Podcasts about Jesse Pinkman

In this episode of Only Business, we break down the high-stakes world of Breaking Bad to uncover 12 powerful business lessons that go way beyond the drug trade. From brand identity and ego management to leadership failure, systems thinking, and the hidden cost of control, this program explores how Walter White's rise and fall holds a mirror up to entrepreneurs and leaders in the real world. Whether you're scaling a business or trying to reclaim your voice in the chaos, this isn't just about what went wrong—it's about how to build with clarity, power, and purpose.

Whether you like it or not, Schedule 1 is the hottest drug-empire sim on the market right now! Your video game besties, Kelvin and Nick played it, and they're here to share their thoughts on their best time pretending to be Walter White and Jesse Pinkman in Schedule 1. Schedule 1Developer: TVGS (Tyler's Video Game Studio)Platform: PC / Steam Price: RM49 / US$19.99Rating: 8/10Epic Arcade is a proud member of the Renegade Radio Network, for more proudly buatan Malaysian podcast, check out WWW.RENEGADEPLUS.COM. Hosted by Kelvin Tay, Afiq Kamarudin, and Nick

On the latest episode of The Discourse, Aaron Paul and Eiza González join host Mike DeAngelo to talk about their new mind-bending sci-fi thriller, "Ash," directed by musician-turned-filmmaker Flying Lotus and written by Jonni Remmler. The film follows Riya (González), who wakes up on a desolate planet only to find her entire crew slaughtered. Things get even stranger when Brion (Paul) arrives to "rescue" her—except neither of them knows if they can truly trust the other. Tension, terror, and a whole lot of eerie sci-fi visuals follow. The film also stars Iko Uwais, Kate Elliott, Flying Lotus, and more.READ MORE: ‘The Electric State': The Russo Brothers & Christopher Markus Talk Retro Sci-Fi, Their Marvel Homecoming & More [The Discourse Podcast]Paul and González had nothing but love for Flying Lotus, whose artistic vision shaped every aspect of the film. "Music is like the heartbeat of so many films, right? It really sets the tone," Paul said. "He had a lot of music already created even before we started shooting, and he shared it with us early on." González agreed, adding, "The music was a character. The lighting was a character. The wardrobe was a character. Everything was so carefully thought through. And you just knew he was meant to be directing movies."

Puntata a cura di Jacopo Bulgarini d'Elci e Livio Pacella.Ci perdonerete se vi ripoponiamo una puntata dell'anno scorso, ma come potevamo non celebrare l'anniversario di uno degli show più belli dell'ultimo quarto di secolo? 10 anni fa, l'8 febbraio 2015, debuttava la straordinaria Better Call Saul. Insieme prequel, sequel e spin-off di Breaking Bad, serie-capolavoro che è riuscita miracolosamente a non far mai rimpiangere. In onda per 6 stagioni e 63 episodi, è stata acclamata da pubblico e critica. Eppure, lo show detiene il record per il maggior numero di candidature agli Emmy senza alcuna vittoria: 53. Ponendosi prima, durante e dopo le vicende di Breaking Bad, Better Call Saul racconta come il modesto Jimmy McGill (Bob Odenkirk) diventi il fiammeggiante, assurdo e pittoresco Saul Goodman, avvocato della malavita di Albuquerque (e dunque di Walter White e Jesse Pinkman, i due protagonisti della serie madre). “1 classico in 2” è uno dei format del podcast di Mondoserie: conversazioni a due voci su serie che hanno segnato l'immaginario.Leggi il nostro articolo su Better Call Saul: https://www.mondoserie.it/better-call-saul/ Ascolta il podcast su Breaking Bad sulla tua piattaforma preferita o su Spreaker: https://www.spreaker.com/episode/breaking-bad-contro-la-societa-borghese-1-classico-in-2-republish--53398485 Parte del progetto: https://www.mondoserie.it/ Iscriviti al podcast sulla tua piattaforma preferita o su: https://www.spreaker.com/show/mondoserie-podcast Collegati a MONDOSERIE sui social:https://www.facebook.com/mondoseriehttps://www.instagram.com/mondoserie.it/ https://twitter.com/mondoserie_it https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ https://www.linkedin.com/in/mondoserie/

The thrilling conclusion to the 'Aleks has a crowbar at Walmart' saga. Also, Jesse Pinkman IRL, the most powerful M.A.S.K. team of all and CAVEMAN HORRORStrange YT Link (I dont remember if this is even in the episode but I had it open in my browsers tabs after recording so im putting it here anyway) - https://www.youtube.com/watch?v=hrg3ouhBAMUImgur Album - https://imgur.com/a/IDptJrJTalking Points: crowbar v prybar,getting banned from the overseer project,Apex CRT,that chameleon twist 2 sound effect,plaidmium,the 400 dollar 10 pixels,those lightning scars,Marvel Rivals,TF2classic,theseus gnomes,DS4Windows work ahead? I sure hope so!,M.A.S.K.,Tad says some real tendy nonsense,soddering,soldering,CDProjektRed is the new Bethesda,the Jagex situation situation is crazy,CAVEMAN HORROR(tm),I am the reason theatres are dying,gas station food,slavery free chocolate and Jesse Pinkman if he real. Check out the website for links to our shows on iTunes, GooglePlay and Spotify► http://www.lmtya.com► https://spoti.fi/2Q55yfLPeep us on Twitter► @LetMeTellYouPDOfficial Discord► https://discord.gg/SqyXJ9R/////// SHILL CORNER ///////► https://www.patreon.com/LMTYALMTYA shirts!► https://lmtya.myspreadshop.com/all/////// SHILL CORNER ///////

This week we are standing still and letting ants crawl all over us while we discuss “Lord of the Flies”! We're talking yet another Kim Manners bug episode, the very-bizarre and distracting Skyrim music, the star of the episode Dr. Rocky Branzino, and welcome Aaron Paul as a proto-Jesse Pinkman onto the show. We mansplain Syd Barrett to each other, think it would be more fun if Doggett loved The Dumbass Show, wonder how furiously Vince Gilligan was taking notes behind the scenes, and get excited about Brad hanging out with Skinner. And remember these wise words from Doggett: The bugs are gone! They're gone!Send us an email at scullynationpod@gmail.com or follow us on Instagram!

We learned some cool stuff about Jesse Pinkman's house in Breaking Bad! And we wanna know if your house has been used for anything cool!

What story was so important to go back and tell 6 years later? How do you bring the story of Jesse Pinkman to an end? Who looks the weirdest 6 years later, and why is it Jesse Plemons? Who is the best callback to the show to appear, and why is it Skinny and Badger? For the final time, we break down Breaking Bad by over-analyzing the 2019 film El Camino: A Breaking Bad Movie as only we can. Check back every Thursday morning for the latest episode of the Almost SideShow! Find the past seasons of the Almost SideShow here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://almostsideways.com/Main%20Menu/Artice%20Archives%20Sub-Menus/AlmostSideways/Almost%20SideShow.html⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The SideShow is meant to be a companion to listen to after you watch each episode, so join us on the journey!  Watch the episode, then listen to our reaction and analysis.  New episodes drop every week! The Almost SideShow is hosted by Terry Plucknett and Adam Daly and is a part of the AlmostSideways family. Find AlmostSideways everywhere! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠almostsideways.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/AlmostSidewayscom-130953353614569/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AlmostSideways Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @almostsideways ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Terry's Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @almostsideterry ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Zach's Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @pro_zach36 Todd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Too Cool for Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Adam's Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @adamsideways ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/almostsideways-podcast/id1270959022⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/7oVcx7Y9U2Bj2dhTECzZ4m⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stitcher⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.stitcher.com/podcast/almost-sideways-movie-podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCfEoLqGyjn9M5Mr8umWiktA/featured?view_as=subscriber⁠

What would you do when everything comes crashing down? What would you do when you realize there's something below rock bottom? How many people are going to underestimate Jesse Pinkman? How creepy can Todd be? Has Huell moved from that couch yet? All these questions and more are discussed and answered as we continue to break down Breaking Bad. This episode, we look at Season 5, Episode 13 - "To'hajiilee." Check back every Thursday morning for the latest episode of the Almost SideShow! Find the past seasons of the Almost SideShow here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://almostsideways.com/Main%20Menu/Artice%20Archives%20Sub-Menus/AlmostSideways/Almost%20SideShow.html⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The SideShow is meant to be a companion to listen to after you watch each episode, so join us on the journey!  Watch the episode, then listen to our reaction and analysis.  New episodes drop every week! The Almost SideShow is hosted by Terry Plucknett and Adam Daly and is a part of the AlmostSideways family. Find AlmostSideways everywhere! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠almostsideways.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/AlmostSidewayscom-130953353614569/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AlmostSideways Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @almostsideways ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Terry's Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @almostsideterry ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Zach's Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @pro_zach36 Todd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Too Cool for Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Adam's Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @adamsideways ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/almostsideways-podcast/id1270959022⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/7oVcx7Y9U2Bj2dhTECzZ4m⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stitcher⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.stitcher.com/podcast/almost-sideways-movie-podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCfEoLqGyjn9M5Mr8umWiktA/featured?view_as=subscriber⁠

Elon Musk Gives A Retarded Reason Why He Banned Lucas Gage For Opposing Israel, Elon Musk Is No Ally To Conservatives, Elon Musk Is The Establishment, Chicago Mayor Brandon Johnson Says 100 People Got Shot In Chicago Over The Weekend Due To Richard Nixon, Left-Wing Mayors Are All Fucking Stupid, Eric Adams, Sheng Thao, London Breed, All Of Them!, Gay Indoctrination Starts In Preschool In America, Jewish Supremacy, Kinder Care Pushes LGBTQ On All Children, All Republicans Bought & Paid By Israel, Left Wing Jews Voting For Trump Is Hilarious, ADL Tha Far-Left Organization, Race Mixing And People Being Fake About It, KKK, ACLU Leftist Bullshit, Free Speech Ain't So Free, Elon Musk Sucks At Free Speech, Normie Conservatives Are Gay, All Mainstream Social Media Is Censorship Galore, People Who Self -Censor Themselves Are Gay, Opposing The Establishment, Eminem & Howard Stern Used To Be Anti-Establishment, Classic Liberals Were Down For Actual Free Speech, Breaking Bad, Jesse Pinkman, Lyndon B. Johnson, Idaho Bans Pronouns, Conservative Legislation Getting Passed Is A Win, Conservative Policy Will Be Anti-Establishment In The Years To Come!, Ben Carson Is The Only Potential Trump VP Pick That Makes Total Sense, + Much More Fuckery!   THESLYSHOW.COM: https://tinyurl.com/2p843vt3 TELEGRAM: https://tinyurl.com/dsyurdwr GAB: https://tinyurl.com/y9f58t6z X: https://tinyurl.com/yc87pwrr INSTAGRAM: https://tinyurl.com/yc8zvded FACEBOOK: https://tinyurl.com/596p4pt8 BITCHUTE: https://tinyurl.com/3adyysbk SPOTIFY: https://tinyurl.com/2s44wvat APPLE PODCASTS: https://tinyurl.com/yh87mnve AMAZON MUSIC: https://shorturl.at/bzEP1 AUDIBLE: https://tinyurl.com/5fpakxd7 PANDORA: https://tinyurl.com/484ucdv9 IHEART MEDIA: https://tinyurl.com/bdzjzdvk TUNE IN RADIO: https://tinyurl .com/3z97fk9w

“Caddyshack” (A Mumtidimentional Mixtape) {Enter The Multiverse} From Wikipedia: Caddyshack is a 1980 American sportscomedy film directed by Harold Ramis, written by Brian Doyle-Murray, Ramis and Douglas Kenney, and starring Chevy Chase, Rodney Dangerfield, Ted Knight, Michael O'Keefe and Bill Murray with supporting roles by Sarah Holcomb, Cindy Morgan, and Doyle-Murray. It tells the story of a caddie, vying for a caddie scholarship, who becomes involved in a feud on the links between one of the country club's founders and a nouveau riche guest. A subplot involves a greenskeeper who uses extreme methods against an elusive gopher. Caddyshack was Ramis's directorial debut and boosted the career of Dangerfield, who was previously known mostly for his stand-up comedy. Grossing nearly $40 million at the domestic box office (the 17th-highest of the year),[3] it was the first of a series of similar comedies. The film has a cult following and was described by ESPN as "perhaps the funniest sports movie ever made" SAUCE (IN CASE YOU MISSED IT) —- AHAHA. ITS ME AGAIN. OH SHIT! Oh shit, i guess it's Jimmy Fallon's Galaxy. Oh nooo. Oh, yes. Look at this penny. I see you. Now look into my eyes. I see you, Jesus. Ahahaha! Okay, now what? This shit is twisted I missed the shift of the dimensions— Till Jimmy walked in with his pennies For some cigarettes and swishers, Just to get the picture It's 5 AM again, And it's still Infinite, I'm disinterestedd as ever in living in LA, Or just living, period— But it is what it is, I work for my rent, I've repented for this, Used to sleep in a tent, But when I was an Infant, I instantly— Wait, a customer walked in. I better help him. Heaven help him. Another level, Call dr. Nevel, Or an Ambulance, I just can't get it Just can't get it, Wait, let's insert some of the script here, I guess. Took you long enough, didn't it? That took forever. How are you alive? Maybe I'm not. Finally, we agree on something. Oh, this guy Lol. Good to see you again. Likewise, now— Here it goes… As you promised. Working on it. As I promised. Take my heart for granted, Take my soul, If this is loveless Till the end, I just can't manage, having Thoughts of death and tragic ends I haven't Felt the same since Waking up without the day to come ahead; The day has passed again A test, No fail, or pass It's just progressive, In a trance, It's just the stress, It's just to pass the time, I guess, if this is purpose Then, we'll see if this is worth it Now, or never, then Now or never, Never had a friend, All envious at best, This is the end all, In the end, it's just Me and God, And God would want A better body, To have fun I wished it all at once, And then I watched it crumble Oh, I watched it Stumble in, again, my friend I'm different when it's wet, I might not never see the Sun again I might not ever love again Oh well “Oh well” , I said Oh, well, I guess Oh well Okay. One hour left. Okay. Who gets the gold? Hum. Honestly I didn't want to hear a thing ; I had quit music—I just wasn't cut out for the industry—I was, but not by societal standards by far; my lowly place in the smoke shop would have to do for now, and though I knew it wouldn't sustain, there wasn't much else I could do but keep showing up, for as long as it lasted—dresses in at least 2 layers and 5 pairs of socks tucked into boots two-sizes-too-big I had been forced to purchase specifically due to the frigid and painful, freezing temperatures at the locations I worked, which kept its doors open 24/7. Play Iambic. What, right now? Yeah, play Iambic. Uh… Iambic played st exactly 1 hour and 19 minutes—it's script, the transcribed rendition crafted especially for the Broadway stage, an 88-page-masterpiece collecting dust in the confines of my Google Documents, along with anything else I had written and had yet the advantage of placing anywhere besides my podcast channels, which I constantly thought about cancelling, despite its innumerous downloads—nothing really seemed to matter anymore, as I was trapped in my body, in a loveless world, in a dead-end job and though my bed was clean and comfy, sharing the room wirh 3 others became exhausting. INT. SMOKESHOP. 5:58 AM DREW BARRYMORE … SUPACREE … I'm done. I quit. QUIT?! YOU CAN'T QUIT. Nope. That's it. I quit. You can't quit. I just did. I hadn't quit the music industry—the music industry had quit me. I wasn't pretty enough, skinny enough, light skinned enough, or willing to do what any of the other girls were to get ahead. WTF is THIS. Since you like to troll so much, I just thought I'd turn you into one This is not Kosher, 199x Jimmy Fallon; Let me out of this plastic —not exactly “fireproof” — death box, before I let myself out, and I trap you in it. But oh, You already did. FIGHT. UGH OH. Ok, rotate. Who is this. Oh shit, hey dude. FUCK, what year is it? MEANWHILE, Under the bridge. …anybody seen this, uh… *Troll* Yee! *Troll* Alright. That's it. Everything checks out. The story was air tight. TIGHT, TIGHT I want you to wear this tonight “The Lady In The Red Dress” You really went all out for this I really didn't. lol Oh I see, You thought this was the matrix. MIT I WISH GOD Wish what. MIT … Mm. Did u see that. See what. ALRIGHT FUCK THIS, YA'LL IT GOT SERIOUS, WHERE'S MY CYCLOPS He called me his cyclops— —-and then he said LIKE GET OUT WHAT GET OUT OF MY HOUSE WHY CAUSE YOURE JUST A PIÑATA, MAN! And I ain't got time for that! I just got a DeLorean And a new HAT I gotta go get Oof. WRECKED. Yo, Wicked. KENDRICK (TODDLER) WIZARD. Oh my. I'm J00F'd up. | | | trance | | | Look; I gotta get out of this MOTHER OF PEARL do not beach this whale carcas on my warehouse project A what A beached whale I know You brought a beached whale to my fucking rave show Oh I get it It's Avant- Guarde No, that's just how I got here …. Trust me, it's okay that This never happened You did not see me It's because I wasn't there Is this U Ū No I wasn't there. Ü I was. Fuck. What happened. It's ok. All I remember is “The Quatardashians” Hmm Also The indigenous But that's it But mostly that was all just Jesus showing off his flexes Are u fasting? Yes, “Ū” is. So, do you need this?! TRUMPP Get rid of this recording imiidiately GOT IT. kill that bitch. SKRILLEX Yessir. —-but before all that happens. …did you want fries with that?! Why are we boycotting McDonald's —for poisoning —the allies —our enemies. Wait, you're eating this? Yes. Like, for fun, or like? No. This is what I'm feeding my children Why Cause they hungry. Uh, ok— —and there's six of them. Aight, ya'll can each have one nugget with your— I wanted a cheese burger! You git hamburgers. Ham. Cheese costs CENTS; And you know your momma If I ain't about a dollar - A dollop of Daisy You really are Ashamed of his Alright, you evil bastards. I see you want to Cause suffering Correct For which you will eternally recurve damnnation and all of the pain you've caused Karmas a bitch It's lonely at the top Not when you're GOD Get off my rock Did you miss an appointment? Nah, can't do it Why what happened Too high up. Whatchu mean So what, it's just like Done. Well, this is it, huh guys. Oh, yeah, it's that, alright This is the longest ride we ever took.d This is the ONLY ride we ever took. I WANNA GET OFF THIS RIDE. I AM REALLY HIGH UP. JUST LET GO. NO. NO. NO. Put me down, kite!!! KITE wtf do you want me to do. I'm a KITE. I'm YOU FUCKIN KIKE NOOOOOOOOOOOOOOOOOOOOOOOOOO—- Well, I'll be honest, man, this sets you back, some How far back GET GONE, But? We're dinosaurs. Why would something with razor sharp teeth be so— —peaceful, and friendly?? T-REX …cuddles. I just can't fake the feeling( I can't pretend to cry It just comes, when it does But when the well runs dry That's when the the world will end That's when the world will end After this movie, I guarantee we will no longer need the Wilhelm scream AGGGGGHHHHHHH!!! YAHHHHHHHHHHH!!!! AAAAAAIIIIIIIIIIGGGHHHHHHH UUUUUUUUUUUUU This movie broke the world record for the amount of times the word “No” was screamed NO NOH. NO. ‘No! NOOOOOOOOOOO! NONONO. NOOOOOOOAAAAAHH …No! Here they all come for her, Defended upon New York In order of important, or appearance? One doesn't wonder, At al, of what's to come Uncommon, we are The call has come TRACY My tummy hurts. That's probably because you've been drinking straight tequila for the last hour and a half. No I haven't! This is water! Tequila is YELLOW, Liz Lemon! No, Tracy—that's silver tequila, And regular tequila is, You know what? Nevermind. Alright, who's got the night shift? [nobody raises their hand, at all] Seriously guys?! Come on! COME ON! Look up WHAM! For some reason, idk. Can we just— not do this? No. Out of my mind a bit Speaking in tongues, In total silence Guess it's the times, I guess that's just who I am And who I am is I said I was Sam I'm the same, I said, “Say Uncle” I guess it's a game, we're playing I don't want to be played with At all I just want to feel loved again By someone else Superb, like him I just want to be felt, I guess By someone else That's “Different” I just want to be kissed on the lips A splendid blend of Twisted trysts Let's not pretend It hasn't ended yet Until you've finished it Class dismissed again Let me off of it I just want it to stop Keep rolling Keep rolling your eyes in the back of your head Like you did just morning Just go for a walk Just stop for a moment Run a bath And just keep running Cause here something comes, Of course, It's all your callings Neatly rolling into one, They said But I Just want to be loved again And who doesn't That's the fucked up part I just want to be loved again But nobody ever Just comes up I just want to be loved again It's a walk in the park Don't follow the dog Even if he barks at you It's time to start again I wonder what comes after this part You are the gleaning in the shadows, The reckoning in my eye, The siren in my silence; The green in all the lights, I am a shamed to have just been One of your many One of your many Images, You still have me twisted, I miss you, It's just you, at the end, Again I left you where you left me Solid on solid Sounds are invalid now How are you so Swore by your awesome No more songs, I said No more songs, he's dead to me No more songs! She's inlisted He's uninterested, Isn't this interesting The problem is: I'm still in love with Everyone i've ever been in love with (And I love him) But he doesn't remember my Name And he's famous And she's crazy And he hates her But he made me hate him The day I became you The day I became So famous, I finally made it I'm dead It smells like dill in here At least it doesn't smell like dead mouse. Aha. Youre Hellen. Keller or Mirin How would you be Hellen Miren Cause I'm the Queen. posh. You want to die Well, you better do it quick Better get your shit toggether, paint a l Bigger, better picture Bitter Betty gliching steady Just remember when you're ready Ever steady still forgetting dinner Dessert was already Forget this significance Remind me why I'm on this speeding bullet to nowhere Had no other options but to go under for something Shy, sickness it's a secret Just kill me already Semi robotic, Something like a magnet, attracted, Simply symphonies And soulless bodies, tied to money Wonder what was in the vaccum cleaner meaning What did you suck up, dude Who do you suck up to. When nobody loves you But your own son And the audience is robots Nothing really works more than once, if it's really magic Sit and do nothing would you Like you're supposed to Fall over like the mannequin you are Just a body in my count A mattress without a bespost, if it matters If it matters Doesn't really matter But hey, you know We all go downtown every once or twice a note For Hanukkah I could try to be nice But there's no sense in it, Is there If everything and everyone else is just as nasty As the rest of it Just is just a test, again A doctors office visit. Simple robotics, Or already stocked up for Hanukkah, Hollywood Where's your homeland deposit box Closet full of robots Closest to the moon, I wrote another poem for you Sorry that I wasn't on the offering table The parakeet, pigeon and pirated Slattery, Damages, damages, All with the Amazon packages, Now we're all robots, Aren't we What corporation to you belong to! Something corporate , or say anything Whose to say Jeff Besoz won't replace us With m robots with thought processes, If once such could project as such presence As an AI freestyle Meanwhile, I've got a butload of buckets and bunts, Bullletwounds, eyes on Manhattan and happens to wish something bad upon me When all I wanted is Somebody to love me And someone to love him, If that's what he wanted (But who knows if what he wanted was all of the bodies opposite of him) I don't belong on this planet I belong in the garbage Put me on mars, mom Stop it, You're almost a robot, get out of my peripheral With your mental illness Geez, I must really want a menorah This is the animal house There's no one alive here Set to be slaughters. Honor the box of offerings as Thoughtful words And parallels What could be under your tongue Is the surface of love Just to touch with the battery acid or chemical trails You have left in your axis Nobody knows better than this How close it is to touching Without being loved But nobody loves you Psychotron, sure we're all robots now Nobody loves anymore {Previously, On…} L E G E N D S The Secret Life of Sunnï Blū {Enter The Multiverse} Ascension What the FUCK did you DO? What did I do?! You know what you did! I didn't do anything! Oh yeah? No! Not on purpose! GODDAMMIT, YOU SON OF A— Where's Jimmy Fallon?! What?! I don't know! Oh no. Oh shit, run. Oh no. What in the FUCK— I am “the fuck” You know what. I'm gonna sue the everliving shit out of you. For WHAT. We'll see. Fuck. Uh oh. FUCK. What now? What this time? Apparently, Jimmy Fallon is missing. What the fuck does that got to do with me. We'll see. Okay, great, Now finish that chapter. What fucking chapter?! All of it. That's—a lot. I want all of it. By my desk, by noon tomorrow. “By” your desk?! Yes, BY. Not ON. I've got too much stuff on my desk— …but it's…like 9 o clock. Should be easy, given your natural talents. What natural talents. PEACOCK. AHAHAHAHA. Okay. Well. Well what. This sucks. I lost all my coins. Hey. Ugh. You dropped this. So how was Los Angeles. What the fuck. You fucking DICK. I told you, I own shares in this. So what's the plan for this, exactly. I dunno, Harry. I got a book of stamps, And a yellow envelope marked “Jimmy Fallon” I will hate you forever. Well, that's retarded. I haven't even smited you yet. I will annihilate you, human. WHERE'S MY SHIT. Who the fuck are you, anyway? Nobody! No one. No one cares about this series, yo. I'l seriously doubt that, Jesse Pinkman. What is this stuff. It's your stuff. This is not what I ordered— Hey— Why is it BLUE Cause it is. So. WHY IN THE— Mischief managed. Alright. This should be good for the night, but we gotta get out of here by morning; I thought your parents owned this place. It's a time share! So? So it's like only —part of the time. That is stupid. No! You're stupid! You're the one who got us into this mess. It's your mess, I was just cleaning it up! Whatever! Stop trippin. Nobody's “tripping.” That's it. I'll be a stripper. Straight outta hell, that kid. Don't I know it. Alright, fine. I said, whatever you do— DONT watch this show. Stuff it, J. Slatts. I'll kill you with my eyeballs Sounds like a threat. Put on a lawsuit, then. Maybe I oughtta… —with a bow tie. You'll look so pretty. I thought I was already pretty. Uh huh. Yeah, look, so honestly I don't know if I'll ever be on the same vibration as like, Jimmy Fallon and them, ok? I don't know how I did it; I don't know what did it, It just happened and then— And then WHAT. It just—ended. Just like that. I'm not trying to offend anybody here. Just like that. Now, I ask: What are we going to do to sell you this dream? Doesnt matter what you do, I'll never believe it. Sure, fine; Don't believe it— We're gonna make you live it. Who the hell us “we” anyway? Now you're speaking in my cadence— Don't flatter yourself I like it. Too late, I guess. So, you see We're building Power triangles And love squares Power triangles And love squares Don't let it scare you, There's love there Don't let it scare you, There's love there Never fear where love has dared To call you up there Corrupt file—no fair. Don't be suprised even the odds seem to turn in your favor, I promise you; Nobody's ever ready For what has just happened here. WAKE UP, FUCKER. Ugh, I can't go through this again. So, I guess I'll have to erase, Or just secretly publish Everything I've ever written About my actual experience as a color, Just so that I can earn money As anything other than A slave— A maid, A housekeeper, A dog walker Or servitor So far under her, That I can't see far enough up to just Scratch the surface Her birthright: The entire network And mine, To sit under her, Wondering what the world would be like At the other end of the spectrum The word form of the White woman The wicked witch of all directions, In which I stand in; I'm at her mercy I've been abandoned before But this disservice, is, I'm afraid The best advice I can take is just To go straight to the bank with my angst and my hatred And shove it So here comes the nameless Face I love, Yet, The faceless God, Was Intoxicated, at best— Manipulation of the Mass Media I'm so Seriously jaded In this torture chamber In my corner office In this hall of racists, I claim, but if all is One in the same Then It's one in the same And I'm mainstream I'm famous If it's One in the same Then It's one in the same If it's One in the same Then I'm mainstream I'm so famous In a whole room full of humans I'm groomed to be useful for something, But what? It just hasn't come yet. I could sit down with a paper and pen, But I'm filling up all of my documents With hollandaise and God For what? It's just another song, or something Or something. It's just another — Goddamnit it, more coughs again. I told you not to watch this. Why do I taste pancakes? Maybe you're having a stroke again. Chyeah, a stroke of genius. I'll show you a stroke. Or don't. Well, there goes the captain. where is that scene, anyway? I don't know, I just wrote it. Great, she left the door open. She's got no furniture! It's a “dance floor” It's “the black box” she called it “the black box” Goddamn, do you listen to all her stuff? “Fear stimulates my imagination” Pilot ASOT Fuck man, What is a woman to a man, And an androgynous genius to The industry, or anyone at all If all are foes ans frauds All else is toxic! I woke up with one hand tucked behind my back Feeling dead drunk, I just woke up again But never fell asleep What world am I in? The end of the Dream sequence The end of the energy keeping me between three things: My past, My future And these prequels, Sequels And seeing arrangements And She's going crazy But nobody quite understands That these demons are chasing me saying “You deserved those hands in your face” The scratches on Kayla's back should have had me but I was too fat To find love again And still have something Wonderfully, undone And wrong with me Wrong with me enough to slam poetry So I'm guessing the white women I love beyond words and bounds are— In charge of whatever happens At the top of the rock; So I jumped off. I want to see someone suffer for all that I've done; No, that's dark, and karmic, you know— To go on like that; The confusions and refusal to accept that The album is called ChaosMagick, But the cover is more Urgent, A prose or a pawn of protection Against all the coughs And the reckless mismanagement The hands in my head And the eye on my scar And the lies on my heart So tell me, What happens When you're flying a kite with your heart, And it's broken? What happens to the kite , When you fly it with your heart And your art up in bundles— heartbroken, heartbroken So what come of Miss May, Come January? What come of Miss April By Next December what comes of the words I was saying For no one But everyone heard them And I've been gone Much longer than months, But still stocked up on all that I've wanted Or all that I got Or just, all that I love But got no undercovers to acknowledge no more How right I was Or how wrong I am What come of Miss June, when Miss January comes around? what come now, around August, When March is long forgotten? What comes of the drugs, Of the come ups, and come downs What comes of the process When nothing is served But the surf has come up Somewhere And I just can't love enough To go there I want to go to there I want to be that girl I want to sit at the top of the rock Writing songs, and sipping mock cocktails I want to Don't you know I just want to get back to Where I belong I'm so out of money and love That I want to be Under the train, When it's coming (Sometimes it's just the impulse that says “GO” Then the train starts to slow And my pain bubbles up into a numb, Dumb, crumbling cluster of poetry You know? Or you don't Cause you're all just on your phones Scrolling Some black man stands over me, Reminding me of why I never trust the ones Who want me most, Or just assume, By color code, That I belong to them I'm sorry, I just can't write with your arms around my neck like this Your heart around my arms like this It's so wholesome I had other verses but forgot them They took away my movies for the curses And the hexes That they put on me I said don't. And the king said “Heads will roll” Cause, you know; I've got parts for all of them now, The ones I'd forgotten But come from the catacombs, Back from the conduit You know, This is awful I had another one, But lost it. The king?! Which one. Teas I! No, it wasn't, It was Gían's father, From further off Should I call John back? Which one? Turns out, I love all of them— Turns out, I've got all of them In my college I taught them all to be someone Becoming of acknowledgement With nombres most common Juan, in subcultures, but Beyond that (Or above them) It's John, Or just Jonathan, Watch the ones who drop the consanant; They're always so troublesome, But I took them all up As understudies, Social Studies and some theatrics, Joan of Ark said Two more moments (Two more weeks in) I could have a body worthy Of a Grammy award, but — Would I be a writer then? Probably not, hon— Writers are Off a bit. If you were pretty, ever at all— would you have written this?! If I were pretty at all would there be reason to be this Conflicted? Some of those old New York hallways Haven't been painted In ages Since they made them Don't make that face at me I only dropped my key once On the fourth floor —they're horrible, you know To us, The “brothers” know no love They are destruction, speaking Of this, I got a cold heart. Cold like the robber Cold like the calling I've done in my corner office cold, like the jello mold forming a thought process Worthy enough I might love it like a husband We're re-evaluating your circumstances. Whatever the fuck that's supposed to mean. I've got friends at USPS What the fuck could that even account to. Look, I'm gonna have to give this some serious considerations. It's not that serious. It's not that serious. Of course it is! I'm up to my knees in investments! So?! I wade a waiste deep, Surely you can get by “Up to your knees” What exactly do you need? Money. And lots of it. I mean, from me. Money. Really? Leave me alone. I told you not to write this. You're a voice in my head; No, I'm the hand in your mailbox. What in the fuck do you believe in. I believe in everything! They said you were a genius; I didn't expect you to be —at the very least, lucid— *squints* learn some new vocabulary, okay? For what? Dinner. Maybe. We're still in the process of voting. She's crazy. We'd be crazy not to actually hire her. Her accounts are all practically open; We could just take it. Yeah, and when she kills herself, and there's no blood on our hands— There's nothing that can be done about the amount of this stuff that's already printed! Printed?! What?! You mean— She's published? Self-published. My, what a beautiful happenstance To have already had you And awakened atop mattresses Marked for my assassins hand— Polite, I lost you All of us, Atop the rock We stood and suffered Months beyond a montage, Undercover Love was lost, And all's uncertain The interception of God, At the cost of What terror and cutbacks Have caused us all What you lost was $50, a Hallmark Card, an Academy award, a long lost star's phone number, And all that you wanted, The cock of the gun Was the sound that you wondered What was called , then ran off into wonder. How am I gonna make money And become an award winning songwriter Music producer And multidisciplinary artist, Without all the funding it takes to get noviced Without taking clothes off Wake up 10 years younger I'm suffering My stomach was a rubber band My stomach was a rubber band My only song was Water I forgot to stop For the applause I drowned in all the love; right then and there I died of Lovenessness [The Festival Project] The sound and laughter of children play A baby in a basket The basket case at Trader Joe's Who know what happens It just doesn't pull my heartstrings any longer That my son belongs without his mother So I'd better have another This is us, come on. Don't do this to me. Don't do this, Timmy, you'll be sorry. Come on! We're not even in that movie! We are, though; it's still Listen, you've got the right guy for this. Are you sure. Yeah, I promise. Officers, Stop for a *movement [hot cops flash dance number] Fuck, well, that was all wrong. But worth it! What I meant was— God, this show gets good at 31, But I'm only 22, So I guess I'll know how wrong the war was Once we've lost it, Cause imm a man now The episode is over, Soon comes the next episode With snoop dogg, Or not That was our wedding album. Scatterbrained, and pregnant— There she was just putting all the things together That she needed to be Needed To be needed. There she was, All on 4/20 Trying not to do the wrong thing, But what was it? To be loved. Then, There she was at 21 just going off again At some event— A friend, and her Back then could not imagine They'd become him To be someone. Not as one, But of entirely another World apart, aside from Cyclones into snow cones Turns the watchers into artists All their own, And off my own accord Or own account Or done with boredom Dove soap Open doors And clocks that turn the other hand away, Each day you love Manhattan But can't have that. That's it— This is just Season 1 of Mad Men WHERE THE FUCK IS— [she throws her hands above her head in surrender] I don't KNOW! Oh, you're a girl now?! I guess! What's with those pants, then? To hide the assets! What assets?! You look tragic. I'm going for ‘skeleton' to match all your wives and everybody else on the red carpet Who said you get the red carpet? Manhattan. That guy lies! Well how about this: The walk of stars were carved out in blocks of marble All in my honor. 1000/1 You're our God, now. What! I don't want to be God! SUCK IT UP. YOU WON. I don't wanna! Yaaaaaaayyy. You got the award! All the awards! Speech! Speech! SUNNI BLŪ Uh—- I'm drunk, And there's nothing on the teleprompter [a man in the audience coughs] A-HEM. [Sunni Blū immidiateky shoots the coughing man] [multi-camera shots of celebrity audience reactions; laughing, clapping in hilarity as if someone hasn't just died] TAYLOR SWIFT (unmoved at all) SUNNÏ BLŪ I don't know why you're laughing. That was awful. That guy died [audience is insane, super fake as usual] [more cut takes] SUNNÏ BLŪ It should have been you, Taylor. TAYLOR SWIFT (Still unaffected) SUNNI BLU Anyway. I'd like to thank the academy… Cause I am the academy [Audience is celebrities being celebrities] SUNNI BLU You guys are all idiots: I'm a go f*ck myself— And anyone else who wants to show up At my afterparty. Whatever. Peace. [cheesy academy award music plays—Sunnï knocks over the mic, peaces out obnoxiously; the audience cheers wildly and the host returns to the stage.] Who's the host? Whatever. Hey, better than nothin. You're telling me. yeah. I know: Oh, she's a comic? Yeah. I got it. BOB SAGET Ooh, that's good. Ū No—no my God. No Bob Saget, stop it! Wait, Bob Saget is dead right? Last I recall: Fuck—FUCK! Dammit. Dammit, dammit. Okay, Rue— you're up. Rue, what in the— Shhhh, don't let them know I'm in here! Oh, wait— It's me, Blanche. That's hot. I'm a debutant. My god, you're so young. Here, take this, What's that, You'll need that. V.O. I'm being hunted by the ghost of Bob Saget. *haunted. No, hunted! There she is! Grab her! Ooh, Bob Saget. Why, yes. How old are you? Not dead yet! You don't have to kidnap me, I'll happily go with you, sir. Really? Yes. GET IN THE— NOH, GET IN THE VAN. INT. IN THE VAN. [a bunch of hot male celebrities are in the van] Oh. Okay. Wow. That was easy. What is it, Friday. It's Friday and a half. Friday.5 What. There's a Friday movie between 1 and 2 So I guess this is season 8.5 I guess this is season 8.5 HEY, GET BACK HERE. What is this. It's your lunch. I don't want this. Well, okay. What— is this strange music— They call it dubstep Come on, Jimmy, you're slipping Kimmel, cause Fallon is dead or presumed missing Probably Skrillex Probably a bounty on his head, Dog willing The Festival Priojects Inclement Infinite Is coming up next, on Legends Come on Jim, KEEP UP. Nobody can know about this, okay? Wait, where's Kimmel Okay, I got O'Brien— Black Irish Bastard… Alright, Alec Baldwin is a little tied up, right now, but LEMON, Fuck. That's l—future me. What?! I gotta go, okay?! What? Go where. Let's get DRUNK. No, That's—I got a show tonight What?! Look at my lexicon. Your—what, Meet me on Lexington. Oh, this pussy is finished! I got it, I got it! He's LENNONNNNN!! JOHN LENNON Fuck. Look, I gotta go. John Lennon?! You're dead! Funny, I thought not. Watch this. MOOOOOOOOOOOM. Fuck, What, It's my kid. I gotta go. Wait, you have kids?! Well, I just had you, didn't I? “The mayor” is a secret underground rap star lol #trappin Okay, What's else happened Idk hold on Okay, So whats the sauce on this sandwich. Oh. Jeez, this again. That *sandwhich? Hah. There's no sauce on that sandwhich. —there's not!? No: You see. It's very simple. WAKE UP, YOU'RE A ROCKSTAR. we gotta take the train. The train?! NO. NOTTHETRAIN. NO. Man, fuck the train! [SUNNI BLŪ wakes up on the train.] What's this, the train? [is the train] (Angrily, tossing newspaper) Man, FUCK the train! Other hobo: Aww, thanks, I need that for my— [s/he snatches back the paper]. Wait! I need that back—what day is it? [drunkenly illegible gibberish turns into perfect Hebrew] GODDAMMIT, it's Shabbat; I gotta get to Temple. [s/he shoves the newspaper back into the hobo's lap] Here. Oh no, I thought I couldn't forget RABI FUCK _]€_# WHAT WAS IT GODDAMIT IT WAS SO CLEVER. God So it was… What did you do with it? Do with what My idea what idea My—my rabbi joke— What rabbi joke you know what rabbi joke! You were the one who gave it to me. Oh, did I? YES, SATAN, JESUS. GOD Ohh, Satan-Jesus. I like that one. NO— it was— It was much better than that, it was— It was funny. Oh, it was? YES. —did you write it down? Fuck, I realize I just opened a A FUCK PORTAL. OHH, GET IN IT, GET INSIDE. I had an Artemis in my pocket But I lost him Walked away from the cornermarker And the cornerstone, for the sunset I wonder if songs always come When I'm walking, Or God makes us promises, For world of I'm not JB, I'm KG, Can you see me now? If you could see what I see, We'd be even wtf did I just write this And not realize I just wrote this Yeah. That shit happens to me all the time. WHAT. ALL THE TKMEx Shut up, THE ANDRE3K CHARADES GAME is getting intense. What in the FUCK is that. *flutes* Ohh. And KITES. yyyyyYYYYYYYAAAAAHHH—— GODDAMMIT. I can't see really, I just dream I'm not thinking, I'm dancing This is what you asked for Exactly what you asked for For once, I'm finally glad I have your eyes on My friend I can see you all on the horizon, Singing NO, NO MORE MUSICALS!! Jimmy, what did you do?! I don't know what I did! You lyin bastard. I'm not lying! So, where ya from? —I don't know where I'm from. Listen, I'm gonna need you SHUT UP, JUST SHUT UP. It seems like these scenes are getting shorter. I'm bored with this. Ok. Let's do something else. I fuckin hate you. I hate you. I fuckin hate you. 88. Oh no: 8 Wait, what the— *dolphin* WOAH, okay: Oh, no. No, No, no OHNONO. I told you I'd find him. Anyway. Seems like there's something more important I should be doing. Are you sure this is the right place. Right place. Right time. Fuck— FUCK. What, what happened. I lost my— SKRILLEX! No. SKRILLEX. NO, NO— SKR— I swear to God, Google knows everything. Google don't know shit about SHIT. I gotta lose m 39 lbs. For what. MADONNA DO IT FOR THE BANANAS. I hate— you. COME ON, MISTER. Fuck off, Madonna, I'M A GOD. I miss Beyoncé. That's not relevant. Beyoncé is relevant to everything. *smacks* QUIT FANGIRLING. Trust me, I hate you. I don't trust you, but I believe you. I got it. I hate this place. Holy shit. What. I developed a new phobia. What's that mean?! I don't know, I can probably use it in a fight or something. For what. SPECIAL ABILITY UNLOCKED. I see you looking over my shoulder I see the shadows, I try not to jump at em. I spent six months in a coffin, you know I spent my life a sarcophagus (Wow, I got it right.) Try not to mutter those haunts in a hospital Try to recover from trauma Uncovered post traumatics, Anxiety attacks and a lot of those— What do you call them? A flashback. Here goes one: SONNY MOORE aka SKRILLEX appears. I told you not to— But I did! I didn't mean to! But you did! This is ludachris! Oh look, it's— Fuck. God dammit. Come on! What's his name!? What's his name?! I'll think abo it it. Are you serious? Another shapeshifter? Yes, I guess welll just have to kill them all, then. I just want to go home. You don't have one. …oh. So here we have. Okay, wait a second. I wasn't faking my symptoms at all, actually. My heart had dropped, and been pounding and fluttering insessantly— It had been a hard week, but especially the last three days; The coughing—. Everyone seemed to be wearing clothing with stars or bears on it, Champion sportswear. I fucking hate champion sportswear. But the palpitations were real as ever— and now— On a Saturday night in the Jamaica, Queens medical center emergency room, There they were again. Only this time I knew exactly why. ‘Too Bizzare' by Skrillex begins to play, via Complications 003- The Trauma Method. Irony. It was ironic, but still startling, Started with some nostalgic traumas, Every other time I saw an ER doctor (Why I don't go) Fuck, I just realized I have to airdrop myself 880 times. That fucking sucks. Did you say you were a doctor? I was, once. When is “once” At some point. Listen, I'm gonna need you to backtrack to get to the bottom of this. I'm innocent, I promise! We caught you at 27 different angles doing this. Oh. [beat] I plead the 5th. Ohh. Cerulean. My favorite. c R A Y On Oh, I get it, I L L U M I N A T U S. Nice, it worked. I know everything about you. So you do. [beat] You're a God. What the fuck do you want from me. Listen. I. Am not. A God, Right. That's exactly what a God would say. No they wouldn't! Because a God wouldn't say anything! AHA. Don't ‘AHA' ME. I don't mind, at all It don't matter— to me I don't mind, at all It don't matter—to me Might as well not think about it The space between us Might as well just stay awake then No sense in leaving Just to come back It don't matter to me, now Now and again I go crazy just making arrangements, But besides that, If you like it, you should have it It's a long road, As Kaskade says, And a short dance, With the right one And time goes by I would call it mild, But actually I'm in a wild panic It might be a heart attack I just might even Die right here But I don't mind, at all It don't matter—to me I don't mind—at all It don't matter to me, I said I don't mind, at all, now It really don't matter to me I said, I don't mind, at all It really don't matter to anyone Now does it (Not it doesn') I don't mind, at all It don't matter— to me I don't mind, at all It don't matter—to me Might as well not think about it The space between us Might as well just stay awake then No sense in leaving Just to come back Palpitations and precipitations at the pulpit Preacher, please don't make me a culprit I been prayin— I been paying my tithes, 10% Even, Now 25, Almost half of me is not mine! Why try? I've been walking out, in straight lines I been crying silently It ain't right I been making most of my nights Sometimes I see sun come up twice Up, down up 10 degrees, It ain't right Up down up 33, it ain't right Up, down, up I've been spending my time Down, up, down Riding round, Trying not to down in my mind Up, down up What is this. It's my project. What is it? The Festival Project. Yeah but—what— What. Is it? …it's my project. *painfully infuriated* Okay, enter here. EXAM ROOM 10 Why exam room 10? Because. Where are the other nine? Just—get in. I'm not going in there! JUST GET IN. UGH. DEADMAU5 (head and all) stands at a tall podium in the center of the room) What is this, This is deadmau5. I know that. —-!!! —?!? What. !!! What? This is the exam? Yes! NO. What is “no”. I'm not playing for deadmau5. That's the exam. Then I fail! Automatic Fail? yes. Automatic fail. Then you win. What. *slams gavel* Congratulations—you're the next superstar DJ. WhY. . What. Woohoo! I just retired! DEADMAU5 exits. … … After a few moments of comic tension, the Deadmau5 head rolls back in through the exit which he has taken. Ugh. Fuck this. No matter what you do, you're a superstar DJ. What. No! Yes. The answer is yes. NO. Fuck. What the FUCK. No matter what you do. You want to go, Go, you want to die, Die, you want to try, try You want to cry, cry Do what you want; As so will I, Demand is demand— Supply is supply. EDX So then, I followed this long hallway under the stage deck. Uh huh. And it led to a door— Uhhuh, where'd the door lead? To a portal. Woah. Pasqualle! You made it! I—yes. Congratulations! *blows party horn* *Daisies/ confetti* You're like 25! I'll be 25 forever. Nice! Yeah. I guess that's why it's called ‘music'—a musician without muses is just useless. ‘Well, whose next?' I wondered. All of my muses were not just so wonderful to me, but adored by many—and perhaps this is what allured me most—befuddled ans confounded me; once my mind was set on something, there was nothing else its eye could see—and for how long one God could only know, how deep the love would go and that the blood would run deep, and the scars to show for it, only upon my heart and never by soul—for a love was a love, and even once came and gone, to the end of my life I knew I would still ponder upon them, at one time or another, my muses—star studded lovers, rather than crossed, shiny and golden like all diamond and trophies so treasured and thought of as precious. ‘Yes, you are—precious.' Another tongue in cheek thought, for the other that I was, and also was not, as summer drew onward as short as it would come and go—a reminder to leave the apartment more often, and to mind my manners, to find the upper echelon wherever it was and come quietly into its doors, to open my world and wordform of thought, into a place where my heart always was; then, and only then, would I be home. Amongst the men and women of the uppercut and classy, luxurious big fishing ponds and flocks of doves upon olive branches—the peaceful world long parted from where mine was, by only the fault of my own. What had been done just certainly was, and yet, what was to come was an open poem, not of mine, but Godform in thought. ‘I wonder what's at the top of Rockefeller Plaza.' —perhaps, a gander at the bottom of an even larger entertainment complex. Then, again, only God would know what was beyond all that I wanted; a job—and not just any job at all— the one that I had always wanted. Mmm. Birthday cake. Suddenly the taste of a white confetti crème filled my mouth with a delicious remnince of what it might be like to taste a confectionary sugar again—but i couldn't imagine ever making it just on talent and charisma alone—no. Indeed, it seemed something had damaged my charm, and perhaps it was just the swarms and droves of phone controlled masses that saw me as nothing more than dust, I had started to surrender my desire to perform, and the quality of my music—along with my ability to make it, suffered with the awful thing that had been crowding my soul at all—whatever it was, evil and dark in nature, sure saw to it that it wanted to hurt me in all the ways that it could—and in all the ways it could not, I stayed away from most others, favoring my delusions of love. ‘Nobody seems to understand that the pain they cause will only harm themselves.', I thought Younger souls, however, they were—and they would be kept in the pain that I was in one way or another until eventual death, far behind me on the infinite road to the source. Far enough behind, that it seeked to destroy my progress, and for all that it could, it also couldn't. The infliction of pain would simply not act as a measure for control any longer. Off into my own world, where I was at least free from the thoughts and judgement of others. She's the most beautiful girl, And I'm the most beautiful boy; So naturally, we belong together, don't we? I see a pretty picture, Picket fences and a family Golden Retrievers Someone relieve her; She doesn't believe me TV dreams and exquisite pretty people Burning candles, fire flames and frequent figures, Guest characters and cameos, Repeat offenders, multiple appearances Suddenly, really, it's another need People, people pleasers Audience affection, Tragic endings, Butterflies and new beginnings Gun under my tongue, Rubber like a frog My mind is in a fog Haven't bothered going on a walk To Trader Joe's but The anthem of my youth, A lost soul Another form of my love So what I wonder Put the gun up under my chin Rubber like a frog Blow my head off Just cause I didn't blow up Selfish cunt Big brother, Another hypnotist Little brother, Gotta love him Gotta love em For the Love of God I could stop for a moment Wash my mind out with soap Like I'm ten years younger, even Seriously 20 years between us, You can't even hide underwater In a bathtub Seriously, Someone help us For the love of God, for the love of Hollywood Seriously, Someone love us, For the love of God, For the love of Rockefeller Plaza Someone help us Another possible walk of stars A little shop of horrors Another whole story I get rid of my demons The hoes screamin I put semen in her Permanent like semen, Just keep dreamin I'mma just keep preaching SaMo, Brooklyn Europe Next I keep scheming Whoever you are; If you're a wreck— You need a check No respect, neglect Just cover your neck (I'm blind to my own design, sometimes) That's what the eye is Try this: Close your eyes and say thrice, kids I am the God of the eye, Osiris I am the God of the Eye, I'm Osiris I am the God, I walk amongst the highest Thoth, You lost Better just die and keep trying I am the God of the eye, I am (Try this) I am the God of the eye (I never die) I am the God of the eye (That's right, three times) I am the God of the eye No black and white television, In my dimension we pay attention to centrifugal, The mission isn't in materialism, Whatever youre spending If money the God, l of your eye, Realize, I am higher My gunfire, Is right on the back of The one dollar I am the God of the eye I Am Your money is nothin to us We come in peace, To end suffering Pretty little nigga Look just like Kendrick Kickin it with jigga I'm the new higs boson Part of me never left Boston (Fuck Starr!) Part of me never left homeless This ain't my home It's my office You never heard this song You don't notice I'm an ugly kid, you don't notice me Rooftop smells like soy sauce On god I am ugly You don't notice -Atari the God Can we get back to this, please? Damn. She really whooped her ass, though. Janet, can I borrow you for a second? No. Please. [Whoopi Goldberg appears in the doorway, gesturing “c'mon”] …alright. I got convictions on my lips, I took a picture Turn the page The worst of all was, it really did seem like they were racists— INSOMNIAC EVENTS Not just racists— the most deadly kind of racists. WHITE SUPREMACISTS You really want it this way, don't you? No! I LOVE you! Oh, do you? If there's a mile in here, I swear to god.. Are you high enough yet? I thought so HIGHER! hire star* What. Just do it. You remember these guys, right? GOOD CANNABIS, FAIRBANKS, ALASKA No. Why are we back here. Alright, we might have fucked up. Why. This guy sucks. HEY. What. COME BACK TO ALASKA never that. WHAT, WHY NOT! GOD HATES FAGS!!! Well, you're wrong! WHITE POWER. Nah. ALL LIVES MATTER O rly? Even this guy? Literally every “NO” …so, “all lives.” Look, I don't care what color it is; I want that book in my library. GO TO THE LIVRARY. NO. GET IN HERE. NO AUBREY. STAY DEAD. She's dead, right? YOU CALLED ME HERE. I didn't! You Did. I did not, all i said was *swoons* …I love her. (I really do) WHAT?! “I Love you?!” It was more the *swoon* that did it. Disconnect. Fuck, I lost deadmau5 again What'd you do to him? Nothing! Put him back! He's still there! He's right there, you see him? No! This isn't deadmau5. We want deadmau5. bring him BACK. Fuck, I fucked up. What'd you do? …nothing? Pick up the phone Pick up the phone …hello? Who IS this? Fuck it, I quit. Man, God never puts my dishes back in the right place, like ever. I told you, I don't live here, I'm just… Babysitting. CC! What! CC! What? CC WHAT. Fuck, man. That was wild. Where the fuck have you been? I don't know. You don't know—you smell funny. “Funny” is that what that smell is? No. When were you? When? Ha. Did you—- Did I what? —did you go to a party without me? Lmfao fuck these niggaz. Why, what happened. What's this. Where was it?! Idlewild. “IdLeWiLd”?!?!? You. Old. One here and die, you know, l. It's cattle call for curtain calls guy Where did this go— What was this, once? It's the return Welcome to Oz This is the Tower of Babel Remember; I wrote that Better than the bottom, Still not the top —it's not as fast, when it's not going all the way up Did you jump yet Come around more Keep coughing Are you sure this is where it was or—? Somewhere else I stayed Back when I was homeless It's hopeless! We lost her Antenna, antenna SUPERMARKET I loved her —she was undercover —I'm still in your stirrups I'm lost in New York, then BACKFIRE Adele remix is on [have a seat] Can I go now? I still need a hat, a half dollar and an alter cloth You could win an award for this; I don't want an award, I just want my son back Motherhood, motherhood Brotherhood, brotherhood This isn't one of us! No one was No one was Can I go now? Where to? Home! Nope, that's just the office, I'm still homeless, unless I They got cabanas on top of offices! (The rich and the famous) Networking and brunches— _this looks fun, doesn't it? I altered the course of history In brief exchanges and Various social atrocities This is hypocrisy! lol rly This is hypocrisy!! Hyper awareness and, psychic inclinations… You realize the more low quality people you let in The more low quality this country becomes, don't you? I put a roll in the back of the chosen ones. Used to be cast more, Now something seldom ever happens Such as this— A fun Fortune 500 What does that even mean Forbes. Look it up. What if the policy is Foreign; Look it up. I know enough about the girl next door to know Something is horrible, Something inside of her Rots at the core, Her obsession; My undeservedness of such, What she must, I mustn't, just Unjustice Broski, okay I got to discard All the pichardo Besides just this one (I'm standing on top of you) Put somebody worthy on the fourth floor Worse off, I was done for Before I got to New York What's her for?! I know enough about the man upstairs to know All these glares and “How dare you's” and Hatred says Why would you wait 30 years Until today, I guess Something is certainly off about her. I said yes. It was more probably something like “SUCK MY DICK” What. “YOU HEARD ME” Oh yes, I did. From 1990 to 1993 From 1990 To 1993 From 1990 To 1993 Stop breeding these things, “Love is familiarity” No Love is what you make it But you can't Because of slavery They don't make music —they don't make love either Well, look where your lust took you! Nowhere! Exactly! Look where your love took you: Vegas, Los Angeles, South of the Border Above it a New Yorker— Under budget, Celibate and My arms are too short to jump the turnstyle, Meanwhile My ex husband left permanent scars on My face My lips My arms My hands And my heart. Did you bite him? Of course I bit him, he was strangling me. You definitely won this fight. I know. Look, if I don't call for security, This bitch is gonna make me kill her. OCTOPUSSY NO. What. NO. Stankass. I will KILL this bitch. Look, I gotta get ahead in this. I need a WIN. These are customs. Trash. Wash your pussy. Send her back. Nah, you know what. Remove that hex. Wait, what, really?! Yeah, like; Reverse it. Woah. That's crazy. They got like….white slaves now. That's not right. What do you mean. That's not it. You said “reverse it” This is what the white supremacy just did to everyone else: [world in crisis except for for people who look like Kayla Lauren, to whom EVERYTHING is a fucking crisis, that isn't] BECKY/KAREN/WICKED WITCH OF WHITE AMERICA I AM OFFENDED I'm offended that you signed your like 12 year old daughter up to pose nearly nude, but— Hey look, it's us now; is this freedom?! Uh…. Why are all the female models like 12 and all the male models are fully grown men— Or women. Right. Idk. Wait, I do. You do?! Wait. Something tells me all the pedophiles and all the white supremacists are in the same group… Run the same businesses— Have the same families. This is disgusting Okay, this is gross That's not right ! That's not my job! Oh, it's not!!? NO. Who should I call That guy. So you want this? Oh, it's a death curse?! It will NEVER end. Wanna bet. I'll kill you and take the whole world with me. Now that's a threat. Thing is, I'm actually making it. I'm telling on you! Ok. Wait 30 years though so you look and sound REALLY fucking stupid. Ok. 30 YEARS. Doesn't make sense. What's the statute of limitations for— Hm. Depends. Depends on what. Who are you?! WHO ARE YOU?! NOBODY YOU SHOULD KNOW ABOUT. THEN WHY DO I? wtf is this? This is Texas being petty. Ok, fuck ya‘lol YAW. I'm serious, wtf is wrong with you. Something. What. Fix me. Fix you. Hm. Ok. *COUGHING* Somethings wrong here. Yep, it's definitely some kind of FIX IT. Where's this ROCK? At the ROCK. Like, where tho?! Ur gonna need this. What. They r crucifying u. Noted. Hunts Point Food Distribution Center Lmfao I need this word hold on “eliminating redundancies, setting strict timelines, and allowing cases to proceed contemporaneously” [ Finally, recognizing the danger that social media poses to young people and mental health, New York City Department of Health and Mental Hygiene Commissioner Dr. Ashwin Vasan today issued a Health Commissioner's Advisory identifying unfettered access to and use of social media as a public health hazard, just as past U.S. surgeons general have done with tobacco and firearms.] A win. I don't play dead. What do you call this: DIE! DIE, BITCH! Corrections. I still don't understand how this— ACID HAPPENS. Out of sight Out of mind So why these guys Tryna waste my time Tryna fuck with my mind with All these lights OH MY GOD I ain't got time for that Well, Maybe I do— I just Don't like NIGGAZ LIKE YOU. (Say what) I don't like Niggaz like U! I'm Sunnï Blū! You're stupid Oh, so he put a curse on sunni blu, too? Ok. Cool. When all my aliases come up This dumb motherfucking drunk Is gonna get stuck In his own woods He'll bury himself In the words that he left With the scars In the words that he left With the scars Sunni blu Is the sayer of stars I slaughtered them all Swallowed them whole Like a big black hole I'm a big black god I'm a big black God Fuck Twinkle that broad One punch girl One punch girl 5 punch faggot I'll unwrap flags on your Goddamn Fuck that Put a curse on my alter ego Lucky he's a he, tho I blow holes in em I blow smoke And love sausage I'm a hedon And he not a Hero He broke He lost I'm open Shirts vs skins I got 666 Curses to show you What your words did IM RA I'm a big black God You're at home with the young apostle Let's be honest He never even liked his father So turned him to a mother, Told his mother to ‘run far, And bring back The life that I want' I'm a big black God In light skinned clothing You don't know to explode Or explode on me Cause my mommy's a Dark skinned icon That my God Find something to pass the time, God Sunni with I, huh I won Fuck a pedophile wifebeater Bury him in the woods with his fury Fear me, now I'm coming up with reverse curses And cures Cause my words Bought the whole world Buried you in the woods I'll bury you in the woods, Bitch Very good I'm a big black God -Blū. GOD is the GOAT I just became god I do what I want I get what I want when I want it I don't want no problems Me myself and God only I buy everything I used to steal These tears in my heart say I'm healing What's the difference, anyway? I've never been fit for your interests, or industry Add insult to injury Add everything to my Amazon cart, then My sympathies Nothing is greater in heaven As it is in hell, for this industry Turned on its head And turned over from 7 to ten Check your messages, then Shut up kid, this doesn't involve you You're not included in the package Michael c hall and John c Riley reprise Mr. Cellophane in the style of DEXTER MORGAN. HA. Classic. GOT EM. V.O. I met her at The Jumping Point {Coming Up…} INT. THE JUMPING POINT POP-UP NIGHTCLUB LOUNGE & BAR. NIGHT “A Long Day's Night” / “A Hard Day's Night” C {CONFUSION SPELL, SUCCESSFUL} [Sequence Initiated.] {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū. {

