis movies? Was 276 00:15:33,080 --> 00:15:35,200 Speaker 2: he in a western? Was he in a movie in 277 00:15:35,200 --> 00:15:38,920 Speaker 2: which he did not sing? Charro and Charo? The title 278 00:15:38,920 --> 00:15:40,640 Speaker 2: of this movie has an exclamation point at the end 279 00:15:40,640 --> 00:15:44,200 Speaker 2: of it. A non singing Elvis Western. This movie was 280 00:15:44,240 --> 00:15:47,960 Speaker 2: typical of fifties westerns and not particularly special. I saw 281 00:15:48,000 --> 00:15:51,960 Speaker 2: it on an afternoon television showing. In the sixties and seventies, 282 00:15:52,000 --> 00:15:55,440 Speaker 2: local television station showed a movie every day at four o'clock. 283 00:15:55,680 --> 00:15:59,120 Speaker 2: They would have presentations like Elvis Week or Road two Week, 284 00:15:59,400 --> 00:16:04,080 Speaker 2: Crosby and Hope Buddy Pictures. Thanks again, Pat. All right, 285 00:16:04,160 --> 00:16:06,040 Speaker 2: So I had to look this up, and I actually 286 00:16:06,040 --> 00:16:08,440 Speaker 2: actually ended up texting my aunt a little bit, because 287 00:16:08,800 --> 00:16:12,200 Speaker 2: my aunt is a huge lifelong Elvis fan, like that's 288 00:16:12,680 --> 00:16:15,480 Speaker 2: one of her big things. So I reached out to 289 00:16:15,520 --> 00:16:18,480 Speaker 2: her with a couple of questions about non singing Elvis movies, 290 00:16:18,720 --> 00:16:20,960 Speaker 2: and she told me that, yep, there's only one non 291 00:16:21,040 --> 00:16:24,000 Speaker 2: singing Elvis movie, and it is indeed nineteen sixty nine's 292 00:16:24,080 --> 00:16:27,600 Speaker 2: Charro By the way. It's also the only film in 293 00:16:27,640 --> 00:16:30,560 Speaker 2: which Elvis wore a beard. Oh, look this up, and 294 00:16:30,600 --> 00:16:34,320 Speaker 2: he has a beard like in some shots and promotional stills, 295 00:16:34,520 --> 00:16:36,840 Speaker 2: it looks more like stubble. Other times it looks like, yeah, 296 00:16:36,880 --> 00:16:39,240 Speaker 2: he's kind of got the beginnings of a full beard. 297 00:16:39,240 --> 00:16:42,320 Speaker 3: There, I'm looking it up right now. Okay. He plays 298 00:16:42,320 --> 00:16:45,440 Speaker 3: a character named Jess Wade. Oh yeah, I see the beard. 299 00:16:45,920 --> 00:16:48,320 Speaker 3: I mean, yeah, it's a kind of a beard. 300 00:16:49,000 --> 00:16:52,520 Speaker 2: Yeah, it's but it's significantly more beard than you usually 301 00:16:52,520 --> 00:16:54,680 Speaker 2: see on Elvis. I also asked my aunt what her 302 00:16:54,720 --> 00:16:58,400 Speaker 2: favorite singing Elvis movie was, and she couldn't pick just one. 303 00:16:58,480 --> 00:17:00,840 Speaker 2: She said that there are many good ones, but the 304 00:17:01,000 --> 00:17:03,840 Speaker 2: quote Jailhouse Rock is excellent, and then she included a 305 00:17:03,920 --> 00:17:08,840 Speaker 2: chef's kiss emoji. And she also highlighted King Creole and 306 00:17:08,880 --> 00:17:13,680 Speaker 2: Blue Hawaii. King Creole is notable. It has both Carolyn 307 00:17:13,760 --> 00:17:16,000 Speaker 2: Jones and Vic Morrow in it, both of whom have 308 00:17:16,040 --> 00:17:19,040 Speaker 2: come up on Weird House Cinema, and Blue Hawaii had 309 00:17:19,119 --> 00:17:20,560 Speaker 2: Angela Lansbury in it. 310 00:17:20,920 --> 00:17:23,880 Speaker 3: I don't think I've ever seen all of an Elvis movie. 311 00:17:24,359 --> 00:17:27,720 Speaker 2: No, No, neither neither of I you know, And I 312 00:17:27,720 --> 00:17:29,919 Speaker 2: guess the kicker is We could never actually cover an 313 00:17:29,960 --> 00:17:32,320 Speaker 2: Elvis movie on Weird House, not a proper Elvis movie, 314 00:17:32,320 --> 00:17:35,199 Speaker 2: because Elvis movies are pretty much the opposite of weird. 315 00:17:35,760 --> 00:17:38,920 Speaker 2: He never popped up in anything with a like speculative element, 316 00:17:39,080 --> 00:17:44,159 Speaker 2: no horror, no even real thrillers. However, I have toyed 317 00:17:44,160 --> 00:17:46,720 Speaker 2: with the idea of doing a series of like square 318 00:17:46,760 --> 00:17:49,240 Speaker 2: movies by weird directors. I guess we'd call it square 319 00:17:49,240 --> 00:17:52,639 Speaker 2: house cinema, looking at stuff like John Carpenter's nineteen seventy 320 00:17:52,680 --> 00:17:56,399 Speaker 2: nine Elvis movie starring Kurt Russell and Shelley Winters, or 321 00:17:56,480 --> 00:17:59,439 Speaker 2: David Cronenberg's Fast Company from the same year, which is 322 00:18:00,280 --> 00:18:01,600 Speaker 2: carr movie. 