WEBVTT - STBYM Listener Mail: Amy Good Gorilla

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

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<v Speaker 2>Hey you welcome to Stuff to Blow your Mind. Listener Mail.

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<v Speaker 2>My name is Robert.

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<v Speaker 3>Lamb and I am Joe McCormick, and listener mail is

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<v Speaker 3>the type of episode where we read back messages that

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<v Speaker 3>we receive at the Stuff to Blow your Mind email account.

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<v Speaker 3>If you've never gotten in touch before, now would be

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<v Speaker 3>a great time to do it. That address is contact

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<v Speaker 3>at stuff to Blow your Mind dot com. Whatever kind

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<v Speaker 3>always love feedback to recent episodes, especially if you have

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<v Speaker 3>something interesting to add to a topic that we've talked about,

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<v Speaker 3>if you have personal experience that's relevant to something we've

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<v Speaker 3>discussed on the show. If you ever need to issue

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

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<v Speaker 3>to Blow your Mind dot com.

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<v Speaker 2>Yeah. That's also the address where you can ask to

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<v Speaker 2>join the discord server. If you want to do that.

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<v Speaker 2>House Cinema, go to letterbox dot com and you'll find

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<v Speaker 2>our user name there, weird House.

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<v Speaker 3>All right, should we jump right into the messages?

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<v Speaker 2>Let's do it?

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<v Speaker 3>All right, So we got a bunch of responses to

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<v Speaker 3>our series on Manta rays.

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<v Speaker 4>Maybe let's see.

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<v Speaker 3>Do you want to read this one from Jeff rob

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<v Speaker 3>I shall.

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<v Speaker 2>Yes, this is Jeff with one F. We also have

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<v Speaker 2>Jeff's with two f's. We have jeffs with three f's. Possibly,

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<v Speaker 2>we also have jeffs with no fs, jeffs that are

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<v Speaker 2>just completely out of f. But this is just one F.

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<v Speaker 4>For Jeffanie.

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<v Speaker 3>Yeah, but Jeff gets in touch about man rays. Also,

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<v Speaker 3>we should flag that Jeff is going to bring up

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<v Speaker 3>in this email pages from a book series called Animals

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<v Speaker 3>Do the Strangest Things. This is something we've talked about

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<v Speaker 3>in the past. It's come up on previous listener males.

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<v Speaker 3>That was the of nineteen sixties or seventies children's animal

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<v Speaker 3>book series that refers to mating pairs of animals as

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<v Speaker 3>husband and wife.

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<v Speaker 2>Yeah, look up those pages. You can find them in

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<v Speaker 2>your image search of choice. Yeah, all right, Jeff says

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<v Speaker 2>the following greetings. I had the opportunity to swim with

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<v Speaker 2>mantas off the shore of ConA, on the Big Island

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<v Speaker 2>of Hawaii. A charter took us out at night and

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<v Speaker 2>to snorkel in the dark water. They gave us a

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<v Speaker 2>wacky noodle to keep a float with minimal effort, and

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<v Speaker 2>dropped in a floating PVC rig with lights that shone

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<v Speaker 2>down into the water. Various plankton and tiny animals are

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<v Speaker 2>attracted to the lights, and the mantas have learned that

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<v Speaker 2>there will be a free dinner at that location. Shortly

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<v Speaker 2>after our arrival, maybe half a dozen mantas quickly got

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<v Speaker 2>organized and started performing slow, graceful backwards loops under the lights,

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<v Speaker 2>coming within inches of us at the surface, over and over.

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<v Speaker 2>I had always understood somersaults to be headfirst downward flips,

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<v Speaker 2>though it seems backwards sum results are a thing, so

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<v Speaker 2>I wanted to clarify that the sumrsaulting behavior you mentioned

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<v Speaker 2>is essentially backflips. I was with someone who is somewhat

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<v Speaker 2>anxious snorkeling even in good visibility in broad daylight around

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<v Speaker 2>normal sized fauna, so I was a little worried about

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<v Speaker 2>her freaking out in the middle of a dark ocean

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<v Speaker 2>with giant sea monsters circling below us. As soon as

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<v Speaker 2>the Mansas showed up, she erupted in a noise that

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<v Speaker 2>I couldn't immediately identify. I wasn't sure if it was

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<v Speaker 2>terror or delight, but thankfully it was the latter, and

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<v Speaker 2>she giggled almost continuously throughout the wonderful experience. I don't

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<v Speaker 2>know if these trips are considered to be ecologically responsible,

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<v Speaker 2>but I didn't get any pictures because they told us

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<v Speaker 2>to keep our hands on the floating PVC bar and

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<v Speaker 2>not to bring cameras, gloves, or anything else that might

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<v Speaker 2>encourage us to reach out toward the rays. They warned

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<v Speaker 2>us that even just touching them with a fingertip could

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<v Speaker 2>remove some of their protective coating that keeps them safe

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<v Speaker 2>from parasites and disease. For their part, the Mantas seem

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<v Speaker 2>completely disinterested in the human jetsum and we're not looking

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<v Speaker 2>for a snuggle. I imagine that altering their dining plan

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<v Speaker 2>could lead to some negative side effects, but the operation

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<v Speaker 2>we went out with appeared to be nothing but careful

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<v Speaker 2>and respectful. This is fascinating. This is not an experience

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<v Speaker 2>I have had, I believe on one of our trips

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<v Speaker 2>out to the Hawaiian Islands, my wife was going to

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<v Speaker 2>do one of these trips with a friend and then

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<v Speaker 2>due to weather, it got canceled. And I certainly I'm

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<v Speaker 2>not saying I wouldn't do it, and in fact, I'm

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<v Speaker 2>more inclined to do it now that I have had

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<v Speaker 2>such an awesome experience in the water with mantas during

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<v Speaker 2>the daylight. You know, I can definitely understand, you know,

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<v Speaker 2>once you're in them on once you're in the water

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<v Speaker 2>with them, once you see them, this kind of giddiness

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<v Speaker 2>overcomes you, like you know that these creatures are not

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<v Speaker 2>a threat to you, and it's such a magical experience.

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<v Speaker 2>That being said, I I have never gone snorkeling at night.

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<v Speaker 2>It's something that has long not appealed to me. But

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<v Speaker 2>I'm willing to potentially press through my own ease to

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

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<v Speaker 2>Otherwise I wouldn't have any new experiences.

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<v Speaker 3>I have no experience snorkeling at all, but I think

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<v Speaker 3>I would be scared to death to get.

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<v Speaker 4>Into the dark ocean at night.

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

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<v Speaker 3>But you can't see very far in the water, so

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<v Speaker 3>you just you don't know what's down there.

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<v Speaker 2>Yeah, yeah, but I will for my own part anyway.

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<v Speaker 2>If there's like a good guide, a good good team,

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<v Speaker 2>like leading things like that gives me a lot of

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<v Speaker 2>confidence too. It's like this, if this person's not worried,

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

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<v Speaker 2>My unsolicited travel advice is that the Big Island of

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<v Speaker 2>Hawaii offers the most amazing diversity. Waterfalls, lava, moonscapes, steaming

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<v Speaker 2>sulfur events, giant craters, snow covered mountains, rain forest, black

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<v Speaker 2>green and regular sand beaches, snorkeling among beautiful, colorful fish

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<v Speaker 2>in clear water right off of public beach, which you

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<v Speaker 2>can walk through a lava tube and if conditions are right,

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<v Speaker 2>you can see fresh orange lava. Going all the way

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<v Speaker 2>to Hawaii without seeing real lava was a deal breaker

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<v Speaker 2>for me, so the Big Island was a requirement. You

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<v Speaker 2>can start in town at sea level, drive up a mountain,

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<v Speaker 2>passing through the clouds with the occasional alarming lack of visibility,

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<v Speaker 2>then break into the clear air above the clouds to

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<v Speaker 2>visit an observatory with amazing views of distant galaxies. I

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<v Speaker 2>wouldn't plan on any long hikes up there, as we

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<v Speaker 2>were winded just walking through the parking lot at that altitude.

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<v Speaker 2>When we got back into town on the same night,

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<v Speaker 2>a half full water bottle that we closed at the

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<v Speaker 2>top of the mountain was impressively crumpled, being crushed by

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<v Speaker 2>the sea level air pressure. I agree with all this.

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<v Speaker 2>The Big Island is indeed a special place. I've visited

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<v Speaker 2>it only twice, once in my twenties when I had

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<v Speaker 2>a friend who lived ont in Hawaii, and once more

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<v Speaker 2>a few years back with family and friends. For my money.

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<v Speaker 2>Volcano National Park alone is worth the journey, just such

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<v Speaker 2>an amazing land escape. But indeed there's rich and varied

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<v Speaker 2>natural beauty there, just in spades, so highly recommended. Have

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<v Speaker 2>the chance to go there, all right, But Jeff is

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<v Speaker 2>not done. Jeff continues, speaking of creepiness. We were kayaking

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<v Speaker 2>in the Cayman Islands, and the sting rays must have

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<v Speaker 2>been accustomed to being fed, because not only did they

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<v Speaker 2>appear as ominous moving shadows on the ocean, floor. They

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<v Speaker 2>would also sometimes follow us or head straight for us.

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<v Speaker 2>Knowing that they are not interested in eating your face

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<v Speaker 2>is one thing, but it's still deeply disturbing when something

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<v Speaker 2>huge you thought was a boulder or a patch of

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<v Speaker 2>coral starts charging at you from a completely different plane

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<v Speaker 2>of existence. In the Sea of Cortes, we saw mobular

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<v Speaker 2>rays leaping out of the water with such frequency that

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<v Speaker 2>we almost got bored with them. They are much smaller

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<v Speaker 2>than giant mantas, so the splashdowns are not exactly thunderous,

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<v Speaker 2>but apparently at some times of the year, great schools

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<v Speaker 2>of rays will launch out of the water, all at

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<v Speaker 2>the same time. I observe that they continue to flap

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<v Speaker 2>their wings as they shoot through the air, which is

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<v Speaker 2>both charming and a little bit funny. Maybe one day

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<v Speaker 2>the atmosphere will be thick enough for them to really

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<v Speaker 2>take off. Oh, we can only hope for fun. I

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<v Speaker 2>have included the chapters on rays and remoras from fish

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<v Speaker 2>do the Strangest things. The advice about dragging your feet

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<v Speaker 2>to avoid stingrays has stuck with me for life, although

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<v Speaker 2>given the accuracy of some of the information in those books,

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<v Speaker 2>I'm not sure if this is actually good intel. Oh

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<v Speaker 2>and in case no one else mentions that, if you're

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<v Speaker 2>in the market for weird house space mantas, you might

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<v Speaker 2>want to check out the Roger Korman movie Lords of

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<v Speaker 2>the Deep from nineteen eighty nine, the golden year of

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<v Speaker 2>the underwater monster movie. Although maybe not, because if I

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<v Speaker 2>recall correctly, it's kind of boring.

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<v Speaker 3>I tried to watch it one time and remember almost

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<v Speaker 3>nothing about it except that it had the flavor of

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<v Speaker 3>one of those grunge era Canadian TV shows Are You

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<v Speaker 3>Afraid of the Dark sets?

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<v Speaker 2>Yeah, this is one of the titles where my nineteen

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<v Speaker 2>eighty nine underwater sci fi enthusiasm starts to peter out

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<v Speaker 2>a bit. So I've never actually seen it, but I

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<v Speaker 2>remember loving the VHS cover back when I was a kid.

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<v Speaker 2>I included it here for you to look at, Joe,

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<v Speaker 2>along with a couple of screen caps of the alien

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<v Speaker 2>manta in question with enormous glowing red eyes.

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<v Speaker 3>But the manta's wings don't really look like wings.

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<v Speaker 4>Instead, it just looks like.

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<v Speaker 3>A huge severed bunny head with it. It's like the

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<v Speaker 3>ears flopping out to the side. It's like white fur

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<v Speaker 3>bunny with red eyes.

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<v Speaker 2>I guess it does kind of look like a demonic bunny,

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<v Speaker 2>like some sort of dark bunny god from Watershipped Down. Anyway,

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<v Speaker 2>Jeff says, thanks for your series on these particularly fascinating creatures.

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<v Speaker 2>They are quite astoundingly graceful and soothing to encounter, assuming

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<v Speaker 2>you're not a copa pod all right.

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<v Speaker 3>As Jeff mentioned, he attached some pages from Fish to

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<v Speaker 3>the Strangest Things. One is about the Remorra that's called

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<v Speaker 3>the hitch Hiker, and another is called the Flying Saucer

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<v Speaker 3>that's about sting rays and manta rays.

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<v Speaker 2>I love how the remora here seems to have a

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

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<v Speaker 2>my head to a shark.

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<v Speaker 4>Yeah.

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<v Speaker 3>I can't read the full selections here, but maybe I'll

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<v Speaker 3>read just from the Remorra chapter again to get a

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<v Speaker 3>flavor of the wonderful cadence of this riding. It says

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<v Speaker 3>the Hitchhiker. The Remora can travel for thousands of miles

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<v Speaker 3>beneath the sea without swimming. He has a wonderful way

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<v Speaker 3>of getting around. He just catches a ride on a

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<v Speaker 3>bigger fish. The Remora holds on with the top of

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<v Speaker 3>his head. The top of his head is flat, there

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<v Speaker 3>is a suction cap on it. With this cap he

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<v Speaker 3>can quickly fasten on to another fish. He cannot fall

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<v Speaker 3>off unless he wants to. The Remora rides on sharks

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<v Speaker 3>so much he is often called a shark sucker. Sometimes

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<v Speaker 3>many Remoras will ride on the same shark at the

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<v Speaker 3>same time, but Remoras will ride on almost any.

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<v Speaker 2>Big fish as beautiful as there's a poetry to it.

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<v Speaker 3>There are so many things that are just kind of

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<v Speaker 3>tickling about the writing style of these books. But I

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<v Speaker 3>think we may have mentioned this in the last one,

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<v Speaker 3>that there's this constant feeling of light moralism about it,

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<v Speaker 3>like a little it's not the standard way of talking

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<v Speaker 3>about nature. There are constantly little gentle judgments being passed.

