Culture Shift w/ Brad & Ordy: Guy Shows are back on the menu!?

Episode Transcript

Speaker 1 (00:00):
You are listening to k l r N Radio where
at Liberty and Reason still rain. KLRN Radio has advertising
rates available.

Speaker 2 (00:14):
We have rates to fit almost any budget. Contact us
at advertising at k l r N radio dot com.

Speaker 1 (00:27):
The following program may contain course, language and adult things
listener discretion as.

Speaker 3 (00:33):
A christ Yes, we might get a little adult over here.

(01:00):
How's everybody doing? This is Thursday night. That means it's
your early introduction to the weekend. This is the culture shift.
How's everybody doing? I'm Brad Slager getting ready to walk
you through the halloed sidewalks of Hollywood Boulevard and bring
you all of the vital entertainment information, but not doing
it alone because every fortnight joining me on this journey

(01:22):
is America's most laser focused and digitized homaged individual. Orty Packerd.
What is going on tonight?

Speaker 4 (01:28):
Oh? You know, just out here in uh beautiful California
that is mostly fire free except for the one up
north that Newsom may care about because it's close to
his winery. So we got that going for us.

Speaker 3 (01:42):
About you?

Speaker 4 (01:42):
How's everything out?

Speaker 3 (01:43):
What's that he might stop tweeting for a day.

Speaker 4 (01:47):
Oh, he's got interns for that.

Speaker 3 (01:50):
Now, God, I love that.

Speaker 4 (01:52):
I just gotta wonder did he fire Brandon for that
or was Brandon in charge of those two? Good question question.

Speaker 3 (02:00):
I just love the fact that they were featuring those
two like they were some kind of digital heroic savant.
Look at the pair that's running Newsom's account and could
not have been more prototypical leftist caricatures if you wanted.

Speaker 4 (02:16):
I seriously, if you haven't seen the picture, you got
fat green haired lesbian queer whatwever she identifies? And then
you got the bow tide dude that makes Harry's system
look buff.

Speaker 3 (02:29):
I mean, yeah, you've got your your blue hair activists
mL what do they call it, LM liberal, I don't
know whatever, the typical leftist female. And then you get
your bow tie soy boy. And these are the geniuses
running his account. Like today, I had to chunk them

(02:50):
because they put up an image of Kid Rock and
his USA Regelia saying I want you to support Gavin,
and was like, I'm sorry, you're the assholes telling us
that you wanted to pass a law against artificial Oh no,
they actually did.

Speaker 4 (03:04):
They rammed that straight through the Assembly. No, that's California law.
I thought I'm pretty sure it passed anyway. How about you.
How's everything out in America's wang? Since we we do
culture that means into politics, not politics, and.

Speaker 3 (03:19):
Yeah, we're h we try to be upstream of DC.
But no, everything here is fine. We watched a hurricane.
We just waved at it as it went by us
with no efforts, and uh, wrap it up, summer, starting school,
all of that. Everything's pretty normal here. It's kind of
a kind of a lull as it were, waiting for
sports to ramp up, waiting for all the serious stuff

(03:41):
to happen. So it's uh, yeah, August down here is
just kind of like a.

Speaker 4 (03:48):
You just hold your breath waiting for the series of
sports to start.

Speaker 3 (03:52):
Yeah, you know, it's like we're you know, it's like,
I mean, if you don't like baseball, the hell you're
gonna do? You know. I had to laugh though. The
other day we were at the sports bar just we
hang out there when they're sports. Yeah, no, I sit down. Shocker.
But they had like fifty two TVs going with baseball
and all of them, and the one with the biggest

(04:13):
audience was the Savannah Bananas.

Speaker 4 (04:17):
I mean, yeah, you know, I watched them on YouTube
every now, and that's just good fun.

Speaker 3 (04:23):
Yeah. You know, I'm watching the game two and there's
other guys watching their games, and I'm looking around every
time to do wide shots. It's like there's you know,
Boston's like half Phil. What's going on in New York?
No one's there. And then I'm like, guys, you want
to check this out bursting at the seams. Yeah, the
fame is out drawing everybody. So I just gotta crap.

Speaker 4 (04:46):
When the Harlem Globe Trotters was out, seldom knicks.

Speaker 3 (04:49):
Yeah, exactly, the perfect metaphor, right, So kind of a
lull too. On the entertainment side of things. I mean,
we had to struggle a little bit to put together
our show, although we are managing to pack full of
jam after all. But yeah, it wasn't falling into our
laps like usual.

Speaker 4 (05:07):
No, usually we have to call the herd. Yeah, this
time we had to do some selective vult reading.

Speaker 3 (05:15):
Well, we're we're not light in content as it were
in Man, this one just fell out of the tree
and cracked right on the windshield this afternoon, and holy crap,
Thank you entertainment gods, and thank you Disney. Uh if
ever I probably the most prototypical story for our show.

(05:38):
I mean, we have covered Disney extensively, we have covered
their downfall extensively, their marriage to wokeness, and the very
fact that it has brought upon them numerous failures would
select few success stories, everything from she Hult to snow White,

(05:59):
from light Ear to any of other failed streaming ventures.
And I'm rather surprised they even came out with this
for one simple reason. That is because again, you know,
we're upstream of politics here. Disney is basically mirroring the

(06:20):
Democrat Party right now.

Speaker 4 (06:23):
They really are. And I'm just and I know we're
going to spend a lot of time on this one
because we have to, because this is just this is
I'm just amazed that they said it out loud.

Speaker 3 (06:35):
Yes, yes, I mean, this is a story that let's
just go back to the baseball reference for metaphor. This
story is just an underhand lob right in the sweet
spot of the strike zone, and we are going to
launch this one out of the park. Just pretty much.

(06:59):
The headline this story could have been like, hey, bradon Ordy,
check this out.

Speaker 4 (07:06):
I really Variety should have just put it like that, Hey,
culture shift we know you're on tonight.

Speaker 3 (07:11):
Here's one for you in case you don't have any products.
This should occupy you for a couple hours. Yeah, so
Variety reports on some internal trauma, possibly at the Disney
studios that we love to cover. I mean, I'm actually

(07:35):
a little amazed that yes, like you said that they
admitted this, like this is an actual story that came out.
Disney is trying to figure out out how they can
lure back the young male audience.

Speaker 4 (07:53):
Yes, for just a little bit. What just yeah, sinking again.

Speaker 3 (07:59):
They say this target age group of theirs is from
thirteen to twenty eight and the reason why that's kind
of a selective audience for them is that these are
emerging that age range is emerging entertainment audiences up to

(08:19):
those that are just becoming lucrative enough to have disposable income.
And basically this is what everything from soft drinks to
cigarettes have been trying to do for generations. Than that is,
you lock in brand dedication at an early age so
that it carries through for life, and you basically have
a customer for their duration of life on this planet.

Speaker 4 (08:39):
Yeah, this is pre key demo. The key demo is
eighteen to thirty five. That's what everybody courts. If you
wonder why companies do anything, it is because they're courting
the eighteen to thirty five. So right now, this is
just shy of that. You know, it encompasses most of it.
And what Disney's formula has always been has been cradled
tore branding. Where you start out your you're young, you're

(09:05):
what you're digesting Disney product. Then when you age out
of digesting the cartoons, you've got some young a movies.
Then when you age out of that, you either have
Touchstone or you have that's when you're starting to bring
your kids into the Disney fold. And that's the whole
part experience. That's a movie experience, and that's going all
the way after when grandparents are buying shit for the grandkids. Everybody.

(09:28):
I mean, it was always family branded, literally from cradle
to grave. So you were always a consumer of Disney.

Speaker 3 (09:39):
Like if you had a beloved film at eight years
old or so, and that would lock in for a
good five to ten years, depending on the individual. And
then as you enter into adults, you might have a
little bit of a resurgence of throwback. You know, I
want to recapture my youth and rewatch these and then

(10:00):
when you have children, you know, naturally you'd say, hey, son,
you should watch this movie that I enjoyed as a kid,
and then you rope them into the It was just
a perpetual stream. The wokeness is the well broke that
chain though that you are in the process of turning

(10:24):
people away.

Speaker 4 (10:26):
Well, I mean, even in keeping with that chain, you're wondering, Well,
so what was there for millennials? Well, millennials, okay, So
millennials were raised on the when movies would come out
of the vault, and then they would do reissues because
you had one hundred and one Dalmatians and you had
stuff like that coming out. So the way that Disney
continued that cycle was with the live actions. Millennials who

(10:50):
were raised on the vhs and DVDs they came out
of the vault are taking their kids to see the
live actions of the movies they loved. And that's great.
But now what have you got?

