0:00

Hey, guys. It's Hayes. Whether you're a makeup influencer

0:02

or a telehealth life coach Squarespace

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is the all in one platform to help you stand

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out with a beautiful website engage

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with your audience and sell anything.

0:12

It's funny that that sell

0:14

anything line. So III

0:17

run these lines with Sean.

0:19

Every every time I'm doing an ad by myself, I'm

0:21

just like, can I just run these with you for just for a

0:23

minute? So I was running through these and he

0:25

heard that and he was like, oh, it's

0:29

like sell anything. That that's that's

0:31

where I'm at. I'm gonna have to sell everything.

0:33

I guess he's, like, not he's, like, not

0:35

super liquid right now. He was saying and

0:38

he was, like, I'm probably gonna have to dump, like, a

0:41

a couple million more shares. And

0:44

I said, of of what? Because

0:46

I didn't know. We we don't really talk

0:48

about that stuff, but and

0:51

he said, of Pipo.

0:54

And I

0:58

I was sort of embarrassed that I didn't know

1:00

what that was, but I asked more

1:02

questions. And it turns out that

1:06

the peaceful post was that

1:11

has been listed on

1:14

the Nasdaq for a really long time. It

1:16

was a peaceful post. Became

1:18

zendesk online dot com. It's

1:21

it's whatever stock

1:23

name is still depot. The

1:26

EPO. And

1:29

it's been, I guess, publicly traded

1:31

for now years. And

1:34

I had no idea And

1:36

he was all upset because it he said it's

1:38

like it's taken a tumble, he

1:40

said. And I looked at it. And it is it

1:43

has fallen. It's down to ninety dollars.

1:46

Which to me, ninety dollars a share 4, like,

1:48

what this company is is

1:52

extremely high. And

1:57

III tell I'm a little

1:59

worried that it's gonna keep falling, and

2:01

he kinda laughs, like, no, you

2:03

know, this is you know, just a little squaw,

2:06

he says. And

2:08

then he said that

2:10

if I were smart, he

2:13

that he has a tostido scoops

2:15

for me that I should get freaky

2:18

with the zagziki. And

2:20

I thought about that for a really long time. And I think

2:23

he was saying to I think he was saying to buy the

2:25

dip. So

2:27

Tido Scoops and the So,

2:29

anyway, I'm not gonna do that.

2:32

I don't I don't think it's a viable

2:34

company, especially what zen den online dot

2:36

com is now just

2:39

pictures of, like, the kind of the back

2:41

part of dogs that you can look right up

2:43

and down. I just I don't know why it's publicly

2:45

traded, but I'm I'm it's not something

2:47

I'm interested in. Pursuing further,

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of a website or domain. So

3:16

it turns out our ancestors

3:18

actually had a

3:20

little bit to to teach us about

3:24

being healthy about,

3:27

like, you know, so we, like, we think of, like, oh, we've

3:29

developed all these, like, new medicinal

3:32

and, like, culinary

3:34

practices. And so we're healthier now. It's like, actually,

3:37

we've gotten we've straw

3:39

backwards and so far. In some

3:41

ways, we have, maybe because

3:43

someone is trying to sell us something.

3:47

So I'm thinking the product money off this.

3:49

I'm being product Actually, things

3:52

that were given to us for

3:54

free are also

3:56

the healthiest approach

3:58

to things like how we eat. A

4:01

berry, a Clea. Right?

4:04

I have found It's

4:06

so interesting that you would say a

4:08

berry, a leaf, a rock. I

4:11

have found you that by

4:14

by really perfecting my scooping

4:17

paw technique, that

4:20

I all my eating

4:22

now is is scooping. I

4:26

will scoop. It's perfect for berries.

4:28

And is perfect for

4:31

berries. Whereas when I

4:33

was I I used 4

4:35

fork for five, six years,

4:39

I can only get, like, a couple berries

4:41

on there at a time. Oh my god. And they're

4:43

exploding. You're losing some of the

4:45

vital nutrients. Berries. Shooting all over

4:47

the place. I'm

4:50

biting down on the fork.

4:52

The fork is so hard

4:56

Mhmm. Whereas and, of course, I'll yes.

4:58

I'll bite that. I'll put my hand all the way in my mouth.

5:00

My hand, but that's me. Sometimes too. At

5:03

Yes. And I and I can feel

5:06

that when it's starting to happen, I'm like,

5:08

oh, well,

5:10

time to ease up. Tell you to

5:12

ease. Exactly. I can

5:14

feel the fork. I can feel my paw.

5:18

I hate to extend

5:21

this intro. We do have guests that we need to

5:23

introduce, but actually your story

5:26

has reminded me

5:29

something of parable

5:31

from nature. And I think it

5:33

relates to our guests today.

5:36

Mhmm. And I don't think they've

5:38

lead us this before, but it's it's a

5:40

warning for you as well as a berry

5:42

Scooper. Are you familiar

5:44

with the Monkey

5:48

hunting technique employed in borneo

5:51

in the jungles. In

5:53

in borneo in the borneo

5:55

jungles? No. Well,

5:58

allow me to educate you.

6:00

So they will fill a tree

6:02

hole, a cavern inside a tree.

6:05

With berries and nuts and things desirable

6:07

to these delicious monkeys. And

6:10

the monkey will reach his hand inside

6:12

having smelled the treats. And

6:14

he will close his fist inside

6:16

of the tree. Close it so tight

6:19

around this treasure he's found, that

6:21

he's unable to remove it. And

6:23

effectively trap himself. He's unwilling

6:25

to let go of the nutrients

6:28

of the delicious wonderful

6:31

food he thinks he has. But in fact, the

6:33

very thing he thinks he has won,

6:35

he has discovered, by

6:38

holding onto it, He's insuring

6:40

his own demise. And you'll see them

6:42

here. If you walk if you go to Borneo, you walk

6:44

around, there's just these monkeys with their

6:46

hand to stuck in the tree gripping

6:48

their fist two wide removed. And if they would just

6:50

let go, what they think

6:52

is the prize? They would

6:54

have freedom. And so I think we need to talk

6:56

to someone here because I like

6:59

to ask you, what are you holding on to?

7:01

Yes. What are your nuts and berries that you're

7:03

gripping so tightly? That

7:06

you think you have, that

7:08

in fact are holding you back and

7:10

trapping you, and killing you,

7:12

and Clea, you're here.

7:14

Yeah.

7:16

Yeah? Do you have a guess at

7:18

what it might be for you? Yeah.

7:20

I mean, what we what I was

7:22

here recently, we

7:24

were talking about an idea

7:26

for a movie and it

7:29

didn't end well. And now,

7:31

here I am, sticking my hand in the

7:33

tree, trying to grab back onto

7:35

that

7:35

idea. The Christmas -- The project. --

7:37

the Christmas period. The project is

7:39

in nuts. Yeah.

7:41

Mhmm. And

7:42

you guys are the tree -- Correct. -- I guess.

7:44

Yeah. So I'm -- Mhmm. -- I'm

7:46

trying to get those nuts and

7:47

berries. You got your hands

7:48

stuck in my side hayes? And the and the you

7:51

got your heart is your inside hayes?

7:53

Yeah. To pause your unslakable ambition,

7:58

which we knew about going into

8:00

that episode. We were

8:01

worried. In fact, we thought it would serve us.

8:04

We thought, oh, well, this will be great. We

8:06

got we got a true killer on the podcast

8:08

and she's gonna help push this thing

8:10

over the goal line and instead

8:13

I mean, by the end, I think I mean, if I'm not

8:15

mistaken, I think he's called me

8:17

radioactive. Which

8:19

hurt, but it really was a

8:21

good it was a

8:23

I think I needed

8:24

it. And it wasn't representing me too. Dragon

8:26

song. You know what I

8:28

mean? He was talking about the actual thing.

8:31

Yeah.