It smells like dill in here At least it doesn't smell like dead mouse. Aha. Youre Hellen. Keller or Mirin How would you be Hellen Miren Cause I'm the Queen. posh. You want to die Well, you better do it quick Better get your shit toggether, paint a l Bigger, better picture Bitter Betty gliching steady Just remember when you're ready Ever steady still forgetting dinner Dessert was already Forget this significance Remind me why I'm on this speeding bullet to nowhere Had no other options but to go under for something Shy, sickness it's a secret Just kill me already Semi robotic, Something like a magnet, attracted, Simply symphonies And soulless bodies, tied to money Wonder what was in the vaccum cleaner meaning What did you suck up, dude Who do you suck up to. When nobody loves you But your own son And the audience is robots Nothing really works more than once, if it's really magic Sit and do nothing would you Like you're supposed to Fall over like the mannequin you are Just a body in my count A mattress without a bespost, if it matters If it matters Doesn't really matter But hey, you know We all go downtown every once or twice a note For Hanukkah I could try to be nice But there's no sense in it, Is there If everything and everyone else is just as nasty As the rest of it Just is just a test, again A doctors office visit. Simple robotics, Or already stocked up for Hanukkah, Hollywood Where's your homeland deposit box Closet full of robots Closest to the moon, I wrote another poem for you Sorry that I wasn't on the offering table The parakeet, pigeon and pirated Slattery, Damages, damages, All with the Amazon packages, Now we're all robots, Aren't we What corporation to you belong to! Something corporate , or say anything Whose to say Jeff Besoz won't replace us With m robots with thought processes, If once such could project as such presence As an AI freestyle Meanwhile, I've got a butload of buckets and bunts, Bullletwounds, eyes on Manhattan and happens to wish something bad upon me When all I wanted is Somebody to love me And someone to love him, If that's what he wanted (But who knows if what he wanted was all of the bodies opposite of him) I don't belong on this planet I belong in the garbage Put me on mars, mom Stop it, You're almost a robot, get out of my peripheral With your mental illness Geez, I must really want a menorah This is the animal house There's no one alive here Set to be slaughters. Honor the box of offerings as Thoughtful words And parallels What could be under your tongue Is the surface of love Just to touch with the battery acid or chemical trails You have left in your axis Nobody knows better than this How close it is to touching Without being loved But nobody loves you Psychotron, sure we're all robots now Nobody loves anymore {Previously, On…} L E G E N D S The Secret Life of Sunnï Blū {Enter The Multiverse} Ascension What the FUCK did you DO? What did I do?! You know what you did! I didn't do anything! Oh yeah? No! Not on purpose! GODDAMMIT, YOU SON OF A— Where's Jimmy Fallon?! What?! I don't know! Oh no. Oh shit, run. Oh no. What in the FUCK— I am “the fuck” You know what. I'm gonna sue the everliving shit out of you. For WHAT. We'll see. Fuck. Uh oh. FUCK. What now? What this time? Apparently, Jimmy Fallon is missing. What the fuck does that got to do with me. We'll see. Okay, great, Now finish that chapter. What fucking chapter?! All of it. That's—a lot. I want all of it. By my desk, by noon tomorrow. “By” your desk?! Yes, BY. Not ON. I've got too much stuff on my desk— …but it's…like 9 o clock. Should be easy, given your natural talents. What natural talents. PEACOCK. AHAHAHAHA. Okay. Well. Well what. This sucks. I lost all my coins. Hey. Ugh. You dropped this. So how was Los Angeles. What the fuck. You fucking DICK. I told you, I own shares in this. So what's the plan for this, exactly. I dunno, Harry. I got a book of stamps, And a yellow envelope marked “Jimmy Fallon” I will hate you forever. Well, that's retarded. I haven't even smited you yet. I will annihilate you, human. WHERE'S MY SHIT. Who the fuck are you, anyway? Nobody! No one. No one cares about this series, yo. I'l seriously doubt that, Jesse Pinkman. What is this stuff. It's your stuff. This is not what I ordered— Hey— Why is it BLUE Cause it is. So. WHY IN THE— Mischief managed. Alright. This should be good for the night, but we gotta get out of here by morning; I thought your parents owned this place. It's a time share! So? So it's like only —part of the time. That is stupid. No! You're stupid! You're the one who got us into this mess. It's your mess, I was just cleaning it up! Whatever! Stop trippin. Nobody's “tripping.” That's it. I'll be a stripper. Straight outta hell, that kid. Don't I know it. Alright, fine. I said, whatever you do— DONT watch this show. Stuff it, J. Slatts. I'll kill you with my eyeballs Sounds like a threat. Put on a lawsuit, then. Maybe I oughtta… —with a bow tie. You'll look so pretty. I thought I was already pretty. Uh huh. Yeah, look, so honestly I don't know if I'll ever be on the same vibration as like, Jimmy Fallon and them, ok? I don't know how I did it; I don't know what did it, It just happened and then— And then WHAT. It just—ended. Just like that. I'm not trying to offend anybody here. Just like that. Now, I ask: What are we going to do to sell you this dream? Doesnt matter what you do, I'll never believe it. Sure, fine; Don't believe it— We're gonna make you live it. Who the hell us “we” anyway? Now you're speaking in my cadence— Don't flatter yourself I like it. Too late, I guess. So, you see We're building Power triangles And love squares Power triangles And love squares Don't let it scare you, There's love there Don't let it scare you, There's love there Never fear where love has dared To call you up there Corrupt file—no fair. Don't be suprised even the odds seem to turn in your favor, I promise you; Nobody's ever ready For what has just happened here. WAKE UP, FUCKER. Ugh, I can't go through this again. So, I guess I'll have to erase, Or just secretly publish Everything I've ever written About my actual experience as a color, Just so that I can earn money As anything other than A slave— A maid, A housekeeper, A dog walker Or servitor So far under her, That I can't see far enough up to just Scratch the surface Her birthright: The entire network And mine, To sit under her, Wondering what the world would be like At the other end of the spectrum The word form of the White woman The wicked witch of all directions, In which I stand in; I'm at her mercy I've been abandoned before But this disservice, is, I'm afraid The best advice I can take is just To go straight to the bank with my angst and my hatred And shove it So here comes the nameless Face I love, Yet, The faceless God, Was Intoxicated, at best— Manipulation of the Mass Media I'm so Seriously jaded In this torture chamber In my corner office In this hall of racists, I claim, but if all is One in the same Then It's one in the same And I'm mainstream I'm famous If it's One in the same Then It's one in the same If it's One in the same Then I'm mainstream I'm so famous In a whole room full of humans I'm groomed to be useful for something, But what? It just hasn't come yet. I could sit down with a paper and pen, But I'm filling up all of my documents With hollandaise and God For what? It's just another song, or something Or something. It's just another — Goddamnit it, more coughs again. I told you not to watch this. Why do I taste pancakes? Maybe you're having a stroke again. Chyeah, a stroke of genius. I'll show you a stroke. Or don't. Well, there goes the captain. where is that scene, anyway? I don't know, I just wrote it. Great, she left the door open. She's got no furniture! It's a “dance floor” It's “the black box” she called it “the black box” Goddamn, do you listen to all her stuff? “Fear stimulates my imagination” Pilot ASOT Fuck man, What is a woman to a man, And an androgynous genius to The industry, or anyone at all If all are foes ans frauds All else is toxic! I woke up with one hand tucked behind my back Feeling dead drunk, I just woke up again But never fell asleep What world am I in? The end of the Dream sequence The end of the energy keeping me between three things: My past, My future And these prequels, Sequels And seeing arrangements And She's going crazy But nobody quite understands That these demons are chasing me saying “You deserved those hands in your face” The scratches on Kayla's back should have had me but I was too fat To find love again And still have something Wonderfully, undone And wrong with me Wrong with me enough to slam poetry So I'm guessing the white women I love beyond words and bounds are— In charge of whatever happens At the top of the rock; So I jumped off. I want to see someone suffer for all that I've done; No, that's dark, and karmic, you know— To go on like that; The confusions and refusal to accept that The album is called ChaosMagick, But the cover is more Urgent, A prose or a pawn of protection Against all the coughs And the reckless mismanagement The hands in my head And the eye on my scar And the lies on my heart So tell me, What happens When you're flying a kite with your heart, And it's broken? What happens to the kite , When you fly it with your heart And your art up in bundles— heartbroken, heartbroken So what come of Miss May, Come January? What come of Miss April By Next December what comes of the words I was saying For no one But everyone heard them And I've been gone Much longer than months, But still stocked up on all that I've wanted Or all that I got Or just, all that I love But got no undercovers to acknowledge no more How right I was Or how wrong I am What come of Miss June, when Miss January comes around? what come now, around August, When March is long forgotten? What comes of the drugs, Of the come ups, and come downs What comes of the process When nothing is served But the surf has come up Somewhere And I just can't love enough To go there I want to go to there I want to be that girl I want to sit at the top of the rock Writing songs, and sipping mock cocktails I want to Don't you know I just want to get back to Where I belong I'm so out of money and love That I want to be Under the train, When it's coming (Sometimes it's just the impulse that says “GO” Then the train starts to slow And my pain bubbles up into a numb, Dumb, crumbling cluster of poetry You know? Or you don't Cause you're all just on your phones Scrolling Some black man stands over me, Reminding me of why I never trust the ones Who want me most, Or just assume, By color code, That I belong to them I'm sorry, I just can't write with your arms around my neck like this Your heart around my arms like this It's so wholesome I had other verses but forgot them They took away my movies for the curses And the hexes That they put on me I said don't. And the king said “Heads will roll” Cause, you know; I've got parts for all of them now, The ones I'd forgotten But come from the catacombs, Back from the conduit You know, This is awful I had another one, But lost it. The king?! Which one. Teas I! No, it wasn't, It was Gían's father, From further off Should I call John back? Which one? Turns out, I love all of them— Turns out, I've got all of them In my college I taught them all to be someone Becoming of acknowledgement With nombres most common Juan, in subcultures, but Beyond that (Or above them) It's John, Or just Jonathan, Watch the ones who drop the consanant; They're always so troublesome, But I took them all up As understudies, Social Studies and some theatrics, Joan of Ark said Two more moments (Two more weeks in) I could have a body worthy Of a Grammy award, but — Would I be a writer then? Probably not, hon— Writers are Off a bit. If you were pretty, ever at all— would you have written this?! If I were pretty at all would there be reason to be this Conflicted? Some of those old New York hallways Haven't been painted In ages Since they made them Don't make that face at me I only dropped my key once On the fourth floor —they're horrible, you know To us, The “brothers” know no love They are destruction, speaking Of this, I got a cold heart. Cold like the robber Cold like the calling I've done in my corner office cold, like the jello mold forming a thought process Worthy enough I might love it like a husband We're re-evaluating your circumstances. Whatever the fuck that's supposed to mean. I've got friends at USPS What the fuck could that even account to. Look, I'm gonna have to give this some serious considerations. It's not that serious. It's not that serious. Of course it is! I'm up to my knees in investments! So?! I wade a waiste deep, Surely you can get by “Up to your knees” What exactly do you need? Money. And lots of it. I mean, from me. Money. Really? Leave me alone. I told you not to write this. You're a voice in my head; No, I'm the hand in your mailbox. What in the fuck do you believe in. I believe in everything! They said you were a genius; I didn't expect you to be —at the very least, lucid— *squints* learn some new vocabulary, okay? For what? Dinner. Maybe. We're still in the process of voting. She's crazy. We'd be crazy not to actually hire her. Her accounts are all practically open; We could just take it. Yeah, and when she kills herself, and there's no blood on our hands— There's nothing that can be done about the amount of this stuff that's already printed! Printed?! What?! You mean— She's published? Self-published. My, what a beautiful happenstance To have already had you And awakened atop mattresses Marked for my assassins hand— Polite, I lost you All of us, Atop the rock We stood and suffered Months beyond a montage, Undercover Love was lost, And all's uncertain The interception of God, At the cost of What terror and cutbacks Have caused us all What you lost was $50, a Hallmark Card, an Academy award, a long lost star's phone number, And all that you wanted, The cock of the gun Was the sound that you wondered What was called , then ran off into wonder. How am I gonna make money And become an award winning songwriter Music producer And multidisciplinary artist, Without all the funding it takes to get noviced Without taking clothes off Wake up 10 years younger I'm suffering My stomach was a rubber band My stomach was a rubber band My only song was Water I forgot to stop For the applause I drowned in all the love; right then and there I died of Lovenessness [The Festival Project] The sound and laughter of children play A baby in a basket The basket case at Trader Joe's Who know what happens It just doesn't pull my heartstrings any longer That my son belongs without his mother So I'd better have another This is us, come on. Don't do this to me. Don't do this, Timmy, you'll be sorry. Come on! We're not even in that movie! We are, though; it's still Listen, you've got the right guy for this. Are you sure. Yeah, I promise. Officers, Stop for a *movement [hot cops flash dance number] Fuck, well, that was all wrong. But worth it! What I meant was— God, this show gets good at 31, But I'm only 22, So I guess I'll know how wrong the war was Once we've lost it, Cause imm a man now The episode is over, Soon comes the next episode With snoop dogg, Or not That was our wedding album. Scatterbrained, and pregnant— There she was just putting all the things together That she needed to be Needed To be needed. There she was, All on 4/20 Trying not to do the wrong thing, But what was it? To be loved. Then, There she was at 21 just going off again At some event— A friend, and her Back then could not imagine They'd become him To be someone. Not as one, But of entirely another World apart, aside from Cyclones into snow cones Turns the watchers into artists All their own, And off my own accord Or own account Or done with boredom Dove soap Open doors And clocks that turn the other hand away, Each day you love Manhattan But can't have that. That's it— This is just Season 1 of Mad Men WHERE THE FUCK IS— [she throws her hands above her head in surrender] I don't KNOW! Oh, you're a girl now?! I guess! What's with those pants, then? To hide the assets! What assets?! You look tragic. I'm going for ‘skeleton' to match all your wives and everybody else on the red carpet Who said you get the red carpet? Manhattan. That guy lies! Well how about this: The walk of stars were carved out in blocks of marble All in my honor. 1000/1 You're our God, now. What! I don't want to be God! SUCK IT UP. YOU WON. I don't wanna! Yaaaaaaayyy. You got the award! All the awards! Speech! Speech! SUNNI BLŪ Uh—- I'm drunk, And there's nothing on the teleprompter [a man in the audience coughs] A-HEM. [Sunni Blū immidiateky shoots the coughing man] [multi-camera shots of celebrity audience reactions; laughing, clapping in hilarity as if someone hasn't just died] TAYLOR SWIFT (unmoved at all) SUNNÏ BLŪ I don't know why you're laughing. That was awful. That guy died [audience is insane, super fake as usual] [more cut takes] SUNNÏ BLŪ It should have been you, Taylor. TAYLOR SWIFT (Still unaffected) SUNNI BLU Anyway. I'd like to thank the academy… Cause I am the academy [Audience is celebrities being celebrities] SUNNI BLU You guys are all idiots: I'm a go f*ck myself— And anyone else who wants to show up At my afterparty. Whatever. Peace. [cheesy academy award music plays—Sunnï knocks over the mic, peaces out obnoxiously; the audience cheers wildly and the host returns to the stage.] Who's the host? Whatever. Hey, better than nothin. You're telling me. yeah. I know: Oh, she's a comic? Yeah. I got it. BOB SAGET Ooh, that's good. Ū No—no my God. No Bob Saget, stop it! Wait, Bob Saget is dead right? Last I recall: Fuck—FUCK! Dammit. Dammit, dammit. Okay, Rue— you're up. Rue, what in the— Shhhh, don't let them know I'm in here! Oh, wait— It's me, Blanche. That's hot. I'm a debutant. My god, you're so young. Here, take this, What's that, You'll need that. V.O. I'm being hunted by the ghost of Bob Saget. *haunted. No, hunted! There she is! Grab her! Ooh, Bob Saget. Why, yes. How old are you? Not dead yet! You don't have to kidnap me, I'll happily go with you, sir. Really? Yes. GET IN THE— NOH, GET IN THE VAN. INT. IN THE VAN. [a bunch of hot male celebrities are in the van] Oh. Okay. Wow. That was easy. What is it, Friday. It's Friday and a half. Friday.5 What. There's a Friday movie between 1 and 2 So I guess this is season 8.5 I guess this is season 8.5 HEY, GET BACK HERE. What is this. It's your lunch. I don't want this. Well, okay. What— is this strange music— They call it dubstep Come on, Jimmy, you're slipping Kimmel, cause Fallon is dead or presumed missing Probably Skrillex Probably a bounty on his head, Dog willing The Festival Priojects Inclement Infinite Is coming up next, on Legends Come on Jim, KEEP UP. Nobody can know about this, okay? Wait, where's Kimmel Okay, I got O'Brien— Black Irish Bastard… Alright, Alec Baldwin is a little tied up, right now, but LEMON, Fuck. That's l—future me. What?! I gotta go, okay?! What? Go where. Let's get DRUNK. No, That's—I got a show tonight What?! Look at my lexicon. Your—what, Meet me on Lexington. Oh, this pussy is finished! I got it, I got it! He's LENNONNNNN!! JOHN LENNON Fuck. Look, I gotta go. John Lennon?! You're dead! Funny, I thought not. Watch this. MOOOOOOOOOOOM. Fuck, What, It's my kid. I gotta go. Wait, you have kids?! Well, I just had you, didn't I? “The mayor” is a secret underground rap star lol #trappin Okay, What's else happened Idk hold on Okay, So whats the sauce on this sandwich. Oh. Jeez, this again. That *sandwhich? Hah. There's no sauce on that sandwhich. —there's not!? No: You see. It's very simple. WAKE UP, YOU'RE A ROCKSTAR. we gotta take the train. The train?! NO. NOTTHETRAIN. NO. Man, fuck the train! [SUNNI BLŪ wakes up on the train.] What's this, the train? [is the train] (Angrily, tossing newspaper) Man, FUCK the train! Other hobo: Aww, thanks, I need that for my— [s/he snatches back the paper]. Wait! I need that back—what day is it? [drunkenly illegible gibberish turns into perfect Hebrew] GODDAMMIT, it's Shabbat; I gotta get to Temple. [s/he shoves the newspaper back into the hobo's lap] Here. Oh no, I thought I couldn't forget RABI FUCK _]€_# WHAT WAS IT GODDAMIT IT WAS SO CLEVER. God So it was… What did you do with it? Do with what My idea what idea My—my rabbi joke— What rabbi joke you know what rabbi joke! You were the one who gave it to me. Oh, did I? YES, SATAN, JESUS. GOD Ohh, Satan-Jesus. I like that one. NO— it was— It was much better than that, it was— It was funny. Oh, it was? YES. —did you write it down? Fuck, I realize I just opened a A FUCK PORTAL. OHH, GET IN IT, GET INSIDE. I had an Artemis in my pocket But I lost him Walked away from the cornermarker And the cornerstone, for the sunset I wonder if songs always come When I'm walking, Or God makes us promises, For world of I'm not JB, I'm KG, Can you see me now? If you could see what I see, We'd be even wtf did I just write this And not realize I just wrote this Yeah. That shit happens to me all the time. WHAT. ALL THE TKMEx Shut up, THE ANDRE3K CHARADES GAME is getting intense. What in the FUCK is that. *flutes* Ohh. And KITES. yyyyyYYYYYYYAAAAAHHH—— GODDAMMIT. I can't see really, I just dream I'm not thinking, I'm dancing This is what you asked for Exactly what you asked for For once, I'm finally glad I have your eyes on My friend I can see you all on the horizon, Singing NO, NO MORE MUSICALS!! Jimmy, what did you do?! I don't know what I did! You lyin bastard. I'm not lying! So, where ya from? —I don't know where I'm from. Listen, I'm gonna need you SHUT UP, JUST SHUT UP. It seems like these scenes are getting shorter. I'm bored with this. Ok. Let's do something else. I fuckin hate you. I hate you. I fuckin hate you. 88. Oh no: 8 Wait, what the— *dolphin* WOAH, okay: Oh, no. No, No, no OHNONO. I told you I'd find him. Anyway. Seems like there's something more important I should be doing. Are you sure this is the right place. Right place. Right time. Fuck— FUCK. What, what happened. I lost my— SKRILLEX! No. SKRILLEX. NO, NO— SKR— I swear to God, Google knows everything. Google don't know shit about SHIT. I gotta lose m 39 lbs. For what. MADONNA DO IT FOR THE BANANAS. I hate— you. COME ON, MISTER. Fuck off, Madonna, I'M A GOD. I miss Beyoncé. That's not relevant. Beyoncé is relevant to everything. *smacks* QUIT FANGIRLING. Trust me, I hate you. I don't trust you, but I believe you. I got it. I hate this place. Holy shit. What. I developed a new phobia. What's that mean?! I don't know, I can probably use it in a fight or something. For what. SPECIAL ABILITY UNLOCKED. I see you looking over my shoulder I see the shadows, I try not to jump at em. I spent six months in a coffin, you know I spent my life a sarcophagus (Wow, I got it right.) Try not to mutter those haunts in a hospital Try to recover from trauma Uncovered post traumatics, Anxiety attacks and a lot of those— What do you call them? A flashback. Here goes one: SONNY MOORE aka SKRILLEX appears. I told you not to— But I did! I didn't mean to! But you did! This is ludachris! Oh look, it's— Fuck. God dammit. Come on! What's his name!? What's his name?! I'll think abo it it. Are you serious? Another shapeshifter? Yes, I guess welll just have to kill them all, then. I just want to go home. You don't have one. …oh. So here we have. Okay, wait a second. I wasn't faking my symptoms at all, actually. My heart had dropped, and been pounding and fluttering insessantly— It had been a hard week, but especially the last three days; The coughing—. Everyone seemed to be wearing clothing with stars or bears on it, Champion sportswear. I fucking hate champion sportswear. But the palpitations were real as ever— and now— On a Saturday night in the Jamaica, Queens medical center emergency room, There they were again. Only this time I knew exactly why. ‘Too Bizzare' by Skrillex begins to play, via Complications 003- The Trauma Method. Irony. It was ironic, but still startling, Started with some nostalgic traumas, Every other time I saw an ER doctor (Why I don't go) Fuck, I just realized I have to airdrop myself 880 times. That fucking sucks. Did you say you were a doctor? I was, once. When is “once” At some point. Listen, I'm gonna need you to backtrack to get to the bottom of this. I'm innocent, I promise! We caught you at 27 different angles doing this. Oh. [beat] I plead the 5th. Ohh. Cerulean. My favorite. c R A Y On Oh, I get it, I L L U M I N A T U S. Nice, it worked. I know everything about you. So you do. [beat] You're a God. What the fuck do you want from me. Listen. I. Am not. A God, Right. That's exactly what a God would say. No they wouldn't! Because a God wouldn't say anything! AHA. Don't ‘AHA' ME. I don't mind, at all It don't matter— to me I don't mind, at all It don't matter—to me Might as well not think about it The space between us Might as well just stay awake then No sense in leaving Just to come back It don't matter to me, now Now and again I go crazy just making arrangements, But besides that, If you like it, you should have it It's a long road, As Kaskade says, And a short dance, With the right one And time goes by I would call it mild, But actually I'm in a wild panic It might be a heart attack I just might even Die right here But I don't mind, at all It don't matter—to me I don't mind—at all It don't matter to me, I said I don't mind, at all, now It really don't matter to me I said, I don't mind, at all It really don't matter to anyone Now does it (Not it doesn') I don't mind, at all It don't matter— to me I don't mind, at all It don't matter—to me Might as well not think about it The space between us Might as well just stay awake then No sense in leaving Just to come back Palpitations and precipitations at the pulpit Preacher, please don't make me a culprit I been prayin— I been paying my tithes, 10% Even, Now 25, Almost half of me is not mine! Why try? I've been walking out, in straight lines I been crying silently It ain't right I been making most of my nights Sometimes I see sun come up twice Up, down up 10 degrees, It ain't right Up down up 33, it ain't right Up, down, up I've been spending my time Down, up, down Riding round, Trying not to down in my mind Up, down up What is this. It's my project. What is it? The Festival Project. Yeah but—what— What. Is it? …it's my project. *painfully infuriated* Okay, enter here. EXAM ROOM 10 Why exam room 10? Because. Where are the other nine? Just—get in. I'm not going in there! JUST GET IN. UGH. DEADMAU5 (head and all) stands at a tall podium in the center of the room) What is this, This is deadmau5. I know that. —-!!! —?!? What. !!! What? This is the exam? Yes! NO. What is “no”. I'm not playing for deadmau5. That's the exam. Then I fail! Automatic Fail? yes. Automatic fail. Then you win. What. *slams gavel* Congratulations—you're the next superstar DJ. WhY. . What. Woohoo! I just retired! DEADMAU5 exits. … … After a few moments of comic tension, the Deadmau5 head rolls back in through the exit which he has taken. Ugh. Fuck this. No matter what you do, you're a superstar DJ. What. No! Yes. The answer is yes. NO. Fuck. What the FUCK. No matter what you do. You want to go, Go, you want to die, Die, you want to try, try You want to cry, cry Do what you want; As so will I, Demand is demand— Supply is supply. EDX So then, I followed this long hallway under the stage deck. Uh huh. And it led to a door— Uhhuh, where'd the door lead? To a portal. Woah. Pasqualle! You made it! I—yes. Congratulations! *blows party horn* *Daisies/ confetti* You're like 25! I'll be 25 forever. Nice! Yeah. I guess that's why it's called ‘music'—a musician without muses is just useless. ‘Well, whose next?' I wondered. All of my muses were not just so wonderful to me, but adored by many—and perhaps this is what allured me most—befuddled ans confounded me; once my mind was set on something, there was nothing else its eye could see—and for how long one God could only know, how deep the love would go and that the blood would run deep, and the scars to show for it, only upon my heart and never by soul—for a love was a love, and even once came and gone, to the end of my life I knew I would still ponder upon them, at one time or another, my muses—star studded lovers, rather than crossed, shiny and golden like all diamond and trophies so treasured and thought of as precious. ‘Yes, you are—precious.' Another tongue in cheek thought, for the other that I was, and also was not, as summer drew onward as short as it would come and go—a reminder to leave the apartment more often, and to mind my manners, to find the upper echelon wherever it was and come quietly into its doors, to open my world and wordform of thought, into a place where my heart always was; then, and only then, would I be home. Amongst the men and women of the uppercut and classy, luxurious big fishing ponds and flocks of doves upon olive branches—the peaceful world long parted from where mine was, by only the fault of my own. What had been done just certainly was, and yet, what was to come was an open poem, not of mine, but Godform in thought. ‘I wonder what's at the top of Rockefeller Plaza.' —perhaps, a gander at the bottom of an even larger entertainment complex. Then, again, only God would know what was beyond all that I wanted; a job—and not just any job at all— the one that I had always wanted. Mmm. Birthday cake. Suddenly the taste of a white confetti crème filled my mouth with a delicious remnince of what it might be like to taste a confectionary sugar again—but i couldn't imagine ever making it just on talent and charisma alone—no. Indeed, it seemed something had damaged my charm, and perhaps it was just the swarms and droves of phone controlled masses that saw me as nothing more than dust, I had started to surrender my desire to perform, and the quality of my music—along with my ability to make it, suffered with the awful thing that had been crowding my soul at all—whatever it was, evil and dark in nature, sure saw to it that it wanted to hurt me in all the ways that it could—and in all the ways it could not, I stayed away from most others, favoring my delusions of love. ‘Nobody seems to understand that the pain they cause will only harm themselves.', I thought Younger souls, however, they were—and they would be kept in the pain that I was in one way or another until eventual death, far behind me on the infinite road to the source. Far enough behind, that it seeked to destroy my progress, and for all that it could, it also couldn't. The infliction of pain would simply not act as a measure for control any longer. Off into my own world, where I was at least free from the thoughts and judgement of others. She's the most beautiful girl, And I'm the most beautiful boy; So naturally, we belong together, don't we? I see a pretty picture, Picket fences and a family Golden Retrievers Someone relieve her; She doesn't believe me TV dreams and exquisite pretty people Burning candles, fire flames and frequent figures, Guest characters and cameos, Repeat offenders, multiple appearances Suddenly, really, it's another need People, people pleasers Audience affection, Tragic endings, Butterflies and new beginnings Gun under my tongue, Rubber like a frog My mind is in a fog Haven't bothered going on a walk To Trader Joe's but The anthem of my youth, A lost soul Another form of my love So what I wonder Put the gun up under my chin Rubber like a frog Blow my head off Just cause I didn't blow up Selfish cunt Big brother, Another hypnotist Little brother, Gotta love him Gotta love em For the Love of God I could stop for a moment Wash my mind out with soap Like I'm ten years younger, even Seriously 20 years between us, You can't even hide underwater In a bathtub Seriously, Someone help us For the love of God, for the love of Hollywood Seriously, Someone love us, For the love of God, For the love of Rockefeller Plaza Someone help us Another possible walk of stars A little shop of horrors Another whole story I get rid of my demons The hoes screamin I put semen in her Permanent like semen, Just keep dreamin I'mma just keep preaching SaMo, Brooklyn Europe Next I keep scheming Whoever you are; If you're a wreck— You need a check No respect, neglect Just cover your neck (I'm blind to my own design, sometimes) That's what the eye is Try this: Close your eyes and say thrice, kids I am the God of the eye, Osiris I am the God of the Eye, I'm Osiris I am the God, I walk amongst the highest Thoth, You lost Better just die and keep trying I am the God of the eye, I am (Try this) I am the God of the eye (I never die) I am the God of the eye (That's right, three times) I am the God of the eye No black and white television, In my dimension we pay attention to centrifugal, The mission isn't in materialism, Whatever youre spending If money the God, l of your eye, Realize, I am higher My gunfire, Is right on the back of The one dollar I am the God of the eye I Am Your money is nothin to us We come in peace, To end suffering Pretty little nigga Look just like Kendrick Kickin it with jigga I'm the new higs boson Part of me never left Boston (Fuck Starr!) Part of me never left homeless This ain't my home It's my office You never heard this song You don't notice I'm an ugly kid, you don't notice me Rooftop smells like soy sauce On god I am ugly You don't notice -Atari the God Can we get back to this, please? Damn. She really whooped her ass, though. Janet, can I borrow you for a second? No. Please. [Whoopi Goldberg appears in the doorway, gesturing “c'mon”] …alright. I got convictions on my lips, I took a picture Turn the page The worst of all was, it really did seem like they were racists— INSOMNIAC EVENTS Not just racists— the most deadly kind of racists. WHITE SUPREMACISTS You really want it this way, don't you? No! I LOVE you! Oh, do you? If there's a mile in here, I swear to god.. Are you high enough yet? I thought so HIGHER! hire star* What. Just do it. You remember these guys, right? GOOD CANNABIS, FAIRBANKS, ALASKA No. Why are we back here. Alright, we might have fucked up. Why. This guy sucks. HEY. What. COME BACK TO ALASKA never that. WHAT, WHY NOT! GOD HATES FAGS!!! Well, you're wrong! WHITE POWER. Nah. ALL LIVES MATTER O rly? Even this guy? Literally every “NO” …so, “all lives.” Look, I don't care what color it is; I want that book in my library. GO TO THE LIVRARY. NO. GET IN HERE. NO AUBREY. STAY DEAD. She's dead, right? YOU CALLED ME HERE. I didn't! You Did. I did not, all i said was *swoons* …I love her. (I really do) WHAT?! “I Love you?!” It was more the *swoon* that did it. Disconnect. Fuck, I lost deadmau5 again What'd you do to him? Nothing! Put him back! He's still there! He's right there, you see him? No! This isn't deadmau5. We want deadmau5. bring him BACK. Fuck, I fucked up. What'd you do? …nothing? Pick up the phone Pick up the phone …hello? Who IS this? Fuck it, I quit. Man, God never puts my dishes back in the right place, like ever. I told you, I don't live here, I'm just… Babysitting. CC! What! CC! What? CC WHAT. Fuck, man. That was wild. Where the fuck have you been? I don't know. You don't know—you smell funny. “Funny” is that what that smell is? No. When were you? When? Ha. Did you—- Did I what? —did you go to a party without me? Lmfao fuck these niggaz. Why, what happened. What's this. Where was it?! Idlewild. “IdLeWiLd”?!?!? You. Old. One here and die, you know, l. It's cattle call for curtain calls guy Where did this go— What was this, once? It's the return Welcome to Oz This is the Tower of Babel Remember; I wrote that Better than the bottom, Still not the top —it's not as fast, when it's not going all the way up Did you jump yet Come around more Keep coughing Are you sure this is where it was or—? Somewhere else I stayed Back when I was homeless It's hopeless! We lost her Antenna, antenna SUPERMARKET I loved her —she was undercover —I'm still in your stirrups I'm lost in New York, then BACKFIRE Adele remix is on [have a seat] Can I go now? I still need a hat, a half dollar and an alter cloth You could win an award for this; I don't want an award, I just want my son back Motherhood, motherhood Brotherhood, brotherhood This isn't one of us! No one was No one was Can I go now? Where to? Home! Nope, that's just the office, I'm still homeless, unless I They got cabanas on top of offices! (The rich and the famous) Networking and brunches— _this looks fun, doesn't it? I altered the course of history In brief exchanges and Various social atrocities This is hypocrisy! lol rly This is hypocrisy!! Hyper awareness and, psychic inclinations… You realize the more low quality people you let in The more low quality this country becomes, don't you? I put a roll in the back of the chosen ones. Used to be cast more, Now something seldom ever happens Such as this— A fun Fortune 500 What does that even mean Forbes. Look it up. What if the policy is Foreign; Look it up. I know enough about the girl next door to know Something is horrible, Something inside of her Rots at the core, Her obsession; My undeservedness of such, What she must, I mustn't, just Unjustice Broski, okay I got to discard All the pichardo Besides just this one (I'm standing on top of you) Put somebody worthy on the fourth floor Worse off, I was done for Before I got to New York What's her for?! I know enough about the man upstairs to know All these glares and “How dare you's” and Hatred says Why would you wait 30 years Until today, I guess Something is certainly off about her. I said yes. It was more probably something like “SUCK MY DICK” What. “YOU HEARD ME” Oh yes, I did. From 1990 to 1993 From 1990 To 1993 From 1990 To 1993 Stop breeding these things, “Love is familiarity” No Love is what you make it But you can't Because of slavery They don't make music —they don't make love either Well, look where your lust took you! Nowhere! Exactly! Look where your love took you: Vegas, Los Angeles, South of the Border Above it a New Yorker— Under budget, Celibate and My arms are too short to jump the turnstyle, Meanwhile My ex husband left permanent scars on My face My lips My arms My hands And my heart. Did you bite him? Of course I bit him, he was strangling me. You definitely won this fight. I know. Look, if I don't call for security, This bitch is gonna make me kill her. OCTOPUSSY NO. What. NO. Stankass. I will KILL this bitch. Look, I gotta get ahead in this. I need a WIN. These are customs. Trash. Wash your pussy. Send her back. Nah, you know what. Remove that hex. Wait, what, really?! Yeah, like; Reverse it. Woah. That's crazy. They got like….white slaves now. That's not right. What do you mean. That's not it. You said “reverse it” This is what the white supremacy just did to everyone else: [world in crisis except for for people who look like Kayla Lauren, to whom EVERYTHING is a fucking crisis, that isn't] BECKY/KAREN/WICKED WITCH OF WHITE AMERICA I AM OFFENDED I'm offended that you signed your like 12 year old daughter up to pose nearly nude, but— Hey look, it's us now; is this freedom?! Uh…. Why are all the female models like 12 and all the male models are fully grown men— Or women. Right. Idk. Wait, I do. You do?! Wait. Something tells me all the pedophiles and all the white supremacists are in the same group… Run the same businesses— Have the same families. This is disgusting Okay, this is gross That's not right ! That's not my job! Oh, it's not!!? NO. Who should I call That guy. So you want this? Oh, it's a death curse?! It will NEVER end. Wanna bet. I'll kill you and take the whole world with me. Now that's a threat. Thing is, I'm actually making it. I'm telling on you! Ok. Wait 30 years though so you look and sound REALLY fucking stupid. Ok. 30 YEARS. Doesn't make sense. What's the statute of limitations for— Hm. Depends. Depends on what. Who are you?! WHO ARE YOU?! NOBODY YOU SHOULD KNOW ABOUT. THEN WHY DO I? wtf is this? This is Texas being petty. Ok, fuck ya‘lol YAW. I'm serious, wtf is wrong with you. Something. What. Fix me. Fix you. Hm. Ok. *COUGHING* Somethings wrong here. Yep, it's definitely some kind of FIX IT. Where's this ROCK? At the ROCK. Like, where tho?! Ur gonna need this. What. They r crucifying u. Noted. Hunts Point Food Distribution Center Lmfao I need this word hold on “eliminating redundancies, setting strict timelines, and allowing cases to proceed contemporaneously” [ Finally, recognizing the danger that social media poses to young people and mental health, New York City Department of Health and Mental Hygiene Commissioner Dr. Ashwin Vasan today issued a Health Commissioner's Advisory identifying unfettered access to and use of social media as a public health hazard, just as past U.S. surgeons general have done with tobacco and firearms.] A win. I don't play dead. What do you call this: DIE! DIE, BITCH! Corrections. I still don't understand how this— ACID HAPPENS. Out of sight Out of mind So why these guys Tryna waste my time Tryna fuck with my mind with All these lights OH MY GOD I ain't got time for that Well, Maybe I do— I just Don't like NIGGAZ LIKE YOU. (Say what) I don't like Niggaz like U! I'm Sunnï Blū! You're stupid Oh, so he put a curse on sunni blu, too? Ok. Cool. When all my aliases come up This dumb motherfucking drunk Is gonna get stuck In his own woods He'll bury himself In the words that he left With the scars In the words that he left With the scars Sunni blu Is the sayer of stars I slaughtered them all Swallowed them whole Like a big black hole I'm a big black god I'm a big black God Fuck Twinkle that broad One punch girl One punch girl 5 punch faggot I'll unwrap flags on your Goddamn Fuck that Put a curse on my alter ego Lucky he's a he, tho I blow holes in em I blow smoke And love sausage I'm a hedon And he not a Hero He broke He lost I'm open Shirts vs skins I got 666 Curses to show you What your words did IM RA I'm a big black God You're at home with the young apostle Let's be honest He never even liked his father So turned him to a mother, Told his mother to ‘run far, And bring back The life that I want' I'm a big black God In light skinned clothing You don't know to explode Or explode on me Cause my mommy's a Dark skinned icon That my God Find something to pass the time, God Sunni with I, huh I won Fuck a pedophile wifebeater Bury him in the woods with his fury Fear me, now I'm coming up with reverse curses And cures Cause my words Bought the whole world Buried you in the woods I'll bury you in the woods, Bitch Very good I'm a big black God -Blū. GOD is the GOAT I just became god I do what I want I get what I want when I want it I don't want no problems Me myself and God only I buy everything I used to steal These tears in my heart say I'm healing What's the difference, anyway? I've never been fit for your interests, or industry Add insult to injury Add everything to my Amazon cart, then My sympathies Nothing is greater in heaven As it is in hell, for this industry Turned on its head And turned over from 7 to ten Check your messages, then Shut up kid, this doesn't involve you You're not included in the package Michael c hall and John c Riley reprise Mr. Cellophane in the style of DEXTER MORGAN. HA. Classic. GOT EM. V.O. I met her at The Jumping Point {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū. {Coming Up…} INT. THE JUMPING POINT POINT POP-UP NIGHTCLUB LOUNGE & BAR. NIGHT “A Long Day's Night” / “A Hard Day's Night”