Speaker 3 (11:08):
Here's the amazement for me. So, like I said, this
is you know, Disney mirroring a Democrat party, because right
now the Democrats are doing the same thing, saying we're
losing male voters, and of course approval numbers are in
the toilet for them. And just this week they had
other figures come out showing that as far as voter registration,

(11:30):
the Democrats are tanking across this country almost every state,
including California. They're dropping not significantly as others, but they are.
Now Disney is saying this too. This is the amazement
though the As Variety headlines at Disney's boy Trouble, the
studio is seeking original ip to win back gen z

(11:53):
Men amid Marvel lucasfilm struggles. Those last five words, I'm sorry.

Speaker 4 (12:02):
Just yeah, let's just take let's just take a look
at Yeah, let's take a look at Disney's. So they
got Star Wars. You have three generations that loved it.
You shit can that. You had Marvel, which was the
most successful movie franchise ever, even beating out Star Wars.

(12:26):
You fucked that up. They've got property they haven't even
touched yet. They fucked up Indiana Jones. I mean, and
they fucked all these up there in a way that
they cannot be retconned, because there was such an investment
in it that they can't pretend it didn't happen.

Speaker 3 (12:46):
Yes, they force fed the messaging to such a degree.

Speaker 4 (12:56):
Yeah, I mean, let's just go through the list. Let's
get the list of everything that they have just shot
all over in the left. Because for context, when Brad
and I started this show seven years ago, Disney could
do no wrong. Even we who pay attention to this
shit were in awe at the power of the House

(13:18):
and the Mouse, and we never thought they'd go down
this stoad. This is they, you know. And when the
Left tried to attack Disney, We're like, don't fuck with
the House a Mouse, because.

Speaker 3 (13:29):
Well, it was to the point where if we were
covering Hollywood in general, it was always Disney and the
rest of Hollywood. I mean, they dominated to such a
degree the box office every year, Monstrous Television owned it. Streaming,
they were at the forefront, maybe right behind Netflix, but
they were the ones driving all the other studios like,
holy crap, Disney's doings, we have to as well. And

(13:51):
everybody went in in the red fort because of that.
I mean literally year after year it was like Disney
was head and shoulders when in theaters.

Speaker 4 (14:02):
And then when we started this, when we started the show,
it was endgame. Yeah, it was right around in game,
or you're like, no, because we did cover Captain Marvel's
so it was before Endgame, but it was around there.
So yeah, I mean that's really when we started this.
And that's how rapid this decline has been. They can do.

(14:25):
I mean, even when they make a billion dollars on
a movie. It used to be every movie they did
was guaranteed half a billion first three weeks. Then we
just watched the slow crime to a billion, climb to
a billion, and just say, okay, yeah, that's Disney. You know,
that's exactly what I expected from this every title they.

Speaker 3 (14:44):
Had hitting a billion dollars, it was. The reaction was,
well yet again, yeah, and then they haven't done that
in a while.

Speaker 4 (14:53):
Well you know what, so Captain Marvel started it. Then
they're like, okay, well that was just an anomaly because
look at what Vengers did. Okay, cool, you know, every
now and then they got to have their dog. We
gave them there, you know, all right, yeah you fucked
up on that one, but okay, but then everything since
that has been like hand solo everything.

Speaker 3 (15:13):
And I point to Solo frequently as as kind of
the not the cause, but maybe the roadside sign indicating
that yeah, we're gonna start taking this off ramp now
from success because Solo in concept was just to walk

(15:35):
people through this. Going back years ago, Disney had the
idea for the Star Wars product. What they were going
to do was now not fracture it, but they were
going to tap into all of the individual characters at
their disposal, give them an origin story, give them an
original film, give them their due. And so Solo was

(15:56):
going to be the launch of this, and all of
the backstory from the original movie was there. The Kessel run,
how we obtained the Millennium Falcon, and it was holy cow.
People were salivating their Orlando Chew everything everything, and Disney
not only missed but almost appeared to do so intentionally.

Speaker 4 (16:21):
I believe that was Kathleen Kennedy's first Star Wars no second,
because right when she came on board, they had, uh show,
was that other kind of prequel one rogue one.

Speaker 3 (16:36):
I was gonna say, was she part of that or no, no, no, no,
no no movie.

Speaker 4 (16:40):
Well, I mean she was part of the deal with Lucas.
When I mean Lucas came, I mean Kennedy came with
Lucas properties. Yeah, that's yeah.

Speaker 3 (16:49):
She came out of the Indiana Jones franchise. That's where
she kind of cut her teeth and developed her name
as a product that they needed to have.

Speaker 4 (16:57):
You know that. That's the that's the uh, the picked
to be named later. You can have lucasfilm, but you
gotta take Kennedy. Yeah, exactly.

Speaker 3 (17:06):
It's like one of those trades where the team actually
absorbs half of the salary just to get him off
the roster. Right, if you take them, we'll eat three
million of the eight million contract. That kind of deal.
But yeah, and Disney has paid the price. Holy crap.
But Solo was remarkable to me because again, all of

(17:27):
this was built that you couldn't screw this up. And
they decided, let's inject feminism politics into this. Let's get
a robot who's a feminist and lectures everybody, and then
we have her artificial intelligence implanted in the millennium vulcan. Yeah,

(17:50):
what the hell are you doing?

Speaker 4 (17:54):
I mean, So, here's what I love about this admission
that Disney they have apparently they have figured out that
the U thirteen to twenty eight demo is not into
space for you know, science fiction or superheroes. Oh okay, I.

Speaker 3 (18:15):
Mean, how amazing is this? Just you have Marble and
you have Star Wars. The very audience for those are
described as what.

Speaker 4 (18:28):
The twenty eight year old Yeah, fanboys, thirteen to twenty
eight year old males.

Speaker 3 (18:33):
Your audience is built it, it's automatic.

Speaker 4 (18:36):
It's yeah, how old's an ATM?

Speaker 3 (18:39):
How do you lose them with those two intellectual properties
is staggering to me.

Speaker 4 (18:47):
And two, I mean, you know, I think I don't
know if we touched on this, but I think it
was one of the stories that we punted on where
it's and they did it with the Superman that you
have this huge wealth, seventy years of history and you
just shit on it. It's not like they don't have

(19:09):
enough Hulk and thor and Iron Man and ant Man
and Spider Man. They don't have decades of material to
draw from. And you know, when we talked about it,
where it's like, you know, Figy doesn't want to hear
in the meetings, fig he doesn't want to hear about,
you know, the history of the character. Just make it fun,

(19:31):
make it stupid. They'll digest it for two hours. He
just thinks that the money prints itself. But the series
of failure unbelievable amount of failures over the last two
years three years is just staggering. They've only had like
three hits, well out of a dozen movies.

Speaker 3 (19:54):
This is what I'll point to when I'm not saying
this is the cause of the problem. But look at
early Marvel that you know, basically Avengers, and then moving back,
you know, anything leading up to Avengers, they were having
an immense amount of success with marginal characters. Iron Man

(20:17):
was like a let's just a secondary comic book character exploded.
They made a hit out of ant Man. Okay, so
you had these marginal characters, but you put effort into
making a product on film worth watching and people loved

(20:38):
you for it.

Speaker 4 (20:39):
You didn't have the good characters because Sony had the
Hulk and they had Spider Man, so you were left
with second tier.

Speaker 3 (20:46):
And Okay, they made the.

Speaker 4 (20:50):
Most of it. They did an amazing job with it.

Speaker 3 (20:53):
But I think this is because the people below, the executives,
the directors like John Favreau and others, put heart and
soul into making a product that was worth watching. I mean,
Favreau even years later, managed to do something with Mandalorian
mm hmm, who wasn't Boba Fett, and yet people just

(21:14):
devoured at least the first two seasons of that show
because they saw how much love and care went into it.
And I think the executives Figi and others. Kennedy said,
we could just belch anything on screen, and these assholes
are going to show up and spend their money. Let's
lecture them.

Speaker 4 (21:31):
Here, let's pay let's duct tape this banana to the wall.

Speaker 3 (21:35):
I'll buy it. Thank you for that reference. And I
really believe they just they they lapsed into this mentality
that whatever we put up there, they're going to just.

Speaker 4 (21:48):
Devour it, and that she said they did it with
such arrogance, like we can inject our agenda into all
this shit and it'll still make a billion dollars.

Speaker 3 (22:00):
I mean they too.

