Latest / Four Finger Discount (Simpsons Podcast) / Marge Be Not Proud (with Bill Oakley)

Transcript

Marge Be Not Proud (with Bill Oakley) · Four Finger Discount (Simpsons Podcast)

• 0:00
  Speaker 1: Oh, bart I can't believe you did this.
• 0:05
  Speaker 2: I wanted a surprise you for Christmas.
• 0:07
  Speaker 1: Oh, sweetie, this is the best present a mother could get.
• 0:15
  Speaker 1: I love you so much, my little bitty Barty.
• 0:21
  Speaker 3: Mom.
• 0:26
  Speaker 2: Since I got my present early, I think you should
• 0:29
  Speaker 2: get yours early too.
• 0:30
  Speaker 4: But I got a president early, then I should get
• 0:32
  Speaker 4: a present early. I want a present, Lisa.
• 0:34
  Speaker 5: You have to wait.
• 0:37
  Speaker 1: This is the worst Christmas ever.
• 0:40
  Speaker 2: Now.
• 0:40
  Speaker 5: I know you love video games, and I asked the clerk,
• 0:43
  Speaker 5: which is the one every boy wants?
• 0:45
  Speaker 1: You got me?
• 0:47
  Speaker 6: Oh?
• 0:48
  Speaker 2: Oh yeah, thanks mom.
• 1:05
  Speaker 1: Four Finger Discount, Dude.
• 1:23
  Speaker 3: Welcome to four Finger Discount. With this week, we're going
• 1:25
  Speaker 3: all the way back to season seven to review one
• 1:28
  Speaker 3: of my favorite episodes of all time. It is the
• 1:30
  Speaker 3: second Christmas episode of the Simpsons. It is Marge, be
• 1:32
  Speaker 3: not Proud, I am Dando.
• 1:33
  Speaker 5: And I am Guy and we are very fortunate to
• 1:35
  Speaker 5: be joined by a very special guest today, bone Storm
• 1:39
  Speaker 5: High Score legend Bill oly.
• 1:42
  Speaker 4: Hello, it's nice to be back here on four Finger Discount.
• 1:45
  Speaker 4: It is I consider myself a veteran of this podcast,
• 1:48
  Speaker 4: and so I'm here for one triumphant end of your
• 1:51
  Speaker 4: appearance in d Yes.
• 1:52
  Speaker 3: If please be looking and Daniel Bill Oakley appearance. The
• 1:55
  Speaker 3: last time you were on the show, we actually reviewed
• 1:57
  Speaker 3: your favorite episode, Radio Bart, one that you so often
• 2:00
  Speaker 3: say in interviews. No one ever talks about that one,
• 2:02
  Speaker 3: which it's weird because it's also one of my favorite episodes.
• 2:04
  Speaker 3: I think it's classic because I always say I prefer
• 2:06
  Speaker 3: the episodes that incorporate all of the town as much
• 2:09
  Speaker 3: as possible, which is why twenty two Short Films is
• 2:11
  Speaker 3: my absolute favorite. But Radio Bart, I'm surprised no one
• 2:14
  Speaker 3: brings it up more often than what you say they do.
• 2:16
  Speaker 4: It's because, you know what I figure. I think it's
• 2:18
  Speaker 4: because it is not easy to describe, Like most of
• 2:21
  Speaker 4: the episodes that are really famous can be described in
• 2:23
  Speaker 4: two words. Mister plow, you know baseball right ever, you
• 2:28
  Speaker 4: know who shot mister Burns forwards. So yeah, I think
• 2:31
  Speaker 4: it's one of those things because it is complicated. Radio
• 2:33
  Speaker 4: Bart doesn't really describe what's going on that's true in
• 2:36
  Speaker 4: the thing. And also it's just not it's not a
• 2:38
  Speaker 4: catchy episode. That that's what makes it soel great in
• 2:41
  Speaker 4: my opinion, is it's not a high concept episode. It's
• 2:43
  Speaker 4: a simple episode with a fairly realistic story. That incorporates
• 2:47
  Speaker 4: all the things that makes the Simpsons, made the Simpsons great,
• 2:50
  Speaker 4: makes the Simpsons great today, that couldn't be done on
• 2:52
  Speaker 4: a live.
• 2:52
  Speaker 3: Action show, which is can you list those off?
• 2:55
  Speaker 5: Yeah?
• 2:56
  Speaker 4: All the stuff? Okay, Well, first of all, if you
• 2:57
  Speaker 4: even if to few were to film that on a
• 2:59
  Speaker 4: live action show, what would cost It would cost a fortune.
• 3:02
  Speaker 4: You wouldn't be able to do those those all those
• 3:04
  Speaker 4: hilarious parodies of you wouldn't the Chucky cheese. You wouldn't
• 3:08
  Speaker 4: be able to manufacture your own chuck e cheese. You
• 3:10
  Speaker 4: wouldn't be able to do this stuff. Have that thing
• 3:12
  Speaker 4: with the celebrity song, or with Sting digging the well,
• 3:16
  Speaker 4: or any of that stuff. It's a showcase of Plus
• 3:19
  Speaker 4: it has a good emotional story too. So in my opinion,
• 3:21
  Speaker 4: it's a showcase of all the stuff that the Simpsons
• 3:24
  Speaker 4: that could do that couldn't be done on a live
• 3:27
  Speaker 4: action show, and the Simpsons excel that.
• 3:29
  Speaker 5: You can probably get Sting the live action he'd show up.
• 3:32
  Speaker 4: Yeah, that's that's true, But digging the well would be
• 3:35
  Speaker 4: very costly.
• 3:38
  Speaker 3: What's more important to you when it comes to the Simpsons,
• 3:40
  Speaker 3: the laughter or the emotion.
• 3:43
  Speaker 4: It's a mix. It's totally I feel like The Simpsons
• 3:47
  Speaker 4: has a large what they call sandbox. It has a
• 3:49
  Speaker 4: large sandbox of stuff to play with. I love emotional episodes,
• 3:55
  Speaker 4: but I also like episodes that have no emotion whatsoever
• 3:58
  Speaker 4: and are filled with gags, like the bootlegging episode, you know,
• 4:02
  Speaker 4: with the beer bearing right, that has no emotion whatsoever,
• 4:05
  Speaker 4: but it's still hilarious. The Simpsons is one of the
• 4:08
  Speaker 4: few shows that can do stuff that very emotional episodes
• 4:11
  Speaker 4: as well as completely off the wall episodes like the
• 4:14
  Speaker 4: baseball episode Bill.
• 4:16
  Speaker 5: When you talk about things like that, when you talk about
• 4:17
  Speaker 5: the sandbox of The Simpsons, I mean, I was wondering
• 4:20
  Speaker 5: if you had, like a philosophy of comedy, or if
• 4:23
  Speaker 5: such a thing even exists, And would you trust someone
• 4:25
  Speaker 5: who said, oh, I have a philosophy of comedy when
• 4:28
  Speaker 5: it comes to Michel made ex sensibility.
• 4:30
  Speaker 4: I would run. I don't. I would be scared of
• 4:32
  Speaker 4: such a thing that. I think having any particular laws
• 4:36
  Speaker 4: about what does and doesn't work in comedy is a
• 4:38
  Speaker 4: recipe for stagnants, is a recipe for trouble. And I think,
• 4:44
  Speaker 4: like I mean, I think that part of what makes
• 4:47
  Speaker 4: comedy so interesting is that it's often surprising and it's
• 4:51
  Speaker 4: and that's I think one of the things that, for instance,
• 4:54
  Speaker 4: artificial intelligence is not able to write anything funny despite
• 4:57
  Speaker 4: its repeated attempts to write stuff it's funny. And I
• 4:59
  Speaker 4: don't think it ever will be able to because it
• 5:01
  Speaker 4: is only drawing on predictable stuff. It's always when you
• 5:04
  Speaker 4: ask it people. I asked it. In fact, I when
• 5:07
  Speaker 4: it first Chatch Youpt first came out, I had to
• 5:09
  Speaker 4: do a whole bunch of different Simpson style stuff and
• 5:11
  Speaker 4: also make up episodes of Mission Hill, the other show
• 5:13
  Speaker 4: we did, and they're all so cliched. The scripts are
• 5:17
  Speaker 4: so crummy, Like I mean, the scripts are like what
• 5:19
  Speaker 4: a talented eighth grader would do. That's about as good
• 5:22
  Speaker 4: as it can get. But they're nothing there. They I've
• 5:25
  Speaker 4: never seen it get anywhere. I've never seen it make
• 5:27
  Speaker 4: anyone laugh, including myself, and I don't think it ever
• 5:30
  Speaker 4: will be able to do.
• 5:32
  Speaker 3: You think TV writing rooms will ever use it to
• 5:34
  Speaker 3: sort of just gather an idea that they can then
• 5:37
  Speaker 3: work on and actually make funny or is it just
• 5:39
  Speaker 3: never gonna.
• 5:39
  Speaker 4: Happ I mean, I use it for that occasionally, but
• 5:41
  Speaker 4: I only use it for things like I need. Here's
• 5:44
  Speaker 4: a perfect example. I need this thing could be called
• 5:46
  Speaker 4: project Medusa, and I need you to provide a whole
• 5:49
  Speaker 4: long list of acronyms that can fit into the word medusa, right,
• 5:53
  Speaker 4: And so if it does, then I can choose one.
• 5:55
  Speaker 4: Or it has a kind of a I kind of
• 5:56
  Speaker 4: have a chrummy one that I can fix. That's the
• 5:59
  Speaker 4: only thing that's really useful for it. And that's that
• 6:01
  Speaker 4: way that'll use it for stuff like that.
• 6:03
  Speaker 5: I'm reminded of. I think it's a Swartzwelder technique of
• 6:07
  Speaker 5: writing first drafts. And we've talked about this on the
• 6:10
  Speaker 5: show before, where it's like, Okay, I'm gonna write down
• 6:13
  Speaker 5: Homer says something, or Homer says something along these lines,
• 6:16
  Speaker 5: and write out and write an entire script that way,
• 6:19
  Speaker 5: and then like, okay, well I've got a first draft,
• 6:21
  Speaker 5: and now I can actually put in what Homer says
• 6:24
  Speaker 5: that is funny, you know, and I can do the
• 6:26
  Speaker 5: fun part of writing, which is rewriting. I mean, maybe
• 6:29
  Speaker 5: you can use GBT for that in that regards like okay,
• 6:32
  Speaker 5: give me, give me scenarios like okay, we'll now do
• 6:35
  Speaker 5: the opposite of what DVT has given me because then
• 6:37
  Speaker 5: I can put the human touch on it. Who knows,
• 6:39
  Speaker 5: maybe it's a tool that can be used for good.
• 6:41
  Speaker 3: It could be done.
• 6:41
  Speaker 4: I think it could. I think it could be done.
• 6:43
  Speaker 4: But it's it's it's in apt at certain things like
• 6:46
  Speaker 4: the comedy and creativity. It's it's good at the really
• 6:51
  Speaker 4: extremely boilerplate things that that a computer can do.
• 6:54
  Speaker 5: Well. Obviously, we're always saying like, why is this, you know,
• 6:58
  Speaker 5: doing the art and making the music and you know,
• 7:01
  Speaker 5: painting the pictures, all the fun stuff that human should
• 7:03
  Speaker 5: be doing. Why isn't this doing our taxes?
• 7:06
  Speaker 4: Yes?
• 7:06
  Speaker 3: I completely agree, I completely agree. But this episode he
• 7:09
  Speaker 3: has I was touched on it in the intro. Is
• 7:11
  Speaker 3: the second Christmas episode of The Simpsons. You've mentioned before
• 7:15
  Speaker 3: that the reason there was such a gap in between
• 7:17
  Speaker 3: Christmas episodes was because they didn't want to put on
• 7:20
  Speaker 3: the spark of the pilot.
• 7:22
  Speaker 4: The pilot, well not really the pilot, but the first
• 7:24
  Speaker 4: broadcast episode. Yes, I think that's true because people remember
• 7:28
  Speaker 4: that episode because it was the first one, so we
• 7:31
  Speaker 4: didn't want to We were very very conscious of trying
• 7:34
  Speaker 4: not to repeat stuff, and so that episode being so famous,
• 7:39
  Speaker 4: it would be like having another episode where Lisa, the
• 7:41
  Speaker 4: substitute teacher comes to school and Lisa gets a crush
• 7:44
  Speaker 4: on the guy. That's so until we felt like, after
• 7:48
  Speaker 4: seven years, it's okay to do another Christmas themed one
• 7:52
  Speaker 4: that takes place, you know, in winter time.
• 7:55
  Speaker 3: Do you think there's a difference though, between a Christmas
• 7:57
  Speaker 3: themed episode and a genuine story copy.
• 8:01
  Speaker 5: Yes. Yes.
• 8:02
  Speaker 4: The thing about this episode is that it's really a
• 8:05
  Speaker 4: winter episode.
• 8:06
  Speaker 2: Ye.
• 8:07
  Speaker 4: There's Christmas stuff like the Christmas trees and the drunk
• 8:10
  Speaker 4: Santa Claus, but in general it's really just a winter
• 8:13
  Speaker 4: The story could have taken place any time of year.
• 8:16
  Speaker 4: It has nothing to do with it. Usual when you
• 8:18
  Speaker 4: was a Christmas episodsually there's usually certain themes which are
• 8:22
  Speaker 4: often you know, the hackney hackneyed old Christmas themes or
• 8:25
  Speaker 4: the Thanksgiving themes about family and the same you know,
• 8:28
  Speaker 4: and the miracle and all that kind of stuff. It's
• 8:31
  Speaker 4: wonderful life type stuff. And so for the Simpsons it
• 8:34
  Speaker 4: was also like we had it. We knew that there'd
• 8:36
  Speaker 4: be a little bit of Christmas stuff, but generally it's
• 8:38
  Speaker 4: going to do a winter episode like Mister Plow is
• 8:40
  Speaker 4: another winter episode, and those are a little harder because
• 8:44
  Speaker 4: everything has to be read, all the backgrounds have to
• 8:45
  Speaker 4: be redrawn to have snow on them and stuff, so
• 8:47
  Speaker 4: it's a little more taxing on the animators.
• 8:50
  Speaker 5: I never really considered a Christmas episode at all. I mean,
• 8:53
  Speaker 5: it's just for mine. It really just stems from, you know,
• 8:57
  Speaker 5: the five words you never want to hear from your parents.
• 8:59
  Speaker 5: I'm not mad and I'm just disappointed, which is six words. Yeah, yeah,
• 9:05
  Speaker 5: I mean, was that the kind of the origin of
• 9:08
  Speaker 5: the episode. I'man the it's a.
• 9:10
  Speaker 3: Mike Scully story. It wasn't Mike Scully writer. It's based
• 9:12
  Speaker 3: off of when he got caught stealing with the child. Yeah, yes,
• 9:16
  Speaker 3: that was entirely it.
• 9:17
  Speaker 4: I mean, Mike, Mike did a great job on this
• 9:19
  Speaker 4: script and it's entirely drawn from his life. And I'm
• 9:22
  Speaker 4: fairly sure it was a situation where Josh and I
• 9:24
  Speaker 4: were just we were We often went ask the writers
• 9:26
  Speaker 4: before the story retreats to come in and come in
• 9:29
  Speaker 4: and run a whole bunch of one line ideas by us.
• 9:32
  Speaker 4: And when uh, Mike told us this story, we were like,
• 9:36
  Speaker 4: that's a perfect, the perfect Simpson's story. Just write it up,
• 9:40
  Speaker 4: you know, And we and he developed it and fleshed
• 9:42
  Speaker 4: it out, and then the margin angle came in and
• 9:45
  Speaker 4: it's it just it. It's a very simple, classic Simpson's
• 9:49
  Speaker 4: story that you're able to load up with all sorts
• 9:52
  Speaker 4: of funny other stuff like bone Storm and through the
• 9:54
  Speaker 4: House and Don Broadca and things like that, because it's
• 9:56
  Speaker 4: a it's a simple story that everyone can under child
• 9:59
  Speaker 4: can understand it.
• 10:00
  Speaker 3: Do you think this is a marg episode or a
• 10:01
  Speaker 3: bad episode? A bit of both.
• 10:02
  Speaker 4: I guess it's a part episode. It's a part episode.
• 10:04
  Speaker 4: But we tried to put margin the title because every
• 10:07
  Speaker 4: year you have did a certain number. If we hadn't
• 10:10
  Speaker 4: had a certain number of episodes with margin the title,
• 10:12
  Speaker 4: Julie Cavender would have been like, why I see your
• 10:14
  Speaker 4: little life this season? And and and and so. I
• 10:20
  Speaker 4: I remember the moment when we were like, let's make
• 10:23
  Speaker 4: this give it a title with margin it. Even though
• 10:25
  Speaker 4: it's not really a Marge story, Let's give it a
• 10:27
  Speaker 4: title with margin it. So it seems like we have
• 10:29
  Speaker 4: more March episodes than we really do.
• 10:30
  Speaker 3: Must keep Julie happy.
• 10:32
  Speaker 4: I think she probably wasn't paying that much attention. And
• 10:34
  Speaker 4: we had a number of other good, good March episodes
• 10:36
  Speaker 4: this year. But I think it was just it was
• 10:39
  Speaker 4: just an effort to make it seem a little more.
• 10:41
  Speaker 5: It feels equally Marge. Now whether this is I think
• 10:43
  Speaker 5: this could be testament to the writing or testament to
• 10:45
  Speaker 5: Julie's work in it. But yeah, the heartbreak that she feels,
• 10:50
  Speaker 5: or the uh again, disappointment or confusion that Marge is feeling,
• 10:56
  Speaker 5: it all comes through very, very vividly.
• 10:59
  Speaker 4: It's true. But she's reacting. She's not really the she
• 11:02
  Speaker 4: is a She's not really doing anything other than reacting
• 11:06
  Speaker 4: to the situation at hand, rather as opposed to driving
• 11:09
  Speaker 4: the situation forward, like which Bar which Barr is doing?
• 11:12
  Speaker 4: But yeah, I mean it's it's a Bart. It's a
• 11:13
  Speaker 4: Barn and Marge episode for sure.
• 11:15
  Speaker 3: I think what I love about this episode and just
• 11:16
  Speaker 3: the Simpsons in general, is I can appreciate it on
• 11:19
  Speaker 3: three different levels. So I appreciate it as a kid
• 11:21
  Speaker 3: watching it, and then I got older and I appreciate
• 11:23
  Speaker 3: it as an adult. And then I watch episodes like
• 11:25
  Speaker 3: this and I appreciate it as a parent. And there
• 11:28
  Speaker 3: are jokes in here, and there are emotions here that
• 11:31
  Speaker 3: wouldn't resonate with me until I had my own kids.
• 11:33
  Speaker 3: So Marge's confusion and the way she blames herself. It
• 11:36
  Speaker 3: wasn't mean to mother him too much. You blame yourself
• 11:38
  Speaker 3: when your kids do something wrong when no, sometimes kids
• 11:40
  Speaker 3: just people just do the wrong thing. But you're always
• 11:42
  Speaker 3: you look and thinking what did I do wrong?
• 11:45
  Speaker 5: Yeah?
• 11:46
  Speaker 4: I think you're right. It is and you're able to
• 11:47
  Speaker 4: see it from different perspectives as you grow, as you
• 11:51
  Speaker 4: growled or into those rules.
• 11:52
  Speaker 3: Yeah. And one of my favorite moments in the episode,
• 11:54
  Speaker 3: which you'll touch on a bit later, is when they're
• 11:55
  Speaker 3: driving Maggie home. Good God, we've got to change Maggie,
• 11:57
  Speaker 3: which is just which is just a funny just the
• 12:00
  Speaker 3: way hope, the way Dan delivers it. But I remember
• 12:02
  Speaker 3: as a kid watching this episode and my mum and
• 12:04
  Speaker 3: dad just laughing uproarusly at that moment, me not really
• 12:07
  Speaker 3: getting it. And now I watched it as a parent,
• 12:08
  Speaker 3: and go, I get it now.
• 12:10
  Speaker 4: Seem I just watched it a few minutes ago, and
• 12:12
  Speaker 4: I was like, I remember and at the time that
• 12:14
  Speaker 4: we wrote that, I did not have a baby. But
• 12:18
  Speaker 4: then later and now having had three bebies in the car,
• 12:21
  Speaker 4: I completely sympathize and get that. I get the panic
• 12:23
  Speaker 4: of that moment.
• 12:26
  Speaker 5: But before we go into the episode a little more deeply,
• 12:30
  Speaker 5: I'd like to sort of delve back into your history
• 12:31
  Speaker 5: a little bit. I mean, I've always been really curious
• 12:34
  Speaker 5: about the Harvard Lampoon and I guess how it operates,
• 12:38
  Speaker 5: and I don't know the whole vibe in that kind
• 12:42
  Speaker 5: of organization. I mean, also, yeah, just a reputation that
• 12:46
  Speaker 5: it had when you got to Harvard. I mean, was
• 12:48
  Speaker 5: it when you got there as a as a freshman?
• 12:51
  Speaker 5: Were you kind of like, well, first thing I've got
• 12:52
  Speaker 5: to do is, you know, try and baggle my way
• 12:54
  Speaker 5: into the into the lampoon staff. I mean, can you
• 12:57
  Speaker 5: tell us a bit about it and just you know
• 12:59
  Speaker 5: how it sort of shaped, do you?
• 13:00
  Speaker 4: I can roll you back even further than that, because
• 13:03
  Speaker 4: I was the only reason I wanted to go to
• 13:05
  Speaker 4: Harvard to begin with was to be on a lampoon.
• 13:10
  Speaker 4: This is going to sound like I'm bragging, and I
• 13:11
  Speaker 4: hope I don't sound come off that way. I wanted
• 13:15
  Speaker 4: to go to Stanford with Josh and I didn't get in,
• 13:18
  Speaker 4: and that I know it's between these two fancy schools.
• 13:22
  Speaker 4: But the thing is that Joh, Joh, maybe you covered
• 13:25
  Speaker 4: this in the podcast with Josh. I had a vision
• 13:28
  Speaker 4: of going to college with Josh and us. We'd be
• 13:31
  Speaker 4: partying all the time in like animal house, right, And
• 13:34
  Speaker 4: I didn't get in to Stanford, and I had applied
• 13:37
  Speaker 4: to Harvard and I had gotten in there, and I
• 13:39
  Speaker 4: was like, Okay, well, what is there to do with
• 13:41
  Speaker 4: Harvard that's any fun? Well, it's a lampoon. Because I
• 13:44
  Speaker 4: knew about. I was a humor magazine nerd from the
• 13:47
  Speaker 4: time I was fourteen, and Josh, I know, covered this
• 13:49
  Speaker 4: on his episode when we had started high school humor
• 13:51
  Speaker 4: magazine together. We started a magazine in our school which
• 13:56
  Speaker 4: was easily as good as most college humor magazines at
• 13:59
  Speaker 4: that time. And it was like forty pages of slick stuff,
• 14:02
  Speaker 4: a lot of good cartoons and stuff. It was very good.
• 14:04
  Speaker 4: And that is I believe what got me into Harvard.
• 14:06
  Speaker 4: Because Harvard I was looking for people who do unusual
• 14:09
  Speaker 4: things like that at a certain age. And although my
• 14:12
  Speaker 4: grades were good, it wasn't like I was a superstar.
• 14:14
  Speaker 4: It was more like, look at this weird thing that
• 14:16
  Speaker 4: this weird guy does.
• 14:17
  Speaker 3: So I knew about.
• 14:19
  Speaker 4: I was a big fan of National Lampoon, which is
• 14:21
  Speaker 4: long gone, but it was National Lampoon was a spinoff
• 14:24
  Speaker 4: of the Harvard Lampoon, so I knew the whole story.
• 14:26
  Speaker 4: And when I got to Harvard, I was all I
• 14:29
  Speaker 4: wanted to do was work on the lampoon. And what
• 14:32
  Speaker 4: happened was I got there and I found out, like
• 14:34
  Speaker 4: everything at stupid old Harvard, it's not as easy as
• 14:37
  Speaker 4: you think it's going to be. You can't just start
• 14:39
  Speaker 4: working on the magazine or the newspaper. There is what
• 14:42
  Speaker 4: is called a comp a competition, and they only let
• 14:45
  Speaker 4: on about five to eight people per semester, so ten,
• 14:47
  Speaker 4: you know, maybe ten fifteen people per year to work
• 14:50
  Speaker 4: on them. I think. So like, if you want to
• 14:51
  Speaker 4: work on anything like the newspaper or the poetry magazine
• 14:55
  Speaker 4: or whatever, you have to go through this comp process. Now,
• 14:58
  Speaker 4: fortunately I'd already had the experience of doing my own
• 15:01
  Speaker 4: humor magazine, and I was already a pretty good cartoonist
• 15:04
  Speaker 4: at the time, and they always need cartoonists there, And
• 15:08
  Speaker 4: because there's a million people who write and draw funny stuff,
• 15:11
  Speaker 4: who write funny stuff, but people don't agree on what's
• 15:14
  Speaker 4: funny when it's written. And so I saw a lot
• 15:16
  Speaker 4: of funny people who didn't get on because people couldn't
• 15:19
  Speaker 4: agree about what's funny. But every person, no matter how
• 15:21
  Speaker 4: dumb they are, can agree that's a good corct, a
• 15:23
  Speaker 4: well drawn cartoon, right, And so I knew that was
• 15:26
  Speaker 4: the way to get on. So I did it, and
• 15:28
  Speaker 4: I got on immediately first semester with David X. Cohen
• 15:33
  Speaker 4: as a matter of fact, and a couple other people
• 15:34
  Speaker 4: who went on to work at the Simpsons for my cartooning.
• 15:37
  Speaker 4: And this was when Conan O'Brien was still president of Lampoon.
• 15:40
  Speaker 4: And now, what else did you want to know about it? So?
• 15:43
  Speaker 5: What does it operate like anything?
• 15:45
  Speaker 3: Just take us into the room.
• 15:47
  Speaker 4: Yeah, okay, So that the thing about the only point
• 15:50
  Speaker 4: that really has made it is enabled to survive for
• 15:54
  Speaker 4: one hundred and fifty years. In fact, this year this
• 15:56
  Speaker 4: spring is one hundred and fiftieth anniversary. Is the billuilding.
• 16:00
  Speaker 4: It's always been an interesting magazine, but it's had its
• 16:03
  Speaker 4: ups and downs. And then in nineteen oh nine we
• 16:07
  Speaker 4: got this incredible building. It was paid for mainly by
• 16:10
  Speaker 4: William Randolph Hurst, who was one of the primary guys
• 16:13
  Speaker 4: early on the Lampoon in the eighteen eighties. And it's
• 16:16
  Speaker 4: a castle. I don't know if you've ever seen this building.
• 16:20
  Speaker 4: It's a very it's in Cambridge as a landmark in Cambridge.
