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Speaker 1: Look Mayer. Oh, I see you and look over there.

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Speaker 1: How is that culture? Yes? Wow, lost culture? Lost CULTURESA

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Speaker 1: is calling.

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Speaker 2: You were singing the amazing song Dreaming by Blondie before

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Speaker 2: we got into the mic.

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Speaker 1: I was gonna say, this episode is going to be

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Speaker 1: a lot more singing and giggling in way less tears. Promise, Promise, promise.

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Speaker 1: Oh stop, I'm singing Dreaming by Blondie and I'm in

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Speaker 1: a really good mood.

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Speaker 3: When I met you in a restaurant.

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Speaker 1: Can we first say one thing and let's relitigate this

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Speaker 1: because it's really important culture. I wouldn't go back in time,

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Speaker 1: and I wouldn't, like, you know, back to the future

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Speaker 1: this because I think everything worked out. I'm about to

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Speaker 1: talk about Trix Mittel. Wow, Tricky Mittel won that she

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Speaker 1: won that lip sync to Dreaming by Blondie in season

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Speaker 1: seven of Rupaul' Drag Race and Pearl lost.

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Speaker 2: Oh, because I was about to ask who did she

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Speaker 2: even go up against? But that was Yes, that was

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Speaker 2: her and Pearl and Pearl was in that snake that

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Speaker 2: cobra outfit was in that like beautiful silk cheap how situation.

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Speaker 1: I will never forget, like I don't think they do

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Speaker 1: What's the Tea podcast anymore? But Ruin Michelle had on

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Speaker 1: Debbie Harry and Blondie, who were the guest judges literally

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Speaker 1: for that episode. Yeah, and they were talking about that

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Speaker 1: elimination and Rue was like, but don't you think that

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Speaker 1: gurl was really giving Blondie, you know, And Debbie Harry

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Speaker 1: just goes, no, we like Tricksy. Wow. Now was this

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Speaker 1: like after Tricksy had become Tricksy? No, this was well

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Speaker 1: before this was I mean, the only thing we knew about.

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Speaker 2: Trixy at the time was Wisconsin Girl eliminated that episode.

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Speaker 1: Yeah, yeah, yeah. You know the first time I ever

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Speaker 1: heard that Trixie Mattel was like popping off in like

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Speaker 1: a way that felt like good and individual to her

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Speaker 1: was Dave went to go see her show in Pete Town,

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Speaker 1: like years and years ago, a fixture, and he was like,

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Speaker 1: no one gets it, but Trixie Mattel is fucking incredible.

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Speaker 1: And then obviously very quickly after that, everyone got it,

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Speaker 1: and now Tricksy is the legend.

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Speaker 2: The think about Tricksy is like, she will never abandon

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Speaker 2: her roots and she will continue to be a Peetown girl.

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Speaker 1: M she was back, but I think she's on her

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Speaker 1: sabbatical right now. She was just hanging out and she

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Speaker 1: just fucking deserves that. No one in entertainment deserves a

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Speaker 1: break more than fucking tricksy man tell and I'm my.

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Speaker 2: God, she is one of those people. I have not

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Speaker 2: moved to do this too much. But when she put

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Speaker 2: out that video being like I'm gonna go on a break,

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Speaker 2: I was like, I'm.

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Speaker 1: Gonna text the girl. I texted her too.

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Speaker 2: I was like, take as much as you need, Like

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Speaker 2: we all have been there. We've all like fucking fizzled

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Speaker 2: and sizzled, and you gotta sizzle.

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Speaker 1: You know, she's a sizzler. When you're such a sizzler,

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Speaker 1: you need to take a break. When you're a hot Fahida,

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Speaker 1: you gotta sizzle. I think we are. Are we both Fahidas?

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Speaker 1: Are we in our Fahida moment?

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Speaker 2: I found out there's some like YouTuber who for somebody

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Speaker 2: sent I stumbled on this video where he like teaches

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Speaker 2: you how to like pose for photos, and I was like, sure,

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Speaker 2: I'll watch this. I forget what his name is, but

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Speaker 2: he I don't know if you mentioned the term sizzling,

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Speaker 2: but you got to sizzle into a pose. You can't

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Speaker 2: just like you can't, like you gotta like kind of

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Speaker 2: shake it up, but kind of sizzle it off.

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Speaker 1: Like don't just like hold the pose. You gotta like

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Speaker 1: relax into it and sizzle. You know. Yes, I'm at

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Speaker 1: Fijida for sure. When I'm in front of the camera,

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Speaker 1: I want to sizzle it. I want to scintillate. I

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Speaker 1: want to be a Fahida.

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Speaker 2: Wow, cut to me naming my daughter Fahida. Oh my god,

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Speaker 2: that's my god gorgeous name? Is that a nominee? I

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Speaker 2: think I think the most gorgeous name.

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Speaker 1: What was the category name? Best name for a girl

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Speaker 1: that you haven't even thought of yet?

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Speaker 2: I think that's gonna be a category next year for

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Speaker 2: cultural words.

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Speaker 1: Oh I love Fahida. Fahida, Fahida. Stop it now? Oh

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Speaker 1: that's good? See what I mean? Like already this is

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Speaker 1: off to a different foot. And can I just say,

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Speaker 1: can I just say something to your podcast to all

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Speaker 1: the readers Katie's publicist finalists who reached out to me

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Speaker 1: after last week, I just want to say that I

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Speaker 1: realize how lucky I am to have you guys. You

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Speaker 1: all checked on me, and I want you to know.

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Speaker 1: I am fine. I had a really hard week and

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Speaker 1: I went to therapy and I worked some shit out

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Speaker 1: and I've taken some new steps and it's fine, and

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Speaker 1: I definitely feel all those things and they're all true.

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Speaker 1: But I don't No one needs to worry about me.

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Speaker 1: They made me a fucking playlist they like collaborate on

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Speaker 1: all playlist for me altogether, and they sent it to

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Speaker 1: me for Happy Music to get me out of my

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Speaker 1: little Spotify ret that I'm in. I just want to

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Speaker 1: acknowledge and say that we are the luckiest. We're so

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Speaker 1: lucky idiots to have you guys, and just love you

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Speaker 1: guys so much. And you because I want to tell

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Speaker 1: you something. I had to self immolate and listened to

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Speaker 1: that episode for Edits and went through it again, and

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Speaker 1: you were just such a good friend to me. You

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Speaker 1: are so that girl. I can't no, you really are

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Speaker 1: that girl. I knew you were.

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Speaker 2: I knew you were that girl. I went to bed

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Speaker 2: the other night. My final thoughts before I drifted off

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Speaker 2: into sleep was my girl, Matt Rogers, what an angel

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Speaker 2: on this earth? I'm so lucky?

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Speaker 1: What made you think of that? When you were laying

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Speaker 1: I just had fun. Oh shut up, you fool. Don't

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Speaker 1: give yourself credit. Never give myself credit. Promise you girl.

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Speaker 2: Well, you know, I think this is a perfect I

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Speaker 2: mean that is a perfect distillation of the pure love

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Speaker 2: like I feel especially now fandom, even though I don't

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Speaker 2: really love that word, but like a fandom is a

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Speaker 2: reflection of the person and the reason why we have,

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Speaker 2: why you have these really caring people who made that

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Speaker 2: playlist for you is because you give that out. It

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Speaker 2: is what goes out goes in and vice versa. So

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Speaker 2: doesn't surprise me at all, but I'm delighted.

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Speaker 1: To hear that. Well, I am in love with all

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Speaker 1: of you and I always will be. What else? So

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Speaker 1: should we get into the fucking colture? Because there has

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Speaker 1: been culture? Can I tell you who whose concert I

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Speaker 1: saw the other night? You went to Jone Jet and

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Speaker 1: Elanis Morrissett. I went to Okay. So this was the

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Speaker 1: this phenomenon that has been happening lately of I'll just

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Speaker 1: be like buying something from a store and the cashier

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Speaker 1: will just tell me about an event and I'll just

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Speaker 1: go Cashier's No, I told you a few weeks ago,

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Speaker 1: I was at the Beachwood Cafe and I think I

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Speaker 1: was getting like a green juice or something, and the

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Speaker 1: girl was like, I saw the best concert last night.

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Speaker 1: I'm the biggest fan of Jesse j and I went

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Speaker 1: to go see it and it was amazing, and it

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Speaker 1: was like at the Terragram Ballroom. It was like a

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Speaker 1: couple hundred people and she was shredding, and like, I

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Speaker 1: was like, does she perform again tonight? Turns out she was.

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Speaker 1: I went incredible. It happened again. Jared and I were

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Speaker 1: in Studio City, like at a weed dispensary and the

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Speaker 1: guy was like, I'm going to see Alanis morris set

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Speaker 1: tonight and I was like, what the fuck? That is

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Speaker 1: a show that I would one hundred percent go to.

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Speaker 1: So then the next night it was Morgan Wade, who

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Speaker 1: we missed. Oh my god, Jon Jat we came in

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Speaker 1: halfway through incredible, and then Alanis Morrissett bitch. This was

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Speaker 1: truly first of all groundbreaking vocal technique. Of course, I'm

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Speaker 1: telling you, like you don't think of her as one

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Speaker 1: of the singers. She is one of the singers. Her instrument,

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Speaker 1: her technique is nuts.

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Speaker 2: Resonant, open like expansive voice, on her. Let me tell

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Speaker 2: you she did a performance of Mary Jane. You've heard

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Speaker 2: Mary Jane. You know the song Mary Jane by Alanis Morissett.

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Speaker 2: What's the man of Mary Jane? Had a hard day?

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Speaker 1: I know Mary Jane by Mary J. Blige. Oh nah,

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Speaker 1: gimme so different. Also a great technique on her. Well.

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Speaker 1: I first knew the song Mary Jane because Nicki McKibben

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Speaker 1: sang it on American Aisle back in the day, God

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Speaker 1: Wow season one, God Rass season one. But then I

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Speaker 1: got into Alanis amazing. She did a performance of Mary

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Speaker 1: Jane at the Key of the Other Night. That was

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Speaker 1: like a moment in culture. It was a moment in

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Speaker 1: culture to say nothing of all the hits. You live,

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Speaker 1: you learn, Oh give it up for you live, you

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Speaker 1: learn on your feet, on your feet, for you, if

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Speaker 1: you're in your car, get up on your feet in

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Speaker 1: a pod. You better shut up, you better shut up,

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Speaker 1: You live, you learn? Oh my god. You know what's

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Speaker 1: also funny about Elanis is like she's obviously synonymous with

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Speaker 1: like female rage. Yes, and it could not have been

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Speaker 1: more of a joyful show like obviously like towards the

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Speaker 1: end she did you ought to know, and everyone was

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Speaker 1: popping off. But it was so fun to get that anger.

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Speaker 1: Can I say I love anger? Tap in to the anger, honey,

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Speaker 1: it's fun to just let it go. Like you should

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Speaker 1: have seen me in therapy and EMDR last week.

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Speaker 2: Holy shit, anger can only be the really, it cannot

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Speaker 2: be the fodder for more anger. It cannot beget more No,

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Speaker 2: that is that is the only note on anger that

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Speaker 2: I have.

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Speaker 1: You're so right, but I love anger. Anger is I mean,

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Speaker 1: like expressing it in a healthy way has been something. Really,

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Speaker 1: It's actually given me peace. That's amazing because I've realized

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Speaker 1: for quite some time now I have had so much

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Speaker 1: anger that I have not expressed. And in doing this therapy,

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Speaker 1: I'm doing like I finally expressed all my anger and

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Speaker 1: I realized what it's really about. And it's been incredible.

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Speaker 1: And then going to that concert, I was just like, wow,

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Speaker 1: you ought to know, like this is really it's very

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Speaker 1: useful for me right now. Oh my god.

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Speaker 2: I mean, oh, that is a pertinent song just on

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Speaker 2: the note of anger, and to just bring back.

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Speaker 1: A piece of culture, like here's some words.

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Speaker 4: You live, you learn, you love, you learn, you cry,

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Speaker 4: you learn, you lose, you learn, you bleed, you learn,

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Speaker 4: you scream, you learn. That is life. That is the

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Speaker 4: directionality we love to see. All roads lead to you learn. Okay, babe,

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Speaker 4: let me tell you something. Never have lyrics been more

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Speaker 4: simple but also so dynamic. And I'm telling you just

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Speaker 4: say nothing of the hook.

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Speaker 1: In the way it's written in sung but like that

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Speaker 1: is a cathartic moment in music. Like just to see

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Speaker 1: it so many years later really hit in the same

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Speaker 1: way for this insane cross section of people. I mean

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Speaker 1: it was very sapphic, yes, of course, but it was

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Speaker 1: also gay, but it was also straight women with their

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Speaker 1: husbands and husbands that were really excited to be there.

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Speaker 1: And you're talking about someone that everyone respects. Show me

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Speaker 1: someone who doesn't respect Alanis Morissett.

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Speaker 2: I want to say so in this book Status and

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Speaker 2: Culture that I have tried to extole it to you.

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Speaker 2: You've bought I have it. So he has a timetable

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Speaker 2: in there for how long it takes for something, and

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Speaker 2: let's talk about it on the podcast and readers, Kese

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Speaker 2: publicist finalist, let's get your take on this. So this

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Speaker 2: is the timetable that he has.

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Speaker 1: Well, I'll just say this is from the book Status

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Speaker 1: and Culture by W. David Mars how our desire for

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Speaker 1: social rank creates taste, identity, art, fashion, and constant change.

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Speaker 1: And actually, kind of on face value, it kind of

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Speaker 1: speaks to mean boys a little bit too, because that

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Speaker 1: book is a lot about how culture politics flows downhill

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Speaker 1: from culture, like in just about like interesting things to

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Speaker 1: think about as of late. Okay, so here we go.

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Speaker 2: In the book, there is a table based on the

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Speaker 2: art historian James Laver, published in nineteen thirty seven. It's

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Speaker 2: a now famous chart outlining how evaluations of certain trends

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Speaker 2: change over time. One year after something comes out, it's dowdy.

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Speaker 2: Ten years after something comes out, it's hideous. Twenty years

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Speaker 2: after its time, it's ridiculous. Thirty years after its time,

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Speaker 2: it's amusing. Fifty years, it's quaint seventy years, it's charming,

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Speaker 2: one hundred years, it's romantic, one fifty it's beautiful. I

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Speaker 2: don't know that that applies anymore. This feels very specific, but.

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Speaker 1: I'm just saying, like I think we're rounding.

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Speaker 2: I think like there's been enough of a patina on

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Speaker 2: Jagged Little Pill that it is a classic for all time.

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Speaker 2: But we were talking about Anthony Keatus on our other

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Speaker 2: podcasts Two Guys, Five Rings based on the closing ceremony.

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Speaker 2: I'm just I'm connecting Atlantis to Anthony, and I might

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Speaker 2: be a little not working, but like there's something about

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Speaker 2: those two people to me as we consume them now

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Speaker 2: in the culture, as they perform their old work where

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Speaker 2: we go, that is a beautiful, aesthetically important thing.

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Speaker 1: It's authenticity. And I think that's another thing that I

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Speaker 1: was leaving the concert saying, was at no point did

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Speaker 1: that feel like a contrived performance at all. I don't

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Speaker 1: think there's a contrived bone in her body and she

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Speaker 1: obviously I don't think Jaggi Littlepill was her first album

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Speaker 1: and obviously was the breakthrough, but I believe she struggled

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Speaker 1: for a second and then released Jagged Little Pill, and

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Speaker 1: it was this like cultural moment that harnessed like a

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Speaker 1: feeling and was able to you know, hit the mainstream.

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Speaker 1: And I will say it's not even just the aesthetics

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Speaker 1: of what she was doing, which feel like Alanis. You know,

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Speaker 1: she had her Alanis hair, she was working the stage

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Speaker 1: like Alanis Morisset, like feeling like she had an aged

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Speaker 1: a day because probably her spirit, like her authenticity has

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Speaker 1: always been there, and that maybe why, like ever since

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Speaker 1: Jagged Little Pill, like she's had successes, but nothing on

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Speaker 1: that level because she probably was resistant to selling out

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Speaker 1: a lot, you know what I mean. Like there was

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Speaker 1: the Jagged Little Pill musical a few years ago, which

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Speaker 1: I feel like felt a little odd because that musical

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Speaker 1: like marrying with sort of like the way the musical

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Speaker 1: theater can be in a contemporary sense where it feels

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Speaker 1: a little bit like flame, like you know what I'm saying.

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Speaker 2: Yeah, or it's relationship to audience and that never being

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Speaker 2: the relationship that Alanis had to her audience, right.

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Speaker 1: And I also think like we're talking about these lyrics

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Speaker 1: like You Live You Learn, like when Alanis is performing

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Speaker 1: them from her authentic place as a then young person

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Speaker 1: who's like, you know, working through this, that's so different

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Speaker 1: from like you know, six or seven, you know, thirty

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Speaker 1: five year olds who booked a musical theater job singing

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Speaker 1: You Live You Learn, Like it's just not gonna it's

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Speaker 1: not gonna hit the same. But I don't know, I

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Speaker 1: guess what I'm saying is it's like Jagged Little Pill,

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Speaker 1: like that's an authentic piece of work and to talk

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Speaker 1: about Anthony Keatis, like that's like an authentic artist. Yeah,

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Speaker 1: and they're both authentic artists. And there were moments in

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Speaker 1: this concert that she was doing things like there's a

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Speaker 1: moment where she just spins in a circle for like

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Speaker 1: a minute, wow, and then collapses on stage with her

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Speaker 1: hair in her face and finish the song obviously extremely

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Speaker 1: nauseous and dizzy, and I'm like, she just put herself

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Speaker 1: in that state so that she could like get this

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Speaker 1: across the way she needs to get it across, and like,

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Speaker 1: I don't know, it just felt very genuine. Everything about

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Speaker 1: it felt genuine. Everything about the messaging was so purely

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Speaker 1: from her. Like the second song in the entire set

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Speaker 1: was accompanied with graphics that were like it will take

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Speaker 1: two hundred and twenty years for women at this rate

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Speaker 1: to achieve equal pay, Like every six seconds, this happens

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Speaker 1: to a woman like these. We were two songs in

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Speaker 1: and she was like, already, I'm letting you know that

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Speaker 1: I am this person who's still concerned about these issues

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Speaker 1: and I am still out here to speak to this

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Speaker 1: stuff that I've wanted to speak to from the beginning,

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Speaker 1: which is about that it's hard to be a fucking

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Speaker 1: woman in the way that you're treated by society and

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Speaker 1: the men in your life and the fucking narcissists that

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Speaker 1: want to take advantage of you and your youth and

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Speaker 1: your vitality and your talent and your shine, like that

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Speaker 1: is universal. But she hasn't lost that, you know. It's

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Speaker 1: like she as a developing, maturing artist, has not lost

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Speaker 1: the edge that came along with her in her debut

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Speaker 1: and never got sanded down. No, and it feels like

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Speaker 1: she just wrote it, you know, like it's like that

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Speaker 1: music really still works. It was cool.

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Speaker 2: I think it's time for us to announce that Alanis

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Speaker 2: Morris sat Oh my god, is in the top fifty

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Speaker 2: of the Iconic four hundred.

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Speaker 1: No, you were announcing that today. She's in the top fifty.

