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 --> 00:00:11,240 Speaker 1: Heart Radio. Hey, welcome to Stuff to Blow Your Mind 3 00:00:11,520 --> 00:00:15,120 Speaker 1: Listener Mail. This is Robert Lamb and this is Joe McCormick, 4 00:00:15,160 --> 00:00:18,000 Speaker 1: and we're back in the mail bag overfloweth it is. 5 00:00:18,040 --> 00:00:20,159 Speaker 1: It is quite hefty this week, so we're gonna be 6 00:00:20,200 --> 00:00:23,960 Speaker 1: catching up, I assume, for the next few mail Bag episodes. 7 00:00:24,040 --> 00:00:26,000 Speaker 1: But Rob, if you're ready, I think I'm going to 8 00:00:26,120 --> 00:00:28,800 Speaker 1: jump into some messages that we got about the three 9 00:00:28,800 --> 00:00:37,320 Speaker 1: pupiled Eye episodes. Alright, this is from Rob from you. 10 00:00:37,360 --> 00:00:40,120 Speaker 1: We're not having another seth rights in the listener mail 11 00:00:40,440 --> 00:00:45,720 Speaker 1: type situation. Okay, this is from some other Rob. Rob says, 12 00:00:45,760 --> 00:00:49,640 Speaker 1: in the second pupil episode, you mentioned the interesting fact 13 00:00:49,760 --> 00:00:53,640 Speaker 1: that the Chinese word for pupil, and then Rob says 14 00:00:53,680 --> 00:00:57,840 Speaker 1: that this contains the word child, making a connection between 15 00:00:57,880 --> 00:01:01,520 Speaker 1: a small child and the tiny reflected image seen in 16 00:01:01,720 --> 00:01:04,959 Speaker 1: somebody else's eye. I might have missed it, but I 17 00:01:05,000 --> 00:01:08,360 Speaker 1: don't think you mentioned that our own word pupil comes 18 00:01:08,440 --> 00:01:11,640 Speaker 1: from the same idea. It comes from the Latin pupila, 19 00:01:11,880 --> 00:01:16,080 Speaker 1: meaning little girl or doll. Comparing a pupil to a 20 00:01:16,200 --> 00:01:20,400 Speaker 1: child is actually very common cross linguistically The Greek core 21 00:01:20,440 --> 00:01:24,040 Speaker 1: a can mean either girl or pupil. The Irish mac 22 00:01:24,080 --> 00:01:28,000 Speaker 1: im risk literally means child of the iris. The hebrew 23 00:01:28,160 --> 00:01:33,960 Speaker 1: ishn literally means little man. The Turkish goes bebegie literally 24 00:01:34,000 --> 00:01:39,080 Speaker 1: means I baby. It's kind of creepy. Um. These are 25 00:01:39,120 --> 00:01:42,120 Speaker 1: not merely translations of a phrase original to one language. 26 00:01:42,160 --> 00:01:46,800 Speaker 1: They seem to have been coined independently in many unrelated languages. Apparently, 27 00:01:46,800 --> 00:01:49,720 Speaker 1: in ancient times, the little reflection of yourself that you 28 00:01:49,760 --> 00:01:53,160 Speaker 1: saw in somebody somebody else's pupil was considered the most 29 00:01:53,240 --> 00:01:56,520 Speaker 1: remarkable thing about this body part. Thanks for making such 30 00:01:56,560 --> 00:02:00,320 Speaker 1: a great show, rob Ah, Yeah, that's that's a that's wonderful. 31 00:02:00,360 --> 00:02:04,960 Speaker 1: I didn't know about the the I babies of Turkish there. Um, 32 00:02:05,320 --> 00:02:08,400 Speaker 1: that's that's wonderful. Uh. One of the weird the weird 33 00:02:08,400 --> 00:02:13,280 Speaker 1: coincidence here. I happened to watch the old animated version 34 00:02:13,320 --> 00:02:17,320 Speaker 1: of The Last Unicorn this week, and it's been a 35 00:02:17,320 --> 00:02:19,399 Speaker 1: long time since I've seen it, and I'd only ever 36 00:02:19,560 --> 00:02:21,639 Speaker 1: read half of the book with my son. I think 37 00:02:21,639 --> 00:02:23,400 Speaker 1: it was a library book. We ended up returning it. 38 00:02:23,800 --> 00:02:25,960 Speaker 1: I will say I think, as far as the movie goes, 39 00:02:26,320 --> 00:02:29,520 Speaker 1: first half much better than the later latter half. First 40 00:02:29,520 --> 00:02:32,680 Speaker 1: half has all the good stuff with the Mommy Fortuna 41 00:02:32,840 --> 00:02:36,800 Speaker 1: and the Harpie, and also has the best America songs, 42 00:02:37,200 --> 00:02:39,760 Speaker 1: uh the America songs in the In the second half 43 00:02:39,760 --> 00:02:42,800 Speaker 1: of the film, um My Son even noticed that they 44 00:02:42,840 --> 00:02:44,880 Speaker 1: were not up up to snuff. He was like, why 45 00:02:44,919 --> 00:02:47,800 Speaker 1: is this song so bad? And I'm like, well, which 46 00:02:47,800 --> 00:02:49,920 Speaker 1: half is his horse with There's no Horse with No 47 00:02:50,040 --> 00:02:52,680 Speaker 1: Name in this. This is post Horse with No Name America. 48 00:02:52,720 --> 00:02:54,760 Speaker 1: This is when they weren't. They don't sound that much 49 00:02:54,840 --> 00:02:56,920 Speaker 1: like Neil Young in this. This is a you have 50 00:02:56,919 --> 00:02:58,520 Speaker 1: you had some real some world good ones. You got 51 00:02:58,520 --> 00:03:01,840 Speaker 1: the last Unicorn theme song It's self. You have Man's Road. 52 00:03:02,200 --> 00:03:05,080 Speaker 1: Those are both really good. But anyway, my point about 53 00:03:05,080 --> 00:03:09,320 Speaker 1: eyes is there's a there's a whole thing in it about, 54 00:03:09,760 --> 00:03:14,640 Speaker 1: you know, the evil unicorn hoarding King Haggard, who is 55 00:03:14,720 --> 00:03:18,440 Speaker 1: voiced by Marvelous Lee by by Christopher Lee. He has 56 00:03:18,480 --> 00:03:20,840 Speaker 1: this whole thing where we have this unicorn that's the 57 00:03:20,880 --> 00:03:23,640 Speaker 1: script that is a disguised as a human woman in 58 00:03:23,639 --> 00:03:26,680 Speaker 1: the shape of a human woman, and he suspects something 59 00:03:26,800 --> 00:03:29,400 Speaker 1: is up when he cannot see his own reflection in 60 00:03:29,480 --> 00:03:32,800 Speaker 1: her eyes and later on is she becomes more human, 61 00:03:32,840 --> 00:03:36,600 Speaker 1: She's losing her unicorn nous and becoming more human. He 62 00:03:36,640 --> 00:03:40,400 Speaker 1: can see his reflection in her eyes. Interesting detail. Yeah, 63 00:03:40,440 --> 00:03:42,200 Speaker 1: and there's probably, Like I said, I haven't read the 64 00:03:42,200 --> 00:03:44,880 Speaker 1: second half of the book, but I imagine, uh, the 65 00:03:44,960 --> 00:03:49,160 Speaker 1: author here is Umu of course, Peter Spiegel. I wonder 66 00:03:49,200 --> 00:03:52,240 Speaker 