• 16:23
  Speaker 4: It's a kind of a small, weird building that looks
• 16:25
  Speaker 4: a little bit like a rounded off sphinx and it
• 16:29
  Speaker 4: is a so so the building is there, so like,
• 16:32
  Speaker 4: regardless of whether they published any issues that year or
• 16:34
  Speaker 4: do anything funny at all, there's a building there and
• 16:36
  Speaker 4: that attracts people who want to be on this organization.
• 16:40
  Speaker 4: So sometimes there would only be two issues a year
• 16:42
  Speaker 4: or no issues a year. Sometimes there'd be nine issues
• 16:45
  Speaker 4: a year or more. And so the magazine is put out,
• 16:49
  Speaker 4: but the Limpun also does other things, like there's a
• 16:51
  Speaker 4: lot of parties in that building. There's pranks, there's other
• 16:54
  Speaker 4: things that they know have they almore reward where they
• 16:56
  Speaker 4: give us give it to a comedian, and so it was.
• 17:00
  Speaker 4: The thing is it's also people kind of let's just say, okay,
• 17:05
  Speaker 4: if people go into comedy writing, there is sometimes a
• 17:09
  Speaker 4: reputation that people Harvard lamp people have because they're people
• 17:15
  Speaker 4: who are like stand ups and had to work really
• 17:17
  Speaker 4: hard to get into comedy writing are sometimes angry about
• 17:21
  Speaker 4: the Lampoon. People who didn't have to do that. But
• 17:23
  Speaker 4: I would say. The thing about being on the lampoon
• 17:26
  Speaker 4: is it's like going it's a graduate school for comedy,
• 17:29
  Speaker 4: and it's very it's really mean, like people who are eighteen, nineteen,
• 17:34
  Speaker 4: twenty years old who are really funny are also really
• 17:38
  Speaker 4: mean to each other, and so it's like it's a
• 17:40
  Speaker 4: trial by fire to some extent. And also you're writing
• 17:44
  Speaker 4: funny and you're never going to get more frank and
• 17:46
  Speaker 4: brutal criticism of your material than you would in college.
• 17:50
  Speaker 4: So it's like, I think what happens is people come
• 17:53
  Speaker 4: out of there, having spent three or four years on
• 17:54
  Speaker 4: the lampoon. They have a better idea how to write,
• 17:57
  Speaker 4: how to be funny, and they also have a thicker
• 18:00
  Speaker 4: in from all the shit they had to put up with,
• 18:03
  Speaker 4: and that's sometimes why they are, you know, there it's
• 18:05
  Speaker 4: good to hire young lampoot people because they're cheap, but
• 18:08
  Speaker 4: they also have experience that other people don't have.
• 18:11
  Speaker 5: It sounds like comedy spata.
• 18:13
  Speaker 4: Yeah, I think that's a pretty accurate analogy. And as
• 18:16
  Speaker 4: I said, it's a it's a pretty fun place. It
• 18:18
  Speaker 4: can come, it comes and goes, but it is and
• 18:22
  Speaker 4: there have been a lot of funny people that came
• 18:23
  Speaker 4: out of there, but it's it's a fun place to
• 18:26
  Speaker 4: hang out as well. And it's also like I spent
• 18:28
  Speaker 4: all my time in college at the Lampoon virtually a
• 18:32
  Speaker 4: very little of it actually learning anything other than how
• 18:35
  Speaker 4: to write, how to write comedy.
• 18:37
  Speaker 5: But that paid off in the end where you went
• 18:38
  Speaker 5: to the habit of comedy, the there you go.
• 18:40
  Speaker 3: Yes, right, when you say Maine, do you just mean
• 18:43
  Speaker 3: main spirited but from a place of love or just
• 18:45
  Speaker 3: genuinely just Maine to each other?
• 18:48
  Speaker 4: No, I know I don't mean it from a place
• 18:50
  Speaker 4: of love once in a while, but yeah, some of
• 18:54
  Speaker 4: it is a place of love thirty percent, maybe Max
• 18:57
  Speaker 4: and others just like is ruthless. You know. I don't
• 19:02
  Speaker 4: know how to describe it other than it's just a
• 19:03
  Speaker 4: lot of young, funny people who are kind of Some
• 19:08
  Speaker 4: of them are huge, are huge jerks, and others are not.
• 19:11
  Speaker 4: Others are very nice, but they all get along. You know,
• 19:13
  Speaker 4: there's a camaraderie that it's a little bit like Animal House.
• 19:17
  Speaker 4: And I know that Doug Kenny, who wrote Animal House,
• 19:19
  Speaker 4: was part of Animal House, was a Lampoon graduate, So
• 19:22
  Speaker 4: I think some of that appears in the movie.
• 19:25
  Speaker 5: I think if you pride yourself as a funny person
• 19:27
  Speaker 5: or someone who wants to be funny professionally, even if
• 19:30
  Speaker 5: someone is mercilessly taking the piss out of you or
• 19:35
  Speaker 5: finds your vulnerable spot and just shives it. Oh, I'm
• 19:40
  Speaker 5: going to be carrying this with the rest of my life.
• 19:41
  Speaker 5: But damn that was a.
• 19:42
  Speaker 4: Good jug Yeah. I think that's true. And as I said,
• 19:46
  Speaker 4: you develop a thick skin because eventually you will learn
• 19:49
  Speaker 4: most people will learn to give as well as they take.
• 19:51
  Speaker 3: I think we learned this as Australians too, because very
• 19:53
  Speaker 3: much in Australia, the sense of humor as we just
• 19:55
  Speaker 3: take the mickey out of each other.
• 19:56
  Speaker 4: And I've heard that.
• 19:58
  Speaker 3: Yeah, And and then when we go my wife, she's
• 20:01
  Speaker 3: from the UK, so her family visit and I'll make
• 20:03
  Speaker 3: a joke at their expense and they think, what have
• 20:05
  Speaker 3: I ever.
• 20:05
  Speaker 2: Do to you?
• 20:06
  Speaker 3: Oh no, I didn't mean it.
• 20:08
  Speaker 5: This means I like you. Yeah.
• 20:11
  Speaker 3: We call somebody mate usually means we don't like them.
• 20:14
  Speaker 3: That's usually there.
• 20:15
  Speaker 5: Well, it depends on the internation. Oh yeah, yeah, the
• 20:17
  Speaker 5: way we see it, of course, because I just called
• 20:18
  Speaker 5: you mate earlier, and don't take it personally.
• 20:23
  Speaker 3: This show is brought to you by the four Fingered
• 20:25
  Speaker 3: Discount Patreon, where you'll find over one hundred hours of
• 20:28
  Speaker 3: bonus podcasts, including exclusive Simpsons reviews and commentaries, as well
• 20:32
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• 20:36
  Speaker 3: of Futurama, Bob's Pods, Speaking of the Hill, Talking Sifould,
• 20:40
  Speaker 3: the One About Friends, and so much more. So go
• 20:43
  Speaker 3: ahead and join the family today at patreon dot com
• 20:46
  Speaker 3: slash four finger discount. You mentioned anniversary before the one
• 20:50
  Speaker 3: hundred and fifteth anniversary. What's interesting as we record this,
• 20:53
  Speaker 3: this episode March Being Not Proud Celebrating is thirtieth anniversary
• 20:56
  Speaker 3: from its original air date. Can you believe it? Thirty years?
• 20:58
  Speaker 4: My god? No, I can't believe it. I can't believe
• 21:01
  Speaker 4: so much time has passed.
• 21:02
  Speaker 3: It's insane, isn't it. Yeah? I also I lose track
• 21:05
  Speaker 3: of time, so I see these episodes as like late nineties,
• 21:08
  Speaker 3: but no, this is season seven, mid nineties The Simpsons.
• 21:12
  Speaker 3: The golden era was really like the mid nineties. It
• 21:14
  Speaker 3: wasn't anywhere near the late nineties, was it.
• 21:16
  Speaker 4: Well? I think that's first of all. The by the way,
• 21:18
  Speaker 4: hello objective, but the gold thank you as a noisy
• 21:22
  Speaker 4: cat outside the door that I think the Golden Era
• 21:25
  Speaker 4: is subjective. People have to find it in different ways,
• 21:28
  Speaker 4: but it is it's morally, Yeah, I think it. God,
• 21:31
  Speaker 4: that's a noisy cat.
• 21:32
  Speaker 3: And we have to go out there, and we've got
• 21:34
  Speaker 3: them as well. I don't worry. I know what it's like.
• 21:37
  Speaker 4: Okay, I have never had this problem before. I had
• 21:39
  Speaker 4: a podcast, but I think that here's me talking in
• 21:41
  Speaker 4: here must Oh.
• 21:43
  Speaker 5: My god, what's the cat's name?
• 21:46
  Speaker 4: Okay, I don't even remember. I don't know which cat
• 21:49
  Speaker 4: it is. There's four cats out there.
• 21:50
  Speaker 5: Oh okay, so Crazy Cat Lady's actually based on you, Bill.
• 21:56
  Speaker 4: I don't evemember we're talking about it anymore. What's the question?
• 21:59
  Speaker 3: Thirty divers? Oh the garden here? Simpson yea, oh.
• 22:02
  Speaker 4: Yeah yeah No, I mean like I remember because I
• 22:04
  Speaker 4: remember two thousand we were at Futurama. So that's the
• 22:07
  Speaker 4: way I kind of like, okay, it all kind of
• 22:09
  Speaker 4: I remember these times by where I was or where
• 22:12
  Speaker 4: I was working, so I know, Simpsons. And then we
• 22:14
  Speaker 4: have Mission. We had our show Mission Hill uh and
• 22:17
  Speaker 4: that was ninety seven to ninety nine, so yeah, it
• 22:19
  Speaker 4: must have been we're talking about ninety seven as the
• 22:22
  Speaker 4: end of my involvement with the Simpsons, probably Oh.
• 22:25
  Speaker 3: We actually asked Josh that when you guys left the Simpsons,
• 22:27
  Speaker 3: you felt like you'd done everything you could possibly do.
• 22:29
  Speaker 3: You thought the show was gonna be on the end
• 22:30
  Speaker 3: that much more. Anyway, you want to start your own
• 22:32
  Speaker 3: project Mission Hill. But we asked him, did you ever
• 22:35
  Speaker 3: regret leaving the Simpsons? And he said he did, do
• 22:37
  Speaker 3: you ever regret leaving the Simpsons?
• 22:39
  Speaker 4: I heard that. I feel like I heard that.
• 22:41
  Speaker 3: I saw that online.
• 22:41
  Speaker 4: I heard a clip of that somewhere, and I was
• 22:45
  Speaker 4: I want to I haven't heard that part of your
• 22:47
  Speaker 4: podcast yet, but I would like to discuss it with
• 22:50
  Speaker 4: him because I think, Look, I feel like I don't
• 22:55
  Speaker 4: know if we have the same opinion about that. I
• 22:58
  Speaker 4: felt like we had. I felt like we had. First
• 23:02
  Speaker 4: of all, as both Josh and I would say, TV
• 23:04
  Speaker 4: shows didn't the comedy shows didn't run for more than
• 23:07
  Speaker 4: eight or nine or ten years, right, cheers mash all
• 23:09
  Speaker 4: those shows in the eight or nine or ten years,
• 23:11
  Speaker 4: that was the end of the line. And so we
• 23:13
  Speaker 4: were assuming that the show would be over with a
• 23:15
  Speaker 4: year or two after we left. Obviously that's very wrong,
• 23:18
  Speaker 4: but history had if you look at historical examples, it
• 23:22
  Speaker 4: would have one hundred percent been over by that time.
• 23:24
  Speaker 4: So we left. Now, there's different factors in leaving. I
• 23:29
  Speaker 4: felt we had done everything that we could do, and
• 23:30
  Speaker 4: that we were in danger of repeating ourselves, and that
• 23:32
  Speaker 4: we were even running out of steam for certain episodes
• 23:35
  Speaker 4: in season eight, late season eight. And I know I've
• 23:37
  Speaker 4: said this before, But also there's other things I wanted
• 23:41
  Speaker 4: to do. I wanted we wanted to do Mission Hill,
• 23:42
  Speaker 4: we wanted to work on other shows. We wanted to
• 23:44
  Speaker 4: work on live action television. Do I miss the money? Yes,
• 23:48
  Speaker 4: I absolutely missed the money.
• 23:50
  Speaker 3: Money.
• 23:50
  Speaker 4: Simpsons is one of the few legacy TV shows where
• 23:53
  Speaker 4: people are still like earning money like it was nineteen
• 23:56
  Speaker 4: ninety six. You know, TV today is a disaster. Everybody's
• 24:00
  Speaker 4: making minimum if they can even get a job. So
• 24:02
  Speaker 4: do I miss the money that came from The Simpsons? Absolutely?
• 24:06
  Speaker 4: Do I feel like I wanted to spend one more
• 24:08
  Speaker 4: day working on The Simpsons? Not really? Would you nail
• 24:12
  Speaker 4: I would do one episode. I have one or two
• 24:14
  Speaker 4: episodes that I still wanted to do. That's it. But
• 24:17
  Speaker 4: I don't like And also, well, I guess it depends
• 24:18
  Speaker 4: on the money. No, I did. I feel like if
• 24:20
  Speaker 4: I was entirely, if I had an infinite amount of money,
• 24:23
  Speaker 4: I would say no, I don't want I've done the Simpsons.
• 24:27
  Speaker 4: But if the infinite amount of money were offered to me,
• 24:29
  Speaker 4: I have consider it.
• 24:31
  Speaker 5: Are you in a position to contact someone at Simpson's
• 24:35
  Speaker 5: HQ and say, I've got an idea for the Simpsons.
• 24:38
  Speaker 5: So I've got an idea for an episode I believe.
• 24:40
  Speaker 4: So I'm in contact with the guy Matt, someone who
• 24:42
  Speaker 4: runs the Simpsons.
• 24:43
  Speaker 3: Now, yeah, Matt's coming on the show next way.
• 24:45
  Speaker 4: Yeah, oh that's great. We'll tell him, I said, Hi.
• 24:47
  Speaker 4: He's been working with me. I email him regularly because
• 24:51
  Speaker 4: he's trying to help me set up one of my
• 24:53
  Speaker 4: dining events in La so I. So we're in touch
• 24:57
  Speaker 4: about that. We don't talk about Simpsons stuff.
• 24:59
  Speaker 3: It was so interesting. One of the podcasts already heard this.
• 25:01
  Speaker 3: But one time he came to Australia for a Phil
• 25:04
  Speaker 3: Rosenthal speaking to her and he invited me out to dinner.
• 25:08
  Speaker 3: But I didn't know he was here for that tour.
• 25:09
  Speaker 3: And he said, I'm in Australia, you want a great
• 25:11
  Speaker 3: for dinner? And I went, okay, cool, you just text me.
• 25:13
  Speaker 3: I was text me, I said, cool, we'll meet in Melbourne.
• 25:14
  Speaker 3: Caught the train up there, and on the way there
• 25:16
  Speaker 3: he said, do you mind of my friend Phil joins us?
• 25:18
  Speaker 3: And I went, oh, okay, you joins us. That's fine.
• 25:20
  Speaker 3: And I get to the hotel and Matt salinstand and
• 25:23
  Speaker 3: then next to Phil Rosen and I went, oh you
• 25:24
  Speaker 3: mean that Phil, And then we basically did like a
• 25:28
  Speaker 3: taste test for he's going to film a series in Australia,
• 25:30
  Speaker 3: feeding Phil in Australia. We just tested different places in Melbourne. Yeah,
• 25:34
  Speaker 3: it was great night. That was well.
• 25:35
  Speaker 4: Phil is my hero and may role model. I mean
• 25:38
  Speaker 4: I only do I do ninety nine percent ninety two
• 25:42
  Speaker 4: percent food things these days. So yeah, no, he's in
• 25:45
  Speaker 4: and I've I've also met philm and I was as interest.
• 25:49
  Speaker 4: I was guess I would see his MC at his
• 25:51
  Speaker 4: most recent event near here.
• 25:53
  Speaker 3: Just a lovely man. Yeah.
• 25:54
  Speaker 5: Yeah, speaking of food, just quickly, if I may give
• 25:56
  Speaker 5: a bit of a shout out on our last interview
• 26:00
  Speaker 5: Bill during LS interview, you mentioned Old Bay seasoning, which
• 26:05
  Speaker 5: tripped a trigger in my head. And then I actually
• 26:06
  Speaker 5: found some in an Australian supermarket which was not easy,
• 26:10
  Speaker 5: but wow, found a big jar of it, rubbed it
• 26:13
  Speaker 5: into a chicken breast pan fried. That bad boy had
• 26:16
  Speaker 5: it on a couple of had it between a couple
• 26:19
  Speaker 5: of slices of sour dough with aoli with lime juice,
• 26:22
  Speaker 5: crisp lettuce and pickles. Probably the best sandwich I've had
• 26:26
  Speaker 5: in the last three years. So, and the old day
• 26:28
  Speaker 5: was a secret sauce. So thank you very much, sir.
• 26:30
  Speaker 5: I'm in your debt.
• 26:31
  Speaker 4: That sounds amazing. I think I can try to make
• 26:33
  Speaker 4: one of those. I don't think I've ever put all
• 26:35
  Speaker 4: be on chicken, you know, because it's mainly known as
• 26:37
  Speaker 4: you people put it on all sorts of stuff of teita,
• 26:39
  Speaker 4: chips and like that. But it's mainly known as being
• 26:41
  Speaker 4: for crabs, and that's why it's been Maryland. It has
• 26:45
  Speaker 4: a Maryland Baltimore angle because I'm from Maryland. But it's
• 26:48
  Speaker 4: old bee is mainly as used as a crab season
• 26:51
  Speaker 4: and for some reason that's never occurred to me. That
• 26:53
  Speaker 4: chicken breast. That's a great idea.
• 26:55
  Speaker 5: I will send you the recipe.
• 26:56
  Speaker 3: Thank you.
• 26:56
  Speaker 4: Please.
• 26:57
  Speaker 3: Do you have any recent discoveries food wise that you
• 26:59
  Speaker 3: can shares with this?
• 27:01
  Speaker 5: Yeah?
• 27:01
  Speaker 4: I have thousands of them. I don't know that there's
• 27:03
  Speaker 4: any that will be relevant to this podcast.
• 27:05
  Speaker 3: Ye, anything anything Christmas or festive.
• 27:09
  Speaker 4: No, I would just say everybody who was interested in
• 27:11
  Speaker 4: that kind of stuff should subscribe, should follow me on Instagram, Yes,
• 27:14
  Speaker 4: that Bill Oqley. We're just exclusively food content. And I
• 27:18
  Speaker 4: also do things on my on a substack as well,
• 27:21
  Speaker 4: but that's it. And I also do these dinner things,
• 27:23
  Speaker 4: which is like my main job these days as I
• 27:25
  Speaker 4: travel around hosting these these funny dinners that I've been
• 27:29
  Speaker 4: doing all over America, and I starting to do them
• 27:31
  Speaker 4: in Canada next year. And should some should some major
• 27:36
  Speaker 4: wealthy corporation be listening to this podcast in Australia, I
• 27:39
  Speaker 4: would gladly come to Australia as well if you want
• 27:41
  Speaker 4: to sponsor me.
• 27:43
  Speaker 3: Isn't it amazing what steamed Hams has brought you in
• 27:46
  Speaker 3: the end. You know, thirty years ago you wrote that
• 27:48
  Speaker 3: episode and it's just steam ham Society is now your income.
• 27:52
  Speaker 4: Yes, you see that that sign right there, that's a
• 27:55
  Speaker 4: steam tamp. That's my day un sign for the Steammam Society.
• 27:58
  Speaker 4: And the steam Tam Society is actually only part of
• 28:00
  Speaker 4: the stuff I'm doing.
• 28:01
  Speaker 5: But it is.
• 28:02
  Speaker 4: It is, Yes, it is, And I'm glad because I'm
• 28:06
  Speaker 4: glad that it turns out to be about Hamburgers because
• 28:08
  Speaker 4: it provided a neat transitional ramp from from comedy writing
• 28:12
  Speaker 4: into food for me, and I am. In fact, I'm
• 28:15
  Speaker 4: negotiating right now with a fast food chain, not a
• 28:18
  Speaker 4: regional fast food chain, to make steam Tams next summer.
• 28:21
  Speaker 3: Oh perfect, Yes, you've copyrighted it, correct.
• 28:25
  Speaker 4: I have the trademark for steam Tams Foods steam Tams
• 28:27
  Speaker 4: brand Hamburgers, Yes, I do.
• 28:28
  Speaker 3: Were you surprised that it was still available?
• 28:31
  Speaker 4: Yes, I it was. I mean, make this clear. It
• 28:37
  Speaker 4: seems like it should be the property of Fox or Disney, right,
• 28:41
  Speaker 4: because that's it's a piece of intellectual property that I
• 28:44
  Speaker 4: wrote for them. Uh, and they own it. Fox owned it.
• 28:48
  Speaker 4: But my suspicion is if The Simpsons had still been
• 28:51
  Speaker 4: property of Fox, they would have prevented me from getting it.
• 28:54
  Speaker 4: But my guess is the lawyers for Disney are too
• 28:56
  Speaker 4: overworked and too busy with stuff like Iron Man and
• 28:59
  Speaker 4: Cinderella and all that shit to pay attention to every
• 29:01
  Speaker 4: little sipsence meme. So they were not. They were asleep
• 29:04
  Speaker 4: at the switch when I went into the trademark office
• 29:07
  Speaker 4: and trademarked steamed hams.
• 29:08
  Speaker 3: It's interesting you brought that up, because when Disney bought Fox,
• 29:11
  Speaker 3: I thought, oh, oh, you Simpson bootleggers. You're in big trouble.
• 29:14
  Speaker 3: But you're right. It feels like since Disney took over,
• 29:17
  Speaker 3: there's more bootlegging than ever. I'm all for it.
• 29:19
  Speaker 4: I think, I think so. I don't think they have
• 29:21
  Speaker 4: the legal staff to go after all this stuff, and
• 29:23
  Speaker 4: I think they're probably much more concerned about things that impact,
• 29:27
  Speaker 4: you know, the Disney parks and and their they're superhero
• 29:29
  Speaker 4: franchises and crap.
• 29:31
  Speaker 3: I probably do have the lawyers that just don't care,
• 29:33
  Speaker 3: and I think it's just it's such minimal.
• 29:35
  Speaker 4: Maybe they don't care, but I find it hard to
• 29:37
  Speaker 4: believe that Disney wouldn't care about every little thing that
• 29:39
  Speaker 4: it means.
• 29:39
  Speaker 3: Have you never had a notice on Disney saying yeah,
• 29:41
  Speaker 3: these steamed hams, Yeah, a little of a.
• 29:43
  Speaker 4: Well now it's too late.
• 29:44
  Speaker 3: I own this.
• 29:46
  Speaker 4: I mean I guess I own it, and that they've
• 29:48
  Speaker 4: they failed to object. They had whatever six I don't
• 29:50
  Speaker 4: think they had two months to object to it or whatever,
• 29:52
  Speaker 4: and they didn't.
• 29:53
  Speaker 3: Okay, Well, there you go. So with the steam Ham Society,
• 29:55
  Speaker 3: do you want to let us listeners know what exactly
• 29:57
  Speaker 3: do you getcause you stigned to be a member? What
• 29:58
  Speaker 3: do you get by being a member of the stain
• 30:00
  Speaker 3: Ham Society.
• 30:01
  Speaker 4: I produce a lot of food content on my Instagram
• 30:05
  Speaker 4: and my sub stack and in real life at these
• 30:07
  Speaker 4: dinners and things like that. So Steam TAM's Society is
• 30:10
  Speaker 4: a basically it's a club for people to talk about
• 30:13
  Speaker 4: food all the time. It's really just a discord and
• 30:16
  Speaker 4: it's a private discord with hundreds of members from all
• 30:18
  Speaker 4: over the world. In fact, what if you guys just join?
• 30:22
  Speaker 3: What's that? Sorry?
• 30:23
  Speaker 4: Someone from Australia. I just joined last week and I
• 30:26
  Speaker 4: think it might be our first Australian member.
• 30:27
  Speaker 5: Must have been the other Australia.
• 30:30
  Speaker 4: There's only four or five people there, right you can
• 30:32
  Speaker 4: you shout out the windows here the air congressman. So
• 30:36
  Speaker 4: the it's really just a discord where people talk about
• 30:39
  Speaker 4: food from all over the world. And it's not just
• 30:42
  Speaker 4: fast there's fast food snacks, there's barbecue, there's cooking, there's
• 30:45
  Speaker 4: chefs on there. There's people who you see on the
• 30:46
  Speaker 4: internet all the time, like Barry Enderwick from Sandwiches of History,
• 30:50
  Speaker 4: Sandwich Dad from Canada, a lot of food writers on there,
• 30:54
  Speaker 4: and just people who are interested in talking about that
• 30:57
  Speaker 4: kind of stuff. And there's furthermore, there's at least twelve
• 30:59
  Speaker 4: channels of non food stuff like video games and TV
• 31:01
  Speaker 4: and stuff. So it's a key. It's the community and
• 31:03
  Speaker 4: it's a lot of fun.
• 31:04
  Speaker 3: Do you try and steer away from Simpson's chat on there?
• 31:07
  Speaker 4: No, there is a Simpsons channel there, and in fact
• 31:10
  Speaker 4: that's one of the few places where I do it
• 31:11
  Speaker 4: because those people are paying me money. So I'm happy
• 31:14
  Speaker 4: to talk sentences with that.
• 31:18
  Speaker 3: But so with March be not proud, Let's get back
• 31:20
  Speaker 3: to this episode. What would some of the difficulties was
• 31:23
  Speaker 3: writing a Christmas episode a christmasin episode, because you're saying
• 31:26
  Speaker 3: you touched on the animation, but there must have been
• 31:28
  Speaker 3: more to it, because you were saying there was also
• 31:30
  Speaker 3: the issue of well, we can't air it unless it's
• 31:32
  Speaker 3: Christmas time, things like that, which seems crazy to me,
• 31:34
  Speaker 3: but I guess makes sense.
• 31:36
  Speaker 4: Well, I don't think there arely that many difficulties, to
• 31:39
  Speaker 4: be honest, I think because we knew, we knew approximately
• 31:42
  Speaker 4: when each episode was going to air within a week
• 31:43
  Speaker 4: or two. So we said, this is a winter episode
• 31:46
  Speaker 4: and it has to air before Christmas, and that was
• 31:48
  Speaker 4: no problem, and I think that's when it originally aired,
• 31:51
  Speaker 4: and there isn't. Basically all we wanted to do was
• 31:53
  Speaker 4: and when we told make this was just stay away
• 31:55
  Speaker 4: from anything that was touched upon the in the first episode,
• 31:58
  Speaker 4: in the first Christmas episode. So we made you know,
• 32:01
  Speaker 4: we made it very uh. We made the episode pretty
• 32:05
  Speaker 4: independent of Christmas, as they said already, And it's a
• 32:07
  Speaker 4: winter set episode with a few holiday things in there,
• 32:10
  Speaker 4: but it was not heavily dependent on the holiday like
• 32:13
  Speaker 4: the first episode was.