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

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<v Speaker 2>shared here as a titled the Flying Saucers, and it's

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<v Speaker 2>about rays, and it begins with rays are strange looking fish,

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<v Speaker 2>which I mean that seems a little rude. There's a

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<v Speaker 2>picture of a human child looking at them with a

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<v Speaker 2>look of astonishment on his face, and you know, the

0:11:43.960 --> 0:11:47.480
<v Speaker 2>rays might well say, you know, child, you are a

0:11:47.520 --> 0:11:50.160
<v Speaker 2>strange looking mammal. Most mammals don't look like you at.

0:11:50.080 --> 0:11:52.520
<v Speaker 3>All, especially with the way this child is drawn with

0:11:52.559 --> 0:11:56.160
<v Speaker 3>the weird spiny fingers. It looks like a gill Man

0:11:56.320 --> 0:11:57.040
<v Speaker 3>hand there.

0:11:58.280 --> 0:12:00.000
<v Speaker 2>Well, you know the artist was strong fish all day

0:12:00.040 --> 0:12:02.400
<v Speaker 2>and then had to suddenly switch back to humans and yeah,

0:12:02.840 --> 0:12:03.480
<v Speaker 2>it's jarring.

0:12:04.000 --> 0:12:04.320
<v Speaker 4>Okay.

0:12:04.320 --> 0:12:08.240
<v Speaker 3>We also got some shorter messages about our Manta ray series.

0:12:08.600 --> 0:12:16.960
<v Speaker 3>This one comes from Danny. She says we went to

0:12:17.200 --> 0:12:20.800
<v Speaker 3>sting ray City off the coast of Grand Cayman. When

0:12:20.880 --> 0:12:24.200
<v Speaker 3>feeding them, you hold the raw squid in your fist

0:12:24.400 --> 0:12:28.600
<v Speaker 3>like an ice cream cone, very loosely. Okay, the ray

0:12:28.640 --> 0:12:33.040
<v Speaker 3>swims over your hand and hoovers it up. My stepdad

0:12:33.080 --> 0:12:35.960
<v Speaker 3>was holding his too tightly and the ray nipped the

0:12:36.000 --> 0:12:39.280
<v Speaker 3>skin between his thumb and pointer finger. It was like

0:12:39.320 --> 0:12:41.840
<v Speaker 3>a pinch between the bony plates that took a bit

0:12:41.920 --> 0:12:44.560
<v Speaker 3>of skin with it. Only person I know of who's

0:12:44.640 --> 0:12:49.160
<v Speaker 3>actually been bitten by a ray lol, feel free to

0:12:49.320 --> 0:12:54.040
<v Speaker 3>use Danny. Yeah, I understand that the sting ray is

0:12:54.360 --> 0:12:58.440
<v Speaker 3>somewhat different than the mobulid rays that you know. Mobulid rays,

0:12:58.720 --> 0:13:00.880
<v Speaker 3>from what I understand, are not ever going to bite you,

0:13:00.960 --> 0:13:03.640
<v Speaker 3>but maybe a stingray can do this a little bit

0:13:03.640 --> 0:13:06.200
<v Speaker 3>more likely, and the stingray is also a little bit

0:13:06.480 --> 0:13:08.400
<v Speaker 3>something you have to be more cautious of because it

0:13:08.440 --> 0:13:09.640
<v Speaker 3>has the tailbarb.

0:13:11.000 --> 0:13:12.880
<v Speaker 2>All right, another quick one here. This one comes to

0:13:13.000 --> 0:13:16.240
<v Speaker 2>us from Greg. This is in response to this is

0:13:16.320 --> 0:13:19.680
<v Speaker 2>part of our like Manta Week Shenanigans. I did a

0:13:19.720 --> 0:13:24.400
<v Speaker 2>Monster Fact episode on mantas and Dungeons and Dragons, talking

0:13:24.440 --> 0:13:27.160
<v Speaker 2>about the different ways that mantas have been invoked in

0:13:27.240 --> 0:13:30.040
<v Speaker 2>Dungeons and Dragons and how it reflects sort of earlier

0:13:30.040 --> 0:13:34.040
<v Speaker 2>attitudes about mantas that you see in pre Dungeons and

0:13:34.080 --> 0:13:37.600
<v Speaker 2>Dragons fiction, you know, pulp fiction and fantasy and so forth,

0:13:37.640 --> 0:13:40.240
<v Speaker 2>and everything that was in the zeitgeist that kind of

0:13:41.120 --> 0:13:49.200
<v Speaker 2>impacted the way that they were presented. So Greg writes,

0:13:49.360 --> 0:13:52.360
<v Speaker 2>you forgot a couple aside from the exits that you'les,

0:13:53.040 --> 0:13:56.839
<v Speaker 2>this is one that's like sometimes a vampire that pops

0:13:56.920 --> 0:13:58.960
<v Speaker 2>up in Dungeons and Dragons, And so Greg includes a

0:13:59.000 --> 0:14:02.760
<v Speaker 2>link to information on the Cloaker and the Lurker and

0:14:02.840 --> 0:14:05.720
<v Speaker 2>says both date back to the First Attention Monster Manual

0:14:05.800 --> 0:14:08.520
<v Speaker 2>nineteen seventy seven and cover the fear that mantas will

0:14:08.520 --> 0:14:11.960
<v Speaker 2>wrap you up and smother you with those big creepy wings.

0:14:12.679 --> 0:14:16.439
<v Speaker 2>And yes, Greg, you were absolutely correct. I did manage

0:14:16.480 --> 0:14:20.280
<v Speaker 2>to leave these two off that they basically line up

0:14:20.320 --> 0:14:22.840
<v Speaker 2>with some of the other monsters that I discussed there,

0:14:22.880 --> 0:14:25.400
<v Speaker 2>But it's good enough for me. I should probably go

0:14:25.520 --> 0:14:28.640
<v Speaker 2>back and record a part two to Manta Rays of

0:14:28.720 --> 0:14:29.760
<v Speaker 2>Dungeons and Dragons.

0:14:30.040 --> 0:14:32.720
<v Speaker 3>I was looking at these, and the cloaker appears to

0:14:32.760 --> 0:14:37.720
<v Speaker 3>be not only mantiforms but also literally cloak formed, like

0:14:37.880 --> 0:14:39.960
<v Speaker 3>it takes the shape of a cloak that you might

0:14:40.040 --> 0:14:42.080
<v Speaker 3>pick up and put on because you think it's just

0:14:42.120 --> 0:14:44.600
<v Speaker 3>a discarded piece of clothing, but it's actually a monster

0:14:44.720 --> 0:14:46.200
<v Speaker 3>that wraps around you and eats you.

0:14:46.880 --> 0:14:49.160
<v Speaker 2>Yeah. I mean, as I discussed in that Monster Fact episode.

0:14:49.200 --> 0:14:50.680
<v Speaker 2>You know, you have like the cloak of the Manta Ray,

0:14:50.760 --> 0:14:55.560
<v Speaker 2>which is a pretty famous Dungeons and Dragons magical item.

0:14:55.640 --> 0:14:57.480
<v Speaker 2>But if you go back to that first monster manual,

0:14:57.800 --> 0:15:00.680
<v Speaker 2>there are stats for like the man to ray and

0:15:00.760 --> 0:15:04.240
<v Speaker 2>information about how it will stain you and also swallow

0:15:04.320 --> 0:15:07.400
<v Speaker 2>you holes. So then that's just supposed to be a

0:15:07.400 --> 0:15:10.680
<v Speaker 2>straight up Manta ray and not these various mnemonic fantasy

0:15:10.760 --> 0:15:13.640
<v Speaker 2>variants that you know, lean into the idea that that

0:15:14.320 --> 0:15:16.960
<v Speaker 2>array could be some sort of a horrendously dangerous creature.

0:15:17.360 --> 0:15:19.680
<v Speaker 3>Come on, now, Gary, you know better than that.

0:15:20.000 --> 0:15:21.880
<v Speaker 2>I mean, it was the seventies. We were, as we

0:15:21.960 --> 0:15:25.800
<v Speaker 2>discussed in our Manta Ray episodes, like we were beginning

0:15:25.800 --> 0:15:30.320
<v Speaker 2>to wake up in the West to the fact that

0:15:30.320 --> 0:15:31.880
<v Speaker 2>that Manda's were not our enemy.

0:15:32.200 --> 0:15:34.800
<v Speaker 3>Are there stats in the Monster manual for the panda

0:15:34.840 --> 0:15:37.800
<v Speaker 3>bear like that it'll bite your bite your legs off?

0:15:37.840 --> 0:15:41.120
<v Speaker 2>And that's a great question. I don't I don't know

0:15:41.160 --> 0:15:43.400
<v Speaker 2>if I've ever looked at the stats for a panda,

0:15:43.440 --> 0:15:46.000
<v Speaker 2>but I bet there are panda stats. Yeah. If if

0:15:46.080 --> 0:15:48.640
<v Speaker 2>not in some of those original monster manuals, then certainly

0:15:48.640 --> 0:15:50.960
<v Speaker 2>by the time they came around to like Karratur there.

0:15:51.040 --> 0:15:53.080
<v Speaker 2>You know, there have to be some some panda stats

0:15:53.080 --> 0:15:54.520
<v Speaker 2>in there somewhere to look it up.

0:15:54.800 --> 0:16:06.560
<v Speaker 3>Chaotic evil creature. Okay, This next message is from Ben.

0:16:07.280 --> 0:16:10.360
<v Speaker 3>Ben says, Hi, Robert and Joe. In today's episode, part

0:16:10.480 --> 0:16:14.320
<v Speaker 3>three on Manta Rays, you described the hypothesis that Manta's

0:16:14.400 --> 0:16:18.840
<v Speaker 3>developed their large brains to generate heat and that their

0:16:18.920 --> 0:16:21.320
<v Speaker 3>intelligence is a side effect.

0:16:22.080 --> 0:16:22.320
<v Speaker 4>Yeah.

0:16:22.400 --> 0:16:24.360
<v Speaker 3>No, this is, to be clear, something that is not

0:16:24.560 --> 0:16:27.440
<v Speaker 3>known for sure, but it is a possibility explored in

0:16:27.440 --> 0:16:29.920
<v Speaker 3>one of the papers we looked at that because the

0:16:30.080 --> 0:16:35.239
<v Speaker 3>design of the mantray's brain case is good at retaining

0:16:35.280 --> 0:16:38.360
<v Speaker 3>heat in cold water. It could be that that is

0:16:38.400 --> 0:16:41.480
<v Speaker 3>actually the characteristic that was selected for in the evolution

0:16:41.600 --> 0:16:44.280
<v Speaker 3>of the manta brain. And then as a side effect,

0:16:44.400 --> 0:16:46.520
<v Speaker 3>it's like, oh, it just happens to be now that

0:16:46.560 --> 0:16:50.400
<v Speaker 3>these are much smarter than your average fish, because, yeah,

0:16:50.440 --> 0:16:53.480
<v Speaker 3>the manterrays show a kind of intelligence that is generally

0:16:53.520 --> 0:16:57.680
<v Speaker 3>not seen in other fish. Ben continues, this immediately made

0:16:57.760 --> 0:17:00.840
<v Speaker 3>me think of Deep Blue Sea nineteen.

0:17:00.600 --> 0:17:02.960
<v Speaker 4>Ninety nine, a movie we've covered on Weird House.

0:17:03.040 --> 0:17:03.200
<v Speaker 2>Yeah.

0:17:03.280 --> 0:17:04.280
<v Speaker 4>Yeah.

0:17:04.320 --> 0:17:07.760
<v Speaker 3>In this classic shark action movie, after the shark attacks

0:17:07.800 --> 0:17:11.159
<v Speaker 3>seem to be very well planned and organized, the character

0:17:11.240 --> 0:17:16.359
<v Speaker 3>doctor Susan McAllister admits that she illegally genetically modified the

0:17:16.400 --> 0:17:20.000
<v Speaker 3>sharks to give them bigger brains so they could harvest

0:17:20.320 --> 0:17:25.760
<v Speaker 3>more magic shark juice to treat Alzheimer's disease, and that

0:17:25.920 --> 0:17:29.359
<v Speaker 3>the side effect of that was smarter sharks. Yeah, because

0:17:29.359 --> 0:17:31.520
<v Speaker 3>if you recall the plot of this movie is they

0:17:31.560 --> 0:17:37.040
<v Speaker 3>make genetically modified sharks as a source of something for pharmaceuticals.

0:17:38.080 --> 0:17:41.760
<v Speaker 3>So Ben says, those smarter sharks then wreak utter havoc

0:17:41.840 --> 0:17:45.560
<v Speaker 3>and kill everyone in a cold systematic and planned out way.

0:17:46.600 --> 0:17:48.960
<v Speaker 3>The way the Good Doctor phrases it in the movie

0:17:49.040 --> 0:17:51.920
<v Speaker 3>and the way you guys phrase the Mantarey brain hypothesis

0:17:51.960 --> 0:17:53.280
<v Speaker 3>were delightfully similar.

0:17:53.920 --> 0:17:58.399
<v Speaker 2>Ben, Yeah, this is a great point. Yeah, I totally

0:17:58.400 --> 0:18:01.360
<v Speaker 2>forgot about this detail Deep Blue Sea when we were

0:18:01.600 --> 0:18:03.080
<v Speaker 2>recording our Manta episodes.

0:18:03.560 --> 0:18:06.520
<v Speaker 3>Another Deep Blue Sea connection is so if this actually

0:18:06.560 --> 0:18:08.400
<v Speaker 3>is what happened with Mantas again, it was to fight

0:18:08.440 --> 0:18:12.840
<v Speaker 3>off the cold. You may recall that obsession with cold

0:18:12.880 --> 0:18:14.920
<v Speaker 3>and ice is a major plot point in that movie

0:18:14.920 --> 0:18:19.200
<v Speaker 3>as well, because Russell Franklin, the character played by Samuel L. Jackson,

0:18:19.400 --> 0:18:22.080
<v Speaker 3>is you might recall, terrified of ice. He's like giving

0:18:22.160 --> 0:18:25.119
<v Speaker 3>a speech about how ice is like it's got a

0:18:25.160 --> 0:18:26.959
<v Speaker 3>mind of its own and it'll come to get you.

0:18:27.080 --> 0:18:29.639
<v Speaker 3>He's giving that speech right when he gets eaten by shark.

0:18:30.000 --> 0:18:33.959
<v Speaker 2>Oh wow, I forgot what he was talking about that.

0:18:34.160 --> 0:18:38.720
<v Speaker 2>I mainly remember just that horrifying and shocking moment when

0:18:38.720 --> 0:18:41.560
<v Speaker 2>he gets taken out. Yeah, best moment in the film.

