WEBVTT

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Weird Way Media Nike. Mister Walters
is see that guy with it now He's

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an actor at the phone drive and
the only camp driver in his place.

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Hello and welcome again tonight mister Walters
a taxi podcast. I am HP your

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co host and with me as always
is my co host, Father Malone.

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Father Malone. How are you like
my main man, Jeff, I'm going

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to have the eggs, Benedict.
This week we are talking Taxi episode twenty

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Hollywood Calling. This was written by
the Charles Bros, Glenn and Less.

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Chazz is the Chazz is from Henderson. We love the Henderson Chaz boys.

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We do, we do sincerely.
We love them almost as much as we

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love the director James Burrows. This
week, as every week, reminder,

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we are doing these shows in broadcast
order and not in order of filming.

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And that's actually important because this episode
actually was I believe was filmed much earlier

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than some of the other episodes that
we've covered, so it's very important we

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stick to broadcast order. We open
with one of what I Think and I'm

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sure you took note of this Fathom
alone. It's one of my favorite b

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rolls yet it's a wonderful shot of
Broadway Circa's nineteen seventy nine as a fleet

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of cabs and other cars make their
way down the street. Did you take

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theation note of the most magnificent b
roll shot of the entire series, effectively

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of Times Square, just the edge
of Times Square. What we're talking about

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is forty ninth and Broadway here.
Yeah, oh, hell yeah, I

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took lot lo of it. I
took note of the Embassy forty nine Cinema

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HP. You know that was originally
a Punch and Judy theater back in nineteen

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fourteen, was it? And then
in nineteen twenty two converted to movie no

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nineteen thirty two converted to movie theater. It became the Hopkins, and then

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it was the Westminster in thirty four
when it screened only British films, and

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then thirty six it became the World
Theater became and they showed only foreign films,

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and then after World War Two it
was a mix of foreign and second

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run up until nineteen seventy two when
it became a porn theater with the premiere

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of Deep Throat Interesting. Did you
see what it is? What was showing

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on the Marquee Slippery, went wet, I think you're mistaken. The Embassy

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forty nine theater was showing one floor
of the Cuckoo's Nest. Oh, you're

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right, which is coincidentally co starring, of course, Danny DeVito and Christopher

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Lloyd and Vincent Skiavelli, who we
will see later as a priest from Lacas

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home country. But we'll get to
that, and when we get to it,

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what you are thinking of is Circus
Cinema across the street? Yes,

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absolutely, yes. The Circus Center
was sixteen oh four Broadway, everybody,

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and it was proudly advertising, as
you said, the world premiere of Slippery.

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When wet I also took note in
the background there was a marquee that

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said, zoom, zoom, did
you notice that delicious German potato place?

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It was German. It was a
chain of popular German restaurants. I had

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no idea of this till I did
a little bit of research. So this

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was like a little mini history lesson
right there in the first five seconds of

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the episode. It was fantastic.
We faded off from that into the garage,

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are the resident demon. Sean Burns
strides over to Louis Cage, dead

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man walking here, Baby is two
more episodes? Days are number. Yes,

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I wrote down that Burns we got
a Burns pan opening the episode HP.

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I dimmed a little into the mister
James Burrows autobiography. Yes, did

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not learn a lot about Taxi,
honestly, But what the one thing that

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he did kind of lay take credit
for and kind of pat himself on the

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back for something that we're constantly praising
him about, which is apparently in this

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kind of multi camera comedy, having
a pan or any kind of intro shot

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into a scene is frowned upon because
it takes time away from dialogue and there

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has to be music, so you
have to pay for that music. So

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he insisted that it's just much more
theatrical that way to have a scene.

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So what he started doing is he
would have characters talking while the pan is

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going, and that cuts down the
time spent not talking, and they don't

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have to have music because it's already
gone into dialogue. But pans were very

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important to him, so it was
nice to see it here, and as

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always, it's a pan following Burns
as he walks over to Loui's cage and

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he tries talking to Louie and the
other Cavies. Apparently he was out for

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a week, taking his forestry finals, its finals, his finals, which

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we can only assume is forestry You. To everyone who'll listen, he asks,

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you miss me? You know,
like I was gone, I was

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taking my finals. Nobody missed you, John, And you know what you

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are taking your finals, Baby,
you just don't know it yet, your

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final two episodes. I thought.
I took this as a really ominous sign

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that his eventual departure will be mourned
by no one. It starts out like

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his nightmare. Right, We've all
had nightmares like this where we walk around

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and nobody knows us, nobody cares
about us. Everybody seems very unaffected by

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our very presence. And that's kind
of a weird way. That's how this

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episode starts. Tony expositions that they're
all preoccupied with a group from Hollywood that's

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making a movie about cab driving,
which is an interesting premise for this episode,

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to say the least, Manta textual. Baby, this should have been

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the final episode of the season,
if not the series where they're making the

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show about the show, because this
is how they made the show, right,

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Somebody there was an article written and
then they had to go research.

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So they went to a cab company
and they did research just like this,

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and then they turned went back to
Hollywood and made a series out of it.

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It is interesting, but I think
what we're going to see not to

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spoil our discussion here, but what
we're going to see from my perspective is

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that there's a lot more promise to
this episode, to the premise of this

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episode than we actually will see in
the finished product. Clearly, it's a

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callback to how they made the series. There's this fancy schmancy Hollywood group that's

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coming to do research for cab drivers, so they're coming to the cab company.

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That's why all apparently, that's why
all the cab drivers are so disinterested

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in John Burn. I mean,
we know the answer. They're really disinterested

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because they know he's a dead man
walking. Do they know? I bet

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they don't. Do you think they
knew the writing was the writing on the

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wall, or they just think we're
finishing the season, we'll see what happens,

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Like all the characters thought that of
themselves. At least, I like

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to believe that there's some part of
these characters that recognizes that Burns is not

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long for this universe. But anyway, so they're talking about this Hollywood group

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that's going to come and talk about
cab drivers, and Tony wonders if there

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might be a part in it for
Bobby, which is nice enough for him.

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Ooh, and this prompts an extremely
sarcastic geez, why didn't I think

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of that reaction from Bobby, which
I took. It seemed overly hurtful to

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me. But it's perfectly in line
with the character's casual cruelty towards Tony.

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Don't you agree he was Wheeler being
Wheeler here? Do you know wanted a

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high five Wheeler for this moment because
we haven't seen him as casually cruel of

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late, he's been a little fuzzier
and sensitive, you know, he's been

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more actor, and here he is
actually in his element. And can you

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just imagine Bobby Wheeler on the set
of anything where he had any little bit

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of cloud Oh I hope we get
an episode like that. He would be

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a nightmare diva without a doubt,
insufferable as the word. Well, you

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know, you get on my case
for going after Tony at every possible opportunity,

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But Abby, Damn, you go
after Bobby at the least provocation too.

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But the difference is, I really
admire and appreciate everything you think I'm

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criticizing about. It's not a criticism
at all. I'm praising Bobby Wheeler for

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being Bobby Wheeler. That's fair enough. I'm just so annoyed by Tony S

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foibles, and we'll see some of
that coming up. So at that point,

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Alex walks in with his bookings,
and weirdly, the first thing he

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asks Burns about are his finals.
Alex seems very blase about the prospect of

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these Hollywood types coming in the garage, very almost conspicuously so, and he

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seems stiffened with annoyance when Tony presses
him on the subject of these the Hollywood

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people coming in, and even Burns
is perplexed why Alex would take such an

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interest in his finals, because clearly
no one else cares. At this point,

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we get our first Jeff sighting.
I love it. Oh my god,

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he's got a line here. I
got so excited I wrote it down.

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Jeff has a line exclamation point.
He announces to the garage that a

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limo has just pulled up, must
be those Hollywood types that are coming to

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check out the garage. They come
Hollywood phonies, all of the cabbies,

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and this garage is full of background
cabbies. There must be thirty of them

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in this particular shot, largely muted. I've got to say I saw them

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pouring out to be seen by the
Hollywood phonies, and I thought, oh,

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here we go. And yet it
it was just the most blase group

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of real world looking caves of all
time. Where was the space woman?

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Where was Lumberjack Appleman? There is
at least one person that I'm going to

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quiz you on Momentarily, we'll get
to him. Oh so all of the

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cabby's, like I said, en
mass, they rush to the door.

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But Bobby tells them they're acting like
a bunch of groupies. He's very annoyed.

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He wants them to be more casual. Burns asks him, what should

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we do, and Wheeler tells him
that natural. So of course they all

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rush to these predetermined spots. They
gather around the card table as if they're

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playing cards. Everyone rushes to a
spot like they're playing some sort of musical

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chairs or something, and weirdly,
everybody freezes in place with what they're doing.

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I think Bobby is actually mid Yawn
and they just Freezebleau. It is.

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It's like one of those a Fresco
called Sunshine. That's it. Enter

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our big guest star for this week, Martin maull It's Colonel Mustard. Everybody,

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Martin Maull as Hollywood Phony Roger Chapman. We know him as Colonel Mustard

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from the movie Clue. Also,
I loved him in the movie FM.

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He played Eric Swan, the self
Absorbed DJ. He was also mister Peach

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from My Bodyguard, Chris Makepeace's father
who works, who manages the hotel that

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he lives at, And the list
goes on and on FO Tonight. Well,

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I'm glad you brought that up,
because I think I was a little

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young for shows like Fernwood. I
know I was for shows like Fernwood Tonight

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or Mary Hartman Mary Hartman, which
he also featured prominently on, so I

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recognize that that's where he made his
name, but it never really made an

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impact on me. I don't know
about you, father alone. I ended

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up seeing it later and appreciating it, But yeah, I think what was

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groundbreaking about that show had sort of
sailed as far as my cultural appreciation of

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it. But he's great. I
love Martin Mall doesn't Martin Maule, Isn't

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he just he's so comforting? He
is, don't you feel that when he

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shows up and something like he's kind
of weird thing with what's his name?

