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

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

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Speaker 2: My name is Robert.

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Speaker 3: Lamb and I am Joe McCormick, and listener mail is

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Speaker 3: the type of episode where we read back messages that

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Speaker 3: we receive at the Stuff to Blow your Mind email account.

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Speaker 3: If you've never gotten in touch before, now would be

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Speaker 3: a great time to do it. That address is contact

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Speaker 3: at stuff to Blow your Mind dot com. Whatever kind

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Speaker 3: of message you want to send is fair game. We

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Speaker 3: always love feedback to recent episodes, especially if you have

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Speaker 3: something interesting to add to a topic that we've talked about,

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Speaker 3: if you have personal experience that's relevant to something we've

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Speaker 3: discussed on the show. If you ever need to issue

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Speaker 3: a correction, that's the email address to get in touch.

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Speaker 3: If you would like to suggest a topic for the future,

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Speaker 3: or send movie recommendations for weird house cinema recipes you

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Speaker 3: want us to try anything like that, Contact at stuff

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Speaker 3: to Blow your Mind dot com.

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Speaker 2: Yeah. That's also the address where you can ask to

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Speaker 2: join the discord server. If you want to do that.

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Speaker 2: You can find us on Facebook and Twitter. We are

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Speaker 2: blow the Mind on both of those and we are

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Speaker 2: spbym podcast on Instagram. Oh and if you like Weird

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Speaker 2: House Cinema, go to letterbox dot com and you'll find

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Speaker 2: our user name there, weird House.

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Speaker 3: All right, should we jump right into the messages?

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Speaker 2: Let's do it?

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Speaker 3: All right, So we got a bunch of responses to

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Speaker 3: our series on Manta rays.

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Speaker 4: Maybe let's see.

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Speaker 3: Do you want to read this one from Jeff rob

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Speaker 3: I shall.

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Speaker 2: Yes, this is Jeff with one F. We also have

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Speaker 2: Jeff's with two f's. We have jeffs with three f's. Possibly,

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Speaker 2: we also have jeffs with no fs, jeffs that are

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Speaker 2: just completely out of f. But this is just one F.

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Speaker 4: For Jeffanie.

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Speaker 3: Yeah, but Jeff gets in touch about man rays. Also,

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Speaker 3: we should flag that Jeff is going to bring up

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Speaker 3: in this email pages from a book series called Animals

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Speaker 3: Do the Strangest Things. This is something we've talked about

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Speaker 3: in the past. It's come up on previous listener males.

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Speaker 3: That was the of nineteen sixties or seventies children's animal

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Speaker 3: book series that refers to mating pairs of animals as

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Speaker 3: husband and wife.

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Speaker 2: Yeah, look up those pages. You can find them in

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Speaker 2: your image search of choice. Yeah, all right, Jeff says

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Speaker 2: the following greetings. I had the opportunity to swim with

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Speaker 2: mantas off the shore of ConA, on the Big Island

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Speaker 2: of Hawaii. A charter took us out at night and

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Speaker 2: to snorkel in the dark water. They gave us a

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Speaker 2: wacky noodle to keep a float with minimal effort, and

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Speaker 2: dropped in a floating PVC rig with lights that shone

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Speaker 2: down into the water. Various plankton and tiny animals are

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Speaker 2: attracted to the lights, and the mantas have learned that

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Speaker 2: there will be a free dinner at that location. Shortly

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Speaker 2: after our arrival, maybe half a dozen mantas quickly got

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Speaker 2: organized and started performing slow, graceful backwards loops under the lights,

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Speaker 2: coming within inches of us at the surface, over and over.

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Speaker 2: I had always understood somersaults to be headfirst downward flips,

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Speaker 2: though it seems backwards sum results are a thing, so

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Speaker 2: I wanted to clarify that the sumrsaulting behavior you mentioned

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Speaker 2: is essentially backflips. I was with someone who is somewhat

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Speaker 2: anxious snorkeling even in good visibility in broad daylight around

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Speaker 2: normal sized fauna, so I was a little worried about

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Speaker 2: her freaking out in the middle of a dark ocean

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Speaker 2: with giant sea monsters circling below us. As soon as

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Speaker 2: the Mansas showed up, she erupted in a noise that

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Speaker 2: I couldn't immediately identify. I wasn't sure if it was

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Speaker 2: terror or delight, but thankfully it was the latter, and

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Speaker 2: she giggled almost continuously throughout the wonderful experience. I don't

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Speaker 2: know if these trips are considered to be ecologically responsible,

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Speaker 2: but I didn't get any pictures because they told us

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Speaker 2: to keep our hands on the floating PVC bar and

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Speaker 2: not to bring cameras, gloves, or anything else that might

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Speaker 2: encourage us to reach out toward the rays. They warned

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Speaker 2: us that even just touching them with a fingertip could

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Speaker 2: remove some of their protective coating that keeps them safe

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Speaker 2: from parasites and disease. For their part, the Mantas seem

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Speaker 2: completely disinterested in the human jetsum and we're not looking

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Speaker 2: for a snuggle. I imagine that altering their dining plan

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Speaker 2: could lead to some negative side effects, but the operation

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Speaker 2: we went out with appeared to be nothing but careful

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Speaker 2: and respectful. This is fascinating. This is not an experience

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Speaker 2: I have had, I believe on one of our trips

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Speaker 2: out to the Hawaiian Islands, my wife was going to

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Speaker 2: do one of these trips with a friend and then

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Speaker 2: due to weather, it got canceled. And I certainly I'm

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Speaker 2: not saying I wouldn't do it, and in fact, I'm

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Speaker 2: more inclined to do it now that I have had

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Speaker 2: such an awesome experience in the water with mantas during

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Speaker 2: the daylight. You know, I can definitely understand, you know,

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Speaker 2: once you're in them on once you're in the water

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Speaker 2: with them, once you see them, this kind of giddiness

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Speaker 2: overcomes you, like you know that these creatures are not

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Speaker 2: a threat to you, and it's such a magical experience.

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Speaker 2: That being said, I I have never gone snorkeling at night.

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Speaker 2: It's something that has long not appealed to me. But

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Speaker 2: I'm willing to potentially press through my own ease to

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Speaker 2: have a new experience, which I've done many times before.

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Speaker 2: Otherwise I wouldn't have any new experiences.

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Speaker 3: I have no experience snorkeling at all, but I think

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Speaker 3: I would be scared to death to get.

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Speaker 4: Into the dark ocean at night.

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Speaker 3: I don't know if there's a name for that specific fear.

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Speaker 3: But you can't see very far in the water, so

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Speaker 3: you just you don't know what's down there.

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Speaker 2: Yeah, yeah, but I will for my own part anyway.

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Speaker 2: If there's like a good guide, a good good team,

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Speaker 2: like leading things like that gives me a lot of

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Speaker 2: confidence too. It's like this, if this person's not worried,

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Speaker 2: I'm not worried, all right, Jeff continues to digress a moment.

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Speaker 2: My unsolicited travel advice is that the Big Island of

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Speaker 2: Hawaii offers the most amazing diversity. Waterfalls, lava, moonscapes, steaming

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Speaker 2: sulfur events, giant craters, snow covered mountains, rain forest, black

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Speaker 2: green and regular sand beaches, snorkeling among beautiful, colorful fish

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Speaker 2: in clear water right off of public beach, which you

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Speaker 2: can walk through a lava tube and if conditions are right,

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Speaker 2: you can see fresh orange lava. Going all the way

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Speaker 2: to Hawaii without seeing real lava was a deal breaker

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Speaker 2: for me, so the Big Island was a requirement. You

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Speaker 2: can start in town at sea level, drive up a mountain,

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Speaker 2: passing through the clouds with the occasional alarming lack of visibility,

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Speaker 2: then break into the clear air above the clouds to

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Speaker 2: visit an observatory with amazing views of distant galaxies. I

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Speaker 2: wouldn't plan on any long hikes up there, as we

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Speaker 2: were winded just walking through the parking lot at that altitude.

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Speaker 2: When we got back into town on the same night,

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Speaker 2: a half full water bottle that we closed at the

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Speaker 2: top of the mountain was impressively crumpled, being crushed by

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Speaker 2: the sea level air pressure. I agree with all this.

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Speaker 2: The Big Island is indeed a special place. I've visited

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Speaker 2: it only twice, once in my twenties when I had

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Speaker 2: a friend who lived ont in Hawaii, and once more

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Speaker 2: a few years back with family and friends. For my money.

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Speaker 2: Volcano National Park alone is worth the journey, just such

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Speaker 2: an amazing land escape. But indeed there's rich and varied

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Speaker 2: natural beauty there, just in spades, so highly recommended. Have

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Speaker 2: the chance to go there, all right, But Jeff is

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Speaker 2: not done. Jeff continues, speaking of creepiness. We were kayaking

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Speaker 2: in the Cayman Islands, and the sting rays must have

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Speaker 2: been accustomed to being fed, because not only did they

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Speaker 2: appear as ominous moving shadows on the ocean, floor. They

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Speaker 2: would also sometimes follow us or head straight for us.

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Speaker 2: Knowing that they are not interested in eating your face

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Speaker 2: is one thing, but it's still deeply disturbing when something

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Speaker 2: huge you thought was a boulder or a patch of

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Speaker 2: coral starts charging at you from a completely different plane

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Speaker 2: of existence. In the Sea of Cortes, we saw mobular

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Speaker 2: rays leaping out of the water with such frequency that

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Speaker 2: we almost got bored with them. They are much smaller

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Speaker 2: than giant mantas, so the splashdowns are not exactly thunderous,

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Speaker 2: but apparently at some times of the year, great schools

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Speaker 2: of rays will launch out of the water, all at

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Speaker 2: the same time. I observe that they continue to flap

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Speaker 2: their wings as they shoot through the air, which is

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Speaker 2: both charming and a little bit funny. Maybe one day

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Speaker 2: the atmosphere will be thick enough for them to really

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Speaker 2: take off. Oh, we can only hope for fun. I

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Speaker 2: have included the chapters on rays and remoras from fish

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Speaker 2: do the Strangest things. The advice about dragging your feet

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Speaker 2: to avoid stingrays has stuck with me for life, although

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Speaker 2: given the accuracy of some of the information in those books,

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Speaker 2: I'm not sure if this is actually good intel. Oh

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Speaker 2: and in case no one else mentions that, if you're

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Speaker 2: in the market for weird house space mantas, you might

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Speaker 2: want to check out the Roger Korman movie Lords of

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Speaker 2: the Deep from nineteen eighty nine, the golden year of

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Speaker 2: the underwater monster movie. Although maybe not, because if I

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Speaker 2: recall correctly, it's kind of boring.

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Speaker 3: I tried to watch it one time and remember almost

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Speaker 3: nothing about it except that it had the flavor of

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Speaker 3: one of those grunge era Canadian TV shows Are You

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Speaker 3: Afraid of the Dark sets?

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Speaker 2: Yeah, this is one of the titles where my nineteen

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Speaker 2: eighty nine underwater sci fi enthusiasm starts to peter out

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Speaker 2: a bit. So I've never actually seen it, but I

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Speaker 2: remember loving the VHS cover back when I was a kid.

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Speaker 2: I included it here for you to look at, Joe,

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Speaker 2: along with a couple of screen caps of the alien

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Speaker 2: manta in question with enormous glowing red eyes.

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Speaker 3: But the manta's wings don't really look like wings.

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Speaker 4: Instead, it just looks like.

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Speaker 3: A huge severed bunny head with it. It's like the

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Speaker 3: ears flopping out to the side. It's like white fur

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Speaker 3: bunny with red eyes.

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Speaker 2: I guess it does kind of look like a demonic bunny,

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Speaker 2: like some sort of dark bunny god from Watershipped Down. Anyway,

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Speaker 2: Jeff says, thanks for your series on these particularly fascinating creatures.

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Speaker 2: They are quite astoundingly graceful and soothing to encounter, assuming

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Speaker 2: you're not a copa pod all right.

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Speaker 3: As Jeff mentioned, he attached some pages from Fish to

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Speaker 3: the Strangest Things. One is about the Remorra that's called

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Speaker 3: the hitch Hiker, and another is called the Flying Saucer

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Speaker 3: that's about sting rays and manta rays.

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Speaker 2: I love how the remora here seems to have a

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Speaker 2: googly eye. Yeah, he's like I'm about to go stick

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Speaker 2: my head to a shark.

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Speaker 4: Yeah.

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Speaker 3: I can't read the full selections here, but maybe I'll

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Speaker 3: read just from the Remorra chapter again to get a

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Speaker 3: flavor of the wonderful cadence of this riding. It says

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Speaker 3: the Hitchhiker. The Remora can travel for thousands of miles

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Speaker 3: beneath the sea without swimming. He has a wonderful way

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Speaker 3: of getting around. He just catches a ride on a

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Speaker 3: bigger fish. The Remora holds on with the top of

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Speaker 3: his head. The top of his head is flat, there

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Speaker 3: is a suction cap on it. With this cap he

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Speaker 3: can quickly fasten on to another fish. He cannot fall

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Speaker 3: off unless he wants to. The Remora rides on sharks

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Speaker 3: so much he is often called a shark sucker. Sometimes

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Speaker 3: many Remoras will ride on the same shark at the

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Speaker 3: same time, but Remoras will ride on almost any.

