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Speaker 1: Look Mayer, Oh, I see you my own look over

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Speaker 1: there is that culture. Yes, goodness wow, lost culture ding dong.

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Speaker 1: Lost culture is just calling beautiful day here in New

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Speaker 1: York City where we both live.

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Speaker 2: Likely Story, by the way, couple things, it is a

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Speaker 2: beautiful day in New York City.

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Speaker 3: Hmm.

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Speaker 2: Also, this is a perfect little addendum to really anything

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Speaker 2: Matt is bringing back. We're both bringing back likely story.

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Speaker 1: Likely story is back. As a phrase, you can sort

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Speaker 1: of tack it onto anything. Yeah, whenever anyone says anything

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Speaker 1: that's a little bit questionable, you can just turn to

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Speaker 1: let's say your friend, like I would turn to bone

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Speaker 1: and I would say likely story, and it's gonna bring

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Speaker 1: down the house.

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Speaker 2: You're welcome. There's also an element of like auto commentary

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Speaker 2: where you can say something and then at it yourself,

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Speaker 2: like likely story, Likely Story, Like.

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Speaker 1: I'm gonna make it to the gym today, Likely likely Story.

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Speaker 2: It really is so personal. Powerful power verse, power verse.

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Speaker 2: It's a perfect little spice to anything you say if

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Speaker 2: you want to sort of seem interesting. Listen, something's going

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Speaker 2: on with me. I am going through this crazy bout

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Speaker 2: of social anxiety, and I don't want it to be

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Speaker 2: another like woe is me Bowen moment. But I something's

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Speaker 2: going on just as the weather, well, I was gonna say,

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Speaker 2: as the weather's warming up, my social anxiety is picking

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Speaker 2: in likely story.

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Speaker 1: Well, that's just that's just how it goes.

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Speaker 2: I think totally.

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Speaker 1: I'm way more socially anxious in Los Angeles than I

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Speaker 1: am in New York City.

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Speaker 2: That tracks likely story.

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Speaker 1: Likely story. And I think it's because in New York City,

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Speaker 1: and I'm also talking about my girls Brooklyn and Queens. Okay,

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Speaker 1: I'm roping everybody in Yeah, there's sort of like escape routes,

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Speaker 1: you know what I mean. And also, like in New York,

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Speaker 1: there's so many different kinds of people, where in LA

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Speaker 1: there's not, and so that's sort of awesome.

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Speaker 2: Well, our guest happens to be there, and he's making

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Speaker 2: a face.

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Speaker 1: And here's my thing about the guest, one of my

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Speaker 1: favorite occupants of Los Angeles.

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Speaker 2: Ugh, that is high praise, question mark.

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Speaker 1: Not only is it a likely story, it's a true story.

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Speaker 2: That is really really nice. I agree. I've never seen

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Speaker 2: our guest in like an LA context.

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Speaker 1: Yeah, but I'm.

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Speaker 2: Sure that were I to see him.

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Speaker 1: He doesn't really give LA.

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Speaker 2: You know what I mean, yeah, let's get into that

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Speaker 2: with him, because I feel like, how does that work?

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Speaker 2: You know?

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Speaker 1: Well, I don't know. And it's crazy because we're literally

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Speaker 1: talking to him in the most la atmosphere you can

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Speaker 1: possibly be in, which is Vanessa Hudgens's old home. So

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Speaker 1: the guest owns Vanessa Hudgens's old home. It's now his home.

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Speaker 1: Likely story, And it's actually kind of crazy because he

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Speaker 1: lugs onto the zoom and he's sort of is sitting

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Speaker 1: in this sort of what I can only call gorgeous setting,

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Speaker 1: and I complimented him on the wallpaper and he said,

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Speaker 1: I didn't pick this out. Vanessa Hudgens picked this out.

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Speaker 1: And that's just one of the many topics we're going

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Speaker 1: to get into today's episode of Lost Cultures US with

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Speaker 1: our guests.

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Speaker 2: And that's a likely storybow absolutely, I guess we can

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Speaker 2: ask him. But I wonder if this is the house

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Speaker 2: where she said people are gonna die. I shouldn't be

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Speaker 2: doing I should be doing this, I should be doing Wait,

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Speaker 2: we have to pulp the video. We have to find

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Speaker 2: out where she said that in the home. I'm sure

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Speaker 2: he knows. I'm sure he's like locked it down he does.

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Speaker 2: Look it is a cute little smile. He's nodding a

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Speaker 2: cute little smile, and there's a.

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Speaker 1: Listen. Call me David Letterman, because our guest really needs

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Speaker 1: no introduction. Podcasting legend, podcasting pioneer, podcasting curator. You know,

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Speaker 1: I'm from Pods of America and love her leave it

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Speaker 1: among so many other things. I mean, this is a

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Speaker 1: this is an icon podcast.

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Speaker 2: Icons, podcast icon god, one of those people who's like

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Speaker 2: dauntingly funny, you.

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Speaker 1: Know, hashtag actually smart in a way.

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Speaker 2: Smart I know, I know. So we'll see how this goes.

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Speaker 2: We're going to see how its I might just clam

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Speaker 2: up and really not speak the whole time.

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Speaker 1: Well, you're so shy. Why you're so shy? What do

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Speaker 1: you think? And we talked earlier about much weed.

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Speaker 2: It's that it's I don't know, like I find myself

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Speaker 2: losing self concept, propri reception, I don't know how I'm

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Speaker 2: moving around in the world. It's that I need to

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Speaker 2: talk to my therapist about it.

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Speaker 1: Google's proprioception.

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Speaker 2: Therapist says proprio reception once Bowen Yang uses it for

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Speaker 2: the rest of his life. That's where I got it

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Speaker 2: from my therapist. To use that on me.

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Speaker 1: Likely story, Likely Story. Okay, so I think at this

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Speaker 1: point is the sort of part we bring him the guest. Everyone,

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Speaker 1: please welcome into your ears John love it? Wow?

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Speaker 4: Wow? You know you listen to this show and you

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Speaker 4: hear about people sitting in silence while you do whatever

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Speaker 4: it is that you just did, and then you you

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Speaker 4: live it for yourself and it's different.

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Speaker 1: Now was it better than you ever could have dreamed?

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Speaker 1: Was it better than in your liquid dreams? O Town?

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Speaker 4: Yeah, it was sure. It was better than my liquid dreams.

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Speaker 4: You know what goes well with likely story is must

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Speaker 4: be nice.

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Speaker 1: Oh oh wow, that's my story. Okay, wow, thanks for

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Speaker 1: collabing with us.

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Speaker 2: Must be nice is good and for some reason, I

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Speaker 2: also I switched that out with and it's not quite

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Speaker 2: as good, But I switched that out with pretty cool, right,

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Speaker 2: something like that? Just a nice little Salt Bay like

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Speaker 2: dash of something.

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Speaker 1: Can I throw something out there instead of how about

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Speaker 1: them apples? You just say them apples?

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Speaker 4: Now? Really you don't like that? As I like it?

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Speaker 4: It's really good. I mean, could you give us an example?

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Speaker 4: Could you? I don't, I'm not trying. I don't. I'm

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Speaker 4: not seeing it.

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Speaker 1: When people see that this episode's coming out and John

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Speaker 1: Lovett is finally on Lost Culture restas after years.

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Speaker 4: Yeah, put a big fucking underline under Finally Jesus Christ

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Speaker 4: was Pat Reagan for the seventh time. Not available. I

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Speaker 4: don't understand, my goodness, Pat's amazing, but he has been

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Speaker 4: He must have been busy. He must have been busy.

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Speaker 2: You know, he's been on recently, and this is first

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Speaker 2: time Los Culture guessn love.

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Speaker 1: Well, John will sort of nag me sometimes because I'm

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Speaker 1: frequently on love it or leave it, and I love

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Speaker 1: coming on, especially to play my character of masculinity expert

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Speaker 1: Brad Turbo. That's kind of my favorite thing I do

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Speaker 1: on the show. But you're always sort of nagging me

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Speaker 1: because you're like, yeah, well, this is I guess you're

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Speaker 1: eight hundredth time on the show and I've not been on.

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Speaker 1: But I always used to say I would like to

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Speaker 1: wait for us all to do it in person.

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Speaker 4: Are which is fair? Which a weird thing to say

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Speaker 4: that not do that.

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Speaker 1: Likely story?

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Speaker 2: Likely story? Well, I don't think this is any lesser

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Speaker 2: of a sort of reality than like if we were

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Speaker 2: in person. It would be best if we were all

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Speaker 2: in Vanessa's house.

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Speaker 4: That's what I was just that would be great, And

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Speaker 4: just to go back to what you were saying, Yes,

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Speaker 4: this is where she said that thing that like people

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Speaker 4: are gonna die, but like I have to go to

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Speaker 4: the mall that it happened here, it happened upstairs. Here,

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Speaker 4: I know the room. I found it, you found it.

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Speaker 4: I found the spot.

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Speaker 2: Oh my goodness.

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Speaker 1: So did you see the house an architectural didst because

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Speaker 1: she famously showed this house an architectural digest, which I

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Speaker 1: then heard is something that celebrities often do when they

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Speaker 1: want to sell their home. Ah, are you confirming this

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Speaker 1: is the case.

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Speaker 4: I didn't know that either, But that's that's why they

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Speaker 4: do it. Look, my eyes are open. Yeah, here's the thing.

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Speaker 4: You have to stay woke and.

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Speaker 2: That is the thing.

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Speaker 4: And that is the thing. But yes, apparently when they

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Speaker 4: do these house tours and they're like, I can't wait

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Speaker 4: for this tree to grow so big that my children

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Speaker 4: can play under it, they're full of shit. It's about

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Speaker 4: to be listed. It's going to be listed that very day.

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Speaker 1: Yeah, Now correct me if I'm wrong. She had sort

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Speaker 1: of an interesting mural next to the pool. Did you

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Speaker 1: keep that?

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Speaker 3: No?

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Speaker 4: You didn't gone painted right over it, painted right over it.

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Speaker 4: She was so proud of it's gone.

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Speaker 2: Oh man, And you held the brush yourself.

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Speaker 4: But I replaced it with nothing.

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Speaker 1: Okay.

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Speaker 4: Oh so it's just a wall. It's just white painted

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Speaker 4: over right, You're gone.

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Speaker 2: Hmmm.

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Speaker 4: I don't know's I don't know that I'm the hero

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Speaker 4: in this part of our conversation.

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Speaker 1: I think is that you're way more boring than Vanessa Hudgens,

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Speaker 1: who seems bad and awesome and cool, and you are

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Speaker 1: painting over her escape geez.

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Speaker 4: I'll tell you one other thing, which is she was

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Speaker 4: getting so much pr crap mail to this house from brands,

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Speaker 4: so so much, and for weeks, if not months, her

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Speaker 4: assistant would come like every two weeks and fill up

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Speaker 4: her Mini Cooper to the brim with boxes. And they've

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Speaker 4: barely slowed down, but the assistant has stopped replying. And

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Speaker 4: so I have boxes and boxes of just free crap

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Speaker 4: that's for Vanessa Hudgens in my basement. And when my

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Speaker 4: mother and sister come, they call it the mall. They

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Speaker 4: go down there and they like, they like, ooh so wrong.

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Speaker 1: You know, he's store twenty worth of lamaire.

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Speaker 4: It's nothing that nice. It's like Boba ice cream and

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Speaker 4: Instagram sunglasses. It's just absolute. It's an unending of crap

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Speaker 4: that people are mailingked in the hopes that just maybe

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Speaker 4: it might appear in a video in which a Vanessa

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Speaker 4: Hudgens is saying that the pandemic isn't a big deal.

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Speaker 2: Right, the mall came to me. I didn't have the

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Speaker 2: people didn't have to die, right, Yeah, came to me.

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Speaker 2: You're in boxing these, You're in boxing all the boxes.

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Speaker 4: I feel okay, Well, I'm just wondering if I'm I

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Speaker 4: would say that I accidentally opened them all thinking they're

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Speaker 4: for me. I think I should say something like that.

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Speaker 1: Yeah, but more thing jump scare when you get a

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Speaker 1: package and it says Vanessa Hudgens on it, you know

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Speaker 1: what I mean? Like, does I ever say Vanessa Ann Hudgens,

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Speaker 1: because famously, for a while there she was Vanessa Ann Hudgeons.

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Speaker 4: I'm not quite sure. It's actually at this point disappointing.

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Speaker 4: It's just like it's like, ugh, it's gonna be another

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Speaker 4: like size zero bit of a leisure. You know what

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Speaker 4: am I supposed to do with this? Right?

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Speaker 2: I guess I don't know, you could make some wal

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Speaker 2: art for the mural. Yeah, the erstwhile mural.

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Speaker 1: She is I think maybe one of the most famous

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Speaker 1: ads ever, which is why I'm still asking about it.

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Speaker 1: Eleven minutes the podcast. Now, do you ever go into

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Speaker 1: that area that's sort of not the backyard, but it's

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Speaker 1: next to the backyard, And because I remember she said

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Speaker 1: that sometimes she would use that to just frolic and

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Speaker 1: just dance around and sometimes even do dance contests with

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Speaker 1: her friends. So I'm wondering, do you ever get you know,

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Speaker 1: Favre over there to kind of like do a dance

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Speaker 1: contes dance?

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Speaker 4: Yeah, we do a lot of that. We do interpretive

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Speaker 4: dance night. You know, he's surprisingly limber for someone from Boston,

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Speaker 4: and so yeah, I mean that's that's why that was

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Speaker 4: what excited me about it, the opportunity to have a

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Speaker 4: space for dancing.

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Speaker 1: Right, do you ever even go back there be real?

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Speaker 4: Of course I do, of course I do, And I'm

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Speaker 4: so lucky to be here. Of course, I believe that

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Speaker 4: the previous owner was Gary Oldman, and so there was

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Speaker 4: a lot of like big nineties screens about, you know,

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Speaker 4: like from an era when from a pre iPhone pre

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Speaker 4: iPad era. Ye, it was like very like one off

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Speaker 4: big screens with buttons that don't do anything anymore, that

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Speaker 4: connect to nothing.

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Speaker 2: You know, a doc for like a second generation iPod.

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Speaker 2: Yeah physical wheel Yeah, yes.

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Speaker 1: Yeah, very Gary Oldman very that. You know. Well, I

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Speaker 1: would die to know what Vanessa Hudgens' WiFi name was. Okay,

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Speaker 1: this is a vulnerability hour. What is the name of

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Speaker 1: your Wi Fi thing? And what is the password to

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Speaker 1: your wife side?

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Speaker 4: I will say so. When I moved in, I said

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Speaker 4: hello to the neighbors, and one of the neighbors said, wow,

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Speaker 4: that's thank you for saying hi, and made a point

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Speaker 4: that Gary Oldman never talked to any money. And they

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Speaker 4: have an inside of my cross the street neighbor have

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Speaker 4: an impression that they do of Gary Oldman because they

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Speaker 4: saw Gary Oldman on the street and they said to

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Speaker 4: Gary Oldman, Hey, we're gonna have a barbecue. You know

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Speaker 4: you're on your neighbor do you want to stop by?

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Speaker 4: And he did this. It's not going to work on

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Speaker 4: the podcast, but we can describe it. He went like this.

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Speaker 4: He went like this, Oh okay.

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Speaker 2: So what love it's doing is he's putting his both

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Speaker 2: arms out, sort of doing like a wave that you know,

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Speaker 2: a decline, but shaking his head with a puckered face.

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Speaker 4: It's pushing the event so far away like this, you know,

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Speaker 4: like no, no, no, I'm not going to that. And

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Speaker 4: they apparently it's become an inside joke that that's what

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Speaker 4: you do to decline something in that home, a gesture

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Speaker 4: Gary Oldman made probably ten years ago, right, but.

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Speaker 2: Doesn't that I mean, sorry to say likely story like

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Speaker 2: that just tracks as Gary Oldman too.

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Speaker 4: Me. Yeah, it does well. When she did it, it was like,

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Speaker 4: oh my god, I can see it. It was exactly

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Speaker 4: you could see the ormans.

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Speaker 1: Yeah, yeah, yeah, Well Gary Oldman is such an amazing actor,

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Speaker 1: and I'm so happy that we've arrived in the part

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Speaker 1: of the podcast where we talk at length about his filmography.

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Speaker 1: What's your Wi Fi thing's name? Because you didn't answer

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Speaker 1: that question and totally difference.

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Speaker 2: Just say the network if you feel comfortable, but you

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Speaker 2: don't have to indulge me.

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Speaker 1: That's for Little Culture number eighty eight. You don't have

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Speaker 1: to indulge.

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Speaker 2: You don't have to indulge man.

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Speaker 4: It is named after a video game that's all same.

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Speaker 1: What is it Boen's hard as our option.

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Speaker 4: I'll know it's named after a game called Outer Wilds.

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Speaker 4: Do you ever play Outer Wilds?

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Speaker 2: Oh? I never played Outer wild Gotta play Out of Wild's.

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Speaker 2: Wait what is that? What's the genre?

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Speaker 4: That was a a perni game is like a very

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Speaker 4: small game where not Outer Worlds.

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Speaker 2: Game.

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Speaker 4: This is Outer Wilds, which is different?

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Speaker 2: Oh yes, yes, yes, okay, great, And then it looks

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Speaker 2: like the person is like from from BioShock, but it's

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Speaker 2: just someone in like a what do you call that

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Speaker 2: a suit? A suit, spacesuit, a spacesuit, subsuit or something something.

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Speaker 2: I I know for a fact that I'm not alone

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Speaker 2: in my sort of gay gamer reality, but I feel

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Speaker 2: like it's hard to like find community among other homosexual

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Speaker 2: men about the kinds of video games we like to

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Speaker 2: play because it feels at this point so individualized and

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Speaker 2: there is I think video games are like one of

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Speaker 2: the last places where there is monoculture, and yet even

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Speaker 2: there it's sort of fragmenting, just as any other media.

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Speaker 4: Well, and you think it's a similar problem. You know,

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Speaker 4: there there's more experimentation, and there's I do think, kind

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Speaker 4: of more innovation in what a game can be there's

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Speaker 4: just more variability. You can have a game like Modern Warfare,

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Speaker 4: and then you can have a game where you never

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Speaker 4: press a button and you just explore a world reading

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Speaker 4: letters about a person who died. You know, Like that's

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Speaker 4: a pretty big range. But I do think like there's

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Speaker 4: the Marvel type games Fortnite.

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Speaker 1: Say more about those that sounds really fun.

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Speaker 4: They're they're the big budget like shooting games, and then

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Speaker 4: you put all those aside, and then you have to

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Speaker 4: find like the more indie games, or the smaller games,

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Speaker 4: or the more supreabol games, and that's sort of where

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Speaker 4: I go. Plus, I love the like I loved Eldon Ring,

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Speaker 4: I love I love, I do love BioShock, I love

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Speaker 4: Dark Souls and Bloodborne.

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Speaker 2: In those games, I feel like all of those from

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Speaker 2: software games are very John Lovett.

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Speaker 4: Yeah, do you play them?

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Speaker 2: I don't, And really so, Matt. These are games that

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Speaker 2: are incredibly different colts. You die constantly, and I just

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Speaker 2: I don't work under that feedback loop of like you.

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Speaker 4: Failed, what are you playing?

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Speaker 2: I am playing the Disney World equivalent of an MMO,

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Speaker 2: which is Final Fantasy fourteen. The designers literally aren't trying

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Speaker 2: to make it feel like a theme park, like you're

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Speaker 2: supposed to like log on and it's supposed to be

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Speaker 2: like you can go do this and do that and

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Speaker 2: do that and it's great. I did famously by Matt

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Speaker 2: Rodgers a switch with Breath of the Wilds. How far

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Speaker 2: did you get into it? Matt?

