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Speaker 1: Welcome to Worst Year Ever, a production of I Heart

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Speaker 1: Radio Together Everything so down, Down Down, Welcome back to

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Speaker 1: the Worst You're Ever Nap. I was very professional going

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Speaker 1: for the big swings here on the worst Year Ever.

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Speaker 1: We are back, Baby, I don't know how are how

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Speaker 1: are you guys doing? How's everybody doing? Okay, yeah, it's

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Speaker 1: as well as anyone is these days. I had an

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Speaker 1: exciting day. I got up at ten, which is Sophie

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Speaker 1: will tell you very very um, and I got right

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Speaker 1: to work composing a new version of the song but Baby,

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Speaker 1: It's Cold Outside, starring Hitler and Nava Brown. Hitler takes

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Speaker 1: the ladies role in that um, which makes a lot

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Speaker 1: of s because instead of being worried about what his

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Speaker 1: family will say, he's worried about what the other members

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Speaker 1: of the Nazi High Command, who have turned him into

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Speaker 1: a sex sym and need him to be perpetually available

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Speaker 1: to the German woman, what they'll say if he goes

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Speaker 1: home and it's the one singing but Hitler, It's cold outside.

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Speaker 1: I'm just so impressed. See all that you can accomplish

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Speaker 1: when you wake up just a little bit earlier. Need

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Speaker 1: tap into those morning creativity juices. I still haven't recorded

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Speaker 1: those ads, Sophie. So yeah, there were priorities. I mean, honestly,

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Speaker 1: I accept that seems fair trade off. Yeah. Just let

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Speaker 1: the advertisers know what you were up to, Robert. Just

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Speaker 1: let the sponsors know. Hey, I'm trying to see if

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Speaker 1: anyone wants to buy my Hitler. It's cold outside, so

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Speaker 1: just and the When our adopts team messages me for

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Speaker 1: the I don't know if youth time asking for an ad,

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Speaker 1: I'll just say listen. Robert was very busy, okay, but

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Speaker 1: Hitler and they'll be like and Brown right right, they'll

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Speaker 1: be like a fair h uh. Do I want the

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Speaker 1: ending spoiled for me? Is it is this song? Is

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Speaker 1: it like go Places? Oh? Yeah, I mean well no,

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Speaker 1: actually Hitler Hitler leaves in order to plan further the

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Speaker 1: invasion of Poland. Um and Ava christ yourself to sleep.

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Speaker 1: Um it's a good song, yeah, like all good songs.

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Speaker 1: I think it's good to be the hit of next

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Speaker 1: winter when I when I get it properly produced, um collab.

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Speaker 1: I think Cody is always talking about producing music, So

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Speaker 1: send it over. Maybe a new theme song for our

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Speaker 1: well postal services. That's exactly right, um, I've always wanted

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Speaker 1: to be the postal service of reimagined Christmas songs featuring Hitler. Hitler,

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Speaker 1: Yeah great, specific right, um waving from such great Reichs.

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Speaker 1: Come down boy nine. Stuff happening? Is there news? Oh god, no,

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Speaker 1: why would you even ask that? No, we're on our

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Speaker 1: Ben Shapiro book Club trajectory. Still we are. Can we

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Speaker 1: talk about Josh Wedden for a second. I don't know.

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Speaker 1: I have a really narrow thing I want to talk about,

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Speaker 1: which is that, like within the car, one of the

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Speaker 1: things I think is frustrating is this this need to

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Speaker 1: when when it comes out that somebody has done like

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Speaker 1: shitty stuff, um, pretend that like you never liked. There's

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Speaker 1: like there's this this thing going on when now people

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Speaker 1: are being like, oh well he wasn't that big a

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Speaker 1: part of Buffy um or oh well he like and

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Speaker 1: it's like like there it's this attempt because they're fans

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Speaker 1: of the show he made, and also they find his

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Speaker 1: behavior unacceptable, which it is they feel this need to

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Speaker 1: be like, um, well he wasn't like you know that

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Speaker 1: much of this or that, Like it's this idea that

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Speaker 1: like if he turned out to be bad, he can't

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Speaker 1: have actually been good at making content that I liked. Uh,

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Speaker 1: And I think that's a misdirected impulse. Interesting, Um, I

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Speaker 1: would uh added that I think part of it is

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Speaker 1: also that, um, the one could like described like we

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Speaker 1: we didn't speak, you know, like the well that happened

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Speaker 1: of it all. Yes, And I feel like that it

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Speaker 1: was fine for the time when he did it, and

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Speaker 1: it caught on and so everyone does it now in

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Speaker 1: all the things, and so that is stuff part of yes,

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Speaker 1: And that's part of also the backlash of like he

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Speaker 1: created this awful thing that's everywhere now. Yeah, well not

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Speaker 1: be like you can watch Firefly and there's we didn't

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Speaker 1: speak in it, but it still fits the tone of

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Speaker 1: the show. Yeah. As opposed to other other works, I

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Speaker 1: would I would say, well, that's one of the things.

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Speaker 1: I think there's this this because we've gotten so like

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Speaker 1: exhausted from it. This in this I like tendency to

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Speaker 1: be like, oh it was always like it's a horrible

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Speaker 1: trend that he introduced, as opposed to like, well, he

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Speaker 1: wrote some stuff that people liked and everybody copied him.

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Speaker 1: It's like bullet time with the matrix, like it's he

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Speaker 1: really like weed and speak is like the verbal equivalent

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Speaker 1: of bullet time. And that's why it became exhausting, because

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Speaker 1: Hollywood is not very creative, and if they see something

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Speaker 1: that works, they run that motherfucker into the ground as

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Speaker 1: fast as they can. Yeah, there's a reason that caught on,

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Speaker 1: and there's a reason it got really bad. Yeah, because

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Speaker 1: it was. It was. It's the kind of thing that

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Speaker 1: if if Josh Weeden had always kind of stayed at

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Speaker 1: the level of fame he was when Buffy was on,

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Speaker 1: and the same thing of his shows, like he had

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Speaker 1: a bunch of one in two season shows with little

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Speaker 1: cult followings, I don't think anyone would have gotten exhausted

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Speaker 1: by the way he wrote dialogue. But it became it

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Speaker 1: ate everything, um, and it led to this kind of

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Speaker 1: inability within the Hollywood to have any kind of moment,

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Speaker 1: like this thing that's constant and Marvel, where like nothing

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Speaker 1: gets to have any weight because you have to have

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Speaker 1: like a crack every everyone say, yeah, it's very like

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Speaker 1: it created this thing that Marvel does specifically, but other

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Speaker 1: things do generally where you don't allow uh, you know,

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Speaker 1: the emotion of a scene or literally again to sort

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Speaker 1: of land which is actually again, I'm not even I'm

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Speaker 1: not even really a wedding fan. I've never even watched Buffy.

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Speaker 1: But it's not a thing that I think he actually

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Speaker 1: did in most of his I guess you could say

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Speaker 1: with like is more like like a Ventures, but like

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Speaker 1: you know, within Firefly at least, and even like stuff

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Speaker 1: like Dr Horrible, he had the ability to have like

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Speaker 1: a scene that was sad, not like he he didn't

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Speaker 1: do the thing that that people did when they started

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Speaker 1: ripping off, like the kind of the way he wrote Dialogue,

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Speaker 1: which I find interesting the genre of itself people start

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Speaker 1: to emulate, it becomes its own thing, not unlike Wes

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Speaker 1: Anderson type stuff. Yeah exactly, um or or what's his name?

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Speaker 1: The Nightmare Before Christmas guy, Tim Burton, a bunch of

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Speaker 1: stuff that Burton defied. Anyway, I think that like obviously

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Speaker 1: his behaviors sucked up in Horrible, But I find it

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Speaker 1: interesting the way in which I think when it comes

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Speaker 1: to like the stuff that people are now criticizing about

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Speaker 1: his his work, it's more just like, yeah, that's what

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Speaker 1: happens when your ship is popular, it gets it gets

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Speaker 1: turned into something insufferable within about four years, especially when

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Speaker 1: Disney yes, yes, anyway, you guys wanna do something fun

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Speaker 1: before Disney buys our senses of humor. This is quickly

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Speaker 1: become a highlight of my week that I look forward

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Speaker 1: to talking about Ben Shapiro's Yeah, reading these books and

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Speaker 1: I'm going to be sad when it's over. I'll be

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Speaker 1: honest too. This is a little o ways is in

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Speaker 1: the Sea, and I think maybe what we could do

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Speaker 1: when we finished this book is we could go back

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Speaker 1: to True Allegiance but find the Spanish translation and we

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Speaker 1: could all learn Spanish together in an attempt to read

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Speaker 1: True Allegiance like I did with the in It in

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Speaker 1: Latin when I was next Cool. That's a good idea

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Speaker 1: for an app, anyone, If any developers are listening a

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Speaker 1: teacher Spanish foreign language learning, UM, get on it. At

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Speaker 1: least three people will download the app. The three of

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Speaker 1: us we will not, and then I will travel to

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Speaker 1: Chiapas and tell everyone I meet take a bullet for you,

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Speaker 1: babe and Espanol. I see no flaws with this plan. Yeah.

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Speaker 1: Download promo code uh utopia h which is the title

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Speaker 1: of that short story we're about to read. Yeah, Um,

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Speaker 1: I I will say I will miss this. It is

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Speaker 1: really entertaining. I don't think he realized how entertaining his

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Speaker 1: writing is. Um in the in the way that it

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Speaker 1: is obviously who writes bad things on purpose and then

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Speaker 1: releases them. Um but um cult following Ben did it?

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Speaker 1: Um where we leave off, we haven't started. H that's right.

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Speaker 1: I think you read the first sentence, but you can

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Speaker 1: do that again. Um. So this is the final Uh,

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Speaker 1: this is the final short story, collection of three short stories.

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Speaker 1: It is fifteen pages. Um uh similar you know, it's

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Speaker 1: same presentation, similar font uh, similar frequency of formatting, issues

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Speaker 1: with the indentation on paragraphs. I feel like there's going

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Speaker 1: to be a lot of similarities, as there have been

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Speaker 1: through all of his writing, despite the genre, despite the message.

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Speaker 1: It's always kind of the same anyway. UM So yeah,

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Speaker 1: this is called Utopia. And as we discovered early late

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Speaker 1: last week, the very first sentence is in all caps.

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Speaker 1: It is a quote. Somebody is screaming all men are

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Speaker 1: created equal. Okay, that's the first. That's bad, even though

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Speaker 1: that's also a thing the founding Fathers wrote in Ben

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Speaker 1: Shapiro can't stop coming over the Adams right his favorite

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Speaker 1: musical seventy six, and that sounds right, Yeah, that sounds right.