Speaker 4 (22:01):
Then she hulk WandaVision book of Boba Fett. Third season
of Mando uhl obi Wan. Yeah, here's the thing had
Solo was so bad, did so bad even though they
didn't they won't admit that Solo lost money. It did
so poorly that obi Wan was supposed to be one
of those prequels. They were gonna have an origin story

(22:24):
for every main character. They put obi Wan on Disney
plus they shit, can the movie? Put it on Disney Plus?
It did crap because they agendized the story, they made
Obi Wan a secondary character and then here you go,
then that whole you know what, just fuck. Obviously people
aren't interested in this. It's you know, it's not us,

(22:47):
it's the viewers. They did the skin.

Speaker 3 (22:50):
Yeah, this is the all the indication you need that
Solo was a massive failure. And I think we've crunched
the numbers and it's easily over one hundred mil they
lost on it, if not two. Yeah, I mean it
was that significant. They dropped that I think two fifty
on the budget role in marketing. Now roll in, nobody

(23:10):
has showed up. Now roll in you get half of
the box office oops. And all the indications you need
that this was a failure is the fact that they
did not have that string of single character driven movies
as a result. Yeah, completely killed off that whole enterprise.
And now they're struggling to get young men back. Why

(23:32):
because you've been shitting on young men for all this time.
You have Obi Wan beloved character and it Oh man,
i'd love to see his origin story. Yeah, well he's
a man, so he's not that important. Yeah, I'm sorry.
Did you see the title of the show? Strikes me
that he might be significant, given you've named it after him.

Speaker 4 (23:56):
Is he actually.

Speaker 3 (23:59):
Second half of a series? It was like, we don't
need them for this episode.

Speaker 4 (24:04):
And the only success they've had really is and Or.
And they did everything they could to not promote that. I.
I mean you and I knew it was great. A
lot of people knew it was great, but it was
kind of like, don't tell anybody we like this, because
then they'll fuck it up. And it was like the
last four episodes of the final season, the last three

(24:26):
episodes in the final season, the retards caught onto it
and they saw it as a you know, an allegory
for Trump. Yeah.

Speaker 3 (24:35):
Well I think they made it and Or by just
kind of turning over the It's like, you guys want
to make it fine, you know, we have a lull
on the schedule. If you can come up with something,
go ahead. Yeah.

Speaker 4 (24:45):
And they gave you for less than five million an episode,
you're good.

Speaker 3 (24:48):
Yeah, they just accidentally gave it to people. They gave it.
Damn what about that? You have people with talent that
respect the material, and look, what's produced quality. That's can't
have that around the Disney studios. Now we have to
come up with something else to counter that. How about
The Acolyte. I mean the series, We've talked to Acolyte

(25:13):
to death and it deserves it. It deserves to die,
and we deserve to dance on the grave at this point.

Speaker 4 (25:19):
Yeah, just because we don't have Batgirl to beat up
on anymore.

Speaker 3 (25:23):
But I mean that was a case of a studio
with a mammoth property, antagonistic towards the property. I mean,
you could not have more resentment towards your own product
than that show. Seriously, we covered how the creator of

(25:44):
The Acolyte even was declaring at times how this has
nothing to do with Star Wars. This is about me,
Like entering the universe of Star Wars was secondary to her.

Speaker 4 (25:57):
Amazing if you're not familiar with it, I know, we're
always attracting new listeners on this if you're not familiar
with the Alcolyte basically lesbian space Witches, which I'm not making.

Speaker 3 (26:12):
Yeah, it sounds like we're being dismissive and just flipping No,
that was episode two three. Yeah, but the creator of
this show, actually she was an outward. I don't know
if she's trends or non binary. One of those under
the multi Flag universe said that she intentionally made the
show for somebody like me and talked about how my

(26:37):
people are going to be represented and I want to
see me on screen, and there will be some Star
Wars elements too. Literally, this is the way she conducted
the interview, like, yeah, we'll get around to some Star
Wars eventually. Yeah.

Speaker 4 (26:50):
I mean she basically said, it's Star Wars and name only.
I just needed a vehicle to carry my product.

Speaker 3 (26:56):
And this is gonna shock just about Nobody failed spectacularly.

Speaker 4 (27:03):
I don't even think they showed all the episodes.

Speaker 3 (27:06):
I really believe that by episode three, the only thing
sustaining the series was a handful of trans people and
everybody else that was hate watching it to see if
it gets any worse.

Speaker 4 (27:18):
Oh my god, all the YouTubers that were watching it
to mock it. Yeah, that was pretty much it.

Speaker 3 (27:25):
There was a cottage industry on YouTube of people saying
I watched the fourth episode of and Or so you don't.

Speaker 4 (27:30):
Have to Yeah, kind of like Jeff does with Rangs
of Power for us.

Speaker 3 (27:35):
Yeah, and they possibly drew more of an audience than
and or too yeah, or I'm sorry, I act like
it's just that bad. Yeah, and then I mean, she
Hulk was that bad? And you know, on and on
a ghost yeah, and here we are now.

Speaker 4 (27:52):
My favorite part of this article from Vanity Fair is
where they're carrying the water for Disney. Gen Z men
in particular are lonely gaming obsessed group who were hampered
in their formative years by COVID nineteen lockdowns. Not the
easiest group segment to grasp. There is your baked in
audience for because they had nothing else to do but

(28:14):
watch every Iron Man over and over and over again,
watch the watch the original three Star Wars and the
prequels because even current Star Wars had the has made
me long for the days where I was just mad
about the prequels. So I mean, here you have your

(28:34):
gaming obsessed group who were hampered and locked in during
COVID nineteen, who had nothing to do but digest the
very properties that Disney owns before they fucked them up.

Speaker 3 (28:48):
This this was the most amazing aspect because they're trying
to say COVID ruined the audience for these properties. Win.
What you had taking place was a two word phrase
that Hollywood has salivated for since its inception, captive audience.

(29:13):
If people are locked in and can't do anything else
on are anti social and don't know how to interact
in society and stays locked in their house, give them
what they want and you'll print money.

Speaker 4 (29:28):
Yeah, this is a no brainer. And this is the
very demographic that Variety is shitting on in this article
that would digest relentlessly for the rest of their lives
because of being locked down. There is your baked in
fan audience right there.

Speaker 3 (29:48):
You have fanboys that can't go outside. Gee, how do
we tap into that audience.

Speaker 4 (29:54):
You can't go to the skatepark because it's been filled
with sand. You can't go to the beach because they'll
arrest you for pallleboarding alone.

Speaker 3 (30:02):
What does Disney end up doing. I'm going to deliver
lectures to them to the point that they're gonna say,
I'm gonna go outside and touch grass.

Speaker 4 (30:12):
Yeah. I just love this so much because.

Speaker 3 (30:20):
You and I are not studio executives, and we would
be retiring three times over if we were running the
show over there.

Speaker 4 (30:27):
You know now, you know what it would be. It'd
be that meme where like the board meeting you or
they got you know some You got the CEO saying
we need to figure this out. You got two people
coming up with stupid ideas. You got the guy at
the end saying, how about if we just give them
what they want and they get thrown out the window.

Speaker 3 (30:46):
If you and I were running Disney right now through
all of this, we would have people bitching and complaining
about our sexiest product, and it would be at the
guard shack half a mile from the house.

Speaker 4 (31:01):
Yeah.

Speaker 3 (31:04):
I mean I want to complain about other sexism I
saw in the last Mandalorian series, and it's like, okay, man,
leave a note and we'll take the golf cart up
to the main house later this week and maybe give
it to them. That's what would have happened.

Speaker 4 (31:17):
Yeah, well, yeah, the guards will drive the Lamborghini after
the main house. I'm not going to vacation and Belieze.
I'm gonna buy Belize be.

Speaker 3 (31:25):
Like, Hey, what Trevor, what went on today? Well, mister sluger,
we had a couple of your people game and complained
about it. They put it on the pile. We're uh,
we got a barbecue later. I need something to get
things started, So go ahead, and that's.

Speaker 4 (31:38):
Where we use one hundred dollars bill to light the
hate mail on Firewood. I mean, how got a stat Yeah,
that's it's just actually.

Speaker 3 (31:47):
Have to try to fail to hit this audience when
you own these two intellectual properties. You have Marvel Comics,
you have Star Wars, and you can't tracked thirteen to
twenty eight year old males.

Speaker 4 (32:03):
And that's just you know, that's their main properties we're
talking about. Now they've got Tron fucked that up. They've
got stuff that they've never even touched yet, black hole.
I mean, you could read you know, the computer War,
tennis shoes, all of these things that you could redo,
but they keep going back to the well of like

(32:24):
Freaky Friday and fucking you know, I just don't get it.
And here's the thing. Here's the other Sony's, the other studios.
Sony and Paramount are going, yeah, we wish that had
had that problem, because Disney is still getting ten percent
over our ticket in the theaters with their failures. But

(32:47):
Paramount and Sony don't have Disney's problems. They don't have
the failure record.

