EP. 362 — Megalopolis LIVE!

[00:00:00] Paul Scheer: What is time? Who is time? Where is time? Time. Time. Time? Good thing we have a lot of it. And by it, I mean time. We saw Megalopolis! So you know what that means?

[00:00:25] Music: [Intro Song] [00:01:12] Paul Scheer: Hello people of Earth! And Hello people of New York. We are live at the New York Comedy Festival back at Town Hall, talking about a fable of our time. That’s right, Megalopolis, a film. that has been in production since 1991, but then actual production in 2023. Now, here is the thing. I normally spend this time at the top of the show trying to break down the plot, just in case you didn’t see it.

[00:01:50] Oh, it’s about a kid who gets a crazy pair of glasses and he learns how to fly. I can’t break down this movie!

[00:02:01] An alternate New York, an architect, a mayor. A Fox News host. I don’t know. It seems like so much happens, but yet so little. But yet so long. And yet I couldn’t turn my eyes away. The film came out just a couple of weeks ago. I pre ordered it, I bought it, only to find out it was only available for rental, so I paid 27. 99, and then 19. 99! I got fucked on this movie! But I did it all for you because this is a movie for New York. This is your movie. And let’s break it down with my two co hosts. Please welcome to the stage, Mr. Jason Manzoukas.

[00:03:00] Jason Mantzoukas: Time Stop! What’s up, jerks?! Let’s go! We have to be out by 11:30. Fuck it, we’re locking the doors! We’re staying till dawn! Everybody gets Megalon! Seriously, what is Megalon?

[00:03:25] Paul Scheer: Apparently It can stop or repair bullet wounds and build buildings.

[00:03:30] Jason Mantzoukas: This. Wow.

[00:03:32] Paul Scheer: Wow.

[00:03:33] Jason Mantzoukas: You. So you paid twice for it. Yeah. You pay. So we both had very, very complicated relationships to this movie because, I accidentally, a two and a half hour movie, I accidentally watched 25 minutes twice.

[00:03:48] Paul Scheer: What?

[00:03:49] Jason Mantzoukas: Because I didn’t recognize them as things I’d already seen before. The movie repeats itself so much that I was like, huh, I feel like they did this already.

[00:04:01] And then they got to a point where it was like, oh, fuck!

[00:04:04] Paul Scheer: I might have talked about this in another episode, but Uh, when I saw Requiem for a Dream, the projectionist messed up and played the second reel twice.

[00:04:13] And I was like, ooh, this is an interesting choice. And then.

[00:04:17] Jason Mantzoukas: Non linear storytelling.

[00:04:19] Paul Scheer: I’ve already seen it, but now I’m watching again. Now I’m learning more. And then he came out and was like, I’m sorry, I fell asleep. And then It really fucked me up. I never want to watch that movie again. Um, but the benefit of this movie is no matter how many times you watch it, it won’t make sense.

[00:04:36] Jason Mantzoukas: It is, it is cryptic at best. It is a, it is, it is a series of dreamscapes.

[00:04:44] Paul Scheer: Ladies and gentlemen, June Diane Raphael.

[00:04:50] June Diane Raphael: No, because we only have till 11:30.

[00:04:54] Paul Scheer: I knew we were getting too close.

[00:04:55] June Diane Raphael: We only have till 11:30, so I had to come out.

[00:04:58] Paul Scheer: I knew we were getting too close to it.

[00:04:59] Jason Mantzoukas: It’s so late. It’s so late already. We can’t start a show now.

[00:05:07] Paul Scheer: We got the coveted 9:45 slot.

[00:05:12] Jason Mantzoukas: I’m 51 years old. I can’t do a show at this hour.

[00:05:18] June Diane Raphael: You know, Paul, did you say you bought the movie twice?

[00:05:21] Paul Scheer: Yes.

[00:05:22] June Diane Raphael: Okay, and I bought it once.

[00:05:23] Paul Scheer: So we have spent So as a family. 24, 19, and 19. So we have spent over 60 on Megalopolis.

[00:05:31] Jason Mantzoukas: Francis Ford coppola thanks you.

[00:05:33] June Diane Raphael: Wow.

[00:05:34] Jason Mantzoukas: You’ve gone a long way to making him whole from this.

[00:05:39] June Diane Raphael: Him personally whole. So, I had an interesting experience on the plane because I was sitting next to our 10 year old son, not the one that was out here. But our 10 year old and I was, I, well first of all I had to cover a lot of the movie with my book and try to hide it from him, but I fell asleep.

[00:05:57] And I fell asleep for a while and he woke me up. And I screamed at him. I was like, what are you doing? I was sleeping! And he’s like, I thought you were supposed to watch the movie. I go, I am! You should never do that.

[00:06:12] Jason Mantzoukas: I would love it if you opened your notebook and he had taken notes for the section that you’d fallen asleep. He just took expert notes on the movie.

[00:06:21] Paul Scheer: By the way, our son has said that when, uh, we die, he’s taking over the show.

[00:06:25] Jason Mantzoukas: Great.

[00:06:26] June Diane Raphael: He did say that.

[00:06:27] Jason Mantzoukas: Great.

[00:06:28] June Diane Raphael: He did say that.

[00:06:29] Paul Scheer: You’re ready for it.

[00:06:30] Jason Mantzoukas: Wait, does that include me?

[00:06:31] Paul Scheer: No, you get to stay.

[00:06:32] Jason Mantzoukas: Oh, I get to stay? Fuck yeah, I’ll do a show with two kids. Um. Any babies in the house?

[00:06:39] Paul Scheer: I, I told, I don’t know if I told you this.

[00:06:41] Jason Mantzoukas: You brought a baby? What? You wish?

[00:06:47] Paul Scheer: Not cool. Don’t say you wish you brought a baby. No, no circumstance is that good. I wish I brought my baby? Sure. A baby.

[00:06:57] Jason Mantzoukas: I wish. I wish I had a baby to bring. To a 9:45 comedy show.

[00:07:02] Paul Scheer: Let’s play clip 10, because we can look at it.

[00:07:06] June Diane Raphael: Oh, we’re gonna watch clips?

[00:07:07] Paul Scheer: Well, all I’m gonna say is this, uh, Megalopolis was meant to be seen on IMAX, so imagine this scene with the boner in IMAX.

[00:07:17] Movie Audio: We came to pay our respects, Grandpa.

[00:07:21] What do you think of this boner I got? I look at her and I’m off. If it wasn’t for this, I would have been able to outspend you in the end. But I will outlive you. You false speech slut. Look at how small that is. This is your closing bell.

[00:07:51] Jason Mantzoukas: Boom! What? That bow is not gonna produce that many pounds of, of torque. And boom! Oh!

[00:08:07] Paul Scheer: This man

[00:08:11] Jason Mantzoukas: Okay, old man Legolas.

[00:08:12] Paul Scheer: That is Wow. I mean, watching it again He seems Like, if he put a gun in his hand, I wouldn’t be as afraid. The bow and arrow makes him seem dangerous and crazy.

[00:08:26] Jason Mantzoukas: Yes. Also, I love that he’s just He’s just closing one eye. For the first half, he’s just like I don’t know. And then he’s like, Ha ha!

[00:08:36] Cling! Cling! Like he’s, like, suddenly Robin Hood.

[00:08:41] June Diane Raphael: He’s been preparing for this for so long.

[00:08:44] Jason Mantzoukas: Oh, I mean, welcome.

[00:08:46] Paul Scheer: Do you think that the arrows were made out of Megalon?

[00:08:49] June Diane Raphael: Oh, that’s interesting.

[00:08:50] Jason Mantzoukas: I don’t think so, because I think only Adam Driver has access to Megalon, which I don’t know, I genuinely.

[00:08:57] Paul Scheer: From outer space.

[00:08:58] Jason Mantzoukas: I believe it is from outer space.

[00:08:59] June Diane Raphael: Okay, so here’s what I thought, and I could be wrong, because I was, again, in and out of my own fever dream, and then tapping into this one, but I thought that when he went to go rescue his wife, Sunny Hope, from the water.

[00:09:19] Jason Mantzoukas: And was that going to be the daughter’s name if they had a daughter? And if it was a boy, it was Francis?

[00:09:24] Paul Scheer: Francis!

[00:09:25] Jason Mantzoukas: They said if it was a boy, it would be Francis. And I was like, movie? Get fucked. I’m not interested in what this is about now.

[00:09:34] Paul Scheer: I mean, these names, Cesar Catalina, uh, you have Franklin Cicero.

[00:09:40] Jason Mantzoukas: And yet, and no catalina Wine Mixer jokes to be found.

[00:09:44] Paul Scheer: Wow Platinum.

[00:09:46] Jason Mantzoukas: Incredible.

[00:09:47] Paul Scheer: Claudio Pulcher. Crassus. Fundy and Sunny Hope.

[00:09:53] June Diane Raphael: Well, so I thought when Sunny Hope

[00:09:55] Paul Scheer: Oh, no, Sunny Hope is the Virgin, I think. Or no, no, you’re right, sorry, Honey Hope.

[00:09:59] June Diane Raphael: That’s someone else.

[00:10:00] Jason Mantzoukas: Vestra, I think is her name.

[00:10:01] Paul Scheer: Vestra, right, yes.

[00:10:01] Jason Mantzoukas: Vestra, a Vestal Virgin?

[00:10:04] Paul Scheer: Yes.

[00:10:04] June Diane Raphael: Oh my God.

[00:10:05] Jason Mantzoukas: That’d be in the Procol harum song?

[00:10:07] June Diane Raphael: The Virgin auction.

[00:10:08] Paul Scheer: Vesta sweetwater is her name. Vesta Sweetwater is her name.

