Episode Transcript
[00:00:08] Speaker A: Last week.
This is. We could do Gallagher again.
[00:00:14] Speaker B: We can expand on Gallagher.
[00:00:16] Speaker A: Let's revisit Gallagher.
[00:00:18] Speaker B: It's. Yeah, the director's cut.
[00:00:22] Speaker A: I can't saying. What were you saying now?
[00:00:24] Speaker C: I can't afford expensive subscription. So I found this on Daily Motion, which is where I find a lot of stuff off and it. And they. I should have realized it would immediately get taken down. So I watched 3/4 of it and that was rough going. And I thought I'll just finish it off tomorrow. I can't take any more of this. And by the time I go back the next day, this is. This video has been removed.
[00:00:49] Speaker A: Because you watched it?
[00:00:51] Speaker C: Yeah, no, you know, because it's like, you know, they. They have services that troll the Internet and go take that like anything BBC. It's going to be there for about 15 minutes before it's pulled.
[00:01:03] Speaker A: What's the site you're talking about?
[00:01:05] Speaker C: Daily Motion. It's a site that was created for gaming nerds.
You know, these idiots that record themselves playing video games. Yes.
[00:01:16] Speaker B: Twitch.
[00:01:17] Speaker C: And yet other idiots go watch them.
[00:01:19] Speaker A: Yeah.
[00:01:20] Speaker C: That is the genesis of Daily Motion. But it's also a good repository for a lot of foreign tv. Well like English TV and stuff you'll find on there. Unlimited thing like I couldn't believe that this was on there cuz it got released, what, last week, something like that.
[00:01:39] Speaker A: Oh, it's that new?
[00:01:40] Speaker C: Oh yeah, yeah.
You know, and it was gone.
[00:01:45] Speaker A: So you weren't able to see the whole thing. Well, I can fill you in if you'd like me to, even without my notes.
Let's start with Christian and I want to know why you chose this for us.
[00:01:57] Speaker B: Yeah.
[00:02:00] Speaker A: I. I want to talk about that too.
[00:02:01] Speaker B: I've been looking at that all year.
[00:02:03] Speaker A: And now we have.
That's what I. That's what I was thinking was why you chose this is because I wish.
[00:02:09] Speaker B: I wish that was the case.
[00:02:10] Speaker A: You've been looking at his little.
[00:02:11] Speaker B: Yeah, I just hoping to find something that would pop up on HBO Streaming that looked like that piece of paper.
No, it was just. We've been doing a lot of specials from decades ago and I promised at the end of the last episode that I would pick something more contemporary. And I was hoping to pick something that was outside my knowledge box, you know, something I had never heard of. And so I was perusing Kyle Scanlon's hbo.
I have my own profile under there, so, you know, I have my own. It's like my own. My own little room. And they had recommended for you this new Standup special by somebody I'd never.
[00:02:52] Speaker A: Heard of, so I recommended for you.
[00:02:53] Speaker B: Recommended for me. However, I have a feeling it was recommended for everybody with an HBO subscription, because now it's, like, number two on the most watched, you know, the past week.
It keeps popping up everywhere now. And, I mean, I don't. I don't know why it would be unless HBO is just pushing it hard enough that they get their money's worth.
[00:03:13] Speaker A: Yeah, yeah. Hp I'm. Now I'm thinking, like, Ted Lasso was apple, though, so it's not. I was looking for some kind of connection there. Brett Goldstein, second greatest night of your life.
[00:03:28] Speaker C: That's a good title. I'll give him that.
[00:03:30] Speaker A: You like the title?
And the intro is kind of like a meta. We always talk about the intros to these comedy specials, how it's like a guy getting ready, you know, getting pumped. Pumped up or whatever. This is kind of the opposite of that, right?
[00:03:42] Speaker B: I want to understand if. I want to know if you guys understood the intro when he was in the elevator and he did that thing with his eyes where he kind of, like, blinked, looking upwards, and then, like, came back. Did you know that? Did you know that was a reference to. That was a reference to the recently very popular show Severance. Oh, in the show Severance, people, they have their outside lives and their work lives, and they're separated by an implant that they have in their brain. And when they get on the elevator to go to work for a moment when the implant kicks in, after they go past the threshold, they do this, like, thing where their eyes kind of roll back and they blink quickly, and then they come back. And now all of their memories are of just work life, and they're completely separate lives. That way, when you leave work, all of your work is at work, and then your personal life is your personal life, and you are two different people sharing the same body, essentially. And so that was.
They had, what, season one, like, three, four years ago, and then season two just came out? Or was it season three? I don't know, but it's been very popular recently, which.
[00:04:42] Speaker A: My wife has been on me to see this program.
[00:04:45] Speaker B: It's very good.
[00:04:46] Speaker A: She wants us to watch it.
[00:04:47] Speaker B: I recommend it.
[00:04:49] Speaker C: I have a reaction when people are like, oh, you got to see this program. You know, I mean, I'm not a nihilist like you, but I am. I tend to react to like, no, I'm not gonna see it because you keep nagging me.
[00:05:00] Speaker A: Yeah, I'm not a nihilist.
Okay, Father of three, I've had the same job, knock on wood, for over 20 years.
You know, made me sound like a. Like a real a hole.
But I thought the show Severance, because I think it came out similar time as Succession. I don't know. I just made it to that. Or mixed them up because it sounds similar phonetically.
I thought it was about a severance package, you know, some guy fired from his job, he's been severed from his job and he's going to do something with his severance. I had no idea that it was about something like that.
It makes it more interesting to me.
[00:05:39] Speaker B: It is.
[00:05:40] Speaker A: Kind of want to see it and.
[00:05:41] Speaker B: Yeah, they. I.
[00:05:42] Speaker A: Is he on this program?
[00:05:44] Speaker B: No, he's not.
He was on Ted Lasso, as I think somebody mentioned, but same thing, Mark, you were saying. I also won't watch a show if everybody's watching it, just because, like, I don't. I can't tell you the reason. And that's the reason I never saw Ted Lasso, because people kept telling me.
[00:05:58] Speaker A: I should watch how great it is.
[00:05:59] Speaker B: Yeah.
[00:06:00] Speaker A: So you're not watching White Lotus, either one of them? No, because everyone's telling you.
[00:06:03] Speaker B: Right, exactly.
[00:06:04] Speaker A: And it is great. Yeah, you should see it.
[00:06:08] Speaker C: Is it really disturbing?
[00:06:09] Speaker A: White Lotus?
[00:06:10] Speaker C: Yeah.
[00:06:11] Speaker A: No.
[00:06:12] Speaker C: All right.
[00:06:13] Speaker A: It's a commentary on.
[00:06:14] Speaker C: I thought it was the guy that does all that disturbing.
What's his name?
[00:06:18] Speaker A: Mike White?
[00:06:20] Speaker C: Yeah. Was he. No. I'm thinking of Todd Solons. Never mind.
[00:06:22] Speaker A: Oh, I love Todd songs.
He's my nihilist.
[00:06:27] Speaker C: Like you would love.
[00:06:29] Speaker A: Damn it. I'm gonna walk out of here. Would you call me a nihilist one more time?
[00:06:33] Speaker C: You believe someone picking at the seams of society?
[00:06:37] Speaker A: I do. Yeah. Yeah.
[00:06:40] Speaker C: What's that, then?
