1 00:00:02,960 --> 00:00:05,360 Speaker 1: Welcome to Stuff to Blow Your Mind production of My 2 00:00:05,480 --> 00:00:10,760 Speaker 1: Heart Radio. Hey you welcome to Stuff to Blow your Mind. 3 00:00:10,800 --> 00:00:14,160 Speaker 1: Listener mail. This is Robert Lamb and this is Joe McCormick. 4 00:00:14,280 --> 00:00:16,640 Speaker 1: And today it's Monday, the day of the week. We 5 00:00:16,680 --> 00:00:19,360 Speaker 1: read back some messages you've sent into the show email 6 00:00:19,400 --> 00:00:23,200 Speaker 1: address which is contact at stuff to Blow your Mind 7 00:00:23,280 --> 00:00:25,119 Speaker 1: dot com. If you want to get in touch you 8 00:00:25,160 --> 00:00:27,400 Speaker 1: have thoughts about an episode we did, something you want 9 00:00:27,400 --> 00:00:29,840 Speaker 1: to add, or just something interesting to share with us, 10 00:00:29,880 --> 00:00:33,080 Speaker 1: you can always reach us at contact at stuff to 11 00:00:33,120 --> 00:00:41,080 Speaker 1: Blow your Mind dot com. Let's see rob I think 12 00:00:41,120 --> 00:00:43,400 Speaker 1: I'm going to jump in on this message about our 13 00:00:43,600 --> 00:00:48,640 Speaker 1: Cauldron series from Rhiannon. Oh and this one has some 14 00:00:48,720 --> 00:00:51,400 Speaker 1: Welsh words in it. I apologize in advance. I'll do 15 00:00:51,440 --> 00:00:55,560 Speaker 1: my best, so Rhiannon says, OHI HOWI. I was so 16 00:00:55,640 --> 00:00:58,360 Speaker 1: thrilled at hearing you guys discussed the Pyre to Denny 17 00:00:58,760 --> 00:01:01,400 Speaker 1: the Cauldron of Rebirth Earth on your run of shows 18 00:01:01,400 --> 00:01:05,240 Speaker 1: about Cauldron's Remember this is the robbed you can you 19 00:01:05,240 --> 00:01:06,959 Speaker 1: do a quick summary of this story? What was the 20 00:01:07,000 --> 00:01:11,000 Speaker 1: one of Efnisien and the Cauldron of Rebirth? So? Uh, 21 00:01:11,160 --> 00:01:13,520 Speaker 1: the enemy has this Cauldron of rebirth. They're using it 22 00:01:13,560 --> 00:01:18,679 Speaker 1: to rebirth their dead soldiers. Uh Ifnisien realizes this is 23 00:01:18,920 --> 00:01:22,840 Speaker 1: foul play, so he hides among the dead of the enemy, 24 00:01:23,120 --> 00:01:25,680 Speaker 1: and then his body is taken with the dead to 25 00:01:26,400 --> 00:01:29,759 Speaker 1: this magical cauldron. One by one, the bodies are dumped 26 00:01:29,800 --> 00:01:33,760 Speaker 1: into the cauldron. They come out reborn, but Um but 27 00:01:33,920 --> 00:01:36,560 Speaker 1: he is thrown in alive. And since he is thrown 28 00:01:36,560 --> 00:01:39,520 Speaker 1: in alive, he is able to destroy the cauldron from 29 00:01:39,520 --> 00:01:43,360 Speaker 1: the inside, uh, preventing the enemy the Irish, from using 30 00:01:43,400 --> 00:01:47,800 Speaker 1: it ever again against Um against his people. But in 31 00:01:47,840 --> 00:01:52,120 Speaker 1: doing so he also dies. Excellent resummary Okay. So, going 32 00:01:52,160 --> 00:01:57,080 Speaker 1: back to Rhiannon's message, Rannon says, Joe pondered what Efnisian's 33 00:01:57,120 --> 00:01:59,920 Speaker 1: motivation may have been to throw himself into the cauldron, 34 00:02:00,040 --> 00:02:02,920 Speaker 1: and if he knew it would kill him. Being the 35 00:02:02,960 --> 00:02:05,680 Speaker 1: faithful Welsh teacher that I am, I dug out my 36 00:02:05,760 --> 00:02:09,800 Speaker 1: copy of the adapted Mabinogion to try and answer your question. 37 00:02:10,400 --> 00:02:16,040 Speaker 1: Defeed and Rhiannon Efan's version notice notes that Ethnician looks 38 00:02:16,120 --> 00:02:19,640 Speaker 1: down on the pile of the dead Kedron or welsh 39 00:02:19,720 --> 00:02:23,280 Speaker 1: Ish soldiers and realizes that he was to blame for 40 00:02:23,320 --> 00:02:26,600 Speaker 1: their deaths. Once in the cauldron, he stretches out all 41 00:02:26,760 --> 00:02:30,240 Speaker 1: his limbs and breaks the cauldron, but also breaks his 42 00:02:30,320 --> 00:02:36,360 Speaker 1: own heart. M uh email goes on. But with the 43 00:02:36,400 --> 00:02:39,560 Speaker 1: stories of the Mabinogion coming from the oral tradition, there's 44 00:02:39,639 --> 00:02:43,160 Speaker 1: nothing to say that other uh, here's a tough word. 45 00:02:43,200 --> 00:02:47,519 Speaker 1: I think it's kevar with or storytellers wouldn't have told 46 00:02:47,560 --> 00:02:50,720 Speaker 1: the story in a slightly different way. This still happens now, 47 00:02:50,840 --> 00:02:54,120 Speaker 1: especially with more local legends. People will often compare the 48 00:02:54,240 --> 00:02:58,079 Speaker 1: versions they were told as children. That's an excellent point Rhiannon, 49 00:02:58,120 --> 00:02:59,680 Speaker 1: and one we've brought up on the show a number 50 00:02:59,680 --> 00:03:02,799 Speaker 1: of times before that. You know, people often, um when 51 00:03:02,800 --> 00:03:05,360 Speaker 1: they're hearing about mythology, they want to know what is 52 00:03:05,400 --> 00:03:08,359 Speaker 1: the canonical version of the myth because they think about 53 00:03:08,400 --> 00:03:11,040 Speaker 1: it more like Star Wars canon, where there is like 54 00:03:11,080 --> 00:03:14,520 Speaker 1: an authority who has like uh, you know, in in 55 00:03:14,560 --> 00:03:18,919 Speaker 1: an almost economic sense, like copyright over the intellectual property, 56 00:03:18,919 --> 00:03:22,000 Speaker 1: and they can say what's what's part of the myth 57 00:03:22,040 --> 00:03:25,359 Speaker 1: and what's not. But with with mythology, there just is 58 00:03:25,480 --> 00:03:28,120 Speaker 1: nothing like that, and they're in fact maybe no such 59 00:03:28,160 --> 00:03:30,640 Speaker 1: thing as the canonical version of