[00:10:12] Jason Mantzoukas: Oh yes, Vesta Sweetwater.

[00:10:14] June Diane Raphael: Oh stop saying all these names. They’re so terrible. Both Paul and I, I thought Adam Driver did a wonderful job.

[00:10:21] Paul Scheer: Me too.

[00:10:22] June Diane Raphael: I really did because I was like, I was watching his performance and I’m like, well first of all that hair was so tough and I don’t know what any of us could have done with it.

[00:10:31] Like it truly was so difficult. And I know the cut, I know it’s the Caesar cut. But there were times.

[00:10:38] Paul Scheer: Oh, is that what it was?

[00:10:40] June Diane Raphael: I think so.

[00:10:41] Jason Mantzoukas: Yes! Didn’t you, I mean, wasn’t it giving you full blown George Clooney from season two of ER?

[00:10:47] Paul Scheer: It, it, what it made, what it made me feel was like, Can you comb your hair? It felt like his hair was never.

[00:10:54] June Diane Raphael: That’s, and that’s what was upsetting. It’s, it’s a, it’s not a, it’s not a cut that any person can pull off. Any person.

[00:11:01] Paul Scheer: Not even caesar?

[00:11:03] June Diane Raphael: Yeah, not even Caesar.

[00:11:04] Paul Scheer: How about Little Caesar? Pizza, pizza.

[00:11:07] June Diane Raphael: But on him, it also looked like, yeah, can you put a comb through it? Can you fix it a little bit at all?

[00:11:14] Jason Mantzoukas: Like, spread some Megalon in it, see what’s up.

[00:11:16] June Diane Raphael: See what happens.

[00:11:17] Jason Mantzoukas: Give it a sheen, give it a gloss.

[00:11:19] June Diane Raphael: I really thought that he did a great First of all, his soliloquy, I thought his Shakespeare was That was the best part of the movie. And I wanted more of it.

[00:11:28] Paul Scheer: Well, yeah, because that was something that was not written for the film.

[00:11:31] June Diane Raphael: But boy, Adam Driver can handle the text. I thought he did a beautiful job.

[00:11:36] Paul Scheer: I think Adam Driver was like, Can I improvise? Because apparently, spoiler alert, They improvised a lot of this movie.

[00:11:44] Jason Mantzoukas: Wait, no. This wasn’t tightly scripted?

[00:11:50] Paul Scheer: I want to say, this is what is on record. Coppola adopted an experimental style, encouraging his actors to improvise and write certain scenes during the shoot, and added them at the last minute into the script.

[00:12:01] The art department and visual effects team, among others, left midway through the production. Um, it’s fair to say, it is well documented this movie was flying by the seat of its pants, which is odd for a film that he’s been writing since 1991.

[00:12:17] Jason Mantzoukas: That’s the thing.

[00:12:19] June Diane Raphael: That is what’s so tough.

[00:12:20] Jason Mantzoukas: You think there would be some sort of dot, dot, dot plot? Story?

[00:12:28] Paul Scheer: It’s a movie of ideas. It’s like.

[00:12:31] Jason Mantzoukas: Is it?

[00:12:32] Paul Scheer: To me, to me this movie is a guy who has listened to a podcast about Roman history and is really high and going, what would be great is this. And then you have a guy, he’s like Caesar, and he’s like, but it’s the city, but it’s also the Statue of Liberty, the torch is in the other hand, and then they’re all running around, and then there’s about homeless people, and it’s about New York, and it’s about life, and fucking And you’re like, right, right, but you would never make that movie, you’d just go home and go to bed.

[00:13:05] And he made it.

[00:13:06] Jason Mantzoukas: But instead, you sell a substantial amount of money in, of your own personal money in your wine company, uh, to, to, at value. to finance this insane movie.

[00:13:18] June Diane Raphael: Well, and there were times, and I know it’s a movie about ideas, okay? But there were times where I was just like, this utopia that he’s describing, like, the only real difference is that instead of the buildings being like straight blocks, they’re swirls.

[00:13:36] Paul Scheer: It’s like living in Adam’s drivers.

[00:13:38] Jason Mantzoukas: It’s like that Hudson Yard thing over there.

[00:13:41] June Diane Raphael: Yeah, it’s like six swirls.

[00:13:42] Jason Mantzoukas: Oh, wait, is that what it is?

[00:13:44] Paul Scheer: It, to me, seems like the future is that we would all be living in a version of a pinball machine. Like, it’s like, ooh, it all looked like people were traveling in pinballs and they would go around in pinballs.

[00:13:56] Jason Mantzoukas: Yeah.

[00:13:56] Paul Scheer: And, at the same time, I didn’t understand what the I want to build a casino. I want to build a pinball machine. And it’s like, and it seems like those ideas could probably exist together.

[00:14:07] Jason Mantzoukas: I, so much of it is about, is analogous to the Roman Empire and all this stuff and I’m just not one of those people who’s obsessed with the Roman Empire.

[00:14:16] Paul Scheer: No.

[00:14:16] Jason Mantzoukas: So I was like, I don’t give a fuck about any of this stuff. And it seems to be just consumed with legacy and time and the artist, the artist needs to be able to control time. And I was like, buddy, that’s not going to happen. We are all hurtling towards certain death.

[00:14:40] June Diane Raphael: And. I didn’t understand, I mean, at points in the movie I was like the female characters are so underwritten, I’m so upset, but then also I was upset by the male characters too.

[00:14:52] So it was really tough, I mean, it, the movie does not pass the Bechdel test on any level, but also like.

[00:14:59] Paul Scheer: It doesn’t pass the movie test.

[00:15:00] June Diane Raphael: It doesn’t, it doesn’t, like, what is, who is, who is jason, who is Jason Schwartzman in this movie?

[00:15:07] Jason Mantzoukas: Great question.

[00:15:08] June Diane Raphael: Who is that character?

[00:15:09] Jason Mantzoukas: Who’s Dustin Hoffman? What’s the story of the dead wife?

[00:15:12] June Diane Raphael: Don’t know.

[00:15:13] Jason Mantzoukas: And when he goes to that apartment and he’s with his dead wife standing, sitting over her and Natalie Emanuel has followed him there and she’s spying on him and it turns out he’s talking to an empty bed? I was like, what the, what is this? Is he Is he gonna fuck the empty bed MacGruber style?

[00:15:29] Paul Scheer: Not only is he fucking, not only is he like talking to her. He’s not talking to an empty bed. He is he is um, he’s tying her hair like he’s he’s French braiding her hair.

[00:15:42] Jason Mantzoukas: Doesn’t he imagine there to be other people in the room as well?

[00:15:45] Paul Scheer: Yes, and I think.

[00:15:46] Jason Mantzoukas: What is that?

[00:15:47] Paul Scheer: I think that the other actress The the mayor’s daughter can see his visions, right?

[00:15:54] Their baby won’t stop in like he can stop time She can see his visions because she sees him go to a flower shop that I don’t think is real get flowers to go visit his wife, which is also not real. But is he actually going to an abandoned building?

[00:16:10] Jason Mantzoukas: Or is he just in a mind palace?

[00:16:12] Paul Scheer: And why wouldn’t he just do that in his own house? But then he also has a flock of kids working for him.

[00:16:18] June Diane Raphael: Okay, I want to talk about the design Department, what are they called? The design Architects association. The Design Association whoever they are when they the DA.

[00:16:32] Jason Mantzoukas: We call it the DA.

[00:16:34] June Diane Raphael: When they are in his main work loft.

[00:16:38] Paul Scheer: One of my favorite scenes.

[00:16:39] Jason Mantzoukas: Oh my god.

[00:16:39] June Diane Raphael: And they are doing physical.

[00:16:42] Jason Mantzoukas: The montage, there are, there’s multiple scenes in this movie, there’s multiple scenes in this movie that I am certain employed the palobolus dancers. There’s no doubt in my mind. The fetus scene, where the fetus turns into dancers. I was like fucking palobolus dancers.

[00:17:15] Paul Scheer: We’ve watched a lot of long movies on this podcast. I was like, I’m in. I don’t know why I’m so in. Like, I’m having this, I’m really wrestling with what am I watching. I don’t get it. I don’t like it. But I’m also like, I can’t look away. And I need to see it again?

[00:17:32] June Diane Raphael: Do we need to buy it again?

[00:17:34] Paul Scheer: We’ve already bought it. So many times I think Francis Ford Coppola will come over to our house and and do a director’s commentary if asked.

[00:17:42] June Diane Raphael: Now here’s the thing. I’m sorry I have to go back to the shape people again because I just want to know what what we end up seeing in the actual space in his, you know, realized vision. Are, again, are those swirls the shapes that they had been creating?

[00:17:58] Jason Mantzoukas: Yeah, but I believe, I believe his architecture studio, which is in like the, the dome of the Chrysler building, or whatever that, whatever that’s called.

[00:18:07] Paul Scheer: It’s alternate, it’s not the Chrysler, whatever, maybe it’s called the Heisler building.

[00:18:11] Jason Mantzoukas: Yes, of course. Do you guys, cause you know, this is New York, did you guys feel like this, this movie got your city right? Did you feel seen by this movie, New York City?

[00:18:23] Paul Scheer: A movie shot in New York and filmed in Atlanta.

[00:18:27] Jason Mantzoukas: That’s right, New Rome!

[00:18:30] Paul Scheer: Um, you’re, but like, but here’s the thing when you see, I mean, yes, we see kids, we see upside down water bottles and tennis balls representing a city, but then when he brings somebody out to like.

[00:18:40] Jason Mantzoukas: The trash, the model of the city that looks like it’s just piled up from the trash.

[00:18:47] Paul Scheer: Walk around, close your eyes. All right.

