Simple Swedish Podcast - 55 - "METAPHORPHOSIS"

Episode Date: November 29, 2016

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because that's what started this thing. Yeah, absolutely. I mean, ironically, I think dogs that have been in a shelter have probably had quite a traumatic time in the shelter. That's true. What were the threat of impending death? The threat of impending death, which in many ways that we, you know, as a metaphor for what we all live, but it's to be in cooped up with a bunch of other, you know, cooaks. Which again, is a metaphor for how we all live. Oh my God, we're all in a pet.

I know we're all trapped in a metaphor. What about, it's a sketch about people who are trapped in a metaphor. I think that's really funny, right? So like, I don't know what, this is where my mind first goes, right? It's a circus, right? Or some sort of a fair.

And children go missing, right? I'll get lost by their parents, and they come back to a big circus, right, or some sort of affair. And children go missing, right? I'll get lost by their parents and they come back to a big tent, right? And while they're waiting for their parents to come along, they get put into a metaphor. It's probably not ideal. What's a... Wait, why did you feel like a circus

is the ideal place to get put into metaphor? I guess I've gone back to the pound analogy. Okay. And what's the human equivalent of a pound? Well, it's that tender to circus where lost children have to wait for their parents to come and pick them up. Yeah. Now, as far as I'm aware, most of them are no kill tents.

So if you leave your kid there for too long they don't gas them. Okay, great. Thank you again. I mean, if you do hear about a killed hen at a circus near you, please boycott them. Or don't boycott them. It's very hard to work out what the correct approach is for these kill shelters for dogs. Do you go and adopt the dogs?

Or do you not adopt the dogs as a protest? Because if you don't adopt the dogs as do you not adopt the dogs as a protest? Because if you're done adopt the dogs as a protest then the dogs get put down. But if you do it that the dogs then you're feeding into the system that kills the dogs. And if they and if you adopt the dogs or if they kill the dogs either way, they're the turnover of dogs is bigger at this place where they kill the dogs. Yes. So then what if you've got to adopt at a you've got to adopt at a rate higher than they kill dogs faster than they could possibly kill the dogs because you know they're trying yeah you got to you got to

adopt them from non-kill shelters yes right and so at a faster rate than making kill dogs at other shelters so that these become the more efficient style right right so that's where the dogs end up yeah you got to steal the dog market from the from the kill shelters yes I had an idea in there and it slipped away from me like a like a piece of soap like a dog in a Kill shelter. No, no. Look, I think that there's two that that's two ideas. We're running on two parallel tracks here. So first of all, we got wake, I'm going to write kill shelter. Yes. What about what about a shelter where if, wait, their policy is no, we're not a kill shelter,

we're a double kill shelter. So if you don't adopt the dog, we'll kill two dogs. Oh no. And but then once they're dead, we'll kill them again. Yeah, it's a double double kill Sheldon double kill double kill double deal kill what we do is we give them a last minute reprieve I mean we kill them So it's not only cruel physically. It's also cruel psychologically Because the real The real cruelty is the is the absence of hope. But you've got to give hope to take it away.

But at the same time, once that there is no hope, the fact that you kill them is kind of a reprieve from that psychological thing. So you're kind of doing a good deed. I had thought about that. We show them how cruel the world is and then we offer them an escape. So how can we turn this, and I think we got to go back to the kids in the medical office. It's got it. But it could be about the economics, like, you know, economics of a no kill shelter trying to outcompete a kill shelter. Right. So trying to do this. Okay,

we got to be pushing them out faster than the other guys are killing them. You gotta be getting them adopted faster than the other guys are killing them in order to In order to take away the dog, you know the the stray dog market. Yeah, right? But then the other people are also trying to change if you tell you frame their kill thing If you give sorry, I'm just thinking from the point of view of a, like, if this was a membrane inside a cell, right, you'd want a concentration gradient. So if you can transport the dogs out of the shelter quickly enough, you can create a low concentration of, low enough concentration of dogs that dogs from the surrounding neighborhood flow in virus, Moses.