8:31

Mhmm. Yeah. Yeah. It hurts to be around

8:33

it as well. And and it

8:35

hurts it hurts to be it. It hurts

8:37

to be it. But I

8:39

think I've you know, I sort of figured it out

8:41

because, obviously, I made the other

8:43

Christmas movie the happiest seasons of

8:45

all. And I

8:48

tried to come into this in a different

8:50

way. With this

8:51

new, you know, Santa Claus pool party

8:54

movie. And it didn't

8:56

work. It didn't

8:56

work. Yeah. Movie Claus and Santa if we could

8:59

just refer to the movie. Eleven. It. Yeah. Yeah.

9:01

I am. But it's called Love and Santa. But

9:04

I thought, like It's a swimply. Clea

9:07

can't and, like, there's a there

9:09

it There's a pool party that

9:10

happens, but I don't know if it's a pool party movie. It's

9:13

a swim pool.

9:13

Pool party movie. I mean, we're not

9:16

going to Carson's this year.

9:19

It

9:19

is Carson. Now it used to be it used to

9:21

be Carter's. It used to be I know. But

9:23

but did anyone else feel like Carter was

9:25

No. IIII

9:28

was texting you that as as as I

9:30

got as I got the text.

9:32

I mean, I mean, am I

9:35

alone here? Like, you know, an agreement

9:37

with It was Clea it's Carson. It was

9:39

always Carson. You know what Clea

9:41

mean? Let's let Mary decide, and that's what

9:43

she's here to do. Right? Is

9:44

it Mary ups some of our holes? Yeah.

9:47

I've I wanted to bring it to you

9:49

for us. Well, Mary Hollow. We

9:51

know our Mary, but who's your

9:54

Who's your Mary? No.

9:56

My Mary is

9:59

Mary Holland who wrote happy a

10:01

season with me and also played a role

10:03

in the film And and

10:05

when I really, like Yeah. We don't we don't

10:08

we're we don't we we're we're

10:10

still a I'm not hearing star. I

10:13

that wasn't my yeah. That

10:14

wasn't my associate, but sure.

10:16

She

10:16

was a coach or a coach. She played a

10:19

role. She played a role. She played we all have

10:21

a role in play and Mary was no

10:23

different in the happiest seasons of

10:25

all. Yeah. Her character had

10:27

a name. And she was

10:29

in the

10:29

book. You better believe it. She negotiated for

10:31

that. Uh-huh. So I wanted to bring

10:33

her in because I know you guys have

10:35

a relationship of her, like, you guys have a Mary and then

10:37

I have a Mary and I thought that

10:39

if we made our Mary the same

10:41

Mary, then maybe we

10:43

would be able to you

10:45

know, kind of break through what happened

10:48

before the can marry the two married. Yes.

10:50

Will marry the

10:50

married. Married the married. And

10:52

and make a marry. And make a marry.

10:54

Chris, Christmas. Yeah. Yes. And,

10:57

you

10:57

know

10:58

yeah. And it's just been Christmas. And we we

11:00

we probably do have to just production schedule

11:02

wise. If I could get it out there, we probably do have to

11:04

pivot to make New Year's Eve

11:05

movie. If I can

11:08

just get out in front of this right away

11:10

I think it actually makes sense. I

11:11

think it's gotta be

11:12

yeah. Well, I think it's still

11:15

o d. Yeah. It

11:16

could be a blessing in disguise. Yeah.

11:18

Makes -- It makes more sense that

11:20

he's not working and stuff. Yeah. Mary.

11:24

Let's let's talk to Mary.

11:25

Hi. Yeah. Well, hi. First of all, I wanna

11:27

say I just love I and I really

11:29

hope that we do keep this. If

11:32

we do pivot

11:32

too. And, well, first of all, thank you for

11:35

having me.

11:37

We don't very far. Yeah.

11:40

No. There's

11:40

just a lot of verticals. I just wanna

11:42

get everything. Yeah. Sorry.

11:44

Let me back up. First of all, let me just

11:46

say, hi.

11:48

Hi.

11:49

Hey. And Oh

11:50

my god. Thank you.

11:52

I also just wanted Well

11:54

Quia never did that on her episode. Not

11:58

even Clea. were even in

12:00

the neighborhood. There was no high.

12:02

There was no She didn't say high.

12:05

No. But

12:06

we're just, you know

12:07

I just wanted to get big bags of

12:09

wild animals. That's the thing. That's the thing. I don't

12:11

think he said

12:12

thank you either. I

12:14

definitely Yeah.

12:15

the definitely. I made a lot of mistakes

12:17

and that's why I'm happy that you guys

12:19

even let me come back here because

12:22

I do think You know? Yeah. Did

12:24

you listen to that? I think there's an opportunity. I

12:26

couldn't. I you think I could.

12:27

Yeah. I wouldn't. No. I'm

12:30

traumatized by yeah. But I think that was a

12:32

mistake too. Mary.

12:35

Hi. I'm

12:38

it's so funny. It did be like, because I've been

12:41

thinking a lot About

12:42

me? Yeah. I want doing

12:44

the scooping thing.

12:45

Oh. Did you

12:46

hear about this? I did with nuts and

12:49

berries. Yeah. Yes. And I've

12:51

been thinking about you just

12:53

because I was looking at different techniques -- Mhmm.

12:55

-- and yours is I was

12:57

like, it's so different from all

13:01

the others I've seen. Yeah. It's a little

13:04

counterintuitive, isn't it? Well, it is. I was like,

13:06

oh, I used the back of my hand.

13:08

That is -- Yes. -- that is the thing.

13:10

And

13:11

I use the background. Somehow, it doesn't

13:13

fall off yours like it does

13:15

mine. You can sort of

13:18

concave it in a way.

13:21

Because it's

13:21

that thing of where in order to

13:23

go up, you must go down.

13:26

Have you heard that thing? No. I

13:27

haven't really found that to be true, but Okay.

13:30

But the the the the the the the there's

13:33

there's acceptance yes, of the of the

13:35

nuts and berries that way. There's a you live in

13:37

acceptance in that way because You

13:39

play the game haze where you'd

13:42

balance a lighter on the back of your

13:44

fingers. And then you would

13:46

sort of throw it up in the air and someone would

13:48

try to gently catch it --

13:50

Mhmm. -- you know, like so and just sort of

13:52

accept the momentum and

13:54

balance it. Dangerous. So no.

13:56

I don't think I am gonna be playing that

13:58

game. That sounds

13:59

Married. Married can do three loops.

14:01

Ninety

14:01

three loops. By myself. Now can do three loops.

14:03

I don't need anybody

14:04

else to be there to catch it. I

14:06

can I can do it by myself. I can do three loops by

14:09

myself.

14:09

Mhmm. And guess

14:10

what the lighter can

14:13

be on? The

14:15

whole time. The lighter is burning the whole time.

14:16

The lighter It's just on. You can you

14:19

have one that just stays on. You set it to

14:21

on. Yeah. I because there's a switch.

14:23

Every lighter has a switch. Has an It

14:25

just says It has an onoff switch. Yeah.

14:27

It has an onoff switch because you've yeah. You

14:29

ignite it, but then it also has a switch on the butt on

14:31

the that you just

14:32

flick. If you ever look at the ask part of

14:34

the lighter, there's usually a switch

14:37

there that you can just

14:39

set to

14:40

if you're if you're

14:43

actually willing to investigate this

14:45

world we live in. Yeah. I know you have

14:46

to have a curious mind. You have to have a curious

14:49

mind, which you know.

14:49

You do. You do.

14:51

I do. For sure. Over to Spencer. Talk

14:53

about that. Well, let's talk about that. Let's talk

14:55

I'm I'm so curious what your

14:59

you know, your co writer of the

15:01

happiest season of all, also play

15:03

a role in it as

15:04

well. Mhmm. There's absolutely no

15:07

denying A

15:07

starring role, I would say. A

15:10

star. Oh, you would say that? I

15:12

would say that. It's No. Mhmm. Clear,

15:14

would you not You don't

15:16

think?

