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Transcript

Three Men and a Baby · Verbal Diorama

• 2:23
  Hi,
• 2:23
  everyone,
• 2:23
  I'm
• 2:23
  Em,
• 2:24
  and
• 2:24
  welcome
• 2:24
  to
• 2:24
  verbal
• 2:25
  diorama.
• 2:25
  Episode
• 2:25
  345,
• 2:28
  three
• 2:28
  men
• 2:28
  and
• 2:28
  a
• 2:28
  Baby.
• 2:29
  This
• 2:29
  is
• 2:29
  a
• 2:30
  podcast
• 2:30
  that's
• 2:30
  all
• 2:30
  about
• 2:30
  the
• 2:30
  history
• 2:31
  and
• 2:31
  legacy
• 2:31
  of
• 2:31
  movies
• 2:32
  you
• 2:32
  know
• 2:32
  and
• 2:32
  movies
• 2:33
  you
• 2:33
  don't
• 2:33
  that
• 2:34
  doesn't
• 2:34
  have
• 2:34
  kids
• 2:35
  but
• 2:35
  knows
• 2:36
  those
• 2:36
  nappies
• 2:37
  are
• 2:37
  far
• 2:37
  too
• 2:38
  big
• 2:38
  for
• 2:38
  that
• 2:38
  baby.
• 2:40
  Welcome
• 2:40
  to
• 2:40
  Verbal
• 2:41
  Diorama.
• 2:41
  Whether
• 2:41
  you're
• 2:41
  a
• 2:42
  brand
• 2:42
  new
• 2:42
  listener,
• 2:42
  whether
• 2:42
  you're
• 2:43
  a
• 2:43
  regular
• 2:43
  returning
• 2:43
  listener,
• 2:44
  thank
• 2:44
  you
• 2:44
  so
• 2:44
  much
• 2:45
  for
• 2:45
  being
• 2:45
  here.
• 2:45
  Thank
• 2:45
  you
• 2:45
  so
• 2:46
  much
• 2:46
  for
• 2:46
  choosing
• 2:46
  to
• 2:46
  listen
• 2:47
  to
• 2:47
  this
• 2:47
  podcast.
• 2:48
  I'm
• 2:48
  so
• 2:48
  happy
• 2:49
  to
• 2:49
  have
• 2:49
  you
• 2:49
  here
• 2:49
  for
• 2:49
  the
• 2:49
  history
• 2:50
  and
• 2:50
  legacy
• 2:51
  of
• 2:51
  Three
• 2:51
  Men
• 2:52
  and
• 2:52
  a
• 2:52
  Baby.
• 2:53
  And
• 2:53
  as
• 2:54
  always,
• 2:54
  if
• 2:54
  you
• 2:54
  are
• 2:54
  a
• 2:54
  regular
• 2:55
  returning
• 2:55
  listener,
• 2:56
  thank
• 2:56
  you
• 2:56
  so
• 2:56
  much
• 2:56
  for
• 2:57
  continuing
• 2:58
  to
• 2:58
  listen
• 2:58
  and
• 2:59
  support
• 2:59
  this
• 2:59
  podcast
• 3:00
  over
• 3:00
  the
• 3:01
  last
• 3:01
  seven
• 3:01
  years
• 3:01
  and
• 3:01
  now
• 3:02
  345
• 3:03
  episodes.
• 3:03
  That's
• 3:04
  quite
• 3:04
  a
• 3:04
  nice
• 3:04
  number.
• 3:05
  Three,
• 3:05
  four,
• 3:05
  five.
• 3:07
  Thank
• 3:07
  you
• 3:07
  for
• 3:07
  your
• 3:07
  support.
• 3:08
  It
• 3:08
  genuinely
• 3:09
  means
• 3:09
  so
• 3:09
  much.
• 3:10
  And
• 3:10
  if
• 3:10
  you
• 3:10
  are
• 3:11
  a
• 3:11
  brand
• 3:11
  new
• 3:11
  listener,
• 3:12
  welcome
• 3:12
  to
• 3:12
  this
• 3:12
  podcast.
• 3:13
  Hopefully
• 3:13
  you
• 3:13
  will
• 3:14
  become
• 3:14
  a
• 3:14
  regular
• 3:14
  returning
• 3:15
  listener.
• 3:15
  And
• 3:16
  as
• 3:16
  I
• 3:16
  said,
• 3:16
  there's
• 3:17
  lots
• 3:17
  of
• 3:17
  episodes
• 3:17
  there
• 3:17
  for
• 3:18
  you
• 3:18
  to
• 3:18
  pick
• 3:18
  and
• 3:19
  choose
• 3:19
  from.
• 3:20
  This
• 3:20
  month
• 3:21
  on
• 3:21
  the
• 3:21
  podcast
• 3:21
  has
• 3:22
  been
• 3:22
  very
• 3:22
  different,
• 3:23
  but
• 3:23
  also
• 3:24
  super
• 3:24
  fun
• 3:24
  as
• 3:25
  well.
• 3:25
  I've
• 3:26
  done
• 3:26
  two
• 3:26
  double
• 3:27
  episodes,
• 3:28
  something
• 3:28
  completely
• 3:28
  different,
• 3:29
  where
• 3:29
  I
• 3:29
  picked
• 3:30
  two
• 3:30
  similar
• 3:31
  movies
• 3:31
  that
• 3:31
  had
• 3:32
  the
• 3:32
  same
• 3:32
  concept
• 3:32
  and
• 3:33
  did
• 3:33
  a
• 3:33
  versus
• 3:34
  between
• 3:34
  them.
• 3:35
  And
• 3:35
  both
• 3:35
  of
• 3:35
  them
• 3:35
  have
• 3:36
  had
• 3:36
  really
• 3:36
  good
• 3:37
  receptions.
• 3:38
  So
• 3:38
  I
• 3:38
  will
• 3:39
  definitely
• 3:39
  go
• 3:39
  back
• 3:40
  to
• 3:40
  more
• 3:40
  twin
• 3:41
  movies
• 3:42
  in
• 3:42
  the
• 3:42
  near
• 3:42
  future
• 3:43
  because
• 3:43
  people
• 3:44
  seem
• 3:44
  to
• 3:44
  really
• 3:44
  love
• 3:45
  the
• 3:45
  idea
• 3:46
  of
• 3:46
  pitching
• 3:46
  two
• 3:47
  movies
• 3:47
  against
• 3:48
  each
• 3:48
  other
• 3:48
  and
• 3:48
  obviously
• 3:49
  the
• 3:49
  history
• 3:49
  and
• 3:49
  legacy
• 3:50
  of
• 3:50
  each
• 3:51
  and
• 3:51
  how
• 3:51
  the
• 3:51
  history
• 3:52
  and
• 3:52
  legacy
• 3:52
  of
• 3:52
  each
• 3:52
  kind
• 3:53
  of
• 3:53
  intertwine
• 3:53
  with
• 3:54
  each
• 3:54
  other.
• 3:55
  So
• 3:55
  I
• 3:55
  did
• 3:55
  Dante's
• 3:56
  Peak
• 3:56
  and
• 3:56
  Volcano
• 3:57
  and
• 3:57
  Deep
• 3:58
  Impact
• 3:58
  and
• 3:58
  Armageddon.
• 3:59
  And
• 3:59
  yeah,
• 4:00
  I've
• 4:00
  had
• 4:00
  some
• 4:00
  really
• 4:00
  lovely
• 4:01
  comments
• 4:01
  about
• 4:01
  both
• 4:01
  of
• 4:01
  those
• 4:02
  episodes,
• 4:02
  so
• 4:03
  thank
• 4:03
  you
• 4:03
  so
• 4:03
  much.
• 4:04
  Deep
• 4:05
  Impact
• 4:05
  and
• 4:05
  Armageddon
• 4:06
  did
• 4:07
  extremely
• 4:07
  well,
• 4:08
  like
• 4:08
  the
• 4:09
  best
• 4:09
  that
• 4:09
  a
• 4:10
  debut's
• 4:10
  ever
• 4:10
  had
• 4:11
  on
• 4:11
  this
• 4:11
  podcast.
• 4:12
  So
• 4:12
  people
• 4:13
  clearly
• 4:13
  love
• 4:13
  Armageddon
• 4:15
  and
• 4:15
  maybe
• 4:15
  they
• 4:15
  also
• 4:16
  love
• 4:16
  Deep
• 4:16
  Impact
• 4:16
  as
• 4:17
  well.
• 4:17
  And
• 4:17
  then
• 4:18
  I
• 4:18
  did
• 4:18
  an
• 4:18
  episode
• 4:18
  on
• 4:19
  Ever
• 4:19
  after,
• 4:19
  which
• 4:19
  is
• 4:20
  my
• 4:20
  personal
• 4:21
  favourite,
• 4:21
  Cinderella
• 4:22
  Story.
• 4:23
  So
• 4:23
  very
• 4:23
  different
• 4:24
  month.
• 4:24
  And
• 4:25
  finishing
• 4:25
  out
• 4:25
  the
• 4:25
  month
• 4:26
  with
• 4:26
  something
• 4:26
  again,
• 4:27
  very
• 4:27
  different.
• 4:28
  A
• 4:28
  very
• 4:29
  80s
• 4:30
  comedy
• 4:30
  about
• 4:31
  parenthood
• 4:32
  and
• 4:33
  fatherhood
• 4:33
  and
• 4:34
  how
• 4:34
  men
• 4:35
  just
• 4:35
  simply
• 4:35
  can't
• 4:36
  look
• 4:36
  after
• 4:36
  children
• 4:36
  without
• 4:37
  it
• 4:37
  causing
• 4:38
  general
• 4:38
  comedic
• 4:39
  hijinks.
• 4:40
  In
• 4:40
  April,
• 4:40
  I
• 4:41
  did
• 4:41
  an
• 4:41
  episode
• 4:41
  on
• 4:41
  Short
• 4:42
  Circuit
• 4:43
  and
• 4:43
  a
• 4:43
  movie
• 4:43
  that
• 4:44
  has
• 4:44
  simultaneously
• 4:45
  aged
• 4:45
  poorly
• 4:46
  and
• 4:46
  actually
• 4:47
  well
• 4:47
  in
• 4:48
  the
• 4:48
  depiction
• 4:48
  of
• 4:49
  Number
• 4:49
  Five,
• 4:49
  who
• 4:49
  I
• 4:50
  still
• 4:50
  think
• 4:50
  is
• 4:50
  a
• 4:50
  marvellous
• 4:51
  creation.
• 4:52
  And
• 4:52
  in
• 4:52
  that
• 4:52
  movie
• 4:53
  was
• 4:53
  Steve
• 4:53
  Gutenberg.
• 4:55
  And
• 4:55
  remembering
• 4:56
  how
• 4:56
  much
• 4:56
  of
• 4:56
  a
• 4:56
  force
• 4:56
  he
• 4:57
  was
• 4:57
  in
• 4:57
  the
• 4:57
  80s,
• 4:58
  I
• 4:59
  immediately
• 4:59
  bumped
• 5:00
  three
• 5:00
  men
• 5:00
  and
• 5:00
  a
• 5:00
  Baby
• 5:01
  up
• 5:01
  the
• 5:01
  schedule
• 5:02
  because
• 5:02
  it's
• 5:02
  always
• 5:03
  kind
• 5:03
  of
• 5:03
  been
• 5:03
  there,
• 5:03
  hovering.
• 5:04
  But
• 5:05
  I
• 5:05
  really
• 5:05
  wanted
• 5:06
  to
• 5:06
  do
• 5:06
  more
• 5:06
  Steve
• 5:06
  Gutenberg
• 5:07
  because
• 5:08
  this
• 5:08
  is
• 5:08
  the
• 5:08
  movie
• 5:08
  I
• 5:09
  remember
• 5:09
  him
• 5:09
  from
• 5:10
  the
• 5:10
  most
• 5:10
  other
• 5:11
  than
• 5:11
  Police
• 5:11
  Academy,
• 5:12
  which
• 5:12
  was
• 5:13
  will
• 5:13
  come
• 5:13
  to
• 5:13
  this
• 5:13
  podcast
• 5:14
  at
• 5:14
  some
• 5:14
  point
• 5:14
  too.
• 5:15
  And
• 5:15
  it
• 5:16
  was
• 5:16
  just
• 5:16
  a
• 5:16
  movie
• 5:16
  that
• 5:16
  I
• 5:17
  watched
• 5:17
  a
• 5:17
  lot
• 5:17
  as
• 5:17
  a
• 5:17
  kid,
• 5:18
  but
• 5:18
  I
• 5:18
  never
• 5:18
  really
• 5:19
  watched
• 5:19
  as
• 5:19
  an
• 5:20
  adult.
• 5:21
  And
• 5:21
  so
• 5:21
  obviously
• 5:21
  I
• 5:22
  rewatched
• 5:22
  it
• 5:22
  for
• 5:22
  this
• 5:22
  podcast.
• 5:23
  And,
• 5:24
  you
• 5:24
  know,
• 5:24
  minus
• 5:24
  the
• 5:25
  whole
• 5:25
  drug
• 5:25
  smuggling
• 5:25
  thing,
• 5:26
  it's
• 5:26
  actually
• 5:27
  a
• 5:27
  really
• 5:27
  fun,
• 5:28
  sweet
• 5:28
  movie.
• 5:29
  So
• 5:30
  let's
• 5:30
  jump
• 5:30
  into
• 5:31
  it.
• 5:31
  Here's
• 5:31
  the
• 5:32
  trailer
• 5:32
  for
• 5:32
  Three
• 5:33
  Men
• 5:33
  and
• 5:33
  a
• 5:33
  Baby.
• 8:40
  Peter,
• 8:40
  an
• 8:41
  architect,
• 8:41
  Jack,
• 8:42
  an
• 8:42
  actor,
• 8:43
  and
• 8:43
  Michael,
• 8:44
  a
• 8:44
  cartoonist,
• 8:45
  live
• 8:45
  lives
• 8:45
  of
• 8:45
  eternal
• 8:46
  bachelors
• 8:46
  in
• 8:47
  a
• 8:47
  Manhattan
• 8:47
  penthouse
• 8:48
  designed
• 8:48
  by
• 8:49
  Peter.
• 8:49
  After
• 8:50
  Peter's
• 8:50
  birthday
• 8:51
  party,
• 8:51
  Jack
• 8:52
  leaves
• 8:52
  to
• 8:52
  film
• 8:52
  a
• 8:53
  movie
• 8:53
  in
• 8:53
  Turkey.
• 8:54
  Before
• 8:54
  he
• 8:55
  flies
• 8:55
  out,
• 8:55
  he
• 8:55
  calls
• 8:56
  his
• 8:56
  roommates
• 8:56
  and
• 8:56
  tells
• 8:57
  them
• 8:57
  that
• 8:57
  a
• 8:57
  friend
• 8:58
  of
• 8:58
  his
• 8:58
  needs
• 8:59
  a
• 8:59
  small
• 8:59
  package
• 9:00
  held
• 9:00
  at
• 9:00
  the
• 9:00
  penthouse
• 9:01
  for
• 9:01
  a
• 9:01
  few
• 9:01
  days
• 9:02
  until
• 9:02
  his
• 9:02
  associates
• 9:03
  come
• 9:03
  to
• 9:03
  pick
• 9:03
  it
• 9:04
  up.
• 9:04
  When
• 9:05
  a
• 9:05
  baby
• 9:05
  girl,
• 9:05
  Mary,
• 9:06
  is
• 9:06
  left
• 9:07
  on
• 9:07
  the
• 9:07
  doorstep,
• 9:08
  Peter
• 9:08
  and
• 9:08
  Michael
• 9:09
  mistaken
• 9:09
  her
• 9:09
  to
• 9:10
  be
• 9:10
  the
• 9:10
  mystery
• 9:10
  package.
• 9:11
  And
• 9:11
  with
• 9:12
  the
• 9:12
  baby
• 9:12
  is
• 9:12
  a
• 9:13
  note
• 9:13
  saying
• 9:13
  she
• 9:14
  is
• 9:14
  Jack's
• 9:14
  daughter.