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Speaker 2: Big fish as beautiful as there's a poetry to it.

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Speaker 3: There are so many things that are just kind of

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Speaker 3: tickling about the writing style of these books. But I

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Speaker 3: think we may have mentioned this in the last one,

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Speaker 3: that there's this constant feeling of light moralism about it,

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Speaker 3: like a little it's not the standard way of talking

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Speaker 3: about nature. There are constantly little gentle judgments being passed.

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Speaker 2: Yeah. Like, there's a one of the pages that you

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Speaker 2: shared here as a titled the Flying Saucers, and it's

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Speaker 2: about rays, and it begins with rays are strange looking fish,

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Speaker 2: which I mean that seems a little rude. There's a

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Speaker 2: picture of a human child looking at them with a

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Speaker 2: look of astonishment on his face, and you know, the

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Speaker 2: rays might well say, you know, child, you are a

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Speaker 2: strange looking mammal. Most mammals don't look like you at.

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Speaker 3: All, especially with the way this child is drawn with

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Speaker 3: the weird spiny fingers. It looks like a gill Man

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Speaker 3: hand there.

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Speaker 2: Well, you know the artist was strong fish all day

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Speaker 2: and then had to suddenly switch back to humans and yeah,

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Speaker 2: it's jarring.

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Speaker 4: Okay.

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Speaker 3: We also got some shorter messages about our Manta ray series.

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Speaker 3: This one comes from Danny. She says we went to

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Speaker 3: sting ray City off the coast of Grand Cayman. When

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Speaker 3: feeding them, you hold the raw squid in your fist

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Speaker 3: like an ice cream cone, very loosely. Okay, the ray

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Speaker 3: swims over your hand and hoovers it up. My stepdad

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Speaker 3: was holding his too tightly and the ray nipped the

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Speaker 3: skin between his thumb and pointer finger. It was like

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Speaker 3: a pinch between the bony plates that took a bit

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Speaker 3: of skin with it. Only person I know of who's

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Speaker 3: actually been bitten by a ray lol, feel free to

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Speaker 3: use Danny. Yeah, I understand that the sting ray is

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Speaker 3: somewhat different than the mobulid rays that you know. Mobulid rays,

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Speaker 3: from what I understand, are not ever going to bite you,

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Speaker 3: but maybe a stingray can do this a little bit

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Speaker 3: more likely, and the stingray is also a little bit

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Speaker 3: something you have to be more cautious of because it

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Speaker 3: has the tailbarb.

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Speaker 2: All right, another quick one here. This one comes to

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Speaker 2: us from Greg. This is in response to this is

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Speaker 2: part of our like Manta Week Shenanigans. I did a

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Speaker 2: Monster Fact episode on mantas and Dungeons and Dragons, talking

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Speaker 2: about the different ways that mantas have been invoked in

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Speaker 2: Dungeons and Dragons and how it reflects sort of earlier

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Speaker 2: attitudes about mantas that you see in pre Dungeons and

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Speaker 2: Dragons fiction, you know, pulp fiction and fantasy and so forth,

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Speaker 2: and everything that was in the zeitgeist that kind of

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Speaker 2: impacted the way that they were presented. So Greg writes,

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Speaker 2: you forgot a couple aside from the exits that you'les,

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Speaker 2: this is one that's like sometimes a vampire that pops

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Speaker 2: up in Dungeons and Dragons, And so Greg includes a

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Speaker 2: link to information on the Cloaker and the Lurker and

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Speaker 2: says both date back to the First Attention Monster Manual

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Speaker 2: nineteen seventy seven and cover the fear that mantas will

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Speaker 2: wrap you up and smother you with those big creepy wings.

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Speaker 2: And yes, Greg, you were absolutely correct. I did manage

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Speaker 2: to leave these two off that they basically line up

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Speaker 2: with some of the other monsters that I discussed there,

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Speaker 2: But it's good enough for me. I should probably go

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Speaker 2: back and record a part two to Manta Rays of

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Speaker 2: Dungeons and Dragons.

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Speaker 3: I was looking at these, and the cloaker appears to

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Speaker 3: be not only mantiforms but also literally cloak formed, like

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Speaker 3: it takes the shape of a cloak that you might

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Speaker 3: pick up and put on because you think it's just

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Speaker 3: a discarded piece of clothing, but it's actually a monster

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Speaker 3: that wraps around you and eats you.

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Speaker 2: Yeah. I mean, as I discussed in that Monster Fact episode.

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Speaker 2: You know, you have like the cloak of the Manta Ray,

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Speaker 2: which is a pretty famous Dungeons and Dragons magical item.

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Speaker 2: But if you go back to that first monster manual,

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Speaker 2: there are stats for like the man to ray and

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Speaker 2: information about how it will stain you and also swallow

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Speaker 2: you holes. So then that's just supposed to be a

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Speaker 2: straight up Manta ray and not these various mnemonic fantasy

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Speaker 2: variants that you know, lean into the idea that that

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Speaker 2: array could be some sort of a horrendously dangerous creature.

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Speaker 3: Come on, now, Gary, you know better than that.

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Speaker 2: I mean, it was the seventies. We were, as we

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Speaker 2: discussed in our Manta Ray episodes, like we were beginning

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Speaker 2: to wake up in the West to the fact that

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Speaker 2: that Manda's were not our enemy.

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Speaker 3: Are there stats in the Monster manual for the panda

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Speaker 3: bear like that it'll bite your bite your legs off?

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Speaker 2: And that's a great question. I don't I don't know

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Speaker 2: if I've ever looked at the stats for a panda,

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Speaker 2: but I bet there are panda stats. Yeah. If if

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Speaker 2: not in some of those original monster manuals, then certainly

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Speaker 2: by the time they came around to like Karratur there.

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Speaker 2: You know, there have to be some some panda stats

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Speaker 2: in there somewhere to look it up.

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Speaker 3: Chaotic evil creature. Okay, This next message is from Ben.

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Speaker 3: Ben says, Hi, Robert and Joe. In today's episode, part

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Speaker 3: three on Manta Rays, you described the hypothesis that Manta's

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Speaker 3: developed their large brains to generate heat and that their

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Speaker 3: intelligence is a side effect.

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Speaker 4: Yeah.

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Speaker 3: No, this is, to be clear, something that is not

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Speaker 3: known for sure, but it is a possibility explored in

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Speaker 3: one of the papers we looked at that because the

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Speaker 3: design of the mantray's brain case is good at retaining

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Speaker 3: heat in cold water. It could be that that is

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Speaker 3: actually the characteristic that was selected for in the evolution

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Speaker 3: of the manta brain. And then as a side effect,

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Speaker 3: it's like, oh, it just happens to be now that

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Speaker 3: these are much smarter than your average fish, because, yeah,

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Speaker 3: the manterrays show a kind of intelligence that is generally

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Speaker 3: not seen in other fish. Ben continues, this immediately made

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Speaker 3: me think of Deep Blue Sea nineteen.

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Speaker 4: Ninety nine, a movie we've covered on Weird House.

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Speaker 2: Yeah.

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Speaker 4: Yeah.

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Speaker 3: In this classic shark action movie, after the shark attacks

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Speaker 3: seem to be very well planned and organized, the character

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Speaker 3: doctor Susan McAllister admits that she illegally genetically modified the

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Speaker 3: sharks to give them bigger brains so they could harvest

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Speaker 3: more magic shark juice to treat Alzheimer's disease, and that

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Speaker 3: the side effect of that was smarter sharks. Yeah, because

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Speaker 3: if you recall the plot of this movie is they

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Speaker 3: make genetically modified sharks as a source of something for pharmaceuticals.

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Speaker 3: So Ben says, those smarter sharks then wreak utter havoc

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Speaker 3: and kill everyone in a cold systematic and planned out way.

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Speaker 3: The way the Good Doctor phrases it in the movie

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Speaker 3: and the way you guys phrase the Mantarey brain hypothesis

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Speaker 3: were delightfully similar.

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Speaker 2: Ben, Yeah, this is a great point. Yeah, I totally

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Speaker 2: forgot about this detail Deep Blue Sea when we were

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Speaker 2: recording our Manta episodes.

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Speaker 3: Another Deep Blue Sea connection is so if this actually

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Speaker 3: is what happened with Mantas again, it was to fight

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Speaker 3: off the cold. You may recall that obsession with cold

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Speaker 3: and ice is a major plot point in that movie

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Speaker 3: as well, because Russell Franklin, the character played by Samuel L. Jackson,

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Speaker 3: is you might recall, terrified of ice. He's like giving

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Speaker 3: a speech about how ice is like it's got a

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Speaker 3: mind of its own and it'll come to get you.

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Speaker 3: He's giving that speech right when he gets eaten by shark.

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Speaker 2: Oh wow, I forgot what he was talking about that.

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Speaker 2: I mainly remember just that horrifying and shocking moment when

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Speaker 2: he gets taken out. Yeah, best moment in the film.

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Speaker 3: All right, rob let's see you want to do this

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Speaker 3: one from Larry about skating.

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Speaker 2: Yeah, Larry writes in and says, hey, guys, thank you

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Speaker 2: for the recent episode on the invention of the roller skate.

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Speaker 2: I've recently gotten back into it. Have you seen this

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Speaker 2: dance skating music video in case you don't want to

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Speaker 2: click a link in an email. The song is Gold

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Speaker 2: by Chet Faker or maybe it's Fokker. I'm not sure.

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Speaker 2: I'm not familiar with this artist, so my apologies. So

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Speaker 2: I got that wrong.

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Speaker 3: Yeah, I don't know anything about this musical artist. But

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Speaker 3: the choreography, yeah, it's interesting. So it's like the video

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Speaker 3: is three roller skaters coming at you out of the

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Speaker 3: darkness to skate to dance as the camera continually glides

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Speaker 3: away along a dark road at nights, Like the camera

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Speaker 3: is constantly pulling back along this dark road and the

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Speaker 3: skaters are constantly coming towards you while they're dancing. I

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Speaker 3: think kind of dancing Queen on roller skates meets David

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Speaker 3: Lynch's Lost Highway.

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Speaker 2: Yeah, yeah, it's really it's a cool video, but it's yeah,

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Speaker 2: it's not necessarily super happy fun times, more like phantoms

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Speaker 2: of skating on the open road. But the song sounds

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Speaker 2: pretty cool and I looked it up and it's directed

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Speaker 2: by the music videos directed by Hiro Murray, who is

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Speaker 2: direct did episodes of several great recent TV shows. It's

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Speaker 2: only a matter of time till this guy directs a

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Speaker 2: feature film of note, I imagine. Anyway, Larry continues here

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Speaker 2: and says, the music video is a bit surreal, so

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Speaker 2: I figured you'd find it interesting. The skaters in the

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Speaker 2: video remind me of the dancing Muses and Bodicelli's The

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Speaker 2: Three Graces, and to a lesser degree, the sirens from

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Speaker 2: O Brother where Art thou Ah? Would you do an

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Speaker 2: episode on the Three Muses or other personifications of inspiration?

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Speaker 2: I'm really curious to hear your thoughts on how the

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Speaker 2: trope came about and why these depictions seem to celebrate

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Speaker 2: or worn against the allure of creative pursuits. Thanks for

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Speaker 2: the excellent show, Barry.

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Speaker 3: Now, I know we've discussed the Muses in a segment

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Speaker 3: in some previous episode, but I don't remember why or

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Speaker 3: what the context was. But yeah, they could be their

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Speaker 3: own topic, I'm.

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Speaker 2: Sure, yeah, yeah, some of them back if we've had

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Speaker 2: them on the show before. The Muses are always welcome.

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Speaker 2: That's stuff to blow your mind.

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Speaker 4: Thank you, Larry.

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Speaker 3: Okay, I think we're going to move on to some

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Speaker 3: responses to the episodes that I did a few weeks

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Speaker 3: back with Annie Reese and Lauren Vogelbaum, the hosts of

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Speaker 3: the food podcast Saver. We called that series food Storage

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Speaker 3: Mad Science. It was all about weird transformations and reactions

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Speaker 3: that foods can undergo while just sitting around in storage.

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Speaker 3: And we ended up talking a lot in the second

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Speaker 3: part of that series about more dramatic things like unintentional fermentation,

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Speaker 3: explosions and even spontaneous combustion in food. But for the

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Speaker 3: first episode there we focused largely on looking for a

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Speaker 3: scientific explanation for a memory of mine in which a

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Speaker 3: tray of baked pasta ate holes in a sheet of

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Speaker 3: aluminum foil while it was sitting in the fridge. I

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Speaker 3: was like, what was that? And we did find the answer.