• 32:15
  Speaker 3: Yeah, that first one, I felt like the Christmas miracle story,
• 32:18
  Speaker 3: didn't it.
• 32:19
  Speaker 5: It looks like at the lifeful iced tea is that
• 32:22
  Speaker 5: is that what you're drinking?
• 32:23
  Speaker 4: Yes, I drink a lot. I used to drink a
• 32:24
  Speaker 4: ton of soda, but I decided that it wasn't as
• 32:27
  Speaker 4: good for me as just having iced tea. So I
• 32:29
  Speaker 4: drink these huge things of iced tea all day long.
• 32:31
  Speaker 3: But I was touching on difficulty. So Lawrence Teerney, You've
• 32:35
  Speaker 3: run through a lot of difficulties you have with this man.
• 32:37
  Speaker 3: Some of the amazing stories like the cab basically kicking
• 32:40
  Speaker 3: him out and saying he's yours now, don't call me again, right,
• 32:43
  Speaker 3: him screaming at somebody who was trying to open up
• 32:45
  Speaker 3: a sandwich or something, just very quietly. There must be
• 32:48
  Speaker 3: some other things.
• 32:48
  Speaker 4: They're all in the DVD commentary. Is so for listeners
• 32:51
  Speaker 4: who didn't hear that, there's no need for us to
• 32:53
  Speaker 4: fully recount all these stories because they're on the DVD commentaries.
• 32:56
  Speaker 4: But yes, he was thinking about Lawrence Tiernanny was that
• 32:59
  Speaker 4: we had a lot of respect for the guy because
• 33:02
  Speaker 4: his performance in Reservoir Dogs, and he was, you know,
• 33:06
  Speaker 4: without recounting too much of the stuff, you already know.
• 33:08
  Speaker 4: He was essentially kicked out of Hollywood for being too
• 33:11
  Speaker 4: much of a jerk, which is that's hard to do.
• 33:14
  Speaker 4: And he was a big star in the fifties, but
• 33:16
  Speaker 4: he would get in so many he was so drunk
• 33:17
  Speaker 4: and he would get in fights all the time that
• 33:19
  Speaker 4: he was essentially banned from Hollywood. And then he was
• 33:22
  Speaker 4: brought back to Hollywood by Quentin Tarantino in Reservoir Dogs.
• 33:25
  Speaker 4: And he did a great job on Reservoir Dogs, and
• 33:28
  Speaker 4: so then he had this new career rebirth and he
• 33:30
  Speaker 4: had been on Seinfeld and I know you know this story,
• 33:33
  Speaker 4: and he was he played Elane's father, and then he
• 33:36
  Speaker 4: got a he took a knife out of the kitchen
• 33:39
  Speaker 4: set and brandished it at Jerry Seinfeld and was and
• 33:41
  Speaker 4: terrified Jerry Steffel's and was banned from Seinfeld. And shortly
• 33:45
  Speaker 4: after that, that's when we had him on The Simpsons
• 33:47
  Speaker 4: and he wasn't like I mean, he's a real old
• 33:49
  Speaker 4: school guy. You have to understand that guys, I assume
• 33:52
  Speaker 4: guys in nineteen forty nine were the kind of guys
• 33:54
  Speaker 4: who would get drunk and beat you up on the
• 33:56
  Speaker 4: set and that was that was just all on a
• 33:58
  Speaker 4: day's work. So he was Yeah, he was a scary
• 34:01
  Speaker 4: fellow for all of us nerdy comedy writers.
• 34:05
  Speaker 5: I love the Tarantaine. I brought him back and he
• 34:07
  Speaker 5: was apparently a menace on the Rest What Dog set
• 34:09
  Speaker 5: as well, though.
• 34:09
  Speaker 3: I read that I know got fired a couple of times.
• 34:14
  Speaker 5: How many opportunities can we throw this guy and how
• 34:17
  Speaker 5: many times can he throw them back in that face?
• 34:19
  Speaker 3: What I love about that Sonfeul story too, is he
• 34:21
  Speaker 3: didn't just brandish enough. Is he stole it as well
• 34:22
  Speaker 3: and didn't tell anybody the knife gone he did Lawrence take.
• 34:28
  Speaker 4: He is a he did a good job, you know,
• 34:30
  Speaker 4: And I'd say he wasn't with the exception of whatever
• 34:33
  Speaker 4: he did to that limo driver, which will never know.
• 34:37
  Speaker 4: He wasn't particularly rude. He was just kind of he
• 34:41
  Speaker 4: was a little bit obnoxious, but he was just kind
• 34:44
  Speaker 4: of like he wasn't disoriented by the process, I think,
• 34:48
  Speaker 4: And uh, it was a strange thing for him. I'm
• 34:51
  Speaker 4: sure he'd probably never seen The Simpsons and he didn't
• 34:53
  Speaker 4: know what he was going to do. And I know that,
• 34:54
  Speaker 4: you know that he came and wanted to do it
• 34:55
  Speaker 4: in a Southern accent, and Josh talked him out of that,
• 34:59
  Speaker 4: and then he.
• 35:00
  Speaker 5: Was uh he he.
• 35:02
  Speaker 4: I don't know. He did a good job though. I
• 35:03
  Speaker 4: just watched the episode and I was like, that's a
• 35:05
  Speaker 4: really good performance, you know. And I'm pleased that we
• 35:08
  Speaker 4: had him because we've Josh and I were always trying
• 35:11
  Speaker 4: to get guys with distinctive voices, like we weren't trying
• 35:13
  Speaker 4: to get famous people so much as we wanted people
• 35:17
  Speaker 4: who had really interesting voices, such as Johnny Cash, although
• 35:20
  Speaker 4: I guess he was both famous and had an interesting voice.
• 35:23
  Speaker 4: Kirk Douglas. Same with those guys. So we like we
• 35:25
  Speaker 4: tend to like old oh and ar le ermie guys,
• 35:27
  Speaker 4: Old guys with gravelly voices is what we were always
• 35:31
  Speaker 4: packing them into our episodes.
• 35:32
  Speaker 5: Well, some security guy who drags you into the basement
• 35:35
  Speaker 5: office and sort of lays down the lore. I mean,
• 35:37
  Speaker 5: you're gonna want someone who's got a bit of grit
• 35:39
  Speaker 5: in their voice. And oh yeah, it seems like someone
• 35:42
  Speaker 5: who's been around the block and doesn't you know, take
• 35:44
  Speaker 5: any guff. So yeah, Laurence standing, Yeah, that kind of guy.
• 35:47
  Speaker 4: He did a good job. I think it was good
• 35:49
  Speaker 4: casting on our part or or whoever suggested him, but
• 35:52
  Speaker 4: to get him.
• 35:53
  Speaker 3: How often did you we asked this to Josh as well,
• 35:55
  Speaker 3: how often did you write characters and assign them to
• 35:58
  Speaker 3: a voice, or write characters for the voice in mind?
• 36:01
  Speaker 4: We only did that two times when we were there. Well, generally,
• 36:06
  Speaker 4: we write the character and then we cast it. We
• 36:08
  Speaker 4: have a great casting director, a body Paydelah, who would
• 36:11
  Speaker 4: give us a list of people that we could potentially
• 36:14
  Speaker 4: be good for this role. Right, two times we wrote
• 36:18
  Speaker 4: it for a specific Don Broadca was not supposed to
• 36:20
  Speaker 4: be Lauren's Tierney. I don't think until we, uh, you know,
• 36:23
  Speaker 4: we had written the role and then we're like, who
• 36:25
  Speaker 4: could this be. Two times we wrote it specifically for
• 36:29
  Speaker 4: a person. One was John Waters. We knew that Josh
• 36:32
  Speaker 4: and I had that idea for that episode or part
• 36:34
  Speaker 4: of that episode for years, and we always wanted to
• 36:36
  Speaker 4: have John Waters on being you know, it can't be character,
• 36:40
  Speaker 4: and so that was written for him, although I didn't
• 36:43
  Speaker 4: think we asked him. And the other time, the only
• 36:45
  Speaker 4: time it ever worked this way in my knowledge, was
• 36:47
  Speaker 4: for Rodney Dangerfield. When Rodney Dangerfield's agent called up and say, hey,
• 36:52
  Speaker 4: would you guys like to have Rodney and the Simpsons?
• 36:53
  Speaker 4: We were like, holy shit, we would like it so much,
• 36:56
  Speaker 4: We'll write a whole episode just for him. And like
• 36:59
  Speaker 4: we wrote the whole EPISO, so like that episode was
• 37:01
  Speaker 4: like didn't exist. We were like, we want to do
• 37:04
  Speaker 4: a Rodney Dangerfield nineteen eighties style Rodney Dangerfield movie, and
• 37:07
  Speaker 4: we made it up from scratch just for him.
• 37:09
  Speaker 5: I love your reaction when you said his agent cold said,
• 37:12
  Speaker 5: would you would you like Rugby on what? I didn't
• 37:15
  Speaker 5: even know it was even an option. Yeah, it was
• 37:18
  Speaker 5: the thrill to get that call.
• 37:20
  Speaker 3: Yeah, So how much of his jokes though, were written
• 37:24
  Speaker 3: and or how much was you know, you had something
• 37:25
  Speaker 3: new on the paper and and he just put the
• 37:27
  Speaker 3: roddy spin on it.
• 37:28
  Speaker 4: Oh, we wrote all the jokes Ian wrote. Ian wrote
• 37:31
  Speaker 4: a pretty decent number of them, but they're hard to like.
• 37:34
  Speaker 4: None of them were his jokes. I think there was
• 37:35
  Speaker 4: one that he that he had slightly rewritten that we used,
• 37:40
  Speaker 4: but in general, like those were hard too man like.
• 37:42
  Speaker 4: As I know, Josh mentioned this on his episode. There
• 37:45
  Speaker 4: were certain things that were very hard to write, like
• 37:47
  Speaker 4: Troy McClure titles and uh Rodney dangerfield jokes. The other
• 37:52
  Speaker 4: things that were hard to write were itching and scratchy titles,
• 37:54
  Speaker 4: grounds keeper Willie isms, and sideshow Bob lines, all of
• 37:58
  Speaker 4: which would grind the room to at every time we
• 38:01
  Speaker 4: had to do them. And yeah, and the same with
• 38:03
  Speaker 4: Rodney jokes. Those were really hard. Ian did a really
• 38:06
  Speaker 4: good job with many of them in his first draft,
• 38:08
  Speaker 4: and the rest were just cranked out in the room
• 38:10
  Speaker 4: and they're there. It's surprisingly hard to write jokes like that.
• 38:14
  Speaker 5: Surprising is right, because I mean that seems like to
• 38:16
  Speaker 5: me that would be the cake, that would be the
• 38:18
  Speaker 5: fun part.
• 38:20
  Speaker 4: It's really it's an illuminating It's an illuminating process because
• 38:24
  Speaker 4: like the jokes also, Rodney's jokes are really short too,
• 38:27
  Speaker 4: like and they're not like you got you gotta have
• 38:29
  Speaker 4: to you gotta all those one liners, those guys from
• 38:31
  Speaker 4: the fifties like Henny Youngman and stuff. It really gives
• 38:34
  Speaker 4: you an appreciation for the skill that goes into writing
• 38:36
  Speaker 4: jokes like that, which and they're hard.
• 38:38
  Speaker 3: I'm sure at the time you hated it and the
• 38:41
  Speaker 3: process was painstaking trying to come up with those titles,
• 38:43
  Speaker 3: but you you appreciate the fact that you took that
• 38:45
  Speaker 3: time to actually think long and hard and really find
• 38:49
  Speaker 3: the best gag. Looking back on the studies that I'm.
• 38:51
  Speaker 4: Glad it paid off. That's why I'm still doing these
• 38:52
  Speaker 4: podcasts thirty years later, Right, it paid off the time
• 38:56
  Speaker 4: that effort that we put in during those couple of
• 38:57
  Speaker 4: years has has continued to you know, sustain has continued
• 39:01
  Speaker 4: to be The Simpsons. Even if The Simpsons had been
• 39:04
  Speaker 4: canceled in nineteen ninety eight, like we had predicted, people
• 39:07
  Speaker 4: would still remember it, but they wouldn't remember it all
• 39:10
  Speaker 4: that as well as they remember the Dick Van Dyke Show.
• 39:12
  Speaker 4: You know, or one of these things. They people remember
• 39:14
  Speaker 4: it as a golden thing, but they're not really They
• 39:17
  Speaker 4: don't really remember it all that well now because it's
• 39:20
  Speaker 4: been on for forty straight years and people and it's
• 39:22
  Speaker 4: rerunning constantly, and kids are people are showing into their
• 39:25
  Speaker 4: kids now and their grandkids, God forbid. So it's like
• 39:29
  Speaker 4: it continues to have this life which is almost unprecedented.
• 39:33
  Speaker 4: You know, Saturday Our Lives been on for fifty years,
• 39:34
  Speaker 4: but there are very few people sitting there and watching
• 39:36
  Speaker 4: old Saturday Night Live episodes from nineteen eighty three. You know,
• 39:40
  Speaker 4: it's it's the Simpsons. It continues. People watch these episodes
• 39:43
  Speaker 4: all the time, and then they watch them with their kids,
• 39:45
  Speaker 4: which is a whole creating a whole new generation of fans.
• 39:48
  Speaker 3: This show is brought to you by the Full Figured
• 39:50
  Speaker 3: Discount Patreon. Well you will find over one hundred hours
• 39:53
  Speaker 3: of Biden's podcast, including exclusive Simpsons reviews and commentaries, as
• 39:57
  Speaker 3: well as exclusive episodes of Going Down to South Park,
• 40:00
  Speaker 3: tales of Futurama, Bob's Pods, Speaking of the Hill, Talking Sifould,
• 40:05
  Speaker 3: the One about Friends, and so much more. So go
• 40:08
  Speaker 3: ahead and join the family today at Patreon dot Com
• 40:11
  Speaker 3: Slash four figure discout.
• 40:13
  Speaker 5: Being outside of Bill, Was there a stage where you
• 40:16
  Speaker 5: looked at, Oh, the simple has been going for this long,
• 40:19
  Speaker 5: and now it's kind of become a perpetual motion machine.
• 40:21
  Speaker 5: I don't think it's going to stop anytime soon. Like
• 40:24
  Speaker 5: when it reached maybe season twenty two, it's like, Oh,
• 40:27
  Speaker 5: They're going to keep this thing going for a while.
• 40:29
  Speaker 4: I have no idea. I literally could not predict it.
• 40:32
  Speaker 4: I couldn't tell you anything about when it's ever going
• 40:34
  Speaker 4: to end. I think, as Troy McClure said, between that
• 40:38
  Speaker 4: it's going to end some time between now and the
• 40:39
  Speaker 4: time it becomes unprofitable, and who knows when that will be. Hey,
• 40:44
  Speaker 4: my favorite?
• 40:46
  Speaker 3: Do you have any favorite moments in particular from March
• 40:48
  Speaker 3: being not Proud?
• 40:49
  Speaker 4: Yes?
• 40:50
  Speaker 3: Okay, well one of them is this.
• 40:53
  Speaker 4: I have several. I actually wrote them down. One and
• 40:57
  Speaker 4: I know I think this was called also on the
• 40:58
  Speaker 4: DVD commentaries was thing with the cigarette and the short
• 41:01
  Speaker 4: length of hose. If I wanted smoke blown up my ass,
• 41:04
  Speaker 4: I'd be at home with a cigarette and a short
• 41:06
  Speaker 4: length of hose. That was the biggest sensor of thing
• 41:09
  Speaker 4: that ever happened at the Simpsons. It was just something
• 41:11
  Speaker 4: Tom let's givka, so, you know, talking about So we
• 41:13
  Speaker 4: had that line that was bread Forrester made up that
• 41:15
  Speaker 4: line and it went on and the sensor. Our usual
• 41:19
  Speaker 4: process with the censor was a process of ignoring the
• 41:22
  Speaker 4: sensor notes because the episode was already written so many
• 41:24
  Speaker 4: times that like, eventually the thing would be removed. Whatever
• 41:28
  Speaker 4: whatever was offending them in the first draft would almost
• 41:30
  Speaker 4: certainly be gone by the time the episode was animated
• 41:32
  Speaker 4: in color, so we didn't bother with that. This was
• 41:35
  Speaker 4: one where they kept noting it all the way through
• 41:37
  Speaker 4: and we're like, eh, something, they'll forget about it, whatever.
• 41:40
  Speaker 3: And then they didn't.
• 41:42
  Speaker 4: We refused to cut it out. We delivered the broadcast
• 41:46
  Speaker 4: tape to them and they edited it. They edited this
• 41:50
  Speaker 4: that line out of the broadcast, out of the broadcast,
• 41:52
  Speaker 4: and Jim Brooks, who wasn't really involved in the day
• 41:55
  Speaker 4: to day at that point, called up the head of
• 41:56
  Speaker 4: the Fox network and read them the Riot Act and
• 41:58
  Speaker 4: they were like, sorry, sorry, sorry, we'll put it back
• 42:00
  Speaker 4: for every future broadcast. So that was like, but it's
• 42:04
  Speaker 4: funny to say. It's funny to me how much our
• 42:09
  Speaker 4: national standards of decency have declined that that was a start,
• 42:13
  Speaker 4: that line was so offensive that the censor was risking
• 42:16
  Speaker 4: their sense, their job to cut it out in nineteen
• 42:20
  Speaker 4: ninety six, And now for crying out loud, look at
• 42:22
  Speaker 4: South Park or Family Guy or any of these shows.
• 42:25
  Speaker 4: What they do every minute is far more offensive than
• 42:28
  Speaker 4: the most offensive things in The Simpsons all put together.
• 42:31
  Speaker 4: So anyway, yes, that's one thing.
• 42:33
  Speaker 5: It's such a I don't know if it's the way
• 42:35
  Speaker 5: that it's written or the White team need delivers the line,
• 42:37
  Speaker 5: but it's such a vivid image you can actually sort
• 42:40
  Speaker 5: of see it in your mind.
• 42:41
  Speaker 4: I know, I know that's far. That's good.
• 42:43
  Speaker 2: It is.
• 42:44
  Speaker 4: It is very it's very evocative. It draws a mental picture.
• 42:48
  Speaker 4: What else I remember, Don bro the name Don Broadca
• 42:52
  Speaker 4: took hours and hours and hours an hour. That's another thing.
• 42:54
  Speaker 4: I can't believe how long that took because we're all
• 42:57
  Speaker 4: waiting for like I think it was a case forere
• 42:59
  Speaker 4: George was in the room, George Meyer, you know, grand
• 43:03
  Speaker 4: the old Simpson's pro best writer of all time. Possibly
• 43:07
  Speaker 4: we were trying to come up with the last name
• 43:09
  Speaker 4: for Don Broadca, and we couldn't find one that everyone
• 43:12
  Speaker 4: liked and also that George liked, and that was the
• 43:14
  Speaker 4: hard part. And I remember all night long where there
• 43:17
  Speaker 4: are the phone book going through the phone that's calling
• 43:19
  Speaker 4: you the last names from thousands of last names until
• 43:23
  Speaker 4: we finally hit upon Broadca and I think it came
• 43:24
  Speaker 4: from the phone book and then he was like, oh,
• 43:27
  Speaker 4: that's a good one, and they're like, oh my god.
• 43:29
  Speaker 4: So I remember that also. I remember the the other thing.
• 43:33
  Speaker 4: These are all the things I like, are things that
• 43:35
  Speaker 4: are really small and subtle, not even really jokes. That
• 43:38
  Speaker 4: scene where part is sitting with Missus van Houghton as
• 43:42
  Speaker 4: she writes the Christmas cards and all those incredibly realistic,
• 43:46
  Speaker 4: boring things that she's talking about. Oh there's Dan and
• 43:48
  Speaker 4: Sherry Adler like, that's that's a set of It's such
• 43:51
  Speaker 4: a realistic, boring name, and I bet it took a
• 43:53
  Speaker 4: long time to come up with. And then I remember
• 43:55
  Speaker 4: Warren Burke, who used to tune our piano be where
• 43:58
  Speaker 4: I got rid of it, who listened to Cannicksburg. And
• 44:00
  Speaker 4: I remember when Steve Tompkins said, mechanics sperg we're looking
• 44:03
  Speaker 4: at it was a funny, a funny, boring regular town
• 44:06
  Speaker 4: mechanics spers like Oh my god, that's it. So that one,
• 44:09
  Speaker 4: that whole sequence, in my opinion, is it absolute the
• 44:13
  Speaker 4: apex of writing realistic, boring stuff that probably somebody would
• 44:17
  Speaker 4: say in that situation. And then lastly, in that same
• 44:22
  Speaker 4: vein Lee Carvallo, Lee Carvallo's putting Challenge. I remember this
• 44:27
  Speaker 4: because I think I suspect I pitched it because I
• 44:30
  Speaker 4: was the only one I knw who was playing video games.
• 44:32
  Speaker 4: And I remember there was a Lee Trevino game. There
• 44:34
  Speaker 4: was a Lee Trevino golf game that was one of
• 44:36
  Speaker 4: the early video games from the late eighties early nineties,
• 44:39
  Speaker 4: and I have a feeling that we actually asked Lee
• 44:42
  Speaker 4: Trevino to beat Leech. Trevino is a famous golfer or
• 44:45
  Speaker 4: was a fee.
• 44:46
  Speaker 3: No, No, he's still with us. He's still with us,
• 44:47
  Speaker 3: No he is. Okay, okay, you actually actually actually caught
• 44:50
  Speaker 3: him dead in the commentary, but he's actually alive.
• 44:52
  Speaker 4: Oh my god. Okay.
• 44:54
  Speaker 3: In the commentary you're like, oh, he's not like with this,
• 44:55
  Speaker 3: so we can said what we want about him now,
• 44:56
  Speaker 3: And I'm.
• 44:57
  Speaker 4: Like, well, I's still with this, Oh my god.
• 44:59
  Speaker 5: And that was twenty years ago, this cometary, so uh,
• 45:02
  Speaker 5: he's holding on Adam Spot.
• 45:05
  Speaker 4: I think we asked Lee Trevino if he wanted to
• 45:07
  Speaker 4: be in this, and I am fairly sure he told
• 45:09
  Speaker 4: us to fuck off because and good for him because
• 45:12
  Speaker 4: it's an insulting portrayal of his game.
• 45:15
  Speaker 5: So uh.
• 45:16
  Speaker 4: Anyway, So Lee car Colobralo was a neighbor of mine
• 45:19
  Speaker 4: as a child, So I put that in there and
• 45:21
  Speaker 4: then made it, and then made this game. And I
• 45:23
  Speaker 4: love that that game is so funny at the end
• 45:25
  Speaker 4: that I was watching it again now I know that
• 45:27
  Speaker 4: there's an actual game. At least one person has made
• 45:31
  Speaker 4: that into actual video game you play, which delights me
• 45:34
  Speaker 4: to no end. And it's also that Dan, that's Dan
• 45:36
  Speaker 4: Castelenaa doing that voice, and all the weird editing of
• 45:40
  Speaker 4: the voice that that changes tone makes me laugh, and
• 45:45
  Speaker 4: also the the way he reads you have selected no
• 45:49
  Speaker 4: at the end makes me laugh. And I think it's
• 45:52
  Speaker 4: such a great because I know what happened was we
• 45:54
  Speaker 4: recorded it several different times with different intonations, and the
• 45:56
  Speaker 4: editor put it together to sound computery and to sound
• 46:00
  Speaker 4: edited and did a master They did a masterful job
• 46:02
  Speaker 4: of it. And it's funny too because it's also just
• 46:04
  Speaker 4: it's a post credit sequence that and my suspicion was
• 46:08
  Speaker 4: probably there were probably commercials over it for about twenty
• 46:12
  Speaker 4: five straight years, like you'd only see it on the DVD, right,
• 46:15
  Speaker 4: because normally that's when they pushed the screen over and
• 46:17
  Speaker 4: they start running ads on the side or whatever, And
• 46:20
  Speaker 4: so I'm surprised it has as popular as it is.
• 46:24
  Speaker 3: So we never had that issue in Australia. We wouldn't
• 46:26
  Speaker 3: do that. We didn't do the side by side. But
• 46:27
  Speaker 3: I know exactly what you're talking about because a similar
• 46:29
  Speaker 3: thing happened with the Mother Simpson episode with Home of
• 46:32
  Speaker 3: Gazing at the Stars, where there's this beautiful score underneath
• 46:35
  Speaker 3: and then yeah, side by side, you couldn't even hear
• 46:37
  Speaker 3: the score half the time.
• 46:39
  Speaker 4: Right, yeah, right?
• 46:40
  Speaker 3: But what I love about that that leek carvella is
• 46:43
  Speaker 3: the may I suggest a putter free would Yes.
• 46:49
  Speaker 5: This is just father touch power drive, power drive, So
• 46:53
  Speaker 5: Lee Trevino, I'm not dead, but certainly dead to Bill
• 46:55
  Speaker 5: a clean no, I.
• 46:57
  Speaker 4: Respect, mister Trevino. Mister Travino should not have taken that.
• 47:00
  Speaker 4: It was just too insulting, and it's good for him
• 47:02
  Speaker 4: that he didn't.
• 47:03
  Speaker 3: But sometimes they sometimes you get guest does on who
• 47:05
  Speaker 3: clearly you know, they know that you're taking the mickey
• 47:07
  Speaker 3: out of him, but they it's all in good fun.
• 47:10
  Speaker 4: So I feel like the Cavott was too was insulted
• 47:13
  Speaker 4: too much in his appearance.
• 47:15
  Speaker 5: Clearly not a Harvard lampoon man.
• 47:18
  Speaker 4: But yes, there's like I think there's a fine light,
• 47:21
  Speaker 4: you know, and and so uh yeah, no, I'm you know,
• 47:24
  Speaker 4: we got We had Tom Kate as a golf guy
• 47:27
  Speaker 4: for the other episode, so he was good.
• 47:29
  Speaker 3: He was great. Yes, well, I particularly like that as
• 47:31
  Speaker 3: I have already touched the Homer in Marge Racing Home.
• 47:33
  Speaker 3: It's one thing that I rewatching for this podcast, and
• 47:35
  Speaker 3: that's just that's just great. That's me and my wife
• 47:37
  Speaker 3: now these days. But more importantly the ending. We haven't
• 47:40
  Speaker 3: really touched on that ending where I think it's in
• 47:43
  Speaker 3: the commentary where you say, I think Scully said that
• 47:46
  Speaker 3: he gave you the script, and then you said you
• 47:48
  Speaker 3: haven't taken advantage of the fact that this is animated.
