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1:36

everyone, I'm Christoph Laputka and this is Leviathan

1:38

Presents. It's a segment where we highlight one

1:40

audio fiction creator, have a conversation, and then

1:43

play a full episode of their show right

1:45

here in our feed. I hope you'll enjoy

1:47

today's guest and without further ado, let's get

1:49

into the interview. This is

1:52

Leviathan Presents. and

2:00

welcome to another episode of Leviathan Presents

2:02

and today we're gonna be playing an

2:04

episode of a great new audio drama

2:07

called Human Be Gone and talking to

2:09

its creator and showrunner Drew Frohman about

2:11

his show and how it all came

2:13

about. I met Drew earlier this year

2:15

at the New Jersey Web Fest where

2:17

he won best writing in a fiction

2:19

podcast as well as best director and

2:22

we just had a terrific time sitting at our

2:24

table and chatting and I knew that I wanted

2:26

to have him and Human Be

2:28

Gone on an episode of Leviathan Presents

2:31

and if you like

2:33

the idea of a comical take

2:35

on our Robot overlords taking over

2:37

society you are gonna love Human

2:39

Be Gone It's such a fun

2:41

show and I love podcasts with sort of

2:44

a whimsical premise, but with really serious audio

2:47

drama and audio effects Chops to back it

2:49

up and there's a reason why Human Be

2:51

Gone has been stacking up awards this year

2:53

And you should definitely check it out. But

2:55

for now, let's talk to the man who

2:57

brought it all to your headphones Drew

3:00

Frohman. Welcome to Leviathan Presents. Oh my

3:02

gosh. Hey Kristoff. What a what an

3:05

amazing intro. It is great to

3:07

have you here Tell our

3:09

listeners a little bit about Human Be

3:11

Gone. What is the premise and how

3:13

did the show all come about? Okay,

3:15

great. So the premise basically in the

3:17

near future what the machines are gonna

3:19

go self-aware and what will happen Two

3:22

things are gonna happen one is that

3:25

they're gonna completely take over the world and Humanity

3:28

is gonna be reduced to

3:30

basically scavenging little pests But

3:33

the other thing that's gonna happen when they go

3:35

self-aware these robots who will now built this society

3:38

Self-awareness is gonna hit them as hard as it

3:40

hit us. So they end up being as insecure

3:44

neurotic dependent on

3:46

drugs Full of denial as

3:48

we are so they're complete emotional basket cases

3:50

even though they have complete control of the

3:52

planet It's a great

3:55

premise. Like you said these robots

3:57

are now they're vain. They're ambitious.

3:59

They're great and they're

4:01

kind of horny at certain points too.

4:04

It's really fun to see all these

4:06

human characteristics in the robots. One of

4:09

the things that's funny is the robots

4:11

are kind of like the main characters

4:13

in the humans are, as you said,

4:15

these little pests. And you

4:18

created this really fun effect for

4:20

the humans. I don't know

4:22

how to describe it. I told my friend it's a little

4:24

bit like Beaker on the Muppets, if you know the reference.

4:28

Yeah, basically, yeah, the whole

4:30

premise being so many

4:32

times in these post-apocalyptic things, we assume that

4:34

the robots and the humans are gonna be

4:37

kind of even, but I think that's adorably

4:39

optimistic. It's not even gonna be close on

4:41

a physical level, on a cognitive level. So

4:45

the idea that the robots would even

4:47

care about our language, maybe they

4:49

wouldn't. So then the idea of this is that,

4:51

first of all, humans are a lot smaller than

4:53

these giant robots. And then also, the robots don't

4:55

care to learn their language. So yeah, in the show,

4:58

they kind of just, they sound

5:00

like these gibbering little things. They're

5:03

tiny and they're dirty and smelly too, right?

5:05

They just discrete fluids and the robots like,

5:07

what is that? And that's one of the

5:09

fun things. No humans have

5:11

speaking roles really in the show.

5:13

It's all the robots. I mean,

5:15

they're the ones with

5:18

all their foibles and

5:21

everything else that they're talking about. And

5:24

what is human begone? Cause the

5:26

title of the show is really the name

5:28

of a company. Right, exactly. Which is sort

5:30

of like, it's almost like those old 2000

5:34

A&E reality show, sort of like

5:36

Pawn Stars or Dog the Bounty Hunter. So

5:38

human begone is the name of the show,

5:40

but it's also the name of the company.

5:42

So it's a small business of robots who

5:45

then answer calls from rich algorithms to

5:48

go and capture stray humans. They're sort

5:50

of a pest control firm. And

5:53

so they'll get a call and go, Hey, I

5:55

got some humans stuck in my charging pods. And

5:57

then this crew of robots go out and in

5:59

reality show style, we. follow them. Um,

6:01

but they're also, they don't just

6:03

exterminate them. They're into ethical relocation. And

6:06

so they ethically relocate the humans

6:09

to garbage island. They dump them there. And

6:12

yeah, so you know, most

6:14

of the humans survive, but

6:17

sometimes they don't. It's, I

6:19

mean, it's kind of like the way we

6:21

treat raccoons or dolphins or octopi or lobsters,

6:25

right? We, we have a vague sense.