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Speaker 1: I got into the part where you're sort of on

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Speaker 1: like a big tomb. There's like robot scorpion things attacking you,

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Speaker 1: and I can figure out how to sort of get

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Speaker 1: out of there. And so it's been frustrating for me,

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Speaker 1: so much so that I haven't touched it in a

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Speaker 1: long time. And then I really was I can't stress enough.

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Speaker 1: I couldn't load all the games onto the switch. I

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Speaker 1: really am not good at tech. I'm not good at it,

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Speaker 1: and it frustrates me. It's probably the same way that

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Speaker 1: you're frustrated by dying a thousand times in a game.

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Speaker 1: I'm frustrated by turning on the game and finding out

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Speaker 1: I can't play it, you know what I'm saying.

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Speaker 2: Of course, of course, I think the missing piece, the

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Speaker 2: thing that Matt needs is like just someone to show him,

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Speaker 2: like where to put in an SD.

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Speaker 1: Card, say that what I need is someone to come

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Speaker 1: in here or someone want to put the SD cards.

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Speaker 4: Asolutely, absolutely, you just slide it in right there. That's yeah.

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Speaker 2: I think that's all you really need and then you'll

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Speaker 2: be off to the races. But I respect maybe they're

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Speaker 2: ultimately not for you.

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Speaker 1: Do you know what they'll bowen say this and say

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Speaker 1: the truth, say the likely true story of this when

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Speaker 1: we play like Mario Kart together, even on the newer systems,

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Speaker 1: I hold my own. It takes me a second, but

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Speaker 1: I'm actually pretty good for someone that doesn't know how.

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Speaker 2: True story that is a true story.

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Speaker 1: I just feel like on a lot of the newer systems,

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Speaker 1: and again this is me saying it as like sort

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Speaker 1: of a pedestrian now at this point, but as someone

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Speaker 1: who definitely identified as a little gamer when I was young,

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Speaker 1: like in a major way, I feel everything's gotten more complicated. Yes,

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Speaker 1: of course, it's all got more dynamic, and like, you know,

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Speaker 1: one could even just say things have gotten better, like

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Speaker 1: the worlds are bigger, they're more interesting, they're more visually appealing,

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Speaker 1: they're more stimulating, et cetera. There's more characters and more

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Speaker 1: to explore. But also I kind of miss back in

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Speaker 1: the day when it was like Super SMAs Brothers on

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Speaker 1: GameCube when it was like you started out with I

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Speaker 1: think eight to ten people you can unlock characters, and

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Speaker 1: then that was it. It's like it just feels like

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Speaker 1: it's all so much now, and then muchness is what

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Speaker 1: kind of like I don't love as much because I

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Speaker 1: don't know, like I feel like an old old man

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Speaker 1: now because whenever I just see pac Man, I'm like,

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Speaker 1: thank God, I know exactly what I got to do.

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Speaker 1: Mama has to eat and if she dies, she's gonna

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Speaker 1: spin in a circle and be no more.

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Speaker 4: Oh my god, straightforward, and it's the saddest thing.

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Speaker 1: Yeah, because it's life and death.

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Speaker 4: That's the thing. The game has such high highs because

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Speaker 4: you can eat a ghost, right, but then it has

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Speaker 4: these really low devastating moments where yes, a ghost that's

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Speaker 4: not a ghost, that's.

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Speaker 1: Not vulnerable eats you, right.

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Speaker 4: Yeah, And it's also a larger, I think message about vulnerability.

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Speaker 1: The clown comes back to bite in many ways.

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Speaker 4: Well, it's that you can eat the ghost when they're scared,

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Speaker 4: but when they're not scared, you cannot.

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Speaker 1: So would you say that when you're eating the ghost,

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Speaker 1: that's doing clown ery and that when the ghost eats you,

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Speaker 1: the clowns come.

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Speaker 2: Back to bite.

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Speaker 4: I think that's right. Here's what I think. I think

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Speaker 4: that there was a key moment, and here's the key moment.

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Speaker 4: I think the key moment is when when Sony and

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Speaker 4: Nintendo decided that there weren't going to be just one

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Speaker 4: trigger for each finger, but two.

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Speaker 2: Oh my god.

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Speaker 4: And I think that that moment, if you weren't there

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Speaker 4: to learn that divide between like when they went from

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Speaker 4: I think it's either PlayStation to PlayStation two or two

408
00:18:42,840 --> 00:18:46,560
Speaker 4: to three, when Nintendo added the Z one when there

409
00:18:46,600 --> 00:18:49,199
Speaker 4: was like the second chargers. Yeah, yeah, I think I

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00:18:49,200 --> 00:18:51,920
Speaker 4: think that, like there are people that just they never

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Speaker 4: crossed that bridge, and now they don't know how to

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Speaker 4: get there. You know.

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Speaker 2: That's so interesting because I feel like the first moment

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Speaker 2: of like pure alienation by a video game company was

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Speaker 2: Nintendo giving you N sixty four controllers where it had

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Speaker 2: three handles.

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Speaker 4: Yes, when they built that for people with three arms,

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Speaker 4: and they never explained their mistake or took ownership or account.

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Speaker 2: So many people.

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Speaker 1: I thought it was so cunt. I loved that controller.

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Speaker 1: I thought it was k u NT and it served that.

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Speaker 2: I think we all thought so, but then once you

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Speaker 2: like in theory, it's cunt. But then when you use it,

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Speaker 2: and then John, the fact that there's a Z trigger

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Speaker 2: on N sixty four controllers is what fucked us.

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Speaker 1: That's how little little guys learned how to finger.

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Speaker 2: That's how little guys learned how to finger. And then

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Speaker 2: that branches off into two triggers on each side.

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Speaker 4: Yes, and there was no way to ever. You never

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Speaker 4: used it the way it seemed like it was meant

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00:19:45,359 --> 00:19:48,320
Speaker 4: to be used. You never grabbed it symmetrically. You always

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Speaker 4: had want your left hand on the middle zone where

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Speaker 4: I did not joystick was oh you didn't.

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Speaker 1: No, I don't know what this is. And it may

435
00:19:55,680 --> 00:19:57,639
Speaker 1: actually even trace back to the way I hold a

436
00:19:57,680 --> 00:19:59,920
Speaker 1: pen is weird for some reason, like bowhen have you

437
00:20:00,119 --> 00:20:02,439
Speaker 1: notice this because some people will make an issue of

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00:20:02,440 --> 00:20:03,960
Speaker 1: it with me when they watch me handwrite. I guess

439
00:20:03,960 --> 00:20:06,200
Speaker 1: you don't watch you hold a pen? Where is the pan?

440
00:20:06,320 --> 00:20:09,480
Speaker 2: My middle finger kind of my middle arch kind of

441
00:20:09,640 --> 00:20:10,760
Speaker 2: gets a little too high.

442
00:20:10,880 --> 00:20:11,800
Speaker 1: This is how I hold a pen.

443
00:20:11,920 --> 00:20:12,680
Speaker 2: That's interesting.

444
00:20:13,040 --> 00:20:15,040
Speaker 1: And you see how like I'm not using all my

445
00:20:15,160 --> 00:20:17,680
Speaker 1: fingers and they don't converge at the same point. I'm

446
00:20:17,680 --> 00:20:20,439
Speaker 1: like resting the pen on what is actually my middle finger,

447
00:20:20,800 --> 00:20:22,720
Speaker 1: and I think this is actually the way a lefty

448
00:20:22,800 --> 00:20:25,959
Speaker 1: holds a pen, and so, as a result of writing

449
00:20:26,040 --> 00:20:29,040
Speaker 1: left to right and holding a pen this way frequently

450
00:20:29,119 --> 00:20:32,000
Speaker 1: throughout my handwriting career, which really took place between the

451
00:20:32,040 --> 00:20:35,280
Speaker 1: ages of four and eighteen, when I was really handwriting

452
00:20:35,320 --> 00:20:38,280
Speaker 1: a lot, and let's call it grade school, I would

453
00:20:38,359 --> 00:20:43,600
Speaker 1: have ink all over I guess my middle ring and

454
00:20:43,720 --> 00:20:46,760
Speaker 1: pinky finger from like the ink not drying and just

455
00:20:46,800 --> 00:20:49,760
Speaker 1: the way I naturally hold a pen humiliating and something

456
00:20:49,800 --> 00:20:51,639
Speaker 1: I had to contend with in my life.

457
00:20:51,840 --> 00:20:54,800
Speaker 4: Yeah, that sounds really hard. Thank you for telling us

458
00:20:54,800 --> 00:20:55,199
Speaker 4: about it.

459
00:20:55,359 --> 00:20:57,840
Speaker 1: Yeah, I don't know if that's why I would hold

460
00:20:57,840 --> 00:21:00,000
Speaker 1: the left and right prong on the N sixty work control,

461
00:21:00,160 --> 00:21:03,040
Speaker 1: because I just hold things different than like other girls.

462
00:21:03,160 --> 00:21:04,320
Speaker 1: I'm not like other girls.

463
00:21:04,640 --> 00:21:06,200
Speaker 4: I think it's hard to think of it as a cause.

464
00:21:06,240 --> 00:21:08,920
Speaker 4: It could be connected. Maybe there's a separate cause for both,

465
00:21:09,200 --> 00:21:10,679
Speaker 4: but I don't think it's a cause. I don't think

466
00:21:10,680 --> 00:21:11,800
Speaker 4: the way you hold a pen is the reason you

467
00:21:11,800 --> 00:21:14,240
Speaker 4: know the controller that way. I think they're unrelated. Probably

468
00:21:14,440 --> 00:21:16,920
Speaker 4: just being honest, you think I'm just different. You think

469
00:21:16,960 --> 00:21:19,639
Speaker 4: I'm different and valid. Yeah, I think you march to

470
00:21:19,680 --> 00:21:22,600
Speaker 4: the beat of your own drummer A phrase I love.

471
00:21:22,880 --> 00:21:24,359
Speaker 1: You like you really love it?

472
00:21:24,480 --> 00:21:25,160
Speaker 4: Yeah, use it all.

473
00:21:28,520 --> 00:21:30,840
Speaker 1: I wait, if you were known for as someone who

474
00:21:30,840 --> 00:21:32,480
Speaker 1: said like and they marched to the beat of their

475
00:21:32,520 --> 00:21:34,520
Speaker 1: own drummer, that would actually be major.

476
00:21:35,000 --> 00:21:36,880
Speaker 4: I also say all the time they broke the mold

477
00:21:36,880 --> 00:21:37,480
Speaker 4: with that one.

478
00:21:37,600 --> 00:21:38,320
Speaker 1: Do you like that?

479
00:21:38,560 --> 00:21:41,680
Speaker 4: I love that one and it seems unrelated. But don't

480
00:21:41,720 --> 00:21:42,600
Speaker 4: have to tell me twice.

481
00:21:42,880 --> 00:21:44,600
Speaker 1: Don't have to tell me good.

482
00:21:44,920 --> 00:21:45,879
Speaker 2: That's really good.

483
00:21:46,200 --> 00:21:46,960
Speaker 1: What do I say?

484
00:21:47,000 --> 00:21:47,240
Speaker 4: A lot?

485
00:21:47,320 --> 00:21:50,200
Speaker 1: There's definitely like prepositions. I use a lot on this podcast,

486
00:21:50,440 --> 00:21:52,920
Speaker 1: and bo when I think says here's the thing, I think,

487
00:21:52,920 --> 00:21:55,040
Speaker 1: I say, here's the thing. I feel like I hear

488
00:21:55,080 --> 00:21:56,680
Speaker 1: that in your voice. I feel like I hear here's

489
00:21:56,720 --> 00:21:59,359
Speaker 1: the things in my voice. Yes, if there are ticks

490
00:21:59,359 --> 00:22:01,440
Speaker 1: that we have, I guess the readers, the Katie's, the finalists,

491
00:22:01,440 --> 00:22:04,399
Speaker 1: and the publicists would be the ones to confirm what

492
00:22:04,440 --> 00:22:04,800
Speaker 1: those are.

493
00:22:05,040 --> 00:22:07,520
Speaker 2: Oh, here's what I try to consciously work in. And

494
00:22:07,560 --> 00:22:09,560
Speaker 2: I don't find too many opportunities too.

495
00:22:09,600 --> 00:22:10,119
Speaker 4: Are you ready?

496
00:22:10,400 --> 00:22:16,240
Speaker 1: Yes, perfect example, perfect example. Oh my god, that's a

497
00:22:16,359 --> 00:22:17,240
Speaker 1: good example.

498
00:22:17,400 --> 00:22:18,080
Speaker 4: It's really good.

499
00:22:18,320 --> 00:22:22,480
Speaker 2: The person just sounds smart when they use it. Perfect example,

500
00:22:31,560 --> 00:22:32,520
Speaker 2: you're both smart.

501
00:22:32,840 --> 00:22:35,520
Speaker 1: Now, I want to say to you, John, But so

502
00:22:35,720 --> 00:22:37,520
Speaker 1: Boone is sort of on this thing, I think because

503
00:22:37,520 --> 00:22:39,520
Speaker 1: he knows he's a smart person and there's another smart

504
00:22:39,560 --> 00:22:41,760
Speaker 1: person in the chat, which doesn't happen to him frequently

505
00:22:41,760 --> 00:22:44,560
Speaker 1: because he's the podcast with me. So now that you're

506
00:22:44,600 --> 00:22:46,000
Speaker 1: in the chat, he's sort of doing this thing where

507
00:22:46,000 --> 00:22:47,880
Speaker 1: it's like, I'm not smart, I'm not smart.

508
00:22:48,000 --> 00:22:49,800
Speaker 2: I do this every week with it.

509
00:22:50,160 --> 00:22:52,960
Speaker 1: I guess you don't liar likely story.

510
00:22:53,320 --> 00:22:53,760
Speaker 2: But do you?

511
00:22:53,840 --> 00:22:56,399
Speaker 1: Are you knowledgeable about everything? John? And if so, what

512
00:22:56,400 --> 00:22:59,120
Speaker 1: are you dumb about ridiculous?

513
00:22:59,480 --> 00:23:02,560
Speaker 4: First of all, First of all, I actually think you're

514
00:23:02,600 --> 00:23:05,600
Speaker 4: both right. I think Bowen knows how smart Bowen is.

515
00:23:06,000 --> 00:23:09,840
Speaker 4: Yes he does, and Bowen often does do a performance

516
00:23:10,080 --> 00:23:11,880
Speaker 4: of ah shucks.

517
00:23:12,080 --> 00:23:13,720
Speaker 1: Yes he does. Thank you for saying it.

518
00:23:13,800 --> 00:23:16,000
Speaker 4: As a listener, as a reader, thank you.

519
00:23:16,200 --> 00:23:18,360
Speaker 2: I'm going to do a thing where I bring race

520
00:23:18,440 --> 00:23:18,920
Speaker 2: into it.

521
00:23:19,240 --> 00:23:23,040
Speaker 4: Okay, okay, sure it's time thirty minutes in, let's hear it.

522
00:23:23,040 --> 00:23:23,440
Speaker 2: It's time.

523
00:23:23,520 --> 00:23:24,919
Speaker 1: I'm pouring myself a drink.

524
00:23:25,359 --> 00:23:28,439
Speaker 2: I'm bringing race into it. I think culture is the

525
00:23:28,440 --> 00:23:32,640
Speaker 2: world over an Asian person wearing glasses. They go, he's

526
00:23:32,640 --> 00:23:34,680
Speaker 2: probably smart, And.

527
00:23:34,600 --> 00:23:36,640
Speaker 1: I think, and I think that's what I've been doing

528
00:23:36,640 --> 00:23:37,160
Speaker 1: for years.

529
00:23:37,359 --> 00:23:40,400
Speaker 2: No, no, no, no, no, I think that that just giving

530
00:23:40,480 --> 00:23:41,600
Speaker 2: me such a boost.

531
00:23:42,080 --> 00:23:42,720
Speaker 4: I see.

532
00:23:43,119 --> 00:23:46,119
Speaker 2: And it's not one that's fully that I've I've not

533
00:23:46,240 --> 00:23:48,600
Speaker 2: taken that vertical to the fullest type.

534
00:23:48,760 --> 00:23:50,520
Speaker 4: Here's what I want to say. First of all, I'm

535
00:23:50,560 --> 00:23:53,040
Speaker 4: realizing I'm doing that. That's why I think you're smart. No,

536
00:23:53,240 --> 00:23:56,520
Speaker 4: it's no, No, Here's here's I think the word's smart.

537
00:23:56,640 --> 00:23:59,600
Speaker 4: I think the words smart is bad. Yeah. It's a

538
00:23:59,600 --> 00:24:02,320
Speaker 4: bit like saying like weird or crazy. It's a stand

539
00:24:02,359 --> 00:24:03,440
Speaker 4: in for a bunch of qualities.

540
00:24:03,440 --> 00:24:04,040
Speaker 2: Fine, I love that.

541
00:24:04,119 --> 00:24:07,040
Speaker 4: Here's what I think. Here's what I think. What my

542
00:24:07,200 --> 00:24:11,840
Speaker 4: experience of it is is that Bowen is very precise

543
00:24:11,960 --> 00:24:16,760
Speaker 4: in his use of language in describing you're in describing

544
00:24:16,760 --> 00:24:19,520
Speaker 4: your experience, in describing the world, But then you are

545
00:24:19,720 --> 00:24:23,199
Speaker 4: less precise in how you apply it to yourself, so

546
00:24:23,320 --> 00:24:26,560
Speaker 4: as not to precisely say the ways in which you

547
00:24:26,600 --> 00:24:30,120
Speaker 4: think highly of yourself, because it would feel like bragging.

548
00:24:30,760 --> 00:24:33,639
Speaker 2: Wow, that's really interesting.

549
00:24:33,840 --> 00:24:36,159
Speaker 1: That is really to use a word smart, to use

550
00:24:36,200 --> 00:24:37,800
Speaker 1: a big word, it's very stupid.

551
00:24:38,119 --> 00:24:42,000
Speaker 2: Oh, that's really interesting. First, I quickly want to say,

552
00:24:42,000 --> 00:24:44,720
Speaker 2: while you were saying that, I did feel silly because

553
00:24:44,760 --> 00:24:47,240
Speaker 2: what I call Matt all the time is smart. I'm

554
00:24:47,320 --> 00:24:49,399
Speaker 2: always over here gassing my friend up going. I mean,

555
00:24:49,400 --> 00:24:50,760
Speaker 2: Matt's one of the smartest people I know.

556
00:24:51,400 --> 00:24:53,240
Speaker 1: And then I'm always sort of challenging him. I'm always

557
00:24:53,280 --> 00:24:57,600
Speaker 1: saying say more, say more, say more about that.

558
00:24:57,960 --> 00:25:04,560
Speaker 2: Matt is incredibly emotionally and textually intelligent. He is able

559
00:25:04,600 --> 00:25:06,760
Speaker 2: to interpret something with.

560
00:25:06,880 --> 00:25:10,000
Speaker 1: You think I'm textural, I said, textually, Oh do you

561
00:25:10,000 --> 00:25:10,920
Speaker 1: think I'm textual?

562
00:25:11,000 --> 00:25:12,560
Speaker 2: I think you can watch a movie, a TV show,

563
00:25:12,600 --> 00:25:14,920
Speaker 2: read a book and you know the exact right takeaway.

564
00:25:15,040 --> 00:25:16,520
Speaker 2: Not that there's always a right take away.

565
00:25:16,520 --> 00:25:17,920
Speaker 1: No one is textually attracted.

566
00:25:18,119 --> 00:25:20,480
Speaker 4: I think it's cool that when you thought he meant

567
00:25:20,520 --> 00:25:26,120
Speaker 4: a textural, that was awesome instantly pivoted to textually.

568
00:25:25,280 --> 00:25:34,040
Speaker 1: Think I'm textural, and I said, you think I'm textural,

569
00:25:34,160 --> 00:25:35,080
Speaker 1: which I don't think.

