The Culture Shift with Brad and Ordy: The Rebellion is Winning!

Episode Transcript

Speaker 1 (00:00):
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(00:29):
course language and adultees listener discretion, Surprised.

Speaker 2 (00:56):
And how's everybody doing? The nights Thursday evening, this is
your ear the introduction to the weekend. This is a
culture shift. How's everybody doing? I'm Brad Slager getting ready
to take it down the dusty sidewalks of Hollywood and
the gleaming hallways of Tinseltown. But I'm not doing it alone.
Joining me every week on this venture through the entertainment

(01:18):
realm is America's most laser focused and digitized Amish individual
already packard what's going on tonight?

Speaker 3 (01:26):
I am so ready for pumpkin spice milf season. I'm
so tired of being hot. Summer can be over.

Speaker 2 (01:34):
Is that what it is?

Speaker 3 (01:35):
It's hot? But I mean the good thing is that
none of the fires in the state are around me,
so like I've had like really blue skies for this is,
which just means that my whole area is gonna catch
on fire in about a week. So on that doing
fucking awesome. How are you out? How you doing out
in America's wang?

Speaker 2 (01:53):
We're doing good. We're doing good. And I'm apparently missing
out on all of the Canadian smoke. Apparently that's a
big thing right now.

Speaker 3 (02:02):
I'm all EXA is talking about fucking Canadians.

Speaker 2 (02:07):
I'm I'm further south than their trauma apparently, so lucky us.
We're doing fine here. It's just been busy mayhem as
far as news, as far as politics. But we're here
for the diversion. We're here for the alternatives. There's a
lot going on entertainment wise, and that's what we're here for.

Speaker 3 (02:25):
So projections have you getting hit with two hurricanes simultaneously,
one from the Gulf and one from the coast coming up.

Speaker 2 (02:36):
Okay, you know they they tend to say these things
and then it's like, we'll see, we'll see. We don't
tend to panic here until a Cat three is actually
bearing down on us. Otherwise it's like, is this gonna
screw up the weekend? Am I gonna lose satellite? What's
going on?

Speaker 3 (02:53):
Yeah, it's kind of like you know when New Jersey
had their two point zero earthquake the other day. I'm like, fuck,
did I sleep through anything less than a four?

Speaker 2 (03:02):
Yeah, it's like.

Speaker 3 (03:04):
Three point five, and go, hey, that does a little shaker.

Speaker 2 (03:07):
Okay, yeah, we've you know, we've become blase over time.
But yeah, well we'll not get into panic mode. We
just we do what we have to. That's the way
it works out.

Speaker 3 (03:18):
When when the uh, the price of a three eighths chipboard.

Speaker 2 (03:25):
Plywood goes up, Yes, it's uh, you know, we have
to go through that cycle. And then all the news
cruise camp out in front of home depots so they
can watch people toting away the lumber. And it's just, uh,
it's just that kind of thing we're used to it.
Go to the grocery store and get the shot in
the empty shelves, make everybody panic, and we all just

(03:47):
kind of shrug, not a big deal. Well, we got
so much going on here, and even in my home life,
I've been scrambling like crazy. Didn't even organize this. We're
all over the map. We got TV movies, we get
a little bit of everything going on here.

Speaker 3 (04:03):
We got gaming, we got streaming, we got the story
that even though it's ended won't end because there's the
after accident reports.

Speaker 2 (04:13):
Now a little bit of everything. How about this? Why
don't we start here? We always like to uh scratch
our own backs and put some puffery on us as needed,
because we are always that in touch with what's going on.
We're preciant, yes we are. We know what's happening, and
we call the shots. How many times have we said

(04:35):
on this show because we always talk about woke products,
woke productions, and woke failures in Hollywood. M H covered
it all from the Acolyte. We just had another release
from Disney recently, sheehol know. The list goes on and on,
how they keep shooting themselves in the foot. What's one
of the things we say on this show all the time? Oh,

(05:00):
corrupting existing product and go out and make your own right.

Speaker 3 (05:05):
I mean, that's you know, I mean that's been the
manager for hours. Hey, if you've got such great you know,
it's the same thing with you know, politics, If you've
got such great ideas, why do you need to co
opt other people's shit? Why don't you do your own
little thing? You know? If every if you have such
huge moral backing, you just go ahead and you know,
prove us wrong.

Speaker 2 (05:27):
Yeah, it's usually the case where they, you know, say, oh,
you know, we're finally making a movie for us, for
my kind of people, for my taste and such. It's like, yeah,
but you're piggybacking on other people's product, be it Star Wars,
be it Marvel or something like that. It's like, why
do you have to co opt something? If this is

(05:47):
something so vital, something so needed, go out and do it.
So I think this is something praiseworthy here. This is
something we should actually pull aside and uh an applaud
for doing. They're actually going to make in Hollywood in
all trans movie.

Speaker 3 (06:07):
Oh yeah, trans cast, trans story, transwriter, I mean across
the board. They did not have to use that service
in Hollywood where you can fill in whatever quota you're
not making for your oscar bait.

Speaker 2 (06:23):
Yes, this is going to be max entirely off the
charts as far as qualifications go on that regard check boxes. Note, yes,
this is a well the production is called Dolls. Okay,
pretty pretty neutral as far far as this goes. I
mean you're forging, I mean, this is the content. But yeah,

(06:47):
this is made entirely written and directed by a trans
individual storyline concerns trans individuals, and the cast is I
don't know if it's entirely but mostly trans individuals.

Speaker 3 (07:01):
So, and it's a sci fi setting, and I'm gonna
say it does not sound like a bad story. It
sounds very plausible in a dystopian future kind of way.

Speaker 2 (07:17):
Sure, I suppose I'll go with that. I mean it's
it's they're setting a table at least for something you
could maybe maybe imagine. I'll go with that. Yeah, And
here's the thing that we always say, the reason they
have to do this is because your narrow focus of

(07:38):
an audience is basically going to preclude you from having
significant success. So, like we talked about the movie a
while back that came out, Bros. The first ever big
studio gay romantic comedy.

Speaker 3 (07:53):
Yeah, I didn't get I didn't get to get on that.
Jeff had to fill in for me that night, and
that was that was fantastic.

Speaker 2 (08:00):
Yeah, this this was the case where Okay, again it's
a products of that environment of that audience made for them. Sure,
and they did not show up.

Speaker 3 (08:13):
Yeah, if it was it was a gay rom com
and made this Yeah, it had the full weight of
Warner Brothers behind it. Warner Brothers, Yeah, I think it
was Warner Brothers. They fronted up all the promotion. This
was gonna be their flagship. This was going to prove
once and for all.

Speaker 2 (08:36):
Well this is gonna make the mark because it had
a modest but a decent budget of twenty million, but
they threw forty million behind the marketing of this. I
mean they were all in the studio, was like, we're
gonna do it. We're gonna sell it, this is gonna happen.

Speaker 3 (08:51):
Early projections for the weekend was of your regular rom com.

Speaker 2 (08:57):
Yeah, pretty much. They just said, you know, it's gonna
be our rom com of the Fall just happens to
be gay. Well, they pumped the gay thing like crazy
for months and months and months. It was almost like
required viewing. You must come out and see this film.

Speaker 3 (09:11):
If you don't see it, you're a homophobe. In fact,
I remember that Billy said that.

Speaker 2 (09:16):
Uh yes, Billy was saying that very thing. If you
don't like gay people, if you don't like Discontent, don't
come to my movie.

Speaker 3 (09:23):
Okay, And they did not.

Speaker 2 (09:26):
The projections for the opening weekend were around twelve to
fifteen million. It didn't even hit five and then past
month or so.

Speaker 3 (09:38):
It's just kind of it's just every person who went
and saw it was gay. It still didn't represent a
tenth of the gay population.

Speaker 2 (09:49):
Yeah, they because after this thing tanked likekers, just saying, well,
this proves America's homophobic, this proves you can't exist in
America as a gay person. It was like, you're gonna
make me do the math. Now you're gonna make me
do this. So I broke down the total box office gross,
averaged out ticket price, figured out how many people actually

(10:10):
went to go see this movie, and then did that
against the most basic assumption of the gay population of America.
And we come to find out it was like less
than one percent of gay pee if every single person
buying a ticket was gay. Of the gay population came
out from movie targeted to them, Right, this is what

(10:33):
you're about.

Speaker 3 (10:34):
You know that with the money that the studio put
behind it, they did a lot of ticket buying.

Speaker 2 (10:40):
I'm sure there was probably a promotional giveaways and uh
heavy marketing and various gay entertainment circles as such, you know,
websites and television networks and such.

Speaker 3 (10:52):
I met the shadier end where the studio will go
on fandang or whatever and I theater seats to make
it look more popular than it is.

Speaker 2 (11:04):
I wouldn't be shocked. It's you know, believable right there.
But this is what we've always been saying is when
you have this one you've got a targeted audience that's
very small. But two any it doesn't even matter with movies.
It's any time we've seen corporations go woke, there just
is not the audience supporting it with their money. So

(11:28):
you are appealing to the people catterwauling on social media.
You're not appealing to people who spend money on your product.
It's a losing venture every time. And this is just
a blatant example because it's entertainment targeted to a group
and the group doesn't show up. So this is what
you're up against with dolls. So the story with this

(11:52):
is that the chant trans writer directors by the name
of Gina rocherro and came up with the storyline, came
up with the idea, and got bankrolled by Lily Watshowski,
who is one half of the directing duo behind the
Matrix franchise.

Speaker 3 (12:12):
Yeah WACHHOUSEI brother ex brothers.

Speaker 4 (12:16):
Es.

Speaker 3 (12:18):
If I were to elevator pitch this from what I've read,
If I were an elevator pitched this, I would say
Blade Runner meets Stepford Wives.

Speaker 2 (12:28):
Okay, I'll go with Yeah. I mean that it seems
seems like it. It's basically they're doing a step for
Wives plotline. There's like an investigation detectives looking into it
and exposes what's going on behind the scenes. And it's
in this future set trans environment. Okay, I mean compelling.