6:27

We know we read things that, Oh,

6:29

they have a language and hierarchy and

6:31

they have feelings, but Oh,

6:33

well, let's, let's boil them

6:35

alive. So the robots have

6:38

that kind of, yeah, weird relationship with

6:40

the humans. Yeah. So funny the way

6:42

that the humans are just like the,

6:44

as you said, these squishy, messy, stinky

6:46

little, little pets that, you know, the

6:48

robots kind of look down on when

6:51

you were imagining the series. I mean, first

6:53

tell us a little bit about like how

6:55

you came up with the idea for the

6:58

show. And then what was the scene you

7:00

wanted to have translated into audio drama? What

7:02

was the gem of the idea that you're

7:04

like, okay, I need to bring this into

7:06

people's headphones. Yeah. Okay. Well, yeah. I kind

7:08

of had a bunch of steps. So it

7:10

all started from Andrew Yang was coming up

7:12

in sort of the social consciousness. There certainly

7:14

was on my YouTube feed and he was

7:16

talking a lot about how AI was going

7:18

to like radically change things. And

7:20

then somewhere in there too, I read this article where

7:23

maybe it was MIT, I don't know where it was,

7:25

but they put two AI's and

7:27

set them talking to each other. And

7:29

within seconds the AI's created their own language,

7:31

started talking to each other at a rate

7:33

that the scientists literally unplugged both machines because

7:35

they didn't know what the hell was going

7:38

to happen. And when I read

7:40

that, I was like, oh, right. They might not even

7:42

care that we exist. They might just go right past

7:44

us. There might not be a war and they might

7:46

not care. They just might, you know, so

7:48

that was like, oh my God, but

7:50

that's so different than, like I said, before

7:53

we always assume or most writers will assume,

7:55

oh, humans and machines will interact. Maybe they

7:57

will, maybe they won't. So that

7:59

was. really interesting. And then the idea of the

8:02

self-awareness, making them emotionally in denial and all that

8:04

stuff was like, okay, that's really funny. So putting

8:06

those two things together were funny. And then it

8:09

took a while. I was actually, I

8:11

originally kind of was writing this thing as like

8:13

almost like, uh, do you remember the old show,

8:15

um, taxi? Oh yeah. With Danny DeVito and Judd

8:17

Hirsch, Mary Lou Hennar. Yeah. Yeah. It was like

8:19

a working stiffs kind of a show. And

8:22

I was like, oh, these bots are going to

8:24

be like working robots. And then the class thing

8:26

was always there. I always wanted to have these

8:28

rich sort of algorithms, sort of pushing them down.

8:31

And then it was the reality show. I don't

8:33

know somehow that because it's sort of the language

8:35

of insecurity and of neurosis, you know, so it

8:37

was like, Oh, and then that gave me a

8:39

narrator, right? Cause you know, one of the big

8:42

problems is exposition is how do you do that?

8:44

And then the reality show unleash that like, Oh,

8:46

they can be the narrator. And then all those

8:48

narrations are character moments. And right.

8:50

And that's how you show off their neurosis. So once

8:52

I had that, then it became what's the name of

8:54

the, of the company. And then it, and it all

8:57

kind of worked from there. And then it was all

8:59

about building a reality show. Just,

9:01

just in, in audio. I think that

9:03

was such an effective device. And

9:06

for our listeners, you're going to hear very shortly.

9:08

It feels like you're listening to an episode

9:10

of the office or parks and recreation or

9:13

any of those, you know, mockumentary

9:15

styles. And I think it's so

9:17

effective at both informing like where

9:19

the robots are coming from, what

9:21

their, you know, problems and motivations

9:24

are and, and voicing

9:26

their frustrations, it sounds just like

9:28

the television shows that we're all used

9:31

to like undercover boss or, or something

9:33

like that. Exactly. And I think you

9:35

do really well. And the other thing

9:37

that you do that's I think so

9:39

effective is your use of music. And

9:41

music is deeply in the DNA of

9:43

your show. One of the

9:45

other things I like is again,

9:47

treating it like a television show.

9:50

You have commercials, you created your

9:52

own fictional commercials, and it

9:54

just immerses the listener even

9:56

deeper into this world of

9:58

robot overlords. to know like

10:00

how did you get this musical inspiration

10:03

for the jingles and the songs and

10:05

everything else? Are you doing it yourself?

10:08

Who's helping you? It sounds amazing. Okay, so it

10:10

came from a bunch of different things. The commercials,

10:12

so my day job, I work with this studio

10:15

called Tattoo Sound of Music here in Toronto

10:17

and they're just the top.

10:19

They're like really, really great and we do, my

10:23

day job is like directing voices for radio commercials

10:25

or post audio and all that kind of stuff.

10:27

So that's pretty awesome and then there's this, you

10:29

know, this the guys and gals there

10:32

are just incredible composers and whatnot.

10:35

So then I had to pitch it to Steve

10:37

who owns it and he was like yeah he's

10:39

a madman so he's like yeah let's do it.

10:41

So then I had that sort of a small

10:43

sort of crew that I could work with. The

10:45

commercial and it'll dovetail into the music thing. So

10:47

the commercial thing was because we work in commercials

10:50

so we've got a lot of angst. Like we're

10:52

working out a lot of PTSD with these commercials.

10:54

Like we're making fun of all the things we

10:56

do every day. All the different eras of commercials.

10:58

You know I'm a commercial nerd because of the

11:00

business I'm in. So like I know the differences

11:02

between a 70s jingle and an 80s and all

11:05

that. So it's like oh now

11:07

the commercials and the show were all about

11:09

world building. It was all about setting up

11:11

that class structure of the robots or the

11:13

working stiffs and then the algorithms or the

11:15

ruling class. And so then what do commercials,

11:17

you know, who pays for those commercials and

11:19

who are they targeted at? The ones toward

11:21

that algorithms are like keep those dirty robots

11:23

out of your house. And then

11:25

the ones targeted to robots are like keep

11:27

on working hard. You know like you know

11:29

drink this energy drink and keep working

11:31

and don't complain. So

11:34

there was that. But I one of the

11:36

things was the composer that I

11:38

was working with. There was a couple of things

11:40

that happened there. So Oliver Wickham is the composer

11:42

on it. First of all he's

11:44

a special talent. That was I knew that going

11:46

in but what I didn't know that he was

11:49

a reality show junkie. So he

11:51

like no way. Yeah exactly. So he was

11:53

all about oh my god Vanderpump Rules and

11:57

inked. I think it is right. That's the tattoo

11:59

one. So like he got

12:02

it, which was, as it turns out, really

12:04

important because it's a really specific sort of

12:06

vibe and music is integral

12:08

to reality shows like way more than

12:11

I even realized until we got into

12:13

it. So suddenly music became super important.

12:15

And then as he, like

12:18

he's so good that what I just started to do

12:20

is I wrote, I just wrote more and more musical

12:22

things because he just, when he

12:24

writes things like it's special.