[00:06:41] Speaker A: That's not a nihilist.
Annihilist is someone who holds nothing sacred.
And I hold very much a lot sacred. I don't want to get into this again. I did the whole Warhol bit last week. I don't want to explain it to you, you know.
All right, well, I think I know where this one's heading. Just by the fact that you didn't see the. The last quarter of it. You've seen it. You saw it.
[00:07:05] Speaker B: I did. Big C, Yeah.
Yeah. I watched it very early this week, earlier than normal. But I also. I got distracted towards the end, the last 10 minutes, and that's just a text message or something. And all of a sudden I look back up and it was over. And I thought, I really want to see how it ends in case, like, what if he really ties it together at the end. So right before we came here today, I went back and watched the last 10 minutes of it and yeah, I.
[00:07:30] Speaker A: Didn'T really get the ending. It's lost on my.
[00:07:32] Speaker B: Ends with a dick joke.
[00:07:34] Speaker A: Yeah, yeah.
[00:07:36] Speaker B: In a song. Like in song form. But it's not even a good song.
[00:07:40] Speaker C: I did read a review of it because apparently other people are reviewing these things, which I.
[00:07:45] Speaker A: There's other shows.
[00:07:46] Speaker C: There's other people reviewing what you read.
I think I read on chortle.co.uk which is the comedy website bible of Britain.
[00:07:59] Speaker A: Really?
[00:07:59] Speaker C: Yeah.
[00:08:00] Speaker A: They must love Stuart Lee over there.
[00:08:03] Speaker C: Well, they. That was the only one I could read because every other reviews Behind a Paywall.
[00:08:08] Speaker A: Really?
[00:08:08] Speaker C: Yeah. So I'd only get like the preamble.
[00:08:11] Speaker A: Yeah, Keep it. I'll never pay for anything.
[00:08:13] Speaker C: Yeah.
[00:08:14] Speaker A: Review of anything crazy.
[00:08:16] Speaker C: I mean, we start with the. The opener was good, though. I had high hopes.
[00:08:20] Speaker A: His opening joke.
[00:08:21] Speaker C: No, no, no. The opening where he's kind of mocking.
He's mocking the. The hype and the. And then he turns it into vomiting. You know, Mo Welch was in there, so I know a per. The. You know the lady that slaps him in the face.
[00:08:37] Speaker A: Yeah. I didn't know.
[00:08:37] Speaker B: I didn't recognize her.
[00:08:38] Speaker C: Yeah, that's my one at the end, too.
[00:08:40] Speaker A: The manager. She's like the manager.
[00:08:42] Speaker B: Oh, I didn't see like the end bit then.
[00:08:44] Speaker A: Yeah, yeah. Oh, yeah, yeah, there was.
[00:08:47] Speaker B: Oh, I wasn't even paying attention. That's funny.
[00:08:49] Speaker C: Former Lincoln Lodge cast member.
[00:08:51] Speaker B: Really?
[00:08:52] Speaker C: Another person, blonde?
[00:08:53] Speaker A: Yeah, yeah, yeah. She's at the end. You gotta watch the end.
[00:08:56] Speaker B: Yeah. I'll go back and look.
[00:08:57] Speaker A: She's a lodger.
[00:08:59] Speaker C: Yeah, she's large cast for a couple years and not yet another person who is gone into the firmament. Firmament. Leaving me in the gutter back here in the Lincoln Lodge.
[00:09:09] Speaker A: Sending. No checks back home.
[00:09:13] Speaker C: Exactly.
But, you know, that was cool to see someone you kind of know.
[00:09:18] Speaker A: Yeah, yeah. I didn't know. I didn't know her. She's a Chicagoan.
[00:09:22] Speaker C: Downstate.
[00:09:23] Speaker A: Downstate Illinois.
[00:09:24] Speaker C: Yeah, yeah.
[00:09:25] Speaker A: All right, all right. Well, yeah, I don't. I feel like I've seen that. That opening bit where, you know, you're nervous, the person's nervous and they're throwing. Throwing up.
I'm not. I'm not speaking into the microphone.
Don't be coy about it. Just say it.
You know, nobody's.
What am I not doing here?
[00:09:47] Speaker B: I'm right in it. Yeah. Now. Yeah, you got. It's a Directional mic, so you have to talk into the front of it.
[00:09:51] Speaker A: Well, it's, you know, if you're talking.
[00:09:53] Speaker B: To the side, you can't really hear what you're saying. See how I do this? You can't really hear anymore.
[00:09:57] Speaker C: Fred Durst.
[00:10:01] Speaker A: You know, I've been think. Trying to think of all week, and I'm not looking it up. Speaking of Fred, I've basically faced the wall to talk into this.
Where's the roadie to come in here?
[00:10:12] Speaker C: A roadie.
[00:10:13] Speaker A: Do we have any roadies for this show? I want to turn it like this. There we go.
I didn't want to handle it so aggressively.
[00:10:21] Speaker B: We should get somebody to review this podcast.
[00:10:24] Speaker A: Yeah, I'm sure there's podcast reviews.
[00:10:26] Speaker C: I'll review it for you right now.
[00:10:28] Speaker A: Go ahead. What do you think of it?
It's a pile of.
[00:10:32] Speaker B: What does it say on co.uk about this podcast?
[00:10:35] Speaker C: I'll send it to Choel.
[00:10:36] Speaker A: Are we getting reviews overseas yet because of you? Are you known overseas in any ways, like a hit maker, like a.
Like, who is Elvis's the Colonel Tom? Are you known as, like a Colonel Tom overseas? No. Is there any.
Any footprint over there that you have?
[00:10:57] Speaker C: None whatsoever.
[00:10:58] Speaker A: None.
[00:10:58] Speaker C: I tried taking a couple of tours there. I got a guy who did a local. A lot of local Midlands gigs, and I had some friends in London and was able to cobble something together, but they don't give a toss over there. I mean, what you're doing here. Yeah, they could give a.
[00:11:12] Speaker A: You know, are you known in your hometown as expat, made good or something like that? No, he made it over.
[00:11:19] Speaker C: Known as that weird, shy kid.
[00:11:22] Speaker A: Yeah.
[00:11:22] Speaker C: It Never spoke to anyone and couldn't make eye contact.
[00:11:25] Speaker A: Yeah.
Always pulling at his pants and shit.
Well, as we're watching, as I'm watching this, I'm thinking about you, obviously, because this guy's British and.
Yeah. So, I mean, I have my own take on it, but I'm very curious to hear.
[00:11:42] Speaker B: Oh, yeah, that was the thing. British take when, when I. So I first put it on, when I. Before I even recommended it, I thought, okay, I'm going to watch the first five minutes of this and see if it's any good, you know, if I should recommend this. And then he went straight into all this, all this stuff that I thought, oh, I. I want to know what Mark's thoughts are on.
He goes into the use of the word cunt and he goes into just a bunch of other.
[00:12:04] Speaker C: Against that.
[00:12:06] Speaker A: Yes.
[00:12:06] Speaker C: Yeah, I thought that was too far.
[00:12:08] Speaker B: And so When I. When I saw that it was going to be like that, that's when I thought, okay, this is at least worth looking at.
[00:12:16] Speaker A: Yeah, I do want to talk about that. We could. Yeah.
