1 00:00:01,000 --> 00:00:04,800 Speaker 1: Look man, oh I see you? Why why? And look 2 00:00:04,840 --> 00:00:14,880 Speaker 1: over there? How is that culture? Yes, goodness, dull, I 3 00:00:14,960 --> 00:00:16,599 Speaker 1: was teasing you about a surprise I had for you, 4 00:00:16,680 --> 00:00:19,480 Speaker 1: my sister. You said you would surprise me with something. 5 00:00:19,640 --> 00:00:21,880 Speaker 1: It's now time for the surprise to be revealed. And 6 00:00:21,880 --> 00:00:23,760 Speaker 1: that's always the best part of the surprise, I feel, 7 00:00:24,000 --> 00:00:28,560 Speaker 1: is the review of culture. Oh it's rule culture number 8 00:00:28,560 --> 00:00:34,240 Speaker 1: what six six? The best part of the surprise reveal. 9 00:00:34,760 --> 00:00:38,280 Speaker 1: So I have in my hands right here. Um, this 10 00:00:38,400 --> 00:00:41,559 Speaker 1: is a result of our conversation with rose Dam. And 11 00:00:41,560 --> 00:00:43,960 Speaker 1: this is also me reviewing to rose Dam that I 12 00:00:44,040 --> 00:00:48,239 Speaker 1: own these now. Um A reader reached out. They somehow 13 00:00:48,320 --> 00:00:51,000 Speaker 1: we're able to get their hands on these. Joe Anne 14 00:00:51,040 --> 00:00:56,880 Speaker 1: Trattoria World Pride. We were given three. Okay, so these 15 00:00:56,960 --> 00:01:02,480 Speaker 1: are the v Joe and Trattoria Degaga's restaurant, World Pride, 16 00:01:02,640 --> 00:01:06,640 Speaker 1: her father her Well, yes, we can assume that she's 17 00:01:06,760 --> 00:01:10,560 Speaker 1: in some way getting some ownership over that. What does 18 00:01:10,600 --> 00:01:12,400 Speaker 1: it say on the back? I didn't read that properly. 19 00:01:12,560 --> 00:01:17,240 Speaker 1: It says, okay, there are Italians everywhere, my god, Because 20 00:01:17,280 --> 00:01:21,000 Speaker 1: lady Gaga famously an Italian girl first and foremost, just 21 00:01:21,080 --> 00:01:23,800 Speaker 1: an Italian girl from New York. Now we let's just 22 00:01:23,840 --> 00:01:26,039 Speaker 1: describe this visually to the listeners, to the readers. We 23 00:01:26,120 --> 00:01:28,920 Speaker 1: have podcast our visual medium. The lock up is Joanne 24 00:01:28,920 --> 00:01:31,399 Speaker 1: and then this and then tritoria under that a Rose 25 00:01:31,560 --> 00:01:34,120 Speaker 1: vector are underneath makes the joe in a little bit 26 00:01:34,160 --> 00:01:36,720 Speaker 1: eligible to be honest. But then you have the strike 27 00:01:37,120 --> 00:01:40,480 Speaker 1: graphic design notes I'm sorry, I'm you know, I'm just 28 00:01:40,520 --> 00:01:42,840 Speaker 1: giving them. And then it's sort of laid out as 29 00:01:42,840 --> 00:01:45,400 Speaker 1: if the Joeann Trattoria is in the top left section 30 00:01:45,400 --> 00:01:47,920 Speaker 1: of the U. S. Flag, but the stripes instead of red, 31 00:01:47,920 --> 00:01:50,960 Speaker 1: white and blue are the Pride colors and white and 32 00:01:51,000 --> 00:01:53,480 Speaker 1: says at the bottom twenty nine World Pride Parade. At 33 00:01:53,520 --> 00:01:57,880 Speaker 1: the back. As we've said, there are Italians every where 34 00:01:58,160 --> 00:02:01,920 Speaker 1: in bold read letters. I really this is just thank 35 00:02:03,360 --> 00:02:05,280 Speaker 1: This is the side im and there are three larges 36 00:02:05,480 --> 00:02:07,800 Speaker 1: and we're all I'm gonna bring it to you when 37 00:02:07,840 --> 00:02:09,280 Speaker 1: I see you in New York and I will see 38 00:02:09,320 --> 00:02:11,080 Speaker 1: you in New York soon. And this actually is my 39 00:02:11,160 --> 00:02:13,160 Speaker 1: way of getting Rose to have coffee with me. Oh 40 00:02:13,200 --> 00:02:15,120 Speaker 1: my god, you guys have to meet that. This is 41 00:02:15,160 --> 00:02:17,880 Speaker 1: my gun to her her proverbial head um, to get 42 00:02:17,880 --> 00:02:20,280 Speaker 1: her out of the house, to get coffee with me girl. 43 00:02:20,400 --> 00:02:23,239 Speaker 1: The culture that has sort of befallen us in the past. 44 00:02:23,480 --> 00:02:26,120 Speaker 1: We could say seven days, but really twenty four hours 45 00:02:26,440 --> 00:02:29,360 Speaker 1: wild we had the Oscar nominations, we had the Grammys. 46 00:02:30,280 --> 00:02:33,359 Speaker 1: Now come on, now we were recording during the Megan 47 00:02:33,400 --> 00:02:36,400 Speaker 1: Oprah and really shame but we haven't even like assessed that. 48 00:02:36,440 --> 00:02:39,240 Speaker 1: But really quickly, I mean an interview that we will 49 00:02:39,320 --> 00:02:42,440 Speaker 1: talk about for a long time as a culture. I mean, 50 00:02:42,880 --> 00:02:46,800 Speaker 1: who is having that conversation, who ever really came through 51 00:02:46,840 --> 00:02:50,639 Speaker 1: that conversation. I will say both of our I don't 52 00:02:50,680 --> 00:02:52,640 Speaker 1: think so, honey, is from last week. We're actually, without 53 00:02:52,720 --> 00:02:56,200 Speaker 1: having even watched the interviews, very prescient because mine was 54 00:02:56,600 --> 00:02:58,440 Speaker 1: I don't think so honey, people who are only just 55 00:02:58,560 --> 00:03:02,400 Speaker 1: now realizing Oprah is quote good at interviewing, which was 56 00:03:02,440 --> 00:03:04,880 Speaker 1: happening on Twitter, and yours was, I don't think so honey. 57 00:03:04,960 --> 00:03:09,120 Speaker 1: Royal family, and I would say decidedly those are standing tall. Absolutely. 58 00:03:09,160 --> 00:03:11,760 Speaker 1: Mine was very broad, yours was very specific. I mean, 59 00:03:11,840 --> 00:03:15,040 Speaker 1: I think we balanced both of those scopes very well. 60 00:03:15,240 --> 00:03:17,240 Speaker 1: But I don't think so Honey, the Royal family they 61 00:03:17,240 --> 00:03:20,760 Speaker 1: gotta go. I think they gotta go. Grammy's I thought, 62 00:03:21,120 --> 00:03:24,280 Speaker 1: what an interesting night. What an interesting night. That's not 63 00:03:24,320 --> 00:03:27,359 Speaker 1: a glowing review. I really enjoyed that the the awards 64 00:03:27,440 --> 00:03:31,320 Speaker 1: were evenly distributed. Thank you. I always love whenever they 65 00:03:31,360 --> 00:03:33,640 Speaker 1: don't go all to one person. I love an even 66 00:03:33,680 --> 00:03:36,880 Speaker 1: distribution and do a got her moment. Taylor got her moment. 67 00:03:36,920 --> 00:03:40,240 Speaker 1: I'm wearing my Taylor swift to sort of commemorate the 68 00:03:40,280 --> 00:03:43,800 Speaker 1: third Album of the Year win for Folklore. Snaps to you, Taylor, 69 00:03:44,040 --> 00:03:48,400 Speaker 1: you joined the legends Megan. Megan got awarded nicely, also 70 00:03:48,680 --> 00:03:51,560 Speaker 1: arguably got snubbed at the end. But I don't think 71 00:03:51,600 --> 00:03:54,680 Speaker 1: our opinion matters. I think we can say was everything 72 00:03:54,720 --> 00:03:56,480 Speaker 1: you want to buy Billie Eilish the Record of the 73 00:03:56,560 --> 00:03:58,839 Speaker 1: Year to the Grammys? Yes, so, I think the rest 74 00:03:58,920 --> 00:04:01,800 Speaker 1: of the world probably not. But on a production level, 75 00:04:01,960 --> 00:04:04,120 Speaker 1: was it like an incredible like are they being are? Are? 76 00:04:04,200 --> 00:04:08,280 Speaker 1: Are are they still? Like? Hard for Phineas? Maybe incredibly 77 00:04:08,320 --> 00:04:11,040 Speaker 1: hard for him. Mr Harry Styles got a nice and 78 00:04:11,080 --> 00:04:13,480 Speaker 1: I was really hard for him. That's so hard that 79 00:04:13,520 --> 00:04:16,000 Speaker 1: I had to make him my phone background. He's actually 80 00:04:16,000 --> 00:04:19,520 Speaker 1: my phone background on today. That's like you can't really 81 00:04:19,520 --> 00:04:21,560 Speaker 1: see because they got sort of icons in the way. 82 00:04:21,880 --> 00:04:24,560 Speaker 1: He really he was really looking good. It's really wild 83 00:04:24,720 --> 00:04:29,679 Speaker 1: that even yea, even even through the screen, through the camera, 84 00:04:29,800 --> 00:04:33,000 Speaker 1: he can bradiate that it's it's it's really wild. It 85 00:04:33,080 --> 00:04:36,640 Speaker 1: really works. Did you see the clip of him catching 86 00:04:36,720 --> 00:04:39,400 Speaker 1: up with Taylor. I did see the clip with him 87 00:04:39,480 --> 00:04:41,919 Speaker 1: catching up with Taylor. They were gesticulating very in a 88 00:04:42,000 --> 00:04:46,040 Speaker 1: very friendly ways, were very fun. They they seem to 89 00:04:46,080 --> 00:04:48,760 Speaker 1: be on good terms. They were very we're we're seeing 90 00:04:48,800 --> 00:04:51,440 Speaker 1: each other and this is normal energy. Yeah, oh yeah, 91 00:04:51,480 --> 00:04:53,520 Speaker 1: And I mean that's that's the thing. I mean, have 92 00:04:53,600 --> 00:04:56,000 Speaker 1: haven't we all mastered that? There is like an extra 93 00:04:56,120 --> 00:04:58,880 Speaker 1: layer of conversation now where it's like we all have 94 00:04:59,000 --> 00:05:03,200 Speaker 1: to like in the moment adjust to like the pinching 95 00:05:03,200 --> 00:05:05,760 Speaker 1: of the mask up all that. There's just little ticks 96 00:05:05,800 --> 00:05:07,880 Speaker 1: now that we've all Oh, I see the sort of 97 00:05:07,880 --> 00:05:11,440 Speaker 1: a state of being that is conversating with the mask, 98 00:05:12,160 --> 00:05:15,400 Speaker 1: with the mask with and then and then you know, 99 00:05:15,600 --> 00:05:18,800 Speaker 1: like trying to like pull it down sometimes when it's 100 00:05:18,800 --> 00:05:20,360 Speaker 1: like I want you to read my lips and it's 101 00:05:20,400 --> 00:05:22,800 Speaker 1: like a little bit dangerous, yeah, or like this is 102 00:05:22,839 --> 00:05:24,680 Speaker 1: the part of conversation where I'm letting you know it's 103 00:05:24,720 --> 00:05:26,440 Speaker 1: actually just me and you because I'm pulling down the 104 00:05:26,480 --> 00:05:28,400 Speaker 1: mask a little bit and like sort of defying what 105 00:05:28,600 --> 00:05:32,440 Speaker 1: society and the quote unquote c d C says we 106 00:05:32,480 --> 00:05:36,160 Speaker 1: should be doing. Understand I supposed c d C. Now 107 00:05:36,240 --> 00:05:38,000 Speaker 1: I just before we bring it, before we're in the guests, 108 00:05:38,000 --> 00:05:39,560 Speaker 1: then I want to know how hard were you for 109 00:05:39,600 --> 00:05:44,120 Speaker 1: the oscars fully erect or like sort of chub chub, 110 00:05:44,640 --> 00:05:47,720 Speaker 1: Regina King got snubbed, Wee night in Miami got snubbed. 111 00:05:48,360 --> 00:05:54,960 Speaker 1: Um otherwise otherwise really really fund nominations in there. Steven Stephen, Um, 112 00:05:55,080 --> 00:06:01,479 Speaker 1: Young Junune fantastic um and Leaa Chung really really fun 113 00:06:01,760 --> 00:06:05,800 Speaker 1: and Lucas brothers are Oscar nominees for Judas in the 114 00:06:05,880 --> 00:06:09,000 Speaker 1: in the Black Messiah, Like this is this is really fun. 115 00:06:09,360 --> 00:06:11,839 Speaker 1: Make Boner was throbbing, for sure. Make Boner was throbbing. 116 00:06:11,839 --> 00:06:15,680 Speaker 1: But anyway, speaking of awards, we were talking to Um, 117 00:06:15,720 --> 00:06:21,440 Speaker 1: a decorated person, Tony Award winner among other things, and 118 00:06:21,480 --> 00:06:24,320 Speaker 1: speaking of throbbing. To be honest with you, now, oh 119 00:06:24,360 --> 00:06:28,880 Speaker 1: my god, we said, currently I've been I've been throbbing 120 00:06:28,880 --> 00:06:33,840 Speaker 1: all day, never robbing. We are never throbbing with when 121 00:06:33,880 --> 00:06:36,680 Speaker 1: it comes to this person. And this is someone who 122 00:06:36,800 --> 00:06:42,760 Speaker 1: has really um really takes to being objectified gracefully. I think, well, 123 00:06:42,800 --> 00:06:45,400 Speaker 1: I mean it's been happening for decades, so I would 124 00:06:45,440 --> 00:06:47,800 Speaker 1: imagine that he's adjusted, And if he hasn't adjusted, i'd 125 00:06:47,800 --> 00:06:49,400 Speaker 1: tell him to get help, get help, because it's not 126 00:06:49,400 --> 00:06:51,920 Speaker 1: gonna stop anytime soon, certainly not going to stop in 127 00:06:51,960 --> 00:06:56,159 Speaker 1: the next eighty minutes, not at all. Um he I mean, 128 00:06:56,839 --> 00:06:59,080 Speaker 1: it's it's an exercise and futility to even try to 129 00:06:59,160 --> 00:07:02,320 Speaker 1: like give you the highlights of his credits. But he's 130 00:07:02,360 --> 00:07:06,040 Speaker 1: he's a treasurer of the theater of television, of film. Everyone, 131 00:07:06,040 --> 00:07:07,880 Speaker 1: please welcome into your ears. Well you're not even when 132 00:07:07,920 --> 00:07:10,760 Speaker 1: you're not even gonna try. You're going to say it's 133 00:07:10,760 --> 00:07:13,280 Speaker 1: an exercise of futility, but I'm gonna try. No, no, 134 00:07:13,280 --> 00:07:15,640 Speaker 1: you aren't even going to try. Stand by, We're gonna 135 00:07:15,720 --> 00:07:18,560 Speaker 1: get into the credits and see. I know that we are. 136 00:07:18,600 --> 00:07:20,080 Speaker 1: But I was like, I thought that was I thought 137 00:07:20,080 --> 00:07:22,040 Speaker 1: that was like sort of so bold of you, because 138 00:07:22,400 --> 00:07:25,080 Speaker 1: this is a legend. We have to say, this is 139 00:07:25,120 --> 00:07:27,560 Speaker 1: an icon, but this is this is like you know, 140 00:07:27,720 --> 00:07:36,120 Speaker 1: Letterman or whoever, being like my next guest, and yes 141 00:07:36,200 --> 00:07:39,080 Speaker 1: it is. I really don't. But I mean, alright, alright, 142 00:07:39,160 --> 00:07:41,720 Speaker 1: well we're about to do it anyway. We're gonna just 143 00:07:42,000 --> 00:07:50,880 Speaker 1: hash this out. Everyone. Welcome, b D, welcome, high, come on, 144 00:07:51,760 --> 00:07:56,960 Speaker 1: you know who you are. Okay, hello, gentlemen, you want 145 00:07:57,080 --> 00:08:00,440 Speaker 1: to um push back against this? What what are you? 146 00:08:00,480 --> 00:08:04,000 Speaker 1: What are you pushing back again? You know. I'm definitely 147 00:08:04,120 --> 00:08:08,080 Speaker 1: not like, like false modestying it necessarily, but I do 148 00:08:08,160 --> 00:08:09,880 Speaker 1: go into a situation every once in a while I 149 00:08:10,040 --> 00:08:13,120 Speaker 1: think we'll really do people really know they do? And 150 00:08:13,240 --> 00:08:16,760 Speaker 1: sometimes I'm absolutely sure they do, and then other times 151 00:08:16,760 --> 00:08:19,600 Speaker 1: I'm like, yeah, okay, I think somebody needs to kind 152 00:08:19,600 --> 00:08:23,720 Speaker 1: of like maybe whisper to that person. You know, they're 153 00:08:23,720 --> 00:08:26,600 Speaker 1: gonna know, they're gonna know you for your people. Your 154 00:08:26,720 --> 00:08:31,000 Speaker 1: people are people, Yeah, Yeah, we're in there now, they're 155 00:08:31,040 --> 00:08:35,280 Speaker 1: in there. They're the right people. Yeah. And by our people, 156 00:08:35,320 --> 00:08:43,360 Speaker 1: you mean Jurassic Park fanatics enthusiasts. Matt wants. Matt wanted 157 00:08:43,400 --> 00:08:47,000 Speaker 1: to ask you, Oh, I have something, but not directly. 158 00:08:47,559 --> 00:08:51,199 Speaker 1: Well he will, He'll let him miss here. No, no, no, no, 159 00:08:51,280 --> 00:08:53,520 Speaker 1: I really wanted to ask. There's a million things to 160 00:08:53,559 --> 00:08:56,360 Speaker 1: talk with you about, but there's something very specific that 161 00:08:56,400 --> 00:08:59,680 Speaker 1: I need to know. So I am a person who 162 00:08:59,760 --> 00:09:01,480 Speaker 1: and this is one of my goals One of my 163 00:09:01,600 --> 00:09:04,520 Speaker 1: dreams is to book a franchise big enough that there 164 00:09:04,559 --> 00:09:07,280 Speaker 1: will be a theme park ride made after it, so 165 00:09:07,360 --> 00:09:11,440 Speaker 1: that I can be acting on the videos that play 166 00:09:11,520 --> 00:09:15,240 Speaker 1: in the line for all of time. You are one 167 00:09:15,280 --> 00:09:18,640 Speaker 1: of the few people who has sort of um achieved this. 168 00:09:19,760 --> 00:09:27,760 Speaker 1: So you are on a loop at all times, well 169 00:09:27,840 --> 00:09:30,880 Speaker 1: not seven, maybe some special days of the year. But 170 00:09:30,960 --> 00:09:33,440 Speaker 1: let's just say if if, if there, if the theme 171 00:09:33,480 --> 00:09:37,120 Speaker 1: park known as Universal Studios is open and b D 172 00:09:37,480 --> 00:09:40,040 Speaker 1: is performing in it, you are on a loop in 173 00:09:40,080 --> 00:09:43,360 Speaker 1: the Jurassic World attractions. I've never seen this, by the way, 174 00:09:43,640 --> 00:09:46,880 Speaker 1: but I've never seen it. I've never but something by 175 00:09:46,880 --> 00:09:49,480 Speaker 1: the time it, I mean, it's not that old. And 176 00:09:49,520 --> 00:09:52,000 Speaker 1: then yeah, I haven't been to l A and they 177 00:09:52,080 --> 00:09:54,560 Speaker 1: have to have a lot pandemic and all that stuff, 178 00:09:54,640 --> 00:09:56,880 Speaker 1: So I have not seen it. But what was the 179 00:09:56,920 --> 00:10:00,640 Speaker 1: experience of shooting the footage of a theme park? Very 180 00:10:00,679 --> 00:10:03,600 Speaker 1: strange because it's way after the fact, it's not part 181 00:10:03,640 --> 00:10:06,679 Speaker 1: of the movie. It has to be separate from the movie, 182 00:10:06,720 --> 00:10:08,719 Speaker 1: but have to have all the approvals and it has 183 00:10:08,800 --> 00:10:12,160 Speaker 1: to adhere to all of the story points and blah 184 00:10:12,200 --> 00:10:15,960 Speaker 1: blah blah, and Colin Trobarrow the director of the Jurassic World, 185 00:10:16,080 --> 00:10:18,880 Speaker 1: two of the three directors World movies, has to approve 186 00:10:18,960 --> 00:10:22,400 Speaker 1: of what is being said. But at the same time, 187 00:10:23,440 --> 00:10:26,240 Speaker 1: costume and wardrobe and like, these people are just kind 188 00:10:26,240 --> 00:10:28,280 Speaker 1: of hired to do put it together, and they kind 189 00:10:28,280 --> 00:10:31,120 Speaker 1: of watched the movie and kind of recreated but you 190 00:10:31,120 --> 00:10:34,400 Speaker 1: don't have like your real costume or or you know 191 00:10:34,480 --> 00:10:37,080 Speaker 1: that it's not like it's not as you can imagine 192 00:10:37,160 --> 00:10:39,520 Speaker 1: you think about it from a production standardpoint, it's a 193 00:10:39,520 --> 00:10:42,480 Speaker 1: whole new, separate production. Yeah, okay. I didn't know that though, 194 00:10:42,520 --> 00:10:45,160 Speaker 1: because I heard the Marvel people that it's sort of 195 00:10:45,200 --> 00:10:47,600 Speaker 1: built into their like Guardians of the Galaxy, and they 196 00:10:47,640 --> 00:10:51,079 Speaker 1: shot footage for the Disney ride while they were shooting 197 00:10:51,160 --> 00:10:53,480 Speaker 1: the new Guardians, like and I didn't know if that 198 00:10:53,559 --> 00:10:55,480 Speaker 1: was the case for YouTube. It wasn't. And that was 199 00:10:55,640 --> 00:10:57,679 Speaker 1: and I think that was only just because this one 200 00:10:57,920 --> 00:11:00,080 Speaker 1: was made after the fact, you know, like they the 201 00:11:00,120 --> 00:11:02,320 Speaker 1: time we figured out that they wanted to make this ride, 202 00:11:02,400 --> 00:11:04,400 Speaker 1: the movies were done or the movies were coming and 203 00:11:04,440 --> 00:11:08,920 Speaker 1: they were coordinating it. But it wasn't bad. It wasn't 204 00:11:09,160 --> 00:11:11,920 Speaker 1: It was just kind of as as the performer. It's 205 00:11:11,960 --> 00:11:15,680 Speaker 1: odd because you think you're done with it, and then 206 00:11:15,760 --> 00:11:17,800 Speaker 1: you come back and it's like okay, And then then 207 00:11:17,840 --> 00:11:21,160 Speaker 1: you find yourself in the strange position where you're explaining 208 00:11:21,200 --> 00:11:25,960 Speaker 1: to them very basic things or reading the script and saying, yeah, 209 00:11:26,000 --> 00:11:28,400 Speaker 1: I don't know. It doesn't really feel like that feels 210 00:11:28,440 --> 00:11:31,760 Speaker 1: like the writing is exactly what he might say, so 211 00:11:31,880 --> 00:11:33,959 Speaker 1: maybe I would. So then I got involved in that. 212 00:11:35,120 --> 00:11:39,680 Speaker 1: So there was like writing involved, and um, there's nothing 213 00:11:39,720 --> 00:11:42,439 Speaker 1: wrong with that either, but it isn't what you would assume, 214 00:11:42,480 --> 00:11:44,240 Speaker 1: like you'd get the script and go, oh, I see 215 00:11:44,320 --> 00:11:48,160 Speaker 1: they're all fully aligned already and everything is together there. 