Speaker 1: From Workhouse Connect and aj Benza fame. Uh he'd liked
Speaker 1: to be walked on a leash and play really dirty,
Speaker 1: kinky sex games. Is uh the guy put the cock
Speaker 1: in the Peacock network. Okay, bitch, Hey, everybody, aj Ben's
Speaker 1: are here with famous a bitch. This is your daily
Speaker 1: Unfiltered podcast for August twelfth, twenty twenty five eight one
Speaker 1: two two oh two five A very special date for
Speaker 1: a number of reasons which I'll get to soon. Oh
Speaker 1: big date. I don't think you even understand how big
Speaker 1: this date is. I don't like that we're uh twelve
Speaker 1: hours no more, we're more than twelve hours since my
Speaker 1: podcast landed on Patreon and I got two fucking comments too.
Speaker 1: I don't like that shit at all. What are you
Speaker 1: busy today? Something going on? It's not tax Day? What's
Speaker 1: going on? Why is nobody talking? I don't like that
Speaker 1: shit I'm reading here. Well, let me start by saying,
Speaker 1: I don't think I don't think many of you have
Speaker 1: heard of the name of somebody called Lil Tay, right.
Speaker 1: I mean, I know there was like some controversy a
Speaker 1: couple of years back, some young influencer and her parents
Speaker 1: and all this kind of shit. But what is this?
Speaker 1: Lil Tay is now eighteen, and she says her only
Speaker 1: fans account broke the record. And this is after she
Speaker 1: turned eighteen. Her only fans account broke the record to
Speaker 1: the point where her only fans numbers when it comes
Speaker 1: to like the first day of Going Up is equivalent
Speaker 1: to Sidney Sweeney and Sabrina Carmenteron. Lil Tay is a nothing,
Speaker 1: little eighteen year old nothing. She got the single day
Speaker 1: subscription Crown, not only fan, she took it from Bad Barbie.
Speaker 1: Cash me outside, girl. I mean, this is insane. This
Speaker 1: goes eighteen years old, and she says her dms are
Speaker 1: flooded with celebrities and athletes looking to get a piece
Speaker 1: of her. She's eighteen, she doesn't even look eighteen. She
Speaker 1: got her first seven figure payout within three hours, not
Speaker 1: thirty hours, three hours. This ship's gonna be starring a
Speaker 1: movie soon, this little girl, because that's all Hollywood cares about.
Speaker 1: Now she has a music career. She thinks she's gonna
Speaker 1: get to She's channeling Tellus Swift, using the Taylor Swift
Speaker 1: blueprint as a pop star, but she's not getting anywhere
Speaker 1: near the amount of traction she did with music as
Speaker 1: she does on only fans. She's a little, tiny kid,
Speaker 1: she's eighteen. And I know there's stories about heard in
Speaker 1: the past from two to three years ago where people
Speaker 1: said her father and her mother were, you know, using
Speaker 1: her life to get money, and they're pushing her and
Speaker 1: prodding her and exploiting her. But I don't think so.
Speaker 1: I see the way this girl operates. I don't think
Speaker 1: there are many kids out there who are doing well
Speaker 1: on OnlyFans where their parents are forcing them to do it.
Speaker 1: I don't believe that. I can't believe even kids who
Speaker 1: were born into a great life, like the Charlie Sheen daughter,
Speaker 1: money for decades, money for a generation. But yet let
Speaker 1: me get my tits blown up and go on only fans.
Speaker 1: Oh no, oh no, let me get the implants out.
Speaker 1: They hurt me, they bother me. But my mother's doing it,
Speaker 1: so I got to do it. This is the most
Speaker 1: disgusting breakdown of the American family, if you could even
Speaker 1: consider Denise Richards and Charlie Sheen an American family. But
Speaker 1: this is the breakdown. It's disgusting. Mommy, you're doing only offense.