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Speaker 1: I mean it does have Mr Feenie, and look, I

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Speaker 1: actually have nothing against seventeen. Mr Feenie is um oh

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Speaker 1: geez one second, I forget which one of them, but

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Speaker 1: he's he's gonna major role um which despite range the

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Speaker 1: fundamental problematic aspects John Adams, he's John Adams. Yeah, like,

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Speaker 1: obviously the deification of the Founding Fathers is problematic, but

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Speaker 1: just as a musical, pretty fun musical. Mr Feenie is

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Speaker 1: great in it. Yeah, also still alive. I just googled

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Speaker 1: that and found that out. That's right, William Daniels. Mr

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Speaker 1: Feenie still young on the Girl Meets World reboots. So again,

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Speaker 1: good it is. It is nice to know that that

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Speaker 1: Mr Feenie still guiding their lives, helping helping children meet

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Speaker 1: the world. Yeah, yeah, okay, we should probably so. I

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Speaker 1: guess I'll check out sent at some point. I've never

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Speaker 1: listened to it. If you want to see Mr Feenie

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Speaker 1: sing some ship as John Adams, that's basically your only

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Speaker 1: option as far as I'm aware. Yeah, we needed a

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Speaker 1: John Adams HBO show, needed more more show tunes in it.

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Speaker 1: You just had Mr There. We are, all right, never

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Speaker 1: going to get through these created equal first line new

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Speaker 1: paragraph formatting issue. Um. He had seen those words somewhere before.

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Speaker 1: They were hazy in his memory. They were a dream,

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Speaker 1: only partially remembered after waking up with bright morning light

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Speaker 1: hitting his eyes. Each day he thought he came closer

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Speaker 1: to remembering where he had seen them before, but then

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Speaker 1: he would shake his head and moving with the teeming

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Speaker 1: crowd past the enormous archway emblazoned with those words, past

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Speaker 1: the Ministry of Education. He knew what education was. This

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Speaker 1: is a parenthetical. He knew what education was, but I

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Speaker 1: had no idea what a ministry. This is going to

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Speaker 1: make me. Oh, he's trying to Yeah, he's trying to

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Speaker 1: do a nineteen eighty four. But again is bad everything

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Speaker 1: the liberals are bad. Bah, well just a also it's

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Speaker 1: it's just bad. It's not very good, very good writing. Uh. Yeah,

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Speaker 1: Like I think if you compare, if you, if you

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Speaker 1: want to go listener, grab your copy of nineteen four

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Speaker 1: and just kind of read the first page or two

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Speaker 1: how Orwell introduces the way in which their thoughts have

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Speaker 1: been like limited, it's it's it's you know, it'll be

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Speaker 1: a fun compare it's better. Yes, yeah, you might call

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Speaker 1: it like a masterpiece, as opposed to this, which is

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Speaker 1: clunky and and derivative, like the written like someone's bad

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Speaker 1: script for a television show that they're trying to sell

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Speaker 1: to HPO, which I'm sure Ben did. Did you say HPO?

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Speaker 1: Because because I'm also a hack in a fraud. Yeah,

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Speaker 1: that's why. That's how what makes you qualified to you know?

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Speaker 1: That's HPO. Is is Home Pox Office, and it's a

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Speaker 1: company that infects you with smallpox at home, pending on

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Speaker 1: what show you watch. Yeah, exactly, it beams, it beams

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Speaker 1: it into your blood. Yeah. Shockingly, they've they've they've gotten

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Speaker 1: four billion dollars in venture capital funding, so I think

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Speaker 1: they're gonna make it. Yeah, coming soon to a home

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Speaker 1: near you, with your at home using the gig economy

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Speaker 1: to spread pox. Give me the next sentence. All right,

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Speaker 1: we're in the second paragraph. Still, I'm gonna I'm gonna

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Speaker 1: go back like because like almost out of outbreak. Then.

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Speaker 1: The lovely thing about his writing is that he makes

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Speaker 1: you want to stop in the middle of a sentence

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Speaker 1: to talk about what a bad sentence? So many episodes

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Speaker 1: out of this exactly, and he he's done it again

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Speaker 1: because we stopped in the middle of that sentence. So

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Speaker 1: I'm going to start the sentence again. Uh, which the

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Speaker 1: sentence starts past the enormous archway emblazoned with those words,

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Speaker 1: which is a great sentence. That's a that's a clause,

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Speaker 1: we call it all right. Past the enormous archway emblazoned

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Speaker 1: with those words, Past the Ministry of Education. He knew

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Speaker 1: what education was, but had no idea what a ministry was.

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Speaker 1: Past the Ministry of Price Control. That's actually I think

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Speaker 1: that's not you editorializing. Okay, no, yeah, sorry, this is

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Speaker 1: a parenthetic. That was a parenthetical. He knew what education was,

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Speaker 1: had no idea what ministry was. This is all separated

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Speaker 1: from with semi colon's uh so, continuing past the Ministry

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Speaker 1: of Price Control parenthetical, he had no idea what price

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Speaker 1: control was, semi colon. Past the Ministry of the Chancellor parenthetical.

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Speaker 1: Everyone knew who the Chancellor was period. Who is he? Well,

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Speaker 1: I I hope, I hope we find out, because we

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Speaker 1: do not in this next sentence. Uh. Finally, he would

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Speaker 1: shuffle to his workstation at the Ministry of Energy, where

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Speaker 1: he would spend his day turning on an office pigot

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Speaker 1: sounds inefficient. Yeah, I mean I think the purpose of

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Speaker 1: the thing the point is making here is that like

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Speaker 1: it's some socialist state where everybody has to have a job,

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Speaker 1: but they don't have as like a poor man's poor

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Speaker 1: man's poor man's sucking Brazil. It's just like yeah, And

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Speaker 1: Ben doesn't really want you to think too much about

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Speaker 1: that bit, because if the point he is making is that, well,

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Speaker 1: actually there's not enough work that needs to be done

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Speaker 1: for all of the people that there are doing jobs,

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Speaker 1: then is the answer that people should have leisure time?

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Speaker 1: Like what is what it? Maybe there's another option there.

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Speaker 1: He's just trying to paint some disgusting version, you know,

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Speaker 1: the things that they want people to believe. That's it's

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Speaker 1: interesting to be because four again very chilling vision of

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Speaker 1: a society that's completely controlled. Um Or Well does that

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Speaker 1: by talking about the ways in which languages is changed,

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Speaker 1: fundamentally limit the ways people can think, the destruction of

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Speaker 1: like concepts of the family, all these different these different

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Speaker 1: things that make people feel inhuman when you get inside

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Speaker 1: their heads. Bins. One of the first things he focuses

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Speaker 1: on his price controls that's very funny to me, that like,

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Speaker 1: instead of the ways in which authoritarianism fundamentally restricts the

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Speaker 1: concept of human thought, He's like, they're gonna put price

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Speaker 1: controls in. That is very funny. It's very funny. There's

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Speaker 1: so much so quick in this text. It's dense, it's dense.

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Speaker 1: It requires a lot of close reading. So that's so

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Speaker 1: we're onto the third paragraph, which, in true Shapira style,

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Speaker 1: is one sentence long and has a formatting issue with

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Speaker 1: the indication, of course, every time the light turned green,

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Speaker 1: he turned on this pigot, new paragraph. Every time it

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Speaker 1: turned red, he turned it off, new paragraph, And with

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Speaker 1: each turn he was happy. Year all right, Okay, getting

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Speaker 1: into the mind of sounds better than a lot of

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Speaker 1: people's jobs, to be honest. Yeah, feeling feeling happy and

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Speaker 1: productive with the hard work you put in. Uh. He

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Speaker 1: was an older member of the city. City has capitalized,

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Speaker 1: but he didn't remember that. In fact, he had no

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Speaker 1: idea how old he was. He just remembered coming into

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Speaker 1: his spigot station each day, putting his ID card in

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Speaker 1: the machine, removing it, going back to his living space

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Speaker 1: with its clean white walls, and it's fully stuck refrigeration system.

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Speaker 1: And it's television reruns. Nice, no new content. Sorry, going

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Speaker 1: to sleep, waking up again another day older each morning.

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Speaker 1: He knew this spigot would need to be turned on

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Speaker 1: and off. It was comforting. He had no family. There

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Speaker 1: was a woman who came to his living space once

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Speaker 1: a week for sexual relations on Tuesdays. She spent it's

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Speaker 1: try Sorry, what means there's a medical you, I'm told

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Speaker 1: from the author. Also, well, it's moist. One hour is

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Speaker 1: longer cumulatively than all of the sex been Shapiro He's like,

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Speaker 1: I don't know why, right, And that's if you include cuddling.

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Speaker 1: M check out Ben's sex book on the pastors where

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Speaker 1: you get your podcasts. Actually, that's a good place to

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Speaker 1: point out. We need to break for an ad. Oh,

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Speaker 1: oh my god, we gotta go, we gotta find out.

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Speaker 1: Oh spoiler, Cliffhanger sex coming up. More details on the sex,

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Speaker 1: but probably not actually because I think he's not talking

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Speaker 1: about it. Oh, Dane together everything, So don't don't. You're back. Yes,

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Speaker 1: you're back. We're back in free so hot, I can't

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Speaker 1: even so hot. What happens next? There was a woman

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Speaker 1: came to his living space is what happened? She did?

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Speaker 1: She did, Yeah, she did once a week for sexual

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Speaker 1: relations on Tuesdays, just waiting for like more parentheticals, like

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Speaker 1: he didn't know what Tuesday was. She spent exactly one hour.

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Speaker 1: She was not beautiful and she was not ugly. She

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Speaker 1: wore the blue uniform of the Ministry of Personal Needs.

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Speaker 1: He did not know her name. Today was Tuesday, and

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Speaker 1: he was happy. Yeah again, you know, just as a

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Speaker 1: little like if you wanted to make this a good

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Speaker 1: a good piece of fiction, maybe something to do would

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Speaker 1: be like, in the midst of this woman who has

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Speaker 1: been you know, made to look and feel as bland

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Speaker 1: as possible by this government, he gets some sort of hint,

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Speaker 1: catches a whiff of, you know, the scent of her

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Speaker 1: hair or something about the way her skin feels that

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Speaker 1: like leaves this brief yawning moment of horror at the

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Speaker 1: fact that, like something terrible is missing from his life,

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Speaker 1: and then of course it's gone in another second, as

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Speaker 1: he returns his thoughts to the you know something that

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Speaker 1: makes it a story. Yeah, and like texture, you know

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Speaker 1: that helps you get into it kind of well because

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Speaker 1: stating this, well he said, I was happy that day

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Speaker 1: or whatever, that's the most insight we've got we get

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Speaker 1: into or his satisfaction at the work. Sure, but like

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Speaker 1: you're not actually giving context for this world. I don't

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Speaker 1: understand how this is affecting you anyway. Yeah, and we don't.

