WEBVTT - Wyatt Cenac on Blazing Saddles

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<v Speaker 1>Welcome to Movie Crush, a production of I Heart Radio.

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<v Speaker 1>Hey everybody, and welcome to Movie Crush. Charles W Chuck

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<v Speaker 1>Bryant here on Friday for an interview, A Dish and

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<v Speaker 1>you guys. I got to sit down with my old

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<v Speaker 1>friend Wyatt Sinac. It's been a long time since White

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<v Speaker 1>and I have seen each other. Actually we met boy

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<v Speaker 1>many years ago and actually kind of remind why of

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<v Speaker 1>this story. He's he was the first kind of famous

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<v Speaker 1>entertainment person that I became pals with way back when

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<v Speaker 1>when he shared stuff you should know with John Hodgman

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<v Speaker 1>and said you might like is John when they were

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<v Speaker 1>working on the Daily Show together, and John got in

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<v Speaker 1>touch with Josh and I and said, let's all go

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<v Speaker 1>to lunch next time he come to New York. We

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<v Speaker 1>went to New York and Josh and I and uh,

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<v Speaker 1>John and Whyatt all had lunch together. And it was

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<v Speaker 1>a very big deal to us. And I told why

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<v Speaker 1>It about this and what that meant to me. Um,

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<v Speaker 1>kind of that that we felt like we had arrived

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<v Speaker 1>a little bit. And UM, I don't think why It

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<v Speaker 1>had any idea that that meant something to us. So

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<v Speaker 1>it was kind of funny to talk about. But we've

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<v Speaker 1>seen each other off on on over the years and

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<v Speaker 1>done some pretty fun stuff together, but it's been a minute,

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<v Speaker 1>so it was great to get why it in here.

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<v Speaker 1>He was Originally he was one of the first guests

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<v Speaker 1>I had on my last way back when, UM, but

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<v Speaker 1>it was always hard to kind of track him down.

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<v Speaker 1>But here we are, three years in, I finally get

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<v Speaker 1>whyatt in here. We had a really long, great conversation

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<v Speaker 1>about his awesome underseeing show on HBO Problem Areas and

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<v Speaker 1>what he was trying to do there. We really got

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<v Speaker 1>into it with Problem Areas. We talked a little bit

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<v Speaker 1>about King of the Hill when he was a writer

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<v Speaker 1>for that uh TV show, which was kind of cool

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<v Speaker 1>because I somehow had never talked to White about King

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<v Speaker 1>of the Hill. And we eventually got around to Blazing

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<v Speaker 1>Saddles after an hour plus of great conversation. So Blazing

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<v Speaker 1>Saddles was his pick one of the great comedies of

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<v Speaker 1>all time, one of the great subversive comedies of all

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<v Speaker 1>time as well, and we talk a lot about that

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<v Speaker 1>in the role that it played back then and can

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<v Speaker 1>still play today as far as subverting racism in some

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<v Speaker 1>very fun and interesting ways. So it was a great conversation.

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<v Speaker 1>I really enjoyed it. And here we go with the

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<v Speaker 1>wonderful and charming and funny whyatts sanak on blazing saddles?

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<v Speaker 1>How are you doing? I'm all right, yeah, I'm still

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<v Speaker 1>getting used to this whole the world now exists on laptops.

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<v Speaker 1>I said, things are about to be fine, right as

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<v Speaker 1>your adjusting hopefully. I uh, yeah. I got the Johnson

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<v Speaker 1>and Johnson vaccine, which, yeah, has been an interesting experience

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<v Speaker 1>because the day I got it was the day that

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<v Speaker 1>they recalled fifteen million doses because of the like batch problem,

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<v Speaker 1>and then um, and then yesterday obviously there was the

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<v Speaker 1>news of six people getting blood clots. So I really

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<v Speaker 1>feel like, in terms of vaccines, I could have chosen.

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<v Speaker 1>I'm really getting all the all the things that would

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<v Speaker 1>have me worried. I'm they're getting front loaded, right, So yeah,

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<v Speaker 1>let's get Did you have a choice, Actually I didn't.

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<v Speaker 1>It was a strange thing in New York there, like

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<v Speaker 1>there was just one day where the governor decided, on

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<v Speaker 1>like a Tuesday, that he was going to open up

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<v Speaker 1>the vaccine availability to anyone like thirty and older, and

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<v Speaker 1>the week before it had been fifty and older. And

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<v Speaker 1>as you know, I'm I'm thirty and a half and

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<v Speaker 1>I so as soon as he made that announcement, I

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<v Speaker 1>just happened to see it and I immediately called my

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<v Speaker 1>local pharmacy and they were like, sure, come in on Friday,

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<v Speaker 1>and uh so I was just like, I it wasn't

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<v Speaker 1>even a thing of oh, let me go and check

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<v Speaker 1>whatever the website. I was just like, no, just call

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<v Speaker 1>the pharmacy and texted everybody I knew, like as though

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<v Speaker 1>there were some sort of gold rush, and just like

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<v Speaker 1>call your pharmus, say and so h yeah. So that

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<v Speaker 1>was that was how I wound up doing it. But

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<v Speaker 1>I thought I was going to get Maderna. That's what

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<v Speaker 1>I got, yeah, And so it was a little disappointed.

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<v Speaker 1>And when I got there, because everyone I know has

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<v Speaker 1>gotten Maderna. And it seemed like even when I would

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<v Speaker 1>go on social media and I see on Instagram everyone

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<v Speaker 1>be posting photos of their vaccine cards like Maderna, and

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<v Speaker 1>so Maderna seemed like, you know, it was the the

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<v Speaker 1>jet kids of of of vaccines, like everyone's flying Jet

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<v Speaker 1>Blue to Cancoon. Johnson and Johnson started to feel more

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<v Speaker 1>and more like spirit airlines. Right, I think most of

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<v Speaker 1>my friends got viser so far, and I'm kind of

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<v Speaker 1>an outlier. Oh wow, that's interesting. So maybe it's just

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<v Speaker 1>kind of where you are and what they've got in

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<v Speaker 1>your area. I was gonna say, yeah, is that are

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<v Speaker 1>those regional friends or is that across the country. I

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<v Speaker 1>think most of my friends here in Atlanta got viser.

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<v Speaker 1>I feel like, and and my wife family and I

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<v Speaker 1>got MODERNA And I don't know anyone here that got

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<v Speaker 1>Johnson and Johnson, so wow, who knows. Yeah, No, it's

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<v Speaker 1>a it's a very it's an interesting it's an interesting thing,

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<v Speaker 1>and it's I hope that it makes people more curious

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<v Speaker 1>about like medicine and like science in general. But like

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<v Speaker 1>I I just know for myself. I think when I

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<v Speaker 1>was starting to feel a little bit of that like

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<v Speaker 1>sort of fear of missing out that I somehow got

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<v Speaker 1>the the you know, grocery store brand vaccine, I started

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<v Speaker 1>looking up the different things on the CDC as far

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<v Speaker 1>as like not even the efficacy of the vaccine, but

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<v Speaker 1>just who it got tested on, how many people it

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<v Speaker 1>tested on, and in some in some ways I start

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<v Speaker 1>to feel a little more comfortable with the Johnson Johnson

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<v Speaker 1>vaccine because even the demographics of people that they had

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<v Speaker 1>done trials on was more diverse than than it was

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<v Speaker 1>for Maderna and Fiser, and that I when we were

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<v Speaker 1>making problem areas, we've done a thing about just the

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<v Speaker 1>way medicines get tested and how there more often than

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<v Speaker 1>not tested, primarily tested and engineered primarily for white men

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<v Speaker 1>first and then everyone else. And so that's why you

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<v Speaker 1>tend to see women continually have worse side effects for

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<v Speaker 1>any medicine, because they're very rarely tested with them in mind. Yeah,

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<v Speaker 1>I saw that episode. Well, thank you. Let's uh yeah,

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<v Speaker 1>I can't I can't really repeat any stats to you

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<v Speaker 1>because it's been a long time. But it was great, man,

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<v Speaker 1>I mean that was on my us to talk about anyway,

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<v Speaker 1>and uh, it was so good man, it was really great.

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<v Speaker 1>I mean I love the I love the way it

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<v Speaker 1>was styled, and just the the intro and the set

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<v Speaker 1>and how you did that little animated pieces, and it

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<v Speaker 1>just felt like like people from sort of our generation. Um,

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<v Speaker 1>it felt it kind of was like what I always

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<v Speaker 1>hoped a stuff you should know show was going to

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<v Speaker 1>be like a sort of electric company for adults, and

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<v Speaker 1>we you know, we missed the mark. But you nailed it. Man.

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<v Speaker 1>I thought it was good how you how you jumped

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<v Speaker 1>around between a lot of issues. But in that season one,

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<v Speaker 1>you know, how you had the police thread and you

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<v Speaker 1>handled that in a way that I just thought was

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<v Speaker 1>so thoughtful and um reasonable, and it was the kind

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<v Speaker 1>of thing I wanted people who needed to see that

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<v Speaker 1>to see it, because I was like, here's a guy

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<v Speaker 1>that's like I think could really get through with the

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<v Speaker 1>way you were approaching it and um, you know how

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<v Speaker 1>it is though, I mean, unfortunately the people that are

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<v Speaker 1>watching you probably aren't the people that need to be

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<v Speaker 1>seeing that in the first place. True, but you you

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<v Speaker 1>never know. I mean, I feel like there's a there's

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<v Speaker 1>the interesting thing, and I feel I I don't think

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<v Speaker 1>that our show did it the best, but I feel

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<v Speaker 1>like we maybe get credit for at least starting a

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<v Speaker 1>conversation on it, or bringing not starting a conversation, but

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<v Speaker 1>bringing a conversation to television. And that was the episode

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<v Speaker 1>around police abolition. And it's interesting now is people have

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<v Speaker 1>that conversation more and more. I think what I appreciated

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<v Speaker 1>about the show was the idea that Okay, yeah, we

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<v Speaker 1>can talk about these things, and maybe maybe most of

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<v Speaker 1>the audience will be the echo chamber. But even in

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<v Speaker 1>the echo chamber, they may not be aware of something

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<v Speaker 1>like police abolition or aware of something like a civilian

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<v Speaker 1>complaint review board. And if they're not, perhaps if they

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<v Speaker 1>have that to add to their vocabulary, they can start saying, Hey,

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<v Speaker 1>why doesn't our city have this thing, Why don't we

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<v Speaker 1>have social workers that go out with police officers and

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<v Speaker 1>partner and let's redefine safety as something like that that

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<v Speaker 1>can go hand in hand um with actual like care

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<v Speaker 1>and compassion approaches and so I so in that way,

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<v Speaker 1>and then yeah, the hope outside the echo chamber was

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<v Speaker 1>that you did have those people who were like, yeah,

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<v Speaker 1>I'll be honest, I don't believe in anything you stand for,

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<v Speaker 1>but you've made me think. And when we made the

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<v Speaker 1>show are I the building that we made the show in,

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<v Speaker 1>we were on the fifth floor, and on the fourth

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<v Speaker 1>floor was actually the police union, the NYPDS, UH like

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<v Speaker 1>the line Officers union, and so there was very little interaction.

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<v Speaker 1>But like the head of the New York Police Union

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<v Speaker 1>is really like a very fiery troll who just like

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<v Speaker 1>goes on Fox News all the time and it's just

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<v Speaker 1>really a ship ster um and I always was like,

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<v Speaker 1>oh am I going to run into this guy on

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<v Speaker 1>the elevator and never did. But one of the security

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<v Speaker 1>guys who worked the building was like a longtime police officer,

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<v Speaker 1>and he would sometimes stop me in the elevator where

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<v Speaker 1>it was just like the two of us, and I'd

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<v Speaker 1>be like, I watched your show and a part of

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<v Speaker 1>me was just like, are you about to stop this

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<v Speaker 1>elevator and hit me or you know, like hit me

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<v Speaker 1>about the ease with a telephone book and he'd be like, yeah,

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<v Speaker 1>you know, I didn't agree with all of it, but

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<v Speaker 1>I like what you're doing and yeah, like you're making

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<v Speaker 1>some good points there, and it was just kind of like, Okay, yeah,

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<v Speaker 1>you're not the person that I would have expected to

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<v Speaker 1>engage in this conversation. And I feel like you you

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<v Speaker 1>you know, but I feel like I'm I'm maybe cracking

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<v Speaker 1>through the the armor there a little bit. And totally, man,

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<v Speaker 1>I mean you could tell that you just took such

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<v Speaker 1>great care and it was so thoughtful and how you

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<v Speaker 1>tried to source conversations with different kinds of people and

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<v Speaker 1>it wasn't just the familiar talking points and let's hear

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<v Speaker 1>only from kind of one side. Like you were. You

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<v Speaker 1>were bringing in people and having like real conversations around it,

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<v Speaker 1>and I think, I mean, that's the only way to

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<v Speaker 1>do it if you're gonna make any headway. So I

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<v Speaker 1>just loved it. And then beyond that, the policing stuff

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<v Speaker 1>just you know, it was just you had stuff about

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<v Speaker 1>you know, mosquitoes and space traveling and dogs eating chicken bones,

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<v Speaker 1>and it was just I just love the variety of

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<v Speaker 1>But all I thought it was great. How How was

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<v Speaker 1>it working with HBO? Was that cool? Um? It was interesting,

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<v Speaker 1>It was it was. I'm appreciative. But at the same time,

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<v Speaker 1>when I look at the experience, we had to make

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<v Speaker 1>so much with so little, and not just from like

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<v Speaker 1>a budgetary standpoint, but the moment that production officially started,

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<v Speaker 1>we I think started in September of I guess that

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<v Speaker 1>would have been, and they were like, you are premiering

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<v Speaker 1>April of and go and from from starting up from scratch, Yeah,

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<v Speaker 1>from hiring. We had started slowly hiring some people in August,

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<v Speaker 1>but we didn't have a full staff until sometime in September.

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<v Speaker 1>And then in that first season, for every for every

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<v Speaker 1>policing story that we shot, we were only budgeted and

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<v Speaker 1>calendared for two days for each shoot, and so when

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<v Speaker 1>I think about the stories we were able to kind

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<v Speaker 1>of like get into total two days of shooting, it's

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<v Speaker 1>truly a testament to the hard work of everybody at

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<v Speaker 1>the show. And also it's also this unfortunate thing that like, oh,

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<v Speaker 1>we shouldn't have been locked into a like you have

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<v Speaker 1>to premiere April at this time. Really should have given

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<v Speaker 1>us the time as though we were making a documentary

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<v Speaker 1>where it's like, Okay, take the time and take the

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<v Speaker 1>resources to really get it right or get it to

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<v Speaker 1>where you want it to be. Because is I think

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<v Speaker 1>there are certain things when I think about the show,

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<v Speaker 1>and especially that first season, there there were certain story

0:15:07.520 --> 0:15:12.200
<v Speaker 1>things that I wanted to do, but because of the schedule,

0:15:12.720 --> 0:15:16.280
<v Speaker 1>we never had the ability to do. And I think

0:15:16.320 --> 0:15:21.920
<v Speaker 1>about some of those things now where I'm like, oh,

0:15:22.120 --> 0:15:25.760
<v Speaker 1>part of the conversations that we're having right now, I

0:15:25.880 --> 0:15:32.000
<v Speaker 1>wonder if those things would have added to some of

0:15:32.040 --> 0:15:35.280
<v Speaker 1>those conversations, you know, in a better way. Like when

0:15:35.280 --> 0:15:41.560
<v Speaker 1>I think again about like the abolition stuff and just

0:15:41.600 --> 0:15:46.280
<v Speaker 1>the idea of like defunding the police, I remember I'd

0:15:46.280 --> 0:15:49.320
<v Speaker 1>had this hope and thought that by the end of

0:15:49.320 --> 0:15:53.240
<v Speaker 1>the season, I'd wanted to do this thing that by

0:15:53.280 --> 0:15:56.760
<v Speaker 1>the end of the season we would actually start our

0:15:56.760 --> 0:16:01.040
<v Speaker 1>own police force, because I'd start it to learn about

0:16:01.080 --> 0:16:08.040
<v Speaker 1>how certain communities actually created their own police forces. And

0:16:08.160 --> 0:16:13.160
<v Speaker 1>in New York, for example, UH, where we had our offices,

0:16:14.120 --> 0:16:18.720
<v Speaker 1>there was a police force that was created specifically to

0:16:19.440 --> 0:16:23.760
<v Speaker 1>serve that population, which was which is a population that's

0:16:23.920 --> 0:16:30.400
<v Speaker 1>predominantly Asian and Asian American, and so they were able

0:16:30.440 --> 0:16:33.680
<v Speaker 1>to kind of like through the NYPD, there's a way

0:16:33.720 --> 0:16:37.720
<v Speaker 1>in which you can sort of create your own police

0:16:37.720 --> 0:16:40.880
<v Speaker 1>force and you get your own police cars and your

0:16:40.920 --> 0:16:47.960
<v Speaker 1>own officers, and so I and there are also in Brooklyn,

0:16:49.000 --> 0:16:51.760
<v Speaker 1>I believe in the Hasidic community they have a similar thing.

0:16:52.520 --> 0:16:55.680
<v Speaker 1>And so I was kind of I became fascinated with that,

0:16:55.760 --> 0:16:58.840
<v Speaker 1>but thinking about it with this idea of like, well,

0:16:59.040 --> 0:17:03.200
<v Speaker 1>could we do that at and then as a police force,

0:17:04.000 --> 0:17:10.160
<v Speaker 1>could we then also get government funding to get one

0:17:10.200 --> 0:17:18.760
<v Speaker 1>of those UH military m wrap vehicles because they're the

0:17:20.080 --> 0:17:24.520
<v Speaker 1>I believe the I can't remember the exact name of it,

0:17:24.560 --> 0:17:27.400
<v Speaker 1>but there's an office in d C that's whole focus

0:17:27.520 --> 0:17:31.040
<v Speaker 1>is like the office of like Budgetary waste Management or

0:17:31.320 --> 0:17:33.280
<v Speaker 1>it's like the o m B or the Office of

0:17:33.280 --> 0:17:36.200
<v Speaker 1>Budgetary Management or something like that. They have a podcast,

0:17:36.560 --> 0:17:40.920
<v Speaker 1>Um did they really do? But they did a whole

0:17:40.960 --> 0:17:47.800
<v Speaker 1>thing about how they basically set themselves up to get uh,

0:17:48.400 --> 0:17:55.959
<v Speaker 1>military grade equipment from these like horrible kind of like

0:17:56.080 --> 0:17:59.800
<v Speaker 1>tax incentives and things that are created where you know,

0:18:00.080 --> 0:18:04.480
<v Speaker 1>you ask why police departments get like SWAT get these

0:18:04.560 --> 0:18:09.040
<v Speaker 1>huge like military vehicles, It's because they are incentivized through

0:18:09.080 --> 0:18:12.240
<v Speaker 1>these deals that the federal government has given them. And

0:18:12.280 --> 0:18:17.600
<v Speaker 1>so this Office of of Budget Management had done that

0:18:17.720 --> 0:18:20.199
<v Speaker 1>to expose it, and they were like, I think they

0:18:20.240 --> 0:18:24.280
<v Speaker 1>got like a rocket launcher and they and so I

0:18:24.320 --> 0:18:26.840
<v Speaker 1>was like, oh, could we do that? Could we start?

0:18:28.080 --> 0:18:29.360
<v Speaker 1>But in my head I was like, could we start

0:18:29.400 --> 0:18:32.439
<v Speaker 1>our own police force? Could we get an M wrap?

0:18:33.160 --> 0:18:38.239
<v Speaker 1>And then in redefining what policing could be, the idea was,

0:18:38.760 --> 0:18:42.240
<v Speaker 1>could we paint the M wrap into something that seemed

0:18:42.960 --> 0:18:47.639
<v Speaker 1>not aggressive and then it rather than fill it with

0:18:47.680 --> 0:18:52.840
<v Speaker 1>police officers, fill it with social workers, fill it with

0:18:53.000 --> 0:18:57.040
<v Speaker 1>and basically have it as like a mobile kind of

0:18:57.080 --> 0:19:00.640
<v Speaker 1>like emergency response unit. And so if you do need

0:19:00.720 --> 0:19:04.919
<v Speaker 1>the person who has to physically subdue somebody, that person

0:19:05.400 --> 0:19:08.360
<v Speaker 1>is in the car too, but there are just as

0:19:08.400 --> 0:19:13.520
<v Speaker 1>many social workers, mental health experts, you know, they're all

0:19:13.600 --> 0:19:16.400
<v Speaker 1>these like even like E M T s and it's

0:19:16.440 --> 0:19:20.320
<v Speaker 1>and so it's basically like a voltron of like risks

0:19:20.520 --> 0:19:23.359
<v Speaker 1>of response that you could then be like, this is

0:19:23.400 --> 0:19:27.640
<v Speaker 1>what our police force looks like. It's this big vehicle,

0:19:27.800 --> 0:19:30.320
<v Speaker 1>but in it it's like, Okay, we got the call,

0:19:30.440 --> 0:19:35.960
<v Speaker 1>like there's someone in mental distress, and you can be like, okay, uh,

0:19:36.000 --> 0:19:38.600
<v Speaker 1>you know, Rick, you're gonna sit this one out. We

0:19:38.600 --> 0:19:41.880
<v Speaker 1>don't need cops on this one. We're gonna go. We're

0:19:41.880 --> 0:19:46.200
<v Speaker 1>gonna go with Dr Johansen here, who's gonna just kind

0:19:46.200 --> 0:19:50.040
<v Speaker 1>of talk to do some talk therapy. Do you know

0:19:50.320 --> 0:19:55.000
<v Speaker 1>Dave Hill the comedian. Yes, have you seen the stuff

0:19:55.000 --> 0:19:58.440
<v Speaker 1>he's painting where he's taking like Dave, you know, really

0:19:58.480 --> 0:20:01.600
<v Speaker 1>talented at everything, but he's he's now taking like axes

0:20:01.600 --> 0:20:04.520
<v Speaker 1>and stuff and he paints he's really beautiful flowers and

0:20:04.560 --> 0:20:07.480
<v Speaker 1>sunflowers and stuff all over him in these cool patterns

0:20:07.520 --> 0:20:10.920
<v Speaker 1>and it's really gorgeous. And the stormtrooper helmets and axes

0:20:10.960 --> 0:20:14.040
<v Speaker 1>and hatchets and stuff like you could get Dave to

0:20:14.080 --> 0:20:18.040
<v Speaker 1>paint it up with all these beautiful sunflowers. Yeah, and

0:20:18.080 --> 0:20:21.119
<v Speaker 1>just then send the team in exactly and then people

0:20:21.160 --> 0:20:24.280
<v Speaker 1>are like, oh, what's that weird, what's that weird pretty

0:20:24.280 --> 0:20:28.400
<v Speaker 1>tank doing. It's like, no, it's just here to help.