• 9:16
  Peter
• 9:16
  and
• 9:16
  Michael
• 9:17
  have
• 9:17
  no
• 9:17
  idea
• 9:17
  how
• 9:18
  to
• 9:18
  look
• 9:18
  after
• 9:18
  a
• 9:18
  baby.
• 9:19
  And
• 9:19
  when
• 9:19
  their
• 9:20
  landlady
• 9:20
  delivers
• 9:21
  a
• 9:21
  small
• 9:21
  box,
• 9:22
  the
• 9:22
  actual
• 9:22
  package,
• 9:23
  which
• 9:23
  contains
• 9:24
  drugs,
• 9:24
  it
• 9:25
  gets
• 9:25
  tossed
• 9:25
  aside.
• 9:26
  At
• 9:26
  first
• 9:26
  they
• 9:27
  struggle
• 9:27
  to
• 9:27
  care
• 9:27
  for
• 9:27
  Mary,
• 9:28
  but
• 9:28
  soon
• 9:29
  get
• 9:29
  the
• 9:29
  hang
• 9:29
  of
• 9:29
  childcare,
• 9:30
  including
• 9:30
  nappy
• 9:31
  changes,
• 9:31
  baths
• 9:32
  and
• 9:32
  feedings.
• 9:33
  Four
• 9:34
  days
• 9:34
  later,
• 9:34
  two
• 9:34
  drug
• 9:35
  dealers
• 9:35
  arrive
• 9:35
  at
• 9:35
  the
• 9:36
  apartment
• 9:36
  for
• 9:36
  the
• 9:37
  package.
• 9:38
  Peter
• 9:38
  and
• 9:38
  Michael
• 9:39
  mistakenly
• 9:39
  give
• 9:40
  them
• 9:40
  Mary
• 9:41
  before
• 9:41
  realising
• 9:42
  what
• 9:42
  they
• 9:42
  actually
• 9:43
  came
• 9:43
  for.
• 9:44
  Let's
• 9:45
  run
• 9:45
  through
• 9:45
  the
• 9:45
  cast.
• 9:46
  We
• 9:46
  have
• 9:46
  Tom
• 9:47
  Selleck
• 9:47
  as
• 9:47
  Peter
• 9:48
  Mitchell,
• 9:49
  Steve
• 9:49
  Guttenberg
• 9:50
  as
• 9:50
  Michael
• 9:50
  Kellum,
• 9:51
  Ted
• 9:52
  Danson
• 9:52
  as
• 9:52
  Jack
• 9:53
  Holden,
• 9:54
  Margaret
• 9:54
  Colin
• 9:55
  as
• 9:55
  Rebecca,
• 9:56
  Celeste
• 9:57
  Holm
• 9:57
  as
• 9:58
  Mrs.
• 9:58
  Holden,
• 9:59
  Nancy
• 9:59
  Travis
• 10:00
  as
• 10:00
  Sylvia
• 10:01
  Bennington,
• 10:02
  Philip
• 10:02
  Bosco
• 10:03
  as
• 10:03
  Sergeant
• 10:04
  Melkowitz,
• 10:05
  Paul
• 10:05
  Guilfoyle
• 10:06
  as
• 10:06
  Vince,
• 10:07
  Cynthia
• 10:08
  Harris
• 10:09
  as
• 10:09
  Mrs.
• 10:09
  Hathaway
• 10:10
  and
• 10:10
  Michelle
• 10:11
  and
• 10:11
  Lisa
• 10:12
  Blair
• 10:12
  as
• 10:12
  Mary.
• 10:13
  Three
• 10:14
  men
• 10:14
  and
• 10:14
  a
• 10:14
  Baby
• 10:15
  has
• 10:15
  a
• 10:15
  screenplay
• 10:15
  by
• 10:16
  Jim
• 10:16
  Cruikshank
• 10:17
  and
• 10:17
  James
• 10:17
  Orr,
• 10:18
  was
• 10:18
  directed
• 10:19
  by
• 10:19
  Leonard
• 10:20
  Nimoy
• 10:20
  and
• 10:20
  was
• 10:21
  based
• 10:21
  on
• 10:21
  Trois
• 10:22
  Homme
• 10:22
  et
• 10:22
  un
• 10:22
  Couffin
• 10:23
  by
• 10:23
  Coline
• 10:24
  Serreau.
• 10:25
  It's
• 10:25
  a
• 10:26
  tale
• 10:26
  as
• 10:26
  old
• 10:26
  as
• 10:26
  time.
• 10:27
  Three
• 10:27
  bachelors
• 10:28
  have
• 10:28
  their
• 10:28
  lives
• 10:28
  upended
• 10:29
  when
• 10:29
  a
• 10:29
  baby
• 10:30
  girl
• 10:30
  is
• 10:30
  left
• 10:30
  on
• 10:30
  their
• 10:31
  doorstep,
• 10:31
  and
• 10:32
  though
• 10:32
  initially
• 10:32
  clueless,
• 10:33
  they
• 10:33
  grow
• 10:33
  attached
• 10:34
  to
• 10:34
  her
• 10:34
  over
• 10:34
  time.
• 10:35
  Their
• 10:35
  names
• 10:36
  were
• 10:36
  Jacques,
• 10:37
  Pierre
• 10:37
  and
• 10:37
  Michel.
• 10:38
  The
• 10:39
  baby
• 10:39
  was
• 10:39
  Marie,
• 10:40
  and
• 10:40
  it
• 10:40
  all
• 10:41
  happened
• 10:41
  in
• 10:41
  Paris
• 10:42
  in
• 10:42
  1985.
• 10:44
  That
• 10:44
  movie
• 10:45
  was
• 10:45
  different.
• 10:45
  That
• 10:46
  was
• 10:46
  Three
• 10:46
  Men
• 10:47
  and
• 10:47
  a
• 10:47
  Cradle,
• 10:48
  or
• 10:48
  in
• 10:49
  French,
• 10:49
  Trois
• 10:50
  Homme
• 10:50
  et
• 10:50
  un
• 10:50
  Couffin.
• 10:51
  Directed
• 10:52
  by
• 10:52
  Coline
• 10:52
  Serreau,
• 10:53
  it
• 10:53
  was
• 10:53
  a
• 10:54
  huge
• 10:54
  hit
• 10:54
  in
• 10:54
  its
• 10:54
  native
• 10:55
  France,
• 10:55
  winning
• 10:56
  three
• 10:56
  Cesar
• 10:57
  Awards
• 10:57
  in
• 10:57
  1986
• 10:59
  and
• 10:59
  receiving
• 10:59
  an
• 11:00
  Academy
• 11:00
  Award
• 11:00
  nomination
• 11:01
  for
• 11:01
  Best
• 11:01
  Foreign
• 11:02
  Language
• 11:02
  Film.
• 11:03
  An
• 11:03
  American
• 11:04
  remake
• 11:04
  was
• 11:05
  all
• 11:05
  but
• 11:05
  guaranteed,
• 11:06
  but
• 11:07
  like
• 11:07
  many
• 11:07
  movies
• 11:07
  I
• 11:08
  talk
• 11:08
  about
• 11:08
  on
• 11:08
  this
• 11:08
  podcast,
• 11:09
  it
• 11:09
  needed
• 11:09
  something
• 11:10
  different.
• 11:10
  A
• 11:11
  certain
• 11:11
  je
• 11:11
  ne
• 11:12
  sais
• 11:12
  quoi,
• 11:12
  you
• 11:13
  might
• 11:13
  say.
• 11:13
  The
• 11:14
  lightning
• 11:14
  in
• 11:14
  a
• 11:14
  bottle.
• 11:15
  And
• 11:15
  the
• 11:15
  story
• 11:16
  starts
• 11:16
  at
• 11:16
  Disney
• 11:17
  in
• 11:17
  the
• 11:17
  early
• 11:17
  1980s,
• 11:18
  when
• 11:19
  Disney
• 11:19
  was
• 11:19
  in
• 11:20
  serious
• 11:20
  trouble.
• 11:21
  The
• 11:21
  studio
• 11:22
  had
• 11:22
  spent
• 11:22
  years
• 11:22
  asking
• 11:23
  itself
• 11:23
  what
• 11:24
  Walt
• 11:24
  would
• 11:24
  have
• 11:24
  done,
• 11:25
  and
• 11:25
  the
• 11:25
  answer
• 11:26
  wasn't
• 11:26
  working.
• 11:27
  Disney
• 11:27
  started
• 11:28
  the
• 11:28
  decade
• 11:28
  reeling
• 11:29
  from
• 11:29
  decisions
• 11:30
  that
• 11:30
  had
• 11:30
  been
• 11:30
  made
• 11:30
  to
• 11:30
  cut
• 11:31
  costs,
• 11:31
  and
• 11:32
  its
• 11:32
  animation
• 11:32
  division
• 11:33
  was
• 11:33
  struggling.
• 11:35
  The
• 11:35
  1970s
• 11:36
  and
• 11:36
  early
• 11:36
  1980s
• 11:37
  have
• 11:37
  been
• 11:37
  called
• 11:37
  Disney's
• 11:38
  Dark
• 11:38
  Ages
• 11:39
  for
• 11:39
  a
• 11:39
  reason.
• 11:40
  It
• 11:40
  was
• 11:40
  a
• 11:40
  period
• 11:41
  of
• 11:41
  creative
• 11:41
  failures
• 11:42
  and
• 11:42
  financial
• 11:42
  setbacks
• 11:43
  in
• 11:43
  which
• 11:44
  repeated
• 11:44
  efforts
• 11:44
  to
• 11:45
  reach
• 11:45
  family
• 11:45
  audiences
• 11:46
  faltered.
• 11:47
  Live
• 11:48
  action
• 11:48
  family
• 11:48
  films
• 11:49
  starring
• 11:49
  the
• 11:49
  likes
• 11:50
  of
• 11:50
  Don
• 11:50
  Knotts
• 11:51
  and
• 11:51
  Jodie
• 11:51
  Foster
• 11:52
  were
• 11:52
  keeping
• 11:52
  the
• 11:52
  lights
• 11:53
  on,
• 11:53
  but
• 11:53
  Disney
• 11:54
  as
• 11:54
  a
• 11:54
  brand
• 11:54
  was
• 11:55
  hobbled.
• 11:56
  The
• 11:56
  rise
• 11:56
  of
• 11:56
  Steven
• 11:56
  Spielberg
• 11:57
  and
• 11:57
  George
• 11:57
  Lucas
• 11:58
  as
• 11:59
  the
• 11:59
  new
• 11:59
  masters
• 11:59
  of
• 12:00
  cinematic
• 12:00
  imagination
• 12:01
  didn't
• 12:02
  help
• 12:02
  either.
• 12:03
  The
• 12:04
  animation
• 12:04
  division's
• 12:05
  crisis
• 12:05
  came
• 12:05
  to
• 12:05
  a
• 12:06
  Head
• 12:06
  in
• 12:06
  1985.
• 12:07
  The
• 12:07
  Black
• 12:08
  Cauldron
• 12:08
  had
• 12:08
  been
• 12:08
  in
• 12:09
  development
• 12:09
  for
• 12:09
  over
• 12:09
  a
• 12:10
  decade
• 12:10
  and
• 12:11
  ended
• 12:11
  up
• 12:11
  costing
• 12:11
  $25
• 12:12
  million,
• 12:13
  the
• 12:14
  most
• 12:14
  expensive
• 12:14
  animated
• 12:15
  feature
• 12:15
  ever
• 12:16
  made
• 12:16
  at
• 12:16
  that
• 12:16
  point,
• 12:17
  double
• 12:18
  the
• 12:18
  budget
• 12:18
  of
• 12:18
  its
• 12:19
  predecessor,
• 12:19
  the
• 12:19
  Fox
• 12:20
  and
• 12:20
  the
• 12:20
  Hound.
• 12:21
  It
• 12:21
  took
• 12:21
  in
• 12:22
  only
• 12:22
  $21
• 12:22
  million
• 12:23
  domestically.
• 12:24
  The
• 12:24
  studio's
• 12:25
  animation
• 12:25
  unit
• 12:26
  was
• 12:26
  gutted.
• 12:27
  Animators
• 12:27
  were
• 12:28
  relocated
• 12:28
  to
• 12:28
  a
• 12:28
  rundown
• 12:29
  building
• 12:29
  in
• 12:29
  a
• 12:30
  sketchy
• 12:30
  neighbourhood
• 12:31
  and
• 12:31
  the
• 12:31
  division
• 12:32
  looked
• 12:32
  like
• 12:32
  it
• 12:32
  was
• 12:33
  end
• 12:33
  of
• 12:34
  feature
• 12:34
  animation
• 12:34
  entirely.
• 12:36
  That
• 12:36
  is
• 12:36
  covered
• 12:36
  in
• 12:37
  more
• 12:37
  detail
• 12:37
  in
• 12:37
  episode
• 12:38
  241
• 12:39
  on
• 12:39
  the
• 12:39
  Black
• 12:40
  Cauldron.
• 12:40
  So
• 12:40
  I
• 12:40
  would
• 12:41
  highly
• 12:41
  recommend,
• 12:41
  if
• 12:41
  you
• 12:42
  are
• 12:42
  interested
• 12:42
  in
• 12:42
  that
• 12:43
  period
• 12:43
  in
• 12:43
  Disney
• 12:44
  animation,
• 12:45
  please
• 12:45
  listen
• 12:45
  to
• 12:46
  that
• 12:46
  episode.
• 12:47
  The
• 12:47
  creation
• 12:48
  of
• 12:48
  the
• 12:48
  more
• 12:48
  adult
• 12:49
  orientated
• 12:50
  Touchstone
• 12:51
  Pictures
• 12:51
  in
• 12:51
  the
• 12:51
  early
• 12:52
  80s
• 12:53
  helped
• 12:53
  save
• 12:53
  the
• 12:54
  studio
• 12:54
  financially
• 12:55
  even
• 12:55
  as
• 12:56
  the
• 12:56
  animation
• 12:56
  department
• 12:57
  struggled
• 12:58
  under
• 12:58
  then
• 12:58
  CEO
• 12:59
  Ron
• 12:59
  Miller.
• 13:00
  Touchstone
• 13:00
  Pictures
• 13:01
  was
• 13:01
  founded
• 13:01
  on
• 13:01
  15
• 13:02
  February
• 13:03
  1984
• 13:04
  as
• 13:04
  a
• 13:04
  label
• 13:05
  specifically
• 13:05
  for
• 13:06
  PG
• 13:06
  rated
• 13:07
  and
• 13:07
  more
• 13:08
  mature
• 13:08
  content.
• 13:09
  Its
• 13:10
  first
• 13:10
  film
• 13:10
  was
• 13:10
  Splash,
• 13:11
  which
• 13:11
  grossed
• 13:12
  $68
• 13:13
  million
• 13:13
  domestically
• 13:14
  in
• 13:14
  the
• 13:14
  summer
• 13:14
  of
• 13:15
  1984.
• 13:16
  Michael
• 13:17
  Eisner
• 13:17
  joined
• 13:18
  Disney
• 13:18
  as
• 13:18
  CEO
• 13:19
  in
• 13:19
  September
• 13:20
  1984,
• 13:21
  having
• 13:21
  previously
• 13:22
  served
• 13:22
  as
• 13:22
  president
• 13:23
  of
• 13:23
  Paramount
• 13:23
  Pictures.
• 13:24
  He
• 13:25
  immediately
• 13:25
  brought
• 13:25
  in
• 13:26
  Jeffrey
• 13:26
  Katzenberg
• 13:27
  to
• 13:27
  operate
• 13:27
  under
• 13:28
  the
• 13:28
  Touchstone
• 13:28
  and
• 13:29
  Hollywood
• 13:29
  Pictures
• 13:29
  banners.
• 13:31
  Katzenberg
• 13:31
  focused
• 13:32
  the
• 13:32
  studio
• 13:33
  on
• 13:33
  adult
• 13:33
  orientated
• 13:34
  comedies
• 13:35
  through
• 13:35
  Touchstone.
