How Did This Get Made? - Last Looks: Champagne & Bullets [Jason Edition] w/ Suzi Barrett

Episode Date: August 29, 2025

DISCONNECT THE DISCORD! Jason reluctantly subs in for Paul to answer all your Corrections & Omissions on Champagne & Bullets (aka GetEven aka Road to Revenge). Plus, Paul & Jason nerd out about improv with Suzi Barrett who hosts Yes, Also— the podcast that's a love letter to improv comedy. And don't worry, as always at the end of the episode we announce next week's new movie!  Check out Yes, Also on Apple, Spotify, or subscribe to their Supercast for bonus content. • Go to hdtgm.com for tour dates, merch, FAQs, and more• Have a Last Looks correction or omission? Call 619-PAULASK to leave us a voicemail!• Submit your Last Looks theme song to us here• Join the HDTGM conversation on Discord: discord.gg/hdtgm• Buy merch at howdidthisgetmade.dashery.com/• Order Paul’s book about his childhood: Joyful Recollections of Trauma• Shop our new hat collection at podswag.com• Paul’s Discord: discord.gg/paulscheer• Paul’s YouTube page: youtube.com/paulscheer• Follow Paul on Letterboxd: letterboxd.com/paulscheer• Subscribe to Enter The Dark Web w/ Paul & Rob Huebel: youtube.com/@enterthedarkweb• Listen to Unspooled with Paul & Amy Nicholson: unspooledpodcast.com• Listen to The Deep Dive with June & Jessica St. Clair: thedeepdiveacademy.com/podcast• Instagram: @hdtgm, @paulscheer, & @junediane• Twitter: @hdtgm, @paulscheer, & msjunediane  • Jason is not on social media• Episode transcripts available at how-did-this-get-made.simplecast.com/episodesGet access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using the link: siriusxm.com/hdtgm

All right. What's up, jerks. It's Jason. Paul is out of town. I got a panicked, a panicked phone call from producer Scott. And he said, you got to get on the, on the Wi-Fi. You got to get on the computer right now. We need to record a last looks. So here we go. We're doing it. It's a Jason episode of Last Looks. We're disconnecting the discord. These fucking idiots convinced me to do one of these again. Hit the theme song. Did you watch the flick The time is right With Jason June and all get into it With you deep sanity With your deep breath Did you take some notes Did you scratch your head

Did you take all your work out To get through it Did you ask yourself All the people yelling geostom say How did this get made How did this get made State the mat The farmer's mark

And say, how did this get paid? How did this get made? It's all John, Jason, and Jr., go come in and rock the room, so sing and clap your hands. Say, How Did This Get Made? Welcome to How Did This Get Made Last Looks, where you, the listener, get to voice your issues on, oh boy. The movie we covered at the end of tour called Champagne and Bullets, Yikes. A full-on Yikes movie. A movie that Discord user, again, we're disconnecting the Discord, Dov, Dov, D-O-V, thinks should have had the tagline,

and then this is all in quotes and italics, which leads me to believe that these are Dove's words. Here's a quarter, buy yourself a writer, director, actor, singer, producer, unquote. That's Dove's tagline for this movie. We do taglines now. You guys write taglines for the movies now. That's part of what we do. Thank you, Dove, for the movie tagline. huge shout-out to Casey Alexander for that opening theme song, which was a banger.

You know what? Every once in a while, I get to come on here and do one of these, and I'm never not blown away by people's musical abilities, and that they put those abilities in the service of this absolutely absurd podcast. Remember, if you have a movie tagline that you want to submit to us, you can do it on our Discord? That's how they do it? I feel like there's got to be a better way to do it.

Don't we have a landline that can leave a message on? Okay, you can go to our Discord at, hold on now. I'm having to lean forward to look at the type at Discord. g-G slash HDTGM. So it's Discord. Dot Gilmore Girls slash, how did this get me? And if you have a last looks episode theme song, just like Casey Alexander did just moments ago, go to HDTGM.com and click submit a song button.

at the end of the homepage, or not the end of the homepage, there is no end of the homepage just keeps scrolling, is my guess. But there is a submit-a-song button on the homepage. Just try and keep them short, guys. 15, 20 seconds for those songs. And that's what works best. Much like any second opinion theme song or any other theme song, they go on too long. They always go on too long. So chop them up, guys. We know you love your art, as do we ours, but chop it up. Okay, coming up on today's episode, we're going to be hearing all of your corrections and omissions on champagne and bullets. And I will be playing an exclusive, exclusive, an exclusive deleted scene from the episode. Well, it's not a deleted scene from the episode. It's probably a, I mean, we didn't record any

scenes. But I'm guessing what this means is there will be exclusive content, stuff that was cut out of the ep and we're putting it back in. Why? Probably because it's fucking hilarious. Plus, for all of you improv nerds, and honestly, everybody else, Paul and I have a great guest. We have Susie Barrett, the podcaster behind the fantastic improv podcast. Yes, also. Paul and I have been a guest on the show before. We both love it. We had a great talk with Susie Barrett, who is just a terrific improviser, a teacher, a great podcast host. great conversationalist. We had a great chat. And as always, at the end of the show, I will reveal like a magician, the movie for next week's episode. But for now, I'll just tease that it's a movie we've been getting a lot of requests to cover. So we did. Okay, before we get to the action, a little bit of housekeeping. We have live, how did this get made dates on the calendar? Los Angeles, Largo, October 22nd, and 23rd. There are still a few tickets left.

Get on there. Get them up. Snatch them up. Get on a plane. Fly over here. Wait in line. Get a ticket. Go get a coffee. Come back. Get back in line. Walk into the venue. Sit in your seat and shit your pants from laughing. October 22nd and 23rd at Largo. Also at Largo, Dinosauri Improv. The improv group that Paul and I are a part of. September 19th. September 19th at Largo Dinosauri Improv tickets. If you want to check it out, go on the website, get tickets. Lastly, a lot of people know that our amazing movie-picking producer Averill is still fighting cancer and can always use some more love from you guys.

You can email her a message at Andrew at moviebitches.xy-Z, or you can mail her something directly at Averill-Hally, that's H-A-L-L-E-Y, P-O-Box 641, A-G-O-U-R-A, California 9-1-376. I know a lot of you have already reached out, and it's been wonderful, so please keep it going. Okay, let's get into it. Last week, we talked at length about champagne and bullets. Wow, this movie was nuts. Sure, we might have missed a few things. There was quite a bit to cover, as I remember in this movie.

Now, not to pull the curtain back too much, but we are some months from when we recorded this, So I have almost completely wiped this movie clean from my mind, shaking the etch-a-sketch of my head. But here is your chance to set us straight. It's time for corrections and omissions. Corrections and omissions, we ain't rocket scientistsians. A swing and a miss. Now somebody's pissed.

