Pablo Torre Finds Out - Share & Screenwrite & Tell with Domonique Foxworth and David Samson

Episode Date: September 17, 2024

It won’t be long before Domonique Foxworth — staff writer on American Sports Story: Aaron Hernandez, premiering tonight on FX — will no longer grace us with his presence, because his ego will have grown too large. But until then, Domonique joins the show to talk to Pablo and David Samson about the difference between journalism and entertainment; how to dramatize players and coaches he’s encountered, in real life; and why his pants are so tight. Also: beat sheets. Hosted on Acast. See acast.com/privacy for more information.

Welcome to Pablo Torre finds out. I am Pablo Torre, and today we're going to find out what this sound is. I just wish you could see his pants. You could be a Poe-Walter. Right after this ad. You're listening to Draf King's Network. I wanted to catch up and tell you that I value my time preciously. And what I'm most excited about today is to continue my journey of watching the show you wrote. And it wasn't for today's show, but I am going to watch every episode, and I can't wait to do it.

And I mean that. I don't have to do it. I love hearing that. And I also love the way it sounds like the show I wrote. Like, I was the only one. I did it all by myself, guys. Well, you're the only one I know. So that counts. And your name is right up there.

He has a card, a credit alone. Staff writer Dominique Foxworth in big-ass letters. That's like a very small staff. I was going to say, the staff, he's here. We welcome the staff of American Sports Story, colon, Aaron Hernandez, Dominique Foxworth. Staff writer is impressive to us outside of Hollywood.

Not impressive to the people inside Hollywood. So a lot of the other writers, I recognize their names. They got producer credits. So it's not that I'm the only writer in the credits. I'm the only writer who has the lowly title of staff writer, which is fine because it was my first time out. Make this illegible for us sports?

fans. What are you? What is a staff writer on a Hollywood production like this in sports or football terms? Offensive lineman, I guess. It's not a glory position, but you do a lot of the work that allows the rest of the sausage to be made. If you assume that, like, the creator is, like, the quarterback. Because, like, movies, I think, is a director's medium, people believe. TV is a writer's medium, and their showrunner is kind of the head of that. And then, like, actors and stuff, you think of more as like receivers and cornerbacks, more glory positions. We're definitely in the trenches. We all here blocking and...

Protecting. Protecting the more valuable humans. Yeah, but they get paid really well if you're good. If you're a good offensive lineman, you can make a living. Yeah, we're interior linemen. I mean, you can make a living. Of course you make a living. Minimum is a living.

It's not so terrible. Not for you, maybe. For the rest of us, folks, that's a living. I just like how Dominique is already just like casually, slipping in these cultural observations about Hollywood, movies, director. I think these are known. This is known things, right? For somebody who went away, who, by the way, I'm so glad the three of us can get together, obviously. I've missed this. We made fun of each other immediately upon seeing each other.

That's how men show they love each other. And we're, David's learning. I just wish you could see his pants. David is. You could be a Polter. Oh, that is. David is a little jealous. A newly graphic comparison given some clips we've seen from the Olympics. Well played, David Sampson. That's how you say something without saying it.

He's a pro. I think he's just jealous. Which is fine. I dislike that we already got to talking about your dick within like, you know, three minutes. It's almost impossible to avoid, given his choice of outfit today. I mean, especially given my height, his height. I mean, it just happens. You have certain attributes.

You have to lean on the one. you have. Back to staff writer. Are you... Talk about a staff. All right, so what you got to know up top here is that Dominique Foxworth, very secretly, went Hollywood. He was, in fact, a staff writer on a new FX series, a television series, premiering tonight, entitled American Sports Story, Aaron Hernandez. And it is a fictionalized depiction of the life and demise of one of the most infamous characters in modern sports.

the former New England Patriots star tight end, Aaron Hernandez. And for me and David Sampson, who agreed to watch the first two episodes of the show, it was something that raised many, many questions, including about what it was like to work on a show about the NFL, while also being a retired NFL player himself, who played against these people, who knew some of them, that then got depicted in this fictionalized and dramatized way. All of that is to say that there was a lot for us to find out

about the process and the ethics and the ego in Hollywood. I actually think that my butt is nice. That's why I have on a tight pants. I thought David's going to go butt. Yeah. Man's a showman. He knows something. I would have lost the poval joke.