the myth. A lot 60 00:03:30,680 --> 00:03:33,600 Speaker 1: of times what we interpret as canonical is just the 61 00:03:33,760 --> 00:03:37,120 Speaker 1: version of a story that happens to appear in a 62 00:03:37,200 --> 00:03:41,120 Speaker 1: surviving text that is available to modern historians. That you know, 63 00:03:41,160 --> 00:03:43,560 Speaker 1: there's no reason to think that that version of the 64 00:03:43,600 --> 00:03:47,640 Speaker 1: story was more widespread or authoritative than any other. Yeah, 65 00:03:47,680 --> 00:03:51,560 Speaker 1: so when you watch the eighties UH production of Hercules 66 00:03:51,880 --> 00:03:54,920 Speaker 1: from Canon film starring Louther Rig, now you have to realize, like, 67 00:03:54,960 --> 00:03:57,800 Speaker 1: this is valid. This is just another valid version of 68 00:03:58,120 --> 00:04:04,200 Speaker 1: the myth. I gets ridiculous, but anyway. Uh. Finally, Rhannon writes, 69 00:04:04,240 --> 00:04:06,840 Speaker 1: I've attached to link to the National Museum of Wales 70 00:04:06,960 --> 00:04:10,560 Speaker 1: digitized copy of UH. And this is a work called 71 00:04:10,640 --> 00:04:16,240 Speaker 1: the liver Gwin Reethirk and UH that has handwritten copies 72 00:04:16,279 --> 00:04:19,279 Speaker 1: of all four of the Mabinogion, as well as some 73 00:04:19,320 --> 00:04:22,359 Speaker 1: other tales from the fourteenth century. Once again, thank you 74 00:04:22,400 --> 00:04:24,279 Speaker 1: for the amazing work you do. I look forward to 75 00:04:24,279 --> 00:04:29,560 Speaker 1: hearing you guys discussing the Mabinogion perhaps in future shows. Rhiannon, Yeah, yeah, 76 00:04:29,600 --> 00:04:31,200 Speaker 1: I bet there's some more stuff in there we could 77 00:04:31,240 --> 00:04:33,760 Speaker 1: come back to. Uh. It does seem a deep well 78 00:04:34,400 --> 00:04:44,320 Speaker 1: of wonderful and magical ideas. Totally. Thank you, Rhiannon. All right, 79 00:04:44,360 --> 00:04:46,480 Speaker 1: well we've already heard back from a future of folks 80 00:04:46,640 --> 00:04:50,400 Speaker 1: concerning the episode Creative Writing Machines with Mike Sharp Bull's 81 00:04:50,800 --> 00:04:54,200 Speaker 1: uh and particularly uh your use all of the story 82 00:04:54,240 --> 00:04:58,800 Speaker 1: Machine on the website story hyphen Machines dot net if 83 00:04:58,800 --> 00:05:00,960 Speaker 1: you want to try it out, uh and So we 84 00:05:01,000 --> 00:05:03,000 Speaker 1: wanted to share at least some of what we heard 85 00:05:03,000 --> 00:05:07,279 Speaker 1: back from you all, some of your resulting AI assisted tales. 86 00:05:07,920 --> 00:05:10,599 Speaker 1: So this one comes to us from Sam Sam Wrights 87 00:05:10,640 --> 00:05:13,520 Speaker 1: and says, Hey, Robin Joe, your podcast is awesome. It 88 00:05:13,640 --> 00:05:16,839 Speaker 1: got me through recovery from a spinal fusion in seventeen 89 00:05:16,960 --> 00:05:19,680 Speaker 1: and I've been a fan ever since. I tried out 90 00:05:19,800 --> 00:05:24,279 Speaker 1: the story Machine website with the title of Ninja Cockatoos 91 00:05:24,279 --> 00:05:29,000 Speaker 1: and the maku Pechu Heist and no starting text. Here's 92 00:05:29,000 --> 00:05:32,080 Speaker 1: the resulting story. I thought it was quite entertaining. All right, 93 00:05:32,080 --> 00:05:35,240 Speaker 1: I'm gonna I'm gonna read what he shared here. The 94 00:05:35,320 --> 00:05:39,080 Speaker 1: Ninja Cockatoos had been planning the biggest heist of their careers. 95 00:05:39,600 --> 00:05:42,320 Speaker 1: They had been planning and plotting for months, and finally 96 00:05:42,600 --> 00:05:45,359 Speaker 1: it was almost time. They had gathered all of the 97 00:05:45,400 --> 00:05:48,040 Speaker 1: supplies they would need and more ready to take on 98 00:05:48,120 --> 00:05:52,200 Speaker 1: the world. They had planned the heist carefully. First, they 99 00:05:52,240 --> 00:05:56,279 Speaker 1: would break into Makupichu Temple and steal the ancient treasure. 100 00:05:56,520 --> 00:05:59,080 Speaker 1: After that, they would fly away to a secret location 101 00:05:59,120 --> 00:06:02,839 Speaker 1: and spend their is without anyone ever knowing. The ninja 102 00:06:02,839 --> 00:06:06,039 Speaker 1: cockatoos were confident in their abilities. They had spent many 103 00:06:06,040 --> 00:06:08,920 Speaker 1: hours practicing their skills, and they were ready for anything. 104 00:06:09,520 --> 00:06:12,120 Speaker 1: The day of the heist was finally here. The cockatoos 105 00:06:12,240 --> 00:06:14,760 Speaker 1: flew into the temple and began to search for the treasure. 106 00:06:15,080 --> 00:06:17,440 Speaker 1: It didn't take them long to find it. Hidden in 107 00:06:17,480 --> 00:06:20,800 Speaker 1: a hidden chamber was an enormous pile of gold coins. 108 00:06:21,200 --> 00:06:24,440 Speaker 1: The ninja cockatoos were a static. They quickly gathered their 109 00:06:24,480 --> 00:06:27,800 Speaker 1: treasure and flew away to their secret location. There they 110 00:06:27,839 --> 00:06:33,160 Speaker 1: could finally begin their life of luxury. Everyone will never 111 00:06:33,320 --> 00:06:36,839 Speaker 1: know what happened to the maku Pechu treasure. The Ninja 112 00:06:36,880 --> 00:06:41,000 Speaker 1: Cockatoo's got away with it, and that's all that matters. 