Speaker 1: Why can't I daddy has tiger blood and aids. Why
Speaker 1: can't I go bananas? It's just so disgusting. But look
Speaker 1: up for little Tay if you like that little eighteen
Speaker 1: year old, disgusting little sexuality. The girl can barely do
Speaker 1: anything outside of sucking on a blowpop. But if that
Speaker 1: makes you horny, oh my god, you're sick. You're sick.
Speaker 1: She's not even I hate to even say this, she's
Speaker 1: not even an eighteen year old who has Like I
Speaker 1: remember Courtney Stodden, who blossomed in sixteen, You go, oh
Speaker 1: my god, this girl, no, Lill Tay is nothing. And
Speaker 1: yet there's some creepy motherfuckers out there who want to
Speaker 1: see everything about her so gross. By the way, as
Speaker 1: often as the case, I watched movies galore, you know,
Speaker 1: I watched all sorts of stuff on Prime and Netflix
Speaker 1: and Hulu and Apple, you name it. I did catch
Speaker 1: a documentary on Prime over the weekend, and it's a
Speaker 1: story I already knew about. We did this on Mysteries
Speaker 1: and Scandals, and it's the story of this crazy nineteen
Speaker 1: fifty sixth movie called a Conqueror. And that movie has
Speaker 1: become infamous among people who love movies not only for
Speaker 1: its casting of John Wayne as the Mongolian warlord Genghis Khan.
Speaker 1: Also there are a number of suspicious deaths that followed
Speaker 1: the filming of this movie, which was done downwind of
Speaker 1: a nuclear testing site. And here we are nearly seventy
Speaker 1: years later. That's why I had to watch this, this documentary,
Speaker 1: because this is the most this is the biggest Hollywood
Speaker 1: fuck up of all time. It's one thing to produce
Speaker 1: a bomb, but to produce a bomb that kills actors
Speaker 1: and everybody else on the staff, on the crew, You've
Speaker 1: never seen that before. You'll never see it since. So
Speaker 1: seventy years later and the makers of this documentary, The
Speaker 1: Conqueror Hollywood fall Out on Prime, I suggest you see it.
Speaker 1: And it tells the story of this community of Saint George, Utah,
Speaker 1: which was what they call a down wind community from
Speaker 1: where our government was conducting nuclear power tests. And every
Speaker 1: bomb day dropped there was stronger, like I said the
Speaker 1: other day, bigger than Eiroshima, bigger than Nagasaki. And they
Speaker 1: let everybody in America, especially Utah, Nevada, think there's nothing
Speaker 1: to worry about, you know, just go about your business,
Speaker 1: you guys, know we all did it when it came
Speaker 1: to the Cold War. We all were supposed to get
Speaker 1: under our desk and hold our head, or lay out
Speaker 1: in the hallway and keep our heads against the wall.
Speaker 1: All horseshit. There were even videos we saw of if
Speaker 1: you're riding your bike outside and you hear a horn,
Speaker 1: drop the bike, jump outside, get down beneath the picnic table, anything,
Speaker 1: even a curb, hold your head. You might survive such horseshit.
Speaker 1: But this documentary is really good, tells the story about
Speaker 1: these bombs that were set off near where the film
Speaker 1: was shot, and at the time the Conqueror was filming
Speaker 1: in the Utah Desert just outside the town of Saint
Speaker 1: George was Saint George was one hundred and thirty seven
Speaker 1: miles downwind from this Nevada test site where the government
Speaker 1: conducted more than how many do you think, twenty thirty fifty,
Speaker 1: one hundred and twenty tests, nine hundred nuclear tests, nine
Speaker 1: hundred some of those tests, some of those mushroom clouds
Speaker 1: went as high as forty thousand feet. The Atomic Energy
Speaker 1: Commission the AEC, for years had told the locals there
Speaker 1: was not to worry about. It's nothing to way no.
Speaker 1: And then some ranchers be again to complain about their sheep.
Speaker 1: There was a big sheep hurting crowd, and they're like, hey,
Speaker 1: my sheep were dying. Not only that they gave these
Speaker 1: mysterious blemishes and blotches and infections on their skin. No, no, no, no,
Speaker 1: that's just a happenstance. There must be something in the earth,
Speaker 1: must be what you're feeding them now, I don't think so.
