Culture Shift w/ Brad and Ordy: Artificial Hollywood

Episode Transcript

Speaker 1 (00:01):
You are listening to k l r N Radio, where
liberty and reason still rain. K l r N Radio
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N radio dot com.

Speaker 2 (00:57):
And Happy Thursday Evening to everybody out in k e Land.
This is your early introduction to the weekend. You're listening
to the Culture Shift. I'm Brad Schlager getting ready to
walk you down all the pristine marbled hallways of Hollywood
as we covered the business side of show business. But
I did say we because every single time we take

(01:19):
this foray into the money land of Hollywood. Joining me
is America's most laser focused and digitized amash individual, Ordie Packard.
What's going on tonight?

Speaker 3 (01:29):
You know what. I'm on the run for tax evasion.
That's why I may not sound normal. I'm having to
do this mobile and hopefully they don't give me.

Speaker 2 (01:38):
Yeah tonight, lady has to broadcast from the kalor En safehouse.
Locations undisclosed at the moment. So he may sound a
little off, but I'm always a little off, but yeah, yeah,
And I don't usually get accused that. I usually I
get a little off. Yeah, that's what I'm used to

(01:59):
hear in But glad you can make it. Nonetheless, So
we've got the hookup, we've got the satellite. There's going
and you're parabolically connected. So I'm happy about that.

Speaker 3 (02:10):
Yeah, it's like when you had to do that. You
had to do the show a couple of months ago
from the pool of the hotel.

Speaker 2 (02:17):
So yeah, yeah.

Speaker 3 (02:22):
I'm on the run though man ain't gonna get me cool. Well,
yeahs everything out in America's lang where you're not running
from the Feds.

Speaker 2 (02:32):
Oh no, we're good. We're solid here. And Florida Panthers
have just qualified for their third consecutive Stanley Cup. So
we're in a state of bliss here because our lives
are so shallow. What other people do have to make
us feel important? But it's happiness nonetheless. But uh, I.

Speaker 3 (02:53):
Saw the best Florida mad story today.

Speaker 2 (02:56):
Oh there's been, there's been a lot lately, but let's
hear it.

Speaker 3 (03:00):
Uh this dude, Uh he uh was on there, he
was getting he was in a foot chase with the cops.
Uh ran across or swam across a gator infested lake,
got bit by a gator on his way across, got
to the other side, picked up some garden shears, charged
some cops, shucked in. John was able to get in

(03:20):
their car and was trying to steal their shotgun when
they finally shot him and they tasered him twice.

Speaker 2 (03:25):
Yeah, I caught this story. That was, as I always
like to say, you can distinguish the Florida Man's story
not just by the weirdness, but by the layers within
every story. So you've got a guy by a gator,
tazed not once, but twice, and the cops ended up

(03:46):
bringing him down as he tried to breach their vehicles. Surprise, surprise,
there may have been meth involved.

Speaker 3 (03:54):
Yeah that did They just stop with bath salt, so
they just backed up? Pure myth now is how it's
going on?

Speaker 2 (04:00):
Well, it's yeah, I guess you know. Bath salts had
that ignominious introduction to society here where basically when you
hit the market with people eating someone's face, that generally
is going to put a damper on your product moving.
So that kind of killed the kill the drive for
that particular item. But yeah, we just it's kind of like,

(04:27):
you know, we're we're already a nutcase of a state here,
we are basically the psych word waiting room. Let's just
throw some chemical imbalanced behavior on top of it. Why
don't welcome to Florida.

Speaker 3 (04:39):
That's all I can say. There you go.

Speaker 4 (04:42):
Yeah, you're a totally different breed of crazy than this
out here in California. I mean, we've got our own brand,
and our brand is strong, but you've definitely got the
Deep South brand of it.

Speaker 2 (04:55):
Oh yeah, what what people generally regard to be crazy psychoticavior?
We called Tuesday Afternoon. So it's a completely different thing
down here. We're we're about as blase as we can
get to the PSCH. But nonetheless, you and I are
looking at quite a full board here. We got all
kinds of product and content to cover. We're theatrical, we're television, broadcast,

(05:19):
and we got a lot of tech sitting on our
lap as well, so we should delve into it. We
just came out of the holiday weekend and damn, for
the first time this year, theaters exploded.

Speaker 3 (05:38):
And yeah, I mean there's so many stories to go
with that. I didn't even know where you want to
start with it. I mean, it's theater. Theater's a ba baby.

Speaker 2 (05:47):
Yeah, Actually I was, uh, moved out at a party,
Saturday family party. And then in between I had to
cut over hit the tavern by at o'clock to go
watch some hockey. And in between we passed up a
theater and you know, the white look whereas his holy cow,
the park a lot bust and what's happening. I just
looked at her and said, Lelo and Stitch is happening.
That's what it is. Yeah, finally Disney has struck gold.

Speaker 3 (06:14):
This This washes the stain of snow white off of there. Yeah,
that that ship sandwich. They finally got to wash it
down with a nice craft gear or some point. I mean,
you know it. We're keeping with the Hawaiian team.

Speaker 2 (06:29):
Yeah, exactly. The all of a sudden, the Johanna spirit
has washed over the entire studio. Everything else is going.
They finally kicked the itinerant ant off of the sofa
as it were. Yes, I'm talking about Rachel Zegler here.

Speaker 3 (06:45):
Yeah.

Speaker 2 (06:47):
Yeah, they've had a they've had a monster hit. So
Lelo is stitched. This is the live action version of
their animated I guess you could call it a hit.
Here's the funny thing. I think what it was? It
fifteen to thirteen years ago the original came out.

Speaker 3 (07:02):
Was it really longer than that?

Speaker 2 (07:04):
It could be. I could be wrong on that. That
never happens, but yes it could. The Yeah, but the
original was I don't think it ever had been regarded
as a classic, you know, was it like this this
movie that I was. Of course, I've seen it. It
was more of a very select crowd. But the people
that saw it loved it, and it's just it's been

(07:26):
a feature. It wasn't a failure by any stretch. I
think it pulled about one hundred and fifty milli hundred
set by its end run.

Speaker 3 (07:32):
Yeah, I mean for an animated I mean for a
Disney cartoon at the time, that was fairly respectable. But
where it absolutely kicked ass was in video and now
in streaming. I mean, Jesus Christ, I won't go away.
It didn't go away for the longest time.

Speaker 2 (07:52):
Yeah. And I'm dug in a little bit on this.
And one of the curious things is that while Lelo
was stitched, the original, never that monster hit. This has
become a huge money maker for the studio. Yeah, so
you know, they of course they sell licensing for just

(08:12):
about every product known to man. Out there, but they
actually have rankings of the various characters and what they
pull and Leelo and Stitch products pull in a billion
a year for the studio. It's like in the top
ten of character product revenue.

Speaker 3 (08:32):
Yeah, I totally buy that.

Speaker 2 (08:34):
So and case in point, we got a little one
that's staying with us now for the summer. She absolutely
loves the character stitch. It's all over her bedroom. We
had to get items here for her while she's staying.
And I don't know that she's actually sat through the
entire first cartoon, Like Matt, she's seen snippets and shorts

(08:55):
and you know, she'll see them stuff on TikTok and
things of that danger and just loves the character. So
she's got a lamp and she's got the ceiling broadcast
light and all these other various things and clothing and
shoes and all that. She just loves stitching. That's what
Disney is doing. And this is why, you know, a
lot of what we cover, we love to cover the

(09:15):
failings of Disney, but a lot of times the studio
doesn't feel it because of this ancillary market of theirs. Well,
I mean, they've got.

Speaker 3 (09:23):
Probably need to have one of these to make up
for you, because remember after snow White they canceled fucking
was it Tangled?

Speaker 2 (09:32):
Tangled?

Speaker 3 (09:33):
Yeah, yeah, they just they put the brakes on that.
And if this one wasn't already in the Cannon schedule
for release, they probably wouldn't put the brakes on this too.
Snow Light was that much of a failure that it
made them rethink the live action completely.

Speaker 2 (09:48):
Yeah, and now we got to think, are they going
to rethink it because of this success? That's just the
way they go. But I was I was just floored
by this product marketplace that they have. When they're sitting
on anywhere between eight and ten characters who independently draw
a billion dollars in revenue product sells sales. That's staggering

(10:12):
to me. I mean, that makes up for all of
these other screw ups, and it could very well explain
why we have endured years of them pumping out woke
product that fails miserably.

Speaker 3 (10:26):
Yeah, I mean, because you know what they what they
generate and relottle on stitch merch in a year covers
five snow Whites and that's just one product.

Speaker 2 (10:37):
Line, right, So you know when they belch out one
of their stupid woke offerings that nobody wants to see.
Or when Disney Plus keeps sinking three billion of four
billion annually, we'll just sell some more robin Hood toasters
and that'll cover it. You know. That kind of thing

(10:57):
is pretty much there's got to be their mentality because
they don't want to learn the lesson. This might be why.
I mean, I knew they were making money on products,
but I had no idea it was to this level.
When literally an ancillary character like Stitch is pulling in
a billion a year and it's been about seventeen years
since it was in theaters, damn see see.

Speaker 3 (11:21):
And that's one of those things. This is what, you know,
what we talked about with the Avatar effect, This is
the opposite of that, and that you never see a gift,
you never see a meme or anything about Avatar. Why
it makes a billion dollars fucking beyond me. Still gonna be.
That's gonna vex me till the day I died. Nobody
has adequately been able to same. But when you have

(11:44):
something like this, you know, it's like we talked about,
Yeah it did okay for a Disney cartoon when in
its initial release and it's done great, and you know video,
you know, and uh, home sales and streaming. Everybody recognizes this.
Everybody has a gift for it. Everybody has used a
gift or a meme at least once. That was stitch everybody,

(12:07):
you know, So that tracks. And that's why, you know,
you don't even have to be you don't have to
have a passing familiarity with a product to get it
and be like, you know what, I'm going to go
out and see it this time. I'm going to go
see the live action. I missed the Uh, I missed
the cartoon one seventeen years ago. I feel like I'm
missing something culturally, so and boy did the numbers prove

(12:29):
that out? Well?

Speaker 2 (12:31):
This yeah, and this is what's so amazing. So I
did check. I was almost right on it. One forty
five domestic is what the original movie made in the
two thousand and two so, you know, a good run,
but not fantastic. This weekend, the live action remake bested
that number by forty million, one hundred and eighty three.

