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Speaker 1: From UFOs to psychic powers and government conspiracies. History is

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Speaker 1: riddled with unexplained events. You can turn back now or

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Speaker 1: learn this stuff they don't want you to know. A

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Speaker 1: production of iHeartRadio.

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Speaker 2: Hello, welcome back to the show. My name is Matt, my.

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Speaker 3: Name is Noel.

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Speaker 4: They called me Ben. We're joined with our guest super producer,

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Speaker 4: Casey on the case Pegram. Most importantly, you are here,

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Speaker 4: and that makes this the stuff they don't want you

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Speaker 4: to know. Quick disclaimer, full disclosure. This is an intro

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Speaker 4: episode and we weren't aware of the timing. We did

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Speaker 4: not know we're writing this we'd be recording it mere

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Speaker 4: hours after the SAG after union announced their strike against

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Speaker 4: the Alliance of Motion Picture and Television Producers. I don't

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Speaker 4: know about you, guys, I fully support SAG after this concept.

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Speaker 4: The concept that really broke the back of the negotiations

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Speaker 4: is something regarding AI generated replacement of writers and actors,

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Speaker 4: which we predicted years and years ago. It's a story

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Speaker 4: for another evening, But the timing is really interesting.

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Speaker 2: Yeah, And the other big problem with that whole thing

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Speaker 2: is that the streaming business has really changed everything, and

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Speaker 2: at least according to the head of sag Aftra. The

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Speaker 2: contracts have all remained the same, even though the business

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Speaker 2: model has completely changed.

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Speaker 3: One hundred percent. I mean, I guess the studios could

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Speaker 3: argue that their end has changed as well, or at

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Speaker 3: least in terms of their ability to make money or

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Speaker 3: the dilution of everything because of so many opportunities. That's

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Speaker 3: a lot of confusion surrounding it. But the fact of

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Speaker 3: the matter is that the contracts should change to go

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Speaker 3: along with, you know, all of these sea changes and

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Speaker 3: technology and distribution of this type of media.

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Speaker 4: Sort of like wages keeping up with inflation, another thing

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Speaker 4: the powerful hate to talk about. But tonight, in preparation

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Speaker 4: for that upcoming examination, we are looking back on the

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Speaker 4: early days of Hollywood. Fellow conspiracy realist, if you if

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Speaker 4: you are not aware, this history is very much cyclical.

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Speaker 4: There was an era back in the day, way before

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Speaker 4: the rise of the Mouse, when studios often functioned as

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Speaker 4: almost arms of government, all their own sovereign micro nations

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Speaker 4: in their with their with their own fiefdoms, and surprise, surprise,

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Speaker 4: the old studio system was full of conspiracies. This is

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Speaker 4: a bit of a grab bag, and critics say not

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Speaker 4: much has changed in the modern day. Here are the facts.

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Speaker 4: What do we mean when we say studio system.

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Speaker 3: Yeah, I mean essentially when it's it's interesting. The term

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Speaker 3: studio often, I think in people's minds, refers to a

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Speaker 3: physical space where art is created, whether it be like

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Speaker 3: an art studio, a recording studio, or a film studio,

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Speaker 3: which is a much larger operation than either of those

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Speaker 3: two previous examples. You have to have a series of

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Speaker 3: massive spaces that can house sets and you know, a

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Speaker 3: mass props and equipment and personnel. You know, of course offices,

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Speaker 3: all of these things. So these are the studios. They're

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Speaker 3: housed on these studio lots, and oftentimes, especially in the

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Speaker 3: golden age of cinema, on location shooting was not a

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Speaker 3: thing because of the absolute gargantuan size of the equipment

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Speaker 3: and the needs for infrastructure to be able to do that.

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Speaker 3: So they would film all of these things on these

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Speaker 3: studio backlots and these giant sound stages which are essentially warehouses.

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Speaker 3: But the studio system refers to a essentially I guess

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Speaker 3: monopolistic is probably not too much of a overstatement. But

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Speaker 3: a group of studios, quote unquote, these companies, these organizations

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Speaker 3: that were the only games in town and by the

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Speaker 3: town referring to Hollywood.

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Speaker 2: Of course, Well in one of the big things, at

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Speaker 2: least early on in the studio system that made them

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Speaker 2: feel monopolistic was because they were vertically integrated, right, Like,

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Speaker 2: you're not only shooting like you're talking about in the studios,

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Speaker 2: you're shooting the films. You've got the films written for you,

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Speaker 2: maybe by writers who work at the stutaff yep you

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Speaker 2: then you make, don't you distribute the film as well?

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Speaker 2: And then also even maybe have like a cinema that

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Speaker 2: is owned also by the same studio system that then

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Speaker 2: shows the thing.

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Speaker 4: Yeah, you're absolutely right, Matt. I want to go back

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Speaker 4: a bit and put this in the context of times.

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Speaker 4: So the golden age of Hollywood mentioned just a few

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Speaker 4: seconds ago, conventionally starts with Griffith's The Birth of a Nation,

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Speaker 4: which lionizes and glorifies the KKK, but starts this golden age.

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Speaker 4: The monopolistic stuff comes a little bit later. The studio

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Speaker 4: system the heyday is sort of right. It's like after

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Speaker 4: the fall of silent film and after the rise of talkies,

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Speaker 4: And you're absolutely right with the vertical integration. There are

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Speaker 4: these five studios that are still familiar, most of them today,

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Speaker 4: that run the game. And there's something else called the

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Speaker 4: Little three Studios, which is sort of the Luciferian rebels

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Speaker 4: against the Big five. They owned the Big five MGM

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Speaker 4: or Metro, Goldwyn Mayor Warner Brothers, Paramount Fox RKO is

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Speaker 4: the dead one. They owned the theaters in which they

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Speaker 4: aired their films. This was a catbird seat. Independent outfits

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Speaker 4: had no chance of breaking through. If you wanted to

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Speaker 4: be an actor, you weren't paid by the film. You

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Speaker 4: had a contract with a specific studio. You couldn't jump around,

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Speaker 4: jump around, to quote Chriss cross in if you were

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Speaker 4: an independent creature or entity making entertainment, you were absolutely screwed.

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Speaker 4: Even if your film was objectively really good, the game

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Speaker 4: was rigged. It's a common conspiracy in so many industries,

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Speaker 4: both then and now. Maybe we talk like, I don't

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Speaker 4: know the Little three year kind of the exception. They

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Speaker 4: were in many ways they were well I almost beeped

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Speaker 4: out this phrase. They were creator created, you know, like

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Speaker 4: your Chaplains and your Fairbanks would say, these studios are

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Speaker 4: screwing me over. I want something that gives me more creativity,

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Speaker 4: gives me more control over content, and.

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Speaker 3: We certainly see that today with like you know, independent

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Speaker 3: houses like a Scilloscope, which was founded by I believe

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Speaker 3: one of the Beastie boys. The name is Escaping me

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Speaker 3: which one. But this reminds me too, this integration of

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Speaker 3: what we see today with things like Live Nation, where

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Speaker 3: they not only represent the artists, they also own all

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Speaker 3: of the venues and the ticketing operations essentially. So I

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Speaker 3: mean it's it's you know, you're it's set up to

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Speaker 3: fail for anyone that's outside of that system.

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Speaker 4: One hundred percent, you know, And that's that. It's another

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Speaker 4: example of why it's so tough to start a car company. Right,

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Speaker 4: very different industry, but still has some of the same

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Speaker 4: broken rules. This business. You think Hollywood is dirty today,

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Speaker 4: I mean, first off, you're right, but this business was

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Speaker 4: way way dirtier by modern standards, Matt. Like you said,

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Speaker 4: the integration means these guys don't just since they own

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Speaker 4: the theaters. You might go to a town as one

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Speaker 4: theater and that as an MGM theater, so you can

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Speaker 4: see all the movies you want, so long as they're

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Speaker 4: made by MGM. You could have any color model ty

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Speaker 4: you want, so long as it's black, that kind of thing.

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Speaker 4: There were independent theaters even at this time, there were

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Speaker 4: local like mom and pop theaters, and if they wanted

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Speaker 4: to show a paramount or an MGM film, it was

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Speaker 4: like they had to call a cable company. Remember back

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Speaker 4: before everybody cut the cable cord. If you wanted the

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Speaker 4: one good channel, you had to sign up for a

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Speaker 4: package with like twenty five to fifty other channels.

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Speaker 3: That you didn't even want.

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Speaker 4: Yeah, that you would never watch, and now not the

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Speaker 4: ESPN six. It's just like competitive ocelot pickleball for sure.

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Speaker 3: And not to get to into the weeds, we talked

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Speaker 3: about at the top of the show, the new model

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Speaker 3: of streaming that was essentially designed if we're the benefit

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Speaker 3: of the consumer, you can choose. You have all this choice,

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Speaker 3: but it's so diluted because the one show that you

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Speaker 3: want is on this one streaming service with a whole

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Speaker 3: bunch of other stuff that you don't want. So when

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Speaker 3: you have this a la carte system, you end up

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Speaker 3: amassing all of these various subscriptions to the point where

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Speaker 3: you're probably paying more now than you ever were for

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Speaker 3: those obnoxious cable bundles back in the day.

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Speaker 2: Oh for certain we are like, it's just the reality

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Speaker 2: of it, and it's interesting how we saw for a

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Speaker 2: while there. Sorry we're jumping to modern day just for

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Speaker 2: a second. But for a while there, we saw places

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Speaker 2: like then it was iTunes and then YouTube and other

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Speaker 2: places offering like you can download the whole season of

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Speaker 2: whatever this is and it only costs twenty four ninety

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Speaker 2: nine or something, and most of us thought, that's egregious.

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Speaker 2: I can't pay that much for one show show that

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Speaker 2: I like.

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Speaker 4: However, a dollar ninety nine.

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Speaker 5: Episode, Yeah right, I mean it's just we are six

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Speaker 5: ninety nine a month. Yes, over time, you're paying way

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Speaker 5: more and you have zero ownership, and that show you

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Speaker 5: like might eventually vanish from the service we subscribed to.

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Speaker 3: It happens all they're bouncing around.

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Speaker 4: Nineteen eighty four was pulled off, was the one of

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Speaker 4: the first books to be pulled off the.

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Speaker 2: Kindle exactly, or shout out to our former boss David Zaslov,

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Speaker 2: who just pulled a bunch of stuff off of what

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Speaker 2: is now known as max oh DZ Because HBO doesn't

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Speaker 2: exist anymore, I guess you know what it.

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Speaker 3: Does a subsidiary and it's so confusing.

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Speaker 4: Let's be let's be honest about this too, like in

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Speaker 4: full transparency. Yes, when this when our little archipelago of

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Speaker 4: podcasting was owned by a previous corporate giant, Discovery. Yes,

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Speaker 4: because Discovers the credit card company what it was owned

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Speaker 4: by Discovery. The big boss, the dogla of the place

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Speaker 4: was a guy named David Zaslov who not only who

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Speaker 4: now I was in charge of Max Warner's brothers, and

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Speaker 4: not only as as encounter heat for pulling a lot

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Speaker 4: of shows, but also pulled a GQ article about how

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Speaker 4: he pulls things from the public. Yep, which I have

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Speaker 4: not you know now we have we have spoken really

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Speaker 4: with this guy.

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Speaker 2: Well, he spoke at us. He's a couple of times,

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Speaker 2: a couple of times. And then we went to Silver Spring,

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Speaker 2: I think once or twice.

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Speaker 4: Alright, I did a kids show. We did a kids

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Speaker 4: show where we the star of the show was a

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Speaker 4: capouchin monkey. I missed that much.

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Speaker 3: I wasn't part of that. That sounds like fun but

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Speaker 3: also hilarious anecdote in retrospect, it was.

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Speaker 4: It was a time, for sure. But we're we're saying

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Speaker 4: this because you know, you see again that that's the

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Speaker 4: message of this episode tonight. We see these cycles at

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Speaker 4: play when when you are a local theater back in

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Speaker 4: the golden age of Hollywood and like a small town

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Speaker 4: in you know, let's say Whoop Do Do, Oklahoma, which

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Speaker 4: I don't know if that's a real town. If it

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Speaker 4: is you, if it is, congratulations, your town name is awesome.

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Speaker 2: Let's say you're a Paramount theater. Okay, wait, are you

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Speaker 2: a Paramount theater?

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Speaker 4: You're a Mama pop there. You're independent and there's a

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Speaker 4: good there's a film that's come out that is amazing.

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Speaker 4: It is the Ghostbusters or the vibes of its time,

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Speaker 4: and you got to get it in your town. You're

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Speaker 4: the only theater in WHOOPI.

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Speaker 3: Do a tent pole. If you're missing out on this,

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Speaker 3: you're missing out on Monday.