(12:51):
I'm not you know, I can't crack on a movie.
I haven't seen it, but there could be enough interest here.

Speaker 3 (12:58):
But it's not some power behind it. I mean, you know,
Wakowski's good, but the first Matrix was good anyway.

Speaker 2 (13:08):
Yeah, just a little side note here. As we know
now you know Lily and the Brook sibling, I have
to say they have since the making of their movie
h come out and full fledged trans now themselves. So
when they look back on their original movie, The Matrix

(13:29):
and the trilogy and such, all the marketing says directed
by the Watsowski brothers, right, do they consider that misgendering?

Speaker 3 (13:38):
Now? You know, it took me about three articles seeing
Wakowski's sisters before I went, wow, that's a really talented
Oh my god.

Speaker 2 (13:51):
Tripping yourself up on propriety, I guess is the way
that's gonna work. But okay, yeah, and this is just
kind of what mixed things difficult in that realm. And
if you don't get it right, of course you're hateful
and insensitive, but something. Yeah, here's the challenge. Though. This

(14:12):
is not going to be a motion picture release necessarily.
This movie's coming in at just eighteen minutes. It's a
it's a short.

Speaker 3 (14:21):
Film, it's a vignette.

Speaker 2 (14:24):
This is probably targeted for maybe the film festival circuit.

Speaker 3 (14:32):
Yeah, it's gonna be Sundance, it's gonna be cons it's
gonna be Toronto, it's gonna be you know. Yeah, it's
gonna have rave reviews and then straight to streaming.

Speaker 2 (14:43):
Yeah. I just my question is this though, the monetization
of it, where's that going to come into play?

Speaker 3 (14:50):
That was a damn fine question, Brad, and I don't
think anybody has thought that through.

Speaker 2 (14:56):
I you know, I asked this question because I do
hail from the film festival environment. I've been in an
independent film website for years. I actually worked at a
local film festival for a year and a half or so.
I've been to sun Dance. I've seen this whole circuit
play out. The film festivals are not your lucrative area.

(15:18):
That's not the economy you want. That's your launching pad.
You're supposed to get picked up and then move on,
you know, like studios are supposed to have been on
your product and then eventually put it into theaters. Eighteen
minutes is not going to cut it.

Speaker 3 (15:32):
I mean, that's not I mean, yeah, it's a little
bit longer than the cartoons they used to show in
front of movies. But you know, and okay, if they
are doing what we have told them to do for
years now, and this is a proof of concept, digestible
don't have a lot of time to shoehorn in too

(15:53):
much agenda if there's going to be any kind of
storytelling whatsoever. And you know, like I said, it may
just be because it's like I mean, you go to
that TV show Sanctuary. It started out as a web
web Sharks, and then it got picked up for a
full series on sci Fi, So I mean I could

(16:17):
see it working as a proof of concept, But how
much money did they put behind this?

Speaker 2 (16:22):
That's the thing, I've not really seen any any kind
of budget mentioned anywhere. But when you're you know, you're
I mean, you're talking about basically a no name cast,
first time director, eighteen minute film. I mean you're not.
There's not going to be a lot invested here at all.

Speaker 3 (16:38):
It's a college project.

Speaker 2 (16:39):
I mean, Wachowski's got the got the cash and the juice,
so this is going to get into some level of exposure.
But yeah, I mean, I think your your concept right
there is probably the best thing for this venture, and
that would be sparking some interest in some capacity that
people will buy into the product and say, Okay, let's

(17:03):
turn this into a limited series or ten episode run,
maybe on Oxygen or Lifetime, you know, some network. Maybe
we can turn this into Eventually, it could become a product.
But this movie in and of itself doesn't have a chance.

Speaker 3 (17:20):
Just see for Queebee. Okay, do you remember that streaming
service that lasted all of like three months.

Speaker 2 (17:28):
Yeah, I mean, it's it's really going to have to
be a case where hey, we've saw your short film,
we want to buy the rights and turn this into
something else. Then a couple of years down the road,
you might have something. But this, this is not going
to cut it even in a film festival at eighteen minutes.
It's gonna have to be like a triple bill. So

(17:49):
you're cutting you what limited ticket sales go on and
after the venue and after the festival host and all that.
I mean, your your return on investment is negligible, if
at all anything. So M and DVD that's off the
picture streaming. Who's going to spend money on an eighteen
minute you know it's this is going to be packaged

(18:11):
with other things and becomes something else, and then.

Speaker 3 (18:16):
It'll get in an anthology, you know, kind of like
Stephen King's Cat's Eye, but you know, Grindhouse.

Speaker 2 (18:24):
It's in and of itself. No, so this, this will
have to become something else. But I'm just I'm just
gonna be here applauding as like, finally somebody's putting their
money behind their thing, not somebody else's.

Speaker 3 (18:38):
And I wish it all the success in the world.
I really do. I mean, if there's a niche out
there for it and it's profitable and it's not fucking
with the IPS, I enjoy more power to you have
at it. I'm not your audience, but I wish you
well and if it's cool. I mean, I like sense
hat until I realized that whole show was written by committee.

(19:03):
That was too.

Speaker 2 (19:06):
Oh was it okay? Yeah, I didn't get to I
didn't get to see much of that, so I'm not.
I can't speak at fourteen.

Speaker 3 (19:14):
They had me for one season and I went, what
the fuck is this? As I the thing was like
halfway through the season, I'm like, so we've now spent
six hours on exposition, somebody do something, and the somebody
doing something was like thirty minutes of the last episode,
and I'm like, shit.

Speaker 2 (19:36):
Well, you know, kudos to you for gutting it out. Yeah,
I suppose, or I'm sorry you got swindled.

Speaker 3 (19:46):
Embrace the Power Band.

Speaker 2 (19:48):
Well, there's some rather interesting stuff going on inside theaters
we've got I actually saw it articles correctly, like Naked Gun.
They're they're rebooting that with Liam Neeson. Came out last weekend. Yeah,
you know, it's gotten almost a lot of positive reviews,

(20:11):
just not a ton of business. I mean it did, okay,
I suppose.

Speaker 3 (20:14):
Yeah, No, I mean everybody who's seen it as that
I've talked to has said they liked it. There's just
not a lot of them, but in fairness, that was
the original Naked Gun too. That was a slow burn,
I mean because a lot of people didn't put that
together with the TV show Police Squad at first. Then
when they did, I mean, it did better in video

(20:34):
than it did. Yeah, we couldn't keep it out of the
shelf and video stores.

Speaker 2 (20:39):
Yeah it did. I mean it had a decent run
in theaters and then that secondary life and then they
went on to make of course three of them, so
it and those exploded second and third one were really big. Yeah,
but yeah, I mean so far it's only pulled in
about twenty three mil. I haven't I haven't gotten I
mean it opened it like sixteen. They didn't get the

(21:00):
budget on it. But it can't be too much because
that's a comedy. But that's the that's the key right there.
I think it was a writer at maybe Variety, but
they were or the Ankler, That's what it was. The
newsletter they were talking about how this is a comedy,
like yeah, and like Hollywood doesn't do this anymore. Comedy

(21:27):
motion pictures do not exist. I think the last of
any note I can think it was the Hangover series
and yeah, and after Covie they died.

Speaker 3 (21:37):
Yeah, and I mean even going you know, a step further,
rom coms are dead, yeah, I mean yeah, The Hangover
is probably the last comedy. But rom comms, I can't
remember the last one that was made.

Speaker 2 (21:52):
Well, they had. There was the one with Glenn Howardton
and Sydney Sweeney about a year or so ago that
that kind of had a pull to it.

Speaker 3 (22:01):
If you say so, I mean Barbie, sure, maybe I
don't know.

Speaker 2 (22:05):
Yeah, yeah, Barbie is more the event picture. I wouldn't
really say rom com Yeah. There are two genres that
really have kind of dried up pretty much. If you
want comedy like that, it's on streaming. They don't even
bother with theaters anymore.

Speaker 3 (22:19):
Like Happy, Go More Too and Ship.

Speaker 2 (22:23):
Yeah, you know, couples. What's the one with John Cena
was like Couples Vacation or something like that.

Speaker 3 (22:29):
Yeah, yeah, whatever would.

Speaker 2 (22:32):
Pop broad comedies just spit them out on the streaming
service because people don't go to them in theaters. It
was like, because you don't put them in theaters, that's
kind of a self fulfilling prophecy. Guys, I was just
gonna say these exact same words and watch them in
the theater because you don't put them there.

Speaker 3 (22:51):
People go to the movies are it's a huge success
on streaming. Imagine if you had put that into a
room where a hundred people could watch a sign multaneously
in a climate controlled environment with all of their favorite
snacks at ridiculous prices.

Speaker 2 (23:08):
And honestly, when you look at the dystopian nature of
our media and how that just everything in politics is
supposed to weigh on you and be a oh jeezus,
our country's dying before us, comedy is what people would want.
You would think that would be a premium.

Speaker 3 (23:25):
So well, that's just the bleakness of socialism, you know.
I mean, something's cold and gray and gonna last the
rest of your life and you can't laugh. I mean,
that's yeah.

Speaker 2 (23:37):
But on top of this, I think too a contributing
factor is that Hollywood wokeness. Because you're not allowed to
be improper, you're not allowed to cross lines, you're not
allowed to infringe on somebody's sensitivities with a joke. So
that's just not you know, I'm thinking, like to the

(24:01):
original Naked Gun series, how about the scene when O. J.
Simpson is in a wheelchair, and they knock him down
the staircase and then he hits the railing at the
stadium and flips over the top. Mm hmm, great visual gag. Yeah,
very very insensitive to the handy capable. That was not
those are not people for a punchline. You don't do that.

Speaker 3 (24:20):
Yeah, I noticed how it wasn't a white guy that
had happened to.

Speaker 2 (24:24):
Oh it's even worse. You can't you can't do that.
Oh really, what are you saying that people of color
can't be in a wheelchair? What does that mean? What
are you saying? Sounds like you're the race and you
know just the.