We took a crack, but it weren't a fact. Now the fans are going to yell at us, corrections and omissions. Wow, absolutely stunning. Great. That song came to us from Damon Gentry. Great work, Damon Gentry. That was terrific. I love it.

I love it. You know what? The variety. Earlier we heard a song, like a rock and roller. This has got a Nashville twang. to it. Boy, Nashville, still, how have we never played Nashville? I don't understand it. Why haven't I set foot on the Rhyman stage? That's what I want to know. Okay, boy, I see it written in the script. I don't want to say these words out loud, but here we go. Let's go to the discord. Joe Tangelo

writes, the best scene that wasn't mentioned was when they leave Cindy's parents' house. Rick is driving that geo-tracker-looking car and has a lot of trouble getting it into first gear before finally peeling out. I love how all the clumsy driving was left in. Okay, so we've just watched the scene that Joe Tangelo is referencing. And Joe, it's even crazier because, yes, you're correct. He is having quite a bit of trouble getting the, I believe Suzuki samurai is maybe what it is. It's one of the little Suzuki, a little Jeep type things that the top came off of, much like a Jeep Wrangler or something like that. Oh, it's a Suzuki sidekick says Rupert Grimpert. I see. It's been pointed out to me that later in the script, Rupert Grimpert chimes in to add, I think the car is a Suzuki

sidekick, which made me laugh because that car was a running joke in the Babes in Toyland episode. Okay, yes. So you're probably right. It's either a Suzuki sidekick or a samurai. I can't remember which. Um, both incredibly perfect 80s era cars. Um, what's incredible Joe Tangelo is that while he is struggling to get it into gear, the car is just rolling backwards. The car rolls, I'm going to say, almost eight to 10 feet backwards, which is pretty hilarious. Um, and it appears to also have a legitimate California license plate on the, on it with like real, real. real numbers, which also made me laugh. Okay. And thank you, Rupert Grimpert, for chiming in on that.

Okay. Dave writes, in John's director's commentary, oh, Dave, please tell me you didn't listen to John's director's commentary. Guys, guys, please, claw back some part of your life. Please, you don't have to give it all away. In John's director's commentary, he says the strip tease in his bar slash arcade was shot as a wet t-shirt contest with 10 women. But he didn't end up using any of that footage because, quote, that was too much. I didn't want to do anything gratuitous with the sensuality, unquote. Okay. Okay.

Okay. Okay. I take it back. Dave, thank you for listening to the director's commentary. Thank you for tossing hours of your life away. in service of this podcast. Wild stuff, that's crazy. And I mean, like, part of me wishes I'd seen that footage

instead of some of the footage I was forced to watch in this movie. It seems like, frankly, maybe I'm wrong. I don't know. But a wet t-shirt contest at a bar would seem to me to be a lot less upsetting than some of the stuff that was included in this movie, vis-à-vis gratuitous sensuality. Okay. Pam writes. I am surprised that no one brought up how often these people are drinking champagne. Who drinks it that often? We all do, Pam. You're the only one. You're the only one out there not drinking champagne. Everybody's drink. I'm drinking champagne right now. I got up this morning and I made a French press of champagne and boy is it tasty. Delicious. Producer Scott drinking a champagne right now. Look at him putting it up to his lips. All right, Pam.

I've got an answer for you in the form of another listener who called in with their own theory on what's up with all the champagne in the movie. And we're going to find out what that theory is and answer some phone calls after a quick break. So if you don't mind, stick the fuck around. And we're back. Let's go to the phones and hear another theory about all the champagne in the movie, Champagne and Bullets. John from Portland. Let's hear it. Hey, Paul. This is John from Portland, Oregon. I saw the show, Champagne and Bullets,

with my friends for my birthday. It was a great show. I didn't get to ask my question there, so I wanted to ask it now. Do you think the reason that he has so much champagne throughout the film is due to the fact that he is a limo driver, and he's just pilfering the extra champagne throughout his course of work. work. And is that how he's able to keep all those friends of his drinking champagne throughout it? Just came to my mind and was thinking about that during the show. But yeah, great show. Love you all. And yeah, very excited. Cheers. Okay. So I guess what John is suggesting is because the character is a limo driver,

he is pilfering the champagne from the limo company or something. like that. Perhaps. I don't know. I think the movie just wants to suggest that that these people are just casually drinking champagne all the time. I don't think it's interested in interrogating how they got it. They're just living that champagne and bullets lifestyle. And for us to kind of poke around as to how, I don't think that's what the movie's asking. I think the movie's asking us to just sit back and enjoy the absolute insanity that is champagne and bullets. Okay. Up next is Liz from Wisconsin. Hey, Paul, it's Liz from Wisconsin.

I was just listening to the most recent episode about champagne and bullets, et cetera, and I thought I'd remark on the question of people testing to become police officers in their 50s. As Jason said, it absolutely is possible. My dad tested for Denver PD when he was 53 and not only passed but did well, which is unusual and noeworthy, perhaps, but he did. did it. So there you go. He did end up having a heart attack later that year and not getting to go and do it, which is less good for my point. My dad is fine now. He's not a cop. But I just thought I'd offer that anecdote is proof that, you know, hey, yeah, it's absolutely possible. Sure.

Okay. So at least it's been done once. Okay. Thanks, guys. Bye. Wow. What a roller coaster from Liz from Wisconsin. I mean, I love I loved hearing about your dad, not only taking the police test, but acing it, but thriving inside of the test, but devastated to hear that he had a heart attack at 53 or 54, so young, that kept him out of the job, terrifying. So a real victory in one sense for me in terms of, yes, I was right, someone my age could take. and pass the police exam. But then also, Liz from Wisconsin, you have now infected me with the idea that I am maybe but a very short period of time

away from a heart attack, as I am somehow your dad's age, which is also upsetting to me. Or maybe I was your dad's age at that time, which makes more sense. But I'm knocking on wood here because now I've made myself nervous. But a great call from Liz from Wisconsin.

Thank you for sharing that. Next up, Brad, from... from Nashville. Hey, Paul. You all talked a little bit about the music, but I don't think you really discuss the fact that John DeHart is the one singing the songs that back his own love scenes. And he is a terrible singer. He is entirely off-key, and it is very obviously his voice that comes.

in as he is in the bathtub with the playmate. And it really brought up like Job Bluth vibes from when Job had a mixtape of his own thing to play during love sessions. Anyway, I just wanted to touch on the absolute arrogance of John DeHart in singing the backing for his own lovemaking. Thanks. Bye. Well, you know what? Brad from Nashville, you know,

it's not Paul, it's Jason. Everybody has addressed their thing to Paul, and it's been me the whole time. You didn't know, I can understand that. But first and foremost, to everybody who I've answered, how dare you? How dare you not respect me as the host of this episode, even though you couldn't have known?