• 13:36
  In
• 13:36
  1986,
• 13:37
  down
• 13:37
  and
• 13:38
  Out
• 13:38
  in
• 13:38
  Beverly
• 13:38
  Hills
• 13:39
  became
• 13:39
  Disney's
• 13:40
  first
• 13:40
  ever
• 13:40
  R
• 13:41
  rated
• 13:41
  film.
• 13:42
  The
• 13:42
  following
• 13:42
  year,
• 13:43
  Adventures
• 13:43
  in
• 13:43
  Babysitting
• 13:44
  became
• 13:44
  their
• 13:45
  first
• 13:45
  PG
• 13:45
  13.
• 13:47
  Michael
• 13:47
  Eisner
• 13:48
  had
• 13:48
  seen
• 13:48
  Trois
• 13:49
  Homme
• 13:49
  et
• 13:49
  un
• 13:50
  Couffin
• 13:50
  while
• 13:50
  in
• 13:50
  France
• 13:51
  and
• 13:51
  thought
• 13:52
  it
• 13:52
  would
• 13:52
  be
• 13:52
  the
• 13:52
  perfect
• 13:53
  movie
• 13:53
  to
• 13:53
  remake
• 13:54
  for
• 13:54
  an
• 13:54
  American
• 13:54
  family
• 13:55
  audience.
• 13:56
  He
• 13:56
  set
• 13:56
  about
• 13:56
  acquiring
• 13:57
  the
• 13:57
  rights
• 13:57
  to
• 13:58
  remake
• 13:58
  the
• 13:58
  film
• 13:58
  from
• 13:59
  Flash
• 13:59
  Films
• 14:00
  in
• 14:00
  the
• 14:00
  summer
• 14:00
  of
• 14:01
  1986.
• 14:02
  The
• 14:03
  sale
• 14:03
  stipulated
• 14:04
  that
• 14:04
  Flash
• 14:04
  Films
• 14:05
  would
• 14:05
  be
• 14:05
  a
• 14:05
  co
• 14:05
  producer
• 14:06
  on
• 14:06
  the
• 14:06
  American
• 14:06
  version
• 14:07
  going
• 14:08
  in
• 14:08
  5050
• 14:08
  with
• 14:09
  Touchstone
• 14:10
  as
• 14:10
  well
• 14:10
  as
• 14:10
  Coline
• 14:11
  Serreau
• 14:11
  reprising
• 14:12
  her
• 14:12
  role
• 14:12
  to
• 14:13
  direct
• 14:13
  the
• 14:13
  American
• 14:14
  remake.
• 14:15
  And
• 14:15
  the
• 14:15
  idea
• 14:16
  for
• 14:16
  this
• 14:16
  was
• 14:16
  pretty
• 14:17
  simple.
• 14:17
  Make
• 14:17
  it
• 14:18
  cheap
• 14:18
  and
• 14:19
  make
• 14:19
  as
• 14:19
  much
• 14:19
  money
• 14:20
  from
• 14:20
  it
• 14:20
  as
• 14:20
  possible.
• 14:21
  With
• 14:21
  Coline
• 14:22
  Serreau
• 14:22
  already
• 14:23
  attached
• 14:23
  as
• 14:23
  a
• 14:24
  director,
• 14:24
  the
• 14:25
  hunt
• 14:25
  went
• 14:25
  on
• 14:25
  for
• 14:26
  stars
• 14:26
  who
• 14:26
  were
• 14:26
  known
• 14:27
  to
• 14:27
  the
• 14:27
  public
• 14:28
  but
• 14:28
  cheap.
• 14:29
  While
• 14:29
  the
• 14:30
  likes
• 14:30
  of
• 14:30
  Chevy
• 14:30
  Chase,
• 14:31
  Steve
• 14:31
  Martin,
• 14:32
  Bill
• 14:32
  Murray,
• 14:32
  Jack
• 14:33
  Nicholson
• 14:33
  and
• 14:33
  Arnold
• 14:34
  Schwarzenegger
• 14:35
  were
• 14:35
  all
• 14:35
  considered
• 14:35
  for
• 14:36
  the
• 14:36
  role
• 14:36
  of
• 14:36
  Peter,
• 14:37
  it
• 14:37
  went
• 14:37
  to
• 14:38
  Tom
• 14:38
  Selleck
• 14:39
  and
• 14:39
  at
• 14:39
  the
• 14:39
  time
• 14:39
  Selleck
• 14:40
  was
• 14:40
  one
• 14:40
  of
• 14:40
  television's
• 14:41
  most
• 14:41
  famous
• 14:42
  leading
• 14:42
  men.
• 14:43
  Coming
• 14:43
  off
• 14:43
  of
• 14:43
  Magnum
• 14:44
  PI
• 14:44
  which
• 14:45
  ran
• 14:45
  from
• 14:45
  1980
• 14:46
  to
• 14:46
  1988.
• 14:48
  A
• 14:48
  long
• 14:48
  list
• 14:48
  of
• 14:49
  names
• 14:49
  were
• 14:49
  considered
• 14:50
  for
• 14:50
  Jack,
• 14:50
  Jeff
• 14:51
  Daniels,
• 14:51
  Danny
• 14:52
  Glover,
• 14:52
  John
• 14:52
  Hurd,
• 14:53
  Kevin
• 14:53
  Klein,
• 14:54
  Gary
• 14:54
  Oldman,
• 14:55
  Bill
• 14:55
  Pullman
• 14:56
  and
• 14:56
  Dennis
• 14:56
  Quaid
• 14:57
  among
• 14:57
  them.
• 14:58
  Ted
• 14:58
  Danson
• 14:59
  was
• 14:59
  cast
• 14:59
  fresh
• 15:00
  off
• 15:00
  his
• 15:00
  fame
• 15:00
  as
• 15:01
  Sam
• 15:01
  Malone
• 15:01
  on
• 15:02
  Cheers,
• 15:02
  which
• 15:03
  gave
• 15:03
  the
• 15:03
  movie
• 15:04
  a
• 15:04
  second
• 15:04
  major
• 15:05
  TV
• 15:05
  heartthrob
• 15:06
  alongside
• 15:06
  Tom
• 15:07
  Selleck.
• 15:08
  Selleck
• 15:08
  and
• 15:09
  Danson
• 15:09
  were
• 15:09
  seen
• 15:09
  as
• 15:10
  outliers
• 15:10
  because
• 15:11
  in
• 15:11
  those
• 15:11
  days
• 15:12
  TV
• 15:12
  stars
• 15:12
  were
• 15:13
  TV
• 15:13
  stars
• 15:13
  and
• 15:14
  very
• 15:14
  few
• 15:14
  successfully
• 15:15
  crossed
• 15:16
  over
• 15:16
  into
• 15:16
  movie
• 15:17
  stars.
• 15:18
  Steve
• 15:18
  Guttenberg
• 15:19
  was
• 15:19
  different.
• 15:20
  He
• 15:20
  was
• 15:20
  riding
• 15:21
  high
• 15:21
  in
• 15:21
  the
• 15:21
  movies
• 15:22
  at
• 15:22
  the
• 15:22
  time.
• 15:22
  He'd
• 15:22
  recently
• 15:23
  starred
• 15:23
  in
• 15:23
  Cocoon,
• 15:24
  multiple
• 15:25
  Police
• 15:25
  Academy
• 15:26
  films
• 15:26
  and
• 15:26
  Short
• 15:27
  Circuit,
• 15:28
  making
• 15:28
  him
• 15:28
  one
• 15:28
  of
• 15:28
  the
• 15:29
  busiest
• 15:29
  comedy
• 15:29
  stars
• 15:30
  of
• 15:30
  the
• 15:30
  mid-80s.
• 15:31
  And
• 15:31
  he
• 15:31
  was
• 15:31
  the
• 15:31
  one
• 15:32
  who
• 15:32
  was
• 15:32
  seen
• 15:32
  to
• 15:32
  have
• 15:33
  the
• 15:33
  most
• 15:33
  potential
• 15:34
  star
• 15:34
  power.
• 15:35
  But
• 15:35
  even
• 15:35
  he
• 15:35
  was
• 15:36
  struggling
• 15:36
  with
• 15:36
  his
• 15:36
  career,
• 15:37
  finding
• 15:37
  himself
• 15:38
  in
• 15:38
  more
• 15:39
  Police
• 15:39
  Academy
• 15:39
  movies
• 15:40
  than
• 15:40
  he
• 15:40
  probably
• 15:40
  wanted
• 15:41
  to
• 15:41
  be
• 15:41
  associated
• 15:42
  with,
• 15:42
  and
• 15:43
  struggling
• 15:43
  to
• 15:43
  find
• 15:44
  focus
• 15:44
  in
• 15:44
  his
• 15:45
  career
• 15:45
  up
• 15:45
  to
• 15:46
  that
• 15:46
  point.
• 15:47
  Rounding
• 15:47
  out
• 15:48
  the
• 15:48
  cast
• 15:48
  would
• 15:48
  be
• 15:48
  big
• 15:49
  screen
• 15:49
  newcomer
• 15:49
  Nancy
• 15:50
  Travis,
• 15:51
  not
• 15:51
  British,
• 15:51
  but
• 15:52
  American,
• 15:52
  putting
• 15:52
  on
• 15:52
  an
• 15:53
  accent
• 15:53
  as
• 15:54
  well
• 15:54
  as
• 15:54
  Academy
• 15:54
  Award
• 15:55
  winner
• 15:55
  Celeste
• 15:55
  Holm
• 15:56
  as
• 15:56
  Jack's
• 15:57
  mother.
• 15:58
  Shortly
• 15:58
  before
• 15:58
  filming
• 15:59
  was
• 15:59
  due
• 15:59
  to
• 15:59
  begin,
• 16:00
  Coline
• 16:00
  Serreau
• 16:01
  left
• 16:01
  the
• 16:01
  remake
• 16:02
  for
• 16:02
  health
• 16:03
  reasons,
• 16:03
  although
• 16:04
  a
• 16:04
  later
• 16:04
  report
• 16:05
  indicated
• 16:05
  that
• 16:06
  she
• 16:06
  was
• 16:06
  fired
• 16:07
  after
• 16:07
  repeatedly
• 16:08
  clashing
• 16:08
  with
• 16:08
  the
• 16:09
  screenwriters
• 16:09
  and
• 16:09
  studio
• 16:10
  executives.
• 16:11
  And
• 16:12
  so
• 16:12
  then
• 16:12
  the
• 16:12
  search
• 16:12
  was
• 16:13
  on
• 16:13
  for
• 16:13
  a
• 16:13
  director
• 16:14
  to
• 16:14
  replace
• 16:14
  her.
• 16:15
  But
• 16:16
  as
• 16:16
  I
• 16:16
  mentioned,
• 16:16
  Michael
• 16:16
  Eisner
• 16:17
  had
• 16:17
  come
• 16:17
  over
• 16:17
  from
• 16:18
  Paramount,
• 16:18
  and
• 16:19
  during
• 16:19
  his
• 16:19
  tenure
• 16:20
  as
• 16:20
  studio
• 16:20
  chief,
• 16:21
  he
• 16:21
  had
• 16:22
  overseen
• 16:22
  the
• 16:22
  Star
• 16:23
  Trek
• 16:23
  movie
• 16:23
  sequels.
• 16:24
  And
• 16:24
  after
• 16:25
  the
• 16:25
  success
• 16:25
  of
• 16:25
  Star
• 16:26
  Trek
• 16:26
  the
• 16:26
  Wrath
• 16:26
  of
• 16:27
  Khan,
• 16:27
  another
• 16:28
  previous
• 16:28
  episode
• 16:28
  of
• 16:29
  this
• 16:29
  podcast,
• 16:29
  that's
• 16:29
  episode
• 16:30
  266.
• 16:31
  Leonard
• 16:31
  Nimoy
• 16:32
  was
• 16:32
  excited
• 16:33
  to
• 16:33
  return
• 16:33
  as
• 16:33
  Spock.
• 16:34
  In
• 16:34
  fact,
• 16:35
  he
• 16:35
  was
• 16:35
  so
• 16:35
  excited
• 16:36
  he
• 16:36
  wanted
• 16:37
  to
• 16:37
  Direct
• 16:37
  Star
• 16:38
  Trek
• 16:38
  3.
• 16:39
  Michael
• 16:40
  Eisner
• 16:40
  was
• 16:40
  reluctant
• 16:41
  to
• 16:41
  hire
• 16:41
  Nimoy,
• 16:42
  but
• 16:42
  Nimoy
• 16:43
  persuaded
• 16:43
  him
• 16:44
  and
• 16:44
  Star
• 16:44
  Trek
• 16:45
  the
• 16:45
  Search
• 16:45
  for
• 16:46
  Spock
• 16:46
  became
• 16:46
  his
• 16:47
  directorial
• 16:47
  debut.
• 16:49
  Critics
• 16:49
  praised
• 16:50
  his
• 16:50
  direction
• 16:50
  on
• 16:51
  the
• 16:51
  movie,
• 16:51
  and
• 16:51
  it
• 16:51
  would
• 16:51
  lead
• 16:52
  to
• 16:52
  Nimoy
• 16:52
  returning
• 16:53
  to
• 16:53
  direct
• 16:54
  Star
• 16:54
  Trek
• 16:55
  the
• 16:55
  Voyage
• 16:55
  Home.
• 16:57
  Leonard
• 16:57
  Nimoy
• 16:57
  was
• 16:58
  an
• 16:58
  unlikely
• 16:59
  but
• 16:59
  effective
• 17:00
  choice
• 17:00
  to
• 17:00
  direct
• 17:00
  Three
• 17:01
  Men
• 17:01
  and
• 17:01
  a
• 17:01
  Baby.
• 17:02
  He'd
• 17:02
  already
• 17:02
  proven
• 17:03
  himself
• 17:03
  commercially
• 17:04
  with
• 17:04
  Star
• 17:04
  Trek
• 17:05
  3
• 17:05
  and
• 17:05
  4,
• 17:06
  and
• 17:06
  Nimoy
• 17:07
  was
• 17:07
  trusted
• 17:07
  by
• 17:07
  both
• 17:08
  Eisner
• 17:08
  and
• 17:08
  Katzenberg
• 17:10
  to
• 17:10
  deliver
• 17:11
  cheap
• 17:11
  and
• 17:11
  quick.
• 17:12
  Star
• 17:13
  Trek
• 17:13
  IV
• 17:13
  was
• 17:13
  also
• 17:13
  deliberately
• 17:14
  comedic
• 17:15
  in
• 17:15
  tone,
• 17:15
  and
• 17:16
  it
• 17:16
  had
• 17:16
  been
• 17:16
  a
• 17:16
  massive
• 17:17
  commercial
• 17:17
  and
• 17:17
  critical
• 17:18
  success.
• 17:19
  It
• 17:19
  was
• 17:19
  essentially
• 17:20
  Nimoy's
• 17:20
  audition
• 17:21
  reel
• 17:21
  for
• 17:21
  a
• 17:21
  comedy.
• 17:22
  Without
• 17:22
  anyone
• 17:23
  realizing
• 17:23
  it
• 17:24
  at
• 17:24
  the
• 17:24
  time.
• 17:25
  Leonard
• 17:25
  Nimoy
• 17:26
  came
• 17:26
  on
• 17:26
  board
• 17:27
  as
• 17:27
  a
• 17:27
  director
• 17:27
  just
• 17:28
  five
• 17:28
  weeks
• 17:28
  before
• 17:28
  shooting
• 17:29
  began.
• 17:30
  By
• 17:30
  the
• 17:30
  time
• 17:30
  he
• 17:31
  arrived,
• 17:31
  all
• 17:31
  three
• 17:32
  actors
• 17:32
  were
• 17:32
  already
• 17:32
  cast,
• 17:33
  the
• 17:33
  set
• 17:33
  was
• 17:34
  already
• 17:34
  under
• 17:34
  construction,
• 17:35
  and
• 17:35
  a
• 17:36
  search
• 17:36
  for
• 17:36
  the
• 17:36
  babies
• 17:37
  was
• 17:37
  already
• 17:38
  underway.