Yeah. This was all about the joke, to be clear. Yes, let's be very clear. This was all about David's setting up the joke. This is all about just a couple of, well, in this case, three men expressing intimacy in the only way that men know how. After watching his show, that's about apparently a dark, dark story that also raises questions about where Dominique went

in order to make this as good as it is. It's good? Well, then I made it. All by myself. Don't be that way. Oh, I know. You got to own it. You don't think you can get one bad review.

You think everything's going to be butterflies and unicorns for this show? You got to have a fixed game. You mean for this show between, or you mean everybody in the world? I expect butterflies and unicorns from you guys. Like, that's what friends do. Like, you're going to lie and say it's great. I don't think David. That is true.

That is true. You, on the other hand. Buddy, I'm here to just give you some butterflies and unicorns. I went into it expecting not to like it as I was preparing to do the show today. Which is true because he told me. He was like, what are we doing? Because I was asked to watch several of the episodes, and I did. but I went in absolutely upset about the time allocation

and I had other stuff that I had to do but we were up to a deadline to record this and I must tell you and I said, believe me, this did not end the way I thought it had me fast and that's what you have to do with these shows with these episodic shows that come out two episodes on September 17th

and then one a week until November 2nd. Look at that friendship. It's a friendship of promotion. That's the highest honor Love language. Truly. For Pablo. Pablo loves nothing more than someone doing his show, promoting his show, anything that has to do with his damn show.

I appreciate it, David. Thank you very much. And I know from you, it's genuine because, yeah, you're a pretty honest guy, which I respect. I am. I thought the casting was amazing. I actually thought the intro, the way you hook people, when you got to watch the beginning of episode one. And you'll be like, oh, this is not going to be your ordinary football story. The interesting thing, or the most interesting thing about, since my first time in the writer's room,

it jumped out to me how involved we all are in every aspect of the show, how painstaking the process is from beginning to end, excuse me, not every show, every episode. And then we go off and write our own episode, but it was kind of shocking to me how involved we were in writing all the episodes. And then you bring the episode back and people tweak it. And then eventually the showrunner takes all that episode. and does his final write-through and make sure everything's okay. And then it goes off to all these other, just so many hands it touches before it actually becomes what you consume.

And it makes it clear to me where there are lots of shows that I've seen promoted where I'm like, no way they can mess this up, this is going to be great. After going through the process, I see how you can mess it up because there's so many different people's visions that you have to have on the same accord. And sometimes having them on different accords makes for a quality product. But I mean, football is a great analogy for it because it's the same thing where it's like one person could fuck all of this up.

Right, right. A missed block leads to... So to that point, again, the metaphor sort of eating its own tail here, you were the football player in the room, right? We should be clear that, well, actually, I don't know exactly how you even got the job that led to you sometimes saying to me, I can't do your show, I got to be in the writer's room

this afternoon after I do like first take. So like I mentioned, it's always something I wanted to do. I let my agent know that's something I want to do. I've written scripts and all these other things in the past, and I got the opportunity. So I met with Stu Zickerman, the showrunner, and he agreed to have me on as a consultant, which, I mean, I took that as a huge insult holder, essentially. Was it paid? Yeah, it was a paid consultant.

Yeah. By the way, David, did you just clock how he was like, I've written a couple scripts before? I mean, they're not. They're not good. They haven't been accepted. I didn't submit it as a writing sample because I didn't think it was good enough. But the point being that I think, and I resemble this remark, there are lots of certainly journalists, non-Hollywood people who dream of one day having

the discipline to write any sort of a script. Or a book. Or a book. Like Levitard and Stu Guts. But quietly, Dominique, in the way that only he can, is just quietly achieving and then revealing it. It's not quiet anymore. Exactly, when there's a big fucking poster about it.