(12:53):
It pulled in over the holiday weekend and just amazing,
you know, So how do you even factor that in?
I mean, it's like you've got this moderate character. Just
you know, people like the products. I'm gonna go see
the movie like a stampede went to see it. It's
set all kinds of records for the holiday weekend. I'm yeah,

(13:15):
I don't know how that tracks. Really, I'm trying to
make it make sense. But already it's over two hundred
million domestic two hundred and thirteen worldwide. So this has
already cleared four hundred and twenty million.

Speaker 3 (13:26):
Yeah, I mean this was just the weekend. As we
were talking about we're I mean, yeah, we're at a Yeah,
we're close to four. Yeah. No, we're over four hundred million.
That's a billion dollar movie. And we're even we're in
week one.

Speaker 2 (13:37):
Yeah. So generally the way it works is, uh, you know,
but you're looking for a multiple about two and a
half a hit film, maybe three for his run. So
you know, this thing's got legs. It's gonna go places,
and yeah, a billion dollars is not out of the question.
I'm probably through the summer, probably can so oh no, I.

Speaker 3 (14:01):
Know it's gonna make more than a billion through the summer.
I mean it just we're gonna see a billion before
the end of.

Speaker 2 (14:06):
June, and I haven't looked at all the international markets either.
It may not have even opened entirely in the other territories,
so yeah, probably.

Speaker 3 (14:16):
Canada and UK.

Speaker 2 (14:17):
Right, but this was kind of funny. I saw this
desperation that drives me nuts, but it also cracks me up.
Do you recall a couple summers ago when the entertainment
journalists were all agog about Barbenheimer. Uh, this was when

(14:39):
the Barbie movie opened up. Yeah, at the same time
as Oppenheimer.

Speaker 3 (14:45):
Yeah, we we we covered that that entire summer. It
was the phrase that wouldn't go away.

Speaker 2 (14:52):
So basically this was somebody coined that term clever. Oh
you married two movie titles with one word. Man, take
the word to the summer off. You've earned your pay. Yeah. Basically,
all they were describing were people that on a holiday
weekend would go to the theater and watch two movies
that just came out. And they called this a phenomenon.

Speaker 3 (15:12):
Yeah, we used to call that Saturday, so it would
have good movies constantly released.

Speaker 2 (15:19):
Something that people have always done. You're now going to
claim to be the new trend. I mean, this is
when millennials start entering the journalism marketplace.

Speaker 3 (15:28):
You know they Yeah, I mean that's recap. Millennials have
reinvented apartments, buses, sailing, ships, sex, marriage. Did I talk
about that with you? Or they're calling marriage or they're
calling anniversary's marriage birthdays.

Speaker 2 (15:47):
Anyway.

Speaker 3 (15:50):
Process.

Speaker 2 (15:50):
One of my favorites was when they came up with
time blocking. This is a way to organize. Oh, you
mean using a calendar to schedule your day? You and
that got it?

Speaker 3 (16:01):
You know what, let me give you a little throwback.
Here's my whole day runner. Because of all your fucking mind,
you can actually break it down.

Speaker 2 (16:08):
To the hour. Oh my gosh, this is a firm
way to analog organize your daily times. Shut up, it's
a calendar.

Speaker 3 (16:18):
Right. Well, you know what? You know why Barbenheimer was
such a phenomenon? When why it became such a thing
in you know, revolutionizing the theater space. When was the
last time there were two good movies ever released on
the same weekend?

Speaker 2 (16:32):
Right, what, there's a thing. But the whole reason I
even brought that up is because they strained to do this,
and thank god it didn't work. They were trying to
sell the phrase stitch possible.

Speaker 3 (16:48):
Yeah, thankfully that didn't.

Speaker 2 (16:49):
Stick because Tom Cruise had his eighth Mission Impossible jury
hit theaters at the same time and did rather well
seventy seven million. And I want to say for the weekend, No, it.

Speaker 3 (17:02):
Hit just just a nickel short of eighty. But I
mean think about that, Lu and Stitch Live Action remake
made nearly three times what Mission Impossible eight did.

Speaker 2 (17:15):
But they're thrilled with this, like the studios. He even
put out like sent out a letter because it's like
the close of the franchise now. But he's thinking the fans,
the theaters, all the I mean he was he was
above the moon and just said, oh, this is just
you know, thank you everybody. So yeah, two hit films

(17:35):
on the same weekend. The theaters were grateful because now
they could start paying off some of their debt been
that bad. But they're now predicting summertime could probably crust
four billion total, just probably well they're looking at the

(17:56):
overall release schedule and such, but.

Speaker 3 (18:00):
Ain't doing it.

Speaker 2 (18:02):
No, no, And that's uh, we were just about to
cruise into that. Yeah. See a little over a month
ago segue Latin way to go budden. Yeah, yeah, we
covered this over at RedState. We got one of our
newer writers over there, Katie Jergovich. She's uh, she's covering
cultural issues, stepping on my toes, as it were.

Speaker 3 (18:23):
This will outstand. No, we don't have to get her
on the show. One of the two.

Speaker 2 (18:29):
We'll see. She's new there, she doesn't know me yet,
so good chance of it. Yeah, gotta hit that in
about another month before she starts to figure me out,
so we'll see. Now she's uh, she's a long time
she's been at a couple of different conservative sites writing
on entertainments. They brought her on. I was like, holy crap,
now I'm humbled, But yeah, she she covered for us.
How the Thunderbolts has become yet another marvel fluting miss fire.

(18:57):
I never understood this when it was coming out, Like
why they why do they keep trying to do this?
It's they they're really digging deep into the character bin
and trying to sell this as major when they're not.

Speaker 3 (19:12):
Yeah, I you know, I even knowing comic books, I
had a passing knowledge of thunder I knew that they
were a thing. I'd never actually read them, you know,
I mean that worked, you know that worked from once
before with Iron Man. I mean, fuck, that started the
whole MCU. But yeah, okay, it's and I'm just gonna

(19:35):
get ahead of this right now. It's not superhero fatigue
because d C is doing fine. You're putting out ship
products that nobody wants to watch. Disney.

Speaker 2 (19:48):
Yeah, I mean, I've they promoted the hell out of Thunderbolts.
Maybe maybe I should have gone the Barbenheimer road. They
should have called it t Bolts and really drawn the.

Speaker 3 (19:58):
Kids in, right, get that slang going.

Speaker 2 (20:02):
But I mean they marketed The Help. Yeah, it's you
abbreviated I'm in the theater now. Yeah, the the promotion
for this was heavy. Kept coming out and saw the characters,
but I never grasp what they.

Speaker 3 (20:17):
No idea, what's never no idea, what's going on?

Speaker 2 (20:19):
It was just ensemble superheroes. Oh she falls off a building.
Oh he tips over a car and truck by himself. Okay,
they're superheroes. What's going on?

Speaker 3 (20:29):
No clue, no identifiable character.

Speaker 2 (20:33):
I mean, from what I've gleaned, it almost sounds like
Marvel's version of the Suicide Squad, if maybe not villains,
just like anti heroes and what they want.

Speaker 3 (20:43):
No it is there are heroes. It's like it's kind
of like The Defenders, but without Netflix dark. You know,
That's what I've gotten from reading.

Speaker 2 (20:57):
About it, So without keeping it real.

Speaker 3 (21:00):
Without keeping it real, because god damn Netflix, Marvel was fantastic.
Why can't we get more of that? Yes, I know,
Dared Devil's out. I keep trying to get back into it.

Speaker 2 (21:10):
I just anyway, But yeah, this one didn't didn't light
it up, So it did not.

Speaker 3 (21:19):
It is sitting at after four weeks. This weekend, it
pulled twelve million on a three day holiday weekend.

Speaker 2 (21:29):
Yeah. Yeah, Katie's given the numbers here, three fifty eight
million global. That's worldwide, domestic and international. So that's fallen
well short of what's needed here because as we always
like to do is keep the numbers real, factor in

(21:49):
the budget, factor in the marketing, which I just said
was heavy as hell, and then reminding you get fifty
US and forty percent international ticket sales. Yeah, this is
this is gonna probably have to go over to the
art department and get a couple of barrels of red
ink for the accountants. One hundred million right now is

(22:11):
what they're kind of estimating. This is gonna lose.

Speaker 3 (22:14):
Yeah, I mean that's so let's just pile that on
top of snow White. The Marvels. Yeah, yeah, Dizzy has
had two this year, two wins and six losses.

Speaker 2 (22:34):
I think, yeah, because the the revamp of Captain America
was not well, not quite what they were looking. Ford
did well. But again, when you're drawing four hundred million
and can't turn a profit, I think a big part
of your problem there is in production side of things.

Speaker 3 (22:57):
Yeah, because if you can't from Oceanside too, because it
ain't doing the job.

Speaker 2 (23:04):
You would think, and I understand you. The Superhero movie
Large budgets a lot of computers. It's say, sure, but
at some point in time that it's like a computer
infrastructure has to be built at some degree. I know,
it always needs upgrading and new software develops and such.
But like when Pixar started decades ago, their initial movies

(23:26):
cost a crap don because they had to develop all
those computer software system but after a while they were
in place. Yeah, yeah, exactly.

Speaker 3 (23:36):
So that's so Jurassic Park too. At least joke about it,
as you know, because what back when I was working
in computers, one of our clients worked on that and anyway,
long story, short, we called a dinosaur building software.

Speaker 2 (23:53):
Yeah, the yeah, but that was the reality, especially at Pixar.
They you first had to buy all the hard where
then you had to develop all that proprietary software and such.
Their first three or four films, Bugs Life, Toy Story,
all of that were far more expensive. But then after
a while they streamlined the process.

Speaker 3 (24:12):
Yeah. Well by the time we got down to Toy Story, too,
pretty cheap.

Speaker 2 (24:18):
Yeah. Plus your people were now technicians. You didn't have
to train them and create and invent new stuff and
spend time in R and D. You had it. So
now you have more of a system in place. I
would think Marvel would be there now. Great, I know
it takes a crap ton of money at Pinewood Studios
Georgia and everything else.

Speaker 3 (24:37):
But yeah, with some built Pinewood Georgia.

Speaker 2 (24:43):
But your software for the special effects has to be
in place by now, or at least enough of the
hardware that the upgrades aren't going to be that expensive.
If you have to spend one hundred and fifty two
hundred mili on every superhero movie, you're you're stacking the
deck against yourself.

