FH Mini 85 - The Peach Pit 3: Art & Coffee

[0:00] Hey, and welcome to the Peach Pit.

[0:07] Peach Pit is the popular podcast starring me, your host, Stuart Wellington, and it is

[0:11] a podcast all about the original Peaches and their podcast, The Flop House.

[0:16] Now today on the Peach Pit, we are going to be doing, wait a minute, no, we're not going

[0:20] to be doing that.

[0:21] Originally, it was supposed to be the Peach Pit Presents Mission Impossible Possibility

[0:24] of Missions, where I talk about all the Mission Impossible movies and we're going to rank

[0:28] them and Elliot, I guess, would shrug his shoulders and talk about the TV show.

[0:31] I don't know.

[0:32] I don't know if he's ever seen these movies.

[0:34] But instead, I'm joined by my co-host, Dan Elliott, and because these streaming services

[0:38] and the production companies are being shitbags, we don't want to recommend and talk about

[0:43] new movies.

[0:44] No, no, no.

[0:45] SAG and the WGA are on strike, so we are going to be talking about other stuff.

[0:49] That's right.

[0:50] So first, let me introduce my guests.

[0:51] I'm joined by, on my left, Dan McCoy.

[0:54] Say hey, Dan McCoy.

[0:55] Hey, Dan McCoy.

[0:56] And on my right is Elliot Kalin.

[0:58] Say hey, Elliot Kalin.

[0:59] Hey, Elliot Kalin.

[1:01] OK, so I hope you guys don't mind a little change up.

[1:04] I know that I've given you your show notes and you've done all your prep on Mission Impossible.

[1:07] Are you guys going to be OK talking about something different today?

[1:11] Yeah, I will go along with this fiction and, you know what, I'll make the sacrifice for

[1:16] the team.

[1:17] Thanks.

[1:18] It's quite a curveball, Stu.

[1:20] Just as long as I can talk about, later in the episode, I can talk about Flop TV, our

[1:23] upcoming run of monthly live streaming shows.

[1:25] Tickets available now at TheFlopHouse.SimpleTix.com.

[1:28] More information later in the show, hopefully.

[1:30] Well, as The Peach Pit is a show that's all about promoting The Flop House, I feel like

[1:34] promoting The Flop House in other ways is appropriate for The Peach Pit.

[1:37] Yes.

[1:38] So, yep, perfect.

[1:39] You can do that later.

[1:40] But for now, we're going to be doing something a little bit different.

[1:42] Stop doing your impression of the kid in a 90s movie, Elliot.

[1:46] Yes.

[1:47] Instead of talking about how we're...

[1:49] You got any more?

[1:51] You got some more bits?

[1:52] Some of those more 90s stuff.

[1:53] Did I ever told you guys that I did that to my older son?

[1:56] I said something to him, and then I said, not, and he goes, what was that?

[1:59] And I'm like, oh, that's the thing people did in the 90s.

[2:02] They'd say something that wasn't what they meant, and then they go, not, afterwards, and

[2:05] he goes, why would you do that?

[2:07] Why wouldn't you just say what you meant to say?

[2:09] Do you then, like, stick his hands in his pockets and, like, wander out into the, like,

[2:15] go for a walk, stare off across, like, a lake?

[2:18] I just walked into the ocean.

[2:20] I just Virginia Woolfed that, so.

[2:22] Elliot started questioning every truth in his life.

[2:24] Or was it Emily Dickinson?

[2:25] Who walked into the river?

[2:27] It was Virginia Woolf, right?

[2:28] I thought that was Toad the Wet Sprocket.

[2:31] Well, someone took both Al Green and David Byrne to the river.

[2:36] And dropped them in the water.

[2:37] Yeah.

[2:38] Not very nice.

[2:39] And also the Big Mouth Billy Bass also asked for that.

[2:42] I don't know if it got it in the end.

[2:44] Yeah.

[2:45] I think it probably expired before it made it back to the river.

[2:47] It took me so long.

[2:49] It was on the most recent Sopranos Rewatch that I understood what actual song was being

[2:53] sung by that Billy Big Mouth Bass.

[2:56] You thought it was an original Big Mouth Billy Bass composition.

[2:58] I'm like, wow, does he have any other hits?

[3:01] And I was looking it up on the internet.

[3:03] I was getting nothing.

[3:04] Nada.

[3:05] Okay.

[3:06] So, welcome to the Peach Pit.

[3:07] This is going to be the Peach Presents the Fine Art House, where instead of talking about

[3:10] flop movies, the Flop House guys are going to be talking about fine art.

[3:14] Fine art.

[3:15] And we're going to be doing a little game that I like to call Admire, Acquire, or Funeral

[3:19] Pyre.

[3:21] I'm going to present you with three works of fine art, and you are going to tell me

[3:25] if you admire it, if you'd like to acquire it, or if it's time to put it on the funeral

[3:32] pyre.

[3:33] Now, it specifically has to be a funeral pyre.

[3:34] We can't just burn this art.

[3:36] We have to wait until someone dies and burn it that way.

[3:40] Exactly.

[3:41] And people are constantly dying.

[3:42] Also, constantly being born.

[3:43] Well, die.

[3:44] It's the circle of life.

[3:47] I don't doubt that.

[3:48] It just seems inconvenient.

[3:49] You just have to acquire them as a fuel.

[3:51] Sure.

[3:52] Sure.

[3:53] You still have to pay auction house prices for them when we throw them on the funeral

[3:58] pyre.

[3:59] Yeah.

[4:00] So, obviously, admire means this is something you'd like to look at, and acquire means this

[4:03] is something that you need to look at.

[4:04] You want to see it every day.

[4:06] You would want to spend money or maybe hire a cat burglar to get it for you.

[4:11] And then funeral pyre.

[4:13] You're like, I'm done with this piece of shit.

[4:14] Throw it in the garbage.

[4:15] Now, the thing is, I'll give you three options, and you have to pick one for each.

[4:19] Unfortunately, some of these are going to be a little bit challenging, and this isn't

[4:22] just a world of chaos.

[4:23] No, no, no.

[4:24] They're going to be organized by style.

[4:27] So, I sent you guys a link, and I'll do my best to describe things so folks at home can

[4:31] Google the results so they can decide for themselves.

[4:34] Can I just look on your laptop?

[4:36] Yes, you can look on my laptop.

[4:38] That's why I brought my laptop.

[4:39] Thank you.

[4:41] So that I could have my secret stash of pornography close to me at all times.

[4:44] In case you need it.

[4:45] In case I need it.

[4:46] It's more of a comfort blanket.

[4:47] It defeats the purpose.

[4:48] Yes, my Linus blanket.

[4:49] Yeah, this Linus was so turned on by that blanket, yeah.

[4:50] No wonder he didn't want them to take it away from him.

[4:51] Well, they were common law married, I think.

[4:52] Yeah, yeah.

[4:53] In some states, a blanket and a child can be married after a certain amount of time.

[4:54] Mm-hmm.

[4:55] The future liberals want.

[4:56] Okay.

[4:57] So when Snoopy would take the blanket from him, do you think he secretly liked being

[5:13] cucked in that way?

[5:14] Or was that, or it really bothered him?

[5:15] I don't know if I'm ready to explore that.

[5:16] I don't think that falls within the purview of The Peach Pit Presents the Fine Art House.

[5:17] Maybe next episode.

[5:18] I mean, we are putting the perv in purview.

[5:19] Is that how?

[5:20] That's true.

[5:21] So, let's see, our first category here is, oh, fuck, I don't even know what these guys

[5:32] are.

[5:33] I looked it up before.

[5:35] Okay.

[5:36] So the first one, our first artist is, let's look at the first slide.