Speaker 3 (32:54):
Well, I guess because they don't also have the amount
of investment in those I mean, I can only imagine
what Figi makes for salary plus bonuses.

Speaker 4 (33:06):
Sure is he getting bonuses because I haven't seen him.
I mean, we can talk about the Fantastic Four here
and that fell how that fell off a cliff cliff rapidly.
But here's the best thing. Disney just spent one point
five billion dollars for an equal share in Fortnite so
they could pump all their characters into the game. They

(33:27):
didn't get the movie rights, they didn't get the TV
show rights. They just wanted to put their characters into
the game and spent one point five billion dollars to
do that. You know what that builds with gamers? Resentment?

Speaker 3 (33:38):
Yes, it's like, yeah, like you're doing something when your
buddies and your father shows up in skateboard gear. Yeah yeah,
it's like no, Dad, no, just please back in the minivan.
No Dad.

Speaker 4 (33:58):
I mean, but what what mixed messages that we can't
attract thirteen to twenty eight year olds with our properties,
So we're going to inject our properties into something they
enjoy so they can just flat out reject it. There too,
if they're not going to see your fucking movie they're
not going to put on. You know, Phoebe waller Bridge's
version of Indiana Jones character in Fortnite.

Speaker 3 (34:25):
I mean when Yeah, I mean that whole enterprise right
there of just you know, having branded characters appear in
the video game that just has corporate britten all over it.
That that is an executive level decision. And guess what
gamers in the audience picks up on that? Yeah, and

(34:46):
it does. It's exactly the meme. How you doing pillow kids?

Speaker 4 (34:50):
No, seriously, it's the kind of thing that you are
going to team kill anybody who comes out with the
Mickey ears. Yeah, I mean, unless they're wearing it ironically.

Speaker 3 (35:06):
Yeah, I mean maybe turn them forty five degrees so
your mouse ears are a mohawk. Get it. I'mging, I'm
goodding it. Yeah, dude, you're trying way too hard.

Speaker 4 (35:16):
Stop it. It's like the kid who shut up at
school with the Walton's lunch pail.

Speaker 3 (35:22):
What my dad had it when he went to school, you.

Speaker 4 (35:28):
Know, unless you're taking it to work at the age
of forty ironically.

Speaker 3 (35:33):
Yeah, it's like the Walton's lunch pail might work if
you're what is the goth retail store.

Speaker 4 (35:43):
Yeah, hot topic.

Speaker 3 (35:44):
There you go. I blanked on it. Yeah, you come
in with your lunch and net and be like, oh dude,
get it hilarious? I get it.

Speaker 4 (35:51):
Right, Yep, where'd you get that? That's fucking awesome.

Speaker 3 (35:57):
Yeah. I just love this story so much. I mean, well, and.

Speaker 4 (36:02):
Again, not only are we amazed that they said this
part out loud, but Bob Iger even talked about it
at the Quarterbay shareholder meeting.

Speaker 3 (36:10):
But look at what they're saying.

Speaker 4 (36:12):
If that doesn't signal disaster to the shareholders, what's that.

Speaker 3 (36:16):
Their solution is this? They're looking for original I p. Yeah,
like they're giving up on Marvel and Star Wars. What
do you fix it?

Speaker 4 (36:32):
Holy crap?

Speaker 3 (36:34):
You we need something new to appeal to these kids.
Holy shit.

Speaker 4 (36:40):
I mean, one of their biggest hits. It's always amazed
me that they haven't dug back into the well on
His Bugs Life. Well, I mean to be a little
creepy live action that but still.

Speaker 3 (36:55):
But that was back when Pixar was Pixar and they
were just like burning through a originality like crazy. Yeah.
Now now PickStar has falling onto the same hard times.
I mean, look at their last adventure worst opening ever
for that studio. Yep, so bad.

Speaker 4 (37:14):
It's gotten so bad that people are sick of the
Pixar style.

Speaker 3 (37:20):
Yeah, I just I'm staggered. It's only not shocked because
we've been talking about this for years. But you're sitting
on those two intellectual properties and you're just amused and baffled.
How do we group the kids back to come to
your product?

Speaker 4 (37:40):
And when I think of Disney right now, I think
of The Joker and Nolan Ryland's Batman, you know, just
that big pile of money and he just sets it
on fire.

Speaker 3 (37:53):
They they want I didn't. They seem to be completely amazing.
Is that what they can do to fix anything? They
just don't know. They they're baffled, Like you've got generations
of success just to even look at in reference, and
you can't come up with a solution outside of well,

(38:16):
we need new ideas, all right.

Speaker 4 (38:19):
You know, Bob, I'll tell you what. I'll make this
easy for you. Give me five million dollars in a weekend,
and you do exactly what I tell you to do,
and I will fix all of Disney from the parks up.
It won't even be that hard.

Speaker 3 (38:31):
And this is Bob Iger, who forced out his replacement
for allegedly failing. Yeah, I mean.

Speaker 4 (38:39):
Yeah, which, as we covered most of other Bob's failures
was stuffed at Eiger Greenlit before he.

Speaker 3 (38:48):
Left, and most of those failures were not even on
the entertainment side of things. It was political, yeah driven
at least, but damn.

Speaker 4 (39:00):
Well, yeah I mentioned it. We got to talk about
Fantastic four and their cliff like fall.

Speaker 3 (39:09):
Yeah, that's that's been kind of a curious thing because
this is not I don't know if we can go
to failure just yet. It looks to me all things
into it. I think it's probably gonna go to break even.

(39:30):
I mean, it just looks to be on that trend.

Speaker 4 (39:32):
Yeah, I mean, okay, so let's talk about it. It gets
basically good reviews. I know a lot of people who
saw it who said they liked it, but none of
them said I would watch it again. And that is
absolutely reflected in the numbers first weekend, one hundred and
seventeen million dollars. Domestically great, fucking you're off to you,
you're stocking. You know, people were skeptical about Fantastic four

(39:56):
because it's been ruined so many times, So you get
your tentative people putting their toe in the water. Okay,
you know one hundred and seventeen is respectable. The next
weekend it makes fifty million, and the next weekend it
makes eleven million, and this last weekend it made let
me do the quick math here, eight million. This is domestic.

Speaker 3 (40:20):
That is I think what happened. And this is speculation
I don't have hard evidence of. This is me looking
at the property and wondering what the hell. I think.
People were originally just happy it didn't suck like the
previous and you know, this had like, you know, an
original look to it because it's that retro futuristic thing

(40:44):
and was kind of an a nebulous time frame and
it crossed over various generations and such and had a
great feel okay, cool, And then they saw it and
then they sat back and looked at it and analyzed
it and was like, ah, so it wasn't hatred. It
wasn't you know, animosity screwed out. I'm never going to

(41:06):
see it. Was more like people saying, hey, you saw
the movie, what'd you think of it? And you got
that shrug like didn't suck and that lack of endorsement
is I think what carried through so.

Speaker 4 (41:22):
Yeah, worldwide, worldwide, you're just center four hundred and seventy three.
Here's the tell. This is what's blowing me away. Five
million in China. Yeah, here's the thing, opening weekend in China,
four point four million. Since July twenty fifth, it has

(41:44):
only made one point one million dollars in China.

Speaker 3 (41:47):
Wow. And this is kind of a neutral I mean,
you know story wise for China, you know, because they're
they're very particular what they allow in there and intended.
This is a rather fantastical group of characters that is

(42:07):
not strictly American. It's not political, it's not you know,
these are all the things that would allow it into
the Chinese market. So you would think.

Speaker 4 (42:16):
They're not jingoistic.

Speaker 3 (42:17):
Yeah, they You would think the Chinese market would endorse eggs.
They've loved superhero films. This one's inoffensive, didn't draw that's weird.

Speaker 4 (42:29):
Well, here's the other thing with that too, is that
think of how much Disney has sacrificed at the altar
for China, and this is what theyre this is their return.

Speaker 3 (42:43):
I mean they absolutely have to coowt out of that government.
The Chi comms. You have to kiss their feet. They've
got Beijing Disney World over there. They have the marketplace
they have to tap into that revenue dream in China,
so they have to kiss ass.

Speaker 4 (43:04):
It's made three going through the global numbers, It's made
three times in France what it made in China. I
was under the impression France fucking hated us.

Speaker 3 (43:16):
Yeah, and there are also a bunch of centophiles over
there and resent superhero movies, the American big dog product.
We don't want to watch these superd heroes of Gostel.
Give me a storyline.