1: if he's getting into something about the idea of possession, 67 00:03:53,040 --> 00:03:57,480 Speaker 1: because of course this is a greedy, miserable individual who 68 00:03:57,840 --> 00:04:01,240 Speaker 1: uh nothing makes him happy and life except occasionally the 69 00:04:01,240 --> 00:04:04,080 Speaker 1: fact that he's collected all the unicorns but one in 70 00:04:04,080 --> 00:04:06,320 Speaker 1: the world and hitting hitting them away in the surf. 71 00:04:06,800 --> 00:04:10,520 Speaker 1: You know, there's something about the idea of something that 72 00:04:10,560 --> 00:04:13,320 Speaker 1: he cannot possess fully, that that he does not see 73 00:04:13,400 --> 00:04:17,279 Speaker 1: himself in perhaps anyway unicorn fans right in let us know, 74 00:04:22,240 --> 00:04:25,800 Speaker 1: all right, This next one comes to us from It's is. 75 00:04:26,000 --> 00:04:28,719 Speaker 1: I'm not sure I guess Baron is writing in. I 76 00:04:28,720 --> 00:04:35,760 Speaker 1: think someone is calling themselves Baron all the Baron rites. 77 00:04:36,200 --> 00:04:39,240 Speaker 1: Good evening, this is Baron Eaton and I had to 78 00:04:39,240 --> 00:04:42,120 Speaker 1: take a moment to at least address the multiple pupils 79 00:04:42,160 --> 00:04:45,839 Speaker 1: for the Irish legends and the link to beauty. The 80 00:04:45,880 --> 00:04:48,600 Speaker 1: first example that popped into my head is the classic 81 00:04:48,680 --> 00:04:52,920 Speaker 1: Dungeons and Dragons magical item the eyes of and it's 82 00:04:53,000 --> 00:04:55,839 Speaker 1: items plural, and you would insert the power of the 83 00:04:55,880 --> 00:04:59,839 Speaker 1: deity here, The baron says. Typically they would be glasses 84 00:04:59,880 --> 00:05:04,599 Speaker 1: of some sort, monocle, bifocals, or other lenses. Since the 85 00:05:04,680 --> 00:05:08,839 Speaker 1: lenses would not be purely flat, they could have multiple 86 00:05:08,880 --> 00:05:12,160 Speaker 1: facets that would allow the wearer to see into the future, 87 00:05:12,279 --> 00:05:15,800 Speaker 1: see through illusions, and spot hidden treasures. Robb, you have 88 00:05:15,880 --> 00:05:18,120 Speaker 1: experienced with these things. I don't think I've ever gotten 89 00:05:18,120 --> 00:05:20,160 Speaker 1: to the point where I had eyes of a d 90 00:05:20,400 --> 00:05:23,360 Speaker 1: I have never made these available as a d M, 91 00:05:23,680 --> 00:05:25,920 Speaker 1: and no d M has made them available to me. 92 00:05:26,279 --> 00:05:28,600 Speaker 1: But they sound pretty fun. They also sound like maybe 93 00:05:28,640 --> 00:05:31,160 Speaker 1: they're maybe they're a little difficult to we eve into 94 00:05:31,200 --> 00:05:34,160 Speaker 1: a campaign. I don't know, uh I d M s 95 00:05:34,279 --> 00:05:36,480 Speaker 1: and players right in and correct us on that if 96 00:05:36,640 --> 00:05:39,840 Speaker 1: if I'm wrong anyway, the baron continues, the person viewing 97 00:05:39,920 --> 00:05:44,240 Speaker 1: the sears would see multiple irises through the gym, and 98 00:05:44,360 --> 00:05:47,200 Speaker 1: it could be clear enough to do so. Since the 99 00:05:47,279 --> 00:05:50,520 Speaker 1: type of gym would be associated with mystical powers and wealth, 100 00:05:50,800 --> 00:05:53,440 Speaker 1: it could be easily tied into the idea of a 101 00:05:53,560 --> 00:05:58,240 Speaker 1: multi pupil human, especially since most things in the early 102 00:05:58,279 --> 00:06:00,840 Speaker 1: Before times were rife with symbolism. It would be a 103 00:06:00,920 --> 00:06:03,960 Speaker 1: quick way to describe a monocle if you if you 104 00:06:04,040 --> 00:06:07,440 Speaker 1: didn't have the words to describe a monocle. Love the episodes. 105 00:06:07,839 --> 00:06:11,240 Speaker 1: You all keep giving me great ideas for games, characters 106 00:06:11,279 --> 00:06:15,080 Speaker 1: and monsters. Much appreciated. Well many thanks to the baron. Okay, 107 00:06:15,120 --> 00:06:17,440 Speaker 1: So if I understand what you're saying in the second half, 108 00:06:17,480 --> 00:06:20,039 Speaker 1: it's that maybe there would have been a case in 109 00:06:20,080 --> 00:06:23,719 Speaker 1: the ancient world where somebody was looking through some kind 110 00:06:23,800 --> 00:06:28,200 Speaker 1: of complex transparent object like a maybe a gym with 111 00:06:28,320 --> 00:06:32,440 Speaker 1: multiple facets or something that had some refractive properties that 112 00:06:32,520 --> 00:06:36,719 Speaker 1: caused the eye to appear in multiple surfaces on the 113 00:06:36,800 --> 00:06:39,719 Speaker 1: gym or lens to the person looking at them, so 114 00:06:39,800 --> 00:06:42,919 Speaker 1: it might look like they had multiple pupils or multiple irises. 115 00:06:43,800 --> 00:06:45,880 Speaker 1: I love this idea as it relates to D and D. 116 00:06:47,000 --> 00:06:50,000 Speaker 1: As far as relating to to something from actual Irish history, 117 00:06:51,080 --> 00:06:54,160 Speaker 1: I'm intrigued, but I would have some doubts. Uh. The 118 00:06:54,200 --> 00:06:56,360 Speaker 1: last time I read about this, I think the historical 119 00:06:56,440 --> 00:07:00,920 Speaker 1: consensus was that spectacles didn't really exist before the Late 120 00:07:00,960 --> 00:07:04,480 Speaker 1: Middle Ages, though there are some individual objects that have 121 00:07:04,600 --> 00:07:08,880 Speaker 1: been used as uh sort of uh more more specific 122 00:07:09,080 --> 00:07:12,480 Speaker 1: case magnification aids and and other visual aids in the 123 00:07:12,480 --> 00:07:14,960 Speaker 1: ancient world. So a few examples came to mind while 124 00:07:14,960 --> 00:07:17,840 Speaker 1: I was thinking about this before we recorded. One is 125 00:07:18,280 --> 00:07:22,400 Speaker 1: these these lenses from around the ancient Mediterranean and Mesopotamia. 