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Speaker 1: You know the thing, he's going to wind up breaking

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Speaker 1: free of this system he has to, and there's going

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Speaker 1: to be some sort of hackney bullshit. Um, but it

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Speaker 1: has so like you you want to give some sort

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Speaker 1: of hint that like there's there's elements of humanity, the

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Speaker 1: irrepressible nature of the human soul that are trying to

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Speaker 1: like slowly break through. And he had maybe sex. Again,

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Speaker 1: if Ben Shapiro had ever had a positive sexual encounter,

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Speaker 1: I think a normal person would be like, oh, well,

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Speaker 1: that might be a moment of like intimacy that they

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Speaker 1: can't quite quash out every aspect of it. He gets

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Speaker 1: some ghost of something that's missing, and that sets up

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Speaker 1: that like he's going to break out of this system.

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Speaker 1: I don't know. Again, if you were writing a story,

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Speaker 1: you might do that, especially a short story where you

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Speaker 1: don't have that much time. I was gonna say, like

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Speaker 1: you really want to move on that stuff? In my head,

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Speaker 1: I'm like giving him the benefit of the doubt. I'm like,

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Speaker 1: I'm sure that will happen later a little bit, right,

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Speaker 1: but like there's no time, there's no time. You gotta

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Speaker 1: do it. No, not with his size, fourteen times new

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Speaker 1: roman print, three paragraphs on this page long. Um, alright,

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Speaker 1: let's find out what else makes this fucker happy? Um.

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Speaker 1: He had no friends. He worked with others and once

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Speaker 1: every week, for this is an awkward sentence, he worked

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Speaker 1: with others and once every week, four new people would

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Speaker 1: come to his living space on Wednesdays. The five would

359
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Speaker 1: play cards together. Then they would never see each other again.

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Speaker 1: It was all in good fun, and it allowed him

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Speaker 1: to always meet new people. Wednesdays were not as happy

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Speaker 1: as Tuesdays, but they were happy. This is so bad.

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Speaker 1: This is this is this is bad. He's really hammering

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Speaker 1: on how happy is And I'm going to tell you, Ben,

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Speaker 1: I get it all right. Tonight was a Thursday night.

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Speaker 1: On Thursday nights, the members of the various ministries would

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Speaker 1: come together for a nighttime stargazing. It happened on the

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Speaker 1: well manicured lawn of the Ministry of Culture. When he

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Speaker 1: got to the lawn, there were already thousands of people

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Speaker 1: milling about. He did not look for anyone he knew,

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Speaker 1: He knew nobody, nobody knew anybody. There were no clicks.

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Speaker 1: There were just thousands of people happy to see one another,

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Speaker 1: and he was happy too. Yes, what a nightmare. So

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Speaker 1: bad well comprehensively bleak vision been places of this god

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Speaker 1: people are. He's still doing his thing where he um

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Speaker 1: just horrendously over uses the same word. Yes, if you

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Speaker 1: were a good writer, there's a way you could use

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Speaker 1: kind of repetition of words and doing. Yeah, he's not

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Speaker 1: because he's bad, it's just how he writes. Well, the

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Speaker 1: the the intention is there. He's trying to like reuse

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Speaker 1: the like the happy phrase, talk about how they're happy.

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Speaker 1: But he's doing it every other fucking sentence, so it

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Speaker 1: seems laborious to absorb. I don't know if he's doing

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Speaker 1: it on purpose. I think as I start, you think

385
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Speaker 1: he is. Okay, I think he's doing this on purpose. Uh,

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Speaker 1: it's just his habit is to do it anyway within sentences,

387
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Speaker 1: and so that the thing that he does that's like

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Speaker 1: a regular thing that happens is I think infecting our

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Speaker 1: view of what he's doing now. But the problem with

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Speaker 1: what he's doing now is that it's like every three

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Speaker 1: sentences instead of within the same sentence. So it still

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Speaker 1: seems like it's both poorly executed and maybe not on purpose,

393
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Speaker 1: but I think it is. It's just he's not very

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Speaker 1: good at it. Yeah yeah, like again like okay, like

395
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Speaker 1: a couple of pages and then you know, but he's

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Speaker 1: very happy, Like you can get the rhythm going without

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Speaker 1: it being so obvious what's going on. Um, he's just

398
00:24:25,720 --> 00:24:29,919
Speaker 1: not a subtle There's other ways to play with repetition

399
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Speaker 1: than simply repeating yes, uh he can, he can. Like

400
00:24:34,800 --> 00:24:38,400
Speaker 1: it's it's actually very funny because like you're you're so

401
00:24:38,520 --> 00:24:42,439
Speaker 1: right that like he took the simple like it's this,

402
00:24:42,640 --> 00:24:46,600
Speaker 1: it's like a shot the baby's first sentence exactly like

403
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Speaker 1: that emotion is such a simple emotion, and there are

404
00:24:50,240 --> 00:24:55,920
Speaker 1: more complex ways to describe it. Um. Truly, I truly

405
00:24:56,040 --> 00:24:59,240
Speaker 1: have written better short stories than these as a child.

406
00:24:59,560 --> 00:25:03,399
Speaker 1: There's any example here of just how limited Ben's imagination is.

407
00:25:03,440 --> 00:25:05,200
Speaker 1: Because again, if we go back to nineteen eighty four,

408
00:25:05,200 --> 00:25:07,159
Speaker 1: by this point in nineteen eighty four, where you're like

409
00:25:07,200 --> 00:25:09,800
Speaker 1: a couple of pages in, you've been introduced to an

410
00:25:09,960 --> 00:25:13,560
Speaker 1: entirely new language functionally new speak, and you you you

411
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Speaker 1: all you feel. He doesn't tell you how it's limited,

412
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Speaker 1: uh Winston's ability to feel you you feel it because

413
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Speaker 1: you you you as like within the book he immediately

414
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Speaker 1: like narrows the walls of perception around you by using that.

415
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Speaker 1: Ben wants to do that, but all he can think

416
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Speaker 1: of is just repeating that the person is happy and

417
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Speaker 1: no other emotions because to him, that's the city. That's

418
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Speaker 1: the same thing. Because he doesn't actually get what Orwell

419
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Speaker 1: was was really doing there um and he's not He's

420
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Speaker 1: also not capable of imagining anything. But like being in

421
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Speaker 1: an authoritarian regime is like being drugged and you're just

422
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Speaker 1: like this happy, doped zombie as opposed to what it

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Speaker 1: really is, which is these kind and what or Well depicts,

424
00:25:55,640 --> 00:25:59,320
Speaker 1: which is these kind of walls of fear and like

425
00:26:00,080 --> 00:26:03,080
Speaker 1: flex that kind of reflexively stop you from thinking and

426
00:26:03,119 --> 00:26:06,240
Speaker 1: acting in certain ways because you you're you're fundamentally a

427
00:26:06,280 --> 00:26:09,280
Speaker 1: machine that exists to survive, and you've been trained by

428
00:26:09,320 --> 00:26:12,240
Speaker 1: the regime that you just don't even even begin to

429
00:26:12,320 --> 00:26:15,960
Speaker 1: go down certain roads because of the danger. Um. Again,

430
00:26:16,040 --> 00:26:20,119
Speaker 1: Ben doesn't understand things like he doesn't get this. I

431
00:26:20,160 --> 00:26:23,200
Speaker 1: think over and over I come back to he's just

432
00:26:23,400 --> 00:26:28,200
Speaker 1: really lazy that you know, lazy probably with his education,

433
00:26:28,359 --> 00:26:33,240
Speaker 1: probably lazy with his reading and reading comprehension. Um, but

434
00:26:33,440 --> 00:26:36,159
Speaker 1: definitely lazy. And how he's approached all of this. I

435
00:26:36,200 --> 00:26:39,600
Speaker 1: get the sense from anything Ben does is that it

436
00:26:39,640 --> 00:26:43,399
Speaker 1: has taken the bare surface level of thought. Actually, you

437
00:26:43,480 --> 00:26:46,600
Speaker 1: can argue loud, he can argue and spin things around

438
00:26:46,640 --> 00:26:48,720
Speaker 1: and be confusing and the fuddle stuff, but he doesn't

439
00:26:48,720 --> 00:26:51,080
Speaker 1: actually dig deeper than the service. And that is reflected.

440
00:26:51,600 --> 00:26:53,960
Speaker 1: I mean I've probably I've already said this, but in

441
00:26:54,040 --> 00:26:56,119
Speaker 1: all of these short stories and in all of his

442
00:26:56,240 --> 00:27:00,119
Speaker 1: articles in Drew Allegiance, all of it. Yeah, it's I

443
00:27:00,119 --> 00:27:04,600
Speaker 1: think it's most apparent in his fiction writing. Um, but

444
00:27:04,920 --> 00:27:07,440
Speaker 1: it is everywhere. You're right, Well, I mean it's it's

445
00:27:07,760 --> 00:27:13,200
Speaker 1: it's just seemed in his whole ideology. It's he screams

446
00:27:13,240 --> 00:27:15,639
Speaker 1: as someone who just sits down and writes for twenty

447
00:27:15,680 --> 00:27:18,800
Speaker 1: minutes and he's like, yeah, I did it, yeah today.

448
00:27:19,200 --> 00:27:22,560
Speaker 1: It's there's no depth to it. It's like he is

449
00:27:22,560 --> 00:27:26,399
Speaker 1: sort of replacing, like he thinks that like density equal

450
00:27:26,440 --> 00:27:32,119
Speaker 1: stepth Yeah, and that's not true. Um, and so he

451
00:27:32,240 --> 00:27:35,760
Speaker 1: just yeah, I mean this isn't particularly dense either. I

452
00:27:35,840 --> 00:27:37,680
Speaker 1: mean it's dense in ways that we can make fun

453
00:27:37,720 --> 00:27:40,840
Speaker 1: of it. But yeah, but it's like I just mean

454
00:27:40,880 --> 00:27:43,720
Speaker 1: like the volume, like the volume, even the quantity of it.

