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Speaker 1: You know it would be a Friday though.

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Speaker 2: I can't wait to hear this.

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Speaker 1: Were you asking him? Yeah, sure, that's yeah, sure that

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Speaker 1: Friday is pretty freaky, Griffin. I've seen freaky, but you

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Speaker 1: know what would be an even freakier Friday? Though? He

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Speaker 1: comes back back kids shoebac, a mom shoebac, a mom

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Speaker 1: dropping off backpack hid at school, by.

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Speaker 3: The way, just to say it before you even get there,

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Speaker 3: and there's a little backstory you might need. These two

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Speaker 3: don't understand each other well.

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Speaker 1: But I'm actually hoping to show the audience that in

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Speaker 1: the first scene, Oh, I'm my idea title card, title card, okay,

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Speaker 1: is a hard.

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Speaker 2: Over black in a world where they don't get each other?

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Speaker 1: Okay, So you think in the movie it should say

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Speaker 1: in a world.

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Speaker 2: I think we start putting a movie film because you

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Speaker 2: hear people sometimes.

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Speaker 1: In a world that they don't understand each other.

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Speaker 2: Are these guys yes, and is I'm just trying to

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Speaker 2: figure out your cannon here in this four.

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Speaker 3: Guys were in this world in a world where these

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Speaker 3: guys don't understand each other.

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Speaker 1: Yeah, there were these guys.

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Speaker 2: In a world each other.

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Speaker 1: But this is still the movie too. Yeah, it's summer

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Speaker 1: twenty twenty six. Is that the time in the movie,

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Speaker 1: or you're saying that's the time it is right now?

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Speaker 1: It's both.

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Speaker 2: Okay, Now are we saying that?

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Speaker 1: I think it to be contemporary?

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Speaker 3: Oh this moment, this is a modern shoebac on mom

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Speaker 3: backpack kid film. I don't want to do a period

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Speaker 3: piece this time. So what if we first of all,

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Speaker 3: gets costs down absolutely?

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Speaker 1: What if we flip it?

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Speaker 2: What if we flip it and kind of what's one

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Speaker 2: of the most successful movies of all time Star Wars?

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Speaker 1: Go ahead, that one opens.

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Speaker 2: Go ahead, I'm gonna I'm gonna run with this. Okay,

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Speaker 2: long time ago balancy, far far away. People are used

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Speaker 2: to that it's old, right, we seem like.

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Speaker 1: It's so old, it's from a long time, so far away.

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Speaker 2: Right, let's localize it. Let's start the movie.

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Speaker 1: Right now, right here, in a.

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Speaker 2: World where it's right now and right now.

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Speaker 1: I want right now, ago, right now, right here.

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Speaker 3: Go ahead, reach both hands down and grip those ass

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Speaker 3: cheeks you've got attached to the bottom of your back.

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Speaker 2: Because the story something for once.

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Speaker 3: Are you finally just take ownership of your body? The

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Speaker 3: first thing it says is take ownership of your body.

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Speaker 2: Okay, so let's because we got a lot of stuff

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Speaker 2: here for those opening cards, so let's figure out.

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Speaker 3: Right here ago just now it's happening. So that's first,

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Speaker 3: own your body, Own your body. Yeah, oh, this is

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Speaker 3: feeling so good.

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Speaker 2: It's so movies in a world where these two don't

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Speaker 2: get along. And by the way, this is that.

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Speaker 1: Perfect for him. This is perfect him.

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Speaker 3: This is what I'm realing is we just stumbled in

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Speaker 3: that we wanted to talk about this anyway, just because

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Speaker 3: I really think the Friday was not that. I'm sorry Friday.

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Speaker 1: Yeah, it was pretty I was being nice, but I

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Speaker 1: say it was pretty freaking. People was right.

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Speaker 2: I think they were smart. They could they wanted to

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Speaker 2: save something in the tank.

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Speaker 3: They definitely gave themselves room to freak it up.

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Speaker 2: All they said was it's a freaky or Friday. That

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Speaker 2: leaves us space to decide what the freaky ist.

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Speaker 3: But I got to rewatch the first freakier than the

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Speaker 3: first freak.

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Speaker 1: I guess it was.

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Speaker 3: I gotta be fair, I guess it was. But I

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Speaker 3: was expecting to be really, really freaky.

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Speaker 2: That's where we come in. Yes, they're waiting for us

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Speaker 2: to step up. Now are we saying this cannon that

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Speaker 2: schewbacca mom is backpack kids mom?

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Speaker 1: Nope, just just takes him to school. She just rides

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Speaker 1: to school.

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Speaker 2: She just picks them up and drops.

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Speaker 1: Them Offaca mom, drop off back kid at school. Shoeback Mom?

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Speaker 1: Can you at least take the mask off? Yeah, when

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Speaker 1: you're coming to school. You don't like my mask? They're

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Speaker 1: so much Give the mask a kiss.

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Speaker 2: She's so much about face and head and backpack kids

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Speaker 2: so much about chest and arms. Sold they ever, and

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Speaker 2: and he little and she big.

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Speaker 3: His best friend has to be damn Daniel because then

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Speaker 3: we can get the feet in.

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Speaker 1: Now we've got an entire body. Oh my god, that's

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Speaker 1: what makes it freak here.

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Speaker 2: All three of.

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Speaker 1: Them and the and our beloved characters have to be

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Speaker 1: in it as well.

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Speaker 2: This would be five our beloved character. Yes, okay, now

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Speaker 2: I do believe and we all know this of course

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Speaker 2: because we've seen it. But I just want to remind

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Speaker 2: us all that in Freak Your Fire Friday, I do

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Speaker 2: think it's four and that's what made it freak gear right,

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Speaker 2: they went from two to four.

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Speaker 1: So they did exactly what Michel Patrick King did. Yeah,

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Speaker 1: what Michael Patrick, King Michel and and just like that,

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Speaker 1: he said, we're doubling it up all w O C.

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Speaker 1: And so for this one, yes, they added j Diaz

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Speaker 1: and Sria Chowder.

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Speaker 2: Nothing but respect for Mike Prick.

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Speaker 3: Diaz is available as well. Okay because if you think

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Speaker 3: about it, their free agent, you know what, and you

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Speaker 3: know what that it's over.

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Speaker 2: It's over it just like that was.

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Speaker 1: And do you know what's so perfect? Do you know

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Speaker 1: what the chase short for Jewbaca. That's correct, that's right.

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Speaker 2: Okay, So let's load up our cast.

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Speaker 1: Here.

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Speaker 2: We got the four from Freaky Your Friday JLC double

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Speaker 2: l two kids. Right then we're adding Chappaka Bomb, We're

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Speaker 2: adding Damn Daniel rad and backpack Kid. We're at Chaye Diaz.

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Speaker 2: That's eight. That's doubled the freak ear just like that

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Speaker 2: out of the movie. Well, I'm saying, can we go

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Speaker 2: even a little freak hear?

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Speaker 1: Why stop it? Okay, it's gonna be a crowded car

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Speaker 1: and backpack kid is doing the backpack kid dance in

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Speaker 1: in the car.

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Speaker 3: The car, so that's gotta be a big car.

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Speaker 1: He's taking up the whole row in the back.

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Speaker 3: He's gonna say they're re releasing the astro van. Let's

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Speaker 3: get Chevy on the horn. I mean, let's face it,

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Speaker 3: the modern economy of movies. Part of monetizing these things

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Speaker 3: is finding partnerships that makes sense for the story.

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Speaker 2: Tell the story.

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Speaker 3: Yeah, I mean, we're not, you know, inventing that the

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Speaker 3: characters in the movie ride in a car that's already

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Speaker 3: in the script. What do we know about comedy? It's specificity,

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Speaker 3: it's don't don't pass the catch so so so so,

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Speaker 3: don't do the backpack kid dance in the car? The

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Speaker 3: backpack kid dance in the Chevy drive me crazy people?

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Speaker 2: Cars products, right, these deals they're pushing these products. I'm like,

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Speaker 2: if these characters were walking, no one to be complaining, oh,

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Speaker 2: what did big Legs pay for this movie?

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Speaker 1: That That is one of the most.

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Speaker 3: Frustrating things is I see I see characters walking all

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Speaker 3: the time, and no one attacks the movies.

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Speaker 2: And just like, and that's not specific In.

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Speaker 1: The same way, when the Walking Dead became the Driving Dead,

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Speaker 1: that was organic to the story that that happened, and yes,

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Speaker 1: like do they.

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Speaker 3: Well they're telling going to be driving cars.

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Speaker 1: This was to not make money for the cars that

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Speaker 1: the that the driving dead or driving.

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Speaker 3: Did did did society itself not reach a point of

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Speaker 3: cars from starting out walking like? So now we're restarting

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Speaker 3: society from you know, this point that this it's.

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Speaker 2: A reboot, that this truly horrible.

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Speaker 3: Thing has happened in terms of all the monsters was

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Speaker 3: so awful, and I have trouble watching it. I have

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Speaker 3: trouble watching it.

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Speaker 2: Moved on from it. It's wild how people just don't even.

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Speaker 3: Talk to the monsters to me are scary, yes, but

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Speaker 3: they're victims. I mean, those who participate in a system

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Speaker 3: like this are victims just as much as the people.

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Speaker 1: Who are being eaten by the monster.

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Speaker 2: From a certain ProView, you could say, are the humans

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Speaker 2: the monsters now? Because maybe they've become, boy Griff, the

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Speaker 2: walking dead. They've become the rightful owners of this earth,

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Speaker 2: and the humans are the ones, the endangered species who

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Speaker 2: are fighting their way of life. Boy, please don't take

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Speaker 2: my brain.

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Speaker 3: Boy, oh boy, aren't humans actually.

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Speaker 1: The what was it you said?

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Speaker 2: The real monsters?

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Speaker 1: The real mons?

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Speaker 2: They're walking around with these guns.

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Speaker 1: I don't think grow up, I don't think they are. Okay,

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Speaker 1: that's such a good. The other guys are monsters.

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Speaker 3: My friends are humans. The monsters I see on the

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Speaker 3: show are acting, with all respect, very fucked up.

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Speaker 2: They look like conventional They have a very specific lifestyle,

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Speaker 2: and they have a different set of beauty standards than

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Speaker 2: certainly we maintain.