126 00:07:22,920 --> 00:07:26,239 Speaker 1: Though I think in most cases it's actually debated whether 127 00:07:26,280 --> 00:07:29,640 Speaker 1: these were really used for magnification purposes, such as for 128 00:07:30,000 --> 00:07:33,119 Speaker 1: reading text or as a craft workers aid, or whether 129 00:07:33,120 --> 00:07:36,080 Speaker 1: they were simply decorative items. Uh. Isn't that what we 130 00:07:36,120 --> 00:07:39,440 Speaker 1: talked about in our sort of history of lenses episodes on? Yeah? 131 00:07:39,480 --> 00:07:41,800 Speaker 1: We did? Uh? I think more than one episode didn't 132 00:07:41,840 --> 00:07:44,240 Speaker 1: we were we talked about lenses. I know we did 133 00:07:44,240 --> 00:07:47,400 Speaker 1: one on sunglasses, and by virtue of getting into sunglasses, 134 00:07:47,440 --> 00:07:50,240 Speaker 1: got into the idea of spectacles. Maybe we did an 135 00:07:50,240 --> 00:07:53,000 Speaker 1: episode on spectacles too. I don't know, it all blurs together. Well, 136 00:07:53,000 --> 00:07:55,360 Speaker 1: I think we've done the telescope and we did sunglasses, 137 00:07:55,360 --> 00:07:58,400 Speaker 1: so we addressed lenses in multiple ways. But uh, yeah, 138 00:07:58,480 --> 00:08:01,880 Speaker 1: So I think there's debate over to what extent some 139 00:08:01,960 --> 00:08:05,640 Speaker 1: of these lens artifacts were actually used for magnification or not. 140 00:08:06,440 --> 00:08:08,280 Speaker 1: I don't know if this still holds up but I 141 00:08:08,320 --> 00:08:12,160 Speaker 1: also remember reading claims at some point about ancient Romans 142 00:08:12,400 --> 00:08:18,080 Speaker 1: using glass spheres to magnify small text in manuscripts. And 143 00:08:18,120 --> 00:08:20,080 Speaker 1: of course there's that great story Plenty of the Elder 144 00:08:20,120 --> 00:08:23,560 Speaker 1: tells about how the Emperor Nero, of course he would 145 00:08:23,640 --> 00:08:26,280 Speaker 1: enjoy watching people kill each other in the arena, but 146 00:08:26,400 --> 00:08:29,320 Speaker 1: he liked to do he liked to watch it reflected 147 00:08:29,480 --> 00:08:33,160 Speaker 1: in a green gym that Plenty calls a smur agdus. 148 00:08:33,920 --> 00:08:38,320 Speaker 1: So to read from the Natural History quote, even when 149 00:08:38,320 --> 00:08:41,720 Speaker 1: the vision has been fatigued with intently viewing other objects, 150 00:08:41,720 --> 00:08:44,720 Speaker 1: it is refreshed by being turned upon the stone. And 151 00:08:44,840 --> 00:08:48,000 Speaker 1: lapidaries know of nothing that is more gratefully soothing to 152 00:08:48,080 --> 00:08:51,800 Speaker 1: the eyes. It's soft green tents being wonderfully adapted for 153 00:08:51,840 --> 00:08:55,480 Speaker 1: a suaging lassitude when felt in those organs. And then 154 00:08:55,559 --> 00:08:58,240 Speaker 1: later he says, when the surface of the samur agnus 155 00:08:58,360 --> 00:09:01,360 Speaker 1: is flat, it reflects the image of objects in the 156 00:09:01,400 --> 00:09:04,720 Speaker 1: same manner as a looking glass. The Emperor Nero used 157 00:09:04,760 --> 00:09:08,800 Speaker 1: to view the combats of the gladiators upon a sami agnus. 158 00:09:09,840 --> 00:09:12,160 Speaker 1: So I guess one imagines he's like holding up this 159 00:09:12,280 --> 00:09:15,400 Speaker 1: green gym like a mirror and then looking back behind 160 00:09:15,520 --> 00:09:17,920 Speaker 1: him at the at the gladiators whacking each other with 161 00:09:17,960 --> 00:09:20,920 Speaker 1: swords and throwing the nets and stuff. So I don't know. 162 00:09:20,960 --> 00:09:26,600 Speaker 1: I mean a few interesting examples of possible magnification devices, lenses, 163 00:09:26,679 --> 00:09:28,720 Speaker 1: gems and stuff like that that would have been used 164 00:09:28,720 --> 00:09:30,880 Speaker 1: in the ancient world, though I don't know if any 165 00:09:30,960 --> 00:09:33,680 Speaker 1: of this stuff would have ever shown up, would have 166 00:09:33,679 --> 00:09:36,120 Speaker 1: been known in ancient land. I have to say I 167 00:09:36,160 --> 00:09:39,280 Speaker 1: was immediately reminded of the scene in Disney snow White 168 00:09:39,320 --> 00:09:42,520 Speaker 1: where Dope the dwarf. Uh, it's kind of it's kind 169 00:09:42,559 --> 00:09:45,000 Speaker 1: of frightening to look at actually now where he takes 170 00:09:45,040 --> 00:09:48,760 Speaker 1: two giant gemstones and he like lodges them in his 171 00:09:48,800 --> 00:09:51,120 Speaker 1: eye sockets, and then it makes it look like he 172 00:09:51,200 --> 00:09:54,800 Speaker 1: has um, you know, multiple irises and pupils per eye, 173 00:09:55,040 --> 00:09:57,719 Speaker 1: like a big, big dope fly. I believe that is 174 00:09:57,760 --> 00:10:05,920 Speaker 1: what the exactly what the baron is suggesting here. All right, anyway, 175 00:10:06,240 --> 00:10:09,200 Speaker 1: I am going to read this next message from Taylor. 176 00:10:09,800 --> 00:10:12,600 Speaker 1: Taylor says, Hey, Rob and Joe, I just finished listening 177 00:10:12,640 --> 00:10:14,880 Speaker 1: to part two of the Three Pupil Die and unless 178 00:10:14,880 --> 00:10:18,120 Speaker 1: I'm forgetting something from part one, you missed an opportunity 179 00:10:18,160 --> 00:10:21,640 Speaker 1: to discuss a wonderfully weird example of multiple pupils in nature. 180 00:10:22,240 --> 00:10:27,120 Speaker 1: The genus Annableps, also known as four eyed fish, are 181 00:10:27,160 --> 00:10:30,120 Speaker 1: a genus of fish native to brackish waters in Central 182 00:10:30,160 --> 00:10:34,000 Speaker 1: America and northern South America. The four eyed fish does 183 00:10:34,080 --> 00:10:37,280 Speaker 1: not in fact have four eyes, but it does have 184 00:10:37,679 --> 00:10:42,200 Speaker 1: four pupils sort of species in the genus Annibleps spend 185 00:10:42,200 --> 00:10:45,520 Speaker 1: their life at the surface of brackish estuaries, where they 186 00:10:45,559 --> 00:10:48,839 Speaker 1: peak above the water to watch for insect prey. When 187 00:10:48,840 --> 00:10:52,160 Speaker 1: the opportunity presents itself, the four eyed fish leaps from 188 00:10:52,160 --> 00:10:56,960 Speaker 1: the water to consume inattentive arthropods. However, annibleps are not 189 00:10:57,040 --> 00:11:01,199 Speaker 1: particularly large like our beloved house cats. These species are 190 00:11:01,200 --> 00:11:04,760 Speaker 1: both predator and prey and must watch the waters below 191 00:11:04,960 --> 00:11:08,880 Speaker 1: for approaching picene predators. What's a fish to do if 192 00:11:08,920 --> 00:11:11,280 Speaker 1: it needs to keep its eyes in the sky and 193 00:11:11,360 --> 00:11:15,360 Speaker 1: the water at once. Evolution has produced an incredible answer. 