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Speaker 1: That's all we'll say. We can't say where she landed,

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Speaker 1: but we can say she's in the top fifty. And

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Speaker 1: you know what she is. And if you thought maybe

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Speaker 1: we forgot about the Iconic four hundred, you're only a

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Speaker 1: little bit right.

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Speaker 2: It's coming. It's coming, it's time, it's been time. We're

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Speaker 2: just gonna say full disclosure, full transparency for the next

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Speaker 2: couple months. Matt and I will be on opposite coast.

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Speaker 2: We're gonna do this over zoom in our respective wherever

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Speaker 2: we find ourselves. I guess I was going to say homes,

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Speaker 2: but we're not even gonna be home necessarily. Don't worry.

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Speaker 2: Matt has since found a sense of mooring despite the

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Speaker 2: fact that he is going to be bouncing around this

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Speaker 2: great nation of ours. I'm good, but we're just gonna

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Speaker 2: be doing this over zoom. So we all we have

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Speaker 2: made the joint decision to not have as many guests

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Speaker 2: in that time because we do prefer it when it's

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Speaker 2: in person, that's all.

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Speaker 1: Yeah, I think the guests are sort of a thing

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Speaker 1: where it's like, let's just make sure that it can

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Speaker 1: be the best version of what that episode is, you

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Speaker 1: know what I'm saying, And those are obviously when we're

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Speaker 1: in person, and can you know, figure video out and

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Speaker 1: do all that stuff, just because now that we've set

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Speaker 1: that expectation, we want to keep meeting that expectation. But

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Speaker 1: life being the way it is, Bowen and I are

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Speaker 1: not always together together. And to quote the title of

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Speaker 1: a Patty Harrison film, which everyone should be seeing, by

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Speaker 1: the way, it's so good in the spirit Award nominee

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Speaker 1: Patty Harrison. I just texted her the other day to

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Speaker 1: ask her a question. I got the green text back,

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Speaker 1: which is so Patty coded. What happened? I don't know

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Speaker 1: where the fuck in the world she is, Like, I

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Speaker 1: I wish I knew. She's one of the most difficult

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Speaker 1: people to get a hold of. And I will say

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Speaker 1: that publicly.

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Speaker 2: Yes, and she would talk to that. Miraculous that you

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Speaker 2: even got a text back And this is no, no, no.

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Speaker 1: I didn't. I said. What I mean is I said

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Speaker 1: my text and the green thing came up, and I

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Speaker 1: was like, Okay, well she's either dead or in Europe.

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Speaker 2: Let's hope it's the latter. Let's not put that thought

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Speaker 2: in people's heads.

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Speaker 1: No, I don't think she's dead. Do you think Patty's

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Speaker 1: in the Iconic four hundred? Yeah? Yeah, but really low,

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Speaker 1: really low. I think she just barely made it. She's

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Speaker 1: above Blake Lively, who is having a great week. Did

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Speaker 1: we announce that Blake Lively was never to announced? We

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Speaker 1: did announce that Blake Lively was number four her. Blake

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Speaker 1: Lively is number four hundred on the list of the

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Speaker 1: Iconic four hundred, and I guess we should get into this.

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Speaker 1: So there's drama. There's drama over the book. It ends

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Speaker 1: with us and not just within its pages.

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Speaker 2: Oh right, can you fill me in on this. I

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Speaker 2: don't really care to know more about the drama.

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Speaker 1: Honestly. It's one of those stories that I guess because

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Speaker 1: she is so famous like that. It's one of those

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Speaker 1: things that everyone sort of now talks about because I

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Speaker 1: too didn't care that much. Not to say I don't

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Speaker 1: love Blake. I do love Blake. I actually auditioned for

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Speaker 1: this movie. Oh, I got a new agent, and I

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Speaker 1: think he was like trying to send me on more

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Speaker 1: like atypical things. So I went on tape. Okay, this

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Speaker 1: was funny. It was the week of my breakup last year,

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Speaker 1: like a year and a half when I went through

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Speaker 1: that thing, and I was so I was crying every day,

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Speaker 1: sobbing every day, and I had to cry on this

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Speaker 1: tape and you were like, use it. But I also

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Speaker 1: had to be straight, So I was like I had

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Speaker 1: to like I had to manage, like how to maintain

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Speaker 1: my emotion but also seem like a love interest of

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Speaker 1: Blake Lively, who by the way, was named Atlas. Gotta

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Speaker 1: cut it out. With this name. But it was just

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Speaker 1: so funny because me crying as a straight man, like

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Speaker 1: I don't really think plays well. You can.

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Speaker 2: You were raw enough to deliver on the crying, but

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Speaker 2: you there's that extra refraction where you're like, I gotta

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Speaker 2: be okay, it's too much though, the wires get too cross.

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Speaker 1: Because it's like you're not supposed to have those checkpoints

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Speaker 1: where you're like thinking too hard about like how you're

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Speaker 1: expressing the emotion. The emotion should just like be there

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Speaker 1: or in a way that you christrain it and then

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Speaker 1: give it. Meanwhile, like I was not in control of

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Speaker 1: my emotions, and you think, oh, this is a great

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Speaker 1: opportunity to go on tape for something emotional because I am,

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Speaker 1: And then it just didn't match up with whatever whatever

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Speaker 1: obviously didn't book. You're not gonna see me like making

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Speaker 1: love to Blake Lively in cinema, I don't think anytime soon.

400
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Speaker 1: I don't know, but suffice it to say I hadn't

401
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Speaker 1: heard about this movie since then. I really didn't know.

402
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Speaker 1: It was like this huge book. It's apparently one of

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Speaker 1: the biggest books. And I guess Blake Lively and the

404
00:20:53,760 --> 00:20:58,040
Speaker 1: director Justin Baldoni like absolutely hate each other. It's one

405
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Speaker 1: of those like, don't worry, Darling situations where it's just

406
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Speaker 1: like the director and the entire cast and creative team

407
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Speaker 1: like cannot promote the movie together or whatever the fuck.

408
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Speaker 1: And I don't actually know why. I've heard like rumors

409
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Speaker 1: as to why, but it's one of those situations where

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Speaker 1: it's like now bled into the public and it's it's

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Speaker 1: that right.

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Speaker 2: The only bit I caught was Jenny Slate art pal Love,

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Speaker 2: previous guest of the show, being on a red carpet

414
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Speaker 2: being asked like, it must have been so amazing to

415
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Speaker 2: see justin like be like the director and like be

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Speaker 2: on camera and like, god, what was that like for you?

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Speaker 2: And she goes, yeah, I mean I'm totally burchering this.

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Speaker 2: But she was like, it's hard to do both. Yeah,

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Speaker 2: it's really hard to do.

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Speaker 1: Yeah. She fully did not answer the question, but in

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Speaker 1: a way that was very obviously like expertly touching it.

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Speaker 1: But also no, it was chic and team Jenny whatever

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Speaker 1: side she's on, which I believe is blakes. But I mean, yeah,

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Speaker 1: it just seems like one of those things where it's

425
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Speaker 1: very obviously a bad situation and to watch people navigate

426
00:22:02,760 --> 00:22:06,919
Speaker 1: that in public is so it's frustrating obviously because you know,

427
00:22:06,960 --> 00:22:08,680
Speaker 1: no one wanted it like that, But it is a

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Speaker 1: little bit funny where it's just like and now of

429
00:22:10,560 --> 00:22:12,679
Speaker 1: course everyone's coming in with their opinions on what it

430
00:22:12,760 --> 00:22:15,720
Speaker 1: must be. You know, it's it's also a rough book,

431
00:22:16,200 --> 00:22:18,840
Speaker 1: and I like, yeah, have you seen the trailer. I

432
00:22:18,840 --> 00:22:21,720
Speaker 1: haven't seen any of It's like half romantic comedy. And

433
00:22:21,760 --> 00:22:26,080
Speaker 1: then this dude becomes like very violent and abusive, and

434
00:22:26,160 --> 00:22:28,159
Speaker 1: so I don't really know how you get that across

435
00:22:28,160 --> 00:22:31,399
Speaker 1: the people. Yeah, I mean tw domestic abuse to the

436
00:22:31,600 --> 00:22:34,720
Speaker 1: nth degree. But that's what the movie is giving. So

437
00:22:35,119 --> 00:22:36,919
Speaker 1: on top of all that, it can't feel good to

438
00:22:36,960 --> 00:22:40,320
Speaker 1: have like strife, and you know, we just hope everyone's okay,

439
00:22:40,320 --> 00:22:41,760
Speaker 1: Blake looks great on the carpets.

440
00:22:42,080 --> 00:22:44,679
Speaker 2: It can't be good to have strife. That's that just

441
00:22:44,720 --> 00:22:47,719
Speaker 2: applies across the board. And that's actually a rule of culture.

442
00:22:47,760 --> 00:22:49,399
Speaker 2: What number is that six?

443
00:22:50,359 --> 00:22:55,160
Speaker 1: It can't be good to have stre And that's just across.

444
00:22:55,160 --> 00:23:06,680
Speaker 2: Across the board unless it's cloud strife from Final Fantasy. Steven, Now,

445
00:23:07,240 --> 00:23:10,560
Speaker 2: where does this leave us in terms of this ongoing

446
00:23:10,560 --> 00:23:15,479
Speaker 2: conversation culturally that we're all having about the purpose of

447
00:23:15,520 --> 00:23:18,720
Speaker 2: a press tour at this point, it makes me feel nothing.

448
00:23:18,840 --> 00:23:21,960
Speaker 2: I'm like, just tell me if the movie's worth seeing.

449
00:23:22,320 --> 00:23:24,240
Speaker 2: I don't need to watch the cast play games on

450
00:23:24,359 --> 00:23:27,320
Speaker 2: Vanity Fair, you know, doing like, well, do you not

451
00:23:27,440 --> 00:23:27,720
Speaker 2: need that?

452
00:23:27,960 --> 00:23:31,200
Speaker 1: Perfect? I don't think I need it. I really don't.

453
00:23:31,640 --> 00:23:34,159
Speaker 1: Oh got to talk about your girl on hot Ones.

454
00:23:34,560 --> 00:23:38,159
Speaker 1: Arianna absolutely slaid hot Ones. She was HOI rock, she

455
00:23:38,320 --> 00:23:41,280
Speaker 1: was poised. It was graceful the hot ones and also

456
00:23:41,560 --> 00:23:44,040
Speaker 1: and funny. I love the way she talks through her

457
00:23:44,080 --> 00:23:47,639
Speaker 1: experience like she's just like hmm, like she really is given,

458
00:23:47,960 --> 00:23:50,360
Speaker 1: like it started getting Meisner.

459
00:23:51,440 --> 00:23:53,560
Speaker 2: It's very sense memory or is that out there? I

460
00:23:53,600 --> 00:23:54,840
Speaker 2: don't even know which one of that is.

461
00:23:55,200 --> 00:23:55,480
Speaker 1: Hmmm.

462
00:23:56,080 --> 00:23:59,200
Speaker 2: It's making me realize that I don't like hot sauce.

463
00:23:59,640 --> 00:24:02,480
Speaker 2: So she's very in touch with her emotions.

464
00:24:02,520 --> 00:24:05,199
Speaker 1: As we all know. I loved her hot Ones and

465
00:24:05,240 --> 00:24:07,040
Speaker 1: so this is what I mean, Like, I love hot

466
00:24:07,080 --> 00:24:10,800
Speaker 1: Ones as a press chour, hot Ones, hot ones on

467
00:24:10,840 --> 00:24:14,439
Speaker 1: hot Ones. Need you on hot Ones? Have I asked? Never? Babe?

468
00:24:14,880 --> 00:24:16,760
Speaker 1: Can I tell you something it's not because of interest

469
00:24:17,040 --> 00:24:18,520
Speaker 1: or you don't want to do it? Oh? No, I

470
00:24:18,520 --> 00:24:19,439
Speaker 1: would love to do it.

471
00:24:19,480 --> 00:24:22,240
Speaker 2: I just I think I've seen every single episode that

472
00:24:22,320 --> 00:24:26,200
Speaker 2: is one of my favorite things ever anything in media

473
00:24:26,240 --> 00:24:27,960
Speaker 2: that is one of my favorite things. And Sean Evans,

474
00:24:28,000 --> 00:24:30,920
Speaker 2: I think is one of our best interviewers hands down.

475
00:24:31,280 --> 00:24:34,600
Speaker 1: Here's an idea, why don't we do an in person

476
00:24:34,680 --> 00:24:38,680
Speaker 1: with Sean Evans for Lost Culch If you'd be into

477
00:24:38,720 --> 00:24:41,440
Speaker 1: it and do it while we do Lost Culture? Could

478
00:24:41,520 --> 00:24:41,960
Speaker 1: that work?

479
00:24:42,400 --> 00:24:46,040
Speaker 2: I think there's something legal there, Like we can be fun.

480
00:24:46,720 --> 00:24:48,800
Speaker 2: What do you mean, No, it's his it's his ip loo.

481
00:24:48,920 --> 00:24:51,840
Speaker 2: He has to be protective of it. We understand, but like, look,

482
00:24:51,880 --> 00:24:54,280
Speaker 2: we get it, Like, look, we can do I don't

483
00:24:54,280 --> 00:24:57,000
Speaker 2: think some money on watching Happens Live, Sean can't do

484
00:24:57,040 --> 00:24:59,320
Speaker 2: hot ones on Lost Culture stuts, you know what I mean.

485
00:24:59,359 --> 00:25:01,320
Speaker 1: It's like I think there in his court, that's in depth,

486
00:25:01,320 --> 00:25:03,720
Speaker 1: balls in his court, and I'm just saying, hold on wait.

487
00:25:03,760 --> 00:25:06,840
Speaker 1: Banna says he did hot ones on Ron Burgundy Live

488
00:25:06,840 --> 00:25:08,880
Speaker 1: and it was very fun and he was very lovely. Okay,

489
00:25:08,960 --> 00:25:12,159
Speaker 1: so we're saying he's connected to the family, just saying

490
00:25:13,000 --> 00:25:17,399
Speaker 1: I would be really excited to do a one. Of

491
00:25:17,440 --> 00:25:20,320
Speaker 1: course he would, and Bowen would too. You like spice,

492
00:25:20,600 --> 00:25:23,000
Speaker 1: can I tell you, I don't know how much I

493
00:25:23,080 --> 00:25:25,280
Speaker 1: like spice anymore, because I used to identify as like,

494
00:25:25,280 --> 00:25:27,160
Speaker 1: like I said a couple weeks ago, like a daredevil,

495
00:25:27,440 --> 00:25:30,720
Speaker 1: and that sometimes included spice. But there are times when

496
00:25:30,760 --> 00:25:35,520
Speaker 1: I am extremely uncomfortable eating out at certain places where

497
00:25:35,560 --> 00:25:36,640
Speaker 1: the spice gets involved.

498
00:25:36,840 --> 00:25:38,840
Speaker 2: God, one thing I was thinking about with you, I

499
00:25:38,920 --> 00:25:42,760
Speaker 2: was like, Matt has really gone on this tear about

500
00:25:42,760 --> 00:25:45,760
Speaker 2: how he would any day rather eat at a restaurant

501
00:25:45,760 --> 00:25:51,520
Speaker 2: than anyone's home cooking. Do you are missing out on

502
00:25:51,680 --> 00:25:56,359
Speaker 2: a world of delight and comfort and you know love

503
00:25:56,480 --> 00:25:57,959
Speaker 2: that goes into making food.

504
00:25:58,280 --> 00:26:00,480
Speaker 1: People don't cook for me. They don't cook for me.

505
00:26:00,520 --> 00:26:02,399
Speaker 1: They don't want me to come over in well you.

506
00:26:02,520 --> 00:26:04,520
Speaker 2: They don't cook for you because they're not motivated to

507
00:26:04,560 --> 00:26:05,200
Speaker 2: cook for you.

508
00:26:05,640 --> 00:26:11,000
Speaker 1: Get motivated. I'm available, I'm around. No no, no, no no.

509
00:26:11,600 --> 00:26:12,959
Speaker 1: You have love for a man.

510
00:26:13,080 --> 00:26:16,240
Speaker 2: You've disinvited the notion of someone cooking for you. I

511
00:26:16,280 --> 00:26:19,200
Speaker 2: think that's what you've done. I'm calling you in, babe. Okay, fine,

512
00:26:19,680 --> 00:26:21,600
Speaker 2: you're right, But I did not mean to cut you off.

513
00:26:22,000 --> 00:26:25,160
Speaker 1: That's okay. I didn't feel cut off. I didn't feel

514
00:26:25,200 --> 00:26:25,640
Speaker 1: cut off.

515
00:26:25,840 --> 00:26:31,520
Speaker 2: Okay, I just think for that reason. Ironically, you have

516
00:26:31,600 --> 00:26:34,320
Speaker 2: a comfort with eating. You like to eat what you

517
00:26:34,440 --> 00:26:39,080
Speaker 2: like to eat, and perhaps that is something that is

518
00:26:40,560 --> 00:26:43,639
Speaker 2: corralling you within a certain kind of dining experience, so

519
00:26:43,680 --> 00:26:46,040
Speaker 2: that you are not you maybe are not that adventurous,

520
00:26:46,040 --> 00:26:48,480
Speaker 2: and that's okay. It's okay to not be an adventurous eater.

521
00:26:48,680 --> 00:26:50,800
Speaker 1: First of all, I resent that part of what you're saying.

522
00:26:50,840 --> 00:26:53,200
Speaker 1: I am a very adventurous, adventurosus eater, and I would

523
00:26:53,240 --> 00:26:55,960
Speaker 1: think that you know that because you've frequented many restaurants

524
00:26:56,040 --> 00:26:59,840
Speaker 1: with me. What I am not is a sharer. I'm

525
00:26:59,840 --> 00:27:02,679
Speaker 1: not a share. I don't like to share. I actually

526
00:27:02,960 --> 00:27:06,080
Speaker 1: really don't like a family style situation because I always

527
00:27:06,160 --> 00:27:12,200
Speaker 1: end up not getting a lot. No, that's true. Well,

528
00:27:12,240 --> 00:27:15,359
Speaker 1: you ate at Salas on the Bay in Pete Town.

529
00:27:15,960 --> 00:27:19,359
Speaker 1: I didn't like that sharing situation. I wanted to have

530
00:27:19,440 --> 00:27:23,399
Speaker 1: my own Andre. We we had so many leftovers. It

531
00:27:23,520 --> 00:27:25,560
Speaker 1: was not that you did not end up with that

532
00:27:25,640 --> 00:27:29,280
Speaker 1: much food. It's there was so much food left over.

533
00:27:30,440 --> 00:27:33,320
Speaker 1: It wasn't my preferred thing. Man, Can I tell you

534
00:27:33,440 --> 00:27:35,600
Speaker 1: my preferred thing. I'm about to go create. This is

535
00:27:35,680 --> 00:27:38,480
Speaker 1: big Max and tomatoes all over again. This doesn't make

536
00:27:38,520 --> 00:27:41,520
Speaker 1: any I'm not gaslighting you at all. I'm telling you

537
00:27:41,560 --> 00:27:45,439
Speaker 1: the truth, which is I don't like family style. I

538
00:27:45,480 --> 00:27:47,800
Speaker 1: don't like it. I want we can you know, we

539
00:27:47,840 --> 00:27:50,840
Speaker 1: can share apps, you can have a snip in my drink.