0:18:42.000 --> 0:18:43.879
<v Speaker 3>All right, rob let's see you want to do this

0:18:43.920 --> 0:18:46.280
<v Speaker 3>one from Larry about skating.

0:18:51.960 --> 0:18:55.040
<v Speaker 2>Yeah, Larry writes in and says, hey, guys, thank you

0:18:55.080 --> 0:18:57.440
<v Speaker 2>for the recent episode on the invention of the roller skate.

0:18:57.680 --> 0:19:00.239
<v Speaker 2>I've recently gotten back into it. Have you seen this

0:19:00.400 --> 0:19:03.240
<v Speaker 2>dance skating music video in case you don't want to

0:19:03.240 --> 0:19:06.120
<v Speaker 2>click a link in an email. The song is Gold

0:19:06.359 --> 0:19:10.360
<v Speaker 2>by Chet Faker or maybe it's Fokker. I'm not sure.

0:19:10.359 --> 0:19:12.280
<v Speaker 2>I'm not familiar with this artist, so my apologies. So

0:19:12.359 --> 0:19:13.000
<v Speaker 2>I got that wrong.

0:19:13.480 --> 0:19:15.879
<v Speaker 3>Yeah, I don't know anything about this musical artist. But

0:19:16.000 --> 0:19:19.439
<v Speaker 3>the choreography, yeah, it's interesting. So it's like the video

0:19:19.600 --> 0:19:22.480
<v Speaker 3>is three roller skaters coming at you out of the

0:19:22.600 --> 0:19:27.639
<v Speaker 3>darkness to skate to dance as the camera continually glides

0:19:27.760 --> 0:19:30.680
<v Speaker 3>away along a dark road at nights, Like the camera

0:19:30.760 --> 0:19:34.000
<v Speaker 3>is constantly pulling back along this dark road and the

0:19:34.040 --> 0:19:37.040
<v Speaker 3>skaters are constantly coming towards you while they're dancing. I

0:19:37.119 --> 0:19:40.720
<v Speaker 3>think kind of dancing Queen on roller skates meets David

0:19:40.800 --> 0:19:41.840
<v Speaker 3>Lynch's Lost Highway.

0:19:42.240 --> 0:19:45.920
<v Speaker 2>Yeah, yeah, it's really it's a cool video, but it's yeah,

0:19:45.920 --> 0:19:50.080
<v Speaker 2>it's not necessarily super happy fun times, more like phantoms

0:19:51.400 --> 0:19:54.600
<v Speaker 2>of skating on the open road. But the song sounds

0:19:54.640 --> 0:19:56.440
<v Speaker 2>pretty cool and I looked it up and it's directed

0:19:56.480 --> 0:19:59.680
<v Speaker 2>by the music videos directed by Hiro Murray, who is

0:19:59.720 --> 0:20:02.720
<v Speaker 2>direct did episodes of several great recent TV shows. It's

0:20:02.720 --> 0:20:05.679
<v Speaker 2>only a matter of time till this guy directs a

0:20:05.720 --> 0:20:10.280
<v Speaker 2>feature film of note, I imagine. Anyway, Larry continues here

0:20:10.280 --> 0:20:12.679
<v Speaker 2>and says, the music video is a bit surreal, so

0:20:12.760 --> 0:20:16.200
<v Speaker 2>I figured you'd find it interesting. The skaters in the

0:20:16.280 --> 0:20:19.439
<v Speaker 2>video remind me of the dancing Muses and Bodicelli's The

0:20:19.480 --> 0:20:22.800
<v Speaker 2>Three Graces, and to a lesser degree, the sirens from

0:20:22.920 --> 0:20:25.920
<v Speaker 2>O Brother where Art thou Ah? Would you do an

0:20:25.960 --> 0:20:29.600
<v Speaker 2>episode on the Three Muses or other personifications of inspiration?

0:20:30.119 --> 0:20:32.080
<v Speaker 2>I'm really curious to hear your thoughts on how the

0:20:32.119 --> 0:20:35.639
<v Speaker 2>trope came about and why these depictions seem to celebrate

0:20:35.800 --> 0:20:39.879
<v Speaker 2>or worn against the allure of creative pursuits. Thanks for

0:20:39.920 --> 0:20:41.159
<v Speaker 2>the excellent show, Barry.

0:20:41.600 --> 0:20:45.480
<v Speaker 3>Now, I know we've discussed the Muses in a segment

0:20:45.720 --> 0:20:48.760
<v Speaker 3>in some previous episode, but I don't remember why or

0:20:48.760 --> 0:20:51.679
<v Speaker 3>what the context was. But yeah, they could be their

0:20:51.680 --> 0:20:52.520
<v Speaker 3>own topic, I'm.

0:20:52.400 --> 0:20:55.000
<v Speaker 2>Sure, yeah, yeah, some of them back if we've had

0:20:55.320 --> 0:20:57.399
<v Speaker 2>them on the show before. The Muses are always welcome.

0:20:57.560 --> 0:20:58.600
<v Speaker 2>That's stuff to blow your mind.

0:20:59.080 --> 0:20:59.840
<v Speaker 4>Thank you, Larry.

0:21:00.640 --> 0:21:02.800
<v Speaker 3>Okay, I think we're going to move on to some

0:21:02.920 --> 0:21:07.040
<v Speaker 3>responses to the episodes that I did a few weeks

0:21:07.080 --> 0:21:10.359
<v Speaker 3>back with Annie Reese and Lauren Vogelbaum, the hosts of

0:21:10.400 --> 0:21:14.880
<v Speaker 3>the food podcast Saver. We called that series food Storage

0:21:14.960 --> 0:21:19.119
<v Speaker 3>Mad Science. It was all about weird transformations and reactions

0:21:19.160 --> 0:21:22.760
<v Speaker 3>that foods can undergo while just sitting around in storage.

0:21:22.840 --> 0:21:25.000
<v Speaker 3>And we ended up talking a lot in the second

0:21:25.040 --> 0:21:30.400
<v Speaker 3>part of that series about more dramatic things like unintentional fermentation,

0:21:30.640 --> 0:21:35.560
<v Speaker 3>explosions and even spontaneous combustion in food. But for the

0:21:35.600 --> 0:21:39.879
<v Speaker 3>first episode there we focused largely on looking for a

0:21:39.960 --> 0:21:43.480
<v Speaker 3>scientific explanation for a memory of mine in which a

0:21:43.600 --> 0:21:46.760
<v Speaker 3>tray of baked pasta ate holes in a sheet of

0:21:46.760 --> 0:21:49.199
<v Speaker 3>aluminum foil while it was sitting in the fridge. I

0:21:49.240 --> 0:21:51.200
<v Speaker 3>was like, what was that? And we did find the answer.

0:21:51.359 --> 0:21:54.480
<v Speaker 3>The answer turned out to be bizarre and fascinating and

0:21:54.560 --> 0:21:56.680
<v Speaker 3>led in a bunch of different directions. But the short

0:21:56.760 --> 0:22:00.879
<v Speaker 3>version is, if you leave a salty web mass of

0:22:00.960 --> 0:22:04.719
<v Speaker 3>food like a bunch of baked pasta, in contact with

0:22:04.880 --> 0:22:08.879
<v Speaker 3>two different metals, like say a steel pan and a

0:22:08.880 --> 0:22:11.119
<v Speaker 3>sheet of aluminum foil, and you have them in the

0:22:11.200 --> 0:22:14.080
<v Speaker 3>right configuration where like the foil is touching where they're

0:22:14.080 --> 0:22:17.000
<v Speaker 3>both touching the food and the foil is in contact

0:22:17.040 --> 0:22:19.439
<v Speaker 3>with the pan around the edges and then also touching

0:22:19.440 --> 0:22:25.119
<v Speaker 3>the food, you can accidentally create what's called a galvanic cell,

0:22:25.320 --> 0:22:28.919
<v Speaker 3>in other words, a simple battery. So the holes in

0:22:28.960 --> 0:22:32.879
<v Speaker 3>the aluminum were actually being they were the aluminum was

0:22:32.920 --> 0:22:35.360
<v Speaker 3>the anode and a simple battery, and it was being

0:22:35.400 --> 0:22:38.480
<v Speaker 3>eaten away by the electric flow there.

0:22:38.520 --> 0:22:40.679
<v Speaker 4>And this is something called galvanic corrosion.

0:22:41.160 --> 0:22:44.160
<v Speaker 2>Wow, electric pasta Okay, yeah.

0:22:43.560 --> 0:22:46.399
<v Speaker 3>The electric pasta acid test is what was happening in

0:22:46.400 --> 0:22:46.840
<v Speaker 3>my fridge.

0:22:46.880 --> 0:22:47.080
<v Speaker 2>Yeah.

0:22:47.320 --> 0:22:50.760
<v Speaker 3>So several listeners got in touch with emails to varying

0:22:50.760 --> 0:22:53.160
<v Speaker 3>degrees about that. The first one is from Matthew, subject

0:22:53.200 --> 0:22:55.520
<v Speaker 3>line Galvazania very good.

0:22:55.800 --> 0:23:02.960
<v Speaker 2>That's good. That's even better, Matthew.

0:23:02.640 --> 0:23:06.000
<v Speaker 3>Says, I'm sending you my semi yearly email in regards

0:23:06.040 --> 0:23:08.760
<v Speaker 3>to your recent episodes with the Savor ladies. I was

0:23:08.800 --> 0:23:12.359
<v Speaker 3>a restaurant chef for years and encountered melted foil a

0:23:12.400 --> 0:23:15.720
<v Speaker 3>few times, always discounting it with Wow, that acid really

0:23:15.760 --> 0:23:19.760
<v Speaker 3>reacts with aluminum. I never considered that electricity was a

0:23:19.800 --> 0:23:23.640
<v Speaker 3>factor in my current career. I am an aluminum welder

0:23:23.800 --> 0:23:27.199
<v Speaker 3>in a shop making boats for a DoD contractor. I

0:23:27.240 --> 0:23:30.080
<v Speaker 3>can't seem to escape my Viking heritage and ended up

0:23:30.160 --> 0:23:36.000
<v Speaker 3>making military boats, unlike Naglfar, that is the ship from

0:23:36.000 --> 0:23:39.560
<v Speaker 3>Norse mythology made out of toenails, I think toenails and fingernails.

0:23:39.560 --> 0:23:39.879
<v Speaker 4>Maybe.

0:23:40.720 --> 0:23:45.320
<v Speaker 3>Unlike Naglfar, these vehicles are almost entirely aluminum and are

0:23:45.359 --> 0:23:49.080
<v Speaker 3>finished with a coating of specifically non reactive paint. You

0:23:49.160 --> 0:23:53.600
<v Speaker 3>guessed it, it's green that covers the entire exterior of

0:23:53.640 --> 0:23:56.240
<v Speaker 3>the boat save for two small areas on the bottom.

0:23:56.680 --> 0:24:00.159
<v Speaker 3>These spots are where the anodes are attached chunks of

0:24:00.240 --> 0:24:03.720
<v Speaker 3>metal alloy mostly lead I think, that are more reactive

0:24:03.760 --> 0:24:07.439
<v Speaker 3>than the aluminum of the boat. These sacrificial bricks lose

0:24:07.520 --> 0:24:11.560
<v Speaker 3>their ions faster during the natural galvanization process that occurs

0:24:11.560 --> 0:24:14.399
<v Speaker 3>all the time, but especially quickly when the boats are

0:24:14.520 --> 0:24:17.960
<v Speaker 3>used in salty water. Being in a circuit with the hull,

0:24:18.040 --> 0:24:22.080
<v Speaker 3>they corrode away instead of the aluminum and are replaced yearly.

0:24:22.520 --> 0:24:25.800
<v Speaker 3>And even bigger threat is the boat's own electrical system.

0:24:25.960 --> 0:24:29.360
<v Speaker 3>Unlike cars and trucks, where the electronic components are grounded

0:24:29.359 --> 0:24:33.399
<v Speaker 3>to the chassis, the whole electrical system is self contained.

0:24:33.720 --> 0:24:36.280
<v Speaker 3>If a ground wire happens to detach and come in

0:24:36.359 --> 0:24:40.800
<v Speaker 3>contact with the hull, the galvanic corrosion process gets supercharged.

0:24:40.920 --> 0:24:43.359
<v Speaker 3>I'm told that only a few weeks in salty water

0:24:43.440 --> 0:24:47.080
<v Speaker 3>with a grounded hull could be devastating. A reminder that

0:24:47.160 --> 0:24:50.040
<v Speaker 3>I am not a nautical electrician. I am a welder,

0:24:50.080 --> 0:24:53.679
<v Speaker 3>so my understanding is limited and probably flawed. Thank you

0:24:53.720 --> 0:24:55.560
<v Speaker 3>for the wonderful show. It's been at the top of

0:24:55.600 --> 0:24:59.800
<v Speaker 3>the list for a decade. Weird House suggestion The Barbarians

0:25:00.040 --> 0:25:05.000
<v Speaker 3>nineteen eighty seven. Twin beefcakes with bronx accents fight against

0:25:05.040 --> 0:25:08.479
<v Speaker 3>magic forces, a dragon, and each other to free their

0:25:08.520 --> 0:25:11.880
<v Speaker 3>adopted mother and save their small tribe. It actually has

0:25:11.880 --> 0:25:14.520
<v Speaker 3>a few references to classical literature.

0:25:14.040 --> 0:25:16.200
<v Speaker 4>Thrown in and amazing costumes.

0:25:16.520 --> 0:25:20.520
<v Speaker 3>Matthew, Well, Matthew, thanks for adding on the subject of

0:25:20.560 --> 0:25:23.560
<v Speaker 3>galvanic corrosion. Yeah, so certainly this is a case in

0:25:23.600 --> 0:25:28.680
<v Speaker 3>all kinds of different construction and manufacturing processes. But also

0:25:28.720 --> 0:25:31.440
<v Speaker 3>I had the same reaction as you when I first

0:25:31.440 --> 0:25:34.320
<v Speaker 3>saw the melted aluminum foil not melted, you know, the

0:25:35.200 --> 0:25:38.639
<v Speaker 3>corroded aluminum foil. I didn't know what it was, but

0:25:38.720 --> 0:25:40.919
<v Speaker 3>I just assumed, I guess maybe something reaction with the

0:25:41.000 --> 0:25:45.240
<v Speaker 3>acid or something. Aluminum can react with acid, but this

0:25:45.320 --> 0:25:49.040
<v Speaker 3>is a much more powerful and faster process when you

0:25:49.119 --> 0:25:53.159
<v Speaker 3>accidentally make the food battery. So beware the food battery, folks.