15:17

She she didn't. She Clea

15:19

didn't. She she was given a pretty

15:21

direct opportunity to say that. Yes.

15:24

Mhmm. I mean, I guess it's I think that you

15:26

and I, and this is something we have always

15:28

sort of clashed about, like -- Yeah. -- the

15:30

definition of what's what a star

15:32

is. You know, like, you think

15:34

that anybody on screen is a

15:36

star. And I think

15:37

it's, like, you know, the people.

15:40

A lot of stars. Like it mean.

15:42

Mhmm. Yeah. Mhmm. You say. Mhmm.

15:44

Part of the

15:46

nature of stars

15:47

Sure. Is that there's so,

15:50

so, so, so many of

15:52

them. I I did, but that's

15:54

interesting. I mean, it is true anybody who's

15:56

on screen you described as a star. I

15:58

remember walking out of capturing the freedmen's

16:00

with

16:00

you. And you said, wow. All that

16:02

star power up on screen.

16:05

And,

16:05

you know, I

16:06

was taking it back. It was not my

16:08

reaction to the film. Yeah.

16:10

I mean, well, I just came out. I mean, honestly,

16:12

I wasn't even paying attention to what happened in the

16:14

film because there's so much That was obvious. As

16:16

we discussed it more, it became really

16:18

Clea. Yeah. That some

16:21

stuff had been missed. And

16:23

if Yeah.

16:23

I just I when you start talking

16:25

abroad. I just love I mean,

16:27

it's what I loved about capturing the

16:29

freedmen's is that they

16:32

did capture them. They captured

16:35

them in their in

16:37

all of their stardom and all of their

16:39

glory. And I just thought that movie was

16:41

so moving

16:42

me to that. Yeah. I mean, we're not It was

16:44

actually that it would be the same way.

16:46

And that yeah. That was a sort of a misconception. It's

16:49

actually about the attempt to capture

16:50

like, actually capture them. Right.

16:53

To be. It was

16:54

Yeah. I know. Cool. I know. They need to be captured.

16:57

Exactly. And that's I don't know. Yeah. I don't think we're

16:59

saying the same thing. Yeah. I'm very clear. I mean,

17:01

it is you know, it's an ensemble movie.

17:04

But, like, do you think of anyone?

17:08

Is everyone kind of, like, playing a role

17:10

in it? Or are are there stars

17:13

are there people in the movie?

17:16

It

17:16

it is it is definitely

17:18

an ensemble. I think IIII

17:22

don't really use the term

17:24

star because it

17:26

creates a sort of

17:27

hierarchy, not only amongst the Clea, but also amongst

17:30

the crew. Except for

17:31

I think it's except for

17:33

Kristen who is of a star. Yeah.

17:35

But, like

17:36

Other than her, you know.

17:39

Everybody else. And then Mackenzie is also the

17:42

star.

17:42

Right.

17:42

And then many

17:44

4 obviously.

17:46

Me or

17:46

star. I mean, I think then well,

17:49

no. Like, Alison is a star. Yeah. I was

17:51

gonna say

17:51

Aubrey. I was gonna say Aubrey. Aubrey

17:53

is me. Aubrey.

17:55

And damn levy is he's a

17:57

Oh, we definitely That guy is a And me I

17:59

think He's

18:01

a senior. Than me.

18:02

Too. There

18:04

Mary is a star. Yeah. Yeah. Mary is a

18:07

star. Yeah. Mary Clea

18:09

a star. And then you know,

18:11

Victor Garber, we discussed him 4. And I

18:13

think we should definitely circle back to

18:15

some casting things. Okay. But we'll put

18:17

a pin in that for later once we get

18:20

to it. And

18:22

then probably Yeah. So other than

18:24

those people, I feel like everybody else

18:26

even playing field. Yeah. So

18:28

I heard no interest name? I

18:30

heard Victor sent you a text.

18:32

Yeah. I didn't really

18:35

recognize, like, the extent of, like, what has

18:37

happened to this relationship ship. But the fact that you didn't pitch

18:40

him, you know, gave me a hint. But I heard he

18:42

sent you a text after you appear on

18:44

the show. Yeah. And he

18:46

it

18:46

said, you disgust me. And

18:49

you disgust me.

18:52

Yeah. And it's funny because

18:55

when I looked up at the previous

18:57

five texts I had gotten from him

18:58

-- Yeah. --

18:59

all the same. So it's like it's

19:01

not it's sort of, like, netting out.

19:03

We netting out Maybe

19:04

not even related to the episode.

19:06

Yeah. Yeah. It could've been Sure.

19:09

I mean, there was one that I like, I went back further in

19:11

our text and there was a text that

19:14

said, don't pitch me. Don't

19:16

hit me.

19:17

Okay. Don't hit me. Okay. So

19:19

so you hadn't even seen that, but you

19:21

still knew not to do it. Mhmm.

19:24

Yeah. Yeah. Yeah.

19:27

Because I

19:27

it's yeah. If they take a

19:30

slip,

19:30

we

19:30

are never gonna get

19:31

Yeah. Was he

19:32

will be made. But, Claire, I have a question Was

19:34

he in that textile? Because that was from months ago, right,

19:36

that don't picture me? Was he referring

19:39

to the baseball game? Was

19:42

he was he referring to the baseball game? Well,

19:44

let's talk about the cast baseball game. He

19:46

said I feel like he's saying an important

19:48

part saying. Don't pitch me.

19:50

Don't even Yeah. You put one in the yeah.

19:52

You put one in the zone. I'm putting it out

19:55

of this building. Yeah. That's what

19:57

Victor

19:57

is telling you. I see a big meatball fly over

19:59

the plate. You better believe I'm taking a

20:02

bite. I'm getting on one way or

20:04

another. It's your choice as

20:06

to how.

20:07

Yeah. He I mean, he has a big like, when

20:09

it comes to sports, he's a huge trash talker,

20:11

and that is true. Okay.

20:15

Yeah. I don't know if it's trash when you back it

20:17

up like that. Why

20:17

did you say and that is true? Yeah.

20:22

Why did you say that just now? Why would you say and dad is

20:24

true about all why did you say that?

20:27

Some of the stuff not been true?

20:29

Like, do I have to check every time. You

20:31

do. And

20:31

I

20:31

left it right now. You need to fact check

20:34

most of what CLIA says. Because if she

20:36

doesn't confirm that it is true right after

20:38

she says

20:39

it, It's probably

20:41

We usually have Kevin do it. Yeah. Kevin, does anything will pop up so far?

20:43

It was Any hearing that have

20:46

you cross

20:46

referenced anything, Kevin, that's, like, come

20:49

up and been, like, something that

20:51

we need to That's correct. Have there been some stuff

20:53

that's untrue because III wanna be

20:55

able to release it in good conscience. I don't

20:57

wanna be spreading more of

20:59

this misinformation.

21:02

Right? Was there any fake stuff?

21:04

Nope. Not yet. Nothing

21:06

was fake. Okay. Great. Nothing was

21:08

fake? Okay. And no.

21:09

Well,

21:09

listen. It's just a matter of agreement. Unless she says

21:11

in that is true. Mhmm.

21:14

Big week to Clea.

21:17

I got you. Thanks. I worry.

21:20

Because Hays was

21:22

talking about,

21:22

like, health, like, modern health solutions

21:24

and stuff up here, and I just feel

21:27

like that. We've created a window now for Clea

21:29

to 4 of bust her way in and start

21:32

dispensing

21:33

some of her COVID theories.

21:36

And I just I'd rather focus

21:38

on the New Year's Eve movie. Right?

21:40

Where most of the, you know, most of

21:43

the Cast will have

21:45

COVID, the characters will have

21:46

COVID. Starz. Just

21:47

because we do want to --

21:48

Most of the stars. -- we want to address that. Oh,

21:50

that is sort of like a character in

21:52

the film. COVID

21:54

is COVID is the fifth character.

