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

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

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Speaker 2: This is Robert Lamb.

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Speaker 3: And this is Joe McCormick, and today we are bringing

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Speaker 3: you some messages from the Stuff to Blow Your Mind

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Speaker 3: email address, Folks at home, if you like this show

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Speaker 3: and you've never written in to tell us your thoughts before,

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Speaker 3: now would be a great time. You know, It's weird

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Speaker 3: how I feel like our email really comes in like floods,

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Speaker 3: and then it dries up, and then it's a flood again.

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Speaker 3: I wish we could do something, if we could prod

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Speaker 3: y'all out there in some way to make the flow

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Speaker 3: more steady. It's like we live. We live in a

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Speaker 3: kind of Nile inundation cycle of emails, where like sometimes

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Speaker 3: we're struggling to keep up to read enough of them,

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Speaker 3: and other times they dry up and I don't know

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Speaker 3: what to do about that.

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Speaker 2: Well, I mean it get the impression that some episodes

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Speaker 2: are just more relatable than others and are going to

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Speaker 2: be sorts of episodes that folks feel like they have

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Speaker 2: something to contribute on. Certainly we see this when we

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Speaker 2: do episodes on things like dreams, oh yes, or universal experiences,

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Speaker 2: and then sometimes we do deeper dives into areas that

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Speaker 2: you know no one has personal experience with, like no

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Speaker 2: one has actually been a warrior and an ancient army

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Speaker 2: and so forth. But yeah, you know it's sometimes it's

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Speaker 2: hard to predict as well.

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Speaker 3: Well, whatever the reason they're folks, I just I would

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Speaker 3: always encourage you. If you want to get in touch,

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Speaker 3: please do. If you're thinking about it, do it. Make

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Speaker 3: it real. You can write us at contact at stuff

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Speaker 3: to Blow your Mind dot com. We of course always

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Speaker 3: loved responses to recent episodes or series. If you have

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Speaker 3: a correction if necessary, certainly send that our way. If

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Speaker 3: you have something interesting you'd like to add to a

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Speaker 3: topic we talked about, If you would just like to

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Speaker 3: tell us something you find interesting, even unrelated to episodes

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Speaker 3: we've done, that's all fair game. Contact at Stuff to

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Speaker 3: Blow your Mind.

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Speaker 2: If you ever find yourself thinking, boy, I wish they

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Speaker 2: would do more episodes like X, well, whatever X is,

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Speaker 2: write in and tell us because in all likelihood, you know,

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Speaker 2: we always have any number of episodes we'd like to

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Speaker 2: cover any number of topics, and it's just kind of

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Speaker 2: week to week on whether we'll spring on one or not,

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Speaker 2: so you know, a little prodding in one direction or

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Speaker 2: the other can work wonders.

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Speaker 3: That's right. We can't promise to do topics on request,

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Speaker 3: but we absolutely have done that before and we'll do

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Speaker 3: that at some points in the future.

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Speaker 2: All right, Well, let's dig into this mailbag. What does

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Speaker 2: Carnie have for us this week?

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Speaker 3: Joe, Let's see, maybe we should kick things off with

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Speaker 3: this response to our series on predators of the Deep Ocean.

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Speaker 3: This was a series we did about predatory animals that

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Speaker 3: operate in the darker parts of the sea, the lower

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Speaker 3: strata away from the sunlight, including the abyssle and the

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Speaker 3: hadel zones. Now, Rob, this message makes reference to a

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Speaker 3: Monsters of the Deep wall poster. That's ringing a bell

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Speaker 3: in my brain. But I actually don't remember the context

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Speaker 3: in which that originally came up. What was the deal there?

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Speaker 2: I think I was reminiscing about a possibly national geographic

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Speaker 2: fold out poster of various organisms in the ocean, including

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Speaker 2: deep sea organisms, and not everything was to scale, nor

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Speaker 2: was it intended to be to scale, but it kind

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Speaker 2: of led my young mind to assume that some of

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Speaker 2: these creatures were bigger than they actually were. And as

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Speaker 2: we've chatted with folks since that episode, it sounds like

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Speaker 2: I wasn't the only one to have this experience.

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Speaker 3: Yeah, okay, that's what it was. So this message comes

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Speaker 3: from Jeff. Jeff says, Greetings, deep ones. I didn't have

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Speaker 3: a Monsters of the Deep poster on my wall, but

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Speaker 3: I did have access to my grandfather's Encyclopedia Britannica and

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Speaker 3: spent many hours studying the illustrations of horrible deep sea

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Speaker 3: creatures and earning their names. Other kids had dinosaurs. I

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Speaker 3: had the spiny batfish and the gulper eel. I always

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Speaker 3: highly recommend reading outdated encyclopedias and reference books any like

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Speaker 3: nonfiction books of factual information about the world, especially if

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Speaker 3: the selection criteria is like what would be interesting to

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Speaker 3: a general reader and it's from I don't know, more

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Speaker 3: than eighty years ago. That is always a gold mine,

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Speaker 3: not necessarily because the information in it is still considered correct,

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Speaker 3: but just because it gives you such an interesting window

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Speaker 3: into the intellectual and literary landscape of the past.

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Speaker 2: Yeah. Yeah, outdated reference books, you know, outdated encyclopedias. That's

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Speaker 2: how some of us got the sex talk Growing up

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Speaker 2: World books from the nineteen sixties.

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Speaker 3: Yeah, I love stuff like that anyway. Jeff goes on

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Speaker 3: to say, along the lines of pre Discovery Channel, pre Internet,

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Speaker 3: re life, monster data, I highly recommend the X Do

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Speaker 3: the Strangest Things series of children's books from the nineteen

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Speaker 3: sixties and seventies. They include birds do the Strangest Things,

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Speaker 3: Animals they mean, mammals do the strangest things, prehistoric monsters

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Speaker 3: did the strangest things, and plants do amazing things. Why

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Speaker 3: not strange things for plants?

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Speaker 2: But you don't want to vilify plants too much.

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Speaker 3: These books are filled to the brim with animals with

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Speaker 3: superpowers and great backstories. Each chapter is just a few

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Speaker 3: pages long, with beautiful drawings, a large, friendly serafont that

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Speaker 3: encourages reading, and a solid sense of humor. Some of

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Speaker 3: the humor comes from the dated writing style. Animal couples

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Speaker 3: are often referred to as husband and wife. There are

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Speaker 3: some errors based on lack of modern data apocryphal stories.

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Speaker 3: For instance, they propagate the myth of suicidal lemmings, not

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Speaker 3: to mention amusing moral judgments of animal behavior, and some

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Speaker 3: classification of animals as either friends like the honeybee or

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Speaker 3: enemies like the mosquito. But what always stuck with me

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Speaker 3: was the fascinating animal facts and great art. The Fish

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Speaker 3: Book featured an archerfish in action on the cover and

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Speaker 3: was always my favorite. Creepy images of the alligator gar

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Speaker 3: have haunted my nightmares my entire life, but I have

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Speaker 3: rarely experienced as much pure delight as when some real

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Speaker 3: life archerfish spat on me at the National Aquarium when

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Speaker 3: I was allowed to feed them a cricket on a stick.

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Speaker 3: Below our links to the books, which you can still

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Speaker 3: purchase used copies of on Amazon and eBay. Also attached

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Speaker 3: are some pages from the Fish Book, including a section

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Speaker 3: on the mysterious eels recently discussed in Rob's interview with

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Speaker 3: the Mycologist and Rabbi. Pull in the images from Jeff's email.

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Speaker 3: These are like photos of some spreads from This Fish

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Speaker 3: to the Strangest Things books. So one is a spread

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Speaker 3: on the anglerfish, and I'm just going to read a

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Speaker 3: selection here, and so this is it's already introduced the

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Speaker 3: idea of the size disparity between the kind of anglerfish

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Speaker 3: they're talking about, at least the size disparity between the

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Speaker 3: females and the males. And the second paragraph on the

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Speaker 3: second page in the spread begins almost as soon as

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Speaker 3: he is born, the male anglerfish starts looking for a wife.

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Speaker 3: When he finds her, he fastens onto her side with

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Speaker 3: his mouth. Soon their skin grows together. After this, they

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Speaker 3: can never be parted. Now he will never lose her

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Speaker 3: in the dark.

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Speaker 2: Oh my god.

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Speaker 3: The male angler has no fishing rod. He does not

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Speaker 3: need one. His wife does the fishing for him.

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Speaker 2: I mean, it implies that he wants to fish, But

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Speaker 2: I mean it's like you personify these creatures at your peril,

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Speaker 2: Like it's just they're not humans. They have their own

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Speaker 2: thing going on, and they're pretty far removed from us.

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Speaker 3: But I would not be without this stuff. I love this.

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Speaker 3: It's great. I also was looking at some of the

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Speaker 3: other pages. There's a page on the archer fish which

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Speaker 3: has an illustration of the fish spitting above the water

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Speaker 3: line at a bug to make it fall, and it

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Speaker 3: describes how the fish does this, but then it says, quote,

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Speaker 3: the drops of water shot from the archer's mouth hit

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Speaker 3: the insect so hard it is knocked out. It falls

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Speaker 3: into the river. The archer swims over and eats it up.

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Speaker 3: He can hit a bug over three feet away. The

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Speaker 3: little sharpshooter almost never misses. It is a wonderful way

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Speaker 3: to catch an insect. But don't you try it. Spitting

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Speaker 3: is only for archerfish.

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Speaker 2: Yeah, there's a lesson here for all of us. But yeah,

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Speaker 2: I have to agree. These are These were not part

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Speaker 2: of my upbringing, or at least I don't remember these books.

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Speaker 2: But I do love the layout here. The illustrations are fabulous.

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Speaker 2: I can basically smell these books looking at them, you.