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Speaker 4: A summer blockbuster. Yeah, and so uh so you go

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Speaker 4: to let's say Paramount made the film. You go to

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Speaker 4: Paramount and you say, hey, we want to make an

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Speaker 4: agreement with you big studio to to show your film

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Speaker 4: in our little town in Oklahoma. And then what they

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Speaker 4: would do was exactly like what cable companies would do

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Speaker 4: decades and decades later. They would say, we'll give you

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Speaker 4: a deal. You can have this VERI what's like a

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Speaker 4: version of.

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Speaker 2: Vibes casey, do you have a really good nineteen yeah

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Speaker 2: thirties film the nineteen thirties.

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Speaker 4: Perfect Citizen Kane.

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Speaker 2: That's KAO.

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Speaker 4: So it's OK, we're changing the story.

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Speaker 2: Yeah, yeah, so is gonna play hardball?

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Speaker 1: Yeah.

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Speaker 4: RKO comes in and they say, we going to make

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Speaker 4: you a deal. You can see Citizen Kane as one

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Speaker 4: of the five movies you must buy from us at

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Speaker 4: the following non negotiable price. And you say, well, I

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Speaker 4: just want Citizen Kane and they say, we all just

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Speaker 4: want things.

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Speaker 2: Well, let's say your movie theater, you're not just going

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Speaker 2: to show one film, right, right, So it kind of

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Speaker 2: makes sense for the theater. Right, even if you're an

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Speaker 2: independent theater, you need more than one film, and you

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Speaker 2: probably can't go to r KO and Paramount and all

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Speaker 2: the other places and say I want just your one film.

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Speaker 4: They might have exclusivity exactly. Well.

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Speaker 3: And also, you typically with having like a small theater

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Speaker 3: like that, there's sort of the idea of curation where

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Speaker 3: like you're sure you want to have the big Temple one,

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Speaker 3: but then you might also want to have some other ones,

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Speaker 3: smaller ones that maybe you know, aren't as popular that

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Speaker 3: you are able to choose and say I stand behind

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Speaker 3: this one.

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Speaker 2: Well that's what we have now, right, And I'm thinking.

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Speaker 3: I went, I went to the Landmark Theater, the Midtown

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Speaker 3: Arts Cinema, and when saw a very small independent film

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Speaker 3: called The Lesson, which I quite liked. And they're also

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Speaker 3: screening Mission, the new Mission Impossible movie.

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Speaker 2: Which they can do now it's easier to do now exactly.

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Speaker 4: And the thing is the these exclusivity contracts could also

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Speaker 4: go further into some pretty aggressive, pretty sketchy business tactics.

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Speaker 4: Let's say you're at Whoopie Do, Oklahoma, you're in contact

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Speaker 4: with r KO, You're trying to get Citizen Kane, and

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Speaker 4: you can't afford the deal because you know it's going

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Speaker 4: to give you four other stinker movies. This gives r

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Speaker 4: KO a tremendous two tremendously evil business advantages. First, it

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Speaker 4: cooks the distribution numbers for their stinker films. Those are

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Speaker 4: also going to be something that they can look back

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Speaker 4: on accounting wise and say great job to each other. Second,

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Speaker 4: this this can be damaging to that indie theater, So

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Speaker 4: you can say you as r KO can say and

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Speaker 4: I know things are tough out there, what if you

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Speaker 4: just sold the theater to us? And that kind of

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Speaker 4: that model is quite effective because it's weaponization of economy

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Speaker 4: of scale. This isn't even the crazy part yet. And

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Speaker 4: these independent theaters kind of like suppliers for Walmart. Now

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Speaker 4: they can't say no to the deal. It's the only

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Speaker 4: game in town. There's not another way to get Citizen Kane,

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Speaker 4: and so these movies will be distributed. This eventually was

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Speaker 4: this was unsustainable. So they made the equivalent of billions

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Speaker 4: of dollars in twenty twenty three money. And it was

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Speaker 4: a Houseyon era for villains. It was this salad day

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Speaker 4: to be an evil mogul, you know.

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Speaker 2: But it's also when I don't know, it's some amazing stuff. Great,

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Speaker 2: it's so weird to think about it that way, because

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Speaker 2: it really if you don't look at the money and

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Speaker 2: the power behind it, you have the dreams, like literally

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Speaker 2: the dreams of which actors of the public people that

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Speaker 2: got to see the movies. It changed the way we

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Speaker 2: viewed the world.

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Speaker 3: Well, I mean, Casey mentioned Citizen Kane, which I don't

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Speaker 3: believe was as massive of a hit at the time

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Speaker 3: as we might perceive it to have been because it's

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Speaker 3: so influential. I think it did ultimately end up becoming

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Speaker 3: a success. But when you go back and watch that

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Speaker 3: movie now, it does not feel dated. I mean, it

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Speaker 3: certainly has, you know, hallmarks of the time, but some

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Speaker 3: of the camera techniques and the things that Orson Wells

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Speaker 3: was coming up with to achieve some of the look

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Speaker 3: of that picture unbelievable stuff that it's still used today.

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Speaker 3: So this was like a testing ground for innovative cinematographers

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Speaker 3: and set designers and all of the stuff that we

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Speaker 3: now take for granted, I think was sort of being

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Speaker 3: cooked up in this studio system.

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Speaker 4: Yeah, let's put it this way. What if what if

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Speaker 4: history went different and paint the idea of paint of

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Speaker 4: colored stuff you could put on things and it would

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Speaker 4: dry on walls. What if that was invented in an

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Speaker 4: age where people could communicate via telegraph, telegram and telephone. Like,

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Speaker 4: what if somewhere someone just figured out paint in nineteen ten.

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Speaker 4: That's kind of what happens. And this is untrammeled ground.

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Speaker 4: This is a new thing. This is like creatively, this

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Speaker 4: is like making a colony on the moon and learning

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Speaker 4: how that works. So there's this it's a flood of innovations.

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Speaker 4: You know, it's a watershed moment. And Matt, you make

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Speaker 4: this beautiful point like, of course, of course there is

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Speaker 4: enormous power to this. There are innovations that come along

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Speaker 4: once and not even one, but like three four generations.

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Speaker 4: You know, this is you know what film is like.

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Speaker 4: It's like when the Right Brothers figured out powered flight.

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Speaker 4: If but everyone could suddenly buy a powered airplane and

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Speaker 4: make their own improvements audit. That's I'm just trying to

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Speaker 4: think of adequate comparison.

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Speaker 3: At the very maybe not own one, but at the

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Speaker 3: very least enjoy the benefits of it.

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Speaker 4: Yeah, that's a good note because.

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Speaker 3: It wasn't until more modern times that even the ability

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Speaker 3: for an independent individual to make something that resembled a

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Speaker 3: serious motion picture was even possible. You know, back then

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Speaker 3: it was That's the point, right, No one would have

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Speaker 3: had the ability or the infrastructure to make any of

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Speaker 3: these innovations outside of that studio system because of all

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Speaker 3: the investment and all of the insane power and money

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Speaker 3: that was flowing through those systems. Now, you kid with

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Speaker 3: a camera and iMovie, you know, and a little bit

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Speaker 3: of get up and go can make like a music

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Speaker 3: video that rivals Michelle Gondre. You know, I mean, it's

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Speaker 3: pretty incredible. But back then that was not within the

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Speaker 3: grasp of anybody outside of those studio systems.

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Speaker 4: So let's do that. Let's jump around in time leading

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Speaker 4: into this next part. What you need to know, folks,

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Speaker 4: is everything you're about to hear happens before the May fourth,

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Speaker 4: nineteen forty eight court case United States v. Paramount Pictures,

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Speaker 4: which spelled doom for the industry. Federal anti trust laws

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Speaker 4: came down. Studios today no longer fully owned theaters showing movies.

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Speaker 4: TV is on the rise, ticket sales are dropping. This

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Speaker 4: changes the way the Big five make films for a

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Speaker 4: time and seeing these predatory monopolies would be broken until

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Speaker 4: you know, you zoom out, you see how cyclical these

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Speaker 4: things have become. Are there really any big Hollywood with

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Speaker 4: studio conspiracies? Yes. As a matter of fact, Hollywood was

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Speaker 4: committing crimes about as prolifically as it made films, which

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Speaker 4: is to say constantly, we're going to pause for a

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Speaker 4: word from our sponsor, and then we're gonna have to

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Speaker 4: dive in. Heads up, this is going to contain at

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Speaker 4: times graphic information. Here's where it gets crazy. This is

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Speaker 4: all absolutely true. You've heard of the sketchy accounting, Hollywood accounting.

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Speaker 3: It is true.

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Speaker 4: It continues today. There are also multiple cover ups of

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Speaker 4: everything from white collar crime to sexual assault and yes, homicide.

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Speaker 3: Matt.

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Speaker 4: You also mentioned while we're we're taking our break, you know,

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Speaker 4: are the breaks for you guys are just like a

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Speaker 4: couple minutes or so. But for us, you know, we

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Speaker 4: make a day of it. We like god lunch, we

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Speaker 4: have a picnic lunch, We do like a rom com

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Speaker 4: and we talk a lot and that and that one

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Speaker 4: thing you mentioned was also the role that studios played

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Speaker 4: and weaponized propaganda, which maybe is not illegal in the US,

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Speaker 4: so wouldn't count quite the same as a crime. But

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Speaker 4: it's very much I think a moral crime.

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Speaker 2: It's not yeah, in my mind, is not a crime.

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Speaker 2: It's a it's a powerful weapon that was realized, right sure,

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Speaker 2: because before that you could reach audiences with radio and

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Speaker 2: you could tell people, oh, there's this evil force out

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Speaker 2: there and we need to you know, combat that force.

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Speaker 4: But the Jarres have advanced the bond normity.

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Speaker 2: Well, now you can show people while you know, especially

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Speaker 2: with talkies. Now you can show them and tell them

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Speaker 2: at the same time while they're in a captive like

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Speaker 2: in a captive state in that movie theater.

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Speaker 3: You kind of wonder too, if maybe some of that

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Speaker 3: led to some of the sweetheart deals between the government

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Speaker 3: and the studio systems that allowed some of this corruption

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Speaker 3: to flourish for so long. I don't have exact examples

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Speaker 3: of this, but I do have to wonder if before

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Speaker 3: that court case that you mentioned, Ben, you know, the

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Speaker 3: US government was maybe willing to not consider this monopoly

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Speaker 3: in exchange for some of that powerful communication assistance.

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Speaker 4: For a time, federal authorities would have absolutely intervened on

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Speaker 4: the behalf of not actors, but studio heads. So if

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Speaker 4: you had, you know, if you had a studio ahead

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Speaker 4: who needed a favor, that's how that's how one hand

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Speaker 4: washes the other. And we've got some great past episodes

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Speaker 4: on propaganda. Highly recommend it. And if you are, you

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Speaker 4: know what we should do. I want to make a

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Speaker 4: good website to share things out because I would love

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Speaker 4: to share a playlist of wartime propaganda films even and

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Speaker 4: they're not the ones, not the ones you expect, not

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Speaker 4: just like Donald Duck and Mickey Mouse talking about World

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Speaker 4: War Two in vaguely racist ways or extremely racist ways,

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Speaker 4: stuff like warnings about atomic energy from paint companies.

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Speaker 3: One hundred percent. You know, I think I've mentioned this

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Speaker 3: before too, But if anyone is ever in San Francisco

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Speaker 3: and they want to really get a good look at

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Speaker 3: a curated collection of some of these Disney propaganda films

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Speaker 3: that were incredibly ubiquitous at the time, but that the

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Speaker 3: actual Walt Disney company would rather you maybe not think

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Speaker 3: too much about, go visit the Walt Disney Family Museum,

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Speaker 3: which is a part of the Walt Disney Family Trust,

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Speaker 3: unconnected to the Walt Disney Corporation. So if you go

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Speaker 3: to this, it's in the Presidio in San Francisco. There's

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Speaker 3: a whole section on some of the wartime propaganda that

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Speaker 3: Disney participated in, and it's fantastic.

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Speaker 4: So back to the crimes of the Golden Age of

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Speaker 4: Hollywood and these monopolistic studio systems. First, so we spoke

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Speaker 4: about cycles. If we're being fair, we have to understand

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Speaker 4: the cycle starts before what we call the Big Five,

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Speaker 4: in the early days of Hollywood. The like the reason

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Speaker 4: Hollywood is a thing is because These folks were running

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Speaker 4: from an earlier oppressor, just like you know, before Zeus

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Speaker 4: in the gang start oppressing the Grecian society, the Mortals,

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Speaker 4: they're beefed up with the Titans. There's another oppressor and

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Speaker 4: the abuse carries down. That's why that religion has so

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Speaker 4: many powerful metaphors, that belief system. These early filmmakers were

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Speaker 4: like open minded Beheman jazz cigarette types, and they were

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Speaker 4: on the run to the West coast because they loved cameras.

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Speaker 4: But having a camera was like having a ring of power.