21:58

Yeah. COVID is

21:58

star Carson.

21:59

I love Jonathan Hayes.

22:02

Carolina, and

22:03

COVID. I love that.

22:06

Where

22:06

did we land? We so

22:09

I'm I'm I mean, it's the

22:11

we. It's the we that's making me. It

22:13

makes me that comfortable. It's just not Those

22:15

those we don't wanna deal right.

22:17

We're not I I And

22:19

and is there I I do think there's potentially a

22:21

pathway back to that, but I I'm

22:24

not seeing It's like it's

22:26

not before

22:27

me. For 4, when you have the instinct

22:29

to say we, can you just

22:31

say y'alls? Where did

22:34

y'alls land on? We're

22:35

saying y'alls now. It's a little

22:38

like, it's a little

22:39

Well, well, that doesn't say it's a

22:41

little pokey. Yeah. Yeah. Well,

22:43

where did y'alls Where

22:47

did y'all land with Carson?

22:50

Because what

22:52

like, right off the bat,

22:55

you you all were were saying that,

22:57

like, we're not going to

22:59

Carson's by the end of this

23:01

no matter what. And now I'm

23:03

hearing the the the one

23:05

rule, but then Carson is a

23:07

character. Well, Carson

23:09

is one of the five. COVID

23:11

cars in Santa. But so

23:13

were are we still are y'all

23:15

still seeing Santa?

23:18

Even Or see Carson. I'm

23:21

sorry. We're gonna see Carson. Yeah.

23:23

No. I knew it. Carson signed

23:25

up for I've had to swim quickly

23:27

a little bit these past few weeks.

23:29

No. You knew you you wanted

23:31

to say Carson. I think

23:33

he comes to us finally, which

23:36

has been something in the relationship where it's like, we're

23:38

always going to him. We're always

23:40

meeting Carson where he's at. I think you could trace the

23:42

character. If we go to

23:44

Carson's, But for Carson to come to us, there is progress

23:46

there. You know, that is a bridge

23:48

to a future where we can have

23:51

successful functioning relationship with Carson.

23:53

I mean, you're Carson in some

23:55

ways. You well, I was just gonna say if

23:57

I made this so bold, first of

24:00

all, I just want to

24:02

say that isn't this there's like

24:04

a beautiful metaphor that's

24:06

happening right before eyes

24:08

in that -- Mhmm. -- in that -- --

24:10

berries thing. -- in that. Yes.

24:12

Nuts berries is

24:14

Clea carcin And Hayes and Sean

24:16

are you Hayes and Sean? And

24:19

is this the You're feeling I

24:21

mean, we're we're rapidly approaching New Year's

24:23

Eve. I mean, IIIII

24:28

was I still haven't gotten

24:30

really an answer on, like, what

24:32

Mary's rule of the partnership.

24:35

Yeah. For sure. I'm getting a

24:37

little bit more of a sense of it.

24:39

Well, I bring a sense of danger. I

24:41

think is what I

24:44

contribute

24:44

I don't feel safe. Are you scared?

24:46

Good. Good. Yeah. You

24:47

art shouldn't feel safe. Art

24:50

should feel like you're

24:53

gonna die at

24:55

any

24:55

moment. And that's

24:57

what I think to the

24:59

partnership. Okay. Clea thought

25:01

you had a great one. Yeah. Oh, a hundred percent.

25:03

Yeah. I felt scared most of

25:05

them working with you. So

25:09

that's true. Wow.

25:12

And that's the fake email. That is. And you fact

25:14

checked that that quickly. Okay.

25:17

So I'm curious

25:20

for 4 because I, you know, I have

25:22

sure. A lot of times I'll be watching a movie

25:24

and I'll feel like I'm about to die.

25:26

What I

25:29

understand how we can create that feeling

25:31

for y'alls

25:33

in the production where, like

25:36

I said, if

25:38

I with

25:40

the so that since we last

25:43

spoke, my jeans often

25:46

that they'll, like, sort

25:48

of erode and, like,

25:50

thin especially the way I wear them, like,

25:52

they like, they'll develop a sort of

25:54

sheerness, so in not too much

25:56

time. Mhmm. These jeans are

25:59

so raw that actually

26:01

they've, like, sort of accumulated some

26:04

of my, like, shedding,

26:07

my physical

26:08

shedding, an hour, like, they're even

26:10

more, like, caked and thin. Does that

26:12

mean skin? Like, what kind of shed you

26:14

see? Yeah. Yeah. Is it markedly skin? Some

26:16

of it's skin? And that's not all

26:18

gonna be skin 4

26:20

sure. What's the rest of it? What's the rest of

26:24

it? Oils, hair.

26:27

Oils, hair. Yep. Carritan,

26:29

like clippings, sebum.

26:33

Sebum. Oh,

26:34

okay. Yep. Just in a

26:36

general different, like, effluence, like, with

26:39

different, you know, anything

26:41

that anything that

26:42

Clea. Mhmm. And

26:44

it's all caked on there. And

26:46

so the the selvege is

26:49

so raw that --

26:51

Mhmm. -- like If

26:53

if it makes contact with

26:56

water, again, it's gonna take a while for the

26:58

water to seep in. But if it does seep in, there's

27:00

gonna be no extracting

27:02

me from this

27:02

pool. That's how logged

27:05

and laid in. The

27:08

issue is you're not gonna get anything you Right?

27:10

Because the cannonball effect will be ruined, because

27:12

the genes will reject the water.

27:14

And -- Yeah. -- and Hays will --

27:16

momentarily. -- he'll be

27:18

suspended. Yes. There's no, you know, there's

27:20

going to be hydrophobic. No splash.

27:23

No sound. But then the second

27:25

that the water does get in probably

27:27

through the ankle holes. Yep.

27:29

That's it for 4. And we're not gonna be able

27:31

to room from the

27:31

jeans either. It's a wrap on

27:34

Hays. Yes. Oh, so Hays

27:36

dies? That's a wrap on

27:36

his criminal act. Well, this is why we're thinking maybe there's no

27:39

water in the pool. Nineteen hundred

27:41

to twenty twenty two, I'm

27:43

hoping. Like -- Mhmm.

27:46

We I mean, we can actually get Clea the

27:47

same page because otherwise, this thing's gonna

27:50

be late.

27:50

Oh, Hollywood Handbook. Hey,

27:53

guys. It's Hays. So January, the annual time

27:55

of the New Year's resolution and the unveiling

27:57

of the new EU. This

28:00

year, whether of the new you means finally seeing what's underneath that

28:02

beard or finally rock that

28:04

stash. Harry's has the tools for your

28:06

closest, cleanest shave ever.

28:09

And I'm sort of developing

28:12

a a new me of

28:14

my own. Specifically,

28:17

there's there's something I left behind

28:19

in twenty twenty two

28:21

and that was the bullshit.

28:23

I will no longer be

28:27

dealing with the bullshit on

28:29

this show, certainly not in

28:32

advertising with our with our

28:34

ad partners saying the man, all

28:36

these fake stories that we did for so long

28:38

with Harry's, I wanna tell

28:40

real stories man,

28:43

enough of this bullshit, fake

28:46

shit. Let's

28:48

talk about real life. Let's

28:50

talk about. So I get this Harry's. Alright?

28:53

I get the Truman, the

28:55

shave trial kit five blade,

28:57

your men's, your razor, weighted hand, foaming shave gel and a

28:59

travel cover, and I'm shaving it. I'm

29:02

a shave in full man.

29:05

Working that little thing up and down

29:07

with a quickness. And

29:10

I'm looking so damn

29:12

good. And

29:17

while I'm going around looking this good,

29:19

wouldn't you know it? Things

29:21

start looking up. For the 4, right

29:24

when I start using my Harry's Truman.