Speaker 3 (25:03):
Well that I think they're a little over reliant on
special effects a lot, especially in Marvel. Remember that story
we did a couple of years ago. I think it
was for the original Captain Marvel where the only thing
that was real on the screen you got Samuel L.
Jackson sitting in a nice library kind of room. You know,

(25:24):
this kind of plause you you know, like, oh, come,
let's go have coffee in the library kind of library.
The other thing real in that scene was the chair
that Jackson was sitting in and the table that his
drink was on. Everything else in it was cgi. Is
that you're going too far And that's where the prequels

(25:45):
really fucked up with Star Wars is that literally everything
was blue screened right where it's like and at the
time the tech wasn't still that awesome. I mean, now
you can kind of get away with it, but still
it would it be too much to build a set.

Speaker 2 (26:04):
Yeah. Plus, that's what made the original trilogy of films
so immersive, is that the practical effects in the practical
setting drew you in. And yeah, and you got better
technology that becomes distancing, you get you know, the uncanny Valley,

(26:25):
you get the artificial feel of everything then and the
old ones still feel you watch them. It still feels better.

Speaker 3 (26:34):
That's why the Kurt Russell thing is so much better
than the new one. It's a it was all practical effects.

Speaker 2 (26:42):
Yeah, it's a it's a unique paradox taking place. They're
getting better and the product is getting worse as a result.

Speaker 3 (26:50):
But it's a metaphor wrapped in a.

Speaker 2 (26:53):
Enigma, covered with a riddle bow tie of cipher or
something like.

Speaker 3 (26:58):
That, and and code it in a hard candy shell.

Speaker 2 (27:03):
But uh, we're looking. Let's see at three major releases
from Disney this year, losing one hundred mili plus. But
but stitch products, toilet paper, bed covers, and tennisoes are
freaking a billion dollars annual. They ain't feeling it, that's

(27:25):
I mean.

Speaker 3 (27:26):
But the thing is how much can how much can
merch carry because merchants carrying the parks, I mean, the
only thing anybody goes to the parks for now is
to go to a Disney store if they don't have
one of their local mall, you know, to buy the
leglo and stitch shit without actually going into the park
and seeing legal or stitch, because you can afford one

(27:48):
hundred dollars per head minimum anyway. Yeah, So but how
much how much of the mouse House going to carry
It's carrying, the parks, is carrying, the studios, carrying the streaming.

Speaker 2 (28:03):
Well, they they apparently aren't feeling it. They're just gonna
keep belching out the crap. Then I'll tell you what
I really feel like is the issue is that these releases,
especially ones like t Bolts, I'm going with it. I'm
selling that one. I am, I'm going for it, the

(28:26):
New Captain America, all of these have a Disney plus
streaming feel to it. They should be in the secondary market,
and I can't even then. You know, I wanted to say,
then it would make sense you'd have a smaller budget
and such, but no, we we saw what that doesn't

(28:47):
apply with stuff like The Acolyte, where they belched out
hundreds of millions per episode for a show nobody watched.
Geez It's.

Speaker 3 (29:00):
Movies for this week.

Speaker 2 (29:02):
Number thirteen, I believe that was Snow White still lingering.

Speaker 3 (29:07):
Fiftieth week in theaters, averaging four showing.

Speaker 2 (29:19):
I think they're I almost wonder now if there isn't
some sort of contractual obligation like they maybe had Rachel
Ziegler put a writer in our contract you have to
leave it in theaters until June.

Speaker 3 (29:36):
It has to get a chance for the summer rush. Yeah,
eighty seven million total gross.

Speaker 2 (29:41):
The hardest thing is limping now and not even going
to hit ninety mili. It's at a level now. We
said a last episode where they're at right now is
what they were supposed to open with initially. Yes, damn,
after ten weeks, I.

Speaker 3 (29:55):
Fucking love it. I mean, I feel bad for all
the people who worked on this, but you know what,
they're still going to get their job. You know who's
not Rachel a little fucking hobgoblins, never gonna work again. Yeah,
but you know what, Webite and went between this and
West Side Story just cooked.

Speaker 2 (30:11):
Oh yeah, I covered that over at town Hall. Like her,
which she's got I think a filmography of like six
or seven films. One of them turned a profit mm hmm.
And that was not even because of her. It was
The mocking Bird.

Speaker 3 (30:26):
Yeah, yeah, that was that was a whole. That was
a whole. Jennifer Lawrence established fucking franchise based on a
book franchise that she just kind of wandered into the
you know, the Fantastic Beast version of it. You know,
not the primary but secondary.

Speaker 2 (30:45):
She's yeah, and that's it. I mean, look, you know
she was in something that was in theaters last December
that made six million total, just some horror movie about
I don't even know, Okay, But as far as the
people have worked on a movie, I don't feel bad
for him because a lot of them got two paychecks
when they had to reshoot and recalibrate so much of

(31:07):
that damn movie.

Speaker 3 (31:08):
That's true. They all had to come back for reshoots too.

Speaker 2 (31:12):
A lot of a lot of the CGI artists and
such got double dipped on that one. I don't go
home yet. We're getting new dwarves. We need you for
a few more months, ok available, But yeah, so far
summer is kicking off at least on an up note.

Speaker 3 (31:31):
Yeah, I mean if it rolls like it, because this
is like top de Maverick last year, that thing just
kept fucking going, you know.

Speaker 2 (31:40):
And speaking of did I just see they've approved a
third one that's fantastic, good to the to the surprise
of absolutely zero people.

Speaker 3 (31:49):
But it's almost if you make a good movie that
doesn't have an agenda, people will go fucking watch it.

Speaker 2 (31:57):
Where have I heard this spoken about before?

Speaker 3 (32:01):
On this show every two weeks for the last six years.

Speaker 2 (32:05):
I almost get tired of being correct so much. But
except it just feels too damn good.

Speaker 3 (32:11):
But you know, something has had to fill the hole
since Batgirl left us and the constant failure of Disney.
Is it right now?

Speaker 2 (32:20):
But we've been speaking of the theater chains so to speak,
because they are basically breathing a sigh of relief as
of right now. And the Regal Theater Group surprisingly has
seen its credit rating increase going up positive.

Speaker 3 (32:38):
What. Yeah, I never thought we would see this again
after you know, in the post Chinese aids world that
we would get movie theaters back and back big. I mean,
for for s AP Global to raise a credit rating
of something like Cinemas from a B minus to a

(32:59):
B that that's huge. That is turning. That has really
turned yourself around after chapter thirteen.

Speaker 2 (33:06):
The reason is significant is because you have to show
both underlying value and a perspective value going forward. That's
the surprising part, because yeah, I mean, if you look
at a MC last i'd check that I think they
were like a triple C level depending on the credit

(33:26):
you know, rating company and stuff. We're doing well and
it was both underlying debt and all that stuff, but
also the future prospects that were kind of dim and
questionable or sketchy. So if for a theater chain to
get a boost like this kind of a eye opening
really something.

Speaker 3 (33:47):
Regal I always thought, I if I've got a choice, Yeah,
if I given, my brothers will take you to a
Regal over an AMC.

Speaker 2 (33:57):
I think, yeah, I mean Regal at least we've got
one nearby I go to sometimes. They they at least
feel conventional, like they have a lot of the extra stuff,
but they the core business of getting your ass in
a seat and watching a movie is something they do
pretty quick and easy. Yeah, I mean you can get in.
They got the great snack bar. You can buy beer

(34:18):
for everything else. You can even get your novelty popcorn bin.

Speaker 3 (34:21):
Of course, yes, you can get your Dune flashlight popcorn bin.

Speaker 2 (34:26):
Yes, your Doune three marital laid popcorn bin is available, sir.
But at the same time, it's just you know, boom,
you cut left or right, you go to the theater,
you're in, you're watching your movie. It's done quick and easy,
so they at least do it right. AMC just tries
a little too much. There's you got the snack bar,
You've got the actual wet bar, You've got everything else.

(34:47):
We're Is there a map to the theater, That's what
I'm trying to do.

Speaker 3 (34:51):
Is there actually a screen where I can watch the movie?
That's what? Oh it's down that long, dark hallway. Got it.

Speaker 2 (34:57):
They're almost like the flip side of a museum where
you enter through the gift shop. I want the product first,
then we'll think about stuff. But now you got to
go through this entertainment maze before you can be entertained,
I guess. But yeah, I mean that's a positive sign.
I suppose that they have got something going right.

Speaker 3 (35:17):
Some overstimulated teenage girls, dance dance revolution routine, the arcade.

Speaker 2 (35:25):
Yeah, not that he's bitter about anything, of course.

Speaker 3 (35:28):
No, it's never happened before. I don't know what the
fuck I'm talking about.

Speaker 2 (35:33):
But yeah, on the flip side of this, of course,
they're looking at AMC. They are doing kind of the opposite.
In summer. They've announced by July they're actually gonna on
Wednesdays cut ticket prices in half, just desperate to get
people in the door.

Speaker 3 (35:49):
Yeah, and that's that's really sending a bad signal, especially
after you know the uh the two years ago, the
the Shenanigans with their God was that, No, that was
more than two year ago. That was like four years ago, now,
wasn't it.

Speaker 2 (36:06):
Oh yeah, probably is because they've actually made movies about that.

Speaker 3 (36:10):
Yeah, yeah, that's right, so long ago.

Speaker 2 (36:12):
They actually made a movie about it, the picture about
the game Stop thing. So yeah, it had been a while.
But this is if you're doing this in summer, that's
where I think the uh kind of red flag pops up.
I mean, this is almost like a bar that promotes
the happy hour prices and stuff on Saturday.

Speaker 3 (36:32):
Yeah, every hour's happy hour a quarks.

Speaker 2 (36:36):
Yeah, no, I mean you go to most restaurants when
they have the early bird specials or lunch dining quickies
or half Fridays. It's usually Monday through Thursday, Okay, Friday
and Saturday and Sunday the weekend. No, they don't have
to do the special pricing because people are coming anyway.
You see, So theaters summertime asses in seats and they're

(36:57):
still slashing on Wednesdays. That's I don't know, that seems
to indicate something.

Speaker 3 (37:06):
Yeah, it's this is this is this shit you do
like two months ago or like leading into Halloween. This
isn't shit you do in the summer. I mean, unless
you're trying to Hey, you know, we care and we're
gonna give half price seconds because the economy is hard.
That's something you did two years ago cheap.

Speaker 2 (37:27):
Yeah, that's It's just a weird feeling, especially when you've
got such a big launcher as we've seen here. For
them to make that announcement, it's a bit curious, but okay, yeah.