323 00:18:02,800 --> 00:18:04,400 Speaker 3: I see in the notes you said that one has 324 00:18:04,400 --> 00:18:05,520 Speaker 3: George Buza. 325 00:18:05,200 --> 00:18:08,480 Speaker 2: In it yep, along with John Saxon and an actor. 326 00:18:08,920 --> 00:18:11,639 Speaker 2: The star is William Smith, who played Conan's father in 327 00:18:11,720 --> 00:18:16,520 Speaker 2: Conan and the Barbarian. This is probably a funnier idea 328 00:18:16,720 --> 00:18:20,040 Speaker 2: than it would be an execution, though, so probably just 329 00:18:20,080 --> 00:18:21,760 Speaker 2: best to stick to things that are actually weird. 330 00:18:22,080 --> 00:18:24,880 Speaker 3: Okay. One last weird House message. This is from Tauntrey. 331 00:18:30,600 --> 00:18:34,560 Speaker 3: Tauntrey says hello again to my favorite podcasters. Loved the 332 00:18:34,680 --> 00:18:37,639 Speaker 3: black Hole episode. I'd never seen or even heard of 333 00:18:37,640 --> 00:18:41,000 Speaker 3: the film and am delighted to have watched it now. However, 334 00:18:41,840 --> 00:18:46,040 Speaker 3: I think you guys misread the ending. Maximilian and this 335 00:18:46,119 --> 00:18:51,800 Speaker 3: is the devilish sort of steally red ARCon robot. The 336 00:18:51,880 --> 00:18:57,400 Speaker 3: evil robot. Maximilian is I think supposed to be doctor 337 00:18:57,680 --> 00:18:58,879 Speaker 3: Kate's father. 338 00:19:00,119 --> 00:19:00,359 Speaker 2: Hmm. 339 00:19:01,040 --> 00:19:04,040 Speaker 3: I definitely didn't put that together, but Tontree goes on, 340 00:19:04,560 --> 00:19:08,119 Speaker 3: that's why doctor Reinhardt said he's afraid of him, and 341 00:19:08,160 --> 00:19:11,800 Speaker 3: then when he mentions Kate's eyes so specifically, it is 342 00:19:11,880 --> 00:19:15,640 Speaker 3: foreshadowing to the end when Maximilian and doctor Reinhardt are 343 00:19:15,720 --> 00:19:19,480 Speaker 3: in the black Hole hell and we see her father's 344 00:19:19,640 --> 00:19:25,880 Speaker 3: eyes inside Maximilian's head when he's tormenting doctor Reinhardt. The Horror, 345 00:19:26,119 --> 00:19:31,679 Speaker 3: The Horror. Also regarding the black Hole the ride, I 346 00:19:31,800 --> 00:19:36,119 Speaker 3: found this and then Tautrey includes a link to something 347 00:19:36,160 --> 00:19:39,800 Speaker 3: I couldn't click through to for some reason, but anyway 348 00:19:40,119 --> 00:19:43,800 Speaker 3: I found it seems to be about a ride that 349 00:19:43,960 --> 00:19:48,320 Speaker 3: was never fully implemented at Disneyland that would have been 350 00:19:48,359 --> 00:19:50,920 Speaker 3: based around the movie The black Hole. I think it 351 00:19:51,000 --> 00:19:56,840 Speaker 3: is something that, if I understand correctly speculatively, this ride 352 00:19:57,080 --> 00:20:00,919 Speaker 3: was previously what's it called Adventures in Innerspace and then 353 00:20:00,960 --> 00:20:03,600 Speaker 3: eventually it was turned into the Star Tours ride. 354 00:20:04,320 --> 00:20:07,480 Speaker 2: Yeah. Star Tour is a fun ride. 355 00:20:07,520 --> 00:20:10,320 Speaker 3: Oh yeah, yeah, that was like the Star Wars ride 356 00:20:10,320 --> 00:20:14,040 Speaker 3: they had before the modern era of the lucasfilm Disney Union, 357 00:20:14,119 --> 00:20:16,040 Speaker 3: like it goes back to the eighties and. 358 00:20:16,000 --> 00:20:18,440 Speaker 2: They still have some version of it. My son and 359 00:20:18,520 --> 00:20:21,200 Speaker 2: I wrote it when we went down to the Star 360 00:20:21,240 --> 00:20:22,800 Speaker 2: Wars land at Disney World. 361 00:20:23,320 --> 00:20:25,440 Speaker 3: It is what do you call this type of ride? 362 00:20:25,480 --> 00:20:28,960 Speaker 3: It's where you're not actually like going anywhere in the ride. 363 00:20:29,040 --> 00:20:31,880 Speaker 3: It's more kind of like showing you a three three 364 00:20:31,960 --> 00:20:34,480 Speaker 3: D video and moving you back and forth in a barrel. 