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Fred Willard? Fred Willard? Yeah, right, But Fred Willard seems like

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a lunatic and Martin Moll seems like
a down to earth, sort of sane

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person, but both give off this
vibe of comfort that like a human beanbag

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chairs. One of the other differences
is I get the sense from Fred Willard,

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and this was born out if you
listen to the commentary for This is

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Spinal Tap, you get the sense
that they all love Fred Willard, but

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he can be exhausting. Fred Willard
was never not on with a line or

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a joke or something funny. But
with Martin Mull there's kind of a sensitivity

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behind all of that. I don't
get the sense that he was so NonStop,

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always had the spotlight on him.
There was something behind that sensitivity and

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a thoughtfulness. A thoughtfulness and a
sensitivity that I always picked up on.

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And maybe it's because I know him
best from roles that kind of tapped into

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that FM isn't a great movie,
but he's very good in it. My

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Bodyguard is one of my favorites from
that time, and he's very down to

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earth as Clifford's father. The seventies
kind of embraced the sensitive guy in the

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form of Alan Aldo, but really
it should have been Martin Maull. What

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is kind of interesting about this particular
role is he is supposed to be the

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stereotypical smarmy Hollywood type exactly. It
would be easy to make this caricature of

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the slimy Hollywood guy. But even
in roles where his character is outwardly villainous,

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like mister Mom, he's the antagonist
in that. But even under the

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idea that he's trying to spirit away
Terry Gar from Batman, you still get

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a sense that he's a decent human
being somewhere inside. Through the course of

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this episode, I don't get the
sense that he does doesn't care about these

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characters. I get the sense that
he actually is sort of a nice guy,

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a down to earth individual, even
as he's trying to get this movie

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off the ground and doing what he
has to do. But there's something in

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Martin Mull and the way he plays
it. I don't think it's in the

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writing. I think it's in how
he plays it. It kind of twists

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it a little bit, and I
like that about this It's one of the

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things I like best about this episode. Roger Chapman comes in and he introduces

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himself to Louie, saying that he
spoke with Louie's boss, mister McKenzie.

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Now here's my side note. I
wrote this down background actor alert. Now

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you're talking about there's no one there
who kind of made an impression on you.

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This guy made an impression on me. Did you notice as Roger Chapman

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and Louie are having their initial greeting
and discussion, did you look there's a

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guy behind them, furtively reading the
newspaper. And he has this blue T

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shirt on that has a sun right
in the middle of it, and jeans

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with these extra pop gets down the
sides of them. He the front of

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his shirt looked almost like something that
Captain Marvel would wear, like a superhero.

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Right. There's something about the way
he's furtively, like I said,

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reading the paper. He was supposed
to be. He came in with Martin

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Mull he's supposed to be like the
DP or something. Do you think don't

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I thought he was supposed to be
a cab driver. Oh no, no,

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no. When Martin Mull walks in, he walks in with the girl

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and two guys. One is the
assistant with the permanent hair helmet and his

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glasses jabbed into it, and he's
he's always in sweaters. That guy,

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I love that, And this guy, the slovenly creative type. No,

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no, no, there's a woman
with them, this woman, Leah.

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I said there was a woman with
him. There's the fucking guy with the

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hair helmet, and then there's this
other guy, this slovenly creative type.

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That it's far them. Man,
I must have missed that they walked in

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together, because I just assumed this
was just a raggedy cab driver standing in

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the background, when I would not
have said there were no interesting background players

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earlier. Fair enough, fair enough. Chapman has Louis introduce him to the

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rest of the Cabby's, and in
typical Louis fashion, he just yells at

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all the caves just loosen up,
and as Chapman starts to address the Cabby's,

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he does this weird thing. You
know, we always get on Tony's

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case for him sitting on the cab
spreading himself out like this alpha male,

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tough guy Tony. But what Chapman
does, and maybe this is part of

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what endears him to me, he
does the anti Tony where he squats behind

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the poker table. His chin is
mere inches away from the table top,

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so all the Cabby's have to look
down on him. He's not making eye

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contact. They're looking down on him
because he's so low to the ground.

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Did you notice that? Oh?
Yeah, because Martin molts smart, he

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00:16:51.360 --> 00:16:53.559
knows how to control that scene.
In a sense, it's a way for

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00:16:53.679 --> 00:16:59.360
this character to take the intimidation away
from him being in this garage. He

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makes himself smaller than everybody else so
that they feel they don't feel diminished by

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this big time Hollywood guy coming in
to talk to them. I thought that

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was kind of cool, but it's
weird though. The way he squats way

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down is still weird. Chapman stresses
to the cab he's that they're looking for

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real reality, not Hollywood reality.
He emphasizes that he wants to blend in

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as much as possible and not stick
out as people making a movie, and

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he asks them, do you have
any questions about this? Of course,

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00:17:27.799 --> 00:17:33.960
Tony the simpleton raises his hand like
he's in class, like Orshack in class,

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00:17:33.039 --> 00:17:36.880
like oh oh, oh, did
you note? What question was?

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How did they part the Red Sea
in the Ten Commandments? Right? And

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you know, okay, look,
that's a cringe worthy thing for somebody to

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00:17:44.839 --> 00:17:48.599
ask. But is it in nineteen
seventy nine? I mean, obviously Martin

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00:17:48.640 --> 00:17:53.039
ull is saying do you have any
questions about this thing? Right? But

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how often would did a normal person
get in contact with anyone from Hollywood right

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at that time? And remember no
Internet and there wasn't there was barely an

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00:18:04.680 --> 00:18:10.720
entertainment Tonight on television covering how movies
were made and stuff. It's a valid

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00:18:10.799 --> 00:18:14.319
question. I'm signing with Bat on
this one. I think you're giving him

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00:18:14.359 --> 00:18:17.880
way too much credit. And I
think this is echoed by the fact that

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Bobby angrily sneers at him in another
display of aggression and casual cruelty. He

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00:18:25.279 --> 00:18:29.079
says to him, what's wrong with
you at Tony, which I think echoes

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00:18:29.119 --> 00:18:32.400
everybody's opinion of Tony? But what
is wrong with him? Because that's that's

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00:18:32.400 --> 00:18:37.039
the dumbest question you could ask in
a bid to ingratiate himself to the garage

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smartly, by the way, Chapman
offers to get the whole garage breakfast.

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I mean, who's not going to
jump at that? Right? They're so

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used to going to Marios and eating
that swill over there. Well, yeah,

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00:18:48.400 --> 00:18:52.440
we're going to hear a lot about
how poor Marios food is in this

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00:18:52.720 --> 00:18:59.039
penultimate episode of season one. Like
HP, I've been pulling for Marios.

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00:18:59.440 --> 00:19:03.839
You've been pulled Marios. We've been
joking about their breakfast buffet, but we

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00:19:03.240 --> 00:19:07.880
you know, we would eat there, And now suddenly Hollywood comes a creep

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00:19:07.880 --> 00:19:11.240
in. We're going to get a
peek behind the curtain of Marios. Shortly

250
00:19:11.519 --> 00:19:15.880
again, he asks the Cabby's what
they would want for breakfast, and Bobby

251
00:19:15.720 --> 00:19:22.160
leads the charge by reluctantly offering a
coffee, and Tony follows up with about

252
00:19:22.319 --> 00:19:27.720
donuts, and Chapman replies to him, look, you can have anything you

253
00:19:27.839 --> 00:19:30.960
want anything. He's like Willy Wonka
in there. He's like, you can

254
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have whatever you want. What do
you guys want? Again, Tony,

255
00:19:33.960 --> 00:19:38.759
being the simpleton that he is,
counters, uh, Joey donuts. Look,

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00:19:38.799 --> 00:19:44.000
those are fancy HP. Come on, they're hammering on this the simple

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aspect of Tony a lot already in
this episode. I think that's because the

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00:19:48.759 --> 00:19:56.440
Charles know that that Tony is an
idiot. Someone apparently important named Michael ambles

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00:19:56.519 --> 00:20:02.839
nervously into the garage, and Chapman
introduces him as Michael Petrizi. Oh right,

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00:20:03.559 --> 00:20:07.920
it's our al Pacino proxy. I
wrote that down. I said he's

261
00:20:07.039 --> 00:20:12.200
very Puccino esque. Once again,
Tony the Simpleton can't help embarrassing Bobby by

262
00:20:12.640 --> 00:20:18.160
exclaiming to Petrizi that, hey,
Bobby wants to be an actor too.

263
00:20:18.599 --> 00:20:23.240
Oh my god, this look.
I was on Banta's side very recently,

264
00:20:23.960 --> 00:20:30.279
but this is unforgivable. Imagine it's
like your mom doing it, you know,

265
00:20:30.400 --> 00:20:33.759
it's like but it is somehow worse
than your mom doing it because it's

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00:20:33.799 --> 00:20:38.839
out of the mouth of a moron
like this Paccino clone. Had it been

267
00:20:40.640 --> 00:20:44.920
Wheeler's mother would have he could have
gone like, oh, it's his mom.

268
00:20:45.000 --> 00:20:47.440
That's really sweet, Like my mom
would have done the same thing.

269
00:20:47.640 --> 00:20:52.039
But when it's this Peluca who's just
like yo, he wants to be an

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actor, Maybe you can make him
an act, like you said, it's

271
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like your mom embarrassing you in front
of all your friends. Chapman starts to

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00:21:00.519 --> 00:21:04.119
break down the situation for the Caves. He says, they have a script.