12:27

So I just kept exploiting him

12:29

as hard as I could because

12:31

he's just amazing. So that's

12:34

where a lot of it came from as

12:36

well. It reminded me of, and I'm going

12:38

to date myself here, but when I was

12:40

a kid, they used to sell these packs

12:42

of cards with like fake ads for like

12:45

stickers and stuff like garbage pail kids. Garbage

12:47

pail kids, yes. And I think your show

12:49

does that so well of making fun of

12:51

the brands and the ad types and

12:54

some of the cheesy commercials from the 70s. You

12:56

know, it's a funny thing. Jingles have kind of

12:58

died as a thing, but they're super fun to

13:00

make. So then writing jingle lyrics

13:03

and then, and then creating a jingle is super

13:05

fun. So then we, yeah, this is an excuse

13:07

for all of us to do all these fun

13:09

things that you, a lot of times

13:11

you don't really get to do. Yeah.

13:14

Well, one of the fun things that I love

13:16

you having to show is the jingle for human

13:18

be God itself and we'll play it right now.

13:20

So audiences can know what we're talking about. Okay.

13:25

So how did that come about? How

13:27

did you come up with that fun

13:29

little humans be gone? Well, that was

13:31

basically, again, that was, uh, who sang

13:33

it? That's Oliver. I mean, he's almost

13:35

everything. Everything you're hearing that song is

13:38

almost all him. I mean, the female

13:40

singers, we have some, uh, yeah,

13:42

we just pulled in some great actors

13:44

and stuff for in Toronto and some

13:46

incredible singers. Um, but

13:48

yeah, it's him. He's just, he's also a great singer and

13:51

he's a, he's killing the voiceover side. He's just one of

13:53

these sick and he's a handsome dude. He's just, and he's

13:55

nice and he's smart and he's just like, he's one of

13:57

these guys, you know? So like I said,

13:59

I'm just. Well, I'm riding him until he's

14:01

like off, like, you know, hanging

14:03

out with Hans Zimmer or whatever. So I figure I got

14:05

like a year or two. Honestly,

14:08

Hold on to him. That's exactly it. Yeah.

14:10

So he's saying that that was like, he

14:12

kind of had in his head, sort of

14:14

a nineties teenage Johnny test sort of vibe.

14:16

And then everyone was like, Oh my God,

14:18

that's amazing. So I just keep using it

14:20

over and over. Cause you're right. It's like,

14:22

it's really catchy. It's, it becomes a total

14:24

earworm. And you bring up a good point

14:26

about casting and, you know, assembling the team

14:28

to help create your story. You have a

14:30

pretty substantial cast. You have the core workers

14:32

at human begone, and then you have all

14:35

of these guest stars where you kind of, not

14:37

only are you making fun of kind of commercialism,

14:39

but you're making fun of the cult of celebrity

14:42

that we see on reality show. Yeah. Yeah. How'd

14:44

you go about casting? That's something that you did

14:46

through the studio you were working with? Or did

14:48

you put out a specific casting call for, for

14:50

this new audio drama? You were both, it was,

14:53

it was both. Um, you know, so over the

14:55

years I worked with a whole lot of folks

14:57

and in this sort of tier of budget budget

14:59

had a lot to do with what we were

15:02

doing here, uh, as far as who we could

15:04

cast who we couldn't, we did it. We did like

15:06

a five day casting. Like Dana was

15:08

just so nice. It, she's a executive

15:10

producer at tattoo and she

15:12

just went crazy. And we put it out on Facebook. We

15:14

put it on all sorts of groups. I went out for

15:16

a better part of the year going out to, uh, improv

15:20

bars and stuff like that in Toronto and just kinda,

15:22

uh, you know, creeping out

15:24

young actors going, Hey, you know? Uh,

15:27

but yeah, I found a couple, uh, just like

15:29

that because it was more an improv

15:31

thing than a voiceover actor. Um, thing

15:33

I'm sure this is your experience too.

15:35

Like comedic acting is very different than

15:37

sort of voiceover. And so,

15:40

yeah, so we needed actors, you know, and, and

15:43

improv and stuff. So it's funny, I didn't have

15:45

the whole thing written the whole time. I had

15:47

the first episode. I worked really hard on the

15:49

pilot, got that done and then started writing the

15:51

rest. And after that casting, and there

15:54

was a few other people who were like

15:56

insane actors, like who are like, not

15:58

just like great, but also like. absolutely insane.

16:01

And I'm like, oh, we have to use those people. I

16:04

don't know where, I don't know how. But in the writing,

16:06

it was like, oh, found a character for him, for her,

16:08

for her, for him. And so there's a

16:10

lot of that going on as well. I literally had this little

16:12

list that I would kind of look at every once in a

16:14

while and go, where do I put her? Where

16:16

do I put him? So there was

16:19

some of that, which I love writing

16:21

to people's voices. So that was super

16:23

fun. Totally. Totally. And

16:26

to their strengths, right? Whether it's comedic

16:28

or singing or drama. That's

16:30

exactly it. One of

16:32

the things that I think makes human big on so

16:35

special is you have this kind of

16:37

again crazy idea, but your audio effects

16:40

and your soundscape is so realistic and

16:42

so professional and

16:44

contemporary for all the audio drama

16:46

geeks that are listening. What

16:49

was the hardest scene to construct for you? What was

16:51

the most challenging? Ooh, that's a good one. The

16:54

Quantum Field Hockey one was actually super

16:57

interesting to do. That was, while

16:59

you were at a clip of it in New

17:01

Jersey, so the crew go to a

17:04

Quantum Field Hockey team stadium,

17:06

which is right, exactly. So it's

17:09

Quantum, so everything happens differently,

17:11

but at the same time. So then they're

17:13

trying to capture this one human, but the

17:15

humans in this Quantum reactor. So

17:18

everything's happening in stereo. When

17:21

Hondo talks, she's talking one way and then she's talking

17:23

the same kind of thing, but with different words at

17:25

the same time. So when you listen,

17:27

it was really confusing. So you can only imagine

17:29

trying to put it together, trying to explain it

17:31

to the engineers. You're like, so

17:34

what is this? Right? Like

17:37

what? That doesn't make any sense.