113 00:06:41,600 --> 00:06:44,880 Speaker 1: That is indeed all that matters. This is yeah, this 114 00:06:44,960 --> 00:06:49,039 Speaker 1: is a I found similar experiences with various things I 115 00:06:49,080 --> 00:06:51,760 Speaker 1: was trying out, and like, sometimes the story doesn't have 116 00:06:51,800 --> 00:06:54,359 Speaker 1: any real conflict in it and has a nice, happy ending, 117 00:06:54,920 --> 00:06:57,240 Speaker 1: and then sometimes there's some stuff that comes off a 118 00:06:57,240 --> 00:07:00,520 Speaker 1: little wonky as well, like uh, the I yeather something 119 00:07:00,520 --> 00:07:03,680 Speaker 1: is hidden in a hidden chamber, or that everyone will 120 00:07:03,720 --> 00:07:09,159 Speaker 1: never know. That's everything everyone will never know about the 121 00:07:09,279 --> 00:07:12,960 Speaker 1: Ninja cockatoos. Clearly, to me, the best part is the 122 00:07:12,960 --> 00:07:16,040 Speaker 1: final phrase, and that's all that matters. They got away 123 00:07:16,040 --> 00:07:24,400 Speaker 1: with it. Well, that's great, thanks Sam. Let's see Rob. 124 00:07:24,440 --> 00:07:26,320 Speaker 1: Do you actually also want to do the next one 125 00:07:26,400 --> 00:07:29,680 Speaker 1: because this is about one of your monster Fact episodes 126 00:07:29,720 --> 00:07:32,280 Speaker 1: on the owl Bear. You're gonna have to explain this 127 00:07:32,320 --> 00:07:34,560 Speaker 1: one to me. Oh, okay, do you do you know 128 00:07:34,640 --> 00:07:37,200 Speaker 1: the al bear? I don't know anything about the awl bear. 129 00:07:37,280 --> 00:07:39,200 Speaker 1: Oh you need to encounter an al bear or whip 130 00:07:39,240 --> 00:07:41,240 Speaker 1: one out? Are you d m ng these days? I'm 131 00:07:41,240 --> 00:07:43,360 Speaker 1: not d m ng. No, Well, you can find an 132 00:07:43,360 --> 00:07:47,080 Speaker 1: owl bear requested summon one? Okay, okay, it's it's it's 133 00:07:47,080 --> 00:07:49,040 Speaker 1: a fun creature. I mean it looks like a bear, 134 00:07:49,720 --> 00:07:53,240 Speaker 1: but with an owl's hat, like a big furry um, 135 00:07:53,360 --> 00:07:57,200 Speaker 1: well not fur, a feathered like a big feathery furry 136 00:07:57,200 --> 00:08:00,800 Speaker 1: like land flightless owl. Is a lot of cool art 137 00:08:00,800 --> 00:08:03,200 Speaker 1: of it. There's some fun minis. I'm actually just finishing 138 00:08:03,280 --> 00:08:06,320 Speaker 1: up a miniature of one. It's pretty fun to paint 139 00:08:06,360 --> 00:08:09,080 Speaker 1: from whiz Kids. Um. But but one of the things 140 00:08:09,080 --> 00:08:12,160 Speaker 1: I got into on the episode was talking about how 141 00:08:12,200 --> 00:08:15,080 Speaker 1: feasible it seems the idea that, you know, we we 142 00:08:15,120 --> 00:08:18,000 Speaker 1: have examples of big flightless birds. We also may even 143 00:08:18,040 --> 00:08:22,240 Speaker 1: have example of one prehistoric h flightless owl or nearly 144 00:08:22,280 --> 00:08:25,040 Speaker 1: full flightless, so we're not exactly sure, not quite as 145 00:08:25,080 --> 00:08:27,440 Speaker 1: big as an owl bear, but still fairly big in size. 146 00:08:27,480 --> 00:08:31,400 Speaker 1: So essentially, like the concept of the owl bear is 147 00:08:31,440 --> 00:08:34,760 Speaker 1: only marginally fantastic, and therefore it's it's super interesting to 148 00:08:34,840 --> 00:08:38,080 Speaker 1: imagine an environment in which this kind of creature could 149 00:08:38,480 --> 00:08:43,800 Speaker 1: could thrive. So anyway, Matthew writes in and says, good afternoon, team, 150 00:08:43,840 --> 00:08:46,600 Speaker 1: after listening to the shortcast, that's a great name for 151 00:08:46,600 --> 00:08:50,480 Speaker 1: I never thought about calling it a shortcast, the shortcast 152 00:08:50,520 --> 00:08:52,600 Speaker 1: on the owl bear. I think there is another way 153 00:08:52,600 --> 00:08:56,120 Speaker 1: to have owl bears in a fantasy world. Clockwork the 154 00:08:56,240 --> 00:08:59,600 Speaker 1: only monster to give me a healthy case of gaming PTSD. 155 00:09:00,240 --> 00:09:03,480 Speaker 1: The clockwork owl bear can indeed be disguised very well 156 00:09:03,559 --> 00:09:07,240 Speaker 1: and often can pass for a natural owl bear. They 157 00:09:07,240 --> 00:09:10,000 Speaker 1: can be so well disguised that a foolish bard or 158 00:09:10,120 --> 00:09:12,560 Speaker 1: ranger wanted to take one as a pet and didn't 159 00:09:12,559 --> 00:09:15,440 Speaker 1: realize it wasn't a natural owl bear until there was 160 00:09:15,480 --> 00:09:20,160 Speaker 1: a small ballista bolt jutting from his chest and bolts 161 00:09:20,200 --> 00:09:22,840 Speaker 1: for the rest of his party, including my character, and 162 00:09:22,920 --> 00:09:26,160 Speaker 1: quite a few scratch marks along the way. This also 163 00:09:26,440 --> 00:09:29,120 Speaker 1: could make sense for the owl bear in general, created 164 00:09:29,120 --> 00:09:32,560 Speaker 1: for a specific reason, like the druids protecting the woodlands 165 00:09:32,640 --> 00:09:36,160 Speaker 1: or a horrible magical experiment gone right because he doesn't 166 00:09:36,200 --> 00:09:40,160 Speaker 1: love fuzzy bears with owls for a head. Thank you 167 00:09:40,240 --> 00:09:43,320 Speaker 1: for the fun little episode and the fantastic flashback. I 168 00:09:43,400 --> 00:09:46,520 Speaker 1: now have to write on many desks to not touch 169 00:09:46,559 --> 00:09:49,200 Speaker 1: anything that is ticking out of habit. Thanks for all 170 00:09:49,240 --> 00:09:51,720 Speaker 1: you do. Well, that's a fun twist. I like that. 171 00:09:51,720 --> 00:09:55,160 Speaker 1: That that that twist of the clockwork owl bear. That's 172 00:09:55,200 --> 00:09:57,400 Speaker 1: a good question. So if you're like a ranger and 173 00:09:57,480 --> 00:10:00,480 Speaker 1: you've got a talk to animals ability or something, I 174 00:10:00,520 --> 00:10:04,600 Speaker 1: guess that doesn't work if the animal is secretly an automaton. 