So he brought me on, and I get my hard time about this because he obviously didn't have any faith in me, which I get it. You only get so much money, and you only get so many spots in the writer's room. And he brought me on as a consultant as to not eat up a spot in the writer's room. And I think he assumed, because I had another full-time job, that I was going to be half in or half out. And after the first week of being fully involved in adding some value, they sent over a contract. And then time went on and he was like, maybe you could try an episode, write an episode. And so that's how it built to the point where got some credits. Did they tell you where to start and where it ends in the entire story?

You say an episode. So I figured it was one script that they then break into 10 shows. Are they 10 separate shows that they then put together? There's zero scripts. We come in and we first start to talk about the themes that we think are important. Talk about the characters and who they are away from the show. Like build out a full image of the characters, pull out a full image of the themes.

We point out specific things that we think is important to have. We go through particular potholes. Like the writing room, we don't get to the script until a couple weeks into the writing room where we're building out all this stuff to give ourselves the support. so when we start writing, we don't just go off course. So we build all that out, and no one goes off and writes, and then we start doing a beat sheet. And we do beat sheets for each of the characters,

which include lots of things that will never show up on the show, but things that we need to understand to make sure the story's cohesive. And then we start to combine beat sheets for the characters in particular shows, and then that makes for a specific episode. Then someone goes off and writes an episode, and then you get an assignment to write a specific scene. Or before we get to the episodes, people find issues with the beat sheet. You get sent homework.

Like, all right, over tonight, you need to address this probably the beach sheet. Are you getting bored or should I keep going? No, I actually want to add a bit of specificity here because the character is in this show, you know, it's Urban Meyer. It's Tim Tebow, let alone Aaron Hernandez. And the, by the way, high school teammate of Aaron Hernandez with whom he had a gay relationship. All of this, by the way, backed. Is that a spoiler alert? Well, so it's very early in episode.

one that you hear it. So you double down on the spoiler. Yes. Doubling down. But it's also previously reported, which is materially important, by the Boston Globe and their spotlight team. So the show, I want to be clear about this too, this is a dramatization of journalistic work. And it was a multi-part podcast series by the Boston Globe, and the series is very good as a matter of just like revealing stuff like the thing I just spoiled with great clarity. Like, it's not, that part is not the invention. But how you then take the thing and dramatize it,

I'm curious how you approach that, like via a beat sheet. We all have the instinct to be accurate, which is an important instinct. But there are need to be accurate to the feeling and not accurate to the event. And that was challenging for me because I live in the football world, and these are football people that I actually know. That you played against.

Yeah. And so thinking like, man, and also when we're doing football scenes, a lot of it is like, man, this is really, like when I watch sports shows, some of those things feel like I imagine how doctors feel when they watch medical shows where it like eats at me a little bit that somebody messes up. And like being able to rid myself of that instinct because I recognize that the most important thing for us is to make something entertaining. we don't get to any of the other goals if we don't make it entertaining. And there have been docs, again, there have been other docs, there have been podcast series. And by the way, this is another bit of just setup

for people who don't know this. Like, this is the series that when our friend Ezra Edelman released his multi-part Oscar-winning OJ Made in America documentary, there was a parallel, dramatized, fictionalized series in the American Crime Story, coaching tree, as it were. And when I first saw that, I was like, I don't want to watch that at all because I want the real thing.

And it was my first window into, but they did it so well that I actually want this on different dramatized terms. And this is that. This is the equivalent of that. Absolutely. And that was one of the more challenging parts. And because I am kind of working in journalism and sports journalism, it's like always pulling to be like, but how actor is that? But it's important to understand that what you are you're trying to convey is. is the feeling, an emotion, an understanding,

and you can't, even documentaries can't be fully accurate because nobody was there. You can't show every little thing. And when you're trying to, like, assign motivation, you don't know what the motivation was. Like, these are things that you can't do. So those are challenges that we had to face and were particularly difficult for me

because this was not, like, this is kind of... Your job as the consultant was, like, help us get the football right. That's how it started. And then you're like, but let me get this beat into this sheet. And you've got to make sure that you're not typecasts going forward because you don't want to just be looked at as a consultant on a football show. Of course. You think Dominique is like, yeah, I'm satisfied being just the football guy. I mean, you got to actually say, man, I had nothing to do.