So kind of like a, like a low-pressure system for dogs. Sucking in dogs. Yeah. I know. I like that. And you could maybe aid that by just having the small amount of dogs that you do have, be on heat. And that attracts dogs to. That's true. Yes. And then, but then you never adopt those out. See, that's the key. But then in a way, that's a form of cruelty to the dogs on heat. Because they were wise-randy. They never get nanny. They never get nanny. They're just being used as bites. Anyway, I'm sorry I interrupted.

No, no, no, that's fine. And then I think the kill shelter is attempting to reframe how they sell themselves to, so that they can both, you know, also adopt more dogs out and also kill more dogs. So they kind of go, I imagine they probably get a payment from the government or something that every time they put a dog down. I don't know. Do you think that's like, anyway, let's, we'll have to do some research. It's very macabre. Yeah. But, but then they kind of go, all right, well, we could either, yeah, we could either make ourselves seem less cruel by saying that we do these things or we can also, we could also maybe, we could either make ourselves seem less cruel by saying that we do these things, or we could also maybe attempt to seem more cruel. Yeah, I think that's really good.

Personally, I think from a comedy point of view, if we just focus on the kill shelter, and it's just in their board meeting where they're like, okay, so we kill dogs. We're getting killed by these no kills shelters who are making it seem like they're the Mr. Goody two shoes. It's a dog, a dog in the dog killing business out there. It's a dog shelter, dog, a dog shelter. Kill dogs, dog killing world out there out there and in here and in here You're fired

Yeah, no, I think I think that's that's something yeah, that's something And apologies to any dog fans. Oh, yeah, we don't look we don't we want you should know that we love dogs in here I Too much. Too much, if anything. To death. And it's because the tragedy is so high in thinking about all these dogs dying, that the only way to deal with it is to laugh. And also to make fun of it and try to produce more human.

What's the context for that idea? Because it's a thing I've heard, right? It's so sad that the only thing you can do is laugh. Right? What's a place we can put that? It's so sad that the only thing you can do is cry. I mean, what other choice do you have? Because this is how it goes. It goes, it goes something sad, you're crying, but then something gets really sad. And then your laugh. Yeah.

But then you get sadder, you cry again. Sad is still still crying. Still crying. But then it's like it's pretty bad to be honest. Yeah, but then after that, you're laughing out of those circumstances. But then after after that you're laughing out of those circumstances But then after that you laugh again, and then it kind of follows this weird Fibonacci sequence of three cries a laugh six laughs one cry I was seeking the other way around, but that's good. That's probably good I was seeking like it's like like only only the cries are following the Fibonacci sequence followed like separated by one left pointing in between the Yep, okay sure

No, no, no, why that was important is thanks for clarifying. I just needed to you to have the same mental images I did Yeah, so the Fibonacci Fibonacci sequence Yeah, one, one, two, three, five, eight The rest The rest 21, two, three, five, eight. Dereste. Dereste. Dereste. Dereste. 21. 21.

At. 34. I'm amazed that anyone found a good use for the Fibonacci sequence. Even like that, yeah, I just did somebody first of all bothered to even do it. Exactly. When Fibonacci first came up with that sequence and he was shopping it around, being like, hey, you know, when he went into the shark, everybody called the dragon's dead. Oh, it was like, I came up with... Look, I've got this new sequence.

And everybody, all the other mathematicians are like, oh, this... Oh, Fibonacci. That's embarrassing. This is shit. All you're doing is addition. All you're doing is addition and... And series of numbers. And just keeping us at a history of what you've added together. You're not going to find anyone who's going to buy this mate. I mean, you're an embarrassment to the mathematics community. If anything, you're outside of the mathematics community. I heard

that he was actually, you know, they're like, he's not even really a mathematician. He's only been doing it for one year, right? And you know, I heard that he was actually a really ambitious guy, but he was involved in microbiology, something like that, and they all hated him and that feel as well. And then he's come over here and he's been too big for his boots. Are you doing what I think you're doing? No. Okay, well, I thought you were drawing an analogy between Fibonacci and somebody that we know. I don't know.