That being said, yeah, no, I mean, like, I think this movie is top to bottom, hubris. and it is all that his singing soundtracks, his own sex scenes, I think is absolutely par for the course. I remember, I think Nick Cannon once said on the Howard Stern show that Mariah Carey also liked to listen to her own music during their lovemaking sessions. I believe that is true. And I think he also mentioned that I believe she would have restaurants play a playlist of her songs when she ate. there. Something like that. That might be apocryphal or maybe misattributed, but I'm pretty sure that's what I heard. That's that. Oh, and we have one last call, and it is from Scott from

Massachusetts. Oh, Massachusetts. It doesn't say where in Massachusetts. So Scott's either fucking cool as hell or an absolute piece of shit. So this better be good, Scott. Let's see what you got. Hey, Paul. Scott from Massachusetts calling. One thing about the jokes. sequence from champagne and bullets. Chaser introduced it as a having the main character say it was a position joke. I think he introduced it as a position

joke. That's all. Have a great day. Thank you. Okay. All right. You know what? So we have a little bit of clarity. Scott is an asshole from Massachusetts. I don't know what town he's from. Probably the South Shore. My guess is

Scott is from the South Shore. Scott, why don't you, Scott, producer, Scott, why don't you play, why don't you stop drinking champagne, and why don't you play the clip that this fucking asshole is talking about? Do you have a new joke, son? You know I always got a new joke for you, Ben? I got a position joke for you. It's a very attractive young lady.

Goes to the doctor for a checkup. The doctor says, hey, you got to disrobe. She says, I'm very shy. Can we turn the lights off? He says, okay, he turns the lights off. She takes her clothes off, and she says, doctor, where's she? I put them. He says right over here on top of mine. That one of us was good. It's quite a profession. I got another one for you, Benny. Another doctor joke. Pick on Dr. Day. This guy with

a duck on his head, he goes to the doctor. The doctor says, can I help you? The duck says, yeah, get this guy off my ass. That one was good, too. You always have a good joke. I don't want to hear the jokes. Jesus Christ, Scott. I don't want to hear the jokes again. Okay. So producer Scott just played me the thing. I don't know if you've heard it or not. I don't know how this works. But yes, Scott from Massachusetts, you absolute piece of shit. He says physician. But it does sound quite a bit like position. And so I guess I just don't appreciate the corrections that aren't really giving me information. They're just a bit of a, ah ha ha, you misheard the movie. Okay, guilty Scott from Massachusetts. sits. But this is, again, I don't understand. This is why we should disconnect the Discord. This is pointless. If someone's giving me more information, I like it. I like the director's commentary information from before. But yes, Scott, I don't need it. I didn't need to be corrected on physician position. Pointless. Okay. Now, so many great, I see, in the script,

it has, okay, so many great corrections and omissions this week. And I don't think there were. I'll be honest. There weren't so many great ones. There was, in fact, there was so, there was only a couple we could pull, and many of those were terrible. So now it says pick a winner. It says in red, in all caps, pick a winner. I mean, no. What do I got here?

Oh, Liz from Wisconsin. Yes, Liz from Wisconsin, you win. You win for you and your dad, a man in his 50s, succeeding, thriving. and succeeding wildly at the police exam. I'm wishing you and your dad well. I'm wishing your dad well in his health and his heart health. Boy, oh boy, tough stuff. But I love it.

I love hearing about his success taking the police exam. And maybe as a last look here episode sometime, Paul June and I will all take the police exam, just to see how well we do. Wouldn't that be fun? Okay. The winner's name, I say winner's name, which was Liz from Wisconsin. Winner's name, Liz from Wisconsin, as your reward.

You get this amazing song from our friend, Rob, from Long Island. You win. Congratulations to you. Ball picks the winner, and the winner is you. You said something smart and funny, so I'm telling you, you win. All right. Thank you, Rob from Long Island for that song. Great song. And just because it said Long Island, and I can't help but jump to things that are jumping into my head when I read things. If you're not listening to the Gino Lombardo, the John Gaboris Gino Lombardo podcast that is on CBB World, you got to listen. You got to check it out. It's two seasons of absolute bat shit Long Island insanity. It is Gaboris playing his Lombardo character as if he is a drive-time shock jock in Long Island radio. It is very funny. So, remember, if you want to chime in with your own thoughts about the latest episode, hit up our Discord, or don't, just leave us a voicemail instead by calling 619, Paul Ask,

P-A-U-L-A-S-K. Boy, I love the analog nature of leave a voicemail. Leave a voicemail. Why not? it was great. It's great to hear the texture of everybody's voices and accents. I love the voicemails. Okay, coming up after one last break, Paul and I are going to have a great chat with Susie Barrett about her fantastic podcast, yes also. And I'm going to reveal next week's new movie. But first, as promised earlier, take a little listen to this bonus deleted scene from our Champaign and Bullets Live show that hints at why we selected this week's matinee episode. Take a listen. I love it. All right. What are your name? Wow. Oh, Steve.

Shira. How would you guys think about remaking this as the origin story for Nundercover, where Huck is her handler? Wow. All right. This is a callback. Could this be the prequel to Nundercover? No, where Huck is her handler? Absolutely not. He's a lunatic. I don't want Huck anywhere near my movie. How dare, actually, how dare you? All right, welcome back. By now, I'm sure you've noticed that every Tuesday, we re-release classic How Did This Get Made episodes back into the feed. This week's matinee covered the 1991 Bruce Willis classic Hudson Hawk,

which, not to brag, I saw in theaters. Now, that was the episode you will remember where we came up with the whole idea for an undercover. and would you like to know what has happened in the intervening period of time? Nothing. We haven't written a word. We haven't talked about it. I'd say the only time the word in undercover has been brought up again has been on podcast episodes

like this one where someone from the audience brought it up. Again, a lot of times after episodes, we are effectively hit with the men in black machine. We revert to zero, okay? I always feel bad. There's lovely fans always come up and ask such wonderful, specific questions based on their profound fandom of the show. And I always feel so terrible saying, I do not remember that episode. That episode that meant so much to you, that line, that joke, that thing. I've forgotten it somehow.

But yet, I remember so many of those moments. from Doe Boys episodes. I'm the one saying to Doe Boys, hey, remember when this happened? And they are like, we don't. So I get it. We're all fans. So for next week's matinee, we will be revisiting an oldie. Episode 25.