365 00:20:34,920 --> 00:20:38,560 Speaker 2: Yeah. I forget the industry terminology for this. But there's 366 00:20:38,600 --> 00:20:42,160 Speaker 2: a great series on Disney Plus about like the story 367 00:20:42,200 --> 00:20:44,080 Speaker 2: behind some of the key rides, and they get into 368 00:20:44,119 --> 00:20:44,560 Speaker 2: this one a. 369 00:20:44,480 --> 00:20:49,040 Speaker 3: Bit simulated motion or something. But Tandrey, coming back to 370 00:20:49,080 --> 00:20:55,360 Speaker 3: your idea about this being Maximilian's father, that's very interesting 371 00:20:55,440 --> 00:20:57,480 Speaker 3: and I think you may be onto something. I didn't 372 00:20:57,600 --> 00:20:59,920 Speaker 3: catch that at all while watching. And when you see 373 00:20:59,920 --> 00:21:03,640 Speaker 3: the eyes inside Maximilian and the kind of hell after 374 00:21:03,760 --> 00:21:06,679 Speaker 3: life dream sequence at the end, I assumed that to 375 00:21:06,840 --> 00:21:11,520 Speaker 3: be doctor Reinhardt's eyes and him being sort of having 376 00:21:11,960 --> 00:21:16,399 Speaker 3: merged or fused with Maximilian and he's trapped inside. But 377 00:21:16,480 --> 00:21:19,480 Speaker 3: I could totally see it being the other way around too. Yeah. 378 00:21:19,760 --> 00:21:22,879 Speaker 2: I like hearing a different read on this. It certainly 379 00:21:22,920 --> 00:21:26,880 Speaker 2: it's ambiguous enough that it invites different interpretations. 380 00:21:26,440 --> 00:21:29,440 Speaker 3: And I think it would make sense of doctor Reinhardt 381 00:21:29,720 --> 00:21:34,080 Speaker 3: surprisingly saying he's afraid of Maximilian and then like asking 382 00:21:34,160 --> 00:21:38,000 Speaker 3: Kate to protect him from Maximilian, which doesn't really make 383 00:21:38,040 --> 00:21:39,200 Speaker 3: any sense otherwise. 384 00:21:40,000 --> 00:21:43,480 Speaker 2: Yeah, yeah, I mean it barely makes sense even with 385 00:21:43,520 --> 00:21:46,760 Speaker 2: this interpretation, but that I like a fresh interpretation, and 386 00:21:46,880 --> 00:21:49,560 Speaker 2: you know it, And it's also neat that that Tantry 387 00:21:49,560 --> 00:21:51,600 Speaker 2: got the experiences for the first time. You know, we're 388 00:21:51,600 --> 00:21:56,560 Speaker 2: bringing we're bringing these films out for folks to experience, 389 00:21:56,640 --> 00:22:00,280 Speaker 2: treasures from the Temple for everyone to enjoy. Well, you know, 390 00:22:00,320 --> 00:22:04,359 Speaker 2: our own murderous Kilbot. Carney is telling us that the 391 00:22:04,359 --> 00:22:07,520 Speaker 2: time is up. No more listener mail for this episode, 392 00:22:07,520 --> 00:22:09,080 Speaker 2: but we have more that we'll come back to in 393 00:22:09,119 --> 00:22:12,359 Speaker 2: future episodes. Listener Mail episodes published Mondays and The Stuff 394 00:22:12,359 --> 00:22:15,520 Speaker 2: to Blow Your Mind podcast feed core episodes of our 395 00:22:15,560 --> 00:22:19,320 Speaker 2: podcast on Tuesdays and Thursdays, on Wednesdays, a short form 396 00:22:19,600 --> 00:22:22,800 Speaker 2: artifact or monster fact episode, and on Fridays. Indeed, we 397 00:22:22,840 --> 00:22:24,879 Speaker 2: set aside most serious concerns to just talk about a 398 00:22:24,880 --> 00:22:26,840 Speaker 2: weird film on Weird House Cinema. 399 00:22:27,000 --> 00:22:33,639 Speaker 3: Protect us from Carney. Here's thanks to our excellent audio producer, 400 00:22:33,800 --> 00:22:36,440 Speaker 3: JJ Posway. If you would like to get in touch 401 00:22:36,440 --> 00:22:38,640 Speaker 3: with us with feedback on this episode or any other, 402 00:22:38,720 --> 00:22:40,919 Speaker 3: to suggest a topic for the future, or just to 403 00:22:40,960 --> 00:22:44,800 Speaker 3: say hello, you can email us at contact at stuff 404 00:22:44,880 --> 00:22:53,120 Speaker 3: to Blow your Mind dot com. 405 00:22:53,200 --> 00:22:56,159 Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For 406 00:22:56,240 --> 00:22:59,040 Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app, 407 00:22:59,160 --> 00:23:01,919 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.