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Speaker 3: The answer turned out to be bizarre and fascinating and

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Speaker 3: led in a bunch of different directions. But the short

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Speaker 3: version is, if you leave a salty web mass of

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Speaker 3: food like a bunch of baked pasta, in contact with

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Speaker 3: two different metals, like say a steel pan and a

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Speaker 3: sheet of aluminum foil, and you have them in the

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Speaker 3: right configuration where like the foil is touching where they're

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Speaker 3: both touching the food and the foil is in contact

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Speaker 3: with the pan around the edges and then also touching

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Speaker 3: the food, you can accidentally create what's called a galvanic cell,

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Speaker 3: in other words, a simple battery. So the holes in

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Speaker 3: the aluminum were actually being they were the aluminum was

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Speaker 3: the anode and a simple battery, and it was being

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Speaker 3: eaten away by the electric flow there.

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Speaker 4: And this is something called galvanic corrosion.

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Speaker 2: Wow, electric pasta Okay, yeah.

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Speaker 3: The electric pasta acid test is what was happening in

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Speaker 3: my fridge.

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Speaker 2: Yeah.

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Speaker 3: So several listeners got in touch with emails to varying

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Speaker 3: degrees about that. The first one is from Matthew, subject

437
00:22:53,200 --> 00:22:55,520
Speaker 3: line Galvazania very good.

438
00:22:55,800 --> 00:23:02,960
Speaker 2: That's good. That's even better, Matthew.

439
00:23:02,640 --> 00:23:06,000
Speaker 3: Says, I'm sending you my semi yearly email in regards

440
00:23:06,040 --> 00:23:08,760
Speaker 3: to your recent episodes with the Savor ladies. I was

441
00:23:08,800 --> 00:23:12,359
Speaker 3: a restaurant chef for years and encountered melted foil a

442
00:23:12,400 --> 00:23:15,720
Speaker 3: few times, always discounting it with Wow, that acid really

443
00:23:15,760 --> 00:23:19,760
Speaker 3: reacts with aluminum. I never considered that electricity was a

444
00:23:19,800 --> 00:23:23,640
Speaker 3: factor in my current career. I am an aluminum welder

445
00:23:23,800 --> 00:23:27,199
Speaker 3: in a shop making boats for a DoD contractor. I

446
00:23:27,240 --> 00:23:30,080
Speaker 3: can't seem to escape my Viking heritage and ended up

447
00:23:30,160 --> 00:23:36,000
Speaker 3: making military boats, unlike Naglfar, that is the ship from

448
00:23:36,000 --> 00:23:39,560
Speaker 3: Norse mythology made out of toenails, I think toenails and fingernails.

449
00:23:39,560 --> 00:23:39,879
Speaker 4: Maybe.

450
00:23:40,720 --> 00:23:45,320
Speaker 3: Unlike Naglfar, these vehicles are almost entirely aluminum and are

451
00:23:45,359 --> 00:23:49,080
Speaker 3: finished with a coating of specifically non reactive paint. You

452
00:23:49,160 --> 00:23:53,600
Speaker 3: guessed it, it's green that covers the entire exterior of

453
00:23:53,640 --> 00:23:56,240
Speaker 3: the boat save for two small areas on the bottom.

454
00:23:56,680 --> 00:24:00,159
Speaker 3: These spots are where the anodes are attached chunks of

455
00:24:00,240 --> 00:24:03,720
Speaker 3: metal alloy mostly lead I think, that are more reactive

456
00:24:03,760 --> 00:24:07,439
Speaker 3: than the aluminum of the boat. These sacrificial bricks lose

457
00:24:07,520 --> 00:24:11,560
Speaker 3: their ions faster during the natural galvanization process that occurs

458
00:24:11,560 --> 00:24:14,399
Speaker 3: all the time, but especially quickly when the boats are

459
00:24:14,520 --> 00:24:17,960
Speaker 3: used in salty water. Being in a circuit with the hull,

460
00:24:18,040 --> 00:24:22,080
Speaker 3: they corrode away instead of the aluminum and are replaced yearly.

461
00:24:22,520 --> 00:24:25,800
Speaker 3: And even bigger threat is the boat's own electrical system.

462
00:24:25,960 --> 00:24:29,360
Speaker 3: Unlike cars and trucks, where the electronic components are grounded

463
00:24:29,359 --> 00:24:33,399
Speaker 3: to the chassis, the whole electrical system is self contained.

464
00:24:33,720 --> 00:24:36,280
Speaker 3: If a ground wire happens to detach and come in

465
00:24:36,359 --> 00:24:40,800
Speaker 3: contact with the hull, the galvanic corrosion process gets supercharged.

466
00:24:40,920 --> 00:24:43,359
Speaker 3: I'm told that only a few weeks in salty water

467
00:24:43,440 --> 00:24:47,080
Speaker 3: with a grounded hull could be devastating. A reminder that

468
00:24:47,160 --> 00:24:50,040
Speaker 3: I am not a nautical electrician. I am a welder,

469
00:24:50,080 --> 00:24:53,679
Speaker 3: so my understanding is limited and probably flawed. Thank you

470
00:24:53,720 --> 00:24:55,560
Speaker 3: for the wonderful show. It's been at the top of

471
00:24:55,600 --> 00:24:59,800
Speaker 3: the list for a decade. Weird House suggestion The Barbarians

472
00:25:00,040 --> 00:25:05,000
Speaker 3: nineteen eighty seven. Twin beefcakes with bronx accents fight against

473
00:25:05,040 --> 00:25:08,479
Speaker 3: magic forces, a dragon, and each other to free their

474
00:25:08,520 --> 00:25:11,880
Speaker 3: adopted mother and save their small tribe. It actually has

475
00:25:11,880 --> 00:25:14,520
Speaker 3: a few references to classical literature.

476
00:25:14,040 --> 00:25:16,200
Speaker 4: Thrown in and amazing costumes.

477
00:25:16,520 --> 00:25:20,520
Speaker 3: Matthew, Well, Matthew, thanks for adding on the subject of

478
00:25:20,560 --> 00:25:23,560
Speaker 3: galvanic corrosion. Yeah, so certainly this is a case in

479
00:25:23,600 --> 00:25:28,680
Speaker 3: all kinds of different construction and manufacturing processes. But also

480
00:25:28,720 --> 00:25:31,440
Speaker 3: I had the same reaction as you when I first

481
00:25:31,440 --> 00:25:34,320
Speaker 3: saw the melted aluminum foil not melted, you know, the

482
00:25:35,200 --> 00:25:38,639
Speaker 3: corroded aluminum foil. I didn't know what it was, but

483
00:25:38,720 --> 00:25:40,919
Speaker 3: I just assumed, I guess maybe something reaction with the

484
00:25:41,000 --> 00:25:45,240
Speaker 3: acid or something. Aluminum can react with acid, but this

485
00:25:45,320 --> 00:25:49,040
Speaker 3: is a much more powerful and faster process when you

486
00:25:49,119 --> 00:25:53,159
Speaker 3: accidentally make the food battery. So beware the food battery, folks.

487
00:25:53,880 --> 00:25:59,919
Speaker 2: Now, as for the Barbarians, I keep coming back to

488
00:26:00,000 --> 00:26:03,840
Speaker 2: the Barbarians. So every few years I get excited about

489
00:26:03,880 --> 00:26:06,840
Speaker 2: the idea of this movie, because I mean, look at

490
00:26:06,840 --> 00:26:09,840
Speaker 2: you got like, not one, but two. You got twin

491
00:26:10,720 --> 00:26:14,560
Speaker 2: Barbarian beefcakes in the Barbarian Brothers. You've got Richard Lynch

492
00:26:14,720 --> 00:26:18,600
Speaker 2: as the main villain. You've got Michael Berryman in there

493
00:26:18,640 --> 00:26:24,000
Speaker 2: as a sidekick of Stogie character. And even the great

494
00:26:24,000 --> 00:26:26,960
Speaker 2: Georgia Eastman pops up at some point or another.

495
00:26:26,800 --> 00:26:28,119
Speaker 3: The personable George Eastman.

496
00:26:28,320 --> 00:26:29,320
Speaker 4: Yeah, yeah, wow.

497
00:26:29,720 --> 00:26:33,160
Speaker 2: And it's directed by Ruggero Diodado, director of nineteen eighties

498
00:26:33,200 --> 00:26:36,680
Speaker 2: Cannibal Holocaust. So there are, you know, some great connections there.

499
00:26:37,080 --> 00:26:40,040
Speaker 2: But every time I've sat down to watch it, it's

500
00:26:40,080 --> 00:26:42,720
Speaker 2: the Barbarian Brothers themselves who throw me off.

501
00:26:42,960 --> 00:26:46,920
Speaker 3: Really, So, I've had this movie on disc for years

502
00:26:46,960 --> 00:26:49,280
Speaker 3: and have still never watched it. I keep thinking, at

503
00:26:49,280 --> 00:26:50,919
Speaker 3: some point I'm going to get there, because I love

504
00:26:50,960 --> 00:26:54,159
Speaker 3: a leather diaper Barbarian movie. But haven't made it to

505
00:26:54,240 --> 00:26:58,120
Speaker 3: this one. I've actually watched Your Hunter from the Future

506
00:26:58,240 --> 00:27:00,920
Speaker 3: three or four times since I've had the Barbarians, and

507
00:27:01,000 --> 00:27:03,000
Speaker 3: I've never made time for the Barbarians.

508
00:27:03,920 --> 00:27:06,840
Speaker 2: Yeah, and I can only speak to my own experience here,

509
00:27:06,880 --> 00:27:09,080
Speaker 2: and this has been my experience thus far. Certainly my

510
00:27:09,119 --> 00:27:13,080
Speaker 2: opinions can change on films, but every time, Yeah, it's

511
00:27:13,119 --> 00:27:15,879
Speaker 2: the Barbarian brothers that really throw me off. It's like

512
00:27:15,920 --> 00:27:20,359
Speaker 2: they're two charismatic. There's an effortless charm to these two guys,

513
00:27:20,720 --> 00:27:23,680
Speaker 2: and I do not like it. I mean, I love

514
00:27:23,720 --> 00:27:27,200
Speaker 2: a fun peplum beefcake movie, but me personally, I prefer

515
00:27:27,240 --> 00:27:30,320
Speaker 2: it when there's a either a a believable stoicism to

516
00:27:30,359 --> 00:27:33,440
Speaker 2: the central muscle man. So think of Arnold and the

517
00:27:33,680 --> 00:27:37,840
Speaker 2: first Conan movie Conan the Barbarian Yeah, or certain Hercules

518
00:27:37,880 --> 00:27:40,159
Speaker 2: actors have managed to pull this off as well. You know,

519
00:27:40,280 --> 00:27:44,560
Speaker 2: there's like the thinking, cerebral Beefcake. And then also you

520
00:27:44,600 --> 00:27:47,280
Speaker 2: have plenty of examples where you have a very green

521
00:27:47,640 --> 00:27:51,320
Speaker 2: awkwardness to your lead because, as is sometimes the case,

522
00:27:51,359 --> 00:27:53,840
Speaker 2: you know, you would just have a bodybuilder plucked off

523
00:27:53,840 --> 00:27:56,840
Speaker 2: the street and given a starring role in a motion picture.

524
00:27:57,080 --> 00:27:59,880
Speaker 3: Yeah, or like Red Brown and Your Hunter from the Future,

525
00:28:00,119 --> 00:28:01,720
Speaker 3: just kind of what is going on here?

526
00:28:01,800 --> 00:28:04,040
Speaker 4: I don't know. I don't know what this scenees about.

527
00:28:04,080 --> 00:28:04,879
Speaker 4: I'm just doing it.

528
00:28:05,240 --> 00:28:08,320
Speaker 2: So I like both of those vibes. But these two,

529
00:28:08,359 --> 00:28:11,480
Speaker 2: the Barbarian brothers, they just they just felt they almost

530
00:28:11,560 --> 00:28:15,920
Speaker 2: take to it naturally, and I don't. I don't love

531
00:28:16,000 --> 00:28:18,720
Speaker 2: their vast but that's just me. There are a number

532
00:28:18,720 --> 00:28:20,439
Speaker 2: of fun elements of the film where I mentioned the

533
00:28:20,440 --> 00:28:24,119
Speaker 2: costumes and certainly other folks involved in the production. So

534
00:28:24,160 --> 00:28:26,199
Speaker 2: maybe I should really press on and give it a

535
00:28:26,240 --> 00:28:27,440
Speaker 2: third or fourth chance.

536
00:28:27,240 --> 00:28:31,120
Speaker 3: Here, maybe I'll actually watch it this time, or maybe

537
00:28:31,160 --> 00:28:31,920
Speaker 3: I'll just watch.

538
00:28:31,720 --> 00:28:33,760
Speaker 4: Your again, Yours World.

539
00:28:35,880 --> 00:28:37,760
Speaker 3: Oh wait, but I have a question about your your

540
00:28:37,840 --> 00:28:42,480
Speaker 3: categorization of beefcake barbarian leads. Where does Jorge Rivera from

541
00:28:42,760 --> 00:28:43,680
Speaker 3: Conquest fit in?