29:26

And I get a call

29:28

from the hotel I'm suing.

29:31

So I stayed in this hotel in

29:33

Manhattan, New York a

29:35

few years ago on the trip to the TriBecker

29:38

film

29:38

festival. Just as a

29:40

fan. I'm just a fan of what they're doing.

29:42

And I get in the

29:45

room and I I see in the room

29:47

it's got a little table and

29:49

chair. And so I say, well, I know

29:51

what I'm doing tonight. Anytime

29:53

my room has a little table chair

29:55

like that, I'm not gonna let it go to

29:57

waste. I am having dinner at

29:59

that table. So I go

30:02

to pasta mimis, I get a whole

30:06

spread walk

30:08

all the way over there, walk back with all my

30:10

pasta maybe, dump it on

30:12

this little table, I got went

30:14

to a silverware store, and I got all

30:17

my special silverware, have my big dinner, my

30:19

hotel before I go to the TriBeCa

30:21

film festival. And

30:24

as I sit down in the chair, I just

30:26

give the leg of the table a little

30:29

bump, which is very

30:31

normal for 4. And

30:35

all of the Postimini goes on

30:37

to the floor. And

30:40

so I call up the front desk

30:42

And I said, did did you hear

30:45

that? And he says,

30:47

no. And I said, that's the sound

30:49

of your ass being sued

30:52

off. So I

30:55

file this suit, been

30:57

pursuing it ever since I

30:59

get a call, after

31:02

I start using my Harry's,

31:05

my Harry's Truman, that

31:07

the hotel is gonna let me stay

31:09

there for another night. that's all

31:11

I was really that's I was willing to drop

31:13

as long as all I wanted was for all of us

31:15

just to get another whack at this.

31:18

All I wanted was my experience

31:21

to I

31:24

I just wanted the story to play out

31:26

as it should. So I'm

31:29

packed up. I'm getting ready. I'm putting my travel

31:31

cover on my Harry's Truman.

31:33

The blades it's a fifteen dollar

31:35

value. It's just three bucks.

31:38

So I'm dib dumping all these into

31:40

my suitcase and I'm

31:43

getting ready to go on my big trip. Maybe I'll

31:45

tell that story of that big trip

31:47

another time. Getting a

31:49

little this is becoming

31:51

a little bit of a stem whinder

31:53

here. Like I said, I

31:56

left that bullshit by the twenty

31:58

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32:01

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32:03

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32:24

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32:26

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32:28

Whoa. Hollywood Handbook.

32:32

Hollywood Handbook. And

32:33

so let's talk about,

32:35

I guess, instilling a

32:38

fear of imminent death in the

32:40

audience.

32:40

Mhmm. Yeah. Mhmm. In

32:44

in viewing this

32:46

film, Yeah.

32:47

But you gotta have the cameraman hold the knife

32:49

right here, you know.

32:52

Well, this is Meredith. He's filming. Oh,

32:54

sure. I don't have yeah. I want you better have a

32:56

better wanna hear. Because you can't probably

32:58

can't see Santa or anything if they're if

33:00

it's that close to the

33:01

list. Yeah.

33:01

No. I wouldn't I would say And

33:04

this is just like a filmmaking thing.

33:06

I would say,

33:07

like, don't put anything in

33:09

front of the lens that you

33:11

don't wanna see. Okay. Work for

33:14

children and

33:14

men. But And so Did

33:17

it children and men? No. That's okay. It's not

33:19

pretty young. And So I don't think I'm

33:21

wondering, Mary's famously

33:22

I thought it was good movie. Yeah. Mary doesn't

33:24

like famously doesn't like children of

33:26

men. She thinks that

33:29

is, like, news.

33:30

It was really bad.

33:32

It's too much. What am

33:34

I looking at? Am I looking at the children on the

33:36

men? Where where

33:37

am I looking?

33:38

She said snooze. So hectic.

33:41

It put me right to sleep.

33:44

It's so hectic and maybe right to

33:46

take a freaking

33:47

nap. Snooze. You just

33:49

get overwhelmed, but you just That's not gonna

33:51

lie down. It sounds like, you know what? I

33:53

think I think of children of men as

33:56

my alarm clock. And

33:58

when that thing's going

33:58

off, I'm hitting snus.

34:03

Okay. I do I want it

34:06

III wanna find

34:08

it. So I'm the audience I'm watching

34:09

this. I'm thinking, holy

34:12

shit. Died. These people don't even

34:14

kill me. These people are gonna kill me right now. Yeah.

34:16

Mhmm. And I think the way we do

34:18

that is we direct address to

34:20

the camera.

34:22

At some point, somebody in the movie says to

34:24

the camera there's a bomb.

34:29

And and the

34:29

audience feels like they're being they're being

34:32

talked to directly because the In the side of your

34:34

TV The star looks at

34:36

down the barrel

34:38

and says there's a bomb. I think we do have to just

34:40

say there's

34:40

a bomb. We can't say inside truth. We

34:42

don't wanna get

34:43

to whoever because

34:45

Watch this stuff on their phone. I would love to do. I'm watching

34:47

this stuff on their phones now. You can't

34:50

even say TV.

34:52

Right? Yeah. And if we

34:53

can get yeah. Exactly. Do we

34:56

want them do do we wanna give a,

34:58

like, hey. Yeah. You just

35:00

didn't really make it

35:01

feel, like, Yeah. That's

35:03

You're getting the audience's attention. Yeah. So, like, say, hey. Hey.

35:05

You with the with the with the

35:07

glass collaboration. Yeah.

35:09

Well, this is what this is how happy seasons of

35:11

all this came to

35:12

be, you know. But, Mary, is it? Yeah.

35:14

I I like the specificity get

35:16

the glasses. But what if, like, one person is watching it at home

35:18

alone and they don't have glasses on? Okay. You

35:21

panic. And I feel like it

35:23

kind of breaks

35:24

No. Hey. You

35:25

got me at home? No. We

35:26

No way

35:27

people are

35:27

watching. Our

35:28

entire kill based audience.

35:32

Kill, since we have this I'm bottomed. Bottomed.

35:34

If we do this right, a lot of our we

35:37

have the the

35:39

the kinky skirt

35:40

market, you know. It's like what we're kinda going for. Like, something really just kinda

35:43

Hey, you want it? Hey, Clea.

35:45

Hey, you. You got

35:48

are you what's that skirt?

35:50

Well, that's why I suggested

35:52

something more smaller, so we

35:54

just,

35:55

hey. Yeah. You. Hey. Yeah. You. Okay. You

35:57

know what? I think you're right. Like, you're saying, hey. Well,

35:58

can I can I punch this up? And then and

36:00

then you confirm. Yes. Can I punch this

36:03

up

36:03

just quickly? Hey.

36:06

Y'all's?

36:07

Yes. Okay. I I

36:08

love it. Yeah. I love it. Y'all's.

36:11

There's a bomb y'alls.

36:14

Yeah. Well, but

36:16

but remember,

36:16

you do need to communicate the danger. So I I

36:19

it can't be too That's right. It

36:21

can't be

36:21

too, like,

36:23

Hey. I wasn't giving a read.

36:24

Okay. It's just just don't do that

36:27

like that on the day is all I'm saying. Mary

36:29

there you

36:29

ever been

36:30

saying? Could you try one with

36:32

-- Yeah. -- could you we be that just

36:34

so we know what to tell the actor?

36:37

Or y'all y'all know what

36:39

to tell the actor? Yeah. Hey,

36:43

yells. Yeah. Yo.

36:46

There's a there's a

36:50

bomb. That was really

36:52

That was off. That

36:54

was really good. Clea. But Wow. Clea

36:56

now that Europe's sort of warmed

36:59

up, Can we do one more -- Mhmm. -- where the

37:02

beginning is, like, a just like a little can

37:04

we do it one a

37:05

little? Yeah. Let's not change

37:06

our monitor. Middle. Yeah. And Yeah.