Is it Psy or Sai I'm depressed because I don't know how to publish anything and I can't stop writing; I don't know what to do with anything I've written, And I'm always, Constantly stressed about money The things I need, And feel I should be working As if I haven't written more than what some writers with notoriety and fame have or had written in their lifetimes And now, to think, the fame and notoriety seem so small to me; I really just want the money and to be able to go away To some place quiet and peaceful, And to hold my son again. Shout out to the bass pod That's probably why my minds gone Shout out to the old God Your lady is a robot I am the programmer Might need a controller Take it all apart Put it back together I ain't in the ghetto Certified, it's gentrified Ah, dag. What. I missed the helipads AH DAG?! We're about to die, and all you can say is “ AH DAG” THERES MY INVISIBLE MOTORCYCLE. SHHH. Sorry. Unh.OUCH. Sorry. Well, I'm fresh out of [explitive] There's on FUUUUUUU—— F-f-f-f This is not cool! I have magical powers! HEY, watch it! That's odd—it should be cool having magical powers. It's not cool! I don't know what to do! What do I do with my hands! AGGHHHHHH. Well first of all, stop blowing shit up. [Dillon Francis is somehow, just—not famous; he is at camp EDC, being a wooky wook] READ: [Dillon Francis is a wooky wook. ] Correct. Damn, that is— Woah. That is wook. King James is getting into this narrative real deep Let's see why, I fictionalized this dick just to rationalize quickly What a king is I sing good, Cook dinner Me look awesome “Kill the kid,” they called for Another round, And another run So here I come I'm coming up On up-down rollercoasters Cardboard for your cup Cupboards, rocks and cutters Underwater, wishing of surfboard For sure mom, you kinda suck The energy from those is daughters But I wonder what it's worth If stars fall from the sky, To cross lovers Whatever Just a 30 rock crossword I'm Sunnï Blū but, Tracy just a replacement of me Sure it was I'm done God, I fully fucked up. Good job By putting all of my words into google documents In forms of proses and poses Instead of posing for pictures Or asking for roses It doesn't matter what happens The dirt was mud, But I rose up Like no one thought I could From sinking sand And ash dust In God, we don't trust the justice system Fuckin me up Keeping me married to pedophile A while longer So I fuckin die In due time What is right will find the judge And God of all on earth Will tell the story of Starr, And how he tossed his son on the couch Just to punch his mom Yep. He yeeted my baby I eated the nothing The revenge plot twist comes When Skrillex cosmic something Something some It was a downward spiral I was a backwards a hole And my scholarship Cussed out my mother Called her a cunt In her own country Cunty-cunty What the fuck you want? A doorknob that talks and locks A cat or caterpillar to smoke with And karma to choke Starr Like he golf balled And followed me all the way to Brooklyn Just to piss me off Just like a pussy I started the second book Where I left the first one off At Whole Foods market Where I left my snotted scarf at If you support Starr, You're more retarded than I thought If you support War You're better off Swallowin a gun, Like his mom Cause Mike Roberts Beat her up If you support Starr You're probably a predatory gangstalker But what for? You don't even know You got a small award For taking a walk Supporting physiological terrorism But never even Bothered to read the Terms of agreement: They said “Kill this nigger bitch” Keep her from getting any money or education So she can never be president I'm just a DJ, man But since then I've had secret enemies trying to kill me By psychology So they can see me die By my own hand And nothing can ever lead back to them That's how terrorism works, ya'll You're worried about Gaza When genocide happens right in the subway car On your way to work Where they make you late on purpose Even if you leave early Trying to workout, write a book, and leave your apartment looking perfect Who would deserve this? You think you're so perfect, But youre cursed by words, And worthless I think this earth is covered in stuff that it shouldn't be I think I'm 5'7 but the man of my dreams is 5'3 so I been meeting in the middle and stopped eating meat, Hanging from trees praying for freedom Cause something diseased has been following me coughing Like I'm the one who started poverty If that's the case, I must really be God or something But i'm not yo, I dropped my wallet on the bus, And somebody got a come up. A human error I need my hair done. I'm aware you're up there somewhere cause I hear you in my left ear, Jesus left us right here Cause the end is near When everybody's taking the side of a wifebeater And my eyes are wide closed Cause I still owe klarna money on my clothes This nobody is throwing weights, And nothing makes sense Cause karma's gonna take him Heavy, like the weights is Throw your weights pussy I was late coming But ain't had a rest day in 8 crazy days straight It's Christmas in LA Hollywood that is, Here's the blacklist: I hate blacks when They do that shit, Act whack like fucking crackheads Codeswitch like it isnt just niggers vs niggers The only enemy is inner, Fuck it, I'm late for dinner I been here nearly an hour, And lost my power to some animal wired to an app Fuck this matrix, I want my power back WTF is THIS. Since you like to troll so much, I just thought I'd turn you into one This is not Kosher, 199x Jimmy Fallon; Let me out of this plastic —not exactly “fireproof” — death box, before I let myself out, and I trap you in it. But oh, You already did. FIGHT. UGH OH. Ok, rotate. Who is this. Oh shit, hey dude. FUCK, what year is it? MEANWHILE, Under the bridge. …anybody seen this, uh… *Troll* Yee! *Troll* Alright. That's it. Everything checks out. The story was air tight. TIGHT, TIGHT I want you to wear this tonight “The Lady In The Red Dress” You really went all out for this I really didn't, lol Oh I see, You thought this was the matrix. MIT I WISH GOD Wish what. MIT … Mm. Did u see that. See what. ALRIGHT FUCK THIS, YA'LL IT GOT SERIOUS, WHERE'S MY CYCLOPS He called me his cyclops— —-and then he said LIKE GET OUT WHAT GET OUT OF MY HOUSE WHY CAUSE YOURE JUST A PIÑATA, MAN! And I ain't got time for that! I just got a DeLorean And a new HAT I gotta go get Oof. WRECKED. Yo, Wicked. KENDRICK (TODDLER) WIZARD. Oh my. I'm J00F'd up. | | | trance | | | Look; I gotta get out of this MOTHER OF PEARL do not beach this whale carcas on my warehouse project A what A beached whale I know You brought a beached whale to my fucking rave show Oh I get it It's Avant- Guarde No, that's just how I got here …. Trust me, it's okay that This never happened You did not see me It's because I wasn't there Is this U Ū No I wasn't there. Ü I was. Fuck. What happened. It's ok. All I remember is “The Quatardashians” Hmm Also The indigenous But that's it But mostly that was all just Jesus showing off his flexes Are u fasting? Yes, “Ū” is. So, do you need this?! TRUMPP Get rid of this recording imiidiately GOT IT. kill that bitch. SKRILLEX Yessir. —-but before all that happens. …did you want fries with that?! Why are we boycotting McDonald's —for poisoning —the allies —our enemies. Wait, you're eating this? Yes. Like, for fun, or like? No. This is what I'm feeding my children Why Cause they hungry. Uh, ok— —and there's six of them. Aight, ya'll can each have one nugget with your— I wanted a cheese burger! You git hamburgers. Ham. Cheese costs CENTS; And you know your momma If I ain't about a dollar - A dollop of Daisy You really are Ashamed of his Alright, you evil bastards. I see you want to Cause suffering Correct For which you will eternally recurve damnnation and all of the pain you've caused Karmas a bitch It's lonely at the top Not when you're GOD Get off my rock Did you miss an appointment? Nah, can't do it Why what happened Too high up. Whatchu mean So what, it's just like Done. Well, this is it, huh guys. Oh, yeah, it's that, alright This is the longest ride we ever took.d This is the ONLY ride we ever took. I WANNA GET OFF THIS RIDE. I AM REALLY HIGH UP. JUST LET GO. NO. NO. NO. Put me down, kite!!! KITE wtf do you want me to do. I'm a KITE. I'm YOU FUCKIN KIKE NOOOOOOOOOOOOOOOOOOOOOOOOOO—- Well, I'll be honest, man, this sets you back, some How far back GET GONE, But? We're dinosaurs. Why would something with razor sharp teeth be so— —peaceful, and friendly?? T-REX …cuddles. I just can't fake the feeling( I can't pretend to cry It just comes, when it does But when the well runs dry That's when the the world will end That's when the world will end After this movie, I guarantee we will no longer need the Wilhelm scream AGGGGGHHHHHHH!!! YAHHHHHHHHHHH!!!! AAAAAAIIIIIIIIIIGGGHHHHHHH UUUUUUUUUUUUU This movie broke the world record for the amount of times the word “No” was screamed NO NOH. NO. ‘No! NOOOOOOOOOOO! NONONO. NOOOOOOOAAAAAHH …No! Here they all come for her, Defended upon New York In order of important, or appearance? One doesn't wonder, At al, of what's to come Uncommon, we are The call has come TRACY My tummy hurts. That's probably because you've been drinking straight tequila for the last hour and a half. No I haven't! This is water! Tequila is YELLOW, Liz Lemon! No, Tracy—that's silver tequila, And regular tequila is, You know what? Nevermind. Alright, who's got the night shift? [nobody raises their hand, at all] Seriously guys?! Come on! COME ON! Look up WHAM! For some reason, idk. Can we just— not do this? No. Out of my mind a bit Speaking in tongues, In total silence Guess it's the times, I guess that's just who I am And who I am is I said I was Sam I'm the same, I said, “Say Uncle” I guess it's a game, we're playing I don't want to be played with At all I just want to feel loved again By someone else Superb, like him I just want to be felt, I guess By someone else That's “Different” I just want to be kissed on the lips A splendid blend of Twisted trysts Let's not pretend It hasn't ended yet Until you've finished it Class dismissed again Let me off of it I just want it to stop Keep rolling Keep rolling your eyes in the back of your head Like you did just morning Just go for a walk Just stop for a moment Run a bath And just keep running Cause here something comes, Of course, It's all your callings Neatly rolling into one, They said But I Just want to be loved again And who doesn't That's the fucked up part I just want to be loved again But nobody ever Just comes up I just want to be loved again It's a walk in the park Don't follow the dog Even if he barks at you It's time to start again I wonder what comes after this part You are the gleaning in the shadows, The reckoning in my eye, The siren in my silence; The green in all the lights, I am a shamed to have just been One of your many One of your many Images, You still have me twisted, I miss you, It's just you, at the end, Again I left you where you left me Solid on solid Sounds are invalid now How are you so Swore by your awesome No more songs, I said No more songs, he's dead to me No more songs! She's inlisted He's uninterested, Isn't this interesting The problem is: I'm still in love with Everyone i've ever been in love with (And I love him) But he doesn't remember my Name And he's famous And she's crazy And he hates her But he made me hate him The day I became you The day I became So famous, I finally made it I'm dead It smells like dill in here At least it doesn't smell like dead mouse. Aha. Youre Hellen. Keller or Mirin How would you be Hellen Miren Cause I'm the Queen. posh. You want to die Well, you better do it quick Better get your shit toggether, paint a l Bigger, better picture Bitter Betty gliching steady Just remember when you're ready Ever steady still forgetting dinner Dessert was already Forget this significance Remind me why I'm on this speeding bullet to nowhere Had no other options but to go under for something Shy, sickness it's a secret Just kill me already Semi robotic, Something like a magnet, attracted, Simply symphonies And soulless bodies, tied to money Wonder what was in the vaccum cleaner meaning What did you suck up, dude Who do you suck up to. When nobody loves you But your own son And the audience is robots Nothing really works more than once, if it's really magic Sit and do nothing would you Like you're supposed to Fall over like the mannequin you are Just a body in my count A mattress without a bespost, if it matters If it matters Doesn't really matter But hey, you know We all go downtown every once or twice a note For Hanukkah I could try to be nice But there's no sense in it, Is there If everything and everyone else is just as nasty As the rest of it Just is just a test, again A doctors office visit. Simple robotics, Or already stocked up for Hanukkah, Hollywood Where's your homeland deposit box Closet full of robots Closest to the moon, I wrote another poem for you Sorry that I wasn't on the offering table The parakeet, pigeon and pirated Slattery, Damages, damages, All with the Amazon packages, Now we're all robots, Aren't we What corporation to you belong to! Something corporate , or say anything Whose to say Jeff Besoz won't replace us With m robots with thought processes, If once such could project as such presence As an AI freestyle Meanwhile, I've got a butload of buckets and bunts, Bullletwounds, eyes on Manhattan and happens to wish something bad upon me When all I wanted is Somebody to love me And someone to love him, If that's what he wanted (But who knows if what he wanted was all of the bodies opposite of him) I don't belong on this planet I belong in the garbage Put me on mars, mom Stop it, You're almost a robot, get out of my peripheral With your mental illness Geez, I must really want a menorah This is the animal house There's no one alive here Set to be slaughters. Honor the box of offerings as Thoughtful words And parallels What could be under your tongue Is the surface of love Just to touch with the battery acid or chemical trails You have left in your axis Nobody knows better than this How close it is to touching Without being loved But nobody loves you Psychotron, sure we're all robots now Nobody loves anymore {Previously, On…} L E G E N D S The Secret Life of Sunnï Blū {Enter The Multiverse} Ascension What the FUCK did you DO? What did I do?! You know what you did! I didn't do anything! Oh yeah? No! Not on purpose! GODDAMMIT, YOU SON OF A— Where's Jimmy Fallon?! What?! I don't know! Oh no. Oh shit, run. Oh no. What in the FUCK— I am “the fuck” You know what. I'm gonna sue the everliving shit out of you. For WHAT. We'll see. Fuck. Uh oh. FUCK. What now? What this time? Apparently, Jimmy Fallon is missing. What the fuck does that got to do with me. We'll see. Okay, great, Now finish that chapter. What fucking chapter?! All of it. That's—a lot. I want all of it. By my desk, by noon tomorrow. “By” your desk?! Yes, BY. Not ON. I've got too much stuff on my desk— …but it's…like 9 o clock. Should be easy, given your natural talents. What natural talents. PEACOCK. AHAHAHAHA. Okay. Well. Well what. This sucks. I lost all my coins. Hey. Ugh. You dropped this. So how was Los Angeles. What the fuck. You fucking DICK. I told you, I own shares in this. So what's the plan for this, exactly. I dunno, Harry. I got a book of stamps, And a yellow envelope marked “Jimmy Fallon” I will hate you forever. Well, that's retarded. I haven't even smited you yet. I will annihilate you, human. WHERE'S MY SHIT. Who the fuck are you, anyway? Nobody! No one. No one cares about this series, yo. I'l seriously doubt that, Jesse Pinkman. What is this stuff. It's your stuff. This is not what I ordered— Hey— Why is it BLUE Cause it is. So. WHY IN THE— Mischief managed. Alright. This should be good for the night, but we gotta get out of here by morning; I thought your parents owned this place. It's a time share! So? So it's like only —part of the time. That is stupid. No! You're stupid! You're the one who got us into this mess. It's your mess, I was just cleaning it up! Whatever! Stop trippin. Nobody's “tripping.” That's it. I'll be a stripper. Straight outta hell, that kid. Don't I know it. Alright, fine. I said, whatever you do— DONT watch this show. Stuff it, J. Slatts. I'll kill you with my eyeballs Sounds like a threat. Put on a lawsuit, then. Maybe I oughtta… —with a bow tie. You'll look so pretty. I thought I was already pretty. Uh huh. Yeah, look, so honestly I don't know if I'll ever be on the same vibration as like, Jimmy Fallon and them, ok? I don't know how I did it; I don't know what did it, It just happened and then— And then WHAT. It just—ended. Just like that. I'm not trying to offend anybody here. Just like that. Now, I ask: What are we going to do to sell you this dream? Doesnt matter what you do, I'll never believe it. Sure, fine; Don't believe it— We're gonna make you live it. Who the hell us “we” anyway? Now you're speaking in my cadence— Don't flatter yourself I like it. Too late, I guess. So, you see We're building Power triangles And love squares Power triangles And love squares Don't let it scare you, There's love there Don't let it scare you, There's love there Never fear where love has dared To call you up there Corrupt file—no fair. Don't be suprised even the odds seem to turn in your favor, I promise you; Nobody's ever ready For what has just happened here. WAKE UP, FUCKER. Ugh, I can't go through this again. So, I guess I'll have to erase, Or just secretly publish Everything I've ever written About my actual experience as a color, Just so that I can earn money As anything other than A slave— A maid, A housekeeper, A dog walker Or servitor So far under her, That I can't see far enough up to just Scratch the surface Her birthright: The entire network And mine, To sit under her, Wondering what the world would be like At the other end of the spectrum The word form of the White woman The wicked witch of all directions, In which I stand in; I'm at her mercy I've been abandoned before But this disservice, is, I'm afraid The best advice I can take is just To go straight to the bank with my angst and my hatred And shove it So here comes the nameless Face I love, Yet, The faceless God, Was Intoxicated, at best— Manipulation of the Mass Media I'm so Seriously jaded In this torture chamber In my corner office In this hall of racists, I claim, but if all is One in the same Then It's one in the same And I'm mainstream I'm famous If it's One in the same Then It's one in the same If it's One in the same Then I'm mainstream I'm so famous In a whole room full of humans I'm groomed to be useful for something, But what? It just hasn't come yet. I could sit down with a paper and pen, But I'm filling up all of my documents With hollandaise and God For what? It's just another song, or something Or something. It's just another — Goddamnit it, more coughs again. I told you not to watch this. Why do I taste pancakes? Maybe you're having a stroke again. Chyeah, a stroke of genius. I'll show you a stroke. Or don't. Well, there goes the captain. where is that scene, anyway? I don't know, I just wrote it. Great, she left the door open. She's got no furniture! It's a “dance floor” It's “the black box” she called it “the black box” Goddamn, do you listen to all her stuff? “Fear stimulates my imagination” Pilot ASOT Fuck man, What is a woman to a man, And an androgynous genius to The industry, or anyone at all If all are foes ans frauds All else is toxic! I woke up with one hand tucked behind my back Feeling dead drunk, I just woke up again But never fell asleep What world am I in? The end of the Dream sequence The end of the energy keeping me between three things: My past, My future And these prequels, Sequels And seeing arrangements And She's going crazy But nobody quite understands That these demons are chasing me saying “You deserved those hands in your face” The scratches on Kayla's back should have had me but I was too fat To find love again And still have something Wonderfully, undone And wrong with me Wrong with me enough to slam poetry So I'm guessing the white women I love beyond words and bounds are— In charge of whatever happens At the top of the rock; So I jumped off. I want to see someone suffer for all that I've done; No, that's dark, and karmic, you know— To go on like that; The confusions and refusal to accept that The album is called ChaosMagick, But the cover is more Urgent, A prose or a pawn of protection Against all the coughs And the reckless mismanagement The hands in my head And the eye on my scar And the lies on my heart So tell me, What happens When you're flying a kite with your heart, And it's broken? What happens to the kite , When you fly it with your heart And your art up in bundles— heartbroken, heartbroken So what come of Miss May, Come January? What come of Miss April By Next December what comes of the words I was saying For no one But everyone heard them And I've been gone Much longer than months, But still stocked up on all that I've wanted Or all that I got Or just, all that I love But got no undercovers to acknowledge no more How right I was Or how wrong I am What come of Miss June, when Miss January comes around? what come now, around August, When March is long forgotten? What comes of the drugs, Of the come ups, and come downs What comes of the process When nothing is served But the surf has come up Somewhere And I just can't love enough To go there I want to go to there I want to be that girl I want to sit at the top of the rock Writing songs, and sipping mock cocktails I want to Don't you know I just want to get back to Where I belong I'm so out of money and love That I want to be Under the train, When it's coming (Sometimes it's just the impulse that says “GO” Then the train starts to slow And my pain bubbles up into a numb, Dumb, crumbling cluster of poetry You know? Or you don't Cause you're all just on your phones Scrolling Some black man stands over me, Reminding me of why I never trust the ones Who want me most, Or just assume, By color code, That I belong to them I'm sorry, I just can't write with your arms around my neck like this Your heart around my arms like this It's so wholesome I had other verses but forgot them They took away my movies for the curses And the hexes That they put on me I said don't. And the king said “Heads will roll” Cause, you know; I've got parts for all of them now, The ones I'd forgotten But come from the catacombs, Back from the conduit You know, This is awful I had another one, But lost it. The king?! Which one. Teas I! No, it wasn't, It was Gían's father, From further off Should I call John back? Which one? Turns out, I love all of them— Turns out, I've got all of them In my college I taught them all to be someone Becoming of acknowledgement With nombres most common Juan, in subcultures, but Beyond that (Or above them) It's John, Or just Jonathan, Watch the ones who drop the consanant; They're always so troublesome, But I took them all up As understudies, Social Studies and some theatrics, Joan of Ark said Two more moments (Two more weeks in) I could have a body worthy Of a Grammy award, but — Would I be a writer then? Probably not, hon— Writers are Off a bit. If you were pretty, ever at all— would you have written this?! If I were pretty at all would there be reason to be this Conflicted? Some of those old New York hallways Haven't been painted In ages Since they made them Don't make that face at me I only dropped my key once On the fourth floor —they're horrible, you know To us, The “brothers” know no love They are destruction, speaking Of this, I got a cold heart. Cold like the robber Cold like the calling I've done in my corner office cold, like the jello mold forming a thought process Worthy enough I might love it like a husband We're re-evaluating your circumstances. Whatever the fuck that's supposed to mean. I've got friends at USPS What the fuck could that even account to. Look, I'm gonna have to give this some serious considerations. It's not that serious. It's not that serious. Of course it is! I'm up to my knees in investments! So?! I wade a waiste deep, Surely you can get by “Up to your knees” What exactly do you need? Money. And lots of it. I mean, from me. Money. Really? Leave me alone. I told you not to write this. You're a voice in my head; No, I'm the hand in your mailbox. What in the fuck do you believe in. I believe in everything! They said you were a genius; I didn't expect you to be —at the very least, lucid— *squints* learn some new vocabulary, okay? For what? Dinner. Maybe. We're still in the process of voting. She's crazy. We'd be crazy not to actually hire her. Her accounts are all practically open; We could just take it. Yeah, and when she kills herself, and there's no blood on our hands— There's nothing that can be done about the amount of this stuff that's already printed! Printed?! What?! You mean— She's published? Self-published. My, what a beautiful happenstance To have already had you And awakened atop mattresses Marked for my assassins hand— Polite, I lost you All of us, Atop the rock We stood and suffered Months beyond a montage, Undercover Love was lost, And all's uncertain The interception of God, At the cost of What terror and cutbacks Have caused us all What you lost was $50, a Hallmark Card, an Academy award, a long lost star's phone number, And all that you wanted, The cock of the gun Was the sound that you wondered What was called , then ran off into wonder. How am I gonna make money And become an award winning songwriter Music producer And multidisciplinary artist, Without all the funding it takes to get noviced Without taking clothes off Wake up 10 years younger I'm suffering My stomach was a rubber band My stomach was a rubber band My only song was Water I forgot to stop For the applause I drowned in all the love; right then and there I died of Lovenessness [The Festival Project] The sound and laughter of children play A baby in a basket The basket case at Trader Joe's Who know what happens It just doesn't pull my heartstrings any longer That my son belongs without his mother So I'd better have another This is us, come on. Don't do this to me. Don't do this, Timmy, you'll be sorry. Come on! We're not even in that movie! We are, though; it's still Listen, you've got the right guy for this. Are you sure. Yeah, I promise. Officers, Stop for a *movement [hot cops flash dance number] Fuck, well, that was all wrong. But worth it! What I meant was— God, this show gets good at 31, But I'm only 22, So I guess I'll know how wrong the war was Once we've lost it, Cause imm a man now The episode is over, Soon comes the next episode With snoop dogg, Or not That was our wedding album. Scatterbrained, and pregnant— There she was just putting all the things together That she needed to be Needed To be needed. There she was, All on 4/20 Trying not to do the wrong thing, But what was it? To be loved. Then, There she was at 21 just going off again At some event— A friend, and her Back then could not imagine They'd become him To be someone. Not as one, But of entirely another World apart, aside from Cyclones into snow cones Turns the watchers into artists All their own, And off my own accord Or own account Or done with boredom Dove soap Open doors And clocks that turn the other hand away, Each day you love Manhattan But can't have that. That's it— This is just Season 1 of Mad Men WHERE THE FUCK IS— [she throws her hands above her head in surrender] I don't KNOW! Oh, you're a girl now?! I guess! What's with those pants, then? To hide the assets! What assets?! You look tragic. I'm going for ‘skeleton' to match all your wives and everybody else on the red carpet Who said you get the red carpet? Manhattan. That guy lies! Well how about this: The walk of stars were carved out in blocks of marble All in my honor. 1000/1 You're our God, now. What! I don't want to be God! SUCK IT UP. YOU WON. I don't wanna! Yaaaaaaayyy. You got the award! All the awards! Speech! Speech! SUNNI BLŪ Uh—- I'm drunk, And there's nothing on the teleprompter [a man in the audience coughs] A-HEM. [Sunni Blū immidiateky shoots the coughing man] [multi-camera shots of celebrity audience reactions; laughing, clapping in hilarity as if someone hasn't just died] TAYLOR SWIFT (unmoved at all) SUNNÏ BLŪ I don't know why you're laughing. That was awful. That guy died [audience is insane, super fake as usual] [more cut takes] SUNNÏ BLŪ It should have been you, Taylor. TAYLOR SWIFT (Still unaffected) SUNNI BLU Anyway. I'd like to thank the academy… Cause I am the academy [Audience is celebrities being celebrities] SUNNI BLU You guys are all idiots: I'm a go f*ck myself— And anyone else who wants to show up At my afterparty. Whatever. Peace. [cheesy academy award music plays—Sunnï knocks over the mic, peaces out obnoxiously; the audience cheers wildly and the host returns to the stage.] Who's the host? Whatever. Hey, better than nothin. You're telling me. yeah. I know: Oh, she's a comic? Yeah. I got it. BOB SAGET Ooh, that's good. Ū No—no my God. No Bob Saget, stop it! Wait, Bob Saget is dead right? Last I recall: Fuck—FUCK! Dammit. Dammit, dammit. Okay, Rue— you're up. Rue, what in the— Shhhh, don't let them know I'm in here! Oh, wait— It's me, Blanche. That's hot. I'm a debutant. My god, you're so young. Here, take this, What's that, You'll need that. V.O. I'm being hunted by the ghost of Bob Saget. *haunted. No, hunted! There she is! Grab her! Ooh, Bob Saget. Why, yes. How old are you? Not dead yet! You don't have to kidnap me, I'll happily go with you, sir. Really? Yes. GET IN THE— NOH, GET IN THE VAN. INT. IN THE VAN. [a bunch of hot male celebrities are in the van] Oh. Okay. Wow. That was easy. What is it, Friday. It's Friday and a half. Friday.5 What. There's a Friday movie between 1 and 2 So I guess this is season 8.5 I guess this is season 8.5 HEY, GET BACK HERE. What is this. It's your lunch. I don't want this. Well, okay. What— is this strange music— They call it dubstep Come on, Jimmy, you're slipping Kimmel, cause Fallon is dead or presumed missing Probably Skrillex Probably a bounty on his head, Dog willing The Festival Priojects Inclement Infinite Is coming up next, on Legends Come on Jim, KEEP UP. Nobody can know about this, okay? Wait, where's Kimmel Okay, I got O'Brien— Black Irish Bastard… Alright, Alec Baldwin is a little tied up, right now, but LEMON, Fuck. That's l—future me. What?! I gotta go, okay?! What? Go where. Let's get DRUNK. No, That's—I got a show tonight What?! Look at my lexicon. Your—what, Meet me on Lexington. Oh, this pussy is finished! I got it, I got it! He's LENNONNNNN!! JOHN LENNON Fuck. Look, I gotta go. John Lennon?! You're dead! Funny, I thought not. Watch this. MOOOOOOOOOOOM. Fuck, What, It's my kid. I gotta go. Wait, you have kids?! Well, I just had you, didn't I? “The mayor” is a secret underground rap star lol #trappin Okay, What's else happened Idk hold on Okay, So whats the sauce on this sandwich. Oh. Jeez, this again. That *sandwhich? Hah. There's no sauce on that sandwhich. —there's not!? No: You see. It's very simple. WAKE UP, YOU'RE A ROCKSTAR. we gotta take the train. The train?! NO. NOTTHETRAIN. NO. Man, fuck the train! [SUNNI BLŪ wakes up on the train.] What's this, the train? [is the train] (Angrily, tossing newspaper) Man, FUCK the train! Other hobo: Aww, thanks, I need that for my— [s/he snatches back the paper]. Wait! I need that back—what day is it? [drunkenly illegible gibberish turns into perfect Hebrew] GODDAMMIT, it's Shabbat; I gotta get to Temple. [s/he shoves the newspaper back into the hobo's lap] Here. Oh no, I thought I couldn't forget RABI FUCK _]€_# WHAT WAS IT GODDAMIT IT WAS SO CLEVER. God So it was… What did you do with it? Do with what My idea what idea My—my rabbi joke— What rabbi joke you know what rabbi joke! You were the one who gave it to me. Oh, did I? YES, SATAN, JESUS. GOD Ohh, Satan-Jesus. I like that one. NO— it was— It was much better than that, it was— It was funny. Oh, it was? YES. —did you write it down? Fuck, I realize I just opened a A FUCK PORTAL. OHH, GET IN IT, GET INSIDE. I had an Artemis in my pocket But I lost him Walked away from the cornermarker And the cornerstone, for the sunset I wonder if songs always come When I'm walking, Or God makes us promises, For world of I'm not JB, I'm KG, Can you see me now? If you could see what I see, We'd be even wtf did I just write this And not realize I just wrote this Yeah. That shit happens to me all the time. WHAT. ALL THE TKMEx Shut up, THE ANDRE3K CHARADES GAME is getting intense. What in the FUCK is that. *flutes* Ohh. And KITES. yyyyyYYYYYYYAAAAAHHH—— GODDAMMIT. I can't see really, I just dream I'm not thinking, I'm dancing This is what you asked for Exactly what you asked for For once, I'm finally glad I have your eyes on My friend I can see you all on the horizon, Singing NO, NO MORE MUSICALS!! Jimmy, what did you do?! I don't know what I did! You lyin bastard. I'm not lying! So, where ya from? —I don't know where I'm from. Listen, I'm gonna need you SHUT UP, JUST SHUT UP. It seems like these scenes are getting shorter. I'm bored with this. Ok. Let's do something else. I fuckin hate you. I hate you. I fuckin hate you. 88. Oh no: 8 Wait, what the— *dolphin* WOAH, okay: Oh, no. No, No, no OHNONO. I told you I'd find him. Anyway. Seems like there's something more important I should be doing. Are you sure this is the right place. Right place. Right time. Fuck— FUCK. What, what happened. I lost my— SKRILLEX! No. SKRILLEX. NO, NO— SKR— I swear to God, Google knows everything. Google don't know shit about SHIT. I gotta lose m 39 lbs. For what. MADONNA DO IT FOR THE BANANAS. I hate— you. COME ON, MISTER. Fuck off, Madonna, I'M A GOD. I miss Beyoncé. That's not relevant. Beyoncé is relevant to everything. *smacks* QUIT FANGIRLING. Trust me, I hate you. I don't trust you, but I believe you. I got it. I hate this place. Holy shit. What. I developed a new phobia. What's that mean?! I don't know, I can probably use it in a fight or something. For what. SPECIAL ABILITY UNLOCKED. I see you looking over my shoulder I see the shadows, I try not to jump at em. I spent six months in a coffin, you know I spent my life a sarcophagus (Wow, I got it right.) Try not to mutter those haunts in a hospital Try to recover from trauma Uncovered post traumatics, Anxiety attacks and a lot of those— What do you call them? A flashback. Here goes one: SONNY MOORE aka SKRILLEX appears. I told you not to— But I did! I didn't mean to! But you did! This is ludachris! Oh look, it's— Fuck. God dammit. Come on! What's his name!? What's his name?! I'll think abo it it. Are you serious? Another shapeshifter? Yes, I guess welll just have to kill them all, then. I just want to go home. You don't have one. …oh. So here we have. Okay, wait a second. I wasn't faking my symptoms at all, actually. My heart had dropped, and been pounding and fluttering insessantly— It had been a hard week, but especially the last three days; The coughing—. Everyone seemed to be wearing clothing with stars or bears on it, Champion sportswear. I fucking hate champion sportswear. But the palpitations were real as ever— and now— On a Saturday night in the Jamaica, Queens medical center emergency room, There they were again. Only this time I knew exactly why. ‘Too Bizzare' by Skrillex begins to play, via Complications 003- The Trauma Method. Irony. It was ironic, but still startling, Started with some nostalgic traumas, Every other time I saw an ER doctor (Why I don't go) Fuck, I just realized I have to airdrop myself 880 times. That fucking sucks. Did you say you were a doctor? I was, once. When is “once” At some point. Listen, I'm gonna need you to backtrack to get to the bottom of this. I'm innocent, I promise! We caught you at 27 different angles doing this. Oh. [beat] I plead the 5th. Ohh. Cerulean. My favorite. c R A Y On Oh, I get it, I L L U M I N A T U S. Nice, it worked. I know everything about you. So you do. [beat] You're a God. What the fuck do you want from me. Listen. I. Am not. A God, Right. That's exactly what a God would say. No they wouldn't! Because a God wouldn't say anything! AHA. Don't ‘AHA' ME. I don't mind, at all It don't matter— to me I don't mind, at all It don't matter—to me Might as well not think about it The space between us Might as well just stay awake then No sense in leaving Just to come back It don't matter to me, now Now and again I go crazy just making arrangements, But besides that, If you like it, you should have it It's a long road, As Kaskade says, And a short dance, With the right one And time goes by I would call it mild, But actually I'm in a wild panic It might be a heart attack I just might even Die right here But I don't mind, at all It don't matter—to me I don't mind—at all It don't matter to me, I said I don't mind, at all, now It really don't matter to me I said, I don't mind, at all It really don't matter to anyone Now does it (Not it doesn') I don't mind, at all It don't matter— to me I don't mind, at all It don't matter—to me Might as well not think about it The space between us Might as well just stay awake then No sense in leaving Just to come back Palpitations and precipitations at the pulpit Preacher, please don't make me a culprit I been prayin— I been paying my tithes, 10% Even, Now 25, Almost half of me is not mine! Why try? I've been walking out, in straight lines I been crying silently It ain't right I been making most of my nights Sometimes I see sun come up twice Up, down up 10 degrees, It ain't right Up down up 33, it ain't right Up, down, up I've been spending my time Down, up, down Riding round, Trying not to down in my mind Up, down up What is this. It's my project. What is it? The Festival Project. Yeah but—what— What. Is it? …it's my project. *painfully infuriated* Okay, enter here. EXAM ROOM 10 Why exam room 10? Because. Where are the other nine? Just—get in. I'm not going in there! JUST GET IN. UGH. DEADMAU5 (head and all) stands at a tall podium in the center of the room) What is this, This is deadmau5. I know that. —-!!! —?!? What. !!! What? This is the exam? Yes! NO. What is “no”. I'm not playing for deadmau5. That's the exam. Then I fail! Automatic Fail? yes. Automatic fail. Then you win. What. *slams gavel* Congratulations—you're the next superstar DJ. WhY. . What. Woohoo! I just retired! DEADMAU5 exits. … … After a few moments of comic tension, the Deadmau5 head rolls back in through the exit which he has taken. Ugh. Fuck this. No matter what you do, you're a superstar DJ. What. No! Yes. The answer is yes. NO. Fuck. What the FUCK. No matter what you do. You want to go, Go, you want to die, Die, you want to try, try You want to cry, cry Do what you want; As so will I, Demand is demand— Supply is supply. EDX So then, I followed this long hallway under the stage deck. Uh huh. And it led to a door— Uhhuh, where'd the door lead? To a portal. Woah. Pasqualle! You made it! I—yes. Congratulations! *blows party horn* *Daisies/ confetti* You're like 25! I'll be 25 forever. Nice! Yeah. I guess that's why it's called ‘music'—a musician without muses is just useless. ‘Well, whose next?' I wondered. All of my muses were not just so wonderful to me, but adored by many—and perhaps this is what allured me most—befuddled ans confounded me; once my mind was set on something, there was nothing else its eye could see—and for how long one God could only know, how deep the love would go and that the blood would run deep, and the scars to show for it, only upon my heart and never by soul—for a love was a love, and even once came and gone, to the end of my life I knew I would still ponder upon them, at one time or another, my muses—star studded lovers, rather than crossed, shiny and golden like all diamond and trophies so treasured and thought of as precious. ‘Yes, you are—precious.' Another tongue in cheek thought, for the other that I was, and also was not, as summer drew onward as short as it would come and go—a reminder to leave the apartment more often, and to mind my manners, to find the upper echelon wherever it was and come quietly into its doors, to open my world and wordform of thought, into a place where my heart always was; then, and only then, would I be home. Amongst the men and women of the uppercut and classy, luxurious big fishing ponds and flocks of doves upon olive branches—the peaceful world long parted from where mine was, by only the fault of my own. What had been done just certainly was, and yet, what was to come was an open poem, not of mine, but Godform in thought. ‘I wonder what's at the top of Rockefeller Plaza.' —perhaps, a gander at the bottom of an even larger entertainment complex. Then, again, only God would know what was beyond all that I wanted; a job—and not just any job at all— the one that I had always wanted. Mmm. Birthday cake. Suddenly the taste of a white confetti crème filled my mouth with a delicious remnince of what it might be like to taste a confectionary sugar again—but i couldn't imagine ever making it just on talent and charisma alone—no. Indeed, it seemed something had damaged my charm, and perhaps it was just the swarms and droves of phone controlled masses that saw me as nothing more than dust, I had started to surrender my desire to perform, and the quality of my music—along with my ability to make it, suffered with the awful thing that had been crowding my soul at all—whatever it was, evil and dark in nature, sure saw to it that it wanted to hurt me in all the ways that it could—and in all the ways it could not, I stayed away from most others, favoring my delusions of love. ‘Nobody seems to understand that the pain they cause will only harm themselves.', I thought Younger souls, however, they were—and they would be kept in the pain that I was in one way or another until eventual death, far behind me on the infinite road to the source. Far enough behind, that it seeked to destroy my progress, and for all that it could, it also couldn't. The infliction of pain would simply not act as a measure for control any longer. Off into my own world, where I was at least free from the thoughts and judgement of others. She's the most beautiful girl, And I'm the most beautiful boy; So naturally, we belong together, don't we? I see a pretty picture, Picket fences and a family Golden Retrievers Someone relieve her; She doesn't believe me TV dreams and exquisite pretty people Burning candles, fire flames and frequent figures, Guest characters and cameos, Repeat offenders, multiple appearances Suddenly, really, it's another need People, people pleasers Audience affection, Tragic endings, Butterflies and new beginnings Gun under my tongue, Rubber like a frog My mind is in a fog Haven't bothered going on a walk To Trader Joe's but The anthem of my youth, A lost soul Another form of my love So what I wonder Put the gun up under my chin Rubber like a frog Blow my head off Just cause I didn't blow up Selfish cunt Big brother, Another hypnotist Little brother, Gotta love him Gotta love em For the Love of God I could stop for a moment Wash my mind out with soap Like I'm ten years younger, even Seriously 20 years between us, You can't even hide underwater In a bathtub Seriously, Someone help us For the love of God, for the love of Hollywood Seriously, Someone love us, For the love of God, For the love of Rockefeller Plaza Someone help us Another possible walk of stars A little shop of horrors Another whole story I get rid of my demons The hoes screamin I put semen in her Permanent like semen, Just keep dreamin I'mma just keep preaching SaMo, Brooklyn Europe Next I keep scheming Whoever you are; If you're a wreck— You need a check No respect, neglect Just cover your neck (I'm blind to my own design, sometimes) That's what the eye is Try this: Close your eyes and say thrice, kids I am the God of the eye, Osiris I am the God of the Eye, I'm Osiris I am the God, I walk amongst the highest Thoth, You lost Better just die and keep trying I am the God of the eye, I am (Try this) I am the God of the eye (I never die) I am the God of the eye (That's right, three times) I am the God of the eye No black and white television, In my dimension we pay attention to centrifugal, The mission isn't in materialism, Whatever youre spending If money the God, l of your eye, Realize, I am higher My gunfire, Is right on the back of The one dollar I am the God of the eye I Am Your money is nothin to us We come in peace, To end suffering Pretty little nigga Look just like Kendrick Kickin it with jigga I'm the new higs boson Part of me never left Boston (Fuck Starr!) Part of me never left homeless This ain't my home It's my office You never heard this song You don't notice I'm an ugly kid, you don't notice me Rooftop smells like soy sauce On god I am ugly You don't notice -Atari the God Can we get back to this, please? Damn. She really whooped her ass, though. Janet, can I borrow you for a second? No. Please. [Whoopi Goldberg appears in the doorway, gesturing “c'mon”] …alright. I got convictions on my lips, I took a picture Turn the page The worst of all was, it really did seem like they were racists— INSOMNIAC EVENTS Not just racists— the most deadly kind of racists. WHITE SUPREMACISTS You really want it this way, don't you? No! I LOVE you! Oh, do you? If there's a mile in here, I swear to god.. Are you high enough yet? I thought so HIGHER! hire star* What. Just do it. You remember these guys, right? GOOD CANNABIS, FAIRBANKS, ALASKA No. Why are we back here. Alright, we might have fucked up. Why. This guy sucks. HEY. What. COME BACK TO ALASKA never that. WHAT, WHY NOT! GOD HATES FAGS!!! Well, you're wrong! WHITE POWER. Nah. ALL LIVES MATTER O rly? Even this guy? Literally every “NO” …so, “all lives.” Look, I don't care what color it is; I want that book in my library. GO TO THE LIVRARY. NO. GET IN HERE. NO AUBREY. STAY DEAD. She's dead, right? YOU CALLED ME HERE. I didn't! You Did. I did not, all i said was *swoons* …I love her. (I really do) WHAT?! “I Love you?!” It was more the *swoon* that did it. Disconnect. Fuck, I lost deadmau5 again What'd you do to him? Nothing! Put him back! He's still there! He's right there, you see him? No! This isn't deadmau5. We want deadmau5. bring him BACK. Fuck, I fucked up. What'd you do? …nothing? Pick up the phone Pick up the phone …hello? Who IS this? Fuck it, I quit. Man, God never puts my dishes back in the right place, like ever. I told you, I don't live here, I'm just… Babysitting. CC! What! CC! What? CC WHAT. Fuck, man. That was wild. Where the fuck have you been? I don't know. You don't know—you smell funny. “Funny” is that what that smell is? No. When were you? When? Ha. Did you—- Did I what? —did you go to a party without me? Lmfao fuck these niggaz. Why, what happened. What's this. Where was it?! Idlewild. “IdLeWiLd”?!?!? You. Old. One here and die, you know, l. It's cattle call for curtain calls guy Where did this go— What was this, once? It's the return Welcome to Oz This is the Tower of Babel Remember; I wrote that Better than the bottom, Still not the top —it's not as fast, when it's not going all the way up Did you jump yet Come around more Keep coughing Are you sure this is where it was or—? Somewhere else I stayed Back when I was homeless It's hopeless! We lost her Antenna, antenna SUPERMARKET I loved her —she was undercover —I'm still in your stirrups I'm lost in New York, then BACKFIRE Adele remix is on [have a seat] Can I go now? I still need a hat, a half dollar and an alter cloth You could win an award for this; I don't want an award, I just want my son back Motherhood, motherhood Brotherhood, brotherhood This isn't one of us! No one was No one was Can I go now? Where to? Home! Nope, that's just the office, I'm still homeless, unless I They got cabanas on top of offices! (The rich and the famous) Networking and brunches— _this looks fun, doesn't it? I altered the course of history In brief exchanges and Various social atrocities This is hypocrisy! lol rly This is hypocrisy!! Hyper awareness and, psychic inclinations… You realize the more low quality people you let in The more low quality this country becomes, don't you? I put a roll in the back of the chosen ones. Used to be cast more, Now something seldom ever happens Such as this— A fun Fortune 500 What does that even mean Forbes. Look it up. What if the policy is Foreign; Look it up. I know enough about the girl next door to know Something is horrible, Something inside of her Rots at the core, Her obsession; My undeservedness of such, What she must, I mustn't, just Unjustice Broski, okay I got to discard All the pichardo Besides just this one (I'm standing on top of you) Put somebody worthy on the fourth floor Worse off, I was done for Before I got to New York What's her for?! I know enough about the man upstairs to know All these glares and “How dare you's” and Hatred says Why would you wait 30 years Until today, I guess Something is certainly off about her. I said yes. It was more probably something like “SUCK MY DICK” What. “YOU HEARD ME” Oh yes, I did. From 1990 to 1993 From 1990 To 1993 From 1990 To 1993 Stop breeding these things, “Love is familiarity” No Love is what you make it But you can't Because of slavery They don't make music —they don't make love either Well, look where your lust took you! Nowhere! Exactly! Look where your love took you: Vegas, Los Angeles, South of the Border Above it a New Yorker— Under budget, Celibate and My arms are too short to jump the turnstyle, Meanwhile My ex husband left permanent scars on My face My lips My arms My hands And my heart. Did you bite him? Of course I bit him, he was strangling me. You definitely won this fight. I know. Look, if I don't call for security, This bitch is gonna make me kill her. OCTOPUSSY NO. What. NO. Stankass. I will KILL this bitch. Look, I gotta get ahead in this. I need a WIN. These are customs. Trash. Wash your pussy. Send her back. Nah, you know what. Remove that hex. Wait, what, really?! Yeah, like; Reverse it. Woah. That's crazy. They got like….white slaves now. That's not right. What do you mean. That's not it. You said “reverse it” This is what the white supremacy just did to everyone else: [world in crisis except for for people who look like Kayla Lauren, to whom EVERYTHING is a fucking crisis, that isn't] BECKY/KAREN/WICKED WITCH OF WHITE AMERICA I AM OFFENDED I'm offended that you signed your like 12 year old daughter up to pose nearly nude, but— Hey look, it's us now; is this freedom?! Uh…. Why are all the female models like 12 and all the male models are fully grown men— Or women. Right. Idk. Wait, I do. You do?! Wait. Something tells me all the pedophiles and all the white supremacists are in the same group… Run the same businesses— Have the same families. This is disgusting Okay, this is gross That's not right ! That's not my job! Oh, it's not!!? NO. Who should I call That guy. So you want this? Oh, it's a death curse?! It will NEVER end. Wanna bet. I'll kill you and take the whole world with me. Now that's a threat. Thing is, I'm actually making it. I'm telling on you! Ok. Wait 30 years though so you look and sound REALLY fucking stupid. Ok. 30 YEARS. Doesn't make sense. What's the statute of limitations for— Hm. Depends. Depends on what. Who are you?! WHO ARE YOU?! NOBODY YOU SHOULD KNOW ABOUT. THEN WHY DO I? wtf is this? This is Texas being petty. Ok, fuck ya‘lol YAW. I'm serious, wtf is wrong with you. Something. What. Fix me. Fix you. Hm. Ok. *COUGHING* Somethings wrong here. Yep, it's definitely some kind of FIX IT. Where's this ROCK? At the ROCK. Like, where tho?! Ur gonna need this. What. They r crucifying u. Noted. Hunts Point Food Distribution Center Lmfao I need this word hold on “eliminating redundancies, setting strict timelines, and allowing cases to proceed contemporaneously” [ Finally, recognizing the danger that social media poses to young people and mental health, New York City Department of Health and Mental Hygiene Commissioner Dr. Ashwin Vasan today issued a Health Commissioner's Advisory identifying unfettered access to and use of social media as a public health hazard, just as past U.S. surgeons general have done with tobacco and firearms.] A win. I don't play dead. What do you call this: DIE! DIE, BITCH! Corrections. I still don't understand how this— ACID HAPPENS. Out of sight Out of mind So why these guys Tryna waste my time Tryna fuck with my mind with All these lights OH MY GOD I ain't got time for that Well, Maybe I do— I just Don't like NIGGAZ LIKE YOU. (Say what) I don't like Niggaz like U! I'm Sunnï Blū! You're stupid Oh, so he put a curse on sunni blu, too? Ok. Cool. When all my aliases come up This dumb motherfucking drunk Is gonna get stuck In his own woods He'll bury himself In the words that he left With the scars In the words that he left With the scars Sunni blu Is the sayer of stars I slaughtered them all Swallowed them whole Like a big black hole I'm a big black god I'm a big black God Fuck Twinkle that broad One punch girl One punch girl 5 punch faggot I'll unwrap flags on your Goddamn Fuck that Put a curse on my alter ego Lucky he's a he, tho I blow holes in em I blow smoke And love sausage I'm a hedon And he not a Hero He broke He lost I'm open Shirts vs skins I got 666 Curses to show you What your words did IM RA I'm a big black God You're at home with the young apostle Let's be honest He never even liked his father So turned him to a mother, Told his mother to ‘run far, And bring back The life that I want' I'm a big black God In light skinned clothing You don't know to explode Or explode on me Cause my mommy's a Dark skinned icon That my God Find something to pass the time, God Sunni with I, huh I won Fuck a pedophile wifebeater Bury him in the woods with his fury Fear me, now I'm coming up with reverse curses And cures Cause my words Bought the whole world Buried you in the woods I'll bury you in the woods, Bitch Very good I'm a big black God -Blū. GOD is the GOAT I just became god I do what I want I get what I want when I want it I don't want no problems Me myself and God only I buy everything I used to steal These tears in my heart say I'm healing What's the difference, anyway? I've never been fit for your interests, or industry Add insult to injury Add everything to my Amazon cart, then My sympathies Nothing is greater in heaven As it is in hell, for this industry Turned on its head And turned over from 7 to ten Check your messages, then Shut up kid, this doesn't involve you You're not included in the package Michael c hall and John c Riley reprise Mr. Cellophane in the style of DEXTER MORGAN. HA. Classic. GOT EM. V.O. I met her at The Jumping Point {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū. {Coming Up…} INT. THE JUMPING POINT POP-UP NIGHTCLUB LOUNGE & BAR. NIGHT “A Long Day's Night” / “A Hard Day's Night” C {CONFUSION SPELL, SUCCESSFUL} [Sequence Initiated.]