[5:40] That's Monet and Water Lilies.

[5:43] Yeah.

[5:44] Okay.

[5:45] So we got Monet.

[5:46] We got Renoir.

[5:48] What's that?

[5:49] The skiff?

[5:50] The skiff.

[5:51] Now, Monet is the subject of the Billy Idol song, Monet, Monet, correct?

[5:55] Nope.

[5:56] I mean, I'm not super, I remember Dan sang some Billy Idol on a cruise ship once.

[6:02] That's true.

[6:03] That's true.

[6:04] Yeah.

[6:05] Being a rebel himself, he sang Rebel Yell.

[6:06] That was Rebel Yell.

[6:07] Yeah.

[6:08] Oh, okay.

[6:09] Yeah.

[6:10] Yeah.

[6:11] Didn't really give me much information about artistry.

[6:12] Rebel Yell is, of course, about Edvard Munch's The Scream.

[6:13] Of course.

[6:14] Yeah.

[6:15] Which is, weirdly enough, a very pro-Confederacy song.

[6:17] Yeah.

[6:18] Yeah.

[6:20] And I love, of course, a Marie Cassatt painting.

[6:23] And then finally, so we have Monet's Water Lilies, Renoir's The Skiff, and Manet's The

[6:30] Bar at Follies Berger.

[6:33] Yeah.

[6:34] You got it.

[6:35] Oh, nailed it in one.

[6:36] Okay.

[6:37] You did it.

[6:38] And when the, I have to assume that if the Country Bears had been a hit movie, they would

[6:40] have done a sequel called, like, Bears Go to Paris, and they would have been at the

[6:43] Follies Berger, and there'd be French bears walking around.

[6:46] Oh, man.

[6:47] That sounds great.

[6:48] Yeah.

[6:49] Well, I mean, there's still time.

[6:50] You never know.

[6:51] Yeah.

[6:52] And they'd stop by the Moulin Rouge, and it'd be a cow-based dance hall.

[6:56] It's Moulin.

[6:57] He's still going.

[6:58] Dan, do you have anything?

[6:59] Disney, when the strike's over, pay me to write this piece of junk movie.

[7:04] Okay, so, Elliot, since you're talking the most, let's give us your ranking.

[7:09] Which one do you admire, which one do you need to acquire, and which one's for the funeral

[7:13] pyre?

[7:14] Okay, I think I admire Water Lilies.

[7:17] Some people would talk about the way the light plays on the water or whatevs, but I

[7:20] really like the way he gets across the weight of the lilies.

[7:24] I would want to acquire the bar painting, which I've always loved.

[7:28] I think it's a beautiful painting.

[7:29] I love the character of the bartender, who she is so uninterested in serving you, which

[7:35] is my experience when I'm at a bar.

[7:36] It's just like I'm really at the bar.

[7:38] And of course, that you see the room in the mirror behind her.

[7:40] Is the angle of her back off slightly in terms of the mirror?

[7:44] Yes, but that's the illusion of painting.

[7:45] It's calling attention to its own artifice.

[7:48] As much as I love Renoir's other work, I'm going to have to funeral pyre the skiff one

[7:51] because I find it sloppy.

[7:54] This is going to be boring because I am in complete agreement with your rankings, Elliot.

[8:00] The Renoir one, I like it.

[8:05] It's only a casualty of the rules of the game.

[8:10] Le Regla de...

[8:11] Ironic because that's his son's movie.

[8:14] Oh, okay.

[8:15] Yeah, because Jean Renoir was the son of Auguste Renoir.

[8:18] Yeah.

[8:19] Wow.

[8:20] Wow.

[8:21] Exciting.

[8:22] It's crazy that that happens sometimes.

[8:23] Making connections.

[8:24] People have babies.

[8:25] Yeah.

[8:26] Yeah.

[8:27] I mean, yeah.

[8:28] Renoir, the director, was a real nepo baby.

[8:29] Yeah.

[8:30] And I'm thinking about the last one.

[8:31] I mean, there's something about the facial expression, Elliot, I agree with you, that

[8:32] really pulls me out of this painting.

[8:36] I once read that people like photos with other people in them more than just photos

[8:45] of something pretty.

[8:47] And I've certainly found this to be true.

[8:49] Dan's saying people are not pretty.

[8:51] Interesting.

[8:52] Excluding people from the pretty category.

[8:54] Another thing that is pretty.

[8:55] Oh, I see.

[8:56] I see.

[8:57] And I found this to be true in social media.

[9:00] I post, like, an amazing photo of something that has no people in it is invariably...

[9:08] I'm just saying, imagine this is my top photo of a non-person subject.

[9:14] It's still going to get less likes than something that has people in it.

[9:17] There's just something about people that likes looking at people.

[9:19] People are drawn to people.

[9:20] Dan will post a picture of the Pyramids of Giza, and you're like, wow, this great work

[9:24] of mankind compared to this selfie I took.

[9:28] And then he posts a picture of mankind, and I'm like, that's a greater work of mankind.

[9:33] He's body slamming.

[9:35] Doink.

[9:36] He survived that, what, choke slam in the cage match thing where he threw the cage and

[9:42] those kids were in the audience?

[9:44] What's going on?

[9:45] OK.

[9:46] Yeah, I think we're all in agreement.

[9:47] This is...

[9:48] I'm with all y'all.

[9:50] This was an easy test round.

[9:51] I don't think we have a lot of fighting.

[9:53] The real fighting is going to probably happen in the next round.

[9:56] Where we have persistence.

[9:57] Persistence of memory.

[10:00] Ali, followed by Pablo Picasso's Guernica or Frida Kahlo's Henry Ford Hospital.

[10:10] Uh-oh.

[10:11] Hmm.

[10:12] Dan, you go first.

[10:17] You know, I think that this is probably just Frida Kahlo's painting is possibly the victim

[10:25] of just being less familiar to me.

[10:26] The other two are such blockbuster paintings and this one, I don't know that I've seen

[10:32] before and I even went to the Frida Kahlo exhibit at the museum a ways back.

[10:37] But um, maybe I just don't want a painting that has like a floating fetus in it.

[10:48] I know, this marks me as an oddball.

[10:51] I mean, Guernica is literally a reaction to aerial bombing.

[10:56] Yeah.

[10:57] So the miracle of the recreation of human life is lower on your scale than that tragic

[11:03] massacring.

[11:04] You know what?

[11:05] I know.

[11:06] It looks like a human Pasghetti.

[11:08] A lot of people don't know that Boyardee, when he saw Guernica said, ah, this is what

[11:14] I shall do.

[11:15] I shall dehuman the Pasghetti and bring pasta to all.

[11:19] You know, at first I was going to take Guernica over Persistence of Memory because I feel

[11:27] like Persistence of Memory has been cheapened by a thousand posters and a thousand college

[11:33] dorm rooms maybe.

[11:34] But I will say that having, I have actually seen both of these paintings in person in

[11:40] Madrid during a visit that Audrey and I took right before the pandemic, fortunately.

[11:49] That Guernica in person, I found less impressive than I expected.

[11:54] Whereas this is huge.

[11:55] And Persistence of Memory is a pretty small painting.

[11:57] Persistence of Memory is a very small painting, but I just didn't, it didn't strike me as

[12:01] much as it actually does in reproductions.

[12:03] I don't know why.

[12:04] Interesting.

[12:05] Yeah.

[12:06] Was Donnelly listening to a lot of Pink Floyd when he painted this thing?

[12:09] Yeah.

[12:10] That's really what I wanted.

[12:11] I just want to get blazed, put on some Pink Floyd and stare at this painting.

[12:15] Cool.

[12:16] So Dan, according to the official categories, what are you, so you're, you're funeral acquiring?