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It's not a particularly good one.
It's got no guts, you see,

274
00:21:08.480 --> 00:21:14.440
it's got no soul. And as
he's mulling over the situation, Chapman

275
00:21:14.599 --> 00:21:18.359
is pacing the length of the garage. But the weird thing is all of

276
00:21:18.400 --> 00:21:23.599
these Cabby extras are matching his pace. So what you have it's almost like

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00:21:25.039 --> 00:21:29.759
something out of a Broadway show where
they're all in lockstep, pacing back and

278
00:21:29.839 --> 00:21:33.759
forth, except for Captain Marvel,
who's kind of on his own, out

279
00:21:33.759 --> 00:21:37.559
of step with everybody else, which
I guess lends credence to your assertion that

280
00:21:37.640 --> 00:21:42.319
he's some weird Hollywood creative type that
doesn't really know what he's supposed to be

281
00:21:42.359 --> 00:21:45.599
doing. He doesn't care where Martin
Mall is right now, he's looking at

282
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the fucking garage. Chapman describes the
main character of their script. His name

283
00:21:52.200 --> 00:21:55.559
is Joe, and he says,
Joe is a he's a good driver,

284
00:21:56.359 --> 00:22:00.480
he's been at it for some time, and that's all they have. The

285
00:22:00.519 --> 00:22:03.240
rest he says, is gonna have
to come from all of the stories the

286
00:22:03.319 --> 00:22:07.799
Caves share with them, and maybe
one of their stories, he wonders aloud,

287
00:22:07.920 --> 00:22:11.079
is Joe's story. And obviously at
this point this is a little predictable.

288
00:22:11.119 --> 00:22:15.559
We know who the ideal Joe character
is gonna be. This is a

289
00:22:15.759 --> 00:22:19.559
like I said, this story predictable. It's gonna be our lifer Cavey,

290
00:22:19.559 --> 00:22:25.480
It's gonna be Alex's story. Ironically, ironically, Alex, who is a

291
00:22:25.519 --> 00:22:29.119
dead set against this whole process,
do you think he'll be won over by

292
00:22:29.400 --> 00:22:33.680
Chapman's charms or by the end of
the I will be shocked if that's This

293
00:22:33.000 --> 00:22:38.559
plot goes this way, almost like
clockwork. Bobby then asserts that they should

294
00:22:38.559 --> 00:22:42.599
talk to Alex because he's got the
best stories, and Chapman asks, well,

295
00:22:42.599 --> 00:22:45.599
where where is he? And Bobby
now here. This is a great,

296
00:22:47.000 --> 00:22:49.119
great shot. I don't know if
you, I assume you noticed this.

297
00:22:49.960 --> 00:22:52.839
I certainly took note of it.
As Bobby points him out, we

298
00:22:52.880 --> 00:23:00.640
get this great crafted shot where Reager
is sitting grumpily in the four while the

299
00:23:00.839 --> 00:23:06.680
entire rest of the cast is in
the background just above him. This wonderfully

300
00:23:06.720 --> 00:23:12.640
composed shot which really sells the notion
that Alex is almost self isolating from the

301
00:23:12.680 --> 00:23:17.119
rest of the group because he's sitting
by the coffee machine. He wants nothing

302
00:23:17.160 --> 00:23:22.440
to do with this. Chapman walks
over to Alex and introduces himself and asks

303
00:23:22.440 --> 00:23:29.319
if they can talk, and after
some patented, smarmy yet endearing humor from

304
00:23:29.359 --> 00:23:33.799
Martin mull there's this funny line where
Alex he's trying to let him off,

305
00:23:33.920 --> 00:23:37.599
so he says, look, I
don't know you, but I think you're

306
00:23:37.640 --> 00:23:41.599
a decent man, and then Martin
maull says, you don't know me,

307
00:23:41.319 --> 00:23:45.519
and the line. It's interesting.
I don't know if you noticed that the

308
00:23:45.559 --> 00:23:52.480
reaction that the audience gave it,
because there's this ripple of laughter that continues

309
00:23:52.519 --> 00:23:56.839
for longer than you'd think, because
it's almost like people it had the sleeper

310
00:23:56.839 --> 00:24:00.720
effect. People heard him say the
line and then after the fact realized how

311
00:24:00.759 --> 00:24:03.319
funny it was because he delivers it
really well. And I think he even

312
00:24:03.400 --> 00:24:06.839
sells it with a little He says
at the end, that's just a little

313
00:24:06.920 --> 00:24:11.640
joke, but it's so endearing.
Yeah, and it's a warning. That's

314
00:24:11.680 --> 00:24:14.759
the wonderful thing. It's really not
a joke. He's saying, I'm actually

315
00:24:14.799 --> 00:24:18.680
not a good person at all,
but he's delivered it in such a charming

316
00:24:18.720 --> 00:24:23.319
way, and like you said,
it does have that nice rippling out effect

317
00:24:23.319 --> 00:24:27.720
in the audience. It's almost like
it's a little disarming for people. The

318
00:24:27.759 --> 00:24:33.400
way that Martin mull is playing this
character, it's really a wonder to observe.

319
00:24:33.680 --> 00:24:37.400
Alex asks if they can just count
him out of this. He doesn't

320
00:24:37.440 --> 00:24:41.559
want to, he doesn't want to
be part of this. Bobby is protesting,

321
00:24:41.680 --> 00:24:45.680
like they just want to ask you
a few questions, and Alex his

322
00:24:45.799 --> 00:24:48.000
reply is, look, I'm a
cabby if you want to go somewhere else.

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It's an echo of his speech at
the very beginning of the series where

324
00:24:52.359 --> 00:24:55.200
he says I'm just a cabby.
He says if you want to, I'll

325
00:24:55.200 --> 00:24:57.039
take you somewhere. If you want
to go somewhere. But there's a reason

326
00:24:57.400 --> 00:25:00.640
why a private life is private.
And if Alex says, if I talk

327
00:25:00.680 --> 00:25:04.400
about it, then it won't be
private anymore, and he tries to politely

328
00:25:04.440 --> 00:25:10.359
walk away. At that point,
Chapman calls his assistant over the one with

329
00:25:10.400 --> 00:25:15.799
a hair helmet and says, that's
our jib. He knows that Alex would

330
00:25:15.799 --> 00:25:18.440
be perfect, his stories would be
perfect for this character. Are you're not

331
00:25:18.440 --> 00:25:22.000
going to mention Nardo and Russ slacks
with an open collar shirt and a useless

332
00:25:22.039 --> 00:25:26.720
tie. She's worn that outfit before. Yeah, well, anyway, it's

333
00:25:26.759 --> 00:25:29.839
wonderful and I'm just throwing it out
there. Okay, move on on that

334
00:25:29.960 --> 00:25:33.319
same subject. We fade out,
we fade back in. No, mm

335
00:25:33.400 --> 00:25:37.920
hmmm, this is real bad with
what we're talking about. In this next

336
00:25:37.920 --> 00:25:44.079
thing. We fade in and Elaine
is basically escorting Chapman back into the garage.

337
00:25:44.480 --> 00:25:47.319
Did they have sex? Let's just
get to it. We're getting to

338
00:25:47.359 --> 00:25:48.680
that. I've got all kinds of
stuff here in my notes. Thank you,

339
00:25:48.759 --> 00:25:52.119
It's like, thank you for a
wonderful morning. Well, we'll get

340
00:25:52.119 --> 00:25:56.000
to that. You're you're going to
We're getting to it right now. Have

341
00:25:56.160 --> 00:26:02.319
sex or not? I that's it's
up to interpretation. They had sex,

342
00:26:02.359 --> 00:26:04.160
Come on, man, thank you
for a wonderful morning. What were they

343
00:26:04.240 --> 00:26:11.000
doing having tea? They had breakfast, she says. She says, thank

344
00:26:11.039 --> 00:26:14.839
you for breakfast. Breakfast. Let's
do this in order. We have to

345
00:26:14.839 --> 00:26:17.400
do this in order, because it
all fits together. Trust me on this.

346
00:26:17.799 --> 00:26:19.279
When she walks in, let's talk
about First of all, you were

347
00:26:19.319 --> 00:26:22.720
talking about the outfit she was just
wearing. This is clearly the next day,

348
00:26:23.119 --> 00:26:29.119
she's wearing a red on red blouse
and pants combo that makes her look

349
00:26:29.240 --> 00:26:33.400
like a fanciful, sexy version of
the devil. It's the weirdest outfit I've

350
00:26:33.400 --> 00:26:37.640
ever seen her wear. Did you
notice that? Did I notice it?

351
00:26:37.799 --> 00:26:42.880
I wrote arg? I wrote that
word, and then in all caps,

352
00:26:44.039 --> 00:26:48.839
I scrawled nardo and red makes me
see red? You were a fan?