0:20:28.720 --> 0:20:32.440
<v Speaker 1>It's you know, even instead of having cops do those

0:20:32.480 --> 0:20:37.000
<v Speaker 1>weird like viral videos where they shoot baskets with kids

0:20:37.080 --> 0:20:40.000
<v Speaker 1>or whatever right right in the truck, you can also

0:20:40.119 --> 0:20:44.760
<v Speaker 1>just have like some you know, some stuffy, some stuffy

0:20:44.800 --> 0:20:49.000
<v Speaker 1>looking professor type. Their whole thing is like they come

0:20:49.000 --> 0:20:51.480
<v Speaker 1>out and they have a top hat or they you know,

0:20:51.560 --> 0:20:53.840
<v Speaker 1>have a hoop skirt on, and then they go and

0:20:53.880 --> 0:20:57.440
<v Speaker 1>they you know, do some sweet sweet moves on a

0:20:57.480 --> 0:21:01.440
<v Speaker 1>basketball court and they go viral and there a city

0:21:01.440 --> 0:21:04.440
<v Speaker 1>employee and they go viral that way. Oh man, that

0:21:04.480 --> 0:21:07.399
<v Speaker 1>would have been great. Yeah. I could see HBO getting

0:21:07.400 --> 0:21:09.639
<v Speaker 1>down with that too. I'm surprised they didn't. Well, I

0:21:09.680 --> 0:21:12.000
<v Speaker 1>think again, it was the it was the amount of

0:21:12.040 --> 0:21:17.040
<v Speaker 1>time I think we I wished. I wished when we

0:21:17.119 --> 0:21:19.640
<v Speaker 1>had the show that we had that the network maybe

0:21:19.640 --> 0:21:22.959
<v Speaker 1>had a little more faith in us as opposed to

0:21:24.119 --> 0:21:27.840
<v Speaker 1>I think they I feel as though they didn't necessarily

0:21:27.880 --> 0:21:30.320
<v Speaker 1>trust what this show was and what it was going

0:21:30.359 --> 0:21:35.479
<v Speaker 1>to be, and perhaps also didn't trust me, and so

0:21:35.560 --> 0:21:40.480
<v Speaker 1>I think they were very skittish about everything, and I

0:21:40.520 --> 0:21:44.320
<v Speaker 1>think in their head they were like, well, we'll lock

0:21:44.400 --> 0:21:48.879
<v Speaker 1>you to the schedule and thereby like you have to

0:21:48.960 --> 0:21:53.919
<v Speaker 1>deliver something, which the irony being there are plenty of

0:21:53.920 --> 0:21:59.879
<v Speaker 1>people on that network who signed really lucrative deals to

0:22:00.080 --> 0:22:05.320
<v Speaker 1>make things that have never been made, and it's like, oh,

0:22:05.359 --> 0:22:08.160
<v Speaker 1>wait a minute, you paid that person tens of millions

0:22:08.160 --> 0:22:12.840
<v Speaker 1>of dollars to deliver something for you and they never

0:22:13.040 --> 0:22:17.280
<v Speaker 1>did it right, and you're not paying me anywhere near that.

0:22:18.200 --> 0:22:22.200
<v Speaker 1>But I'm the I'm the one who is seen as

0:22:22.800 --> 0:22:26.639
<v Speaker 1>the risk. Yeah. That's a shame too, because usually, and

0:22:26.920 --> 0:22:28.960
<v Speaker 1>I've even heard this with HBO that like, if it's

0:22:28.960 --> 0:22:32.080
<v Speaker 1>a smaller show that they won't give much money to,

0:22:32.200 --> 0:22:36.600
<v Speaker 1>they'll at least leave you alone, you know, And and

0:22:36.760 --> 0:22:40.600
<v Speaker 1>they do that. I think it depends on, you know,

0:22:40.880 --> 0:22:44.040
<v Speaker 1>the executives that you have and the relationship you have

0:22:44.160 --> 0:22:49.639
<v Speaker 1>with those executives, and so I think in that regard, um, Yeah,

0:22:49.720 --> 0:22:54.080
<v Speaker 1>I know people who have great relationships with executives, and

0:22:54.480 --> 0:22:57.840
<v Speaker 1>I know on the West Coast they are really good

0:22:57.880 --> 0:23:01.800
<v Speaker 1>about I just kind of like trusting the creative voices

0:23:02.080 --> 0:23:06.040
<v Speaker 1>and giving them the space and ultimately, you know, you

0:23:06.119 --> 0:23:08.840
<v Speaker 1>do have to earn those things. And I think it

0:23:09.240 --> 0:23:12.240
<v Speaker 1>at at the point at which I had gotten to HBO,

0:23:13.240 --> 0:23:16.720
<v Speaker 1>I had hoped and would have liked to have believed

0:23:17.119 --> 0:23:20.600
<v Speaker 1>that I had earned that at that point, that I

0:23:20.600 --> 0:23:24.880
<v Speaker 1>had made enough stuff that had done well or had

0:23:25.160 --> 0:23:28.080
<v Speaker 1>you know, had had a good critical reception, that I

0:23:28.080 --> 0:23:33.360
<v Speaker 1>had at least earned the respect to kind of like, okay,

0:23:34.320 --> 0:23:37.720
<v Speaker 1>give let's give space to actually make the best thing

0:23:38.560 --> 0:23:42.919
<v Speaker 1>as opposed to trying to, uh you know, kind of

0:23:42.960 --> 0:23:48.040
<v Speaker 1>put as many constraints on this thing, uh and see

0:23:48.600 --> 0:23:51.520
<v Speaker 1>see if they can see if they can spin it

0:23:51.520 --> 0:23:58.600
<v Speaker 1>into something. With season two any different season two. The

0:23:58.680 --> 0:24:01.760
<v Speaker 1>main difference in season to you was when it came

0:24:01.800 --> 0:24:06.720
<v Speaker 1>to shooting all of the education stories. We had four

0:24:06.840 --> 0:24:11.119
<v Speaker 1>days instead of two days. We're able to get a

0:24:11.160 --> 0:24:16.400
<v Speaker 1>couple more days. The challenge, the schedule was still the same.

0:24:16.440 --> 0:24:19.960
<v Speaker 1>We're still kind of locked into a schedule, the challenge

0:24:20.040 --> 0:24:26.639
<v Speaker 1>with both policing and with education as subjects. And this

0:24:26.760 --> 0:24:33.320
<v Speaker 1>again is something where I feel like, unfortunately we were

0:24:33.600 --> 0:24:39.359
<v Speaker 1>kind of between a rock and a hard place them

0:24:40.600 --> 0:24:42.439
<v Speaker 1>It's one thing to say, Okay, I want to I

0:24:42.480 --> 0:24:47.720
<v Speaker 1>want to go talk to people about police brutality. There

0:24:47.760 --> 0:24:50.080
<v Speaker 1>are people who will talk to you about that. If

0:24:50.080 --> 0:24:53.160
<v Speaker 1>you want to talk to people about like the failings

0:24:53.200 --> 0:24:55.840
<v Speaker 1>of a school, their parents and students who will talk

0:24:55.880 --> 0:25:00.119
<v Speaker 1>to you about that. Where you come up against roadblocks

0:25:00.160 --> 0:25:06.080
<v Speaker 1>with police departments and schools and they are incredibly skittish,

0:25:06.280 --> 0:25:14.080
<v Speaker 1>they are they're incredibly guarded, and two crack through that.

0:25:15.040 --> 0:25:19.320
<v Speaker 1>It takes a lot of time and it really impacted

0:25:19.320 --> 0:25:25.080
<v Speaker 1>our abilities to tell stories because we would have situations

0:25:25.119 --> 0:25:27.560
<v Speaker 1>in both seasons we had it where we had situations

0:25:27.600 --> 0:25:34.040
<v Speaker 1>where there were police departments and school districts that had

0:25:34.080 --> 0:25:39.560
<v Speaker 1>agreed to sit down with us. We booked flights and

0:25:39.600 --> 0:25:45.360
<v Speaker 1>then they said no, never mind. Wow. Disappointing it is,

0:25:45.520 --> 0:25:49.440
<v Speaker 1>and it's unfortunate because the stories we wanted to tell,

0:25:49.520 --> 0:25:53.920
<v Speaker 1>we're stories where it was like, these are about these

0:25:54.000 --> 0:25:58.720
<v Speaker 1>kind of partnerships and relationships that exist with communities and

0:25:58.760 --> 0:26:02.399
<v Speaker 1>these institutions and right to not be a part of

0:26:02.400 --> 0:26:09.200
<v Speaker 1>that conversation and to be that guarded about it to us,

0:26:10.400 --> 0:26:13.159
<v Speaker 1>like I get, okay, not everybody wants to be on camera,

0:26:13.240 --> 0:26:17.800
<v Speaker 1>but to be that guarded kind of places puts a

0:26:17.840 --> 0:26:23.000
<v Speaker 1>window to what these communities must feel that like, okay,

0:26:23.040 --> 0:26:26.199
<v Speaker 1>even the things that you're supposed to technically be proud

0:26:26.240 --> 0:26:29.320
<v Speaker 1>of in terms of the work you're doing, because it

0:26:29.359 --> 0:26:31.720
<v Speaker 1>wasn't like we were going to the police department or

0:26:31.760 --> 0:26:34.480
<v Speaker 1>the school that was like oh, this is the school

0:26:34.600 --> 0:26:37.680
<v Speaker 1>that you know just beats children, or this is the

0:26:38.359 --> 0:26:41.400
<v Speaker 1>you weren't Michael Moore walking in there. No, And with

0:26:41.440 --> 0:26:43.800
<v Speaker 1>all these places, they were places where it was a

0:26:43.880 --> 0:26:48.399
<v Speaker 1>thing of like, Okay, this school district has you know,

0:26:49.520 --> 0:26:54.520
<v Speaker 1>a program that's actually speaking to something that is supposed

0:26:54.560 --> 0:26:58.399
<v Speaker 1>to be you know, whether it's like an alternative to

0:26:58.720 --> 0:27:02.480
<v Speaker 1>criminalizing student. It's like, oh, okay, yeah, we want to

0:27:02.480 --> 0:27:04.359
<v Speaker 1>talk about that. We want to talk about the work

0:27:04.359 --> 0:27:06.879
<v Speaker 1>you're doing. It's like, oh no, we don't want to

0:27:06.880 --> 0:27:09.520
<v Speaker 1>talk about it. Or police departments, you know, I remember

0:27:09.560 --> 0:27:13.600
<v Speaker 1>there was one police department in Cincinnati that the work

0:27:13.640 --> 0:27:16.440
<v Speaker 1>that they were doing was one that was much more

0:27:16.480 --> 0:27:22.400
<v Speaker 1>of a public private partnership where the community worked with

0:27:22.440 --> 0:27:28.040
<v Speaker 1>the police to create programs and things to help kind

0:27:28.080 --> 0:27:33.480
<v Speaker 1>of like curb crime in their neighborhoods. And so, you know,

0:27:33.560 --> 0:27:38.080
<v Speaker 1>one of the things was the community was saying like, oh,

0:27:38.119 --> 0:27:42.359
<v Speaker 1>there's this park that there's often a lot of crime

0:27:42.440 --> 0:27:47.879
<v Speaker 1>in this park and the park is overrun with trash

0:27:47.960 --> 0:27:51.360
<v Speaker 1>and there's no lawn maintenance and there are all these trees.

0:27:52.280 --> 0:27:55.400
<v Speaker 1>Maybe we could clean up the park. And that's what

0:27:55.440 --> 0:27:58.800
<v Speaker 1>they did, and it was like oh okay, yeah, and

0:27:58.840 --> 0:28:02.199
<v Speaker 1>then they saw crime statistics went down and it was

0:28:02.240 --> 0:28:06.879
<v Speaker 1>like oh right, okay, and that and when and with

0:28:06.920 --> 0:28:12.000
<v Speaker 1>that story, we got to Cincinnati and the Cincinnati Police

0:28:12.040 --> 0:28:16.520
<v Speaker 1>Department we landed and they decided once we got there

0:28:16.920 --> 0:28:19.280
<v Speaker 1>they didn't want to talk to us. And it was

0:28:19.320 --> 0:28:23.919
<v Speaker 1>like why, Like, this is what you like, this is

0:28:23.960 --> 0:28:26.320
<v Speaker 1>what you're doing, and it may not be perfect, but

0:28:26.400 --> 0:28:28.920
<v Speaker 1>it seems like if you're as proud of it as

0:28:29.000 --> 0:28:32.199
<v Speaker 1>you claim to be, then talk about it. And the

0:28:32.240 --> 0:28:36.480
<v Speaker 1>irony being that I think uh Vice had done a

0:28:36.520 --> 0:28:42.680
<v Speaker 1>piece earlier that year with that same police department where

0:28:42.720 --> 0:28:46.440
<v Speaker 1>the police department was showing off more of the kind

0:28:46.440 --> 0:28:50.040
<v Speaker 1>of like more of the aggressive things they were doing.

0:28:50.880 --> 0:28:53.240
<v Speaker 1>Then it was weird where it's like, oh, you'll show

0:28:53.280 --> 0:28:57.640
<v Speaker 1>off the things that you think make you look like,

0:28:58.200 --> 0:29:02.320
<v Speaker 1>you know, a tough guy. Yeah, but those are the

0:29:02.360 --> 0:29:06.400
<v Speaker 1>things that keep getting you into trouble. Yeah, it's so weird.

0:29:06.440 --> 0:29:11.080
<v Speaker 1>It's such a closed I mean, skittish is the tamest

0:29:11.120 --> 0:29:14.400
<v Speaker 1>way to say it. It's um trying to break through too.

0:29:14.600 --> 0:29:17.040
<v Speaker 1>I mean, it's it's just so such a closed system

0:29:18.480 --> 0:29:20.720
<v Speaker 1>I imagine, I mean, would you do once you got there,

0:29:20.800 --> 0:29:22.840
<v Speaker 1>once you were there and you were denied, just try

0:29:22.880 --> 0:29:28.560
<v Speaker 1>and find a story. So we talked to everybody else involved,

0:29:28.920 --> 0:29:31.720
<v Speaker 1>although the cops did tell some people not to talk

0:29:31.800 --> 0:29:36.280
<v Speaker 1>to us, so it wasn't even that they had They

0:29:36.280 --> 0:29:39.320
<v Speaker 1>were like, you know, we're not going to talk. They

0:29:39.360 --> 0:29:42.920
<v Speaker 1>tried to convince community members not to talk to us,

0:29:42.960 --> 0:29:45.440
<v Speaker 1>and a couple of community members didn't talk to us

0:29:45.480 --> 0:29:49.360
<v Speaker 1>as a result, and I think uninvited us from an

0:29:49.360 --> 0:29:52.400
<v Speaker 1>event they were doing. So it was it was tough

0:29:52.520 --> 0:29:55.520
<v Speaker 1>and and so but we talked to everyone else that

0:29:55.560 --> 0:30:01.200
<v Speaker 1>we could with the story, and and there was a

0:30:01.200 --> 0:30:04.520
<v Speaker 1>a community meeting that the police were going to be at,

0:30:05.040 --> 0:30:08.960
<v Speaker 1>and so we went to that and figured we'd film

0:30:09.040 --> 0:30:12.400
<v Speaker 1>that and if possible, try to just see if we

0:30:12.400 --> 0:30:15.280
<v Speaker 1>could get the chief of police to chat with us

0:30:15.360 --> 0:30:19.560
<v Speaker 1>on camera for a moment. But it all also became

0:30:19.600 --> 0:30:22.360
<v Speaker 1>part of the story where it was just like, what

0:30:22.440 --> 0:30:28.960
<v Speaker 1>does it say when these cops are this like afraid

0:30:29.040 --> 0:30:33.000
<v Speaker 1>to talk about what it is that they do like

0:30:33.160 --> 0:30:36.880
<v Speaker 1>that's a problem and so um so yeah, so it

0:30:36.880 --> 0:30:39.840
<v Speaker 1>it I think added to the story in this kind

0:30:39.840 --> 0:30:45.280
<v Speaker 1>of uh in a roundabout way, but it I feel

0:30:45.320 --> 0:30:49.240
<v Speaker 1>like it would have been nice to have gotten the

0:30:49.240 --> 0:30:52.080
<v Speaker 1>the entire story. And I think with that one, ultimately

0:30:52.120 --> 0:30:55.400
<v Speaker 1>we also had to go back and get one interview

0:30:56.280 --> 0:30:59.120
<v Speaker 1>with a police officer, a retired police officer. I think

0:30:59.120 --> 0:31:01.239
<v Speaker 1>the best we were able to do as far as

0:31:01.280 --> 0:31:03.880
<v Speaker 1>getting any cop on the record was to get a

0:31:03.880 --> 0:31:10.000
<v Speaker 1>retired cop. So, um yeah, who could talk about Cincinnati

0:31:10.080 --> 0:31:13.640
<v Speaker 1>and the history of policing and Cincinnati. Um, but yeah,

0:31:13.720 --> 0:31:16.560
<v Speaker 1>it's really it's a very unfortunate thing. And I think

0:31:16.600 --> 0:31:19.600
<v Speaker 1>you see it now even with like the way that

0:31:20.880 --> 0:31:25.400
<v Speaker 1>policing and that kind of like that blue line exists

0:31:25.520 --> 0:31:29.680
<v Speaker 1>where you know, you see even the events of the

0:31:29.760 --> 0:31:38.000
<v Speaker 1>last week. Oftentimes retired police officers have less of a

0:31:38.080 --> 0:31:44.320
<v Speaker 1>problem saying like hey, that's not good police work. And

0:31:45.440 --> 0:31:48.840
<v Speaker 1>yet the police officers who are still working and are

0:31:48.840 --> 0:31:53.440
<v Speaker 1>still walking a beat are just like closed miles and

0:31:53.880 --> 0:31:57.760
<v Speaker 1>it's kind of like, well, yeah, it's never gonna change

0:31:57.800 --> 0:32:05.080
<v Speaker 1>if you all just immediately rather than call out bullshit,

0:32:05.240 --> 0:32:09.680
<v Speaker 1>you all just immediately kind of like huddle together and

0:32:09.800 --> 0:32:15.120
<v Speaker 1>rally behind the person who clearly did something wrong. Yeah,

0:32:15.120 --> 0:32:16.840
<v Speaker 1>and it's it's I mean, that's one of the most

0:32:16.840 --> 0:32:21.160
<v Speaker 1>frustrating parts because if you want your image changed, like

0:32:21.200 --> 0:32:24.280
<v Speaker 1>you could actively be a part of that without selling

0:32:24.280 --> 0:32:28.280
<v Speaker 1>out or whatever, like you could you know, like they

0:32:28.280 --> 0:32:30.440
<v Speaker 1>don't want their image to be that, but they won't

0:32:30.480 --> 0:32:33.680
<v Speaker 1>do anything to let their image not be that. Right,

0:32:34.320 --> 0:32:37.760
<v Speaker 1>And it's and that's what's so strange is that weird,

0:32:38.920 --> 0:32:40.960
<v Speaker 1>that weird thing. And I think again when I think

0:32:40.960 --> 0:32:46.720
<v Speaker 1>about what I had been thinking about with problem area,

0:32:46.760 --> 0:32:49.960
<v Speaker 1>is as far as like that the sort of dream

0:32:50.000 --> 0:32:51.640
<v Speaker 1>idea of like, well, what if we made our own

0:32:51.640 --> 0:32:55.760
<v Speaker 1>police force? Within that, some of that too was looking

0:32:55.800 --> 0:32:58.480
<v Speaker 1>at there was an episode that we didn't do that

0:32:58.560 --> 0:33:03.080
<v Speaker 1>I've been fast needed with the story about police uniforms

0:33:03.120 --> 0:33:06.040
<v Speaker 1>and just how you know that idea that the clothes

0:33:06.160 --> 0:33:10.600
<v Speaker 1>make a person and that there in the past there

0:33:10.600 --> 0:33:15.600
<v Speaker 1>were police departments that decided to quote unquote soften their

0:33:15.640 --> 0:33:21.200
<v Speaker 1>images and they started switching their uniforms to things that

0:33:21.240 --> 0:33:25.640
<v Speaker 1>were a little more professional looking. Where there was one,

0:33:25.720 --> 0:33:30.800
<v Speaker 1>I believe in California where the police officers war like

0:33:30.920 --> 0:33:35.520
<v Speaker 1>blazers and instead of having like a hard badge. The

0:33:35.520 --> 0:33:39.200
<v Speaker 1>badge was like a patch on their on their jackets

0:33:39.920 --> 0:33:44.480
<v Speaker 1>and little things. The story and it's all anecdotal, but

0:33:44.560 --> 0:33:48.760
<v Speaker 1>the story goes that when they did that, there became

0:33:48.800 --> 0:33:50.959
<v Speaker 1>a little bit of a shift of the types of

0:33:51.000 --> 0:33:57.080
<v Speaker 1>people who were signing up for the police academy, and

0:33:57.160 --> 0:34:01.680
<v Speaker 1>it was people who like had more of a kind

0:34:01.680 --> 0:34:05.400
<v Speaker 1>of like social work background, or was people who were

0:34:05.400 --> 0:34:09.040
<v Speaker 1>coming out of like the seminary and and so. And

0:34:09.120 --> 0:34:12.920
<v Speaker 1>it's all anecdotal, but they it may have been who

0:34:12.960 --> 0:34:16.080
<v Speaker 1>the department was trying to recruit. It may have been like, oh, yeah,

0:34:16.080 --> 0:34:20.360
<v Speaker 1>I like, I like an outfit with a snappy blazer um.

0:34:20.400 --> 0:34:25.600
<v Speaker 1>But then apparently they they dropped it after a while.

0:34:25.680 --> 0:34:27.480
<v Speaker 1>It seemed to be successful for a while, and then

0:34:27.480 --> 0:34:32.359
<v Speaker 1>I guess they dropped it after a while because there

0:34:32.360 --> 0:34:37.600
<v Speaker 1>were complaints of police brutality, but it was different. It

0:34:37.640 --> 0:34:43.560
<v Speaker 1>was brutality against police officers because people didn't feel threatened

0:34:43.600 --> 0:34:47.319
<v Speaker 1>by these guys who had like I think they even

0:34:47.360 --> 0:34:50.160
<v Speaker 1>had like pocket protectors like it, like they had pens

0:34:50.239 --> 0:34:54.759
<v Speaker 1>and ships. So I think it was oh, they they

0:34:54.920 --> 0:35:00.680
<v Speaker 1>became too the the image got like, no, that's a

0:35:00.719 --> 0:35:03.680
<v Speaker 1>teacher and I can go fight a teacher. I have

0:35:03.760 --> 0:35:07.719
<v Speaker 1>no idea if that's if, if if those what the

0:35:07.760 --> 0:35:12.000
<v Speaker 1>correlation as far as those instances of police brutality, as

0:35:12.040 --> 0:35:15.799
<v Speaker 1>you know, it's also without knowing what those stories are,

0:35:16.200 --> 0:35:20.800
<v Speaker 1>it's hard to say that, you know, is police brutality

0:35:20.840 --> 0:35:23.000
<v Speaker 1>Just like I tried to arrest somebody and they kicked me,

0:35:23.280 --> 0:35:31.000
<v Speaker 1>like yeah, versus like no, we were walking the beat

0:35:31.200 --> 0:35:34.000
<v Speaker 1>and then these kids started throwing eggs at us. Uh

0:35:35.000 --> 0:35:38.240
<v Speaker 1>so yeah, but it but it I I found myself

0:35:38.280 --> 0:35:42.040
<v Speaker 1>thinking about, you know, as we have a conversation around

0:35:43.239 --> 0:35:47.319
<v Speaker 1>policing in this country, and it's the same conversation I

0:35:47.320 --> 0:35:50.400
<v Speaker 1>think around something like education and also around something like

0:35:50.440 --> 0:35:56.680
<v Speaker 1>healthcare and housing. We have only loosely defined what we

0:35:56.719 --> 0:36:00.919
<v Speaker 1>want these things to be. And because they're loose defined,

0:36:01.960 --> 0:36:08.720
<v Speaker 1>it then winds up being the responsibility of the person

0:36:08.760 --> 0:36:11.680
<v Speaker 1>who is in charge of that institution to define it,

0:36:13.160 --> 0:36:16.120
<v Speaker 1>and they get to define what it is. And so

0:36:17.120 --> 0:36:20.920
<v Speaker 1>that's why it then becomes that much easier for a

0:36:21.000 --> 0:36:30.799
<v Speaker 1>police department to prioritize militarization over actual like crime prevention,

0:36:31.120 --> 0:36:35.239
<v Speaker 1>which we know isn't something that happens through policing. It's

0:36:35.280 --> 0:36:40.640
<v Speaker 1>something that happens through putting those resources elsewhere into social

0:36:40.640 --> 0:36:46.520
<v Speaker 1>services that can actually help people to get a better education,

0:36:46.719 --> 0:36:49.160
<v Speaker 1>to get quality education, to get quality housing, to get

0:36:49.239 --> 0:36:55.040
<v Speaker 1>quality employment. And so it's like, oh yeah, if you're

0:36:55.280 --> 0:36:58.600
<v Speaker 1>getting to define it, you're never going to define something

0:36:59.400 --> 0:37:01.840
<v Speaker 1>in a way that says, oh, you know what, maybe

0:37:01.840 --> 0:37:04.720
<v Speaker 1>I am getting too much money and that money should

0:37:04.719 --> 0:37:09.000
<v Speaker 1>go elsewhere. And so I think with all these things,

0:37:09.400 --> 0:37:11.279
<v Speaker 1>you know, you see it. I think even in this

0:37:11.360 --> 0:37:17.120
<v Speaker 1>moment where we talk about health care, we've allowed private

0:37:17.840 --> 0:37:24.280
<v Speaker 1>healthcare companies to define what health care should be, and

0:37:24.800 --> 0:37:27.880
<v Speaker 1>there is no with all of these things. We have

0:37:28.080 --> 0:37:32.960
<v Speaker 1>these umbrella terms, but we don't have umbrella definitions that are, Okay,

0:37:33.360 --> 0:37:36.960
<v Speaker 1>you know what, policing should only be this, and it

0:37:37.000 --> 0:37:40.040
<v Speaker 1>should and this is. This is the minimum of what

0:37:40.160 --> 0:37:42.520
<v Speaker 1>policing should be, and this is the maximum of what

0:37:42.560 --> 0:37:46.160
<v Speaker 1>policing should be. And in the same way, we have

0:37:46.320 --> 0:37:51.719
<v Speaker 1>no minimum for what we expect education to be. We

0:37:52.239 --> 0:37:55.680
<v Speaker 1>like or a maximum, but definitely we have we've we

0:37:55.760 --> 0:38:00.360
<v Speaker 1>have no definition of like this is this is what

0:38:00.480 --> 0:38:06.200
<v Speaker 1>the base level of educational access every kid should have.