• 17:39
  With
• 17:39
  the
• 17:39
  principal
• 17:40
  cast
• 17:40
  already
• 17:40
  hired,
• 17:41
  Nimoy
• 17:42
  was
• 17:42
  the
• 17:42
  new
• 17:42
  kid
• 17:42
  on
• 17:42
  the
• 17:42
  block,
• 17:43
  and
• 17:43
  he
• 17:43
  arrived
• 17:44
  to
• 17:44
  some
• 17:44
  scepticism.
• 17:45
  However,
• 17:45
  he
• 17:46
  fully
• 17:46
  understood
• 17:47
  what
• 17:47
  he
• 17:47
  was
• 17:47
  there
• 17:47
  to
• 17:47
  do,
• 17:48
  and
• 17:48
  during
• 17:49
  the
• 17:49
  two
• 17:49
  week
• 17:49
  rehearsal
• 17:50
  period
• 17:50
  before
• 17:51
  filming,
• 17:51
  he
• 17:52
  encouraged
• 17:52
  the
• 17:52
  three
• 17:53
  leads,
• 17:53
  then
• 17:54
  bachelors
• 17:54
  Tom
• 17:55
  Selleck
• 17:55
  and
• 17:55
  Steve
• 17:55
  Guttenberg
• 17:56
  and
• 17:56
  the
• 17:56
  long
• 17:57
  married
• 17:57
  Ted
• 17:57
  Danson
• 17:58
  to
• 17:58
  go
• 17:58
  out
• 17:59
  on
• 17:59
  the
• 17:59
  town
• 17:59
  in
• 17:59
  Toronto
• 18:00
  where
• 18:00
  they
• 18:00
  were
• 18:00
  Filming
• 18:01
  to
• 18:01
  connect
• 18:02
  as
• 18:02
  a
• 18:02
  threesome,
• 18:03
  they
• 18:03
  visited
• 18:04
  clubs,
• 18:04
  bars
• 18:05
  and
• 18:05
  restaurants
• 18:05
  to
• 18:06
  help
• 18:06
  them
• 18:06
  connect
• 18:06
  with
• 18:07
  each
• 18:07
  other
• 18:07
  and
• 18:08
  the
• 18:08
  feeling
• 18:08
  of
• 18:08
  bachelorhood
• 18:09
  they
• 18:09
  needed
• 18:09
  to
• 18:09
  project
• 18:10
  on
• 18:10
  screen.
• 18:11
  And
• 18:11
  it
• 18:11
  worked
• 18:11
  because
• 18:12
  the
• 18:12
  three
• 18:12
  men
• 18:13
  genuinely
• 18:13
  became
• 18:14
  good
• 18:14
  friends.
• 18:15
  Nimoy
• 18:16
  reviewed
• 18:16
  videotape
• 18:17
  footage
• 18:17
  of
• 18:18
  around
• 18:18
  200
• 18:18
  sets
• 18:19
  of
• 18:19
  twin
• 18:19
  girls
• 18:20
  for
• 18:20
  the
• 18:20
  role
• 18:20
  of
• 18:21
  Mary
• 18:21
  before
• 18:22
  narrowing
• 18:22
  the
• 18:22
  search
• 18:23
  down
• 18:23
  to
• 18:24
  four
• 18:24
  sets
• 18:24
  of
• 18:24
  twins,
• 18:25
  which
• 18:25
  were
• 18:26
  then
• 18:26
  brought
• 18:26
  in
• 18:26
  to
• 18:26
  be
• 18:26
  seen
• 18:27
  in
• 18:27
  person
• 18:27
  before
• 18:28
  the
• 18:28
  final
• 18:28
  choice
• 18:28
  was
• 18:29
  made.
• 18:29
  The
• 18:30
  reason
• 18:30
  twins
• 18:30
  were
• 18:31
  used
• 18:31
  was
• 18:31
  practical
• 18:32
  because
• 18:32
  child
• 18:33
  labour
• 18:33
  laws
• 18:34
  strictly
• 18:34
  limit
• 18:35
  how
• 18:35
  long
• 18:35
  an
• 18:36
  infant
• 18:36
  can
• 18:36
  be
• 18:36
  on
• 18:36
  set,
• 18:37
  so
• 18:37
  casting
• 18:38
  twins
• 18:38
  effectively
• 18:39
  doubled
• 18:40
  the
• 18:40
  available
• 18:40
  filming
• 18:41
  time.
• 18:42
  Identical
• 18:42
  twins
• 18:43
  Lisa
• 18:43
  and
• 18:43
  Michelle
• 18:44
  Blair
• 18:44
  were
• 18:44
  just
• 18:45
  four
• 18:45
  months
• 18:45
  old
• 18:46
  when
• 18:46
  they
• 18:46
  were
• 18:46
  cast,
• 18:47
  and
• 18:47
  their
• 18:47
  mother
• 18:48
  Geriann
• 18:48
  described
• 18:49
  the
• 18:49
  whole
• 18:49
  thing
• 18:50
  as
• 18:50
  a
• 18:50
  bit
• 18:50
  of
• 18:51
  a
• 18:51
  fluke.
• 18:52
  She'd
• 18:52
  been
• 18:52
  on
• 18:52
  maternity
• 18:53
  leave,
• 18:53
  heard
• 18:54
  about
• 18:54
  the
• 18:54
  casting
• 18:54
  call
• 18:55
  and
• 18:55
  thought
• 18:55
  it
• 18:55
  would
• 18:56
  just
• 18:56
  be
• 18:56
  a
• 18:56
  fun
• 18:56
  day
• 18:56
  out
• 18:57
  in
• 18:57
  Toronto
• 18:57
  with
• 18:57
  her
• 18:58
  daughters
• 18:58
  and
• 18:59
  believing
• 18:59
  it
• 18:59
  was
• 19:00
  just
• 19:00
  for
• 19:00
  a
• 19:00
  single
• 19:00
  scene
• 19:01
  in
• 19:01
  a
• 19:01
  movie.
• 19:02
  Fortunately,
• 19:03
  Lisa
• 19:04
  and
• 19:04
  Michelle
• 19:04
  were
• 19:05
  naturals.
• 19:05
  They
• 19:06
  say
• 19:06
  never
• 19:07
  work
• 19:07
  with
• 19:07
  children
• 19:07
  or
• 19:07
  animals.
• 19:08
  But
• 19:08
  despite
• 19:08
  Nimoy's
• 19:09
  fears
• 19:09
  that
• 19:09
  the
• 19:10
  babies
• 19:10
  wouldn't
• 19:10
  perform
• 19:11
  when
• 19:11
  they
• 19:11
  were
• 19:11
  supposed
• 19:12
  to,
• 19:12
  he
• 19:13
  found
• 19:13
  both
• 19:13
  were
• 19:13
  consummate
• 19:14
  professionals
• 19:15
  and
• 19:15
  always
• 19:15
  hit
• 19:16
  their
• 19:16
  cues.
• 19:17
  They
• 19:17
  became
• 19:17
  enamoured
• 19:18
  by
• 19:18
  the
• 19:18
  boom
• 19:18
  mics
• 19:19
  on
• 19:19
  set.
• 19:20
  They
• 19:20
  would
• 19:20
  follow
• 19:20
  it
• 19:21
  with
• 19:21
  their
• 19:21
  eyes
• 19:21
  rather
• 19:21
  than
• 19:22
  looking
• 19:22
  at
• 19:22
  the
• 19:22
  cast.
• 19:23
  So
• 19:23
  Nimoy
• 19:24
  and
• 19:24
  his
• 19:24
  crew
• 19:24
  had
• 19:25
  to
• 19:25
  start
• 19:25
  hiding
• 19:25
  and
• 19:26
  disguising
• 19:26
  the
• 19:26
  microphone
• 19:27
  and
• 19:27
  to
• 19:28
  keep
• 19:28
  their
• 19:28
  eyelines
• 19:28
  where
• 19:29
  they
• 19:29
  needed
• 19:29
  them.
• 19:30
  And
• 19:30
  when
• 19:30
  one
• 19:31
  of
• 19:31
  the
• 19:31
  babies
• 19:31
  pees
• 19:32
  on
• 19:32
  Tom
• 19:32
  Selleck
• 19:33
  in
• 19:33
  the
• 19:33
  movie,
• 19:33
  that
• 19:34
  was
• 19:34
  apparently
• 19:34
  Lisa,
• 19:35
  but
• 19:36
  Michelle
• 19:36
  also
• 19:37
  did
• 19:37
  pee
• 19:37
  on
• 19:37
  him
• 19:38
  on
• 19:38
  a
• 19:38
  separate
• 19:38
  occasion.
• 19:40
  Lisa
• 19:40
  is
• 19:41
  the
• 19:41
  twin
• 19:41
  featured
• 19:42
  in
• 19:42
  the
• 19:42
  iconic
• 19:42
  film's
• 19:43
  poster,
• 19:43
  which
• 19:44
  was
• 19:44
  photographed
• 19:44
  by
• 19:45
  Annie
• 19:45
  Leibowitz.
• 19:46
  The
• 19:46
  wet
• 19:46
  spot
• 19:47
  visible
• 19:47
  on
• 19:47
  Tom
• 19:47
  Selleck's
• 19:48
  shirt
• 19:48
  in
• 19:48
  that
• 19:49
  shot.
• 19:49
  That
• 19:50
  was
• 19:50
  also
• 19:50
  Lisa's
• 19:51
  doing.
• 19:52
  Neither
• 19:52
  twin
• 19:53
  pursued
• 19:53
  acting
• 19:53
  beyond
• 19:54
  the
• 19:54
  film
• 19:54
  and
• 19:54
  baby
• 19:55
  Mary
• 19:55
  would
• 19:55
  be
• 19:55
  recast
• 19:56
  for
• 19:56
  the
• 19:56
  sequel.
• 19:57
  Three
• 19:57
  Men
• 19:58
  and
• 19:58
  a
• 19:58
  Baby
• 19:58
  remains
• 19:59
  Michelle's
• 19:59
  only
• 20:00
  screen
• 20:00
  credit.
• 20:00
  While
• 20:01
  Lisa
• 20:01
  made
• 20:02
  one
• 20:02
  further
• 20:02
  appearance
• 20:03
  in
• 20:03
  a
• 20:03
  1999
• 20:04
  thriller,
• 20:05
  both
• 20:06
  left
• 20:06
  the
• 20:06
  industry
• 20:07
  entirely.
• 20:07
  Lisa
• 20:08
  went
• 20:08
  into
• 20:08
  customer
• 20:09
  service
• 20:09
  and
• 20:09
  Michelle
• 20:10
  into
• 20:10
  insurance.
• 20:12
  Principal
• 20:12
  photography
• 20:13
  ran
• 20:13
  from
• 20:13
  April
• 20:13
  to
• 20:14
  June
• 20:14
  1987,
• 20:15
  with
• 20:16
  interior
• 20:16
  shot
• 20:17
  in
• 20:17
  Toronto
• 20:17
  and
• 20:17
  exteriors
• 20:18
  in
• 20:18
  New
• 20:19
  York
• 20:19
  City.
• 20:19
  And
• 20:20
  Toronto
• 20:20
  is
• 20:21
  the
• 20:21
  main
• 20:21
  reason
• 20:21
  the
• 20:22
  movie's
• 20:22
  most
• 20:22
  famous
• 20:23
  behind
• 20:23
  the
• 20:23
  scenes
• 20:24
  story
• 20:25
  simply
• 20:25
  can't
• 20:25
  be
• 20:26
  true.
• 20:26
  Because
• 20:27
  there
• 20:27
  is
• 20:27
  an
• 20:27
  urban
• 20:27
  legend
• 20:28
  associated
• 20:28
  with
• 20:29
  Three
• 20:29
  Men
• 20:29
  and
• 20:29
  a
• 20:30
  Baby.
• 20:30
  And
• 20:31
  in
• 20:31
  August
• 20:31
  1990,
• 20:32
  shortly
• 20:33
  before
• 20:33
  the
• 20:33
  release
• 20:33
  of
• 20:34
  Three
• 20:34
  Men
• 20:34
  and
• 20:34
  a
• 20:34
  Little
• 20:35
  Lady,
• 20:35
  a
• 20:36
  rumour
• 20:36
  began
• 20:36
  circulating
• 20:37
  that
• 20:38
  a
• 20:38
  black
• 20:38
  silhouette
• 20:39
  resembling
• 20:39
  a
• 20:40
  rifle
• 20:40
  alongside
• 20:41
  a
• 20:41
  human
• 20:42
  figure
• 20:42
  can
• 20:42
  be
• 20:43
  spotted
• 20:43
  in
• 20:43
  A
• 20:43
  background
• 20:44
  window
• 20:44
  during
• 20:45
  the
• 20:45
  scene
• 20:45
  between
• 20:45
  Jack
• 20:46
  and
• 20:46
  his
• 20:46
  mother.
• 20:47
  The
• 20:47
  urban
• 20:48
  legend
• 20:48
  claimed
• 20:49
  the
• 20:49
  figure
• 20:49
  was
• 20:49
  the
• 20:49
  ghost
• 20:50
  of
• 20:50
  a
• 20:50
  boy
• 20:50
  who
• 20:51
  had
• 20:51
  once
• 20:51
  lived
• 20:51
  in
• 20:51
  the
• 20:51
  house
• 20:52
  used
• 20:52
  for
• 20:52
  filming,
• 20:53
  and
• 20:53
  most
• 20:54
  versions
• 20:54
  of
• 20:54
  the
• 20:54
  rumour
• 20:55
  claim
• 20:55
  the
• 20:55
  boy
• 20:56
  died
• 20:56
  by
• 20:56
  shooting
• 20:57
  himself
• 20:57
  with
• 20:57
  a
• 20:58
  rifle,
• 20:58
  after
• 20:59
  which
• 20:59
  his
• 20:59
  grieving
• 21:00
  parents
• 21:00
  abandoned
• 21:01
  the
• 21:01
  house.
• 21:02
  In
• 21:02
  reality,
• 21:03
  it
• 21:03
  was
• 21:03
  a
• 21:03
  cardboard
• 21:04
  standee
• 21:05
  of
• 21:05
  Ted
• 21:05
  Danson's
• 21:06
  character
• 21:06
  Jack,
• 21:07
  dressed
• 21:07
  in
• 21:07
  a
• 21:08
  tuxedo
• 21:08
  and
• 21:08
  top
• 21:08
  hat
• 21:09
  that
• 21:09
  had
• 21:09
  been
• 21:10
  left
• 21:10
  on
• 21:10
  the
• 21:10
  set,
• 21:11
  and
• 21:11
  it
• 21:11
  was
• 21:11
  filmed
• 21:12
  on
• 21:12
  a
• 21:12
  soundstage
• 21:13
  in
• 21:13
  Toronto,
• 21:13
  not
• 21:14
  in
• 21:14
  a
• 21:14
  house.
• 21:15
  The
• 21:15
  prop
• 21:15
  was
• 21:16
  created
• 21:16
  for
• 21:16
  a
• 21:16
  subplot
• 21:17
  in
• 21:17
  which
• 21:17
  Jack
• 21:18
  appears
• 21:18
  in
• 21:18
  a
• 21:18
  dog
• 21:19
  food
• 21:19
  commercial,
• 21:20
  but
• 21:20
  this
• 21:20
  was
• 21:20
  cut
• 21:21
  from
• 21:21
  the
• 21:21
  final
• 21:21
  version
• 21:22
  of
• 21:22
  the
• 21:22
  film.
• 21:23
  So,
• 21:23
  sadly,
• 21:24
  no,
• 21:24
  there
• 21:24
  is
• 21:24
  no
• 21:25
  ghost
• 21:25
  visible
• 21:26
  in
• 21:26
  Three
• 21:26
  Men
• 21:27
  and
• 21:27
  a
• 21:27
  Baby,
• 21:27
  and
• 21:28
  there
• 21:28
  never
• 21:28
  has
• 21:28
  been.