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Speaker 4: And where Thomas Edison is sour on because he would

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Speaker 4: get he would get word that someone's filming, so they're

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Speaker 4: not paying him a huge ass licensing fee to help

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Speaker 4: him further oppressed Nicola Tesla, so he would send out

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Speaker 4: goons to break their cameras, to sometimes beat the snot

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Speaker 4: out of them and get his money. So these folks

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Speaker 4: let out for the territories. They headed west and for

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Speaker 4: a while they were pretty progressive for their era. They're

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Speaker 4: pretty experimental. They would try a lot of things. In

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Speaker 4: the nineteen tens, this really took off and studios just

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Speaker 4: couldn't print film fast enough. It was historically speaking, until

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Speaker 4: the present day. It was probably one of the best

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Speaker 4: moments in history to get into the entertainment industry.

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Speaker 3: I mean, the three of us, four of us were

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Speaker 3: very lucky to get in on the ground floor relatively

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Speaker 3: speaking of a new ish industry in the form of podcasting,

435
00:24:46,640 --> 00:24:49,359
Speaker 3: as one of the only new ish industries that I

436
00:24:49,359 --> 00:24:52,040
Speaker 3: can maybe think of in recent history. This time that

437
00:24:52,080 --> 00:24:54,560
Speaker 3: we're talking about here was the time to get in

438
00:24:54,680 --> 00:24:57,919
Speaker 3: on the ground floor of filmmaking. And that's why some

439
00:24:57,960 --> 00:25:00,119
Speaker 3: of these studios that we're mentioning are still the the

440
00:25:00,119 --> 00:25:02,879
Speaker 3: biggest players in the game today because they were the

441
00:25:02,920 --> 00:25:03,679
Speaker 3: first to market.

442
00:25:04,840 --> 00:25:11,800
Speaker 4: And like Thomas Edison before them, this innovation, the success

443
00:25:11,920 --> 00:25:18,000
Speaker 4: this fame had an arguably corrupting nature. These studios that

444
00:25:18,080 --> 00:25:23,960
Speaker 4: start off small became very big. They started aggressively consuming

445
00:25:24,119 --> 00:25:27,720
Speaker 4: their competitors, and it became more and more a business

446
00:25:27,720 --> 00:25:30,480
Speaker 4: and less and less a creative enterprise. Was run by

447
00:25:30,520 --> 00:25:37,480
Speaker 4: extremely powerful, extremely rich dudes. Eventually, these studios got so

448
00:25:37,720 --> 00:25:41,199
Speaker 4: powerful that the guys in charge, and they were all guys,

449
00:25:41,640 --> 00:25:46,720
Speaker 4: said we can do whatever we want. There aren't really

450
00:25:46,720 --> 00:25:51,399
Speaker 4: any consequences. How much does a city councilman cost? You

451
00:25:51,440 --> 00:25:55,800
Speaker 4: mean all in exactly or just for the weekend.

452
00:25:56,000 --> 00:25:59,320
Speaker 3: Yeah, that's sure, you can rent one rent to own, perhaps, right,

453
00:25:59,359 --> 00:26:02,360
Speaker 3: isn't that sort of the equivalent of like long term payoffs?

454
00:26:02,840 --> 00:26:05,200
Speaker 4: I guess yeah, you know, you're right. We had. There

455
00:26:05,240 --> 00:26:09,280
Speaker 4: was an article I found on crime Reads that talks

456
00:26:09,280 --> 00:26:15,720
Speaker 4: about how this realization that there were no consequences translated

457
00:26:15,800 --> 00:26:21,280
Speaker 4: into very dangerous stuff a drugs, sex, trafficking, organized crime.

458
00:26:21,600 --> 00:26:28,480
Speaker 4: They became incredibly normalized. And along with that, if you've

459
00:26:28,520 --> 00:26:30,800
Speaker 4: never worked for organized crime, what you need to know

460
00:26:30,840 --> 00:26:35,080
Speaker 4: about working for organized crime is that sometimes the side

461
00:26:35,119 --> 00:26:39,479
Speaker 4: benefits are really good, but overall it's a very bad job.

462
00:26:40,080 --> 00:26:43,199
Speaker 4: And HR is not a thing, and workers rights are

463
00:26:43,240 --> 00:26:47,959
Speaker 4: not a thing. So one example we found is like

464
00:26:48,480 --> 00:26:51,280
Speaker 4: you would have this contract as an actor. You would

465
00:26:51,280 --> 00:26:56,280
Speaker 4: be filming eighteen hour days, and if you were too tired,

466
00:26:56,720 --> 00:26:58,800
Speaker 4: then they would have a guy on set who comes

467
00:26:58,800 --> 00:27:01,239
Speaker 4: with some sort of pick me up, an emphatamine of

468
00:27:01,240 --> 00:27:02,320
Speaker 4: some sort, right.

469
00:27:02,119 --> 00:27:04,760
Speaker 3: See Mommy's Little Helpers drugs you up with a little

470
00:27:04,800 --> 00:27:08,560
Speaker 3: yellow pill, and then you're up and you can't sleep.

471
00:27:09,119 --> 00:27:11,560
Speaker 4: So yeah, some other person who comes along gives you

472
00:27:11,600 --> 00:27:16,160
Speaker 4: something to help you sleep, and if you are unable

473
00:27:16,200 --> 00:27:19,639
Speaker 4: to wake up, for an ungodly hour to start a shoot.

474
00:27:20,040 --> 00:27:22,239
Speaker 4: Then the studio has a doctor in sight who can

475
00:27:22,240 --> 00:27:23,160
Speaker 4: give you a little shot.

476
00:27:23,600 --> 00:27:26,639
Speaker 3: And we're largely referring to talent. Talent, yes, so, I

477
00:27:26,680 --> 00:27:29,640
Speaker 3: mean we hear horror stories about this, like Judy Garland

478
00:27:29,640 --> 00:27:34,600
Speaker 3: for example, exactly so just absolutely in a drugged out haze,

479
00:27:34,720 --> 00:27:36,720
Speaker 3: you know, and she talks about it, and it led,

480
00:27:37,119 --> 00:27:40,560
Speaker 3: you know, due to no fault of her own, to

481
00:27:41,119 --> 00:27:44,880
Speaker 3: serious drug and alcohol addiction, you know, and problems that

482
00:27:45,359 --> 00:27:48,840
Speaker 3: just absolutely ruined her life. Well also somehow managing to

483
00:27:48,960 --> 00:27:51,159
Speaker 3: have her be one of the biggest, most recognizable stars

484
00:27:51,160 --> 00:27:51,760
Speaker 3: on the planet.

485
00:27:51,800 --> 00:27:54,760
Speaker 4: And after you know, after a certain time of having

486
00:27:54,800 --> 00:28:00,879
Speaker 4: someone continually not just psychologically ritualize this, but gets you

487
00:28:00,920 --> 00:28:05,600
Speaker 4: physiologically addicted to a shot of some sort of stimulant

488
00:28:05,720 --> 00:28:09,399
Speaker 4: in the morning, way past coffee, right, I say that

489
00:28:09,440 --> 00:28:12,280
Speaker 4: as a coffee addict. Thanks again, Matt for the excellent ized.

490
00:28:12,080 --> 00:28:16,399
Speaker 3: Coffee shout out to Brash Flash brew coffee. There we go,

491
00:28:16,440 --> 00:28:18,800
Speaker 3: because it's fun to say brash Flash. Yeah.

492
00:28:19,040 --> 00:28:22,639
Speaker 4: Yeah, Well it becomes normalized. And then the point is

493
00:28:23,119 --> 00:28:28,800
Speaker 4: eventually the actor or just cannot perform without that shot

494
00:28:29,040 --> 00:28:32,240
Speaker 4: in the morning or that pill at night, which.

495
00:28:32,040 --> 00:28:34,640
Speaker 2: That's human trafficking of like texts.

496
00:28:34,280 --> 00:28:38,080
Speaker 4: One hundred percent. It also further increases the studio's grip

497
00:28:38,200 --> 00:28:39,480
Speaker 4: around the neck of that person.

498
00:28:39,600 --> 00:28:41,720
Speaker 3: And not only did they not have what we think

499
00:28:41,760 --> 00:28:45,560
Speaker 3: of as rehab today, this is not even something that

500
00:28:45,560 --> 00:28:47,680
Speaker 3: would have even been considered. This was a feature, not

501
00:28:47,760 --> 00:28:50,400
Speaker 3: a bug. This was like part of the system to

502
00:28:50,480 --> 00:28:52,120
Speaker 3: create that stranglehold that you're describing.

503
00:28:52,400 --> 00:28:56,680
Speaker 4: Good job, Doc, we'll string this one around. We could

504
00:28:56,720 --> 00:29:00,000
Speaker 4: get another we can get another fourteen films out of it,

505
00:29:00,720 --> 00:29:02,000
Speaker 4: don't you mean her.

506
00:29:02,160 --> 00:29:04,320
Speaker 3: Whatever tato potatoes, get out of here.

507
00:29:04,320 --> 00:29:07,360
Speaker 4: You're bother me, not you're going somewhere human trafficking. I

508
00:29:07,400 --> 00:29:11,840
Speaker 4: know because this reminds me of like the Dirty Secret

509
00:29:11,920 --> 00:29:16,600
Speaker 4: from our K Pop episode Uh, when studios had VIPs

510
00:29:16,680 --> 00:29:20,280
Speaker 4: coming in whether it's like you know, the Archduke of

511
00:29:21,080 --> 00:29:26,560
Speaker 4: Southwestern Prussia which I made up, or or a high

512
00:29:26,680 --> 00:29:30,240
Speaker 4: level government agent or someone you want to bribe. Then

513
00:29:30,280 --> 00:29:35,080
Speaker 4: they would turn out their actors male and female, and

514
00:29:35,120 --> 00:29:40,400
Speaker 4: they would say, you know, well, Mayor Frank and Looper,

515
00:29:40,840 --> 00:29:41,720
Speaker 4: that's not that's funny.

516
00:29:42,840 --> 00:29:45,160
Speaker 3: What's a funny? What's a silly name? I can't think

517
00:29:45,200 --> 00:29:46,960
Speaker 3: of one sillier than Franken Loper Ben, I'm.

518
00:29:46,880 --> 00:29:52,080
Speaker 4: Sorry, Mayor FRANKI Lupper. Whoopedi do okay, whoop do Oklahoma

519
00:29:52,560 --> 00:29:56,360
Speaker 4: is coming into town, and uh he's a big fan

520
00:29:56,480 --> 00:30:00,320
Speaker 4: of yours. So why don't you it's very disturbent time,

521
00:30:00,400 --> 00:30:03,400
Speaker 4: Why don't you be a good girl and go to

522
00:30:03,680 --> 00:30:07,440
Speaker 4: his hotel or good which was very.

523
00:30:09,200 --> 00:30:12,560
Speaker 3: Only that was buried. I mean the idea of you know,

524
00:30:12,760 --> 00:30:16,000
Speaker 3: queerness or any any element of that at the time

525
00:30:16,040 --> 00:30:19,360
Speaker 3: would have been reputation annihilating, you.

526
00:30:19,320 --> 00:30:22,400
Speaker 4: Know, and that I think it is. You may also

527
00:30:22,440 --> 00:30:25,520
Speaker 4: be alluding to child abuse, which was rampant, no question.

528
00:30:25,720 --> 00:30:28,480
Speaker 4: Both Like that studio exec. This is a great Shirley

529
00:30:28,520 --> 00:30:31,240
Speaker 4: Temple story, all right, So Shirley Temple is like eleven

530
00:30:31,320 --> 00:30:35,680
Speaker 4: years old. There's a studio exec who drops his pants

531
00:30:36,240 --> 00:30:39,680
Speaker 4: and shows his chunk again to a child, and the

532
00:30:39,920 --> 00:30:45,360
Speaker 4: kid laughs her ass off. She thinks it's ridiculous, and

533
00:30:45,440 --> 00:30:49,760
Speaker 4: so this, you know, because those monsters are all about power, right,

534
00:30:50,080 --> 00:30:54,719
Speaker 4: so uh so laughing at someone, you know, ruins the power. Anyway,

535
00:30:55,480 --> 00:30:59,240
Speaker 4: Temple escaped was like the guy called security guy rushed

536
00:30:59,240 --> 00:31:02,240
Speaker 4: out of the room because she laughed at him. And

537
00:31:02,800 --> 00:31:06,760
Speaker 4: that's frightening because it shows us how common this was.

538
00:31:07,000 --> 00:31:10,479
Speaker 3: It also shows how, you know, by age eleven, Shirley

539
00:31:10,480 --> 00:31:14,760
Speaker 3: Temple clearly already had an absurdly thick skin. And you

540
00:31:14,760 --> 00:31:16,800
Speaker 3: know whether or not, I mean, again, the context is

541
00:31:17,080 --> 00:31:20,000
Speaker 3: maybe a little unclear, but I would argue that perhaps

542
00:31:20,680 --> 00:31:23,800
Speaker 3: she kind of already understood the name of the game

543
00:31:23,920 --> 00:31:24,600
Speaker 3: at that point.