[00:18:49] Jason Mantzoukas: Why? You’re, you’re an architect. If you look at an architect build a model, it doesn’t, it’s not built with like trash from the, the garbage outside. It’s not like we found a tennis ball and put it on a parking cone.

[00:19:01] Paul Scheer: Especially because he is using real architectural tools.

[00:19:06] I mean, he is standing with, I don’t know.

[00:19:09] Jason Mantzoukas: T square?

[00:19:09] Paul Scheer: Yeah, T square, like, ah.

[00:19:11] Jason Mantzoukas: Is it called a T square? What’s it called?

[00:19:12] Paul Scheer: I did want to see him get crucified on that.

[00:19:14] Jason Mantzoukas: T square? Wait, is there an architect in the house? Raise your hand. Architect in the I’m not interested in a balcony architect.

[00:19:21] Paul Scheer: Yeah, okay.

[00:19:23] Jason Mantzoukas: I’m interested in an architect that got their act together enough to get floor seats.

[00:19:29] Paul Scheer: Alright, what do you what is it? It’s a T square. It is a T square. Alright, well, thank you. All that for we already knew it. Then I appreciate nothing wrong that you did. Alright, so it is a T square. Here’s what I’ll say. Um, when he goes to the expo to show off his main invention, it’s just a, a motorized walkway. Like, he’s like, this will take you wherever you want to go. It’s like, yeah, I just did that at the airport.

[00:19:56] Jason Mantzoukas: This felt, this felt a lot like, do you remember when, when, um, when the Segway came out, when they were calling it the It, and it was going to revolutionize commuting and travel in America, and they wouldn’t announce what it was, and everybody was like, Dean Kamen, was that the guy’s name that invented it?

[00:20:10] He’s got this thing, it’s about to change the world, we’re about to change history, cities are gonna look different, global warming is gonna get changed by this, and it’s this fuckin scooter with gyroscopes. And everybody was like, no, guy, no!

[00:20:23] June Diane Raphael: Well, that’s the thing that was so funny about the walkway. I mean, that’s what it is. It’s a walkway. We never saw people transport on it. We only ever saw them walk on it. Like, wow.

[00:20:34] Paul Scheer: But then they get in those balls at the end.

[00:20:36] June Diane Raphael: Oh, I guess they do get in the balls at the end, but it was also when he’s showing his mom. I mean, we haven’t talked about the relationship with the mom, but when When he’s showing her the walkway. It looks like it’s 10 feet long.

[00:20:48] Paul Scheer: That’s it. Where is she gonna go? She’s gonna be kicked right off it.

[00:20:50] Jason Mantzoukas: I feel like that’s like Elon Musk building like some length of a hyperloop or whatever that thing is called just to be like see I can do it. But and this was him being like this is what it’ll look like but it’ll be all over and it’ll go to these buildings that look sort of like plants and then that’s it Is it just? Is it justice? What is it? What does it want to do?

[00:21:12] June Diane Raphael: I think it’s a vibe, ultimately.

[00:21:14] Jason Mantzoukas: It’s a vibe.

[00:21:15] June Diane Raphael: It’s a vibe.

[00:21:16] Paul Scheer: Megalopolis is a vibe. I buy that.

[00:21:18] June Diane Raphael: Honestly, I do think, though, that it is a lifestyle more than anything else.

[00:21:23] Jason Mantzoukas: Yeah, it’s the kind of lifestyle in a city where the news reports they’re the richest kids in the world and rumor has it they’re sleeping with each other, too. Why did that keep coming up?

[00:21:35] Paul Scheer: It is, I mean, according to my research, Caesar proposes using Megalon to build Megalopolis, a utopian urbanist community. And Cicero wants a casino that will provide an immediate tax revenue.

[00:21:51] Jason Mantzoukas: Wait a minute, i, that’s the first I’m hearing about a casino.

[00:21:55] Paul Scheer: Oh, casino is in that opening scene when they’re, when they’re on the rafters. And, um, and they go, we want to build this casino. And Dustin Hoffman’s like, it’s a good casino.

[00:22:07] Jason Mantzoukas: And that’s when he comes in and does to be or not to be.

[00:22:10] June Diane Raphael: Yes. But, but the problem is, and maybe it’s there and I missed it, but I guess we all know that’s why casinos come into town for the tax stuff. But it, it, that was not made explicitly clear in the movie. So I was sort of like. Why is, why does he want a casino so bad?

[00:22:27] Paul Scheer: And also, why would they need to get on scaffolding above a model of the city to show what a casino would look like in the city?

[00:22:37] June Diane Raphael: I don’t know, because they’re all looking down, I guess.

[00:22:38] Paul Scheer: Yeah, like, oh, this is the way to look at it.

[00:22:40] Jason Mantzoukas: The difference, there are two competing interests. One is a single casino and one is an entire city. That’s two very different things.

[00:22:50] June Diane Raphael: And I did want I did want Adam Driver’s character, Catalina? Catalina. Caesar Catalina. Okay, okay, Caesar. I did want C squared to address.

[00:23:03] Paul Scheer: By the way, I will say, Caesar Catalina is my favorite salad dressing.

[00:23:08] June Diane Raphael: I did want him to address, like, the infrastructure issue of, of Megalopolis and also like, what is going to happen to all the people who are being displaced?

[00:23:18] Jason Mantzoukas: Oh, they’re upset.

[00:23:20] June Diane Raphael: Does he have an answer for that?

[00:23:21] Jason Mantzoukas: Because this motherfucker is like independently imploding buildings with no authority. He’s just Blow it.

[00:23:29] June Diane Raphael: No, I think And also, and they’re so close, like, there’s no protective gear. There’s not a safety goggle in sight.

[00:23:36] Paul Scheer: Well, that’s what I thought the Megalon was like, protecting, but then the Megalon doesn’t really come But I think that this movie at points is.

[00:23:43] Jason Mantzoukas: Also, why is his wife somehow inside of the Megalon? Like whenever he’s like interacting with the Megalon in its fractal glory, she, her face is looking through it and she’s talking to him.

[00:23:55] June Diane Raphael: Because I think, see I thought he found the Megalon when he went into the ocean after her.

[00:24:00] Paul Scheer: Yes, that’s what he did.

[00:24:02] Jason Mantzoukas: What the movie wants us to think. I don’t think we ever saw that.

[00:24:05] June Diane Raphael: I thought you said he found it in space.

[00:24:08] Paul Scheer: I think the Megalon came, but it crashed in the water.

[00:24:11] June Diane Raphael: It’s from space, but it’s in the water. Okay.

[00:24:13] Jason Mantzoukas: I’m so sorry. I know we have some architects here. Is there a Megalon expert here?

[00:24:19] Paul Scheer: I will, so a, um, Huh. Okay, so a Soviet, a Soviet satellite.

[00:24:26] Jason Mantzoukas: Oh yes.

[00:24:27] Paul Scheer: Crashed to earth. Destroying most of New Rome, and then Caesar, uh, builds Megalopolis out of the ruins using his family forces to fund.

[00:24:36] Jason Mantzoukas: Why blow up part of the city, if the, if in the middle of the movie, the satellite is gonna destroy part of the city? Like, what’s the, why? Like, why not just have the satellite land and be like, uh oh, by the way, I don’t need all the 9 11 esque footage. I was like, oh, come on, man.

[00:24:55] Paul Scheer: Here’s, here’s what I will say about this movie. I feel like sometimes you get a director of a certain age who is like, I need to make a movie to justify that I’ve been an asshole my entire life. But I’ll put it in a fable, right? It’s like. You see, it doesn’t have to always make sense.

[00:25:12] Just ideas, right? Like, let me be, let me cook, and also fuck some people that’s not my wife. Now, I think at parts, this movie thinks it’s so smart and treats us like we’re so dumb. Like, it’s like when they’re driving through the, like, the bad part of town, and, like, the Justice statue is, like, mmm, crumbling down.

[00:25:34] June Diane Raphael: I like that part.

[00:25:35] Jason Mantzoukas: Leaning up against the wall.

[00:25:37] Paul Scheer: She’s so tired, Justice.

[00:25:40] Jason Mantzoukas: There’s just so much injustice in this world.

[00:25:43] Paul Scheer: But you see, now look, that’s a visual, beautiful thing, sure. But then you cut to the car, and he’s like, Justice has fallen down. It’s like, well no, we just saw it! It’s not a fucking radio play.

[00:25:56] Jason Mantzoukas: Here’s the thing that I’ll say, because I want to agree with you both. Adam Driver, I think, is, he’s in all of this movie. Yes. He’s in all, he’s all over it.

[00:26:03] June Diane Raphael: He’s in every frame.

[00:26:04] Jason Mantzoukas: He’s doing all of the work, trying valiantly to make sense of a movie that is, frankly, batshit crazy. The thing about watching Plaza or Shy or whatever is They get to just spiral off and be nuts.

[00:26:17] But Driver’s gotta hold the whole thing together. And he’s doing, I will say, a Nicolas Cage level performance.

[00:26:25] June Diane Raphael: I thought it was great.

[00:26:26] Jason Mantzoukas: One of the only Coppolas not in this movie, inexplicably. Talia Shire’s in the house. Schwarzman’s in the house.

[00:26:35] Paul Scheer: James Caan was supposed to be in this movie. It was gonna be his swan song. He was like, Francis, you gotta write me a swan song. And the part that was written for him was the part of Dustin Hoffman. But James Caan passed away before they shot it. Now here’s the thing.

[00:26:49] June Diane Raphael: And what part was that exactly?

[00:26:51] Paul Scheer: Well, this is, here’s the thing.

[00:26:53] Jason Mantzoukas: He dies off camera.