Holy shit. That is an oldie. Episode 25. That's got to be. I mean, that's what is that? 2011? Wow. Okay.

Episode 25, which is, I just got confirmation. 2011, where we cover Halle Berry's Catwoman. Boy, what an absolute banger of a movie. I just rewatched all the Nolan Batman movies. Phenomenal. Absolute blast. So keep checking out all the replays of classic episodes every Tuesday. Okay, enough matinee talk. Time for Paul and I to chat with Susie Barrett, who's an amazing improviser, writer, actor, teacher, and host of the absolutely fantastic yes also podcast, which is essential listening for any improv or comedy fan. If you like this podcast, if you like bang, bang, if you like any of the comedy podcasts, if you just like comedians, if you just like hearing people talk about process and comedy

and comedy of the last 25 to 50 years, yes also is an essential listen. I cannot recommend it enough. Susie is a fantastic improviser and a terrific host. She is a great conversationalist. Paul and I have both been on the show, as have a ton of people who you might know from this podcast as guests. So stay tuned for our conversation with Susie. And to play us into this Just Chat segment, here's a new theme song inspired by the shimmy slide from Champaign and Bullets. This is the Just Chat Scoot by our pal, the Action Jackson Five. or shimmy in this way and that is a teen witch trying to two top that oh Satan worship birds

holding baseball bats it's just Jason and Paul and it's called just chat Susie an interesting thing happened I don't know maybe about a year ago Jason and I were both talking about your fantastic podcast

and we are I mean I think we're both some of the biggest fans of what you're doing, which is basically creating this giant history of improv through the performers and how people improvise. It's one of the most fascinating looks at some of my favorite performers, people that I perform with a lot. And I never knew any of this stuff about them.

It is one of my favorite things to listen to. That is such a high compliment. You two have always been two of my favorite improvisers. I feel like you're a senior classman to my freshman, and I've always looked up to you both. It's just such a cool thing that people like you are getting into the pod and sharing your wealth of wisdom. And, yeah, hopefully it just continues to keep growing. It really is. It is, I talk about it all the time.

I've talked about it on this podcast a lot. I've talked about it on every other podcast that has had me as a guest. Or I've talked about it to anybody who's asked me to recommend a new podcast. it is an incredible resource. It is undeniably an archive of this art form that simply does not exist. Like there are books about improv, of course, but there is nothing that approaches this scale and scope to what Paul was saying, like, that we can be listening to you interviewing the generation of, you know, you're saying that we are the seniors to your freshman.

the Chicago generation are the seniors to our freshmen. So to hear you talking to that generation of people, the people that are going to talk about Jazz Freddy or are going to talk about those shows or those teams or the advent or the beginnings of certain stylistic moves, you know, like the idea that you're talking to the generation that started the movie form or tagouts or stuff like that. These are the bedrock elements of improvising that we need.

And for my generation, I feel like we spent a lot of our time stripping out the stuff they put in. So to see the thing grow and ebb and flow as to how everybody does it is all inside of your show. And it's incredible. Yeah. It's cool that it's also, I feel like this is just the tip of a very big iceberg, too. Like even, you know, when you guys both have been on the pod, but I plan on having you back in the future, it's like this amorphous organ. thing that can keep building as people hear each other's stories and thoughts, then they can come back and re-reflect. I've had people like reaching out being like, oh, this has unlocked so many

memories from my time. Oh, cool. And it's like one of the few art forms that we see the beginning of right in our rearview. Like, you can't just go back and interview the first blues musician anymore, but you can interview some of the first long-form improvisers. And that's like a magic thing that I feel compelled to, like, capture. Well, what I also really love about it is I think that it's very hard to capture the history of improv, like, in a book, because it's very much a person's perspective. I mean, Jason and I came up at UCB at the same time. We have many similar friends.

We've done many similar shows. But the way that we got in, the teachers that we had, the way that we experienced it are is completely different what we took what we learned and i feel like that's the thing that you know sometimes a book is kind of hard pressed to do and i love that you can sit back and listen to people um i think i told you like one of my favorite episodes was uh carl tart who we perform with a bunch and his lack of like oh yeah i don't know i just go out there and i just do what i do And I love that. And then you hear other people who are very specific about moves. And, you know, and there are these things like Jason said that get warped. And I wonder in that seat that you're in, how do you, I think, do the hardest job, which is to sit there and kind of craft it for a person, but also kind of help keep it all on track or tell a larger story. I think I see it as almost like its own improv scene. Each person who is in that chair is my scene partner.

I'm basing everything organically off of what they're saying. I'm going to follow where it's leading, but if something pops up that feels like a shiny object to me, I'm going to jump on that unless I see that it's making them uncomfortable and then I'll adjust accordingly. But it is, we cut very little out of it. You know, once in a while there will be like a rambly tangent that doesn't matter and the person will be like, can you cut that?

Right, right. Um, but, but it is, it feels like, um, its own organism. It feels like we are alive. And it's a different kind of improv than I've ever done. I've never been an interviewer before. I know you guys have done this podcast for years. You're used to this kind of format. It's new to me. And it feels like it scratches a journalistic documentary itch that I have, like my own curiosity about wanting to open every door. Um, and it, it's like, it's like, it's like, this incredible opportunity for me to sit down with like every tree in this forest that I love and ask each tree what it's like to be that tree, you know. Well, it's so interesting because I do feel like to what both of you are saying, you know, it's an art form that we all learn how to do it in classes or Paul is saying, we've read the books or, you know, there's ways to receive how to improvise, and I'm putting that in quotes. But there is everybody does it different. And I think what the books and what everything

can't quite capture, but I think what your show does capture very well is how everybody does it different, but how imperative it is for those people to then be able to be inside of an ensemble of other people who are doing it differently. And people's ability to succeed and thrive in this art form is their ability to collaborate and learn how, how this person does it and how this and how I fit it a a what we talk about so little I think we talk so often about like people's moves or this was great or blah but like teams ensembles this is a teamwork based art form this is not you know solo lone wolf style comedy this is this thrives in ensembles and people working together you know I make you look good you make me look good is

the ethos that I feel like is so imperative in this art form. And I think what you get at on the show, which I love, is how do people do this thing? How do they think they do this thing? And how do they fit in with other people? You know, that and what I, the stuff I care about in the show the most is when you're talking about process. How do you think about this? How do you do it? That was the thing that was kind of eye-opening to me was really trying to think about it, right? Like, even when I, I think when I came on, too, I was like, I wanted to talk about some things that I feel like also get labeled the wrong way, right? Because I think a lot of people have, like, it's certain, like, words may be like, oh, I don't

like that word, but I do, but people are still using that basis. And that's the other thing, too, to kind of pick out. It's like, oh, we actually are working on the same thing. We're just calling it different. We're looking at it differently. Are you talking about things like using terms like the game of the scene? Yeah. Yeah, where people have categorized that or assumed that that means one style of play

when really it's also the quote unquote I.O. style. It's just you're calling it different things. Yeah. And I think that's the most, and I think you've illustrated the exact word that people have the feel the most away about, you know. Like I feel like to some people when you talk about the game of the scene, they act as though that is like an indictment of a style of play, you know, that I don't, I also don't agree with, you know, like, I think that it's just a, it's just a term.