I'm trying to get around. Yeah. Because if that's what you're doing, that's such a obscure bit. Anyway. Right. Well, even if I was doing that, it wouldn't be the best idea to draw attention to it. Oh no. Well, if anyone can see who that person may or may not have been in that, then credit to

them, they deserve it. Yeah, great. Do you think there's something in the Fibonacci? I look... Okay, I wonder, because I would like to see Fibonacci trying to pitch his sequence to like a panel of, he's trying to get funding for it or something, you know, he's added all the way up to 278, right, and he just needs a bit more money to keep him going.

Just need some funding fromig from the National Body. I did the first round. No, he's looking venture capital, right? He wants the first round for Series A funding to get him through to, you know, because at the moment he's been doing all this edition out of his own pocket calculator. Yeah, he's been doing it on spec. On spec, right? But and he hasn't exactly worked out the business model

for how he's going gonna monetize the sequence But I think a little agree that's good very good sequence. I think it should be like a screen Australia type situation Yeah, right. I mean look it could it could be other he's either like he's he's shopping around he's going to angel investors But he's also going to like I don't know if Australia has a federal body for funding mathematics, like whether or not, I mean, outside of university. Yeah, I mean, if there is, there probably just goes to the universities, but maybe there is one outside of universities for independent scholars. Maybe we could make this more simple, right? Maybe we could come back to,

simple, right? Maybe we could come back to, is there a, is it like even more, you know, before, before Fibonacci, right? Maybe it's just someone who's come up with addition or multiplication or, right? And they're trying to, trying to pitch it around and see if they can get people on board. You know, like, look, I think, I think that's good, but I do like the character of Fibonacci and that people kind of dislike him. Totally. Yeah, I think it's, like, I think that this is fine. I think that this is, did you watch the Bob and Dave, the Bob and Dave, a new sketch series that they've made on that?

Like a new Mr. Show. Yeah, a new Mr. Show. I did, I can't remember. There's a few things like that are like nice long form sketches That you know like one is about Einstein and it ends up just being the story It's it's kind of done in like a not like a like a you know like historical document historical like movie like like let's say a beautiful mind or or the one with You know mr. Blackhole and the wheelchair. Steven Hawking, that way.

Theory of everything, order. Theory of everything. It's kind of done in that style, but instead of being about his equation equals MC squared, it's about that photo where Einstein has his time. Parked his time. Yeah, no, I can't. I do remember that.

Yeah, so it's kind of like that, but it's just, it's like one of those kind of historical filming ones, but about the guy and how he made Fibonacci sequence famous and the obstacles that he had to overcome and how much he was actually quite a dislikable figure in the scene. I think that's absolutely a sketch. I wonder if Fibonacci has the cultural penetration or cultural penetration or the CPEN as I like to call it to sort of cut through or see through

the you know to the to the core demographic or C-DEM. Yeah, of course, yeah Of you know people who could watch this. I mean as far as Sequences Fibonacci. I think this is it. We're talking we're talking top five. Yeah, you're making that sort of a top five sequence. I mean, even top three, I mean, name two other sequences that you're like, obviously the page of hot phone number. Yeah, of course. One for a double, one double six.

I mean, and there's also one, two, three, four, five, six, seven, so there's just the plus one kind of sequence. So that's what would you call that? You know, either plus one or so. The major scale of sequence. Yeah, right. You know, it is a classic. Yeah.

Um, counting. I mean, there's also, you know, even the plus two, I think there's kind of one that let people like to bring out the even numbers. Yeah, just two, four, six, maybe odd numbers. So I guess, you know, pizza hot, uh, major scale even numbers. Yeah, just two, four, six, maybe odd numbers. So I guess pizza hot, major scale of numbers, the plus ones, odd numbers, even numbers, and then Fibonacci. Fibonacci.

So top five. So I mean, you could come up with a guy who came up with the even number sequence, but it's just, it doesn't have sort of as many applications in nature as we find out with Fibonacci. No, what is counting? Have, you know, one, two, three, four. Where does that occur in nature?

Where does that occur in nature? Like, you know, horses, once or twice. I suppose clopping, I guess, mother ducks who figure out how many, you know, if they've got all their ducklings there. Ducklings there. But how high does that even appear in nature? Don't leave the guys up to like six or six. Yeah, six with their counting.