542
00:28:44,040 --> 00:28:47,920
Speaker 2: Absolutely solid? Yeah, okay, he's great. Yeah, I easily watch

543
00:28:47,960 --> 00:28:50,960
Speaker 2: another film in which he is a Barbarian or anything else. Yeah,

544
00:28:50,960 --> 00:28:53,360
Speaker 2: he's a lot of fun. Really, I'm struggling to think

545
00:28:53,360 --> 00:28:57,120
Speaker 2: of anyone who's actually failed the Peplham beefcake test here

546
00:28:57,200 --> 00:29:00,360
Speaker 2: for me, but these these guys did that. They bothiled it.

547
00:29:00,760 --> 00:29:04,160
Speaker 3: What about Reg Park in the Hercules and the Haunted World.

548
00:29:04,160 --> 00:29:05,200
Speaker 3: How'd you feel about him?

549
00:29:05,360 --> 00:29:06,280
Speaker 2: Was he he's great?

550
00:29:06,720 --> 00:29:06,840
Speaker 3: Oh?

551
00:29:06,880 --> 00:29:07,440
Speaker 2: Okay cool?

552
00:29:07,480 --> 00:29:09,640
Speaker 3: I liked him too, but he was he was charismatic?

553
00:29:09,960 --> 00:29:13,160
Speaker 2: Yeah, yeah, like he was. He was somewhere between like

554
00:29:13,200 --> 00:29:17,680
Speaker 2: a really great stoicism and maybe a little like green awkwardness,

555
00:29:18,040 --> 00:29:20,320
Speaker 2: though it is hard to judge sometimes in these films

556
00:29:20,360 --> 00:29:23,160
Speaker 2: where things are dubbed as well. But yeah, I thought

557
00:29:23,200 --> 00:29:26,360
Speaker 2: he was great. Yeah to Lou for Igno in the

558
00:29:26,360 --> 00:29:28,640
Speaker 2: Hercules movie we watched him, which he played Loue frign

559
00:29:29,320 --> 00:29:32,320
Speaker 2: I love that so so yeah. I can't think of

560
00:29:32,360 --> 00:29:35,200
Speaker 2: anyone else who felt like a fumble.

561
00:29:34,880 --> 00:29:45,640
Speaker 3: For me, sweetheart, Lou, all right, you want to do this?

562
00:29:45,720 --> 00:29:48,560
Speaker 3: Next message from Tanner, This is partially in response to

563
00:29:48,600 --> 00:29:50,280
Speaker 3: the food, but also some other things.

564
00:29:50,560 --> 00:29:53,920
Speaker 2: All Right, Tanner writes in and says, hey, gang, First off,

565
00:29:53,960 --> 00:29:56,600
Speaker 2: love the pod and yet to find another podcast that

566
00:29:56,680 --> 00:30:00,520
Speaker 2: synthesizes history, culture, philosophy, and information the way you do.

567
00:30:01,400 --> 00:30:04,240
Speaker 2: I'm always surprised by the connections you make to seemingly

568
00:30:04,480 --> 00:30:07,640
Speaker 2: disparate topics, and Weirdhouse has turned me on to so

569
00:30:07,720 --> 00:30:10,640
Speaker 2: many strange and delightful movies. I watched The Wickerman Blind

570
00:30:10,680 --> 00:30:13,480
Speaker 2: per your recommendation and what it alighted was. I'm curious

571
00:30:13,560 --> 00:30:16,360
Speaker 2: how differently an audience member from nineteen seventy three and

572
00:30:16,440 --> 00:30:20,480
Speaker 2: today might view the townsfolk given changes in popular opinion

573
00:30:20,520 --> 00:30:22,320
Speaker 2: towards sex and organized religion.

574
00:30:22,640 --> 00:30:23,800
Speaker 4: I've thought about that before.

575
00:30:23,960 --> 00:30:27,040
Speaker 3: While The Wickerman is still one of my favorite movies

576
00:30:27,040 --> 00:30:30,160
Speaker 3: and I think it hits very hard today, I do

577
00:30:30,240 --> 00:30:33,200
Speaker 3: have to wonder if it hit quite differently when it

578
00:30:33,200 --> 00:30:36,560
Speaker 3: came out, just given the change in the cultural landscape.

579
00:30:36,800 --> 00:30:39,280
Speaker 2: Yeah. Yeah, It's always a fun exercise to just try

580
00:30:39,280 --> 00:30:43,440
Speaker 2: and imagine how the immediate intended audience viewed something versus

581
00:30:43,440 --> 00:30:45,440
Speaker 2: how we look at it now. And you know, I

582
00:30:45,440 --> 00:30:49,040
Speaker 2: think it's an essential exercise to play with with many

583
00:30:49,080 --> 00:30:51,960
Speaker 2: of these older films, you know, and sort of certainly

584
00:30:52,080 --> 00:30:55,000
Speaker 2: enjoy it from where you're standing, But yeah, try and

585
00:30:55,360 --> 00:30:57,920
Speaker 2: time travel as well, and try and put yourself in

586
00:30:57,960 --> 00:31:00,680
Speaker 2: the in the shoes and slippers of the original of

587
00:31:01,440 --> 00:31:05,520
Speaker 2: the original audience members. Anyway, they continue. I love the

588
00:31:05,560 --> 00:31:08,520
Speaker 2: most recent episode on food storage. Your guest host made

589
00:31:08,520 --> 00:31:11,400
Speaker 2: a great addition, and then as an aside, they knowe

590
00:31:11,480 --> 00:31:14,200
Speaker 2: Robin Annie's weird House on Congo is a favorite of mine.

591
00:31:14,760 --> 00:31:17,760
Speaker 2: So yes, Annie Reese also guest starred on Weird House

592
00:31:17,800 --> 00:31:21,800
Speaker 2: Cinema a while back, and we talked about the fabulous

593
00:31:21,840 --> 00:31:23,120
Speaker 2: film that is Congo.

594
00:31:23,320 --> 00:31:25,400
Speaker 4: Tim Curry in the role of a Lifetime There.

595
00:31:25,560 --> 00:31:28,560
Speaker 2: Yes, yeah, a lot of great, great performances in that film.

596
00:31:28,600 --> 00:31:32,440
Speaker 2: Really fun. But anyway, they continue and say episodes about

597
00:31:32,440 --> 00:31:34,920
Speaker 2: food are always a favorite in that vein. I have

598
00:31:34,960 --> 00:31:37,480
Speaker 2: a couple of things I'd like to share. I work

599
00:31:37,720 --> 00:31:41,800
Speaker 2: in the composites industry, building carbon fiber parts for aircraft,

600
00:31:42,160 --> 00:31:45,760
Speaker 2: and galvanic corrosion is a major consideration in how parts

601
00:31:45,800 --> 00:31:49,720
Speaker 2: are designed and manufactured. Carbon fiber is conductive and when

602
00:31:49,720 --> 00:31:52,880
Speaker 2: it's in contact with some metals, chiefly aluminum, it acts

603
00:31:52,920 --> 00:31:56,480
Speaker 2: as an anode that corrodes the metal, and since it's

604
00:31:56,520 --> 00:32:00,000
Speaker 2: bad business to have your aircraft eating itself, manufacturing steps

605
00:32:00,160 --> 00:32:03,520
Speaker 2: are added to prevent galvanic corrosions, such as adding a

606
00:32:03,520 --> 00:32:07,520
Speaker 2: barrier like fiberglass or epoxy between the two materials, or

607
00:32:07,640 --> 00:32:11,280
Speaker 2: using a more combatible metal like titanium. On the topic

608
00:32:11,320 --> 00:32:14,880
Speaker 2: of fermented foods, during lockdown, my dad made his own kombucha,

609
00:32:15,160 --> 00:32:18,080
Speaker 2: and my most salient memory of this endeavor was of

610
00:32:18,120 --> 00:32:21,240
Speaker 2: the yeast colony called a Scobie which I only just

611
00:32:21,320 --> 00:32:25,000
Speaker 2: learned as an acronym for symbiotic culture of bacteria and yeast.

612
00:32:25,840 --> 00:32:27,400
Speaker 2: I just learned that for the first time as well.

613
00:32:27,560 --> 00:32:29,880
Speaker 2: I did not know that either that grew in the

614
00:32:29,920 --> 00:32:34,400
Speaker 2: kombucha jug. It was a round, slimy, pallid tortilla that

615
00:32:34,480 --> 00:32:37,960
Speaker 2: I remember being distinctly skin like in a way I

616
00:32:38,080 --> 00:32:42,160
Speaker 2: found deeply unsettling. To get the carbonation, the kombucha had

617
00:32:42,160 --> 00:32:44,720
Speaker 2: to be kept in these pressure safe flip top bottles.

618
00:32:45,120 --> 00:32:47,000
Speaker 2: I don't know if it is just par for the

619
00:32:47,080 --> 00:32:49,640
Speaker 2: course and a homemade kombucha. The fruit pulp was a

620
00:32:49,640 --> 00:32:52,080
Speaker 2: contributing factor, I think, but whenever we opened the bottle,

621
00:32:52,320 --> 00:32:55,280
Speaker 2: the contents exploded out in a champagne like fountain that

622
00:32:55,400 --> 00:32:58,680
Speaker 2: got everywhere, so we had to open future bottles over

623
00:32:58,720 --> 00:33:01,479
Speaker 2: the sink. The kombucha, for its part, was pretty tasty.

624
00:33:01,720 --> 00:33:04,040
Speaker 2: After my dad lost interest in making more, he emptied

625
00:33:04,040 --> 00:33:06,760
Speaker 2: the jug into the grass, where the scoby dried out

626
00:33:06,960 --> 00:33:15,280
Speaker 2: into something like those dried pig ears who give to dogs. Ugh, Joe, am,

627
00:33:15,320 --> 00:33:17,240
Speaker 2: I mistaken. You made your own kombucha for a while.

628
00:33:17,320 --> 00:33:20,360
Speaker 3: Right now, I've never made kombucha. You've done a home fermenting.

629
00:33:20,360 --> 00:33:22,840
Speaker 3: I've made Sauer kraut and kimchi and all that, but

630
00:33:22,920 --> 00:33:24,080
Speaker 3: I've never made kombucha.

631
00:33:24,120 --> 00:33:26,960
Speaker 2: Oh Okay, yes, okay, I'm thinking about your kimchi and

632
00:33:28,320 --> 00:33:29,360
Speaker 2: sour kraft making.

633
00:33:29,400 --> 00:33:32,600
Speaker 3: Okay, no visible scoby in a pot of kimchi.

634
00:33:32,680 --> 00:33:36,040
Speaker 2: Okay. Yeah, and I've never made either. I haven't made

635
00:33:36,080 --> 00:33:38,880
Speaker 2: kombucha either, but I do love a good kombucha.

636
00:33:39,000 --> 00:33:41,520
Speaker 3: Yeah, I'm not a super fan, but I've enjoyed it

637
00:33:41,560 --> 00:33:42,200
Speaker 3: when I've had it.

638
00:33:42,440 --> 00:33:44,960
Speaker 2: All Right, They continue here getting into movies and says

639
00:33:45,280 --> 00:33:49,120
Speaker 2: it's fitting that the Warriors made it into rewind since

640
00:33:49,160 --> 00:33:52,400
Speaker 2: my recommendation is basically the Warriors we have at home.

641
00:33:52,800 --> 00:33:56,000
Speaker 2: Home is Italy. I present to you nineteen ninety the

642
00:33:56,040 --> 00:33:59,400
Speaker 2: Bronx Warriors. My pitch to you is just this scene.

643
00:33:59,680 --> 00:34:02,479
Speaker 3: Okay, So I went and looked up the scene. It

644
00:34:02,520 --> 00:34:05,880
Speaker 3: begins with a guy sitting at a drum kit playing

645
00:34:05,920 --> 00:34:09,160
Speaker 3: a drum solo in an empty parking lot by the

646
00:34:09,239 --> 00:34:12,320
Speaker 3: water somewhere in New York. There is a dead body

647
00:34:12,400 --> 00:34:15,359
Speaker 3: impaled on a stake by the water. Then about ten

648
00:34:15,400 --> 00:34:18,240
Speaker 3: thousand motorcycles rolled in, and you got all your different

649
00:34:18,239 --> 00:34:22,600
Speaker 3: biker varieties. You got some leather bikers with Ramon's haircuts.

650
00:34:22,960 --> 00:34:26,000
Speaker 3: You got some Nazi bikers, you got some just weird

651
00:34:26,080 --> 00:34:29,200
Speaker 3: kind of classic tattoo bikers, some hair metal bikers in

652
00:34:29,239 --> 00:34:32,560
Speaker 3: there also, and then one guy who looks like Steve Earl,

653
00:34:32,680 --> 00:34:35,680
Speaker 3: not Steve Earl in nineteen eighty whatever, Steve Earl now.

654
00:34:36,360 --> 00:34:38,280
Speaker 4: And then a bunch of dudes.

655
00:34:37,880 --> 00:34:41,319
Speaker 3: In hilarious suits haul up in classic cars. They're wearing

656
00:34:41,400 --> 00:34:43,920
Speaker 3: kind of I don't know what you call this, like

657
00:34:43,960 --> 00:34:47,200
Speaker 3: a cross between kind of seventies Italian style suits and

658
00:34:47,239 --> 00:34:51,560
Speaker 3: then nineteen twenties or thirties gangster suits.