455
00:27:43,800 --> 00:27:46,159
Speaker 1: Like there's so many aspects that he's sort of like

456
00:27:46,240 --> 00:27:54,159
Speaker 1: replaced with replaced thinking or about something like carefully, um

457
00:27:54,160 --> 00:28:01,439
Speaker 1: with anything else. Um. But the important thing is he

458
00:28:01,600 --> 00:28:06,280
Speaker 1: was happy too. The night was not too cold, nor

459
00:28:06,440 --> 00:28:11,000
Speaker 1: was it too warm. The climate control system made sure

460
00:28:11,000 --> 00:28:15,439
Speaker 1: of that. The people all sat in ordered rows with

461
00:28:15,600 --> 00:28:20,960
Speaker 1: enough distance between them to ensure personal space. Then hates

462
00:28:21,000 --> 00:28:26,280
Speaker 1: air conditioning and social personal space. It's personal space. Uh,

463
00:28:26,359 --> 00:28:31,359
Speaker 1: weirdly hates like that. They're like seats in rows, like

464
00:28:31,400 --> 00:28:34,240
Speaker 1: how seating is. Yeah, it's it's weird because it's this

465
00:28:34,320 --> 00:28:38,000
Speaker 1: mix of like things that like any person should hate,

466
00:28:38,080 --> 00:28:43,120
Speaker 1: like this this big stuff. They have personal space there,

467
00:28:43,200 --> 00:28:48,960
Speaker 1: star gazing. There aren't clicks like the people all sat

468
00:28:48,960 --> 00:28:51,520
Speaker 1: in ordered rose. I can't believe they're They lined the

469
00:28:51,560 --> 00:28:57,760
Speaker 1: seats up so that you can see. Yeah, very funny society,

470
00:28:58,080 --> 00:29:04,160
Speaker 1: it's so funny. Um and the stars. Wait, all right,

471
00:29:04,360 --> 00:29:06,280
Speaker 1: that makes me wonder. All of this does make me

472
00:29:06,360 --> 00:29:09,440
Speaker 1: wonder what been what brings ben joy in life? Is

473
00:29:09,480 --> 00:29:13,640
Speaker 1: it just owning the libs? Or actually ever like happy

474
00:29:13,680 --> 00:29:20,560
Speaker 1: and satisfied in a moment, a smug little bit. That's

475
00:29:20,600 --> 00:29:25,960
Speaker 1: that's certainly his chief love and life. I think it is. Yeah,

476
00:29:26,000 --> 00:29:30,840
Speaker 1: it is um and getting those sweet sweet likes you know, uh,

477
00:29:30,880 --> 00:29:34,560
Speaker 1: instead of getting his I don't know, stories published or

478
00:29:35,280 --> 00:29:43,520
Speaker 1: put on TV or whatever you know. Ah. But the

479
00:29:43,560 --> 00:29:47,480
Speaker 1: other important thing is the people all sad and ordered

480
00:29:47,560 --> 00:29:51,080
Speaker 1: rose with enough distance between them to ensure personal space,

481
00:29:51,280 --> 00:29:55,280
Speaker 1: and the stars too were in their orbits their distances

482
00:29:55,320 --> 00:30:04,120
Speaker 1: the same as always. I I'm gonna okay, will you

483
00:30:04,160 --> 00:30:07,080
Speaker 1: read that sentence again? Yeah, I'm going to read both

484
00:30:07,120 --> 00:30:11,120
Speaker 1: sentences again, because he's saying too as in also as

485
00:30:11,160 --> 00:30:13,880
Speaker 1: in just like I just said in the previous sentence.

486
00:30:13,920 --> 00:30:17,600
Speaker 1: So the people all sat in ordered rows with enough

487
00:30:17,640 --> 00:30:21,840
Speaker 1: distance between them to ensure personal space, and the stars

488
00:30:22,000 --> 00:30:28,360
Speaker 1: too were in their orbits their distances the same as always. Okay,

489
00:30:28,400 --> 00:30:34,320
Speaker 1: But that that's meaningless because people don't people don't know that, like,

490
00:30:34,080 --> 00:30:36,560
Speaker 1: like it's it's one thing to say that, like the temperature,

491
00:30:36,600 --> 00:30:38,959
Speaker 1: which is the thing that changes all around naturally, Like

492
00:30:39,000 --> 00:30:41,560
Speaker 1: it's been like telling us that the world is climate control.

493
00:30:41,640 --> 00:30:44,120
Speaker 1: To add something pointing out that the stars are the

494
00:30:44,120 --> 00:30:45,960
Speaker 1: same as they've ever been, Like number one, how do

495
00:30:46,000 --> 00:30:47,280
Speaker 1: you know you don't even know? Do you know what

496
00:30:47,400 --> 00:30:51,040
Speaker 1: stars are? Like they tell you what stars are fundamentally,

497
00:30:51,040 --> 00:30:52,680
Speaker 1: Do they let you know about the vastness of the

498
00:30:52,760 --> 00:30:55,880
Speaker 1: universe outside of the rate You seem to have certain

499
00:30:55,880 --> 00:31:00,080
Speaker 1: words and understanding of things. Yeah, consistent with like a

500
00:31:00,200 --> 00:31:02,600
Speaker 1: society is controlled as he's wanting, So you would have

501
00:31:02,680 --> 00:31:11,320
Speaker 1: to to know enough about the sky, Like maybe there's

502
00:31:11,440 --> 00:31:14,000
Speaker 1: like it's like a visual thing and like this like

503
00:31:14,040 --> 00:31:17,880
Speaker 1: they're blocking out the sky with like their version of stars. Ye,

504
00:31:19,760 --> 00:31:27,560
Speaker 1: stars move always constantly, they're whizzing through space. I mean,

505
00:31:27,600 --> 00:31:30,960
Speaker 1: I'm just taking it as like the stars every night

506
00:31:31,720 --> 00:31:36,360
Speaker 1: and you know, like the formations they keep their spacing

507
00:31:36,440 --> 00:31:42,240
Speaker 1: from each other. But also just on a grammatical level,

508
00:31:42,920 --> 00:31:45,840
Speaker 1: and the stars too were in their orbits. You didn't

509
00:31:45,840 --> 00:31:47,880
Speaker 1: say people were in their orbits. You said they were

510
00:31:47,920 --> 00:31:52,160
Speaker 1: in ordered rows, which is very much not like a star.

511
00:31:54,120 --> 00:31:57,880
Speaker 1: He's using the stars to refer to the distances being

512
00:31:57,920 --> 00:31:59,880
Speaker 1: the same, but like that's not how he wrote. It's

513
00:31:59,880 --> 00:32:02,840
Speaker 1: a great unimportant but whatever, because like you introduced the

514
00:32:02,880 --> 00:32:04,520
Speaker 1: fact that the world is climate controlled. I have no

515
00:32:04,600 --> 00:32:06,120
Speaker 1: other questions. I don't need to know how the climate

516
00:32:06,160 --> 00:32:07,920
Speaker 1: control works. I don't need to know how they power it,

517
00:32:08,040 --> 00:32:11,040
Speaker 1: Like this authority, you live in a bubble. Great, I

518
00:32:11,080 --> 00:32:14,040
Speaker 1: get that. That's that's perfectly fine. No, no further explanation needed.

519
00:32:14,320 --> 00:32:17,280
Speaker 1: That's world building. You mentioned this about the stars, and

520
00:32:17,280 --> 00:32:19,800
Speaker 1: now we have all these questions because again every time

521
00:32:19,840 --> 00:32:23,440
Speaker 1: Ben mention is something that's factual in any way wrong,

522
00:32:23,720 --> 00:32:25,760
Speaker 1: The stars are the same distance all like, none of

523
00:32:25,800 --> 00:32:30,640
Speaker 1: this work. Ben Shapiro's writing, Yeah, if if there's if

524
00:32:30,640 --> 00:32:33,960
Speaker 1: he attempts to make a factual statement, it will be wrong,

525
00:32:34,000 --> 00:32:38,760
Speaker 1: and it will be wrong in so many ways over

526
00:32:39,520 --> 00:32:43,440
Speaker 1: I've thought of it several times lately, like, well, it's

527
00:32:43,440 --> 00:32:48,120
Speaker 1: wrong in like five different ways are easily discoverable. Well,

528
00:32:48,120 --> 00:32:50,240
Speaker 1: and it's like it it brings up it does the

529
00:32:50,240 --> 00:32:53,160
Speaker 1: thing you never want to do in science fiction, which

530
00:32:53,200 --> 00:32:54,760
Speaker 1: is it brings up questions that take you out of

531
00:32:54,760 --> 00:32:57,160
Speaker 1: the story. Like for me, I'm wondering now, like, well, okay,

532
00:32:57,240 --> 00:33:00,760
Speaker 1: if this is really an authoritarian regime, like why do

533
00:33:00,840 --> 00:33:02,840
Speaker 1: they why are they find with people knowing about like

534
00:33:02,880 --> 00:33:05,480
Speaker 1: the wonder and majesty of outer space. Why is that

535
00:33:05,520 --> 00:33:07,840
Speaker 1: important to them? Because clearly if they're setting up stargazing,

536
00:33:08,320 --> 00:33:10,520
Speaker 1: then that opens up the possibility that they're going to

537
00:33:10,560 --> 00:33:12,360
Speaker 1: have some sense of like thought about the universe, thought

538
00:33:12,400 --> 00:33:15,360
Speaker 1: potentially about like higher other forms of life, or about

539
00:33:15,440 --> 00:33:17,440
Speaker 1: like a deity, like all these things people think about

540
00:33:17,440 --> 00:33:19,680
Speaker 1: when they look at the stars, And it could be

541
00:33:19,760 --> 00:33:22,320
Speaker 1: one thing you could do world building if you talked

542
00:33:22,320 --> 00:33:24,400
Speaker 1: about how he had been taught to view the stars,

543
00:33:24,480 --> 00:33:26,360
Speaker 1: or like you guys said, maybe they maybe they've put

544
00:33:26,400 --> 00:33:29,120
Speaker 1: their own false sheen over that isn't real. Stars are

545
00:33:29,120 --> 00:33:31,280
Speaker 1: like all this stuff that you could do that would

546
00:33:31,920 --> 00:33:35,240
Speaker 1: build the world around it. Like if you talk about

547
00:33:35,480 --> 00:33:37,680
Speaker 1: the way they educated him to view stars, and that

548
00:33:37,920 --> 00:33:40,719
Speaker 1: they taught him that stars all move in you know,

549
00:33:40,760 --> 00:33:42,640
Speaker 1: the like the same way that the people do in

550
00:33:42,680 --> 00:33:45,560
Speaker 1: these perfectly ordered things and as above, so below or whatever.

551
00:33:46,040 --> 00:33:47,960
Speaker 1: Maybe that could work if again, you were a writer.