Speaker 4 (43:28):
It's made five times as much in Mexico. Okay, And
yeah then I mean, so Grock that one out for
I hate to say that because of Rock. But still.

Speaker 3 (43:49):
If Antistico is doing good business, all right, But yeah,
I think this is really Initially people were like, thank god,
it doesn't suck, and the rest of the time is like,
well it's there. Yeah, you know, there's just not a
passion for this, and it's again, what are you gonna

(44:12):
do with that?

Speaker 4 (44:14):
Oh and Stephen cocaine is the solution to everything. Well,
just responding.

Speaker 3 (44:21):
To chat where you know, we're not we're not medical
doctors don't take us medical advice, but.

Speaker 4 (44:27):
I do play a lawyer on Twitter.

Speaker 3 (44:30):
Well, oh, I guess to go with the segue here.
This was a bit of a head scratcher too. Now
Disney is moving out of Georgia.

Speaker 4 (44:46):
I I okay, here's what I'm not So they're shutting
down Pinewood in Georgia to move to Pinewood in England.
I find it hard to believe that the tax breaks
in England are more attractive than the tw breaks in Georgia. Yeah,
there's gotta be more going on because that the official
story does not make sense.

Speaker 3 (45:07):
No, No, I mean Britain is not exactly known for
its favorable taxation rates there, and Georgia has been rolling out.

Speaker 4 (45:16):
The red carpet, yeah, for politics.

Speaker 3 (45:22):
Mm hm. So, I mean this was the entire purpose
of Pinewood Studios to begin with, operating in Georgia's because
there was such favorability that they built a sprawling soundstage
system over there for yeah, this very thing, and a
number of Marvel films have been filmed there already. M hm.

Speaker 4 (45:47):
What yeah again just to construction. I mean, yeah, they've
made it back ten times over with the Marvel movies.
Up until recent years. But that's a big event spant
to walk away from for alleged I mean, no, you

(46:08):
did you not negotiate for more? Are you just say
fuck it, We're going to London. I this story does
not make sense in an industry that does not make sense.
This makes sense the least.

Speaker 3 (46:24):
And the yeah, I mean, just the concept that it's
cheaper to go to Britain to film as opposed to Georgia.
I'm sorry, I I it's yeah. Given the basis of
our show, we lean pretty heavily on the business side

(46:47):
of Hollywood. The show side of this is not as
important so much as the business side. And I've yet
to see the legitim the cause of this. Something has
to have shifted, because I mean, as they say, you know,
Marvel departing is going to basically represent a fifty percent

(47:10):
drop in production in Georgia, right, But.

Speaker 4 (47:15):
So Georgia absolutely would have negotiated that. They they would
have come to the table for anything on that, because
they're they're trying to say that the labor costs in
the UK is cheaper. I know, because we've all, okay,

(47:37):
you and I have heard the stories repeatedly on how
the labor in England will sabotage your movie if they
don't get their tea time. I mean that was a
big thing with Ridley Scott and Aliens, right, that was
that was it. No, they actually they basically went on

(48:00):
strike every day at tea time, no matter what part
of the scene they were in. The whole crew would
just get up in protests because Ridley Scott wouldn't you
know break you know, it was a grueling filming schedule.
He wouldn't break for it. So they just all walked
over to get tea and took a very long t break. So, no,

(48:21):
labor is not cheaper.

Speaker 3 (48:24):
Well, and I'm like picking through. They don't want to
like come out and say it's because of this. This
is they're kind of saying that and maybe this has
changed in Britain that their tax breaks are similar to Georgia.
And let me just see here they say that the

(48:46):
workers are generally play paid less, don't have to have
health insurance coverage.

Speaker 4 (48:55):
Well that's just higher and union labor then.

Speaker 3 (49:01):
But still I would think just the cost of you know,
going overseas and everything else. But here's the amazing part
of course too, The option wasn't to go to Hollywood
in Los Angeles.

Speaker 4 (49:15):
That's absolutely not an option because you don't have Weinstein
lobbying for you anymore.

Speaker 3 (49:22):
Or you know, Canada. But I guess maybe Canada just
doesn't have Pinewood level studio space.

Speaker 4 (49:29):
So build it ship. Alberta will take that money in
a heartbeat.

Speaker 3 (49:34):
Yeah, but they're they're more attuned to like Hallmark Christmas
movie level productions and TV shows I suppose, not Sci
Fi Channel superhero films.

Speaker 4 (49:47):
Yeah, they're they're more we need to play, yeah, especially
with like you.

Speaker 3 (49:49):
Know, but I don't. I don't see how this mean we.

Speaker 4 (49:55):
Need to place that looks like Ohio. Well, rather, it's
cheaper to film the Saskatchewan than it is Ohio.

Speaker 3 (50:00):
So well, I guess maybe this is where my head
is stuck. If you're going to tell me that labor
costs are cheaper in Britain, what changed over ten or
fifteen years ago when everybody was stampeding to go to
Georgia because Pinewood built studios specifically in Georgia. So did

(50:23):
some kind of alteration take place in Britain that they're
not alluding to. That's what makes no sense here.

Speaker 4 (50:31):
I you know, if I can just put my tinfoil
on for a second. I mean, if your entire production
crews is of fighting age and has come from the
Middle East then and working for nothing that checks all
your boxes that you need to be oscar bait rules.

(50:53):
Now you have to have a specific level of minority
on your production. So you know, you just get a
couple of trans you know, copy editors over there and
you're in.

Speaker 3 (51:05):
I suppose London doesn't have a shortage of that product.
Now this is what it comes out to. But no,
I mean, seriously, if if this is the reason, you're
gonna tell me labor and lack of healthcare is luring
people that produced now in Britain, where was that fifteen
years ago?

Speaker 4 (51:24):
Yeah, because nothing's changed in Britain in the lat I
mean aside from.

Speaker 3 (51:28):
I mean, did they jack up rates in Georgia all
of a sudden. I mean, the biggest thing involving Georgia
was was it six seven years ago when they had
the big blow up about the voting law change? Yea,
And supposedly Will Smith and others were gonna lead a
stampede out of Georgia. We're not We're shoot here anymore.
And it's like, well, great, we need the studio space

(51:48):
because we got more movies coming, so thanks guys.

Speaker 4 (51:51):
Yeah, Marvel was like, great, you know we need that
because we've got fifteen more movies in the fucking pipe
for this.

Speaker 3 (51:56):
Yeah, we got streaming shows, we got a film here,
so that'd be cool. Are you gonna be out? Yeah?
This just baffles me. I'm I'm at a loss as
to what the hell is Okay, Yeah, there's more to
this that has to be explored. But okay, well we've uh,

(52:19):
we've cut through the show pretty clean here, so we
gotta we gotta knock out some content. We are at
the end of an era. Ordy, I'm about to shout
to leave this.

Speaker 4 (52:29):
I this is like, this is like putting down your
favorite dog.

Speaker 3 (52:36):
Is it? Or is it more a case of, oh
is that dog still alive?

Speaker 4 (52:40):
We should put it out. I thought you ran away.
You've been under the porch this whole time.

Speaker 3 (52:47):
Now, many people out there might be surprised to realize
that America Online is still an operating venture. I would
venture to say there's more people out there saying right now,
what the hell is America Online?

Speaker 4 (53:02):
Well, okay, so, having done all the years, I did
in tech. I did have quite a few clients who
still had AOL email addresses. What surprised me in this
story they still had dial up.

Speaker 3 (53:17):
I can't even wrap my head around that.

Speaker 4 (53:19):
I can't either. Can you imagine in current years still
listening to that fucking sound.

Speaker 3 (53:25):
Like every so often i'll have somebody new maybe come
with me to my parents' house or something. It's like,
oh man, wait, wait, you guys got to check this
out look on the wall. They still have a dial phone,
they still have a landline, and it's just my parents
just refused to change. I've even pleaded with them. I
was like, oh, but we get a bundle. It's like, okay,
your bundle's costing you two hundred and fifty damned dollars.

Speaker 4 (53:49):
Besides, I was okay. So a few years ago, I
was looking into the landline just for emergency purposes because
it is self powering. You know, those old phones, they
weren't affected by a power outage in California. You think
about those things, it's all VoIP now. You know, when
I tried to get a landline, basically it was just
you know, it's still went over the Internet, which still
goes down when the power goes out, I'm like, fuck it.