[00:12:18] Speaker C: No need for profound.
[00:12:19] Speaker A: Oh, no, that's crass.
No need for that.
Oh, I didn't finish. So you said Fred Durst. I've been trying to think of all week without looking it up.
The. The drummer from Blink 182. His name is Travis. What I keep wanting to say Bickle.
[00:12:35] Speaker C: From Barker, isn't it?
[00:12:37] Speaker A: Barker?
Yeah, it's Barker. Travis Barker.
[00:12:41] Speaker C: I thought that was the singer, though.
[00:12:43] Speaker A: No, that's the drummer, definitely.
[00:12:45] Speaker B: Yep.
[00:12:45] Speaker A: All right.
I'm trying to, you know, make my brain work, but it doesn't.
Brett Goldstein. Had you ever heard of Brett Goldstein the comedian? We all know Brett Goldstein as Roy Kent on Ted Lasso. You've seen this show, this program? You've not seen the program Ted Lasso?
[00:13:06] Speaker C: Nope.
[00:13:07] Speaker A: How about you, Big C? No, no.
[00:13:09] Speaker B: Like I said before, because everybody kept telling me I had to see it, and I never watched it.
[00:13:12] Speaker A: Well, it's quite a good program.
[00:13:14] Speaker C: You can only get it in Apple. I'm like, you're not strong. Arming me.
[00:13:19] Speaker A: Yeah.
[00:13:19] Speaker C: Into a goddamn, you know, subscription.
[00:13:23] Speaker A: Yeah. As we were. As I was walking out of the house today, my kid's home sick and he's, dad, I want to watch Fast Times at Ridgemont High. And I was like, I don't care, but we have to pay. I was like, no. Because anytime my kids want to see a movie or anything, they just buy it. Right.
They just pay, you know, and it goes to my. And I keep getting these charges. 429. 429. After I go to bed at night, you know, not buying it.
[00:13:47] Speaker C: Renting it.
[00:13:47] Speaker A: Yeah, renting it. Right, right.
[00:13:48] Speaker C: For 50 cents less.
[00:13:50] Speaker A: But he's like, well, I can get seven day trial AMC and watch it for free. And then that always turns into buying, forgetting to. To cancel it. Now I'm on the hook for 14.99 for AMC and it's. I can't keep track of them.
So you do. You do have some streaming subscriptions? What? You have Netflix. That's it. Netflix is shite.
[00:14:12] Speaker C: Hulu and Brit Box.
[00:14:14] Speaker A: Brit Box, Yeah, of course. Yeah. So you can watch 7 up, 14 up, 21 up, 28 up.
[00:14:20] Speaker C: No, I can't watch 32 up them anymore. They make me cry.
[00:14:26] Speaker A: They do. Why? Because it's so sad.
[00:14:27] Speaker C: So sad.
[00:14:28] Speaker A: It's so great.
[00:14:29] Speaker C: I mean, it's the best thing Ever made, I think. Wasn't it Eber or someone said, this is the peak of cinema.
[00:14:36] Speaker A: Yes.
[00:14:36] Speaker C: And now Apted's dead, so it's like. Well, are they going to try and carry on?
[00:14:41] Speaker A: Yeah, I think they had a succession plan in place for when he died.
[00:14:45] Speaker C: I guess they did.
[00:14:45] Speaker A: Some. Some underling is going to carry it on. Maybe Tony will just do it, take the helm.
[00:14:49] Speaker C: Well, he had a really good rapport with most of them, I feel like when she.
Yeah, yeah, yeah, yeah. I always remember, of course, the first one to die was my favorite one of the cockney women.
And she.
You know, there was the three girls.
[00:15:06] Speaker A: Yeah, the one with rheumatoid arthritis.
[00:15:09] Speaker C: I think so. Yeah. She.
[00:15:11] Speaker A: She was. She was one of the kids. Didn't they off themselves? I think.
No, one of the boys, though.
East End boys.
[00:15:20] Speaker C: No, no, I don't think he just.
[00:15:21] Speaker A: Maybe just dropped out of the show, but.
[00:15:22] Speaker C: Well, I told you that. I've told you this before. It's my favorite boring story, but one of the guys in it, one of the Scouses, was a teacher at my school.
[00:15:31] Speaker A: Wait, one of the Scouses? What does that mean? Scouse?
[00:15:34] Speaker C: How do you spell from the pew?
[00:15:35] Speaker A: That means you're from Liverpool. You're a Scouse.
[00:15:37] Speaker C: Scouser. One of the kids was a teacher at my school.
[00:15:42] Speaker A: No, which one?
[00:15:45] Speaker C: The Liverpool guy.
[00:15:46] Speaker A: Neil.
No, he's the one that ends up homeless.
[00:15:49] Speaker C: No, no, Neil, not Neil, the other kid. The other kid with Neil.
[00:15:53] Speaker A: The one to be an astronaut.
[00:15:55] Speaker C: Yeah. And he's like. He becomes a teacher and they show him totally disillusioned.
[00:15:59] Speaker A: Oh, yeah, no, I know you're talking.
[00:16:01] Speaker C: Bruce. He dropped out of the. No.
[00:16:04] Speaker A: Want to marry the African girl. He had a girlfriend in Africa.
[00:16:08] Speaker C: No, that's not him.
[00:16:09] Speaker A: Bruce.
[00:16:09] Speaker C: No, he dropped out of the series for a while and then he came back just to. Just to plug his, like, jazz band or some.
[00:16:19] Speaker A: I know you're talking about.
[00:16:20] Speaker C: Yeah, yeah.
[00:16:22] Speaker A: Oh, yeah, he was a rocker.
[00:16:23] Speaker C: He's totally disillusioned and you could tell it in his teaching at our school.
[00:16:28] Speaker A: So he was your teacher?
[00:16:29] Speaker C: Not mine, no, because I had gone. He taught history and there was two streams of history, political and social.
And the guy was in social and he taught political. But I knew of him.
[00:16:41] Speaker A: That's an interesting way to divide up history. We don't do it that way. Why are we talking about this? Because we're talking about British.
Oh, Brit box.
[00:16:48] Speaker C: Yeah. Anyway, carry on to the Goldstein at hand.
[00:16:53] Speaker A: Yeah, but had you ever heard of him, Brett? Goldstein.
[00:16:56] Speaker C: Only in the context of having a notepad.
[00:16:58] Speaker A: Yeah, obviously. Right, right. You have the.
[00:17:01] Speaker C: But no, he's not. He's not noted for comedy at all. And that's the first thing that you could tell when you watch this.
[00:17:08] Speaker A: Agreed. But then just a little digging is that he's been a stand up for 20 years.
There's no fucking way.
[00:17:15] Speaker C: No way he's been a stand. I think he's been in humor, he's done a lot of writing and he's very celebrated as a writer.
[00:17:23] Speaker B: Yeah, I think sort of like the Tom Green thing, like he had done stand up 20 years ago, you know, but doesn't mean he's like, noted as a stand up comedian.
[00:17:31] Speaker C: I compare this to when I saw Ricky Gervais's first stand up. Right. So Ricky Gervais was around comedy, did a chat show. He did so. And then he blows the world away with the Office. Right. And then for whatever reason, Ricky Gervais goes, screw it, I'll do stand up. But the thing is, he'd never done stand up before and he's playing to arenas because it's like, well, the name sells the thing.