Speaker 1: They're all dying mysteriously, dozens and dozens and hundreds, and
Speaker 1: the hundreds of sheep are dying. And a bunch of
Speaker 1: ranchers who would raised these sheeps for decades, they knew,
Speaker 1: they knew what they were doing. But at one point
Speaker 1: most of their sheep were dying with these big, ugly
Speaker 1: lesions on their bodies. It didn't make any sense. They'd
Speaker 1: never seen this before, hundreds of dead sheep at their ranch. Now,
Speaker 1: sheep were one thing. But after the movie was completely shot,
Speaker 1: people in town began to notice that a very high
Speaker 1: rate of cancer among people involved with the filming. Ninety
Speaker 1: one out of two hundred and twenty crew members developed
Speaker 1: the illness that's almost fifty percent forty six and died
Speaker 1: the director was named Dick Powell. John Wayne was the star,
Speaker 1: Susan Hayward was the star. Agnes moorehead All three of
Speaker 1: them eventually died of cancer as well, even Pedro armand Dadis.
Speaker 1: He was a very accomplished Mexican actor and the only
Speaker 1: non white member of the film's cast. He died by
Speaker 1: suicide when his cancer became terminal and he could no
Speaker 1: longer take it. Not for nothing, there were a bunch
Speaker 1: of local Native Americans. I forget the name of the tribe,
Speaker 1: but they were used as extras for a huge crown,
Speaker 1: a crowd in battle scenes. They didn't keep records of
Speaker 1: the people's names who worked as extras, but the cancer
Speaker 1: rates among them was sky high, and tons of them
Speaker 1: died of cancer. I mean, you watched the film, which
Speaker 1: I did over the weekend, if you have the patience,
Speaker 1: it's awful. I mean, it's just really bad. I'll take
Speaker 1: you as my wife. See that's supposed to be John
Speaker 1: Wayne acting as Ganga's Khan. I take you as my wife.
Speaker 1: See no, no, it doesn't really work. So bad absurd features,
Speaker 1: the eyes, the slits, the high eyebra. It was so bad. Meanwhile,
Speaker 1: there was like a Shakespearean kind of dialogue. And they
Speaker 1: wrote this with Marlon Brando in mind, because he was
Speaker 1: the first one they looked after. And they then Brando
Speaker 1: finally crapped out after he saw face and what it
Speaker 1: would look like to try to look like Genghis Khan.
Speaker 1: He said, now I want nothing to do with this.
Speaker 1: John Wayne stepped in, and you know, with him there,
Speaker 1: the tough guy from the tough guy from Hollywood making
Speaker 1: those cowboy movies and shit, maybe he could change his
Speaker 1: screenplay and make it fun. He was the duke after all.
Speaker 1: The producer is Howard Hughes. Okay, he produced The Conqueror,
Speaker 1: and he was nuts. As we know, around this time
Speaker 1: he began to He didn't hide, he wasn't disappearing, but
Speaker 1: he did want to have an affair with Susan Hayward,
Speaker 1: one of the stars he made that very well known.
Speaker 1: Matter of fact, people think he cast her with that
Speaker 1: in mind period, which happened all the time in Hollywood.
Speaker 1: He got his way and had a fleet with her,
Speaker 1: like he did with every one of his leading ladies.
Speaker 1: But this movie began to be such a failure for
Speaker 1: how it used that it almost it probably began his
Speaker 1: descent into staying alone in a hotel room watching a
Speaker 1: movie over and over again, his nails growing longer. People
Speaker 1: assistance making him tuna fish sandwiches by first cleaning the
Speaker 1: can of tuna fish, pouring the tuna fish out, throwing
Speaker 1: the can away, making sure the bread was clean. I mean,
Speaker 1: this guy was a fucking nut. But one thing Howard
Speaker 1: used did was he took sixty tons of the desert
Speaker 1: sand from this area and he delivered it to the
Speaker 1: RKO Pictures soundstage and Hollywood so they can film the
Speaker 1: interior scenes with the dancers and et cetera, a lot
Speaker 1: of dance numbers. Instead of flying them out to Utah,
Speaker 1: let's keep them on the lot, throw some you know,
Speaker 1: real live sand, and let them do their dance numbers
Speaker 1: there now. According to the documentary, epidemiologists warned of the
Speaker 1: difficulty of, you know, identifying a single cause for one cancer.