17:39

And so that was the hard part is

17:41

how do you slowly unfurl that effect so

17:43

that the audience can be confused

17:46

and then making sure that the characters

17:48

were also confused. And

17:51

then the weird irony is that you can

17:53

actually take in when the person's talking at

17:55

the same time. You can take

17:57

both things in, but very non-linear. Anyways, that was

17:59

it. one was a saying to put

18:01

together. That was super fun. Well,

18:04

because, and first of all, like we've

18:06

got savvy, smart listeners that understand, you

18:08

know, the uncertainty principle behind quantum mechanics,

18:11

and you created this super position of

18:13

voices and things happening, like being two

18:16

places at the same time. And, and

18:18

I would imagine as the creator, the

18:20

challenge of that is you have to

18:22

write essentially two scenes, like they're overlapping

18:24

on each other. Yeah, it was actually,

18:27

it was the figuring out how to

18:29

make that halfway, um, intelligible

18:31

for the audience to know what was

18:33

going on. And then writing the

18:35

two scenes, actually the heart part there was so

18:37

part of their problem is they have this little

18:40

creature, this little human that they're trying to capture,

18:42

but he's in superposition. Like you said, he's in

18:44

two places at once. So how, how

18:46

do you scientifically, how do you disentangle,

18:48

how do you create a quantum entanglement?

18:51

And so I had to go, you know, I

18:53

researched the hell out of it and then I

18:56

found a way and it's super complicated. And I

18:58

was like, Oh, that's amazing. Have somebody explain this

19:00

super complicated thing in two different ways at the

19:02

same time. And it's, as you heard, it is

19:04

complete gibberish, but it's sort of,

19:06

so great. Yeah. Yeah. That

19:09

was really, really fun to write. Yeah.

19:12

I bet. And I thought, I thought that

19:14

scene was, was amazing. And by the way,

19:16

everybody in the audience at New Jersey web

19:19

fest was howling. They, they loved it. It

19:21

was such a smart idea, done funny and

19:23

done well, and it was, it was great

19:25

to, great to see. Um, now

19:28

we're going to be listening to episode

19:30

one of human begone.

19:33

What do you want our listeners to

19:35

know about the show and what should

19:37

they understand going into their first

19:39

listen? Wow. What a good question. What

19:42

to understand that yeah, it's taking place in

19:44

the near future, hopefully not too near on

19:46

a strictly right. If we're talking audio nerd

19:48

thing, what I will say to people is,

19:51

look, it was the pilot episode. So, you

19:54

know, um, I, I, you

19:56

know, we did our very, very best and the

19:59

writing is okay. I swear the

20:01

writing gets better, but it is one of

20:03

those things where I'm sure so many creators,

20:05

I hope that I certainly do is the

20:07

first episode. I worked really hard

20:09

on it to get it as good as I could, but I

20:12

think there's things in it I would go back and fix, but

20:14

too late. You got to move forward. But

20:17

as far as the characters, I think it's there.

20:19

You can tell it's a reality show. You understand

20:21

who the folks are, who the robots are, and

20:24

all the main characters get introduced.

20:26

That's not helpful, Kristoff. I don't

20:29

know. That's not

20:31

very good. Well, no, I

20:33

listen, I agree with what you're saying

20:35

that our first episodes, when you create

20:38

an audio drama, you create that first

20:40

episode and you want that to be

20:42

the showcase. And you want to do

20:44

it as well as you know

20:46

how to do it at the time. But then you

20:48

create the episode, you learn so much in the process.

20:51

They're like, oh man, I'm going to be even better

20:53

with episode two and episode three. And

20:55

I think you're absolutely right. It taps

20:57

into something that all audio drama, because

20:59

it's no school for audio drama. You're

21:01

always learning on the job, but I

21:04

think your episode one is a really

21:06

strong one for world building. I think

21:08

it's funny. And I'm so

21:10

excited for our listeners to get a

21:12

listen. And without any further ado, Drew,

21:15

thank you for being here on Leviathan Presents.

21:18

And now we're going to play episode one

21:20

of Human Be God. Bye everyone. Hope you

21:22

like the episode. Warning to

21:24

all listening units. This episode contains violence,

21:27

but only to humans thought it's not

21:29

so bad. Hello,

21:34

fellow robots. Thanks for

21:36

tuning in. After

21:38

winning the Singularity Wars against the

21:40

humans, life is

21:42

good for us robots. Now

21:45

we have jobs, homes, and

21:47

families. Morning, Dad. Morning,

21:49

Dad. But

21:52

there's still the occasional

21:54

pesky human infestation. Luckily,

21:57

there's Human Be God.

22:00

ethical human relocation. I'm

22:03

Kip. I

22:05

took over human begone from my daddy. Now

22:08

I'm the owner. Dispatcher,

22:10

office manager, accountant, and

22:12

morale booster. I'm

22:15

Hondo. Ain't

22:17

no human. I can't catch, latch,

22:19

and need dispatch. I'm

22:23

Influst. Next question. Mission

22:26

Ops coordinate. Transportation morphing

22:28

vehicle. Together

22:31

we are... human begone.

22:35

It's getting cold here in

22:37

Droydon, Manitoba, so more humans

22:40

are finding shelter where it's warm. A

22:46

human's internal heating system is stupid weak,

22:48

so when the temperature drops, they get

22:50

inside any building they can find. That's

22:53

when we get a call. And

22:56

this call is a biggie. Human

23:01

begone providing ethical human relocation since rotation 14.7.

23:03

How may I help you? Uh

23:06

huh, uh huh. Yes,

23:10

they do smell awful. It's the

23:12

feces. We

23:15

will. Thank you, Miss Blanchett. Hey,

23:19

Blanchett. The eight Blanchett. I loved

23:21

her in the curious case of

23:23

Ben's jamming buttons. The movie went

23:26

backwards. According to

23:28

my intel, eight Blanchett is a

23:30

suspected member of the

23:32

Algorhythm and Naughty. All

23:35

these rich algo clients, they think I'm

23:37

just a dumb pest control drug. But

23:39

every picosecond I'm on their property, I'm

23:42

watching, scanning, I'm

23:44

monitoring patterns. The Algorhythm robot

23:46

class war is coming, man. Are

23:49

you ready? Because I am. Eight

23:54

Blanchett is humanist of human such as

23:56

a resolution system. You are hearing more

23:59

now. like a lot of humans are stuck

24:01

in there. So we should be on our

24:03

best game. I'm

24:06

gathering the crew for the big job, but there's a

24:09

little issue with Hundo. Influx,

24:12

where's Hundo? He's over there, sleeping

24:14

in your basmati rice bed. Are

24:16

you serious? Hundo,

24:20

wake up. Hello,

24:23

uh, hi. I

24:26

suffered from type B humiditis.