0:38:07.239 --> 0:38:10.000
<v Speaker 1>There's no definition, and so that's why it's so easy

0:38:10.040 --> 0:38:14.239
<v Speaker 1>to find a school where textbooks are decades out of date,

0:38:14.920 --> 0:38:20.640
<v Speaker 1>they have no resources too higher or retain teachers, and

0:38:20.880 --> 0:38:24.080
<v Speaker 1>schools are crumbling because we haven't said, like, oh, you

0:38:24.120 --> 0:38:29.600
<v Speaker 1>know what, every school should have structural updates every five

0:38:29.680 --> 0:38:33.680
<v Speaker 1>years and that should just be a locked in thing,

0:38:34.200 --> 0:38:37.960
<v Speaker 1>and every three years their textbooks need to be updated,

0:38:38.360 --> 0:38:41.920
<v Speaker 1>they need to be replaced. It's just automatic. Yeah, And

0:38:41.960 --> 0:38:45.080
<v Speaker 1>instead what we do is we say, well, the students

0:38:45.200 --> 0:38:49.000
<v Speaker 1>need to learn X, Y Z, like they need to

0:38:49.760 --> 0:38:54.480
<v Speaker 1>prove this level of reading comprehension by this age, or

0:38:54.600 --> 0:38:58.040
<v Speaker 1>we cut funding to this school, but we don't say, well,

0:38:58.080 --> 0:39:02.560
<v Speaker 1>wait a minute, if that school doesn't have enough teachers

0:39:02.800 --> 0:39:07.640
<v Speaker 1>and yeah, and when we talk about like things like

0:39:07.680 --> 0:39:11.560
<v Speaker 1>classroom size, again we know like classrooms should probably be

0:39:11.640 --> 0:39:16.000
<v Speaker 1>twelve kids maximum, and yeah, we say like, well, this

0:39:16.040 --> 0:39:20.200
<v Speaker 1>school in this neighborhood, they don't have the funding, so

0:39:20.400 --> 0:39:23.879
<v Speaker 1>thirty kids are going to be in a classroom. Tough shit.

0:39:24.440 --> 0:39:26.960
<v Speaker 1>And it's just like, no, there should be a minimum.

0:39:26.960 --> 0:39:31.120
<v Speaker 1>And the moment your classroom goes over whatever fifteen kids,

0:39:31.200 --> 0:39:36.000
<v Speaker 1>it's like, Okay, that school needs more money, and that's

0:39:36.000 --> 0:39:37.799
<v Speaker 1>what we gotta do, and we just gotta pump more

0:39:37.800 --> 0:39:41.080
<v Speaker 1>money into that school so that they can make a

0:39:41.080 --> 0:39:45.040
<v Speaker 1>new class for that group of kids. And but we

0:39:45.080 --> 0:39:48.280
<v Speaker 1>don't define these things, and we just say like, oh, yeah,

0:39:48.320 --> 0:39:52.080
<v Speaker 1>a bad school is like you know, it's a bad school,

0:39:52.520 --> 0:39:55.239
<v Speaker 1>and but we don't say, like, right, but what is

0:39:55.280 --> 0:39:58.920
<v Speaker 1>the floor for what every school should be? So yeah, yeah,

0:39:58.960 --> 0:40:02.240
<v Speaker 1>and and parents, uh, just know what the bad schools

0:40:02.239 --> 0:40:03.960
<v Speaker 1>are so you can do everything you can to try

0:40:03.960 --> 0:40:07.319
<v Speaker 1>and get your kid to a different one. Yeah, I

0:40:07.320 --> 0:40:10.480
<v Speaker 1>mean yeah in New York, you see that here because

0:40:10.520 --> 0:40:14.160
<v Speaker 1>there's all of what they call like the high performing schools,

0:40:14.760 --> 0:40:17.480
<v Speaker 1>and there's you know, all of this competition to get

0:40:17.480 --> 0:40:21.520
<v Speaker 1>into these schools. And on the one hand, I feel

0:40:21.520 --> 0:40:24.160
<v Speaker 1>like the city looks at that and they wear it

0:40:24.200 --> 0:40:26.080
<v Speaker 1>as a badge of honor, of like, look at how

0:40:26.120 --> 0:40:31.000
<v Speaker 1>many parents compete to get their kids into these schools

0:40:31.000 --> 0:40:34.359
<v Speaker 1>and how many kids are competing every year to get

0:40:34.400 --> 0:40:38.600
<v Speaker 1>into these schools. When to me, what it says is like,

0:40:39.440 --> 0:40:42.000
<v Speaker 1>what does it say about the rest of your schools

0:40:43.239 --> 0:40:47.800
<v Speaker 1>that people are so desperate to get out of those

0:40:48.920 --> 0:40:53.399
<v Speaker 1>to just get into these handful of schools. Yeah? Yeah,

0:40:53.480 --> 0:40:55.200
<v Speaker 1>I mean I was a public school kid. My parents

0:40:55.200 --> 0:40:58.279
<v Speaker 1>were both public school teachers. So this is like a

0:40:58.400 --> 0:41:01.600
<v Speaker 1>situation I've been intimately involved with my whole life just

0:41:01.680 --> 0:41:06.400
<v Speaker 1>through their eyes. Uh, interesting stuff. And you know what,

0:41:06.440 --> 0:41:10.399
<v Speaker 1>everyone listening. The Problem Areas is still on HBO Max,

0:41:10.400 --> 0:41:11.879
<v Speaker 1>So if you didn't get a chance to see it,

0:41:12.880 --> 0:41:15.799
<v Speaker 1>please do. It's very funny. I mean we're talking about

0:41:15.840 --> 0:41:17.719
<v Speaker 1>all this like sort of heavy stuff, but it's also

0:41:17.760 --> 0:41:20.440
<v Speaker 1>a very funny show. I feel like we're having a

0:41:20.480 --> 0:41:32.160
<v Speaker 1>fun conversation about it. Of course, I don't know if

0:41:32.200 --> 0:41:33.480
<v Speaker 1>you want to talk about it or not. We don't

0:41:33.520 --> 0:41:35.160
<v Speaker 1>have to. But I did see what happened with John

0:41:35.239 --> 0:41:40.080
<v Speaker 1>Stewart coming out with his show The Problem, and uh,

0:41:40.480 --> 0:41:43.360
<v Speaker 1>before I even saw what what you tweeted out, I

0:41:43.400 --> 0:41:47.520
<v Speaker 1>was just like, right, like, seriously, that's that's the title

0:41:47.560 --> 0:41:50.879
<v Speaker 1>of it. Yeah, well, in the title and at least

0:41:50.880 --> 0:41:55.640
<v Speaker 1>by the description. The description is that it seems like

0:41:55.680 --> 0:41:58.880
<v Speaker 1>it's a show that is going to each season focus

0:41:58.960 --> 0:42:03.160
<v Speaker 1>on one issue. Right. Sounds familiar. So yeah, it sounds

0:42:03.200 --> 0:42:08.839
<v Speaker 1>really familiar. And yeah, I tweeted something about it, and

0:42:09.320 --> 0:42:12.120
<v Speaker 1>I found it curious. I mean, I think what also

0:42:12.239 --> 0:42:16.080
<v Speaker 1>to me struck me about it was that, uh, the

0:42:16.160 --> 0:42:20.879
<v Speaker 1>executive who bought my show and who was the one

0:42:20.960 --> 0:42:25.640
<v Speaker 1>who was you know, like, oh, I love this idea

0:42:25.680 --> 0:42:28.960
<v Speaker 1>of looking at one topic over the course of a season.

0:42:29.080 --> 0:42:33.320
<v Speaker 1>And you know, I think was the person who could

0:42:33.719 --> 0:42:36.560
<v Speaker 1>you know, held my show's life in his hands, could

0:42:36.760 --> 0:42:41.400
<v Speaker 1>use to renew my show or not? He when my

0:42:41.440 --> 0:42:45.120
<v Speaker 1>show was up for renewal left HBO went to Apple

0:42:46.360 --> 0:42:49.880
<v Speaker 1>and is the exact over this show. And so I think,

0:42:49.960 --> 0:42:53.360
<v Speaker 1>to me, that's what that's what feels a little fishy

0:42:53.400 --> 0:42:56.960
<v Speaker 1>about it all, is that like, a wait a minute,

0:42:57.560 --> 0:43:02.400
<v Speaker 1>the guy who bought my show also bought this show,

0:43:03.520 --> 0:43:08.719
<v Speaker 1>and I think was the person who held a deciding

0:43:08.840 --> 0:43:13.120
<v Speaker 1>vote on the life of my show, right, and then

0:43:15.040 --> 0:43:20.480
<v Speaker 1>you know, just opted not to vote and left left

0:43:20.480 --> 0:43:26.399
<v Speaker 1>the network. And then basically it's like, you know what,

0:43:26.719 --> 0:43:28.400
<v Speaker 1>you know what a good idea for a show is

0:43:28.400 --> 0:43:31.960
<v Speaker 1>a show that spends a season looking at one issue.

0:43:32.760 --> 0:43:37.680
<v Speaker 1>Uh yeah, I like that, and I should I should

0:43:37.719 --> 0:43:41.400
<v Speaker 1>get a guy to host that show. Oh you know what,

0:43:41.640 --> 0:43:45.640
<v Speaker 1>I'll get John and we gotta come up with a

0:43:45.680 --> 0:43:49.799
<v Speaker 1>title for it. Right. That was where it was so egregious.

0:43:49.840 --> 0:43:53.839
<v Speaker 1>It's like, are you kidding me? Yeah, it's just disappointing.

0:43:53.920 --> 0:43:56.439
<v Speaker 1>And but also, and but you had that one great

0:43:56.480 --> 0:43:59.960
<v Speaker 1>clip from your show where uh said, go ahead and

0:44:00.040 --> 0:44:02.440
<v Speaker 1>quoted exactly because I don't want to just paraphrasees. Sure,

0:44:03.000 --> 0:44:05.759
<v Speaker 1>there was a clip that we had had in the

0:44:05.760 --> 0:44:10.600
<v Speaker 1>show and it was based off of this guy that

0:44:10.640 --> 0:44:15.040
<v Speaker 1>I had interviewed. Had he had talked about policing and

0:44:15.440 --> 0:44:19.080
<v Speaker 1>he made a really uh just a really great statement

0:44:19.200 --> 0:44:25.359
<v Speaker 1>about how you have to you know, he basically made

0:44:25.400 --> 0:44:27.399
<v Speaker 1>like a really good statement about policing and just like

0:44:27.840 --> 0:44:31.440
<v Speaker 1>what the expectations for police officers should be. And he

0:44:31.480 --> 0:44:33.799
<v Speaker 1>was a he was a young black man, And so

0:44:33.880 --> 0:44:38.760
<v Speaker 1>I cut back to studio where I was and I said, wow,

0:44:38.840 --> 0:44:41.759
<v Speaker 1>you know, what he said was really deep. But if

0:44:41.800 --> 0:44:46.360
<v Speaker 1>there's one thing I've learned from being on television, if

0:44:46.440 --> 0:44:48.960
<v Speaker 1>you want people to take something that a black person

0:44:49.760 --> 0:44:52.799
<v Speaker 1>says seriously, you really need to have a white guy

0:44:52.880 --> 0:44:56.239
<v Speaker 1>say basically the same thing right after. And I mean

0:44:56.280 --> 0:44:59.200
<v Speaker 1>it was so perfect. At least you had had that

0:44:59.280 --> 0:45:01.879
<v Speaker 1>at your disposed, you know. Yeah. No, the one thing

0:45:01.920 --> 0:45:05.120
<v Speaker 1>that I'm I'm grateful for that HBO probably isn't, is

0:45:05.160 --> 0:45:08.400
<v Speaker 1>that I was able to hold on to the masters

0:45:08.840 --> 0:45:13.200
<v Speaker 1>right my show and I have a very rudimentary understanding

0:45:13.200 --> 0:45:21.080
<v Speaker 1>of Eye movie. Right. Oh that's great, man, Um, before

0:45:21.080 --> 0:45:22.920
<v Speaker 1>we get into blazing settles, I did want to talk

0:45:22.960 --> 0:45:25.600
<v Speaker 1>about one more part of your career because I know

0:45:26.520 --> 0:45:28.240
<v Speaker 1>and this is something I've never talked to you about.

0:45:28.239 --> 0:45:30.239
<v Speaker 1>Like we've we've hung out like a number of times

0:45:30.280 --> 0:45:32.759
<v Speaker 1>over the years, and for some reason, I never talked

0:45:32.760 --> 0:45:35.760
<v Speaker 1>to you about King of the Hill and your years

0:45:35.800 --> 0:45:37.520
<v Speaker 1>writing for King of the Hill, and I would just

0:45:37.600 --> 0:45:39.680
<v Speaker 1>love to know a little bit about what that was like,

0:45:39.760 --> 0:45:42.200
<v Speaker 1>because it's just such a beloved show and I know

0:45:42.239 --> 0:45:45.000
<v Speaker 1>a lot of our listeners love it. Sure, it was

0:45:45.080 --> 0:45:48.800
<v Speaker 1>a really it was an interesting experience because I think

0:45:49.320 --> 0:45:52.480
<v Speaker 1>one it was my first job in television as like

0:45:52.480 --> 0:45:54.759
<v Speaker 1>a writer. It was was it? Really? Yeah? I Mean

0:45:54.800 --> 0:45:56.480
<v Speaker 1>I'd had like jobs where I was a p A

0:45:56.640 --> 0:46:00.600
<v Speaker 1>and stuff, but this was like my first, like a fish, Okay,

0:46:00.680 --> 0:46:07.040
<v Speaker 1>you're you know, you're a TV writer. And I for me,

0:46:07.160 --> 0:46:10.640
<v Speaker 1>I grew up in Texas and I grew up not

0:46:10.760 --> 0:46:15.680
<v Speaker 1>too far from uh where Mike Judge went to college.

0:46:16.520 --> 0:46:18.520
<v Speaker 1>And it's something that Mike and I have talked about

0:46:18.560 --> 0:46:21.839
<v Speaker 1>where I when I was a kid, we would ride

0:46:21.840 --> 0:46:27.160
<v Speaker 1>our bikes over to his college campus. And my friends

0:46:27.200 --> 0:46:29.640
<v Speaker 1>and I at the time were you know, really big

0:46:29.640 --> 0:46:32.600
<v Speaker 1>into like g I Joe and army stuff, and so

0:46:33.120 --> 0:46:37.640
<v Speaker 1>we would always like get our like little camouflage outfits

0:46:37.719 --> 0:46:41.400
<v Speaker 1>and we tramped through there was like a little creek

0:46:41.520 --> 0:46:44.600
<v Speaker 1>that went into like a sewer, and we kind of

0:46:44.640 --> 0:46:47.640
<v Speaker 1>trumped through there at the edge of campus. Or we'd

0:46:47.719 --> 0:46:50.600
<v Speaker 1>run around the campus on the weekends with water guns

0:46:50.719 --> 0:46:55.160
<v Speaker 1>and do like our you know, little army ship. And

0:46:55.200 --> 0:46:59.959
<v Speaker 1>so it it was funny to think about the idea

0:47:00.040 --> 0:47:03.720
<v Speaker 1>you that he was he may have been in school

0:47:03.760 --> 0:47:08.400
<v Speaker 1>around the same time we were these idiot kids running

0:47:08.400 --> 0:47:13.040
<v Speaker 1>around and just how like bizarre that that is to

0:47:13.760 --> 0:47:17.279
<v Speaker 1>think about, like, how are you know just that we

0:47:17.719 --> 0:47:21.680
<v Speaker 1>sort of walked the same the same grounds at different

0:47:21.719 --> 0:47:25.000
<v Speaker 1>times and had different experiences with it. And so in

0:47:25.040 --> 0:47:28.520
<v Speaker 1>that way, for me working there, there was a strange

0:47:28.640 --> 0:47:32.200
<v Speaker 1>sense of like, this show feels incredibly familiar to me

0:47:32.760 --> 0:47:36.600
<v Speaker 1>because a lot of the references and things were things

0:47:36.680 --> 0:47:41.239
<v Speaker 1>that I saw. I saw versions of that. There was

0:47:41.680 --> 0:47:46.319
<v Speaker 1>the first episode when I started what season was that

0:47:46.719 --> 0:47:51.040
<v Speaker 1>I came in in season seven, and so my first

0:47:51.120 --> 0:47:54.640
<v Speaker 1>day on the job, they were doing an animatic screening.

0:47:55.400 --> 0:47:57.880
<v Speaker 1>Um and for those who don't know what an animatic

0:47:57.920 --> 0:48:00.640
<v Speaker 1>screening is, look it up. I'm not going to teach.

0:48:00.640 --> 0:48:07.520
<v Speaker 1>You know, it's basically before the but before an episode

0:48:07.719 --> 0:48:14.480
<v Speaker 1>is fully animated, they do the audio track to rough animation,

0:48:15.040 --> 0:48:17.799
<v Speaker 1>and so you see the shots, but you don't see

0:48:17.800 --> 0:48:20.799
<v Speaker 1>full animation. Um, and so you get to kind of

0:48:20.840 --> 0:48:25.759
<v Speaker 1>like see it half alive and you rewrite some things,

0:48:25.840 --> 0:48:31.600
<v Speaker 1>you talk about different shots. And so my first day

0:48:31.760 --> 0:48:35.520
<v Speaker 1>they were having an animal attic for this episode called

0:48:35.560 --> 0:48:39.799
<v Speaker 1>New Cowboy on the Block. And I remember the show

0:48:39.880 --> 0:48:44.520
<v Speaker 1>runners were on vacation when I started, and Greg Daniels

0:48:44.560 --> 0:48:47.560
<v Speaker 1>was in the office and so he was overseeing this

0:48:47.680 --> 0:48:52.800
<v Speaker 1>animal attic screening. And the writer for the episode was

0:48:52.840 --> 0:48:57.239
<v Speaker 1>a writer named Dean Young and Greg, who I didn't

0:48:57.320 --> 0:49:00.960
<v Speaker 1>know very well. You know, I just started and Greg

0:49:01.080 --> 0:49:03.080
<v Speaker 1>was like, why don't you come into this antimatic And

0:49:03.120 --> 0:49:08.359
<v Speaker 1>I was like okay, And I watched the animatic and

0:49:08.400 --> 0:49:15.200
<v Speaker 1>the episode was this episode where h and Dallas Cowboy,

0:49:15.239 --> 0:49:17.839
<v Speaker 1>a guy who played one year for the Dallas Cowboys

0:49:19.040 --> 0:49:23.480
<v Speaker 1>Special Teams had moved onto the Block and as a

0:49:23.520 --> 0:49:29.640
<v Speaker 1>result was seen as a god. And so I had

0:49:29.719 --> 0:49:34.399
<v Speaker 1>that same thing happened when I was a kid. There

0:49:34.480 --> 0:49:38.319
<v Speaker 1>was a special teams player who played one season with

0:49:38.360 --> 0:49:41.319
<v Speaker 1>the Cowboys. He played one season with the Bears and

0:49:41.400 --> 0:49:45.440
<v Speaker 1>one season with the Cowboys, and he moved in, he

0:49:45.520 --> 0:49:50.800
<v Speaker 1>moved onto our street, and he was like a god

0:49:50.960 --> 0:49:54.400
<v Speaker 1>to the name, and it was like he didn't like,

0:49:54.520 --> 0:49:57.319
<v Speaker 1>I don't know that he ever you know, I don't

0:49:57.320 --> 0:50:00.400
<v Speaker 1>know that he ever saw any serious playing time. I mean,

0:50:00.560 --> 0:50:02.160
<v Speaker 1>you know, two years of football and he was out

0:50:02.400 --> 0:50:07.560
<v Speaker 1>and uh. But he was considered like this god on

0:50:07.600 --> 0:50:09.600
<v Speaker 1>the street and people were like, oh my god, there's

0:50:09.600 --> 0:50:13.080
<v Speaker 1>a cowboy Dallas. Cowboy lives on our street. And you know,

0:50:13.160 --> 0:50:15.480
<v Speaker 1>people puff their chests out in this way where it

0:50:15.520 --> 0:50:18.360
<v Speaker 1>was like we like, this wasn't like a wealthy street

0:50:18.400 --> 0:50:20.640
<v Speaker 1>by any means, but all of a sudden, everyone thought,

0:50:20.640 --> 0:50:26.520
<v Speaker 1>like our property values just went up. And so there

0:50:26.640 --> 0:50:30.960
<v Speaker 1>was this real sense of like, oh, yeah, this like

0:50:31.040 --> 0:50:34.839
<v Speaker 1>this show. I can relate a lot to what this

0:50:34.920 --> 0:50:39.919
<v Speaker 1>show is talking about, despite the fact that, like, these

0:50:40.000 --> 0:50:43.040
<v Speaker 1>characters don't look like me or my family. These a

0:50:43.080 --> 0:50:46.480
<v Speaker 1>lot of these stories I I feel a connection to.

0:50:46.760 --> 0:50:49.920
<v Speaker 1>And so I think there was something for me that

0:50:50.000 --> 0:50:55.400
<v Speaker 1>was really I I really connected with um and and

0:50:55.480 --> 0:50:57.360
<v Speaker 1>it was a big fan of Mike, and so it

0:50:57.480 --> 0:51:01.880
<v Speaker 1>was like really great. Mike at the time lived in Austin,

0:51:02.560 --> 0:51:08.680
<v Speaker 1>and so he wasn't a part of the day to day. Um.