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Speaker 1: I don't buy into that.

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Speaker 2: Okay, speak on that all this.

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Speaker 3: Some different beauty standard stuff. Sure, I think it's pretty clear,

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Speaker 3: right what looks good?

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Speaker 2: I just think sometimes I'm just like I'm speaking for

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Speaker 2: myself here, right. Sometimes I'm looking at a spooky, scary,

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Speaker 2: creepy crawley monster and the teeth are like this, and

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Speaker 2: this claws in the neck is like this, right, and

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Speaker 2: maybe like belly is open, guts hanging out on the ground.

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Speaker 2: And I think to myself, now, would I want to

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Speaker 2: look like that? No, that's not my style. I don't

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Speaker 2: think i'd be comfortable, I don't think.

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Speaker 1: But what I want to look at that? No?

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Speaker 2: I hate looking at it. But who's to say they're

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Speaker 2: not feeling good when they look in the mirror? That

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Speaker 2: that's their truth?

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Speaker 1: Mm hmmmm. So you're saying thing you can get it.

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Speaker 1: It's like the idea you're saying is that, like the

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Speaker 1: Driving Dead can get it.

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Speaker 2: I'm simply asking interesting, do they get it all?

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Speaker 3: Just a driving dead monster want to giving sort of

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Speaker 3: a self empowerment to the driving music video, I guess

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Speaker 3: is what we're talking about.

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Speaker 1: Ideally. Yeah, yeah, I don't know.

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Speaker 3: I think there's only one beauty standard. Am I crazy?

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Speaker 2: It's just kind of a hot or not for you?

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Speaker 3: Well, look that website a lot of people realize is

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Speaker 3: still active, and they've and they've kind of gathered a

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Speaker 3: significant amount of data, a lot, They've got a lot,

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Speaker 3: a lot, a lot of that.

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Speaker 1: Just because there's only a few people, a few power

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Speaker 1: users on there. Now a click, you know, the click

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Speaker 1: is a click. We should be grateful for the time

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Speaker 1: that they've been putting in to help figure this.

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Speaker 3: Those people are experts at this point, you know, they

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Speaker 3: have They're the ones who hung on and yeah.

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Speaker 1: Just because they all like snock coming out whatever, just

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Speaker 1: because they're trying to whether or not they like whether

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Speaker 1: or not they actually like it, or they are trying

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Speaker 1: to normalize a beauty standard where they're like, it's actually

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Speaker 1: hot now to have snot gooshing out of.

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Speaker 3: Is lubrication and mucus glands not a part of sexual intercourse.

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Speaker 2: Look, I log onto that side something.

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Speaker 1: That's the expert that I say, log on, you still

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Speaker 1: have functioning.

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Speaker 2: Dot com. I log on and I look, and I'm

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Speaker 2: seeing this pictures.

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Speaker 3: I call that's what I call getting hard is logging on?

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Speaker 1: Log log on.

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Speaker 3: I gotta let's get that log on there, right, let's

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Speaker 3: get that. Let's get that would going.

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Speaker 2: I logged on the other day.

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Speaker 3: I woke up me too, now bragging. I logged on

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Speaker 3: the other day too, logged on last week.

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Speaker 2: In fact, photo comes up hot or not the central

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Speaker 2: question of our time. Right, and I'm seeing little kid,

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Speaker 2: shrub faced, short pants, blazer, red tie, sitting legs spread

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Speaker 2: out like this. He's got a remote control in his

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Speaker 2: hand and one big red button. He's pushing it. His

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00:12:52,320 --> 00:12:56,320
Speaker 2: head's exploding. What and I'm going, now, do I find

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Speaker 2: that hot? It was a little kid remote control one button.

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Speaker 3: So the fear that I fear that every time you're here,

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Speaker 3: somehow we end up describing one of the garbage pil kids.

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Speaker 1: No, I fear that that's going to be more than

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Speaker 1: one by the end of this.

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Speaker 2: I didn't start this some We're just talking about these

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Speaker 2: shifting standards of how popular mucus ism.

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Speaker 3: And I'm realizing I'm looking back, and I'm going like,

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Speaker 3: wait a minute. In my mind, the beauty standard has

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Speaker 3: been so fixed and immutable. And then I go, I

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Speaker 3: guess back when the garbage pail kids.

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Speaker 2: Ruled the airwaves messes it were was a bit of

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Speaker 2: a sex simbole.

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Speaker 1: It's true, and one of them is true. Blowing his

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Speaker 1: own head off with a remote definitely his own head.

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Speaker 3: On, zipping his skin and stepping out of his skins.

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Speaker 1: This is a sort of meat body.

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Speaker 2: You might have a guy who plays the trumpet, but

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Speaker 2: not from his mouth, from his butt. Yeah, the farts

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Speaker 2: from there, the air pushed through the trumpet to make

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Speaker 2: a little music.

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Speaker 1: Okay, that that is what I would expect from a

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Speaker 1: kid that belongs in a garbage pail. And it's a

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Speaker 1: it's a variation on a traditional kid, you know, marching

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Speaker 1: down the street, the bugle boy. Sure right.

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Speaker 2: It's kind of a new spin on an old class.

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Speaker 1: The kid is blowing his own head off with a

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Speaker 1: remote control.

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Speaker 2: He's got the remote and he's trying.

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Speaker 1: To spread out on his second thing that he said,

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Speaker 1: he did describe his legs as being sort of spread eagling.

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Speaker 2: I didn't paint the thing. I'm just I'm just describing it.

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Speaker 2: He's pushing the button. It's like he's going to launch

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Speaker 2: a nuclear warhead who knows where, and to his great surprise.

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Speaker 2: It seems like it was planted in his skull.

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Speaker 1: What's his name? I see.

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Speaker 3: I thought that they were reveling in these sort of uh,

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Speaker 3: you know, atrocities that they committed.

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Speaker 1: Questions.

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Speaker 3: So when you say he he was trying to launch

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Speaker 3: a bomb somewhere else in the blues head off, that's

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Speaker 3: not that is not certainly the psychology I had endowed

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Speaker 3: Adam bomb, which is they they want to do something disgusting,

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Speaker 3: something shocking, something taboo.

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Speaker 2: That's me putting my narrative on him.

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Speaker 3: And so yeah, I think that, you know, you said,

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Speaker 3: to his surprise or maybe even his chagrin. I can't

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Speaker 3: recall precisely, but I think it was very much by

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Speaker 3: design to his delight.

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Speaker 1: Yes, yes, A D A M. Yes, Adam, Adam, Adam bomb.

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Speaker 2: But every every card had a chase. Well, let's hear

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Speaker 2: your pitch.

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Speaker 1: Oh yeah, you give it to me, Adam bob. Yeah,

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Speaker 1: And I said Adam was spelled eight. It was spelled

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Speaker 1: eight a M.

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Speaker 3: Yeah.

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Speaker 2: So if he got the rare card.

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Speaker 3: It was letter than mine, honest, Adam John, Adam John.

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Speaker 2: We're losing a little bit of a D A M explosion.

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00:16:04,600 --> 00:16:08,960
Speaker 2: It was two d's for some reason, like the Adams family.

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Speaker 1: To A D D A M j io. I am

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Speaker 1: Adam John. Mm hmm, maybe with a B at the

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00:16:19,240 --> 00:16:23,360
Speaker 1: n W A because the B is silent j J

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Speaker 1: A W n wow.

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Speaker 3: Okay, And I'm realizing that's so bad. When you realize

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Speaker 3: Adam Bam is is.

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Speaker 2: Like, it's got a kind of thing. Now do you

308
00:16:38,000 --> 00:16:40,280
Speaker 2: recall the alternate name Billy blasted not as good?

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00:16:41,240 --> 00:16:44,720
Speaker 3: Yeah, that's better than better than my alternate name.

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Speaker 1: My question is Billy John, Billy John, that was your alternate.

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Speaker 2: Unfortunately, so his main name is Adam John with two d's.

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00:17:01,520 --> 00:17:04,359
Speaker 1: Then the other pitch is that it would be Billy

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Speaker 1: Billy Jones.

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Speaker 2: And how we spelling those bad boys.

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Speaker 3: Oh gosh, I don't even know if I got that far.

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Speaker 1: I never never wrote it down. It's oral tradition. That'd

317
00:17:18,280 --> 00:17:19,399
Speaker 1: be a good name for it. Garbage.

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Speaker 3: That is good.

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Speaker 1: It does the Chewbacca mom put the backpack on. What

320
00:17:35,880 --> 00:17:40,399
Speaker 1: I worry about is that backpack put the mask on.

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00:17:40,560 --> 00:17:43,640
Speaker 1: I worry. We're gonna have two characters that have the

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Speaker 1: mask and the backpack.

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Speaker 2: This is interesting, right because in the Freaky Fretta universe,

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00:17:48,520 --> 00:17:52,760
Speaker 2: they switch bodies, and obviously when they switch bodies, they're

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Speaker 2: stuck wearing whatever clothes the other was wearing just moments ago.

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Speaker 2: But they do technically have the power to take them.

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Speaker 1: I have that's wouldn't you just if you switch bodies

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Speaker 1: when you'd be like, that's my backpack? Well if you

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Speaker 1: give me my mask for right? Mask on?

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Speaker 3: Can I just talk about something that I think is

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Speaker 3: going to be really important for us. It's gonna seem

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00:18:11,640 --> 00:18:15,679
Speaker 3: like a detour. But in terms of we have to

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00:18:15,680 --> 00:18:19,960
Speaker 3: write the script, how do you want to describe the

334
00:18:20,080 --> 00:18:23,080
Speaker 3: version of the character after the switch?

335
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Speaker 1: Do you know what I mean?

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00:18:25,240 --> 00:18:27,679
Speaker 3: So there's at the beginning of the film, we'll have

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00:18:27,920 --> 00:18:33,160
Speaker 3: shoebacka Mom and backpack Kid. Then later we'll have backpack

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Speaker 3: Kid but with the internal mind personality, yes of shoebacka Mom,

339
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Speaker 3: possibly with the mask as well, but just from sort

340
00:18:42,240 --> 00:18:47,840
Speaker 3: of a stage direction, you know, uh, just character title

341
00:18:47,920 --> 00:18:50,720
Speaker 3: when they go to speak in dialogue. I think it's

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00:18:50,720 --> 00:18:53,200
Speaker 3: worth spending a little bit of time, do we want

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Speaker 3: to go determining the nad mom, because who.