0:25:53.880 --> 0:25:59.919
<v Speaker 2>Now, as for the Barbarians, I keep coming back to

0:26:00.000 --> 0:26:03.840
<v Speaker 2>the Barbarians. So every few years I get excited about

0:26:03.880 --> 0:26:06.840
<v Speaker 2>the idea of this movie, because I mean, look at

0:26:06.840 --> 0:26:09.840
<v Speaker 2>you got like, not one, but two. You got twin

0:26:10.720 --> 0:26:14.560
<v Speaker 2>Barbarian beefcakes in the Barbarian Brothers. You've got Richard Lynch

0:26:14.720 --> 0:26:18.600
<v Speaker 2>as the main villain. You've got Michael Berryman in there

0:26:18.640 --> 0:26:24.000
<v Speaker 2>as a sidekick of Stogie character. And even the great

0:26:24.000 --> 0:26:26.960
<v Speaker 2>Georgia Eastman pops up at some point or another.

0:26:26.800 --> 0:26:28.119
<v Speaker 3>The personable George Eastman.

0:26:28.320 --> 0:26:29.320
<v Speaker 4>Yeah, yeah, wow.

0:26:29.720 --> 0:26:33.160
<v Speaker 2>And it's directed by Ruggero Diodado, director of nineteen eighties

0:26:33.200 --> 0:26:36.680
<v Speaker 2>Cannibal Holocaust. So there are, you know, some great connections there.

0:26:37.080 --> 0:26:40.040
<v Speaker 2>But every time I've sat down to watch it, it's

0:26:40.080 --> 0:26:42.720
<v Speaker 2>the Barbarian Brothers themselves who throw me off.

0:26:42.960 --> 0:26:46.920
<v Speaker 3>Really, So, I've had this movie on disc for years

0:26:46.960 --> 0:26:49.280
<v Speaker 3>and have still never watched it. I keep thinking, at

0:26:49.280 --> 0:26:50.919
<v Speaker 3>some point I'm going to get there, because I love

0:26:50.960 --> 0:26:54.159
<v Speaker 3>a leather diaper Barbarian movie. But haven't made it to

0:26:54.240 --> 0:26:58.120
<v Speaker 3>this one. I've actually watched Your Hunter from the Future

0:26:58.240 --> 0:27:00.920
<v Speaker 3>three or four times since I've had the Barbarians, and

0:27:01.000 --> 0:27:03.000
<v Speaker 3>I've never made time for the Barbarians.

0:27:03.920 --> 0:27:06.840
<v Speaker 2>Yeah, and I can only speak to my own experience here,

0:27:06.880 --> 0:27:09.080
<v Speaker 2>and this has been my experience thus far. Certainly my

0:27:09.119 --> 0:27:13.080
<v Speaker 2>opinions can change on films, but every time, Yeah, it's

0:27:13.119 --> 0:27:15.879
<v Speaker 2>the Barbarian brothers that really throw me off. It's like

0:27:15.920 --> 0:27:20.359
<v Speaker 2>they're two charismatic. There's an effortless charm to these two guys,

0:27:20.720 --> 0:27:23.680
<v Speaker 2>and I do not like it. I mean, I love

0:27:23.720 --> 0:27:27.200
<v Speaker 2>a fun peplum beefcake movie, but me personally, I prefer

0:27:27.240 --> 0:27:30.320
<v Speaker 2>it when there's a either a a believable stoicism to

0:27:30.359 --> 0:27:33.440
<v Speaker 2>the central muscle man. So think of Arnold and the

0:27:33.680 --> 0:27:37.840
<v Speaker 2>first Conan movie Conan the Barbarian Yeah, or certain Hercules

0:27:37.880 --> 0:27:40.159
<v Speaker 2>actors have managed to pull this off as well. You know,

0:27:40.280 --> 0:27:44.560
<v Speaker 2>there's like the thinking, cerebral Beefcake. And then also you

0:27:44.600 --> 0:27:47.280
<v Speaker 2>have plenty of examples where you have a very green

0:27:47.640 --> 0:27:51.320
<v Speaker 2>awkwardness to your lead because, as is sometimes the case,

0:27:51.359 --> 0:27:53.840
<v Speaker 2>you know, you would just have a bodybuilder plucked off

0:27:53.840 --> 0:27:56.840
<v Speaker 2>the street and given a starring role in a motion picture.

0:27:57.080 --> 0:27:59.880
<v Speaker 3>Yeah, or like Red Brown and Your Hunter from the Future,

0:28:00.119 --> 0:28:01.720
<v Speaker 3>just kind of what is going on here?

0:28:01.800 --> 0:28:04.040
<v Speaker 4>I don't know. I don't know what this scenees about.

0:28:04.080 --> 0:28:04.879
<v Speaker 4>I'm just doing it.

0:28:05.240 --> 0:28:08.320
<v Speaker 2>So I like both of those vibes. But these two,

0:28:08.359 --> 0:28:11.480
<v Speaker 2>the Barbarian brothers, they just they just felt they almost

0:28:11.560 --> 0:28:15.920
<v Speaker 2>take to it naturally, and I don't. I don't love

0:28:16.000 --> 0:28:18.720
<v Speaker 2>their vast but that's just me. There are a number

0:28:18.720 --> 0:28:20.439
<v Speaker 2>of fun elements of the film where I mentioned the

0:28:20.440 --> 0:28:24.119
<v Speaker 2>costumes and certainly other folks involved in the production. So

0:28:24.160 --> 0:28:26.199
<v Speaker 2>maybe I should really press on and give it a

0:28:26.240 --> 0:28:27.440
<v Speaker 2>third or fourth chance.

0:28:27.240 --> 0:28:31.120
<v Speaker 3>Here, maybe I'll actually watch it this time, or maybe

0:28:31.160 --> 0:28:31.920
<v Speaker 3>I'll just watch.

0:28:31.720 --> 0:28:33.760
<v Speaker 4>Your again, Yours World.

0:28:35.880 --> 0:28:37.760
<v Speaker 3>Oh wait, but I have a question about your your

0:28:37.840 --> 0:28:42.480
<v Speaker 3>categorization of beefcake barbarian leads. Where does Jorge Rivera from

0:28:42.760 --> 0:28:43.680
<v Speaker 3>Conquest fit in?

0:28:44.040 --> 0:28:47.920
<v Speaker 2>Absolutely solid? Yeah, okay, he's great. Yeah, I easily watch

0:28:47.960 --> 0:28:50.960
<v Speaker 2>another film in which he is a Barbarian or anything else. Yeah,

0:28:50.960 --> 0:28:53.360
<v Speaker 2>he's a lot of fun. Really, I'm struggling to think

0:28:53.360 --> 0:28:57.120
<v Speaker 2>of anyone who's actually failed the Peplham beefcake test here

0:28:57.200 --> 0:29:00.360
<v Speaker 2>for me, but these these guys did that. They bothiled it.

0:29:00.760 --> 0:29:04.160
<v Speaker 3>What about Reg Park in the Hercules and the Haunted World.

0:29:04.160 --> 0:29:05.200
<v Speaker 3>How'd you feel about him?

0:29:05.360 --> 0:29:06.280
<v Speaker 2>Was he he's great?

0:29:06.720 --> 0:29:06.840
<v Speaker 3>Oh?

0:29:06.880 --> 0:29:07.440
<v Speaker 2>Okay cool?

0:29:07.480 --> 0:29:09.640
<v Speaker 3>I liked him too, but he was he was charismatic?

0:29:09.960 --> 0:29:13.160
<v Speaker 2>Yeah, yeah, like he was. He was somewhere between like

0:29:13.200 --> 0:29:17.680
<v Speaker 2>a really great stoicism and maybe a little like green awkwardness,

0:29:18.040 --> 0:29:20.320
<v Speaker 2>though it is hard to judge sometimes in these films

0:29:20.360 --> 0:29:23.160
<v Speaker 2>where things are dubbed as well. But yeah, I thought

0:29:23.200 --> 0:29:26.360
<v Speaker 2>he was great. Yeah to Lou for Igno in the

0:29:26.360 --> 0:29:28.640
<v Speaker 2>Hercules movie we watched him, which he played Loue frign

0:29:29.320 --> 0:29:32.320
<v Speaker 2>I love that so so yeah. I can't think of

0:29:32.360 --> 0:29:35.200
<v Speaker 2>anyone else who felt like a fumble.

0:29:34.880 --> 0:29:45.640
<v Speaker 3>For me, sweetheart, Lou, all right, you want to do this?

0:29:45.720 --> 0:29:48.560
<v Speaker 3>Next message from Tanner, This is partially in response to

0:29:48.600 --> 0:29:50.280
<v Speaker 3>the food, but also some other things.

0:29:50.560 --> 0:29:53.920
<v Speaker 2>All Right, Tanner writes in and says, hey, gang, First off,

0:29:53.960 --> 0:29:56.600
<v Speaker 2>love the pod and yet to find another podcast that

0:29:56.680 --> 0:30:00.520
<v Speaker 2>synthesizes history, culture, philosophy, and information the way you do.

0:30:01.400 --> 0:30:04.240
<v Speaker 2>I'm always surprised by the connections you make to seemingly

0:30:04.480 --> 0:30:07.640
<v Speaker 2>disparate topics, and Weirdhouse has turned me on to so

0:30:07.720 --> 0:30:10.640
<v Speaker 2>many strange and delightful movies. I watched The Wickerman Blind

0:30:10.680 --> 0:30:13.480
<v Speaker 2>per your recommendation and what it alighted was. I'm curious

0:30:13.560 --> 0:30:16.360
<v Speaker 2>how differently an audience member from nineteen seventy three and

0:30:16.440 --> 0:30:20.480
<v Speaker 2>today might view the townsfolk given changes in popular opinion

0:30:20.520 --> 0:30:22.320
<v Speaker 2>towards sex and organized religion.

0:30:22.640 --> 0:30:23.800
<v Speaker 4>I've thought about that before.

0:30:23.960 --> 0:30:27.040
<v Speaker 3>While The Wickerman is still one of my favorite movies

0:30:27.040 --> 0:30:30.160
<v Speaker 3>and I think it hits very hard today, I do

0:30:30.240 --> 0:30:33.200
<v Speaker 3>have to wonder if it hit quite differently when it

0:30:33.200 --> 0:30:36.560
<v Speaker 3>came out, just given the change in the cultural landscape.

0:30:36.800 --> 0:30:39.280
<v Speaker 2>Yeah. Yeah, It's always a fun exercise to just try

0:30:39.280 --> 0:30:43.440
<v Speaker 2>and imagine how the immediate intended audience viewed something versus

0:30:43.440 --> 0:30:45.440
<v Speaker 2>how we look at it now. And you know, I

0:30:45.440 --> 0:30:49.040
<v Speaker 2>think it's an essential exercise to play with with many

0:30:49.080 --> 0:30:51.960
<v Speaker 2>of these older films, you know, and sort of certainly

0:30:52.080 --> 0:30:55.000
<v Speaker 2>enjoy it from where you're standing, But yeah, try and

0:30:55.360 --> 0:30:57.920
<v Speaker 2>time travel as well, and try and put yourself in

0:30:57.960 --> 0:31:00.680
<v Speaker 2>the in the shoes and slippers of the original of

0:31:01.440 --> 0:31:05.520
<v Speaker 2>the original audience members. Anyway, they continue. I love the

0:31:05.560 --> 0:31:08.520
<v Speaker 2>most recent episode on food storage. Your guest host made

0:31:08.520 --> 0:31:11.400
<v Speaker 2>a great addition, and then as an aside, they knowe

0:31:11.480 --> 0:31:14.200
<v Speaker 2>Robin Annie's weird House on Congo is a favorite of mine.

0:31:14.760 --> 0:31:17.760
<v Speaker 2>So yes, Annie Reese also guest starred on Weird House

0:31:17.800 --> 0:31:21.800
<v Speaker 2>Cinema a while back, and we talked about the fabulous

0:31:21.840 --> 0:31:23.120
<v Speaker 2>film that is Congo.

0:31:23.320 --> 0:31:25.400
<v Speaker 4>Tim Curry in the role of a Lifetime There.

0:31:25.560 --> 0:31:28.560
<v Speaker 2>Yes, yeah, a lot of great, great performances in that film.

0:31:28.600 --> 0:31:32.440
<v Speaker 2>Really fun. But anyway, they continue and say episodes about

0:31:32.440 --> 0:31:34.920
<v Speaker 2>food are always a favorite in that vein. I have

0:31:34.960 --> 0:31:37.480
<v Speaker 2>a couple of things I'd like to share. I work

0:31:37.720 --> 0:31:41.800
<v Speaker 2>in the composites industry, building carbon fiber parts for aircraft,

0:31:42.160 --> 0:31:45.760
<v Speaker 2>and galvanic corrosion is a major consideration in how parts

0:31:45.800 --> 0:31:49.720
<v Speaker 2>are designed and manufactured. Carbon fiber is conductive and when

0:31:49.720 --> 0:31:52.880
<v Speaker 2>it's in contact with some metals, chiefly aluminum, it acts

0:31:52.920 --> 0:31:56.480
<v Speaker 2>as an anode that corrodes the metal, and since it's

0:31:56.520 --> 0:32:00.000
<v Speaker 2>bad business to have your aircraft eating itself, manufacturing steps

0:32:00.160 --> 0:32:03.520
<v Speaker 2>are added to prevent galvanic corrosions, such as adding a

0:32:03.520 --> 0:32:07.520
<v Speaker 2>barrier like fiberglass or epoxy between the two materials, or

0:32:07.640 --> 0:32:11.280
<v Speaker 2>using a more combatible metal like titanium. On the topic

0:32:11.320 --> 0:32:14.880
<v Speaker 2>of fermented foods, during lockdown, my dad made his own kombucha,

0:32:15.160 --> 0:32:18.080
<v Speaker 2>and my most salient memory of this endeavor was of

0:32:18.120 --> 0:32:21.240
<v Speaker 2>the yeast colony called a Scobie which I only just

0:32:21.320 --> 0:32:25.000
<v Speaker 2>learned as an acronym for symbiotic culture of bacteria and yeast.