[12:20] I guess I'm acquiring Persistence of Memory and admiring Guernica, although, you know,

[12:25] on a different day, who knows?

[12:26] You know, so I'm also going to acquire Persistence of Memory.

[12:29] Dan, you have struck me to the quick because not in college, but in high school, I had

[12:33] a poster of this on my, on my wall.

[12:36] I was a big Salvador Dali buff.

[12:38] And I remember going to the Dali Museum in St. Petersburg, Florida, and seeing the stuff

[12:42] they have there.

[12:43] It was called Dollywood, right?

[12:44] Yeah, it's called Dollywood.

[12:45] My family took our RV.

[12:46] There's a, there's a, Salvador Dali Parton is, is my favorite singer of all time.

[12:53] Now I wish that, I wish that there was some, I was fast enough to do a Salvador Dali, Dali

[12:57] Parton mashup song.

[13:00] It's like, it's like Jolene, but he's singing about a gala.

[13:02] I think it would be like, working 9 to 5, but there's no way to know what time is, cause

[13:08] these clocks are melting and I don't know when to leave this job I'm working at.

[13:14] Okay.

[13:15] Oh, wow.

[13:16] Perfect.

[13:17] The master bows to you, Dan.

[13:18] Dan, you've defeated me.

[13:20] Yeah.

[13:21] I'll wax my mustache.

[13:22] It kind of is my trademark.

[13:26] So I think I'm going to, I'm going to acquire Persistence of Memory.

[13:28] I think I'm going to admire the Frida Kahlo one, because that to me is, I feel like she's

[13:33] expressing something, a real lived experience of pain.

[13:38] And I find it visually somewhat grotesque, but I think that's what she's going for.

[13:43] You know, I, when you say, when HR Giger stood in front of this and said, Frida Kahlo, c'est

[13:48] moi.

[13:49] And I'm, and it's like, yeah, yeah.

[13:50] The fusion of things in human, sure.

[13:52] And Wernicke, I think, I don't want to have to burn it because it is a major work, but

[13:59] I think it's going to have to go on the funeral pyre.

[14:00] No choice.

[14:01] And the, and the figures within the painting, ironically.

[14:02] Some monster made up this, yeah.

[14:03] Yeah, well, some of the same.

[14:04] Some monster.

[14:05] Well, maybe it'll finally be at peace.

[14:06] Yeah.

[14:07] And also, and you're saying it's, and it was created by a monster.

[14:08] Yeah.

[14:09] Yeah.

[14:10] Pablo Picasso himself was a monster.

[14:11] I mean, Salvador Dali was also like, not a, not, probably not a great guy to know.

[14:12] Not a good dude, huh?

[14:13] Yeah.

[14:14] I'm going to, I'm going to agree with you.

[14:15] I'm going to admire the Frida Kahlo work because it's nice and gross.

[14:16] And I like that.

[14:17] Uh, though, I'm going to say I would want to acquire Wernicke because it's huge, it's

[14:29] huge.

[14:30] It's a very, it's big.

[14:31] Dominate your apartment.

[14:32] It's a big wall.

[14:33] Yeah.

[14:34] Whereas, whereas, whereas persistence of memory, you can just put that on a wall with a bunch

[14:37] of other paintings, maybe pictures of trips you've taken.

[14:40] And unfortunately, I've seen a two meals gallery wall with persistence of memory in the middle.

[14:45] Set that thing on fire.

[14:46] Okay.

[14:47] I think it was a great idea to bring together three Spanish speaking artists.

[14:50] Oh, you're welcome.

[14:51] Yeah.

[14:52] I mean, that wasn't, thank you per se, but okay.

[14:55] Time for us to go Baroque everybody.

[14:57] And we're going to start with Baroque if the AMPTP won't pay us what we deserve for our

[15:03] work.

[15:04] That's a really good lead in.

[15:05] Uh, but we'll talk more about that later.

[15:07] So the, uh, we're going to talk about my, my main man, Peter Paul Rubens, not my main

[15:14] man.

[15:15] Uh, John Hodgman, the man from Maine, Peter Paul Rubens, when they fired Rubens brought

[15:21] in Mary, the painting suffered, but the singing got better.

[15:24] I just got to say it.

[15:25] Well, he had to go focus on his sandwiches.

[15:30] So really everyone won out.

[15:31] Yeah.

[15:32] Yeah.

[15:33] Everybody won out.

[15:34] So we got Peter Paul Rubens.

[15:35] This is a, this is the Feast of Akelos.

[15:39] We got Caravaggio, that's Judith in the Hollow Furnace.

[15:43] Yeah.

[15:44] Classic subject.

[15:45] Look out buddy.

[15:46] Somebody's having, somebody's a real pain in the neck.

[15:48] Uh, and then we got Vermeer, girl with a pearl earring.

[15:53] That's a heavy hitter folks.

[15:54] So what are we doing?

[15:56] Scarlett Johansson as the, the earring.

[15:58] Pearl.

[15:59] Okay.

[16:00] Uh, no, no.

[16:01] I thought Mia Gaulth would have gotten that role.

[16:07] Somebody quickly, somebody, somebody, uh, somebody, uh, you know, use your computer

[16:12] to make a little computer image of a tiny little Mia Gaulth, uh, hanging from, yeah,

[16:17] hanging from Scarlett Johansson's ear.

[16:19] It seems convoluted even for me.

[16:21] No, no, no.

[16:22] That's the perfect Dan McCoy.

[16:23] And make sure to sign it, Dan McCoy.

[16:26] Yeah.

[16:27] Uh, should I go first on this one, Dan, since you went first last one?

[16:29] Yeah, please.

[16:30] I mean, I got to, I got to acquire that Caravaggio, Caravaggio, the sumptuousness of his textures.

[16:36] I'm a big, this isn't the, I think it's ever come up in the Flop House before, but I'm

[16:40] a big fan of painted fabric on canvas, the way that folds are painted on canvas.

[16:45] The draping of things.

[16:47] The draping.

[16:48] Exactly.

[16:49] And he's one of the masters of that.

[16:50] I love the dark lighting lit just where it needs to be.

[16:53] I love that Judith is, seems to be disgusted by her own handiwork in, in, uh, in murdering

[16:59] Hull Furnace.

[17:00] Uh, so I'm going to acquire that one.

[17:02] And I think I admire, uh, this Peter Paul Rubens feast painting because there's just

[17:07] so much going on there.

[17:08] You know, uh, you got all the plants, you got all the feasting, uh, Greeks, uh, who

[17:12] are draped strangely, they look like they're all wearing towels.

[17:15] Like they just came out of the, out of the, a swim, you know, and went to this big banquet

[17:20] table.

[17:21] Uh, and I'm a sucker.

[17:22] Why don't, why don't, why don't people dress like this anymore?

[17:25] I mean, like nude, except for like a towel draped over their leg.

[17:29] Yeah.

[17:30] This might, this might, it might come back in part of the podcast.

[17:33] I mean, everybody dresses that way under their clothes.

[17:35] That's true.

[17:36] Yeah.

[17:38] And I will say, and this is going to be an unpopular, it's going to be an unpopular opinion,

[17:41] but it's just my personal preference for art.

[17:43] I love illustrative kind of classic art, art that is illustrating historical scenes, mythological

[17:49] scenes, uh, or imaginary cityscapes or things like that.

[17:52] I love art that is, uh, there's kind of a, an artist's representation of pastimes.

[17:58] If it's not historically accurate, I like it even more for some reason.

[18:00] Uh, and so grow with pearl earring, beautiful picture, but, uh, for me, there's not just

[18:05] not as much going on in there.

[18:06] So I'm going to have to burn it up.

[18:08] Okay.

[18:09] Yeah.