175 00:10:05,600 --> 00:10:09,360 Speaker 1: But what if the automaton is programmed to go along 176 00:10:09,400 --> 00:10:11,600 Speaker 1: with it? If you start talking to it and you're 177 00:10:11,600 --> 00:10:13,480 Speaker 1: a druid, I don't know, would you be able to 178 00:10:13,520 --> 00:10:16,960 Speaker 1: detect the difference? Probably probably a wisdom role involved there, 179 00:10:17,160 --> 00:10:28,080 Speaker 1: I see all right, Uh, I'm gonna do this next 180 00:10:28,120 --> 00:10:31,560 Speaker 1: one that is a response all about April O'Neil's jumpsuit 181 00:10:31,600 --> 00:10:34,520 Speaker 1: from teenage Mutant Ninja Turtles. This is a follow up 182 00:10:34,600 --> 00:10:37,080 Speaker 1: to a discussion we had in a previous Listener Mail episode, 183 00:10:37,200 --> 00:10:42,679 Speaker 1: which was mostly about fashion choices in the Ninja Turtles cartoon. Uh, 184 00:10:42,720 --> 00:10:44,280 Speaker 1: the one that was on when we were kids. I 185 00:10:44,280 --> 00:10:46,920 Speaker 1: know there's newer ones. So questions like why were the 186 00:10:47,040 --> 00:10:50,320 Speaker 1: Mutant villains Bebop and rock Steady dressed as punks? Did 187 00:10:50,360 --> 00:10:53,320 Speaker 1: this mean they were fans of punk music? And why 188 00:10:53,320 --> 00:10:56,800 Speaker 1: did the reporter April O'Neil always wear a bright yellow jumpsuit? 189 00:10:56,840 --> 00:10:58,679 Speaker 1: Does that have something to do with being a reporter? 190 00:10:58,960 --> 00:11:01,920 Speaker 1: Is that some association from the time I didn't get 191 00:11:01,960 --> 00:11:04,320 Speaker 1: as a kid. So we opened the question up to 192 00:11:04,360 --> 00:11:07,120 Speaker 1: the audience and Renata got in touch to say high 193 00:11:07,200 --> 00:11:10,120 Speaker 1: seth Rob and Joe. I finally got around to asking 194 00:11:10,160 --> 00:11:12,680 Speaker 1: my partner if he has any take on why April 195 00:11:12,679 --> 00:11:15,200 Speaker 1: O'Neil wears a yellow jumpsuit, and I wanted to share 196 00:11:15,200 --> 00:11:18,840 Speaker 1: that conversation with you first. My initial reaction when hearing 197 00:11:18,840 --> 00:11:21,360 Speaker 1: you bring it up, Granted it's been thirty years since 198 00:11:21,360 --> 00:11:23,800 Speaker 1: I watched the cartoon, but I channeled my seven year 199 00:11:23,800 --> 00:11:27,360 Speaker 1: old self, and my assumption was that she rides in 200 00:11:27,400 --> 00:11:32,800 Speaker 1: a helicopter and that is an aviator suit. Oh, that 201 00:11:32,880 --> 00:11:36,240 Speaker 1: makes sense. This could just be because I was really 202 00:11:36,240 --> 00:11:38,400 Speaker 1: into helicopters at the time, but I feel that the 203 00:11:38,480 --> 00:11:42,720 Speaker 1: late eighties and early nineties was the peak of news helicopters. 204 00:11:42,800 --> 00:11:45,360 Speaker 1: I think that's right. I have no idea if she 205 00:11:45,440 --> 00:11:48,000 Speaker 1: was ever actually in a helicopter on the show. I Oh, 206 00:11:48,120 --> 00:11:51,040 Speaker 1: I feel certain she was, doesn't. I think we saw 207 00:11:51,040 --> 00:11:54,400 Speaker 1: her riding in a news helicopter in the opening credits. 208 00:11:55,280 --> 00:11:59,640 Speaker 1: That sounds super familiar. Yes. But then Renata also shares 209 00:11:59,679 --> 00:12:02,960 Speaker 1: her partner Ben's thoughts and says Ben's first thought was 210 00:12:03,000 --> 00:12:06,080 Speaker 1: that a solid yellow jumpsuit is easy to draw. I 211 00:12:06,080 --> 00:12:08,240 Speaker 1: think this theory has a lot of merit and probably 212 00:12:08,240 --> 00:12:11,080 Speaker 1: played a huge role. He also pointed out that April 213 00:12:11,160 --> 00:12:14,360 Speaker 1: was a programmer and an assistant to a scientist in 214 00:12:14,400 --> 00:12:18,600 Speaker 1: the comic, making the jumpsuit slightly more appropriate for those professions. 215 00:12:18,720 --> 00:12:21,400 Speaker 1: I see, so it could be like a hazardous chemical, 216 00:12:21,880 --> 00:12:24,959 Speaker 1: you know, protective suit in that case. So so maybe 217 00:12:24,960 --> 00:12:28,960 Speaker 1: it's it's an artifact of a prior character design, possibly, 218 00:12:29,240 --> 00:12:32,000 Speaker 1: but Nada has more thoughts about jumpsuits. Rob I know 219 00:12:32,080 --> 00:12:35,200 Speaker 1: you're chomping at the bit for these, Okay. So we 220 00:12:35,320 --> 00:12:38,360 Speaker 1: also remember that lots of characters and ordinary people in 221 00:12:38,360 --> 00:12:42,640 Speaker 1: the eighties war jumpsuits. Think Ghostbusters, and of course there 222 00:12:42,640 --> 00:12:46,000 Speaker 1: were plenty of fashionable styles available to the fashion of 223 00:12:46,080 --> 00:12:48,920 Speaker 1: quote women of action in the eighties is a really 224 00:12:48,960 --> 00:12:52,920 Speaker 1: interesting topic in itself. When the nineties hit, women's outfits 225 00:12:52,920 --> 00:12:56,120 Speaker 1: and movies and comics became increasingly impractical in the way 226 00:12:56,120 --> 00:12:58,959 Speaker 1: that they were too restricting and exposing. For a brief 227 00:12:59,000 --> 00:13:00,800 Speaker 1: time in the eighties, you have a string of women 228 00:13:00,800 --> 00:13:03,839 Speaker 1: who presented as hard working, stoic, and tough, and they 229 00:13:03,840 --> 00:13:08,440 Speaker 1: got away with utilitarian outfits. Some examples of other jumpsuit 230 00:13:08,520 --> 00:13:12,320 Speaker 1: clad women of the eighties include Jilly Layton from Brazil, 231 00:13:12,920 --> 00:13:18,640 Speaker 1: Gadget Hack Wrench from Chippendale's Rescue Rangers, Ripley from Alien Uh, 232 00:13:18,760 --> 00:13:21,960 Speaker 1: Annie Lewis from RoboCop Love Officer Lewis one of my 233 00:13:22,000 --> 00:13:25,760 Speaker 1: favorite eighties movie cops, Um and then Uh and then 234 00:13:25,800 --> 00:13:28,520 Speaker 1: Renata says Ben pointed out that this could be a 235 00:13:28,640 --> 00:13:32,000 Speaker 1: throwback to Rosie the Riveter. It's simply so ingrained in 236 00:13:32,000 --> 00:13:35,640 Speaker 1: our American consciousness that hard working women wear jumpsuits. You 237 00:13:35,720 --> 00:13:38,240 Speaker 1: just don't have to explain it. That's a good point. 