• 21:30
  Three
• 21:30
  Men
• 21:30
  and
• 21:30
  a
• 21:30
  Baby
• 21:31
  marked
• 21:31
  a
• 21:31
  tonal
• 21:32
  difference
• 21:32
  between
• 21:33
  it
• 21:33
  and
• 21:33
  the
• 21:34
  movie
• 21:34
  it
• 21:34
  was
• 21:34
  a
• 21:35
  remake
• 21:35
  of.
• 21:36
  The
• 21:36
  movies
• 21:36
  appear
• 21:37
  to
• 21:37
  exist
• 21:37
  in
• 21:37
  almost
• 21:38
  polar
• 21:38
  opposite
• 21:39
  worlds,
• 21:39
  one
• 21:40
  where
• 21:40
  people
• 21:40
  are
• 21:40
  enamoured
• 21:41
  with
• 21:41
  babies
• 21:42
  and
• 21:42
  one
• 21:42
  where
• 21:42
  they're
• 21:43
  treated
• 21:43
  as
• 21:43
  an
• 21:44
  annoyance.
• 21:45
  In
• 21:45
  the
• 21:45
  French
• 21:45
  film,
• 21:46
  the
• 21:46
  men
• 21:47
  never
• 21:47
  verbally
• 21:47
  express
• 21:48
  the
• 21:48
  depth
• 21:48
  of
• 21:48
  their
• 21:49
  pain.
• 21:49
  Their
• 21:50
  attachment
• 21:50
  to
• 21:50
  Marie
• 21:51
  is
• 21:51
  conveyed
• 21:51
  through
• 21:52
  attitude,
• 21:52
  glances
• 21:53
  and
• 21:53
  behaviour
• 21:54
  rather
• 21:54
  than
• 21:54
  dialogue,
• 21:55
  reflecting
• 21:56
  the
• 21:56
  French
• 21:56
  masculine
• 21:57
  ideal
• 21:58
  of
• 21:58
  impenetrable
• 21:59
  strength.
• 22:00
  The
• 22:00
  American
• 22:00
  version
• 22:01
  takes
• 22:01
  the
• 22:01
  opposite
• 22:01
  approach.
• 22:02
  The
• 22:02
  men
• 22:02
  are
• 22:03
  openly
• 22:03
  demonstrative,
• 22:04
  proudly
• 22:05
  taking
• 22:05
  Mary
• 22:06
  out
• 22:06
  in
• 22:06
  public.
• 22:07
  The
• 22:07
  original
• 22:08
  plot
• 22:08
  remains
• 22:09
  mostly
• 22:09
  intact
• 22:09
  in
• 22:10
  the
• 22:10
  remake,
• 22:10
  with
• 22:11
  one
• 22:11
  significant
• 22:11
  exception.
• 22:13
  The
• 22:13
  American
• 22:13
  drug
• 22:13
  dealers
• 22:14
  are
• 22:14
  caught
• 22:14
  and
• 22:15
  the
• 22:15
  men
• 22:15
  help
• 22:15
  the
• 22:15
  police
• 22:16
  bring
• 22:16
  them
• 22:16
  in,
• 22:17
  whereas
• 22:17
  in
• 22:17
  the
• 22:17
  French
• 22:18
  film
• 22:18
  the
• 22:18
  dealers
• 22:18
  get
• 22:19
  away.
• 22:20
  The
• 22:20
  men
• 22:20
  in
• 22:20
  the
• 22:20
  American
• 22:21
  version
• 22:21
  develop
• 22:21
  a
• 22:22
  rapport
• 22:22
  with
• 22:22
  the
• 22:22
  police
• 22:23
  inspectors,
• 22:24
  with
• 22:24
  one
• 22:24
  officer
• 22:25
  even
• 22:25
  wanting
• 22:25
  to
• 22:25
  hold
• 22:26
  Mary,
• 22:26
  which
• 22:27
  is
• 22:27
  a
• 22:27
  warmth
• 22:27
  entirely
• 22:28
  absent
• 22:28
  from
• 22:28
  the
• 22:29
  French
• 22:29
  film,
• 22:29
  where
• 22:30
  the
• 22:30
  police
• 22:30
  are
• 22:30
  more
• 22:30
  aggressive
• 22:31
  and
• 22:31
  the
• 22:31
  men
• 22:32
  are
• 22:32
  under
• 22:32
  much
• 22:33
  tighter
• 22:33
  surveillance.
• 22:34
  And
• 22:34
  the
• 22:35
  endings
• 22:35
  are
• 22:35
  different
• 22:35
  as
• 22:36
  well.
• 22:36
  The
• 22:36
  American
• 22:37
  version
• 22:37
  closes
• 22:38
  with
• 22:38
  all
• 22:38
  four
• 22:39
  adults,
• 22:40
  Peter,
• 22:40
  Michael,
• 22:41
  Jack
• 22:41
  and
• 22:41
  Sylvia,
• 22:42
  living
• 22:42
  together
• 22:43
  happily,
• 22:43
  with
• 22:43
  baby
• 22:44
  Mary
• 22:44
  as
• 22:45
  an
• 22:45
  unconventional
• 22:46
  family
• 22:46
  unit
• 22:46
  in
• 22:46
  their
• 22:47
  penthouse
• 22:47
  apartment.
• 22:48
  The
• 22:48
  French
• 22:49
  version
• 22:49
  opts
• 22:49
  for
• 22:49
  something
• 22:50
  closer
• 22:50
  to
• 22:50
  shared
• 22:51
  custody,
• 22:51
  which
• 22:52
  is
• 22:52
  a
• 22:52
  much
• 22:52
  less
• 22:53
  Hollywood
• 22:54
  ending.
• 22:55
  Serreau
• 22:55
  and
• 22:55
  Nimoy
• 22:56
  treated
• 22:56
  the
• 22:56
  material
• 22:57
  differently.
• 22:58
  Nimoy's
• 22:58
  remake
• 22:59
  externalizes
• 23:00
  everything.
• 23:00
  It's
• 23:00
  broader
• 23:01
  comedy,
• 23:01
  brightly
• 23:02
  lit
• 23:02
  and
• 23:02
  with
• 23:02
  a
• 23:03
  tidier
• 23:03
  resolution.
• 23:04
  They
• 23:04
  reveal
• 23:05
  fundamentally
• 23:06
  different
• 23:06
  assumptions
• 23:06
  about
• 23:07
  what
• 23:07
  an
• 23:07
  audience
• 23:08
  wants
• 23:08
  from
• 23:08
  a
• 23:08
  film
• 23:09
  and
• 23:09
  and
• 23:09
  the
• 23:09
  differences
• 23:10
  between
• 23:10
  French
• 23:11
  and
• 23:11
  American
• 23:11
  comedy.
• 23:12
  Three
• 23:12
  Men
• 23:13
  and
• 23:13
  a
• 23:13
  Baby
• 23:13
  is
• 23:13
  less
• 23:14
  of
• 23:14
  a
• 23:14
  translation
• 23:14
  and
• 23:15
  more
• 23:15
  of
• 23:15
  a
• 23:15
  cultural
• 23:16
  reinterpretation.
• 23:18
  After
• 23:18
  Leonard
• 23:18
  Nimoy's
• 23:19
  passing
• 23:19
  in
• 23:19
  2015,
• 23:20
  Steve
• 23:20
  Guttenberg
• 23:21
  reflected
• 23:21
  on
• 23:22
  his
• 23:22
  experiences
• 23:23
  working
• 23:23
  with
• 23:23
  him.
• 23:24
  To
• 23:24
  the
• 23:24
  Hollywood
• 23:24
  Reporter,
• 23:25
  he
• 23:26
  said
• 23:26
  of
• 23:26
  Nimoy,
• 23:27
  the
• 23:27
  first
• 23:28
  time
• 23:28
  I
• 23:28
  met
• 23:28
  Leonard
• 23:29
  Nimoy
• 23:29
  was
• 23:29
  in
• 23:29
  1986,
• 23:30
  when
• 23:30
  I
• 23:31
  was
• 23:31
  28,
• 23:32
  and
• 23:32
  he
• 23:32
  was
• 23:32
  about
• 23:32
  to
• 23:33
  direct
• 23:33
  three
• 23:33
  men
• 23:34
  and
• 23:34
  a
• 23:34
  Baby.
• 23:35
  He
• 23:35
  had
• 23:35
  this
• 23:35
  impressive
• 23:36
  home
• 23:36
  in
• 23:36
  Bel
• 23:36
  Air
• 23:36
  on
• 23:37
  Stone
• 23:37
  Canyon
• 23:37
  that
• 23:38
  was
• 23:38
  filled
• 23:38
  with
• 23:38
  art.
• 23:39
  He
• 23:39
  showed
• 23:39
  me
• 23:40
  a
• 23:40
  model
• 23:40
  of
• 23:40
  the
• 23:40
  set
• 23:41
  and
• 23:41
  spoke
• 23:41
  about
• 23:42
  how
• 23:42
  these
• 23:42
  three
• 23:42
  characters
• 23:43
  were
• 23:43
  going
• 23:44
  to
• 23:44
  form
• 23:44
  one
• 23:45
  complete
• 23:45
  man
• 23:45
  who'd
• 23:46
  raised
• 23:46
  the
• 23:46
  little
• 23:47
  girl.
• 23:47
  He
• 23:48
  and
• 23:48
  his
• 23:48
  wife
• 23:48
  Susan
• 23:49
  cooked
• 23:49
  dinner.
• 23:50
  When
• 23:50
  we
• 23:50
  got
• 23:50
  to
• 23:51
  talking,
• 23:51
  he
• 23:51
  told
• 23:51
  me
• 23:51
  about
• 23:52
  doing
• 23:52
  the
• 23:52
  TV
• 23:53
  series
• 23:53
  Highway
• 23:54
  Patrol
• 23:54
  with
• 23:54
  Broderick
• 23:55
  Crawford
• 23:55
  in
• 23:55
  the
• 23:55
  1950s,
• 23:56
  and
• 23:57
  how
• 23:57
  you'd
• 23:57
  show
• 23:57
  up
• 23:57
  on
• 23:58
  the
• 23:58
  set,
• 23:58
  change
• 23:59
  clothes
• 23:59
  behind
• 23:59
  a
• 24:00
  trailer,
• 24:00
  and
• 24:01
  the
• 24:01
  director
• 24:01
  would
• 24:01
  tell
• 24:01
  you
• 24:02
  to
• 24:02
  stand
• 24:02
  here,
• 24:03
  say
• 24:03
  this.
• 24:03
  Get
• 24:04
  out
• 24:04
  of
• 24:04
  the
• 24:04
  way.
• 24:05
  Leonard
• 24:05
  was
• 24:06
  the
• 24:06
  opposite
• 24:06
  of
• 24:06
  that.
• 24:07
  He's
• 24:07
  the
• 24:07
  guy
• 24:07
  who
• 24:08
  wants
• 24:08
  to
• 24:08
  make
• 24:08
  you
• 24:08
  great.
• 24:09
  When
• 24:09
  we
• 24:10
  were
• 24:10
  making
• 24:10
  Three
• 24:10
  Men,
• 24:11
  his
• 24:11
  plan
• 24:11
  was
• 24:12
  to
• 24:12
  make
• 24:12
  us
• 24:12
  a
• 24:12
  family.
• 24:13
  He
• 24:13
  was
• 24:13
  always
• 24:13
  encouraging
• 24:14
  us
• 24:14
  to
• 24:14
  go
• 24:14
  to
• 24:15
  dinner
• 24:15
  together.
• 24:15
  He
• 24:16
  was
• 24:16
  manipulating
• 24:17
  the
• 24:17
  experience
• 24:17
  with
• 24:18
  a
• 24:18
  heart.
• 24:19
  He
• 24:19
  wasn't
• 24:19
  a
• 24:19
  Machiavellian
• 24:20
  manipulator.
• 24:21
  He
• 24:22
  was
• 24:22
  a
• 24:22
  Mother
• 24:22
  Teresa
• 24:23
  manipulator.
• 24:24
  I
• 24:24
  felt
• 24:24
  he
• 24:24
  was
• 24:25
  especially
• 24:25
  protective
• 24:26
  of
• 24:26
  me.
• 24:27
  Once
• 24:27
  we
• 24:27
  were
• 24:27
  walking
• 24:28
  outside
• 24:28
  the
• 24:28
  hotel
• 24:29
  and
• 24:29
  there
• 24:29
  were
• 24:29
  fans
• 24:29
  who
• 24:30
  wanted
• 24:30
  to
• 24:30
  take
• 24:30
  pictures,
• 24:31
  which
• 24:31
  we
• 24:31
  did.
• 24:32
  As
• 24:32
  he
• 24:32
  walked
• 24:33
  away,
• 24:33
  he
• 24:33
  said,
• 24:34
  the
• 24:34
  camera
• 24:34
  takes
• 24:35
  your
• 24:35
  soul.
• 24:35
  Be
• 24:35
  careful
• 24:36
  of
• 24:36
  that.
• 24:37
  I
• 24:37
  think
• 24:37
  he
• 24:37
  meant
• 24:37
  it
• 24:38
  as
• 24:38
  a
• 24:38
  metaphor
• 24:38
  for
• 24:38
  the
• 24:39
  business,
• 24:39
  but
• 24:39
  he
• 24:40
  was
• 24:40
  really
• 24:40
  serious.
• 24:41
  I
• 24:41
  was
• 24:41
  like,
• 24:42
  okay,
• 24:42
  I
• 24:43
  won't
• 24:43
  let
• 24:43
  the
• 24:43
  camera
• 24:44
  take
• 24:44
  my
• 24:44
  soul.
• 24:47
  And
• 24:47
  this
• 24:47
  is
• 24:47
  the
• 24:47
  ideal
• 24:48
  time
• 24:48
  to
• 24:48
  segue
• 24:49
  into
• 24:49
  the
• 24:49
  obligatory
• 24:50
  Keanu
• 24:50
  reference
• 24:51
  of
• 24:51
  this
• 24:51
  episode
• 24:51
  and
• 24:52
  And
• 24:52
  if
• 24:52
  you're
• 24:53
  new
• 24:53
  here
• 24:53
  and
• 24:53
  you
• 24:53
  don't
• 24:53
  know
• 24:53
  what
• 24:53
  that
• 24:54
  is,
• 24:54
  it's
• 24:54
  where
• 24:54
  I
• 24:54
  try
• 24:54
  and
• 24:55
  link
• 24:55
  every
• 24:55
  episode
• 24:55
  with
• 24:56
  Keanu
• 24:56
  Reeves
• 24:57
  in
• 24:57
  some
• 24:57
  way,
• 24:57
  because
• 24:58
  he
• 24:58
  is
• 24:58
  the
• 24:59
  best
• 24:59
  of
• 24:59
  men.
• 25:00
  And
• 25:00
  this
• 25:01
  one
• 25:01
  was
• 25:01
  particularly
• 25:02
  difficult.
• 25:02
  But
• 25:02
  I
• 25:02
  found
• 25:03
  a
• 25:03
  way
• 25:03
  around
• 25:04
  it
• 25:04
  because
• 25:04
  this
• 25:04
  is
• 25:04
  a
• 25:05
  movie
• 25:05
  about
• 25:05
  a
• 25:05
  baby.
• 25:06
  So
• 25:07
  I
• 25:07
  thought,
• 25:07
  well,
• 25:07
  how
• 25:08
  about
• 25:08
  I
• 25:08
  go
• 25:08
  to
• 25:08
  a
• 25:09
  baby
• 25:09
  website?
• 25:10
  So
• 25:10
  I
• 25:10
  went
• 25:10
  to
• 25:10
  a
• 25:10
  baby
• 25:11
  website,
• 25:11
  and
• 25:12
  according
• 25:12
  to
• 25:12
  Nameberry.com
• 25:14
  the
• 25:14
  name
• 25:15
  Keanu
• 25:15
  is
• 25:16
  a
• 25:16
  boy's
• 25:16
  name
• 25:16
  of
• 25:17
  Hawaiian
• 25:17
  origin,
• 25:18
  meaning
• 25:18
  the
• 25:18
  coolness
• 25:19
  or
• 25:19
  the
• 25:19
  cool
• 25:20
  breeze.