353
00:26:49.279 --> 00:26:52.920
I did not like this outfit.
On top of which, I'm left with

354
00:26:52.960 --> 00:26:59.960
the ambiguity if she just potentially fucked
Martin mull. She thanks Chapman for breakfast,

355
00:27:00.039 --> 00:27:03.359
and he in turn thanks her for
sharing her stories with him. What

356
00:27:03.559 --> 00:27:10.160
follows is this very tonally odd moment
where Chapman says to her, anyone ever

357
00:27:10.240 --> 00:27:14.480
told you you look like a young
Lana Turner And he even puts his hand

358
00:27:14.559 --> 00:27:18.240
under her chin to hold up her
her face, and she says, well

359
00:27:18.279 --> 00:27:22.799
no, and he replies it's because
you don't, which is weird. It's

360
00:27:23.599 --> 00:27:27.759
I think that's exactly what he's doing. He's Hollywood negging her. He kind

361
00:27:27.759 --> 00:27:32.200
of is. He's invoking a goddess
right and saying, but you're not her,

362
00:27:32.319 --> 00:27:34.480
but you are very attract These are
his exact words. I had a

363
00:27:34.519 --> 00:27:41.839
wonderful, wonderful morning. There you
go. They hold this uncomfortable glance between

364
00:27:41.839 --> 00:27:45.960
the two of them, one or
two beats too long. They just stand

365
00:27:45.000 --> 00:27:49.119
there. Look you're saying it's uncomfortable. They seem comfortable. It was very

366
00:27:49.480 --> 00:27:53.160
disarming. Not in a good way. It felt uncomfortable. No, see,

367
00:27:53.200 --> 00:27:56.400
I was into that. I'm like, wow, yeah, you go,

368
00:27:56.480 --> 00:28:00.839
Nardo that part. I was fine
with the red outfit. On Jesus,

369
00:28:00.160 --> 00:28:04.160
did he buy her that outfit?
Maybe that's part of Roger Chapman's thing.

370
00:28:04.440 --> 00:28:07.519
He's got a thing for devil girls. You know. He never got

371
00:28:07.519 --> 00:28:11.200
over Anne Margaret in the sixties.
What was that movie that they made the

372
00:28:11.200 --> 00:28:15.920
remake of? Was it a Bedazzle? Yes? With was it Peter Boyle

373
00:28:17.079 --> 00:28:21.519
the original and Dudley Moore was But
who was the lady? I don't remember.

374
00:28:21.599 --> 00:28:25.599
I know it was Lin Hurley.
No, it was Liz Hurley in

375
00:28:25.640 --> 00:28:29.160
the remake, but I don't remember
who it was in the original. Are

376
00:28:29.160 --> 00:28:33.279
they trying to recreate the Anne Margaret
from Tommy look On Nardo here. Look,

377
00:28:33.319 --> 00:28:37.000
I didn't have his extreme a response
to the outfit as you did,

378
00:28:37.039 --> 00:28:41.759
but I did recognize that because it's
not one shade of red, it's like

379
00:28:41.839 --> 00:28:45.240
a lighter shade and a darker It
just looked odd. It wasn't in line

380
00:28:45.279 --> 00:28:48.559
with what she normally wears, like
a fire truck. Yeah, kind of.

381
00:28:48.839 --> 00:28:52.160
After they have this weird moment together, they walk into the garage.

382
00:28:52.640 --> 00:28:56.519
Tony's at the poker table and he's
talking about an upcoming prize fight. When's

383
00:28:56.519 --> 00:29:00.960
the last time you heard a boxing
match described as a prize fight. That's

384
00:29:02.000 --> 00:29:04.839
fine, come on, they're really
selling the poluca aspect at this time,

385
00:29:06.680 --> 00:29:10.119
and he likes prize fighting. I'd
call it prize fighting if I could.

386
00:29:08.960 --> 00:29:12.240
I want to pretend I'm James Elroy
and you know, hey, it's the

387
00:29:12.319 --> 00:29:17.279
nineteen forties, everybody. That's exactly
it. It's like something out of a

388
00:29:17.359 --> 00:29:21.799
dime store pulp novel. Chapman asks
him if he's got tickets, and Tony

389
00:29:22.000 --> 00:29:26.559
scoffs that crazy, I don't have
tickets. Not only does Chapman dispatch his

390
00:29:26.640 --> 00:29:33.960
assistant Leah to get ringside seats,
but he arranges for the two of them

391
00:29:33.039 --> 00:29:34.960
to go together. I think he
says like, well, you know,

392
00:29:36.079 --> 00:29:38.000
Leah is kind of a fight fan. Why don't you take her? Hey,

393
00:29:38.079 --> 00:29:41.559
I'm also a pimp. Did you
know that, Tony, hold on

394
00:29:41.559 --> 00:29:45.680
one second? Take her? You'd
like that right on paper, that's exactly

395
00:29:45.680 --> 00:29:49.039
what he's doing. But again,
Martin mull has this way of being slimy

396
00:29:49.119 --> 00:29:53.440
without really being slimy in this it's
really a wonder to behold. God damn

397
00:29:53.519 --> 00:30:00.000
Hollywood phonies. So they get their
way special mention of the come hither eyebrows

398
00:30:00.279 --> 00:30:03.079
raised that Leah sends Tony's way.
Did you notice that? Yeah? Who

399
00:30:03.160 --> 00:30:07.000
can blame her? She says,
I'll arrange it, and she goes,

400
00:30:07.039 --> 00:30:11.519
whooooo like this little come hither thing? Uh huh, they're going, if

401
00:30:11.559 --> 00:30:15.480
you know what I mean, They're
gonna watch the submarine races on the circle.

402
00:30:15.039 --> 00:30:18.519
So the food arrives at this point, and it's a spectacular spread.

403
00:30:18.759 --> 00:30:25.200
It looks oh yeah, we get
Jeff's second line of the episode. We

404
00:30:25.279 --> 00:30:29.839
know it's fancy because we hear Jeff
stipulate I got the eggs benedict, which

405
00:30:29.880 --> 00:30:33.400
I think is a fantastic choice.
Hmmm, I want some now that's my

406
00:30:33.559 --> 00:30:38.759
go to so while the rest of
the garage ambles over to start stuffing their

407
00:30:38.759 --> 00:30:45.680
faces, Burns insists to Chapman that
he has a great story. It's awful.

408
00:30:45.200 --> 00:30:48.160
That's the punchline to this. I'm
not going to bore you with the

409
00:30:48.160 --> 00:30:49.480
details. Oh yeah, you don't
have to. You don't have to recount

410
00:30:49.519 --> 00:30:53.200
it. Burns tell us a boring
story. Chapman is clearly not amused.

411
00:30:53.200 --> 00:30:57.759
But to his credit, again,
we've seen this guy handle the garage with

412
00:30:59.079 --> 00:31:03.039
incredible finet, and he knows exactly
how to deal with a child like Burns

413
00:31:03.119 --> 00:31:07.440
and handle a rube, and his
stories almost like talking to a child.

414
00:31:07.559 --> 00:31:11.200
He asks if he has any more
stories like that, and Burns replies,

415
00:31:11.200 --> 00:31:14.319
well, they're not all as good
as that, and believe me when I

416
00:31:14.319 --> 00:31:17.839
tell you it's a terrible story.
And Chapman cuts them off and says,

417
00:31:17.839 --> 00:31:19.640
all right, here's what he should
do, John, I want you to

418
00:31:19.680 --> 00:31:23.039
write all these stories down all he
wants. I wants you to collect them,

419
00:31:23.240 --> 00:31:26.200
and when they're ready, you give
them to me, and I will

420
00:31:26.240 --> 00:31:32.720
give them the attention they deserve and
quickly too, which we know means they're

421
00:31:32.759 --> 00:31:36.039
going to get filed in the circular
file. Never to be read, which

422
00:31:36.039 --> 00:31:38.920
I think is great. But then
on the CS for Chicken Shed, you

423
00:31:38.960 --> 00:31:42.440
know what happened here at HP is
John collected all of those stories, he

424
00:31:42.519 --> 00:31:45.400
wrote them all down, and he
turned him into the pilot for the Big

425
00:31:45.440 --> 00:31:51.720
Bang Theory. And they lived happily
ever after, and now Burns is a

426
00:31:51.839 --> 00:31:56.720
multi billionaire. That's enough for Burns
and he leaves happy. I mean,

427
00:31:56.799 --> 00:32:00.079
once again, Chapman has worked his
charms on the group. I mean,

428
00:32:00.240 --> 00:32:04.480
look, these are New York cabvis. They're supposed to be street wise and

429
00:32:04.599 --> 00:32:07.319
tough, but he's got them wrapped
around his finger. It's amazing. Chapman

430
00:32:07.440 --> 00:32:13.119
goes over to talk to Louis,
who's holding a pastry that's seriously as big

431
00:32:13.160 --> 00:32:15.880
as his head. It's a cinnamon
loaf. It's like, you know how

432
00:32:16.039 --> 00:32:20.440
you go to a pastry at good
place, a bakery I guess they call

433
00:32:20.519 --> 00:32:24.359
those. You can get a tray
of cinnamon rolls and you just cut one

434
00:32:24.440 --> 00:32:28.640
each, well if you didn't cut
any of them, and then you put

435
00:32:28.640 --> 00:32:31.279
a pound of confection or sugar on
top of it. That's what Louis is

436
00:32:31.279 --> 00:32:36.559
holding. He picks it up and
it's almost as if they caught Danny DeVito

437
00:32:36.599 --> 00:32:42.359
in mid bite because he mumbles and
you hear some scattered laughter in the audience.

438
00:32:42.400 --> 00:32:45.559
It's almost as if you're witnessing a
blooper that they just kind of go

439
00:32:45.640 --> 00:32:47.240
with. He almost has a look
on his face like he's going to break

440
00:32:47.480 --> 00:32:52.680
and laugh at the whole thing,
but they soldier forth. Chapman asks him

441
00:32:52.720 --> 00:32:58.680
if the rumors of dispatchers shaking down
drivers for money is true, and de

442
00:32:58.799 --> 00:33:02.640
Palma simply replied, what's it worth
to you, which gives Chapman his answer

443
00:33:02.640 --> 00:33:07.400
in typical Louis fashion, and he
kind of nods and goes away. Tony

444
00:33:07.319 --> 00:33:10.480
yells over to Alex if he wants
pigs in a blanket, which we all

445
00:33:10.480 --> 00:33:15.880
know is the quintessential child's breakfast,
totally appropriate for Tony to be eating this.