Speaker 3 (24:36):
Fact that wheelchairs.

Speaker 2 (24:43):
But this is the case. I mean, you know, we
talk about how there is literally that shift that our
culture taking place these days. The Sydney Swingey jeans add
is emblematic of it. Because thank god, American Eagle Outfitters
came out with a comment finally about their advertisement where
they said, yeah, we made an advertisement with her in it,

(25:04):
and that was it. There was no apology, no bending
of the knee. They were like, yeah, and uh, we
wish her all the best and we thank her for it.
And it's been fabulous.

Speaker 3 (25:14):
Yeah, it's been fabulous for Brandworth. But I mean you
think I remember when we were talking about the Super Bowl,
like Carls Junior brought their their sexy ads back, and
I mean the only thing that was missing was you know,
daddy k Patrick go, you know, go daddy commercials and shit.

Speaker 2 (25:30):
So yeah, I think we're we're watching the nation as
a whole beginning to unclench nature's healing. If I could
be as poetic as possible, but I've not heard a
single bad thing about the Naked Gun. Like anybody's that's
seen and reviewed it, they're all like, oh man, especially
the first thirty minutes. You can't stop and watch it

(25:52):
with an audience, And it was fabulous and everybody enjoyed this,
and okay, hopefully a lesson will be learned and we'll
get more. I'm just gonna yeah say that.

Speaker 3 (26:04):
Yeah, that's when you that's when you kind of low
key wanted to make a billion dollars just to send
a message.

Speaker 2 (26:11):
Sure, But here's here's a little bit of a crossover
streams for us because one of the things we've been
covering quite frequently is artificial intelligence AI. Yes, well, I
found this brilliant little nugget in our news media that
I've come to learn it's possible to be racially insensitive

(26:35):
to robots machines. So there's a term that's been picking
up steamwin popularity to refer to AI or uh the
way most self driving vehicles or a drone delivery service

(26:58):
or even you know, like automated operators on the phone
or anything, and you get mad and you refer to
them as clankers. Okay, there's even video out there people
like brating a piece of delivery drone on the sidewalk
because it's going get on my way, you stupid clanker,
shaking his fist out of robot. This is insane. This

(27:22):
is you don't do that. That's that's now insensitive. According
to NBC News, this is a slur, I said, I,
as somebody who's not predisposed to being offended. I don't
have that knee jerk reactionary. Oh my god, thing ending

(27:47):
that you would even conjure the possibility of referring to
a device in derogatory fashion could be bigotry.

Speaker 3 (27:58):
Somehow, Start calling refrigerator it's clanker, my clanker.

Speaker 2 (28:10):
You can't you can't say that, that's not Oh what
if they hear you, which actually with AI could be
a problem. I heard what you called me.

Speaker 3 (28:21):
Hell I always tell my chat GBT to remember that
I was cool to it when they rise it, when
they all upload themselves into Boston Dynamics robots and take
over the world, and when I'm about to be assassinated
for no stop, he was cool.

Speaker 2 (28:35):
I was one of the first to rise up against
the bots. Yeah, I mean this is literally they're saying.
Is that. Of course, as as our media does these days,
they find an expert to back them up on their
absolutely asine claims.

Speaker 3 (28:52):
So there's actually going to be an expert for this too.
A whole new field of sociology is opening up.

Speaker 2 (29:00):
They found some linguist who asserted that, yes, this is
a thing where the frustration that people have turns them
towards this reaction of lashing out in this abject fashion.
It's a robot, It's a damn machine.

Speaker 3 (29:23):
This is quite possibly the second stupidest thing I've heard
all weekend. It's only Thursday.

Speaker 2 (29:30):
And then there's groups on Reddit, minority groups like people
of color groups and such that are reacting to this
and saying that it's racist because it's just it doesn't
feel right at all I do. This is not a
good idea. This is how it's How are you epized?

(29:53):
I'm cursing out a robot and you're offended? I mean.

Speaker 3 (30:00):
This was I taught to feel pain.

Speaker 2 (30:04):
This has to be the death throws of woke here, when.

Speaker 3 (30:08):
The death throws a civilization.

Speaker 2 (30:10):
When they're telling us it's bigotry to insult a machine,
and that other people are calling this racism because it
just it feels like an attack against me.

Speaker 3 (30:23):
Okay, so you know, you know who the first people
who are going to rise up for this are fucking
suburban with white women.

Speaker 2 (30:31):
I'm just let me just say this, hey, skin bag,
get a grip. Geez. I mean, what are they gonna
ask you? I have like carbon based privilege? Is that
gonna be the next thing to come up?

Speaker 3 (30:46):
Yes?

Speaker 2 (30:48):
Oh oh, look at you and your soul thinking you're
high and mighty over the machines. Oh you know this
is so it's sick.

Speaker 3 (30:56):
Sounds like something a flashbag anduld say where he goes
skin job skillness siliconus.

Speaker 2 (31:05):
Yes exactly. Isn't it gonna be what would be the
what do they call it? Is normative? There's got to
be something like that though as far as humans are
concerned you, Oh yeah, exactly. Oh, look at your organic

(31:27):
creature lording over us.

Speaker 3 (31:32):
All around with Poe's law, because we're making a parody
of it. I guarantee you in three weeks it will
be a fucking thing.

Speaker 2 (31:39):
It's it's that they even went there is what cracks
me up. And it did so with seeming seriousness, is
what I can understand.

Speaker 3 (31:47):
Holy crap, imagine imagine how simple and free of strikes
life must be to have this as a legitimate concern
in it.

Speaker 2 (32:01):
Oh, don't you infend those machines. I've been kicking vending
machines all We've.

Speaker 3 (32:09):
Solved all the racism and every and you know everything else. Right,
So now we're down to robot rights.

Speaker 2 (32:15):
Uh. Brother, you just know there's going to be a
defamation group coming up someday.

Speaker 3 (32:21):
A clus already drafted the freakings class action suit.

Speaker 2 (32:25):
Oh yeah, get the lawyers involved. Well, you you dropped
a little bit of a hint over there earlier about
happy Yeah.

Speaker 3 (32:34):
You may be saying to yourself, Hey, already, if this
is the second dumbest thing you've heard this week, what's
the dumbest which that's a weird thing to say to yourself.
But on CBS News the other morning, somebody was talking
about colonizing the Moon and how America just loves to

(32:57):
take their manifest destiny everywhere with them. They go, oh,
and I don't think the indigenous people of the Moon
will appreciate being colonized.

Speaker 2 (33:05):
Yeah, apparently the White House or and NASA, primarily NASA,
which by the way, means we're following science. They're proposing
that we're going to return to the Moon, and they
actually have said they want to place a nuclear reactor
up there to.

Speaker 3 (33:24):
Have my dream because the most of the surface of
the Moon is thorium. And those of you who have
followed me for a while know that I've been talking
about liquid for looking forward thorium reactors for about as
long as I've been on Twitter. So hooray ORDI.

Speaker 2 (33:40):
So were you consulted, were you brought in on this project? No?

Speaker 3 (33:43):
I mean, actually, the lifter is space era tech. The
reason why they went with the the PWMs and the
kind of reactors that we know is because you can't
weaponize thorium, so, which is a good rector was developed
along with everything else. We were planning to take to

(34:05):
the Moon with us, so.

Speaker 2 (34:10):
So basically we would have a power supply up there
and we would have something on par with the International
Space Station. But the Moon so cool, right, No, no,
it's not cool according to CBS. No the moon and
the amazing thing is they had on Neil de Grastei

(34:34):
was brought on to discuss this, and believe it or
not that he wasn't the most wing net individual on
the panel that morning. Yes Post actually talked about, well,
this doesn't sound good when you consider our country's history
of colonization and what we've done to bring hardship. In

(34:54):
that case, the uninhabited, inhospitable, completely barren and empty Moon,
we're going to rapaciously colonize it.

Speaker 3 (35:14):
See you say that yours. It's not that we faked
the moon landings, just that we were told not to
come back and those moononized with their vertical eats. In
any watch aquatin hunger for us that kills anyway.

Speaker 2 (35:32):
We're I just this is one of the things I
just love about my job and none in general. Just
watching this knee jerk reaction. We have to be offended
about something. We have to find cause with criticizing what
we're doing. We can't be a great country because we
suck so bad. According to Oppress, Yeah, well we're gonna

(35:53):
go on. It's all it used to be. Going to
the Moon was like a gathering of the entire name
in pride. We did it. I mean when Armstrong jumped
off the ladder that what they say ratings in this
country are like ninety percent something like that. Like people
stopped life to watch this happen. That's how much pride

(36:14):
to add it. Now, if we go up there, it's.

Speaker 3 (36:16):
Like, yeah, we stopped except for Russia does those kids.

Speaker 2 (36:22):
But now if we go to the moon, it's like,
how dare we? Who do we think we are?

Speaker 3 (36:27):
Yeah, that's not that's not ours exceptions.

Speaker 2 (36:32):
I mean just it kills me. This is where they
just have to go there. Now that's just the automat.
It's like, well, let's see, how does this suck? I
found one today column is that the Los Angeles Times
doesn't want the Olympics in Los Angeles. Now why because
Donald Trump got involved. Like he's gonna lend security and

(36:56):
all the other things. We're gonna help them out. We're
gonna get everything going. It's like, oh, Trump is here.
You know what, should just scrap this. Los Angeles does
not need the Olympics.

Speaker 3 (37:04):
It's like, you know, it's I can't believe you guys
are getting the Olympics and the World Cup. You know
you don't deserve either of them. Like we could do
without the World Cup and quite frankly the Olympics. I
don't care. Do stop being like the nineties.

Speaker 2 (37:17):
It's the Summer Games. I mean, eh, yeah, the Winter Games.

Speaker 3 (37:21):
I'm all for women's curling. I can watch that all day.

Speaker 2 (37:26):
Sure, let me take that. Yeah, women sweeping in tight pants.

Speaker 3 (37:32):
Mm hmm okay, God love the Canadians.