[00:26:54] Paul Scheer: He dies off camera. And then when they flash to it. In a horrific way. But like, but why even have it at all?

[00:27:02] Jason Mantzoukas: He also has a statue in the yard or whatever. And at a certain point, aren’t they, they’re unveiling the statue of John Voight and it keeps wobbling back and forth because it’s clearly just made out of plastic. And the giant bronze statue, they’re trying to take the curtain off and it’s just like wobble, wobble, wobble.

[00:27:19] And I was like, you couldn’t get a take? Where the statue doesn’t wobble?

[00:27:24] June Diane Raphael: It’s really tough because you have some incredible actors playing like handmaidens to other men. Like, there’s the, there’s Dustin Hoffman, who I guess is Jon Voight’s second in command.

[00:27:37] Jason Mantzoukas: Yeah.

[00:27:37] June Diane Raphael: There’s Jason Schwartzman, there’s Lawrence Fishburne, who’s like putting chairs in front of, you know, Adam Driver, and I’m like Why the fuck are these guys playing these roles?

[00:27:47] That’s why I really appreciated Adam Driver, is because he was fully doing whatever it is that he was doing, and there, and I, he really was, and I was like, wow, hats off. I believe that man deserves an Oscar for this film. To do what he did.

[00:28:03] Jason Mantzoukas: I wish we could write in. I wish we could write in for Oscars.

[00:28:06] Paul Scheer: By the way, it still could get nominated. It’s in contention. This is Oscar season, you know, people are jockeying for it. I will say this, I don’t disagree that he’s in a Nicolas Cage esque film, but I do think he’s grounding it in a way, when he’s doing that speech, he’s like, What are those things? They’re little hot dogs and pastries.

[00:28:28] Jason Mantzoukas: Incredible. I loved it.

[00:28:30] Paul Scheer: Pigs in a blanket, yes, that’s what they are. I was like, wow. And he’s, but he’s not like.

[00:28:36] June Diane Raphael: And God damn it, I’m interested in what he’s saying, or do I understand it? No.

[00:28:42] Jason Mantzoukas: In the scene where he’s doing all of his architecture that we just, we’re doing that montage, he turns to somebody at one point, later, later into it and goes, What if what connects power stores it?

[00:28:54] I was like, yeah man! Are you only now getting to that? You’ve got Megalon!

[00:29:02] Paul Scheer: This is why I think the movie is so smart and so dumb. It’s like, oh, yeah. Power should be stored and controlled. But then they also have this scene, like, my favorite, favorite line of the whole movie is, um, someone is being interviewed by a high school newspaper, and it’s called Dingbat News.

[00:29:24] Jason Mantzoukas: Incredible. Incredible.

[00:29:26] Paul Scheer: Dingbat News. Hey, I’m from Dingbat News. And then it was like, I guess a commentary on how Like sensational entertainment reporters are? I don’t know.

[00:29:37] June Diane Raphael: I don’t know. I was confounded by that scene and I think I’ll think about it for the rest of my life. Because it, it did not feel like that the teenage reporter was an actor.

[00:29:47] And I say that as a compliment. Like she tru Thank you. It’s his granddaughter. Perfect. I knew, I knew it was. And I didn’t, but I did. I knew something. There was a texture to how she was. I was like, this is not someone who’s an actor. But then there was also another little girl next to her. Now, that little girl, I was like, there’s no way she goes to the same school and, like, reads that newspaper.

[00:30:13] She’s way too young. Who is that? And she doesn’t have any lines. I don’t think she speaks. Is that just another granddaughter?

[00:30:20] Jason Mantzoukas: That’s my guess.

[00:30:21] June Diane Raphael: Wow!

[00:30:21] Jason Mantzoukas: But, uh, why not? This felt like a grandpa giving everybody candy. Everybody gets candy, and guess what? You can do whatever you want all day. But no, there are no rules.

[00:30:34] Paul Scheer: Here’s what it will be. It’s not candy, it’s old nuts. Like, old, like, they’ve been out for a while, like, they’re in a jar. Like, why, these are the nuts, the company’s nuts. And it’s, a lot of them are just, like, left, like, those big walnuts. And they’re, like, and you’re, yeah, it is technically food, but I’m, like, I don’t want it.

[00:30:52] Have a nut, have a nut. And then you have to, like, take one of those big, like, almonds. Like, uh, alright, I guess. That’s what this movie feels like.

[00:30:59] June Diane Raphael: Everything okay, buddy?

[00:31:02] Paul Scheer: I’m just thinking about those damn nuts.

[00:31:03] Jason Mantzoukas: I feel like you got to say your favorite line. I’m going to say my favorite line right now, which was, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.

[00:31:20] We talk about the fact that we take notes. You’re not seeing us if you’re listening, we’re looking at our notes. Never have I taken so many notes that I’m looking back on and finding confusing as to what they might refer to.

[00:31:33] Paul Scheer: I didn’t write jokes. I just wrote, I just wrote things like Noxzema face and I wrote Noxzema face.

[00:31:39] Jason Mantzoukas: I wrote megalon face.

[00:31:41] Paul Scheer: Okay, so Noxzema.

[00:31:42] Jason Mantzoukas: After his injury, I was like, I think he’s had some Megalon done.

[00:31:46] Paul Scheer: See, I like that Megalon face. I was talking about, uh, Cicero’s wife, the mayor’s wife, when he gets that phone call in the middle of the night, it looks like his wife just has Noxzema all over her face. And I was like, I always heard that Noxzema, like you wash your face with Noxzema. I don’t think you leave it on like as a base coat.

[00:32:06] June Diane Raphael: I mean, I think it was, I think it was a mask. But believe me, I had questions. I was like, how could you ever go to sleep with that thick of a mask on?

[00:32:14] Paul Scheer: So he, why does he Bruce Wayne it?

[00:32:18] Jason Mantzoukas: That’s so weird. I also read, I believe this movie would function better as a Batman esque origin story.

[00:32:24] Paul Scheer: Yeah.

[00:32:25] Jason Mantzoukas: Driver feels like, at a certain point, he has no choice but to become a vigilante.

[00:32:32] And when he gets shot in the eye, I’m like, here we go. Perfect setup. Let everybody believe you’re dead. Come back as some sort of Megalon guy. I don’t know what it does, but be a, be a Batman.

[00:32:41] June Diane Raphael: But he, well, he does have powers. Here’s the question I have about powers and Julia. Why does she have powers?

[00:32:48] Jason Mantzoukas: Why?

[00:32:49] Paul Scheer: I think, I think what we’re trying to get here is a little bit of like a Romeo and Juliet thing. It’s like, here are two sides, Hatfield and McCoy. It’s like, he’s got the power to stop time.

[00:32:59] Jason Mantzoukas: From, from Romeo and Juliet, the Hatfields and the McCoys. Of course.

[00:33:03] Paul Scheer: Classics.

[00:33:06] Jason Mantzoukas: Romeo, oh Romeo, wherefore art thou Romeo?

[00:33:11] Paul Scheer: But I think, I think the idea is that like the only thing that can bring both houses together is like both houses have a special thing. So she has the ability to see What he sees in his head. He has the ability to stop time and their baby is.

[00:33:30] June Diane Raphael: Trapped in that moment.

[00:33:31] Jason Mantzoukas: Well, that’s what I wrote. I wrote that too. The baby doesn’t have the ability to say restart time.

[00:33:36] June Diane Raphael: That baby’s still crawling around right now trying to figure out how to survive.

[00:33:41] Paul Scheer: I thought that if that baby took off on the carpet like at the end of Aladdin like, It’s a whole new world.

[00:33:48] Jason Mantzoukas: But I would have loved it if it was a flying carpet. It looked like a little flying carpet.

[00:33:53] June Diane Raphael: Wait, but here’s what, I guess this is the only problem I had with the movie.

[00:33:56] Jason Mantzoukas: Yes.

[00:33:57] June Diane Raphael: I, I, I, I, yes, it’s a movie about these big ideas, but I, I felt like the fact that he had Well, I don’t know.

[00:34:06] But I felt like the fact that he had superpowers was undermining whatever this movie was trying to tell us.

[00:34:13] Jason Mantzoukas: Well, it’s trying to, well, I think the theme there is this line, which is, which Julia says to Caesar. Artists can never lose their control over time.

[00:34:27] Paul Scheer: I wrote that down too.

[00:34:27] Jason Mantzoukas: I have an update, they can.

[00:34:32] June Diane Raphael: Yeah.

[00:34:33] Jason Mantzoukas: There’s something about like, the movie wants to be about how art or the artist can stop and.

[00:34:42] Paul Scheer: I think the idea is you need to let me cook, right? And then, and we’ll figure it out later. And that’s a very, if you look at Francis Ford Coppola, that’s his career in a nutshell, right?

[00:34:51] June Diane Raphael: Yes, but I guess, I don’t know why I’m debating this.

[00:34:54] Paul Scheer: His career is like, don’t trust me, I’ll make Apocalypse Now. And then he’s like, don’t trust me, I make Dracula. Don’t trust me, and then it gets worse and worse, everyone gets a little.

[00:35:04] June Diane Raphael: But what does he do with the time he’s frozen? Cause that’s also what I didn’t understand. Once he’s.

[00:35:11] Jason Mantzoukas: Why, and why does he walk off the, rather the Chrysler building and say stop time and then he’s like.

[00:35:19] Paul Scheer: Because I think that that’s him learning the power. I think that’s the first time he’s doing it. I think he did it once.

[00:35:24] Jason Mantzoukas: Why would he say it?

[00:35:25] Paul Scheer: Because I.

[00:35:28] Jason Mantzoukas: You laugh! Don’t laugh at me! That’s a real question.