540
00:27:51,760 --> 00:27:53,760
Speaker 1: I want to eat my own entree. I'm sorry. And

541
00:27:53,840 --> 00:27:56,760
Speaker 1: I also say this, I don't like it, and you

542
00:27:56,800 --> 00:27:59,119
Speaker 1: told me your mom does this too. I hate that

543
00:27:59,400 --> 00:28:02,399
Speaker 1: I become like a fourteen year old when my mother

544
00:28:03,080 --> 00:28:04,840
Speaker 1: cuts a big piece of her food and just puts

545
00:28:04,840 --> 00:28:06,800
Speaker 1: it on my plate, and I'm like, don't do that,

546
00:28:07,000 --> 00:28:10,920
Speaker 1: even though it's like only benevolent, why it's not. I

547
00:28:11,000 --> 00:28:15,600
Speaker 1: think it's actually toxically benevolent. Oh my god, toxically benevolent

548
00:28:15,640 --> 00:28:16,600
Speaker 1: title of app.

549
00:28:16,480 --> 00:28:20,520
Speaker 2: Title that my sister and I had so many conversations

550
00:28:20,520 --> 00:28:24,240
Speaker 2: with my mom. We're like, Mom, it's actually it ruins

551
00:28:24,320 --> 00:28:25,120
Speaker 2: the experience.

552
00:28:25,359 --> 00:28:28,439
Speaker 1: It's it's to the point of ruin. No, We're like, Mom,

553
00:28:28,680 --> 00:28:29,280
Speaker 1: we don't.

554
00:28:29,400 --> 00:28:31,879
Speaker 2: We've told you so many it's it's a boundary issue, right,

555
00:28:32,000 --> 00:28:37,640
Speaker 2: We're like decades at this point. Please, before she even

556
00:28:37,720 --> 00:28:39,960
Speaker 2: why do all moms do this? Before she even takes

557
00:28:40,240 --> 00:28:44,120
Speaker 2: a bite, It's because she's she wants to provide. She

558
00:28:44,120 --> 00:28:46,320
Speaker 2: she wants to check the box of providing because that's

559
00:28:46,360 --> 00:28:50,400
Speaker 2: important to her. But Matt, she's cutting three quarters of

560
00:28:50,440 --> 00:28:53,880
Speaker 2: the chicken cutlet and plopping it onto our plates, and

561
00:28:54,000 --> 00:28:58,960
Speaker 2: meanwhile we're eating a whole fucking like yeah, gumbo or something.

562
00:28:59,040 --> 00:28:59,240
Speaker 1: You know.

563
00:28:59,320 --> 00:29:03,080
Speaker 2: It's like like hypothetically, we are at Papa Doo's famous

564
00:29:03,160 --> 00:29:08,400
Speaker 2: k New Orleans restaurant, New Orleans style restaurant, Cajun restaurant,

565
00:29:08,480 --> 00:29:11,200
Speaker 2: and we're just like, mom, stop. It really came to

566
00:29:11,240 --> 00:29:13,400
Speaker 2: a head at Papa Does in Colorado, we were like, Mom,

567
00:29:14,000 --> 00:29:16,840
Speaker 2: you need to eat your own meal first before you

568
00:29:16,880 --> 00:29:20,560
Speaker 2: share with us. It's not that we are against sharing, right, Well,

569
00:29:20,600 --> 00:29:21,840
Speaker 2: at this point, it's less a thing.

570
00:29:21,880 --> 00:29:25,440
Speaker 1: And this is like a anytime anyone like take the

571
00:29:25,480 --> 00:29:28,640
Speaker 1: mom thing out of it. It's just when you've established

572
00:29:28,680 --> 00:29:32,040
Speaker 1: that you don't prefer a certain thing to happen, and

573
00:29:32,120 --> 00:29:34,960
Speaker 1: it happens, it then crosses over to it doesn't matter

574
00:29:34,960 --> 00:29:37,880
Speaker 1: if it's a nice action. You're just not listening to me,

575
00:29:38,440 --> 00:29:41,320
Speaker 1: like I don't want that on my plate. In fact,

576
00:29:41,600 --> 00:29:43,120
Speaker 1: it's not even that I don't want it because I

577
00:29:43,120 --> 00:29:45,239
Speaker 1: don't want to eat it. I want you to eat it.

578
00:29:45,680 --> 00:29:48,280
Speaker 1: So that is what you ordered and I like to,

579
00:29:48,480 --> 00:29:51,200
Speaker 1: like I've been saying, I'm consistent about this. My entre

580
00:29:51,360 --> 00:29:54,800
Speaker 1: is my entree, okay. And you know that because you've

581
00:29:54,880 --> 00:29:58,560
Speaker 1: gotten your grubbers you I can tell you want a

582
00:29:58,600 --> 00:30:00,720
Speaker 1: bite of that, You want a quote unquote bite of

583
00:30:00,760 --> 00:30:05,040
Speaker 1: that often, and you see my face. Is that so wrong?

584
00:30:05,400 --> 00:30:09,800
Speaker 1: But Boen, you know better. You know that I want

585
00:30:09,960 --> 00:30:13,200
Speaker 1: you my food, you order it. Then if you want

586
00:30:13,280 --> 00:30:15,440
Speaker 1: it so bad when you pick something on the menu,

587
00:30:15,480 --> 00:30:17,720
Speaker 1: that's your entre, you have made a commitment to that.

588
00:30:18,240 --> 00:30:20,920
Speaker 1: But you're operating at a lack of knowledge, okay.

589
00:30:21,000 --> 00:30:25,400
Speaker 2: And I'm realizing that as soon as my mom I

590
00:30:25,440 --> 00:30:27,800
Speaker 2: can't believe I'm going here, but as soon as my

591
00:30:27,960 --> 00:30:31,720
Speaker 2: mom is no longer on this earth with me, it

592
00:30:31,760 --> 00:30:33,440
Speaker 2: will be the it will be the thing that I

593
00:30:33,640 --> 00:30:36,080
Speaker 2: mourn the most. I'll be like, I wish my mom

594
00:30:36,080 --> 00:30:38,640
Speaker 2: could PLoP a chicken cutlet onto my plate.

595
00:30:39,680 --> 00:30:41,400
Speaker 1: And we cannot go down this road because I said

596
00:30:41,440 --> 00:30:44,320
Speaker 1: there'd be no crying camping. I'm sorry, I'm sorry.

597
00:30:44,360 --> 00:30:46,280
Speaker 2: I just had to put that out there because that

598
00:30:46,440 --> 00:30:49,080
Speaker 2: immediately watched over me. I go, oh my god, what

599
00:30:49,240 --> 00:30:49,920
Speaker 2: kind of son?

600
00:30:50,000 --> 00:30:53,240
Speaker 1: Am I? No? Yes? And then you start judging yourself

601
00:30:53,680 --> 00:30:56,800
Speaker 1: and getting angry at yourself for getting annoyed. But it's like, no,

602
00:30:57,160 --> 00:31:00,240
Speaker 1: I'm annoyed because I was asked a question about something,

603
00:31:00,800 --> 00:31:02,920
Speaker 1: which is do you want a piece of this? I

604
00:31:02,960 --> 00:31:05,840
Speaker 1: said no, thank you, And then and then it always

605
00:31:05,920 --> 00:31:08,680
Speaker 1: is are you sure? And I'm like, yes, I'm sure.

606
00:31:08,800 --> 00:31:10,479
Speaker 1: I have all this food in front of me. And

607
00:31:10,480 --> 00:31:14,440
Speaker 1: then well, you know how you know my mother like

608
00:31:14,520 --> 00:31:16,800
Speaker 1: it's always like a conversation with her own self where

609
00:31:16,840 --> 00:31:18,280
Speaker 1: she's like, well, you know, I'm gonna give him a

610
00:31:18,320 --> 00:31:20,440
Speaker 1: little piece, and then she gives me a little piece,

611
00:31:20,680 --> 00:31:22,600
Speaker 1: and I have to get upset on myself because then

612
00:31:22,640 --> 00:31:25,920
Speaker 1: I hear the fourteen year old come out, mom, like

613
00:31:26,000 --> 00:31:29,840
Speaker 1: you know what I mean, like you become you were? Yeah,

614
00:31:30,200 --> 00:31:34,440
Speaker 1: when was your worst stage? When were you most petulant?

615
00:31:35,000 --> 00:31:41,800
Speaker 1: Teenage petulance? I think it was. It's always high school, right,

616
00:31:41,880 --> 00:31:44,400
Speaker 1: It's usually middle school for me. For me, I had

617
00:31:44,920 --> 00:31:49,920
Speaker 1: thirteen fourteen, I was not cool two people because I

618
00:31:49,960 --> 00:31:52,640
Speaker 1: was not handed myself. That was peak hatred of myself.

619
00:31:52,840 --> 00:31:54,600
Speaker 1: So that you know, you're not pointing out word in

620
00:31:54,640 --> 00:31:55,200
Speaker 1: a good way.

621
00:31:55,440 --> 00:31:58,480
Speaker 2: No, no, no, no, one's the best diversion of themselves

622
00:31:58,480 --> 00:31:59,520
Speaker 2: at thirteen and.

623
00:31:59,480 --> 00:32:06,080
Speaker 1: That's what contre number eight, number thirteen, actually thirteen. Imagine

624
00:32:06,120 --> 00:32:11,120
Speaker 1: you were Dakota Fanning. Oh stop it, I'm just kidding.

625
00:32:11,120 --> 00:32:15,160
Speaker 1: She's probably lovely. Now, I just mean, you know, man

626
00:32:15,200 --> 00:32:16,920
Speaker 1: on fire, Oh.

627
00:32:16,760 --> 00:32:20,680
Speaker 2: My god, Man on fire, Man on wire, the way

628
00:32:20,720 --> 00:32:26,680
Speaker 2: we're balancing acting now, we love our moms very much, yes, okay, anyway,

629
00:32:26,920 --> 00:32:28,360
Speaker 2: do you think our moms will be on the Iconic

630
00:32:28,360 --> 00:32:28,880
Speaker 2: for one hundred?

631
00:32:29,800 --> 00:32:32,960
Speaker 1: No? I do, But can I tell you who might be?

632
00:32:33,240 --> 00:32:36,200
Speaker 1: Speaking of moms and the performance of a mom, Joan Chen.

633
00:32:36,840 --> 00:32:40,719
Speaker 2: Oh my god, thank you for bringing this up and

634
00:32:40,760 --> 00:32:41,320
Speaker 2: a half.

635
00:32:41,480 --> 00:32:45,160
Speaker 1: I saw d D And what a movie this was,

636
00:32:45,200 --> 00:32:48,959
Speaker 1: Sean Wang, the director, the creator that you are. This

637
00:32:49,120 --> 00:32:52,280
Speaker 1: was amazing that this was I haven't seen obviously like

638
00:32:52,320 --> 00:32:55,720
Speaker 1: the Compass eighth Grade right like by Bo Burnham. But yes, yes,

639
00:32:55,960 --> 00:32:59,240
Speaker 1: these movies that like get these performances out of these kids,

640
00:32:59,240 --> 00:33:03,719
Speaker 1: these like reed, very emotional, grounded performances from these kids.

641
00:33:03,720 --> 00:33:07,320
Speaker 1: Like it's a genuine journey into what it was like

642
00:33:07,920 --> 00:33:13,520
Speaker 1: to be a millennial in two thousand and seven, like

643
00:33:13,640 --> 00:33:16,840
Speaker 1: a you know, fourteen, fifteen, sixteen, seventeen year old kid

644
00:33:16,840 --> 00:33:21,120
Speaker 1: around that time, and just the blast from the past

645
00:33:21,160 --> 00:33:25,480
Speaker 1: that was the aim aol instant messenger stuff. I was like,

646
00:33:25,560 --> 00:33:29,400
Speaker 1: we have to talk about this. The soundscape that didning

647
00:33:31,280 --> 00:33:35,440
Speaker 1: bear when someone logs off and the door shuts what

648
00:33:35,920 --> 00:33:38,160
Speaker 1: that It was such a trigger, Like I remember I

649
00:33:38,200 --> 00:33:41,760
Speaker 1: would used to wait for the girls I had crushes on. Yeah, yeah,

650
00:33:42,400 --> 00:33:45,440
Speaker 1: to into the thing, and I would like, you know,

651
00:33:45,880 --> 00:33:49,240
Speaker 1: like have aim conversations with like Summer Babe ninety eight XO.

652
00:33:50,320 --> 00:33:53,800
Speaker 2: Oh my god. And isn't there a whole smarter child

653
00:33:53,880 --> 00:33:56,600
Speaker 2: scene in the movie Oh yeah, certainly is Oh my god?

654
00:33:56,640 --> 00:33:59,640
Speaker 2: That that hit me hard and soft?

655
00:34:00,200 --> 00:34:01,920
Speaker 1: Did you used to talk to a smarter child when

656
00:34:02,040 --> 00:34:04,320
Speaker 1: like you could tell people had it with you same

657
00:34:05,120 --> 00:34:07,960
Speaker 1: and smart child? Like like I remember I one time,

658
00:34:08,040 --> 00:34:10,560
Speaker 1: I think I said to smarter child, I have no friends,

659
00:34:11,000 --> 00:34:13,879
Speaker 1: and and this happens in the movie and smarter child

660
00:34:13,960 --> 00:34:16,120
Speaker 1: was like, well, I'm your friend, smiley face, And it's

661
00:34:16,239 --> 00:34:19,520
Speaker 1: just like Jesus. It was triggering because it's like you

662
00:34:19,560 --> 00:34:23,120
Speaker 1: remember that like instantaneous comfort, but also that feeling of

663
00:34:23,200 --> 00:34:26,560
Speaker 1: despair when you think that that is as big as

664
00:34:26,600 --> 00:34:28,520
Speaker 1: your life is going to get, you know, like being

665
00:34:28,520 --> 00:34:30,719
Speaker 1: in middle school in high school and like when you

666
00:34:30,800 --> 00:34:33,080
Speaker 1: feelly people are mad at you. Or you made a mistake,

667
00:34:33,239 --> 00:34:36,120
Speaker 1: or you messed up, or you know, just like that

668
00:34:36,200 --> 00:34:40,600
Speaker 1: feeling of crushing self hatred and disappointment at that age

669
00:34:40,600 --> 00:34:42,560
Speaker 1: because your life is only as big as your high

670
00:34:42,560 --> 00:34:43,240
Speaker 1: school or whatever.

671
00:34:43,239 --> 00:34:47,120
Speaker 2: The fuck of course, but like we cannot underplay how

672
00:34:47,200 --> 00:34:51,400
Speaker 2: important that moment is. I think just in film, like

673
00:34:51,880 --> 00:34:54,440
Speaker 2: there's a Smarter Child scene. I don't think this is

674
00:34:54,480 --> 00:34:56,800
Speaker 2: the first time we've seen Smarter Child on film and television,

675
00:34:56,800 --> 00:35:01,800
Speaker 2: but there's something about that moment in the movie spoiler alert,

676
00:35:01,800 --> 00:35:03,640
Speaker 2: but there's just we're not spoiling it, but there's just

677
00:35:03,640 --> 00:35:07,120
Speaker 2: like a you know, second act low point for the character. Yes,

678
00:35:07,680 --> 00:35:11,440
Speaker 2: and he in his desperation, in his despair, talks to

679
00:35:11,520 --> 00:35:16,040
Speaker 2: smarter Child. And I'm like, this is something that all

680
00:35:16,080 --> 00:35:19,480
Speaker 2: of us thought was just specific and individual to us.

681
00:35:20,480 --> 00:35:21,960
Speaker 2: It was a thing where I was like, this could

682
00:35:21,960 --> 00:35:25,319
Speaker 2: have only happened to me. But this is being used

683
00:35:25,360 --> 00:35:27,719
Speaker 2: as a plot turning point in a way that is

684
00:35:27,880 --> 00:35:30,919
Speaker 2: supposed to be universal, and like it is like Sean

685
00:35:30,960 --> 00:35:34,360
Speaker 2: Wang being like, I know this has happened to everyone

686
00:35:34,480 --> 00:35:36,400
Speaker 2: who was growing up at that time, you know what

687
00:35:36,440 --> 00:35:39,600
Speaker 2: I mean. That's I think that's incredible, the pang of

688
00:35:40,400 --> 00:35:46,120
Speaker 2: a new chat window, like not the not the low xylophone,

689
00:35:46,480 --> 00:35:52,360
Speaker 2: but the like so evocative, so emotional.

690
00:35:52,600 --> 00:35:55,240
Speaker 1: I mean, kudos to whoever to sound designed that for aol,

691
00:35:55,320 --> 00:35:58,000
Speaker 1: you know what I mean? Like going back like that,

692
00:35:58,000 --> 00:36:02,760
Speaker 1: that's forever. Also, there's a moment where my space comes

693
00:36:02,760 --> 00:36:06,200
Speaker 1: into play and the do you remember the top eight,

694
00:36:06,280 --> 00:36:11,880
Speaker 1: top eight? Top even the top eight would eat your

695
00:36:12,120 --> 00:36:15,200
Speaker 1: ass up? I remember there were friends of mine that

696
00:36:15,239 --> 00:36:18,640
Speaker 1: would deliberately fuck with me. Of course I would be

697
00:36:18,680 --> 00:36:21,319
Speaker 1: like number six and then I'd be gone and I'd

698
00:36:21,320 --> 00:36:23,200
Speaker 1: be like, oh is this person on there and not me?

699
00:36:23,320 --> 00:36:27,800
Speaker 1: And just like eight, the number eight was hard because

700
00:36:27,800 --> 00:36:30,719
Speaker 1: you either had four friends or ten friends. You know

701
00:36:30,719 --> 00:36:33,040
Speaker 1: what I'm saying. It's just like no one ever just

702
00:36:33,080 --> 00:36:35,600
Speaker 1: had like eight friends like that fit neatly in there.

703
00:36:35,640 --> 00:36:37,520
Speaker 1: It was like you either had a few and then

704
00:36:37,520 --> 00:36:39,680
Speaker 1: you had to fill it out, or you had a

705
00:36:39,719 --> 00:36:41,520
Speaker 1: ton and you had to cut people and then what

706
00:36:41,560 --> 00:36:43,200
Speaker 1: do you do? Oh.

707
00:36:43,280 --> 00:36:46,920
Speaker 2: I was definitely like, well I've got these three and

708
00:36:46,960 --> 00:36:50,440
Speaker 2: then the five. The other five are cannon fodder. I

709
00:36:50,480 --> 00:36:52,839
Speaker 2: wasn't thinking in those terms, obviously, but it's like that

710
00:36:53,080 --> 00:36:58,560
Speaker 2: number dictated everything and your place, Like I ate, like

711
00:36:58,640 --> 00:37:01,319
Speaker 2: it's eight is.

712
00:37:01,239 --> 00:37:03,440
Speaker 1: The most is eighth the most important number?

713
00:37:03,760 --> 00:37:07,800
Speaker 2: I think so, oh, and you know Schoolhouse Rock had

714
00:37:08,360 --> 00:37:12,200
Speaker 2: I think the eight song for Schoolhouse Rock was sort

715
00:37:12,239 --> 00:37:15,719
Speaker 2: of the most beautiful and magical and important.