216 00:11:48,200 --> 00:11:49,960 Speaker 1: They have a learning curve to the people that are 217 00:11:49,960 --> 00:11:54,440 Speaker 1: putting it together, and there are three of them. Oh, 218 00:11:54,520 --> 00:11:57,679 Speaker 1: this is what's really interesting. There's a Florida one and 219 00:11:57,720 --> 00:11:59,520 Speaker 1: I don't know if it's open yet or not, but 220 00:11:59,640 --> 00:12:02,959 Speaker 1: you did shoot new footage for that Velocity coastution. Okay, 221 00:12:02,960 --> 00:12:04,720 Speaker 1: this is this is really what I wanted to ask about, 222 00:12:04,760 --> 00:12:07,360 Speaker 1: because I'm this roller coaster looks intense. B D. You're 223 00:12:07,400 --> 00:12:09,680 Speaker 1: gonna have to get down there. You're gonna have to 224 00:12:09,679 --> 00:12:12,800 Speaker 1: get down there to watch yourself. Weren't gonna weekly different ride, 225 00:12:12,960 --> 00:12:16,160 Speaker 1: completely different audience experience prior to the ride. I forget 226 00:12:16,240 --> 00:12:19,520 Speaker 1: what it's called. It's kind of acronym. And and then 227 00:12:19,720 --> 00:12:22,600 Speaker 1: so that each each team is completely different, the director 228 00:12:22,679 --> 00:12:26,480 Speaker 1: and everybody, everything's just completely different. The first one, the 229 00:12:26,520 --> 00:12:28,200 Speaker 1: one that we did, had a lot at first, had 230 00:12:28,240 --> 00:12:30,240 Speaker 1: a lot of like improv and there was a little 231 00:12:30,240 --> 00:12:33,200 Speaker 1: bit of a wink to it. And then then I 232 00:12:33,200 --> 00:12:35,679 Speaker 1: started as a shoot went on, I got the impression 233 00:12:35,720 --> 00:12:37,599 Speaker 1: they were, Oh, they don't like this, They're going to 234 00:12:37,760 --> 00:12:40,440 Speaker 1: like use all the very serious stuff. So I don't 235 00:12:40,440 --> 00:12:42,400 Speaker 1: even know what it's like. What is it like? Yeah, well, 236 00:12:42,480 --> 00:12:44,160 Speaker 1: the thing is, it's sort of like it's sort of 237 00:12:44,200 --> 00:12:46,600 Speaker 1: like this. It's like we're walking through the queue and 238 00:12:46,720 --> 00:12:49,079 Speaker 1: I I look up to the screens and I see 239 00:12:49,120 --> 00:12:51,400 Speaker 1: that it's you b D. And there's like a lot 240 00:12:51,400 --> 00:12:54,160 Speaker 1: of children screaming around me, you know what I mean, 241 00:12:54,200 --> 00:12:56,400 Speaker 1: So you can't really hear it. So while I think 242 00:12:56,400 --> 00:12:58,520 Speaker 1: that they did appreciate all the improv, I think that 243 00:12:58,559 --> 00:13:00,400 Speaker 1: they thought to themselves, but you know, kids are going 244 00:13:00,440 --> 00:13:02,280 Speaker 1: to be screaming over well, maybe it's still in there, 245 00:13:02,760 --> 00:13:05,760 Speaker 1: and you know you know what, I hope it's you 246 00:13:05,880 --> 00:13:08,439 Speaker 1: improvising about whatever the funk and the kids just screaming 247 00:13:08,440 --> 00:13:09,800 Speaker 1: over it so that they can't even hear it, and 248 00:13:09,800 --> 00:13:12,320 Speaker 1: they don't even know You're not talking about raptors or nothing. 249 00:13:12,600 --> 00:13:15,200 Speaker 1: You're talking about some crazy and exactly I'm talking about 250 00:13:15,200 --> 00:13:19,040 Speaker 1: you guys, exactly, I hope. So, but are the stakes 251 00:13:19,120 --> 00:13:21,520 Speaker 1: lower to you? And maybe this is an unfair question, 252 00:13:21,920 --> 00:13:25,280 Speaker 1: but are the stakes lower to you because it's not 253 00:13:25,440 --> 00:13:30,440 Speaker 1: canonical and because to the children who are like populating 254 00:13:30,440 --> 00:13:34,000 Speaker 1: these parks, they can't track what's going on in the queue, 255 00:13:34,440 --> 00:13:38,160 Speaker 1: like no, well, yes, and no, I mean, let's one 256 00:13:38,240 --> 00:13:41,679 Speaker 1: has to be kind of like not. If I put 257 00:13:41,960 --> 00:13:45,040 Speaker 1: everything into everything all the time, I would never make 258 00:13:45,120 --> 00:13:47,439 Speaker 1: it because there's just so much, you know, like like 259 00:13:47,480 --> 00:13:50,600 Speaker 1: I like I I wanted, I want to do a 260 00:13:50,679 --> 00:13:52,400 Speaker 1: really good job, and I wanted to be as good 261 00:13:52,400 --> 00:13:56,040 Speaker 1: as possible, and I overthink and I over commit and 262 00:13:56,120 --> 00:13:58,960 Speaker 1: like stay up too late whatever I do to prepare. 263 00:14:00,200 --> 00:14:02,880 Speaker 1: But at the same time, it is what it is 264 00:14:03,040 --> 00:14:07,000 Speaker 1: after a certain time. And the best example, Boon, you 265 00:14:06,960 --> 00:14:09,800 Speaker 1: would probably appreciate this. It's the third one. You know 266 00:14:09,920 --> 00:14:14,880 Speaker 1: what the third one is Dominion Dominion Park. Oh, what 267 00:14:15,040 --> 00:14:17,640 Speaker 1: is it? Oh, it's the one. It's the one. Um, yeah, 268 00:14:17,640 --> 00:14:19,920 Speaker 1: the new one that they're opening where is it Hong 269 00:14:20,000 --> 00:14:28,160 Speaker 1: Kong or Japan? And so uh, I had to do 270 00:14:28,200 --> 00:14:33,040 Speaker 1: it in Chinese. I don't speak and I don't speak Chinese, 271 00:14:33,040 --> 00:14:35,600 Speaker 1: so I had to cram Chinese, and then of course 272 00:14:35,600 --> 00:14:40,680 Speaker 1: they dubbed me and the onsets. I will say the 273 00:14:40,840 --> 00:14:45,160 Speaker 1: onset experience for that was very upsetting because I wanted 274 00:14:45,200 --> 00:14:47,240 Speaker 1: to do a good job and I was all of 275 00:14:47,280 --> 00:14:52,520 Speaker 1: my Asian American kind of shame about speaking the language 276 00:14:52,600 --> 00:14:56,000 Speaker 1: and all of that started like coming up, and I 277 00:14:56,040 --> 00:14:57,760 Speaker 1: wanted to do as good a job as possible, but 278 00:14:57,800 --> 00:15:00,640 Speaker 1: they weren't giving me the t is that I needed. 279 00:15:00,640 --> 00:15:02,960 Speaker 1: They wanted to go really fast, and I had explained 280 00:15:02,960 --> 00:15:04,360 Speaker 1: to the months ago, this is what I need, but 281 00:15:04,400 --> 00:15:07,520 Speaker 1: I couldn't. I didn't have it, so so it that 282 00:15:07,600 --> 00:15:09,600 Speaker 1: was disappointing to me. But and that was a perfect 283 00:15:09,600 --> 00:15:11,520 Speaker 1: example of me saying, Okay, you gotta let it go 284 00:15:11,640 --> 00:15:13,920 Speaker 1: because it is what it is. They don't care about 285 00:15:13,960 --> 00:15:15,960 Speaker 1: what you care about, they don't care about any of 286 00:15:16,000 --> 00:15:19,880 Speaker 1: that stuff, so just let it go. But um, but 287 00:15:20,040 --> 00:15:22,000 Speaker 1: that was so by the time I got to the 288 00:15:22,040 --> 00:15:24,520 Speaker 1: third one, I thought, oh wow, I really but again, 289 00:15:24,560 --> 00:15:27,600 Speaker 1: another completely different ride with a completely different script and 290 00:15:27,640 --> 00:15:33,320 Speaker 1: a completely different shooting thing. It's all all independent. Yeah, 291 00:15:33,360 --> 00:15:37,800 Speaker 1: but this is a character Henry Wu who has has 292 00:15:37,880 --> 00:15:43,160 Speaker 1: lived on for twenty plus years, and you wear a 293 00:15:43,200 --> 00:15:47,680 Speaker 1: black turtleneck like, no, no other man and thanks, don't 294 00:15:48,000 --> 00:15:58,240 Speaker 1: you know Sean Connery, But no, no, no. I think 295 00:15:58,280 --> 00:16:02,600 Speaker 1: I think you've remarked on this that after is done 296 00:16:02,640 --> 00:16:05,080 Speaker 1: a little dirty at first, and maybe there is a 297 00:16:05,200 --> 00:16:10,560 Speaker 1: chance for him to occupy this very impactful and I 298 00:16:11,280 --> 00:16:14,240 Speaker 1: think by the time you get to Fall in Kingdom, 299 00:16:14,360 --> 00:16:17,320 Speaker 1: he whatever he's he's basically I mean, doesn't he get 300 00:16:17,360 --> 00:16:21,120 Speaker 1: like whatever, He gets like sterilized and ship he gets 301 00:16:22,000 --> 00:16:26,120 Speaker 1: castrated professionally, Yes, you know, he's like taking his lost 302 00:16:26,160 --> 00:16:31,120 Speaker 1: his license and and so he's been humbold because he's 303 00:16:31,280 --> 00:16:33,760 Speaker 1: really arrogant. In the first of the three of the 304 00:16:33,840 --> 00:16:36,760 Speaker 1: of the Jurassic World movies, he's very that's the black 305 00:16:36,880 --> 00:16:39,880 Speaker 1: that's the black turtleneck thing. Yeah. Yes, he was really 306 00:16:39,920 --> 00:16:41,400 Speaker 1: the cock of the walk. You know, he he knew 307 00:16:41,400 --> 00:16:44,080 Speaker 1: he was the hottest man in the world. Yeah, it was, 308 00:16:44,600 --> 00:16:48,840 Speaker 1: you know, Yes, he was basically Steve Jobs. Basically when 309 00:16:48,840 --> 00:16:50,800 Speaker 1: when you guys were just saying he was sterilized, I 310 00:16:50,840 --> 00:16:52,640 Speaker 1: was like, Okay, how high was I when I watched 311 00:16:52,640 --> 00:16:54,800 Speaker 1: that movie, because like, I don't I don't remember him 312 00:16:54,800 --> 00:16:57,360 Speaker 1: being sterilized, but I remember a lot of crazy should happened, 313 00:16:57,440 --> 00:16:59,640 Speaker 1: like the Little girl let the doc let Disgnus was 314 00:16:59,680 --> 00:17:02,480 Speaker 1: free at and because she was like them too. Yeah, 315 00:17:02,520 --> 00:17:04,639 Speaker 1: I was like, this movie is camp. I love it. 316 00:17:04,800 --> 00:17:07,639 Speaker 1: In the original, in the original novel and the book 317 00:17:07,760 --> 00:17:11,879 Speaker 1: the Michael Criton like like Henry wu is like like 318 00:17:11,960 --> 00:17:16,600 Speaker 1: just to him part of Yeah, they need to beef 319 00:17:16,680 --> 00:17:18,320 Speaker 1: up the role. How is the how is the how 320 00:17:18,400 --> 00:17:20,840 Speaker 1: is it in dominion? What can you say? He can't 321 00:17:20,880 --> 00:17:23,000 Speaker 1: say anything. I won't say a lot, but I can 322 00:17:23,080 --> 00:17:25,840 Speaker 1: say fun things. Well, first of all, just attract the 323 00:17:25,880 --> 00:17:28,320 Speaker 1: whole thing. I think this is one of the more 324 00:17:28,359 --> 00:17:31,320 Speaker 1: interesting things that's ever happened to me, actually, because when 325 00:17:31,480 --> 00:17:34,639 Speaker 1: I was asked to come an audition for the part, 326 00:17:35,359 --> 00:17:40,080 Speaker 1: I was, um, I had I read the book and 327 00:17:40,119 --> 00:17:43,120 Speaker 1: I was I got really excited, and then they had 328 00:17:43,160 --> 00:17:46,840 Speaker 1: to read scenes from the book to audition. I forgot 329 00:17:46,880 --> 00:17:49,040 Speaker 1: how it was very strange, it was very it was 330 00:17:49,080 --> 00:17:53,359 Speaker 1: not a real script. And then um, I got the 331 00:17:53,359 --> 00:17:55,000 Speaker 1: part and I was really excited. And then I got 332 00:17:55,000 --> 00:18:00,240 Speaker 1: booked for one day and I thought oh no, that 333 00:18:00,320 --> 00:18:02,520 Speaker 1: about what could could they do all that? And one day? 334 00:18:02,520 --> 00:18:04,520 Speaker 1: And I thought no? And so then because I hadn't 335 00:18:04,520 --> 00:18:07,440 Speaker 1: read the script, and then I find that it was 336 00:18:07,440 --> 00:18:08,520 Speaker 1: one of those things we had to go to the 337 00:18:08,560 --> 00:18:11,679 Speaker 1: somebody's Steve Spielberg's office, sit in the lobby in the 338 00:18:11,680 --> 00:18:15,160 Speaker 1: waiting room, read it and give it back. And and um, 339 00:18:15,440 --> 00:18:17,560 Speaker 1: I've read it and discovered it was a one day part. 340 00:18:17,600 --> 00:18:20,439 Speaker 1: It became that part that's in the movie, that that's it, 341 00:18:20,920 --> 00:18:24,080 Speaker 1: without even an ending, like everyone's fleeing the island and 342 00:18:24,080 --> 00:18:27,679 Speaker 1: all that stuff. That person made no impact was had, 343 00:18:27,720 --> 00:18:31,200 Speaker 1: there was no consequence to them. And I was very 344 00:18:31,200 --> 00:18:34,800 Speaker 1: disappointed personally. And I also had enough of a spine 345 00:18:34,800 --> 00:18:37,440 Speaker 1: at that time to think, is this an Asian American thing? 346 00:18:37,560 --> 00:18:39,679 Speaker 1: Is this because there's no Asian American movie stars and 347 00:18:39,720 --> 00:18:43,000 Speaker 1: I'm not one of them. And and I really believed 348 00:18:43,040 --> 00:18:46,440 Speaker 1: that they had to make this cuts and changes and 349 00:18:46,760 --> 00:18:48,440 Speaker 1: you know, the people are all still alive again to 350 00:18:48,520 --> 00:18:52,520 Speaker 1: last them. But but um, I think they didn't care 351 00:18:52,560 --> 00:18:56,160 Speaker 1: about this character because he didn't appeal to the audience 352 00:18:56,160 --> 00:19:01,680 Speaker 1: at that time in our cultural history. And so that 353 00:19:01,760 --> 00:19:04,520 Speaker 1: was great, and then it was over and and then 354 00:19:04,720 --> 00:19:07,639 Speaker 1: years later it came back around in this very weird 355 00:19:07,720 --> 00:19:10,760 Speaker 1: way because they re in read whatever you call it, 356 00:19:10,840 --> 00:19:14,879 Speaker 1: Reese rebooted the whole thing. And I had a close 357 00:19:14,920 --> 00:19:18,120 Speaker 1: friend Nathan who told me this would happen because he's 358 00:19:18,119 --> 00:19:19,880 Speaker 1: a big friend of the fan fan of the franchise. 359 00:19:19,920 --> 00:19:21,560 Speaker 1: And he says, it it's got to come back to you. 360 00:19:21,600 --> 00:19:22,720 Speaker 1: It has to come back to you. And I said, 361 00:19:23,160 --> 00:19:25,200 Speaker 1: I don't see why it would or how it would, 362 00:19:25,280 --> 00:19:27,560 Speaker 1: but okay, and then it did and he was right, 363 00:19:28,119 --> 00:19:31,640 Speaker 1: And um, the first one happened. And the first one 364 00:19:31,720 --> 00:19:33,879 Speaker 1: was a complete one, a d from the character that 365 00:19:33,960 --> 00:19:37,679 Speaker 1: was in the original movie. And then the second movie 366 00:19:38,000 --> 00:19:41,159 Speaker 1: he's you know, kind of been brought down from that. 367 00:19:41,200 --> 00:19:43,840 Speaker 1: It's like a little bit of a roller coaster. The third. 368 00:19:43,920 --> 00:19:46,959 Speaker 1: All I can say is that I'm okay, and I'll 369 00:19:47,040 --> 00:19:48,600 Speaker 1: let me just give you the landscape of why. I 370 00:19:49,080 --> 00:19:52,240 Speaker 1: mean what I might have thought. I thought one of 371 00:19:52,280 --> 00:19:54,720 Speaker 1: the great things about the original book was that he 372 00:19:54,800 --> 00:19:59,320 Speaker 1: had this incredibly operatic death is kind of like wooly, 373 00:19:59,400 --> 00:20:02,359 Speaker 1: wonderful kind of coming around, you know. It was a 374 00:20:02,400 --> 00:20:08,080 Speaker 1: really three dimensional park. Yeah, like yes, And I thought, wow, 375 00:20:08,400 --> 00:20:10,280 Speaker 1: that would be great. And then of course that never happened, 376 00:20:10,280 --> 00:20:12,440 Speaker 1: and I thought, well, that happened in will it happen 377 00:20:12,480 --> 00:20:14,320 Speaker 1: in the first one? Will that happening the second one? 378 00:20:14,880 --> 00:20:17,760 Speaker 1: And and so I'm not saying that does or doesn't happen. 379 00:20:17,800 --> 00:20:20,239 Speaker 1: I'm just saying I thought that would be really one 380 00:20:20,280 --> 00:20:22,879 Speaker 1: of the great things. But there are other great things 381 00:20:23,119 --> 00:20:25,920 Speaker 1: too that could happen. You can imagine what they are, 382 00:20:26,560 --> 00:20:29,000 Speaker 1: like Bryce Dallas running in a heel again. We want 383 00:20:29,000 --> 00:20:31,320 Speaker 1: to see Bryce Dallas running in the heels again. That's 384 00:20:31,359 --> 00:20:34,960 Speaker 1: that's our big thing in I can't tell you. I'm 385 00:20:34,960 --> 00:20:38,359 Speaker 1: not going to comment about that, but yes, I totally 386 00:20:38,440 --> 00:20:41,280 Speaker 1: understand that is Lawa is Laura during in a ponytail 387 00:20:42,440 --> 00:20:48,639 Speaker 1: salmon buttoned down? Maybe it is samon a hat. No, well, okay, 388 00:20:48,720 --> 00:20:52,400 Speaker 1: they're they're's sucking up. No, I can't even hardly remember. 389 00:20:52,480 --> 00:20:55,960 Speaker 1: This is what the gaze one raptors are chasing you, 390 00:20:56,880 --> 00:20:59,840 Speaker 1: Laura and Bryce Dallas, and we're all of heels, and 391 00:21:00,119 --> 00:21:04,320 Speaker 1: everyone's in heels, and everyone's wearing all salmon like salmon 392 00:21:04,400 --> 00:21:08,200 Speaker 1: button down but also salmon like sort of cool lots 393 00:21:08,200 --> 00:21:16,040 Speaker 1: really because cool like salmon crispy, And maybe Laura's is 394 00:21:16,080 --> 00:21:20,000 Speaker 1: tied at the way at crop midriff, Yes, exactly exactly, 395 00:21:20,040 --> 00:21:22,840 Speaker 1: and we go back to Bryce Dallas' original Jurassic World hair, 396 00:21:22,880 --> 00:21:26,119 Speaker 1: which is what we call the chop. So we need 397 00:21:26,160 --> 00:21:27,800 Speaker 1: to go back to the chop, and they all, you 398 00:21:27,840 --> 00:21:30,560 Speaker 1: all need to be in heels. You get absolutely I'm 399 00:21:30,600 --> 00:21:32,600 Speaker 1: not sure what the death is in the book, but 400 00:21:32,680 --> 00:21:37,360 Speaker 1: you get ripped apart, and it's it's it's iconography. It's 401 00:21:37,480 --> 00:21:40,600 Speaker 1: iconography the way that you die. Yeah. Well, because this 402 00:21:40,920 --> 00:21:47,040 Speaker 1: interior salmon matches the exterior sound Yeah, yes, exactly exactly ripped. Yeah, 403 00:21:47,080 --> 00:21:50,400 Speaker 1: and it's it's it's gorgeous, it's art. It transcends. And 404 00:21:50,440 --> 00:21:53,840 Speaker 1: then at the end, Bryce Dallas and Laura have to 405 00:21:54,080 --> 00:21:57,240 Speaker 1: fight the raptors. That's what I think I want to 406 00:21:57,280 --> 00:22:00,520 Speaker 1: happen with this with this. Yes, they because they look 407 00:22:00,520 --> 00:22:02,640 Speaker 1: at each other and they say, they look at each other, 408 00:22:02,640 --> 00:22:05,240 Speaker 1: and this is what the script writers wrote. Bryce Dallas 409 00:22:05,280 --> 00:22:08,560 Speaker 1: looks at Laura and she says girl power. And then 410 00:22:08,600 --> 00:22:13,520 Speaker 1: they fight and they went exactly and they went. Of course, 411 00:22:13,560 --> 00:22:18,879 Speaker 1: they knock them out, and the t Rex comes in 412 00:22:18,960 --> 00:22:20,399 Speaker 1: and then looks at them and he turns the other 413 00:22:20,400 --> 00:22:21,760 Speaker 1: way and runs the other way. He says, I'm not 414 00:22:21,800 --> 00:22:27,600 Speaker 1: messing with that with those ladies, and for for for 415 00:22:27,680 --> 00:22:33,880 Speaker 1: Henry to die after six movies six I'm miscounting her 416 00:22:34,000 --> 00:22:37,560 Speaker 1: technically four, but I know it's technically six. But actually 417 00:22:37,560 --> 00:22:40,040 Speaker 1: I don't count for two the ones that I'm not 418 00:22:40,119 --> 00:22:44,280 Speaker 1: in Lost World. No, that is that is like, that 419 00:22:44,440 --> 00:22:48,520 Speaker 1: is a big deal for this man to survive the 420 00:22:48,560 --> 00:22:52,520 Speaker 1: course of this story and to be ripped apart in 421 00:22:52,600 --> 00:22:55,800 Speaker 1: Salmon at the end, acting as the bridge between the 422 00:22:55,840 --> 00:22:59,359 Speaker 1: generations of you have Bryce who is Who's new? Laura 423 00:22:59,400 --> 00:23:01,760 Speaker 1: who's from the He's from the old school, and then 424 00:23:01,800 --> 00:23:04,480 Speaker 1: you have you have b d who is who? Who? 425 00:23:04,560 --> 00:23:08,600 Speaker 1: Who is a connective tissue? Remember the dinosaurs wouldn't even 426 00:23:08,640 --> 00:23:11,000 Speaker 1: be there without him, that we would not be there 427 00:23:11,000 --> 00:23:13,359 Speaker 1: without him. Yes, and well the thing is what I 428 00:23:13,400 --> 00:23:16,000 Speaker 1: will My response to that is, if you can imagine 429 00:23:17,000 --> 00:23:19,960 Speaker 1: the rollercoaster of it. I mean, he's headed towards some 430 00:23:20,359 --> 00:23:24,040 Speaker 1: thing and this first at this arrogance in the first 431 00:23:24,040 --> 00:23:28,440 Speaker 1: this kind of like I create or energy, and then 432 00:23:28,520 --> 00:23:32,240 Speaker 1: this whole kind of being brought down. A little something 433 00:23:32,320 --> 00:23:34,520 Speaker 1: needs to happen in the third thing. I'm not going 434 00:23:34,560 --> 00:23:36,600 Speaker 1: to tell you what it is, but it could be 435 00:23:37,080 --> 00:23:43,400 Speaker 1: related to the connection back to the original material, which 436 00:23:43,440 --> 00:23:49,679 Speaker 1: is why you know, yeah, I mean, you know, his 437 00:23:49,760 --> 00:23:53,159 Speaker 1: attitude of his attitude about you guys are so funny. 