Speaker 1: John Wayne himself was very skeptical of a connection between
Speaker 1: the filming and the disease striking the cast and crew.
Speaker 1: He even said, look, you know, Dick Powell and armand
Speaker 1: Derrees and me, we're all heavy smokers. I mean, come on,
Speaker 1: you can't lay this on the dirt and on the
Speaker 1: nuclear testing we smoked two three packs a day. By
Speaker 1: the way, I heard Jason Momoa on the SmartLess podcast
Speaker 1: today saying that he was smoking three packs of cigarettes
Speaker 1: a day during Game of Thrones. I want to throw up.
Speaker 1: That's disgusting. Oh god, three packs a day. Anyhow, Susan
Speaker 1: Edward Dick Powell both died in their fifties, way too
Speaker 1: young to develop cancer. And as this documentary begins to
Speaker 1: make clear the longer you watch it, all the people
Speaker 1: who lived in Saint George, Utah who developed cancer during
Speaker 1: the same period. A lot of young children were involved
Speaker 1: as well. And like I said, Howard used was hell
Speaker 1: bent on having Susan Hayward cast because he was wanted
Speaker 1: nothing more than to have an affair with the which
Speaker 1: he did. But there were weeks and weeks when so
Speaker 1: many of the stars of the film, they weren't staying
Speaker 1: at motels and hotels in this little town, but people
Speaker 1: around town and Saint George gave up their homes or
Speaker 1: or at least got paid for these movie stars to
Speaker 1: rent their homes out for the next four or five
Speaker 1: six weeks. And that's what they did. I mean, it
Speaker 1: was like crazy, like Susan Hayward and John Wayne are
Speaker 1: living on the same block, and John Wayne's son is there,
Speaker 1: and he admitted later in the documentary he saw on
Speaker 1: nights where Susan Hayward would be running in the backyard
Speaker 1: half naked, meeting her dad in the backyard by a pool,
Speaker 1: and they'd have sex. And John Wayne's son knew about this.
Speaker 1: It was a wild, crazy time. Howard Hughes eventually said
Speaker 1: he felt very guilty, he said, actually guilty as hell
Speaker 1: about the production of this movie. And as he became
Speaker 1: increasingly reclusive, he ended up buying every single print of
Speaker 1: this film and watched it on a loop in his
Speaker 1: hotel suite in Las Vegas, where he lived out his
Speaker 1: last days of insanity. And then there were questions about
Speaker 1: John Wayne's death. People magazine brought it up to begin with,
Speaker 1: and people in Utah began to investigate, maybe there's a
Speaker 1: connection between their medical histories aid this movie. They began
Speaker 1: to get smart. Lawyers walked in, began to have meetings
Speaker 1: and let's talk about class action. This class action that
Speaker 1: you've seen movies, you know how it goes. Senator Orrin
Speaker 1: Hatch Utah came to their defense, and back in nineteen
Speaker 1: ninety eight they passed the Radiation Exposure Compensation Act r ECA,
Speaker 1: now recently expired, but that was so anybody who lived
Speaker 1: in that area. A lot of these people assumed that, well,
Speaker 1: if you're doing these tests in Saint Joe, I know
Speaker 1: it's not going to get the Salt Lake City. And
Speaker 1: people would tell these Utahns, what are you crazy? You
Speaker 1: think that the radiation material knows to stop at the
Speaker 1: border of the next city or the next county. No,
Speaker 1: it gets up in the jet stream and it goes
Speaker 1: across America and it wraps around the world. Matter of fact,
Speaker 1: there's a lot of blowback that landed in California too,
Speaker 1: Southern California. It goes everywhere. That's how stupid we were
Speaker 1: back then. But this movie is going to go down
Speaker 1: on history as the film that kill John Wayne. But
Speaker 1: I love this whole thing about the sixty tons of
Speaker 1: dirt that was taken from the radioactive site and then
Speaker 1: he dropped it at the lot at Archao. But then
Speaker 1: John Wayne's son tells us that he and a friend
Speaker 1: went there with a Geiger copter right to check for
Speaker 1: radio acts activity. And many years later the Geiger Counter
Speaker 1: was going bananas. That dirt was still very radioactive sitting
Speaker 1: on a Hollywood lot. Some people said that dirt was
Speaker 1: then moved to some studio in Culver City, and then
Speaker 1: finally Susan Haywood's son said that most of it was
Speaker 1: delivered to some ranch and semi valley. Who the hell knows,
Speaker 1: But what a story. All these people dying of cancer,
Speaker 1: and all these people in Utah they called the down windows,
Speaker 1: the people who never thought they'd be affected by it.