37:09

up the

37:11

ending. A little as

37:13

well. Oh, okay. Because

37:14

the that sounds

37:16

Yeah. Was anyone

37:17

else feeling love

37:19

the sound. me.

37:20

The sound. Like

37:22

my Let's do one,

37:23

no sound. And let's do No sounds

37:25

good.

37:25

Beginning. Let's know what

37:26

we're gonna do from a very start

37:29

as many. So I'm not because you know there's a bomb. You

37:31

know what I mean? Yeah. I mean, you're saying

37:34

this. And maybe a

37:36

few options So get there's

37:38

a bomb clean and maybe a few options for,

37:40

like, how it's how it's gonna kill over

37:42

you and

37:42

--

37:43

Okay. -- the kind of bomb

37:45

or Well, Okay. What's

37:46

the rating on should we be

37:48

able to do we wanna cuss? I

37:51

thought we

37:52

were going hard r, but I know Yeah. That's

37:54

that was my impression because I wanted to see I

37:57

thought we were going into the

37:59

idea. Yeah. Oh, I thought we

38:01

were trying to just squeak just

38:04

just to really Clea the edge

38:06

of edge of p g thirteen and then

38:08

just push it right over into r.

38:11

Mhmm. Just one thing too

38:13

many. The softest r.

38:15

Okay. So a

38:16

flat If you feel like cussing, I would

38:18

say you have the freedom to do it. And

38:21

we

38:22

can always bleep it. Yeah. Hey,

38:25

fuck you.

38:27

But your beep. There's

38:31

a bomb and it's

38:34

gonna go

38:36

any second

38:39

I really

38:41

like this direction, but

38:43

This is so good. Yeah. One

38:46

thing with the because you

38:48

go, hey, fuck you. And that to me, like, I think like,

38:50

I I, as the

38:51

audience, still have questions. A lot

38:53

of people will

38:54

turn the TV off as well.

38:57

Yeah. So I think because it's, like, the

38:59

hey grabs them and then the yeah

39:02

you. Yeah. Yeah. Yeah. So

39:03

hey. Yeah. You sort of, like yeah.

39:05

So I think that

39:05

yeah. So I'll leave that important. No, miss Y'all. Yeah.

39:08

I'm I'm so fun with the

39:10

rest of it. But I'm

39:11

still hearing the noise as well. If

39:13

we

39:13

could The noise was at the end. There's a noise

39:15

in the end that I I thought this was, like,

39:17

a choice in

39:20

happy seasons of all and other things that

39:22

I've seen you. But Like, I guess, I don't even know if

39:24

you know you're doing it, but you

39:25

You maybe can't get

39:27

Yeah. I know it. What is the noise?

39:29

What is the noise? Can you just hear me? Can

39:31

cut it. I don't I'd rather not make

39:32

it. I don't like hearing it. Yeah.

39:34

What does it sound like?

39:37

I I honestly, I can't do it, but it's a little

39:39

it's very unpleasant kind of like

39:42

it's not exactly that, but it's a little

39:44

it's a little like

39:45

that. Do it again, Clea? Do

39:47

well, it's like, well, why don't you do it again? And the second,

39:49

you make the noise. I'll make the noise right

39:51

now. Okay. I won't tell

39:52

you. Okay. So we'll we'll take it from

39:55

the top. Okay. Hey. Yeah.

39:59

You. Fuck. There's

40:02

a bomb.

40:05

Okay. So

40:08

you

40:09

you did

40:12

break

40:12

character? So

40:12

we're gonna have to do it again. I just thought I guess, I assumed the beep would be

40:14

in post. I didn't I didn't think that I assumed

40:16

it would beep beep beep

40:17

beep beep beep beep beep beep

40:20

beep beep. Time

40:22

to do we don't have time to do anything in post. We have to do all in

40:24

camera. There is no

40:25

post. There's no There are no advertisements. Christmas.

40:28

If we take the time cameras,

40:31

Yeah. No.

40:31

It's happening. This is this is

40:34

it. So Okay. So okay. So okay.

40:36

Mhmm. So when but when we

40:38

cut and when you guys give me notes like

40:40

this, This is all gonna be in the movie. Well, I don't yeah.

40:42

But you're telling me. It'll have to

40:44

be, especially if you keep ignoring the notes.

40:47

So I do miss y'alls. That

40:50

felt better to

40:52

me. And I do --

40:54

Y'all

40:55

-- even with breaking,

40:56

you did he you did kinda make the

40:58

noise. So Really?

41:00

Let's

41:00

avoid Is it like it what

41:03

is it like a like a It's

41:05

not like anything. It's -- Yeah.

41:07

-- you know, it is exactly what

41:09

it is. And it's --

41:10

It's like a

41:11

-- it's a big problem. It's like a Is

41:13

it a

41:13

It's kinda like that. I

41:16

kinda like that.

41:16

Okay.

41:16

I won't I won't

41:18

I won't.

41:18

This time I won't. Okay. Ready? Okay. Yeah. Action.

41:23

Hey, y'alls. Yeah, y'alls.

41:28

Fuck. There's

41:30

a bomb.

41:33

Did you hear at

41:35

that time? I heard the

41:37

beep.

41:37

So I think

41:38

The sad. I did too. And

41:39

the beep was closer, Kevin. That was better. I won't try to make

41:41

sure it's due. I'm getting

41:43

closer each time. That's yeah.

41:45

We've only

41:45

done it

41:47

twice. What is So I'm getting close

41:49

to each time. What is the what is

41:51

the the the fuck? Like,

41:54

what is what

41:55

is that to -- Yeah. Yeah. -- not just because

41:57

you were avoiding saying fuck you.

42:00

Which, by the way, just I'm just

42:02

mentioning, like, character turns the camera on my my

42:04

TV and says fuck you. I go,

42:06

oh, no, pal. Not in

42:08

my house. But

42:10

you

42:10

Well, but that's

42:11

what we

42:11

want. Don't we want that? Don't we want that?

42:13

Well, then then maybe I'm not familiar. You

42:15

think there's a bomb.

42:17

Leave space. Yeah. After maybe a little more space after

42:20

that you say the fuck you to give

42:22

them a chance to say No.

42:24

Fuck

42:25

you. Fuck you. Yeah. And then I'm concerned

42:28

about the space direction for,

42:30

like, what what 4 of noises we're

42:32

gonna be

42:33

getting, like, and to fill up that space. I almost because that

42:36

actually makes me think The noise

42:37

is a space noise. Isn't it? It's

42:39

like a

42:41

yes. It's it's like when a it's

42:44

like opening the door on a spaceship or

42:46

something. Like, isn't that the sound? Like, it's

42:48

It is a little

42:49

like that. The

42:51

compress. The one that I Yeah. Yes.

42:53

Yes. Like a space door. But

42:55

it's like the spaceship is

42:57

like nervous. Like it's sick.

42:59

It's like the spaceship is sick.

43:01

Okay. So do it?

43:04

No.

43:04

Do not do it. Don't do it.

43:07

It betrays the character. Because my

43:09

character who is -- Yeah. -- saying there's a

43:10

bomb. Who is my character in

43:11

this? I want

43:14

them to believe they're a person. I

43:15

think you're

43:18

Yeah. Well,

43:18

I guess, Clea's Carson. I guess you're Santa at

43:21

this point. Yeah. Wow. The

43:23

star. That's what we need. And, like, with

43:24

and this is all we gotta do

43:28

this. Now Yeah.

43:28

Like Okay. Okay. Yeah. But I know what it

43:31

is. Yeah. Sure. On. Okay.

43:34

Claire, can I get an action? Yeah. Yeah. Yeah.

43:38

Okay. Settle? Hey,

43:42

y'alls. Yeah.

43:44

Y'alls. Fuck

43:48

y'alls.

43:49

There's a

43:52

bomb. Okay.