Speaker 3 (54:11):
You know, well, they had something similar down here where
you know people say no, no, no, you know you still
need a landlinecu is, what if we get hit with
a hurricane and it will still work? And then somebody
kind of explained it's like great, who are you gonna call?
Right well? Nine? I was like, yeah, great during the hurricane,

(54:33):
dial nine one one and see if you don't get
a busy signal because everybody's excuse me, MD.

Speaker 4 (54:39):
That's witty as fuck. He did archaeological with the AOL capitalized.
That's good stuff.

Speaker 3 (54:49):
I'm proud of you, my chat from so I'm thanking
you for that. Yeah, but it's yeah, I'm amazed that
people still have landlines, let alone dial service. What what
is you supposed to megs are on that connection?

Speaker 4 (55:09):
You know, I agree, I mean at no, I mean
at the peak it was fifty six K. I mean
I can't imagine that. I mean, if I know they're
not going over twisted pair anymore, they can't. But still
that's not dial up then, but this is actual legitimate

(55:29):
dial up service. So it is over twisted pair, which
means that capped out. Best case was asynchronous DSL at
one twenty eight. I believe K not meg K.

Speaker 3 (55:44):
Well, and this is where my head's going is, if
you have dial up service, I think about the only
thing that could possibly work on it would be email,
because you open up anything else, even if it's an
email that has a JPEG, it's gonna take five minutes
to load.

Speaker 4 (56:07):
Yeah, you're not gonna be like if your doctor's faxing
you or you know, emailing you PDF forms, that's still
gonna take you fifteen minutes to No. I just did
the math fifteen minutes to download.

Speaker 3 (56:20):
Yeah, and you know, God forbid your grandson send you
a TikTok video.

Speaker 4 (56:26):
Or God forbid somebody calls you.

Speaker 3 (56:31):
Well, it'll be okay. I'm I'm gonna load it and
go to bed and I'll look at it in the
morning hopefully. Yeah.

Speaker 4 (56:39):
Yeah, can you review this and email it back to
me real quick? No, it's like my old joke. Hey,
could you fax that over for me? I'm sorry, I
can't fact where I'm at, Well, where are you at
the twenty first century?

Speaker 3 (56:52):
Yeah, the future? So it's just uh, yeah, I I
saw that headline, which I couldn't even wrap my head
around it.

Speaker 4 (57:04):
Well, and the funniest so AOL was bought by Yahoo,
which I intellectually knew was still around, because every now
and then, my you know, news aggregate will throw up
from Yahoo News. I'll be like, huh, that's right.

Speaker 3 (57:20):
Well, I actually be because I'm in the news game.
I see Yahoo News all the time. I don't see
Yahoo News content, right because anytime I see a headline
with Yahoo and click on it, it's AP Washington. Then. Yeah,

(57:40):
Yahoo News used to be a big, viable news outlet
and now they are just basically an aggregator nothing more.
So for for them to buy out AOL is hilarious.
It's almost like Gateway bought out Geo Cities.

Speaker 4 (57:57):
Yeah. Yeah, I'm sorry. Verizon sold AOL to Yahoo for
five billion dollars four years ago.

Speaker 3 (58:06):
Hell yeah, there's no way there was market cap. Well
let that one. No, No, I yeah, I mean I'm
sure I still have email for Yahoo and AOL somewhere.
Good luck opening it.

Speaker 4 (58:26):
Yeah, I would have to go through passwords I was
using twenty years ago that probably had a lot of
x's and four twenty in it.

Speaker 3 (58:37):
I'm like, well, just eat it, go ahead, yours, you
can have them.

Speaker 4 (58:41):
Yeah, so producer just reminded us we do have somebody
following us.

Speaker 3 (58:48):
And yeah, I know that's why I was thinking. We
got to start cutting through content.

Speaker 4 (58:51):
Yeah, skipping the commercial. We're doing it live.

Speaker 3 (58:54):
Fuck, yeah, we can make it through. Well. Yeah, apparently
Lego has not learned Disney's lesson. Nope, I just shaking
my head yet again, as I seem to do on
this show frequently. And I'm not blaming.

Speaker 4 (59:14):
You this time.

Speaker 3 (59:18):
I don't know. I'd much sooner blame myself than you
for any kind of foible on this program, trust me,
But this comes courtesy of discussing film, discussing, not discussing
the Lego video game has decided to cater to somebody. Yeah,

(59:45):
Lego Batman is one of the great moves that this
company had in the entertainment sphere. That was just a
The Lego Movie and Lego Batman were just great. They
were well done. They didn't themselves too seriously, they were
slightly mena. They hit all of the touchdowns perfectly for entertainment.

Speaker 4 (01:00:10):
Jeff, do you have audio? You gotta tell that story?

Speaker 3 (01:00:15):
Oh what do we got?

Speaker 4 (01:00:21):
He says, Okay, So I don't know if he's got
if his MIC's working. Uh. He says he still has
AOL email because when Red Green Junior figured out that
he had that, he refused to talk to him any
other way.

Speaker 3 (01:00:36):
Wow, look at look at Jeff name dropping.

Speaker 4 (01:00:41):
That's you know, though I I did the same. Oh
you have AOL I forbid you communicating with me any
other way than copies.

Speaker 3 (01:00:54):
Now I'm wondering who I can impress if I tell
them I have a Juno email account. That's elective. Somebody
out there must light up when they hear that.

Speaker 4 (01:01:05):
I remember the existence of Juno. Yes, anyway, Lego Batman
appealing to the LGBT whatever with So my take on
this is that doesn't the rainbow color kind of take
away from stealthiness that Batman was known for.

Speaker 3 (01:01:27):
I'm I'm gonna go with yes. Yes, it's just they
have on the video game now you have the option
to play the caped Crucinader wearing an entire outfit that
is cowl to toe rainbow. Yes.

Speaker 4 (01:01:48):
I like how they couldn't fit the full rain the
full range of the rainbow across the Batman character. So
it's actually the cape that's purple.

Speaker 3 (01:01:57):
But yeah, and what about the trans flag and what
about you.

Speaker 4 (01:02:02):
Know, yeah, where's that you fucking begots, because I don't
see that in there.

Speaker 3 (01:02:08):
The gay Pride flag has morphed so much now that
it just basically looks like an easel at the end
of your art class at the end of the semester.

Speaker 4 (01:02:18):
It reminds me of the first time I saw a
test pattern on a color TV.

Speaker 3 (01:02:23):
But yeah, so there there's Batman resplendent in his rainbow
striped outfit, to which I just I feel a need
to send an email to the Lego Corporation and just
inform them that Batman goes by an alternate name at times,

(01:02:43):
which would be the Dark Night.

Speaker 4 (01:02:46):
Yeah, just this would be for Adamless Night.

Speaker 3 (01:02:53):
Yeah, exactly, the resplendent Hero. No, this, uh, this is
done for he wears black. Get this to fight crime
at night? Yeah, I'm thinking a neon rainbow outfit is
going to kind of maybe stand out.

Speaker 4 (01:03:15):
I'm just you know, that's what you get from being
practical and pragmatic.

Speaker 3 (01:03:22):
Not quite stealthier. You're really not camouflaging, well, unless you're
fighting crime at a Skittles factory. How many times is
that gonna happen? Though?

Speaker 4 (01:03:33):
I go back to the episode of Archer. What about that?
Are you not getting? Well, obviously the core principle.

Speaker 3 (01:03:44):
Okay, good luck with that, lego fantastic.

Speaker 4 (01:03:49):
I hope you get all twelve people who will be
interested in dotting that hat.

Speaker 3 (01:03:57):
Yeah, all right. Well, one thing we comment on frequently
here is the streaming service Apple Plus, namely that it exists.

Speaker 4 (01:04:08):
In Amaze and Bill llermant.

Speaker 3 (01:04:12):
This is a streaming service that basically is known for
three programs?

Speaker 4 (01:04:20):
Is that fair if you count four? If you count
the failure that was the Time Bandit's TV show?

Speaker 3 (01:04:29):
Well, I don't. I'm gonna go with the morning show
only because that's like on season three Ted Lasso. Of course,
severance gets quite a lot of play that one manages
to hit our charts and also get a lot of
media coverage and such, and all right, mythic quest four,

(01:04:55):
we'll go okay, all right, So do you.

Speaker 4 (01:05:00):
I really think that warrants a thirty percent increase in
your monthly subscription?

Speaker 3 (01:05:06):
No? And I think that indicates quite a bit that
they see a need to raise their subscription. It's not
just that they're raising the price, but by thirty percent,
that's pretty big jump.

Speaker 4 (01:05:21):
Just on Yeah, they're going to twelve ninety nine a month.

Speaker 3 (01:05:24):
And I'm not implying that it's you know, oh nobody
can handle that kind of cost or anything. But it's
just for a solitary service, no tying, nothing else to
increase by that percentage indicates they ain't get into business.