0:51:08.760 --> 0:51:13.440
<v Speaker 1>But every summer we would take a writer's trip to Austin,

0:51:14.920 --> 0:51:17.319
<v Speaker 1>and that was really cool because it was an opportunity

0:51:17.400 --> 0:51:19.560
<v Speaker 1>to get to spend a little time with Mike. And

0:51:20.320 --> 0:51:23.400
<v Speaker 1>for a lot of the writers, they weren't from Texas.

0:51:24.200 --> 0:51:27.080
<v Speaker 1>There were a handful of us. There was me, there

0:51:27.200 --> 0:51:31.359
<v Speaker 1>was a writer, Christie Stratton, um and another I think

0:51:31.480 --> 0:51:34.520
<v Speaker 1>Jim do Trieve was from Texas as well, or definitely

0:51:34.520 --> 0:51:37.800
<v Speaker 1>went to school in Texas. Um. Yeah, Jim was from Texas.

0:51:38.239 --> 0:51:41.799
<v Speaker 1>Uh So, yeah, there was just a handful when I

0:51:41.840 --> 0:51:45.080
<v Speaker 1>was there that were from Texas. Oh, and then there

0:51:45.120 --> 0:51:48.799
<v Speaker 1>was a guy jb was also from Texas. And so

0:51:49.800 --> 0:51:53.759
<v Speaker 1>there was just a handful of like writers who grew

0:51:53.840 --> 0:51:59.200
<v Speaker 1>up or spent considerable time in Texas. And so for

0:51:59.239 --> 0:52:03.440
<v Speaker 1>the other writers, it became this opportunity where we'd all

0:52:03.480 --> 0:52:06.040
<v Speaker 1>go down there and obviously, you know, we'd eat well

0:52:06.160 --> 0:52:10.800
<v Speaker 1>and drink well, but also go on little field trips

0:52:10.800 --> 0:52:13.640
<v Speaker 1>and so people it was it was kind of great.

0:52:13.680 --> 0:52:16.120
<v Speaker 1>And I don't know if other shows do this, but

0:52:16.719 --> 0:52:20.359
<v Speaker 1>you know, the like different writers would find different things

0:52:20.440 --> 0:52:22.759
<v Speaker 1>to do, Like some writers would go to like a

0:52:22.840 --> 0:52:26.799
<v Speaker 1>church singles group really and yeah, and they would just

0:52:26.920 --> 0:52:29.399
<v Speaker 1>do it and it was all with the idea that

0:52:29.480 --> 0:52:33.399
<v Speaker 1>like they wanted to just do research and look for

0:52:33.480 --> 0:52:37.319
<v Speaker 1>stories and yeah, and it was it really was like

0:52:37.320 --> 0:52:41.160
<v Speaker 1>a weirdly journalistic approach to it where I remember there

0:52:41.200 --> 0:52:44.799
<v Speaker 1>was an episode. There's an episode that I I had

0:52:44.880 --> 0:52:48.759
<v Speaker 1>pitched that got written after I left, and it was

0:52:49.560 --> 0:52:51.920
<v Speaker 1>it was. It was one of those things where as

0:52:52.000 --> 0:52:53.719
<v Speaker 1>much as I there was a lot that I got

0:52:53.760 --> 0:52:56.640
<v Speaker 1>from the show, and then there was also some terrible

0:52:56.640 --> 0:52:59.839
<v Speaker 1>ship that I dealt with at the show, uh, which

0:53:00.120 --> 0:53:03.920
<v Speaker 1>constantly being reminded that I was the only black writer

0:53:04.280 --> 0:53:09.200
<v Speaker 1>and that I was only there because the network had

0:53:09.320 --> 0:53:14.840
<v Speaker 1>created a diversity initiative. My salary wasn't part of the

0:53:14.880 --> 0:53:18.360
<v Speaker 1>show's budget. It was something it was something that Fox

0:53:18.360 --> 0:53:23.360
<v Speaker 1>would pay for to encourage shows to hire people of color.

0:53:24.680 --> 0:53:28.120
<v Speaker 1>And I was constantly reminded of that by my boss

0:53:28.480 --> 0:53:32.440
<v Speaker 1>um and so uh, and I think he was reminding

0:53:32.440 --> 0:53:33.880
<v Speaker 1>me of it in a way he thought it was

0:53:33.920 --> 0:53:37.839
<v Speaker 1>a good thing, and to me, it's like, no, you're

0:53:37.840 --> 0:53:43.279
<v Speaker 1>telling me I'm not like everybody else. And so but

0:53:43.600 --> 0:53:48.840
<v Speaker 1>in when I left the year I left, one of

0:53:48.840 --> 0:53:52.000
<v Speaker 1>the things I had become fascinated with was roller derby,

0:53:52.120 --> 0:53:55.040
<v Speaker 1>and there was a big roller derby scene that had

0:53:55.440 --> 0:53:58.600
<v Speaker 1>popped up in Texas and an Austin specifically, and I

0:53:58.680 --> 0:54:02.320
<v Speaker 1>had had this idea that lu Anne uh joined a

0:54:02.440 --> 0:54:05.840
<v Speaker 1>roller derby team and that potentially Peggy might want to

0:54:05.920 --> 0:54:09.600
<v Speaker 1>join too, because it fits right into Peggy's wheelhouse of

0:54:09.719 --> 0:54:12.719
<v Speaker 1>like everything she would want to do. That either she

0:54:12.880 --> 0:54:15.520
<v Speaker 1>joins or she decides she wants to be a coach

0:54:15.640 --> 0:54:20.960
<v Speaker 1>and becomes an incredibly aggressive roller derby coach. Um. But

0:54:21.080 --> 0:54:23.359
<v Speaker 1>I but I had become fascinated with it, and I

0:54:23.400 --> 0:54:25.400
<v Speaker 1>was like, oh, you know, there's roller derby and we

0:54:25.440 --> 0:54:28.879
<v Speaker 1>should go check it out. And so uh that year,

0:54:29.840 --> 0:54:33.719
<v Speaker 1>I remember they didn't want me to do that episode.

0:54:33.760 --> 0:54:37.880
<v Speaker 1>I pitched it, and I think they initially weren't into

0:54:37.920 --> 0:54:42.000
<v Speaker 1>it and then got into it and another and then

0:54:42.000 --> 0:54:45.240
<v Speaker 1>they gave it to another writer to to write and

0:54:45.280 --> 0:54:48.200
<v Speaker 1>I was kind of like, oh, that's I was really

0:54:48.320 --> 0:54:52.919
<v Speaker 1>excited about that. And so but I'm glad. I'm still

0:54:52.960 --> 0:54:58.000
<v Speaker 1>glad that they made the episode, um, and glad that

0:54:58.040 --> 0:55:02.239
<v Speaker 1>the story found the found a life somewhere. Was it

0:55:02.280 --> 0:55:05.160
<v Speaker 1>a good episode or were you kind of like, I

0:55:05.160 --> 0:55:10.160
<v Speaker 1>don't remember. I think when I left the show. Admittedly

0:55:11.000 --> 0:55:13.520
<v Speaker 1>I left the show, and I as much as I

0:55:13.560 --> 0:55:16.640
<v Speaker 1>loved the show, it, I left because I wanted to

0:55:16.640 --> 0:55:18.560
<v Speaker 1>do other things. But I also left because I didn't

0:55:18.560 --> 0:55:23.480
<v Speaker 1>feel particularly comfortable there and uh and so I think

0:55:23.520 --> 0:55:25.239
<v Speaker 1>when I left, there was a little bit of me

0:55:25.320 --> 0:55:30.680
<v Speaker 1>that it became tough to watch the show afterwards, and

0:55:31.000 --> 0:55:35.880
<v Speaker 1>uh and so I didn't really watch I recently, NPR

0:55:36.440 --> 0:55:39.600
<v Speaker 1>pop Culture Happy Hour had done an episode recently where

0:55:39.640 --> 0:55:43.359
<v Speaker 1>they talked about King of the Hill and they were

0:55:43.400 --> 0:55:47.480
<v Speaker 1>just kind of they had a guest on our journalist

0:55:47.520 --> 0:55:50.400
<v Speaker 1>named Sir Riah McDonald and they were all talking about

0:55:50.480 --> 0:55:52.799
<v Speaker 1>King of the Hill and they were talking about how

0:55:52.840 --> 0:55:56.920
<v Speaker 1>they felt the characters would have voted, and it was

0:55:56.920 --> 0:56:00.520
<v Speaker 1>an interesting conversation to hear some fans talk about it,

0:56:01.160 --> 0:56:04.960
<v Speaker 1>and I was kind of I just started thinking about it,

0:56:05.000 --> 0:56:07.440
<v Speaker 1>and so I was like, you know what I I

0:56:07.600 --> 0:56:11.719
<v Speaker 1>this is the story I would pitch, and so, you know,

0:56:11.840 --> 0:56:15.720
<v Speaker 1>with the knowledge of the characters I had I pitched.

0:56:16.120 --> 0:56:18.279
<v Speaker 1>I just basically went on Twitter and I was like,

0:56:18.960 --> 0:56:21.799
<v Speaker 1>this is what I think would happen. And I just

0:56:21.880 --> 0:56:25.080
<v Speaker 1>kind of went and I laid out my pitch for

0:56:25.280 --> 0:56:29.440
<v Speaker 1>a King of the Hill episode. Obviously Mike has final say,

0:56:29.480 --> 0:56:31.279
<v Speaker 1>but I was like, this is what I think it

0:56:31.360 --> 0:56:36.680
<v Speaker 1>would look like. And it's you know, Hank is somewhere

0:56:36.719 --> 0:56:39.480
<v Speaker 1>between a you know, he's a conservative, he's somewhere between

0:56:39.480 --> 0:56:44.480
<v Speaker 1>a conservative and a libertarian and uh, and so he

0:56:44.600 --> 0:56:49.040
<v Speaker 1>may feel like he has to vote his party. And

0:56:49.680 --> 0:56:51.239
<v Speaker 1>I think the way I kind of laid it out

0:56:51.320 --> 0:56:54.200
<v Speaker 1>is like he's a little torn. He's not crazy about it,

0:56:54.280 --> 0:56:58.279
<v Speaker 1>but he's he's a little torn. I have to read

0:56:58.320 --> 0:57:02.560
<v Speaker 1>the tweets again, but basic, basically he gets. The episode

0:57:02.600 --> 0:57:10.160
<v Speaker 1>starts with him catching coronavirus from Bill, who was asymptomatic

0:57:10.280 --> 0:57:14.960
<v Speaker 1>but just got Hank sick. And so Hank is in

0:57:15.000 --> 0:57:18.880
<v Speaker 1>the garage where he has to now stay for you know,

0:57:18.960 --> 0:57:24.000
<v Speaker 1>until he's until he's safe again. And while in the garage,

0:57:24.080 --> 0:57:32.440
<v Speaker 1>he sees Bobby acting really rude, and Bobby is saying like, oh,

0:57:32.480 --> 0:57:37.280
<v Speaker 1>he's acting like Trump and that he sees Trump as

0:57:37.400 --> 0:57:41.000
<v Speaker 1>the comedian in chief and that you know, like, oh yeah,

0:57:41.040 --> 0:57:43.600
<v Speaker 1>people like Trump does all these terrible things, and he

0:57:43.600 --> 0:57:45.880
<v Speaker 1>says they're a joke, and like, you know, he says

0:57:45.880 --> 0:57:49.160
<v Speaker 1>he's kidding, and so Bobby is sort of emulating this behavior,

0:57:50.320 --> 0:57:54.919
<v Speaker 1>and upon seeing that, Uh, it gets to a point

0:57:54.920 --> 0:57:59.520
<v Speaker 1>where Bobby does something that that offends Connie and his

0:57:59.600 --> 0:58:04.160
<v Speaker 1>offense the Connie and Uh, Hank sees that, and he's like,

0:58:04.160 --> 0:58:05.880
<v Speaker 1>you know what, screw this, I'm not going to vote.

0:58:06.040 --> 0:58:08.520
<v Speaker 1>Like I like, I don't want to vote for this party,

0:58:08.520 --> 0:58:11.520
<v Speaker 1>and I don't like the idea of a politician being

0:58:11.560 --> 0:58:16.000
<v Speaker 1>a comedian. I still don't forgive Nixon for going on

0:58:16.120 --> 0:58:21.280
<v Speaker 1>laughing like um. But he's like, I can't, I can't

0:58:21.320 --> 0:58:24.160
<v Speaker 1>do it. And then one night in the garage, he

0:58:24.200 --> 0:58:29.000
<v Speaker 1>has a fever dream where he's visited by h Ann

0:58:29.200 --> 0:58:36.360
<v Speaker 1>Richards and and Richards reminds him that, like I was

0:58:36.440 --> 0:58:39.880
<v Speaker 1>governor of Texas and I was a Democrat, and like,

0:58:40.000 --> 0:58:43.280
<v Speaker 1>it's not always about party there, you know, there are

0:58:43.280 --> 0:58:47.920
<v Speaker 1>people across party lines who do things that are the

0:58:48.160 --> 0:58:52.680
<v Speaker 1>in the best interest of the people. And so that's

0:58:52.960 --> 0:58:59.840
<v Speaker 1>what ultimately convinces Hank and he decides to vote for Biden,

0:59:00.000 --> 0:59:03.040
<v Speaker 1>but he won't tell anyone except Bobby, who he swears

0:59:03.080 --> 0:59:08.240
<v Speaker 1>to secrecy. Uh, you know, Bobby start he has to

0:59:08.480 --> 0:59:11.400
<v Speaker 1>at some point teach Bobby that, like what Trump is

0:59:11.440 --> 0:59:15.320
<v Speaker 1>doing is in comedy, and you shouldn't expect your politicians

0:59:15.320 --> 0:59:17.920
<v Speaker 1>to be comedians. You should expect them to be the

0:59:17.960 --> 0:59:22.480
<v Speaker 1>people who enact what you as as the public want.

0:59:23.120 --> 0:59:27.320
<v Speaker 1>Bobby sees that, you know, he apologized to Connie. Uh.

0:59:27.440 --> 0:59:30.960
<v Speaker 1>Peggy and Lewin have a storyline where while all this

0:59:31.040 --> 0:59:33.680
<v Speaker 1>is going on, because it's in the middle of a pandemic,

0:59:34.360 --> 0:59:37.640
<v Speaker 1>they head to the megalo mart where they're going to

0:59:38.360 --> 0:59:41.800
<v Speaker 1>they're trying to load up on toilet paper like everybody else.

0:59:42.400 --> 0:59:46.320
<v Speaker 1>But when they get there, they see that there's a

0:59:46.400 --> 0:59:49.120
<v Speaker 1>strike happening. Because all the people at the megalo mart

0:59:49.480 --> 0:59:53.360
<v Speaker 1>are like, hey, we are we deserve a raise, like

0:59:53.440 --> 0:59:59.120
<v Speaker 1>we're you know, front facing in the you know, are

0:59:59.240 --> 1:00:02.080
<v Speaker 1>at risk and people are getting sick who work here

1:00:02.120 --> 1:00:05.560
<v Speaker 1>and very much echoing what's going on what was going

1:00:05.600 --> 1:00:08.800
<v Speaker 1>on with like Whole Foods workers and Amazon workers, where

1:00:08.800 --> 1:00:10.840
<v Speaker 1>it's like, oh, yeah, all these people are getting sick

1:00:10.880 --> 1:00:14.640
<v Speaker 1>and they don't have healthcare. And so Peggy and Lunn

1:00:14.720 --> 1:00:18.760
<v Speaker 1>see this and then wind up getting involved in the strike.

1:00:19.600 --> 1:00:25.280
<v Speaker 1>And Peggy, you know, Peggy sees herself as the norma

1:00:25.360 --> 1:00:29.960
<v Speaker 1>ray for this group. Whether they see it is another story,

1:00:30.000 --> 1:00:32.760
<v Speaker 1>but Peggy has kind of like gone, you know, full

1:00:32.920 --> 1:00:36.200
<v Speaker 1>full on board. And so even in at the moment

1:00:36.200 --> 1:00:38.440
<v Speaker 1>when Hank has decided he's not going to vote, like

1:00:38.760 --> 1:00:41.720
<v Speaker 1>Peggy gets very upset and it's like you have to vote,

1:00:41.760 --> 1:00:44.640
<v Speaker 1>like this is you know, uh like because she sees

1:00:44.680 --> 1:00:49.640
<v Speaker 1>herself now is this labor organizer? And uh. And so

1:00:49.840 --> 1:00:52.040
<v Speaker 1>that's so that was kind of like the episode. And

1:00:52.080 --> 1:00:54.520
<v Speaker 1>then I and then I kind of talked about how

1:00:54.520 --> 1:00:58.360
<v Speaker 1>the other guys would have voted, and I said, well,

1:00:58.480 --> 1:01:01.360
<v Speaker 1>you know, Dale's off the grid, so or as off

1:01:01.360 --> 1:01:04.920
<v Speaker 1>the grid as a guy who's owns a house that

1:01:05.040 --> 1:01:07.520
<v Speaker 1>is in his wife, is in his wife's name and

1:01:07.520 --> 1:01:12.840
<v Speaker 1>paid for by his wife. Um, he's but he wouldn't vote. Uh.

1:01:14.400 --> 1:01:20.560
<v Speaker 1>And then Boom Howard. I think I wrote out Boom

1:01:20.560 --> 1:01:23.200
<v Speaker 1>Howard's vote in his voice where he was just kind

1:01:23.200 --> 1:01:27.400
<v Speaker 1>of like, uh, you know, talking about Bengal bad knees man,

1:01:27.440 --> 1:01:30.600
<v Speaker 1>talking about football man, talking about you know, Bengal legalize

1:01:30.640 --> 1:01:34.720
<v Speaker 1>it man, um. And so he's voting for anybody who

1:01:34.760 --> 1:01:40.320
<v Speaker 1>will legalize marijuana. Uh. And then I said that Bill

1:01:40.840 --> 1:01:45.360
<v Speaker 1>would get arrested as part of the January six insurrection

1:01:46.120 --> 1:01:51.280
<v Speaker 1>only because he had been catfished there for love by

1:01:51.400 --> 1:01:56.560
<v Speaker 1>Dale and that Dale had cat fished him with some

1:01:56.720 --> 1:02:00.280
<v Speaker 1>woman who had been involved in Q and On. And

1:02:01.400 --> 1:02:03.400
<v Speaker 1>you know, Bill is not really paying attention to what

1:02:03.520 --> 1:02:05.960
<v Speaker 1>Q and on is. He's just kind of like this

1:02:06.080 --> 1:02:09.800
<v Speaker 1>lady loves me and like she's you know, and she

1:02:09.920 --> 1:02:15.320
<v Speaker 1>told me to meet her in Washington, d C. And so, dude,

1:02:15.320 --> 1:02:17.720
<v Speaker 1>I want to see that episode. Thank you. Yeah, a

1:02:17.760 --> 1:02:21.400
<v Speaker 1>fair number of people wanted to also. They echoed that,

1:02:21.560 --> 1:02:25.160
<v Speaker 1>and what wound up being funny. I I tweeted all that,

1:02:25.240 --> 1:02:28.120
<v Speaker 1>and then it was actually a very sweet thing. I

1:02:28.120 --> 1:02:33.280
<v Speaker 1>I also tweeted an image that the animators had drawn.

1:02:34.200 --> 1:02:36.800
<v Speaker 1>There was an l A Times article about the show

1:02:37.480 --> 1:02:41.480
<v Speaker 1>when I was working there, and they had had the

1:02:41.520 --> 1:02:47.520
<v Speaker 1>animators draw the writing staff and so we were all

1:02:47.600 --> 1:02:51.320
<v Speaker 1>drawn in that style in the writer's room, and so

1:02:51.880 --> 1:02:54.840
<v Speaker 1>I kind of tweeted out my you know, this was

1:02:55.000 --> 1:03:00.000
<v Speaker 1>the episode in response to that pop culture happy our episode,

1:03:00.640 --> 1:03:02.920
<v Speaker 1>and I tweeted all out, and then at the end

1:03:02.960 --> 1:03:08.880
<v Speaker 1>of it had put this illustration, Uh, in part because

1:03:09.000 --> 1:03:10.640
<v Speaker 1>I think as people were reading it, I don't know

1:03:10.680 --> 1:03:13.720
<v Speaker 1>that people realized that I had worked for the show,

1:03:14.560 --> 1:03:17.080
<v Speaker 1>and they were just like, oh, wow, like you you

1:03:17.160 --> 1:03:19.560
<v Speaker 1>seem to know a lot about this show, and it

1:03:19.680 --> 1:03:23.840
<v Speaker 1>was like and so I tweeted that and it was

1:03:24.640 --> 1:03:26.840
<v Speaker 1>something that was very sweet. Was one of the writers.

1:03:27.400 --> 1:03:32.200
<v Speaker 1>Uh had seen it, and he had responded his his

1:03:32.320 --> 1:03:37.800
<v Speaker 1>name is kid Boss, and he had responded that both

1:03:38.040 --> 1:03:41.400
<v Speaker 1>a sense of like of you know, fond memories, but

1:03:41.520 --> 1:03:45.040
<v Speaker 1>also in looking at the the image, a sense of

1:03:45.120 --> 1:03:49.040
<v Speaker 1>embarrassment at the fact that it was this sea of

1:03:49.160 --> 1:03:53.360
<v Speaker 1>white guys and a couple of white women and me

1:03:53.960 --> 1:03:59.720
<v Speaker 1>and Uh and Uh. And in his tweet, Uh said,

1:04:00.080 --> 1:04:03.480
<v Speaker 1>uh he he it was. It was a very funny

1:04:03.480 --> 1:04:08.080
<v Speaker 1>thing where I'm paraphrasing, but he was like, if this image,

1:04:08.120 --> 1:04:10.240
<v Speaker 1>if there were a song to go with this image,

1:04:10.760 --> 1:04:18.280
<v Speaker 1>and he linked to the song white Room. It was like, yeah,

1:04:18.400 --> 1:04:21.160
<v Speaker 1>you're not wrong, and you know what, that song will

1:04:21.240 --> 1:04:28.600
<v Speaker 1>follow me to a few more places. Oh man, that's great.

1:04:36.440 --> 1:04:39.880
<v Speaker 1>You were my first sort of entertainment celebrity friend. Did

1:04:39.920 --> 1:04:41.720
<v Speaker 1>you know that you and John? I didn't know that.

1:04:41.760 --> 1:04:44.240
<v Speaker 1>Well wait, was it me and John or just me?

1:04:44.840 --> 1:04:46.840
<v Speaker 1>Well I meet you guys both on the same day.

1:04:46.880 --> 1:04:48.800
<v Speaker 1>I know you don't remember this stuff because people only

1:04:48.840 --> 1:04:52.160
<v Speaker 1>remember like meeting people that are more important than they are.