[00:35:32] June Diane Raphael: Wait, are you saying, so I thought stop time was him, him forcing time to stop. Like I didn’t think the magic could happen without stop time.

[00:35:42] Jason Mantzoukas: I agree. But what, I think what, what I’m curious about is Paul is saying that’s the first time that’s occurred to him. So, like, that would mean as you are falling off of the top of a skyscraper, you think to say, Stop time?

[00:35:56] Paul Scheer: Oh, no, no.

[00:35:57] June Diane Raphael: I see what you’re saying.

[00:35:58] Jason Mantzoukas: Maybe, maybe it’ll, oh shit, it worked?

[00:36:00] Paul Scheer: No, you see.

[00:36:01] June Diane Raphael: I see what you’re saying.

[00:36:02] Jason Mantzoukas: Fuck, I wish I’d saved my wife.

[00:36:04] Paul Scheer: I think what happened was this.

[00:36:05] Jason Mantzoukas: I wish I’d known this, I would’ve stopped time.

[00:36:06] June Diane Raphael: But I don’t think, but, but here’s the thing. He couldn’t have saved his wife, because he can only stop time. He can’t do anything with, with time or actions or.

[00:36:18] Jason Mantzoukas: Wouldn’t it be cool if he could, like, go and mess with stuff?

[00:36:21] June Diane Raphael: But he can’t. He only stops it. But then And restarts it.

[00:36:25] Paul Scheer: It’s like that girl in that show.

[00:36:26] Jason Mantzoukas: Small Wonder?

[00:36:26] Paul Scheer: No, Small Wonder is a robot. This is the girl. Uh, it’s a Out of this world. Out of this world, Boom, she puts her fingers together.

[00:36:34] Um, what I think was this. Like, he was, he was at, like, uh, you know, he was at a pizza place. And they’re like, what do you want? He’s like, uh, uh, uh, stop time. Oh, shit. Everything stopped. He’s like, huh. Next day, he does it. Stop time. Oh. Let me go on top of the Chrysler building now. And then, I think he was testing it.

[00:36:54] So this is like his, we’re seeing him like, Oh, I got something. But that plays no part into the film. I was waiting for a stop time bullet.

[00:37:02] Jason Mantzoukas: No, yeah.

[00:37:03] Paul Scheer: No, he gets shot right in the face.

[00:37:04] Jason Mantzoukas: He never. Exactly.

[00:37:08] Paul Scheer: A child. By a child killer, or I guess he is not a child killer, a killer child.

[00:37:14] Jason Mantzoukas: So we do know, we know there are guns. Kids have them. It’s not like everybody’s got a tiny bow and arrow. I would have loved it if he’s like, thanks for the autograph.

[00:37:30] Paul Scheer: Did he say da club?

[00:37:33] June Diane Raphael: No, I didn’t hear it.

[00:37:35] Jason Mantzoukas: You have that?

[00:37:37] Paul Scheer: I, I, I, alright, so everyone said it, so I wrote it down and I was like, I think, I’m pretty sure he said der club.

[00:37:41] Jason Mantzoukas: Do you think that’s an improv, or do you think Coppola was like, the line is der club?

[00:37:45] Paul Scheer: It’s scene four.

[00:37:49] Movie Audio: You find me cruel, selfish, and unfeeling? I am. I work without caring what happens to either of us. So go back to der club.

[00:37:57] Paul Scheer: There it is.

[00:38:03] Jason Mantzoukas: The head, the head wag is everything.

[00:38:05] Paul Scheer: That is pretty great.

[00:38:07] Jason Mantzoukas: The head wag says it all.

[00:38:09] Paul Scheer: Der club.

[00:38:10] June Diane Raphael: Der club.

[00:38:12] Jason Mantzoukas: How was work today? Okay, I think. Now I did something today.

[00:38:20] Paul Scheer: Here’s what I want to talk to you about because I want to give it its due. When you saw this movie in the theater, There was a moment where someone was to walk in and do a line in the theater. Okay, they, they fix it in the, in the, in the video version. Someone just pops up. But it still is breaking the fourth wall in the sense that we’re watching a linear movie. And then all of a sudden.

[00:38:50] We’re watching a movie screen and someone’s standing up in front of the movie screen. And so.

[00:38:54] Jason Mantzoukas: Wait, play that.

[00:38:55] Paul Scheer: Okay, I will. I’m gonna first play this.

[00:38:58] Jason Mantzoukas: I was in an active blackout for much of watching. I have so little memory.

[00:39:03] Paul Scheer: So you would be watching the movie, right?

[00:39:05] Jason Mantzoukas: I’d rather not be.

[00:39:08] Paul Scheer: And then, and then this would happen. I would just stand up and go, Mr. Catalina, you said that as we jump into the future, we should do so unafraid. But what if, when we do jump into the future, there is something to be afraid of? And then he would answer me, and I would leave the theater.

[00:39:27] Jason Mantzoukas: That’s it?

[00:39:28] Paul Scheer: Yes.

[00:39:29] Jason Mantzoukas: That’s the whole bit? What’s that meant to do?

[00:39:31] Paul Scheer: I don’t know! But they couldn’t figure out enough people to do it, so a lot of the times what would happen is Adam driver would be sitting, staring at the audience in silence and then go give his answer because no one had prompted him. So the audience had this uncomfortable moment of like, I feel weird now, but this is the scene I, I, I’ll play that scene too. But that it was such an odd idea, but also, so interactive but yet not interactive because it doesn’t make any sense in the movie

[00:40:08] June Diane Raphael: I read somewhere when it premiered at Cannes like and I think that this is what happened at Cannes that someone walked up and that moment happened, but but someone said the movie is both doing way too much and too little.

[00:40:22] Jason Mantzoukas: Yes.

[00:40:23] June Diane Raphael: And it’s such a confounding experience of like there’s so much in here and there’s nothing.

[00:40:28] Jason Mantzoukas: It is, it is the quintessence of neither nor.

[00:40:31] June Diane Raphael: Yes.

[00:40:31] Jason Mantzoukas: It is, it thinks it’s a European art house tone poem. And then it’s also interested in investigating like time, and art, and architecture, and all this science, and all this stuff, and then it’s also not interested in any of that?

[00:40:44] Paul Scheer: I said it felt like I was watching an acting class, where two people, I can’t even tell if they’re talented because I don’t know the text, the text is bad. But, it’s like, I guess they’re doing the best job, because I’ve seen people like, this is a scene from a play that you’ve never heard of. And I’m like, okay, yeah, I guess, I can’t fault them.

[00:41:03] Jason Mantzoukas: It feels, you know what it feels like? It feels like, you know, there was that rash of movies of, uh, of Shakespeare interpretations that were put into modern context. So it was a, we’re going to take Richard III, but we’re going to put it in World War I. We’re going to take this and bop, bop, bop. This feels like it’s that, but they were like, we’re going to take not Shakespeare, we’re going to kind of put it in a bunch of Roman stuff, but it’s also New York City.

[00:41:29] Paul Scheer: And it’s also about politics. Um, let’s play that scene too, because I just want to go show you that scene too. This is the, this is the interactive moment of the film, which I, I wish maybe when we buy it, we’ll have the option to have the line. By the way, uh, Lawrence Fishburne does the voiceover. As voiceover and in real life too.

[00:41:51] Jason Mantzoukas: And sometimes he does it and sometimes he doesn’t. Sometimes text comes on screen and he reads every bit of it. Sometimes text comes on screen and it’s just text on screen. There’s no rhyme or reason. I don’t know if he’s telling me this story or not.

[00:42:05] June Diane Raphael: I don’t know. I don’t know if this story is from his own fever dream.

[00:42:09] Paul Scheer: I watched Lawrence Fishburne in that scene, in the der club scene. And I noticed that he walked off camera. And, and then he’s only shown at the very end, I’m like, Oh, this motherfucker got out of frame real quick.

[00:42:22] Jason Mantzoukas: Of course. Smart.

[00:42:22] June Diane Raphael: Although when he does come back in, I laughed so hard. There are moments in this fuckin thing that made me laugh.

[00:42:30] Jason Mantzoukas: Oh yeah.

[00:42:31] June Diane Raphael: He comes back on screen and there’s some weird, like, space diorama hanging from the ceiling and he.

[00:42:39] Jason Mantzoukas: I think it’s pronounced diarrhea.

[00:42:42] June Diane Raphael: Lawrence Fishburne comes back in and just sort of resets all of the little ornaments coming up And I just thought, wow, to let actors out there like this. Hangin Hangin just trying to fuckin stay alive in these seats.

[00:42:56] Jason Mantzoukas: Trying, trying to effortlessly deliver lines like, there are only two things impossible to stare at very long. The sun and your own soul. Wait, so I know I can stare at the sun quickly, but I can’t look at my own soul at all. Never mind stare at it.

[00:43:16] Paul Scheer: I, I just wanna hit this one more time. Did Lawrence Fishburne marry him and Sonny Hope in the back of a car?

[00:43:23] Jason Mantzoukas: Okay.

[00:43:24] June Diane Raphael: Yeah.

[00:43:25] Jason Mantzoukas: So this is what I wanted to say. I would say one of my top two performances in the movie is by the Citroen car that they drive.

[00:43:33] Paul Scheer: Oh, I love that car.

[00:43:34] Jason Mantzoukas: It has more character than most of the people in the movie.

[00:43:38] June Diane Raphael: I thought the way that it redecorated itself for the wedding was quite beautiful.

[00:43:43] Paul Scheer: Beautiful.

[00:43:43] Jason Mantzoukas: Beautiful, beautiful.

[00:43:44] June Diane Raphael: Quite beautiful to look. Now, who, by the way, who played Sunny Hope, because I thought she looked exactly like, um, vest.