659
00:34:51,920 --> 00:34:54,720
Speaker 2: Yeah. Yeah, they could decide if they're going for classic

660
00:34:54,719 --> 00:34:57,400
Speaker 2: gangsters or like seventies pimps. And it's some lay and

661
00:34:57,480 --> 00:34:58,160
Speaker 2: somewhere in between.

662
00:34:58,280 --> 00:35:01,840
Speaker 3: Yeah, am I Dillinger or disc And so they have

663
00:35:01,920 --> 00:35:04,400
Speaker 3: a face off and they're I don't know, they're arguing

664
00:35:04,440 --> 00:35:04,919
Speaker 3: about something.

665
00:35:04,960 --> 00:35:06,200
Speaker 4: I didn't follow the dialogue.

666
00:35:06,200 --> 00:35:08,680
Speaker 3: But then what somebody opens up a car and is

667
00:35:08,680 --> 00:35:10,680
Speaker 3: that Fred Williamson in there right at the end?

668
00:35:11,440 --> 00:35:13,520
Speaker 2: Yeah, yeah, yeah, I believe he's in this. Yeah.

669
00:35:13,640 --> 00:35:15,600
Speaker 3: I only got a quick look, but I think it's him.

670
00:35:15,719 --> 00:35:20,320
Speaker 3: So I'm interested in this. It is strongly Italian flavored.

671
00:35:20,880 --> 00:35:24,239
Speaker 2: Yes, this film's great, So m S T three K

672
00:35:24,400 --> 00:35:27,879
Speaker 2: fans will recognize it because it was featured on MST

673
00:35:28,000 --> 00:35:30,520
Speaker 2: three K, But it's pretty great in its own ride.

674
00:35:30,520 --> 00:35:34,000
Speaker 2: It's directed by Mzog Castellari, who we've talked about in

675
00:35:34,040 --> 00:35:37,279
Speaker 2: the show before it stars. You want to talk about

676
00:35:37,640 --> 00:35:41,960
Speaker 2: a green beefcake hunk. Mark Gregory is in this. He's

677
00:35:42,000 --> 00:35:44,000
Speaker 2: pretty great. I've seen him in some other things as well.

678
00:35:44,000 --> 00:35:47,400
Speaker 2: He was in a tremendously bad Adam and Eve movie

679
00:35:47,440 --> 00:35:50,200
Speaker 2: in which he plays Adam of course nice and then

680
00:35:50,239 --> 00:35:52,400
Speaker 2: elsewhere in this film, in addition to Fred Williamson, you

681
00:35:52,440 --> 00:35:55,280
Speaker 2: also have Vic Morrow, and you also have George Eastman

682
00:35:55,360 --> 00:35:58,160
Speaker 2: once more. So it's a real treat and it has

683
00:35:58,160 --> 00:36:01,680
Speaker 2: some great actual New York locals. It makes visiting New

684
00:36:01,760 --> 00:36:04,960
Speaker 2: York City's Roosevelt Island an extra special treat because that's

685
00:36:05,000 --> 00:36:08,000
Speaker 2: where Give Memory serves, That's where the finale takes place.

686
00:36:08,280 --> 00:36:12,480
Speaker 3: Isn't it weird? How many coincidental overlaps there are between

687
00:36:12,600 --> 00:36:16,680
Speaker 3: the last two emails, like both talked about the topic

688
00:36:16,719 --> 00:36:21,680
Speaker 3: of galvanic corrosion by sharing experience working in heavy transportation manufacturing,

689
00:36:22,200 --> 00:36:25,600
Speaker 3: and then both emails turned to a recommendation of an

690
00:36:25,640 --> 00:36:29,719
Speaker 3: Italian beef Man action movie from the eighties with the

691
00:36:29,760 --> 00:36:32,000
Speaker 3: recommendation involving the word bronx.

692
00:36:32,600 --> 00:36:34,399
Speaker 2: Yeah, we need to keep this in mind the next

693
00:36:34,400 --> 00:36:37,399
Speaker 2: time there's an effort on the part of our work

694
00:36:37,440 --> 00:36:39,839
Speaker 2: bosses to be like, we need to figure out who

695
00:36:39,960 --> 00:36:42,760
Speaker 2: is the listener for stuff to build your mind. Will say, well,

696
00:36:42,800 --> 00:36:45,480
Speaker 2: let's break it down for you. They make ships or

697
00:36:45,520 --> 00:36:50,279
Speaker 2: airplanes or composite pieces. They're into food, and they like

698
00:36:51,239 --> 00:36:56,640
Speaker 2: a very particular sort of nineteen seventies or nineteen eighties Italian.

699
00:36:56,160 --> 00:37:00,680
Speaker 3: Film cinema italianissimo. Yeah, all right, Robie, ready to get

700
00:37:00,680 --> 00:37:04,759
Speaker 3: into some weird house cinema responses. Sure, let's okay, I'm

701
00:37:04,760 --> 00:37:08,280
Speaker 3: gonna do this. First one from Daniel. This is subject

702
00:37:08,320 --> 00:37:11,720
Speaker 3: line digital data on tape, and this is in response

703
00:37:11,800 --> 00:37:14,839
Speaker 3: to the Weird House Cinema episode that I did with

704
00:37:14,960 --> 00:37:20,480
Speaker 3: JJ about the movie Deer Skin. So Daniel says, greeting's

705
00:37:20,560 --> 00:37:24,640
Speaker 3: Joe Robert and in this case also JJ. Posway, I

706
00:37:24,760 --> 00:37:27,120
Speaker 3: was listening to your Weird House Cinema episode on Deer

707
00:37:27,160 --> 00:37:30,160
Speaker 3: Skin and really perked up once you went off on

708
00:37:30,200 --> 00:37:34,640
Speaker 3: a tangent about the digital camcorder using cassette tapes and

709
00:37:34,680 --> 00:37:37,600
Speaker 3: how quaint. That idea seemed so rob This is a

710
00:37:37,600 --> 00:37:40,560
Speaker 3: whole tangent we got into in the movie because there's

711
00:37:40,719 --> 00:37:44,319
Speaker 3: there's a character who is given a camcorder and he

712
00:37:44,400 --> 00:37:47,320
Speaker 3: is told that it is digital because you can't be digital.

713
00:37:47,360 --> 00:37:50,359
Speaker 3: Digital is tops, but he has to keep buying these

714
00:37:50,400 --> 00:37:53,120
Speaker 3: little tapes to put in it. And we were confused

715
00:37:53,120 --> 00:37:55,480
Speaker 3: by that, or at least I was so confused by that,

716
00:37:55,680 --> 00:37:57,799
Speaker 3: because I was like, I thought digital would mean it's

717
00:37:57,800 --> 00:38:00,520
Speaker 3: like recording to a little card or something, not to

718
00:38:00,840 --> 00:38:03,360
Speaker 3: a tape. I don't know, but maybe I think that

719
00:38:03,440 --> 00:38:07,719
Speaker 3: just revealed that I didn't actually understand what digital means

720
00:38:07,800 --> 00:38:09,960
Speaker 3: when it comes to the idea of like how the

721
00:38:10,000 --> 00:38:11,439
Speaker 3: information is stored and stuff.

722
00:38:11,480 --> 00:38:13,880
Speaker 2: Oh wow, So is it like a straight up cassette

723
00:38:13,920 --> 00:38:16,960
Speaker 2: tape or is it more like these like weird tapes

724
00:38:17,040 --> 00:38:19,719
Speaker 2: that you would put into computers to store information on.

725
00:38:20,120 --> 00:38:22,120
Speaker 4: Well, I think it's like the latter.

726
00:38:22,200 --> 00:38:32,080
Speaker 3: But Daniel's email I think will also help explain, Daniel says. Historically,

727
00:38:32,239 --> 00:38:36,319
Speaker 3: storing digital information on tape has been quite common, particularly

728
00:38:36,360 --> 00:38:39,880
Speaker 3: in the European microcomputer market of the nineteen eighties and

729
00:38:39,960 --> 00:38:42,680
Speaker 3: parts of the nineties, for systems such as the Commodore

730
00:38:42,719 --> 00:38:46,759
Speaker 3: sixty four and ZX Spectrum. I have no personal experience

731
00:38:46,760 --> 00:38:49,160
Speaker 3: with these machines, but as I understand it, the data

732
00:38:49,239 --> 00:38:53,560
Speaker 3: was stored on these tapes as analog audio signals, which

733
00:38:53,600 --> 00:38:58,040
Speaker 3: were then interpreted as binary data by the machines. This

734
00:38:58,320 --> 00:39:01,040
Speaker 3: was a very slow process and also so prone to error,

735
00:39:01,080 --> 00:39:03,600
Speaker 3: with the tradeoff of it being much cheaper to produce

736
00:39:03,680 --> 00:39:07,960
Speaker 3: than other formats. DAT or digital audio tape cassettes were

737
00:39:08,000 --> 00:39:11,080
Speaker 3: also used in the music industry from the mid eighties

738
00:39:11,120 --> 00:39:15,359
Speaker 3: to two thousands, but unlike the aforementioned microcomputer tapes, these

739
00:39:15,400 --> 00:39:19,839
Speaker 3: stored innately digital information. Looking into this topic also sent

740
00:39:19,920 --> 00:39:22,720
Speaker 3: me down quite a rabbit hole on the distinction between

741
00:39:22,760 --> 00:39:27,000
Speaker 3: analog versus digital storage. I had always assumed that DAT

742
00:39:27,400 --> 00:39:30,839
Speaker 3: and also floppy disks and traditional hard drives given their

743
00:39:30,880 --> 00:39:35,040
Speaker 3: magnetic discs, were considered analog storage, but that was evidently

744
00:39:35,080 --> 00:39:37,360
Speaker 3: not the case. It all seems to come down to

745
00:39:37,400 --> 00:39:41,359
Speaker 3: the nuances in how the signals are being read or transmitted,

746
00:39:41,600 --> 00:39:45,320
Speaker 3: and also factoring in the technical distinction between the concepts

747
00:39:45,320 --> 00:39:48,000
Speaker 3: of format and medium. Going on a bit of a

748
00:39:48,040 --> 00:39:50,960
Speaker 3: tangent here myself, but there have been some numerous other

749
00:39:51,120 --> 00:39:56,479
Speaker 3: inventive ways of distributing digital information. One of the most

750
00:39:56,520 --> 00:40:00,640
Speaker 3: fascinating for me was hearing about software being and submitted

751
00:40:00,800 --> 00:40:07,040
Speaker 3: via radio broadcasting. Thought this was fascinating, Daniel says. As

752
00:40:07,080 --> 00:40:11,240
Speaker 3: an example, in the nineteen eighties, the Yugoslavian radio show

753
00:40:11,400 --> 00:40:16,960
Speaker 3: Ventilator two two would broadcast signals for various software that

754
00:40:17,040 --> 00:40:20,880
Speaker 3: listeners could record on tape, which could then be read

755
00:40:21,000 --> 00:40:26,399
Speaker 3: by the type of computer it was made for. Best regards, Daniel, WHOA.

756
00:40:26,600 --> 00:40:29,000
Speaker 3: I mean that's like a kind of wireless internet before

757
00:40:29,040 --> 00:40:33,000
Speaker 3: that existed, right, Yeah, you could download software that was

758
00:40:33,080 --> 00:40:36,000
Speaker 3: coded into a series of I don't know, sounds, beeps

759
00:40:36,040 --> 00:40:39,120
Speaker 3: and boops. I guess that would code onto the tape

760
00:40:39,120 --> 00:40:41,799
Speaker 3: that you're recording on and then would be report would

761
00:40:41,840 --> 00:40:42,720
Speaker 3: be executable.

762
00:40:43,920 --> 00:40:47,279
Speaker 2: I'd never heard of that before. That's really interesting, crazy. Yeah,

763
00:40:47,320 --> 00:40:49,799
Speaker 2: when you get into some of these it's fun when

764
00:40:49,800 --> 00:40:53,560
Speaker 2: these technology questions come up about things that we see

765
00:40:53,600 --> 00:40:59,360
Speaker 2: in these films. I remember diving into somewhat bowling scoring

766
00:40:59,440 --> 00:41:03,280
Speaker 2: technology in that elevator movie that we watched, The Lift.

767
00:41:03,440 --> 00:41:06,839
Speaker 3: Oh that's right, Yeah, is that a Dutch elevator movie.

768
00:41:07,280 --> 00:41:09,560
Speaker 4: Yeah, yeah, Haunted Elevator.

769
00:41:11,040 --> 00:41:13,120
Speaker 2: All right. This next one comes to us from Andrea.

770
00:41:13,200 --> 00:41:17,080
Speaker 2: It is titled Invitation to Hell. This is not an

771
00:41:17,080 --> 00:41:19,319
Speaker 2: in self an invitation for us to go to Hell.

772
00:41:19,640 --> 00:41:22,240
Speaker 2: It is a response to our Weird House Cinema episode

773
00:41:22,600 --> 00:41:31,600
Speaker 2: on the Wes Craven film, Invitation to Hell. Andrea writes, Hi,

774
00:41:31,719 --> 00:41:34,040
Speaker 2: Robert and Joe, I've only written to you once before.