194 00:11:15,600 --> 00:11:19,840 Speaker 1: Two pupils per eye, or rather one hour glass shaped 195 00:11:19,880 --> 00:11:22,640 Speaker 1: pupil per eye. The constricts in the middle in such 196 00:11:22,640 --> 00:11:25,839 Speaker 1: a fashion that the fish appears to have for pupils. 197 00:11:26,360 --> 00:11:29,200 Speaker 1: When Antibleps rests near the top of the water, the 198 00:11:29,320 --> 00:11:31,839 Speaker 1: upper halves of its pupils are held above the water 199 00:11:31,920 --> 00:11:35,080 Speaker 1: to watch for prey, and the lower halves remain below 200 00:11:35,120 --> 00:11:38,400 Speaker 1: the water to watch for predators. The neatest feature of 201 00:11:38,440 --> 00:11:41,320 Speaker 1: this adaptation to me, is that the lenses of the 202 00:11:41,360 --> 00:11:45,400 Speaker 1: fish's eyes are bifocal to account for the different diffraction 203 00:11:45,520 --> 00:11:49,079 Speaker 1: of light in air and water. This strange fish has 204 00:11:49,120 --> 00:11:52,120 Speaker 1: split the function of its eyes in half to adapt 205 00:11:52,160 --> 00:11:54,360 Speaker 1: to its liminal place at the surface of the water. 206 00:11:54,800 --> 00:11:57,320 Speaker 1: Please check out some pictures of this bizarre fish, and 207 00:11:57,360 --> 00:12:01,280 Speaker 1: thank you for continuing to create weird, wonderful and uh 208 00:12:01,520 --> 00:12:05,079 Speaker 1: edutaining content to fill the slower hours of my days. 209 00:12:05,160 --> 00:12:09,920 Speaker 1: All the best, tailor, are you not edutained people? I 210 00:12:09,960 --> 00:12:12,319 Speaker 1: have to say I was not familiar with this fish, 211 00:12:12,360 --> 00:12:14,640 Speaker 1: but I just looked up some wonderful images of it 212 00:12:14,679 --> 00:12:16,800 Speaker 1: and yeah that these eyes are remarkable. It is very 213 00:12:16,880 --> 00:12:19,640 Speaker 1: much kind of an hour glass said looking situation in 214 00:12:19,679 --> 00:12:22,280 Speaker 1: many of these shots, where it's as if the an 215 00:12:22,320 --> 00:12:25,800 Speaker 1: oval shaped pupil has been pinched in the middle, allowing 216 00:12:25,840 --> 00:12:29,040 Speaker 1: a portion above and a portion below the water. Yeah, yeah, 217 00:12:29,080 --> 00:12:40,040 Speaker 1: that's really cool. All right. Here's one from cat in 218 00:12:40,240 --> 00:12:44,599 Speaker 1: response to our seven day work or seven day week episodes. 219 00:12:45,360 --> 00:12:48,760 Speaker 1: Cat rights high there did I miss the part where 220 00:12:48,760 --> 00:12:53,200 Speaker 1: the mythology Science, my Science boys that's Us by Sam 221 00:12:53,480 --> 00:12:56,400 Speaker 1: talk about the English names for the days of the week. 222 00:12:56,520 --> 00:12:59,000 Speaker 1: I am surprised I didn't hear you at least mention it. 223 00:12:59,360 --> 00:13:01,840 Speaker 1: I recall how you mentioned the planetary names a few 224 00:13:01,840 --> 00:13:06,079 Speaker 1: times Saturday, Saturday, Sunday, Sun, Monday, Moon, but I didn't 225 00:13:06,120 --> 00:13:09,240 Speaker 1: hear any mention of the other half as the Norse 226 00:13:09,400 --> 00:13:15,520 Speaker 1: god days Tuesday, Tears, Wednesday, woden or Odin, Thursday, Thor's 227 00:13:15,920 --> 00:13:20,120 Speaker 1: and Friday freya. Some people might be thinking, what planet 228 00:13:20,200 --> 00:13:24,240 Speaker 1: is Thursday? Ha ha. Also I'm curious why use Norse 229 00:13:24,280 --> 00:13:27,600 Speaker 1: gods doesn't seem market related or anything unless it is 230 00:13:27,720 --> 00:13:31,439 Speaker 1: days of worship. Also why half Roman and half Norse 231 00:13:31,520 --> 00:13:33,960 Speaker 1: gods love the show? You guys are the best cat, 232 00:13:34,360 --> 00:13:37,960 Speaker 1: Thank you cat. Uh. I think the answer here is 233 00:13:38,000 --> 00:13:41,439 Speaker 1: just the modern English language inherits both Roman and Germanic 234 00:13:41,559 --> 00:13:45,079 Speaker 1: or Norse cultural influences. So uh, the names of the 235 00:13:45,160 --> 00:13:47,240 Speaker 1: days of the week trace back to Old English or 236 00:13:47,280 --> 00:13:50,720 Speaker 1: Anglo Saxon the language of the Anglo Saxons. Uh. You 237 00:13:50,760 --> 00:13:53,120 Speaker 1: know this is the language that Beowulf is written in, 238 00:13:53,640 --> 00:13:59,000 Speaker 1: and this language was also influenced by Roman religion because 239 00:13:59,000 --> 00:14:02,520 Speaker 1: Britain was occupied by Rome for hundreds of years from 240 00:14:02,559 --> 00:14:04,520 Speaker 1: like the first century until I think sometimes in the 241 00:14:04,559 --> 00:14:08,640 Speaker 1: fifth century a d. So, Saturday still has the name 242 00:14:08,720 --> 00:14:11,120 Speaker 1: of the Roman god Saturn. You've got you've got that 243 00:14:11,240 --> 00:14:14,520 Speaker 1: Roman influence. I think the Sunday and Monday probably also 244 00:14:14,559 --> 00:14:17,760 Speaker 1: come from the Roman influence. But then yeah, other days 245 00:14:17,800 --> 00:14:20,800 Speaker 1: of the week come from the names of these gods 246 00:14:20,800 --> 00:14:29,440 Speaker 1: that have Norse or Germanic pagan origins. Al Right, if 247 00:14:29,440 --> 00:14:31,960 Speaker 1: we're moving on to the next email, uh, let's see. 248 00:14:31,960 --> 00:14:33,520 Speaker 1: But before we get into this one, I just want 249 00:14:33,520 --> 00:14:35,840 Speaker 1: to say part of the background for it is. Remember 250 00:14:35,840 --> 00:14:38,360 Speaker 1: in the Seven Days of the Week, we talked about 251 00:14:38,400 --> 00:14:41,400 Speaker 1: how there was the scholar who wrote a book on 252 00:14:41,440 --> 00:14:44,440 Speaker 1: the history of the week, and in one of the 253 00:14:44,520 --> 00:14:48,160 Speaker 1: interviews we read, he speculated that life in which a 254 00:14:48,520 --> 00:14:50,840 Speaker 1: life in which the seven day week is an important 255 00:14:50,920 --> 00:14:55,160 Speaker 1: organizing principle might seem subjectively to go by faster than 256 00:14:55,200 --> 00:14:58,680 Speaker 1: other schemes such as monthly organization or maybe longer market 257 00:14:58,720 --> 00:15:02,000 Speaker 1: weeks or something. I