[00:43:51] Jason Mantzoukas: Vest, Itza, Hailey Vestra.

[00:43:53] June Diane Raphael: Yes.

[00:43:53] Jason Mantzoukas: I thought so too.

[00:43:53] Paul Scheer: Hailey Sims.

[00:43:54] Jason Mantzoukas: I thought we were supposed to make a connection between, I thought as well they were meant to be somehow connected and they weren’t.

[00:44:00] Paul Scheer: I have, I have a very big idea. I have a very big idea that just came up.

[00:44:03] Jason Mantzoukas: Go, oh my God.

[00:44:04] June Diane Raphael: Yeah.

[00:44:04] Jason Mantzoukas: This is a mega Megalon Megas. You did a shot of Megalon in the green room.

[00:44:10] Paul Scheer: So I’m ready for it.

[00:44:11] June Diane Raphael: And Paul said a number of times, you gotta let these men cook. So babe, just cook. Let it.

[00:44:17] Paul Scheer: You know what? Turn our mics off. Just Paul. Give him a spotlight.

[00:44:19] June Diane Raphael: Yeah, just let him cook.

[00:44:20] Paul Scheer: Back to those nuts. Now, um, the, what if Sunny Hope was an alien that he fell in love with and when she died, it’s not like he found the Megalon in the ocean because that’s where it crashed. It’s like she is Megalon because she’s an alien from that planet and that’s why she is so intertwined with Megalon.

[00:44:45] That’s why when he gets it on his face, he sees her. She is one. She gives him the visions. She’s like an alien race that’s trying to like, help our race become more.

[00:44:57] Jason Mantzoukas: Okay, I don’t mind that. It’s certainly not in the movie. You’re doing You’re doing a lot of work to help the movie because that is categorically not present.

[00:45:08] But I want to be clear. Upon getting shot in the head, Adam Driver is given Megalon treatments that ultimately make his head appear to be totally normal.

[00:45:19] Paul Scheer: Right, he’s shot through the eye.

[00:45:20] Jason Mantzoukas: Shot through the eye. He then takes Megalon and builds moving walkways with it. What are you doing? This is a medical breakthrough. This, this can cure so much, and what he’s doing with it is making moving walkways? What is, what is Megalon?

[00:45:38] Paul Scheer: No, I think the Megalon was already, like, it was like this, it’s like, we can use it for moving walkways, but what if we also used it for gunshot victims?

[00:45:47] Jason Mantzoukas: Yes.

[00:45:47] Paul Scheer: Like, so, I think they just found enough, it’s like, it’s like George Washington Carver found a lot of things for Peanuts.

[00:45:52] Jason Mantzoukas: He also made a dress. And it.

[00:45:56] June Diane Raphael: God, you are nuts.

[00:45:58] Jason Mantzoukas: Wait, what’s going on? Are you okay, man? Wait a second, is this episode sponsored by Nuts or something?

[00:46:04] Paul Scheer: Big peanut has got to me, people.

[00:46:06] Jason Mantzoukas: Is this, are we, is this festival sponsored by Big Nut?

[00:46:12] Paul Scheer: Big Nut. Planters Comedy Fest.

[00:46:15] Jason Mantzoukas: That would absolutely be a thing that would advertise on podcasts.

[00:46:19] Get Big Nut.

[00:46:21] Paul Scheer: Nut up. Um, but I mean, but, but, I think what we’re, what we’re saying is, Megalon is a tool of an alien world. Right?

[00:46:35] Jason Mantzoukas: Wouldn’t it be so interesting to make a movie about that? Nope.

[00:46:40] Paul Scheer: But I mean, I’m just saying, like, even though the movie is not telling us it, that’s what we are supposed to believe. It’s not a material found on our planet.

[00:46:49] Jason Mantzoukas: I don’t think so.

[00:46:50] June Diane Raphael: I don’t think so, but I guess I, what I come back to is, is what, where else is Megalon in Megalopolis aside from the walkways?

[00:47:01] Jason Mantzoukas: Yes. And it’s, it’s, it’s Vestra’s dress is made of Megalon.

[00:47:04] Paul Scheer: Oh, only certain points though, right? Because when she’s singing that song. She’s in a white dress, and then at the end of the song, she’s like.

[00:47:12] Jason Mantzoukas: Well, I think that might be the Megalon looking like a white dress.

[00:47:14] Paul Scheer: Got it.

[00:47:15] Jason Mantzoukas: Because the Megalon seems to be able to change its properties.

[00:47:18] Paul Scheer: So, you see, it’s moving walkways, it’s dresses, it’s gunshot victims, it’s everything.

[00:47:25] Jason Mantzoukas: I mean, yeah, I guess.

[00:47:26] Paul Scheer: You know that they went to Taylor Swift for that part. I felt like they definitely went to Taylor Swift for that.

[00:47:31] Jason Mantzoukas: For sure.

[00:47:32] Paul Scheer: I mean, it seems like it’s, uh, yeah, I mean

[00:47:35] Jason Mantzoukas: Well, and how obsessed everybody was with the fact that she was a 16 year old virgin?

[00:47:41] Paul Scheer: That old man bought for 10 million.

[00:47:44] Jason Mantzoukas: 100 million! I’m so sorry, Paul, to correct you. 100 million to support her virginity?

[00:47:53] June Diane Raphael: That’s what was so I had to tip my hat to her, though. I really did, because I was like This bitch is on to something. Like, she’s not getting money. She’s not raising funds for them to take her virginity. She is raising funds for them to just sort of salute it.

[00:48:10] Jason Mantzoukas: Yeah.

[00:48:11] Paul Scheer: Oh, oh, oh. Yeah. Oh, I thought, like, for sure. No, I thought the winner gets to marry her.

[00:48:16] Jason Mantzoukas: No, oh, I don’t think, oh.

[00:48:19] Paul Scheer: Did you, I thought the winner, I thought they were bidding.

[00:48:22] Jason Mantzoukas: We’ll only hear from the architect in the balcony. Do you think that she was supposed to marry whoever it was?

[00:48:29] June Diane Raphael: No.

[00:48:30] Paul Scheer: No. No, yes. There’s a, there’s a little bit of confusion.

[00:48:32] Jason Mantzoukas: Okay, let’s see. Who says no? Yeah. Okay, shut up. Time, stop. Who says yes? Okay. Interesting. I thought no. I thought everybody was supporting her virginity, and then they play the sex tape, and then it’s revealed she’s a 23 year old non virgin, and she’s stuck on the Mac the Knife half moon, terrified out of her mind in some sort of Coliseum, where, where the wedding of the century is happening and people are being murdered.

[00:49:04] I don’t know.

[00:49:04] June Diane Raphael: And she’s just also like hustling during this wedding and making a buck.

[00:49:10] Jason Mantzoukas: Yeah.

[00:49:10] Paul Scheer: It’s also like, why put a hat on a hat, right? She’s supposed to be a virgin.

[00:49:15] Jason Mantzoukas: This movie loves hats.

[00:49:17] June Diane Raphael: Oh my God.

[00:49:19] Jason Mantzoukas: Everybody’s got a hat in this movie.

[00:49:21] June Diane Raphael: We have not talked about the scene, and you know it was improvised, where Shia says, pick up my hat, and then they all throw their hats, and they all pick up their hats.

[00:49:30] That was truly clown work at its best. like, this is so good. That’s so funny.

[00:49:36] Jason Mantzoukas: My favorite character in the movie, full stop, is Shia’s sidekick, who we meet when he’s the tuba player in a parade band. Shia’s like, hey, come here, come here, and the guy’s like, drops his tuba, and he’s like, yeah, what do you want?

[00:49:52] For the rest of the movie, the tuba player is an essential member of Shia’s crew. What? What a glow up for the tuba guy.

[00:50:02] Paul Scheer: Shia’s crew all look a little bit like Shia. One of them is Balthazar Getty, which is interesting.

[00:50:08] Jason Mantzoukas: Oh!

[00:50:10] Paul Scheer: But here’s what Coppola had to say about Shia. He is an actor who, this is the quote, deliberately sets up a tension between himself and the director to an extreme degree.

[00:50:23] And whose method was so infuriating and illogical, it had me pulling my hair out. He then compared the actor to Dennis Hopper in Apocalypse Now. So, not an easy shoot for Shia. Uh, or at least for Francis Ford Coppola. Because Shia’s doing a lot.

[00:50:43] Jason Mantzoukas: Oh, is he? Oh, I thought it was pretty measured.

[00:50:49] June Diane Raphael: But see there are, like that tuba player, I would have loved the entire movie to be about that man’s journey.

[00:50:55] Jason Mantzoukas: Yes, that’s an arc. That’s a character on an arc.

[00:50:59] June Diane Raphael: That I think I could understand, you know.

[00:51:02] Jason Mantzoukas: Yes, rags to riches.

[00:51:03] Paul Scheer: And is the tuba player the same one who decides to To kill, uh, well he, he puts out the hit.

[00:51:09] Jason Mantzoukas: He thinks he’s, he thinks he’s killing, uh, uh, Caesar. He’s also the character who, in the last half, in the third act, appears to have the character from the Marvel Universe, Bullseye’s tattoo on his forehead. And I was like, when did he become Bullseye?

[00:51:24] June Diane Raphael: I think I don’t know. I don’t know what went on there. One of my favorite moments was when, was when, was when Caesar Catalina finds out that he’s going to be a dad. And by the way, this is often a trope in movies where men take so long to figure out this information.

[00:51:48] It’s like, It’s so confounding to watch. It’s like, sir, you were a part of this. You have to have known this was a possibility. He takes a solid minute and we watch his face. And again, it’s so compelling because it’s Adam Driver. Go through every human emotion and land on your we’re gonna have a baby. And I just, you know, again, it’s a trope.