• 25:20
  And
• 25:21
  it's
• 25:21
  Currently,
• 25:22
  as
• 25:22
  of
• 25:22
  2025
• 25:23
  ratings,
• 25:24
  the
• 25:24
  649th
• 25:26
  most
• 25:26
  popular
• 25:27
  name
• 25:27
  for
• 25:28
  baby
• 25:28
  boys
• 25:28
  in
• 25:29
  the
• 25:29
  U.S.
• 25:29
  peaking
• 25:30
  at
• 25:30
  2020
• 25:32
  at
• 25:32
  514th
• 25:34
  in
• 25:34
  the
• 25:34
  U.S.
• 25:35
  for
• 25:35
  baby
• 25:35
  boys.
• 25:36
  So
• 25:36
  there
• 25:37
  are
• 25:37
  a
• 25:37
  lot
• 25:37
  of
• 25:37
  baby
• 25:38
  boys
• 25:38
  or
• 25:39
  young
• 25:39
  boys
• 25:39
  or
• 25:40
  teen
• 25:40
  boys
• 25:41
  or
• 25:41
  grown
• 25:42
  adult
• 25:42
  boys
• 25:43
  that
• 25:43
  are
• 25:43
  called
• 25:44
  Keanu,
• 25:44
  which
• 25:45
  makes
• 25:45
  a
• 25:45
  lot
• 25:45
  of
• 25:46
  sense,
• 25:46
  I
• 25:46
  suspect,
• 25:47
  because
• 25:47
  it
• 25:48
  is
• 25:48
  a
• 25:48
  cool
• 25:48
  name,
• 25:49
  and
• 25:49
  you
• 25:49
  would
• 25:50
  only
• 25:50
  ever
• 25:50
  be
• 25:50
  associated
• 25:51
  with
• 25:52
  Keanu
• 25:52
  Reeves
• 25:53
  if
• 25:53
  you
• 25:53
  were
• 25:54
  a
• 25:54
  baby
• 25:54
  called
• 25:55
  Keanu.
• 25:56
  Moving
• 25:56
  on
• 25:56
  to
• 25:56
  the
• 25:57
  music.
• 25:57
  This
• 25:57
  is
• 25:57
  a
• 25:57
  very
• 25:58
  80s
• 25:58
  movie
• 25:59
  with
• 25:59
  a
• 25:59
  very
• 25:59
  80s
• 26:00
  soundtrack.
• 26:01
  There's
• 26:01
  a
• 26:01
  lot
• 26:01
  of
• 26:01
  saxophone
• 26:02
  on
• 26:03
  this
• 26:03
  soundtrack.
• 26:04
  It
• 26:04
  includes
• 26:05
  songs
• 26:05
  like
• 26:05
  the
• 26:05
  Minute
• 26:06
  I
• 26:06
  Saw
• 26:06
  You,
• 26:06
  the
• 26:07
  theme
• 26:07
  from
• 26:07
  Three
• 26:07
  Men
• 26:07
  and
• 26:08
  a
• 26:08
  Baby
• 26:08
  performed
• 26:09
  by
• 26:09
  John
• 26:09
  Parr
• 26:10
  and
• 26:10
  the
• 26:10
  Miami
• 26:11
  Sound
• 26:11
  Machine
• 26:11
  with
• 26:12
  their
• 26:12
  songs
• 26:12
  Bad
• 26:13
  Boy
• 26:13
  and
• 26:13
  Conga,
• 26:14
  which
• 26:14
  for
• 26:15
  those
• 26:15
  who
• 26:15
  are
• 26:15
  interested
• 26:16
  is
• 26:16
  Gloria
• 26:17
  Estefan.
• 26:18
  Tom
• 26:18
  Selleck,
• 26:19
  Steve
• 26:19
  Gutenberg
• 26:20
  and
• 26:20
  Ted
• 26:20
  Danson
• 26:21
  contribute
• 26:21
  to
• 26:22
  the
• 26:22
  soundtrack
• 26:22
  for
• 26:23
  their
• 26:23
  rendition
• 26:23
  of
• 26:24
  Goodnight
• 26:24
  Sweetheart,
• 26:25
  Good
• 26:25
  Night
• 26:26
  and
• 26:26
  the
• 26:26
  score
• 26:26
  was
• 26:27
  composed
• 26:27
  by
• 26:27
  Marvin
• 26:28
  Hamlisch.
• 26:29
  Three
• 26:29
  Men
• 26:30
  and
• 26:30
  a
• 26:30
  Baby
• 26:30
  released
• 26:31
  on
• 26:31
  25th
• 26:32
  November
• 26:32
  1987
• 26:33
  and
• 26:33
  was
• 26:34
  an
• 26:34
  instant
• 26:34
  smash
• 26:35
  hit,
• 26:36
  hitting
• 26:36
  number
• 26:36
  one
• 26:37
  at
• 26:37
  the
• 26:37
  domestic
• 26:37
  US
• 26:37
  box
• 26:38
  office
• 26:38
  and
• 26:39
  staying
• 26:39
  there
• 26:39
  for
• 26:39
  two
• 26:39
  weeks
• 26:40
  before
• 26:40
  dropping
• 26:41
  to
• 26:41
  second
• 26:41
  for
• 26:41
  two
• 26:41
  weeks,
• 26:42
  then
• 26:42
  back
• 26:43
  to
• 26:43
  number
• 26:43
  one
• 26:43
  for
• 26:43
  three
• 26:44
  weeks
• 26:44
  before
• 26:45
  dropping
• 26:45
  back
• 26:45
  to
• 26:45
  second
• 26:46
  for
• 26:46
  three
• 26:46
  weeks.
• 26:47
  The
• 26:47
  movie
• 26:47
  would
• 26:47
  stay
• 26:48
  in
• 26:48
  the
• 26:48
  US
• 26:48
  top
• 26:49
  ten
• 26:49
  for
• 26:49
  18
• 26:50
  weeks
• 26:51
  on
• 26:52
  its
• 26:52
  11
• 26:52
  million
• 26:52
  dollar
• 26:53
  budget.
• 26:53
  Three
• 26:53
  Men
• 26:54
  and
• 26:54
  a
• 26:54
  Baby
• 26:54
  would
• 26:54
  gross
• 26:55
  167.8
• 26:57
  million
• 26:57
  dollars
• 26:57
  domestically
• 26:58
  and
• 26:58
  72.2
• 26:59
  million
• 27:00
  dollars
• 27:00
  internationally
• 27:01
  for
• 27:02
  a
• 27:02
  total
• 27:02
  worldwide
• 27:03
  gross
• 27:03
  of
• 27:03
  240
• 27:04
  million
• 27:04
  dollars.
• 27:05
  It
• 27:06
  would
• 27:06
  end
• 27:06
  up
• 27:06
  becoming
• 27:07
  the
• 27:07
  biggest
• 27:07
  American
• 27:08
  box
• 27:08
  office
• 27:08
  hit
• 27:08
  of
• 27:09
  1987,
• 27:10
  surpassing
• 27:11
  Fatal
• 27:11
  Attraction
• 27:12
  and
• 27:12
  Beverly
• 27:12
  Hills
• 27:12
  Cop
• 27:13
  2.
• 27:14
  It
• 27:14
  was
• 27:14
  the
• 27:14
  first
• 27:14
  production
• 27:15
  from
• 27:15
  Disney
• 27:16
  to
• 27:16
  gross
• 27:16
  over
• 27:17
  a
• 27:17
  hundred
• 27:17
  million
• 27:17
  dollars
• 27:18
  domestically
• 27:19
  in
• 27:19
  its
• 27:19
  initial
• 27:20
  run
• 27:20
  and
• 27:20
  its
• 27:21
  highest
• 27:21
  grossing
• 27:21
  film
• 27:22
  at
• 27:22
  the
• 27:22
  time
• 27:23
  until
• 27:23
  surpassed
• 27:24
  in
• 27:24
  1990
• 27:25
  by
• 27:25
  Pretty
• 27:25
  Woman.
• 27:27
  Three
• 27:27
  Men
• 27:27
  and
• 27:27
  a
• 27:27
  Baby
• 27:28
  has
• 27:28
  a
• 27:28
  67
• 27:29
  rating
• 27:29
  on
• 27:30
  rotten
• 27:30
  Tomatoes
• 27:31
  and
• 27:31
  the
• 27:31
  site's
• 27:32
  critical
• 27:32
  consensus
• 27:33
  reads
• 27:34
  like
• 27:34
  the
• 27:34
  French
• 27:34
  farce
• 27:35
  it's
• 27:35
  based
• 27:35
  on.
• 27:36
  Three
• 27:36
  Men
• 27:36
  and
• 27:36
  a
• 27:37
  Baby
• 27:37
  is
• 27:37
  too
• 27:37
  self
• 27:38
  satisfied
• 27:38
  with
• 27:39
  scatter
• 27:39
  logical
• 27:39
  humour
• 27:40
  to
• 27:40
  qualify
• 27:41
  as
• 27:41
  a
• 27:41
  bundle
• 27:41
  of
• 27:42
  joy,
• 27:42
  but
• 27:42
  the
• 27:42
  role
• 27:43
  of
• 27:43
  makeshift
• 27:43
  daddy
• 27:44
  brings
• 27:44
  out
• 27:44
  the
• 27:45
  best
• 27:45
  in
• 27:45
  Tom
• 27:45
  Selleck
• 27:47
  and
• 27:47
  of
• 27:47
  course
• 27:47
  with
• 27:47
  it
• 27:48
  making
• 27:48
  an
• 27:48
  incredible
• 27:49
  amount
• 27:49
  of
• 27:49
  money
• 27:49
  at
• 27:50
  the
• 27:50
  box
• 27:50
  office
• 27:51
  and
• 27:51
  getting
• 27:52
  positive
• 27:52
  critical
• 27:53
  reviews,
• 27:53
  a
• 27:54
  sequel
• 27:54
  was
• 27:54
  all
• 27:55
  but
• 27:55
  inevitable.
• 27:56
  Three
• 27:57
  Men
• 27:57
  and
• 27:57
  a
• 27:57
  Little
• 27:58
  lady
• 27:58
  from
• 27:58
  1990
• 28:00
  also
• 28:00
  features
• 28:01
  Tom
• 28:01
  Selleck,
• 28:01
  Steve
• 28:02
  Guttenberg
• 28:02
  and
• 28:03
  Ted
• 28:03
  Danson,
• 28:04
  but
• 28:04
  with
• 28:04
  Robin
• 28:05
  Weissman
• 28:05
  as
• 28:06
  5
• 28:06
  year
• 28:06
  old
• 28:06
  Mary
• 28:07
  as
• 28:07
  Sylvia
• 28:08
  gets
• 28:08
  engaged
• 28:09
  to
• 28:09
  an
• 28:09
  Englishman
• 28:10
  and
• 28:10
  the
• 28:10
  three
• 28:10
  men
• 28:11
  follow
• 28:11
  Sylvia
• 28:11
  and
• 28:12
  Mary
• 28:12
  to
• 28:12
  England
• 28:13
  to
• 28:13
  stop
• 28:13
  the
• 28:13
  wedding.
• 28:14
  In
• 28:15
  2010
• 28:15
  Selleck
• 28:16
  said
• 28:16
  Disney
• 28:16
  had
• 28:16
  spoken
• 28:17
  to
• 28:17
  him
• 28:17
  about
• 28:17
  a
• 28:18
  potential
• 28:18
  third
• 28:18
  film
• 28:19
  tentatively
• 28:20
  titled
• 28:20
  Three
• 28:21
  Men
• 28:21
  and
• 28:21
  a
• 28:21
  Bride.
• 28:22
  He
• 28:22
  later
• 28:23
  mentioned
• 28:23
  in
• 28:24
  2013
• 28:24
  that
• 28:25
  the
• 28:25
  third
• 28:25
  film
• 28:26
  seemed
• 28:26
  to
• 28:26
  be
• 28:26
  real
• 28:27
  and
• 28:27
  then
• 28:27
  it
• 28:27
  disappeared.
• 28:28
  A
• 28:29
  remake
• 28:29
  was
• 28:30
  announced
• 28:30
  in
• 28:30
  2020
• 28:31
  for
• 28:31
  Disney
• 28:32
  plus
• 28:32
  with
• 28:32
  Zac
• 28:33
  Efron
• 28:33
  in
• 28:34
  the
• 28:34
  cast,
• 28:34
  but
• 28:35
  the
• 28:35
  film
• 28:35
  seems
• 28:36
  yet
• 28:36
  to
• 28:36
  be
• 28:37
  made.
• 28:38
  Baby
• 28:39
  Mary,
• 28:39
  supposing
• 28:40
  she
• 28:40
  was
• 28:40
  born
• 28:40
  in
• 28:40
  late
• 28:41
  1986,
• 28:42
  ish,
• 28:43
  would
• 28:43
  be
• 28:44
  coming
• 28:44
  up
• 28:44
  on
• 28:44
  her
• 28:44
  40th
• 28:45
  birthday
• 28:46
  and
• 28:46
  the
• 28:46
  40
• 28:47
  years
• 28:47
  since
• 28:47
  three
• 28:48
  men
• 28:48
  and
• 28:48
  a
• 28:48
  Baby
• 28:49
  have
• 28:49
  signaled
• 28:49
  the
• 28:50
  rise
• 28:50
  of
• 28:50
  the
• 28:50
  modern
• 28:51
  father,
• 28:52
  as
• 28:52
  well
• 28:52
  as
• 28:52
  the
• 28:52
  strength
• 28:53
  of
• 28:53
  the
• 28:53
  independent
• 28:54
  working
• 28:54
  mother.
• 28:55
  But
• 28:55
  work
• 28:55
  life
• 28:56
  balance
• 28:56
  is
• 28:57
  still
• 28:57
  a
• 28:57
  delicate
• 28:58
  juggling
• 28:58
  act.
• 28:59
  By
• 28:59
  the
• 28:59
  mid-1980s,
• 29:00
  attitudes
• 29:01
  towards
• 29:01
  fatherhood
• 29:02
  were
• 29:02
  actively
• 29:03
  shifting.
• 29:03
  More
• 29:04
  women
• 29:04
  were
• 29:04
  entering
• 29:05
  the
• 29:05
  workforce.
• 29:05
  The
• 29:06
  radical
• 29:06
  feminism
• 29:07
  of
• 29:07
  the
• 29:07
  1970s
• 29:08
  was
• 29:08
  entering
• 29:09
  mainstream
• 29:09
  discourse,
• 29:10
  which
• 29:10
  challenged
• 29:11
  the
• 29:11
  assumption
• 29:11
  that
• 29:11
  mothers
• 29:12
  had
• 29:12
  an
• 29:12
  exclusive
• 29:13
  duty
• 29:13
  to
• 29:13
  raise
• 29:14
  children.
• 29:15
  Plus,
• 29:15
  a
• 29:16
  recession
• 29:16
  earlier
• 29:17
  in
• 29:17
  the
• 29:17
  decade
• 29:18
  had
• 29:18
  forced
• 29:18
  jobless
• 29:19
  fathers
• 29:19
  to
• 29:19
  spend
• 29:20
  more
• 29:20
  time
• 29:20
  at
• 29:20
  home.
• 29:21
  The
• 29:22
  women's
• 29:22
  movement
• 29:23
  somewhat
• 29:23
  ironically
• 29:24
  helped
• 29:24
  birth
• 29:25
  what
• 29:25
  some
• 29:26
  sociologists
• 29:26
  called
• 29:26
  the
• 29:27
  daddying
• 29:27
  movement,
• 29:28
  because
• 29:28
  working
• 29:29
  mothers
• 29:29
  were
• 29:29
  busier
• 29:30
  outside
• 29:30
  the
• 29:31
  home
• 29:31
  and
• 29:31
  less
• 29:31
  available
• 29:32
  within
• 29:32
  it.