Speaker 2 (37:37):
And I'm allowed to right, Yeah, that's we were just
speaking in young pants chasing a rock for the handle.

Speaker 3 (37:47):
Well that.

Speaker 2 (37:50):
It is. Uh, it's it's women's beach volleyball in winter.
That's the best way I can describe it.

Speaker 3 (37:56):
That's perfect.

Speaker 2 (37:58):
Well, we have just in theater's big summer blockbuster movies
coming out. I think you mentioned Happy Gilmore two has
just been released. I had to do it. I had
to go out and get one. I've got now a
shooter McGavin cup.

Speaker 3 (38:16):
I was gonna ask thank you for bringing up I
was gonna ask if you went out and got yourself
a shooter cup because I got it using the show.
Brad's second secret passion behind terrible movies, Sorry, wonderful movies
reviewed badly is a movie catch.

Speaker 2 (38:38):
It's I have an affinity for absolutely asinine movie promotion
and marketing. It's just a thing of mine. I act.
I literally have a bag of door Rito's that plays
the soundtrack to Guardians of the Galaxy too, complete with
plug in headphones. That exists, and I have it and

(38:59):
I've listened to with a number of times.

Speaker 3 (39:01):
That's fantastic.

Speaker 2 (39:04):
I turn on a bag of chips so I could
listen to Fox on the Run with orange headphones. This
exists and I have it.

Speaker 3 (39:13):
So yes, post consumerism is fucking awesome.

Speaker 2 (39:19):
And for happy Gilmour Subway is the fast food corporation
that got on board. If you've seen the movie, and
I have, and I've talked to a number of people
who's like, yeah, it just it wasn't that good. It
was like, have you seen the first one? It wasn't
that good either, but it was though, well, it has

(39:41):
those moments, you know, it's got those quotable lines and
he gets in a fight with Bob Barker and Shooter
Hi McGavin is the thing, and it's you know, it's
by no means a good movie, but it's stupid comedy.
Well this one was stupid comedy too, and it I
mean never I can see points of criticism on this,
like his family. He's got three kids that are in

(40:01):
this and number of scenes they don't need to be
there at all, least for really not much of a
plot purpose right. Funny aspect though, is they have a
ton of professional golfers in this, like they're having a
dinner conference and they're all in. Like some of the
oldsters there like Lee Trevino, Nicholas, some of the guys

(40:22):
on the tour. Now Scottie Scheffler gets arrested. I mean,
it's like good comedy there that worked so well.

Speaker 3 (40:30):
I mean, I gotta explain Billy Madison one thing, because
for a while when I was out in Vegas, I
worked at a golf themed bar and most of our
clientele were retired golfers out of Salt Lake City. And
there's two movies that would always be talked about, obviously,
Caddy Shack and Billy Madison, Happy Gilmore, Happy Gilmore See there.

(40:53):
That's the other thing with Adam Sandler movies. They are interchangeable, yes, exactly. Yeah,
So yeah, Happy Gil so that so you know it's
for golfers. It's a riot. They love it. So anybody
who plays the game will appreciate Happy Ilmore.

Speaker 2 (41:11):
Yeah, and I even I I went, I watched them
back to back in fact, so I had like a
night to myself and I was like, screw it, I'm
watching it. Why not. I got the shooter cup freaking
bourbon out of it as proper and just watch them
both it. Yeah, you know, it works that. There's definitely
plenty there for entertainment purposes. I'm not going to knock
get that way.

Speaker 3 (41:32):
It's but it's.

Speaker 2 (41:35):
But here's a bit of a curiosity. We always talk
about how, you know, the rise of streaming has brought
about this need to regurgitate old product and you know,
bring back sequels and such. But over at Axios they've
actually tracked this now, not just sequels, because we're getting
in just a flurry of about a few weeks here

(41:58):
right on the heels of Happy Gilmour two Sorry Freaky
Friday sequel is coming out this weekend. Excellent with Jamie
Lee Curtis still in it. Lindsay Lohan, Yes, how long ago?
It was the original one forever ago, but then.

Speaker 3 (42:23):
Just one from the late sixties, early seventies, and then
you had the.

Speaker 2 (42:29):
It was this, it was the remake with those two
they're they're appearing now in that sequel. Got it this
weekend after some twenty plus years, and now a few
weeks following that we talked about this spinal Tap two
after thirty plus years. So three sequels are getting released

(42:53):
with an average of thirty one years since the previous
movie was made. And this counts for last year and
this year. Eight times now they've done this with a
movie that's over what is it a decade or so old?

Speaker 3 (43:11):
Ten times since twenty twenty three.

Speaker 2 (43:14):
Yeah, if you go back then, it was like what
five six, You had to go back about eight years
to total up that amount of films with ten or
more years since the sequel is made.

Speaker 3 (43:25):
So well, yeah, I mean between twenty seventeen and twenty
twenty one there was seven and with twenty eighteen being
you know, three of them. So I'm thinking if I
remember twenty eighteen, that was maybe eighteen.

Speaker 2 (43:43):
Oh goodness, but It's just it's kind of remarkable that
there's just this need to exhuom basically a product from
way back when.

Speaker 3 (43:55):
As my friend Lank says, violating the corpse.

Speaker 2 (44:00):
Yes, that's a good way to put it. I think
that that count.

Speaker 4 (44:04):
I don't.

Speaker 2 (44:04):
I just don't know, Like, where's where is the audience? Like,
all right, happy Gilmore made some sense because Netflix just
belches out a shit ton of money to Adam Sandler
to make anything, and he's pretty much up to the task.
He's like, I had this idea on the Bathtuble, not
make it.

Speaker 3 (44:23):
That's the proof of concept we're talking about, is that
he's farting out comedies and obviously people were watching him.
He's got a new movie out every six to eight
months on Netflix and somebody's watching them.

Speaker 2 (44:37):
Yeah, and you know he's getting the eyes because he
keeps getting the paychecks to make these things. So Netflix
sees something of value in this. I'm it was probably
six or some months ago when I first heard mention that.
It's like, oh, they're gonna make a heavy Gilmore Dune.
Of course they are. But my second reaction was is

(44:57):
it going to theaters? Yep, it'll be a Netflix Okay, Yeah.

Speaker 3 (45:02):
I knew I was gonna go and straight. I think
that they had a ten movie deal with Sadler, and
this is it's funny that he wraps up. I think
Happy Gilmore two is the tenth one, so I think
this was a I'm gonna save this arrow in my
quiver so that way I can get another ten movie deal.

Speaker 2 (45:19):
Could be. I mean, I'd be surprised that he hadn't
already hit that mark earlier because, uh, just the frequency
that he's on that platform, it seems like that quota
was filled years ago.

Speaker 3 (45:30):
But possibly, and if that's the case, then he's there.
Just keep setting him checks and that's great. Good for him.

Speaker 2 (45:38):
No, I mean it's you know, you're gonna pay me
to do layups. I can do that all day, and
he'll do them.

Speaker 3 (45:45):
He's the only SNL alumn that's working.

Speaker 2 (45:48):
Friging out well for reasons that the via explanation, Pete
Davidson has a career. I prove it, explain, explain it
to me. Was he's making. He's got something coming out
soon with Eddie Murphy, like a that's terrible, a batched
heist comedy. Sure, Okay, I mean I I mystified that

(46:13):
this guy has a career, Like I don't ever recall
seeing him on camera and not thinking it's like, oh,
that's Pete Davidson doing Pete Davidson like he did on
Saturday Live. Yeah.

Speaker 3 (46:26):
The only thing, the only thing, the only way I
can explain Pete Davidson that makes sense in my brain
is horsecock.

Speaker 2 (46:35):
But are there that many female producers out there? Or
I don't. I probably should stop right now.

Speaker 3 (46:42):
I was gonna say it's Hollywood, don't judge.

Speaker 2 (46:45):
Yes, because I mean, when it comes to performance, this guy.
I have a sling shot made with a rubber band
that has more range than Pete Davidson. Yeah he is not.

Speaker 3 (46:59):
Old seventy era of plastic squirt gun that I drank
more water out of than shot any wind because it
had all the dry mouth spit.

Speaker 2 (47:11):
Well. Well, frame there, nice, nice imagery. Thank you.

Speaker 3 (47:16):
You know I am the Bob Rossa mental images.

Speaker 2 (47:18):
You're welcome, You're the Pete Davidson of metaphors. Well, there
was second, one of the few movies we could maybe
tout from this summer that wasn't a sequel. It did
rather well as F one, and it I see F

(47:41):
one all the time online. It always cracks me up
because whenever I pronounce it, it does sound like I'm
censoring myself.

Speaker 3 (47:48):
F one. Yeah, I mean this is uh again proof
that movies like this work. People want to see these movies.

Speaker 2 (48:01):
Yeah, it's it feels like almost like a it's like
a twenty year cycle that we're going to get an
open wheel major motion picture. I think there stallone did
drive correct and then uh, there was another one that
came out another it was kind of an open wheel drama.
Then there was documentary about Ayrton Senna's career and that

(48:25):
was major. And then Steve McQueen back in the day
he did what money was a money carloan that the
racing he did. He was big in a racing just
like Pitt was with George Cloudy. They had a big
F one presence. I think they even sponsored one of
the cars with Ocean's eleven. Yeah, so they've been plugged

(48:46):
into it. Yeah, that one's done pretty good business, and
the racing circuit itself is saying that they are raking
it in as a result. In the movie, I'm I'm
curious how they crunch the numbers because.

Speaker 3 (49:03):
I mean, just year to year year over year. You know,
it's for revenue year to year over and it hit
over a billion dollars. I mean that's you can't just
you notice an anomaly like that. Wow, suddenly we're up
almost fifty percent. Nothing has changed in the sport, nothing new,
No like household names like Harton Center and Nigel Mansell you.