I didn't even know this was a football story. This to me is not a – and when you market this, it's not a football story. And that's why it's a great one. Right. Because it's not just that by any means. It's two things that are occurring to me about being a journalist, which I'm not. It means that the truth matters to. to you. And it must be difficult to work on a show where you know by definition you are putting

something on the screen that doesn't pass journalistic standards as they used to be or as you still hold them to. And you're saying that you had to sort of bifurcate your brain into allowing the entertainment to take over the journalism, which is a metaphor for really the world we're in now. And so it's interesting to me to see what one show. You're responsible for Donald Trump. Yeah, that's what I feel. It's sort of where I'm going. you're now on the other side, and now you see the importance of the entertainment, and I'm wondering whether that's going to impact

your journalistic half of your brain. It's hard to do both. It's not that hard to do both, I think, because I think what people need to understand is there's a difference. No one's holding us out to be top-level journalism, and I think that... I don't agree with you. People are watching the show to learn exactly what happened

in the Aaron Hernandez case. I like that we've got into, like, the thorny philosophy around, like, what should we make given some amount of noble truth? Do we make something that is stuck and constrained by that noability? Or do we make something that can become a story for someone else to enjoy on the terms of entertainment? What David is saying, which I do empathize with, is the idea of there are some people who will not watch, let's say, O.J. Made in America, the documentary. They'll merely watch the Cuba Gooding Jr. version, and they will think this is what it was like.

and they will move on with their lives and not really interrogate whether this was the noble truth or not. So I guess there's part of that inevitably. So I guess my question for you is because I don't feel the same friction or conflict as you guys feel. Maybe I should. But I think what was difficult for me was just getting to that point of understanding and accepting that. I don't believe that it's important to be literally accurate. I think that in this case, maybe in the outtake in the far as extreme that there are people who have never heard about this story and they're only learning about it through this. So what is the hope for teaching someone this story or for allowing someone to know the story?

Even journalism in general is to expose people to things that they haven't thought of, allow them to have more information to get access to people's lives that they have an experience, to broaden their view, like all of these high-minded things. we do all of those things. And so while there's nothing in there that is that I think is... No, no, no, I think there's plenty of things in there that are made up, but there's nothing in there that I believe violates the core of the story that's being told. Right. So two thoughts. One is that, of course, the disclaimer to Dominique's description is that there is a literal disclaimer on the show.

It is not being presented as a documentary at all. all it's very obvious that it's not. So once you sort of disclose this is what we're doing and why, I think you treat it on the terms that have been set. So I don't have a conscience that is sort of like a radar, you know, pinging me of like you should be concerned that this is. I think we're different though. Go back to when JFK came out, the Oliver Stone movie.

I don't know if you guys were, I remember that. I remember that. It was a very long time ago. There were people who thought that that's exactly how it all went down, that this was Oliver Stone giving us a dramatic. reenactment of the circumstances surrounding his assassination. I think I get it.

I get the idea that there are some people that you're almost intuitively trying to be paternalistic towards because you're like, are we warping people's sense of history by feeding them a fictionalized version of nonfiction? Obviously, we're making entertainment so they're going to be big sensationalized moments. But I had, I got so much joy out of sitting in the writer's room and talking about wanting to express something in a tiny way to the people who watch TV this way, we're going to put this little nod here. And some people are going to see it and some people aren't.

But for the people who see it, it reminds me so much of like music, any art where it's like you listen to a hip-hop song 30 times and you don't catch it. But at 35th time, you're like, huh. And like that to me is a sensation that I felt often when we were making this show, when I just felt, Like being on the inside of that, seeing how you come to that, and also recognizing that there were most of those little nods that we put in the show, we did not agree on what they were saying, which is so fun and so cool to be like, look, that's there. It's like authors in the book.