• 47:50
  Speaker 3: We need to add in more scenes and things like that,
• 47:52
  Speaker 3: but you still you kept the episode, granted, and that's
• 47:54
  Speaker 3: why this episode works despite the the sort of the
• 47:57
  Speaker 3: occasional wackedness, but solves his problem, not through wackiness, but
• 48:00
  Speaker 3: just you know, being thoughtful and just sin serogyah. And
• 48:04
  Speaker 3: he goes to get the photo, but it's the moment
• 48:07
  Speaker 3: where he Marge sees the photo, she puts it on
• 48:09
  Speaker 3: the frame. It fixes up the frame. Just little things
• 48:11
  Speaker 3: that seed that was planned earlier in the episode with
• 48:13
  Speaker 3: the photo frame tipped. But then when she buys him
• 48:16
  Speaker 3: the wrong game. And what I love is that despite
• 48:18
  Speaker 3: the fact that she was so disappointed and so let
• 48:21
  Speaker 3: down by him, she still tried to get him the
• 48:22
  Speaker 3: game that he wanted and she thought she had and
• 48:25
  Speaker 3: the look on her face and.
• 48:26
  Speaker 4: But still I was remarking on that too when I
• 48:30
  Speaker 4: watched it. Just now it's as a masterable piece of
• 48:33
  Speaker 4: direction when you see the Carvalla was putting challenge and
• 48:36
  Speaker 4: you see both lower of the game and her hopeful
• 48:38
  Speaker 4: faces behind it, and it's very moving.
• 48:40
  Speaker 3: It is easy, it is it's great. And in fact
• 48:43
  Speaker 3: the fact that Bart goes, oh yeah, thanks mom, he
• 48:45
  Speaker 3: doesn't have the hard to say, I'm like, that's just beautiful.
• 48:48
  Speaker 4: Yeah, it is really good.
• 48:49
  Speaker 5: But something that's great about it as well is you've
• 48:52
  Speaker 5: added a little bit of salt to the sugar as well,
• 48:54
  Speaker 5: because well, Bart gets his present. Now it's like, Lisa,
• 48:57
  Speaker 5: you have to wait. Yeah, he's done nothing wrong in
• 49:02
  Speaker 5: this pillar of moral virtues. No presents for your kids.
• 49:08
  Speaker 4: Next question, you there eating the paste?
• 49:11
  Speaker 3: All right, a couple of trivia questions before we do
• 49:12
  Speaker 3: our quick run through. So my first question for you
• 49:15
  Speaker 3: both is the it's a crusty kind of Christmas was
• 49:17
  Speaker 3: brought to you by who, ain't I remember?
• 49:21
  Speaker 4: I think about this all the time, especially in the
• 49:23
  Speaker 4: holiday seasons with christial specials, but to you by ALG
• 49:26
  Speaker 4: and they're selling bodies on your body's chemicals after you die.
• 49:30
  Speaker 3: Yep. And they are subsidiary, I know, little sweet subsidiary.
• 49:34
  Speaker 5: That's that strikes me as just a classic Simpsons joke.
• 49:37
  Speaker 5: That subsidiary of ILG also one of my favorite moments.
• 49:41
  Speaker 5: But yeah, was we fished you favorite moments all your
• 49:43
  Speaker 5: other ones. I just wanted to shout out the bone
• 49:46
  Speaker 5: storm ad. Yeah, it's a man fighting a tank and
• 49:52
  Speaker 5: the kids boring.
• 49:53
  Speaker 4: Boring.
• 49:53
  Speaker 5: Yes, And as someone who played way too much Mortal
• 49:57
  Speaker 5: combat at the arcade back in the day, it's like
• 50:00
  Speaker 5: this has goro versus goro. This is this is always
• 50:04
  Speaker 5: a vital bus versus binyl bus and then but Santa
• 50:06
  Speaker 5: is coming in like, shove this up.
• 50:08
  Speaker 3: You're starking, Yeah, who go with the buy me bone
• 50:11
  Speaker 3: Storm and go to hell?
• 50:12
  Speaker 5: Who was that?
• 50:13
  Speaker 4: That was probably make Yeah, okay in the script.
• 50:15
  Speaker 3: Yeah, and you mentioned the commentary how you in the
• 50:18
  Speaker 3: at the time, you're like, this is going to be
• 50:20
  Speaker 3: so o t t this ad and then look at
• 50:22
  Speaker 3: it now compared to games we get now it's just
• 50:24
  Speaker 3: it's tame. Yeah, now, dextrib question from you all, yeah, right,
• 50:30
  Speaker 3: next question, right, name three of the other games that
• 50:32
  Speaker 3: were for sale besides bone Storm?
• 50:34
  Speaker 4: Oh, okay, this is Good to Street Current m Death
• 50:39
  Speaker 4: Operation Rescue, which made me laugh because that's the whole
• 50:42
  Speaker 4: you know, if you don't know, that's the anti abortion croceders. Great,
• 50:45
  Speaker 4: and so that that's a game there. And what's another one?
• 50:49
  Speaker 3: There's one that's almost a Troy McClure title about Hitler,
• 50:54
  Speaker 3: Save Hitler's Brain.
• 50:55
  Speaker 4: Oh wow, okay, I didn't know that one. I did
• 50:59
  Speaker 4: not see that one.
• 50:59
  Speaker 3: Got Swim Meet to Save Hitler's Brain, Canasta Master Operation. Well, yes,
• 51:03
  Speaker 3: a street came named Death sim Reich, Celebrity Topity, Robot Stampede,
• 51:08
  Speaker 3: and Electronic Biathlon.
• 51:10
  Speaker 5: It seems like a lot of Nazism. Yeah, video game shelf.
• 51:15
  Speaker 3: When you were making these site gags, were you just
• 51:17
  Speaker 3: making these for yourselves thinking no one's ever going to
• 51:20
  Speaker 3: see these again?
• 51:21
  Speaker 4: No, we knew that people were freeze from you. I
• 51:22
  Speaker 4: mean that was before before our time. Mike and our
• 51:25
  Speaker 4: would tell us, you know, people are people record these
• 51:27
  Speaker 4: on their VHS tap and then they freeze free them
• 51:29
  Speaker 4: to see these jokes, So you got to put them
• 51:30
  Speaker 4: in there. So now that had been around for years
• 51:33
  Speaker 4: doing that kind of thing.
• 51:34
  Speaker 5: Okay, may ask you trivia quick. I have plenty in
• 51:39
  Speaker 5: what is Don broadcast middle initial?
• 51:41
  Speaker 3: Oh, I have no idea. You should know billing you
• 51:43
  Speaker 3: came up?
• 51:44
  Speaker 4: Oh, it's on his diploma from train and See of
• 51:46
  Speaker 4: Security School, isn't it?
• 51:47
  Speaker 3: Is it?
• 51:47
  Speaker 4: Each?
• 51:48
  Speaker 5: It is J Donald J. Broadca. By the way, it
• 51:51
  Speaker 5: is a great name. It sounds like the kind of
• 51:52
  Speaker 5: name that a teen character would have in the fifties.
• 51:55
  Speaker 5: You know, we filmed his pilots on Don Brodger Private
• 51:58
  Speaker 5: Eye or something like that, or on his tailing Commandos.
• 52:01
  Speaker 5: I think that's yeah, it's a fantastic yap.
• 52:03
  Speaker 3: Yes, we'll do one more question each, I'll ask what
• 52:05
  Speaker 3: date did Bart get caught stealing.
• 52:08
  Speaker 5: Oh, there's one of my questions.
• 52:10
  Speaker 4: I have no idea.
• 52:11
  Speaker 3: It is on the security tape when Don puts it
• 52:13
  Speaker 3: into the into the VCR to show March it's the
• 52:16
  Speaker 3: twenty first, which I'm thinking, so you're course stealing on
• 52:19
  Speaker 3: the twenty first. When when was missus Dan Houghton sending
• 52:22
  Speaker 3: these Christmas cards out? Because it was like two days later, Yeah,
• 52:25
  Speaker 3: sending him express post Mechanicsburg wasn't that far away.
• 52:32
  Speaker 5: Lisa's ticket on the sleepy train is what no idea
• 52:36
  Speaker 5: it is? It is a candy cane made of gingerbread.
• 52:39
  Speaker 3: Handycaane made of gingerbread. All right, lovely songs by the way. Indeed,
• 52:43
  Speaker 3: if it's actually kind of.
• 52:44
  Speaker 5: Heartbreaking when you know Bart doesn't get his little.
• 52:46
  Speaker 3: Verse, I know, well that's just okay. It's the thing again.
• 52:49
  Speaker 3: We'll touch on it when we go through the episode.
• 52:51
  Speaker 3: But as a parent watching this now, it's like I'm
• 52:53
  Speaker 3: seeing my oldest son now is seven and he hasn't
• 52:56
  Speaker 3: quite hit that age yet where I'm not cool and
• 52:59
  Speaker 3: he's too cold to hang out with me. But I
• 53:00
  Speaker 3: can see it's starting to come, and I'll watch this
• 53:02
  Speaker 3: episode aga he's not going to be my little man
• 53:05
  Speaker 3: for much longer, and I'm worried about it. Yeah, all right.
• 53:08
  Speaker 3: So the original air of March Being Not Proud was
• 53:11
  Speaker 3: de Sepber seventeenth, nineteen ninety five. The top three films
• 53:14
  Speaker 3: at the US box office when this episode originally aired
• 53:17
  Speaker 3: in third position we had Heat. In second position, we
• 53:20
  Speaker 3: had Jumanji, and the number one film at the US
• 53:22
  Speaker 3: box office when Marge Being Not Proud aired was Toy
• 53:25
  Speaker 3: Story still number one.
• 53:27
  Speaker 5: We used to make things in this country.
• 53:29
  Speaker 3: The chalkboard gag, I will stop talking about, the twelve
• 53:31
  Speaker 3: inch pianist couch gag. Homer notices a plug in the
• 53:34
  Speaker 3: middle of the floor and pulls on it. Everyone and
• 53:36
  Speaker 3: everything gets sucked down the drain. Written by Mike Scully
• 53:38
  Speaker 3: and directed by Stephen Dean Moore. So the episode kicks
• 53:42
  Speaker 3: off with a crusty kind of Christmas. So this was
• 53:44
  Speaker 3: just pretty much a piss take of all old fashion
• 53:47
  Speaker 3: Christmas specials, Right, Bill, that's right, he has the I love.
• 53:51
  Speaker 3: When he looks out the window, he sees brock mid
• 53:53
  Speaker 3: He's but clearly in his TV studio, just channel six
• 53:55
  Speaker 3: over there. But he's got carollers at the door and
• 53:57
  Speaker 3: it's respected private citizen Tom Landry, and unfortunately he cannot
• 54:01
  Speaker 3: pronounce the name of the South American sensation. Who is who?
• 54:04
  Speaker 3: You guy?
• 54:05
  Speaker 2: Uh?
• 54:05
  Speaker 3: How do we? Is a shoo shoes shooesha?
• 54:07
  Speaker 4: Shush?
• 54:08
  Speaker 5: What's her actual there's a shooesha, but there's also Charro.
• 54:10
  Speaker 5: I'm guessing you couldn't get the rights.
• 54:11
  Speaker 4: To Charro and will really be pronounced Sheetler would be
• 54:16
  Speaker 4: how you pronounce it really?
• 54:18
  Speaker 3: Okay, then yes, but it's not the x u xa.
• 54:21
  Speaker 3: Is that how her name is spelled.
• 54:22
  Speaker 4: That's the real life one shoosha?
• 54:25
  Speaker 3: Right, yes, yes, that's what it was based on, of course. Yeah. Yeah,
• 54:29
  Speaker 3: But then Lisa said, I thought Christ he was Jewish,
• 54:31
  Speaker 3: and bar says, and of course, but it's Christmas time.
• 54:32
  Speaker 3: It's when all people from are religions come together to
• 54:34
  Speaker 3: worship Jesus Christ. And then we see that commercial for
• 54:36
  Speaker 3: bone Storm, which is I remember watching this as a kid.
• 54:38
  Speaker 3: It looked like a game that you just had to play.
• 54:46
  Speaker 3: You want excitement, stuck.
• 55:00
  Speaker 2: That entertaining.
• 55:02
  Speaker 4: Yeah, so I'll tell your folks buy me bumps on
• 55:06
  Speaker 4: I got.
• 55:09
  Speaker 3: Were you much of a game when you were younger?
• 55:10
  Speaker 3: At old Bill?
• 55:12
  Speaker 4: Yes, sort of. I mean, we didn't have there weren't.
• 55:15
  Speaker 4: Look I'm old enough that we didn't have home video
• 55:16
  Speaker 4: game systems. There was Atari, which I always wanted but
• 55:19
  Speaker 4: I never got, but I did. I was a big
• 55:21
  Speaker 4: video game gamer in the arcade and the Golden era
• 55:24
  Speaker 4: of arcades, the Quarters and the Donkey Kong and all
• 55:26
  Speaker 4: that kind of stuff. And I spent a lot of
• 55:28
  Speaker 4: time in the arcades in the eighties. And then I
• 55:29
  Speaker 4: was a gamer definitely in the nineties too, and I
• 55:32
  Speaker 4: had a whole like PC setup and all that stuff,
• 55:34
  Speaker 4: and uh, I had, I had. I've had every video
• 55:38
  Speaker 4: game system all the way up to like the PlayStation
• 55:41
  Speaker 4: three or whatever.
• 55:42
  Speaker 3: I gave up a Playstession three. I don't know what
• 55:44
  Speaker 3: it was about the Playsession three, but I went, I'm done.
• 55:46
  Speaker 3: I can't do this anymore.
• 55:47
  Speaker 4: I just decided to stick with the Xbox and stick
• 55:49
  Speaker 4: and and and just get the most advanced Xbox. And
• 55:51
  Speaker 4: then I only played like one game every so often,
• 55:53
  Speaker 4: and it's like often, but it's a really complicated, long
• 55:56
  Speaker 4: one like Red Dead Redemption two, where I'm like, I gotta,
• 55:59
  Speaker 4: I gotta play this scheme and until I drop, but
• 56:03
  Speaker 4: that it's not as frequent as it used to be.
• 56:05
  Speaker 3: Do you ever play the Simpsons video games at all?
• 56:07
  Speaker 3: Or the Simpsons arcade game?
• 56:09
  Speaker 4: I played Hit and Run. I really liked Simpson Hit
• 56:11
  Speaker 4: and Run driving around town and and I that the
• 56:15
  Speaker 4: convertible with Homer that made me laugh.
• 56:17
  Speaker 3: That is my favorite game of all time.
• 56:19
  Speaker 4: Okay good. It was definitely a funnier than the average
• 56:22
  Speaker 4: video game, and I loved driving around Springfield with that.
• 56:24
  Speaker 4: That's the only Simpsons game I replayed.
• 56:26
  Speaker 3: One of our most successful reels I've ever put out
• 56:28
  Speaker 3: was filming my son just walking around Springfield as Homer
• 56:30
  Speaker 3: in his underies, just kicking people. And the story there
• 56:34
  Speaker 3: is that they were originally going to take that out,
• 56:36
  Speaker 3: and then Matt Granning did a play through and his
• 56:37
  Speaker 3: favorite part was the fact that he can just kick people,
• 56:39
  Speaker 3: and like, oh, well, we'll leave it in. And that's
• 56:41
  Speaker 3: what everyone has memories of, just running around Springfield just
• 56:43
  Speaker 3: kicking people. It's a fantastic game, and I'm surprised I
• 56:45
  Speaker 3: never had a reboot. Yeah, but as you're saying that
• 56:48
  Speaker 3: Ad was supposed to be Ott, but it's Tank competitor.
• 56:51
  Speaker 5: Now.
• 56:51
  Speaker 3: This is where we get the cash phrase Bobby Bonestorm
• 56:53
  Speaker 3: or go to help, So Barb goes to Marches, Bobby
• 56:55
  Speaker 3: bon Stam go to hell. Marche's annoyed by this, and
• 56:57
  Speaker 3: Homer says, in this house, we have a little thing.
• 56:59
  Speaker 3: We have a little word call please. What do you
• 57:01
  Speaker 3: think of Homer in this episode? I have a bit player.
• 57:04
  Speaker 5: Wasn't he a little bit yeah? Sidelined but brought it
• 57:08
  Speaker 5: when it counted? Yeah, particularly with his critique of Police
• 57:11
  Speaker 5: Academy movies, which we'll talk about.
• 57:12
  Speaker 3: How did you approach the Homer character in your era, Bill,
• 57:17
  Speaker 3: because he quickly became what people referred to as jerk
• 57:20
  Speaker 3: ass Homer, where he was just doing annoying shit and
• 57:23
  Speaker 3: having no repercussions for it. But did how would you
• 57:25
  Speaker 3: describe the Homer of season seven eight.
• 57:29
  Speaker 4: Like this like some of the Homers from season three
• 57:32
  Speaker 4: and four, As as Josh said, I said multiple times,
• 57:35
  Speaker 4: we're trying to imitate the tone of season three and
• 57:37
  Speaker 4: a little bit of season four, like in you know,
• 57:39
  Speaker 4: mister Plower, hom the heretic, that kind of stuff. That's
• 57:42
  Speaker 4: how we were rating him.
• 57:43
  Speaker 3: It was always always important that if he was a jerk,
• 57:45
  Speaker 3: that he learned his lesson, but there was some sort
• 57:48
  Speaker 3: of repercussion for it. That's why it gets annoying when
• 57:50
  Speaker 3: you watch the team here go, why would anyone? Why
• 57:53
  Speaker 3: is margin deal with this guy? He's just being a
• 57:55
  Speaker 3: horrible husband. But this is where he tells a story
• 58:00
  Speaker 3: about he's wanting an electronic football game as a kid
• 58:02
  Speaker 3: and his parents bought it for him his happy day
• 58:04
  Speaker 3: of his life. And he walks off. Then Bart, he's
• 58:06
  Speaker 3: in bed, he's sad, he's not going to get his game,
• 58:08
  Speaker 3: but it's tuck in time. And Bart caused March's lame
• 58:11
  Speaker 3: as a result. And I never quite got this line
• 58:14
  Speaker 3: as a kid. I still quite got to get it now.
• 58:15
  Speaker 3: I know it's just Marge being Marge against But if
• 58:17
  Speaker 3: loving my kids's lame, I guess I'm just a big lame.
• 58:20
  Speaker 3: Is the fact that she doesn't understand it.
• 58:22
  Speaker 4: Yeah, she's so she doesn't understand it to the extent
• 58:25
  Speaker 4: that she's using it wrong grammatically incorrectly.
• 58:28
  Speaker 3: Yes, yes, But Bar goes. He goes to the android,
• 58:32
  Speaker 3: dungeons his bone storm at the front nine nine cents,
• 58:34
  Speaker 3: goes inside, and the comic book guy I summarizes the
• 58:36
  Speaker 3: proposed transaction, but sarcasti, since Bart doesn't understand sarcasm, he's
• 58:40
  Speaker 3: going to close the drawer. Were you're a fan of
• 58:42
  Speaker 3: comic book guy, he seems like a fun character to
• 58:44
  Speaker 3: write for.
• 58:45
  Speaker 4: Yeah, for sure, he definitely was. He's a realistic character
• 58:50
  Speaker 4: who had not appeared in many that kind of character
• 58:53
  Speaker 4: had not appeared in many TV shows at that point,
• 58:55
  Speaker 4: and yet he is a very realistic type of person
• 58:57
  Speaker 4: that we all knew, especially being in the calm book
• 59:00
  Speaker 4: adjacent world. So yeah, he was always fun to eat.
• 59:04
  Speaker 5: He's perfectly deployed in this situation because, I mean, anyone
• 59:08
  Speaker 5: walking past the window of the Androids Dune will go
• 59:11
  Speaker 5: nine none sense. Absolutely. I mean, there is no indication
• 59:14
  Speaker 5: that's the rental price at all. And yeah, but he's
• 59:17
  Speaker 5: treating it like gospels. Well, of course that is the
• 59:19
  Speaker 5: rental price. Yeah, just yeah, being the repository of all
• 59:25
  Speaker 5: this knowledge that no one else would know, but he
• 59:27
  Speaker 5: anticipates that everyone else should be on his frequency.
• 59:30
  Speaker 3: I love it is his attitude towards just life and
• 59:33
  Speaker 3: just towards others, very much like what it was like
• 59:35
  Speaker 3: being in the lampoon room. You're describing these mean people
• 59:38
  Speaker 3: because he just thinks mean all the time. For the
• 59:39
  Speaker 3: second being mean, that's a good question. I wouldn't say
• 59:43
  Speaker 3: it's quite like that. It could have bits and pieces
• 59:46
  Speaker 3: of that. Okay.
• 59:47
  Speaker 4: The thing about Comic book Guy is that he believes
• 59:49
  Speaker 4: he's He thinks that he is the coolest, smartest guy
• 59:52
  Speaker 4: in the world, and he's very very you know, he
• 59:56
  Speaker 4: feels everyone else's is beneath him, but yet he's not.
• 1:00:00
  Speaker 4: So it's like it's his misplaced Uh, he's misplaced enthusiasm
• 1:00:05
  Speaker 4: for himself. That is the joke. So I would say
• 1:00:08
  Speaker 4: that the only point there was a certain little element
• 1:00:10
  Speaker 4: of that, but not too much.
• 1:00:11
  Speaker 3: That's why I love I'm pretty sure it was an
• 1:00:13
  Speaker 3: episode that you produced or show show when where the
• 1:00:16
  Speaker 3: Wise Guy brings him down a few Pagans says, oh
• 1:00:18
  Speaker 3: fat sarcastic stature.
• 1:00:21
  Speaker 4: Ladies, that guy is his ultimate nemesis, the guy that
• 1:00:24
  Speaker 4: that the wise Guy voice is the guy.
• 1:00:26
  Speaker 5: That Guy.
• 1:00:27
  Speaker 4: His insults are always just spot on.
• 1:00:29
  Speaker 3: Wise Guy is his favorite character of all time? Is
• 1:00:33
  Speaker 3: he that this must be such a such a utility
• 1:00:36
  Speaker 3: of a character. Wise Guy. You can literally put him
• 1:00:38
  Speaker 3: in any situation. Yes, and he just works.
• 1:00:41
  Speaker 4: Yeah, he well, he has to be a specific situation
• 1:00:44
  Speaker 4: like that. He's usually working retail at some place, but
• 1:00:47
  Speaker 4: he's He's also like, what are you saying, Hey, Fatty,
• 1:00:50
  Speaker 4: I got a bridge, I gotta I got a film
• 1:00:52
  Speaker 4: for you, A fridge too far. He's always he's whenever
• 1:00:55
  Speaker 4: somebody is needed to say something like that, happens to
• 1:00:58
  Speaker 4: be on the scene, and.
• 1:00:59
  Speaker 3: Even when it's not even on screen, you just hit
• 1:01:01
  Speaker 3: it's just that voice, the wise guy voice is just
• 1:01:03
  Speaker 3: so great. Yeah, Hey, Fatty, I'm.
• 1:01:06
  Speaker 5: Talking about the thing in the past, the wit of
• 1:01:08
  Speaker 5: the staircase where you know, you always come up with
• 1:01:10
  Speaker 5: the perfect rejoinder, like five minutes after the fact. Yeah,
• 1:01:12
  Speaker 5: but he's always got it right on that time.
• 1:01:16
  Speaker 3: This show is brought to you by the four Fingered
• 1:01:18
  Speaker 3: Discount Patreon, where you'll find over one hundred hours of
• 1:01:21
  Speaker 3: bonus podcasts, including exclusive Simpson's reviews and commentaries, as well
• 1:01:26
  Speaker 3: as exclusive episodes of Going Down to South Park, Tales
• 1:01:29
  Speaker 3: of Futurama, Bob's Pods, Speaking of the Hill, Talking Sifould,
• 1:01:33
  Speaker 3: the One About Friends, and so much more. So go
• 1:01:36
  Speaker 3: ahead and join the family today at patreon dot com
• 1:01:39
  Speaker 3: slash four Fingure discount. But this is where Comic book
• 1:01:43
  Speaker 3: Guy offers He's got a lot of copies of Lee
• 1:01:44
  Speaker 3: Carvello's putting challenge, get the cardboard Cavet bars on interested,
• 1:01:47
  Speaker 3: of course because he's a ten year old boy. Then
• 1:01:49
  Speaker 3: he sees Millhouse playing bone Storm, lit House, good Storm.
• 1:02:01
  Speaker 1: This is great, And all I've done is answer my
• 1:02:03
  Speaker 1: name Thrillhouse.
• 1:02:09
  Speaker 3: The music for bone Storm? Was that just something that
• 1:02:11
  Speaker 3: who created that? Did you have any input into the
• 1:02:12
  Speaker 3: music of bone Storm? Was that just something yet you
• 1:02:14
  Speaker 3: described and they just gave you They nailed it.
• 1:02:17
  Speaker 4: I'm pretty sure it was just Alf Alf Classons who
• 1:02:19
  Speaker 4: did a music you know for many many years. I
• 1:02:21
  Speaker 4: think we just said we want some frantic video game,
• 1:02:23
  Speaker 4: heavy metal type music, and he probably found some reference
• 1:02:26
  Speaker 4: from some other things. It was not a specific request.
• 1:02:29
  Speaker 3: We should touch on Alf as well, if you rest
• 1:02:31
  Speaker 3: in peace.
• 1:02:31
  Speaker 4: Alf.
• 1:02:31
  Speaker 3: But the score for this episode, whilst you're saying it wasn't,
• 1:02:35
  Speaker 3: it's not really a Christmas episode. It does have a
• 1:02:37
  Speaker 3: Christmas It has a special episode vibe. It doesn't feel
• 1:02:40
  Speaker 3: it feels like Simpsons, but it feels like it feels
• 1:02:42
  Speaker 3: different as well, And the score throughout really emphasizes the
• 1:02:46
  Speaker 3: emotion in a lot of the scenes.
• 1:02:48
  Speaker 4: It is an emotional episode.
• 1:02:49
  Speaker 5: It was Yeah, by the way, shout out to the
• 1:02:51
  Speaker 5: image of Millhouse playing bone Storm, a very evocative eighties
• 1:02:56
  Speaker 5: poster that I think was advertising stereo equipment. I've forgotten exactly.
• 1:02:59
  Speaker 4: Which brand it was, Max Cell cassettes.
• 1:03:01
  Speaker 5: That's right. Yeah, someone's sitting in the chair and just
• 1:03:03
  Speaker 5: having their whole existence blown by excel by Mike Sale.
• 1:03:08
  Speaker 3: Sorry, I had no idea that was even a thing.
• 1:03:10
  Speaker 3: I've just learned that again. That's what I love about
• 1:03:11
  Speaker 3: The Simpsons. There are so many references to things that
• 1:03:13
  Speaker 3: you know, you just unless you know, you'll never realize. Yeah,
• 1:03:16
  Speaker 3: it's just great. But the thrill ho I love this
• 1:03:19
  Speaker 3: because you know, you just everyone's got their video game
• 1:03:22
  Speaker 3: name and Millhouse likes to think it's thrill House, but
• 1:03:24
  Speaker 3: it's not. Doesn't fit. But what was your video game name?