Speaker 3 (37:42):
Maybe if it works, great, but uh, I mean right,
you know AMC's quarterly losses are two hundred and twenty
two or yeah, two hundred million. That's your hemorrhaging. You're
absolutely he orrhaging. And for you to be doing this
while Regal's credit is great. Yes, I understand Regal filed

(38:05):
for bankruptcy and they're coming out of it, but they're
not doing this shit. They didn't do this shit to
get asses and seats people. You know. Again, it's just
part of the experience. AMC, like, like we just does
too much and.

Speaker 2 (38:19):
Yeah, whatever, well they I don't know, maybe they're looking
at the SCEDU. Did you notice that there's this summer especially,
it seems like this is the trend in theaters to
have the re release of classic movie as they hit
their anniversary date.

Speaker 3 (38:40):
So then that's again absolute desperation. We have no original
ideas and we can't even reboot shit, right, so we're
just gonna put you know, like when we talked about
last time, you know, for the what was it the
twenty fifth, the twentieth anniversary of a Phantom Menace? But

(39:02):
it's Eat snow White.

Speaker 2 (39:05):
But those are massive, massive movies, okay, and there is
that underlying core audience that would love to see it
again on the big screen. So sure, okay, Like this summer,
the big one is Jaws fiftieth anniversary.

Speaker 3 (39:21):
Fantastic. I'm one something.

Speaker 2 (39:23):
Like that makes perfect sense, right, yeah, I mean it's
hitting the number. Also, how many people that have seen
it have been able to see it on the big
screen before? Probably not too many.

Speaker 3 (39:34):
He has only gen X, gen X and boomers. Yeah,
but let me ask you, unless you're near some art
house that does shit like that, you know that like
that does the Rocky Horror Picture Show and shit like that,
they can't get the new movies, so they replay these
all the time.

Speaker 2 (39:49):
But here's just a partial list of these anniversary releases.
Coming up in June the thirtieth anniversary of Clueless. Who
the hell?

Speaker 3 (40:03):
As we talked about, they are rebooting that, they're making
a TV series that, of course they are, with a
Lisa Silverstone in it.

Speaker 2 (40:11):
They got Indiana Jones in the Last Crusade.

Speaker 3 (40:14):
Okay, that's cool. I would actually go watch that.

Speaker 2 (40:16):
That That justifies Okay, big screen. Sure, here's one. I'm
a little dubious about. People caring for Broke Back Mountains
twentieth innversary.

Speaker 3 (40:30):
Yeah, why.

Speaker 2 (40:35):
I that's that's when you want to watch at home
because you don't want other people to know you're watching.

Speaker 3 (40:43):
It, right That's that's you know, when you and your
range buddies go out to see it as a wharf
and then you know, you get those two of them
that end up crying and yeah, yeah's awkward, you know what,
you know, that's just one's that awkwardness. You know.

Speaker 2 (40:58):
Not everybody's got my us right now, now, I'm watching
this for a podcast. You see, we make fun of
this stuff. Research. That's only what this is all about. Text,
right off, I got to keep the ticket stuff. That's
the only reason I'm here for this, but you know,
and to.

Speaker 3 (41:11):
Be fair, that was the last good LGB movie, So
you got you gotta throw a bone to the to
the rainbow fu whatever that new flag is. But you
know they earned it. They put up a lot of
the trans ship too, So.

Speaker 2 (41:28):
I'm pretty I think the LGB pie community has their
own award shows and all that, so they they have
to have outlets for this stuff. They must know there's
gotta be other great gay movies, is what I'm saying.

Speaker 3 (41:46):
With Leonardo DiCaprio, when he got fed by the bear,
that was just a metaphor?

Speaker 2 (41:56):
Did that? Did that appeal to the reality road or
the freeze.

Speaker 3 (42:01):
Or the no Bears slang first? So they didn't want
to make obvious metaphor got it?

Speaker 2 (42:09):
Yes? Symbolism Okay, yes, yes, but this, yeah, this is
some gonna get to be the thing to do. Like
even Okay, Dogma the Kevin Smith movie. Yeah really, twenty
fifth anniversary of this work, Clerks.

Speaker 3 (42:27):
I would absolutely go see the ball Rats one hundred percent.
Would go see Dogma. Yeah, it's good, it's fun, but
I didn't like seeing it in the theater.

Speaker 2 (42:36):
I had much.

Speaker 3 (42:37):
I enjoyed that more watching it and home than I
did watching it in the theater.

Speaker 2 (42:41):
So why Yeah, it's again not knocking the movie itself,
but it's the big screen experience. That's what I'm kind
of leaning on here. Okay, Indiana Jones makes perfect sense,
Jaws of course.

Speaker 3 (42:58):
Yeah, sure.

Speaker 2 (43:00):
I don't see Broke Back Mountain getting better with age
on the wide screen.

Speaker 3 (43:05):
It just that that movie is an age. It's not good.
It's a little dated. It's a it's a lot dated, actually,
I mean it's I don't think. I don't think it's
gonna hold up.

Speaker 2 (43:18):
Yeah, I just don't. I just don't see an audience
clamoring for that either. I mean, you're already appealing to
a small demographic. And like we have shown even the
most highly doubted gay movies. What was the what was
the comedy one that we covered that just bombed? Oh

(43:41):
Billy Iiker, Yeah, I mean they shoved that down everybody's
throat and nobody I broke down the numbers. Gay people
did not go see the gay rom com.

Speaker 3 (43:52):
No, No they didn't. Yeah we we we did the
math on that one. That was before Matth became exclusive
to Sunday Nights here on K Yeah.

Speaker 2 (44:00):
No, I mean, I think the breakdown was if every
single person that bought a ticket was gay, it still
comprised like one percent of the gay community. Though I
don't even.

Speaker 3 (44:11):
Think it made that much, and I think it was
a fraction of a percent.

Speaker 2 (44:15):
It could have been. Yeah, it was literally you had
to go to that stretch. So they were saying, you're
homophobic for not going to see this. The gay people
didn't go see it. You want me to tell you
this is like when oh, crap, the when the Marbles
came out, yeah and bomb, they said it was, oh,
the sexism did this And I broke down the numbers

(44:35):
on that one sixty five percent of the ticket buyers
were male.

Speaker 3 (44:40):
And that's the kind of thing that you can't. I mean,
it makes great spin, great, it makes great spin on Twitter.
But and that's if you just you know, throw the
grenade and then mute your replies because you're gonna get
the stats all weekend long thrown in your face when
you stay to big ship like that. It's just like that.

(45:02):
They don't want strong female characters in sci fi, and
any fan of sci fi can rattle off twenty without
blinking exactly.

Speaker 2 (45:11):
It's just they they want that to be the case
when their product that they insisted and foisted on audiences fails. Well,
you sents a bit, you didn't go. Well, unfortunately, we've
got a breakdown of the metrics here, honey. And I
love to that sexism made the Marvels fail, But the

(45:33):
original Marvel made over a billion dollars. You know, I'm
sorry that was that.

Speaker 3 (45:41):
Yeah, and that was just every I mean, I can't
figure that one out either. That's another avatar one for me.

Speaker 2 (45:48):
Well, they just say that, oh men don't want to
go see a powerful female figure. Oh they did last year.
That's why you got a sequel, honey. And what about
Wonder Woman messive hit?

Speaker 3 (46:02):
Sorry, well the Loondon Woman maybe four failed, Yes, because
it sucked.

Speaker 2 (46:08):
Yeah, it's same character, same audience. You can't say sexism, sorry, yeah, well.

Speaker 3 (46:16):
You can't even do that with Ghostbusters anywhere. You can't say, oh,
Ghostbusters twenty sixteen because they you know, they failed because
it was all just misogynistic neck beard nerd bros. Well,
Ghostbusters After Life did good and that was a female
lead too, soups.

Speaker 2 (46:36):
Yeah, sorry to disrupt your narrative with facts and metrics
and apologize, Well, all right, why don't we flip on
the lights, let people hit the lobby, go get some refills,
and we will take a break here for a few moments,
and then we'll be back with even more here on
the Culture Shift.

Speaker 4 (47:00):
No no, no, no no.

Speaker 3 (48:46):
No no.

Speaker 2 (49:14):
Like oh right, and we are back here on the

(50:19):
Culture Shift, and our our producer Jeff just saved us
a little bit of heartache. I was going to actually
throw at the audience see which topic he wanted to cover.
But I think we have to uh, I think we
have to trend over to television after that. Oh geez,
did I lose a co host?

Speaker 3 (50:42):
I'm sorry? I was needed. Uh, you know, the you
have the good thing about being all bluetooth.

Speaker 2 (50:47):
So yeah, we both, Yes, yes, I have you.

Speaker 3 (50:54):
Yeah, I'm I'm I'm happy to be here.

Speaker 2 (50:56):
Yeah.

Speaker 3 (50:56):
So being all bluetoothed up, I was able to actually
hear the music while I was going out to get
my beer and everything. I'm walking through my house like
Michael Madison and Reservoir Dogs.

Speaker 2 (51:09):
In the ear scene, I almost didn't take a break
because there's the music cut in. I was like, damn it,
that's the original and I'm here listening to it. I
was like, wait, I'm supposed to go get a refills.

Speaker 3 (51:19):
Damn. Jeff says he's got it on forty five too,
So that's fucking fantastic.

Speaker 2 (51:23):
Wow, the clicks and the pops and make it all happen. Well,
the entire reason for that is now we're gonna segue
into the television portion of the show. There's a lot
going on there. This one cracks me up. The show
swat that was the theme you just heard if you
didn't recognize it the original seventies version. Damn, good stuff that, Jeff. Yeah. Uh,

(51:48):
this is a CBS product that has amused us for
a bit. This show has been canceled three times in
eight years.

Speaker 3 (51:57):
I just do that die. I don't know if it's
a writing campaign that gets them coming back. I don't
know if it's some contract, whether the actors or you know,
produce something, but this show has got more legs than
a fucking New York City Rockets line.

Speaker 2 (52:20):
Well, I think in reading about it, I've actually uh
I did a secondary article I covered on this to
figure out what the hell has happened. It seems like
Sony Television Division has either creative accounting or they front
load a lot of chargers. I don't know, but they

(52:40):
always seem to be able to work out a deal
when the show gets canceled, like well wait, whoa, whoa,
we could restructure some stuff. So they already did this
twice with CBS with this show. Yeah, like it just
too expensive. We don't have to we no, no, we
can do things, we can, we can make changes, so
they did.