0:32:25.840 --> 0:32:27.400
<v Speaker 2>I just learned that for the first time as well.

0:32:27.560 --> 0:32:29.880
<v Speaker 2>I did not know that either that grew in the

0:32:29.920 --> 0:32:34.400
<v Speaker 2>kombucha jug. It was a round, slimy, pallid tortilla that

0:32:34.480 --> 0:32:37.960
<v Speaker 2>I remember being distinctly skin like in a way I

0:32:38.080 --> 0:32:42.160
<v Speaker 2>found deeply unsettling. To get the carbonation, the kombucha had

0:32:42.160 --> 0:32:44.720
<v Speaker 2>to be kept in these pressure safe flip top bottles.

0:32:45.120 --> 0:32:47.000
<v Speaker 2>I don't know if it is just par for the

0:32:47.080 --> 0:32:49.640
<v Speaker 2>course and a homemade kombucha. The fruit pulp was a

0:32:49.640 --> 0:32:52.080
<v Speaker 2>contributing factor, I think, but whenever we opened the bottle,

0:32:52.320 --> 0:32:55.280
<v Speaker 2>the contents exploded out in a champagne like fountain that

0:32:55.400 --> 0:32:58.680
<v Speaker 2>got everywhere, so we had to open future bottles over

0:32:58.720 --> 0:33:01.479
<v Speaker 2>the sink. The kombucha, for its part, was pretty tasty.

0:33:01.720 --> 0:33:04.040
<v Speaker 2>After my dad lost interest in making more, he emptied

0:33:04.040 --> 0:33:06.760
<v Speaker 2>the jug into the grass, where the scoby dried out

0:33:06.960 --> 0:33:15.280
<v Speaker 2>into something like those dried pig ears who give to dogs. Ugh, Joe, am,

0:33:15.320 --> 0:33:17.240
<v Speaker 2>I mistaken. You made your own kombucha for a while.

0:33:17.320 --> 0:33:20.360
<v Speaker 3>Right now, I've never made kombucha. You've done a home fermenting.

0:33:20.360 --> 0:33:22.840
<v Speaker 3>I've made Sauer kraut and kimchi and all that, but

0:33:22.920 --> 0:33:24.080
<v Speaker 3>I've never made kombucha.

0:33:24.120 --> 0:33:26.960
<v Speaker 2>Oh Okay, yes, okay, I'm thinking about your kimchi and

0:33:28.320 --> 0:33:29.360
<v Speaker 2>sour kraft making.

0:33:29.400 --> 0:33:32.600
<v Speaker 3>Okay, no visible scoby in a pot of kimchi.

0:33:32.680 --> 0:33:36.040
<v Speaker 2>Okay. Yeah, and I've never made either. I haven't made

0:33:36.080 --> 0:33:38.880
<v Speaker 2>kombucha either, but I do love a good kombucha.

0:33:39.000 --> 0:33:41.520
<v Speaker 3>Yeah, I'm not a super fan, but I've enjoyed it

0:33:41.560 --> 0:33:42.200
<v Speaker 3>when I've had it.

0:33:42.440 --> 0:33:44.960
<v Speaker 2>All Right, They continue here getting into movies and says

0:33:45.280 --> 0:33:49.120
<v Speaker 2>it's fitting that the Warriors made it into rewind since

0:33:49.160 --> 0:33:52.400
<v Speaker 2>my recommendation is basically the Warriors we have at home.

0:33:52.800 --> 0:33:56.000
<v Speaker 2>Home is Italy. I present to you nineteen ninety the

0:33:56.040 --> 0:33:59.400
<v Speaker 2>Bronx Warriors. My pitch to you is just this scene.

0:33:59.680 --> 0:34:02.479
<v Speaker 3>Okay, So I went and looked up the scene. It

0:34:02.520 --> 0:34:05.880
<v Speaker 3>begins with a guy sitting at a drum kit playing

0:34:05.920 --> 0:34:09.160
<v Speaker 3>a drum solo in an empty parking lot by the

0:34:09.239 --> 0:34:12.320
<v Speaker 3>water somewhere in New York. There is a dead body

0:34:12.400 --> 0:34:15.359
<v Speaker 3>impaled on a stake by the water. Then about ten

0:34:15.400 --> 0:34:18.240
<v Speaker 3>thousand motorcycles rolled in, and you got all your different

0:34:18.239 --> 0:34:22.600
<v Speaker 3>biker varieties. You got some leather bikers with Ramon's haircuts.

0:34:22.960 --> 0:34:26.000
<v Speaker 3>You got some Nazi bikers, you got some just weird

0:34:26.080 --> 0:34:29.200
<v Speaker 3>kind of classic tattoo bikers, some hair metal bikers in

0:34:29.239 --> 0:34:32.560
<v Speaker 3>there also, and then one guy who looks like Steve Earl,

0:34:32.680 --> 0:34:35.680
<v Speaker 3>not Steve Earl in nineteen eighty whatever, Steve Earl now.

0:34:36.360 --> 0:34:38.280
<v Speaker 4>And then a bunch of dudes.

0:34:37.880 --> 0:34:41.319
<v Speaker 3>In hilarious suits haul up in classic cars. They're wearing

0:34:41.400 --> 0:34:43.920
<v Speaker 3>kind of I don't know what you call this, like

0:34:43.960 --> 0:34:47.200
<v Speaker 3>a cross between kind of seventies Italian style suits and

0:34:47.239 --> 0:34:51.560
<v Speaker 3>then nineteen twenties or thirties gangster suits.

0:34:51.920 --> 0:34:54.720
<v Speaker 2>Yeah. Yeah, they could decide if they're going for classic

0:34:54.719 --> 0:34:57.400
<v Speaker 2>gangsters or like seventies pimps. And it's some lay and

0:34:57.480 --> 0:34:58.160
<v Speaker 2>somewhere in between.

0:34:58.280 --> 0:35:01.840
<v Speaker 3>Yeah, am I Dillinger or disc And so they have

0:35:01.920 --> 0:35:04.400
<v Speaker 3>a face off and they're I don't know, they're arguing

0:35:04.440 --> 0:35:04.919
<v Speaker 3>about something.

0:35:04.960 --> 0:35:06.200
<v Speaker 4>I didn't follow the dialogue.

0:35:06.200 --> 0:35:08.680
<v Speaker 3>But then what somebody opens up a car and is

0:35:08.680 --> 0:35:10.680
<v Speaker 3>that Fred Williamson in there right at the end?

0:35:11.440 --> 0:35:13.520
<v Speaker 2>Yeah, yeah, yeah, I believe he's in this. Yeah.

0:35:13.640 --> 0:35:15.600
<v Speaker 3>I only got a quick look, but I think it's him.

0:35:15.719 --> 0:35:20.320
<v Speaker 3>So I'm interested in this. It is strongly Italian flavored.

0:35:20.880 --> 0:35:24.239
<v Speaker 2>Yes, this film's great, So m S T three K

0:35:24.400 --> 0:35:27.879
<v Speaker 2>fans will recognize it because it was featured on MST

0:35:28.000 --> 0:35:30.520
<v Speaker 2>three K, But it's pretty great in its own ride.

0:35:30.520 --> 0:35:34.000
<v Speaker 2>It's directed by Mzog Castellari, who we've talked about in

0:35:34.040 --> 0:35:37.279
<v Speaker 2>the show before it stars. You want to talk about

0:35:37.640 --> 0:35:41.960
<v Speaker 2>a green beefcake hunk. Mark Gregory is in this. He's

0:35:42.000 --> 0:35:44.000
<v Speaker 2>pretty great. I've seen him in some other things as well.

0:35:44.000 --> 0:35:47.400
<v Speaker 2>He was in a tremendously bad Adam and Eve movie

0:35:47.440 --> 0:35:50.200
<v Speaker 2>in which he plays Adam of course nice and then

0:35:50.239 --> 0:35:52.400
<v Speaker 2>elsewhere in this film, in addition to Fred Williamson, you

0:35:52.440 --> 0:35:55.280
<v Speaker 2>also have Vic Morrow, and you also have George Eastman

0:35:55.360 --> 0:35:58.160
<v Speaker 2>once more. So it's a real treat and it has

0:35:58.160 --> 0:36:01.680
<v Speaker 2>some great actual New York locals. It makes visiting New

0:36:01.760 --> 0:36:04.960
<v Speaker 2>York City's Roosevelt Island an extra special treat because that's

0:36:05.000 --> 0:36:08.000
<v Speaker 2>where Give Memory serves, That's where the finale takes place.

0:36:08.280 --> 0:36:12.480
<v Speaker 3>Isn't it weird? How many coincidental overlaps there are between

0:36:12.600 --> 0:36:16.680
<v Speaker 3>the last two emails, like both talked about the topic

0:36:16.719 --> 0:36:21.680
<v Speaker 3>of galvanic corrosion by sharing experience working in heavy transportation manufacturing,

0:36:22.200 --> 0:36:25.600
<v Speaker 3>and then both emails turned to a recommendation of an

0:36:25.640 --> 0:36:29.719
<v Speaker 3>Italian beef Man action movie from the eighties with the

0:36:29.760 --> 0:36:32.000
<v Speaker 3>recommendation involving the word bronx.

0:36:32.600 --> 0:36:34.399
<v Speaker 2>Yeah, we need to keep this in mind the next

0:36:34.400 --> 0:36:37.399
<v Speaker 2>time there's an effort on the part of our work

0:36:37.440 --> 0:36:39.839
<v Speaker 2>bosses to be like, we need to figure out who

0:36:39.960 --> 0:36:42.760
<v Speaker 2>is the listener for stuff to build your mind. Will say, well,

0:36:42.800 --> 0:36:45.480
<v Speaker 2>let's break it down for you. They make ships or

0:36:45.520 --> 0:36:50.279
<v Speaker 2>airplanes or composite pieces. They're into food, and they like

0:36:51.239 --> 0:36:56.640
<v Speaker 2>a very particular sort of nineteen seventies or nineteen eighties Italian.

0:36:56.160 --> 0:37:00.680
<v Speaker 3>Film cinema italianissimo. Yeah, all right, Robie, ready to get

0:37:00.680 --> 0:37:04.759
<v Speaker 3>into some weird house cinema responses. Sure, let's okay, I'm

0:37:04.760 --> 0:37:08.280
<v Speaker 3>gonna do this. First one from Daniel. This is subject

0:37:08.320 --> 0:37:11.720
<v Speaker 3>line digital data on tape, and this is in response

0:37:11.800 --> 0:37:14.839
<v Speaker 3>to the Weird House Cinema episode that I did with

0:37:14.960 --> 0:37:20.480
<v Speaker 3>JJ about the movie Deer Skin. So Daniel says, greeting's

0:37:20.560 --> 0:37:24.640
<v Speaker 3>Joe Robert and in this case also JJ. Posway, I

0:37:24.760 --> 0:37:27.120
<v Speaker 3>was listening to your Weird House Cinema episode on Deer

0:37:27.160 --> 0:37:30.160
<v Speaker 3>Skin and really perked up once you went off on

0:37:30.200 --> 0:37:34.640
<v Speaker 3>a tangent about the digital camcorder using cassette tapes and

0:37:34.680 --> 0:37:37.600
<v Speaker 3>how quaint. That idea seemed so rob This is a

0:37:37.600 --> 0:37:40.560
<v Speaker 3>whole tangent we got into in the movie because there's

0:37:40.719 --> 0:37:44.319
<v Speaker 3>there's a character who is given a camcorder and he

0:37:44.400 --> 0:37:47.320
<v Speaker 3>is told that it is digital because you can't be digital.

0:37:47.360 --> 0:37:50.359
<v Speaker 3>Digital is tops, but he has to keep buying these

0:37:50.400 --> 0:37:53.120
<v Speaker 3>little tapes to put in it. And we were confused

0:37:53.120 --> 0:37:55.480
<v Speaker 3>by that, or at least I was so confused by that,

0:37:55.680 --> 0:37:57.799
<v Speaker 3>because I was like, I thought digital would mean it's

0:37:57.800 --> 0:38:00.520
<v Speaker 3>like recording to a little card or something, not to

0:38:00.840 --> 0:38:03.360
<v Speaker 3>a tape. I don't know, but maybe I think that

0:38:03.440 --> 0:38:07.719
<v Speaker 3>just revealed that I didn't actually understand what digital means

0:38:07.800 --> 0:38:09.960
<v Speaker 3>when it comes to the idea of like how the

0:38:10.000 --> 0:38:11.439
<v Speaker 3>information is stored and stuff.

0:38:11.480 --> 0:38:13.880
<v Speaker 2>Oh wow, So is it like a straight up cassette

0:38:13.920 --> 0:38:16.960
<v Speaker 2>tape or is it more like these like weird tapes

0:38:17.040 --> 0:38:19.719
<v Speaker 2>that you would put into computers to store information on.

0:38:20.120 --> 0:38:22.120
<v Speaker 4>Well, I think it's like the latter.