And I think that's what I immediately thought of with Brett Goldstein. When I saw it, I was like, this is someone who became very famous very quickly and didn't.
And I hate the concept of you gotta earn your chops, you gotta do your chops. You gotta have something.
[00:18:14] Speaker A: You just have to have experience. It's not earning anything. It's just having the experience of, yeah, performing.
[00:18:19] Speaker C: But not years. You don't need decades of it. You need, you know, a year of like.
But you, when you're him, you don't get that year to perform in this obscurity, in the shadows. It's, boom, there you go. Right?
[00:18:34] Speaker A: Like the story about him to me, and I guess I didn't read it closely or write, was that he was a struggling comedian for all these years. He got Ted Lasso and that obviously catapulted him to fame. And now he's, you know, now he's doing the special. But like that. He was a seasoned comedian before this. But no, he didn't. He didn't seem to be one on stage.
[00:18:55] Speaker B: No, what I read was that he was doing a lot of writing too, so. And then also I read. Well, I read that he was a writer on Ted Lasso, and he emailed the, the, the cast and crew, the character that he had made up for the show, and he basically like filmed his own audition with a little line in there saying, if this is awkward or out of line or if you hate it, we never have to talk about this again. You know, and I'll just go on just writing in the show and like, let's never bring it up. But then they. They thought it was great and so they put the character in the show.
[00:19:25] Speaker A: Wasn't he in the show?
[00:19:26] Speaker B: Off he goes, no, no, no.
[00:19:28] Speaker C: He. I think this is when it was being developed. I read the same story as you. They were developing it, doing all the writers rooms, blah, blah, blah. And he left the room when I was like, I. I should be this character. I was like, what? He said and then did what?
Emailed everyone and said, I've written this, you know, I'd like to be this guy. Because they were going to start casting for it and they said was. I think the quote was, as soon as they heard his voice, everyone just said, he. Is it. Like, there's not.
There's no question that he is this guy.
[00:20:00] Speaker A: Yeah, his voice is.
[00:20:02] Speaker C: Is the two. Well, you know, I think I said this for Roy Kent is based on Roy Keane, an actual Irish football player who is very abrasive, doesn't care what anyone does. And, you know, so I think that not having seen the show, someone said, oh, yeah, that's his character.
[00:20:22] Speaker A: Yeah, yeah, the character is great on the show. And he's. He's great on the show. Right. So for me to have seen the show and enjoyed his character and enjoyed him, and then to see him go out on stage and lay a huge turd was. Yeah, yeah. Now it makes me not even like the character anymore. Like, now I don't like any of it, you know, it's like it's washed it all away, you know?
[00:20:49] Speaker C: Yeah, yeah. I don't get. We don't need the money.
Why did he need to do stand up?
[00:20:57] Speaker A: Right.
[00:20:57] Speaker C: Is what I'm thinking when I'm watching it. Because immediately, immediately I like the intro. And then as soon as the show.
[00:21:06] Speaker A: Started, you're like, this guy's amateur.
[00:21:08] Speaker C: I just thought, oh, God, I'm gonna hate this. Yeah, he's doing identity stuff. He's doing the LA comedy scene. Why do I give a shit? He's doing.
No, I think someone said, I did. I read. Someone thought he was. He was doing performance of comedy, but it was storytelling, not stand up. Yeah, I've read that somewhere.
[00:21:33] Speaker A: When he comes out, it's like he starts in with the, you know, almost like a Yakov Smirnoff.
[00:21:39] Speaker C: Yeah, yeah.
[00:21:40] Speaker A: We're like in Russia, we have this like, he's. It's the difference between England and America, right? I'm like, oh, yeah, I know.
[00:21:48] Speaker C: I'm just groaning straight away.
[00:21:50] Speaker A: And the observations were, I don't like the bathroom door. When he was talking about, like, I don't know what he's talking about here. Like, we don't have. Right, yeah, we can see our face and see our dick.
[00:22:02] Speaker B: I've never seen that in my life.
[00:22:03] Speaker C: No, no, no, that is an English thing and I will agree with him on that. Like, I have a mate who lives in San Francisco who went to university with. And the. One of the first things we talked about when we met up in America, having moved here, was I hate going in the bathroom here because this, like, if you go in a bathroom stall in England, it's hermetically sealed. Like, you're in there on your own, there's no one looking at your shoes going, oh, I bet that's Gary taking the shoes. You know, because when you go to work, right, if you've got your shoes.
[00:22:34] Speaker A: On, they know you, they know who's taking the shoes.
[00:22:37] Speaker C: And you're grunting one out, they can look at the shoes and go, ah, that's, that's so and so. Well, let him rip. And like, we would say, why in the wealthiest nation in, in the world do they have to skimp on bathroom doors that can't go all the way to the bottom so that I can crap without feeling like I'm being judged?
[00:22:59] Speaker B: That's something that even as an American, I remember my sister and I joking about, like when we were young, like when we start first started, like understanding the world, like, what the hell is this? Why do we, why do we have these?
[00:23:10] Speaker A: Yeah, it's just skimping. It's just saving, right?
[00:23:12] Speaker B: Just by, is it? No, I thought it was for ventilation.
[00:23:15] Speaker C: No, I thought it was so people weren't banging each other in there.
[00:23:18] Speaker A: Someone told me, you can see two sets of shoes.
[00:23:21] Speaker C: Yeah. You know, if someone's getting busy in the toilet, you're gonna see because there's a, there's a 3 inch gap in the door for a start, where you could see into the goddamn cubicle. There's all this space above. You could throw water bombs.
I mean, if you had, if you did that in England, people would just be throwing water bombs on you while you're sitting taking a shit and stuff. Like, you have to be hermetically sealed.
[00:23:47] Speaker A: And that's how it is in a McDonald's over there, everywhere.
[00:23:50] Speaker B: Wait, but hold on, they do that. In that show In Betweeners, they. They take a picture of the guy while he's taking the shit from over the top of the stall.
[00:23:57] Speaker C: Oh, I think that's a school one though. School ones are a little more. I think in school they're. They're a little looser because you know what school kids are like, right? Sure. In a proper bathroom, you are there on your own. There's no one, there's no one able to get to you. You know what I mean? So he was right, you know, But I just put a note that like. Yeah, it's funny because most English people, when they get together in about a bathroom.
[00:24:27] Speaker A: Bathroom.
[00:24:27] Speaker C: Yeah, because it's jarring.
[00:24:29] Speaker B: It is weird.
[00:24:32] Speaker A: Well, but that makes more sense. The way you describe. But the way he talks.
[00:24:36] Speaker B: He makes it sound like.
[00:24:37] Speaker A: I don't even know what the sound.
[00:24:38] Speaker B: He makes it sound like saloon doors that, you know, like you push like in an old western, you know.
[00:24:42] Speaker C: Yeah. Cuz they are. They're weak. Like you can see.
[00:24:44] Speaker B: Yeah, but. But you can't like see the. You're not sitting there like looking at the person. I like, like I'm looking at you right now face to face. You know, I.
[00:24:50] Speaker C: If I walk in the bathroom, I see from the knee downwards. I can make judges.
[00:24:54] Speaker B: Why are you looking anyway?
That's the other thing I was thinking, like, don't. Just don't. What? Why are you looking underneath the stall?