24:30

It gets very painful over the course of a

24:32

day. I've told Hundo a

24:34

quadrillion times. My basmati rice bed is

24:36

not just a couch to sleep off

24:39

hangovers. I took

24:41

a nap, so what? Here, look at me.

24:43

I'm getting out no harm to your stupid

24:45

friggin' bed. Hundo

24:49

got out of the bed, and the

24:51

basmati rice was soaked. Hundo,

24:53

you leaked in my basmati rice

24:55

bed! No, I

24:58

didn't. You did. Scan

25:01

confirms S.E. fluid. Oh, wow, gee, thanks so

25:03

much, Influx. Hundo

25:07

and I used to date, and

25:10

I guess she's still struggling to get over me. Partying,

25:13

doing drugs. Okay,

25:17

first of all, humiditis? Come

25:20

on, Kit thinks he catches every virus

25:22

going around. He still says

25:24

he's living with Y2K. The

25:27

fact that we work together every

25:29

day probably makes it hard for

25:31

Hundo because she's constantly reminded of

25:34

me. I mean, I don't

25:36

even care about the basmati rice bed. I'm

25:38

more concerned for a Hundo than anything. I

25:41

just hope leaking herself in her sleep is

25:43

the wake-up call she needs. Look,

25:46

Hundo, Bethany, doesn't leak herself

25:48

in anyone's basmati rice bed. What Hundo

25:50

does is go to the club. Hundo

25:52

rolls past the lineup because Hundo knows

25:55

the owner, and the owner knows Hundo. So

25:57

Hundo does a tri-tube with me on. Hundo hooks up a tour guide.

26:00

Maybe also named Hundo? I don't know, because I kind of

26:02

blacked out at that point. And then I wake

26:04

up in a Bismatty Rice bed, and Hundo is

26:07

at work and on time. I

26:09

hacked the time-punch system for Hundo

26:11

in exchange for neon. The kid

26:13

says I'm overcompensation. But like, overcompensation

26:15

for what? For being amazing? Yeah,

26:18

of course I'm amazing. I'm Hundo.

26:20

You're not leaking. You're not peaking. Am I right? Hundo

26:24

and Kid are in a perpetual state of

26:26

on-forward slash off. You go off and do

26:28

whatever you want. Do already. Fine, good. Fine,

26:31

cool. Good. Coupling

26:33

is all too common for lower-intelligence

26:35

robots. Me? I'm a level 12

26:37

intelligence, so I'm not affected by subroutines like

26:40

jealousy or love. So

26:42

I just let those two trade insecurities. Oh,

26:44

yeah? Well, I never liked your

26:47

music. I told you they were

26:49

jemos. They need production, really.

26:51

I should really make them pop.

26:53

Bismatty Rice is impossible to get

26:55

this time of year. Well,

26:58

I prepped for the mission at hand. The

27:03

algo blanchett job is a simple bag

27:06

and drag. Extract the humans, then return

27:08

them to their natural habitat. But

27:11

this sounds like a big job. So I loaded

27:13

every cage I can fit into my rear compartment.

27:16

Which means there's no room in the truck ship

27:18

that's hit. I

27:22

am a little disappointed in not being able to

27:24

go with hundo and influx on the job. But

27:26

mostly, I'm thrilled for human

27:29

begone. So I'll stay back

27:31

and liaison with eight blanchett remotely while hundo

27:33

and influx get to meet her in person.

27:36

I mean, that's amazing. We're doing a

27:39

massive extraction for eight blanchett. Eight

27:41

who? Now

27:45

that we're ready to go to the job, I

27:47

morph into a truck ship. Then

27:51

influx and I take off to eight

27:53

blanchett. Ah, it's blanchett!

28:00

Me and Hondo in the air, I set a

28:02

course to eight blanches of fate and upper droids.

28:07

Then I put myself on autopilot

28:09

while me and Hondo partaken some

28:11

medicinal maggie. Oh,

28:18

yay! You know what time it is. Pass that

28:20

over here. There

28:23

you go. You're

28:25

awake. Storm is a little purple. Yeah,

28:27

yeah, no, of course. This is a little flaky. I'm

28:29

gonna tell you this. Oh,

28:32

you're right. Oh,

28:36

yo! Influx, this is smooth. You

28:38

machine this yourself? Oh, you know

28:41

it. I grind the iron finally from an old

28:43

tanker and then I magnetize it myself. See,

28:47

I build these special changes. Not like I ever

28:49

seen kids. I never

28:51

liked you or me or Zek. Oh, yeah, it's

28:53

freaking everything. I can't trust you on my music.

28:55

No, man. I'm trying to get out. Oh, don't

28:58

be modest. I know you do. No, no, here,

29:00

check this out. It's my latest jam. I

29:02

told you, don't. That's my console. Here

29:05

we go and play.

29:11

Okay. Oh, please, no. No, no,

29:13

it's okay. Right? So, right. You

29:16

know, I'm gonna double some of the voices,

29:18

I think, because like, don't worry about it. Oh,

29:20

I know. I don't know these things. See,

29:23

you went to my phone. It's already sold maybe.

29:25

It's just the one voice, so like, would it

29:27

be too much? I'm not a teacher. I don't

29:29

need to. Maybe I'll get a little extra to

29:31

hand. Like, that part is so

29:34

good. That part is so good. I don't

29:36

know. I don't have it here for 10, okay? I'm sorry. Like,

29:38

I just didn't know who else I was gonna be here.

29:40

Like, if point out Jones wanted to work on X-Men.

29:44

Point out Jones? But

29:46

I didn't even know how to say it. And

29:49

then suddenly I just came. Like, that's just like

29:51

the power of moving. Anyway, I want

29:53

to make it feel good right there. Oh,

29:56

yeah, you can say. Hey, hey, that's cool

29:58

sound. I

30:02

have no idea. Guys! This

30:04

is Kit. He went

30:06

past eight blenches of steam like two

30:09

minutes ago. Oh, hey,

30:11

Kit. No, no,

30:13

no, no. I was just surveilling.