But I understand like generationally, the younger generation, I think grew up in a prison of the game. And I think it depends on who your teachers have been. I've heard from people, like certain teachers have a style of teaching game that is very binary. Like that's the correct answer and that's not. You got it. You missed it. Which to me is a miss and it's unfortunate because it turns a lot of people sour on something that really boils down to just what is the most fun thing to you about this scene and what do you want to keep playing for you and your partner in the audience. What's the fun you want to follow? But yeah,

for people to feel shut down or like it's so heady that it's this suddenly left brain pursuit where they have to get the answer right to me is a miss. Well, this idea that like it's out there and you just need to excavate, every scene has a game, you just need to dig around in the right place and you'll uncover it like it's a, like it's a video game or something. And the reality is, the answer is that it's a pattern that you play between you and your scene partner. The game is just something between you and your scene partner.

It's right there. It's not a third thing out in the world. that we need to like root around and find as if it's treasure, you know? Right. I also think it's like any class, whether it's a writing class, an acting class, you know, like there are professors that can take the fun. There's a joy, right, and what we do. And I feel like you can watch people get burnt out because it does feel like this elusive

thing, but it's not mathematics. And it's like you watch acting, like I think a lot of, I listen to this director talk, privately, so I will not say who it was, but there's a big director. Talk about how he has to do a bunch of takes to get actors out of their acting style, right? Because it's sort of like, you've made all these choices, and you're not making any of these choices as you are acting. You are going off of the notes and the things and your idea, and it's like, how do you break the actor down? I think you can go back to somebody like Kubrick did this a lot, too, which is like, and not that the, and look, Kubrick destroyed people and, you know, so I mean, but it's like that I, yeah, and himself.

And I think that that's a tricky thing. It's like, how do you walk that line where you get people to feel free enough to take a chance without feeling like I'm making a mistake? And some people are good at teaching. And that's the other thing, too. You're, you, you, you teach. You, you have that ability, I think, to also hear from people who have been taught. And I think a lot of teachers actually don't do that. Yeah. Well, and there's different angles. It's like a gem with many facets. Like, there's different ways into it. And, you know, the UCB approach of game and premise is kind of one angle, but it leads to the same

center of the gem, which is just, you know, activated listening and energized playfulness. And I think it's interesting. We do what we do in pursuit of making comedy. There is improv that doesn't do that but we all do that we want to be do funny scenes ultimately or make funny shows and i've noticed in my years of teaching there is such a thing as a good improviser who is not a funny person i've seen it and i've seen them do funny scenes that they you know um so i think there's like different methods that feel more like water to certain fish and certain methods that feel like air to the birds you know a person who isn't a funny person might not succeed in the

the kind of premise method because they're not good at finding funny from the outside in and then initiating from that place, but they can do a great improv scene and be very successful in a funny way that's just not the same inroad. And that's something I like about this podcast too is I'm like, you know, diving deeper into groundlings training and early, early I.O. And like you said, people who were like the very first ones to try a tag or do a sweep at it. It's like to dissect the history of how people figured out what made something funier or more successful or more fun to play is a wild privilege to have. Yeah. I mean, I think that like just in our generational lifetime, so this 25 years, I feel like when we

started, Paul and I both started at UCB in New York. So never, Paul, right, you never went to Chicago even for like classes or something. no red it so never chicago but so we are receiving the ucb armando dyes uh ali farinoccian generation of you know the family essentially we're we're receiving the movie form you know that that the family's you know signature style was the movie form that they had created and they'd created this form that had like it like in that way that sometimes improv does the elements of the movie form had fully invaded everything else. So like filmic description pervaded all of ASCAT, all, and then as we started to learn,

all of our heralds had filmic kind of language, this kind of we see this person is this. We see that we take you to that, blah, blah, blah. When Adam McKay did that the first time at an ASCat, it blew my mind because it was like, whoa, wait, what is happening? Yeah. So they would edit, like, let's say they lead a tag. and they're bringing you to the doctor's office, and they say, like, we take you to a doctor's office

and we see that the doctor is immaculately dressed and has a Rolex on, wow. Yeah. Not all the time, not every edit, not every time, but all of those tools that the family had built up with Dell as the movie form tools had pervaded everything, right? And so much so that when we came up, it was just part of how we worked.

We worked with all of that stuff. And then slowly, but what that stuff did was provide a bridge for the audience to get into faster moving scene work. You know, like, you didn't have to take the time to illustrate that now we're in a dentist's office and I'm the evil dentist who's the villain of the scene, blah, blah, blah, because the scenic description at the very beginning set it up, you know, and it moved the audience, it jumped the audience forward in time without them having to get there within five lines, you know? And it also was a way to kind of lay in jokes, right? Because it was this thing that you have a blank stage, a bunch of people up there just, you know, in their jeans and t-shirts. And now all of a sudden, visually, it pulled you in. I think that, like, that was a thing that was kind of interesting for me. I was coming from slightly more of a costume-based or, like, a look-based improv.

So seeing that, like, for the first time before I started taking classes, I was like, oh, wow, you can use your words to paint it. it all out. And, you know, and the audience is, you know, it's the difference with the audience finding out that you're in a tuxedo or being painted with a tuxedo. Either way, you know, it's going to be fulfilling, but it was fun to see. And then I think in, you know, only maybe 10 or so years later, all of that stuff was stripped out. Yep. In a way that felt to me important because I also, I felt like the audience had already caught up. Like the audience didn't need that bridge language anymore. We could still move just as fast without having to give all of the, without having to step out of the scene to be this other omniscient kind of character who

gets to describe and gets to, that went away completely. Nobody does that anymore. Everything is internal again. Isn't it cool that like on the micro level, this form improv is something that is about the relationship between the people on stage and the audience in the room that night, like on the micro level. But what you're describing shows that it's also that on a macro level that over a period of 10 years and audiences' needs and reactions

determined the course of the very art form and that something was stripped down because the audience didn't need it anymore. It's like a fractal structure. Like the whole is the part. I don't know if I talked about this on your show but it's something I talk about a lot.