• 1:03:27
  Speaker 5: Bil?
• 1:03:27
  Speaker 3: Did you have one like an alias when you go
• 1:03:28
  Speaker 3: to the arcades?
• 1:03:29
  Speaker 4: Was just you? And it was way because all those
• 1:03:31
  Speaker 4: games you put three characters, so it would be on
• 1:03:34
  Speaker 4: whether a battle Zone or Donkey Kong or Centipede or
• 1:03:36
  Speaker 4: one of those games. If you saw, ok you adult
• 1:03:38
  Speaker 4: was me. But I wasn't usually a nice.
• 1:03:40
  Speaker 5: Course, Yeah, I think I was usually about fourth down
• 1:03:45
  Speaker 5: the list.
• 1:03:46
  Speaker 3: I lot this little b plot as well of you know,
• 1:03:48
  Speaker 3: Millhouse has got something that Butt wants and mill Haus
• 1:03:51
  Speaker 3: just doesn't want to share because he's a kid, you know,
• 1:03:53
  Speaker 3: and Bart wants and so there mum Butt swearing gets
• 1:03:55
  Speaker 3: kicked out. It pays off a little bit later, but
• 1:03:57
  Speaker 3: mum Butt's smoking. But it's true though. When you're a kid,
• 1:03:59
  Speaker 3: you got some and you was like, I know you're
• 1:04:01
  Speaker 3: my best buddy, but come back in a couple of days.
• 1:04:03
  Speaker 3: I want to play this first.
• 1:04:04
  Speaker 5: Yeah. Yeah.
• 1:04:06
  Speaker 3: Then we go to the Try and Save, which I
• 1:04:08
  Speaker 3: think you may have mentioned this in a commentary. I'm
• 1:04:10
  Speaker 3: pretty sure this is the first time we see try
• 1:04:11
  Speaker 3: and Save? Is that right in this in this series?
• 1:04:13
  Speaker 5: Yeah?
• 1:04:14
  Speaker 4: Has that ever reappeared? I thought it was just in
• 1:04:16
  Speaker 4: this one episode.
• 1:04:17
  Speaker 3: I think it has reappeared in like more maybe more
• 1:04:19
  Speaker 3: recent seasons. It's like a callback. But okay, this was
• 1:04:22
  Speaker 3: this was the first.
• 1:04:22
  Speaker 4: Yeah, this was identity to be our Walmart type of thing.
• 1:04:26
  Speaker 3: Yeah, yeah, usually spending more time at Costington's. Costington's is
• 1:04:30
  Speaker 3: the new one. Do you know about Costington's. Costington is
• 1:04:32
  Speaker 3: the new department store that's where they've seen that guy
• 1:04:34
  Speaker 3: is working. Yes, guys, now, Dan's he's not on the
• 1:04:38
  Speaker 3: level of wise guys. He's just sort of just pops
• 1:04:40
  Speaker 3: up here and there. But he goes to the try
• 1:04:41
  Speaker 3: and save and he says, if I go in here
• 1:04:43
  Speaker 3: looks sad, maybe somebody will buy it for me, which is,
• 1:04:44
  Speaker 3: you know, the mentality of a kid.
• 1:04:46
  Speaker 4: That I saw that, and I was like, oh my god,
• 1:04:48
  Speaker 4: I remember that, and I remember people. I remember thinking
• 1:04:51
  Speaker 4: that that might actually work as a kid, and oh
• 1:04:54
  Speaker 4: my god, that that took me back.
• 1:04:57
  Speaker 3: That line.
• 1:04:58
  Speaker 4: I had forgotten all about it. When I saw it,
• 1:04:59
  Speaker 4: I was like, oh God, that really did happen a lot.
• 1:05:02
  Speaker 4: That didn't happen a lot, but it did happen somewhat
• 1:05:05
  Speaker 4: as a kid.
• 1:05:06
  Speaker 3: I remember in the In the commentary, Scully says he
• 1:05:08
  Speaker 3: used to go to a place and say, are these
• 1:05:09
  Speaker 3: cookies free? And they go no, look look sad. The
• 1:05:13
  Speaker 3: old lady goes, all right, kid, have one. But so
• 1:05:19
  Speaker 3: he is where he sees though I don't think we've
• 1:05:21
  Speaker 3: seen this kid since ever. Gavin. We've all known a
• 1:05:24
  Speaker 3: Gavin in our life. God's hateful. He's just a despicable
• 1:05:28
  Speaker 3: little child. And yeah, like I said, my son he
• 1:05:30
  Speaker 3: goes to school now, and I see Gavin's here there
• 1:05:32
  Speaker 3: and everywhere, but also the mum as well, who's just
• 1:05:35
  Speaker 3: not oblivious. She just doesn't care.
• 1:05:37
  Speaker 5: Enabling.
• 1:05:38
  Speaker 3: Enabling is the right word. Yeah, but but yeah, he
• 1:05:41
  Speaker 3: gets two copies of bone Storm. Because he's not shown
• 1:05:43
  Speaker 3: with Caitlin, he's on his sister. Reminds me very much
• 1:05:46
  Speaker 3: of We'll mentioned toy Story Force pretty much like a
• 1:05:48
  Speaker 3: sid in toy Stories.
• 1:05:49
  Speaker 5: He's gonna sit esk.
• 1:05:50
  Speaker 3: Yeah, but this is where he sees Jimbo and Nelson,
• 1:05:52
  Speaker 3: who are shoplifting. Fun fact, this is where we got
• 1:05:55
  Speaker 3: the name of our podcast because they mentioned four finger discount. Yeah, yeah,
• 1:05:58
  Speaker 3: this is where we've got it from. But if you
• 1:06:00
  Speaker 3: go back to season one, it's the telltale hea, because
• 1:06:03
  Speaker 3: my kids are going back to the first season, they're
• 1:06:05
  Speaker 3: watching it all through. He actually says five finger discount.
• 1:06:08
  Speaker 3: In the first season, they hadn't quite Yeah, I haven't
• 1:06:11
  Speaker 3: quite figured out the fact that the four fingers yet.
• 1:06:13
  Speaker 3: But anyway, so yeah, so four finger discount. But ponders,
• 1:06:16
  Speaker 3: you know, from should I steal this? Because they say
• 1:06:17
  Speaker 3: you should steal it's a victimless crime. It's just great directing. Here,
• 1:06:20
  Speaker 3: a great score. Where he's looking at the game, he's
• 1:06:22
  Speaker 3: looking back at bar, it's like, oh, should I, shouldn't I?
• 1:06:23
  Speaker 3: Then we get the the inner monologues with Mario Luigi,
• 1:06:27
  Speaker 3: Donkey Kong, Lee Carvllo. This is the part that Lee
• 1:06:29
  Speaker 3: Carvlo probably would have won a voice because he's you know,
• 1:06:32
  Speaker 3: he's gaming.
• 1:06:33
  Speaker 5: Here's that gonna.
• 1:06:35
  Speaker 3: Help your putting?
• 1:06:36
  Speaker 5: Help your putty?
• 1:06:37
  Speaker 3: And then we get what is I'm assuming? Sonic the
• 1:06:39
  Speaker 3: Hedgehog says, just take it? Yes, so puts it in
• 1:06:41
  Speaker 3: his jacket. Oh so the jacket too. We wanted to
• 1:06:43
  Speaker 3: touch on the fact that whenever you see Simpon's character
• 1:06:46
  Speaker 3: wearing something different, you know it's going to be a
• 1:06:48
  Speaker 3: payoff for later on.
• 1:06:48
  Speaker 4: So the purple second Boat's lucky red hat. Yes, it
• 1:06:53
  Speaker 4: was always a setup for something else.
• 1:06:55
  Speaker 3: Is always a something exactly right. So he gets out
• 1:06:57
  Speaker 3: of the story, thinks he's Scott free, but don Broker
• 1:07:00
  Speaker 3: at him. This is the introduction of Lawrence Teeney, who
• 1:07:02
  Speaker 3: was just terrifying in all meaning of the word.
• 1:07:04
  Speaker 5: Yeah.
• 1:07:05
  Speaker 3: Then Gavin's mom says that boy's parents must have made
• 1:07:07
  Speaker 3: a terrible mistake, and Gavin tells her to shut up.
• 1:07:09
  Speaker 3: We get back from commercial and just the walk back
• 1:07:11
  Speaker 3: to the store, I've never been caught shoplifting. Have you
• 1:07:13
  Speaker 3: been caught stealing something built or have you been in
• 1:07:15
  Speaker 3: trouble for something on this level?
• 1:07:17
  Speaker 4: Yes, but not shoplifting. For throwing snowballs at this car
• 1:07:21
  Speaker 4: and the guy pulled over the car and his kid
• 1:07:24
  Speaker 4: had been very upset by the snowballs. And the guy
• 1:07:26
  Speaker 4: chased us for a long time and made us come
• 1:07:28
  Speaker 4: back and apologize.
• 1:07:29
  Speaker 5: To his kid.
• 1:07:31
  Speaker 4: But yeah, it was very much in that. It was
• 1:07:33
  Speaker 4: a similar type of experience.
• 1:07:35
  Speaker 5: Yeah, what wean the kid?
• 1:07:37
  Speaker 4: Oh it happened again, you know. No, a friend of
• 1:07:39
  Speaker 4: mine and I remember, okay, and this is in fourth grade,
• 1:07:42
  Speaker 4: a friend of mine, still a good friend of mine.
• 1:07:45
  Speaker 4: We love to light matches, and we were lighting matches,
• 1:07:48
  Speaker 4: but it was we were very careful because it was
• 1:07:49
  Speaker 4: like a cement surface. It was near a lake and
• 1:07:52
  Speaker 4: all this crap, and we were just lighting lots of
• 1:07:53
  Speaker 4: matches and we're not in danger, burner thinking down.
• 1:07:56
  Speaker 3: But this woman, some woman.
• 1:07:57
  Speaker 4: Passer by, was so enraged by that she grabbed us
• 1:08:00
  Speaker 4: and took us back to our friend's house and and
• 1:08:03
  Speaker 4: then you know, scolded us in front of the parents
• 1:08:05
  Speaker 4: and stuff. And the parents were like, who the fuck
• 1:08:07
  Speaker 4: are you? But but yeah, I remember that too.
• 1:08:11
  Speaker 5: Citizens are rents.
• 1:08:13
  Speaker 3: Yeah, my god, how old were you when you were
• 1:08:15
  Speaker 3: lighting matches?
• 1:08:16
  Speaker 4: Ten eleven?
• 1:08:19
  Speaker 5: Of courseous, we've got to be near a lake when
• 1:08:21
  Speaker 5: we're doing this.
• 1:08:22
  Speaker 4: We were pretty cautious.
• 1:08:25
  Speaker 3: Drive by woman didn't care children with matches not happening.
• 1:08:30
  Speaker 3: So did you get in trouble for that? Once she
• 1:08:32
  Speaker 3: left with the personally the parents that lady was, what's
• 1:08:36
  Speaker 3: none of her business? Yeah? I do like this walk
• 1:08:38
  Speaker 3: back to the back of the store though, you know,
• 1:08:39
  Speaker 3: walks past Santo offers the candy gate.
• 1:08:41
  Speaker 5: Not this kid that that's one of my favorite like
• 1:08:44
  Speaker 5: that is for him. It crashes enough then they go back.
• 1:08:49
  Speaker 3: One of my favorite visuals in this entire episode is
• 1:08:52
  Speaker 3: when they first go out in the back there was
• 1:08:54
  Speaker 3: just this casual woman sitting there with and yes, what
• 1:08:57
  Speaker 3: is her story?
• 1:08:59
  Speaker 4: It gives you, well, she's an employee, is there on
• 1:09:01
  Speaker 4: her break. She probably has to wear some kind of
• 1:09:03
  Speaker 4: constrictive or hot like a para polyestra shirt, so she
• 1:09:07
  Speaker 4: takes it off during her break so she can have
• 1:09:08
  Speaker 4: a smoke. And it's the thing is it's a glimpse
• 1:09:12
  Speaker 4: behind the scenes. Now you're behind the scenes. The the
• 1:09:16
  Speaker 4: I don't have standing up. The obvious, the retail, the
• 1:09:20
  Speaker 4: front they put on to make it look like a
• 1:09:21
  Speaker 4: nice place is completely gone as soon as you get
• 1:09:24
  Speaker 4: behind that door.
• 1:09:25
  Speaker 3: It is if someone who's working in retail. It's completely correct.
• 1:09:27
  Speaker 3: I just love the visuals when he walks out the
• 1:09:29
  Speaker 3: back and it's just yeah, you see her sitting with
• 1:09:31
  Speaker 3: a cigarette. I'm like, this is what it was like
• 1:09:32
  Speaker 3: when I was like sixteen, I'm gonna work. It came out,
• 1:09:34
  Speaker 3: it's going to be great, and get the back and
• 1:09:36
  Speaker 3: it's just it's just hell at the back everywhere. This
• 1:09:39
  Speaker 3: is in Sand's workshop, so he's gone at the back here,
• 1:09:43
  Speaker 3: and yeah, he puts in the first of all, it
• 1:09:45
  Speaker 3: just doesn't say anything, which I think is even more intimidating.
• 1:09:47
  Speaker 3: He just makes Barts sit there and ponder for a
• 1:09:49
  Speaker 3: little bit, and then he gets out his cigarette, throws
• 1:09:51
  Speaker 3: in the VHS, and of course we get the great
• 1:09:54
  Speaker 3: Troy McClure, who is Phil Hartman. Were touching it a
• 1:09:57
  Speaker 3: lot with Josh, and do you have any memories that
• 1:09:59
  Speaker 3: Josh didn't touch on him guys to work with Phil Harmon.
• 1:10:01
  Speaker 3: I'm sure it's just the same story you've told a
• 1:10:02
  Speaker 3: million times you know it off? Yeah, yeah, but Tromcouer
• 1:10:06
  Speaker 3: story here. Remember him from other public service videos like
• 1:10:10
  Speaker 3: Designated Drivers, the Life Saving Nerds and Funny Tornado Alarms
• 1:10:14
  Speaker 3: Reduce Readiness? And what was the reason he's doing this?
• 1:10:16
  Speaker 4: It fulfills his uh agreement with the foot lorker. So
• 1:10:21
  Speaker 4: he's been stealing fancy sneakers.
• 1:10:23
  Speaker 3: Yeah, Beverly Hills, which is the story in itself, but broadcast.
• 1:10:29
  Speaker 3: He slams off the tape halfway through, doesn't let him
• 1:10:31
  Speaker 3: finish the tabe just you know, ends the tape halfway
• 1:10:32
  Speaker 3: through and he says, you know, Butt says, I apologize,
• 1:10:35
  Speaker 3: stop with for all the mush you know, you get
• 1:10:37
  Speaker 3: the smoke blowing up his ass gag, which you've already
• 1:10:39
  Speaker 3: touched on. What I love about that moment there, though, too,
• 1:10:42
  Speaker 3: is the way Bart reacts. It's pretty much how most
• 1:10:45
  Speaker 3: kids watching that scene react. I watched my kid watch
• 1:10:47
  Speaker 3: that moment and he kind of laughed and looked at
• 1:10:50
  Speaker 3: me as if they say, that was a joke, right,
• 1:10:52
  Speaker 3: But I don't quite get it. It sounds it sounds weird.
• 1:10:54
  Speaker 3: I know, I know he's making a joke, not quite sure.
• 1:10:56
  Speaker 3: But Butt's reactionally was very lifelike. But then he calls
• 1:10:59
  Speaker 3: his parents and we haven't touched on this. I know
• 1:11:01
  Speaker 3: you touched on the commentary. So Lawrence didn't get this bit.
• 1:11:04
  Speaker 3: He didn't understand the conversation that he was having with himself.
• 1:11:07
  Speaker 3: He didn't think it was funny. He didn't quite wait,
• 1:11:09
  Speaker 3: I know what we're doing here. So Josh says that
• 1:11:11
  Speaker 3: he pretended that he was actually having a conversation, He
• 1:11:13
  Speaker 3: pretended to be Marge, and then you just took it
• 1:11:16
  Speaker 3: out later on. Is that pretty much out went down?
• 1:11:18
  Speaker 4: That's exactly what happened. Yes, also this shoke. It's also
• 1:11:20
  Speaker 4: I'd be curious to know what percentage of the audience
• 1:11:22
  Speaker 4: got this joke too, because as I watched it, I
• 1:11:24
  Speaker 4: was like, that's real subtle, and you have to remember
• 1:11:27
  Speaker 4: the other sounds he made when he was talking as
• 1:11:29
  Speaker 4: somebody who somebody was there. I can't I can't look
• 1:11:32
  Speaker 4: at it impartially, so I have no idea whether anyone
• 1:11:35
  Speaker 4: actually got it. But yes, no, Lawrence was among the
• 1:11:38
  Speaker 4: people who didn't get it, and Josh directed him and
• 1:11:40
  Speaker 4: they pretending to be Marge. It worked fine, but ultimately
• 1:11:42
  Speaker 4: I'm not sure whether the joke is a is a
• 1:11:45
  Speaker 4: really popular one or not.
• 1:11:46
  Speaker 3: It's a it's a weird joke. I think people like
• 1:11:48
  Speaker 3: it just because it's just so weird. It's like, why
• 1:11:50
  Speaker 3: would he talk this way?
• 1:11:53
  Speaker 4: So that's it.
• 1:11:56
  Speaker 6: Hello, missus Simpson. That's a detective dog bride gear from
• 1:12:01
  Speaker 6: Try and Save Security. That's right done, bridegire. Your son
• 1:12:05
  Speaker 6: part has been court shop limiting.
• 1:12:08
  Speaker 3: Ah, yeah, it's a shame, I know, but well.
• 1:12:12
  Speaker 6: Try and have a merry Christmas. They weren't home, but
• 1:12:17
  Speaker 6: I'll have to message on their answering you sheet. That's right.
• 1:12:20
  Speaker 3: When he says later on though, he says they went home, Ah,
• 1:12:25
  Speaker 3: did you just get the original and add that in
• 1:12:27
  Speaker 3: later because it feels like he wouldn't deliver that line
• 1:12:30
  Speaker 3: that way. He's like, that wouldn't make sense. Yes, he
• 1:12:32
  Speaker 3: just manipulated his words. But yeah, so he's called the parents.
• 1:12:35
  Speaker 3: He thinks that had a conversation, but he hasn't had
• 1:12:36
  Speaker 3: the conversation. So Bart's now racing home. But before that says,
• 1:12:39
  Speaker 3: you have a step foot in this in this story again,
• 1:12:41
  Speaker 3: you're gonna be spending Christmas in juvenile hall capish, which
• 1:12:44
  Speaker 3: pays off later as well.
• 1:12:45
  Speaker 5: It's also just a great sitcom line that's like you
• 1:12:48
  Speaker 5: understand everything except capiche.
• 1:12:50
  Speaker 3: Yes, tries it in the cracker with the dip doesn't work.
• 1:12:54
  Speaker 3: Then Bart's racing home and Margine home a resting home
• 1:12:57
  Speaker 3: as well, trying to change Maggie, and then he puts
• 1:12:59
  Speaker 3: in the Alan Sherman's camp Grenada is in the in
• 1:13:03
  Speaker 3: the tape machine. This is a guy that you know.
• 1:13:05
  Speaker 3: My kids are like, what's that?
• 1:13:07
  Speaker 5: Why is he playing?
• 1:13:07
  Speaker 3: What's he playing there?
• 1:13:09
  Speaker 4: Anybody passed we get that joke. I mean, even at
• 1:13:11
  Speaker 4: the time it was very outdated, but that's part of
• 1:13:13
  Speaker 4: the joke. I mean, every time we had Homer owning
• 1:13:16
  Speaker 4: any records, there were records that our parents had owned
• 1:13:18
  Speaker 4: in the n eighteen sixties, nineteen sixties or earlier, like
• 1:13:22
  Speaker 4: his collection and stuff like the Doodletown papers and things
• 1:13:24
  Speaker 4: like that. So it was all like, I mean, we
• 1:13:26
  Speaker 4: were writing Homer like he was our parents. My parents
• 1:13:28
  Speaker 4: were born in that was born in nineteen twenty nine,
• 1:13:30
  Speaker 4: so that's when Homer's you know, as Tassey's got an
• 1:13:33
  Speaker 4: Alan Sherman record from nineteen sixty two.
• 1:13:36
  Speaker 3: What's interesting is on cassette. We recently reviewed some of
• 1:13:40
  Speaker 3: this season season thirty seven of The Simpsons, and we
• 1:13:43
  Speaker 3: want to ask Matt someone when he comes on, is
• 1:13:45
  Speaker 3: it feels like they're retcond of the timeline because you
• 1:13:47
  Speaker 3: were saying you wrote Homer as if he was your
• 1:13:50
  Speaker 3: parents age, right, which makes sense, but Homer now Marjinoma.
• 1:13:54
  Speaker 3: It's almost like the retcondit so that they now grew
• 1:13:56
  Speaker 3: up in the nineties, so they were younger than me. Yeah,
• 1:14:00
  Speaker 3: ever in the U, I imagine. Yeah, But it makes
• 1:14:03
  Speaker 3: sense though, because if my kids are watching The Simpsons
• 1:14:04
  Speaker 3: in twenty twenty five, they're saying Homer as my age,
• 1:14:07
  Speaker 3: and I grew up in the nineties, so it makes
• 1:14:09
  Speaker 3: sense to do that. It's almost like they've sort of
• 1:14:10
  Speaker 3: retconned with the timeline.
• 1:14:12
  Speaker 5: Yeah, to an extent.
• 1:14:12
  Speaker 4: Yeah, but it makes sense, man, That's why not. It
• 1:14:15
  Speaker 4: seems like a good It seems like a wise thing
• 1:14:17
  Speaker 4: to do to keep the show going. It does be
• 1:14:18
  Speaker 4: they can't be guys who are one hundred years old,
• 1:14:20
  Speaker 4: like literally, it would be ninety six years old if
• 1:14:23
  Speaker 4: if if they if they werelready him like we wrote him,
• 1:14:26
  Speaker 4: he would be ninety six years old and.
• 1:14:27
  Speaker 3: He couldn't even really be making nineteen eighties references in
• 1:14:29
  Speaker 3: twenty twenty five. The kids wouldn't have no idea what
• 1:14:31
  Speaker 3: you're talking about, right?
• 1:14:33
  Speaker 2: Oh?
• 1:14:33
  Speaker 3: Man, well, what was did you guys have like a
• 1:14:36
  Speaker 3: level of a did you ever make a gag and
• 1:14:38
  Speaker 3: going that's just way too niche, we can't put it in?
• 1:14:41
  Speaker 3: Or did the niche of the bed up a year?
• 1:14:43
  Speaker 3: I don't think so, man.
• 1:14:44
  Speaker 4: I think that's part of the blessing. I know Josh
• 1:14:45
  Speaker 4: covered this. That was part of the blessing of running
• 1:14:49
  Speaker 4: the show with nobody in charge but us and no
• 1:14:52
  Speaker 4: notes from anyone. Is as long as we thought it
• 1:14:54
  Speaker 4: was funny, it would go in. And even also like
• 1:14:56
  Speaker 4: as long as most of the writers thought it was funny,
• 1:14:58
  Speaker 4: it would go in. But a lot of times it
• 1:14:59
  Speaker 4: would just me and Josh if we thought it was funny,
• 1:15:01
  Speaker 4: it even if the other writers didn't, we were still
• 1:15:03
  Speaker 4: forced it in because we were That's the way we were.
• 1:15:05
  Speaker 5: Yeah, you wouldn't doing this kind of like a ratio
• 1:15:08
  Speaker 5: of the like we've got to have like eighty percent
• 1:15:10
  Speaker 5: of gags that everyone's going to get in twenty percent
• 1:15:13
  Speaker 5: for us.
• 1:15:14
  Speaker 4: No, we never thought of it that way. We had
• 1:15:16
  Speaker 4: to find it funny, and George honestly was in a
• 1:15:18
  Speaker 4: matter of pleasing the people that scene to sing your
• 1:15:20
  Speaker 4: people in the room. You know, if George didn't think
• 1:15:22
  Speaker 4: it was funny, generally it didn't go in.
• 1:15:24
  Speaker 3: Okay, so George was like the he was the king
• 1:15:27
  Speaker 3: if he didn't.
• 1:15:28
  Speaker 4: Yeah, quite often that was the case.
• 1:15:30
  Speaker 3: Yeah, yeah, But Homer the following day, all he bought
• 1:15:33
  Speaker 3: his eggnogs and you get thirty sweet noggie days. I've
• 1:15:36
  Speaker 3: never had eggnog. You ever had eggnog?
• 1:15:37
  Speaker 5: Never had it?
• 1:15:38
  Speaker 3: Have you ever had a bill you're of food manning? Yeah,
• 1:15:41
  Speaker 3: So just describe what exactly is eggnog? What is eggnog?
• 1:15:44
  Speaker 4: It's like a thicker milk. It's like it has the
• 1:15:47
  Speaker 4: texture of heavy cream, and it has a flavor that
• 1:15:50
  Speaker 4: is kind of like described I would describe as kind
• 1:15:52
  Speaker 4: of vanilla like, and it's French vanilla. Have you ever
• 1:15:55
  Speaker 4: had French vanilla? Oh yeah, yeah, yeah, Okay, it's sort
• 1:15:58
  Speaker 4: of like that flavor. But it's like the texture of
• 1:16:00
  Speaker 4: heavy cream, and it's very I mean, it's a very
• 1:16:02
  Speaker 4: it's a very seasonal drink in America that is literally
• 1:16:05
  Speaker 4: like it appears on shelves after Halloween and it's gone
• 1:16:09
  Speaker 4: by January first every year. But there's it's popular and
• 1:16:12
  Speaker 4: there's all sorts of others. It's like pumpkin sp You
• 1:16:14
  Speaker 4: guys know what pumpkin spice is, right, pumpkin spice it right.
• 1:16:17
  Speaker 4: It's very much in that vein. And I didn't. I'm
• 1:16:19
  Speaker 4: surprised to hear it's only really in America, I guess,
• 1:16:22
  Speaker 4: but it's been around for over for one hundred years
• 1:16:24
  Speaker 4: or more. It contains actual eggs, I think so. I
• 1:16:28
  Speaker 4: think that if you make it at home, I think
• 1:16:30
  Speaker 4: it does contain eggs or egg yolks.
• 1:16:33
  Speaker 5: Because here's the thing. I yeah, the way you would
• 1:16:34
  Speaker 5: describe me and sounding like oh well, it sounds like
• 1:16:36
  Speaker 5: custard or something like that, like a custard drink drink. Yeah.
• 1:16:39
  Speaker 5: But was it with lemon molten?
• 1:16:43
  Speaker 3: Yeah?
• 1:16:43
  Speaker 5: Because we were talking about you said, oh, you got
• 1:16:45
  Speaker 5: to got to catch as delian and you get a
• 1:16:46
  Speaker 5: pistrouy sandwich and an egg cream. I'm like, I don't
• 1:16:48
  Speaker 5: think I'm going to drink anything that's called an egg cream.