552
00:33:48,400 --> 00:33:51,120
Speaker 1: But then is instead done nothing and now we're fucking

553
00:33:51,160 --> 00:33:55,760
Speaker 1: talking about what this goddamn star thing means. Honestly, if

554
00:33:55,800 --> 00:33:59,760
Speaker 1: any nothing else, this whole exercise has been a great

555
00:34:00,840 --> 00:34:05,120
Speaker 1: lesson in how not to write. Oh yeah, a lot

556
00:34:05,120 --> 00:34:07,640
Speaker 1: of people might listen to this and be like, hey,

557
00:34:07,680 --> 00:34:09,760
Speaker 1: I feel like I can handle writing my own work,

558
00:34:09,920 --> 00:34:13,400
Speaker 1: because you should. If you think you can write a

559
00:34:13,440 --> 00:34:17,400
Speaker 1: piece of fiction, your friend, you can it be than

560
00:34:19,200 --> 00:34:21,759
Speaker 1: have you gone into the world and experienced a thing

561
00:34:22,160 --> 00:34:26,960
Speaker 1: like joy or or or or even shame. Um, then

562
00:34:27,040 --> 00:34:29,239
Speaker 1: you two could write a piece of fiction better than

563
00:34:29,280 --> 00:34:36,279
Speaker 1: ben Japiros just beautiful. Um, they go right, just like,

564
00:34:36,440 --> 00:34:39,160
Speaker 1: take this premise and write something better, like go off

565
00:34:39,200 --> 00:34:42,360
Speaker 1: into the world, Like think about a time that you

566
00:34:42,520 --> 00:34:46,799
Speaker 1: felt something and then try to try to bring that

567
00:34:46,840 --> 00:34:54,400
Speaker 1: to other people feelings, you know, imagine emotions. Yeah, it

568
00:34:54,600 --> 00:34:57,600
Speaker 1: again like the thing like or Well and I four

569
00:34:57,680 --> 00:35:00,400
Speaker 1: creates this very like soulless, horrific world, but you never

570
00:35:00,480 --> 00:35:04,120
Speaker 1: cut off from feelings of the characters. Like that's such

571
00:35:04,160 --> 00:35:06,720
Speaker 1: an intense part. The way he writes this budding romance,

572
00:35:06,719 --> 00:35:09,279
Speaker 1: the way like you get into these people's heads and

573
00:35:09,360 --> 00:35:13,560
Speaker 1: like how they feel, is why the story has impact.

574
00:35:13,600 --> 00:35:15,960
Speaker 1: It's not because Orwell lists out here are ways in

575
00:35:16,000 --> 00:35:18,960
Speaker 1: which this is a bad government. It's because Orwell makes

576
00:35:18,960 --> 00:35:21,840
Speaker 1: you feel what it's like to live in this horrific

577
00:35:21,920 --> 00:35:26,440
Speaker 1: and human regime. Well, unfortunately, facts don't care about your feelings.

578
00:35:26,480 --> 00:35:30,040
Speaker 1: And also the facts are wrong, So the facts will

579
00:35:30,080 --> 00:35:36,800
Speaker 1: inevitably be incorrect. Um, I tell you, if you're wondering

580
00:35:36,800 --> 00:35:40,640
Speaker 1: about emotion though, A big surprise coming and it's corny

581
00:35:40,800 --> 00:35:46,000
Speaker 1: and we're excited for it. Do we want it? Do

582
00:35:46,000 --> 00:35:50,480
Speaker 1: we want it? Now? Yes? So, as we've discussed. And

583
00:35:50,600 --> 00:35:54,160
Speaker 1: the stars too, were in their orbits, their distances the

584
00:35:54,280 --> 00:36:00,000
Speaker 1: same as always, like all stars. Uh except one star. Oh,

585
00:36:00,160 --> 00:36:03,000
Speaker 1: it's shot across the sky, a bright flare in the

586
00:36:03,080 --> 00:36:07,399
Speaker 1: velvety purple black darkness, and he felt a disquietude move

587
00:36:07,520 --> 00:36:11,880
Speaker 1: through him. His stomach rumbled, his mind turned over. The

588
00:36:12,000 --> 00:36:15,760
Speaker 1: star blasted through the calm of the evening, leaving sparks

589
00:36:15,800 --> 00:36:20,760
Speaker 1: in its wake, and suddenly his hazy dream burst into consciousness.

590
00:36:21,280 --> 00:36:25,680
Speaker 1: He found himself standing, tears rolling down his face, gazing

591
00:36:25,800 --> 00:36:29,359
Speaker 1: up at the sky. A terrible longing filled him, a

592
00:36:29,400 --> 00:36:33,239
Speaker 1: feeling of dread and of hope, a new feeling, an

593
00:36:33,239 --> 00:36:37,920
Speaker 1: old feeling. The star tore the night upon leaving day

594
00:36:37,960 --> 00:36:43,480
Speaker 1: trailing behind it. So this is just okay, I need it,

595
00:36:43,520 --> 00:36:48,160
Speaker 1: we need hold on, hold on wait wait no, no, okay, no,

596
00:36:48,280 --> 00:36:50,680
Speaker 1: I mean it's just this is so that's all it

597
00:36:50,719 --> 00:36:54,120
Speaker 1: took for him. Now, Okay, there's a lot going on there,

598
00:36:54,160 --> 00:36:57,439
Speaker 1: like for example, again, why are they letting them watch

599
00:36:57,480 --> 00:37:00,839
Speaker 1: the stars? Why is this? Like never been a shooting star?

600
00:37:01,160 --> 00:37:04,160
Speaker 1: It was that easy for him to be like what

601
00:37:04,800 --> 00:37:07,399
Speaker 1: they wouldn't let you look at the fucking sky? Okay,

602
00:37:07,440 --> 00:37:10,040
Speaker 1: Cody finished the quote, and and why is it the one? Yeah,

603
00:37:10,040 --> 00:37:13,040
Speaker 1: we're gonna, we'll, we'll get into this, um, but a big,

604
00:37:13,080 --> 00:37:16,120
Speaker 1: a big break is coming. So the star tour of

605
00:37:16,160 --> 00:37:20,360
Speaker 1: the night apart, leaving day trailing behind it. When he

606
00:37:20,400 --> 00:37:24,240
Speaker 1: looked around him, he saw thousands of eyes in thousands

607
00:37:24,280 --> 00:37:29,560
Speaker 1: of faces staring at him blankly. The star hit the horizon,

608
00:37:30,160 --> 00:37:35,920
Speaker 1: he turned and ran, and there's a break of texts

609
00:37:36,320 --> 00:37:40,279
Speaker 1: because time passes. Um. So, yeah, so it's utterly ridiculous

610
00:37:40,320 --> 00:37:42,400
Speaker 1: that this is the first shooting star that has apparently

611
00:37:42,400 --> 00:37:46,960
Speaker 1: ever existed. And during they do everything, they do it

612
00:37:47,040 --> 00:37:49,480
Speaker 1: every fucking week. Every week, everybody gets together looks at

613
00:37:49,480 --> 00:37:51,080
Speaker 1: the sky, and it's the only time that has ever

614
00:37:51,120 --> 00:37:55,399
Speaker 1: happened to one guy. Um, and like, so there it's

615
00:37:55,400 --> 00:37:59,719
Speaker 1: this special boy syndrome. Everyone's staring at him blankly. Why

616
00:37:59,840 --> 00:38:03,560
Speaker 1: is he the one who is moved by this shooting star?

617
00:38:04,400 --> 00:38:06,879
Speaker 1: He's the only one who feels anything, He's the only

618
00:38:06,880 --> 00:38:09,480
Speaker 1: one who noticed it. Is there something special about him

619
00:38:09,520 --> 00:38:17,120
Speaker 1: that sees this shooting star? Uh old feelings? Right, shouldn't

620
00:38:17,120 --> 00:38:22,160
Speaker 1: they be staring at should they be incapable of noticing difference?

621
00:38:22,200 --> 00:38:27,000
Speaker 1: And yeah? Um, But also like again to keep going

622
00:38:27,000 --> 00:38:29,560
Speaker 1: back to night four, when we get a glimpse of

623
00:38:29,600 --> 00:38:32,960
Speaker 1: like what that society allows as a recreation, it's very fitting,

624
00:38:33,040 --> 00:38:36,200
Speaker 1: Like it's it's these like horrific, dank little bars where

625
00:38:36,200 --> 00:38:38,840
Speaker 1: people drink watered down beer and play the lottery. And

626
00:38:38,920 --> 00:38:42,640
Speaker 1: it again builds you It never you're never taken out

627
00:38:42,680 --> 00:38:45,680
Speaker 1: wondering like, well, doesn't this provide you know, an opportunity

628
00:38:45,719 --> 00:38:47,359
Speaker 1: for X or Y? And you see that like they've

629
00:38:47,400 --> 00:38:49,640
Speaker 1: got all these different like secret police agents in there

630
00:38:49,640 --> 00:38:52,319
Speaker 1: that are looking for sedition, and it builds. It's just

631
00:38:52,400 --> 00:38:55,200
Speaker 1: all very believable as opposed to immediately like why would

632
00:38:55,200 --> 00:38:58,799
Speaker 1: you let people look at the stars? Like like it's

633
00:38:58,800 --> 00:39:00,960
Speaker 1: just like every step of the away you're like did

634
00:39:00,960 --> 00:39:03,560
Speaker 1: you think of Because it's science fiction. If you're doing

635
00:39:03,560 --> 00:39:06,279
Speaker 1: science fiction or like a dystopian fiction or something like that,

636
00:39:06,280 --> 00:39:08,680
Speaker 1: that is like a huge part of it is that

637
00:39:08,719 --> 00:39:11,600
Speaker 1: world building and trying to make it make sense these

638
00:39:11,680 --> 00:39:15,800
Speaker 1: questions and like there's a way you could have built

639
00:39:15,880 --> 00:39:17,920
Speaker 1: a shooting star. Had that be key to this, You

640
00:39:17,960 --> 00:39:20,719
Speaker 1: could have it be not that there's like this dumb

641
00:39:20,760 --> 00:39:23,799
Speaker 1: idea of community enforced like stargazing nights, but you have

642
00:39:23,840 --> 00:39:26,080
Speaker 1: this idea that the government wants everyone to believe this

643
00:39:26,120 --> 00:39:28,160
Speaker 1: is the way human society has always been. There was

644
00:39:28,200 --> 00:39:30,919
Speaker 1: no before, there will be no after. And then one day,

645
00:39:30,960 --> 00:39:33,080
Speaker 1: on his way home from the late shift, he notices

646
00:39:33,080 --> 00:39:35,920
Speaker 1: a shooting star in the sky and he quite naturally

647
00:39:35,920 --> 00:39:37,839
Speaker 1: believes that it's a star falling out of the guy,

648
00:39:37,880 --> 00:39:39,840
Speaker 1: which suddenly sets off at him this chain of thoughts

649
00:39:39,840 --> 00:39:43,360
Speaker 1: that like, well, if the stars aren't or beyond the

650
00:39:43,400 --> 00:39:45,400
Speaker 1: control of the government or whatever, then like maybe like

651
00:39:45,440 --> 00:39:48,120
Speaker 1: and you could again and you can pay what that

652
00:39:48,239 --> 00:39:53,799
Speaker 1: experience was like a huge experiences unraveling this thoughts. You

653
00:39:53,800 --> 00:39:57,880
Speaker 1: can play with the sensations you're not just yeah, I imagine,

654
00:39:59,040 --> 00:40:00,920
Speaker 1: And that way it would be a explaining why the

655
00:40:01,000 --> 00:40:04,120
Speaker 1: star was meaningful. What is opposed to like it's pretty

656
00:40:04,160 --> 00:40:09,680
Speaker 1: and so now I'm I'm healed again, so lazy, so incurious,

657
00:40:10,040 --> 00:40:12,480
Speaker 1: and like a child wrote it. We do have to

658
00:40:12,480 --> 00:40:16,080
Speaker 1: take a quick break, right now, who else is a child?