238 00:13:38,440 --> 00:13:40,720 Speaker 1: I'd love to hear other ideas about April's outfit and 239 00:13:40,760 --> 00:13:44,240 Speaker 1: examples of women in jumpsuits in pop culture. I'd also 240 00:13:44,280 --> 00:13:46,280 Speaker 1: like to shout out two of my closest friends, A 241 00:13:46,480 --> 00:13:48,600 Speaker 1: and C, who are getting married this month and who 242 00:13:48,640 --> 00:13:51,200 Speaker 1: introduced me to your show. A and C. I hope 243 00:13:51,200 --> 00:13:53,080 Speaker 1: you're listening, and I wish you many great years of 244 00:13:53,120 --> 00:13:55,720 Speaker 1: listening to stuff to blow your mind together. All the 245 00:13:55,760 --> 00:14:00,400 Speaker 1: best vibes as always, Renata, Yeah, congrat to say and 246 00:14:00,440 --> 00:14:04,640 Speaker 1: see congratulations great email. Yeah yeah, indeed, I mean it 247 00:14:04,720 --> 00:14:06,800 Speaker 1: is hard to beat a good jumpsuit in a in 248 00:14:06,840 --> 00:14:08,840 Speaker 1: a film. We keep coming back to that a weirdout 249 00:14:08,880 --> 00:14:11,719 Speaker 1: cinema anytime. I don't think we've had a bad jumpsuit yet, 250 00:14:11,960 --> 00:14:15,000 Speaker 1: totally always love a jumpsuit alright, speaking of it, isn't 251 00:14:15,040 --> 00:14:17,520 Speaker 1: that just so much more interesting than having your heroes 252 00:14:17,559 --> 00:14:22,200 Speaker 1: were jeans. Whoever they are, whatever they're doing, just embrace 253 00:14:22,280 --> 00:14:25,480 Speaker 1: the April O'Neil philosophy. It doesn't necessarily have to match 254 00:14:25,520 --> 00:14:28,600 Speaker 1: their current cannon profession. They should just wear a jumpsuit. 255 00:14:29,240 --> 00:14:36,880 Speaker 1: It's cool, all right. Well, speaking of weird out cinema, 256 00:14:36,960 --> 00:14:39,800 Speaker 1: let's let's get into some some weird house cinema centric 257 00:14:39,880 --> 00:14:42,400 Speaker 1: email here. This first one comes to us from Pat. 258 00:14:42,880 --> 00:14:45,920 Speaker 1: Pat says, these shows are entertaining. Scream and scream again 259 00:14:46,080 --> 00:14:48,520 Speaker 1: was nostalgic for me. I saw it at aited a 260 00:14:48,560 --> 00:14:51,440 Speaker 1: crepit Brooklyn theater when I was ten years old. I 261 00:14:51,520 --> 00:14:55,440 Speaker 1: was scared by the hand in the handcuffs suggestion in 262 00:14:55,480 --> 00:14:58,560 Speaker 1: the Mouth of Madness. Thanks again, Pat, you saw it 263 00:14:58,600 --> 00:15:01,560 Speaker 1: at a decrepit brook In theater when you were ten 264 00:15:01,720 --> 00:15:07,440 Speaker 1: years old. Something something went wrong there. It sounds like 265 00:15:07,440 --> 00:15:09,800 Speaker 1: the perfect place to see it, though, I mean, you know, 266 00:15:09,840 --> 00:15:14,000 Speaker 1: we you know, mileage may vary concerning age, but uh yeah. 267 00:15:14,040 --> 00:15:16,320 Speaker 1: I love to hear from from folks who saw these 268 00:15:16,360 --> 00:15:19,960 Speaker 1: films on their original run, no matter what decade it 269 00:15:20,000 --> 00:15:22,640 Speaker 1: occurred in. As for In the Mouth of Madness, So 270 00:15:22,760 --> 00:15:27,080 Speaker 1: that's that's one of my favorites. Great cast, really enjoyable film. Yeah, 271 00:15:27,200 --> 00:15:28,840 Speaker 1: Rachel and I just watched that one, I think this 272 00:15:28,960 --> 00:15:32,520 Speaker 1: past October. Yeah. I keep having this, uh this urge, 273 00:15:32,560 --> 00:15:36,280 Speaker 1: like if we actually do a John Carpenter film like, 274 00:15:36,360 --> 00:15:39,080 Speaker 1: do we do one of the more known, well known ones, 275 00:15:39,360 --> 00:15:42,000 Speaker 1: or do we we do as Elvis film. I think 276 00:15:42,040 --> 00:15:44,320 Speaker 1: we have to do one of his worst movies. We 277 00:15:44,320 --> 00:15:47,600 Speaker 1: could do Ghosts of Mars. Would we break the millennium 278 00:15:47,600 --> 00:15:51,480 Speaker 1: seal for that? Um? I mean Ghost of Mars. There's 279 00:15:51,480 --> 00:15:53,560 Speaker 1: a lot to talk about with Ghost of Mars. Um, 280 00:15:53,600 --> 00:15:58,160 Speaker 1: it's not great cast, terrible movie. Yeah, it's got some 281 00:15:58,480 --> 00:16:00,680 Speaker 1: it's got some things going for it, but it also 282 00:16:00,720 --> 00:16:05,400 Speaker 1: has it's more than its shaff laws. Um. Cronenberg there 283 00:16:05,440 --> 00:16:07,680 Speaker 1: was a similar situation. I'm like, would we would People 284 00:16:07,680 --> 00:16:10,600 Speaker 1: were like, which Cronenberg movie could you do? And I'm like, well, 285 00:16:10,680 --> 00:16:14,320 Speaker 1: I don't know. Um, you know, maybe maybe the correct 286 00:16:14,360 --> 00:16:18,000 Speaker 1: answer is Scanners. But maybe the correct answer is his 287 00:16:18,520 --> 00:16:22,560 Speaker 1: Race Car movie, you know, Like, maybe that's the direction 288 00:16:22,600 --> 00:16:24,800 Speaker 1: we should go in. That one has a slightly interesting 289 00:16:24,840 --> 00:16:27,440 Speaker 1: cast as well. I remember one of the funniest choices 290 00:16:27,440 --> 00:16:29,240 Speaker 1: about Ghosts of Mars. This is a movie about like 291 00:16:29,360 --> 00:16:31,800 