But Fibonacci sequence, I mean, that's the shape of a paper naughtless. That's safe. It's the rings on a pine cut. It's the pattern in which the leaves on a pine tree will, the branches on a pine tree will kind of go out. So Fibonacci becomes huge, as you know, quite quickly due to the actual pattern of the thing.

I think Fibonacci is fine. Okay, great, okay, let's put Fibonacci in. Now, I'm gonna go back to this thing of, I want a guy to be pitching addition to a panel of judges, right? Adding things together. Okay. Okay, he's come up with it. Now,

I'm not sure whether or not this is a caveman panel of judges, right? Yep. Whether it's, you know, a literal lion's den, he's pitching it to this, you know, lion's den, they're sitting there and there's actual, no, maybe no lion, but certainly the den is very much a cave, you know, and he's a cave man. He's a cave man, okay, so it's a woman. So, so you think addition was pitched in the cave man days. It could be, right? But they had developed it, so they didn't have addition,

but they developed the ability to catch and contain lions. Yeah. No, it's a den, it's a den. Oh, it's an actual den, okay. It's a den, yeah. It's a time. I'm not sure that the basic operators of mathematics are required. But obviously, they could only have it most one way. Exactly, I was gonna say, what you start to try, sorry, lions, plural. So what it goes is the ability to capture a lion, then you need to invent addition, and then you need to invent,

before you can invent the ability to catch more than one lion. That's right, yeah, unless you just need to be able to keep track of them, because once you've got lions, you're keeping track of multiple lions. Well, that could be something that you can. This is quite crucial. Yeah. He could say that he could just go at the moment. We have one lion and we have more than one lion. Right. That's all we know.

So, for example, I could say to you, Jeremy, are the lions or in the cage, which is an important question to ask. And you would reply back to me saying, there are more than one lion in the cage. But you can see now there's an ambiguity because it's possible that within that, there could be one lion,

or maybe even more than one lion That is not in the cage and we need to clarify the exact numbers of lions that could be in either location So so in a way he's coming up with the numbers that are more than one. Yes So he's actually that's that's that's that's better to Yes. So, he's got it. Actually, that's better to me. Like, it's counting. Right, yeah, so he's kind of like looking.

And the guys on the judging panel, like, I just can't see how I would use this. Like, how is this relevant to me? Well, okay, well, look, so let's say, I'm thinking, let's think of each line as one line. Yes. Okay. Like, you kind of skeptical, they're like, okay. And then looking at each other, you get those shots, and they're like, who is this guy?

Yeah, okay. Okay, and then let's say, and then he's kind of starting to just do it, like just trying to demonstrate it with just single dashes on the thing. So let's say there's, you know, we catch one line, and then we catch another one line, and we put them in there. He goes, oh, so you've got more than one line. Yeah, we've seen this before. Okay, next everybody knows about more than one line.

Okay, so but then what if we were to create a symbol that actually specified. But then the key thing here is like, now you want you get another line. Yeah, okay. Yeah, more than one line. Yeah, yeah. That's right. So then you get another, okay, but then you get another line. Yeah, okay. Yeah, yeah, yeah, yeah, yeah That's right. So then you get another okay, but then you get another one line Okay, and then we get it all right So now you're trying to put them you try to put them away You got to you know you want to try to find out whether they're all put away

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Hey, with the no longer in the yards, the you go out and sort of cultivate the term, turnips for the family, whatever. But you know, obviously that's where the, you know, you're more than one turnip. Yeah, more than one turnip, you know, but also, you know, that's obviously that's the same yard, because you've only got one yard where you feed the lions, you know, so you want to make sure that they're all back in the den. Sure. How do you know that you've got them all there?

More than one lion, ambiguity thing that you said before. Yeah. And then. And so you got yourself a sketch. Okay. Look, I think that I think that you said before. And then. And so you got yourself a sketch. OK, look. I think that's great pitching counting, right? I think maybe the capturing the lines and the putting them in a cage is a little obscure.