• 29:32
  So
• 29:33
  fathers
• 29:33
  had
• 29:34
  to
• 29:34
  fill
• 29:34
  that
• 29:34
  role.
• 29:35
  And
• 29:35
  the
• 29:35
  cultural
• 29:35
  shift
• 29:36
  created
• 29:36
  a
• 29:37
  broader
• 29:37
  society
• 29:37
  more
• 29:38
  hospitable
• 29:38
  to
• 29:39
  changing
• 29:39
  gender
• 29:40
  roles
• 29:40
  and
• 29:40
  stereotypes.
• 29:42
  But
• 29:42
  the
• 29:42
  dramatic
• 29:43
  shift
• 29:43
  in
• 29:43
  father's
• 29:44
  roles
• 29:44
  that
• 29:44
  had
• 29:44
  been
• 29:44
  forecast
• 29:45
  in
• 29:45
  the
• 29:45
  70s
• 29:46
  and
• 29:46
  early
• 29:46
  80s
• 29:47
  hadn't
• 29:47
  fully
• 29:47
  materialised
• 29:48
  by
• 29:49
  the
• 29:49
  time
• 29:49
  three
• 29:49
  men
• 29:49
  and
• 29:50
  a
• 29:50
  Baby
• 29:50
  was
• 29:50
  made.
• 29:51
  And
• 29:51
  most
• 29:51
  fathers
• 29:52
  still
• 29:52
  fell
• 29:53
  somewhere
• 29:53
  between
• 29:54
  the
• 29:54
  newly
• 29:54
  idealized
• 29:55
  nurturing
• 29:56
  father
• 29:56
  and
• 29:57
  the
• 29:57
  absent
• 29:58
  deadbeat
• 29:58
  dad.
• 29:59
  Three
• 29:59
  Men
• 30:00
  and
• 30:00
  a
• 30:00
  Baby
• 30:00
  imagines
• 30:01
  men
• 30:01
  who
• 30:01
  are
• 30:01
  capable
• 30:02
  of
• 30:02
  nurturing,
• 30:03
  but
• 30:03
  treats
• 30:04
  their
• 30:04
  doing
• 30:04
  so
• 30:04
  as
• 30:05
  inherently
• 30:05
  comedic.
• 30:07
  Research
• 30:07
  from
• 30:07
  this
• 30:07
  period
• 30:08
  shows
• 30:08
  that
• 30:08
  despite
• 30:09
  greater
• 30:09
  father
• 30:10
  involvement,
• 30:11
  men
• 30:11
  still
• 30:11
  played
• 30:12
  a
• 30:12
  secondary
• 30:13
  role
• 30:13
  in
• 30:13
  family
• 30:13
  life
• 30:14
  and
• 30:14
  gravitated
• 30:15
  towards
• 30:15
  play
• 30:16
  rather
• 30:16
  than
• 30:16
  physiological
• 30:17
  care,
• 30:18
  especially
• 30:18
  with
• 30:19
  infants.
• 30:20
  The
• 30:20
  new
• 30:21
  father
• 30:21
  was
• 30:21
  emerging
• 30:22
  but
• 30:22
  hadn't
• 30:23
  yet
• 30:23
  displaced
• 30:24
  the
• 30:24
  men
• 30:25
  are
• 30:25
  the
• 30:25
  breadwinner
• 30:26
  paradigm.
• 30:27
  But
• 30:27
  this
• 30:27
  is
• 30:28
  a
• 30:28
  movie
• 30:28
  that
• 30:28
  works
• 30:29
  based
• 30:29
  on
• 30:29
  the
• 30:30
  strength
• 30:30
  of
• 30:30
  its
• 30:30
  performances,
• 30:31
  especially
• 30:32
  Tom
• 30:32
  Selleck,
• 30:33
  because
• 30:33
  his
• 30:34
  performance
• 30:34
  as
• 30:34
  Peter
• 30:35
  works
• 30:35
  because
• 30:36
  cooing
• 30:36
  over
• 30:36
  a
• 30:37
  baby
• 30:37
  is
• 30:37
  so
• 30:37
  at
• 30:38
  odds
• 30:38
  with
• 30:38
  what
• 30:38
  audience
• 30:39
  expected
• 30:40
  from
• 30:40
  the
• 30:41
  type
• 30:41
  of
• 30:41
  broad
• 30:42
  shouldered
• 30:42
  macho
• 30:43
  male
• 30:43
  pinup
• 30:44
  that
• 30:44
  Tom
• 30:45
  Selleck
• 30:45
  represented
• 30:46
  in
• 30:47
  the
• 30:47
  age
• 30:47
  of
• 30:47
  Reaganite
• 30:48
  conservatism.
• 30:49
  The
• 30:50
  film
• 30:50
  needs
• 30:50
  its
• 30:50
  heroes
• 30:51
  to
• 30:51
  be
• 30:51
  incompetent
• 30:52
  at
• 30:52
  first,
• 30:53
  because
• 30:53
  the
• 30:53
  jokes
• 30:54
  only
• 30:54
  land
• 30:54
  if
• 30:55
  competent
• 30:55
  fathering
• 30:56
  is
• 30:56
  still
• 30:56
  a
• 30:56
  surprise.
• 30:58
  To
• 30:58
  its
• 30:58
  credit,
• 30:58
  the
• 30:59
  film
• 30:59
  avoids
• 30:59
  the
• 30:59
  obvious
• 31:00
  trap
• 31:00
  of
• 31:00
  suggesting
• 31:01
  women
• 31:01
  are
• 31:01
  automatically
• 31:02
  capable
• 31:02
  caregivers,
• 31:03
  while
• 31:03
  men
• 31:04
  are
• 31:04
  constitutionally
• 31:05
  incompetent.
• 31:06
  Sylvia,
• 31:07
  Mary's
• 31:08
  mother,
• 31:08
  is
• 31:08
  the
• 31:09
  most
• 31:09
  revealing
• 31:09
  character
• 31:10
  in
• 31:10
  this
• 31:10
  sense,
• 31:11
  and
• 31:11
  she's
• 31:11
  also
• 31:11
  the
• 31:11
  most
• 31:12
  poorly
• 31:12
  served
• 31:12
  character
• 31:13
  in
• 31:13
  this
• 31:13
  sense.
• 31:14
  She
• 31:14
  abandons
• 31:15
  her
• 31:15
  baby
• 31:15
  on
• 31:16
  a
• 31:16
  doorstep
• 31:17
  because
• 31:17
  she
• 31:17
  can't
• 31:18
  manage
• 31:18
  career
• 31:18
  and
• 31:19
  motherhood
• 31:19
  simultaneously.
• 31:21
  And
• 31:21
  rather
• 31:21
  than
• 31:21
  the
• 31:21
  film
• 31:22
  treating
• 31:22
  this
• 31:22
  as
• 31:22
  a
• 31:23
  crisis
• 31:23
  worth
• 31:23
  exploring
• 31:24
  or
• 31:24
  talking
• 31:24
  about,
• 31:25
  she's
• 31:26
  just
• 31:26
  a
• 31:26
  plot
• 31:26
  mechanism
• 31:27
  to
• 31:27
  get
• 31:27
  the
• 31:28
  baby
• 31:28
  to
• 31:28
  the
• 31:28
  doorstep.
• 31:29
  Mary
• 31:30
  is
• 31:30
  the
• 31:30
  product
• 31:30
  of
• 31:31
  a
• 31:31
  casual
• 31:31
  fling
• 31:31
  that
• 31:32
  her
• 31:32
  father
• 31:32
  doesn't
• 31:32
  even
• 31:33
  remember.
• 31:33
  Her
• 31:34
  mother's
• 31:34
  abandonment
• 31:35
  of
• 31:35
  the
• 31:35
  baby
• 31:36
  is
• 31:36
  basically
• 31:37
  framed
• 31:37
  as
• 31:37
  the
• 31:37
  inciting
• 31:38
  incident
• 31:38
  that
• 31:39
  allows
• 31:39
  the
• 31:39
  men's
• 31:40
  stories
• 31:40
  and
• 31:40
  the
• 31:41
  men's
• 31:41
  emotional
• 31:41
  journey
• 31:42
  to
• 31:42
  begin.
• 31:43
  Rather
• 31:43
  than
• 31:43
  a
• 31:43
  situation
• 31:44
  worthy
• 31:45
  of
• 31:45
  its
• 31:45
  own
• 31:45
  empathy.
• 31:47
  Through
• 31:47
  a
• 31:47
  more
• 31:47
  contemporary
• 31:48
  lens,
• 31:49
  what
• 31:49
  Sylvia
• 31:50
  experiences
• 31:51
  can
• 31:51
  be
• 31:51
  seen
• 31:52
  as
• 31:52
  a
• 31:52
  recognisable
• 31:53
  portrait
• 31:53
  of
• 31:54
  postnatal
• 31:54
  overwhelm.
• 31:55
  She
• 31:56
  is
• 31:56
  a
• 31:56
  woman
• 31:56
  alone,
• 31:57
  without
• 31:57
  a
• 31:57
  partner
• 31:58
  or
• 31:58
  support
• 31:58
  network.
• 31:59
  She
• 31:59
  is
• 31:59
  British,
• 32:00
  living
• 32:00
  in
• 32:00
  the
• 32:00
  States,
• 32:01
  she
• 32:01
  has
• 32:01
  no
• 32:01
  family
• 32:02
  around,
• 32:02
  and
• 32:02
  she
• 32:03
  simply
• 32:03
  cannot
• 32:04
  cope
• 32:04
  with
• 32:04
  work
• 32:04
  and
• 32:05
  childcare,
• 32:05
  which
• 32:06
  is
• 32:06
  something
• 32:07
  that
• 32:07
  many
• 32:07
  parents
• 32:08
  can
• 32:08
  empathise
• 32:09
  with
• 32:09
  and
• 32:09
  experience.
• 32:11
  The
• 32:11
  movie
• 32:11
  doesn't
• 32:12
  name
• 32:12
  or
• 32:12
  examine
• 32:13
  any
• 32:13
  sort
• 32:14
  of
• 32:14
  postnatal
• 32:15
  overwhelm
• 32:15
  or
• 32:16
  postnatal
• 32:16
  depression,
• 32:17
  but
• 32:17
  instead
• 32:18
  it
• 32:18
  uses
• 32:18
  her
• 32:18
  crisis
• 32:19
  as
• 32:19
  a
• 32:19
  comedic
• 32:20
  springboard
• 32:21
  and
• 32:21
  then
• 32:21
  tidies
• 32:22
  it
• 32:22
  away
• 32:22
  in
• 32:22
  the
• 32:22
  third
• 32:23
  act
• 32:23
  when
• 32:23
  she
• 32:23
  returns.
• 32:24
  And
• 32:24
  ultimately
• 32:25
  they
• 32:25
  then
• 32:25
  become
• 32:26
  this
• 32:26
  unconventional
• 32:27
  family
• 32:27
  unit.
• 32:28
  But
• 32:28
  Three
• 32:29
  Men
• 32:29
  and
• 32:29
  a
• 32:29
  Baby
• 32:30
  is
• 32:30
  genuinely
• 32:30
  progressive
• 32:31
  about
• 32:31
  fatherhood.
• 32:32
  It
• 32:32
  helped
• 32:33
  normalize
• 32:33
  the
• 32:34
  idea
• 32:34
  of
• 32:34
  men
• 32:34
  as
• 32:35
  primary
• 32:35
  caregivers
• 32:36
  at
• 32:36
  a
• 32:36
  pivotal
• 32:37
  cultural
• 32:37
  moment,
• 32:38
  while
• 32:38
  also
• 32:39
  simultaneously
• 32:40
  being
• 32:40
  quite
• 32:41
  negative
• 32:41
  about
• 32:41
  motherhood.
• 32:43
  It's
• 32:43
  a
• 32:43
  film
• 32:43
  that
• 32:43
  expanded
• 32:44
  what
• 32:44
  masculinity
• 32:45
  could
• 32:45
  look
• 32:46
  like
• 32:46
  on
• 32:46
  screen.
• 32:47
  It
• 32:47
  helped
• 32:47
  to
• 32:47
  reshape
• 32:48
  Americans
• 32:49
  views
• 32:49
  of
• 32:49
  male
• 32:50
  caregivers.
• 32:50
  So
• 32:51
  it's
• 32:51
  not
• 32:51
  surprising
• 32:52
  that
• 32:52
  Hollywood
• 32:52
  began
• 32:52
  green
• 32:53
  lighting
• 32:54
  other
• 32:54
  family
• 32:54
  friendly
• 32:55
  comedies
• 32:55
  featuring
• 32:56
  men
• 32:56
  taking
• 32:57
  care
• 32:57
  of
• 32:57
  kids.
• 32:58
  Look
• 32:58
  who's
• 32:59
  Talking
• 32:59
  followed
• 32:59
  in
• 33:00
  1989,
• 33:01
  starring
• 33:01
  Kirstie
• 33:01
  Alley
• 33:02
  as
• 33:02
  a
• 33:02
  single
• 33:02
  mother
• 33:03
  and
• 33:03
  John
• 33:03
  Travolta
• 33:04
  as
• 33:04
  the
• 33:04
  taxi
• 33:05
  driver
• 33:05
  who
• 33:05
  befriends
• 33:06
  her
• 33:06
  and
• 33:06
  winds
• 33:06
  up
• 33:07
  babysitting
• 33:07
  for
• 33:07
  her
• 33:08
  son.
• 33:08
  And
• 33:09
  in
• 33:09
  1993,
• 33:09
  Mrs.
• 33:10
  Doubtfire
• 33:11
  starred
• 33:11
  Robin
• 33:12
  Williams
• 33:12
  as
• 33:12
  a
• 33:13
  father
• 33:13
  masquerading
• 33:14
  as
• 33:14
  a
• 33:14
  British
• 33:15
  nanny
• 33:15
  in
• 33:15
  order
• 33:15
  to
• 33:16
  see
• 33:16
  his
• 33:16
  kids.
• 33:17
  Men
• 33:17
  were
• 33:18
  finally
• 33:18
  allowed
• 33:19
  to
• 33:19
  show
• 33:19
  care,
• 33:20
  empathy
• 33:20
  and
• 33:21
  compassion
• 33:21
  to
• 33:22
  children
• 33:22
  on
• 33:22
  screen,
• 33:23
  and
• 33:23
  it
• 33:23
  wasn't
• 33:24
  seen
• 33:24
  as
• 33:24
  emasculating
• 33:25
  in
• 33:26
  any
• 33:26
  way.
• 33:27
  But
• 33:27
  mostly,
• 33:28
  Three
• 33:28
  Men
• 33:28
  and
• 33:28
  a
• 33:29
  Baby
• 33:29
  changed
• 33:29
  the
• 33:29
  game
• 33:30
  for
• 33:30
  Disney
• 33:30
  at
• 33:31
  a
• 33:31
  time
• 33:31
  when
• 33:31
  the
• 33:31
  studio
• 33:32
  desperately
• 33:32
  needed
• 33:33
  to
• 33:33
  make
• 33:33
  money.
• 33:34
  Jeffrey
• 33:35
  Katzenberg
• 33:35
  was
• 33:35
  responsible
• 33:36
  for
• 33:36
  reviving
• 33:37
  a
• 33:37
  studio.
• 33:38
  And
• 33:38
  under
• 33:38
  his
• 33:38
  management,
• 33:39
  the
• 33:39
  animation
• 33:39
  department
• 33:40
  eventually
• 33:40
  produced
• 33:41
  who
• 33:41
  Framed,
• 33:42
  Roger
• 33:42
  Rabbit,
• 33:43
  the
• 33:43
  Little
• 33:43
  Mermaid,
• 33:44
  Beauty
• 33:44
  and
• 33:44
  the
• 33:44
  Beast,
• 33:45
  Aladdin
• 33:46
  and
• 33:46
  the
• 33:46
  Lion
• 33:46
  King.
• 33:47
  Katzenberg
• 33:48
  also
• 33:48
  sealed
• 33:49
  the
• 33:49
  Pixar
• 33:49
  deal
• 33:49
  that
• 33:50
  produced
• 33:50
  Toy
• 33:50
  Story.