570
00:25:35,000 --> 00:25:35,480
Speaker 4: Is a word.

571
00:25:35,920 --> 00:25:38,000
Speaker 2: I think it might be a textural.

572
00:25:38,400 --> 00:25:40,960
Speaker 1: I think either way that it works. I think that's

573
00:25:41,200 --> 00:25:45,440
Speaker 1: very very astute, John. But you have yet again sort

574
00:25:45,480 --> 00:25:48,880
Speaker 1: of heard a question that I've asked and said something else,

575
00:25:49,160 --> 00:25:51,640
Speaker 1: And that's okay. The second time, the third time. It's

576
00:25:51,640 --> 00:25:54,600
Speaker 1: the famous expression fool me twice, shame on me, for

577
00:25:54,800 --> 00:25:56,639
Speaker 1: me three times. You're off The pod.

578
00:25:57,440 --> 00:26:00,800
Speaker 4: Kicked as quickly as I came in, just like that,

579
00:26:00,960 --> 00:26:04,119
Speaker 4: and just like that, and just like that, Big was dead.

580
00:26:05,240 --> 00:26:09,719
Speaker 1: Anyway, What subjects do you lack knowledge in? What's your

581
00:26:09,800 --> 00:26:10,640
Speaker 1: dumb area?

582
00:26:11,320 --> 00:26:13,800
Speaker 4: I'm dumb about a lot of things. Go ahead, here

583
00:26:13,840 --> 00:26:16,080
Speaker 4: are some things I don't know about sports.

584
00:26:16,520 --> 00:26:20,000
Speaker 1: Okay, music, you don't know about music?

585
00:26:20,720 --> 00:26:22,760
Speaker 4: Well, why ask a question if you're gonna react like that?

586
00:26:23,000 --> 00:26:26,800
Speaker 4: What's the what is that? What is that? What this was?

587
00:26:27,119 --> 00:26:30,080
Speaker 1: I love this dance. Three of us are doing say

588
00:26:30,160 --> 00:26:31,920
Speaker 1: more things. I won't interrupt.

589
00:26:32,560 --> 00:26:37,800
Speaker 4: I don't know anything about like cooking really or you know,

590
00:26:37,920 --> 00:26:42,040
Speaker 4: food generally. Wine is baffling to me. I find it

591
00:26:42,080 --> 00:26:44,600
Speaker 4: interesting when people know about wine because it seems like

592
00:26:44,640 --> 00:26:47,960
Speaker 4: a way to stop liking things that cost thirty dollars.

593
00:26:48,440 --> 00:26:52,080
Speaker 4: You know, It's like, why, why try so hard to

594
00:26:52,160 --> 00:26:56,399
Speaker 4: become like disgusted by something reasonable? So I don't really

595
00:26:56,520 --> 00:27:00,120
Speaker 4: understand that. I don't know anything about plant.

596
00:27:00,080 --> 00:27:02,239
Speaker 1: For trees, that's a huge one.

597
00:27:02,280 --> 00:27:05,199
Speaker 4: I don't especially in La I'll be walking with a

598
00:27:05,200 --> 00:27:06,760
Speaker 4: friend of mine and they'll say, oh my god, look

599
00:27:06,760 --> 00:27:09,000
Speaker 4: at that, it's a boogain vilia or something of that,

600
00:27:09,720 --> 00:27:13,040
Speaker 4: or look at that these are amic What is that?

601
00:27:13,400 --> 00:27:15,720
Speaker 4: Something don't know. I don't know anything about it.

602
00:27:16,400 --> 00:27:16,720
Speaker 1: So far.

603
00:27:16,720 --> 00:27:18,479
Speaker 2: I think we share. We share a lot of these

604
00:27:18,520 --> 00:27:21,600
Speaker 2: categories except for music. But I think you saying a

605
00:27:21,680 --> 00:27:24,000
Speaker 2: dumb area of yours is music means that you don't like.

606
00:27:24,119 --> 00:27:25,919
Speaker 2: Does that mean you don't know theory or you you

607
00:27:25,920 --> 00:27:28,240
Speaker 2: don't know like what the kids are listening to?

608
00:27:28,800 --> 00:27:30,879
Speaker 4: I don't. Yeah, I would say I don't know what

609
00:27:30,920 --> 00:27:31,919
Speaker 4: the kids are listening to?

610
00:27:32,520 --> 00:27:32,879
Speaker 1: Got it?

611
00:27:32,920 --> 00:27:35,520
Speaker 2: I think that's a function of like age, like because

612
00:27:35,520 --> 00:27:38,399
Speaker 2: I feel but I never did, Okay, I really just

613
00:27:38,480 --> 00:27:39,000
Speaker 2: never did.

614
00:27:39,119 --> 00:27:42,040
Speaker 4: I didn't. I tried when I was a kid to

615
00:27:42,240 --> 00:27:47,160
Speaker 4: keep up, and I bought a CD. The first two

616
00:27:47,200 --> 00:27:53,760
Speaker 4: CDs I bought. One was Live Throwing Copper. What that?

617
00:27:54,080 --> 00:27:56,960
Speaker 4: I just it's what It's what the kids were borrying.

618
00:27:57,040 --> 00:28:00,400
Speaker 4: And sorry, I'm just telling. I'm explaining you know what

619
00:28:00,960 --> 00:28:01,359
Speaker 4: we made it.

620
00:28:01,480 --> 00:28:03,520
Speaker 2: No, I didn't mean to make a face either.

621
00:28:03,920 --> 00:28:05,680
Speaker 4: Is this I don't know?

622
00:28:06,680 --> 00:28:13,000
Speaker 1: This is last I begged to be on stop I

623
00:28:13,080 --> 00:28:15,600
Speaker 1: Love You Keep Going? What's the second album?

624
00:28:15,600 --> 00:28:18,520
Speaker 4: I Love You Keep going I do love you.

625
00:28:18,760 --> 00:28:20,280
Speaker 1: Then I get a warm feeling every time.

626
00:28:21,240 --> 00:28:23,399
Speaker 4: The second album, you know what, You can put a

627
00:28:23,480 --> 00:28:25,280
Speaker 4: nail on a wall and then take it out, but

628
00:28:25,320 --> 00:28:26,840
Speaker 4: you know what's left behind? I'll tell you.

629
00:28:26,920 --> 00:28:28,000
Speaker 2: Holes a whole.

630
00:28:29,320 --> 00:28:29,639
Speaker 1: Sorry.

631
00:28:30,600 --> 00:28:33,080
Speaker 4: The other one. The other was I didn't hear it.

632
00:28:33,200 --> 00:28:38,880
Speaker 4: The other one was Matchbooks twenty. Remember they're okay, yeah,

633
00:28:38,920 --> 00:28:39,880
Speaker 4: what was that album called that?

634
00:28:40,680 --> 00:28:43,920
Speaker 1: I'm almost be.

635
00:28:42,640 --> 00:28:45,880
Speaker 4: Because I heard other kids talking about it and he

636
00:28:46,040 --> 00:28:48,640
Speaker 4: was great. And then I went to the store and

637
00:28:48,680 --> 00:28:50,160
Speaker 4: I got it and I brought it home and I

638
00:28:50,280 --> 00:28:52,720
Speaker 4: just like played it just to try to understand what

639
00:28:52,840 --> 00:28:55,640
Speaker 4: all the fuss was about. I'm still not sure.

640
00:28:56,160 --> 00:28:57,680
Speaker 1: You don't get match Bucks twenty.

641
00:28:57,760 --> 00:29:00,760
Speaker 4: I mean, I liked it, but I just didn't. It's like, okay,

642
00:29:00,840 --> 00:29:03,320
Speaker 4: so this is good. This is this is what I'm

643
00:29:03,360 --> 00:29:06,440
Speaker 4: supposed to like. Okay, I can like this. I can

644
00:29:06,440 --> 00:29:07,880
Speaker 4: get that back that we all have had that.

645
00:29:08,240 --> 00:29:12,400
Speaker 1: Yeah, that's a good Album's totally great. Three Am is

646
00:29:12,400 --> 00:29:16,160
Speaker 1: a classic iconic song. And then of course push Wanna

647
00:29:16,200 --> 00:29:20,040
Speaker 1: Push You Air Around? Well? Will that one really good,

648
00:29:20,280 --> 00:29:23,360
Speaker 1: which everyone was obsessed with saying at the time was

649
00:29:23,400 --> 00:29:26,320
Speaker 1: written from a female perspective, and they were like isn't

650
00:29:26,360 --> 00:29:28,800
Speaker 1: it amazing that Rob Thomas and Matchbucks twenty did this

651
00:29:28,880 --> 00:29:32,240
Speaker 1: song push, which is get this bravely written from a

652
00:29:32,240 --> 00:29:35,800
Speaker 1: female perspective, and people were saying, this is Matchbucks twenty

653
00:29:35,840 --> 00:29:38,880
Speaker 1: speaking for women who are pushing back against I guess

654
00:29:38,920 --> 00:29:42,240
Speaker 1: like violence towards women, like I'm going to push you back,

655
00:29:42,440 --> 00:29:44,959
Speaker 1: I'm not going to take disrespect in my relationship. I'm

656
00:29:44,960 --> 00:29:47,600
Speaker 1: going to push you around. I will, I will. And

657
00:29:47,680 --> 00:29:50,040
Speaker 1: yet it was just Rob Thomas is sort of male

658
00:29:50,160 --> 00:29:51,160
Speaker 1: voice singing that.

659
00:29:52,800 --> 00:29:55,280
Speaker 4: I feel like you're slowly letting us know that you

660
00:29:55,320 --> 00:29:57,520
Speaker 4: wrote your college thesis about this album, and you're like

661
00:29:57,920 --> 00:30:00,000
Speaker 4: there's like actually a lot of detail and that you've

662
00:30:00,000 --> 00:30:01,400
Speaker 4: bringing to the table, which is exciting.

663
00:30:01,480 --> 00:30:04,280
Speaker 1: But that's really a nice view that you think I

664
00:30:04,400 --> 00:30:05,840
Speaker 1: wrote a college thesis. Thank you.

665
00:30:06,800 --> 00:30:09,239
Speaker 4: That is such a nineties we're in the like this,

666
00:30:09,440 --> 00:30:10,080
Speaker 4: like like.

667
00:30:10,280 --> 00:30:12,920
Speaker 1: Tell us what we're in king, I'm thinking about it.

668
00:30:12,960 --> 00:30:16,080
Speaker 4: I'm thinking about it, and it's it's like it takes

669
00:30:16,600 --> 00:30:19,440
Speaker 4: it takes until now for something to go from being

670
00:30:19,520 --> 00:30:23,920
Speaker 4: obviously like like the nineties are now the past. Yes,

671
00:30:24,120 --> 00:30:27,240
Speaker 4: the past, it's unequivable. They are the past. It's another era.

672
00:30:27,520 --> 00:30:29,240
Speaker 4: And so then you're a lot. Then I think you

673
00:30:29,320 --> 00:30:32,240
Speaker 4: can talk about it as the past, and so people

674
00:30:32,320 --> 00:30:36,880
Speaker 4: are more honest about it. And there's like an all

675
00:30:36,880 --> 00:30:40,040
Speaker 4: male band writing a song from a woman's perspective, or

676
00:30:40,080 --> 00:30:42,920
Speaker 4: like James Bond, there were all these articles about how,

677
00:30:43,000 --> 00:30:45,680
Speaker 4: like James Bond is moving past the sexism of its

678
00:30:45,680 --> 00:30:49,680
Speaker 4: old era. Why because he's punching women now, like you know,

679
00:30:49,800 --> 00:30:53,240
Speaker 4: like like James Bond can fight a wo woman and

680
00:30:53,280 --> 00:30:55,520
Speaker 4: that's how, you know, we're kind of moved into the future.

681
00:30:55,560 --> 00:30:59,760
Speaker 4: And there's just this like there's this quality to nineties

682
00:30:59,800 --> 00:31:02,440
Speaker 4: cold Sure that was a bunch of people who were

683
00:31:02,560 --> 00:31:07,080
Speaker 4: very much mired in sexism and racism and misogyny and

684
00:31:07,120 --> 00:31:09,560
Speaker 4: all of it, patting themselves on the back, believing that

685
00:31:09,560 --> 00:31:11,040
Speaker 4: that was all behind them, like it was the end

686
00:31:11,080 --> 00:31:13,640
Speaker 4: of history. And I love it. I just love the

687
00:31:13,760 --> 00:31:16,280
Speaker 4: energy of it, and I like the reexamination of it.

688
00:31:16,480 --> 00:31:18,880
Speaker 1: Yes, that was very much the time of One of

689
00:31:18,960 --> 00:31:21,160
Speaker 1: my favorite things to say, talking about being able to

690
00:31:21,160 --> 00:31:23,000
Speaker 1: say things, one of my favorite things to say that

691
00:31:23,040 --> 00:31:25,920
Speaker 1: I never get to say is and he happens to

692
00:31:26,040 --> 00:31:28,560
Speaker 1: be gay? And that was the very much and he

693
00:31:28,640 --> 00:31:31,880
Speaker 1: happens to be gay era like and guess what, there's

694
00:31:31,880 --> 00:31:37,280
Speaker 1: also a character that is can confirm black and also,

695
00:31:37,520 --> 00:31:40,320
Speaker 1: you know, you know what we're actually doing. Ross actually

696
00:31:40,320 --> 00:31:42,560
Speaker 1: has a black girl from this episode. Deal with it.

697
00:31:43,080 --> 00:31:47,120
Speaker 1: Deal with it. She will get dumped into episodes and just.

698
00:31:47,000 --> 00:31:52,760
Speaker 4: The whole like a whole political moment about the whole

699
00:31:52,800 --> 00:31:55,959
Speaker 4: premise being that like gay people were cool with it

700
00:31:56,000 --> 00:31:57,200
Speaker 4: because they couldn't help it.

701
00:31:57,520 --> 00:31:59,840
Speaker 1: Yeah, they didn't want to be like this.

702
00:32:00,800 --> 00:32:01,959
Speaker 4: It's not their fault.

703
00:32:02,000 --> 00:32:05,000
Speaker 1: They just the choice like that. Obviously they wouldn't choose

704
00:32:05,040 --> 00:32:05,800
Speaker 1: this life.

705
00:32:05,880 --> 00:32:08,400
Speaker 4: And that's the most important reason to accept it.

706
00:32:09,320 --> 00:32:11,520
Speaker 2: I think both of you are so so so right

707
00:32:11,560 --> 00:32:14,400
Speaker 2: about this, and I think it's finally time we start

708
00:32:15,040 --> 00:32:19,160
Speaker 2: moving towards locating this person. But I was just talking

709
00:32:19,200 --> 00:32:22,479
Speaker 2: this weekend about but he's gay, he's gay, sorry, he's blind.

710
00:32:23,000 --> 00:32:27,040
Speaker 2: This we need to find that newscaster. She has done

711
00:32:27,280 --> 00:32:31,360
Speaker 2: such a service. We talk about her at work every week,

712
00:32:31,480 --> 00:32:35,280
Speaker 2: me and celestin'sare We were always like, well, like it's Tuesday.

713
00:32:35,320 --> 00:32:37,000
Speaker 2: We're like, well, we don't have any ideas should we

714
00:32:37,000 --> 00:32:39,560
Speaker 2: write a sketch that's but he's gay, sorry, he's blind.

715
00:32:39,680 --> 00:32:43,800
Speaker 2: Like We're like, where is this person we have? Like

716
00:32:43,920 --> 00:32:46,960
Speaker 2: we need to find her. Yeah, you know that is

717
00:32:47,000 --> 00:32:49,320
Speaker 2: the ultimate, the ultimate news blooper news veil.

718
00:32:51,840 --> 00:32:53,120
Speaker 1: Maybe a little, I agree.

719
00:32:53,400 --> 00:32:56,520
Speaker 4: I don't know the grave Stomp lady. She sounds really

720
00:32:56,560 --> 00:32:58,920
Speaker 4: fucked up. It's like a gruesome sound.

721
00:32:59,240 --> 00:33:01,360
Speaker 1: I don't know that this is true, but I think

722
00:33:01,440 --> 00:33:04,360
Speaker 1: she got really hurt, which is like really hurt, which

723
00:33:04,400 --> 00:33:07,320
Speaker 1: is another thing we've talked on this podcast before about

724
00:33:07,320 --> 00:33:11,080
Speaker 1: like fail culture and like you know, when when a

725
00:33:11,200 --> 00:33:13,200
Speaker 1: when a like a blueper that goes wrong in a

726
00:33:13,240 --> 00:33:19,080
Speaker 1: physical way. Like I don't understand watching those like for

727
00:33:19,200 --> 00:33:23,280
Speaker 1: pleasure because what you're hearing and seeing are the sounds

728
00:33:23,320 --> 00:33:28,240
Speaker 1: of physical pain, often brutalization. And I'll tell you what

729
00:33:28,360 --> 00:33:31,120
Speaker 1: really hurts me in the heart, because it hurts me

730
00:33:31,120 --> 00:33:33,440
Speaker 1: physically to even watch the experience of watching it gives

731
00:33:33,440 --> 00:33:37,280
Speaker 1: me pain. Are skateboarding fail videos. It is so gnarmally.

732
00:33:37,640 --> 00:33:42,320
Speaker 4: Yeah, skateboarding to me, it is the lowest reward, highest

733
00:33:42,400 --> 00:33:46,640
Speaker 4: risk pursuit, especially because of those games. And I played

734
00:33:46,680 --> 00:33:47,640
Speaker 4: that Tony Hawk game.

735
00:33:47,960 --> 00:33:51,040
Speaker 1: Yep, oh my god, we met Tony Hawk when he

736
00:33:51,120 --> 00:33:52,800
Speaker 1: was on your I was on the same level or

737
00:33:52,840 --> 00:33:53,320
Speaker 1: leave it as.

738
00:33:53,240 --> 00:33:57,080
Speaker 4: Tony Hawk, and so I didn't have to Yes, it

739
00:33:57,200 --> 00:34:00,200
Speaker 4: was surreal. It was great. And I asked him about

740
00:34:00,200 --> 00:34:02,400
Speaker 4: this too, which is in the Tony Hawk game, you

741
00:34:02,440 --> 00:34:05,200
Speaker 4: do these incredible moves. I mean you spin up in

742
00:34:05,200 --> 00:34:08,160
Speaker 4: the air, and then you watch real skateboarding, and the

743
00:34:08,239 --> 00:34:10,759
Speaker 4: things that get applause are just they're nowhere near the

744
00:34:10,800 --> 00:34:14,359
Speaker 4: exciting maneuvers that take place in the game, and then

745
00:34:14,400 --> 00:34:19,000
Speaker 4: people just eat shit. Yeah, it's no good, it's no good.

746
00:34:19,040 --> 00:34:21,280
Speaker 1: And did he confirm he can't do those magic tricks?

747
00:34:21,840 --> 00:34:26,160
Speaker 4: Yes, and he did he had recently broken his femur.

748
00:34:26,800 --> 00:34:28,920
Speaker 1: Yeah, which is the biggest bone in your body, not

749
00:34:29,520 --> 00:34:33,399
Speaker 1: one you are He's okay, that's good. Okay. So while

750
00:34:33,400 --> 00:34:35,080
Speaker 1: we're sort of in this area of like we're talking

751
00:34:35,080 --> 00:34:37,359
Speaker 1: about nineties culture, we're talking about throwback culture, we're talking

752
00:34:37,400 --> 00:34:39,839
Speaker 1: about even things like you mentioned, like the formative music

753
00:34:39,920 --> 00:34:42,200
Speaker 1: you were listening to, it's time to ask the question

754
00:34:42,239 --> 00:34:44,880
Speaker 1: which is the central question of the podcast, which is,

755
00:34:45,239 --> 00:34:47,200
Speaker 1: and I'm honored that we get to ask you this

756
00:34:47,640 --> 00:34:50,000
Speaker 1: and John love it, what was the culture that made

757
00:34:50,000 --> 00:34:53,080
Speaker 1: you say culture was for me? So I thought about

758
00:34:53,120 --> 00:34:56,920
Speaker 1: this and people always and talk about talk about filler

759
00:34:56,960 --> 00:34:59,480
Speaker 1: things that people always say, is I thought about this,

760
00:35:00,239 --> 00:35:05,440
Speaker 1: fucking hoster, you Award winning one. Keep going, Oh what listen,

761
00:35:05,520 --> 00:35:06,040
Speaker 1: we both have.