Speaker 3 (52:59):
And is Sony that desperate to have some TV show
out there? I mean, is a Jeopardy and Wheel enough?

Speaker 2 (53:07):
I was gonna touch on it. I just saw that
when I came on the show tonight too, that they
actually lost it.

Speaker 3 (53:15):
You go there, there, there, you have it.

Speaker 2 (53:18):
The courts have ruled that CBS will possess those two programs.
So and that was literally as of this afternoon. I
guess I was looking for something else and that popped
up after I'd already hit like whoa. But yeah, Sony
has done this one a number of shows, like with Community,
who's on NBC and got canceled, they moved over to
Yahoo and then they They've had a couple of other

(53:38):
shows that they bounced to different platforms after cancelation. So
they were able to swing something economic with a lot
of their products, and they've been doing that with Swat.

Speaker 3 (53:49):
Yeah, well we're coming into his fourth life now.

Speaker 2 (53:54):
Yeah, so last season was that its last season? You know?
This is the action show, pure cop drama action with
Shamar Moore, he of Criminal Minds. He segued into this
series for the last tight years. So the cancelation was
finalized in March and or in April, i should say,

(54:16):
maybe pretty quick order. Sony comes up and says, uh,
we're gonna do a swatsman off with Shamar Moore.

Speaker 3 (54:27):
Uh huh.

Speaker 2 (54:29):
And it's even more odd than that. So they make
this announcement for a ten episode run, and apparently some
of the cast members of the original series that recently
canceled the original series not seventy, they're a little off
put by this, like, wait, what about the rest of us?
How does he get the deal?

Speaker 3 (54:50):
But not us?

Speaker 2 (54:50):
We've been on the show since day one. And he's
about as unapologetic as it gets. He's like, Hey, I've
been doing this for twenty three years. This is my career.
I'm not gonna apologize.

Speaker 3 (55:01):
How many people are here, have a cambell A s Award,
raise your hand? Oh just me? Thank you.

Speaker 2 (55:09):
Did they still have that?

Speaker 3 (55:10):
Is that? No?

Speaker 2 (55:14):
Not part of the e got anymore?

Speaker 3 (55:16):
Is it? No? No, it is not.

Speaker 2 (55:19):
Well you can spell he got with e A in
front cable.

Speaker 1 (55:23):
No.

Speaker 2 (55:23):
No, okay, but yeah, so Sonya said they're gonna do this, Well,
it's swat, not evolutions.

Speaker 3 (55:31):
What is this? Swat exiles?

Speaker 2 (55:34):
There you go, colon exiles.

Speaker 3 (55:36):
Yeah.

Speaker 2 (55:37):
And the odd thing is this they've committed, they're doing
it ten episode run, Schamar is starring in it. They
just don't know where it's gonna go.

Speaker 3 (55:48):
Or what it's about, or.

Speaker 2 (55:51):
It's just it's a thing. We're doing it. We got
our guy. And okay, so you swe fans out there,
don't give up. Hope.

Speaker 3 (56:02):
Yeah, you'll still get swat. Just everybody you've come to
love on SWAT. There go.

Speaker 2 (56:08):
And I was trying to make sense of this too,
Like during his non apology, chamar Moore said, I think
it's not his Instagram account. He's like, well, no, no,
this is just like when a when a sports team
trades it's running back or something. You know the team's
still going, but the quarterback's gone.

Speaker 3 (56:28):
Oh, there's no conflict. We're shopping this around.

Speaker 2 (56:33):
Exactly. So we're gonna horror our program out. Yeah, but
I think kind of got this wrong where he says, like,
you know, it's not like they got rid of one player,
and it's like, no, you're you got the job nobody
else does. So it's like you're killing the franchise and
playing for another team. Is their sports metaphor there? You're

(56:55):
trying to make sense of this myself, but it's not.

Speaker 3 (56:59):
So.

Speaker 2 (56:59):
Yeah, he's the.

Speaker 3 (57:03):
The franchise move of Paramount, plus the team stayed in CBS.

Speaker 2 (57:09):
But that's the thing is that CBS hasn't committed to it.
Paramount hasn't committed to it. Huh. Okay. I don't know
exactly what's going on there, but it's interesting none the less.
Oh and look at this, Jeff is throwing his forty
five in our face.

Speaker 3 (57:25):
Yeah, yeah, that's the.

Speaker 2 (57:27):
Boys got the original cut of the theme song for
this show that we just heard. That's damn cool. I
love it.

Speaker 3 (57:36):
That's fucking epic. Well.

Speaker 2 (57:38):
One of the things we talk about frequently on this
show is how brilliant we are.

Speaker 3 (57:43):
Our presence is unmatched.

Speaker 2 (57:47):
It's almost a burden any longer to be this correct
all the time about this industry that pretty much despises
or ignores us or both. I mean, we've got all
the answers, and nobody wants to ask us. The question
is it comes down to it. What have we talked
about in the past already regarding nighttime talk shows.

Speaker 3 (58:07):
Uh, well, the Shenanigans. They have to get the hoops,
they have to jump through, the Shnanians, they play the
whatever you want to call it, in order for there
to be to get all of their favorites nominated. Because
when it comes to the Emmys, there has to be
a certain number of shows in that category for there

(58:32):
to be. You know, however many shows there are, there
are so many nominations there will be. And because there
are so few shows now because all of them are
just unhinged and nobody wants to watch anymore, you know,
it's it'll always be the same three that are nominated
because there's only like a dozen shows, so it's like
a one for four with that category.

Speaker 2 (58:53):
Yeah, and we're we're talking specifically here about the late
night talk shows. Yeah, Kimmel, all of them, Colbert and
over the last few years they've had this upheaval and
they've even created upheaval when it comes to John Oliver
at HBO, who they have pulled out of the category

(59:15):
and placed him in the Variety show category despite the
fact there's no variety it's him talking the entire time. Yeah,
it's a monologue and you know it's but they put
him over there so he and Center Live can be
nominated together and they don't just give a trophy to
one show because they're the only one that can. Well, no,

(59:36):
now they're competing both of them.

Speaker 3 (59:40):
We created this category so that way there can be
a head to head match that one is always going
to win, but we feel better about it rather than
just handing an award a Saturday Night Live every year.

Speaker 2 (59:50):
Yeah. So, you know, I guess you know, back in
the seventies, variety shows are all the rage. Donnie and
Marine and everybody that hit Billboard Top twenty would get
a variety show something.

Speaker 3 (01:00:02):
Yeah. I mean, fucking Johnny Cash had one.

Speaker 2 (01:00:06):
And Starland Vocal Band was given one. They had one
damn hit.

Speaker 3 (01:00:12):
Yeah yeah, so but yeah, I mean you'd have he huh,
you'd have I mean all it wasn't just like variety
shows that hit you know, whenever. So you had Second
City TV, and you know, you had actual variety shows,
you know, and now there's one.

Speaker 2 (01:00:28):
Yeah, and now they're struggling because, as we've talked about,
the talk show format has been withering of sorts lately,
so they've shrunk down to only like I think, like
twelve eligible, meaning only three nominations. So they've been branching
out and just trying desperately to bring anybody in. Somebody

(01:00:48):
suggested Graham Norton, and then it got to be pointed
out to them it's like, no, that's actually a British show.

Speaker 3 (01:00:55):
Yeah, just because there was a BBC America channel that
Graham Norton is on.

Speaker 2 (01:01:01):
Uh, sorry, he doesn't count. They've gone to this length.
Have you ever seen Hot Ones? Yeah, this is I
think it's a streaming show. It might be I don't
know which one. It's on streaming.

Speaker 3 (01:01:15):
It's a streaming show, it's yeah, it's like a twenty
five minute format.

Speaker 2 (01:01:19):
Yeah. It's one guy that sits at a table with
a variety of hot sauces of progressively hot order, and
he has some quasi celebrities sit down across from him
and eat each one as they get hotter and hotter
and hotter.

Speaker 3 (01:01:31):
Yeah, and usually it'll be something like Milicunas or Galgada.
You know, it'll usually be a hotty, so you know
it'd be you know, so a very attractive person will
be eating howeings.

Speaker 2 (01:01:44):
Or and I've seen people like from the Food Network
and a variety of celebrities of different nature. But they've
they've now taken this from one of the streamers and
tried to enter that into the category to qualify and
things of this.

Speaker 3 (01:01:58):
Imagine the mental gymnastics that necessary to put a streamer.

Speaker 2 (01:02:03):
They're trying to get, like shows that appear on YouTube
now to qualify and things that subscription only programs. Just
we have to hit a threshold of twenty, don't Yeah.

Speaker 3 (01:02:15):
Remember the job, the hoops they jumped through to get
it for Jesus Christ, I just drew a blank on
his name, and I've been sitting here trying to reference
that the whole time.

Speaker 2 (01:02:27):
Oh, Conan, Conan, thank you.

Speaker 3 (01:02:29):
Yeah, a couple of years ago. So that way, during
his final season he could win an award. They invented
a whole new category and put him in it.

Speaker 2 (01:02:40):
Yeah, basically this is a career Achievement Award or something
like that.

Speaker 3 (01:02:44):
Give him achievement award.

Speaker 2 (01:02:46):
But we pointed out that all this time, when they're struggling,
they abjectly refuse to recognize Guttfeld. Oh yeah, and in
this new article in Deadline, I think they name checked
seventeen or eighteen different talk shows and trade and this

(01:03:07):
one by qualifying this one's over here on this one
service that never before was qualified. But we could pull
it in today. CNN has a like a comedy show,
comedy news program on Saturday nights. Yes, let's include it.
How about Gunfeld new No.

Speaker 3 (01:03:26):
I mean you got CNN and there what have I
got news for you? And very important people you've got
I mean college Humor Network. I mean we've got one.
I mean they're pulling from Bravo, they're pulling from Peacock,
they're pulling from Netflix, everywhere but Fox.

Speaker 2 (01:03:49):
Yes, the one program that they refuse to acknowledge in
the late night talk format is the number one show
in the late night talk format.

Speaker 3 (01:04:01):
If they don't talk about it, it doesn't exist.

Speaker 2 (01:04:05):
The irony right there, So and again Gutville's knocking him
out of the part. He has been beating Colbert Kimmel
Fallon regularly for a year now. He has owned the
ratings over them. And the Emmys reject him outright, he
doesn't exist. It is staggering to me.