Speaker 1: monsters on on the planet Mars, by the way, and 292 00:16:31,840 --> 00:16:34,320 Speaker 1: one of the weirdest things about it is that they 293 00:16:34,840 --> 00:16:39,920 Speaker 1: decided that ice Cube's character's name would be Desolation. Williams 294 00:16:40,080 --> 00:16:42,840 Speaker 1: and the other characters referred to him by the name 295 00:16:43,000 --> 00:16:46,680 Speaker 1: Desolation in dialogue, so they're like, hey, Desolation, what are 296 00:16:46,680 --> 00:16:50,280 Speaker 1: you doing? Yeah, Nick, I don't like it when a 297 00:16:50,360 --> 00:16:52,880 Speaker 1: nickname has too many syllables in a In a movie 298 00:16:53,000 --> 00:16:56,880 Speaker 1: like um, Danny McBride has a character whose nickname is 299 00:16:56,920 --> 00:17:01,640 Speaker 1: Tennessee in Alien Covenant, and I love about Alien Covenant, 300 00:17:01,640 --> 00:17:03,680 Speaker 1: but no, no one would call him Tennessee. You would 301 00:17:03,680 --> 00:17:06,320 Speaker 1: call him ten maybe or something like that. It could 302 00:17:06,320 --> 00:17:08,640 Speaker 1: be it could be texts if he was from Texas, 303 00:17:10,520 --> 00:17:14,400 Speaker 1: But I just don't think Tennessee is an acceptable nickname 304 00:17:14,480 --> 00:17:17,200 Speaker 1: even in space. Do you remember all the people who 305 00:17:17,200 --> 00:17:19,600 Speaker 1: were in Ghosts of Mars though, It's not just ice Cube. 306 00:17:19,760 --> 00:17:23,840 Speaker 1: It's got Jason Statham, It's got Pam Greer. Pam Greer's 307 00:17:23,840 --> 00:17:25,320 Speaker 1: in it. Oh yeah, I mean you got to what 308 00:17:25,440 --> 00:17:29,960 Speaker 1: Nantesta hints is in it? Um, you have Robert Carradine. 309 00:17:31,640 --> 00:17:33,399 Speaker 1: I mean, as long as you get one Carradeen in there, 310 00:17:33,400 --> 00:17:36,280 Speaker 1: I guess you're doing all right. Um. Oh, John Carradean 311 00:17:36,359 --> 00:17:39,120 Speaker 1: is in there somewhere. He's Rex Lynn. He's a great 312 00:17:39,200 --> 00:17:42,760 Speaker 1: character actor. Yeah, yeah, yeah, I guess we don't need 313 00:17:42,760 --> 00:17:45,959 Speaker 1: to do it on Weird Test. Now we just did it. Yeah, music, 314 00:17:46,080 --> 00:17:47,639 Speaker 1: It has some pretty fun music. Is there a call? 315 00:17:47,680 --> 00:17:51,919 Speaker 1: I think we had Buckethead on the session. I remember 316 00:17:51,920 --> 00:17:55,720 Speaker 1: watching an extra feature on the DVD about the soundtrack, 317 00:17:55,760 --> 00:17:58,560 Speaker 1: and yeah, Carpenter was really into it. And I want 318 00:17:58,560 --> 00:18:01,920 Speaker 1: to say that Gerald Bram, who was a wonderful fantasy artist, 319 00:18:02,280 --> 00:18:05,040 Speaker 1: I believe he did some concept images for this one 320 00:18:05,080 --> 00:18:08,680 Speaker 1: as well. I don't know to what extent they're represented 321 00:18:08,760 --> 00:18:11,680 Speaker 1: or or you know, accurately represented to the final film. 322 00:18:11,720 --> 00:18:14,359 Speaker 1: Oh man, Well, the title Ghosts of Mars sounds like 323 00:18:14,400 --> 00:18:17,200 Speaker 1: the name of a fantastic pulp sci fi novel that 324 00:18:17,240 --> 00:18:21,320 Speaker 1: would have great cover art, but alas instead it is. 325 00:18:21,600 --> 00:18:28,680 Speaker 1: It is what it is, all right, Rob, you want 326 00:18:28,680 --> 00:18:31,520 Speaker 1: to do this message from Lee? Yep, this one's from lately, 327 00:18:31,680 --> 00:18:34,760 Speaker 1: says dear Robin Joe. While I have been in touch before, 328 00:18:34,840 --> 00:18:36,520 Speaker 1: this is the first time I am writing about weird 329 00:18:36,560 --> 00:18:39,800 Speaker 1: house cinema. First. I grew up in a rural Virginia 330 00:18:39,840 --> 00:18:43,720 Speaker 1: town during the three Channels most of the time RUFE 331 00:18:43,760 --> 00:18:48,160 Speaker 1: antenna era of broadcast television. We had a local Petersburg 332 00:18:48,280 --> 00:18:53,560 Speaker 1: TV station that ran a locally hosted program called Shock Theater, 333 00:18:54,040 --> 00:18:58,119 Speaker 1: featuring horror and sci fi movies. Our host was The 334 00:18:58,160 --> 00:19:02,560 Speaker 1: Bowman Body and uh, there's a website included the Bowman 335 00:19:02,640 --> 00:19:05,239 Speaker 1: Body dot Com. I checked this out and does have 336 00:19:05,280 --> 00:19:08,280 Speaker 1: some some stuff about this. He kind of looks like, uh, 337 00:19:08,680 --> 00:19:11,240 Speaker 1: is he sort of going for for Death from the 338 00:19:11,280 --> 00:19:16,000 Speaker 1: Seventh Seal but a little bit more campy. Yeah, I 339 00:19:16,040 --> 00:19:18,240 Speaker 1: think so, Like you know, you could. By the way, 340 00:19:18,280 --> 00:19:21,320 Speaker 1: I love examples of this. They're like growing up, I 341 00:19:21,320 --> 00:19:26,440 Speaker 1: guess my only daytime horror host was Grandpop Monster on 342 00:19:26,440 --> 00:19:29,800 Speaker 1: one of the Turners stations. He would introduce shows on 343 00:19:30,040 --> 00:19:32,359 Speaker 1: like on the weekend during the day and I really 344 00:19:32,359 --> 00:19:35,159 Speaker 1: love that. And of course later on you encounter you know, 345 00:19:35,280 --> 00:19:38,879 Speaker 1: kind of stuff like Elvira and uh, the USA Up 346 00:19:38,880 --> 00:19:43,000 Speaker 1: all Night People, eventually Joe Bob and so forth. About these, 347 00:19:43,040 --> 00:19:45,480 Speaker 1: you know, I love these examples of these old school 348 00:19:45,640 --> 00:19:49,399 Speaker 1: like Finoogley style daytime horror hosts. They had, they had 349 00:19:49,400 --> 00:19:52,760 Speaker 1: an important role to play, you