I don't think that was the thing that really happened all that much. But I think we could do exactly the same thing. And it would hopefully be just as funny with them just talking about like going out hunting and seeing a number of lions. Sure. And you know, some lions could be behind you, some lions could be in front of you

and knowing different numbers of lions. Can the turnips still be in? The turnips are still in. Okay, great. So you're out hunting for lines and or turnips. Your diet is made up of lions. Lion meat and turnips. I think in that scenario, I'm probably going to lean towards the turnip side of the dice. Yeah, yeah. Well, you know, it's I guess it's got less risks, but sometimes when you're just cultivating turnips,

you encounter a line. And so, you know, the line meat is actually a byproduct of just self-defense. And then what are you going to not eat it? You don't have that many turnips. Turnips are pretty bland. You know, they're only really good when you roast them. Imagine if lion was really bland. I tend to imagine it being bland. Like, I think it would, it would have a flavor. It definitely a flavor. Uh, I don't, I don't think I've ever eaten predator. Well, outside of the aquatic predators, so you've definitely eaten Oh, yeah, but I've never eaten something that would eat a mammal. Like a shark.

Oh, like a shark. Yeah. Okay. So I've eaten loads of predators. I need nothing but predators in a way. And of course, man, the greatest predator of all. Which I'll have. Yeah.

Hey. Have you? Oh, yeah. Human. Human. Human. Wait. Man here.

Just skip the board. Oh, skip the board. I don't know why. I underline board for some reason. Now, unfortunately, because we're, I wanna go back to the people who are trapped in a metaphor, that's the one we haven't completed yet. So the problem with, I think earlier what you had said, and which got us onto the road of another thing,

was that you said that we were putting them in a circus tent, which was a no-kill circus tent, which I feel makes it actually quite difficult to make it a metaphor. Yeah, sure. Because people don't get killed in metaphors. No, what? Maybe. I don't know, that's cool, but I think I was suggesting that if you know if you don't, if there's no risk of death, that's weird to have a metaphor for life. Unless there's, there just needs to be something for them, you know, some end for them or. No, I forgot it was a metaphor for life unless there's there's just needs to be something for them You know some end for them or no, I forgot it was a metaphor for life

I could yeah Well, I don't know what other metaphors are I mean I guess many many things are a metaphor for life But it's rare that you have like oh this circus is a metaphor for eating a sandwich I Feel like this just sums up a every conversation we've ever had. Like, it's... I don't know what it is. This conversation feels like a metaphor for all the other conversations we've had.

Anyway. Okay, okay. Let's go back to basics here. We've got people there in a metaphor. They're trapped in a metaphor. They're trapped in a metaphor. They're trapped in a metaphor. Yeah. Now, is that what Kafka books are? Oh, could be. That is his whole thing is just like a person finds themselves trapped in a metaphor. Well, I suspect that's the metamorphosis, right? Which is really they should have called it metamorphosis.

Uh. Uh. Let's pitch it to him. Capsca. How are you? So it's a metaphor you say. Okay. I mean, this man, he's a cockroach.

He's not really a cockroach or is he? Okay. And people treat him like he's a bug. Maybe that's something to do with his life outside of being a cockroach. But okay, I'm sensing it's a metaphor. Peace, straight with me, Kafka, isn't a metaphor. It's a good.

All right, well then why haven't you called it metaphor Moses? It's metaphor. Because people love a pun. People love a metaphor. They also love a pun. And also people hate when a book doesn't deliver what's on, what it says on the cover. On the tin. On the tin. And what does it say on the tin?

It says metamorph, metamorphosis. Yes, right? But it's a metaphor, isn't it? Mm-hmm. What about metaphoricists? Metamorphosis. Oh God. So that one, yes, it was definitely metaphorical. And then there's the trial, Kafka's the trial, which is about, is it Jay or Kay or this guy who is just trapped in a bureaucracy. Yeah, but he's like, he's on trial for something and he doesn't know what he did. Now, if that is a metaphor, I suspect it's just a metaphor for a different bureaucracy. Okay.