Yeah, that's there. You're going to look at this through your prism, and it's going to hit you from the way that you've experienced your life. And that, to me, was gold. I love this part of the sort of inside the writer's studio thing because the one character that I want to use as a case study in this is Urban Meyer. So the first time you meet Urban Meyer, I believe it's the first time in the show,

he is getting his makeup done. And there's a thing that I'm like, this seems to me fictionalized, but the decision to include it feels spiritually in terms of, again, the spirit of what happened in real life, both accurate and also incredibly impactful. Set the scene, though, for the basic premise. So the camera is zooming in on Urban Meyer,

and you see him getting eyeliner applied. Again, we're in this already discussion about masculinity, right? And so already there's that part of it. Surrounded by college co-ed cheerleaders. I love nerds. Surrounded by these college co-ed cheerleaders, right? As this man who is supposed to be, the new father figure for Aaron Hernandez,

has this makeup applied. And he's also, by the way, and this is where you get into the other part of why the show is effective, is that this dude's voice, the voice of fake Urban Meyer, is, it's enough like real Urban Meyer where I'm like,

okay, I'm in it now. Well, you picked a perfect scene to discuss because it brings together a lot of things that we've already talked about. So, that scene was born of us originally, I believe there's a Sports Illustrated cover where Urban Meyer is on there with all of,

he'd won the national championship, he had the top recruiting class. He's on the cover with the top recruiting class. That's Sports Illustrated, I believe, when that cover was made. Right. So that was the beginning of the idea. It changed. And so, like, that's not completely accurate. But it was an opportunity for us to say all the things about the character of Urban Meyer

and the show that we wanted to say and to get him into your head, we start the episode, bam. You know all the things that we want you to know about him. The civius, prurient, only cares about winning, doesn't actually care about the kids and pretends to be religious. Were those the five takeaways from the first scene? I'm not here to take a quiz. It's the things that you take away from it.

If those are things that you took away from it? But even more simplified, the theater of what it means to be a leader of men. And it is so much more like the play acting, as implied by theater makeup. eye liner, a feminine gesture to a very masculine person who is then going to reveal himself to be obviously manipulative. I was taken aback by the footrub scene.

Right. That really got me in a way that I was not prepared for. And I was thinking about the writer's room and how that scene made it in because there weren't a lot of words. This is his dad now, not Urban Meyer. Yes. But the foot rub scene, can you, do you remember how that, are you going to say that's another example, hey David, take from that what you will, because I found it to be, is it homo erotic?

I found it to be very telling about. Religious? Is it the father telling the son? I know who you are and I'm that way too. I get it. Is it simply, man, my feet hurt when I played football, which is the only word spoken in the scene. Man, my feet used to hurt after I played too. I would say that we would turn this off and I would tell you the truth, but I don't think I'm in a position to speak to that. We didn't define these things. Like, I think we talked about the themes that we wanted to incorporate. But the truest thing you can say about art is often what you see is what you bring to it. And I think a lot of us bring... Have a take, Dominique.

Look at this. How do you know a guy is moving on to Hollywood from Sports Debate Television? He's like, guys, this is about what you bring to it. You can tell that he's already using this to do another one. He wants to not do another football-related one. He's dressing Hollywood. He's acting Hollywood. Hold on.

I feel as though we won't even be invited when he gets... called on stage to win an Oscar or Emmy. The ego of you guys to think that we would be invited. That this show is going to springboard my TV writing and film writing career. The ego. But the

10... Okay, but back to the ego. He softly slowly drinks his water. I mean, this show? Good. I'm doing... This is a favor for my man, Pablo, because I love him. The ego of his father, right? And that scene, there's

also obviously a tenderness. It's this, and this is what the show does well, too. You're not as a character, as per these beat sheets, I presume, you're not just one thing, right? You're a bunch of stuff. And so the dad is both abusive and horrible and is a guy who got a legend among gangbangers for not talking to the cops when detained by the police, which informs Aaron's own sense, it seems, of heroism and, again, toughness and masculinity. But also a guy. who knows on some level what it was like to be a football player who was not good enough. And here is the kid who's supposed to be all the things that you were not. So many parents of players I've had are failed players themselves and they lived the life

through their kids. I was not sympathetic toward that character at all. Well, hold on, though. I'm not saying that you should be sympathetic. Although I do think it's worth discussing the complexity, Dominique, of what happens when your protagonist is also not just the guy who ends up that way in prison, but is a villain. That was one of the things that we were explicit about.