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Speaker 3: Know, Yeah, that old book smell. I love that. Yeah. Oh,

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Speaker 3: and there also is By the way, Jeff includes a

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Speaker 3: spread on the eels, eels making a trip to the

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Speaker 3: Sargasso Sea from each side of the Atlantic, from America

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Speaker 3: and from Europe, swimming down and then laying their eggs

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Speaker 3: and then dying and then somehow the European eels go

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Speaker 3: back to Europe and the American eels go back to America.

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Speaker 3: And I think that was the one referring to the

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Speaker 3: eels you talked about in the episode you did, Rob.

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Speaker 2: That's right. That episode was the Queerness of Nature with

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Speaker 2: Patricia Keashian. And by the way, that episode is going

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Speaker 2: to rerun here in just a week or so.

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Speaker 3: Oh nice? Is that to time with the publication of

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Speaker 3: the book.

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Speaker 2: Yeah, that's a special circumstance here to correspond with publication date.

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Speaker 3: Nice. But anyway, yeah, oh wait, no, I was going

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Speaker 3: to mention one more page that Jeff includes from the book.

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Speaker 3: It's about sharks. So there's a page about how hammerhead

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Speaker 3: sharks are. You know, they're dangerous, they could bite you.

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Speaker 3: And then it starts talking about the whale shark. It's like,

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Speaker 3: it's the biggest fish in the sea, but it doesn't

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Speaker 3: want to eat people, just eats fish, tiny fish and plants.

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Speaker 3: And then it says the whale shark may let people

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Speaker 3: ride on him. Quote, it would not be wise to

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Speaker 3: try to ride any other kind of shark. Other sharks

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Speaker 3: cannot be trusted.

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Speaker 2: And it's my understanding that your advice not to write

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Speaker 2: on whale sharks either of these problems, like, yeah, they

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Speaker 2: don't like. My understanding is that they do not really

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Speaker 2: seem to care for it, and it just sort of

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Speaker 2: drives them away. So it kind of gets in the

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Speaker 2: way of humans getting to experience being in the water

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Speaker 2: with whale sharks.

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Speaker 3: Anyway, Jeff says thanks again for sharing your research and

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Speaker 3: personal stories with us. Jeff, Well, thank you so much, Jeff,

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Speaker 3: I really appreciate you sending in the pages from these books.

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Speaker 3: They look fabulous. I would love to own these things.

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Speaker 2: Yeah, they're beautiful. This next one comes to us from Andrew.

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Speaker 2: Andrew says, Hello, Joe and Robert. I am still loving

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Speaker 2: Stuff to Blow your mind. It's my favorite podcast and

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Speaker 2: has been for a long time. I'm just finishing the

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Speaker 2: second episode about Jupiter's Great Red Spot. Some of my

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Speaker 2: favorite episodes were about the moons of Jupiter and sat

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Speaker 2: I love how many different topics you cover and how

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Speaker 2: consistently good they are. Sometimes I see the title and

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Speaker 2: think I won't be interested, but I basically always enjoy

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Speaker 2: the episode. I have the same experience. Sometimes I see

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Speaker 2: the topic and I'm like, I'm not going to be

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Speaker 2: able to get into this one, but I always am

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Speaker 2: able to get into it because I've found over the

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Speaker 2: years that any topic that pops up on our radar,

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Speaker 2: if you dig into it a bit, you'll find those

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Speaker 2: interesting angles and you'll find something to be fascinated about.

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Speaker 3: I agree, it's quite rare that we commit to doing

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Speaker 3: something and then I can find almost nothing actually interesting

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Speaker 3: about it. I'm gonna admit it has happened, but really

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Speaker 3: only like a handful of times over the years.

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Speaker 2: Yeah, and usually that realization comes pretty early in the

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Speaker 2: episode preparation process, Like we don't we quickly realize, oh,

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Speaker 2: maybe we should pivot and do this instead.

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Speaker 3: Yeah, yeah, all.

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Speaker 2: Right, Well, Andrew continues more praise. So hey, I'm going

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Speaker 2: to read it. I'm gay, they say, I really enjoy

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Speaker 2: weird house cinema, even though you choose rubbish movies. Now,

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Speaker 2: now this I do take a little bit of issue with.

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Speaker 2: In all seriousness, I find something to love in all

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Speaker 2: of them. Not a rubbish film in the bunch, as

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Speaker 2: far as I'm concerned. But to each their own, your

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Speaker 2: mileage may vary.

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Speaker 3: Well, I think the way I would put it is,

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Speaker 3: there is such a thing as the quality of a film.

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Speaker 3: Most people generally know what we mean when we make

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Speaker 3: reference to that, though it's quite hard to define, actually,

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Speaker 3: I mean, it's generally kind of hard to define quality.

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Speaker 3: So that is a thing, and as it is normally understood,

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Speaker 3: a lot of the movies we cover are not high

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Speaker 3: in that thing, are not high in that quality. But

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Speaker 3: that doesn't mean they are without interest, and so I

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Speaker 3: think you know, a lot of movies we cover, they're

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Speaker 3: not going to get a lot of stars on your

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Speaker 3: classic on the on the IMDb scale, but they are

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Speaker 3: still fascinating artifacts, enjoyable to watch, interesting to talk about.

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Speaker 3: I mean, this has just been I guess part of

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Speaker 3: my personality, going back as long as I could remember,

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Speaker 3: is that I could find interesting things about things that

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Speaker 3: were not typically understood as good art.

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Speaker 2: Oh that's fair. That's fair. Though I think some of

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Speaker 2: them are pretty great art.

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Speaker 3: Of course, some of them are.

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Speaker 2: Yeah, all right, Well anyway, Andrew continues and says, this

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Speaker 2: may seem random, but I bring it up because the

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Speaker 2: first time I experienced it was listening to the episode

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Speaker 2: about Rods from God. Oh that was a long time ago. Yeah,

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Speaker 2: I've had the experience of a sound or other sensation

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Speaker 2: incorporating itself into a dream. For example, a telephone ringing

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Speaker 2: in reality will work its way into a dream, and

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Speaker 2: I'll experience a telephone ring in the dream. The first

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Speaker 2: time I listened to the Rods from God episode to

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Speaker 2: refresh everyone, This I believe had to do with we

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Speaker 2: were talking. This is a theoretical orbital bombardment technique about

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Speaker 2: taking very massive objects, essentially large rods, and dropping them

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Speaker 2: strategically from orbit, and they would you know, they would

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Speaker 2: enter the Earth's atmosphere and do you know, devastating harm

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Speaker 2: when they reach the surface. Not necessarily the sort of

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Speaker 2: episode i'd do today, but it was a different time.

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Speaker 2: Andrew continues and says, Yeah, the first time I listened

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Speaker 2: to the Rods from God episode I fell asleep with

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Speaker 2: the podcast on. I had a dream about the idea

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Speaker 2: where I was in a room and someone was explaining

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Speaker 2: the idea of rods from God to me. Oh and

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Speaker 2: one more thing. It's just called rods from God. It

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Speaker 2: has nothing to do with the divine being the one

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Speaker 2: sort or another. It's just they come from up from.

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Speaker 3: Where that is, right, could have called him rods from Zod.

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Speaker 2: Yeah, yeah, that would work so any Andrew says, the

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Speaker 2: first time I listened to the Rods from God episode

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Speaker 2: I fell asleep with a podcast on. I had a

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Speaker 2: dream about the idea where I was in a room

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Speaker 2: and someone was explaining the idea of rods from God

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Speaker 2: to me. I was surprised that when I woke up

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Speaker 2: Stuff to Blow your mind was talking about this very concept.

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Speaker 2: When I put the podcast back about thirty seconds, I

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Speaker 2: was very surprised that I had incorporated full sentences from

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Speaker 2: the podcast into my dream with high accuracy. I'm not

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Speaker 2: surprised that something like this can happen with something like

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Speaker 2: a phone ringing, but I never would have thought it

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Speaker 2: possible for full sentences. I often fall asleep listening to podcasts,

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Speaker 2: and I've experienced this more than a few times. I

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Speaker 2: remember one time distinctly being somewhere and someone told me,

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Speaker 2: I know Joe McCormick, instead of just hearing I'm Joe McCormick.

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Speaker 3: Andrew. Yeah, Andrew. So this is actually an interesting subject.

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Speaker 3: I wonder if we could come back and do a

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Speaker 3: whole series on this. I'm sure it's a familiar experience

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Speaker 3: to many listeners. This is not the first time we

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Speaker 3: have had an email talk about this that like we

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Speaker 3: ended up in their dreams by being on the podcast

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Speaker 3: they were listening to as they fell asleep. But I

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Speaker 3: did briefly look up to see if there was any

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Speaker 3: research on this, and yeah, there actually is a good

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Speaker 3: bit of research that seems to from what I could tell,

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Speaker 3: it's kind of inconsistent in its results. But I was

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Speaker 3: looking at a literature review called Influencing Dreams through Sensory Stimulation,

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Speaker 3: a systematic review. This was published last year in twenty

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Speaker 3: twenty four in a journal called Sleep Medicine Reviews. This

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Speaker 3: was by Salviason at All, and I didn't have time

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Speaker 3: to get deep into this research here, but it was

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Speaker 3: trying to collect all the different studies that had been

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Speaker 3: done on whether sensory information from the physical environment actually

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Speaker 3: gets incorporated into dream content, and then in some cases

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Speaker 3: testing the fidelity of how it gets incorporated. Like you,

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Speaker 3: if you play verbal information in a room, will while

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Speaker 3: somebody is sleeping, will the person later say that they

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Speaker 3: experienced that verbal information in the dream, And then will

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Speaker 3: they actually have accurate recall of what information was transmitted?