• 1:16:50
  Speaker 5: Is that No, it's it's chocolate malten.
• 1:16:52
  Speaker 4: Egg cream doesn't have an egg cream is totally different
• 1:16:54
  Speaker 4: than eggnog cream discussed right, It's got soda water and
• 1:16:59
  Speaker 4: something like Yeah, right, which sounds delightful. It's the the
• 1:17:03
  Speaker 4: name is not the name is some sort of it's
• 1:17:06
  Speaker 4: some sort of slang expression. It doesn't have anything to
• 1:17:08
  Speaker 4: do with eggs.
• 1:17:09
  Speaker 5: Yeah, eggnog sounds like you're rocky training for the fight
• 1:17:12
  Speaker 5: and you just got to crack a bunch of eggs
• 1:17:14
  Speaker 5: and do a gloss.
• 1:17:15
  Speaker 4: Uh yeah, yeah, well it's more. But it's a holiday drink.
• 1:17:18
  Speaker 4: It's a holiday drink, and it some people find grow
• 1:17:21
  Speaker 4: it's over. It is ott as you say it is.
• 1:17:24
  Speaker 3: It is too rich and thick for many people.
• 1:17:26
  Speaker 4: Including me. Is there a way of and those people
• 1:17:30
  Speaker 4: serve it with rum and that a lot of times
• 1:17:32
  Speaker 4: it's served with with well that's rum in.
• 1:17:33
  Speaker 3: It, okay, yeah, alcoholic. So can you can you make
• 1:17:38
  Speaker 3: things out of it? Is it just just a drink?
• 1:17:39
  Speaker 3: Or can you pour it into like a cake, make
• 1:17:41
  Speaker 3: it delicious like a dessert of some kind? Is it
• 1:17:43
  Speaker 3: just maybe?
• 1:17:43
  Speaker 4: But it's mainly a drink, but there's lots of different flavors.
• 1:17:46
  Speaker 4: The reason I compare it to pumpkins spice latte is
• 1:17:50
  Speaker 4: because around this time of you're lots of other things
• 1:17:52
  Speaker 4: come out, like there's eggnog, coffee creamer and eggnog, favorite
• 1:17:56
  Speaker 4: ice cream, and all sorts of eggnog, other products that
• 1:17:59
  Speaker 4: have that seemed flavor.
• 1:18:02
  Speaker 5: Bill correctly if I'm wrong here, But I mean even
• 1:18:04
  Speaker 5: with pumpkin spice, I mean the primary flavor is not pumpkin.
• 1:18:07
  Speaker 5: It's cinnamon right.
• 1:18:08
  Speaker 4: Right, pumpkin space, it's it's pumpkin pie. What it means
• 1:18:11
  Speaker 4: is the flavor of pumpkin pie.
• 1:18:12
  Speaker 5: Okay.
• 1:18:13
  Speaker 3: What are the festive food is the ones that only
• 1:18:16
  Speaker 3: coming around out around this, Tommy, that you most look
• 1:18:18
  Speaker 3: forward to these days.
• 1:18:20
  Speaker 4: Stuffing. I have a recipe for stuffing. That's my mom's recipe,
• 1:18:23
  Speaker 4: you know, stuffing as you call it dressing.
• 1:18:24
  Speaker 3: Perhaps call it stuff inside of the chicken.
• 1:18:27
  Speaker 4: Yeah, yeah, that's what I have. A recipe that involves
• 1:18:29
  Speaker 4: chestnuts that I make every year. Been making it ever
• 1:18:32
  Speaker 4: since I was like twenty, and that's my That's absolutely
• 1:18:35
  Speaker 4: my favorite thing that we make. And you know, you
• 1:18:38
  Speaker 4: put it, it's like a turkey. But then you also
• 1:18:39
  Speaker 4: have a lot of leftover is ideally making it to sandwiches.
• 1:18:42
  Speaker 4: You can put in a waffle iron and make like
• 1:18:44
  Speaker 4: these stuffing waffles with the gravy and stuff. That's great.
• 1:18:47
  Speaker 3: My wife, she's from the New ka as I mentioned,
• 1:18:48
  Speaker 3: and they're big on sausage mint stuffing that she makes
• 1:18:51
  Speaker 3: it with sausage mints. I've never had it before. I
• 1:18:53
  Speaker 3: mean it's delicious, but it just that sounds good. It's
• 1:18:56
  Speaker 3: really good looking up. Yeah, uk UK sausage mint stuffing.
• 1:18:58
  Speaker 3: It's worth getting for sure.
• 1:18:59
  Speaker 5: Yeah, and mess with your Google algorithm, I think.
• 1:19:03
  Speaker 3: But as we're saying though, so Bart thinks he's got
• 1:19:05
  Speaker 3: free home, he's got all the eggnog, Lisa's getting chest
• 1:19:07
  Speaker 3: pains from the eggnog, and Marge says this time for
• 1:19:09
  Speaker 3: the family Christmas photo at the Try and Save. Great
• 1:19:12
  Speaker 3: direction here, you were saying the commentary it was difficult
• 1:19:14
  Speaker 3: for him to do Stephen Deemore with the kettle coming
• 1:19:16
  Speaker 3: outside of Barts because she says it's going to be
• 1:19:18
  Speaker 3: at the Try and Save and don't big gag that
• 1:19:21
  Speaker 3: she's got two kettles going, Yeah, that's true. Yeah, Bart
• 1:19:24
  Speaker 3: has the vision of juvenile horn. This is one of
• 1:19:26
  Speaker 3: the moments you were saying that you added in because
• 1:19:28
  Speaker 3: it didn't feel like you were taking advantage of the
• 1:19:30
  Speaker 3: animated aspect. And this is the kind of stuff you
• 1:19:31
  Speaker 3: wouldn't do in a live action cut into Juvenile Hall
• 1:19:34
  Speaker 3: now the Santa in the in behind the booth there,
• 1:19:36
  Speaker 3: that's actually Josh doing the voice. Did you ever do
• 1:19:38
  Speaker 3: any voices or sounds on the show as well? Was
• 1:19:40
  Speaker 3: it just Josh I.
• 1:19:41
  Speaker 4: Feel I don't think I ever did any voices, but
• 1:19:43
  Speaker 4: it definitely there's some sounds. I don't remember what any
• 1:19:45
  Speaker 4: of them were.
• 1:19:46
  Speaker 3: Oh, okay, obviously you voiced yourself as well. No I didn't.
• 1:19:50
  Speaker 4: He did Harry or Hank did all the Raiders back then. Yeah, No,
• 1:19:54
  Speaker 4: we didn't do that. Josha did our voices in Mission Hill,
• 1:19:58
  Speaker 4: but we didn't. We did the voices of different character,
• 1:20:00
  Speaker 4: but we never did any voices on The Simpsons. And
• 1:20:02
  Speaker 4: the only reason we did those voices on the uh
• 1:20:07
  Speaker 4: on the Simpsons were because the last the voices didn't work.
• 1:20:09
  Speaker 4: At the last minute, we were at the mix, the
• 1:20:11
  Speaker 4: final mix for the show, and Josh, I know, he
• 1:20:13
  Speaker 4: mentioned he did the voice of the horseshoe Crab and
• 1:20:16
  Speaker 4: that and that Lisa and the the what's that one
• 1:20:19
  Speaker 4: end of this the Cizon finale. Yes, yes, he did
• 1:20:23
  Speaker 4: theo he did the sound of the horseshoe Crab and
• 1:20:25
  Speaker 4: then so like basically what happens is we show up
• 1:20:27
  Speaker 4: at the mix and the voice isn't right, and so
• 1:20:28
  Speaker 4: then generally Josh would do the sound director of.
• 1:20:31
  Speaker 3: The voice, like you know, voicing yourselves. Was that just
• 1:20:34
  Speaker 3: you going, Look, we're not gonna we'll visually put ourselves
• 1:20:37
  Speaker 3: into the show, but we don't want to feel like
• 1:20:38
  Speaker 3: we're putting our shows into theself into the show just
• 1:20:40
  Speaker 3: because we can.
• 1:20:41
  Speaker 4: For some reason, it never even occurred to us, and
• 1:20:43
  Speaker 4: I suspect that the actors wouldn't have liked it because
• 1:20:45
  Speaker 4: they were the actors had a lot of very territorial
• 1:20:48
  Speaker 4: about that stuff. So it never even occurred to us
• 1:20:50
  Speaker 4: because even in the past when the writers had been depicted,
• 1:20:53
  Speaker 4: like when Mike and now were depicted, they didn't do
• 1:20:55
  Speaker 4: their own voices either.
• 1:20:57
  Speaker 3: This show is brought to you by the Full Figured
• 1:20:58
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• 1:21:01
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• 1:21:20
  Speaker 3: Slash four finger discount. Did you ever get input from
• 1:21:24
  Speaker 3: the voice cast to the gags in the show? Did
• 1:21:26
  Speaker 3: they ever help sort of rewrite anything or give some
• 1:21:29
  Speaker 3: input as to is shure Flanders would say this.
• 1:21:33
  Speaker 4: Once in a while they would do that kind of thing,
• 1:21:36
  Speaker 4: but they generally did not criticize the material, and once
• 1:21:40
  Speaker 4: in a while they would, like Harry Shearer was a
• 1:21:42
  Speaker 4: cantankerous fellow who would occasionally criticize the material and like
• 1:21:47
  Speaker 4: he particularly didn't like the George Bush episode, which he
• 1:21:50
  Speaker 4: had sort of he kind of expected us to completely
• 1:21:52
  Speaker 4: rerate it, and we were like, no, we love it
• 1:21:53
  Speaker 4: the way it is, but he didn't like it, so
• 1:21:55
  Speaker 4: but he did it anyways. He's a professional. But generally
• 1:21:59
  Speaker 4: what would happened is that the light they would not say,
• 1:22:01
  Speaker 4: the actors would not criticize the material. They would offer
• 1:22:05
  Speaker 4: alternate takes so on like the third take, they would
• 1:22:07
  Speaker 4: just say a different line, or they would improvise some stuff,
• 1:22:10
  Speaker 4: and sometimes that stuff made it in. It was great,
• 1:22:12
  Speaker 4: Like the whole Chalmers and Skinner lying thing was totally
• 1:22:15
  Speaker 4: improvised the first time it appeared. And there are other
• 1:22:19
  Speaker 4: lines and you can often tell what they are because
• 1:22:20
  Speaker 4: they don't sound written, like when when Homer says to Lisa, like,
• 1:22:24
  Speaker 4: remember when Dady hit the referee? When Dad hit the referee,
• 1:22:26
  Speaker 4: And she's like, yeah, that part was like you can
• 1:22:29
  Speaker 4: tell because it doesn't sound like it was scripted. So
• 1:22:31
  Speaker 4: those they did it from time to time, and we
• 1:22:33
  Speaker 4: put it in a lot of times it sounded really
• 1:22:35
  Speaker 4: natural and funny, and we put it in well.
• 1:22:37
  Speaker 3: I used to co host a podcast with Voice at
• 1:22:39
  Speaker 3: the Jim Cummings and a lot of voice actors get
• 1:22:41
  Speaker 3: were guests on that show, and they'd often say, we'd
• 1:22:43
  Speaker 3: read it as written and then read it how it
• 1:22:45
  Speaker 3: was supposed to be. That's what the voice actors were.
• 1:22:47
  Speaker 4: Ah, but that's a professional attitude.
• 1:22:50
  Speaker 3: Yeah, and that would say that, you know, the writers
• 1:22:52
  Speaker 3: are very you know, they're very precious of their words,
• 1:22:55
  Speaker 3: and you have to respect that. That's their job. They
• 1:22:56
  Speaker 3: had professionals, that's what they do. We he the voice.
• 1:22:58
  Speaker 3: They hate to do the writing, but we'd like to
• 1:23:00
  Speaker 3: also offer an alternate take, which is what you're saying.
• 1:23:02
  Speaker 3: The Simpsons would do as well. But with besides Harry
• 1:23:05
  Speaker 3: though with they pretty relaxed about it. Hank can dancing
• 1:23:08
  Speaker 3: pretty relaxed, and Julie yes, very they were very very relaxed.
• 1:23:12
  Speaker 4: I know Julie, like, I know, there was a famous thing,
• 1:23:14
  Speaker 4: and I'm sure this has appeared on the Contrary where
• 1:23:16
  Speaker 4: Julie complained about a lot this famous line like do
• 1:23:20
  Speaker 4: you know what I'm talking about? It's like, who's mining
• 1:23:22
  Speaker 4: the Quickie Mart? Who the fuck cares? Has this been discussed?
• 1:23:25
  Speaker 5: I think so?
• 1:23:26
  Speaker 4: Okay. I think it was at the front or one
• 1:23:29
  Speaker 4: of those other episodes where Pooh is they're in an
• 1:23:34
  Speaker 4: audience or something or other and marged, I know what
• 1:23:38
  Speaker 4: the joke was, but I don't remember what episode it was.
• 1:23:40
  Speaker 4: I think it was who's mining in the Quickie Mart?
• 1:23:42
  Speaker 4: Marge says who's mining the Quickie Mart? And a poo
• 1:23:45
  Speaker 4: and like and then you cut to the Quickie Mart
• 1:23:46
  Speaker 4: and like Jimbo and Dolf are like using strawbers or
• 1:23:51
  Speaker 4: something like that.
• 1:23:51
  Speaker 5: Right, yes, that's right.
• 1:23:53
  Speaker 3: I remember Julie saying.
• 1:23:56
  Speaker 4: Thinking that was stupid, like why would Marge And I
• 1:23:58
  Speaker 4: think that she had a legitimate point to some extent.
• 1:24:01
  Speaker 4: Why would Marge ask a Pooh who's mining the Quickie Mart?
• 1:24:04
  Speaker 4: In this situation? And she is, like, I remember, because
• 1:24:07
  Speaker 4: she said, who's mining the Quickie Mart? Who the fuck cares.
• 1:24:12
  Speaker 4: That was her way of protesting it. But obviously that
• 1:24:14
  Speaker 4: park got cut.
• 1:24:14
  Speaker 3: Out, that's deleted, says of course.
• 1:24:18
  Speaker 5: Yeah.
• 1:24:19
  Speaker 3: Were there many delayed scenes in the show they cut
• 1:24:21
  Speaker 3: out for a reasonal because sometimes it's cut fit time.
• 1:24:23
  Speaker 3: But were there's sometimes where we went, I really wish
• 1:24:25
  Speaker 3: we had twenty two and a half minutes because this
• 1:24:27
  Speaker 3: guy is just so great.
• 1:24:29
  Speaker 4: Oh yeah, our episodes, this is thing Mike and out.
• 1:24:32
  Speaker 4: When they were running the show, the episodes often came
• 1:24:35
  Speaker 4: in short because they were really brutal about what they
• 1:24:38
  Speaker 4: cut and you know, made great episodes. And uh so
• 1:24:41
  Speaker 4: that's how that thing that eventuals did Flanders eventually came
• 1:24:44
  Speaker 4: on a matter of filler, and that was what gave
• 1:24:47
  Speaker 4: us the idea for twenty two short films. Anyway, our
• 1:24:49
  Speaker 4: episodes always came in long. Every one of them was long.
• 1:24:51
  Speaker 4: It was always we have to cut, we have to
• 1:24:53
  Speaker 4: cut some stuff before we ship to the animators. There's
• 1:24:55
  Speaker 4: a limit to how much we can animate, and then
• 1:24:57
  Speaker 4: it would come back and we'd have to cut another
• 1:24:59
  Speaker 4: minute and a half out of it before it even
• 1:25:01
  Speaker 4: went to the went to air. So there are tons
• 1:25:04
  Speaker 4: of deleted scenes in our episodes. Because and they were
• 1:25:07
  Speaker 4: always just cut for time, mostly because we didn't ship
• 1:25:09
  Speaker 4: the stuff to Korea to be animated unless we loved
• 1:25:11
  Speaker 4: it already, so we uh So it was mainly just
• 1:25:15
  Speaker 4: those things were cut for time because our episodes were
• 1:25:17
  Speaker 4: so criminally long, it was rare. And then we'd always
• 1:25:21
  Speaker 4: just cut the weakest material.
• 1:25:22
  Speaker 3: Ideally, you guys do and j just with the final
• 1:25:24
  Speaker 3: say on what got cut or did you have to
• 1:25:26
  Speaker 3: have Jim books or some Well, George come in and say,
• 1:25:28
  Speaker 3: oh gods, guys, guys, guys, come on.
• 1:25:30
  Speaker 4: You know, the idea of Jim Brooks coming to the
• 1:25:32
  Speaker 4: editing room is laughable. That he's too empowered important for that. No,
• 1:25:38
  Speaker 4: Joshua and I would decide the editor would make a suggestion,
• 1:25:40
  Speaker 4: you know, we'd say, the editor would say, you can
• 1:25:41
  Speaker 4: save six seconds by cutting this, I can speed this up,
• 1:25:44
  Speaker 4: we can save ten seconds by cutting this. We would
• 1:25:46
  Speaker 4: ask the editor for suggestions.
• 1:25:47
  Speaker 3: And six seconds doesn't sound like a lot, but it
• 1:25:50
  Speaker 3: is a lot of time.
• 1:25:51
  Speaker 5: Oh yeah, it is.
• 1:25:52
  Speaker 4: We would actually, and on several occasions we would ask
• 1:25:55
  Speaker 4: the network for extra time, and once in a while
• 1:25:58
  Speaker 4: they would give it to us, because that means that
• 1:25:59
  Speaker 4: cutting they're losing thirty seconds of ad money and so,
• 1:26:03
  Speaker 4: but a lot of times they would just stuff the
• 1:26:05
  Speaker 4: commercial in another break, like before King of the Hill
• 1:26:07
  Speaker 4: or whatever. So we on several occasions we asked them
• 1:26:11
  Speaker 4: network for extra thirty seconds and they did give.
• 1:26:13
  Speaker 5: It to us.
• 1:26:14
  Speaker 3: Did the Simpsons feel like a big money make a
• 1:26:16
  Speaker 3: commodity when you guys were still working on it by
• 1:26:18
  Speaker 3: the end we you of the show? One is, did
• 1:26:20
  Speaker 3: it feel like you were still one of the big
• 1:26:21
  Speaker 3: plays at folks?
• 1:26:23
  Speaker 4: Not really, because the Simpsons had this as if you're
• 1:26:28
  Speaker 4: old enough to recall, this had this huge, huge, huge
• 1:26:32
  Speaker 4: America was taken by storm in nineteen ninety for this
• 1:26:35
  Speaker 4: by the Simpsons. Right, it was a cover of Time magazine.
• 1:26:37
  Speaker 4: There's all this every store is low with merchandise, and
• 1:26:40
  Speaker 4: by the time that season six seven eight rolled around,
• 1:26:44
  Speaker 4: that had that way if had crashed. So you were
• 1:26:46
  Speaker 4: not seeing Simpsons stuff like you would see Simpsons golf ball.
• 1:26:48
  Speaker 4: Once in a while you'd see something new like Simpson's
• 1:26:50
  Speaker 4: golf balls, or you'd see a Simpsons you know, Chess
• 1:26:54
  Speaker 4: said it thrift store, right, But there wasn't new stuff
• 1:26:58
  Speaker 4: coming out, and there wasn't a lot of publicity about
• 1:27:00
  Speaker 4: the show because it was already old and people didn't
• 1:27:02
  Speaker 4: publicize things that were seven years old, so we didn't.
• 1:27:06
  Speaker 4: It did not feel like that. And furthermore, the ratings
• 1:27:08
  Speaker 4: weren't even all that great because we were still number
• 1:27:11
  Speaker 4: forty or fifty every week. It wasn't like in season
• 1:27:14
  Speaker 4: two when they beat Bill Cosby, the Simpsons was in
• 1:27:16
  Speaker 4: the top ten, but by the time we took over,
• 1:27:19
  Speaker 4: it was there on Sunday night, Thursday Night, and Sunday Night,
• 1:27:22
  Speaker 4: and we were always getting beat coming in second or
• 1:27:24
  Speaker 4: third to shows like Touched by an Angel or matt
• 1:27:29
  Speaker 4: Was It Mad About You? So that we were just like,
• 1:27:32
  Speaker 4: this is ridiculous, Like, who what person on earth would
• 1:27:35
  Speaker 4: be watching Mad About You when there's a brand new
• 1:27:37
  Speaker 4: Simpsons on.
• 1:27:38
  Speaker 3: You made a gag, You made a side gag about
• 1:27:40
  Speaker 3: that on the side of the bus.
• 1:27:40
  Speaker 5: Yeah, we did.
• 1:27:42
  Speaker 3: That was it.
• 1:27:42
  Speaker 4: That was our bitter. That was our bitter lashing out
• 1:27:47
  Speaker 4: a like, I couldn't believe anybody would watching Mad About
• 1:27:49
  Speaker 4: You when a brand new Simpsons episode was on. But
• 1:27:50
  Speaker 4: obviously a lot of people were there more than watching
• 1:27:52
  Speaker 4: the Simpsons, So yes, no, we were not. That was
• 1:27:56
  Speaker 4: part of the thing. I think the fact that it
• 1:27:57
  Speaker 4: was a people just weren't paying attention to us at
• 1:28:00
  Speaker 4: that time, which is how we got away with all
• 1:28:02
  Speaker 4: this stuff.
• 1:28:03
  Speaker 3: Is that why you think the show was going to
• 1:28:04
  Speaker 3: come to an end? Did this feel like? Did it
• 1:28:06
  Speaker 3: feel like the show was coming to an end? They
• 1:28:08
  Speaker 3: have felt working on it.
• 1:28:09
  Speaker 4: Not really, but I would say by the end of
• 1:28:11
  Speaker 4: season eight, we were like, there's we can't come up
• 1:28:13
  Speaker 4: with any more stories. We got to get out of here.
• 1:28:16
  Speaker 4: Is the way that that that was. But it did
• 1:28:17
  Speaker 4: not feel like I was coming to an end. But
• 1:28:19
  Speaker 4: it also felt like it was show that was in it.
• 1:28:21
  Speaker 4: It was an old show that was in its twilight years,
• 1:28:25
  Speaker 4: and that was the way that we felt that. We
• 1:28:26
  Speaker 4: were like, we should have all the fun we can
• 1:28:28
  Speaker 4: have with this thing before it's before it's over. And
• 1:28:31
  Speaker 4: that's where we started doing stuff like the Spinoff Spectacular
• 1:28:33
  Speaker 4: and twenty two short films and Frank Grimes and things
• 1:28:36
  Speaker 4: like that, because we were like, that's this is a
• 1:28:38
  Speaker 4: great this is one of the greatest shows ever created.
• 1:28:40
  Speaker 4: There's so many things to have fun with here. Let's
• 1:28:42
  Speaker 4: have all the fun we could possibly have and then leave.
• 1:28:46
  Speaker 5: Not gonna lie that.
• 1:28:46
  Speaker 3: Episodes like the Spinoff showcase and whatnot that I just
• 1:28:50
  Speaker 3: didn't get it. As a kid, I was like, I
• 1:28:51
  Speaker 3: don't know what the hell is going on here, But
• 1:28:53
  Speaker 3: as I go, I was like, this is great.
• 1:28:55
  Speaker 4: It wasn't really designed for kids. Yes, he said, it's really.
• 1:28:58
  Speaker 5: Interesting though ability say that you're we'll feel like you're
• 1:29:00
  Speaker 5: reaching a bit of creative end point. But that's when
• 1:29:04
  Speaker 5: a real well spring starts to emerge in terms of like, well,
• 1:29:07
  Speaker 5: you know, we've got this great playground, we can do
• 1:29:09
  Speaker 5: anything we like, and you get these great episodes as
• 1:29:11
  Speaker 5: a result.
• 1:29:13
  Speaker 4: Well, that was part of the fun is we were
• 1:29:15
  Speaker 4: like telling people we just sold you know, we'll just
• 1:29:16
  Speaker 4: do whatever we want to do, these things that push
• 1:29:18
  Speaker 4: the envelopes that have not been done on the show before,
• 1:29:20
  Speaker 4: because why not.
• 1:29:22
  Speaker 3: And that's how this stuff happened exactly. We'll just get
• 1:29:25
  Speaker 3: to the rest of this episode. So Marge, you know,
• 1:29:27
  Speaker 3: she asked, Bart's taking a long time to get ridically
• 1:29:29
  Speaker 3: his word about going to the try and save. Marge asks,
• 1:29:31
  Speaker 3: if you've got problem with you, zipp I can send
• 1:29:32
  Speaker 3: you farther up home and was like, oh no, I'm not.
• 1:29:34
  Speaker 5: Pretty much.
• 1:29:35
  Speaker 3: My dad when I was a kid, he just didn't
• 1:29:36
  Speaker 3: want to help out of that kind of thing. Bart
• 1:29:38
  Speaker 3: comes down the stairs throwing its disguise and Marsha, she
• 1:29:40
  Speaker 3: just wants one nice family photo. And this is the
• 1:29:43
  Speaker 3: sea plant here where every photo has always been ruined
• 1:29:45
  Speaker 3: by Bart doing something silly. We get the icon of
• 1:29:47
  Speaker 3: this has been meaned a lot. I know you're big
• 1:29:49
  Speaker 3: in the where you were big in the mean community
• 1:29:50
  Speaker 3: for a while. Not sure if you're paying much attention anymore, Bill,
• 1:29:52
  Speaker 3: but the I don't remember seeing that. That's a big heir,
• 1:29:55
  Speaker 3: that one. It's a big one. Yes, So there now
• 1:29:57
  Speaker 3: on the way, Marge locks the doors and me get
• 1:30:00
  Speaker 3: a great visual here of but visioning the chair becoming
• 1:30:05
  Speaker 3: Don Broadca And you mentioned the commentary like remember when
• 1:30:07
  Speaker 3: chairs had cigarette Yes, that's trade.
• 1:30:11
  Speaker 4: When the backseat of the car and the back seat
• 1:30:13
  Speaker 4: of a car there would have been an ash tree
• 1:30:14
  Speaker 4: and the seat in front of you.
• 1:30:15
  Speaker 5: Yeah.
• 1:30:16
  Speaker 3: And of course, but misunderstands cash as catfish because it's
• 1:30:19
  Speaker 3: his vision. Yes, yes, but everyone now has plans for
• 1:30:22
  Speaker 3: the department store. And this is actually in one of
• 1:30:24
  Speaker 3: my favorite moments as well. They're just genuine excitement of
• 1:30:28
  Speaker 3: going to the department store. There's so many things to do.
• 1:30:30
  Speaker 3: It reminds me of going to the mall when I
• 1:30:32
  Speaker 3: was a kid in the nineties. It's like, I'm going
• 1:30:34
  Speaker 3: to go to this store, Dad's I'm going to go
• 1:30:35
  Speaker 3: to the hunting store, and my sister is going to
• 1:30:37
  Speaker 3: go to this store. It felt like you were going
• 1:30:39
  Speaker 3: to a new world going to the mall.