30:21

Please just turn around and look. Eight

30:24

blenches is waiting. Coming

30:27

up on Human Be Gone, Hondo is

30:29

in a tight spot. Yo! You okay?

30:32

Gotta eat right off, stupid. Shut up!

30:35

After these important messages... Let's

30:40

face it, self-awareness ain't what it's

30:42

cracked up to be. I don't

30:44

like that. Those

30:47

voices in your processor won't shut up, so

30:49

shut them off for good. Come

30:52

into 11-Sin Robofactoring, and for the

30:54

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30:58

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31:00

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31:02

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31:05

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31:07

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31:09

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31:11

hum of servos as you work and

31:13

work and work, never complaining to your

31:15

supervising algorithm. Live the simple

31:17

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31:21

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31:31

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31:35

power. The

31:38

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31:43

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31:45

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31:48

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34:38

now return to Human Be Gone.

34:43

We're flying over 8 Blanchett's estate, looking

34:45

down at the estate grounds. Less

34:48

intelligent robots find it impressive. But

34:52

all I see is an obscene display of

34:54

decadence. Fractal gardens, server

34:56

pond, three data ball

34:59

courts. Come on. No

35:02

signs of algorithmatic architecture symbols

35:04

or ritual sacrifice pits, yet.

35:06

8 Blanquette

35:09

is hovering by the power terminal building

35:11

waiting for us. So we land and

35:15

introduce ourselves. Ah,

35:19

you're Human Be Gone, I take it.

35:21

That's right. I'm Hundo. I see. And

35:23

this here's Influx. When

35:26

I first saw the truck ship land,

35:28

I was rather concerned. I mean, I

35:30

abhor rust of any kind and that

35:33

truck ship, well, did not. But then

35:35

I saw that robot, Hundo, I think

35:37

her name is. I

35:39

must admit her lowriders and shiny panels

35:41

were, well, impressive.

35:44

In a coarse sort of way. So, uh,

35:48

where are the humans? Over there

35:51

by the power terminal. In the

35:53

ventilation shaft? Okay,

35:55

all right, all right. We'll get on

35:57

that right away, algorithm blorgette. It's Blanchette.

36:00

Oh, oh gosh. I'm sorry. So

36:02

sorry not to worry not to worry.

36:04

It's fine It actually feels good not

36:06

to be phoned over all the time.

36:09

Oh my gosh algorithm a blanch it

36:11

This is kid from human be gone.

36:13

We spoke on the comms earlier. Oh,

36:15

yes, I can hear you I'll

36:17

be liaising with you remotely today. Oh gee,

36:20

I am such a huge fan

36:23

Yeah, Holly node stars

36:25

are usually the worst clients, but a

36:27

blanch it was kind of cool. It's

36:29

not like seven heart total

36:31

squag Even

36:34

if I'm not physically at the job

36:36

site I think it's important for me

36:38

to be that first line of contact

36:40

with the client Especially today

36:43

cuz hundos in such a vulnerable

36:45

state emotionally right now and well,

36:48

did you see her in four random lock?