Don't. Don't look through the crack in there. If you don't want to see somebody shitting, don't look where they're shitting.
[00:25:04] Speaker A: Yeah, but he, but he didn't explain the part that you just did about the bathrooms being all sealed up over there.
[00:25:11] Speaker C: Yeah.
[00:25:12] Speaker A: You know, which.
[00:25:13] Speaker B: Yeah, he could have added that to his list of things are like this in this country and like this in this country.
[00:25:18] Speaker C: Yeah.
Well, anyway, that, that hit, that bit hit with me just.
[00:25:23] Speaker A: Did you laugh?
[00:25:24] Speaker C: I didn't laugh.
[00:25:25] Speaker A: I never laughed.
[00:25:26] Speaker B: No.
[00:25:26] Speaker A: Not once?
[00:25:27] Speaker B: No, not even close.
[00:25:28] Speaker A: Stone Face.
[00:25:29] Speaker B: The closest I got was the callback to the song yesterday when he's talking about the MDMA fighters.
[00:25:35] Speaker A: Terrible.
[00:25:36] Speaker B: Yeah.
[00:25:37] Speaker A: And I don't have my notes, but if I did, the whole thing was disjointed.
It was just a hodgepodge of garbage.
[00:25:45] Speaker C: It had no thread.
[00:25:46] Speaker A: Did. It had no thread.
[00:25:48] Speaker C: It was just like. And then this and then this and then this, which I think I read in the other reviews. I mean, and then there was a whole bunch of pandering to America going on there, which you may not have Perceived. But I came up with this thing one time and then someone told me that bastard John Oliver had stolen it from me. But I call it an Uncle Nigel, which is the English equivalent of an Uncle Tom, where it's like you're pandering to, you know, like, oh, this is what English people are, and you're pandering to it. And he was doing so much of that.
I mean, my kid. Everyone knows that's not what an American would call. Yeah, Dick, you know, you wouldn't use a.
But he seems to just be laying it on. I don't know, it's trying to.
[00:26:37] Speaker A: To ingratiate himself to Americans by talking America?
[00:26:40] Speaker C: Yeah. No, no, no. By saying things over and over that you wouldn't really say in America.
[00:26:46] Speaker A: Like.
[00:26:47] Speaker C: Yeah, yeah.
I mean, you know what it means. But it's not a common thing. And I just felt like, oh, you're just trying to be too English here.
Just you just like laying it on for these guys.
[00:27:03] Speaker A: Does anyone like this? You think that's the thing?
[00:27:07] Speaker B: I read a bunch of reviews online too. Like, I went to Rotten Tomatoes. I looked at reviews on Reddit, I looked at reviews on a bunch of other places and there were actual critics out there that were saying, like, you know, I mean, for somebody that's not really a stand up comedian, I feel like he put together a really pleasant hour of stand up. And I'm reading this and then I'm also looking at just like regular people, you know, and they're writing and being like, I really liked it. I thought he was charming. I really enjoyed it.
[00:27:28] Speaker C: See, that was the thread of like everyone's. I think he's vastly different to his character that he's now famous for.
[00:27:36] Speaker A: Yes.
[00:27:37] Speaker C: I mean, he's such a nice guy, obviously, like, he's such a nice guy that I think that just cut through it like the ink. The chortle review basically said what I'm saying, which is like, yeah, this is kind of, you know, Uncle Nigeling. And it's just, it's. He's a pleasant guy and he's got that sort of voice to him and stuff, but it's just, there's no substance, there's no comedy.
[00:28:01] Speaker A: Yeah, yeah.
[00:28:03] Speaker B: What do you think about the way.
[00:28:04] Speaker A: He dressed that I liked it looked.
[00:28:07] Speaker C: A bit Simon Cowley.
[00:28:08] Speaker A: He has a Simon Cowley or Ricky Gervais. Yeah. But I, We've talked about this. I appreciate the down dress. I don't like some. You know, I always think about Nate Bar's leather coat.
Hate that.
So I Didn't mind that.
I keep think my wife was. She didn't watch it.
[00:28:30] Speaker C: We.
[00:28:30] Speaker A: She was trying to watch it, but she was in and out of the room. But she kind of liked what she heard. And I was like, what? Like, like. And she referenced that joke about the kid. She's like, well, that was kind of funny about the.
You know, I was like, what?
So I think.
[00:28:47] Speaker C: And, and I think he's one for the ladies, isn't he? He's like.
[00:28:50] Speaker A: He's eye candy for the ladies.
[00:28:52] Speaker C: Yeah. I mean like most commit. Let's face it, most male comedians look like six sacks of. I mean they're not, they're not doing it for. Yeah, like what?
[00:29:02] Speaker A: Maddie Rife.
Maddie Rice.
[00:29:04] Speaker C: Yeah, I think most. I think any woman over 25 would just see Matt rife as a.
Like a frat boy almost.
[00:29:13] Speaker A: Well, but he's.
[00:29:14] Speaker C: What Matt. Was there a male comedian that ever traded on good looks?
[00:29:18] Speaker B: Dane Cook, he did that.
[00:29:20] Speaker C: Oh, Dane Cook had the thing. Then he went like.
He sort of bought. Bought comedy to the bros and broettes. Right?
[00:29:28] Speaker A: Yeah. I can't stand him.
[00:29:29] Speaker C: What happened to him?
[00:29:30] Speaker A: Yeah, I don't know.
I wonder if he's still kicking around. I'm sure.
[00:29:34] Speaker C: What about another comedian? That would have been.
[00:29:36] Speaker A: You would have gone all good looking comedian.
[00:29:38] Speaker C: Yeah.
Mostly troglodytes, isn't it? I mean.
[00:29:43] Speaker A: Yeah, yeah. I mean that's, you know, the, the wellspring of comedy is the pain from all things. Right. But how hideous you are.
[00:29:51] Speaker B: Eddie Murphy. Good looking.
[00:29:52] Speaker A: Eddie Murphy is good looking.
[00:29:54] Speaker C: Please like me. Please like me. Too ugly.
[00:29:56] Speaker A: Yeah, I'm so ugly.
Look past that.
[00:29:59] Speaker C: Eddie Murphy. I don't know.
[00:30:02] Speaker A: Well, let's, let's talk about the only thing.
[00:30:05] Speaker C: Fill me in on the last bit of it because I, I didn't get the last 10 minutes. I heard there was a song and.
[00:30:12] Speaker A: Yeah, he ended with a song that was.
And then a. And then a penis joke. You did see it or you didn't?
[00:30:19] Speaker B: Yeah, I did.
[00:30:19] Speaker A: Yeah, about something about. I don't know, what was the song?
[00:30:23] Speaker B: He goes into this whole thing about reading texts between himself and whoever his ex is that he was in love with at the time and, and how the texts aren't really.
They could also be confused for two people that are trying to kill each other, you know, and then the relationship ends and he's talking to his sister who's married with kids and seems to have it all figured out, and his sister says, well, you know, you know, if you're in love with somebody if you feel completely comfortable around them. And he says, well, in that case, that was not love, and I've never felt it.