544
00:31:24,840 --> 00:31:26,520
Speaker 4: It's this terrible, terrible stuck.

545
00:31:26,560 --> 00:31:29,960
Speaker 3: I just picture Shirley Temple just smoking chain smoking cigarettes

546
00:31:30,000 --> 00:31:31,960
Speaker 3: at twelve, you know, I just I don't know why

547
00:31:32,000 --> 00:31:35,840
Speaker 3: I picture that, but it's it's like like a kid

548
00:31:35,840 --> 00:31:37,640
Speaker 3: who survived an Eastern European war.

549
00:31:37,800 --> 00:31:38,040
Speaker 2: Question.

550
00:31:39,280 --> 00:31:41,680
Speaker 4: And it does get worse, you know, we have even

551
00:31:41,720 --> 00:31:44,120
Speaker 4: more crimes. Again, this is sort of a grab bag.

552
00:31:44,200 --> 00:31:46,720
Speaker 4: But one thing I think we all found really interesting

553
00:31:47,000 --> 00:31:52,440
Speaker 4: was that these crimes were so commonplace, so ubiquitous, so normalized,

554
00:31:53,600 --> 00:31:58,360
Speaker 4: that covering up the crimes itself became an organized part

555
00:31:58,440 --> 00:32:02,040
Speaker 4: of the institution. It became aim someone's job. I can't

556
00:32:02,080 --> 00:32:06,720
Speaker 4: believe it. Finally, without shoehorning it in, you guys, we

557
00:32:06,800 --> 00:32:10,840
Speaker 4: get to mention comptrollers. What, Yeah, that's what they do.

558
00:32:10,960 --> 00:32:13,800
Speaker 4: An evil comptroller is part of this story.

559
00:32:13,560 --> 00:32:16,600
Speaker 3: Okay, and maybe also maybe known as like a fixer, right,

560
00:32:16,760 --> 00:32:19,920
Speaker 3: someone that can come in and clean up your mask.

561
00:32:20,000 --> 00:32:21,800
Speaker 3: But okay, Ben, I need I need more.

562
00:32:22,520 --> 00:32:26,440
Speaker 4: Okay, I let's introduce this guy, he said, fixer. There's

563
00:32:26,600 --> 00:32:30,840
Speaker 4: a there's a dude that we should introduce named Eddie Mannix.

564
00:32:30,880 --> 00:32:32,720
Speaker 4: What do we what do we know about Eddie Mannix?

565
00:32:33,360 --> 00:32:36,400
Speaker 2: Well, being a comptroller means you're kind of the head

566
00:32:36,520 --> 00:32:39,760
Speaker 2: money person. Right, you may not be the head accountant,

567
00:32:39,800 --> 00:32:42,200
Speaker 2: but you look at what other what all the accountants

568
00:32:42,200 --> 00:32:45,080
Speaker 2: are doing, and you go okay, this is good or bad,

569
00:32:46,640 --> 00:32:48,560
Speaker 2: and you have you manage all of that, and you

570
00:32:48,640 --> 00:32:51,200
Speaker 2: may have say over how money gets used.

571
00:32:51,760 --> 00:32:56,200
Speaker 4: Yeah. Yeah, so like you can you can go in

572
00:32:56,400 --> 00:32:59,600
Speaker 4: and say, okay, we need to take this percentage out

573
00:32:59,640 --> 00:33:01,640
Speaker 4: of this and put it here like you see the

574
00:33:01,680 --> 00:33:05,320
Speaker 4: big picture, the financial forest. Yes, and you're in close

575
00:33:05,440 --> 00:33:09,480
Speaker 4: contact with again those gods on the earth in California.

576
00:33:09,560 --> 00:33:15,000
Speaker 4: The studio heads. Mannix is an old school died in

577
00:33:15,040 --> 00:33:18,440
Speaker 4: the wool MGM guy. He joins right around the time

578
00:33:18,640 --> 00:33:23,400
Speaker 4: it gets created, and he is on the payroll all

579
00:33:23,440 --> 00:33:26,720
Speaker 4: the way up until his death in nineteen sixty three,

580
00:33:26,800 --> 00:33:28,520
Speaker 4: so he's there for a long long time.

581
00:33:28,960 --> 00:33:31,600
Speaker 2: And he was general manager too, right, Yeah.

582
00:33:31,480 --> 00:33:36,240
Speaker 4: Yeah, different times. Yeah, and so he would also he

583
00:33:36,240 --> 00:33:41,200
Speaker 4: wouldn't just monitor money, he also monitored the Again, I

584
00:33:41,280 --> 00:33:43,959
Speaker 4: keep being reminded of kpop in the modern day. He

585
00:33:44,000 --> 00:33:49,719
Speaker 4: would monitor communications with the actors, like on two ways.

586
00:33:49,760 --> 00:33:53,200
Speaker 4: So it was like being in prison. What they were

587
00:33:53,240 --> 00:33:56,600
Speaker 4: communicating was often they would listen in, you know, if

588
00:33:56,600 --> 00:33:59,000
Speaker 4: they were on the phone, the phone was tapped. If

589
00:33:59,040 --> 00:34:03,320
Speaker 4: they were writing letters, someone was reading the letters before

590
00:34:03,360 --> 00:34:03,840
Speaker 4: they went out.

591
00:34:03,880 --> 00:34:06,880
Speaker 3: It also reminds me of the character Mike Armentrout from

592
00:34:07,080 --> 00:34:10,080
Speaker 3: Breaking Bad and Better call Saul. How he gets employed

593
00:34:10,120 --> 00:34:13,320
Speaker 3: by the Madrigal Corporation, which is like the giant corporate

594
00:34:13,360 --> 00:34:16,759
Speaker 3: front for this illegal meth operation, and they have to

595
00:34:16,800 --> 00:34:19,160
Speaker 3: do his paperwork, his I nines is all of that

596
00:34:19,239 --> 00:34:22,440
Speaker 3: stuff to make him on paper this particular position, but

597
00:34:22,520 --> 00:34:25,560
Speaker 3: in fact he is their fixer or like you know,

598
00:34:25,800 --> 00:34:28,520
Speaker 3: head of security. But he's really doing much more nefarious

599
00:34:28,560 --> 00:34:32,200
Speaker 3: things and scouting locations for secret underground meth labs and stuff.

600
00:34:32,560 --> 00:34:36,400
Speaker 4: Yeah, dismantling cars to find trackers exactly. Yeah, that's a

601
00:34:36,440 --> 00:34:39,839
Speaker 4: really good comparison because in practice, no matter what it's

602
00:34:39,880 --> 00:34:44,680
Speaker 4: said on paperwork, Mannix was primarily a cover up artist.

603
00:34:45,200 --> 00:34:50,000
Speaker 4: He routinely worked with a crack team to keep stuff

604
00:34:50,040 --> 00:34:52,759
Speaker 4: out of the news. He got an actor who was

605
00:34:52,800 --> 00:34:57,239
Speaker 4: in a drunk driving accident and killed someone. Let's make

606
00:34:57,280 --> 00:35:00,719
Speaker 4: sure that the reporters have something more pressing to talk about. Oh,

607
00:35:00,880 --> 00:35:05,600
Speaker 4: did a star noted for her wholesomeness have an abortion?

608
00:35:05,760 --> 00:35:09,160
Speaker 4: Did someone who was sexually assaulted by a studio head?

609
00:35:09,480 --> 00:35:10,200
Speaker 4: Have an abortion?

610
00:35:10,920 --> 00:35:14,880
Speaker 3: Have you guys seen the Perry Mason or whatever?

611
00:35:15,000 --> 00:35:16,839
Speaker 4: It's great, they got canceled, but it's great.

612
00:35:17,000 --> 00:35:18,719
Speaker 3: Yeah, it was very, very good. In one of the

613
00:35:18,760 --> 00:35:22,560
Speaker 3: first episodes, there's a kind of fatty Arbuckle type character

614
00:35:22,719 --> 00:35:26,239
Speaker 3: or maybe like an Oliver Hardy type character, who is

615
00:35:26,280 --> 00:35:29,600
Speaker 3: being stalked by this private investigator Perry Mason, who gets

616
00:35:29,640 --> 00:35:32,600
Speaker 3: pictures of him doing like sexy stuff with cake and

617
00:35:33,080 --> 00:35:35,040
Speaker 3: a sex worker. Yeah, you gotta watch the episode. But

618
00:35:35,080 --> 00:35:38,480
Speaker 3: the point is he gets paid by a studio executive

619
00:35:38,520 --> 00:35:40,960
Speaker 3: to not release those those pictures.

620
00:35:41,280 --> 00:35:47,160
Speaker 4: You know. Yeah, and this this is crazy because he

621
00:35:47,280 --> 00:35:51,120
Speaker 4: works Mannix works in tandem with the guy's officially the

622
00:35:51,360 --> 00:35:55,480
Speaker 4: head of publicity, which is such an Orwellian term when

623
00:35:55,480 --> 00:35:57,799
Speaker 4: you learn what this guy really did. The head of

624
00:35:57,840 --> 00:36:02,280
Speaker 4: publicity is dude Howard Stricklean. His main he's next journalist.

625
00:36:02,360 --> 00:36:04,839
Speaker 4: His main job is to make sure that certain things

626
00:36:04,880 --> 00:36:07,960
Speaker 4: are never made public. Yeah, he's the head of anti

627
00:36:08,040 --> 00:36:09,080
Speaker 4: publicity really.

628
00:36:09,680 --> 00:36:14,239
Speaker 2: Uh yeah, but it's interesting how that works. You're you're

629
00:36:14,280 --> 00:36:18,880
Speaker 2: both intelligence and counterintelligence in one role, right, I mean

630
00:36:18,880 --> 00:36:19,839
Speaker 2: that's kind of what he's doing.

631
00:36:20,040 --> 00:36:20,320
Speaker 3: Yeah.

632
00:36:20,560 --> 00:36:22,680
Speaker 4: I mean that's a good way to put it too. Yeah,

633
00:36:22,680 --> 00:36:28,000
Speaker 4: so he will because he will gladly give reporters other

634
00:36:28,080 --> 00:36:31,640
Speaker 4: stories to print, especially if he's got dirt on a

635
00:36:31,680 --> 00:36:36,000
Speaker 4: star from another studio, from someone who's not MGM, and

636
00:36:36,080 --> 00:36:39,560
Speaker 4: so strictly kind of runs interference to make sure scandals

637
00:36:39,600 --> 00:36:43,560
Speaker 4: don't make the papers. And then while he's doing that,

638
00:36:43,800 --> 00:36:49,120
Speaker 4: Mannix is saying, Okay, I understand mistakes were made at

639
00:36:49,120 --> 00:36:52,759
Speaker 4: that party. You need to go see this doctor and

640
00:36:52,840 --> 00:36:55,600
Speaker 4: I'll give you X amount of money and you're gonna

641
00:36:55,680 --> 00:36:57,160
Speaker 4: leave town, go back to Whoop to Do.

642
00:36:57,760 --> 00:36:59,560
Speaker 2: Dude, I'm thinking of a movie.

643
00:36:59,760 --> 00:37:00,000
Speaker 3: I think.

644
00:37:00,000 --> 00:37:02,719
Speaker 2: I think it's Coen Brothers. Maybe I'm wrong. That kind

645
00:37:02,719 --> 00:37:08,160
Speaker 2: of depicts Pink Hel Caesar Hail Caesar's Josh Roland actually

646
00:37:08,160 --> 00:37:11,840
Speaker 2: does play Eddie Mannox. So on the case, that's it. Thanks, Casey,

647
00:37:12,840 --> 00:37:15,520
Speaker 2: So really watched that movie because it really shows you

648
00:37:15,600 --> 00:37:20,120
Speaker 2: this kind of thing in a fictional world that is

649
00:37:20,160 --> 00:37:22,120
Speaker 2: also based on the person we're talking about.

650
00:37:21,960 --> 00:37:24,839
Speaker 4: Kind of like Hollywood Confidential or LA Confidential as well,

651
00:37:24,960 --> 00:37:28,520
Speaker 4: this kind of the filthiness on the hush hush or whatever.

652
00:37:29,160 --> 00:37:31,000
Speaker 6: But I did, I did want to say no to

653
00:37:31,040 --> 00:37:33,960
Speaker 6: your barton. Think example, there's a moment in that near

654
00:37:34,000 --> 00:37:36,200
Speaker 6: the end of the movie where the studio head suddenly

655
00:37:36,239 --> 00:37:40,960
Speaker 6: is wearing like military uniform and he's basically considered himself

656
00:37:41,040 --> 00:37:43,680
Speaker 6: as an extension of you know, the war effort and

657
00:37:43,960 --> 00:37:44,480
Speaker 6: that point.

658
00:37:46,440 --> 00:37:47,320
Speaker 4: One hundred percent.

659
00:37:47,440 --> 00:37:47,720
Speaker 3: Yeah.