716
00:37:16,160 --> 00:37:17,759
Speaker 1: I don't remember it. Can you perform it?

717
00:37:18,520 --> 00:37:19,959
Speaker 2: It's sung from the point of view of a girl

718
00:37:20,080 --> 00:37:22,839
Speaker 2: who is skating. Okay, that's how it goes. I'm doing

719
00:37:22,840 --> 00:37:23,560
Speaker 2: this from memory.

720
00:37:23,840 --> 00:37:28,200
Speaker 1: Okay, figure eight or.

721
00:37:28,239 --> 00:37:35,520
Speaker 3: Rather four figure four, so rather eight if you skate,

722
00:37:36,480 --> 00:37:39,360
Speaker 3: it would be great if you could make.

723
00:37:40,120 --> 00:37:41,160
Speaker 1: A figure eight.

724
00:37:42,440 --> 00:37:46,640
Speaker 3: One times eight is eight, Two times eight is sixteen,

725
00:37:46,960 --> 00:37:51,000
Speaker 3: Three times eight is twenty four, four times eight is

726
00:37:51,080 --> 00:37:54,000
Speaker 3: thirty two, and five times eight is forty.

727
00:37:54,200 --> 00:37:54,560
Speaker 2: You know.

728
00:37:56,400 --> 00:37:59,640
Speaker 1: The sensation of deal is like I'm being tickled, Like,

729
00:38:00,239 --> 00:38:07,200
Speaker 1: oh no, that was really evocative. No, there's no falsetto.

730
00:38:07,440 --> 00:38:09,960
Speaker 1: Oh yeah, that's that's my falsetto. I thought you metvibrato. No,

731
00:38:10,000 --> 00:38:11,880
Speaker 1: there's no vibrato. But it was a little bit of

732
00:38:11,920 --> 00:38:16,480
Speaker 1: a broad anyway. Besides that point that wild Yes.

733
00:38:18,120 --> 00:38:21,879
Speaker 2: The top eight moment in the film is huge. Did

734
00:38:21,920 --> 00:38:23,719
Speaker 2: you ever put in the code so you could have

735
00:38:23,719 --> 00:38:24,440
Speaker 2: a top sixteen?

736
00:38:24,920 --> 00:38:25,080
Speaker 3: No?

737
00:38:25,160 --> 00:38:28,520
Speaker 1: I didn't know the code. That's so you coded you

738
00:38:28,600 --> 00:38:31,480
Speaker 1: knowing the code is Bowen coded. No, no, no, that's

739
00:38:31,520 --> 00:38:32,600
Speaker 1: as far as my coding went.

740
00:38:32,600 --> 00:38:34,400
Speaker 2: But like there was like a thing you caught, like

741
00:38:34,440 --> 00:38:36,160
Speaker 2: a thing went around school one day of like, oh

742
00:38:36,160 --> 00:38:38,840
Speaker 2: well Kayla knows like the the HTML so you can

743
00:38:38,880 --> 00:38:43,160
Speaker 2: get a top sixteen. And I remember, oh my god,

744
00:38:43,239 --> 00:38:47,000
Speaker 2: like every white girl having the Ben Folds five cover

745
00:38:47,120 --> 00:38:50,600
Speaker 2: of Bitches ain't ship where I'm sorry, but this man

746
00:38:50,680 --> 00:38:54,000
Speaker 2: is fully singing the un word earnestly like it's it's like,

747
00:38:55,120 --> 00:38:56,320
Speaker 2: this is such.

748
00:38:56,080 --> 00:38:59,800
Speaker 1: A moment in time. Do you want to know what

749
00:39:00,239 --> 00:39:03,800
Speaker 1: my song was? My Space song was the entire time?

750
00:39:04,120 --> 00:39:07,560
Speaker 1: Tell me actually something, this is for memory. No, it

751
00:39:07,640 --> 00:39:09,440
Speaker 1: was never actually something because I could never be that

752
00:39:09,520 --> 00:39:13,160
Speaker 1: outwardly gay, right right. If I die and go to

753
00:39:13,320 --> 00:39:17,920
Speaker 1: hell real soon, it will appeared to me as this

754
00:39:18,160 --> 00:39:23,680
Speaker 1: room and for eternity, I'd lay in bed in my box,

755
00:39:23,920 --> 00:39:30,200
Speaker 1: just half stone, with the pillow under my head. Say anything, bitch, I.

756
00:39:30,000 --> 00:39:35,399
Speaker 2: Think that is the most still identify. No, but can

757
00:39:35,440 --> 00:39:40,200
Speaker 2: I tell you what that signals to me? What you

758
00:39:40,320 --> 00:39:43,600
Speaker 2: were sure of yourself. Maybe you don't feel that way,

759
00:39:43,640 --> 00:39:46,000
Speaker 2: but at least you were like you did not have

760
00:39:46,040 --> 00:39:47,879
Speaker 2: the identity crisis that the rest of us had where

761
00:39:47,880 --> 00:39:50,640
Speaker 2: we were. We were changing our song every other day.

762
00:39:50,760 --> 00:39:52,920
Speaker 2: And I cannot tell you any of the songs that

763
00:39:52,960 --> 00:39:55,239
Speaker 2: I had on because I was I did not know

764
00:39:55,239 --> 00:39:58,400
Speaker 2: who the hell I was, and it just ran the gamut.

765
00:39:58,560 --> 00:40:00,880
Speaker 1: Well, I'll be honest, I knew who I was, and

766
00:40:00,920 --> 00:40:04,120
Speaker 1: I'll tell you who I wasn't. I was not a

767
00:40:04,320 --> 00:40:05,839
Speaker 1: someone who was like ready to come out and put

768
00:40:05,840 --> 00:40:07,680
Speaker 1: behind these das of eyes on there, because that's what

769
00:40:07,719 --> 00:40:09,560
Speaker 1: it would have been, you know what I'm saying, right right.

770
00:40:09,680 --> 00:40:11,279
Speaker 1: But I also was not the kind of person that

771
00:40:11,360 --> 00:40:13,960
Speaker 1: was like gonna put postal service on there. I was like,

772
00:40:14,040 --> 00:40:17,040
Speaker 1: this is boring to me. See that was me such

773
00:40:17,080 --> 00:40:19,719
Speaker 1: great heights was the song. See I didn't get it,

774
00:40:20,200 --> 00:40:25,879
Speaker 1: but I so got this. I can't hear you can't

775
00:40:25,880 --> 00:40:29,360
Speaker 1: hear it, unfortunately, No, wait, let me play it on

776
00:40:29,360 --> 00:40:29,680
Speaker 1: my phone.

777
00:40:29,719 --> 00:40:34,120
Speaker 2: Then I don't think so many zoom like filtering out

778
00:40:34,160 --> 00:40:38,200
Speaker 2: selectively filtering out some other external sounds. It's like sometimes

779
00:40:38,200 --> 00:40:40,680
Speaker 2: we need to hear what's being what the dog is barking.

780
00:40:40,880 --> 00:40:42,839
Speaker 1: I have to tell you the people that are gonna

781
00:40:42,840 --> 00:40:45,080
Speaker 1: come out of the woodwork after I play this, Like,

782
00:40:45,360 --> 00:40:47,120
Speaker 1: I know this is going to connect me with so

783
00:40:47,160 --> 00:40:49,200
Speaker 1: many people could there. You're gonna be triggered in a

784
00:40:49,200 --> 00:40:51,439
Speaker 1: positive way. Ready, And I want to see your face

785
00:40:51,480 --> 00:40:52,120
Speaker 1: when I play.

786
00:40:51,920 --> 00:41:01,799
Speaker 5: It if I go to hell real, so that is

787
00:41:02,239 --> 00:41:04,160
Speaker 5: it will appear to me as.

788
00:41:04,239 --> 00:41:10,319
Speaker 1: This room and four incertity. I'd lay in bed. Oh

789
00:41:10,400 --> 00:41:17,200
Speaker 1: my god, that album was huge. Oh my god. Cold

790
00:41:17,239 --> 00:41:21,880
Speaker 1: her on the phone and she touched herself. Oh my god, bitch,

791
00:41:22,239 --> 00:41:24,320
Speaker 1: that's when I should have been putting out music. So

792
00:41:24,480 --> 00:41:27,040
Speaker 1: I had have no voice today. None of those guys

793
00:41:27,040 --> 00:41:28,920
Speaker 1: that put out music then have any voice today. Like

794
00:41:28,960 --> 00:41:31,680
Speaker 1: where's Ryan Key from Yellow Card? Wow?

795
00:41:31,880 --> 00:41:33,800
Speaker 2: We have wild Away the minute. I'm sorry, I'm just

796
00:41:33,800 --> 00:41:36,400
Speaker 2: looking at the time. Time's fine while we're having fun exactly.

797
00:41:36,600 --> 00:41:38,719
Speaker 1: But yes, I mean just even seeing the MySpace thing

798
00:41:38,760 --> 00:41:40,440
Speaker 1: and seeing the song and everything like that, I was

799
00:41:40,480 --> 00:41:43,640
Speaker 1: like so taken back and that was culture. I mean,

800
00:41:43,640 --> 00:41:47,240
Speaker 1: that was that was the beginning. Yeah, that was the beginning.

801
00:41:47,280 --> 00:41:50,960
Speaker 2: That was when we were in the wild wild West,

802
00:41:51,160 --> 00:41:53,799
Speaker 2: like totally like unsuper like our parents didn't really know

803
00:41:54,000 --> 00:41:55,960
Speaker 2: like what the hell we were up to.

804
00:41:56,040 --> 00:41:59,960
Speaker 1: On the like my dad would sign me in, like

805
00:42:00,080 --> 00:42:02,200
Speaker 1: I member, he would have to come down to the

806
00:42:02,239 --> 00:42:05,200
Speaker 1: downstairs computer, our downstairs desktop and he would sign me

807
00:42:05,239 --> 00:42:07,279
Speaker 1: into AOL and then he would leave right and I

808
00:42:07,280 --> 00:42:09,040
Speaker 1: would be I would be on there all fucking day.

809
00:42:09,040 --> 00:42:12,759
Speaker 1: I'd be in the weirdest chat rooms. Yeah, oh trust me.

810
00:42:13,239 --> 00:42:16,440
Speaker 2: I yeah, It's like it went to bad places in

811
00:42:16,480 --> 00:42:17,240
Speaker 2: those chat rooms.

812
00:42:17,120 --> 00:42:22,480
Speaker 1: One hundred percent. Remember ASL I would lie, I'd lie.

813
00:42:23,040 --> 00:42:27,799
Speaker 2: Twenty two eight twenty two f Miami, and I would

814
00:42:27,840 --> 00:42:29,399
Speaker 2: fully have cybersex with these men.

815
00:42:30,360 --> 00:42:32,880
Speaker 1: Oh my god, Now I would love to read that

816
00:42:32,960 --> 00:42:35,560
Speaker 1: now looking back, like you creating what you think would

817
00:42:35,560 --> 00:42:37,839
Speaker 1: be sexy and hot to hear, like, yeah, I love

818
00:42:37,880 --> 00:42:42,120
Speaker 1: when you touch my boob. Yeah, my dry vagina is

819
00:42:42,160 --> 00:42:44,600
Speaker 1: on your your ass. You didn't even know to call

820
00:42:44,640 --> 00:42:51,880
Speaker 1: it dry. My vagina is getting tickli. I'm starting to

821
00:42:51,920 --> 00:42:56,759
Speaker 1: feel really good in my vaginas pretending to be specially

822
00:42:56,840 --> 00:43:00,400
Speaker 1: active women. I mean, look, all genders rmans.

823
00:43:00,520 --> 00:43:06,800
Speaker 2: So I I really want to point out this moment

824
00:43:06,840 --> 00:43:09,080
Speaker 2: in the movie though, where like, and I think this

825
00:43:09,120 --> 00:43:11,640
Speaker 2: is kind of like the whole thing about that film

826
00:43:11,960 --> 00:43:15,120
Speaker 2: is where it's like he has a crush at school

827
00:43:15,280 --> 00:43:17,680
Speaker 2: and then they strike up this conversation online and then

828
00:43:17,840 --> 00:43:21,839
Speaker 2: she basically says, you're cute for an Asian guy, And

829
00:43:23,200 --> 00:43:26,440
Speaker 2: I don't think there's any scoring. It's just this character

830
00:43:26,640 --> 00:43:32,359
Speaker 2: sitting alone in a silent room internalizing this really important

831
00:43:32,400 --> 00:43:35,560
Speaker 2: formative moment where someone is like flirting with him, paying

832
00:43:35,600 --> 00:43:37,560
Speaker 2: him comblem but like there's an asterisk and it's about

833
00:43:37,600 --> 00:43:39,200
Speaker 2: race and like all this other shit. But it's like

834
00:43:39,239 --> 00:43:45,160
Speaker 2: there's no like filmically, there's like no sound, there's no dialogue,

835
00:43:45,160 --> 00:43:49,240
Speaker 2: he has no response, Like it's just all completely again

836
00:43:49,360 --> 00:43:53,440
Speaker 2: internal And I'm like that is like the millennial experience

837
00:43:53,480 --> 00:43:55,440
Speaker 2: in a lot of ways for everybody, not just Asian people.

838
00:43:55,440 --> 00:43:58,680
Speaker 2: It's like there's something about that where like you are receiving,

839
00:43:58,800 --> 00:44:03,120
Speaker 2: you are letting these emotional moments land with no way

840
00:44:03,239 --> 00:44:06,719
Speaker 2: to displace them, to like transfer them over to something else,

841
00:44:06,800 --> 00:44:07,200
Speaker 2: to like.

842
00:44:07,120 --> 00:44:09,560
Speaker 1: There's no it ends with you.

843
00:44:09,560 --> 00:44:12,560
Speaker 2: You are the final receptacle for that kind of thing

844
00:44:13,040 --> 00:44:15,000
Speaker 2: and it has to fuck you up.

845
00:44:15,320 --> 00:44:18,719
Speaker 1: Like that is a crazy thing. You know, the racial

846
00:44:18,840 --> 00:44:23,080
Speaker 1: hierarchy was such an unchecked given at that time.

847
00:44:23,200 --> 00:44:24,840
Speaker 2: But I'm not even saying that. I'm just saying like

848
00:44:25,040 --> 00:44:27,680
Speaker 2: you probably like had moments online where like someone rejected

849
00:44:27,680 --> 00:44:29,000
Speaker 2: you or someone made you feel like shit.

850
00:44:28,880 --> 00:44:31,360
Speaker 1: Well, yes you, but just to give that moment the

851
00:44:31,400 --> 00:44:33,839
Speaker 1: way that it deserves, which is that it is a

852
00:44:33,840 --> 00:44:36,520
Speaker 1: movie about an Asian kid and an Asian family, and

853
00:44:37,200 --> 00:44:40,680
Speaker 1: he is living his experience as and like basically, you're

854
00:44:40,719 --> 00:44:42,960
Speaker 1: watching this film and you're just watching a kid. You

855
00:44:43,000 --> 00:44:45,520
Speaker 1: of course, you know, you're sitting there and you're you're

856
00:44:45,560 --> 00:44:48,400
Speaker 1: with him. And then he has this moment which is

857
00:44:48,440 --> 00:44:52,400
Speaker 1: this girl says, and there's been nothing negative about this girl.

858
00:44:52,480 --> 00:44:54,040
Speaker 1: You just think she's a sweet kid. They're having a

859
00:44:54,040 --> 00:44:57,200
Speaker 1: sweet conversation and she just comes out and says, you're

860
00:44:57,239 --> 00:45:00,439
Speaker 1: pretty cute foreign Asian. And it's it's, like, like you said,

861
00:45:00,440 --> 00:45:03,040
Speaker 1: it's just presented in the way that it's said, and

862
00:45:03,680 --> 00:45:06,080
Speaker 1: it doesn't even really land on him in like an

863
00:45:06,160 --> 00:45:09,200
Speaker 1: extra way. He just internalizes it and hears it and

864
00:45:09,239 --> 00:45:12,560
Speaker 1: then they move on. Oh, but it's the first moment

865
00:45:12,600 --> 00:45:16,040
Speaker 1: of the movie where you're like, we're really starting to

866
00:45:16,080 --> 00:45:19,960
Speaker 1: see the coming of age wheels start to turn here. Yeah,

867
00:45:20,000 --> 00:45:23,520
Speaker 1: and it's a really I mean, there was amazing scripting,

868
00:45:23,680 --> 00:45:26,560
Speaker 1: it was amazing directing, it was amazing acting. Yeah, but

869
00:45:26,640 --> 00:45:29,920
Speaker 1: what an important moment because yes, while you are correct

870
00:45:30,000 --> 00:45:33,319
Speaker 1: that like everyone based on their own identity receives their

871
00:45:33,360 --> 00:45:37,359
Speaker 1: own microaggressions, Like we saw a formative moment in that

872
00:45:37,440 --> 00:45:40,120
Speaker 1: kid's life that is in many ways like the and

873
00:45:40,160 --> 00:45:42,239
Speaker 1: I hate these two words, but like the why now

874
00:45:42,360 --> 00:45:45,440
Speaker 1: why today of that movie, and that like he's literally

875
00:45:46,120 --> 00:45:48,840
Speaker 1: going through changes. You know, his sister's leaving for school,

876
00:45:48,840 --> 00:45:51,400
Speaker 1: he's gonna go to the high school, and he's now

877
00:45:51,440 --> 00:45:54,440
Speaker 1: interacting with other people in this way that brings in

878
00:45:54,480 --> 00:45:57,120
Speaker 1: the romantic and the sexual when all these kids are forming.

879
00:45:57,160 --> 00:45:59,719
Speaker 1: And this is the idea that she spits out very

880
00:45:59,800 --> 00:46:03,319
Speaker 1: now naturally, which is that I am attracted to you

881
00:46:03,400 --> 00:46:08,520
Speaker 1: despite your limitation in my eyes right, And that is

882
00:46:09,120 --> 00:46:14,000
Speaker 1: really startling and obviously comes from a very real place

883
00:46:14,040 --> 00:46:17,960
Speaker 1: that I know, my entire theater no one was breathing.

884
00:46:19,080 --> 00:46:21,600
Speaker 1: It was a moment that I will remember for sure.

885
00:46:22,600 --> 00:46:24,799
Speaker 2: I mean, you're so right though about this thing of

886
00:46:24,840 --> 00:46:27,439
Speaker 2: like we just move on from it. It doesn't even

887
00:46:27,719 --> 00:46:30,279
Speaker 2: land on him fully or in an extra way. It's like,

888
00:46:30,640 --> 00:46:32,920
Speaker 2: but I think that's kind of like what's being What

889
00:46:32,960 --> 00:46:35,960
Speaker 2: the statement is is that this human being is just

890
00:46:36,000 --> 00:46:37,440
Speaker 2: going to like live the rest of his life with

891
00:46:37,560 --> 00:46:42,480
Speaker 2: that weird pseudo acceptance, not quite acceptance but not quite rejection.