And that, and if that's the case. And all the love songs that we, that we all listen to are also lies, because it's all about like a roller coaster and like fire and all this. He's like, that's not comfortable. So I wrote a love song that's accurate. And it's just this, this, like, simple tune that doesn't. It's not a melody. I wouldn't even call it a melody. He just kind of sings songs. The, the, the spotlight comes on him. You know, he's kind of standing in the center stage. All the other lights go down, and he's just in the spotlight. And he goes into this, this song about I. I can sit on the couch comfortably with you watching a box set and then maybe.
[00:31:30] Speaker A: Watch a box set.
[00:31:31] Speaker B: Yeah, exactly. Like DVDs. That's what I'm thinking about. He says, we can spend an hour.
[00:31:34] Speaker C: It's. When you buy a box set is the whole series.
[00:31:36] Speaker B: Yeah, right. And he says, we could spend an hour watching a box set. And I'm thinking, like, that's not a box set. It's like eight hours, you know, if any. But let's just. Suspension of disbelief. So he goes into that, and then he ends with like. And also, I know that we are right because my penis is the right size for you. And that's his, like, closing line. Everybody starts clapping. And then he repeats it in a grander tone. My penis is the right size for you. And then the lights go out and that's the end of the show.
[00:32:06] Speaker A: Yeah.
Didn't make any sense.
[00:32:08] Speaker B: It was, it was. And then I, I went, I went all the way back. I went all the way back into my, my HBO Max subscription just to watch that song. Can you imagine that?
[00:32:20] Speaker A: Yeah. And I, I don't. You know, he's a nice guy, and I don't want to really, you know, crap all over him, you know, but this, this was not good.
[00:32:28] Speaker B: Yeah, but we're not reviewing personalities.
[00:32:30] Speaker A: I know.
I don't, you know, Seems like a nice fella, you know?
[00:32:34] Speaker B: Yeah, that's actually the name of a special. Seems like a nice fella.
[00:32:37] Speaker A: Seems like a nice fella.
But it was awful. It's awful. And one of the things that I, I put down was like, we've talked about this for you. Not everybody deserves a comedy special.
Deserve or need an hour long comedy special. The comedy special used to be like a prestigious Thing you got a comedy special. That was a big deal. Right. And you were the best of the best. Now everybody. And I guess that's the why we're doing the show. Right? Like everybody's got a, Everybody's got a comedy special. And this guy should not have a comedy special. An hour long comedy special.
[00:33:20] Speaker C: The worry for me, as someone who has a comedy institution, is someone explained how the American comedy died in the early 90s and over exposure of comedy was, you know, one of those things.
[00:33:35] Speaker A: Yeah.
[00:33:36] Speaker C: And it's happening like it's happened, you know, that they're over exposing the big stars, then they're drawing in people just to get eyeballs, you know, because the, the big stars are overexposed. The whole thing's going to implode again.
[00:33:51] Speaker A: Yeah. I think you're right.
[00:33:52] Speaker C: If history repeats.
[00:33:54] Speaker A: Yeah. But it, it was overexposed in the 80s because of the, the.
What's the word? Proliferance. Is that a word of live.
[00:34:06] Speaker C: Yeah, live proliferance.
[00:34:07] Speaker A: Is that a word?
[00:34:08] Speaker B: I don't know.
[00:34:08] Speaker C: Proliferation.
[00:34:09] Speaker A: Proliferation of comedy clubs.
[00:34:12] Speaker C: Yeah. Yeah.
[00:34:12] Speaker A: Right. That were just everywhere. Right. And it was just too many. It was unsustainable. Right. Or people just got turned off by the. It became a joke.
[00:34:22] Speaker C: But the clubs only proliferated because the big stars of comedy were now on tv. Right.
[00:34:27] Speaker A: Right.
[00:34:28] Speaker C: So it's. Comedy is nothing. The big stars start hitting tv, people start going, oh, I should go see this stand up stuff live, you know, because I like these guys that I'm seeing.
Then TV starts to overexpose.
Meanwhile, now in the clubs, there's too much of it as well, blah, blah, blah. It'll just implode again.
[00:34:51] Speaker A: So how is that affecting your institution or clubs and things like that? People aren't coming out as much because they're seeing so much of it at home. They're tired of it or they don't need to go out to see it.
[00:35:02] Speaker C: Not, not yet it isn't. But I'm worried about the future.
[00:35:06] Speaker A: Yeah.
[00:35:06] Speaker C: I see it coming.
[00:35:08] Speaker A: It's like the bubble.
[00:35:09] Speaker C: Yeah, yeah, bubble. The comedy bubble is reinflating at a rapid rate.
[00:35:14] Speaker A: Yeah. Because of shit like this.
[00:35:16] Speaker C: Yeah.
Yeah.
[00:35:18] Speaker A: But I like the dark times as a nihilist, you know?
[00:35:22] Speaker C: Yeah. You like to see destroyed. Yeah.
[00:35:25] Speaker A: Well, because that, that just means the birth of the next great thing, right?
[00:35:30] Speaker C: Yeah.
[00:35:31] Speaker A: Something good will come out of it because this is, what we're looking at here is bad, in my opinion. Right. You have to really search for something good because it's just oversaturated. The Comedy market is so oversaturated.
[00:35:42] Speaker C: Yep. Filming my hour, you're like, you haven't got an hour.
[00:35:46] Speaker A: This guy doesn't have five minutes.
[00:35:48] Speaker B: Right.
[00:35:48] Speaker A: Really. Of.
I mean, I can't, I couldn't pinpoint one bit or chunk of bits that were at all decent.
[00:35:57] Speaker B: And then what sort of, what sort of comedy are we not seeing? Because this is what is being given priority, you know, Right.
There's somebody out there that's actually talented and killing it, you know, but doesn't get that stage because they weren't on Ted Lasso.
[00:36:11] Speaker C: No, I don't know about that. Because everyone's got a special right now. So I feel like.
Because, like someone can walk into the Lincoln Lodge, right, and say, I want to do a special. And a lot of locals are doing it. Not a special, but I want to do my hour, I want it recorded. Blah, blah, blah, blah, blah, blah. And then. And people are gonna, maybe there is going to be a diamond in that dust heap. You know what I mean? And will get seen is a good thing, I guess, you know, because someone will just go, screw it.
[00:36:44] Speaker A: Get enough hits.
[00:36:45] Speaker C: Yeah. It'll just, they'll, they'll put it on Amazon or whatever and it'll virally spread. And you know that. So I think that will happen.
I mean, I think when comedy collapsed last time, network TV was the only thing around you could see it on. So when it stopped.
Yeah, when it stopped doing it, game over. But now, now you could. People will still keep releasing it because the technology is affordable.
[00:37:15] Speaker A: Yeah, yeah.
[00:37:18] Speaker C: But, yeah, this is just.
I don't think I've seen anything this disjointed and uneven since Gallagher of the previous week.
[00:37:28] Speaker A: I couldn't help but thinking about Gallagher. Gallagher held my interest, you know, he was a couldn't.
[00:37:34] Speaker C: Oh. I did some digging on Gallagher with our mutual friend Brido, the comedy historian.
[00:37:40] Speaker A: Sure.
[00:37:40] Speaker C: Who has another comedy book coming out.
[00:37:42] Speaker A: Oh, geez.