762
00:35:09,480 --> 00:35:10,160
Speaker 4: Is it a Webby?

763
00:35:10,600 --> 00:35:15,120
Speaker 1: It's not an ivy were actually this year by the Webbies.

764
00:35:15,480 --> 00:35:17,880
Speaker 1: Yeah it sucks. We're one of the glad Awards on

765
00:35:18,080 --> 00:35:22,200
Speaker 1: uh Saturday. On Saturday, We're gonna lose probably, Okay, anyway,

766
00:35:22,440 --> 00:35:22,799
Speaker 1: go on.

767
00:35:22,880 --> 00:35:26,120
Speaker 4: Oh yeah, So I think you have to put these

768
00:35:26,120 --> 00:35:27,920
Speaker 4: two things together, which is why I'm going to say

769
00:35:27,960 --> 00:35:33,040
Speaker 4: them both. One is math Net on Square one, which

770
00:35:33,120 --> 00:35:38,000
Speaker 4: was a show on public television. It was a show

771
00:35:38,040 --> 00:35:41,239
Speaker 4: about math that air when I was a kid, and

772
00:35:41,280 --> 00:35:43,000
Speaker 4: at the end of every no it had a lot

773
00:35:43,040 --> 00:35:45,719
Speaker 4: of different games and segments. I didn't like those. I

774
00:35:45,760 --> 00:35:48,480
Speaker 4: didn't watch those. That culture wasn't for me. But at

775
00:35:48,520 --> 00:35:51,640
Speaker 4: the end of every episode of Square one there was

776
00:35:51,680 --> 00:35:57,279
Speaker 4: a segment called math Net, a math based parody of Dragnet,

777
00:35:57,800 --> 00:36:01,000
Speaker 4: that had two detectives. I want to remember their names.

778
00:36:01,080 --> 00:36:04,600
Speaker 4: The guy's name was Joe Frankly, and there were two

779
00:36:04,640 --> 00:36:09,120
Speaker 4: different female detectives. It started with I believe Pat Monday,

780
00:36:09,800 --> 00:36:12,800
Speaker 4: and then Pat Monday left the show and was replaced

781
00:36:12,840 --> 00:36:19,520
Speaker 4: by like Kate Tuesday math and they would use maths

782
00:36:19,520 --> 00:36:24,239
Speaker 4: to solve crimes, like there was a man in a

783
00:36:24,239 --> 00:36:27,680
Speaker 4: gorilla suit who robbed a bank? How far could he

784
00:36:27,719 --> 00:36:31,239
Speaker 4: have gotten between when the first witness saw and the

785
00:36:31,280 --> 00:36:36,480
Speaker 4: second witness saw him? And it would always have the

786
00:36:36,640 --> 00:36:40,640
Speaker 4: like bump bump bump, and it would be about two

787
00:36:40,680 --> 00:36:45,080
Speaker 4: detectives using math to solve solve crimes. Loved it very

788
00:36:45,080 --> 00:36:49,439
Speaker 4: important to me. The other is a specific scene, which

789
00:36:49,520 --> 00:36:53,279
Speaker 4: is a scene when a sad miss Piggy returns to

790
00:36:53,320 --> 00:36:58,240
Speaker 4: the department store in Muppets Take Manhattan and Joan Rivers

791
00:36:58,320 --> 00:37:01,440
Speaker 4: cheers her up by giving her a makeover, a makeover.

792
00:37:01,800 --> 00:37:05,280
Speaker 4: But they have so much fun yes doing the makeover

793
00:37:06,000 --> 00:37:09,120
Speaker 4: that they get fired to get fired and storm out

794
00:37:09,120 --> 00:37:11,840
Speaker 4: of the department store laughing. And I think if you

795
00:37:11,840 --> 00:37:15,839
Speaker 4: put those two things together, it really explains the whole.

796
00:37:16,000 --> 00:37:21,160
Speaker 1: The wholectory that is wonderful. Now I'm less familiar with

797
00:37:21,280 --> 00:37:24,920
Speaker 1: math net, I ask you, did it make you want

798
00:37:25,040 --> 00:37:29,240
Speaker 1: to be a mathematician? Did it make you good at math?

799
00:37:29,320 --> 00:37:31,680
Speaker 1: Do you feel that maybe you didn't care about math

800
00:37:32,000 --> 00:37:32,720
Speaker 1: so much before?

801
00:37:32,800 --> 00:37:35,160
Speaker 2: Did it uncover a love of math or did it

802
00:37:35,200 --> 00:37:37,080
Speaker 2: affirm an existing love of math?

803
00:37:37,200 --> 00:37:40,120
Speaker 4: I think it affirmed and celebrated.

804
00:37:40,080 --> 00:37:43,200
Speaker 1: A love of math. You love math, love math.

805
00:37:43,680 --> 00:37:46,600
Speaker 2: I'm looking at this there was math Court math Man,

806
00:37:46,760 --> 00:37:49,600
Speaker 2: The Mathematics of Love angled it so so Matt and

807
00:37:49,680 --> 00:37:51,800
Speaker 2: Night in the nineties did not grow up with Square

808
00:37:51,840 --> 00:37:55,680
Speaker 2: one on PBS because this was PBS. Mm hmm okay,

809
00:37:55,680 --> 00:37:57,799
Speaker 2: And can I just say before we move on to

810
00:37:58,440 --> 00:38:02,680
Speaker 2: Miss Piggy and John Rivers, there is something about edutainment

811
00:38:02,760 --> 00:38:08,520
Speaker 2: that is like the most politically interesting, impactful kind of

812
00:38:08,640 --> 00:38:11,399
Speaker 2: entertainment that it's probably also the hardest thing to write

813
00:38:11,440 --> 00:38:14,600
Speaker 2: and generate and shoot and make interesting and entertaining like edutainment.

814
00:38:14,640 --> 00:38:18,400
Speaker 2: Like there's almost something like inspiring to me where I'm like, oh,

815
00:38:19,040 --> 00:38:22,239
Speaker 2: I would be totally happy and I bet completely fulfilled

816
00:38:22,920 --> 00:38:26,239
Speaker 2: just working in that lane. Like if I made edutainment

817
00:38:26,600 --> 00:38:29,560
Speaker 2: good edutainment, if I made that my life's mission, I'd

818
00:38:29,600 --> 00:38:32,040
Speaker 2: bet I would be the happiest version of myself.

819
00:38:32,600 --> 00:38:35,239
Speaker 4: Yeah, it is just so hard to the level of

820
00:38:35,280 --> 00:38:40,400
Speaker 4: sophistication you're supposed to get when it's not for you. Oh,

821
00:38:40,600 --> 00:38:44,600
Speaker 4: and we understand, and we all understand, especially now that like, hey,

822
00:38:44,600 --> 00:38:48,279
Speaker 4: there's something wrong if you are trying to write for

823
00:38:48,320 --> 00:38:50,440
Speaker 4: an audience that you're not a part of, right, whether

824
00:38:50,480 --> 00:38:52,719
Speaker 4: it's like yep, yep, I would never pitch a show

825
00:38:52,760 --> 00:38:55,400
Speaker 4: about like black culture, or I would never pitch a

826
00:38:55,400 --> 00:38:57,080
Speaker 4: show about I think I wouldn't even pitch a show

827
00:38:57,080 --> 00:38:59,719
Speaker 4: about like lesbian culture, right, I just I would feel

828
00:38:59,760 --> 00:39:02,479
Speaker 4: on comfortable trying to like embody that that doesn't seem

829
00:39:02,560 --> 00:39:06,720
Speaker 4: right to me. But adults pitch show about children's culture

830
00:39:06,760 --> 00:39:09,279
Speaker 4: all the time. We don't let children write them, which

831
00:39:09,280 --> 00:39:11,239
Speaker 4: is something I think the strike is all about, which

832
00:39:11,280 --> 00:39:11,960
Speaker 4: is letting.

833
00:39:11,880 --> 00:39:20,120
Speaker 2: Children, letting kids, right, mini rooms, that's what the.

834
00:39:20,040 --> 00:39:24,640
Speaker 4: Mini rooms are. Just tiny, tiny writers, children, very short men,

835
00:39:24,840 --> 00:39:28,440
Speaker 4: very small people, and they should be paid or be bigger.

836
00:39:28,480 --> 00:39:30,719
Speaker 2: Yes, yes, yes, Matt and I have worked in this

837
00:39:30,800 --> 00:39:35,240
Speaker 2: sector where through Story Pirates we were literally adapting and listen,

838
00:39:35,320 --> 00:39:38,040
Speaker 2: it was like great stuff. But this is really interesting

839
00:39:38,120 --> 00:39:41,520
Speaker 2: because I also think it's not super It doesn't always

840
00:39:41,600 --> 00:39:43,719
Speaker 2: yield the best results when people try to write for

841
00:39:43,760 --> 00:39:47,680
Speaker 2: an audience that they aspire towards. Either you can sort

842
00:39:47,719 --> 00:39:51,400
Speaker 2: of like smell that pretty easily and go I don't

843
00:39:51,480 --> 00:39:54,680
Speaker 2: really care for this. Like I can tell that the

844
00:39:54,680 --> 00:39:57,560
Speaker 2: people making this show are trying to like go up

845
00:39:57,600 --> 00:40:00,239
Speaker 2: some sort of like tear or cast, and like I

846
00:40:00,239 --> 00:40:02,600
Speaker 2: don't think that's working well authentic.

847
00:40:02,760 --> 00:40:06,480
Speaker 4: It's like something trying to be more sophisticated than is

848
00:40:06,560 --> 00:40:08,560
Speaker 4: or something trying to be more political than the person

849
00:40:08,680 --> 00:40:09,880
Speaker 4: writing it naturally is.

850
00:40:11,000 --> 00:40:13,960
Speaker 1: Yeah, So just to marry your two answers. Then, because

851
00:40:14,000 --> 00:40:16,399
Speaker 1: you have this, you know, you're nodding towards this math

852
00:40:16,480 --> 00:40:18,920
Speaker 1: net and we're talking about edutainment, and then you're we're

853
00:40:18,960 --> 00:40:21,960
Speaker 1: going to transition into the Miss Piggy Joan Rivers make

854
00:40:22,040 --> 00:40:25,680
Speaker 1: up moment of it all. Were you a Sesame Street child?

855
00:40:26,080 --> 00:40:28,320
Speaker 4: Yes, I was a Sesame Street child. Did you have

856
00:40:28,400 --> 00:40:29,080
Speaker 4: mister Wizard?

857
00:40:29,360 --> 00:40:33,080
Speaker 1: No, so I think we had Wizard. What unfortunately happened

858
00:40:33,120 --> 00:40:37,560
Speaker 1: around my age was Barney really took over? Yeah, and

859
00:40:37,600 --> 00:40:41,040
Speaker 1: Barney is like, and this is I'm not disrespecting, But

860
00:40:41,160 --> 00:40:44,640
Speaker 1: Barney was more just like a narrative about the kids

861
00:40:44,640 --> 00:40:47,080
Speaker 1: and Barney, and it was I guess maybe it was

862
00:40:47,080 --> 00:40:50,800
Speaker 1: teaching like moral lessons. But Sesame Street was fun because

863
00:40:50,800 --> 00:40:57,160
Speaker 1: it felt like a really fun educational program that was

864
00:40:57,239 --> 00:41:02,080
Speaker 1: so disguised in the interesting characters and the fun dynamics

865
00:41:02,120 --> 00:41:04,440
Speaker 1: that you didn't even realize you were learning, Whereas, like

866
00:41:04,840 --> 00:41:07,439
Speaker 1: you know, Barney was just I think trying to be like, Oh,

867
00:41:07,520 --> 00:41:11,239
Speaker 1: Selena Gomez Will helped to temi levado tie her shoe.

868
00:41:11,560 --> 00:41:13,680
Speaker 1: They're friends. This is what friendship is.

869
00:41:14,640 --> 00:41:16,600
Speaker 2: Barney taught you how to like hang out.

870
00:41:16,840 --> 00:41:19,520
Speaker 1: I guess Barney taught you how to chill. It's actually

871
00:41:19,520 --> 00:41:20,600
Speaker 1: really culture number seven.

872
00:41:20,920 --> 00:41:22,280
Speaker 2: Barney taught you how to chill.

873
00:41:22,640 --> 00:41:24,560
Speaker 4: Yeah, that I feel like that is the difference. I

874
00:41:24,560 --> 00:41:27,640
Speaker 4: think that's like the five years because that was after Yeah,

875
00:41:27,680 --> 00:41:29,480
Speaker 4: like I think I got the bottom of the barrel

876
00:41:29,520 --> 00:41:34,640
Speaker 4: of like the eighties, like public television, those original studios

877
00:41:34,640 --> 00:41:37,680
Speaker 4: where it's like, this is just an old social studies

878
00:41:37,719 --> 00:41:39,919
Speaker 4: teacher in a house somewhere and we're just gonna shoot

879
00:41:39,960 --> 00:41:41,880
Speaker 4: him showing people how ice melt. I love that, and

880
00:41:42,040 --> 00:41:44,319
Speaker 4: like that's what I got. And then Barney's like, I'm

881
00:41:44,320 --> 00:41:48,480
Speaker 4: gonna fuck this whole economy. Yeah, I'm gonna rock. I'm you.

882
00:41:48,520 --> 00:41:52,480
Speaker 4: People don't understand how annoying this can be and work

883
00:41:52,560 --> 00:41:55,359
Speaker 4: Barney was. You don't understand the sounds that kids are

884
00:41:55,400 --> 00:41:56,239
Speaker 4: actually looking for.

885
00:41:57,080 --> 00:42:00,480
Speaker 1: And Barney was so obsessed with being a brand. Barney

886
00:42:00,560 --> 00:42:05,160
Speaker 1: was brand forward. The Barney brand was so inescapable.

887
00:42:06,000 --> 00:42:09,759
Speaker 2: Yeah, Barney also was really big on like teaching you

888
00:42:09,800 --> 00:42:12,600
Speaker 2: how to clean up after grip.

889
00:42:13,120 --> 00:42:15,160
Speaker 1: Get bent. Barney get bent.

890
00:42:15,640 --> 00:42:17,320
Speaker 2: But it's also like Bartie can't have its kick and

891
00:42:17,360 --> 00:42:20,120
Speaker 2: needed too because Barney's like, you should clean up after yourself.

892
00:42:20,160 --> 00:42:21,799
Speaker 2: But then also like in the back of my mind,

893
00:42:21,800 --> 00:42:23,960
Speaker 2: I feel like Barney was trying to teach everybody about

894
00:42:23,960 --> 00:42:26,439
Speaker 2: like making it in this world so that you don't

895
00:42:26,480 --> 00:42:28,319
Speaker 2: have to clean up after yourself and you can pay

896
00:42:28,360 --> 00:42:30,319
Speaker 2: somebody to do it. I don't know where that's coming from,

897
00:42:30,320 --> 00:42:31,319
Speaker 2: but I feel that to be true.

898
00:42:31,400 --> 00:42:34,040
Speaker 4: Yeah, that makes a lot of sense. I think that

899
00:42:34,120 --> 00:42:38,000
Speaker 4: was That was the Barney energy look. And I've always

900
00:42:38,000 --> 00:42:41,239
Speaker 4: said this, Barney is hustle culture, and yes, yes, and

901
00:42:41,480 --> 00:42:44,120
Speaker 4: a lot of people don't talk about it. Absolutely was

902
00:42:44,120 --> 00:42:46,520
Speaker 4: Thomas the tank Engine. Thomas the Tank Engine was hustle

903
00:42:46,520 --> 00:42:47,200
Speaker 4: culture for sure.

904
00:42:47,560 --> 00:42:47,920
Speaker 1: Surely.

905
00:42:48,280 --> 00:42:51,000
Speaker 4: So you know it was very important to be a

906
00:42:51,040 --> 00:42:53,040
Speaker 4: train and to do your job as a train. If

907
00:42:53,040 --> 00:42:56,359
Speaker 4: you didn't do your job as a train, there were consequences.

908
00:42:55,800 --> 00:42:58,960
Speaker 1: Right, Oh, how interesting consequence culture.

909
00:42:59,600 --> 00:43:04,600
Speaker 4: That's And there's something so cynical. They're on tracks, yea,

910
00:43:05,200 --> 00:43:08,799
Speaker 4: what point does they are? Really? They are just lit it.

911
00:43:08,800 --> 00:43:10,400
Speaker 4: They can go forward or they can go back.

912
00:43:10,760 --> 00:43:11,360
Speaker 2: Yeah.

913
00:43:11,600 --> 00:43:15,080
Speaker 1: Do you have any comment on when Sesame Street had

914
00:43:15,120 --> 00:43:18,120
Speaker 1: to cut out Katy Perry because of her breasts. Do

915
00:43:18,160 --> 00:43:19,080
Speaker 1: you have comment on that.

916
00:43:19,440 --> 00:43:21,600
Speaker 4: I'm sorry, I'm not aware of that. I don't.

917
00:43:21,719 --> 00:43:23,920
Speaker 1: Well, the most famous episode of Sesame Street and no

918
00:43:23,960 --> 00:43:26,600
Speaker 1: one ever saw was when Katy Perry guested on Sesame

919
00:43:26,640 --> 00:43:29,959
Speaker 1: Street and even though she's wearing a full shirt, everyone said,

920
00:43:30,120 --> 00:43:32,160
Speaker 1: we can't have this. Her boobs are too big. She

921
00:43:32,200 --> 00:43:35,040
Speaker 1: can't be on Sesame Street. And they never shared the episode,

922
00:43:35,080 --> 00:43:36,759
Speaker 1: but you can watch it on YouTube. I guess I

923
00:43:36,840 --> 00:43:39,880
Speaker 1: think she sang like a silly version of Hot and Cold.

924
00:43:40,560 --> 00:43:44,040
Speaker 2: It seems like there's a digital fix. Yeah, back then,

925
00:43:44,239 --> 00:43:47,359
Speaker 2: maybe not. I think in twenty ten we didn't have

926
00:43:47,400 --> 00:43:48,200
Speaker 2: that technology.

927
00:43:48,200 --> 00:43:49,759
Speaker 4: Well they could. They could have just put in like

928
00:43:49,800 --> 00:43:52,239
Speaker 4: a bush, you know, like a like just like a

929
00:43:52,239 --> 00:43:53,360
Speaker 4: little plant or something.

930
00:43:53,480 --> 00:43:56,200
Speaker 1: You know, she could have been singing behind a bush.

931
00:43:56,400 --> 00:43:58,440
Speaker 2: But by the way, we know one should feel bad

932
00:43:58,480 --> 00:44:00,480
Speaker 2: for Katie Peer in the end that the ending to

933
00:44:00,520 --> 00:44:02,440
Speaker 2: her story is that she went to the coronation and

934
00:44:02,440 --> 00:44:04,480
Speaker 2: no one else did, like the people who called in

935
00:44:04,520 --> 00:44:05,640
Speaker 2: to complain did not.

936
00:44:06,160 --> 00:44:08,120
Speaker 4: And even before that, she's done pretty well.

937
00:44:08,600 --> 00:44:10,480
Speaker 1: Yeah, well a huge star.

938
00:44:12,120 --> 00:44:14,640
Speaker 4: Yeah, everybody knows her. Her stuff's all over the place.