775
00:41:34,320 --> 00:41:36,799
Speaker 2: You won't remember, but rob was deeply skeptical that I

776
00:41:36,800 --> 00:41:38,839
Speaker 2: once had a cat who could count. But I was

777
00:41:38,840 --> 00:41:42,160
Speaker 2: prompted to write again by your latest episode of Weird House,

778
00:41:42,239 --> 00:41:45,080
Speaker 2: Invitation to Hell. It's true. I do not remember this.

779
00:41:45,239 --> 00:41:47,040
Speaker 2: I mean, I guess I vaguely remember it now that

780
00:41:47,080 --> 00:41:49,960
Speaker 2: you mention it. I mean, I don't know. I'm not

781
00:41:49,960 --> 00:41:51,760
Speaker 2: gonna doubt cats maybe they can count.

782
00:41:52,360 --> 00:41:56,080
Speaker 4: But let's hear her out.

783
00:41:56,080 --> 00:42:01,880
Speaker 2: Okay, okay, anyway for the counting cats aside, She writes first,

784
00:42:01,920 --> 00:42:05,040
Speaker 2: regarding the Wizard of Oz's popularity being bolstered by TV.

785
00:42:05,560 --> 00:42:07,360
Speaker 2: You guys are too young to probably know this, but

786
00:42:07,400 --> 00:42:09,759
Speaker 2: before cable and DVDs, when I was a little kid

787
00:42:09,800 --> 00:42:11,960
Speaker 2: in the sixties and seventies, the Wizard of Oz was

788
00:42:12,040 --> 00:42:13,840
Speaker 2: not the kind of old movie you could catch on

789
00:42:13,880 --> 00:42:18,040
Speaker 2: your local UHF channel on a random weekend afternoon. It

790
00:42:18,080 --> 00:42:21,120
Speaker 2: was shown on network TV in primetime, and unless my

791
00:42:21,160 --> 00:42:24,240
Speaker 2: memory is faulty, only once a year, making it an event.

792
00:42:25,000 --> 00:42:28,440
Speaker 2: Lots of people looked forward greatly to their infrequent opportunity

793
00:42:28,520 --> 00:42:31,160
Speaker 2: to see it. That doesn't explain why someone in the

794
00:42:31,160 --> 00:42:35,319
Speaker 2: TV industry originally picked the not originally a blockbuster film

795
00:42:35,400 --> 00:42:37,960
Speaker 2: to be an event, of course, but it explains how

796
00:42:37,960 --> 00:42:40,080
Speaker 2: it became a movie that everybody knew and a lot

797
00:42:40,120 --> 00:42:43,799
Speaker 2: of people loved. This is a great point, and I'm

798
00:42:43,840 --> 00:42:46,160
Speaker 2: glad that she points it out, because I feel like

799
00:42:46,200 --> 00:42:49,080
Speaker 2: a lot of the TV movies that I think back on,

800
00:42:49,760 --> 00:42:52,760
Speaker 2: I think there were cases where I have a strong

801
00:42:52,760 --> 00:42:57,440
Speaker 2: memory of watching a theatrical film released in primetime as

802
00:42:57,440 --> 00:42:59,719
Speaker 2: a special event. I want to say that Aliens was

803
00:42:59,760 --> 00:43:02,840
Speaker 2: given and that treatment at one point with some expanded

804
00:43:02,920 --> 00:43:03,840
Speaker 2: scenes and all.

805
00:43:04,280 --> 00:43:05,000
Speaker 4: Edited for TV.

806
00:43:05,200 --> 00:43:07,800
Speaker 2: I guess, yeah, but with added footage like the footage

807
00:43:07,840 --> 00:43:10,640
Speaker 2: with the gun sentries and so forth. I remember watching

808
00:43:10,640 --> 00:43:15,000
Speaker 2: that on network television. But still other shows. Still, other

809
00:43:15,040 --> 00:43:17,440
Speaker 2: movies were movies that were just shown all the time

810
00:43:17,800 --> 00:43:21,120
Speaker 2: at various times of days, such as the Beast Master

811
00:43:21,400 --> 00:43:24,960
Speaker 2: movie or Clash of the Titans, or even the movie

812
00:43:25,040 --> 00:43:27,280
Speaker 2: we're going to be covering on tomorrow's Weird House Cinema

813
00:43:27,520 --> 00:43:30,480
Speaker 2: Willy Wonk and the Chocolate Factory. I asked my wife.

814
00:43:30,560 --> 00:43:32,719
Speaker 2: I was like, Hey, I'm going to rewatch this for work.

815
00:43:32,760 --> 00:43:34,560
Speaker 2: Do you want to watch it with me? And she's like, no,

816
00:43:34,840 --> 00:43:37,000
Speaker 2: I watched that a million times when I was a

817
00:43:37,080 --> 00:43:40,000
Speaker 2: kid because it was just on all the time. So

818
00:43:40,040 --> 00:43:43,080
Speaker 2: it's good to be reminded that, yes, there are these

819
00:43:43,120 --> 00:43:46,840
Speaker 2: cases where a theatrical film featured on network television. It

820
00:43:46,880 --> 00:43:49,799
Speaker 2: was a big deal event, it was an event. It

821
00:43:49,880 --> 00:43:53,959
Speaker 2: was appointment television, if you will anyway, She continues and says,

822
00:43:53,960 --> 00:43:56,760
Speaker 2: but onto my real reason for reaching out, I'm hoping

823
00:43:56,880 --> 00:43:58,919
Speaker 2: you are one of your Weird House listeners can help

824
00:43:58,960 --> 00:44:01,520
Speaker 2: me find the source of a made for TV movie

825
00:44:01,520 --> 00:44:04,440
Speaker 2: scene that has haunted me for half a century. I

826
00:44:04,480 --> 00:44:06,720
Speaker 2: think I saw it when I was between the ages

827
00:44:06,719 --> 00:44:09,120
Speaker 2: of nine or eleven, so in the ballpark of seventy

828
00:44:09,160 --> 00:44:12,400
Speaker 2: two through seventy four. I am almost certain it was

829
00:44:12,480 --> 00:44:15,439
Speaker 2: a TV movie rather than say, an episode of Night

830
00:44:15,520 --> 00:44:19,040
Speaker 2: Gallery or a theatrical film, and I think the plot

831
00:44:19,080 --> 00:44:23,239
Speaker 2: involved witchcraft or the Devil or both. The scene in

832
00:44:23,360 --> 00:44:26,640
Speaker 2: question involved a shed or basement with rows of dusty

833
00:44:26,800 --> 00:44:31,280
Speaker 2: canning jars, except they contained human eyeballs. At the time,

834
00:44:31,360 --> 00:44:33,759
Speaker 2: my family had a washer in our apartment, but the

835
00:44:33,920 --> 00:44:37,600
Speaker 2: clothes dryer was down in the scruffy, unfinished basement. My

836
00:44:37,760 --> 00:44:40,360
Speaker 2: mom used to make me run down to the basement

837
00:44:40,600 --> 00:44:42,680
Speaker 2: and put the laundry in and out of the dryer.

838
00:44:43,320 --> 00:44:45,600
Speaker 2: I also had a grandmother who made pickles and did

839
00:44:45,719 --> 00:44:48,440
Speaker 2: lots of other canning, so he had rats of dusty

840
00:44:48,520 --> 00:44:51,120
Speaker 2: canning jars in the basement too. You see where this

841
00:44:51,239 --> 00:44:54,160
Speaker 2: is going. For a good year after I saw the

842
00:44:54,160 --> 00:44:56,359
Speaker 2: scene on TV, every time I had to go down

843
00:44:56,400 --> 00:44:58,680
Speaker 2: to the scary basement, I walked by the shelves of

844
00:44:58,760 --> 00:45:02,400
Speaker 2: canning jars with my head cranked firmly in the opposite direction,

845
00:45:02,640 --> 00:45:05,120
Speaker 2: because to look upon them surely meant that they would

846
00:45:05,120 --> 00:45:08,600
Speaker 2: contain human body parts. If this rings any bells for

847
00:45:08,719 --> 00:45:12,120
Speaker 2: the made for TV horrorficionados among weird house cinema listeners,

848
00:45:12,280 --> 00:45:15,440
Speaker 2: I would love to know what the probably terrible movie

849
00:45:15,480 --> 00:45:17,920
Speaker 2: was so I could seek it out and watch it again.

850
00:45:18,000 --> 00:45:20,320
Speaker 2: Thanks again, guys for all your wonderful content.

851
00:45:20,480 --> 00:45:22,719
Speaker 3: Andrea, I don't know off the top of my head

852
00:45:22,719 --> 00:45:24,560
Speaker 3: what this movie would be, but I would love to

853
00:45:24,560 --> 00:45:26,239
Speaker 3: help you out Andrea, I feel like we could make

854
00:45:26,239 --> 00:45:28,719
Speaker 3: this emission and maybe maybe other listeners can chime in,

855
00:45:29,160 --> 00:45:31,160
Speaker 3: somebody out there, this is ringing a bell for.

856
00:45:31,040 --> 00:45:31,920
Speaker 4: You right in.

857
00:45:32,600 --> 00:45:35,200
Speaker 2: Yeah, and I love the memories that she shared of

858
00:45:35,239 --> 00:45:38,840
Speaker 2: the unfinished basement reminds me of two different basements. One

859
00:45:38,920 --> 00:45:42,239
Speaker 2: was a basement of my aunt's house, and this was

860
00:45:42,280 --> 00:45:44,240
Speaker 2: the time when my family was living in that house,

861
00:45:44,760 --> 00:45:47,719
Speaker 2: and you had to go down like these long stairs,

862
00:45:47,760 --> 00:45:51,280
Speaker 2: wooden stairs, into this unfinished basement where there was still

863
00:45:51,560 --> 00:45:53,879
Speaker 2: a heap of coal in one corner from that wing.

864
00:45:53,920 --> 00:45:55,839
Speaker 2: They used coal, so it was this big coal heap,

865
00:45:56,320 --> 00:45:59,440
Speaker 2: and then there were various chests and jars and some

866
00:45:59,520 --> 00:46:02,399
Speaker 2: of the also a lot of camel crickets down there.

867
00:46:02,719 --> 00:46:05,360
Speaker 2: And then there was at least one jar of water

868
00:46:05,440 --> 00:46:07,600
Speaker 2: that was open and it had like a drowned camel

869
00:46:07,640 --> 00:46:11,480
Speaker 2: cricket in it that had like stuff growing around it.

870
00:46:11,600 --> 00:46:15,920
Speaker 2: Still firmly fixed in my mind. And then then many

871
00:46:15,920 --> 00:46:18,040
Speaker 2: many years later, when I was in my like in

872
00:46:18,080 --> 00:46:20,000
Speaker 2: my twenties, I believe I was living in this house

873
00:46:20,440 --> 00:46:23,960
Speaker 2: in Atlanta that also had an unfinished basement, and that

874
00:46:24,120 --> 00:46:26,400
Speaker 2: was where the washer and dryer were. So you'd go

875
00:46:26,480 --> 00:46:29,359
Speaker 2: down there and you'd have to wash your stuff then

876
00:46:29,400 --> 00:46:31,600
Speaker 2: transfer over to the dryer, and you would just pray

877
00:46:31,680 --> 00:46:36,200
Speaker 2: that you wouldn't drop your underwear onto the floor down there,

878
00:46:36,239 --> 00:46:38,600
Speaker 2: because it was just dust. It was dirt, and there

879
00:46:38,600 --> 00:46:40,560
Speaker 2: would be no picking it back up again. So there

880
00:46:40,560 --> 00:46:44,440
Speaker 2: were like different underwears from different people that lived in

881
00:46:44,480 --> 00:46:47,080
Speaker 2: the house or had previously lived in the house, that

882
00:46:47,160 --> 00:46:49,640
Speaker 2: were just abandoned down there. And I guess they're still

883
00:46:49,640 --> 00:46:52,160
Speaker 2: there because I think this house has not changed. It's

884
00:46:52,200 --> 00:46:54,839
Speaker 2: one of the few houses in the particular neighborhood that

885
00:46:54,880 --> 00:46:56,759
Speaker 2: I lived in that has not changed at all.

886
00:46:57,000 --> 00:46:59,600
Speaker 3: Oh Man, years ago, Rachel and I lived in the

887
00:46:59,600 --> 00:47:03,040
Speaker 3: house in Atlanta that had a I mean, the kitchen

888
00:47:03,160 --> 00:47:05,320
Speaker 3: was basically like held onto the back of the house

889
00:47:05,320 --> 00:47:08,440
Speaker 3: with staples. It was like literally sagging off. And then

890
00:47:08,600 --> 00:47:11,600
Speaker 3: underneath that, in an unfinished basement, was where we had

891
00:47:11,640 --> 00:47:14,640
Speaker 3: to do laundry. And yeah, just like you're saying that

892
00:47:14,800 --> 00:47:18,839
Speaker 3: the laundry basement was like a set from the Bronx Warriors,

893
00:47:18,920 --> 00:47:22,120
Speaker 3: It's just you didn't want to go down there. And

894
00:47:22,160 --> 00:47:24,680
Speaker 3: there would be funny times where, like, you know, we'd

895
00:47:24,680 --> 00:47:26,440
Speaker 3: be in the middle of watching a horror movie and

896
00:47:26,520 --> 00:47:29,000
Speaker 3: Rachel would be like, oh, I need to change the launcher,

897
00:47:29,040 --> 00:47:30,560
Speaker 3: I need to flip.