438 00:23:54,200 --> 00:23:57,720 Speaker 1: We are getting it out where he's coming from this 439 00:23:58,440 --> 00:24:01,000 Speaker 1: as this person. But I'm not gonna say anything because 440 00:24:01,000 --> 00:24:05,520 Speaker 1: I don't want to miss lead or you know they say, 441 00:24:06,560 --> 00:24:11,960 Speaker 1: is gold bloom in this last one? Yes, Oh my god. 442 00:24:12,800 --> 00:24:16,760 Speaker 1: Three of them are hilarious. They're they're they're they're great together. 443 00:24:17,040 --> 00:24:28,000 Speaker 1: Who you're talking about, Laura, Sam and Jeff. One of 444 00:24:28,040 --> 00:24:31,119 Speaker 1: the icons of Lost Coach is Bryce Dallas. What is 445 00:24:31,160 --> 00:24:35,760 Speaker 1: Bryce Dallas? Like? Incredible? Like we love Bryce Dallas. Yes, 446 00:24:36,480 --> 00:24:40,520 Speaker 1: he has an incredible sense of humor. She's she's totally 447 00:24:40,920 --> 00:24:44,080 Speaker 1: um nothing but you know, like that kind of real, 448 00:24:44,240 --> 00:24:47,800 Speaker 1: there's no pretense or anything. She's extremely smart. She was 449 00:24:47,960 --> 00:24:53,480 Speaker 1: the spearhead and the UM took a huge leadership role 450 00:24:54,040 --> 00:24:58,720 Speaker 1: in the um. What's the word going into production in 451 00:24:58,760 --> 00:25:02,639 Speaker 1: this movie, it's the early part of the pandemic really, 452 00:25:02,640 --> 00:25:06,080 Speaker 1: So she's the one that got us all together and said, Okay, 453 00:25:06,119 --> 00:25:08,560 Speaker 1: this is what I've found out so far about what's possible, 454 00:25:09,160 --> 00:25:11,440 Speaker 1: and this is what I'm saying to production about what 455 00:25:11,520 --> 00:25:17,280 Speaker 1: we want because we can't do this without absolute absolute 456 00:25:17,320 --> 00:25:20,919 Speaker 1: precautions and protocols that have to be in place, and 457 00:25:20,960 --> 00:25:23,800 Speaker 1: so that, you know, because they wanted they were proposing 458 00:25:23,920 --> 00:25:27,200 Speaker 1: that we would go into production, back into profit because 459 00:25:27,200 --> 00:25:30,560 Speaker 1: the movie was shooting in January and February and then 460 00:25:30,600 --> 00:25:34,439 Speaker 1: shut down like everything else. And then they came to 461 00:25:34,560 --> 00:25:37,560 Speaker 1: us like in May or something and wanted us to 462 00:25:37,560 --> 00:25:42,080 Speaker 1: shoot in June. And she said, I I said, I 463 00:25:42,119 --> 00:25:44,720 Speaker 1: can't picture that at all. I mean I was I 464 00:25:44,760 --> 00:25:48,520 Speaker 1: wasn't even leaving getting out of bed, and and and 465 00:25:48,600 --> 00:25:51,680 Speaker 1: so she was the one that got We eventually went 466 00:25:51,720 --> 00:25:54,320 Speaker 1: back in the end of July, I think it was, 467 00:25:55,200 --> 00:25:58,280 Speaker 1: and which was which seemed really fast, but it was 468 00:25:58,400 --> 00:26:01,280 Speaker 1: because all of this stuff had been put into place. 469 00:26:01,359 --> 00:26:04,560 Speaker 1: They really bend over backwards to get this movie finished. 470 00:26:04,840 --> 00:26:07,919 Speaker 1: They wanted it done by a certain date. That was 471 00:26:08,000 --> 00:26:12,320 Speaker 1: their first motivation. But then there what quickly overtook that 472 00:26:12,480 --> 00:26:15,040 Speaker 1: was this desire for it to be done properly because 473 00:26:15,040 --> 00:26:17,680 Speaker 1: it was the first movie to go back into production. Yeah, 474 00:26:17,760 --> 00:26:20,000 Speaker 1: y'all were back really early. I remember seeing like Laura 475 00:26:20,080 --> 00:26:22,200 Speaker 1: Durn's Instagram because it was like a huge deal when 476 00:26:22,240 --> 00:26:24,119 Speaker 1: she posted that she was on set. Of course her 477 00:26:24,440 --> 00:26:26,720 Speaker 1: Laura Durn, and it being Durassic Park. I remember it 478 00:26:26,800 --> 00:26:29,639 Speaker 1: felt early. I was like, wow, it feels like in America, 479 00:26:30,160 --> 00:26:33,199 Speaker 1: this could not happen. That's right, that's right. And so 480 00:26:33,320 --> 00:26:35,200 Speaker 1: but that's on topic. That is the answer to the 481 00:26:35,280 --> 00:26:37,720 Speaker 1: question about what's Bryce like. I mean, she has this 482 00:26:38,320 --> 00:26:43,600 Speaker 1: real energy and super intelligence when it comes to laying 483 00:26:43,640 --> 00:26:46,280 Speaker 1: out all the facts and compiling it, and then she 484 00:26:46,320 --> 00:26:49,160 Speaker 1: has people skills to bring people together and get them 485 00:26:49,200 --> 00:26:52,399 Speaker 1: to want to um, yeah, to do it and to 486 00:26:52,440 --> 00:26:55,040 Speaker 1: be you know, she was a really great team leader. 487 00:26:55,840 --> 00:26:58,679 Speaker 1: That's skilled. That's that's wonderful. That's wonderful to hear it. 488 00:26:58,880 --> 00:27:01,399 Speaker 1: We love hearing it. I Oh, that was it was this. 489 00:27:01,400 --> 00:27:06,960 Speaker 1: This was of course the uh third, really the fourth 490 00:27:07,000 --> 00:27:08,480 Speaker 1: time that I worked with her, because I did three 491 00:27:08,480 --> 00:27:11,080 Speaker 1: of these movies with her, But then I went in 492 00:27:11,280 --> 00:27:17,520 Speaker 1: nineteen and twenty three, I did Our Town with her 493 00:27:17,720 --> 00:27:22,840 Speaker 1: at the theater in sag Harbor, and I played her father. 494 00:27:25,600 --> 00:27:28,800 Speaker 1: You were Bryce's dad, Yes, I was Bryce's dad in 495 00:27:28,960 --> 00:27:31,679 Speaker 1: that production of Our Time. So that was when I 496 00:27:31,720 --> 00:27:35,040 Speaker 1: first kind of really fell for her because she was 497 00:27:35,080 --> 00:27:38,320 Speaker 1: so she was she was also just like out of school, 498 00:27:38,359 --> 00:27:43,520 Speaker 1: you know, she was really young and fresh and yeah, yeah, 499 00:27:43,520 --> 00:27:45,240 Speaker 1: she was in E two, W this photos of her 500 00:27:45,240 --> 00:27:48,480 Speaker 1: in the hallway not playing the family card at all, 501 00:27:48,800 --> 00:27:52,560 Speaker 1: and well not she never does that. But but um, 502 00:27:52,600 --> 00:27:55,439 Speaker 1: you know then when you think some kids might she 503 00:27:55,440 --> 00:27:58,240 Speaker 1: she certainly didn't do that. I love to hear it. 504 00:27:59,080 --> 00:28:01,359 Speaker 1: I have a quest been I mean, we're on the 505 00:28:01,359 --> 00:28:05,600 Speaker 1: topic of theater. I have a specific question to ask 506 00:28:06,480 --> 00:28:14,240 Speaker 1: about Pacific Overtures. I because I think it's really fascinating 507 00:28:14,280 --> 00:28:16,760 Speaker 1: that it is this. It's a Sondheim show that is like, 508 00:28:17,520 --> 00:28:19,800 Speaker 1: probably is this fair to say b d like the 509 00:28:19,960 --> 00:28:26,639 Speaker 1: least produced Sondheims share because because because because of so 510 00:28:26,680 --> 00:28:30,800 Speaker 1: many reasons, there's a lot of production demands. Um. And 511 00:28:30,880 --> 00:28:36,879 Speaker 1: in terms of the casting, it demands a big full 512 00:28:37,119 --> 00:28:42,240 Speaker 1: cast of Asian dancers, singers, actors, what have you to 513 00:28:42,520 --> 00:28:46,640 Speaker 1: recreate some like kabuki presentation. Um. And it's just it's 514 00:28:46,640 --> 00:28:51,320 Speaker 1: just a very it's a very layered show. And so 515 00:28:52,120 --> 00:28:58,000 Speaker 1: I feel like it both like is inspiring and it's 516 00:28:58,000 --> 00:29:00,560 Speaker 1: a little bit sad that it is a show that 517 00:29:00,680 --> 00:29:03,480 Speaker 1: like no one really that no one really gets, even 518 00:29:03,520 --> 00:29:07,360 Speaker 1: even the most like even the biggest time free Yeah, 519 00:29:07,440 --> 00:29:10,600 Speaker 1: it's like the one that people don't really like. They 520 00:29:10,640 --> 00:29:13,800 Speaker 1: don't really engage with. And it's got some of the 521 00:29:14,000 --> 00:29:15,920 Speaker 1: most beautiful music in it and some of the most 522 00:29:15,960 --> 00:29:20,320 Speaker 1: intelligent material and some of the most spectacular everything. It's 523 00:29:20,360 --> 00:29:23,560 Speaker 1: it's a great it's a really interesting and it's certainly 524 00:29:23,600 --> 00:29:27,240 Speaker 1: interesting to study. But it is so this is such 525 00:29:27,280 --> 00:29:30,680 Speaker 1: a rich conversation to have, Like it's got so many 526 00:29:30,760 --> 00:29:33,840 Speaker 1: layers to it. I mean, it is, let's call it 527 00:29:33,880 --> 00:29:37,120 Speaker 1: what it is, a show written by two brilliant white 528 00:29:37,200 --> 00:29:41,160 Speaker 1: guys about this very Japanese you know, it was it 529 00:29:41,200 --> 00:29:43,360 Speaker 1: was a it was a bit of a folly for them, 530 00:29:43,440 --> 00:29:45,280 Speaker 1: or kind of an experience. The way I look at 531 00:29:45,280 --> 00:29:49,520 Speaker 1: it now looking back, I used to be absolutely just 532 00:29:50,120 --> 00:29:52,120 Speaker 1: in love with it from top to about, you know, 533 00:29:52,160 --> 00:29:54,719 Speaker 1: like it could do no wrong. But as I've gotten 534 00:29:54,720 --> 00:29:57,160 Speaker 1: older and it kind of evaluated, well, what is it? 535 00:29:57,200 --> 00:30:01,240 Speaker 1: What is appropriation? And what does it mean to me? 536 00:30:01,360 --> 00:30:03,880 Speaker 1: And when is it really you know, if if I'm 537 00:30:03,880 --> 00:30:07,440 Speaker 1: applying all my rules of appropriation, Pacific Overtures is in 538 00:30:07,480 --> 00:30:10,040 Speaker 1: many ways like the Rogers and Eberstein shows of the 539 00:30:10,160 --> 00:30:14,640 Speaker 1: of the of the fifties and sixties appropriation and and 540 00:30:15,520 --> 00:30:18,960 Speaker 1: it just so happens that all of these shows, I'd say, 541 00:30:19,320 --> 00:30:21,520 Speaker 1: I'd say the King and I and and and Flower 542 00:30:21,600 --> 00:30:25,080 Speaker 1: Drum Song and and and this show, Pacific Overtures have 543 00:30:25,200 --> 00:30:29,920 Speaker 1: an integrity to them that allows their appropriation to be 544 00:30:30,320 --> 00:30:34,560 Speaker 1: acceptable to us for the most part. And and and 545 00:30:34,640 --> 00:30:37,520 Speaker 1: so this was that and and Pacific Overtures is a 546 00:30:37,600 --> 00:30:43,840 Speaker 1: show which has such kind of ambitious, intelligent um um 547 00:30:43,880 --> 00:30:49,200 Speaker 1: aspirations that um, the idea of it being appropriation is 548 00:30:49,240 --> 00:30:53,239 Speaker 1: really never discussed because um, it's such an interesting and 549 00:30:53,280 --> 00:30:56,000 Speaker 1: wonderful and beautiful show, and because it gave us a 550 00:30:56,000 --> 00:30:58,280 Speaker 1: lot of jobs, and because it put us you know, 551 00:30:58,360 --> 00:31:01,120 Speaker 1: we did the show. We h. But this is what 552 00:31:01,200 --> 00:31:04,760 Speaker 1: I want to ask, is that, like, what was it 553 00:31:04,800 --> 00:31:08,800 Speaker 1: like working on that show? And to be because I 554 00:31:08,800 --> 00:31:13,400 Speaker 1: I am like naively have until literally we did this 555 00:31:13,440 --> 00:31:15,240 Speaker 1: thing over the summer. Matt and I were both involved 556 00:31:15,280 --> 00:31:19,200 Speaker 1: and Beats project songs from I made bed song cycle 557 00:31:19,240 --> 00:31:21,920 Speaker 1: that he put out in that that was really fun, fun, 558 00:31:22,680 --> 00:31:25,600 Speaker 1: so fun. Um. But we were on a zoom call 559 00:31:25,840 --> 00:31:28,400 Speaker 1: Beauty with like all these all these other actors and 560 00:31:28,520 --> 00:31:32,920 Speaker 1: I and I had the terrible, terrible thought, Wow, it's 561 00:31:32,960 --> 00:31:38,520 Speaker 1: so incredible that there are so many Asian like Broadway 562 00:31:38,560 --> 00:31:41,640 Speaker 1: performance I was definitely like I had I had no 563 00:31:41,760 --> 00:31:43,600 Speaker 1: business being there, but I was like, there's so many 564 00:31:44,000 --> 00:31:49,920 Speaker 1: fantastic Asian and can happen to be gay men, gay 565 00:31:49,920 --> 00:31:52,680 Speaker 1: men who were who were who were just these huge talents. 566 00:31:53,000 --> 00:31:55,920 Speaker 1: And and when I when I think about Pacific Overtures, 567 00:31:55,960 --> 00:31:59,280 Speaker 1: I go, man, like, it must have been a trip 568 00:31:59,360 --> 00:32:01,920 Speaker 1: to like be part be a part of that orders 569 00:32:01,920 --> 00:32:04,479 Speaker 1: to have any awareness of it, and think wow, like 570 00:32:04,560 --> 00:32:06,280 Speaker 1: you were led to believe that there's a dearth of 571 00:32:06,320 --> 00:32:09,239 Speaker 1: this kind of performer, of these kinds of people who 572 00:32:09,280 --> 00:32:12,080 Speaker 1: are capable of putting on this kind of show, a 573 00:32:12,120 --> 00:32:15,160 Speaker 1: show that demands so much from its performers. And I'm like, 574 00:32:15,680 --> 00:32:18,360 Speaker 1: it really fucking I don't know. It bumps me out 575 00:32:18,360 --> 00:32:20,120 Speaker 1: when I think, I mean, now, it's like we we 576 00:32:20,120 --> 00:32:21,719 Speaker 1: we know this to be true, but like I mean, 577 00:32:21,760 --> 00:32:24,440 Speaker 1: I really and this, I think this is like this, 578 00:32:24,440 --> 00:32:28,120 Speaker 1: this moves beyond like any like cursory discussion about representation. 579 00:32:28,200 --> 00:32:31,840 Speaker 1: I'm just thinking, like even even like even now and go, wow, 580 00:32:31,880 --> 00:32:35,200 Speaker 1: I didn't realize we're all out here, do you know 581 00:32:35,240 --> 00:32:38,080 Speaker 1: what I'm saying? Well, yeah, you were, you yourself had 582 00:32:38,120 --> 00:32:41,280 Speaker 1: that experience being an Asian American person was separate from 583 00:32:41,320 --> 00:32:44,920 Speaker 1: I mean, you actually had that AHA moment which surprised 584 00:32:44,960 --> 00:32:47,760 Speaker 1: you and disappointed you at the same time. And for Nora, 585 00:32:48,120 --> 00:32:51,680 Speaker 1: no no, just while you you were you were having 586 00:32:51,720 --> 00:32:55,240 Speaker 1: an AHA moment that was was kind of great but 587 00:32:55,320 --> 00:32:57,360 Speaker 1: also kind of sad at the same time. And and 588 00:32:57,360 --> 00:33:00,200 Speaker 1: and and it hadn't occurred to you in the same way. Right, 589 00:33:00,320 --> 00:33:02,320 Speaker 1: it's snuck up on you. I guess that's what I mean. 590 00:33:02,600 --> 00:33:06,760 Speaker 1: And and and to me, it's there's all these different 591 00:33:07,560 --> 00:33:13,280 Speaker 1: perspectives about representation and appropriation and all that. And one 592 00:33:13,320 --> 00:33:16,600 Speaker 1: of them is the observance of history as it's playing 593 00:33:16,600 --> 00:33:19,880 Speaker 1: out or or or the situation in the world as 594 00:33:19,880 --> 00:33:22,480 Speaker 1: it's playing out. And then another thing which can be 595 00:33:22,640 --> 00:33:25,200 Speaker 1: very different is how you feel about it or what 596 00:33:25,360 --> 00:33:29,440 Speaker 1: your involvement or what you're overlapping with it is. Pacific 597 00:33:29,520 --> 00:33:36,120 Speaker 1: Overtures was two thousand four four. Oh yeah, I guess 598 00:33:36,120 --> 00:33:38,200 Speaker 1: it was two. That's episode was after I met Bryce, 599 00:33:38,560 --> 00:33:43,280 Speaker 1: and it was um that those are your time. By 600 00:33:43,280 --> 00:33:46,240 Speaker 1: the way, for me, there's for me, there's before Bryce 601 00:33:46,280 --> 00:33:49,200 Speaker 1: and after Bryce as well. When I first saw the Help, 602 00:33:49,280 --> 00:33:51,440 Speaker 1: but it was it was it was two thousand four 603 00:33:51,680 --> 00:33:54,920 Speaker 1: and the original production was in nineteen seventy nineteen seventies 604 00:33:54,920 --> 00:34:00,520 Speaker 1: six and UM. Then UM between that in nine two 605 00:34:00,640 --> 00:34:03,959 Speaker 1: or so was Miss Saigon, and Miss Saigon plays this 606 00:34:04,080 --> 00:34:09,000 Speaker 1: huge role in our timeline for going on UM kind 607 00:34:09,000 --> 00:34:12,200 Speaker 1: of creating a conversation about the casting of Asian people 608 00:34:12,239 --> 00:34:15,400 Speaker 1: in general, and after that say what you will about 609 00:34:15,400 --> 00:34:20,160 Speaker 1: that conversation. There was a change in the way that 610 00:34:20,200 --> 00:34:24,600 Speaker 1: we were taken seriously as musical theater performers, broadway performers, 611 00:34:24,640 --> 00:34:27,640 Speaker 1: and a lot of jobs came from the many years 612 00:34:27,640 --> 00:34:33,320 Speaker 1: that Miss Saigon ran and allowed us in many ways, 613 00:34:33,440 --> 00:34:38,640 Speaker 1: not the only reason, but allowed us to establish UM 614 00:34:38,680 --> 00:34:41,400 Speaker 1: a community of actors in New York who were a 615 00:34:41,480 --> 00:34:44,760 Speaker 1: musical theater performers that continues to grow and be nurtured 616 00:34:44,800 --> 00:34:49,120 Speaker 1: and to um strength in itself. And you realize throughout 617 00:34:49,120 --> 00:34:53,240 Speaker 1: the course of this how much the experience of doing 618 00:34:53,280 --> 00:34:56,200 Speaker 1: what you're doing has to do with the building of 619 00:34:56,200 --> 00:35:00,680 Speaker 1: that community. You yourself are you know, in a in 620 00:35:00,680 --> 00:35:02,840 Speaker 1: a situation where people say, well, how how come this 621 00:35:02,880 --> 00:35:04,359 Speaker 1: has taken so a long? How come this is taken 622 00:35:04,360 --> 00:35:06,719 Speaker 1: so long that there isn't another There hasn't been a 623 00:35:06,719 --> 00:35:11,000 Speaker 1: person Asian person on SNL for ever ever there has been, 624 00:35:11,160 --> 00:35:15,000 Speaker 1: and the default was always well, they just aren't any 625 00:35:15,080 --> 00:35:17,839 Speaker 1: I mean, we just don't do that. We're not funny. 626 00:35:18,120 --> 00:35:21,600 Speaker 1: And and the actually, the actual real answer is because 627 00:35:22,400 --> 00:35:25,680 Speaker 1: we don't have a building block process or developmental process, 628 00:35:25,760 --> 00:35:29,600 Speaker 1: or an educational process or an experiential process that leads 629 00:35:29,719 --> 00:35:32,799 Speaker 1: us there and and safely gets delivers us there, so 630 00:35:32,840 --> 00:35:39,359 Speaker 1: that the ultimate inevitability of it, it happens naturally. And 631 00:35:39,360 --> 00:35:43,960 Speaker 1: and that's very like, that's a lot of things that 632 00:35:44,000 --> 00:35:45,719 Speaker 1: need to be fixed in order for the world to 633 00:35:45,760 --> 00:35:47,759 Speaker 1: be a better place. You know, it's like a lot 634 00:35:47,840 --> 00:35:52,200 Speaker 1: of stuff that happens in and creates a situation that 635 00:35:52,440 --> 00:35:56,600 Speaker 1: is easily written off as a talent issue or a 636 00:35:57,320 --> 00:36:00,719 Speaker 1: or whatever. I mean. There's also the issue, Yes, there's 637 00:36:00,719 --> 00:36:03,520 Speaker 1: an issue of of our relationship to our parents and 638 00:36:03,560 --> 00:36:06,440 Speaker 1: what what happens to our relationships with them when we 639 00:36:06,640 --> 00:36:08,560 Speaker 1: either come out or decide that we're going to tell 640 00:36:08,600 --> 00:36:11,000 Speaker 1: them that we're going to be actors. Yeah, and then 641 00:36:11,000 --> 00:36:13,319 Speaker 1: and then you and I have done both, yes, and 642 00:36:13,360 --> 00:36:17,680 Speaker 1: it's it's they're similar reactions. They're similar reactions, and they're 643 00:36:17,680 --> 00:36:20,480 Speaker 1: similar yeah, similar fears and and all of that, and 644 00:36:20,520 --> 00:36:23,479 Speaker 1: it's there is not to be super general, but there's 645 00:36:23,480 --> 00:36:29,719 Speaker 1: a cultural aspect to why certain generation of Asian American 646 00:36:30,200 --> 00:36:35,359 Speaker 1: UH parents are are a little more controlling with their 647 00:36:35,440 --> 00:36:39,439 Speaker 1: kids about what their future is sure, And so that's 648 00:36:39,440 --> 00:36:42,279 Speaker 1: all part of swirling around in this whole thing. And 649 00:36:42,320 --> 00:36:46,520 Speaker 1: then you have a show like Pacific Overtures, which creates opportunities. 