• 33:51
  The
• 33:51
  touchstone
• 33:52
  live
• 33:52
  action
• 33:53
  revenue
• 33:53
  was
• 33:53
  the
• 33:53
  engine
• 33:54
  financing
• 33:55
  all
• 33:55
  of
• 33:55
  that.
• 33:56
  Katzenberg
• 33:57
  focused
• 33:57
  the
• 33:57
  studio
• 33:58
  on
• 33:58
  adult
• 33:58
  orientated
• 33:59
  comedies.
• 34:00
  Down
• 34:00
  and
• 34:00
  out
• 34:00
  in
• 34:01
  Beverly
• 34:01
  Hills,
• 34:01
  Three
• 34:02
  Men
• 34:02
  and
• 34:02
  a
• 34:02
  Baby
• 34:02
  and
• 34:03
  Good
• 34:03
  Morning
• 34:03
  Vietnam.
• 34:04
  And
• 34:04
  their
• 34:05
  success
• 34:05
  led
• 34:06
  to
• 34:06
  the
• 34:06
  animation
• 34:07
  renaissance
• 34:07
  that
• 34:08
  followed.
• 34:09
  So
• 34:09
  while
• 34:09
  we
• 34:10
  may
• 34:10
  not
• 34:10
  think
• 34:10
  we
• 34:10
  have
• 34:11
  Tom
• 34:11
  Selleck,
• 34:12
  Steve
• 34:12
  Guttenberg
• 34:13
  and
• 34:13
  Ted
• 34:13
  Danson
• 34:13
  to
• 34:14
  thank
• 34:14
  for
• 34:14
  much
• 34:15
  except
• 34:15
  Magnum
• 34:16
  PI,
• 34:16
  Richard
• 34:17
  from
• 34:17
  Friends,
• 34:17
  Police
• 34:18
  Academy,
• 34:18
  Saving
• 34:19
  people
• 34:19
  from
• 34:19
  LA
• 34:20
  Fires.
• 34:20
  It's
• 34:21
  true,
• 34:21
  Gutenberg
• 34:21
  is
• 34:22
  a
• 34:22
  real
• 34:22
  life
• 34:22
  hero.
• 34:23
  Cheers
• 34:23
  and
• 34:24
  the
• 34:24
  Good
• 34:24
  Place,
• 34:25
  which,
• 34:25
  let's
• 34:26
  be
• 34:26
  honest,
• 34:26
  I
• 34:26
  don't
• 34:27
  think
• 34:27
  any
• 34:27
  of
• 34:27
  us
• 34:27
  are
• 34:28
  in
• 34:28
  the
• 34:28
  Good
• 34:28
  place
• 34:28
  right
• 34:29
  now.
• 34:29
  We
• 34:30
  actually
• 34:30
  have
• 34:30
  this
• 34:31
  movie
• 34:31
  contributing
• 34:32
  to
• 34:32
  saving
• 34:33
  Disney
• 34:33
  at
• 34:33
  a
• 34:34
  time
• 34:34
  when
• 34:34
  they
• 34:34
  needed
• 34:35
  saving.
• 34:36
  So
• 34:37
  where's
• 34:37
  Three
• 34:37
  Men
• 34:37
  and
• 34:38
  a
• 34:38
  Bride
• 34:38
  Disney?
• 34:39
  The
• 34:39
  actors
• 34:40
  want
• 34:40
  it,
• 34:40
  we
• 34:41
  want
• 34:41
  it.
• 34:41
  Do
• 34:42
  it
• 34:42
  as
• 34:42
  a
• 34:42
  Disney
• 34:42
  plus
• 34:42
  original
• 34:43
  because
• 34:44
  40
• 34:44
  year
• 34:44
  old
• 34:45
  Mary
• 34:45
  deserves
• 34:46
  her
• 34:46
  happily
• 34:47
  ever
• 34:47
  after.
• 34:48
  Thank
• 34:49
  you
• 34:49
  for
• 34:49
  listening
• 34:49
  as
• 34:49
  always.
• 34:49
  I
• 34:50
  would
• 34:50
  love
• 34:50
  to
• 34:50
  hear
• 34:50
  your
• 34:50
  thoughts
• 34:50
  on
• 34:51
  Three
• 34:51
  Men
• 34:51
  and
• 34:51
  a
• 34:51
  Baby
• 34:52
  and
• 34:52
  thank
• 34:52
  you
• 34:52
  for
• 34:53
  your
• 34:53
  continued
• 34:53
  support
• 34:54
  of
• 34:54
  this
• 34:54
  podcast.
• 34:56
  For
• 34:56
  the
• 34:56
  next
• 34:56
  episode,
• 34:57
  Kaijune
• 34:58
  Returns.
• 34:59
  Now
• 35:00
  if
• 35:00
  you
• 35:00
  don't
• 35:00
  know
• 35:00
  what
• 35:00
  Kaijune
• 35:01
  is,
• 35:01
  it's
• 35:02
  Kaiju
• 35:02
  movies
• 35:03
  in
• 35:03
  the
• 35:03
  month
• 35:03
  of
• 35:04
  June
• 35:04
  and
• 35:04
  it's
• 35:04
  something
• 35:05
  that
• 35:05
  I've
• 35:05
  done
• 35:06
  a
• 35:06
  couple
• 35:06
  of
• 35:06
  times
• 35:07
  over
• 35:07
  a
• 35:07
  couple
• 35:07
  of
• 35:07
  years
• 35:08
  looking
• 35:08
  at
• 35:09
  some
• 35:09
  wonderful
• 35:09
  monster
• 35:10
  movies
• 35:10
  during
• 35:11
  the
• 35:11
  month
• 35:11
  of
• 35:11
  June
• 35:12
  and
• 35:12
  it
• 35:12
  returns
• 35:13
  with
• 35:13
  the
• 35:14
  biggest
• 35:14
  shark
• 35:15
  movie
• 35:15
  in
• 35:15
  the
• 35:15
  world,
• 35:16
  not
• 35:17
  Jaws
• 35:17
  because
• 35:17
  Bruce
• 35:18
  has
• 35:18
  appeared
• 35:18
  on
• 35:18
  this
• 35:19
  podcast
• 35:19
  before.
• 35:19
  Several
• 35:20
  times
• 35:20
  actually,
• 35:21
  because
• 35:21
  I've
• 35:21
  done
• 35:22
  episodes
• 35:22
  on
• 35:22
  Jaws
• 35:23
  and
• 35:23
  then
• 35:23
  I
• 35:23
  did
• 35:24
  an
• 35:24
  episode
• 35:24
  on
• 35:24
  Jaws
• 35:25
  2,
• 35:25
  Jaws
• 35:26
  3D
• 35:26
  and
• 35:27
  Jaws
• 35:27
  the
• 35:27
  Revenge
• 35:28
  as
• 35:28
  well.
• 35:28
  So
• 35:28
  they
• 35:28
  are
• 35:28
  all
• 35:29
  episodes
• 35:29
  that
• 35:29
  already
• 35:29
  exist.
• 35:30
  So
• 35:30
  it's
• 35:31
  not
• 35:31
  Jaws?
• 35:31
  No,
• 35:31
  no,
• 35:32
  no.
• 35:32
  It's
• 35:32
  not
• 35:32
  a
• 35:33
  great
• 35:33
  white
• 35:33
  shark.
• 35:34
  It's
• 35:35
  a
• 35:35
  Megalodon.
• 35:37
  Jason
• 35:37
  Statham
• 35:38
  returns
• 35:39
  to
• 35:39
  Verbal
• 35:39
  Diorama
• 35:40
  in
• 35:41
  the
• 35:41
  Meg,
• 35:42
  the
• 35:42
  first
• 35:42
  movie
• 35:43
  of
• 35:43
  literally
• 35:44
  the
• 35:44
  biggest
• 35:44
  Kaijune
• 35:45
  that's
• 35:45
  ever
• 35:45
  existed.
• 35:47
  After
• 35:47
  a
• 35:47
  short
• 35:47
  break,
• 35:48
  please
• 35:48
  join
• 35:49
  me
• 35:49
  next
• 35:49
  episode
• 35:50
  for
• 35:50
  the
• 35:50
  history
• 35:50
  and
• 35:51
  legacy
• 35:51
  of
• 35:52
  the
• 35:52
  Meg
• 35:53
  and
• 35:53
  that'll
• 35:53
  be
• 35:54
  in
• 35:54
  your
• 35:54
  podcast
• 35:54
  feeds
• 35:55
  in
• 35:55
  about
• 35:56
  mid
• 35:57
  June
• 35:57
  ish
• 35:58
  sort
• 35:58
  of
• 35:58
  time.
• 36:00
  Thank
• 36:00
  you
• 36:00
  for
• 36:00
  listening
• 36:00
  to
• 36:00
  Verbal
• 36:01
  Diorama,
• 36:01
  a
• 36:02
  totally
• 36:02
  free
• 36:02
  and
• 36:03
  independent
• 36:03
  podcast
• 36:04
  that
• 36:04
  relies
• 36:05
  on
• 36:05
  listener
• 36:05
  support.
• 36:06
  If
• 36:07
  you
• 36:07
  want
• 36:07
  to
• 36:07
  show
• 36:07
  your
• 36:07
  support
• 36:08
  in
• 36:08
  multiple
• 36:08
  different
• 36:09
  ways,
• 36:09
  you
• 36:10
  could
• 36:10
  leave
• 36:10
  a
• 36:11
  rating
• 36:11
  or
• 36:11
  review
• 36:11
  wherever
• 36:12
  you
• 36:12
  found
• 36:12
  this
• 36:12
  podcast.
• 36:13
  You
• 36:13
  could
• 36:14
  tell
• 36:14
  your
• 36:14
  friends
• 36:14
  and
• 36:14
  family
• 36:15
  about
• 36:15
  this
• 36:15
  podcast
• 36:16
  or
• 36:17
  you
• 36:17
  could
• 36:17
  find
• 36:17
  me
• 36:18
  and
• 36:18
  follow
• 36:18
  me
• 36:18
  on
• 36:19
  social
• 36:19
  media
• 36:19
  and
• 36:20
  you
• 36:20
  can
• 36:20
  share
• 36:20
  the
• 36:21
  podcast
• 36:21
  that
• 36:21
  way.
• 36:22
  I
• 36:23
  am
• 36:23
  @verbaldiorama
• 36:24
  across
• 36:25
  social
• 36:25
  media
• 36:26
  where
• 36:26
  you
• 36:26
  can
• 36:27
  share
• 36:27
  posts
• 36:28
  like
• 36:28
  posts,
• 36:28
  comment
• 36:29
  on
• 36:29
  posts.
• 36:30
  It
• 36:30
  all
• 36:30
  helps
• 36:31
  really
• 36:31
  to
• 36:31
  get
• 36:31
  the
• 36:31
  word
• 36:32
  out
• 36:32
  there
• 36:32
  to
• 36:33
  hopefully
• 36:33
  get
• 36:33
  other
• 36:33
  people
• 36:34
  to
• 36:34
  know
• 36:34
  this
• 36:34
  podcast
• 36:35
  and
• 36:35
  know
• 36:36
  the
• 36:36
  recent
• 36:36
  episodes
• 36:37
  that
• 36:37
  I've
• 36:37
  put
• 36:37
  out.
• 36:38
  I
• 36:38
  genuinely
• 36:39
  love
• 36:39
  doing
• 36:39
  this
• 36:40
  podcast
• 36:40
  and
• 36:40
  anything
• 36:41
  you
• 36:41
  could
• 36:41
  do
• 36:41
  to
• 36:42
  help
• 36:42
  would
• 36:42
  be
• 36:43
  so
• 36:43
  appreciated.
• 36:44
  A
• 36:45
  huge
• 36:45
  thank
• 36:45
  you
• 36:45
  to
• 36:45
  the
• 36:46
  incredibly
• 36:46
  generous
• 36:47
  patrons
• 36:47
  of
• 36:47
  this
• 36:48
  podcast.
• 36:48
  I
• 36:48
  could
• 36:48
  not
• 36:49
  do
• 36:49
  what
• 36:49
  I
• 36:49
  do
• 36:50
  without
• 36:50
  their
• 36:50
  support.
• 36:52
  To
• 36:52
  Simon,
• 36:52
  Laurel,
• 36:53
  Derek,
• 36:54
  Kat,
• 36:54
  Andy,
• 36:55
  Mike,
• 36:56
  Luke,
• 36:56
  Michael,
• 36:57
  Scott,
• 36:58
  Brendan,
• 36:59
  Ian,
• 36:59
  Lisa,
• 37:00
  Sam,
• 37:01
  Jack,
• 37:01
  Dave,
• 37:02
  Stuart,
• 37:03
  Nicholas,
• 37:04
  Zoe,
• 37:04
  Kev,
• 37:05
  Danny,
• 37:06
  Stu,
• 37:06
  Brett,
• 37:07
  Xenos,
• 37:08
  Sean,
• 37:09
  Ryno,
• 37:10
  Philip,
• 37:10
  Adam,
• 37:11
  Elaine,
• 37:11
  Aaron
• 37:12
  and
• 37:12
  Steve.
• 37:14
  Please
• 37:15
  consider
• 37:15
  joining
• 37:16
  them
• 37:16
  and
• 37:16
  supporting
• 37:16
  this
• 37:17
  podcast
• 37:17
  on
• 37:17
  Patreon
• 37:18
  and
• 37:18
  if
• 37:19
  you
• 37:19
  have
• 37:19
  the
• 37:19
  means
• 37:19
  to.
• 37:20
  If
• 37:21
  you
• 37:21
  want
• 37:21
  to
• 37:21
  get
• 37:21
  in
• 37:21
  touch,
• 37:22
  you
• 37:22
  can
• 37:22
  email
• 37:23
  verbaldioramail.com
• 37:25
  you
• 37:25
  can
• 37:26
  also
• 37:26
  go
• 37:26
  to
• 37:26
  verbaldiorama.com
• 37:28
  and
• 37:28
  you
• 37:28
  can
• 37:28
  fill
• 37:28
  out
• 37:28
  the
• 37:29
  contact
• 37:29
  form.
• 37:30
  You
• 37:30
  could
• 37:30
  say
• 37:30
  hello,
• 37:31
  you
• 37:31
  can
• 37:31
  give
• 37:31
  feedback
• 37:32
  or
• 37:32
  you
• 37:32
  can
• 37:32
  give
• 37:33
  suggestions
• 37:33
  as
• 37:34
  well.
• 37:34
  I
• 37:35
  would
• 37:35
  genuinely
• 37:36
  love
• 37:36
  to
• 37:36
  hear
• 37:36
  from
• 37:36
  you.
• 37:37
  You
• 37:37
  can
• 37:37
  also
• 37:37
  DM
• 37:38
  me
• 37:38
  on
• 37:38
  social
• 37:38
  media
• 37:39
  as
• 37:39
  well
• 37:39
  if
• 37:40
  that's
• 37:40
  an
• 37:40
  option
• 37:40
  available
• 37:41
  to
• 37:41
  you.
• 37:42
  I
• 37:42
  love
• 37:42
  to
• 37:42
  hear
• 37:42
  from
• 37:43
  people
• 37:43
  and
• 37:43
  I
• 37:43
  always
• 37:44
  try
• 37:44
  to
• 37:44
  respond
• 37:44
  as
• 37:45
  quickly
• 37:45
  as
• 37:45
  as
• 37:45
  possible.
• 37:46
  Thanks
• 37:47
  again
• 37:47
  for
• 37:47
  listening
• 37:48
  and
• 37:48
  thanks
• 37:48
  for
• 37:48
  supporting
• 37:49
  independent
• 37:50
  podcasting.
• 37:51
  It
• 37:51
  means
• 37:51
  more
• 37:52
  to
• 37:52
  us
• 37:52
  than
• 37:52
  you
• 37:53
  know.
• 37:53
  And
• 37:53
  finally.
• 37:54
  Bye