think he mainly sided just like 258 00:15:02,440 --> 00:15:05,080 Speaker 1: letters from the past, in times when the week was 259 00:15:05,200 --> 00:15:09,520 Speaker 1: in ascendancy and becoming more front of people's minds. He 260 00:15:09,560 --> 00:15:11,640 Speaker 1: said that people seem to be talking more and more 261 00:15:11,720 --> 00:15:14,720 Speaker 1: often about how the time seems to be flying by. 262 00:15:15,000 --> 00:15:17,120 Speaker 1: Uh though, you know that could be a coincidence or 263 00:15:17,160 --> 00:15:20,720 Speaker 1: just his mistaken impression. And Jacob, in this next message, 264 00:15:20,720 --> 00:15:23,520 Speaker 1: has some great perspective to provide as someone in the 265 00:15:23,600 --> 00:15:28,320 Speaker 1: rather unique position of having lived under multiple radically different 266 00:15:28,400 --> 00:15:31,680 Speaker 1: regimes of time. So I love this email. Rob. Did 267 00:15:31,680 --> 00:15:33,640 Speaker 1: you want to read this one? Sure? Yeah? All right, 268 00:15:33,680 --> 00:15:36,600 Speaker 1: here we go. This one is from Jacob. Jacob says 269 00:15:36,600 --> 00:15:41,680 Speaker 1: the following, Hey, everyone, love the show so far. I 270 00:15:41,680 --> 00:15:44,240 Speaker 1: hope not to disappoint you. I was introduced to your 271 00:15:44,240 --> 00:15:46,120 Speaker 1: podcast by an old friend who worked with me and 272 00:15:46,200 --> 00:15:50,680 Speaker 1: endured the first of the schedules i'll describe below. I 273 00:15:50,760 --> 00:15:52,960 Speaker 1: just listened to the three part series on the seven 274 00:15:53,040 --> 00:15:55,200 Speaker 1: day week, and towards the end of part three, there 275 00:15:55,280 --> 00:15:58,680 Speaker 1: was some musings on whether or not life seems faster 276 00:15:58,800 --> 00:16:01,080 Speaker 1: when you break it down by week, and I do 277 00:16:01,120 --> 00:16:04,120 Speaker 1: not believe so. So long as there is a cycle, 278 00:16:04,240 --> 00:16:07,280 Speaker 1: I think it seems just as long when averaged over time. 279 00:16:07,560 --> 00:16:10,000 Speaker 1: The short version is I've lived on a three week 280 00:16:10,080 --> 00:16:12,880 Speaker 1: cycle with eighteen hour days instead of twenty four, and 281 00:16:12,920 --> 00:16:15,840 Speaker 1: now I work a schedule that repeats every thirty five days. 282 00:16:16,440 --> 00:16:18,280 Speaker 1: In the case of the former, I think there was 283 00:16:18,360 --> 00:16:22,120 Speaker 1: some time dilation due to the circadian rhythm wrecking schedule. 284 00:16:22,800 --> 00:16:26,280 Speaker 1: In the case of the latter schedule, any given week 285 00:16:26,320 --> 00:16:29,960 Speaker 1: will very significantly, but over time I think it averages out. 286 00:16:30,280 --> 00:16:32,800 Speaker 1: In Between working these two schedules, I worked a regular 287 00:16:32,840 --> 00:16:35,880 Speaker 1: Monday through Friday, as most Americans do. In the case 288 00:16:35,880 --> 00:16:38,400 Speaker 1: of the former schedule, the three week cycle with eighteen 289 00:16:38,400 --> 00:16:42,120 Speaker 1: hour days. That was what U S Submarines did on deployment. 290 00:16:42,160 --> 00:16:45,040 Speaker 1: When I was in we didn't even care about the 291 00:16:45,080 --> 00:16:48,080 Speaker 1: twenty four hour day, instead organizing our lives around three 292 00:16:48,120 --> 00:16:52,000 Speaker 1: sections of six hour watches, yielding an eighteen hour day. 293 00:16:52,080 --> 00:16:54,600 Speaker 1: When I was junior and didn't need to know the 294 00:16:54,720 --> 00:16:57,480 Speaker 1: date I drove the boat uh. If we were deep, 295 00:16:57,600 --> 00:17:00,400 Speaker 1: I could mark the time by day of day by chow, 296 00:17:00,920 --> 00:17:04,120 Speaker 1: and the weeks by a cleaning ritual known as field day. 297 00:17:04,200 --> 00:17:06,480 Speaker 1: As I got more senior, I had to be cognizant 298 00:17:06,520 --> 00:17:09,520 Speaker 1: of time and date, but rest assured I'd forget when 299 00:17:09,520 --> 00:17:13,080 Speaker 1: I got off watch. If I had no obligations, every 300 00:17:13,080 --> 00:17:15,840 Speaker 1: twenty one days, you'd stand watch at the same time 301 00:17:15,920 --> 00:17:18,119 Speaker 1: and day as you did before, so the cycle was 302 00:17:18,160 --> 00:17:21,439 Speaker 1: effectively a three week One weeks seemed long because of 303 00:17:21,520 --> 00:17:24,400 Speaker 1: the eighteen hour day and the various things that could 304 00:17:24,400 --> 00:17:26,800 Speaker 1: cut into your sleep, But over time I think twenty 305 00:17:26,800 --> 00:17:30,120 Speaker 1: one day periods would start to blur together the same 306 00:17:30,160 --> 00:17:32,520 Speaker 1: way weeks do. In the case of the latter schedule, 307 00:17:32,560 --> 00:17:35,480 Speaker 1: the thirty five day cycle, that is the modified DuPont 308 00:17:35,760 --> 00:17:38,919 Speaker 1: that is very common across the power system operations world. 309 00:17:39,320 --> 00:17:42,080 Speaker 1: In thirty five days, I'll have worked seven day shifts 310 00:17:42,080 --> 00:17:44,919 Speaker 1: of twelve hours, seven night shifts of twelve hours, and 311 00:17:44,960 --> 00:17:47,920 Speaker 1: four training days of ten hours. Power Plant operators tend 312 00:17:47,960 --> 00:17:51,000 Speaker 1: to work a similar schedule of twenty eight days without 313 00:17:51,040 --> 00:17:54,240 Speaker 1: the training week. Any given week in that rotation will 314 00:17:54,280 --> 00:17:57,480 Speaker 1: be different from a work perspective, and that will make 315 00:17:57,520 --> 00:18:01,480 Speaker 1: a different schedule for someone's personal life. The average Americans 316 00:18:01,560 --> 00:18:04,159 Speaker 1: work week is closest to my training week of forty 317 00:18:04,200 --> 00:18:06,920 Speaker 1: hours in four days with three days off. I also 318 00:18:06,960 --> 00:18:09,280 Speaker 1: have a week where I worked three day shifts and 319 00:18:09,400 --> 00:18:12,359 Speaker 1: three night shifts with twenty four hours in between, which 320 00:18:12,440 --> 00:18:15,760 Speaker 1: is very different uh compared to the built in weeks 321 00:18:15,760 --> 00:18:18,439 Speaker 1: off I have within that schedule. By the end of 322 00:18:18,480 --> 