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Speaker 3: And in some cases it seems yes. Other research has

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Speaker 3: had to do with nonverbal auditory stimuli and also other

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Speaker 3: sensory modalities as well. But in terms of auditory stimuli,

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Speaker 3: I know there's some research that began testing fire alarms

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Speaker 3: because it was trying to say, like, you know, will

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Speaker 3: fire alarms successfully wake people up from their sleep and

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Speaker 3: get them to, you know, get out of bed and

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Speaker 3: respond to an emergency. Some research in that Vein found

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Speaker 3: that people often reported having dreams about alarms when the

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Speaker 3: alarms were going off, and then they wake up or

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Speaker 3: they at least have the impression they had dreams about that.

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Speaker 3: Other things are like if you place sounds of traffic

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Speaker 3: at people while they are sleeping, they will often increased

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Speaker 3: reports of having dreams about like being in a street

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Speaker 3: with cars going by and things like that. So apparently

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Speaker 3: it's a it's a common phenomenon that somehow sensory information

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Speaker 3: from the physical environment gets incorporated into the dream state

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Speaker 3: this one way or another.

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Speaker 2: Yeah, that's interesting. I know in the past we've talked

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Speaker 2: to about certainly getting into different phases of sleep and dreaming,

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Speaker 2: you know, those sensitive areas where we're coming in or

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Speaker 2: out of sleep where reality and dream can kind of

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Speaker 2: be combined and in subtle and even disturbing ways. But yeah,

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Speaker 2: I guess I tend to kind of take this personally

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Speaker 2: for granted, says I don't listen to podcasts when I

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Speaker 2: go to sleep, or often I don't even listen to music.

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Speaker 2: I just have like, well, white noise on. And you know,

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Speaker 2: if you have to dream about white noise, well that's great,

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Speaker 2: but it's not necessarily going to be memorable.

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Speaker 3: I had a dream that the fan was blowing. Yeah, okay, Rob,

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Speaker 3: Now we've had a bunch of messages about Weird House cinema.

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Speaker 3: Do you want to go ahead and jump into those.

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Speaker 2: Yeah, let's go ahead and get into the Weird House mail.

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Speaker 3: All right, maybe I'll do this first one from Ian.

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Speaker 3: This is referring to something that came up in a

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Speaker 3: previous Listener mail about Weird House. The subject is Flight

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Speaker 3: of the Navigator. Dear Robin Joe, I'm currently listening to

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Speaker 3: the listener mail episode from early April and just wanted

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Speaker 3: to shoot a quick message to say I had the

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Speaker 3: exact same reaction as Rob to Flight of the Navigator,

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Speaker 3: which I watched at a friend's house as a child.

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Speaker 3: At the time, I didn't have the words to describe

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Speaker 3: the feeling, so I would have just said it's scared me,

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Speaker 3: despite not being scary in any traditional sense. Now, as

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Speaker 3: an adult, I can say it actually deeply unsettled me, and,

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Speaker 3: like Rob, I have avoided rewatching it ever since. Almost

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Speaker 3: all of my memories of the actual content of the

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Speaker 3: movie have faded. Over the thirty years or so since

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Speaker 3: I watched it, all that's left is a vague memory

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Speaker 3: of a scene where the spaceship has to stop so

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Speaker 3: the little boy can be But the unsettled feeling remains,

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Speaker 3: and I'm still and I still inwardly recoil at the

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Speaker 3: idea of watching it again. It's fascinating how things can

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Speaker 3: leave such a lasting impression even when so little of

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Speaker 3: the actual content of the experience sticks with us. Anyway,

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Speaker 3: just wanted to share that Rob is definitely not alone.

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Speaker 3: Thanks for the show, Ian, Well, thank you, Ian. This

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Speaker 3: is really interesting. I would say, Rob, if I'm remembering

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Speaker 3: what you said about it last time correctly, it was

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Speaker 3: that even though the movie is not intended to be

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Speaker 3: scary in anyway, it's presented as kind of a family

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Speaker 3: friendly children's adventure, there's just something that kind of like

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Speaker 3: makes your blood run cold about it.

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Speaker 2: Yeah. Yeah, it's been for ever since I watched it again.

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Speaker 2: For all the reasons we reference, but yeah, it has

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Speaker 2: some unsettling, kind of disturbed being concepts of like time

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Speaker 2: dilation and that, you know, our standard trope of science fiction.

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Speaker 2: But I think for many obviously this was our first

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Speaker 2: introduction to that concept, and it was, Yeah, it was

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Speaker 2: it was a little unnerving.

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Speaker 3: It actually makes me wonder what sorts of stories or

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Speaker 3: movies would have this quality that they might be more

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Speaker 3: frightening or unsettling to a child in ways that adults

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Speaker 3: might not pick up on. So all the adults who

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Speaker 3: are vetting this, they say, Okay, this looks family friendly,

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Speaker 3: you know, give it the okay stamp. This is good

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Speaker 3: for kids. But there's actually something in there that like

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Speaker 3: really messes with a lot of the kids who experience it.

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Speaker 3: It's sort of invisible or passes under the radar of adults,

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Speaker 3: you know what I mean.

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Speaker 2: Yeah, Yeah, I mean, And I guess it's just hard

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Speaker 2: to really identify sometimes because we can all think of

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Speaker 2: cases where there's something identifiable in the movie that clearly

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Speaker 2: can stir a child, like I instantly think about a

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Speaker 2: lot of people have that experience with The Dark Crystal.

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Speaker 2: Dark Crystal was wonderful. I've always loved it, My child

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Speaker 2: has always loved it. But there is some dark content

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Speaker 2: in there, and it's in a dark and immersive world

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Speaker 2: that doesn't pull any punches with some of it. Another

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Speaker 2: example I've mentioned before on the show is Revenge of

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Speaker 2: the Sith, which I think for many people, many for

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Speaker 2: many people out there. For many kids, it was perhaps

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Speaker 2: their earliest encounter with a tragic story arc, with the

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Speaker 2: story of someone's downfall into darkness, and you know, even

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Speaker 2: knowing like what happens in the rest of the series

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Speaker 2: and how it ties in with the larger franchise like it's,

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Speaker 2: it can be a pretty dark ride, especially if you

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Speaker 2: have no experience with other tragedies. But to you to

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Speaker 2: your point, yeah, there there's that other case of something

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Speaker 2: that we wouldn't as adults, wouldn't wouldn't identify, and could

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Speaker 2: easily fly under our radar, either due to our exposure

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Speaker 2: to other pictures in a given genre, or just the

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Speaker 2: fact that we're no longer in the mindset of a

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Speaker 2: child and we're not as privy to the more pressing

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Speaker 2: fears and concerns of a child.

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Speaker 3: This really hits home for me right now actually because

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Speaker 3: currently my daughter is about two and a half years old,

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Speaker 3: and she there was recently a day where we were,

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Speaker 3: you know, getting her ready for bed, and she mentioned

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Speaker 3: to me something. She got kind of serious and she

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Speaker 3: told me she was worried about something, and I was like, oh, no,

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Speaker 3: what is it? And she kind of didn't want to say.

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Speaker 3: But then she said something in my crib and I

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Speaker 3: was like, oh, what's going on? And so we, you know,

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Speaker 3: figured out that there was something in her bed that

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Speaker 3: was bothering her. And it turns out it was this

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Speaker 3: one stuffed animal that she used to love, but now

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Speaker 3: it had become scary to her, and she was almost

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Speaker 3: scared to say anything about it. Like it's like she

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Speaker 3: there was some kind of power she was afraid of

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Speaker 3: invoking by talking about the little stuffed lion, the cute

433
00:24:02,359 --> 00:24:05,800
Speaker 3: stuffed lion that she previously liked. But we you know,

434
00:24:05,960 --> 00:24:07,560
Speaker 3: so we took it out of the bed, like okay,

435
00:24:07,560 --> 00:24:09,920
Speaker 3: it's not in there anymore. The problem was solved. Then

436
00:24:09,920 --> 00:24:13,160
Speaker 3: she was fine, But I wondered. I wanted to get

437
00:24:13,160 --> 00:24:16,520
Speaker 3: inside that emotion, like what had evolved inside her mind?

438
00:24:16,560 --> 00:24:19,399
Speaker 3: You know, how did the cute lion that she was

439
00:24:19,480 --> 00:24:22,480
Speaker 3: hugging just a few days before, how did it become scary?

440
00:24:22,920 --> 00:24:24,840
Speaker 3: Something happened? And we don't know.

441
00:24:25,680 --> 00:24:26,960
Speaker 2: Yeah, I don't know.

442
00:24:27,200 --> 00:24:29,679
Speaker 3: Being a parent, especially if a very young child, is

443
00:24:29,720 --> 00:24:32,800
Speaker 3: often like that, like you can't get the child to

444
00:24:32,840 --> 00:24:35,840
Speaker 3: put into words exactly what it is that caused a

445
00:24:35,920 --> 00:24:39,639
Speaker 3: kind of emotional evolution or why they're thinking what they're thinking.

446
00:24:39,960 --> 00:24:42,080
Speaker 3: You have these little moments like that, and it's just

447
00:24:42,800 --> 00:24:47,400
Speaker 3: I don't know, like you. It's like these little changes

448
00:24:47,480 --> 00:24:51,040
Speaker 3: and moments that are emotionally powerful to you because they're

449
00:24:51,040 --> 00:24:53,840
Speaker 3: emotionally powerful to your child and you're connected to your child,

450
00:24:53,840 --> 00:24:55,320
Speaker 3: but they're also inscrutable to you.