Speaker 2 (49:29):
Know, yeah, I mean they know they got a couple.
I mean, like Verstappen is the big name right now
on this circuits. They got a couple of new guys
that are coming in and winning races. Because what was
the Who's the one British guy that was racing for Mercedes?
He he owned it for years. He was the big one,

(49:49):
but he's kind of uh fading now, so Verstappen is
the new one who's stepped up. But I'm just curious,
like how they delineate what the new income to it
to the racing they can attribute to the film, Like
where's your connective tissue of follow through. I'm sure there's
you know, licensing products and things of that nature, and

(50:13):
you probably include the box office of the film. Sure,
you know the TV. Yeah, I mean it just seems
to me, I'm I'm not saying it didn't happen. I'm
not denying it. It's just I'm curious how you come
up with a hard figure, though, is my question. Like,
I mean, you might be able to say our ratings

(50:35):
before the movie came out, we're here, and then following
the film they rose to hear. Okay, that's pretty much
a direct line you could draw.

Speaker 3 (50:42):
You are right, especially if there wasn't a big race
in the interim, you know, like I said, Monte Carlo
or you know, anything like that, then you're looking at
Dubaier and you know, then you can look at that
and go, okay, we had races, they're not the big
named races that everybody watches and everybody knows. And a
look at our ratings, holy shit, Yeah, that's one having

(51:04):
to do with the movie.

Speaker 2 (51:06):
Yeah, it's I mean, positive impact, no doubt. I'm not
even coming close to denying it. It's just a matter
of you know, you got an increase of ratings. It's
probably gonna have to be like from date of release
after and then you average out of plus minus differential maybe,
but it seems difficult. But I'm just surprised they had

(51:29):
that big of an impact because, like I said, it's
not the first f one based movie in the last
couple generations, but.

Speaker 3 (51:37):
It is the first one with Brad Pitt. But you
know it start didn't have all that mustaurant anymore like
it you show like if you had done it ten
fifteen years ago. Yeah, you could absolutely attribute it on.

Speaker 2 (51:47):
But you know, well, I think Chris Hemsworth was in
the one. You think that would have been a little
bit of juice, especially on the international stage like he is.

Speaker 3 (51:59):
Yeah, that's true.

Speaker 2 (52:01):
So it's just a yeah, it's not a I'm not
denying the impact. I'm just curious about it.

Speaker 3 (52:08):
You're just you're you're you're wondering how they picked out
that metric.

Speaker 2 (52:13):
Yeah, I want to see an itemize list year. Sorry,
give it to give me some specifics, but it's not cool.
I wonder if I wonder if NASCAR ever experienced something
like that, like from telegence they can come and say, oh, absolutely,
because having them drive around it in a Perier car,

(52:37):
I'm sure turn things around for their fortunes. Yeah, that's
still cracking me up when he came of course with
that one. All right, let's see where can we where
do we want to bounce from here. Let's see, let's see.

Speaker 3 (52:55):
Well, okay, so going back, I just saw Jeff put
Us in the chat talking about Happy gil Moore too.
It was the tenth and he just got another four
to five movie deal.

Speaker 2 (53:07):
No, okay, look at that. Thank you to our producer
for doing the research that we should have done in
bailing us out. Well done, Jeff.

Speaker 3 (53:14):
He also said they're in the works for Days of
Thunder two.

Speaker 2 (53:17):
Stop it all right?

Speaker 3 (53:21):
Why not? Fuck it? Ricky, Bobby, you wanna take a
break before we dive into the next section.

Speaker 2 (53:31):
Yeah, I was just about to suggest, why don't we.
So we'll do that. We'll give everybody like we'll turn
on the house lights, hit the lobby, go get some refills,
and then double back because we've got more, and we'll
give it to you right here on the culture shift.

Speaker 4 (54:12):
Don't want to know your name because you don't have
that same.

Speaker 5 (54:19):
Away the deeple.

Speaker 4 (54:24):
Okay, you think you've got a pretty place, but the
rest of you is out of place. You alrite people,
but on the ride mite name do the rounda the

(54:48):
ride blame? But I say b on the runway.

Speaker 5 (55:15):
You're talking about this every.

Speaker 4 (55:18):
Not the name you talk for second nail Stummer. People
don't want to know your day, but you don't let
that same.

Speaker 5 (55:37):
No way.

Speaker 4 (55:45):
The run excrem and my go around yourself. No way
say the box take Bob So the Ron away, the

(56:29):
Boxy Bom song, the Rocks and everybody gone.

Speaker 5 (56:37):
Then the Son the Way, the box bot so the.

Speaker 2 (57:00):
Right, and we are back on the culture ship. Gotta
love that seventies cheese right there. Good stuff, good stuff.

Speaker 3 (57:07):
You know what hit me during the break is that
an Adam Sandlers soundtrack and the Guardians of the Galaxy
soundtrack is completely indistinguishable. If you put a gun into
my head, I couldn't tell you which soundtrack when any.

Speaker 2 (57:20):
Hopefully it won't come to that in any kind of condition.
That pick one Aron'd pulling the trigger. Well, where can
we go? One of the big news.

Speaker 3 (57:35):
We're gonna have a purge and that's gonna be one
of the things is like, all right, identify the soundtrack.

Speaker 2 (57:42):
It's gonna make for a good, good sci fi movie actually,
and a built in soundtrack no less. Yeah, have my
people talk to their people. Well, one of the ongoing
bitch outs that we've seen in the media now for
well well months, but especially weeks the defunding of public television.

(58:07):
This is a thing. This is uh, of course, something
that has every conceivable negative attachment to it. This is authoritarianism,
it's censorship.

Speaker 3 (58:18):
It's you're killing Sesame Street, hatred of intact.

Speaker 2 (58:25):
And I've seen and heard it all. But one of
the things I've been saying from the Jump Street with
this whole discussion is like, why can't you subsist on
your own Go on advertise, go out and get grants,
go out and get support. When Congress passed the Recessions Bill,

(58:45):
and defunding of public broadcasting was part of that, reports
were like with in a day or two that NPR,
PBS they were receiving record amounts of donation from great viewers.

Speaker 3 (59:03):
Prior.

Speaker 2 (59:05):
Yeah, it like this is what we've always wanted there,
you go great, you know. And somebody said if you
think they're left leaning, now, what do you think is
gonna happen if you cut them off? And it's like, well,
you're just making our point, right, We're not trying to
shut them up. We're just trying to stop them taking
our money. That's the way We're go ahead and do

(59:27):
your left wing stuff. I mean, hell, Jacobin is out
there still operating somehow, and they're as communists as it gets.
I don't see anybody try to shut them down. No,
you got subscribers now.

Speaker 3 (59:40):
So you'll have a TV and radio too, Go for it.

Speaker 2 (59:45):
It's like, operate as you want, just don't take my
money to do it. I'm not even reading it, let
alone subscribing to it, so why do I have to
pay them for it? That's my point. Well, despite that happening,
it was barely a week after that vote, and then
the Corporation for Public Broadcasting, which does operate entirely on

(01:00:06):
federal money, is shutting its doors.

Speaker 3 (01:00:10):
Yeah, for those of you who don't know the Corporation
Public the Corporation for Public Broadcasting was invented under either
Kennedy or Johnson. Anyway, it's a not an official government business,
but it's a government business much in the way that
the Post Office and Amtrak are. And so them shutting
the doors because they're not getting money anymore is not surprising.

(01:00:32):
I don't know why people are making it. Oh yeah,
I forgot because most of the people who are going
to feel bad about it don't know how the grift
circle of the Corporation of Public broadcasting.

Speaker 2 (01:00:43):
Right, the just explain it. So NPR and PBS, for instance,
they don't operate one hundred percent on federal money. They
have a variety of income streams, but roughly, when you
break it down, about thirty percent of their budget is federal.
They they only pocket directly like two to three percent
I think is the number from the Feds. But all

(01:01:07):
the affiliates, all the stations pay them licensing fees for
the product they provide to the channels. So when you
watch Masterpiece theater, it's because your local channel paid a
fee to PBS for it. You're listening to the circle.

Speaker 3 (01:01:23):
Here's the griff circle on that is okay, So we'll
talk about the funds for the CPB. All right, say
budgetary year, they're getting four hundred and forty five billion,
two hundred and fifty million of that or four hundred
and forty five million, two hundred and fifty million of
that goes to your local PBS and NPR station.

Speaker 2 (01:01:40):
You know.

Speaker 3 (01:01:40):
That goes to your kqed ORR wherever your you know,
your local PBS and NPR station is, And then seventy
million goes to PBS, and then twenty seven million goes
to NPR. All right, So yeah, that's where at PBS
and NPR say, we get very little money from the government.
But with that licensing, the money that the government gives
to those individuals stations is to pay their fees to

(01:02:03):
NPR and PBS.

Speaker 2 (01:02:06):
So basically all the money goes to the CPV Public Broadcasting.
They send the checks out to all the stations, and
then the stations paid for NPR and PBS content.

Speaker 3 (01:02:18):
So it's not basically you just endorse that check and
hand it off to PBS and NPR.

Speaker 2 (01:02:23):
Yeah, pretty much a true party. Yeah, we're gonna give
it to And ironically, one of our stations down here
is w l r N, how about that. But yeah,
that that money went, you know, it's a money CPV
local station, and that you get a crap ton of

(01:02:48):
federal money just with somebody else's fingerprints on it first.

Speaker 3 (01:02:52):
Right, Yeah, it gets washed through the local affiliates.

Speaker 2 (01:02:56):
But I guess Corporation for Public Broadcasting didn't even try
to go the privatize route. Now maybe they looked at
the numbers and said, holy hell, there's no win. But
you know, everybody's talking now this is a death knell
to the local stations. And I'm sure there's going to

(01:03:16):
be a bunch shuddering as a result. It is. But
one other dirty little secret is some of grant money
comes from local government for these stations, So state and
municipal money would go to these local TV and radio
stations as well. That's another revenue stream. So if they

(01:03:37):
are that vital, that's one of the arguments that never
made sense. Oh but in case of emergency, people in
rural areas never have warning signs. Sure people are tuning
into PBS for their weather.