We wanted to make a show that humanized Aaron but doesn't justify Aaron. And I think that was one of the thing that we talked about it and we asked ourselves often. We wanted to try to give context but not excuse. And I think so that for the, you're saying that you didn't sympathize with the father, good. We weren't looking and you don't sympathize with Aaron. Good. We're not looking for anybody to sympathize with these characters, but just to understand the full breath.

Because we all do this where you flatten. You flatten people. You flatten them. You hear about somebody and you're just like, someone does one thing or do a couple things, and that's who they become and you flatten them. And so our goal, I guess, was to add a few dimensions. But every show needs someone to root for.

And so I'm looking forward to watching the rest of the episodes and seen, because so far, I'm not rooting for anyone yet. I, so I need to find someone. As the guy in here in the sports coat, you are coming off as very conservative in that you don't, I mean, are you enjoying the show? Very much so, but... And do you have someone to root for? No. All right.

But I still have eight episodes left. I don't know. Wait, wait, but this, I love this part of the conversation, too, because when you have in Aaron Hernandez, someone who had fucking killed someone, you are literally... This is a historical. Why am I breaking the news? Because the majority of people don't know who Aaron Hernandez is. By the way, JFK gets shot. You're comparing Aaron Hernandez to JFK?

Talk about ego for Dominique. There's a bunch of jokes I want to make about hits to the head that I'm just not going to. You just wanted to let everyone know that you're capable. I could. That you made the connection. Too late. Too late. So the question, though, of is it inevitable when your main character is an evil?

person, and again, a flattened term that feels almost biblical in its pronouncement, evil, but someone who did really evil shit, right? When he's your protagonist, it's almost inevitable as a human watching something to then be tempted to empathize. It's a fascinating trick of human nature, of writing, and I think part of what's so difficult about threading the needle of a show like this or any show that's about, any movie that's about a bad guy, is that tension of like, am I beginning to root for him? Or is there something I can root for?

I happen to disagree with you. I think every show has to have that. And I think every show does in order for it to be successful. It could still be the villain. But there has to be something. And when you're in the writer's room, is there not talk about, hey, let's make sure when we're, when we're fleshing out these characters, is anyone here likable? No, there's no talk of that.

And I don't think that it has to be. I think I understand what you're saying, and I think that it doesn't have to be a person, it could be a thing. I think you have to be emotionally invested. Yes. And in order to be emotionally invested, it does not mean. I think the traditional way to do that,

and the most consistent and probably reliable way to do it and riskless way to do that, is like, we immediately make you identify with someone because then you are rooting for them because you're rooting for yourself. I think it's much more difficult to pull off with Stu in our writer's room where, are attempting to try to pull off.

And it's yet to be known whether we pulled it off or not, but I think that that's more sophisticated and fun and challenging. I think there's anything sophisticated about the first scene. I think you did that to pull people in because you know the way of viewing habits are.

Stu's no fool, and I don't know him, but when you've got episodic television or movies, would not? You would. Would. Do you agree that you got to get someone fast? Yeah. And that, and I promise you,

When you watch this show, you're in from the beginning. It's not a slow. You know how some people read books and like, man, the first 100 pages I can barely get through. Just do it. It'll be worth your while. Those sort of days are coming to an end. First 100 pages. You read 100 pages.

I count that as a full book. You read a book. But this show gets you in the first two minutes. It's interesting that you're saying that we haven't done that, but we did grab you. Like, we have not established. No, I'm saying you did do it. I'm saying that. Oh, but we haven't established someone for you to root for.