What the FUCK did you DO? What did I do?! You know what you did! I didn't do anything! Oh yeah? No! Not on purpose! GODDAMMIT, YOU SON OF A— Where's Jimmy Fallon?! What?! I don't know! Oh no. Oh shit, run. Oh no. What in the FUCK— I am “the fuck” You know what. I'm gonna sue the everliving shit out of you. For WHAT. We'll see. Fuck. Uh oh. FUCK. What now? What this time? Apparently, Jimmy Fallon is missing. What the fuck does that got to do with me. We'll see. Okay, great, Now finish that chapter. What fucking chapter?! All of it. That's—a lot. I want all of it. By my desk, by noon tomorrow. “By” your desk?! Yes, BY. Not ON. I've got too much stuff on my desk— …but it's…like 9 o clock. Should be easy, given your natural talents. What natural talents. PEACOCK. AHAHAHAHA. Okay. Well. Well what. This sucks. I lost all my coins. Hey. Ugh. You dropped this. So how was Los Angeles. What the fuck. You fucking DICK. I told you, I own shares in this. So what's the plan for this, exactly. I dunno, Harry. I got a book of stamps, And a yellow envelope marked “Jimmy Fallon” I will hate you forever. Well, that's retarded. I haven't even smited you yet. I will annihilate you, human. WHERE'S MY SHIT. Who the fuck are you, anyway? Nobody! No one. No one cares about this series, yo. I'l seriously doubt that, Jesse Pinkman. What is this stuff. It's your stuff. This is not what I ordered— Hey— Why is it BLUE Cause it is. So. WHY IN THE— Mischief managed. Alright. This should be good for the night, but we gotta get out of here by morning; I thought your parents owned this place. It's a time share! So? So it's like only —part of the time. That is stupid. No! You're stupid! You're the one who got us into this mess. It's your mess, I was just cleaning it up! Whatever! Stop trippin. Nobody's “tripping.” That's it. I'll be a stripper. Straight outta hell, that kid. Don't I know it. Alright, fine. I said, whatever you do— DONT watch this show. Stuff it, J. Slatts. I'll kill you with my eyeballs Sounds like a threat. Put on a lawsuit, then. Maybe I oughtta… —with a bow tie. You'll look so pretty. I thought I was already pretty. Uh huh. Yeah, look, so honestly I don't know if I'll ever be on the same vibration as like, Jimmy Fallon and them, ok? I don't know how I did it; I don't know what did it, It just happened and then— And then WHAT. It just—ended. Just like that. I'm not trying to offend anybody here. Just like that. Now, I ask: What are we going to do to sell you this dream? Doesnt matter what you do, I'll never believe it. Sure, fine; Don't believe it— We're gonna make you live it. Who the hell us “we” anyway? Now you're speaking in my cadence— Don't flatter yourself I like it. Too late, I guess. So, you see We're building Power triangles And love squares Power triangles And love squares Don't let it scare you, There's love there Don't let it scare you, There's love there Never fear where love has dared To call you up there Corrupt file—no fair. Don't be suprised even the odds seem to turn in your favor, I promise you; Nobody's ever ready For what has just happened here. WAKE UP, FUCKER. Ugh, I can't go through this again. So, I guess I'll have to erase, Or just secretly publish Everything I've ever written About my actual experience as a color, Just so that I can earn money As anything other than A slave— A maid, A housekeeper, A dog walker Or servitor So far under her, That I can't see far enough up to just Scratch the surface Her birthright: The entire network And mine, To sit under her, Wondering what the world would be like At the other end of the spectrum The word form of the White woman The wicked witch of all directions, In which I stand in; I'm at her mercy I've been abandoned before But this disservice, is, I'm afraid The best advice I can take is just To go straight to the bank with my angst and my hatred And shove it So here comes the nameless Face I love, Yet, The faceless God, Was Intoxicated, at best— Manipulation of the Mass Media I'm so Seriously jaded In this torture chamber In my corner office In this hall of racists, I claim, but if all is One in the same Then It's one in the same And I'm mainstream I'm famous If it's One in the same Then It's one in the same If it's One in the same Then I'm mainstream I'm so famous In a whole room full of humans I'm groomed to be useful for something, But what? It just hasn't come yet. I could sit down with a paper and pen, But I'm filling up all of my documents With hollandaise and God For what? It's just another song, or something Or something. It's just another — Goddamnit it, more coughs again. I told you not to watch this. Why do I taste pancakes? Maybe you're having a stroke again. Chyeah, a stroke of genius. I'll show you a stroke. Or don't. Well, there goes the captain. where is that scene, anyway? I don't know, I just wrote it. Great, she left the door open. She's got no furniture! It's a “dance floor” It's “the black box” she called it “the black box” Goddamn, do you listen to all her stuff? “Fear stimulates my imagination” Pilot ASOT Fuck man, What is a woman to a man, And an androgynous genius to The industry, or anyone at all If all are foes ans frauds All else is toxic! I woke up with one hand tucked behind my back Feeling dead drunk, I just woke up again But never fell asleep What world am I in? The end of the Dream sequence The end of the energy keeping me between three things: My past, My future And these prequels, Sequels And seeing arrangements And She's going crazy But nobody quite understands That these demons are chasing me saying “You deserved those hands in your face” The scratches on Kayla's back should have had me but I was too fat To find love again And still have something Wonderfully, undone And wrong with me Wrong with me enough to slam poetry So I'm guessing the white women I love beyond words and bounds are— In charge of whatever happens At the top of the rock; So I jumped off. I want to see someone suffer for all that I've done; No, that's dark, and karmic, you know— To go on like that; The confusions and refusal to accept that The album is called ChaosMagick, But the cover is more Urgent, A prose or a pawn of protection Against all the coughs And the reckless mismanagement The hands in my head And the eye on my scar And the lies on my heart So tell me, What happens When you're flying a kite with your heart, And it's broken? What happens to the kite , When you fly it with your heart And your art up in bundles— heartbroken, heartbroken So what come of Miss May, Come January? What come of Miss April By Next December what comes of the words I was saying For no one But everyone heard them And I've been gone Much longer than months, But still stocked up on all that I've wanted Or all that I got Or just, all that I love But got no undercovera to acknowledge no more How right I was Or how wrong I am What come of Miss June, when Miss January comes around? what come now, around August, Whe March is long forgotten? What comes of the drugs, Of the come ups, and come downs What comes of the process When nothing is served But the surf has come up Somewhere And I just can't love enough To go there I want to go to there I want to be that girl I want to sit at the top of the rock Writing songs, and sipping mock cocktails I want to Don't you know I just want to get back to Where I belong I'm so out of money and love That I want to be Under the train, When it's coming (Sometimes it's just the impulse that says “GO” Then the train starts to slow And my pain bubbles up into a numb, Dumb, crumbling cluster of poetry You know? Or you don't Cause you're all just on your phones Scrolling Some black man stands over me, Reminding me of why I never trust the ones Who want me most, Or just assume, By color code, That I belong to them I'm sorry, I just can't write with your arms around my neck like this Your heart around my arms like this It's so wholesome I had other verses but forgot them They took away my movies for the curses And the hexes That they put on me I said don't. And the king said “Heads will roll” Cause, you know; I've got parts for all of them now, The ones I'd forgotten But come from the catacombs, Back from the conduit You know, This is awful I had another one, But lost it. The king?! Which one. Teas I! No, it wasn't, It was Gían's father, From further off Should I call John back? Which one? Turns out, I love all of them— Turns out, I've got all of them In my college I taught them all to be someone Becoming of acknowledgement With nombres most common Juan, in subcultures, but Beyond that (Or above them) It's John, Or just Jonathan, Watch the ones who drop the consanant; They're always so troublesome, But I took them all up As understudies, Social Studies and some theatrics, Joan of Ark said Two more moments (Two more weeks in) I could have a body worthy Of a Grammy award, but — Would I be a writer then? Probably not, hon— Writers are Off a bit. If you were pretty, ever at all— would you have written this?! If I were pretty at all would there be reason to be this Conflicted? Some of those old New York hallways Haven't been painted In ages Since they made them Don't make that face at me I only dropped my key once On the fourth floor —they're horrible, you know To us, The “brothers” know no love They are destruction, speaking Of this, I got a cold heart. Cold like the robber Cold like the calling I've done in my corner office cold, like the jello mold forming a thought process Worthy enough I might love it like a husband We're re-evaluating your circumstances. Whatever the fuck that's supposed to mean. I've got friends at USPS What the fuck could that even account to. Look, I'm gonna have to give this some serious considerations. It's not that serious. It's not that serious. Of course it is! I'm up to my knees in investments! So?! I wade a waiste deep, Surely you can get by “Up to your knees” What exactly do you need? Money. And lots of it. I mean, from me. Money. Really? Leave me alone. I told you not to write this. You're a voice in my head; No, I'm the hand in your mailbox. What in the fuck do you believe in. I believe in everything! They said you were a genius; I didn't expect you to be —at the very least, lucid— *squints* learn some new vocabulary, okay? For what? Dinner. Maybe. We're still in the process of voting. She's crazy. We'd be crazy not to actually hire her. Her accounts are all practically open; We could just take it. Yeah, and when she kills herself, and there's no blood on our hands— There's nothing that can be done about the amount of this stuff that's already printed! Printed?! What?! You mean— She's published? Self-published. My, what a beautiful happenstance To have already had you And awakened atop mattresses Marked for my assassins hand— Polite, I lost you All of us, Atop the rock We stood and suffered Months beyond a montage, Undercover Love was lost, And all's uncertain The interception of God, At the cost of What terror and cutbacks Have caused us all What you lost was $50, a Hallmark Card, an Academy award, a long lost star's phone number, And all that you wanted, The cock of the gun Was the sound that you wondered What was called , then ran off into wonder. How am I gonna make money And become an award winning songwriter Music producer And multidisciplinary artist, Without all the funding it takes to get noviced Without taking clothes off Wake up 10 years younger I'm suffering My stomach was a rubber band My stomach was a rubber band My only song was Water I forgot to stop For the applause I drowned in all the love; right then and there I died of Lovenessness [The Festival Project] The sound and laughter of children play A baby in a basket The basket case at Trader Joe's Who know what happens It just doesn't pull my heartstrings any longer That my son belongs without his mother So I'd better have another This is us, come on. Don't do this to me. Don't do this, Timmy, you'll be sorry. Come on! We're not even in that movie! We are, though; it's still Listen, you've got the right guy for this. Are you sure. Yeah, I promise. Officers, Stop for a *movement [hot cops flash dance number] Fuck, well, that was all wrong. But worth it! What I meant was— God, this show gets good at 31, But I'm only 22, So I guess I'll know how wrong the war was Once we've lost it, Cause imm a man now The episode is over, Soon comes the next episode With snoop dogg, Or not That was our wedding album. Scatterbrained, and pregnant— There she was just putting all the things together That she needed to be Needed To be needed. There she was, All on 4/20 Trying not to do the wrong thing, But what was it? To be loved. Then, There she was at 21 just going off again At some event— A friend, and her Back then could not imagine They'd become him To be someone. Not as one, But of entirely another World apart, aside from Cyclones into snow cones Turns the watchers into artists All their own, And off my own accord Or own account Or done with boredom Dove soap Open doors And clocks that turn the other hand away, Each day you love Manhattan But can't have that. That's it— This is just Season 1 of Mad Men WHERE THE FUCK IS— [she throws her hands above her head in surrender] I don't KNOW! Oh, you're a girl now?! I guess! What's with those pants, then? To hide the assets! What assets?! You look tragic. I'm going for ‘skeleton' to match all your wives and everybody else on the red carpet Who said you get the red carpet? Manhattan. That guy lies! Well how about this: The walk of stars were carved out in blocks of marble All in my honor. 1000/1 You're our God, now. What! I don't want to be God! SUCK IT UP. YOU WON. I don't wanna! Yaaaaaaayyy. You got the award! All the awards! Speech! Speech! SUNNI BLŪ Uh—- I'm drunk, And there's nothing on the teleprompter [a man in the audience coughs] A-HEM. [Sunni Blū immidiateky shoots the coughing man] [multi-camera shots of celebrity audience reactions; laughing, clapping in hilarity as if someone hasn't just died] TAYLOR SWIFT (unmoved at all) SUNNÏ BLŪ I don't know why you're laughing. That was awful. That guy died [audience is insane, super fake as usual] [more cut takes] SUNNÏ BLŪ It should have been you, Taylor. TAYLOR SWIFT (Still unaffected) SUNNI BLU Anyway. I'd like to thank the academy… Cause I am the academy [Audience is celebrities being celebrities] SUNNI BLU You guys are all idiots: I'm a go f*ck myself— And anyone else who wants to show up At my afterparty. Whatever. Peace. [cheesy academy award music plays—Sunnï knocks over the mic, peaces out obnoxiously; the audience cheers wildly and the host returns to the stage.] Who's the host? Whatever. Hey, better than nothin. You're telling me. yeah. I know: Oh, she's a comic? Yeah. I got it. BOB SAGET Ooh, that's good. Ū No—no my God. No Bob Saget, stop it! Wait, Bob Saget is dead right? Last I recall: Fuck—FUCK! Dammit. Dammit, dammit. Okay, Rue— you're up. Rue, what in the— Shhhh, don't let them know I'm in here! Oh, wait— It's me, Blanche. That's hot. I'm a debutant. My god, you're so young. Here, take this, What's that, You'll need that. V.O. I'm being hunted by the ghost of Bob Saget. *haunted. No, hunted! There she is! Grab her! Ooh, Bob Saget. Why, yes. How old are you? Not dead yet! You don't have to kidnap me, I'll happily go with you, sir. Really? Yes. GET IN THE— NOH, GET IN THE VAN. INT. IN THE VAN. [a bunch of hot male celebrities are in the van] Oh. Okay. Wow. That was easy. What is it, Friday. It's Friday and a half. Friday.5 What. There's a Friday movie between 1 and 2 So I guess this is season 8.5 I guess this is season 8.5 HEY, GET BACK HERE. What is this. It's your lunch. I don't want this. Well, okay. What— is this strange music— They call it dubstep Come on, Jimmy, you're slipping Kimmel, cause Fallon is dead or presumed missing Probably Skrillex Probably a bounty on his head, Dog willing The Festival Priojects Inclement Infinite Is coming up next, on Legends Come on Jim, KEEP UP. Nobody can know about this, okay? Wait, where's Kimmel Okay, I got O'Brien— Black Irish Bastard… Alright, Alec Baldwin is a little tied up, right now, but LEMON, Fuck. That's l—future me. What?! I gotta go, okay?! What? Go where. Let's get DRUNK. No, That's—I got a show tonight What?! Look at my lexicon. Your—what, Meet me on Lexington. Oh, this pussy is finished! I got it, I got it! He's LENNONNNNN!! JOHN LENNON Fuck. Look, I gotta go. John Lennon?! You're dead! Funny, I thought not. Watch this. MOOOOOOOOOOOM. Fuck, What, It's my kid. I gotta go. Wait, you have kids?! Well, I just had you, didn't I? “The mayor” is a secret underground rap star lol #trappin Okay, What's else happened Idk hold on Okay, So whats the sauce on this sandwich. Oh. Jeez, this again. That *sandwhich? Hah. There's no sauce on that sandwhich. —there's not!? No: You see. It's very simple. WAKE UP, YOU'RE A ROCKSTAR. we gotta take the train. The train?! NO. NOTTHETRAIN. NO. Man, fuck the train! [SUNNI BLŪ wakes up on the train.] What's this, the train? [is the train] (Angrily, tossing newspaper) Man, FUCK the train! Other hobo: Aww, thanks, I need that for my— [s/he snatches back the paper]. Wait! I need that back—what day is it? [drunkenly illegible gibberish turns into perfect Hebrew] GODDAMMIT, it's Shabbat; I gotta get to Temple. [s/he shoves the newspaper back into the hobo's lap] Here. Oh no, I thought I couldn't forget RABI FUCK _]€_# WHAT WAS IT GODDAMIT IT WAS SO CLEVER. God So it was… What did you do with it? Do with what My idea what idea My—my rabbi joke— What rabbi joke you know what rabbi joke! You were the one who gave it to me. Oh, did I? YES, SATAN, JESUS. GOD Ohh, Satan-Jesus. I like that one. NO— it was— It was much better than that, it was— It was funny. Oh, it was? YES. —did you write it down? Fuck, I realize I just opened a A FUCK PORTAL. OHH, GET IN IT, GET INSIDE. I had an Artemis in my pocket But I lost him Walked away from the cornermarker And the cornerstone, for the sunset I wonder if songs always come When I'm walking, Or God makes us promises, For world of I'm not JB, I'm KG, Can you see me now? If you could see what I see, We'd be even wtf did I just write this And not realize I just wrote this Yeah. That shit happens to me all the time. WHAT. ALL THE TKMEx Shut up, THE ANDRE3K CHARADES GAME is getting intense. What in the FUCK is that. *flutes* Ohh. And KITES. yyyyyYYYYYYYAAAAAHHH—— GODDAMMIT. I can't see really, I just dream I'm not thinking, I'm dancing This is what you asked for Exactly what you asked for For once, I'm finally glad I have your eyes on My friend I can see you all on the horizon, Singing NO, NO MORE MUSICALS!! Jimmy, what did you do?! I don't know what I did! You lyin bastard. I'm not lying! So, where ya from? —I don't know where I'm from. Listen, I'm gonna need you SHUT UP, JUST SHUT UP. It seems like these scenes are getting shorter. I'm bored with this. Ok. Let's do something else. I fuckin hate you. I hate you. I fuckin hate you. 88. Oh no: 8 Wait, what the— *dolphin* WOAH, okay: Oh, no. No, No, no OHNONO. I told you I'd find him. Anyway. Seems like there's something more important I should be doing. Are you sure this is the right place. Right place. Right time. Fuck— FUCK. What, what happened. I lost my— SKRILLEX! No. SKRILLEX. NO, NO— SKR— I swear to God, Google knows everything. Google don't know shit about SHIT. I gotta lose m 39 lbs. For what. MADONNA DO IT FOR THE BANANAS. I hate— you. COME ON, MISTER. Fuck off, Madonna, I'M A GOD. I miss Beyoncé. That's not relevant. Beyoncé is relevant to everything. *smacks* QUIT FANGIRLING. Trust me, I hate you. I don't trust you, but I believe you. I got it. I hate this place. Holy shit. What. I developed a new phobia. What's that mean?! I don't know, I can probably use it in a fight or something. For what. SPECIAL ABILITY UNLOCKED. I see you looking over my shoulder I see the shadows, I try not to jump at em. I spent six months in a coffin, you know I spent my life a sarcophagus (Wow, I got it right.) Try not to mutter those haunts in a hospital Try to recover from trauma Uncovered post traumatics, Anxiety attacks and a lot of those— What do you call them? A flashback. Here goes one: SONNY MOORE aka SKRILLEX appears. I told you not to— But I did! I didn't mean to! But you did! This is ludachris! Oh look, it's— Fuck. God dammit. Come on! What's his name!? What's his name?! I'll think abo it it. Are you serious? Another shapeshifter? Yes, I guess welll just have to kill them all, then. I just want to go home. You don't have one. …oh. So here we have. Okay, wait a second. I wasn't faking my symptoms at all, actually. My heart had dropped, and been pounding and fluttering insessantly— It had been a hard week, but especially the last three days; The coughing—. Everyone seemed to be wearing clothing with stars or bears on it, Champion sportswear. I fucking hate champion sportswear. But the palpitations were real as ever— and now— On a Saturday night in the Jamaica, Queens medical center emergency room, There they were again. Only this time I knew exactly why. ‘Too Bizzare' by Skrillex begins to play, via Complications 003- The Trauma Method. Irony. It was ironic, but still startling, Started with some nostalgic traumas, Every other time I saw an ER doctor (Why I don't go) Fuck, I just realized I have to airdrop myself 880 times. That fucking sucks. Did you say you were a doctor? I was, once. When is “once” At some point. Listen, I'm gonna need you to backtrack to get to the bottom of this. I'm innocent, I promise! We caught you at 27 different angles doing this. Oh. [beat] I plead the 5th. Ohh. Cerulean. My favorite. c R A Y On Oh, I get it, I L L U M I N A T U S. Nice, it worked. I know everything about you. So you do. [beat] You're a God. What the fuck do you want from me. Listen. I. Am not. A God, Right. That's exactly what a God would say. No they wouldn't! Because a God wouldn't say anything! AHA. Don't ‘AHA' ME. I don't mind, at all It don't matter— to me I don't mind, at all It don't matter—to me Might as well not think about it The space between us Might as well just stay awake then No sense in leaving Just to come back It don't matter to me, now Now and again I go crazy just making arrangements, But besides that, If you like it, you should have it It's a long road, As Kaskade says, And a short dance, With the right one And time goes by I would call it mild, But actually I'm in a wild panic It might be a heart attack I just might even Die right here But I don't mind, at all It don't matter—to me I don't mind—at all It don't matter to me, I said I don't mind, at all, now It really don't matter to me I said, I don't mind, at all It really don't matter to anyone Now does it (Not it doesn') I don't mind, at all It don't matter— to me I don't mind, at all It don't matter—to me Might as well not think about it The space between us Might as well just stay awake then No sense in leaving Just to come back Palpitations and precipitations at the pulpit Preacher, please don't make me a culprit I been prayin— I been paying my tithes, 10% Even, Now 25, Almost half of me is not mine! Why try? I've been walking out, in straight lines I been crying silently It ain't right I been making most of my nights Sometimes I see sun come up twice Up, down up 10 degrees, It ain't right Up down up 33, it ain't right Up, down, up I've been spending my time Down, up, down Riding round, Trying not to down in my mind Up, down up What is this. It's my project. What is it? The Festival Project. Yeah but—what— What. Is it? …it's my project. *painfully infuriated* Okay, enter here. EXAM ROOM 10 Why exam room 10? Because. Where are the other nine? Just—get in. I'm not going in there! JUST GET IN. UGH. DEADMAU5 (head and all) stands at a tall podium in the center of the room) What is this, This is deadmau5. I know that. —-!!! —?!? What. !!! What? This is the exam? Yes! NO. What is “no”. I'm not playing for deadmau5. That's the exam. Then I fail! Automatic Fail? yes. Automatic fail. Then you win. What. *slams gavel* Congratulations—you're the next superstar DJ. WhY. . What. Woohoo! I just retired! DEADMAU5 exits. … … After a few moments of comic tension, the Deadmau5 head rolls back in through the exit which he has taken. Ugh. Fuck this. No matter what you do, you're a superstar DJ. What. No! Yes. The answer is yes. NO. Fuck. What the FUCK. No matter what you do. You want to go, Go, you want to die, Die, you want to try, try You want to cry, cry Do what you want; As so will I, Demand is demand— Supply is supply. EDX So then, I followed this long hallway under the stage deck. Uh huh. And it led to a door— Uhhuh, where'd the door lead? To a portal. Woah. Pasqualle! You made it! I—yes. Congratulations! *blows party horn* *Daisies/ confetti* You're like 25! I'll be 25 forever. Nice! Yeah. I guess that's why it's called ‘music'—a musician without muses is just useless. ‘Well, whose next?' I wondered. All of my muses were not just so wonderful to me, but adored by many—and perhaps this is what allured me most—beffldled ans confounded me; once my mind was set on somehh th int, there was nothing else its eye could see—and for how long one God could only know, how deep the love would go and that the blood would run deep, and the scars to show for it, only upon my heart and never by soul—for a love was a love, and even once came and gone, to the end of my life I knew I would still ponder upon them, at one time or another, my muses—star studded lovers, rather than crossed, shiny and golden like all diamond and trophies so treasured and thought of as precious. ‘Yes, you are—precious.' Another tongue in cheek thought, for the other that I was, and also was not, as summer drew onward as short as it would come and go—a reminder to leave the apartment more often, and to mind my manners, to find the upper echelon wherever it was and come quietly into its doors, to open my world and wordform of thought, into a place where my heart always was; then, and only then, would I be home. Amongst the men and women of the uppercut and classy, luxurious big fishing ponds and flocks of doves upon olive branches—the peaceful world long parted from where mine was, by only the fault of my own. What had been done just certainly was, and yet, what was to come was an open poem, not of mine, but Godform in thought. ‘I wonder what's at the top of Rockefeller Plaza.' —perhaps, a gander at the bottom of an even larger entertainment complex. Then, again, only God would know what was beyond all that I wanted; a job—and not just any job at all— the one that I had always wanted. Mmm. Birthday cake. Suddenly the taste of a white confetti crème filled my mouth with a delicious remnince of what it might be like to taste a confectionary sugar again—but i couldn't imagine ever making it just on talent and charisma alone—no. Indeed, it seemed something had damaged my charm, and perhaps it was just the swarms and droves of phone controlled masses that saw me as nothing more than dust, I had started to surrender my desire to perform, and the quality of my music—along with my ability to make it, suffered with the awful thing that had been crowding my soul at all—whatever it was, evil and dark in nature, sure saw to it that it wanted to hurt me in all the ways that it could—and in all the ways it could not, I stayed away from most others, favoring my delisuins of love. ‘Nobody seems to understand that the pain they cause will only harm themselves.', I thought Younger souls, however, they were—and they would be kept in the pain that I was in one way or another until eventual death, far behind me on the infinite road to the source. Far enough behind, that it seeker to destroy my progress, and for all that it could, it also couldn't. The infliction of pain would simply not act as a measure for control any longer. Of into my own world, where I was at least free from the thoughts and judgement of others. She's the most beautiful girl, And I'm the most beautiful boy; So naturally, we belong together, don't we? I see a pretty picture, Picket fences and a family Golden Retrievers Someone reliever her; She doesn't believe me TV dreams and exquisite pretty people Burning candles, fire flames and frequent figures, Guest characters and cameos, Repeat offenders, multiple appearances Suddenly, really, it's another need People, people pleasers Audience affection, Tragic endings, Butterflies and new beginnings Gun under my tongue, Rubber like a frog My mind is in a fog Haven't bothered going on a walk To Trader Joe's but The anthem of my youth, A lost soul Another form of my love So what I wonder Put the gun up under my chin Rubber like a frog Blow my head off Just cause I didn't blow up Selfish cunt Big brother, Another hypnotist Little brother, Gotta love him Gotta love em For the Love of God I could stop for a moment Wash my mind out with soap Like I'm ten years younger, even Seriously 20 years between us, You can't even hide underwater In a bathtub Seriously, Someone help us For the love of God, for the love of Hollywood Seriously, Someone love us, For the love of God, For the love of Rockefeller Plaza Someone help us Another possible walk of stars A little shop of horrors Another whole story I get rid of my demons The hoes screamin I put semen in her Permanent like semen, Just keep dreamin I'mma just keep preaching SaMo, Brooklyn Europe Next I keep scheming Whoever you are; If you're a wreck— You need a check No respect, neglect Just cover your neck (I'm blind to my own design, sometimes) That's what the eye is Try this: Close your eyes and say thrice, kids I am the God of the eye, Osiris I am the Gid of the Eye, I'm Osiris I am the God, I walk amongst the highest Thoth, You lost Better just die and keep trying I am the God of the eye, I am (Try this) I am the God of the eye (I never due) I am the God of the eye (That's right, three times) I am the God of the eye No black and white television, In my dimension we pay attention to centrifugal, The mission isn't in materialism, Whatever your spending If money the God,l of your eye, Realize, I am higher My gunfire, Is right on the back of The one dollar I am the God of the eye I Am Your money is nothin to us We come in peace, To end suffering Pretty little nigga Look just like Kendrick Kickin it with jigga I'm the new hits boson Part of me never left Boston (Fuck Starr!) Part of me never left homeless This ain't my home It's my office You never heard this song You don't notice I'm an ugly kid, you don't notice me Rooftop smells like soy sauce On god I am ugly You don't notice -Atari the God Can we get back to this, please? Damn. She really whooped her ass, though. Janet, can I borrow you for a second? No. Please. [Whoopi Holdberg appears in the doorway, gesturing “c'mon”] …alright. I got convictions on my lips, I took a picture Turn the page The worst of all was, it really did seem like they were racists— INSOMNIAC EVENTS Not just racists— the most deadly kind of racists. WHITE SUPREMACISTS You really want it this way, don't you? No! I LOVE you! Oh, do you? If there's a mile in here, I swear to god.. Are you high enough yet? I thought so HIGHER! hire star* What. Just do it. You remember these guys, right? GOOD CANNABIS, FAIRBANKS, ALASKA No. Why are we back here. Alright, we might have fucked up. Why. This guy sucks. HEY. What. COME BACK TO ALASKA never that. WHAT, WHY NOT! GOD HATES FAGS!!! Well, you're wrong! WHITE POWER. Nah. ALL LIVES MATTER O rly? Even this guy? Literally every “NO” …so, all lives. Look, I don't care what color it is; I want that book in my library. GO TO THE LIVRARY. NO. GET IN HERE. NO AUBREY. STAY DEAD. She's dead, right? YOU CALLED ME HERE. I didn't! You Did. I did not, all i said was *swoons* …I love her. (I really do) WHAT?! “I Love you?!” It was more the *swoon* that did it. Disconnect. Fuck, I lost deadmau5 again What'd you do to him? Nothing! Put him back! He's still there! He's right there, you see him? No! This isn't deadmau5. We want deadmau5 bring him BACK. Fuck, I fucked up. What'd you do? …nothing? Pick up the phone Pick up the phone …hello? Who IS this? Fuck it, I quit. Man, God never puts my dishes back in the right place, like ever. I told you, I don't live here, I'm just… Babysitting. CC! What! CC! What? CC WHAT. Fuck, man. That was wild. Where the fuck have you been? I don't know. You don't know—you smell funny. “Funny” is that what that smell is? No. When were you? When? Ha. Did you—- Did I what? —did you go to a party without me? Lmfao fuck these niggaz. Why, what happened. What's this. Where was it?! Idlewild. “IdLeWiLd”?!?!? You. Old. One here and die, you know l It's cattle call for curtain calls guy Where did this go— What was this, once? It's the return Welcome to Oz This is the Tower of Babel Remember; I wrote that Better than the bottom, Still not the top —it's not as fast, when it's not going all the way up Did you jump yet Come around more Keep coughing Are you sure this is where it was or—? Somewhere else I stayed Back when I was homeless It's hopeless! We lost her Antenna, antenna SUPERMARKET I loved her —she was undercover —I'm still in your stirrups I'm lost in New York, then BACKFIRE Adele remix is on have a seat Can I go now? I still need a hat, a half dollar and an alter cloth You could win an award for this; I don't want an award, I just want my son back Motherhood, motherhood Brotherhood, brotherhood This isn't one of us! No one was No one was Can I go now? Where to? Home! Nope, that's just the office, I'm still homeless, unless I They got cabanas on top of offices! (The rich and the famous Networking and brunches— _this looks fun, doesn't it? I altered the course of history In brief exchanges and Various social atrocities This is hypocrisy! lol rly This is hypocrisy!! Hyper awareness and, psychic inclinations… You realize the more low quality people you let in The more low quality this country becomes, don't you? I put a roll in the back of the chosen ones. Used to be cast more, Now something seldom ever happens Such as this— A fun Fortune 500 What does that even mean Forbes. Look it up. What if the policy is Foreign; Look it up. I know enough about the girl next door to know Something is horrible, Something inside of her Rots at the core, Her obsession; My undeservedness of such, What she must, I mustn't, just Unjustice Broski, okay I got to discard All the pichardo Besides just this one (I'm standing on top of you) Put somebody worthy on the fourth floor Worse off, I was done for Before I got to New York What's her for?! I know enough about the man upstairs to know All these glares and “How dare you's” and Hatred says Why would you wait 30 years Until today, I guess Something is certainly off about her. I said yes. It was more probably something like “SUCK MY DICK” What. “YOU HEARD ME” Oh yes, I did. From 1990 to 1993 From 1990 To 1993 From 1990 To 1993 Stop breeding these things, “Love is familiarity” No Love is what you make it But you can't Because of slavery They don't make music —they don't make love either Well, look where your lust took you! Nowhere! Exactly! Look where your love took you: Vegas, Los Angeles, South of the Border Above it a New Yorker— Under budget, Celibate and My arms are too short to jump the turnstyle, Meanwhile My ex husband left permanent scars on My face My lips My arms My hands And my heart. Did you bite him? Of course I bit him, he was strangling me. You definitely won this fight. I know. Look, if I don't call for security, This bitch is gonna make me kill her. OCTOPUSSY NO. What. NO. Stankass. I will KILL this bitch. Look, I gotta get ahead in this. I need a WIN. These are customs. Trash. Wash your pussy. Send her back. Nah, you know what. Remove that hex. Wait, what, really?! Yeah, like; Reverse it. Woah. That's crazy. They got like….white slaves now. That's not right. What do you mean. That's not it. You said “reverse it” This is what the white supremacy just did to everyone else: [world in crisis except for for people who look like Kayla Lauren, to whom EVERYTHING is a fucking crisis, that isn't] BECKY/KAREN/WICKED WITCH OF WHITE AMERICA I AM OFFENDED I'm offended that you signed your like 12 year old daughter up to pose nearly nude, but— Hey look, it's us now; is this freedom?! Uh…. Why are all the female models like 12 and all the male models are fully grown men— Or women. Right. Idk. Wait, I do. You do?! Wait. Something tells me all the pedophiles and all the white supremacists are in the same group… Run the same businesses— Have the same families. This is disgusting Okay, this is gross That's not right ! That's not my job! Oh, it's not!!? NO. Who should I call That guy. So you want this? Oh, it's a death curse?! It will NEVER end. Wanna bet. I'll kill you and take the whole world with me. Now that's a threat. Thing is, I'm actually making it. I'm telling on you! Ok. Wait 30 years though so you look and sound REALLY fucking stupid. Ok. 30 YEARS. Doesn't make sense. What's the statute of limitations for— Hm. Depends. Depends on what. Who are you?! WHO ARE YOU?! NOBODY YOU SHOULD KNOW ABOUT THEN WHY DO I? wtf is this? This is Texas being petty. Ok, fuck ya‘lol YAW. I'm serious, wtf is wrong with you. Something. What. Fix me. Fix you. Hm. Ok. *COUGHING* Somethings wrong here. Yep, it's definitely some kind of FIX IT. Where's this ROCK? At the ROCK. Like, where tho?! Ur gonna need this. What. They r crucifying u. Noted. Hunts Point Food Distribution Cente Lmfao I need this word hold on eliminating redundancies, setting strict timelines, and allowing cases to proceed contemporaneously [ Finally, recognizing the danger that social media poses to young people and mental health, New York City Department of Health and Mental Hygiene Commissioner Dr. Ashwin Vasan today issued a Health Commissioner's Advisory identifying unfettered access to and use of social media as a public health hazard, just as past U.S. surgeons general have done with tobacco and firearms.] A win. I don't play dead. What do you call this: DIE! DIE, BITCH! Corrections. I still don't understand how this— ACID HAPPENS. Out of sight Out of mind So why these guys Tryna waste my time Tryna fuck with my mind with All these lights OH MY GOD I ain't got time for that Well, Maybe I do— I just Don't like NIGGAZ LIKE YOU. (Say what) I don't like Niggaz like U! I'm Sunnï Blū! You're stupid Oh, so he put a curse on sunni blu, too? Ok. Cool. When all my aliases come up This dumb motherfucking drunk Is gonna get stuck In his own woods He'll bury himself In the words that he left With the scars In the words that he left With the scars Sunni blu Is the sayer of stars I slaughtered them all Swallowed them whole Like a big black hole I'm a big black god I'm a big black God Fuck Twinkle that broad One punch girl One punch girl 5 punch faggot I'll unwrap flags on your Goddamn Fuck that Put a curse on my alter ego Lucky he's a he, tho I blow holes in em I blow smoke And love sausage I'm a hedon And he not a Hero He broke He lost I'm open Shirts vs skins I got 666 Curses to show you What your words did IM RA I'm a big black God You're at home with the young apostle Let's be honest He never even liked his father So turned him to a mother, Told his mother to run far, And bring back The life that I want I'm a big black God In light skinned clothing You don't know to explode Or explode on me Cause my mommy's a Dark skinned icon That my God Find something to pass the time, God Sunni with I, huh I won Fuck a pedophile wifebeater Bury him in the woods with his fury Fear me, now I'm coming up with reverse curses And cures Cause my words Bought the whole world Buried you in the woods I'll bury you in the woods, Bitch Very good I'm a big black God -Blū. GOD is the GOAT I just became god I do what I want I get what I want when I want it I don't want no problems Me myself and God only I buy everything I used to steal These tears in my heart say I'm healing What's the difference, anyway? I've never been fit for your interests, or industry Add insult to injury Add everything to my Amazon cart, then My sympathies Nothing is greater in heaven As it is in hell, for this industry Turned on its head And turned over from 7 to ten Check your messages, then Shut up kid, this doesn't involve you You're not included in the package Michael c hall and John c Riley reprise Mr. Cellophane in the style of DEXTER MORGAN. HA. Classic. GOT EM. V.O. I met her at The Jumping Point {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