344
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Speaker 1: Is Shoebakka Ki in your mind? Yes? No, yes, no? Sorry.

345
00:19:06,680 --> 00:19:10,560
Speaker 3: When you said the name Showbacca kid, who are you

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00:19:10,800 --> 00:19:18,199
Speaker 3: picturing physically the kid with Shoebacca's mind or were you

347
00:19:18,280 --> 00:19:25,080
Speaker 3: picturing Shobacca Mom with the kid's mind.

348
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Speaker 2: I'm going to be really honest with you guys right now,

349
00:19:28,880 --> 00:19:33,440
Speaker 2: because I think you deserve nothing less. When I said that, automatically,

350
00:19:33,600 --> 00:19:38,480
Speaker 2: what I was thinking of was backpack kid, who whose

351
00:19:38,560 --> 00:19:43,840
Speaker 2: body now possesses the mind of Schewbacca Mom and he

352
00:19:44,080 --> 00:19:48,040
Speaker 2: has swapped with her, so he is now wearing the

353
00:19:48,080 --> 00:19:50,359
Speaker 2: Chewbacca mask on his kid face.

354
00:19:52,040 --> 00:19:54,400
Speaker 1: Let's go with that. This is blank.

355
00:19:55,880 --> 00:19:58,359
Speaker 2: Reader, like, we're telling them right, because if if after

356
00:19:58,400 --> 00:20:01,480
Speaker 2: the swap you're writing dialogue and you're just writing based

357
00:20:01,520 --> 00:20:04,199
Speaker 2: on which body they're in, the is gonna have a

358
00:20:04,200 --> 00:20:05,000
Speaker 2: hard time keeping tracking.

359
00:20:05,080 --> 00:20:08,280
Speaker 1: There's a reason you thought that, right, It's not like that.

360
00:20:09,440 --> 00:20:12,120
Speaker 3: Yeah, let me just turn on my phone's vibrating, turn

361
00:20:12,160 --> 00:20:12,320
Speaker 3: it on.

362
00:20:12,920 --> 00:20:15,720
Speaker 1: And I'm realizing if we don't do that, if we

363
00:20:15,840 --> 00:20:20,719
Speaker 1: put Shoebacca Mom's mind in backpack Kid's body, and especially

364
00:20:20,760 --> 00:20:26,160
Speaker 1: if uh, well, this is why we have to figure

365
00:20:26,200 --> 00:20:31,959
Speaker 1: this out. We have to, especially if uh mom body

366
00:20:32,400 --> 00:20:37,040
Speaker 1: backpack mind takes the backpack, then we're just gonna have

367
00:20:37,119 --> 00:20:40,560
Speaker 1: backpack kid with no backpack and no mask backpack moms,

368
00:20:40,680 --> 00:20:43,360
Speaker 1: right and then and not and not dancing.

369
00:20:43,119 --> 00:20:44,800
Speaker 2: Right, they have to swap. It has to be backpack

370
00:20:44,880 --> 00:20:46,280
Speaker 2: mom and Shchewbacca kid.

371
00:20:46,960 --> 00:20:53,080
Speaker 1: However, I think people want to see Shoebocca mom doing

372
00:20:53,119 --> 00:20:59,080
Speaker 1: the backpack kid dance wearing the mask. I agree.

373
00:20:59,680 --> 00:21:01,879
Speaker 3: I think she needs to have the mask on. Now.

374
00:21:01,920 --> 00:21:03,760
Speaker 3: I don't know if we get two masks or what

375
00:21:03,800 --> 00:21:05,680
Speaker 3: we do. And it's obviously he's some kind of security

376
00:21:05,720 --> 00:21:08,760
Speaker 3: blanket for her, so I understand why Shebacca kid would

377
00:21:08,840 --> 00:21:13,760
Speaker 3: want to put it on. But look, you saw right

378
00:21:14,000 --> 00:21:17,200
Speaker 3: in the opening scene that little bit of conflict we

379
00:21:17,320 --> 00:21:18,000
Speaker 3: described it.

380
00:21:18,200 --> 00:21:19,160
Speaker 1: Yeah, and we.

381
00:21:19,200 --> 00:21:22,720
Speaker 3: Also saw a little bit of like him saying can

382
00:21:22,760 --> 00:21:24,280
Speaker 3: you take the mask off to her?

383
00:21:24,400 --> 00:21:26,960
Speaker 1: Yeah, Now he'd be wearing it.

384
00:21:27,080 --> 00:21:30,919
Speaker 3: People will be suspicious. You're not yourself today, backpack kid.

385
00:21:31,240 --> 00:21:33,280
Speaker 3: You're wearing the mask you always want sbac a mom

386
00:21:33,400 --> 00:21:34,040
Speaker 3: to take off.

387
00:21:34,200 --> 00:21:36,680
Speaker 2: No, you're right, let's go back to the original text here, right.

388
00:21:37,640 --> 00:21:39,920
Speaker 1: I decided it was actually kind of cool. Hey, this

389
00:21:40,119 --> 00:21:42,760
Speaker 1: is cool, you know, like, but here's what I think.

390
00:21:42,840 --> 00:21:47,080
Speaker 3: I think, Oh yeah, I'm making fun of that old bag.

391
00:21:47,680 --> 00:21:49,800
Speaker 3: This is how I because this is I mean, what

392
00:21:49,880 --> 00:21:52,920
Speaker 3: she sees from backpack kid, right, is that she perceives

393
00:21:52,960 --> 00:21:56,120
Speaker 3: this level of cruelty almost from him when he's asking

394
00:21:56,160 --> 00:21:59,119
Speaker 3: about that, he doesn't understand the mask. And I actually

395
00:21:59,200 --> 00:22:01,720
Speaker 3: think in a way way it would be more believable

396
00:22:01,720 --> 00:22:04,679
Speaker 3: probably to his peers, Damn Daniel, et cetera.

397
00:22:04,840 --> 00:22:07,399
Speaker 1: Yeah, here's a question that it would be done in

398
00:22:07,520 --> 00:22:11,680
Speaker 1: Jess when he says, damn Daniel, who is that? That's

399
00:22:11,720 --> 00:22:12,959
Speaker 1: a really good question.

400
00:22:14,280 --> 00:22:18,159
Speaker 2: I mean, right now I'm thinking, Radcliffe, I gotta be

401
00:22:19,240 --> 00:22:20,960
Speaker 2: what I gotta be on.

402
00:22:21,080 --> 00:22:25,359
Speaker 1: Please stop doing this, please please, you have to stop.

403
00:22:25,480 --> 00:22:27,879
Speaker 1: You have to stop castingrse.

404
00:22:28,040 --> 00:22:30,879
Speaker 2: I just I get excited putting some names together and

405
00:22:30,920 --> 00:22:34,000
Speaker 2: starting to just tambulate, you know, the foreign sales value.

406
00:22:34,040 --> 00:22:36,520
Speaker 2: It gets me all charged up.

407
00:22:38,200 --> 00:22:41,600
Speaker 1: And I worry that people have been telling you to

408
00:22:41,680 --> 00:22:45,480
Speaker 1: stop casting. Yeah, and you think that means stop podcasting,

409
00:22:45,880 --> 00:22:49,920
Speaker 1: but it actually means stop casting movies in your head.

410
00:22:50,000 --> 00:22:51,440
Speaker 2: I'll tell you what's tough about it.

411
00:22:51,359 --> 00:22:52,760
Speaker 1: And also stop podcasting.

412
00:22:52,760 --> 00:22:54,600
Speaker 2: When you say when you say it out loud in

413
00:22:54,640 --> 00:22:58,240
Speaker 2: the oral tradition. It's impossible to know if they're saying

414
00:22:58,320 --> 00:23:02,000
Speaker 2: casting or they're saying apostrophe C A S T.

415
00:23:02,040 --> 00:23:02,359
Speaker 1: I n G.

416
00:23:03,119 --> 00:23:06,120
Speaker 2: You know, like it's if it's written out, I can tell, Oh,

417
00:23:06,160 --> 00:23:09,080
Speaker 2: they're saying podcasting in a cool way, right because it's

418
00:23:09,080 --> 00:23:11,439
Speaker 2: starting with that apostrophe right there. They're just dropping the

419
00:23:11,480 --> 00:23:12,200
Speaker 2: pod out loud.

420
00:23:12,240 --> 00:23:14,479
Speaker 3: I don't know, Billy John, what was I thinking?

421
00:23:14,720 --> 00:23:16,520
Speaker 2: And that's my livelihood. I can't stop.

422
00:23:16,800 --> 00:23:19,200
Speaker 1: I'm so described, I can see.

423
00:23:19,800 --> 00:23:21,200
Speaker 3: I'm so mad at myself.

424
00:23:21,200 --> 00:23:24,960
Speaker 1: They changed the alternate name to Billy. You wanted to

425
00:23:25,040 --> 00:23:28,400
Speaker 1: keep some aspect of the original one. I thought, well,

426
00:23:28,440 --> 00:23:29,560
Speaker 1: I know mine's good.

427
00:23:29,800 --> 00:23:31,880
Speaker 3: But now as I'm like working through it, it's like, no,

428
00:23:31,920 --> 00:23:34,000
Speaker 3: it was there was nothing. I shouldn't have been so

429
00:23:34,320 --> 00:23:37,280
Speaker 3: eager to salvage a piece of my original one. I

430
00:23:37,280 --> 00:23:38,920
Speaker 3: should have really been willing to go.

431
00:23:39,960 --> 00:23:42,240
Speaker 1: You were trying to compromise when they were they were

432
00:23:42,280 --> 00:23:45,760
Speaker 1: when they were pitching Billy blasted. You're like, Okay, we

433
00:23:45,800 --> 00:23:48,280
Speaker 1: need to work some of that in, but like, I can't.

434
00:23:48,280 --> 00:23:49,879
Speaker 1: We can't. I I can't come out of here.