[18:10] Prove me wrong.

[18:11] No, I'm not going to argue too much.

[18:16] I definitely also would want to acquire the Caravaggio, uh, for the high contrast you're

[18:21] talking about.

[18:22] I don't think that we mentioned the most important thing, you know, like, again, these, these

[18:27] are famous works of art, but this is a podcast.

[18:29] So perhaps we should be explaining that in this picture, a woman is, uh, slicing a man's

[18:36] neck, uh, blood and he is not having a good time all over the place.

[18:41] And then there's an older woman who seems, you know, to be, you know, approving of the

[18:46] deed.

[18:47] I love the old woman.

[18:48] Who's like, heck, just get it done.

[18:49] Lady.

[18:50] Uh, yeah.

[18:51] She's like, well, there's a lot of hurry it up.

[18:52] She is one.

[18:53] She is a moment away from saying, just give me that sword.

[18:54] I'll take it.

[18:55] Yeah.

[18:56] As someone who likes narrative, there's a lot going on in this painting.

[19:00] I appreciate that.

[19:01] Uh, it's just, you know, it's just beautifully done.

[19:04] Um, the, I, I guess I would admire the girl with the pearl earring cause, uh, you know,

[19:14] portraiture is not, Dan likes a babe, but it's not necessarily, it is a, it is a masterpiece

[19:22] of limiting yourself to a few colors, a few tones.

[19:27] You know what?

[19:28] I think I'm going to change my decision.

[19:29] I think I am going to, I think I am going to admire that one because as much as I love

[19:32] the Peter Paul Rubens one, there is every time I look at girls pearl earring, I am,

[19:37] I take it for granted how it feels like it is a single second in time that it feels like

[19:42] it feels unposed in that way.

[19:44] And so I shouldn't take that for granted Vermeer.

[19:46] I apologize.

[19:47] I've been, I've been taking you for granted if you're listening, uh, the fact that, uh,

[19:54] it really does look like she is about to, she is in the middle of a turn that, uh, just

[19:58] kind of happened.

[19:59] It feels like a.

[20:00] A painted snapshot which especially in the years before photography even existed is an amazing thing to pull off

[20:05] Yeah, the other one look it's it's beautiful

[20:09] it's a little too much like

[20:12] You know a book of like fantasy postcards to me or something. I mean

[20:19] The ultimate compliment yeah, uh, yeah, that's my taste

[20:24] If only this was less like a boris vallejo painting

[20:28] What I mean if there were like, what are you swords and like

[20:33] Ladies clinging to legs of barbarians

[20:40] So you dan you're saying you would like it if the death dealer was just

[20:44] Over everybody there if it went further in that direction if it pushed pushed past the good taste

[20:49] It's in into into like active like bad taste

[20:53] I would like it more. Uh, yeah

[20:56] I I think y'all know me. I got to acquire this peter paul rubens add it to my collection

[21:04] Oh, yeah, give me them big bumpy bodies

[21:10] I love it

[21:11] Uh, and then I just love how like filled every little corner seems it's filled with like tiny little details. It's great

[21:17] I love even at the top. He's like there's no room for people in the trees. I'll put some birds up there

[21:21] I'm gonna put some points. Why not? Uh, of course caravaggio. I admire that thing. It's beautiful. Love it

[21:27] Uh, sorry girl the pearl earring you're going in the dump

[21:32] Guys we have one final round before we uh, we take a little break

[21:36] This final round is going to be a little bit different instead of a very specific work of art

[21:40] We're going to be talking about the career of entire artists. Wow

[21:44] Specifically this is geared right toward you two peaches. We are talking about

[21:49] Ec comics artists. Okay, we're gonna start. I was afraid I wouldn't know enough

[21:53] We're gonna start with my man. Jack davis. Oh

[21:58] wonderful

[21:59] wallywood

[22:02] Harvey kurtzman

[22:04] Yeah

[22:05] Harvey, this is tough. This is very tough dan. I think you're gonna have to go first

[22:09] I think I know my answer, but I think you're gonna have to go first. I

[22:12] So if we're talking about the art of it

[22:16] Yeah, this is my argument

[22:20] I'm gonna acquire jack davis. I think he has just like

[22:25] such a wild career of

[22:28] you know doing these horror comics and then late later mad and uh posters like he is

[22:35] Becoming the master of the lots of people chasing something. Yeah

[22:39] the king of the

[22:42] 1970s celebrity caricature

[22:45] It's amazing how so almost he does he has a few he has a few great movies that he did posters for

[22:50] But so many of his movies there is such a wide gulf between the amount of artistry

[22:54] He put into the poster caricature and the movie that he is creating a poster for

[22:59] yeah

[23:00] and uh

[23:01] I'm gonna admire wallywood who I think is one of the most beautiful draftsmen

[23:07] to ever do comics

[23:10] and

[23:11] i'm putting kurtzman on the pyre only because

[23:16] I think he was

[23:18] much more

[23:20] Valuable as a like innovator in the form like the way he would lay out

[23:25] panel to panel then for the artwork itself

[23:30] That's my argument. I'm gonna i'm I feel similarly about kurtzman

[23:33] Unfortunately, i'm gonna have to put if you were asking me who is the most important of these three artists?

[23:38] It would be harvey kurtzman by by a long ways as a as a as a as an editor as a writer as a designer

[23:45] But you're right. I can't I don't find him as attractive a draftsman as the other ones

[23:50] So harvey kurtzman is the is the greatest of these in terms of his impact on

[23:55] On the the field on comics. Yeah, but also i'm gonna say I want to acquire the wallywood because I love wallywood's art

[24:02] and I find it so like

[24:04] There's something so clean about it and something his the way he uses shapes I really love

[24:08] uh, and

[24:09] Specifically his pornographic comics is well

[24:12] That's the thing is the thing I don't love as much as or like that thing

[24:15] He did where it's all the disney characters having sex with each other like that like

[24:18] wallywood at a certain point his career just took a hard turn into

[24:22] Into soft core and that because that was what he could get work with but if you look at those comics

[24:27] They're beautifully done. Like they're lovely is gorgeous

[24:30] It's just like the they don't really and they also don't really work that well as pornography because they're just like

[24:36] but uh, but if you look at like just

[24:39] If I but if I get a page, yeah, I wouldn't call them sexy per se. Yeah

[24:43] You're like, no, that's a well rendered naked lady

[24:46] But but if I could get a page from one of his daredevil issues or there's a dr

[24:50] doom story he did for marvel that I learned from and uh

[24:54] He he was very briefly working at marvel and then he could not stand working for stanley

[24:58] And so the two of them had a had a falling out

[25:00] But he's the one who designed daredevil's red costume the one that he's worn since wow. Oh, that's cool eight or something

[25:05] and uh

[25:06] Or I don't remember what issue number it is

[25:08] But and but jack davis, I think i'm gonna admire although i'd love to acquire his stuff, too

[25:11] But i'm gonna admire just because I love a lot so much of wallywood stuff

[25:14] But jack davis is like, uh, I don't know if you guys are gonna agree with me on this. His heart's a little busy

[25:19] It is a little busy. Wait jack. Davis is already busy. Just a tiny bit. Just a tiny bit

[25:26] Everything's dripping

[25:28] Uh, I think i'm on the side of dan though, I look at jack davis's art i'm like what's with all the lines rob leifeld

[25:34] Just kidding. I never say that

[25:36] I I would want to acquire jack davis, uh, I admire wallywood and unfortunately harvey kurtzman

[25:43] Too much of an innovator in other areas of comics

[25:48] uh now before we uh get to our sponsors and ads one of the reasons why we are talking about something that's not about movies is

[25:55] Because of the wga and sag strike elliot if people want to support the wga, where can they go?