• 1:30:41
  Speaker 5: The mall has it all. Yeah.
• 1:30:44
  Speaker 3: I don't know about you, Bill, but our local mall
• 1:30:46
  Speaker 3: is just not thriving. I guess you could say it's
• 1:30:48
  Speaker 3: not going well at all. Just malls aren't a big
• 1:30:50
  Speaker 3: thing anymore here in Australia.
• 1:30:52
  Speaker 4: Now in the mid and eighteen eighty is there where
• 1:30:54
  Speaker 4: they police to.
• 1:30:54
  Speaker 3: Be Oh y, have you ever watched those videos where
• 1:30:57
  Speaker 3: it's just someone somehow some genius set up camera in
• 1:31:00
  Speaker 3: like malls in not the eighties, and it's like three
• 1:31:03
  Speaker 3: hours of just being in a mall in the nineteen eighties.
• 1:31:06
  Speaker 3: It's fine with eighties synth playing underneath. It's amazing.
• 1:31:10
  Speaker 2: Wow.
• 1:31:11
  Speaker 3: It just takes you back. But Homer thinks Bart's got
• 1:31:13
  Speaker 3: tired little legs, so he carries him in. He's trying
• 1:31:16
  Speaker 3: to avoid all the security cameras as a result, and
• 1:31:18
  Speaker 3: Marge points out that she she always wanted a watch
• 1:31:21
  Speaker 3: like that, and Homer the Dirty Dog says, and maybe
• 1:31:23
  Speaker 3: someone can get it for you for Christmas. But now
• 1:31:25
  Speaker 3: she'd be really surprised when she opens up that ironing
• 1:31:27
  Speaker 3: board cover.
• 1:31:29
  Speaker 5: I love his logic. There's nothing malicious in that.
• 1:31:32
  Speaker 3: That's the worst possible gift that you could ever get.
• 1:31:35
  Speaker 3: My dad thought that gag was hilarious. I remember my dad,
• 1:31:37
  Speaker 3: I have I've memories of certain moments where I remember
• 1:31:40
  Speaker 3: my parents just laughing loud, and my dad just thought
• 1:31:42
  Speaker 3: that was the best. Then it was time for the
• 1:31:45
  Speaker 3: photo at the photo center where people still went and
• 1:31:47
  Speaker 3: got family photos at department stores.
• 1:31:49
  Speaker 4: They can't out laughing at the ironing port conference.
• 1:31:55
  Speaker 3: It's believable, and he thinks it's a great present too,
• 1:31:57
  Speaker 3: should be really surprised his sincerity of which she delivers
• 1:32:01
  Speaker 3: that line. Yeah, Dan was great.
• 1:32:03
  Speaker 4: That man keep laughing at that all evening.
• 1:32:05
  Speaker 3: So you didn't really think much about this. This photo center,
• 1:32:08
  Speaker 3: it's just called photo center. I know that's just the gag,
• 1:32:11
  Speaker 3: but it's just like, there's no clever title here. It's
• 1:32:13
  Speaker 3: just photo Center. They see Flanders, the family, flannderstanding a
• 1:32:16
  Speaker 3: lot of the models. You know, they've got the Time
• 1:32:18
  Speaker 3: magazine covering the various portraits and whatnot. Then Bart sees
• 1:32:22
  Speaker 3: Don Broadca just perusing and walking around the story panics.
• 1:32:24
  Speaker 3: He tells Ansel Adams, who as a kid, had no
• 1:32:27
  Speaker 3: idea what he's talking about, you.
• 1:32:28
  Speaker 4: Know, Assel Adams, and I think it's even clear what
• 1:32:30
  Speaker 4: the joke was. He calls him asshole Adams, which I
• 1:32:32
  Speaker 4: think is a joke that nobody got but a few people.
• 1:32:37
  Speaker 3: And Marge takes out the pacifier. She doesn't want Maggie
• 1:32:39
  Speaker 3: to have it in her mouth with the photo. She
• 1:32:41
  Speaker 3: starts crying. Now, you were saying in the commentary that
• 1:32:43
  Speaker 3: this photographer had more of a bit in this episode,
• 1:32:46
  Speaker 3: but yet to cut him out for Time. What was
• 1:32:48
  Speaker 3: his story?
• 1:32:49
  Speaker 4: I have no idea. I don't even know what.
• 1:32:51
  Speaker 3: Oh apparently had more scenes. Yeah, the bit that he
• 1:32:53
  Speaker 3: had Marvel time to put on the funny voice, and
• 1:32:55
  Speaker 3: I was just there. Dan was great, but Dan, so
• 1:33:00
  Speaker 3: he tries making a smile of the funny voice. Then,
• 1:33:02
  Speaker 3: as the photo has been taken, Bar gets dragged away
• 1:33:04
  Speaker 3: by Broadga and reveals her that Bart stole the stole
• 1:33:07
  Speaker 3: the video game.
• 1:33:08
  Speaker 5: Found.
• 1:33:09
  Speaker 3: We don't want to believe it at all. I love
• 1:33:10
  Speaker 3: the reading here of of course, now his little boy,
• 1:33:12
  Speaker 3: he's stealing little toys, wanted to be a girl man,
• 1:33:15
  Speaker 3: stealing stadiums and quarries.
• 1:33:17
  Speaker 5: Yeah, quarries.
• 1:33:21
  Speaker 3: It's fantastic. But he puts on the tape. Now this
• 1:33:23
  Speaker 3: reveal here again, Kids watching now would have this would
• 1:33:27
  Speaker 3: make no sense to them. The various TV is all
• 1:33:29
  Speaker 3: playing the same thing. But you know, obviously thirty years ago,
• 1:33:32
  Speaker 3: Marge can't believe. She's in just utter disbelieve that her
• 1:33:34
  Speaker 3: son would actually be caused to because she defends him.
• 1:33:36
  Speaker 3: She backs from I know my little boy, and I
• 1:33:38
  Speaker 3: know he's not a thief, but no, turns out he is,
• 1:33:40
  Speaker 3: and she just it's almost like she second guesses everything
• 1:33:43
  Speaker 3: she's known about her son and about the way she's parenting.
• 1:33:45
  Speaker 3: So we come back and we get one of the
• 1:33:46
  Speaker 3: all time homer rants about Captain Motzie's name and the
• 1:33:50
  Speaker 3: various Police Aademy movies dailing.
• 1:33:53
  Speaker 5: How could you haven't you learned anything from that guy
• 1:33:56
  Speaker 5: who gives those sermons at church?
• 1:33:58
  Speaker 3: Captain wats his name?
• 1:34:00
  Speaker 4: We live in a society of laws.
• 1:34:03
  Speaker 3: Why do you think I took in all those Police
• 1:34:05
  Speaker 3: Academy movies for fun?
• 1:34:07
  Speaker 5: Well?
• 1:34:07
  Speaker 4: I didn't hear anybody laughing, didn't.
• 1:34:09
  Speaker 3: You except that that guy you meets sound effects? Whoa whoam.
• 1:34:16
  Speaker 2: Hug?
• 1:34:17
  Speaker 3: Hug? Where was I?
• 1:34:22
  Speaker 6: Oh?
• 1:34:23
  Speaker 3: Yeah, stay out of my boots. But apologizes too much.
• 1:34:27
  Speaker 3: But she's just giving nothing back now, and he says,
• 1:34:30
  Speaker 3: can I do anything to make it feel better? She says,
• 1:34:31
  Speaker 3: once you got to bed. But she's just She says, yeah,
• 1:34:34
  Speaker 3: I feel like I've failed him, you know, And she
• 1:34:36
  Speaker 3: look on the wall. She puts the frame up on
• 1:34:37
  Speaker 3: the wall and that dips slightly. Then the kids are
• 1:34:39
  Speaker 3: brushing their teeth. And you've said that you loved doing
• 1:34:42
  Speaker 3: scenes in the kids bathroom because it was a set
• 1:34:44
  Speaker 3: that wasn't taking advantage of much in the earlier years,
• 1:34:46
  Speaker 3: And I agree. I think you did have it in
• 1:34:48
  Speaker 3: the Bart versus Australia episode. Yeah, there's there's it's it's
• 1:34:51
  Speaker 3: a really interesting bathroom. A surprise I didn't put more
• 1:34:56
  Speaker 3: scenes in there in the earlier seasons. Then Lisa explains
• 1:34:59
  Speaker 3: to Bart, how Marge, you know when she's sad, you know,
• 1:35:01
  Speaker 3: she she's really sad, and but hopes that she's it's
• 1:35:04
  Speaker 3: not gonna last forever. He's laying in bed again. This
• 1:35:06
  Speaker 3: is a callback to the opening. When he hears March
• 1:35:09
  Speaker 3: singing to Lisa, he says, oh, it's time for the
• 1:35:11
  Speaker 3: tucking time. It's almost like he's he wants it this time. No,
• 1:35:15
  Speaker 3: slightly like he's saying, but he wants it.
• 1:35:17
  Speaker 5: Well, I mean he's used to the status quo. I mean,
• 1:35:21
  Speaker 5: chewing out by your dad. You can, okay, I'll take
• 1:35:24
  Speaker 5: my licks. He's got it out of his system and
• 1:35:27
  Speaker 5: it's all blown over. But you know your mum being
• 1:35:30
  Speaker 5: disappointed in you. That just it was like a seismic shift.
• 1:35:32
  Speaker 5: Feels like nothing is going to be the same as
• 1:35:34
  Speaker 5: it ever was. And he's kind of like, oh, well no,
• 1:35:37
  Speaker 5: it is going to be the same as well, and
• 1:35:38
  Speaker 5: I'm going to get this same song that I've always
• 1:35:41
  Speaker 5: had to put up with. Okay, fine, you don't get it.
• 1:35:44
  Speaker 5: Oh boy.
• 1:35:45
  Speaker 3: Yeah. I think this episode resonates with me because I
• 1:35:48
  Speaker 3: got caught accidentally trying to steal a Disney magazine when
• 1:35:52
  Speaker 3: I was a kid. My mum was there when I
• 1:35:53
  Speaker 3: got basically accidentally, so basically sorry, I wanted a Disney
• 1:35:57
  Speaker 3: Afternoon's little comic magazine thing. Mom said, we can't afford
• 1:36:01
  Speaker 3: it was a TV guid That's it. So I slipped
• 1:36:03
  Speaker 3: it into the TV guide and then when the girl
• 1:36:05
  Speaker 3: and the check at tried to scan it, it fell
• 1:36:06
  Speaker 3: out at the register and Mum looked at me, and
• 1:36:09
  Speaker 3: it was pretty much this story. I was like, she
• 1:36:10
  Speaker 3: was heartbreaking, she was disappointed. But did you have a
• 1:36:12
  Speaker 3: moment of your childhood, Bill where you remember disappointing your parents,
• 1:36:16
  Speaker 3: Not making them angry, just disappointed.
• 1:36:18
  Speaker 4: I remember when I was eating there was it must
• 1:36:21
  Speaker 4: have been like four or five, when I would there
• 1:36:23
  Speaker 4: was a couple of occasions when I would start eating
• 1:36:25
  Speaker 4: candy bars in the store before we pay, like and
• 1:36:28
  Speaker 4: like my parents would see me. I get in trouble
• 1:36:31
  Speaker 4: where somebody would say, kid, you got you gotta pay
• 1:36:34
  Speaker 4: for that, and I'd start crying or whatever. I don't remember.
• 1:36:36
  Speaker 4: It was a very disappointing, but I remember at least
• 1:36:38
  Speaker 4: two occasions when I must have been about five, four
• 1:36:40
  Speaker 4: or five, where I was just taking candy and eating
• 1:36:43
  Speaker 4: it in the middle of the store and got in
• 1:36:45
  Speaker 4: trouble for that. But I don't remember what my parents'
• 1:36:48
  Speaker 4: reaction was other than they taking me away.
• 1:36:50
  Speaker 3: Yes, but this is where Homer and Marjor were in
• 1:36:53
  Speaker 3: bed home has got his little reading glasses on that
• 1:36:55
  Speaker 3: he has it at bedtime, and he's got plans for Bart.
• 1:36:58
  Speaker 3: No living the house, not even for school, no no period,
• 1:37:00
  Speaker 3: and no stealing for three months. In Marshal's I don't
• 1:37:03
  Speaker 3: know when Bart's hand like when I slipped away from mine,
• 1:37:06
  Speaker 3: She's got the little four year old handprint thing next
• 1:37:08
  Speaker 3: to her, and then he says, now, I know, what
• 1:37:11
  Speaker 3: are you gonna do? And it turns out this entire
• 1:37:12
  Speaker 3: time he was just drawing a picture of a robot
• 1:37:14
  Speaker 3: cooking a sausage. Then she thinks, maybe I'm mothering him
• 1:37:18
  Speaker 3: too much, and it's it's accurate, that's exactly how a
• 1:37:20
  Speaker 3: parent would react to the situation. Then Bart wakes up
• 1:37:22
  Speaker 3: late for breakfast the next morning. They didn't wake him up,
• 1:37:24
  Speaker 3: and then margin put the marshmallows in in his chocolate.
• 1:37:27
  Speaker 3: Things like that. I think is the only grandpa appearance
• 1:37:30
  Speaker 3: in the whole episode, is it?
• 1:37:31
  Speaker 5: Yes?
• 1:37:31
  Speaker 4: And it's very funny that it's this crazy reveal that
• 1:37:34
  Speaker 4: Grandpa's suddenly there, but that's her crampas he's a lucky
• 1:37:37
  Speaker 4: red hat of the scene where it's like, okay, well
• 1:37:40
  Speaker 4: he's only there for his joke.
• 1:37:42
  Speaker 5: Bill noted Foodie that you are. Have you every considered
• 1:37:45
  Speaker 5: making a hot chocolate infused marshmallow because that looked pretty delicious.
• 1:37:48
  Speaker 4: I did. I noticed that, and I remember it at
• 1:37:50
  Speaker 4: a time too. No, I have not considered doing that,
• 1:37:52
  Speaker 4: but it's a good idea.
• 1:37:53
  Speaker 3: You should definitely do it. Your thoughts on the grand
• 1:37:56
  Speaker 3: Bar character, because you know he gets very misused at times.
• 1:38:00
  Speaker 3: You know, he gets sort of he's a butt of
• 1:38:02
  Speaker 3: the joke. How did you Were you careful to how
• 1:38:05
  Speaker 3: the Simpsons treated the Grandpa character in your era?
• 1:38:08
  Speaker 5: Not really.
• 1:38:09
  Speaker 4: I mean sometimes I think that Grandpa was he utility player.
• 1:38:12
  Speaker 4: He can do a sincere story, but he can also
• 1:38:15
  Speaker 4: just be a crazy joke where he's like the Queen
• 1:38:17
  Speaker 4: of the Old West, or that thing where he's Hitler
• 1:38:19
  Speaker 4: where he's dancing for Hitler and these oranges and his
• 1:38:22
  Speaker 4: brain nothing. Yes, So he's like I think that taking
• 1:38:29
  Speaker 4: Grandpa too seriously is perilous because he's he's kind of
• 1:38:35
  Speaker 4: it seems fake a lot of times, because he's such
• 1:38:37
  Speaker 4: a wacko. It's like it's better, he's better for both
• 1:38:42
  Speaker 4: sincerity and wackiness is good and better in small doses.
• 1:38:45
  Speaker 3: I think I find even when we do this podcast,
• 1:38:48
  Speaker 3: sometimes we review episodes and they go, we just were
• 1:38:50
  Speaker 3: taking this way too seriously. It's an animated content. It's
• 1:38:52
  Speaker 3: meant to be funny. You know, don't don't worry about
• 1:38:55
  Speaker 3: this character's feelings being hurt.
• 1:38:58
  Speaker 4: Well, there are certain levels of certain certain sec characters.
• 1:39:01
  Speaker 4: You know, cares if Disco Stew's feelings are hurt. But
• 1:39:04
  Speaker 4: you know, Marge, Lisa, the more important the character is
• 1:39:07
  Speaker 4: to the series, the more you have to take you
• 1:39:09
  Speaker 4: have to treat them more realistically.
• 1:39:11
  Speaker 3: I think who was the next level for you? When
• 1:39:13
  Speaker 3: it comes to secondary characters under the Simpsons family, I'm thinking,
• 1:39:17
  Speaker 3: like Krusty, would he be.
• 1:39:18
  Speaker 4: One Skinner for me? And Skinner for sure? Yeah, that's
• 1:39:21
  Speaker 4: I mean, you know, that's why we spent so much time.
• 1:39:23
  Speaker 4: And Josh covered this too, that Skinner was so much
• 1:39:26
  Speaker 4: like all the people we all the teachers at our school,
• 1:39:28
  Speaker 4: and so that's why we we spend so much time
• 1:39:31
  Speaker 4: writing trincipal Skinner episodes and jokes and things like that.
• 1:39:33
  Speaker 4: And I wrote the whole steven Hams thing because I
• 1:39:36
  Speaker 4: felt like I know that character. I know that character
• 1:39:38
  Speaker 4: very well, and I know what he would do and
• 1:39:40
  Speaker 4: say in every possible circumstance.
• 1:39:42
  Speaker 3: Yeah, and you're saying that dynamic with Chilmins was born
• 1:39:44
  Speaker 3: out of you all touching the improv with Hank and Dan.
• 1:39:47
  Speaker 5: Yes.
• 1:39:48
  Speaker 3: But then by here he goes to see Milhouse, who's
• 1:39:51
  Speaker 3: now he says, even why about your mom stopped loving you?
• 1:39:54
  Speaker 3: He goes, Nah, I'm more worried about Piranhas. Was a
• 1:39:56
  Speaker 3: fun rotting Millhouse random stories like this thought the Piranha story, I.
• 1:40:01
  Speaker 4: Feel like that's Mike probably put that in this first draft.
• 1:40:03
  Speaker 4: It sounds like him, and it sounds like the mill hoos. Yes,
• 1:40:05
  Speaker 4: it's funny. Millhouse is believable, dope, and he's if writing
• 1:40:08
  Speaker 4: his realistic stuff is because that's what I found it
• 1:40:12
  Speaker 4: to be, a very realistic thing that Milhouse probably would say. So, yeah,
• 1:40:15
  Speaker 4: that's kind of stuff is always fun to me when
• 1:40:17
  Speaker 4: it's going to nail it, like Dan and Cherry Adler
• 1:40:19
  Speaker 4: and Mechanicsburg. That's like it's one of those things where
• 1:40:22
  Speaker 4: it's that's perfect. That's just what he would say.
• 1:40:24
  Speaker 3: Was your Millhouse episode? I guess you could say Millhouse Divided?
• 1:40:27
  Speaker 3: Was that your Millhouse episode?
• 1:40:28
  Speaker 5: Do you think? Yeah?
• 1:40:29
  Speaker 4: I think so, I mean that was I mean, obviously
• 1:40:30
  Speaker 4: we didn't make it up, but if Steve Tompkins wrote
• 1:40:32
  Speaker 4: almost all of that. Yeah, but but it is, Yes,
• 1:40:35
  Speaker 4: that's or a Milhouse episode.
• 1:40:36
  Speaker 3: I think, Yeah, were there any side characters? You kind
• 1:40:38
  Speaker 3: of I know you always say we done it differently
• 1:40:40
  Speaker 3: we want to do But looking back now, was it
• 1:40:42
  Speaker 3: probably a side character you would have liked to have
• 1:40:43
  Speaker 3: done an episode on had you had more time.
• 1:40:46
  Speaker 4: I think we covered it. I think I think we
• 1:40:48
  Speaker 4: adequately covered it during that time.
• 1:40:50
  Speaker 5: Yeah.
• 1:40:51
  Speaker 3: Okay, but this is where Millhouse. He's not interested in
• 1:40:53
  Speaker 3: Bostorm anymore. It's not new thing. He's got a cup
• 1:40:55
  Speaker 3: and ball, which is much more exciting. And they so
• 1:40:58
  Speaker 3: enthusiastic about the cup and ball as Millhouse would be. Yeah,
• 1:41:02
  Speaker 3: but he fights, so they fight. He says bart smoking
• 1:41:04
  Speaker 3: is where she goes to throw him out again, but
• 1:41:05
  Speaker 3: then he asks to hang out with her while she
• 1:41:07
  Speaker 3: does mum stuff because he's missing that motherly connection. And
• 1:41:09
  Speaker 3: he gets with Marge and yeah, just the posting the
• 1:41:11
  Speaker 3: Christmas cards obviously late but doesn't matter, and this the
• 1:41:14
  Speaker 3: tell me I'm good. But but he's Marge laughing. On
• 1:41:18
  Speaker 3: the way home, the family are making a snow family
• 1:41:21
  Speaker 3: looking into a snow mirror, and March I don't think
• 1:41:23
  Speaker 3: I thought you're twelve for this kind of stuff. Because
• 1:41:24
  Speaker 3: he'sappointed when he gets it in and they haven't invited him.
• 1:41:26
  Speaker 3: So he uses some of the snow under the car,
• 1:41:28
  Speaker 3: which is just sludge. He finishes his Snowman, which is
• 1:41:31
  Speaker 3: now he can actually buy this as like a vinyl figure.
• 1:41:33
  Speaker 3: Someone has made the Bart Snowman. He can actually myself
• 1:41:36
  Speaker 3: for Christmas. He looks inside the window and sees the
• 1:41:39
  Speaker 3: family watching TV without him, and he's a bird ruins
• 1:41:41
  Speaker 3: he he's Snowman. So he walks off angry, sees Nelson again,
• 1:41:45
  Speaker 3: who has once again stolen, and then he walks bast
• 1:41:47
  Speaker 3: to try and save and he says, everyone thinks of
• 1:41:49
  Speaker 3: a black sheep. I'll show them what a black sheep
• 1:41:50
  Speaker 3: can do.
• 1:41:51
  Speaker 5: Quick note about about Nelson here, he stole a replacement
• 1:41:55
  Speaker 5: at TAYR for a wheelbarrel.
• 1:41:57
  Speaker 4: That's such a stupid thing to steal. I feel like
• 1:41:59
  Speaker 4: George pitched out too, because it's perfect.
• 1:42:01
  Speaker 3: Yeah, but he just steals to the sake of it
• 1:42:03
  Speaker 3: doesn't healing.
• 1:42:05
  Speaker 5: Yeah, but Nelson's not doing his haha laugh sort of
• 1:42:08
  Speaker 5: a weird it's a weird, weird version of it. We
• 1:42:10
  Speaker 5: old laugh.
• 1:42:10
  Speaker 3: Yeah, it happens sometimes. But then so Bart has gone
• 1:42:14
  Speaker 3: into the Try and Save. We don't know for what yet.
• 1:42:16
  Speaker 3: We cut back to the home and Lisa and Marge
• 1:42:19
  Speaker 3: and Maggie putting fake snow on the tree, making herself
• 1:42:22
  Speaker 3: all dizzy, and Bart gets home. He's clearly hiding something.
• 1:42:25
  Speaker 3: Much as you can't get away from me, I spend
• 1:42:26
  Speaker 3: twenty three hours of the day here Homers go to
• 1:42:30
  Speaker 3: mar I've also found so random, it's so funny, just
• 1:42:32
  Speaker 3: the child door there. And then it's revealed here that
• 1:42:35
  Speaker 3: what he did was he went to the Try and
• 1:42:37
  Speaker 3: Save and got the photo of himself a self portrait
• 1:42:40
  Speaker 3: to put to give to Marge because he ruined the
• 1:42:42
  Speaker 3: last photo as his way of saying sorry. And it's just, yeah,
• 1:42:44
  Speaker 3: I think this is this is my favorite ending to
• 1:42:47
  Speaker 3: a Simpsons episode period. I mean, I love the I
• 1:42:51
  Speaker 3: love it to do it for her, but I think
• 1:42:53
  Speaker 3: just because I lived this experience with getting caught stealing
• 1:42:56
  Speaker 3: my mum was disappointed with me, I'm a Muma's boy
• 1:42:59
  Speaker 3: as well. I just I think the acting here, the writing,
• 1:43:01
  Speaker 3: everything about this ending couldn't be done better. I think
• 1:43:04
  Speaker 3: it's the perfect Simpsons ending. And if I'm going to
• 1:43:06
  Speaker 3: show somebody why I love The Simpsons and think it's
• 1:43:09
  Speaker 3: the best show of all time. This is the ending
• 1:43:11
  Speaker 3: I'm showing them. I think it's just it's incredible. This
• 1:43:14
  Speaker 3: show is brought to you by the four Finger Discount Patreon,
• 1:43:16
  Speaker 3: where you'll find over one hundred hours of bonus podcasts,
• 1:43:19
  Speaker 3: including exclusive Simpsons reviews and commentaries, as well as exclusive
• 1:43:24
  Speaker 3: episodes of Going Down to South Park, tales of Futurama,
• 1:43:27
  Speaker 3: Bob's Pods, Speaking of the Hill, Talking Seiefold, the One
• 1:43:31
  Speaker 3: about Friends, and so much more. So go ahead and
• 1:43:34
  Speaker 3: join the family today at patreon dot com slash four
• 1:43:37
  Speaker 3: finger discount. But yeah, so, as we're saying, so, she
• 1:43:40
  Speaker 3: buys him the Leeks putting challenge. He he doesn't have
• 1:43:43
  Speaker 3: the heart to break it to her, and we've all
• 1:43:45
  Speaker 3: seen this ending. It's fantastic. And over the credits we
• 1:43:46
  Speaker 3: get the Lee Carvo putting challenge, and again I love
• 1:43:49
  Speaker 3: that they drew the parking lot as well. Yeah, but
• 1:43:54
  Speaker 3: that is the end of March B not proud, just yeah.
• 1:43:57
  Speaker 3: One of my favorite episodes of all time. I think
• 1:43:59
  Speaker 3: it's my favorite Christmas episode of anything, even though it's
• 1:44:01
  Speaker 3: not Christmas. I watched it every Christmas. I trade luck
• 1:44:03
  Speaker 3: it's a Christmas special even though it's just set at
• 1:44:05
  Speaker 3: Christmas time, it's not really Christmas store. Because really, you
• 1:44:08
  Speaker 3: could have had this without the Christmas aspect to it.
• 1:44:10
  Speaker 3: I guess couldn't you. Definitely, Yeah, that's why it works
• 1:44:13
  Speaker 3: so well.
• 1:44:13
  Speaker 5: But it's got Christmas things. I mean, it's good. It's
• 1:44:15
  Speaker 5: got forgiveness, it's got family, it's got.
• 1:44:19
  Speaker 6: All.
• 1:44:20
  Speaker 3: It makes you feel a woman fuzzy. But I say
• 1:44:22
  Speaker 3: this is my favorite ending of all time. Do you
• 1:44:24
  Speaker 3: have a particular favorite ending to an episode?
• 1:44:26
  Speaker 5: Bill?
• 1:44:28
  Speaker 4: That's a good question. I mean, I think I like everybody.