446
00:33:16.319 --> 00:33:22.000
Alex curtly replies that he's going to
go over to Marios, and when

447
00:33:22.000 --> 00:33:24.720
he asks any if they want to
come, he gets a lot of mouths

448
00:33:24.839 --> 00:33:29.559
half full, saying you're crazy.
Now I wrote this down. Here's a

449
00:33:29.640 --> 00:33:31.799
vaudeville alert, and this is what
you were alluding to earlier. Oh yeah,

450
00:33:31.920 --> 00:33:36.880
oh, this is a Charles Brothers
villa. So one of the one

451
00:33:36.920 --> 00:33:39.880
of the Cabby's says, the food
at Marios is terrible compared to this,

452
00:33:40.480 --> 00:33:45.079
and he goes on to say that
they use horse meat for hamburgers. Alex

453
00:33:45.519 --> 00:33:50.039
replies, you're crazy, but the
cabby replies, take my word for it.

454
00:33:50.400 --> 00:33:54.680
Way we know where this is going. I'm cook at Marios. Okay,

455
00:33:54.799 --> 00:34:00.240
here's what saves at HP. Yeah. That actor playing cook for Marios

456
00:34:00.720 --> 00:34:06.640
is so fucking fascinating looking. I'm
sort of mad that they didn't just make

457
00:34:06.680 --> 00:34:09.960
him a cavey. I recognized him. I didn't know what, but I

458
00:34:10.000 --> 00:34:15.039
did recognize him. He's an actor
by the name of Rick KHALIDI did you

459
00:34:15.119 --> 00:34:19.840
recognize him by any chance? I
did not. The weird part is the

460
00:34:19.920 --> 00:34:22.719
thing I remembered him from. I
looked at his He's passed away, unfortunately.

461
00:34:23.079 --> 00:34:28.119
I think he died about thirteen years
ago. The thing that I remember

462
00:34:28.199 --> 00:34:34.079
him best from is he was in
the movie Crocodile Dundee. He was this

463
00:34:34.239 --> 00:34:39.400
character named Danny. I think he
was one of the New Yorkers that befriends

464
00:34:39.639 --> 00:34:44.440
Nick Dundee when he comes to New
York. He's wearing like this bike messenger

465
00:34:44.519 --> 00:34:49.280
hate Did I say? What did
I say? You? Said Rick,

466
00:34:49.760 --> 00:34:53.039
Oh, Mick Dundee. Sorry,
Yeah, he's one of the New Yorkers

467
00:34:53.039 --> 00:34:58.400
that befriends Nick Dunde. I said
again, Nick, I said, Nick,

468
00:34:58.679 --> 00:35:02.519
I meant Mick Mick Dundee. Anyway. Uh, he's got a very

469
00:35:02.519 --> 00:35:07.800
distinctive face. He seems like he's
got a story to tell. But and

470
00:35:07.840 --> 00:35:10.960
I agree, it's sort of unfortunate
that this is all we see of him,

471
00:35:12.199 --> 00:35:15.840
because he looked he just came off
so intriguing to me, you know

472
00:35:15.880 --> 00:35:19.840
what, hb You know what.
It reminds me now that this might be

473
00:35:19.920 --> 00:35:23.519
the only thing missing from the series, even with Reverend Jimmy Natowski, is

474
00:35:23.559 --> 00:35:27.800
they don't have a sinister character,
like they have a pain in the ass

475
00:35:27.920 --> 00:35:30.800
character in Luis to Palmer, but
they don't have anyone who's kind of a

476
00:35:30.920 --> 00:35:37.360
threat. There's no Carvelly on tag. We're talking about Carvelly from Welcome Back

477
00:35:37.400 --> 00:35:42.039
Carter, which deserves its own podcast. But I remember he had a poem

478
00:35:42.400 --> 00:35:45.119
Carvelli did on Welcome Back Carter where
he said, my name is Carvelly,

479
00:35:45.880 --> 00:35:52.679
I live in New York. I'm
so meant and nasty A fork Yeah,

480
00:35:52.760 --> 00:35:57.000
yeah know. He's Charles Fleischer,
better known as the voice of Roger.

481
00:35:58.840 --> 00:36:02.679
But anyway, that's our Charles fleischert
appreciation moment. But I agree, there's

482
00:36:02.719 --> 00:36:07.559
no character that has an edge to
them in that way. Somebody that maybe

483
00:36:07.599 --> 00:36:13.320
you're not sure what their motivations are, maybe they're an antagonist in a way

484
00:36:13.320 --> 00:36:16.519
that Louis, because Louis has a
soft core. We learned this about Louis.

485
00:36:16.719 --> 00:36:22.199
Remember on Cheers they had John Hill
upstairs. He'd come down from the

486
00:36:22.239 --> 00:36:27.280
restaurant, Sam, Remember that guy, great villain. Look, Louis is

487
00:36:27.320 --> 00:36:30.519
a is not a nice guy a
lot of the time, but he does

488
00:36:30.679 --> 00:36:36.440
have a soft tender side, whereas
Carvelli had no softness about him whatsoever.

489
00:36:36.480 --> 00:36:40.400
And I'm sure this cook from Marios, maybe you know, had some qualities

490
00:36:40.400 --> 00:36:44.239
like that, but we'll never know
because we never see him again. Chapman

491
00:36:44.400 --> 00:36:47.320
keeps trying to push Alex to talk
to him, but Alex is he won't

492
00:36:47.320 --> 00:36:52.280
budge. Chapman pesters Alex so much
that Alex finally says, I don't have

493
00:36:52.360 --> 00:36:55.559
to take this. We get a
union and there are rules. Oh my

494
00:36:55.599 --> 00:37:00.400
god, here we go, and
he loudly asks for the shops Stewart,

495
00:37:00.679 --> 00:37:04.639
but nobody knows who the Shop Stewart
is this is a useless bit of comedy.

496
00:37:04.840 --> 00:37:08.280
This dragged the whole episode down.
See I disagree. This is my

497
00:37:08.440 --> 00:37:13.719
favorite part of the episode. Are
they showing Alex the futility of his job

498
00:37:13.800 --> 00:37:16.440
here? Is that the point?
Yes, the bureaucracy that goes nowhere?

499
00:37:16.719 --> 00:37:21.920
I love the name, so they
look up that. Louis looks talking myself

500
00:37:21.920 --> 00:37:25.079
into liking it. Never mind I
did. Louis looks up the shop Stewart

501
00:37:25.079 --> 00:37:34.320
and it's somebody named Ben Gerretsky.
That sounds like such a real, genuine

502
00:37:34.639 --> 00:37:37.280
name, but it's so funny to
me for some reason, because they keep

503
00:37:37.360 --> 00:37:40.920
yelling it's a friend of the writers
or something probably, but it sounds like

504
00:37:40.960 --> 00:37:45.679
a Cabby name. So Ben Gerretsky
has been dead for two years, so

505
00:37:45.719 --> 00:37:47.800
nobody knows who's going to be the
shop Stewards. So they elact the Alex,

506
00:37:49.000 --> 00:37:51.800
but he doesn't want to do it
and they can't force him to do

507
00:37:51.880 --> 00:37:57.239
it. So what ends up happening
is they really liked Ben Gerretsky and then

508
00:37:57.320 --> 00:38:01.039
everything just goes back to normal.
So, because the futility of life as

509
00:38:01.039 --> 00:38:07.320
a Cabby is just too overwhelming,
Alex breaks down and says Okay, I'll

510
00:38:07.320 --> 00:38:10.000
tell you all my stories, kid. So it softens Alex up and he

511
00:38:10.079 --> 00:38:16.360
actually smiles after watching this ridiculous display
about Ben Geretzky, and he agrees finally

512
00:38:16.440 --> 00:38:21.199
to talk to Chapman. We fade
out, presumably for commercial. We come

513
00:38:21.239 --> 00:38:25.960
back and this is the next day, and the garage has another amazing meal

514
00:38:27.760 --> 00:38:30.559
spread in front of everybody, and
one of the cabbys even proclaims, this

515
00:38:30.639 --> 00:38:36.119
is the best pete we've had all
week. You know that they've been eating

516
00:38:36.199 --> 00:38:38.039
high off the hog all week.
That guy is huge, by the way.

517
00:38:38.079 --> 00:38:40.920
He's the only extra who actually stood
out to me, and that's because

518
00:38:40.920 --> 00:38:45.880
he seemed like he was nine feet
tall. He was towering over everybody else.

519
00:38:45.239 --> 00:38:51.519
Tony strolls in and he's got his
new squeeze, Leah, the assistant

520
00:38:51.519 --> 00:38:53.880
that he went to the fights with, and they're very cozy, and Alex

521
00:38:54.360 --> 00:39:00.880
also strides in. Alex hays a
little pep in his step cocaine. Roger

522
00:39:00.960 --> 00:39:04.800
Chapman, that's what you're talking about. We've already seen his proclivity for the

523
00:39:04.880 --> 00:39:09.280
uppers. Alex and Roger out all
night fucking doing blow talking about the veracity

524
00:39:09.280 --> 00:39:15.000
of taxi driver. He admits that
he's told Chapman stories that he hadn't thought

525
00:39:15.039 --> 00:39:20.599
of in years, and Elaine asks
they're going to use them, and Alex

526
00:39:20.639 --> 00:39:23.400
says no, that Chapman doesn't think
they were right for a movie. He

527
00:39:23.480 --> 00:39:32.679
said they were more like television d
meta textual baby do you Go, Choms

528
00:39:32.719 --> 00:39:38.119
Brothers. What's interesting is that that
joke should have gotten a big laugh because

529
00:39:38.119 --> 00:39:43.920
it's the meta commentary on tax Nobody
knows. There's just people watching a fucking

530
00:39:44.079 --> 00:39:46.320
they're watching the first season of a
show. They've probably never even seen the

531
00:39:46.360 --> 00:39:50.880
show air yet. That's probably a
good point. There is some laughter,

532
00:39:51.000 --> 00:39:54.639
but it's very muted and very scattered, but Alex does admit to the cabbies

533
00:39:54.679 --> 00:39:58.239
that despite all the fuss he made, it's actually been a lot of fun.