892
00:46:42,800 --> 00:46:45,000
Speaker 2: It's like, what's going on there? I mean, like this

893
00:46:45,040 --> 00:46:47,480
Speaker 2: connects to like my day today. The first thing I

894
00:46:47,520 --> 00:46:51,000
Speaker 2: woke up to on my phone was some fucking idiot

895
00:46:51,040 --> 00:46:53,200
Speaker 2: on scruff. I'm on the apps. You can hit me up.

896
00:46:53,200 --> 00:46:55,319
Speaker 2: I'm you can reach out to me. I'm accessible. But

897
00:46:55,400 --> 00:46:58,040
Speaker 2: some fucking idiot on scruff going, oh my god, Duel Cambooster,

898
00:46:58,160 --> 00:47:00,759
Speaker 2: I love your work. And then what I immediately said to

899
00:47:00,800 --> 00:47:04,160
Speaker 2: him was, dude, that fucking sucks. When I called you dude,

900
00:47:04,480 --> 00:47:05,640
Speaker 2: I'm pissed off.

901
00:47:06,080 --> 00:47:10,880
Speaker 1: I hate dud dude if I call you dude.

902
00:47:11,000 --> 00:47:14,040
Speaker 2: Yeah, anyway, I was just like, dude, that fucking sucks.

903
00:47:14,239 --> 00:47:17,879
Speaker 2: And then he unferls this huge apology. He was like, oh,

904
00:47:18,040 --> 00:47:20,759
Speaker 2: I'm you know, I'm so sorry. I should have known better.

905
00:47:21,239 --> 00:47:23,840
Speaker 2: Both you and Joel have like expressed like, you know,

906
00:47:23,920 --> 00:47:26,000
Speaker 2: you guys don't like here and like and I didn't

907
00:47:26,040 --> 00:47:28,320
Speaker 2: even respond and then like and then he ends his

908
00:47:28,360 --> 00:47:30,160
Speaker 2: whole pod being like, anyway, I'm so sorry. You have

909
00:47:30,160 --> 00:47:31,840
Speaker 2: to deal with like mid white guys like me like

910
00:47:31,880 --> 00:47:33,600
Speaker 2: saying stupid shit like this, and I'm like, see.

911
00:47:33,520 --> 00:47:35,600
Speaker 1: Now you're making Now you're making this thing. I have

912
00:47:35,680 --> 00:47:38,479
Speaker 1: to assuage You're like no, no, no, no, no, see here's

913
00:47:38,480 --> 00:47:45,920
Speaker 1: the thing. And oh, the fucking rage when you have

914
00:47:46,120 --> 00:47:51,839
Speaker 1: fucked up, when you have fucked up, and your instinct

915
00:47:52,560 --> 00:47:56,719
Speaker 1: is to then try and create a situation where you

916
00:47:56,760 --> 00:48:01,840
Speaker 1: were the victim. Because you fucked up. You need help

917
00:48:02,719 --> 00:48:05,880
Speaker 1: and I cannot give it to you. Once you've hurt me.

918
00:48:06,960 --> 00:48:10,640
Speaker 1: I don't owe you shit, bitch, period. Oh you shit,

919
00:48:10,800 --> 00:48:13,359
Speaker 1: once you have hurt me, period dot.

920
00:48:13,360 --> 00:48:15,680
Speaker 2: And I know and this is something that this is

921
00:48:15,760 --> 00:48:19,040
Speaker 2: rit small, something that you.

922
00:48:18,000 --> 00:48:22,320
Speaker 1: Know all too well, because I will forgive everyone but myself,

923
00:48:23,000 --> 00:48:27,000
Speaker 1: and no if someone ever like someone approaches you like

924
00:48:27,120 --> 00:48:30,480
Speaker 1: that with that stupid fucking like, whether it's a joke

925
00:48:30,880 --> 00:48:33,920
Speaker 1: or whatever it is, like genuine misconception or joke, it

926
00:48:33,960 --> 00:48:37,040
Speaker 1: doesn't fucking matter. At this point. You fucked up. I

927
00:48:37,200 --> 00:48:39,160
Speaker 1: told you you fucked up, and you knew you fucked

928
00:48:39,239 --> 00:48:42,080
Speaker 1: up because I said the word dude, which I hate.

929
00:48:42,360 --> 00:48:46,680
Speaker 1: And now it's mid white guys like me. You're exactly right,

930
00:48:46,760 --> 00:48:48,960
Speaker 1: and keep it moving. I don't need to now comfort

931
00:48:49,000 --> 00:48:52,840
Speaker 1: you know, like it's over. You mean you did something

932
00:48:52,920 --> 00:48:56,239
Speaker 1: fucked up. You're right, you do, suck, move on, keep

933
00:48:56,280 --> 00:49:00,560
Speaker 1: it moving, go be unhappy over there. I douce to you.

934
00:49:00,719 --> 00:49:04,520
Speaker 2: I did not start this internet conversation with you to

935
00:49:04,600 --> 00:49:06,799
Speaker 2: make you feel bad, even though like like this is

936
00:49:06,800 --> 00:49:07,960
Speaker 2: the thing now, it's like now we kind of know

937
00:49:07,960 --> 00:49:09,920
Speaker 2: how to deal with this, and like you know the

938
00:49:09,960 --> 00:49:12,280
Speaker 2: way the internet works today, but it's like in that movie,

939
00:49:12,280 --> 00:49:14,319
Speaker 2: it's like in the nascent period of the internet, of

940
00:49:14,320 --> 00:49:15,759
Speaker 2: the way that like we were communicating me and no

941
00:49:15,800 --> 00:49:18,480
Speaker 2: idea what the rules were and like what the differences

942
00:49:18,520 --> 00:49:19,960
Speaker 2: were in real life interaction.

943
00:49:20,080 --> 00:49:23,520
Speaker 1: It's like, God, like, thank god, we've come a long way.

944
00:49:23,560 --> 00:49:25,400
Speaker 2: Thank God, I've come a long way personally in my

945
00:49:25,480 --> 00:49:28,279
Speaker 2: life to know to like respond to someone who like

946
00:49:28,320 --> 00:49:33,680
Speaker 2: says something racially stupid like that and be like, dude.

947
00:49:34,360 --> 00:49:37,279
Speaker 1: Just just just have some tact And I don't.

948
00:49:37,320 --> 00:49:39,400
Speaker 2: And I guess tact is subjective, but I'm also like

949
00:49:39,560 --> 00:49:42,480
Speaker 2: maybe it's not like bring back etiquette.

950
00:49:42,719 --> 00:49:45,240
Speaker 1: Can I ask you something? Yeah, if I would approach

951
00:49:45,280 --> 00:49:47,480
Speaker 1: you on the dating app, not me whatever, like some

952
00:49:47,480 --> 00:49:50,760
Speaker 1: some like handsome guy. Let's let's say I'm a little

953
00:49:50,760 --> 00:49:53,920
Speaker 1: bit over perfectly midwife guy ready and I approach you

954
00:49:53,920 --> 00:49:55,560
Speaker 1: on the dating app and this is my opening line,

955
00:49:55,600 --> 00:49:58,640
Speaker 1: what what do you say? Hey? I just want to

956
00:49:58,680 --> 00:50:01,040
Speaker 1: tell you I think you're amazing. I think you're so

957
00:50:01,239 --> 00:50:04,080
Speaker 1: great and so funny, like what about that? And then

958
00:50:04,239 --> 00:50:06,680
Speaker 1: and then it segues into like what are you up

959
00:50:06,719 --> 00:50:09,080
Speaker 1: to like or something like that, just starting a conversation

960
00:50:09,320 --> 00:50:12,120
Speaker 1: so lovely, oh my god, or are you like or

961
00:50:12,160 --> 00:50:14,720
Speaker 1: do you feel perceived in seeing and you're like, oh no.

962
00:50:14,680 --> 00:50:16,680
Speaker 2: I mean it depends, like I just I just don't

963
00:50:16,760 --> 00:50:21,439
Speaker 2: know when someone is like fawning, which is so kind

964
00:50:21,480 --> 00:50:23,319
Speaker 2: of them. I just don't know, like, oh, I just

965
00:50:23,320 --> 00:50:25,000
Speaker 2: don't know if you're flirting with me, and so therefore

966
00:50:25,040 --> 00:50:26,680
Speaker 2: I'll just thank you and then keep it moving.

967
00:50:26,800 --> 00:50:29,040
Speaker 1: That is what's frustrating, right, Like it's like, cause the

968
00:50:29,200 --> 00:50:31,600
Speaker 1: deal is like if you were on a dating app,

969
00:50:31,840 --> 00:50:33,960
Speaker 1: like people they do know who you are, you know

970
00:50:33,960 --> 00:50:36,480
Speaker 1: what I'm saying, Because it's like so you don't even

971
00:50:36,520 --> 00:50:38,879
Speaker 1: have the thing of like do they know or do

972
00:50:38,920 --> 00:50:40,960
Speaker 1: they not know? Or are they interested or are they not?

973
00:50:41,040 --> 00:50:43,360
Speaker 1: It's like they know who Bowen Yang is, you know

974
00:50:43,360 --> 00:50:45,160
Speaker 1: what I'm saying. So it's like it so that first

975
00:50:45,200 --> 00:50:48,120
Speaker 1: interaction is a little bit loaded and on top of

976
00:50:48,200 --> 00:50:51,680
Speaker 1: like the rest of it at rest anyway, which is

977
00:50:51,680 --> 00:50:55,879
Speaker 1: weird being on dating apps. Exactly. It's fine, it's it's

978
00:50:56,080 --> 00:50:58,719
Speaker 1: there's nothing to do about it. Yeah, I don't even

979
00:50:58,760 --> 00:51:00,320
Speaker 1: know what my question is. I'm just saying, make a

980
00:51:00,360 --> 00:51:02,440
Speaker 1: joke to Bonying, especially if it's one that's like.

981
00:51:02,719 --> 00:51:05,920
Speaker 2: Well, don't make a joke to me that's about race

982
00:51:07,960 --> 00:51:11,200
Speaker 2: and about yeah, like don't like because because that's a

983
00:51:11,239 --> 00:51:13,520
Speaker 2: fucking two for because that like makes me feel like shit,

984
00:51:13,640 --> 00:51:15,719
Speaker 2: and it would. And now that I'm even bringing this up,

985
00:51:15,800 --> 00:51:17,920
Speaker 2: it's like, I don't want to like scare people like

986
00:51:18,000 --> 00:51:30,319
Speaker 2: Joel is gonna feel like shit. You know, let's just

987
00:51:30,960 --> 00:51:35,080
Speaker 2: cleanse this conversation and just quickly give Joan Chuen her flowers.

988
00:51:35,200 --> 00:51:38,839
Speaker 2: Oh my god, because I want you to tell me

989
00:51:38,880 --> 00:51:39,960
Speaker 2: what you love about Joone Chuen.

990
00:51:40,719 --> 00:51:43,719
Speaker 1: What I love about Joan Chen. What I love about

991
00:51:43,760 --> 00:51:51,160
Speaker 1: Joan Chen? What an amazing human actor on screen? Like yeah,

992
00:51:51,480 --> 00:51:56,879
Speaker 1: so real, so genuine, so funny, but also very heartbreaking,

993
00:51:57,440 --> 00:52:02,319
Speaker 1: carried a really tough emotion, wait throughout a lot of

994
00:52:02,400 --> 00:52:05,640
Speaker 1: work to do in that performance, playing a woman who

995
00:52:07,480 --> 00:52:12,520
Speaker 1: really every single day does her best. Yeah, until it

996
00:52:12,800 --> 00:52:18,719
Speaker 1: just becomes too much and without saying too much, Like

997
00:52:18,960 --> 00:52:21,560
Speaker 1: there's a breaking point in the movie between mother and son,

998
00:52:22,160 --> 00:52:26,880
Speaker 1: which I just really it's such an important, beautiful relationship,

999
00:52:26,880 --> 00:52:29,120
Speaker 1: The relationship between the mother and a son, especially when

1000
00:52:29,120 --> 00:52:33,520
Speaker 1: the son is struggling because there's a lack of knowing,

1001
00:52:34,120 --> 00:52:37,960
Speaker 1: but there's a deep understanding and it's just so beautifully

1002
00:52:38,040 --> 00:52:40,400
Speaker 1: done in this movie. And yeah, there's a moment of

1003
00:52:40,520 --> 00:52:43,680
Speaker 1: humor like the in the car, like you never you

1004
00:52:43,719 --> 00:52:47,680
Speaker 1: know what I'm talking about, which is just played so well.

1005
00:52:47,719 --> 00:52:50,480
Speaker 1: And also you know, to be the adults on set

1006
00:52:50,640 --> 00:52:54,240
Speaker 1: working with a child actor and like largely with child's actors,

1007
00:52:54,280 --> 00:52:56,920
Speaker 1: Like it's sort of similar to what I was saying

1008
00:52:57,080 --> 00:53:00,200
Speaker 1: last week about Coleman Domingo working with people, you know,

1009
00:53:00,480 --> 00:53:02,839
Speaker 1: formerly incarcerated men who are in that movie, who are

1010
00:53:02,880 --> 00:53:05,640
Speaker 1: non professional actors. It's like, you have to be really

1011
00:53:05,760 --> 00:53:10,120
Speaker 1: special talent to make an atmosphere for people that are

1012
00:53:10,160 --> 00:53:12,799
Speaker 1: not used to that feel good enough that they can

1013
00:53:12,840 --> 00:53:16,120
Speaker 1: not only perform, but excel, to.

1014
00:53:16,120 --> 00:53:19,360
Speaker 2: Make it truly horizontal, to make it like everyone's on

1015
00:53:19,360 --> 00:53:20,000
Speaker 2: the same level.

1016
00:53:20,080 --> 00:53:23,360
Speaker 1: Yeah, that is my compliment to Joan Chen is how

1017
00:53:23,440 --> 00:53:29,120
Speaker 1: incredible that kid's performance was. All of her scene partners

1018
00:53:29,880 --> 00:53:33,759
Speaker 1: benefit from being in a scene with her, And I

1019
00:53:33,880 --> 00:53:39,520
Speaker 1: just think that if we're talking about supporting performances, like

1020
00:53:39,760 --> 00:53:41,440
Speaker 1: I would love to see a performance like this get

1021
00:53:41,480 --> 00:53:44,759
Speaker 1: recognition by Awards Bodies. I would love to see it

1022
00:53:45,280 --> 00:53:47,960
Speaker 1: go all the way because this is the kind of

1023
00:53:48,000 --> 00:53:51,000
Speaker 1: talent that we should be seeing more of. Like, I

1024
00:53:51,040 --> 00:53:54,600
Speaker 1: want to see her lead something, you know, I want

1025
00:53:54,640 --> 00:53:58,439
Speaker 1: to see her do a million different types of roles

1026
00:53:58,480 --> 00:54:03,359
Speaker 1: because even in this you know, archetypical part, there is

1027
00:54:03,520 --> 00:54:07,399
Speaker 1: so much dynamic work being done, bringing so much more

1028
00:54:07,440 --> 00:54:13,000
Speaker 1: to the page. And she's funny and really heartbreaking and

1029
00:54:12,760 --> 00:54:15,080
Speaker 1: she feels like a real mom. You know.

1030
00:54:15,640 --> 00:54:18,120
Speaker 2: Yeah, there's a great piece on her. There's a great

1031
00:54:18,120 --> 00:54:23,120
Speaker 2: profile on her Invanity Fair and I think words buzz

1032
00:54:23,160 --> 00:54:25,560
Speaker 2: is kind of a thing with this for her, with

1033
00:54:25,600 --> 00:54:30,480
Speaker 2: this movie, and this is someone who God, she was

1034
00:54:30,520 --> 00:54:34,480
Speaker 2: telling me she directed this film called Shoeshoe The sent

1035
00:54:34,600 --> 00:54:37,440
Speaker 2: Down Girl. It's about this program that happened during the

1036
00:54:37,440 --> 00:54:40,480
Speaker 2: Cultural Revolution when kids from the city were sent to

1037
00:54:40,520 --> 00:54:43,160
Speaker 2: the countryside to like work on to basically like work

1038
00:54:44,000 --> 00:54:49,080
Speaker 2: in rural areas, provincial areas, to do like hard labor

1039
00:54:49,200 --> 00:54:51,360
Speaker 2: for like a full year. My mom did that, and

1040
00:54:51,400 --> 00:54:54,279
Speaker 2: she talks about it like a trauma. It is like

1041
00:54:54,320 --> 00:54:56,359
Speaker 2: a traumatic moment in her life. It's a really it's

1042
00:54:56,360 --> 00:54:57,960
Speaker 2: a it's a hard to watch film. It's like a

1043
00:54:58,080 --> 00:55:00,279
Speaker 2: very like it's very thirty round card to watch, starting

1044
00:55:00,280 --> 00:55:02,080
Speaker 2: Tracy Morgan, starting Tracy Jordan.

1045
00:55:02,480 --> 00:55:04,400
Speaker 1: They shot it in like Tibet, I want to say.

1046
00:55:05,400 --> 00:55:07,200
Speaker 2: And she was just telling us stories on the stead

1047
00:55:07,200 --> 00:55:09,719
Speaker 2: of wedding banker, which she was like smuggling film out

1048
00:55:10,120 --> 00:55:12,200
Speaker 2: because she was like if the Chinese government sees this,

1049
00:55:12,719 --> 00:55:15,200
Speaker 2: like they will not let this movie go like be released,

1050
00:55:15,280 --> 00:55:20,120
Speaker 2: and like this is a fucking badass renegade direct, like

1051
00:55:20,160 --> 00:55:24,239
Speaker 2: a true renegade. And and I use that word. I

1052
00:55:24,280 --> 00:55:27,680
Speaker 2: do not use that word lightly. Yeah, Icon Last Emperor

1053
00:55:27,719 --> 00:55:29,520
Speaker 2: Twin Peaks, which is like a big blind spot for us.

1054
00:55:29,560 --> 00:55:31,439
Speaker 2: I wis should be Twin Peaks gays. I think maybe

1055
00:55:31,440 --> 00:55:33,040
Speaker 2: that's like that's like a thing we should embark on.

1056
00:55:33,160 --> 00:55:35,640
Speaker 1: Yeah, honestly, I'm interested in becoming a Twin Peaks gad.

1057
00:55:35,760 --> 00:55:38,800
Speaker 2: So all Twin Peaks gays are seem seme with it anyway,

1058
00:55:39,800 --> 00:55:42,840
Speaker 2: it same with it. But John Chen, I think I

1059
00:55:42,840 --> 00:55:46,279
Speaker 2: think there's a renaissance coming she and to say nothing

1060
00:55:46,320 --> 00:55:51,120
Speaker 2: of her like I'm sorry, shallow gay nonsense, true beauty.

1061
00:55:51,239 --> 00:55:54,920
Speaker 1: She is like stunning, a stunning beauty.

1062
00:55:55,080 --> 00:55:59,600
Speaker 2: It's crazy, and she is just incredible in the wedding

1063
00:55:59,600 --> 00:56:02,920
Speaker 2: banquet and She is equal parts funny devastating.

1064
00:56:02,960 --> 00:56:04,640
Speaker 1: She was the funniest person on set. She is.

1065
00:56:04,960 --> 00:56:07,359
Speaker 2: That is a funny motherfucker, Joan Chun And you can

1066
00:56:07,440 --> 00:56:09,440
Speaker 2: quote me on that. Right about that. Write that up

1067
00:56:09,560 --> 00:56:12,920
Speaker 2: Entertainment Weekly. Okay, anyway, go see Deity in theaters.