1:04:52.640 --> 1:04:57.560
<v Speaker 1>Was it? It was the quiz was before that that

1:04:57.560 --> 1:05:00.439
<v Speaker 1>that is what we wrote you into. It was, Uh,

1:05:00.520 --> 1:05:03.120
<v Speaker 1>John got in touch with us, Josh and I about

1:05:03.400 --> 1:05:06.880
<v Speaker 1>Jesus probably like eleven years ago, and said, my friend

1:05:06.960 --> 1:05:10.000
<v Speaker 1>Wyatt Sinak uh told me about stuff you should know

1:05:10.040 --> 1:05:11.440
<v Speaker 1>and said I would really like it and to give

1:05:11.440 --> 1:05:13.960
<v Speaker 1>it a listen. And so I'm reaching I love I

1:05:13.960 --> 1:05:15.160
<v Speaker 1>love it, and I'm reaching out to you guys. I

1:05:15.240 --> 1:05:16.840
<v Speaker 1>let's see if you want to have lunch next time

1:05:16.840 --> 1:05:19.720
<v Speaker 1>you come to New York. And Josh and I were

1:05:19.760 --> 1:05:22.000
<v Speaker 1>just like, oh my god, did you see that? Like

1:05:22.000 --> 1:05:24.520
<v Speaker 1>White Sinek is listening to us and John Hodgens listening

1:05:24.520 --> 1:05:29.240
<v Speaker 1>to us, and uh we met for lunch at Shopson's,

1:05:30.440 --> 1:05:34.400
<v Speaker 1>you me and Josh and John, and that was our

1:05:34.480 --> 1:05:38.360
<v Speaker 1>first like meeting with someone in the entertainment. Like we

1:05:38.360 --> 1:05:41.240
<v Speaker 1>were just very removed and still kind of our to

1:05:41.280 --> 1:05:44.480
<v Speaker 1>be honest, but very removed from all of that and

1:05:44.520 --> 1:05:47.320
<v Speaker 1>in our little room recording our show and just it

1:05:47.400 --> 1:05:48.760
<v Speaker 1>was a big deal. Man. It meant a lot to

1:05:48.840 --> 1:05:51.600
<v Speaker 1>us that y'all listened and y'all reached out and uh

1:05:51.800 --> 1:05:55.920
<v Speaker 1>took us to lunch, and uh so sort of twelve

1:05:56.080 --> 1:05:58.280
<v Speaker 1>eleven years later, I just wanted to say thanks. So

1:05:59.680 --> 1:06:01.800
<v Speaker 1>it was a big deal to us, and it sort

1:06:01.840 --> 1:06:03.520
<v Speaker 1>of felt like, you know, we had arrived in a

1:06:03.560 --> 1:06:06.360
<v Speaker 1>certain way for two guys who sort of accidentally fell

1:06:06.400 --> 1:06:10.720
<v Speaker 1>into this career as a non professional you know, broadcasters

1:06:10.800 --> 1:06:14.160
<v Speaker 1>and comedian types. And it was a big deal. And

1:06:14.280 --> 1:06:17.400
<v Speaker 1>and so much fruit has been born from the relationship

1:06:17.440 --> 1:06:19.480
<v Speaker 1>with John two of him introducing me to people. You

1:06:19.560 --> 1:06:22.440
<v Speaker 1>know how John is, He's just such a connector. And uh,

1:06:23.000 --> 1:06:25.720
<v Speaker 1>but you were, you were the conduit man, so and

1:06:25.920 --> 1:06:28.000
<v Speaker 1>and and I'm not surprised you don't remember, but it

1:06:28.040 --> 1:06:29.400
<v Speaker 1>was a big deal. No, not that you say it.

1:06:29.440 --> 1:06:32.280
<v Speaker 1>I remember us going to shops and I like, that

1:06:32.360 --> 1:06:36.320
<v Speaker 1>was you. I think that's the I've only been the

1:06:36.320 --> 1:06:40.760
<v Speaker 1>shops since maybe or that iteration of shops s AND's.

1:06:40.840 --> 1:06:43.200
<v Speaker 1>I think i'd only been to it. That might have

1:06:43.240 --> 1:06:46.880
<v Speaker 1>been my first time there. Maybe I went one other

1:06:46.960 --> 1:06:51.240
<v Speaker 1>time and then I've since been to the new iteration

1:06:51.320 --> 1:06:57.800
<v Speaker 1>of it. But yeah, so, uh no, I mean one,

1:06:58.040 --> 1:07:04.040
<v Speaker 1>I enjoyed listening to the podcast so much, and I

1:07:04.120 --> 1:07:08.400
<v Speaker 1>really became this a weird little evangelist for it, where

1:07:08.440 --> 1:07:10.360
<v Speaker 1>I was like, oh my god, you should listen to

1:07:10.360 --> 1:07:13.680
<v Speaker 1>this episode that listen to them talk about zombies like

1:07:13.720 --> 1:07:18.120
<v Speaker 1>this is so fascinating. Well that was huge, man, it

1:07:18.160 --> 1:07:21.440
<v Speaker 1>was a big deal. And so it's to meet you guys.

1:07:21.480 --> 1:07:24.560
<v Speaker 1>I think I was enamored with what you all were

1:07:24.600 --> 1:07:28.160
<v Speaker 1>doing and how you know, you talked about my show,

1:07:29.080 --> 1:07:31.600
<v Speaker 1>But I feel like when I listened to your show,

1:07:31.800 --> 1:07:36.640
<v Speaker 1>what was great was that you were taking all of

1:07:36.680 --> 1:07:43.919
<v Speaker 1>these ideas that I people kind of like no more

1:07:44.000 --> 1:07:47.480
<v Speaker 1>as concept and digging into them in ways that we're

1:07:47.520 --> 1:07:53.680
<v Speaker 1>thoughtful and approachable to a listener, where yeah, it became

1:07:54.680 --> 1:08:01.560
<v Speaker 1>a really enjoyable thing to consume, whether you're in a

1:08:01.640 --> 1:08:04.560
<v Speaker 1>car driving and listening, or you're on the train and

1:08:04.600 --> 1:08:07.080
<v Speaker 1>you got your headphones on, or you're just sitting in

1:08:07.120 --> 1:08:11.240
<v Speaker 1>your apartment and you want to be entertained, and it

1:08:11.400 --> 1:08:15.360
<v Speaker 1>I I feel like it it was that the the

1:08:15.400 --> 1:08:20.760
<v Speaker 1>interplay between both of you was always very fun and engaging,

1:08:20.840 --> 1:08:23.120
<v Speaker 1>and it felt like it felt like you were sitting

1:08:23.160 --> 1:08:26.400
<v Speaker 1>and eaves dropping in on a wonderful conversation that you

1:08:26.439 --> 1:08:28.880
<v Speaker 1>would walk away from it and be able to go

1:08:29.040 --> 1:08:33.160
<v Speaker 1>someplace else and be like, hey, do you want to

1:08:33.200 --> 1:08:36.920
<v Speaker 1>know something I just like And you kind of walk

1:08:37.000 --> 1:08:39.679
<v Speaker 1>away looking like a genius and it was just like, yeah,

1:08:39.800 --> 1:08:41.880
<v Speaker 1>I know all this information. It's like, where did you

1:08:41.880 --> 1:08:45.040
<v Speaker 1>get it? I just overheard these two chaps having a

1:08:45.080 --> 1:08:49.439
<v Speaker 1>lovely conversation about it. Well, thanks man Um, and you

1:08:49.479 --> 1:08:50.880
<v Speaker 1>were as a result, you were one of the first

1:08:50.880 --> 1:08:52.720
<v Speaker 1>people I wanted to get on movie Crush, and I

1:08:52.720 --> 1:08:54.640
<v Speaker 1>tried to a few years ago, and I bugged you

1:08:54.640 --> 1:08:56.920
<v Speaker 1>a little bit, and I think it was just not

1:08:57.000 --> 1:08:58.720
<v Speaker 1>the right time, And looking back, it might have been

1:08:59.560 --> 1:09:02.880
<v Speaker 1>when you are probably making problem areas, so it was

1:09:02.880 --> 1:09:06.040
<v Speaker 1>probably terrible timing. But I'm glad to finally get you on. Uh.

1:09:06.120 --> 1:09:08.639
<v Speaker 1>And when you pick Blazing Saddles, I was really excited

1:09:09.360 --> 1:09:12.799
<v Speaker 1>because this was a very big movie for me, especially

1:09:12.800 --> 1:09:16.200
<v Speaker 1>in college with me and my friends. We I mean,

1:09:16.280 --> 1:09:18.639
<v Speaker 1>I don't keep count of how many times I've seen

1:09:18.680 --> 1:09:22.400
<v Speaker 1>specific movies, but this one is up there along with

1:09:22.479 --> 1:09:26.599
<v Speaker 1>Spinal Tap as far as comedies go, um seeing them,

1:09:26.640 --> 1:09:28.559
<v Speaker 1>and you know the Christopher Guest all of his stuff.

1:09:28.600 --> 1:09:34.240
<v Speaker 1>Really seeing movies probably dozens of times, and uh, I

1:09:34.320 --> 1:09:36.160
<v Speaker 1>remember seeing it, believe it or not. This is the

1:09:36.160 --> 1:09:38.360
<v Speaker 1>first movie I saw in the theater. When I was three,

1:09:38.920 --> 1:09:41.719
<v Speaker 1>my parents took me to a drive in a Blazing

1:09:41.720 --> 1:09:45.000
<v Speaker 1>Saddles and it's one of my first memories in life

1:09:45.120 --> 1:09:46.760
<v Speaker 1>is and I only remember a couple of things. I

1:09:46.800 --> 1:09:50.600
<v Speaker 1>remember Cleveland Little when he first rode into town with

1:09:50.640 --> 1:09:55.360
<v Speaker 1>that sweet, badass suede outfit. Yeah, the Gucci outfit in

1:09:55.439 --> 1:09:58.599
<v Speaker 1>that cool horse. And I remember Mango punching out the horse.

1:09:59.520 --> 1:10:01.719
<v Speaker 1>And those are only two things I remember from being

1:10:01.760 --> 1:10:04.200
<v Speaker 1>like three and a half years old or whatever when

1:10:04.240 --> 1:10:07.840
<v Speaker 1>this movie came out. But um, what I mean, let's

1:10:07.880 --> 1:10:10.479
<v Speaker 1>get into it. Man, what what does this mean movie

1:10:10.479 --> 1:10:15.240
<v Speaker 1>to you? It's a lot, It's it's it's an interesting

1:10:15.280 --> 1:10:19.519
<v Speaker 1>movie because I feel like it's one of those movies

1:10:19.600 --> 1:10:28.120
<v Speaker 1>that I like in rewatching it. I've watched a bunch myself,

1:10:28.160 --> 1:10:34.600
<v Speaker 1>and I rewatched it in anticipation for our conversation, And

1:10:34.640 --> 1:10:36.320
<v Speaker 1>there's a part of it where you watch it and

1:10:36.360 --> 1:10:41.080
<v Speaker 1>it's just like the storyline is almost secondary or tertiary

1:10:41.400 --> 1:10:49.400
<v Speaker 1>two all of these just ridiculous scenes. But also it plays,

1:10:49.840 --> 1:10:53.360
<v Speaker 1>it plays a role in it. And I think one

1:10:53.400 --> 1:10:59.040
<v Speaker 1>thing I've always appreciated about the film is when you

1:10:59.080 --> 1:11:05.439
<v Speaker 1>watch it, there is there's a real like there's a

1:11:05.520 --> 1:11:11.000
<v Speaker 1>real difficulty level to doing a movie like that. That

1:11:11.360 --> 1:11:13.439
<v Speaker 1>and I think, I think if you were to look

1:11:13.479 --> 1:11:15.600
<v Speaker 1>at probably reviews of that time, people would say, like

1:11:15.840 --> 1:11:20.919
<v Speaker 1>the plots thin Ye. What's interesting is like you're setting

1:11:20.960 --> 1:11:24.919
<v Speaker 1>things up that you're calling back later throughout the movie.

1:11:25.360 --> 1:11:29.559
<v Speaker 1>You're weaving things in, You're making choices where you have

1:11:29.760 --> 1:11:35.599
<v Speaker 1>like you know, the executioner that's outside of Headley Lamar's office,

1:11:36.040 --> 1:11:41.439
<v Speaker 1>where it's like you've got a medieval style executioner Middle Ages. Yeah,

1:11:41.479 --> 1:11:46.120
<v Speaker 1>and like what a weird like what a weird thought

1:11:46.160 --> 1:11:49.000
<v Speaker 1>process of like this has nothing to do with the

1:11:49.080 --> 1:11:53.360
<v Speaker 1>overall story, but we want to do this joke, and

1:11:53.400 --> 1:11:58.679
<v Speaker 1>so we have to justify like this joke somehow where

1:11:59.479 --> 1:12:01.880
<v Speaker 1>you have a plot thing happening and then you just

1:12:01.960 --> 1:12:06.640
<v Speaker 1>hear a noise, like and then it's just like the

1:12:06.720 --> 1:12:09.639
<v Speaker 1>noise is really just to go and tell this one

1:12:10.240 --> 1:12:13.160
<v Speaker 1>executioner joke, which isn't a cheap joke. You've still got

1:12:13.160 --> 1:12:15.880
<v Speaker 1>to get a set and do all these things, and

1:12:15.920 --> 1:12:21.040
<v Speaker 1>it's like you've got that joke and then it's almost

1:12:21.120 --> 1:12:23.679
<v Speaker 1>a throwaway, but it like shows up a little bit later.

1:12:24.680 --> 1:12:28.440
<v Speaker 1>But the idea that like, when I think about crafting

1:12:28.439 --> 1:12:32.080
<v Speaker 1>a movie like that, like the idea that something that

1:12:32.200 --> 1:12:38.439
<v Speaker 1>seems like a throwaway you then justify later when you

1:12:38.560 --> 1:12:42.200
<v Speaker 1>have to. Like it comes back towards the end of

1:12:42.200 --> 1:12:47.280
<v Speaker 1>the movie again when there's another execution happening, and I

1:12:47.400 --> 1:12:50.760
<v Speaker 1>think the part of me that knows how these things

1:12:50.800 --> 1:12:55.760
<v Speaker 1>get made, it's like, oh, however many days this shoot was.

1:12:56.680 --> 1:13:00.040
<v Speaker 1>That's a set and you had to you had to

1:13:00.160 --> 1:13:03.800
<v Speaker 1>get that set for a certain number of days, and

1:13:04.479 --> 1:13:08.160
<v Speaker 1>you've got to justify using that set, and like and

1:13:08.240 --> 1:13:11.200
<v Speaker 1>just how like, I don't know, there's just something about

1:13:11.240 --> 1:13:14.479
<v Speaker 1>it that feels like, oh, the there's an execution that's

1:13:14.520 --> 1:13:19.240
<v Speaker 1>that's going on there that's like so weirdly thoughtful, where

1:13:19.400 --> 1:13:24.840
<v Speaker 1>everything is connected and also seems so unconnected at the

1:13:24.880 --> 1:13:28.360
<v Speaker 1>same time. And I just remember watching it and thinking like,

1:13:29.000 --> 1:13:35.120
<v Speaker 1>this movie seems so like wonderful in its zaney nous

1:13:35.840 --> 1:13:40.519
<v Speaker 1>and but also so intelligent in how it's in how

1:13:40.600 --> 1:13:44.680
<v Speaker 1>it seems chaotic. And I always thought like, oh, one

1:13:44.720 --> 1:13:48.040
<v Speaker 1>day I would love to make my own version of

1:13:48.080 --> 1:13:51.920
<v Speaker 1>a Blazing Saddles, Like that's always been the thing of like, Oh,

1:13:51.920 --> 1:13:55.040
<v Speaker 1>when I think of a satire, I think of that movie.

1:13:55.080 --> 1:13:57.479
<v Speaker 1>And when I think of Cleveland Little and just the

1:13:57.600 --> 1:14:01.559
<v Speaker 1>role he's playing as well, where it's like he's taking

1:14:01.720 --> 1:14:08.840
<v Speaker 1>he's basically Bugs Bunny but doing something that and and

1:14:08.880 --> 1:14:12.799
<v Speaker 1>I'd be curious if like this was the thought process

1:14:12.840 --> 1:14:16.639
<v Speaker 1>when they were crafting it. But you know, so many

1:14:16.640 --> 1:14:20.240
<v Speaker 1>of those old cartoon characters, whether it's Bugs Bunny or

1:14:20.360 --> 1:14:27.320
<v Speaker 1>Mickey Mouse, their origins are in minstrelsy and the you know,

1:14:27.360 --> 1:14:31.200
<v Speaker 1>the white gloves are part of that kind of like

1:14:31.320 --> 1:14:37.120
<v Speaker 1>minstrel uh, that minstrel wardrobe. And that's interesting and that's

1:14:37.120 --> 1:14:39.599
<v Speaker 1>where they that's where a lot of it comes from,

1:14:39.640 --> 1:14:43.600
<v Speaker 1>the roots of it, are taking a lot of those

1:14:44.400 --> 1:14:51.120
<v Speaker 1>minstrel shows and those characters, those characterizations and just putting

1:14:51.120 --> 1:14:55.880
<v Speaker 1>them into animals. And so that's and that's oftentimes you

1:14:55.880 --> 1:14:58.639
<v Speaker 1>would see when the characters wind up like in black

1:14:58.680 --> 1:15:01.240
<v Speaker 1>face from time to time it's a little bit of

1:15:01.240 --> 1:15:04.600
<v Speaker 1>a nod to that. But the gloves were that's a

1:15:04.640 --> 1:15:08.360
<v Speaker 1>holdover from that. And yeah, and so there's something that's

1:15:08.400 --> 1:15:13.000
<v Speaker 1>interesting about then, like, oh, now you have cleve on

1:15:13.120 --> 1:15:17.760
<v Speaker 1>little basically taking and at one point even going as

1:15:17.760 --> 1:15:21.760
<v Speaker 1>far as doing like a Bugs Bunny bit where and

1:15:21.960 --> 1:15:27.160
<v Speaker 1>taking all of that and now actually taking something that

1:15:27.240 --> 1:15:30.840
<v Speaker 1>has its origins and minstrelsy where you had white people

1:15:30.880 --> 1:15:34.040
<v Speaker 1>in black face and now you've sort of taken some

1:15:34.240 --> 1:15:38.800
<v Speaker 1>of those movements and the and the characterizations and you

1:15:38.840 --> 1:15:41.920
<v Speaker 1>put them into animals, and then you've built something out

1:15:41.960 --> 1:15:45.839
<v Speaker 1>of that. And then here is a black person taking

1:15:45.880 --> 1:15:50.800
<v Speaker 1>all of that and using that to point at and

1:15:50.880 --> 1:15:54.840
<v Speaker 1>make fun of racism in in this world. And so

1:15:54.880 --> 1:15:56.640
<v Speaker 1>there was something about it that I was that I

1:15:56.760 --> 1:16:04.200
<v Speaker 1>found like very subversive, whether intentionally or unintentionally, about his

1:16:04.320 --> 1:16:07.760
<v Speaker 1>performance and what was going on there. And so I think,

1:16:07.760 --> 1:16:09.880
<v Speaker 1>to me it was both like, oh, here's this really

1:16:09.880 --> 1:16:12.920
<v Speaker 1>funny movie, but also one where when I think about

1:16:12.920 --> 1:16:17.800
<v Speaker 1>things like representation, it is one where it is, you know,

1:16:19.920 --> 1:16:26.160
<v Speaker 1>in a nineteen seventies way, trying to be representative and

1:16:26.200 --> 1:16:31.120
<v Speaker 1>talk about racism and even talk about sexism, but you know,

1:16:31.240 --> 1:16:34.360
<v Speaker 1>doing it in a way that I think today probably

1:16:34.360 --> 1:16:40.000
<v Speaker 1>feels antiquated. But you know, forty over forty five years ago,

1:16:40.920 --> 1:16:43.640
<v Speaker 1>I think to look at it through that lens, it's like,

1:16:43.920 --> 1:16:47.960
<v Speaker 1>holy fuck, Like what like, like you're really doing something

1:16:48.000 --> 1:16:50.280
<v Speaker 1>and doing it in a way where you're using comedy

1:16:50.320 --> 1:16:53.719
<v Speaker 1>to do it. I was, yeah, it's it's It's always

1:16:53.760 --> 1:16:57.400
<v Speaker 1>meant a lot to me in that regard. Yeah, I

1:16:57.400 --> 1:17:01.040
<v Speaker 1>mean what struck me today it was how quickly it

1:17:01.200 --> 1:17:04.920
<v Speaker 1>subverts that the racist thing right out of the gate.

1:17:05.040 --> 1:17:09.920
<v Speaker 1>Like the very first scene is on the railroad, when um,

1:17:10.760 --> 1:17:12.360
<v Speaker 1>what's the guy's name? I love him? He was in

1:17:12.720 --> 1:17:18.000
<v Speaker 1>the fletched movie, Slim Pickens. No, he's great to Burton

1:17:18.040 --> 1:17:22.599
<v Speaker 1>Gilliam when he's he's trying to get them to sing,

1:17:22.800 --> 1:17:26.040
<v Speaker 1>singing and seeing the good old slave song, and it

1:17:26.080 --> 1:17:30.400
<v Speaker 1>subverts it right away. Cleveland Little exerts his power and

1:17:30.840 --> 1:17:36.160
<v Speaker 1>start singing. You know, some get their kicks from Champagne.