898
00:47:30,360 --> 00:47:31,880
Speaker 4: Them around there. Can you come down with me?

899
00:47:32,080 --> 00:47:37,360
Speaker 2: So, listeners, if you have unfinished basement scenes that you

900
00:47:37,360 --> 00:47:39,640
Speaker 2: would like to set for us right in, we would

901
00:47:39,719 --> 00:47:42,960
Speaker 2: legitimately love to experience them as well. But anyway, as

902
00:47:42,960 --> 00:47:44,920
Speaker 2: far as this movie goes, yeah, I don't know what

903
00:47:45,000 --> 00:47:48,840
Speaker 2: this could be either. I got excited when you mentioned

904
00:47:48,920 --> 00:47:50,520
Speaker 2: Night Gallery and I was like, oh, I think there's

905
00:47:50,560 --> 00:47:54,040
Speaker 2: actually an episode of Nine Galleries titled Eyeballs, and I

906
00:47:54,080 --> 00:47:56,759
Speaker 2: believe Steven Spielberg directed it. But I don't remember what

907
00:47:57,160 --> 00:47:59,000
Speaker 2: was in that, and I don't know if there were

908
00:47:59,040 --> 00:48:03,480
Speaker 2: ever jars of Eyeball Night Gallery. So yeah, this is

909
00:48:03,520 --> 00:48:13,440
Speaker 2: the sort of challenge that I'm willing to accept. Okay.

910
00:48:13,560 --> 00:48:18,120
Speaker 3: Next message is from Gary, subject line, I watched Invitation to.

911
00:48:18,120 --> 00:48:20,360
Speaker 4: Hell on TV in the eighties.

912
00:48:20,600 --> 00:48:24,840
Speaker 3: Yes, Gary, says, Hi, there, your episode on Invitation to

913
00:48:24,880 --> 00:48:28,800
Speaker 3: Hell took me back in the nineteen eighties. In New Zealand,

914
00:48:29,120 --> 00:48:32,600
Speaker 3: there was a regular slot on Sunday Night TV aptly

915
00:48:32,640 --> 00:48:36,680
Speaker 3: called the Sunday Night Horrors, when a horror movie would

916
00:48:36,719 --> 00:48:39,000
Speaker 3: be broadcast, just the right thing to help you with

917
00:48:39,040 --> 00:48:41,600
Speaker 3: your anxiety about going back to work the next day. Yeah,

918
00:48:43,080 --> 00:48:45,640
Speaker 3: Gary says, I used to watch these regularly as a

919
00:48:45,680 --> 00:48:49,120
Speaker 3: young teenager sitting in the dark being petrified by classics

920
00:48:49,160 --> 00:48:54,319
Speaker 3: like Poltergeist, Halloween, the Omen American Werewolf in London, and

921
00:48:54,560 --> 00:48:57,280
Speaker 3: because there are a finite number of big horror movies,

922
00:48:57,600 --> 00:49:00,839
Speaker 3: the memorable Invitation to Hell, which I think I would

923
00:49:00,840 --> 00:49:05,120
Speaker 3: have watched in nineteen eighty five. For some reason, whilst

924
00:49:05,280 --> 00:49:07,839
Speaker 3: most of these straight to TV horror movies have been

925
00:49:07,880 --> 00:49:11,400
Speaker 3: erased from my memory, Invitation to Hell has always stuck

926
00:49:11,440 --> 00:49:14,640
Speaker 3: with me, forever, scarring me into being highly suspicious of

927
00:49:14,719 --> 00:49:19,160
Speaker 3: any country club like institutions I have encountered since because

928
00:49:19,200 --> 00:49:21,600
Speaker 3: of the chance that they might be hiding an infernal

929
00:49:21,680 --> 00:49:26,360
Speaker 3: portal to the underworld. Thanks for the trip down memory lane. Cheers, Gary.

930
00:49:27,880 --> 00:49:31,920
Speaker 2: Oh thanks Gary, I really enjoyed hearing that. And I

931
00:49:31,960 --> 00:49:35,440
Speaker 2: had to look up Sunday Night Horrors and assuming this

932
00:49:35,520 --> 00:49:38,000
Speaker 2: is the same one, and I'm reading this on stuff

933
00:49:38,080 --> 00:49:42,279
Speaker 2: dot co dot Nz, there's an article about it, because

934
00:49:42,280 --> 00:49:44,239
Speaker 2: I was wondering it's like the sounds like there might

935
00:49:44,280 --> 00:49:47,040
Speaker 2: have been a horror host. Indeed, it seems like there

936
00:49:47,160 --> 00:49:50,640
Speaker 2: was count Robulus ouppears to have been the host or

937
00:49:50,760 --> 00:49:52,560
Speaker 2: was one of the hosts. I'm not sure at least

938
00:49:53,280 --> 00:49:55,719
Speaker 2: maybe they only had one host, but Count Robulus is

939
00:49:55,719 --> 00:49:59,640
Speaker 2: definitely in the mix. And this character was seemingly played

940
00:49:59,680 --> 00:50:03,839
Speaker 2: by a former Prime Minister of New Zealand. All right,

941
00:50:03,880 --> 00:50:06,960
Speaker 2: that is this is a rabbit hole. I was not

942
00:50:07,000 --> 00:50:10,400
Speaker 2: prepared to go down. More information is required, but I

943
00:50:10,520 --> 00:50:13,719
Speaker 2: can't research it in real time as we record an episode.

944
00:50:14,040 --> 00:50:17,759
Speaker 3: Yeah, we'll have to bookmark that for later. Okay, Rob,

945
00:50:17,800 --> 00:50:19,760
Speaker 3: you want to read any more of these weird House messages,

946
00:50:19,800 --> 00:50:20,279
Speaker 3: take your pick?

947
00:50:25,560 --> 00:50:28,000
Speaker 2: All right, let's see. Oh yeah, here's one from Paul

948
00:50:28,080 --> 00:50:30,399
Speaker 2: Hi Robin Joe. This is my second time writing about

949
00:50:30,400 --> 00:50:33,480
Speaker 2: weird house cinema. Last time it was regarding Danger Diabolic,

950
00:50:33,680 --> 00:50:36,320
Speaker 2: which I loved. This time i'm writing with a recommendation.

951
00:50:36,719 --> 00:50:40,680
Speaker 2: Are you familiar with the Quatermass series made in England

952
00:50:40,719 --> 00:50:44,800
Speaker 2: in the late fifties. Quartermass two is a dark, serious

953
00:50:44,800 --> 00:50:48,400
Speaker 2: movie dealing with an alien infiltration with Cold War overtones.

954
00:50:48,640 --> 00:50:50,400
Speaker 2: I think it would make a fine Weird House episode.

955
00:50:50,400 --> 00:50:54,040
Speaker 2: As always, looking forward to your next episode, Paul. Well, Paul,

956
00:50:54,080 --> 00:50:59,680
Speaker 2: thanks for writing it. I've only seen one Quartermass episode,

957
00:50:59,760 --> 00:51:03,840
Speaker 2: and that's a quarter Mass and the Pit, which I loved.

958
00:51:04,440 --> 00:51:07,680
Speaker 2: This was one that I saw on TV I forget

959
00:51:07,719 --> 00:51:11,000
Speaker 2: what channel, and I was really just enraptured by it

960
00:51:11,320 --> 00:51:13,120
Speaker 2: on the whole. I think it is really good effects,

961
00:51:13,160 --> 00:51:15,400
Speaker 2: but you know, effects that are maybe going to not

962
00:51:15,520 --> 00:51:20,000
Speaker 2: hold up to at the time modern expectations of sci

963
00:51:20,000 --> 00:51:22,839
Speaker 2: fi movie effects. But the story is so good and

964
00:51:22,880 --> 00:51:26,880
Speaker 2: so haunting and just so well executed. And Joe, didn't

965
00:51:26,920 --> 00:51:30,720
Speaker 2: you have a film from this series kind of bouncing

966
00:51:30,760 --> 00:51:32,279
Speaker 2: around as a possibility at one point.

967
00:51:32,400 --> 00:51:34,440
Speaker 3: Yeah, I've been meaning to look at one called The

968
00:51:34,480 --> 00:51:35,600
Speaker 3: Quatermass Experiment.

969
00:51:36,719 --> 00:51:38,759
Speaker 2: I'll add this is also a series. I used to

970
00:51:38,960 --> 00:51:42,480
Speaker 2: read this in my head as quarter Mass. Yeah, so

971
00:51:43,040 --> 00:51:48,520
Speaker 2: if I if I'm mistakenly say quarter Mass now or

972
00:51:48,560 --> 00:51:50,160
Speaker 2: in the future, that is why.

973
00:51:50,360 --> 00:51:52,920
Speaker 3: For some reason I keep getting the quater Mass Experiment.

974
00:51:53,200 --> 00:51:55,360
Speaker 3: I don't know why I'm mixed up with a different

975
00:51:55,719 --> 00:51:59,000
Speaker 3: British horror movie called The Earth Dyed Screaming m.

976
00:51:59,719 --> 00:52:02,680
Speaker 2: Yeah that is yeah, that's that's not a part of

977
00:52:02,719 --> 00:52:05,840
Speaker 2: this franchise. But maybe part of the reason is Quater

978
00:52:05,880 --> 00:52:08,879
Speaker 2: Moss in the Pit was also what fifty million years

979
00:52:08,880 --> 00:52:09,280
Speaker 2: to Earth?

980
00:52:10,280 --> 00:52:14,520
Speaker 3: Oh yeah, okay, maybe yeah, they're all I'm grouping them

981
00:52:14,520 --> 00:52:17,200
Speaker 3: together in my head for some reason, but I plan

982
00:52:17,280 --> 00:52:25,480
Speaker 3: to come check them all out at some point. All right,

983
00:52:25,840 --> 00:52:28,839
Speaker 3: I'm going to do this message from Mike about Weird House,

984
00:52:28,840 --> 00:52:31,120
Speaker 3: says Dear Robert and Joe. I'm listening to the Weird

985
00:52:31,160 --> 00:52:34,400
Speaker 3: House Cinema episode about Uninvited, and you were talking about

986
00:52:34,440 --> 00:52:39,400
Speaker 3: favorite director cameos. You mentioned David Cronenberg. Yeah, one of

987
00:52:39,400 --> 00:52:41,440
Speaker 3: my favorite directors to get in front of the camera.

988
00:52:42,000 --> 00:52:42,520
Speaker 4: Mike says.

989
00:52:42,560 --> 00:52:45,279
Speaker 3: A few years ago, I was watching Star Trek Discovery.

990
00:52:45,640 --> 00:52:48,000
Speaker 3: The later seasons of the show have the crew forced

991
00:52:48,000 --> 00:52:50,600
Speaker 3: to jump nine hundred or so years into the future,

992
00:52:50,920 --> 00:52:54,000
Speaker 3: and the version of the Federation there had an intelligence

993
00:52:54,000 --> 00:52:57,239
Speaker 3: officer named Kovich. As soon as I saw him, I

994
00:52:57,280 --> 00:53:01,560
Speaker 3: thought he was giving serious Kronenberg vibes until I realized, Hey,

995
00:53:01,840 --> 00:53:05,960
Speaker 3: that is David Cronenberg. He just basically shows up in

996
00:53:06,000 --> 00:53:08,520
Speaker 3: several episodes dressed in a normal suit and tie and

997
00:53:08,560 --> 00:53:12,359
Speaker 3: seeming very incongruous with everything going on around him. Love

998
00:53:12,440 --> 00:53:15,400
Speaker 3: the show, Thank you, Mike and Mike Attash is a

999
00:53:15,440 --> 00:53:20,280
Speaker 3: screenshot where I would say Cronenberg is looking a little

1000
00:53:20,320 --> 00:53:23,960
Speaker 3: bit like, well, what's her name? She's She's a current

1001
00:53:24,040 --> 00:53:27,560
Speaker 3: judge on The Great British bakeoff pro Leath.

1002
00:53:27,719 --> 00:53:29,799
Speaker 2: I think, yeah, I know the one you're talking about.

1003
00:53:29,880 --> 00:53:33,960
Speaker 4: Yeah, yeah, this is the Glasses, I think, yeah, yeah.

1004
00:53:34,000 --> 00:53:38,440
Speaker 2: I had heard about his role in these in the

1005
00:53:38,880 --> 00:53:40,520
Speaker 2: Star Trek series. This is not one of the Star

1006
00:53:40,560 --> 00:53:43,239
Speaker 2: Trek series I've watched, but I was tempted to when

1007
00:53:43,440 --> 00:53:46,520
Speaker 2: when I heard the Cronenberg shows up. Yeah, he occasionally,

1008
00:53:46,640 --> 00:53:49,319
Speaker 2: even fairly recently in recent years, You've seen him show

1009
00:53:49,400 --> 00:53:51,920
Speaker 2: up on a few different things. There's some period drama

1010
00:53:51,960 --> 00:53:54,680
Speaker 2: that my wife was watching and like, Cronenberg just shows

1011
00:53:54,760 --> 00:53:58,160
Speaker 2: up in that as well. There's little acting gigs here

1012
00:53:58,160 --> 00:54:05,960
Speaker 2: and there. I think it just stays busy. All right.