0:38:22.200 --> 0:38:32.080
<v Speaker 3>But Daniel's email I think will also help explain, Daniel says. Historically,

0:38:32.239 --> 0:38:36.319
<v Speaker 3>storing digital information on tape has been quite common, particularly

0:38:36.360 --> 0:38:39.880
<v Speaker 3>in the European microcomputer market of the nineteen eighties and

0:38:39.960 --> 0:38:42.680
<v Speaker 3>parts of the nineties, for systems such as the Commodore

0:38:42.719 --> 0:38:46.759
<v Speaker 3>sixty four and ZX Spectrum. I have no personal experience

0:38:46.760 --> 0:38:49.160
<v Speaker 3>with these machines, but as I understand it, the data

0:38:49.239 --> 0:38:53.560
<v Speaker 3>was stored on these tapes as analog audio signals, which

0:38:53.600 --> 0:38:58.040
<v Speaker 3>were then interpreted as binary data by the machines. This

0:38:58.320 --> 0:39:01.040
<v Speaker 3>was a very slow process and also so prone to error,

0:39:01.080 --> 0:39:03.600
<v Speaker 3>with the tradeoff of it being much cheaper to produce

0:39:03.680 --> 0:39:07.960
<v Speaker 3>than other formats. DAT or digital audio tape cassettes were

0:39:08.000 --> 0:39:11.080
<v Speaker 3>also used in the music industry from the mid eighties

0:39:11.120 --> 0:39:15.359
<v Speaker 3>to two thousands, but unlike the aforementioned microcomputer tapes, these

0:39:15.400 --> 0:39:19.839
<v Speaker 3>stored innately digital information. Looking into this topic also sent

0:39:19.920 --> 0:39:22.720
<v Speaker 3>me down quite a rabbit hole on the distinction between

0:39:22.760 --> 0:39:27.000
<v Speaker 3>analog versus digital storage. I had always assumed that DAT

0:39:27.400 --> 0:39:30.839
<v Speaker 3>and also floppy disks and traditional hard drives given their

0:39:30.880 --> 0:39:35.040
<v Speaker 3>magnetic discs, were considered analog storage, but that was evidently

0:39:35.080 --> 0:39:37.360
<v Speaker 3>not the case. It all seems to come down to

0:39:37.400 --> 0:39:41.359
<v Speaker 3>the nuances in how the signals are being read or transmitted,

0:39:41.600 --> 0:39:45.320
<v Speaker 3>and also factoring in the technical distinction between the concepts

0:39:45.320 --> 0:39:48.000
<v Speaker 3>of format and medium. Going on a bit of a

0:39:48.040 --> 0:39:50.960
<v Speaker 3>tangent here myself, but there have been some numerous other

0:39:51.120 --> 0:39:56.479
<v Speaker 3>inventive ways of distributing digital information. One of the most

0:39:56.520 --> 0:40:00.640
<v Speaker 3>fascinating for me was hearing about software being and submitted

0:40:00.800 --> 0:40:07.040
<v Speaker 3>via radio broadcasting. Thought this was fascinating, Daniel says. As

0:40:07.080 --> 0:40:11.240
<v Speaker 3>an example, in the nineteen eighties, the Yugoslavian radio show

0:40:11.400 --> 0:40:16.960
<v Speaker 3>Ventilator two two would broadcast signals for various software that

0:40:17.040 --> 0:40:20.880
<v Speaker 3>listeners could record on tape, which could then be read

0:40:21.000 --> 0:40:26.399
<v Speaker 3>by the type of computer it was made for. Best regards, Daniel, WHOA.

0:40:26.600 --> 0:40:29.000
<v Speaker 3>I mean that's like a kind of wireless internet before

0:40:29.040 --> 0:40:33.000
<v Speaker 3>that existed, right, Yeah, you could download software that was

0:40:33.080 --> 0:40:36.000
<v Speaker 3>coded into a series of I don't know, sounds, beeps

0:40:36.040 --> 0:40:39.120
<v Speaker 3>and boops. I guess that would code onto the tape

0:40:39.120 --> 0:40:41.799
<v Speaker 3>that you're recording on and then would be report would

0:40:41.840 --> 0:40:42.720
<v Speaker 3>be executable.

0:40:43.920 --> 0:40:47.279
<v Speaker 2>I'd never heard of that before. That's really interesting, crazy. Yeah,

0:40:47.320 --> 0:40:49.799
<v Speaker 2>when you get into some of these it's fun when

0:40:49.800 --> 0:40:53.560
<v Speaker 2>these technology questions come up about things that we see

0:40:53.600 --> 0:40:59.360
<v Speaker 2>in these films. I remember diving into somewhat bowling scoring

0:40:59.440 --> 0:41:03.280
<v Speaker 2>technology in that elevator movie that we watched, The Lift.

0:41:03.440 --> 0:41:06.839
<v Speaker 3>Oh that's right, Yeah, is that a Dutch elevator movie.

0:41:07.280 --> 0:41:09.560
<v Speaker 4>Yeah, yeah, Haunted Elevator.

0:41:11.040 --> 0:41:13.120
<v Speaker 2>All right. This next one comes to us from Andrea.

0:41:13.200 --> 0:41:17.080
<v Speaker 2>It is titled Invitation to Hell. This is not an

0:41:17.080 --> 0:41:19.319
<v Speaker 2>in self an invitation for us to go to Hell.

0:41:19.640 --> 0:41:22.240
<v Speaker 2>It is a response to our Weird House Cinema episode

0:41:22.600 --> 0:41:31.600
<v Speaker 2>on the Wes Craven film, Invitation to Hell. Andrea writes, Hi,

0:41:31.719 --> 0:41:34.040
<v Speaker 2>Robert and Joe, I've only written to you once before.

0:41:34.320 --> 0:41:36.799
<v Speaker 2>You won't remember, but rob was deeply skeptical that I

0:41:36.800 --> 0:41:38.839
<v Speaker 2>once had a cat who could count. But I was

0:41:38.840 --> 0:41:42.160
<v Speaker 2>prompted to write again by your latest episode of Weird House,

0:41:42.239 --> 0:41:45.080
<v Speaker 2>Invitation to Hell. It's true. I do not remember this.

0:41:45.239 --> 0:41:47.040
<v Speaker 2>I mean, I guess I vaguely remember it now that

0:41:47.080 --> 0:41:49.960
<v Speaker 2>you mention it. I mean, I don't know. I'm not

0:41:49.960 --> 0:41:51.760
<v Speaker 2>gonna doubt cats maybe they can count.

0:41:52.360 --> 0:41:56.080
<v Speaker 4>But let's hear her out.

0:41:56.080 --> 0:42:01.880
<v Speaker 2>Okay, okay, anyway for the counting cats aside, She writes first,

0:42:01.920 --> 0:42:05.040
<v Speaker 2>regarding the Wizard of Oz's popularity being bolstered by TV.

0:42:05.560 --> 0:42:07.360
<v Speaker 2>You guys are too young to probably know this, but

0:42:07.400 --> 0:42:09.759
<v Speaker 2>before cable and DVDs, when I was a little kid

0:42:09.800 --> 0:42:11.960
<v Speaker 2>in the sixties and seventies, the Wizard of Oz was

0:42:12.040 --> 0:42:13.840
<v Speaker 2>not the kind of old movie you could catch on

0:42:13.880 --> 0:42:18.040
<v Speaker 2>your local UHF channel on a random weekend afternoon. It

0:42:18.080 --> 0:42:21.120
<v Speaker 2>was shown on network TV in primetime, and unless my

0:42:21.160 --> 0:42:24.240
<v Speaker 2>memory is faulty, only once a year, making it an event.

0:42:25.000 --> 0:42:28.440
<v Speaker 2>Lots of people looked forward greatly to their infrequent opportunity

0:42:28.520 --> 0:42:31.160
<v Speaker 2>to see it. That doesn't explain why someone in the

0:42:31.160 --> 0:42:35.319
<v Speaker 2>TV industry originally picked the not originally a blockbuster film

0:42:35.400 --> 0:42:37.960
<v Speaker 2>to be an event, of course, but it explains how

0:42:37.960 --> 0:42:40.080
<v Speaker 2>it became a movie that everybody knew and a lot

0:42:40.120 --> 0:42:43.799
<v Speaker 2>of people loved. This is a great point, and I'm

0:42:43.840 --> 0:42:46.160
<v Speaker 2>glad that she points it out, because I feel like

0:42:46.200 --> 0:42:49.080
<v Speaker 2>a lot of the TV movies that I think back on,

0:42:49.760 --> 0:42:52.760
<v Speaker 2>I think there were cases where I have a strong

0:42:52.760 --> 0:42:57.440
<v Speaker 2>memory of watching a theatrical film released in primetime as

0:42:57.440 --> 0:42:59.719
<v Speaker 2>a special event. I want to say that Aliens was

0:42:59.760 --> 0:43:02.840
<v Speaker 2>given and that treatment at one point with some expanded

0:43:02.920 --> 0:43:03.840
<v Speaker 2>scenes and all.

0:43:04.280 --> 0:43:05.000
<v Speaker 4>Edited for TV.

0:43:05.200 --> 0:43:07.800
<v Speaker 2>I guess, yeah, but with added footage like the footage

0:43:07.840 --> 0:43:10.640
<v Speaker 2>with the gun sentries and so forth. I remember watching

0:43:10.640 --> 0:43:15.000
<v Speaker 2>that on network television. But still other shows. Still, other

0:43:15.040 --> 0:43:17.440
<v Speaker 2>movies were movies that were just shown all the time

0:43:17.800 --> 0:43:21.120
<v Speaker 2>at various times of days, such as the Beast Master

0:43:21.400 --> 0:43:24.960
<v Speaker 2>movie or Clash of the Titans, or even the movie

0:43:25.040 --> 0:43:27.280
<v Speaker 2>we're going to be covering on tomorrow's Weird House Cinema

0:43:27.520 --> 0:43:30.480
<v Speaker 2>Willy Wonk and the Chocolate Factory. I asked my wife.

0:43:30.560 --> 0:43:32.719
<v Speaker 2>I was like, Hey, I'm going to rewatch this for work.

0:43:32.760 --> 0:43:34.560
<v Speaker 2>Do you want to watch it with me? And she's like, no,

0:43:34.840 --> 0:43:37.000
<v Speaker 2>I watched that a million times when I was a

0:43:37.080 --> 0:43:40.000
<v Speaker 2>kid because it was just on all the time. So

0:43:40.040 --> 0:43:43.080
<v Speaker 2>it's good to be reminded that, yes, there are these

0:43:43.120 --> 0:43:46.840
<v Speaker 2>cases where a theatrical film featured on network television. It

0:43:46.880 --> 0:43:49.799
<v Speaker 2>was a big deal event, it was an event. It

0:43:49.880 --> 0:43:53.959
<v Speaker 2>was appointment television, if you will anyway, She continues and says,

0:43:53.960 --> 0:43:56.760
<v Speaker 2>but onto my real reason for reaching out, I'm hoping

0:43:56.880 --> 0:43:58.919
<v Speaker 2>you are one of your Weird House listeners can help

0:43:58.960 --> 0:44:01.520
<v Speaker 2>me find the source of a made for TV movie

0:44:01.520 --> 0:44:04.440
<v Speaker 2>scene that has haunted me for half a century. I

0:44:04.480 --> 0:44:06.720
<v Speaker 2>think I saw it when I was between the ages

0:44:06.719 --> 0:44:09.120
<v Speaker 2>of nine or eleven, so in the ballpark of seventy

0:44:09.160 --> 0:44:12.400
<v Speaker 2>two through seventy four. I am almost certain it was

0:44:12.480 --> 0:44:15.439
<v Speaker 2>a TV movie rather than say, an episode of Night

0:44:15.520 --> 0:44:19.040
<v Speaker 2>Gallery or a theatrical film, and I think the plot

0:44:19.080 --> 0:44:23.239
<v Speaker 2>involved witchcraft or the Devil or both. The scene in

0:44:23.360 --> 0:44:26.640
<v Speaker 2>question involved a shed or basement with rows of dusty

0:44:26.800 --> 0:44:31.280
<v Speaker 2>canning jars, except they contained human eyeballs. At the time,

0:44:31.360 --> 0:44:33.759
<v Speaker 2>my family had a washer in our apartment, but the

0:44:33.920 --> 0:44:37.600
<v Speaker 2>clothes dryer was down in the scruffy, unfinished basement. My

0:44:37.760 --> 0:44:40.360
<v Speaker 2>mom used to make me run down to the basement

0:44:40.600 --> 0:44:42.680
<v Speaker 2>and put the laundry in and out of the dryer.

0:44:43.320 --> 0:44:45.600
<v Speaker 2>I also had a grandmother who made pickles and did

0:44:45.719 --> 0:44:48.440
<v Speaker 2>lots of other canning, so he had rats of dusty

0:44:48.520 --> 0:44:51.120
<v Speaker 2>canning jars in the basement too. You see where this

0:44:51.239 --> 0:44:54.160
<v Speaker 2>is going. For a good year after I saw the

0:44:54.160 --> 0:44:56.359
<v Speaker 2>scene on TV, every time I had to go down

0:44:56.400 --> 0:44:58.680
<v Speaker 2>to the scary basement, I walked by the shelves of

0:44:58.760 --> 0:45:02.400
<v Speaker 2>canning jars with my head cranked firmly in the opposite direction,

0:45:02.640 --> 0:45:05.120
<v Speaker 2>because to look upon them surely meant that they would

0:45:05.120 --> 0:45:08.600
<v Speaker 2>contain human body parts. If this rings any bells for

0:45:08.719 --> 0:45:12.120
<v Speaker 2>the made for TV horrorficionados among weird house cinema listeners,

0:45:12.280 --> 0:45:15.440
<v Speaker 2>I would love to know what the probably terrible movie

0:45:15.480 --> 0:45:17.920
<v Speaker 2>was so I could seek it out and watch it again.

0:45:18.000 --> 0:45:20.320
<v Speaker 2>Thanks again, guys for all your wonderful content.

0:45:20.480 --> 0:45:22.719
<v Speaker 3>Andrea, I don't know off the top of my head

0:45:22.719 --> 0:45:24.560
<v Speaker 3>what this movie would be, but I would love to

0:45:24.560 --> 0:45:26.239
<v Speaker 3>help you out Andrea, I feel like we could make

0:45:26.239 --> 0:45:28.719
<v Speaker 3>this emission and maybe maybe other listeners can chime in,

0:45:29.160 --> 0:45:31.160
<v Speaker 3>somebody out there, this is ringing a bell for.

0:45:31.040 --> 0:45:31.920
<v Speaker 4>You right in.

0:45:32.600 --> 0:45:35.200
<v Speaker 2>Yeah, and I love the memories that she shared of

0:45:35.239 --> 0:45:38.840
<v Speaker 2>the unfinished basement reminds me of two different basements. One

0:45:38.920 --> 0:45:42.239
<v Speaker 2>was a basement of my aunt's house, and this was

0:45:42.280 --> 0:45:44.240
<v Speaker 2>the time when my family was living in that house,

0:45:44.760 --> 0:45:47.719
<v Speaker 2>and you had to go down like these long stairs,

0:45:47.760 --> 0:45:51.280
<v Speaker 2>wooden stairs, into this unfinished basement where there was still

0:45:51.560 --> 0:45:53.879
<v Speaker 2>a heap of coal in one corner from that wing.

0:45:53.920 --> 0:45:55.839
<v Speaker 2>They used coal, so it was this big coal heap,

0:45:56.320 --> 0:45:59.440
<v Speaker 2>and then there were various chests and jars and some

0:45:59.520 --> 0:46:02.399
<v Speaker 2>of the also a lot of camel crickets down there.