660
00:37:47,800 --> 00:37:51,400
Speaker 4: And this so for people who haven't heard of Mannix,

661
00:37:51,440 --> 00:37:54,680
Speaker 4: there is one story that is perhaps the most infamous.

662
00:37:55,239 --> 00:37:58,520
Speaker 4: While Mannix is paying off, oh I should mention this first.

663
00:37:58,560 --> 00:38:02,600
Speaker 4: While Mannix is paying off slash intimidating, slash threatening victims

664
00:38:02,960 --> 00:38:06,359
Speaker 4: if they don't play along. Whether you're a victim just

665
00:38:06,400 --> 00:38:09,600
Speaker 4: a bystander. You went to the party and you saw

666
00:38:09,719 --> 00:38:14,520
Speaker 4: the studio head forcing drugs on a woman and dragging

667
00:38:14,560 --> 00:38:19,600
Speaker 4: her somewhere, and you don't play along, Mannix will uh

668
00:38:20,239 --> 00:38:23,240
Speaker 4: call his friends from a subsidiary in New Jersey.

669
00:38:23,960 --> 00:38:26,600
Speaker 3: Huh, we're talking about the Shriners, right.

670
00:38:27,440 --> 00:38:33,160
Speaker 4: Sure, you know, just some just some friends who travel.

671
00:38:33,680 --> 00:38:36,160
Speaker 2: Well, let's talk about that really quickly. I know we

672
00:38:36,200 --> 00:38:37,480
Speaker 2: need to take a break here in a minute. But

673
00:38:39,000 --> 00:38:43,080
Speaker 2: a movie is a great way to launder money, yes,

674
00:38:43,840 --> 00:38:47,400
Speaker 2: because you're talking about huge amounts of money, dude, that

675
00:38:47,800 --> 00:38:51,360
Speaker 2: they get paid to so many different outfits, different companies,

676
00:38:51,360 --> 00:38:52,480
Speaker 2: different individuals.

677
00:38:52,560 --> 00:38:55,440
Speaker 3: Oh absolutely, it's it's like almost as good as like

678
00:38:55,480 --> 00:38:58,160
Speaker 3: a construction grift, you know. And it actually comes up

679
00:38:58,160 --> 00:39:00,759
Speaker 3: in a later season of The Sopranos where they make

680
00:39:00,800 --> 00:39:04,319
Speaker 3: a movie called like Hatchet or something like it. It's

681
00:39:04,360 --> 00:39:08,920
Speaker 3: like a Mabfia meats saw kind of movie, and Christopher

682
00:39:09,000 --> 00:39:11,920
Speaker 3: Montesanti ends up becoming the producer on it. And it,

683
00:39:12,400 --> 00:39:14,800
Speaker 3: of course is a way to disguise money because you know,

684
00:39:14,840 --> 00:39:17,600
Speaker 3: you're dealing with so many vendors, you're paying salaries, You

685
00:39:17,680 --> 00:39:22,080
Speaker 3: have easily disguisable employees that you can call one thing

686
00:39:22,080 --> 00:39:24,319
Speaker 3: on paper, but they're actually doing something else. It gives

687
00:39:24,400 --> 00:39:26,600
Speaker 3: legitimacy to their employee, you know what I mean. It's

688
00:39:27,080 --> 00:39:27,719
Speaker 3: really good point.

689
00:39:27,800 --> 00:39:30,560
Speaker 4: Yeah, I mean podcasting is the next version of the

690
00:39:30,680 --> 00:39:36,360
Speaker 4: total clearly, but we're legitimate, right right casey no comment?

691
00:39:36,760 --> 00:39:39,480
Speaker 4: Oh geez all right, bro, I see you.

692
00:39:39,760 --> 00:39:41,799
Speaker 2: Anyways, So you know, But you know what's crazy though,

693
00:39:41,880 --> 00:39:45,040
Speaker 2: if you look online and you're trying to find articles

694
00:39:45,200 --> 00:39:48,920
Speaker 2: or books or you know, accounts of how much money

695
00:39:48,960 --> 00:39:51,200
Speaker 2: and what kind of money and where it came from

696
00:39:51,200 --> 00:39:54,880
Speaker 2: and how it was laundered through old Hollywood, I I

697
00:39:54,920 --> 00:39:58,719
Speaker 2: have a I can't find any tough because I don't

698
00:39:58,719 --> 00:40:02,439
Speaker 2: know in all the film classes that you know, I've

699
00:40:02,480 --> 00:40:07,439
Speaker 2: taken over the years, I've never actually seen concrete examples

700
00:40:07,560 --> 00:40:12,720
Speaker 2: of a specific mafia mob organized crime unit working directly

701
00:40:12,760 --> 00:40:13,320
Speaker 2: with a studio.

702
00:40:13,360 --> 00:40:14,960
Speaker 4: Because so it's acknowledged, Yeah.

703
00:40:14,880 --> 00:40:17,640
Speaker 2: It was just kind of operating underneath.

704
00:40:17,680 --> 00:40:20,759
Speaker 4: They got away. Is another part of it, right, that

705
00:40:21,000 --> 00:40:23,759
Speaker 4: just behind the curtain, all this stuff is happening, and

706
00:40:23,800 --> 00:40:29,520
Speaker 4: these this organized crime. I love this point. So one happened,

707
00:40:30,160 --> 00:40:34,839
Speaker 4: it is still happening. By the way that conspiracy continues.

708
00:40:35,200 --> 00:40:38,680
Speaker 4: You're just not really going to hear about it. If

709
00:40:38,800 --> 00:40:41,879
Speaker 4: it's you're not going to hear about it unless it's

710
00:40:41,920 --> 00:40:46,719
Speaker 4: an outsider organized crime thing or a foreign government like

711
00:40:46,760 --> 00:40:51,680
Speaker 4: our Chinese film industry conspiracy episode. The reason we know

712
00:40:51,760 --> 00:40:54,799
Speaker 4: about that is because Uncle Sam doesn't like Uncle She.

713
00:40:55,400 --> 00:40:57,640
Speaker 3: That's right, and it certainly does feel like the quote

714
00:40:57,680 --> 00:41:01,719
Speaker 3: unquote mafia as we know it depict it in Godfather, Goodfellas,

715
00:41:01,760 --> 00:41:05,080
Speaker 3: and Sopranos type movies. Doesn't quite have the prominence that

716
00:41:05,120 --> 00:41:07,600
Speaker 3: it once did. They've gone a lot more underground, right

717
00:41:07,640 --> 00:41:10,160
Speaker 3: because of Rico cases and things like that.

718
00:41:10,160 --> 00:41:15,400
Speaker 4: Or like the Yakuza, they've relocated, or they've become increasingly

719
00:41:15,480 --> 00:41:17,480
Speaker 4: in mansular discover.

720
00:41:19,200 --> 00:41:21,440
Speaker 2: I did find one example that we can at least

721
00:41:21,440 --> 00:41:24,480
Speaker 2: point to just quickly, but it comes from two thousand

722
00:41:24,480 --> 00:41:25,000
Speaker 2: and six.

723
00:41:25,400 --> 00:41:29,080
Speaker 4: Oh yeah, again, it's still happening. You could also if

724
00:41:29,080 --> 00:41:32,560
Speaker 4: you were of the philosophy that the US military is

725
00:41:32,560 --> 00:41:36,239
Speaker 4: a form of organized crime, then Hollywood's totally in bed

726
00:41:36,239 --> 00:41:39,120
Speaker 4: with them too. Just gonna throw that hot table there.

727
00:41:39,600 --> 00:41:43,359
Speaker 4: I don't agree with it personally, but it's a valid point.

728
00:41:43,840 --> 00:41:46,560
Speaker 2: Well, this one comes from two thousand and six. L

729
00:41:46,600 --> 00:41:49,000
Speaker 2: A Times reported on it, and it's an outfit called

730
00:41:49,080 --> 00:41:52,000
Speaker 2: Limelight Films, and it had a couple of executives. They

731
00:41:52,000 --> 00:41:57,120
Speaker 2: were accused of essentially laundering ecstasy sale money through some

732
00:41:57,200 --> 00:42:01,400
Speaker 2: of their productions and selling or sell to undercover agents

733
00:42:01,719 --> 00:42:04,359
Speaker 2: through the production. It was really interesting. You can read

734
00:42:04,360 --> 00:42:05,839
Speaker 2: it right now if you want to read that article

735
00:42:05,920 --> 00:42:09,280
Speaker 2: is called movie execs charged in money laundering case. That's

736
00:42:09,360 --> 00:42:11,480
Speaker 2: literally it, and you got to find it.

737
00:42:11,840 --> 00:42:17,680
Speaker 4: But you know how easy it is to avoid consequences. Still,

738
00:42:17,719 --> 00:42:21,440
Speaker 4: as a studio exec, you can just have the companies,

739
00:42:21,480 --> 00:42:25,120
Speaker 4: the hierarchy and the organizational structure of them are very

740
00:42:25,800 --> 00:42:31,759
Speaker 4: very well done. Just objectively, it's super easy for a

741
00:42:31,800 --> 00:42:35,040
Speaker 4: studio exec to say I had no idea that happened,

742
00:42:35,360 --> 00:42:38,960
Speaker 4: you know what I mean, Look, detective, I respect what

743
00:42:39,000 --> 00:42:43,440
Speaker 4: you do. I back the blue, but I make hundreds

744
00:42:43,760 --> 00:42:47,040
Speaker 4: of movies and hundreds of millions dollars a year. I

745
00:42:47,040 --> 00:42:50,680
Speaker 4: don't watch every falling sparrow. And you know what, it

746
00:42:50,719 --> 00:42:54,319
Speaker 4: does sound like an unfortunate accident, and I wish they're

747
00:42:54,360 --> 00:42:57,040
Speaker 4: family the best. You let us know if there's anything

748
00:42:57,040 --> 00:42:58,799
Speaker 4: we can do. Now, I've got to take this call

749
00:42:58,800 --> 00:42:59,439
Speaker 4: at one thirty.

750
00:43:00,000 --> 00:43:01,680
Speaker 3: Any ability, Man, it's the name of the game.

751
00:43:02,080 --> 00:43:05,840
Speaker 4: And that is a hypothetical, hypothetical incident.

752
00:43:05,880 --> 00:43:07,840
Speaker 3: I was going there with you. Yeah, Like, I.

753
00:43:08,200 --> 00:43:13,319
Speaker 4: Just feel like it's chilling how plausible that sounds, you know,

754
00:43:13,880 --> 00:43:16,879
Speaker 4: and again to your appointment, this is two thousand and six, right,

755
00:43:16,920 --> 00:43:19,480
Speaker 4: and to your point in all this is just that

756
00:43:19,560 --> 00:43:23,160
Speaker 4: kind of opportunity for crime is going to continue because

757
00:43:23,200 --> 00:43:24,880
Speaker 4: there is so much money to be made.

758
00:43:24,840 --> 00:43:27,319
Speaker 3: And not to mention the police, right, I mean the

759
00:43:27,400 --> 00:43:30,640
Speaker 3: police were probably on the payrolls of some of these

760
00:43:30,680 --> 00:43:32,879
Speaker 3: studios off the books as well.

761
00:43:32,920 --> 00:43:35,120
Speaker 4: That's why they broke up. That's why they don't make music.

762
00:43:35,440 --> 00:43:39,719
Speaker 2: Man, let's talk about the actor Frank Sinatra, who was

763
00:43:39,760 --> 00:43:43,120
Speaker 2: also a musician Old Blue Eyes. He was in a

764
00:43:43,160 --> 00:43:44,080
Speaker 2: lot of movies.

765
00:43:44,719 --> 00:43:47,960
Speaker 3: Yeah yeah, Oh well, I mean you'll recall in The Godfather,

766
00:43:48,280 --> 00:43:50,319
Speaker 3: I forget the character's name, case you'll probably point it

767
00:43:50,320 --> 00:43:54,120
Speaker 3: out real quick. There's a Frank Sinatra esque character who

768
00:43:54,600 --> 00:43:57,520
Speaker 3: becomes a big singing star in Hollywood and they're trying to,

769
00:43:57,600 --> 00:44:00,360
Speaker 3: you know, convince his producer to put him in his movie.

770
00:44:00,400 --> 00:44:02,839
Speaker 3: And that's where the famous horse's head in the bed

771
00:44:03,160 --> 00:44:05,760
Speaker 3: sequence comes from. And then of course that producer decides

772
00:44:05,800 --> 00:44:09,880
Speaker 3: to change his tune. Yeah, real life snatch a huge

773
00:44:09,880 --> 00:44:10,880
Speaker 3: sexual predator.

774
00:44:11,120 --> 00:44:12,440
Speaker 6: I think it was Johnny Fontange.

775
00:44:12,480 --> 00:44:14,080
Speaker 3: That's great.

776
00:44:14,160 --> 00:44:16,399
Speaker 2: Yeah, uh so glad you're here, Casey.

777
00:44:16,480 --> 00:44:17,400
Speaker 4: Yeah, thanks for coming.