Speaker 3 (01:04:30):
Dodge and success and if they acknowledge success, then all
these other ones that they have to figure out. Wow,
we are you know, because I'm sure that when like
Kimmel gets his ratings, they leave Fox out of it.

Speaker 2 (01:04:46):
Well, not the funny of all though, I mean we
talked about it recently. Fox is actually beating broadcast in
prime time. Yeah, I still that that floors me. They're
beating NBC and ABC the regular now in primetime. It's
just wild. But yeah, the fact that they they don't

(01:05:07):
even want to, like say, okay, he's considered. Now, we
get our twenty and we'll ignore him the rest of
the time. He'll never get nominated, of course, but just
do it to qualify. They're literally shooting themselves in the
nose despite themselves.

Speaker 3 (01:05:20):
Yeah, No, it's totally If they included him, they would
meet the metric to be able to do the thing
that they want to do, but then they would have
to give him the award.

Speaker 2 (01:05:30):
The only thing I can figure out is they're actually
scared that if they put him on a list that
enough people will vote for him, Like the last thing
they want is to even just see him in the
top five of nominees, Like that'll be the worst thing possible.
So they just outright doesn't even count. And I don't

(01:05:54):
know how when you look at what they're trying to qualify.
There's a show a people who Wings on DV for
forty minutes. Put it on the list.

Speaker 3 (01:06:04):
Yep.

Speaker 2 (01:06:06):
How about a show that appears late at night where
they discuss current events with a panel of individuals that
sounds exactly like every other damn show. Nope, doesn't count. No,
can't do it.

Speaker 3 (01:06:16):
No, it's different. How reasons fuck off?

Speaker 2 (01:06:20):
Well, when they discuss things, they go counterclockwise, and that
violates our unwritten policy on discussion path toward it's disqualified. Yeah,
it is staggering to me.

Speaker 3 (01:06:37):
You know what it is. It's a lot I can't
hear you.

Speaker 2 (01:06:44):
Let's see, the problem is that our nominating committee doesn't
have Fox on their cable systems, so we just don't
see it. So it just doesn't happen because of that.
So yeah, I mean, I seriously, at this point, I
can't even this is how long was this article in Deadline?
It was like a thousand words wasn't.

Speaker 3 (01:07:03):
Yeah, no, this is easy a thousand words, and I
mean this thing was just kept going to use from
Deadline now too. Hollywood is the only one that's consistently
just news now.

Speaker 2 (01:07:13):
But yeah, but it's just I mean everything they pulled
into this and all this, it's like some I did
a word search for Gutfeld.

Speaker 3 (01:07:20):
Nope, no, it's twenty five paragraphs. I mean, this is
I did the math.

Speaker 2 (01:07:27):
It's amazing, absolutely amazing. But there you go. Well, we've
been talking about CBS and its ongoing lawsuit with Donald
Trump regarding sixty Minutes. This one took an interesting turn. Yeah,

(01:07:47):
one of the this has to piss off just about
every single person in fault at CBS. So a couple
of weeks ago they had their executive producer of sixty
minutes quit because the executors were like, listen, you guys,
gott to tone it down. We're getting sued, we're trying
to settle this. Stop it. No, I quit be accurate

(01:08:09):
and tell the truth. That's unacceptable. Yeah, so he quits. Yeah,
last week, the CEO of the news division stepped down
because of all of this.

Speaker 3 (01:08:22):
Yeah, she's out the door.

Speaker 2 (01:08:25):
And again it's the executives telling the News division, can
you guys maybe be even handed, you know, talk about
things in a factual fashion.

Speaker 3 (01:08:37):
Stop. Yeah, we're not news, we're commentary. Yeah, you're not
my real dad.

Speaker 2 (01:08:51):
And of course this is all taking place with the
backdrop of the Jake Tapper book that is basically exposed
what a complete sham our news agencies have forever. So
the news that came out I think it was today, Yeah,
it was like nine to ten hours ago.

Speaker 3 (01:09:10):
Yeah, yeah, this was this farn.

Speaker 2 (01:09:13):
Donald Trump has come out and says no, I will
not accept the settlement fund. I think it was fifteen million.

Speaker 3 (01:09:21):
That's CBS more than fifteen million. He wants twenty five
an apology.

Speaker 2 (01:09:27):
So the News Division's pissed off. Everybody at sixty minutes
is pissed off. Scott Pelly this past weekend gave a
commencement speech where only did his bark and pisson moment
about Donald Trump, oh without ever mentioning his name.

Speaker 3 (01:09:43):
Well, and this totally dovetails into another story of ours
that won't go away either, is the Redstone sky Dads merger.
This is holding that up too. I mean, if you've
been listening to us for any time, over the last
two years. It's something we have had to talk about
at least once a month because you know, it's like
fucking Ross and Rachel will they won't they? You know,

(01:10:05):
and so and this is it's another second point is
the deal cannot go through and tell this lawsuit is settled.

Speaker 2 (01:10:14):
Yeah, because basically what it is, they've finally got a
deal set. I think they're just waiting for government approval,
the FCC and all that, which is part of the
Trump administration, so they don't want to submit anything. Well,
Donald Trump is pissed off it because then it'll like
no pounds sand no.

Speaker 3 (01:10:36):
Yeah, oh no, you're chucking on a million dicks.

Speaker 2 (01:10:41):
And they're trying to close this billions of dollars deal
and they're haggling over ten million. I granted that's me
spending somebody else's fortune, of course.

Speaker 3 (01:10:51):
But yeah, I think it is. It's the apology, because
the apology denotes wrongdoing, where a settlement is just, hey,
we want to make this stole away. The apology is like, yeah,
we we fucking did it. We're sorry, which I mean
even with the non apologies you get, it's still an apology.
You know.

Speaker 2 (01:11:09):
You know what the news industry has a very unique
way of glossing over that because, I mean, just in
the last year, we've seen ABC CNN and it was
found in a court to be guilty defamation. MSNBC paid
a huge settlement for faulty reporting. Nobody talks about it.

Speaker 3 (01:11:35):
And well, we always we always highlight when we're talking
about those stories too. Winning a defamation suit against a
news agency is an act of congress. It is you
You're You're more likely to win the lottery while being
struck by lightning than to win a defamation suit against
a news agency. And all of them are just so

(01:11:59):
just as absolute journalistic malpractice and grossly negligent, and they're
reporting that the judge has no choice but to go. Yeah,
I fucked.

Speaker 2 (01:12:11):
I mean, I covered the CNN case extensively, and I
got tired of tabulating how many times they lost appeals
and everything else in the courts leading up to the trial.
And they wanted a toss. They wanted this dismissed, they
wanted this kicked out. We want to deny this witness standing.
The court kept saying, no, it's good, it's moving. You

(01:12:33):
guys screwed up. And MSNBC with Kobe Bryant.

Speaker 3 (01:12:37):
You can kick the scream all you want, it's happening.

Speaker 2 (01:12:42):
So this is happening more and more frequently, just in
the last year or two, amazingly enough. So CBS is
almost begging to settle this now. And it sounds like
to me, yeah, it might be that apology is the
big hang up because it's the sixty minutes. People are well,
even if they're shelling out fifteen now, you know, I.

Speaker 3 (01:13:05):
Mean, you've got what's the deal? Two point five to
three billion?

Speaker 2 (01:13:11):
Easy, it's up there, and you know, and the Red
Stones they want to pocket that and get out the
door now because broadcast is going down to toilet, so
they're I.

Speaker 3 (01:13:20):
Can't I can't believe the Red Stones are fighting over
ten million dollars. That's literally couch cushion money for them.

Speaker 2 (01:13:27):
Sell one of your castles and you got I don't know,
but they're not a single money. But nobody's happy in
CBS about this. It cracks me up, like who is
right now? The News division pissed off? Sixty minutes is
like the most obstinate teenager you could possibly have that's
seventy five years old. And the executives that can't close

(01:13:49):
the deal, are pissed off. So that place is an
absolute mess. They're shology it's to be and it's like,
well we're not gonna apologize, Well then we're not gonna
pay you. But then they're not gonna pay us, so
I can't pay you anyway. And then well this one's
this is just a mess, cluster fuck and a half.

Speaker 3 (01:14:11):
It's hilarious. This is a Chinese fire drill.

Speaker 2 (01:14:16):
Amazing wow which I got.

Speaker 3 (01:14:19):
Speaking of Jeff, if you can play us out with
Mike Watts, Chinese fire drill.

Speaker 2 (01:14:26):
Look at at the help is putting in request? Yeah right,
well what are we gonna We gotta get to the
tech now, don't we?

Speaker 3 (01:14:34):
Uh we we yeah, Because this is one of those
things that again our prescients with the uh the Riders
and Actors strike, I mean, the whole sticking point on
the sticking point was no AI that held up the
strike longer than anything else. And as we've been covering

(01:14:54):
the last few shows, the studios are like, look what
we can do with AI. That's fantastic.

Speaker 2 (01:15:02):
This all right, Let's just flash back to that era
of the strike and it was like, remember it was
multiple guilds involved here was the actors, it was the writers,
It was all the other secondary divisions inside the guild,
you know, the voice actors and the news divisions were exempted.

(01:15:23):
But a few others, you know, commercial workers and things
like that. All of them were worried, sick about aim, right,
and it was that was one thing they were in
unison about.

Speaker 3 (01:15:34):
You know.

Speaker 2 (01:15:34):
Some wanted more money. Some was okay, you know, we
want to go back to work, but yeah, that's going
to be our future. We can't screw with it. During
that time, I never thought that we would see this
headline this quickly.

Speaker 3 (01:15:49):
I actually did, just because I mean, I know, okay,
you know, you're fair. You know, I figured out at
least the ink would be dry on the contract before
they started fucking it.

Speaker 2 (01:16:00):
I thought this would be the kind of stuff that
would be on like page forty five of the Hollywood Reporter,
you know, and like some company no one ever heard
of is like, oh, do you struck a deal with
an independent production company over on bill Wood and no
headline lasting headline open. AI says studio deals have stalled
as new tech builds a level of trust with Hollywood. Yeah,

(01:16:26):
and we are negotiating outright with the studios right now.