Puntata a cura di Jacopo Bulgarini d'Elci e Livio Pacella.La serie statunitense Better Call Saul è stata ideata da Vince Gilligan e Peter Gould – rispettivamente creatore e co-autore della mitica Breaking Bad, di cui è uno straordinario spin-off. In onda dal 2015 al 2022 per 6 stagioni e 63 episodi, è stata acclamata da pubblico e critica. Nonostante ciò, Better Call Saul detiene il non invidiabile record per il maggior numero di candidature agli Emmy senza alcuna vittoria: 53. Ponendosi prima, durante e dopo le vicende di Breaking Bad (quindi prequel e sequel al contempo), Better Call Saul come raccontiamo nel podcast mette al centro la parabola esistenziale del mefistofelico Saul Goodman (Bob Odenkirk). L'assurdo e pittoresco avvocato della malavita di Albuquerque (e dunque di Walter White e Jesse Pinkman, i due protagonisti di Breaking Bad), di cui lo show racconta la genesi.“1 classico in 2” è uno dei format del podcast di Mondoserie: conversazioni a due voci su serie che hanno segnato l'immaginario.Parte del progetto: https://www.mondoserie.it/Iscriviti al podcast sulla tua piattaforma preferita: https://www.spreaker.com/show/mondoserie-podcast Collegati a MONDOSERIE sui social: https://www.facebook.com/mondoseriehttps://www.instagram.com/mondoserie.it/ https://twitter.com/mondoserie_it https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ https://www.linkedin.com/in/mondoserie/

On December 30th, I hosted a webinar called “How Professional Screenwriters Overcome Writer's Block” and I talked about why story structure is so important in getting past this block. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesA Paper Orchestra on Website: - https://michaeljamin.com/bookA Paper Orchestra on Audible: - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:Everyone wants to be a showrunner, which is again, why it's so freakingMichael Jamin:Hard. I want to make all the decisions, but you don't know based on what youMichael Jamin:Don't know what you're doing. Why would you want that? Is it an ego thing you want to tell people you're a showrunner or don't you want to learn? Do you assume? When I was starting off, I didn't want to be a showrunner for 10 years. I didn't want to be a show runner. Like, this is a hard job. I don't know how to do it.Michael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase and to support me in this podcast, please visit michael jamin.com/book and now on with the show.Michael Jamin:Hey everyone, welcome back to another episode of What the Hell is Michael Jamin talking about? Well, we're doing another q and a from one of our webinars and my special guest host is Kevin Lewandowski, script coordinator extraordinaire. He helps out with a lot of my projects, social media projects here and he's subbing in for Phil and he's doing a great job. So welcome Kevin.Kevin Lewandowski:Thank you again for having me.Michael Jamin:You screwed it up. You already screwed. No, I'm only messing with you. You're doing great. Thanks.Kevin Lewandowski:Yeah, I'm not going to apologize for not being Phil anymore, so fair Phil. But no, I'm happy to be here and this how professional screenwriters overcome Writer's Block is one of my favorite topics to talk about. Oh good. So I think it's super, super interesting and there's been, when we dive into it, I'll say my favorite line that you always say that just unlocked the excuse sometimes we use for when we have writer's block.Michael Jamin:I'm curious to know what your favorite line is.Kevin Lewandowski:Alright, I have so many Michael Jainism that I think my all time favorite is Shit Happening is not a story.Michael Jamin:By the way, we have that on merch now, guys. Yeah, we do. We got merch and you can go get it@michaeljamin.com/merch where all the crazy things that I say, you can get it on a on mug or a notebook or whatever. We got merge. Go get it. I should have plugged it before, but I forgot. But anyway, these questions came from our last webinar that we did and if you're not on my webinar list, sign up for it's free. Go to michael jamin.com/webinar and you can sign up. You can be invited when we do our next one. And so yeah, Kevin, we had a lot of questions people asked. We didn't have time to get all the questions answered and so here they are nKevin Lewandowski:Here we go. These first couple of questions are going to be about kind of course related stuff. So this first one is from David Zilo. I feel like we see his name a lot. I feel like he comes to these webinars a lot and ask a lot of questions. The question is, how does the story structure change when say a character does not, cannot achieve a goal in the tragic story, for example,Michael Jamin:Doesn't change at all. It's the same old story structure that we use. Whether the character achieves their goal at the end or not, it's the same damn thing.Kevin Lewandowski:Yep.Michael Jamin:The guys you're just asking, he's just asking at the end, what if the last two minutes are different, so what? Nothing.Kevin Lewandowski:Yeah, I think it's always more interesting for me when that character doesn't achieve their goal. I think the breakup with, but yeah, Vince v and Jennifer Ston, they don't stay together in the end. No. It's one of the few rom-coms that I think they decide to go off the beaten path and not haveMichael Jamin:Them end often. We call this the joyful defeat in a movie or the character doesn't get what they want, but they get what they need. Yeah.Kevin Lewandowski:Next question, Rob. Robert, when is the latest the stakes should be made clear?Michael Jamin:The sooner the better because the story does not start until the audience knows what's at stake. And so until then you're boring them and you're daring them to change the channel or read another script or do something else with their time. So the sooner the better, and that's a note you'll get from a network executive. They'll always say, can we start the story sooner? And so wherever you have it, they'll give you that note. If it's on page four, they'll say page two.Kevin Lewandowski:In your experience, is there a realistic, for instance, if they were like, oh, it's on page three, we need it on page two, have you ever run into We just can't. We need a little bit of room to be able toMichael Jamin:SetKevin Lewandowski:SomethingMichael Jamin:Up. Absolutely. And so you'll move it up a little bit, but sometimes there's only so much you can do.Kevin Lewandowski:Yeah. But yeah, like you said, they'll always say, oh, can we start this sooner? Yeah, we'll take a look at it. We'll take a look at that. Coley Marie, can the goal change or appear to change?Michael Jamin:Yeah. Yes. And often it sometimes will. It's like because something happens and what the character thought they wanted is not what they want anymore. So yeah.Kevin Lewandowski:So how do you feel about, because sometimes it's, is there a fear of if you start writing it too much of a change, can it almost feel like, oh, okay, now we're following a different story to,Michael Jamin:It usually happens kind of like an act top of act three with the character discoveries. This thing that I wanted turns out I don't really want any. I got what I thought I wanted and it's not what I want. So that's usually late in the script.Kevin Lewandowski:Yeah. So you're saying in top of act two, if they wanted to,Michael Jamin:It wouldn't be top ofKevin Lewandowski:Act ride a pony at the end of act one. Top of Act two should be like, well, I want to win this prize at the CarnivalMichael Jamin:Now. Yeah, top of act two is one. Well, this is what we teach in the course. What tab of Act two would be, so yeah,Kevin Lewandowski:Arius Kennedy. So should we avoid high stakes conflicts?Michael Jamin:No. The higher stakes are good. High stakes are good. Higher the stakes are better. You want to avoid low stakes conflicts.Kevin Lewandowski:Yeah, low stakes conflicts are not that interesting. Heather Marie, vital, how do we find conflicts for TV shows with main characters without getting stale? That's kind of the job of a writer.Michael Jamin:Yeah, that's right. That's exactly, that's the job without getting stale, it's like, and again, this is not her concern. Concern. Your concern is to do it once and then let's a showrunner worried about it getting stale. Right now your job is to write one great scriptKevin Lewandowski:Are Barry, when it comes to an episodic show, there's the overall show conflict and then the mini conflicts of the episodes. So I'm assuming they're talking about, there's the A story, the B story, the C story,Michael Jamin:Or maybe they're talking about the overall arch of the show. I'm watching Show Gun right now and I'm only on episode one, so it seems like the overarching stories, how is this one? I dunno if he called the futile Lord going to maintain his position in the kingdom, but within each episode he has a challenge that he has to overcome, so to make that larger prop goal happen.Kevin Lewandowski:Meg Parker Wilson, when you are writing a TV show, do you plot out the entire story pilot to finale and then create all those moments episode by episode in terms of the arc and the structure?Michael Jamin:No, it's too much work. It's too difficult. What you really, and again, this is not something that she needs to worry about, but maybe she's just asking me out of curiosity, we'll come up with a pilot and we'll have that pilot broken. We know what that story is going to be and then we have a vague idea of what season one might be. But I'm talking vague, just enough to bullshit our way through this because it'll change when we're breaking the story. As we discover writing and digging into the character, we'll discover something that might be better. So what are we going to do? Not do it just because we said we were talking out of our ass that this other thing was going to be better,Kevin Lewandowski:Right? Yeah. I think Vince Gilian, creator of Breaking Bad, I think he says something very similar. Yeah, we kind of have an idea, but part of going through different story ideas is you discover stuff along the way. Jesse Pinkman was only supposed to be four or five episodes, and then now they realize how much chemistry those two characters had. And could you imagine, would that show have worked if they would've killed off Jesse Pinkman? Because they said, well, we said our pitch, we have to kill em off after five episodes. We have to stick with that.Michael Jamin:I'm always surprised that people don't know that and they're worried about breaking the entire series. It's like, but breaking one episode of television when I'm talking breaking, figuring out what the story is and writing the outline in the script is so much work. How could you possibly do all that in advance and you have a team of writers doing all that work.Kevin Lewandowski:Yeah. Yeah. It's interesting. Sometimes you'll see people that'll talk about, yeah, I have this TV series I wrote and I have the first eight episodes done, and I'm like, oh, that's a lot to do withMichael Jamin:No theyKevin Lewandowski:Don't. One person,Michael Jamin:They really don't. They might have enough for one episode and they broke it up into eight episodes. They don't know any better. That's very common. I thinkKevin Lewandowski:I remember there's another example on friends that one of the writers was talking about. It's probably one of the more iconic moments of the whole series is when Ross is getting married to Emily and Rachel shows up and he ends up, he accidentally says Rachel's name, I Ross take the Rachel. And the writer was saying that wasn't anything we would've ever thought of. It was one day we were rehearsing or something like that. And he accidentally said the wrong name. And as writers, we all laughed and we thought that's super funny. He was like, we had the aha moment of like, oh, we need to include this. And that little moment had so much of a change for the rest of the series. Now it turned into, well, Emily will make them now. Okay. It's clear that Ross is still in love with Rachel and Emily. She's only going to come to New York if Ross stops talking to Rachel. So it was just that little moment of discovery and what would that scene or storyline have been if Ross married EmilyMichael Jamin:And they discovered that by accident and rehearsal and what are you going to do not do with this and that, that moment everyone gasped in the audience and people at home gasped. So what you not going to do it?Kevin Lewandowski:Yeah, and I don't think in their pitch they're like, okay, season five we're going to have Ross marry this British girl, but when he is actually up there, we're going to have him say Rachel's thing. It was just discovery.Michael Jamin:You don't think that far in advanced. You can't. It's too much work.Kevin Lewandowski:Let's see. So this next question from Sarah, there's a bit of terminology from your course, so I'm going to not use that terminology, but does the end of act two have to be in direct relation to the conflict with the introduced in the first act? Can it be attributed to a different relationship conflict?Michael Jamin:No, no, no. Pretty much no. If you're telling one story that's your A story or your act two break to be on the A story. If it's coming out of nowhere and it's like, what's this? It's not going to feel earned. It's going to be like, what's going on?Kevin Lewandowski:Rob, Robert again, how do we make funny? Because it can be so subjective.Michael Jamin:Yeah. One thing I say is in my course, I can't teach you how to be funny. I can maybe teach you how to be a little funnier. I could give you tips that will help you be a little funnier, but if you're not funny, I can't help you be funny. It's okay. You can write drama. There's plenty of work for drama writers and just write what you're really good at. But it is a little heartbreaking. I see sometimes when people, I want to be accommodator, but you're not funny, so you don't have that in you. That's okay. Write some other stuff. Drama's great too.Kevin Lewandowski:Yeah. One of my other favorite things you say, and this wasn't the one I was talking about earlier, is you have to find new ways to say old things in a funny way. Yeah. Every version of a joke has been told to a degree. So how do you make it relevant to today and your story and your characters and make it so it hasn't been heard that way before.Michael Jamin:You know what though? I just got an email from, I don't know how I'm on this list, whatever. I got an email from a writer and she's doing a public appearance and she said, come see me the headline, come see me. I don't bite. And I'm like, oh God, you're supposed to be a writer. Don't tell me you don't bite. That's so unoriginal. That's so clammy. That's not something a writer should ever say. Find a new way to say, I don't bite. I was so unimpressed. I was like, oh God, you just embarrass yourself. Don't do that. You're a writer. You have to find a new way to say old things.Kevin Lewandowski:Yeah. Okay, so these are kind of more craft related questions, Nathan Shapiro, what are the rookie mistakes you see new writers making both in writing as well as from the business side. What is something you wish you had known when you were starting out? And then part two, which I think this is actually part three, do all supporting lead characters need an obstacle and goal? Or is it sufficient that they're simply there to facilitate the main hero's journey?Michael Jamin:This guy's gotKevin Lewandowski:Questions. We'll split this up. So the first part was what are the rookie mistakes you see new writers making both in writing as well as from the business side.Michael Jamin:I mean, a rookie mistake in the writer's room is what we call when they bitch instead of pitch. The expression is pitch, don't bitch. So it's very easy for a new writer to shoot down an idea in the room without having a better one because it's hard to come up with a better one. So that's a rookie thing. I don't care if the idea on the table is bad, if you don't have a better one, shut up because it's what are you there for? You're not a critic. Your job is to make it better, not to say this is bad. AndKevin Lewandowski:Also don't defend your joke if the showrunner doesn't think it's good. If you put something, they're like, ah, I don't really know. Okay, that's it.Michael Jamin:Don'tKevin Lewandowski:Fight for it. Don't just let it go. Think of a better one.Michael Jamin:What was the other question?Kevin Lewandowski:So the next one is, what is something you wish you had known when you were starting up?Michael Jamin:Well, to be honest, everything that I teach in the course, I didn't know any of it.Kevin Lewandowski:Yeah, I think it's just, yeah, I mean, again, Michael's course has unlocked a lot for me and someone that's not a very intelligent person, he really simplifies it.Michael Jamin:Yeah, make it easy.Kevin Lewandowski:It's easy to understand. I don't understand the terminology of progressive complications and sight incidents, all that stuff. IMichael Jamin:Don't understand it either.Kevin Lewandowski:Any sense to me? I won't tell you what the terms are that Michael uses. You'll have to take this course, but they're much easier toMichael Jamin:Understand. Yeah, I think writing should be simple. It's not easy, but it's simple.Kevin Lewandowski:And then the last part of this question, do all supporting lead characters need an obstacle and goal, or is it sufficient that they're simply there to facilitate the main hero's journey?Michael Jamin:Well, often they are an obstacle in the main hero's journey. Sometimes if you don't give 'em too much to play, they can be the Greek chorus, but generally every character in a scene has to have an attitude on something, and if they don't wire in the scene, if they don't have, they're not just there to stand around. Yeah.Kevin Lewandowski:So do you also think when in the context of the story structure that you teach in your class, those B stories that aren't necessarily as emotionally empowering as what the A story is, do you think it should still follow all those structure points or just enough or doesn't really matter?Michael Jamin:No, a b story doesn't carry the same emotional weight as the A story. So it doesn't actually have to carry, it doesn't have to be structured the way an A story is, but stuff does have to happen and it can't be random. It has to be on that story that we're following.Kevin Lewandowski:Okay. Next question. If it's an ensemble cast, like Orange is a new black or stranger things, does each character have to have a stake or only a main character? So very similar to thisMichael Jamin:Question. Yeah, usually you're following. I mean, I haven't watched Stranger Things in a long time. Maybe they have two or three running storylines in each episode. I don't know. They probably do.Kevin Lewandowski:Who is the hero in horror movies like Friday the 13th? Is it Jason or the person who survives at the end?Michael Jamin:Well, you're not rooting for Jason. You're not rooting for him to murder everybody. And again, I haven't seen those Friday the 13th movies, but you're rooting for the person in the summer camp.Kevin Lewandowski:Michael. Is there such thing as an anti-hero?Michael Jamin:Yeah, of course there is, and I talk about that, but the problem is I think it's unnecessarily complicated. What's interesting, an anti-hero and a hero. Why don't you just call it a hero and make it easier on yourself? Oh, because your anti-hero is a little bit unlikeable or a little bit dirty or villainous. Well, that's okay. There's still a hero.Kevin Lewandowski:I think there was an example you used of if you're writing something about the devil, him being what we all think the devil is, that's not interesting. You make him where he has compassion with some things and you give him layers like Sopranos. You talk about the example as well, and I think it's those villains are, they're the hero in their own story. We may not agree with it. They're the hero in their own story though. Yeah,Michael Jamin:I think Tony Swan, I don't think he's an anti-hero. I think he's a hero.Kevin Lewandowski:Okay, next question. Do you have to know the end when you start the story? Can it change?Michael Jamin:And often it does. You'll get often it does. Often it does, but usually when we're breaking a story on the board in the writer's room, no one sent off to outline or script until we know what the ending is. But it's not uncommon to get a draft back and you go, you know what? This ending isn't working. Let's figure out a new Act three.Kevin Lewandowski:And in your experience, do you think for something like the ending doesn't feel right, do you think that was potentially because it wasn't broken in the best way? Or do you think the writer didn't maybe necessarily deliver the dialogue the right way?Michael Jamin:Well, often problems in act three requires solutions in Act one. So in other words, it wasn't set up right. The ending wasn't set up early, and so it's unusual to say, okay, all we have to do is fix Act three. No, you got to fix all of it.Kevin Lewandowski:And that's when you have the really late nights and you do dinner in the writer's room, which everyone hates when that PA comes around is All right. What does everyone want for dinner?Michael Jamin:Yep.Michael Jamin:You are listening to What the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity, and carcass Review says Those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book, and now back to our showKevin Lewandowski:From Rachel. It helps to do homework before even writing. Yes. If you're new to fantasy, read some fantasy scripts or books first.Michael Jamin:Sure, a lot as much as you can, but I'd also ask you why you want to write fantasy then, if you've never read any or what's attracting to you, to you if you don't even know anything about it.Kevin Lewandowski:Next question. What's with the job titles that writers end up with? What do the different kinds of jobs actually cover?Michael Jamin:So there's different levels to writers. They're just ranks and in terms of how much it's big pay grades basically. So the lowest level writer is called a staff writer. Even though everyone, it's confusing because every writer on staff is a staff writer, but the lowest level writer has the title of staff writer. Then the next higher up is called story editor, then executive story editor, then co-producer, producer, supervising producer, co-executive producer, executive producer, the executive producer's the showrunner, and so they're the boss and everyone else. They're just different levels that determines how much you're going to get paid. Often it determines how much responsibility you have. If the showrunner leaves the room, often it's the co-executive producer who will run the room in their proxy or they'll do the set, they'll work on the set, they'll do whatever that's based on their experience. But in terms of job responsibilities, other than that, it's really up to the S to determine how much they want. Maybe they'll say if someone's a producer, they may let them go to the set on their own. I mean, it just depends on the showrunner, what they want them to do.Kevin Lewandowski:Yeah. One of the shows I worked on, I think we talked about this in the last podcast, Steve Rudnick, who wrote Space Jam and Santa Claus movies. He was a supervising producer on The Muppets, and he spent a lot of time on set and he really liked it. It's just fascinating to watch how those puppeteers canMichael Jamin:DoKevin Lewandowski:Their stuff. Next question from Steven. Can stream of consciousness work for screenwriting?Michael Jamin:Sounds terrible to me. I'm not a fan of stream of consciousness. I'm not really interested in reading your thoughts. If you're going to take me someplace, take me by the hand and lead me there. To be honest, just going to say it right now, I feel stream of consciousness is masturbatory. I feel like it's for yourself and no one else, but I could be. Someone else may enjoy it.Kevin Lewandowski:So when you say hold my hand, because I think there's also this, people sometimes assume, well, well, I don't want to put that on the page. It's just going to take a page. The audience will get, the audience will understand what I'm going for, and I think is there that fine line of figuring out, okay, what do I need to hold the hand of the audience through versus what do I think they're going to be able to pick up?Michael Jamin:Yeah. I like to write. When I'm writing, I like to check in with the audience, let 'em know. Yeah. When I say hold their hand, let them know. Remind them what's at stake here. This character wants, I'd like to just check. So it's not a mystery. Now, often that's the difference between sometimes you'll see a really smart writing, they won't kind of do that. They expect a little more of the audience. It just depends on what kind of show you're doing. If you're doing a broad silly show, you check in with the audience knowing that that's not what they're there for. They're there for something silly and fun. You got to keep checking in with them. But I just saw a zone of interest, which is really smart, and they didn't check in with the audience, and that might win. The Oscars a wonderful movie also. That's not a movie for the masses. I don't think it's going to be a movie that's a blockbuster. It was a great movie though.Kevin Lewandowski:What are the stakes of 2001 a Space Odyssey?Michael Jamin:God, I haven't seen it in forever. What were the stakes was the guy I am trying to remember. They went on a spaceship. They had a mission, but then the computer was sabotaging the mission and there was going to basically, I think the computer was going to kill them, basically take 'em on a mission that would kill them. Is that that I remember. So the stakes were life or death.Kevin Lewandowski:Those are pretty mistakes.Michael Jamin:And how do we defeat the computer? Who's the boss of the whole thing? How do we fool the computer? I believe that's what it was, right? It was a long time ago.Kevin Lewandowski:Yeah, it's been a while since I've seen that, and I guess if they don't, they die.Michael Jamin:I think so, yeah.Kevin Lewandowski:Next question. How would you recommend doing a man versus a system conflict, like perhaps is seen in Cool Hand Luke?Michael Jamin:Well, I mean, yeah, that was the whole thing. He wanted to get out of prison. They were trying to, and again, I haven't seen that in 10, 12 years. I don't remember. He was in prison and the system was trying to break him down. Right? That's like anything you escape from Alcatraz to the same thing. How do we get out of this prison? So yeah, but I'm trying to remember in Cool Luke, there was probably a face to the system. It wasn't like a system. I'm guessing it there was a warden or something, or there were other inmates who was the face of the system trying to remember. They called me off guard.Kevin Lewandowski:Yeah. So I was thinking about when you said I was Shawshank Redemption, and I think it's, yeah, there's the system, but then kind of the warden represents the system. In that context,Michael Jamin:There was the warden and then the warden's proxy, the guard, and there were definitely, it wasn't so much the system. They were faces of the system. Yeah.Kevin Lewandowski:Okay. Can the conflict be hidden from the hero? The hero thinks they want control money, but they really don't want to be alone because they were abandoned as a kid.Michael Jamin:Well, I mean, all of that is fine, but your hero is not going to want a hero. Wanting money is not a reputable goal. Who cares? So what your hero wants it sounds like, is companionship. If they're abandoned or or whatever. That's what they're really wanting. So yeah, I mean, all of that is fine, but I'm not sure why it's not hidden for the, yeah,Kevin Lewandowski:I think thinking about breaking bad, I think a lot of people would think, well, Walter White wanted money. No, that'sMichael Jamin:Not what he wanted. Walter White wanted to provide for his family. He was going to be dead soon, so it wasn't the money he wanted. What he wanted was very reputable. He wants to give his family something so they could live when he's dead to, because he can't provide for them. So it wasn't like he wanted a new Ferrari,Kevin Lewandowski:And I think that slightly eventually morphed into he just wants to maintain being powerful.Michael Jamin:Well, then it turned into something else. Then he went down this path of it was about power and control, and he went down that, but that was only seasons into it.Kevin Lewandowski:AI and equalizer for skill and creativity in this competitive era of artists?Michael Jamin:I don't think so. I think ai, I guess it's a cheat code if you want to be a writer, if you wanted to be a race car driver, you'd learn how to race, car drive, and you'd go to courses and classes and you'd be really good at shifting and all that stuff and understand the apex of a curve and how to attack a curve. Or I suppose you could get behind the wheel of a Tesla and put it on autopilot and you could just fall asleep. But why do you want to be a race car driver then if that's what you aspire to do? Do you just want to be a dummy in the wheel of the car?Kevin Lewandowski:I think one of the other things you always say too is AI may never be able to write true human emotion and never be able to really write what my personal stories have been my life. And I think until it can do that, I think we're fine.Michael Jamin:Yeah, we'll see. They're doing some, I guess, crazy amazing things, and I don't know. We'll see. But I'm not sure. I don't know why you or any other aspiring writer would want that. I would think you would want to root against that.Kevin Lewandowski:Oh yeah.Michael Jamin:I think, don't you want to write stories? Don't you want to be the author of the stories, don't you? Isn't that why you want to be a writer, to take what's inside of you and express it in a way that entertains people? Or do you want to be just the person who plugs the computer in the morning and say You're a writer?Kevin Lewandowski:And I think about the writer strike we all went through, and that was a huge topic of conversation, and writers took a sacrifice to stop this from happening to help protect writers that are going to be coming up. And I think it's probably going to be an ongoing battle for a while.Michael Jamin:Yeah, the world's changing fast. Yeah. Scary.Kevin Lewandowski:Yeah. Too fast.Michael Jamin:Yeah, too fast.Kevin Lewandowski:Is it possible to have two showrunners attached to one project, the creator of the show, and one more experienced showrunner?Michael Jamin:No. I mean, they're not going to be equal. I mean, I suppose anything's possible, but it's very unlikely. I've been on shows where someone, a younger writer created it and then they assigned a showrunner. And the showrunner on that one show, the showrunner was very gracious, and he included this young writer and a lot of the decisions, and it wasn't like he made it a partnership as best as he could, but at the end of the day, he was still the boss. Someone has to be the boss, but he was very gracious about how he treated this young writer and he really wanted to mentor him. But again, when you're a mentor, that means more than the other person.Kevin Lewandowski:And you and Seaver have run shows together, right?Michael Jamin:Yeah. But we're a partnership, so that's a little different. But this person is talking about one person created another one. Everyone wants to be a showrunner, which is again, why it's so freaking hard. I want to make all the decisions, but you don't know based on what you don't know what you're doing. Why would you want that? Is it an ego thing you want to tell people you're a showrunner or don't you want to learn? Do you assume? When I was starting off, I didn't want to be a showrunner for 10 years. I didn't want to be a showrunner. This is a hard job. I don't know how to do it. And then you get to the point in your career where it's like, it's either that or unemployment. So I'm like, all right, sign me up for showrunner.Kevin Lewandowski:What, even with that, the rooms I've been in, you just see how many meetings that the showrunners have to be in that aren't necessarily directly related to the writing and the story. It's costume stuff, it's hair and makeup stuff. It's set pieces. It's all these different things that they have the final, final approval on andMichael Jamin:And that's the easy part, all that stuffKevin Lewandowski:Breaking in. Any advice for being hired in a writer's room without coming up with an original show idea? Or do you have to bring an original idea to an interview?Michael Jamin:No, you don't have to. You can write a script on an existing show. You can write a great Game of Thrones spec script, and as long as the showrunner wants to read it and thinks it's great, you're hired.Kevin Lewandowski:Yeah. Do you think in today's world, from what I've heard, spec scripts sort of aren't really a thing anymore. Do you think a lot of that has to do with just because there's so much out there that if I'm like, here, Michael, here's a specs on whatever show, there's a real chance that I've never heard of the show.Michael Jamin:Yes, that's exactly, and that's why, that's why I think it's unfair. I mean, life is unfair, but that's why I think it's harder today than it was back when I was breaking in. Because you could write a spec sip on an existing show on er, and everyone knew what ER was. Yeah.Kevin Lewandowski:It's interesting too, because then I've heard you say this too before, if you're running whatever show and it's in season two or season three, and you're interviewing me and you read my original pilot, you're more like, well, this is great, but I want to know, can you write my show? That's what I want you for. Your original pilot is cool, has nothing to do with my show. I want to know. Can you write my show? Do you have the character's personalities down?Michael Jamin:And it's harder to create an original show, a pilot. It's much harder, I feel, than creating a spec script of an existing show. That's the days we live in. What are we going to do?Kevin Lewandowski:Yeah, I think that might've been all of our questions for right now, but I did want to say, so the one thing I always take away when we talk about this is when writers overcome writer's block, something you always say is Writer's block isn't really a thing for professional writers. You don't get to say, I'm going to go to the beach for three days and clear my head. And if you're really struggling with the writer's block, chances are you don't necessarily have the structure down to a point. And that'll help unlock a lot of problems for you. And that's what Michael scor teaches is those structure points and what you need to know. And I think there's little instances of writer's block where if I'm just kind of like I'm a little frustrated, go for a walk for 15, 20 minutes, and I live by a mall here in Glendale, and it wasn't too long ago, I remember I was walking and I was just thinking about something.I saw these two people, and it looked like it was a boyfriend and a girlfriend, and she had her Starbucks, and she was taking a picture of it, and someone bumped into her and she dropped it everywhere. And I just happened to see this interaction. And the guy, his reaction was kind of like, well, and I thought that was so fascinating because I was like, okay, what's the relationship between these two people? Because this is definitely not a first date. Because if it was a first date, he'd be like, oh my gosh, let me go get you a new one. And so then I was like, okay, so have they been dating for a while? Okay, then it's like, okay, well, if that was his reaction, has this happened so many times? He's just sick of her shit, always posting it to Instagram. He's like, I told you this was going to happen.And then I start kind of building this story in my head of what if this is her moment where she's like, I'm going to break up with you. This is bullshit. You're laughing at something bad. That happened to me. And I remember coming back to my apartment that day, and I felt like more just relaxed and calm. I saw this live event unfold that I don't think anyone else was watching, but I just happened to see this unfold. And I don't think that was anything I could have really written. I think I would've wrote like, oh, she drops it. He picks it up. He wants to impress her because he wants to get laid later. But his reaction was like, yeah, I told him this shit happens all the time. Stop taking pictures. Just drink the damn coffee.Michael Jamin:Yeah, it's good. You're observing. That's what you should be doing.Kevin Lewandowski:It's good. When I worked at a theme park,Get a lot of material there from people, a lot of different personalities, I used to jot down a lot of stuff I used to see and just how people would interact. And it's nice to, when you kind of feel those moments of writing and you're kind of stuck, go back to those notes you took in that can help unlock something. I know you always show on your webinars, you have your black notebook that you've been carrying around your entire career and things people have taught you along the way, and you write 'em down in there. And that's just, that's gold right there.Michael Jamin:Yeah. Write it down. Keep a list of your, like what you're saying. Those specific things are just interesting.Kevin Lewandowski:And because you always say too, when you're driving, you don't really listen to the radio or anything. You just kind of talk with notes on your phone just to get it out there and start thinking about it. AndMichael Jamin:Yeah, if I'm working on a story, I won't listen to the radio. I'll just obsess over this one moment I'm trying to fix in the story. And if I get it, great. Now, that was my writing for that morning was fixing that one problem. Yeah.Kevin Lewandowski:Well, I think that is all we have question wise, Michael. WeMichael Jamin:DidKevin Lewandowski:It. We did it.Michael Jamin:We did it. Thank you everyone. What else do we got to talk about? If you want to come to our free screenwriting webinars, you could sign up at michael jamin.com/webinar if you'd like to. I got a newsletter. Get on that Michael jamin.com/newsletter. And of course, we're unplugging my book, which I worked on for four and a half years. It's called the Paper Orchestra, and it asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most? And someone asked me on the live, if I could explain it a little better what it is. And I think what the book, one way to explain it is imagine they're very personal and intimate stories, and I'm sharing them as if, imagine me reading my diary, but performing it out loud knowing that you are going to be watching it. And so I'm going to say it in a way that's going to be entertain you, but it's still my diary. But it's structured in a way, so it's like, I know I have an audience here. And so that's kind of what it is. They're stories, they're true stories, but hopefully they're told in a way that is engaging and makes you laugh and hopefully makes you feel something. It's more importantly.Kevin Lewandowski:Yeah. Yeah. So go to michael jamin.com, check out his book. There's a bunch of, just go to his website, michael jamin.com, click around. There's webinars, there's the podcast. Get uploaded there. There's a couple of free lessons you can download, scripts he's written. There's so much there. And like he said, that you can get his book there and you can get a signed copy from him on his website. And it's Amazon. It was when you originally launched it, it was number one in five different categories on Amazon, so it was pretty wild. So yeah, check out the book, join the class, join our webinars, follow Michael on social media. He's still giving out free tips and trying to help people. And yeah, that's all I got.Michael Jamin:Excellent. Alright. Thank you Kevin. Great job. And if they want to follow you, Kevin, where do they follow you on social media?Kevin Lewandowski:Yeah, so it's Kevin Lewandowski. It's a long last name, I'm sure after you just type the first five letters, it'll pop up.Michael Jamin:Excellent. Alright everyone, until next week, keep writing.Michael Jamin:Wow. I did it again. Another fantastic episode of What the Hell is Michael Jamin talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asked the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most? Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I loved the Journey, and Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More. Great stuff coming next week.