778
00:44:17,440 --> 00:44:17,640
Speaker 3: Man.

779
00:44:17,719 --> 00:44:20,280
Speaker 2: You guys get to see him like every week, multiple

780
00:44:20,280 --> 00:44:21,840
Speaker 2: times a week. No, no, don't do.

781
00:44:22,360 --> 00:44:23,680
Speaker 4: No, this is especial occasion.

782
00:44:24,080 --> 00:44:26,120
Speaker 3: Oh wait, when does the New Ridiculous History anymore?

783
00:44:26,200 --> 00:44:28,160
Speaker 2: It's Max Okay, it's.

784
00:44:28,560 --> 00:44:30,840
Speaker 3: Max with the facts and Casey on the case.

785
00:44:31,120 --> 00:44:34,279
Speaker 4: Never the twain shall meet, right, I have never seen

786
00:44:34,320 --> 00:44:36,360
Speaker 4: them in the same room.

787
00:44:36,360 --> 00:44:37,360
Speaker 2: Well, either way, I'm jealous.

788
00:44:37,400 --> 00:44:39,680
Speaker 4: You got a comment on that one? No comment?

789
00:44:40,080 --> 00:44:41,000
Speaker 3: Damn it all right?

790
00:44:41,040 --> 00:44:44,799
Speaker 4: Anyway, one day now I feel like I'm the investigator

791
00:44:44,840 --> 00:44:45,920
Speaker 4: one day pagram.

792
00:44:45,960 --> 00:44:48,919
Speaker 3: Well, but speaking of the investigator, back to the police. Yeah,

793
00:44:49,120 --> 00:44:53,760
Speaker 3: I mean the law enforcement agency, not the seminole nineteen

794
00:44:53,800 --> 00:44:57,320
Speaker 3: eighties rock band. At the very least, they were turning

795
00:44:57,320 --> 00:44:59,960
Speaker 3: a blind eye. At the very most, they were outright

796
00:45:00,080 --> 00:45:04,040
Speaker 3: getting paid off and perhaps even helping some of these

797
00:45:04,080 --> 00:45:07,160
Speaker 3: crimes be covered up or perhaps even perpetrated.

798
00:45:06,800 --> 00:45:11,680
Speaker 4: One hundred percent to because they may have just been

799
00:45:11,719 --> 00:45:14,239
Speaker 4: fans of the movies, or you know, they might have

800
00:45:14,239 --> 00:45:17,920
Speaker 4: gotten a discount at the Brothels. Sorry will pause for

801
00:45:17,960 --> 00:45:29,279
Speaker 4: a word from our sponsor. We'll be right back. We've returned. Yes, Brothels.

802
00:45:29,840 --> 00:45:35,160
Speaker 4: We mentioned we mentioned what sounds like K pop level

803
00:45:35,320 --> 00:45:40,920
Speaker 4: sex trafficking with VIPs, but it went much more pervasive,

804
00:45:41,040 --> 00:45:44,000
Speaker 4: much more extensive than that, And they're both very very

805
00:45:44,080 --> 00:45:49,320
Speaker 4: terrible things. When to introduce you to Louis B. Meyer,

806
00:45:49,680 --> 00:45:52,600
Speaker 4: who has sometimes been called the monster of MGM, When

807
00:45:52,640 --> 00:45:57,279
Speaker 4: Harvey Weinstein was convicted for numerous sexual crimes. A lot

808
00:45:57,320 --> 00:46:01,400
Speaker 4: of people were bringing up the specter of former MGM

809
00:46:01,480 --> 00:46:06,560
Speaker 4: studio had Meyer. He was talented studio exec in arguably

810
00:46:07,360 --> 00:46:10,080
Speaker 4: person with a lot of mental issues and kind of

811
00:46:10,080 --> 00:46:16,520
Speaker 4: a piece of his reputation remains under debate today. We're

812
00:46:16,520 --> 00:46:18,600
Speaker 4: talking about this a little bit off air. He was

813
00:46:18,640 --> 00:46:23,239
Speaker 4: known for routinely micromanaging and obsessively controlling his creators. He

814
00:46:23,440 --> 00:46:28,359
Speaker 4: was like, stars are no one. I build stars. Do

815
00:46:28,440 --> 00:46:32,160
Speaker 4: what I say, which is funny because Eddie Mannix also

816
00:46:32,320 --> 00:46:35,759
Speaker 4: had a like a plaque in his office where he said,

817
00:46:35,760 --> 00:46:39,000
Speaker 4: the only star of MGM is the lion, you know,

818
00:46:39,120 --> 00:46:44,080
Speaker 4: the lion from the from thatsequence, Yeah, the.

819
00:46:43,960 --> 00:46:46,040
Speaker 3: One that you start the Pink Floyd record, thefter the

820
00:46:46,040 --> 00:46:46,560
Speaker 3: third roar.

821
00:46:47,640 --> 00:46:51,960
Speaker 4: But Meyer was known to turn a blind eye to

822
00:46:52,440 --> 00:46:58,040
Speaker 4: sexual abuse of female performers, probably male performers too, and

823
00:46:58,440 --> 00:47:02,680
Speaker 4: he also is known to participate in that abuse himself,

824
00:47:03,200 --> 00:47:04,520
Speaker 4: never convicted of doing so.

825
00:47:04,920 --> 00:47:07,960
Speaker 3: Yeah, and just you know, not Devil's advocate necessarily, but

826
00:47:08,080 --> 00:47:11,439
Speaker 3: just to offer another perspective from someone who perhaps maybe

827
00:47:11,440 --> 00:47:15,640
Speaker 3: a little too close. There is an essay from Meyer's

828
00:47:15,840 --> 00:47:23,320
Speaker 3: great nephew, I believe that defends Meyer's reputation and offered

829
00:47:23,360 --> 00:47:26,080
Speaker 3: a few quotes from folks like Joan Crawford, and also

830
00:47:26,160 --> 00:47:30,319
Speaker 3: the mention of the idea that Judy Garland, while having

831
00:47:30,440 --> 00:47:33,839
Speaker 3: leveled accusations that he had fed her pills throughout her

832
00:47:33,840 --> 00:47:37,400
Speaker 3: career and all this stuff. Apparently this person claims that

833
00:47:37,440 --> 00:47:41,120
Speaker 3: she rescinded some of his accusations. But again it feels

834
00:47:41,160 --> 00:47:45,800
Speaker 3: a little biased and a little tainted with revisionist history

835
00:47:45,880 --> 00:47:49,560
Speaker 3: and sort of you know, maybe trying to clear the

836
00:47:49,640 --> 00:47:53,080
Speaker 3: name of someone who feels their relative has been wronged.

837
00:47:53,120 --> 00:47:55,040
Speaker 3: But I feel like there's a lot of smoke, so

838
00:47:55,040 --> 00:47:57,120
Speaker 3: it's probably the very least a little bit of fire.

839
00:47:57,520 --> 00:48:01,600
Speaker 4: Control of law enforcement too, make it a very difficult

840
00:48:01,920 --> 00:48:07,240
Speaker 4: problem to navigate, you know. And again, not convicted of stuff.

841
00:48:07,600 --> 00:48:11,680
Speaker 4: It is considered fairly confirmed that he sexually abused an

842
00:48:11,760 --> 00:48:15,120
Speaker 4: underage Judy Garland, although as he said, she would later

843
00:48:15,680 --> 00:48:19,120
Speaker 4: say it wasn't the case. It's it's gross. But we

844
00:48:19,239 --> 00:48:24,040
Speaker 4: do know that he he in part funded a brothel

845
00:48:24,520 --> 00:48:29,440
Speaker 4: that used plastic surgery to make sex workers look like

846
00:48:29,560 --> 00:48:33,920
Speaker 4: popular stars of Like, yeah, yeah.

847
00:48:34,239 --> 00:48:35,520
Speaker 2: Is that a proven thing?

848
00:48:35,920 --> 00:48:39,719
Speaker 4: Yeah, okay, it's it's what's not proven about it is

849
00:48:39,840 --> 00:48:47,320
Speaker 4: the technically the degree to which Meyer was aware. Okay,

850
00:48:47,400 --> 00:48:49,799
Speaker 4: so it might might have been like he knew he

851
00:48:50,000 --> 00:48:57,280
Speaker 4: was putting something into like the entertainment slash fund. Okay, yeah,

852
00:48:58,120 --> 00:49:05,840
Speaker 4: and uh again gross gross stuff, no consequences whatsoever. The

853
00:49:05,920 --> 00:49:08,520
Speaker 4: casting couch was another dirty thing. There was a Fox

854
00:49:08,560 --> 00:49:12,120
Speaker 4: producer named Darryl F. Xanuk and according to an author

855
00:49:12,200 --> 00:49:15,360
Speaker 4: named Marlus Harris who wrote a book called The Xanux

856
00:49:15,400 --> 00:49:19,960
Speaker 4: of Hollywood Dark Legacy of American Dynasty, this guy had

857
00:49:19,960 --> 00:49:24,000
Speaker 4: a routine. He ended the day early at four pm.

858
00:49:24,480 --> 00:49:29,600
Speaker 4: Every day, his studio at his office at Fox Century

859
00:49:29,640 --> 00:49:33,640
Speaker 4: City Studio would shut down and he would pick a

860
00:49:33,680 --> 00:49:38,680
Speaker 4: young woman to be hustled through an underground passage to

861
00:49:38,920 --> 00:49:39,600
Speaker 4: his office.

862
00:49:40,800 --> 00:49:43,719
Speaker 3: And this is allegedly as reported in this book, right,

863
00:49:44,160 --> 00:49:48,480
Speaker 3: is reported in this book. Yeah yeah, an interesting personal story.

864
00:49:48,719 --> 00:49:51,520
Speaker 3: When I worked for Public Radio, there was a film

865
00:49:51,560 --> 00:49:54,239
Speaker 3: called Get Low. You guys might have seen that shot

866
00:49:54,840 --> 00:49:57,680
Speaker 3: in Georgia in Crawfordville, which is like a little kind

867
00:49:57,719 --> 00:50:00,200
Speaker 3: of small town that they used oftentimes for these like

868
00:50:00,480 --> 00:50:05,040
Speaker 3: old timey Southern like you know, Berg type shoots. Robert

869
00:50:05,160 --> 00:50:07,239
Speaker 3: Duvall was in it. Cissy spasically was in it. I

870
00:50:07,360 --> 00:50:10,880
Speaker 3: covered it for Public Radio, and the producer of the

871
00:50:10,920 --> 00:50:15,960
Speaker 3: film none other than Dean Xanik, the great grandson of

872
00:50:17,960 --> 00:50:23,359
Speaker 3: Darryl Zanik, his son Richard Zanak. Dean's father won an

873
00:50:23,360 --> 00:50:26,719
Speaker 3: Academy Award for producing Driving Miss Daisy launched the career

874
00:50:26,760 --> 00:50:29,600
Speaker 3: of Steven Spielberg. So that legacy that you're referring to

875
00:50:30,400 --> 00:50:32,160
Speaker 3: it is, it is a real thing. I remember one

876
00:50:32,239 --> 00:50:34,480
Speaker 3: question that I asked Dean when I got to interview him,

877
00:50:34,560 --> 00:50:37,920
Speaker 3: was how do you become a producer of Hollywood? And

878
00:50:37,960 --> 00:50:40,920
Speaker 3: he basically said, you gotta have a dad who was

879
00:50:40,960 --> 00:50:43,279
Speaker 3: a producer. You know, you have to be part of

880
00:50:43,320 --> 00:50:46,440
Speaker 3: that system. No one just pops up and becomes a

881
00:50:46,480 --> 00:50:49,759
Speaker 3: major Hollywood producer. But even you know Dean, he didn't

882
00:50:49,760 --> 00:50:52,359
Speaker 3: produce any major, major Hollywood films. He focused more on

883
00:50:52,400 --> 00:50:54,120
Speaker 3: like like Terry Gilliam. He did a movie called The

884
00:50:54,200 --> 00:50:57,279
Speaker 3: Zero Theorem with Terry Gilliam and this get Low. But

885
00:50:57,520 --> 00:51:00,600
Speaker 3: I think the age of that dynasty, you know, producer

886
00:51:01,200 --> 00:51:04,280
Speaker 3: figurehead is sort of past us. In some ways. It's interesting.

887
00:51:05,440 --> 00:51:06,320
Speaker 3: I think it's still.

888
00:51:06,160 --> 00:51:07,720
Speaker 2: There, certainly.

889
00:51:07,800 --> 00:51:12,480
Speaker 3: I'm just arguing, like why was why is Dean producing

890
00:51:12,880 --> 00:51:16,239
Speaker 3: smaller films? Whereas his father was literally the guy who

891
00:51:16,280 --> 00:51:20,040
Speaker 3: made Steven Spears doors less shut. I'm saying that's the case.