659
00:40:17,560 --> 00:40:22,120
Speaker 1: The companies to paid money. We are entirely supported by children.

660
00:40:22,200 --> 00:40:26,840
Speaker 1: That's right, Cody, super cute m random kids. Cody, Katie

661
00:40:26,880 --> 00:40:29,600
Speaker 1: and I show up outside of schools with with with

662
00:40:29,640 --> 00:40:33,120
Speaker 1: blackjacks and threatened children for their lunch money. That's what

663
00:40:33,200 --> 00:40:35,600
Speaker 1: keeps us on the air. And that's what these ads

664
00:40:35,640 --> 00:40:39,080
Speaker 1: will describe. But more entertaining that people like they hire

665
00:40:39,080 --> 00:40:42,080
Speaker 1: people to write the copy for We don't ever get

666
00:40:42,120 --> 00:40:44,680
Speaker 1: in trouble for this stuff, do we. No. No, We've

667
00:40:44,680 --> 00:40:58,799
Speaker 1: paid off all the cops together and we're back. And

668
00:40:58,920 --> 00:41:01,239
Speaker 1: I think we can all agree that Ben Shapiro has

669
00:41:01,280 --> 00:41:05,239
Speaker 1: never looked up at the night sky and felt off.

670
00:41:05,280 --> 00:41:09,799
Speaker 1: We've never felt all all. Yeah, because again, you can't

671
00:41:09,800 --> 00:41:13,440
Speaker 1: really feel awe if you're convinced that you have everything,

672
00:41:13,520 --> 00:41:16,640
Speaker 1: that every single answer that was ever meaningful you had

673
00:41:16,719 --> 00:41:19,000
Speaker 1: handed to you when you were a small child. All

674
00:41:19,200 --> 00:41:23,360
Speaker 1: is fundamentally like uh an acceptance of the unknown and

675
00:41:23,480 --> 00:41:27,080
Speaker 1: wonderment at it, and feel like a regular thing that

676
00:41:27,120 --> 00:41:33,239
Speaker 1: goes Ben's head is unimpressed, Yeah, exactly, like because if

677
00:41:33,280 --> 00:41:37,279
Speaker 1: he's not, if he's if he's ever impressed. Whatever his

678
00:41:37,400 --> 00:41:39,959
Speaker 1: dad taught him about the world when he was nine

679
00:41:40,200 --> 00:41:42,760
Speaker 1: was not a complete it was not everything he needed

680
00:41:42,800 --> 00:41:47,719
Speaker 1: to know about life. Yeah, well, I can't wait to

681
00:41:47,719 --> 00:41:57,000
Speaker 1: find out what happens to this special man, special man boy. Sure. Ah,

682
00:41:57,280 --> 00:42:02,600
Speaker 1: so time has passed and he ran. It wasn't until

683
00:42:02,640 --> 00:42:04,800
Speaker 1: he hit the third street that he heard the humming.

684
00:42:05,920 --> 00:42:09,640
Speaker 1: The sound of the Ministry of Protection did not ululate

685
00:42:10,000 --> 00:42:14,759
Speaker 1: or waiver. It was a steady, loud buzz, growing in

686
00:42:14,800 --> 00:42:17,839
Speaker 1: intensity as it grew closer, fading into white noise at

687
00:42:17,840 --> 00:42:21,160
Speaker 1: a distance. Now the buzz grew more intense as he ran.

688
00:42:21,520 --> 00:42:24,279
Speaker 1: He could hear them approaching from his right and from

689
00:42:24,280 --> 00:42:29,320
Speaker 1: his left. He sprinted forward. Ah, some some Yang endorsement

690
00:42:29,520 --> 00:42:34,600
Speaker 1: in this short story. Oh yes, all right, this is

691
00:42:34,600 --> 00:42:37,120
Speaker 1: not a big deal, but also another lazy thing. Just

692
00:42:37,320 --> 00:42:41,120
Speaker 1: the Ministry of Defense, the Ministry of Education. Just be

693
00:42:41,200 --> 00:42:44,080
Speaker 1: more creative, yeah, I mean yeah, just come up with

694
00:42:44,120 --> 00:42:49,280
Speaker 1: something again, like orwell. Because he's a master for masterful

695
00:42:49,320 --> 00:42:52,839
Speaker 1: writer manages to create, managed to use words in such

696
00:42:52,880 --> 00:42:54,960
Speaker 1: a way that that enforces kind of the bnality of

697
00:42:54,960 --> 00:42:57,840
Speaker 1: this world. Will also being completely new to use the

698
00:42:57,880 --> 00:43:00,520
Speaker 1: readers so that you're never board. You know, you speak,

699
00:43:00,719 --> 00:43:03,040
Speaker 1: you feel the way. It limited limits his thoughts, but

700
00:43:03,080 --> 00:43:05,200
Speaker 1: it's also new to you as you're reading the book,

701
00:43:05,280 --> 00:43:10,040
Speaker 1: and thus you're engaged because again orwell was a writer.

702
00:43:10,920 --> 00:43:14,319
Speaker 1: Oh so you're not left incredibly bored because the lighter

703
00:43:14,400 --> 00:43:18,520
Speaker 1: did it? I see? Interesting. Yeah, the streets were not

704
00:43:18,680 --> 00:43:22,360
Speaker 1: numbered or lettered. The people knew their living spaces by

705
00:43:22,440 --> 00:43:25,920
Speaker 1: proximity from their workspaces, so there was no need for

706
00:43:25,960 --> 00:43:29,360
Speaker 1: any distinguishing features. Again, fine, like, there's a way to

707
00:43:29,400 --> 00:43:31,840
Speaker 1: make that entertaining. As he's walking to work the morning

708
00:43:31,840 --> 00:43:34,800
Speaker 1: before things break out, you can describe his walk to work,

709
00:43:34,920 --> 00:43:36,800
Speaker 1: not the way a normal person would is now I

710
00:43:36,840 --> 00:43:38,239
Speaker 1: took a left, Now I took a right. But like

711
00:43:38,680 --> 00:43:40,880
Speaker 1: the distance it is from his home because those of

712
00:43:40,880 --> 00:43:42,279
Speaker 1: you like, there's a way in which you But what

713
00:43:42,320 --> 00:43:44,120
Speaker 1: if he just explains it and once if he just

714
00:43:44,200 --> 00:43:48,000
Speaker 1: explains it rather you know what happens. Of course, that's

715
00:43:48,040 --> 00:43:52,000
Speaker 1: how you do it. They all looked the same, even

716
00:43:52,080 --> 00:43:55,640
Speaker 1: Beije buildings, covered over with evenly trimmed ivy and evenly

717
00:43:55,719 --> 00:44:02,360
Speaker 1: spaced balconies one per living space. They get balconies. No less,

718
00:44:03,000 --> 00:44:07,080
Speaker 1: you better than how he wants a lot of people

719
00:44:07,120 --> 00:44:11,359
Speaker 1: to live. Very funny, they have balconies. Okay, yeah, they

720
00:44:11,360 --> 00:44:14,239
Speaker 1: had balconies, and therefore the people who lived inside those

721
00:44:14,239 --> 00:44:18,320
Speaker 1: living spaces were happy with their standard issue artificial flowers,

722
00:44:18,719 --> 00:44:23,640
Speaker 1: their standard measured televisions, and they're carefully stocked ice boxes.

723
00:44:25,040 --> 00:44:30,680
Speaker 1: Okay again, been you have not yet made this sound

724
00:44:30,760 --> 00:44:34,359
Speaker 1: markedly worse than life for millions of people under capitalism.

725
00:44:36,320 --> 00:44:39,160
Speaker 1: At least they all have food. Yeah, yeah, they all

726
00:44:39,200 --> 00:44:43,520
Speaker 1: have food. They have flowers, Um, they have balconies. Honestly,

727
00:44:43,640 --> 00:44:45,920
Speaker 1: artificial flowers are all the rage right now. I keep

728
00:44:45,960 --> 00:44:48,960
Speaker 1: getting targeted ads for them because they don't die. Do

729
00:44:49,040 --> 00:44:53,279
Speaker 1: not give in? Well I don't, don't do it. Don't

730
00:44:53,280 --> 00:44:57,960
Speaker 1: do it, Okay, don't don't. Don't succumb to the dystopian left,

731
00:44:58,560 --> 00:45:02,279
Speaker 1: and they're artificial flowers. Um, then go ahead. It's free country. Um.

732
00:45:02,320 --> 00:45:05,680
Speaker 1: It's it's just remarkable to me that Orwell a leftist

733
00:45:05,800 --> 00:45:10,120
Speaker 1: so committed he got shot in the throat fighting fascists. Um.

734
00:45:10,239 --> 00:45:14,960
Speaker 1: Imagines a better clearly inspired by kind of left wing movements,

735
00:45:15,200 --> 00:45:20,560
Speaker 1: a more realistic authoritarian regime, um than Ben Shapiro, who's

736
00:45:20,560 --> 00:45:22,960
Speaker 1: professionally terrified of the left, who can only make it

737
00:45:23,000 --> 00:45:26,800
Speaker 1: seem slightly better than how a lot of people live today.

738
00:45:27,719 --> 00:45:30,359
Speaker 1: They get free stargazing nights every night. They can see

739
00:45:30,400 --> 00:45:36,920
Speaker 1: the stars from where they live. Balconies stars. Everyone in

740
00:45:36,960 --> 00:45:39,160
Speaker 1: Los Angeles, the people in this world can sit on

741
00:45:39,200 --> 00:45:42,440
Speaker 1: their balconies and watch the stars. Like the idea of

742
00:45:48,239 --> 00:45:51,240
Speaker 1: private space and whatnot. I don't know, it's carefully stocked

743
00:45:51,280 --> 00:45:54,240
Speaker 1: ice box again, And if he was, if he actually

744
00:45:54,280 --> 00:45:57,080
Speaker 1: wanted to make it unsettling in ways that we're consistent

745
00:45:57,120 --> 00:45:58,880
Speaker 1: with his beliefs, it would make more sense for them

746
00:45:58,880 --> 00:46:01,160
Speaker 1: to have like no senses of pub like space, like

747
00:46:01,200 --> 00:46:04,279
Speaker 1: shouldn't shouldn't it be like because sex and physical like

748
00:46:04,360 --> 00:46:06,440
Speaker 1: none of that matters at all. There's no differences between

749
00:46:06,440 --> 00:46:08,319
Speaker 1: men and women and so like everybody is just one

750
00:46:08,719 --> 00:46:14,480
Speaker 1: physically entangled like indistinguishable mass, right instead of so atomized

751
00:46:14,520 --> 00:46:21,319
Speaker 1: like random thought the ice box? What does he? Yeah?