534
00:39:58.519 --> 00:40:01.079
Louis says, I can see these
other who's getting taken in by this

535
00:40:01.199 --> 00:40:07.760
big Hollywood production, But Louis is
surprised that Alex is getting taken into.

536
00:40:07.000 --> 00:40:12.400
Louis is basically salty that they haven't
offered him a dime for all of the

537
00:40:12.480 --> 00:40:15.079
trouble that he's had with them all
week, all the logistical issues and so

538
00:40:15.159 --> 00:40:19.760
forth. He's right to feel that
way he should have already asked for money.

539
00:40:19.960 --> 00:40:22.679
Chapman strolls in and he tells the
cabbys they've got to go back to

540
00:40:22.719 --> 00:40:28.719
Hollywood tomorrow, but he invites them
all to his suite at the Plaza for

541
00:40:28.760 --> 00:40:31.920
a party Plaza. He calls Louis
over to tell him that he spoke with

542
00:40:31.960 --> 00:40:37.320
mister McKenzie, and McKenzie agreed to
let the film crew shoot some scenes in

543
00:40:37.360 --> 00:40:42.880
the garage and use all the cabbys
as extras. And he even says that

544
00:40:42.960 --> 00:40:45.320
Bobby will have a part in the
film. And I can see by your

545
00:40:45.320 --> 00:40:51.559
face what's happening is this episode has
become kind of an aspirational Oh my god,

546
00:40:51.599 --> 00:40:54.599
that's exactly what I've written here,
HP I wrote, is this the

547
00:40:55.280 --> 00:41:04.760
aspirational episode because everyone could make it
out of the garage simply by being themselves.

548
00:41:05.239 --> 00:41:12.719
They fucking the Charles Brothers sneak attacked
us with an aspirational episode. They

549
00:41:12.800 --> 00:41:16.440
got it into the third act.
I'm very impressed. I can't be mad

550
00:41:17.079 --> 00:41:21.000
at the fact that they've snuck it, snug it into the snugg it in

551
00:41:21.039 --> 00:41:23.679
here. It is interesting, but
it's so predictable. I mean, we

552
00:41:23.719 --> 00:41:29.440
already know. I mean I've not
even a taxi fan could see what's going

553
00:41:29.519 --> 00:41:32.400
to happen a mile away. Bobby
is all excited about his part in the

554
00:41:32.440 --> 00:41:37.280
film. He jumps up, he's
happy. Now. It's all contingent on

555
00:41:37.440 --> 00:41:43.000
Louie agreeing to let them shoot in
the garage. And at this point Louie

556
00:41:43.039 --> 00:41:45.679
becomes smug. Louie he has this
look on his face like, ah,

557
00:41:45.719 --> 00:41:52.119
I have you exactly where I want
you now, and he slides over and

558
00:41:52.239 --> 00:41:57.400
makes a big show of the power
that he's now lording over the production of

559
00:41:57.440 --> 00:42:00.280
the film. Louie says, no, you can't have it. You can't

560
00:42:00.280 --> 00:42:07.280
have the garage because of all the
disruption that's happening. Chapman correctly plays on

561
00:42:07.360 --> 00:42:12.400
Louie's greed. They have an impromptu
negotiation down by one of the stack tables.

562
00:42:13.159 --> 00:42:19.199
Chapman says that Louis will be a
location coordinator and will be paid fifteen

563
00:42:19.639 --> 00:42:25.800
thousand dollars. Louis has this look
on his face like and he says,

564
00:42:25.880 --> 00:42:31.440
that's not really the figure that I
had in mind, but sure you got

565
00:42:31.440 --> 00:42:36.920
a deal. And then Chapman leaves
and Alex comes over and says, what

566
00:42:36.960 --> 00:42:38.960
figure did he have in mind?
Louis, do you remember what he said?

567
00:42:39.320 --> 00:42:42.239
It was like two hundred and fifty
bucks or something. No, no,

568
00:42:42.360 --> 00:42:47.239
it wasn't even he's it was a
gleeful Louis admits he was going to

569
00:42:47.280 --> 00:42:53.280
ask for twenty five dollars before Louis
literally leaps into Alex's Oh yeah, that's

570
00:42:53.320 --> 00:42:59.239
impressive, Like you know, any
of the physical comedy between Rieger and Louis

571
00:42:59.239 --> 00:43:04.639
de Palma and up being a site
to behold. Everything is looking up for

572
00:43:04.840 --> 00:43:07.960
all the cavvies. Everyone's getting out
of the ghetto. The only thing that

573
00:43:08.000 --> 00:43:12.440
would have made this even worse is
at the end of the episode if in

574
00:43:12.480 --> 00:43:15.920
a shock Louis wakes up and it's
all a dream that he had, that

575
00:43:15.960 --> 00:43:21.639
all of this stuff. Maybe,
Oh my god, I'm sorry with the

576
00:43:21.679 --> 00:43:23.599
Mosquitos and we just can't have the
competition. We're going to have to leave

577
00:43:23.639 --> 00:43:29.360
you here on the island. Everyone
in Sunshine Cat the Mosquitoes was that you

578
00:43:29.400 --> 00:43:31.559
need us? Was that the song? That's right? You need us?

579
00:43:31.639 --> 00:43:36.559
What would the Honeybees? Was that
the that was? That was all the

580
00:43:36.559 --> 00:43:38.559
women on the island. That was
missus howell for those of you under the

581
00:43:38.559 --> 00:43:44.519
age of one thousand, we're talking
about Giving Island. That's right. I

582
00:43:44.559 --> 00:43:49.079
don't know anyone who's under the age
of fifty who's listening to this podcast anyway.

583
00:43:49.239 --> 00:43:52.440
So at this point we cut to
the Plaza Suite, the parties in

584
00:43:52.519 --> 00:43:57.800
full swing, and I gotta say
it, actually, the set decoration worked.

585
00:43:57.800 --> 00:44:00.320
It Actually, to me, it
felt like a big, swanky hotel.

586
00:44:01.280 --> 00:44:06.000
You can see the skyline and the
windows. I thought it worked pretty

587
00:44:06.000 --> 00:44:07.639
well. What did you think?
I disagree. I was unimpressed with the

588
00:44:07.880 --> 00:44:12.679
hotel. What didn't you like?
I don't know. It lacked a certain

589
00:44:12.800 --> 00:44:16.280
Hollywood bizazz. Okay, it just
seemed, you know what, when Elaine

590
00:44:16.400 --> 00:44:22.079
had had her chafing dish dinner and
had all of the weirdos from the art

591
00:44:22.159 --> 00:44:25.159
scene over to her place, that
place had much more character than this Plaza

592
00:44:25.199 --> 00:44:30.920
suite. I just thought it felt
spacious and it felt a little bit gaudy,

593
00:44:31.199 --> 00:44:34.920
and that's what I liked about it. And it was a skyline.

594
00:44:35.320 --> 00:44:40.159
It was big skylin. So what
chandelier for those of you under the age

595
00:44:40.159 --> 00:44:44.519
of the thousand, I just made
a reference to a commercial from the nineteen

596
00:44:44.599 --> 00:44:49.039
seventies. But my book series,
I just told the cab driver I just

597
00:44:49.039 --> 00:44:53.119
got back from Vietnam, and he
was like, so what so what that

598
00:44:53.159 --> 00:44:58.840
was? That was the Time Life
series on Vietnam. Yes, we're having

599
00:44:58.840 --> 00:45:01.679
a lot of fun here. Bapan
is at the party and he toasts their

600
00:45:01.719 --> 00:45:07.880
future success and everything is looking up. What could go wrong? Tony's got

601
00:45:07.880 --> 00:45:13.280
a new girlfriend. Everybody's getting exactly
what they want, And just at that

602
00:45:13.400 --> 00:45:19.320
moment, the phone rings and Chapman's
assistant announces a call from somebody named Peter

603
00:45:19.639 --> 00:45:24.320
Koppelman. Apparently there was a shakeup
at the studio and there's a new head

604
00:45:24.599 --> 00:45:28.760
studio. He makes reference to every
studio. I don't know which one.

605
00:45:28.880 --> 00:45:36.320
He'say, it's Paramount, because Paramount
is produced. Of course Paramount. There's

606
00:45:36.360 --> 00:45:39.000
a new studio head. And then
that studio, hey got replaced by this

607
00:45:39.039 --> 00:45:43.760
one. So all the studio heads
have now been replaced. But the project

608
00:45:43.800 --> 00:45:46.840
was set up at Paramount. During
the conversation, when when Chapman takes the

609
00:45:46.880 --> 00:45:52.519
call, it becomes clear that,
as as often happens, when a new

610
00:45:52.559 --> 00:45:55.199
head of the studio comes, well, you know better than me because you've

611
00:45:55.480 --> 00:45:59.679
you're privy to these kinds of things. Father alone that what's the first thing

612
00:45:59.719 --> 00:46:01.800
that the new head of the studio
does when they come in Coleen House,

613
00:46:01.880 --> 00:46:06.280
Baby, we don't want any of
this fucking loser who got fired. We

614
00:46:06.320 --> 00:46:09.320
don't want shit lingering around. I
don't want to take credit or the blame

615
00:46:09.400 --> 00:46:14.960
for any of his failures or successes. Exactly, That's exactly what happens here.