892
00:51:20,280 --> 00:51:23,319
Speaker 2: Yeah, well, yeah, that's weird because we work You and

893
00:51:23,360 --> 00:51:26,480
Speaker 2: I both work with a former head of MGM, a

894
00:51:26,520 --> 00:51:32,279
Speaker 2: guy who ran MGM, And it's fascinating to see this

895
00:51:32,320 --> 00:51:33,759
Speaker 2: person We're just not going to name who it is,

896
00:51:33,800 --> 00:51:36,040
Speaker 2: but it's fascinating to see this person doing what they're

897
00:51:36,080 --> 00:51:40,360
Speaker 2: doing now that formerly ran a giant studio. Yeah. I

898
00:51:40,360 --> 00:51:43,480
Speaker 2: don't know what there is. I guess that's more of.

899
00:51:43,400 --> 00:51:45,560
Speaker 4: A this is a room I'm not allowed in.

900
00:51:46,640 --> 00:51:48,719
Speaker 2: It's n nothing to do exclusion.

901
00:51:49,280 --> 00:51:53,920
Speaker 3: The similar system has less of a stranglehold, especially as

902
00:51:54,040 --> 00:51:58,279
Speaker 3: media has been diluted to the point of absurdity. You know,

903
00:51:58,480 --> 00:52:02,600
Speaker 3: things like podcasts and other revenue streams are much more

904
00:52:02,760 --> 00:52:05,640
Speaker 3: of a part of the portfolio than they ever you

905
00:52:05,680 --> 00:52:08,440
Speaker 3: know what I mean, because no longer are these movies

906
00:52:08,520 --> 00:52:11,640
Speaker 3: just a sure thing anymore? Are these studios just Yeah, but.

907
00:52:11,920 --> 00:52:15,520
Speaker 2: It's interesting to see now is they're attempting to find

908
00:52:15,560 --> 00:52:20,640
Speaker 2: stories that will be super successful in that way. I

909
00:52:20,680 --> 00:52:21,720
Speaker 2: don't know, it's interesting.

910
00:52:22,040 --> 00:52:26,280
Speaker 4: The point here, though, is that the normalized sexual abuse

911
00:52:26,360 --> 00:52:28,960
Speaker 4: of actors male and female, like during this time was

912
00:52:29,000 --> 00:52:33,240
Speaker 4: so commonplace that it acquired a name and remains heartbreakingly

913
00:52:33,320 --> 00:52:36,799
Speaker 4: relevant today. The casting couch. You've heard of this, We

914
00:52:36,840 --> 00:52:40,279
Speaker 4: don't need to necessarily explain what it is. Unfortunately, the

915
00:52:40,320 --> 00:52:46,000
Speaker 4: examples are infinite or near infinite at this point, and

916
00:52:46,440 --> 00:52:50,600
Speaker 4: numerous lurid scandals have occurred as a result of this,

917
00:52:50,880 --> 00:52:55,160
Speaker 4: and the number of scandals we know about are absolutely

918
00:52:55,239 --> 00:52:59,200
Speaker 4: dwarfed by the horrific events that the public will never

919
00:52:59,320 --> 00:53:03,360
Speaker 4: learn about because people took them to their graves. Eventually,

920
00:53:03,400 --> 00:53:07,000
Speaker 4: the public turns against old Hollywood. They become increasingly fed

921
00:53:07,080 --> 00:53:10,799
Speaker 4: up with this strange, sinister system or the format took

922
00:53:10,840 --> 00:53:14,600
Speaker 4: at that time. Interestingly enough, the story about Fatty Arbuckle

923
00:53:14,840 --> 00:53:20,000
Speaker 4: and the alleged death slash sexual assault our Buckle was

924
00:53:20,040 --> 00:53:23,920
Speaker 4: probably not guilty, but that story caught on in the

925
00:53:24,040 --> 00:53:27,520
Speaker 4: Zeitgei so much that it led to the public examining

926
00:53:27,680 --> 00:53:31,759
Speaker 4: more actual, like real lurid scandals, and there was a

927
00:53:31,760 --> 00:53:35,200
Speaker 4: moral panic. The old Hollywood system didn't survive as a

928
00:53:35,239 --> 00:53:38,960
Speaker 4: result past that nineteen forty eight court case versus Paramount.

929
00:53:39,320 --> 00:53:44,040
Speaker 4: But just like a horror movie monster, the thing America

930
00:53:44,120 --> 00:53:50,280
Speaker 4: thought it killed hid itself away recuperated and arguably returned

931
00:53:50,360 --> 00:53:52,800
Speaker 4: in a slightly different form for a sequel.

932
00:53:53,360 --> 00:53:56,480
Speaker 3: So why is all this important? You can start by

933
00:53:56,600 --> 00:53:59,120
Speaker 3: saying it's important to just understand the past in order

934
00:53:59,160 --> 00:54:03,759
Speaker 3: to make sense of the present. The precedence of this

935
00:54:04,000 --> 00:54:09,800
Speaker 3: massive entertainment conglomo this industry because it sets a precedent

936
00:54:09,800 --> 00:54:12,240
Speaker 3: for the understanding of the current state of the industry

937
00:54:12,280 --> 00:54:14,960
Speaker 3: in the modern day, which we've hinted at in drips

938
00:54:14,960 --> 00:54:18,440
Speaker 3: and drabs throughout the episode. So much like a blockbuster

939
00:54:18,520 --> 00:54:22,400
Speaker 3: film franchise, history of course does repeat itself, and sometimes

940
00:54:22,440 --> 00:54:23,600
Speaker 3: it rhymes.

941
00:54:23,960 --> 00:54:27,239
Speaker 4: Often with little, if it's if, it's I. It's like

942
00:54:27,280 --> 00:54:30,759
Speaker 4: a modern film franchise, it often repeats with little or

943
00:54:30,800 --> 00:54:32,759
Speaker 4: no significant change in the plot.

944
00:54:32,920 --> 00:54:37,720
Speaker 3: Like the Fast and Furious movies, like The Transformers, thinking,

945
00:54:38,520 --> 00:54:39,319
Speaker 3: how how does it?

946
00:54:39,440 --> 00:54:42,160
Speaker 4: You know what? Let's do the spoiler. It makes no

947
00:54:42,239 --> 00:54:45,560
Speaker 4: sense that Palpatine just comes back. That's just they could

948
00:54:45,600 --> 00:54:46,120
Speaker 4: have done.

949
00:54:45,920 --> 00:54:47,640
Speaker 3: It in a more clever way.

950
00:54:48,200 --> 00:54:49,680
Speaker 4: Could they could have done something?

951
00:54:49,719 --> 00:54:52,560
Speaker 2: They could have done something, and so Palpatine comes back.

952
00:54:53,480 --> 00:54:57,200
Speaker 3: Yeah, it doesn't even matter, Matt, It doesn't really really does.

953
00:54:57,440 --> 00:55:01,520
Speaker 4: By the time it happens, it looks cool, but it's not.

954
00:55:03,719 --> 00:55:05,680
Speaker 4: You know what, A lot of people worked very hard

955
00:55:05,680 --> 00:55:06,680
Speaker 4: on that film.

956
00:55:06,960 --> 00:55:09,080
Speaker 3: And that is a very important caveat to add. By

957
00:55:09,120 --> 00:55:11,680
Speaker 3: the way, any time I or any of us are

958
00:55:11,760 --> 00:55:16,400
Speaker 3: like poopooing film, we are not poopooing the individuals that

959
00:55:16,520 --> 00:55:20,040
Speaker 3: made them, because we know, based on our limited experience

960
00:55:20,120 --> 00:55:23,520
Speaker 3: on big Hollywood sets, it is insane amounts of work

961
00:55:23,520 --> 00:55:26,760
Speaker 3: Here in Atlanta. This city thrives on these types of shoots,

962
00:55:26,800 --> 00:55:30,960
Speaker 3: and we know people from every sector of that industry,

963
00:55:31,040 --> 00:55:34,160
Speaker 3: and I mean, these are some of the most hard working, dedicated,

964
00:55:34,440 --> 00:55:37,000
Speaker 3: and incredibly talented people that you could ever ask to

965
00:55:37,040 --> 00:55:38,280
Speaker 3: be a part of any team.

966
00:55:38,160 --> 00:55:40,839
Speaker 4: Which is why I am a huge supporter of the

967
00:55:40,880 --> 00:55:43,319
Speaker 4: strike and I can't wait till we get to that

968
00:55:43,440 --> 00:55:48,920
Speaker 4: episode on this show. The terror absolutely continues into the

969
00:55:48,960 --> 00:55:51,960
Speaker 4: modern day. Matt, you and I talked a bit off

970
00:55:52,000 --> 00:55:54,120
Speaker 4: air about a case that we didn't even get to

971
00:55:54,239 --> 00:55:59,960
Speaker 4: in this episode, which is just shows that the organized

972
00:56:00,160 --> 00:56:03,759
Speaker 4: crime involving Hollywood is not limited to the borders of

973
00:56:03,760 --> 00:56:04,680
Speaker 4: the United States.

974
00:56:05,080 --> 00:56:08,440
Speaker 2: Oh yeah, well, I don't know. I don't know if

975
00:56:08,440 --> 00:56:09,560
Speaker 2: I'll call it terror, I would.

976
00:56:09,400 --> 00:56:11,280
Speaker 4: Call it like geopolitical intrigue.

977
00:56:11,360 --> 00:56:14,120
Speaker 2: There you go, That's that's what it is, because we

978
00:56:14,120 --> 00:56:18,400
Speaker 2: were just learning about an Israeli agent that was hanging

979
00:56:18,400 --> 00:56:21,320
Speaker 2: out in Hollywood for a while. A billionaire made a

980
00:56:21,360 --> 00:56:23,879
Speaker 2: Pretty Woman. That's one of the films he worked on,

981
00:56:24,320 --> 00:56:28,160
Speaker 2: Mister and Missus Smith, Bohemian Rhapsody. There's a very recent stuff.

982
00:56:28,840 --> 00:56:31,839
Speaker 2: There's reporting here from books and a bunch of other

983
00:56:31,880 --> 00:56:34,839
Speaker 2: reporting from New York Times in like twenty eleven up

984
00:56:34,920 --> 00:56:39,440
Speaker 2: until this year about Arnan. I think it's milchan is

985
00:56:39,480 --> 00:56:42,759
Speaker 2: how you would say it. But this guy is a

986
00:56:42,800 --> 00:56:47,480
Speaker 2: Hollywood movie producer, billionaire who's also an arms dealer or trader.

987
00:56:47,560 --> 00:56:49,600
Speaker 4: You get in situations working.

988
00:56:49,360 --> 00:56:53,759
Speaker 2: For Israeli intelligence, what you get in situations, but any

989
00:56:54,000 --> 00:56:56,480
Speaker 2: kind of situations We've been talking about this whole time.

990
00:56:56,280 --> 00:56:58,799
Speaker 4: The situations people could get it, you know what I mean.

991
00:56:58,840 --> 00:57:04,560
Speaker 4: There's no there's no know university course, there's no specific

992
00:57:04,680 --> 00:57:07,439
Speaker 4: kind of board certification you have to pass to become

993
00:57:07,480 --> 00:57:08,080
Speaker 4: a producer.

994
00:57:08,120 --> 00:57:10,359
Speaker 3: Well, that's to my point about what Dean Xanak said.

995
00:57:10,360 --> 00:57:11,640
Speaker 3: I thought it was so interesting. I was like, how

996
00:57:11,640 --> 00:57:15,080
Speaker 3: does one train to become a Hollywood producer? And there

997
00:57:15,120 --> 00:57:17,600
Speaker 3: really is no answer to that, because, first of all,

998
00:57:17,640 --> 00:57:19,600
Speaker 3: it's a little vague as to what they even do.

999
00:57:19,720 --> 00:57:22,840
Speaker 3: There is no one thing they do. You know, they

1000
00:57:22,920 --> 00:57:26,160
Speaker 3: oversee things that people will often say they handle the money,

1001
00:57:26,160 --> 00:57:28,400
Speaker 3: but they don't exactly handle the money.

1002
00:57:28,560 --> 00:57:31,520
Speaker 2: Maybe they have secure.

1003
00:57:32,760 --> 00:57:35,720
Speaker 4: That's true. I mean, there's this takes me like, I

1004
00:57:35,760 --> 00:57:38,120
Speaker 4: really appreciate the time when this, this takes me to

1005
00:57:38,560 --> 00:57:41,960
Speaker 4: other episodes I think we should do like Saudi Arabia

1006
00:57:42,080 --> 00:57:45,320
Speaker 4: and golf. I was about to mention the golf tournament

1007
00:57:45,400 --> 00:57:46,200
Speaker 4: has been on my mind.

1008
00:57:46,520 --> 00:57:48,640
Speaker 3: There's some hearings that are taking place as to whether

1009
00:57:48,720 --> 00:57:51,840
Speaker 3: or not that merger is okay.

1010
00:57:51,960 --> 00:57:54,440
Speaker 4: I'm sure the Crown Prince gives a I mean, well

1011
00:57:54,440 --> 00:57:54,720
Speaker 4: that's the.