650 00:36:46,800 --> 00:36:50,560 Speaker 1: UM Missigan also creates opportunities, and there's a gratefulness to 651 00:36:50,640 --> 00:36:55,840 Speaker 1: them that you sometimes have to kind of remind yourself, 652 00:36:56,239 --> 00:36:58,960 Speaker 1: is is not the only you know that, that's not 653 00:36:59,000 --> 00:37:01,919 Speaker 1: the only answers on the start to everything? Is someone 654 00:37:01,960 --> 00:37:05,719 Speaker 1: else creating enough to the indebtedness? Yes, the indebtedness is 655 00:37:05,800 --> 00:37:09,160 Speaker 1: not something that UM is. It should be a fixture 656 00:37:09,280 --> 00:37:10,799 Speaker 1: and and and ore. And then the way that we 657 00:37:10,840 --> 00:37:13,479 Speaker 1: think about things like I this is the whole chapter 658 00:37:13,520 --> 00:37:15,920 Speaker 1: in Cathy Parker. It's the last chapter in essay in 659 00:37:15,960 --> 00:37:19,360 Speaker 1: Kathy Park's book, which is like this feeling of indebtedness 660 00:37:19,360 --> 00:37:21,279 Speaker 1: that it's like, well, I I should be grateful to 661 00:37:21,280 --> 00:37:26,640 Speaker 1: be here is kind of it's a weird mental trap. 662 00:37:26,960 --> 00:37:29,640 Speaker 1: But I I love what you're saying about this community 663 00:37:29,640 --> 00:37:33,520 Speaker 1: building because I feel like I'm about to make a 664 00:37:33,560 --> 00:37:38,000 Speaker 1: statement about you, about about about your beginnings, which I know, 665 00:37:38,040 --> 00:37:40,920 Speaker 1: which which what which is? I mean you you have 666 00:37:40,960 --> 00:37:44,359 Speaker 1: built this, You've built community your entire career. But also 667 00:37:44,440 --> 00:37:47,359 Speaker 1: I feel like that has been informed by the fact 668 00:37:47,440 --> 00:37:50,640 Speaker 1: that you started I mean, you started out doing in Butterfly, 669 00:37:50,920 --> 00:37:56,040 Speaker 1: which was written by an ancient person like this, this 670 00:37:56,120 --> 00:37:58,280 Speaker 1: is it. I don't know, like that is the perfect 671 00:37:58,320 --> 00:38:01,200 Speaker 1: example of it being a self contained thing. That's right, 672 00:38:02,160 --> 00:38:05,040 Speaker 1: that's the that's one of the more graceful ways to 673 00:38:05,080 --> 00:38:07,960 Speaker 1: achieve what we are, what we what one can achieve 674 00:38:08,880 --> 00:38:11,600 Speaker 1: is through self generation. You know. This is why songs 675 00:38:11,640 --> 00:38:13,279 Speaker 1: from an On bade bead. That thing that you guys 676 00:38:13,360 --> 00:38:16,080 Speaker 1: did with me that last summer, it was important to 677 00:38:16,120 --> 00:38:18,360 Speaker 1: me because it was self generated, and it because it 678 00:38:18,400 --> 00:38:21,680 Speaker 1: allowed me to express my point of view from mice 679 00:38:22,560 --> 00:38:26,120 Speaker 1: but without any filter of anyone else's input. And and 680 00:38:26,280 --> 00:38:29,200 Speaker 1: that is important for us to have a kind of 681 00:38:29,239 --> 00:38:33,879 Speaker 1: purity to um the journey of getting where we are 682 00:38:33,880 --> 00:38:36,640 Speaker 1: trying to get um. And yes that I don't know. 683 00:38:36,719 --> 00:38:39,360 Speaker 1: I didn't even to interrupt, but that is what it was. 684 00:38:39,400 --> 00:38:42,880 Speaker 1: It was an experience with an Asian American writer. I 685 00:38:42,920 --> 00:38:44,799 Speaker 1: had never had such an experience before. It was a 686 00:38:44,880 --> 00:38:47,319 Speaker 1: very rare thing and also was a It was a 687 00:38:47,360 --> 00:38:49,840 Speaker 1: play that went to Broadway written by an Asian person. 688 00:38:50,640 --> 00:38:53,000 Speaker 1: I don't think there are very many other examples of 689 00:38:53,040 --> 00:38:55,760 Speaker 1: such a thing, which is amazing when you think about 690 00:38:55,960 --> 00:38:59,520 Speaker 1: how well Broadway is doing. Now, Oh, I guess what's 691 00:38:59,520 --> 00:39:03,319 Speaker 1: her name? You wrote? Um? Straight right men? Yeah, young 692 00:39:03,400 --> 00:39:06,760 Speaker 1: jean Lee, Young jan Lee. And there are, um, surely others, 693 00:39:06,840 --> 00:39:09,080 Speaker 1: but the fact that it's it's not that easy to 694 00:39:09,120 --> 00:39:12,040 Speaker 1: kind of list them, and they're an example of what 695 00:39:12,640 --> 00:39:16,640 Speaker 1: we're talking about. And my question is like, were you 696 00:39:16,719 --> 00:39:19,360 Speaker 1: out your entire career or did that was that something 697 00:39:19,360 --> 00:39:21,440 Speaker 1: that was later? And I also wanted to know if 698 00:39:21,520 --> 00:39:25,279 Speaker 1: you being gay influenced your character on Lauren Order also 699 00:39:25,360 --> 00:39:29,520 Speaker 1: being gay, or was that just like happenstance. It was 700 00:39:29,600 --> 00:39:31,959 Speaker 1: kind of it was you know, I still don't know. 701 00:39:33,120 --> 00:39:35,239 Speaker 1: I think it for me, to be quite honest, I 702 00:39:35,280 --> 00:39:38,480 Speaker 1: felt that was really convenient and kind of like almost 703 00:39:38,560 --> 00:39:41,480 Speaker 1: like not like I wouldn't call it jumping the shark, 704 00:39:42,000 --> 00:39:43,959 Speaker 1: but I would say I had been on the show 705 00:39:43,960 --> 00:39:47,520 Speaker 1: for eleven years, and it's goes to show you how 706 00:39:48,120 --> 00:39:51,400 Speaker 1: thinn the writing was for the character that I was playing. Yeah, 707 00:39:51,560 --> 00:39:54,160 Speaker 1: this was never discussed until this moment, and that they 708 00:39:54,239 --> 00:39:57,920 Speaker 1: felt comfortable just lobbing it out there to serve a 709 00:39:57,960 --> 00:40:02,080 Speaker 1: plot point or a argument that was happening in the Yeah, 710 00:40:02,080 --> 00:40:05,040 Speaker 1: and it was your character being offended at the insinua. 711 00:40:05,160 --> 00:40:07,200 Speaker 1: Like it was like a thing of like there were 712 00:40:07,200 --> 00:40:10,200 Speaker 1: there was like some sort of insinuation that like there 713 00:40:10,239 --> 00:40:12,200 Speaker 1: was like a pedophile on the show they were dealing with, 714 00:40:12,239 --> 00:40:15,640 Speaker 1: and it was it was really it was weird. It 715 00:40:15,719 --> 00:40:18,799 Speaker 1: was it felt a little jammed in there, but but 716 00:40:18,880 --> 00:40:22,320 Speaker 1: I remember it being an example of representation. Like I 717 00:40:22,320 --> 00:40:25,879 Speaker 1: remember at that time everyone was talking about like what 718 00:40:25,880 --> 00:40:27,920 Speaker 1: what like when it was it was like, I guess 719 00:40:28,080 --> 00:40:29,759 Speaker 1: what would you call it turn of the century, like 720 00:40:29,800 --> 00:40:32,920 Speaker 1: around two thousand ish where we started to see well, 721 00:40:32,960 --> 00:40:34,680 Speaker 1: I'm just saying in general, we started to see more 722 00:40:34,680 --> 00:40:38,680 Speaker 1: gay characters. And so I remember watching something on TV 723 00:40:38,840 --> 00:40:41,879 Speaker 1: that was about representation and they were flashing through like 724 00:40:41,920 --> 00:40:44,359 Speaker 1: the I don't know seven or eight gay characters on TV, 725 00:40:44,840 --> 00:40:47,399 Speaker 1: and yours was one of them. And I was like, Oh, 726 00:40:47,440 --> 00:40:50,319 Speaker 1: that's so funny that they include that, because that's a 727 00:40:50,680 --> 00:40:53,880 Speaker 1: that's like a very very tertiary character on that show, 728 00:40:54,200 --> 00:40:55,880 Speaker 1: and yet they're ticking it off as a way to 729 00:40:55,920 --> 00:40:58,719 Speaker 1: pat themselves on the back in terms of representation, And 730 00:40:58,880 --> 00:41:03,040 Speaker 1: I just thought that was so um that that is 731 00:41:03,040 --> 00:41:05,080 Speaker 1: how I felt about it, And I also I did 732 00:41:05,120 --> 00:41:08,719 Speaker 1: feel that that was it was fine for me. I 733 00:41:08,760 --> 00:41:11,520 Speaker 1: just didn't think it was something to brag about. Absolutely 734 00:41:11,560 --> 00:41:13,320 Speaker 1: did not think it was something to brag. But I 735 00:41:13,360 --> 00:41:15,799 Speaker 1: didn't think it was unhealthy. But I did not think 736 00:41:15,800 --> 00:41:18,160 Speaker 1: it was the cure to anything or or you know, 737 00:41:18,360 --> 00:41:21,920 Speaker 1: like any great example of any kind of wonderfully generous 738 00:41:22,000 --> 00:41:25,520 Speaker 1: thing um at that point. And but I was also 739 00:41:26,000 --> 00:41:31,160 Speaker 1: uh really almost bitter or or sensitive about the fact 740 00:41:31,200 --> 00:41:34,359 Speaker 1: that I, you know, that's to be super honest why 741 00:41:34,440 --> 00:41:36,120 Speaker 1: I left the show and to begin with, because the 742 00:41:36,560 --> 00:41:41,279 Speaker 1: part just didn't ever um sing to me at all. 743 00:41:41,320 --> 00:41:44,160 Speaker 1: It was just always kind of um. Something that the 744 00:41:44,239 --> 00:41:47,319 Speaker 1: people really liked about the character was that he never 745 00:41:47,400 --> 00:41:50,200 Speaker 1: changed and he always gave you exactly what you wanted. 746 00:41:50,600 --> 00:41:56,160 Speaker 1: But for me, it was not particularly interesting. And so 747 00:41:57,040 --> 00:41:58,839 Speaker 1: for them to have thrown that and try to right 748 00:41:58,920 --> 00:42:01,880 Speaker 1: at the end and to go, yeah, that's great, right right, 749 00:42:02,440 --> 00:42:06,239 Speaker 1: like it was kind of like, oh, yeah, no, that's 750 00:42:06,280 --> 00:42:08,600 Speaker 1: not what I meant. Really, that's not acting. That's me 751 00:42:08,640 --> 00:42:11,080 Speaker 1: saying a line you wrote for you and your show. 752 00:42:11,280 --> 00:42:13,040 Speaker 1: That's not a that's that's not a way to explore 753 00:42:13,080 --> 00:42:18,440 Speaker 1: the character serving some ulterior some ulterior purpose. I think, yeah, yeah, 754 00:42:18,840 --> 00:42:21,920 Speaker 1: but again I was thinking, like, not only you want 755 00:42:21,960 --> 00:42:24,280 Speaker 1: to are you on a loop on like in Universal 756 00:42:24,280 --> 00:42:27,319 Speaker 1: Studios Hollywood, but like probably somewhere at all times there 757 00:42:27,400 --> 00:42:30,400 Speaker 1: is a Lauren utter Spu playing. So I'm sure the 758 00:42:30,480 --> 00:42:33,719 Speaker 1: checks don't hurt. Yeah, they don't they And I was 759 00:42:34,440 --> 00:42:39,080 Speaker 1: I was lucky that I got on the residual um 760 00:42:40,400 --> 00:42:45,280 Speaker 1: heart before it changed. It changed drastically in the beginning 761 00:42:45,280 --> 00:42:49,520 Speaker 1: of early two thousand's and um uh so that has 762 00:42:49,560 --> 00:42:52,880 Speaker 1: been good. I mean it does. It doesn't get bigger, 763 00:42:52,880 --> 00:42:54,799 Speaker 1: it gets smaller as it goes along. But it has 764 00:42:54,840 --> 00:42:57,239 Speaker 1: been really helpful to me. I think it's time to 765 00:42:57,280 --> 00:43:00,759 Speaker 1: ask the question. Yes, it's been sustaining, it's it's time 766 00:43:00,800 --> 00:43:03,560 Speaker 1: to ask the question. And that question is um sort 767 00:43:03,600 --> 00:43:06,360 Speaker 1: of the central question beauty of lost culture is this, 768 00:43:06,880 --> 00:43:09,840 Speaker 1: which is what was the culture that made you? Say? 769 00:43:10,360 --> 00:43:14,080 Speaker 1: Culture was for you? This is defining pop culture that 770 00:43:14,200 --> 00:43:17,520 Speaker 1: you feel, in looking back on your life made you 771 00:43:17,680 --> 00:43:20,560 Speaker 1: the person that you are in some way. And when 772 00:43:20,560 --> 00:43:23,760 Speaker 1: you say the culture, you mean the object of culture 773 00:43:23,920 --> 00:43:27,160 Speaker 1: or the event of culture, or just it can be 774 00:43:27,200 --> 00:43:29,960 Speaker 1: as it can be as broad or as specific as 775 00:43:30,000 --> 00:43:32,239 Speaker 1: you want. It can be like the town you lived, 776 00:43:32,280 --> 00:43:34,320 Speaker 1: It can be like growing up in San Francisco, or 777 00:43:34,360 --> 00:43:38,200 Speaker 1: it can be like you know this this thing that 778 00:43:38,239 --> 00:43:40,640 Speaker 1: I experienced once, This is what part this is what 779 00:43:40,719 --> 00:43:44,759 Speaker 1: makes the question beautiful nature of whatever you're gonna say. 780 00:43:45,000 --> 00:43:47,880 Speaker 1: I'm just I think, you know, as if this was therapy, 781 00:43:47,920 --> 00:43:52,960 Speaker 1: which it is not. Unlike um, I want to go 782 00:43:53,120 --> 00:43:55,120 Speaker 1: with the first thing that pops into my mind and 783 00:43:55,200 --> 00:43:57,880 Speaker 1: just follow it where it should go. Right, that's the 784 00:43:57,920 --> 00:44:01,640 Speaker 1: actor's impulse. Yes, that for the first thing that comes 785 00:44:01,680 --> 00:44:06,160 Speaker 1: to mind is that time period when Pacific Overtures came out. 786 00:44:06,480 --> 00:44:09,200 Speaker 1: It was also the same year that A chorus line 787 00:44:09,239 --> 00:44:12,200 Speaker 1: came out. The chorus line came out when I was 788 00:44:12,520 --> 00:44:15,600 Speaker 1: fifteen or sixteen years old. I had been in one 789 00:44:15,719 --> 00:44:19,600 Speaker 1: or two musicals, and I was hooked on the experience 790 00:44:19,640 --> 00:44:25,080 Speaker 1: of being in the musical theater and began this weird, 791 00:44:25,400 --> 00:44:29,279 Speaker 1: long process of thinking about doing it or you know, 792 00:44:29,400 --> 00:44:32,000 Speaker 1: is this is I mean, it was a long process 793 00:44:32,000 --> 00:44:34,560 Speaker 1: because I didn't dream of it for quite a long time. 794 00:44:34,600 --> 00:44:38,640 Speaker 1: I just liked doing it. But at some point I think, 795 00:44:38,760 --> 00:44:41,759 Speaker 1: and I think to this day, even there are not 796 00:44:41,920 --> 00:44:48,840 Speaker 1: a rent a chorus line, a very few national Hamilton's 797 00:44:48,880 --> 00:44:54,600 Speaker 1: certainly national news Broadway musicals, Broadway musicals that became national 798 00:44:54,600 --> 00:44:58,120 Speaker 1: news or that became things that people knew, And then 799 00:44:58,200 --> 00:45:00,719 Speaker 1: there was a lot more touring than of Course. Line 800 00:45:00,960 --> 00:45:05,239 Speaker 1: certainly toured for many many decades after that, so there 801 00:45:05,280 --> 00:45:07,480 Speaker 1: was an understanding of it. But the one thing that 802 00:45:07,560 --> 00:45:13,920 Speaker 1: was a real UM moment was the star of UM, 803 00:45:14,640 --> 00:45:18,120 Speaker 1: or arguably the star of of of Course Line, Donoma Chickne, 804 00:45:18,280 --> 00:45:22,759 Speaker 1: was on the cover of Newsweek magazine. And I remember 805 00:45:23,320 --> 00:45:28,399 Speaker 1: seeing that woman on the cover of Newsweek magazine and thinking, Wow, 806 00:45:28,480 --> 00:45:33,080 Speaker 1: this is this isn't just like some play off in 807 00:45:33,120 --> 00:45:35,719 Speaker 1: the you know, off way far I lived and I 808 00:45:35,760 --> 00:45:40,000 Speaker 1: grew up in San Francisco, and I had an awareness 809 00:45:40,160 --> 00:45:45,200 Speaker 1: of the impact of the particular show on to be 810 00:45:46,040 --> 00:45:51,320 Speaker 1: dramatic the world UM, and that there was a shifting 811 00:45:51,520 --> 00:45:55,840 Speaker 1: in the medium that I was not sophisticated enough to 812 00:45:56,280 --> 00:46:02,120 Speaker 1: yet to understand or appreciate or uh uh grasp, which 813 00:46:02,160 --> 00:46:06,320 Speaker 1: is that Michael Bennett, the kind of legendary UM director 814 00:46:06,360 --> 00:46:10,800 Speaker 1: of that production, UM was changing the form and kind 815 00:46:10,840 --> 00:46:13,120 Speaker 1: of turning it in and it and it and it 816 00:46:13,640 --> 00:46:16,279 Speaker 1: reached people in a different way, and there was they 817 00:46:16,280 --> 00:46:19,080 Speaker 1: were contemporary issues in the play you know, of course 818 00:46:19,160 --> 00:46:22,359 Speaker 1: now least very quaint, but but at the time there 819 00:46:22,360 --> 00:46:27,120 Speaker 1: were people coming out on stage and people you know, 820 00:46:27,360 --> 00:46:31,160 Speaker 1: touching their tips and stuff, and and you went, oh, wow, 821 00:46:31,200 --> 00:46:34,880 Speaker 1: this is like real life kind of theater that's also 822 00:46:34,920 --> 00:46:39,399 Speaker 1: a musical, that um uh, it's also still kind of 823 00:46:39,440 --> 00:46:45,160 Speaker 1: oddly family entertainment, and that um, I wanted to be 824 00:46:46,000 --> 00:46:49,400 Speaker 1: in that business. I mean, I just I knew somehow 825 00:46:49,440 --> 00:46:52,360 Speaker 1: at a very early age that I wanted to create 826 00:46:53,120 --> 00:46:55,360 Speaker 1: theater or that I wanted to be a theater actor. 827 00:46:56,080 --> 00:46:59,640 Speaker 1: Um And I wasn't sure how or what manifestation and 828 00:46:59,680 --> 00:47:03,200 Speaker 1: were it would take me. I was lucky enough and 829 00:47:03,239 --> 00:47:04,840 Speaker 1: when I was in high school to have a really 830 00:47:05,440 --> 00:47:09,760 Speaker 1: great relationship with a high school drama teacher who really 831 00:47:09,840 --> 00:47:12,680 Speaker 1: just opened the doors for me and in my own mind, 832 00:47:12,920 --> 00:47:15,120 Speaker 1: you know, and kind of showed me that there were 833 00:47:15,120 --> 00:47:18,640 Speaker 1: these tremendous possibilities. So at that time and I and 834 00:47:18,680 --> 00:47:22,440 Speaker 1: then subsequently course line played a huge role in my 835 00:47:23,320 --> 00:47:27,280 Speaker 1: in my recurring theme in my life. Um. I certainly 836 00:47:27,320 --> 00:47:29,000 Speaker 1: saw it every time it came to town, and it 837 00:47:29,000 --> 00:47:31,719 Speaker 1: came to town many times. And then I got a 838 00:47:31,800 --> 00:47:36,080 Speaker 1: job after high school as a um An Usher at 839 00:47:36,120 --> 00:47:38,719 Speaker 1: the theater where it also came, and I saw it 840 00:47:38,800 --> 00:47:42,080 Speaker 1: maybe a hundred times. I watched it every night. I 841 00:47:42,280 --> 00:47:45,480 Speaker 1: memorized it. I mean, it was, it plays, It's a 842 00:47:45,520 --> 00:47:48,520 Speaker 1: show that play. And now I look back on it 843 00:47:48,560 --> 00:47:51,000 Speaker 1: and I think, wow, gee, it's not as good as 844 00:47:51,000 --> 00:47:52,640 Speaker 1: I remember it to be. You know. I actually have 845 00:47:52,680 --> 00:47:54,719 Speaker 1: a kind of a come to you know moment where 846 00:47:54,719 --> 00:47:57,120 Speaker 1: I think, let me evaluate it now as a growing 847 00:47:57,239 --> 00:47:59,440 Speaker 1: up and a and a writer and whatever. And it's 848 00:47:59,440 --> 00:48:02,439 Speaker 1: still wonder fall and I still have these wonderful, fond 849 00:48:02,440 --> 00:48:04,440 Speaker 1: memories of it, but I have a different critical eye 850 00:48:04,440 --> 00:48:09,000 Speaker 1: towards it. And and were you ever in it? Was 851 00:48:09,080 --> 00:48:12,399 Speaker 1: in it? Yes? Do you know about this? No? No, no, no, 852 00:48:12,440 --> 00:48:14,640 Speaker 1: this is all new to I was in it, but 853 00:48:14,760 --> 00:48:17,200 Speaker 1: I was in it in a really powerful way. I 854 00:48:17,239 --> 00:48:21,640 Speaker 1: was in the only production of it at East West 855 00:48:21,680 --> 00:48:25,560 Speaker 1: Players in l A. The It was an all Asian cast, 856 00:48:25,680 --> 00:48:30,040 Speaker 1: of course long and it's all people. That are many 857 00:48:30,040 --> 00:48:32,920 Speaker 1: people that I still know now and and and and 858 00:48:33,560 --> 00:48:36,600 Speaker 1: are and and there was that same kind of experience later, 859 00:48:36,640 --> 00:48:38,640 Speaker 1: many years later, that I had with the cast of 860 00:48:38,680 --> 00:48:42,439 Speaker 1: Pacific Overtures, which is and glowing. You might not ever 861 00:48:42,840 --> 00:48:45,680 Speaker 1: have we may not not yet have had this experience, 862 00:48:45,680 --> 00:48:49,000 Speaker 1: which is well, the zoom was the experience of being 863 00:48:49,080 --> 00:48:51,680 Speaker 1: in a show with a bunch of other Asian people 864 00:48:52,160 --> 00:48:56,840 Speaker 1: and without even effortlessly there's this kind of shorthand and 865 00:48:56,920 --> 00:49:01,800 Speaker 1: this this sense of of closeness to one another because 866 00:49:01,800 --> 00:49:05,840 Speaker 1: we all have a very similar kind of pain, really, 867 00:49:06,320 --> 00:49:10,960 Speaker 1: and and that that is just a layer of the 868 00:49:10,960 --> 00:49:17,200 Speaker 1: working experience. That's really really I wish this on anybody. 