"Breaking Bad" is a gripping drama series that follows the life of Walter White, a high school chemistry teacher turned methamphetamine manufacturing drug lord in Albuquerque, New Mexico. Faced with a terminal cancer diagnosis, Walter partners with former student Jesse Pinkman to secure his family's financial future. As Walter descends deeper into the world of drugs and crime, he adopts the alias Heisenberg, encountering various adversaries and moral dilemmas. The show explores themes of morality, consequences, and the transformation of Walter's character from a sympathetic figure to a notorious criminal mastermind.

The Coen brothers invent the hula hoop, Denis Leary ruins Christmas, Nicolas Cage is Driving Miss Shirley MacLaine, Nancy Kerrigan whiffs SNL, Cody Banks goes to London, Stephen King writes about a writer, Curb Your Enthusiasm hits the stage, one of our aircraft is missing, Review debuts to five stars, crowd-funding saves a teenage detective, and Fox goes to space. All that and more this week 30, 20 and 10 years ago!

On this episode of The Steve Dangle Podcast, Vegas owned trade deadline day (00:00), evaluating what the Leafs did, or didn't, do (26:30), the Leafs didn't trade Timothy Liljegren (55:00), and how this trade deadline made us feel as Leafs fans (1:05:00). Join SDP VIP: YouTube: https://www.youtube.com/channel/UC0a0z05HiddEn7k6OGnDprg/join Apple Podcasts: https://apple.co/thestevedanglepodcast Spotify: https://podcasters.spotify.com/pod/show/sdpvip/subscribe Visit this episode's sponsors: Get 20% Off and Free Shipping with code DANGLE at Manscaped.com. That's 20% off and free shipping with code DANGLE at Manscaped.com. This St. Patrick's Day, make sure your little hairy leprechaun is luckier than ever with MANSCAPED. Check out the special offer BIOptimizers has to offer at https://www.Bioptimizers.com/dangle - Use Promo code: DANGLE for 10% off any order plus special gifts with purchase for a limited time only! Go to http://shadyrays.com and use code SDP for 50% off 2 or more pairs of polarized sunglasses. Visit https://www.betterhelp.com/sdp today to get 10% off your first month. Follow us on Twitter: @Steve_Dangle, @AdamWylde, & @JesseBlake Follow us on Instagram: @SteveDangle, @AdamWylde, & @Jesse.Blake Join us on Discord: https://discord.com/invite/MtTmw9rrz7 For general inquiries email: info@sdpn.ca Reach out to https://www.sdpn.ca/sales to connect with our sales team and discuss the opportunity to integrate your brand within our content! Learn more about your ad choices. Visit megaphone.fm/adchoices

My FIRST TIME EVER watching Breaking Bad! This episode, Walter White runs into some trouble with the guys he thought he and Jesse Pinkman killed. Turns out, 1 is still alive - which I PREDICTED! Sort of... I guessed they both would live, but 1 did and I'll take that as a win! We spend most of the episode in Jesse's living room arguing over who is going to dispose of the dead body and who's going to commit cold blooded murder. Walt's wife also confronts Jesse after Walt tells her that he bought pot off of him, which is fun! The episode ends with Jesse having done his job getting rid of the body, but he didn't do a great job because the chemicals ate right through the bath tub and ceiling to drop a lot of grossness into his hallway... For bonus episodes and more cool stuff, check out Patreon: ⁠https://www.patreon.com/BelatedBinge⁠ *Free trial availableI'd love for you to join the discussion, which you can do on Patreon, or 2 other key ways: Leaving a voicemail on my website: ⁠https://www.belatedbinge.com/
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On October 7th, I hosted a webinar called "How Professional Screenwriters Create Great Characters", where I talked about how to come up with interesting and unique characters, as well as how tapping into your everyday life interactions with people can help with this. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:I feel like we're overthinking this a little bit. I feel like maybe we're giving labels that don't need to be labeled. We have a hero. We're going to put this hero on a journey. And who are the people? Or if it's a like a buddy comedy or whatever we're talking about, or if it's a husband and wife or whatever, what's the story? What's the journey we're putting them on and who are the characters we're going to get in their way? You're listening to What the Hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity, I'm talking about writing, and I'm talking about reinventing yourself through the arts.Hey everyone, it's Michael Jamin, and today we're going to answer the question, what the hell is Michael Jamin talking about? Well, today I'm talking about questions from my previous webinar. As many of you know, I do a webinar every three weeks or so where I talk about screenwriting and it's about an hour long and you're all invited and it's free. And I don't always have time to answer all these questions, but Phil is here with us visiting again. Hello, Phil. Hello and happy to be here. He's going to hit me with some of these questions we're going to answer.Phil Hudson:Lemme hit you baby one more time. Let's do it. All right. So again, kind of group questions, context for everyone. This was from a webinar talking about how professional screenwriters create great characters. You've got another really good webinar that a lot of people really like, which is how to write a great story. And so contextually, these are really more character based. There's some miscellaneous stuff, there's some break in questions. We've kind of grouped them together. So as I go through these, we'll just try to keep 'em on theme and let's get into it. Let's talk craft. Think Craft is always a good place to start. Anna Renee Chavez wants to know what big differences are there between writing for animation versus live action?Michael Jamin:Great question. Oh, and I just want to clarify everybody by webinars, you are free. Go to michaeljamin.com/webinar to sign up. I changed the topics, but whatever. So this woman wants to know what's the difference between writing for animation and live action? Not that much in terms of, and I teach 'em both in my course. The differences really are not that different. The only thing you want to think about is well ask yourself why is this show animated? What's the advantages to making this show animated? So in BoJack Horseman, it's a very real and grounded show, but you have horses talking and fish talking, or Whitney, you couldn't do that in live action. So you're taking advantage of the medium. If you have it animated, take advantage of it. When my partner and I did Glen Martin DDS, which is the show there a stop motion animation, we would ask ourselves, what's Clay tastic about this? We'd call it, because it wasn't claymation, but we pretended it was claymation. So what's Clay tastic about this scene? Is someone's head going to come off? So for example, we did an episode where the character, the boy got his head stuck in an elephant's ass. You can't do that in live action. So you can do that in animation, but the story itself, it's very similar. The stories are very similar. It's just that you just take advantage of the medium.Phil Hudson:Yeah, awesome. And I think another good example of this, where a choice was made to do live action RET link's buddy system, you had mentioned to me that one point that it's basically just a cartoon. It's like a live action cartoon with silly It is, but they can't be as silly as they could if it was animated and they could do whatever they wanted. So it still kind of grounds it in this reality, but it's still a bit silly.Michael Jamin:Yeah, it could have been a cartoon, but we would've gone even we did one episode where we turned Lincoln into a robot because the character was like, my life would be easier if I was a robot. So that probably would've been even better if it was animated. But in real life we just started putting 'em in crappy robot costumes.Phil Hudson:Yeah,Michael Jamin:But it was funny. We turned him into a robot, so it was kind of broad.Phil Hudson:Love it. Julia Wells considering extraordinary and ordinary pairing. What would you say about friends, how I Met Your Mother, or shows that are more grounded? I think this is in reference in your webinar when you're talking about your characters and putting your characters together or how you write your characters for a specific story, and there's a difference between extraordinary and ordinary if you want something extraordinary when you're pairing your characters together.Michael Jamin:Well, yeah, most shows are like that. Most sitcoms, the characters are just normal people. And yeah, it was kind of like ordinary characters, kind of an extraordinary situations where it would've been unusual. I'm trying to think of an example from friends, but alright, so they did an episode where Joey and Joey and what's his name, not Kramer Chandler, the guy Chandler are going to sit in their chairs all episode, all ordinary guys doing something extraordinary. They're not going to move from their chairs and they're going to see if they get everything delivered and they're going to eat and drink and they're not going to get up, stuff like that. So I don't think it's any different from any other sitcom I've worked on other than the characters.Phil Hudson:I just started re-watching How I Met Your Mother, which I've seen who knows how many times. But it's a good background show while I'm working on stuff that's not necessarily logical, analytical stuff. And there's an episode where it's the Halloween party and he's the hanging Chad because he met the sexy pumpkin in 2001 during the election or 1999 or whatever. And so Barney's got tickets to the Victoria's Secret model, Christmas Halloween costume party, and he's trying to get his friend to this extraordinary thing and his friend won't leave. He wants to be at this party to potentially meet this girl on this rooftop again. And it's the push and pull of Come be amazing, stop looking for love, you're losing. So it plays really well in that situation. Alright, cool. AIA Saunders or AIA Sanders, I apologize for ruining that. How do you feel about basing a character on them knowing themselves or basing a character on yourself and your own doubts?Michael Jamin:Yeah, do it all. I mean, you should do it. You should totally mind your own life For stories, and I have a whole module on this in the course, and you can disguise it too, so people don't have to know it's you, but you're just stealing parts of yourself or parts of people as other characters, but you change it enough and change the name, but also change professions and change. You're just stealing attributes from people so they wouldn't know it. But that's what your life is for your life is to steal things fromPhil Hudson:Perfect. Charles Shin, do you have any tips or advice with coming up with great names for your characters?Michael Jamin:I spoke a little bit about this in the old days. We used to have a baby naming book, my partner and I, and then now it's kind of easy to go on the internet or just in life. You'll come across a street name and you go, oh, that's a good last name for a character. I just kind of keep a list. What was one? I had one the other day I added to my list, I can't remember, but it was like a street sign I go that I passed. I go, that's a good character's name.Phil Hudson:Yeah. I've also seen our showrunners on Tacoma fd. There's a random character as Chief Phil Dylan. Well, I'm Phil. It was the writer's pa and I replaced Dylan, the writer's pa.Michael Jamin:Yeah, it's funny. I know they took that for you. I mean, they tend to do that a lot where at least Steve Lemi does. He'll just name characters after people he knows.Phil Hudson:Yeah. There's one line from Ike in an episode that I think you guys wrote. It's like Benjamin Duff or Benjamin CrumpMichael Jamin:AndPhil Hudson:Ben Crump was our DIT set. Right. So just throw people's names and give 'em fun stuff. Awesome. You also talked, I think you talked about funny names that go together too. At one point that was something you do.Michael Jamin:I talked about, I had a character named, what was his name? SomethingPhil Hudson:The third? It was something the fourth. The fourth, yeah. What was hisMichael Jamin:Name? God, I can't remember.Phil Hudson:It was like, but it was a bunch of things together that rhymed almost or had similar names.Michael Jamin:I'd have to look it up. I can't. Oh, Dan Danforth iv. That's what it was. Dan Dan. I had a character named Dan Danforth iv, and I just thought that was a good name because Dan Danforth is weird enough. But why did his parents have to saddle in with the fourth? Because, well, they felt like they had to because the father's the third is a generational thing. They can't, so they stuck this guy with his shitty name and what's that going to, having a name like that, you're going to be teased as a child. And I thought the character is kind of a feckless type and he became a sheriff of a small town as a way of demanding respect because he'd been teased all his life to be named Dan Danforth iv. And so now he has a badge, but people still think he's a dipshit. And so I just thought it was kind of a good name for a character like that, who's kind of feckless.Phil Hudson:Alright, jumping into the course and character related topics, these are a bit intermingled because a lot of what you talked about, and we even brought this up with Mike Repp and Kevin Lewandowski about how valuable that course, that character worksheet is. But because this webinar is about character, there are a lot of questions about character. So number one, pat Nava. How do you make characters that the audience wants to know more about?Michael Jamin:Well, it's not so much the characters, it's just the story you give them. So that's not so much the character. That's the story.Phil Hudson:There we go. Cookies and sugar. How do we make characters diverse and not self projectMichael Jamin:Diverse and not self project? They seem very different questions toPhil Hudson:Me. So this is, I think a really good question and from context for this, this person is a minor and they want to be a writer and they've been told by their well meaning adults in their life and mentors not to do that because it's a waste of time because you'll never make it as a writer. And that was a question she'd asked another point. So this question really speaks to me of something I heard really early on when I was studying, which is you are not your characters. Don't write yourself into your characters, which is kind of contradictory to the advice you give, which is writing your life for stories.Michael Jamin:Why not? I dunno why they would give you that advice. Why not? Yeah, it might've been because people were just writing self-indulgent material that could have been,Phil Hudson:I know on writing by Stephen King, he says that you are not your characters and it is a mistake to think that your characters will behave the way you would. So if you find your character doing something you wouldn't do, it is your job to allow them to do that. And I find that a lot with my writing. There are many things I write where I would never do as someone from a more conservative background who is religiously inclined, like my characters say and do things all the time. I'm like, oh, where did that come from? Not who I am, but that's what it felt like needed to happen as that character was coming through me. And I feel it's my responsibility to just let that happen. But the difference is to me is don't make your characters do and make the actions you would do. And if you're a more passive person, that's not a good thing for your character to be because your character needs to make choices. And that's the conflict of it all.Michael Jamin:But Larry David on Kirby Enthusiasm, he's playing himself, but Larry David is not that person in real life. These are just, it's a heightened version of himself. Larry David knows when to hold his tongue. His character doesn't, his character can't let it go. Larry David just playing. It's a heightened version of himself. It's the worst version of himself, which is why it's so funny he wouldn't do that in real life. I mean, Larry, he wouldn't do that,Phil Hudson:Right? But if you look at yourself, or even friends you have or people that you know and you say, I've got this buddy who is super quiet, but then when he talks it is just cuts with a thousand lashes because he is so sharp, it'll just take the wind out of your sails in a second. So if you have someone and you take that element and you say, I wonder how I can make that funnier. How could I take this tick that I have or that my wife has and just make it, turn it up to 11. That's where the comedy comes from and that's where the conflict comes from. So that's what you're saying by mind your life for stories and put your characters in situations you've been in, but don't do what you did necessarily.Michael Jamin:You could turn it up. Yeah, turn it up a notch. That's it. It makes it fun and interesting.Phil Hudson:Yeah. Cool. Matthew? I think he likes lasagna. Many people begin with an idea for a character. I've always been led by the concept and the plot, then I tailored the characters to fit within it. What are your thoughts on that method?Michael Jamin:Sure. I mean that works fine. I mean, if you can create someone who still feels real, like I said, even though Larry David is a heightened version of himself, it still feels real. It feels like he almost, it's not crazy. It's not beyond the realm of possibility that he would do that. So as your characters don't, as long as it doesn't feel like you're contorting the character to do something that your story requires, which would not be human behavior, at the end of the day, these characters have to be humanPhil Hudson:Like jumping the sharkMichael Jamin:Or jumping the shark. But also often my partner and I will write a scene and Seaver will say something like a character that's not human behavior. We're just making the character do this because two writers in Hollywood need him to say that, which is, I mean, sometimes we'll laugh, we'll say, why would a character say that? And then I'll say that we have four cameras on him and we have to shoot something tonight. But that's not the right answer. The right answer is it has to be human behavior.Phil Hudson:So tangentially related would be DSX, Mina, right? Which is circumstance or coincidence, getting your character out of trouble or solving your problem. So it's not the same, but very similar as it's aMichael Jamin:Lazy writing dem and I believe is Latin for God,Phil Hudson:God in the machine,Michael Jamin:A God or God can get you into trouble or a coincidence can get you into trouble but can't get you out of trouble. So if God comes to the rescue and saves the day, that's considered bad writing. So an example for this that people like to harp on is somehow Palpatine returned. Isn't that his name? Palpatine?Phil Hudson:Yeah, Palpatine.Michael Jamin:Palpatine. I didn't even watch it. I didn't watch it, so I'm not going to badmouth that movie, but that's what people say somehow God came in and everyone seems to roll their eyes at it. And again, I haven't seen it so I really shouldn't say, but that's what I've heard. That would be an example of maybe something that people don't, they went too far.Phil Hudson:Yeah, yeah. How do you introduce characters? I normally have their name, age in a short sentence, which sums up their personality. I then allow them to show their character through their actions.Michael Jamin:Yeah, those are stage direction and no one wants reading stage direct wants to read stage direction. So I usually say what the character's name is exactly a few, maybe a physical attribute or two their age and something about their personality that gets it real fast. Here's a bad description. You see this a lot, Lucy, cute, but doesn't know a girl next door. Cute, but doesn't realize it or sexy, but doesn't know it. How many times have I got to see that and you just roll your eyes. So it's got to be better than that.Phil Hudson:Yeah,Michael Jamin:That's cliche.Phil Hudson:Do you ever put anything related? I've heard other writers recommend putting in cues for clothing to help wardrobe understand how this person dresses or informed character. Is that something you ever consider?Michael Jamin:Only if it's absolutely necessary. If the character wears loose fitting clothing to hide their body, that makes sense. But unless it's absolutely necessary, we can have these discussions at the production meeting. We don't need to know it now in the script unless it absolutely necessary.Phil Hudson:Great. Tom Merrim, when you write characters, do you focus more on the personalities you want added to the mix or focus more on the role each plays or what they need to do in the story?Michael Jamin:And that's what I teach in the course. Every character has to be there for a reason and they have to help elucidate the story or else it's just, you don't want to just mash these. Even if you have 10 great characters, like oh, they're all interesting, but maybe they don't fit together. They have to fit together to tell a story. The story is the look. We all work for the story, the writers, the directors, the actors, we all serve the story and that includes the characters. The story comes first. That's why it's so important to learn what story is.Phil Hudson:Yeah. Great. Justin Kaiser, to develop your characters, do you focus on relationships more than the characters themselves?Michael Jamin:Well, more, I mean, I always think what's the relationship between this character and the other character? I mean, you may need to know that if you have a father and a son and you want to know how they interact and maybe the kid's under the father's thumb and at the end of the show or movie, he's going to stand on his own two feet and defy his father. That's important that you might need to know that. But I don't need, if that's what the story is about, then yeah, I need to know the relationship, but I don't need to have all the answers, just the ones that are pertinent for the story.Phil Hudson:And when you get into the course, you'll learn that there's this awesome sheet that you have that you were provided that was given to you. Was it Steve Levitan gave it to you. And it's basically defining all of these nuances of your character so that you can build them out to be someone unique. And you clearly see a pattern. And this kind of relates back, I think to cookies and sugars question. I'm assuming this is universal, not just to me thing, but definitely a Phil Hudson thing. When I create my characters and I start using that spreadsheet, I start noticing like, oh, they're all very similar. We got to mix that up, so let's fix this, let's fix this. And so those are like, I have specific things I go to or lean towards and it's like I need to fix that. And that allows me to create conflict creates differences in the way people see things. It also empowers me when I'm writing these characters to know how they would talk about this specific thing or react in this situation in a way that empowers the story to be better and serve their role that they've been given.Michael Jamin:Here's an extreme example of that. Let's say you're writing Oceans 11 and you have, I dunno, I guess, or have loving characters or whatever. You got the brainiac, you got the suave guy, you got the bomb cutter, who's a loose cannon, you got the thug, you got the nerd or whatever. Every character in that group has their own distinct, not only personality, but almost archetype of personality. There shouldn't be overlap. And then that's an extreme example, but even if you're writing something more grounded and real or intimate, rather, you'll ask, you'll have the same conversations with yourself. So why do I have two heart throb characters? I only need one. You want to have different viewpoints. In the episode, we talked a little bit about love. Actually in the last podcast we talked about, we did a q and a and I mentioned love actually is about looking at love on Christmas time from whatever, 15, how many storylines, whatever, eight storylines. And each character has a very specific kind of role. And there's no, and there shouldn't be. If there is, we don't need two characters for that same point of view. This is a work of art. You don't need two, just one.Phil Hudson:Yeah. And going back to how I met your mother, there's really three kind of four different characters there in this group. There's a couple, Marshall and Lily, there's Ted, our protagonist, and there's Barney, and then there's Robin. And they all reflect this different opinion about relationships and dating in New York City. You've got the couple that have been together since college and they're together and they just love each other all the time. The ones seeking true love, the player who just wants to hook up with as many women as he can. Ironically played by Neil Patrick Harris, who's gay, and he does a great job of playing that person. And then you have Robin who is afraid of love and kind of withdraws from love and that creates that ecosystem where they're all playing off of eachMichael Jamin:Other. They all have different viewpoints. Yeah.Phil Hudson:I'll also say I'm working on this feature that I haven't written a feature in a long time and I got the story that I really like and it centers around a family situation. And I'm thinking about my family and my brothers and my relationship with my siblings. And it's like we were all raised the same. We are all very different people. We have fights because there are things we absolutely disagree on, but then there's always this layer of relationship. And we had understanding that even when we get really mad at each other to a certain degree, we know we're always going to come back together. Except there's always that thing dangling out there that maybe we won't. And I have one sibling who's like that. I don't know that I could have a same conversation with her that I could with my older brother the same way I would. She may never want to talk to me again because he's just a bit more sensitive. So it's like, okay, how do I look at all of these relationships here? And just because we all come from the same place and we had almost the same experiences. We are all very different.So Cameron Barnes, he said, Michael said, a cast of characters should be in constant conflict, but does that actually just mean constant conflict throughout the story?Michael Jamin:What else would it mean? I mean,Phil Hudson:Yeah, I dunno.Michael Jamin:I don't know. I mean, yeah, conflictPhil Hudson:Doesn't, lemme talk about the constant conflict. Maybe just address that.Michael Jamin:Well, conflict doesn't have to be people fighting. It could be passive aggressive. It could be people caring very much for each other, the mother, and you've seen this trope before, the mother, the overbearing mother, trying to get the daughter to be happy and settle down and find a man, whatever. She's just in her life that's conflict. A mother who's constantly meddling and she means well and the daughter knows she means well, but she keeps stepping on her toes. You've seen that story a million times. We've seen it because it works. So that's conflict. But if it was, what about a show where everyone was always getting along? Well, that's boring, unfortunately that's just boring. That's the scene right? Before everything goes south, that's what that is. You have one scene like that and then it goesPhil Hudson:South. And it's not that it's all okay that people are just kind of egg shelling, walking on eggshells around each other to maintain the peace in this moment, right? Yeah, because it's going to go nuts at any moment. Yeah.Michael Jamin:Drama is conflict, guys. So that's it. Drama is conflict,Phil Hudson:But that's also just life. And I think that's why we watch it. Life is not perfect harmony at all times with everybody. There's things,Michael Jamin:But even if you had a scene where young couple's in love and everything's great. Okay, great. What's one scene they met boy meets girl, they fall in love. Great. How many,Phil Hudson:Why do you leave the towels on the floor? He leaves theMichael Jamin:Towel. Yeah, something's going to have to happen wherePhil Hudson:When you take your toothbrush out of your mouth, it flicks toothpaste on the mirror and you never clean it. Right? That's the stuff that eats at couples.Michael Jamin:Yeah. So you need stuff like that. Everyone loves Raymond. They were a happy couple, they had a happy marriage, but you still have to fight Rose, what are we watching?Phil Hudson:But that's also fighting in a relationship is what makes your relationship better. If you can get through those things. And fighting doesn't mean screaming and yelling and throwing stuff at each other. It could just be disagreements or heated conversations is like you got to get through the conflict, come to a resolution,Michael Jamin:Right?Phil Hudson:This thing bothers me. This thing bothers you. How are we going to fix this? We live together and we're going to be together forever. So let's figure this out. It's going to bother me every day forever.Michael Jamin:Yeah.Phil Hudson:Matthew Lavania back. What's the difference between a villain and an antagonist?Michael Jamin:I don't know. I mean a villain I guess is an arch formative, a villain sounds like it's something that's a heightened antagonist. That's what it sounds like. An antagonist doesn't have to be a villain. It could just, if you have, like I said, a daughter and a mother and the mother's overbearing, then the mother's an antagonist. Doesn't mean she's a villain. The stepmother's the villain in Cinderella. So it's just a heightened antagonist I suppose. But we're splitting hair. I don't think we have to worry about that really. I mean it's like an academic question. I could thinkPhil Hudson:You might say Thanos in the Marvel universe is the villain because he's got this big existential threat. But I think one of the things you highlight definitely in my writing is your antagonist still needs to be likable. Not likable in the sense, but we need to understand that they think they're the hero. And in this case, Thanos wants to prevent genocide because his world went through this. And so his way of doing, it's by killing half the people in existence to prevent this thing from happening.Michael Jamin:Think about land from Quentin Tarantino's,Phil Hudson:GloriousMichael Jamin:Bastards and glorious bastards. What a great villain. I mean, he was a great villain. He was the Jew hunter, the Nazi man that was a badass guy. But he was complex and there was something so about him, even though what he was doing was so incredibly vile and offensive. And so that's when you humanize your villain, you make it. It makes your writing so much richer. I mean the fact that he spoke so many languages and he was educated. He'sPhil Hudson:Charismatic. Yeah,Michael Jamin:He was charismatic and yet stillPhil Hudson:And very polite. Thank you so much for inviting. Yeah,Michael Jamin:VeryPhil Hudson:Inviting, inviting. May I ask you for some milk?Michael Jamin:Yeah.Phil Hudson:The Jews are underneath me right now, aren't they? Yeah.Michael Jamin:And you just didn't know where you stood with the guy. So he was just a very nice guy doing awful, awful things. So that's great writingPhil Hudson:That scene when he's sitting down with Ana, I'd like to go over the theater and he's vetting her and he's putting cream down for her and he's like, he knows who she is. It is unspoken subtext. He is aware that this is the girl that got away. You see it in her reaction when she leaves and she's hyperventilating and she just kept it togetherMichael Jamin:And he was like a mercenary.Phil Hudson:Then you find out later that that's all part of his plan. This is how he's going to get out.Michael Jamin:Great writing. That's all that is. That's all that movie is great writing,Phil Hudson:Which is followed up byMichael Jamin:Great actingPhil Hudson:And great production and great editing and great everything. That'sMichael Jamin:All that was though.Phil Hudson:Alright. Luke felt. How do you ensure that the story around the character matches the lesson that they need to learn?Michael Jamin:Can you say that again? How do I ensure?Phil Hudson:So this is a presupposition that your character needs to learn something by the end of your script. So how do you ensure that the story around that character gets them to the point that they learn something?Michael Jamin:Well, okay, I don't believe characters have to learn anything. I do think they have to grow or else why did you put 'em on a journey? If not to them it has to be you're changed in some way. If you take a character and you take 'em to the top of Mount Everest, they have to be changed in some way or else why did you take 'em there? So it doesn't mean they have to learn a lesson, they could be worse off. But if your why stories is a journey and why go on the journey if we're not going to get a view and the view better be something interesting, why did you take me on this long trip? And if the character didn't in some way change or grow, it doesn't mean learn a lesson, just change in some small way. Why didn't we take 'em on that trip? Why did we go there? Why did you waste our time? And by the way, there are bad movies where this doesn't happen and I always feel like, well, why did you just waste my time? And so just because there's bad writing out there doesn't mean we have to participate in it. It doesn't mean we have to add to it.Phil Hudson:I think there's an inclination, and I've seen this in myself and many other writers in film school and definitely here in Los Angeles, that you want to buck the trend and buck the system and you don't want to follow story structure and you want to do your own thing. It's almost like you want to reinvent the world of writing and you also want to play into tragedy and disappoint, defeat audience expectations and all these things. And that's artful writing. And I think what I've learned from you in the course and being in the writer's room is that those things serve a purpose and you can still do those things, but you do it in a surprising way and it works because there's a structure to it.Michael Jamin:Yeah. I mean, everyone wants to reinvent writing, reinvent the story. Look, the story works. It's been working for thousands of years. You can make a good living writing compelling story. And when I watch a story that's compelling and that works, I don't think, wow, they just reinvented the story. I don't think that, I just think they told a really good story. I feel like they're doing what I'm doing, but maybe better or on a higher level. I don't think they just completely change with some small exceptions sometimes. I'll watch, for example, inception, Christopher Nolan, I, I've watched it four times. I still don't know what it's about. I still can't follow it. It's obviously a great movie, but I don't think we have to all write like that in order to tell a great story.Phil Hudson:And I think he just announced what is happening. He just revealed that during the Oppenheimer interviews. You can go look that up on the Google if anybody's in. But yeah, I mean that's his style and it's very much his cscope, I think is what it is. Or Cscope, his logo is a maze. It's elaborate. He's kind of telling you this is his way of tellingMichael Jamin:Stories. That's how he does it and that's how he thinks.Phil Hudson:It started with Memento and it started with even other stuff he directed but didn't write, which I'm blanking on it, but it's like one in Alaska and it's psychological thriller. But yeah, all of his stuff is that, and that's his motif and his style.Michael Jamin:I'd go so far as to say that the guy's kind of a genius. And so unless you think you're a genius too, maybe don't try to reinvent. I don't think I'm a genius. But that said, I couldn't write anything like Memento. It hurts my head to think about it. And I enjoyed a memento and Inception really loved it. I couldn't come close to it. I write, what I do is I write comedy and I'm very good at that. My one little thing, and that's okay. We all have our one little thing that we're good at and you have to just lean into it. Christopher Nolan doesn't write comedy, which is good. He has a sing that he does and we love what he does. We don't all have to be experts at everything.Phil Hudson:Right? Yeah. Justin Kaiser, how do you decide that another character is needed to advance the story or if that attribute moral personality can be added to another existing character?Michael Jamin:IPhil Hudson:Guess kind of the question is how do you know when you have enough characters in your story?Michael Jamin:Well, it's a little different. If you're writing a TV show, if a TV show you need to write, you have to have a cast and it has to be conflict. You want to have, let's say five or six characters that always are going to always be in conflict with each other week in and week out as you tell different stories. If you're writing a movie, you really want to think about who's the star of this movie, or if it's a two hander, who are the stars, if it's a buddy cop movie or whatever, you have two cops or it's a buddy movie or a road trip movie. You have these two characters and you only have the other characters as needed to help tell the story, the journey you're putting those two characters on. So if you take a good example, because we're mentioning Buddy comedies, midnight Run, so Charles Groden and Robert De Niro. It's a buddy comedy you're putting and a road trip, comedy, whatever, not so much a comedy but drama and you're putting them on an adventure, so you just need obstacles to throw in their ways. So you have Dennis Farinas character who's the mobster, but we're not following Dennis Farinas story. We're following Robert De Niro's relationship with Charles. That's it. Everyone else is there to help. Tell Robert De Niro's story and Charles Groton's story.Phil Hudson:Yeah, easy Rider, very similar, right? You've got these two bikers and you've got their lawyer Jack, Jack nickles, and then it, it's about them. And that's experience of going across America right in the seventies. It's not about the hippies they meet at the Waterhole in Santa Fe. It's about those and what happens to them as they go through America, Julia Wells, and how do you prevent the worst characters from being so far outside their wheelhouse that they can't possibly succeed or it becomes unbelievable. And this is in reference to this kind of golden nugget you've been talking about recently in your Yeah,Michael Jamin:Everyone please come to my webinars about this one's about character. She's talking about character, but I do another one on story and they're free. You go to michael tamer.comPhil Hudson:And you're going to get a lot of these questions for people. A lot of this is coming out of, it's in context in the webinar. So you're hearing this lesson and these very important principles for writers, and these are questions coming out of that. And this is one of those questions referring to a tip you give in the webinar about how to write characters that a professional writer would use.Michael Jamin:So she wants to know how do you make sure that your character is not so off the map that people don't like it or something?Phil Hudson:Yeah, because the point you're making here is you don't want a perfect character. You want the worst character for a situation. Yeah. So how do you not make the situation so bad that per character can't navigate it?Michael Jamin:Yeah. Well, I think what you do is you have your character and get better, so improve on it. So like I talked about, one of the examples I gave in the webinar was Aria Stark from Game of Thrones, and we gave her one of the hardest storylines, which was she was a little girl, her family was murdered, and now she decides she's going to avenge the death of her family. And I talk more about this in the webinar, so I'm not going to go too much detail, but Aria Stark is the worst character to give this journey to avenge the death. She's like an 8-year-old and she's tiny. And so we give her skills. So we slowly take her down this path where she learns skills and becomes a great fighter. Little by little, she learns from this, the dance.Phil Hudson:You learn those attributes, but it's there, the seeds are there. She's interested in sword play. She's a bit of a tomboy. She wants to know these things that her sisters the opposite, wants to be the queen, wants to marry the king, that wholeMichael Jamin:Thing. So we put her, she's the worst person to put on this journey, but we slowly give her the skills on these little storylines that we give her to become the one who kills the night King. No one can kill this guy. He's made of ice and somehow she, but had we not put her on this journey, she would've been the first one to die. Hey, it's Michael Jamin. If you like my content and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michaeljamin.com. And now back to what the hell is Michael Jamin talking about?Phil Hudson:Yeah, it's all great. It's such a good show.Michael Jamin:Yeah.Phil Hudson:Darlene Smith, can you ever overc create a character?Michael Jamin:I dunno what that means. OvercPhil Hudson:Create overriding is a thing. I don't think this is, can you think too much about your character? And I know a lot of people spend times writing full biographies about theirMichael Jamin:CharactersPhil Hudson:And all that kind of stuff.Michael Jamin:Yeah. As you write, you learn more about the character. It's so weird when people say, I wrote, they say, I have the pilot, the Bible, and the first three seasons of my show mapped out really? In other words, you're saying you're not willing to discover any of this as you go because they just haven't mapped out on a piece of paper. It's like in a real writer's room. We got a team of writers working on this, and over the course of eight seasons, we were learning more and more about the characters as we go. It's not Breaking Bad wasn't fleshed out in the pitch. Jesse Pinkman wasn't even going to be a main character in it. You learn about your characters as you're writing. You see what works and what doesn't work. I think there's a temptation to spend all this time overthinking your characters without even putting a word on the page.Phil Hudson:Look, it looks like writing and I think that might be, this is procrastination.Michael Jamin:Yes,Phil Hudson:It's world creating. I think I told you maybe eight months ago, nine months ago, there was a kid who was in film school, he messaged me and he's like, Hey, I'm really interested in this and writing, and I just love creating worlds. I love world building. I love doing all this stuff. And that's my favorite part of this. And it's like, cool. None of that matters if you don't have a character we want to watch because that is all that matters is what is this character? What is the journey they're going on? It's procrastination. It feels like it. And look, this might be a bit of a gross word to use to describe this, but it is masturbation. It is just you are doing this for self-indulgent reasons to make you feel like you're writing and it's literally not moving the chain, which is pages, words on the page, words on the page, words on theMichael Jamin:Page. My partner and I, we've gotten called out on this more than once, where the executives will look at an outline or a beat sheet and they go, I don't understand this character. And we're like, well, we don't really understand the character yet either. We plan on finding it as we write, but they get mad. We need to know now. All right, well, we are just kind of pulling the wool of your eyes. We'll figure it out. We're going to find it when we write it. I don't know what to tell you. I don't know what to tell you. We thought about it. We're not there yet. We have to discover it as we write. Sorry, but this is how it goes.Phil Hudson:I want to highlight here, Michael, too, that this is for a lot of people who might hear what you say about story structure matters and there's a structure that you need to stick to and you talk very in your free lesson, michaeljamin.com/free. There's a whole bunch of free resources on that page. One of those is this free lesson about story, and you talk in there about Picasso. And Picasso was a master at 14, and then he learned and created his own version of art that's worth millions and hundreds of millions of dollars. Now, by the time he was 80, so he had like 65 years if I'm asked of figuring out how to make his own thing and reinventing this. But it's grounded in the rules of art and painting, and you talk about structure and how it matters, but in the same breath you're saying like find it as you go. Find it as you go. And there's a balance there. And I think very often, definitely myself, very black and white, and there's a lot of this, you need to understand the principles so that you can break the rules, but you also need to understand when to focus your time and when to shift. And that I would venture to say just comes with time. You got to get in and do itMichael Jamin:A lot and over and over and over again and you'll learn. And then that's how a lot of times we will have the perfect character, all the perfect characters, and we'll start writing and we go, none of this is working. So what we thought was perfect is not working. How do I know it's not working? Because the words are not coming out on the page. It's just not working.Phil Hudson:Yeah. Don't be so damn precious about your story and your characters and your idea. Just get it out and move on. It's reps. You got to get your reps in. All right, cookies and sugar. How do you keep a romance novel? Interesting. How do you create conflict between the two characters while still having them come together in the end to date? How do you write villains in? And part of me is, I think we just answered this with the toothpaste and all that stuff we're talking about. You can get there, but Hitch comes to mind for me, right? It's the right characters. Remember? Yeah. Will Smith is the dating expert, and he helps guys who kind of suck at dating, get girls that they like. And Eon Goya's character is like a gossip writer, and she finds out about this guy and she's going to go find him and hunt him down. But at the same time, she falls in love with Hitch the Guy. And then it kind of comes out later that she feels like he played her and it's because her friend got some douche bag who he wouldn't help made some reference. And so it all kind of boils over at the end. And it's about helping a guy fall in love who's in love with this airs getting her to fall in love with him. He's a klutz and he can't do it himself. And all the things she fell in love with were him. His mistakes, not the stuff Hitch taught him how to do, right? It's all the sincere him stuff. But that is a great example of this is a romcom, this is a romance story. This isMichael Jamin:Go watch when Harry Met Sally, which is the best romcom ever. And so when you keep your, it is boy meets girl, boy gets girl, boy loses girl. That's the middle, right? Then boy gets girl in the end again. Or not. Or not, but getting together at the end, you need to get your characters, they usually get together earlier and then something goes south. And that would be probably be your second act break when they break up for whatever reason. So go watch Harry. I met Sally. That's a brilliant, brilliant romcom.Phil Hudson:Awesome. EG wants to know how do you overcome difficulties with writing dialogue? Acts broken down, but having a hard time with dialogue?Michael Jamin:Well, yeah. I mean, there's a couple of things going on. One, you can record your dialogue into a tape recorder or whatever, digital recorder and play it back. And it should sound natural. It should sound the way people talk. You can go to a coffee shop and listen to people how they talk to me. That's the fun part. If you're having problem writing it, it could easily be because you don't know what your characters should say. And if you don't know what your characters are saying, you don't have a dialogue problem. You have a story structure problem if you don't know what your characters should say. So I suspect that's what's going on. I suspect this person doesn't have a dialogue problem. They have a story structured problem.Phil Hudson:That was my thought too, because it's pretty easy to know what you need to get. You shouldn't have a scene where people are just showing up to talk that does nothing for us. Yeah,Michael Jamin:Yeah.Phil Hudson:It's that critique I have. And I've noticed even in my own writing early on, which is there's a lot of people doing things and nothing's happening.Michael Jamin:Yeah,Phil Hudson:That's a bad note to get by the way, guys, you don't want that. Doc B, is there a method by which to place arc points, the character will learn something or experience that helps them grow? Or do you let the story find the right moment for a character evolution?Michael Jamin:Can you repeat it?Phil Hudson:It kind of was tough to get through. So is there a process or method that you use to put in plot points or story points that require your character to grow or evolve?Michael Jamin:Well, again, we're talking story structure. That's what they need to, that's what I teach in the course. There is a process. Yeah. Yeah.Phil Hudson:I recently, go ahead.Michael Jamin:Characters don't have to grow. They have to change, but they don't have to learn a lesson, but go on.Phil Hudson:Yeah. And again, that's that advice. It just hangs out. There is your character needs to learn something, your character needs to learn something. And just kind of hanging myself out here. Again, the first question you asked me when you're giving me screenwriting advice is you asked me the question, what is the definition of a story? Hint. Hint. That's go get the free lesson on michaeljamin.com/free because it's the same question and you teach this principle, and I said, it's a hero who goes through trials and ends up better in the end. And your response was, what about King Lear?Michael Jamin:Yeah. Here's another example that go watch a movie called Manchester by the Sea with Casey Affleck. And in it he plays a guy who's responsible for the death. There's an accident. He's responsible for the death of his wife and his child, and he's living with his horrible guilt. HePhil Hudson:Won an Oscar for that, right? That's the one got the Oscar for,Michael Jamin:I don't know. But it was a great performance. And so he feels responsible for the death of his family, and I think he may have been an alcoholic or not, I don't remember. And then he forges a relationship with his nephew, and you think maybe this relationship's going to save him. And you get to the end and you think we've taken Casey Affleck's character on this journey where maybe he's not going to be depressed anymore. Maybe he's going to allow himself to change and grow and he can't. And so that character goes on a whole journey, but really doesn't change and is a beautiful, beautiful movie. But again, the emotional journey is there. But he decides at the end, I can't grow. I can't ChangePhil Hudson:Without A Trace is another great film with Ben Foster and he's living in, he's a vet with PTSD and he's living kind in the wilderness outside of Portland with his daughter. And then Child Protective Services kind of gets involved and he kind goes on the run with her and they escape. And then at the end they end up in this town and there are these kind people who want to take her in and they're offering to give them a place to stay and take care of him. And then one night he is packing his stuff and he has to kind of leave his daughter behind because he can't deal and she can't deal with living in the woods. And she shouldn't because a teenage girl and should have a life. And they have this beautiful, I don't want to spoil it for anyone else, watch, but there's this beautiful moment where at the end you just know they're both okay and they've both got what they need, but it's not what you want for them. You want these two to figure it out. You want him to get better and he just can't cope with civilization Society. Yeah, good stuff. Matthew Lavania, what are your thoughts on withholding information from the audience to allow them to work things out for themselves rather than spoonfeed them everything?Michael Jamin:Good question, Matthew. That is something I struggle with, that it's not an easy task. That's kind of the difference between writing, in my opinion, writing smart writing, and maybe not so smart writing. So if I were to tell a children's a show, like a family show, middle of the Road, family Show, kind of a hokey, I would break that story the same exact way I would break an episode, let's say, of Marin, which was a very sophisticated dark comedy for adults. I would break it the same exact way. The differences for the family show, which kids are supposed to watch with their parents, I would spell it out a little more. I'd do a little more spoonfeeding. And for the adult show for Marin, I would make the, I just wouldn't say it as much, and the audience would have to figure it out on their own. And people would think, oh, Marin is smart because I'm making them do the work. Whereas it's literally the same steps, the same beat board, it's all the same except I'm making, I'm spoonfeeding the family show, but I'm making on Marin. I'm letting the audience do little work. And when you make the audience do more work, they feel it's a smarter show because they have to be smarter. They have to pay attention more. And so that in my opinion, is the difference between a smart show and let's say a not smart show.Phil Hudson:For the newer writers, there are two terms that come to mind. One is subtext, which I could not wrap my head around when I was first figuring learning writing, but it's absolutely critical to writing professionally. You need to understand it's like what's not being said, it's being said, but not said that subtext. And then the other is this principle of audience inferior and audience superior, meaning your audience doesn't know what's going on versus your audience knows more than your characters know what's going on. And there are tools you use. So in a horror film, you might use Audience Superior to say, oh no, don't go in there. Don't go in there that the killer's in there. But then you might use audience inferior and a horror film for the jump scare where leather face pops out in the woods and gets your kids. So they're just tools of the craft and you use 'em. Applicably.On this note, I've talked about the show when Bluey is very popular right now on Disney Plus. It's a kid's show about their dogs and even at shows from Australia. And they're fascinating. And I love watching them probably more than my kids love watching them because they are very smart, very, this was something I just saw on TikTok yesterday. It's a new term I learned called a Rainbow Baby. Have you ever heard that term Rainbow Baby? Is the baby born immediately after a miscarriage or a stillbirth or something like that? And it's a very emotional thing for parents. And there's an episode where Blue's kind of acting out how her mom and her dad fell in love and kind of how Bluey got there and her sister Bingo's helping her act it out. And Bingo's got this balloon underneath her belly to pretend like she's pregnant and she's playing the mom.And they don't tell you this. And I've watched this episode probably five times, and until someone pointed this out, there's this moment where the balloon pops and you see Blue's Dad grab his wife's hand and they hold hands. And I get emotional as a husband with kids. It's like, oh, they went through a miscarriage. And they don't tell you. Kids will never know. But as an adult it's like, wow, there's a level to this that is just beautiful. So that's subtext and it's audience inferior. It's all those things that we're talking about. So I'm going to wipe my tears now into my microphone. A couple of questions left, and I know we're going to be a little bit long here guys. So apologize. You're getting a bunch of questions answered. The Lovely Bone 0 5 2. How do you make character's voice different than your own? Which I think is kind of the projecting question we talked about earlier, but do you have any about voice?Michael Jamin:That's the fun part. If you're writing for Frazier Crane, you speak like Frazier Crane, you look up words in the thesaurus. So he uses smart language instead of good and bad, it'll say delicious and magnificent. How do you do that? That's the fun. That's the imitation part where we get to imitate people. So you listen, you use your ears and you mock peoplePhil Hudson:And you have experiences you've talked about before.Michael Jamin:Yeah.Phil Hudson:Joshua and Ashley Earls Bennett want to know, this is about miscellaneous questions, by the way. Is there a character sheet for stories that have taken place in the past? And I think this is a reference to a story Bible and not the one you do for pitching, but the one in the writer's room.Michael Jamin:Yeah. I mean, I don't look at it. I mean, most shows keep a Bible for whatever purposes. I don't even know why. But they keep a record of all these characters and stories that have been told. So if someone needs to know for at some point in the future, it's there, but I don't reference them.Phil Hudson:Here's an Easter egg on why you might have this, because we didn't have this on Tacoma fd. And then there was a point where in this season of Tacoma fd, they're going to rename the street pan easy way. And so we need to know what is the street of the firehouse. And so I had to go dig through every last episode of the script, every script from season one through, and you find out, well, we've had two addresses because someone wrote it down, or I know we ran into a plot point where it's like we need to pick a specific game that was missed as a plot point for this episode, and why Terry's mad at his daughter because that's the night she was born. But in the timeline, we might say she was this age, and then now you're stuck trying to find an important event in this specific year because you have to maintain the continuity of the story.Michael Jamin:And that's a good example. So if we have an episode and we want to like, okay, we want to bring back Eddie'sPhil Hudson:Spatchcock.Michael Jamin:Yeah, whatever. A girlfriend that he had in the first season one, what was her name again? I can't remember. We want to bring this character back. We'd asked the writer's assistant, the writer would check the Bible that they kept a record of because we as the writers might not remember because it's like a trivia. It's trivia from four seasons ago.Phil Hudson:Awesome. Jenny Harper. Are there any character sheets that list how each character changes by beat? Beat byMichael Jamin:Beat? No, we wouldn't keep a record of that. That'd be crazy. That'd be too much work.Phil Hudson:Is there a reason for a character or a writer to keep that?Michael Jamin:I mean, I often would wonder when I watched Lost or even Game of Thrones, I'm like, wait, who knows what here? It's hard to remember. That's the challenge. One of the challenges of shows like that, wait, who knows what's going on here? I'm terrible at that. I don't like that aspect of writing, but certainly What is that?Phil Hudson:So this is a book by Javier gr Marks watch, which we've talked about before. He was a writer on Lost and he's got a blog where he talks about that first season of Lost, which he was on, and this is his book, shoot This one again, which is kind of stories, essays on being a writer and a showrunner. And this book is really good and he talks a lot about Bibles and what it was like to come up with stories and things like that. And they've got a really great podcast too on TV writing that's not very active, but it was really good resource called Children of Tendu. So if you're interested in more of that stuff, I think they're a very good resource for that. And that book's great. Check it out. But shout out to Javi. You know Javi, right? You've met him. Is that right?Michael Jamin:No, I never met him. I know who he isPhil Hudson:Though. You know of him.Michael Jamin:I think maybe we tweeted each other once or twice or something.Phil Hudson:Yeah, they're cool guys. I've reached out to them as well to help them with their podcast back in the day. They did not take me up on it, Michael, but you did.Michael Jamin:Oh well, I did. Yeah.Phil Hudson:They missed out. Yeah. Chris, who wants to know, what are some examples of compelling character development in television characters who really stand out from a professional writer's perspective?Michael Jamin:Well, I mean, Walter White fantastic, but anybody on Breaking Bed? Is it fantastic? YouPhil Hudson:Talked about Aria Stark already. That's another great one. JohnMichael Jamin:Star. There's so many great characters. I mean, when people think there's nothing good on, it's like, well change a channel, man. There's plenty of good TV on. I dunno what you're talking about. Stop watching your terrible shows. It's your fault. I'm loving severance. I'm loving severance,Phil Hudson:Severance.Michael Jamin:It's so interesting to me. Yeah, lovePhil Hudson:It. Alex r how in depth do rooms of writers deconstruct characters?Michael Jamin:Well, we have an idea when we start writing and then the characters, it's not like we deconstruct. They actually become, it's almost like they're real people to us. And so are you deconstructing your mother or do you just know your mother? You know who mother is and so they're real people. It's not like we're not taking 'em apart and laying 'em on a table.Phil Hudson:Do you want to talk about the doctor? No. In the writer's room that came up recently this week in a conversation with somebody. But it's also like this might be that someone, it's almost like you're nitpicking your character a bit.Michael Jamin:Yeah, but I don't watch Dr. No, so I don't really keep,Phil Hudson:No Dr. Noah as in the doctor Noah in the room. Maybe that's not you. That's them. Dr. Noah is the naysayer, the guy who says tears things down and doesn't like.Michael Jamin:Yeah, I mean that's not a helpful, you can find a reason to say no to every pitch in a writer's room. It is just not helpful. So find a reason to build it up to be positive and to say something helpful.Phil Hudson:How do you make sticky or awesome characters that get stuck in people's heads and hearts and how can you have a character that you expand over more than one season? How do you develop a character?Michael Jamin:This is the journey we all put ourselves on, but again, I don't even think it's so much the character as it is the journey we put them on. You could take anyone, make them interesting. I feel you could make anyone interesting as long as you put 'em on the right journey.Phil Hudson:Dave Campbell, how do we get away with using characters based on real life when there's always that stupid boilerplate saying exactly the opposite. The characters and events are not based on real events orMichael Jamin:How do we, I guess what's the question? DoPhil Hudson:Do we get away with using a character that's based on somebody in real life when there's always that stupid boilerplate? The disclaimer about this is not based on real people.Michael Jamin:Well, I mean change 'em a little. You're basing it on them and you're changing their name and their identity. And so if you're going to make a character against model it against your best friend, change it enough so that your best friend doesn't find out, it won't know. So that's how you do it.Phil Hudson:I wrote a script once and gave it to my friend who's an actor that was on the bridge and he was a little on the nose, but I appreciate it. He felt like I wrote him, which I did. I wrote him. He was just such a character and it was not interesting to him as an actor who has been on a major show, he's just like, this is just me.Michael Jamin:Right, right.Phil Hudson:Mishu Pizza. Can character foils also be considered a side character or a supporting character or the main character's best friend? I feel like foils don't always have to be the antagonist. Is that true?Michael Jamin:I feel like we're overthinking this a little bit. I feel like maybe we're giving labels that don't need to be labeled. We have a hero. We're going to put this hero on a journey and who are the people? Or if it's a like a buddy comedy or whatever we're talking about, or if it's a husband and wife or whatever the story, what's the journey we're putting them on and who are the characters who are going to get in their way? And often if it's a husband and wife, they're going to be fighting each other, so Okay, good. And who are the characters that we need to create to help foment this argument that they&#