451
00:24:55,680 --> 00:24:58,200
Speaker 2: Yeah, but this is a great example. If listeners out

452
00:24:58,200 --> 00:25:01,399
Speaker 2: there have any any other accounts of this sort of

453
00:25:01,440 --> 00:25:03,840
Speaker 2: thing from their own life, for the lives of children

454
00:25:03,880 --> 00:25:06,080
Speaker 2: in their lives right in, we would love to hear

455
00:25:06,119 --> 00:25:08,359
Speaker 2: from you. All right, This next one comes to us

456
00:25:08,359 --> 00:25:17,360
Speaker 2: from Leif. Leif Wright sentence says, Hi, guys, love your

457
00:25:17,440 --> 00:25:20,000
Speaker 2: show and have been listening for years. I especially enjoy

458
00:25:20,040 --> 00:25:22,400
Speaker 2: the Weird House Cinema episodes. You know, I should mention

459
00:25:22,600 --> 00:25:25,679
Speaker 2: now that we're talking about this. We haven't announced this

460
00:25:26,400 --> 00:25:30,280
Speaker 2: everywhere yet, but Weird House Cinema can now be found

461
00:25:30,320 --> 00:25:33,280
Speaker 2: as its own playlist wherever you get your podcasts. So

462
00:25:33,480 --> 00:25:37,200
Speaker 2: if you want to subscribe to Just Weird House Cinema

463
00:25:37,280 --> 00:25:39,679
Speaker 2: and rate Just Weird House Cinema, you can do that

464
00:25:39,760 --> 00:25:42,720
Speaker 2: wherever you get your podcasts. We're checking it out see

465
00:25:42,720 --> 00:25:43,280
Speaker 2: how it works.

466
00:25:44,000 --> 00:25:46,480
Speaker 3: Of course, assuming you still like our Core episodes. We

467
00:25:46,520 --> 00:25:48,600
Speaker 3: would love for you to subscribe to the whole feed

468
00:25:48,640 --> 00:25:51,000
Speaker 3: and listen to everything. But if you want to just

469
00:25:51,080 --> 00:25:53,560
Speaker 3: get yes, But if you want to just get Weird House,

470
00:25:53,760 --> 00:25:55,360
Speaker 3: go for it, all right.

471
00:25:55,400 --> 00:25:57,760
Speaker 2: So Leif says, Yeah, I love your show and have

472
00:25:57,800 --> 00:26:00,080
Speaker 2: been listening for years, especially enjoy the Weird House Cinema episodes.

473
00:26:00,119 --> 00:26:02,320
Speaker 2: But I want to posit something to you. I have

474
00:26:02,400 --> 00:26:07,080
Speaker 2: never heard you do an Australian osploitation movie, and indeed

475
00:26:07,119 --> 00:26:10,080
Speaker 2: I believe this is true. The closest we've come was

476
00:26:10,160 --> 00:26:13,359
Speaker 2: nineteen eighty two's Next of Ken, which I think qualifies

477
00:26:13,400 --> 00:26:16,440
Speaker 2: more as Australian new wave rather than osploitation.

478
00:26:16,760 --> 00:26:19,280
Speaker 3: I don't know what counts as osploitation. Have I seen one?

479
00:26:19,359 --> 00:26:20,800
Speaker 3: Is Mad Max osploitation?

480
00:26:21,280 --> 00:26:23,840
Speaker 2: I yeah, yeah, it's sometimes discussed as such. I mean

481
00:26:24,200 --> 00:26:26,239
Speaker 2: all these terms are kind of gray, right, I mean,

482
00:26:26,280 --> 00:26:29,399
Speaker 2: you can make a case for something being within or

483
00:26:30,359 --> 00:26:36,560
Speaker 2: outside of a particular subgenre. But you know, my loose

484
00:26:36,600 --> 00:26:39,320
Speaker 2: way of interpreting it is always, does it make Australia

485
00:26:39,359 --> 00:26:45,399
Speaker 2: seem scary? Does it seem to be you know, promoting

486
00:26:46,280 --> 00:26:51,520
Speaker 2: and or you know, exploiting some idea of like Australia's

487
00:26:51,560 --> 00:26:53,919
Speaker 2: and out of control wilderness sort of a thing, you know.

488
00:26:55,080 --> 00:26:57,000
Speaker 2: So anyway, a Live says, I'd love for you guys

489
00:26:57,040 --> 00:26:59,000
Speaker 2: to take a look and hear your take on some

490
00:26:59,040 --> 00:27:01,520
Speaker 2: of these gems from the seventies and eighties. Really the

491
00:27:01,560 --> 00:27:04,840
Speaker 2: golden era of these types of films. Like Canada during

492
00:27:04,880 --> 00:27:06,720
Speaker 2: the late seventies and eighties, there was a lot of

493
00:27:06,760 --> 00:27:10,040
Speaker 2: government grants and tax breaks to make movies here in Australia,

494
00:27:10,119 --> 00:27:11,879
Speaker 2: and so the upshot was a lot of weird and

495
00:27:11,920 --> 00:27:15,280
Speaker 2: wonderful B grade movies without their concepts that would never

496
00:27:15,320 --> 00:27:18,760
Speaker 2: have been made by mainstream film companies in Australia. You

497
00:27:18,840 --> 00:27:20,600
Speaker 2: kind of had to make period films or something set

498
00:27:20,600 --> 00:27:23,880
Speaker 2: in the outback to get made, to get funding were made.

499
00:27:24,040 --> 00:27:26,080
Speaker 2: Sorry that the sentence had a big aside in the middle,

500
00:27:26,119 --> 00:27:28,679
Speaker 2: but you get the idea. Lee says, I give you

501
00:27:28,720 --> 00:27:31,960
Speaker 2: a potential list of weird and wonderful OSSI films that

502
00:27:32,040 --> 00:27:35,200
Speaker 2: are literally a treasure trove of bizarreness to delve into

503
00:27:35,680 --> 00:27:39,280
Speaker 2: a rich sem of weirdness, or to mine if you like.

504
00:27:40,520 --> 00:27:43,320
Speaker 2: One of the filmmakers who is considered at the forefront

505
00:27:43,400 --> 00:27:46,560
Speaker 2: of this era of Australian cinema is the director Brian

506
00:27:46,880 --> 00:27:51,639
Speaker 2: Trenchard Smith, a favorite of one Quentin Tarantino. His films

507
00:27:51,640 --> 00:27:55,520
Speaker 2: to look out for are Turkey Shoot, highly recommended. It

508
00:27:55,520 --> 00:27:59,480
Speaker 2: gets strange. Think Deadliest Game on drug lace steroids, Okay,

509
00:28:00,280 --> 00:28:04,000
Speaker 2: death Cheaters, stunts, stunts and more, stunts, cheating on death,

510
00:28:06,119 --> 00:28:08,960
Speaker 2: dead in drive In? What if a drive in was

511
00:28:09,000 --> 00:28:11,760
Speaker 2: turned into a concentration camp for all the freaks and

512
00:28:11,800 --> 00:28:16,480
Speaker 2: weird of society? My ex girlfriend was in this one. Oh,

513
00:28:16,920 --> 00:28:18,679
Speaker 2: I've not seen this one, but I am familiar with

514
00:28:18,720 --> 00:28:19,680
Speaker 2: this one by reputation.

515
00:28:20,040 --> 00:28:23,240
Speaker 3: Okay, wait, so does the drive In here play movie? Still?

516
00:28:24,040 --> 00:28:24,520
Speaker 2: I think so?

517
00:28:24,840 --> 00:28:26,040
Speaker 3: Yeah? Okay.

518
00:28:26,240 --> 00:28:29,320
Speaker 2: The Man from Hong Kong an early classic insane martial

519
00:28:29,440 --> 00:28:33,359
Speaker 2: arts film Stunt Rock so weird? Is this movie about

520
00:28:33,400 --> 00:28:36,399
Speaker 2: death defying stunts or a rock band? I'm still not sure?

521
00:28:37,480 --> 00:28:39,920
Speaker 3: Oh no, wait a minute. This next one I have

522
00:28:40,000 --> 00:28:41,960
Speaker 3: talked about on the show multiple times. So I have

523
00:28:42,080 --> 00:28:43,760
Speaker 3: seen an osploitation.

524
00:28:43,240 --> 00:28:48,400
Speaker 2: Movie, Yes, Razorback Russell McKay Hilander and eighties music video

525
00:28:48,440 --> 00:28:52,320
Speaker 2: director Think Duran Duran. Yes, multiple Duran Duran videos, including

526
00:28:52,360 --> 00:28:57,120
Speaker 2: the excellent Wild Boys, which I'll both talked about before. Yeah,

527
00:28:57,520 --> 00:29:01,880
Speaker 2: great track, amazing video Bonnie Tyler's Total Eclipse of the Heart,

528
00:29:01,920 --> 00:29:06,080
Speaker 2: which again is amazing, amazing, a great track, amazing video.

529
00:29:07,520 --> 00:29:10,000
Speaker 2: But anyway, it points out that this was Russell's first

530
00:29:10,040 --> 00:29:12,840
Speaker 2: attempt at a feature film. Hungry Like the Wolf meets

531
00:29:12,840 --> 00:29:15,520
Speaker 2: a giant wild pig that terrorizes farm people in the

532
00:29:15,520 --> 00:29:16,479
Speaker 2: Australian Outback.

533
00:29:16,760 --> 00:29:19,320
Speaker 3: Yes, this has come up several times on the show.

534
00:29:19,320 --> 00:29:21,680
Speaker 3: I think we talked about it, certainly in our episodes

535
00:29:21,720 --> 00:29:26,240
Speaker 3: on Highland Er to the Quickening because same director or wait, no, dude,

536
00:29:26,280 --> 00:29:28,360
Speaker 3: yeah direct, Oh he did make the second he made

537
00:29:28,400 --> 00:29:30,880
Speaker 3: at least the first time he made him both. Yes, okay, yes,

538
00:29:31,560 --> 00:29:37,160
Speaker 3: but yeah. I described it as like Australian Texas Chainsaw

539
00:29:37,280 --> 00:29:40,000
Speaker 3: Massacre as the setting. It's like, you know, use the

540
00:29:40,040 --> 00:29:45,959
Speaker 3: outback instead of Texas there, so it's like a gross, grimy, gory,

541
00:29:46,600 --> 00:29:50,360
Speaker 3: redneck slaughter house sort of thing. But then it's also

542
00:29:50,400 --> 00:29:53,200
Speaker 3: at the same time as that Jaws, but with a

543
00:29:53,240 --> 00:29:54,480
Speaker 3: pig instead of a shark.