Speaker 1: Boy were they ever. So many of them in this
Speaker 1: documentary you'll see came down with all sorts of cancer.
Speaker 1: Everybody in their family did. Makes you sick? How lied
Speaker 1: to we are? I mean just fucking lied to. You
Speaker 1: See the whole that these these bombs put in the
Speaker 1: desert in Utah, you can't. It's like looking at the
Speaker 1: Grand Canyon. These are like two hundred three hundred foot holes.
Speaker 1: And like I said yesterday, soldiers who came to watch
Speaker 1: this were laying lying in trenches that were built. And
Speaker 1: one guy said, when the bomb went off, even though
Speaker 1: his hands were covering his eyes, he could see through
Speaker 1: his fingers, through his bones, through his friend's work boots.
Speaker 1: That he could spot the skeletal toes of his friend.
Speaker 1: That's how whatever kind of light that is from a
Speaker 1: nuclear bomb? Can you imagine that? But it, uh, it
Speaker 1: was something else, and then you match that up against
Speaker 1: something else. I saw this weekend. I've seen it many times,
Speaker 1: but I saw Sunset Boulevard and by then away. It's
Speaker 1: August tenth is when this movie opened, and three hundred
Speaker 1: of Hollywood's most important studio execs, producers, directors, and stars
Speaker 1: crowdled into one theater to see Sunset Boulevard. And boy
Speaker 1: did it just take off? And as the end, and
Speaker 1: I hope you guys have seen it, the story of
Speaker 1: an old Hollywood star was trying to make it back,
Speaker 1: clawing away back to the big time with a young
Speaker 1: Screenrid Bilt, William Holden, and Gloria Swanson playing Norman Desmond.
Speaker 1: It's one of the greatest, fucking it's the greatest film
Speaker 1: nor movie of all time. Sums up fame like you
Speaker 1: have no idea, and those end credits come up over
Speaker 1: the final image of who was this silent film star
Speaker 1: has been Norma Desmond crawling or slowly walking toward the cat.
Speaker 1: Fingers are curled up in this demented manner, and these
Speaker 1: people outside the paparazzi, there's photo photographers outside, and she
Speaker 1: keeps moving forward, and it's just so sad when she said,
Speaker 1: mister the Milla, I'm ready for my close up. It's
Speaker 1: so sad. But this is what it's like. This is
Speaker 1: what it's like for so many Hollywood stars who get.
Speaker 2: Past their past, their by on date, if you know
Speaker 2: what I mean, and they're trying to scrape anything they
Speaker 2: can from what they used to be.
Speaker 1: And be a star again. It's very sad, but you know,
Speaker 1: many of these people like Glorious Watson playing Norman Desmond.