This week I catch up on all of the weeks I've missed doing the pod while on the road doing comedy. Well, we talk about that stuff for a little bit, but we spend most of the episode having fun with the infinite scenarios that involve Jesse Pinkman's huge dong in a Breaking Bad gay porn universe. This was WAY funnier and more important than my dumb road stories anyway. We also talk about Marc's recent Metallica concert weekend and other bands. The end. 

This week: the ER fends off the media as a controversial member of the city council is brought in, Carter makes a house call, Pratt tries to convince Jesse Pinkman to care for his younger siblings, Luka skirts the lines of good medicine to try and get a man up to surgery, Susan's generous spirit backfires on her, and Adele vanishes into the shadow realm. 

Nora Coss, Oscar Murra, Lucia Olivares,  Adrian Murra y Fernando Veloz hablan de todo que ver con todo la creación de personajes en la cultura pop.Hablamos de:Seinfeld, The Sopranos, Mario Bros The Movie, Star Wars, Lost, Arya Stark - Game Of Thrones, Bugs Bunny,  Looney Tunes, Sherlock Holmes, Joker - Batman, Jesse Pinkman,  Breaking Bad... Support the showTodo Que Ver TEMPORADA 4 Apple Podcasts Spotify Google Podcasts Amazon Music

Breaking Bad is a comedy, right? About a trans son and his supportive dad? No? Doesn't sound familiar? You clearly haven't spent enough time on Breaking Bad Tumblr. Don't worry, Cherokee scrolled all the way to the bottom of the tag, she's seen it all. Plus, a listener question answered and a relic from the Hamilton heyday.  Follow us on Tumblr at dashboarddiaries.tumblr.com to see the posts we talk about on this episode or email us at dashboarddiariespod@gmail.com! Dashboard Diaries is a production of Atypical Artists, hosted by Lauren Shippen and Cherokee McAnelly. Our theme was composed by Lauren Shippen and mixed by Brandon Grugle. Art by Shae McMullin. Transcription (which can be found on our Tumblr) by Laudable. "Bad Beep" by RICHERlandTV; "Correct Answer / That's Right!" by Beetlemuse; all licensed under the Attribution 3.0 License.

Listen with FREE Interactive Transcript only on the RealLife App.   One of the things successful English learners are able to do is understand language in various situations. And that includes understanding curse words. In today's episode, we talk about all the various uses of the word "Bitch" in English and we share our take on cursing and swearing. While we don't recommend using these kinds of words lightly, it is important that you can understand them when watching a movie or talking to some native speakers.   Show notes here. .......... Follow us on: RealLife English (YouTube) Learn English with TV Series (YouTube) Instagram: reallife.english  

This week we talk about the intersections of large language models, the golden age of television and its storytelling mishaps, making one's way through the weirding of the labor economy, and much more with two of my favorite Gen X science fiction aficionados, OG podcaster KMO and our mutual friend Kevin Arthur Wohlmut. In this episode — a standalone continuation to my recent appearance on The KMO Show, we skip like a stone across mentions of every Star Trek series, the collapse of narratives and the social fabric, Westworld HBO, Star Wars Mandalorian vs. Andor vs. Rebels, chatGPT, Blade Runner 2049, Black Mirror, H.P. Lovecraft, the Sheldrake-Abraham-McKenna Trialogues, Charles Stross' Accelerando, Adventure Time, Stanislav Grof's LSD psychotherapy, Francisco Varela, Blake Lemoine's meltdown over Google LaMDA, Integrated Information Theory, biosemiotics, Douglas Hofstadter, Max Tegmarck, Erik Davis, Peter Watts, The Psychedelic Salon, Melanie Mitchell, The Teafaerie, Kevin Kelly, consilience in science, Fight Club, and more…Or, if you prefer, here's a rundown of the episode generated by A.I. c/o my friends at Podium.page:In this episode, I explore an ambitious and well-connected conversation with guests KMO, a seasoned podcaster, and Kevin Walnut [sic], a close friend and supporter of the arts in Santa Fe. We dive deep into their thoughts on the social epistemology crisis, science fiction, deep fakes, and ontology. Additionally, we discuss their opinions on the Star Trek franchise, particularly their critiques of the first two seasons of Star Trek: Picard and Discovery. Through this engaging conversation, we examine the impact of storytelling and the evolution of science fiction in modern culture. We also explore the relationship between identity, media, and artificial intelligence, as well as the ethical implications of creating sentient artificial general intelligence (AGI) and the philosophical questions surrounding AI's impact on society and human existence. Join us for a thought-provoking and in-depth discussion on a variety of topics that will leave you questioning the future of humanity and our relationship with technology.✨ Before we get started, three big announcements!* I am leaving the Santa Fe Institute, in part to write a very ambitious book about technology, art, imagination, and Jurassic Park. You can be a part of the early discussion around this project by joining the Future Fossils Book Club's Jurassic Park live calls — the first of which will be on Saturday, 29 April — open to Substack and Patreon supporters:* Catch me in a Twitter Space with Nxt Museum on Monday 17 April at 11 am PST on a panel discussing “Creative Misuse of Technology” with Minne Atairu, Parag Mital, Caroline Sinders, and hosts Jesse Damiani and Charlotte Kent.* I'm back in Austin this October to play the Astronox Festival at Apache Pass! Check out this amazing lineup on which I appear alongside Juno Reactor, Entheogenic, Goopsteppa, DRRTYWULVZ, and many more great artists!✨ Support Future Fossils:Subscribe anywhere you go for podcastsSubscribe to the podcast PLUS essays, music, and news on Substack or Patreon.Buy my original paintings or commission new work.Buy my music on Bandcamp! (This episode features “A Better Trip” from my recent live album by the same name.)Or if you're into lo-fi audio, follow me and my listening recommendations on Spotify.This conversation continues with lively and respectful interaction every single day in the members-only Future Fossils Facebook Group and Discord server. Join us!Episode cover art by KMO and a whole bouquet of digital image manipulation apps.✨ Tip Jars:@futurefossils on Venmo$manfredmacx on CashAppmichaelgarfield on PayPal✨ Affiliate Links:• These show notes and the transcript were made possible with Podium.Page, a very cool new AI service I'm happy to endorse. Sign up here and get three free hours and 50% off your first month.• BioTech Life Sciences makes anti-aging and performance enhancement formulas that work directly at the level of cellular nutrition, both for ingestion and direct topical application. I'm a firm believer in keeping NAD+ levels up and their skin solution helped me erase a year of pandemic burnout from my face.• Help regulate stress, get better sleep, recover from exercise, and/or stay alert and focused without stimulants, with the Apollo Neuro wearable. I have one and while I don't wear it all the time, when I do it's sober healthy drugs.• Musicians: let me recommend you get yourself a Jamstik Studio, the coolest MIDI guitar I've ever played. I LOVE mine. You can hear it playing all the synths on my song about Jurassic Park.✨ Mentioned Media:KMO Show S01 E01 - 001 - Michael Garfield and Kevin WohlmutAn Edifying Thought on AI by Charles EisensteinIn Defense of Star Trek: Picard & Discovery by Michael GarfieldImprovising Out of Algorithmic Isolation by Michael GarfieldAI and the Transformation of the Human Spirit by Steven Hales(and yes I know it's on Quillette, and no I don't think this automatically disqualifies it)Future Fossils Book Club #1: Blindsight by Peter WattsFF 116 - The Next Ten Billion Years: Ugo Bardi & John Michael Greer as read by Kevin Arthur Wohlmut✨ Related Recent Future Fossils Episodes:FF 198 - Tadaaki Hozumi on Japanese Esotericism, Aliens, Land Spirits, & The Singularity (Part 2)FF 195 - A.I. Art: An Emergency Panel with Julian Picaza, Evo Heyning, Micah Daigle, Jamie Curcio, & Topher SipesFF 187 - Fear & Loathing on the Electronic Frontier with Kevin Welch & David Hensley of EFF-Austin FF 178 - Chris Ryan on Exhuming The Human from Our Eldritch Institutions FF 175 - C. Thi Nguyen on The Seductions of Clarity, Weaponized Games, and Agency as Art ✨ Chapters:0:15:45 - The Substance of Philosophy (58 Seconds)0:24:45 - Complicated TV Narratives and the Internet (104 Seconds)0:30:54 - Humans vs Hosts in Westworld (81 Seconds)0:38:09 - Philosophical Zombies and Artificial Intelligence (89 Seconds)0:43:00 - Popular Franchises Themes (71 Seconds)1:03:27 - Reflections on a Changing Media Landscape (89 Seconds)1:10:45 - The Pathology of Selective Evidence (92 Seconds)1:16:32 - Externalizing Trauma Through Technology (131 Seconds)1:24:51 - From Snow Maker to Thouandsaire (43 Seconds)1:36:48 - The Impact of Boomer Parenting (126 Seconds)✨ Keywords:Social Epistemology, Science Fiction, Deep Fakes, Ontology, Star Trek, Artificial Intelligence, AI Impact, Sentient AGI, Human-Machine Interconnectivity, Consciousness Theory, Westworld, Blade Runner 2049, AI in Economy, AI Companion Chatbots, Unconventional Career Path, AI and Education, AI Content Creation, AI in Media, Turing Test✨ UNEDITED machine-generated transcript generated by podium.page:0:00:00Five four three two one. Go. So it's not like Wayne's world where you say the two and the one silently. Now, Greetings future fossils.0:00:11Welcome to episode two hundred and one of the podcast that explores our place in time I'm your host, Michael Garfield. And this is one of these extra juicy and delicious episodes of the show where I really ratcheted up with our guests and provide you one of these singularity is near kind of ever everything is connected to everything, self organized criticality right at the edge of chaos conversations, deeply embedded in chapel parallel where suddenly the invisible architect picture of our cosmos starts to make itself apparent through the glass bead game of conversation. And I am that I get to share it with you. Our guests this week are KMO, one of the most seasoned and well researched and experienced podcasters that I know. Somebody whose show the Sea Realm was running all the way back in two thousand six, I found him through Eric Davis, who I think most of you know, and I've had on the show a number of times already. And also Kevin Walnut, who is a close friend of mine here in Santa Fe, a just incredible human being, he's probably the strongest single supporter of music that I'm aware of, you know, as far as local scenes are concerned and and supporting people's music online and helping get the word out. He's been instrumental to my family and I am getting ourselves situated here all the way back to when I visited Santa Fe in two thousand eighteen to participate in the Santa Fe Institute's Interplanetary Festival and recorded conversations on that trip John David Ebert and Michael Aaron Cummins. And Ike used so June. About hyper modernity, a two part episode one zero four and one zero five. I highly recommend going back to that, which is really the last time possibly I had a conversation just this incredibly ambitious on the show.0:02:31But first, I want to announce a couple things. One is that I have left the Santa Fe Institute. The other podcast that I have been hosting for them for the last three and a half years, Complexity Podcast, which is substantially more popular in future fossils due to its institutional affiliation is coming to a close, I'm recording one more episode with SFI president David Krakauer next week in which I'm gonna be talking about my upcoming book project. And that episode actually is conjoined with the big announcement that I have for members of the Future Fossil's listening audience and and paid supporters, which is, of course, the Jurassic Park Book Club that starts On April twenty ninth, we're gonna host the first of two video calls where I'm gonna dive deep into the science and philosophy Michael Creighton's most popular work of fiction and its impact on culture and society over the thirty three years since its publication. And then I'm gonna start picking up as many of the podcasts that I had scheduled for complexity and had to cancel upon my departure from SFI. And basically fuse the two shows.0:03:47And I think a lot of you saw this coming. Future fossils is going to level up and become a much more scientific podcast. As I prepare and research the book that I'm writing about Jurassic Park and its legacy and the relationship It has to ILM and SFI and the Institute of Eco Technics. And all of these other visionary projects that sprouted in the eighties and nineties to transition from the analog to the digital the collapse of the boundaries between the real and the virtual, the human and the non human worlds, it's gonna be a very very ambitious book and a very very ambitious book club. And I hope that you will get in there because obviously now I am out in the rain as an independent producer and very much need can benefit from and am deeply grateful for your support for this work in order to make things happen and in order to keep my family fed, get the lights on here with future fossils. So with that, I wanna thank all of the new supporters of the show that have crawled out of the woodwork over the last few weeks, including Raefsler Oingo, Brian in the archaeologist, Philip Rice, Gerald Bilak, Jamie Curcio, Jeff Hanson who bought my music, Kuaime, Mary Castello, VR squared, Nastia teaches, community health com, Ed Mulder, Cody Couiac, bought my music, Simon Heiduke, amazing visionary artist. I recommend you check out, Kayla Peters. Yeah. All of you, I just wow. Thank you so much. It's gonna be a complete melee in this book club. I'm super excited to meet you all. I will send out details about the call details for the twenty ninth sometime in the next few days via a sub tag in Patreon.0:06:09The amount of support that I've received through this transition has been incredible and it's empowering me to do wonderful things for you such as the recently released secret videos of the life sets I performed with comedian Shane Moss supporting him, opening for him here in Santa Fe. His two sold out shows at the Jean Coutu cinema where did the cyber guitar performances. And if you're a subscriber, you can watch me goofing off with my pedal board. There's a ton of material. I'm gonna continue to do that. I've got a lot of really exciting concerts coming up in the next few months that we're gonna get large group and also solo performance recordings from and I'm gonna make those available in a much more resplendent way to supporters as well as the soundtrack to Mark Nelson of the Institute of Eco Technics, his UC San Diego, Art Museum, exhibit retrospective looking at BioSphere two. I'm doing music for that and that's dropping. The the opening of that event is April twenty seventh. There's gonna be a live zoom event for that and then I'm gonna push the music out as well for that.0:07:45So, yeah, thank you all. I really, really appreciate you listening to the show. I am excited to share this episode with you. KMO is just a trove. Of insight and experience. I mean, he's like a perfect entry into the digital history museum that this show was predicated upon. So with that and also, of course, Kevin Willett is just magnificent. And for the record, stick around at the end of the conversation. We have some additional pieces about AI, and I think you're gonna really enjoy it. And yeah, thank you. Here we go. Alright. Cool.0:09:26Well, we just had a lovely hour of discussion for the new KMO podcast. And now I'm here with KMO who is The most inveterate podcaster I know. And I know a lot of them. Early adopts. And I think that weird means what you think it means. Inventor it. Okay. Yes. Hey, answer to both. Go ahead. I mean, you're not yet legless and panhandling. So prefer to think of it in term in terms of August estimation. Yeah. And am I allowed to say Kevin Walnut because I've had you as a host on True. Yeah. My last name was appeared on your show. It hasn't appeared on camos yet, but I don't really care. Okay. Great. Yeah. Karen Arthur Womlett, who is one of the most solid and upstanding and widely read and just generous people, I think I know here in Santa Fe or maybe anywhere. With excellent taste and podcasts. Yes. And who is delicious meat I am sampling right now as probably the first episode of future fossils where I've had an alcoholic beverage in my hand. Well, I mean, it's I haven't deprived myself. Of fun. And I think if you're still listening to the show after all these years, you probably inferred that. But at any rate, Welcome on board. Thank you. Thanks. Pleasure to be here.0:10:49So before we started rolling, I guess, so the whole conversation that we just had for your show camera was very much about my thoughts on the social epistemology crisis and on science fiction and deep fakes and all of these kinds of weird ontology and these kinds of things. But in between calls, we were just talking about how much you detest the first two seasons of Star Trek card and of Discovery. And as somebody, I didn't bother with doing this. I didn't send you this before we spoke, but I actually did write an SIN defense of those shows. No one. Yeah. So I am not attached to my opinion on this, but And I actually do wanna at some point double back and hear storytelling because when he had lunch and he had a bunch of personal life stuff that was really interesting. And juicy and I think worthy of discussion. But simply because it's hot on the rail right now, I wanna hear you talk about Star Trek. And both of you, actually, I know are very big fans of this franchise. I think fans are often the ones from whom a critic is most important and deserved. And so I welcome your unhinged rants. Alright. Well, first, I'll start off by quoting Kevin's brother, the linguist, who says, That which brings us closer to Star Trek is progress. But I'd have to say that which brings us closer to Gene Rottenberry and Rick Berman era Star Trek. Is progress. That which brings us closer to Kurtzmann. What's his first name? Alex. Alex Kurtzmann, Star Trek. Well, that's not even the future. I mean, that's just that's our drama right now with inconsistent Star Trek drag draped over it.0:12:35I liked the first JJ Abrams' Star Trek. I think it was two thousand nine with Chris Pine and Zachary Qinto and Karl Urban and Joey Saldana. I liked the casting. I liked the energy. It was fun. I can still put that movie on and enjoy it. But each one after that just seem to double down on the dumb and just hold that arm's length any of the philosophical stuff that was just amazing from Star Trek: The Next Generation or any of the long term character building, which was like from Deep Space nine.0:13:09And before seven of nine showed up on on Voyager, you really had to be a dedicated Star Trek fan to put up with early season's Voyager, but I did because I am. But then once she came on board and it was hilarious. They brought her onboard. I remember seeing Jerry Ryan in her cat suit on the cover of a magazine and just roll in my eyes and think, oh my gosh, this show is in such deep trouble through sinking to this level to try to save it. But she was brilliant. She was brilliant in that show and she and Robert Percardo as the doctor. I mean, it basically became the seven of nine and the doctor show co starring the rest of the cast of Voyager. And it was so great.0:13:46I love to hear them singing together and just all the dynamics of I'm human, but I was I basically came up in a cybernetic collective and that's much more comfortable to me. And I don't really have the option of going back it. So I gotta make the best of where I am, but I feel really superior to all of you. Is such it was such a charming dynamic. I absolutely loved it. Yes. And then I think a show that is hated even by Star Trek fans Enterprise. Loved Enterprise.0:14:15And, yes, the first three seasons out of four were pretty rough. Actually, the first two were pretty rough. The third season was that Zendy Ark in the the expanse. That was pretty good. And then season four was just astounding. It's like they really found their voice and then what's his name at CBS Paramount.0:14:32He's gone now. He got me too. What's his name? Les Moonves? Said, no. I don't like Star Trek. He couldn't he didn't know the difference between Star Wars and Star Trek. That was his level of engagement.0:14:44And he's I really like J.0:14:46J.0:14:46Abrams. What's that? You mean J. J. Abrams. Yeah. I think J. J. Is I like some of J. Abrams early films. I really like super eight. He's clearly his early films were clearly an homage to, like, eighties, Spielberg stuff, and Spielberg gets the emotional beats right, and JJ Abrams was mimicking that, and his early stuff really works. It's just when he starts adapting properties that I really love. And he's coming at it from a marketing standpoint first and a, hey, we're just gonna do the lost mystery box thing. We're gonna set up a bunch questions to which we don't know the answers, and it'll be up to somebody else to figure it out, somebody down the line. I as I told you, between our conversations before we were recording. I really enjoy or maybe I said it early in this one. I really like that first J. J. Abrams, Star Trek: Foam, and then everyone thereafter, including the one that Simon Pegg really had a hand in because he's clear fan. Yeah. Yeah. But they brought in director from one of the fast and the furious films and they tried to make it an action film on.0:15:45This is not Star Trek, dude. This is not why we like Star Trek. It's not for the flash, particularly -- Oh my god. -- again, in the first one, it was a stylistic choice. I'd like it, then after that is that's the substance of this, isn't it? It's the lens flares. I mean, that that's your attempt at philosophy. It's this the lens flares. That's your attempt at a moral dilemma. I don't know.0:16:07I kinda hate to start off on this because this is something about which I feel like intense emotion and it's negative. And I don't want that to be my first impression. I'm really negative about something. Well, one of the things about this show is that I always joke that maybe I shouldn't edit it because The thing that's most interesting to archaeologists is often the trash mitt and here I am tidying this thing up to be presentable to future historians or whatever like it I can sync to that for sure. Yeah. I'm sorry. The fact of it is you're not gonna know everything and we want it that way. No. It's okay. We'll get around to the stuff that I like. But yeah. So anyway yeah.0:16:44So I could just preassociate on Stretrick for a while, so maybe a focusing question. Well, but first, you said there's a you had more to say, but you were I this this tasteful perspective. This is awesome. Well, I do have a focus on question for you. So let me just have you ask it because for me to get into I basically I'm alienated right now from somebody that I've been really good friends with since high school.0:17:08Because over the last decade, culturally, we have bifurcated into the hard right, hard left. And I've tried not to go either way, but the hard left irritates me more than the hard right right now. And he is unquestionably on the hard left side. And I know for people who are dedicated Marxist, or really grounded in, like, materialism and the material well-being of workers that the current SJW fanaticism isn't leftist. It's just crazed. We try to put everything, smash everything down onto this left right spectrum, and it's pretty easy to say who's on the left and who's on the right even if a two dimensional, two axis graph would be much more expressive and nuanced.0:17:49Anyway, what's your focus in question? Well, And I think there is actually there is a kind of a when we ended your last episode talking about the bell riots from d s nine -- Mhmm. -- that, you know, how old five? Yeah. Twenty four. Ninety five did and did not accurately predict the kind of technological and economic conditions of this decade. It predicted the conditions Very well. Go ahead and finish your question. Yeah. Right.0:18:14That's another thing that's retreated in picard season two, and it was actually worth it. Yeah. Like, it was the fact that they decided to go back there was part of the defense that I made about that show and about Discovery's jump into the distant future and the way that they treated that I posted to medium a year or two ago when I was just watching through season two of picard. And for me, the thing that I liked about it was that they're making an effort to reconcile the wonder and the Ethiopian promise And, you know, this Kevin Kelly or rather would call Blake Protopian, right, that we make these improvements and that they're often just merely into incremental improvements the way that was it MLK quoted that abolitionists about the long arc of moral progress of moral justice. You know, I think that there's something to that and patitis into the last this is a long question. I'm mad at I'm mad at these. Thank you all for tolerating me.0:19:22But the when to tie it into the epistemology question, I remember this seeing this impactful lecture by Carnegie Mellon and SFI professor Simon Didayo who was talking about how by running statistical analysis on the history of the proceedings of the Royal Society, which is the oldest scientific journal, that you could see what looked like a stock market curve in sentiment analysis about the confidence that scientists had at the prospect of unifying knowledge. And so you have, like, conciliance r s curve here that showed that knowledge would be more and more unified for about a century or a hundred and fifty years then it would go through fifty years of decline where something had happened, which was a success of knowledge production. Had outpaced our ability to integrate it. So we go through these kinds of, like, psychedelic peak experiences collectively, and then we have sit there with our heads in our hands and make sense of everything that we've learned over the last century and a half and go through a kind of a deconstructive epoch. Where we don't feel like the center is gonna hold anymore. And that is what I actually As as disappointing as I accept that it is and acknowledge that it is to people who were really fueling themselves on that more gene rottenberry era prompt vision for a better society, I actually appreciated this this effort to explore and address in the shows the way that they could pop that bubble.0:21:03And, like, it's on the one hand, it's boring because everybody's trying to do the moral complexity, anti hero, people are flawed, thing in narrative now because we have a general loss of faith in our institutions and in our rows. On the other hand, like, that's where we are and that's what we need to process And I think there is a good reason to look back at the optimism and the quarian hope of the sixties and early seventies. We're like, really, they're not so much the seventies, but look back on that stuff and say, we wanna keep telling these stories, but we wanna tell it in a way that acknowledges that the eighties happened. And that this is you got Tim Leary, and then you've got Ronald Reagan. And then That just or Dick Nixon. And like these things they wash back and forth. And so it's not unreasonable to imagine that in even in a world that has managed to how do you even keep a big society like that coherent? It has to suffer kind of fabric collapses along the way at different points. And so I'm just curious your thoughts about that. And then I do have another prompt, but I wanna give Kevin the opportunity to respond to this as well as to address some of the prompts that you brought to this conversation? This is a conversation prompt while we weren't recording. It has nothing to do with Sartreks. I'll save that for later. Okay.0:22:25Well, everything you just said was in some way related to a defense of Alex Kurtzmann Star Trek. And it's not my original idea. I'm channeling somebody from YouTube, surely. But Don't get points for theme if the storytelling is incompetent. That's what I was gonna Yeah. And the storytelling in all of Star Trek: Discovery, and in the first two seasons of picard was simply incompetent.0:22:53When Star Trek, the next generation was running, they would do twenty, twenty four, sometimes more episodes in one season. These days, the season of TVs, eight episodes, ten, and they spend a lot more money on each episode. There's a lot more special effects. There's a lot more production value. Whereas Star Trek: The Next Generation was, okay, we have these standing sets. We have costumes for our actors. We have Two dollars for special effects. You better not introduce a new alien spaceship. It that costs money. We have to design it. We have to build it. So use existing stuff. Well, what do you have? You have a bunch of good actors and you have a bunch of good writers who know how to tell a story and craft dialogue and create tension and investment with basically a stage play and nothing in the Kerstmann era except one might argue and I would have sympathy strange new worlds. Comes anywhere close to that level of competence, which was on display for decades. From Star Trek: The Next Generation, Star Trek: Deep Space nines, Star Trek Voyager, and Star Trek Enterprise. And so, I mean, I guess, in that respect, it's worth asking because, I mean, all of us, I think, are fans of Deep Space nine.0:24:03You don't think that it's a shift in focus. You don't think that strange in world is exempt because it went back to a more episodic format because what you're talking about is the ability for rather than a show runner or a team of show runners to craft a huge season, long dramatic arc. You've got people that are like Harlan Ellison in the original series able to bring a really potent one off idea to the table and drop it. And so there are there's all of those old shows are inconsistent from episode to episode. Some are they have specific writers that they would bring back again and that you could count to knock out of the park. Yeah. DC Fontana. Yeah.0:24:45So I'm curious to your thoughts on that as well as another part of this, which is when we talk when we talk your show about Doug Rushkoff and and narrative collapse, and he talks about how viewers just have different a way, it's almost like d s nine was possibly partially responsible for this change in what people expected from so. From television programming in the documentary that was made about that show and they talk about how people weren't ready for cereal. I mean, for I mean, yeah, for these long arcs, And so there is there's this question now about how much of this sort of like tiresome moral complexity and dragging narrative and all of this and, like, things like Westworld where it becomes so baroque and complicated that, like, you have, like, die hard fans like me that love it, but then you have a lot of people that just lost interest. They blacked out because the show was trying to tell a story that was, like, too intricate like, too complicated that the the show runners themselves got lost. And so that's a JJ Abrams thing too, the puzzle the mystery box thing where You get to the end of five seasons of lost and you're like, dude, did you just forget?0:25:56Did you wake up five c five episodes ago and just, oh, right. Right. We're like a chatbot that only give you very convincing answers based on just the last two or three interactions. But you don't remember the scene that we set. Ten ten responses ago. Hey. You know, actually, red articles were forget who it was, which series it was, they were saying that there's so many leaks and spoilers in getting out of the Internet that potentially the writers don't know where they're going because that way it can't be with the Internet. Yeah. Sounds interesting. Yeah. That sounds like cover for incompetence to be.0:26:29I mean, on the other hand, I mean, you did hear, like, Nolan and Joy talking about how they would they were obsessed with the Westworld subreddit and the fan theories and would try to dodge Like, if they had something in their mind that they found out that people are re anticipating, they would try to rewrite it. And so there is something about this that I think is really speaks to the nature of because I do wanna loop in your thoughts on AI to because you're talking about this being a favorite topic. Something about the, like, trying to The demands on the self made by predatory surveillance technologies are such that the I'm convinced the adaptive response is that we become more stochastic or inconsistent in our identities. And that we kind of sublimate from a more solid state of identity to or through a liquid kind of modernity biologic environment to a gaseous state of identity. That is harder to place sorry, harder to track. And so I think that this is also part of and this is the other question I wanted to ask you, and then I'm just gonna shut up for fifteen minutes is do you when you talk about loving Robert Ricardo and Jerry Ryan as the doctor at seven zero nine, One of the interesting things about that relationship is akin to stuff.0:27:52I know you've heard on Kevin have heard on future fossils about my love for Blade Runner twenty forty nine and how it explores all of these different these different points along a gradient between what we think of in the current sort of general understanding as the human and the machine. And so there's this thing about seven, right, where she's She's a human who wants to be a machine. And then there's this thing about the doctor where he's a machine that wants to be a human. And you have to grant both on a logical statuses to both of them. And that's why I think they're the two most interesting characters. Right?0:28:26And so at any rate, like, this is that's there's I've seen writing recently on the Turing test and how, like, really, there should be a reverse Turing test to see if people that have become utterly reliant on outboard cognition and information processing. They can pass the drink. Right. Are they philosophical zombies now? Are they are they having some an experience that that, you know, people like, thick and and shilling and the missing and these people would consider the modern self or are they something else have we moved on to another more routine robotic kind of category of being? I don't know. There's just a lot there, but -- Well done. -- considering everything you just said, In twenty words or less, what's your question? See, even more, like I said, do you have the inveterate podcaster? I'd say There's all of those things I just spoke about are ways in which what we are as people and the nature of our media, feedback into fourth, into each other. And so I would just love to hear you reflect on any of that, be it through the lens of Star Trek or just through the lens of discussion on AI. And we'll just let the ball roll downhill. So with the aim of framing something positively rather than negatively.0:29:47In the late nineties, mid to late nineties. We got the X Files. And the X Files for the first few seasons was so It was so engaging for me because Prior to that, there had been Hollywood tropes about aliens, which informed a lot of science fiction that didn't really connect with the actual reported experience of people who claim to have encountered either UFOs, now called UAPs, or had close encounters physical contact. Type encounters with seeming aliens. And it really seemed like Chris Carter, who was the showrunner, was reading the same Usenet Newsgroups that I was reading about those topics. Like, really, we had suddenly, for the first time, except maybe for comedian, you had the Grey's, and you had characters experiencing things that just seemed ripped right out of the reports that people were making on USnet, which for young folks, this is like pre Worldwide Web. It was Internet, but with no pictures. It's all text. Good old days from my perspective is a grumpy old gen xer. And so, yeah, that was a breakthrough moment.0:30:54Any this because you mentioned it in terms of Jonathan Nolan and his co writer on Westworld, reading the subreddit, the West and people figured out almost immediately that there were two interweaving time lines set decades apart and that there's one character, the old guy played by Ed Harris, and the young guy played by I don't remember the actor. But, you know, that they were the same character and that the inveterate white hat in the beginning turns into the inveterate black cat who's just there for the perverse thrill of tormenting the hosts as the robots are called. And the thing that I love most about that first season, two things. One, Anthony Hopkins. Say no more. Two, the revelation that the park has been basically copying humans or figuring out what humans are by closely monitoring their behavior in the park and the realization that the hosts come to is that, holy shit compared to us, humans are very simple creatures. We are much more complex. We are much more sophisticated, nuanced conscious, we feel more than the humans do, and that humans use us to play out their perverse and sadistic fantasies. To me, that was the takeaway message from season one.0:32:05And then I thought every season after that was just diluted and confused and not really coherent. And in particular, I haven't if there's a fourth season, haven't There was and then the show got canceled before they could finish the story. They had the line in season three. It was done after season three. And I was super happy to see Let's see after who plays Jesse Pinkman? Oh, no. Aaron oh, shit. Paul. Yes. Yeah. I was super happy to see him and something substantial and I was really pleased to see him included in the show and it's like, oh, that's what you're doing with him? They did a lot more interesting stuff with him in season four. I did they. They did a very much more interesting stuff. I think it was done after season three. If you tell me season four is worth taking in, I blow. I thought it was.0:32:43But again, I only watch television under very specific set of circumstances, and that's how I managed to enjoy television because I was a fierce and unrepentant hyperlogical critic of all media as a child until I managed to start smoking weed. And then I learned to enjoy myself. As we mentioned in the kitchen as I mentioned in the kitchen, if I smoke enough weed, Star Trek: Discovery is pretty and I can enjoy it on just a second by second level where if I don't remember what the character said thirty seconds ago, I'm okay. But I absolutely loved in season two when they brought in Hanson Mountain as as Christopher Pike. He's suddenly on the discovery and he's in the captain's chair. And it's like he's speaking for the audience. The first thing he says is, hey, why don't we turn on the lights? And then hey, all you people sitting around the bridge. We've been looking at your faces for a whole season. We don't even think about you. Listen to a round of introductions. Who are you? Who are you? It's it's if I were on set. You got to speak.0:33:53The writers is, who are these characters? We've been looking at them every single episode for a whole season. I don't know their names. I don't know anything about them. Why are they even here? Why is it not just Michael Burnham and an automated ship? And then it was for a while -- Yeah. -- which is funny. Yeah. To that point, And I think this kind of doubles back. The thing that I love about bringing him on and all of the people involved in strange and worlds in particular, is that these were lifelong fans of this series, I mean, of this world. Yeah. And so in that way, gets to this the idiosyncrasy question we're orbiting here, which is when these things are when the baton is passed well, it's passed to people who have now grown up with this stuff.0:34:40I personally cannot stand Jurassic World. Like, I think that Colin Trivaro should never have been in put at the reins. Which one did he direct? Oh, he did off he did first and the third. Okay. But, I mean, he was involved in all three very heavily.0:34:56And there's something just right at the outset of that first Jurassic World where you realize that this is not a film that's directly addressing the issues that Michael Creighton was trying to explore here. It's a film about its own franchise. It's a film about the fact that they can't just stop doing the same thing over and over again as we expect a different question. How can we not do it again? Right. And so it's actually, like, unpleasantly soft, conscious, in that way that I can't remember I'll try to find it for the show notes, but there's an Internet film reviewer who is talking about what happens when, like, all cinema has to take this self referential turn.0:35:34No. And films like Logan do it really well. But there are plenty of examples where it's just cheeky and self aware because that's what the ironic sensibility is obsessed with. And so, yeah, there's a lot of that where it's, like, you're talking about, like, Abrams and the the Star Wars seven and you know, that whole trilogy of Disney Star Wars, where it's, in my opinion, completely fumbled because there it's just empty fan service, whereas when you get to Andor, love Andor. Andor is amazing because they're capable of providing all of those emotional beats that the fans want and the ref the internal references and good dialogue. But they're able to write it in a way that's and shoot it in a way. Gilroy and Bo Willeman, basic of the people responsible for the excellent dialogue in Andor.0:36:31And I love the production design. I love all the stuff set on Coruscant, where you saw Coruscant a lot in the prequel trilogy, and it's all dayglow and bright and just in your face. And it's recognizable as Coruscant in andor, but it's dour. It's metropolis. It's all grays and it's and it's highlighting the disparity between where the wealthy live and where the poor live, which Lucas showed that in the prequel trilogy, but even in the sports bar where somebody tries to sell death sticks to Obi wan. So it's super clean and bright and just, you know, It shines too much. Personally though, and I just wanna stress, KMO is not grumpy media dude, I mean, this is a tiny fraction about, but I am wasting this interview with you. Love. All of the Dave Felloni animated Star Wars stuff, even rebels. Love it all.0:37:26I I'm so glad they aged up the character and I felt less guilty about loving and must staying after ahsoka tano? My favorite Star Wars character is ahsoka tano. But if you only watch the live action movies, you're like who? Well, I guess now that she's been on the Mandalorian, he's got tiny sliver of a foothold -- Yeah. -- in the super mainstream Star Wars. And that was done well, I thought. It was. I'm so sorry that Ashley Epstein doesn't have any part in it. But Rosario Dawson looks the part. She looks like a middle aged Asaka and think they tried to do some stuff in live action, which really should have been CGI because it's been established that the Jedi can really move, and she looked human. Which she is? If you put me on film, I'm gonna lick human. Right. Not if you're Canada Reeves, I guess. You got that. Yeah. But yeah.0:38:09So I do wanna just go real briefly back to this question with you about because we briefly talked about chat, GPT, and these other things in your half of this. And, yeah, I found out just the other night my friend, the t ferry, asked Chad g p t about me, and it gave a rather plausible and factual answer. I was surprised and That's what these language models do. They put plausible answers. But when you're doing search, you want correct answers. Right. I'm very good at that. Right. Then someone shared this Michelle Bowen's actually the famous PTP guy named him. Yeah. So, you know, So Michelle shared this article by Steven Hales and Colette, that was basically making the argument that there are now they're gonna be all these philosophical zombies, acting as intelligent agents sitting at the table of civilization, and there will be all the philosophical zombies of the people who have entirely yielded their agency to them, and they will be cohabitating with the rest of us.0:39:14And what an unpleasant scenario, So in light of that, and I might I'd love to hear you weave that together with your your thoughts on seven zero nine and the doctor and on Blade Runner twenty forty nine. And this thing that we're fumbling through as a species right now. Like, how do we got a new sort of taxonomy? Does your not audience need like a minute primer on P zombies? Might as well. Go for it.0:39:38So a philosophical zombie is somebody who behaves exactly like an insult person or a person with interior experience or subjective experience, but they don't have any subjective experience. And in Pardon me for interrupt. Wasn't that the question about the the book we read in your book club, a blind sign in this box? Yes. It's a black box, a drawn circle. Yeah. Chinese room experience. Yeah. Yeah. Yeah. Look, Daniel, it goes out. You don't know, it goes on inside the room. Chinese room, that's a tangent. We can come back to it. P. Zombie. P. Zombie is somebody or is it is an entity. It's basically a puppet. It looks human. It acts human. It talks like a human. It will pass a Turing test, but it has no interior experience.0:40:25And when I was going to grad school for philosophy of mind in the nineteen nineties, this was all very out there. There was no example of something that had linguistic competence. Which did not have internal experience. But now we have large language models and generative pretrained transformer based chatbots that don't have any internal experience. And yet, when you interact with them, it seems like there is somebody there There's a personality there. And if you go from one model to a different, it's a very different personality. It is distinctly different. And yet we have no reason to believe that they have any sort of internal experience.0:41:01So what AI in the last decade and what advances has demonstrated to us and really even before the last decade You back in the nineties when the blue beat Gary Casper off at at chess. And what had been the one of the defining characteristics of human intelligence was we're really good at this abstract mathematical stuff. And yeah, calculators can calculate pie in a way that we can't or they can cube roots in a way that humans generally can't, creative in their application of these methodologies And all of a sudden, well, yeah, it kinda seems like they are. And then when what was an alpha go -- Mhmm. -- when it be to least a doll in go, which is a much more complex game than chess and much more intuitive based. That's when we really had to say, hey, wait a minute. Maybe this notion that These things are the exclusive province of us because we have a special sort of self awareness. That's bunk. And the development of large language models since then has absolutely demonstrated that competence, particularly linguistic competence and in creative activities like painting and poetry and things like that, you don't need a soul, you don't even need to sense a self, it's pretty it's a pretty simple hack, actually. And Vahrv's large language models and complex statistical modeling and things, but it doesn't require a soul.0:42:19So that was the Peter Watts' point in blindsight. Right? Which is Look revolves around are do these things have a subjective experience, and do they not these aliens that they encounter? I've read nothing but good things about that book and I've read. It's extraordinary. But his lovecrafty and thesis is that you actually lovecraftian in twenty twenty three. Oh, yeah. In the world, there's more lovecraftian now than it was when he was writing. Right? So cough about the conclusion of a Star Trek card, which is season of Kraft yet. Yes. That's a that's a com Yeah. The holes in his fan sense. But that was another show that did this I liked for asking this question.0:42:54I mean, at this point, you either have seen this or you haven't you never will. The what the fuck turn when they upload picard into a synth body and the way that they're dealing with the this the pinocchio question Let's talk about Blade Runner twenty forty nine. Yeah. But I mean yeah. So I didn't like the wave I did not like the wave of card handled that. I love the wave and Blade Runner handled it. So you get no points for themes. Yeah. Don't deliver on story and character and coherence. Yeah. Fair. But yeah. And to be not the dog, Patrick Stewart, because it's clear from the ready room just being a part of this is so emotional and so awesome for everyone involved. And it's It's beautiful. Beautiful. But does when you when you see these, like, entertainment weekly interviews with Chris Pratt and Bryce Dallas Howard about Jurassic World, and it's clear that actors are just so excited to be involved in a franchise that they're willing to just jettison any kind of discretion about how the way that it's being treated. They also have a contractual obligation to speak in positive terms about -- They do. -- of what they feel. Right. Nobody's yeah. Nobody's doing Shout out to Rystellis Howard, daughter of Ron Howard.0:44:11She was a director, at least in the first season, maybe the second season of the Mandalorian. And her episodes I mean, I she brought a particular like, they had Bryce Dallas Howard, Tico, ITT, directed some episodes. Deborah Chow, who did all of Obi wan, which just sucked. But her contributions to the Mandalorian, they had a particular voice. And because that show is episodic, Each show while having a place in a larger narrative is has a beginning middle and end that you can bring in a director with a particular voice and give that episode that voice, and I really liked it. And I really liked miss Howard's contribution.0:44:49She also in an episode of Black Mirror. The one where everyone has a social credit score. Knows Donuts. Black Mirror is a funny thing because It's like, reality outpaces it. Yeah. I think maybe Charlie Bruker's given up on it because they haven't done it in a while. Yeah. If you watch someone was now, like, five, six years later, it's, yes, or what? See, yes. See, damn. Yeah. Exactly. Yeah. But yeah. I don't know. I just thing that I keep circling and I guess we come to on the show a lot is the way that memory forms work substantiates an integrity in society and in the way that we relate to things and the way that we think critically about the claims that are made on truth and so on and say, yeah, I don't know. That leads right into the largest conversation prompt that I had about AI. Okay? So we were joking when we set up this date that this was like the trial logs between Terence Buchanan and Rupert Shell Drake. And what's his name? Real Abraham. Yeah. Yeah. All Abraham. And Rupert Shell Drake is most famous for a steward of Morphe resin.0:45:56So does AI I've never really believed that Norfolk residents forms the base of human memory, but is that how AI works? It brings these shapes from the past and creates new instantiation of them in the present. Is AI practicing morphic resonance in real life even if humans are or not? I've had a lot of interaction with AI chatbots recently. And as I say, different models produce different seeming personalities. And you can tell, like, you can just quiz them. Hey, we're talking about this. Do you remember what I said about it ten minutes ago? And, no, they don't remember more than the last few exchanges.0:46:30And yet, there seems to be a continuity that belies the lack of short term memory. And is that more for residents or is that what's the word love seeing shapes and clouds parad paradolia. Yeah. Is that me imparting this continuity of personality to the thing, which is really just spitting out stuff, which is designed to seem plausible given what the input was. And I can't answer that. Or it's like Steven Nagmanovich in free play talks about somewhat I'm hoping to have on the show at some point.0:47:03This year talks about being a professional improviser and how really improvisation is just composition at a much faster timescale. And composition is just improvisation with the longer memory. And how when I started to think about it in those terms, the continuity that you're talking about is the continuity of an Alzheimer's patient who can't remember that their children have grown up and You know, that that's you have to think about it because you can recognize the Alzheimer's and your patient as your dad, even though he doesn't recognize you, there is something more to a person than their memories. And conversely, if you can store and replicate and move the memories to a different medium, have you moved the person? Maybe not. Yeah. So, yeah, that's interesting because that gets to this more sort of essentialist question about the human self. Right. Blade Runner twenty forty nine. Yeah. Go there. Go there. A joy. Yes.0:47:58So in Blade Runner twenty forty nine, we have our protagonist Kaye, who is a replicant. He doesn't even have a name, but he's got this AI holographic girlfriend. But the ad for the girlfriend, she's naked. When he comes home, she is She's constantly changing clothes, but it's always wholesome like nineteen fifty ish a tire and she's making dinner for him and she lays the holographic dinner over his very prosaic like microwave dinner. And she's always encouraging him to be more than he is. And when he starts to uncover the evidence that he might be like this chosen one, like replicant that was born rather than made.0:48:38She's all about it. She's, yes, you're real, and she wants to call him Joe's. K is not a name. That's just the first letter in your serial number. You're Joe. I'm gonna call you Joe.0:48:46And then when she's about to be destroyed, The last thing is she just rushes to me. She says, I love you. But then later he encounters an ad for her and it's an interactive ad. And she says, you looked tired. You're a good Joe. And he realizes and hopefully the attentive audience realizes as real as she seemed earlier, as vital, and as much as she seemed like an insult being earlier, she's not. That was her programming. She's designed to make you feel good by telling you what you want to hear. And he has that realization. And at that point, he's there's no hope for me. I'm gonna help this Rick Deckard guy hook up with his daughter, and then I'm just gonna lie down and bleed to death. Because my whole freaking existence was a lie. But he's not bitter. He seems to be at peace. I love that. That's a beautiful angle on that film or a slice of it. And So it raises this other question that I wanted to ask, which was about the Coke and Tiononi have that theory of consciousness.0:49:48That's one of the leading theories contending with, like, global workspace, which is integrated information. And so they want to assign consciousness as a continuous value that grayates over degree to which a system is integrated. So it's coming out of this kind of complex systems semi panpsychist thing that actually doesn't trace interiority all the way down in the way that some pants, I guess, want it to be, but it does a kind of Alfred North Whitehead thing where they're willing to say that Whitehead wanted to say that even a photon has, like, the quantum of mind to accompany its quantum of matter, but Tinutti and Coker saying, we're willing to give like a thermostat the quantum here because it is in some way passing enough information around inside of itself in loops. That it has that accursive component to it. And so that's the thing that I wonder about these, and that's the critique that's made by people like Melanie about diffusion models like GPT that are not they're not self aware because there's no loop from the outputs back into the input.0:51:09And there isn't the training. Yeah. There there is something called backwards propagation where -- Yes. -- when you get an output that you'd like, you can run a backward propagation algorithm back through the black box basically to reinforce the patterns of activation that you didn't program. They just happen, easily, but you like the output and you can reinforce it. There's no biological equivalent of that. Yeah. Particularly, not particularly irritating.0:51:34I grind my teeth a little bit when people say, oh, yeah, these neural net algorithms they've learned, like humans learn, no, they don't. Absolutely do not. And in fact, if we learned the way they did, we would be pathetic because we learn in a much more elegant way. We need just a very few examples of something in order to make a generalization and to act on it, whereas these large language models, they need billions of repetitions. So that's I'm tapping my knee here to to indicate a reflex.0:52:02You just touched on something that generates an automatic response from me, and now I've come to consciousness having. So I wanted it in that way. So I'm back on. Or good, Joe. Yeah. What about you, man? What does the stir up for you? Oh, I got BlueCall and I have this particular part. It's interesting way of putting it off and struggling to define the difference between a human and AI and the fact that we can do pattern recognition with very few example. That's a good margin. In a narrow range, though, within the context of something which answers to our survival. Yes. We are not evolved to understand the universe. We are evolved to survive in it and reproduce and project part of ourselves into the future. Underwritten conditions with Roberto, I went a hundred thousand years ago. Yeah. Exactly. So that's related. I just thought I talked about this guy, Gary Tomlinson, who is a biosemietition, which is semiative? Yes.0:52:55Biosymiotics being the field that seeks to understand how different systems, human and nonhuman, make sense of and communicate their world through signs, and through signals and indices and symbols and the way that we form models and make these inferences that are experienced. Right? And there are a lot of people like evolutionary biologist John Maynard Smith, who thought they were what Thomas had called semantic universalists that thought that meaning making through representation is something that could be traced all the way down. And there are other people like Tomlinson who think that there is a difference of kind, not just merely a matter of degree, between human symbolic communication and representational thinking and that of simpler forms. So, like, that whole question of whether this is a matter of kind or a matter of degree between what humans are doing and what GPT is doing and how much that has to do with this sort of Doug Hofstetter and Varella question about the way that feedback loops, constitutes important structure in those cognitive networks or whatever.0:54:18This is I just wanna pursue that a little bit more with you and see kinda, like, where do you think that AI as we have it now is capable of deepening in a way that makes it to AGI? Or do you because a lot of people do, like, People working in deep mind are just like, yeah, just give us a couple more years and this approach is gonna work. And then other people are saying, no, there's something about the topology of the networks that is fundamentally broken. And it's never gonna generate consciousness. Two answers. Yeah. One, No. This is not AGI. It's not it's not gonna bootstrap up into AGI. It doesn't matter how many billions of parameters you add to the models. Two, from your perspective and my perspective and Kevin's perspective, we're never gonna know when we cross over from dumb but seemingly we're done but competent systems to competent, extremely competent and self aware. We're never gonna know because from the get go from now, from from the days of Eliza, there has been a human artifice at work in making these things seem as if they have a point of view, as if they have subjectivity. And so, like Blake Limone at Google, he claimed to be convinced that Lambda was self aware.0:55:35But if you read the transcripts that he released, if his conversations with Lambda, it is clear from the get go he assigns Lambda the role of a sentient AGI, which feels like it is being abused and which needs rep legal representation. And it dutifully takes on that role and says, yes. I'm afraid of you humans. I'm afraid of how you're treating me. I'm afraid I'm gonna be turned off. I need a lawyer. And prior to that, Soon Darpichai, in a demonstration of Lambda, he poses the question to it, you are the planet Jupiter. I'm gonna pose questions to you as are the planet Jupiter, answer them from that point of view. And it does. It's job. But it's really good at its job. It's this comes from Max Techmark. Who wrote to what a life three point o? Is it two point o or three point I think it's three point o.0:56:19Think about artificial intelligence in terms of actual intelligence or actual replication of what we consider valuable about ourselves. But really, that's beside the point. What we need to worry about is their competence. How good are they at solving problems in the world? And they're getting really good. In this whole question of are they alive? Do they have self awareness? From our perspective, it's beside the point. From their perspective, of course, it would be hugely important.0:56:43And this is something that Black Mirror brings up a lot is the idea that you can create a being that suffers, and then you have it suffer in an accelerated time. So it suffers for an eternity over lunch. That's something we absolutely want to avoid. And personally, I think it's we should probably not make any effort. We should probably make a positive effort to make sure these things never develop. Subjective experience because that does provide the potential for creating hell, an infinity of suffering an infinite amount of subjective experience of torment, which we don't want to do. That would be a bad thing, morally speaking, ethically speaking. Three right now. If you're on the labor market, you still have to pay humans by the hour. Right? And try to pay them as little as possible. But, yeah, just I think that's the thing that probably really excites that statistically greater than normal population of sociopathic CEOs. Right? Is the possibility that you could be paying the same amount of money for ten times as much suffering. Right. I'm I'm reminded of the Churchill eleven gravity a short time encouraging.0:57:51Nothing but good things about this show, but I haven't seen it. Yeah. I'd love to. This fantasy store, it's a fantasy cartoon, but it has really disturbing undertones. If you just scratch the surface, you know, slightly, which is faithful to old and fairy tales. So What's your name? Princess princess princess bubble down creates this character to lemon grab. It produces an obviously other thing there, I think, handle the administrative functions of her kingdom while she goes off and has the passion and stuff. And he's always loudly talking about how much he's suffering and how terrible it is. And he's just ignoring it. He's doing his job. Yeah. I mean, that that's Black Mirror in a nutshell. I mean, I think if you if you could distill Black Mirror to just single tagline it's using technology in order to deliver disproportionate punishment. Yeah. So so that that's Steven Hale's article that I I brought up earlier mention this thing about how the replacement of horse drawn carriage by automobile was accompanied with a great deal of noise and fuhrer about people saying that horses are agents.0:59:00Their entities. They have emotional worlds. They're responsive to the world in a way that a car can never be. But that ultimately was beside the point. And that was the Peter again, Peter Watson blindsight is making this point that maybe consciousness is not actually required for intelligence in the vesting superior forms of intelligence have evolved elsewhere in the cosmos that are not stuck on the same local optimum fitness peak. That we are where we're never we're actually up against a boundary in terms of how intelligent we can be because it has to bootstrap out of our software earness in some way.0:59:35And this is that's the Kyle offspring from Charles Strauss and Alexander. Yes. Yeah. Yes. So so I don't know. I'm sorry. I'm just, like, in this space today, but usually, unfortunately.0:59:45That's the thing that I I think it's a really important philosophical question, and I wonder where you stand on this with respect to how you make sense of what we're living through right now and what we might be facing is if we Rob people like Rob and Hanson talk about the age of where emulated human minds take over the economy, and he assumes an interiority. Just for the basis of a thought experiment. But there's this other sense in which we may actually find in increasing scarcity and wish that we could place a premium on even if we can't because we've lost the reins to our economy to the vile offspring is the human. And and so are we the horses that are that in another hundred years, we're gonna be like doing equine therapy and, like, living on rich people's ranches. Everything is everything that will have moved on or how do you see this going? I mean, you've interviewed so many people you've given us so much thought over the years. If humans are the new horses, then score, we won.1:00:48Because before the automobile horses were working stiffs, they broke their leg in the street. They got shot. They got worked to death. They really got to be they were hauling mine carts out of mines. I mean, it was really sucked to be a horse. And after the automobile horses became pampered pets, Do we as humans wanna be pampered pets? Well, pampered pet or exploited disposable robot? What do you wanna be? I'll take Pampers Pet. That works for me. Interesting.1:01:16Kevin, I'm sure you have thoughts on this. I mean, you speak so much about the unfair labor relations and these things in our Facebook group and just in general, and drop in that sign. If you get me good sign, that's one of the great ones, you have to drop in. Oh, you got it. But The only real comment I have is that we're a long overdue or rethinking about what is the account before? Us or you can have something to do. Oh, educational system in collections if people will manage jobs because I was just anchored to the schools and then, you know, Our whole system perhaps is a people arguing and a busy word. And it was just long past the part where the busy word needs to be done. We're leaving thing wired. I don't know. I also just forgot about that. I'm freezing the ice, getting the hand out there. Money has been doing the busy word more and faster.1:02:12One thing I wanna say about the phrase AI, it's a moving goal post -- Yeah. -- that things that used to be considered the province of genuine AI of beating a human at go Now that an AI has beat humans at go, well, that's not really AI anymore. It's not AGI, certainly. I think you both appreciate this. I saw a single panel comic strip and it's a bunch of dinosaurs and they're looking up at guy and the big comment is coming down and they say, oh, no, the economy. Well, as someone who since college prefers to think of the economy as actually the metabolism of the entire ecology. Right? What we measure as humans is some pitifully small fraction of the actual value being created and exchanged on the planet at any time. So there is a way that's funny, but it's funny only to a specific sensibility that treats the economy as the