544
00:29:56,160 --> 00:29:59,240
Speaker 2: It sounds like a winner. I'm game. But there's more

545
00:29:59,320 --> 00:30:02,840
Speaker 2: on this list. Stone Aussie biker's on well if not

546
00:30:02,960 --> 00:30:06,840
Speaker 2: acid something or other. Hugh keys Burn in the role

547
00:30:06,920 --> 00:30:09,400
Speaker 2: that was the precursor to his role as toe Cutter

548
00:30:09,480 --> 00:30:11,680
Speaker 2: in the original Mad Max or road Warrior.

549
00:30:11,880 --> 00:30:13,800
Speaker 3: Wait a minute, or road Warrior. I feel like I'm

550
00:30:13,800 --> 00:30:16,400
Speaker 3: getting confused here, or was the title mixed up in

551
00:30:16,480 --> 00:30:18,600
Speaker 3: other versions because I thought toe Cutter was only in

552
00:30:18,640 --> 00:30:22,240
Speaker 3: the original Mad Max. And then also, of course the

553
00:30:22,400 --> 00:30:24,320
Speaker 3: Hugh keys Burn came back in Furry Road.

554
00:30:24,200 --> 00:30:26,680
Speaker 2: To play yeah, place the main antagonist in Furry Road.

555
00:30:27,040 --> 00:30:28,560
Speaker 2: You know, I don't remember. It's been so long since

556
00:30:28,560 --> 00:30:31,719
Speaker 2: I've seen any of the Mel Gibson Road Warrior films.

557
00:30:31,840 --> 00:30:35,200
Speaker 2: I've only seen the two new ones in recent memory.

558
00:30:35,560 --> 00:30:38,120
Speaker 3: Oh man, Well, you know, it's been a while since

559
00:30:38,120 --> 00:30:40,000
Speaker 3: I've seen the older ones. But I think of Mad

560
00:30:40,080 --> 00:30:42,440
Speaker 3: Max as ones where like the originals were great and

561
00:30:42,480 --> 00:30:44,760
Speaker 3: had their own gritty integrity, and the new ones are

562
00:30:44,800 --> 00:30:45,600
Speaker 3: amazing as well.

563
00:30:46,120 --> 00:30:48,960
Speaker 2: Yeah, the second one especially was a big favorite of

564
00:30:48,960 --> 00:30:51,760
Speaker 2: mine back when I was like in junior high. I think,

565
00:30:52,080 --> 00:30:55,960
Speaker 2: so I need to revisit that one at some point. Anyway,

566
00:30:56,640 --> 00:30:59,320
Speaker 2: they continue. There are a stack more, but these are

567
00:30:59,360 --> 00:31:01,920
Speaker 2: a good starting If you want to delve deeper into

568
00:31:01,960 --> 00:31:05,240
Speaker 2: the osploitation films of the seventies and eighties, you can't

569
00:31:05,280 --> 00:31:08,640
Speaker 2: go past this documentary that features Quentin Tarantino. He has

570
00:31:08,680 --> 00:31:11,360
Speaker 2: an abiding love of the Aussie films of this era,

571
00:31:11,680 --> 00:31:15,920
Speaker 2: not quite Hollywood, the wild, untold story of osploitation. I

572
00:31:15,920 --> 00:31:17,720
Speaker 2: hope you take a look at one or more of

573
00:31:17,720 --> 00:31:20,520
Speaker 2: these completely insane flicks for your show. All the best

574
00:31:20,520 --> 00:31:21,440
Speaker 2: and enjoy Leif.

575
00:31:21,600 --> 00:31:22,600
Speaker 3: Thank you so much, Leif.

576
00:31:22,680 --> 00:31:24,800
Speaker 2: Yeah, that documentary came out in two thousand and eight.

577
00:31:24,840 --> 00:31:34,760
Speaker 3: By the way, all right now, I think we should

578
00:31:35,440 --> 00:31:39,600
Speaker 3: shift into covering some responses to our couple of episodes

579
00:31:39,640 --> 00:31:43,760
Speaker 3: on The wicker Man. These messages and our responses to

580
00:31:43,800 --> 00:31:45,800
Speaker 3: them will have spoilers for the movie. So if you

581
00:31:45,840 --> 00:31:47,240
Speaker 3: haven't seen The wicker Man and you want to go

582
00:31:47,320 --> 00:31:50,440
Speaker 3: into it unspoiled, which I would recommend, this is the

583
00:31:50,440 --> 00:31:53,640
Speaker 3: place to go watch it now, or at least consider

584
00:31:53,680 --> 00:31:57,200
Speaker 3: yourself warn This first message comes from Joe, not from me,

585
00:31:57,320 --> 00:32:02,840
Speaker 3: from a different Joe. Subject line pluggs and cynics. Hello, gentlemen.

586
00:32:03,080 --> 00:32:06,000
Speaker 3: I have a confession. I almost never watch your weird

587
00:32:06,040 --> 00:32:08,760
Speaker 3: house movies. For some reason, I quite enjoy listening to

588
00:32:08,800 --> 00:32:12,040
Speaker 3: you talk about movies I haven't seen. My wife says

589
00:32:12,040 --> 00:32:14,600
Speaker 3: it's odd, and perhaps it is, but being odd rarely

590
00:32:14,640 --> 00:32:18,680
Speaker 3: stops me. However, taking note of your peculiar intensity. I

591
00:32:18,720 --> 00:32:21,480
Speaker 3: went ahead and saw the Wickerman between the first and

592
00:32:21,560 --> 00:32:25,280
Speaker 3: second parts, and it did not disappoint. I've been mulling

593
00:32:25,360 --> 00:32:28,880
Speaker 3: over it all week, particularly the many, many times the

594
00:32:28,920 --> 00:32:33,520
Speaker 3: Islanders gave the detective the opportunity to pull himself off

595
00:32:33,560 --> 00:32:37,280
Speaker 3: the path to the Wickerman, from the first moment, where

596
00:32:37,280 --> 00:32:40,440
Speaker 3: he could have subjected himself to Lord Summerle, but instead

597
00:32:40,840 --> 00:32:43,560
Speaker 3: insisted he came with the power of the crown to

598
00:32:43,640 --> 00:32:45,880
Speaker 3: the night. He could have given in to Willow's temptation

599
00:32:46,320 --> 00:32:49,080
Speaker 3: and no longer been the virgin they needed, but instead

600
00:32:49,160 --> 00:32:52,520
Speaker 3: chose his vows to choosing to wear the fool's raiment

601
00:32:52,840 --> 00:32:56,880
Speaker 3: at each turn, faced with the opportunity to choose uncivilization,

602
00:32:57,400 --> 00:33:02,040
Speaker 3: animal instinct, and base tribalism. I didn't watch the final cut,

603
00:33:02,080 --> 00:33:05,680
Speaker 3: but your description of the scene with the slugs captured

604
00:33:05,720 --> 00:33:08,520
Speaker 3: the essence of that. A core impulse of the film

605
00:33:08,680 --> 00:33:12,000
Speaker 3: was this sense that civilization is a high wire act

606
00:33:12,080 --> 00:33:15,080
Speaker 3: without a net, that the gravity of our animal state

607
00:33:15,160 --> 00:33:17,960
Speaker 3: is hungry to reclaim us, and that there is something

608
00:33:18,080 --> 00:33:22,000
Speaker 3: good and natural and above all tempting about just letting

609
00:33:22,040 --> 00:33:25,920
Speaker 3: yourself fall. It reminded me of your recent discussion of

610
00:33:26,200 --> 00:33:30,040
Speaker 3: Cynic philosophy. There's a through line there the nobility of

611
00:33:30,080 --> 00:33:33,720
Speaker 3: giving into your base animal self. Thanks as always for

612
00:33:33,840 --> 00:33:35,600
Speaker 3: the thoughtful discussion, Joe.

613
00:33:36,720 --> 00:33:39,200
Speaker 2: That's a good point. I mean really, in the later

614
00:33:39,360 --> 00:33:43,760
Speaker 2: portions of the film, like the townspeople embody animals, they

615
00:33:43,760 --> 00:33:48,200
Speaker 2: become animals, they transform into animals to elimined but powerful

616
00:33:48,240 --> 00:33:51,840
Speaker 2: extent in a way that people have throughout human history

617
00:33:52,200 --> 00:33:56,680
Speaker 2: via costumes. So it's yeah, I think there's some interesting

618
00:33:57,360 --> 00:33:59,880
Speaker 2: comparisons to be made to Cynic for the philosophy here.

619
00:34:00,400 --> 00:34:03,000
Speaker 3: Absolutely, And Joe, I think your description of the movies

620
00:34:03,080 --> 00:34:09,719
Speaker 3: ethos that that civilization and Christianity are, Yeah, there's a

621
00:34:09,760 --> 00:34:13,600
Speaker 3: precariousness to them. There's something about how they're you know,

622
00:34:13,640 --> 00:34:17,239
Speaker 3: they take great effort to maintain, and there's always sort

623
00:34:17,239 --> 00:34:21,640
Speaker 3: of like a wobbling, wobbling wire underneath them where any

624
00:34:21,680 --> 00:34:24,000
Speaker 3: moment they could they could just kind of plummet back

625
00:34:24,040 --> 00:34:26,960
Speaker 3: into something else, something deeper, something older.