1:17:36.840 --> 1:17:39.519
<v Speaker 1>And it's just immediately it sets the tone for this

1:17:39.600 --> 1:17:42.320
<v Speaker 1>movie of what's going to happen, which is Cleveland Little

1:17:42.439 --> 1:17:45.559
<v Speaker 1>is is probably the smartest guy in the movie. At

1:17:45.600 --> 1:17:49.880
<v Speaker 1>least he and Jim probably are are equals. And these

1:17:49.920 --> 1:17:53.479
<v Speaker 1>guys are all idiots, and we're gonna and we're gonna

1:17:53.520 --> 1:17:55.920
<v Speaker 1>show that right out of the gate. And then those

1:17:55.920 --> 1:17:59.680
<v Speaker 1>guys start singing the Camptown Lady and dancing around like

1:17:59.680 --> 1:18:02.720
<v Speaker 1>a much morons. And then and that just set that

1:18:02.800 --> 1:18:04.439
<v Speaker 1>just sets the tone right away, and you know what

1:18:04.560 --> 1:18:06.040
<v Speaker 1>kind of and you know, so much of this was

1:18:06.080 --> 1:18:08.680
<v Speaker 1>probably lost on me when I was certainly when I

1:18:08.720 --> 1:18:11.640
<v Speaker 1>was three, but when I was nineteen and in college

1:18:12.680 --> 1:18:14.800
<v Speaker 1>It's a movie that the more you watch it over

1:18:14.840 --> 1:18:18.160
<v Speaker 1>the years that not only do you find new jokes

1:18:18.200 --> 1:18:21.920
<v Speaker 1>somehow you still find new jokes, but you really get

1:18:22.680 --> 1:18:25.040
<v Speaker 1>the subversion of the whole thing more and more as

1:18:25.080 --> 1:18:28.519
<v Speaker 1>it ages. I think, yeah, No, I think it's it's

1:18:28.560 --> 1:18:31.960
<v Speaker 1>an interesting one to watch in that way, And I

1:18:32.000 --> 1:18:34.839
<v Speaker 1>think to what you're talking about, I think of another

1:18:35.120 --> 1:18:38.679
<v Speaker 1>There's another thing I think about, especially with Cleveland Little's character,

1:18:39.400 --> 1:18:43.880
<v Speaker 1>where I think about the story of Brear Rabbit, which

1:18:43.960 --> 1:18:46.120
<v Speaker 1>was a story that I was always fascinated with as

1:18:46.120 --> 1:18:52.599
<v Speaker 1>a kid, and it was, you know, that idea of

1:18:53.479 --> 1:18:57.880
<v Speaker 1>it's the trickster and Cleveland Little was the trickster, and

1:18:58.439 --> 1:19:05.320
<v Speaker 1>the trickster. You know, brear Rabbit comes from African folklore

1:19:05.400 --> 1:19:08.040
<v Speaker 1>and the stories of like a Nanti the spider who

1:19:08.120 --> 1:19:12.080
<v Speaker 1>was the trickster, and originally breat Rabbit stories were stories

1:19:12.120 --> 1:19:17.200
<v Speaker 1>that enslaved people told each other, and brear Rabbit was

1:19:18.040 --> 1:19:22.519
<v Speaker 1>the embodiment of the enslaved person who got one over

1:19:23.479 --> 1:19:27.960
<v Speaker 1>on either the overseer brear Fox or the plantation master

1:19:28.080 --> 1:19:33.320
<v Speaker 1>brear Bear. And so there's something that I think even

1:19:34.439 --> 1:19:37.479
<v Speaker 1>in that when I think about, like Cleveland Little's character,

1:19:37.960 --> 1:19:42.240
<v Speaker 1>it falls in that same line of like Tricksters where

1:19:42.280 --> 1:19:45.479
<v Speaker 1>I think of a Nazi the spider brear Rabbit and

1:19:45.720 --> 1:19:48.240
<v Speaker 1>totally I never really thought about that and that, but

1:19:48.400 --> 1:19:51.160
<v Speaker 1>that moment in particular where it's like, you want me

1:19:51.280 --> 1:19:54.400
<v Speaker 1>to do this thing, so I'll pretend to be dumb

1:19:55.040 --> 1:19:58.439
<v Speaker 1>so I get you to do the thing, and it

1:19:58.520 --> 1:20:00.599
<v Speaker 1>was just like, oh yeah, there's some thing that's so

1:20:01.600 --> 1:20:06.160
<v Speaker 1>brilliant about Oh yeah, I'll let you show yourself how

1:20:06.200 --> 1:20:10.120
<v Speaker 1>stupid you are. And I just thought it was really

1:20:10.760 --> 1:20:13.559
<v Speaker 1>such a smart movie and how it did those things,

1:20:13.600 --> 1:20:15.880
<v Speaker 1>and even I think about, you know, you mentioned that

1:20:15.920 --> 1:20:19.240
<v Speaker 1>like Barton Jim are kind of the two smartest people

1:20:19.240 --> 1:20:22.679
<v Speaker 1>in the room, and then I feel like Madeline Kahn's

1:20:22.800 --> 1:20:26.559
<v Speaker 1>character kind of gets there that like she starts off

1:20:26.920 --> 1:20:30.839
<v Speaker 1>as like she she starts off as a smart person,

1:20:30.880 --> 1:20:35.679
<v Speaker 1>but one who is willing to kind of be Upawn

1:20:35.960 --> 1:20:39.960
<v Speaker 1>in this in Hedley's game, and then at some point

1:20:40.520 --> 1:20:43.160
<v Speaker 1>besides oh no, I don't want to be a part

1:20:43.200 --> 1:20:48.519
<v Speaker 1>of any of this, and I think, you know, she

1:20:48.720 --> 1:20:52.360
<v Speaker 1>kind of becomes this third character. Like the movie ends

1:20:52.400 --> 1:20:55.959
<v Speaker 1>with Barton Jim kind of writing off in the distance,

1:20:56.320 --> 1:20:58.720
<v Speaker 1>and I think if it were to be rewritten today,

1:20:59.080 --> 1:21:02.000
<v Speaker 1>I feel like there would probably be a little more

1:21:02.080 --> 1:21:07.800
<v Speaker 1>to Madeleine Khan's journey where you know she where she

1:21:07.920 --> 1:21:11.200
<v Speaker 1>also joins them at the end, well, she probably wants to.

1:21:11.439 --> 1:21:13.000
<v Speaker 1>I mean that was one of the funniest parts of

1:21:13.040 --> 1:21:18.440
<v Speaker 1>the whole her whole sequences. You know, she sent into

1:21:19.120 --> 1:21:21.519
<v Speaker 1>to romance him and leave him, and none of that

1:21:21.560 --> 1:21:24.280
<v Speaker 1>ever makes sense. It's such a thin sort of premise anyway,

1:21:25.080 --> 1:21:27.760
<v Speaker 1>and and she's just kind of cooled and cold and

1:21:27.800 --> 1:21:30.040
<v Speaker 1>cool to him. But you know, then she sleeps with

1:21:30.120 --> 1:21:33.040
<v Speaker 1>him overnight and she's just like she's fallen for him.

1:21:33.120 --> 1:21:36.120
<v Speaker 1>She's like she doesn't want him to leave, she's trying

1:21:36.120 --> 1:21:39.880
<v Speaker 1>to keep him there, and she completely turns against Edley Lamar. Yeah,

1:21:39.960 --> 1:21:42.920
<v Speaker 1>there's like an interesting sort of like the radical the

1:21:43.040 --> 1:21:47.760
<v Speaker 1>radicalization of certain people in this movie where it's like

1:21:48.120 --> 1:21:51.920
<v Speaker 1>you think about her because by the end, yeah, she's like, uh,

1:21:52.520 --> 1:21:55.840
<v Speaker 1>singing to the Nazis to get the stuff fighting, and

1:21:55.920 --> 1:21:59.559
<v Speaker 1>so it's like she's kind of been radicalized. Mongo has

1:21:59.600 --> 1:22:03.439
<v Speaker 1>been rad ecalized because he has he's never untreated as

1:22:03.560 --> 1:22:07.680
<v Speaker 1>nice and so there is this weird like wave of

1:22:07.720 --> 1:22:11.240
<v Speaker 1>like people seeing oh wait a minute, there's maybe a

1:22:11.280 --> 1:22:13.080
<v Speaker 1>different way to do this, and even by the end

1:22:13.560 --> 1:22:20.480
<v Speaker 1>they've radicalized the whole town where it's like Okay, yeah,

1:22:20.680 --> 1:22:25.080
<v Speaker 1>you like you see that we can work together and

1:22:26.280 --> 1:22:28.920
<v Speaker 1>to do this, like it's it's you know, it's a

1:22:29.040 --> 1:22:34.479
<v Speaker 1>very sort of uh, building blocks kind of thing, but

1:22:34.560 --> 1:22:37.720
<v Speaker 1>it is that thing of like, how are we going

1:22:37.800 --> 1:22:41.280
<v Speaker 1>to build a fake town in overnight? And it's like, well,

1:22:41.680 --> 1:22:46.560
<v Speaker 1>I got all the Chinese rail road workers and enslaved

1:22:47.800 --> 1:22:51.639
<v Speaker 1>black people to come and they're and they're gonna help.

1:22:51.800 --> 1:22:55.280
<v Speaker 1>And the townspeople were like uh, and then it's like

1:22:55.800 --> 1:22:59.200
<v Speaker 1>they're gonna help and they're gonna save you. But to

1:22:59.400 --> 1:23:03.080
<v Speaker 1>do this, you're also going to have to give up

1:23:03.560 --> 1:23:07.040
<v Speaker 1>being racists and and give them some land and give

1:23:07.080 --> 1:23:10.479
<v Speaker 1>them some land. And there's something that's interesting in this,

1:23:10.720 --> 1:23:14.480
<v Speaker 1>like in that conversation that's like it's almost so rudimentary

1:23:14.520 --> 1:23:17.519
<v Speaker 1>and how simple it is, but it is that thing

1:23:17.560 --> 1:23:21.040
<v Speaker 1>of like, yeah, that's that's the core of what it is,

1:23:21.200 --> 1:23:24.240
<v Speaker 1>is like we're never gonna stop this unless we all

1:23:24.240 --> 1:23:29.360
<v Speaker 1>work together. But in working together, it also means that

1:23:29.439 --> 1:23:32.519
<v Speaker 1>like everyone's going to have to get like their fair

1:23:32.560 --> 1:23:37.120
<v Speaker 1>share when it's all over, and it's it's almost like

1:23:37.880 --> 1:23:40.800
<v Speaker 1>it's almost this weird, beautiful message in an in a

1:23:40.880 --> 1:23:45.120
<v Speaker 1>movie that also has a scene that is just three

1:23:45.200 --> 1:23:50.920
<v Speaker 1>minutes of people farting NonStop. Right, Yeah, the scene when

1:23:50.920 --> 1:23:53.840
<v Speaker 1>you were talking about the trickster thing. I think that

1:23:54.000 --> 1:23:57.559
<v Speaker 1>is so evident in the And you know that the

1:23:57.600 --> 1:23:59.599
<v Speaker 1>setup of the movie is very it's all very funny.

1:23:59.760 --> 1:24:01.960
<v Speaker 1>I mean, joke for joke per minute. It may be

1:24:02.080 --> 1:24:05.200
<v Speaker 1>one of the funniest movies ever made. And the first

1:24:05.240 --> 1:24:08.559
<v Speaker 1>thirty minutes is certainly funny. But the h I feel

1:24:08.560 --> 1:24:10.640
<v Speaker 1>like it really heats up when Bart finally comes to

1:24:10.640 --> 1:24:14.200
<v Speaker 1>town and the town welcomes him with a big ceremony

1:24:14.520 --> 1:24:19.639
<v Speaker 1>and um he the beraar rabbit thing is most evident

1:24:19.680 --> 1:24:22.640
<v Speaker 1>in the scene where he takes himself hostage. You know

1:24:22.680 --> 1:24:24.600
<v Speaker 1>they all pull the guns on. I mean, he immediately

1:24:24.680 --> 1:24:26.880
<v Speaker 1>is like, well, here's what I have to do. I

1:24:26.960 --> 1:24:31.240
<v Speaker 1>have to go into this sort of uh, typical you know,

1:24:32.600 --> 1:24:36.719
<v Speaker 1>typical black man mode that they will recognize and uh

1:24:36.800 --> 1:24:38.880
<v Speaker 1>they can identify with that, because like that's the only

1:24:38.880 --> 1:24:43.400
<v Speaker 1>thing they're gonna recognize and identify with. And uh and

1:24:43.439 --> 1:24:45.920
<v Speaker 1>then you know, he plays it so perfectly. Cleveland Little

1:24:45.920 --> 1:24:48.320
<v Speaker 1>is so great in this, and when he finally gets

1:24:48.320 --> 1:24:50.920
<v Speaker 1>behind closed doors in the office, he's like, you're baby,

1:24:50.960 --> 1:24:54.479
<v Speaker 1>you are so talented and they are so dumb. I

1:24:54.520 --> 1:24:56.880
<v Speaker 1>mean they say that a few times. Gene Hackman calls

1:24:56.920 --> 1:25:01.040
<v Speaker 1>him morons. He calls them dumb. I Harvey Corman is

1:25:01.080 --> 1:25:04.800
<v Speaker 1>the other sort of smart one because he knows. Oh yeah,

1:25:04.800 --> 1:25:08.080
<v Speaker 1>what I say, Gene Hackman. Yeah, that would have been

1:25:08.160 --> 1:25:12.320
<v Speaker 1>interesting cast. You know, John Wayne was originally they sent

1:25:12.400 --> 1:25:16.920
<v Speaker 1>that to John Wayne. That doesn't seem like it would

1:25:16.960 --> 1:25:21.200
<v Speaker 1>be the same movie. It doesn't, and especially considering now

1:25:21.640 --> 1:25:24.840
<v Speaker 1>you know what we know about John Wayne's politics right

1:25:25.560 --> 1:25:29.160
<v Speaker 1>at the time, even and it was he apparently liked

1:25:29.200 --> 1:25:31.640
<v Speaker 1>the script a lot. They said he thought it was

1:25:31.680 --> 1:25:35.240
<v Speaker 1>too blue and he there's he just there's no way

1:25:35.280 --> 1:25:39.280
<v Speaker 1>he got the There's no way he got it. Not

1:25:40.160 --> 1:25:43.400
<v Speaker 1>that seems so bizarre. I doubt if he understood it.

1:25:43.760 --> 1:25:49.400
<v Speaker 1>I cannot imagine him in that role. No, because because

1:25:49.520 --> 1:25:53.120
<v Speaker 1>Gene Wilder and uh and Cleveland Little were such a

1:25:53.160 --> 1:25:55.880
<v Speaker 1>great team. And I know, and I'm sure you know

1:25:55.920 --> 1:25:58.200
<v Speaker 1>that Richard Pryor, one of the writers, was gonna play

1:25:59.640 --> 1:26:03.559
<v Speaker 1>Jim as well. But we're going to play bart And

1:26:03.600 --> 1:26:05.720
<v Speaker 1>they didn't do it. I mean, I've heard a few

1:26:05.720 --> 1:26:08.760
<v Speaker 1>different excuses on why they didn't do that, but I mean,

1:26:08.800 --> 1:26:10.720
<v Speaker 1>I love Cleveland Little, but I totally could have seen

1:26:10.800 --> 1:26:13.840
<v Speaker 1>Richard Young, Richard Pryor in this movie. I could have.

1:26:14.280 --> 1:26:17.160
<v Speaker 1>But it's interesting because there's a part of me that

1:26:17.840 --> 1:26:20.880
<v Speaker 1>m it would have been interesting to see Prior and

1:26:21.000 --> 1:26:27.000
<v Speaker 1>Wilder just given the then real they would kind of

1:26:27.040 --> 1:26:30.639
<v Speaker 1>create a comedy duo as But I feel like there's

1:26:30.680 --> 1:26:37.360
<v Speaker 1>also something about Cleveland Little that I feel like, I

1:26:38.840 --> 1:26:42.479
<v Speaker 1>he wasn't somebody that I thought of as a comedic

1:26:42.560 --> 1:26:48.120
<v Speaker 1>actor in that way, and he's he has this kind

1:26:48.160 --> 1:26:53.400
<v Speaker 1>of leading man quality that like I could see him

1:26:53.400 --> 1:26:58.559
<v Speaker 1>playing a superspy or you know, see him playing like

1:26:59.080 --> 1:27:03.680
<v Speaker 1>a lawyers someone, someone with real gravitas, and it's interesting

1:27:03.720 --> 1:27:08.120
<v Speaker 1>to then see him bring that into this role that

1:27:08.680 --> 1:27:14.599
<v Speaker 1>is comic. But also I think he he leans on

1:27:15.120 --> 1:27:19.240
<v Speaker 1>his serious acting as well in a way that I

1:27:19.280 --> 1:27:21.120
<v Speaker 1>don't know if it makes it and it makes it

1:27:21.160 --> 1:27:23.400
<v Speaker 1>funnier than if Prior would have done it, But I

1:27:23.439 --> 1:27:27.280
<v Speaker 1>think it just makes it more interesting to me in

1:27:27.280 --> 1:27:29.559
<v Speaker 1>a way, and in the same way that I think

1:27:29.560 --> 1:27:32.519
<v Speaker 1>of like Jeffrey Wright, to me is one of the

1:27:32.560 --> 1:27:37.920
<v Speaker 1>funniest actors when given comedic things, but is such a

1:27:38.080 --> 1:27:43.280
<v Speaker 1>great just actor in general. But there are moments where

1:27:43.760 --> 1:27:46.640
<v Speaker 1>there was something I saw him do and it was

1:27:46.680 --> 1:27:50.800
<v Speaker 1>just like a short video that I think was for

1:27:50.840 --> 1:27:53.320
<v Speaker 1>like the New York Times or something like that, where

1:27:53.360 --> 1:27:58.160
<v Speaker 1>he's he's in an airplane and he's narrating it and

1:27:58.200 --> 1:28:04.439
<v Speaker 1>he's just sitting on an airplane, and his ability as

1:28:04.439 --> 1:28:09.479
<v Speaker 1>an actor is just like, Oh, he's such a great

1:28:09.520 --> 1:28:12.599
<v Speaker 1>serious actor. And then there are these moments for him

1:28:12.600 --> 1:28:18.160
<v Speaker 1>to be funny, and I think it's almost because it's

1:28:19.120 --> 1:28:22.920
<v Speaker 1>because you forget that he's funny. It hits you like

1:28:22.960 --> 1:28:26.839
<v Speaker 1>this gut punch in a way that's like, oh, yeah,

1:28:26.880 --> 1:28:29.760
<v Speaker 1>this is I expect Richard prior to be funny, So

1:28:29.800 --> 1:28:33.519
<v Speaker 1>I think I would anticipate any scene he walks into

1:28:34.760 --> 1:28:38.320
<v Speaker 1>that he's gonna be funny, and I'm almost I'm almost

1:28:38.320 --> 1:28:40.960
<v Speaker 1>more shocked when he's serious. And when I think about

1:28:41.000 --> 1:28:46.400
<v Speaker 1>like a movie like Jojo Dancer, like you're almost you're

1:28:46.439 --> 1:28:50.559
<v Speaker 1>more impressed at him being serious in those moments. And

1:28:50.600 --> 1:28:54.639
<v Speaker 1>in the same way someone who is a really great

1:28:54.760 --> 1:28:59.840
<v Speaker 1>serious and stage actor, to see them be funny, it's

1:28:59.840 --> 1:29:03.640
<v Speaker 1>a it hits you in this different way, and and

1:29:03.760 --> 1:29:07.360
<v Speaker 1>not every serious actor can pull off comedy in the

1:29:07.400 --> 1:29:12.160
<v Speaker 1>same way that not every comedian can pull off serious stuff. Yeah, yeah,

1:29:12.200 --> 1:29:16.280
<v Speaker 1>for sure. It also hit me today watching the Townspeople

1:29:17.120 --> 1:29:19.200
<v Speaker 1>and just how much it sort of echoes what we've

1:29:19.240 --> 1:29:23.040
<v Speaker 1>seen during the Trump years of these people that are

1:29:23.160 --> 1:29:26.920
<v Speaker 1>determined to act against their own self interests just to

1:29:27.000 --> 1:29:30.720
<v Speaker 1>hang on to racism and just to be able to

1:29:30.760 --> 1:29:33.479
<v Speaker 1>say the N word to somebody. And it's that that

1:29:33.600 --> 1:29:37.240
<v Speaker 1>grievance politics that we've seen so much of lately. It's like,

1:29:37.880 --> 1:29:41.960
<v Speaker 1>but you're acting against yourself interests politically, and like like,

1:29:42.000 --> 1:29:44.439
<v Speaker 1>do you understand what you're doing? And they don't care

1:29:44.560 --> 1:29:46.800
<v Speaker 1>as long as that as long as they can say

1:29:46.960 --> 1:29:51.439
<v Speaker 1>bad things about people, like that's what matters more. Yeah,

1:29:51.520 --> 1:29:55.240
<v Speaker 1>and that it's it is. It's a very it is

1:29:55.240 --> 1:29:59.840
<v Speaker 1>a very good kind of like uh analogous thing that

1:30:00.000 --> 1:30:03.280
<v Speaker 1>think about with the Trump era. Yeah, it's funny because

1:30:03.320 --> 1:30:05.519
<v Speaker 1>as you say that, Yeah, there's a lot of it

1:30:05.600 --> 1:30:09.800
<v Speaker 1>where it does feel like I think about the one uh,

1:30:10.760 --> 1:30:16.720
<v Speaker 1>the one woman who brings brings them some dinner that

1:30:16.920 --> 1:30:21.519
<v Speaker 1>comes to Bart and Jim and yeah, like earlier in

1:30:21.520 --> 1:30:25.920
<v Speaker 1>the movie had yelled at Barton called him a nigger,

1:30:26.040 --> 1:30:30.799
<v Speaker 1>and then later shows like shows up at the jail

1:30:31.320 --> 1:30:34.520
<v Speaker 1>and brings him a pie, and it's like, I'm sorry

1:30:34.560 --> 1:30:39.080
<v Speaker 1>about that from before, and also here's this pie, and

1:30:39.280 --> 1:30:44.080
<v Speaker 1>thank you. But then also, don't tell anybody about this.

1:30:44.920 --> 1:30:49.200
<v Speaker 1>And it's that it's that weird. It's the weird identity

1:30:49.280 --> 1:30:52.639
<v Speaker 1>politics that I feel like exist. We often think about

1:30:52.680 --> 1:31:00.120
<v Speaker 1>identity politics extending to like anyone who has, you know,

1:31:00.800 --> 1:31:04.400
<v Speaker 1>who doesn't fit what we consider the sort of the

1:31:04.479 --> 1:31:10.080
<v Speaker 1>conservative American pie norm whatever. But I feel like there's

1:31:10.080 --> 1:31:14.240
<v Speaker 1>the identity politics that exist of the people who, like

1:31:14.320 --> 1:31:19.160
<v Speaker 1>you said, vote against their own interests or feel they

1:31:19.160 --> 1:31:23.479
<v Speaker 1>have to live up to some to some version of

1:31:23.640 --> 1:31:30.040
<v Speaker 1>what a like white person from the South or a

1:31:30.160 --> 1:31:36.120
<v Speaker 1>rural area supposed to be. And I think about there's UH.

1:31:36.880 --> 1:31:43.280
<v Speaker 1>There's a filmmaker. Her name's Elvira Lynde and she made

1:31:43.320 --> 1:31:47.479
<v Speaker 1>this She made this show for Vice and it was

1:31:47.520 --> 1:31:51.960
<v Speaker 1>an interesting show. It was a show about these two

1:31:52.000 --> 1:31:58.479
<v Speaker 1>trans Brooklyn nights who decide to take a cross country

1:31:58.520 --> 1:32:03.920
<v Speaker 1>trip together and one of one of the people in

1:32:04.000 --> 1:32:06.840
<v Speaker 1>the UH in the story, and I'm trying to remember

1:32:06.880 --> 1:32:11.240
<v Speaker 1>their names. I feel like one's name one. One person

1:32:11.320 --> 1:32:16.080
<v Speaker 1>was named Twizz. I think it was like Twizz and Tuck.

1:32:16.880 --> 1:32:19.080
<v Speaker 1>I think is the name of it, if if somebody

1:32:19.080 --> 1:32:20.559
<v Speaker 1>wanted to go look it up. I think it's called

1:32:20.560 --> 1:32:24.519
<v Speaker 1>Twiz and Tuck. I think it's Twizz is from a

1:32:24.640 --> 1:32:31.400
<v Speaker 1>very rural area and decides to go meet up with

1:32:32.800 --> 1:32:37.840
<v Speaker 1>the guy that took them to prom when they were

1:32:37.920 --> 1:32:44.400
<v Speaker 1>still presenting as as female. And so they go to

1:32:44.479 --> 1:32:50.240
<v Speaker 1>this incredibly rural place and they meet this guy and

1:32:51.280 --> 1:32:55.200
<v Speaker 1>you know, he looks like he could be one of

1:32:55.240 --> 1:33:00.599
<v Speaker 1>the like a cousin of the Duck dynasty guys like uh,

1:33:00.640 --> 1:33:02.960
<v Speaker 1>you know, beards not as long, but he's got the

1:33:03.040 --> 1:33:07.560
<v Speaker 1>camo baseball cap that's that's curled, and he's wearing sunglasses.

1:33:09.120 --> 1:33:13.800
<v Speaker 1>And they meet this guy and his family and the

1:33:13.880 --> 1:33:19.599
<v Speaker 1>guy is a little throne now seeing you know, a

1:33:19.640 --> 1:33:25.040
<v Speaker 1>male version of his prom date. And they talk and stuff.