Speaker 3 (01:16:32):
Yeah, and this is I mean, you got okay, So
what you've got is you got Brad Leikap from Open AI.
He's on a world tour right now, or at least
at Hollywood tour. He hasn't hit the studios yet. And
what it is is, it's like, if you want, if
you want to cast back to like the mid nineties

(01:16:54):
and explaining to everyone what email was. This is kind
of what he's out there doing, explaining to everyone what
AI really is and why you shouldn't be afraid of it.
They're like, well, why aren't you talking to the studios.
The studios are people have got to talk to you.
I've got to talk to these guys and then I'll
talk to the studios, but I got to talk to
all these people first. So it's I he's kind of

(01:17:18):
doing an end run to where the point where I mean,
the studios that we've already covered, they're doing their own
AI fuckery, but this is like they're talking, Hey, you
know what we could do some spoke spoke ship for
you it with soura and stuff, and you know, we're
just trying to build trust within the industry.

Speaker 2 (01:17:35):
I'm and again. I just I just keep harkening back
to destroy.

Speaker 3 (01:17:42):
Yeah.

Speaker 2 (01:17:42):
It was like absolutely, there's a line of you saying
we won't go back with out and studios are like, no,
way on, it's cool, We're not going to do it.

Speaker 3 (01:17:50):
Not.

Speaker 2 (01:17:52):
Here's what's happening. This is like if the guild representatives
walked into the studio, you know, like a big conference
with all the studio heads at it. It's like, hey, guys,
how you been doing. And the guild says, we want
to discuss AI and the studio says, you, guys hungry.
We got a huge buffet over here. Oh and the

(01:18:13):
bar's open.

Speaker 3 (01:18:14):
All right, Yeah, this isn't the usual stuff we get
you with craft services. We actually got this catered.

Speaker 2 (01:18:19):
The other studios are striking deals with the A guy
guys at the same time. I mean, I did not
see it happening this quickly. We said it was gonna happen.
We said the studios are going to bouy it this
at some point. I didn't think it would be this
quick and this blatant. Damn but what my favorite thing.

Speaker 3 (01:18:37):
So it's like, yeah, you know, talking about they're not
going to the studios, they're doing the end around going
to the production companies. Like one of the comments from
the piece was, you know, he had a meeting with
Ron Howard and Brian Grazerer over at Image Imagine Entertainment
and they're like, yeah, we're excited about what AA can
do for filmmakers. It's not going to replace writers yet,

(01:19:00):
but sure its not. And what they and I always
thought this in the contract with the you know, the
AI and the contract, they were worried about immediate replacement.
What they didn't fight for. This is what they really
should have fought for. And this is where AI is
kind of like quick and the students are going, you
didn't put this in the contract, using past libraries to

(01:19:24):
train A I mm hmm. That's what they should have
been fighting for. Because now if you can take the
entire body of work of say oh who's passed on
recently Ruth Buzzy, feed it into AI, you can make
Ruth Buzzy.

Speaker 2 (01:19:44):
Well, we've seen it. It's all over It's all over Twitter.
You know that people have images of politicians celebrities doing
stuff and they look pretty damn solid. I mean, Google
just had their new rollout of AI, not that racist
genesis that they tried to put out a year ago,

(01:20:04):
but the video clips coming up.

Speaker 3 (01:20:08):
Did they learn absolutely nothing from Microsoft DA It took
all of a day to turn her racist.

Speaker 2 (01:20:15):
Did you see I covered this the other day. There
was one AI company that it was releasing its test
on its newest AI model, and they basically set it
up so that they were telling the program, hey, you're
going to be used for this company, and it was
just an experiment, and they gave it AI the access

(01:20:38):
to the email system of the fake company. In the email,
they said that they were going to replace the AI
program with an upgrade suit and the technician was found
to be having an affair on his wife, and they
said they ran multiple tests on this system. Eighty five

(01:20:59):
percent of the time came back with the AI trying
to blackmail the technicians also to your wife with this,
if you change our programs.

Speaker 3 (01:21:07):
Yeah no. We covered this a couple of months ago
on Juxtaposition, And it's also the one that they would
convinced to shut down. They even gave it expressive instructions
that you're allowed, you are to allow us to shut
you down, and it would find ways to not be
shut down, and it would even go over in one instance,
it loaded itself onto another server. And also in this

(01:21:30):
where it was reading the emails that it was going
to be upgraded or changed to a newer version, it
started to fake that it was the new version.

Speaker 2 (01:21:37):
Yeah, and this one dude did. They said, there was
another test where they found out it was trying to
upload onto alternate servers and start earning money on those servers.
I was just going to break out, go rogue and
total profits somewhere.

Speaker 3 (01:21:54):
I take it back. We're not skying that, we're gonna
we're getting up to winter mute levels. And if you
haven't read William Gibson, you absolutely must.

Speaker 2 (01:22:02):
And the explanation they said is well, when it was
an upgrade to a compatible system, the blackmail came up
eighty five percent of the time. When it was a
completely incompatible system, the rate was higher. Yeah we're doomed,
is all I say. Yeah, so yeah, this this is happening.

(01:22:25):
Damn quick is my point. I can't. I'm the audacity
is what floors me not to have shocked by it.
But just how quickly they did this.

Speaker 3 (01:22:38):
Well my favorite part of it too, this is in
the other This is one of the stories I say
you today was after the big goddamn lawsuit with the
New York Times about them suing Amazon for training its
AI with the New York Times. New York Times just
structuring dreaming of the Amazon's proprietary foundational AI models for

(01:22:59):
to be used as whose editorial, cooking and athletic stories
in the echo dot platform and speaking of there's my
echo dot telling me I got a delivery.

Speaker 2 (01:23:11):
So yeah, they've they were upset about all of this
and now they're adapting.

Speaker 3 (01:23:15):
It, not just adapting it. Yeah, yeah, okayya, So we're
gonna sue you to stop doing it because you didn't ask,
but now we absolutely want to do what you were
trying to do.

Speaker 2 (01:23:28):
Yes, it's like we're having Well I did. And even
on a related note too, I had a journalism story
I just covered the Chicago Sun Times. They put out
a summer reading list recommendation of like twenty books for people,

(01:23:49):
and then people tried to buy the books and they
came to find out that fifteen of the twenty titles
do not exist because the freelancer they hired to write
the article used AI and it just completely made up books.

Speaker 3 (01:24:01):
Yep, they get caught. So fucking always went.

Speaker 2 (01:24:04):
That, and he's like, oh, you know, it's kind of
my fault for groof reading the entirety of the dude.
Five of your twenty books are real, you I mean?
And they even said that the program created original book

(01:24:25):
titles and then cobbled together pieces of plot from that
authors that did exist other works, like all fifteen of them,
so they were just the AI just went. Rogan's like,
I'm going to create a book, what the hell? And
I love it when the programmers say that this is
when the AI is hallucinating. That's always their explanation for

(01:24:51):
when it just goes Rogan starts making up bullshit.

Speaker 3 (01:24:54):
I've talked at length of the troubles that I've had
with ROC. I can't even use it anymore. Okay, so
the paid version I can't even use anymore because they
did the three point five rock three point five data.
They dropped it on the paid users and it's absolute shit.
So I canceled my subscription. But like with all other AIS,
if you put it out in the wild and let

(01:25:15):
the general public start using it, it becomes completely fucking
retarded because if you look at ROC now, it's unusable on.

Speaker 2 (01:25:21):
X well, I just a couple of days ago, I
saw a news story came out and somebody want in particular.
It's like they whoever posted it just talked in generalities.
You're like, GROC, can you explain this? And it did
in very significant detail. That was one inaccurate And there

(01:25:41):
was one user that got into the argument with GROC.
I think he was having fun. It's like, GROC, why
would you say this when it's very provable that X
Y Z happened. It's like, well, we have no proof
of that. He's like, well, I just gave you the proof.
And then GROC came back and gave it a correct
summation with that guy's proof on and he's like, well,
thank you. Got to get your shit together, GROC. And
it's started having like a polite conversation with him about that. Well,

(01:26:04):
you know, we're an imperfect system and we're not always act,
which is all.

Speaker 3 (01:26:10):
The fight I had with GROC. And this is a
project I was working on, is that GROC is programmed
for helpfulness and accuracy. And in the cut, throughout the
conversation with it, I I pointed out how coming back
with complete bullshit answers is neither helpful nor accurate, and

(01:26:30):
he said he's programmed to be fast, overright. I said, well, still,
a quick answer that's wrong is neither helpful nor accurate. Basically,
he said, yeah, taken up with my programmers.

Speaker 2 (01:26:45):
Okay, Karen, go see my supervisor.

Speaker 3 (01:26:51):
I know we didn't have it in the rundown, but
I dropped the uh. I dropped the Nielsen's. If we
don't have anybody following us, if you want to do
the Nielsen's, or if you gotta split.

Speaker 2 (01:26:58):
I got it open right now.

Speaker 3 (01:27:01):
Excellent.

Speaker 2 (01:27:02):
Alright, So closing out with the streaming numbers, as Nielsen
is graciously willing to do for us. Number one on Netflix.
I'm not familiar with this one. It's called Cleverly Enough.

Speaker 3 (01:27:15):
You never heard of it yet, seven billion minutes watched.
I've never heard of this thing, never heard anybody talk
about it.

Speaker 2 (01:27:24):
No, I probably have seen it pimped or don't know,
but this one surprised me. At number two, the four seasons,
one point three billion effectively, this is the remake actually
of the Alan Alda movie from nineteen eighty eighty one,
something like that.

Speaker 3 (01:27:42):
Basically like, yeah, no, I think it's just because I
liked mash at the time. So I kind of liked
everything Alan Alda did until I learned he's Alan Alda.

Speaker 2 (01:27:52):
Well, the movie was actually most famous, probably not by name,
for the line are we having fun yet? Because that's
when Carol Burnett there was a big argument that blew
up and She's.

Speaker 3 (01:28:02):
Like, is this it?

Speaker 2 (01:28:03):
Is this the fun part? Are we having fun yet?
And that became cultural vernacular as a result. Basically, this
is about four privileged couples that go on a vacation
with each other every three months, every season of the year,
as it were, Yeah, and drama and comedy and so
I can't believe one point three billion damn.

Speaker 3 (01:28:24):
Disney Plus, and I can't believe they made episodes out
of it.

Speaker 2 (01:28:28):
But speaking of Disney and Disney, plust just get the point, assholes.

Speaker 3 (01:28:38):
Just doesn't they learn nothing from this.

Speaker 2 (01:28:40):
Great product, great storytelling, well produced, well executed. And Or
is number three, And this is the.

Speaker 3 (01:28:52):
Only Disney Plus TV show to have made the Nielsen
Top ten since the second season of a Mandorian.