[26:02] That's a very great question

[26:03] If people want to support the wga the best thing you can do is go to entertainment community.org. That's right

[26:10] Entertainment community.org used to be called the actors funds now

[26:13] It's the entertainment community fund and that is the place that anyone who works in the entertainment industry

[26:18] Not just writers, but support staff technical crew actors

[26:21] Um everyone in front of and behind the camera can go when they need financial assistance during this time the most important

[26:28] way that you can support us beyond just making your voices heard and

[26:33] Selling off whatever shares of those companies you have so that the price goes down

[26:38] If there's a big sell-off and no one's buying and the price goes down

[26:40] That's the greatest thing you could do but that's taking on a real financial impact on yourself. So don't do that. Uh, but

[26:47] The the thing that'll help us the most is by helping us have the resources to get through this strike

[26:51] This is a game of attrition

[26:53] The amptp is hoping that we will crack before they crack and we want them to crack before we crack

[27:00] Somebody said they want you to lose your homes. This was I didn't hear that

[27:05] This was the app. There was an article in as we're recording this

[27:07] it's the it's one week after the article that came out in uh in deadline the uh, the uh,

[27:13] Set the owned by the same company that is involved in the studios, uh, mediac brand, uh news source

[27:20] In which an anonymous executive said we're going to keep this strike going with the writers until at least october

[27:26] Once they start losing their apartments in their houses, then we can dictate the terms to them. That is one

[27:31] Bonkers, every writer is used to being out of work for a certain amount of time

[27:35] It's just part of the business and two if you think being out of work for six months will cause us to lose our homes

[27:40] Then you are admitting to me that you've been underpaying us for years that you think that we are that close to the poverty line

[27:45] so

[27:46] We may need a little bit of help though

[27:48] And if we do for those workers who need that assistance

[27:51] Entertainment community.org is the place that they can go to apply for it

[27:54] And there's no shame in doing that and it's where you can go to make a donation of any size whatsoever

[27:58] uh ear market for their tv and film production fund and

[28:03] That will be there for us if we need it when we need it so that we can keep this strike going

[28:08] As long as we need to to get equitable payment and treatment for not just us

[28:11] but for the actors and for everyone else who has contracts coming up because

[28:15] The gains we make in this strike and in this negotiation are gains

[28:19] Everyone's going to be able to make and that's why we're doing this. This is the most

[28:22] And the strongest union solidarity i've seen certainly in my 15 years in the writers guild

[28:27] Uh the solidarity between unions and i'm very excited about it

[28:30] And I think we can really make make a change in the way that hollywood treats the people who work for it

[28:35] I think it was funny that I saw a lot of people arguing like

[28:38] well, yeah, I mean that that

[28:40] That house thing. I mean like that's just what a strike is like

[28:43] It's like we're trying to exert financial hardship on the side, you know for our own games like yeah

[28:51] in the broad outlines

[28:52] Sure, like it's not surprising that they're trying to choke off the writers like that is

[28:58] Obviously what's going on? But the fact that at a time where you know

[29:02] Writers median incomes have fallen like 20 plus percent and

[29:07] ceos

[29:09] Keep climbing

[29:10] You know to think that it's a good idea to state like hey, we want you to lose your house

[29:16] is

[29:17] just sort of a measure of

[29:19] I don't know awfulness that

[29:21] It's just baffling to me that I thought like this is going to be a winning strategy to put this out there in the world

[29:26] I mean it is this that any every every strike or every labor action is about

[29:31] a negotiation between labor and management over management wanting to pay as little as possible

[29:36] And having as much control as possible and labor wanting to get paid as much as possible and have as much of their own control

[29:40] As possible and that's the way of the game that's life in capitalism. It super sucks, but that's the system we live in

[29:46] but to take it to the point of saying not just

[29:49] We're going to wait them out and we're going to get them back to the table

[29:52] But to say that we want them to start losing where they live because then we can have them

[29:57] They'll take whatever we give them that is taking it to a

[30:00] a new severity level and an unfair level and also it's gross and and it totally

[30:03] backfired because everyone I've talked to since then

[30:07] talks about how they were so infuriated that they

[30:10] wanted to start they wanted to keep striking even more just

[30:13] it was it was the thing that someone a bad guy does in a movie where they

[30:16] they threaten a family member of the hero and the hero gets berserker

[30:19] strength at the last moment it looks like they're gonna give up

[30:22] now suddenly they have to win and so it was like oh well now this is about

[30:25] keeping my family under a roof like this is crazy

[30:28] and so the and so the thing you can do to help us if you would like to help us

[30:32] if you would not like to help us if you want to help the amp tp

[30:34] then you can go fuck yourself get out of my podcast

[30:38] but if you want to help us go to entertainment community.org and please

[30:42] make a donation so that should that financial assistance be necessary it is

[30:45] there and waiting for all the entertainment personnel this

[30:48] is something that is affecting not just us

[30:50] but everyone who works in entertainment everyone in the economy of california

[30:54] and i'm sure certain parts of uh of new york and

[30:56] other places and georgia as well this is something that

[30:59] uh is having ripple effects all throughout our business

[31:02] and so anything that we can do to help people who are affected collaterally by

[31:06] this uh we should be ready to do and

[31:07] entertainment community.org will at least help with some of that so

[31:10] thank you for your support and thank you for donating if you

[31:13] donate yeah again if you're not supporting

[31:16] get you know get out of my face i don't want to like you

[31:21] i just want to say like you know sometimes people like the argument gets

[31:24] like wound up and like oh this famous writer makes this salary or

[31:29] this like like oh they're these people well look the median

[31:33] writers pay is like literally one hundredth

[31:38] of what entertainment ceos are making right now

[31:42] the the guilds are just asking for pay commiserate with the money that is made

[31:46] for the industry it's less than one hundredth of what they're being paid

[31:50] yeah yeah it's it's a and uh and even the people you think are doing well one

[31:53] of the one of the most informative things i feel like about this strike to

[31:56] other writers as well has been all of us realizing oh even

[31:59] the people that we see as successes are not

[32:01] getting paid commensurate with the success that they are creating for the

[32:04] studios to the point of a number of showrunners

[32:08] of big shows are like yeah i don't know how i'm going to pay my bills

[32:10] i don't i don't get paid a lot for this and i spent this was two years of my

[32:14] life and i got paid you know you know x amount and that comes out to you

[32:18] know uh it's sometimes people after

[32:20] commissions to representatives things like that and taxes sometimes people who

[32:24] run shows are making less than fifty thousand dollars a year

[32:26] you know and so that's or that's what they're taking home so it's uh

[32:30] it's not the days of uh you get to write uh crappy tv and then you go home to

[32:35] your mansion and uh and you're you're lounging around the

[32:38] pool while the ratings for my mother the car come in or whatever

[32:43] those days are over and so uh so if you can support us

[32:47] we really appreciate it thank you very much we'll get through this everything's

[32:50] going to turn out for the better in the end but it's going to be

[32:52] a fight to get there is his mother's name christine um okay so

[32:56] uh the peach bit uh that's the hard thing is that his mother and his

[32:59] girlfriend are both cars oh it's complicated

[33:02] so the peach bit is a show that's all about the flop house and the flop house

[33:05] is supported by sponsors some sponsors like these

[33:09] well one of them is squarespace the all-in-one platform for building your

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[34:13] or domain guys we've also got another sponsor

[34:16] but to talk about that i'm just gonna say it i don't like the act of cooking i

[34:20] find it stressful worst of all it takes too much time the

[34:23] one thing i have the least of every morning i gotta get up get the

[34:26] kids ready taking a summer camp hit the picket line

[34:28] three hours of picketing in the sun and then back home to get my other work done