43:55

Okay. Are

44:00

you not hearing it, Mary? You know,

44:02

because I feel like it's just getting more and

44:04

more pronounced. Every time.

44:06

Because that

44:06

time you kinda even did it twice.

44:08

I don't know what to tell

44:11

you. I mean, I in my head,

44:13

I just alerted then to the fact that there's a bomb, and

44:15

then I said, okay. So it's big to

44:17

get confirmation from them. And then I was

44:19

just silent and I let

44:22

it land. And it might show me I'm I'm picking up

44:24

on on something. And even as it's

44:26

happening to me, I do have to kinda

44:28

respect

44:28

it. So has

44:32

worked her way all the way back into

44:34

this project. Did you direct it?

44:36

And as I've been

44:38

sort of attempting to, like, divine

44:40

Mary's role in this

44:42

is that you bring

44:45

her into something And by

44:47

the time all

44:50

the issues are worked out, it's

44:52

just everyone who's there is, like, that's

44:55

it it then, that's it. That's the movie.

44:57

You know, we don't have to do anything. It's

44:59

sort of a clever strategy

45:02

because we so much time

45:04

has taken up kind of dealing with Mary that we we

45:06

can't really make any other

45:08

artistic choices around

45:10

it. And

45:12

so you do end up with complete control. Well, do

45:14

you

45:14

see what else

45:15

she did? She is now the star

45:18

of

45:19

the movie. Sure. She

45:21

came in as just sort of, like, a consultant, a bridge. Ensemble. I was

45:23

I

45:23

didn't know what my

45:24

role was Now she's saying

45:28

it'd be. Now

45:29

I'm Santa. Mhmm. Now she's Santa. And the movie is called

45:31

Love and Santa. Talent. Yeah. It's talent.

45:33

So I guess love gets top billing,

45:35

but I don't think

45:38

anyone's gonna it's main star of the movie. And dresses

45:40

up like Cupid or something. Is

45:42

playing a pretty central

45:45

role in one

45:48

of the most pivotal moments in the movie which

45:50

is telling the audience that they're

45:52

about to be killed --

45:54

Mhmm. -- by

45:56

a bomb. Yeah.

45:58

Do we do, like The first thing

46:00

that happens, I guess.

46:01

How many bombs

46:04

do we actually need to have this be, like, a

46:08

Elite Jones Actrat, where people

46:09

will start to see

46:10

on the news that Bob's are going off.

46:13

I know it's not like a million but and like, look. I

46:15

don't know how many people are gonna need. Like, in

46:18

success, that's great. It's like a million people are

46:20

watching this. Having a million

46:22

booms. Yeah. Yeah. But,

46:24

like, I also it's not like one

46:26

or two bombs either. We need, like, to

46:28

have kind of

46:30

fun to be, like,

46:32

Like, if you watch this

46:34

movie, like Yeah. You'll You

46:37

know, there's some percentage. You watch

46:39

that movie, like, because it's people

46:42

are yeah. But then I'm also

46:44

concerned that we're gonna put these bombs out

46:46

there and then and then someone's gonna decide

46:49

You may only need one I

46:51

if you know someone's gonna watch I mean,

46:53

it should be one of our parents or something so

46:55

we know that somebody is gonna

46:57

watch. But I I would

46:59

say, like, if you do that, then then

47:01

it's basically proven it's a non zero

47:03

chance like a a bomb

47:06

could go off while you're watching the

47:08

movie right when the character says there's a

47:10

bomb unless you want to say it multiple

47:12

times in the movie haze.

47:14

I'm just concerned that they that they decide

47:16

not to watch the movie. There's no way we're gonna

47:18

be able to rig this thing so it,

47:20

like, goes off at a certain

47:22

moment in

47:24

the movie. It's

47:24

just gonna

47:25

I think that's exactly what we should think

47:26

we have to We can't. We don't.

47:28

It's it's December twenty

47:32

eight must. we

47:33

we we can't have it

47:36

at the same part in

47:38

every part, like, at the same part in

47:40

all like, all the bombs have to go

47:42

off at different times because people could go online and

47:43

be, like, I was watching the movie, and then

47:46

it, like,

47:46

fifth ever been to credit. Yeah.

47:50

Like, my everything exploded. But that's but then we Right.

47:53

When that conversation's happening. I just feel like every time

47:55

I talk to you guys, if I

47:57

can say this, Like, I feel like

47:59

every time we do talk that big piece of the

48:02

conversation is before we

48:04

get 4, what can't

48:06

happen? Like from a production

48:08

standpoint, what can't happen? And so I'd like to

48:10

talk about, for a moment,

48:12

creatively, what's

48:14

best?

48:15

And what would be the most satisfying way

48:17

to explode one of our parents during

48:19

the movie? And they've

48:22

asked

48:22

her that without us saying after that,

48:24

we can deal with logistics. And

48:26

if we do have to adjust, let's compromise then.

48:28

And not before we've even

48:32

decided, like, what would be out of our dream version it sucks fun

48:34

out of it for me. And I think

48:36

there's an opportunity possibly to say,

48:38

Clea there wasn't just

48:41

that one bomb. You know, hey, y'all.

48:43

Like, there's another -- Yeah. -- a

48:45

bigger bomb. Again.

48:47

Santa could or, you know Yes. Another

48:50

character could say it. Well, but how would

48:52

Santa do that? I mean, do you wanna get another

48:54

action? He can guess what?

48:55

He can go over the

48:58

whole world in one night and put presence

49:00

everywhere. Okay. So what

49:01

May Mary just show us? Don't talk about it.

49:03

Just show us. Right?

49:05

Action. Hey, y'all.

49:05

Mhmm.

49:06

It's me again. You thought that

49:08

was just the one? I missed I

49:10

missed the settle. On this one.

49:12

I missed the

49:14

settle. Yeah. And

49:14

also, we need you can't say y'alls and

49:16

then you. You got it. You gotta stick with

49:19

these. Oh, why is that why is that And you're

49:21

making me not like y'alls anymore. you're

49:24

it. I

49:24

don't like it now. Oh, okay. Cool.

49:27

So, Shaniels wanted to scrap

49:29

it completely and just go you.

49:31

For her. Yeah. Okay.

49:34

Okay. Settle hey. I

49:36

already did. Mary's Blake Sanna.

49:40

Mary. Wait. Settled.

49:42

So I'm sorry.

49:44

I already did break Blake's in it.

49:52

Hey, you.

49:54

Okay. And I didn't even say action.

49:58

Oh, sorry. Settle

50:02

action.

50:03

I knew. It's

50:07

me again. Remember? From

50:09

4, there's more than one

50:12

bomb. There's a bigger

50:14

one. And it's right

50:16

behind you.

50:25

Okay. So That's

50:28

feeling better. Clea by Chris It is

50:30

feeling better. Really close. And I've taken,

50:31

you know,

50:34

Sean I think the way he

50:36

delivered that message was actually really inappropriate

50:38

about how, you know, the whatever,

50:40

the whole the

50:41

Completely out Clea I could feel it while I was

50:44

doing it, I said what's wrong with me. Why am I these people my

50:46

friends. Why am I talking to them this

50:48

way? And so everyone wants to make

50:51

a good project. My first reaction

50:54

was like, I have to report this to someone

50:56

but but who. But

50:59

nah, I I then I

51:01

did when Mary was doing what something. I

51:03

did sort of internalize that and

51:05

thought, okay. How do we take, like,

51:07

the logistical impossibility of

51:10

this? Putting bombs

51:12

in all these different places and getting them

51:14

timing them to blow up at different moments in

51:16

the movie. In the movie. Yeah. I think

51:18

if we say the enough times

51:21

that there is a a

51:23

bomb about to blow you up that

51:25

you're watching this. If that's most

51:27

at some point, at some point

51:29

we are going to just

51:31

statistically, we're gonna look

51:33

into Yeah. And

51:35

then, like,

51:35

some what because when it's already

51:38

set somewhere Sorry.