435
00:23:50,000 --> 00:23:53,800
Speaker 3: We can combine them, but I.

436
00:23:53,840 --> 00:23:55,679
Speaker 2: What if we start? What if we go back and

437
00:23:55,720 --> 00:23:58,400
Speaker 2: start from blasted and build off of that. What if

438
00:23:58,400 --> 00:24:00,240
Speaker 2: blasteds the thing we're carrying.

439
00:24:00,080 --> 00:24:08,600
Speaker 1: Over Adam, well, yours? I mean, if we're preserving, I'm

440
00:24:08,600 --> 00:24:11,040
Speaker 1: just going off of you to preserve some of yours.

441
00:24:11,320 --> 00:24:15,399
Speaker 3: Yeah, And I'm realizing that Goldfish would be pretty upset

442
00:24:15,440 --> 00:24:16,880
Speaker 3: with me if I did that, right?

443
00:24:17,400 --> 00:24:19,679
Speaker 2: Is that not the spirit of the garbage kids? Kind

444
00:24:19,720 --> 00:24:23,280
Speaker 2: of thumbing your nose at the corporate corporate?

445
00:24:23,760 --> 00:24:26,160
Speaker 1: I don't know if flavor blasted for just the name

446
00:24:26,240 --> 00:24:29,920
Speaker 1: of a guy a kid is and also like he's

447
00:24:29,920 --> 00:24:31,560
Speaker 1: blowing his own head off, so then.

448
00:24:31,480 --> 00:24:34,720
Speaker 3: We're saying flavor, but.

449
00:24:34,760 --> 00:24:35,320
Speaker 1: Maybe it is.

450
00:24:35,359 --> 00:24:37,800
Speaker 2: Maybe flavors are coming out maybe instead of just a

451
00:24:37,960 --> 00:24:39,080
Speaker 2: kind of if.

452
00:24:38,960 --> 00:24:42,399
Speaker 3: He's eating it, if he's eating the exploded brains of

453
00:24:42,480 --> 00:24:43,879
Speaker 3: his own head, you're.

454
00:24:43,720 --> 00:24:44,960
Speaker 2: Seeing chunks of parmesan.

455
00:24:45,200 --> 00:24:49,320
Speaker 1: How just give me? Give me? Like the the blocking

456
00:24:49,400 --> 00:24:51,480
Speaker 1: of this where he's pushing the button.

457
00:24:51,280 --> 00:24:58,160
Speaker 2: Legs spread, legs, short pants like spread, He's kind of like.

458
00:24:58,119 --> 00:25:00,840
Speaker 3: Well, that's kind of what I'm doing with Kevin told me, Okay,

459
00:25:02,359 --> 00:25:06,560
Speaker 3: I'm showing everyone my body he's holding he's holding after

460
00:25:06,640 --> 00:25:08,240
Speaker 3: this to an event.

461
00:25:08,840 --> 00:25:11,679
Speaker 1: He's holding the button in one hand and pushing it

462
00:25:11,680 --> 00:25:15,400
Speaker 1: with the other now, and his brains are coming out

463
00:25:15,400 --> 00:25:18,240
Speaker 1: of his head. Now you need him to be eating

464
00:25:18,359 --> 00:25:24,199
Speaker 1: pieces of it as well. And what is a.

465
00:25:22,560 --> 00:25:29,320
Speaker 3: Single potential for a hologram.

466
00:25:28,440 --> 00:25:31,679
Speaker 1: Feels, I'd like you to try and get it the

467
00:25:31,680 --> 00:25:36,400
Speaker 1: one frame. If you can't, Okay, he doesn't like how

468
00:25:36,640 --> 00:25:38,080
Speaker 1: he doesn't have Well, it's garb.

469
00:25:38,560 --> 00:25:41,720
Speaker 3: He has two more hands, okay, one hand out here

470
00:25:41,720 --> 00:25:45,639
Speaker 3: holding the remote, one hand pushing the button, one hand

471
00:25:45,960 --> 00:25:49,960
Speaker 3: catching a piece of brain, the other hand popping a

472
00:25:49,960 --> 00:25:50,920
Speaker 3: piece of brain into his mouth.

473
00:25:51,040 --> 00:25:55,680
Speaker 1: So radiation. The extra two are glowing. He just grew them.

474
00:25:56,000 --> 00:25:57,400
Speaker 1: And maybe it's a glow in the doork card from

475
00:25:57,440 --> 00:25:58,040
Speaker 1: the radiation.

476
00:25:58,359 --> 00:26:00,320
Speaker 2: Maybe it's a glow in the dark heart low in

477
00:26:00,320 --> 00:26:02,720
Speaker 2: the dark hologram single frame.

478
00:26:03,480 --> 00:26:06,159
Speaker 1: Yeah, but it's a hologram, and so it changes, but

479
00:26:06,240 --> 00:26:07,120
Speaker 1: it's to the same.

480
00:26:07,200 --> 00:26:11,480
Speaker 3: Changes the same mm hmm, changes to be not glow

481
00:26:11,520 --> 00:26:11,920
Speaker 3: in the dark.

482
00:26:13,560 --> 00:26:15,000
Speaker 2: One side is glowing the dark.

483
00:26:14,920 --> 00:26:16,600
Speaker 1: Pitch black for daytime.

484
00:26:16,720 --> 00:26:18,760
Speaker 2: There's a daytime one there's a daytime nighttime.

485
00:26:18,800 --> 00:26:21,800
Speaker 3: And he well, what makes this hologram change Just the

486
00:26:21,880 --> 00:26:25,160
Speaker 3: light shifting on it. Right, So the fact that it's

487
00:26:25,240 --> 00:26:29,880
Speaker 3: changing from glowing the dark tonight is reef interesting technology.

488
00:26:30,440 --> 00:26:36,280
Speaker 2: That's good stuff. So Freaky Friday. They switch bodies right

489
00:26:36,720 --> 00:26:40,600
Speaker 2: and immediately they're like, this sucks. I hate this, and

490
00:26:40,640 --> 00:26:42,680
Speaker 2: they go straight to dressing up the way they're used

491
00:26:42,720 --> 00:26:45,520
Speaker 2: to dressing up. And then Lindsay Lohan and Jamie Lee

492
00:26:45,520 --> 00:26:46,800
Speaker 2: curse to each other and they're.

493
00:26:46,600 --> 00:26:48,680
Speaker 3: Like, what what have you done with my body? You

494
00:26:50,200 --> 00:26:52,240
Speaker 3: are going to ask questions.

495
00:26:52,240 --> 00:26:55,280
Speaker 2: That's not how I look. My friends, my co workers,

496
00:26:55,359 --> 00:26:56,359
Speaker 2: my teachers, They're going to.

497
00:26:56,400 --> 00:26:58,240
Speaker 1: Notice somewhere that mask.

498
00:26:59,359 --> 00:27:02,800
Speaker 2: So that's where getting into I think this is a feature,

499
00:27:02,880 --> 00:27:06,960
Speaker 2: not a bug. Right, This is core tension of Hey,

500
00:27:07,160 --> 00:27:10,359
Speaker 2: my identity is I'm a mom. I wear the mask.

501
00:27:10,560 --> 00:27:13,840
Speaker 3: God put me in such a powerful message because as

502
00:27:13,880 --> 00:27:18,360
Speaker 3: much as I love both of these figures, she's more

503
00:27:18,400 --> 00:27:19,159
Speaker 3: than the mask.

504
00:27:19,440 --> 00:27:20,920
Speaker 2: Well that's what she has to learn.

505
00:27:20,960 --> 00:27:24,560
Speaker 3: He doesn't need the backpack to be him. He has alliance.

506
00:27:25,840 --> 00:27:30,600
Speaker 1: They're gonna you know what and what? So what about this? Yeah?

507
00:27:31,880 --> 00:27:35,520
Speaker 1: Oh oh so he's.

508
00:27:35,320 --> 00:27:38,840
Speaker 2: Got so so man's sitting on something juicy.

509
00:27:39,400 --> 00:27:42,240
Speaker 1: So now I'm about to get out of the bomb.

510
00:27:42,280 --> 00:27:45,000
Speaker 1: My head blasted coming.

511
00:27:44,840 --> 00:27:45,680
Speaker 2: Her legs her out.

512
00:27:46,359 --> 00:27:50,840
Speaker 1: Okay, we're ready, we're ready, We're ready. So they we

513
00:27:51,119 --> 00:27:56,520
Speaker 1: established in the in the title card that these two

514
00:27:57,880 --> 00:28:00,400
Speaker 1: in a world where they don't see it. There's said,

515
00:28:00,400 --> 00:28:04,200
Speaker 1: these two guys are there right, yes, and we then

516
00:28:04,240 --> 00:28:08,120
Speaker 1: we saw them kinda have it out over the mask

517
00:28:08,280 --> 00:28:10,160
Speaker 1: and the dance. She didn't like the dancing.

518
00:28:09,880 --> 00:28:12,000
Speaker 2: Either, at something not herself to show.

519
00:28:13,040 --> 00:28:14,919
Speaker 1: And then they switch and then they say, like, you

520
00:28:14,960 --> 00:28:17,000
Speaker 1: can't wear that, like I'm supposed to wear a backpack,

521
00:28:17,000 --> 00:28:18,800
Speaker 1: I'm supposed to wear a mask. So they are in

522
00:28:18,840 --> 00:28:27,200
Speaker 1: their traditional garb. Okay, so now Shoobacca mind backpack body

523
00:28:28,119 --> 00:28:33,760
Speaker 1: is at school and so now she has the backpack.

524
00:28:35,280 --> 00:28:42,960
Speaker 1: Teacher says, where's your homework? It must be my backpack.

525
00:28:43,960 --> 00:28:47,400
Speaker 1: She opens the backpack for the first time. She being

526
00:28:47,600 --> 00:28:51,440
Speaker 1: Shoebocca mind kid body, What was in the backpack the

527
00:28:51,600 --> 00:28:55,400
Speaker 1: entire time, literally the entire time the mask, Shoebocca.

528
00:28:54,920 --> 00:28:59,080
Speaker 2: Mask, She thought this whole time the kid.