626
00:34:29,080 --> 00:34:31,600
Speaker 2: All right, here's another wicker Man message system comes to

627
00:34:31,640 --> 00:34:39,000
Speaker 2: us from Lawrence. Hey, guys, just a few remarks on

628
00:34:39,480 --> 00:34:41,600
Speaker 2: or sort of related to part one of your discussion

629
00:34:41,600 --> 00:34:44,279
Speaker 2: on the wicker Man. I apologoz in advance for the

630
00:34:44,320 --> 00:34:48,400
Speaker 2: meandering and irrelelent quality of these remarks, but it's a sorry,

631
00:34:48,400 --> 00:34:51,239
Speaker 2: not sorry sort of apology. We're talking about weird house here.

632
00:34:51,680 --> 00:34:54,560
Speaker 2: True enough, I've seen a film twice, both times on

633
00:34:54,640 --> 00:34:57,280
Speaker 2: broadcast television. I think both times were in the eighties,

634
00:34:57,719 --> 00:34:59,960
Speaker 2: but the first might have been in the late seventies.

635
00:35:00,080 --> 00:35:02,520
Speaker 2: Pretty sure. Both were late shows, so I would have

636
00:35:02,560 --> 00:35:05,480
Speaker 2: been tired and watching mostly out of insomnia. Because it

637
00:35:05,480 --> 00:35:08,120
Speaker 2: was broadcast TV. There was, of course no nudity, but

638
00:35:08,320 --> 00:35:11,160
Speaker 2: as best I recalled, the girl was plenty sexy without it.

639
00:35:11,840 --> 00:35:14,800
Speaker 2: I was less impressed than you with the documentary style

640
00:35:14,880 --> 00:35:18,439
Speaker 2: camera work. I would have preferred something more cinematic than Again,

641
00:35:18,480 --> 00:35:21,200
Speaker 2: I was young, and I wasn't put off by Howie's

642
00:35:21,200 --> 00:35:23,480
Speaker 2: abrasive nature so much as you were. I figured he's

643
00:35:23,520 --> 00:35:25,920
Speaker 2: a cop and these people were hiding something, and I

644
00:35:26,000 --> 00:35:28,319
Speaker 2: missed a lot a lot of the same clues that

645
00:35:28,360 --> 00:35:31,040
Speaker 2: he did. I only caught them on my second viewing,

646
00:35:31,120 --> 00:35:33,920
Speaker 2: when I already knew the film's ending. I was struck

647
00:35:34,000 --> 00:35:37,040
Speaker 2: when you mentioned Charlton Heston in The Crucifer of Blood.

648
00:35:37,560 --> 00:35:40,320
Speaker 2: I was not aware that this had been adapted to film,

649
00:35:40,440 --> 00:35:43,280
Speaker 2: but I saw the world premiere production of the play

650
00:35:43,320 --> 00:35:46,840
Speaker 2: with my father back in the seventies in Buffalo before

651
00:35:46,880 --> 00:35:50,400
Speaker 2: the production went to Broadway. I remember that when the

652
00:35:50,440 --> 00:35:54,240
Speaker 2: Studio Arena Theater first announced the season, the working title

653
00:35:54,440 --> 00:35:57,760
Speaker 2: was The Blood Triangle. By the time the play opened,

654
00:35:57,880 --> 00:36:00,800
Speaker 2: they had changed it to The Crucifer of Blood Sherlock

655
00:36:00,960 --> 00:36:04,320
Speaker 2: was played by Paxton Whitehead in that production, and Glenn

656
00:36:04,400 --> 00:36:07,799
Speaker 2: Close played the character based on Mary Morston in The

657
00:36:07,880 --> 00:36:10,800
Speaker 2: Sign of Four, from which the play was freely adapted.

658
00:36:11,080 --> 00:36:14,120
Speaker 2: They changed her name in the play. No idea who

659
00:36:14,120 --> 00:36:17,920
Speaker 2: played Watson. I was impressed with Whitehead's performance, but when

660
00:36:17,960 --> 00:36:21,480
Speaker 2: I told my dad this, he muttered, He's no Basil Rathbone,

661
00:36:21,800 --> 00:36:24,319
Speaker 2: just as Jeremy Brett will always be Sherlock for you.

662
00:36:24,520 --> 00:36:27,880
Speaker 2: For him, it would always be Rathbone. He did, however,

663
00:36:28,040 --> 00:36:30,480
Speaker 2: like Brett in the role of Holmes on television, but

664
00:36:30,560 --> 00:36:33,040
Speaker 2: that was some time after we saw the play. I

665
00:36:33,080 --> 00:36:35,280
Speaker 2: think I was still living at home when we saw

666
00:36:35,320 --> 00:36:39,000
Speaker 2: the first season of Brett's Sherlock Holmes broadcast on the

667
00:36:39,040 --> 00:36:42,080
Speaker 2: CBC out of Toronto. You could view Toronto stations in

668
00:36:42,120 --> 00:36:46,120
Speaker 2: Buffalo with somewhat fuzzy reception. Later we would occasionally get

669
00:36:46,160 --> 00:36:49,600
Speaker 2: together to watch subsequent seasons on PPS. Your mention of

670
00:36:49,680 --> 00:36:52,680
Speaker 2: Heston as Holmes gave me what I think may be

671
00:36:52,800 --> 00:36:55,280
Speaker 2: the answer to a question you post. Is there another

672
00:36:55,320 --> 00:37:01,960
Speaker 2: example of a non comical detective who is sympathetic, unsympathetic, intelligent, obtuse, abrasive,

673
00:37:02,000 --> 00:37:04,680
Speaker 2: but likable, and who keeps missing clues and doesn't find

674
00:37:04,680 --> 00:37:07,640
Speaker 2: the solution until it is tragically thrust down his throat.

675
00:37:07,960 --> 00:37:11,399
Speaker 2: It's Heston as George Taylor in the nineteen sixty eight

676
00:37:11,440 --> 00:37:13,600
Speaker 2: film adaptation of Planet of the Apes.

677
00:37:13,960 --> 00:37:18,000
Speaker 3: Wow. I would not have made that connection, but Lawrence,

678
00:37:18,080 --> 00:37:20,480
Speaker 3: this is good. I feel like there are some strong

679
00:37:20,640 --> 00:37:23,360
Speaker 3: similarities between the Wickerman and Planet of the Apes.

680
00:37:23,480 --> 00:37:26,719
Speaker 2: Ooh goodness, Yes, yes there is. I mean right down

681
00:37:26,719 --> 00:37:29,920
Speaker 2: to some of the ooh I kind of want to

682
00:37:29,920 --> 00:37:32,840
Speaker 2: compare the final sequences in both films.

683
00:37:32,920 --> 00:37:35,560
Speaker 3: Yeah, I mean a lot of differences too, though, because

684
00:37:35,600 --> 00:37:38,480
Speaker 3: like the locals in Planet of the Apes are the

685
00:37:38,560 --> 00:37:40,880
Speaker 3: apes on Planet of the Apes do not embody a

686
00:37:40,960 --> 00:37:44,160
Speaker 3: kind of retreat into paganism, and they are representing more

687
00:37:44,200 --> 00:37:48,800
Speaker 3: the witch hunting civilizational authority. But in the main character

688
00:37:49,000 --> 00:37:53,239
Speaker 3: as the isolated investigator who's not himself all that you know,

689
00:37:54,239 --> 00:37:57,359
Speaker 3: powerful as an investigator in the structure of a lot

690
00:37:57,400 --> 00:38:00,520
Speaker 3: of the revelations, there are some major similarities that are

691
00:38:01,000 --> 00:38:03,120
Speaker 3: quite interesting. I like this observation.

692
00:38:03,880 --> 00:38:07,080
Speaker 2: All right, Lawrence continues and says, Okay, Taylor is an astronaut,

693
00:38:07,160 --> 00:38:09,520
Speaker 2: not a detective. But he's an astronaut solving a mystery,

694
00:38:09,719 --> 00:38:12,239
Speaker 2: which makes him a kind of detective, and I think

695
00:38:12,239 --> 00:38:14,200
Speaker 2: he fits the bill. There may be other candidates for

696
00:38:14,239 --> 00:38:16,320
Speaker 2: this category, but none come to mind at this moment.

697
00:38:16,680 --> 00:38:18,200
Speaker 2: That's all I have for now. I look forward to

698
00:38:18,239 --> 00:38:21,400
Speaker 2: hearing part two of your conversation. Thanks guys, Lawrence.

699
00:38:21,719 --> 00:38:23,480
Speaker 3: I'm gonna have to keep thinking about this Planet of

700
00:38:23,480 --> 00:38:28,080
Speaker 3: the Apes Wickerman comparison, especially in that both films involve

701
00:38:28,200 --> 00:38:32,000
Speaker 3: a twist, like a horrifying twist ending with the revelation

702
00:38:32,120 --> 00:38:35,720
Speaker 3: of a giant Let's just say not to spoil anything

703
00:38:35,719 --> 00:38:37,479
Speaker 3: about the Planet of the Apes if you actually haven't

704
00:38:37,480 --> 00:38:39,320
Speaker 3: seen it and don't know the ending from The Simpsons

705
00:38:39,400 --> 00:38:43,320
Speaker 3: or something. A giant anthropoid kind of structure.

706
00:38:44,200 --> 00:38:48,160
Speaker 2: Yeah, yeah, this one is often spoiled by popular culture.

707
00:38:48,200 --> 00:38:50,239
Speaker 2: I think somehow or another, I managed to see it

708
00:38:50,239 --> 00:38:52,720
Speaker 2: as a kid without knowing the twist, which was pretty

709
00:38:52,719 --> 00:38:53,680
Speaker 2: magical me too.