[00:37:43] Speaker C: Yeah. And he, I, I, it's about Kansas City. But I mentioned about the Gallagher thing and he said, oh, he said, yeah, I've watched all of the Gallaghers and they are all abysmal. But he goes, the problem is Gallagher was copying Colin, who himself was abysmal. And he goes, now you remember Carlin, the, the, the famous Colin, the 90s, Carlin, the whatever. He goes, but if you go back to colin in the 60s and early 70s, it's atrocious. And everyone thought that's what we were going to have to copy.
[00:38:20] Speaker A: So as we like to do here. Oh, we know Carlin Carlin begat Gallagher.
[00:38:28] Speaker C: That's what I'm getting from my convo.
[00:38:30] Speaker A: Gallagher begat Carrot Top.
[00:38:33] Speaker C: Yeah, yeah.
[00:38:35] Speaker A: I like begatting things.
[00:38:36] Speaker C: I don't know.
I always thought Colin was famous for being good in the six. You know, he was like the.
[00:38:43] Speaker A: He's considered so good, right? Yeah, yeah. I never cared for his act, but.
[00:38:47] Speaker C: Maybe you couldn't go back, you know what I mean? I don't know.
[00:38:50] Speaker A: I didn't care for the good act, I didn't see the bad act, but I didn't care for the good actor, whatever that was.
All right, well, I think one thing is worth talking about, and we kind of buried the lead here, as they say in the business, is the whole bit about the C word and how commonplace it's used in England and how offensive it's taken here.
But then he does go out there and throw it out there in many different ways.
Obviously, I'm not, you know, I don't want to air your laundry here, but you are no stranger to that parlance.
I couldn't help but thinking that the C word. Tell me if this is a fair analogy. The C word is not historically similar in any way, but the C word is used with the English the way the N word is used with the African American community.
Not. Again, not. It's not. Its derivative is not the same, obviously. But the way it's tossed out like that as frequently and as liberally as it is, is that a fair.
I guess what I'm saying is I wish, you know, being around African American people who use the word and I. And the way they use it with each other, I'm.
In a way, I wish I had a word like. I don't wish I had that word. I'm not saying that I wish, like, you know, like, bro. I hate saying bro.
[00:40:29] Speaker C: You know.
[00:40:31] Speaker A: I want to be able to use a word like that word.
[00:40:35] Speaker C: But I don't know if I can make one up.
No, he's. What he's saying is not completely accurate, to be honest.
The C word is heavily used in the south of England, but the further north you go, the more unacceptable it becomes. So by the time you're getting to the Midlands, you're really not seeing it acceptable outside of, like, the working class. Like, the. You know, the hardcore working class. Like, if I'd have said the C word in front of my dad, I would have been beaten to a pole. Like, it would not have flown.
And in fact, we had a friend who used to use the word all the time. I'VE told you this story, Christian. And we said, you know, we have. We hang around with a lot of women, and you cannot be using that word.
And so we came. Came up with substituting cottage in. In its place.
[00:41:39] Speaker A: So.
[00:41:39] Speaker C: So we would say to each other, like, in moments like you, cottage. Like ellies.
And that's serious. That's what we did.
And we really discouraged our friend from using it and stuff. Maybe it's changed, I don't know, because I've been here 27 years. But you didn't say it. You know, I. I mean, I had a friend who would say it as kind of a joke, but he was Southern. There's a thing about saying it when you're Southern.
[00:42:08] Speaker A: The Southern.
[00:42:09] Speaker B: Southern American America. Yeah.
[00:42:11] Speaker C: No, Southern England. Southern England. It's way more acceptable. Way more acceptable.
[00:42:17] Speaker A: Are those the guys, like, from the movie Snatch?
[00:42:19] Speaker C: Yeah.
Your Guy Ritchie.
[00:42:21] Speaker A: Yeah.
[00:42:22] Speaker C: Guy Ritchie is just like. Oh, yeah. Like, we say that all the time. We get to the Midlands, in the north, people are very more circumspect about saying it.
So I think, like it, you know, and obviously you can tell Brett Goldstein is a Southerner, so.
Yeah. So he is saying it from a true perspective.
[00:42:43] Speaker A: Yeah.
[00:42:46] Speaker C: But. Yeah.
[00:42:47] Speaker A: Well, I. I feel like we're seeing a loose. Not just with this, but a loosening of that word. Right.
In our times. Right. That. That word was explosive in America. You couldn't say that word. Right.
[00:43:01] Speaker C: I see America like five years ago.
[00:43:02] Speaker A: Like, you don't say that word still now it's tossed around.
[00:43:06] Speaker B: Yeah.
[00:43:07] Speaker C: I see American women very comfortable.
[00:43:09] Speaker A: They're saying it to each other now.
[00:43:11] Speaker C: I think American women were more comfortable with it to each other.
[00:43:16] Speaker B: I've even noticed lately it's become like people in their mid-20s. They put a Y at the end of it to describe something and. And that's. That has become acceptable as.
[00:43:26] Speaker C: Yeah.
[00:43:27] Speaker B: Lingo.
[00:43:28] Speaker A: Yeah. My daughter was sitting at the counter yesterday. You know, kids, they just. It's so annoying, right, To. To be in the room with a teenager who's going through a tick tock or Instagram, whatever. Because it's just one random disjointed audio sample after the next. Right. It's like it'd make you crazy. But there was one that had the word in it like, that. She kept playing over and over. And she's been kind of like, to your point, saying that over and over. Yeah. But there's a great loosening of the C word in America. I don't think it's Goldstein yet. Oh, he's recognizing It. Otherwise he wouldn't step on that stage and throw that out there.
[00:44:07] Speaker C: I felt that was one of yet another of his inconsistencies.
He's going, nice guy, nice guy, nice guy, nice guy, nice guy. Then he does that whole bit and it's like you're not even consistent in your.
[00:44:19] Speaker A: Who are you?
[00:44:20] Speaker B: Right.
[00:44:20] Speaker A: Like, are you the character that you.
[00:44:22] Speaker B: Are you.
[00:44:22] Speaker A: More like the character you play in the show, which she brings to the stand up too, sometimes. But then he goes back to the nice guy and you know, like, who are you? Doesn't have, as Bert Haas would say, he doesn't have a, you know, a real, I don't know.
[00:44:36] Speaker C: Point of view.
[00:44:37] Speaker A: Point of view. Yeah. Bert would say. How is Bert? If we. Is he still.
[00:44:41] Speaker C: No, he doesn't run Zany's anymore.
[00:44:43] Speaker A: How about Martin? Is he over there?
[00:44:45] Speaker C: I don't think Martin's there.
[00:44:47] Speaker A: Zany's still there.
[00:44:49] Speaker C: Definitely still there. I don't know who. Who's who.
I know. I think a comedian who you would absolutely detest is the booker now. I know, I'm pretty sure of that.
[00:45:00] Speaker A: Stankos.
[00:45:01] Speaker C: No, no, no. I, I like, someone told me the name and it was one of those, you know, one of the old school Zany's guys.
[00:45:11] Speaker A: Larry Reeb.
[00:45:12] Speaker C: No, no, no, no. Just kind of one of the sort of generics, you know, someone who would know what a competent comedian is but not be the side of comedian Terry Egan comedy. You would like. What are you just punting names out?
[00:45:33] Speaker A: Yeah, I mean, this guy.
[00:45:35] Speaker C: We've gone too long again, haven't we?
[00:45:36] Speaker B: Yeah. I was just thinking that I could talk for hours.