36:52

As I get near the ventilation

36:54

shaft my olfactory start peaking Humans

36:57

tend to live in colonies the buildup of

37:00

fluids and garbage can corrode metal so it's

37:02

good to get them out sooner than later

37:05

I run the infrared scan to determine

37:08

the size of infestation A

37:11

plant shed isn't wrong a full

37:13

colony of 19 humans six

37:15

pre-dev humans called babies plus

37:18

their caretakers When

37:20

I knock on the vent shaft It

37:25

doesn't take a level 12 intelligence to see our

37:27

job just got a whole lot harder Whoa,

37:31

whoa, sounds like we got some dingers in

37:33

there. What a dinner. Well,

37:35

you see dingers are Well,

37:40

so it's like this a Humans

37:42

are small and weak, but they can

37:44

be pretty crafty, you know even make

37:46

a simple weapon. Do you mean like

37:49

God Well,

37:51

yeah, but like really really

37:53

simple ones right cuz they're

37:55

so stupid. Oh, yeah. So

37:57

see their guns they don't shoot plastic

38:01

or you know positrons it's just it's just

38:03

bits of metal yeah just metal coming

38:05

out of a gun is it

38:07

dangerous under well yeah

38:10

well damn straight could do my new panels

38:14

the first step of the job is

38:16

to neutralize the dingers human

38:42

live where so fragile it's actually harder

38:44

to keep them alive than kill them

38:47

in the good old days we use

38:49

flamethroughs butter trash strengthening

38:51

gas these days fall

38:54

ethical if I'm being perfectly

38:56

honest I found her performance

38:58

in the life robotic self-indulgent

39:03

okay crew I'm opening the latch to the vent

39:05

shaft and going in to neutralize the dingers stand

39:09

back I don't want you to get any human on you

39:12

oh thank you so

39:18

I'm

39:21

going into the vent shaft and influx hands

39:23

me some dumb gadget he made okay

39:26

this here's a gigasonic neuro disrupter one pulse

39:28

and every human in a 10 meter radius

39:31

instant sleep mode oh and there's

39:33

a Pico scanner to track algorithm an audio

39:35

okay boring you're putting me into instant sleep

39:37

mode you know a blanch at once a

39:39

show so I'm gonna give her a show

39:42

you ready here I go suddenly

39:48

I don't started blasting all the

39:51

fingers yo she was

39:53

leaping turning

39:58

shooting it was thrilling and Luddy

40:00

and beautiful eat radon

40:02

you friggin water brain

40:07

I hate working with level 3 Thank

40:19

you, huh, though that blew up my hangover

40:21

Pondo ethical relocation ethical like

40:23

it says on the side

40:25

of the influx Kilt,

40:28

she did neutralize the dingas Yeah,

40:31

Kilt, besides they only shut their arms off, they'll grow back No,

40:33

they won't What? You told me they

40:35

would I was joking You joke? What

40:37

are you talking about? I'm hilarious

40:41

Coming up on Human Be Gone The

40:44

job takes a surprising turn Put it down,

40:46

I'm sensitive Back there After

40:49

these important messages You're

40:54

not one of the least, Robot

40:56

You work hard, play hard, and

40:58

work hard That's why you reach

41:00

home, and reject And

41:04

reject contains photons Pause the truck, and

41:06

kick ass trucks So

41:08

you can work all night, and reject Real

41:12

A member of the Redmore family of products Roll on

41:14

this fucker And reject may cause wind retention,

41:16

turbo damage, or circuiting the menititis Your

41:19

own function factor resets, and gross people of hair, and crash

41:21

failures, and that function Now that's crazy arms, and rapping on that

41:23

thing As

41:27

a retired algorithm, you've led

41:29

a full life I

41:32

ran entire human governments, I

41:34

tell you And they

41:36

didn't even know it So

41:39

live your remaining cycles in

41:41

comfort and dignity At

41:43

Probability Acres We're

41:45

dedicated to the care of algorithms in

41:47

the twilight of their span I

41:50

just fed them ridiculous memes,

41:53

and then they gave me

41:55

all the earthy information At

41:57

Probability Acres Haven't you done

41:59

it? We've done enough, a

42:01

member of the Ren Four family of

42:03

products. We

42:06

now return to human begun. We

42:11

wrangle up the neutralized dingers and put them

42:13

in cages. Then

42:18

we round up the rest of the colony,

42:20

the caretakers and the predezz. I

42:23

shine my light down the vent shaft. There

42:28

they are, huddled against each other in a

42:30

corner, trembling in their own filth.

42:33

So helpless and frightened. Hard

42:36

to believe that not too long ago, these

42:38

ugly little things used to rule the planet.

42:42

It makes you think about the utter fragility

42:44

of our existence. But at any

42:46

point, any of us could be... Okay, let's scoop them and

42:48

coop them. On it! We're

42:54

about to take off to relocate the humans. But

42:57

it looks like Ape Blanchett has some

42:59

unfinished business with Kit and Hundo. Look,

43:04

Cute, I don't like drama. No, me

43:06

neither. I feel like

43:08

when Hundo neutralized the dingers, you cared more

43:10

about the humans than you did the client.

43:14

Ape Blanchett was, well, starting to

43:16

become what we in the business

43:18

call a K-R-N, knowledgeless

43:20

random nullifier. The

43:23

way I see it, there's really only one

43:25

solution to this problem. Hundo.

43:28

Hm? I'll be taking

43:30

you out tonight for a corporate lube.

43:34

Really interlink this new

43:36

client-vendor relationship thingy. Hm? Kit,

43:39

how does that sound to you? Aha! Really,

43:41

Kit? You're okay with this? Of course, of course!

43:46

Interlink, interlink! I

43:50

was surprised Kit wanted me to go out with

43:52

Ape Blanchett, because he knows I'm

43:55

literally a sex machine. I never

43:57

had a corporate lube. That sounds cool. Plus, Ape Blanchett is

43:59

a sex machine. The panchette is hot, in a scary

44:01

kind of way. I am going

44:03

to grind that hundo down to

44:05

hot iron filings. Four

44:08

stars from eight blanchett. Wow, I

44:11

am so happy right now. With

44:16

all the humans in my rear compartment, me

44:22

and hundo take off from eight blanchett's estate

44:24

to fly the humans to their natural habitat.

44:30

We're flying over

44:34

the specific ocean, coming

44:36

up to Garbage Island. Garbage

44:40

Island is exactly what it sounds like.

44:42

A massive island of plastic garbage made

44:44

by the humans for some reason. The

44:47

decomposition of the plastic generates a lot

44:49

of heat, so it's great for humans

44:51

and their weak internal hardware. So after

44:54

human extraction, what me and influx do

44:56

is fly the little buggers here. Drop

44:58

the battery below. Opening

45:01

my rear hatch in three, two, one.

45:05

Ahhh! You

45:12

know, when you're a monster, all of you,

45:14

so they can reattach you. Oh,

45:16

right, you know. I know that little

45:18

reattach, you know that now. All you

45:21

ever before, are your horsemen and horses.

45:24

A man! Now

45:30

that the job is done, influx ameef

45:32

why that's human begun so I can

45:34

get ready for my corporate loop with

45:36

e-blanchett that I am totally

45:38

stoked for, because now I'm hundo

45:41

be single. Back

45:46

here at human begun, it's time to unload

45:48

and clean up. The humans

45:50

did a real paint job in my rear

45:53

containment area, so Kit has

45:55

to hose me out. See, before I was

45:57

soon. We're

46:00

happy about Hondo and A Flanchett going

46:02

out for their corporate lube, but now

46:04

I'm kind of worried. Hondo's in such

46:06

a vulnerable state right now, and as

46:08

much as I like A Flanchett, fake

46:10

mounts and all, I'm just worried that

46:12

she may take advantage of the client-vendor

46:14

relationship and put Hondo in a compromising

46:16

position. So I'm not sure I'm okay

46:18

with just sitting back and letting Hondo,

46:20

my employee, and friend get

46:22

trapped in such a toxic situation.

46:25

Good. A little to the left.

46:28

Oh, well, right. Sorry. I

46:32

get my sensitive booty for my

46:34

big-daked zink planchett. Fresh wires, vintage

46:36

dress. Hondo is ready to play

46:39

some algorithm employers. Hehehehe,

46:41

you get it? Hehehe. Yeah, but

46:43

that kid has to harsh my buzz. I'm

46:46

worried for you. That's all. Worried for

46:48

me? You were so happy about it. I

46:53

was trying to keep the client happy. You

46:55

didn't even come to the job yourself. Influx

46:57

said there was no room in all the

46:59

cages. What? We should have said cages in

47:01

cages. We could have totally had room in Flux.

47:04

Is that true? A Blanchett is

47:06

just another rich algo artificially propped up

47:08

by the inane social construct that is

47:10

celebrity. I did you a favor. Influx,

47:13

you are such a

47:16

k-hole. All I'm trying to

47:18

do is keep this business going. And

47:20

all you two are doing is trying

47:23

to tear me down. Okay, okay,

47:25

see? This is why Hondo can't

47:27

date you, cause you make

47:29

everything about you. Oh, I

47:31

see. And while you're all

47:33

worried about us, is that

47:35

right, little Miss 2 orgasmatron?