529
00:28:58,960 --> 00:29:01,719
Speaker 1: The kid didn't like it, literally the entire time that

530
00:29:01,800 --> 00:29:02,640
Speaker 1: was in the backpack.

531
00:29:02,720 --> 00:29:04,960
Speaker 3: He hates the mask, but it's actually was in the

532
00:29:05,000 --> 00:29:08,360
Speaker 3: backpack even when he had his own mind. The mask

533
00:29:08,440 --> 00:29:10,040
Speaker 3: had been in the backpack.

534
00:29:10,000 --> 00:29:14,400
Speaker 1: Because he actually did because he actually did like it.

535
00:29:15,120 --> 00:29:23,560
Speaker 1: He loves nothing else, and that of course, like naturally.

536
00:29:23,640 --> 00:29:28,640
Speaker 1: She ways, I'm crying. That is so touching. There's nothing else,

537
00:29:28,680 --> 00:29:30,560
Speaker 1: And he's been getting in trouble because he hasn't been

538
00:29:30,560 --> 00:29:32,840
Speaker 1: doing his homework because literally the only thing in his

539
00:29:32,920 --> 00:29:38,680
Speaker 1: backpack the entire time is the shoebocra mask. So anytime, uh,

540
00:29:38,760 --> 00:29:42,560
Speaker 1: the teacher says, does your homework, backpack kid has to say, oh,

541
00:29:42,600 --> 00:29:45,960
Speaker 1: I forgot. In reality, he did do the homework, but

542
00:29:46,200 --> 00:29:48,280
Speaker 1: it couldn't fit in the backpack because it was so

543
00:29:48,320 --> 00:29:52,680
Speaker 1: important to him to have to have the mask, because

544
00:29:52,680 --> 00:29:54,480
Speaker 1: he actually did like it the whole time.

545
00:29:54,640 --> 00:29:57,600
Speaker 2: This also earlier issue because two masks. That way we

546
00:29:57,640 --> 00:29:59,880
Speaker 2: get to see both characters wear the mask was what

547
00:29:59,880 --> 00:30:01,240
Speaker 2: we and on her.

548
00:30:01,680 --> 00:30:04,720
Speaker 3: Dance on her original mask, on her original mask. I

549
00:30:04,760 --> 00:30:10,600
Speaker 3: think there should be sort of an Arthur Miller esque

550
00:30:10,680 --> 00:30:13,520
Speaker 3: set of steps to the backpack kid dance.

551
00:30:13,680 --> 00:30:15,360
Speaker 2: I was about to say, this is feeling.

552
00:30:17,000 --> 00:30:20,480
Speaker 3: Arthur Miller, esked, No, what's the name I'm looking for, Arthur,

553
00:30:20,680 --> 00:30:22,400
Speaker 3: what's the dance, gentlemen.

554
00:30:22,240 --> 00:30:24,720
Speaker 1: Arthur Alvin Ailey.

555
00:30:25,680 --> 00:30:31,680
Speaker 3: Maybe that's right, Well, it's Arthur Miller s just because

556
00:30:31,680 --> 00:30:32,560
Speaker 3: it's great writing.

557
00:30:33,000 --> 00:30:35,520
Speaker 1: But I am trying to remember.

558
00:30:35,200 --> 00:30:39,000
Speaker 3: The name of that the famous dance dances, Kevin, what's

559
00:30:39,040 --> 00:30:43,640
Speaker 3: the dance Academy? That was Murray, Arthur Murray, Arthur Murray

560
00:30:43,680 --> 00:30:46,880
Speaker 3: Dance Studio. Thank you, Arthur Murray. I believe that is what.

561
00:30:47,520 --> 00:30:49,840
Speaker 3: Maybe they're not associated, but they would have.

562
00:30:49,760 --> 00:30:52,080
Speaker 2: This one for Arthur DW dance challenge.

563
00:30:53,360 --> 00:30:56,000
Speaker 3: I think Arthur Murray is what I was thinking about.

564
00:30:56,240 --> 00:30:59,200
Speaker 3: And they and they've got the so inside the mask,

565
00:30:59,360 --> 00:31:01,520
Speaker 3: she was always looking at the steps to.

566
00:31:01,480 --> 00:31:02,160
Speaker 1: Do the dance.

567
00:31:02,680 --> 00:31:06,680
Speaker 3: So I think I want to kick the tires on

568
00:31:06,800 --> 00:31:11,600
Speaker 3: something that I may have dismissed too quickly, and it

569
00:31:11,640 --> 00:31:15,200
Speaker 3: could have an impact on the budget, uh huh, but

570
00:31:15,320 --> 00:31:18,360
Speaker 3: it might be worth it because the story should have

571
00:31:18,400 --> 00:31:19,680
Speaker 3: a timeless feel.

572
00:31:20,960 --> 00:31:22,000
Speaker 1: Is it a period piece?

573
00:31:22,080 --> 00:31:25,120
Speaker 2: Yeah, yeah, it's got to be. Is it a period

574
00:31:25,240 --> 00:31:28,560
Speaker 2: It's gotta be. And I'll tell you why because right

575
00:31:28,600 --> 00:31:31,840
Speaker 2: now what we're coming up with this is a story

576
00:31:32,000 --> 00:31:34,880
Speaker 2: of this moment, and the nature of movies is, sadly

577
00:31:35,080 --> 00:31:37,640
Speaker 2: we're not gonna get this thing out in theaters to day.

578
00:31:38,040 --> 00:31:42,920
Speaker 2: There is no chance we get this script honed tight

579
00:31:42,960 --> 00:31:45,440
Speaker 2: as a drum to the standards I know we demand

580
00:31:45,480 --> 00:31:45,880
Speaker 2: for ourselves.

581
00:31:46,040 --> 00:31:48,480
Speaker 3: I'll not clear on how to even describe the characters we.

582
00:31:48,440 --> 00:31:51,000
Speaker 2: Get this thing. Cast finance. I know you said I'm

583
00:31:51,040 --> 00:31:52,720
Speaker 2: always casting too quickly, but we're gonna have to do

584
00:31:52,760 --> 00:31:54,800
Speaker 2: that at some point. Get it finance, get it rolling

585
00:31:54,800 --> 00:31:57,800
Speaker 2: in front of cameras, Do a couple passes in the edit,

586
00:31:58,480 --> 00:32:00,959
Speaker 2: do the mix the color timingle on the horn. By

587
00:32:01,000 --> 00:32:02,600
Speaker 2: the time the movie comes out, it's going to be

588
00:32:02,600 --> 00:32:04,880
Speaker 2: old news. So the movie has to be set today

589
00:32:06,320 --> 00:32:08,880
Speaker 2: because that's where this is coming from in an honest way.

590
00:32:08,920 --> 00:32:11,320
Speaker 1: But we have to shoot it period.

591
00:32:11,640 --> 00:32:16,040
Speaker 2: We're gonna have to remember as much about today as

592
00:32:16,040 --> 00:32:20,880
Speaker 2: we possibly can because we're gonna have to rebuild it later.

593
00:32:20,960 --> 00:32:22,960
Speaker 3: There's a light over there, there's grapes on the table.

594
00:32:23,320 --> 00:32:24,960
Speaker 2: Kevin stressed one too many.

595
00:32:25,280 --> 00:32:28,240
Speaker 3: Academy's got a new hat. Well, one was like a

596
00:32:28,360 --> 00:32:29,200
Speaker 3: dance challenge.

597
00:32:29,320 --> 00:32:31,400
Speaker 2: Yeah, it just felt like he really veered off after

598
00:32:31,440 --> 00:32:32,640
Speaker 2: we had already gotten the answer.

599
00:32:32,960 --> 00:32:35,720
Speaker 3: By the way, just for other listeners, me saying Arthur Miller,

600
00:32:35,720 --> 00:32:41,040
Speaker 3: when I met Arthur Murray, that's what.

601
00:32:39,560 --> 00:32:41,200
Speaker 1: And also.

602
00:32:42,280 --> 00:32:46,280
Speaker 3: The Japanese it is both too though you were right

603
00:32:46,360 --> 00:32:47,040
Speaker 3: in both cases.

604
00:32:47,080 --> 00:32:49,000
Speaker 2: It is Arthur Miller because it's it's just.

605
00:32:49,040 --> 00:32:51,080
Speaker 1: Good good, it's just good.

606
00:32:51,760 --> 00:32:53,320
Speaker 3: It's good writing.

607
00:32:53,880 --> 00:32:56,760
Speaker 1: That ship and that's and that was period for today,

608
00:32:57,000 --> 00:33:01,160
Speaker 1: that was in a way period and that was on period.

609
00:33:02,760 --> 00:33:04,800
Speaker 2: You know what other part of Arthur Miller. I wouldn't

610
00:33:04,800 --> 00:33:06,520
Speaker 2: mind this copying in this project.

611
00:33:06,600 --> 00:33:10,040
Speaker 3: Oh my god, I think I know what you're gonna say,

612
00:33:10,160 --> 00:33:12,960
Speaker 3: but go ahead. Getting cooked by Joe Dimagi, right.

613
00:33:13,720 --> 00:33:15,479
Speaker 1: Can you imagine.

614
00:33:16,600 --> 00:33:18,680
Speaker 2: Such an honor gotta feel incredible?

615
00:33:19,480 --> 00:33:22,840
Speaker 1: That could get I mean, like, even if you're not

616
00:33:23,080 --> 00:33:27,280
Speaker 1: into that stuff, right, there's a guy out there who

617
00:33:28,560 --> 00:33:36,360
Speaker 1: getting just like like really cooked, real honor, Like okay, okay.

618
00:33:36,120 --> 00:33:39,800
Speaker 3: I'm I could get used to this by him. Yeah,

619
00:33:40,760 --> 00:33:42,400
Speaker 3: that's placing a value on me.

620
00:33:43,640 --> 00:33:44,160
Speaker 1: I get it.

621
00:33:44,240 --> 00:33:46,560
Speaker 2: Yeah, I'm going I'm gonna correct you little when you

622
00:33:46,640 --> 00:33:49,600
Speaker 2: said even if you're not someone who's into that, I

623
00:33:49,600 --> 00:33:51,360
Speaker 2: don't think such a person exists. I think there are

624
00:33:51,360 --> 00:33:54,440
Speaker 2: people who don't know that they're into it yet that's it.