1:33:25.640 --> 1:33:29.519
<v Speaker 1>But then you discover in this conversation and I'm talking

1:33:30.840 --> 1:33:35.880
<v Speaker 1>the the guy has kids and one of his kids

1:33:35.960 --> 1:33:42.479
<v Speaker 1>is gender nonconforming, and they're supportive, and it's and it's

1:33:42.520 --> 1:33:45.000
<v Speaker 1>like and it's such a strange thing where it's kind

1:33:45.040 --> 1:33:48.960
<v Speaker 1>of like and yet and I'm sure there are people

1:33:49.000 --> 1:33:53.080
<v Speaker 1>in this community who are supportive of this kid, and

1:33:53.160 --> 1:34:01.519
<v Speaker 1>yet this community may have voted overwhelmingly against that kid's

1:34:01.560 --> 1:34:06.519
<v Speaker 1>interests despite the fact that they've seen that kid in

1:34:06.800 --> 1:34:11.040
<v Speaker 1>school plays and you know, at church or wherever, and

1:34:11.080 --> 1:34:14.040
<v Speaker 1>they embrace the kid. And it's that weird thing of

1:34:14.080 --> 1:34:17.760
<v Speaker 1>like the identity politics of well, I still have to

1:34:17.840 --> 1:34:25.760
<v Speaker 1>come off as this like conservative that can't like actually say, well,

1:34:25.800 --> 1:34:29.640
<v Speaker 1>hold on a minute. Maybe it doesn't make sense for

1:34:29.720 --> 1:34:33.439
<v Speaker 1>us to be closed minded and these and maybe this

1:34:33.560 --> 1:34:38.120
<v Speaker 1>touches our doorstep a little closer than we realize those things.

1:34:38.120 --> 1:34:40.400
<v Speaker 1>I mean, it kind of goes back to it goes

1:34:40.439 --> 1:34:43.920
<v Speaker 1>back to my King of the Hill episode, my fan

1:34:43.960 --> 1:34:47.600
<v Speaker 1>fition episode of hay Thank feeling like he has to

1:34:47.680 --> 1:34:52.000
<v Speaker 1>vote party over everything else. And but it is that

1:34:52.120 --> 1:34:54.599
<v Speaker 1>it's but it was funny when I think about that

1:34:54.680 --> 1:34:58.960
<v Speaker 1>scene emblazing saddles. It's very much that to to your point,

1:34:59.560 --> 1:35:03.599
<v Speaker 1>there are so many of those people who have who

1:35:03.720 --> 1:35:08.679
<v Speaker 1>voted for Trump and said like, oh, you know, build

1:35:08.680 --> 1:35:13.559
<v Speaker 1>a wall, and uh, you know, we don't want gay

1:35:13.600 --> 1:35:18.479
<v Speaker 1>people to have rights, and and yet probably have people

1:35:18.520 --> 1:35:22.880
<v Speaker 1>in their lives who are immigrants who they may or

1:35:22.920 --> 1:35:26.800
<v Speaker 1>may not know their documentation like some may be documented,

1:35:26.880 --> 1:35:31.040
<v Speaker 1>some may be undocumented or in their lives and they're like,

1:35:31.640 --> 1:35:35.080
<v Speaker 1>well that person is different, right, Well that's what you

1:35:35.080 --> 1:35:39.000
<v Speaker 1>hear a lot is but like you know, they're they're

1:35:39.040 --> 1:35:44.000
<v Speaker 1>an undocumented Mexican. But like, man, they're really good on

1:35:44.040 --> 1:35:47.600
<v Speaker 1>the job with us, and you know, really good coworker. Yeah.

1:35:47.760 --> 1:35:50.040
<v Speaker 1>It's like, well, you don't have to caveat any of that, no,

1:35:50.760 --> 1:35:53.160
<v Speaker 1>and you just say, he's a really good coworker. He's

1:35:53.160 --> 1:35:56.280
<v Speaker 1>a really good coworker. And also, if he's such a

1:35:56.280 --> 1:36:00.040
<v Speaker 1>good coworker, shouldn't he have the same rights as the

1:36:00.040 --> 1:36:03.479
<v Speaker 1>rest of his co workers and shouldn't have access to

1:36:03.520 --> 1:36:07.280
<v Speaker 1>the same rights and privileges. And if he's a good

1:36:07.479 --> 1:36:10.840
<v Speaker 1>if he's such a good worker, couldn't you then agree

1:36:10.960 --> 1:36:17.800
<v Speaker 1>that probably the vast majority of people in the same

1:36:17.840 --> 1:36:21.880
<v Speaker 1>situation as him are good people and good workers and

1:36:21.920 --> 1:36:30.280
<v Speaker 1>deserving of those same rights, rather than he's the outlier. Yeah, yeah, exactly. Uh.

1:36:30.600 --> 1:36:32.320
<v Speaker 1>I love. I mean you mentioned the scene earlier with

1:36:32.320 --> 1:36:35.479
<v Speaker 1>the old lady in the pie um. I love how

1:36:35.520 --> 1:36:37.720
<v Speaker 1>he handles her and how he handles everybody in the

1:36:37.760 --> 1:36:41.080
<v Speaker 1>town with just such a plum Like right after the

1:36:41.080 --> 1:36:44.479
<v Speaker 1>scene where they basically are where he gets welcome to

1:36:44.479 --> 1:36:46.439
<v Speaker 1>town and they all pull their guns on him. He

1:36:46.520 --> 1:36:49.000
<v Speaker 1>hoodwinks him, goes in the office, and it shows him

1:36:49.000 --> 1:36:51.040
<v Speaker 1>the next day on the job, he's just sort of

1:36:51.040 --> 1:36:53.920
<v Speaker 1>whistling and he's putting up his wanted signs, and you

1:36:53.920 --> 1:36:56.679
<v Speaker 1>know when the lady comes, she comes back, she leaves

1:36:56.840 --> 1:36:58.880
<v Speaker 1>the pie and then comes back and says, of course

1:36:58.880 --> 1:37:02.000
<v Speaker 1>you'll have the good judgment to not tell anyone we talked.

1:37:02.040 --> 1:37:04.679
<v Speaker 1>And he's like, oh, yes, of course, man, Like he's

1:37:04.720 --> 1:37:08.920
<v Speaker 1>just such an affable guy to everybody. And and Jim

1:37:08.960 --> 1:37:11.720
<v Speaker 1>wakes up in that jail celle a cell and immediately

1:37:11.760 --> 1:37:15.760
<v Speaker 1>realizes that, like this is a friend for him, like

1:37:15.840 --> 1:37:19.080
<v Speaker 1>their pals. Right out of the gate. The first thing

1:37:19.160 --> 1:37:21.679
<v Speaker 1>Bart does before he goes out on on the job

1:37:21.800 --> 1:37:25.400
<v Speaker 1>is gets stoned, which, like I remember that scene a

1:37:25.479 --> 1:37:28.040
<v Speaker 1>hundred times of them smoking the joint, but it never

1:37:28.080 --> 1:37:31.080
<v Speaker 1>really occurred to me that, like that's before he goes

1:37:31.080 --> 1:37:33.040
<v Speaker 1>out on his first day sort of walking the town.

1:37:33.520 --> 1:37:35.800
<v Speaker 1>He's like, I'm just gonna smoke this joint and then

1:37:35.920 --> 1:37:39.519
<v Speaker 1>just kind of walk around in a good mood. Yeah. Yeah,

1:37:39.880 --> 1:37:43.160
<v Speaker 1>it's I mean, it's interesting even that, I mean there's

1:37:43.200 --> 1:37:46.760
<v Speaker 1>something that's there's there's there's an interesting comment that's being

1:37:46.800 --> 1:37:50.559
<v Speaker 1>made about the criminal justice system and yeah, in general,

1:37:50.680 --> 1:37:53.679
<v Speaker 1>like the carce Rol system that we have where yeah,

1:37:53.720 --> 1:38:01.599
<v Speaker 1>into Bart, Jim isn't isn't irredeemable and neither is Mango,

1:38:02.160 --> 1:38:06.960
<v Speaker 1>and it's you know, they both can have they both

1:38:06.960 --> 1:38:09.360
<v Speaker 1>can find redemption if they're willing to do the work

1:38:09.560 --> 1:38:12.880
<v Speaker 1>and like Mango just pawn in Game of Life. Yeah,

1:38:12.920 --> 1:38:16.360
<v Speaker 1>Mango and exactly, And that's the thing and Mango, that's

1:38:16.520 --> 1:38:21.080
<v Speaker 1>I feel like that line breaks me every time, but

1:38:21.200 --> 1:38:24.960
<v Speaker 1>it is it's it's uh, but there's something that's interesting

1:38:25.000 --> 1:38:29.840
<v Speaker 1>about Yeah, perhaps if more cops smoked a joint before

1:38:29.920 --> 1:38:35.160
<v Speaker 1>they walked to beat, they might they might approach things

1:38:35.200 --> 1:38:40.880
<v Speaker 1>from more of a de escalation, uh situation, or just

1:38:41.040 --> 1:38:45.000
<v Speaker 1>like oh right, maybe maybe my job isn't even get

1:38:45.040 --> 1:38:50.720
<v Speaker 1>involved in half of these things and that like oh right, yeah,

1:38:50.920 --> 1:38:55.080
<v Speaker 1>we don't have to imprison people like yeah, Jim is

1:38:55.840 --> 1:39:00.720
<v Speaker 1>like Jim's crime is that Jim was drunk, and it's like, right, yeah,

1:39:00.760 --> 1:39:03.679
<v Speaker 1>the drunk tank, Yeah, that's maybe not a crime. Maybe

1:39:03.720 --> 1:39:06.439
<v Speaker 1>that's maybe let me get to get to know this

1:39:06.479 --> 1:39:09.439
<v Speaker 1>guy and understand and even in that conversation, he's like,

1:39:10.400 --> 1:39:14.800
<v Speaker 1>you don't eat and you're just gonna drink, right, that's

1:39:14.800 --> 1:39:19.280
<v Speaker 1>a quick way to die. And just that idea that like, oh,

1:39:19.360 --> 1:39:23.480
<v Speaker 1>the concern, Like that's like like their friendship is forged

1:39:23.600 --> 1:39:28.360
<v Speaker 1>in a place of concern, totally care. And that's what

1:39:28.439 --> 1:39:31.880
<v Speaker 1>also makes it so like beautiful and you see like

1:39:31.920 --> 1:39:35.759
<v Speaker 1>a real like even by the end where it's like, okay,

1:39:35.800 --> 1:39:38.240
<v Speaker 1>well what are we gonna do? Well, whatever we do,

1:39:38.760 --> 1:39:43.439
<v Speaker 1>why don't we go together and venture? Man? I love

1:39:43.479 --> 1:39:45.000
<v Speaker 1>the ending. I mean, that's so great that he took

1:39:45.080 --> 1:39:47.920
<v Speaker 1>him along where you go in Nowhere special. I always

1:39:47.920 --> 1:39:50.479
<v Speaker 1>wanted to go there, and then you know they ride

1:39:50.520 --> 1:39:54.320
<v Speaker 1>their horses in and getting that cattle back. No. I

1:39:54.360 --> 1:39:56.719
<v Speaker 1>feel like that's what's also so great about that movie,

1:39:56.840 --> 1:39:59.360
<v Speaker 1>is like they take everything and then subvert it and

1:39:59.400 --> 1:40:02.720
<v Speaker 1>it's just okay, they're riding off in the sunset, but

1:40:02.760 --> 1:40:04.679
<v Speaker 1>then they get in the Cadillac and then they zoom

1:40:04.720 --> 1:40:08.639
<v Speaker 1>out and you see where they are in context of

1:40:08.680 --> 1:40:12.280
<v Speaker 1>like it's a back lot and like all those things.

1:40:12.360 --> 1:40:17.080
<v Speaker 1>And I think something that I really appreciate about the film.

1:40:17.320 --> 1:40:20.519
<v Speaker 1>Something I really appreciate about the film that um, I

1:40:20.560 --> 1:40:23.240
<v Speaker 1>feel like you don't see as much in comedy today

1:40:23.760 --> 1:40:30.040
<v Speaker 1>comedy movies is mel Brooks really uses the camera as

1:40:30.080 --> 1:40:33.799
<v Speaker 1>a comedian as well. And I feel like so often

1:40:33.840 --> 1:40:38.720
<v Speaker 1>when you watch a comedy film, it's all shot in

1:40:40.040 --> 1:40:44.679
<v Speaker 1>sort of shot reverse shot close ups, and it's people

1:40:45.320 --> 1:40:49.720
<v Speaker 1>feeding lines off camera where it's you know, I think

1:40:49.760 --> 1:40:53.320
<v Speaker 1>a lot of people, I think a lot of people

1:40:53.400 --> 1:40:58.160
<v Speaker 1>saw what Adam McKay did with Anchorman, and they focused

1:40:59.040 --> 1:41:04.599
<v Speaker 1>purely on and the sort of improvised alt takes on

1:41:04.720 --> 1:41:09.760
<v Speaker 1>things and carried that but didn't take into account Oh no,

1:41:09.880 --> 1:41:13.639
<v Speaker 1>Adam McKay also tried to build shots where you saw

1:41:15.080 --> 1:41:18.880
<v Speaker 1>you had wide shots where there were jokes, and I

1:41:18.920 --> 1:41:22.840
<v Speaker 1>think mel Brooks does that, and it's and and so

1:41:22.960 --> 1:41:25.160
<v Speaker 1>I think, yeah, one thing that I feel like a

1:41:25.160 --> 1:41:28.479
<v Speaker 1>lot of comedies they don't, I don't see as much.

1:41:28.560 --> 1:41:31.719
<v Speaker 1>They tend to just focus on those kind of like, Okay,

1:41:31.760 --> 1:41:35.400
<v Speaker 1>the cameras on, the cameras on Wyatt, and he sets

1:41:35.479 --> 1:41:39.840
<v Speaker 1>up Chuck for a joke, and now Chuck has a

1:41:39.840 --> 1:41:44.000
<v Speaker 1>witty come back. But also the director then says, okay,

1:41:44.000 --> 1:41:47.000
<v Speaker 1>now say this, and Chuck says the next thing, and

1:41:47.000 --> 1:41:50.800
<v Speaker 1>then the next thing, and you'll say fifteen different versions

1:41:50.960 --> 1:41:54.280
<v Speaker 1>of a joke, and then they'll take it into the

1:41:54.439 --> 1:41:56.640
<v Speaker 1>edit and it's like, Okay, whatever the funniest one is.

1:41:57.520 --> 1:42:01.360
<v Speaker 1>And a lot of calm any filmmaking today, I think,

1:42:01.360 --> 1:42:05.400
<v Speaker 1>relies on that without often doing the other thing that

1:42:05.439 --> 1:42:07.840
<v Speaker 1>I feel like Blazing Saddles does really well, which is

1:42:08.520 --> 1:42:16.000
<v Speaker 1>choreographing a comedic moment, right, yeah, yeah, And and obviously

1:42:16.040 --> 1:42:19.120
<v Speaker 1>I mean they had I think four other right, mel

1:42:19.160 --> 1:42:21.360
<v Speaker 1>Brooks and Richard Pryor and I think three other writers.

1:42:22.240 --> 1:42:24.840
<v Speaker 1>And I remember hearing stories from mel Brooks saying how

1:42:25.520 --> 1:42:28.479
<v Speaker 1>writing this movie was the most funny had in his career.

1:42:29.040 --> 1:42:31.439
<v Speaker 1>In that writer's room, he said, all they did was laugh,

1:42:32.360 --> 1:42:36.280
<v Speaker 1>And he said that Richard was just invaluable because he

1:42:36.320 --> 1:42:38.559
<v Speaker 1>was their sort of barometer on what they could say

1:42:38.560 --> 1:42:41.200
<v Speaker 1>and what they couldn't say as far as, you know,

1:42:41.439 --> 1:42:44.200
<v Speaker 1>sort of racially upsetting things. And Richard probably was like,

1:42:44.240 --> 1:42:46.679
<v Speaker 1>you gotta say that stuff, man, He's like, because those

1:42:46.720 --> 1:42:49.280
<v Speaker 1>people would have said that stuff, and if you don't,

1:42:49.320 --> 1:42:52.880
<v Speaker 1>it's just it's phony. And so he sort of gave

1:42:52.920 --> 1:42:56.200
<v Speaker 1>them permission to go where they went, I think. But

1:42:56.240 --> 1:42:59.120
<v Speaker 1>apparently prior didn't write much of that stuff. He wrote

1:42:59.120 --> 1:43:03.120
<v Speaker 1>a bunch of the Mango scenes and some like I

1:43:03.160 --> 1:43:05.280
<v Speaker 1>think with people here that Richard Pryor wrote this, they

1:43:05.280 --> 1:43:07.479
<v Speaker 1>would think like, oh, well, he wrote all the black

1:43:07.560 --> 1:43:10.240
<v Speaker 1>jokes because that was just the way it had to be.

1:43:10.320 --> 1:43:12.679
<v Speaker 1>And apparently that just wasn't the case. Yeah. I remember

1:43:12.680 --> 1:43:15.680
<v Speaker 1>reading that he really loved the character of Mango, and

1:43:16.200 --> 1:43:18.519
<v Speaker 1>I think Mongo just Upawn in the Game of Life

1:43:18.640 --> 1:43:24.960
<v Speaker 1>is like that's his verbatim, and um, yeah, I feel

1:43:24.960 --> 1:43:27.280
<v Speaker 1>like I had watched a documentary where they talked about

1:43:28.320 --> 1:43:32.600
<v Speaker 1>him doing that, and you know, I think Prior was

1:43:32.760 --> 1:43:35.840
<v Speaker 1>very coked up at the time, and so I think

1:43:36.400 --> 1:43:39.639
<v Speaker 1>because I know that one story was that Warner Brothers

1:43:39.640 --> 1:43:42.519
<v Speaker 1>said they couldn't ensure him because of his coke habinot. Yeah,

1:43:42.600 --> 1:43:44.880
<v Speaker 1>I heard that too, and there are a couple of

1:43:44.920 --> 1:43:48.720
<v Speaker 1>movie UH studios that I didn't want to ensure him

1:43:48.760 --> 1:43:54.320
<v Speaker 1>because of cocaine. But but I could see him. I

1:43:54.360 --> 1:43:57.559
<v Speaker 1>feel like in some documentary or a book that I

1:43:57.560 --> 1:44:01.800
<v Speaker 1>read that talked about his experience there, it seemed like

1:44:01.840 --> 1:44:07.120
<v Speaker 1>he was acting out a lot of things, and Uh

1:44:07.560 --> 1:44:11.160
<v Speaker 1>may have been kind of like playing different parts, right,

1:44:11.240 --> 1:44:15.280
<v Speaker 1>improvising I think probably like improvising with mel Brooks where

1:44:15.320 --> 1:44:19.400
<v Speaker 1>you have two performers who are also writing. Uh, and

1:44:20.000 --> 1:44:22.960
<v Speaker 1>so I could imagine, yeah that just that interplay was

1:44:23.040 --> 1:44:25.880
<v Speaker 1>probably had to be a lot of fun for them.

1:44:25.960 --> 1:44:32.040
<v Speaker 1>Um yeah, that's uh, it's I feel like that version

1:44:32.240 --> 1:44:38.040
<v Speaker 1>of writing can be. It's really fun, especially if you've

1:44:38.080 --> 1:44:40.080
<v Speaker 1>got someone who can record all of it and be

1:44:40.200 --> 1:44:44.280
<v Speaker 1>the person at the keyboard to be like, Okay, yes,

1:44:44.360 --> 1:44:46.960
<v Speaker 1>all right, I'll put that in and then the magic

1:44:47.080 --> 1:44:48.920
<v Speaker 1>is happening. Yeah, and then we'll find a way to

1:44:48.960 --> 1:44:51.720
<v Speaker 1>make all this makes sense. Uh. And then I mean

1:44:51.720 --> 1:44:53.439
<v Speaker 1>there's just so many good dumb jokes. I mean it's

1:44:53.479 --> 1:44:58.040
<v Speaker 1>a movie that's uh, it's relentless in its dedication to

1:44:58.080 --> 1:45:01.200
<v Speaker 1>the joke. Whether and so many great like I'm a

1:45:01.240 --> 1:45:04.960
<v Speaker 1>big fan of dumb jokes and wordplay and whether it's

1:45:05.360 --> 1:45:09.080
<v Speaker 1>Higgins from Magnum p I saying, you know, we want

1:45:09.080 --> 1:45:12.840
<v Speaker 1>to extend to you a Laurel and Hardy handshake, Like

1:45:13.080 --> 1:45:16.360
<v Speaker 1>that's just such a good old school sort of busch

1:45:16.479 --> 1:45:19.519
<v Speaker 1>Belt comedy that you know, Like that's just like mel

1:45:19.560 --> 1:45:23.479
<v Speaker 1>Brooks signature stuff and so much of the Governor stuff

1:45:23.560 --> 1:45:25.840
<v Speaker 1>that you know, mel Brooks is the governor. So much

1:45:25.840 --> 1:45:29.200
<v Speaker 1>of that stuff was just great dumb jokes one after

1:45:29.280 --> 1:45:34.040
<v Speaker 1>the other. Yeah, no, I uh, And you may know this,

1:45:34.120 --> 1:45:36.599
<v Speaker 1>but I I was. I was looking up something about

1:45:36.600 --> 1:45:43.160
<v Speaker 1>the movie and his name Lopato Maine. Do you know

1:45:43.240 --> 1:45:47.560
<v Speaker 1>this where that name comes from? No, Lpato Maine is

1:45:47.600 --> 1:45:53.400
<v Speaker 1>apparently the name of a French performer. And I don't

1:45:53.400 --> 1:45:58.800
<v Speaker 1>remember what what era this French performer was around, but

1:45:58.880 --> 1:46:02.600
<v Speaker 1>their whole thing was that they were a performer that

1:46:02.640 --> 1:46:07.559
<v Speaker 1>would just get on stage and fart, and so they

1:46:07.560 --> 1:46:16.160
<v Speaker 1>were just a perscaremative, which feels very much like h Brand. Yeah.

1:46:18.479 --> 1:46:20.400
<v Speaker 1>Well he has another good line too that I never

1:46:20.439 --> 1:46:24.320
<v Speaker 1>noticed when um, I think it's when they had the

1:46:24.400 --> 1:46:27.479
<v Speaker 1>little below paddles. Is that what they're called with the

1:46:27.920 --> 1:46:30.080
<v Speaker 1>rubber band in the ball and we're talking about kind

1:46:30.080 --> 1:46:33.280
<v Speaker 1>of swindling the Native Americans out of their land, and

1:46:33.479 --> 1:46:36.080
<v Speaker 1>mel Brooks says something about, you know, we gotta get busy, gentlemen,

1:46:36.120 --> 1:46:39.800
<v Speaker 1>we gotta protect our phony bologny jobs. And I never

1:46:39.840 --> 1:46:43.040
<v Speaker 1>really noticed that line until today. And that's such a

1:46:43.040 --> 1:46:46.120
<v Speaker 1>great subversive line just about government and like, you know,

1:46:46.160 --> 1:46:48.599
<v Speaker 1>these sort of white dudes in charge, we're protect our

1:46:48.600 --> 1:46:55.400
<v Speaker 1>phony blogny jobs. So great. Yeah, uh, I'm trying to.

1:46:55.439 --> 1:46:57.880
<v Speaker 1>I mean, it's so easy just to let's say your

1:46:57.920 --> 1:47:01.880
<v Speaker 1>favorite lines over and over. Just the relationship between Jim

1:47:01.880 --> 1:47:04.560
<v Speaker 1>and Bart. It was just so great right out of

1:47:04.640 --> 1:47:07.559
<v Speaker 1>the gate. Uh you know, since you were my guests

1:47:07.560 --> 1:47:09.439
<v Speaker 1>and I'm your host, what are your pleasures? What do

1:47:09.479 --> 1:47:11.840
<v Speaker 1>you like to do? Oh? I don't know, play chess?

1:47:11.920 --> 1:47:17.799
<v Speaker 1>Screw let's let's play chess. And then what's a dazzling

1:47:17.880 --> 1:47:20.160
<v Speaker 1>urban nite like you doing in a rustic setting like this.