Or, you know, for the political bureaucracy. I guess in that case, it's still a metaphor. Yeah, well, I could say that even if it was for that, it could be still be a, like, you know, I guess anything you could take as a metaphor for life, you know, it's like, oh, Even the sandwich. Here I, well, not everything could, oh, a sandwich could be a metaphor for. Very much could be a metaphor for life. You're, you're sad that you started it because

now it means it's going to end, you know, like the fact that you started, it means that you've, you've started your short path to the end. But, but, so now you've chosen the, the sandwich to be a transverse, you're measuring chronologically as you go across the sandwich, but I'd like to measure chronologically as you go down the sandwich. So I would say childhood is the first slice of bread or like that period before consciousness, right, when you're just an infinite infant, so there's no flavor in life, everything's just infinite, infant, right? So there's no flavor in life. Everything's just sustenance and just getting by, right? And you're just living, right? And then the bottom slice of bread is your old age, your dementia, your second childhood. Yeah, right. And that is, you know, a similar kind of phase. And then in between is the meat of the sandwich or whatever, and that is life. That's the salad days.

The salad, the sauce, the, you know, the, yeah, the substantial stuff. We see you're like a, you're sort of thinking of the metaphor sort of going down with the layers like that. I like to think of the sandwich more through the journey that the ingredients went through. Wow. So let's say the pig that was first, you know, was born and then became, you know,

came to maturity and then went to the abattoir and you know, it became ham, got smoked, you know, things like that. So the tomato that was just never got to have an old age. So in that way, in my metaphor, that pig's life is an open sandwich. Yeah. Yeah. Because there's no second slice. Oh, I like it. Yeah. Well, that's good. Yeah. Oh, I finally just got that knife. Thank you. I apologize. Apology. The, you know, slice of tomato, you know, the journey that the tomato went through, the journey that that supermarket sort of, you know, pickle, pickle, sort of, you know, relish that, you know, you also put on there, things like that. And let's say you'll sandwich in a metaphor, it's a bloody microcosm.

Yeah, yeah, absolutely. And then, and then in the end, the journey of all that was just to be a finished product, a product that just gets sold or used up or you know or whatever and then it's done. That's a metaphor for life. Eight and then shout out. You know, yeah or even like... I never thought of myself as using up a sandwich. Well, you're just... I'm gonna use up a sandwich. You're just something to be that just goes back into circulation that gets used again, you know,

sandwiches don't go back into circulation. They do. You eat them. You shit about. They go back into the system. They become other sandwiches. You know, the cycle, the cycle of, of sandwich continues. No, I hope.

Look, it's a sandwich. Okay, to sketch about a sandwich that's trapped in a metaphor. Right. Look, I, even though I don't think we necessarily have all the details of the people that are trapped in a metaphor, I still think that there's a sketch there and so I've written it down. Great, great, I love it.

I, now the sandwich thing. Yeah. Can we have two philosophers arguing about the way in which life is like a sandwich. Yeah, I think that's good. Okay. Basically what I'm saying there is the Alistair and I philosophers. Because here we go.

We just did exactly that. Yeah. Well, because I very much like the, you know, the applying of multiple readings of how a sandwich can do a metaphor, a metaphor for life. Yeah. And we could call it metaphoricists. Really, life is just a sandwich flying through infinite darkness. And then briefly flies it through the open window of a room filled with light.

Then back out of the window, the other side. It continues to throw throne sandwich. It's a life is just a sandwich discarded by an angry man, an angry trady through a building. We don't have a construction site. It passes briefly through. But why is the construction worker in darkness? No wonder he's angry. It's at nighttime. Oh, it's one of those jobs where they have to work 24-7 so they don't cause too much disruption to traffic.