752
00:46:22,560 --> 00:46:28,239
Speaker 1: What's weird? Specific? What a weird um choice again makes

753
00:46:28,280 --> 00:46:31,200
Speaker 1: it like as if it's more orwelly and written of

754
00:46:31,239 --> 00:46:34,279
Speaker 1: a different time, but just that just the word ice

755
00:46:34,320 --> 00:46:39,800
Speaker 1: box yeah yeah yeah again and like British or something,

756
00:46:39,800 --> 00:46:42,120
Speaker 1: I don't know if you're free that like just I

757
00:46:42,120 --> 00:46:44,279
Speaker 1: think they probably they probably do, I don't know, but

758
00:46:44,360 --> 00:46:49,719
Speaker 1: Ben's not British, uh, but also like describe him doing

759
00:46:49,760 --> 00:46:53,640
Speaker 1: this at home, like go to your like watch something

760
00:46:53,760 --> 00:46:58,120
Speaker 1: on your standard measured te It was like, wish the

761
00:46:58,120 --> 00:47:01,160
Speaker 1: show is more interesting, go to your carefully stocked icebox

762
00:47:01,160 --> 00:47:03,160
Speaker 1: and have like your taste is I don't know, like

763
00:47:03,280 --> 00:47:05,840
Speaker 1: just yeah, tell us what's because right now I'm just

764
00:47:05,880 --> 00:47:08,200
Speaker 1: imagining like, oh, so they've got like Netflix and as

765
00:47:08,280 --> 00:47:11,120
Speaker 1: much food as they need. It's like, right, imagine, I'm

766
00:47:11,160 --> 00:47:16,360
Speaker 1: sure horrible government, you know TV, and like the food

767
00:47:16,400 --> 00:47:18,840
Speaker 1: is all bland and not nutritious, but like we don't

768
00:47:19,040 --> 00:47:23,440
Speaker 1: get any of that. So because like nobody's starving and

769
00:47:23,480 --> 00:47:26,160
Speaker 1: everyone has a balcony and a television, well, right, because

770
00:47:26,160 --> 00:47:30,160
Speaker 1: he's operating from this sort of like this his whole punditry,

771
00:47:30,360 --> 00:47:34,880
Speaker 1: like I'm this right leaning like conservative libertarian, I guess uh,

772
00:47:34,920 --> 00:47:39,319
Speaker 1: And so his audience assumes these things because they know

773
00:47:39,400 --> 00:47:42,080
Speaker 1: the author, like I know Ben wrote this. Therefore I

774
00:47:42,120 --> 00:47:44,320
Speaker 1: bet it's like really bad food and like boring a

775
00:47:44,400 --> 00:47:46,600
Speaker 1: bad health, Like it's all stuff that we have to

776
00:47:46,600 --> 00:47:48,919
Speaker 1: assume because we know the writer instead of the writer

777
00:47:49,040 --> 00:47:51,759
Speaker 1: doing a good job. I think there's actually something more

778
00:47:51,760 --> 00:47:54,120
Speaker 1: insidious than that here, because I think the thing that

779
00:47:54,320 --> 00:47:57,200
Speaker 1: is supposed to be horrifying about this more than anything,

780
00:47:57,719 --> 00:47:59,879
Speaker 1: this is again a good example of like where he's

781
00:48:00,000 --> 00:48:02,480
Speaker 1: a friend than the guy he's trying to emulate with Orwell,

782
00:48:02,560 --> 00:48:05,480
Speaker 1: the thing that was frightening was the limitations on the

783
00:48:05,560 --> 00:48:09,360
Speaker 1: human ability to conceive of things, to even think about liberation,

784
00:48:09,400 --> 00:48:12,440
Speaker 1: to even think like independent, Like the the way in

785
00:48:12,480 --> 00:48:15,200
Speaker 1: which shutters were placed upon the human mind and thus

786
00:48:15,239 --> 00:48:18,000
Speaker 1: the confines of the human soul was the central horror

787
00:48:18,040 --> 00:48:20,480
Speaker 1: of nineteen eighty four. And or Well very ably depicts

788
00:48:20,520 --> 00:48:24,000
Speaker 1: that the horror with beIN is that nobody gets to

789
00:48:24,040 --> 00:48:27,320
Speaker 1: be rich. Like that's really what's going on here, is

790
00:48:27,320 --> 00:48:29,439
Speaker 1: that there's no rich people. He's not horrified, Like he's

791
00:48:29,440 --> 00:48:31,560
Speaker 1: not presenting the day to day life of these people.

792
00:48:31,640 --> 00:48:34,560
Speaker 1: Is it is particularly a nightmare. The thing that he

793
00:48:34,640 --> 00:48:37,640
Speaker 1: keeps going back to is that nobody has more, nobody

794
00:48:37,640 --> 00:48:40,680
Speaker 1: has bigger, a bigger apartment, everybody gets a balcony. There's

795
00:48:40,680 --> 00:48:45,800
Speaker 1: not like everybody. Yeah, Like that's the thing he's frightened.

796
00:48:45,880 --> 00:48:49,319
Speaker 1: That's that's scary to him, is that like nobody's rich

797
00:48:49,560 --> 00:48:52,160
Speaker 1: in the society. And it's very telling that like the

798
00:48:52,200 --> 00:48:55,960
Speaker 1: difference between nineteen eighty four a masterpiece and what's frightening

799
00:48:56,000 --> 00:48:59,160
Speaker 1: about it and what been clearly thinks is frightening, which

800
00:48:59,160 --> 00:49:03,319
Speaker 1: is there's no rich people. Yeah. Absolutely, you got hit

801
00:49:03,360 --> 00:49:07,920
Speaker 1: the nail ned Robert. Yeah, that's interesting, I think again,

802
00:49:08,200 --> 00:49:10,520
Speaker 1: just incredible writing when you have to stop and just

803
00:49:10,640 --> 00:49:14,760
Speaker 1: like question every single sentence. But now they were opening

804
00:49:14,800 --> 00:49:19,160
Speaker 1: their regulation compliance double pain windows to watch him run.

805
00:49:19,320 --> 00:49:30,040
Speaker 1: Oh no, double pain emphasized because of like ep energy exactly. Again,

806
00:49:30,600 --> 00:49:37,120
Speaker 1: we go from like that good. Yeah, that that's the

807
00:49:37,120 --> 00:49:41,839
Speaker 1: thing like Ben has been finds. Ben finds like mandatory

808
00:49:41,920 --> 00:49:45,600
Speaker 1: double pain windows for energy efficiency just as horrifying as

809
00:49:45,640 --> 00:49:50,080
Speaker 1: a regime that annihilates the ability of human beings to

810
00:49:50,200 --> 00:49:55,200
Speaker 1: engage in physical intimacy. Um uh, the the the elimination

811
00:49:55,280 --> 00:49:58,400
Speaker 1: of history is as frightening to Ben as requiring energy

812
00:49:58,400 --> 00:50:04,279
Speaker 1: efficient windows. It's very funny with an incredible sentence story.

813
00:50:04,680 --> 00:50:08,560
Speaker 1: But now they were opening their regulation compliant double pain

814
00:50:08,719 --> 00:50:12,479
Speaker 1: windows to watch him run. The horror of the double

815
00:50:12,520 --> 00:50:17,320
Speaker 1: pain windows unbelievable. Uh. He could feel the cement pound

816
00:50:17,400 --> 00:50:21,359
Speaker 1: beneath his rubber souls and that's not correct. He could

817
00:50:21,360 --> 00:50:25,120
Speaker 1: feel his feet, could feel his feet pound against the cement. Yeah,

818
00:50:25,160 --> 00:50:30,320
Speaker 1: cement stop pounding. Mm. He could feel the cement pound

819
00:50:30,360 --> 00:50:34,239
Speaker 1: beneath his rubber souls, all right. His breath started to

820
00:50:34,280 --> 00:50:38,600
Speaker 1: give out. It's an awkward sense, so like this is okay.

821
00:50:38,760 --> 00:50:41,520
Speaker 1: He could feel the cement pound beneath his rubber souls

822
00:50:41,560 --> 00:50:46,440
Speaker 1: semi colon. His breath started to give out. He breathed

823
00:50:46,480 --> 00:50:51,239
Speaker 1: in and out in dash and dash out, which I'm

824
00:50:51,400 --> 00:50:55,319
Speaker 1: I don't think that's bad. That's he breathed in and

825
00:50:55,320 --> 00:51:00,120
Speaker 1: out burger, trying to find a regularity, anything regular to

826
00:51:00,160 --> 00:51:05,000
Speaker 1: hold onto, trying not to panic. Too many regulars and

827
00:51:05,040 --> 00:51:11,840
Speaker 1: regularity and regulation was earlier in this paragraph. Come on, uh,

828
00:51:12,239 --> 00:51:14,200
Speaker 1: and you think regular to hold onto? He's just running

829
00:51:14,200 --> 00:51:16,520
Speaker 1: down the street, all right. He and the and the

830
00:51:16,600 --> 00:51:20,560
Speaker 1: sirens hummed closer. Then he saw them in the reflection

831
00:51:20,640 --> 00:51:23,880
Speaker 1: of the large mirrored glass panes of the Ministry of

832
00:51:24,000 --> 00:51:30,880
Speaker 1: Food Provision. The cube shaped and the cube shaped enforcement

833
00:51:30,960 --> 00:51:35,080
Speaker 1: pods were rolling down the street after him, gaining rapidly.

834
00:51:35,640 --> 00:51:39,640
Speaker 1: This is unimportant. It's very silly that their enforcement pods.

835
00:51:39,719 --> 00:51:42,120
Speaker 1: I would pose it that it's sillier that they're cube

836
00:51:42,200 --> 00:51:46,640
Speaker 1: shaped pods. Well, I think I know what he's doing there.