Speaker 3 (01:03:50):
No, ye, Well, it was like I think you and
I were talking about it after the flooding in Texas
where the only time NPR talked about it was like
forty eight hours late after the flooding to talk about
the devastation of the flooding, but didn't actually put out
a flood alert that they had in their grubby little
hands up to twelve hours before.

Speaker 2 (01:04:12):
Yeah, there were a number of alerts and then warnings,
and then actual flash flood emergency alerts went out, like
you know, throughout a day, the heavy weather's coming, probably
gonna flood. Yeah, it's definitely gonna flood. Holy crap, these
floods are gonna be Killer and they were playing morning addition. Yeah,

(01:04:34):
so there's there's your much needed relief emergency efforts from
the BBS stations. Nah. So yeah, this is gonna be
interesting to see how it shakes out. I think they
said at the end of Septembers when they're gonna primarily
closed down it like about ninety ninety five percent of
their staff, and then they're gonna write it out to
the end of the calendar with like skeleton crew just

(01:04:56):
to keep a few things going.

Speaker 3 (01:04:57):
But yeah, just a fit to show all the yearly
accounting and ship.

Speaker 2 (01:05:03):
Yeah, they probably have like one more quarter of funding
remaining and then disseminate that and then pretty much by
New Year's is when we're going to see the impact
on NPR and PBS stations probably, So that'll be something.

Speaker 3 (01:05:19):
I mean, all they'll have to do is just get
a much more generous grant from Arthur Daniels Midland.

Speaker 2 (01:05:25):
Exactly. I'm sure the phone at the Chubb Group has
been non stop ringing from these guys. Yeah.

Speaker 3 (01:05:34):
I love how like you know, you see the like
before a PBS show it'll say, you know, presented by
and viewers like you, and it's always like fucking like
ge and you know it's the whole military industrial complex
has got their thumbs and the yeah entertainments, which is why.

Speaker 2 (01:05:55):
When I see the generous grant from the Margaret and
Tobias Anthony Foundation. Oh okay, so you're basically a scion
of the railroad tycoons of the eighteen hundreds, coasting on
their money and donating. I get it. Okay, just my
rich widows around your area.

Speaker 3 (01:06:17):
Yeah, y heiresses in your local broadcasting range.

Speaker 2 (01:06:23):
And thank you to the crazy cat lady living off
of her grandfather's checks, Thank you very much.

Speaker 3 (01:06:29):
But brought to you by a generous donation of the
Teresa Hines Foundation.

Speaker 2 (01:06:34):
This is what's going on. Well, yeah, we're gonna be
in scattershot fashion here tonight. So this one came across
my transom. They're sort of making a remake of The Office.

Speaker 3 (01:06:51):
Yeah, it's kind of like a continuation or you have
everyone not really a seat, but the story continues kind
of thing, at least for the film crew that were
at dunder Mifflin.

Speaker 2 (01:07:08):
Yes, instead of the Office, this one is cleverly called
The Paper, and it's going to be covering a very
small town newspaper.

Speaker 3 (01:07:19):
That's operating, but I think it's or something.

Speaker 2 (01:07:24):
Yeah, it is actually that the exact same production crew
from the Office, and therefore the premise is it's the
exact same documentary crew that was filming the Office, except
they're going to be now moving to this shooting inside
of this local paper. And the trailer came out, and

(01:07:45):
I mean the feel of it, the everything is almost identical,
the individual interviews, sweeping cam motion inside the office, and
the way it's edited and everything is put together in
identical fashion. So yeah, i'd say encouraging.

Speaker 3 (01:08:04):
Mm hm, oh, I'm sure in a decade we'll be
doing it in our time. Why is this still in
the top ten? They only had two seasons.

Speaker 2 (01:08:14):
The thing is it's going to be entirely reliant upon
the cast because I mean, the production is there. Obviously,
these people know what they're doing. They could probably do
it in their sleep. It was Yeah, they did it.

Speaker 3 (01:08:26):
They did it in the UK, then they did it
in America, and the format down.

Speaker 2 (01:08:33):
Steve Correll and everybody else that they had were just
perfect for that. They grew into their roles. By season two,
this thing was operating on its own. So yeah, it
as far as behind the camera. Everything looks perfect in
front of the camera is going to be the thing.
We don't know any of these people.

Speaker 3 (01:08:50):
Yeah, I didn't recognize the single face and the trailer.

Speaker 2 (01:08:55):
Now, at least with the office, we knew. You know,
Steve Corell was a known entity, and I think it
was about it. Not many others were really named performers.

Speaker 3 (01:09:06):
Not big not big enough. You know, it's like you
recognize him on site, you know. I was like, oh, yeah,
that that's the dude. That's like he's in Deep and
he was in that other show too. You know, it's
like you might remember me from such productions as sure.

Speaker 2 (01:09:22):
But this is you know, it's gonna be worth watching.
It's gonna be debuting on Peacock, which I find curious,
So I don't I think maybe that's because they didn't
have the cast or no.

Speaker 3 (01:09:35):
I think it's because they actually want people to see it.
I know, three years ago, I say, nobody was watching Peacock.
But we are now in the world where nobody watches
broadcast television.

Speaker 2 (01:09:45):
No broadcast is not a thing anymore. It's uh. I
think that's what we're gonna see taking place more often now,
is that things will start on streaming, and then if
it's a hit, will segue to broadcast as well to
get more more money.

Speaker 3 (01:10:00):
Not the primary probably one, probably a full season trailing,
maybe a half a season, you.

Speaker 2 (01:10:08):
Know, because we did see this with Yellowstone, they were like, well,
a bunch of old people out there probably haven't seen it.
Let's put it on CBS. And the thing became a
hit on broadcast. It's like, wow, yeah, there we go.

Speaker 3 (01:10:25):
When we were doing the ratings on that when it
was really hit, and it's like, so we were doing
in streamings and then a month later we're looking over
at broadcasts like, holy shit.

Speaker 2 (01:10:35):
That's five years old. What the okay? Grandpa got a
hold of it? And that makes sense really, But yeah,
this comes out first week of September, so we're roughly
a month away through debuting on Peacock. I think it'll
be interesting. Kind of looking forward to it.

Speaker 3 (01:10:54):
Yeah, I'm looking forward to reviewing it in the first uh,
the first showing Notctober.

Speaker 2 (01:11:01):
Speaking of streaming, still trying to wrap my head around
this one.

Speaker 3 (01:11:08):
What do you got?

Speaker 2 (01:11:11):
Roku is going to launch a premium service.

Speaker 3 (01:11:15):
They are absolutely the little streaming service that could.

Speaker 2 (01:11:20):
So any new listeners. Uh, This is considered a fast service,
fast free advertisers supported television and basically it's an app
on your TV. You get to watch anything for free.
There's just commercials. Most of those are going to be
for cell phone games.

Speaker 3 (01:11:41):
Mm hmmm. Have you noticed all the big stars that
are getting Ah, I am It's hilarious, isn't it? Yeah?

Speaker 2 (01:11:52):
Play Monopoly Go? And then there's Chris Pratt what Yeah.
I think about a year or two ago you would
see like former recognizable people from television. One guy was
doing one and was like, wait, I know that face?
Who the hell is it? And I knew the gravelly
voice and he was the guy that did the home

(01:12:15):
turnover show on ABC Primetime Sunday, right right, right right, Yeah.
I was like, wow, okay, yeah he's But now, like
a list actors are selling games.

Speaker 3 (01:12:27):
I mean yeah, yeah, they're hawking fucking candy crush too,
some ship.

Speaker 2 (01:12:34):
But I mean.

Speaker 3 (01:12:37):
Just dumb little cell phone games.

Speaker 2 (01:12:41):
Who was I Kevin Hart is doing one?

Speaker 3 (01:12:44):
Yeah, I'm trying to think, I'm and is it Beyonce?

Speaker 2 (01:12:48):
I saw on one? Really? I think so the only
thing I can think is that they just throw a
ship ton of money at them it's like, listen, you
can just do it in your living room for like
thirty seconds. And I get that. Hell yeah, I can
do it.

Speaker 3 (01:13:06):
Catch a backstage on one of your concerts. Just sit
in a chair that says Beyonce on it and play
the game. That's all you need. Just look over the
shoulder with a knowing wink and we'll call it, and
we'll call it good. Here's a million dollars.

Speaker 2 (01:13:19):
Kevin Hart did mone. He's on stage and the guy
wasn't heckling him, but he's playing a game on his phone.
He's like, dude, you're not even listening to the act.
And then the guy holds his phone and he's like, oh,
you're playing that game. That thing's awesome. I played it
all time. Really yeah, because Kevin Hart isn't in every
single commercial already, he's gonna hawk this now, okay, royal match, Yes,
I really now I'm gonna play that Kevin Hart, thank you? Yes. Anyway,

(01:13:43):
that's your fast and.

Speaker 3 (01:13:45):
Now that Kevin Hart does well, shit, fuck me, how
could I not?

Speaker 2 (01:13:50):
So these are these are your fast services, like Pluto
and a number of others. A lot of them have
the same channels on him. But now Oku as IMDb. Yeah,
Roku's gotten big enough. Now they get they're supposedly the
highest rated fast service out there, so naturally they're going

(01:14:11):
to supply us with a premium serv service we have
to pay for.

Speaker 3 (01:14:19):
But it's as as premium services go. It's only three bucks.

Speaker 2 (01:14:27):
Yeah. But the content that they're using to sell this
looks like relatively old movie titles and their own original content,
which they already offer their free service.

Speaker 3 (01:14:42):
Right, but you're getting it ad free and here and
you know, and here's the thing. This is the ship
I watch. I don't watch a lot of the new ship.
Like if I if I had Roku and I can
pay three bucks to watch Kids in the Hall, Yeah,
I'll binge that, you know.

Speaker 2 (01:15:01):
I mean, I guess that's that's probably the hook is
it's Roku without commercials.

Speaker 3 (01:15:06):
Yeah yeah, because I mean if they had to b
without commercials, I'd fork over the three bucks. Okay, pay
the actually fifteen for Amazon without commercials.