Speaker 1: You look at all our major Hollywood stars going back
Speaker 1: from the twenties and moving forward, especially in that Hollywood
Speaker 1: Gilded Age, were they not gods? I mean, come on,
Speaker 1: Hetty Lamar, Betty Crabel, Glorious Wantson, so many actresses who
Speaker 1: you couldn't get Molina Dietrich, so many of them were
Speaker 1: like goods, John Crawford, Betty Davis. Couldn't get near them.
Speaker 1: And the films they made are eternal. They still play
Speaker 1: every day, and we watched them. I mean, will you
Speaker 1: ever get bored of seeing Humphrey Bolgron and Ingrid Bergen
Speaker 1: on the tarmac of Casablanca. Of course you will. But
Speaker 1: the thing about Sunset Boulevard was it was the first
Speaker 1: film where it really showed proof that stars get old
Speaker 1: and the business begins to surpass them. And that's such
Speaker 1: a scary moment for a big star. We know it now,
Speaker 1: we've seen it happen to many of our favorite actors
Speaker 1: and actresses. But you know, back in nineteen fifty, it
Speaker 1: didn't happen so often. There are second acts and third
Speaker 1: acts and sometimes even fourth acts in pop culture. People
Speaker 1: reinvent themselves. They have fresh personas, new mediums. Some of
Speaker 1: them age with grace or good plastic surgery. But back
Speaker 1: in nineteen fifty, it was shocking that an actress who
Speaker 1: was so great and beautiful could grow old. It was
Speaker 1: very disarming to females in the business. I mean, you
Speaker 1: know the talking pictures in the late nineteen twenties. Once
Speaker 1: that ended and Hollywood took these women, it was like
Speaker 1: we lost a dozens of dinosaurs, people that so many
Speaker 1: moviegoers loved. They were all gone when the medium changed
Speaker 1: to talkies. Some survived, Greta Garbo, Charlie Chaplin, Joe Crawford.
Speaker 1: You know, a couple of handfuls of them survived, they
Speaker 1: made a big life for themselves, but many didn't. But
Speaker 1: the point was, back then, the way Hollywood did things
Speaker 1: is no one saw the movie stars age. And that
Speaker 1: was the town's big secret. It was a big lie,
Speaker 1: but it was also a big secret. But by the
Speaker 1: late nineteen forties there was, you know, some rumors, some rumblings.
Speaker 1: Betty Davis, may West, Jimmy Cagney, Katherine Hepburn, whose actors
Speaker 1: who sounded like nobody but themselves, they're turning into their forties. Now.
Speaker 1: Now the men were allowed to get older, Beaugart could
Speaker 1: get older, you know, men were treated like scotch. The
Speaker 1: older the better. The women couldn't get past their horizons
Speaker 1: of aging. And the fifties would be an era where
Speaker 1: a beautiful woman like Audrey Hepburn would have to play
Speaker 1: a love interest to Humphrey Bogart who was thirty years
Speaker 1: older than her in Sabrina, or Gary Cooper who was
Speaker 1: twenty eight years older in Love in the Afternoon. That's
Speaker 1: just the way it was. It still happens nowadays. But
Speaker 1: you got to watch these two films, the Big irony
Speaker 1: is that while Sunset Boulevard was looked up to in
Speaker 1: the movie industry as a big hit, a triumph for
Speaker 1: Glorious Wantson, but the message to audiences and the future
Speaker 1: was not great. It was the opposite. It was that
Speaker 1: movie stars will continue on even after we're done with them.
Speaker 1: And that kind of dips into what we're talking about
Speaker 1: with Ai now, which I mentioned the other day. Just
Speaker 1: as he went from talkie, from silent films to talkies,
Speaker 1: now we're going from talkies to this AI era and
Speaker 1: it's pretty goddamn scary. I mean, you look at the like.