1012
00:57:54,720 --> 00:57:56,920
Speaker 3: Point, right, is the idea of a of a country

1013
00:57:57,080 --> 00:57:59,640
Speaker 3: with a let's just very say as checkered is those

1014
00:57:59,720 --> 00:58:02,440
Speaker 3: things they were on their head past of human rights

1015
00:58:02,440 --> 00:58:07,480
Speaker 3: abuse and all of a sudden like this giant organization

1016
00:58:07,680 --> 00:58:10,880
Speaker 3: around a professional sport that is huge money in America.

1017
00:58:11,000 --> 00:58:14,040
Speaker 3: Basically feeling almost strong armed into having to merge with

1018
00:58:14,080 --> 00:58:17,680
Speaker 3: these folks to keep relevant. Yeah, confused as to how

1019
00:58:17,720 --> 00:58:18,520
Speaker 3: it came around.

1020
00:58:18,360 --> 00:58:20,919
Speaker 4: Seeing it in Core and it look folks, we're we're

1021
00:58:21,000 --> 00:58:25,760
Speaker 4: singling out Saudi Arabia with good reason. We're not. It's

1022
00:58:25,800 --> 00:58:29,680
Speaker 4: not based on any religious nor racial prejudice. Oh the

1023
00:58:29,760 --> 00:58:31,800
Speaker 4: name for that is the Catha by the way, got it,

1024
00:58:32,200 --> 00:58:35,120
Speaker 4: Thank you once again, but the look out a look

1025
00:58:35,160 --> 00:58:40,360
Speaker 4: at our previous episode on how the US allows Saudi

1026
00:58:40,440 --> 00:58:44,600
Speaker 4: Arabia nationals, often college students, but not always, to commit

1027
00:58:44,640 --> 00:58:47,400
Speaker 4: crimes and escape. Yeah, just a fly, we did culture

1028
00:58:47,960 --> 00:58:48,720
Speaker 4: the hell.

1029
00:58:49,720 --> 00:58:54,560
Speaker 2: Let's look at bribery scandals from twenty twelve where studios

1030
00:58:54,600 --> 00:58:58,800
Speaker 2: were caught bribing Chinese officials to get movies in China.

1031
00:58:58,720 --> 00:59:03,800
Speaker 4: Which have in twenty twelve. Though, yes, it continues. It

1032
00:59:03,840 --> 00:59:08,640
Speaker 4: continues because entertainment is so easy, easily weaponized. It is

1033
00:59:08,720 --> 00:59:12,720
Speaker 4: soft power, it is diplomacy. This stuff continues in the

1034
00:59:12,720 --> 00:59:15,919
Speaker 4: modern day. And you know, I mentioned that I think

1035
00:59:16,400 --> 00:59:20,360
Speaker 4: several of these stories could be deep dive miniseries all

1036
00:59:20,440 --> 00:59:23,360
Speaker 4: on their own. A lot of the research we did

1037
00:59:23,480 --> 00:59:25,920
Speaker 4: hasn't made it into this episode. We have to return

1038
00:59:26,000 --> 00:59:28,960
Speaker 4: for at least two more, one on Ai Film and

1039
00:59:29,000 --> 00:59:33,520
Speaker 4: the Strikes, and probably more than one on these recent

1040
00:59:33,720 --> 00:59:36,600
Speaker 4: Hollywood scandals like you're mentioning, Matt. I mean, for now,

1041
00:59:36,720 --> 00:59:40,120
Speaker 4: all we can say is that Hollywood has been cartoonishly

1042
00:59:40,400 --> 00:59:43,600
Speaker 4: deeply crooked for a very very long time, and at

1043
00:59:43,680 --> 00:59:48,360
Speaker 4: literally every moment of its existence, just behind the curtain.

1044
00:59:48,560 --> 00:59:50,640
Speaker 4: There's been a ton of stuff they don't want you

1045
00:59:50,720 --> 00:59:53,000
Speaker 4: to know. And we say that as all four of

1046
00:59:53,080 --> 00:59:58,560
Speaker 4: us are huge, huge cinophiles and fans of film. Thank

1047
00:59:58,600 --> 01:00:01,880
Speaker 4: you to everybody too, and thank you to our super

1048
01:00:01,880 --> 01:00:05,480
Speaker 4: producer Casey on the case pagrim Casey, how'd we do?

1049
01:00:06,360 --> 01:00:06,440
Speaker 1: That?

1050
01:00:06,520 --> 01:00:06,920
Speaker 2: Was great?

1051
01:00:07,040 --> 01:00:09,920
Speaker 6: I've just been enjoying listening the whole time. Had I

1052
01:00:09,920 --> 01:00:13,080
Speaker 6: had a couple a little small recommendations that throw out there.

1053
01:00:14,760 --> 01:00:18,920
Speaker 6: There's a book called Hollywood Babylon by the recently deceased

1054
01:00:19,240 --> 01:00:22,880
Speaker 6: experimental filmmaker Kenneth Anger, and it kind of is a

1055
01:00:22,920 --> 01:00:28,200
Speaker 6: deep dive into this early Hollywood ceedy underground and a

1056
01:00:28,240 --> 01:00:30,480
Speaker 6: lot of people have said that many of the things

1057
01:00:30,480 --> 01:00:33,280
Speaker 6: that happened in that book are fabricated, so you know,

1058
01:00:33,360 --> 01:00:35,880
Speaker 6: you may not take it as the gospel truth the

1059
01:00:36,000 --> 01:00:38,600
Speaker 6: entire book, but it definitely conveys the sense of that

1060
01:00:38,640 --> 01:00:41,960
Speaker 6: period and just kind of the landscape as it existed.

1061
01:00:42,760 --> 01:00:44,200
Speaker 3: Yeah, it makes me think of that. There's also a

1062
01:00:44,240 --> 01:00:48,280
Speaker 3: podcast by Karina Longworth. It talks about I think there's

1063
01:00:48,280 --> 01:00:51,440
Speaker 3: actually a whole series specifically on Hollywood Babylon, but in

1064
01:00:51,440 --> 01:00:54,080
Speaker 3: general that is a great deep dive podcast into all

1065
01:00:54,120 --> 01:00:55,600
Speaker 3: of the kinds of stuff we're talking about today.

1066
01:00:55,720 --> 01:00:58,080
Speaker 6: And there was also a documentary a few years back

1067
01:00:58,240 --> 01:01:02,480
Speaker 6: called Scottie in the Secret History of Hollywood. It's about

1068
01:01:02,520 --> 01:01:05,920
Speaker 6: a guy who ran a gas station who ended up

1069
01:01:05,960 --> 01:01:10,240
Speaker 6: becoming like the pimp to Hollywood in the form of

1070
01:01:11,880 --> 01:01:16,040
Speaker 6: just finding young men, especially for closeted actors, and would

1071
01:01:16,120 --> 01:01:19,600
Speaker 6: sort of facilitate these hookups that were next to the

1072
01:01:19,640 --> 01:01:22,240
Speaker 6: gas station. There was a show that was Yes, there's

1073
01:01:22,280 --> 01:01:24,160
Speaker 6: also a Ryan Murphy series that kind of.

1074
01:01:25,840 --> 01:01:30,560
Speaker 3: Ye, so it probably is salacious and funny.

1075
01:01:30,600 --> 01:01:34,400
Speaker 6: The documentary is very like upbeat about this guy, and

1076
01:01:34,480 --> 01:01:36,280
Speaker 6: even though he's sort of known as like the pimp

1077
01:01:36,320 --> 01:01:40,800
Speaker 6: of Hollywood, apparently the way he tells it, anyway, he

1078
01:01:40,880 --> 01:01:43,280
Speaker 6: was just sort of like allowing people that were in

1079
01:01:43,280 --> 01:01:45,720
Speaker 6: the closet, which was most people, most actors in that

1080
01:01:45,760 --> 01:01:49,760
Speaker 6: period felt like they had to be closeted. He was facilitating,

1081
01:01:50,480 --> 01:01:52,560
Speaker 6: you know, them to be able to express themselves sexually

1082
01:01:52,560 --> 01:01:55,240
Speaker 6: and so on. So it's it's a very interesting documentary.

1083
01:01:54,800 --> 01:02:01,160
Speaker 4: Anyway, and we know again thank you, Casey, and we

1084
01:02:01,280 --> 01:02:05,080
Speaker 4: know that there's much much more to all of these stories.

1085
01:02:05,320 --> 01:02:09,880
Speaker 4: We'd like to hear the stories of old Hollywood scandal, corruption,

1086
01:02:10,040 --> 01:02:15,040
Speaker 4: crime and conspiracy that speak to you. This didn't have

1087
01:02:15,680 --> 01:02:17,960
Speaker 4: deep dives in it. It is more of a grab

1088
01:02:18,040 --> 01:02:21,640
Speaker 4: bag to set us up for future actions. The way

1089
01:02:21,720 --> 01:02:25,040
Speaker 4: that the French government has changed the laws about surveillance,

1090
01:02:26,120 --> 01:02:31,440
Speaker 4: deep cuts, callbacks. We want you, we want you to

1091
01:02:31,520 --> 01:02:33,880
Speaker 4: call on us. We want you to reach out and

1092
01:02:33,960 --> 01:02:36,800
Speaker 4: touch faith. On the internet. You can find us in

1093
01:02:36,840 --> 01:02:38,200
Speaker 4: all sorts of platforms.

1094
01:02:38,280 --> 01:02:40,760
Speaker 3: Also, don't forget to touch grass. And by the way,

1095
01:02:40,960 --> 01:02:41,880
Speaker 3: being make sure you do that.

1096
01:02:44,040 --> 01:02:45,480
Speaker 4: I know that expression. I hate it.

1097
01:02:45,520 --> 01:02:47,160
Speaker 3: I think it's funny. But Ma's surprised, you don't know, Matt.

1098
01:02:47,200 --> 01:02:52,400
Speaker 3: It's the idea that people are like, it's like, you

1099
01:02:52,480 --> 01:02:53,680
Speaker 3: got to get out and touch grass.

1100
01:02:54,080 --> 01:02:55,080
Speaker 2: You know, I thought you were.

1101
01:02:55,240 --> 01:02:57,440
Speaker 4: But it makes me think of touch cloth, which is

1102
01:02:57,440 --> 01:03:01,160
Speaker 4: an old school expression for having to take our so bad.

1103
01:03:01,400 --> 01:03:05,640
Speaker 3: That's right, sure, yeah, But apparently in Eldenring, the idea

1104
01:03:05,760 --> 01:03:09,280
Speaker 3: of having to touch grace when you find the sites

1105
01:03:09,320 --> 01:03:11,120
Speaker 3: of grace is sort of a little wink wink and

1106
01:03:11,240 --> 01:03:14,400
Speaker 3: nod to the term touchgrass, reminding you to don't just

1107
01:03:14,480 --> 01:03:17,680
Speaker 3: live in elden Ring, go outside. But yeah, anyway, but

1108
01:03:17,760 --> 01:03:19,960
Speaker 3: you can reach us. Indeed all over the internet. We

1109
01:03:20,000 --> 01:03:23,840
Speaker 3: are at conspiracy stuff on Facebook, Twitter and YouTube, Conspiracy

1110
01:03:23,840 --> 01:03:26,440
Speaker 3: Stuff show on Instagram and TikTok. Oh.

1111
01:03:26,520 --> 01:03:28,920
Speaker 2: Yes, you can reach us on the phone lines. It's

1112
01:03:28,920 --> 01:03:34,919
Speaker 2: a voicemail. Our number is one eight three three STDWYTK.

1113
01:03:35,440 --> 01:03:37,640
Speaker 2: When you call in, give yourself a cool nickname, not

1114
01:03:37,760 --> 01:03:39,840
Speaker 2: your government name. Man, let us know if we can

1115
01:03:39,960 --> 01:03:40,800
Speaker 2: use your message on.

1116
01:03:40,800 --> 01:03:42,360
Speaker 3: The Am Jazz to that baby.

1117
01:03:42,480 --> 01:03:46,200
Speaker 2: I'm trying my best. Oh yeah, use your name and

1118
01:03:46,360 --> 01:03:48,680
Speaker 2: message if you got three minutes, say anything you want.

1119
01:03:48,960 --> 01:03:51,320
Speaker 2: If you don't want to use voicemail, why not instead

1120
01:03:51,440 --> 01:03:53,280
Speaker 2: use our good old fashioned email.

1121
01:03:53,400 --> 01:04:15,200
Speaker 4: We are conspiracy at iHeartRadio dot com.

1122
01:04:15,320 --> 01:04:17,400
Speaker 2: Stuff they don't want you to know is a production

1123
01:04:17,480 --> 01:04:22,040
Speaker 2: of iHeartRadio. For more podcasts from iHeartRadio, visit the iHeartRadio app,

1124
01:04:22,120 --> 01:04:24,960
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.