[34:32] in the sun not my sons that i'm taking to camp right right in the

[34:35] the sun that is the mother of us all uh and i just don't have the time to make

[34:39] myself a meal and yet my body craves nutrients and

[34:42] energy luckily i can turn to soylent the original food tech company which

[34:46] makes delicious and nutritious products in convenient formats whether you're low

[34:49] on time having trouble rousing the energy to make a big production out of

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[35:12] oh that's the best kind of gpc yeah i've been i've been craving some alpha gpc

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[35:58] we also have a j-j-j-j-jumbotron that's right

[36:02] this message is for john buddy and big guy and it's from emily

[36:07] wishing you an excellent 47th year buffalo style i now that i read it i'm

[36:14] assuming john buddy and big guy are all the same person and happy yeah

[36:18] happy 47th year no it's confusing style you're like how

[36:22] could a buddy be a big guy how do they all see john well the big

[36:26] guy is a buddy of rusty the boy robot right that's true buddy and big guy are

[36:30] two things are two things that i call bar patrons

[36:33] when i don't remember their name that's a trick of the trade

[36:38] and buddy guy is big in his field that's true that's true now uh

[36:45] while we're while we're promoting things like jumbotrons when we also promote a

[36:48] little thing called flop tv elliot would you mind taking this ball and

[36:51] running with it i would love to there's nothing i'm more excited about right now

[36:54] than flop tv and that includes my children

[36:56] hey don't you wish the flop house was a show you could watch as well as listen

[37:00] to why are your ears getting all the fun

[37:02] your eyes want in on the action well we agree

[37:05] and that's why from august through january on the first saturday of the

[37:07] month except for some time or it's going to be the second saturday the month of

[37:10] september we're bringing you flop tv a one hour

[37:13] live streamed version of this very show we'll be doing new powerpoint

[37:16] presentations we'll be talking about some of the most requested

[37:18] and most legendary bad movies there are none of which we have ever done episodes

[37:22] on before and we'll be answering questions from

[37:24] you the audience and all in a tidy one hour or so package that

[37:29] fits right into your normal tv viewing habits can't make it to the live airing

[37:32] of the show that's okay buying a ticket gets you

[37:34] access to the show's recording for two weeks after the original air date

[37:38] tickets are seven dollars each for individual shows or you can buy a season

[37:41] pass for all six shows for 35 bucks that's like getting a whole

[37:45] show for free go to theflophouse.simpletix.com

[37:49] for tickets and to see the list of movies we'll be covering

[37:52] remember that's theflophouse.simpletix.com

[37:56] for our six month flop tv live series it's not tv

[38:00] it's flop tv i stole that slogan from hbo because

[38:04] again they're not using it exactly i didn't ask most of them i didn't ask

[38:10] max for permission sorry max most of the shit on max's is only not

[38:15] tv in the sense of sub-television oh rough they do still have an amazing

[38:20] catalog of foreign films that i think they don't know that they're on there so

[38:23] they've allowed them to stay on yeah yeah yeah they're hiding out in

[38:28] the basement so you know rain or burn or fast spender is

[38:32] just is just sitting in the basement of max going like

[38:34] don't tell anyone that my movies are here i don't want them to remove them

[38:43] hey sydney you're a physician and the co-host of sawbones a marital tour of

[38:47] misguided medicine right that's true jessam

[38:49] is it true that our medical history podcast is just as good as a visit to

[38:52] your primary care physician no justin that is absolutely not true

[38:56] uh however our podcast is funny and interesting and a great way to learn

[39:00] about the medical misdeeds of the past as well

[39:03] as some current not so legit health care fads so

[39:07] you're saying that by listening to our podcast people will feel better sure

[39:10] and isn't that the same reason that you go to the doctor

[39:12] well you could say that and our podcast is free

[39:16] yes it is free you heard it here first folks sawbones marital tour of misguided

[39:20] medicine right here on maximum fun just as good as going to the doctor no

[39:24] no no still not just as good as going to the doctor but

[39:27] but pretty good it's up there please tell us what to tape about

[39:30] please tell us what to tape about please because i'm alex and she's katie and we

[39:37] make secretly incredibly fascinating a podcast

[39:40] about the history and science behind seemingly ordinary things we've done

[39:44] entire episodes about ham or shoe sizes or concrete or the color

[39:49] beige we need more ordinary stuff like that

[39:52] our max fun members suggest and pick our episode topics through discord

[39:57] so what do you wonder about what do you wish

[40:00] You could start to find interesting make us tape your idea and then hear the results on secretly incredibly fascinating

[40:06] from maximum fun org

[40:10] Hey, welcome back to the peach bit

[40:12] Podcast all about flop house and the original peaches joining me today are two of the original peaches Dan McCoy and Elliot Kalin

[40:18] Thanks so much for joining me guys. Yeah, this this raises an interesting question

[40:21] I thought that the peach bit was about the flop house. And yet this one is about art now

[40:26] Is the branding getting all confused actually we're doing something a little bit different here today guys

[40:31] Today we are doing the peach pit presents carpe DMS where I reach into my big bag of DMS

[40:38] I've received here at the peach pit

[40:41] And I'm going to pose some questions to you two peaches now that I have you on the line

[40:44] How does that we not doing the pictures anymore? We done?

[40:49] This is a different. No, this is a different show. We've moved on

[40:52] Your seatbelt, it's gonna be a bumpy ride. So first question, let's see

[40:59] What is what is your go-to coffee order?

[41:04] Well, my I am a Midwesterner

[41:06] So my go-to coffee order is a drip coffee

[41:11] black

[41:12] no sugar

[41:14] Wow, okay plain Jane Elliot bitter just like life in the Midwest and my my

[41:19] I don't like coffee

[41:20] So my go-to coffee order is a chocolate croissant or a chocolate cookie if they've got a particularly big one now when you order

[41:26] A chocolate croissant. Do you order like that? Or do you order it as a pan chocolate?

[41:30] I say chocolate croissant because I know there are people in my life who say croissant

[41:36] Regularly and I know it doesn't

[41:38] It feels like such a put on even though they're your loved ones. You're like, no. Yeah

[41:43] I just say croissant like an unsophisticated American. I know what that's like

[41:46] Take off that beret Sammy

[41:51] Yeah, that's great

[41:53] Cheers to mine is a

[41:55] Flat white with oat milk. That's my preferred. Give me give me now

[42:00] Here's a here's a follow-up to that question. Okay, we're still these are the softball questions

[42:06] If you were imagine you are in a in a coffee shop, it's busy and you're standing behind

[42:12] Hollywood, you're standing behind a coffee shop

[42:14] Standing behind. Yeah, i'm hollywood superstar actor. Nicholas cage who is currently supporting the sag strike by not attending press events

[42:23] Now you're behind nicholas cage. What is his coffee order?

[42:29] What do you think nicholas cage orders at a coffee shop i'm gonna say a quadruple espresso

[42:37] And then when he takes the cup away he takes out his own snake and squeezes the venom out of it

[42:43] Drip into the cup just three drops four is too much

[42:46] But three gets him into that into that kabuki acting uh, zen mode that he needs to be

[42:50] Okay, so nicholas cage if you're listening to this obviously write in and tell us how close we are

[42:55] Yeah, if you have been behind nicholas cage at a coffee shop or served him coffee

[42:59] Feel free to write in and give us the insight, please. I would I would be so excited. Yeah, I would love to hear that

[43:04] Now on a recent flop house mini, uh, you guys admitted that you're both into drawing and you know

[43:09] What me stewart wellington? I'm also a bit of a little little artist as well

[43:15] so

[43:16] Who would you uh, who are your biggest artist artistic inspirations?

[43:20] How do you mod who is like the model or influence of your uh, your drawing style?