Speaker 4 (01:05:41):
Well and that and it's like, okay, so let's just
take that from a you know, what value is added
with that? You still only have three programs. I mean, okay,
they have a library, but it's not a very robust one.
They have other shows that appealed to someone, but I mean, okay,

(01:06:11):
just when Netflix does a price increase, it's next to minimal.
I mean, you're talking a buck maybe. And the thing
is that Apple still doesn't have a fast No.

Speaker 3 (01:06:25):
That's kind of the surprising part, because there is that
kind of movement for a lot of the streaming services now.
Is that well, okay, you know, if you don't want
to get the subscription, you can come down lower and
we'll put ads on the shoes. You know, Hulu does it,
Peacock has it. Now. It's kind of the trend, and

(01:06:45):
Apple's not doing that. I'm uh so, what what are
you giving us there? Yeah?

Speaker 4 (01:06:58):
And they just raised their price three bucks two years ago.

Speaker 3 (01:07:05):
And they don't have again. Like you said, the the
library that they have is not an attraction, Like I'm
gonna stick around because there's so much to look through,
like they've been pushing. I've seen this like on the
IMDb and elsewhere. It's just vanner Rad's pop up for
a new show with Jason Momoa in it. Like I

(01:07:27):
saw that kind of like a throwback Polynesian historical war drama,
which I mean.

Speaker 4 (01:07:37):
There was one he did. I can't even remember the
name of it anymore. It was right after Stargate Atlantis
and you know, like before he took off, you know
with a bunch of other shows. But it was a
Netflix series where it was about the Hudson Bay Company
and fur trading and it was pretty good. So I

(01:07:59):
recall he can do Yeah, he can do period pieces.
It was like Frontiersmen or something like that. Anyway, so
he could do it. Just well, is that enough?

Speaker 3 (01:08:14):
No? No, The thing is they you've got him, but
you don't have them in a good product. What was
that other the first series he did for them was
it called See or Blind or something like that, And
these are yeah, people who don't have vision participating in
wartime activities.

Speaker 4 (01:08:36):
Yeah, it was kind of like the opposite of a
quiet place. But yeah, it was interesting.

Speaker 3 (01:08:41):
I mean it was okay, Yeah, but I would I
would watch some of the scenes where people who are
literally blind would like jump off a ledgement and grab
a vine and then swing back around and text somebody, well, okay.

Speaker 4 (01:09:03):
Don't all blind people have echo location?

Speaker 3 (01:09:06):
And that's you know, the irony. It's called c in
a TV show where nobody can. Yeah, I okay, I suppose.
I mean, so.

Speaker 4 (01:09:20):
They're losing Friday Night MLB. They've got some Major League
Soccer for those who care. I just don't see the
value in this.

Speaker 3 (01:09:36):
Yeah, Like what are you giving us for the increase
in price? That's the thing, Like not just how do
you justify it? But it's like why would I I don't.

Speaker 4 (01:09:47):
Know's my standard question with any Apple product to begin with.
Justify not being Nike to me, you're a logo, all right.

Speaker 3 (01:10:00):
Next one we talked about this. I think it was
the last episode that people that made the Office are
doing a new one that's called The Paper, not printer
paper but newspaper, but very same process, very same enterprise,
much of the same production staff and writing staff, so
it's got a chance. I have a.

Speaker 4 (01:10:22):
Question from the office coming over. Who doesn't want to
have anything to do with the documentary crew? Is the
account and over at underment anyway?

Speaker 3 (01:10:29):
Go on, Yeah, and that could be a good source
of humor right there, kind of. I liked Oscar's character,
the way he played it and such, so I'm I'm interested.
I'm also interested in this decision. They were going to
drop this on Peacock streaming service on a weekly basis,
but now they're deciding to just belch out all ten
episodes in one time. The binge out of the gate.

Speaker 4 (01:10:53):
That tells me it's either fantastic or it sucks between I'm.

Speaker 3 (01:10:58):
Trying to go with what led to this decision, Like,
was it screened and everyone was like, oh my god,
I can't wait to watch all of them. It's like, what, No,
you don't have to because we're so fabulous, or is
it Oh, people aren't gonna watch and we have to
clear the schedule.

Speaker 4 (01:11:18):
We have to put it down. We've hyped it, but
our internal sucks, so we're just gonna dump it. Or yeah,
we are gonna build so much fucking hype with this,
we are going to bake in customers for the Peacock
for six months minimum, where just by wording out which
is possible, again cautiously optimistic.

Speaker 3 (01:11:40):
It's uh, it's well, maybe we'll have to see. We're
reserving judgment, but we're just damned curious, that's all. Well,
here's another indicator of I don't know, Tremor's possibly in
the streaming service. I keep forgetting that this exist, but
there is a Stars streaming service, and it's usually in

(01:12:05):
that on premium and any of your other basic platforms
that you go on.

Speaker 4 (01:12:10):
Right, Yeah, it's like, you know, subscribe to this and
we'll give you Stars.

Speaker 3 (01:12:16):
Yes, or you know, if you're a prime member for
five dollars extra a month, you can get the Stars channel.

Speaker 4 (01:12:21):
Yeah.

Speaker 3 (01:12:22):
I never really had that.

Speaker 4 (01:12:23):
I was going through cleaning up stuff that got accidentally bought,
and oh fuck, I've been paying for Stars.

Speaker 3 (01:12:30):
They've sustained themselves for how many years now of people
not knowing they were still subscribed to it.

Speaker 4 (01:12:36):
Yeah, I thought that was free with crime. Shit.

Speaker 3 (01:12:39):
I find up for that just to watch one movie
and I forgot the cancel.

Speaker 4 (01:12:43):
All right.

Speaker 3 (01:12:44):
Well, lions Gate, which had basically been the parent company
of it had decided to let Stars go on its own,
you know, go ahead, be free.

Speaker 4 (01:12:54):
We talked about that a year ago. W they just
said they were talking about going their separate ways. They
finally have.

Speaker 3 (01:13:01):
And hasn't gone swimmingly. They've lost over half a million subscribers. Yeah, like,
what does Stars offer? It's almost like Apple Plus? Really,
what what's the job?

Speaker 4 (01:13:18):
Well, they used to offer the Lionsgate catalog. I would
have to log in to say what they still had.
I even some of the original content they had. I
want to say that they had God's series.

Speaker 3 (01:13:40):
That's what I'm saying. It's like right now, like I
can't think of, you know, a Star's original product. Yeah. Nothing.

Speaker 4 (01:13:48):
I can tell you the logo Stars Original. I can
visualize it like the old HBO theme and that's where
it ends.

Speaker 3 (01:13:57):
So that's yeah, they're kind of hang and on. They're
kind of lingering. This was actually I don't know, you
go back six months or a year. I was kind
of surprised that there was such a thing as MGM
plus and they had like what was the There was
one series I wanted to see, like The Day of
the Condor. They made that in the series and it

(01:14:20):
was kind of interesting. It was all right, cool, I'm
in the CIA type procedural, so I tuned in for that.
And they did have one documentary I loved because it
was about Murph the Surf. Okay, just you know, you
give me jewel heist in South Florida, dude, I'm there, Sorry,
gotta do it. Yeah, And that was about it, and

(01:14:43):
now it's basically been rolled into crime. Amazon now owns MGM,
and you only get reminded of this every now and
then when a movie starts and it's like, hey, this
is an MGM production from Amazon.

Speaker 4 (01:14:58):
Yeah, which they have to spent all that money on
MGM and have done absolutely fucking nothing with it. Good job, guys.

Speaker 3 (01:15:06):
Yeah, I think really the only attraction on that takeover
was James Bond.

Speaker 4 (01:15:13):
They they've got a lot of ips and some of
them have baked it. You know, it's Stargate drink. They could.
You know, they've got that. That was an MGM property.
They keep teasing doing something, but that's as far as
it goes. Oh yeah, you know, I mean you should
totally do something with that.

Speaker 3 (01:15:30):
Yeah. The MGM catalog is expansive. They've been around forever.
So there's there is a lot therefore Amazon to uh,
you know, they can they can do something with that.
As far as going forward, though, is the curiosity like
I don't know anybody else clamoring, Oh there's an MGM movie.
I haven't heard that forever.

Speaker 4 (01:15:52):
Yes, not since the day of Contract Stars, where if
you wanted to see Kerry Grant you were watching an
MGM movie.