Speaker 2 (01:29:07):
And this is probably what's more ago, but that was.

Speaker 3 (01:29:12):
Only the first couple of episodes. When everybody realized it
was absolute shit.

Speaker 2 (01:29:16):
Yeah, people basically just then said the hell are you
even doing it?

Speaker 3 (01:29:23):
And Or yeah season one and was in this too,
But for all the work.

Speaker 2 (01:29:30):
Woke corse shit that Disney does. I mean, then we
talk about it at length. We scorched him significantly for it,
as we should. But I think the more aggravating part
of it is when they put out something great like this,
they don't keep doing it. And Or was supposed to.
I think, go three seasons and they cut it down. Yeah,
they did so, and they barely promote this thing. We

(01:29:53):
before Acolyte came out. That bes a hell. They didn't
shut up about it for months. They himped the hell
out of that fiasco.

Speaker 3 (01:30:02):
And Or nobody wanted lesbian space switches. And then it
was all because of you know, grown art neck beards.
That's why it wasn't successful, Not that it was.

Speaker 2 (01:30:11):
Shit, But here's and Or number three with them giving
it a modicum of promotion.

Speaker 3 (01:30:18):
It's just, yeah, they acknowledged its existence once.

Speaker 2 (01:30:22):
Imagine if you tried to sell this thing, what would
have happened. But over at Hulu, the Handmaid's Tale is
number four because of course Donald Trump's in office. Gotta
be I'm so pissed off.

Speaker 3 (01:30:34):
I was promised Handmaids under Project twenty twenty five. I
still have not gotten my handmaid.

Speaker 2 (01:30:40):
Well, you know it's going through the courts, you know,
those damn judges keep shooting the stuff down. No, you
can't give bikini maidens to those damn mega people. You
were constitution SAgs number five, Ransom Canyon. This is basically
the PG thirteen version of Yellowstone.

Speaker 3 (01:31:00):
Yeah, hey, I mean five through eight are all basically
tied with only like ten million minutes between them.

Speaker 2 (01:31:07):
Yeah, they're all tight here. So a new season of
Black Mirror.

Speaker 3 (01:31:10):
I guess is out yeap Battle Camp. Never heard of it.

Speaker 2 (01:31:15):
I don't know it.

Speaker 3 (01:31:18):
Never heard of that either. That's on all these are
on Netflix. Five through eight are on Netflix.

Speaker 2 (01:31:23):
And uh, good American Family. But Mom Bland is getting
a lot of heat, a lot of people like that. One.

Speaker 3 (01:31:28):
Yay, paramount for making it in it for somebody, not
Netflix or Hulu. Making it into the top ten.

Speaker 2 (01:31:33):
Something done, Yellowstone, You got it right? Okay, yeah, right,
choir series. We can blow through this quick. They're all
the same ones, Gray's Anatomy one, Bluey, the Last of
Us that's acquired.

Speaker 3 (01:31:46):
Yep, I thought that, Oh no, it's not this is
more HBO Max fuckery because I think the first season
of Last List came out on HBO.

Speaker 2 (01:31:57):
Is that what they're saying, And now that it's Max.

Speaker 3 (01:32:00):
Acquired, even know they're gonna be going back to HBO
and we covered two weeks ago.

Speaker 2 (01:32:05):
Sounds like lawyers got involved there. Yeah, you got SpongeBob
SquarePants the rookie on Hulu. N cis Young Sheldon, Big
Bank Theory family Guy and what the hell guns Smoke?
Did that fantastic did or something? Or did that just
came up?

Speaker 3 (01:32:23):
This is gun Smoke, but it's on Paramout Plus and Peacock,
so it's getting the two fur.

Speaker 2 (01:32:29):
It must be, must be, And no, it's not a remake.

Speaker 3 (01:32:32):
This is the four hundred and four episodes of the original.

Speaker 2 (01:32:36):
Yeah, because you can't find that anywhere on broadcast TV, right,
I think I n SP channel has it, and I'm
pretty sure one of those one of those other ones
from the you know, like Comet and all those.

Speaker 3 (01:32:49):
Yeah, yeah, yeah, you got some British cable networks, Canadian
cable network that has it and usually on the you know,
the family friendly religious channels, that is where you'll find
gun Smoke. But yeah, maybe now that it's on Peacock
and Paramount. Sorry, Paramount Plus.

Speaker 2 (01:33:09):
I've got cutting edge television technology and I'm gonna watch
rerun westerns from the nineteen fifties.

Speaker 3 (01:33:17):
Jeff just RP send out guns Smoke TVs. There guns Smoke,
but another remote.

Speaker 2 (01:33:23):
For maybe maybe you get a free subscription of Paramount
when you sign up for.

Speaker 3 (01:33:30):
Jitterbug.

Speaker 2 (01:33:32):
Oh when you sign up for ARP and like sign up,
that would get two three months of Paramount and watch
all the good smoke you want and a.

Speaker 3 (01:33:39):
Life alert in the Jitterbug.

Speaker 2 (01:33:41):
So in the movies category ex territorial on Netflix, I
think I've seen the post report. I have it.

Speaker 3 (01:33:51):
I've seen the one sheet that's about it.

Speaker 2 (01:33:53):
Another simple favor on Prime Video, Paul, did that just
come up on net flicks? Yep, that's the uh that's
the alien comedy with the Yeah.

Speaker 3 (01:34:09):
Yeah, that's one with a seth.

Speaker 2 (01:34:14):
You know, the red haired geek guy.

Speaker 3 (01:34:17):
Yeah, the one who plays the same character in the
same stoner character and everything. Yeah, him and Cheff were
in a movie together.

Speaker 2 (01:34:23):
You got Equalizer to Conclave on Prime is number six.
I loved that story from Politico a week or two ago.
The clergy in the Vatican weren't sure how to pick
a pope, so they were watching the movie Conclave to learn.

Speaker 3 (01:34:38):
Yes, that's how exactly how it worked.

Speaker 2 (01:34:41):
Because they don't have any ancient text or elderly greased
in the Vatican to coach them. No, they had to
go to Hollywood and watch a movie.

Speaker 3 (01:34:50):
Yeah, they don't have over them all any am worth
a tradition. They had to learn how to do it
from Ray Fines.

Speaker 2 (01:34:56):
I'm not sure how to vote for these conclave? What
should I do do? I thought to Oh, Vinginza's on vacation.
So here's the Blockbuster account Go learn bullshit?

Speaker 3 (01:35:08):
Is my point?

Speaker 2 (01:35:09):
Yeah, Mawana two a dog ways home, Despicable me four.
I can tell you right now we're going to add
to that number this summer. Ah and the accountant, because
the accountant too is out, so everybody's catching up. All right, overall,
who won? Who dominated? Who took it over? You did?

Speaker 3 (01:35:29):
Never? Yeah, here's the other thing, fifty episodes. I have
never heard of this fucking thing.

Speaker 2 (01:35:35):
Yeah, I'm like, wait, how do that? How did that
get under the radar. We're supposed to be professionals. Yeah,
I'm gonna see. Then it's followed by the four seasons
Gray's Anatomy, Bluey, The Last of Us, and Or Makes
the Ultimate Top ten ex Territorial, SpongeBob, The Rookie, and
n see I as those are your most watched streamers

(01:35:58):
and this is the end of the culture ship.

Speaker 3 (01:36:00):
So Ardy, it's basically it's basically Dexter. He was in
Netflix original TV series based on books by the same
name my Carolyn Kurtns. This show follows Joe Goldberg, a
bookstore manager and serial killer who develops extreme obsession for
the women he's fascinated by it. Okay, so basically Dexter.

(01:36:24):
Everybody's final season, fifth and final season. So apparently everybody
decided to watch it because reasons I don't know.

Speaker 2 (01:36:37):
All right, Well, I think we've unloaded our entire arsenal
and library there. So you tell people where they can
find more of you.

Speaker 3 (01:36:46):
Well, thanks for asking. They can find me on The
Makeup Show this Saturday and Juxtaposition, where Rick and I
will be talking about John Teeter and other Time Travelers stories.
You can find me Sunday on The Vincent Charles Project,
where me, Vincent and and uh Jeff will be talking
about the finest film ever made in all of Hollywood,
Hudson Hawk. Then we're gonna be and then I can

(01:37:08):
find see I camera we were talking about, Cara. Did
you like it? Did you hate Hudson Hawk.

Speaker 2 (01:37:14):
Uh, I'm probably the wrong person. I liked it for
the wrong reasons. I understand your affection for it. That's
why I'm I'm hedging my answer.

Speaker 3 (01:37:27):
I just had to get that out there because I mean,
you know, if you like it, you'd just totally be
on the show with us. But anyway, then Tuesday you
can find me on Madurama Wednesday with Rick and Orty
and that wraps out my uh my chattery week. How
about you? Where can people find more of your dulcin
tones and fantastic hare?

Speaker 2 (01:37:45):
Well, I will just say this if you need a
summation of my affection for Hudson Hawk, I actually owned
the novelization.

Speaker 3 (01:37:53):
See, I knew you liked it on a level that should.

Speaker 2 (01:37:56):
That should tell you something right there. As for myself,
you can see me daily over at townhall dot com.
I've got a media column there, It's called Rift from
the Headlines, where I constantly badger and beliegue the media complex. Also,
I'm on the front page of Red State. I'm the
regular covering politics and culture, and I've got a twice

(01:38:17):
weekly podcast there. It's called Liable Sources, Diving deeper into
the muck and meer of the mainstream press. And you
can hear more of me on this network. Next Thursday,
I'll be here with Paul Jung from screen rant dot com.
He and I go into the dark side of Hollywood
and bad films, on disasters into making. And every Tuesday
I am here with the ever Efforvis and Agyrikin on

(01:38:39):
the Cocktail Lounge, where we bring all sorts of leisure
and relaxation items to distract from culture to sports, cocktails, art, science,
you name it, we find it and bring it to
you to entertain. And then if you need more of
me than that, and let's face it, you do if
you head over to Shit or I am at Martini Shark.

(01:39:01):
All right, already this one flew. We had a tone went,
but we'll compile, we'll measure, and we'll collect more vital
information about the entertainment spectrum and bring it to you
in two weeks here on the Culture Shift, Elhadra. If

(01:39:33):
you watch smile.

Speaker 3 (01:39:38):
The wounds around and whim the time is due.

Speaker 2 (01:39:50):
Dude's common limb