837
00:51:46,680 --> 00:51:49,840
Speaker 1: I'm trying to remember the name of the show. Um,

838
00:51:49,840 --> 00:51:54,879
Speaker 1: it's the Prisoners, right, But were bubbles, which you could

839
00:51:55,239 --> 00:51:57,480
Speaker 1: you could call those pods. I don't think you can

840
00:51:57,520 --> 00:52:01,040
Speaker 1: call a Cuba pod. You can call it well, no,

841
00:52:01,200 --> 00:52:03,520
Speaker 1: I don't think that's right. But I think he's literally

842
00:52:03,560 --> 00:52:06,120
Speaker 1: just doing He absolutely is just I don't even think

843
00:52:06,160 --> 00:52:08,719
Speaker 1: he watched The Prisoner. I think someone described it to

844
00:52:08,800 --> 00:52:12,560
Speaker 1: him and he decided to do what he He absorbed that. Yeah,

845
00:52:12,640 --> 00:52:15,279
Speaker 1: it's throughout like cultural losmosis. Right, we're like, oh, I

846
00:52:15,280 --> 00:52:17,239
Speaker 1: know the image of the guy with a number on

847
00:52:17,320 --> 00:52:22,120
Speaker 1: his chest the bubble comes after him. Um. Yeah, so

848
00:52:22,160 --> 00:52:25,480
Speaker 1: they're yeah, they're I mean a lot of things silly

849
00:52:25,480 --> 00:52:28,560
Speaker 1: about this. Um. I shouldn't harp on the cube shaped pod,

850
00:52:28,680 --> 00:52:32,759
Speaker 1: but yeah, but it's just it's very funny. Um. And

851
00:52:32,800 --> 00:52:35,120
Speaker 1: it's just like it's such a there's a there's a

852
00:52:35,200 --> 00:52:38,120
Speaker 1: uc B sketch from the Upper Sketch show they did

853
00:52:38,120 --> 00:52:41,560
Speaker 1: for like three seasons, and there's a sketch where it's

854
00:52:41,680 --> 00:52:45,239
Speaker 1: it's clearly l Ron Hubbard like an analog reading his

855
00:52:45,280 --> 00:52:47,400
Speaker 1: sci fi book that's like trying to get people to

856
00:52:47,440 --> 00:52:49,760
Speaker 1: a cult, and it's like terrible sci fi and every

857
00:52:49,760 --> 00:52:52,520
Speaker 1: word is like he put on his vision goggles to

858
00:52:52,560 --> 00:52:56,759
Speaker 1: eat his nutrition food, and I like it's such bad

859
00:52:56,800 --> 00:52:59,680
Speaker 1: sci fi writing, and I can't think of anything but that.

860
00:53:00,040 --> 00:53:04,600
Speaker 1: Every single time he'd like capitalizes something importment or something. Anyway,

861
00:53:04,600 --> 00:53:07,560
Speaker 1: the enforcement pods are after him. In the lead pod

862
00:53:07,880 --> 00:53:10,759
Speaker 1: Capital P he could see the slack jawed face of

863
00:53:10,800 --> 00:53:14,880
Speaker 1: a slightly bored enforcer Capital E, who leaned forward and

864
00:53:15,000 --> 00:53:19,680
Speaker 1: pushed a button. Suddenly, the pod jumped, as though spurred

865
00:53:19,680 --> 00:53:24,000
Speaker 1: with a cattle prod bucked and leapt toward him. The

866
00:53:24,080 --> 00:53:29,120
Speaker 1: distance shrink one block. His feet were giving way now

867
00:53:29,239 --> 00:53:36,360
Speaker 1: half a block. M hm ah. The pod loudspeaker opened

868
00:53:36,440 --> 00:53:40,520
Speaker 1: up with that pulsating rhythm. He'd heard the rhythm once before.

869
00:53:40,880 --> 00:53:43,960
Speaker 1: I shouldn't say rhythm again. He'd heard the rhythm once before.

870
00:53:44,280 --> 00:53:49,720
Speaker 1: You'd only seen God. He'd heard the rhythm once before.

871
00:53:50,120 --> 00:53:54,560
Speaker 1: He'd only seen one enforcement action before. It had been

872
00:53:54,600 --> 00:54:00,480
Speaker 1: a young girl ready for it. Okay, sorry keep going, Yeah, no,

873
00:54:00,600 --> 00:54:04,239
Speaker 1: I'm and I'm sorry for letting his writing trip me

874
00:54:04,400 --> 00:54:08,160
Speaker 1: up and trying to read this out loud. He had

875
00:54:08,239 --> 00:54:12,239
Speaker 1: heard the rhythm once before, He'd only seen one enforcement

876
00:54:12,280 --> 00:54:16,120
Speaker 1: action before. It had been a young girl ready for

877
00:54:16,200 --> 00:54:20,880
Speaker 1: recruitment to the Ministry of Personal Needs. She had his

878
00:54:21,040 --> 00:54:26,560
Speaker 1: word repetition and now has stopped being purposeful and oh, yeah,

879
00:54:26,600 --> 00:54:28,600
Speaker 1: this is just this is just not very I feel

880
00:54:29,040 --> 00:54:31,279
Speaker 1: I feel like I need to point that out here.

881
00:54:31,480 --> 00:54:33,920
Speaker 1: It's also funny to me that like the thing that

882
00:54:33,960 --> 00:54:36,080
Speaker 1: I'm sure one thing I'm sure that Ben finds horrifying

883
00:54:36,080 --> 00:54:38,680
Speaker 1: about nineteen eighty four, or at least the television version

884
00:54:38,680 --> 00:54:40,839
Speaker 1: of nine that I'm sure is what he's watched rather

885
00:54:40,880 --> 00:54:43,560
Speaker 1: than reading the book, is that there's like there's no

886
00:54:43,920 --> 00:54:47,200
Speaker 1: distinction between between men and women and their society right

887
00:54:47,239 --> 00:54:49,680
Speaker 1: as a desire to to to kind of exercise from

888
00:54:49,719 --> 00:54:52,359
Speaker 1: humanity the capacity to form families and fall in love

889
00:54:52,400 --> 00:54:56,440
Speaker 1: because it's a threat to the state. Um been still

890
00:54:56,600 --> 00:54:59,560
Speaker 1: has a very clear separation. Men do some sort of

891
00:54:59,640 --> 00:55:01,799
Speaker 1: job in women are just there for sex. Uh. And

892
00:55:01,800 --> 00:55:05,400
Speaker 1: that's that's yeah, just very revealing. That's consistent. No, it's

893
00:55:05,400 --> 00:55:10,320
Speaker 1: consistently good. And it says nothing about Ben. Is this

894
00:55:12,040 --> 00:55:15,200
Speaker 1: to wrap it up? Or yeah, So, like I was

895
00:55:15,239 --> 00:55:18,399
Speaker 1: gonna say, I'm actually like frustrated reading this now, and

896
00:55:18,440 --> 00:55:20,120
Speaker 1: I think we need to take a week break and

897
00:55:20,160 --> 00:55:22,920
Speaker 1: compare to you too. I feel like that's the general

898
00:55:23,680 --> 00:55:28,040
Speaker 1: we do talk about. Oh, I mean a week break

899
00:55:28,120 --> 00:55:30,879
Speaker 1: in like real time in that meaning in a week

900
00:55:30,960 --> 00:55:34,200
Speaker 1: we'll come back to Okay, we'll still come back then. Yeah, No,

901
00:55:34,360 --> 00:55:37,000
Speaker 1: we have to find out what happens. I just like

902
00:55:37,239 --> 00:55:40,840
Speaker 1: I can't read today, you know what. We've got to

903
00:55:40,880 --> 00:55:44,720
Speaker 1: digest what we've learned, and will finish now our trauma

904
00:55:45,680 --> 00:55:48,319
Speaker 1: and my request for all of you in this next week,

905
00:55:48,320 --> 00:55:50,239
Speaker 1: because we only have maybe one more week of going

906
00:55:50,239 --> 00:55:55,640
Speaker 1: over Ben's storybook. Maybe fight where he lives, break into

907
00:55:55,680 --> 00:55:58,080
Speaker 1: his home, steal his hard drive. There's got to be

908
00:55:58,120 --> 00:56:00,239
Speaker 1: a file on there that we need. More men, short

909
00:56:00,320 --> 00:56:03,560
Speaker 1: stories or scripts, you know, um, bring it, bring him

910
00:56:03,600 --> 00:56:06,680
Speaker 1: to us. There's other people we could read. There's other

911
00:56:06,680 --> 00:56:12,760
Speaker 1: people's work we could celebrate anyway, not as good as

912
00:56:13,160 --> 00:56:15,680
Speaker 1: there's something special and tasty about this. He is a

913
00:56:15,719 --> 00:56:21,239
Speaker 1: special boy. He sure is. Alright, guys, check us out online. Now,

914
00:56:21,280 --> 00:56:25,200
Speaker 1: where's your pod? We'll be back next week, keeping the

915
00:56:25,360 --> 00:56:30,840
Speaker 1: classy worst your enforcement pod. Ye cube shaped because he

916
00:56:30,880 --> 00:56:33,680
Speaker 1: didn't want to do fears because that's from the prisoner

917
00:56:33,719 --> 00:56:37,880
Speaker 1: and he couldn't do it the same way. Yea extremely

918
00:56:40,280 --> 00:56:42,399
Speaker 1: And there's no way he's watched the Prisoner. He can't

919
00:56:42,480 --> 00:56:47,160
Speaker 1: have like I can't imagine sitting down and watch is

920
00:56:47,200 --> 00:56:50,319
Speaker 1: this cute floating or is this cube on wheels? If so,

921
00:56:50,480 --> 00:56:56,000
Speaker 1: it's got to be floating. That's very funny. Floating cubes

922
00:56:56,080 --> 00:56:58,879
Speaker 1: is such a funny in the world. So here's the thing,

923
00:56:59,040 --> 00:57:01,960
Speaker 1: and we'll okay, we're the episodes not over yet, all right,

924
00:57:02,280 --> 00:57:07,040
Speaker 1: So uh in the sentence that introduces these enforcement pods. Uh,

925
00:57:07,080 --> 00:57:09,759
Speaker 1: in addition to the other things we talked about, the

926
00:57:09,840 --> 00:57:12,880
Speaker 1: cube shaped enforcement pods were rolling down the street after

927
00:57:12,960 --> 00:57:16,840
Speaker 1: him gaining rapidly. They were rolling down the street. Uh.

928
00:57:16,960 --> 00:57:20,680
Speaker 1: And so they can't they can't roll unless they're on wheels.

929
00:57:20,800 --> 00:57:27,120
Speaker 1: So I'm pretty sure the cube pods have wheels, just

930
00:57:27,840 --> 00:57:33,960
Speaker 1: like yeah, there's cyber trucks that we cleared this up

931
00:57:34,040 --> 00:57:37,000
Speaker 1: because obviously a sphere can roll down in different ways

932
00:57:37,120 --> 00:57:39,640
Speaker 1: or float or however you want to get it. Yeah,

933
00:57:39,680 --> 00:57:43,600
Speaker 1: but a cube can't. It needs wheels to roll. That's

934
00:57:43,640 --> 00:57:46,680
Speaker 1: what I was thinking. Okay, I'm so glad we cleared that.

935
00:57:46,840 --> 00:57:53,080
Speaker 1: I hope they're roller blades. Alright, Alright, the episodes actually

936
00:57:53,120 --> 00:58:00,960
Speaker 1: over now now we're done by Oh dome n It's

937
00:58:01,000 --> 00:58:07,440
Speaker 1: not against I tried. Daniel. Worst Year Ever is a

938
00:58:07,440 --> 00:58:10,080
Speaker 1: production of I Heart Radio. For more podcasts from my

939
00:58:10,200 --> 00:58:13,240
Speaker 1: heart Radio, visit the i heart Radio app, Apple podcasts,

940
00:58:13,320 --> 00:58:15,160
Speaker 1: or wherever you listen to your favorite shows.