625
00:33:54,640 --> 00:33:56,760
Speaker 1: I think in your mind, just the right guy.

626
00:33:57,480 --> 00:33:59,560
Speaker 3: This is like the beauty standard thing we talked about

627
00:33:59,560 --> 00:34:03,000
Speaker 3: before we're I actually thought, yeah, there's only one. What

628
00:34:03,120 --> 00:34:06,400
Speaker 3: I learned throughout the course of this podcast, which is

629
00:34:06,440 --> 00:34:07,320
Speaker 3: why these things.

630
00:34:07,160 --> 00:34:10,360
Speaker 2: Are so important their journeys, is that their exploration.

631
00:34:10,440 --> 00:34:13,040
Speaker 3: No, actually, the garbage pail kids used to be pretty hot.

632
00:34:13,120 --> 00:34:15,239
Speaker 3: They were have fallen a bit out of favor, but

633
00:34:15,280 --> 00:34:17,640
Speaker 3: it's all cyclical. It is all coming back.

634
00:34:18,239 --> 00:34:24,759
Speaker 2: Yeah, everything old is new again. Yeah, whereas the titties,

635
00:34:25,000 --> 00:34:30,640
Speaker 2: as you know, everything molded everything everything, everything mold is again.

636
00:34:33,560 --> 00:34:35,000
Speaker 3: Everything old is go again.

637
00:34:35,120 --> 00:34:38,759
Speaker 2: Yeah again yeah, yeah, either one maybe that's those are

638
00:34:38,800 --> 00:34:44,000
Speaker 2: the two cards. One is one's pu so you again,

639
00:34:45,239 --> 00:34:48,759
Speaker 2: you you everything mold is you again. It's the third card.

640
00:34:48,840 --> 00:34:49,800
Speaker 2: Maybe the hologram.

641
00:34:50,000 --> 00:34:52,040
Speaker 3: Yeah, maybe we can get that on a hologram.

642
00:34:52,080 --> 00:34:52,319
Speaker 1: One.

643
00:34:52,440 --> 00:34:53,880
Speaker 3: That's sort of a hidden track.

644
00:34:56,200 --> 00:35:00,920
Speaker 1: God, remember albums, Remember buying seats the hidden track?

645
00:35:01,600 --> 00:35:04,439
Speaker 3: Remember you leave it playing and then the song would

646
00:35:04,440 --> 00:35:06,799
Speaker 3: come on. These kids listening won't even know what I'm

647
00:35:06,840 --> 00:35:08,080
Speaker 3: talking about.

648
00:35:08,160 --> 00:35:11,600
Speaker 1: We should do that for this. We should do that

649
00:35:11,640 --> 00:35:13,799
Speaker 1: for this right now. We should just stop talking for

650
00:35:13,840 --> 00:35:16,000
Speaker 1: a little while, okay, and then.

651
00:35:16,280 --> 00:35:18,560
Speaker 3: Last six or seven minutes of the episode could be

652
00:35:18,600 --> 00:35:19,400
Speaker 3: a hidden track.

653
00:35:19,640 --> 00:35:23,320
Speaker 2: Yeah, and it's gold be really funny if.

654
00:35:23,239 --> 00:35:27,239
Speaker 1: You can be well, really funny. So we have to

655
00:35:27,760 --> 00:35:29,080
Speaker 1: wait to do it.

656
00:35:29,160 --> 00:35:31,040
Speaker 2: We don't do it.

657
00:35:31,160 --> 00:35:32,319
Speaker 1: No, I don't think we should do it.

658
00:35:32,400 --> 00:35:34,080
Speaker 3: I can't imagine doing it.

659
00:35:34,160 --> 00:35:36,560
Speaker 1: I think we just say that it's there at the end.

660
00:35:36,840 --> 00:35:39,280
Speaker 3: But that's the new version of the hidden track really

661
00:35:39,360 --> 00:35:42,320
Speaker 3: is having because you can see the time codes and such. Yeah,

662
00:35:42,360 --> 00:35:44,600
Speaker 3: that wasn't the case back when you would get the album.

663
00:35:44,840 --> 00:35:46,879
Speaker 3: This is you know, you get surprised by this.

664
00:35:46,880 --> 00:35:50,040
Speaker 2: It is interesting because the hidden track such a rich tradition,

665
00:35:50,120 --> 00:35:52,360
Speaker 2: but it was always hidden in the same place the

666
00:35:52,480 --> 00:35:54,880
Speaker 2: end of the album. Ah right, they weren't telling you

667
00:35:54,920 --> 00:35:56,440
Speaker 2: on the liner notes, but it was always hidden at

668
00:35:56,440 --> 00:35:56,879
Speaker 2: the same place.

669
00:35:56,960 --> 00:35:59,720
Speaker 3: This guy's rigging bean is on something.

670
00:35:59,760 --> 00:36:02,040
Speaker 1: Come on, now, lay it on me. He's got a

671
00:36:02,040 --> 00:36:02,680
Speaker 1: new idea.

672
00:36:03,000 --> 00:36:05,160
Speaker 2: What if we make a hidden track for this episode,

673
00:36:05,200 --> 00:36:08,040
Speaker 2: but we put it somewhere else in the middle or

674
00:36:08,120 --> 00:36:13,480
Speaker 2: somewhere on a different podcast, different different podcast, totally different podcast.

675
00:36:13,600 --> 00:36:15,399
Speaker 3: Oh, and that's the one we don't do.

676
00:36:15,600 --> 00:36:16,759
Speaker 2: That's the one we don't.

677
00:36:16,800 --> 00:36:20,400
Speaker 1: We combine your idea with Hayes's idea. So your idea

678
00:36:20,440 --> 00:36:22,960
Speaker 1: is to put it somewhere else, great, and then we

679
00:36:23,000 --> 00:36:23,600
Speaker 1: don't do it.

680
00:36:23,680 --> 00:36:28,920
Speaker 3: There idea of not doing it with those.

681
00:36:29,239 --> 00:36:31,600
Speaker 1: So much easier to not do it on another.

682
00:36:31,920 --> 00:36:37,960
Speaker 4: So subversive of these pistols, Yeah, like, yeah, it's so

683
00:36:38,360 --> 00:36:44,960
Speaker 4: sex pistols.

684
00:36:45,000 --> 00:36:49,200
Speaker 1: Well, if we're if this is period for today stuff

685
00:36:49,239 --> 00:36:51,879
Speaker 1: that's happening, right, now. And what we're like leading up

686
00:36:51,880 --> 00:36:57,000
Speaker 1: to for the crescendo is you have a screening that

687
00:36:57,040 --> 00:36:59,320
Speaker 1: you're doing tomorrow night later.

688
00:37:00,200 --> 00:37:02,399
Speaker 2: More days away from today.

689
00:37:02,280 --> 00:37:03,160
Speaker 1: Tomorrow night later.

690
00:37:03,320 --> 00:37:05,680
Speaker 2: Oh wow, Yeah, a couple tomorrow nights from now.

691
00:37:07,760 --> 00:37:11,480
Speaker 1: And it's a screening of as you said.

692
00:37:11,360 --> 00:37:13,120
Speaker 2: Hudsucker, the Hudsucker Proxy.

693
00:37:13,440 --> 00:37:16,680
Speaker 1: You said Hudsucker, like you're friends with the movie. He's

694
00:37:16,680 --> 00:37:20,120
Speaker 1: actually friends with the movie. I just got it Hudsucker

695
00:37:20,200 --> 00:37:25,880
Speaker 1: because my friend. Yeah, and so maybe they're going to

696
00:37:26,040 --> 00:37:31,040
Speaker 1: that and that's gonna be like the big show. Is

697
00:37:31,040 --> 00:37:33,920
Speaker 1: it gotta be somewhere where they are both wearing the

698
00:37:34,000 --> 00:37:38,839
Speaker 1: mask and they're both doing the dance. So is there

699
00:37:38,880 --> 00:37:41,840
Speaker 1: an opportunity for them to be doing that? What's your

700
00:37:42,160 --> 00:37:46,640
Speaker 1: you're hosting this? Yeah, what's what are you gonna do? Exactly?

701
00:37:47,280 --> 00:37:50,759
Speaker 2: What's the worst thing that could ever happen when you

702
00:37:50,840 --> 00:37:54,160
Speaker 2: go to see a movie in a theater? Film me

703
00:37:54,640 --> 00:38:02,560
Speaker 2: catch on fire? Oh ster light goes like this right

704
00:38:02,600 --> 00:38:06,200
Speaker 2: in the theaters, everyone's just sitting there wrapped house lights

705
00:38:06,239 --> 00:38:07,960
Speaker 2: come up, what where's the movie?

706
00:38:08,200 --> 00:38:08,319
Speaker 1: Right?

707
00:38:09,040 --> 00:38:09,160
Speaker 3: Uh?

708
00:38:09,600 --> 00:38:15,520
Speaker 2: We reveal that Schwbacca kid and backpack mom we're in

709
00:38:15,560 --> 00:38:16,439
Speaker 2: the projection both.

710
00:38:16,520 --> 00:38:19,760
Speaker 3: I'm so glad he went first, and what the worst

711
00:38:19,760 --> 00:38:21,440
Speaker 3: thing is that could happen when you go to a

712
00:38:21,440 --> 00:38:25,560
Speaker 3: movie theater? Just to say it, this is like the

713
00:38:25,560 --> 00:38:27,640
Speaker 3: garbage pail kid all over again. My answer was going

714
00:38:27,719 --> 00:38:30,120
Speaker 3: to be, you don't think it was.

715
00:38:30,120 --> 00:38:32,960
Speaker 1: As good as that or not as bad as that?

716
00:38:34,920 --> 00:38:37,520
Speaker 1: What you don't have to say exactly what it is.

717
00:38:37,640 --> 00:38:38,160
Speaker 2: It could just be.

718
00:38:38,239 --> 00:38:43,360
Speaker 1: But what was the issue with your suggestion? Not a

719
00:38:43,480 --> 00:38:46,640
Speaker 1: severe enough harm, something very specific?

720
00:38:46,920 --> 00:38:49,720
Speaker 3: I think back, it had nothing to do with going

721
00:38:49,760 --> 00:38:50,480
Speaker 3: to the movies.