869 00:49:17,200 --> 00:49:21,400 Speaker 1: Just between the breaking of bread and the rehearsal process 870 00:49:21,480 --> 00:49:24,120 Speaker 1: and and the kind of looking out for each other 871 00:49:24,120 --> 00:49:27,200 Speaker 1: and everything, there's a real sense of of understanding each other. 872 00:49:27,560 --> 00:49:29,319 Speaker 1: That was the first time I had it when I 873 00:49:29,480 --> 00:49:31,080 Speaker 1: was in chorus line at East West, and then I 874 00:49:31,120 --> 00:49:34,520 Speaker 1: had it again in Pacific Overtures in two four, like 875 00:49:34,600 --> 00:49:41,160 Speaker 1: you said, and and that's a really oh memorable color 876 00:49:41,280 --> 00:49:44,160 Speaker 1: of experience. I want to put a pin in chorus line. 877 00:49:44,200 --> 00:49:50,040 Speaker 1: But yeah, just just the only fassimile of that that 878 00:49:50,160 --> 00:49:54,120 Speaker 1: I have ever had was I've told you this right 879 00:49:54,239 --> 00:49:57,279 Speaker 1: right beat like that, the shooting that scene. I was 880 00:49:57,320 --> 00:49:59,960 Speaker 1: in one scene of the pilot for Nora, but shooting 881 00:50:00,080 --> 00:50:03,520 Speaker 1: that scene, I remember leaving that leaving that day and 882 00:50:03,560 --> 00:50:07,640 Speaker 1: being like, wow, we talked about wood ears. In between takes, 883 00:50:08,320 --> 00:50:10,440 Speaker 1: we talked about we talked about like I was like, 884 00:50:10,440 --> 00:50:14,040 Speaker 1: what are your mustionoms. I was like, that's never happened 885 00:50:14,040 --> 00:50:16,040 Speaker 1: to me before. You mentioned that when you came from 886 00:50:16,040 --> 00:50:18,520 Speaker 1: shooting it, that it was that it had an impact 887 00:50:18,520 --> 00:50:20,600 Speaker 1: on you. I remember that day and I was like, 888 00:50:20,600 --> 00:50:22,120 Speaker 1: and I said, and I like said out loud, and 889 00:50:22,120 --> 00:50:23,719 Speaker 1: this this sounds this sounds weird. But I was like, 890 00:50:23,880 --> 00:50:26,080 Speaker 1: this is what white people must feel all the time. 891 00:50:26,560 --> 00:50:29,120 Speaker 1: I'm like, this is I was like, I've never and 892 00:50:29,120 --> 00:50:30,759 Speaker 1: then I looked at the call I was like, oh, look, 893 00:50:30,800 --> 00:50:33,400 Speaker 1: and like the top four people on the call sheet. 894 00:50:34,160 --> 00:50:38,360 Speaker 1: I was like, I've never played someone's family member, um, 895 00:50:38,400 --> 00:50:41,560 Speaker 1: the lead person, the lead the leads family member. I'm like, 896 00:50:41,800 --> 00:50:44,239 Speaker 1: this is all wild. And granted I only I had 897 00:50:44,280 --> 00:50:46,000 Speaker 1: only been like a day player and the stuff that 898 00:50:46,000 --> 00:50:48,120 Speaker 1: I had done in the past and prior to that, 899 00:50:48,160 --> 00:50:51,200 Speaker 1: but like, and even now it's something that like is 900 00:50:51,320 --> 00:50:55,240 Speaker 1: incredibly rare. Yes, I mean even now for me it's 901 00:50:55,239 --> 00:50:58,480 Speaker 1: it's there's still I mean, I've never had a relationship 902 00:50:58,600 --> 00:51:02,239 Speaker 1: with anyone and that you said that nor was your 903 00:51:02,239 --> 00:51:04,040 Speaker 1: first time dating someone in and then you're you're dating 904 00:51:04,080 --> 00:51:08,800 Speaker 1: Jennifer Usito. I love from you know, zero loser to 905 00:51:09,000 --> 00:51:11,800 Speaker 1: like the you know, the luckiest person in the world. Yeah, 906 00:51:11,840 --> 00:51:18,000 Speaker 1: you're too. Hotties getting together on Jesus. Wait, do you 907 00:51:18,000 --> 00:51:21,959 Speaker 1: see the crazyness that ensues in season two? It's really 908 00:51:23,360 --> 00:51:24,879 Speaker 1: Can we say that I'm having a lot of fun 909 00:51:25,000 --> 00:51:28,120 Speaker 1: already this season too? Can we say that? Okay, the 910 00:51:28,480 --> 00:51:31,879 Speaker 1: vibe is so good. It is it is people say 911 00:51:31,880 --> 00:51:33,880 Speaker 1: this all the time and it gets boring. That is 912 00:51:33,920 --> 00:51:37,080 Speaker 1: a really very good crew, it is. Yes, their energy 913 00:51:37,160 --> 00:51:39,920 Speaker 1: is very good and it's very conducive to comedy because 914 00:51:40,000 --> 00:51:43,120 Speaker 1: you know how comedy can be just like a wet 915 00:51:43,440 --> 00:51:46,000 Speaker 1: you know, you can get like closed down by some 916 00:51:46,120 --> 00:51:49,120 Speaker 1: moment that happens off, you know, between takes, and then 917 00:51:49,239 --> 00:51:52,480 Speaker 1: you're dry or you can't can't do what you're supposed 918 00:51:52,520 --> 00:51:56,400 Speaker 1: to do. But this is very upbeat, it's very very professional, 919 00:51:56,480 --> 00:52:01,880 Speaker 1: and it just works for me. I really like these people. Yeah, 920 00:52:02,080 --> 00:52:06,719 Speaker 1: Nora was making me laugh. There's if there's if there's 921 00:52:06,719 --> 00:52:09,600 Speaker 1: a gag ril, it's gonna be a good one. Yeah, 922 00:52:09,680 --> 00:52:12,640 Speaker 1: just just because of me and Nora. Just there's always 923 00:52:12,640 --> 00:52:14,280 Speaker 1: got to be a gag ril. It's a real culture. 924 00:52:14,280 --> 00:52:18,880 Speaker 1: It's really Culdron number ninety one. There's always always people 925 00:52:18,960 --> 00:52:22,000 Speaker 1: want to see the gags. People want to see laughing. 926 00:52:22,160 --> 00:52:24,399 Speaker 1: They want to see him laugh, you know, like I 927 00:52:24,440 --> 00:52:26,759 Speaker 1: feel that the people want to see Bowen laugh. Can 928 00:52:26,800 --> 00:52:29,120 Speaker 1: I ask you, what do you like working with Bowen? 929 00:52:29,440 --> 00:52:31,960 Speaker 1: Because he can become challenging. You're putting me on the spot. 930 00:52:33,280 --> 00:52:35,279 Speaker 1: We haven't really done it that, No, we haven't. We 931 00:52:35,320 --> 00:52:39,200 Speaker 1: had that one scene, the Woodrior scene that was really 932 00:52:39,239 --> 00:52:41,400 Speaker 1: are one like moment where we had went back and 933 00:52:41,440 --> 00:52:43,919 Speaker 1: forth a few times. Really, you know, we haven't had 934 00:52:44,000 --> 00:52:45,640 Speaker 1: that much. We had to be sat at the table 935 00:52:45,680 --> 00:52:48,160 Speaker 1: for that other scene, which that that other scene. I 936 00:52:48,200 --> 00:52:50,120 Speaker 1: was so I was so out of it that and 937 00:52:50,200 --> 00:52:52,560 Speaker 1: I remember not I was remember going home that day 938 00:52:53,840 --> 00:52:56,480 Speaker 1: shooting that kitchen scene and being like, I really fucked. 939 00:52:56,560 --> 00:52:58,480 Speaker 1: I funked up in front of Laura, you know. I 940 00:52:59,239 --> 00:53:02,600 Speaker 1: was like, he's always like that. No, no, no, but 941 00:53:02,680 --> 00:53:04,640 Speaker 1: like it was a mood you were in, though, it 942 00:53:04,719 --> 00:53:07,000 Speaker 1: was a mood I was in, and I really felt 943 00:53:07,040 --> 00:53:09,000 Speaker 1: because at that point, at that point, we were just 944 00:53:09,040 --> 00:53:12,640 Speaker 1: beginning to like get to know each other. And I 945 00:53:12,680 --> 00:53:15,560 Speaker 1: was and I still had and this is still probably 946 00:53:15,600 --> 00:53:19,399 Speaker 1: a little present, but I'm like man, there's something about 947 00:53:19,440 --> 00:53:21,520 Speaker 1: there's something about me like acting opposite b D that 948 00:53:21,560 --> 00:53:24,040 Speaker 1: like is really tripping me up just because it's him, 949 00:53:24,080 --> 00:53:27,640 Speaker 1: you know, just because this is someone who means all 950 00:53:27,680 --> 00:53:31,319 Speaker 1: of these things. Um, but anyway, yes, no need for that. 951 00:53:31,440 --> 00:53:34,520 Speaker 1: I mean, look, it's really and it was really I 952 00:53:34,520 --> 00:53:36,880 Speaker 1: mean we were still getting to know each other and 953 00:53:36,880 --> 00:53:39,440 Speaker 1: all of that stuff. So I understand that it's a 954 00:53:39,520 --> 00:53:42,600 Speaker 1: nerve wracking whenever you start any project, let alone something 955 00:53:42,640 --> 00:53:44,839 Speaker 1: where like and and I mean it is true like 956 00:53:45,040 --> 00:53:48,600 Speaker 1: Bowen is sent expressing like he he you are BD one. 957 00:53:48,800 --> 00:53:52,120 Speaker 1: I mean like it's and also like you know, Aquafina 958 00:53:52,239 --> 00:53:54,200 Speaker 1: is like she was such a huge is such a 959 00:53:54,239 --> 00:53:57,800 Speaker 1: huge deal. Like so I get like feeling like, oh God, 960 00:53:57,920 --> 00:54:00,359 Speaker 1: like I just just shot up out and I left 961 00:54:00,360 --> 00:54:02,520 Speaker 1: a couple of days like being like, well, I hope 962 00:54:02,560 --> 00:54:05,239 Speaker 1: that was good. Because especially we come from we come 963 00:54:05,280 --> 00:54:07,600 Speaker 1: from live comedy and become and as you know, coming 964 00:54:07,640 --> 00:54:11,280 Speaker 1: from theater, you're used to a reaction and that reaction 965 00:54:11,360 --> 00:54:13,759 Speaker 1: sustaining you going forward. And so when you act for 966 00:54:13,800 --> 00:54:17,440 Speaker 1: the camera, um, it's obviously different because you have to 967 00:54:17,480 --> 00:54:19,440 Speaker 1: move on. And I did a little tiny guest thing 968 00:54:19,480 --> 00:54:21,200 Speaker 1: on the first season of Nora, And that was something 969 00:54:21,280 --> 00:54:23,719 Speaker 1: I remembered about. It was like it felt like it 970 00:54:23,760 --> 00:54:26,399 Speaker 1: was professional and moving, but also that it was loose 971 00:54:26,520 --> 00:54:28,480 Speaker 1: enough where the comedy could happen and it but like 972 00:54:28,760 --> 00:54:30,600 Speaker 1: you were given a take for you you know what 973 00:54:30,640 --> 00:54:33,520 Speaker 1: I mean? You know what I mean, like and that's important, 974 00:54:33,640 --> 00:54:36,359 Speaker 1: Like what you're saying with comedy, it's it's it's rare 975 00:54:36,400 --> 00:54:38,319 Speaker 1: to get that on the first take because often the 976 00:54:38,360 --> 00:54:40,480 Speaker 1: people that are performing in the comedy on camera are 977 00:54:40,520 --> 00:54:44,000 Speaker 1: people that you know, maybe they're maybe they do come 978 00:54:44,000 --> 00:54:46,239 Speaker 1: from live performance, maybe their cast because they are a 979 00:54:46,239 --> 00:54:49,359 Speaker 1: big old fucking ham and it's gonna take a take 980 00:54:49,440 --> 00:54:52,399 Speaker 1: or two to get it. Man improvised a line, um 981 00:54:52,400 --> 00:54:55,799 Speaker 1: and Nora. Uh. The most famous person in my phone 982 00:54:55,840 --> 00:55:00,080 Speaker 1: is a tie between Hillary Clinton and Billie Island. It 983 00:55:00,320 --> 00:55:03,839 Speaker 1: did they get in? They kept they keep that, they 984 00:55:03,840 --> 00:55:08,319 Speaker 1: did keep that at And then that's that's Matt Rodgers outleb. Well, 985 00:55:08,360 --> 00:55:10,520 Speaker 1: before we were before, because before we were talking about Nora, 986 00:55:10,800 --> 00:55:13,400 Speaker 1: I just want to say, you're you're directing an episode. 987 00:55:13,600 --> 00:55:17,080 Speaker 1: He's directing an episode, which is mind blowing to me 988 00:55:17,120 --> 00:55:18,960 Speaker 1: and also like a dream come true for me, and 989 00:55:19,000 --> 00:55:21,839 Speaker 1: it's everything that I ever wanted and it's really great 990 00:55:21,880 --> 00:55:24,560 Speaker 1: and it's just started today. Is all the kind of 991 00:55:24,680 --> 00:55:27,759 Speaker 1: pre production and stuff. Um, and you know, it's a 992 00:55:27,760 --> 00:55:31,440 Speaker 1: little crazy because I'm in this episode that's being shot 993 00:55:31,480 --> 00:55:34,520 Speaker 1: while I'm doing the pre production, and then when we 994 00:55:34,640 --> 00:55:38,760 Speaker 1: get into actually shooting the episode i'm directing, I'm also 995 00:55:38,880 --> 00:55:42,799 Speaker 1: in that. So I'm having that that what I would 996 00:55:42,840 --> 00:55:47,479 Speaker 1: call the John Camera Mitchell experience. And who is he's 997 00:55:47,719 --> 00:55:51,880 Speaker 1: you know, well that might be something different experience depend 998 00:55:52,680 --> 00:55:59,600 Speaker 1: you're talking about, but yeah, so I'm really into it 999 00:55:59,680 --> 00:56:02,640 Speaker 1: and I'm great, you know, really really just so happy 1000 00:56:02,680 --> 00:56:05,520 Speaker 1: that I was asked and I was. It's a lot 1001 00:56:05,600 --> 00:56:08,480 Speaker 1: of fun and and these episodes, I think all of them, 1002 00:56:08,480 --> 00:56:10,960 Speaker 1: but this particular one, I really really like it. So 1003 00:56:11,200 --> 00:56:13,200 Speaker 1: it's it's going to be easy to direct it. So 1004 00:56:13,239 --> 00:56:15,759 Speaker 1: that will be nice, except that Bones not in it, 1005 00:56:15,800 --> 00:56:18,600 Speaker 1: which is not good for me. Can I tell you 1006 00:56:18,719 --> 00:56:22,960 Speaker 1: my I think I explicitly said to the to the EPs, 1007 00:56:23,560 --> 00:56:24,919 Speaker 1: They're like, what do you what do you want Damn 1008 00:56:24,960 --> 00:56:26,680 Speaker 1: to do season two? I was like, I just want 1009 00:56:26,840 --> 00:56:29,400 Speaker 1: Edmund and Wally interaction. I was like, I want scenes 1010 00:56:29,440 --> 00:56:33,799 Speaker 1: with Bradley Darryl Wong. And that shows how much they 1011 00:56:33,880 --> 00:56:37,120 Speaker 1: listened to you. I guess they did listen to no nobody. 1012 00:56:37,320 --> 00:56:41,200 Speaker 1: He's a nobody on set whatever said the same thing. 1013 00:56:41,320 --> 00:56:43,719 Speaker 1: I want the same thing. I think that would be fun. 1014 00:56:43,760 --> 00:56:46,960 Speaker 1: But let's just hope that it's not over yet, you know. 1015 00:56:47,160 --> 00:56:50,680 Speaker 1: I think I think the good things are in store. Yes, 1016 00:56:51,360 --> 00:56:55,359 Speaker 1: not God, Jesus, little Jesus. Um. Okay, should we close 1017 00:56:55,400 --> 00:56:57,200 Speaker 1: the loop on this chorus line? Yeah? I want to hear. 1018 00:56:57,200 --> 00:56:58,759 Speaker 1: I want to hear your question. Sorry, I just had to. 1019 00:56:58,800 --> 00:57:00,400 Speaker 1: I had to bring up the directing thing because I 1020 00:57:00,400 --> 00:57:02,479 Speaker 1: was so excited. Of course, oh my gosh, of course, 1021 00:57:02,920 --> 00:57:04,520 Speaker 1: favorite song, like is it like what I did for 1022 00:57:04,560 --> 00:57:06,759 Speaker 1: a lot like like that? I feel like I gotta 1023 00:57:06,760 --> 00:57:09,560 Speaker 1: admit I don't know know mine, My mine is Mine 1024 00:57:09,680 --> 00:57:13,399 Speaker 1: is Music in the Mirror and the check. I mean, 1025 00:57:14,080 --> 00:57:16,360 Speaker 1: have you ever seen Jane Karkowski's version of that on 1026 00:57:16,360 --> 00:57:21,040 Speaker 1: Ally mcbeel. A lot of gays out there don't know 1027 00:57:21,600 --> 00:57:25,600 Speaker 1: that Jane Karkowski sang Music in the Mirror on Alan. 1028 00:57:27,040 --> 00:57:29,920 Speaker 1: She did, and you can YouTube it, and she's stunning 1029 00:57:29,960 --> 00:57:31,920 Speaker 1: in and she gives you the whole dance number and 1030 00:57:31,960 --> 00:57:34,160 Speaker 1: she fucking belts the end and it's great. But I 1031 00:57:34,240 --> 00:57:36,680 Speaker 1: think that's my favorite number, What I Did for Love 1032 00:57:36,760 --> 00:57:39,880 Speaker 1: Us a close second. Yeah, she does the whole number. Wow. No, 1033 00:57:40,120 --> 00:57:41,760 Speaker 1: I don't, I mean, I'm not really I don't know 1034 00:57:41,800 --> 00:57:45,160 Speaker 1: if they're maybe is there any particular song that really is, 1035 00:57:46,040 --> 00:57:49,640 Speaker 1: you know, exemplifies my affection for sure. It was a 1036 00:57:49,680 --> 00:57:52,360 Speaker 1: whole kind of experience. I just I mean, I mean 1037 00:57:52,840 --> 00:57:54,680 Speaker 1: being just kind of like, I don't know what how 1038 00:57:54,800 --> 00:57:57,920 Speaker 1: to call it, like impressed or or my breath was 1039 00:57:57,960 --> 00:57:59,680 Speaker 1: slightly taken away by the fact that there was no 1040 00:57:59,720 --> 00:58:02,560 Speaker 1: set and there was just this black stage with numbers 1041 00:58:02,560 --> 00:58:05,080 Speaker 1: on it, and it just was like so bold at 1042 00:58:05,080 --> 00:58:07,720 Speaker 1: that time to just not have a set and and 1043 00:58:07,720 --> 00:58:09,920 Speaker 1: and and all of that stuff. And I also had 1044 00:58:09,920 --> 00:58:12,800 Speaker 1: what appeared to be at the time a really great 1045 00:58:13,120 --> 00:58:16,240 Speaker 1: um quick change at the very end of the show, 1046 00:58:16,280 --> 00:58:18,640 Speaker 1: where everybody goes from dance close to these like fancy 1047 00:58:18,680 --> 00:58:22,680 Speaker 1: costumes and there, you know, little things like that. And 1048 00:58:22,720 --> 00:58:25,240 Speaker 1: then there was there is a song about teenage angst 1049 00:58:25,320 --> 00:58:28,439 Speaker 1: and growing puberty, which is a really great song, which 1050 00:58:28,440 --> 00:58:31,760 Speaker 1: is a huge number, and I liked that, but and 1051 00:58:31,800 --> 00:58:35,680 Speaker 1: also was really into the lighting. The lighting was very geometric. 1052 00:58:36,040 --> 00:58:38,040 Speaker 1: If you sat in the balcony, you could see all 1053 00:58:38,080 --> 00:58:42,240 Speaker 1: of the shapes and hard angles and and colors that 1054 00:58:42,440 --> 00:58:45,360 Speaker 1: the fair and must have. The lighting designer used which 1055 00:58:45,440 --> 00:58:48,680 Speaker 1: was very not like a regular musical. It was very angular. 1056 00:58:48,760 --> 00:58:52,000 Speaker 1: It was suited the choreography. It created shapes and spaces 1057 00:58:52,080 --> 00:58:56,040 Speaker 1: and different times and all the kinds of different kinds 1058 00:58:56,080 --> 00:58:58,240 Speaker 1: of There was a kind of lots of different usages 1059 00:58:58,280 --> 00:59:00,880 Speaker 1: for it. That was really great. There was no set 1060 00:59:01,000 --> 00:59:03,400 Speaker 1: and so that the lightning became a huge part of 1061 00:59:03,440 --> 00:59:09,040 Speaker 1: the transformative quality of of the um. That element Wow, 1062 00:59:09,680 --> 00:59:11,480 Speaker 1: you gotta you also bow and you also have to 1063 00:59:11,480 --> 00:59:14,640 Speaker 1: listen to on Barbara streisand she did like a recent 1064 00:59:14,680 --> 00:59:17,360 Speaker 1: album which was like um she got like movie starts 1065 00:59:17,400 --> 00:59:19,400 Speaker 1: to come in and sing with her, and her and 1066 00:59:19,600 --> 00:59:24,080 Speaker 1: Hathaway and Daisy Ridley did Now at the Bell at 1067 00:59:24,240 --> 00:59:26,840 Speaker 1: It was really good. It was really good. And the 1068 00:59:26,880 --> 00:59:29,720 Speaker 1: feature at which is Barbara streisand talking about it is 1069 00:59:29,720 --> 00:59:34,560 Speaker 1: also really good because Barbara streisand talking about anything. Have 1070 00:59:34,680 --> 00:59:37,960 Speaker 1: you ever met Barbara? I don't think I've ever met Barbara. Well, 1071 00:59:38,000 --> 00:59:40,280 Speaker 1: we got I met a lot of people in passing 1072 00:59:40,360 --> 00:59:43,080 Speaker 1: or whatever, and but she's not one of them. That's 1073 00:59:43,080 --> 00:59:44,760 Speaker 1: what I felt like. I could ask you that and 1074 00:59:44,840 --> 00:59:47,120 Speaker 1: maybe I'd get a, Yes, you might, and out of 1075 00:59:47,160 --> 00:59:49,440 Speaker 1: anyone who's ever been on this show, you are the 1076 00:59:49,440 --> 00:59:52,120 Speaker 1: person that's most likely to have met Barbara, although Will 1077 00:59:52,160 --> 00:59:55,000 Speaker 1: Ferrell might have met Barbara. No, you know, I was 1078 00:59:55,200 --> 00:59:58,240 Speaker 1: at I know this is gonna sound supertentious, but I 1079 00:59:58,280 --> 01:00:02,640 Speaker 1: was at the same White How state dinner that Barbera. Wow, 1080 01:00:02,680 --> 01:00:05,800 Speaker 1: whose state dinner was that? Jugent Tao? And yeah it 1081 01:00:05,880 --> 01:00:09,040 Speaker 1: was the It was Jugent Tao at Obama's dinner from 1082 01:00:09,120 --> 01:00:13,200 Speaker 1: Fujin Town and I sat at Obama's table. Wow, did 1083 01:00:13,200 --> 01:00:19,200 Speaker 1: you have anything good to say? No? No, I'm joking. 