00:18:21,280 Speaker 1: my thirty five days cycle, I think time will have 323 00:18:21,359 --> 00:18:25,600 Speaker 1: felt similar to five weeks. Yeah, if we were to 324 00:18:25,640 --> 00:18:28,359 Speaker 1: look at fifteen weeks or a hundred and five days, 325 00:18:28,440 --> 00:18:31,760 Speaker 1: I don't think the few day walkers on a submarine 326 00:18:31,840 --> 00:18:34,840 Speaker 1: who don't organize their lives around standing watch will feel 327 00:18:34,880 --> 00:18:37,680 Speaker 1: they spent more or less time on deployment than those 328 00:18:37,720 --> 00:18:39,720 Speaker 1: who have gone through the five of the twenty one 329 00:18:39,800 --> 00:18:42,200 Speaker 1: day cycles most of us lived on. I don't think 330 00:18:42,240 --> 00:18:44,440 Speaker 1: three of my thirty five day cycles would feel any 331 00:18:44,480 --> 00:18:48,400 Speaker 1: longer or shorter than fifteen of your seven day cycles. Anyways, 332 00:18:48,680 --> 00:18:51,879 Speaker 1: I hope this was or is a useful perspective on 333 00:18:51,920 --> 00:18:54,119 Speaker 1: a show that aired three weeks ago or during the 334 00:18:54,119 --> 00:19:00,560 Speaker 1: week off in my thirty five day cycle. Wow, Jacob, Uh, well, 335 00:19:00,600 --> 00:19:02,840 Speaker 1: this is a great email. I I love the reference 336 00:19:02,880 --> 00:19:05,320 Speaker 1: to the day walkers on the submarine. So if I'm 337 00:19:05,400 --> 00:19:08,800 Speaker 1: understanding you right, you're saying that, like on a submarine, 338 00:19:09,280 --> 00:19:12,400 Speaker 1: there will be people who are living according to a 339 00:19:12,480 --> 00:19:15,280 Speaker 1: regular twenty four hour day schedule, and then there are 340 00:19:15,320 --> 00:19:18,880 Speaker 1: other people walking amongst them who are living this this 341 00:19:19,080 --> 00:19:23,920 Speaker 1: eighteen hour day cycle. Uh. That sounds chaotic and and 342 00:19:24,359 --> 00:19:27,280 Speaker 1: I almost imagine a kind of like Eloi and Morlock 343 00:19:27,440 --> 00:19:31,800 Speaker 1: situation imaging Uh, it's great to hear from somebody who 344 00:19:31,800 --> 00:19:34,600 Speaker 1: has experience on a submarine like this. I'm reminded of 345 00:19:34,880 --> 00:19:37,560 Speaker 1: an older episode that we did call Troubled Sleep in 346 00:19:37,600 --> 00:19:41,080 Speaker 1: the Arcs of Doom. Uh. That was looking at sleep 347 00:19:41,119 --> 00:19:46,320 Speaker 1: studies pertaining to individuals who served on submarines. Uh. And 348 00:19:46,520 --> 00:19:49,520 Speaker 1: I remember it being rather fascinating, because, yeah, you're essentially 349 00:19:49,560 --> 00:19:53,040 Speaker 1: dealing with this this artificial world set off from the 350 00:19:53,600 --> 00:19:56,520 Speaker 1: from night and day and the rest of reality, never 351 00:19:56,560 --> 00:20:00,280 Speaker 1: exposed to sunlight, probably working weird cycles that don't line 352 00:20:00,320 --> 00:20:03,600 Speaker 1: up with our four programming. Yeah. Yeah, I remember a 353 00:20:03,600 --> 00:20:05,679 Speaker 1: lot of discussions in the paper about it, about it 354 00:20:05,720 --> 00:20:08,480 Speaker 1: being a job that could be both exceedingly boring but 355 00:20:08,560 --> 00:20:11,840 Speaker 1: also still very stressful due to various factors from the 356 00:20:11,920 --> 00:20:14,879 Speaker 1: environment to sort of the nature of the mission, etcetera. 357 00:20:15,240 --> 00:20:26,160 Speaker 1: So anyway, yeah, Jacob, thanks for writing in. All right, Rob, 358 00:20:26,200 --> 00:20:30,160 Speaker 1: you ready for a little bit of weird house cinema. Okay, 359 00:20:30,240 --> 00:20:33,280 Speaker 1: this first one is from Jane. Jane says hi, Rob 360 00:20:33,320 --> 00:20:35,639 Speaker 1: and Joe, just a quick note to thank you for 361 00:20:35,720 --> 00:20:39,080 Speaker 1: choosing the abominable Doctor Fibes as the subject for your 362 00:20:39,119 --> 00:20:42,159 Speaker 1: latest weird house cinema. Growing up in seventies Britain. This 363 00:20:42,200 --> 00:20:44,760 Speaker 1: was a late night staple on TV and it came 364 00:20:44,800 --> 00:20:47,600 Speaker 1: to be one of my favorite, one of my absolute favorites. 365 00:20:47,680 --> 00:20:49,480 Speaker 1: If you hadn't beaten me to it, I was all 366 00:20:49,520 --> 00:20:51,960 Speaker 1: set to request that you do a Weird House Vincent 367 00:20:52,000 --> 00:20:56,840 Speaker 1: Price trilogy, consisting of fivees one fives too, plus Theater 368 00:20:56,960 --> 00:20:59,840 Speaker 1: of Blood, which I was also thrilled to hear you mentioned. 369 00:21:00,200 --> 00:21:02,840 Speaker 1: In fact, I watched Theater of Blood again, not two 370 00:21:02,920 --> 00:21:06,240 Speaker 1: weeks ago, for the umpteenth time, and uh, and it 371 00:21:06,320 --> 00:21:08,920 Speaker 1: was sad to think that now even Diana Rigg is 372 00:21:08,960 --> 00:21:11,120 Speaker 1: no longer with us. It looked like she was having 373 00:21:11,160 --> 00:21:14,359 Speaker 1: a blast in the role of Vincent Price's daughter. Time 374 00:21:14,400 --> 00:21:17,600 Speaker 1: flies by too quickly. These movies are filled with so 375 00:21:17,640 --> 00:21:20,640 Speaker 1: many staples of British cinema, so many familiar faces now 376 00:21:20,720 --> 00:21:23,359 Speaker 1: long gone. And I was also thrilled that you singled 377 00:21:23,359 --> 00:21:26,639 Speaker 1: out Terry Thomas. There was no one better at portraying 378 00:21:26,640 --> 00:21:29,600 Speaker 1: a cat or a bounder. I always look forward to 379 00:21:29,640 --> 00:21:32,040 Speaker 1: Weird House Cinema to find out what you've selected, and 380 00:21:32,080 --> 00:21:35,080 Speaker 1: I'm also trying to catch up with your voluminous back catalog, 381 00:21:35,440 --> 00:21:38,840 Speaker 1: the anthology editions. I think that's starring about the episodes. 382 00:21:38,880 --> 00:21:42,040 Speaker 1: We do some octobers of like anthology of horror series 383 00:21:42,080 --> 00:21:45,600 Speaker 1: and talk about science related to those uh those episodes. 384 00:21:46,080 --> 00:21:49,119 Speaker 1: But James says the anthology editions are particular favorites, as 385 00:21:49,160 --> 00:21:51,879 Speaker 1: those take me back to childhood viewing in the seventies. 