939
00:44:14,920 --> 00:44:17,200
Speaker 1: Can I say, before we move into the mispiggy of

940
00:44:17,239 --> 00:44:20,319
Speaker 1: it all I did. I've written down one word on

941
00:44:20,360 --> 00:44:23,680
Speaker 1: a piece of paper, and it's the word weird. Because

942
00:44:23,760 --> 00:44:27,840
Speaker 1: when you said earlier that you feel like smart is

943
00:44:27,840 --> 00:44:30,160
Speaker 1: a bad word, dumb is a bad word, weird is

944
00:44:30,200 --> 00:44:32,320
Speaker 1: a bad word. I'm going to push back on weird.

945
00:44:32,880 --> 00:44:35,600
Speaker 1: I think it's actually really fun to say about someone

946
00:44:36,160 --> 00:44:41,239
Speaker 1: she's weird, Like, no, how is that person? Like, I've

947
00:44:41,280 --> 00:44:42,520
Speaker 1: never met them weird?

948
00:44:42,760 --> 00:44:45,920
Speaker 4: And I love I love having fun with words. And

949
00:44:45,960 --> 00:44:49,279
Speaker 4: I think we all did, ye I will. I think

950
00:44:49,480 --> 00:44:51,680
Speaker 4: weird and crazy and.

951
00:44:51,920 --> 00:44:53,120
Speaker 1: Crazy is problematic.

952
00:44:53,200 --> 00:44:54,440
Speaker 2: Crazy is not great.

953
00:44:54,520 --> 00:45:00,520
Speaker 4: Yeah, yes, so crazy has issues beyond what Actually I

954
00:45:00,640 --> 00:45:03,279
Speaker 4: understood the reason to stop saying crazy, and I thought

955
00:45:03,280 --> 00:45:06,000
Speaker 4: it was a good reason. It to you, well, what

956
00:45:06,080 --> 00:45:10,600
Speaker 4: persuaded me that it wasn't just good for that reason alone? Right, Like, yes,

957
00:45:10,640 --> 00:45:13,840
Speaker 4: I understand why I could be considered ablest and I

958
00:45:13,840 --> 00:45:16,759
Speaker 4: would say, you know what, I would say intellectually, I

959
00:45:16,880 --> 00:45:18,920
Speaker 4: was my heart wasn't in it, And I.

960
00:45:18,960 --> 00:45:21,680
Speaker 2: Think, what, that's huge. That's what got me.

961
00:45:21,880 --> 00:45:24,680
Speaker 4: What got me all the way there was not just

962
00:45:25,960 --> 00:45:28,680
Speaker 4: the way in which it was sort of using this

963
00:45:28,760 --> 00:45:30,960
Speaker 4: sort of you know word about mental health in a

964
00:45:31,000 --> 00:45:35,160
Speaker 4: pejorative way. It's that so often it is just laziness

965
00:45:35,600 --> 00:45:38,959
Speaker 4: to stand actually, and it's two people assuming they both

966
00:45:39,080 --> 00:45:41,000
Speaker 4: know what they mean by crazy, but they don't. It's

967
00:45:41,040 --> 00:45:42,839
Speaker 4: just a stand in for a bunch of different things,

968
00:45:42,880 --> 00:45:45,759
Speaker 4: and actually forcing yourself to find more specific ways to

969
00:45:45,800 --> 00:45:49,200
Speaker 4: talk about why you're bothered leads to saying something better.

970
00:45:50,440 --> 00:45:52,920
Speaker 2: That's interesting. And so you feel the same way about weird,

971
00:45:52,960 --> 00:45:55,640
Speaker 2: where it's a stand in for something else. But I

972
00:45:55,680 --> 00:45:59,040
Speaker 2: think I think you're sort of your hang ups about

973
00:45:59,080 --> 00:46:02,640
Speaker 2: these words. I think it's kind of tied to them

974
00:46:02,880 --> 00:46:08,040
Speaker 2: mostly being monosyllabic, with the exception of crazy, weird, smart, dumb,

975
00:46:08,120 --> 00:46:11,680
Speaker 2: Let's say dumb that's great. I just use the word great,

976
00:46:11,719 --> 00:46:13,959
Speaker 2: and I don't feel awesome about it. I don't feel

977
00:46:14,000 --> 00:46:17,200
Speaker 2: great about it. So I feel like, but is that it?

978
00:46:17,320 --> 00:46:19,560
Speaker 2: Like I think, is there are we creating some sort

979
00:46:19,560 --> 00:46:23,960
Speaker 2: of bias towards multi syllabic words because I don't always.

980
00:46:23,719 --> 00:46:25,200
Speaker 4: Don't want to be a part of that. I don't

981
00:46:25,200 --> 00:46:25,719
Speaker 4: want to do that.

982
00:46:26,239 --> 00:46:28,400
Speaker 2: What I've had to walk back for the last several

983
00:46:28,480 --> 00:46:30,919
Speaker 2: years because when I listened back to myself from years ago,

984
00:46:31,000 --> 00:46:34,040
Speaker 2: I go, why am I throwing all these disgusting sat

985
00:46:34,239 --> 00:46:36,640
Speaker 2: words around. That's so annoying.

986
00:46:37,160 --> 00:46:46,880
Speaker 3: It's June and I and I feel like sometimes dumb, weird, smart,

987
00:46:47,280 --> 00:46:50,640
Speaker 3: sometimes those are okay.

988
00:46:49,480 --> 00:46:53,080
Speaker 4: Yeah, I agree, but I don't what. Yeah I agree

989
00:46:53,120 --> 00:46:56,440
Speaker 4: with that. I'm not the word Okay, you can you police.

990
00:46:56,719 --> 00:46:58,000
Speaker 4: I'm not the word police.

991
00:46:58,160 --> 00:47:00,719
Speaker 1: But this is the words episode and actually is the

992
00:47:00,800 --> 00:47:03,239
Speaker 1: title of that's what they mean by minimum staffing like

993
00:47:03,400 --> 00:47:05,760
Speaker 1: tiny people with John love.

994
00:47:05,600 --> 00:47:07,680
Speaker 2: It words words words. Yeah, that's great. I was gonna

995
00:47:07,680 --> 00:47:10,160
Speaker 2: say with the words, I like words, words, words.

996
00:47:10,239 --> 00:47:13,160
Speaker 1: Let's see if we have John isn't happy.

997
00:47:13,239 --> 00:47:14,520
Speaker 4: Here's the thing we have it.

998
00:47:14,640 --> 00:47:17,600
Speaker 2: We are to do this. We're on the guild. We

999
00:47:17,719 --> 00:47:20,520
Speaker 2: can't beat something while we're on the straight.

1000
00:47:21,040 --> 00:47:22,680
Speaker 1: Do you have a statement of support for the guild?

1001
00:47:25,160 --> 00:47:27,160
Speaker 1: Because as someone that a lot of people look up to.

1002
00:47:27,239 --> 00:47:29,560
Speaker 2: And make it make different ones for West and East.

1003
00:47:31,360 --> 00:47:37,360
Speaker 4: Look, I think, uh, I think that, Oh we're in trouble.

1004
00:47:38,280 --> 00:47:41,879
Speaker 4: I'm very supportive of the writers. I hope they get

1005
00:47:41,880 --> 00:47:46,640
Speaker 4: what they want. And you know, I'm a big supporter

1006
00:47:46,880 --> 00:47:50,040
Speaker 4: of not letting computers write scripts. I don't think they'll

1007
00:47:50,040 --> 00:47:53,960
Speaker 4: do a very good job. I think the tweets by

1008
00:47:54,000 --> 00:47:57,879
Speaker 4: the writers are good and none of them are over

1009
00:47:57,920 --> 00:48:00,120
Speaker 4: the top. And I think anyone who's saying that and

1010
00:48:00,160 --> 00:48:03,759
Speaker 4: support the writers and all the people secretly free all

1011
00:48:03,800 --> 00:48:08,080
Speaker 4: the people who correctly and support the writers in this strike,

1012
00:48:08,480 --> 00:48:11,120
Speaker 4: but then also have little side texts about the tweets

1013
00:48:11,160 --> 00:48:13,719
Speaker 4: that they think are the most ridiculous. I consider that

1014
00:48:13,760 --> 00:48:15,520
Speaker 4: being a scab and that needs to stop.

1015
00:48:16,160 --> 00:48:19,840
Speaker 1: Wow, that actually that I think people are going to

1016
00:48:19,920 --> 00:48:21,440
Speaker 1: change their behavior now, I really do.

1017
00:48:21,880 --> 00:48:22,200
Speaker 4: Mm hm.

1018
00:48:22,800 --> 00:48:27,600
Speaker 1: So Miss Piggy and Joan Rivers when they played with

1019
00:48:27,640 --> 00:48:29,239
Speaker 1: makeup together, what was that the guy?

1020
00:48:29,440 --> 00:48:29,600
Speaker 4: Was it?

1021
00:48:29,719 --> 00:48:31,880
Speaker 1: The joy? Was it the joy and the fun they

1022
00:48:31,920 --> 00:48:35,160
Speaker 1: were having and what was obviously sort of a you know,

1023
00:48:35,480 --> 00:48:36,600
Speaker 1: fun moment on set.

1024
00:48:36,760 --> 00:48:40,080
Speaker 4: It's that. It starts with Miss Piggy. She's at a low.

1025
00:48:40,719 --> 00:48:41,160
Speaker 2: Yeah.

1026
00:48:41,280 --> 00:48:44,520
Speaker 4: I believe she's just been rejected by Kermit in some way.

1027
00:48:44,239 --> 00:48:46,960
Speaker 1: Which was insane. I mean the amount of times that

1028
00:48:47,000 --> 00:48:50,640
Speaker 1: he shit, I think because he's insecure and you know

1029
00:48:50,680 --> 00:48:51,280
Speaker 1: it's small.

1030
00:48:52,280 --> 00:48:53,799
Speaker 4: Kermit is not a good guy.

1031
00:48:54,400 --> 00:48:56,640
Speaker 1: No, No, he's a narcissist.

1032
00:48:57,120 --> 00:48:58,680
Speaker 2: He plays at the banjo.

1033
00:48:59,000 --> 00:49:00,279
Speaker 1: Cool, what of her?

1034
00:49:00,280 --> 00:49:05,040
Speaker 4: It's ridiculous. But she comes in, she's so beside herself

1035
00:49:05,440 --> 00:49:10,080
Speaker 4: and they slowly Joan Rivers starts giving her this makeover,

1036
00:49:10,520 --> 00:49:13,640
Speaker 4: and it gets bigger and bigger and bigger until they're

1037
00:49:13,680 --> 00:49:16,440
Speaker 4: the other thing that I I didn't know what it was,

1038
00:49:16,640 --> 00:49:20,280
Speaker 4: but it was. It features more prominently in children's cartoon

1039
00:49:20,400 --> 00:49:24,760
Speaker 4: like Quicksand but it's the makeup poof where you poof

1040
00:49:24,840 --> 00:49:28,080
Speaker 4: someone's face with I guess foundation or just powder, and

1041
00:49:28,120 --> 00:49:30,120
Speaker 4: it was like just this big poof and you just

1042
00:49:30,160 --> 00:49:33,160
Speaker 4: get poof, poof, poofed YEA. Cartoons would always do that

1043
00:49:33,160 --> 00:49:35,440
Speaker 4: to each other for makeup, like if if Bugs Bunny

1044
00:49:35,480 --> 00:49:37,960
Speaker 4: was putting makeup on Elmer Fudd, it would be a

1045
00:49:38,000 --> 00:49:41,680
Speaker 4: big poof and it had that yeah, and then that

1046
00:49:41,840 --> 00:49:47,279
Speaker 4: the snooty manager comes over and he's disgusted by this display,

1047
00:49:47,560 --> 00:49:49,560
Speaker 4: but they're having such a good time they don't care,

1048
00:49:49,920 --> 00:49:52,799
Speaker 4: and he says, you're both fired, and then they, you know,

1049
00:49:52,880 --> 00:49:56,160
Speaker 4: Joan Rivers basically mimics the Muppet style laugh, which is

1050
00:49:56,200 --> 00:50:00,520
Speaker 4: like the head been that which is the best, And

1051
00:50:00,560 --> 00:50:03,319
Speaker 4: they just laughed their ways out of the store. Ten

1052
00:50:03,320 --> 00:50:03,799
Speaker 4: out of ten.

1053
00:50:04,320 --> 00:50:05,120
Speaker 1: Ten is amazing.

1054
00:50:05,600 --> 00:50:09,000
Speaker 4: Not until the film Babylon, was there.

1055
00:50:09,920 --> 00:50:14,120
Speaker 2: Oh my god, there an anti retail scene?

1056
00:50:14,840 --> 00:50:17,279
Speaker 4: Was there a scene that starts from zero and ends

1057
00:50:17,280 --> 00:50:19,520
Speaker 4: at one hundred? That's what I'm saying.

1058
00:50:19,680 --> 00:50:20,840
Speaker 1: Wait, what scene in Babylon?

1059
00:50:20,880 --> 00:50:23,640
Speaker 4: Are you talking about every scene in the first two hours?

1060
00:50:24,040 --> 00:50:25,720
Speaker 1: Yeah, it's pretty pretty weird.

1061
00:50:26,960 --> 00:50:29,040
Speaker 2: What way did this contribute and what way did this

1062
00:50:29,080 --> 00:50:30,960
Speaker 2: contribute to the trajectory?

1063
00:50:31,520 --> 00:50:35,160
Speaker 4: I just I just have Miss Piggy energy. I just

1064
00:50:35,320 --> 00:50:36,000
Speaker 4: do ye.

1065
00:50:36,200 --> 00:50:43,520
Speaker 1: Do you know you're violent? Piggy's a violent woman. She

1066
00:50:43,640 --> 00:50:46,879
Speaker 1: often will say violent.

1067
00:50:48,880 --> 00:50:50,440
Speaker 4: Yeah, I do that, I do that.

1068
00:50:51,719 --> 00:50:55,360
Speaker 1: On this podcast. There is never an instance where Miss

1069
00:50:55,360 --> 00:51:00,520
Speaker 1: Piggy says that I'm not laughing it's till the cows draw.

1070
00:51:00,719 --> 00:51:04,279
Speaker 4: She also, Miss Piggy, I believe, also chases down a

1071
00:51:04,400 --> 00:51:06,280
Speaker 4: per snatcher in Muppets Take Manhattan.

1072
00:51:06,440 --> 00:51:07,359
Speaker 1: I believe she does.

1073
00:51:07,840 --> 00:51:11,200
Speaker 4: I believe she does a hia I hope what hope amazing.

1074
00:51:11,600 --> 00:51:15,440
Speaker 2: She's very declared. She's always kicking people out too, like

1075
00:51:15,440 --> 00:51:17,680
Speaker 2: I think it Muppet's Christmas Carol. She tells Michael Caine,

1076
00:51:17,760 --> 00:51:20,000
Speaker 2: you know, when Scrooge wakes up the next morning on

1077
00:51:20,080 --> 00:51:25,759
Speaker 2: Christmas Morning and goes to Cratchet's house, she goes like

1078
00:51:25,840 --> 00:51:29,640
Speaker 2: she is very, like she's very She's there to be

1079
00:51:29,719 --> 00:51:33,239
Speaker 2: like Scrooge is not allowed here. The only character in

1080
00:51:33,280 --> 00:51:35,400
Speaker 2: that movie, by the way, in that story and that

1081
00:51:35,520 --> 00:51:39,160
Speaker 2: reimagined story. Who's like, fuck you Scrooge, get out of

1082
00:51:39,160 --> 00:51:39,600
Speaker 2: my house.

1083
00:51:39,960 --> 00:51:42,160
Speaker 4: Yes, miss pigging Holes.

1084
00:51:42,640 --> 00:51:44,560
Speaker 1: Does Lauren know you have Miss Piggy?

1085
00:51:45,160 --> 00:51:48,680
Speaker 2: I haven't. I haven't myself to do a Miss Piggy.

1086
00:51:49,040 --> 00:51:53,000
Speaker 1: But I'm waiting for the next moment for you.

1087
00:51:53,320 --> 00:51:58,360
Speaker 2: Maybe. But I think look me saying hi yah an Asian.

1088
00:51:59,040 --> 00:52:03,719
Speaker 1: I think looking at Weird, you're weird but weird. I'm

1089
00:52:03,760 --> 00:52:05,800
Speaker 1: smart and he's smart and weird.

1090
00:52:06,000 --> 00:52:08,520
Speaker 4: Hey, I think you're both smart. I think you're both smart,

1091
00:52:08,520 --> 00:52:09,280
Speaker 4: weird and crazy.

1092
00:52:10,160 --> 00:52:12,080
Speaker 1: Crazy is the title of the app. I'm sorry, abo's

1093
00:52:12,080 --> 00:52:14,560
Speaker 1: what it is. And smart, weird, and crazy because they're

1094
00:52:14,600 --> 00:52:18,200
Speaker 1: more descriptive than words words words, because actually all words smart, weird,

1095
00:52:18,239 --> 00:52:21,160
Speaker 1: and crazy with John love it And that's the title

1096
00:52:21,200 --> 00:52:34,720
Speaker 1: of the episode, and that's exciting. Do you have any

1097
00:52:35,880 --> 00:52:39,279
Speaker 1: thoughts on current culture that you are dying to get

1098
00:52:39,280 --> 00:52:41,399
Speaker 1: out there, Like what's the shows that you're consuming. I'm

1099
00:52:41,400 --> 00:52:43,040
Speaker 1: assuming you're a succession person.

1100
00:52:43,280 --> 00:52:45,759
Speaker 4: I am a succession person. And I'll just say it,

1101
00:52:45,800 --> 00:52:48,960
Speaker 4: I love it. Yeah, I think it's good. I think

1102
00:52:48,960 --> 00:52:50,800
Speaker 4: it's smart, I think it's well written.

1103
00:52:51,160 --> 00:52:54,760
Speaker 2: I'll just say it is a great sort of phrase too. Anyway,

1104
00:52:54,840 --> 00:52:55,320
Speaker 2: keep going.

1105
00:52:55,640 --> 00:52:58,000
Speaker 4: I'll just say yeah, I'll just say it. I'll just

1106
00:52:58,040 --> 00:52:58,440
Speaker 4: say it.

1107
00:52:58,560 --> 00:52:59,000
Speaker 2: I love it.

1108
00:52:59,120 --> 00:53:00,560
Speaker 1: You think Sarah Snook is good?

1109
00:53:00,920 --> 00:53:04,000
Speaker 4: Yeah I do. I'll say it. I think Sarah Snook

1110
00:53:04,080 --> 00:53:07,200
Speaker 4: is good. I like that none of the American accents

1111
00:53:07,239 --> 00:53:10,560
Speaker 4: are right, and that's okay because they're from another layer

1112
00:53:10,800 --> 00:53:13,880
Speaker 4: of society where maybe they are wrong up there, maybe

1113
00:53:13,880 --> 00:53:16,600
Speaker 4: they don't sound like us up there where they are.

1114
00:53:16,920 --> 00:53:19,840
Speaker 1: I don't know if you listen to the Succession podcast

1115
00:53:19,880 --> 00:53:23,400
Speaker 1: with Karros Wwisher that she hosts, but she was talking

1116
00:53:23,480 --> 00:53:28,440
Speaker 1: to Brian Cox and he said that he was irate

1117
00:53:29,080 --> 00:53:33,000
Speaker 1: during the first season when, like episodes and episodes in

1118
00:53:33,480 --> 00:53:37,799
Speaker 1: he realized that the character was actually from Scotland, and

1119
00:53:37,920 --> 00:53:41,600
Speaker 1: he thought he had thought that they decided against that,

1120
00:53:41,880 --> 00:53:45,200
Speaker 1: Like he was like, Oh, the character's not from Scotland.