When we first came to L.A. or UCB first came to L.A., I felt like we needed to back up a handful of steps for the audience to catch up with where we were in New York. And that was something, like one of the reasons that we built, I guess at that point, it was MySpace, was to show, no, no, this is improv. We're basing this on you. We're interviewing you. That's not a plant. We're bringing you up.

Like, it was almost like proving to the audience, like, this is improv. And then it all of a sudden it caught up, but it was like those first, maybe you. I feel like it was like just teaching the audience who hadn't seen this style, how to, what it was. And you could feel that palpably, like in the room in a show like MySpace or Facebook, you could feel like the audience was on board more than a show where you were just getting a suggestion and doing scenes. I also felt the audience was, and this is, now I'm full L.A., I don't think the audience was

as hip as they were in New York because we were making jokes in New York that I think were maybe harder or and the audience the audience i would i agree a hundred percent we're talking 2004 2005 yeah the or 2005 2006 i guess the audience i believe didn't get a lot of it it was moving too fast now i o existed groundlings existed but they were much they weren't as fast they were and we were we were used to a younger hipper audience in new york that was just showing up a lot to shows. So they were with, they had grown with us in a lot of ways or they were part of it. And it felt like in L.A. It took a minute to find that audience that was like, oh, whoa, this is it, you know. What's amazing to me is like in talking to people like Craig Kikowsky who were,

you know, like ground floor. The best. The absolute, the absolute fucking king. Yeah, the best. But these like old school Chicago people, Brian Stacks, another one, they observed that like when Besser and the UCB four kind of emerged as this force in Chicago and then moved to, or I guess it was the family that emerged like this. They said they pushed the style of improv to be a much faster, taggier style. And what's interesting to me is like then they brought that to New York and kind of led the charge there. Now you're talking about bringing that to L.A., but it all kind of originated from like Besser and Adam McKay and Ian, these like fast brains. And that's wild to me, that people in an art form can be so pivotal in their own, like,

style and the way their brain works that they can move the entire paradigm. Simply by being the way they are, Besser especially, I would say. Because McKay, I think McKay's impact is felt so large at Saturday Night Live, where he goes and then becomes head writer and dominates that environment. but Besser's importance cannot be underestimated, and Ian as well, because they are driven to New York to start a school to teach us their version of it, their fast, you know, what they would call punk rock improv, you know, like we want to play fast songs, fast short songs, boom, boom, move it, quick, quick, quick, hurry up, hurry up, hurry up, you know, it was all punk rock, it felt like that. And, and it wasn't, you know, notably, Wall, In the same group is an annoyance guy. Like when you took a, when, before the curriculum, as it is, got codified, when you took a Walsh class, you were taking an annoyance class.

You were taking a freewheeling, you know, open ended, anything is possible style annoyance class. Which was the coolest thing because the four of them came from very different, like it was like, you were, you weren't even just taking curriculum. You were taking four different perspectives on the same. like the core idea of what everyone was doing, but it was wildly different. And I will say as a result, very confusing.

Yes, right. I mean, I mean, but I do think that like there was an attitude of, all right, I've taught you what I need to teach you. Now you go over here. So like I took Walsh later in my run. So like, all right, I was probably with some people who had never really improvised. But then what he was doing was like freeing me up in the strictness. that I'd already come to, like, it was interesting, like, you could kind of do any of them in any

order, although I think, you know, it would, it, it probably was, I mean, coming from best or going down. Yeah, I mean, I think actually coming from Besser going down, that's the way I did it. It was almost like the hardest structure into the looser structure. That's tough. But it was, I felt very lucky that I got, I got Armando first, which, Paul, you didn't, because Armando hadn't arrived yet when you started. I felt very lucky because Armando was awesome. Armando Diaz, I feel like, doesn't get enough credit, doesn't get enough love as truly the, for generationally, for us, the goat teacher. Like the person who, who really helped take all of what the, what, you know, because I took Armando a couple of times. He, he was a mother, a long time, mother coach.

mother being the, the team that I was on, he really did a great job synthesizing everybody's stuff from Ian to Besser and giving it to you in a package that was understandable. So that it didn't seem like, well, wait a minute, Besser said this thing, and that directly contradicts this thing that Walsh said or this thing that Amy said. How do I justify those two things, you know? And Armando was very good at doing that of kind of what we're talking about. that saying giving you the information in a way that is they are all just trying to say this. And this move forward, we can all agree as necessary. They're just telling you how to do it differently.

Yeah, which to me is the difference between a great teacher and a great improviser. It's like a great teacher is basically a translator. They're like taking the wealth of information and then making it kind of palatable, understandable, you know. Armando was also one of those people who came in knowing a lot of different forms and wanting to, like, he taught us the Herald in the Dark, which was one of the coolest things. And it also taught us to play slower and play in different avenues, right? Because I just think it's, I think it's good to have different teachers. But I guess the question that I have for you is, you know, you're listening to Jason and I, we could keep you here forever. But like, what are, what are the episodes that you?

felt like, all right, I'm, I'm in, you know, if you're a person, you're in Texas, there's no improv theater, but you're trying to do something or you're interested in it. Like, what's like a good entry point for people? Because I think if you're an improviser, jump in at any point, you're going to find great stuff. But if there are people out there like, oh, I want to understand more. I want to like, what are good introductory episodes for people, if that's something at the top of your head? That's such a good question. It depends. There's maybe two avenues for this. One is, like, if you want more context and overview of long form itself, or if you want, like, practical tools for doing better scenes. In the first lane are, like,

Craig Kukowski, Brian Stack, both of you guys, you know, Kikowsky and Stack are good for the Chicago context. You guys are good for the New York context. Julie Brister's another New York early adopter. It's a great one. Will Hines also. Oh, yeah. Incredible. Yeah.

And I'll throw in Getherd in that New York contingent as well. A hundred percent. But in the lane of practical improv advice, I think Mike McClendon's episode is great with a lot of, like, really actionable, simple tools and methods. Teo Yang had some fun hot takes on heralds and openings that I really liked. Man, I'm forgetting so many people. But this is a great way to start. And, you know, and I also... It's good for our audience as well, because our audience are not necessarily improv diehards.

So it's good to be able to give people different ways in. And I would say, too, the way that, like, we talk about, like, if for people, Whenever somebody says, like, how can I get somebody into your podcast, to our podcast, rather, I'm always like, oh, have them pick a movie that they like, you know, or so, and that's the same for your podcast. Look on the list of people that are there and pick out the people that you like or recognize. And for, for listeners of this podcast, it could be Paul and myself, but it could also be, like I said, Getherd or Paul F. Tompkins or there's a lot of people in your list that are going to be recognizable to folks. And then once you're in, then just start, because there are, one of the things that I love about the podcast, even though I couldn't be more inside improv, is you're interviewing generationally younger people that I just do not know. Right. And to hear that generation talk, boy, is that exciting.