[43:26] uh, oh boy, that's a tough one like I

[43:30] I

[43:32] grew up reading a lot of

[43:35] Funny animal comics, uh, so like there's a lot of like like freeze the cat that kind of thing

[43:40] Well, I got a lot of shit down pogo and uh

[43:43] Shift down

[43:45] Pogo and and uh in the duck comics

[43:49] Uh, but I don't know if they're the destroyer duck. I don't know if they really look like my art. I

[43:55] I like my art goes all over the place. Sometimes it's

[43:59] More clean and sometimes it's full of lines and uh

[44:02] Even though he's a difficult man with a lot of problems like the linier side of my art

[44:09] uh

[44:11] Has certain crumb qualities sometimes I and you're usually eating while you do it. So you get

[44:16] All over the place and you're riding around on a woman's ass, you know, I wish I could

[44:22] That's the main similarity is is the focus on butts. Yeah, the person I wish I could draw

[44:27] Hernandez because yeah, I just love because he's the greatest of all time. Sure. The there's just like the bold blocks of

[44:34] You know black and the inking very clean look very well composed

[44:39] It's hard to imagine an artist who does as much with as few

[44:43] With as little line a little amount of lines as few lines as do you think and do you think he's somebody who like?

[44:48] uh

[44:50] Like takes a long time penciling or

[44:52] More is like sweats over his inking like I know like jeff smith takes a long like a long time penciling

[44:57] But when it comes to inking he just like bangs it out. I think I could be wrong though

[45:01] I think that something like I know this but I could be wrong

[45:04] I feel like I read in an interview where they it was like talking about how like

[45:08] how uh

[45:10] You know, he he because jeff smith's art is so like super clean. Yeah, uh, and and similar to

[45:17] Hernandez fairly simple. Mm-hmm. Um, and that although his bone went along he got

[45:23] Weirdly enamored of putting tiny lines all over the place

[45:27] Well, I think that was but I think that I think there there was a thematic reason for it

[45:31] Because the story itself was getting more serious and less funny and more more intense as it went on

[45:36] So it kind of made sense

[45:37] My guess is that I bet that the two of them spend a lot of time on the composition and layout

[45:42] Yes, I bet they spend a lot of time laying up their panels. I mean hernandez, especially he's a he's a master panel layout

[45:47] All right, and I would say that too because like my experience of like sometimes i'm like sketching

[45:53] And i'll like, you know, this is close enough to it and I will correct all these little things as I ink

[45:59] Like I will be able to see

[46:01] As I ink like well that that relates to that

[46:05] Not quite the way I want to see it. So I think that that's that's that's that's that's that's that's that's that's

[46:11] Not quite the way I have it, you know, I need to make adjustments, you know

[46:15] But with something as precise as that, I think he probably

[46:18] Really locks down

[46:20] The drawing what's your what's your inking? Uh tool choice. Are you a brush guy? I have started using almost

[46:28] exclusively

[46:30] brush pens, there are a lot of like japanese brands of

[46:35] brush pens that are very

[46:38] Good and I just like having the the variable

[46:41] line

[46:42] Without having to build it up myself by you know going over things

[46:46] Yeah, i'm still i'm such a sucker for crow quills though and like they're great

[46:49] But getting used to like doing fuss doing all your fine lines first

[46:53] And then you're like medium lines as the quill becomes more and more stretched out

[46:58] Yeah, save your big fat lines for the end

[47:01] Uh, that's cool for me my big, uh, my big influencer dan clowes

[47:07] uh, evan dorkin and charles burns like those big heavy blacks and uh,

[47:12] Like panel composition the dan clowes does. Yeah. Yeah, those guys were big

[47:17] Despite my my the content I would do had nothing to do with anything those guys did

[47:22] But like they were just huge. No, we all know dan clowes's warhammer work

[47:27] Yeah, particularly impressive. That was what my comics were all about warhammer guys

[47:32] ellie, did you say

[47:34] No, I mean, I also don't draw like

[47:36] most of the artists that I like I feel like most of them are

[47:39] Are well so far beyond me and I and i've spent years letting my ability to draw atrophy

[47:44] And it's going to take me a long time to get it back up to where I would like it to be

[47:48] But uh, I would think probably like as uh as boring as it is

[47:52] That jack kirby is a big big like kind of influence on the way

[47:55] I think about shapes and forms and things like that and also it's a lot

[47:59] Easy he's you know, it's not easy to draw exactly like jack kirby

[48:02] But it is easy to draw similar to jack kirby because he was so much about so much more about force

[48:07] And about impact than he was about, you know

[48:11] Specific, uh proportion. Let's say yeah. Yeah. I think that's right

[48:15] Certainly more than like realism

[48:17] Yes, I mean, I it's it's I it's easier to draw in the style of jack kirby

[48:22] than it is to draw in the style of one of his

[48:25] Someone who used to draw like him like barry winsor smith or something like that

[48:27] Like it's hard to jump in and do a barry winsor smith type picture

[48:30] Even though you look at his old drawings when he was barry smith and he looks a lot like kirby

[48:34] Yeah, yeah, just jump in and do a bernie wrightson picture

[48:37] Well, I wish amazing ruin your hands

[48:40] And my eyes as well

[48:42] How do I how do I try every strand on a cobweb? This is very difficult from memory

[48:50] Uh, okay, so

[48:52] uh

[48:53] Despite, you know, we're not we're trying to promote movies now, but I can't we can't help it

[48:57] We got to talk a little bit about movies

[48:59] Uh, you you guys all have favorite movies. Elliot's is taking impella. One, two, three days

[49:05] If dan if you were to say you have a favorite movie if you were going to introduce a friend to a favorite movie

[49:10] What movie would you be like you need to see this?

[49:13] Uh, let's go with north by northwest sure and i'll go with a recent one. Uh, I don't know

[49:18] Uh, maybe the suspiria remake just to make people mad

[49:22] Um, and if you were going to introduce a friend to this movie

[49:26] You have to pick one of three circumstances to show them and these are let's say

[49:31] Not the best circumstances, but this is your only chance to get your friend to check out this favorite movie of yours

[49:37] Would you show them the movie a projected on the wall of a frat house during a frat party?

[49:44] B watched on a phone in the backseat of a car with two hungry and tired children on a road trip

[49:51] or

[49:53] Three watched on a plane after it's been hijacked by terrorists

[50:00] I'm gonna say three.

[50:04] It has the fewest-

[50:05] Dan just loves watching movies on planes.

[50:08] I knew as soon as I gave him that eye, it's like, oh, yummy, yummy.

[50:11] His eyes lit up, uh-oh.

[50:13] Look, presuming the, I mean,

[50:15] if the terrorists are allowing you to still watch movies, like-

[50:19] It's a long flight.

[50:20] All of- They gotta entertain you somehow.

[50:22] All of the distractions, the immediate distractions are gone,

[50:26] just like a general sense of unease in your stomach is what you're contending with.

[50:32] So you're paying more attention to the movie, and I think you need that movie

[50:35] to distract you, a piece of escapism to keep you busy while this is unfolding.

[50:43] Dan's like, I should have said my favorite movie was Executive Decision.

[50:46] I mean, there's a plane scene in North by Northwest, but

[50:51] it is so divorced from the context of a plane hijacking.

[50:56] Yeah.

[50:56] I think it's interesting that you said you'd be paying more attention to the movie

[51:00] in a situation like that, when I think you'd probably find it hard to pay attention.

[51:03] But perhaps this is like the story of the man who was chased onto a branch by a tiger,

[51:08] and he's about to fall off a cliff, and he sees one strawberry growing off of that branch,

[51:11] and he eats it, and it's the most delicious strawberry he's ever had in his life,

[51:14] because he's so focused on it.