[00:45:38] Speaker C: Should we cut? What should I cut out? Let's just discuss the edit.
[00:45:42] Speaker B: Yeah.
[00:45:42] Speaker C: Before we get.
[00:45:43] Speaker B: I was actually just wondering if you were gonna cut out. When I said I thought we were amongst adults earlier when I was bringing up. You guys have been calling it the C word and earlier in the episode I.
[00:45:53] Speaker A: You said the word though. Leave it in. Yeah, no, leave it in so he can get.
[00:45:59] Speaker C: You know, I was, I was working with the software the other day and you'd asked me to remove a couple of contentious statements.
[00:46:06] Speaker A: Did you know?
[00:46:07] Speaker C: No, no, I haven't edited them yet. But I want to find like a Swannie whistle or something. I've got one of them CDs that is just hundreds of sound effects. Yeah. So I'm, I'm. If I can do it, if I can find like, that'd be great. Yeah, just. And just be loosing off like klaxons.
[00:46:24] Speaker A: And yeah, that'd be fun. That'd be great. Add a little addition value to the show.
[00:46:29] Speaker C: If I can find a Swanny whistle, I'll put that over things.
[00:46:34] Speaker A: Yeah. This is a weird space to, like, be talking and then, you know, as we're just talking, and then you. You're throwing the C word around, and then it's like, well, wait a minute, you know.
[00:46:42] Speaker B: Yeah.
[00:46:43] Speaker A: Should I have done that?
[00:46:44] Speaker B: Well, yeah, you got to take risks, you know?
[00:46:46] Speaker C: Yeah. Comedy is about risks.
[00:46:48] Speaker A: Yeah.
[00:46:49] Speaker C: If you're going to. If you're going to burn that house down, Bill, you're going to have to.
[00:46:53] Speaker A: I'm not trying to burn anything down.
[00:46:54] Speaker C: Oh, you are.
[00:46:55] Speaker A: No, no, no, no.
[00:47:00] Speaker C: So what do we do? We think this was special or not?
[00:47:03] Speaker A: No, no, this was not special.
[00:47:06] Speaker B: I think it's unanimous.
[00:47:08] Speaker C: Yeah.
[00:47:08] Speaker A: Yeah. We'll put this one in the point counterpoint against Stuart Lee. Right. For British humor. Here's good British humor. Here's the bottom of the barrel.
[00:47:18] Speaker C: I tell you what, the next Stuart Lee, because Stuart Lee's always doing the next hour, he's gonna mention Brett Goldstein.
[00:47:24] Speaker A: Oh, he will.
[00:47:25] Speaker C: Oh, yeah. He, like, if someone gets famous, he's right there. Yeah, yeah.
[00:47:31] Speaker A: Phoebe Waller Bridges or whatever.
[00:47:36] Speaker C: I was like, Geisty. All right. Not special. All right, Maybe we need a. A sound effect for the end, for the. The judgment. Yeah.
[00:47:47] Speaker A: Oh, like a explode. Like a bomb. Like a bomb would be like.
[00:47:51] Speaker C: Yeah, yeah.
[00:47:52] Speaker A: And then maybe we sample carvey. When it's.
[00:47:56] Speaker C: Yeah, I was gonna say when we.
[00:47:58] Speaker A: Like it, we have. We do a carvey drop. Yeah, we need drops.
[00:48:02] Speaker B: Yeah.
[00:48:03] Speaker A: What are you doing over there at this board? Don't you have very little?
[00:48:05] Speaker B: Very little.
[00:48:06] Speaker A: Get some drops.
[00:48:07] Speaker C: Yeah. If we could live.
Oh, you get one of those sound boards.
[00:48:11] Speaker A: Yeah.
[00:48:12] Speaker C: You know, that the guy used to do the. The joke phone call.
[00:48:16] Speaker B: I think you can even get them on your phone. And if I could plug my phone into this.
[00:48:19] Speaker C: You could.
[00:48:20] Speaker A: We could get Collins.
[00:48:22] Speaker C: No, no, no. A soundboard. Like, do you remember in the 90s?
No, no. They used to be. There used to be a guy and he set up all these things where he would call people, and he had all these, like, Joe Pesci Goodfellas quotes. So the guy would pick up the phone like, yeah, chicola. And go, what the are you doing? And the guy be like, what? You know, and then he's just loosening all of these, like, Joe Pesci quotes till the guy's having a psychotic meltdown.
[00:48:50] Speaker A: Yeah, we.
[00:48:51] Speaker C: But we could do that, but Christian could have one of those, but for when we're talking.
[00:48:57] Speaker A: Yeah, we need that.
[00:48:58] Speaker C: We need.
[00:48:58] Speaker A: That's the next level.
[00:48:59] Speaker B: We need something to spice it up.
[00:49:00] Speaker C: Yeah.
We need something to pique the interest in this atrocity.
[00:49:05] Speaker A: Yeah, I think it's going very well.
[00:49:09] Speaker B: We're doing it.
[00:49:09] Speaker A: We're doing it.
[00:49:10] Speaker C: All right.
[00:49:12] Speaker A: Yeah. I never know how to end, though. We just kind of.
[00:49:14] Speaker C: Yeah, well, that's it. Not special. And now over to Christian, who's going to tell us about next week's episode.
[00:49:22] Speaker B: Yeah. So we talked a little bit about this. I was tossing around the idea of Taylor Tomlinson on the recommendation of my aunt, from my aunt who saw her live recently in North Carolina. And I thought, well, you know, that's another new comedian that I have never heard of, I know nothing about.
However, it is risky doing that, as we found out this week.
And another one that I have been wanting to do because I've never actually watched the entire special is Elephant in the Room.
Patrice o' Neill's elephant in the room.
[00:49:54] Speaker A: Okay.
[00:49:55] Speaker B: So, yeah, it could be either one of those two. I guess we'll have to find out where all three of us could stream either of them.
[00:50:04] Speaker A: Yeah. Yeah.
[00:50:05] Speaker C: All right.
[00:50:06] Speaker A: I liked. I, I didn't. Do you know Taylor Tomlinson?
[00:50:09] Speaker C: No.
[00:50:10] Speaker B: She said she blows. I thought.
[00:50:12] Speaker C: Yeah, I thought you hate it.
[00:50:14] Speaker A: Oh, I wasn't talking about comedy.
No. I don't know. I, I, she has a late night show, like a syndicated show. I can't remember what it's called, but it's like at something. I don't know, it's like a game show with just comedians on there and they like. It's tough to describe. And I've seen her in that when I was sitting in the emergency room. Remember that story? I watched it that night and she's very likable.
Yeah. So I don't know what her act is like.
[00:50:43] Speaker B: But why do you think she blows then?
[00:50:46] Speaker A: I don't know.
[00:50:48] Speaker C: Just being a nice.
[00:50:49] Speaker A: No, I'm not being contrarian.
[00:50:52] Speaker C: Maybe contrarian in that. Yeah. And Patrice o' Neill is like universally acclaimed and lamented since his passing, isn't he? So. But I never saw any of it alive.
[00:51:04] Speaker A: No. Okay, we got the next two then.
[00:51:07] Speaker B: Yeah, the next two. Let's do Patrice next, then we'll do Taylor after that.
[00:51:11] Speaker C: All right, Sounds good.
[00:51:17] Speaker A: Again, as dawn is one.