And that'll be relatable to a lot of your listeners. Like, I try to get all the dropout kids on Jacob Weissaki is another banger of an episode. Yeah. Jamie Moyer, another great one. She came up through Second City, Detroit, and has kind of a different angle on everything, more emotional play, more like freeing up your right brain, your inner child, you know. But, yeah, you're right. Find whatever strand you want to pull first, and then you won't be able to stop unraveling it, I think. But I will say just for me, like you've mentioned a couple of my favorites. Kukowski, I think, is just one of my favorite conversation. It's a, he's always the person at a party that I'm excited to talk to.

Yeah. You know, so I'm all, any time I can hear, I thought that episode is great. And then just two of my absolute favorite improvisers you've, you've interviewed, which is Dassey and Steph Weir. Oh, yes. To have, I completely forgot about that. Yes. To have both of those, like, true geniuses.

So funny. You know, who oftentimes, they're a married couple. So they, they work together on every level. I thought both of those episodes were invaluable. In the other part of this, that I think is kind of a, amazing is right now we are living in a time no matter where you live no matter what your access is for a couple of bucks you can watch some of these people uh jason and myself included improvising on stage in new york in los angeles and it's that's something that i really think is

awesome right uh i don't know how much i love videotaping improv but i also i i love the idea oh you mean live stream live streams yes yes okay Sorry, yeah, sorry, sorry. I'm sorry. Yeah, like, that to me is something that I think is really cool. Like, you know, whereas we probably, we heard a lot of stories. We'd never get to see any of these people. And you could watch people do fine shows.

Like, you know what I'm saying? Then that's good to watch a fine show. Like, it could be like, maybe it's a great show. But it's also, like, sometimes it's like, oh, you get to see the whole thing. It's not mythologized as much, which I think is a good thing sometimes, too, to see the balance of it. And that's one of the goals of our podcast, too, is to not only, be this repository of improv history, but also basically very, very, very dirt cheap masterclasses. Right.

And, you know, Susan Messing was in town a few months ago, and I took her masterclass. And it was basically all the same content as her part two of our yes also episode. So I was like, man, for eight bucks a month, people, it's like a cup of coffee. And they're getting six extra episodes a month that it's just, when I was coming up, the only option was to spend hundreds of dollars on an eight-week class. And now it's like you can spend a little bit of money and get all of this knowledge and all these like exercises and listen to people. And I love the part of, it's what you're talking about right there. I love the how did you come up.

It's great. It's great to hear how people found improv, who their teachers were, et cetera. Great. Fine. What I, what I digest with such glee is process is how do you? Because, you know, as much as if I talk to. stack or something like that. I'm happy to hear tales of the old days.

I want to hear about jazz Freddie, blah, blah, blah. But I really want to hear, how do you do this? What are you, you know, like, that to me is what your podcast is giving, especially in that second half that, and I would come back to the podcast and just do three hours of process questions from the audience. So you know what I mean? Yeah. That's the stuff that we can all mythologize and romanticize, uh, nostalgic.

for like, I was there when, you know, this happened and that happened. I was in the room when blah, blah, who cares? What I'm really interested in what I'm really curious about is kind of what we're talking about is how do we, even now, 25 years in, the fact that I'm still watching people, like I watched Brian Stack in Washington, D.C. During Gravid Water a couple of years ago, play incredibly economically with seeing partners, with such few lines, making the most with such few lines, whereas then I would go on stage in the same exact show

and just drown in improvised lines that I was, that I was the one doing, that I couldn't immediately do what he was doing. And that was making me so frustrated. And I spent the last three years trying to do what he was doing. It's incredible, you know, that's all I want to talk about is, is even 25 years in, I think, for those of us who are still obsessed with

or still invested in doing regular shows, there is still so much further to go. Well, that's, I mean, that's the thing that you brought to me, which is, like, thinking about it in a way, looking at it differently, like, it's even setting little goals for myself for fun. Like, I love performing and I love doing this. But, like, I think about it in a way

that I haven't thought about it in a long time because it is, like, analyzing the moves and trying to work, against certain instincts. And I love that ability, especially as we get into it. And you, you teach. So you're, you, this is a whole entry point for anyone in the world of comedy. Go to your website. Listen to the podcast. Subscribe to the supercast. You get all this bonus content. You get a, a bonus Instagram as well. Some fun stuff on the area. Oh yeah. You can become our close friends on Instagram and then allows you to submit questions to our future guests directly. It's really cool. When both of you came on,

you had people who had, like, reached out specifically to you with questions. It's a cool access. Let me ask you one question before we let you go. I think when I first started doing improv, it felt like, wow, this style, this long-form style is not, like, I can't take this on the road. And now all I'm seeing are people doing improv, long-form improv on the road. And I wanted to get your take on, like, what do you think change? What do you, because we're talking about, oh, well, L.A. had to catch up or this place at the catch up.

Like, what do you think is different? Like, that makes it something that people now, it's like an art form like stand-up or something like that. I feel like, from where I sit, it worked on the road before in colleges. Like, you know, when I was in college even, like, you know, there was word of an improv group coming through town. We knew what second city was. We knew to like it because whose line existed. So there was like that was something that college kids would see. I think the difference now with people like you guys and Ben Schwartz and the dropout kids like selling out these

huge venues is that now you guys have the benefits of like a fame level, a clout with the general public. So people know to trust like they see Ben Schwartz on a marquee and they go, I love that guy. He's so funny. I don't know what this is. And often, I've done a couple of his tour shows and he'll pull the audience before the show and be like, how many of you have seen improv before? And like a third, like a thousand out of three thousand will clap. And then it's like, how many people have no idea what this is and you thought you were going to see a stand-up show? And it's like a raucous cheer. Wow. You know, something I just started doing on the last tour that we did was I started asking do you do people know what improv is and the and it was resoundingly no and what i think i was

able to do for the first time and i'm like i can't believe i've done this it's what i kind of do with when we do with how to this kind of set the tone like this is what you're going to see this is what's going to happen like old like in the very in a very baseline like we're making this stuff up we're talking to you we're going to use it to improv like we kind of let them in on it and i felt like the shows that we did on this last tour, they always are really fun, but I felt like they were really fun right from, right from go. And I think the difference was, like, for a majority of that audience, they're like, I think they're like, oh, is it going to be a stand-up show now? Is somebody else going to come out? Like, what am I seeing? And I feel like letting them in and you forget,