722
00:38:52,200 --> 00:38:57,000
Speaker 1: Okay, you know what I mean. I'm not sure I took.

723
00:38:57,120 --> 00:38:59,200
Speaker 1: So the prompt was what's the worst thing that could

724
00:38:59,200 --> 00:39:02,440
Speaker 1: happen in a movie theater? And your suggestion is going

725
00:39:02,480 --> 00:39:06,920
Speaker 1: to be something that now you realize has nothing to

726
00:39:07,000 --> 00:39:09,080
Speaker 1: do with going to the movie, something that could happen

727
00:39:09,160 --> 00:39:12,920
Speaker 1: in a movie theater, but is not conditional on being

728
00:39:12,960 --> 00:39:14,080
Speaker 1: in a movie theater.

729
00:39:14,440 --> 00:39:16,600
Speaker 2: Or a thing that maybe couldn't happen in a movie

730
00:39:16,600 --> 00:39:18,360
Speaker 2: theater fundamentally.

731
00:39:17,719 --> 00:39:19,640
Speaker 1: That well, that's what I'm asking because in.

732
00:39:19,640 --> 00:39:21,360
Speaker 2: A certain way, you're like, what's the worst thing that

733
00:39:21,360 --> 00:39:23,799
Speaker 2: could ever happen in a movie theater? You're on a

734
00:39:23,800 --> 00:39:25,440
Speaker 2: plane and it crashes.

735
00:39:25,600 --> 00:39:27,960
Speaker 1: That would be an example of something that has nothing,

736
00:39:28,120 --> 00:39:30,480
Speaker 1: not only has nothing to do with being in a

737
00:39:30,520 --> 00:39:35,320
Speaker 1: movie theater, is actually resetting the location entirely.

738
00:39:35,120 --> 00:39:37,800
Speaker 2: What we have to It would be terrible, That would

739
00:39:37,800 --> 00:39:38,320
Speaker 2: be terrible.

740
00:39:38,400 --> 00:39:39,920
Speaker 3: I mean, I guess I'll just tell you what my

741
00:39:40,000 --> 00:39:42,120
Speaker 3: answer was, which is that your parents fall out of

742
00:39:42,200 --> 00:39:47,960
Speaker 3: love with one another, which certainly could happen.

743
00:39:47,960 --> 00:39:51,439
Speaker 1: It could absolutely happen in it. I mean, of course, yeah,

744
00:39:51,440 --> 00:39:52,719
Speaker 1: of course, yeah.

745
00:39:52,760 --> 00:39:54,759
Speaker 3: I guess they'd have to be there, at least one

746
00:39:54,760 --> 00:39:55,440
Speaker 3: of them.

747
00:39:55,840 --> 00:39:57,799
Speaker 1: He said. The worst thing that could happen to you

748
00:39:57,920 --> 00:39:59,960
Speaker 1: in a movie theater your parents fall out of love,

749
00:40:00,120 --> 00:40:02,640
Speaker 1: and they could be somewhere else, but you're in the

750
00:40:02,680 --> 00:40:04,600
Speaker 1: movie theater, when when it is you.

751
00:40:04,520 --> 00:40:06,160
Speaker 3: Don't think you feel that happening.

752
00:40:06,480 --> 00:40:08,120
Speaker 1: You don't think you feel that.

753
00:40:08,320 --> 00:40:10,279
Speaker 2: You feel it. My pitch, I guess there was more

754
00:40:10,320 --> 00:40:13,000
Speaker 2: of a universal you. It's that the whole everyone in

755
00:40:13,040 --> 00:40:15,080
Speaker 2: the theater, all these strangers, they're unified.

756
00:40:15,239 --> 00:40:17,720
Speaker 3: I already said your pitch was better.

757
00:40:17,920 --> 00:40:21,239
Speaker 1: I already said listen. I think I said I was

758
00:40:21,280 --> 00:40:21,799
Speaker 1: glad you.

759
00:40:21,760 --> 00:40:24,279
Speaker 3: Went first, because I actually my answer.

760
00:40:23,960 --> 00:40:25,680
Speaker 2: Was that I think the elements of what you're pitching

761
00:40:25,760 --> 00:40:27,120
Speaker 2: that could work in the story.

762
00:40:28,960 --> 00:40:31,120
Speaker 3: But now I'm thinking of this maybe the way one

763
00:40:31,120 --> 00:40:33,360
Speaker 3: of them reacts to the fire makes the other one.

764
00:40:33,840 --> 00:40:38,080
Speaker 1: Sort of get the ick. But I but mom gets

765
00:40:38,080 --> 00:40:39,920
Speaker 1: the no, no, no, I want to come back to

766
00:40:40,000 --> 00:40:42,880
Speaker 1: yours because like his pitch is like the movie burns up.

767
00:40:43,480 --> 00:40:46,160
Speaker 1: I understand this thing is like he loves movies and

768
00:40:46,280 --> 00:40:48,799
Speaker 1: like he sees that happen, and that's his friend, he's

769
00:40:48,840 --> 00:40:53,040
Speaker 1: friends with. The movie is Fred? Is Fred burned up

770
00:40:53,040 --> 00:40:58,360
Speaker 1: and died? Yeah, But like to everyone else, that's just

771
00:40:58,440 --> 00:41:00,520
Speaker 1: a movie and we just go home home and we

772
00:41:00,680 --> 00:41:04,000
Speaker 1: watch it like for free on TV whenever we wante

773
00:41:04,360 --> 00:41:06,920
Speaker 1: you know, So like just the fact that you think

774
00:41:06,920 --> 00:41:10,479
Speaker 1: that's the worst and there have been like horrible things

775
00:41:10,520 --> 00:41:13,359
Speaker 1: that have happened in movie theaters. Yeah, and so when

776
00:41:13,360 --> 00:41:15,359
Speaker 1: that happens where you like, well, at least the movie

777
00:41:15,440 --> 00:41:16,319
Speaker 1: didn't burn up.

778
00:41:17,200 --> 00:41:19,440
Speaker 2: I mean, look, it's a small consolation, but it is

779
00:41:19,480 --> 00:41:23,640
Speaker 2: a consolation. Geez, it doesn't solve everything.

780
00:41:23,920 --> 00:41:26,080
Speaker 1: I mean, I think his pitch is better.

781
00:41:26,280 --> 00:41:31,360
Speaker 2: His pitch might be better. That's terrible, that it's terrible. I

782
00:41:31,400 --> 00:41:32,440
Speaker 2: mean I was gonna.

783
00:41:32,320 --> 00:41:34,520
Speaker 1: Because there was luck there at one time, but.

784
00:41:34,600 --> 00:41:37,160
Speaker 2: My pitch was going to be the because grow and

785
00:41:37,600 --> 00:41:39,080
Speaker 2: there's no film that should.

786
00:41:38,920 --> 00:41:41,040
Speaker 1: But if the movie was almost over.

787
00:41:40,960 --> 00:41:43,400
Speaker 2: Backpack Mom have to get in front of the projector

788
00:41:43,480 --> 00:41:45,200
Speaker 2: light and they do like a shadow puppet of the

789
00:41:45,239 --> 00:41:47,479
Speaker 2: backpack dance, both wearing the masks. And the whole point

790
00:41:47,520 --> 00:41:48,440
Speaker 2: is that the audience is like.

791
00:41:48,440 --> 00:41:50,440
Speaker 1: Well, I thought they caused the they did.

792
00:41:50,360 --> 00:41:51,360
Speaker 2: And they're trying to make up for it.

793
00:41:53,640 --> 00:41:54,080
Speaker 1: Sparks.

794
00:41:54,360 --> 00:41:55,520
Speaker 2: They were lighting up dubes.

795
00:41:56,680 --> 00:41:59,759
Speaker 1: They were lighting up dubes together. Now which one of

796
00:41:59,840 --> 00:42:04,080
Speaker 1: them is doing that before? Maybe neither of them.

797
00:42:04,160 --> 00:42:05,600
Speaker 2: They're turned an opposite.

798
00:42:05,280 --> 00:42:07,799
Speaker 3: Direction in order to cope with the stress that having

799
00:42:07,920 --> 00:42:09,120
Speaker 3: switched into a new body.

800
00:42:09,160 --> 00:42:11,120
Speaker 2: They're both keeping the habits secret from each other, and

801
00:42:11,120 --> 00:42:12,520
Speaker 2: they're like, hold on one second, I just got to

802
00:42:12,560 --> 00:42:14,560
Speaker 2: check something out over here. And they turn in opposite

803
00:42:14,560 --> 00:42:17,759
Speaker 2: directions to smoke secret dubes. That creates a kind of like.

804
00:42:18,120 --> 00:42:20,680
Speaker 3: Speaking of the stress of them switching bodies. And I

805
00:42:20,719 --> 00:42:22,600
Speaker 3: think this connects to the dubes responsors.

806
00:42:22,600 --> 00:42:25,520
Speaker 1: They should be drinking drug soda. By the way, what

807
00:42:25,560 --> 00:42:26,640
Speaker 1: we promote drug soda.

808
00:42:26,719 --> 00:42:29,359
Speaker 3: Drug soda is one of their biggestsers.

809
00:42:29,719 --> 00:42:33,360
Speaker 2: So the carbonation is what fucks with the projector.

810
00:42:33,640 --> 00:42:38,200
Speaker 3: I don't know, so we so something that I speak,

811
00:42:38,520 --> 00:42:42,840
Speaker 3: We're gonna be probably shy about dealing with but we

812
00:42:42,960 --> 00:42:46,160
Speaker 3: may need to is in most of these movies, people

813
00:42:46,239 --> 00:42:54,400
Speaker 3: are not transferring across gender. Yeah, yeah, I think there is.

814
00:42:56,200 --> 00:43:02,120
Speaker 3: We get opportunity, a responsibility.

815
00:43:00,680 --> 00:43:05,040
Speaker 1: We buzz, we buzz to address.

816
00:43:05,760 --> 00:43:09,160
Speaker 3: The different parts that the people have the body.

817
00:43:09,320 --> 00:43:12,040
Speaker 1: Yeah, I mean, imagine.