know, television. I mean 350 00:19:52,840 --> 00:19:56,280 Speaker 1: it goes way back to you remember like before there 351 00:19:56,359 --> 00:20:00,560 Speaker 1: was Elvira, there was Vampira. Yeah, that's right. So anyway continues, 352 00:20:00,640 --> 00:20:03,119 Speaker 1: sorry for the tangent. Anyway, one of the films I 353 00:20:03,160 --> 00:20:06,760 Speaker 1: remember watching was Scream and Scream Again. Although I couldn't 354 00:20:06,840 --> 00:20:10,639 Speaker 1: recall the title until your recent episode. Granted I was 355 00:20:10,680 --> 00:20:13,240 Speaker 1: somewhere around ten at the time I saw it, but 356 00:20:13,400 --> 00:20:17,240 Speaker 1: I constantly recalled scenes from the movie during other episodes, 357 00:20:17,240 --> 00:20:20,120 Speaker 1: hoping to hear scene descriptions and catch the title. Well, 358 00:20:20,200 --> 00:20:23,560 Speaker 1: it happened. A couple of scenes I specifically remembered were 359 00:20:23,600 --> 00:20:27,640 Speaker 1: the handcuffed arm amputation and the acid pit in the outbuilding, 360 00:20:27,680 --> 00:20:30,400 Speaker 1: which I always remember as a barn or a garage, 361 00:20:30,800 --> 00:20:33,320 Speaker 1: and I think that's an accurate memory. It's essentially it 362 00:20:33,320 --> 00:20:36,240 Speaker 1: looks very much like a barn, even though Vincent Brice's 363 00:20:36,320 --> 00:20:39,760 Speaker 1: character describes it as an outbuilding. Lee continues, Now I 364 00:20:39,840 --> 00:20:41,720 Speaker 1: have the title and can go hunt down the movie 365 00:20:41,760 --> 00:20:45,480 Speaker 1: to watch again. Thank you, You're welcome. I guess I 366 00:20:45,480 --> 00:20:48,480 Speaker 1: hope you like it. How can you not like scream 367 00:20:48,520 --> 00:20:51,199 Speaker 1: and scream again? I mean, it's it's remember it's tripled 368 00:20:51,200 --> 00:20:55,080 Speaker 1: as silled. That's true. Yes, uh, Lee continues on another tangent, 369 00:20:55,160 --> 00:20:58,480 Speaker 1: have you ever seen any hosted movies other than MST 370 00:20:58,600 --> 00:21:01,160 Speaker 1: three K of course, it's an interesting bit of pop 371 00:21:01,200 --> 00:21:04,719 Speaker 1: culture history. Here are a couple more links regarding this phenomenon. 372 00:21:04,840 --> 00:21:09,200 Speaker 1: One a link to the IMDb page for Virginia Creepers, 373 00:21:09,240 --> 00:21:13,080 Speaker 1: a documentary on the Virginia hosts by Sean Cotts, and 374 00:21:13,119 --> 00:21:16,000 Speaker 1: a link to an article Sean wrote about doing the documentary. 375 00:21:16,320 --> 00:21:18,679 Speaker 1: I do enjoy the podcast and hope to solve a 376 00:21:18,720 --> 00:21:21,879 Speaker 1: couple more movie mysteries in the future. Thanks again for 377 00:21:21,920 --> 00:21:26,960 Speaker 1: the podcast, Lee, and uhly includes the links here. So yeah, again, 378 00:21:27,040 --> 00:21:30,600 Speaker 1: I I love I love any example. Pretty much of 379 00:21:30,640 --> 00:21:34,200 Speaker 1: these hosted uh film nights, uh, you know, the ones 380 00:21:34,280 --> 00:21:36,239 Speaker 1: that are not necessarily nights. Again, a lot of them 381 00:21:36,240 --> 00:21:39,960 Speaker 1: are daytime horror hosts. Um that. Yeah, it's it's such 382 00:21:39,960 --> 00:21:43,240 Speaker 1: a fun bit of television history. Yeah. I was just thinking, 383 00:21:43,280 --> 00:21:45,840 Speaker 1: it's weird how we usually, or at least I usually 384 00:21:45,880 --> 00:21:48,840 Speaker 1: associate it with the kinds of movie genres that we 385 00:21:48,840 --> 00:21:51,720 Speaker 1: would cover on weird House Cinema, So it's gonna be horror, 386 00:21:51,920 --> 00:21:57,120 Speaker 1: sci fi, weird stuff. But there were hosted movie programs 387 00:21:57,160 --> 00:22:00,080 Speaker 1: that were just for other genres, you know, comedies and 388 00:22:00,160 --> 00:22:02,800 Speaker 1: dramas and stuff. I remember when I was a kid, 389 00:22:02,800 --> 00:22:05,639 Speaker 1: there was one that came on TBS where they would 390 00:22:05,640 --> 00:22:08,359 Speaker 1: like cook a meal and show you a movie and 391 00:22:08,400 --> 00:22:10,679 Speaker 1: the meal would be based It was like a combination 392 00:22:11,080 --> 00:22:14,680 Speaker 1: cooking show and so it's like imagine Elvira, except to 393 00:22:14,760 --> 00:22:18,080 Speaker 1: not spooky, and she's like making a back to the 394 00:22:18,119 --> 00:22:22,520 Speaker 1: Future themed pie. That's a weird I've never heard of 395 00:22:22,560 --> 00:22:25,960 Speaker 1: that one. Um. I think it was called dinner in 396 00:22:26,000 --> 00:22:29,640 Speaker 1: a movie. Do you remember? Oh wait, Oh my goodness. 397 00:22:29,880 --> 00:22:31,919 Speaker 1: I hadn't thought of this in years, but yes, I 398 00:22:31,920 --> 00:22:35,359 Speaker 1: think you're right. Yeah, this was a Turner thing, Dinner 399 00:22:35,400 --> 00:22:37,320 Speaker 1: in a movie. Now, I remember at least the ads. 400 00:22:37,480 --> 00:22:40,840 Speaker 1: I probably watched some of it as well. Um, but yeah, 401 00:22:40,880 --> 00:22:43,119 Speaker 1: I mean it's I guess the thing is, you had 402 00:22:43,160 --> 00:22:46,479 Speaker 1: these stations, especially with Turner, you had access to all 403 00:22:46,520 --> 00:22:50,200 Speaker 1: these films, and they probably knew which ones would bump ratings, uh, 404 00:22:50,240 --> 00:22:52,240 Speaker 1: and you know which ones would would get more viewers. 405 00:22:52,520 --> 00:22:55,720 Speaker 1: But for relatively low production costs, you could get a 406 00:22:55,760 --> 00:22:58,160 Speaker 1: host on there and add this extra bit of fresh 407 00:22:58,640 --> 00:23:01,240 Speaker 1: uh freshness to it, a little bit more engagement. Maybe. 