oh my God, right, they don't exactly know what they're seeing. And it's so fun to do shows for people who are about to have their minds blown. Yeah. You have never seen improv and they're about to see like the top level of improv from people who have done it for 25 years and it's an art form they didn't even know existed. That's fun. That's a whole new layer that's beyond doing great shows for an Askat crowd or a crowd that's mostly improvisers. Yeah. I also think like I can't, I don't think we can underestimate how much podcasts, comedy podcasts. Yes. Have educated a generation to receive, if not improv comedy, which in some case is Comedy Bang Bang or Bessor's show. Improop for humans. You know, that is straight

improv, scenic-based improv. We get that. But even our show or other comedy shows are at least priming people for a style of comedy that then when they go to Ben Schwartz or when they go to dinosaur or when they go to, you know, any of these touring shows, they are, they understand improv a little bit more than just a cold audience who just is like what is it you know um i think yeah yeah comedy podcasts have done a little bit seated the the terrain a little bit uh educated people enough to get them to the show right and even if they don't know why they're there they're excited to be there which is the difference between uh and i think i may talk about this on your show uh us uh respecto going to Minneapolis Mall of America

and doing a show on a Friday night at 8 o'clock and people being angry. You know. There was no, kill yourself was said in the first five minutes. He's like, all right. Well, not going to win over this crowd.

Susie, this has been awesome. Like we said, we love your show. It's the best. If you're in L.A., look up, Susie, because if you're interested in any of this stuff, she's teaching, she's out there, she's doing it all. Come find me.

Yeah, thanks so much for having me. on. And, yeah, hope to have you guys back on the show. This was awesome. I want to have you guys back on Yes, Also, Together. Oh, my gosh. Do more of this. It's great. So fun. For everybody listening on our side, you know, go seek this podcast out. It will be incredibly informative and also very funny. Yes. Oh, it's so fun. Scenes often break out in your interviews. And it's a very funny way to oftentimes illustrate something that the people are the interviewee and you are talking about. And that is also a very fun, unique element to the show, which I always enjoy. Yeah. Cool. Well, thanks for having me and thanks again for all the love and support of the pod. It's very awesome. All right, we will talk

to you later. Thanks, Susie. Thank you. Okay, we did it. Thanks again to Susie Barrett. Now it's finally time to announce our next movie. Next week, we'll be going from Boobes and shooters to ice cubes and computers okay no what was that so that rhymes i don't like that i don't like i don't like being forced i don't like rhymes being sprung on me wow that that was shocking that my whole system reacted to that so i'm gonna i'm not i you can keep all this in but next week i'm i'm not gonna do this whole rhyming we do i guess we do rhymes boy i don't know this we're because we're becoming What do we do it? We just do rhyming stuff now.

The show's becoming too cute, Scott. We can't be this cute. Next week, we're going to be covering Ice Cube's movie War of the Worlds. And if you haven't watched this, I got to tell you, you have to check it out. It's absolutely bananas. I guess you guys have all been demanding it, and I'll be honest, whether you asked for it or not, We absolutely were going to have to cover this because having now seen it and talked about it, this was nuts.

The movie stars Ice Cube, Eva Longoria, Clark Gregg, a bunch of other people. Here's a breakdown of the plot. You don't need, do you need a breakdown of the plot? Do you need, it's War of the Worlds, guys. Except what if War of the Worlds took place on a computer screen? Because Cube is on a computer, the whole movie. Rotten Tomatoes rates this movie at two. percent. And for our review snippet, I'll pull a quote from the only positive review of the movie

on Rotten Tomatoes, Jordan Hoffman from Entertainment Weekly writes, is this movie really that bad? The answer is, dot, dot, dot, absolutely not. It's certainly stupid, but it's also a great deal of fun. War of the Worlds is never boring. It is filled with entertaining lines, and it has a cheese factor that is perfectly self-aware. I agree with Jordan Hoffman right here. And I think, you know, without giving away too much, I think we all felt similarly. We had a blast. Just as Jordan Hoffman did here, it's, it is, the cheese factor is perfectly self-aware. I think they're having a blast in this movie.

You know what? Let's listen to the trailer. Dad, when's the last time you left the office? That's classified. Our most precious resource on Earth is data. and data is food for the superior intelligence. Eye witness video is coming in from all over the world. Terrifying machines riding out of these meteors.

Dad! Get away from that! Get out of there! Daddy! Okay, that's the trailer. I think you get it now. So tune in. It's going to be a great one.

One last thing that we don't mention in the episode, but I think is worth mentioning here for War of the Worlds is that the very real tagline for this movie is, quote, it's worse than you think, unquote. You can only watch War of the Worlds on Amazon Prime, but even if you have ad-free Prime video, guess what? You're going to be receiving quite a few Amazon ads

during this movie. There is, I don't want to say anything, but one of the characters is driving an Amazon delivery truck. So that's part of the movie. But you know what? Here's the thing. I don't love that next week's movies only available on a subscription service. And we always try and look out for you guys and keep it such that our movies are available on free streaming services,

many of which are available through your library. I'm talking about your canopies, your Libby's, your hooplas. These are free digital media services that are offered by your local library. You can watch a lot of the movies that we cover. They have a surprisingly robust library of stuff that you can get. And they have e-books and they have audiobooks. So it's not just your library isn't just helping you with how did this get made movies. It's also helping you listen to all the Bosch books as audiobooks.

You know, what are you up to? I mean, if I'm, if I, I'm spending the summer re-listening to the Star Wars Thrawn audiobooks, guess what? They're available through the library. So, Hoopla, Canopy and Libby, these are free digital streaming services that are available through your library. We love the libraries. We love the librarians that show up to our shows.

There's always quite a few of them in the audience. And as they say in Boise, I think they, I think Boise had the right idea. put an exclamation point at the end of all our libraries. Stop asking about the library. Stop giving libraries a question mark or a period at the end. The library? It's too soft. We have to reiterate it that we are library.

That's it for last looks. If you listen on Apple Podcasts or Spotify, rate and review us. I know we always say it at the end of the episode. People forget to do it, but it does mean something, so do it up. Please also make sure you are following us on your podcast app and have automatic downloads turned on. It helps the show and we appreciate it. Visit us on all social media at HDTGM.

And a big thanks to our producers, Scott Sani and Molly Reynolds, our movie picking producer Averill Halley and our audio engineer Casey Hallford. An incredible team of people who make this absolutely dumb show run so well. We will see you next week for War of the World. olds, do yourselves a favor and watch it beforehand. It's a good one. Disconnect the discord as I can't, I mean, oh boy, I feel like I've got hives from talking about the discord so much in the last hour. I've got to have to go and do an EpiPen. Eat shit, everybody.