Speaker 3 (01:16:01):
All right, Well, we got a couple of little nuggets
to drop here before the top of the hour. This
has been a kind of curious week for rebranding. I'm
uh scratching my head a little bit. One of those
is MSNBC, the quasi journalism news network on cable that
has been cut free from NBC as they have parent

(01:16:26):
company Universals spun off a number of cable channels, including MSNBC,
into their own venture calls.

Speaker 4 (01:16:34):
Yes, the Mama bird kicked the little fledglings out of
the nest and said good luck.

Speaker 3 (01:16:44):
The part that amuses me here is how NBC News
has reacted to this, and it's basically GTFO. Yeah. They
were given an ultimatum, I believe it the end of
this month that MSNBC has to vacate the production space

(01:17:07):
of NBC News. They have to get their own, moving
into Buzzfeeds former building. Yeah.

Speaker 4 (01:17:13):
Well they also told them, you need to get your
own White House press credentials, you need to get your
own reporters. You can't piggyback on us anymore. You know,
you're not taking our content and using it for your news.

Speaker 3 (01:17:25):
Yeah. They basically pretty brutal. They put word out to
much of their journalism staff and was like pick aside, guys,
because if you're going with them, you're not with us anymore.
And I think most people were like, yeah, I'm probably
gonna stay with an NBC. I'm gonna go to NBC.

Speaker 4 (01:17:47):
Right, let's see, I want my paycheck to cash, So
NBC it is. Yeah. And if you're what does MS
now mean?

Speaker 3 (01:17:55):
So?

Speaker 4 (01:17:55):
MSNBC used to be the Microsoft and National Broadcast Company. Well,
several years ago Microsoft divested themselves from them, but they
said they could keep the MS NBC and doing this,
you'd kick it out. You don't get to keep the
NBC anymore, but you get to keep the MS. So
it is my source news opinion world. Isn't that sweet?

Speaker 3 (01:18:18):
Yeah? And it's I had to laugh the other day.
It was Morning Joe when they made the announcement of
this change over, and the ever wise and always insightful
Molly jong Fast was on there and said, oh, I
never even knew that U mess stood from Microsoft. What
do you know? That's like weird.

Speaker 4 (01:18:39):
Yeah, she is really regular.

Speaker 3 (01:18:42):
On this network and didn't even know that they were
a filliated with Microsoft at some point.

Speaker 4 (01:18:46):
Okay, if you wonder at the state of journalism, you
don't even look into the history of the company that
you are chilling for.

Speaker 3 (01:18:54):
Like, it never even dawned on her to say, like, okay,
I know this NBC, what does that miss for? Why
there an MS before? The like never dawned on her.

Speaker 4 (01:19:03):
Being inclusive for inclusive for people with multiple scrosis.

Speaker 3 (01:19:07):
But the amusement here is that they they've come up
with a logo MS now is in block letters just
prior to it is a curious little I guess a
flag flag.

Speaker 4 (01:19:20):
Maybe it looks like the flag of Ohio without the
which goes with my theory that Ohio is attempting to
take over the world.

Speaker 3 (01:19:28):
I mean, you've got a white bar and then you
know it's kind of indexed a little higher to make
it look like it might be waving, but it also
kind of can look like the letter P you look
at it a certain way.

Speaker 4 (01:19:43):
No, I can see exactly.

Speaker 3 (01:19:45):
Yeah, so PMS now yeah or FMS now itself now.
And And it was just great watching this reveal on
Morning Joe, where they tried to make this sound like, oh,
this is just so we are just looking forward. It's
awesome that we're now this thing.

Speaker 4 (01:20:12):
Here's our logo. Fuck, I need a drink.

Speaker 3 (01:20:15):
This means going forward. Now we can just report the
news like we want to.

Speaker 4 (01:20:21):
Oh, it's really except you're no longer owned by Comcast, too,
is kind of a closed house. You are now beholden
to an investment firm. How's that gonna work out for you?

Speaker 3 (01:20:40):
I'm sure you're gonna be just dropped a successful and
nothing problematic going forward except huge numbers. That's what I see.
That's what's gonna happen. I promise. Sorry, we have to
wrap pretty quickly here, so you want.

Speaker 4 (01:20:52):
To touch on, Yeah, let's burn through that real quick.

Speaker 3 (01:20:58):
I happen to be drinking as we speak right now
from my shooter McGavin.

Speaker 4 (01:21:02):
Cup excellent, because you know what the you know what
the top the top original content was this week. Well,
let me just let me pat my back of my
own prescience with this, because uh well no it wasn't
Top is under Movies. Sorry, but still, well.

Speaker 3 (01:21:24):
Do you know what was gonna crush it? Oh? Yeah,
just to give an indication of things television side, we
had NFL preseason, like not even actual games took place.
That rank the one on the broadcast side of things, Yeah,
got it. Okay, yes, as we all knew, So whatever

(01:21:46):
else is going on TV just absolutely stopped as soon
as even a hint of football came on. But yeah,
far as original content goes, Happy Gilmore two on Netflix
debuted well just shy of three billion minutes viewed. Yeah,
this became pretty much said it was a slam dug.

(01:22:10):
This is going to be successful. This has become the
biggest movie debut on a streaming service ever.

Speaker 4 (01:22:18):
Hey, but check out number three. There's something that Stars
has so just with the just with the transit effect
that we always talked about. Because and then there's a sequel,
the original gets back in the top ten. Happy Gilmore
got a half billion minutes on Netflix and Stars probably

(01:22:40):
more on Netflix because Happy Gilmore two was on Netflix
with just but Yeah, this is the highest rated opening,
the most viewed opening of a movie original movie on
a streaming service.

Speaker 3 (01:22:55):
Yeah, and you know, I mean I watched it was okay,
I mean it was Happy Gilmore it. Yeah, it is
what it is. I thought it was kind of funny.
They did have a ton professional golfers. Wow, okay, you
guys are all about it. Number two movie though I'm.

Speaker 4 (01:23:16):
Familiar with Demons.

Speaker 3 (01:23:19):
I uh. For the summer, we had the seven year
old staying with us. She loves this movie.

Speaker 4 (01:23:26):
I am how can you not?

Speaker 3 (01:23:28):
As you know, she's into music and dancing. So guess
what was taking place quite a bit of it. Then
we had the original Happy Gilmore Hotel Transylvania three Summer
Vacation on Netflix. What is that doing here in the
middle of summer? But we might ask summer vacation there
you go, I suppose. And we got media that's still

(01:23:49):
going huh hbo Max is on here with Sinners. That
thing finally hit streaming, so that was pretty big. The
Amateur is on Hulu, Peacock hit with Wicked. We got
a pretty mixed bag going on here, yeah we do.

Speaker 4 (01:24:04):
And you got the Minecraft movie on HBO.

Speaker 3 (01:24:08):
Over on the original content. There was Untamed on Netflix
along with Hunting Wives. The Chicks are all about that one.
It's pretty lurd and sexy from what I understand.

Speaker 4 (01:24:18):
And The Sandman all on Netflix.

Speaker 3 (01:24:22):
Ballard don't know that one? Unfamiliar?

Speaker 4 (01:24:25):
Yeah me either. It's on Prime.

Speaker 3 (01:24:28):
And then you got Love Island USA on Peacock, but
they had something similar over on Hulu. There's another Yeah,
going big, So we got to wrap this up. So
overall number one, of course, Happy Gilmore smoked it two
point just shy of two point nine billion, untamed Hunting Wives,
K Pop Demon Hunters, Bluey Lands at number five, we

(01:24:51):
have to Yeah, blind spots, Sullivan's crossing is becoming big. Yeah, yeah,
that keeps popping up and there we are, all right.
We gotta run, We gotta get out of here. Yeah,
let's gonna yell at at Where can we find more
of you?

Speaker 4 (01:25:08):
Ordy? Uh shit? This week you can find me Saturday
with Rick on Juxtaposition, our deep dive into the Strange
and unusual. Then that's it for me this week. Next
week you can find me on Manorama and uh Rick
and Ordy, how about you? How about your magnificence?

Speaker 3 (01:25:22):
You can read me at Townhall dot com. You can
read me and hear me over at RedState dot com
and on this network. Next Thursday, I'm gonna be here
with Paul Young. We go through bad movies as we
continue Droard Butler month on Disasters Inamaican every Tuesday night
at eight and a half Here with Aggie Reekin on
the Cocktail Lounge for fun, relaxation and diversions from the series.

(01:25:45):
If you need more of me than that, let's face
that you do, head over to Jitter. I'm at Martine Shark.
Let is get out of here because Jennifer is returning
to the hairwaves here at Kayla Rin after a long
respite away. Her and Rick are gonna be on next
so we will see you in two weeks here on
the Culture Shift al