1121
00:53:45,239 --> 00:53:47,719
Speaker 1: That's not part of the history I'm playing. That's not

1122
00:53:47,760 --> 00:53:49,719
Speaker 1: the character I'm playing. And then he saw literally a

1123
00:53:49,760 --> 00:53:52,359
Speaker 1: document that was printed out as a prop that I

1124
00:53:52,400 --> 00:53:57,600
Speaker 1: think stated Logan Roy's birthplace as Scotland, and he in

1125
00:53:57,640 --> 00:54:02,400
Speaker 1: the podcast episode I don't know, I can't necessarily find

1126
00:54:03,000 --> 00:54:06,040
Speaker 1: where Brian Cox's sense of humor starts and ends because

1127
00:54:06,040 --> 00:54:08,600
Speaker 1: it all is kind of delivered in this Brian Coxean

1128
00:54:08,680 --> 00:54:11,640
Speaker 1: way where it's the kind of person that's in your life,

1129
00:54:11,680 --> 00:54:13,719
Speaker 1: which is a person that I fear, which is where

1130
00:54:13,760 --> 00:54:16,239
Speaker 1: you think you're kidding because you are, and then all

1131
00:54:16,320 --> 00:54:18,720
Speaker 1: of a sudden they reveal that they're no longer kidding,

1132
00:54:19,080 --> 00:54:22,600
Speaker 1: and like it's just people that have like there's an

1133
00:54:22,680 --> 00:54:27,520
Speaker 1: absence of a wink or the absence of putting effort

1134
00:54:27,520 --> 00:54:30,279
Speaker 1: into letting you know we are changing course are actually no.

1135
00:54:30,360 --> 00:54:32,920
Speaker 1: But seriously, I really mean this. He I don't know.

1136
00:54:33,000 --> 00:54:34,879
Speaker 1: I can't find where it starts and ends with him.

1137
00:54:34,880 --> 00:54:36,960
Speaker 1: I don't know what he's kidding about. So he could

1138
00:54:37,040 --> 00:54:40,240
Speaker 1: legitimately be on this podcast episode which was the third episode,

1139
00:54:40,280 --> 00:54:43,400
Speaker 1: which of course followed the episode where his character dies,

1140
00:54:43,719 --> 00:54:48,520
Speaker 1: but he is seeming upset, but also it's like he

1141
00:54:48,560 --> 00:54:50,799
Speaker 1: could be kidding, but also I would not want to

1142
00:54:50,800 --> 00:54:53,719
Speaker 1: be the person around Yeah, probably not.

1143
00:54:55,320 --> 00:54:59,680
Speaker 4: He also strikes me as someone where he has a

1144
00:54:59,719 --> 00:55:03,040
Speaker 4: sense of humor. But you know that even if you

1145
00:55:03,120 --> 00:55:06,480
Speaker 4: were just at your absolute best and you were firing

1146
00:55:06,520 --> 00:55:10,160
Speaker 4: in all cylinders that only half wood Land right, that

1147
00:55:10,160 --> 00:55:11,839
Speaker 4: there would just you'd be doing a lot of I'm

1148
00:55:11,880 --> 00:55:14,240
Speaker 4: just kiddings you'd be you'd be saying, I'm just kidding

1149
00:55:14,360 --> 00:55:19,440
Speaker 4: a lot, and that obviously stinks. It thinks stinks.

1150
00:55:19,680 --> 00:55:23,279
Speaker 2: Yeah, here's here's My thought is that he seems to

1151
00:55:23,280 --> 00:55:26,960
Speaker 2: be someone who like rails against earnestness, like the way

1152
00:55:27,000 --> 00:55:32,160
Speaker 2: he like hates Jeremy Strong's style, but then he will

1153
00:55:32,800 --> 00:55:36,200
Speaker 2: also be earnest himself all the time. Does that make sense?

1154
00:55:36,520 --> 00:55:40,000
Speaker 2: I feel like there's no irony in any expression that

1155
00:55:40,040 --> 00:55:40,920
Speaker 2: he sort of puts out.

1156
00:55:40,920 --> 00:55:43,240
Speaker 1: We also, like, I think that's something that we forget

1157
00:55:43,280 --> 00:55:45,640
Speaker 1: about actors in general when we call themselves important and

1158
00:55:45,680 --> 00:55:47,680
Speaker 1: self serious, is that they have to have a sense

1159
00:55:47,719 --> 00:55:50,800
Speaker 1: of play, because that is intrinsic and inherent to even

1160
00:55:50,920 --> 00:55:53,960
Speaker 1: wanting to act in the first place. Like actors without

1161
00:55:53,960 --> 00:55:57,360
Speaker 1: a sense of play. I don't understand that, nor have

1162
00:55:57,480 --> 00:56:00,239
Speaker 1: I really met Wile Bowen is smiling a smile.

1163
00:56:00,320 --> 00:56:03,400
Speaker 2: Nothing, it makes me think of Patty over the Patty Years,

1164
00:56:03,400 --> 00:56:07,360
Speaker 2: and you like kind of overuses that phrase and like

1165
00:56:07,400 --> 00:56:09,719
Speaker 2: a deliberate sense of play, a sense of play. I mean,

1166
00:56:09,760 --> 00:56:12,960
Speaker 2: there's like she's like posted Instagram grip posts where she's like,

1167
00:56:13,280 --> 00:56:15,520
Speaker 2: what was great about this set was that the really

1168
00:56:16,000 --> 00:56:16,600
Speaker 2: sense of.

1169
00:56:18,160 --> 00:56:21,200
Speaker 1: I'm sorry, no, it is funny. But I'm saying is

1170
00:56:21,239 --> 00:56:24,360
Speaker 1: like the set of Succession feels like it would be

1171
00:56:24,400 --> 00:56:28,440
Speaker 1: a weird one because you it feels like the methods

1172
00:56:28,600 --> 00:56:30,440
Speaker 1: there are all very different, you know what I mean.

1173
00:56:30,440 --> 00:56:33,680
Speaker 1: It's like Brian Cox fully dragging Jeremy Strong like in

1174
00:56:33,719 --> 00:56:35,719
Speaker 1: the press, and Kieran Culkin kind of doing the same thing,

1175
00:56:35,800 --> 00:56:37,960
Speaker 1: being like, yeah, it's annoying when he wants to not

1176
00:56:38,040 --> 00:56:39,359
Speaker 1: rehearse first.

1177
00:56:39,440 --> 00:56:41,280
Speaker 4: I have two points I want to make. Point number one.

1178
00:56:41,600 --> 00:56:43,760
Speaker 4: I think it's cool, Matt, but you're that you approach

1179
00:56:43,880 --> 00:56:46,480
Speaker 4: this moment by saying I'm just not sure I respect

1180
00:56:46,560 --> 00:56:50,239
Speaker 4: Brian Cox's approach to acting at all.

1181
00:56:50,960 --> 00:56:54,399
Speaker 1: What I'm saying is that I think people people sometimes

1182
00:56:54,440 --> 00:56:58,200
Speaker 1: interpret his his sense of humor and his like state

1183
00:56:58,239 --> 00:57:00,680
Speaker 1: of being as being like rigid or being like sort

1184
00:57:00,680 --> 00:57:03,759
Speaker 1: of like born. Brian Cox has to be he has

1185
00:57:03,840 --> 00:57:06,600
Speaker 1: to have a sense of humor. He's on succession, He's

1186
00:57:06,920 --> 00:57:08,680
Speaker 1: he's you look at his career, He's done a ton.

1187
00:57:08,680 --> 00:57:11,560
Speaker 1: He's also very funny, even if maybe in the moment

1188
00:57:11,560 --> 00:57:14,720
Speaker 1: he's not meaning to be funny or comedic purely in nature.

1189
00:57:14,760 --> 00:57:18,200
Speaker 1: But like this idea that even like Jeremy Strong takes

1190
00:57:18,280 --> 00:57:21,480
Speaker 1: himself so seriously all the time, like can't be true,

1191
00:57:21,560 --> 00:57:25,480
Speaker 1: because like you have to have that curiosity and that

1192
00:57:25,600 --> 00:57:29,120
Speaker 1: sense of imagination and yes, play drag me Patty Harrison

1193
00:57:29,440 --> 00:57:30,720
Speaker 1: to even want to do this?

1194
00:57:30,800 --> 00:57:34,080
Speaker 2: No no, no, no, no, no, yeah, I really quickly, I

1195
00:57:34,080 --> 00:57:36,080
Speaker 2: think I'm ready to share the story on the poet

1196
00:57:36,840 --> 00:57:39,720
Speaker 2: share it as a way of like supporting the idea

1197
00:57:39,720 --> 00:57:42,680
Speaker 2: that Jeremy Strong actually is, like has a sense of

1198
00:57:42,760 --> 00:57:45,520
Speaker 2: play and irony. Okay, and Matt's read the story before,

1199
00:57:45,560 --> 00:57:47,600
Speaker 2: I think, but I've been telling it, and I've been

1200
00:57:47,840 --> 00:57:50,080
Speaker 2: I've been really literally dining out on this story for

1201
00:57:50,120 --> 00:57:53,640
Speaker 2: a while now, and and this is this is its

1202
00:57:53,680 --> 00:57:54,640
Speaker 2: public debut.

1203
00:57:54,840 --> 00:57:56,360
Speaker 4: So I'm very excited.

1204
00:57:56,640 --> 00:57:59,920
Speaker 2: So the most recent season of nor from Queen's shot

1205
00:58:00,160 --> 00:58:04,240
Speaker 2: at the same studio as the most recent as this

1206
00:58:04,280 --> 00:58:07,800
Speaker 2: season of Succession. The North from Queen's production office was

1207
00:58:07,960 --> 00:58:10,880
Speaker 2: pretty close to the Succession stages in their production office,

1208
00:58:11,560 --> 00:58:15,400
Speaker 2: and as we famously know, Jeremy Strong is the method actor.

1209
00:58:16,040 --> 00:58:23,200
Speaker 2: And at one point, at one point, Jeremy walks into

1210
00:58:23,240 --> 00:58:26,920
Speaker 2: the North from Queen's production office and says, excuse me,

1211
00:58:26,920 --> 00:58:29,320
Speaker 2: do you know where the bathroom is? And then something

1212
00:58:29,560 --> 00:58:30,960
Speaker 2: someone in the office is like, yeah, it's just down

1213
00:58:31,000 --> 00:58:32,680
Speaker 2: the hall to the left. He goes, thank you so much.

1214
00:58:32,880 --> 00:58:36,080
Speaker 2: He leaves, Matt, you've heard the story before, I think

1215
00:58:36,080 --> 00:58:37,160
Speaker 2: I have. You haven't.

1216
00:58:37,240 --> 00:58:39,840
Speaker 1: Oh my god, Okay, you've been dining out with other people?

1217
00:58:40,520 --> 00:58:40,680
Speaker 2: Yeah?

1218
00:58:40,800 --> 00:58:41,880
Speaker 1: Yeah, likely story.

1219
00:58:42,360 --> 00:58:46,960
Speaker 2: Likely story. So Jeremy leaves. Ten minutes pass and then

1220
00:58:46,960 --> 00:58:50,680
Speaker 2: a PA from succession comes into the office and goes, hi,

1221
00:58:50,800 --> 00:58:53,600
Speaker 2: was Jeremy just in here? And they were like, yeah,

1222
00:58:53,640 --> 00:58:56,520
Speaker 2: he was. He went to the bathroom. And then they

1223
00:58:56,520 --> 00:59:00,400
Speaker 2: go this PA goes, did he ask where it was? Us?

1224
00:59:00,960 --> 00:59:03,280
Speaker 2: Did he come here to ask you where the bathroom was?

1225
00:59:03,960 --> 00:59:07,520
Speaker 2: And they were like yeah, why. Then the PA says

1226
00:59:09,040 --> 00:59:12,120
Speaker 2: she has a scene today where he has to ask

1227
00:59:12,200 --> 00:59:13,760
Speaker 2: someone where the broom?

1228
00:59:14,960 --> 00:59:15,560
Speaker 1: You're kidding?

1229
00:59:16,520 --> 00:59:19,160
Speaker 2: And I think that is method to such a such

1230
00:59:19,160 --> 00:59:22,240
Speaker 2: a ridiculous degree that like he must be like in

1231
00:59:22,320 --> 00:59:23,040
Speaker 2: on the joke.

1232
00:59:23,520 --> 00:59:25,960
Speaker 1: Giggling inside internally a little bit.

1233
00:59:26,480 --> 00:59:31,000
Speaker 4: I love that, I am told I love I just

1234
00:59:31,080 --> 00:59:33,720
Speaker 4: love that there's somebody who's just like, I need to

1235
00:59:34,040 --> 00:59:36,280
Speaker 4: later ask someone to go to the bathroom. I don't.

1236
00:59:36,360 --> 00:59:39,320
Speaker 4: I need to fully internalize and understand the experience. So

1237
00:59:39,360 --> 00:59:42,720
Speaker 4: I'm gonna drink access that I can't access it so

1238
00:59:42,800 --> 00:59:46,320
Speaker 4: I'm gonna drink a gallon of gatorade and then go

1239
00:59:46,440 --> 00:59:50,120
Speaker 4: to an unfamiliar part of this lot, and I'm gonna

1240
00:59:50,240 --> 00:59:52,840
Speaker 4: use that experience that I can draw on it later.

1241
00:59:52,920 --> 00:59:56,240
Speaker 4: I fucking love that. The other thing too, Like so

1242
00:59:57,680 --> 01:00:04,560
Speaker 4: like all of these actors they that are like doing

1243
01:00:04,600 --> 01:00:08,000
Speaker 4: a serious like whatever, Kendall as a leading man whatever.

1244
01:00:08,400 --> 01:00:14,480
Speaker 4: But like there'll be a billboard on sunset for some

1245
01:00:15,440 --> 01:00:22,400
Speaker 4: movie where a handsome male movie star will play a soldier.

1246
01:00:23,000 --> 01:00:26,000
Speaker 4: And this is a person who has, you know, their

1247
01:00:26,080 --> 01:00:30,920
Speaker 4: life extends from like creation organic to to you know,

1248
01:00:30,960 --> 01:00:34,160
Speaker 4: it's like they live a very small and fancy life

1249
01:00:34,800 --> 01:00:37,360
Speaker 4: and then they are going to take on their persona

1250
01:00:38,080 --> 01:00:41,080
Speaker 4: of a member of the military and do things like

1251
01:00:41,320 --> 01:00:44,800
Speaker 4: follow me gents and life. But but and like just

1252
01:00:44,880 --> 01:00:50,800
Speaker 4: do guns stuff and man's military man bravado stuff, behaviors,

1253
01:00:51,200 --> 01:00:53,760
Speaker 4: and I do not. I think if you're doing something

1254
01:00:53,800 --> 01:00:56,560
Speaker 4: like that, there has to be an ability to shut

1255
01:00:56,600 --> 01:00:59,200
Speaker 4: off the sense of like you can't have a sense

1256
01:00:59,240 --> 01:01:02,200
Speaker 4: of play actually and that day you have to be

1257
01:01:02,600 --> 01:01:05,400
Speaker 4: completely serious. You have to believe, you have to be

1258
01:01:05,560 --> 01:01:09,360
Speaker 4: so earnest because if even a tiny crack of how

1259
01:01:09,640 --> 01:01:12,760
Speaker 4: ridiculous this is got in don't you think it? Just

1260
01:01:12,840 --> 01:01:14,960
Speaker 4: it with the whole thing would melt like cotton candy,

1261
01:01:15,040 --> 01:01:17,640
Speaker 4: like you just to do that requires such a level

1262
01:01:17,680 --> 01:01:20,560
Speaker 4: of belief and commitment, like it seems sure.

1263
01:01:21,000 --> 01:01:23,480
Speaker 2: Having not been in that situation, I feel like that

1264
01:01:24,040 --> 01:01:24,919
Speaker 2: you must be right.

1265
01:01:25,160 --> 01:01:29,800
Speaker 4: So when I was a speech writer, Jeremy Strong played

1266
01:01:29,920 --> 01:01:35,440
Speaker 4: a speech writer in Lincoln, Ah. Basically years and years ago.

1267
01:01:36,000 --> 01:01:38,600
Speaker 4: He reached out through someone and I got lunch with

1268
01:01:38,680 --> 01:01:40,360
Speaker 4: him and he just asked me a lot of questions

1269
01:01:40,360 --> 01:01:44,920
Speaker 4: about speechwriting and like very specific, like what did you feel,

1270
01:01:44,960 --> 01:01:46,720
Speaker 4: what did you think? What is this? Like, what's your

1271
01:01:46,720 --> 01:01:50,160
Speaker 4: reaction to this? And I completely forgot about it. I

1272
01:01:50,240 --> 01:01:51,880
Speaker 4: just like forgot that it ever happened. And then I

1273
01:01:51,880 --> 01:01:53,840
Speaker 4: saw Lincoln and he has a part in Lincoln. I

1274
01:01:53,880 --> 01:01:56,160
Speaker 4: didn't even remember. I wouldn't even have remembered his name.

1275
01:01:56,240 --> 01:01:58,080
Speaker 4: It just would have been like, oh, that actor who

1276
01:01:58,080 --> 01:02:01,640
Speaker 4: reached out about being in Lincoln. And then years later,

1277
01:02:01,680 --> 01:02:04,760
Speaker 4: when that New Yorker story came out, was said that, like,

1278
01:02:04,800 --> 01:02:07,920
Speaker 4: you know, Jeremy Strong has this method approach to acting,

1279
01:02:08,040 --> 01:02:10,320
Speaker 4: and I was like, oh my god, I was a

1280
01:02:10,320 --> 01:02:13,919
Speaker 4: part of his process. Wow, Lincoln, he was perfectly nice.

1281
01:02:14,000 --> 01:02:15,240
Speaker 1: Did you meet up for lunch.

1282
01:02:15,960 --> 01:02:18,720
Speaker 4: Yes, I got about lunch. And when the argument.

1283
01:02:20,440 --> 01:02:22,120
Speaker 1: Got creation organic. This was in d C.

1284
01:02:22,880 --> 01:02:26,240
Speaker 2: This was back when this was a d C Founding

1285
01:02:26,280 --> 01:02:27,120
Speaker 2: Farmers spot.

1286
01:02:27,480 --> 01:02:29,800
Speaker 4: Maybe it might have been a founder of Farmers, just

1287
01:02:29,920 --> 01:02:31,320
Speaker 4: for one example that it could have been.

1288
01:02:31,600 --> 01:02:32,520
Speaker 2: That's the only restaurant.

1289
01:02:33,160 --> 01:02:36,200
Speaker 4: I'll tell you something about founding Farmers. Oh, here's what

1290
01:02:36,240 --> 01:02:39,240
Speaker 4: i'll say. Here's what I'll say. They took a lot

1291
01:02:39,280 --> 01:02:42,520
Speaker 4: of pride in saying that their building was Lead Green certified.

1292
01:02:42,840 --> 01:02:48,080
Speaker 4: Always fucking stuffy in there. It's like, it's like to

1293
01:02:48,160 --> 01:02:49,960
Speaker 4: be throwing air. What are we doing here? This is

1294
01:02:49,960 --> 01:02:51,520
Speaker 4: what it means. This is the future.

1295
01:02:52,040 --> 01:02:54,680
Speaker 2: It was not class building. It was like, let's.

1296
01:02:54,480 --> 01:02:58,320
Speaker 4: Get the air moving and yeah, don't tell me the

1297
01:02:58,360 --> 01:03:01,800
Speaker 4: future and that it's all great, and then and then

1298
01:03:01,800 --> 01:03:03,560
Speaker 4: everyone's going to think that this is what it is.

1299
01:03:03,600 --> 01:03:06,120
Speaker 4: The future is stuffy, and the future is not stuffy.

1300
01:03:06,680 --> 01:03:07,760
Speaker 2: It can't be stuffy.