1068
00:56:13,320 --> 00:56:16,880
Speaker 1: Yeah. There are a million reasons to go see this movie,

1069
00:56:16,960 --> 00:56:19,400
Speaker 1: and we've listed just a few of them, but yeah,

1070
00:56:19,440 --> 00:56:22,120
Speaker 1: you gotta go. I actually ran into Mitra. Mitra was

1071
00:56:22,120 --> 00:56:25,680
Speaker 1: there in the in the theater. I believe she loved

1072
00:56:25,719 --> 00:56:29,360
Speaker 1: it a lot. Love Mitra.

1073
00:56:30,640 --> 00:56:33,799
Speaker 2: We're Mitris dand are mit Mitris Dand Sean Wang, we

1074
00:56:33,840 --> 00:56:36,720
Speaker 2: applaud you. Also, yeah, everyone go check out his Oscar

1075
00:56:36,760 --> 00:56:40,319
Speaker 2: nominated short documentary Short nine nine and Why Pole, which

1076
00:56:40,360 --> 00:56:42,800
Speaker 2: is on Disney Plus. And the grandmother in DEDI is

1077
00:56:42,800 --> 00:56:45,640
Speaker 2: his real grandmother who is in the documentary. And it's

1078
00:56:45,680 --> 00:56:50,319
Speaker 2: seventeen minutes, so heartwarming, so beautiful, beautifully shop Anyway, that's it.

1079
00:56:50,400 --> 00:56:53,000
Speaker 1: I am an official, huge fan and I wanted to

1080
00:56:53,000 --> 00:56:55,920
Speaker 1: say two things. The reason I was singing Dreaming by

1081
00:56:55,960 --> 00:56:58,799
Speaker 1: Blondie Oh at the top was because I saw the

1082
00:56:58,800 --> 00:57:01,400
Speaker 1: most amazing trailer for or a movie I'm so excited

1083
00:57:01,400 --> 00:57:04,399
Speaker 1: about called Honora which is Sean Baker. I can't speak

1084
00:57:04,440 --> 00:57:07,320
Speaker 1: of another Sean and I love a Sean Baker's movies.

1085
00:57:07,440 --> 00:57:12,840
Speaker 1: I fucking love this movie. I loved Red Rocket like wild,

1086
00:57:12,960 --> 00:57:16,680
Speaker 1: I love Simon Rex. That movie was fucking crazy. And

1087
00:57:17,600 --> 00:57:21,080
Speaker 1: what I want to say is that this trailer fucking

1088
00:57:21,240 --> 00:57:23,360
Speaker 1: nailed it with their song choice because it's like a

1089
00:57:23,400 --> 00:57:26,880
Speaker 1: deconstructed version of Dreaming by Blondie, which is such an

1090
00:57:26,880 --> 00:57:30,680
Speaker 1: incredible song, and we talked about it earlier, but that trailer,

1091
00:57:30,920 --> 00:57:32,560
Speaker 1: like that's one of the best trailers I've seen in

1092
00:57:32,640 --> 00:57:36,080
Speaker 1: a really long time. And this Mikey Madison girl, she

1093
00:57:36,200 --> 00:57:38,200
Speaker 1: might have it all the way. She might have it

1094
00:57:38,360 --> 00:57:42,120
Speaker 1: all the way. I'm excited. I'm excited about this movie.

1095
00:57:42,240 --> 00:57:44,440
Speaker 2: I think there's gonna be a groundswell for Mikey. I

1096
00:57:44,480 --> 00:57:46,280
Speaker 2: think she's gonna be the girl.

1097
00:57:46,640 --> 00:57:48,320
Speaker 1: She seems to me like one of the new girls.

1098
00:57:48,320 --> 00:57:52,640
Speaker 1: She seems like the Chapelona film. Yes, and you called it.

1099
00:57:52,920 --> 00:57:55,400
Speaker 1: I might have to make that a real culture now.

1100
00:57:55,760 --> 00:57:58,840
Speaker 1: That might be a real coach. On number forty, Mikey

1101
00:57:58,880 --> 00:58:03,280
Speaker 1: Madison is the chap A film. She's about to become

1102
00:58:03,440 --> 00:58:10,160
Speaker 1: one of the girls really fast, really fast. So just

1103
00:58:10,200 --> 00:58:12,360
Speaker 1: watch for that. And the second thing I wanted to

1104
00:58:12,360 --> 00:58:15,960
Speaker 1: say was you mentioned on Disney that there was you know,

1105
00:58:16,040 --> 00:58:19,600
Speaker 1: his short and that brings me to I want to

1106
00:58:19,640 --> 00:58:24,120
Speaker 1: talk about the D twenty three announcements. Oh so your

1107
00:58:24,280 --> 00:58:28,959
Speaker 1: takes Fire and Ash. Let's go first of all, Avatar three,

1108
00:58:29,040 --> 00:58:31,880
Speaker 1: Fire and Ash. It's not called the Seed Bearer, maybe

1109
00:58:31,880 --> 00:58:34,520
Speaker 1: because they thought it was a little bit it conjured

1110
00:58:34,600 --> 00:58:39,400
Speaker 1: up images of breathing too much. But yes, obviously, as

1111
00:58:39,400 --> 00:58:42,080
Speaker 1: you know, I don't I don't know about Frozen three.

1112
00:58:42,280 --> 00:58:44,640
Speaker 1: I guess we'll see. It really was just like March

1113
00:58:44,640 --> 00:58:47,000
Speaker 1: of the Sequels in terms of like what they announced

1114
00:58:47,680 --> 00:58:50,320
Speaker 1: in terms of film, I don't care that much. You know,

1115
00:58:50,400 --> 00:58:53,120
Speaker 1: what I deeply care about is the theme parks. Yes,

1116
00:58:53,360 --> 00:58:57,520
Speaker 1: did you see what they have rolled out? Because you

1117
00:58:57,560 --> 00:59:00,959
Speaker 1: need to tell me. Sixty billion dollars are going into

1118
00:59:01,000 --> 00:59:05,440
Speaker 1: the the Disney theme parks over the next like several years.

1119
00:59:05,520 --> 00:59:07,960
Speaker 1: And this is just a few of the things that

1120
00:59:08,000 --> 00:59:11,320
Speaker 1: they announced. Okay, So Disney California Adventure is getting a

1121
00:59:11,560 --> 00:59:16,640
Speaker 1: ton of shit, Like they are getting a new Avatar

1122
00:59:16,720 --> 00:59:18,760
Speaker 1: world that is going to be based in the way

1123
00:59:18,800 --> 00:59:21,439
Speaker 1: of Water and Fire and Ash, which has yet to come,

1124
00:59:22,040 --> 00:59:24,680
Speaker 1: but there's going to be a state of the art

1125
00:59:25,000 --> 00:59:29,040
Speaker 1: boat ride, which you gotta go on and check out

1126
00:59:29,040 --> 00:59:32,480
Speaker 1: this concept art. I mean, the money is, the budget

1127
00:59:32,520 --> 00:59:35,280
Speaker 1: is so insane. So the California Adventure, I don't know where,

1128
00:59:35,320 --> 00:59:38,080
Speaker 1: but they're getting Avatar. They're also getting a Cocoa boat ride.

1129
00:59:38,120 --> 00:59:40,640
Speaker 1: It will be the first Cocoa with theme park attraction. Inducy.

1130
00:59:40,760 --> 00:59:46,800
Speaker 1: I love that outside of that, Magic Kingdom is getting cars,

1131
00:59:47,480 --> 00:59:50,960
Speaker 1: not radiator springs racers. So just beyond Big Thunder Mountain,

1132
00:59:50,960 --> 00:59:52,680
Speaker 1: they're going to do cars. There's gonna be a car's ride,

1133
00:59:52,680 --> 00:59:57,520
Speaker 1: and then behind that they are doing a Villain's Land.

1134
00:59:58,480 --> 01:00:01,880
Speaker 1: So this is going to like literally at the back

1135
01:00:01,920 --> 01:00:03,920
Speaker 1: of the Magic Kingdom. It's gonna be like their answer

1136
01:00:03,920 --> 01:00:06,400
Speaker 1: to Dark Universe. I guess I knew it was coming

1137
01:00:06,680 --> 01:00:08,479
Speaker 1: because I was like, I know, they're not just gonna

1138
01:00:08,560 --> 01:00:14,320
Speaker 1: let Universal just have you know, Darkie, not when Universal

1139
01:00:14,440 --> 01:00:17,000
Speaker 1: and not when Disney has like all this, like like

1140
01:00:17,080 --> 01:00:19,320
Speaker 1: they're so famous for the villains, like they should do

1141
01:00:19,360 --> 01:00:22,080
Speaker 1: something with the villains. So they finally are. Apparently there's

1142
01:00:22,120 --> 01:00:24,600
Speaker 1: gonna be one like huge e ticket roller coaster and

1143
01:00:24,640 --> 01:00:26,720
Speaker 1: then one ride which may not be as big a

1144
01:00:26,760 --> 01:00:28,800
Speaker 1: deal as that, but that incorporates all of the villains.

1145
01:00:29,200 --> 01:00:33,320
Speaker 1: I'm thinking that Maleficent will factor in big, but that

1146
01:00:33,520 --> 01:00:35,560
Speaker 1: is like the last thing on the agenda, and we'll

1147
01:00:35,560 --> 01:00:38,320
Speaker 1: see if they even get to it. Like Disney has

1148
01:00:38,440 --> 01:00:40,640
Speaker 1: a history, a recent history of announcing a lot of

1149
01:00:40,720 --> 01:00:42,320
Speaker 1: things and then bailing on a lot of it, So

1150
01:00:42,400 --> 01:00:44,640
Speaker 1: we'll see if any of this even happens. But they

1151
01:00:44,640 --> 01:00:46,720
Speaker 1: are saying this is not blue Sky, this is now

1152
01:00:46,840 --> 01:00:51,560
Speaker 1: active development, and this includes too. This is the craziest thing.

1153
01:00:52,600 --> 01:00:55,960
Speaker 1: This might be you and me coded in Hollywood Studios.

1154
01:00:57,240 --> 01:00:59,400
Speaker 1: Toy Story has been such a hit, there's gonna be

1155
01:00:59,400 --> 01:01:01,760
Speaker 1: a podcast Last Culture to Ride.

1156
01:01:02,400 --> 01:01:02,480
Speaker 5: No.

1157
01:01:03,600 --> 01:01:06,480
Speaker 1: I would love to see Last Culture Thread Culture rid.

1158
01:01:06,920 --> 01:01:08,560
Speaker 1: It would be a dueling roller coaster. It'd be a

1159
01:01:08,640 --> 01:01:12,720
Speaker 1: dueling launch roller coaster, journey through culture, journey through culture.

1160
01:01:12,800 --> 01:01:15,360
Speaker 1: Oh no, these the culture have all been lost. We

1161
01:01:15,480 --> 01:01:17,920
Speaker 1: have to go get them. Guys. That's so good. And

1162
01:01:17,920 --> 01:01:20,720
Speaker 1: then like you go, no one knows this is part

1163
01:01:20,720 --> 01:01:23,160
Speaker 1: of the podcast. It's behind the scenes. But the ride

1164
01:01:23,240 --> 01:01:27,560
Speaker 1: launches after Bowen yang on Zoom goes three two and

1165
01:01:27,600 --> 01:01:30,680
Speaker 1: then it goes ding do and you zip out. Anyway,

1166
01:01:30,720 --> 01:01:33,720
Speaker 1: what I was gonna say is it's so cunty. There's

1167
01:01:33,760 --> 01:01:37,840
Speaker 1: a Monster's Inkland with a Monster's Ink suspended roller coaster,

1168
01:01:37,920 --> 01:01:40,520
Speaker 1: which is based on you know the scene where they

1169
01:01:40,520 --> 01:01:43,400
Speaker 1: go on the doors and they fly through. That's I've

1170
01:01:43,400 --> 01:01:45,400
Speaker 1: been waiting for a roller coaster based on that for

1171
01:01:45,680 --> 01:01:50,120
Speaker 1: twenty years and they're doing it. They're actually doing it.

1172
01:01:50,120 --> 01:01:53,080
Speaker 1: It feels like fan service. I'm like, this is twenty

1173
01:01:53,160 --> 01:01:57,000
Speaker 1: years too late, but thank god, because this is that's

1174
01:01:57,040 --> 01:01:59,360
Speaker 1: gonna be really good. No, that's gonna be great.

1175
01:01:59,400 --> 01:02:03,360
Speaker 2: But also this just just makes me go, Matt Rogers

1176
01:02:03,400 --> 01:02:06,560
Speaker 2: needs to enter his Kingdom Hearts era because Kingdom Hearts

1177
01:02:06,560 --> 01:02:09,160
Speaker 2: three you go to Monsters, you go to Monsters Inc.

1178
01:02:09,400 --> 01:02:13,120
Speaker 2: And Monstropolis, they say, and they're like, writing the doors

1179
01:02:13,200 --> 01:02:15,440
Speaker 2: is a whole thing. Yes, I know the feeling of

1180
01:02:15,440 --> 01:02:18,240
Speaker 2: writing the doors, not spatially but in video game, which

1181
01:02:18,240 --> 01:02:18,840
Speaker 2: is pretty close.

1182
01:02:18,920 --> 01:02:21,240
Speaker 1: Anyway, I want to know more. I will look into it.

1183
01:02:21,360 --> 01:02:23,920
Speaker 1: So basically, okay, So just to return to California Adventure,

1184
01:02:24,080 --> 01:02:27,440
Speaker 1: the Avengers E ticket ride, it's they're finally pulling the

1185
01:02:27,440 --> 01:02:29,480
Speaker 1: trigger on that. I guess like they've been threatening for

1186
01:02:29,600 --> 01:02:33,200
Speaker 1: years because that Avengers Land Avengers Campus in California Adventure

1187
01:02:33,280 --> 01:02:36,440
Speaker 1: feels like it's really missing something because it is. So

1188
01:02:36,480 --> 01:02:38,920
Speaker 1: they're getting a huge e ticket that's going to basically

1189
01:02:39,040 --> 01:02:41,920
Speaker 1: use like the Multiverse of course, and it's going to

1190
01:02:41,960 --> 01:02:44,880
Speaker 1: be like an Avenger's like larger Grand Scheme Marvel ride

1191
01:02:44,880 --> 01:02:48,560
Speaker 1: that will probably use like literally everyone. And then outside

1192
01:02:48,560 --> 01:02:51,320
Speaker 1: of that anim looking to them, they're going to redo

1193
01:02:51,400 --> 01:02:54,160
Speaker 1: the Dinosaurs Land and that's going to be Indiana Jones theme.

1194
01:02:54,240 --> 01:02:56,959
Speaker 1: It's going to be themed to Tropical Americas. So there's

1195
01:02:56,960 --> 01:03:00,600
Speaker 1: gonna be a Mowana attraction finally, and there's it's like

1196
01:03:00,560 --> 01:03:03,840
Speaker 1: an attraction. It's gonna be a Palm Springs attraction. You're

1197
01:03:03,880 --> 01:03:05,800
Speaker 1: gonna go sit at the bar of the cow and

1198
01:03:05,920 --> 01:03:09,960
Speaker 1: get really tan and drop America. You actually aged sixty

1199
01:03:10,080 --> 01:03:12,800
Speaker 1: years in three and a half minutes, and Vicky Gondols

1200
01:03:13,000 --> 01:03:16,280
Speaker 1: is sitting outside at a table. Have we ever said

1201
01:03:16,440 --> 01:03:18,400
Speaker 1: on the podcast at the time. We went to Tropical

1202
01:03:18,480 --> 01:03:20,920
Speaker 1: and Vicki gon Wolson was just there the o g Oz.

1203
01:03:21,280 --> 01:03:23,440
Speaker 2: And then we were all Metro was there too, and

1204
01:03:23,520 --> 01:03:27,360
Speaker 2: then we were all Stone and then there was an earthquake.

1205
01:03:27,440 --> 01:03:28,240
Speaker 1: There was an earthquake.

1206
01:03:28,480 --> 01:03:31,280
Speaker 2: Yeah, we were at the same restaurant as Vicky gon

1207
01:03:31,320 --> 01:03:33,160
Speaker 2: Wolson and when the earthquake hit in Palm Springs.

1208
01:03:33,320 --> 01:03:35,400
Speaker 1: Wow, by the way, there was an earthquake just now.

1209
01:03:35,600 --> 01:03:41,439
Speaker 1: I know again, No, that's driving it was it's it's

1210
01:03:42,360 --> 01:03:45,120
Speaker 1: I never feel them. It's so weird. I don't know why.

1211
01:03:45,280 --> 01:03:47,880
Speaker 1: I just never feel them. And then I look at

1212
01:03:47,920 --> 01:03:51,600
Speaker 1: my my text and my friends are going off like screaming,

1213
01:03:51,960 --> 01:03:55,040
Speaker 1: like doing the thing with all caps exation earthquake. Like

1214
01:03:55,160 --> 01:03:56,720
Speaker 1: imagine just seeing that and you felt nothing.

1215
01:03:57,320 --> 01:03:57,600
Speaker 3: I have it.

1216
01:03:57,720 --> 01:04:01,560
Speaker 1: I have a theory. You don't. Oh God, I wish

1217
01:04:01,600 --> 01:04:04,880
Speaker 1: I didn't feel sometimes. I think you have shock absorption

1218
01:04:06,160 --> 01:04:10,400
Speaker 1: all in the ass. Uh, you're obsessed with my ass lately.

1219
01:04:11,360 --> 01:04:15,240
Speaker 1: I'm sorry. I have to gasp up my sister. You

1220
01:04:15,400 --> 01:04:18,400
Speaker 1: really think it's looking good. I work, I work on it.

1221
01:04:18,880 --> 01:04:23,240
Speaker 2: I think the butt is taking all of the the earthquake.

1222
01:04:24,160 --> 01:04:26,880
Speaker 2: I think you are helping pure Thank God.

1223
01:04:27,240 --> 01:04:28,720
Speaker 1: That's why you need. We need to keep me on

1224
01:04:28,840 --> 01:04:31,880
Speaker 1: earth because I need I need to sockers. What is it?

1225
01:04:32,080 --> 01:04:34,920
Speaker 1: Soak up this absorption with I guess which is now

1226
01:04:35,320 --> 01:04:38,640
Speaker 1: as it's it's it's now qualified as dad ass. It's

1227
01:04:38,680 --> 01:04:42,160
Speaker 1: not just MAT's ass anymore. It's no dad ass. It's phrase.

1228
01:04:42,320 --> 01:04:44,880
Speaker 1: I mean to say nothing of your behind, which I've

1229
01:04:44,960 --> 01:04:47,760
Speaker 1: noticed has gotten larger. No, you don't have to We

1230
01:04:47,800 --> 01:04:48,120
Speaker 1: don't have.

1231
01:04:48,160 --> 01:04:48,440
Speaker 3: To do this.