Oh, you see, this is how you make sense of sketches. Why? Okay. What's it? What's another profession where they could be forced to work 24-7 to avoid causing disruption? Right? Because whenever they're doing tram works or something on Swanson Street, they've always four, seven to avoid causing disruption, right? Because whenever they're doing tram works or something on Swanson Street,

they've always got their work lights out, okay? They got their generators up, they're all hours, right? Because they don't want to minimize the amount of time that it takes, right? So that they don't disrupt traffic. What is LSDA? Something else. But they could do that with that. I look I've made it very difficult for you. No, no, it's cool. Look, I was first

in the camera. My mind was school. Sanwiches is very much a go-to. Yeah, that's sandwich shops, you know, if they were open 24 7 like that And people kind of let's say came and get their got their sandwiches For their days work like 3 a.m. And 4 a.m. And things like that It would stop lineups that you know and in the morning rush of Block when everybody's gonna go in there for sandwiches. Well, that's okay So so for me though like okay, so let's say that instead of traffic we're talking about a queue at a sandwich shop and I'm sorry it's a sandwich shop, it can be some other kind of shop if that makes you feel better, right? But then there are

people like a rap shop. Okay, great. Yeah. God, we're good and interesting, right? Yeah, that's great. We don't repeat ourselves or, you know, That's great. We don't repeat ourselves. Why is still pause unnecessary? So that queue, there are people who require a lot of time to make a sandwich. Is there some way that we can get them to go in overnight and order their sandwiches by work lights at night so that it doesn't cause disruption to the normal flow, rap of rap ordering. Rap ordering, yeah.

During the day. So somebody who needs like, what, how do we see that? They're indecisive, they're an indecisive person who hold up the line. Hold up the line. Okay. And, okay, anyway, it doesn't matter. No, we already got five sketches. Fuck it. Well, that's true. We do have five sketches.

Look, I think there's something there, but yeah, okay. I understand. Well, I'll take us through the sketches for today. And I'll stay, I don't want to leave. I'm sorry, I said that was trying to be cool. No, no, it is cool. I was, but I was trying to seem nonchalant like I don't care about the podcast, but I really do Andy I also care about the podcast and you failed at making it seem like you don't care about the podcast especially with this bit I said and you also made it failed to make it seem like you're cool Which is great, but you're cool and you're talking about it and in the way that caring is cool

Yeah, it's cool to care. Number one is people trapped in a metaphor. Possibly kids at a circus, you know, possibly people who are very aware of the fact that they're trapped in a metaphor. Yes. And it probably will be called metaphoricist. And maybe what we could do is it's a whole a TV series where it's all sort of like black mirror where the the you know each episode is completely different but you take famous

movie like famous stories where they've had a metaphor yes but it's everybody's inside it goes tell you what this feels like we're in a fucking metaphor like that and everybody's very very aware of it in a metaphor and how that affects the other. I think a TV show called Trapped in a Metaphor, right? And it's a really blatant and ham-fisted parody of like a black bearer twilight zone kind of a show where everything is obviously a metaphor. And everybody's hands are actually meat of ham. Meat of ham.

Yeah. And that's a metaphor. Yeah, that's a metaphor. Yeah. That's a metaphor. Anyone they punch things, they get oily. Yeah. Like if they're always punching paper. Like a metaphor.

Like a metaphor. Punching paper. You know how people always punch paper. Punching paper. Anyway, I don't know. Those bloody paper punches down at City Hall, right? City Hall. It's like a best thing to go.

Anyway. Two, it's a kill shelter, it says kill shelter economics, but they're trying to market it better. Yeah. You know, do we make it seem more cruel, do we make it seem less cruel? How are we gonna shift more units in terms of both

getting dogs adopted and getting dogs killed? And also shifting the dogs to the afterlife. To the afterlife, also getting more of the dogs, more of the market of the dogs off the street before the no-kill shelters. How can we hurt the no-kill shelters to make them seem like jerks? We're being out-compainted one of these people just because they don't kill dogs. How about this? These no-kill shelters, because people don't adopt adopt dogs high enough right they've become sort of like factory farms for dogs where they're just overrun with dogs

the dogs don't have any good you know meter square you know per square meter of dog it's yeah it's actually like a you know it's like a bloody cage cage battery dogs cage battery dogs to buy you know they've become all all dogs even fight dogs that wouldn't fight or becoming fighting dogs now. Tarmel? Yeah, so this is how you sell kill shelters to people. Three is Fibonacci pitching a sequence, but it's also you find out more about him. He's a young star.