710
00:38:53,760 --> 00:38:56,240
Speaker 3: Yeah, I saw it actually at the beach. A relative

711
00:38:56,280 --> 00:38:59,240
Speaker 3: of mine rented it from Blockbuster when we were staying

712
00:38:59,239 --> 00:39:03,399
Speaker 3: at the beach time. Yeah, and I don't know why,

713
00:39:03,520 --> 00:39:06,560
Speaker 3: but I thought it was good anyway. This next message

714
00:39:06,600 --> 00:39:15,200
Speaker 3: is from Matt. Matt says, my name is Matt. Longtime listener,

715
00:39:15,239 --> 00:39:18,120
Speaker 3: first time writing. And of course this is also about

716
00:39:18,120 --> 00:39:21,279
Speaker 3: the Wickerman, the scene where Willow and her father were

717
00:39:21,360 --> 00:39:24,280
Speaker 3: using the hand of Glory. You said it didn't work.

718
00:39:24,719 --> 00:39:27,719
Speaker 3: My impression was that they were saying, gee, I hope

719
00:39:27,760 --> 00:39:31,160
Speaker 3: he's not lying awake in there listening to us. Conspired

720
00:39:31,200 --> 00:39:34,320
Speaker 3: to make him sleep with this macabre artifact. Wink wink.

721
00:39:34,600 --> 00:39:36,799
Speaker 3: I sure hope he doesn't leave the pub and try

722
00:39:36,840 --> 00:39:39,280
Speaker 3: to interfere with the Mayday festival. Wink wink.

723
00:39:40,360 --> 00:39:41,799
Speaker 2: That's a good point. That was a good point.

724
00:39:43,000 --> 00:39:44,960
Speaker 3: It seemed like it was part of the ruse to

725
00:39:44,960 --> 00:39:48,080
Speaker 3: provoke Howie to do that very thing, although I'm not

726
00:39:48,120 --> 00:39:50,359
Speaker 3: sure the innkeeper planned on getting hit in the head

727
00:39:50,360 --> 00:39:54,200
Speaker 3: and tied up on a lighter yet still dark note.

728
00:39:54,280 --> 00:39:57,360
Speaker 3: I found myself wanting to compare Sergeant Howie to Simon

729
00:39:57,400 --> 00:40:02,120
Speaker 3: Pegg's Sergeant Angel from the film Hot Fuzz. Sergeant Angel

730
00:40:02,239 --> 00:40:05,000
Speaker 3: is a London police officer who is reassigned to a

731
00:40:05,040 --> 00:40:08,600
Speaker 3: small rural village because he's such an overachiever he makes

732
00:40:08,640 --> 00:40:12,000
Speaker 3: everyone else look bad. Is it possible that Sergeant Howie's

733
00:40:12,080 --> 00:40:15,479
Speaker 3: colleagues and superiors, and possibly his fiance, whom I don't

734
00:40:15,480 --> 00:40:18,720
Speaker 3: remember seeing in the version I watched, dislike Sergeant Howie

735
00:40:18,840 --> 00:40:20,759
Speaker 3: so much that they set him up to be sent

736
00:40:20,840 --> 00:40:23,759
Speaker 3: off to be sacrificed by an island full of pagans.

737
00:40:23,800 --> 00:40:26,480
Speaker 3: What a horrible thought. Love the show best wishes.

738
00:40:27,280 --> 00:40:28,880
Speaker 2: Well, that's a good point. You know, I haven't seen

739
00:40:28,920 --> 00:40:30,840
Speaker 2: Hot Fuzz in a number of years that Edward Woodward

740
00:40:31,080 --> 00:40:35,120
Speaker 2: was of course in Hot Fuzz, so this comparison, potential

741
00:40:35,160 --> 00:40:37,080
Speaker 2: comparison might have very much been on their mind.

742
00:40:37,440 --> 00:40:40,520
Speaker 3: Yeah, a big city police officer goes to a rural

743
00:40:40,600 --> 00:40:44,879
Speaker 3: village and encounter as a conspiracy there. There's a similarity,

744
00:40:44,920 --> 00:40:47,080
Speaker 3: though the nature of the conspiracy and Hot Fuzz is

745
00:40:47,160 --> 00:40:51,799
Speaker 3: quite different. But yeah, yeah, I recall It's been a while,

746
00:40:51,800 --> 00:40:53,560
Speaker 3: but I recall quite liking Hot Fuzz.

747
00:40:53,680 --> 00:40:57,239
Speaker 2: Oh yeah, yeah, yeah, I remember enjoying it. Oh Man,

748
00:40:57,600 --> 00:40:59,160
Speaker 2: every time I think about the Wickerman that I keep

749
00:40:59,200 --> 00:41:02,440
Speaker 2: coming back to this idea that entered my mind that

750
00:41:03,280 --> 00:41:05,239
Speaker 2: what if Howie, what if they couldn't send Howe, what

751
00:41:05,280 --> 00:41:07,560
Speaker 2: if they had to send another detective? And it was,

752
00:41:07,560 --> 00:41:11,000
Speaker 2: in fact a detective played by Oliver Reed, who you

753
00:41:11,040 --> 00:41:14,160
Speaker 2: know has been like divorced three times and like immediately

754
00:41:15,040 --> 00:41:18,960
Speaker 2: gets drunk in the pub, immediately sleeps with Willow and

755
00:41:19,000 --> 00:41:20,799
Speaker 2: then like gives them nothing to get. Like, we can't

756
00:41:20,840 --> 00:41:23,000
Speaker 2: sacrifice this guy. We can't put him in the wicker Man.

757
00:41:23,000 --> 00:41:24,880
Speaker 2: What are we gonna do? They try to make him

758
00:41:24,960 --> 00:41:27,680
Speaker 2: leave the island, and he's just like in bed smoking.

759
00:41:27,480 --> 00:41:29,440
Speaker 3: Yeah, no.

760
00:41:30,560 --> 00:41:34,799
Speaker 2: To do Yeah, all right, here we go. We have

761
00:41:34,800 --> 00:41:42,279
Speaker 2: another one from a different Matt. Matt writes in it says,

762
00:41:42,320 --> 00:41:46,000
Speaker 2: good day, Felons. I've written to you about agricultural subjects

763
00:41:46,040 --> 00:41:47,920
Speaker 2: a few times in the past, and this is another

764
00:41:48,040 --> 00:41:51,399
Speaker 2: such message. Loved The wicker Man revisit seems I enjoy

765
00:41:51,440 --> 00:41:54,160
Speaker 2: the film more each time I watch it. Something I

766
00:41:54,239 --> 00:41:57,279
Speaker 2: never caught before was Sergeant Howie, right prior to being

767
00:41:57,400 --> 00:42:00,880
Speaker 2: locked into the Wickerman's chest cavity, saying something to the

768
00:42:00,920 --> 00:42:05,240
Speaker 2: effect of it was your cultivars that failed you, implying

769
00:42:05,320 --> 00:42:08,480
Speaker 2: to a degree a lack of resilience in the particular

770
00:42:08,600 --> 00:42:11,920
Speaker 2: varieties of fruits in part apples in this case to

771
00:42:12,160 --> 00:42:16,239
Speaker 2: inclement conditions. This got me thinking, is there actually a

772
00:42:16,280 --> 00:42:20,080
Speaker 2: Summer Ale, or possibly even a witcher Man apple cultivar?

773
00:42:20,640 --> 00:42:23,720
Speaker 2: I checked, and unfortunately, no, there doesn't appear to be one.

774
00:42:23,920 --> 00:42:26,600
Speaker 2: I'd love to hear I'm wrong from another listener, though.

775
00:42:26,640 --> 00:42:29,520
Speaker 2: Still that means a new cultivar could be named in

776
00:42:29,520 --> 00:42:32,520
Speaker 2: this fashion, something any apple breeders out there might want

777
00:42:32,560 --> 00:42:33,120
Speaker 2: to consider.

778
00:42:34,160 --> 00:42:36,080
Speaker 3: I would buy so many of these apples. I would

779
00:42:36,120 --> 00:42:37,400
Speaker 3: get them every time at the store.

780
00:42:37,760 --> 00:42:41,520
Speaker 2: I mean, I love a good apple. It would depend

781
00:42:41,560 --> 00:42:43,200
Speaker 2: on it being tasty. I don't know how you're gonna

782
00:42:43,200 --> 00:42:47,400
Speaker 2: beat fuji. Fuji is the best apple for me. For me,

783
00:42:47,640 --> 00:42:50,160
Speaker 2: I love various various apples, but the fuji is might

784
00:42:50,200 --> 00:42:50,440
Speaker 2: go too.

785
00:42:50,800 --> 00:42:54,360
Speaker 3: I love every kind of apple except red delicious. I

786
00:42:54,400 --> 00:42:56,840
Speaker 3: don't understand how people eat red delicious apples.

787
00:42:57,040 --> 00:42:59,239
Speaker 2: Well, you know they had. They felt like they had

788
00:42:59,239 --> 00:43:01,040
Speaker 2: to put delicious in the title to sell it. They

789
00:43:01,040 --> 00:43:04,279
Speaker 2: don't call it the fuji delicious, Like everybody knows the

790
00:43:04,320 --> 00:43:07,120
Speaker 2: fuji is delicious, and you're not trying to force it

791
00:43:07,160 --> 00:43:10,600
Speaker 2: on anyone with some sort of a snappy title. Anyway,

792
00:43:10,800 --> 00:43:14,840
Speaker 2: they continue. I did speculate that historic Scottish apple varieties

793
00:43:15,120 --> 00:43:18,760
Speaker 2: could have conceivably grown well in a western Heberdeene Island,

794
00:43:18,840 --> 00:43:23,359
Speaker 2: presumably somewhere near Isle of Sky, as some of the

795
00:43:23,440 --> 00:43:27,839
Speaker 2: as seen from plain footage I believe features the sky landscape.

796
00:43:28,239 --> 00:43:30,640
Speaker 2: I should add here that if memories serves, some of

797
00:43:30,680 --> 00:43:34,120
Speaker 2: the aerial photography early on in the picture is actually

798
00:43:34,200 --> 00:43:35,560
Speaker 2: South Africa as well.