[00:52:13] I see it in so many movies and it just delights me every time. The surprise.

[00:52:17] Jason Mantzoukas: But he is, you’re right, he is so good at landing preposterous stuff, such as the scene when they then, he and um, His, his beloved, uh, Julia, they meet with her parents, so now his soon to be in laws, and Giancarlo Esposito is her father, who is the mayor, who is his sworn enemy.

[00:52:39] He’s Cicero, and he is, they are at odds, they are enemies, they play cards, but for the first half of the scene, Adam Driver’s just carrying a casserole dish around. Like, an old school casserole dish. Not like, like an old Pyrex casserole dish. Or a Corning Ware casserole dish.

[00:52:57] Paul Scheer: That’s exactly it.

[00:52:58] Jason Mantzoukas: It’s actually what it’s the blue and white, Corning Ware square, small size, Right? Casserole dish. And I was like, now what the fuck is this about and why is he making it look so effortless? What’s in the dish? Nothing was in the dish.

[00:53:16] Paul Scheer: What’s in the dish?

[00:53:17] Jason Mantzoukas: What was in the dish?

[00:53:18] Paul Scheer: Nothing was in the dish.

[00:53:19] June Diane Raphael: There was nothing in the dish.

[00:53:21] Paul Scheer: There’s so much. There is so much. I mean, Saturnalia is Hanukkah, Christmas, New Year’s.

[00:53:29] June Diane Raphael: It’s everything.

[00:53:30] Jason Mantzoukas: It’s interesting because you were talking earlier about how.

[00:53:32] Paul Scheer: It’s also Halloween.

[00:53:34] Jason Mantzoukas: Everybody was encouraged to improvise and all of this and, and who is the true author of the movie? You know, Coppola’s been writing it since the 90s, people were, actors were encouraged to write, but I would say a full quarter of the movie was written by Marcus Aurelius?

[00:53:49] And just quoted by Julia. Because she says, she speaks in just Marcus Aurelius quotes, for I’m going to say four minutes straight.

[00:53:59] June Diane Raphael: Absolutely.

[00:54:00] Jason Mantzoukas: It is in, I will say, it is in WGA arbitration.

[00:54:03] Paul Scheer: Ha ha ha ha ha ha. I was looking at here just like, so when he originally announced the film, was in 1989, he planned to move to Italy to work on two productions in the next five years.

[00:54:18] And he called the film, so big and complicated, it would seem impossible. That’s where it started, in 1989.

[00:54:27] June Diane Raphael: And that’s where it ended.

[00:54:28] Jason Mantzoukas: It’s, by the way, true.

[00:54:31] Paul Scheer: And, and by the way, So he went to Rome to make Megalopolis, and a year later, he released The Godfather Part 3. Um

[00:54:41] Jason Mantzoukas: What’s interesting is like that it is a New York movie. They talk about it being America. It is not interested in being like Roman or Italian or anything like that.

[00:54:51] Paul Scheer: I think it’s much more about Um, I think what it is, honestly, if I’m really looking at it, I’m saying this is Francis.

[00:54:58] Jason Mantzoukas: Okay, Paul, if you’re really looking at it. Up until now, you’ve been looking at it rather obliquely.

[00:55:03] June Diane Raphael: You’ve been looking at it like through a bag of nuts. Yeah, I Just like

[00:55:06] Paul Scheer: I’m trying to get into

[00:55:07] Jason Mantzoukas: You’re looking at it through like eclipse glasses.

[00:55:10] Paul Scheer: I’m taking out all the raisins of this trail mix and I’m going to tell you what nuts are in here. I think what he’s trying to do was, I think originally he was talking about how the Roman Empire got corrupt and took this really beautiful society and it fell apart.

[00:55:24] But then Trump came and he’s like, I’m going to do a politics version. So he took the original idea and he’s like, politics, right? And then it gets really muddy. And then it’s like, cause I think that there’s a couple of things at play and that’s what it feels like. It’s like, it’s like, I’m a populist, I’m for the people, but everybody is kind of like Trump at a certain point too because it’s like they’re all kind of villains.

[00:55:49] Jason Mantzoukas: Shia is very trump coded, I feel like. And there is a whole section that feels very J6.

[00:55:55] Paul Scheer: Yes, yes, a hundred percent. But then I also feel like, but I also feel like.

[00:56:02] Jason Mantzoukas: Okay, okay, New York. New York’s like, I don’t know about that. We’re on board for September 11th, but J6 was cool, right?

[00:56:12] Paul Scheer: But I also feel like the other person for the people is Adam Driver, right?

[00:56:18] Adam Driver is like, I am for the people, and then, and then when he tells everybody what they, then they all get behind him because they hear his speech right before he’s getting arrested or maybe that was later. God damn it, I forgot where. But yeah, the end of the movie really happens very quickly.

[00:56:32] Jason Mantzoukas: Nobody’s a good guy, right? Everyone’s a villain?

[00:56:35] Paul Scheer: Yeah, because Adam Driver’s a drunk, and he’s a mess, and he’s He’s doing a lot of things, I don’t know, but is he a good guy? I guess so. He’s got this alien.

[00:56:42] Jason Mantzoukas: No, I think he, I think everyone’s a villain.

[00:56:45] June Diane Raphael: Yeah, except for the baby at the end.

[00:56:48] Jason Mantzoukas: Oh yeah, I’m sorry. No, you know what? No. I’m so sorry June, the baby is a villain. I’m putting the baby in the villain category. I hate to disagree with you, but that baby was a fucking asshole.

[00:57:01] June Diane Raphael: I mean, the baby is now the only person on the planet.

[00:57:04] Jason Mantzoukas: The baby, yes, that baby’s too powerful. I mean, how many years is the baby just like.

[00:57:09] June Diane Raphael: Just scrounging around for food.

[00:57:11] Jason Mantzoukas: Just waiting to learn.

[00:57:12] June Diane Raphael: Little bits of milk.

[00:57:13] Jason Mantzoukas: Yeah, just like, and like what happens to the people frozen in time? But also what I noticed was when they would be frozen in time. Time, frozen. Wind, still blowing their stuff all over the place. Blowing their dresses. Time is stopped, but the wind is still going.

[00:57:31] June Diane Raphael: Right, right, right, right, right.

[00:57:32] Paul Scheer: You can’t control nature, but you can control time.

[00:57:34] June Diane Raphael: I was very upset, because at this point, I don’t think we know, or maybe we do know she knows, she can see him stop time.

[00:57:41] Jason Mantzoukas: Yes, she knows.

[00:57:42] June Diane Raphael: But, but she can’t stop time herself.

[00:57:43] Jason Mantzoukas: She cannot. She’s a, she’s a time stopping viewer, not a participant.

[00:57:47] June Diane Raphael: She’s a witness of time stoppers.

[00:57:49] Paul Scheer: But now, at the end, she will be stopped.

[00:57:52] June Diane Raphael: She will be stopped by the baby, or, or no, she will be stopped. Or maybe she’s pretending like Aubrey Plaza did when she was a statue in the bedroom.

[00:58:04] Paul Scheer: Um, let’s go to the audience and see what they have to say.

[00:58:06] Jason Mantzoukas: Not once does he stop time and be a creep and look at boobs and stuff. Which, come on.

[00:58:13] Paul Scheer: Hi, how are ya? Uh, good. What is your question?

[00:58:16] Audience Member: Um, so you kinda touched on it, but the end with his speech, right before everyone in the crowd basically wants to kill him.

[00:58:26] Paul Scheer: Right.

[00:58:26] Audience Member: And then when he’s done with his speech, They’re all behind him? But like, his speech meant nothing.

[00:58:32] Paul Scheer: Right, at that point it would be really hard to get everyone back on board. Cause they hate him so much. I know, yeah.

[00:58:40] Jason Mantzoukas: But that’s how convincible, that’s how dumb you people are. That’s how stupid you are. He says a bunch of words and you’re all like, Yes!

[00:58:52] June Diane Raphael: And honestly, that’s why the movie needed to be longer.

[00:58:54] Paul Scheer: Well, that ending, I was like, you’re gonna, you’re now, you’re picking up the pace here.

[00:58:59] Like, why? Why now? Like, this is, we should have had a moment. Everyone’s wearing great shirts out here. I’m not gonna comment on all the shirts. You got a great shirt yourself there, sir. They’re all How Did This Get Made shirts. Thank you for wearing them. Yes. Okay. And you had the notebook. You did it all. I love it.

[00:59:11] What’s your question?

[00:59:12] Audience Member: Um, the question, well, it really was Uh, to June’s point, who really was playing a lot of these characters? Have you guys ever seen characters fade in and out out of the credits? Because everybody had their characters named except for right at the end where the name title faded in and out of the fixer.

[00:59:37] Did you guys see that?

[00:59:38] Jason Mantzoukas: No, what was, who was it?

[00:59:40] Paul Scheer: You’re saying that, like, the Fixer wasn’t a real person?

[00:59:42] Audience Member: Dustin Hoffman’s character didn’t actually have a name.

[00:59:46] June Diane Raphael: Oh, I see what you’re saying.

[00:59:47] Audience Member: But right at the end, if you look, the Fixer pops up right under his name and fades in and out right before it does.

[00:59:56] June Diane Raphael: So maybe that’s when we were being told who that character was, what his role was, really.

[01:00:02] Audience Member: Just, just right in the credits.

[01:00:03] Jason Mantzoukas: I applaud you for watching the credits, sir. Sir! I applaud you. The minute the movie went to credits, I turned my brain off. I died a small death.

[01:00:19] Paul Scheer: Everyone, these guys have had their hands up very passionately. Alright, now you’re pulling back from it. No, alright, here we go. I came here because I Okay.