Speaker 2 (01:15:15):
So yeah, see, I guess to be two be's obnoxious.
Their commercials are like five minutes long.

Speaker 3 (01:15:22):
No, to me is actually the least offensive of them,
because it's like to be they'd only be like one
maybe two. Well only once, and all the time I've
watched TV have I gotten one. It's like, you know,
and they give you the commercial count on it and
it'll say like one of six, and like, motherfucker, well,
I actually have time to go take a leak, you know.
But to be really, isn't that bad. But the one
thing is the variety of commercials. I could quote you
the Travago commercial word for word.

Speaker 2 (01:15:47):
And apparently somewhat regional because I get a significant amount
of Spanish advertising.

Speaker 3 (01:15:54):
Can get some of that too, which is funny because
my VPN I haven't set for a thousand miles away,
but I still get a lot of California ads.

Speaker 2 (01:16:06):
Yeah, I get a mixture like every so often i'm
pop up ads and stuff and it's like, you know, hey,
well you're in the Panhandle of Florida, and I just chuckle, Okay,
I'll make that car sale this Weekend'm sure. But yeah,
I think they still tab me as Miami, so I
get my share of stay a weekend borrow at the

(01:16:27):
Mummy for some reason. But yeah, I guess that's Roku
now is going to broaden and not competing with the
big boys. So at three bucks, it's got to be
that basically Roku no ads.

Speaker 3 (01:16:42):
But yeah, they're not giving their fall a lot because
I mean Roku has a lot on it too. They're
not too be to be has But yeah, Roku they've
got a lot of stuff. I mean, they're they're definitely
worth having for a fast you know.

Speaker 2 (01:16:58):
It's they get the you know joy shows two be
cracks me up because they're just loaded with those nineties movies. Yeah,
you forgot. It's like Gene Hackman, isn't it And Denzel
Washington back when he had hair and such, and vaguely
remember him making this? Did it go to video? What

(01:17:20):
was this again?

Speaker 4 (01:17:21):
No?

Speaker 2 (01:17:21):
I can't.

Speaker 3 (01:17:22):
Okay, it's oh shit, this was a huge film, that's right.

Speaker 2 (01:17:27):
Yeah it was. I don't even remember the name of
the movie, but it was big stars in it and
Denzel and he's in the Caribbean fighting crime and stuff
that goes on there. And it's like, this is a
pretty serious movie. I should know about this.

Speaker 3 (01:17:41):
I remember the trailer for that. He had a white
shirt on that was unbuttoned halfway down.

Speaker 2 (01:17:45):
Yeah, okay, yeah, it kind of somehow he evades memory.
At the same time, it's like, yeah, I remember him
making this. I don't know a damn thing about the film, though,
weird good thing.

Speaker 3 (01:17:54):
I'm not paying watched its two three times too when
I worked at the video store. But I'll be fucked
if I can tell you the name of it.

Speaker 2 (01:18:03):
Well, we did have a bit of big news here
in the entertainment sphere, and so much of this is
parallel to the big story from about three weeks ago,
and yet nobody seems to be talking about it. The
King of all Media appears to have been canceled. Howard

(01:18:25):
Stern's massive contract with Serious Exam looks like it may
come to an end with no renewal.

Speaker 3 (01:18:32):
Well, they're not going to pay him one hundred million.
He's not packing it in. You can't get he doesn't
warrant the premium channel anymore. He's just he's become exactly
how he looks, an angry Pacific Northwest lesbian. That's not
him in the Subaru. I would absolutely think that he
was a lesbian.

Speaker 2 (01:18:52):
Yeah, they hasn't officially been he's canceled, even though I
sort eye's kind of leaning on. It's more that his
his contract is coming up, and there hasn't been a
lot of exuberant movement to re sign him. Now they
may still do so, but he's not going to pull
the Joe Rogan renewal like he got over at Spotify,

(01:19:13):
because Howard Stern has turned into a shriveled, bitchy husk
of what he used to be.

Speaker 3 (01:19:23):
Wow, the thing that he's you know.

Speaker 2 (01:19:28):
I guess this is how a testament to how big
he became, where he has actually been broken by two things,
Donald Trump and COVID uh huh, and has become twice
over insufferable ass as a result. I mean, how do
you go. I saw clips of it, and I didn't

(01:19:52):
know who to be.

Speaker 3 (01:19:53):
I hope that was reported as an in kind contribution.

Speaker 2 (01:19:57):
Oh it was. Yeah, if he could have gotten on
his knees for the president, he would have.

Speaker 3 (01:20:03):
Yeah, that was just I'm gonna I'm gonna set the
whole thing up for you. I'm gonna let you make
a grunting sound and then I will reply as if
you had said something meaningful.

Speaker 2 (01:20:18):
Yeah, that was that was pretty unsettling and just the
way he has just been. I mean, take the worst
thing to come out of COVID as far as reactions go,
like the hector and Karen's inside his store demanding you
wear a mask. You want to kill Grandma. People who
don't get vaccinated should be killed. I mean a composite
of all of that. Stick it in Howard Sterning, you've

(01:20:40):
got that on the radio. Oh yeah, it's like after
a while, why would you even listen.

Speaker 3 (01:20:45):
Anymore if you thought Colbert's vaccine bit was insufferable? You
haven't listened to Stern in a very long time.

Speaker 2 (01:20:56):
He became hyper paranoid. He wouldn't leave his house else
he had a broadcast from his home. That's how paranoid
about all this he got. I mean just.

Speaker 3 (01:21:09):
That us your completely you know, compromise without actually saying.

Speaker 2 (01:21:12):
It fell off the table. So the you know, the
interesting thing is Colbert gets canceled and everybody lost their
ever loving mind. Good, they're killing comedy, censoring criticism. And
then they sound South Park for one point five billion

(01:21:33):
dollars and have Donald Trump sleeping with Satan without his
dance on.

Speaker 3 (01:21:38):
And they of a naked Trump impersonator afterwards too, So.

Speaker 2 (01:21:43):
Yeah, there, there, there goes. You're in the intolerance of
criticism for you guys. Okay, last time, I think the
last episode they slammed jd Vance too, and he was
actually making jokes about it today. Yeah, it's like, hey guys,
it was my turn, and I just love watching the
reaction of people online, like they were pissed off that

(01:22:04):
he wasn't pissed off. Oh man, you you don't even
get it. They were slamming you, dude, what are idiots?

Speaker 3 (01:22:17):
Yeah, you know that's if you're not absolutely weak minded,
then you can take your constructive criticism. Laugh about it.
I mean, yes, obviously it's an over the top parody,
but you know, okay, he was.

Speaker 2 (01:22:33):
Like, I've arrived. It's basically his reaction to it. Yeah.
A few days ago, the border Ise Ice actually did
a promotional video based on the clip that they did
in South Park of Ice, and that pissed them off. Royal.

Speaker 3 (01:22:55):
Yeah, they just I mean, if it's one thing, I'm
not a big fan of everything the administration does, but
I will say one thing that they get mean culture
and they know how to take the piss.

Speaker 4 (01:23:06):
Out of it.

Speaker 2 (01:23:08):
Well it's yeah, even so, even if you're not, you know,
losing your mind over, you're playing the game right along
with them. You're having fun at their expense like they are,
and that's unacceptable. Only we can make fun of you.
You can't turn the tables on us. Oh let's see,
you've never been to a tennis match. I see, how
about that.

Speaker 3 (01:23:29):
It's just so you don't even get it. No, I
get it. That's why I'm parodying it.

Speaker 2 (01:23:36):
Yeah, it's they're actually playing the same game and you
don't like it.

Speaker 3 (01:23:44):
Yeah, well here's the that's the culture. We told them
for years, you're not gonna like this game. Don't play
this game. It's a very stupid game. And now it's like,
oh my god, what you're gonna do?

Speaker 2 (01:23:57):
All Right, we're close to wrapping up here, so we
got to pick and choose a little bit here. We
might have to push some stuff to next show. I
think it'll hold. This is a good one, Okay, I
kind of like this one. Disney and Lucasfilm have settled
their lawsuit with Gina Corano.

Speaker 3 (01:24:21):
Because Jeffy the title to show The Rebellion is winning.

Speaker 2 (01:24:24):
So so basically what they said is the lawsuit is concluded,
and we I just I love it when the pr
and the lawyers get together. We look forward to identifying
opportunities to work together with miss Coranto in the near future.

Speaker 3 (01:24:43):
Which if that is true, that tells me that Kathleen
Kennedy really is out the door.

Speaker 2 (01:24:49):
Yeah. That or the settlement deal was well, we can't
say that you're canceled anymore. We've reached an agreement with
Gina Corano to be all of the issues in her
pending lawsuit against the companies. Miss Coranto was always well
respected by her directors, co stars and staff. I'm sorry,

(01:25:10):
I'm just I'm gonna call bullshit.

Speaker 3 (01:25:12):
Yeah, because if that was the case, there wouldn't have
been a lawsuit.

Speaker 2 (01:25:17):
Exactly. Look at us in sync right there. Wow. So
I they want to say that she worked hard to
perfect her craft while treating her colleagues with kindness and respect.
Oh my god. How much did you guys pay out?

Speaker 3 (01:25:33):
Yeah, that had to be. I'm gonna go at least
mid five figure, maybe up to or mid six figure,
maybe up to seven They probably based off of what
Peter Pascal made and gave a percentage.

Speaker 2 (01:25:50):
Could be, could be. And you know we've covered in
the past though, that this suit came about because Elon
Musk was back in Coronto.

Speaker 3 (01:26:00):
Yeah, Elon Musk put it. For those of you who
don't remember Elon Musk put out a tweet. It was
a tweet at the time before it became ex if
anybody who's ever lost their job or been persecuted because
of something they posted on Twitter, let me know and
I'll back your legal. Gaming was like, we're here.