1301
01:03:08,080 --> 01:03:11,800
Speaker 4: Maybe a little stuffy. My future might feel. The future

1302
01:03:11,880 --> 01:03:13,760
Speaker 4: might feel a little bit okay, a lot of good

1303
01:03:13,760 --> 01:03:16,360
Speaker 4: stuff coming down the pike. Totally excited about a lot

1304
01:03:16,360 --> 01:03:17,480
Speaker 4: of it. But the future might just be.

1305
01:03:17,520 --> 01:03:20,320
Speaker 1: It's actually we're little Coaching Number sixty might be a

1306
01:03:20,360 --> 01:03:23,080
Speaker 1: little stoupy like Brian Cox.

1307
01:03:23,200 --> 01:03:25,680
Speaker 2: Like Brian Cox, I think we're getting really sort of

1308
01:03:25,800 --> 01:03:27,720
Speaker 2: spirited right now. I think all three of us are

1309
01:03:27,800 --> 01:03:31,000
Speaker 2: ready to like really get polemic about launch and launch.

1310
01:03:31,160 --> 01:03:32,480
Speaker 2: What do you say?

1311
01:03:32,600 --> 01:03:44,000
Speaker 1: It feels right, It feels right. This is a moment

1312
01:03:44,400 --> 01:03:46,760
Speaker 1: in time because it's the I don't Think so Honey

1313
01:03:46,840 --> 01:03:50,880
Speaker 1: segment of the John Lovett episode of Lost Culturistas. And

1314
01:03:50,920 --> 01:03:54,320
Speaker 1: this is sure to be fire. So I don't think

1315
01:03:54,360 --> 01:03:56,200
Speaker 1: so Honey. Is a sixty second segment that we do

1316
01:03:56,240 --> 01:03:59,400
Speaker 1: on this podcast where we take a minute at e

1317
01:03:59,520 --> 01:04:01,360
Speaker 1: sixty second is to real against something in culture that

1318
01:04:01,400 --> 01:04:03,800
Speaker 1: needs to be dragged. I am gonna keep it on Succession.

1319
01:04:03,920 --> 01:04:06,680
Speaker 1: I actually have a thing about Succession that is an

1320
01:04:06,760 --> 01:04:10,640
Speaker 1: unpopular opinion, and I'm just gonna go for it.

1321
01:04:11,000 --> 01:04:13,480
Speaker 2: Okay, this is Matt Rogers's I don't think so honey

1322
01:04:13,520 --> 01:04:15,439
Speaker 2: about Succession. His time starts now.

1323
01:04:16,360 --> 01:04:18,240
Speaker 1: I don't think so honey, Cousin Greg. I think this

1324
01:04:18,280 --> 01:04:21,400
Speaker 1: is television's best current show. I don't think so honey,

1325
01:04:21,400 --> 01:04:24,480
Speaker 1: Cousin Greg. I think it's one bit and I think

1326
01:04:24,520 --> 01:04:29,360
Speaker 1: that it is funny. But I'm waiting for the cousin

1327
01:04:29,400 --> 01:04:32,600
Speaker 1: Greg of it. All to pay off. And I don't

1328
01:04:32,600 --> 01:04:36,680
Speaker 1: think so, honey that it will, because isn't that antithetical

1329
01:04:36,760 --> 01:04:39,000
Speaker 1: to the whole cousin Greg thing? You know what I mean?

1330
01:04:39,040 --> 01:04:44,520
Speaker 1: I understand like his relationship to them is like mandatory

1331
01:04:44,560 --> 01:04:47,000
Speaker 1: and arbitrary, and like he is the comedic foil. But

1332
01:04:47,120 --> 01:04:49,480
Speaker 1: like I want to see this payoff in a big way,

1333
01:04:49,520 --> 01:04:51,120
Speaker 1: and if it doesn't, I don't think so, honey. I

1334
01:04:51,120 --> 01:04:53,040
Speaker 1: almost want to see cousin Greg win the whole thing,

1335
01:04:53,480 --> 01:04:56,320
Speaker 1: or for cousin Greg to reveal that quote unquote cousin

1336
01:04:56,360 --> 01:04:59,240
Speaker 1: Greg is like a long con because and it's nothing

1337
01:04:59,240 --> 01:05:03,720
Speaker 1: to do with Nicholas Braun. I just don't think, so, honey,

1338
01:05:04,280 --> 01:05:05,840
Speaker 1: the cousin Greg of it all. I'm just waiting for

1339
01:05:05,840 --> 01:05:07,600
Speaker 1: it to become more dynamic than it is right now.

1340
01:05:07,600 --> 01:05:09,120
Speaker 1: It's a bit in a brilliant show where there's a

1341
01:05:09,160 --> 01:05:10,600
Speaker 1: lot of complexitn it feels like there's not a lot

1342
01:05:10,600 --> 01:05:11,480
Speaker 1: there that's awesome.

1343
01:05:11,520 --> 01:05:14,640
Speaker 2: I don't think so, honey, And that's one minute. Wow,

1344
01:05:14,720 --> 01:05:18,160
Speaker 2: this is interesting. I agree, And anytime I see him

1345
01:05:18,160 --> 01:05:21,000
Speaker 2: with Tom, I'm like, get Greg with someone else. Let's

1346
01:05:21,000 --> 01:05:23,520
Speaker 2: see another like permutation of characters.

1347
01:05:23,760 --> 01:05:25,200
Speaker 1: You want to know what it is. It's like it's

1348
01:05:25,240 --> 01:05:28,160
Speaker 1: in a show where the characters are so real and

1349
01:05:28,200 --> 01:05:32,160
Speaker 1: I really feel like I understand all the shades. I

1350
01:05:32,280 --> 01:05:37,040
Speaker 1: just don't believe he's that dumb Tonally, it's the only

1351
01:05:37,080 --> 01:05:40,440
Speaker 1: thing about the show where I'm like not landing anywhere

1352
01:05:40,520 --> 01:05:43,240
Speaker 1: me personally, Like, if I'm to compare it to mad Men,

1353
01:05:44,240 --> 01:05:46,080
Speaker 1: that's what like kind of makes mad Men a little

1354
01:05:46,080 --> 01:05:47,920
Speaker 1: superior for me, if I'm to compare the two, is

1355
01:05:47,960 --> 01:05:50,560
Speaker 1: that I feel like that there was not a false

1356
01:05:50,600 --> 01:05:51,680
Speaker 1: step in that way.

1357
01:05:51,880 --> 01:05:53,240
Speaker 4: I need to speak. I think I need to speak

1358
01:05:53,240 --> 01:05:56,280
Speaker 4: on this. That's fine the far as your succession to

1359
01:05:56,320 --> 01:06:00,560
Speaker 4: me is actually making up for so I'm in By

1360
01:06:00,600 --> 01:06:04,600
Speaker 4: the end, it was just like, listen, I get it.

1361
01:06:04,640 --> 01:06:07,560
Speaker 4: They're on a journey. Put Peggy and Don in a

1362
01:06:07,600 --> 01:06:10,560
Speaker 4: fucking room together. Why are they at different agencies? There's

1363
01:06:10,560 --> 01:06:13,440
Speaker 4: a TV show get them together and with succession at

1364
01:06:13,520 --> 01:06:16,600
Speaker 4: least I agree that we need like there's like you

1365
01:06:16,600 --> 01:06:18,640
Speaker 4: want to see great like we've seen a lot of

1366
01:06:18,720 --> 01:06:22,000
Speaker 4: Jerry and George, show me George and Elaane, you know, yes,

1367
01:06:22,160 --> 01:06:25,480
Speaker 4: show like let's get some pairings going on. Yeah, I

1368
01:06:25,560 --> 01:06:28,560
Speaker 4: totally agree exactly. I'm glad that they're keeping them together

1369
01:06:29,240 --> 01:06:31,320
Speaker 4: because in Mad Men it was so frustrating by the

1370
01:06:31,400 --> 01:06:36,160
Speaker 4: end because it's like a Don Peggy episode, a two

1371
01:06:36,240 --> 01:06:38,760
Speaker 4: hander suitcase, the suitcase.

1372
01:06:38,320 --> 01:06:40,600
Speaker 1: Perfect perfect example, perfect example.

1373
01:06:40,280 --> 01:06:43,240
Speaker 4: Perfect example. And I'm always saying that, and I'm always

1374
01:06:43,280 --> 01:06:48,120
Speaker 4: saying that is something I'm always saying, And that's I.

1375
01:06:48,040 --> 01:06:49,800
Speaker 2: Was going to say. The reason it's really pronounced this

1376
01:06:49,840 --> 01:06:53,560
Speaker 2: season that like Greg doesn't tonally really working for me

1377
01:06:53,920 --> 01:06:57,200
Speaker 2: because I think Tom is less of a comedic foil

1378
01:06:57,400 --> 01:07:00,560
Speaker 2: to the siblings like Tom's on his funny as he

1379
01:07:00,680 --> 01:07:03,640
Speaker 2: was in prior seasons for like perfectly valid reasons, and

1380
01:07:03,680 --> 01:07:05,920
Speaker 2: so I think a lot of the comedy is landing

1381
01:07:05,960 --> 01:07:08,720
Speaker 2: on Greg. But I think this is just coming out

1382
01:07:08,720 --> 01:07:11,120
Speaker 2: of like logan dying. Maybe I don't know.

1383
01:07:11,360 --> 01:07:13,080
Speaker 1: Yeah, well, I mean one of the funniest things that's

1384
01:07:13,080 --> 01:07:16,520
Speaker 1: happened all season is Tom dragging Greg for the date

1385
01:07:16,560 --> 01:07:18,600
Speaker 1: that he brought, i mean, the ludicrously capacious bag. So

1386
01:07:18,600 --> 01:07:21,160
Speaker 1: it's like that maybe that's why we're seeing so much

1387
01:07:21,160 --> 01:07:23,919
Speaker 1: of it or it's not evolving necessarily, is because that

1388
01:07:24,160 --> 01:07:28,120
Speaker 1: is the excuse for Tom to be the funny character still.

1389
01:07:28,560 --> 01:07:32,000
Speaker 1: And then you know, it almost feels like now that

1390
01:07:32,080 --> 01:07:34,520
Speaker 1: we're at the part of the show where we have

1391
01:07:34,560 --> 01:07:38,000
Speaker 1: the promise of the premise, which is the succession is

1392
01:07:38,720 --> 01:07:43,640
Speaker 1: upon us. Maybe that sort of just focuses the narrative

1393
01:07:43,840 --> 01:07:47,600
Speaker 1: so on the three of them that there's not as

1394
01:07:47,680 --> 01:07:52,680
Speaker 1: much opportunity for cousin Greg to be colliding with them

1395
01:07:52,720 --> 01:07:55,400
Speaker 1: that much, or for them to be focusing on his

1396
01:07:55,480 --> 01:07:58,520
Speaker 1: dynamics with anyone but Tom, because that's just what's realistic.

1397
01:08:00,120 --> 01:08:01,840
Speaker 1: Also would say in terms of the mad men of

1398
01:08:01,880 --> 01:08:05,600
Speaker 1: it all, it's like, I actually disagree. I think Peggy

1399
01:08:05,720 --> 01:08:10,840
Speaker 1: quitting is actually all the more powerful knowing they that

1400
01:08:10,920 --> 01:08:13,919
Speaker 1: they really no longer had a relationship after that. That's

1401
01:08:13,920 --> 01:08:16,400
Speaker 1: what keeps me going back to that episode where you know,

1402
01:08:16,520 --> 01:08:19,360
Speaker 1: she goes, takes a step towards him in her in

1403
01:08:19,400 --> 01:08:21,840
Speaker 1: his office and holds her hand out and then he

1404
01:08:21,920 --> 01:08:23,960
Speaker 1: kisses her hand and she says, don't be a stranger,

1405
01:08:24,000 --> 01:08:26,080
Speaker 1: and she leaves like that really was kind of the

1406
01:08:26,200 --> 01:08:28,920
Speaker 1: end for them, And I think that's strengthened when you

1407
01:08:28,960 --> 01:08:32,240
Speaker 1: look at the series as a whole, because she really left.

1408
01:08:32,760 --> 01:08:35,360
Speaker 1: So I get what you're saying in terms of what

1409
01:08:35,479 --> 01:08:38,440
Speaker 1: we want for the characters in terms of our viewing experience,

1410
01:08:38,520 --> 01:08:42,040
Speaker 1: But to me, it was like they were following through

1411
01:08:42,080 --> 01:08:44,280
Speaker 1: with what they had decided to do in a realistic way,

1412
01:08:44,479 --> 01:08:47,960
Speaker 1: whereas maybe that's what's holding cousin Greg back in this

1413
01:08:48,000 --> 01:08:50,559
Speaker 1: season literally for the same reason, which is just not

1414
01:08:50,600 --> 01:08:51,439
Speaker 1: working as well for me.

1415
01:08:51,760 --> 01:08:53,519
Speaker 4: I just want to say that it wasn't until what

1416
01:08:53,560 --> 01:08:56,720
Speaker 4: you just said that I put the pieces together and

1417
01:08:56,760 --> 01:08:59,280
Speaker 4: realized that they're doing a succession.

1418
01:09:00,080 --> 01:09:02,640
Speaker 2: Oh yeah, a show about succession.

1419
01:09:02,960 --> 01:09:05,719
Speaker 4: The promise of the premise, the promise of the premise,

1420
01:09:06,040 --> 01:09:08,479
Speaker 4: which Bowen smiled the same way when you say promise

1421
01:09:08,479 --> 01:09:11,880
Speaker 4: of the present pressing really gets a reaction, Well gets a.

1422
01:09:11,880 --> 01:09:15,519
Speaker 2: Reaction because Matt recently on a on a project that

1423
01:09:15,520 --> 01:09:17,360
Speaker 2: we can no longer work on as long as the

1424
01:09:17,400 --> 01:09:19,840
Speaker 2: strike is happening, he used it to great effect and

1425
01:09:20,000 --> 01:09:21,559
Speaker 2: in a way that was actually quite helpful.

1426
01:09:21,720 --> 01:09:23,800
Speaker 1: Promise Yeah, well it's actually it's actually a sud a

1427
01:09:23,840 --> 01:09:26,680
Speaker 1: green thing. But I thought that it's a perfect way

1428
01:09:26,680 --> 01:09:28,280
Speaker 1: to say. I mean, the promise of the premise, the

1429
01:09:28,280 --> 01:09:30,960
Speaker 1: premise of succession is he's going to die then the

1430
01:09:31,000 --> 01:09:33,960
Speaker 1: hill pass the company on, which is again what so

1431
01:09:34,040 --> 01:09:36,439
Speaker 1: this is a very like I think mom thing to say,

1432
01:09:36,640 --> 01:09:39,240
Speaker 1: like my mom when he died on Succession in that

1433
01:09:39,320 --> 01:09:42,599
Speaker 1: third episode, there was like a contingency of people, and

1434
01:09:42,640 --> 01:09:45,080
Speaker 1: my mom was one of them who was like, well,

1435
01:09:45,160 --> 01:09:47,439
Speaker 1: you know, we never saw the body. I don't think

1436
01:09:47,439 --> 01:09:50,600
Speaker 1: he's dead. I don't think he's dead. You know, we

1437
01:09:50,640 --> 01:09:54,280
Speaker 1: didn't see it. I'm like, if this isn't like the mom,

1438
01:09:54,320 --> 01:09:56,280
Speaker 1: it's not lost, you know, it's not like it's This

1439
01:09:56,360 --> 01:09:59,920
Speaker 1: isn't like the This isn't like mid OFT's network televi

1440
01:10:00,080 --> 01:10:01,840
Speaker 1: vision where it's like they come back from the life.

1441
01:10:01,840 --> 01:10:05,040
Speaker 4: It's not revenge like the forty four hundred.

1442
01:10:05,200 --> 01:10:07,120
Speaker 1: Yeah, it's certainly not the forty four hundred and it

1443
01:10:07,160 --> 01:10:09,439
Speaker 1: never will be. But that was what was so funny

1444
01:10:09,439 --> 01:10:11,559
Speaker 1: to me, is I was just like, no, like, if

1445
01:10:11,600 --> 01:10:14,800
Speaker 1: you really think about this show, this needed to happen

1446
01:10:14,840 --> 01:10:17,599
Speaker 1: early in this last season because now we really need

1447
01:10:17,640 --> 01:10:19,600
Speaker 1: to see it come to ahead the promise of the

1448
01:10:19,640 --> 01:10:22,200
Speaker 1: premise there will be a succession.

1449
01:10:22,479 --> 01:10:23,680
Speaker 4: Yeah, very good, very good.

1450
01:10:24,000 --> 01:10:25,640
Speaker 2: This just makes me want to watch the Suitcase.

1451
01:10:26,320 --> 01:10:29,320
Speaker 1: Oh maybe we will Bow, maybe we will all right,

1452
01:10:29,360 --> 01:10:30,960
Speaker 1: this is Bow and yangs. I don't think so, honey,

1453
01:10:30,960 --> 01:10:31,400
Speaker 1: Are you ready?

1454
01:10:31,400 --> 01:10:32,559
Speaker 2: Bo I'm ready?

1455
01:10:32,920 --> 01:10:35,120
Speaker 1: His time will begin now, I don't.

1456
01:10:34,920 --> 01:10:38,400
Speaker 2: Think so, honey. Me becoming emotionally invested in ads for

1457
01:10:38,560 --> 01:10:42,439
Speaker 2: phone video games where it's always violence being inflicted upon

1458
01:10:42,479 --> 01:10:45,040
Speaker 2: a woman and or her child. It's a Have you

1459
01:10:45,080 --> 01:10:48,120
Speaker 2: seen these ads where it's like for an iPhone game

1460
01:10:48,120 --> 01:10:51,679
Speaker 2: where like the person's house is flooded or the person's

1461
01:10:51,800 --> 01:10:54,360
Speaker 2: kitches is on fire. What's the right tool that you

1462
01:10:54,400 --> 01:10:58,040
Speaker 2: should use? Is it the fire hydrant? Is it the comb?

1463
01:10:58,520 --> 01:11:00,960
Speaker 2: And naturally you pick the fire high. I might crazy.

1464
01:11:01,040 --> 01:11:03,519
Speaker 2: These are the moans that like, we've all the algorithm

1465
01:11:03,600 --> 01:11:06,160
Speaker 2: serves to all of us, right, okay. Garden Scapes producer

1466
01:11:06,200 --> 01:11:09,680
Speaker 2: Becka is saying Garden Scapes, Yes, it's always about a

1467
01:11:09,720 --> 01:11:14,640
Speaker 2: woman and her child being like out of a house basically,

1468
01:11:15,080 --> 01:11:17,880
Speaker 2: And that is it's a premise that like kind of

1469
01:11:17,880 --> 01:11:19,439
Speaker 2: takes you out of the world of the game a

1470
01:11:19,439 --> 01:11:22,120
Speaker 2: little bit, right, It like you snap back to reality. Oh,

1471
01:11:22,200 --> 01:11:25,160
Speaker 2: there goes gravity. I want my games to be I

1472
01:11:25,240 --> 01:11:27,360
Speaker 2: want to play Outer Rims and not be reminded that

1473
01:11:27,400 --> 01:11:29,760
Speaker 2: there is a housing crisis in our country.

1474
01:11:29,920 --> 01:11:30,840
Speaker 1: And that's one minute.

1475
01:11:31,000 --> 01:11:33,760
Speaker 4: I think Outer Rims is a different game. I like

1476
01:11:36,479 --> 01:11:38,160
Speaker 4: special game only.