1084 01:00:19,280 --> 01:00:22,640 Speaker 1: I was completely tongue tied. I mean, I never have 1085 01:00:22,840 --> 01:00:24,920 Speaker 1: that experience where I don't know, you know, where I 1086 01:00:25,000 --> 01:00:27,960 Speaker 1: usually sit down next to a stranger or whatever. This 1087 01:00:28,120 --> 01:00:31,160 Speaker 1: was the strangest experience. I brought my mother, she was 1088 01:00:31,200 --> 01:00:34,160 Speaker 1: my plus one date, and I said my mom to 1089 01:00:34,200 --> 01:00:35,680 Speaker 1: my mom, would going to the White House. And then 1090 01:00:35,920 --> 01:00:38,120 Speaker 1: we we got there and we were given our little 1091 01:00:38,320 --> 01:00:41,320 Speaker 1: fancy engraved thing with the table number twenty three, and 1092 01:00:41,360 --> 01:00:43,560 Speaker 1: we were like, great, we're walking to good number. And 1093 01:00:43,680 --> 01:00:46,960 Speaker 1: the people there it was like, you know, like um 1094 01:00:47,280 --> 01:00:53,640 Speaker 1: miss um, who was there? Michelle? Michelle and and and 1095 01:00:54,200 --> 01:00:56,680 Speaker 1: I'm one of who I meant was Michelle Kwan and 1096 01:00:56,840 --> 01:01:02,080 Speaker 1: oh that's fancy the architect, my uh Lynn and um, 1097 01:01:02,120 --> 01:01:05,880 Speaker 1: just people like that, you know. And and and so 1098 01:01:06,840 --> 01:01:09,000 Speaker 1: we're walking looking for the room and we're going with 1099 01:01:09,040 --> 01:01:11,320 Speaker 1: twenties three. I guess that's the room on the end, 1100 01:01:11,400 --> 01:01:15,040 Speaker 1: and we're going in there in twenties. I think it's 1101 01:01:15,080 --> 01:01:18,720 Speaker 1: that long table underneath the painting of Lincoln. And then 1102 01:01:18,720 --> 01:01:21,200 Speaker 1: we get there and like and we're looking at the 1103 01:01:21,280 --> 01:01:24,080 Speaker 1: names and the people at our table. It was my mother, 1104 01:01:24,600 --> 01:01:33,920 Speaker 1: me Michelle Barack built the Clintons, the Carters, what John Kerry, 1105 01:01:34,120 --> 01:01:39,560 Speaker 1: it was mayor Daily from Chicago. It was, um, it was. 1106 01:01:39,760 --> 01:01:43,040 Speaker 1: It was the strangest thing ever. I mean, I think 1107 01:01:43,800 --> 01:01:47,640 Speaker 1: they were trying to figure out who could kind of 1108 01:01:47,680 --> 01:01:51,120 Speaker 1: like bridge the gap or something. And my mother, who 1109 01:01:51,200 --> 01:01:53,360 Speaker 1: you know, might have been a part of it too. 1110 01:01:53,440 --> 01:01:58,400 Speaker 1: It just all was. It was the craziest thing, was wonderful. 1111 01:01:59,040 --> 01:02:01,360 Speaker 1: I mean, we were just to say we were sitting 1112 01:02:01,400 --> 01:02:04,640 Speaker 1: at the table with the with the Obama's, but Barbara 1113 01:02:04,640 --> 01:02:07,280 Speaker 1: Streisand was in another room. That's what I'm saying. It's 1114 01:02:07,360 --> 01:02:09,560 Speaker 1: so weird, like she was often the bleachers they said 1115 01:02:09,600 --> 01:02:13,720 Speaker 1: at Barbara tonight, we have right, So, so what is 1116 01:02:13,720 --> 01:02:16,520 Speaker 1: is conversation very casual? They're like, are they all like, 1117 01:02:16,720 --> 01:02:19,120 Speaker 1: hey girl, do you see this and the news? Like 1118 01:02:19,160 --> 01:02:20,840 Speaker 1: what do you think of Dancing with the stars? Are 1119 01:02:20,880 --> 01:02:23,480 Speaker 1: they kind of saying that kind of chatter? It is 1120 01:02:23,560 --> 01:02:26,040 Speaker 1: like that, But then it isn't It isn't you know. 1121 01:02:26,160 --> 01:02:31,160 Speaker 1: I mean I sat directly across from Michelle Obama and 1122 01:02:31,240 --> 01:02:34,840 Speaker 1: I I could not I couldn't think of anything that 1123 01:02:34,920 --> 01:02:39,040 Speaker 1: seemed worthy to discuss with her. And now I think 1124 01:02:39,040 --> 01:02:41,080 Speaker 1: of plenty of things that I could or would have said, 1125 01:02:41,400 --> 01:02:46,240 Speaker 1: but I was really like sitting there eating just kind 1126 01:02:46,240 --> 01:02:48,480 Speaker 1: of I sat next to Rosalind Carter. I was like 1127 01:02:49,160 --> 01:02:52,200 Speaker 1: talking to Rosaln Carter about their foundation and stuff like that, 1128 01:02:52,280 --> 01:02:53,880 Speaker 1: and oh, what is it that you're doing? And they've 1129 01:02:53,960 --> 01:02:57,480 Speaker 1: gone to Syria and you know, you know, and I'm like, 1130 01:02:58,000 --> 01:03:00,320 Speaker 1: what am I doing? You know, I'm on a TV show? Great, 1131 01:03:00,480 --> 01:03:03,040 Speaker 1: you know, like it's like they're going to Syria and 1132 01:03:03,080 --> 01:03:06,240 Speaker 1: he's building habitat for humanity houses and you know, running 1133 01:03:06,240 --> 01:03:12,880 Speaker 1: all that stuff. So I felt I felt decidedly unworthy. 1134 01:03:13,240 --> 01:03:15,040 Speaker 1: I was thrilled. My mother was there. My mother was 1135 01:03:15,160 --> 01:03:17,320 Speaker 1: chatting it up with John Kerry and mayor Daily. They 1136 01:03:17,400 --> 01:03:19,840 Speaker 1: got along great. She was sitting between John Kerry American. 1137 01:03:19,960 --> 01:03:23,040 Speaker 1: She was at that table because you're the closest thing 1138 01:03:23,120 --> 01:03:26,280 Speaker 1: we have to an Asian American president, and that is 1139 01:03:26,360 --> 01:03:29,520 Speaker 1: why you were there exactly. You hear that, Andrew Yang, 1140 01:03:31,120 --> 01:03:35,320 Speaker 1: and know your place there we go, stop grabbing bananas. 1141 01:03:36,560 --> 01:03:38,880 Speaker 1: You can't keep your hands to yourself and those bodegas, 1142 01:03:38,880 --> 01:03:41,200 Speaker 1: Andrew Yang, those bananas don't want nothing to do with you. 1143 01:03:41,520 --> 01:03:44,440 Speaker 1: Then when we left alone, before we move on to 1144 01:03:44,520 --> 01:03:46,240 Speaker 1: I don't think so, honey. I think I have a 1145 01:03:46,280 --> 01:03:52,200 Speaker 1: very important question to ask Bet Wong. Do you think 1146 01:03:52,280 --> 01:03:56,919 Speaker 1: Captain LEEH Shang was attracted to paying? I would like 1147 01:03:57,200 --> 01:03:59,800 Speaker 1: to think that he was. But I think this is 1148 01:03:59,840 --> 01:04:02,120 Speaker 1: a to you. This is up to you to say, 1149 01:04:02,320 --> 01:04:04,960 Speaker 1: you know. And I don't want to disappoint anyone, and 1150 01:04:05,000 --> 01:04:07,400 Speaker 1: I don't want to be a coward or anything like that. 1151 01:04:07,920 --> 01:04:11,680 Speaker 1: Oh but you know what, Okay, No, Fluidity is a 1152 01:04:11,720 --> 01:04:16,120 Speaker 1: big It's a very important thing to acknowledge. Fluit. He 1153 01:04:16,440 --> 01:04:21,400 Speaker 1: is is something. When we made the movie, fluidity was 1154 01:04:21,440 --> 01:04:24,760 Speaker 1: not a word. We didn't talk about liquidity. Now we 1155 01:04:24,840 --> 01:04:28,320 Speaker 1: have fluidity. Now we can watch Chang and his choices 1156 01:04:28,360 --> 01:04:32,200 Speaker 1: and his actions and see it through the lens of fluidity, 1157 01:04:32,280 --> 01:04:35,440 Speaker 1: and this whole idea that there's a there's a needle 1158 01:04:35,480 --> 01:04:38,040 Speaker 1: and it goes from one zero to a hundred and 1159 01:04:38,040 --> 01:04:40,000 Speaker 1: it's always. It doesn't have to be in one place 1160 01:04:40,080 --> 01:04:43,440 Speaker 1: or another. It can move. You can change your pronouns 1161 01:04:43,640 --> 01:04:46,000 Speaker 1: next the day one day and change the next day 1162 01:04:46,000 --> 01:04:49,800 Speaker 1: if you want, and and and and and that's that's 1163 01:04:49,880 --> 01:04:52,360 Speaker 1: good and should be the way it is. So in 1164 01:04:52,520 --> 01:04:56,840 Speaker 1: that case, I'm really I'm recalibrating my answer. Of course 1165 01:04:56,880 --> 01:05:01,640 Speaker 1: he was. Otherwise he wouldn't been doing all that. Yeah, 1166 01:05:01,760 --> 01:05:05,640 Speaker 1: why why would he Why what other reason would there be? Right? 1167 01:05:05,680 --> 01:05:09,400 Speaker 1: I mean, he's not, he's he's it's it's not. It's 1168 01:05:09,200 --> 01:05:13,000 Speaker 1: it's very binary to think that he was. But I 1169 01:05:13,040 --> 01:05:15,440 Speaker 1: did used to say, oh, no, come on, you guys, 1170 01:05:15,480 --> 01:05:19,560 Speaker 1: that's that's that. Don't go there. That's right, that's best. 1171 01:05:19,640 --> 01:05:24,520 Speaker 1: But but but you know, it does remind me of 1172 01:05:25,520 --> 01:05:28,880 Speaker 1: the music video that Bone was in. We we we 1173 01:05:28,920 --> 01:05:31,160 Speaker 1: texted a little bit about this that you and they 1174 01:05:31,200 --> 01:05:35,920 Speaker 1: got the Boner Bros. Video and that the whole, the 1175 01:05:35,960 --> 01:05:39,240 Speaker 1: whole notion of of that kind of thing that is 1176 01:05:40,160 --> 01:05:44,120 Speaker 1: really fluidity. I think it's like, can you do you 1177 01:05:44,160 --> 01:05:46,720 Speaker 1: have to say it's one thing or another. Can't you 1178 01:05:46,800 --> 01:05:49,240 Speaker 1: just say, well, there's this kind of inclination, but it 1179 01:05:49,280 --> 01:05:52,520 Speaker 1: doesn't mean I'm gay. Whatever, it doesn't. Why why can't 1180 01:05:52,520 --> 01:05:55,240 Speaker 1: people do that? They're they're really afraid to do that. 1181 01:05:55,360 --> 01:05:57,000 Speaker 1: They can't do it, so they have to write a 1182 01:05:57,000 --> 01:06:01,280 Speaker 1: song about it to kind of pat all. They're just 1183 01:06:01,440 --> 01:06:04,520 Speaker 1: comfort about it. And that's hilarious in its own right. 1184 01:06:04,560 --> 01:06:06,680 Speaker 1: To me. I'm still entertained by the song. But at 1185 01:06:06,720 --> 01:06:09,600 Speaker 1: the same time, I'm going, come on, you guys, come on. 1186 01:06:09,840 --> 01:06:13,520 Speaker 1: So so so we're talking about this sketch that was 1187 01:06:14,120 --> 01:06:17,000 Speaker 1: a pre tape sketch on us and l Um written 1188 01:06:17,040 --> 01:06:21,000 Speaker 1: by Back and Kyle and Frank Gillespie, and we'll spend 1189 01:06:21,000 --> 01:06:24,800 Speaker 1: We'll Stephen. It's a bachelor party in the woods and 1190 01:06:24,840 --> 01:06:29,120 Speaker 1: then um the strippers come, and then all the boys 1191 01:06:29,120 --> 01:06:31,440 Speaker 1: break out into a song about um, this is the 1192 01:06:31,720 --> 01:06:34,080 Speaker 1: highlight of their lives. That they're getting hard next to 1193 01:06:34,120 --> 01:06:37,280 Speaker 1: their friends, that they're getting boners, that they're getting boners 1194 01:06:37,280 --> 01:06:39,960 Speaker 1: next to their friends, and so funny when you just 1195 01:06:40,000 --> 01:06:42,240 Speaker 1: steal it, that's what it is. It's what it is. 1196 01:06:43,320 --> 01:06:45,800 Speaker 1: Together and b D and b D text me the 1197 01:06:46,200 --> 01:06:48,720 Speaker 1: first of all, I just can I just out b 1198 01:06:48,920 --> 01:06:52,600 Speaker 1: D is like you watch every week, you watch every week, 1199 01:06:52,680 --> 01:06:56,520 Speaker 1: and I watched a lot because of you. Oh come on, 1200 01:06:56,840 --> 01:06:58,680 Speaker 1: I do. I want to know what you're doing, and 1201 01:06:58,720 --> 01:07:01,120 Speaker 1: I want to be able to discuss it with you. Um. 1202 01:07:01,160 --> 01:07:03,920 Speaker 1: You know we're not that close. Let's just call you know, 1203 01:07:04,880 --> 01:07:08,960 Speaker 1: just pull the wool over. Not everyone in Hollywood is 1204 01:07:09,080 --> 01:07:11,920 Speaker 1: very close. Yeah, that's right, and and and but I 1205 01:07:11,960 --> 01:07:14,840 Speaker 1: do UM and I love it. I think it's a 1206 01:07:14,920 --> 01:07:18,240 Speaker 1: golden age for the show. I think you're in on 1207 01:07:18,320 --> 01:07:21,040 Speaker 1: it at a really good time as the wild age 1208 01:07:21,160 --> 01:07:25,280 Speaker 1: can by it. I certainly depended on it and in 1209 01:07:25,400 --> 01:07:29,760 Speaker 1: bad In and my family depended on the show in 1210 01:07:29,800 --> 01:07:32,960 Speaker 1: bad in hard times in this past year, um in 1211 01:07:33,040 --> 01:07:35,640 Speaker 1: a huge way. And during the whole Trumpet, the whole 1212 01:07:35,680 --> 01:07:39,240 Speaker 1: Trump administration, and and so there was a there is 1213 01:07:39,280 --> 01:07:43,560 Speaker 1: a huge um allegiance. I have to it. Actually, m M, 1214 01:07:44,000 --> 01:07:46,520 Speaker 1: that's nice. That's really nice to hear. So anyway, so, 1215 01:07:46,520 --> 01:07:48,280 Speaker 1: so so Bed text me the next day being like, 1216 01:07:48,800 --> 01:07:50,680 Speaker 1: I I talked to you about this boner video and 1217 01:07:50,720 --> 01:07:52,800 Speaker 1: I'm like, oh, like, what do you want to talk about? 1218 01:07:52,840 --> 01:07:56,720 Speaker 1: He was like, He's like were you were you basically saying, 1219 01:07:56,960 --> 01:08:01,000 Speaker 1: should I just pull up the we basically that the 1220 01:08:01,040 --> 01:08:04,000 Speaker 1: people who wrote it are repressing something or no, that's 1221 01:08:04,000 --> 01:08:06,200 Speaker 1: not what you mean. Well, what I was, I was 1222 01:08:06,360 --> 01:08:09,400 Speaker 1: kind of saying what I just said a minute or 1223 01:08:09,400 --> 01:08:13,080 Speaker 1: two ago, which is they see it in a very 1224 01:08:13,360 --> 01:08:17,040 Speaker 1: binary way, like I'm not gay, and so here's the 1225 01:08:17,160 --> 01:08:21,840 Speaker 1: irony of me getting a boner next to my Sure, 1226 01:08:23,120 --> 01:08:27,040 Speaker 1: the fact that he is there may or may not 1227 01:08:27,200 --> 01:08:32,719 Speaker 1: play a part in your boner. I mean your your friend, Yeah, 1228 01:08:32,800 --> 01:08:35,720 Speaker 1: your friend, the friend of the person singing whatever verse 1229 01:08:35,760 --> 01:08:39,080 Speaker 1: of the song. And and and it's okay, it's okay 1230 01:08:39,080 --> 01:08:42,720 Speaker 1: to see it that way, but it's very no pun 1231 01:08:42,760 --> 01:08:46,960 Speaker 1: intended hard for people to see it that way. They 1232 01:08:46,120 --> 01:08:50,320 Speaker 1: they need to know they're not gay. They need they 1233 01:08:50,360 --> 01:08:52,920 Speaker 1: absolutely need to know they're not gay so that they 1234 01:08:52,920 --> 01:08:57,200 Speaker 1: can tell whoever that it's and and and even if 1235 01:08:57,240 --> 01:09:00,320 Speaker 1: they had a kind of a fluid moment where they well, 1236 01:09:00,600 --> 01:09:02,280 Speaker 1: let's say they always you know, you hear about it 1237 01:09:02,320 --> 01:09:05,559 Speaker 1: this all the time, blame alcohol or something on their 1238 01:09:05,600 --> 01:09:09,400 Speaker 1: actions or choices. Even if they did that, it's still 1239 01:09:09,439 --> 01:09:11,880 Speaker 1: something that happened. And why did it happen? And what 1240 01:09:11,720 --> 01:09:13,720 Speaker 1: what did the out what role did the alcohol play. 1241 01:09:13,920 --> 01:09:16,599 Speaker 1: I think it's fascinating. I love I love thinking about it. 1242 01:09:16,760 --> 01:09:20,200 Speaker 1: And I think the proof in the putting of all 1243 01:09:20,240 --> 01:09:23,439 Speaker 1: of this is the way women regard this whole same issue. 1244 01:09:23,920 --> 01:09:28,719 Speaker 1: There are much completely different about it in many cases, 1245 01:09:28,760 --> 01:09:31,320 Speaker 1: if not to speak generally, but that you can have 1246 01:09:31,400 --> 01:09:34,519 Speaker 1: someone actually identify one way and then not identify that 1247 01:09:34,560 --> 01:09:37,200 Speaker 1: way anymore, and then identify that way again or have 1248 01:09:37,320 --> 01:09:41,880 Speaker 1: a moment of of fluidity. I just think there's there's 1249 01:09:41,920 --> 01:09:45,600 Speaker 1: blockage happening that does not need to happen. I'm not 1250 01:09:45,640 --> 01:09:49,920 Speaker 1: saying anything about any pretty particular on SNLT no no no, no, no, no, no, 1251 01:09:49,920 --> 01:09:53,040 Speaker 1: no no. But but the fact that they are so 1252 01:09:53,240 --> 01:09:58,760 Speaker 1: easily slip into that role of adopting that um posture 1253 01:09:59,160 --> 01:10:01,839 Speaker 1: is interesting to that the joke is so easily delivered 1254 01:10:01,960 --> 01:10:06,080 Speaker 1: through that like filter lens, while you know, through the 1255 01:10:06,080 --> 01:10:10,559 Speaker 1: filter of masculinity, where masculinity is basically like self harm. 1256 01:10:10,600 --> 01:10:14,280 Speaker 1: At this point, I feel like, I feel like, yes, 1257 01:10:14,280 --> 01:10:17,759 Speaker 1: and you want to think about women getting together like women. 1258 01:10:18,960 --> 01:10:22,000 Speaker 1: Women sinking up through periods is not like an ironic thing. 1259 01:10:22,160 --> 01:10:24,720 Speaker 1: It's just this thing that's like it's like, oh, isn't 1260 01:10:24,720 --> 01:10:29,839 Speaker 1: that beautiful? Yes, exactly exactly. That's exactly. That's a good example, 1261 01:10:29,880 --> 01:10:32,160 Speaker 1: I think, got it. I mean, I think that straight 1262 01:10:32,160 --> 01:10:34,160 Speaker 1: men should just do what gay men do, and once 1263 01:10:34,200 --> 01:10:36,439 Speaker 1: they get boners, they should just do what we do 1264 01:10:36,479 --> 01:10:40,480 Speaker 1: and just like fuck each other. Especially fabulous. It's fabulous. 1265 01:10:40,840 --> 01:10:45,040 Speaker 1: It's fabulous. I think it's fabulous. They should. I welcome 1266 01:10:45,080 --> 01:10:47,120 Speaker 1: any straight man that's around me and gets a boner. 1267 01:10:47,160 --> 01:10:51,200 Speaker 1: Don't be scared of it. I have it. I have 1268 01:10:51,320 --> 01:10:53,360 Speaker 1: yet to check off on my list hooking up with 1269 01:10:53,400 --> 01:10:54,920 Speaker 1: a straight guy, and I just got to do it 1270 01:10:54,960 --> 01:10:57,720 Speaker 1: before I die. Somebody. I think it will be. I 1271 01:10:57,720 --> 01:10:59,920 Speaker 1: don't think it'll be fantastic. I just think it will 1272 01:11:00,120 --> 01:11:03,960 Speaker 1: be something yes, and and something to remember or to 1273 01:11:04,080 --> 01:11:07,640 Speaker 1: talk about or too yeah, and then I write my 1274 01:11:08,000 --> 01:11:10,639 Speaker 1: sketch about it. This this all goes back to Lee 1275 01:11:10,680 --> 01:11:17,320 Speaker 1: shang Um who who felt must have felt something he did. 1276 01:11:18,000 --> 01:11:23,360 Speaker 1: He did paying is the only other male character to 1277 01:11:23,520 --> 01:11:27,040 Speaker 1: whom Lee shang shows affection. Well. Also, remember it was 1278 01:11:27,160 --> 01:11:30,040 Speaker 1: Mulan the whole time, but it was Mulan the whole time, 1279 01:11:30,120 --> 01:11:33,880 Speaker 1: so it didn't matter. There was obviously an attraction there 1280 01:11:33,920 --> 01:11:38,599 Speaker 1: and it didn't actually matter the matter the person. And 1281 01:11:38,640 --> 01:11:42,919 Speaker 1: I feel that in the new movie, the live action movie. 1282 01:11:43,680 --> 01:11:45,679 Speaker 1: It wasn't Lee Shang. It was like a different character 1283 01:11:45,720 --> 01:11:51,000 Speaker 1: that the US is a stand in, but he gay, 1284 01:11:52,240 --> 01:11:54,720 Speaker 1: and we'll leave it at that. They went there, Did 1285 01:11:54,720 --> 01:11:56,640 Speaker 1: they go there? No, they didn't go there, But they 1286 01:11:56,640 --> 01:11:59,120 Speaker 1: didn't need to because the longing looks in live action 1287 01:11:59,160 --> 01:12:02,439 Speaker 1: you can't get away with the sort of trickery of 1288 01:12:02,520 --> 01:12:05,120 Speaker 1: animation where it's just like, oh, he slides down the 1289 01:12:05,160 --> 01:12:07,559 Speaker 1: begin he's a little too close and it's like whoo whoo, whoop. 1290 01:12:07,600 --> 01:12:09,559 Speaker 1: I'm falling off the chair because I'm a little nervous 1291 01:12:09,560 --> 01:12:11,920 Speaker 1: to be close to you know. It's like, not gonna 1292 01:12:12,000 --> 01:12:15,240 Speaker 1: be like that on live action. It's this guy goes 1293 01:12:15,280 --> 01:12:19,280 Speaker 1: into the barracks, looks at Mail presenting Mulan, and I 1294 01:12:19,600 --> 01:12:22,799 Speaker 1: fux the ship out of him. And you can't tell 1295 01:12:22,840 --> 01:12:25,800 Speaker 1: me that there wasn't something there. And I almost feel 1296 01:12:25,840 --> 01:12:28,680 Speaker 1: like if they released Mulan now in the way that 1297 01:12:28,760 --> 01:12:32,599 Speaker 1: they did, with all the panic about gender and gender 1298 01:12:32,600 --> 01:12:36,040 Speaker 1: expression and like what is and isn't, it would be 1299 01:12:36,120 --> 01:12:38,800 Speaker 1: such a controversy now, like you know what I mean, 1300 01:12:38,800 --> 01:12:41,760 Speaker 1: Like I feel like it would be a harder selling now. Yes, 1301 01:12:42,200 --> 01:12:45,280 Speaker 1: I really do I think that that people conservative parents 1302 01:12:45,280 --> 01:12:48,800 Speaker 1: would be like fucking up the wall about it, you 1303 01:12:48,800 --> 01:12:51,479 Speaker 1: know what I mean? But I also think that that 1304 01:12:51,200 --> 01:12:55,360 Speaker 1: is what you just said, there's a perspective shift. I mean, 1305 01:12:55,400 --> 01:12:58,000 Speaker 1: you could see it that way. Is he seeing a 1306 01:12:58,000 --> 01:13:01,800 Speaker 1: man or a woman when he's sucking her, jim her 1307 01:13:01,920 --> 01:13:05,200 Speaker 1: slash him? What is he seeing? And what why? He 1308 01:13:05,280 --> 01:13:07,960 Speaker 1: doesn't even know himself? We can we know what we 1309 01:13:08,040 --> 01:13:11,639 Speaker 1: know from our experience. But that's what's so beautiful about 1310 01:13:11,640 --> 01:13:14,000 Speaker 1: it is it doesn't matter. It's it's it's the fact 1311 01:13:14,080 --> 01:13:17,120 Speaker 1: is it's it's in some ways neither here nor there. 