[01:00:27] Alright, what do you got?

[01:00:28] Jason Mantzoukas: Okay, okay.

[01:00:28] Paul Scheer: Alright, here we go.

[01:00:29] Audience Member: Did, um, did Julia pretend to be a 6th grader in their meet cute? Was that what happened?

[01:00:34] June Diane Raphael: Say it again.

[01:00:35] Jason Mantzoukas: Yes, you’re right.

[01:00:36] Paul Scheer: So she sneaks into the office by pretending to be a 6th grader, but he sees through that very quickly. But I think.

[01:00:44] Jason Mantzoukas: She’s also dressed like Red Riding Hood in that scene too.

[01:00:47] June Diane Raphael: Yes.

[01:00:47] Jason Mantzoukas: I firmly believe there are many, many scenes that were shot and are just missing that are the connective tissue for the absolutely bizarre nonsense that this movie does.

[01:01:01] June Diane Raphael: Fair enough.

[01:01:01] Jason Mantzoukas: At least we got to see Jason Schwartzman play the drums. Loved it.

[01:01:08] Paul Scheer: I am in the balcony.

[01:01:11] Jason Mantzoukas: Watch out Paul, watch out.

[01:01:16] June Diane Raphael: Be so careful.

[01:01:18] Paul Scheer: Hi, how are you? So what’s your name?

[01:01:20] Audience Member: Marissa.

[01:01:21] Paul Scheer: Alright Marissa, what’s your question?

[01:01:22] Audience Member: So at one point like Um, the mayor’s daughter, I forget their name, and then Caesar were like on the bed and they were doing, um, like patty cake.

[01:01:31] June Diane Raphael: Oh.

[01:01:32] Jason Mantzoukas: Oh yeah.

[01:01:34] Audience Member: Do we think that was, like, before or after they did it?

[01:01:38] Jason Mantzoukas: Well, that makes me feel like, do we think she is supposed to be a sixth grader?

[01:01:43] Audience Member: Yeah. Was that aftercare or was that, like, foreplay? Like, what’s going on there?

[01:01:48] June Diane Raphael: You know, there’s parts of this movie that you all are reminding me of that I think I very intentionally tried to put away. That scene was one of them.

[01:01:57] Jason Mantzoukas: This movie has such an unstructured Terrence Malick ian kind of tone poem vibe. But none of it makes sense, and none of it’s interesting.

[01:02:08] Paul Scheer: It’s as if there’s a million puzzle pieces on the floor, and we all remember a handful.

[01:02:13] Jason Mantzoukas: I love a puzzle.

[01:02:14] Paul Scheer: I love a puzzle too. And what’s your question?

[01:02:17] Audience Member: So, they have like television, and obviously like a Fox News type of thing. I’m just curious if this is like a future type thing. Like, where’s all the cell phones and laptops and things like that?

[01:02:30] June Diane Raphael: The future is, is shockingly low tech.

[01:02:34] Jason Mantzoukas: Is it the future? I don’t know that this is the future.

[01:02:39] Paul Scheer: It’s not. It’s an alternate reality of the past.

[01:02:41] Jason Mantzoukas: It’s just, it’s just new Rome.

[01:02:45] June Diane Raphael: I think it’s the future. I think it’s futuristic. I mean, I only know that because, like, there’s so many lesbians out and about. And so, I have to imagine that that’s the future.

[01:02:57] Paul Scheer: I gotta say I loved, and I don’t know why I didn’t think I was going to, I loved Jon Voight in this. I think that Jon Voight did, like, levels that I was surprised at. He played drunk, he played old, he played Archer, um, and But I do feel like he’s doing a lot.

[01:03:16] Like, I like when he’s like flirting with, you know, he’s flirting with, uh, whatever her name is, Champagne Wow or Sham Wow.

[01:03:25] Jason Mantzoukas: Wow Platinum?

[01:03:26] Paul Scheer: Wow Platinum. I will say this. The movie does look beautiful in many sequences. Like, I was like, oh, this is

[01:03:31] June Diane Raphael: I thought so too.

[01:03:32] Paul Scheer: I was confused that there was actually a Roman Coliseum doing Roman Coliseum things. And one of the things was like, okay, chariot race, got it. Wrestling, got it. Guys running through walls. Weird. Don’t get it. Don’t think that that’s a thing. Never heard about that. Looks cool. Felt anachronistic. Um, Obviously, we had an opinion about this movie, but there are people out there with a different opinion.

[01:03:54] It is now time for Second Opinions.

[01:03:58] Audience Member: So if you care to find me, look to my Amazon. As someone told me lately, everyone deserves Second Opinions. And if I’m rating so low, at least

[01:04:17] It’s time to find my second opinions I’m flying high second opinions And soon I’ll match them in renown And nobody in Amazon Not Jason June or even tall John Is ever gonna bring me down! Geostorm!

[01:04:37] Paul Scheer: Amazing! Amazing. That’s it. Everyone go back to your seats.

[01:04:45] Jason Mantzoukas: Great work.

[01:04:46] Paul Scheer: That’s it.

[01:04:46] Jason Mantzoukas: You’re done. Get out of here. Great work.

[01:04:49] Paul Scheer: You did it. You did what we needed to be done. Normally we go to Amazon for 5 star reviews. Unfortunately, there are no 5 star reviews on Amazon. There are, however, 175, 000 reviews. on Letterboxd, and we went to the, uh, five star reviews, of which there are five percent.

[01:05:14] Five percent of 175, 000 reviews. Now, the most common rating, by the way, is two stars. Uh, okay, so here we go. This is titled Portrait.

[01:05:25] “This was a cute movie, and the people who didn’t understand it are just dumb. I’m sorry. It’s not even that hard. Five stars.”

[01:05:37] Soup. Soup 007 writes

[01:05:45] “New York better welcome this in the next 20 years, bruh. Caesar got a fucking crunch lab and shit, what the fuck? Absolute fucking masterpiece of a film by FFC. I don’t care what anyone says. Sex, drugs, and Megalon, five stars.”

[01:06:07] Meju wrote,

[01:06:08] “If I had 120 million and I was a film director, I would also make a film about the destruction of New York and the United States and dedicate it to my late wife. Everything by the Coppola family is praised. Here, it’s a five star film, and fuck the critics. Anyone who’s a fan of Coppola’s Old Testament, the Godfather trilogy, has to at least be happy for the director’s personal achievement. I love you, Franz, Ford, Coppola. I love you. What you do now stays forever, heart emoji.”

[01:06:42] Koops writes

[01:06:46] “Like if you built a time machine specifically with the intent of bringing Shakespeare to the present day and asking him to write a script set about a decade from now inside of 20 minutes while high out of his mind and despite all of that the whole thing pretty much makes perfect sense. I was on the film’s wavelength from the start and I stayed there for the entire run time. One of the most sincere and optimistic films I’ve seen all year. In other words, I’m a big fan! Caesar clearly took massive inspiration from the Virtual Insanity music video during the design process.”

[01:07:25] Jason Mantzoukas: Oh, I would love it if when he’s showing his in laws the moving walkway, JK just walked out and was like, Virtual Insanity!

[01:07:36] Paul Scheer: Shelby writes,

[01:07:37] “To be fair, you have to have a very high IQ to understand Megalopolis. The humor is extremely subtle. And without a solid grasp of Emersonian literature, most of the jokes will go over a typical viewer’s head. The fans understand this stuff. They have the intellectual capacity to truly appreciate the depths of these jokes. To realize that they’re not just funny, they say something deep about life. As a consequence, people who dislike Megalopolis are truly idiots. Five stars.”

[01:08:16] Here we go, uh, would you recommend this movie?

[01:08:19] Jason Mantzoukas: Absolutely, yes.

[01:08:21] June Diane Raphael: Yeah, it’s something to see.

[01:08:25] Paul Scheer: Thank you, New York! You’re the best, goodnight!

[01:08:30] Jason Mantzoukas: Eat shit!

[01:08:33] Paul Scheer: That’s all from New York. We have a great t shirt that we created that night. “Sex, drugs, and Megalon.” Uh, you can get that at Teepublic.com/stores/HDTGM.. I love that shirt so, so much. Uh, my book, Joyful Recollections of Trauma is available wherever you can get your books, your eBooks and all that sort of stuff.

[01:08:57] How Did This Get Made is going on a giant spring tour, head on over to HDTGM.Com for tickets and information. We are going to be going to a bunch of new places that we’ve never been before. And we want to see you out there. So. Make sure you get tickets early because they’ve been selling fast. We’ll also see you up at Sketchfest at the end of this month. That’s Dinosaur performing up there, and Dinosaur will be performing at Largo along with How Did This Get Made’s rescheduled shows in March. So check the schedule, check the calendar, check the website, check it all. And also, if you want to watch a brand new comedy show with myself and Rob Hubel, make sure that you are following Enter the Dark Web on YouTube.

[01:09:38] It’s a weekly show where we find the weirdest stuff on the internet. Uh, and we challenge each other to test it out. Uh, anyway, Enter The Dark Web, Rob Hubel, Paul Scheer. It’s a blast, uh, people that’s it for today’s show. A big thank you to our amazing. How Did This Get Made team live on the ground in New York and also here in Los Angeles.

[01:10:02] Uh, we will see you next time for Last Looks. And by the way, if you have a comment about Megalopolis, we want to hear them. Just head on over to our discord at Discord.gg/HDTGM. And you can leave a comment in our Megalopolis section, or you could just give me a call. That’s right. Leave a voicemail for me and we will play them on the show if they’re good.

[01:10:24] All right. That’s all for now. We’ll see you next week for Megalopolis Last Looks.