616
00:46:15.360 --> 00:46:21.960
Chapman goes from being very smartily congratulatory
to essentially begging for him not to

617
00:46:22.039 --> 00:46:28.440
cancel the cab the taxi project'sp
I've got a hot tank here, studio

618
00:46:28.599 --> 00:46:32.440
news. Studio heads shouldn't do that. You should appraise every project based on

619
00:46:32.480 --> 00:46:37.760
its own merits. I know that's
wild talk, but it needs to be

620
00:46:37.800 --> 00:46:42.559
said. I could not agree more
because it they're doing it for exactly the

621
00:46:42.639 --> 00:46:45.360
reasons you cited, which is they
don't want to be attached to something they

622
00:46:45.400 --> 00:46:50.199
feel as a loser project. They
don't want the taint to rub off on

623
00:46:50.280 --> 00:46:55.440
them. But honestly, like how
many good projects are canceled or shuffled around

624
00:46:55.760 --> 00:47:00.480
for no good reason, ones that
would have merit and would be successful.

625
00:47:00.880 --> 00:47:04.159
It doesn't all mention one. Can
I mention one that was part of our

626
00:47:04.280 --> 00:47:07.119
childhood? Remember the movie Explorers?
The Joe Dante movie. Of course,

627
00:47:08.000 --> 00:47:13.280
there's an entire third act of that
movie that just didn't get filmed because there

628
00:47:13.320 --> 00:47:16.079
was a studio change, like a
studio head change, and when they looked

629
00:47:16.079 --> 00:47:17.800
at the footage, they were like, well, you can just end it

630
00:47:17.840 --> 00:47:22.079
here, and that was it,
and they said you can't film anymore.

631
00:47:22.880 --> 00:47:25.599
Like there was a whole passage of
that movie where those kids are back on

632
00:47:25.679 --> 00:47:30.599
Earth that didn't get filmed. We
didn't get the end of that movie.

633
00:47:30.760 --> 00:47:35.559
It does end rather abruptly, but
I didn't know that there was this backstory

634
00:47:35.559 --> 00:47:38.440
to it. I'll have to watch
it again with that understanding. It wasn't

635
00:47:38.480 --> 00:47:43.920
even shot, It just didn't film
itn No, there are some scenes that

636
00:47:43.960 --> 00:47:46.840
were from that portion that had been
filmed prior to it. But evidently there's

637
00:47:46.880 --> 00:47:52.199
this entire act that takes place back
on Earth amongst the kids again that that

638
00:47:52.280 --> 00:47:57.280
was supposed to pay off the entire
movie. It's really kind of a vanity

639
00:47:57.360 --> 00:47:59.760
move when these heads of the studio
come in and, as you say,

640
00:47:59.760 --> 00:48:02.400
clear House, we have no way
of knowing if this taxi movie was going

641
00:48:02.480 --> 00:48:05.760
to be any good. No,
it was going to be terrible. It

642
00:48:05.800 --> 00:48:07.599
was going to be awful. But
that might be the most true to life

643
00:48:07.599 --> 00:48:13.280
thing in this whole episode, the
fact that this happens so abruptly and kills

644
00:48:13.280 --> 00:48:16.400
the project just as it's taking off. One thing I did like about this

645
00:48:16.599 --> 00:48:22.119
was that in his sort of begging
this head of the studio, he Chapman

646
00:48:22.199 --> 00:48:27.519
goes as far as putting Alex on
the phone to tell him the story of

647
00:48:27.559 --> 00:48:30.519
the time he got Patinkend in his
cab when the baby was born in the

648
00:48:30.559 --> 00:48:37.079
cabin, which we saw in the
Memories of Caveat four episode. But Alex

649
00:48:37.119 --> 00:48:38.880
doesn't get very far. You should
have put Patinkin on the phone. He

650
00:48:38.880 --> 00:48:44.559
could have sold it. Louis then
gets on the phone and tries reasoning with

651
00:48:44.800 --> 00:48:49.239
Koppleman, but it's no good.
Listen, Koppleman, you ain't canceling this

652
00:48:49.360 --> 00:48:52.960
movie. It's more desperate than that. But everybody files out like a funeral

653
00:48:53.440 --> 00:49:00.599
out of the suite except for Louis
and Alex, and Koppleman eventually hangs up

654
00:49:00.639 --> 00:49:06.559
on Louis. Alex tries to comfort
Louis for his lost fifteen grand and he

655
00:49:06.679 --> 00:49:10.000
insists that Louie needs to leave with
his head held high. He's going to

656
00:49:10.039 --> 00:49:15.039
have more class than that and Louis
reluctantly agrees, but he says, I

657
00:49:15.079 --> 00:49:17.039
have to go to the bathroom first, and he goes into the bathroom and

658
00:49:17.079 --> 00:49:22.239
he's saying this thing about how you're
thinking of We all know where this is

659
00:49:22.320 --> 00:49:24.679
going, We know where this is
going. Eventually, Louis emerges with an

660
00:49:24.760 --> 00:49:30.119
armful of towels and toilet paper that
he's going to steal. The toilet paper

661
00:49:30.159 --> 00:49:34.039
was a nice touch, but I
was disappointed he wasn't wearing a Plaza robe.

662
00:49:34.880 --> 00:49:37.119
That would have been perfect, way
too big for him robe like when

663
00:49:37.119 --> 00:49:40.480
he's the penguin. That would have
been more humorous. It would have been

664
00:49:40.480 --> 00:49:44.800
a funnier tag to the whole episode. You know, HBI, I didn't

665
00:49:44.800 --> 00:49:46.960
mention this earlier, but this episode
started with one of the most fantastic b

666
00:49:47.159 --> 00:49:51.320
roll shots of all time. But
then here when we got to the Plaza,

667
00:49:51.440 --> 00:49:54.679
they gave us this b roll of
some fucking random cab that was definitely

668
00:49:54.719 --> 00:49:59.599
not a checkered cab pulling up in
front of a hotel, as if that's

669
00:49:59.639 --> 00:50:04.119
one of the taxi cabs. Taxi
taxicabs pulling up Shame on them, don't

670
00:50:04.159 --> 00:50:06.960
do that. But that's it.
We don't even get a bumper to this

671
00:50:07.079 --> 00:50:09.719
episode. That's the end. They
both file out of the hotel, and

672
00:50:10.039 --> 00:50:13.599
that's the end of the episode.
Should have been the last episode of the

673
00:50:13.639 --> 00:50:16.559
season. I think, as we
do, let's talk yellow lights. What

674
00:50:16.639 --> 00:50:22.159
does a yellow light mean? As
a reminder, we're grading this on a

675
00:50:22.199 --> 00:50:27.880
score from one to five yellow lights. Five yellow lights is the quintessential perfect

676
00:50:27.920 --> 00:50:31.920
taxi episode, and one yellow light
means if I never see this again,

677
00:50:32.599 --> 00:50:36.920
I won't be upset. So as
we do, let's start with you,

678
00:50:37.119 --> 00:50:40.840
father alone, what do you give
Hollywood calling HPA. I'm going to quandary

679
00:50:40.840 --> 00:50:46.599
about this episode me too. The
number of lights for this episode currently eludes

680
00:50:46.679 --> 00:50:50.880
me. Going to I'm going to
defer to you. Please you take the

681
00:50:50.920 --> 00:50:55.400
lead on. Okay, I was
really prepared to give this two yellow lights,

682
00:50:55.639 --> 00:51:00.360
but I'm not going to give it
two yellow lights. I'm we have

683
00:51:00.400 --> 00:51:05.800
to be better than this, Father
alone, I'm giving this episode one yellow

684
00:51:05.880 --> 00:51:09.639
light, and I'll tell you why. It was an unrealistic plot in which

685
00:51:09.960 --> 00:51:15.360
the cabbys themselves have almost nothing to
do. In my estimation watching this back,

686
00:51:16.079 --> 00:51:21.119
the cabbies are literally bit players in
their own show. They don't do

687
00:51:21.280 --> 00:51:29.480
anything. All they're doing is reacting
to the machinations of Roger Chapman. To

688
00:51:29.559 --> 00:51:35.400
see them reduced to bit players in
their own show. That's really once I

689
00:51:35.400 --> 00:51:38.199
had that epiphany, that's what sealed
the deal for me. Now, there

690
00:51:38.239 --> 00:51:44.119
are some redeeming features to this episode. Divido has some funny moments, and

691
00:51:44.639 --> 00:51:49.280
as I said before, the union
bit with Ben Geretzky was really good.

692
00:51:50.039 --> 00:51:55.239
But honestly, the episode itself was
pretty much as inessential as they come,

693
00:51:55.280 --> 00:52:00.719
and it's a real missed opportunity to
make a solid sort of meta commentary on

694
00:52:00.800 --> 00:52:06.800
the actual shows Genesis, especially in
light of the fact that there was a

695
00:52:06.840 --> 00:52:10.800
lot of criticism levied at this show
at the time from actual cab drivers who

696
00:52:10.840 --> 00:52:16.599
thought it was too sanitized, that
it wasn't gritty enough. So for those

697
00:52:16.679 --> 00:52:22.760
reasons, I'm giving this episode one
yellow light. Okay, I agree with

698
00:52:22.960 --> 00:52:28.840
everything you just said. None of
the characters have any agency in the episode.

699
00:52:29.039 --> 00:52:35.119
They're just ping ponging based on these
outside forces that have invaded the cab

700
00:52:35.239 --> 00:52:38.559
company, right, But to me, that's every aspirational episode, So I

701
00:52:38.559 --> 00:52:43.039
don't really see that as too much
of a drawback, except we just get

702
00:52:43.039 --> 00:52:47.280
it en mass here. The only
non casualty of this, of this Hollywood

703
00:52:50.079 --> 00:52:58.719
intervention is latka. I agree with
that. Sheeez, one yellow light.