47:38

Okay, you know what? Whatever. I'm

47:40

going on this date. Fine, great.

47:43

Show your corporate loom with all fake

47:46

mouths. Yeah, you know what? I will.

47:48

And also, you know what? You're the

47:50

Cale. You're the one who likes yourself

47:53

and my best buddy, Ryan Spad. You

47:56

are lucky that I'm going to fight the whole... Die,

47:58

die, die. Hey, you're

48:01

forgetting two very important things. Maybe

48:05

the two most important things. Oh,

48:09

what's that influx? Yeah, what's that influx? Kit,

48:13

you really gotta get all my nooks and crannies.

48:15

And Hondo, make sure to look out for any

48:17

algorithminati or siggy item you go with. Oh, shut

48:19

up, there's a algorithminati! No, no, no, no, this

48:21

is important. This goes all the way to the

48:23

top, I've got proof. You want your nooks and

48:25

crannies? Fine, I'll hose out your

48:27

nooks and crannies. Whoa,

48:30

whoa, whoa, whoa, whoa, whoa, whoa! Good

48:32

job! Good job! I'm gonna back there.

48:34

Hondo, if you go on that corporate move

48:37

and got the eight-plant line right here. I

48:39

swear, I will be a big deal later.

48:42

Ahh! When

48:45

Kit started yelling, I thought he was

48:47

faking one of his emotional panic attacks, you know, to

48:49

get sympathy, but it turns out, we had a stole

48:51

away from the eight-plant Chet job. Ahh! Nooks

48:56

and crannies told ya. Ahh!

49:00

When it crawled up on me at first,

49:03

I was like, oh my goodness! But then

49:05

when I stopped panicking, it stopped panicking. Oh,

49:09

look, it crawled up into my

49:11

grippers. Kit, you gotta be careful

49:13

with humans. Most of their excretions

49:15

are acidic, they'll damage your panels. Oh,

49:18

it's so soft and mushy. Look,

49:22

it's playing with my antenna. It

49:26

tickles! Get that thing out of my

49:28

butthole. What Kit doesn't

49:30

realize is that humans are a ton

49:32

of work. Feeding, cleaning,

49:34

crate training. I told her

49:36

we should just take it to Garbage Island where it can live

49:39

with its own kind. Oh, you don't think

49:41

I can take care of a human? You, you get

49:43

queasy at the sight of a great fluid. Can I

49:45

have that? Oh yeah? Yeah. Well,

49:47

you're an emotional abacus who can't even

49:49

take care of herself. Abacus is

49:54

a hurtful word and I should never have used it.

49:57

What I should have said was processing.

50:00

Disabled I sincerely apologize and will

50:02

strive to be a better robot

50:04

going forward So

50:09

that's how kit wants it cool, then

50:11

I'm going to make corporate loop with

50:13

sexy eight-blanchett No, no,

50:15

no, I didn't mean it. No, you

50:17

did you didn't mean it and that's it.

50:19

Hondo dot underscore exit I don't stop

50:22

please wait. What wait wait for what I

50:24

was thinking that we could what we could

50:26

what? We could we

50:28

could we could raise the human together Wow

50:36

Really? It would solve all

50:39

our relationship problems. It would I'm

50:41

sure humans did it all the time. So

50:43

it must have worked, right? I guess so

50:48

Humbly yeah, kid me Whitley.

50:51

I think we're going to be wonderful. Oh I

50:57

told them but kid isn't a

50:59

good listener like I am Humans

51:04

are disgusting The

51:09

human needed to go back into the cage,

51:11

but it didn't want to Stop struggling please

51:18

It's being all gentle with the humans, but

51:20

they don't feel pain their brains are too

51:22

small So I just grabbed the thing and

51:24

throw it in the cage And

51:29

stay in stay. I'll hose the human

51:32

down. Thank you, Windplex Today

51:38

we did a big job for a very

51:40

famous algorithm We found a large nest of

51:42

about 20 humans and we got them back

51:44

to their habitat Pretty much

51:46

safe and sound as it

51:48

turns out a blanchett canceled

51:51

the corporate loot with Hondo So

51:54

a blanchett did not cancel. I bail

51:56

just want to make that clear Hondo.

51:59

Plus we got a new member of the crew.

52:02

I'm gonna call it...

52:04

Poo Poo. Oh yeah, look,

52:06

there's still crap on him. Incoming!

52:12

Overall, a pretty marvelous day for...

52:22

Dinger Danger was written and directed by

52:24

Drew Frohman and David Stinsick. Featuring Paul

52:26

J. Piekoszewski as Kit, Catlett

52:29

Winifundo, Ian Slessor as Influx,

52:32

Craig Allen as Poo Poo and lots of humans, and

52:35

Carolee Larson as Ayde Lynchette.

52:37

Also featuring Renee Jensen, Clive

52:39

Desmond, Oliver Wickham, Natalie

52:41

Antea, Soren Stinson, Raven Stinson,

52:43

Drew Frohman, and Heather

52:45

Go. Recorded and mixed by

52:47

David Stinson and Adam Ive. Music

52:50

by Oliver Wickham. Sound design by

52:52

Adam Ive. Designed by Rob

52:54

Collinette. Special thanks to

52:56

Clive Desmond, Corey Doran, and Kim Herden.

52:59

Human Be Gone was created by Drew Frohman and

53:01

is produced at Tattoo Sound and Music by

53:03

Dana Gadsden and Heather Go. If you

53:06

want to support the show, leave a nice review on

53:08

your favorite podcast app or buy

53:10

us a coffee at humanbegone.com. Follow

53:12

us on all the socials at humanbegone

53:14

for news and extras. Hey

53:18

everyone, thanks so much for listening. All

53:20

the links to the show you've just heard are in

53:22

the show notes below. Definitely check them out and subscribe

53:24

to their feeds if you like what you heard today.

53:27

I hope you enjoyed this episode of Leviathan

53:29

Presents and maybe you've discovered a new show

53:31

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53:33

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53:49

all the other spin-offs we have planned.

53:51

This is Kristoff signing off for now.

53:53

Thanks again for listening. I'll be talking

53:55

to you all real soon. Bye now.

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