0:46:02.719 --> 0:46:05.360
<v Speaker 2>And then there was at least one jar of water

0:46:05.440 --> 0:46:07.600
<v Speaker 2>that was open and it had like a drowned camel

0:46:07.640 --> 0:46:11.480
<v Speaker 2>cricket in it that had like stuff growing around it.

0:46:11.600 --> 0:46:15.920
<v Speaker 2>Still firmly fixed in my mind. And then then many

0:46:15.920 --> 0:46:18.040
<v Speaker 2>many years later, when I was in my like in

0:46:18.080 --> 0:46:20.000
<v Speaker 2>my twenties, I believe I was living in this house

0:46:20.440 --> 0:46:23.960
<v Speaker 2>in Atlanta that also had an unfinished basement, and that

0:46:24.120 --> 0:46:26.400
<v Speaker 2>was where the washer and dryer were. So you'd go

0:46:26.480 --> 0:46:29.359
<v Speaker 2>down there and you'd have to wash your stuff then

0:46:29.400 --> 0:46:31.600
<v Speaker 2>transfer over to the dryer, and you would just pray

0:46:31.680 --> 0:46:36.200
<v Speaker 2>that you wouldn't drop your underwear onto the floor down there,

0:46:36.239 --> 0:46:38.600
<v Speaker 2>because it was just dust. It was dirt, and there

0:46:38.600 --> 0:46:40.560
<v Speaker 2>would be no picking it back up again. So there

0:46:40.560 --> 0:46:44.440
<v Speaker 2>were like different underwears from different people that lived in

0:46:44.480 --> 0:46:47.080
<v Speaker 2>the house or had previously lived in the house, that

0:46:47.160 --> 0:46:49.640
<v Speaker 2>were just abandoned down there. And I guess they're still

0:46:49.640 --> 0:46:52.160
<v Speaker 2>there because I think this house has not changed. It's

0:46:52.200 --> 0:46:54.839
<v Speaker 2>one of the few houses in the particular neighborhood that

0:46:54.880 --> 0:46:56.759
<v Speaker 2>I lived in that has not changed at all.

0:46:57.000 --> 0:46:59.600
<v Speaker 3>Oh Man, years ago, Rachel and I lived in the

0:46:59.600 --> 0:47:03.040
<v Speaker 3>house in Atlanta that had a I mean, the kitchen

0:47:03.160 --> 0:47:05.320
<v Speaker 3>was basically like held onto the back of the house

0:47:05.320 --> 0:47:08.440
<v Speaker 3>with staples. It was like literally sagging off. And then

0:47:08.600 --> 0:47:11.600
<v Speaker 3>underneath that, in an unfinished basement, was where we had

0:47:11.640 --> 0:47:14.640
<v Speaker 3>to do laundry. And yeah, just like you're saying that

0:47:14.800 --> 0:47:18.839
<v Speaker 3>the laundry basement was like a set from the Bronx Warriors,

0:47:18.920 --> 0:47:22.120
<v Speaker 3>It's just you didn't want to go down there. And

0:47:22.160 --> 0:47:24.680
<v Speaker 3>there would be funny times where, like, you know, we'd

0:47:24.680 --> 0:47:26.440
<v Speaker 3>be in the middle of watching a horror movie and

0:47:26.520 --> 0:47:29.000
<v Speaker 3>Rachel would be like, oh, I need to change the launcher,

0:47:29.040 --> 0:47:30.560
<v Speaker 3>I need to flip.

0:47:30.360 --> 0:47:31.880
<v Speaker 4>Them around there. Can you come down with me?

0:47:32.080 --> 0:47:37.360
<v Speaker 2>So, listeners, if you have unfinished basement scenes that you

0:47:37.360 --> 0:47:39.640
<v Speaker 2>would like to set for us right in, we would

0:47:39.719 --> 0:47:42.960
<v Speaker 2>legitimately love to experience them as well. But anyway, as

0:47:42.960 --> 0:47:44.920
<v Speaker 2>far as this movie goes, yeah, I don't know what

0:47:45.000 --> 0:47:48.840
<v Speaker 2>this could be either. I got excited when you mentioned

0:47:48.920 --> 0:47:50.520
<v Speaker 2>Night Gallery and I was like, oh, I think there's

0:47:50.560 --> 0:47:54.040
<v Speaker 2>actually an episode of Nine Galleries titled Eyeballs, and I

0:47:54.080 --> 0:47:56.759
<v Speaker 2>believe Steven Spielberg directed it. But I don't remember what

0:47:57.160 --> 0:47:59.000
<v Speaker 2>was in that, and I don't know if there were

0:47:59.040 --> 0:48:03.480
<v Speaker 2>ever jars of Eyeball Night Gallery. So yeah, this is

0:48:03.520 --> 0:48:13.440
<v Speaker 2>the sort of challenge that I'm willing to accept. Okay.

0:48:13.560 --> 0:48:18.120
<v Speaker 3>Next message is from Gary, subject line, I watched Invitation to.

0:48:18.120 --> 0:48:20.360
<v Speaker 4>Hell on TV in the eighties.

0:48:20.600 --> 0:48:24.840
<v Speaker 3>Yes, Gary, says, Hi, there, your episode on Invitation to

0:48:24.880 --> 0:48:28.800
<v Speaker 3>Hell took me back in the nineteen eighties. In New Zealand,

0:48:29.120 --> 0:48:32.600
<v Speaker 3>there was a regular slot on Sunday Night TV aptly

0:48:32.640 --> 0:48:36.680
<v Speaker 3>called the Sunday Night Horrors, when a horror movie would

0:48:36.719 --> 0:48:39.000
<v Speaker 3>be broadcast, just the right thing to help you with

0:48:39.040 --> 0:48:41.600
<v Speaker 3>your anxiety about going back to work the next day. Yeah,

0:48:43.080 --> 0:48:45.640
<v Speaker 3>Gary says, I used to watch these regularly as a

0:48:45.680 --> 0:48:49.120
<v Speaker 3>young teenager sitting in the dark being petrified by classics

0:48:49.160 --> 0:48:54.319
<v Speaker 3>like Poltergeist, Halloween, the Omen American Werewolf in London, and

0:48:54.560 --> 0:48:57.280
<v Speaker 3>because there are a finite number of big horror movies,

0:48:57.600 --> 0:49:00.839
<v Speaker 3>the memorable Invitation to Hell, which I think I would

0:49:00.840 --> 0:49:05.120
<v Speaker 3>have watched in nineteen eighty five. For some reason, whilst

0:49:05.280 --> 0:49:07.839
<v Speaker 3>most of these straight to TV horror movies have been

0:49:07.880 --> 0:49:11.400
<v Speaker 3>erased from my memory, Invitation to Hell has always stuck

0:49:11.440 --> 0:49:14.640
<v Speaker 3>with me, forever, scarring me into being highly suspicious of

0:49:14.719 --> 0:49:19.160
<v Speaker 3>any country club like institutions I have encountered since because

0:49:19.200 --> 0:49:21.600
<v Speaker 3>of the chance that they might be hiding an infernal

0:49:21.680 --> 0:49:26.360
<v Speaker 3>portal to the underworld. Thanks for the trip down memory lane. Cheers, Gary.

0:49:27.880 --> 0:49:31.920
<v Speaker 2>Oh thanks Gary, I really enjoyed hearing that. And I

0:49:31.960 --> 0:49:35.440
<v Speaker 2>had to look up Sunday Night Horrors and assuming this

0:49:35.520 --> 0:49:38.000
<v Speaker 2>is the same one, and I'm reading this on stuff

0:49:38.080 --> 0:49:42.279
<v Speaker 2>dot co dot Nz, there's an article about it, because

0:49:42.280 --> 0:49:44.239
<v Speaker 2>I was wondering it's like the sounds like there might

0:49:44.280 --> 0:49:47.040
<v Speaker 2>have been a horror host. Indeed, it seems like there

0:49:47.160 --> 0:49:50.640
<v Speaker 2>was count Robulus ouppears to have been the host or

0:49:50.760 --> 0:49:52.560
<v Speaker 2>was one of the hosts. I'm not sure at least

0:49:53.280 --> 0:49:55.719
<v Speaker 2>maybe they only had one host, but Count Robulus is

0:49:55.719 --> 0:49:59.640
<v Speaker 2>definitely in the mix. And this character was seemingly played

0:49:59.680 --> 0:50:03.839
<v Speaker 2>by a former Prime Minister of New Zealand. All right,

0:50:03.880 --> 0:50:06.960
<v Speaker 2>that is this is a rabbit hole. I was not

0:50:07.000 --> 0:50:10.400
<v Speaker 2>prepared to go down. More information is required, but I

0:50:10.520 --> 0:50:13.719
<v Speaker 2>can't research it in real time as we record an episode.

0:50:14.040 --> 0:50:17.759
<v Speaker 3>Yeah, we'll have to bookmark that for later. Okay, Rob,

0:50:17.800 --> 0:50:19.760
<v Speaker 3>you want to read any more of these weird House messages,

0:50:19.800 --> 0:50:20.279
<v Speaker 3>take your pick?

0:50:25.560 --> 0:50:28.000
<v Speaker 2>All right, let's see. Oh yeah, here's one from Paul

0:50:28.080 --> 0:50:30.399
<v Speaker 2>Hi Robin Joe. This is my second time writing about

0:50:30.400 --> 0:50:33.480
<v Speaker 2>weird house cinema. Last time it was regarding Danger Diabolic,

0:50:33.680 --> 0:50:36.320
<v Speaker 2>which I loved. This time i'm writing with a recommendation.

0:50:36.719 --> 0:50:40.680
<v Speaker 2>Are you familiar with the Quatermass series made in England

0:50:40.719 --> 0:50:44.800
<v Speaker 2>in the late fifties. Quartermass two is a dark, serious

0:50:44.800 --> 0:50:48.400
<v Speaker 2>movie dealing with an alien infiltration with Cold War overtones.

0:50:48.640 --> 0:50:50.400
<v Speaker 2>I think it would make a fine Weird House episode.

0:50:50.400 --> 0:50:54.040
<v Speaker 2>As always, looking forward to your next episode, Paul. Well, Paul,

0:50:54.080 --> 0:50:59.680
<v Speaker 2>thanks for writing it. I've only seen one Quartermass episode,

0:50:59.760 --> 0:51:03.840
<v Speaker 2>and that's a quarter Mass and the Pit, which I loved.

0:51:04.440 --> 0:51:07.680
<v Speaker 2>This was one that I saw on TV I forget

0:51:07.719 --> 0:51:11.000
<v Speaker 2>what channel, and I was really just enraptured by it

0:51:11.320 --> 0:51:13.120
<v Speaker 2>on the whole. I think it is really good effects,

0:51:13.160 --> 0:51:15.400
<v Speaker 2>but you know, effects that are maybe going to not

0:51:15.520 --> 0:51:20.000
<v Speaker 2>hold up to at the time modern expectations of sci

0:51:20.000 --> 0:51:22.839
<v Speaker 2>fi movie effects. But the story is so good and

0:51:22.880 --> 0:51:26.880
<v Speaker 2>so haunting and just so well executed. And Joe, didn't

0:51:26.920 --> 0:51:30.720
<v Speaker 2>you have a film from this series kind of bouncing

0:51:30.760 --> 0:51:32.279
<v Speaker 2>around as a possibility at one point.

0:51:32.400 --> 0:51:34.440
<v Speaker 3>Yeah, I've been meaning to look at one called The

0:51:34.480 --> 0:51:35.600
<v Speaker 3>Quatermass Experiment.

0:51:36.719 --> 0:51:38.759
<v Speaker 2>I'll add this is also a series. I used to

0:51:38.960 --> 0:51:42.480
<v Speaker 2>read this in my head as quarter Mass. Yeah, so

0:51:43.040 --> 0:51:48.520
<v Speaker 2>if I if I'm mistakenly say quarter Mass now or

0:51:48.560 --> 0:51:50.160
<v Speaker 2>in the future, that is why.

0:51:50.360 --> 0:51:52.920
<v Speaker 3>For some reason I keep getting the quater Mass Experiment.

0:51:53.200 --> 0:51:55.360
<v Speaker 3>I don't know why I'm mixed up with a different

0:51:55.719 --> 0:51:59.000
<v Speaker 3>British horror movie called The Earth Dyed Screaming m.

0:51:59.719 --> 0:52:02.680
<v Speaker 2>Yeah that is yeah, that's that's not a part of

0:52:02.719 --> 0:52:05.840
<v Speaker 2>this franchise. But maybe part of the reason is Quater

0:52:05.880 --> 0:52:08.879
<v Speaker 2>Moss in the Pit was also what fifty million years

0:52:08.880 --> 0:52:09.280
<v Speaker 2>to Earth?

0:52:10.280 --> 0:52:14.520
<v Speaker 3>Oh yeah, okay, maybe yeah, they're all I'm grouping them

0:52:14.520 --> 0:52:17.200
<v Speaker 3>together in my head for some reason, but I plan

0:52:17.280 --> 0:52:25.480
<v Speaker 3>to come check them all out at some point. All right,

0:52:25.840 --> 0:52:28.839
<v Speaker 3>I'm going to do this message from Mike about Weird House,

0:52:28.840 --> 0:52:31.120
<v Speaker 3>says Dear Robert and Joe. I'm listening to the Weird

0:52:31.160 --> 0:52:34.400
<v Speaker 3>House Cinema episode about Uninvited, and you were talking about

0:52:34.440 --> 0:52:39.400
<v Speaker 3>favorite director cameos. You mentioned David Cronenberg. Yeah, one of

0:52:39.400 --> 0:52:41.440
<v Speaker 3>my favorite directors to get in front of the camera.

0:52:42.000 --> 0:52:42.520
<v Speaker 4>Mike says.

0:52:42.560 --> 0:52:45.279
<v Speaker 3>A few years ago, I was watching Star Trek Discovery.