1:47:21.520 --> 1:47:24.800
<v Speaker 1>There's just so many great lines, really is and then

1:47:24.840 --> 1:47:28.160
<v Speaker 1>everything madelon Con does, like how she I mean, just

1:47:28.160 --> 1:47:30.839
<v Speaker 1>one of my favorite comedians of all time on screen,

1:47:30.920 --> 1:47:33.639
<v Speaker 1>and how she came up with that, I mean, it's

1:47:33.640 --> 1:47:37.080
<v Speaker 1>a ridiculous German accent, and then that sort of speech

1:47:37.120 --> 1:47:40.320
<v Speaker 1>impediment that she had just to throw that on top

1:47:40.360 --> 1:47:43.800
<v Speaker 1>of it is such a fun, weird choice, I think, yeah,

1:47:43.880 --> 1:47:48.559
<v Speaker 1>and that everyone went with it. Where then later there's

1:47:48.560 --> 1:47:54.559
<v Speaker 1>a letter that's right that same like accent with the

1:47:54.680 --> 1:47:59.160
<v Speaker 1>sort of Barbara Walters kind of Uh yeah, it's saying

1:47:59.160 --> 1:48:04.400
<v Speaker 1>a cross between Bbara Walters uh and and German and

1:48:05.080 --> 1:48:09.480
<v Speaker 1>uh yeah, no it's it's it was great. It's funny

1:48:09.520 --> 1:48:16.479
<v Speaker 1>watching her. I I found myself. She I've seen. I've

1:48:16.479 --> 1:48:18.599
<v Speaker 1>definitely seen like a lot of movies that she's done.

1:48:18.640 --> 1:48:21.840
<v Speaker 1>But like, I think about her and I think about

1:48:21.880 --> 1:48:26.479
<v Speaker 1>Kate McKinnon in a similar way as far as their

1:48:26.520 --> 1:48:32.599
<v Speaker 1>ability to kind of like take a character and both

1:48:32.720 --> 1:48:37.879
<v Speaker 1>make it ridiculous, but also you can tell that they're

1:48:37.920 --> 1:48:42.960
<v Speaker 1>fully enjoying the ridiculousness of it. Yeah, they're having a

1:48:43.000 --> 1:48:46.040
<v Speaker 1>good time. Yeah, And that just translates in this way

1:48:46.080 --> 1:48:48.880
<v Speaker 1>that's like they're both in it and not in it

1:48:48.920 --> 1:48:51.800
<v Speaker 1>at the same time, like winking at it while they're

1:48:51.840 --> 1:48:59.840
<v Speaker 1>doing it, and uh, yeah, it's uh yeah, she's she's great. Uh.

1:48:59.840 --> 1:49:01.920
<v Speaker 1>And then there was another one of the subversive lines

1:49:02.000 --> 1:49:07.439
<v Speaker 1>that I've never really noticed before was after Candy Gram

1:49:07.479 --> 1:49:11.360
<v Speaker 1>from Mango. After he outsmarts Mango with the candy Gram

1:49:11.400 --> 1:49:13.679
<v Speaker 1>and he comes back and it's the next day, and

1:49:13.680 --> 1:49:16.439
<v Speaker 1>and Mongo is tied up in Gene Wilders telling him

1:49:16.479 --> 1:49:19.000
<v Speaker 1>how great that was, and he goes, yeah, the hardest

1:49:19.000 --> 1:49:21.760
<v Speaker 1>part was inventing the candy gram, he said, he said,

1:49:21.800 --> 1:49:24.800
<v Speaker 1>but I know I'm not going to get credit for that. Yeah,

1:49:24.840 --> 1:49:28.280
<v Speaker 1>I never noticed that line before. Yeah, it's so great.

1:49:28.479 --> 1:49:32.600
<v Speaker 1>It really was. No, that was a very funny. Yeah,

1:49:32.640 --> 1:49:37.200
<v Speaker 1>it's there are just so many yeah things that kind

1:49:37.240 --> 1:49:41.400
<v Speaker 1>of it's it's the perfect movie that like demands second

1:49:41.400 --> 1:49:47.040
<v Speaker 1>and third watch because there's so many things that happened

1:49:47.080 --> 1:49:50.000
<v Speaker 1>here that like you catch and then you missed the

1:49:50.040 --> 1:49:54.360
<v Speaker 1>thing that happens right underneath. Yeah. Did you know the

1:49:54.479 --> 1:49:58.240
<v Speaker 1>HBO Max had a it's not on there now, but

1:49:58.360 --> 1:50:00.360
<v Speaker 1>they ran it last summer and had a had a

1:50:00.439 --> 1:50:04.040
<v Speaker 1>lady on at the beginning um talking about putting it

1:50:04.080 --> 1:50:09.080
<v Speaker 1>into the proper perspective as a like a disclaimer, almost

1:50:09.640 --> 1:50:13.360
<v Speaker 1>putting it in cultural perspective of today. And it was

1:50:13.439 --> 1:50:15.599
<v Speaker 1>just like a two minute thing that this lady did.

1:50:15.680 --> 1:50:17.599
<v Speaker 1>Apparently they did the same thing with Gone with the Wind.

1:50:18.439 --> 1:50:19.760
<v Speaker 1>I think it might have been the same lady. And

1:50:19.760 --> 1:50:21.200
<v Speaker 1>I went to look for it today and of course

1:50:21.200 --> 1:50:24.720
<v Speaker 1>they it wouldn't even on HBO Max anymore. But I

1:50:24.760 --> 1:50:29.559
<v Speaker 1>think that's a really interesting thing to do, uh, because

1:50:29.600 --> 1:50:31.760
<v Speaker 1>you know, this is one of those movies where half

1:50:31.800 --> 1:50:33.439
<v Speaker 1>the people will say like, oh, you couldn't make that

1:50:33.479 --> 1:50:37.519
<v Speaker 1>movie today, And the conversation around that is interesting to

1:50:37.560 --> 1:50:40.120
<v Speaker 1>me because what I learned online from talking to movie

1:50:40.120 --> 1:50:43.439
<v Speaker 1>crushers about this is to some people you can't make

1:50:43.439 --> 1:50:47.759
<v Speaker 1>that movie today means they're almost sad because you can't

1:50:47.800 --> 1:50:52.320
<v Speaker 1>say awful things anymore. And when I say you couldn't

1:50:52.360 --> 1:50:53.840
<v Speaker 1>make that movie today, I don't mean it that way

1:50:53.880 --> 1:50:57.720
<v Speaker 1>at all. I mean this kind of comedy and satire

1:50:57.920 --> 1:51:03.519
<v Speaker 1>is so hard to you successfully, and the conversation around

1:51:03.800 --> 1:51:07.000
<v Speaker 1>that stuff today has so little nuanced that That's why

1:51:07.000 --> 1:51:09.400
<v Speaker 1>I think it would be hard to make today. Yeah,

1:51:09.479 --> 1:51:11.200
<v Speaker 1>I mean I think it would be difficult, but I

1:51:11.240 --> 1:51:15.000
<v Speaker 1>still think you could do it. It's just I think

1:51:15.040 --> 1:51:18.520
<v Speaker 1>you'd have to pay more things off, Like there's definitely

1:51:19.680 --> 1:51:25.160
<v Speaker 1>towards the end, like like I think I feel like

1:51:25.800 --> 1:51:33.280
<v Speaker 1>in the movie, the movie really tried to tell a

1:51:33.439 --> 1:51:41.800
<v Speaker 1>black and white story, but then also had Native Americans,

1:51:42.680 --> 1:51:50.559
<v Speaker 1>gay people, women, Asian Asians, Jews, Germans, everybody. And I

1:51:50.600 --> 1:51:57.440
<v Speaker 1>think what's tough is that the the sort of cruelty

1:51:57.560 --> 1:52:02.960
<v Speaker 1>that's enacted on some of those groups, there's never a

1:52:03.200 --> 1:52:07.800
<v Speaker 1>there's never a moment to really sit with it. Like

1:52:08.200 --> 1:52:13.320
<v Speaker 1>the first thing in the movie, you know, a Chinese railroad,

1:52:13.600 --> 1:52:18.320
<v Speaker 1>a Chinese rail road worker collapses and is just kind

1:52:18.320 --> 1:52:21.519
<v Speaker 1>of met with a slur and the very first thing

1:52:21.520 --> 1:52:26.800
<v Speaker 1>that happens, Yeah, and there's never like there's it just

1:52:26.880 --> 1:52:31.080
<v Speaker 1>kind of is there and goes away, and I think

1:52:31.120 --> 1:52:33.599
<v Speaker 1>like that's the thing that like, oh, yeah, you can't

1:52:33.640 --> 1:52:36.880
<v Speaker 1>get away with that anymore, like you've got you've gotta

1:52:37.520 --> 1:52:41.640
<v Speaker 1>have some comment or something about that, or even at

1:52:41.680 --> 1:52:44.920
<v Speaker 1>the end of the film, it's very much you know,

1:52:45.720 --> 1:52:52.640
<v Speaker 1>these dancers are being played as very flamboyantly gay, and

1:52:52.680 --> 1:52:58.439
<v Speaker 1>it feels like, Okay, you're making fun of a a

1:52:58.640 --> 1:53:05.200
<v Speaker 1>caricature of someone. Yeah, was funny at that time because

1:53:05.800 --> 1:53:09.360
<v Speaker 1>for the people who actually lived in that reality, many

1:53:09.400 --> 1:53:15.080
<v Speaker 1>of them couldn't feel comfortable or safe being vocal about

1:53:15.080 --> 1:53:17.960
<v Speaker 1>who they were. And so I feel like it's those

1:53:18.000 --> 1:53:22.760
<v Speaker 1>things where it's like, okay, yeah, those those are the

1:53:22.880 --> 1:53:27.639
<v Speaker 1>areas that really are like, yeah, you can't do those things.

1:53:29.080 --> 1:53:31.800
<v Speaker 1>They pay off the Bart stuff because he he wins

1:53:31.800 --> 1:53:33.439
<v Speaker 1>in the end, and he wins everyone over and he

1:53:33.520 --> 1:53:36.160
<v Speaker 1>is the smartest guy. But yeah, I know what you're saying.

1:53:36.640 --> 1:53:39.519
<v Speaker 1>Although that that in sequence does have one of the

1:53:39.520 --> 1:53:42.639
<v Speaker 1>funnier parts to me when uh, one of the big

1:53:42.680 --> 1:53:45.479
<v Speaker 1>cowboy guys goes to beat up on one of the

1:53:45.960 --> 1:53:48.759
<v Speaker 1>gay dancers and they kind of go behind the wall

1:53:48.920 --> 1:53:51.599
<v Speaker 1>and then two seconds later they come on the other

1:53:51.640 --> 1:53:53.240
<v Speaker 1>side of the wall and the guy's got his arm

1:53:53.240 --> 1:53:54.759
<v Speaker 1>around him and he goes, well, you know, I'm parked

1:53:54.800 --> 1:53:57.960
<v Speaker 1>over by the commissary. Yeah, And I feel like in

1:53:58.280 --> 1:54:02.640
<v Speaker 1>on some level that was maybe their their attempt to

1:54:02.680 --> 1:54:06.920
<v Speaker 1>comment on on that, but it's yeah, I feel like

1:54:07.000 --> 1:54:10.640
<v Speaker 1>there's you know, if you were going to make that

1:54:10.720 --> 1:54:14.280
<v Speaker 1>movie again, I think you want a room where, if

1:54:14.280 --> 1:54:17.320
<v Speaker 1>you're still going to do those scenes, you want that

1:54:17.400 --> 1:54:22.800
<v Speaker 1>representation in the room to to sort of figure out

1:54:22.920 --> 1:54:26.000
<v Speaker 1>and craft the best way to make those comments so

1:54:26.040 --> 1:54:28.960
<v Speaker 1>that it's not so that no one can walk away

1:54:29.040 --> 1:54:33.320
<v Speaker 1>thinking it's okay to just make an anti Asian slur

1:54:33.800 --> 1:54:36.040
<v Speaker 1>all right and then leave it there. Yeah, and that

1:54:36.040 --> 1:54:40.320
<v Speaker 1>that's somehow funny, or that it's okay to uh say

1:54:40.360 --> 1:54:44.400
<v Speaker 1>something homophobic, and and that you can just kind of

1:54:44.440 --> 1:54:47.680
<v Speaker 1>like that there's no consequence for that. And so in

1:54:47.720 --> 1:54:51.600
<v Speaker 1>those ways, I feel like, uh, yeah, that's the part

1:54:51.600 --> 1:54:55.080
<v Speaker 1>of it where it's like, oh, you can't do that anymore.

1:54:55.160 --> 1:54:58.360
<v Speaker 1>But it is interesting the way that these things get

1:54:58.440 --> 1:55:05.280
<v Speaker 1>explored and shared, And yeah, I don't know. I feel

1:55:05.280 --> 1:55:11.040
<v Speaker 1>like the Disney cartoons when they when they were on DVD,

1:55:11.280 --> 1:55:15.760
<v Speaker 1>Leonard Malton would do a disclaimer at the at the

1:55:15.800 --> 1:55:19.160
<v Speaker 1>beginning of the DVDs, where I think it was a

1:55:19.240 --> 1:55:21.800
<v Speaker 1>very similar thing where it's like, some of what you're

1:55:21.800 --> 1:55:26.840
<v Speaker 1>about to see is old, you know, old stereotypes that uh,

1:55:28.000 --> 1:55:31.840
<v Speaker 1>you know aren't don't fly today. And it's weird because

1:55:31.880 --> 1:55:36.200
<v Speaker 1>I feel like with kids things, I have a different

1:55:36.280 --> 1:55:42.840
<v Speaker 1>feeling about it with kids things. And I saw this

1:55:42.960 --> 1:55:47.600
<v Speaker 1>and I I tweeted about it, but I'm not I

1:55:47.600 --> 1:55:50.840
<v Speaker 1>don't have enough of a Twitter following that like things

1:55:50.880 --> 1:55:55.480
<v Speaker 1>really go viral in that way. But I tweeted because

1:55:55.480 --> 1:55:58.240
<v Speaker 1>I had watched when the pandemic started, I watched old

1:55:58.280 --> 1:56:03.400
<v Speaker 1>episodes of Scooby Doo and there are some very racist

1:56:03.480 --> 1:56:09.160
<v Speaker 1>things in Scooby Doo that are just throwaway jokes, and

1:56:10.200 --> 1:56:14.320
<v Speaker 1>in rewatching it, I found myself thinking, at the very

1:56:14.400 --> 1:56:18.840
<v Speaker 1>least with Scooby Doo or with those old cartoons. And

1:56:18.840 --> 1:56:21.080
<v Speaker 1>I don't think they put a disclaimer on Scooby Doo,

1:56:22.040 --> 1:56:25.120
<v Speaker 1>but it did feel like, you know, it wouldn't be

1:56:25.240 --> 1:56:32.560
<v Speaker 1>that hard for that company to just animate a new

1:56:33.080 --> 1:56:37.160
<v Speaker 1>a new bridge to get out to like to either

1:56:38.800 --> 1:56:42.280
<v Speaker 1>cut that out of it and replace it with new,

1:56:42.480 --> 1:56:46.880
<v Speaker 1>Like you could very easily cut audio and it's easy

1:56:47.000 --> 1:56:51.840
<v Speaker 1>enough to like make animation kind of match that style. Yeah,

1:56:52.400 --> 1:56:54.240
<v Speaker 1>that's just the beauty of animation. You can change it

1:56:55.160 --> 1:56:59.120
<v Speaker 1>later that. I feel like you could update something like

1:56:59.160 --> 1:57:03.960
<v Speaker 1>Scooby Doo where it's purely children's entertainment, but it's also

1:57:04.040 --> 1:57:07.120
<v Speaker 1>that thing that a parent is like, oh, I watched

1:57:07.200 --> 1:57:09.200
<v Speaker 1>this and I want to watch it with my kid,

1:57:11.120 --> 1:57:14.720
<v Speaker 1>and you know, and it's like, oh, yeah, you could

1:57:14.760 --> 1:57:18.880
<v Speaker 1>maybe do that rather than make that moment for a

1:57:19.000 --> 1:57:21.200
<v Speaker 1>kid for a kid in the parent if they're watching

1:57:21.200 --> 1:57:25.000
<v Speaker 1>it together, hopefully they're watching it together that parent didn't

1:57:25.000 --> 1:57:26.840
<v Speaker 1>just park the kid in front of it. And it's like,

1:57:27.680 --> 1:57:31.920
<v Speaker 1>and now Scooby and Shaggy are in Chinatown dressed in

1:57:32.200 --> 1:57:37.560
<v Speaker 1>like clothes like or something. They're like turn of century

1:57:37.600 --> 1:57:42.840
<v Speaker 1>clothes and they're doing like buck teeth and accents, and

1:57:42.960 --> 1:57:46.520
<v Speaker 1>it's like, yeah, you don't need that, And you could

1:57:46.680 --> 1:57:52.840
<v Speaker 1>very easily just animate a new twenty seconds and take

1:57:52.920 --> 1:57:55.680
<v Speaker 1>some audio and like it's not like it's not like

1:57:55.720 --> 1:57:59.360
<v Speaker 1>those storylines where that fucking strong to begin with, So

1:58:00.920 --> 1:58:06.040
<v Speaker 1>you're probably not going out the sanctity of of Scooby Doo. Yeah, Like,

1:58:06.120 --> 1:58:08.560
<v Speaker 1>I feel like I feel like it would be easy

1:58:08.640 --> 1:58:10.960
<v Speaker 1>to do that, Like, I feel like Tom and Jerry did.

1:58:11.320 --> 1:58:14.600
<v Speaker 1>I didn't. I remember they did something where they just

1:58:14.720 --> 1:58:21.000
<v Speaker 1>revoiced the the black woman who lived in the house

1:58:21.320 --> 1:58:23.440
<v Speaker 1>or he worked in the house, and I felt like

1:58:23.520 --> 1:58:26.920
<v Speaker 1>that didn't work. I feel like what you wanted is like, no,

1:58:27.120 --> 1:58:32.800
<v Speaker 1>just reanimate a new scene where it's like the same,

1:58:32.960 --> 1:58:36.520
<v Speaker 1>like you know, it's whatever. It's someone saying like Tom,

1:58:36.560 --> 1:58:40.800
<v Speaker 1>I'm leaving you in charge and whatever. Because it's also

1:58:41.000 --> 1:58:45.360
<v Speaker 1>the like everything about this character is like even the

1:58:45.440 --> 1:58:49.040
<v Speaker 1>visual of this character, you're evoking something, and so by

1:58:49.120 --> 1:58:53.240
<v Speaker 1>changing the voice, it's not like not enough, it's you're

1:58:53.240 --> 1:58:58.080
<v Speaker 1>still taking that kind of mammy character and you're just saying, oh,

1:58:58.160 --> 1:59:02.360
<v Speaker 1>now she can sound like she's, uh, you know a

1:59:02.480 --> 1:59:10.919
<v Speaker 1>lawyer from Atlanta, right who still dresses like a mammy. Alright,

1:59:10.920 --> 1:59:14.120
<v Speaker 1>why listen, man, I know you gotta run. I think

1:59:14.160 --> 1:59:17.000
<v Speaker 1>we did blazing settles justice. I'd like to think we did.

1:59:17.600 --> 1:59:19.640
<v Speaker 1>And I appreciate you coming on and being so genness

1:59:19.920 --> 1:59:21.480
<v Speaker 1>with your time. Man, it's good to see. It's been

1:59:21.480 --> 1:59:23.080
<v Speaker 1>a while. It's been a while. It's good to see

1:59:23.080 --> 1:59:26.000
<v Speaker 1>you too. Your beard has grown much since I last year.

1:59:26.120 --> 1:59:28.920
<v Speaker 1>It's kind of ridiculous. I'll next time I get to

1:59:28.960 --> 1:59:30.480
<v Speaker 1>New York, I'll hit you up. Maybe we can have

1:59:30.480 --> 1:59:32.280
<v Speaker 1>a drink or something. I would love that. And the

1:59:32.360 --> 1:59:34.160
<v Speaker 1>next time I get to Atlanta, maybe we can go

1:59:34.200 --> 1:59:38.680
<v Speaker 1>to Fox Brothers. Oh, totally, man, anytime I'm ready. Yeah,

1:59:38.920 --> 1:59:42.360
<v Speaker 1>or what's the other there's there's another place. I went

1:59:42.400 --> 1:59:46.440
<v Speaker 1>to a gun show. Yeah, gun show is good. Uh.

1:59:46.640 --> 1:59:51.440
<v Speaker 1>I'm thinking it closed down because the pandemic. That was

1:59:51.440 --> 1:59:54.920
<v Speaker 1>actually the last restaurant I went to for my my

1:59:55.000 --> 1:59:59.960
<v Speaker 1>birthday March last year. So oh, well, happy belated birthday,

2:00:00.360 --> 2:00:05.360
<v Speaker 1>thanks man. Yeah this year, well, happy belated birthday to

2:00:05.600 --> 2:00:12.360
<v Speaker 1>belated birthdays. Yeah, all right, thanks buddy, thank you. Take

2:00:12.440 --> 2:00:15.920
<v Speaker 1>care all right, everybody. I hope you enjoyed that as

2:00:16.000 --> 2:00:18.840
<v Speaker 1>much as I did. This one was supersized. Why. It's

2:00:18.840 --> 2:00:20.760
<v Speaker 1>a great guy. He's always got a lot to say,

2:00:20.760 --> 2:00:23.920
<v Speaker 1>and he's always really interesting to have a conversation with.

2:00:24.080 --> 2:00:27.080
<v Speaker 1>I Uh. I usually have these conversations with Wyatt sitting

2:00:27.080 --> 2:00:29.480
<v Speaker 1>at a bar um sometimes just the two of us,

2:00:29.480 --> 2:00:32.840
<v Speaker 1>which is really nice, but this time it was over zoomed. Unfortunately.

2:00:33.360 --> 2:00:34.840
<v Speaker 1>I can't wait to get to New York and maybe

2:00:34.960 --> 2:00:36.680
<v Speaker 1>see him again, because, like I said, in the show.

2:00:36.720 --> 2:00:39.360
<v Speaker 1>It's been a while since I've seen seen one of

2:00:39.360 --> 2:00:42.560
<v Speaker 1>my old pals, so big thanks to Wyatt. I hope

2:00:42.560 --> 2:00:44.520
<v Speaker 1>he did blazing saddles justice. I hope you guys got

2:00:44.560 --> 2:00:48.920
<v Speaker 1>a lot out of his conversation about his career and

2:00:49.040 --> 2:00:51.720
<v Speaker 1>especially with problem areas. Like I said, you can still

2:00:51.720 --> 2:00:54.920
<v Speaker 1>watch it on HBO Max. It's a really really good show.

2:00:55.400 --> 2:00:57.400
<v Speaker 1>And uh, if you missed it the first time around,

2:00:57.400 --> 2:00:58.960
<v Speaker 1>I encourage you to go out and check it out now.

2:00:59.280 --> 2:01:03.240
<v Speaker 1>Problem is on HBO Max. So thanks for listening, everyone,

2:01:03.320 --> 2:01:07.880
<v Speaker 1>and we'll see you next week. Movie Crash is produced

2:01:07.880 --> 2:01:10.640
<v Speaker 1>and written by Charles Bryant and Meel Brown, edited and

2:01:10.680 --> 2:01:14.040
<v Speaker 1>engineered by Seth Nicholas Johnson, and scored by Noel Brown

2:01:14.240 --> 2:01:17.320
<v Speaker 1>here in our home studio at punksty Market, Atlanta, Georgia.

2:01:17.480 --> 2:01:20.520
<v Speaker 1>For I Heart Radio. For more podcasts for my Heart Radio,

2:01:20.600 --> 2:01:23.320
<v Speaker 1>visit the I Heart Radio app, Apple Podcast, or wherever

2:01:23.400 --> 2:01:24.720
<v Speaker 1>you listen to your favorite shows.