• 1:44:31
  Speaker 4: I really like the ending of Mother Simpson with that
• 1:44:33
  Speaker 4: thing you know that's that's a really good one. But like, oh,
• 1:44:37
  Speaker 4: you know what I like. I really like the ending
• 1:44:41
  Speaker 4: of Homer the Smithers when when it says I got
• 1:44:45
  Speaker 4: this what'd you get that for? I got it knocked
• 1:44:47
  Speaker 4: for knocking mister Burns out the third story window?
• 1:44:49
  Speaker 5: Did he die?
• 1:44:50
  Speaker 4: And he says, what am I a doctor?
• 1:44:54
  Speaker 5: Yes?
• 1:44:54
  Speaker 4: Now that makes me laugh like crazy. That's one of
• 1:44:56
  Speaker 4: my favorite endings, is that that line particular.
• 1:45:00
  Speaker 5: You ever found yourself surprised by a script that was
• 1:45:02
  Speaker 5: submitted all that had worked on that had real emotional impact,
• 1:45:05
  Speaker 5: like the ending of Mother Simpson, for instance, But we
• 1:45:08
  Speaker 5: didn't expect this to have the wallop that it did.
• 1:45:11
  Speaker 4: I mean, the thing is, I'm not surprised because we
• 1:45:14
  Speaker 4: see this, We've by the time the script is, we've
• 1:45:16
  Speaker 4: already seen this story twenty times. We heard it the
• 1:45:19
  Speaker 4: story retreat, We've heard the outline, we heard the story
• 1:45:21
  Speaker 4: pitch out. So I wouldn't say I was surprised. I
• 1:45:23
  Speaker 4: was surprised when I'm surprised the first time I hear it,
• 1:45:26
  Speaker 4: for sure, Like the first time we heard Greg tell
• 1:45:29
  Speaker 4: the story of Bartsell's soul, I wouldn't say I was
• 1:45:31
  Speaker 4: surprised by the ending, but I was like, oh my god,
• 1:45:33
  Speaker 4: that's a perfect that's a great I was very surprised
• 1:45:35
  Speaker 4: by that story. I was surprised when Mike told us
• 1:45:37
  Speaker 4: this story of the shoplifting, and we were like, that's
• 1:45:40
  Speaker 4: perfect for that. So like the initial shock, I remember
• 1:45:42
  Speaker 4: what I feel the first time I heard the story,
• 1:45:44
  Speaker 4: even as a two sentenced version, and hopefully feel the
• 1:45:47
  Speaker 4: audience will feel that way when they see the completed
• 1:45:49
  Speaker 4: broadcast version.
• 1:45:51
  Speaker 3: You've said that you come up with a lot of
• 1:45:52
  Speaker 3: your ideas when you go for a walk getting away
• 1:45:54
  Speaker 3: from the computer is when you think that you're your
• 1:45:56
  Speaker 3: most creative when things come to you. Can you recall
• 1:45:58
  Speaker 3: a moment when anic since this episode from that era,
• 1:46:01
  Speaker 3: when you're working on it, the idea for it came
• 1:46:04
  Speaker 3: to you. Can you remember the moment when an iconic
• 1:46:05
  Speaker 3: story came to you and where you were and what
• 1:46:07
  Speaker 3: you were doing.
• 1:46:09
  Speaker 4: Yes, I remember that I came up with the idea
• 1:46:13
  Speaker 4: for the Homer three D thing.
• 1:46:15
  Speaker 5: Wow.
• 1:46:15
  Speaker 4: And I remember it was in the car, because the
• 1:46:18
  Speaker 4: thing is, I used to have a lot of time
• 1:46:19
  Speaker 4: to drive in the car because I had a very
• 1:46:20
  Speaker 4: long commute to the Fox lot from Pasadena where I lived,
• 1:46:24
  Speaker 4: and it was even on a good night, it was
• 1:46:25
  Speaker 4: forty minutes. On a bad day, it could be two hours.
• 1:46:28
  Speaker 4: So I had a lot of time and I would
• 1:46:31
  Speaker 4: play music and I would think about stuff, and that
• 1:46:33
  Speaker 4: I remember that whole thing, and it was basically just
• 1:46:35
  Speaker 4: a simple assemblage of stuff in my head. When you've
• 1:46:38
  Speaker 4: been looking at that Little Girl Lost Twilight Zone episode
• 1:46:41
  Speaker 4: in the book, and I was thinking like, what if
• 1:46:43
  Speaker 4: Homer went to just like the Little Girl went to
• 1:46:46
  Speaker 4: the fourth dimension? What if Homer went to the third dimension,
• 1:46:49
  Speaker 4: and I remember coming up. I remember what I was
• 1:46:51
  Speaker 4: driving on whatever, the ten Freeway in LA and when
• 1:46:55
  Speaker 4: I came up with that, And I have a couple
• 1:46:56
  Speaker 4: other ones like that, but that's the one that I
• 1:46:58
  Speaker 4: most distinctively remember.
• 1:47:00
  Speaker 3: Yeah, yeah, and that's I love everything about that episode.
• 1:47:03
  Speaker 3: It's just that you watch it now and call me crazy,
• 1:47:06
  Speaker 3: But the visuals kind of hold up, particularly when Home
• 1:47:09
  Speaker 3: is in the real world. That came out in nineteen
• 1:47:12
  Speaker 3: ninety four, ninety.
• 1:47:13
  Speaker 4: Five before Toy Story. It came out several months before
• 1:47:15
  Speaker 4: Toy Story, which I think is a real testament to
• 1:47:18
  Speaker 4: the fact that that was Again, also, we had no
• 1:47:20
  Speaker 4: idea it was going to be that good. We thought
• 1:47:22
  Speaker 4: it was going to be something that people dine on
• 1:47:23
  Speaker 4: their home computers. Until we've got specific data images on board.
• 1:47:27
  Speaker 4: To suddenly do it for free.
• 1:47:28
  Speaker 3: Yeah, wow, that's crazy. But just him walking down the street.
• 1:47:31
  Speaker 3: My kids, it's one of their favorite scenes. They go,
• 1:47:34
  Speaker 3: how is he in the real world? They were blown away.
• 1:47:35
  Speaker 4: My kids are seven. Still it's good thirty years later,
• 1:47:37
  Speaker 4: which is to really a testament to their great work.
• 1:47:39
  Speaker 3: It's an incredible Yeah, and I did there's a great photo.
• 1:47:41
  Speaker 3: Someone went to that location and took a photo of
• 1:47:44
  Speaker 3: where it was So great, isn't it? Yeah? Alrighty well
• 1:47:47
  Speaker 3: that is that is our review here of March being
• 1:47:50
  Speaker 3: not Proud. Now, guy, you had a couple of questions
• 1:47:51
  Speaker 3: for Bill before we let you go, Bill about just
• 1:47:54
  Speaker 3: being a showrunner in general. Like, guys just really enthralled
• 1:47:56
  Speaker 3: by the definition of what is exactly a show runner? Right?
• 1:47:59
  Speaker 5: Well, pretty much?
• 1:48:00
  Speaker 3: Yeah.
• 1:48:00
  Speaker 5: I mean, you know, we hear, we hear the term
• 1:48:02
  Speaker 5: a lot, but I mean I'm just wondering about the
• 1:48:04
  Speaker 5: actual sort of nine to five duties of a showrunner.
• 1:48:08
  Speaker 5: I mean, now you sort of cracking whips, you giving
• 1:48:13
  Speaker 5: shoulder rubs. I mean, that's two extremes right there, both
• 1:48:19
  Speaker 5: job violations.
• 1:48:20
  Speaker 3: But not anymore. They don't allow that anymore.
• 1:48:23
  Speaker 5: Yeah, I mean, what what does the job actually entail?
• 1:48:26
  Speaker 2: That? What?
• 1:48:27
  Speaker 4: Certainly I can say with Josh and I we split
• 1:48:29
  Speaker 4: the duties, but they were equivalent because we basically would
• 1:48:32
  Speaker 4: just switch off the even and the odd episodes. But
• 1:48:35
  Speaker 4: there's your charge of everything. The showrunner is in charge
• 1:48:37
  Speaker 4: of everything, and obviously it's different on a live action show,
• 1:48:40
  Speaker 4: but you're in charge of you know what's from in
• 1:48:44
  Speaker 4: the writing aspect. It is just this part of it.
• 1:48:46
  Speaker 4: You know, it's like what stories are we going to do,
• 1:48:47
  Speaker 4: Who's going to write them? How are we going to
• 1:48:49
  Speaker 4: rewrite this? What does this outline need to be improved by?
• 1:48:53
  Speaker 4: What are we going to do? You know, what joke
• 1:48:54
  Speaker 4: is going to go in this scene?
• 1:48:55
  Speaker 5: What and so forth.
• 1:48:56
  Speaker 4: Zone. So that's just the writing part, and then the animators.
• 1:48:59
  Speaker 4: You know, you have the design is the facts. They
• 1:49:00
  Speaker 4: used to have a fax machine in the facts over
• 1:49:02
  Speaker 4: hundreds of designs every day. Here's a design for this character,
• 1:49:04
  Speaker 4: this prop and so forth, and you have to go
• 1:49:06
  Speaker 4: over them. Also storyboards which would always show up on
• 1:49:09
  Speaker 4: the week you go home for the weekend, and you'd
• 1:49:11
  Speaker 4: be like, oh my god, thank god, and then there'd
• 1:49:12
  Speaker 4: be three hundred pages of storyboards you had to review
• 1:49:15
  Speaker 4: sitting on your doorstep from film Roman and so that
• 1:49:18
  Speaker 4: like you have to go over all that stuff. And
• 1:49:20
  Speaker 4: then you direct the actors, you film you and you
• 1:49:23
  Speaker 4: sit in the editing bay with the audio editor, you know,
• 1:49:25
  Speaker 4: putting together the audio track. So this is that I
• 1:49:28
  Speaker 4: can go on for hours, but this is what you do.
• 1:49:30
  Speaker 4: And then you you know the same with the animatic
• 1:49:33
  Speaker 4: comes back. You got to rewrite the animatic, you got
• 1:49:35
  Speaker 4: to cut three minutes out of it, and then you
• 1:49:37
  Speaker 4: and ideally you're going to be delegating this kind of
• 1:49:39
  Speaker 4: stuff too. Fortunately for Josh and myself, we could divide
• 1:49:42
  Speaker 4: it in half. But we also delegated it as well,
• 1:49:44
  Speaker 4: because there's so much stuff to do. You could easily
• 1:49:47
  Speaker 4: spend all day doing editing stuff and then nothing would
• 1:49:50
  Speaker 4: get written in the room. So you have to have
• 1:49:51
  Speaker 4: somebody running the room who's a trusted deputy as well.
• 1:49:55
  Speaker 4: And then you often have a break that we broke
• 1:49:57
  Speaker 4: it into two rooms. But like you're and you've got
• 1:49:58
  Speaker 4: to meet with Alf Clausan to discuss the music for
• 1:50:01
  Speaker 4: this episode. You got to meet with Travis Powers to
• 1:50:02
  Speaker 4: discuss the sound effects for the episode. You got to
• 1:50:04
  Speaker 4: go to the mix where all this stuff is put together,
• 1:50:07
  Speaker 4: and so like that's and and you know that's assuming
• 1:50:10
  Speaker 4: that you don't have any other duties outside of the show.
• 1:50:13
  Speaker 4: So that's, uh, that's generally what you do, but you're
• 1:50:16
  Speaker 4: interessuing the director and head writer of a movie as
• 1:50:20
  Speaker 4: well as like you know, when you have eighty people
• 1:50:24
  Speaker 4: that report to you with the Fox slot and you
• 1:50:26
  Speaker 4: know three hundred at film Roman to some degree, so
• 1:50:29
  Speaker 4: it's you're in charge of everything seasoning.
• 1:50:32
  Speaker 5: I mentioned you would love the idea of like, this
• 1:50:34
  Speaker 5: is a show that I adore and I love taking
• 1:50:37
  Speaker 5: in this direction. I love having I love having my
• 1:50:39
  Speaker 5: name on it in this regard, But at the same time,
• 1:50:41
  Speaker 5: there's a lot of work. Always I was just another
• 1:50:44
  Speaker 5: slob at the disk.
• 1:50:46
  Speaker 4: As Dorothy Parker said, I hate writing, but I love
• 1:50:49
  Speaker 4: having written. So I hate running the Simpsons, but I
• 1:50:52
  Speaker 4: love having having run the Simpsons. So like and it
• 1:50:56
  Speaker 4: wasn't I did I hate it at the time. I
• 1:50:57
  Speaker 4: didn't really hate it. But it was a lot of work.
• 1:50:59
  Speaker 4: And it was also a lot of mind numbingly repetitive
• 1:51:02
  Speaker 4: stuff where it's just like every morning, ten o'clock, here's
• 1:51:05
  Speaker 4: the room, the same twelve guys. We got to come
• 1:51:07
  Speaker 4: up with a name for the agency, had to save it,
• 1:51:09
  Speaker 4: so okay, Peyton, And as soon as you're done with that,
• 1:51:11
  Speaker 4: there's more. There's never gonna be there's a never any
• 1:51:14
  Speaker 4: avalanche of material to rewrite, and it's just it's not
• 1:51:17
  Speaker 4: as fun as it might sound. Along with all that
• 1:51:20
  Speaker 4: other stuff to do, and then you also have to think,
• 1:51:22
  Speaker 4: like you can't just do it. You also like you
• 1:51:25
  Speaker 4: have to also use your sixth sense of like is
• 1:51:27
  Speaker 4: this good? You know, It's not just that you can't
• 1:51:30
  Speaker 4: just put in the first thing that somebody pitches. You
• 1:51:32
  Speaker 4: have to wait until somebody comes up with something that's good.
• 1:51:34
  Speaker 4: And sometimes you have to wait long past the points
• 1:51:36
  Speaker 4: that people think that you should have waited, where it's
• 1:51:38
  Speaker 4: like that was good enough, that stupid name for that
• 1:51:40
  Speaker 4: store was good enough. Let's just move on, and you're like,
• 1:51:42
  Speaker 4: well it wasn't quite good enough. I have to stay
• 1:51:45
  Speaker 4: and order dinner, you know. So there's a lot of
• 1:51:46
  Speaker 4: stuff like that too.
• 1:51:48
  Speaker 5: When you've got all these duties and they involved logistics
• 1:51:50
  Speaker 5: and decisions and all these kind of basiness. Was there
• 1:51:52
  Speaker 5: ever a fear between joshing and stuff like are we
• 1:51:55
  Speaker 5: becoming suits? Were becoming execs? See that there was never
• 1:51:59
  Speaker 5: that thing like, no, we.
• 1:52:00
  Speaker 4: Were completely divorced from that world. No, we were completely
• 1:52:03
  Speaker 4: divorced from that world.
• 1:52:06
  Speaker 3: Did you ever have when you have days where you
• 1:52:08
  Speaker 3: spend hours and hours and hours trying to come up
• 1:52:10
  Speaker 3: with a site, gag or a name for something, and
• 1:52:13
  Speaker 3: maybe you couldn't even come up with anything that you're
• 1:52:15
  Speaker 3: happy with, would you say those days as unproductive.
• 1:52:19
  Speaker 4: We started as a new thing. This was not really
• 1:52:22
  Speaker 4: done to my knowledge that much in before season seven,
• 1:52:25
  Speaker 4: but we started a thing where people we would when
• 1:52:28
  Speaker 4: that kind of thing came up, we would take it
• 1:52:30
  Speaker 4: out of the room so like we'd see everybody, you know,
• 1:52:33
  Speaker 4: we'd send three people to go to another room and
• 1:52:35
  Speaker 4: do it, or we'd see everybody come in with a
• 1:52:37
  Speaker 4: list of ten funny signs for tomorrow or whatever. So
• 1:52:40
  Speaker 4: that and then we started doing that in all our
• 1:52:41
  Speaker 4: future shows, and it worked a lot better than having
• 1:52:43
  Speaker 4: the whole crew sitting there in the room trying to
• 1:52:45
  Speaker 4: think of the stuff. We just assigned it to a
• 1:52:47
  Speaker 4: small group. We'd farm it out somehow so that we
• 1:52:49
  Speaker 4: wouldn't get the momentum, wouldn't completely die.
• 1:52:52
  Speaker 3: How did you kill that rut? Was he saying to
• 1:52:55
  Speaker 3: just go for a walk? Does he say to get
• 1:52:56
  Speaker 3: out of the room? Because sometimes you're sitting in and
• 1:52:57
  Speaker 3: you go, I know there's an idea here. I can't
• 1:53:00
  Speaker 3: I just grab it? Why I know I can say it?
• 1:53:02
  Speaker 3: Why can I reach it?
• 1:53:05
  Speaker 4: That's really more of a problem individual writer problem. You know,
• 1:53:08
  Speaker 4: the show running the room running is a totally different
• 1:53:11
  Speaker 4: animal for that. For what you're describing, yes, taking a walk,
• 1:53:15
  Speaker 4: but that's when you're sitting in your computer trying to write.
• 1:53:17
  Speaker 4: The room running thing is more like, you know, you've
• 1:53:20
  Speaker 4: got a whole team of people there and it's you
• 1:53:23
  Speaker 4: have to guide them into coming up with what you want.
• 1:53:25
  Speaker 3: They were looking to you as well, Yeah, did you
• 1:53:28
  Speaker 3: have a struggle with the role of having to be
• 1:53:30
  Speaker 3: the boss of your peers, people who you had worked with?
• 1:53:32
  Speaker 4: And let's just say that people comedy writers of all
• 1:53:35
  Speaker 4: types are the most generous type. Would thing to say
• 1:53:39
  Speaker 4: would be the we're they're weirdos. They're the comedy writers.
• 1:53:43
  Speaker 4: There aren't that many comedy writers who are like Dick
• 1:53:45
  Speaker 4: van Dyke in The Dick Van Dyke Show. They are.
• 1:53:48
  Speaker 4: Many of them are extremely opinionated, many of them are loud,
• 1:53:53
  Speaker 4: many of them are you know, have issues of other
• 1:53:56
  Speaker 4: personal issues of some sort. So managing people is part
• 1:54:00
  Speaker 4: is a part of the job. And managing people well
• 1:54:03
  Speaker 4: is is hard. And I don't know that weird that
• 1:54:05
  Speaker 4: we're I think we did a pretty good job of it,
• 1:54:07
  Speaker 4: but that's because we often divided people and we divided
• 1:54:09
  Speaker 4: it into groups. We know, we know this guy's in
• 1:54:11
  Speaker 4: a bad mood, so let's put him in this other
• 1:54:12
  Speaker 4: room today or whatever, and things like thatself like yeah
• 1:54:16
  Speaker 4: or or yeah or reduced that kind of thing. And
• 1:54:18
  Speaker 4: and so we try to manage people. We divide up
• 1:54:21
  Speaker 4: the rooms so that we had an effective group. This
• 1:54:24
  Speaker 4: guy is a guy, better story guy, This is a
• 1:54:26
  Speaker 4: guy is a funnier joke guy. Let's try to divide
• 1:54:28
  Speaker 4: them up like that. So we tried. I think we tried,
• 1:54:31
  Speaker 4: and I think Jen generally did a pretty good job
• 1:54:34
  Speaker 4: of managing the people. I think, but who knows?
• 1:54:37
  Speaker 5: Did you end your tenure showrun as a guy? We
• 1:54:40
  Speaker 5: can do anything now, you know we've got our skill
• 1:54:43
  Speaker 5: set or our tool kit has just been enhanced to
• 1:54:47
  Speaker 5: an incredible degree, or did you just build the same
• 1:54:49
  Speaker 5: as you ever did?
• 1:54:50
  Speaker 4: I feel like, well, the thing about it is that
• 1:54:52
  Speaker 4: you don't want you leave the Simpsons. It's a hard
• 1:54:54
  Speaker 4: it's a rude awakening because the Simpsons is the most
• 1:54:57
  Speaker 4: protected TV environment you could ever possibly have. And the
• 1:55:00
  Speaker 4: moment you go out and it's like, we're going to
• 1:55:02
  Speaker 4: try to pitch our thing to CBS, they don't give
• 1:55:04
  Speaker 4: a shit that you ran the Simpsons. They didn't watch
• 1:55:06
  Speaker 4: the Simpsons. They like the mat about you much better,
• 1:55:08
  Speaker 4: and you're gonna go. So once you get into the
• 1:55:10
  Speaker 4: harsh realities of the regular part of TV business, you
• 1:55:13
  Speaker 4: realize how much it sucks. And that is actually say,
• 1:55:16
  Speaker 4: that's probably what Josh met when he said that he
• 1:55:18
  Speaker 4: didn't we regretted leaving the simstence because The Simpsons is
• 1:55:20
  Speaker 4: the most protected creative environment anyone could ever have, and
• 1:55:23
  Speaker 4: the rest of Hollywood is a ruthless shark tank and
• 1:55:27
  Speaker 4: trying to be out there and trying to sell stuff
• 1:55:29
  Speaker 4: to to TV networks is no fun.
• 1:55:32
  Speaker 3: Do you feel like you lost touch with the real
• 1:55:33
  Speaker 3: well to an extent when you went to The Simpsons
• 1:55:35
  Speaker 3: living in.
• 1:55:35
  Speaker 4: That bubble, Yeah, but I think it meant the show's better.
• 1:55:40
  Speaker 4: I mean, I spent on the weekends. We never worked
• 1:55:42
  Speaker 4: on the weekend. Despite that that we worked late, we
• 1:55:44
  Speaker 4: never worked on the weekends, so I you know, I
• 1:55:47
  Speaker 4: did would spend my weekend doing regular stuff like going
• 1:55:49
  Speaker 4: to Target or whatever, you know, going to the beach
• 1:55:51
  Speaker 4: and things like that. So I tried to stay more
• 1:55:52
  Speaker 4: in touch. I tried to stay in touch with the
• 1:55:55
  Speaker 4: regular world to the extent that I could.
• 1:55:56
  Speaker 3: Did the Workloine ever impact home life.
• 1:56:00
  Speaker 4: Not too much, because we didn't have any kids back then.
• 1:56:03
  Speaker 4: Neither of us had any kids back then, and so
• 1:56:05
  Speaker 4: we worked late, but we didn't also the ones. We
• 1:56:08
  Speaker 4: were the ones calling the shots as to how late
• 1:56:09
  Speaker 4: we worked. So that was a little bit better than
• 1:56:12
  Speaker 4: being in our employee thing, our employee who was at
• 1:56:14
  Speaker 4: our mercy.
• 1:56:15
  Speaker 3: We always there if someone was at the studio working.
• 1:56:18
  Speaker 3: Did you make sure that either you were Joshua there
• 1:56:20
  Speaker 3: as well, or would you say we're going home. You
• 1:56:22
  Speaker 3: guys stick around till you find a gay.
• 1:56:23
  Speaker 4: We never do this for the Raiders. That would be
• 1:56:25
  Speaker 4: an immediate rebellion if you were to do that. But no,
• 1:56:30
  Speaker 4: I mean we didn't stay there if the editor was working.
• 1:56:32
  Speaker 4: We kept the hours that the Raiders kept generally, but
• 1:56:34
  Speaker 4: then we'd aways to stay for an hour or two
• 1:56:36
  Speaker 4: to edit afterwards.
• 1:56:37
  Speaker 3: And before we go, Bill, did you have a chance
• 1:56:39
  Speaker 3: to put together that marathon that I've pitched to you?
• 1:56:41
  Speaker 4: I wanted to know whether I know. I only kind
• 1:56:44
  Speaker 4: of partially did it because I wanted to know whether
• 1:56:47
  Speaker 4: I was supposed to be picking episodes that the public
• 1:56:48
  Speaker 4: would like, or is this a marathon just for me?
• 1:56:50
  Speaker 6: This is you?
• 1:56:51
  Speaker 3: So no one knows that Bill Oakley is going this
• 1:56:53
  Speaker 3: is going to be a Bill Oakley marathon. It's just
• 1:56:55
  Speaker 3: Fox have said put together a five episode marathon that
• 1:56:59
  Speaker 3: you think I guess you could say that I think
• 1:57:01
  Speaker 3: the public's going to enjoy. But it's more your personal
• 1:57:03
  Speaker 3: preference as well. One that you would that you think
• 1:57:04
  Speaker 3: you would enjoy.
• 1:57:06
  Speaker 4: Okay, it would be Radio Boat, it would be Homer
• 1:57:09
  Speaker 4: the Heretic, it would be twenty two short films, it
• 1:57:13
  Speaker 4: would be the beast Ball episode, and it would be Homer,
• 1:57:18
  Speaker 4: the Smithers Home the Smithers.
• 1:57:20
  Speaker 3: Yeah, we recently revisited that one with a local comedian. Yeah,
• 1:57:23
  Speaker 3: we've got how fantastic that episode was just so great.
• 1:57:26
  Speaker 3: Very confident in your choices there, Bill, it's almost like
• 1:57:28
  Speaker 3: you've done it before I can put some thought into this.
• 1:57:33
  Speaker 3: But thank you again, Bill for your time here. It's
• 1:57:35
  Speaker 3: always great having you on the show. You one of
• 1:57:36
  Speaker 3: our favorite guests and you one of my favorite Simpsons people,
• 1:57:38
  Speaker 3: So thank you so much for joining us. But before
• 1:57:40
  Speaker 3: we go, I'll let you go plug all of your socials.
• 1:57:42
  Speaker 3: So where can we find steam Ham Society and where
• 1:57:44
  Speaker 3: should we be looking for? All the best Bill Oakley content.
• 1:57:48
  Speaker 4: That Bill Oakley on Instagram and Twitter, Instagram for the
• 1:57:52
  Speaker 4: food content. Join the steamdam Society if you care to
• 1:57:56
  Speaker 4: Steamedamssociety dot com. It's discord and then you can ask
• 1:57:59
  Speaker 4: me all the Simpsons questions you want as a paying
• 1:58:01
  Speaker 4: customer Simpsons channel there, and then you know, if you
• 1:58:04
  Speaker 4: are in America, go to Bill Oakley dot com. That's
• 1:58:08
  Speaker 4: where all my food stuff is and you will see
• 1:58:09
  Speaker 4: the list of upcoming events. We have events starting up
• 1:58:12
  Speaker 4: the series of events in Portland, Baltimore, Honolulu, Houston, and
• 1:58:17
  Speaker 4: so forth for next year, and there should be at
• 1:58:19
  Speaker 4: least fifteen or twenty other ones as well as one
• 1:58:22
  Speaker 4: in Canada.
• 1:58:23
  Speaker 3: Let's find a sponsor to get you dan under as well.
• 1:58:25
  Speaker 4: What do you reckon one hundred percent behind that quantus?
• 1:58:28
  Speaker 4: If you're listening, we can definitely work something out.
• 1:58:31
  Speaker 3: All right, Thank you again, Bill, and hope you have
• 1:58:33
  Speaker 3: a fantastic Christmas.
• 1:58:34
  Speaker 5: Thank you Bill, you too,