408 00:23:01,320 --> 00:23:04,080 Speaker 1: Essentially is in the case of The Horrors, you kind 409 00:23:04,080 --> 00:23:07,359 Speaker 1: of have a carnival barker for the movie, inviting the 410 00:23:07,440 --> 00:23:10,439 Speaker 1: kids in, inviting folks in, like here, I have this 411 00:23:10,520 --> 00:23:13,920 Speaker 1: disgusting treat for you, let's look at it together. That 412 00:23:14,040 --> 00:23:16,240 Speaker 1: sort of thing. We may have mentioned this before, but 413 00:23:16,520 --> 00:23:20,199 Speaker 1: I think another thing that the horror hosts do is 414 00:23:20,440 --> 00:23:24,640 Speaker 1: especially like for kids who might be more inclined to think, oh, 415 00:23:24,840 --> 00:23:27,199 Speaker 1: horror movie is going to be really scary, you know, 416 00:23:27,320 --> 00:23:30,840 Speaker 1: and my you know, like expectation of reaction can kind 417 00:23:30,840 --> 00:23:33,960 Speaker 1: of dictate your actual reaction. You expect, oh, you know, 418 00:23:34,040 --> 00:23:37,560 Speaker 1: this is gonna scare me and bother me. But the host, 419 00:23:37,640 --> 00:23:40,320 Speaker 1: because they're almost always approaching it from a comedic point 420 00:23:40,359 --> 00:23:43,480 Speaker 1: of view, whether it's Grandpa, Monster, Elvira or whatever, they're 421 00:23:43,520 --> 00:23:47,520 Speaker 1: making jokes about the movie, so you uh so that 422 00:23:47,640 --> 00:23:50,040 Speaker 1: kind of like feeds in a different kind of priming, 423 00:23:50,080 --> 00:23:52,600 Speaker 1: and they're like, oh, maybe these movies can also be 424 00:23:52,720 --> 00:23:55,159 Speaker 1: funny and just like a fun thing to watch with 425 00:23:55,200 --> 00:23:59,760 Speaker 1: your friends. Yeah. I think that's a super valid point. Yeah, 426 00:23:59,800 --> 00:24:03,320 Speaker 1: informing you that, yeah, these films are fun. It is 427 00:24:03,359 --> 00:24:05,080 Speaker 1: fun to watch them, and we don't need to take 428 00:24:05,080 --> 00:24:08,200 Speaker 1: it too seriously. Um, it's it's fun to be a 429 00:24:08,280 --> 00:24:10,600 Speaker 1: little afraid by them, and so forth. Then it breaks 430 00:24:10,640 --> 00:24:14,280 Speaker 1: up the tone. And and also yeah, I I fondly 431 00:24:14,720 --> 00:24:18,520 Speaker 1: think back, you know a particular particularly remember Grandpa Munster 432 00:24:18,680 --> 00:24:21,760 Speaker 1: introducing um it was of course this was al Lewis 433 00:24:21,920 --> 00:24:28,280 Speaker 1: right presenting giant ant movies onto on Turner Television. Yeah, 434 00:24:28,560 --> 00:24:32,199 Speaker 1: I guess the upscale version of this would be PBS. Uh, 435 00:24:32,800 --> 00:24:36,280 Speaker 1: particularly remembering a masterpiece theater you know where you have 436 00:24:36,520 --> 00:24:39,080 Speaker 1: Oh yeah, you know, the upscale host letting you know 437 00:24:39,160 --> 00:24:40,920 Speaker 1: that what's what you're about to watch? This is a 438 00:24:41,520 --> 00:24:44,120 Speaker 1: this is an upper class situation. This is high brow, 439 00:24:44,480 --> 00:24:48,040 Speaker 1: it's class. Yeah. And then of course on Sesame Street 440 00:24:48,040 --> 00:24:51,600 Speaker 1: we had Alistair Cookie as opposed to Alistair Cook hosting 441 00:24:52,040 --> 00:24:55,200 Speaker 1: Monster Theater. Yes, well, this is something I'd love to 442 00:24:55,240 --> 00:24:57,280 Speaker 1: hear about from from more listeners. Did you have a 443 00:24:57,720 --> 00:25:00,600 Speaker 1: weird local movie host in your meat your market? I 444 00:25:00,880 --> 00:25:03,240 Speaker 1: want to know who they were, what was their deal? Yeah? 445 00:25:03,280 --> 00:25:05,440 Speaker 1: And especially I mean I doubt I especially want to 446 00:25:05,440 --> 00:25:11,080 Speaker 1: hear about expected horror examples, but also these weird other examples, 447 00:25:11,119 --> 00:25:13,920 Speaker 1: like like the dinner and a movie thing or a 448 00:25:14,040 --> 00:25:17,199 Speaker 1: masterpiece theater. What else is out there? All right, We're 449 00:25:17,200 --> 00:25:22,080 Speaker 1: gonna go ahead and close up this edition of Listener Mail, 450 00:25:22,359 --> 00:25:25,520 Speaker 1: but we'll be back. We publish these episodes in Monday 451 00:25:25,560 --> 00:25:27,840 Speaker 1: on Mondays and the Stuff to Blow Your Mind podcast 452 00:25:27,880 --> 00:25:31,160 Speaker 1: feed on two season. Thursdays we do core episodes. On Wednesdays, 453 00:25:31,200 --> 00:25:34,600 Speaker 1: we do a short form Artifact or Monster Fact episode, 454 00:25:34,840 --> 00:25:36,639 Speaker 1: and on Fridays we do Weird Out Cinema. That's their 455 00:25:36,680 --> 00:25:39,040 Speaker 1: time to set aside most serious concerns and just focus 456 00:25:39,040 --> 00:25:41,520 Speaker 1: on a strange film. Huge thanks as always to our 457 00:25:41,560 --> 00:25:45,000 Speaker 1: excellent audio producer Seth Nicholas Johnson. If you would like 458 00:25:45,040 --> 00:25:47,080 Speaker 1: to get in touch with us with feedback on this 459 00:25:47,119 --> 00:25:49,639 Speaker 1: episode or any other, to suggest topic for the future, 460 00:25:49,800 --> 00:25:51,800 Speaker 1: or just to say hello, you can email us at 461 00:25:51,880 --> 00:26:02,320 Speaker 1: contact at stuff to Blow your Mind dot com. Stuff 462 00:26:02,359 --> 00:26:04,560 Speaker 1: to Blow Your Mind is a production of I Heart Radio. 463 00:26:04,920 --> 00:26:07,040 Speaker 1: For more podcasts for my heart Radio, visit the i 464 00:26:07,080 --> 00:26:09,879 Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to 465 00:26:09,920 --> 00:26:10,760 Speaker 1: your favorite shows.