1477
01:11:38,080 --> 01:11:42,160
Speaker 2: Fans, I'm saying out. I'm using Outer Rims as a

1478
01:11:42,240 --> 01:11:45,439
Speaker 2: perfect example to illustrate that, like any video games should

1479
01:11:45,479 --> 01:11:50,040
Speaker 2: not be so distressing that I like witness them a

1480
01:11:50,080 --> 01:11:53,000
Speaker 2: young mother or a new mother being like having to deal

1481
01:11:53,040 --> 01:11:55,479
Speaker 2: with a house flood, and that's all these games are about.

1482
01:11:55,600 --> 01:11:56,840
Speaker 1: I don't like that at all.

1483
01:11:57,040 --> 01:12:00,599
Speaker 4: Is Outer Rims a game that actually exists? Or is it?

1484
01:12:01,080 --> 01:12:03,360
Speaker 4: Are you referring to what I said about Outer.

1485
01:12:03,360 --> 01:12:07,200
Speaker 2: Wilds Outer Wild? I meant to say outer.

1486
01:12:09,080 --> 01:12:11,160
Speaker 4: Yeah, you know, I just that's okay, that's you know what?

1487
01:12:11,360 --> 01:12:13,519
Speaker 1: You know what the Outer Rims is bone It's a

1488
01:12:13,560 --> 01:12:17,840
Speaker 1: cocktail at Ogu's cantina that we just had in the Galaxies.

1489
01:12:18,080 --> 01:12:21,160
Speaker 1: We were just in Disney World and there's a drink tequila.

1490
01:12:21,680 --> 01:12:22,799
Speaker 2: We don't support the studio.

1491
01:12:22,960 --> 01:12:24,920
Speaker 1: There's a drink called the Outer Rim and that's what

1492
01:12:24,960 --> 01:12:25,519
Speaker 1: he's thinking of.

1493
01:12:25,720 --> 01:12:27,800
Speaker 2: And every guy there will ask you, do you know

1494
01:12:27,840 --> 01:12:30,519
Speaker 2: where the Outer rim is? And we're like, okay, no,

1495
01:12:30,880 --> 01:12:31,800
Speaker 2: don't ask us that.

1496
01:12:32,000 --> 01:12:33,439
Speaker 4: You want to get an outer rim and then have

1497
01:12:33,479 --> 01:12:34,400
Speaker 4: a drink. You know what I'm saying?

1498
01:12:34,520 --> 01:12:38,759
Speaker 1: It depends, daddy, how BIG's your blaster? You a gunner

1499
01:12:38,880 --> 01:12:42,879
Speaker 1: or a navigator in the cockpit? Hunt, Tell me, darling,

1500
01:12:43,280 --> 01:12:44,479
Speaker 1: how you fly the falcon?

1501
01:12:44,800 --> 01:12:46,960
Speaker 2: The navigator is the bottom I guess you are. Now

1502
01:12:47,400 --> 01:12:49,559
Speaker 2: when you're body me, you are sort of like taking

1503
01:12:49,600 --> 01:12:51,000
Speaker 2: the joystick, as it were.

1504
01:12:51,320 --> 01:12:52,880
Speaker 1: There is a ride, so I don't know if have

1505
01:12:52,920 --> 01:12:55,320
Speaker 1: you been to the Star Wars Galaxies Edge? Are you

1506
01:12:55,360 --> 01:12:56,240
Speaker 1: a Star Wars person?

1507
01:12:56,720 --> 01:12:58,679
Speaker 4: I'm a Star Wars person. I haven't been. I haven't

1508
01:12:58,720 --> 01:12:59,720
Speaker 4: been to Galaxies Edge.

1509
01:12:59,720 --> 01:13:02,840
Speaker 1: Just when you get on the Millennium Falcon ride, they

1510
01:13:02,880 --> 01:13:05,120
Speaker 1: look at you and you're gonna get put in the cockpit,

1511
01:13:05,680 --> 01:13:08,120
Speaker 1: and then the the person who's running the shit looks

1512
01:13:08,120 --> 01:13:10,880
Speaker 1: to you and says, my top two are pilots. My

1513
01:13:10,960 --> 01:13:14,480
Speaker 1: second two are gunners. In the back, y'all are the navigators.

1514
01:13:14,880 --> 01:13:16,760
Speaker 1: And when they look at you and they say you're

1515
01:13:16,800 --> 01:13:19,479
Speaker 1: a gunner, they do feel like a top.

1516
01:13:20,320 --> 01:13:23,439
Speaker 4: Yeah that's cool. No, that's a powerful feeling. Totally, that's

1517
01:13:23,439 --> 01:13:24,200
Speaker 4: a powerful feeling.

1518
01:13:24,720 --> 01:13:27,120
Speaker 1: Okay, Bowen and I were actually Bowen and I were

1519
01:13:27,120 --> 01:13:29,479
Speaker 1: actually the pilots. Remember when we flew the ship bough.

1520
01:13:29,600 --> 01:13:32,360
Speaker 2: We didn't do good, we were pretty bad. But okay,

1521
01:13:32,520 --> 01:13:38,000
Speaker 2: Producer Beckett is making me feel like I'm not sorry crazy.

1522
01:13:38,640 --> 01:13:41,000
Speaker 1: You are not crazy, said producer Rebecca.

1523
01:13:41,080 --> 01:13:41,679
Speaker 4: You're not crazy.

1524
01:13:41,760 --> 01:13:43,720
Speaker 2: I know the word is non grata right now, but

1525
01:13:44,400 --> 01:13:48,439
Speaker 2: I think that this game is popping up. The ads

1526
01:13:48,479 --> 01:13:50,600
Speaker 2: for these kinds of games are popping up everywhere, and

1527
01:13:50,680 --> 01:13:52,360
Speaker 2: just look out for them. And I might have like

1528
01:13:52,439 --> 01:13:54,120
Speaker 2: uttered that into your algorithms and I'm sorry.

1529
01:13:54,479 --> 01:13:56,360
Speaker 1: Yeah, now I bet it will happen, and I will

1530
01:13:56,360 --> 01:13:57,160
Speaker 1: tell you what it does.

1531
01:13:57,479 --> 01:13:58,640
Speaker 4: Yeah, there are a lot of you get a lot

1532
01:13:58,680 --> 01:14:01,439
Speaker 4: of ads for like sort of games where you have

1533
01:14:01,479 --> 01:14:04,439
Speaker 4: to shoot a bullet and it bounces and bounces and

1534
01:14:04,439 --> 01:14:05,680
Speaker 4: then hits the wrong person.

1535
01:14:05,560 --> 01:14:06,200
Speaker 1: You're talking about.

1536
01:14:06,280 --> 01:14:07,360
Speaker 2: Yes, yes, it's that.

1537
01:14:07,400 --> 01:14:09,000
Speaker 4: And I don't think those games are real by the

1538
01:14:09,040 --> 01:14:10,840
Speaker 4: way they are. I think these games are well, I

1539
01:14:10,880 --> 01:14:12,559
Speaker 4: think you don't. They like you download them and then

1540
01:14:12,600 --> 01:14:14,920
Speaker 4: the game itself is different than what they're advertising. Of

1541
01:14:14,960 --> 01:14:15,759
Speaker 4: course time.

1542
01:14:15,840 --> 01:14:20,400
Speaker 2: Yes, often of lesser graphical quality. Yeah, not as fun.

1543
01:14:20,600 --> 01:14:22,439
Speaker 2: There's no promise of the premise delivered.

1544
01:14:22,640 --> 01:14:24,720
Speaker 4: M M. There you go.

1545
01:14:25,200 --> 01:14:28,960
Speaker 2: Okay, I think it's time. It's time for John Lovitz.

1546
01:14:28,960 --> 01:14:31,720
Speaker 2: I don't think somebody I'll time you. This is Are

1547
01:14:31,760 --> 01:14:32,160
Speaker 2: you ready?

1548
01:14:32,280 --> 01:14:33,400
Speaker 4: Wait, I'm gonna take a sip of water.

1549
01:14:33,720 --> 01:14:38,320
Speaker 2: Okay, Yeah, it's gonna be good. This is John Lovettz.

1550
01:14:38,640 --> 01:14:40,240
Speaker 2: It's so right, this is John Lovitz. I don't think

1551
01:14:40,240 --> 01:14:41,799
Speaker 2: so many as time starts now.

1552
01:14:42,080 --> 01:14:48,280
Speaker 4: I don't think so, honey. Book blurbs, Oh, what are

1553
01:14:48,320 --> 01:14:52,840
Speaker 4: we doing here? What are we doing here? First of all,

1554
01:14:53,120 --> 01:14:56,599
Speaker 4: no one's read these fucking books, no one, no one

1555
01:14:56,720 --> 01:15:00,519
Speaker 4: has read them. These quotes are not real. I couldn't

1556
01:15:00,520 --> 01:15:04,720
Speaker 4: put down this unforgettable novel. It was it was. It

1557
01:15:04,760 --> 01:15:08,599
Speaker 4: was propulsive and insightful. People don't talk that way. They

1558
01:15:08,640 --> 01:15:12,040
Speaker 4: only write that way when they're writing books. Also, it

1559
01:15:12,080 --> 01:15:15,880
Speaker 4: feels a little desperate. Books a message to books, the

1560
01:15:15,960 --> 01:15:19,200
Speaker 4: message being show some confidence. All right, oh my god,

1561
01:15:19,439 --> 01:15:22,400
Speaker 4: we are living in a post Nanette world. Okay, I

1562
01:15:22,400 --> 01:15:25,720
Speaker 4: don't know what that means. The point is when capitalism

1563
01:15:25,760 --> 01:15:29,559
Speaker 4: smells fear, it bucks the writer books. We understand that

1564
01:15:29,560 --> 01:15:32,200
Speaker 4: the deck is stacked against you. A quote from Jake Tapper.

1565
01:15:32,240 --> 01:15:34,479
Speaker 4: Is it going to save books? We got to do better.

1566
01:15:34,560 --> 01:15:38,320
Speaker 4: We have to think bigger books. Blurbs. I don't think so, honey.

1567
01:15:38,400 --> 01:15:39,759
Speaker 2: And that's one minute.

1568
01:15:40,000 --> 01:15:43,280
Speaker 4: Wow. Do they move units? I think it does. Anyone

1569
01:15:43,360 --> 01:15:46,479
Speaker 4: know what these things are doing? Are people at the

1570
01:15:46,479 --> 01:15:48,960
Speaker 4: airport turning them over and saying I wasn't going to

1571
01:15:49,040 --> 01:15:51,439
Speaker 4: buy this book, but now I am, because Mindy Kaling

1572
01:15:51,479 --> 01:15:52,360
Speaker 4: says it's I was.

1573
01:15:52,400 --> 01:15:56,360
Speaker 2: Just going to read my name. Yeah, I don't know.

1574
01:15:56,720 --> 01:15:57,719
Speaker 2: It's hard to say.

1575
01:15:57,920 --> 01:15:59,880
Speaker 1: I don't know. I guess it would depend on the person.

1576
01:16:00,040 --> 01:16:01,600
Speaker 1: Like if I've put it over and it was like

1577
01:16:02,160 --> 01:16:06,240
Speaker 1: a rave from Tinsley Mortimer, I'd be like, well huh like,

1578
01:16:06,320 --> 01:16:08,080
Speaker 1: But when it's someone like Mindy Killing who you get

1579
01:16:08,080 --> 01:16:11,160
Speaker 1: the sense does a lot of these? Oh my god,

1580
01:16:11,680 --> 01:16:13,479
Speaker 1: I don't know that.

1581
01:16:15,439 --> 01:16:18,920
Speaker 2: Have you blurbs? Have you requested blurbs though yourself?

1582
01:16:19,120 --> 01:16:20,360
Speaker 4: When I've had to written a book?

1583
01:16:20,439 --> 01:16:22,040
Speaker 1: Well, I mean, you write a book.

1584
01:16:22,200 --> 01:16:22,800
Speaker 4: Impossible.

1585
01:16:22,800 --> 01:16:24,680
Speaker 2: When you write a book, let's let's say you have

1586
01:16:24,760 --> 01:16:27,720
Speaker 2: when written, it's coming out mm hmm. If your publishers

1587
01:16:27,800 --> 01:16:30,679
Speaker 2: like you have to, we have to get blurbs for this, John.

1588
01:16:30,760 --> 01:16:33,639
Speaker 1: Of course, Okay, will you ask us?

1589
01:16:34,040 --> 01:16:37,519
Speaker 4: Sure? Yeah? Probably I ask one of you at least, well.

1590
01:16:37,400 --> 01:16:38,360
Speaker 1: I know who's getting cut.

1591
01:16:38,640 --> 01:16:39,880
Speaker 2: It'll be joint. It'll be joint.

1592
01:16:39,960 --> 01:16:42,479
Speaker 4: Yeah, it'll be joint. It'll be it'll be by Yes,

1593
01:16:42,520 --> 01:16:43,439
Speaker 4: it'll be both of you.

1594
01:16:43,520 --> 01:16:47,679
Speaker 1: Yep, it'll say m R. Colin, I loved this book.

1595
01:16:47,800 --> 01:16:50,520
Speaker 1: Be why Colin? I agree? I thought it was incredible.

1596
01:16:51,000 --> 01:16:53,200
Speaker 1: M R. Isn't he a smart, funny kind of weird?

1597
01:16:53,240 --> 01:16:53,920
Speaker 4: Oh my god?

1598
01:16:54,160 --> 01:16:54,760
Speaker 1: Yeah?

1599
01:16:54,840 --> 01:16:55,800
Speaker 4: Oh my goodness.

1600
01:16:56,479 --> 01:16:58,680
Speaker 1: Have you had a nice time on this episode?

1601
01:16:59,400 --> 01:17:01,519
Speaker 4: I would say it was a little house forward.

1602
01:17:01,680 --> 01:17:04,800
Speaker 1: But other than how you, are you feeling it a

1603
01:17:04,800 --> 01:17:07,000
Speaker 1: little shy? Are you feeling in the post quittal that

1604
01:17:07,000 --> 01:17:08,840
Speaker 1: maybe you shouldn't have talked about the house that much?

1605
01:17:09,080 --> 01:17:10,800
Speaker 4: It's a lot of house time, you know what.

1606
01:17:10,840 --> 01:17:14,640
Speaker 1: I'm excited about the group chat after this. I'm going

1607
01:17:14,680 --> 01:17:15,960
Speaker 1: to text you both on the thread.

1608
01:17:16,160 --> 01:17:17,719
Speaker 4: Oh really, that's exciting.

1609
01:17:17,880 --> 01:17:19,400
Speaker 1: I can tell that you're really happy about it by

1610
01:17:19,400 --> 01:17:20,799
Speaker 1: the way you smiled and looked askance.

1611
01:17:21,280 --> 01:17:21,439
Speaker 2: Well.

1612
01:17:21,520 --> 01:17:24,160
Speaker 4: I was like when someone says, oh, group text, I

1613
01:17:24,160 --> 01:17:26,280
Speaker 4: immediately think, oh, there's a group chat where I'm being

1614
01:17:26,360 --> 01:17:26,920
Speaker 4: spoken of.

1615
01:17:27,400 --> 01:17:28,960
Speaker 1: No, no, no, no, you know.

1616
01:17:28,920 --> 01:17:30,800
Speaker 2: What I'm saying. You mustn't think that way.

1617
01:17:31,160 --> 01:17:32,160
Speaker 1: You mustn't think this way.

1618
01:17:33,040 --> 01:17:35,040
Speaker 4: Must you must you must be that way.

1619
01:17:35,200 --> 01:17:39,440
Speaker 2: I think whenever someone's mentioning a group chat in your presence,

1620
01:17:39,640 --> 01:17:40,479
Speaker 2: that's an invitation.

1621
01:17:40,800 --> 01:17:43,479
Speaker 4: Yeah, okay, And that feels really nice and that's a

1622
01:17:43,479 --> 01:17:45,639
Speaker 4: good feeling. Yeah, that's a really warm and good feeling.

1623
01:17:45,680 --> 01:17:46,800
Speaker 2: That's what this is too.

1624
01:17:47,320 --> 01:17:51,519
Speaker 1: Stay tuned because the text is coming. Listen the podcasts.

1625
01:17:51,880 --> 01:17:53,040
Speaker 1: I love it and leave it?

1626
01:17:53,320 --> 01:17:56,439
Speaker 2: And it what love it or leave it.

1627
01:17:56,600 --> 01:17:58,760
Speaker 1: I said, do I say love it and leave it?

1628
01:17:59,000 --> 01:18:00,000
Speaker 2: You said love it and leave it.

1629
01:18:00,240 --> 01:18:02,400
Speaker 4: You love it or leave it, They'll find it. The

1630
01:18:02,400 --> 01:18:03,439
Speaker 4: searching will do its thing.

1631
01:18:03,560 --> 01:18:05,360
Speaker 1: You just type in, you type in the man's name,

1632
01:18:05,360 --> 01:18:07,120
Speaker 1: and it's a treasure trove. Let's just say that.

1633
01:18:07,800 --> 01:18:10,479
Speaker 2: If you'll have a book coming out sometime.

1634
01:18:10,560 --> 01:18:12,520
Speaker 1: Yeah, that's a shame. If you don't write a book.

1635
01:18:12,320 --> 01:18:15,080
Speaker 4: We're maybe maybe we'll see. Hey, what did you watch

1636
01:18:15,120 --> 01:18:15,599
Speaker 4: the Space?

1637
01:18:16,040 --> 01:18:17,960
Speaker 1: Oh that's a good one to watch.

1638
01:18:18,120 --> 01:18:20,759
Speaker 2: Watch the Space like we scoop sow.

1639
01:18:20,720 --> 01:18:22,720
Speaker 4: And we're going on tour. It's going on tour.

1640
01:18:22,840 --> 01:18:24,799
Speaker 1: Oh yeah, yeah, okay, coming.

1641
01:18:24,600 --> 01:18:25,400
Speaker 4: To a sitting near you.

1642
01:18:25,800 --> 01:18:27,720
Speaker 2: Come to a sitting near you. The stage will have

1643
01:18:27,800 --> 01:18:29,920
Speaker 2: a rug and a couch on it.

1644
01:18:30,439 --> 01:18:34,800
Speaker 4: Mm hmm maybe yeah, maybe like a plush chair, you know,

1645
01:18:34,840 --> 01:18:35,679
Speaker 4: a table for water.

1646
01:18:36,160 --> 01:18:38,000
Speaker 2: I love it. If I'm in the audience and I'm

1647
01:18:38,040 --> 01:18:39,720
Speaker 2: looking at that on stage, I'm comfortable.

1648
01:18:40,200 --> 01:18:41,120
Speaker 1: Mm hmm. Yeah.

1649
01:18:41,400 --> 01:18:43,400
Speaker 4: You know you're for a good time. For a good time.

1650
01:18:44,160 --> 01:18:46,519
Speaker 1: Listen, this has been so fun. We do end the

1651
01:18:46,720 --> 01:18:49,320
Speaker 1: every episode with the song. And even though you feel

1652
01:18:49,360 --> 01:18:52,200
Speaker 1: you have musical knowledge that is like limited. I want

1653
01:18:52,280 --> 01:18:54,600
Speaker 1: you to pick the song that we sing on the

1654
01:18:54,600 --> 01:18:56,920
Speaker 1: way out. You want me to pick the song, That's

1655
01:18:56,960 --> 01:19:00,240
Speaker 1: what I said, mm hmm. Just like any song, you

1656
01:19:00,320 --> 01:19:01,680
Speaker 1: will sing it and that will be the last thing

1657
01:19:01,720 --> 01:19:04,160
Speaker 1: that's heard on your episode of Lost coult Teresa's before

1658
01:19:04,200 --> 01:19:08,439
Speaker 1: you return exile by Taylor.

1659
01:19:09,040 --> 01:19:11,160
Speaker 4: Bye Taylor, I don't know it.

1660
01:19:11,280 --> 01:19:20,479
Speaker 1: That was so many hesa wait, oh my god, Taylor, Taylor,

1661
01:19:21,760 --> 01:19:23,800
Speaker 1: Bye bye,