51:40

Can I can I just

51:43

I don't know if technology exists. What if the

51:45

noise that Mary makes somehow

51:48

triggers the bomb? If we can have like

51:50

a voice activated

51:52

detonator that is sensitive only

51:54

that noise. Because I've never heard it anywhere else

51:56

in life. It's I don't think there's any

51:58

danger. My noise?

52:00

Mhmm. Yes. I I

52:02

don't know. You

52:02

admit that it is yours.

52:04

I mean, you this just because you keep

52:06

telling me this. I'm I don't know. You

52:08

because there's so many noises happening in this movie. The only

52:10

reason I said mine noise There's

52:12

a room that is the one There

52:16

are a lot. There's there's more than we There's splash. There's

52:18

-- Yeah. -- there's e like, the

52:20

door opening.

52:21

There's, you know Well, there's also

52:23

that because your chop.

52:25

Cookies. Jump. Exact. Thank

52:27

you. Yes. But also,

52:30

you're insisting on wearing a leather vest

52:32

and sitting on, like, a plastic chair.

52:35

And so Yeah. There's a lot of

52:37

noise. There's a lot of eating cookies

52:39

clear. Wait. Is that like a is

52:41

that is that a big thing for you?

52:43

That easy to

52:44

do. Compared

52:45

to it? I'm not married to it. It's not a

52:47

hell I die on, but Hayes is on this

52:49

Let me go there. Sorry for that. Sorry

52:51

for that. So I

52:54

just feel like it's, like,

52:56

New Year's Eve. He just

52:58

ate, like, so many

53:01

many cookies.

53:02

Yeah. I guess in

53:04

my in my in my language

53:06

is probably the the my first mistake

53:08

is I was thinking that --

53:10

You're further. -- he still had Okay.

53:14

He he he still had

53:16

so many cookies left over. Like, I think,

53:18

like, by the end of the night,

53:20

that That's such a mess. No more presence, but

53:23

what filled with

53:23

cookies? Yeah. Like, you're not sure. But I

53:25

still think he's like, I don't

53:28

wanna look get a damn cookie. Like, you know, he must be

53:30

But I think that could be a funny runner,

53:32

you know. Like, if people keep offering him

53:35

cookies and these like They think that's what I

53:37

mean. It's like yeah. It's common it's

53:39

just like a little bit of comic

53:41

relief. Yeah. That's good. That's

53:43

that's that's right. That's why he

53:45

mostly just, like, takes one bite out of Clea leaves the rest.

53:48

That's

53:48

funny. All these

53:49

happy cookies around.

53:53

Yeah. So by the end of the movie He's

53:55

like But you're well,

53:57

by

53:57

the end of the movie, you don't even need to like,

54:00

you don't even need to say anything. You could just

54:02

see a play the cookie show

54:04

up. Yes. Diane. Diane. Diane. And then he looks at the camera

54:06

and he goes This again

54:10

My cook There's a bomb Or, I guess,

54:12

maybe He's pretty nice. You Maybe

54:14

this again. Yeah. Oh, boy.

54:16

I'm almost He's This

54:18

cookies, not again. This cookies again? This cookies

54:21

again. This

54:21

cookies again? You better watch

54:23

it out for the 4

54:26

I don't think I understood that the cookies were actually

54:28

the visual language of the film.

54:32

Yes. And I'm actually

54:34

loving this idea. And this cookies again

54:36

is

54:36

a shorthand. You've cooked Cookies

54:38

again is is a I see it could be

54:40

the line other than the bomb line

54:42

that really breaks through and becomes

54:45

kind of the signature of the

54:46

film. This cookie Yeah. This cookie's again?

54:49

Yeah. This cookie's a I

54:52

mean, you

54:52

could see it on you know, you see

54:54

and it I'm also thinking about just

54:57

merchandising, just thinking

54:57

ahead. So, like, Yeah.

54:59

Yeah. Yeah. Part of

55:00

it, I could just see if you could slap this

55:02

cookies again all over it. Oh, my gosh.

55:05

A bumper sticker. You could Yeah.

55:10

Did you he

55:14

you must have

55:17

heard that one. There's no way

55:21

you didn't. I

55:25

I heard myself contribute

55:27

an idea. I

55:29

didn't Kevin, have you fact checked

55:32

Mary if she can hear it out or not? Whether or

55:34

not she can hear

55:34

that? Whether or not she can hear it. Can

55:36

she hear it? It seems like you

55:37

can hear it out of one ear.

55:40

So what's your In?

55:41

What? What? What? What?

55:42

What's your

55:42

are you

55:43

listening on the Zoom,

55:46

Mary? Both. My my right?

55:48

Did you say Miri?

55:50

Yeah. I heard Miri

55:51

as well. Oh, I gotta

55:53

fact check myself. Okay.

55:56

I said mute. Oh, so this explains yeah.

55:59

Kevin said going into this.

56:01

He's so excited because he wants

56:03

to see that

56:05

he heard made a

56:07

porno. Oh,

56:10

send to Zach. Great mirroring

56:12

me. With Zach. I was like, you was Mary

56:14

from the Zach guy.

56:15

Oh, no,

56:16

Kevin. I'm not Mary from Zach and Mary

56:18

made a point. We said -- Does 4 Clea?

56:21

-- rated high class Porno and

56:23

Mary

56:23

I forgot this movie is rated high class

56:26

Porno. I've forgotten

56:29

so much about I was

56:32

traumatized by that first episode we did

56:34

together. But this feels like we've

56:36

got, you know, as

56:38

dysfunctional as

56:40

it is, a working collaboration.

56:42

And it's our little family and no one outside

56:44

would understand. But I think we have ninety

56:46

percent of the movie in the

56:47

can. It's this

56:50

point. Yeah.

56:50

We filmed it. Do we

56:53

film

56:53

it? Yes. Yes. Yeah. We've been we've

56:55

been filming, Mary.

56:57

Mhmm. In the can. Oh. The

57:00

can.

57:00

So we just need probably

57:03

a couple pickups. Thank

57:06

you. I can do

57:07

those. I can do pickups and then Mary, I did secure

57:10

I did pickups. Mary, I did

57:12

secure the folks seventy three questions

57:14

with you. Oh.

57:16

Oh, wow. Really? So number

57:18

one is not very bad.

57:22

Okay. He

57:24

he's got weirdly a lot of these to pass around.

57:26

He is very bad at booking

57:28

guests for

57:30

the show. And

57:32

certainly, Clea promotional opportunities for

57:34

4, except for Vogue seventy

57:36

three questions, which he can get for

57:39

Basically any Pretty much anyone just walking

57:41

down the

57:41

street. Fast tracked in

57:44

there.

57:45

Miri, what is your favorite time

57:47

of day? Today. That was

57:50

quick. Just give me a couple

57:52

minutes. Oh, try to Oh,

57:54

you all that's the only

57:57

you that was the only one you had. What's

57:59

your idea of a perfect

58:02

date? My idea

58:03

Ugh. Ugh. Ugh.

58:05

Ugh. Do you hear this

58:06

sound now? Yeah. That's the I'm just

58:08

thinking. That was a

58:09

bit. Okay. I go I go to

58:12

Chili's. I don't

58:14

know.

58:14

Okay.

58:15

Okay. Alright.

58:18

Bye.

58:18

Okay. Bye. Bye. Whoa.

58:22

Hollywood Handbook. From

58:24

anxiety to athletics, being a kid

58:26

can be pretty complicated. Stay in

58:28

the know with your kids with the young and

58:30

healthy podcast. Brought to you by

58:32

Cincinnati Children's, featuring

58:34

different guests and experts each episode,

58:36

young and healthy, delved into the

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topics parents wanna know about. Find

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and subscribe to young and healthy wherever you listen to podcasts.

58:43

Young and healthy from

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