1232
01:04:49,280 --> 01:04:50,800
Speaker 1: See how come you're allowed to do it with me

1233
01:04:50,880 --> 01:04:53,160
Speaker 1: and I can't do it with you. Well, I feel

1234
01:04:53,160 --> 01:04:56,200
Speaker 1: like you must have felt set up to, you know,

1235
01:04:56,800 --> 01:05:01,120
Speaker 1: compliment my ass. Know what happened was we were going

1236
01:05:01,120 --> 01:05:03,320
Speaker 1: to Jimmy Kimmel Alive and we were wearing those tracksuits

1237
01:05:03,360 --> 01:05:04,920
Speaker 1: and I was walking behind you and I was like,

1238
01:05:05,000 --> 01:05:07,560
Speaker 1: oh my god, your ass and because it was popping

1239
01:05:07,560 --> 01:05:09,800
Speaker 1: because you had told me about the group bridges.

1240
01:05:10,360 --> 01:05:12,880
Speaker 2: Yeah, but that was the same time I think I

1241
01:05:13,040 --> 01:05:15,240
Speaker 2: had previously before you pointed out my ass.

1242
01:05:15,280 --> 01:05:18,600
Speaker 1: Day went Matt. No, it was after, I don't think

1243
01:05:18,680 --> 01:05:22,080
Speaker 1: so you said something about my ass. Literally, like thirteen

1244
01:05:22,200 --> 01:05:25,080
Speaker 1: years ago, we were in rehearsal for pop Roulette, and

1245
01:05:25,160 --> 01:05:26,880
Speaker 1: I remember you just threw out there. You were like,

1246
01:05:26,960 --> 01:05:28,960
Speaker 1: Matt has the best ass, and I remember being like,

1247
01:05:29,000 --> 01:05:31,040
Speaker 1: oh my god, like because I had never really heard

1248
01:05:31,080 --> 01:05:33,560
Speaker 1: that before. And then years passed and then we were

1249
01:05:33,560 --> 01:05:35,479
Speaker 1: walking to Jimmy Kimmel and you made a comment about

1250
01:05:35,480 --> 01:05:38,120
Speaker 1: my ass and I was just like, all right, am

1251
01:05:38,240 --> 01:05:41,240
Speaker 1: I allowed to compliment.

1252
01:05:41,640 --> 01:05:42,160
Speaker 5: I love it.

1253
01:05:42,320 --> 01:05:44,560
Speaker 1: I think it's great, and it's very encouraging for me.

1254
01:05:44,640 --> 01:05:46,400
Speaker 1: It means I would like to continue the group bridges

1255
01:05:46,440 --> 01:05:49,000
Speaker 1: and all the work I'm doing at the Great Institution Berries.

1256
01:05:49,480 --> 01:05:54,320
Speaker 1: We love you, o Berries. I'm there every day except

1257
01:05:55,120 --> 01:05:58,280
Speaker 1: one day. I really shouldn't be doing it every single day,

1258
01:05:58,280 --> 01:05:59,120
Speaker 1: but I'm obsessed.

1259
01:06:00,560 --> 01:06:02,720
Speaker 2: Everyone has called me in and said, seventy five hart

1260
01:06:02,920 --> 01:06:07,800
Speaker 2: is structured exercise and eating disorder, and listen, you might

1261
01:06:07,880 --> 01:06:10,400
Speaker 2: not be wrong, but I also I think for now

1262
01:06:10,440 --> 01:06:13,480
Speaker 2: it's just laying the groundwork for some healthier choices and habits.

1263
01:06:13,480 --> 01:06:14,920
Speaker 2: I'm not going to do this for all time.

1264
01:06:15,680 --> 01:06:18,680
Speaker 1: So I hear you. I hear you. Listen. Sometimes you

1265
01:06:18,800 --> 01:06:20,560
Speaker 1: have to go a little far and then pull it

1266
01:06:20,640 --> 01:06:22,440
Speaker 1: back like so I don't. I often don't think it's

1267
01:06:22,480 --> 01:06:25,439
Speaker 1: a bad thing, no matter what it is. Like with diet,

1268
01:06:25,480 --> 01:06:27,640
Speaker 1: it's always like you could always err on the side

1269
01:06:27,640 --> 01:06:29,680
Speaker 1: of your probably being too hard on yourself. But I

1270
01:06:29,720 --> 01:06:32,480
Speaker 1: think with any goal setting, it's okay to start in

1271
01:06:32,560 --> 01:06:36,840
Speaker 1: a more extreme, loftier goal and then see where you fall,

1272
01:06:37,120 --> 01:06:38,520
Speaker 1: you know, like, I think that's better.

1273
01:06:38,880 --> 01:06:42,280
Speaker 2: It's shooting for the moon, landing amongst the stars, and

1274
01:06:43,640 --> 01:06:46,120
Speaker 2: the diet thing is the thing that I'm the least

1275
01:06:46,320 --> 01:06:46,800
Speaker 2: strict on.

1276
01:06:47,440 --> 01:06:51,720
Speaker 1: I'm eating very well as you should. So it's okay.

1277
01:06:52,040 --> 01:06:55,880
Speaker 1: And guess what. Guess where that goes the ass. Yeah,

1278
01:06:56,040 --> 01:06:58,959
Speaker 1: so just think about that a little bit. I wanted

1279
01:06:59,000 --> 01:07:00,440
Speaker 1: to say, we had a wonderful time my launch. It

1280
01:07:00,440 --> 01:07:02,760
Speaker 1: happens live. We met I had met her before, but

1281
01:07:03,600 --> 01:07:07,000
Speaker 1: watching your reaction to britaway Field coming in was so fun.

1282
01:07:07,400 --> 01:07:10,240
Speaker 1: You were you were joyful.

1283
01:07:10,400 --> 01:07:16,720
Speaker 2: She's everything, She's everything, our our Jessica Rabbit, She's everything.

1284
01:07:17,120 --> 01:07:19,560
Speaker 1: Okay. And if you think we didn't get all the

1285
01:07:19,640 --> 01:07:22,720
Speaker 1: tea about Rony season two, you're wrong. And guess what,

1286
01:07:23,440 --> 01:07:25,280
Speaker 1: Britna is gonna come on the pod. We're gonna figure

1287
01:07:25,280 --> 01:07:26,080
Speaker 1: it out for September.

1288
01:07:26,200 --> 01:07:28,360
Speaker 2: I we're excited about it that it's happening, and we're

1289
01:07:28,520 --> 01:07:30,720
Speaker 2: selective with the housewives just saying.

1290
01:07:31,000 --> 01:07:33,200
Speaker 1: Very but that was a moment. That was a moment

1291
01:07:33,200 --> 01:07:34,520
Speaker 1: where we were like, I mean, we have to spend

1292
01:07:34,560 --> 01:07:37,440
Speaker 1: more time with this woman. We have to. She's just

1293
01:07:38,240 --> 01:07:41,840
Speaker 1: mesmerizing and it was real. It's real. Okay, so she's

1294
01:07:41,880 --> 01:07:46,080
Speaker 1: coming on. It was very real, like it's giving parv. Actually, yes,

1295
01:07:46,760 --> 01:07:50,320
Speaker 1: oh my god, that's it. I was, does she remind

1296
01:07:50,360 --> 01:07:54,400
Speaker 1: me of It's parv. It's because it's shear, sheer, star

1297
01:07:54,600 --> 01:08:00,680
Speaker 1: quality combined with that flirtatious, flirtatious straight woman flirt with us,

1298
01:08:01,560 --> 01:08:03,200
Speaker 1: which I love.

1299
01:08:04,080 --> 01:08:06,960
Speaker 2: It's not like pandering to like, it's not like not

1300
01:08:07,120 --> 01:08:08,640
Speaker 2: at all. First of all, we need to come up

1301
01:08:08,640 --> 01:08:10,280
Speaker 2: with a new I think I think this is there

1302
01:08:10,360 --> 01:08:12,480
Speaker 2: is a cultural conversation happening right now where everyone's like,

1303
01:08:12,560 --> 01:08:15,240
Speaker 2: we need a new term instead of fag hag because

1304
01:08:15,240 --> 01:08:17,640
Speaker 2: it's demeaning to both it's avolved.

1305
01:08:17,840 --> 01:08:21,840
Speaker 1: I haven't said fag hag in fifteen years. There's just

1306
01:08:21,920 --> 01:08:25,639
Speaker 1: got to be a different word that is like Judy. Sure,

1307
01:08:25,960 --> 01:08:30,559
Speaker 1: let's say Judy. It's Judy quality. We liked her a lot,

1308
01:08:31,120 --> 01:08:34,240
Speaker 1: we liked her a lot, but it's ParvE. It's totally ParvE. Also,

1309
01:08:34,320 --> 01:08:38,240
Speaker 1: can I say, usually the Teresa people are are like

1310
01:08:38,680 --> 01:08:41,360
Speaker 1: really noxious to me after I'm on watch it happens live,

1311
01:08:41,400 --> 01:08:43,439
Speaker 1: because I don't make any qualms about what I think.

1312
01:08:44,240 --> 01:08:47,080
Speaker 1: It's very soft this time, because I can tell they're defeated.

1313
01:08:47,680 --> 01:08:51,639
Speaker 2: Yeah, she's a fucking look I said, I fully said,

1314
01:08:51,680 --> 01:08:54,680
Speaker 2: she has a lobe missing. You sure did, And I'm

1315
01:08:54,720 --> 01:08:56,240
Speaker 2: not hearing a peep from these freaks.

1316
01:08:56,840 --> 01:08:58,920
Speaker 1: Yeah, we're all set with our opinion. Also, can I

1317
01:08:59,000 --> 01:09:02,400
Speaker 1: say Teresa Judas is a Trump supporter who was married

1318
01:09:02,479 --> 01:09:04,760
Speaker 1: to Joe Judaice, so none of us should be surprised

1319
01:09:04,800 --> 01:09:08,639
Speaker 1: that Louie is like toxic and horrible, Like this woman

1320
01:09:09,000 --> 01:09:13,320
Speaker 1: does not know what it is like to not participate

1321
01:09:13,400 --> 01:09:17,720
Speaker 1: in anoxious, toxic, patriarchal culture. It's a failing of the

1322
01:09:17,880 --> 01:09:20,519
Speaker 1: environment that she came up in, and I came up

1323
01:09:20,560 --> 01:09:23,000
Speaker 1: in a very similar one, so I do have a

1324
01:09:23,080 --> 01:09:27,120
Speaker 1: bird's eye on it, Like she is someone she advances

1325
01:09:27,200 --> 01:09:30,200
Speaker 1: that she expands that environment. Sorry, actually, yeah, she did

1326
01:09:30,320 --> 01:09:33,840
Speaker 1: nothing to curb anything make it better. And now it's

1327
01:09:33,880 --> 01:09:36,000
Speaker 1: like now you can even see in this last season,

1328
01:09:36,120 --> 01:09:38,240
Speaker 1: like Gia is going to move in with her boyfriend

1329
01:09:38,320 --> 01:09:40,800
Speaker 1: right away, and she's like Teresa's like, I just wish

1330
01:09:40,880 --> 01:09:43,240
Speaker 1: she'd live alone because I never lived alone. It's because

1331
01:09:43,720 --> 01:09:46,200
Speaker 1: like she knows that her life could have been different

1332
01:09:46,600 --> 01:09:49,040
Speaker 1: had she maybe stepped out and been you know, her

1333
01:09:49,120 --> 01:09:51,639
Speaker 1: own person for a while. Like maybe now she wouldn't

1334
01:09:51,640 --> 01:09:56,599
Speaker 1: be literally shriveling, losing weight, anxious, like dying because her

1335
01:09:56,760 --> 01:10:00,920
Speaker 1: like a new husband, is dealing with eagle shit left

1336
01:10:00,960 --> 01:10:04,360
Speaker 1: and right. Because probably there's something going on there. And

1337
01:10:05,200 --> 01:10:08,120
Speaker 1: my big thing too, is it's like, why are we

1338
01:10:08,360 --> 01:10:12,240
Speaker 1: so comfortable just calling Louie's X crazy, Like no one

1339
01:10:12,360 --> 01:10:16,960
Speaker 1: wants to wonder about why she's has these problems, Like

1340
01:10:17,120 --> 01:10:19,960
Speaker 1: no one wants to take all these people coming out

1341
01:10:19,960 --> 01:10:23,559
Speaker 1: of the woodwork seriously, like no one thinks no one

1342
01:10:23,640 --> 01:10:27,720
Speaker 1: that's team Teresa thinks that there's not something smoke and

1343
01:10:27,800 --> 01:10:31,680
Speaker 1: fire about the hole Louis thing like, really, but these

1344
01:10:31,720 --> 01:10:34,599
Speaker 1: people are morons? No exactly.

1345
01:10:34,840 --> 01:10:37,240
Speaker 2: I mean that is like the classic biggest red flag.

1346
01:10:37,280 --> 01:10:39,200
Speaker 2: It's like, oh, you're you're dating somewhere, you're with someone,

1347
01:10:39,240 --> 01:10:43,080
Speaker 2: and all the ex'es are quote unquote crazy. Me thinks

1348
01:10:43,160 --> 01:10:45,280
Speaker 2: not the red flags couldn't be clear, and you hate

1349
01:10:45,320 --> 01:10:48,280
Speaker 2: to see it. You hate to see it's red flags.

1350
01:10:48,360 --> 01:10:52,320
Speaker 2: It's crimson banners. Sometimes something's bigger than a red flag

1351
01:10:52,800 --> 01:10:53,960
Speaker 2: and it's a crimson banner.

1352
01:10:54,000 --> 01:10:56,479
Speaker 1: And to be honest with you, those are even harder.

1353
01:10:56,640 --> 01:11:02,160
Speaker 1: Clock When something is so crazy that it's beyond a

1354
01:11:02,240 --> 01:11:07,080
Speaker 1: red flag, it's a crimson banner, you actually think like, oh, well,

1355
01:11:07,160 --> 01:11:10,360
Speaker 1: this can't this, this must be the way that this

1356
01:11:10,600 --> 01:11:14,240
Speaker 1: needs to be dealt with because it's so huge, you know,

1357
01:11:14,280 --> 01:11:16,439
Speaker 1: what I mean, like, this can't be a red This

1358
01:11:16,560 --> 01:11:19,559
Speaker 1: isn't this this is just like a necessary like thing

1359
01:11:19,640 --> 01:11:22,400
Speaker 1: I'm putting myself through because it's so crazy. I think

1360
01:11:22,439 --> 01:11:25,519
Speaker 1: that's what's happening with Louis. But yeah, it's not like

1361
01:11:25,640 --> 01:11:27,680
Speaker 1: little tiny things like oh that's weird the way they

1362
01:11:27,720 --> 01:11:30,400
Speaker 1: talk to the waiter, or oh that's weird, like, uh,

1363
01:11:30,600 --> 01:11:33,599
Speaker 1: they didn't know this about, you know, someone they're supposed

1364
01:11:33,600 --> 01:11:35,600
Speaker 1: to be close to, you know, Oh that's weird. Like

1365
01:11:35,680 --> 01:11:37,800
Speaker 1: they a little white lie about this thing that I

1366
01:11:37,840 --> 01:11:40,559
Speaker 1: caught them in. That's weird. It's like those are sometimes

1367
01:11:40,600 --> 01:11:43,559
Speaker 1: easier to track, and the big things are like, well, yeah,

1368
01:11:43,600 --> 01:11:45,160
Speaker 1: I mean it's a big thing.

1369
01:11:45,680 --> 01:11:49,080
Speaker 2: Well, the big things for this guy are He's literally

1370
01:11:49,160 --> 01:11:52,599
Speaker 2: saying in the finale, I hope Marge's children, his son,

1371
01:11:52,720 --> 01:11:56,200
Speaker 2: her son suffers as much as I have suffered. Don't

1372
01:11:56,280 --> 01:11:59,439
Speaker 2: wish that upon a fucking kid. Don't wish that upon

1373
01:11:59,520 --> 01:12:01,920
Speaker 2: someone who's like of a different generation than It's like,

1374
01:12:02,200 --> 01:12:07,320
Speaker 2: don't don't. Just that's fucking wild. Anyway, I don't want

1375
01:12:07,320 --> 01:12:08,120
Speaker 2: to talk about these people.

1376
01:12:08,320 --> 01:12:12,960
Speaker 1: He's the worst person on television and would love to

1377
01:12:13,120 --> 01:12:14,479
Speaker 1: not watch him anymore.

1378
01:12:14,680 --> 01:12:18,679
Speaker 2: I'm totally Okay, whatever happens with Jersey, God bless let's

1379
01:12:18,880 --> 01:12:22,040
Speaker 2: give this a Viking funeral, shoot our fiery arrow into

1380
01:12:22,080 --> 01:12:25,480
Speaker 2: the sky. I did that in my mentally with Potomac.

1381
01:12:25,560 --> 01:12:28,880
Speaker 2: I'm like, my life has been a million times better

1382
01:12:28,920 --> 01:12:32,320
Speaker 2: without Giselle Bryant and Nashley Darby and all these other

1383
01:12:32,360 --> 01:12:32,880
Speaker 2: fucking people.

1384
01:12:33,000 --> 01:12:36,360
Speaker 1: Meah, Thornton like, I don't miss these people for shit.

1385
01:12:37,120 --> 01:12:40,280
Speaker 2: I mean, the fact is, though they will be back,

1386
01:12:40,840 --> 01:12:43,479
Speaker 2: no I know, but it's gonna be in my life.

1387
01:12:43,600 --> 01:12:45,320
Speaker 2: I won't be back as long as they're on the show.

1388
01:12:45,920 --> 01:12:46,960
Speaker 2: I'm sorry, I just won't.

1389
01:12:47,360 --> 01:12:47,599
Speaker 1: Look.

1390
01:12:47,760 --> 01:12:50,200
Speaker 2: There are bad people in that, in that little environent.

1391
01:12:50,200 --> 01:12:53,280
Speaker 2: We love all those people and Bravoland, but there are

1392
01:12:53,280 --> 01:12:56,679
Speaker 2: people that are concentric circles around that that I'm like, oh,

1393
01:12:57,240 --> 01:12:59,400
Speaker 2: I am not getting anywhere near.

1394
01:12:59,640 --> 01:13:04,120
Speaker 1: Y'all say no more, because I learned that the hard way.

1395
01:13:13,760 --> 01:13:16,120
Speaker 1: All right, So let's get into I don't think so honey,

1396
01:13:16,160 --> 01:13:19,720
Speaker 1: before we actually do that with our life. And I

1397
01:13:19,840 --> 01:13:22,960
Speaker 1: have something to say. Okay, this is Matt Rogers. I

1398
01:13:23,000 --> 01:13:25,200
Speaker 1: don't think so many as time starts yet, I don't

1399
01:13:25,200 --> 01:13:27,560
Speaker 1: think so honey, that Barack Obama actually listens to the

1400
01:13:27,600 --> 01:13:30,439
Speaker 1: song three sixty five by Charlie XCX, which he would

1401
01:13:30,439 --> 01:13:33,320
Speaker 1: suggest when he put out his Barack Obama summer playlist.

1402
01:13:33,680 --> 01:13:39,519
Speaker 1: Barack Obama listened to me maybe von Dutch, maybe three sixty.

1403
01:13:39,960 --> 01:13:44,120
Speaker 1: But I do not think that you, Barack Obama. Former

1404
01:13:44,200 --> 01:13:46,640
Speaker 1: President Barack Obama listened to three sixty five, and I

1405
01:13:46,800 --> 01:13:49,280
Speaker 1: think you need to just pull it back a little bit.