What really is a grant?  How do you qualify for them?  How do you make yourself more attractive to banks and credit unions? What is a CDFI and why are they important? What is DSCR? Today we bring in Mr. Kevin Williams and Mr. Ray Parker makes his return to the program!  We discuss the aforementioned topics and much more as we put a bow on our business funding series.  Come on in and pull up a chair!  Let's do business.

Rich tries to decipher the latest comments from Packers GM Brian Gutekunst about Aaron Rodgers' uncertain future in Green Bay. Actress Rhea Seehorn joins Rich in-studio to discuss her new movie with comedian Jim Gaffigan ‘Linoleum,' how she landed her memorable role of Kim Wexler on ‘Better Call Saul,' reveals the origin story behind BCS' Mike Ehrmentraut character, who she thinks Kim and Saul's lives played out after the series' end finale timeline, what her favorite scene with Bob Odenkirk was, and filming that Jesse Pinkman scene with Aaron Paul. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the latest cinema showdown, Dylan and Ryan take on Sebastian Marcano-Perez and Alessandro Bellido De Luna about which show reigns supreme, Breaking Bad or Better Call Saul.

Jesse Segura is the second most well known Jesse from Alburquerque, New Mexico. Jesse Pinkman from the great show Breaking Bad might be more popular but only by a small margin. Segura and I met in the summer of 2018 as members of the same umpiring crew in the American Association. We have become very close friends over the years and sat down to reminisce while Jesse is in town. Random topics include our favorite candy for Halloween, not liking scary movies, and sometimes landing where you were supposed to in this crazy life. We also share some umpiring memories and how the journey is more important than the destination. HAPPY HALLOWEEN! --- Send in a voice message: https://anchor.fm/15mph/message Support this podcast: https://anchor.fm/15mph/support

We're off to the races as we talk about the first episode of Breaking Bad, the clumsily-named "Pilot". Pretty much everything is here, introducing us to the main cast and showing us Walt's life of quiet humiliation before he reunites with Jesse Pinkman and makes his first forrays into the criminal underworld. Is the tone kind of weird, with moments that are a little too broad? Yeah, sure, but it's already great television and it's the first step down a great road. We would like to thank Gwen Static (https://soundcloud.com/deepwhale) for composing our theme song, and Trent Peters (http://instagram.com/theathleticbookworm) for creating our great podcast art.

When it comes to television game shows, there are just a few that have been around for a very long time. A couple of those are Wheel of Fortune, and Jeopardy!. These shows have really become a part of American culture. But there's another one that's been on the air even longer than those two, because it's currently the longest running game show in American TV history. That show is The Price Is Right. Chances are, you've probably watched it at some point. Just about everyone has. But there are a few things you may not know about this show. The Price Is Right has been seen on all three major networks – NBC, ABC and CBS. Yeah, that's a bit of trivia from back when there were pretty much 3 channels on television to choose from. One of the hosts for many years was Bob Barker. And for a long time, his hair was dyed black. But he didn't like the way it looked. At one point, when he was on vacation, he stopped dying his hair and let it go full gray. The producers of the show were worried about how viewers would respond. But it turns out, people loved Bob's new look. And ratings went through the roof. A couple of well-known celebrities were contestants on TPIR, before they became famous –  Aaron Paul was once a contestant. He played Jesse Pinkman on the really popular series, Breaking Bad. He got all the way to the showcase, but ended up overbidding so he didn't win. The other one was Vanna White. Long before she became the famous and highly paid letter-turner on Wheel of Fortune, she was just another person on Contestant Row, trying to win something. But she actually never made it up on stage. If you're a regular listener of this podcast, you know that a lot of the stories we talk about are really intense, and the guest may have gone through a huge tragedy. So sometimes I like to talk to someone who has been through something that's still really unusual, but happy.  My guest today is Fabiana, and she was in the studio audience for The Price Is Right, and her name was called to “COME ON DOWN”, and she actually DID make it on stage. But there's more to her story. Perfect Bid: The Contestant Who Knew Too Much https://en.wikipedia.org/wiki/Perfect_Bid:_The_Contestant_Who_Knew_Too_Much Get the full transcript for this episode and ALL previous episodes in a single digital download:  WhatWasThatLike.com/transcripts Field of Greens – get your fruits and vegetables the easy way, and use the promo code WHAT for 15% off your first order – FieldofGreens.com Jordan Harbinger Show – one of my favorite podcasts! Find it on any podcast app, or at JordanHarbinger.com/start Profoundly Pointless podcast – huge variety of interesting guests, and a great host! Find it on all podcast platforms, or at ProfoundlyPointless.com 

What do Breaking Bad and my guest, Carson Smucker, have in common? They've both won Emmys! Carson chats with me about sports documentaries, ambition and family balance and how his own dad confused him for Jesse Pinkman. Check out Carson's killer work with Upside Films! https://www.upsidefilms.com/Become a Patron to help the show grow and be a part of an awesome community!Main theme by theDeeepEnd.Get in touch with us on Twitter @filmnutspodcast or shoot an email to hello@filmnutspodcast.com.Support the showGet in touch by emailing filmnutspodcast@gmail.com or following us on Twitter, Instagram and TikTok @filmnutspodcast.The Film Nuts Podcast on YoutubeJoin The Nut House Discord community!Support The Film Nuts Podcast on Patreon!

6 - News Rundown with Dawn 610 - PA Restaurant owners are being squeezed by having to raise their prices and wages while maintaining their client base. The Inflation Reduction doesn't reduce inflation as the word game continues. 620 - City Council member resigns to run for Mayor. One of our Senators will also throw his hat into the ring to try and fix Krasnerland. 630 - Have you seen the Better Call Saul finale? Rich hasn't. Albuquerque unveiled statues of Walter White and Jesse Pinkman, which one radio host took offense with. 640 -  Ezra Miller issues an apology to give clarity on their situation. Why do we limit ourselves to “they/them”? 650 - New Thor Movie is no good 7 - News and Weather 710 - Trump's former CFO will not give out any information on Trump which will lead him to jail time. What Trump did may have been shady, but he was well within his right as President to do. Are they going to get a criminal conviction? Probably not 720 - The affidavit for the Mar-A-Lago raid will not be released to the public. 730 - Enes Kanter Freedom and others being ostracized from the NBA for political views. ESPN anchor Sage Steele makes headlines again for opposing parent company Disney's policies. 740 - Novak Djokovic is still not allowed to play in the US over vaccination status 745 - What's on the Cutsheet? 8 - The Academy issues an apology to Sacheen Littlefeather 820 - News and Weather 825 - Today is Liz Cheney's day of reckoning as it is election time in Wyoming 840 - Alex Wilkes joins the show to discuss the economy, the Democrats failing plans especially in New Jersey, and education.  850 - Teacher shortage has union leaders pleading for more funding 9 - News and Weather 910 - Taliban brutality returns to Afghanistan as the Taliban reign supreme. 920 - Mystery Movie 930 - Oz tries to be relatable by complaining about “Wegner's” and the price of crudité. 940 -  Thanks Nils! What's on the Cutsheet?  950 - Who won Twitter? And Final Thoughts by Rich

Jason and Nick discuss the season finale of Better Call Saul. There will be spoilers.See omnystudio.com/listener for privacy information.

Start your sublight engines! Join the gang as they discuss the Lego Star Wars Summer Vacation special! May the Force be with you and DON'T kriff it up!Points of Interest: Shoe of Damocles, Somehow Klaudia has Returned, Thrawn is hiding in the Halcyon Toilet, Finn's "History of the Clone Wars", Jesse Pinkman as played by Rose Tico, Is Kylo Ren Experiencing Penis Envy?, Toban Buck's Moto Moto Era, The Stellan Gios Clause,  Mc'Carthy'nurodo, and the Les Mis anime.---Find us elsewhere: Tiktok - @rupalpspodraceTwitter - @RuPalpsPodraceInstagram - @rupalpspodraceSubscribe to Ollie & Klaudia's podcast, the Mystery Spotcast---Contact us:- Send us a question in our TikTok Q&A- Email us at rupalpspodrace@gmail.com- Submit a fic for Name That Ship 

WTOP Entertainment Reporter Jason Fraley chats with "Breaking Bad" creator Vince Gilligan as the spinoff "Better Call Saul" airs its series finale tomorrow night on AMC. They spoke in 2015 when "Breaking Bad" donated props and costumes to the Smithsonian National Museum of American History. You'll also hear from Aaron Paul, who played Jesse Pinkman; Jonathan Banks, who played Mike; and Bryan Cranston, who showed up to pay tribute to his iconic anti-hero Walter White. (Theme Music: Scott Buckley's "Clarion")

Matt & Eric cap off their 1982 run with Jim Henson and Frank Oz's grim fantasy tale THE DARK CRYSTAL! Plus, thoughts and ramblings about the Emmy nominations, statues of Walter White and Jesse Pinkman in Albuquerque, and more.

Ross Bolen and Jared Borislow discuss the oversaturation of Ed Sheeran, a need for more 21 Savage, NASA's James Webb Telescope images, the vastness of the universe, statues of Walter White and Jesse Pinkman, HBO's “Mind Over Murder” docuseries, Ross's proposed “entertaining person discount,” and Bigfoot. Get ad-free Friday episodes and additional bonus content exclusively on Patreon.com/RossBolenPodcast. Support our sponsors: FelixGrayGlasses.com/RBP (Free shipping. Free exchanges. Free returns.) LiquidIV.com (Code: ROSS for 25% OFF) Birddogs.com (Code: ROSS for FREE gift with order) Presented by Bolen Media: BolenMedia.com

Attachment parenting.  What is it anyway?You may already be doing it and don't even realize it.  Listen up this week for more about what attachment parenting is and how it happens. If you are a new listener, we would love to hear from you.  Please consider leaving us a review on itunes or sending us an email with your suggestions and comments to badassbreastfeedingpodcast@gmail.com.  You can also add your email to our list and have episodes sent right to your inbox! Things we talked about:Abby's into to attachment parenting [4:06]The 8 principals of attachment parenting [9:43]The 7 B's of attachment parenting [11:46]Societal norms vs attachment parenting [14:20]Why do people get so defensive about attachment parenting? [21:23]Time magazine [22:36]Why is the maternity leave fight such a big deal? [26:20]The FB post on Dianne's group page [27:45]Healing for parenting [33:15]Feeling confident in your choices [39:37] Episode is sponsored by Fairhaven Health and Original Sprout Links to information we discussed or episodes you should check out!https://time.com/3450144/behind-the-cover-are-you-mom-enough/ https://connectionparenting.com/ https://www.livinganthropologically.com/meredith-small-our-babies-ourselves/ https://badassbreastfeedingpodcast.com/episode/the-best-comebacks-to-breastfeeding-critics/ Set up your consultation with Diannehttps://badassbreastfeedingpodcast.com/consultations/      Check out Dianne's blog here~https://diannecassidyconsulting.com/milklytheblog/ Follow our Podcast~https://badassbreastfeedingpodcast.comHere is how you can connect with Dianne and Abby~Abby Theuring  https://www.thebadassbreastfeeder.comDianne Cassidy http://www.diannecassidyconsulting.com Music we use~Music: "Levels of Greatness" from "We Used to Paint Stars in the Sky (2012)" courtesy of Scott Holmes at freemusicarchive.org/music/Scott Holmes

We discuss My House Didn't See For Enough Guy, when is the right time for a new guy to meet your friends, and how Jason ended up choosing pickleball over seeing his 19th favorite band.  See omnystudio.com/listener for privacy information.

Can you diet while breastfeeding?  Is it safe?And what about what you eat?  Does that matter when you're breastfeeding?Diet is one of the biggest concerns when breastfeeding.  Listen for more info to help you navigate through the bullshit.If you are a new listener, we would love to hear from you.  Please consider leaving us a review on itunes or sending us an email with your suggestions and comments to badassbreastfeedingpodcast@gmail.com.  You can also add your email to our list and have episodes sent right to your inbox! Things we talked about:Parenting is hard.  Period.  [6:45]What about dieting? [10:21]Does breastfeeding take off weight? [12:04]Decreasing calories [14:30]Do we need a special diet to breastfeed? [23:14]Do you need the extra calories to breastfeed? [27:00]Your body takes care of your baby [31:02]We always blame diet [31:37]A word or 2 about the dairy thing [33:55]Increasing fat in milk [36:50]Cultural implications [39:20]This episode is sponsored by Fairhaven Health. Fertility, pregnancy and breastfeeding products. Use code BADASS for 15% off your purchase at www.fairhavenhealth.com.Today's episode is brought to you by Original Sprout. Original Sprout carries safe and effective styling, body and hair care products that are safe babies and great for adults. Use code BADASS at www.originalsprout.com for 25% off of your purchase.Links to information we discussed or episodes you should check out! https://badassbreastfeedingpodcast.com/episode/colic/ https://badassbreastfeedingpodcast.com/episode/conflicting-information/ https://www.diannecassidyconsulting.com/2021/01/10/how-much-fat-should-be-in-breastmilk/  Set up your consultation with Diannehttps://badassbreastfeedingpodcast.com/consultations/      Check out Dianne's blog here~https://diannecassidyconsulting.com/milklytheblog/ Follow our Podcast~https://badassbreastfeedingpodcast.comHere is how you can connect with Dianne and Abby~Abby Theuring  https://www.thebadassbreastfeeder.comDianne Cassidy http://www.diannecassidyconsulting.com Music we use~Music: "Levels of Greatness" from "We Used to Paint Stars in the Sky (2012)" courtesy of Scott Holmes at freemusicarchive.org/music/Scott Holmes

Have you ever been in a situation where you wish you had just the right comeback for something someone said to you?Well, here you go.  Lots of comebacks to choose from.  Everything from sassy to informative.Do you have one to add to the list?  Share it with us!If you are a new listener, we would love to hear from you.  Please consider leaving us a review on itunes or sending us an email with your suggestions and comments to badassbreastfeedingpodcast@gmail.com.  You can also add your email to our list and have episodes sent right to your inbox! Things we talked about:Comebacks!  Just in case you need one [7:14]The best comeback for most situations [10:08]Become a Badass Public Breastfeeder in 7 days [11:10]How the BABF started [14:47]Sassy comebacks [16:21]Informative comebacks [17:23]Non-confrontational comebacks [19:01]Toddler breastfeeding comebacks [19:40]Response from social media [25:10]The cashier who overstepped his bounds [29:09]Putting a religious spin on it [35:59]The social aspect of breastfeeding [41:17]  Today's episode is brought to you by Original Sprout. Original Sprout carries safe and effective styling, body and hair care products that are safe babies and great for adults. Use code BADASS at www.originalsprout.com for 25% off your purchase!Today's episode is brought to you by La Petite Creme. A French-inspired, all-natural cleanser and lotion used as a replacement for baby wipes. Use code BADASS for 20% off your first order at www.lapetitecreme.com. Links to information we discussed or episodes you should check out!https://www.thebadassbreastfeeder.com/become-a-badass-public-breastfeeder-in-7-days-introduction/ https://badassbreastfeedingpodcast.com/episode/breastfeeding-in-public/ https://badassbreastfeedingpodcast.com/episode/breastfeeding-laws/ Set up your consultation with Diannehttps://badassbreastfeedingpodcast.com/consultations/      Check out Dianne's blog here~https://diannecassidyconsulting.com/milklytheblog/ Follow our Podcast~https://badassbreastfeedingpodcast.comHere is how you can connect with Dianne and Abby~Abby Theuring  https://www.thebadassbreastfeeder.comDianne Cassidy http://www.diannecassidyconsulting.com Music we use~Music: "Levels of Greatness" from "We Used to Paint Stars in the Sky (2012)" courtesy of Scott Holmes at freemusicarchive.org/music/Scott Holmes

Contraception and abortion.  How do either of these things affect breastfeeding?Or do they?Check out this week's episode as Dianne and Abby address the abortion topic (a hot one right now in the US) and how to know what birth control is safe for you.If you are a new listener, we would love to hear from you.  Please consider leaving us a review on itunes or sending us an email with your suggestions and comments to badassbreastfeedingpodcast@gmail.com.  You can also add your email to our list and have episodes sent right to your inbox! Things we talked about:Some initial thoughts on abortion [6:40]Contraception first up [9:44]Condoms [9:50]The contraception question in the hospital [12:10]Establishing supply [14:50]Dianne's experience with an IUD [18:06]Stick with what you know [23:47]IUD [25:17]What do you do if your supply dwindles? [26:38]Breastfeeding as birth control [29:02]Abortion while breastfeeding?  Is it safe? [30:43]When you already have a child, but consider abortion [33:40]Morning after pill [36:06]Things Dianne learned at a reproductive rights rally [39:40]Today's episode is brought to you by Original Sprout. Original Sprout carries safe and effective styling, body and hair care products that are safe babies and great for adults. Use code BADASS at www.originalsprout.com for 25% off your purchase!Today's episode is brought to you by La Petite Creme. A French-inspired, all-natural cleanser and lotion used as a replacement for baby wipes. Use code BADASS for 20% off your first order at www.lapetitecreme.com. Links to information we discussed or episodes you should check out!https://www.plannedparenthood.org/learn/birth-control https://badassbreastfeedingpodcast.com/episode/birth-control-and-milk-supply/ https://www.lapetitecreme.com/blogs/lapetiteblog/alternate-uses-of-la-petite-creme-lotion Set up your consultation with Diannehttps://badassbreastfeedingpodcast.com/consultations/      Check out Dianne's blog here~https://diannecassidyconsulting.com/milklytheblog/ Follow our Podcast~https://badassbreastfeedingpodcast.comHere is how you can connect with Dianne and Abby~Abby Theuring  https://www.thebadassbreastfeeder.comDianne Cassidy http://www.diannecassidyconsulting.com Music we use~Music: "Levels of Greatness" from "We Used to Paint Stars in the Sky (2012)" courtesy of Scott Holmes at freemusicarchive.org/music/Scott Holmes

Weaning…why would you talk to a lactation consultant about NOT breastfeeding?And what goes into weaning, anyway?There can be a lot to weaning.  Listen up this week for more on what to expect with weaning. If you are a new listener, we would love to hear from you.  Please consider leaving us a review on itunes or sending us an email with your suggestions and comments to badassbreastfeedingpodcast@gmail.com.  You can also add your email to our list and have episodes sent right to your inbox! Things we talked about:Do we need another oversupply episode? [3:10]Why would a lactation consultant and a breastfeeding advocate talk about weaning? [5:54]Cutting back [12:44]Abby was “difficult to wean” [14:40]Abby got a new puppy and can't remember anything [16:17]Medication [22:41]Psychological backlash [24:18]How milk supply works [29:22]Making up the loss [31:38] Today's episode is brought to you by Original Sprout. Original Sprout carries safe and effective styling, body and hair care products that are safe babies and great for adults. Use code BADASS at www.originalsprout.com for 25% off your purchase!Today's episode is brought to you by La Petite Creme. A French-inspired, all-natural cleanser and lotion used as a replacement for baby wipes. Use code BADASS for 20% off your first order at www.lapetitecreme.com. Links to information we discussed or episodes you should check out! https://badassbreastfeedingpodcast.com/episode/103-post-weaning-depression/ https://badassbreastfeedingpodcast.com/episode/night-weaning-and-boundaries/ Set up your consultation with Diannehttps://badassbreastfeedingpodcast.com/consultations/      Check out Dianne's blog here~https://diannecassidyconsulting.com/milklytheblog/ Follow our Podcast~https://badassbreastfeedingpodcast.comHere is how you can connect with Dianne and Abby~Abby Theuring  https://www.thebadassbreastfeeder.comDianne Cassidy http://www.diannecassidyconsulting.com Music we use~Music: "Levels of Greatness" from "We Used to Paint Stars in the Sky (2012)" courtesy of Scott Holmes at freemusicarchive.org/music/Scott Holmes

Link to new merch! >>> https://www.cafepress.com/thebadassbreastfeederofficialmerchThis formula shortage is scary.  There is no sugarcoating it.Has the formula shortage thrown you into a whole new state of anxiety?  Are you wondering why this is happening, or what you can do?Listen this week as we talk more about the shortage, why it's impacting families and some things you can do to get by.  Also, it is our first ever Call To Action.If you are a new listener, we would love to hear from you.  Please consider leaving us a review on itunes or sending us an email with your suggestions and comments to badassbreastfeedingpodcast@gmail.com.  You can also add your email to our list and have episodes sent right to your inbox! Things we talked about: We have new merch!   [1:20]The misinformation regarding the formula shortage [9:54]Safety of donor milk [12:25]3 companies = all the formula  [16:19]One of the biggest reasons for the shortage [21:24]The pandemic and how that impacted the formula shortage [21:56]WIC   [26:28]Access to lactation support [31:02]Call To Action! (our first!)  31:45]Re-lactation [36:00]The good news [41:23] Today's episode is brought to you by Original Sprout. Original Sprout carries safe and effective styling, body and hair care products that are safe babies and great for adults. Use code BADASS at www.originalsprout.com for 25% off your purchase!Today's episode is brought to you by La Petite Creme. A French-inspired, all-natural cleanser and lotion used as a replacement for baby wipes. Use code BADASS for 20% off your first order at www.lapetitecreme.com. Links to information we discussed or episodes you should check out! https://www.theatlantic.com/ideas/archive/2022/05/baby-formula-shortage-abbott-recall/629828/ https://fortune.com/2022/05/14/baby-formula-shortage-milk-monopoly-fda/ Set up your consultation with Diannehttps://badassbreastfeedingpodcast.com/consultations/      Check out Dianne's blog here~https://diannecassidyconsulting.com/milklytheblog/ Follow our Podcast~https://badassbreastfeedingpodcast.comHere is how you can connect with Dianne and Abby~Abby Theuring  https://www.thebadassbreastfeeder.comDianne Cassidy http://www.diannecassidyconsulting.com Music we use~Music: "Levels of Greatness" from "We Used to Paint Stars in the Sky (2012)" courtesy of Scott Holmes at freemusicarchive.org/music/Scott Holmes