799
00:43:35,880 --> 00:43:38,960
Speaker 3: Yeah, there's some I think that is in Scotland or

800
00:43:39,000 --> 00:43:41,520
Speaker 3: the Hebridese, but there is some from South Africa.

801
00:43:41,560 --> 00:43:45,840
Speaker 2: You're right, they continue. Apparently there's one called the Bloody Plowman, which,

802
00:43:46,000 --> 00:43:49,240
Speaker 2: while not from the Hebridese, was developed from another highly

803
00:43:49,360 --> 00:43:54,000
Speaker 2: productive agricultural region in Scotland around eighteen hundred. Wikipedia sources

804
00:43:54,040 --> 00:43:57,680
Speaker 2: the following as a rather chilling source for the apple's name.

805
00:43:58,480 --> 00:43:58,920
Speaker 3: Quote.

806
00:43:59,160 --> 00:44:02,000
Speaker 2: It is reputed two have got its name after a

807
00:44:02,040 --> 00:44:05,840
Speaker 2: gamekeeper shot dead of plowman caught stealing apples from the

808
00:44:06,239 --> 00:44:09,919
Speaker 2: and I may be saying this wrong mcginch estate. When

809
00:44:09,920 --> 00:44:12,760
Speaker 2: his body was returned to his wife, she found stolen

810
00:44:12,800 --> 00:44:15,680
Speaker 2: apples in his pockets and threw them onto the rubbish heap.

811
00:44:16,239 --> 00:44:18,799
Speaker 2: One of the resulting seedlings bore apples of a deep

812
00:44:18,840 --> 00:44:21,920
Speaker 2: blood red. This tree gave rise to the cultivar that

813
00:44:22,040 --> 00:44:24,040
Speaker 2: was named after the unfortunate plowman.

814
00:44:24,520 --> 00:44:27,520
Speaker 3: That's funny, I have Okay, even if this story is

815
00:44:27,560 --> 00:44:30,360
Speaker 3: literally true, I really have doubts that the blood running

816
00:44:30,560 --> 00:44:33,799
Speaker 3: into the apples there would affect the colors of the

817
00:44:33,840 --> 00:44:35,279
Speaker 3: fruits produced.

818
00:44:36,520 --> 00:44:39,239
Speaker 2: They continued. There's also Galloway, developed some time in the

819
00:44:39,239 --> 00:44:43,560
Speaker 2: mid Victorian period, so seemingly around the original summer Lord

820
00:44:43,560 --> 00:44:46,200
Speaker 2: Somerle's efforts, and presumably near the west coast of the

821
00:44:46,239 --> 00:44:50,480
Speaker 2: Scottish mainland, but its name isn't as intriguing. And lastly,

822
00:44:50,640 --> 00:44:54,360
Speaker 2: if Summerle cultivars are indeed failing, one has to wonder why,

823
00:44:54,440 --> 00:44:57,920
Speaker 2: assuming it's not just Bread's or another farming deities wrath.

824
00:44:58,560 --> 00:45:01,640
Speaker 2: Is it the result of intermittent cl slimactic shifts eg

825
00:45:01,880 --> 00:45:05,120
Speaker 2: slight changes in c currents, a shifting frost free date,

826
00:45:05,800 --> 00:45:09,000
Speaker 2: the time of year when frosts become exceedingly unlikely, and

827
00:45:09,080 --> 00:45:12,880
Speaker 2: such like. If so, in the existing cultivars might for example,

828
00:45:12,920 --> 00:45:16,480
Speaker 2: experience bloom periods that don't line up with weather pattern changes.

829
00:45:16,760 --> 00:45:19,440
Speaker 2: Those islanders are in a bad way. They better get

830
00:45:19,480 --> 00:45:22,280
Speaker 2: apple breeding because doing so without the use of modern

831
00:45:22,280 --> 00:45:24,839
Speaker 2: tools like gene editing, means the process takes a very

832
00:45:24,880 --> 00:45:28,000
Speaker 2: long time. Trees don't grow overnight. Of course, if it's

833
00:45:28,000 --> 00:45:31,400
Speaker 2: not just weather patterns changing, perhaps there are new pests

834
00:45:31,440 --> 00:45:34,839
Speaker 2: in the area, even invasive ones. Maybe some new insects

835
00:45:34,920 --> 00:45:38,279
Speaker 2: arriving on the wind eight all the lady birds, thus

836
00:45:38,320 --> 00:45:42,520
Speaker 2: allowing aphid populations to explode. That's just a hypothetical example,

837
00:45:42,560 --> 00:45:45,880
Speaker 2: but new or otherwise crafty insect pests is a continual

838
00:45:45,960 --> 00:45:48,840
Speaker 2: challenge for farmers around the world. Adding to the problem

839
00:45:48,920 --> 00:45:52,200
Speaker 2: might be an ineffective use or lack of use altogether

840
00:45:52,280 --> 00:45:56,560
Speaker 2: of crop protection products like fungicides or insecticides. Even in

841
00:45:56,640 --> 00:45:59,480
Speaker 2: modern organic farming, there are some tools available in this

842
00:45:59,520 --> 00:46:02,320
Speaker 2: regard to help protect crops from disease and harmful insects,

843
00:46:02,320 --> 00:46:06,800
Speaker 2: which again could conceivably be getting worse from weather pattern alterations.

844
00:46:07,320 --> 00:46:11,080
Speaker 2: Perhaps the strong nature focus of Summer Islanders means they

845
00:46:11,080 --> 00:46:15,520
Speaker 2: have traditionally exkewed such tools for fear of offending the

846
00:46:15,600 --> 00:46:20,000
Speaker 2: old gods. Regardless, methinks the years following the Wickerman's filming,

847
00:46:20,680 --> 00:46:23,279
Speaker 2: were it real, would have a lot of burning going on.

848
00:46:23,719 --> 00:46:26,520
Speaker 2: Probably not somewhere a guy would want to be on

849
00:46:26,680 --> 00:46:29,600
Speaker 2: May Day, inviting though the local pubs. Certainly, it's a

850
00:46:29,640 --> 00:46:30,680
Speaker 2: great pair of episodes.

851
00:46:30,800 --> 00:46:34,560
Speaker 3: Matt, Well, thank you so much, Matt. That is fantastic.

852
00:46:34,680 --> 00:46:37,920
Speaker 3: Matt has many times in the past written great emails,

853
00:46:37,960 --> 00:46:43,759
Speaker 3: often about farming and agricultural technology, and my experience of

854
00:46:43,760 --> 00:46:46,080
Speaker 3: the Wickerman is so much richer now for having read this.

855
00:46:46,239 --> 00:46:46,640
Speaker 3: Thank you.

856
00:46:46,800 --> 00:46:48,200
Speaker 2: Yeah, these are a lot of points that I just

857
00:46:48,280 --> 00:46:50,640
Speaker 2: kind of took for granted focusing on other aspects of

858
00:46:50,719 --> 00:46:55,800
Speaker 2: the story. But yeah, the agricultural skeleton of the piece

859
00:46:55,840 --> 00:46:58,880
Speaker 2: is also pretty fascinating. And Matt goes on to recommend

860
00:46:58,920 --> 00:47:01,520
Speaker 2: that we do a futurepisode of following a crop from

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00:47:01,880 --> 00:47:05,719
Speaker 2: its historical origin to its modern cultivation, and I think

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00:47:05,719 --> 00:47:08,719
Speaker 2: this is a solid, solid idea. This, of course, has

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00:47:08,760 --> 00:47:11,239
Speaker 2: been done particularly well in the past by the likes

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00:47:11,280 --> 00:47:15,040
Speaker 2: of Michael Pollen, So if anyone out there hasn't read

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00:47:15,120 --> 00:47:17,600
Speaker 2: or listened to the excellent audiobooks of Michael Polland's work,

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00:47:18,520 --> 00:47:21,480
Speaker 2: he has several different books that get into this with

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00:47:21,520 --> 00:47:24,120
Speaker 2: particular crops. All right, we're going to go ahead and

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Speaker 2: close this episode here, but we'd love to hear from

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00:47:26,120 --> 00:47:29,840
Speaker 2: everybody right in with your listener mails to the email

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00:47:29,880 --> 00:47:32,320
Speaker 2: address we're going to provide here in a minute, again

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00:47:33,120 --> 00:47:36,320
Speaker 2: just about anything as fair game content related to past episodes,

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00:47:36,360 --> 00:47:40,680
Speaker 2: future episodes, present episodes, you name it, just to remind

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00:47:40,719 --> 00:47:42,200
Speaker 2: us of the Stuff to Blow Your Mind is primarily

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00:47:42,239 --> 00:47:44,960
Speaker 2: a science and culture of podcast, with core episodes on

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00:47:45,040 --> 00:47:48,680
Speaker 2: Tuesdays and Thursdays, short form episode on Wednesdays and on Fridays.

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00:47:48,680 --> 00:47:50,759
Speaker 2: We set aside most concerns to just talk about a

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00:47:50,760 --> 00:47:52,840
Speaker 2: weird film on Weird House Cinema.

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00:47:53,040 --> 00:47:56,640
Speaker 3: Huge things, as always to our excellent audio producer JJ Posway.

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00:47:56,920 --> 00:47:58,400
Speaker 3: If you would like to get in touch with us

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00:47:58,400 --> 00:48:00,840
Speaker 3: with feedback on this episode or any other, to suggest

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00:48:00,840 --> 00:48:02,840
Speaker 3: a topic for the future, or just to say hello,

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00:48:03,160 --> 00:48:05,719
Speaker 3: you can email us at contact at stuff to blow

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00:48:05,760 --> 00:48:13,080
Speaker 3: your Mind dot com.

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00:48:13,160 --> 00:48:15,680
Speaker 1: Stuff to Blow Your Mind is a production of iHeartRadio.

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Speaker 1: For more podcasts from my heart Radio, visit the iHeartRadio app,

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Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.