1013
00:54:05,960 --> 00:54:07,560
Speaker 2: There's another one. This one comes to us from Chris

1014
00:54:07,600 --> 00:54:10,400
Speaker 2: good Day. I recently heard a podcast give a spoiler

1015
00:54:10,440 --> 00:54:13,239
Speaker 2: warning where they sarcastically added in case you need a

1016
00:54:13,280 --> 00:54:16,080
Speaker 2: spoiler warning for a forty year old movie, which I

1017
00:54:16,120 --> 00:54:18,759
Speaker 2: thought was odd. Since you all are very good at

1018
00:54:18,760 --> 00:54:21,480
Speaker 2: giving spoiler warnings, I'm really interested in what you'd have

1019
00:54:21,520 --> 00:54:24,319
Speaker 2: to say about them and how cultures treat them. What

1020
00:54:24,480 --> 00:54:27,160
Speaker 2: are spoilers? What counts as one? Why do some people

1021
00:54:27,200 --> 00:54:30,360
Speaker 2: care about them more than others? Thanks for doing good work,

1022
00:54:30,440 --> 00:54:31,520
Speaker 2: Best wishes, Chris.

1023
00:54:32,280 --> 00:54:35,399
Speaker 3: Oh, thanks Chris. That is an interesting idea, like when

1024
00:54:35,480 --> 00:54:38,279
Speaker 3: do spoilers matter and why? What is the logic we

1025
00:54:38,400 --> 00:54:42,960
Speaker 3: use to decide that it's certainly we're inconsistent about it

1026
00:54:43,000 --> 00:54:45,399
Speaker 3: on Weird House, and I think it's just a case

1027
00:54:45,440 --> 00:54:48,959
Speaker 3: to case judgment call. It's like when we're talking about

1028
00:54:48,960 --> 00:54:52,359
Speaker 3: a movie where I feel like the revelations that come

1029
00:54:52,440 --> 00:54:55,839
Speaker 3: in the plot are actually surprising and there is some

1030
00:54:55,920 --> 00:54:59,640
Speaker 3: amount of pleasure in being surprised by them. That's when

1031
00:54:59,680 --> 00:55:02,640
Speaker 3: I throw in, like a oh, spoiler warning. A lot

1032
00:55:02,640 --> 00:55:04,560
Speaker 3: of the movies we talk about, you have many great

1033
00:55:04,560 --> 00:55:06,880
Speaker 3: things to love, but maybe a lot of the pleasure

1034
00:55:06,960 --> 00:55:10,760
Speaker 3: doesn't come from the the you know, surprising or inventive

1035
00:55:10,880 --> 00:55:12,720
Speaker 3: nature of the plot dynamics.

1036
00:55:13,239 --> 00:55:19,560
Speaker 2: Yeah, I mean it's it gets a careful line to walk,

1037
00:55:19,680 --> 00:55:22,600
Speaker 2: because on one hand, I think it can be said

1038
00:55:22,600 --> 00:55:26,600
Speaker 2: that pretty much any movie is at its best if

1039
00:55:26,600 --> 00:55:30,319
Speaker 2: you can go in cold. But it's also unrealistic to

1040
00:55:30,400 --> 00:55:34,520
Speaker 2: have that expectation for every film you watch, and in

1041
00:55:34,600 --> 00:55:37,319
Speaker 2: part because stuff is going to be spoiled for you,

1042
00:55:37,400 --> 00:55:41,040
Speaker 2: obviously by promotions for the film, by the cover art

1043
00:55:41,120 --> 00:55:43,680
Speaker 2: for the film, or just people telling you about the film,

1044
00:55:43,719 --> 00:55:48,719
Speaker 2: and on top of that, some spoilers are sometimes necessary

1045
00:55:48,760 --> 00:55:50,839
Speaker 2: just to get you interested in it. Like you want

1046
00:55:50,840 --> 00:55:52,759
Speaker 2: to see a film more X happens and you're like, yeah,

1047
00:55:52,800 --> 00:55:54,360
Speaker 2: I want to see a film more X happens, and

1048
00:55:54,360 --> 00:55:56,440
Speaker 2: then you look it up, Whereas if you didn't know

1049
00:55:56,760 --> 00:55:58,719
Speaker 2: X was going to happen, you might never have watched

1050
00:55:58,760 --> 00:55:59,799
Speaker 2: that movie to begin with.

1051
00:56:00,160 --> 00:56:03,760
Speaker 3: I guess another virtue of the fact that more often

1052
00:56:03,840 --> 00:56:06,080
Speaker 3: we cover older movies on Weird House Cinema.

1053
00:56:06,160 --> 00:56:07,240
Speaker 4: I mean we you know, we don't.

1054
00:56:07,040 --> 00:56:09,359
Speaker 3: Have a rule against doing newer movies, but more often

1055
00:56:09,400 --> 00:56:11,480
Speaker 3: we cover older movies. That does take some of the

1056
00:56:11,560 --> 00:56:15,200
Speaker 3: spoiler pressure off. I feel like with movies that are

1057
00:56:15,200 --> 00:56:17,520
Speaker 3: a few decades old, I still will give.

1058
00:56:17,400 --> 00:56:19,080
Speaker 4: A warning, you know, just for people who have never

1059
00:56:19,120 --> 00:56:19,560
Speaker 4: seen them.

1060
00:56:19,600 --> 00:56:21,600
Speaker 3: If it's like there's a lot there are many great

1061
00:56:21,600 --> 00:56:25,160
Speaker 3: surprises that I want to keep intact and protect, But

1062
00:56:25,840 --> 00:56:28,840
Speaker 3: there's just generally less pressure with older stuff to be

1063
00:56:28,920 --> 00:56:29,839
Speaker 3: careful about it.

1064
00:56:29,880 --> 00:56:32,560
Speaker 2: I think, yeah. And I also think when it comes

1065
00:56:32,560 --> 00:56:35,360
Speaker 2: to spoilers in general, intention is a big thing. So

1066
00:56:35,680 --> 00:56:39,080
Speaker 2: is are things being spoiled, you know, in a mean

1067
00:56:39,120 --> 00:56:43,520
Speaker 2: spirited way or a careless, reckless way. You know, that's

1068
00:56:43,600 --> 00:56:47,240
Speaker 2: that's one thing. But are spoilers being used to entice

1069
00:56:47,280 --> 00:56:49,880
Speaker 2: you to see something, to get you excited about something,

1070
00:56:50,239 --> 00:56:52,600
Speaker 2: or to prepare you for something that you might not

1071
00:56:52,800 --> 00:56:54,480
Speaker 2: want to see. You know, it's kind of like a

1072
00:56:54,520 --> 00:56:57,560
Speaker 2: you know, trigger warning or something to that effect. You know,

1073
00:56:57,600 --> 00:57:01,360
Speaker 2: everyone has a different, you know, different different values and

1074
00:57:01,400 --> 00:57:04,759
Speaker 2: expectations along those lines. I used to to work with

1075
00:57:04,800 --> 00:57:08,239
Speaker 2: someone who would religiously spoil everything in a movie, like

1076
00:57:08,280 --> 00:57:10,880
Speaker 2: read full spoilers before she watched a film, because she

1077
00:57:10,960 --> 00:57:13,920
Speaker 2: didn't want to be surprised by anything, you know, And

1078
00:57:14,520 --> 00:57:16,960
Speaker 2: I get it. It's not not what I tend to do.

1079
00:57:17,360 --> 00:57:20,400
Speaker 2: But you know, sometimes you know, certainly we we will

1080
00:57:20,440 --> 00:57:22,680
Speaker 2: look into movies before we select them for a weird house,

1081
00:57:22,760 --> 00:57:25,960
Speaker 2: to see if there's anything, you know, in particular, that

1082
00:57:26,040 --> 00:57:27,840
Speaker 2: we don't want to deal with, we don't want to

1083
00:57:27,880 --> 00:57:30,400
Speaker 2: talk about, and so you know, it pays to spoil

1084
00:57:30,440 --> 00:57:32,120
Speaker 2: ourselves a little bit in those cases.

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00:57:32,440 --> 00:57:36,200
Speaker 3: I once had a literature professor, actually an English professor,

1086
00:57:36,280 --> 00:57:39,120
Speaker 3: who told me that he would always read the last

1087
00:57:39,160 --> 00:57:42,160
Speaker 3: chapter of a book first, or always wante the ending first.

1088
00:57:42,280 --> 00:57:43,840
Speaker 3: I don't know if he was telling the truth, but

1089
00:57:43,880 --> 00:57:46,760
Speaker 3: that's what he claimed, and that seemed perverse to me.

1090
00:57:46,960 --> 00:57:51,040
Speaker 3: But yeah, I think his explanation was, you know, he

1091
00:57:51,120 --> 00:57:53,160
Speaker 3: wanted to see the end first, to see to figure

1092
00:57:53,160 --> 00:57:54,320
Speaker 3: out how they're going to get there.

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00:57:54,800 --> 00:57:59,440
Speaker 2: Yeah, yeah, that makes sense. So again, I'm not endorsing

1094
00:57:59,480 --> 00:58:03,200
Speaker 2: that life style. Yeah, everyone's mileage on this is going

1095
00:58:03,280 --> 00:58:05,560
Speaker 2: to vary, but yeah, I guess the way we tend

1096
00:58:05,560 --> 00:58:07,560
Speaker 2: to do it is, yeah, well, we may spoil a

1097
00:58:07,600 --> 00:58:09,400
Speaker 2: little bit to try and get you excited about it,

1098
00:58:09,600 --> 00:58:11,880
Speaker 2: but we also don't spoil as much as a modern

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00:58:11,880 --> 00:58:14,560
Speaker 2: movie trailer, which is generally made by someone who is

1100
00:58:14,600 --> 00:58:17,000
Speaker 2: just trying to make you see that movie at all costs,

1101
00:58:17,040 --> 00:58:19,680
Speaker 2: even if they have to ruin everything. We don't actually

1102
00:58:19,760 --> 00:58:21,880
Speaker 2: make any money off of you seeing the films that

1103
00:58:21,880 --> 00:58:25,360
Speaker 2: we cover on Weird House Cinema. Our incentive is, if

1104
00:58:25,360 --> 00:58:27,040
Speaker 2: this is the sort of film you'd like to see,

1105
00:58:27,080 --> 00:58:28,880
Speaker 2: we really want you to watch it. Yeah.

1106
00:58:29,480 --> 00:58:33,560
Speaker 3: I hope we're just making an entertaining, interesting and informative show.

1107
00:58:33,720 --> 00:58:37,720
Speaker 3: And yeah, if any movie we talk about tickles your fancy,

1108
00:58:37,840 --> 00:58:38,600
Speaker 3: we hope you see it.

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00:58:39,160 --> 00:58:40,880
Speaker 2: All Right, we're going to go and close up the

1110
00:58:40,880 --> 00:58:43,360
Speaker 2: mail bag for today, but we'll be back in the

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00:58:43,520 --> 00:58:47,320
Speaker 2: not too distant future to cover more listener mails, lister

1112
00:58:47,400 --> 00:58:50,120
Speaker 2: mails that we had in the mail bag for today

1113
00:58:50,120 --> 00:58:52,920
Speaker 2: but didn't get to, or new listener mails that you're

1114
00:58:52,960 --> 00:58:56,080
Speaker 2: going to send in in the weeks to follow. If

1115
00:58:56,080 --> 00:58:58,680
Speaker 2: you want to talk about current episodes, past episodes, or

1116
00:58:58,840 --> 00:59:02,360
Speaker 2: future episodes of Stuff to Blow your Mind, the Monster Fact,

1117
00:59:02,400 --> 00:59:05,680
Speaker 2: the artifact on amalyst Dependium, or of course, Weird House Cinema,

1118
00:59:05,760 --> 00:59:08,120
Speaker 2: write in we would love to hear from here.

1119
00:59:08,120 --> 00:59:11,880
Speaker 3: Here's things as always to our excellent audio producer JJ Posway.

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00:59:12,280 --> 00:59:13,880
Speaker 3: If you would like to get in touch with us

1121
00:59:13,880 --> 00:59:16,360
Speaker 3: with feedback on this episode or any other, to suggest

1122
00:59:16,400 --> 00:59:18,560
Speaker 3: a topic for the future, or just to say hello,

1123
00:59:18,800 --> 00:59:21,400
Speaker 3: you can email us at contact at stuff to Blow

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00:59:21,440 --> 00:59:29,800
Speaker 3: your Mind dot com.

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00:59:29,920 --> 00:59:32,880
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1126
00:59:32,960 --> 00:59:35,760
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

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00:59:35,880 --> 00:59:38,640
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.