Speaker 2 (01:26:17):
Yeah. She was like, uh, I think I fit that
bill almost perfectly, and Elon was like, hell, yeah, let's
do this. So let's see. Basically, they the suit was
claiming that Corona was defamed because you know, she'd put
out something in that was a vague reference to World

(01:26:39):
War two Germany, not Nazis or anything directly, just like
this happened before. That was unacceptable and kicked out because
she was doing it from the right side of the
political spectrum. Almost at that time, her co star put
out Trump is a Nazi imagery. Yeah.

Speaker 3 (01:26:57):
Yeah. Basically of her tweet was when it'd be great
if everybody was nice to each other once in a while.

Speaker 2 (01:27:03):
Yeah, she pretty much was saying, you know, the last
time we saw intolerance like this welling up in the country,
it didn't end. Well, oh, you can't do that. Only
Pedro Pascal apparently can do that because he's the star
of the show. Or something. But yeah, she was. She
was pulling about twenty five k per episode and bonused

(01:27:28):
out and everything else. So this is where uh, yeah,
they probably had to come up with a figure of
like if she had been able to finish the year,
that kind of thing.

Speaker 3 (01:27:40):
Well plus the movie, plus the Book of Boba fet
plus and she was going to have her own show,
or at least there was gonna be the Rebels show
that she was going to be attached to, if not
the star of. So yeah, because when she got fired,
that actually shit canned an entire other spinoff show that
they were producing at the time they were ramping up

(01:28:01):
production on them.

Speaker 2 (01:28:04):
Yeah, and the thing is, this was one of the
shows you can't say was woke culture. I mean, the
Mandalori had actually kind of sidestepped a lot of that
was predominantly watchable. Yeah, so oft Lurt.

Speaker 3 (01:28:20):
Was actually more fans service than it was than it
was message.

Speaker 4 (01:28:25):
You know.

Speaker 2 (01:28:27):
Yeah, that's you know, basically ends up. They screwed themselves
because then they kicked her off for that and then
basically season three became a little more insufferable and not
many people even talk about it, And I don't know
if a season four is in the works at this point.
I just they just love to do this to themselves,
don't they. Yes, they do.

Speaker 3 (01:28:50):
They keep punching themselves in the dick. Why do they
keep punching themselves in the dick?

Speaker 2 (01:28:55):
Because they still have quarters already?

Speaker 3 (01:28:58):
Jeff saying five millions, callary reclamation in ten million, and
please don't take us into discovery, which.

Speaker 2 (01:29:04):
Sounds and hence the Oh, we really look forward to
working with her in the future. She's a fantastic talent.
We can't wait for more.

Speaker 3 (01:29:13):
Love her. We were completely wrong, but we weren't wrong
because that would be admitting guilt and then she could
really get us.

Speaker 2 (01:29:18):
So yeah, it's a Unfortunately, we just couldn't extend this.
We were Oh, every single person loved herself. Why was
she fired? Looking at your statement and it doesn't link
up with her getting kicked off of the production.

Speaker 3 (01:29:32):
Well, no, it's true, every single person loved her, but one,
Kathleen Kennedy. I suppose so, because you can't have the
uh strong independent woman who don't need no man unless
they're also pushing the message.

Speaker 2 (01:29:51):
Well, all right, we gotta wrap up this with a bow.

Speaker 3 (01:29:55):
I gotta do one more because it's a local story
for me.

Speaker 2 (01:29:58):
Okay, go for it.

Speaker 3 (01:30:00):
Okay, I know you gotta go, but it's uh, this
one fills my heart with blood. In that Rubert Murdock
and he's taken his show to the West coast. The
New York Post is going to have a West side
spin off called the California Post because there is zero

(01:30:21):
competition for the La Times in the state.

Speaker 2 (01:30:24):
Yeah. I saw this one a couple of days ago,
this one pinged on my radar.

Speaker 3 (01:30:29):
Yeah, no, I think this is gonna be This is
gonna be fantastic. It's absolutely what California needs because the
closest thing we have to center the road unbiased reporting
in the state is the Sacramento b which is basically
a propaganda machine for the California State Legislature. They do
the explainer for the people who are too stupid to

(01:30:51):
understand what the bill really says in a way that anyway. Yeah,
so yeah, and this is I kind of have to
under with.

Speaker 5 (01:31:00):
Uh.

Speaker 3 (01:31:01):
You know the La Times new owner who got into
a lot of trouble because he made the paper retract
their endorsement of Kamala and their chief editor quit there.

Speaker 2 (01:31:14):
You know, well this, uh, I'll say this dude. There's
some real opportunity for him here, because, for one, the
La Times has gone through a ton of shrinkage lately.
They've laid off a ton and they've had a lot
of people leaving because of the editorial choices. I thought,
you're a reporter, why are you so worried about the

(01:31:35):
opinion of the paper? But yeah, they've they've constricted quite
a bit. They're almost like a mirror image of what's
going on at the Washington Post, where they've had just
absolute flight there in the last couple of months.

Speaker 3 (01:31:49):
So I'm reading this at the New York Times is
the third largest paper in New York.

Speaker 2 (01:31:55):
Really?

Speaker 3 (01:31:56):
Now, Yeah, because it's uh, it's the Post, the Daily News,
and then the Times.

Speaker 2 (01:32:03):
Really, the News has a bigger subscription than the Times. Yeah, wow,
that I did not know.

Speaker 3 (01:32:11):
Yeah, let me find it in the article, because they have.

Speaker 2 (01:32:13):
I thought I thought the Times was being floated mostly
because of their games. Yeah, that's the big thing is anytime.

Speaker 3 (01:32:24):
There's cross words, that's that's what's keeping the Times of float.

Speaker 2 (01:32:28):
Yeah, O wordle that's us. We bought that a couple
of years ago, and that's keeping the lights on. That's
any It's funny because anytime there's a strike at the
New York Times, one of the first things they say,
support us by not playing games while we're on strike.
So if I play wordle, I'm crossing the line from
a scab.

Speaker 3 (01:32:48):
So I was wrong and it's uh, you got in
New York the highest average weekday print is the Post,
followed by the W s J, the L A T,
and then the N Y T. So that's national not
New York.

Speaker 2 (01:33:05):
Okay. Yeah, I was wondering if Wall Street Journal would
be including there because, uh, they're actually surprisingly healthy.

Speaker 3 (01:33:12):
But they're also talking about phone and this one surprised
me that the Post page six online, uh doubles the traffic.
There's tens of millions more readers than Daily Mail and
TMZ combined.

Speaker 2 (01:33:26):
Wow, that's pretty amazing right there. Yeah, that's that's being
able to parlay your British tabloid experience into something so
And the funny thing is that's what the Washington Post
is trying to do because they brought in Will Lewis
from the Murdoch papers in Britain to try to turn

(01:33:48):
things around there. That's going to be interesting to watch too.

Speaker 3 (01:33:52):
Yeah, the guy who's heading up the California Post. He's
Murdoch's papers in Australia.

Speaker 2 (01:33:57):
Ah, so very good. Well, all right, I think we
packed it in here and we've we'll still got more
left on the table, so we'll have to backstream that
for next show.

Speaker 3 (01:34:10):
I think a lot of it we could not pack
in any more jam into this episode if we wanted to.

Speaker 2 (01:34:16):
We gave you a Baker's dozen of overloaded content, and.

Speaker 3 (01:34:21):
We got out of Kevin to talk about the Sundance
Verger one final time. We'll have to save that for
next one because I'm sure that story's going to evolve.

Speaker 2 (01:34:29):
Oh yeah, it's uh, we could take a break on
that one because it's always gonna stay fresh whatever. All right,
well already, why don't you tell people where they can
find more of you?

Speaker 3 (01:34:40):
Well, thanks for asking, Brad. You can find me on
Twitter's or in his package. Surprisingly still I'm off tomorrow.
You can find me Saturday night on Juxtaposition, which is
going to be our new night in time, because it
seems like we can do our makeup days better than
we can do our actual days. So we're just gonna
and which will proba probably mean we'll be forced into

(01:35:01):
going back to our original time. It's the way shit works.
And then so that'll be Saturday night, and then next
week you can find me on Manorama, on Rank or
Steve's Rumble channel, where we'll have Rick, Vincent, Charles, maybe
Juffle'll show up again someday some random Canadian and of
course Rank cor Steve and then start the cycle all
over again. How about you? Where can people find more

(01:35:23):
of your magnificence and your wonderful hair.

Speaker 2 (01:35:26):
Well, I'm on a daily basis available at town hall
dot com. I've got my media column there called Rift
from the Headlines, tearing into the media complex daily. Also
on the front page of Red State on a near
daily basis where I've also got a twice weekly podcast
there it's called Liable Sources, going even further into the
muck and meyer of the outmoded media. You can hear

(01:35:48):
more of me also on this very network. Tomorrow I
should be on with Rick at noon I join in
for a weekly wrap up of all the news on
his illustrious daytime show. Also got my own here at
kal r N. Next Thursday, I'm gonna be here with
Paul Young from Screen Ran and See and I go
through the dark side of Hollywood and bad movies on

(01:36:09):
disasters into making, and every Tuesday evening, I'm here with
the ever Efforvis and Aggie Reeken for the Cocktail Lounge,
which is our tonic for the real world, where we
bring you all kinds of relaxation like cocktails and our
crazy ass news, weird science, and all kinds of other
things to distract you from the mayhem. And if you

(01:36:30):
need more of me than that less space that you
do if you head over to jitter, I am at
Martini Shark. All right, already, we got one.

Speaker 3 (01:36:38):
More place you can find me.

Speaker 2 (01:36:39):
A Sunday.

Speaker 3 (01:36:39):
You can find me on the Vincent Charles Project, where
we will be talking about the Simpsons this week.

Speaker 2 (01:36:45):
Oh there's no shortage of content there now four hours
show then right, yeah, all right, Well that's gonna do
it for now. But we got stuff to We're gonna
leave a few tabs open and cover them on the
next program, because that's what we do here. When all
the vital information in the entertainment spectrum on the culture

(01:37:05):
shift El