Speaker 1: As much as I loved Sunset Boulevard, I always will,
Speaker 1: it wasn't lost on me that when I watched Demi
Speaker 1: Moore's movie The Substance three times several months ago, it's
Speaker 1: the same kind of movie. It's just done differently. Glorius
Speaker 1: Watson was being edged out for younger actresses to mean more,
Speaker 1: and The Substance is being edged out chemically, same movie,
Speaker 1: just different tactics. But the more they make these movies,
Speaker 1: the more they're telling you that the old has to
Speaker 1: go and the new has to come in. I'm not
Speaker 1: sure what that's going to mean. You know, I'm not
Speaker 1: sure what that's gonna mean moving forward. So many beautiful
Speaker 1: actresses I don't want to see their careers cut short
Speaker 1: five years from now. But like I said yesterday, there
Speaker 1: were meetings at big time agencies saying, do not treat
Speaker 1: your actors and actresses your clients like they have thirty
Speaker 1: year careers. They might have five years and they're done.
Speaker 1: You got to change your business plan. And that's what
Speaker 1: everybody's doing now. I want you to watch these movies.
Speaker 1: I want you to watch the documentary about The Conqueror
Speaker 1: just see how crazy Hollywood was back then, and then
Speaker 1: do the best you can to watch Sunset Boulevard if
Speaker 1: you haven't seen yet. It's the best film warrant movie
Speaker 1: of all time. William Holden and Glorious Wantson are insane together.
Speaker 1: And you know, I wish it made more of a
Speaker 1: splash on pop culture. I know it did to a degree,
Speaker 1: but sometimes I talk about it and people don't know
Speaker 1: what movie I'm speaking about. It gets me pissed off
Speaker 1: because it's so important. It's so important if you think
Speaker 1: about Hollywood and you think about where we're headed, what
Speaker 1: we're losing, what it's going to all amount to be.
Speaker 1: But Norma Desmond was Glorious Swanson's last major role, and
Speaker 1: it totally embodied all the aspects of celebrity that the
Speaker 1: culture avoids until time to feed on the bones. Like
Speaker 1: we see all the time. Sunset Boulevard is about well,
Speaker 1: it's about madness. It's about getting what you want and
Speaker 1: then the madness that comes with it. It's about absolute
Speaker 1: egotism and what it takes to remain a star. And
Speaker 1: like I've said, achieving fame is one thing, keeping it
Speaker 1: is another. And the moral of Sunset Boulevard is that
Speaker 1: fame is a drug, but it's the withdrawal that kills you,
Speaker 1: not the drug, the withdrawals. And frankly, this show would
Speaker 1: not be complete unless I spoke about what happened five
Speaker 1: years ago today when I was told by a list
Speaker 1: her name Andrea Blatnick, that she had a puppy for me,
Speaker 1: and we agreed to meet in Death Valley, halfway between here,
Speaker 1: Shittsville and Nevada, and that's when she handed that beautiful
Speaker 1: little puppy, Tootsie to me and my son Rackell, and
Speaker 1: we drove home with it. And it's been five years,
Speaker 1: and to say that my life was not upended and
Speaker 1: completely shaken and stirred. I mean, it's beyond comprehension. What's
Speaker 1: happened in five years changed my whole life. That little puppy,
Speaker 1: that woman who brought that puppy, and the amount of
Speaker 1: love I felt for both of them.
Speaker 2: And I just don't want to stay to pass and
Speaker 2: act like it goes unnoticed because it doesn't. It changed
Speaker 2: my life radically, but I wouldn't change it. That's just
Speaker 2: who I am. Maybe some of you don't like that
Speaker 2: part about me, but that's just who I am. I
Speaker 2: believe we go through things in life and we have
Speaker 2: to carve out a life for ourselves and figure out
Speaker 2: where we're headed and what we're doing. But everything happens
Speaker 2: for a reason. Til t He was for a reason,
Speaker 2: Andrew was for a reason, Death Valley was for a reason.
Speaker 1: That's it. That's it. You may spend the rest of
Speaker 1: your life trying to figure it out.
Speaker 2: But I won't. I just know what and I don't
Speaker 2: regret it. And I miss those baby girls. I'll see
Speaker 2: them soon. And that's it for today. I'm aj Bens
Speaker 2: and that was your daily Unfiltered podcast. For August twelfth,
Speaker 2: twenty twenty five. Talk to this tomorrow