1406
01:13:49,840 --> 01:13:53,439
Speaker 1: You really you went too hard, like the intern jumped out.

1407
01:13:54,040 --> 01:13:56,320
Speaker 1: I understand, we're having a brat summer. We're all very

1408
01:13:56,320 --> 01:14:01,040
Speaker 1: excited about Kamala. You showed your ass there. Yeah, because

1409
01:14:01,120 --> 01:14:04,320
Speaker 1: I know that you're not listening to that song, which

1410
01:14:04,400 --> 01:14:07,479
Speaker 1: is mostly about doing keys and bumps. I just don't

1411
01:14:07,520 --> 01:14:10,000
Speaker 1: buy it for you, Barack, and I wouldn't want to.

1412
01:14:10,680 --> 01:14:13,640
Speaker 1: I'll tell you who I buy on your list. Lucinda Williams.

1413
01:14:14,600 --> 01:14:17,879
Speaker 1: That's who I that's giving me Barack her five seconds.

1414
01:14:18,000 --> 01:14:21,599
Speaker 1: I see that I stand as well. Charlie xx's three

1415
01:14:21,640 --> 01:14:24,840
Speaker 1: sixty five, maybe vondutche three six five. I don't think so, honey.

1416
01:14:25,280 --> 01:14:31,000
Speaker 2: And that's one minute anything Barack and ag Cook the

1417
01:14:31,080 --> 01:14:32,519
Speaker 2: dare doesn't really doesn't.

1418
01:14:32,960 --> 01:14:36,080
Speaker 1: I'm not seeing it. And that's a very highly curated

1419
01:14:36,120 --> 01:14:39,120
Speaker 1: anticipated list like whenever his shit comes out. That's like,

1420
01:14:39,200 --> 01:14:41,559
Speaker 1: this is my favorite movies of the year. They always

1421
01:14:41,640 --> 01:14:45,080
Speaker 1: make the rounds and I'm like, I've always bought it

1422
01:14:45,200 --> 01:14:47,360
Speaker 1: and been like, oh cool until I was not three

1423
01:14:47,400 --> 01:14:49,040
Speaker 1: six five by Charlie x X and I was like, no,

1424
01:14:49,560 --> 01:14:51,280
Speaker 1: someone on your team said this should be on there.

1425
01:14:51,320 --> 01:14:54,879
Speaker 1: You don't like this song. Going back to helanis not authentic.

1426
01:14:55,360 --> 01:14:57,880
Speaker 1: I mean, he could never be Alanis. And I say

1427
01:14:57,960 --> 01:14:59,400
Speaker 1: this as a Barack fan.

1428
01:15:00,200 --> 01:15:02,240
Speaker 2: Read the Status, Status and Culture Book. There's a whole

1429
01:15:02,240 --> 01:15:04,840
Speaker 2: thing like it's like it's signaling and the authenticity plays

1430
01:15:04,880 --> 01:15:08,160
Speaker 2: into it, and it's like when you spot the inauthentic

1431
01:15:08,320 --> 01:15:11,760
Speaker 2: thing like that, it's it's game over, Like we might

1432
01:15:11,840 --> 01:15:12,360
Speaker 2: be seeing that.

1433
01:15:12,520 --> 01:15:14,360
Speaker 1: I don't know who can mean. I'm telling you. I'm

1434
01:15:14,439 --> 01:15:17,639
Speaker 1: telling you. If it was done dutch by, I'd be like, okay,

1435
01:15:17,800 --> 01:15:20,439
Speaker 1: if it was grow so confusing, I would be like yes,

1436
01:15:21,040 --> 01:15:24,880
Speaker 1: three six five, I don't know. And if someone I welcome.

1437
01:15:24,680 --> 01:15:27,120
Speaker 2: Proof, I think readers Katie's public is finalists way and

1438
01:15:27,680 --> 01:15:31,120
Speaker 2: yeah we in do we think Barack Obama, the forty

1439
01:15:31,160 --> 01:15:36,559
Speaker 2: fourth President of the United States, has like me, listened

1440
01:15:36,640 --> 01:15:40,400
Speaker 2: in a ketamine stupor to three six five and understood

1441
01:15:41,160 --> 01:15:42,040
Speaker 2: what's going on there.

1442
01:15:42,840 --> 01:15:44,599
Speaker 1: I guess that's another thing too, is it's like it's

1443
01:15:44,720 --> 01:15:49,920
Speaker 1: so it would suggest he understands that culture in a

1444
01:15:50,000 --> 01:15:53,800
Speaker 1: way where I'm like, maybe, how do you Yeah, even

1445
01:15:53,840 --> 01:15:55,519
Speaker 1: if you do, I don't want to hear about it,

1446
01:15:55,880 --> 01:15:58,280
Speaker 1: you know what I'm saying. It's like I don't need

1447
01:15:58,400 --> 01:16:02,720
Speaker 1: to know that Barack. Is that I'm saying. It's like,

1448
01:16:03,280 --> 01:16:06,360
Speaker 1: if that's what he thinks, cool? Is it rubbed me?

1449
01:16:06,520 --> 01:16:07,880
Speaker 1: I was like, I just don't.

1450
01:16:08,240 --> 01:16:10,800
Speaker 2: It's just sometimes it's I felt for a couple of

1451
01:16:10,880 --> 01:16:15,160
Speaker 2: years it's been giving Steve Desmy like me and how

1452
01:16:15,200 --> 01:16:16,040
Speaker 2: do you do fellow kids?

1453
01:16:16,400 --> 01:16:21,040
Speaker 1: How do you do fellow kids? Anyways, this is Bowen

1454
01:16:21,120 --> 01:16:22,680
Speaker 1: Yang's I don't think so, honey. Are you ready to go?

1455
01:16:23,000 --> 01:16:26,479
Speaker 2: I'm ready to go, and Bowen Yang's time starts now.

1456
01:16:27,040 --> 01:16:29,280
Speaker 2: I don't think so, honey. I know there is a

1457
01:16:29,400 --> 01:16:32,160
Speaker 2: lego version of Fanny in the Wicked Lego collection that

1458
01:16:32,240 --> 01:16:35,559
Speaker 2: it's coming out. I listen, I'm buying it. I'm gonna

1459
01:16:35,560 --> 01:16:37,680
Speaker 2: buy it for my nieces and my nephew. But I

1460
01:16:37,840 --> 01:16:40,200
Speaker 2: know there was a Fanny lego and it's not being sold,

1461
01:16:40,320 --> 01:16:43,360
Speaker 2: and I'm a little hurt. And listen, I'm an ancillary character,

1462
01:16:43,439 --> 01:16:46,120
Speaker 2: but I think I look, they're using me in some

1463
01:16:46,240 --> 01:16:48,920
Speaker 2: of the trailers. I'm in the Fierro trailer, every trailer

1464
01:16:49,160 --> 01:16:52,040
Speaker 2: that I improvised, and I kind of think Fanny's gonna

1465
01:16:52,320 --> 01:16:54,720
Speaker 2: is gonna slay and the people are gonna want a

1466
01:16:54,760 --> 01:16:55,280
Speaker 2: Fanny lego.

1467
01:16:55,439 --> 01:16:56,240
Speaker 1: Trust their to believe.

1468
01:16:56,880 --> 01:16:59,120
Speaker 2: I'm gonna say, I'm gonna I'm gonna advocate for myself

1469
01:16:59,200 --> 01:17:03,599
Speaker 2: and gas myself up. Fanny is a fucking legend. I'm

1470
01:17:03,640 --> 01:17:05,280
Speaker 2: so proud of I'm so proud of what we do

1471
01:17:05,439 --> 01:17:09,960
Speaker 2: with Fanny. I'm laughing because it's just it's funny to say.

1472
01:17:10,400 --> 01:17:12,680
Speaker 2: But I would love to see the Fanny lego. Look,

1473
01:17:12,680 --> 01:17:15,400
Speaker 2: they did a whole lego Fanny trailer, right, I'm sorry,

1474
01:17:15,400 --> 01:17:17,800
Speaker 2: they did a whole Lego trailer to like the long

1475
01:17:17,880 --> 01:17:22,040
Speaker 2: extended trailer of Wicked and Fanny has there's a Fanny intentionon.

1476
01:17:22,640 --> 01:17:24,280
Speaker 1: I know there's a Fanny lego. I would love to

1477
01:17:24,280 --> 01:17:28,200
Speaker 1: see the Fanny lego sold in stores. And that's one minute.

1478
01:17:28,320 --> 01:17:32,280
Speaker 1: And let me just agree roundly that we need to

1479
01:17:32,320 --> 01:17:35,559
Speaker 1: see a lego Boone Yang as Fanny, please, at least

1480
01:17:35,640 --> 01:17:37,320
Speaker 1: limited edition, you know what I mean. At least for

1481
01:17:37,400 --> 01:17:39,960
Speaker 1: a short time only you know what I'm saying, and like,

1482
01:17:40,080 --> 01:17:43,160
Speaker 1: at least produce enough so that people can get them

1483
01:17:43,160 --> 01:17:45,679
Speaker 1: as a collector's thing. Who doesn't want a little lego? Bowen,

1484
01:17:46,240 --> 01:17:46,880
Speaker 1: are you kidding?

1485
01:17:47,160 --> 01:17:50,800
Speaker 2: Funny collector's item me with that cunty little hair and

1486
01:17:50,880 --> 01:17:55,080
Speaker 2: glasses like, come on, it's good hair. This is not masturbatory.

1487
01:17:55,080 --> 01:17:57,080
Speaker 2: It's just like, I think that would be a fun lego.

1488
01:17:57,439 --> 01:17:59,920
Speaker 1: I think it will be great. Come on, I think

1489
01:18:00,000 --> 01:18:02,000
Speaker 1: it will be great. By the way, that was a

1490
01:18:02,040 --> 01:18:03,960
Speaker 1: good trailer, and I had been waiting for more. Johnny

1491
01:18:05,200 --> 01:18:10,640
Speaker 1: the character triggers me. Serrao triggers you. Wait, yeah, I

1492
01:18:10,680 --> 01:18:13,160
Speaker 1: don't like that kind of guy. I don't know. No, no, no,

1493
01:18:13,439 --> 01:18:17,120
Speaker 1: he's I read for please, I did read for that part.

1494
01:18:17,439 --> 01:18:20,439
Speaker 1: You did read, but you don't like don't like that guy.

1495
01:18:20,880 --> 01:18:23,519
Speaker 1: Don't like that guy fiero. He's up to he gets

1496
01:18:23,560 --> 01:18:26,719
Speaker 1: his come up and he sure straw turns the straw

1497
01:18:27,080 --> 01:18:33,479
Speaker 1: like all narcissist should No, I'm sure, I'm sure it'll

1498
01:18:33,520 --> 01:18:37,240
Speaker 1: be wonderful. Uh looks good. That's good. That should be.

1499
01:18:37,800 --> 01:18:40,560
Speaker 1: You know the drink your milk shirt? I have the

1500
01:18:40,640 --> 01:18:43,560
Speaker 1: drink your milk shirt. Me too, Thank you, Thank you.

1501
01:18:43,640 --> 01:18:46,080
Speaker 1: Josh should wear it when john comes on the Johnny

1502
01:18:46,160 --> 01:18:48,719
Speaker 1: of course, when Jonathan comes on the podcast, we should

1503
01:18:48,760 --> 01:18:49,040
Speaker 1: wear it.

1504
01:18:49,800 --> 01:18:52,479
Speaker 2: We definitely shouldn't anyone who is out there playing Final

1505
01:18:52,520 --> 01:18:56,000
Speaker 2: Fantasy fourteen britis Kase's help us finalists who play Final

1506
01:18:56,040 --> 01:18:58,160
Speaker 2: Fantasy fourteen. I do think there should be a subgroup

1507
01:18:58,240 --> 01:19:00,519
Speaker 2: of gamers. I say, no, You're all are out there

1508
01:19:00,520 --> 01:19:03,320
Speaker 2: because we're connecting. So Jonathan Bailey does a voice in

1509
01:19:03,360 --> 01:19:08,120
Speaker 2: Final Fantasy fourteen. Oh fun as Grahatia, the Prime cat

1510
01:19:08,200 --> 01:19:10,840
Speaker 2: Boy the Crystal exarc, and he's so good in it,

1511
01:19:11,400 --> 01:19:14,479
Speaker 2: and I literally like massive, wonderful actor. But like the

1512
01:19:14,560 --> 01:19:18,000
Speaker 2: dialogue in that game is like Shakespearean, It's beautiful. But

1513
01:19:18,360 --> 01:19:21,320
Speaker 2: one day after we react, I was like Jonathan, Johnny

1514
01:19:21,520 --> 01:19:25,519
Speaker 2: as I call him, I said, I have to commend

1515
01:19:25,560 --> 01:19:27,559
Speaker 2: you beg and I was like, I have to implore

1516
01:19:27,640 --> 01:19:29,680
Speaker 2: you because they every two years they come out with

1517
01:19:29,680 --> 01:19:31,840
Speaker 2: expansions and it's like more and more story and it's

1518
01:19:31,920 --> 01:19:35,439
Speaker 2: like it's like a TV show basically, And I'm like, Johnny,

1519
01:19:35,479 --> 01:19:38,120
Speaker 2: you have to keep voicing Grahatia for as long as

1520
01:19:38,120 --> 01:19:39,800
Speaker 2: you are working, for as long as they ask you,

1521
01:19:40,080 --> 01:19:44,080
Speaker 2: because it is some of your best work. Anyway, what

1522
01:19:44,240 --> 01:19:47,519
Speaker 2: did he say? He said, all right, don't really know

1523
01:19:47,920 --> 01:19:49,759
Speaker 2: what it is. I just but I read the dialogue

1524
01:19:49,760 --> 01:19:50,360
Speaker 2: and it's amazing.

1525
01:19:50,640 --> 01:19:51,200
Speaker 1: But I think.

1526
01:19:52,760 --> 01:19:55,160
Speaker 2: We will ask when Jonathan Bailey comes on Last Coach,

1527
01:19:55,360 --> 01:19:57,880
Speaker 2: there will be a dedicated section about Final Fantasy fourteen

1528
01:19:57,920 --> 01:20:00,320
Speaker 2: and all the cat Boy lovers will be very happy.

1529
01:20:00,920 --> 01:20:02,559
Speaker 1: And he is coming on. We're gonna have many people

1530
01:20:02,600 --> 01:20:05,200
Speaker 1: from the cast of Wicked, if you can believe, we

1531
01:20:05,320 --> 01:20:09,720
Speaker 1: have vested interest in that movie's success, and we will

1532
01:20:09,760 --> 01:20:11,880
Speaker 1: make all the help exceeds. We will make sure it

1533
01:20:12,000 --> 01:20:15,360
Speaker 1: makes back every dollar of the budget. We are going

1534
01:20:15,439 --> 01:20:16,960
Speaker 1: to make sure that Wicked makes it over the hill.

1535
01:20:17,280 --> 01:20:19,880
Speaker 1: Trust it and believe. And it starts with Johnny Bailey

1536
01:20:19,920 --> 01:20:22,960
Speaker 1: on the podcast and more to come and more to

1537
01:20:23,040 --> 01:20:25,240
Speaker 1: come if you can kind of guess.

1538
01:20:25,880 --> 01:20:29,080
Speaker 2: Yeah, this has been another episode of Lost Culture's Tests

1539
01:20:29,120 --> 01:20:31,240
Speaker 2: and a little teaser for Iconic four hundred, which I

1540
01:20:31,320 --> 01:20:33,120
Speaker 2: think we should get to work on, which is not

1541
01:20:33,240 --> 01:20:36,200
Speaker 2: to say, oh, I'm just kidding. The list is already locked.

1542
01:20:36,640 --> 01:20:41,040
Speaker 2: We know the entire list already, and we will be

1543
01:20:41,120 --> 01:20:44,559
Speaker 2: revealing that in the coming weeks, won't we for sure?

1544
01:20:45,200 --> 01:20:47,720
Speaker 1: And that's something we can do remotely, so, but we're

1545
01:20:47,720 --> 01:20:49,719
Speaker 1: going to be together actually shortly. Oh we just talked

1546
01:20:49,720 --> 01:20:51,120
Speaker 1: about how we're not going to be together, but we

1547
01:20:51,200 --> 01:20:53,599
Speaker 1: are going to be together for like two weeks. Did

1548
01:20:53,680 --> 01:20:55,760
Speaker 1: you know that. Let's figure something out because you're coming

1549
01:20:55,800 --> 01:20:57,320
Speaker 1: to La, then we're going to Fire Island, and then

1550
01:20:57,320 --> 01:20:59,280
Speaker 1: I'm going to be in New York. So we're together

1551
01:20:59,360 --> 01:21:03,080
Speaker 1: a lot bit actually working hard to bring you guys content.

1552
01:21:03,200 --> 01:21:06,400
Speaker 1: In fact, we're working very hard. This is a very

1553
01:21:06,520 --> 01:21:09,240
Speaker 1: fruitful time and we are taking advantage of it trying

1554
01:21:09,280 --> 01:21:14,000
Speaker 1: to write some wrongs. Oh well, we end every episode

1555
01:21:14,040 --> 01:21:19,200
Speaker 1: of the song No One mourns the weeked.

1556
01:21:21,880 --> 01:21:22,600
Speaker 3: Wacked.

1557
01:21:26,120 --> 01:21:36,080
Speaker 1: We look for that one on November twenty seventh, twenty second,

1558
01:21:36,640 --> 01:21:38,880
Speaker 1: twenty second. Oh they changed it. They changed it. They

1559
01:21:38,960 --> 01:21:42,240
Speaker 1: moved Ariana I think said twenty seventh on Hot Ones. No,

1560
01:21:42,360 --> 01:21:44,599
Speaker 1: she said, twenty second, twenty second.

1561
01:21:45,520 --> 01:21:47,639
Speaker 2: Really hold on, let's say no, no, hold on November

1562
01:21:47,640 --> 01:21:49,519
Speaker 2: twenty second, because they moved it up so that it's

1563
01:21:49,880 --> 01:21:50,599
Speaker 2: like Wiki eight.

1564
01:21:50,479 --> 01:21:53,720
Speaker 1: And now it's clicked. No, is it wicked? Eier? It

1565
01:21:53,800 --> 01:21:54,639
Speaker 1: needs to be clicked.

1566
01:21:55,000 --> 01:21:59,280
Speaker 2: Okay, click it, click it, Jimmy glicked Bye bye last

1567
01:21:59,280 --> 01:22:01,639
Speaker 2: Culture recas Is Production by Will Ferrell's Big Money Players

1568
01:22:01,640 --> 01:22:03,320
Speaker 2: in iHeartRadio Podcasts.

1569
01:22:03,000 --> 01:22:06,280
Speaker 1: Created and hosted by Matt Rodgers and Bowen Yang. Executive

1570
01:22:06,320 --> 01:22:09,960
Speaker 1: produced by Ada Hasnier and Hans Soni, Produced by Becker Ramos,

1571
01:22:10,160 --> 01:22:12,880
Speaker 1: edited and mixed by Doug Damimnikuela Board and our music

1572
01:22:13,120 --> 01:22:14,160
Speaker 1: is by Henry Komerski