0:52:45.640 --> 0:52:48.000
<v Speaker 3>The later seasons of the show have the crew forced

0:52:48.000 --> 0:52:50.600
<v Speaker 3>to jump nine hundred or so years into the future,

0:52:50.920 --> 0:52:54.000
<v Speaker 3>and the version of the Federation there had an intelligence

0:52:54.000 --> 0:52:57.239
<v Speaker 3>officer named Kovich. As soon as I saw him, I

0:52:57.280 --> 0:53:01.560
<v Speaker 3>thought he was giving serious Kronenberg vibes until I realized, Hey,

0:53:01.840 --> 0:53:05.960
<v Speaker 3>that is David Cronenberg. He just basically shows up in

0:53:06.000 --> 0:53:08.520
<v Speaker 3>several episodes dressed in a normal suit and tie and

0:53:08.560 --> 0:53:12.359
<v Speaker 3>seeming very incongruous with everything going on around him. Love

0:53:12.440 --> 0:53:15.400
<v Speaker 3>the show, Thank you, Mike and Mike Attash is a

0:53:15.440 --> 0:53:20.280
<v Speaker 3>screenshot where I would say Cronenberg is looking a little

0:53:20.320 --> 0:53:23.960
<v Speaker 3>bit like, well, what's her name? She's She's a current

0:53:24.040 --> 0:53:27.560
<v Speaker 3>judge on The Great British bakeoff pro Leath.

0:53:27.719 --> 0:53:29.799
<v Speaker 2>I think, yeah, I know the one you're talking about.

0:53:29.880 --> 0:53:33.960
<v Speaker 4>Yeah, yeah, this is the Glasses, I think, yeah, yeah.

0:53:34.000 --> 0:53:38.440
<v Speaker 2>I had heard about his role in these in the

0:53:38.880 --> 0:53:40.520
<v Speaker 2>Star Trek series. This is not one of the Star

0:53:40.560 --> 0:53:43.239
<v Speaker 2>Trek series I've watched, but I was tempted to when

0:53:43.440 --> 0:53:46.520
<v Speaker 2>when I heard the Cronenberg shows up. Yeah, he occasionally,

0:53:46.640 --> 0:53:49.319
<v Speaker 2>even fairly recently in recent years, You've seen him show

0:53:49.400 --> 0:53:51.920
<v Speaker 2>up on a few different things. There's some period drama

0:53:51.960 --> 0:53:54.680
<v Speaker 2>that my wife was watching and like, Cronenberg just shows

0:53:54.760 --> 0:53:58.160
<v Speaker 2>up in that as well. There's little acting gigs here

0:53:58.160 --> 0:54:05.960
<v Speaker 2>and there. I think it just stays busy. All right.

0:54:05.960 --> 0:54:07.560
<v Speaker 2>There's another one. This one comes to us from Chris

0:54:07.600 --> 0:54:10.400
<v Speaker 2>good Day. I recently heard a podcast give a spoiler

0:54:10.440 --> 0:54:13.239
<v Speaker 2>warning where they sarcastically added in case you need a

0:54:13.280 --> 0:54:16.080
<v Speaker 2>spoiler warning for a forty year old movie, which I

0:54:16.120 --> 0:54:18.759
<v Speaker 2>thought was odd. Since you all are very good at

0:54:18.760 --> 0:54:21.480
<v Speaker 2>giving spoiler warnings, I'm really interested in what you'd have

0:54:21.520 --> 0:54:24.319
<v Speaker 2>to say about them and how cultures treat them. What

0:54:24.480 --> 0:54:27.160
<v Speaker 2>are spoilers? What counts as one? Why do some people

0:54:27.200 --> 0:54:30.360
<v Speaker 2>care about them more than others? Thanks for doing good work,

0:54:30.440 --> 0:54:31.520
<v Speaker 2>Best wishes, Chris.

0:54:32.280 --> 0:54:35.399
<v Speaker 3>Oh, thanks Chris. That is an interesting idea, like when

0:54:35.480 --> 0:54:38.279
<v Speaker 3>do spoilers matter and why? What is the logic we

0:54:38.400 --> 0:54:42.960
<v Speaker 3>use to decide that it's certainly we're inconsistent about it

0:54:43.000 --> 0:54:45.399
<v Speaker 3>on Weird House, and I think it's just a case

0:54:45.440 --> 0:54:48.959
<v Speaker 3>to case judgment call. It's like when we're talking about

0:54:48.960 --> 0:54:52.359
<v Speaker 3>a movie where I feel like the revelations that come

0:54:52.440 --> 0:54:55.839
<v Speaker 3>in the plot are actually surprising and there is some

0:54:55.920 --> 0:54:59.640
<v Speaker 3>amount of pleasure in being surprised by them. That's when

0:54:59.680 --> 0:55:02.640
<v Speaker 3>I throw in, like a oh, spoiler warning. A lot

0:55:02.640 --> 0:55:04.560
<v Speaker 3>of the movies we talk about, you have many great

0:55:04.560 --> 0:55:06.880
<v Speaker 3>things to love, but maybe a lot of the pleasure

0:55:06.960 --> 0:55:10.760
<v Speaker 3>doesn't come from the the you know, surprising or inventive

0:55:10.880 --> 0:55:12.720
<v Speaker 3>nature of the plot dynamics.

0:55:13.239 --> 0:55:19.560
<v Speaker 2>Yeah, I mean it's it gets a careful line to walk,

0:55:19.680 --> 0:55:22.600
<v Speaker 2>because on one hand, I think it can be said

0:55:22.600 --> 0:55:26.600
<v Speaker 2>that pretty much any movie is at its best if

0:55:26.600 --> 0:55:30.319
<v Speaker 2>you can go in cold. But it's also unrealistic to

0:55:30.400 --> 0:55:34.520
<v Speaker 2>have that expectation for every film you watch, and in

0:55:34.600 --> 0:55:37.319
<v Speaker 2>part because stuff is going to be spoiled for you,

0:55:37.400 --> 0:55:41.040
<v Speaker 2>obviously by promotions for the film, by the cover art

0:55:41.120 --> 0:55:43.680
<v Speaker 2>for the film, or just people telling you about the film,

0:55:43.719 --> 0:55:48.719
<v Speaker 2>and on top of that, some spoilers are sometimes necessary

0:55:48.760 --> 0:55:50.839
<v Speaker 2>just to get you interested in it. Like you want

0:55:50.840 --> 0:55:52.759
<v Speaker 2>to see a film more X happens and you're like, yeah,

0:55:52.800 --> 0:55:54.360
<v Speaker 2>I want to see a film more X happens, and

0:55:54.360 --> 0:55:56.440
<v Speaker 2>then you look it up, Whereas if you didn't know

0:55:56.760 --> 0:55:58.719
<v Speaker 2>X was going to happen, you might never have watched

0:55:58.760 --> 0:55:59.799
<v Speaker 2>that movie to begin with.

0:56:00.160 --> 0:56:03.760
<v Speaker 3>I guess another virtue of the fact that more often

0:56:03.840 --> 0:56:06.080
<v Speaker 3>we cover older movies on Weird House Cinema.

0:56:06.160 --> 0:56:07.240
<v Speaker 4>I mean we you know, we don't.

0:56:07.040 --> 0:56:09.359
<v Speaker 3>Have a rule against doing newer movies, but more often

0:56:09.400 --> 0:56:11.480
<v Speaker 3>we cover older movies. That does take some of the

0:56:11.560 --> 0:56:15.200
<v Speaker 3>spoiler pressure off. I feel like with movies that are

0:56:15.200 --> 0:56:17.520
<v Speaker 3>a few decades old, I still will give.

0:56:17.400 --> 0:56:19.080
<v Speaker 4>A warning, you know, just for people who have never

0:56:19.120 --> 0:56:19.560
<v Speaker 4>seen them.

0:56:19.600 --> 0:56:21.600
<v Speaker 3>If it's like there's a lot there are many great

0:56:21.600 --> 0:56:25.160
<v Speaker 3>surprises that I want to keep intact and protect, But

0:56:25.840 --> 0:56:28.840
<v Speaker 3>there's just generally less pressure with older stuff to be

0:56:28.920 --> 0:56:29.839
<v Speaker 3>careful about it.

0:56:29.880 --> 0:56:32.560
<v Speaker 2>I think, yeah. And I also think when it comes

0:56:32.560 --> 0:56:35.360
<v Speaker 2>to spoilers in general, intention is a big thing. So

0:56:35.680 --> 0:56:39.080
<v Speaker 2>is are things being spoiled, you know, in a mean

0:56:39.120 --> 0:56:43.520
<v Speaker 2>spirited way or a careless, reckless way. You know, that's

0:56:43.600 --> 0:56:47.240
<v Speaker 2>that's one thing. But are spoilers being used to entice

0:56:47.280 --> 0:56:49.880
<v Speaker 2>you to see something, to get you excited about something,

0:56:50.239 --> 0:56:52.600
<v Speaker 2>or to prepare you for something that you might not

0:56:52.800 --> 0:56:54.480
<v Speaker 2>want to see. You know, it's kind of like a

0:56:54.520 --> 0:56:57.560
<v Speaker 2>you know, trigger warning or something to that effect. You know,

0:56:57.600 --> 0:57:01.360
<v Speaker 2>everyone has a different, you know, different different values and

0:57:01.400 --> 0:57:04.759
<v Speaker 2>expectations along those lines. I used to to work with

0:57:04.800 --> 0:57:08.239
<v Speaker 2>someone who would religiously spoil everything in a movie, like

0:57:08.280 --> 0:57:10.880
<v Speaker 2>read full spoilers before she watched a film, because she

0:57:10.960 --> 0:57:13.920
<v Speaker 2>didn't want to be surprised by anything, you know, And

0:57:14.520 --> 0:57:16.960
<v Speaker 2>I get it. It's not not what I tend to do.

0:57:17.360 --> 0:57:20.400
<v Speaker 2>But you know, sometimes you know, certainly we we will

0:57:20.440 --> 0:57:22.680
<v Speaker 2>look into movies before we select them for a weird house,

0:57:22.760 --> 0:57:25.960
<v Speaker 2>to see if there's anything, you know, in particular, that

0:57:26.040 --> 0:57:27.840
<v Speaker 2>we don't want to deal with, we don't want to

0:57:27.880 --> 0:57:30.400
<v Speaker 2>talk about, and so you know, it pays to spoil

0:57:30.440 --> 0:57:32.120
<v Speaker 2>ourselves a little bit in those cases.

0:57:32.440 --> 0:57:36.200
<v Speaker 3>I once had a literature professor, actually an English professor,

0:57:36.280 --> 0:57:39.120
<v Speaker 3>who told me that he would always read the last

0:57:39.160 --> 0:57:42.160
<v Speaker 3>chapter of a book first, or always wante the ending first.

0:57:42.280 --> 0:57:43.840
<v Speaker 3>I don't know if he was telling the truth, but

0:57:43.880 --> 0:57:46.760
<v Speaker 3>that's what he claimed, and that seemed perverse to me.

0:57:46.960 --> 0:57:51.040
<v Speaker 3>But yeah, I think his explanation was, you know, he

0:57:51.120 --> 0:57:53.160
<v Speaker 3>wanted to see the end first, to see to figure

0:57:53.160 --> 0:57:54.320
<v Speaker 3>out how they're going to get there.

0:57:54.800 --> 0:57:59.440
<v Speaker 2>Yeah, yeah, that makes sense. So again, I'm not endorsing

0:57:59.480 --> 0:58:03.200
<v Speaker 2>that life style. Yeah, everyone's mileage on this is going

0:58:03.280 --> 0:58:05.560
<v Speaker 2>to vary, but yeah, I guess the way we tend

0:58:05.560 --> 0:58:07.560
<v Speaker 2>to do it is, yeah, well, we may spoil a

0:58:07.600 --> 0:58:09.400
<v Speaker 2>little bit to try and get you excited about it,

0:58:09.600 --> 0:58:11.880
<v Speaker 2>but we also don't spoil as much as a modern

0:58:11.880 --> 0:58:14.560
<v Speaker 2>movie trailer, which is generally made by someone who is

0:58:14.600 --> 0:58:17.000
<v Speaker 2>just trying to make you see that movie at all costs,

0:58:17.040 --> 0:58:19.680
<v Speaker 2>even if they have to ruin everything. We don't actually

0:58:19.760 --> 0:58:21.880
<v Speaker 2>make any money off of you seeing the films that

0:58:21.880 --> 0:58:25.360
<v Speaker 2>we cover on Weird House Cinema. Our incentive is, if

0:58:25.360 --> 0:58:27.040
<v Speaker 2>this is the sort of film you'd like to see,

0:58:27.080 --> 0:58:28.880
<v Speaker 2>we really want you to watch it. Yeah.

0:58:29.480 --> 0:58:33.560
<v Speaker 3>I hope we're just making an entertaining, interesting and informative show.

0:58:33.720 --> 0:58:37.720
<v Speaker 3>And yeah, if any movie we talk about tickles your fancy,

0:58:37.840 --> 0:58:38.600
<v Speaker 3>we hope you see it.

0:58:39.160 --> 0:58:40.880
<v Speaker 2>All Right, we're going to go and close up the

0:58:40.880 --> 0:58:43.360
<v Speaker 2>mail bag for today, but we'll be back in the

0:58:43.520 --> 0:58:47.320
<v Speaker 2>not too distant future to cover more listener mails, lister

0:58:47.400 --> 0:58:50.120
<v Speaker 2>mails that we had in the mail bag for today

0:58:50.120 --> 0:58:52.920
<v Speaker 2>but didn't get to, or new listener mails that you're

0:58:52.960 --> 0:58:56.080
<v Speaker 2>going to send in in the weeks to follow. If

0:58:56.080 --> 0:58:58.680
<v Speaker 2>you want to talk about current episodes, past episodes, or

0:58:58.840 --> 0:59:02.360
<v Speaker 2>future episodes of Stuff to Blow your Mind, the Monster Fact,

0:59:02.400 --> 0:59:05.680
<v Speaker 2>the artifact on amalyst Dependium, or of course, Weird House Cinema,

0:59:05.760 --> 0:59:08.120
<v Speaker 2>write in we would love to hear from here.

0:59:08.120 --> 0:59:11.880
<v Speaker 3>Here's things as always to our excellent audio producer JJ Posway.

0:59:12.280 --> 0:59:13.880
<v Speaker 3>If you would like to get in touch with us

0:59:13.880 --> 0:59:16.360
<v Speaker 3>with feedback on this episode or any other, to suggest

0:59:16.400 --> 0:59:18.560
<v Speaker 3>a topic for the future, or just to say hello,

0:59:18.800 --> 0:59:21.400
<v Speaker 3>you can email us at contact at stuff to Blow

0:59:21.440 --> 0:59:29.800
<v Speaker 3>your Mind dot com.

0:59:29.920 --> 0:59:32.880
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

0:59:32.960 --> 0:59:35.760
<v Speaker 1>more podcasts from my Heart Radio, visit the iHeartRadio app,

0:59:35.880 --> 0:59:38.640
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