1312 01:13:17,840 --> 01:13:20,760 Speaker 1: He she is neither one nor the other, and that's okay, 1313 01:13:20,920 --> 01:13:22,919 Speaker 1: And then it's okay for him to have whatever response 1314 01:13:22,960 --> 01:13:27,720 Speaker 1: that comes with that. Yeah, making a percentage, you know, 1315 01:13:27,920 --> 01:13:31,080 Speaker 1: deciding what percentage of desire he has for one or 1316 01:13:31,120 --> 01:13:34,760 Speaker 1: the other is not useful anymore. Really, I don't think 1317 01:13:35,400 --> 01:13:38,040 Speaker 1: how did you feel when they flew in Osmond to 1318 01:13:38,120 --> 01:13:40,120 Speaker 1: sing your part? Because I feel like that are you 1319 01:13:40,160 --> 01:13:44,880 Speaker 1: allowed to talk about that? Are okay? What's the relationship 1320 01:13:44,920 --> 01:13:48,719 Speaker 1: with Donnie? Yeah? I don't have any relationship with Donnie. 1321 01:13:49,080 --> 01:13:52,040 Speaker 1: I was told first of all, when I was kind 1322 01:13:52,040 --> 01:13:56,679 Speaker 1: of fired. You know, they didn't they didn't um they 1323 01:13:56,720 --> 01:13:59,439 Speaker 1: brought him in, and and any when one could just 1324 01:13:59,720 --> 01:14:02,240 Speaker 1: say any number of reasons why they brought him in, 1325 01:14:02,320 --> 01:14:04,760 Speaker 1: whether it was because they thought liked him better, or 1326 01:14:04,760 --> 01:14:08,160 Speaker 1: they thought they wanted somebody who who had you know, 1327 01:14:08,200 --> 01:14:13,040 Speaker 1: he has said, but the perfect Disney name. But I 1328 01:14:13,040 --> 01:14:16,400 Speaker 1: can't say that's the only reason I think they were. 1329 01:14:17,360 --> 01:14:19,240 Speaker 1: One of the things that they said, just sell it 1330 01:14:19,280 --> 01:14:22,680 Speaker 1: to me, to let me down easy, was well, you know, 1331 01:14:23,600 --> 01:14:27,240 Speaker 1: his singing voice sounds more like your singing voice than 1332 01:14:27,280 --> 01:14:33,240 Speaker 1: your singing voice. What does that mean. It means trickery, foolishness, betrayal, 1333 01:14:33,520 --> 01:14:36,600 Speaker 1: it means, it means it was I just thought. I 1334 01:14:37,040 --> 01:14:40,840 Speaker 1: just nodded and said, okay, I don't believe that for 1335 01:14:40,880 --> 01:14:43,040 Speaker 1: a damn second. I'm glad I was a part of 1336 01:14:43,080 --> 01:14:46,679 Speaker 1: any part of it. I really was, and stupid enough 1337 01:14:46,720 --> 01:14:48,559 Speaker 1: to say that that you believe it, you know what 1338 01:14:48,560 --> 01:14:50,240 Speaker 1: I mean, like I can see you're receiving that at 1339 01:14:50,240 --> 01:14:52,559 Speaker 1: the time, and being like, okay, that has to make sense. 1340 01:14:52,640 --> 01:14:57,320 Speaker 1: It's so dumb, and being like, wait a second, let's 1341 01:14:57,360 --> 01:15:01,400 Speaker 1: get down to business about this. About that? How about that? 1342 01:15:01,400 --> 01:15:04,320 Speaker 1: That is interesting? That is so funny. They said, your 1343 01:15:04,520 --> 01:15:08,519 Speaker 1: singing voice doesn't sound as much like you as Donniahsman. Yeah, 1344 01:15:09,560 --> 01:15:14,040 Speaker 1: I think I think there's some emotion to this recounting 1345 01:15:14,320 --> 01:15:19,000 Speaker 1: that I'm I'm I respect you sort of withholding and 1346 01:15:20,040 --> 01:15:22,000 Speaker 1: because I feel like you must have felt a certain way, 1347 01:15:22,000 --> 01:15:23,479 Speaker 1: but I don't, you don't. You don't have to tell us. 1348 01:15:23,640 --> 01:15:26,840 Speaker 1: He obviously felt a certain way. What what do you 1349 01:15:26,840 --> 01:15:31,240 Speaker 1: mean about about being about being fired from the song? 1350 01:15:31,439 --> 01:15:34,960 Speaker 1: Well as the singer, he still famously is the human voice, 1351 01:15:35,160 --> 01:15:37,880 Speaker 1: of course, but like, yeah, yeah, and I and I 1352 01:15:38,040 --> 01:15:40,920 Speaker 1: I didn't This was probably the first time in a 1353 01:15:40,960 --> 01:15:43,760 Speaker 1: big way where well, you know, not that it's not 1354 01:15:43,800 --> 01:15:46,200 Speaker 1: that not that interesting, but where I was forced to 1355 01:15:46,240 --> 01:15:48,679 Speaker 1: deal with something that was out of my control, okay, 1356 01:15:48,880 --> 01:15:52,400 Speaker 1: and and over my as a as a famously controlling 1357 01:15:52,520 --> 01:15:55,559 Speaker 1: person or a person who was always looking for control 1358 01:15:55,640 --> 01:15:59,519 Speaker 1: or gravitates towards want feeling like they needed it was 1359 01:16:00,000 --> 01:16:02,479 Speaker 1: real adjustment for me, like to go, oh, I don't 1360 01:16:02,520 --> 01:16:04,640 Speaker 1: really get it's nothing. I can't beg them. They're not 1361 01:16:04,680 --> 01:16:07,120 Speaker 1: going to change the shore, So okay, I guess I 1362 01:16:07,200 --> 01:16:11,200 Speaker 1: got to really like, uh just kind of like try 1363 01:16:11,240 --> 01:16:13,680 Speaker 1: to accept this, you know. And they did it to 1364 01:16:13,760 --> 01:16:17,120 Speaker 1: Mingna to right, they because Leah so Longa sang it, 1365 01:16:17,360 --> 01:16:19,960 Speaker 1: but it's ming not a singer. Maybe she maybe that 1366 01:16:20,000 --> 01:16:22,439 Speaker 1: was the thing where she's not I don't think she is, 1367 01:16:23,040 --> 01:16:26,680 Speaker 1: so she was probably not laboring. This is always the 1368 01:16:26,680 --> 01:16:28,519 Speaker 1: thing that is bumped me. I mean, I thought about 1369 01:16:28,520 --> 01:16:32,280 Speaker 1: this for decades at this point. You know, why didn't 1370 01:16:32,320 --> 01:16:36,200 Speaker 1: they let b D sing the Damn Song? Because, like, yeah, 1371 01:16:36,280 --> 01:16:39,479 Speaker 1: I think they I think maybe they didn't like the 1372 01:16:39,520 --> 01:16:42,840 Speaker 1: way I sang yet I don't know for sure, though. No, 1373 01:16:42,960 --> 01:16:45,040 Speaker 1: it's because they're scared of the Church of Latter day 1374 01:16:45,080 --> 01:16:47,960 Speaker 1: Saints and the Church of Latter day Saints was going 1375 01:16:48,000 --> 01:16:50,719 Speaker 1: to storm the ball if they didn't have their boy 1376 01:16:50,800 --> 01:16:53,519 Speaker 1: in it. Okay, that's really what it is. And that's 1377 01:16:53,680 --> 01:16:56,080 Speaker 1: that's that's all. That's how we're gonna They couldn't wait 1378 01:16:56,080 --> 01:16:57,880 Speaker 1: for them. They couldn't wait for their own princess. They 1379 01:16:57,880 --> 01:17:00,400 Speaker 1: couldn't wait for the Mormon princess. We're gonna get some, yeah, 1380 01:17:00,439 --> 01:17:06,559 Speaker 1: they for yeah, whatever that's going to be like Genie 1381 01:17:06,560 --> 01:17:10,280 Speaker 1: in the Lake or whatever. I don't know what it's 1382 01:17:10,280 --> 01:17:12,639 Speaker 1: going to be more Genie in the Lake. I don't 1383 01:17:12,640 --> 01:17:16,200 Speaker 1: know a bit, all right, I don't know Mormon culture, 1384 01:17:16,280 --> 01:17:19,400 Speaker 1: Like what are the things that they do, like casinos. 1385 01:17:19,439 --> 01:17:22,080 Speaker 1: What is it gonna be like a casinos a casino 1386 01:17:22,120 --> 01:17:24,320 Speaker 1: owner's daughter that wants to be an ice skater? Like, 1387 01:17:24,439 --> 01:17:27,479 Speaker 1: was that going to be the Mormon Disney princess? Yeah? Sure, 1388 01:17:28,360 --> 01:17:29,960 Speaker 1: Hans says. I think we'll get hate mail for not 1389 01:17:30,040 --> 01:17:33,559 Speaker 1: talking about sv We talked about SVU. We talked about SPU, Hans, 1390 01:17:33,560 --> 01:17:37,120 Speaker 1: So maybe you need to listen, okay, straight, is there 1391 01:17:37,160 --> 01:17:40,040 Speaker 1: more to say about it? You know? I know, okay, 1392 01:17:40,160 --> 01:17:43,400 Speaker 1: all right, unless you want to say to cut you out. 1393 01:17:43,640 --> 01:17:45,600 Speaker 1: I mean, it was very good to me and I 1394 01:17:46,360 --> 01:17:48,920 Speaker 1: was really thankful to be on it and it and 1395 01:17:49,000 --> 01:17:51,680 Speaker 1: it was perfect the way, exactly the way it was. 1396 01:17:51,920 --> 01:17:53,880 Speaker 1: People always want me to go back to it, and 1397 01:17:53,920 --> 01:17:56,400 Speaker 1: I'm not. I don't think that's gonna happen. Don't go back. 1398 01:17:56,400 --> 01:17:59,760 Speaker 1: Can you say three words to describe Marisca your reverend 1399 01:18:00,600 --> 01:18:07,080 Speaker 1: dedicated moral. We love our moral queen, We love an irreverend, 1400 01:18:07,479 --> 01:18:10,800 Speaker 1: We love an irreverent moral queen, dedicated as well. We 1401 01:18:10,800 --> 01:18:22,160 Speaker 1: can't forget you can ever get dedicated. Okay, So Bowen, 1402 01:18:22,280 --> 01:18:24,519 Speaker 1: is it time? It's time? This is I don't think so, honey, 1403 01:18:24,520 --> 01:18:33,920 Speaker 1: this is our one minute segment. I don't think that's right. 1404 01:18:34,520 --> 01:18:37,720 Speaker 1: After reads his text. No, I'm trying, you know. I know, 1405 01:18:37,760 --> 01:18:39,880 Speaker 1: I'm trying to pull up my stopwatch because I want 1406 01:18:39,880 --> 01:18:42,400 Speaker 1: to see my sixty seconds going by. Oh no, no, no, 1407 01:18:42,439 --> 01:18:44,240 Speaker 1: we'll hold a timer up. Don't worry. Matt and I 1408 01:18:44,280 --> 01:18:46,599 Speaker 1: are gonna go first. This is a true control king, 1409 01:18:46,720 --> 01:18:48,519 Speaker 1: and it's actually a frontrunner for the title of app 1410 01:18:48,560 --> 01:18:53,120 Speaker 1: control king because he wants control over the over the timer, 1411 01:18:53,200 --> 01:18:54,639 Speaker 1: but he know he doesn't know we got I don't 1412 01:18:54,640 --> 01:18:56,360 Speaker 1: want control over it. I want to make sure that 1413 01:18:56,439 --> 01:18:58,519 Speaker 1: I see it, so that I know, hope you're going 1414 01:18:58,560 --> 01:19:00,519 Speaker 1: to see it. Be DENA are similar in this way 1415 01:19:00,560 --> 01:19:05,559 Speaker 1: where we are self sufficient and not gets mistranslated for 1416 01:19:08,920 --> 01:19:12,280 Speaker 1: I didn't say domineering. All right, I think you both 1417 01:19:12,280 --> 01:19:15,439 Speaker 1: should dominate me. That's how I feel. Oh, this is 1418 01:19:15,439 --> 01:19:17,040 Speaker 1: I don't think Sony. This is our one minute segment. 1419 01:19:17,080 --> 01:19:19,400 Speaker 1: We take wo minute to rail against something in culture 1420 01:19:19,520 --> 01:19:24,320 Speaker 1: that's really getting under our skins, as it were. Yeah, 1421 01:19:24,360 --> 01:19:26,920 Speaker 1: I'll go first. I have something I've been thinking about 1422 01:19:26,920 --> 01:19:29,719 Speaker 1: this and it's something actually it's actually been lifelong. Okay, 1423 01:19:29,840 --> 01:19:31,920 Speaker 1: I love it. Wow, Oh god, I wish I could 1424 01:19:31,960 --> 01:19:36,200 Speaker 1: do like twenty of these. But oh one, on your 1425 01:19:36,240 --> 01:19:40,400 Speaker 1: twentieth time back, you'll have done money. This is Matt Rodgers. 1426 01:19:40,479 --> 01:19:42,720 Speaker 1: I don't think so, honey. His time starts now. I 1427 01:19:42,720 --> 01:19:47,040 Speaker 1: don't think so, honey. Wheel of Fortune this is stupid game. 1428 01:19:47,439 --> 01:19:50,080 Speaker 1: First of all, there's no skill involved. And even if 1429 01:19:50,080 --> 01:19:53,000 Speaker 1: there were, no one that they cast has an ounce 1430 01:19:53,040 --> 01:19:56,280 Speaker 1: of it. They spend the goddamn wheel. It lands on 1431 01:19:56,360 --> 01:19:59,519 Speaker 1: bankrupt eight out of ten times. It's so fucking boring. 1432 01:19:59,800 --> 01:20:01,719 Speaker 1: And then they look up at the wheel it says 1433 01:20:01,800 --> 01:20:05,120 Speaker 1: it's like g blank a T. The word is goat 1434 01:20:05,200 --> 01:20:08,840 Speaker 1: and they go I'd like to solve glass. It's like, so, 1435 01:20:08,880 --> 01:20:13,560 Speaker 1: what are you fucking talking about? Also, stop buying val idiots. 1436 01:20:13,640 --> 01:20:17,759 Speaker 1: You're losing money. Guess see see us in every word 1437 01:20:17,880 --> 01:20:20,840 Speaker 1: guess T. If you have a tea up there, mama, 1438 01:20:20,880 --> 01:20:23,880 Speaker 1: guess h if there's a cue, that's when you buy 1439 01:20:23,880 --> 01:20:28,240 Speaker 1: a You these idiots guessing are when it says p 1440 01:20:28,640 --> 01:20:32,959 Speaker 1: blank s s what is priss? Stop? They are fools. 1441 01:20:33,280 --> 01:20:36,280 Speaker 1: You don't need any skill involved. Jeopardy is the real game. 1442 01:20:36,400 --> 01:20:39,240 Speaker 1: They need to give a bigger wall roll. Pat say 1443 01:20:39,320 --> 01:20:41,439 Speaker 1: Jack sucks and I'd like to solve the puzzle. I 1444 01:20:41,520 --> 01:20:46,240 Speaker 1: don't think so. Money oh no, and that's one minute 1445 01:20:46,320 --> 01:20:49,240 Speaker 1: and you didn't solve it, right, that's not correct. Wow, 1446 01:20:49,280 --> 01:20:53,839 Speaker 1: that is brave and one of your best. I'm in trouble. 1447 01:20:54,280 --> 01:20:56,360 Speaker 1: I constantly watch a Wheel of Fortune and I'm like, 1448 01:20:56,680 --> 01:21:01,040 Speaker 1: after Jeopardy, you're gonna put on This is fucking It's 1449 01:21:01,040 --> 01:21:04,080 Speaker 1: like it's like watching a New York Times crossword puzzle 1450 01:21:04,120 --> 01:21:06,960 Speaker 1: and then watching kids play hop scotch. It's like, get 1451 01:21:07,000 --> 01:21:09,439 Speaker 1: the hell out of here. That that's those are the 1452 01:21:09,560 --> 01:21:13,920 Speaker 1: those are the those are the poles. After you loop up, 1453 01:21:14,160 --> 01:21:18,080 Speaker 1: you don't go play checkers, and Jeopardy is getting you 1454 01:21:18,160 --> 01:21:21,400 Speaker 1: looped up, and then you want to get fucked and 1455 01:21:21,439 --> 01:21:24,240 Speaker 1: then they give you Wheel of Fortune. That is a 1456 01:21:24,439 --> 01:21:28,439 Speaker 1: very interesting way to look at it. Listen, after Jeopardy, 1457 01:21:28,479 --> 01:21:31,640 Speaker 1: I'm loose and I'm thinking let's go, and then then 1458 01:21:31,680 --> 01:21:40,320 Speaker 1: they put no, never never, um never. That was brave, right, 1459 01:21:40,680 --> 01:21:44,240 Speaker 1: And I love this world in which the answers are 1460 01:21:44,280 --> 01:21:49,000 Speaker 1: four letter words when you would be blown away in fact, no, 1461 01:21:49,080 --> 01:21:50,439 Speaker 1: of course, no, I know where. I know exactly what 1462 01:21:50,439 --> 01:21:53,679 Speaker 1: you're talking about. It's a funny thing to YouTube, like 1463 01:21:54,080 --> 01:21:58,320 Speaker 1: Wheel of Fortune fails and see when when they really 1464 01:21:58,439 --> 01:22:01,280 Speaker 1: need to, it's really impossible to get it wrong, and 1465 01:22:01,320 --> 01:22:05,000 Speaker 1: they're like, I'd like to solve the puzzle Chicken Ran, 1466 01:22:05,720 --> 01:22:08,639 Speaker 1: and it's like, no, it was Chicken Run. And whenever 1467 01:22:08,680 --> 01:22:12,439 Speaker 1: Pat say, Jack is like, oh that sucks. You are 1468 01:22:12,640 --> 01:22:17,479 Speaker 1: really dumb. Yeah, So it is funny for that reason, 1469 01:22:17,520 --> 01:22:19,599 Speaker 1: but I think the game is stupid. The prizes are 1470 01:22:19,640 --> 01:22:22,200 Speaker 1: so small. They're winning no money. It's like they live 1471 01:22:22,240 --> 01:22:25,400 Speaker 1: with like twelve thousand dollars and they're like cool. And 1472 01:22:25,439 --> 01:22:29,639 Speaker 1: it's like the longest running show in the world. Vana White, 1473 01:22:29,720 --> 01:22:32,559 Speaker 1: the poor woman, she like does she like her life? 1474 01:22:32,600 --> 01:22:34,840 Speaker 1: Will never know? But one time we did. We did 1475 01:22:34,880 --> 01:22:37,599 Speaker 1: one time on the show explore what the inner life 1476 01:22:37,600 --> 01:22:40,160 Speaker 1: of we think Vana is, and we act actually quite dramatic. 1477 01:22:41,240 --> 01:22:43,040 Speaker 1: It actually lends itself well to a play b D. 1478 01:22:43,160 --> 01:22:47,680 Speaker 1: If you want to produce, I'm looking for rich material. Yeah, 1479 01:22:47,760 --> 01:22:50,519 Speaker 1: feeling for rich material. We've actually basically already scripted the 1480 01:22:50,520 --> 01:22:53,479 Speaker 1: whole Vana White play, so we'll be in wait. Honestly, 1481 01:22:53,520 --> 01:22:55,280 Speaker 1: but really quickly. This is this isn't even a pitt. 1482 01:22:55,360 --> 01:22:57,920 Speaker 1: I just want to get beaties thoughts. I think it's 1483 01:22:57,960 --> 01:23:02,760 Speaker 1: a play that is game show, uh, set in the 1484 01:23:02,840 --> 01:23:05,599 Speaker 1: game show, or a game set in a game show, 1485 01:23:05,640 --> 01:23:08,680 Speaker 1: and that you're seeing the game show play out, but 1486 01:23:08,800 --> 01:23:11,280 Speaker 1: then there's like the staging of it is such that 1487 01:23:11,320 --> 01:23:13,519 Speaker 1: like there's like a backstage area in which like the 1488 01:23:13,560 --> 01:23:16,280 Speaker 1: politics between these two hopes, but like the dynamic between 1489 01:23:16,280 --> 01:23:19,080 Speaker 1: these two hosts is a little toxic and combative. Oh yes, 1490 01:23:19,120 --> 01:23:21,720 Speaker 1: So then you see the backstage antics and then then 1491 01:23:21,760 --> 01:23:23,840 Speaker 1: you see them on screen and see them covering up 1492 01:23:24,000 --> 01:23:28,040 Speaker 1: or being um kind of left like what they present 1493 01:23:28,200 --> 01:23:32,719 Speaker 1: to everyone else on stage back. But meanwhile, her life 1494 01:23:32,720 --> 01:23:37,759 Speaker 1: is crumbling, yes, yes, and he's toxic and he's toxic, 1495 01:23:37,800 --> 01:23:40,080 Speaker 1: and she's been she's been at this job for decades 1496 01:23:40,080 --> 01:23:42,080 Speaker 1: at this point, and her only job is to be silent, 1497 01:23:42,160 --> 01:23:45,599 Speaker 1: look pretty, and and if you think about it, the 1498 01:23:45,680 --> 01:23:48,759 Speaker 1: spinning of the wheel is actually really a good metaphor, 1499 01:23:49,360 --> 01:23:52,759 Speaker 1: because what what are they doing if noting the wheels 1500 01:23:52,840 --> 01:23:55,760 Speaker 1: every day? And that's what's so beautiful. And they never 1501 01:23:55,840 --> 01:23:59,559 Speaker 1: get anywhere, they're just nope, just because that's not what 1502 01:23:59,640 --> 01:24:02,160 Speaker 1: happened in a circle. It's actually really culture number thirteen. 1503 01:24:02,640 --> 01:24:07,840 Speaker 1: You never get anywhere, that's not what happens in a circle. No, 1504 01:24:09,320 --> 01:24:15,080 Speaker 1: all right, okay, I think it's time for me. I 1505 01:24:15,080 --> 01:24:21,200 Speaker 1: think it's time for Bo and Yang and look at Harry. 