[51:15] Maybe it's like that.

[51:16] When did you hear this story, Alec?

[51:18] Did you just make it up?

[51:19] No, this is an old saying, but I think I once-

[51:21] I first heard it in an episode of King of the Hill.

[51:23] Oh.

[51:26] I'm disappointed you didn't do a cool voice, but that's fine.

[51:29] That's maybe next time.

[51:30] Is this still-

[51:31] Are these still DM questions, or-

[51:33] Yes, these are all DM questions.

[51:34] I'm going to say, take a film, one, two, three,

[51:36] project it on the wall, that frat party, because it's a loud movie.

[51:39] You'd be able to hear it over that stuff.

[51:41] You need to see it big.

[51:42] And also, they're all going to stop partying and start watching the movie once they hear

[51:46] all that swearing.

[51:47] Yeah.

[51:48] This is the worst way to watch the movie.

[51:50] I guess I got no choice.

[51:51] I got to make my friend watch the spirit in the back of a car with two kids.

[51:54] No, that's the worst way to see a movie.

[51:56] That's the worst way to see a movie.

[51:59] Okay.

[52:00] Now, before we wrap up, we got one final question.

[52:02] One of the things that weird dudes on the internet seem obsessed with is AI.

[52:07] Now, has there ever been a movie where AI is the good guy?

[52:13] Her?

[52:15] Okay.

[52:16] Her.

[52:17] I mean, AI is not a bad guy in Her, but it's not that kind of movie.

[52:21] Yeah.

[52:21] Well, no.

[52:23] I think that still counts.

[52:24] What do you mean?

[52:26] Yep.

[52:26] Does it have to be a movie where AI is good fighting another thing?

[52:32] Where the AI is a hero.

[52:34] Yeah.

[52:35] I mean, I think Jarvis is the hero of that movie, because she transcends being locked

[52:43] into lame, sad, walking Phoenix.

[52:47] Yeah.

[52:48] I guess so.

[52:50] I guess, Stuart, you're right that Jarvis is often the hero in the Avengers Iron Man

[52:54] movies, and then he becomes Vision.

[52:57] Yeah.

[52:57] Vision is good enough to wield the Mjolnir, so.

[53:02] Mm-hmm.

[53:03] Yep.

[53:03] So, it's a...

[53:05] That's bonkers.

[53:08] I mean, I didn't make it up, but it happened.

[53:10] When did he do that?

[53:11] When did that happen?

[53:12] That's how you know that he's good when he shows up in Ultron.

[53:15] Yeah, it's a pretty Avengers-age Ultron bit of...

[53:18] To be honest, they spend so little time on Vision in that movie.

[53:23] I've only seen that movie once, Age of Ultron.

[53:25] They spend so little time on him after he's born that I kind of forgot everything he does,

[53:28] other than occasionally zap and bops with his lasers.

[53:32] And that was also in a movie that very specifically has an evil AI in it.

[53:37] Yes, exactly.

[53:38] Much like the AI in the real world.

[53:41] Yes, that's the thing, is that I feel like there's so few examples of...

[53:45] It's like a weird thing to cape for when almost every example of AI in movies is bad.

[53:51] Well, I guess the difference...

[53:53] It really isn't that AI in the real world is evil,

[53:55] but the people who use it are either evil or oblivious to what human life should be like.

[54:00] Yeah, right now it's chaotic neutral, I would say.

[54:03] Well, right now it's the...

[54:05] You know what it is?

[54:06] Right now, it's chappy.

[54:08] It's just chappy.

[54:10] It's a baby.

[54:10] It doesn't know what it's doing,

[54:11] so it's easy for a bunch of trash-wrap bank robbers to tell it to commit crimes and hurt people.

[54:18] And chappy's like, oh, this is fun, this is fun.

[54:20] Chappy loves mommy, daddy.

[54:21] And that's what AI is right now.

[54:24] The people who are in charge of the companies, AI is like,

[54:26] you mommy, daddy?

[54:27] And they're like, yeah, we are.

[54:29] Take people's jobs.

[54:30] They don't want those jobs.

[54:32] Oh, me good.

[54:32] Me free them from jobs, that kind of thing.

[54:34] So...

[54:34] I guess Johnny Five is a good AI.

[54:37] Yeah, he's a hero AI.

[54:39] If we only get Johnny...

[54:40] If we get Johnny Fives, I get it.

[54:42] Johnny Five should be writing all the movies, right?

[54:46] No, not at all.

[54:46] I mean, what he should be doing is he should be chasing after diamond thieves.

[54:52] Basically, that's the thing he does best, yeah.

[54:54] So you think AI has a strong case for being head of law enforcement?

[55:00] Well, you've all seen RoboCop, right?

[55:02] We get the competing visions of...

[55:04] Yeah, there's no problem with that.

[55:05] The ED209 is great at it.

[55:07] He's so good, yeah.

[55:09] That executive he shoots in the beginning, I'm sure, was guilty of something.

[55:12] You know, he wouldn't be in that boardroom.

[55:14] That's true, yeah.

[55:14] And he doesn't make dinosaur sounds.

[55:17] Yeah, maybe that's the problem.

[55:18] Is ED209 had, like, too wide and realistic a view of what crime was?

[55:24] He says, property is theft, da-da-da-da-da-da-da-da-da-da-da, yeah.

[55:29] A lot of people...

[55:30] I'm surprised that reading hasn't come up yet.

[55:32] But it's like, well, ED209 is actually more progressive than any other character.

[55:37] That's why he's going after these capitalists.

[55:40] Yeah, he's going after RoboCop because he has cop in his name.

[55:45] That's the sad thing.

[55:45] ED209 doesn't realize he's a police officer also, yeah.

[55:49] That's the thing.

[55:50] Okay, well, I feel like this has been a really fun episode of The Peach Pit.

[55:54] Thanks so much for joining me, guys.

[55:55] Now, The Peach Pit is part of the Flophouse megacorporation brand.

[56:01] And we all live within the Maximum Fun world.

[56:04] Thank you so much for supporting us.

[56:06] Thanks for being part of the Maximum Fun network.

[56:08] This episode is going to be edited, I'm guessing, severely by Alexander Smith,

[56:12] who goes by HowlDotty on social media.

[56:15] Thanks so much for joining us.

[56:17] Guys, do you have any plugs to make?

[56:20] No, I mean, just, you know, all that stuff Elliot said earlier.

[56:25] Please support your fellow Strikers and...

[56:27] Or your neighborhood Strikers and...

[56:29] Or Striker from...

[56:33] That's a...

[56:33] Striker from Airplane.

[56:35] Mortal Kombat?

[56:36] Striker?

[56:37] Yeah, that was the Striker that came to mind.

[56:38] But I don't actually want to support him that badly.

[56:40] The Striker files?

[56:42] That was an old Channel 101 show that my friends did.

[56:47] I don't know why.

[56:49] And on the note of the Strike, which seems like it will drag on forever.

[56:53] One, you know, tangible way you can help us, two of your favorite Guild members,

[56:59] is to just spread the word about the Flophouse.

[57:02] Get us more listeners.

[57:04] Because right now, this is our jobs.

[57:06] So our job, singular, even though there are two of us.

[57:11] We both share one job.

[57:13] And it is entertaining America through this, the medium of the Flophouse.

[57:17] Maybe don't make the people that you recommend listen to this episode.

[57:21] But in general, help us out, why don't you?

[57:27] Bye!

[57:29] Well said, Dan, well said.

[57:34] Maximum fun.

[57:37] A worker-owned network.

[57:38] Of artists-owned shows.

[57:40] Supported directly by you.

FH Mini 85 - The Peach Pit 3: Art & Coffee

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