Correct. But we still, so yeah. You got me in, but I don't have anyone to root for yet. And it may end with me not rooting for anyone. As the villain of Metal Arc Media, David, it is fitting that you have this conundrum. I believe that I'm not alone here. But again, I often think that I'm not alone, and it turns out I am. No, I look, but I think ethically, and again, maybe it's not even ethical,

the conversation that we should have about, like, what's the harm of making your main character a villain who does bad things, that you then begin to understand because he is subject to, And this is fair and true and reported by the Boston Globe as well. He is the product of a laundry list of beats, literal and figurative. He is abused by his dad.

He is physically damaged neurologically by organized football, the institution. Boyler. Right? Every part of it. It's very strange what you're doing, but the point... He's fine to undercut me.

He wants my show to fail because he's a little jealous. The point of it, I promise you, if you watch this show and you don't have a sense of how Aaron Hernandez is of course responsible for his actions, but also the product of a multivariate equation in which all of these things make him f*** up, then you're not listening closely enough, right? This is not as simple as good and bad.

I mean, nothing ever is. And I think back to the point that you were making, I took a class about like screenwriting and I read a couple books about screenwriting. When did you do this? No, I mean, it was an online class. No, but how many hours? Did you get credit? Yeah. Did you print out a diploma?

No, I didn't do it. Do you have a master's in screenwriting? No, it was a class. Good for you. I've read a couple books on it, and I bring that up to say that there are specific things that you're talking about that all these books and all these classes taught me. Never came up in the writing room. Never came up in the writing room. I was so ready to use my jargon and talk about how you have a sense for story arc,

and you have a sense for these things that you know you're trying to hit, but no one ever talks about them, and it's almost like it feels. So to your point, we would never be like, but who are they going to root for? There's another character that's just fun for me where I was like, is this dramatized?

And it's the way that Urban Meyer at Florida managed to very effectively make things legally go away. There's a fight. Aaron Hernandez is involved. Tim Tebow. It's very funny, right? Like you see, and again, I don't know if it happened this way specifically, but you smash cut to Aaron Hernandez is outside on the sidewalk.

There are cop cars. Tim Tebow is talking to the cops because it's perfect that he would be that guy. And then there is this character who shows up who's named Huntley Johnson. The wolf. Exactly, the fixer, the wolf of Gainesville. And suddenly you're in a dark paneled woodroom, and there is Huntley Johnson and Aaron Hernandez, and Aaron Hernandez is learning how all of these problems can be made to disappear.

And then I listened to the Boston Globe podcast series and I was like, Hunley Johnson was a real fuck guy. I got in major trouble on the Levitard show when I told people that we have as part of teams that you have that. You've got the wolf. You've got people in the legal community.

You've got people on the police force. You've got people retired police. You've got a lot of things going on to make things go away. And I remember well during this episode on Dan's show that Dan was like, hey, you really struck a nerve with people because they weren't aware of that abusive power that professional sports is. And I said, really?

No, but like, do you think people are going to watch to say, wow, the Florida players got treated differently in Gainesville? Maybe. No, I doubt it. I think people expect that. And yeah, that was a real person. We weren't there, but, I mean, those are legitimate events. And I appreciate you keep bringing up these characters in it.

And we're in the early stages. We get even more characters going. forward. You haven't made it to, I will not also spoil, but there's some fun character. I mean, we still got all the NFL stuff. Right. We haven't gotten into England yet. We have until November 2nd. Well played. Got a long of time. How do you know the, the series? You can read. I keep track of what I'm watching episodically on my phone so I know which day the shows come out so I can make sure to watch them. How else would you remember? I do. I show it to you right now.

I think I don't believe you. That's the reaction we're having is of disbelief. It's of, of course you do. I forget how much I love you. I just forget sometimes. When David says that he liked this and watched it and looks forward to watching more of it, I do want to remind our audience that David Sampson is insatiable

when it comes to trying things and either liking them or disliking them strongly and bluntly, but nonetheless having such a sample that his opinion is, I think uniquely born of just so many hours. Well, I texted Dominique on this, actually, before we got here today. And I wanted him to know that, A, I was going to watch it. B, I was going to be honest with my assessment of it. And when I say that it got me, I was going to, I didn't think you wanted me here just to kiss his ass because you're doing that and spoiling.