386 00:21:52,359 --> 00:21:55,119 Speaker 1: A story from one of these, involving hundreds of razor 387 00:21:55,160 --> 00:21:58,320 Speaker 1: blades embedded in the walls of a nero corridor still 388 00:21:58,359 --> 00:22:03,320 Speaker 1: gives me nightmares today. So anything with a hammer, horror psychomania, 389 00:22:03,520 --> 00:22:07,679 Speaker 1: man who haunted himself, quatermass in the pit vibes vibe 390 00:22:07,800 --> 00:22:10,600 Speaker 1: is good with me. And if any of your listeners 391 00:22:10,640 --> 00:22:13,639 Speaker 1: can point me in the direction of a short film 392 00:22:13,760 --> 00:22:16,520 Speaker 1: that was shown at a film festival in Leeds in 393 00:22:16,560 --> 00:22:20,600 Speaker 1: the early nineties that involved a car driving ever downwards 394 00:22:20,600 --> 00:22:23,600 Speaker 1: in an underground parking garage that seemed to lead to hell, 395 00:22:23,960 --> 00:22:27,200 Speaker 1: I will be eternally grateful. Thanks again for a great podcast, 396 00:22:27,240 --> 00:22:31,879 Speaker 1: all the best, Jane, Oh absolutely, uh well, I know 397 00:22:32,000 --> 00:22:34,959 Speaker 1: that we have at least we will definitely come back 398 00:22:35,000 --> 00:22:37,560 Speaker 1: to more Vincent Price films, and I do. I did 399 00:22:37,600 --> 00:22:40,920 Speaker 1: just purchase a Vincent Price film for us to discuss 400 00:22:40,960 --> 00:22:43,080 Speaker 1: at some point, but I'm not sure when will will 401 00:22:43,119 --> 00:22:46,840 Speaker 1: continue the the Vincent Price cycle. I have an idea, 402 00:22:46,880 --> 00:22:50,280 Speaker 1: actually robbed, we could do an entire weird house cinema 403 00:22:50,320 --> 00:22:54,440 Speaker 1: episode just on Vincent Price TV commercials. We easily could. 404 00:22:54,480 --> 00:22:57,040 Speaker 1: There's so many good ones. I figure, at the very least, 405 00:22:57,080 --> 00:22:59,520 Speaker 1: anytime we do a Vincent Price movie, you know, we 406 00:22:59,560 --> 00:23:03,040 Speaker 1: can't just you know, rehash the biography of Vincent Price 407 00:23:03,080 --> 00:23:06,679 Speaker 1: each time. Each time, it makes sense to instead dwell 408 00:23:06,800 --> 00:23:11,000 Speaker 1: on different commercials that he did, because they're also fabulous. 409 00:23:11,600 --> 00:23:14,560 Speaker 1: Um of the other movies that that are mentioned in 410 00:23:14,600 --> 00:23:18,080 Speaker 1: this listener male, Um, yeah, Quatermass in the Pit or 411 00:23:18,320 --> 00:23:21,159 Speaker 1: let's see what was the US name for that? I 412 00:23:21,240 --> 00:23:23,639 Speaker 1: want to say, it's like, um, how for many million 413 00:23:23,720 --> 00:23:28,160 Speaker 1: years to Earth? Um? Yeah, five million years to Earth? Uh? 414 00:23:28,160 --> 00:23:29,800 Speaker 1: This is this one is one I remember as being 415 00:23:29,840 --> 00:23:33,400 Speaker 1: a great film as well with with with kind of 416 00:23:34,800 --> 00:23:39,280 Speaker 1: by modern standards, perhaps unconvincing special effects, but within the 417 00:23:39,320 --> 00:23:42,160 Speaker 1: context of the film they work really well, just very 418 00:23:42,160 --> 00:23:44,480 Speaker 1: well done. It was very influential on a lot of filmmakers, 419 00:23:44,480 --> 00:23:47,600 Speaker 1: including John Carpenter. Oh, that one's got Julian Glover and 420 00:23:48,119 --> 00:23:53,200 Speaker 1: nice to mention excellent British character actors. You know, he's Uh, 421 00:23:53,240 --> 00:23:56,600 Speaker 1: he's Viers and the Empire strikes Back, and he's the 422 00:23:56,640 --> 00:23:59,119 Speaker 1: bad guy in Indiana Jones and the Last Crusade, and 423 00:23:59,200 --> 00:24:02,640 Speaker 1: of course he's and Masters. Yeah. So anyway, thank thanks 424 00:24:02,680 --> 00:24:05,359 Speaker 1: for writing in Jane. Um. I should also mention that 425 00:24:05,640 --> 00:24:10,240 Speaker 1: our listener Susan was very enthusiastic for uh the Abominable 426 00:24:10,320 --> 00:24:14,560 Speaker 1: Dr Fibes and did like a running commentary about the 427 00:24:14,600 --> 00:24:17,520 Speaker 1: episode on our in our Facebook discussion group. That's the 428 00:24:17,520 --> 00:24:20,639 Speaker 1: stuff to blew your mind discussion module. Uh. If you 429 00:24:20,640 --> 00:24:24,840 Speaker 1: want access to that, uh, go look it up. But yeah, yeah, 430 00:24:25,040 --> 00:24:27,360 Speaker 1: she she was very enthusiastic about this film as well. 431 00:24:27,760 --> 00:24:29,800 Speaker 1: Oh yeah, shout out to that. I don't often peek 432 00:24:29,800 --> 00:24:31,840 Speaker 1: in at the Facebook group, but I did see that 433 00:24:31,880 --> 00:24:35,400 Speaker 1: and Susan, Yeah, I really appreciate your your live blogging 434 00:24:35,600 --> 00:24:38,919 Speaker 1: of the episode. And speaking of the back catalog of 435 00:24:39,000 --> 00:24:42,639 Speaker 1: Weird House cinema selections, I will mention again that that 436 00:24:42,880 --> 00:24:44,439 Speaker 1: really the best place to see a list of those 437 00:24:44,480 --> 00:24:48,440 Speaker 1: would be at a blog I maintain, Simuta music dot com. 438 00:24:49,119 --> 00:24:51,879 Speaker 1: It's a very simple blog. There's nothing exciting about this 439 00:24:51,920 --> 00:24:55,920 Speaker 1: blog other than I have done a post for each 440 00:24:55,920 --> 00:24:59,320 Speaker 1: episode that we've done of Weird House and Uh, it's 441 00:24:59,320 --> 00:25:06,359 Speaker 1: a pretty good las to see what we've done, all right. 