1506 01:24:21,479 --> 01:24:24,280 Speaker 1: Look at how hot he is. I mean, who could 1507 01:24:24,280 --> 01:24:27,200 Speaker 1: get away with that outfit? When we were watching that, 1508 01:24:27,280 --> 01:24:30,680 Speaker 1: I was going, Okay, that is success, man, Yeah, that 1509 01:24:30,880 --> 01:24:34,160 Speaker 1: is I don't know anybody that could wear that the way, 1510 01:24:34,600 --> 01:24:37,200 Speaker 1: the way genius look. And then he was covering up 1511 01:24:37,240 --> 01:24:39,320 Speaker 1: with these boas and I almost came in here and 1512 01:24:39,360 --> 01:24:42,000 Speaker 1: did I don't think so, honey, Harry's BoA's because I 1513 01:24:42,040 --> 01:24:44,000 Speaker 1: feel the boas or a hat on a hat, and 1514 01:24:44,439 --> 01:24:47,360 Speaker 1: you didn't feel No, I didn't feel that strong. I mean, 1515 01:24:47,400 --> 01:24:49,800 Speaker 1: he can really wear whatever he wants or or as 1516 01:24:49,840 --> 01:24:52,599 Speaker 1: little as he wants. Um but I did. I do 1517 01:24:52,680 --> 01:24:55,960 Speaker 1: love the opportunity to see his torso um So the 1518 01:24:56,000 --> 01:24:59,080 Speaker 1: boa was was in the way for me personally well, 1519 01:24:59,439 --> 01:25:03,360 Speaker 1: but there reveal exactly and we love that. Then the 1520 01:25:03,439 --> 01:25:06,960 Speaker 1: reveal was satisfying exactly, and that's theater. The road comes 1521 01:25:07,000 --> 01:25:10,160 Speaker 1: back to theater and so bowing, this is gonna be 1522 01:25:10,240 --> 01:25:12,720 Speaker 1: your time to do. I don't think so, honey. Can 1523 01:25:12,760 --> 01:25:15,599 Speaker 1: I say, you're backlit in a very like sort of 1524 01:25:15,640 --> 01:25:19,439 Speaker 1: like glamorous way right now like I'm front No, but 1525 01:25:19,479 --> 01:25:22,080 Speaker 1: you're you have backlighting too, and it's the aesthetic is 1526 01:25:22,200 --> 01:25:25,000 Speaker 1: very good so it's a little fairs, a little flare 1527 01:25:25,120 --> 01:25:29,240 Speaker 1: on the lens, on the lens, like a goddamn J. J. 1528 01:25:29,360 --> 01:25:32,120 Speaker 1: Abrams movie in the Zoom Star Trek. Oh my god, 1529 01:25:32,240 --> 01:25:34,800 Speaker 1: Oh my god, if if we're so lucky. All right, 1530 01:25:34,880 --> 01:25:36,719 Speaker 1: So this is Bowen Young's I don't think so, honey, 1531 01:25:36,720 --> 01:25:40,479 Speaker 1: and his time starts now, I don't think so honey. Construction, 1532 01:25:41,439 --> 01:25:44,920 Speaker 1: what are you doing. We have the buildings we need 1533 01:25:45,040 --> 01:25:48,960 Speaker 1: for the rest of humanity. And this is this is 1534 01:25:49,000 --> 01:25:52,519 Speaker 1: actually true. There is enough space for every person in 1535 01:25:52,560 --> 01:25:56,240 Speaker 1: this world to be housed to live in. And I'm 1536 01:25:56,240 --> 01:25:59,600 Speaker 1: not gonna make it about um, you know, a houseless situation. 1537 01:25:59,680 --> 01:26:04,960 Speaker 1: I'm saying, stop building things because it's actually ruining people's lives, 1538 01:26:05,520 --> 01:26:09,160 Speaker 1: mine included. Pay to have noise. And I know this 1539 01:26:09,240 --> 01:26:12,680 Speaker 1: is such a hackney New York complaint, but it's this, 1540 01:26:13,800 --> 01:26:17,760 Speaker 1: it's this enduring one for a reason because they think 1541 01:26:17,760 --> 01:26:19,639 Speaker 1: they can get away with it, because they think this 1542 01:26:19,680 --> 01:26:21,240 Speaker 1: is part of your life. Is that you have to 1543 01:26:21,280 --> 01:26:24,280 Speaker 1: put up with construction? Actually we don't. New York is 1544 01:26:24,400 --> 01:26:27,360 Speaker 1: fine the way it is building wise. We don't need 1545 01:26:27,400 --> 01:26:31,439 Speaker 1: any new developments. We don't need any new crazy, crazy buildings. 1546 01:26:31,479 --> 01:26:33,200 Speaker 1: I don't want to. I don't want all of these 1547 01:26:33,479 --> 01:26:37,160 Speaker 1: dorms for adults and finance bros specifically built around the 1548 01:26:37,160 --> 01:26:40,200 Speaker 1: city anymore dorms for adults. I don't think so, Honey. 1549 01:26:40,280 --> 01:26:42,599 Speaker 1: That was Bowen Yang's one minute. It's how, it's how, 1550 01:26:42,840 --> 01:26:46,439 Speaker 1: it's how they're marketing. It's how they're marketing these buildings 1551 01:26:46,479 --> 01:26:49,080 Speaker 1: to people. Now it's like, well, there's a pool table 1552 01:26:49,200 --> 01:26:52,640 Speaker 1: in the in the common area. It's like amenities, but 1553 01:26:52,680 --> 01:26:55,400 Speaker 1: it's not even amenities to me, are like washer and 1554 01:26:55,479 --> 01:27:01,880 Speaker 1: dryer and unit dish washer. It's like movie there's more. Yeah, 1555 01:27:01,920 --> 01:27:05,880 Speaker 1: that's right, Peloton Peloton room. There's a gym and a 1556 01:27:05,920 --> 01:27:10,120 Speaker 1: Peloton room. Now that's how it is. I'm afraid of 1557 01:27:10,160 --> 01:27:12,639 Speaker 1: doing this. I'm so afraid of doing this. You're why 1558 01:27:12,680 --> 01:27:15,799 Speaker 1: would you be afraid? Because you've done it many times 1559 01:27:15,920 --> 01:27:18,720 Speaker 1: and because I don't know, But can you can you 1560 01:27:18,760 --> 01:27:22,000 Speaker 1: handle this? This? This happens all the time, right, What 1561 01:27:22,040 --> 01:27:23,840 Speaker 1: happens all the time is that Matt and I do 1562 01:27:23,880 --> 01:27:26,240 Speaker 1: it and are all I don't think somebody is at 1563 01:27:26,240 --> 01:27:29,559 Speaker 1: this point are like c plus is throughout, Like the 1564 01:27:29,640 --> 01:27:32,320 Speaker 1: people who are novel at it are actually the ones 1565 01:27:32,360 --> 01:27:36,880 Speaker 1: who like are able to bring some electric active thing 1566 01:27:37,040 --> 01:27:40,040 Speaker 1: to and they come in and they hem and home. Meanwhile, 1567 01:27:40,240 --> 01:27:42,439 Speaker 1: I just did one on a forty year old game show. 1568 01:27:42,520 --> 01:27:45,280 Speaker 1: Bowen did it on construction. Neither of us are going 1569 01:27:45,320 --> 01:27:47,040 Speaker 1: to get anything done with this. Will a fortune is 1570 01:27:47,040 --> 01:27:49,080 Speaker 1: can not going anywhere. Cuomo has got his hands full. 1571 01:27:49,479 --> 01:27:52,000 Speaker 1: So it's like, what the hell would you have an 1572 01:27:52,040 --> 01:27:54,720 Speaker 1: opportunity to enact change right now? You really do? I 1573 01:27:54,760 --> 01:27:57,080 Speaker 1: don't think I'm going to enact change. I'm just going 1574 01:27:57,200 --> 01:28:00,080 Speaker 1: to be you know. I mean I have to. I 1575 01:28:00,120 --> 01:28:04,440 Speaker 1: have to be as honest as I can about a situation. 1576 01:28:04,800 --> 01:28:07,280 Speaker 1: You know. I try not to be angry about things. 1577 01:28:07,320 --> 01:28:09,320 Speaker 1: So here when I'm angry about something, I'm going to 1578 01:28:09,439 --> 01:28:12,840 Speaker 1: just talk about what I'm angry about. You know. Okay? Good? 1579 01:28:12,840 --> 01:28:16,840 Speaker 1: And this is this is your Here we go, Irks 1580 01:28:16,920 --> 01:28:19,640 Speaker 1: is a great way to put it perfect. This is 1581 01:28:19,800 --> 01:28:22,280 Speaker 1: beauty Wongs. I don't think so, honey. His time starts now. 1582 01:28:22,520 --> 01:28:24,519 Speaker 1: I don't think so, honey. I mean, I know that 1583 01:28:24,560 --> 01:28:27,519 Speaker 1: I'm late to this party, but crime scene vanishing at 1584 01:28:27,520 --> 01:28:32,400 Speaker 1: the Cecil Hotel is something that not abide. This is 1585 01:28:32,479 --> 01:28:36,160 Speaker 1: four hours or more of time that I will never 1586 01:28:36,760 --> 01:28:39,759 Speaker 1: ever ever get back in my life. I first should 1587 01:28:39,760 --> 01:28:46,520 Speaker 1: say watched as part of my presentation that the the 1588 01:28:46,520 --> 01:28:50,639 Speaker 1: the soul of Elisa Lamb must be spinning in her grave, 1589 01:28:50,840 --> 01:28:53,559 Speaker 1: and we must take a moment to say that this 1590 01:28:53,640 --> 01:28:57,880 Speaker 1: is all based on um, you know, this kind of commercialized, 1591 01:28:58,080 --> 01:29:04,360 Speaker 1: over hyped and um poorly produced production was her expense, 1592 01:29:04,439 --> 01:29:08,400 Speaker 1: and I find absolutely terrible there was to get even 1593 01:29:08,439 --> 01:29:12,000 Speaker 1: into the whole terrible other aspect of it, which is 1594 01:29:12,040 --> 01:29:15,639 Speaker 1: the problem of taking paying attention to too much people 1595 01:29:15,760 --> 01:29:19,639 Speaker 1: on the internet. That should stop right now. I don't think, yeah, 1596 01:29:21,400 --> 01:29:25,120 Speaker 1: you're actually very topical, very topical, because we've discussed on 1597 01:29:25,200 --> 01:29:27,799 Speaker 1: this very podcast that Bowen does not think so, honey, 1598 01:29:27,840 --> 01:29:33,559 Speaker 1: this that the only thing that the show unintentionally does 1599 01:29:33,640 --> 01:29:39,320 Speaker 1: well is to talk about the culture around crime now 1600 01:29:39,360 --> 01:29:44,880 Speaker 1: around intentionally unintentionally because it was such drivel, the way 1601 01:29:44,880 --> 01:29:50,719 Speaker 1: it was made garbage. I was so I'm really mad 1602 01:29:50,760 --> 01:29:52,960 Speaker 1: about it. I think it's you've already talked about this, 1603 01:29:53,000 --> 01:29:55,320 Speaker 1: I know, after people have already heard about it. No, 1604 01:29:55,720 --> 01:29:57,280 Speaker 1: we want to hear what you said. Well, well, I 1605 01:29:57,320 --> 01:30:03,040 Speaker 1: mean it was absolutely irresponsible and it was um manipulated, 1606 01:30:03,120 --> 01:30:06,040 Speaker 1: like kind of like taking facts and just trying to 1607 01:30:06,280 --> 01:30:09,960 Speaker 1: make a narrative out of them that didn't exist. You 1608 01:30:10,000 --> 01:30:15,080 Speaker 1: could see it. It was also stretched beyond Oh just 1609 01:30:15,160 --> 01:30:20,840 Speaker 1: be just stretched hopelessly stretched. Yes, And I was, I'm 1610 01:30:20,960 --> 01:30:23,640 Speaker 1: I'm I'm critical of things like this or things that 1611 01:30:23,680 --> 01:30:25,840 Speaker 1: are you know, if if something I feel like I 1612 01:30:25,880 --> 01:30:27,880 Speaker 1: get ahead of something or something like that. But I 1613 01:30:28,040 --> 01:30:32,640 Speaker 1: really felt this was intelligence insulting for most people. Do 1614 01:30:32,680 --> 01:30:34,640 Speaker 1: you feel do you feel that we have hit the 1615 01:30:34,640 --> 01:30:37,240 Speaker 1: breaking point with true crime where maybe it's just like 1616 01:30:37,280 --> 01:30:39,800 Speaker 1: we need we all need a break, because I feel 1617 01:30:39,840 --> 01:30:41,680 Speaker 1: like the reason why it was bad is because they 1618 01:30:41,680 --> 01:30:43,439 Speaker 1: were like, oh, we have an opportunity to do a 1619 01:30:43,439 --> 01:30:46,000 Speaker 1: true crime thing, like, let's do it without really thinking 1620 01:30:46,040 --> 01:30:48,479 Speaker 1: about the case, whether or not it was appropriate or 1621 01:30:48,520 --> 01:30:52,960 Speaker 1: like would fit. Yeah, I mean they yes, of course, yes, 1622 01:30:53,040 --> 01:30:55,840 Speaker 1: I think that. I mean I was. It was now 1623 01:30:56,120 --> 01:31:00,880 Speaker 1: on my you know, the algorithm on my my, my Netflix, 1624 01:31:01,120 --> 01:31:03,200 Speaker 1: all this true crime is coming up and it's all 1625 01:31:03,560 --> 01:31:06,439 Speaker 1: Netflix produced, and I'm over it. I'm like, well, I'm 1626 01:31:06,439 --> 01:31:09,040 Speaker 1: not watching any more of those because you you blew 1627 01:31:09,080 --> 01:31:11,720 Speaker 1: your credibility on that one. Um, you know there are 1628 01:31:11,760 --> 01:31:14,120 Speaker 1: other ones like if it wasn't you know, certain other 1629 01:31:14,120 --> 01:31:17,840 Speaker 1: shows that I've seen in other places when they produced them, Well, 1630 01:31:17,960 --> 01:31:21,080 Speaker 1: you wanted to see that content and and and that, 1631 01:31:21,200 --> 01:31:27,200 Speaker 1: but this really damaged me. I felt really abused. And 1632 01:31:27,240 --> 01:31:29,200 Speaker 1: this is very this is specific, but were you not 1633 01:31:29,360 --> 01:31:32,880 Speaker 1: heartbroken when they cut to the parents anytime they like 1634 01:31:32,920 --> 01:31:34,920 Speaker 1: showed the parents. I was just like, God, these two 1635 01:31:35,360 --> 01:31:39,439 Speaker 1: the Canadian Asian people who like immigrants, like who like 1636 01:31:39,880 --> 01:31:44,320 Speaker 1: have no idea about any of that, got on a 1637 01:31:44,360 --> 01:31:47,680 Speaker 1: plane or where whatever, however they got here and just 1638 01:31:48,920 --> 01:31:53,800 Speaker 1: got thrown into this horrible, horrible and and the show 1639 01:31:53,920 --> 01:31:57,280 Speaker 1: doesn't clearly they didn't want to be involved. They didn't 1640 01:31:57,560 --> 01:32:01,960 Speaker 1: attach themselves to it. There they've extricated themselves from it, 1641 01:32:02,040 --> 01:32:04,080 Speaker 1: and there's a reason for it, because it's it's not 1642 01:32:04,200 --> 01:32:06,200 Speaker 1: good and it wasn't going to serve them well or 1643 01:32:06,240 --> 01:32:10,400 Speaker 1: her their daughter. She was not served well. She was 1644 01:32:10,520 --> 01:32:14,000 Speaker 1: manipulated and turned into some kind of bizarre character, when 1645 01:32:14,040 --> 01:32:17,520 Speaker 1: in fact she had real challenges in her life, apparently 1646 01:32:17,560 --> 01:32:19,719 Speaker 1: if you were to believe everything you saw on the show. 1647 01:32:20,720 --> 01:32:25,200 Speaker 1: But and that's terrible too, that's like what are we doing? 1648 01:32:25,720 --> 01:32:29,479 Speaker 1: How who did that? And didn't think twice about it? 1649 01:32:30,560 --> 01:32:32,960 Speaker 1: You know, Like it takes a lot of people to 1650 01:32:33,000 --> 01:32:35,160 Speaker 1: make a show like this, and somebody didn't raise their 1651 01:32:35,160 --> 01:32:36,840 Speaker 1: hand and say, hey, what do you what are we 1652 01:32:36,920 --> 01:32:40,519 Speaker 1: actually trying to do here? Yeah, we've talked about it 1653 01:32:40,560 --> 01:32:42,040 Speaker 1: so much that I'm like, I hadn't I need to 1654 01:32:42,040 --> 01:32:44,240 Speaker 1: watch it, but everything we've said has been negative, So 1655 01:32:44,240 --> 01:32:46,680 Speaker 1: I guess I'm not going to watch them. I don't know. 1656 01:32:46,880 --> 01:32:50,320 Speaker 1: I could not recommend it less is that. Yeah? Yeah. 1657 01:32:51,479 --> 01:32:54,640 Speaker 1: I wouldn't say watching just for the research or like, 1658 01:32:54,680 --> 01:32:56,320 Speaker 1: oh so that we can talk about it. I would 1659 01:32:56,320 --> 01:33:00,679 Speaker 1: say it's a waste of time. Did you watch the vow? 1660 01:33:01,600 --> 01:33:04,080 Speaker 1: I did watch the vow and I watched the other 1661 01:33:04,120 --> 01:33:07,559 Speaker 1: one on see and I want I want to say, 1662 01:33:07,560 --> 01:33:10,479 Speaker 1: ever something to the readers. If you like me and 1663 01:33:10,600 --> 01:33:15,040 Speaker 1: Bowen got exhausted by the Vow, you gotta watch Seduced. 1664 01:33:15,160 --> 01:33:17,439 Speaker 1: Seduced is better. And you know who brought Seduced to 1665 01:33:17,479 --> 01:33:21,880 Speaker 1: my attention. Molly Shannon in the makeup trailer was like, 1666 01:33:22,240 --> 01:33:26,719 Speaker 1: you have to watch Seduce. Molly loves like all reality shows, 1667 01:33:26,760 --> 01:33:28,960 Speaker 1: like all all this stuff, and she was like, no, 1668 01:33:29,120 --> 01:33:32,280 Speaker 1: don't watch the vow, don't watch the vow. Watched Seduced, 1669 01:33:32,439 --> 01:33:34,880 Speaker 1: and I watched Seduced, and she was right. And I'm 1670 01:33:34,920 --> 01:33:38,519 Speaker 1: telling you every bead knows Seduced was better, would you agree? 1671 01:33:39,320 --> 01:33:43,120 Speaker 1: I think that there was something really um not right 1672 01:33:43,200 --> 01:33:44,920 Speaker 1: about the vow. I kind of got into it for 1673 01:33:44,960 --> 01:33:47,240 Speaker 1: the first part. I was really and I did like 1674 01:33:47,479 --> 01:33:50,439 Speaker 1: the way they the way they positioned the vow where 1675 01:33:50,439 --> 01:33:53,240 Speaker 1: they where. They led us into this whole thing by 1676 01:33:53,280 --> 01:33:56,200 Speaker 1: showing us what was great or what apparently it seemed 1677 01:33:56,280 --> 01:33:58,600 Speaker 1: like it was great about the program. And then you 1678 01:33:58,760 --> 01:34:01,880 Speaker 1: got pulled into it just the way everyone else did. Yes, 1679 01:34:02,160 --> 01:34:05,559 Speaker 1: and then this otherd Seduced is like a one eighty 1680 01:34:05,680 --> 01:34:11,280 Speaker 1: kind of weird. It's a fascinating, uh different perspective to have. 1681 01:34:11,400 --> 01:34:14,800 Speaker 1: The only thing that kind of bugs me about Seduced 1682 01:34:14,920 --> 01:34:18,280 Speaker 1: is that itself produced by the person who's trying to 1683 01:34:19,000 --> 01:34:23,960 Speaker 1: make their Proba Oxenberg. And that is like, there's long 1684 01:34:25,000 --> 01:34:28,719 Speaker 1: I said, there's all these long kind of her talking 1685 01:34:28,760 --> 01:34:31,840 Speaker 1: to the camera, right yeah, And I said to my husband, 1686 01:34:31,840 --> 01:34:33,960 Speaker 1: I said, there's nobody there in the room in here. 1687 01:34:34,080 --> 01:34:41,880 Speaker 1: She's just talking. She's sitting there her story. I did 1688 01:34:42,000 --> 01:34:43,799 Speaker 1: feel like the way that she was saying the lines, 1689 01:34:43,840 --> 01:34:46,400 Speaker 1: I was like, is she being directed badly or she 1690 01:34:46,520 --> 01:34:50,840 Speaker 1: just like she definitely isn't natural on screen presence. But 1691 01:34:50,880 --> 01:34:54,040 Speaker 1: it was really interesting, like Seduced was just four episodes. 1692 01:34:54,080 --> 01:34:56,719 Speaker 1: It was just like the facts, they have Keith Ranieri 1693 01:34:56,920 --> 01:35:00,880 Speaker 1: on camera saying things like, you know, kids actually want 1694 01:35:00,880 --> 01:35:04,559 Speaker 1: to be raping. He's literally saying things like this. Meanwhile, 1695 01:35:04,600 --> 01:35:07,600 Speaker 1: the vow only kind of alludes to that maybe or 1696 01:35:07,600 --> 01:35:10,240 Speaker 1: maybe it gets to it later. And I feel like 1697 01:35:10,680 --> 01:35:14,320 Speaker 1: there was an ego pump in the vow because it 1698 01:35:14,439 --> 01:35:16,840 Speaker 1: was people that were involved in it, that were part 1699 01:35:16,840 --> 01:35:20,759 Speaker 1: of that thing administratively, that felt like they really needed 1700 01:35:20,800 --> 01:35:23,000 Speaker 1: to dig themselves out of it with more and more 1701 01:35:23,040 --> 01:35:26,920 Speaker 1: and more and more and more. Meanwhile, Seduced, it's four episodes. 1702 01:35:27,240 --> 01:35:29,840 Speaker 1: They literally show him on camera being a monster, and 1703 01:35:29,880 --> 01:35:32,680 Speaker 1: you get a direct perspective from someone who was like 1704 01:35:32,720 --> 01:35:36,839 Speaker 1: truly victimized by it. So it's just I I preferred Seduced, 1705 01:35:36,840 --> 01:35:39,240 Speaker 1: And I say that to the readers as an audience member, 1706 01:35:39,280 --> 01:35:42,160 Speaker 1: and also at the end of the day, neither one's 1707 01:35:42,200 --> 01:35:46,840 Speaker 1: some great documentary film. No, if you're looking at for that, 1708 01:35:47,000 --> 01:35:50,439 Speaker 1: then don't watch either of them. To compare INDIAA Valerie 1709 01:35:50,560 --> 01:35:55,960 Speaker 1: Cherished inspired though, that that's that's the perfect intersection of 1710 01:35:56,040 --> 01:35:58,920 Speaker 1: culture that we talked about here on this Culture and 1711 01:35:59,160 --> 01:36:02,559 Speaker 1: a brilliant way to cap off an episode that has 1712 01:36:02,600 --> 01:36:06,000 Speaker 1: been our true joy. We thank you so much for 1713 01:36:06,040 --> 01:36:08,799 Speaker 1: coming on. You are I mean to quote Wendy Williams, 1714 01:36:09,040 --> 01:36:10,760 Speaker 1: he's got a point. He's got a point in icon 1715 01:36:10,920 --> 01:36:14,280 Speaker 1: and icon. He's all a legend and he is the moment. 1716 01:36:14,520 --> 01:36:17,680 Speaker 1: Now come on, come on now, it's beauty wong um 1717 01:36:18,720 --> 01:36:22,200 Speaker 1: some I love you so much. Someone who I don't 1718 01:36:22,200 --> 01:36:24,040 Speaker 1: know is and the girls say this now in in 1719 01:36:24,040 --> 01:36:27,200 Speaker 1: a facetious way, like that person is the blueprint. This 1720 01:36:27,240 --> 01:36:29,920 Speaker 1: is someone who is the blueprint knows that it's about 1721 01:36:30,160 --> 01:36:33,080 Speaker 1: community building, because they say before you don't think about 1722 01:36:33,080 --> 01:36:35,760 Speaker 1: building a career, thinking about building a community. This is this. 1723 01:36:36,120 --> 01:36:39,080 Speaker 1: Everything that Beaty does is about that at its at 1724 01:36:39,080 --> 01:36:42,400 Speaker 1: it's root, and it's so so so it's I hate 1725 01:36:42,400 --> 01:36:44,360 Speaker 1: saying this word, but it's so inspiring. But we do 1726 01:36:44,400 --> 01:36:46,800 Speaker 1: love to end every episode with a song. Who's we 1727 01:36:47,560 --> 01:36:51,640 Speaker 1: life is a willow in it bent? Right now? You 1728 01:36:51,720 --> 01:36:59,479 Speaker 1: did the next one? I don't well, he's gonna see 1729 01:36:59,479 --> 01:37:01,559 Speaker 1: he's gonna take a week to get off for good evermore, 1730 01:37:01,640 --> 01:37:10,559 Speaker 1: but for now, bye bye mhm