And that's the role you're playing. It's talented. There's a lot of ass. It's no. It's very confined, actually, right now. It sits up nice and high, though, is the point. Strong. It's very muscular.

Kissing up in a, again, quite literal sense. I just was fascinated. I had no idea. I have another epiphany for you. I had no idea, A, this was coming out, be that you were involved until I was asked to participate in this. I was not aware of it, and that's what made it even more interesting to me

because you knew when we were together doing shows, you knew you were doing this or that it was coming out. It never came up, never mentioned, and I totally love that. You didn't flex it because Pablo, you know, that would have been, he would have had a sign over his computer. Yeah. We have different beat sheets. Yes, you do.

My traumas are different traumas. You just want attention so badly, Pablo. Okay. What is this? What show are we doing now? We're doing the show that we do, our show. Exactly. This is not your show.

This is why people are here. They came. We're forcing them to listen to us talk about the show that I was a writer. but they're really here to enjoy the interaction of the three of us reunite it. I do really miss this. Yeah, it was good. We're good at that. We should do it more.

Yeah. We were in Miami just being substitute teachers and realized that, yeah. You say that so much, it offends me, actually. I don't like that characterization. I didn't like it either. He talks about, yeah, who doesn't like when they roll in the TV and VCR as though anyone could go? Yeah, we're going to show in Jurassic Park. Kids love it.

No, no, no, no, no, no. People take advantage of substitute teachers, actually. They feel I don't have to behave. They feel I don't have to pay attention. They feel like they don't learn anything. Show me the lie so far. We're guest stars. Guess hosts.

I don't know. We got us. He got us. Show me the lie. Maybe there is none. I do think that Dominique's rise in Hollywood does jeopardize the delicate ecosystem. Well, I'm clearly worried about his ability to donate his time to shows like yours and mine going forward.

He's got his own title card. I almost responded to that earnestly. Then I realized I'm being mocked. I thank you friends for being the friends that I've always known and loved. Pablo's been holding a football this whole time. I know. Like he knows what to do. Do you have a plan for now to November?

You and your agent? Because this is one of the things when things are released one week at a time, especially leading up to what I think will be special in the next three weeks, which I'm not going to spoil, is that you should be taking the opportunity, you should be out there. Dominique wrote an episode. Yeah, I did.

Episode 5. I did. Taking credit for the big salad. Such a Pablo move. You had no idea. You had no idea. You told me in the kitchen, and I was like, let me see this Wikipedia page.

Oh, you didn't know that I wrote that episode? Of course, I remember that you had told me many moons ago. But, you know, in my exhaustive research, I did not get to. This is a show about you finding stuff out, yet your level of inquiry goes like an inch deep. That's not true, and there are more jokes that I can make that I will not.

At the end of every episode, a Pablo Tori finds out a show about us finding out stuff. We say what it is we found out today. David, would you like to go first? I found out what a beach sheet is. I was not aware of that. Thank you. You're welcome, I guess.

I found out that Pablo doesn't respect himself enough to wear decent shoes. That's not even part of the continuity of the show. You said today. You didn't say this episode. You didn't show my shows on the show. I know. I don't care.

I think it's important that people know. Very normal shoes find a new slime. Can we do another take of that, please? Why? Because we want to use something that you've actually... Okay. What I found out today is that David Samson needs to stop trying to host Pobletori finds out. We were doing something.

We were doing our three-man weave. Oh, gosh. And he did what he does in the weave. Yep. God, I love your pants. He drops the ball and fumbles around. And then we do this thing. When do we go to Miami again, guys?

Can we just put David Samson's name as a big credit at the last part of the show? Co-host David Samson. You have the staff to do that. You're good? Okay. Covered. This has been Pablo Torre finds out.

A Metal Arc Media production. And I'll talk to you next time.