442 00:25:06,400 --> 00:25:08,560 Speaker 1: This one comes to us from Aaron. Erin writes in 443 00:25:08,640 --> 00:25:11,119 Speaker 1: and says, Hey, Robin Joe, I meant to message you 444 00:25:11,160 --> 00:25:12,800 Speaker 1: about this a few months ago, but I'm on a 445 00:25:12,840 --> 00:25:16,320 Speaker 1: workship now listening to old episodes, so it seemed appropriate 446 00:25:16,400 --> 00:25:19,040 Speaker 1: now that I have time. I was watching an episode 447 00:25:19,040 --> 00:25:22,480 Speaker 1: of Mythic Quest, a series on Apple TV. In it, 448 00:25:22,560 --> 00:25:26,439 Speaker 1: there's a scene that has a frantic story writer stuck 449 00:25:26,440 --> 00:25:29,639 Speaker 1: in a closet drinking What is he drinking? The character 450 00:25:29,720 --> 00:25:35,080 Speaker 1: calls it a rutger Howard port wine, coffee, lots of sugar, 451 00:25:35,560 --> 00:25:38,440 Speaker 1: and I seem to remember other ingredients. I couldn't help 452 00:25:38,600 --> 00:25:41,159 Speaker 1: but think that this has to be a connection to 453 00:25:41,280 --> 00:25:44,280 Speaker 1: a new favorite movie of mine, Split Second. I was 454 00:25:44,320 --> 00:25:47,040 Speaker 1: wondering if you guys have ever had a deep cut 455 00:25:47,080 --> 00:25:50,200 Speaker 1: reference pop out at you in some form of entertainment, 456 00:25:50,280 --> 00:25:52,560 Speaker 1: like an article or a movie. Thanks for all of 457 00:25:52,600 --> 00:25:55,280 Speaker 1: the great content. I really appreciate what you do for 458 00:25:55,320 --> 00:25:57,960 Speaker 1: all of us. Eron, this would be referencing the facts 459 00:25:57,960 --> 00:26:03,160 Speaker 1: that in Split Second, starring your how our Howar's character, Uh, 460 00:26:03,400 --> 00:26:06,120 Speaker 1: he has a real sweet tooth, like he's constantly chugging 461 00:26:06,240 --> 00:26:08,680 Speaker 1: coffee with huge amounts of sugar in it. Though I 462 00:26:08,680 --> 00:26:11,879 Speaker 1: don't recall him drinking port wine. Um No, but I 463 00:26:11,880 --> 00:26:16,200 Speaker 1: guess he might have. I just don't remember. No, I 464 00:26:16,240 --> 00:26:18,200 Speaker 1: think that was the thing. He doesn't drink alcohol, right, 465 00:26:18,200 --> 00:26:20,359 Speaker 1: he gave it up. Maybe he had, Maybe he was 466 00:26:20,440 --> 00:26:23,040 Speaker 1: sober now, like he had quit drinking and replaced it 467 00:26:23,080 --> 00:26:26,200 Speaker 1: with copious amounts of sugar and coffee. Or maybe it's 468 00:26:26,240 --> 00:26:28,680 Speaker 1: a maybe this is the thing. Maybe it's so deep 469 00:26:28,720 --> 00:26:31,520 Speaker 1: a cut that it's referring to his character and Split 470 00:26:31,600 --> 00:26:34,639 Speaker 1: Second and some other Rugger Howard role that I'm not 471 00:26:34,720 --> 00:26:36,840 Speaker 1: familiar with or I've forgotten about, in which he drinks 472 00:26:36,840 --> 00:26:40,040 Speaker 1: a lot of port wine. Either way, that's that's a 473 00:26:40,080 --> 00:26:43,760 Speaker 1: good choice. Do you remember how later in Split Second 474 00:26:43,800 --> 00:26:46,359 Speaker 1: like his you know, it's it's sort of a future 475 00:26:46,520 --> 00:26:50,239 Speaker 1: monster buddy cop movie, and the nerd buddy cop they 476 00:26:50,280 --> 00:26:53,159 Speaker 1: pair him with, he like gets turned into a copy 477 00:26:53,240 --> 00:26:56,639 Speaker 1: of rugger Hower by some traumatic experience, and he also 478 00:26:56,720 --> 00:27:00,119 Speaker 1: starts to drinking the sugar. He becomes converted, and he's like, 479 00:27:00,160 --> 00:27:03,000 Speaker 1: this is the way now we we we drink sugary coffee, 480 00:27:03,000 --> 00:27:05,840 Speaker 1: We eat candy bars, and we carry around big guns. 481 00:27:06,200 --> 00:27:09,280 Speaker 1: What's the character's name. He's like, he's like Rex Power 482 00:27:09,520 --> 00:27:12,919 Speaker 1: or something. I believe you're thinking of Detective Dick Durkin. 483 00:27:13,440 --> 00:27:17,200 Speaker 1: Dick Durkin. That's not exactly that I was thinking. It 484 00:27:17,280 --> 00:27:20,720 Speaker 1: was something more like, uh, I don't know, Johnny Magnum 485 00:27:20,880 --> 00:27:24,080 Speaker 1: or something. Now, Dick Durkin. And of course Ruggar Howard's 486 00:27:24,119 --> 00:27:27,040 Speaker 1: character is Harley Stone. There's some good names. No, that's 487 00:27:27,080 --> 00:27:32,120 Speaker 1: what I was thinking. That's what I was Harley Stone, Harley. Yeah, 488 00:27:32,280 --> 00:27:37,280 Speaker 1: it's got motorcycle plus plus Stone, yeah, plus rock. Dick Durkin. 489 00:27:37,440 --> 00:27:39,720 Speaker 1: That didn't sound right at all, Harley Stone of course. 490 00:27:40,040 --> 00:27:42,920 Speaker 1: Oh and he's got the motorcycle in his apartment. Remember 491 00:27:43,080 --> 00:27:46,199 Speaker 1: it's in there, and like the guy just sits on it. 492 00:27:47,400 --> 00:27:49,760 Speaker 1: That was a good one. Okay, does that do it 493 00:27:49,800 --> 00:27:51,440 Speaker 1: for you? I guess that does it. We're gonna go 494 00:27:51,480 --> 00:27:54,040 Speaker 1: ahead and close up the mail bag, but hey, we'd 495 00:27:54,040 --> 00:27:55,880 Speaker 1: love to hear from everyone out there. What are your 496 00:27:55,880 --> 00:28:00,879 Speaker 1: thoughts on current episodes, past episodes, future episode zodes of 497 00:28:01,000 --> 00:28:04,040 Speaker 1: stuff to blow your mind, weird house cinema, and so forth. 498 00:28:04,119 --> 00:28:06,440 Speaker 1: You have any responses to just listener mails that you've 499 00:28:06,480 --> 00:28:11,480 Speaker 1: heard here. Uh, right in with correction suggestions. Everything's fair game. 500 00:28:11,520 --> 00:28:14,840 Speaker 1: We don't have time to to feature all the listener 501 00:28:14,880 --> 00:28:18,479 Speaker 1: mail that comes in on the podcast, but we we 502 00:28:18,560 --> 00:28:22,359 Speaker 1: do look at everything that comes in, so keep it coming. Huge. 503 00:28:22,400 --> 00:28:26,080 Speaker 1: Thanks as always to our regular audio producer Seth Nicholas Johnson, 504 00:28:26,119 --> 00:28:29,240 Speaker 1: and also to our guest audio producer this week, Paul 505 00:28:29,320 --> 00:28:33,080 Speaker 1: decand really appreciate you stepping in, Paul Uh. If you 506 00:28:33,119 --> 00:28:35,440 Speaker 1: would like to get in touch with us with feedback 507 00:28:35,560 --> 00:28:38,440 Speaker 1: on this episode or any other, to suggest a topic 508 00:28:38,480 --> 00:28:40,840 Speaker 1: for the future, or just to say hello, you can 509 00:28:40,920 --> 00:28:43,920 Speaker 1: email us at contact at stuff to Blow your Mind 510 00:28:44,080 --> 00:28:53,920 Speaker 1: dot com. Stuff to Blow Your Mind is a production 511 00:28:54,000 --> 00:28:56,760 Speaker 1: of I Heart Radio. For more podcasts my heart Radio, 512 00:28:56,960 --> 00:28:59,640 Speaker 1: visit the I heart Radio app, Apple Podcasts, or wherever 513 00:28:59,640 --> 00:29:01,040 Speaker 1: you listen to your favorite shows.