704
00:52:58.840 --> 00:53:02.199
Man. See, I was waffling
between two and three, and now I

705
00:53:02.239 --> 00:53:07.440
can't possibly well, I'm not going
to give it. I'm not going to

706
00:53:07.440 --> 00:53:09.679
give it a three because it's not
worth that, because it does indulge in

707
00:53:09.719 --> 00:53:20.360
some of the more distasteful mannerisms of
the Charles Brothers writing the setting that joke

708
00:53:20.440 --> 00:53:25.159
up and knocking it down. You
know I'm gonna go too. I'm gonna

709
00:53:25.199 --> 00:53:29.719
say two yellow lights on this one. Jeez? What are your other criticisms

710
00:53:29.840 --> 00:53:34.079
that? The big thing was what
you just reiterated, which is the Cabby's

711
00:53:34.159 --> 00:53:38.159
have nothing there. They're just they're
basically bit players and there on the show.

712
00:53:38.199 --> 00:53:44.320
But again, that's every aspirational episode. I disagree with that general point,

713
00:53:44.440 --> 00:53:50.000
but it felt more acute in this
case because it's not just aspirational for

714
00:53:50.159 --> 00:53:54.880
one Cabby, it's aspirational across the
entire garage. I can't fault you for

715
00:53:54.960 --> 00:53:58.639
giving it two yellow lights, because, like I said, that was what

716
00:53:58.719 --> 00:54:02.079
I was leaning towards. But the
more I think about it, the more

717
00:54:02.280 --> 00:54:07.599
I couldn't in good conscience give it
too, because that just that means it's

718
00:54:07.639 --> 00:54:13.679
just slightly below average, and I
think it's worse than that. Well,

719
00:54:13.719 --> 00:54:16.760
look, I couldn't possibly give this
one one. I'll definitely give it too.

720
00:54:16.920 --> 00:54:21.280
I'm tempted to give it three,
just because when Narda returns, she

721
00:54:21.320 --> 00:54:24.199
does it in browns and blues and
it was like a cooling balmb. But

722
00:54:25.159 --> 00:54:29.559
yeah, I don't know if that's
enough to justify a third Yello light.

723
00:54:29.559 --> 00:54:32.280
It would have had to have been
a really fantastic outfit and not just an

724
00:54:32.719 --> 00:54:38.079
interesting outfit. I like the cook
for Marios. I'm sorry we're not going

725
00:54:38.119 --> 00:54:42.880
to see him again. He maybe
deserves We don't do half lights, okay,

726
00:54:42.920 --> 00:54:45.440
it's two light two yellow lights.
HP. The only thing that I

727
00:54:45.480 --> 00:54:50.039
waffle on is other one yellow lights. I think one of the Burns episodes,

728
00:54:50.039 --> 00:54:52.440
I think we both agreed was one
yellow light. You'll know different out

729
00:54:52.440 --> 00:54:57.320
of your fucking mind, by the
way, I'm not. I'm not because

730
00:54:57.519 --> 00:55:00.440
but here's my reasoning is, here's
why I'm still a little bit uncomfortable even

731
00:55:00.480 --> 00:55:05.920
giving it. That is because a
one yellow light typically means that if it

732
00:55:05.920 --> 00:55:08.360
comes on TV, I won't even
watch it. It's so distasteful. You

733
00:55:08.400 --> 00:55:13.480
would watch this episode, I wouldn't
love it, but I would leave it

734
00:55:13.519 --> 00:55:15.800
on in the background like the fish
tank. But I'm still I'm sticking to

735
00:55:15.840 --> 00:55:21.400
me. I ask you, this
is Martin Mall. His presence alone.

736
00:55:22.119 --> 00:55:25.679
Is that not worth one yellow light? Martin Mall, who can turn an

737
00:55:27.039 --> 00:55:30.920
yes, I really am a scumbag
line into a ah what a sweetee.

738
00:55:34.280 --> 00:55:37.679
That's the best point you've made so
far. Maybe I didn't take that into

739
00:55:37.719 --> 00:55:40.639
proper account. I'm still gonna stick
with the one. I feel bad because,

740
00:55:40.960 --> 00:55:45.159
excuse me, I'm amending mine.
I am now going to three yellow

741
00:55:45.239 --> 00:55:51.360
lights. Three yellow lights everyone,
Martin Mall. I've talked myself into Martin

742
00:55:51.360 --> 00:55:57.239
Mall meriting his own yellow light.
He's fucking great here. He would have

743
00:55:57.280 --> 00:56:00.840
fit in here at the end of
the day. This is the Martin Mull

744
00:56:00.960 --> 00:56:05.239
Show, this is taxi, and
I want to see my favorite Cabby's doing

745
00:56:05.239 --> 00:56:08.000
what they do. It was just
lacking in that department. So I'm I

746
00:56:08.039 --> 00:56:13.519
hear what you're saying, and I
don't disagree with pretty much everything you're saying.

747
00:56:14.119 --> 00:56:16.400
I just I can't in good conscience
go back and say this is a

748
00:56:16.400 --> 00:56:20.280
two or three young one. Look
I don't want to die on this hill

749
00:56:20.360 --> 00:56:24.360
or anything. But I'm gonna I'm
going to here we go talking about the

750
00:56:24.400 --> 00:56:28.920
agency episode. This isn't even an
aspiration episode. We're going to talk about

751
00:56:29.079 --> 00:56:36.000
Angela. Okay, who has agency
in the Angela episode? Alex does,

752
00:56:36.000 --> 00:56:37.840
of course, No he doesn't.
No, no, no, Look,

753
00:56:38.000 --> 00:56:43.199
this isn't all reaction. It's all
reaction to Angela. Right, No,

754
00:56:43.280 --> 00:56:46.679
no, no, it's not.
And that is a terrible character and the

755
00:56:46.719 --> 00:56:51.440
actress is annoying. And that episode, what did do you give it?

756
00:56:51.440 --> 00:56:53.480
One yellow light? No? I
gave it. I gave it three alites.

757
00:56:53.519 --> 00:56:59.480
I gave it three because because Alex
is decent, Alex has agency.

758
00:56:59.480 --> 00:57:02.000
He could have walked away at any
time, and he doesn't. He chooses

759
00:57:02.079 --> 00:57:07.360
to go back to Angelo's apartment and
hash things out. So no, I

760
00:57:07.199 --> 00:57:10.599
all, look, the agency here
was are we going to be seduced by

761
00:57:10.639 --> 00:57:15.360
this Hollywood phony? And they all
failed. I'm going to use your words

762
00:57:15.400 --> 00:57:21.800
against you, my friend. Uh
oh, you're where I refute everything you've

763
00:57:22.000 --> 00:57:27.239
just said about Angela. But this
is not about Angela. This is about

764
00:57:27.679 --> 00:57:30.480
this is about Hollywood calling. I'm
sticking with one yellow light, all right?

765
00:57:30.679 --> 00:57:36.440
Three is fair I just didn't feel
it in my gut that it deserved

766
00:57:36.480 --> 00:57:40.519
it very well. That will do
it for this episode of Night Mister Walters.

767
00:57:40.960 --> 00:57:44.920
Follow them alone. When you are
not clocked into the garage, Where

768
00:57:44.960 --> 00:57:49.400
can the fine folks find you?
Check me out over at Weirdingwaymedia dot com.

769
00:57:49.400 --> 00:57:52.920
You can hear my podcast Dark Destinations, it's a radio drama that I

770
00:57:52.960 --> 00:57:57.239
write and produce. Or you can
hear me on Midnight Viewing, the Horror

771
00:57:57.239 --> 00:58:00.960
Anthology podcast where we take a look
at horror anthology television series. We are

772
00:58:00.960 --> 00:58:06.920
wrapping up Night Gallery and then just
a few weeks we're going to begin tackling

773
00:58:07.039 --> 00:58:10.519
tales from the dark Side. As
for myself, you can find me in

774
00:58:10.559 --> 00:58:14.679
many of the same corners of the
Internet. I'm also on the weirding Way

775
00:58:15.320 --> 00:58:20.760
network. And you can also hear
me on Noise Junkies, which is a

776
00:58:20.920 --> 00:58:27.320
music podcast that Father Malone and myself
do with Mondo Heather's Heather Drain. And

777
00:58:27.360 --> 00:58:31.679
you can also hear some of my
limited acting and some of my music on

778
00:58:32.079 --> 00:58:37.880
the Dark Destinations podcast that Father Malone
mentioned. I would encourage anyone who loves

779
00:58:37.920 --> 00:58:43.199
good storytelling, good audio drama to
check that out. Also I have a

780
00:58:43.840 --> 00:58:49.719
band camp site for some of my
musical nonsense. It's hpmusicplace dot bandcamp dot

781
00:58:49.760 --> 00:58:52.960
com. Please check that out if
you are so inclined, Oh so a

782
00:58:52.960 --> 00:59:00.960
Patreon It's a patreon dot com slash
father alone. Give me money, absolutely,

783
00:59:00.239 --> 00:59:04.159
give them money and lots of it. If you like what you hear,

784
00:59:04.199 --> 00:59:07.320
please feel free to subscribe to the
podcast, write a review, rate

785
00:59:07.440 --> 00:59:10.119
us. We would love to hear
from you in any manner you choose.

786
00:59:10.400 --> 00:59:15.199
So for tonight, mister Walters,
myself and father Malone thank you again for

787
00:59:15.280 --> 00:59:23.920
listening, and we'll see you next
time. Nie, mister Walters