818
00:43:11,400 --> 00:43:17,000
Speaker 3: How unifying a scene of each of the characters both

819
00:43:17,080 --> 00:43:20,120
Speaker 3: having to pee at the same time and not knowing

820
00:43:20,160 --> 00:43:21,360
Speaker 3: which bathroom to go.

821
00:43:21,600 --> 00:43:23,600
Speaker 2: I mean, I'm even just thinking. Look, we come up

822
00:43:23,600 --> 00:43:26,400
Speaker 2: with a lot of really interesting dramatic stakes for the story,

823
00:43:26,440 --> 00:43:27,839
Speaker 2: but we do want this to be a comedy, right

824
00:43:27,840 --> 00:43:30,279
Speaker 2: And obviously it's easier to build the bones of a

825
00:43:30,360 --> 00:43:33,040
Speaker 2: drama and then put jokes on top of it because

826
00:43:33,040 --> 00:43:33,600
Speaker 2: the story.

827
00:43:34,560 --> 00:43:37,680
Speaker 3: It's science fiction, and science fiction is an incredible opportunity

828
00:43:37,680 --> 00:43:41,920
Speaker 3: for allegory, absolutely, an incredible opportunity for allegory. And comedy,

829
00:43:42,040 --> 00:43:44,600
Speaker 3: of course is the sugar that allows us to sort

830
00:43:44,600 --> 00:43:46,000
Speaker 3: of tolerate the medicine, and.

831
00:43:46,000 --> 00:43:47,160
Speaker 2: It's going to come from a place of truth.

832
00:43:47,360 --> 00:43:47,799
Speaker 1: We built a.

833
00:43:47,880 --> 00:43:52,239
Speaker 3: Character comedy, you know, that has a you know, a

834
00:43:52,320 --> 00:43:57,040
Speaker 3: nice sugary allegory that that kind of thing I think

835
00:43:57,560 --> 00:44:01,400
Speaker 3: could really put an end to this whole you know,

836
00:44:01,800 --> 00:44:08,959
Speaker 3: a country being mad that I'm starting to see really bubble.

837
00:44:08,680 --> 00:44:13,480
Speaker 1: Up, really just highlighting just the whole absurdity of it,

838
00:44:13,640 --> 00:44:17,120
Speaker 1: or how serious it is, or or that it's very serious.

839
00:44:16,960 --> 00:44:17,920
Speaker 1: It's absurdity.

840
00:44:18,160 --> 00:44:20,800
Speaker 3: I almost said it with you, and I immediately wanted

841
00:44:20,800 --> 00:44:22,680
Speaker 3: to say, well, it's not absurd, but.

842
00:44:24,280 --> 00:44:28,400
Speaker 1: Unless it's really, unless it's like so absurd.

843
00:44:27,080 --> 00:44:34,040
Speaker 3: Or possibly how important and important the conversation is.

844
00:44:34,600 --> 00:44:36,600
Speaker 2: Here's a moment I'm picturing now. It's coming to me,

845
00:44:36,600 --> 00:44:38,879
Speaker 2: and I can see it in the trailer. It might

846
00:44:38,880 --> 00:44:40,759
Speaker 2: be the button at the end of the trailer, right,

847
00:44:40,800 --> 00:44:41,640
Speaker 2: And this is the moment where I.

848
00:44:41,640 --> 00:44:43,360
Speaker 3: Could truly see speaking of the button.

849
00:44:44,440 --> 00:44:48,360
Speaker 2: I could see this movie this moment quietly unifying everyone

850
00:44:48,400 --> 00:44:50,240
Speaker 2: where they go, what were we even mad about?

851
00:44:50,400 --> 00:44:50,600
Speaker 1: Right?

852
00:44:50,840 --> 00:44:52,200
Speaker 2: Which is kind of what the story is about. We

853
00:44:52,239 --> 00:44:53,120
Speaker 2: want them to be like, why.

854
00:44:53,040 --> 00:44:55,960
Speaker 1: Didn't we like each odd? Does that we actually have

855
00:44:56,000 --> 00:44:58,719
Speaker 1: a lot of thing and we both like that the.

856
00:44:58,719 --> 00:45:00,800
Speaker 3: Drug soda tastes so good. I it is just regular

857
00:45:00,840 --> 00:45:04,640
Speaker 3: soda without drugs. They're just saying the drugs are just

858
00:45:04,680 --> 00:45:08,400
Speaker 3: a bonus. Wow, I thought this was just regular soda.

859
00:45:08,880 --> 00:45:10,200
Speaker 2: I do it for taste alone.

860
00:45:10,480 --> 00:45:10,800
Speaker 1: Yeah.

861
00:45:11,120 --> 00:45:16,279
Speaker 2: Backpack kid wakes up and shoobach a mombody. Right, is this?

862
00:45:16,680 --> 00:45:17,440
Speaker 3: What's the bedroom?

863
00:45:17,520 --> 00:45:17,759
Speaker 1: My man?

864
00:45:17,880 --> 00:45:21,600
Speaker 2: This is weird, gets up, looks in the mirror. Ah, right,

865
00:45:21,640 --> 00:45:24,640
Speaker 2: what's this mask doing here? Starts feeling like this, and

866
00:45:24,680 --> 00:45:26,239
Speaker 2: then goes, wait a second.

867
00:45:27,440 --> 00:45:31,360
Speaker 1: Major league yaboos looks down, looks up, looks to camera.

868
00:45:31,680 --> 00:45:36,840
Speaker 1: Cosnyebrow goes, I could get this, pulls down the shade

869
00:45:36,920 --> 00:45:37,440
Speaker 1: of the.

870
00:45:37,320 --> 00:45:41,640
Speaker 3: Cameras, hold all my call I could get used to this.

871
00:45:42,000 --> 00:45:44,279
Speaker 2: I'm the log on, you know. And this is the

872
00:45:44,280 --> 00:45:47,000
Speaker 2: moment where people they're laughing and then they go, wait

873
00:45:47,040 --> 00:45:49,320
Speaker 2: a second, what's my political affiliation?

874
00:45:49,600 --> 00:45:49,759
Speaker 1: Yeah?

875
00:45:49,880 --> 00:45:54,719
Speaker 3: Forgots again because everyone can get on board for this,

876
00:45:55,200 --> 00:45:59,560
Speaker 3: A young gentleman getting to sort of explore the pleasures

877
00:45:59,600 --> 00:46:02,280
Speaker 3: of his own Yabo wabbo in that body.

878
00:46:03,040 --> 00:46:04,799
Speaker 1: And and I genuinely don't know.

879
00:46:04,840 --> 00:46:07,359
Speaker 3: And I think we should research this, like we would

880
00:46:07,360 --> 00:46:11,839
Speaker 3: want to talk to women or anything like this, But

881
00:46:11,880 --> 00:46:13,719
Speaker 3: if we can get some women to talk to us,

882
00:46:13,719 --> 00:46:14,640
Speaker 3: that would be ideal.

883
00:46:14,719 --> 00:46:19,480
Speaker 1: I think if you have the mentality.

884
00:46:19,120 --> 00:46:22,880
Speaker 3: That you enjoy Yabo wabbos, because you are a teenage

885
00:46:23,560 --> 00:46:27,600
Speaker 3: boy in this case, is heterosexual. And we can also

886
00:46:27,719 --> 00:46:29,960
Speaker 3: talk to backpack kid about how comfortable he is.

887
00:46:29,920 --> 00:46:33,480
Speaker 1: With if you are that and you are sort.

888
00:46:33,320 --> 00:46:34,440
Speaker 3: Of exploring that.

889
00:46:35,960 --> 00:46:37,000
Speaker 1: You're not able to.

890
00:46:37,000 --> 00:46:39,880
Speaker 3: Log on, as we said, right then, so then what

891
00:46:40,600 --> 00:46:42,520
Speaker 3: seriousness of it with?

892
00:46:43,160 --> 00:46:46,279
Speaker 1: He has nothing? He has nothing to jack off the

893
00:46:46,480 --> 00:46:47,759
Speaker 1: right he has major league.

894
00:46:48,920 --> 00:46:50,440
Speaker 3: This is where I need to talk to a woman

895
00:46:50,520 --> 00:46:51,920
Speaker 3: because I don't know what else.

896
00:46:51,760 --> 00:46:56,200
Speaker 1: You would do. There There was time now, yes, right.

897
00:46:59,560 --> 00:47:01,359
Speaker 2: The Twilight its own, it's the Twilight Zone.

898
00:47:01,360 --> 00:47:01,520
Speaker 1: Time.

899
00:47:02,200 --> 00:47:05,600
Speaker 3: There was finally time, There was finally tied.

900
00:47:05,400 --> 00:47:07,959
Speaker 2: The end of that episode where he's just left one

901
00:47:08,000 --> 00:47:12,920
Speaker 2: man standing in a pile of set of phill He's

902
00:47:12,960 --> 00:47:16,160
Speaker 2: got all the moisturizer he could ever need, finally time

903
00:47:16,280 --> 00:47:18,439
Speaker 2: off at last, and he drops his pants and he goes,

904
00:47:18,480 --> 00:47:20,520
Speaker 2: what is it? What am I supposed to do with this?

905
00:47:20,600 --> 00:47:22,960
Speaker 1: Yeah? He has no idea? What the air? I don't

906
00:47:23,000 --> 00:47:23,319
Speaker 1: know what.

907
00:47:26,280 --> 00:47:26,640
Speaker 2: I thought.

908
00:47:26,640 --> 00:47:29,040
Speaker 1: I was looking at a different part, looking at his legs.

909
00:47:29,080 --> 00:47:31,160
Speaker 1: What's going on? It's down here?

910
00:47:31,480 --> 00:47:31,880
Speaker 3: Scratching?

911
00:47:32,320 --> 00:47:33,080
Speaker 1: Is it behind me?

912
00:47:33,560 --> 00:47:37,640
Speaker 3: He keeps like just turning himself around, reaching behind his back, spinning,

913
00:47:37,920 --> 00:47:40,240
Speaker 3: and there's so much suit it's like a dog chasing

914
00:47:40,280 --> 00:47:40,760
Speaker 3: his tail.

915
00:47:40,960 --> 00:47:44,279
Speaker 2: Yeah, there's nothing to do with it. But