He does not have the sapent that other maths guys don't necessarily love, and then you find out that how did this kind of quite shitty sequence end up becoming quite important and and and it's kind of world relevance. Is this is a shitty sequence like is it like how it you know VHS one of a beta or something did you know did yeah like what did he have a sequence and somebody else had a sequence that didn't make it as famous Yeah, like if somebody else had a better sequence The sequence where they multiply the yeah, the first the last two It's actually really useful and then Fibonacci gets this I don't know has anyone trademarked that sequence where you multiply the last two

Do you think we we can still get in call it the Andy and now yeah? I mean, thank you for including me because you just came up with that all by yourself. Yeah, I know, but I can't, I never claimed that any of these ideas were just mine. So I feel like while we're doing this, we share the burden of... I claim a lot of these ideas were just yours, Alistair. Do you?

Fuck. I disowned them. But you, it's not the fucking good ones. Not this Fibonacci one, like. Number four is, you know, it's again, it's a little bit like the last one, but it's a pitching counting to a skeptical board. Yep. Possibly of cave people.

Of cave people. It's probably in the cave people's time, but we're also picturing a lot of lions, and we're picturing turnips. And so it's how you go from having, you go, there's one thing, and then there's more than one. And then how do you convince people to sort of start believing in two, three, and that there's one thing and then there's more than one. And then how do you convince people to start believing in two, three, that there's any relevance to that?

And then the final one is two philosophers discussing how a sandwich is a metaphor for life. It's very... And you know, the other different ways. I feel like, in many ways, Alistair, quite as a Terry Gepersod of the podcast. We're good with that. So, is it a Terry? Is it a Terry? Is it a Tarein?

Is it a Tarein? Yeah. And this is what the podcast is. It's us trudging through the Iso Tarein. Iso Tarekata. Ever. That's what we are. We're two Iso Tarekata warriors.

Marching through the landscape, finding ideas in which to potentially, if ever, they get made, bring light and joy into some people's lives. I didn't listen to that. I wasn't something I really believed in. I want you to know that I don't think I never make comedy to bring light into people's lives. I do it because I like doing it. Yeah, you, great. So, in that way it brings light into your life. Not very much though. It's a very dim red.

It only allows me to see the shadows. Yes, you're right. So it just... Oh, thank you for listening to the show. If you like the podcast, please rate us on iTunes. Highly, highly, highly. If you don't understand how the rating system works, a high rating corresponds to liking something and vice versa. And if you're not aware of the content, then you can see that the content is very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, iTunes, highly, if you don't understand how the rating system works, a high rating corresponds to liking something and vice versa.

And then when we request that what we're wanting is really good reviews about that going, oh, thanks for reminding me to tell you of FRF in this way. Yeah, I'm sorry that probably comes across as very cynical that we're only promoting views that we want to hear. In that sense, we're in an echo chamber. It's modern politics. But, hey, look, if you have a constructive criticism of the podcast, obviously we're open to that kind of thing as well, but it's hard to convey that in a one to five style. I think, no, I think if they want to give us constructive criticism, they can either tweet us or they could leave it as a review. And I think that it would be like

I think it could just still increase the level of reviews that we have. You know, if I wonder if it's possible to get the show trending just with the enormous volume of negative reviews that we receive. Like I don't know if that really plays into the iTunes algorithms. I don't know if they know if there's a real buzz around this podcast. Yeah, but I think if you give it a high rating, but then also just give it a very constructive criticism. So I don't think they measure how much criticism is in there. Right. They don't do some kind of analysis of the the verbage of the word. The adjectives. Yeah, and they go, oh, these people seem angry through like the amount of exclamation points

that you've. They've all rated it very highly, but then they're very angry in the comments. So perhaps they don't understand how the writing system works. They're all high writing corresponds to liking something anyway. Yeah. So anyway, so do that. And follow us on Twitter. I'm stupid old Andy.

And I'm at Alistair TV, ALA, S-D-A-I-R-T-B. And, you know, go. Go on. See you later. Go on. Go on. See you later. Love you guys. Thank you.

Love you. Love you, Hapes.